Among the different bANis of playing the Veena, the Tanjore bANi is famous for its gAyaki style. What you play on the vINA is what you sing. Great exponents like Veena Dhanammal, Shri KS Narayanaswami, Kalpakkam Swaminathan, etc. were exponents of this style. (Although some people are of the opinion that Shri KSN belongs to a "Travancore style" of playing, my Guru, Smt Kalyani Sharma, a disciple of Shri KSN once personally clarified from him that he is an exponent of the Tanjore style.)
Vidyanandi is a star disciple of Smt Mangalam Muthuswami, a great vINA exponent of the Tanjore style and an eminent teacher at Mumbai. Her technique of playing is the definition of soothing, her calm and mature approach to music throughout the 2 hr concert was indeed striking! After the demise of Smt. Mangalam, Vidya continues to learn from Shri Vamanan from Mumbai, who teaches her vocally and she translates his instruction onto the vINA!
Being an ardent devotee and follower of vINA based music and especially the Tanjore style, Vidyanandi's concert was one memorable one that will remain in my mind forever. The choice of kritis, the perfection, and the unhurried approach all contributed to making my day today. And the fact that this experience had to happen at my own place added to its value. This concert was held as part of the chamber music concert series that youngsters here have started. Vidyanandi chose Muthuswami Dikshitar's kritis for the presentation. Dikshitar himself was a vaiNika-gAyaka (so what an apt choice of theme!) and Vidyanandi brought out the ethos of His kritis and embellished them with beautiful and highly aesthetic manodharmam. Following were the kritis presented this morning:
1. vallabha nAyakasya - bEgaDa- rUpakam - R,S @ vallabha
2. kamalAmbA - Ananda bhairavi - misra chApu - R sketch
3. AnandAmrtAkarShiNi - amrutavarshini - Adi - S @ AnandAmrutAkarShiNi
4. sArasa daLa nayana- khamAs - chatushra jampa (I thought this is tisra Triputa, but it was rendered in chatusra jhampa)
5. mAmava mInAkshi - varALi - misra chapu - RNS @ syAmE
6. ranganAyakam - nAyaki - Adi
7. brhadIshwarAya - shankarabharanam - Adi - RNST with tAnam.
8. akhilAnDeshwarI - dwijAvanti - Adi
9. vIra hanumatE - kAnaDa - rUpakam
10. tAnam in madhyamAvati on my request!
My pick of the day was ranganAyakam! What an uplifting rendition! brhadIshwaraya was of course excellently rendered; the tAnam was again very pleasing. But ranganAyakam was the most beautiful! The version of kamalAmbA was a bit new, with some nice G3 prayogams in the charanam which I have heard only Vishwa sing.
Karthik Srinivasan on the Mridangam supported Vidyanandi unobtrusively with the right amount of silence and decibel levels. The 2 hr aesthetically-rich concert transported me to different level altogether. I do not remember having heard a kutcheri in the recent times that I was completely satisfied with, in all respects so this concert will be in my mind for a long long time.
-- Gokul--
Sunday, June 26, 2011
Sunday, April 24, 2011
Vimarshini Jairam @ Sion on 24th April 2011
Vimarshini Jairam - Vocal
Tejasvi Sunderrajan - Violin
Karthik Srinivasan - Mridangam
Theme - Songs on Lord Muruga
Vimarshini is a disciple of Smt. Radha Namboodiri and other senior vidvans of Mumbai. The concert was organized as part of the monthly chamber program series that has been started by a group of youngsters in Mumbai to promote the young talented musicians in Mumbai. The audience for this concert included senior vidushis like Sulochana Rajendran, Radha Nmaboodiri and also Smt. Vishalam, a violin vidushi (and disciple of Shri T S Krishnaswami who was the violin teacher of Ranjani - Gayatri). Vimarshini also learns the violin from the latter.
Vimarshini's concert mirrored her vidvat and her training under good teachers in a solid pAThAntaram. The best part of such chamber concerts is that the art form is given primary importance over anything else and if the audience is prepared to take the best, the artists give their best! The fact that the audience consists of knowledgeable musicians and practitioners is a big boost to the performers who do not have to bother about petty things that a regular concert artist has to consider. It is in such an ambience that I believe that real Carnatic music thrives.
The list of songs was as follows:
1. innamum sOdanai - sama - varnam - Adi - TRS
2. edayyA gati- chalanATTai - Adi - Koteeshwara Iyer
3. mayil vAhanA - mOhanam - Adi - RS @ pallavi
4. sharavaNa bhava -shanmukhapriyA - Adi - PS
5. sharavaNa bhava - madhyamAvati - Adi - PS - RNS @ pallavi line
6.kaikUDa vENumE- latAngi - khanDa cApu - Koteeshwara Iyer -S
7. srI sharavana bhava - sumanapriyA - rUpakam - Mutthiah Bhagavathar
8. murugA murugA - sAvEri - misra cApu - Periyasami Thooran - RNST - @ charanam line
9. Three tiruppugazhs in shudha dhanyasi, bahudari, surutti.
Most of the songs were new to me. The rAga Alapanas for madhyamAvati and sAveri were done in detail albeit with some restraint and had some nice "aha type" phrases. Vimarshini's soft voice and bhava laden rendering made listening to songs like sharavana bhava in madhyamavati and muruga in saveri fresh and delightful. Another very good thing about Vimarshini's recital was her clear diction -> this helped us enjoy the kritis even more. Overall, the manodharmam sections for both the madhyamavati and the saveri kriti had a lack of sarvalaghu patterns (but did not make the exercises sound dry); nevertheless the restrained exercises suited the ambience well.
Karthik gave able support on the mridangam, although he kept giving some surprises. Tejasvi's replies on the violin were good. His AlApanas were specifcally very well done and displayed his gnAnam!
Overall, the concert was memorable and the arrangements by the hosts excellent. Hope this series continues for a long time in Mumbai.
--Gokul--
Tejasvi Sunderrajan - Violin
Karthik Srinivasan - Mridangam
Theme - Songs on Lord Muruga
Vimarshini is a disciple of Smt. Radha Namboodiri and other senior vidvans of Mumbai. The concert was organized as part of the monthly chamber program series that has been started by a group of youngsters in Mumbai to promote the young talented musicians in Mumbai. The audience for this concert included senior vidushis like Sulochana Rajendran, Radha Nmaboodiri and also Smt. Vishalam, a violin vidushi (and disciple of Shri T S Krishnaswami who was the violin teacher of Ranjani - Gayatri). Vimarshini also learns the violin from the latter.
Vimarshini's concert mirrored her vidvat and her training under good teachers in a solid pAThAntaram. The best part of such chamber concerts is that the art form is given primary importance over anything else and if the audience is prepared to take the best, the artists give their best! The fact that the audience consists of knowledgeable musicians and practitioners is a big boost to the performers who do not have to bother about petty things that a regular concert artist has to consider. It is in such an ambience that I believe that real Carnatic music thrives.
The list of songs was as follows:
1. innamum sOdanai - sama - varnam - Adi - TRS
2. edayyA gati- chalanATTai - Adi - Koteeshwara Iyer
3. mayil vAhanA - mOhanam - Adi - RS @ pallavi
4. sharavaNa bhava -shanmukhapriyA - Adi - PS
5. sharavaNa bhava - madhyamAvati - Adi - PS - RNS @ pallavi line
6.kaikUDa vENumE- latAngi - khanDa cApu - Koteeshwara Iyer -S
7. srI sharavana bhava - sumanapriyA - rUpakam - Mutthiah Bhagavathar
8. murugA murugA - sAvEri - misra cApu - Periyasami Thooran - RNST - @ charanam line
9. Three tiruppugazhs in shudha dhanyasi, bahudari, surutti.
Most of the songs were new to me. The rAga Alapanas for madhyamAvati and sAveri were done in detail albeit with some restraint and had some nice "aha type" phrases. Vimarshini's soft voice and bhava laden rendering made listening to songs like sharavana bhava in madhyamavati and muruga in saveri fresh and delightful. Another very good thing about Vimarshini's recital was her clear diction -> this helped us enjoy the kritis even more. Overall, the manodharmam sections for both the madhyamavati and the saveri kriti had a lack of sarvalaghu patterns (but did not make the exercises sound dry); nevertheless the restrained exercises suited the ambience well.
Karthik gave able support on the mridangam, although he kept giving some surprises. Tejasvi's replies on the violin were good. His AlApanas were specifcally very well done and displayed his gnAnam!
Overall, the concert was memorable and the arrangements by the hosts excellent. Hope this series continues for a long time in Mumbai.
--Gokul--
Sunday, April 3, 2011
Abhishek Raghuram @ BRRS Mumbai on 3rd April 2011
Abhishek Raghuram's imagination and creativity brings to mind the genius of three people: TNS, BMK and Kalyanaraman. Yesterday's concert was an excellent display of gimmicks-based carnatic music (not in the wrong sense at all). Throughout yesterday's concert, Abhishek was "innovating" in the real sense of the term.
The opener shankarabharanam varnam was brisk; it was preceded by an almost 5-10 minutes of shruti alignment. I was hoping to hear rA rA mA iNTidAka or jAnaki ramaNa and Abhishek sang the former, do my delight. The kalpana swarams involved nice patterns and "poruttams". When he started the malayamArutam aalapana, I was delighted as, among scalar rAgams, that is a very beautiful rAgam. There were shades of Hindustani, but I have no problem with that! Somewhat difficult patterns like R-D, G-N, etc were executed with ease and charm; the influence of BMK on his music was quite evident here.
tAyE yashodA was rendered in pakka TNS style; he took a semi-slow kAlapramAnam and ornamented the kriti with catchy and bright links; like TNS does. The RTP that followed next was nothing short of brilliant. I would normally get annoyed if anyone sings kAnADa without the weight given to the gAndhAram. I remember frowning as soon as he began; but the gimmicks laden phrases and imagination brought many more AhAs than a possibly weighty kAnaDa would have! The tAnam once again had shades of HM, he increased speeds and used every syllable that a purist would say no-no to; nevertheless, his supreme imagination was what mattered to me here and not mere adherence to rules.
The pallavi line, was "sItApatE nApai nIkabhimAnamu lEda". As expected, he sang neraval in khamas, bringing out shades of brOcEva and sitApati. Then came gAnamUrti, kAntAmaNi and bahudAri in which he sang the word "sitApatE" of the pallavi line like famous Tyagaraja- kritis in these raagams.
This was one thing that did not sound new to me, having heard and read about Charumati Ramachandran's similar attempt elsewhere. Maybe GNB or Kalyanaraman or more probably BMK has done this before? I must accept however that it was an exciting delivery! Especially the quick transitions between rAgams and the super fast swarams, that came after the tani.
One tamizh kriti in sAranga came next - it went like - "kaN kalangudE". This was my pick of the concert! Although it sounded very "ghazalish", it was extremely well rendered with deep bhAvam. I could see Abhishek enjoy immensely while he rendered it!
The possibly disappointing part of the concert was the rendition of brovavamma in nIlAmbari. I felt that too much gimmicks in such kritis, is painful, especially if the listener knows the meanings of the lyrics. Thankfully, this was during the end of the concert.
Then one mami gave a chit for enna tavam seidanai; Im sure she must have written all the rest of tukkaDAs (do I need to name them). But he chose to sing only enna tavam and followed with a mangalam.
The lack of a manual tambura or a mike for the electronic tambura perhaps gave indications of lapses here and there especially when there were loud, off-note sounds coming out of nowhere! Later on I realised that that could have been because of a football match going on in the playground outside the hall!
Anantha R Krishnan gave very nice support on the Mridangam. His tani was spectacular and had many intelligent sollus and patterns. Mysore Srikanth gelled well. His kAnaDa aalapana had everything that Abhishek had left out (most note-worthily, the weight in the gAndhAram), so the overall effect was complete!
---Gokul---
The opener shankarabharanam varnam was brisk; it was preceded by an almost 5-10 minutes of shruti alignment. I was hoping to hear rA rA mA iNTidAka or jAnaki ramaNa and Abhishek sang the former, do my delight. The kalpana swarams involved nice patterns and "poruttams". When he started the malayamArutam aalapana, I was delighted as, among scalar rAgams, that is a very beautiful rAgam. There were shades of Hindustani, but I have no problem with that! Somewhat difficult patterns like R-D, G-N, etc were executed with ease and charm; the influence of BMK on his music was quite evident here.
tAyE yashodA was rendered in pakka TNS style; he took a semi-slow kAlapramAnam and ornamented the kriti with catchy and bright links; like TNS does. The RTP that followed next was nothing short of brilliant. I would normally get annoyed if anyone sings kAnADa without the weight given to the gAndhAram. I remember frowning as soon as he began; but the gimmicks laden phrases and imagination brought many more AhAs than a possibly weighty kAnaDa would have! The tAnam once again had shades of HM, he increased speeds and used every syllable that a purist would say no-no to; nevertheless, his supreme imagination was what mattered to me here and not mere adherence to rules.
The pallavi line, was "sItApatE nApai nIkabhimAnamu lEda". As expected, he sang neraval in khamas, bringing out shades of brOcEva and sitApati. Then came gAnamUrti, kAntAmaNi and bahudAri in which he sang the word "sitApatE" of the pallavi line like famous Tyagaraja- kritis in these raagams.
This was one thing that did not sound new to me, having heard and read about Charumati Ramachandran's similar attempt elsewhere. Maybe GNB or Kalyanaraman or more probably BMK has done this before? I must accept however that it was an exciting delivery! Especially the quick transitions between rAgams and the super fast swarams, that came after the tani.
One tamizh kriti in sAranga came next - it went like - "kaN kalangudE". This was my pick of the concert! Although it sounded very "ghazalish", it was extremely well rendered with deep bhAvam. I could see Abhishek enjoy immensely while he rendered it!
The possibly disappointing part of the concert was the rendition of brovavamma in nIlAmbari. I felt that too much gimmicks in such kritis, is painful, especially if the listener knows the meanings of the lyrics. Thankfully, this was during the end of the concert.
Then one mami gave a chit for enna tavam seidanai; Im sure she must have written all the rest of tukkaDAs (do I need to name them). But he chose to sing only enna tavam and followed with a mangalam.
The lack of a manual tambura or a mike for the electronic tambura perhaps gave indications of lapses here and there especially when there were loud, off-note sounds coming out of nowhere! Later on I realised that that could have been because of a football match going on in the playground outside the hall!
Anantha R Krishnan gave very nice support on the Mridangam. His tani was spectacular and had many intelligent sollus and patterns. Mysore Srikanth gelled well. His kAnaDa aalapana had everything that Abhishek had left out (most note-worthily, the weight in the gAndhAram), so the overall effect was complete!
---Gokul---
Sunday, February 20, 2011
Vignesh Ishwar-Shyama Shastri kritis@Thane on 20/02/2011
Vocal - Vignesh Ishwar
Violin - Smriti Sunderrajan
Mridangam - Rohit Prasad
Kanjira - Karthik Srinivasan
Vignesh presented an outstanding 2.5 hr chamber concert at Thane today morning. Vignesh is a disciple of Anatharama Bhagavathar of Mumbai and also Sri T.M.Krishna. The audience consisted of youngsters from Mumbai, all learners and serious practitioners of music.
The stellar list was as follows:
1. himAdri sutE - kalyANi - Adi -tisra naDai - N,S @ shyAma krishNa
2. kAmAkSI - yadukula kambodi - misra cApu - R (sketch)
3. mIna lOcana - dhanyAsi- misra cApu - R,N,S @ kAmapAlini
4. mAyammA - nATTaikkurunji - Adi
5. sari evvarammA - bhairavi - khaNDa jhampa -R,N,T @ parama pAvani
6. kanakashaila vihAriNi - punnAgavarALi- Adi
7. pAlincu kAmAkSI - madhyamAvati -Adi
Vignesh started off the concert with a brisk himAdri sutE; the neraval and kalpana swarams were done very well! Smriti's replies were also apt and to the point. After a lilting kAmAkSI, the dhanyasi alapana was done beautifully, bringing out the beauty of the raagam. Neraval and swarams at kAmapAlini were very well done!
mAyammA was rendered with deep emotion.The mature and the slow rendering brought out the bhAvam of the rAgams and the composers very well. The kAlapramanam was just perfect! I would be failing in my duty if I did not praise Rohit's vAdyam here!
sari evvarammA seems to be Vignesh's forte! I had missed his Academy concert (where he sang this) and he more than made up for it! The AlApana was extremely mature and soaked in bhAvam! Vignesh's neraval at parama pAvanI was brilliant! Im going to be humming this for a long long time now!
My personal favorite of the concert was kanakashailavihAriNi. At my request, he ended with pAlincu kAmAkSI, most of the audience joined with him. That was like a crown on the top of the tribute to the great composer.
Except for some initial voice trouble and distraction, the whole concert was very memorable. Smriti's bhairavi Alapana was excellent and so was her dhanyasi. Her sharp piDis brought many AhAs from the musically sound audience.
Rohit's accompaniment was brilliant, especially to the slow kAmAkSI, mAyammA, sari evvarammA and kanakashaila. The tani was good; perhaps a little change to the routine Adi tAlam sollus to fit the structure of the khanda jAti jhampa tALam would have enhanced the performance. Karthik was sharp with his playing and played just at the right places, lifting the overall effect!
Vignesh is very hard working, gifted with a smooth but powerful voice and his music is very mature.
Violin - Smriti Sunderrajan
Mridangam - Rohit Prasad
Kanjira - Karthik Srinivasan
Vignesh presented an outstanding 2.5 hr chamber concert at Thane today morning. Vignesh is a disciple of Anatharama Bhagavathar of Mumbai and also Sri T.M.Krishna. The audience consisted of youngsters from Mumbai, all learners and serious practitioners of music.
The stellar list was as follows:
1. himAdri sutE - kalyANi - Adi -tisra naDai - N,S @ shyAma krishNa
2. kAmAkSI - yadukula kambodi - misra cApu - R (sketch)
3. mIna lOcana - dhanyAsi- misra cApu - R,N,S @ kAmapAlini
4. mAyammA - nATTaikkurunji - Adi
5. sari evvarammA - bhairavi - khaNDa jhampa -R,N,T @ parama pAvani
6. kanakashaila vihAriNi - punnAgavarALi- Adi
7. pAlincu kAmAkSI - madhyamAvati -Adi
Vignesh started off the concert with a brisk himAdri sutE; the neraval and kalpana swarams were done very well! Smriti's replies were also apt and to the point. After a lilting kAmAkSI, the dhanyasi alapana was done beautifully, bringing out the beauty of the raagam. Neraval and swarams at kAmapAlini were very well done!
mAyammA was rendered with deep emotion.The mature and the slow rendering brought out the bhAvam of the rAgams and the composers very well. The kAlapramanam was just perfect! I would be failing in my duty if I did not praise Rohit's vAdyam here!
sari evvarammA seems to be Vignesh's forte! I had missed his Academy concert (where he sang this) and he more than made up for it! The AlApana was extremely mature and soaked in bhAvam! Vignesh's neraval at parama pAvanI was brilliant! Im going to be humming this for a long long time now!
My personal favorite of the concert was kanakashailavihAriNi. At my request, he ended with pAlincu kAmAkSI, most of the audience joined with him. That was like a crown on the top of the tribute to the great composer.
Except for some initial voice trouble and distraction, the whole concert was very memorable. Smriti's bhairavi Alapana was excellent and so was her dhanyasi. Her sharp piDis brought many AhAs from the musically sound audience.
Rohit's accompaniment was brilliant, especially to the slow kAmAkSI, mAyammA, sari evvarammA and kanakashaila. The tani was good; perhaps a little change to the routine Adi tAlam sollus to fit the structure of the khanda jAti jhampa tALam would have enhanced the performance. Karthik was sharp with his playing and played just at the right places, lifting the overall effect!
Vignesh is very hard working, gifted with a smooth but powerful voice and his music is very mature.
Sunday, February 6, 2011
TNS Krishna @ Nadopasana, Dombivli, Mumbai on 6/2/2011
I am a big fan of TNS and his son.
The list up to 9:00 pm was as follows:
vandanamu -sahAna - Adi -T- R
shObillu- jaganmohini - rUpakam - T - S @ saptaswara
sAmajavara - hindOLam - Adi - T -R,N,S @ vEdashirO
gAnamUtE- gAnamUrti - Adi -T
sItAvara- dEvagAndhAri - Adi- T
alagallAla - madhyamAvati- T
vandanamu -sahAna - Adi -T- R
shObillu- jaganmohini - rUpakam - T - S @ saptaswara
sAmajavara - hindOLam - Adi - T -R,N,S @ vEdashirO
gAnamUtE- gAnamUrti - Adi -T
sItAvara- dEvagAndhAri - Adi- T
alagallAla - madhyamAvati- T
Sunday, December 26, 2010
B.Govind at Shanmukhananda, Mumbai-26/12/2010
Govind's voice has an amazing tonal quality that made the kEdAragowLai AlApanai a treat. Govind's pAThAntaram of kritis was impeccable, diction was superb. Although there was a small sag during the rendition of tuLasi bilva, which was still beautiful and bhAva-laden in that pace, Govind's concert was traditional and evoked deep bhakti rasam.
The list was as follows:
varnam- kAmavardhini- Pallavur Mani Iyer
rAma nI pai - kEdAram - Adi- T- S@pallavi
shanmuka guhanE - chakravAkam-rUpakam- composed by R Shrinivasan of Trivandrum (?)
tuLasi bilva - kEdAragoWLai- Adi- T- R
gaTTigAnu - bEgaDa - Adi, tisra naDai- T
nI cittamu - vijayavasanta-Adi - T
narasimhAgaccha - mOhanam- misra chApu-MD- RNST @ dhIratara
toli nE jEsina - shuddha bangALa - Adi-T
RTP - kharaharapriya - khanDa tripuTa with trikAlam
nenjanil- dwAdasha ranjanimAlikA -Adi- N.S.Chidambaram -set to tune by T M Thyagarajan
darikkum - tiruppugazh in Arabhi
maNgaLam
The chakravAkam song was beautiful. The pAThAntaram of tuLasi bilva was a bit new to me, with the pallavi starting at the samam (anupallavi and charanam lines were at the usual arai iDam). The detailed mohanam compensated for the lack of neraval and swarams till the main item. trikAlam for the pallavi was done well, barring a small slip, may be because of distraction due to a sudden soreness in the throat. The neraval in the main piece deserves special mention. It was sung without deviation from the actual placement of the syllables. This requires a great amount of control and Govind did a good job
Smriti's kharaharapriya was brilliant . Karthik Srinivasan on Mridangam supported Govind well with really cool sollus . He was even gracious to share one sollu that he played in the short and sweet tani with me after the concert .
All in all, a wonderful,weighty concert that everyone enjoyed.
The list was as follows:
varnam- kAmavardhini- Pallavur Mani Iyer
rAma nI pai - kEdAram - Adi- T- S@pallavi
shanmuka guhanE - chakravAkam-rUpakam- composed by R Shrinivasan of Trivandrum (?)
tuLasi bilva - kEdAragoWLai- Adi- T- R
gaTTigAnu - bEgaDa - Adi, tisra naDai- T
nI cittamu - vijayavasanta-Adi - T
narasimhAgaccha - mOhanam- misra chApu-MD- RNST @ dhIratara
toli nE jEsina - shuddha bangALa - Adi-T
RTP - kharaharapriya - khanDa tripuTa with trikAlam
nenjanil- dwAdasha ranjanimAlikA -Adi- N.S.Chidambaram -set to tune by T M Thyagarajan
darikkum - tiruppugazh in Arabhi
maNgaLam
The chakravAkam song was beautiful. The pAThAntaram of tuLasi bilva was a bit new to me, with the pallavi starting at the samam (anupallavi and charanam lines were at the usual arai iDam). The detailed mohanam compensated for the lack of neraval and swarams till the main item. trikAlam for the pallavi was done well, barring a small slip, may be because of distraction due to a sudden soreness in the throat. The neraval in the main piece deserves special mention. It was sung without deviation from the actual placement of the syllables. This requires a great amount of control and Govind did a good job
Smriti's kharaharapriya was brilliant . Karthik Srinivasan on Mridangam supported Govind well with really cool sollus . He was even gracious to share one sollu that he played in the short and sweet tani with me after the concert .
All in all, a wonderful,weighty concert that everyone enjoyed.
Sunday, August 15, 2010
Sri T N Seshagopalan @ Fine Arts Society, Chembur, Mumbai on 15th August 2010
T. N.Seshagopalan - vocal
Nagai Sriram - Violin
R Ramesh - Mridangam
K.V.Gopalakrishnan - Kanjira
Sri TNS gave an amazing concert on 15th August. At the end of three hours, the list was as follows:
1.) mEru samAna - mAyA mALava gowLai - Adi - T (R, N,S @ gaLamuna)
2.) endarO mahanubhAvulu - sri - Adi - T (R,N,S @ rAmabhaktu)
3.) ADa mODi - chArukEsi - Adi -T (R,S @ mATalADa )
4.) nagumOmu - AbhEri - Adi - T (R,N,S,T)
Had to leave after tani so not sure what he sang after this.
The concert started on time. Nagai Sriram gave excellent support. Shri R. Ramesh and KVG were brilliant, they could follow all the mathematical patterns that TNS sang. The best part of the kutcheri was the swarams at mATalAda mODi, due its rare eDuppu (27 aksharams talli). Although the patterns were vintage TNS ones, they sounded very fresh and interesting. Only a vidvan like TNS can handle ragas like Abheri without making them sound light. nagumOmu was brilliantly rendered followed by a very detailed round of neraval and swarams, which were again vintage TNS patterns! It felt as if I was listening to the TNS that I have heard on tapes! The tani was good, with many intelligent patterns in mishram and sankeerna naDai.
A special mention about the endarO mahAnubhAvulu. It was outstanding. The AlApana was the best I have heard for this rAga. The kalpana swarams and neraval were also very beautifully done. I got at least five messages from known people attending the concert that this was the most beautiful srI they had heard.
TNS sir is truly a legend. Had a nice evening. No shruti problems (my third TNS kutcheri in a row without such). Excellent acoustics and a sensitive audience. All in all, a kutcheri that made my weekend!
Nagai Sriram - Violin
R Ramesh - Mridangam
K.V.Gopalakrishnan - Kanjira
Sri TNS gave an amazing concert on 15th August. At the end of three hours, the list was as follows:
1.) mEru samAna - mAyA mALava gowLai - Adi - T (R, N,S @ gaLamuna)
2.) endarO mahanubhAvulu - sri - Adi - T (R,N,S @ rAmabhaktu)
3.) ADa mODi - chArukEsi - Adi -T (R,S @ mATalADa )
4.) nagumOmu - AbhEri - Adi - T (R,N,S,T)
Had to leave after tani so not sure what he sang after this.
The concert started on time. Nagai Sriram gave excellent support. Shri R. Ramesh and KVG were brilliant, they could follow all the mathematical patterns that TNS sang. The best part of the kutcheri was the swarams at mATalAda mODi, due its rare eDuppu (27 aksharams talli). Although the patterns were vintage TNS ones, they sounded very fresh and interesting. Only a vidvan like TNS can handle ragas like Abheri without making them sound light. nagumOmu was brilliantly rendered followed by a very detailed round of neraval and swarams, which were again vintage TNS patterns! It felt as if I was listening to the TNS that I have heard on tapes! The tani was good, with many intelligent patterns in mishram and sankeerna naDai.
A special mention about the endarO mahAnubhAvulu. It was outstanding. The AlApana was the best I have heard for this rAga. The kalpana swarams and neraval were also very beautifully done. I got at least five messages from known people attending the concert that this was the most beautiful srI they had heard.
TNS sir is truly a legend. Had a nice evening. No shruti problems (my third TNS kutcheri in a row without such). Excellent acoustics and a sensitive audience. All in all, a kutcheri that made my weekend!
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