Purandara trinity ovk onlyanna1 phgall_110

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Thursday, January 24, 2008

V V Subramanian & VVS Murari, Saarang Classical Night

V V Subramanian & V V S Murari - Thiruvarur Bhaktavatsalam - Vaikom Gopalakrishnan

Saarang Classical Night. OAT IIT Madras
23rd January 2008. 7:30 pm

varNam - varamu - Adi
vAtApi gaNapatim - hamsadvani - Adi - MD (RS)
svAminAta paripAlaya - nATTai - Adi - MD (R)
parAtparA - vAcaspati - Adi - PS (RS)
janani ninnuvinA - rItigauLa - misra cApu - Subbaraya Sastri (R)
rAmachandram bhAvayAmi - vasantA - rUpakam - MD
srI vaLLi dEvasEnApatE - naTa bhairavi - Adi - PS (RS)
tani Avarththanam

It was a nice concert. The AlApanais were done beautifully. The korappu svarams in hamsadwani were nice. The kritis were all well presented. The accompanists were good as well. The long and exciting tani was followed by a pieces in bEhAg and sindhubhairavi.

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Wednesday, January 16, 2008

T Bhavani Prasad - Veenai, Music Club IIT Madras

T Bhavani Prasad - B Srivatsan - Harihari Sarma

Music Club IIT Madras, HSB 133.
14th Jan 2008. 6:45 pm

ammA AnandadhAynini - gambIra nATTai - Adi - BMK (varNam)
vAtApi gaNapatim - hamsadvani - Adi - MD (short sketch and short tAnam)
sarasavati namOstutE - sarasvati - rUpakam - GNB (rAgam, short tanam, svarams)
raghuvamsa sudhA - kadana kudhukalam - Adi - PSI
nagumOmu - AbhEri - Adi - T (R)
bantu rIti - hamsanAdam - Adi - T (short sketch and short tAnam)
nidhi chAla sukhamA - kalyANi - misra cApu - T (RTNS)
rAgamAlikA svarams in kAmavardini, mAyAmALavagauLa, kharaharapriyA, latangI)
tani Avarththanam
tandanA - bauLi - Adi - A
chinnanchiru kiLiyE - rAgamAlikA - rUpakam - Bharathiyar
krishNA nI bEganE - yamunAkalyANi - misra cApu - PD
tillAnA - dhanA srI - Adi - ST
nI nAma rUpamaluku - saurAshTram - Adi - T

It was nice concert. The AlApanais and tAnams displayed the amazing control this vainika has in his hands and the ease with which he was moving across the frets. The AlApanais were nice. The kritis were well rendered. The svarams were all good as well. The percussion dept was well handled by the two youngsters.

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Sunday, January 13, 2008

Aishwarya Vidya Raghunath, Music Club IIT Madras

Aishwarya Vidya Raghunath - Akkarai Swarnalatha - R Sankaranarayanan

Music Club IIT Madras, HSB 133
12th January 2008. 6:45 pm

inta calamu - bEgaDa - Adi
brOcEvArevaE - srI ranjani - Adi - T (S)
vara nArada - vijaya srI - Adi - T (R)
OsOsi nA madi - mukhAri - misra cApu - Muddu Natesa
mInalOchana brOva - danyAsi - cApu - SS (RNS)
vinanAsakuni - pratApavarALi - Adi - T
O rangasAyI - kAmbhOji - Adi - T (RNST)
saravaNa bhava - shanmukhapriyA - Adi - PS
smarasundarAnguni - paras - Adi - DS
sapasyaa kausalyA - jOnpuri - Adi
marubAri - khamAs - Adi
smarisO sarvada - AbhOgi - Adi - PD
nI nAma rUpamulaku - saurAshTram - Adi - T

A very nice concert by the enthusiastic youngster from bangalore. Full open throated singing always has its own charm and aishwarya scores in that to the fullest. Her AlApanais were all beautifullly done. All the renditions of pieces were very good and had good azhuttam. The neraval and svarams were all very good as well. The Violinst was good and gave fitting replies to the main artist. The mridangist was good also.

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Wednesday, January 09, 2008

R Raghul - Violin Concert, Music Club IIT Madras

R Raghul - Kumbakonam Swaminathan - Harihara Sarma

Music Club IIT Madras. HSB 133
9th January 2008. 6:45 pm

sAmi ninnE - srI rAgam - Adi - KDI (short sketch) [varNam]
vallabha nAyakasya - bEgaDa - rUpakam - MD (sketch, S)
pArvati patim - hamsadvani - Adi - MD (S)
himagiri tanayE - suddha danyAsi - Adi - HMB
srI rAmam - nArAyaNagauLa - Adi - MD (R)
ilalO praNatAtihara - aTANA - Adi - T (sketch)
bAgAyanayyA - candra jyOti - Adi - T (RS)
murugA murugA - sAvEri - misra cApu - PT (R NS at 'allum pagalum nAn murugA murugA enRAl urugAdhO undan uLLAm')
sarasa sAma dAna - kApi nArAyaNi - Adi - T
RTP - simmEndra madhyamam - kaNDa tripuTa (2 kaLai) 2 akshara eDuppu 6 akshara aridi
nI padamulE gatiyani nammiti srI rAmachandrA
graha bEdam to rEvagupti in AlApanai. rAgamAlikA tAnam in nATTai, gauLa, Arabhi, varALi, srI rAgam. rAgamAlikA svarams in sAmA, rEvati, bEhAg, dEsh
guru vara deejo - madhuvanti - Adi
srI mAdhavA - bEhAg - Adi - MV
tillAnA - pUrNacandrikA - Adi - RSI
nI nAma rUpamulaku - saurAshTram - Adi - T
madhyamAvati short sketch.

A very nice concert. The AlApanais were all done very beautifully. It was nice to hear explorations of rAgam like nArAyaNagauLa and candra jyOti. The kriti selection was a little offbeat and they were all rendered well. The svarams were all good and had nice kOrvais. The pallavi was rendered beautifully with trikAlam and anulOmam. The accompanists were good also.

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Tuesday, January 08, 2008

Karthik Subramanian, Music Club IIT Madras

C Karthik Subramanian - R Gokulakrishnan - V Santanagopalakrishnan

Music Club IIT Madras, HSB 133
8th Jan 2008. 6:45 pm

srI mahAgaNapati - gauLa - misra cApu - MD (S)
nA morAlaginci - danyAsi - tisra Ekam - VK (R NS at 'nannu brOva rAdA nAmita daya lEdA')
srI madurAmbikE - kalyANi - misra jhampai - MD
mari mari ninnE - kAmbhOji - Adi - T (R NS at 'karuNatO druvunikEtuTa nilicina' T)
tillAnA - aTANA - tisra Ekam - CR
mAdar pirai - senjuruTTi - tisra Ekam - Thevaram
iyal isai - husEni - one kaNDa cApu, one tisra beat, one kaNDa Ekam - Thiruppugazh
madhyamAvati short sketch.

A very nice concert. The alapanais were both handled well. The kritis were all rendered beautifully. The neraval and svarams were also very apt. The kAmbhOji kriti was beautifully handled. Accompanists were good and supported very well.

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Monday, January 07, 2008

J B Sruthi Sagar - Flute Concert, Music Club IIT Madras

J B Sruthi Sagar - M Rajeev - B Srivatsan - Chandrasekara Sarma

Music Club IIT Madras. HSB 133
7th Jan 2008. 6:45 pm

sAmi daya jUTa - kEdAragauLA - Adi (R)(varNam)
jAnaki ramaNa - suddha sImantini - Adi - T (S)
ceDe buddi - aTANA - Adi - T (short sketch)
sari evvarE - gAngEya bhUshaNi - Adi - T
mAnasa guruguha - Ananda bhairavi - tisra Ekam - MD (RS)
rAma rAma - vasantA - tisra Adi - ST (S)
rAma nannu brOvarA - harikAmbhOji - rUpakam - T (RNS)
viDajAladurA - janaranjani - Adi - T
talli ninnu nera - kalyANi - cApu - SS (RNST)
venkaTAcala nilayam - sindhu bhairavi - Adi - PD
jalaja bandu - suruTTi - rUpakam - ST
nI nAma rUpamulaku - saurAshTram - Adi - T

A nice concert. The alapanais were all very elaborate. The raga bhavam was intact. The neraval and svarams were all good also. kritis were well rendered. Accompanists were very good

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Wednesday, January 02, 2008

Kalpakam Swaminathan, Nada Inbam

Kalpakam Swaminathan, Nirmala Rajasekar - Thanjavur Kumar

Nada Inbam, Raga Sudha Hall.
1st January 2008 4:30 pm

Ehi manmatA - srI ranjani varNam
gajAnanyutam - vEgavAhini (S)
bhairavi svarajati (R)
brOvabArama - bahudAri (R)
srI nArada - kAnaDa (R)
Ananda naTamADuvAr - pUrvikalyANi (RS)
akshaya linga vibhO - sankarAbaraNam (RNST)
praNatAtihara - senjuruTTi (R)
iTu sAhasamu - saindavi jAvaLi
bhajan - lalath

needless to say it was a concert which made one enjoy every moment of it. amazing clarity and renditions. superb concert. strict vEgavAhini without chakravakam, the solid rendition of the svarajati, the sparkling cittai svaram in bahudari, nice alapanais of kAnaDA and purvikalyani, the grand sankarabaranam, it was all very very good. the supporting veenai was very nice. The mrudangist did a fantastic job in accompanying and in the tani.

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Mohan Santanam, Music Academy

Mohan Santanam sang at music academy with SP ananthapadmabha on the violin and srinivasa rao on the mridangam.

the main sankarabaranam navavarnam was nice. the varali alapani earlier for maragata mani varna, was a little off beat. the varunapriya elaboration for the koteesvara iyer piece is commendable.

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Amrita Murali, Music Academy

Amrita Murali sang at academy in the company of Ranjani Ramakrishnan and Sankaranarayanan on 29th December.

The main todi, dasarathe was rendered well. tyagarajaya namaste, begada was sung well also. earlier there was vadera in pantuvarali, which was nice also. brovavamma in manji was moving.

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R Ramani, Music Academy

Smt R Ramani's veenai concert at music academy on 29th December was very nice.

i attended only for more than an hour in the middle. unfortunately, i had other commitments and hence had to miss some parts...

the bhairavi svarajati was rendered beautifully. vara narada, in vijayasri was nice also. The main kambhoji alapanai was amazing. The tanam rendered in the tradition way, also involving the tALa strings was very moving. evari mATa was played...

anybody attended this concert in full?

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Tuesday, January 01, 2008

Lec-Dem on Rhythmic Undercurrent, Nada Inbam

Lec-Dem on Rhythmic Undercurrent with special emphasis on Tyagaraja kritis.

Presented by Sri Prakash V Rao and Sangeetha Kalanidhi Vellore Sri G Ramabadran
Vocal by Smt Rama Ravi and Smt Nandita Ravi and Violin by Dr. Hemalatha

Nada Inbam, Raga Sudha Hall.
29th December 2007. 8:30 to 10 am

The programme began with a short introduction by Sri Ramabadran who emphasised the importance of 'sarvalaghu' and the apparent presence of sarvalaghu in most compositions. He said 'sarvalaghu' can be intrepreted as 'sarva - laghu' which means it is easy for everyone to comprehend and understand.

Sri Prakash Rao began with a introduction undercurrent. He said most compositions in carnatic music have an undercurrent of 5,6,7,8 beats running for the tALams kaNDa cApu, rUpakam, misra cApu, Adi taLams respectively. He said compositions can be classified into 5 categories for better understanding of the under current.

Category 1: Kirtanams

Compositions of Purandara Dasa, Bhadrachalam Ramadasa, Annamacharya, Utsava Sampradaya and Divyanama Sankeertanams of Tyagaraja. There is no change of pace during the full kriti and it is easy to identify the undercurrent.

As an example of this category 'vandanamu raghunandanA' in sahAnA was presented.

Category 2: Subtle undercurrent

65% of the compositions fall under this category. The pallavi is slow, the Anupallavi is a little faster. The first half of the charanam is a little more faster and the second half is much faster.

These can further be classified as those with sama eDuppu, those with visama eDuppu, those with kIzh kAla eDuppu(eg. ADamODi galadE), those with mEl kAla eDuppu(eg. telisi rAma) etc. The difference in syllables showing the differences in the undercurrent was also emphasised. 'tanayuni brOva' in bhairavi was sited as another example. This kriti was presented at the end of the programme after the categories were run through.

As an example of this category 'praNamAmyaham' in gauLa of Mysore Sri Vasudevacharya was presented.

Category 3: Groase undercurrent

These are compositions with a groase difference in the pace of the sAhityam. There are parts of sAhitya which go from viLamba kAla to dhurita kAlam. Muttuswami Dikshitar kritis and Oothukadu Venkata kavi kritis are examples of this category. No compositions were presented.

Category 4: Hybrid undercurrent

These compositions have a mix of groase and subtle under currents. Examples of this category that were cited were 'dAriNi tElusukONTi' in suddha sAvEri, 'dorakonA' in bilhari, 'yOcanA' in darbAr. The darbAr piece was also presented at the end of the programme after the categories were run through.

'saraguNa pAlimpA' in kEdAragauLa was presented here sans the anupallavi.

Category 5: dynamic undercurrent

This is one of the most important categories, if not The important. The compositions have a very strong yet subtle undercurrent which keeps changing with each line or two. The speaker said Patnam Subramaniya Iyer and Papanasam Sivan have followed Tyagaraja in this regard and have composed many kritis in this way. Typical examples of this category would be kritis with long charnams, where the undercurrent would vary for every 2 lines.

caraNam of 'kshirasAgara sayanA' in dEvagAndhAri was presented with a commentary on the undercurrent.

Sri Prakash Rao summed up the morning's session explaining that such categorisations are needed for young students to understand how to play and also for rasikas to understand as to how could appreciate the rhythmic patterns in the compositions.

He also thanked Sri Ramabadran, Smt Rama, Smt Nandita, Dr Hemalatha for helping him through the session.

Sri Ramabadran played for all the compositions that were presented in full. His playing was his usual best and embellishing. Sri Rao played for a parts of songs that were presented in quick snatches. He was good also. Both of them played for a few pieces also. All the compositions were presented very beautifully by Smt Rama and Smt Nandita. Dr Hemalatha was supportive.

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