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Wednesday, May 31, 2006

Vykom Jayachandran, Nada Inbam

Vykom Jayachandran - V L Kumar - B Sivaraman

Nada Inbam, Raga Sudha Hall.
30th May 2006 6pm

vakrathunDa mahAkAyA - slOkam in sankarAbaraNam
sAmi ninnE - sankarAbaraNam varNam - Adi
bhajAmyaham srI vinAyakam - hamsadvani - Adi (S)
rAma rAma pAhi rAma - bhUpALam - rUpakam - ST (S)
pAhimAma srI rAjarAjEsvari - janaranjani - Adi - Ramaswamy Sivan (Short Sketch)
angArakam - suruTTi - rUpakam - MD (R)
nAda tanumanisam - citta ranjani - Adi - T (S)
dEva dEva jagadIsvara - pUrvikalyANi - Adi - ST (RNS)
kamalApta kula - brindAvana sArangA - Adi - T
akshayalinga vibhO - sankarAbaraNam - misra cApu - MD (RNS)
tani Avarththanam
vakalAti pOtanalaku - bEhAg - rUpakam
enna tavam - kApi - Adi - PS
nI nAma rUpamulaku - saurASTRam - Adi

There are two varieties of artists in any field. First, ones who are popular and perform for the mass appeal. Second, people who are rather less known but dont compromise on the quality of the stuff they present. Sri Jayachandran definetely falls in the latter category. His concert was just another example of how art is hidden in unknown pockets of the society.

It was a nice smooth voyage in the sea of music from the slOkam with the varNam to follow. The hamsadvani kriti had some nice svara prasthAams. The bhUpALam kriti had some unknown sangatis and the svaram were real good. The janaranjani short sketch was very short and yet real sweet.

suruTTi AlApanai was done in a scholarly fashion showing essentialities of the ragam and the kriti was rendered well. pUrvikalyANi kriti was rendered with neraval and svarams at 'dArita magadha mahIpa yaduttama' and the brindAvana sAragA kriti which followed was sung well.

The main sankarAbaraNam AlApanai was built in a logical fashion and showed all the raga lakshaNams. The kriti was well rendered with real good neraval and svarams at 'badarIvanamUla nAyikA sahita'. The bEhAg kriti and kApi kriti were good also.

Sri Kumar was good in accompaniying though he fell short in matching to Sri Jayachandran at places. Sri Sivaraman played with good anticipation and the tani was good also.

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2 Comments:

Blogger Arunn said...

teh violinist on that day was not good. more apaswaras than palatable; didn't follow the talam and eduppu and kanakku most of the kutcheri; had a very jarring contrast effect with the singer. but some rAga AlApanais were good by him.

singer did well in some of the rAgA selection. shankarAbaranam rAgA AlApanai was very good. surutti is the best, i agree.

But in swaraprasthArams, i don't think janaranjani or bhupAlam flowed at all. The low point was citharanjani, an exercise wasted. Agreed the rAgA has few songs and so no past grammer or language for learning from; but a simple measure of practicing the swara patterns within the scope provided by the nAthathanum anisham song would have made a big difference.

Another thing with the song itself. After veryfying the telugu I am making this statement: The pallavi is "nAdha thanum anisham shankaram" NOT "nAdha...thanumanisham" as sung by almost the entire tamil nadu including madurai mani iyer and t.m. krishana. agreed it is one of teh sangathis that makes teh words come out like nAdha...thanumanisham...but then, the first time the pallavi is introduced, it should be sung correctly as nAdha thanum anisham shankaram.

Enough for now. I shall wait to hear from t.m.krishna fans who will yap about he learning the song from his guru who knows telugu well and so he should be right etc.

5:57 PM  
Blogger bharath said...

hehehehe

6:01 PM  

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