Jayanthi Kumaresh, SPICMACAY IIT Madras
Jayanthi Kumaresh - Veena
P Satish Kumar - Mrudangam
N Guruprasad - Ghatam
AnandAmrutkarshini - amrutavarshiNi - Adi - MD (RS)
sabApatikku - AbhOgi - rUpakam - GKB (S)
nOTTu svaram followed by akshaya linga vibhO - sankarAbaranam - misra cApu - MD
instrumental composition - pantuvarALi - misra cApu (Ragam Tanam, svarams)
tani
tillAnA - mAND
both AlApanais were more using the third and fourth string which made the AlApanais less enjoyable. Especially for a ragam like pantuvarALi which is predominantly a madhyasthAyi ragam, the phrases in anumandarasthAyI were not all that tolerable. The sankarAbaraNam kriti was for some reason stopped right after the anupallavi. All the svarams were filled with un wanted pauses. The artist also lacked sAhitya sense.
She also played snatches of mOhanam, vAsanti, bhUpALam, bauLi, nIlAmbari, pUrNacandrikA, sahAnA, kalyANi, sAvEri, gauLa to explain the concept of rAgam and bhavam and gamakams.
The percussionist were good in providing support and during the tani.
P Satish Kumar - Mrudangam
N Guruprasad - Ghatam
AnandAmrutkarshini - amrutavarshiNi - Adi - MD (RS)
sabApatikku - AbhOgi - rUpakam - GKB (S)
nOTTu svaram followed by akshaya linga vibhO - sankarAbaranam - misra cApu - MD
instrumental composition - pantuvarALi - misra cApu (Ragam Tanam, svarams)
tani
tillAnA - mAND
both AlApanais were more using the third and fourth string which made the AlApanais less enjoyable. Especially for a ragam like pantuvarALi which is predominantly a madhyasthAyi ragam, the phrases in anumandarasthAyI were not all that tolerable. The sankarAbaraNam kriti was for some reason stopped right after the anupallavi. All the svarams were filled with un wanted pauses. The artist also lacked sAhitya sense.
She also played snatches of mOhanam, vAsanti, bhUpALam, bauLi, nIlAmbari, pUrNacandrikA, sahAnA, kalyANi, sAvEri, gauLa to explain the concept of rAgam and bhavam and gamakams.
The percussionist were good in providing support and during the tani.
Labels: Instrumental
posted by bharath at 10:48 PM
4 Comments:
What is your take on the instrumental compositions that I assume are composed by Ganesh/Kumaresh? They call it Raga Pravaham right?
I mean, do you agree with their claim that it is not fair that instrumentalists should only play adaptations of songs that were created for vocal music?
Again, you say that Jayanthi Kumaresh lacked sahitya bhava. But when there is no sahitya, why should there be sahitya bhava? Why should instrumentalists care about the words of the krithi they are playing?
I know that any comparison with Hindustani music irks you, but in hindustani music, instrumentalists play compositions specifically created for instrumentalists.
Their music is derived from the dhrupad style. Alaap increases in speed progressively (just like nom tom alaap) and then they play compositions that are perfectly suited for instrumentalists.
However, N.Rajam plays the violin in gayaki style (vocal style) with the bada and then chota khayals.
What do you have to say on this issue?
to be honest, as i always am, i have no ideas or fundaes about hindustani music. Not that i know anything carnatic music, still, i feel that Hindustani Music is a completely different style of music and has to be considered as a completely different entity. I hence, dont know how much of value addition is there, when one compares both.
I do not know what a dhrupad or khayal is. For that matter, i am an illiterate with respect to Hindustani music and hence am not able to comment on your queries in that regard.
Coming to Instrumental Compositions, I believe that for carnatic music, the presence of sAhityam will only boast the music and I hence am quite opposed to the view that presence of sAhitya will come in the way of an artist's creativity. A composition gets its fullness only with the presence of words. It is possible to stay creative and still differentiate between plain svara playing and sAhitya playing in any instrument. The distinction and the mastery to show it comes with time and practice. If only instrumentalists would care for the sAhitya, they can show the difference in their playing.
Especially on an instrument like the Veena, it is rather more easy to show the sAhitya bhavam. My comment on Smt. Jayanthi lacking sAhitya sense was for the other kritis she played and not for the pantuvarALi composition.
I have only heard Smt. Rajam play carnatic music on violin. In fact only the viribhONi varNam, which she has done very well.
I too was talking about the normal compositions when I was saying 'when there is no sahitya why should there be sahitya bhava'.
I think that instrumental music can't have sahitya, simply because that's what it is, it's an instrument. I think I agree with Ganesh and Kumaresh that comparing the song that they play the same song in vocal style is gross injustice to the instrumentalist.
If you want to listen to the song in vocal style, call a vocalist. What an instrumentalist plays is just an adaptation of the original 'vocal' composition.
Of course, I am not completely sure of what I am saying, but I this is what I intuitively believe.
did u come to Kalpakam Mami's concert at IITM on 2nd Feb? If you had come and if u had properly listened to duDugukala, you could have realised how the sAhityA and svarams were played differently during the caranams. The reason why i site this is that it is fairly recent and the kriti is usually sing with both svarams and sAhityams and hence can easily be considered as a reference.
In fact, in any instrumental concert, if you could listen carefully during the neraval and svarams, you can differentiate and understand the point i wish to drive.
Most Senior Vocalist are trained in more than one instrument and most instrumentalist are trained in yet another instrument or too not to add vocal. This was a practice followed in yesteryears. All the performers were trained in both vocal and some instrument(s), what they choose to specialise is of course, something of their choice.
I feel, one should not even differentiate between instrumental and vocal music. Music was not composed for the sake of vocalists or instruments. The perfect example to this is, Dikshitar, who was singer and veena player himself.
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