My first US concert!

SRGMPDN, a non-profit organization in the Washington D.C. area that is striving to promote to Carnatic music in the community invited me to perform on Jan 28th. It was a nice experience singing with Smt Pavani Shrikanth and Vivek Chellappa on the violin and Mridangam respectively. Here is the song list:


1. sAmi ninnE - sri rAga varnam (S) 

2. palukavEmi nA - pUrNachandrikA- Adi- T (R,S)

3. pAhi shrI girirAjasutE - Ananda bhairavi- rUpakam - SS (R)

4. kAntimati- kalyani - tisra Ekam- Subbarama Dikshitar (R,N,S at shAntamuna)

5. nI bhajana - nAyaki - Adi - T (R- sketch)

6. cani tODi - harikambodi - Adi - T (RNST)

7. OsOsi - mukhAri - misra chapu - padam

8. yAla padarE - begada - tisra triputa - kshetragna

9. shAntakAram - viruttam in sAvEri, dEvagandhari, pUrvi kalyANi, darbari kaanada, yaman kalyani

10. krishnA nI bEganE - yaman kalyani - misra chApu - dAsar nAma

11. ElarADayanE - javali - bhairavi - Adi - Dharmapuri Subbarayar

12. madiyAl vittaganAgi - surutti - tiruppugazh

Shri Madhavan and Smt. Kani Madhavan hosted this concert - it was a very nice experience indeed!

--Gokul

Mumbai trip - Jan 2012

I visited home soon after I came to the US. Why so soon? One might ask. If you know me weel, you would guess that I was missing music lessons with my Guru Smt. Kalyani Sharma. Never have I missed someone or someone's art form so much in the past. Mami and I developed a keen sense of respect and a strong relationship soon after I started learning padams and javalis from her. Learning a padam is a not a tough task, it is a herculean one. Only after 2 years of constant practice, am I comfortable singing padams like koNTE gADu (suruTTi), ninnu jUci (punnAgavarALi), payyada (nAdanAmakriya), etc. When learning is such a difficult task, imagine how difficult would teaching these mammoth compositions be! Mami taught me each one of these with painstaking care and effort. She ensured that I got each sangati, voice modulation and intonation required for rendering these compositions correctly. I can only hope that I am doing some justice to these!

To add to this list, I learnt a beautiful composition during this trip - kuvalayAkshirO - a padam in gowlipantu. Like some other students who were present while Mami taught this to me said, this padam is so haunting! Padams are in general like that. When you sing/listen to yAla padarE (bEgada) or koNTe gADu you can feel some kind of exhilaration. When you sing/listen to payyada or ninnu jUci, you can experience the pain of separation. Such amazing compositions! I consider myself blessed to be able to learn these compositions and that too from a vidushi like Kalyani Mami. I am eagerly waiting for my next trip to Mumbai when I hope to learn mora tOpu which is THE padam! And  inta mOha - the big shankarabharanam padam (I know a couple of smaller ones)

I also learnt other beautiful compositions - mahAsuram kEtumaham (shanmukhapriya), smarAmyaham (rAmapriya), Emi jEsitE, buddhi rAdu, maharAju karammanE (a beautiful javali in behag), muccata brahmAdulaku, nIvu brovavalEnammA (saveri). Learning music and especially new compositions in a good pAThAntaram from a good Guru is such a delightful experience.

Apart from learning, I also performed at a few places - All memorable experiences! My session with Rajesh Sreenivasan at his place was uplifting and refreshing! I also gave my first AIR recording! Overall this trip has been very useful and memorable! Will miss all my music friends and of course, Kalyani Mami! Like Mami herself said, "What to do, to study, one has to go to US!"

--Gokul--

My experience at Tiruvaiyyaru, 2009

Here is my recount of the homage to Tyagaraja Swami that happens at Tiruvaiyyaru every year during Sivaratri. I was reminded of it today after reading about this in a forum.


This happens every year on Sivaratri. Three years back, I had gone on an extensive temple trip with a friend. On Sivaratri day, in the morning, I went to Tanjore Peria Kovil, had darshan and then proceeded to Bangaaru Kamakshi Temple nearby. After singing Shyama Shastri's kritis in front of Ambal, the kurukkaL inquired more about me. After I introduced myself, he asked, "Are you going to Tiruvaiyyaru?" I said, "No mama, no plans for today! I have to go back to Kumbakkonam and then to Kodavasal to my Grandpa's place for Sivaratri" He said, "No No, you have to go to Tiruvaiyyaru! You are a musician and since you are on a temple trip, you must go. That way you can also visit Thiru-Indaloor, the chandra sthalam near Tiruvaiyyaru. I will make all arrangements. You come home for lunch, and you can leave in the evening." Also, another friend had called me up in the morning and asked me to do archanai at Panchanadeeshwarar temple on his mother's name if possible (as it was her birthday that day). I had replied that I will try, else I will do the archanai at Kodavasal. So after  kurukkaL mama's persistence, I felt that maybe it was destined for me to visit the bard's shrine on that auspicious day and so agreed to his request. After having amazing lunch at his place and a nice nap after that, my friend and myself left for Tiruvaiyyaru. Please note that util this point, I did not know at all that there was an akhandam going on at Tiruvaiyyaru.


When we reached Tiruvaiyyaru, I was pleasantly surprised to find many musicians and vidvans around! Some musicians whom I personally know (also surprised to see me!), insisted that I also sing. The organisers hesitantly acceded to their request and said that I could sing two kritis after about two hours. In the meanwhile, my friend and I quickly went to Thiru-Indaloor (it is just 15 minutes by rickshaw from Tiruvaiyyaru!). On the way to Thiru-Indaloor and back, I went through some kritis in my mind. 

I came back in time to sing. I did not have veshti at that time so someone arranged for one and I sang muddu mOmu and then palikavEmi nA. I was just about to get up when the organiser came and told me to go on for some more time(later I told myself that maybe it was Tyagaraja Swami's way of telling me that I am not so bad a singer  )! I sang all those kritis that came to my mind. I sang right in front of the bard's sannidhi. Sri VV Srinivasa Rao provided violin accompaniment (he was one of the musicians who insisted that I must sing!). I do not remember the mridangist's name but I have seen him play for many vidvans! 

Before singing a kriti I would ask "is this OK?" and the organiser would nod his head if it had not been sung before or request me to take up another one. After I finished a kriti, I would also ask him "shall I sing nAdupai?" The organiser would say "You sing that at the end as that is in madhyamavati"! He asked me to go on and on for almost an hour! And finally he let me sing nAdupai!

This has been the best experience I have ever had in my life. Despite the fact that I had not planned to go to Tiruvaiyyaru at all, destiny took me there and made me sing to my heart's content in front of the bard (and other musicians/vidvans). It was the first time I went to Tiruvaiyyaru and destiny made it extremely memorable for me! The organisers (whose names I forget) are doing a great service. I sincerely request all those who get a chance to visit Tiruvaiyyaru during Sivaratri to do so! I am sure that your experience will be memorable!

Iyer Brothers @ Mumbai on Jan 1st 2012

Iyer Brothers (Shri Ramnath and Shri Gopinath) performed at Mumbai on 1st Jan. The early evening concert, with a pleasant breeze and an almost full moon reminded one of the tEvAram "mAsil vInaiyum..." of Appar. It was like listening to Shri KSN and Trivandrum Venkatraman live. The selection of kritis, the presentation and the discipline shown by the brothers made the concert highly aesthetic and pleasing and made my New Year memorable!


Here is the list:
1. inta mODi - sArangA varnam
2. mEru samAna - mAyA mALava gowLa (R,N,S @ gaLamuna)
3. rAma pAhi - dEvagandhari - Rupakam- Swathi Thirunal (R)
4. bhajarE rE citta - kalyANi - RNS @ nijarUpa
5. giripai 
6. shobhillu 
7. tanayuni brOva - bhairavi - R, Tanam and S @ vatsamu followed by tani
8. srinivAsa tiruvenkaTa - hamsanandi
9. vaishnava janatO
10. adi nI pai - yamuna kalyani - Adi - Dharmapuri Subbarayar 
11. bhAgyAda lakshmi
12. mangaLam


Both the extensive Alapanas in Kalyani and Bhairavi were extremely aesthetic and were no-frill affairs. Kriti renditions were just perfect. The devagandhari kriti was new to me but what a delight it was! I thoroughly enjoyed every aspect of the concert. Rohit Prasad on the Mridangam was a very sensitive accompanist cum admirer. The tani was aptly sarvalaghu in nature and placed great importance to sowkhyam and appropriate nAdam.
Hope to hear more concerts of the Iyer Brothers in future!

Narayan Rangaraj @ Mulund on Dec 11, 2011

Shri Narayan Rangaraj (narayan of rasikas.org) is a Professor of Industrial Engg. and Operations Research at IIT-Bombay. He performed at the residence of an ardent rasika of Carnatic Music at Mumbai on the morning of 11th December (IST). Now people who know that I have moved to the US might be wondering how I attended this concert to be writing about it! Thanks to the cooperation of the hosts of the concert (who are my Mama and Mami) I got to "oversee" the concert in the literal sense of the term through skype! So I listened to the concert late at night from the US!
My bales and pranaams to technology for making this possible!

A disciple of AS Panchapakesa Iyer, Alamelu Mani and PN Krishnamurthy, Shri Narayan is well known among serious music lovers in Mumbai as not only a practitioner of traditional and aesthetic Carnatic music but also an enthusiastic rasika. That we got him to perform at our forum was indeed our good fortune! Narayan has, at some point or other been a mentor to most of us young musicians in Mumbai. I for example have greatly benefited from our music sessions at Shri Narayan's place. Shri Narayan's rAga AlApana essays are very educative and complete and give new insights into the rAgam.

The Mumbai Carnatic Music Forum, under the aegis of which the concert was held has been started by young musicians in Mumbai to build a strong, knowledgeable rasika community in Mumbai and also to enhance sharing and active and regular musical interaction with each other. We have successfully completed 12 chamber concerts now and are spearheading towards our anniversary in Jan!

Now to the theme and list. Narayan's theme was "Allied Ragas". He sang pairs allied ragams, some with detailed manodharmam, some without. He sang a Dikshitar kriti for one ragam and a Tyagaraja kriti for the other. He ended the concert with pAlincu kAmAkshi.

1. suguNamulE - chakravAkam
2. sUryamUrtE - sowrashtram
3. ranganAyakam (started from anupallavi) - nAyaki - R
4. tappaganE - shuddha bangALa - R,S
5. sarasa sAma dAna - kApi nArAyaNi - R(short sketch)
6. shrI rAmam - nArAyaNagowLa - R, S @ kusha lava tAtam
7. paralOka - mandAri
8. rAmanAtham - pantuvarALi (or kAmavardhini, if you will) - N, S @ kAmita phala, tani
9. ninnanavalasinadEmi - kalyANi - R
10. akshaya linga vibhO - shankarAbharaNam
11. pAlincu kAmAkshi

The choice of rAga pairs speaks volumes of Shri Narayan's vidwat and practice. Singing these rAgams back to back is no mean task. There were absolutely no glitches while moving from nAyaki to shuddha bangALa or from kApi nArayni to nArAyaNa gowLa.
I sat through till rAmanAtham. Just as I was praising technology, the internet connection at the hosts' end decided to give way and I had to sign out.

The highlights of the concert were the AlApanas for nAyaki, shuddha bangALa and nArAyaNa gowLa. The nArAyaNagowLa was especially so good that I was humming it throughout the night even after I had signed out and I am still humming while I write about it after about 12 hours! Ah! what a delight it was! Wish I could hear the kalyANi kriti. I have heard only Nedunuri's recording.

I must also congratulate Smriti Sunderrajan for providing excellent violin support. As difficult a task as it must have been for the experienced vocalist, I am sure it must have been even more challenging for this youngster. But she did a brilliant job of not confusing between the raagams and supported Shri Narayan wonderfully.

Rohit Prasad played well on the Mridangam thorughout. However, I missed the tani unfortunately! I am sure it must have been exciting!

Last but not the least, the hosts did a wonderful job and with elders' blessings, we hope this forum and its activities continue for a long time in the future.

Abhishek Raghuram @ SSVT Maryland on Nov 5 2011

Vocal- Abhishek Raghuram
Violin - Vittal Ramamurthy
Mridangam - Trivandrum Balaji

I had mixed feelings a few months ago, before coming to the US to study. New country, new place and all. Would I be able to pursue music? Listen to concerts? All my questions were answered, thanks to the presence of some friends and relatives nearby and the Siva Vishnu Temple! The temple is a great one and conducts programs regularly. They are celebrating "Dikshitar and Shyama Shastri Day" this weekend and there have been performances by local kids throughout the two days.

Yesterday Abhishek gave a fabulous concert here. You know what is "awesome" when you listen to Abhishek! There was a GNB in my Grandpa's generation, a TNS in my father's: there is Abhishek in mine. No, I am not simply using superlative adjectives for this vidvAn like others. I have my misgivings with his music too. But the positives outnumber the negatives by a very large margin! So why unnecessarily crib about what I didn't like? I believe in taking home the best that one has to offer and appreciate it whole heartedly. And Abhishek's mind-blowing creativity throws you off your feet and makes you think, "So what if the N2 in thodi was not so classical " or "So what if most of the ragams were scalar" or "So what if some phrases did not sound Carnatic at all." I believe in traditional classicism and innovation within strictly Carnatic boundaries. But with ABhishek, all my boundaries get expanded to this one big realm called "Music" where I am mesmerized by the fantastic creativity and I am stunned with astonishment!

Apologies for these lofty words. I know that there has been a parallel thread on how reviewers use "hi-fi" language but when you listen to high-quality music, at times even the simple mind is forced to weave out poetic epithets and descriptions (Did I really write that May be Abhishek's music has instigated some creative writing in me! )

The list:

sarasuda - saveri varnam
nAda tanumanisham
mEru samAna - R,N,S @ gaLamuna
mA ramanan R,S @ mA ramaNan
tatva meruga taramA R,S @ tatva
shrI krishnam bhaja - RNST @ pankajAsanAdi
A song in rAgam sAma, composed by Shri Kumaresh (of the Ganesh Kumaresh duo)
A bhajan in sanskrit in sindhu bhairavi
A mangalam in yadukula kambodi

Before the concert, the organizers requested the audience to move out for 30 minutes for the artists to set up the mike system. It did not help much as, in spite of this, Abhishek's volume was a little low throughout the concert -> may also be because he kept moving away from the mike. But that did not affect the quality of the music or the experience of the audience. The concert actually started from "mEru samAna". Amazing round of swarams at gaLAmuna. I did not enjoy the AlApana though. It was too light for my taste.

The hindolam AlApana was sublime. He sang it in madhyama shruti - maybe that added to the effect. He used the scalar nature of the ragam to great effect. Swarams were again brilliant. His AlApana for garudadhwani had very interesting patterns. The kriti rendition and the swarams reminded one of TRS's popular rendition that was floating in Facebook some time back. But Abhishek added a lot of his creativity and brought out superb laya-intricate patterns.

The piece de resistance was of course the todi Alapana and swarams. Someone prompted Abhishek to sing todi and shrI krishnam bhaja. Thankfully the request came early, else, knowing Abhishek, he would have gone on and on!

The last swaram was fully in khanda nadai - I haven't heard a better rendition of khanda nadai. His grandfather's brilliance shone brightly here. I have heard some recordings of Palghat Raghu Sir's khanda nadai and have been awestruck with the intricacies and the intelligent sollus and korvais. Though Abhishek's korvai was a simple one, I thoroughly enjoyed that fact that he sang khanda nadai without explicitly "disclosing the nadai" That is exactly the brilliance of his Grandpa!

Vittal Sir's support was enthusiastic. Trivandrum Balaji was his usual best, displaying his intellectual prowess that he has imbibed from Raghu Sir.

The best part of Abhishek's concert is his stage presence. When he sings something complicate, he gives this "Yes I did it!" smile (something like this - :) ) and not the "See, I can do this" grin (something like this - ]:)  ). In the end, I have just one more adjective for Abhishek -"electrifying"! After the concert, I told my aunt, "naan appiDiyE bhramicchu poi irukkEn!"

--Gokul--

B Govind @ Vashi on 24th July 2011

Govind is a disciple of Shri Vamanan, P N Krishnamurthy and Radha Namboodiri. A strict adherer to classicism and music minus frills, Govind presented a soulful concert today morning. It was a thoroughly enjoyable affair with NY Easwaran and Tejasvi Sundarrajan providing the perfect support on the Mridangam and Violin respectively.

This concert was the seventh in the chamber music series that has been spearheaded by youngsters in Mumbai to keep alive rich classical music and enhance interaction amongst each other.

The theme of the concert was "Rare compositions of Tyagaraja"; but like Govind and I were discussing later, his choice of compositions were more like "Compositions of Tyagaraja that one has heard of but seldom heard!"

Following was the list:

1.) sudhAmAdhurya - sindhurAmakriya - rUpakam
2.) mApAla - asAvEri - Adi (R)
3.) rAma nI vAdu - kalyani- Adi (tisra naDai) (RNS @ nA manasuna)
4.) shrI mAnini - pUrNashaDjam- Adi
5.) narasimha - bilahari - misra chApu (R)
6.) rAmAbhi rAma - dhanyAsi - Adi
7.) naDaci - kharaharapriya - Adi (RST @ puDami)
8.) ennADu jUtunO - kalAvati
9.) centanE - kuntala varALi

The kalavati and the kuntala varali pieces were new to me. My pick of the day was rAma nI vAdu; the extensive treatment was indeed delightful. As I have mentioned in a previous review of Govind's concert, his voice has a unique tonal quality and this made songs like shrI mAnini and mApAla electrifying. The short asAvEri AlApana reflected Govind's vidwat.

Every composition was presented very well. The pAThAntarams of all the kritis were pure and devoid of any unnecessary frills. The manodharmam was in right measure. Easwaran's strokes reminded one of his Guru's Guru - Shri Palghat Raghu. Tejasvi's replies on the violin were apt and to the point. An enjoyable treat for this Tyagarajadasa by another!

--Gokul--