Purandara trinity ovk onlyanna1 phgall_110

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Monday, September 29, 2008

Kalpakam Swaminathan, Ramana Kendram

Kalpakam Swaminathan - vINai
L Ramakrishnan - vINai support
Thanjavur Subramanian - mrudangam
N Guruprasad - Ghatam

Ramana Kendram.
27th Sep 08. 6:45 pm

neranammiti - kAnaDA - aTA
vAtApi gaNapatim - hamsadvani - Adi - MD
varasikhi vAhana - supradIpam - Adi - T (S)
AnandEsvarENa - Anandabhairavi - misra cApu - MD (RS)
AnandAmrutakarshini - amrutavarshiNi - Adi - MD (R)
kAmAkshi anudinamunu - bhairaivi - misra cApu - SS (R)
visvanAtEna - sAmanta - Adi - MD (R)
srI vEnkaTa girIsham - suruTTi - Adi - MD (RT)
vEnkaTa saila vihArA - hamIr kalyANi - Adi - Subbaraya Sastri (R)
tani
kaliyuga varadan - brindAvana sArangA - Adi - PT
gaNEsa kumAra - senjuruTTi - Adi - MD (R)
nI nAma rUpamulaku - saurAshTram - Adi - T

Each piece was rendered in a classical way. All the AlApanais were quite moving. The concert started off with a weighty rendition of the kAnaDA varNam. Even the popularly-beaten-to-death vAtApi gaNapatim was rendered with a different style of classicism. The svarams in supradIpam and Anandabhairavi were beautiful. Each AlApanai which followed was amazingly rendered. The bhairavi svarajathi was moving. The suruTTi kriti, the version was very different and a lot more bhava laden than the popular versions.

It was overall a very very inspiring and moving concert.

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Saturday, September 20, 2008

Kalpakam Swaminathan, Music Club IIT Madras

Kalpakam Swaminathan - Padma Shankar - Madirimangalam Swaminathan - Madipakkam Murali

Central Lecture Theatre, Music Club IIT Madras
19th September 2008. 7 pm





viribhONi ninnEkOri - bhairavi - aTa tALam - PA
srI mahAgaNaptim - aTANA - Adi - JCW (RS)
vara sikhi vAhana - supradIpam - Adi - T (S)
annapUrNE visAlAkshi - sAmA - Adi (2 kALai) - MD
rAvE himagirikumAri - tODi - Adi (2 kaLai) - SS (R)
bhajarE rE citta - kalyANi - misra cApu - MD (RTS)
tani
teratIyaga rAdA - gauLipantu - Adi - T
mari mari ninnE - kAmbhOji - Adi (2 kaLai) - T (R)
Adaya srI raghuvara - Ahiri - Adi (2 kaLai) - T (R)
tillAnA - kApi - Adi
nI nAma rUpamulaku - saurAshTram - Adi - T
madhyamAvati short sketch

It was another of those concerts where one could hear a lot of vintage stuff played. Each piece was outstanding and eventually at the end of the concert, one couldnt help being in tears.

The bhairavi varNam marked a grand beginning for the concert. The aTANA AlApanai which followed was nice. The kriti and a quick round of svarams which followed were too good. The supradIpam kriti and svarams at the pallavi line were very good as well.

The sAmA piece, rendered in the cauka kAlam set to 2 kaLai Adi tALam was much brilliant and grand compared to the popular version that one gets to hear at concerts. The tODi AlApanai was quite elaborate and the svarajati was rendered in a very bhava laden fashion. The kalyANi AlApanai was absolutely classical and tAnam which followed was nice as well. The kriti was rendered in a leisurely mood with some svarams and tani to follow.

The post tani part had gauLipantu first up. The rAgam does have a great flavour in its original form, with suddha madyamam. The kriti was rendered beautifully. The kAmbhOji AlApanai was quite surprising here. The AlApanai was very elaborate and the rare kriti was rendered with all its sangatis and it was fulfiling sight to see and hear Smt. Swaminathan handle so many heavy kritis one after another and with utmost control over the instrument and giving life into the compositions.

However, it wasnt over yet. A grand AlApanai of Ahiri and the rare tyagarAja number came up next. It was very emotive and soothing to Ahiri during this time of the day and from such an artist who made it absolutely fabulous, it was just too good. The concert came to a close with the tillAnA.

Smt. Padma Shankar on the fiddle, played very sensibly and gelled well with the Smt. Kalpakam Swaminathan's vINai. The rAga essays and svarams she played were measured and all through the concert she provided much needed support to the main artist.

Sri Swaminathan on the mridangam was playing with utmost precision on the kind of playing needed for such divine music. He was embellishing the concert through his strokes and sollus in the mridangam. Sri Murali was part of the team much involved and enjoying the music and playing according to what was needed. The tani was nice as well.

The treasures hidden such artists never fail to amaze me. Hope we get to hear maximum of them as long as we can.

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Thursday, September 18, 2008

Seetha Narayanan, Music Club IIT Madras

Seetha Narayanan - Usha Rajagopalan - Thanjavur Ramadass

Central Lecture Theatre, Music Club IIT Madras
18th September 2008. 7 pm





srI rajamAtangi - suddha dhanyAsi - Adi - HMB
siddhi vinAyakam - cAmaram - rUpakam - MD (RNS)
bruhaspatE - aTANA - tisra tripuTa - MD
kaligiyunTE - kIravANi - Adi - T (RNST)
jaya jaya durgE - maNirangu - Adi - NT
RTP - kAmbhOji - catusra jhampa (4 kaLai) 1/4 eDuppu, 3 akshara aridi
sArasa daLa nayanA harE krishnA
rAgamAlika svarams in sAvEri, nItimati, valaji, dEsh
rakhiyO lAj hamAri - sindhubhairavi - Ekam - Surdas Bhajan (pallavi also sang as a slOkam)
tillAnA - nAgasvarAvaLi - sankIrNa jAti dhruva tALam - Chingleput Ranganathan
nI nAma rUpamulaku - saurAshTram - Adi - T
dhanam tharum - viruttam in madhyamAvati

The concert was very well rendered. The AlApanais of cAmaram, kIravANi and kAmbhOji were all very classical and had some vintage phrases carefully interwoven into them. The kritis were all very beautifully rendered with the required gait. The neraval, svarams were all perfectly executed. The pallavi had anulOmam and pratilOmam rendered as well. The accompanists were very supportive and made it a great concert.

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Wednesday, September 17, 2008

Jayalakshmi Santanam, Post Trinity Compositions, Music Academy,

Jayalakshmi Santanam - Vocal
Padma Srinivasan - Vocal Support
Dr Hemalatha - Fiddle
J Vaidhyanathan - Mrudangam

'Post Trinity Compositions'
Music Academy, Mini Hall
16th September 2008. 6:30 pm

enthO prEma - suruTTi - Adi - Tiruvotriyur Thyagayya
sarasvati nannipuDu - kalyANi - rUpakam - Veenai Kuppaiyer (S)
cintayAmi jagadambAm - hindOLam - misra jhampai - Jayachamraja Wodeyar
rAma ika nannu - sahAnA - rUpakam - Patnam Subramaniya Iyer (R)
enraikku sivakrupai - mukhAri - misra cApu - Neelakanta Sivan
sAkEta nagara - harikAmbhOji - rUpakam - Mysore Sadasiva Rao (NS)
valli nAyaka - shanmukhapriyA - Adi - Harikesanallur Muthaiah Bhagavathar (RS)
uruvAi - viruttam in sAvEri
murugA murugA - sAvEri - misra cApu - Periyaswami Thooran
sadbhaktiyu - Ananda bhairavi - rUpakam - Ramnad Srinivasa Iyengar (R)
gajavadanA - tODi - Adi - Kumara Ettendra (RNS)
tani
ElarADAyanE kAmini - bhairavi - Adi - Chinnaiah
karumugil vaNNAnuku - madhyamAvati - tisra naDai - Ambujam Krishna (mangalam)

Smt. Santanam's recent vocal recital for the music academy was a perfect example of open throated renditions of kritis. Her renditions were weighty and invoked the right senses in the audience. The choice of kritis, covering most known composers of the post-trinity era, and carefully not repeating anybody, was very nice to see. The AlApanais of sahAnA and Anandabhairavi were short and sweet. The shanmukhapriyA and tODi were elaborate and with enough grandeur to be fitting for the kritis to follow. The sAvEri viruttam was rendered very well, by Smt. Srinivasan, who happens to the niece of Smt. Santanam and the daughter of veteran vocalist of yesteryears, Smt. Rukmani Sundararajan.

Both kalpitam and manodarmam parts of the concert were very much enjoyable. Smt Hemalatha and Sri Vaidhyanathan provided very sensible support and played in accordance to what was being sung.

A nice concert over all.

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Tuesday, September 16, 2008

Lec-Dem on 'Sanskrit compositions in Carnatic music' by R Vedavalli, Music Academy

R Vedavalli - V Sumithra - R K Shriram Kumar - Kallidaikurichi V Sivakumar

Lec-Dem on 'Sanskrit compositions in Carnatic music'
Music Academy mini hall
15th Sept 08. 6:30 pm

The lec-dem started off with a brief introduction by Sri Pappu Venugopala Rao.

Smt. Vedavalli began the programme quoting 'yagnavalka' saying sangeetham + samskrutam = amrutam + bhakti = athi amrutam. Smt. Vedavalli gave all the explanations and the commentry, while her disciple Smt. Sumithra sang the compositions.

The language samskrutam exists only in music today was the first observation made.

She gave first credits to Lava & Kucha to have sung the Story of Rama composed by Valmiki. however, she noted that the musical forms of those days were completely different and have undergone a lot of changes to reach the present form of musical compositions.

The programme was split into 3 parts, the pre-trinity, the trinity and the post-trinity.

The first part started with Jayadeva. His Ashtapadis have 8 caraNams or 8 pAdams. They basically deal with the Krishna - Radha relationship and its ups and down. As a example, the ashtapadi 'lalita lavanga' in vasantA was sung.

The next was Narayana Theerathar. The tarangams that he composed used a lot of grammatical usages. The gadyam, padyam were all found in his compositions. He also had used some wordplay. He was credited to be a composer who had a lot of followers and a lot of his compositions seems to be cited. As as example, 'AlOkayE rukmaNi kalyANa gOpAlam' in kIravANi set to misra cApu was rendered. The mention of all the eight consorts of Lord krishna and the description of Krishna and Rukmani sitting in their darbar at dwaraka in this composition was explained.

The third composer was Margadarsi Sesha Iyengar. It was placed on record that he was the one who brought the pallavi - anu pallavi - charanam format for the kritis. His mudra is 'kOsala'. Mention of another Sesha Iyengar who was his contemporary and the confusions which exists between them was also mentioned. Most of his kritis are available but the original tunes have not been traceable. They seemed to have been lost during the trinity period. Mention of a composition 'sEshAnga sAyinam' which seems to have been the basic format for the 'bhOgIndra sAyinam' was made. It was also observed that this person was a staunch vaishnavite and has also composed on Nammalwar and Ramanuja, giving full story of their life and descriptions of their looks and deeds.

Upanishad Brahmam was the next composer to be mentioned. He seems to have lived a little before the Trinity's time. It is also believed that during his later years he taught Thyagaraja and Dikshitar a lot of Vedanta and philosphical stuff. He was a saintly man. A lot of kritis and compositions are attributed to him. Also mentioned was the rAmAshTapadi krits composed by him and tuned by Muthuswami Dikhitar, which are not available to us presently.

Ramaswamy Dikshitar, Muthuswami dikshitar's father could not be forgotten. His gangA taraNgini daru which is palindromic, was cited as the classical example. it goes like 'sArasa nayana sarasA sAratara ratarasA mAratAtatAramA'. This man was credited to have brought in the concept of rAgamAlikA compositions into the carnatic music. A lot of his varnams and kritis are available from the Pradarshini.

The Trinity period.

The discussion on the trinity period was started with the mention of the fact that in those days, a person considered to be a learned or educated or called mahA vidwan, was invariably a sanskrit scholar. Everybody knew the language and had a good command over it. It was but natural for people to compose composition of such high order. On a light note, she said 'making a jumble of various sahasranAma stOtrams will not make a sanskrit composition'.

A mention of Shyama Sastri was made for his 'talking-style' compositions on the goddess. The other fact that was mentioned was the presence of a sanskrit kriti in the same tune as another telugu kriti.

Smt. Vedavalli mentioned that Thyagaraja's kritis are largely ignored when it comes to sanskrit compositions and gave a lot of examples of nice usages and similies. Varied usage of names and terms to mean the same thing to incorporate beauty and prAsam was mentioned. The reference to the Surya vamsa as suryavamsa, raghukula, jalajAptakula, inakula etc was cited. Also cited was reference to the sun god as dinamaNi, dinarAja, jalajApta, dinakarAja etc in various compositions. His usage of rAkA chandra and rAkA sasi in compositions to indicate the moon rising from darkness was mentioned. I was reminded of the sahAnA navAvarNam which also has a similar usage in the anupallavi.

Smt. Vedavalli took up the example of the nATTai pancharatnam and cited phrases that were indicative of the richness in thyagaraja's language. In the 5th caraNam, srushTistityantakAra... the phrase 'anurAga rAga rAjita kathA' which was to mean a story ruled by love and music was cited. In the 6th caraNam, sajjana mAnasAbdi.. 'surasAripu karAbja lAlita caraNA' meaning, the legs which are taken care off by the same hands which killed the monstress surasai. In the 9th caraNam, purANa purusha... refering to rAma as virAvaNa, or the one who killed rAvaNa where are given as examples. The other kriti which was taken up was grahabalamEmi in rEvagupti. Here the various words like nigraha, anugraha, navagraha.. etc used to get the correct prAsam was mentioned. Also mentioned was the usage of the various alankarams available in samskrutam like yati, anuprAsam, yamakam etc, which have all been carefully incorporated into his compositions. The bhairavi kriti 'srI raghuvara suguNAlaya' was taken up to show example of word play with kamalAhita to refer to vishnu and kamala ahita dhara to refer to shiva. The other kritis that were mentioned are rAma ninnE in husEni and rAmam bhajE in sAvEri. Also placed on record were the numerous occasions where Thyagaraja swami has given un-referenced and new facts from unknown sources, which are not found in compositions before him. For starters, he refers to rAvaNa has satavadanA or the one with 100 heads.

Smt. Vedavalli remarked that Dikshitar's compositions form a Samskruta Samudram and we can only stand on its shore and have a look at them. She referred to them as totally divine and the compositions to have the maximum swAdhInam. She observed that the grammar was perfect everywhere.

The speciality of dikshitar, Thematic and Kshetra kritis was mentioned. She mentioned the amount information that he gives about each kshetra and its deity and the temple all the way from the legend of the temple to the kind of flowers that are offered, all of it bundled into one composition with sAhitya suddham, and perfect grammar and some amazing similies was a great thing.

3 kritis were sung as examples. aruNAcala nAtam, jambUpatE and mAmava paTTAbhirAma were taken up. Appropriate usage of smarAmi for aruNAcalanAtam going by the old saying which says that one can attain mOksham thinking of Lord aruNAchalEsvarA was mentioned. The composition on the agni kshEtram, had lots of mentions and indications of words referring agni, and the rather extensive usage of the syllable 'ra' which stands for the Fire god was also mentioned. Similarly in jambUpatE, the composition on the apu kshEtram, the number of words to indicate water was mentioned. In mAmava paTTAbhirAmA, the depiction of the paTTAbhishEkam event, like a painting, on who were all present and where they were present and all that, making the scene come in front of those singing and listening, was elaborated. Also mentioned along was the maximum usage of the syllable 'ksha' in akshaya linga vibhO.

Appropriate usage of words and terms, esp in the vAra kritis was told as well. sUryamUrtE namOstutE, thus appeasing the Sun god who is the namaskAra priyan, and the immediate connection of the Moon god and the mind with chandram bhaja mAnasa satatam we all mentioned.

Next taken up, was the incorporation of rAga mudras in his compositions. srI nAtAdi guruguhO, cintayE mahAlinga mUrtim, hastivadanAya, srI sarasvati namOstutE, guruguhAdanyam, srI guruguha tArayAsumAm, kAmAkshIm varalakshmIm, srI guruguha mUrte were the examples taken up.

The navAvarnams do take a big place in this discussion. However, only the Ahiri navAvarNam and especially the incorporation of all the vibaktis into it, and with a special mention to the sixth vibakti in the line 'prEmAspata siva guruguha jananIm' was mentioned.

Wrapping up this portion were the Note swaram 'santatam pAhimAm' and the thyagaraja kriti 'vara lIla gAna lOla' both sounding similar to the British national anthem.

post trinity:

Swathi thirunal was the first post trinity composer who was mentioned. It was observed that his works in sanskrit stand alone and follow a distinctive style different from all those which exist before. The flow of the language and the music is very distinct and is readily identifiable. The composition 'bhAvayAmi raghurAmam' which is complete rAmAyaNa in one piece, is probably the first of its kind in sanskrit. srI rAmachandra in husEni was also cited for the lyrical beauty.

Krishnaswamy Ayya was next in line. His compositions are not very popular, but they have a lot of lyrical value. In a certain kriti, he explains the position of the tilakam on the forehead of the god, with nice usages. The kriti 'sAradE sadAshrayE' in shankarAbaraNam was also referred. In another kriti in shankarAbaraNam on Lord Vishnu, a certain line goes as 'shankarAbaraNa shankachakra dara shankarAbaraNa sayana shankara'. Smt. Vedavalli had Sri Shriram Kumar explain this line as 'the one who has the conch and wheel which are known to give good boons, the one who sleeps on shiva's ornament, the one who bestows good boons'.

Existance of compositions by Mysore Sadasiva Rao, Mysore King Jayachamraja Wodeyar, Vanamamalai Jeeyar, Papanasam Sivan were all placed on record. Maha Vaidhyanatha Sivan was credited for his intelligent ways of incorporating the rAga names and bhavam within two lines in his mela ragamalika. The third chakram of the composition was presented. Harikesanallur Muthaiah Bhagavathar's sivAshTOthra and chAmuNDAshTOthra kritis were mentioned as well. Mysore Vasudevacharya's compositions were mentioned for their intricate word plays like 'pannakEndra sayanA pannakAdi vAhanA'.

Dr. V. Raghavan of Music Academy was the last composer to be mentioned. His compositions on occasions, people were all mentioned. Placed on record were his compostions on Bharatha matha, Kanchi Paramacharya, Music Trinity amongst others. His composition tuned to nAma nArAyaNi kriti for golden jubilee of Music Academy was also mentioned. Also mentioned was the composition on Kanchi Paramacharya in kIravANi, chandrasEkaram AshrayE for its intricate wordplays. He is also said to have composed note svarams and kavadi chindu like compositions in sanskrit.

It was a very informative lec-dem. Smt. Vedavalli gave a brief overview of all that is available. Smt. Sumithra sang the appropriate compositions in full or in parts. Sri Shriram Kumar and Sri Sivakumar were both very supportive.

Thursday, September 11, 2008

Trivandrum Venkataraman, Saraswathi Vaggeyakkara Trust

Trivandrum R Venkataraman - Trichur C Narendran - Pudukkottai N Ramachandran

Saraswathi Vaggeyakkara Trust. NGS Mini Hall
11th September 2008. 6:30 pm

sarasIruhAsana priyE - nATTai - Adi - PDI (short sketch, S)
mAmava sadA varadE - nATTakuranji - rUpakam - ST (RNS)
mundu vEnugA - darbAr - Adi - T
bhajarE rE citta - kalyANi - misra cApu - MD (RNS)
rAma nIyaDa - kharaharapriyA - Adi - T (RTNS)
tani
rAgamAlika tAnam in aTANA, sAvEri, kAmbhOji, hamsAnandi, khamAs
marubAri - khamAs - Adi
sAramaina - bEhAg - rUpakam - ST (R)
visvEsvara - sindhubhairavi - rUpakam - ST (R)
nI nAma rUpamulaku - saurAshTram - Adi - T

What an amazing concert it was!

The concert began with a punchy rendition of the nATTai kriti with elaborate rounds of svarams with korappu as well. The AlApanai of nATTAikuranji included a lot of weighty phrases and made it a heavy beginning. The kriti was rendered effortlessly with detailed neraval and svarams at the caraNam line. The darbAr kriti was stunningly rendered.

The AlApanai of kalyANi was very classical and made one expect bhajarE rE citta, which eventually followed. The neraval and svarams were done very beautifully. The main AlApanai of kharaharapriyA was awesome. The tAnam was brilliant. The kriti was rendered with elaborate neraval svarams.

The post tani session had an elaborate rAga-tAna-mAlikA followed by the khamAs jAvaLi. The bEhAg and sindhubhairavi AlApanais were both done leisurely and kindling the right senses.

In all, Sri Venkataraman's Veena recital was one of its kind. The effortless way in which he handles this intricate instrument has never failed to amaze me. All his renditions were too good to be true. One only wishes he gets due recognitions, before it would be too late.

Sri Narendran on the mridangam played second veena, on his mridangam. His playing gelled so well to the main artist's playing that one realised the existance of percussion instruments only during the korappu parts and during the tani. Sri Ramachandran was enjoying the party as well. His playing was also well absorbed into the total nAdam that was being filled into the hall. The tani was elaborate and rendered very well.

A concert of great quality and one that filled the rasikas mind, heart and soul.

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Saturday, September 06, 2008

Kalpakam Swaminathan, Nada Inbam

Kalpakam Swaminathan - Veenai
N Vijayalakshmi - Veenai Suport
Shertalai R Ananthakrishnan - Mrudangam
Pudukkottai N Ramachandran - Ghatam

Naada Inbam. Raga Sudha Hall.
5th September 2008. 6 pm

sarasIja nAbha - nATTai - Adi
gaNarAjENa - Arabhi - misra cApu - MD (RS)
duDugukala - gauLa - Adi - T (R)
anurAgamulE - sarasvati - rUpakam - T
paridAnamiccitE - bilahari - kaNDa cApu - PSI (R)
bruhannAyaki - AndALi - Adi - MD
amba vANi nannu - kIravANi - Adi - HMB (RNS)
purahara nandana - ham vIru - Adi - MD (R)
shankari ninnE - kAmavardini - misra cApu - MV (RtNS)
tani
mAsil ayOttiyil - bauLi, bilahari, kEdAragauLa, shanmukhapriyA - Adi - Neela Ramamurthy
tillAnA - darbAri kAnaDA - Adi
ittaraNi mIdu - asAvEri - Adi - Tiruppugazh
nI nAma rUpamulaku - saurAshTram - Adi - ST
madhyamAvati short sketch

This was another very inspiring concert by Smt. Kalpakam Swaminathan. The song selection was very off beat. The kriti renditions were amazing and the manOdarmam was very inspiring. Each piece was rendered with its essental vigour and one couldnt help being amazed and inspiried by the divine music. Smt. Vijayalakshmi played the kIravANi AlApanai and was very supportive of her guru. The Percussion dept was exceptionally handled by Sri Ananthakrishnan and Sri Ramachandran.

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