Updated on Dec. 3, 2010
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Showing posts with label Season 2009. Show all posts
Showing posts with label Season 2009. Show all posts
November 21, 2010
January 08, 2010
The applause factor in Carnatic concerts
................................... by Sivapriya Krishnan
According to me a "chu chu" or an "ahaa", are something that comes from an extremely emotive frame of reference and a pure oneness with the artist on stage. This is so involuntary, when you can actually feel the creativity, beauty or the speciality of a phrase or a tala or any other musical dimension that the artist presents and totally empathise with his /her state of mind.
Yes, it may be disturbing , maybe it can be done more subtly. But then are we " mummified bundles" sitting and viewing the concert with a dead look on the face? Art is all about life, joy, mirth and happiness and we may all have seen that the artist who presents his art with passion and joy alone can produce sustainable art.
As for the applause ,this is becoming more of a contrived nuisance both from the audience and the attention seeking artist on stage. Piled up neraval phrases, super loaded swara prastharas, holding onto a note for a long time , are some of the things that the audience will instantly clap, as though programmed.
Sometimes it might be a very simple thing and the audience here is ready to put their hands together, leaving even the artist bemused. But when the applause comes for something really befitting , then it is welcome and the artist also gets immensely enthused by it.
An applause that comes between the anupallavi and charanam, is the most irritating, as though the audience can't wait for the artist to finish!! It also spoils the trend of thought and feel of the concert.
I have also observed that the audience not clapping for an unknown newcomer or youngster on stage, even if he/ she is playing an excellently classical or weighty stuff. Whereas for a popular face young or old or senior, the applause comes in roaring fits even if fare was average ! It is as though you will be out of league if you didn't clap.
What is so wrong in applauding a youngster and encouraging him/her if its really good?
Applauses become "goshti gaanam" with everybody clapping in congregation for songs, like Kurai ondrum illai, Vishamakara kanna, Maadumeikkum kaaNa, Brhamamokatte !!!
Standing ovation in the portals of the Music Academy, is becoming something of a modern fashion and trend. One is not sure of the intent. It could be that the audience could even be stretching their tight muscles, before taking the next step. !!!
If it were really truly extended, well and good, but again if it is done customarily like standing in attention for the National Anthem, then it becomes meaningless.
It would not be too late, before some award were to be instituted for the "biggest applauding rasika" or the " most applauded concert " of the season !!!
According to me a "chu chu" or an "ahaa", are something that comes from an extremely emotive frame of reference and a pure oneness with the artist on stage. This is so involuntary, when you can actually feel the creativity, beauty or the speciality of a phrase or a tala or any other musical dimension that the artist presents and totally empathise with his /her state of mind.
Yes, it may be disturbing , maybe it can be done more subtly. But then are we " mummified bundles" sitting and viewing the concert with a dead look on the face? Art is all about life, joy, mirth and happiness and we may all have seen that the artist who presents his art with passion and joy alone can produce sustainable art.
As for the applause ,this is becoming more of a contrived nuisance both from the audience and the attention seeking artist on stage. Piled up neraval phrases, super loaded swara prastharas, holding onto a note for a long time , are some of the things that the audience will instantly clap, as though programmed.
Sometimes it might be a very simple thing and the audience here is ready to put their hands together, leaving even the artist bemused. But when the applause comes for something really befitting , then it is welcome and the artist also gets immensely enthused by it.
An applause that comes between the anupallavi and charanam, is the most irritating, as though the audience can't wait for the artist to finish!! It also spoils the trend of thought and feel of the concert.
I have also observed that the audience not clapping for an unknown newcomer or youngster on stage, even if he/ she is playing an excellently classical or weighty stuff. Whereas for a popular face young or old or senior, the applause comes in roaring fits even if fare was average ! It is as though you will be out of league if you didn't clap.
What is so wrong in applauding a youngster and encouraging him/her if its really good?
Applauses become "goshti gaanam" with everybody clapping in congregation for songs, like Kurai ondrum illai, Vishamakara kanna, Maadumeikkum kaaNa, Brhamamokatte !!!
Standing ovation in the portals of the Music Academy, is becoming something of a modern fashion and trend. One is not sure of the intent. It could be that the audience could even be stretching their tight muscles, before taking the next step. !!!
If it were really truly extended, well and good, but again if it is done customarily like standing in attention for the National Anthem, then it becomes meaningless.
It would not be too late, before some award were to be instituted for the "biggest applauding rasika" or the " most applauded concert " of the season !!!
January 07, 2010
Trivandrum R. Venkataraman - RIP
Senior Veena vidwan Sri. R. Venkataraman, a recipient of Sangita Kala Acharya from The Music Academy this year died in an accident on Jan. 5, 2010.
The 71 years old vidwan and his 40 years old daughter Jayashri were travelling in a car and while crossing a bridge, the car fell off from a height of 40 ft. Later both the father and the daughter were found dead near the newly constructed flyover on the national highway at Ulundurpet.
Trivandrum R. Venkataraman, one of the finest exponents of Veena, played the instrument in a unique style with rare blend of tradition and modernity. He was part of the popular veena-venu-violin team along with violinist Lalgudi G. Jayaraman and flautist N. Ramani.
Sri R. Venkataraman had his early training in veena from Smt. Lakshmi G. Krishnan. He later joined the Swati Tirunal College of Music. Trivandrum and graduated in veena and vocal in 1951. He had his advanced training under Sri. K. S. Narayanaswamy, another renowned veena vidwan. He then served as Assistant Professor of Veena at Sri Swati Tirunal College of Music. Later he joined All India Radio, Trivandrum in 1964 and served there until his retirement in 1996. He is also a recipient of Kerala Sangeetha Nataka Academy award among many other awards.
Of late, he had been teaching at the Teachers' College of Music, The Music Academy - Madras and is decorated with the title Sangita Kala Acharya by the Music Academy. While receiving the award on Jan. 1, 2010, he presented the acceptance speech on behalf of the other awardees Smt. N. S. Jayalakshmi, Trichy Sri R. Thayumanavan, Sri Akella Mallikarjuna Sharma and Sri B. M. Sundaram.
On Dec. 25, 2009, he performed a concert for Carnatica at MGR Janaki College and on Dec. 26, 2009, he performed for Naada Inbam at Raga Sudha Hall. He was also present at the lec-dem session of Jayanthi Kumaresh on 'Different styles of Veena Playing' at the Music Academy on Dec. 27 and offered a value addition to Jayanthi's presentation about another vidwan M.K. Kalyanakrishna Bhagavathar and insisted that he should not be confused with M.A. Kalyana Krishna Bhagavathar, another veena exponent.
The dedicated rasikas and students condole his death at this forum.
The photo above was taken on Dec. 25, 2009 at Carnatica's Samarpanam Festival held in Chennai.
The 71 years old vidwan and his 40 years old daughter Jayashri were travelling in a car and while crossing a bridge, the car fell off from a height of 40 ft. Later both the father and the daughter were found dead near the newly constructed flyover on the national highway at Ulundurpet.
Trivandrum R. Venkataraman, one of the finest exponents of Veena, played the instrument in a unique style with rare blend of tradition and modernity. He was part of the popular veena-venu-violin team along with violinist Lalgudi G. Jayaraman and flautist N. Ramani.
Sri R. Venkataraman had his early training in veena from Smt. Lakshmi G. Krishnan. He later joined the Swati Tirunal College of Music. Trivandrum and graduated in veena and vocal in 1951. He had his advanced training under Sri. K. S. Narayanaswamy, another renowned veena vidwan. He then served as Assistant Professor of Veena at Sri Swati Tirunal College of Music. Later he joined All India Radio, Trivandrum in 1964 and served there until his retirement in 1996. He is also a recipient of Kerala Sangeetha Nataka Academy award among many other awards.
Of late, he had been teaching at the Teachers' College of Music, The Music Academy - Madras and is decorated with the title Sangita Kala Acharya by the Music Academy. While receiving the award on Jan. 1, 2010, he presented the acceptance speech on behalf of the other awardees Smt. N. S. Jayalakshmi, Trichy Sri R. Thayumanavan, Sri Akella Mallikarjuna Sharma and Sri B. M. Sundaram.
On Dec. 25, 2009, he performed a concert for Carnatica at MGR Janaki College and on Dec. 26, 2009, he performed for Naada Inbam at Raga Sudha Hall. He was also present at the lec-dem session of Jayanthi Kumaresh on 'Different styles of Veena Playing' at the Music Academy on Dec. 27 and offered a value addition to Jayanthi's presentation about another vidwan M.K. Kalyanakrishna Bhagavathar and insisted that he should not be confused with M.A. Kalyana Krishna Bhagavathar, another veena exponent.
The dedicated rasikas and students condole his death at this forum.
The photo above was taken on Dec. 25, 2009 at Carnatica's Samarpanam Festival held in Chennai.
December 31, 2009
Kiranavali Vidyasankar : Traditional Format
Kiranavali Vidyasankar sang for Vani Mahal at 2.15.p.m. on the 31.12.09
She was totally tradition personified. Hers is a controlled, restrained musical presentation, sticking to old style format. Her training under her father Chitravina Narasimhan has given her the good grip over laya, raga alapana and sound performance. Her further training with T.Brinda has given her the base of many compositions and their associate melody.Her concert included Brochevarevare in Sriranjani, Brova Bharama in Bahudari, Kamalambike avaava in Ghanta, Male Manivanna in Kuntalavarali, Ninnuvina ga mari dikevaru in PurviKalyani and the Javali,Nene mandhunamuddubala of Dharmapuri Subbarayar in Misra Mukhari were all grand choices.
Kiranavali's tala sense is crisp and imaginative and her swaras for Brova bharama and Ninnu vinaga mari revealed this aspect well. She also essays her alapanas and brings out the essence of the raga within a short time. One only wished that she employs quick phrases in her alapana, as she is capable of doing it. This will only add more value and charm to the alapana.
Raghuram on the violin had a melodious touch , but was good in parts.Umayalpuram Kalyanraman accompanied on the mridangam well.
Manda Sudha Rani : Exceptional Talent
.......................by Sivapriya Krishnan
Carnatic Music does not stop with Chennai metro. It extends into various parts of TN, AP and Karnataka and many good vidwans and vidushis with exceptional talent and sound classicism, still emerge from these places.
Manda Sudharani from Vijayawada is one such example of an examplary talent.
One may not credit her with an exceptionally "attractive" voice, but she has a voice with depth and can traverse great speeds and flash lightning brighas, at the same time being able to sing vilamba kalam also with equal melody.
Sharavana Bhava in Pasupatipriya was sung in lightning speed and not one step missed! It sounded like a continuous cracker firework.
Her four raga pallavi, in the lines of the Ariyakudi pallavi, set in Shankarabharanam, Kalyani, Valaj and Kaanada, stands testimony to her musical mastery and her dedication to the art.
Set in adi tala , two kalais, the lines were "Sankarabharana veni, Kamala nayana Kalyani,Valachi vacchi na ramani, Kaanada rasikamani " was an aural treat. With tremendous ease she traversed all the four ragas and did all the workmanship , a standard RTP demands.
Not one bit of glamour, not one bit of unwanted showmanship! All she brought to the stage was her learning and her command over her art, with confidence and modesty at the same time. A soulful Parulanamata and BMK's lilting Brindavani tillana brought the curtains down.
Dr.Narmada on the violin was both melody and mastery personified. She was so quick and brought out refined and imaginative phrases and swaras on her bow.
VV.Ramanamurthy on the mridangam and N.Somayajulu on the ghatam, were pillars of strength on the percussion instruments and played a mind blowing thani avartanam.
Two things are clear from this :
1. Endaro mahanubhavulu , andhariki vandhanamu
2. Mastery over tala , laya and music is not the preserve of only a few males in the Carnatic community.
December 29, 2009
Nirmala Rajasekhar : Confident on the Veena
.........................by Sivapriya Krishnan
Nirmala Rajasekhar, on the Veena yesterday in the Music Academy, proved that Veena is not lost in the Carnatic World and that young artists are still boldly holding onto it. Living in Minneapolis United States, a very cold and clammy place, she holds onto this rather difficult instrument , dearly to her chest, when many Chennaiites scare of it!
A disciple of the Veena exponent Kalpakam Swaminathan, Nirmala, handles the instrument with so much confidence, non chalantly.
Ekambresa Nayike of Dikshitar in Karnataka Suddha Saveri, Kamakshi Swarajathi Syama Sastri, Kaa vaa vaa in Varali with the brief raga alapana, all spoke of how she has internalised the gamaka aspects and the finer aspects of playing the Veena.
Her RTP in Sankarabharanam in Khanda Triputa, a swarakshara pallavi by T R Subramaniam, ‘ sa Ri Samaanamaa sabhapate, Sada siva, veru deivam unakku”, was played with a brisk taanam, trikaalam and intelligent swaras.
RTP on the instrument calls for tremendous grip over tala and the instrument through regular and rigorous practice. Nirmala showed that she is adept and very comfortable with it.
Jagodharana in Peelu and a Tirupugazh ended the concert.
Chidambaram Balashankar on the mridangam and Balaji Chandran on the ghatam, kept up the tempo. They were in good control and knew how to embellish a Veena concert with perfect understanding of the concert mood.
Nirmala Rajasekhar, on the Veena yesterday in the Music Academy, proved that Veena is not lost in the Carnatic World and that young artists are still boldly holding onto it. Living in Minneapolis United States, a very cold and clammy place, she holds onto this rather difficult instrument , dearly to her chest, when many Chennaiites scare of it!
A disciple of the Veena exponent Kalpakam Swaminathan, Nirmala, handles the instrument with so much confidence, non chalantly.
Ekambresa Nayike of Dikshitar in Karnataka Suddha Saveri, Kamakshi Swarajathi Syama Sastri, Kaa vaa vaa in Varali with the brief raga alapana, all spoke of how she has internalised the gamaka aspects and the finer aspects of playing the Veena.
Her RTP in Sankarabharanam in Khanda Triputa, a swarakshara pallavi by T R Subramaniam, ‘ sa Ri Samaanamaa sabhapate, Sada siva, veru deivam unakku”, was played with a brisk taanam, trikaalam and intelligent swaras.
RTP on the instrument calls for tremendous grip over tala and the instrument through regular and rigorous practice. Nirmala showed that she is adept and very comfortable with it.
Jagodharana in Peelu and a Tirupugazh ended the concert.
Chidambaram Balashankar on the mridangam and Balaji Chandran on the ghatam, kept up the tempo. They were in good control and knew how to embellish a Veena concert with perfect understanding of the concert mood.
Bombay Jaysree : Modern yet Classical
...............................by Sivapriya Krishnan
Bombay Jaysree, today at the Academy proved that she is truly the melody queen among female singers of today. Hers is a voice rich in timbre and is capable of producing complicated musical phrases with melody and ease. Best use of the voice and microphone is an art and skill that she has mastered through the years and excels in it.
She, over the years has been steadfast in her approach towards Carnatic music. Though having forayed in to the cinema world , she is dedicated to Carnatic music, without missing out on the classical idiom. Thanks to her, a new modern approach and format to concert presentation has caught on in the Carnatic world among female vocalists.
A good madhyama kala pramanam was seen throughout her concert with no dull or boring moment. However sadly in a couple of places one noticed very faint strains of slippage of voice and exertion, which she managed beautifully.
Starting with Varavallabha in Hamsadhwani, Sogasujooda tharama, she went on to a fast Dharee ni telusu konti with brisk firework swaras. With a wonderfully elaborated and very involved Kamboji raga, she sang the Lalgudi Pancharatna kriti Mahita Pravrudha, in Tisra Triputa, arai edam , as taught and preserved by her Guru Lalgudi Jayaraman. Kaa Guha in Kosalam , a Koteeswara Iyer kriti was followed by a very good Kapi raga, interwoven with Mohana Kalyani and Dwijavanti .
Her RTP in Adi Tala Misra Nadai , was from the Kamba Ramayanam line, “ Annalum Nokkinan, Avalum Nokkinaal” and was presented with a touch of class.
Neraval , however seems to be a weak point with her. The neraval for the pallavi line was staright jacketed, manouvered and lacked any creativity, as she was more intent on keeping the tala. Veekshehamgada, a NArayana Teertha Tarangam in Yaman Kalyani sounded a little odd and different, rather modern and out of place as one is so used to hearing it in the traditionally soulful Ahiri.
All of Lalgudi’s tillanas , acquire their full proportions only in Jayasree’s hands. Because of her voice felicity, she is able to produce the dhatu swaras and the triple octave swara passages in the tillana and handle the minutest level of instrumentation through her voice. She did the Sindhubhairavi tillana proud.
Embar Kannan on the violin, Patri Satishkumar on the Mridangam and Kartick on the ghatam , are her stock accompanists and know exactly how to embellish her concert well. They presented their mastery alongside of carefully planned accompanying for the main artist.
Bombay Jaysree, today at the Academy proved that she is truly the melody queen among female singers of today. Hers is a voice rich in timbre and is capable of producing complicated musical phrases with melody and ease. Best use of the voice and microphone is an art and skill that she has mastered through the years and excels in it.
She, over the years has been steadfast in her approach towards Carnatic music. Though having forayed in to the cinema world , she is dedicated to Carnatic music, without missing out on the classical idiom. Thanks to her, a new modern approach and format to concert presentation has caught on in the Carnatic world among female vocalists.
A good madhyama kala pramanam was seen throughout her concert with no dull or boring moment. However sadly in a couple of places one noticed very faint strains of slippage of voice and exertion, which she managed beautifully.
Starting with Varavallabha in Hamsadhwani, Sogasujooda tharama, she went on to a fast Dharee ni telusu konti with brisk firework swaras. With a wonderfully elaborated and very involved Kamboji raga, she sang the Lalgudi Pancharatna kriti Mahita Pravrudha, in Tisra Triputa, arai edam , as taught and preserved by her Guru Lalgudi Jayaraman. Kaa Guha in Kosalam , a Koteeswara Iyer kriti was followed by a very good Kapi raga, interwoven with Mohana Kalyani and Dwijavanti .
Her RTP in Adi Tala Misra Nadai , was from the Kamba Ramayanam line, “ Annalum Nokkinan, Avalum Nokkinaal” and was presented with a touch of class.
Neraval , however seems to be a weak point with her. The neraval for the pallavi line was staright jacketed, manouvered and lacked any creativity, as she was more intent on keeping the tala. Veekshehamgada, a NArayana Teertha Tarangam in Yaman Kalyani sounded a little odd and different, rather modern and out of place as one is so used to hearing it in the traditionally soulful Ahiri.
All of Lalgudi’s tillanas , acquire their full proportions only in Jayasree’s hands. Because of her voice felicity, she is able to produce the dhatu swaras and the triple octave swara passages in the tillana and handle the minutest level of instrumentation through her voice. She did the Sindhubhairavi tillana proud.
Embar Kannan on the violin, Patri Satishkumar on the Mridangam and Kartick on the ghatam , are her stock accompanists and know exactly how to embellish her concert well. They presented their mastery alongside of carefully planned accompanying for the main artist.
Smt.R.Vedavalli's Music : Sukham, Sumukham, Suswaram
R.Vedavalli : Music Academy 27.12.09
................................by Sivapriya Krishnan
If any musician of modern times needs to understand what it is to be precise without being limited, what it is to be perfect without undue pomp and show, how to excel in every sphere of musical presentation be it neraval, alapana, swara prasthara, pallavi, how to plan and balance with right choice and proportion the concert on stage, then it can be from none other than Smt.R.Vedavalli.
Starting with Enduku Nirdaya, in Harikamboji, Palukavemi in Purna Chandrika, Korinavaramu in Ramapriya, the concert was at once elevated to a level of superiority, that can be brought only with years of training and sadhana.
Ramapriya swaras with just the four swaras n, d, p and m and multiple combinations of the same were a sheer delight. Sukhi Evvaro in Kaanada was a divine expression and Kanugonu Sowkhayamu soaked in nayaki melody.The grand Sankharabharanam and Akshayalinga Vibho , with neraval and swaras at “Akshara Swaroopa Prataapa” was a connoisseurs delight. What a raga alapana and neraval? It was an intricately made Abharana !!
Srividya Rajagopalam , a rare Dikshitar kriti in Jaganmohanam was followed by Kharaharapriya RTP, with the Taanam in ragamalika of Begada and Reetigowla. The Khanda Triputa pallavi ‘Sri Ranga, Rangayya Nannu Brovumayya” was dexterously handled in the true masterly approach and style. The swaras in Kharaharapriya, Atana, Sama and Surutti were quick and crisp , replete with raga bhava within short catchy phrases. The concert concluded with Oruthi Maganaai Pirandhu , Tiruppavai in Behag.
Pakkala Ramadas’s violin was honey soaked and reminded of his guru Lalgudi in many places, while Arunprakash can be easily called the best Mridangam player with a keen musical ear, among youngsters today. What inventive and innovative strokes. Special mention has to be made about the way he played for the neraval in Akshayalingvibho. Anirudh Atreya, on the Khanjira is a youngster with a lot of promise for the future.
On hearing this veteran, one feels that the lines “ Nityamaina Suswarapu gaanamutho nirantharamu , tyagarajanutha” in Tyagaraja’s Sukhi evvaro, defines Smt.R.Vedavalli best !!.
December 27, 2009
GNB Style : Lec-dem by Trichur Ramachandran
On the birth centenary year of the celebrated musician G.N. Balasubramanian, (GNB to his rasikas and GN Sir to his fellow musicians)one of his senior disciples Trichur Ramachandran presented a lec-dem on GNB's unique style or bani.
He started the lec-dem by saying bani is nothing but presenting the music in one's own manodharma displaying his or her personality. He began with a tribute to his guru by singing his composition on Vinayaka - Vara Vallabha Ramana in Hamsadhwani.
He said GNB was an embodiment of all things nice and aesthetics - music, presentation of his self, his pattern of concert presentation... His alapanas used to grow like a painting. The layers of the raga finally elevated the audience to a different level, he said. He could sing a raga alapana for a minute in its crisp form as well for an hour bringing all the swaroopas of the raga, he added.
You can listen to Trichur Ramachandran sharing his experience of what he learnt from GNB in this part of the video:
The other points he shared in a nutshell :
- He learnt many things by listening to great vidwans, though he did not have a 'guru' for himself.
- He was efficient in adding his touch to the kritis like fitting a perfect swarksharam in the right place, but not imposing for the sake of a 'Swaraksharam'.
- He had clear understanding with his accompanists. He chose different songs dependingon the accompanist of the day. While there were different kritis for Palghat Mani Iyer, he used to chose completely different ones for Palani Subramania Pillai.
- Palghat Mani Iyer was an admirer of GNB and used to refer his tala gnanam as Brahmalaya.
- He used all the 'pracheena pidis' adding sophistication to them.
- He was bold to use landings in Shuddha swarams and discovered 'sruti bhedam' by singing the ragas starting from different notes.
- GNB insisted on building up a raga and used to say that raga alapana too has a kalapramanam.
- Though GNB used to present Todi ragam in many of his concerts, every Todi was different.
- He used to sing Pallavis even in ragas like Nattakurinji. The Pallavi he presented at Sri Shanmukhananda Sabha in Bombay in 1964 along with M.S. Gopalakrishnan on the violin and C.S. Murugabhoothy on the mridangam was remembered for a long time.
- GNB used to tell his disciples that music should not pour like water from a tap, but should be let out in uniform flow.
- He also guided the students on how to open the mouth while singing and control the voice according to the kriti rendered.
- Every year, he introduced a rare composition by vaggeyakaras including the trinity. He introduced Chenchukambhoji kriti 'Vararagalaya' in 1964 at The Music Academy
- GNB's repertoire was vast. He even knew padams, which he was not using in his concerts very often. Once in Manapparai, he sang a padam and surprised the listeners.
December 26, 2009
Christmas Special At The Music Academy
The listeners at the morning concert at The Music Academy on the Christmas Day were treated with a special Christmas feast.
And the host was none other than the veteran violinist T. N. Krishnan.
After traditional Carnatic music pieces beginning with Ata Tala Varnam in Kalyani (TNK announced that he was yet to decide on the opening piece just before starting the varnam!) and grand Bhairavi Swarajati and a Ragan Tanam Pallavi in Kapi, the child inside the maestro prompted him to go for a Christmas Song!
And the bells came jingling in! Yes he played 'Jingle Bells..' Tiruvarur Bhaktavatsalam and Vaikom Gopalakrishnan too joined him to enhance TNK's presentation.
Here is it....
Sreevalson Menon : The Calm after the Storm !!
.............................. by Sivapriya Krishnan
What happens after a storm ? There is a certain calm !! ; sudden silence, stray mater strewn here and there , everything seems shaken up till fresh life begins.
This is exactly what happened in the Music Academy today. Aruna Sairam created the storm and the calm thereafter, taking away groups and groups of people from the hall, thus creating rows and rows of empty chairs. The entire Academy, with all of 30- 40 odd people including me, decided to sit and listen to Sreevalson Menon.
It was worth the effort, as the mind and ears both needed to come back to normalcy and Sreevalson right from the word go aided the limited audience strewn here and there to get back into that state.
Sreevalson has a voice that is supple and yet mature and can traverse well . There is what is called "sowkhyam" in his voice ; however he may need to steady a few brighas a little more with some practice .
Starting with the Todi pada varnam, Dani Samjendra by Swati tirunal, an intelligent compostion , Sreevalson went on to the ekaika raga kriti Varasikhivahana of Tyagaraja in the rraga Supradeepam.
The MDR composition in Kedaram , Tyagaraja Gurum, was a scintillatingly divine experience , as the master composers music . So much of Kedaram beauty, poise, grandeur all at once.
Sreevalson excelled in his raga alaapana of Purvi Kalyani. The gandhara madhyama rishaba, aligned beautifully and he went on to sing Ekkalathilum Unai Maravene, a brilliant composition of Tiruvaru Ramaswami Pillai. This kriti stands out for its descriptive passages about surrender to Goddess Minakshi , with a chitta swara, that is "chittai" , as in short and succinct, with swarakshara sahitya bringing out the meaning intelligently.
Sreevalson made a creditable description of the neraval in the highly meaningful line " Taye, vedapurishwari, taruvai nidamodam" and the swaras that followed. Govardhana Gireesham of Dikshitar sang in Madhyama sruti lifted the overall mood of the concert.Bhairavi and an exhaustive Sarievvaramma of Syama Sastri in Khanda Jhampa, was given a great place of honour , deserved by the masterpiece.
Hamirkalynai for the RTP was where Sreevalson showed his capacity to use brighas and the range he could traverse with his voice. The MIsra Chapu pallavi after three beats, "ganalola, dheenapala,nandapala,madhava murali " was handled with trikaalam precisely and ragamalika swaras in saveri, sahana, dhanyasi and a Hindustani raga I could not make out. The Sahana , Dhanyasi and Saveri was enough for this listener, as the Sahana took the place of the icing on the cake!
An emotive Sakhi prana in Chenchuruti and a Kathakali padam in Purneermai, wth a lilting tune and beat brought the curtains down !
C N Chandrasekharan on the violin, played with gusto and Trichur Narendran on the mridangam and Pudukottai Ramachandran on the ghatam played a tani avartanam in Misra Chapu, with nice intricate kanakkus and korvais.
The entire team's spirit was commendable, as they sang undaunted, unfazed by the empty seats, with a sense of purpose and surrender to the select audience and God up there, and honoured the stage given to them with authentic classicism of the best variety.
What happens after a storm ? There is a certain calm !! ; sudden silence, stray mater strewn here and there , everything seems shaken up till fresh life begins.
This is exactly what happened in the Music Academy today. Aruna Sairam created the storm and the calm thereafter, taking away groups and groups of people from the hall, thus creating rows and rows of empty chairs. The entire Academy, with all of 30- 40 odd people including me, decided to sit and listen to Sreevalson Menon.
It was worth the effort, as the mind and ears both needed to come back to normalcy and Sreevalson right from the word go aided the limited audience strewn here and there to get back into that state.
Sreevalson has a voice that is supple and yet mature and can traverse well . There is what is called "sowkhyam" in his voice ; however he may need to steady a few brighas a little more with some practice .
Starting with the Todi pada varnam, Dani Samjendra by Swati tirunal, an intelligent compostion , Sreevalson went on to the ekaika raga kriti Varasikhivahana of Tyagaraja in the rraga Supradeepam.
The MDR composition in Kedaram , Tyagaraja Gurum, was a scintillatingly divine experience , as the master composers music . So much of Kedaram beauty, poise, grandeur all at once.
Sreevalson excelled in his raga alaapana of Purvi Kalyani. The gandhara madhyama rishaba, aligned beautifully and he went on to sing Ekkalathilum Unai Maravene, a brilliant composition of Tiruvaru Ramaswami Pillai. This kriti stands out for its descriptive passages about surrender to Goddess Minakshi , with a chitta swara, that is "chittai" , as in short and succinct, with swarakshara sahitya bringing out the meaning intelligently.
Sreevalson made a creditable description of the neraval in the highly meaningful line " Taye, vedapurishwari, taruvai nidamodam" and the swaras that followed. Govardhana Gireesham of Dikshitar sang in Madhyama sruti lifted the overall mood of the concert.Bhairavi and an exhaustive Sarievvaramma of Syama Sastri in Khanda Jhampa, was given a great place of honour , deserved by the masterpiece.
Hamirkalynai for the RTP was where Sreevalson showed his capacity to use brighas and the range he could traverse with his voice. The MIsra Chapu pallavi after three beats, "ganalola, dheenapala,nandapala,madhava murali " was handled with trikaalam precisely and ragamalika swaras in saveri, sahana, dhanyasi and a Hindustani raga I could not make out. The Sahana , Dhanyasi and Saveri was enough for this listener, as the Sahana took the place of the icing on the cake!
An emotive Sakhi prana in Chenchuruti and a Kathakali padam in Purneermai, wth a lilting tune and beat brought the curtains down !
C N Chandrasekharan on the violin, played with gusto and Trichur Narendran on the mridangam and Pudukottai Ramachandran on the ghatam played a tani avartanam in Misra Chapu, with nice intricate kanakkus and korvais.
The entire team's spirit was commendable, as they sang undaunted, unfazed by the empty seats, with a sense of purpose and surrender to the select audience and God up there, and honoured the stage given to them with authentic classicism of the best variety.
December 24, 2009
GNB Centenary Special Book Release
Rupa Gopal, photojournalist and an ardent fan of GNB, the celebrity musician of the yesteryear is releasing a book on the maestro - GNB Centenary Special - a narrative collage, to commemorate the centenary of the musician.
On Dec. 26, 2009 at Russian Cultural Centre, Alwarpet, Time: 7 pm.
Dancer Malavika Sarukkai will receive the first copy and a screening of the visual 'GN Sir and I' in which Lalgudi Jayaraman has spoken about his association with GNB is also planned.
Following this is a special Jugalbandhi concert by Lalgudi GJR Krishnan (Violin) and U. Shrinivas (Mandolin).
Click on the pictures below to view the enlarged version.
December 23, 2009
Lec-dem by Ritha Rajan : Different patantharas in Tyagaraja Compositions
...........................by Sivapriya Krishnan
Ever wondered , as to why the same Tyagaraja composition gets presented in different formats by different artists?
The answer to this question and wonderment, was provided by Smt.Ritha Rajan, the Musicologist- Musician and the former Head of the Dept. of Music, Queen Marys' College, Chennai, at a lecture in the Music Academy on 20.12.09 of the morning conference session.
Ritha brings with her , a training of many number of years, right from her childhood days in Kanchipuram and from her later tutelage under Sri. Ramnad Krishnan. Under him she had the opportunity to learn many more compositions and finer aspects of music. She also got introduced to Naina Pillai's style of singing and the Vina Dhannamal school through her Guru. She furthered her knowledge on her own during her tenure with Queen Marys and her research work.
In her lecture at the Music Academy, she brought out the differen singing approaches to the same composition of Tyagaraja.
Tyagraja has three groups of sishya parampara viz: Umayalpuram school, Walajapet school, Tillaisthanam School.
She explained about several compositions ; to name a few, Chitra Ratna maya , Vidulaku, Anyaayamu Seyakura,NaradaGuru Swami, Ramaanee Vadhu , Etula Brothuvo, mahita Pravrudhha, Siggumali, Raghuvira Ranadeera.
The changes that are observed are in the ollowing areas :
1. Overall changes in notation and approach of the same song from one school of Tyagaraja tothe other, followed by changes later on .
2 Change in ragas
3. Change in kaalapramaana and tempo, mainly towards a slower tempo
4. Change in tala
5. Change in the eduppu and swara notations between one school and another.
What was admirable about her lecture was the ease with which she juggled between one patanthara and another for the same song. She is fluent with Telugu and had learnt a few songs from the Telugu notations and script. Also amazing is the fact that she has assiduously collected material and scripts over a period of time and has worked on a critical analysis of the same.
She said that the changes have occurred from the third generation sishyas. One other observation on changes in kalais , kalapramaana and tempo , she said could be because music which was sung in tthe Bhajana tradition demanded a slightly faster tempo, whist in the concert format on stage , the demand shifted to a slower pattern of singing.
Also the raga changes and morphing has occurred over a period of time may be due to the singers method of holding on to a similar note or phrase between two ragas leading to a shift .
Some snippets :
1. Chitra Ratna maya acording to the Umayalpuram school and popularly in Andhra Pradesh is sung in 1 kalai, but the Tillaisthanam school sings it in 2 kalai, as sung by Sangita Kalanidhi R. Vedavalli.
2. There are different versions of Vidulakhu Mrokkeda in the swara notations.
3. There are lots of kritis that have morphed from Darbar to Kaanada to Kapi, Lalita to Vasanta.
4. Naradaguru sami sung in Darbar now, is given as Kapi in the manuscripts.
5. Etula Brotuvo is given as in Triputa tala, now sung as Misra Chapu.
6.Hechariga Gaa raa raa is now sung as Khanda Jhampa, has been listed as Khanda Ekam
7. In Walajapet version, the song Raghuvira Ranadira, now popurlarly sung in Huseini, is listed under Kharaharapriya.
8. Gnaanamosagarada is given as Gamanaasrama in the manuscripts, but later on has morphed into Purvikalyani
9.Siggumali which is in Jhampa is now sung as Adi tala.
A little of what I could note and understand I have tried to write. There is more that I may have left, and all that is due to my limitations perhaps.
Thanks to the Academy for such informative morning sessions, where serious students of music like me get an opporunity to find answers to many queries and develop a curiosity to know why, what has happened has happened.
Ever wondered , as to why the same Tyagaraja composition gets presented in different formats by different artists?
The answer to this question and wonderment, was provided by Smt.Ritha Rajan, the Musicologist- Musician and the former Head of the Dept. of Music, Queen Marys' College, Chennai, at a lecture in the Music Academy on 20.12.09 of the morning conference session.
Ritha brings with her , a training of many number of years, right from her childhood days in Kanchipuram and from her later tutelage under Sri. Ramnad Krishnan. Under him she had the opportunity to learn many more compositions and finer aspects of music. She also got introduced to Naina Pillai's style of singing and the Vina Dhannamal school through her Guru. She furthered her knowledge on her own during her tenure with Queen Marys and her research work.
In her lecture at the Music Academy, she brought out the differen singing approaches to the same composition of Tyagaraja.
Tyagraja has three groups of sishya parampara viz: Umayalpuram school, Walajapet school, Tillaisthanam School.
She explained about several compositions ; to name a few, Chitra Ratna maya , Vidulaku, Anyaayamu Seyakura,NaradaGuru Swami, Ramaanee Vadhu , Etula Brothuvo, mahita Pravrudhha, Siggumali, Raghuvira Ranadeera.
The changes that are observed are in the ollowing areas :
1. Overall changes in notation and approach of the same song from one school of Tyagaraja tothe other, followed by changes later on .
2 Change in ragas
3. Change in kaalapramaana and tempo, mainly towards a slower tempo
4. Change in tala
5. Change in the eduppu and swara notations between one school and another.
What was admirable about her lecture was the ease with which she juggled between one patanthara and another for the same song. She is fluent with Telugu and had learnt a few songs from the Telugu notations and script. Also amazing is the fact that she has assiduously collected material and scripts over a period of time and has worked on a critical analysis of the same.
She said that the changes have occurred from the third generation sishyas. One other observation on changes in kalais , kalapramaana and tempo , she said could be because music which was sung in tthe Bhajana tradition demanded a slightly faster tempo, whist in the concert format on stage , the demand shifted to a slower pattern of singing.
Also the raga changes and morphing has occurred over a period of time may be due to the singers method of holding on to a similar note or phrase between two ragas leading to a shift .
Some snippets :
1. Chitra Ratna maya acording to the Umayalpuram school and popularly in Andhra Pradesh is sung in 1 kalai, but the Tillaisthanam school sings it in 2 kalai, as sung by Sangita Kalanidhi R. Vedavalli.
2. There are different versions of Vidulakhu Mrokkeda in the swara notations.
3. There are lots of kritis that have morphed from Darbar to Kaanada to Kapi, Lalita to Vasanta.
4. Naradaguru sami sung in Darbar now, is given as Kapi in the manuscripts.
5. Etula Brotuvo is given as in Triputa tala, now sung as Misra Chapu.
6.Hechariga Gaa raa raa is now sung as Khanda Jhampa, has been listed as Khanda Ekam
7. In Walajapet version, the song Raghuvira Ranadira, now popurlarly sung in Huseini, is listed under Kharaharapriya.
8. Gnaanamosagarada is given as Gamanaasrama in the manuscripts, but later on has morphed into Purvikalyani
9.Siggumali which is in Jhampa is now sung as Adi tala.
A little of what I could note and understand I have tried to write. There is more that I may have left, and all that is due to my limitations perhaps.
Thanks to the Academy for such informative morning sessions, where serious students of music like me get an opporunity to find answers to many queries and develop a curiosity to know why, what has happened has happened.
December 22, 2009
Sumitra Vasudev : Young Veteran !
........................by Sivapriya Krishnan
The veteran spirit of the morning initiated by Nedunuri, was carried throughout till 3.30 by Sumitra Vasudev in the afternoon.
Sumitra Vasudev , is a young lady with a veteran’s mind and approach to singing. Classicism, creativity, control, fostered manodharma are some of the hallmarks of her singing. She did her guru Sangita Kalanidhi Smt.R.Vedavalli proud by her brilliant singing today at 1.45 in the afternoon at the Music Academy.
Her music flowed like a cascading waterfall . Her intuitve ability, innovation, raga mapping, neraval manodharma, are fabulously lofty and reminds one of a very senior veteran’s music.
The Bhairavi Ata Tala varnam by Pachimiriyam Adiappa ,was sang with the third swara in the charana and the anubandha, as given in the Sangita Sampradaya Pradashini. After Samrane Sukhamu, a beautiful Khamas raga followed with Seetapate and the quick swaras, told us immensely of Sumitra’s grip over the raga.
Varali raga had brilliant sancharas and covered all the possibilities of delineation .Maa mavaMenakshi , a Dikshitar masterpiece was sung wonderfully with innovative swaras.
The major credit goes to Sumtra for her RTP in Begada. What a raga alapana! There was not a single unexplored phrase of Begada left. The Taanam needs a special mention . She correctly maintained the “madhyamakala” speed from start to end, as per the Lakshana of taanam singing. The pallavi “Mahima Teliya Taramaa ama nee in Khanda Jhampa at mukkaal eduppu was a veitable treat. Very neat and crisp presentation. Neraval is the heart of pallavi singing and this Sumitra did brilliantly.
All the necessary aspects of changes in speed , trikaalam were strictly adhered to. Her ragamalika swaras in Reetigowla, Paadi, Kuntalavarali and the same in reverse order back to Begada was a done with consummate ease and creativity.
Arunachala Karthik was good by himself on the violin, but could not match upto the vocalists creativity. R.Sankaranarayana on the mridangam was accompanying very well, but he failed to impress,in the tani avartanam, as he was far too long and kept rolling over with his korvais.
Nedunuri : Naada yogi
.......................... by Sivapriya Krishnan
Sangita Kalanidhi Nedunuri Krishnamoorthy sang the morning concert in the Academy today the 22nd December, 2009 and announced that this was his 55th concert at the Music Academy and thanked the Rasikas and the Academy profusely for supporting him.
One after the other he poured out a big jar of precious musical gems in the form of Asaveri ( E Paniko), Purvikalyani ( Paraloka Sadhaname). Yadukula kambhoji (Adikadu Bhajana.) What a mgnificent portrayal of the raga ?The half and one avartana swaras were fireworks. His ragamalika sloka and Adideva paramatma in Sindubhairavi was the soulful conclusion to the concert.
The greatness of this kind of music is that it is timeless, memorable and worthy of preservation. So much for youngsters to learn and imbibe from. It is so inexplicable, that every raga takes such good shape and retains its originality and flavour in the hands of stalwarts like Nedunuri. Maybe this is because ,they practice music as some form of naada yoga, inspite of keeping it for livelihood. There is no corruption, no malice, no unwanted pressure on themselves to be in the rat race!! Hence the music shines eternally.
Sriram Parasuram, returned the serves made by Nedunuri and played very well and Nedunuri magnanimously appreciated him on stage. Trichy Sankaran the master was bountiful and Purushottaman on the khanjira added o the percussion flavour.
Sangita Kalanidhi Nedunuri Krishnamoorthy sang the morning concert in the Academy today the 22nd December, 2009 and announced that this was his 55th concert at the Music Academy and thanked the Rasikas and the Academy profusely for supporting him.
One after the other he poured out a big jar of precious musical gems in the form of Asaveri ( E Paniko), Purvikalyani ( Paraloka Sadhaname). Yadukula kambhoji (Adikadu Bhajana.) What a mgnificent portrayal of the raga ?The half and one avartana swaras were fireworks. His ragamalika sloka and Adideva paramatma in Sindubhairavi was the soulful conclusion to the concert.
The greatness of this kind of music is that it is timeless, memorable and worthy of preservation. So much for youngsters to learn and imbibe from. It is so inexplicable, that every raga takes such good shape and retains its originality and flavour in the hands of stalwarts like Nedunuri. Maybe this is because ,they practice music as some form of naada yoga, inspite of keeping it for livelihood. There is no corruption, no malice, no unwanted pressure on themselves to be in the rat race!! Hence the music shines eternally.
Sriram Parasuram, returned the serves made by Nedunuri and played very well and Nedunuri magnanimously appreciated him on stage. Trichy Sankaran the master was bountiful and Purushottaman on the khanjira added o the percussion flavour.
Where are they?
The popular Tamil Daily Dinamani published in their today's issue on the whereabouts of Radha - Jayalakshmi, the singers who mesmerised rasikas in the 1950s and 60s with their brisk and fast paced singing!
Source : Dinamani, Dec. 22, 2009For those who cannot read Tamil, here is the gist.
The sisters who learnt under the same guru sold their house in Saidapet in Chennai and were last said to have left for Puttaparthi. Nobody now knows their whereabouts. The owners of a grand music who entralled the rasikas with their music. If you know where they are now, please let us know!
TNS Krishna - concert to remember
.................... by Sivapriya Krishnan
T N S Krishna , over the the last few years has matured into a brilliant artist of his own merit and right.
A chip of the old block, he has imbibed the musical approach and values from his father and has crafted his singing style with a lot of bhava and crispness to suit his capabilities thereby being able to produce very high and good quality music.
His grip on varied kalapramana, tala, raaga alaapana and neraval is amazing and this came alive in the three compositions namely Ninnuvinaagamari (Purvikalyani), Amba Neelayadakshi( Neelambari) and Dasukovalena (Thodi), all of which he sang sequentially.
His neraval at Soumitri Tyagaraju in Misra Jhampa was classical and innovative in style, diction and clarity without any loss of meaning. The sloka on Harikesa Nallur Muthiah Bhagavathar , composed by TNS, followed by a Tillana in Hamsanandi by Harikesa nallur Muthiah Bhagavathar was a befitting and delightful experience.
He showed a lot of professionalism in concert management, planning and ample respect to the stalwarts accompanying him without being too superfluous at the same time.
M.Chandrasekharan on the violin, Umayalpuram K Sivaraman on the mridangam, E M Subramainam on the ghatam , made the concert a lively and enjoyable experience.
December 21, 2009
Kalyani's Sankarabharanam
The morning slot on Dec. 21 at The Music Academy, for a generally unusual number of rasikas for a veena concert, should have been a different experience and travel into the past on a modern mode of musical journey.
Smt. Kalyani Ganesan presented a Veena recital, which made the senior rasikas reminisce about veteran vainikas of the olden days. The young students and rasikas would have thought that if a Veena recital could ever be presented with aesthetics yet with a modern approach to it.Every musical instrument has its own pace. Smt. Kalyani Ganesan could find the right pace or the Kala pramanam for her style of traditional playing and set the entire presentation just on it.
Beginning with Sriraga Varnam, she played the Hamsadhwani kriti of Mysore Vasudevachar - Vande anisham. On Monday, it could not be any other vara kriti than Chandram bhaja manasa, in Asaveri and in Chaturasra Matya talam.
As a tribute to the maestro GNB, she took up his composition 'Parama Kripa Sagari' in Yadukulakambhoji. Every syllable explicitly poured out the raga in its true form. After a short alapana of Purvi Kalyani, she rendered Paripurna kama, of Thyagaraja in rupaka talam.
A garland got ready in the hands of the vidushi and became a Sankarabharanam that was offered to the 'Akshayalinga'. Misra chapu precisely set into the kriti.
Then came Saveri. If one looks at the list of ragas and kritis presented so far, the traditional attire the concert wore would be felt. The essence of Saveri ran through the alapana and spilled over the tanam. the pallavi Kari moralida in Adi was neat and crisp. She let the mridangam and kanjira to have their 'tani' at this point. Umayalpuram Mali (mridangam)and KVRS Mani (Kanjira) fit their part in tune with the tempo and style of the veena artiste and their tani reflected the mood set in by the main artiste.
The swaras for the pallavi followed after the 'tani' giving it a different approach.
The post tani session had bright ragas and a ragamalika, yet with compositions of stalwarts. Mamava sada janani in Kanada by Swati Tirunal, Arabhi maanam, the Ragamalika of Tarangampadi Panchantha Iyer, Manadirkugandadu in Sindhubhairavi of Tanjavur Sankara Iyer gave a colourful yet ethnic touch to the concert. When it was a tillana, it had to be of none other than Lalgudi jayaraman's Khamas.
The rich and traditional veena concert ended with her tribute to Mylapore Karpagambal - 'Karpagame' of Papanasan Sivan in Madhyamavathi.
For a set of senior people who came to Chennai from the neighbouring states for the December season, the concert was an inspiring one and they all gathered backstage to prostrate before Smt. Kalyani Ganesan!
December 20, 2009
Smt.R.Vedavalli 's Samarpana to Tyagaraja
.............................. by Sivapriya KrishnanTo me this day of 20th Decemebr 2009 has been a celebration of veterans and music that is timeless !!!
The concert was at carnatica's Samarpana 2009 and the theme given to Smt.R.Vedavalli was (interrogative kritis of St.Tyagaraja)
Smt.R.Vedavalli started by giving a very brief explanantion of the concept of interrogaion by the Saint. She said that Tyagaraja specialises in interrogation and has raised several questions to Sri Rama on many topics of philosophical perspectives.
She started with Evarani in Devamrutavarshini, where he raises the question of who can fully uderstand Rama tattva? Are you Shiva, Madhava, Brahma or a combination of all?
Palukavemi na deivama in Poorna Chandrika was the next song. This was followed by Sandehamunu in Ramapriya, preceeded by a crisp and beautiful raga alaapana and crisp and intelligent swras at the line Bharatarcharana. Kaanada Raga was rather extensive and was followed with Sukhi Evvaro, in a gait, that was sowkhayam personified , making all the listeners "sukhi" and "sumukhi"!!
Ennalloo uragae in Subhapantuvarali was handled in a madhyama kalapramana, which kept the spirit of the song without making it too langruous.
Bhairavi raga was an examplary portrayal of all the beautiful phrases of a traditional Bhairavi. Tanayuni Brova, with neraval and swaras at Mahini tyagaraja vinuta brought out so many varieties of phrases of Bhairavi
The concert was concluded with Ramachandra nee daya in Surutti.
All in all the concert was indeed a “SAMARPANA” at the feet of Tyagaraja, a connoisseurs delight and a perfect classroom in finer musical aspects for both her disciples like me and other avid students of music.
Sumitra gave a brilliant support and was quick on uptake, as she used to correctly follow from where my guru left.
RK Shriramkumar, soothing violin, Arunprakash’s measured mridangam and Anirudh’s sparkling khanjira with their fiery tani avartanam added to the overall quality of the concert.
The crowd bade goodbye with a standing ovation to the artists on stage.
Thamizh Pannisai - a part of December Season
Tamil Isai Sangam hosts exclusive Tamil Isai concerts for decades now. Also the new generation singers include many Tamil compositions in their concerts both old and new. Since Margazhi coincides with December, the concerts invariable have a Tiruppavai or Tivempavai as part of them.
Papanasam Sivan's compositions find place even in Ragam Tanam Pallavi's too>
To go in trend with the December Music season, Pongu Thamizh Pannisai Manimanram hosts an exclusive Pannisai Peruvizha for seven years now.
This year it was held at the Corporation Community Hall on C.P. Ramaswamty Road on Dec. 19 and 20. The stretch of the road from the flyover on the northern was lit and flags and posters were part of the decoration. There were discussions by Tamizh pandits and Pann concerts in the evening.
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