..................... by Sivapriya Krishnan
Vijay Siva, at the Music Academy gave a standard fare. His concerts never fail as he always sings well above a certain standard. The main highlight was the Gamanasrama Raga followed by Idhi Neeku Nyayama in Misra chapu by Mysore Vasudevachar. Gamanasrama is a Mela karta raga close to Purvikalyani , but with the “pdns” prayogas in the aarohana and his raga alapana brought this out very clearly. The neraval and swaras were also interestingly crafted for this kriti.
Raksha Bettare, in Bhairavi, is a song that has the distinctive DKP / DKJ stamp to it and Vijay Siva did his school proud with this. Every bit of the song reminded us of those two stalwart musicians.
R K Shriramkuar was brilliant wih his violin. The veteran Trichy Sankaran’s mridangam was every bit a work of genius. With this thani avartanam, intelligently co-opted by Ghatam Suresh, both of them created rhythmic firework on the stage of a very high order.
Vijay Siva was the forerunner among youngsters taking to full time Carnatic Music and till date he preserves the classical tradition much to his credit and has been in many ways influential in getting more youngsters to join the Carnatic Music world.
December 16, 2009
Youngsters shine bright !
...................... by Sivapriya Krishnan
1.Aswin Anand : Veena recital steeped in classicism
Veena , the divine instrument, held by Goddess Saraswati, need not fear that it will become or is becoming extinct, as long as there are young artists like Aswin Anand playing that instrument, steeped in classical tradition. His concert was held at Naada inbam on the 16 th of December 2009.
Aswin was so confident with his instrument. Melody flowed, from every fret of the instrument.
Starting with Gananayakam and brisk swaras in Rudrapriya , he went on to a soulful Purvikalyani raga and Paripurna kama of Tyagaraja in Rupaka tala.
China nadena in Kalanidhi was fast paced only to be followed by Kambodi The raga played by Aswin was out and out a gold standard Kambodi. Every bit was melodious and pure and this set a tone for Sri Subramanyaya Namaste, which was embellished and chiselled like a work of pure art.
He is currently under the tutelage of Sangita Kalanidhi Smt.R.Vedavalli and has imbibed her musical values into every bit of his Veena, in all aspects of alapana, kriti rendition and kalpana sangitam.
Charulatha Ramanujam another artist from Bangalore , on the violin reflected the same standards set by Aswin and was very supportive. Kalladiakuruchi Sivakumar was on the mridangam. His playing was smooth with apt gumkis and chaps at relevant places and flowed with the Veena.
2. Carnatica Brothers : K.N.Sashikiran and P.Ganesh
Carnatica Brothers K. N. Sashikiran and P.Ganesh, gave a vibrant concert for the Music Academy in the afternoon. The main highlight of their concert was the Ranjani mala RTP, in Adi tala, “ Sogasugsmridanga taalamu, Sriranjani raga bharitha” . The RTP was imaginatively reconstructed to suit Janaranjani and Sivaranjani. Good and intelligent kalpana swaras added to the flavour of the pallavi and they rounded it in reverse order too.
The brothers supported each other very well and effectively balanced the two voices in the upper and lower octaves complementing each other. The Pancha Raga Pancha Nadai Tillana , a composition of their brother Chitravina Ravikiran, was yet another highlight, which was handled deftly by the brothers. It was a welcome change to see a very imaginative tillana being rendered.
Idapally Ajit Kumar on the violin and Trivandrum Vaidyanathan on the mridangam supported intelligently.
It is heartening to see that , Carnatic music is indeed safe in the hands of some youngsters like these.
1.Aswin Anand : Veena recital steeped in classicism
Veena , the divine instrument, held by Goddess Saraswati, need not fear that it will become or is becoming extinct, as long as there are young artists like Aswin Anand playing that instrument, steeped in classical tradition. His concert was held at Naada inbam on the 16 th of December 2009.
Aswin was so confident with his instrument. Melody flowed, from every fret of the instrument.Starting with Gananayakam and brisk swaras in Rudrapriya , he went on to a soulful Purvikalyani raga and Paripurna kama of Tyagaraja in Rupaka tala.
China nadena in Kalanidhi was fast paced only to be followed by Kambodi The raga played by Aswin was out and out a gold standard Kambodi. Every bit was melodious and pure and this set a tone for Sri Subramanyaya Namaste, which was embellished and chiselled like a work of pure art.
He is currently under the tutelage of Sangita Kalanidhi Smt.R.Vedavalli and has imbibed her musical values into every bit of his Veena, in all aspects of alapana, kriti rendition and kalpana sangitam.
Charulatha Ramanujam another artist from Bangalore , on the violin reflected the same standards set by Aswin and was very supportive. Kalladiakuruchi Sivakumar was on the mridangam. His playing was smooth with apt gumkis and chaps at relevant places and flowed with the Veena.
2. Carnatica Brothers : K.N.Sashikiran and P.Ganesh
Carnatica Brothers K. N. Sashikiran and P.Ganesh, gave a vibrant concert for the Music Academy in the afternoon. The main highlight of their concert was the Ranjani mala RTP, in Adi tala, “ Sogasugsmridanga taalamu, Sriranjani raga bharitha” . The RTP was imaginatively reconstructed to suit Janaranjani and Sivaranjani. Good and intelligent kalpana swaras added to the flavour of the pallavi and they rounded it in reverse order too.
The brothers supported each other very well and effectively balanced the two voices in the upper and lower octaves complementing each other. The Pancha Raga Pancha Nadai Tillana , a composition of their brother Chitravina Ravikiran, was yet another highlight, which was handled deftly by the brothers. It was a welcome change to see a very imaginative tillana being rendered.
Idapally Ajit Kumar on the violin and Trivandrum Vaidyanathan on the mridangam supported intelligently.
It is heartening to see that , Carnatic music is indeed safe in the hands of some youngsters like these.
December 15, 2009
Veena Varadayya's compositions on CD
Veena Varadiah (1877-1952) had composed many varnams, Lakshana Geetas using sahitya and kritis. His disciple and son, Prof. R. V. Krishnan, has released a CD on his compositions.
Prof. R.V. Krishnan had earlier presented a lecture and demonstration with the help of Poornapragna Rao, Uttara Kumar and Shailaja at the Music Academy, Madras in 2004.
For enquiries regarding purchase of this CD, please contact Prof. R.V. Krishnan on phone no. 044-24401539
Prof. R.V. Krishnan had earlier presented a lecture and demonstration with the help of Poornapragna Rao, Uttara Kumar and Shailaja at the Music Academy, Madras in 2004.
For enquiries regarding purchase of this CD, please contact Prof. R.V. Krishnan on phone no. 044-24401539
Sangita Kalanidhi.Smt.R.Vedavalli at the Interactive Workshop by Carnatica.net
...................... by Sivapriya Krishnan
Carnatica.net is organising what they call " Nerukku Ner", an interactive workshop, in conjunction with Sri Krishna Gana Sabha and Sri Krishna Sweets. This is held in the nice, cosy mini auditorium of the sabha.
In this interactive workshop, the senior artists /gurus teach an item , as a learn along /sing along process, wherein the audience participates in the learning process.
Sangita Kalanidhi Smt.R.Vedavalli conducted the interactive workshop on Varnams on the 14th of December, 2009.
In the process of learning, she brought out the importance of gradual learning in Carnatic music, the importance of varnams in initiating the student from swarajathis to singing a composition like varnams with gamakas, karvais, jantais- dhatu swaras, and sahitya all rolled into one.
Varnams she said lays the strongest foundation for the following :
a. voice training through akaara sadhakam
b. appreciation and understanding of swara sthanas for a raga
c. fine tuning ones senses to individual sruti values and co-ordinating, swara and sahitya
d. memorising complicated and even repetetive swara patterns
e. getting a mental map of the raga in practice
f. helps the student in learning and practising tala and kalapramana variations by singing it in various nadais and eduppus
The varnam that she took for teaching was a rare Begada Ata Tala varnam, by the renowned composer-gayaka-vidwan Sri Patnam Subramania Iyer. Assiduously, she went about methodically , step by step, into initiating the audience, comprising of the old and the young alike and made all of them sing it in unison towards the end of the session.
This varnam has many a Begada swara pattern, so characteristic of a "pracheena " (old) version of the raga. She explained the beautiful use of both the Kaisiki and Kakali nishada, the "aarsha" or specially rare prayoga of "NDNS" , "SGM" , with the gandhara in the upper octave and the use of beautiful euphemistic language by the composer. She emphasised that one should learn varnams like this with a view to critically understand how ragas were used in ancient times and learn the specialties of the raga through these compositions.
She also implored that while doing so, it is best to leave the composition without trying to alter and fit any patterns to suit to a modern day view of the raga pattern; as great composers - vidwans have done their best with a full understanding of the Lakshana of the raga and only then handed it down to posterity.She gave some examples of how the Adi tala Begada varnam has undergone such changes , over time.
It was a truly enriching, magnificently educative and elevating experience to all there to have been able to learn a solid rare composition of merit, handed down to the audience through a wonderfully meritorious stalwart like Smt.R.Vedavalli.
Thanks to all the conveners and organisers of events like this, which makes the December season , a memorable and elevating experience.
Carnatica.net is organising what they call " Nerukku Ner", an interactive workshop, in conjunction with Sri Krishna Gana Sabha and Sri Krishna Sweets. This is held in the nice, cosy mini auditorium of the sabha.
In this interactive workshop, the senior artists /gurus teach an item , as a learn along /sing along process, wherein the audience participates in the learning process.
Sangita Kalanidhi Smt.R.Vedavalli conducted the interactive workshop on Varnams on the 14th of December, 2009.
In the process of learning, she brought out the importance of gradual learning in Carnatic music, the importance of varnams in initiating the student from swarajathis to singing a composition like varnams with gamakas, karvais, jantais- dhatu swaras, and sahitya all rolled into one.
Varnams she said lays the strongest foundation for the following :
a. voice training through akaara sadhakam
b. appreciation and understanding of swara sthanas for a raga
c. fine tuning ones senses to individual sruti values and co-ordinating, swara and sahitya
d. memorising complicated and even repetetive swara patterns
e. getting a mental map of the raga in practice
f. helps the student in learning and practising tala and kalapramana variations by singing it in various nadais and eduppus
The varnam that she took for teaching was a rare Begada Ata Tala varnam, by the renowned composer-gayaka-vidwan Sri Patnam Subramania Iyer. Assiduously, she went about methodically , step by step, into initiating the audience, comprising of the old and the young alike and made all of them sing it in unison towards the end of the session.
This varnam has many a Begada swara pattern, so characteristic of a "pracheena " (old) version of the raga. She explained the beautiful use of both the Kaisiki and Kakali nishada, the "aarsha" or specially rare prayoga of "NDNS" , "SGM" , with the gandhara in the upper octave and the use of beautiful euphemistic language by the composer. She emphasised that one should learn varnams like this with a view to critically understand how ragas were used in ancient times and learn the specialties of the raga through these compositions.
She also implored that while doing so, it is best to leave the composition without trying to alter and fit any patterns to suit to a modern day view of the raga pattern; as great composers - vidwans have done their best with a full understanding of the Lakshana of the raga and only then handed it down to posterity.She gave some examples of how the Adi tala Begada varnam has undergone such changes , over time.
It was a truly enriching, magnificently educative and elevating experience to all there to have been able to learn a solid rare composition of merit, handed down to the audience through a wonderfully meritorious stalwart like Smt.R.Vedavalli.
Thanks to all the conveners and organisers of events like this, which makes the December season , a memorable and elevating experience.
December 14, 2009
The four 'Swamis' at Narada Gana Sabha!
Iyal-Isai-Nataka Vizha is what Narada Gana Sabha calls its December Music, dance and drama festival. The inauguration of this year's festival happened on Dec. 13.
A digitally lit arch with a giant image of a flute in 3D effect adorned the entrance like a temple festival. And inside the hall on the dias were a few swami's among the artistes.
The awardees of the evening were Veena vidushi R. S. Jayalakshmi, violin vidwan M. S. Gopalakrishnan and Nadaswaram artiste MPN Ponnusamy of the popular duo MPN Sethuraman and MPN Ponnusamy, who played nadaswaram for a few films including Thillana Mohanabal.
On the award ceremony, an interesting combination on the stage is beloew:
R. Krishnaswamyof Narada Gana Sabha, V. Gopalaswami, former Chief Election Commissioner, MPN Ponnuswamy and senior vidwan P.S. Narayanaswamy!
December 13, 2009
Usha Padmanabhan - classical and neat presentation
Usha Padmanabhan performed for SAFE on the 9th of December, 2009 at Sastry Hall Mylapore.
Her concert was sedate and sound with no add on frills. A neat presentation, full of raga bhava and complete adherenece to classicism was what she brought to the table.
Kamalamba Samrakshatumam in Anadabhairavi, Varugirano vaarano in Kannada Soundararajam in Brindavana Saranga all fitted into the above genre of singing. One only felt that a little more of joy and enthusiasm could have been shown in Brindavana Saranga and Kannada.
Usha came alive with her Kamboji raga and Sri Raghuvara Aprameya with neraval in the same line followed with swaras; which brought out her imagination, crisp manodharma and classicism to the best.
The concert was concluded with Kandena Kalasinali- Purandara dasa in ragamalika and Entati kuluke , a Javali in Kalyani.
Melakaveri Tyagarajan did his best in supporting her with the violin and Trivandrum Vaidyanathan excelled in pithy, short and yet effective kanakku passages in his mridangam.
A slightly more co-operative voice and a better acoustic system could have uplifted this concert better.
What really is disturbing is the preparations for the next concert - people, artists and others walking up and down, talking , discussing, boxes being opened right in front of the stage, mikes being set etc, thereby making the whole atmosphere noisy and disturbed taking away from the artist on stage.
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