Purandara trinity ovk onlyanna1 phgall_110

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Saturday, November 29, 2008

Nandita Ravi, YACM

Nandita Ravi - Arunachala Karthik - Guru Raghavendra

YACM, Sastri Hall
29th Nov 08. 10:30 am

inta mODi - sArangA - Adi
gaNanAtAya namastE - gauLa - Adi - Ambi Dikshitar (S)
bhuvinidAsuDanE - srI ranjani - Adi - T (RNS)
nenaruncharA - simhavAhini - Adi - T
mInalOchana brOva - danyAsi - vilOma cApu - SS (RS)
kaNDEn kaNDEn - vasantA - Adi - AK
EkAmranAtam - gamakakriyA - Adi - MD (RNST)
apuDu manasu - khamAs - rUpakam - PSI (javaLi)
gOkula nilaya - karnATaka dEvagAndhAri - Adi - MV
kumaran tAL - yadukula kAmbhOji - Adi - PS
nI nAma rUpamulaku - saurAshTram - Adi - T

It was a very fine concert. All ragams were exceptionally handled and each piece was to the right measure. It was very delightful concert. The choice of ragams and pieces was fitting to the mood and time of the day. With flowing sangatis and soulful renditions of great pieces it was a concert to remember for a while. The accompanists did a good job in keeping up with the main artist.

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Friday, November 21, 2008

Walk-in Concerts at The Hindu November Fest

Ranjani Hebbar & K Gayathri - Vocal
Bavani Prasad - Veenai
L Ramakrishnan - Fiddle
R Sankaranarayanan - Mrudangam

The Hindu Friday Review November Fest
Music Academy TT Krishnamachari Auditorium
19 Nov 08 5:15 pm

High Tide. Programme on Ghana Ragams

nATTai (Ragam - RH, LR and Tanam - BP)
gauLai (Ragam - KG, LR and Tanam - BP)
Arabhi (Ragam - LR and Tanam - RH, BP)
varALi (Ragam - LR and Tanam - KG, BP)
srI rAgam (short sketch - LR)

pallavi: 'endarO mahAnubhAvulu antariki vandanamulu' - Adi (2 kaLai) 1/2 eDuppu, 5 akshara aridi.

The pallavi was rendered with varying speeds. Svarams were first sung in srI rAgam and then in all the 5 rAgams eventually finishing in a kOrvai set in Arabhi, varALi and srI rAgam.

tani

iraNDAm gana rAgangaL - rItigauLa, nArAyaNagauLa, kEdAram, bauLi, nATTaikuranji - Adi - Suguna Purushottaman

The concert was good. The vocalists were both good in their own way. Ranjani's renditions were weightly and had some very beautiful phrases. Gayathri was banking more on the melody and voice modulations. Bhavani Prasad was very good and the veenai was handled very beautifully to give some divine music. Ramakrishnan was good and played well. Shankaranarayanan was very accomodative and played with good anticipation.

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V Sumithra & Nandita Ravi - Vocal
Akkarai Swarnalatha - Fiddle
B Ganapathiraman - Mrudangam

The Hindu Friday Review November Fest
Music Academy TT Krishnamachari Auditorium
19 Nov 08 6:30 pm

Deep See. Programme on Naya Ragams

nIsAti deivamendu - srIranjani - Adi (daru)
bhajarE rE citta - kalyANi - misra cApu - MD (RNS) [Sumithra]
taNigai vaLar - tODi - kaNDa cApu - PS (RNS) [Nandita]
peRRa tAi tanai maga marandAlum (viruttam) - sAvEri, sahAnA, shanmukhapriyA, suruTTi
tillAnA - suruTTi - Adi -MV

Both the vocalists were true to their styles and did full justice to their tradition and yet it gelled amazingly well. It was a treat to hear them both sing the first and last pieces together and the co-ordination during the viruttam was quite good also. In the individual parts, they were, needless-to-say, very good and quite weighty in rendering the kriti and with equally fitting AlApanai preceding and neraval, svarams to follow, it was indeed quite an evening. One only felt they could have sung a little longer. The accompanists were good and did well to play along for the songs.

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Sandeep Narayan - Vocal
B Vijaya Gopal - Flute
S J Arjun Ganesh - Mrudangam
Nerkunam S Sankar - Kanjira

The Hindu Friday Review November Fest
Music Academy TT Krishnamachari Auditorium
19 Nov 08 7:45 pm

Cascade. Programme on Desiya Ragams

rINamatanuta - bEhAg - Adi - ST
saundararAjam - brindAvana sArangA - rUpakam - MD
apadUru - khamAs jAvaLi - Pattabhiramayya

The bEhAg piece was rendered well. brindAvana sArangA was elaborated in hindustani style with both of them going phrase by phrase. I couldnt stay till the end.

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Kalpakam Swaminathan, Abhayamaba Vibakti Kritis, Nada Inbam

Smt. Kalpakam Swaminathan - vINai
Smt. Jayalakshmi Sekhar - vINai support
Smt. Vasumathi Desikan & Smt. Sivasri - vocal
Sri V Srinivasan - mrudangam

Programme of abhayAmbA vibakti kritis
Nada Inbam, Raga Sudha Hall
14 Nov 2008. 6 pm

The Programme started with Sri Pappu Venugopala Rao giving a brief introduction about the kritis.

Sri VV Sundaram and Sri VV Chellappa spoke on the occasion.

The programme had the following kritis presented.

mahA gaNapatim vandE - tODi - rUpakam
subrahmaNyEna - suddha danyAsi - Adi
sadAshrayE abhayAmbhikE - cAmaram - rUpakam
abhayaAbA jagadambA - kalyANi - Adi
Aryam abhayAmbAm - bhairavi - triputa
girijayA ajayA - sankarabharanam - Adi
abhayAmbikAyai - yadukulakambhoji - rupakam
abhayAmbikAyAh - kedaragaula - jhampa
ambikAyAh abhayAmbikAyAh - kedaram - adi
abhayAmbAyAm - sahana - triputa
dAkshAyani abhayAmbikE - todi - rupakam
srI abhayAmbA - srI rAgam.

There were no manOdarmam parts except for a few short sketches and a tAnam in bhairavi. The kritis were rendered beautifully and it was a bliss to sit thro' the programme.

Each kriti was rendered with a grandeur and with each phrase falling in place, it was a eternal experience and one felt like one had visited the shrine of the goddess at mAyuram.

A great programme

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Thursday, November 13, 2008

Jayalakshmi Santanam, Music Club IIT Madras

Jayalakshmi Santanam, Padma Srinivasan - Dr. Hemalatha - J Vaidhyanathan - Pudukkottai Ramachandran

Music Club IIT Madras. CLT
12th Nov 2008. 7 pm

gnAnandamayam dEvam - slOkam in vasantA
ninnE kOri - vasantA - Adi (varNam)
vAtApi gaNapatim - hamsadvani - Adi - MD (S)
budamAshrayami - nATTAkuranji - misra jhampa - MD (R)
varuvArO varam taruvArO - sAmA - Adi - GKB (short sketch)
pAvana gurupavana purAdIsham - hamsAnandi - rUpakam - Lalitha Dasa
en thAyum enakkaruL thandaiyum nI - viruttam in bEgaDa (by Smt. Padma Srinivasan)
vA murugA vA - bEgaDa - rUpakam - Spencer Venugopal (R)
sankari samkuru - sAvEri - rUpakam - SS (RNS)
Azhi mazhai kaNNA - varALi - Adi - Andal (NS)
venkatEsa nAtham - brindAvana sarangA - tisra Adi - Gauri Sthapathi
nambi kettavar illavO rangayyA - kalyANi - misra cApu - PD (RNS)
tani Avarththanam
anupama guNAmbudhi - aTANA - kaNDa cApu - T
kshINamai tirugA - mukhAri - Adi - T
villinai oththa puruvam - Kavadi Chindu
siRsiRakkum mEni - senjurutti - kaNDa tripuTa
vanga kaDal kaDaindha - suruTTi - rUpakam - Andal
nI nAma rUpamulaku - saurAshTram - Adi - T
sriyatkAntAya - madhyamAvati

That was one amazing concert. From the right go, Smt Jayalakshmi Santanam made every rasika sit up and listen very keenly. It was a fully classical affair with each ragam over-shadowing the other.

The slOkam and the varNam in vasanta were a very good start. The hamsadvani kriti to follow was rendered very beautifully with a fitting round of svarams to follow. The nATTakuranji AlApanai was very good. The kriti and the sAmA and hamsAnandi numbers which followed were rendered in a very rich fashion.

The AlApanai of bEgaDa was superb. The viruttam was good. The kriti was reminiscent of renditions by old masters. The sAvEri AlApanai was filled with some vintage sancArams. The kriti with neraval and svarams was rendered beautifully. The varALi thiruppAvai was a surprise and the neraval and svarams were much enjoyable. The brindAvana sAranga number, which i was later informed as a DKP favourite was also very good.

The main kalyANi was very good and it was rather refreshing to hear a dEvarnAma for main against all expectations. The aTANA and mukhAri after the main were quite surprising but nevertheless too good to not enjoy. The finishing pieces were all very good and make one totally fulfilled with the concert.

Dr Hemalatha was very good in all parts of the concert. Her solo versions and following of the main artist were both commendable and were very apt for the concert. Sri Vaidhyanathan was very good and embellished the music with his anticipatory playing and some very nice patterns that he produced. Sri Ramachandran was very supportive. The tani they shared was nice also.

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Wednesday, November 12, 2008

R K Shriram Kumar, Lec-Dem on The Beauty of the Sangeetham and Sahitya in the compositions of Muthuswami Dikshitar, Music Club IIT Madras

R K Shriram Kumar - Amritha Murali - Manoj Siva

The Beauty of the Sangeetham and Sahitya in the compositions of Muthuswami Dikshitar
Music Club IIT Madras, BT Auditorium
9th November 2008. 10 am

The programme started with 'srI guruNA pAlitOsmi' in pADi

It all begin with a statement that The Trinity have made the most unparallelled contribution to music. And amongst them, Muthuswami Dikshitar was probably the most intellectual composer. He only composed in sanskrit (except a very few). The hallmark of the compositions of great composers is that the music and lyrics are made for each other. The bhava and the words are very aptly chosen. 'vandanamu raghunandanA' in sahAna and 'sthiramani nammiti' from the Ahiri kriti, mAyammA were sung to show this. MD compositions are a good blend of knowledge, intellect, vidwat and nyAnam.

Like Adi Shankarar conveying the complete 'Advaita' in the lines 'punarapi jananam punarapi maraNam' of 'bhaja gOvindam', MD has conveyed all his philosophical thoughts in simple and short and codified form.

His mudra is guruguha. It is said to be derived from shAkta praNavam and it also salutes the guru. It also refers to Lord Muruga.

The first set taken up was the 'guruguha vibakti kritis'. They are a great tribute to the guru. It is a totally abstract set, without naming the guru. It gives lots of lakshnams and traits of guru, describes ideal guru and relationship with guru and other important aspects. It describes on how a guru would behave and how to respect him and how he bestows knowledge and all other essentialities.

The first kriti 'sri nathAdi guruguho' starts with the mUrchanai of mALavagauLa in 3 speeds. The significane of the words 'srI nAtA' used to refer the guru and references to srividhya were all mentioned in detail. The usage of 'ma' in each line of the caraNam to maintain the pratamAkshara prAsam was also highlighted. Also explained was the explanation of the guru svarUpam in the pUrvi rAga kriti, srI guruguhasya dAsOham. The clear delineation between the relation with guru (which should be dvaita bhAVa) and that with the Atma svarUpam (which should be advaita bhAva) was also highlighted.

The kshEtra kritis of MD are a comprehensive guide to the Place. They are a complete guide to the place and gives full details of the place.

The kamalAmba navAvarNam is the most esoteric set of kritis to have ever been composed. Each kriti talks of a certain AvarNam in the srI cakram. The Ahiri kriti is a complete piece in itself. The usage of all the vibaktis in this kriti. The special usage of the second vibakti in the anupallavi along with reference to some vEdic slOkams and also the usage of lalitA sahasranAma names in the caraNam were all explained. Also mentioned were the reasons on why Goddess Kamalamba was chosen to compose the navAvarNa kritis. Usage of the names 'mahA tripurasundari', 'rAjarAjEsvari', 'lalitA' only in the 9th and mangaLa kritis was highlighted.

The pancha bhUta kshEtra kritis were the next to be taken up. The appropriate choice of words for each of the kritis were highlighted. 'aruNAcala nAtam smarAmi' and not 'bhajAmi' as It is the deity about whom if u think, you will attain mukti. In 'aruNAcala nAtam' the rather excessive use of the 'ra' which happens to be in reference to the agnI bhIja mantram 'ram'. Lots of 'fluid' and 'liquid' related words in 'jambUpatE' were all told. In 'cintayamAkanda' alone, the name of the consort of the God is not mentioned while it is mentioned in all the others. This is because, Goddess Kamakshi withdrew herself from EkAmbaranAta after he burnt manmada to ashes, as manmada was the foremost srIvidyA upAsakA.

The dvitiyAkshara prAsam in his kritis and the antima prAsam was also highlighted. 'rAma ninnE' in husEni of tyAgarAja was sung. akshaya linga vibhO, dakshiNAmurtE, daNDAyutapANim were taken as examples for the MD compositions. The tough samyuktAksharams that are maintained along the full compositions for the prAsam, that too quite naturally was demonstarted. The prAsam being maintained during the madhyama kAla parts, which exactly splits at the middle of the Avartanam was also explained.

The various bEdams in sanskrit like ra-La, Da-la etc were all mentioned. 'vEdanuta gaurIpAntaranga' in 'krushNAnanda mukunda' and, the pallavi of 'srI guruNA pAlitOsmi' were taken up as examples from MD kritis.

Usage of the same word/syllable in different contexts/meanings in the first and second parts of the same line and maintaining that thro' the kriti was next taken up. 'vadAnyEsvaram' in dEvagAndhAri was the example taken up for this. 'pasupatim gnAnAmbikA patim' being the beginning of the madhyama kAla. This pattern is found all over the kriti.

Usage of compound words to convey a meaning was explained. Usages like 'pankaja mitra vamsasudAmbudhi chandra' in mAmava paTTAbhirAma, 'vadana kamala guruguha dharaNIvaranuta ranganAta ramaNI' in srI bhArgavi badram were cited as the classical examples for this.

Dikshitar gives details of iconography and other details about each deity and the kshEtram. In 'srI mAtrubUtam' the deity is described as 'sOmam shirOdhrita sUrya gangam'. sUrya here refers to arka (erukkam) plant. Lord Shiva bears this plant on his head.

In 'srI visvanAtam', he is described as 'vanaja candra sannibha vadanam'. vanaja does not refer to the lotus, but vanaja candra refers to the moon born from the ocean. and again in 'patita pAvana kaRaNam madaraNam', 'ma' refers to poison and it means one who has poison in his body. and need not be confused as 'madaharaNam' etc.

In 'srI vENUgOpAla', the madhyamakAla, 'prAkaTyaraNabhIma pAlitArjunabhIAma pAkaripunuta rAma bhaktayOga kSEma' the first bhIma refers to valour in the war, the second refers to arjuNa and his brother bhIma, rAma refers to the beauty of Lord Krishna. (ramyatE iti rAmaha)

The incorporation of rAga mudras in compositions were explained. 'srI vENUgOpAla', 'mAmava raghuvIra', 'hastivadanaya', 'cidambara naTarAja mUrtim', 'mAra kOTi kOTi lAvaNyAya', 'srI guruguha mUrtE'(udaya ravicandrikA), 'vINAbhEri', 'sarasvati manOhari', 'kancadaLAyadAkshi', 'sankarambhirAmi manOharam', 'srI kamalAmbA jayati' were all the examples cited.

In the udaya ravicandrikA kriti, the guru's feet is described to have the red and white hues and rAgam chosen is aptly udaya ravicandrikA (udaya ravi - rising sun - crimson red, candrikA - moon - white)

Goddess kAmAkshi is named as she has sarasvati and lakshmi as her eyes. In the manOhari kriti 'kancadaLAyadAkshi', he refers to her as 'kamalA manOhari' while the kriti in sarasvati manOhari, starts with the rAgam name. Also, in 'nIrajAkshi kAmAkshi', she is refered to as 'sAradhAramA nayanE'.

svarAksharams seem to be his family trait. Lots of svarAkshara patterns are known in Ramaswami Dikshitar's compositions and he has also composed svarAkshara compositions. MD has also used a lot of svarAksharams. The rAga bhAvam is intact and is flowing though there are svarAksharams all over the kriti. 'sarasvati manOharI', 'sadAcalEsvaram', 'sadAsivam upAsmahE', 'mAmava raghuvIra' were taken as examples. The svarAksharams are present wherever it is possible.

Dikshitar seems to be aware of the 'Sampoorna Mela System' though he followed the 'Asampoorna system'. He mentions 'sUlini' in 'srI sUlinim' in sailEndra dEsAkshi. 'hariyuvatIm haimavatim' is how the kriti in dEshi simhAravam start. In 'srI nIlOtpala nAyikE' he refers to her as 'nata bhairavE'. Similarly in 'kancadaLAyadAkshi' he refers to her as 'kamalA manOhari' while the rAgam is called manOhari in his scheme.

Listening to MD kritis, it is apparent that he is a vainika. 'murAri prabruti' in sadAsivam upAsmahE has a jAru from madhyasthAyI shadjam to the tArasthAyI rishabam, which is tough to get on many vadhyams. A vainika can however get it easily. In the srI rAga kriti 'tyAgarAja mahadvajArOhaNa', the caraNam line 'srushTi svarUpa vasanta vaibhavam' the number of svarAksharams and the jArus are again examples of his mastery.

Also, in this srI rAga kriti, the complete details of the utsavam of Thyagaraja Swami at Thiruvarur is given. The details of the alankAram of each day, the mounts, the neivEdhyam, the nakshatram of the ratOtsvam, everything is mentioned in the kriti from the dvajArOhaNam to the canDikEsar utsavam.

Special 'eDuppu's that have been employed and some special, vintage, archaic phrases and sangatis were next explained. The off beat 'eDuppu' of 'mAra kOTi kOTi' in Arabhi from the madhyamam was highlighted. 'srI subramaNyO' in tODi for the gAndhAram, 'kamalAmbhIkE' starting on the nishAdam. In 'aruNAcala nAtam' the line 'kOTi sankAsa cidAnandam' has a phrase that is not usually sung in sAragA today. In 'pAhimAm ratnAcala nAyaka', 'vicitra navaratna' is a line which has a phrasing not found otherwise. There are many more of this kind.

Ragas employed for the kritis for sarasvati are rAgAs that are the names of rivers or rAgAs that denote some movement as the word sarasvati itself denotes movement, like vEgavAhini, chhAyAtarangiNi etc

Dikshitar has composed in a lot of tALams. The vAra kritis are composed in different tALams.

In the vAra kritis, 'sUrya mUrtE namOstutE', as sUryan is a namaskAra priyan. Also, he is a considered eternal, and hence dhruva tALam. 'chandram bhaja mAnasa', as he is always linked to the mind. Also, all the kritis start in the madhyasthAyI while the 'brUhaspatE' and 'srI sukra bhagavantam' start in the tArasthAyI rishabam and shadjam respectively as they are both the gurus of dEvAs and asurAs respectively.

The programme was concluded with the 'srI kamalAmbikE' mangaLam and the main artist mentioned that it is a bhAgyam to be able to listen and enjoy these kritis and seeked the blessings of God, MD, and guru for learning and understanding these kritis better.

Same lec-dem on Ram's blog:
click here

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Nandita Ravi, Lec-dem on The Music of Shyama Sastri, Music Club IIT Madras

Nandita Ravi - Akkarai Swarnalatha - S J Arjun Ganesh

The Music of Shyama Sastri
Music Club IIT Madras, BT Auditorium
8th November 2008. 10 am

The Programme began with a brief introduction about the Composer, giving biographical details about him. Emphasis was laid on the style of the composer highlighting the essentialities like simple and elegant sahityam, handling the sahityam and ragams. The speaker also said that though it looks simple, the handling is actually very intellectual and needs sound knowledge of music to understand and learn the kritis and perform them. The mudra used is 'shyAma krishna' and he composed predominantly in telugu. Also present are compositions in tamil and sanskrit.

A classification of the kritis on ragams/talams was presented. Also mentioned was an analysis on which kriti became popular during which period of time in history.

All compositions are composed in the bhava of a son talking to his mom, where Goddess bangAru kAmAkshi is the mother.

'kannatalli gAdA biDDayanikanikaramintaina lEdA' from 'ninnE nammi nAnu' in tODi is the ultimate essence of all his compositions. This line was sung and explained word by word to reiterate the mood and theme of all his compositions. Also, cited for the same theme was 'mAyammA yani nE' in Ahiri.

Availablitiy of 4 varNams, 3 svarajati, 4 gItams and 60 kritis was mentioned.

The various specialities of Shyama Sastri kritis was listed and later explained in detail. This include the vilOma cApu construction, the various eDuppus that are employed, and svara sAhityams. The concept of vilOma cApu was explained in detail and illustrated as well.

'pArvati janani' the gItam in bhairavi set to kaNDa maTya tALa was sung as an illustrative piece for the style of SS' gItams. Also explained in detail was the construction of the svarajatis. The bhairavi piece was taken up for this. The beginning of each caraNam having each successive svaram from the ArOhaNam was highlighted. Also mentioned was the yadukula kAmbhOji svarajati for its beauty.

Explained in detail was the construction of SS' varNams. While popular varNams have a pallavi, anupallavi, muktAyi svaram, caraNam and eTTugaDa svarams, SS' varNams have a sAhityam for the muktAyi svarams and also present is anubandam which is prevalent in many old varNams but is not present in varNams composed in later days and is omitted even in the older varNams.

The varNam in saurAshTram set to catusra aTa tALam was rendered. Also explained in detail was the different phrases in the varNam. The way the caraNam should be sung, with the ending changing each time it is rendered eventually leading to each of the next eTTugaDa svarams was explained in detail. presence of varNams in bEgaDa and kalyANi was also mentioned.

Next, the style of kritis was explained in detail. The compositions are filled with Raga Bhavam. They have a unique style and have very nice sangatis.

'nIlayadAkshi' in paras was rendered and similarity in the tunes between anupallavi and caraNam was highlighted. The style of svara sAhityam was explained and parts of 'durusuga krupajUchi' was rendered.

The various eDuppus employed by SS in his kritis was explained. 'talli ninnu nEra' in kalyANi, 'marivErE' in Anandabhairavi, 'ninnE nammi nAnu' in tODi, ' mInalOchana brOva' in danyAsi were all taken as examples of various eDuppus in cApu tALa kritis.

The various 'angams' used for beauty by SS were explained. The clever usage of svarAksharams in 'mAyammA nannubrOvavammA' in nATTakuranji and 'durusuga krupajUci' in sAvEri were explained. The classifications as suddha and suchIta svarAksharams were also explained. The prAsam he has employed was explained taking 'sarOja daLa nEtri' in shankarAbaraNam and 'karuNA nidhi ilalO' in tODi as examples.

'birAna vara' and 'himAdri sutE' in kalyANi were both sung to highlight the same tune, different sAhityam. The eDuppu used and the renditions in rUpakam and tisra Adi were both highlighted. Non-rakti rAgams that have been employed by SS was next mentioned. kalgaDa, cintAmaNi, janaranjani were cited as examples. 'pAlayAsumAm' in Arabhi was rendered next.

Presence of kritis in tamil and sanskrit was highlighted. 'taruNam IdammA' in gauLipantu was rendered.

The family tree of Shyama Sastri was mentioned. Subbaraya Sastri compositions are known for their high intellect. He is a disciple of all the three in the trinity. His mudra is 'kumAra'. His compositions have sangatis like those of Thyagaraja kritis and madhyama kAlam like those of Muthuswami Dikshitar. 'mIna nayana' in darbAr was rendered. Annaswami Sastri, adopted son of Subbaraya Sastri (Actually Annaswami Sastri was the nephew of subbaraya sastri. He is the son of Shyama Sastri's other son.) He was a very learned man and has composed a lot of great compositions. 'srI kAnchi nAyikE' in asAvEri was rendered highlighting the madhyama kAla caraNam.

The programme ended with 'karuNAjUDa ninnunammina' in srI rAgam.

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Tuesday, November 04, 2008

Mambalam M K S Siva, Music Club IIT Madras

Mambalam M K S Siva - Nadasvaram
Mambalam S B Durai - Nadasvaram Support
Mambalam S P Arulanandam - Thavil
Anagai R Pazhani - Thavil

Music Club IIT Madras, CLT
4 Nov 08. 7 pm

vAtApi gaNapatim - hamsadvani - Adi - MD (RS)
entarO mahAnubhAvulu - srI - Adi - T
vijayAmbikE - vijayanAgari - Adi - HMB (S)
janani ninnuvinA - rItigauLa - misra cApu - SubbarAya Sastri (R)
nItu pAdamE gati - naLinakAnti - rUpakam - GNB (R)
nagumOmu ganalEni - karnATaka dEvagAndhAri - Adi - T (RS)
tani
kurai onRum illai - sivaranjani, kApi, sindhubhairavi - Adi - Rajaji
srI chakra rAja - senjuruTTi, punnAgavarALi, nAdanAmakriyA, sindhubhairavi - Adi
tillAnA - dhanAsrI - Adi - ST
bhAgyAda lakshmi bArammA - madhyamAvati - Adi - PD

It was an exciting concert. The AlApanais were all elaborate and done in a very scholarly fashion. All the kritis were rendered with ease but with each sangati falling in place, and each note resonating, it was a treat to hear. The svarams were all measured and korappus played were all very nice. The accompanists were very good as well.

A very enjoyable concert.

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Vijay Siva, Carnatica's Bharath Sangeetha Utsav

Vijay Siva - R K Shriram Kumar - Manoj Siva

Nov 1, 2008. 5 pm
Carnatica's Bharath Sangeetha Utsav
Narada Gana Sabha Main Hall

vanajAkshi - kalyANi - Adi
sItApatE - khamAs (NS)
parama pAvana rAma - pUrikalyANi - Adi - RSI (RNS)
srI kALahasthisa - husEni - kANDa cApu - MD (R)
tappulanniyu tAlukonnu - bauLi
kANa kaN kODi vENDum - kAmbhOji - Adi (RNST)
manasi dussam - Ahiri - misra cApu - ST
un thozhuvinai - senjuruTTi, sahAnA, sAmA, husEni - rUpakam - Bharathiyar
agaramum Agi - jagan mOhini - Thiruppugazh

it was an amazing concert. i personally enjoyed the khamAs, the pUrikalyANi, husEni, kAmbhOji and Ahiri and all else that i have not listed.

like a true Vijay Siva Concert, it was soul stirring and really morale boosting. I was in a bad mood when i came to the concert and the music made me the usual cheerful self..

great artistes. great songs. Great concert.

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Sanjay, Carnatica's Bharatiya Sangeet Utsav

Sanjay - S Varadarajan - B Harikumar - N Guruprasad

Carnatica's Bharathiya Sangeet Utsav
Narada Gana Sabha Main Hall
31st October 2008 5 pm

viribhONi - bhairavi - aTA - PA
siva chidambaramE - nAgasvarAvaLi - Adi (S)
srI kamalAmbhikAyAh - sahAnA - tisra tripuTa - MD (RN)
evvarE rAmayyA - gAngEya bhUshaNi - Adi - T (R)
sivakAma sundari - mukhAri - Adi - PS
enduku dayarAdurA - tODi - misra cApu - T (RNST)
kANi nilam vENDum - rAga mAlikA - catusra Ekam (tisra naDai)
viruttam - mOhanam, suddha dhanyAsi
brindAvanam iduvO - suddha dhanyAsi - Adi - PS
rINamadanuta paripAlayamAm - bEhAg - Adi - ST
vAzhiya sentamizh - madhyamAvati

It was a nice concert. The sahAnA was very good. gAngEya bhUshani was good as well. The main tODi was a little off beat with a lot of flat svarams. Accompanists were good as well.

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