Concert Reviews

[Oldposts]

Topic suggested by Geetha (ygeetha@hotmail.com) on Tue Sep 8 09:06:14 .


It will be nice for us all to discuss the various Carnatic concerts we attend during the year. I feel that it's a good idea to categorise this by year, starting with 1998, so that we can keep track of what, who saw in which year.




Hindu Friday Edition Concert Reviews: http://www.hinduonnet.com/fr/index.htm

[Oldposts]

Old responses (http://forumhub.com/indcmusic/27940.31413.09.06.14.html)

[Oldposts]

raphaelle,

Tyagaraja Music festival/Aradhana. This eight day festival is held every year in January at Thiruvaiyaru, 13 Kms away from Tanjavur.
Thiruvaiyaru is the palce where the great saint/musician Thyagaraja lived and attained samadhi.

[Oldposts]

Thank you very much Meena, I'd like to discuss more precisely about it with you. Could you please give me your address ?

[Oldposts]

Raphaelle,
I do not know from where you are posting this. Anyway, why do you want to travel such a long distance when more musicians congregate at Cleveland every year for paying homage to Saint Thyagaraja for the identical festival/aradhana? Just kidding...

[Oldposts]

Has any one ever been to a Ravi Shanker concert. please note in your respone on this page don't email me.
Thanks

[Oldposts]

Hi,

You can visit the new website on CHEMBAI at http://www.chembai.com (http://www.chembai.com
)

[Oldposts]

*=Alapana, **violin alap. too $=Katpana Swaram
%=Nereval #=Tanam&violin @=Tani

Nithyasree
-Concert Review 2
Date-30/12/00
Mylapore Fine Arts

*Thanx to Eshakti.com & Raga Sudha Rasa MSN GROUP OWNER T.M.Sivaraman for allowing me to first listen to this so i could make this review. This is can be listened to in T.M.Sivaraman's Yahoo! Briefcase, & I THINK it's called "nityashree.ram", otherwise you can listen to it at "Eshakti.com"
- Nishanth*

*Varnam (Thama Sim) - Asaveri
*Sri Vignarajam Bhaje - Gambheeranattai
*Smarane Sukhamu$ - Janaranjani
**Kola Mayil - Chalaga Madhyamam
Maa Emmaan
Meevalla Guna$ - Kapi
*Ardhaneaareeshwaram - Kumudhakriya
**Dorakuna-%$@ - Bilahari
*#Nenje%$ (Ragamalika Swaram) - Jaganamohini
Ragathil Sirandha - Ragamalika
*Kayil Kuzhaludan - Moharanjani
*Eppadi Paadinaro

I managed to get a copy of this concert (apparently was a Mylapore Fine Arts Concert). It was also apparently on the 30th of December, 2000. It was a pretty good concert, a bit for everyone to enjoy. When i say "little alapana introduction", i mean it was short so the violin wasn't creating alapana as such alone.

Nithyasree started off with aa little alapana introduction (about 40 seconds long) in Asaveri before moving onto the Asaveri Varnam ("Thama Sim") itself. (Altogether: 04:48)
The next song also had the little alapana introduction (about 50 seconds long). This next song was Oothukadu Venkatasubbiyer's Sanskrit Krithi; "Sri Vignarajam Bhaje" in Gambheeranattai. Sung pretty well. (Altogether: 06.32)

The next one started getting into the kutcheri mood a little, by have katpana swarams (about 4.5 minutes worth), but the it was again a little alapana introduction (about 40 seconds). This krithi was Thyagaraja's "Smarane Sukhamu" in Janaranjani. The katpana swaras were done quite effortlessly, and so was so far a nice start. (Altogether: 09.08)

Then came the alapana that some were waiting for, quite long (12.5 minutes vocal and 3 minutes violin). This song was the tamil composition Kola Mayil in Chalaga Madhymam Raga (reference from the "Sukham" CD by Nithyasree). This was quite nice, and was soothing. Though Nithyasree does sometimes lose control of her voice, no one would think so after hearing this song rendered so beautifully. (Altogether: 23.54)

Afterwards came the song "Maa Emmaan". Not so flashy, but ok. (Altogether: 07.26)
Then came Thyagaraja's "Meevalla Guna" in Kaapi raga. This was sung quite fast, so it it didn't have the full extent of bhava, but was quite reasonable. The katpana swaras (a bit over 3 minutes) were quite fast too. (Altogether: 08.25)

Another little alapana introduction (2 minutes) followed by the slow krithi Ardhaneaareeshwaram in Ragam Kumudhakriya (with reference to S.Sowmya's concert the year before when she announced the Raagaa, and was sung in an album by TNS). This wasn't bad, but was full of bhava. (Altogether: 07.50)

Then came the huge krithi, everyone knew it would come some time during the concert. This included (all include vocal and violin) alapana (13.5 minutes vocal and 5.5 minutes violin), nereval (>5 minutes), katpana swarams (7 minutes) and thani avarthanam (36 minutes). Alapana was ok by the vocalist and violinist. The nereval could have been improved a little, the katpana swarams were ok and the thani avarthanam was quite impressive. The song itself was Thyagaraja's Dorakuna in Bilahari Ragam. (Altogether: 61:01)

After this was the DKP's/DKJ's famous Ragam Thanam Pallavi in Jaganmohini. This was done extremely well. The Alapana was altogether 12 minutes, this was ok. Then the Thanam was done quite professionally and well (and was about 7 minutes or more). It gradually grew faster and was one of the highlights of the concert. D.K. Pattammal and D.K. Jayaraman had sung this and so was know to a few. The pallavi was "Nenje Ninai Anbe Thudi Nerinil Guruparanmel, Anjaada Iru Nam Paavangal Panjaai Parandidum Agayaal. The pallavi of any RTP is usually nereval and it was the same for this one. Then katpana swarams are usually expected, but Nithyasree is famous for a set of special swaras called "Ragamalikai Swarams" (it's unclear whether the audience expected this or not). This is where Nithyasree doesn't stick to the original raagam of the pallavi and after each set of katpana swaras, changes the Raga of the katpana swarams and also the pallavi. DKP and DKJ had also done this. Though i never tried recognising each raga, it was sung very well and was (Altogether: 46.27) and was most certainly a huge highlight of the concert. It is what makes Nithyasree's concerts so unique, almost always she provides one RTP and when she does, usually imports ragamalika swarams.

This was followed by a favourite of everyone "Raagaththil Sirandha Raagamedhu" composed by Kadaloor Subramaniam. This raagamalika piece was taken a little faster than the one in the "Ragam 1 CD" and was sung more like a Tukkada. Nevertheless it was good (still a highlight). I was only disappointed as she didn't include all the ragas in the song and skipped 2 charanams, but still ok i guess. It's like Nithyasree's trademark in each concert and she always finishes off with it because either way, it will be requested. Everyone thought the concert would end, but there were two requests in the queue, so the concert didn't finish there. (Altogether: 07:28)
This next song was from a recent album of hers ("Kuzhaloodhum Kannan"). It began with a 1 minute little alapana introduction. It was "Kayil Kuzhaludan", and she made the effort of announcing this raga at the end of the song, "Moharanjani". This was quite a nice song and was another highlight. (Altogether: 04:43)

Then the song DKP was famous for, Suddhanandha Bharathi's Eppadi Paadinaro. This was another highlight, but far more than just anything. Nithyasree didn't sing it in a common way like in the Eppadi Padinaro Album, she changed her voice a little, and made it sound like she was quite a bit older, so it seemed. Pattammal's album where she sings Eppadi Paadinaro starts off with a certain alapana "naaaaa, ra a a a a, naaaaa a na" with certain swaras and assaivus (just listen to it, it feels so weird to try and write the exact alap!). Nithyasree's imitation was brilliant and sounded very much the same, except her pitch was a little higher (Alapana Time: approx. 30 secs) . Then the krithi itself was quite enchanting. This was a nice finish to the concert, singing what her grandmother & other guru-D.K. Pattammal was famous for. (Altogether: 04:25)

Overall the concert was quite good, so my advice, if she is having a concert in the same country/state/city as where you live, don't miss it. The duration of this concert was 193 minutes, or 3 hours and 13 minutes (Approximately).


CONCERT REVIEW COPYRIGHT NISHANTH (mailto:nishanthanoyomous@yahoo.com.au)
DEDICATED AS A GIFT FOR THE INTERNET (MSN) GROUP- Raga Sudha Rasa
Formerly - (Yahoo!) Group Rasikapriyan
Any corrections/other information is welcome.
SHUBHAM

[Oldposts]

I strongly recommend everyone to visit the following site :

http://www.ecse.rpi.edu/Homepages/shivkuma/personal/music/index.html (http://www.ecse.rpi.edu/Homepages/shivkuma/personal/music/index.html
)

This site has more than 200+ downloadable Carnatic Krithis and Varnams Audio Archive
all arranged in alphabetic order in multiple formats with notations and meanings.

[Oldposts]

Visit http://carnatic.geetham.net/

or

http://www.geetham.net

It has lots of tamil & carnaic songs in mp3 format.

You will have to register in the site first. Its free.

Namakam and Chamakam will be update soon.

cheers,

[Oldposts]

With reference to my review on Nithyasree's concert recording: it is Mayamman in Ahiri (Syama Sastri's Krithi) and Eppadi Paadinaro is in Karnataka Devagandhari.

With reference to the Bharatha Natya/Vocal concert of Padma Subramaniam, the Navaragamalika consisted of the following ragas (these ragas names were also incorporated in the varnam itself.):
Thodi, Mohanam, Vasantha, Devamanohari, Shankarabharanam, Saarangaa, Kaanadaa, Aarabhi & Bhairavi.

[Oldposts]

where can I get raga bageshree and pahadi on net?

[Oldposts]

Raag Bageshree - This raga with a sad and light emotions associated is available to download from many sites like musicindiaonline. For live concert recordings I found with search grand recordings of jitendra gore of samvadini solo. I found some of the clips I want at http://www.jitendragore.com or http://gore-jitendra.tripod.com

[RR]

1.
http://www.hindu.com/fr/2005/02/18/stories/2005021800570200.htm (Mandolin duo)

2.
http://www.hindu.com/fr/2005/02/18/stories/2005021800560200.htm (aruna sairam)

3. http://www.hindu.com/fr/2005/02/18/stories/2005021801970400.htm (Bombay jayshri - SVK's review)

4. http://www.hindu.com/fr/2005/02/18/stories/2005021802810300.htm (RK Srikantan)

5. http://www.hindu.com/fr/2005/02/18/stories/2005021801150200.htm (Pandit Channulal Mishra - A good review!)

[RR]

1. Priya sisters: http://www.hindu.com/fr/2005/03/04/stories/2005030401250200.htm

"Arul Tara Venum" of Kavi Kunjara Dasan, in the raga Rasikapriya enthralled the rasikas. The presentation of "Devadi Deva", a composition of Mysore Vasudevacharya, in the raga Sunadavinodini..

Are these two compositions available online?

2. Prabha Atre (Hindustani) :
http://www.hindu.com/fr/2005/03/04/stories/2005030401230200.htm

3. Brief reviews of concerts by Shoba mudgal,Kadri,BMK,etc.
http://www.hindu.com/fr/2005/03/04/stories/2005030401190200.htm

4. TNS,Hyderabad sisters: http://www.hindu.com/fr/2005/03/04/stories/2005030401520300.htm

5. Ajoy chakrabarty,Girija devi,etc:
http://www.hindu.com/fr/2005/03/04/stories/2005030401510300.htm

[RR]

Hindustani conerts by disciples of stalwarts: http://www.hindu.com/fr/2005/03/11/stories/2005031102140300.htm

Sanjay subramanium: http://www.hindu.com/fr/2005/03/11/stories/2005031101930400.htm (SVK's)

SVK writes:
No matter how shallow the pretended sincerity of homage to the saint composer either in the city or at Tiruvaiyaru, no matter how musicians mangle and mutilate his sahityas imposing on them their over-emphatic ego-centric exposition.

Sri Tyagaraja's spell of bhakti alone sustains his hold on the minds of rasikas, though completely absent in the consideration of musicians. The truth is that all the secrets of sangita's beauty is locked up in his songs hidden and waiting to be discovered only through veneration of the Bard of Tiruvaiyaru.

Arohanas, avarohanas, talas, neravals and kalpana swaraprastharas are all in effect blatantly ritualistic; the essence is bhakti and santham. Interpretation of Sri Tyagaraja's kirtanas based on their bhakti content is far superior to the kind of ritualistic piety that musicians frenetically explore. The approach of some artistes makes a knowledgeable rasika wonder whether they assail some of the cardinal ideals enshrined in Carnatic music's culture.

---

Hyderabad sisters, Maharajapuram Ramachandran: http://www.hindu.com/fr/2005/03/11/stories/2005031101490200.htm

Kunnakkudi's 'novel' concert: http://www.hindu.com/fr/2005/03/11/stories/2005031102420200.htm

KJY Yesudas:
http://www.hindu.com/fr/2005/03/11/stories/2005031102520300.htm

Jesudas sprang a few surprises in his concert. He gave rasikas food for thought with his version of the raga `Madangagamini.' `Madangamini' is Natakapriya sans rishabha. The alapana was fine, and the latent beauty of this raga, relatively unheard of, became evident. The kriti `Gananayaka Thunai Seyyum... ' was sung with finesse.

---

[RR]

Sanjay Subramaniam,Sudha Ragunathan,Bombay Jayshree: http://www.hindu.com/fr/2005/03/18/stories/2005031801990200.htm

Various Dhrupad artists: http://www.hindu.com/fr/2005/03/18/stories/2005031802060300.htm

Aruna Sairam: http://www.hindu.com/fr/2005/03/18/stories/2005031801560300.htm

Madurai GS Mani: http://www.hindu.com/fr/2005/03/18/stories/2005031802580300.htm (with short bio)

Various: http://www.hindu.com/fr/2005/03/18/stories/2005031801520400.htm (SVK's)

[RR]

Dedicated to Narayana Theertha: http://www.hindu.com/fr/2005/03/25/stories/2005032501870400.htm

Viswa Mohan bhatt & Others: http://www.hindu.com/fr/2005/03/25/stories/2005032500880300.htm

Lec-dems on allied ragas, mudras, etc.: http://www.hindu.com/fr/2005/03/25/stories/2005032500210200.htm

[Lakshman]

RR:
dEvAdi dEva audio is available at coolgoose.com

[viggop]

http://www.kutcheribuzz.com/news/20051118/dikshithar.asp

[viggop]

http://classical-music-review.blogspot.com/2005/12/2005.html

http://classical-music-review.blogspot.com/2005/12/blog-post.html

[viggop]

http://classical-music-review.blogspot.com/2005/12/blog-post_22.html

[viggop]

http://classical-music-review.blogspot.com/2005/12/blog-post_27.html

[viggop]

TNS COncerts this music season(2006)
==========================================

29-12-2005 - at Naradaganasabha

The concert started with a kriti in Ritigoula 'Satguru swamiki ' which was followed by 'Kanakangakaa ' in raga kanakangi by Koteesvara aiyar. Then came the sweet sound of the swan, yes, the raga Hamsanadam which was delineated in an elaborate manner in the fantastic style of TNS. The song was Kalyanarama, a composition of Uthukkadu Venakatasubbaiyar.the svara on Hamsanadam was fabulous, a real array of rajahamsas. After a short respite in 'Kamalambasamrakshathu ' in Anandabhairavi TNS launched a magnificent Abheri with grahabhedha , a usual fare in his concerts, and started ' Nagumomu' the kriti which is a perennial source of delight to his rasikas because it never satiates no matter how many times one listens to it. The svaras sounded like a bheri nadham, a-bheri, from a divine drum. The concert ended with the sloka'Vaidehisahitham in Maund followed by ' He dhayaaluvaa ' in the same raga.

28-12-2005 at Kapali FineArts.

TNS started the concert with varnam in raga Panthuvarali which was followed by the kriti ' sarasasamadhana.' Then came `Jagadhanandhakaraka ' in Nattai. Madhyamavathi raga alapa preceded the kriti of Thyagaraja, `Ramakathasudha,' a beautiful song beautifully rendered. The Ragam Thanam Pallavi was in Simhendramadhyamam, the pallavi containing the word ' Raghavasimha ' indicative of the raga. The svaraprasthara was a ragamalika including the ragas Marubehag and Ahiri and of course Kapi and was delicious and delightful, and the Simhendramadhyama was really a supreme king of lions, Simhendra-utthama parading the hall with the gait of a lion. The audience consisted of knowledgeable connoisseurs of music, what you could call a quality audience, and, the concert was well applauded.

26-12-2005 - at Sri Ranjani fine arts.

The organisor being Sri Ranjani Fine Arts TNS chose to sing Ranjani as well as Sriranjani as expected of him. If Ranjani was a ranjani indeed, colourful and delightful, the Sriranjani was even more enriched. The songs chosen were Kaadhiruvenu in Ranjani by Ambujam Krishna and Bhuvinidasuda in Sriranjani of Thyagaraja. Next was Ambha Neelaayuathaakshi in Neelaambhari. The highlight of the day was the ragam thanam pallavi in Subhapanthuvarali which was a shubha panthuvarali That day being the day of Tsunami a year ago, as the secretary of Sriranjani mentioned, the concert and the RTP in Subha panthuvarali especially, was a tsunami in its mountainous waves of raga and svara, while, as TNS remarked that carnatic music is always Sunami as the musician sings only the nama of the Lord, the Su-Nami, the concert was a Su-nami which swept the rasikas off their feet only to take them to the realms of joy, constructive and conducive to wellbeing and not destructive like the other.

>>

> >

> >

25-12-2005 morning at Tharangini - RKSwami hall - evening at Music academy.

TNS rasikas were overjoyed to hear two concerts of his on the same day. The morning concert started with 'Thappulanniyu' in Bowli appropriate for a morning concert. The raga Bilaharii followed with its usual grandeur and the Kriti was 'Sri chaamundeesvari to the surprise of those who expected Paridana or Kanukondini. Well, TNS is full of surprises! The main piece was however 'Thanayunibrova ' in Bhairavi and the glory of the bhairavi that emerged and the svaras that followed is to be heard to be believed.

The svaraprasthara in Bhairavi was unique and glorious and when TNS sang svaras in such a manner that the svaras 'pa da pa' occurring often a rasika exclaimed that it was like hearing the Padukasahasra of Vedantadesika, who is famous for packing so much meaning in a few syllables, sometimes even one or two, repeated in succession , which give different meanings with different derivations. The skill of TNS is also similar in as much as he separates and combines the svaras with different laya combinations.So the compliment is well deserved.

After that TNS sang 'Vadanadhyuthijithasoma ' the panthuvarali utsavasampradayakriti of Thyagaraja which was as usual full of delicate grace in the way he alone can sing that kriti. The thillana in Huseni , a composition of TNS himself was different in its mellowed pace nevertheless mellifluous in grace and gave a deceptive idea to the audience that the concert is going to end with that. But no! TNS never fails to surprise his listeners!

He started the all time favourite ' sayamkale vananthe in ragamalika which is a perennial source of delight to his rasikas. The greatest surprise of all came when he finished the ragamalika in sindhubhairavi and sang the thillana in the same raga! The audience were thrilled to be treated to such a fare with two thillanas to boot. The concert was a wonderful and fulfilling feast of the morning.

In the evening in the music academy it was a different feast altogether. TNS started with Begada varnam and it was followed by 'Evvare Ramayya ' in Gangeyabhooshani. Next was ' Namoralakimpave ' in Yadukulakamboji. TNS started Thodi keeping the rasikas guessing as to which kriti will follow and it was 'Emanimadaladi.' The Thodi was beautiful as ever but the Hameerkalyani Ragam Thanam Pallavi was the show-stealer. TNS sang the raga as he alone could and it deserved to be called 'Amir' kalyani being rich in nuances well displayed and the Pallavi ' Maamaayan Vaikundhan sreemannarayananan ' was brilliant and the svaras that followed were gems, really rich in their splendour.

The end part was the rasika's delight, the sloka 'Sayamkale ' the beauty of which should be heard to be understood. The audience went out with joy and contentment and the general comment from all and sundry was 'what a mastery of music,' barring perhaps some critics, not all, who cannot be a critic and a rasika a the same time, which makes one wonder whether the terms rasika and critic are mutually exclusive.





24-12-2005 at lace>Krishnalace> Gana Sabha - veena concert

It was refreshing to hear TNS playing veena after a long time.The concert started with 'Vandanamu raghunanadana' in Sahana followed by Jagadanandakaraka. The special feature in his playing pancharatna kriti is that you can distinguish the svara and sahitya because of the gayaka style.in veena. Next came the rasikas' favourite,' Meenakshi me mudham ' in Gamanasrama played absolutely without srama and full of nuances of gamaka. After a racy 'Sarasa sama dana,' in Kapinarayani ' Marivere ' in Anandabhairavi was a precedent to even more melodious ' Ksheerasagara ' in Devagandhari, after which the rasikas were treated to a wonderful Subhapanthuvarali Ragam Thanam, the latter being ragamalika which was exquisite. TNS played the Thyagarajakriti ' Ennaallu oorage ' in Subhapanthuvarali and the tailpieces were ' Chinnanchirukiliye' and Harigunagavatha in Marubehag.

23-12-2005 at lace>Krishnalace> Gana Sabha

It was a fabulous concert TNS was flanked by Tiruchi Sankaran on Mridangam, Karthik on ghatam and Mysore Manjunath on violin. It was a great teamwork by a grand team and the concert was a glorious success. TNS started with the Yadukulakamboji kriti of Thyagaraja , 'Hechcharigagaarara' as if to welcome the royal visitor who followed , namely , 'Srirajagopala ' in Saveri. It was a regal Saveri and the Bhavapriya that came next was truly in the seshagopalanic style.

The topping piece was Kharaharapriya , the raga that took everyone through the royal path. Yes, the kriti was ' Sakkani rajamargamu' to the absolute delight of the rasikas. The kriti was embellished with the percussionic decoration by Sankaran and Karthik. 'Dunmargacharaadhamulanu' in ranjani was ranjaka , pleasing and the surprise that was in store for the rasikas was the Ragam, Thanam, Pallavi in Bhagesri with the famous Pallavi of TNS, ' somasekarapriyavaamabhagesri.' Words cannot describe the glory of the RTP .

The pallavis of TNS are always interesting as he somehow contrives to include the name of the raga in the words of the pallavi in a meaningful and charming manner. The Thani avarthanam was as to be expected with such stalwarts of percussion .The concert was on the whole a BhaRaTham, rich in bhava, raga and thala skilfully rendered as only TNS could. TNS Krishna gave able vocal support and Mysore Manjunath accompnied skilfully on the violin.



22-12-2005 - at Lakshmansruti - Kamaraj memorial

TNS started the concert with a krithi in Begada 'abhimanamunu ' which was followed by Anandabhairavi raga alapana. Anandabhairavi was true to its name, creating ananda in the rasika. He sang the Shyamasastri krithi 'Marivere ' with all its usual charm. This was followed by an exaustive alapa of Hemavathi. The raga and the kriti 'Sri Kanthimatheem ' were shining with golden hue (hemakanthI). The viruththam 'pullinvai pilandhittai ' was a ragamalika ending in Hamsanandi which preceded the thillana in the same raga. The concert in Lakshmanasruti was lakshmisampannasruti, gold to be treasured.

[viggop]

[tscii:f809489414]1-1-2006 at Tamizisai- ANNAMALAI MANRAM

The year started gloriously with the Pasurams of Mudalazvars. TNS usually gives thematic concerts in Tamizisai every year. He has given conceerts on Kambha Ramayana, Thayumanavar padalgal, Arutpa of Vallalar and Tiruppugaz in the last few years and several other compositons earlier. This year he chose the pasurams of poigai Azvar, Bhoothathazvar and Peyazvar, who were the first among the azvars and hence were called Mudhalaazvars. The story goes that all the three were taking shelter in a small place where the Lord Himself came and gave them His darsan. TNS brought this out before our eyes through his music.
TNS, after an inspiring short speech on the devotional aspect of the compositions started with’ Pallandu pallandu ‘ in a traditional manner and then sang the invocatory verses on the three azvars by Mudaliyandan and then proceeded to sing the first pasuram of each of the three, all set in nattai raga, thus setting the scene for devotional fervour. The first pasurams are really beautiful in their meaning which was vividly portrayed by the music and one could feel the emotional content. We had a glimpse of the Lord in the lamp lit by the music in keeping with the words of the azvars, ‘Vaiyam thagaliya.varkadale neyyaga veyyakkadiron vilakkaga etc. and felt the meaning of the words thirukkanden, ponmeni kanden.
He selected sets of three pasurams, consisting of the compositions of all the three, set in ragas various ragas which included the piece in Ahiri, ‘Parkadalum venkatamum’ which is one of the favourites of his rasikas. After leading the audience gradually into the sanctum sanctorum through the pasurams steeped in devotion and soaked in the essence of the beautiful ragas TNS brought everybody to the divine presence of the Lord , the glimpse of whom was obtained earlier, in the pasuram’namam pala solli narayana’ which was sung in Bhairavi with niraval svaram . We witnessed the whole thirumanjanam of the Lord performed with the raga alapana and svaraprasthara , the madhyamakala svara serving as the sahasranama archana. The pasuram ‘adivannam thamarai’ sung as a viruththam before ‘Namam pala solli’ which was set to thala, presented the scene of the lotus rising from its roots and blossoming out and the Pasuram ended aptly with the word ‘azagu’ The beauty of the music depicted in the pasuram was in keeping with that of the lyric and was a fitting prologue to the niraval at ‘karumamugilvannan.’ The audience had the elated feeling of having visited the temple and witnessed the thirumanjanam of the Lord. What an experience on the first day of the year!


31-12-2005- Nadhabrahmam- Bharathiyavidyabhavan
The concertbegan with varnam in Mohanam followed by ‘ragaratnamaloikache’ in raga Reethigoula.Next was ‘Nayakanai ninra ‘, tiruppavai in the raga Nayaki. The main piece was ‘Sarojadalanethtri’ in Snkarabharanam which was preceded by ‘Samajavaragamana’ in raga Hindolam which was beautiful .The Sankarabharanam had all the usual embellishments in which TNS was ably aided by TNASKrishna. The concert was short and sweet and ended with ashtapadi ‘chandanacharchitha’ in Behag preceded by a padham in Saveri by Kshethrajna.

30-12-2005 at woodlands – felicitation of Thiruchi Sankaran.- MORNING
TNS gave a concert after the felicitation function. The speech of TNS felicitating Thiruchi Sankaran and the other awardees, one of them being his own disciple Madurai Sundar, was as excellent as his music that followed. A lunch was announced after the concert but the rasikas felt ‘Do we need food after this?’ as they were filled with the delicious music. It was short but sweet.
Beginning with Sriragvarnam TNS launched on to ‘Telisirama ‘ Poornachandrika and ‘Nenarunchinanu’ in Malavi. I say ‘launched’; because they were forceful like rockets.
Next came a big surprise. TNS sang ‘Nadhathanumanisam’ in Chittharanjani raga, with suddhanishadham, as janya of19th melakartaraga Jankaradwani instead of the usual form, sung as janya of Kharaharapriya. He said that it was the old tradition and later it was changed, may be due to the fact that the song is about Lord Siva who is kharaharapriya, dear to Rama , the killer of khara and because it contains the words samavedasaram , and the samaveda consists of the notes of Kharaharapriya. However the raga as sung by him was indeed chiththaranjani when listened with an open mind.
The Hamsanadham that followed was also quaint because it was the version found in old patantharam like that of Harikesanallur Muthiah Bhagavathar in which it is sung as a janya of Neethimathi with shatsruthi dhaivatham. TNS sang the kriti composed in this form of the raga by Muthiah Bhagavathar.knowmn as Sivasthothrakriti,’ Krpanidhe krpajaladhe.’
TNS then sang ‘Karunajuchuninu in Sriragam a Shyamasasthri kriti and svaraprasthara was, as to be expected with such audience, layapradhana and the thani by Guruvayur Durai was also suited to the mood of the day. When Guruvayur Durai was about to finish his korvai TNS joined with him and sang it together which elicited the appreciative comment from Durai that the korvai which he prepared specially for the day was understood by TNS in a split-second and he sang it and he said that there can be one and only Seshagopalan who can do that.
TNS finished the concert with the thillana in Huseni, his own composition and tiruppugaz.
It is said of the Sanskrit work ‘Kadhambhari’ of Bhattabhana that ’Kadhambhari rasajnanaam aharopi na rochathe.’ It means that those who have tasted the Kadhambhari do not care for food even . This exactly described the mood of the rasikas on that day.
30-12-2005 – at Valayappatti ‘s Nadhalaya – EVENING
The concert started with ‘Vallabhanayakasya in Begada, followed by ‘Kanchadhalaayathaakshi’ in Kamalamanohari. Then came Natakapriya raga with the song ‘Thaye undhan,’ followed by ‘Rajarajarajithe’ in raga Niroshta by Muthiah Bhagavathar. So far it has been an unusual fare consisting of quaint ragas. Then came Bhairavi in all its grandeur. Which made the rasikas exclaim’what a Bhairavi.’ In fact one musician cum rasika from the audience went to TNS after the alapana and said that no one can sing such a Bhairavi except TNS. The song was ‘Kamakshi ambha’ of Shyamasasthri during the end part of which Valayappatti walked in and after finishing the song TNS left it to the percussionists to play Thaniavarthanam. Manjeri Esvaran was on mridangam and K.V.Gopalakrishnan on kanjira. Of course MChandrasekharan played on the violin both in the morning and the evening. The Thani was well appreciated especially by Valayappatti and the young Gopala Krishnan drew admiration from the other artistes on the stage by his excellent and enthusiastic performance. It was a delight to watch him. Some of the rasikas may have wondered why TNS left it for Thani without singing neraval svaram. But no! He started the neraval after the Thani He weaved a canopy for Goddess Kamakshi with his svaras which was laya pradhana as in the morning and seated Her on the throne erected earlier with his alapana . TNS sang Bhairavi earlier in his concert in Tarangini on 25th which was a treasure for the rasikas and Bhairavi on this day was a bounty , a bonanza which made the rasikas feel like billionaires.
The concert ended with the viruttham ‘pullinvai pilandhittai’ a ragamalika
[/tscii:f809489414]

[R]

Hi friends,

Is there any site to know of upcoming carnatic music concerts in NJ, USA?? If so, pls do advise me..

Rgds.

[rajraj]

Rama,
India Abroad lists events in different states. You can visit the link below and look for events in NJ. The search feature is at the bottom of the panel displayed


http://www.rediff.com/events/

[rajraj]

TNS performs at Bharath Kalachar on Dec 28.2006



http://sarojaramanujam.sulekha.com/blog/post/2007/01/review-of-the-concerts-of-tnseshagopalan.htm

[sarojaramanujam]

Ayodhya Mandapam 4-4-2007

.Review of the concert ofTNS in Ayodhya mandapam on 4-4-2007

The concert was lifted to the skies like a jet from the start.. Every time TNS seemed to reach a height which looks as though he has reached the zenith only to find that he can go even higher in his next concert.

Yesterday everyone of his rendering was a diamond that decorated the crown of this gayakasimhaendra while the simmendramadhyama was truly a simha nadha shining as the gaykasimhendra kireeta madhyamani.

When he started the sahana in the beginning it was not quite obvious as to what was going to follow though when he started 'vandanamu,' one could see that it could not have been anything else. The svara had all the usual beauty and the ganavaridhi krthi 'dhayajoochuda,' has all the charm one could expect from him.

Next came a fantastic rendering of 'thanavari' in Begada, a very racy pace and with svaras streaming in a marvellous flow, which was a wonder to behold and TNS was ably assisted by SDSridhar and KVPrasad making it a real treat for the rasikas.

The same fare was presented later in 'Brovabharama,' the two together constituting the sentiment of closeness and familiarity which Thyagaraja must have displayed towards Rama.

All concerts of TNS possess a thematic undertone sometimes explicit and sometimes implied and this was no exception.Starting from vandanamu, offering salutations to Rama, the explicit theme being about Rama but the implying theme was entreaty after salutation, by 'dayajoochuda,'the tone changing to a demanding one in the ,'Thanavarithana' and the next was again plaintive varali, ,'Etijanma' in which the raga was exquisitely rendered that took the rasikas to a different realm altogether and hearing the krthi one could definitely feel that 'ETijanmamithi hA,' to not to be blessed to enjoy and appreciate such music.

TNS sang the svaras at 'sAgaraSayanuni,' ending each phrase in thArashadjam thus making it a svarakshara. The combination of svaras were something fabulous and in keeping with the mood of the song.The word 'vegame' was sung in a picturesque manner in different ways to depict the haste expressed by Thyagaraja to see the Lord in ksheerasagara and we could also see the speed of the Lord who Himself hastened to come to the devotee as much as the latter was in a hurry to see Him.

In BrovabhArama again there was the demanding attirtude of Thyagaraja portrayed by the way of rendering and the svaras looked as though to illustrate the miracle of the Lord having all the worlds in His udhara, 'andakotla kukshi neeyinchukoledha,' such was the magic with laya showing all the possible permutations and combinations in svaras.

Next was the Bindhumalini krthi 'entha muddho entha sogasO,' started with anupallavi. This piece is always a sudha bindhumalini with TNS. . Carrying on the theme mentioned above, one can imagine that the Lord has heard the cry of the devotee and has presented Himself and the beauty and grace of His form is described therein. this rasika could not help feeling the truth of the words, 'satthabhAvgavathavesulairi thutthapAlaruchi theliyusAmyamE,' that is unless the musician feels the sentiment expressed by the song and sings with the same me divine experience felt by the composer it is similar to expecting the vessel to know the taste of milk it contains.

The main item of the day was RTP in simhendramadhyamam and as I already mentioned it was a simha nadham. The pallavi 'raghupathe rAmachandra rAghavasimha dhayAnidhe justified the theme and depicted the joy of the devotee on seeing the Lord in front and praising Him.

Words fail me to express the RTP. Rama was said to show Narasimha in him once on the battle field to reassure Sugriva. I could only experience the same on hearing the simhendramadhyamam yesterday. Rama changed into Narasimha and it was the roar of the Narsimha coming out of the pillar and blessing His devotees. Such was the raga and the svara that flowed from TNS.

I express what I felt and surely it would also be the feeling of all his ardent rasikas, though in a different manner.

After a brilliant thani by KVPrasad and TVVasan the concert
ended with 'he dhayAluva,,' and ,Ramamanthravajapiso.

It took us, me and my friend who is also an ardent rasika. nearly an hour after the concert to comeback to earth from the heavenly region to which we were transported and it is a miracle we reached home safely without losing our direction!

[sasibaloo]

this time thyagaraja aradhana at cleaveland was unique since the organisers arranged for the competion in whistling too. young narain subramaniyam an upcoming artiste performed well . his sankarabaranam kriti of thyagraja[enthuku pethala] was nice and he bagged the special award for whistling. this reminds me of GNB's desciple thanjavur s. kalyanaraman's full length concert on whistling few years back.

[padmanabha]

yesterday i attended the concert of ms devi at the chembai trust, sreevaraham.
she handled all songs mercilessly. hameerkalyani was brutally handled. she rendered "gaangeya vasanadhara padmanabha" ..she yelled padmanabha....
music sans bhava..
horrible. there were hardly 25 people. i could not tolerate and hence left the venue.
survival of the fittest

[padmanabha]

[tscii:3309779a91]T m krishna gave an atrocious concert on the concluding day of the chembai sangeetholsavam 2007.
People gathered to hear him. Before the commencement of the concert, the small hall was full. And music lovers were patiently waiting outside.
He positioned on the stage by 6 45 and took 15 minutes to tune the tanpura. He looked as if he was in an ambiguous state of mind-whether to begin or not.
Jora Azhuthaar.
Selection of ragas supplemented by chauka kaalam were horrible. Bhaavam suddama ellai. Kadanukku vanthu paadittu ponar. Evallavu mosam endru ethirpaarkkavillai. T M K concert enna veettula erukkalam! Vera nalla cutcheri tape pottu ketkkalaam.
TMK,
IF YOU CANNOT PERFORM SINCERELY, YOU NEED NOT COME. There are plenty of musicians who sing better than you do. You are in a world of newly/recently acquired fame and glory-which will not last long. You are reveled in that: you have taken the audience for granted; You are digging your own grave.
You must learn stage manners also. I saw you not allowing the press photographer to take the picture of your performance. Why? Next time when (if) you COME ASK THE ORGANIZERS TO PRINT IN THE NOTICE
“PHOTOGRPAHY of my concert is PROHIBITED”. It will be convenient for the press people. They need not come all the way. It would save their time and energy.
[/tscii:3309779a91]

[RR]

Kirana gharana in full flow

Prabha Atre’s recital spoke volumes of her discipline and dedication.

http://www.hindu.com/fr/2007/10/26/stories/2007102651140400.htm[tscii:048c068955][/tscii:048c068955]

[raagadevan]

Soorya Festival:

http://www.hindu.com/fr/2007/10/19/stories/2007101950650300.htm

[sasibaloo]

shri padmanabha --was it a benefit performance for which he was denied the amount he had stipulated? please check it up. I feel you need not be so harsh.

[raagadevan]

http://www.hindu.com/fr/2008/01/18/stories/2008011851190300.htm

The eight-day Swati Sangeetotsavam 2008 proved to be a sumptuous treat for rasikas who thronged the venue.

[RR]

http://www.hindu.com/fr/2008/03/14/stories/2008031451220300.htm (OS Arun)

http://www.hindu.com/fr/2008/03/14/stories/2008031450740200.htm (Tyagaraja aradhana - rare kritis)

http://www.hindu.com/fr/2008/03/14/stories/2008031450620300.htm (Shashank)

http://www.hindu.com/fr/2008/03/14/stories/2008031450090200.htm (Unnikrishnan)

http://www.hindu.com/fr/2008/03/14/stories/2008031450130300.htm (Mandolin U. Srinivas, Bombay Jayashree)

http://www.hindu.com/fr/2008/03/14/stories/2008031450350300.htm (The Shriram Shankarlal Music Festival)

http://www.hindu.com/fr/2008/03/14/stories/2008031450310200.htm (Malladi Brothers)

[raagadevan]

Neat Portrayal of Ragas:

Music composer and vocalist Sharath's memorable concert.

http://www.hindu.com/fr/2008/05/30/stories/2008053050600200.htm

[RR]

http://www.hindu.com/fr/2008/05/30/stories/2008053051350300.htm (Sudha Ragunathan)

http://www.hindu.com/fr/2008/05/30/stories/2008053051320300.htm (Percussion jugalbandi - Rohan krishnamurthy & Glen Velez) -> Rohan was/is a regular at our ICM forum.

[R.Latha]

[tscii:9cdc62f863] Music and debate

B. RAMADEVI

The 38th anniversary celebrations of Pollachi Tamizhisai Sangham offered a mixed bag.



Melodious and mesmerising: Vasundhara Rajagopal and (below) Lalgudi G.J.R. Krishnan and Lalgudi S. Vijayalakshmi at the Pollachi Tamizhisai Sangham.

Music concerts, a pattimandram and a play featured in the 38th anniversary celebrations of Pollachi Tamizhisai Sangham, held at Mahatma Gandhi Mandapam, Pollachi. On the first day, Dr. Sahthiyaseelan acted as the mediator for the pattimandram and th e topic was ‘Should art just provide pleasure or uplift humanity?’

R. Shannmugavadivelu and R.Madhu emphasised that art is meant only to entertain while A. Arivoli and Jothi Ramakrishna insisted that it has a duty towards society and humanity.


Throught-provoking

The thought-provoking arguments were generously interspersed with humorous observations and anecdotes evoking guffaws and the final verdict was that the purpose of art is to uplift humanity.

Vasundhara Rajagopal’s voice increased in melody as the concert progressed and when she concluded with the mangalam, one wished she would go on for some more time. She had absolute control over the voice as it soared without any strain at the higher octaves. Most of her songs were in Tamil and there were some rarely heard kritis such as ‘Ennaiyum vara sonnaaro raghunaayakar’ in Manirangu.

Vibhishana is ecstatic when he hears that Sri Rama has agreed to see him. But he feels he does not deserve this honour and pours out his gratefulness to Rama in this song.

Arunachalakkavirayar’s lyrical genius came alive in Vasundhara’s honeyed voice.

After singing ‘Aaraadha arulamudham’, a viruttam in Brindavana saranga, she presented the eagerly expected ‘Ranga puravihaara’ by Diksitar in all its glory. One got to hear ‘Kaaranam kettu vaadi’, a popular number of the past after many years. ‘Tha thai endraaduvaar’ by Gopalakrishna Bharati was delightful. S.P. Anantha Padmanabha wielded his bow with sensitive understanding.

Thiruvananthapuram Vaidhyanathan gave rhythmic support and presented an impressive tani.

Laya-perfect

Lalgudi G.J.R. Krishnan and Lalgudi S.Vijayalakshmi, the torch bearers of the Lalgudi tradition, mesmerised the listeners with their melodious, laya-perfect music. They commenced and concluded their concert with the compositions of their guru and father Lalgudi Jayaraman.

The varnam, ‘Innam en manam ariyaadhavar pola’ in Charukesi, was a continuous flow of melody that was pleasant but not torrential. The ragas Bahudari, (‘Sadhaanandha thaandavam’ by Achyutha Dasar), Saveri (‘Muruga Muruga endraal’ by Periyasamy Thooran), Shanmukhapriya (‘Aandavane unai nambinen’ by Papanasam Sivan) and Saramathi (‘Mokhamu galadha’ by Tyagaraja) were depicted with depth and skill. But the crown was Mohanam.

While they presented ‘Kapaali’ by Papanasam Sivan, melody reigned supreme, and the complicated swara phrases glided through their deft fingers. ‘Chinnanjiru kiliye Kannamma’ is one of the eternal favourites of instrumentalists and Krishnan created a sort of record by playing ‘Kannamma’ in innumerable ways, each more endearing than the other. Neyveli B.Venkatesh on the mridangam and Kovai V. Mohanram on the ghatam, who enjoyed playing, contributed significantly to the success of the concert.


http://www.hindu.com/fr/2009/01/16/stories/2009011650510200.htm[/tscii:9cdc62f863]

[R.Latha]

[tscii:183088a898] When music reigned supreme

KARTHIKA VARMA

Musicians came up with a delightful blend of aesthetics and virtuosity to captivate the listeners.



AURAL MAGIC: (clockwise from top left) Sanjay Subrahmanyan, Malladi Suri Babu, Pandit Venkatesh Kumar, Parasala Ponnammal and Prasanna Venkataraman. PHOTOS: S. GOPAKUMAR

‘Swathi Sangeetotsavam 2009’ got off to a superb start at Kuthiramalika Palace, Thiruvananthapuram, with Sanjay Subrahmanyan singing a full throated concert in the company of S. Varadarajan (violin), Mannargudi Easwaran (mridangam), S. Karthick (ghatam) and Payyanur Govinda Prasad (morsing).

The tenth edition of the music festival began to the notes of ‘Vandhe sadha Padmanabham’ in Navarasakannada, Adi tala. It was followed by ‘Paramananda Natana’ in Kedaram.
The GNB stamp

‘Kalayami Raghuramam’ in Begada saw Sanjay depicting the essence of the raga. Later, Sanjay remarked in his blog that for him, this particular Swati composition had GNB’s signature all over it and it was an apt choice as GNB’s birth anniversary fell on January 6.

Then Sanjay unleashed a Thodi and followed it up with the composition ‘Sri Ramachandra,’ and enthralled the huge audience with the rendition of both the composition itself as well as the neraval.

The main kriti was the melodious ‘Gangeyavasana’ in Hamir Kalyani.

Varadarajan’s scintillating mastery over the violin was in full flow as he followed Sanjay phrase for phrase. The rapport among the musicians elevated the concert to another plane. The percussionists came up with an excellent tani that was greeted with applause. Sanjay also sang ‘Bansiwale’ in Mohanam and a Thillana in Anandabhairavi. Teamwork on stage was at its ideal best.
Music for the soul

On the second day, Malladi Suri Babu came up with a soulful rendition of Swati kritis. He started the concert with the varnam ‘Sarasija’ in Kamaboji, Ata tala. The highlight was that he sang it as a pada varnam, with sahithyam for the swaras.

‘Paripahiganadhipa’ in Saveri, set to Adi tala, decorated with crisp swaras, preceded ‘Karunakara Madahava mamava’ in Begada. Suri Babu, a disciple of Voletti, revelled in his guru’s favourite raga. ‘Deva deva jagadeeshwara’ in Poorvikalyani was chosen for elaboration. The main raga was ‘Kharaharapriya’ and tagged on was the composition ‘Sathatham thavaka,’ Adi tala. The melodious raagalapana was adroitly taken up by Varadarajan on the violin. The superb niraval was enhanced by neatly woven swarams.

P. Satheesh Kumar (mridangam), Karthick (ghatam) and Govindaprasad played an excellent tani.

As Vaikunda Ekadashi was on that day, Suri Babu sang a soul-lifting, serene ‘Shantha karam bhujaga shayanam’ in raga malika style in Maand, Dwijawanthi and Sindubhairavi.

‘Nanda nanda paramananda’ and ‘Kalaye kamala nayana’ in Chenchurutti were some of the other compositions he sang.

Aswathy Thirunal Rama Varma dedicated the third day’s concert to Pandit Bhimsen Joshi who had been honoured with the Bharat Ratna and pointed out that the artiste of the day, Pandit Venkatesh Kumar, had won the award instituted by Bhimsen Joshi himself this year. Venkatesh Kumar started with Poorvi. A mellifluous Kedar followed.
Moonlight rhapsody

The composition was ‘Karunakara.’ ‘Kanha, kab sakhi ghar aayi’ in Behag set the mood of the moonlit evening. A melting Kaafi had the listeners listening in pin drop silence.

Venkatesh Kumar concluded his concert with the bhajans ‘Jaya Jaya Devi’ in Durga and ‘Ramachandra Prabhu’ in Sindhubhairavi.

Young Prasanna Venkataraman, performing for the first time in Kuthiramalika, came good in his concert. He was accompanied by Vinu (violin), Anathakrishnan (mridangam) and Anil Kumar (ghatam).
Good selection

The varnam ‘Sarasijanabha’ in Mayamalavagoula was followed by a swaram-encirched ‘Saamodam Chinthayami’ in Udayaravichandrika. Then came the popular ‘Jaya Jaya Padmanabha’ in Sarasangi.

‘Narasimha Mamava’ in Arabhi was preceded by a very good raga alapana and he adorned it with some good swarams. ‘Palaya deva deva’ in Bhairavi was taken up for elaboration and the main was ‘Paahimaam Sree Vageeswari’ in Kalyani, one of the Navarahri kritis.

The thukkadas were ‘Panimathi mukhi’ in Ahiri and ‘Vishweswar darsan’ in Sindhubhairavi.

On the fifth day, it was veteran Parasala Ponnammal’s turn to enthrall the rasikas with her dignified and pristine brand of music. She began with a Thodi pada varnam. Then came a sweet ‘Palayamamayibho.’
Vintage melody

The main piece was ‘Pahi Jagajanani’ in Vachaspathi. Hemalatha gave perfect support on the violin all through the concert. Kallekulangara Unnikrishnan and Kannur Santhosh gave a good thani. Ponnammal sang Panimathi, ‘Sathatham’ in Neelambari, ‘Smarathinumam’ in Behag, ‘Theliviyalum’ in Malayalam and a beautiful song in Sindhubhairavi that she sings often.

The first five days of the fete saw a fine mix of veterans and up-and-coming singers showcasing their aural magic and technical finesse. Each day had something special as the singers and accompanists came from different styles of playing and singing. If Sanjay electrified the audience with his energetic rendition, Malladi’s soothing singing evoked serenity. Venkatesh Kumar brought to life the Hindustani compositions of Swati. Prasanna Venkataraman, barely out of his teens, gave a concert full of pep and verve while the chaste and dignified concert by Ponnammal was rich and mellow like vintage wine.

http://www.hindu.com/fr/2009/01/16/stories/2009011650720300.htm
[/tscii:183088a898]

[R.Latha]

[tscii:1bf34c87a4] Classical fare

Karpagambika Saranam

Guru Kripa series

Gomathi Sree and R. Hariharasubramaniam

VDV Creations

Audiocassette – Price not mentioned

An audio compact disc titled ‘Karpagambika Saranam’ has been recently released under the banner of VDV creations. The lyrics and the tuning of the songs featured in this album are credited to Gomathi Sree.

The songs are in simple Tamizh and based on popular melodies with a focus on being light and not offering heavy classical fare.

The opening number invoking the elephant-headed God is in Hamsadhwani (‘Mahaganapathe’). The vocalisation is by R. Hariharasubramaniam. The harmonium accompaniment for this song does not instil a sedate listening mood and is slightly jarring.

The names of the Sodasa Ganapathis feature in the lyrics of this number.


Gomathi Sree sings the rest of the nine songs in this album. These include ‘Radhe Krishna’ (Hindolam), ‘Malai Magal’ (Madyamavathi), ‘Karpagambika Saranam’ (Suddha Danyasi), ‘Kaliyuga Deivame’ (Kalavathi as per the Hindustani system), ‘Vaitheeswara’ (Pantuvarali), ‘Annapoorani’ (Kalyani) apart from ‘Mangattu Thaye’ on Kamakshi, ‘Kollur Vaazhum’ on Mookambika and a song on Hanuman (Anjana).

The singing and the lyrics are of average quality without being harsh on the ear.

The choral singers and the instrumentalists who play the musical interludes match the quality of the main singers. The orchestration is by R. Dakshinamurthi.

http://www.hindu.com/fr/2009/01/16/stories/2009011650200500.htm
[/tscii:1bf34c87a4]

[R.Latha]

[tscii:5d479d19c3]
Vijay Narayan.

Vijay Narayan, a young vocalist in his teens, from the U.S., delivered an impressive recital at the 14th NRI Music and Dance festival of Hamsadhwani on December 30. He had, for accompaniment, Karaikal Venkatasubramanian playing the violin and Thillaisthanam Suriyanarayanan the mrdangam. Trained at the T.K. Rangachari school of classical music by Ashwin Bhogendra, Vijay exuded a spirit of enthusiasm and confidence. Starting with the unfailing ‘Viriboni’ varnam in Bhairavi, Ata talam,Vijay brought in commendable bhava.
Crisp and appealing

The presentation of ‘Teradeeyakarada,’ Maharaja Swati Tirunal’s composition in raga Gowlipantu was crisp and appealing. Vijay presented raga Latangi in a short alapana, covering all the sthayis, with pleasing gamaka and rava, to which his voice seemed suited. He could reach down to the bass panchama quite audibly, an ability which he will do well not to give up. He could benefit by trying to extend his range further down to ‘ga’ and perhaps ‘sa.’ He rendered Papanasam Sivan’s ‘Venkataramana, Sri Janakikanta’ in Rupakam with adequate lakshana and tasteful niraval at the charanam lines ‘Alarmelmangai Manala.’

Vijay’s elaboration of raga Thodi displayed a maturity of treatment beyond his age. The subsequent treatment of the heavy kirtanam of Tyagaraja, ‘Koluvamare Gada’ in a double-beat Aditalam did full justice to the profundity and majesty of the creation.

The violin was very supportive throughout, and while deliveries from it were more mellow, coming as they did from the seasoned experience of Venkatasubramanian, they were modest and never overreached themselves. Likewise Suriyanarayanan lent the correct kind and level of augmentation that could be of help to the singer.

Vijay Narayan patently has abundant potential and has the benefit of excellent patantharam. However, the exuberance of youth can draw a curtain over some blemishes and cloud the vision. He could eschew ‘professional’ mannerisms which take their toll on melodic value, clarity in articulation and perfection of tonal content.

http://www.hindu.com/fr/2009/01/16/stories/2009011650370800.htm
[/tscii:5d479d19c3]

[R.Latha]

[tscii:ac6e115cf4]
Vijay Narayan.

Vijay Narayan, a young vocalist in his teens, from the U.S., delivered an impressive recital at the 14th NRI Music and Dance festival of Hamsadhwani on December 30. He had, for accompaniment, Karaikal Venkatasubramanian playing the violin and Thillaisthanam Suriyanarayanan the mrdangam. Trained at the T.K. Rangachari school of classical music by Ashwin Bhogendra, Vijay exuded a spirit of enthusiasm and confidence. Starting with the unfailing ‘Viriboni’ varnam in Bhairavi, Ata talam,Vijay brought in commendable bhava.
Crisp and appealing

The presentation of ‘Teradeeyakarada,’ Maharaja Swati Tirunal’s composition in raga Gowlipantu was crisp and appealing. Vijay presented raga Latangi in a short alapana, covering all the sthayis, with pleasing gamaka and rava, to which his voice seemed suited. He could reach down to the bass panchama quite audibly, an ability which he will do well not to give up. He could benefit by trying to extend his range further down to ‘ga’ and perhaps ‘sa.’ He rendered Papanasam Sivan’s ‘Venkataramana, Sri Janakikanta’ in Rupakam with adequate lakshana and tasteful niraval at the charanam lines ‘Alarmelmangai Manala.’

Vijay’s elaboration of raga Thodi displayed a maturity of treatment beyond his age. The subsequent treatment of the heavy kirtanam of Tyagaraja, ‘Koluvamare Gada’ in a double-beat Aditalam did full justice to the profundity and majesty of the creation.

The violin was very supportive throughout, and while deliveries from it were more mellow, coming as they did from the seasoned experience of Venkatasubramanian, they were modest and never overreached themselves. Likewise Suriyanarayanan lent the correct kind and level of augmentation that could be of help to the singer.

Vijay Narayan patently has abundant potential and has the benefit of excellent patantharam. However, the exuberance of youth can draw a curtain over some blemishes and cloud the vision. He could eschew ‘professional’ mannerisms which take their toll on melodic value, clarity in articulation and perfection of tonal content.

http://www.hindu.com/fr/2009/01/16/stories/2009011650370800.htm
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[R.Latha]

[tscii:98cb688a20] Touched a happy chord

. PHOTO: B. Jothi Ramalingam

LIVELY: Subha Ganesan

While it is appreciated that many organisations are promoting classical music by providing platforms for aspirants, it is also regrettable that the venues and the corresponding infrastructure are far from satisfactory.

Subha Ganesan’s concert for R.A. Puram Bhakta Jana Sabha suffered because of the echo and audio imbalance, resulting in uneven, smothered output from all artists. Subha qualified her concert with a variety of impressive ragas and kritis of Tyagaraja, Swati Tirunal, GNB and Koteswara Iyer.
Imaginative lines

It was indeed relaxing to hear her delineate Hindolam with imaginative lines; the raga has such versatility that it could get along well with plenty of brigas and lengths of karvais in tandem. ‘Padmanabha Pahi’ and the streams of swaras on the pallavi provided the joy of drenching in rain.

Kiravani occupied centre stage with its extraordinary charm and Subha, to a great extent, did justice to her exhaustive elaboration.

Had Subha’s internalisation of this particular raga been shown with touches of delicate reposes and finer nuances, the raga’s imagery would have been exemplary. Nonetheless, the raga flowed in continuum of alternating brigas, akaras and gamakas.

It was a little surprising to note that M.A. Krishnaswamy on the violin was not his usual self; his presentation of Keeravani was rather lukewarm though Hindolam was passable. It was also evident that he was completely unhappy with the unsatisfactory audio system. Neyveli Skanda Subramaniam (mridangam) and Papanasam Sethuraman (ganjira) discharged their part with sincerity and credit in spite of audio odds.


http://www.hindu.com/fr/2009/01/23/stories/2009012351300600.htm[/tscii:98cb688a20]

[R.Latha]

Spinning new tunes
DJ Rekha, who was in the city recently, on Basement Bhangra, her brand of fusion music

http://www.hindu.com/mp/2009/01/29/stories/2009012951200800.htm

[R.Latha]

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போற்றிப் பாதுகாக்கும் பொம்மை வயலின்!

ஆர்வலன், படம்: பி.ராதாகிருஷ்ணன்

லாலால்குடி விஜயலக்ஷ்மி காதுற்ற முதல் சப்தமே வயலினிலிருந்து எழும் ஆதார சட்ஜமமாகத்தான் இருந்திருக்கும். இவர் வளர்ந்ததும் இசையுடன், வாழ்வதும் இசையுடன். ஒரு நேர்க்கோட்டில் தன்னைக் குறுக்கிக் கொள்ளாமல், பரவலாக பல தரப்பட்ட இசைக் கொள்கைகளை வரவேற்கும் குணாதிசயம் படைத்தவராக இருக்கிறார். அவருடன் நடந்த ஆழமான உரையாடலில் இருந்து சில பகுதிகள் இதோ:

உங்களது முதல் படி பற்றியும், வயலினில் முதல் அனுபவம் பற்றியும் சொல்லுங்கள்?

எனக்கும் என் அண்ணன் லால்குடி கிருஷ்ணனுக்கும் ஆறு வயசு வித்தியாசம். ஸோ, ஒரு ஆறு வருஷத்துக்கு அப்புறம்தான் என்னுடைய வயலின் பாடம் ஆரம்பித்தது. இதுக்கு முன்னால் வாய்ப்பாட்டில் ஸ்வரஸ்தானம், வரிசைகள், கீதங்கள், வர்ணங்கள் எல்லாம் அறிமுகம் செய்து வைக்கப்பட்டிருந்தது.வயலினை சரியாகப் பிடித்துக் கொள்வது மிக முக்கியம். நேராக உட்கார வேண்டும். கூன் இருக்கக் கூடாது. வில்லின் சரியான உபயோகம்தான் சிறந்த நாதத்தைக் கொடுக்க வல்லது.

முதலில் வயலின் கற்றுக்கொள்ள வருகிறவர் சரியான சைஸ் வயலினை, அதாவது ரொம்பப் பெரிசும் இல்லாமல் ரொம்ப சிறிசும் இல்லாமல் பார்த்து எடுத்துக்கணும். என்னோட பாக்கியம் எனது தாத்தா எனது மூன்றாவது வயசுலேயே இந்த உட்காரும் நிலையை சொல்லி வச்சிருந்தார். அட்டையில் ஒரு பொம்மை வயலினை செய்து கொடுத்தார். இந்த பொம்மை வயலினை வைத்துக்கொண்டு நான் க்ளாஸ்ல உட்கார்ந்து, வாசிப்பதுபோல பாவனை செய்வேன். இந்த வயலின் ஒரு பொக்கிஷமாக மத்த வயலின்களோடு வீற்றிருக்கிறது.

வாய்ப்பாட்டில் உள்ள ஆர்வம்?

வாய்ப்பாட்டிலும் எனக்கு அபரிமிதமான ஆர்வம் உண்டு. எனது குருவின் பாணியில் பல சேர்க்கைகள் இருக்கும் -ஜாரு பிரயோகங்களும் மற்றும் நேரான புதுமைத்தனமும். இது மட்டுமல்ல... அனுஸ்வரங்களுக்கு மிகுந்த முக்கியத்துவம் உண்டு. வாய்ப்பாட்டில், இது அவ்வளவு சுலபமல்ல. ஸாஹித்ய பாவத்தை எப்பொழுதும் மனதில் கொண்டிருக்கும் பாணி இது. இவை எல்லாம் என்னை வந்தடைந்தது. கொஞ்சம் இயல்பாகவும் என்னுள் இருந்தது. இந்த லால்குடி பாணி, வாய்ப்பாட்டு பாணிதான் என்று உணர்வது அவசியம்.எங்களது குடும்பத்தில் எப்பொழுதும் இசை இருந்து கொண்டே இருந்தது, இருக்கும். இதனால் எனக்கு இசை மீது அளவில்லாத ஈடுபாடு வந்ததில் ஆச்சர்யம் இல்லை.

வீட்டில் உள்ளவர்கள் உங்களுக்குத் தந்துவரும் ஒத்துழைப்பு?

எனது கணவர் விளையாட்டாகச் சொல்வார் ‘வீணாகத் தலையிடாமல் இருப்பதே நான் செய்யும் சிறந்த பணி' என்று. ஆனால் உண்மையிலே, எங்களது புதல்வனை நான் வெளியூர்ப் பயணம் போகிறபோது பார்த்துக் கொள்வது அவர்தான். வெளியூர்ப் பயணம் செல்ல முழு மனதுடன் அனுமதி உண்டு.எனது தாயார் தன்னலமில்லாமல் எங்களை வளர்க்கப் பாடுபட்டார். எங்களுக்கெல்லாம் அவர் ஓர் ஆதாரத் தூண். அவரது, நம்பிக்கையான கண்ணோட்டம், ஆர்வம் உற்சாகத்தன்மை, அவர் தனது தேகத்தால் எங்களுக்குக் கொடுத்த உழைப்பு இணையற்றது.

மறக்க முடியாத நிகழ்வுகள் ஏதாவது சொல்லுங்கள்?

ஒவ்வொரு கச்சேரியுமே ஒரு மறக்க முடியாத அனுபவம்தான். 1984ம் ஆண்டு, சென்னை ராணி சீதை ஹாலில் எனது தகப்பனார், எனது அண்ணனுடன் சேர்ந்து மைக் இல்லாத கச்சேரி நிகழ்த்தியது. அங்கே மூன்று இராகங்களில் ஒரு பல்லவி வாசித்தது. இதுபோலவே முதல் வெளி நாட்டுப் பயணமாக ருஷ்யாவுக்கு, 1985ல் சென்றது. முதன் முறையாக மேற்கத்திய ரசிகர்கள் முன் வாசித்தது. இவ்வளவு பயணங்களுக்குப் பிறகும் மனதில் நிற்கிறது.

வயலின் ஸோலோ, வயலின் பக்கவாத்தியம் பற்றிய உங்கள் கருத்து?

வயலின், எனது குரு கூறுவதுபோல், ‘எங்கும் வியாபித்து' இருக்கும் ஒன்றாகும். திரைப்பட இசை, வட நாட்டு இசை, மேற்கத்திய இசை, நமது கர்நாடக இசை, கிழக்கத்திய இசை ஆகியவற்றில் எல்லாம் ஸோலோவாகவும், பக்க வாத்தியமாகவும் இணைந்து, அழகுடன் மிளர்கிறது. குரல் அனுபவத்தைக் கிட்டத்தட்ட முழுமையாகத் தர வல்லது வயலின் எனலாம். வீணை, புல்லாங்குழல் மற்றும் மாண்டலின் போன்றவை பக்க வாத்திய அனுபவம் இல்லாமலேயே தனிக் கச்சேரி செய்வது போல வயலினும் ஸோலோ வாசிக்க உகந்ததுதான்.புதிய பரீட்சார்த்த இசை முறைகளுக்கு எனது முழு சப்போர்ட் உண்டு. ஜுகல் பந்திகளும், ஃப்யூஷன் நிகழ்ச்சிகளிலும் பங்கு கொண்டுள்ளேன். இது போன்ற நிகழ்வுகளில் கர்நாடக இசையின் பிரதிநிதியாக இருந்து அது எங்கும் தொலைந்து விடாமல் காப்பது அவசியம். இது ஒரு சவால்தான்.

இசை மேதையான பாரசால பொன்னம்மாளுக்கு வாசித்த அனுபவம் எப்படி இருந்தது?

அவருக்குப் பலமுறை வாசித்துள்ளேன். அவர்களது இசை கடைந்து எடுத்த வெண்ணெய் போன்றதாகும். வெண்ணெய்யைப் பாலில் இருந்து பெற நாம் என்னவெல்லாம் செய்ய வேண்டும் என்று எண்ணிப் பாருங்கள். ஆனால் இவரது இசையைக் கேட்கும்பொழுது, நேரடியாக இதைப் பெறுவது போன்று இருக்கும். அவருடன் வாசிக்கும் பொழுது நம்முள்ளே இருக்கும் ரக்தியும் பாவமும் உடனே வெளிவரும்.

திரைப்படத்துக்கு உங்கள் தந்தை இசையமைத்தபோது அதற்குப் பின்னணி பாடிய அனுபவம் குறித்து?

‘ஸ்ருங்காரம்' என்ற திரைப்படத்திற்கு லால்குடி ஜெயராமன்தான் இசை அமைப்பாளர். இந்தச் சித்திரத்தில் வரும் கதாபாத்திரத்திற்கு ஏற்ப குரல் தேர்வு செய்யப்பட்டது. ஒவ்வொரு பாடல் இசையமைத்த பொழுதும் நான் உடன் இருந்தேன். ஒரு பாடல் பெண் பார்க்கும் படலத்தில் அமைந்திருந்தது. பின்னணி இசை பதிவு செய்த பிறகு, ட்ராக் என்னைப் பாடச் சொன்னார்கள். பாடி முடித்ததும், இயக்குனர் சாரதா ராமநாதன் ‘விஜியின் குரலே சரியா செட் ஆகியுள்ளதே, அவரையே பாடச் சொல்லலாமே' என்றார். இதற்கு உடன்பட்ட எனது தகப்பனாரும் கடைசி டேக்கின்பொழுது எனது குரலை ஒரு பயந்த புது மணப் பெண்ணினது குரல்போல ஒரு தயக்கத்துடன் இருக்க வேண்டும் என்று எனக்கு உணர்த்தினார். இப்படியாக அந்தப் படத்தில் பாடியது எனக்கு ஒரு புதுவிதமான அனுபவமாக இருந்தது.

இசை தரிசனம்?

எனது தகப்பனார் பலமுறை த்யாகராஜ க்ருதிகள் பயிற்றுவிக்கும் பொழுது ஒரு பரவசத்தினால் பாதிக்கப்பட்டு கண்களில் நீர் மல்க நின்ற காட்சியைப் பார்த்திருக்கிறேன். பாடலின் கர்த்தாவாகவே மாறிவிட்ட அளவிற்கு ஒரு மனோபாவம். இதுபோன்ற ஒரு மேல்நிலையை ஒரு ராகத்தை அதன் ஸ்வரங்கள் மூலம் விளக்கும் பொழுதும் கண்டிருக்கிறேன். இந்த நிலைக்கு உயர வேண்டினால், ‘தன்னை' புறக்கணிக்கும் தன்மை வேண்டும். இந்த
நிலையை எய்தினால் இசை நம்மை வந்து சூழ்ந்து கொள்ளும். பாடும் பாடலாசிரியர் மீதும், பாடலின் மீதும் ஒரு பக்தி, அவர்கள் நமக்கென்று வகுத்த வழிகளுக்காக அவர்கள் மீது ஒரு மரியாதை, இவை எல்லாம் நம்முள் கொண்டால் ஆன்மாவை உருக்கும் இசை நம்முள் இருந்து வெளிவரும். அப்பொழுது இசையின் பிரம்மாண்டமான ஒரு விஸ்வரூப தரிசனம் நம் கண் முன்னே தோன்றும்.

http://www.dinamani.com/sunday/sundayitems.asp?ID=DS020090123045202&Title=Sunday+%2D+Cover+story&lTitle=LYo+v%FAP%F4%AC
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[R.Latha]

[tscii:c8606f6cf2]உலகிலேயே எந்த நகரிலும் இல்லாத அளவுக்கு மூலை முடுக்கு, இண்டு இடுக்கு எல்லாம் இசை நிகழ்ச்சிகள் சென்னையில் நடந்து முடிந்து, சபா செயலர்களும் சங்கீத வித்வான்களும் அப்பாடா என்று ஆசுவாசப் பெருமூச்சு விட்டுக் கொண்டிருப்பார்கள். ஏன், ஆயிரக்கணக்கான ரசிகர்களும்தான்.

இரண்டு மணிக்கு ஒரு சபா, நாலு மணிக்கு இன்னொரு சபா, ஆறரை மணிக்கு வேறொரு சபா என்று காலில் சக்கரம் கட்டிக் கொண்டு ஓடிய கதைகளுக்கு முற்றுப்புள்ளி வைத்திருப்பார்கள்.

காண்டீனில் பகோடா நன்றாக இருந்ததா, இல்லை கச்சேரியில் ‘பேகடா' நன்றாக இருந்ததா போன்ற சிக்கலான சர்ச்சைகள் எல்லாம்கூட ஓய்ந்து போயிருக்கும்.

இனி-

மகான்கள் பக்தர்களைப் பார்க்கும் போது கையை உயர்த்தி ஆசி கூறுவார்கள். வித்துவான்கள் அவர்களுக்கு நேர் எதிர். கையைத் தாழ்த்திவிட்டு மேலே, மேலே என்று சைகை செய்வார்கள். வால்யூமைக் கூட்ட வேண்டும் என்று அதற்குப் பொருள் கொள்ள வேண்டும்.

சில மிருதங்க வித்துவான்கள் அடிக்கிற அடியில் காது ஜவ்வு கிழிந்து விடும் போலிருக்கிறது. இவர்கள் மிருதங்கம் வாசிக்கக் கற்றுக் கொண்டது இங்கேயுள்ள ஏதேனும் ஐயர்வாள்-பிள்ளைவாளிடம்தானா, இல்லை பாகிஸ்தான் ஃபரீத்கோட், அசாம் உல்ஃபா தீவிரவாதிகளிடமா என்ற சந்தேகம் வந்துவிடுமளவுக்கு, ஆர்டிஎக்ஸ் வெடிக்கிற மாதிரி சத்தம் எழுப்புகிறார்கள். (அதற்கேற்ற மாதிரி, பாடகரும் ஆலாபனையின் போது ‘தரந்தனா' என்று பாடுவது நம் செவியில் ‘டெர்ரர்தானா' என்று கேட்டுத் தொலைக்கிறது!) இப்படி இருக்கிறபோது, ‘‘தனி வாசிக்கும் போது ஏன் எழுந்து போகிறீர்கள்? நீங்கள் கான்டீனில் போன்டா சாப்பிடப் போகிற மாதிரி, நாங்களும் இறங்கி போன்டா சாப்பிடப் போனால் என்ன ஆகிறது?'' என்று அச்சுறுத்தல் வேறு செய்கிறார்கள். இதற்குப் பயந்து சிலர் சிவனே என்று காலை இடுக்கிக் கொண்டு உட்கார்ந்திருப்பதைப் பார்க்கப் பரிதாபமாக இருக்கும். ஒரு பத்து சதவீதம் பேரே எழுந்து போக, தொண்ணூறு சதவீதம் பேர் ஆணி அடித்தமாதிரி உட்கார்ந்திருப்பது அவர் கண்களுக்கு ஏனோ தெரிவதில்லை. சரி, பாடகர் பாட்டை முடித்தவுடன் மிருதங்க வாசிப்பை நிறுத்துகிறார்களா என்றால் அதுவும் இல்லை. ஒரு மினி தனி ஆவர்த்தனமே வாசித்து விட்டுத்தான் விடுகிறார்கள். பாடகரோ, பாடகியோ, அவர்கள் வைக்கும் முத்தாய்ப்புகள் முடிகிற வரை (பல்லைக் கடித்துக் கொண்டு) தாளம் போட்டுக் கொண்டே இருக்க வேண்டியிருக்கிறது.

ஆலாபனை செய்யத் தொடங்குவதற்கு முன்னாலோ, அல்லது பாடலைத் தொடங்குவதற்கு முன்னாலோ ராகத்தின் பெயரை அறிவித்தால் நல்லது என்று பலரும் யோசனை சொல்கிறார்கள். அதையும் யாரும் லட்சியம் செய்வதாகத் தெரிவதில்லை. வானொலி ஒலிபரப்பும் இசை நிகழ்ச்சிகளில் ராகம்-தாளம்-பாடலாசிரியர் பெயர் எல்லாம் அறிவித்து, பின்னரே பாட்டைத் தொடங்குகிறார்கள். இப்படி ரேடியோவில் கச்சேரிகள் கேட்டுக் கேட்டு, பாடலும் ராகமும் தெரிந்து கொண்ட ரசிகர்கள் நிறையவே இருக்கிறார்கள்.

முன்பெல்லாம் பாடகர் விஜய் சிவா, தாம் நிகழ்த்த இருக்கும் கச்சேரியில் பாடப் போகிற பாடல், ராகம், இயற்றியவர் பெயர் எல்லாம் கம்ப்யூட்டரில் பிரின்ட் எடுத்து ஜெராக்ஸ் பிரதிகள் எடுத்துக் கொண்டு வந்து, ரசிகர்களுக்கு முன்னதாகவே வினியோகித்து விடுவார். (சுவாதித் திருநாள் பாடல் என்றால் மட்டும் அந்த இடத்தைக் காலியாகவே விட்டு விடுவார்.) இதை அவர் இப்போதும் பின்பற்றுகிறாரா என்று தெரியவில்லை. ஆனால் இந்த நடைமுறை நல்லது என்பேன்.

பாடலை இயற்றியவர், அதாவது சாகித்தியகர்த்தா யார் என்று வேண்டுமானால் சொல்லாமல் போகட்டும். அது மூலைவீட்டு ரங்கசாமி நட்டுவனாராகவோ, மூலக்கொத்தளம் முனுசாமியாகவோ இருந்துவிட்டுப் போகட்டும். அல்லது கொத்தவாசல் வெங்கட்ராமய்யராகவோ கொத்தவால்சாவடி குப்புசாமியாகவோ இருந்துவிட்டுப் போகட்டும். சொன்னால் நல்லது. ராமசாமி சிவனின் பாடலை பாபநாசம் சிவன்பாடல் என்றோ, பாபநாசம் சிவன் பாடலை அம்புஜம் கிருஷ்ணா பாடல் என்றோ ரசிகர்கள் தவறாக நினைத்துக் கொள்ள மாட்டார்கள் அல்லவா?

ராகத்தை முன்னால் அறிவித்துவிட்டால் அந்த ‘த்ரில்' போய்விடும் என்கிறார்கள். சரி, பாடி முடித்து விட்டு அறிவிக்கலாமே? அதிலும் வீணை, வயலின், புல்லாங்குழல் கச்சேரி என்றால் சில சமயம் தலையைப் பிய்த்துக் கொள்ள வேண்டியிருக்கிறது. (சில வருடங்கள் முன்னால், பார்த்தசாரதி சபாவில் புல்லாங்குழல் வாசித்தார் மாலா சந்திரசேகர். கடைசியில் ஒரு பாடல் வாசித்தார். எனக்குப் பாட்டும் தெரியவில்லை; ராகமும் தெரியவில்லை. அவர் மேடையில் இருந்து இறங்கியதும், க்ரீன் ரூம் வழியாக அவர் இறங்கி வரும் போது, ‘‘நீங்க இப்போ வாசிச்சது என்ன ராகம், என்ன பாட்டு?'' என்று கேட்டேன். ‘வாஞ்சதோனுனா' என்ற முத்தையா பாகவதர் கீர்த்தனை. கர்ணரஞ்சனி ராகம்'' என்றார். என்னைப் போன்ற சாதாரண ரசிகனுக்கு இவை எல்லாம் பாடங்கள்!)

ஆனால் என்னதான் எல்லாரும் சேர்ந்து ராகத்தைத் தெரிந்து கொண்டுவிடாமல் இருக்க முயற்சி செய்தாலும், இப்போது நண்பர் எஸ்.கண்ணன், நல்லி செட்டியாரின் ஆதரவுடன் தொகுத்து வெளியிட்டிருக்கும் ராகா கைடு, பல ரசிகர்கள் கைகளில் இருக்கிறது. பாட்டை ஆரம்பித்த உடன் பக்கத்தைப் புரட்டி, என்ன ராகம் என்று பார்த்துத் தெரிந்து கொண்டு விடுகிறார்கள். அப்புறம் அவர்கள் தம்மைச் சுற்றி அமர்ந்திருக்கிறவர்களைப் பார்க்கும் ஒரு வெற்றிப் பார்வை இருக்கிறதே, ஏதோ சாம்ராஜ்யத்தையே வென்றவர் மாதிரி இருக்கும்.

ராகம் தெரியாவிட்டால் என்ன, பாடல் நன்றாக இருந்தால் ரசித்துக் கேட்டுவிட்டுப் போக வேண்டியதுதானே என்று சிலர் சொல்வதுண்டு. இதற்குப் பதில் சொல்வது போல் ஒருவர் குட்டிக் கதை மூலம் விளக்கினார். ‘ரயிலில் மும்பை போகிறீர்கள். வழியில் ஒரு நண்பர் உங்களுக்கு உதவியாக, கடப்பாவில் இறங்கி சாப்பாடு வாங்கித் தருகிறார். ஆதோனி வந்ததும் ரயிலில் இருந்து இறங்கிப் போய் பழம் வாங்கிக் கொண்டு தருகிறார். மறுநாள் பிற்பகல் தாதரில் அவர் கையை அசைந்துவிட்டு இறங்கிப் போகும் போது, ‘அடடா நமக்கு இத்தனை உதவி செய்தார். பெயரைக் கேட்டுக் கொள்ளாமல் போய் விட்டோமே? தாங்க்யூ மிஸ்டர் சுரேஷ் என்றோ, தாங்க்ஸ் மிஸ்டர் ரமேஷ் என்றோ சொல்லி நன்றி தெரிவித்திருக்கலாமே என்று தோன்றும் இல்லையா? அது போல, பாட்டு நன்றாக இருந்தால், ராகத்தின் பெயரும் தெரிந்து கொண்டால் எத்தனை நன்றாக இருக்கும் என்று யோசித்துப் பாருங்கள்'' என்றார்.

பாத்ரூம் பாடகர்கள் என்று வீட்டில் சிலர் இருப்பார்கள். (பாத்ரூம் கதவுக்குத் தாழ்ப்பாள் இருந்தாலும் இல்லாவிட்டாலும், இவர்கள் குளிக்கும் போது மட்டும், இவர்களுக்குப் பாட்டு பொத்துக் கொண்டு வந்துவிடும்!) ஆனால் இந்த சீஸனில், மியூசிக் அகடமி டாய்லெட்டில் ஒருவர் கண்ணாடி முன் நின்று ஆற அமர அலங்காரம் செய்து கொண்டே உரக்க, ‘வருகலாமோ ஐயா' பாடலைக் குழைந்து குழைந்து பாடிக் கொண்டிருந்ததைக் கேட்டுத் திடுக்கிடாதவர்கள் இல்லை. நந்தன் பாவம், சன்னதியில் நின்று எட்டி எட்டிப் பார்த்துக் கொண்டு பாடிய பாடலை, இந்தப் பாவி மனிதர் இந்த டாய்லெட்டில் வந்து பாடுகிறாரே என்று கோபமாக வந்தது. ஆனால் என்ன செய்வது, சிலருக்கு பாத்ரூமுக்குள் வந்துவிட்டால் பாட வந்துவிடுகிறது. என்ன பாடுகிறோம் என்பதே தோன்றுவதில்லை. [/tscii:c8606f6cf2]

[R.Latha]

Manodharma in jazz
In true improvisation, the heart and the mind must be focussed on the omnipresent, without distraction or self-consciousness. My favourite raga
(A disciple of Nikesi and K.V. Ramanujam, Navin recognises the importance of enriching himself with ragas. Miyan ki Malhar in the Hindustani system is very close to his heart.) JYOTI NAIR ...

http://www.hindu.com/fr/2009/02/13/stories/2009021351230300.htm

[R.Latha]

[tscii:706dafc264]1. Remembering the bard
Eminent musicians enthralled the audience by their performances during the four-day aradhana celebrations in Tiruchi.

http://www.hindu.com/fr/2009/02/13/stories/2009021350630300.htm

2.Fostering Carnatic music in U.S.
Houston-based Swaralayam Arts Forum is taking forward the dream of one of its promoters, Sulochana Pattibhiraman of promoting Indian music in the U.S.
http://www.hindu.com/fr/2009/02/13/stories/2009021351350400.htm

3. Rare kritis of Dikshitar
AKHANDAM The event was a treat to connoisseurs of music.

http://www.hindu.com/fr/2009/02/13/stories/2009021351280300.htm

4. Keeping GNB’s style alive
Verve and vitality marked Sangeetha Sivakumar’s rectial to celebrate GNB’s centenary celebrations.

http://www.hindu.com/fr/2009/02/13/stories/2009021351300300.htm[/tscii:706dafc264]

[R.Latha]

1. Captivating creativity
Manda Sudharani displayed a good control over laya, and S. Soumya was rich in musical ideas

http://www.hindu.com/fr/2009/02/27/stories
/2009022751200300.htm


2.A sprightly package
H.M. Smitha's singing was admirable; Ganesh-Kumaresh's recital was articulate
http://www.hindu.com/fr/2009/02/27/stories/2009022751170300.htm

[R.Latha]

[tscii:625545f622]1. Devotion-filled rendition
Akshay Padmanabhan has a supple voice and with sustained effort, he is bound to go places.
http://www.hindu.com/fr/2009/02/27/stories/2009022751360200.htm

2. Voice happily obeys manodharma

P.S. KRISHNAMURTHI

Sruti-perfect, Anuradha Suresh Krishnamurthy wove melodious patterns in her concert for Hamsadhwani.



POWERFUL VOICE: Anuradha Suresh Krishnamurthy

The combination of several factors made for the wholesomeness of the vocal concert of Anuradha Suresh Krishnamurthy for Hamsadhwani on February 12. The first aspect which struck the listener was the happy condition of her voice, which lent itself t o whatever melodic patterns her manodharma led her to weave. The perfection in the adherence to sruti, the meticulous conformance to swarasthana, the rich timbre, the wide range in the pitch, apt inflection and modulation in the amplitude could not be missed even by the most indifferent listener.

Every music lover recognises that Viriboni varnam in Bhairavi never fails to give the necessary push to a concert; following this piece, a vrittam in Sanskrit in Nattai prefaced the kriti, ‘Siva traya Mahaganapatim,’ in madhyama kala Adi talam. ‘Krupajoo sudaku velara, Rama,’ heard after quite a while, came as an interlude before the first major item of the programme, ‘Apparama bhakti.’

In her raga vistara of Pantuvarali, Anuradha displayed a leisurely style in keeping with the raga, and of course the song which she must have had in her mind; ‘bhakti,’ the dominant element in the opening sahityam, also ruled the alapana, and indeed the rendition of the composition of Tyagaraja all through; flighty sancharas came appropriately towards the conclusion. Niraval at the charanam was delivered tastefully.



Poornima Krishnan.

Raga exploration

Swati Tirunal’s creation in raga Useni, ‘Pahimam brhannayike,’ new to this listener, in Rupakam in vilamba kalam, focussed attention on solemnity. This prepared the stage for the entry of Sankarabharanam, in all its profundity. The fullness in the singer’s voice, complemented by a fertile manodharma and serious commitment to the composer, guru, sabha and audience made a deep mark in the mind of the listener. The artist seemed to savour the multiple facets of every tone in the scale of this raga.

The suddhamadhyama of the raga appeared now as a gliding sound from gandhara to panchama, then from gandhara to madhyama, and often as just the ‘pure’ suddhamadhyama (without izhaippu), all of which bear the insignia of Sankarabharanam. The lower swaras, down to the mantra shadjam, were distinctly audible, while the higher notes, right up to the tarasthayi panchama were not only immaculate in their tonal value but also steadily stressed with notable karvai. The artist seemed to have got into the rhythm of Sankarabharanam.

Great compositions like ‘Akshayalinga vibho’ deserve reverent treatment, which was plentiful in this concert. Taken at a royal vilambam, the misrachapu here is endowed with a glow by Muthuswamy Dikshitar, as it seems to invoke the aaroodha vrishabha deity Himself. The artist did ample justice, through niraval at badari vana moola and kalpanasvara.

The teamwork, an essential ingredient of any kutcheri, was commendable. The wholehearted orchestration of Neyveli S. Radhakrishnan, Shertalai Venkatakrishnan and Adambakkam Sankar on the violin, mridangam and ghatam added in no small measure to the value of the concert. While Radhakrishnan switched over with aesthetic perception from higher to lower octave appropriately while accompanying the singer, during his solo passages he did not seem to have any ‘High Tension insulation breakdowns’ of harsh notes from the violin at any point of the fingerboard, considering the elevated sruti and the resulting tautness of the strings. Venkatakrishnan and Sankar made excellent partners in sharing the percussive contribution.

Presented with elegance

In her 90-minute vocal recital, Poornima Krishnan was accompanied by B. Ananthakrishnan on the violin and Kumbakonam R. Swaminathan on the mridangam. She devised a balanced programme and trimmed it with elegance. The varnam in Latangi in single-beat Aditalam was as appealing as it was brisk in setting the pace of ‘Pranamami Aham’ in raga Gowlai and Talam Adi; following a sprinkling of kalpanaswara exchanges between the singer and the violinist, to which the mridangam added rhythmic spice.

By the time Poornima reached ‘Enda Nerchina,’ her mood and voice had set, and one could identify its melody and richness. The sruti was in place, and gave the required impetus to proceed confidently. The first major item, Poorvikalyani, appeared at the end of half an hour. The raga alapana was mature and competent; one felt that with the commendable reach that her voice could command, Poornima could have achieved more by dwelling a good deal longer in the mantra sthayi than she actually did. ‘Inda Paramukham Edu, Ezhai En Meedu?’ was soulfully rendered; the listener felt that it would have been appropriate to utilise the passage ‘Nee Oru Silaiyo’ in the charanam for a telling niraval, considering the emotional appeal that it holds; the novel placement of the words (at 6 1/4 ‘idam’ of the 8-beat Adi) could also be interesting for both niraval and kalpanaswaras.

The main item was Todi. Mature, elaborate emphatic strokes of the raga’s lakshana emerged in the alapana. Here again, dwelling a little longer in the lower ranges would have enhanced the essay. Syama Sastry’s ‘Ninne Namminanuta’ in misrachapu, a sure-fire item, was delivered with feeling. The niraval and kalpanasvaras at ‘Kamakshi Kanchadalayatakshi’ came off pleasantly, leading to a brief tani avartanam.

Throughout the period, the accompaniments offered commendable support. In both Poorvikalyani and Todi, Ananthakrishnan opted for gamaka prayogas more than briga in his sancharas. He appeared to be a little tentative, as when he deliberately softened the bowing pressure during high-pitched playing. He displayed commendable musical sense. In a similar way, Swaminathan demonstrated his appreciation of the role of the mridangam in being a musical time marker with aesthetic perception.

http://www.hindu.com/fr/2009/02/27/stories/2009022751390200.htm
[/tscii:625545f622]

[R.Latha]

1. Refined act
Shrikant G. is able to meaningfully enrich his renderings

http://www.hindu.com/fr/2009/03/20/stories/2009032051080300.htm

2. Clarity and creativity
Sreevalsan J. Menon adhered to tradition, while Hemmige S. Prashanth displayed firm grounding and improvisational powers

http://www.hindu.com/fr/2009/03/20/stories/2009032051090300.htm

[R.Latha]

1. Musical offering to the Divine
At the recent three-day Temple Festival of Indian Classical Music at Pushkar, young talents rubbed shoulders with veterans.
http://www.hindu.com/fr/2009/03/20/stories/2009032050590200.htm

2. Sibling symphony
The Malladi Brothers on the responsibility that comes with fame.
http://www.hindu.com/fr/2009/03/20/stories/2009032050600200.htm

[R.Latha]

1. Erudite recital
The artist gave a nuanced performance.

http://www.hindu.com/fr/2009/03/20/stories/2009032050100200.htm

2. A qawali night
The golden jubilee celebration of Ghousia Ashram Urs was a memorable affair.

http://www.hindu.com/fr/2009/03/20/stories/2009032050110200.htm

3. An interesting exercise
Listen to Suguna Purushothaman as she gives many useful tips and guidelines to achieve proficiency in the art of Pallavi singing.

http://www.hindu.com/fr/2009/03/20/stories/2009032050150200.htm

[R.Latha]

[tscii:1ebda3ceb9]1. In praise of Krishna
Hindustani vocalist Sagarika Pradhan’s recital was soaked in devotion.
http://www.hindu.com/fr/2009/03/20/stories/2009032050830300.htm

2. Wide selection of kritis
Sugandha Kalamegham’s concert included a wide variety of compositions that showcased her repertoire.

http://www.hindu.com/fr/2009/03/20/stories/2009032050850300.htm [/tscii:1ebda3ceb9]

[R.Latha]

Dance

Meeting point
T.M. Krishna, Bombay Jayashri, Priyadarshini Govind and Leela Samson created an unforgettable experience.
http://www.hindu.com/fr/2009/03/27/stories/2009032750070200.htm

[R.Latha]

[tscii:23a18f5d6e]Richness of ragas highlighted
Seetha Rajan’s Music Academy concert showcased vivadi ragas such as Davalambari and Aatakambari.

http://www.hindu.com/fr/2009/04/03/stories/2009040351300200.htm[/tscii:23a18f5d6e]

[R.Latha]

Petals of a performance
The Gulab Bari tradition came alive during a recent concert in Varanasi.

http://www.hindu.com/fr/2009/04/03/deliindx.htm

[R.Latha]

Musician honoured
The voice that syncs with dance steps honoured.

http://www.hindu.com/fr/2009/04/03/stories/2009040350270200.htm

[R.Latha]

[tscii:5b52bb1ef5]Remembering Dikshitar
V.R. Dileep Kumar’s recital in Kozhikode paid mellifluous homage to Dikshitar on the occasion of the composer’s birth anniversary.

http://www.hindu.com/fr/2009/04/03/stories/2009040351130300.htm[/tscii:5b52bb1ef5]

[R.Latha]

[tscii:c71b6509fd]1. Subtlety is her forte
There was dignity and poise in Savita Narasimhan’s presentation to mark Dikshitar Jayanthi.
http://www.hindu.com/fr/2009/04/10/stories/2009041050940200.htm

2. Rich repertoire
Vasudha Kesav’s vocal concert provided an aural pleasure to the rasikas during the Rama Navami fest celebrated recently at Vellore.

http://www.hindu.com/fr/2009/04/10/stories/2009041050580300.htm

3. Classical treat
The playing by the whole ensemble was delicate and at the same time, assured.

http://www.hindu.com/fr/2009/04/10/stories/2009041051070500.htm
[/tscii:c71b6509fd]

[R.Latha]

Music for Rama
The National Music Festival was a treat, what with some of the top artistes lined up

http://www.hindu.com/fr/2009/04/10/stories/2009041051330300.htm

[R.Latha]

[tscii:d78c665718]1. Notes of history
Gandharva Mahavidyalaya’s anniversary festival featured concerts of superb quality.

http://www.hindu.com/fr/2009/04/10/stories/2009041050080200.htm

2. A wish list of songs less heard
The evening of Carnatic vocal by Pantula Rama was a fitting finale to the festival dedicated to great composers

http://www.hindu.com/fr/2009/04/10/stories/2009041050090200.htm[/tscii:d78c665718]

[R.Latha]

1. Musical ode to the deity
Well-known musicians added to Rama Navami fervour.
http://www.hindu.com/fr/2009/04/10/stories/2009041050220200.htm

2. Musical tribute
Sangeetha Ksheerasagara hosted impressive recitals.

http://www.hindu.com/fr/2009/04/10/stories/2009041050340300.htm

[R.Latha]

Flow of chaste melody
A concert by Carnatic vocalist Amrutha Venkatesh gifted rasikas in Kochi a chance to listen to pristine reposeful melody.
http://www.hindu.com/fr/2009/04/10/stories/2009041050770300.htm

[R.Latha]

[tscii:1eef5eb796]1. Music of the stars
As star vocalist Shubha Mudgal joins the ranks of TV mentors, she talks about what made her do it

http://www.hindu.com/mp/2009/04/15/stories/2009041550620100.htm

2. A ‘rap’sody
For rapper Bohemia, everything is about originality

http://www.hindu.com/mp/2009/04/15/stories/2009041550780300.htm[/tscii:1eef5eb796]

[R.Latha]

[tscii:1ef2abb823]1. Commendable exposition
Amrutha Sankaranarayanan exuded creativity and extraordinary poise in rendering the kritis.

http://www.hindu.com/fr/2009/04/17/stories/2009041751160200.htm

2. Tradition bound
Complementing powerful articulation with delicate touches, Bharathi Ramasubban’s music offered food for thought.

http://www.hindu.com/fr/2009/04/17/stories/2009041751190300.htm

3. Pure music
Vijay Siva did not disappoint all those who came to Ayodhya Mandapam for some authentic fare.

http://www.hindu.com/fr/2009/04/17/stories/2009041751210300.htm

4. Presented with subtlety
Radha Bhaskar delineated some rare kritis with emphasis on the mellow aspects of the ragas.

http://www.hindu.com/fr/2009/04/17/stories/2009041751230300.htm

5. Brilliant shades of Bhairavi

K. Gayathri gave a pleasing vocal concert during the ‘Eppadi Paadinaro’ series organised by the Rasika Ranjana Sabha, Tiruchi, in association with Sri Krishna Sweets.

Gayathri started her recital with ...
http://www.hindu.com/fr/2009/04/17/stories/2009041750620300.htm

6. (T. N. Seshagopalan)

Demonstration all the way

Manodharma and expression were elbowing each other in the alapanas Seshagopalan presented.

http://www.hindu.com/fr/2009/04/17/stories/2009041751290400.htm
[/tscii:1ef2abb823]

[R.Latha]

[tscii:3a41015ead]1. Austere aesthetics
For the veteran of Jaipur gharana, Alka Deo Marulkar, music is meditative contemplation. The new tricks of the trade hardly inveigle her pure pursuit

http://www.hindu.com/fr/2009/04/17/stories/2009041750180300.htm

2. Rendering with zeal
Vignana Samithi celebrated its founder’s day by organising two concerts.

http://www.hindu.com/fr/2009/04/17/stories/2009041750170300.htm[/tscii:3a41015ead]

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[tscii:724c808283]1. Lyrical songs of devotion
The Sree Rama Navami fete at Kalpathy featured three young vocalists who came up with a fine selection and rendition of compositions.

http://www.hindu.com/fr/2009/04/17/stories/2009041750850300.htm

2. Scholarly recital
Mavelikkara P. Subrahmanian’s concert adhered to tradition and he enriched it with some rare compositions.

http://www.hindu.com/fr/2009/04/17/stories/2009041750840300.htm
[/tscii:724c808283]

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[tscii:877e2d39e3] Bohemia ‘rap’sody

For rapper Bohemia, everything’s about originality



Desi hip hop The Bohemia way

Most of us have heard the Bohemian Rhapsody. Now it’s time to hear Bohemia’s rap. Bohemia, the pioneer of desi hip hop is out with his third album Da Rap Star. “The album has been written, composed and recorded by me. It’s got original music, and a few great artists,” says Bohemia. Originally known as Roger David, Bohemia has been rapping for close to six years now. He did not have any formal education in music, and got his initial training from his father, who was a “shaukiya harmonium player”.
Being blunt

A passion for music coupled with his love for writing poetry and putting them to beat made him come up with this genre of music, desi hip hop. “I wanted to make music that represented my style. I wanted to stay original, and, therefore, I got the name Bohemia — which also means somebody who doesn’t follow others and creates his own trend and does his own stuff.” His lyrics are in Punjabi and set to hip hop beats. As most rap / hip hop lyrics go, his are a bit explicit too. Which explains why his album cover mentions ‘Parental Advisory Explicit Content’.” Bohemia smiles and explains: “Rap is a blunt genre, and I try to keep it real.” the Punjabi rapper from California says: “‘Da Rap Star’ has 15 tracks, and most of the tracks are based on incidents in my life.” His favourite song is ‘Dil’, a slow love ballad that talks about his experience of being in love.“Apart from rapping, I also sang this song.” Remember the old school hit ‘Gur Naal Ishq’ by Malkit Singh? As a tribute to the famous singer, Bohemia has reworked the Bhangra track giving it a desi feel.

While hip-hop lovers rejoice over Bohemia’s music, the rapper has also found a fan in Akshay Kumar, who approached him to write something for “Chandni Chowk to China”. “I was very excited when Akshay said he has been a fan of my music,” beams Bohemia. That’s how the two got together for the title track of “CC2C”. Following the hit of which the duo came together again for a track from “8X10 Tasveer”.

Bohemia is a big fan of the film industry, and says he would like to work with a lot of people. “Govinda is my favourite actor. I would like to work with him, A.R. Rahman, Bappi Lahiri, and some of the people who worked on the music of ‘CC2C’,” smiles the rap star.

http://www.hindu.com/mp/2009/04/16/stories/2009041650340400.htm[/tscii:877e2d39e3]

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[tscii:67c7ee7a78]1. Lyrical songs of devotion
The Sree Rama Navami fete at Kalpathy featured three young vocalists who came up with a fine selection and rendition of compositions.

http://www.hindu.com/fr/2009/04/17/stories/2009041750850300.htm

2. Scholarly recital
Mavelikkara P. Subrahmanian’s concert adhered to tradition and he enriched it with some rare compositions.

http://www.hindu.com/fr/2009/04/17/stories/2009041750840300.htm
[/tscii:67c7ee7a78]

[R.Latha]

[tscii:33da6bdcde]1. A long flight
Canada's leading alternative rock band Low Level Flight is currently touring India
http://www.hindu.com/mp/2009/04/16/stories/2009041650690100.htm

2. ‘Maa ka Ladla’ arrives
Master Saleem is on a high

http://www.hindu.com/mp/2009/04/16/stories/2009041650700100.htm

3. A sound vision
“Delhi City Symphony”, a silent film by children, is to be screened with live music this Saturday, reports ANJANA RAJAN
http://www.hindu.com/mp/2009/04/16/stories/2009041650730200.htm
[/tscii:33da6bdcde]

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Clear music
Manasa Nayana's music was articulate; Gayatri Girish was fluent as well

http://www.hindu.com/fr/2009/04/24/stories/2009042451000300.htm

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[tscii:dd918eccce]1. Stress on sahitya
Prince Rama Varma’s voice has a pleasant timbre that acquires depth in the lower octave.

http://www.hindu.com/fr/2009/04/24/stories/2009042451200200.htm

2. Reverberating with bhakti
The rasikas in Coimbatore enjoyed a rich aural treat as eminent musicians performed during the Sri Ramanavami celebrations.

http://www.hindu.com/fr/2009/04/24/stories/2009042450570300.htm

3. Well-trained voice
Confidence was the hallmark of Vani Sateesh’s concert with Lord Krishna as the theme.

http://www.hindu.com/fr/2009/04/24/stories/2009042451140200.htm

4. A slice of the past
Mudicondan Ramesh presented a veena concert in memory of S. Balachander.

http://www.hindu.com/fr/2009/04/24/stories/2009042451230300.htm[/tscii:dd918eccce]

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[tscii:c5f98519e1]1. Audio visual treat
Dance and music marked Bengali New Year celebrations.

http://www.hindu.com/fr/2009/04/24/stories/2009042450310200.htm

2. Noteworthy recital
Vocalist N. Subba Lakshmi impressed with her good ‘sruthi’.

http://www.hindu.com/fr/2009/04/24/stories/2009042450390300.htm

3. A classic touch
R.V. Panduranga Sharma’s vocal recital marked Nada Bharathi’s weekly concert.
http://www.hindu.com/fr/2009/04/24/stories/2009042450400300.htm
[/tscii:c5f98519e1]

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1. Festival of ragas
The first six days of the 12-day Theerthapada Sangeetotsavam saw reputed Carnatic vocalists render a wide range of compositions.

http://www.hindu.com/fr/2009/04/24/stories/2009042450830300.htm

2. Sagacious rendition
Nedumkunnam P.K. Vasudevan enthralled listeners with music that was devoid of all gimmicks.

http://www.hindu.com/fr/2009/04/24/stories/2009042450820300.htm

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1. Genius remembered
GNB DAY Jeyaraaj Krishnan and Jayasri Jeyaraaj stuck to tradition in their veena playing. Trichur Ramachandran reminded one of his guru, in style and presentation.

http://www.hindu.com/fr/2009/05/08/stories/2009050851460200.htm

2. Tharangam in Tirtha tradition
SPECIAL Ghorakavi Sampathkumar rendered the songs just as Narayana Tirtha sang them centuries ago.

http://www.hindu.com/fr/2009/05/08/stories/2009050851470200.htm

3. Full of promise
The Vizianagaram Brothers showcased their talent at a concert to mark Annamacharya Jayanthi.

http://www.hindu.com/fr/2009/05/08/stories/2009050851490300.htm

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[tscii:7a2b810ea4]1. Music magic
CONCERTS Bangalore will be gifted a musical bonanza this weekend with a host of programmes across the city

http://www.hindu.com/fr/2009/05/08/stories/2009050851120300.htm

2. Melody is pure
INTERVIEW The sarod is life’s ultimate calling for maestro Ustad Amjad Ali Khan

http://www.hindu.com/fr/2009/05/08/stories/2009050851160300.htm


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[tscii:8c320252b6] Strung together

At the Ramanavami concerts, late Kunnakudi’s team came back to perform for him

Photo: V. Ganesan

FLAMBOYANT Kunnakudi was a fine blend of form and technique

The dais was a compelling Kunnakudi beckon. With foreheads adorned in vermillion, the entire pakkavadya group of Kunnakudi Vaidyanathan – including his 50-year associate, Raja Ram on the tambura - was present at the Ramothsava Celebrations of R ama Seva Mandali, Chamarajpet, Bangalore, to accompany vocalist Kunnakudi Subbalakshmi Natesan (Vaidyanathan’s sister) and Aparna and Mithun Srinivas (violin students) who presented several kritis in separate concerts in memory of the violinist. It was a Kunnakudi-family union too to receive the felicitations.

Vaidyanathan was known for his unique approach in retaining a fixed group of pakkavadya artistes who have been his associates for nearly five decades. Modesty and simplicity was the hallmark of the musical family; one could see it in Subbalakshmi Natesan too. “We both used to take lessons from my father Ramaswamy Shastrigal. I only remember my prankster brother who used to be in-and-out of the lessons and in spite of his playful attitude perform better than me and my elder sister,” recalled the 78-year-old Subbalakshmi after her concert. “Our family get-togethers were totally musical because among us siblings, two of us were vocalists, with a violinist and mridangist.” Kalyani and Todi raga being the family favourites, they were taken up for brief sketches in her concert after which kritis such as “Dayamaado Ranga” and “Sanatana Parama Pavana” came along with much gusto that the Kunnakudi school is known for. Kunnakudi’s heavy-bow techniques and the sound-and-fury passionate amalgam came through with fanfare in Mithun Srinivas and Aparna’s violin duet. Taking the signature Kunnakudi school across was what the young musicians were proving with “Telisi Rama Chintana” in Poornachandrika, and what a memory-brought-alive it was to hear the stamp of the maestro in the fast-paced chittaswara! “Our Guru taught us with his vocal lessons, not with his violin, we grasped his technique observing him play on other occasions,” said Aparna. “I would say his approach was different in every aspect of his life,” said K.V.Srinivasan, Vaidyanathan’s son. He was one man who could play for a sabha audience and gallery , and that explains his 200 concerts a year!”

Kunnkudi’s interest in new attempts and innovations led him to work with veteran thavil vidwan Valayapatti Subramanian, who had 3,000 shows together. “My father gained consciousness after 25-days in the hospital after my brother’s Bhairavi rendition,” recalls Srinivasan, even as he talks of keeping alive the active work of the maestro’s Raga Research Centre on health aspects.

“Karnataka is dear to me, Chowdiah appreciated me as much as Mannina Maga Rajkumar who was my great friend…” the words of the maestro will keep ringing, even as his unorthodox bowing will always be kept afresh by the Kunnakudi Sangeetha Gurukulam.


http://www.hindu.com/fr/2009/05/08/stories/2009050851220400.htm[/tscii:8c320252b6]

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A Syrian symphony
Syrian music is a heady mix of centuries of cultural impressions.

http://www.hindu.com/fr/2009/05/08/stories/2009050850060200.htm

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Spirited rendition
Kamalaramani presented her concert in a very traditional manner.

http://www.hindu.com/fr/2009/05/08/stories/2009050850390300.htm

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Confluence of streams of music
The Theerthapada Sangeethotsavam concluded with concerts by Carnatic vocalists.

http://www.hindu.com/fr/2009/05/08/stories/2009050850890300.htm

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[tscii:353b0016b4]
Online edition of India's National Newspaper
Friday, May 22, 2009
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Mixed bag

Mukund’s flute recital captured the inherent emotions of a raga. The sarod-veena presentation was not academic



MUSIC MAGIC To the joy of rasikas

Uttar-Dakshin was a joint venture by Shri Lalithakala Academy Foundation and Bidaram Krishnappa Ramamandira in Mysore. Vivek Naware’s sarod and Geetha Ramanand’s veena was featured; it was not a jugalbandi though.

With two instruments from two different streams of music, an academic approach would have achieved interesting results. Vivek Naware started with Hamsadhwani – elaborated the raga followed by a bandish. The badath could have been gradually progressive, before reaching the climax. This observation applied to Puryakalyan too. Rajendra Nakod (tabala) accompanied him.

As most of the movements were set to either medium or fast pace, one felt inadequate attention given to vilambit expatiations. Added to this, dominating layakaaris overshadowed the expressions of the lead artiste.

Geetha Ramanand’s consistent and composed approach imparted melody to “Raghunayaka” (Hamsadhvani- Thyagaraja). Likewise, pleasing alapana and appropriate swarakalpana embellished “Gangadhara Tripurahara” (Purvikalyani - Mysore Sadashivarayaru). H.L. Shivashankaraswamy (mridanga) accompanied her.

Ample scope, remained unexplored with respect to both Hindustani and Carnatic styles: introductory stages of the alapana (akshipthika – avachar - chalan), development in the various sthayis (raagavardhini – raagvisthar - sthaayi and so on) and others. The percussionists in a way thrived on their excellence, but in many instances their outstretched enthusiasm dulled the expressions of the main artistes.

Last, but not the least, the punctual rasika is always put through an ordeal of waiting for the concerts to start.

* * *

L.V. Mukund proved himself to be an artiste of high calibre and potential, much of which manifested admirably, commanding warm appreciations. Shrithimanjari Pratishtana, Mysore, had organised his flute concert; Veena Suresh (violin) and H.L. Shivashankaraswamy (mridanga) remarkably complemented Mukund.

Simplicity in presenting the compositions and an unassuming style projected the musical aspects to a degree which ultimately carried the audience to a state of pleasant repose.

As the general layout of the concert was set to a desirable slow-to-medium pace, and as all unnecessary tricky sancharas were kept at bay, every number shone in the spirit the composer had visualised it. A systematic approach to ragalapana for Simhendramadhyama (“Nathajana” - Thyagaraja) and Shankarabharana (“Endukupeddala” - Thyagaraja) gave a clear indication as to the importance given to their inherent moods, which later extended into the respective lyrical sections.

He realised the expectations by melodically translating the texts breathing into them the necessary animating musical elements. Even the “Bhogindrashayinam” (Kunthalavarali - Swathi Tirunal) was not an exception to this pleasing and aesthetic approach. Apt and timely pauses with appropriate nilugades while developing the sangathis played a significant role: so also the swaraprastharas comprising mood-enhancing patterns.

“Vinayaka” (Hamsadhvani - E.V. Ramakrishna Bhagavathar/Veena Kuppayya), “Therathiyakarada” (Goulipanthu - Thyagaraja), “Venkatachala Nilayam” (Sindhu Bhairavi-Purandaradasa) and “Bhaavayami Gopalabalam” (Yamunakalyani-Annamacharya) were other presentations.

http://www.hindu.com/fr/2009/05/22/stories/2009052251000300.htm[/tscii:353b0016b4]

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[tscii:a8f8a14ebc]Mellifluous notes
The Harmonium Habba, yet again, reinforced the great potential of the harmonium as a solo instrument

http://www.hindu.com/fr/2009/05/29/stories/2009052950900300.htm



Lucid individuality
Vasudha Keshav’s firm grounding and traditional orientation were well-established through the concert
http://www.hindu.com/fr/2009/05/29/stories/2009052950910300.htm


A musical synergy
Balachandra Nakod's performance was energetic

http://www.hindu.com/fr/2009/05/29/stories/2009052950920300.htm [/tscii:a8f8a14ebc]

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[tscii:776d2ce315] Pattammal, truly a class apart

GOWRI RAMNARAYAN

The rasikas felt a profound sense of awe in linking DKP’s frail figure to her pioneering achievements. A tribute to the music legend, who passed away on July 16.

Photo: Hindu Archives

Musician nonpareil: D.K. Pattammal.

The end of an era. How else do you describe the passing away of Damal Krishnaswamy Pattammal (1919-2009)? Has her death not restored power and poignancy to a well worn cliché?

Musicians and scholars, artists of every genre, and music lovers of three generations, rushed to pay their last respects to the grand old lady of Carnatic music. Each felt a profound sense of awe in linking the frail figure to her singularly pioneering achievements. The television cameras and soundbyte searches seemed wholly alien to the austere spirit that permeated her life and art.

Her journey is widely known and well recorded. No girl of her generation, born in an orthodox Dikshitar family, could hope to pursue singing, even as a hobby. Rasikas though they were, her parents had neither musicianship nor financial means to develop her talent. But they supported her in overcoming the mounting hurdles.

Patta’s love of music was inflamed when she heard the stalwarts of Carnatic music in hometown Kanchipuram at temples, weddings and at the Tyagaraja festival organised by titan Naina Pillai. Pillai’s laya mastery made him a legend in his time, and Patta’s manasiga guru. She never admitted that Naina Pillai terrified his full bench of accompanists. Rather, she would announce proudly, “He was a lion. Naturally he towered over everyone!”

Stories are told of how she and her three brothers jotted down kritis with notation during live concerts, practised and perfected them at home. Even in those days of little publicity, Patta’s gifts were recognised early in life. Her live singing in a school drama brought an offer from the Columbia Recording Company and drew the ire of family elders: Who will marry a girl who sings in public? The criticism continued through the process of learning from sources as disparate as the unknown Telugu musician who volunteered to teach little Patta, and Ambi Dikshitar, scion of the Muthuswami Dikshitar parampara. All her life, DKP was to accumulate her vast multilingual repertoire from teachers such as Tiruppugazh expert Appadurai Acharyar, pallavi specialist Narasimhalu Naidu, composers Kotiswara Iyer, Periyasami Thooran and Papanasam Sivan.

She never mentioned T.L.Venkatrama Iyer, from whom she imbibed an imposing heritage of Dikshitar’s compositions, without shedding tears, especially when she recalled how he refused to die until Pattammal rushed to receive his blessings as the recipient of the Sangita Kalanidhi award from the Madras Music Academy.

“God’s grace made me a musician,” she said invariably, pulling the pallav closer across the shoulder. Never once did she claim that her own will and razor-sharp intelligence triumphed over the hurdles.
Incredible support

Irascible husband R. Iswaran suffered neither fools nor foolishness. He protected his wife from both, leaving her free to hone her art. Pattammal had the incredible good luck to have her own brothers as accompanists at different stages, and watching Jayaraman develop into a Sangita Kalanidhi himself. She also had the rare distinction of performing on stage, accompanied vocally by daughter-in-law Lalitha, granddaughters Gayathri and Nithyashree, great granddaughter Lavanya, and on the mridangam by son Sivakumar.

Long-term violin accompanist T. Rukmini never found the least trace of the superficial in DKP. “Whether khanda nadai in tisra Triputa, or misra nadai in Adi talam, every part of the pallavi was shaped with finesse, precision, commanding total silence, often with seniors seated upfront Semmangudi, Musiri, MS, Dr.S.Ramanathan. After that masterly exposition she would launch ‘Petra Tai Thanai’ and melt into tears. I too found myself crying. Suddenly I saw every eye in the hall was moist.”

As DKP’s sole male accompanist besides her brothers, Vijay Siva (disciple of both DKJ and DKP) was astonished by her energy. “She was not conscious of the mike, but her voice sounded as electrifying as if amplified on a bass speaker. At age 82 she was able to bring off ‘Dharma samvardhini’ (Madhyamavati) with a sense of fullness and depth.” Siva found her evolving everyday, investing old songs with freshness. He explains, “While she made adjustments in the old patanthara to improve and correct, there were authentic reasons for her refusal to change some sangatis. For example, she made me retain what I thought was an alien phrase in a Mukhari kriti from her 1958 recording. I later discovered that the prayoga was perfect Mukhari when hyphenated by a pause."

Everyone knows that Pattammal’s mastery of laya established her as ‘Pallavi Pattamal,’ on a par with male performers. The sentimental had no place in her oeuvre, not even in patriotic songs or folk tailpieces. Says Neyveli Santhanagopalan, “Her tukkadas had the same gravity as a ‘Minalochana Brova.’ Listen to her Syamaladandakam. Each ragam has a regal gait. Like the veena, DKP’s music sounds divine, not because of her obvious technical perfection, but from her visranti, nidaanam and disciplined faith.”

Her accompanists found Pattammal an affable travel companion, ready to enjoy jokes, but talking always about music. “Naina’s Bhairavi was pure essence,” she would say, or, “Rajaratnam Pillai made you wonder if his music came from heaven.”

Pattammal’s own music had that impact on the young. After a DKP recital at the Music Academy, the adolescent T.M. Krishna came running down from the balcony. “I was crying. I became aware then that music is more than mere excitement.”

Bombay Jayashree is amazed by the equanimity with which the senior musician faced everything in life: remaining graceful, contented, with a lifelong commitment to her ideals. “Listening to DKP is to feel secure, knowing we are not alone. Seeing how successful she was as wife, mother, homemaker and musician, we felt we could do it too.”

Jayashree is inspired by the chiselled perfection of DKP’s music in compositions both resplendent and plain. To her, as to many others, DKP’s pathantara is the definitive source of reference in sangitam and sahityam.

Gayathri Venkataraghavan says, “She makes a complex sangati sound simple because so much thought has gone into it. It is subtle. The most important lesson for us is the absence of unwanted improvisation.”

Bearing the stamp of tradition as it did, DKP was also able to delight the masses at national conferences, Congress rallies, memorial services for leaders like Mahatma Gandhi. Many of her film songs (from yesteryear ‘Naam Iruvar’ to present day ‘Hey Ram’) became hits.

Vocalist Lakshmi Rangarajan, walking into DKP’s house on a condolence visit, was moved but not surprised, when she found an autorickshaw driver waiting in his vehicle, visibly captivated by DKP’s voice on the radio. No, not a film song, but an immaculate rendering of ‘Kamakshi,’ Muthuswami Dikshitar’s Bilahari gem!


http://www.hindu.com/fr/2009/07/24/stories/2009072450680300.htm[/tscii:776d2ce315]

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Saying it rhythmically
Mridangam maestro D.K. Murthy was felicitated for his 75 years service to Carnatic music.
http://www.hindu.com/fr/2009/07/24/stories/2009072451340400.htm


Where musical ideas are exchanged
Svanubhava 2009, opening on August 4, will be much more than a Carnatic music festival.

http://www.hindu.com/fr/2009/07/24/stories/2009072451440600.htm

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[tscii:bc378da107]Emphatic statements
Rippling sangatis in Semmangudi style was a highlight of Palai Ramachandran’s concert.

http://www.hindu.com/fr/2009/07/24/stories/2009072451190200.htm


Rare Tyagaraja kritis chosen
Senior vidwans Rangarajan and Ravindran proved worthy disciples of their guru A. Sundaresan.
http://www.hindu.com/fr/2009/07/24/stories/2009072451290400.htm


Ragas in all their grandeur
Ragam Sisters’ concert for Indian Fine Arts Society showed their predilection to choose kritis of Syama Sastri to best effect.
http://www.hindu.com/fr/2009/07/24/stories/2009072451450600.htm


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[tscii:645310de7e] The piano that MS played

Pianist Anil Srinivasan writes about discovering the instrument on which the legendary musician played many a times…


If you listen very carefully, there is so much melody wafting in the breeze. Especially if it happens to be one that was made immortal by a shy lady in a black-and-white film that I once saw years ago. Sometimes, when I sit alone by the piano, my fingers automatically find the notes and begin playing the song, one tantalising note after another, and I find her presence by my side, singing along. Hers is one of the most melodious voices we have ever heard, and in the quiet that follows, I often find that the restless wandering of my mind has finally found a pause. The worries that infested the day have literally packed up their tents and sailed along with the breeze.

Such is the power of the legendary M.S. Subbulakshmi, and such is the sheer beauty of the song ‘Katrinile Varum Geetham.’ A few weeks ago, I was taken to the instrument room at Kalakshetra by its director and my friend, Leela Samson. As the doors were thrown open, I was arrested by the sight of a beautiful baby grand piano. It looked lonely, but when opened and played on, I felt it come alive and smile, the frayed strings and damaged felt notwithstanding. It was an original Steinweg, a brand that later modernised itself and acquired a more anglicised name of ‘Steinway.’ I am not sure what love at first sight is. If it meant a certain powerful electric shudder when first coming across someone or something that evokes instant recognition and innate desire, I probably know what that means now.
An arduous task

The instrument chooses the musician, and never the other way around. The power to create music is a privilege that the instrument chooses to bestow. This is an arduous task, especially given this particular instrument’s journey across time and distance. I try to think of its birth nearly 150 years ago in East Germany, and the travails and stories it probably tries to share, sitting quietly in that sun-kissed alcove near the window. The vibrations it has captured, the hands that have played on it and the sensibilities of its various owners before it came to rest in the music room of MS amma’s home at Kalki Gardens in far-away Madras and its part in the creation of such immortal classics as ‘Hari Tum Haro’ (Composer:Meera; Raga: Darbari Kanada). Even as her dear ones tell me about her sitting at that piano and playing a few chords to accompany her singing, I find the vision vivid and somehow, my eyes turn moist. This is not an ordinary instrument. It is both a part and the whole of a living continuity, a repository of some of the greatest stories of Indian classical music and musicians, and a great pioneer by itself.

After all, it is one of the first instruments that have crossed into our shores in its original, pristine state. Long before ‘monsoon conditioned pianos and the more ubiquitious digital pianos and keyboards’ became the fashion. To be able to take part in its restoration, aided by the fantastic workmen at Musee Musicals and guided by the ever-reassuring vision of Leela akka, has been a benediction in itself. I feel like I finally belong, and I feel that I have been inexorably tied to a certain part of musical history.

As I look ahead to the concert on July 24 at Kalakshetra to celebrate MS and her piano, I feel nervous and exhilarated. It is a milestone in my life. And that languorous melody is still playing softly in the breeze, and I can sense a beautiful smile on that divine face, looking benignly on. I am home and I am about to play her piano.
http://www.hindu.com/fr/2009/07/24/stories/2009072451460700.htm


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[tscii:ee6f3af087]Rich imagination and vision
Jayanthi Kumaresh’s veena recital needed a more exhaustive exploration, Swarnalatha Nagaraj’s concert had features rarely seen in kutcheris
http://www.hindu.com/fr/2009/07/24/stories/2009072450910300.htm



Sound training
R. Raghuram’s uncompromising commitment to classicism was augmented by a robust and pliable voice

http://www.hindu.com/fr/2009/07/24/stories/2009072450900300.htm

[/tscii:ee6f3af087]

[wrap07]

Winsome threesome

The recital by M.S. Gopalakrishnan (violin) assisted by his daughter Narmada and son Suresh took the rasikas on a pilgrimage to Tiruvaiyaru

http://www.hindu.com/fr/2009/09/04/stories/2009090451030200.htm

[raagadevan]

Soorya Music & Dance Festival - 2009:

http://www.hindu.com/fr/2009/10/16/stories/2009101650830300.htm

[venkkiram]

இஞ்சிக்குடி இ.எம்.சுப்ரமணியனின் நாதஸ்வர கச்சேரியை யாரேனும் கேட்டதுண்டா? ஒரு முறை அந்த உயர்ந்த இசையை அனுபவியுங்கள்.

[R.Latha]

[tscii:8882963826] Ups and downs

The musical opera Prahlada Bhaktivijaya was conceived interestingly; veteran T.N. Sheshagopalan's recital was captivating in parts

Distinct Lively progressions

Surabhi Gana Kalamandira celebrated Shri Thyagaraja-Purandara Aradhana for two days. On the inaugural day the organisation presented Shri Purandara Navarathna Maalika followed by Thyagaraja's musical opera (geya nataka), “Prahlada Bhaktavijaya”.

Around ten students admirably animated the characters (“Prahlada Bhaktavijaya”) on the stage under the guidance of Sukanya Prabhakar. The general narrative style remaining simple in consonance with the environment in which the theme was originally conceived, it focused on Prahlada's unconditional surrender to Shri Hari.

In the process of sublimating the context, Sukanya has liberally selected from the source — poetic forms like seesapadyas (Prahlada Naa Bhakthi), kandapadyas (Varamaina, Naa Moravini), utpalamalas (Narada Niku, Sareku Veene, Eppudu Purnakaami), in addition to conventional musical forms (kirthana). Scholarly compositions were rendered with meaning. Compositions like “Shri Ganapathini” (Sowrashtra), “Ipudaina Nanu” (Bhairavi), “Eti Janmamidi” (Varali), “Nanu Brovakanu” (Shankarabharana), “Varijanayana” (Kedaragoula), “Nannuvidachi” (Rithigoula) and “Entha Paapinaiti” (Goulipanthu) substantially represented all the five acts (anka-s).

The drama reached its climax in “Challare Ramachandruni” in Ahiri (that stood for renunciation -nirveda) highlighting devotion as the easiest means, an epitome of which Shri Thyagaraja stood.

Dr. Sukanya Prabhakar, Nagalakshmi, Amrita Subramaniam, Sangeetha, Meera Manjunath, Gowri Vishwanath, Sudha Venkatraghavan, Megha Bhat and Radhesh constituted the music ensemble.

* * *T.N. Sheshagopalan sang (Purandara Thyagaraja Sangeetha Aradhana by N.R. Mohalla Sangeetha Sabha), accompanied by C.N.Chandrashekhar, (violin), Tumkur B. Ravishankar (mridanga) and B. Shashishankar (ghata).

The veteran commenced the recital with Thyagaraja's “Mudhumomu” (Suryakantha) embellishing it with kalpanaswaras: a few strains in the madhyamakala (as opposed to those delivered in faster paces) amply complemented pensive meditative moods of Suryakantha.

Whereas “Padavini” (Salagabhairavi-Thyagaraja) impressed the audience with lively progressions carrying with it attractively knit swarakalpana, Nadopasana (Begade-Thyagaraja) acquired distinctness through majestic developments.

Purandaradasa's “Naa Ninna Dhyanadoliralu” (subliminally absorbing), preceded Thyagaraja's “Nee Pogada” (Varali), “Aparadhamula” (Rasaali), “Manavyalakim” (Nalinakanti - appended with delectable and scholarly kalpanaswaras, only an artiste of high acumen and stature could materialise.

In spite of all these plus points there were moments loaded with maze of passages and tangled kalpanaswaras more calculated to create wonderment and awe than to foster any ambience of repose. Observe Shanmukhapriya, the accomplished artiste developed in different stages before he introduced the listeners to the pallavi, “Ramabhaktha Thyagaraja”.

In matters of proportion, the alapana section consumed a major share (relatively, pushing the pallavi into undue brevity). The surging masterly bhirkas of various dimensions and frequencies instantly captivated the hall: nevertheless, such passages of bravura belittled the melodic aspects. Further, he could have advantageously avoided very frequent articulations beyond taara sthayi panchama for a pleasing impact.

Swarakalpana passed through Kedaragoula, Shubhapantuvarali, Hindola (passing shades), Athana (faintly recognisable: was clearly discernible with the violinist's refrains), Kuntalavarali, Nilambari and Kaapi.

Violinist lagged behind in technical aspects, and it was hard to conclude whether it was an act of voluntary restraint, or was it a sequel to a deficiency in dexterity in coping with the gushing spontaneity of the singer. The percussionists remained consistent and maintained balance throughout the concert.

http://www.hindu.com/fr/2010/03/19/stories/2010031950890300.htm[/tscii:8882963826]

[R.Latha]

[tscii:a76f91e802] Cheerful earful

Diverse Carnatic concerts.

S. Sowmya's was the first concert in Shanmukhananda Sangeetha Sabha's recently concluded Thyagaraja Music Festival. Driven by team spirit, the close to three-hour concert was delightful. She opened with Tyagaraja's “Sree Ganapatini” in raga Saurashtra. “Vandanamu Raghunandana”, another Tyagaraja composition, in raga Sahana, featured a brief alap in which Sowmya brought out the essence of the raga. The swaraprastaras were lively.

Yet another Tyagaraja, kriti, “Teliyaleru Rama” in raga Dhenuka was well presented with due attention to the raga's emotive aspects and the lyrics. “Bantu riti” in raga Hamsanadam and “Svararagasudha” in Shankarabharanam were enthralling. The detailed alap of Shankarabharanam brought out its complete features. She also presented neraval of the phrase “Raama naama manu vara khadga mivi” from the former song and “Muladhara nada merugute” from the latter composition. The neraval and swaraprastaras were rich in creativity. In addition to Tyagaraja kritis, Sowmya included a few appealing Tamil compositions. R.K. Sreeramkumar (violin), Neyveli Narayanan (mridangam) and B.S. Purushothamon (kanjira) provided understanding support. In particular, Sreeramkumar's sketch of Shankarabharanam was delightful. The percussionists played a lively tani avartanam in Adi tala. On the whole, Sowmya's concert livened up the festivity.

Sudha Raghunathan, who sang on the last day, too packed her recital predominantly with Tyagaraja compositions. It was a diverse pack chosen intelligently and contained “Darini Telusukonti”, (raga Suddha Saveri), “Emani pogadudura” (Viravasantam), “Mokshamu Galadhaa” (Saramati) and “Svararagasudha” (Shankarabharanam). Sadly, Sudha wasn't at her usual best, and it was a lacklustre performance. The highlight was the unfolding of raga Yamuna Kalyani, through the technique of graha bhedam (or sruti bhedam), while delineating raga Shankarabharanam.

B. Raghavendra Rao (violin), Patri Satish Kumar (mridangam) and R. Raman (morsing) provided impressive support to Sudha.

Nehru Park

Elsewhere, at Nehru Park, U. Srinivas' short mandolin recital during the Music in the Park series, too, disappointed. Srinivas opened with Koteeswara Iyer's “Varana mukhava” in raga Hamsadhwani. He suffixed this with crisp swaraprastaras. His central item was Tyagaraja's “Evvare Ramayya” in raga Gangeyabhushani. Though Srinivas could bring to the fore the emotive aspects of the raga, he stretched it too much during the alap and swaraprastaras. He finished off with three miscellaneous songs. While V.V. Srinivasa Rao provided good violin support, S. Swaminathan (mridangam) and S. Kannan (morsing) were mediocre.

http://www.hindu.com/fr/2010/03/19/stories/2010031950150200.htm
[/tscii:a76f91e802]

[R.Latha]

[tscii:3f2b180302] A delightful cluster

G. SWAMINATHAN

CONCERT The excellent music of T.V. Gopalakrishnan deserved better sound engineering.

T.V. Gopalakrishnan.

What sets T.V. Gopalakrishnan's music apart is the deep voice which espouses his mastery of the nuances. Starting his vocal recital with ‘Viriboni,' the Ata tala Bhairavi varnam, at the Amarabharati Kalyana Mandapam, for Thiruvanmiyur Asthika Samajam, Gopalakrishnan designed his concert with rare compositions set in exotic ragas, integrating nuggets about the raga, the composition and the composer.

So we had ‘Gana Rajane' in Arabhi by Muthuswami Dikshitar followed by Tyagaraja's ‘Chinna Nadena' in Kalanidhi, a unique raga. He prefaced the kriti with a brief illustrative alapana that carried a strong resemblance to Karaharapriya since it is a derivative of the same. He appended the song with a cluster of swaras too and delighted the audience. Similarly, later TVG introduced raga Shankari – which has the swaras of Hamsadhwani without rishabam -- and the composition ‘Nannu Bro Judani,' enveloping it with a quick alapana and concluding with swarakalpana.

Swara sessions

Raga Pantuvarali was placed as a second main of the concert and TVG chose to present the Prahlada Bhakta Vijayam kriti of Tyagaraja, ‘Narada Muni Vedalina.' There was an expert niraval at ‘Rajilluni Tyagaraja' with a long procession of swaras centring on panchamam. Khambodi was set as the central attraction with sumptuous detailing of the raga for Veena Kuppiar's master piece ‘Koniyadina Napai.' The raga exposition was amply justified with the traditional pidis though built mostly on staccato phrases. The pallavi is popular for its multi-layers of sangatis with subtle to major variations.

TVG's baritone effortlessly assumed full power in the lower, middle and upper regions and in the enticing chittaswaram. S. Varadarajan on the violin gave a graceful version of Kambhodi and very attractive sketches of Kalanidhi and Shankari. Tiruvarur Bakthavatsalam, besides his almost blustery mridangam support, specially complemented TVG in his well aligned forays in the upper regions of Kambhodi. Anirudh Athreya's beats on the kanjira were commendable in texture.

It is both heartening and depressing to see these veterans perform with all humility in venues with the least infrastructure and still demonstrate music of very high quality. This particular venue with acoustics that was found much wanting almost reduced many segments of the concert to sheer noise that drowned the lyrics; the interesting titbits given by TVG as interludes sounded as if they were passing through a scrambler. It is time organisers and artists seriously addressed such audio inadequacies in several venues.

http://www.hindu.com/fr/2010/03/26/stories/2010032651070200.htm
[/tscii:3f2b180302]

[R.Latha]

[tscii:9caa5d5aa4] Fine-tuning process

M.V. RAMAKRISHNAN

Amrutha Venkatesh seems to be in the process of refining her skills and fine-tuning her presentation in concerts.

Amrutha Venkatesh

“S tunning .... clearly articulated lyrics....weighty sway of chittaswaram... gripping rounds of niraval.... solidity of patanthara-reinforced compositions....” Those were some of the lavish expressions used by the discerning music critic Lalithaa Krishnan to describe the performance of young vocalist Amrutha Venkatesh in February 2009. And even a couple of years earlier, when Amrutha was still only a teen-ager, Ms. Krishnan had declared: "Music that spells class.... weighty classicism...." (www.thehindu, Friday Review, Chennai, Feb. 6, 2009 and Jan. 12, 2007).

After hearing Amrutha perform in the city on a couple of recent occasions, one couldn't help recalling those extraordinary words of praise. And after quoting them, one can hardly think of anything more significant to say, except that Amrutha now seems to be in the process of refining her skills and fine-tuning her presentation. What that involves is mainly a little moderation of certain heavy elements of her original style, which she had acquired as an earnest disciple of T.L. Selvanarayanan and Charumati Ramachandran. And in this endeavour she's guided by Prince Rama Varma, whose ongoing concern is that of a mentor rather than a guru.

Profound performance

The main numbers in her recent concerts at Hamsadhwani, and in the All-Trinity series organised by the Saraswati Vaggeyakara Trust at Narada Gana Sabha's mini-hall, were Dikshitar's ‘Sri Subramanyaaya Namaste' in Khambodi and Syama Sastri's ‘Mayamma Nannu Brova' in Nattakurinji respectively. These were rendered in a profound and leisurely manner.

Taken in a much lighter vein were Tyagarajs's galloping ‘Vara Narada Narayana' (Hamsadhwani) and his lilting song ‘Varaleela Gaana Lola' (NGS). But in terms of sheer beauty, most likely to linger for a long time in one's memory are the songs ‘Sreedhara Kesava Narayana' in Kalyana Vasantam, composed by Nadopasana Srinivasan, and Dikshitar's kriti ‘Anandamritakarshni' in Amritavarshini .

What an exciting and adventurous future young Amrutha Venkatesh can look forward to, building such an impressive structure on such a solid foundation!

http://www.hindu.com/fr/2010/03/26/stories/2010032651170400.htm[/tscii:9caa5d5aa4]

[R.Latha]

[tscii:8b6c6eec56] Not quite a jugalbandhi!

In their joint recitals, Anooradha and Sriram share a lovely common musical vision.

Awesome twosome:Sriram Parasuram and Anooradha Sriram.

The musicians themselves call it a ‘jugalbandhi,' obviously for want of a better expression. And the media even refers to it as ‘fusion' between Carnatic and Hindustani music. But neither of those terms really seems to provide a satisfactory definition or description of the joint vocal concerts of Sriram Parasuram and Anooradha Sriram -- in which the highly versatile and talented couple just sing assorted pieces of music belonging to both systems, sometimes (and not always) bringing out certain basic elements of contrast and similarity.

Different styles

The Hindi expression ‘jugalbandhi' broadly refers to encounters between two or more musicians belonging to different gharanas in Hindustani music, representing different styles of performance -- or playing different kinds of instruments which are not usually played side-by-side -- or even belonging to different musical cultures, especially the Hindustani and Carnatic traditions.

Since both Sriram and Anooradha are equally proficient in both kinds of music, what materialises on such occasions is actually a partnership of like-minded musicians -- and not an encounter between two musicians representing two different styles or systems.

In fact, technically speaking, both of them are quite capable of projecting the same picture without involving the other; but in artistic terms, their combined performance adds infinite value to their music, because there's such a wonderful harmony between their voices. Of course, each of them has independent aspirations and accomplishments -- Anooradha as a shining playback singer in Indian cinema, and Sriram as a Hindustani violinist aiming to attain great heights of excellence and status. But when they sing together they share a lovely common musical vision which propels them in the same direction and ensures the integrity of their performance.

No wonder a large audience sat through their performance in the sweltering summer heat in the semi-outdoor venue at Hamsadhwani, with intense concentration.

After explaining and exploring the nuances of the ragas Abhogi (common to Hindustani and Carnatic music) and Kedar-Hamirkalyani, and rendering a Syama Sastri kriti in Anandabhairavi without any frills, the vocalists took up the well-known and extremely popular traditional thumri ‘Kaa Karoon Sajanee.'

One has heard many moving versions of this beautiful song, but perhaps never seen it melting the listeners' hearts as well as this one seemed to do!

After this tour de force, one would have expected anything else to be an anti-climax.

But the climax seemed to be an extended one, with a spirited version of a Purandaradasa song in Bhimplas, Tyagaraja's ‘Marugelara' in Jayantasri, and an eloquent vrittam in Tamil.

Effective instrumental support was provided by Srinivasa Rao (violin), Shertalai Ananthakrishnan (mridangam), Umakant Puranik (harmonium) and Gurumurthi Vaidya (tabla).

http://www.hindu.com/fr/2010/04/16/stories/2010041651140200.htm[/tscii:8b6c6eec56]

[R.Latha]

A tranquil ambience

Mala Ramadorai's presentation was adorned with embellishments of delicate akaras and swaras.

Not quite a jugalbandhi!

In their joint recitals, Anooradha and Sriram share a lovely common musical vision.

Cultural fiesta

Variety Young aspirants proved their mettle at the programme organised by Tamil Nadu Iyal Isai Nadaga Mandram, Pollachi.

Refined and pleasing

Performing in both the styles of classical Indian music has been an heirloom of the Parur School of violinists. M. Narmadha, a very versatile artist, is able to offer Hindustani music of a high quality without traces of the Carnatic system, ...

Tad slow for a concert

Depth was singularly lacking in the recital of P.V. Parameswaran.

Sincere attempt

Mahalakshmi can go places if she hones her skills.

Lively interpretations

Chaitra Sairam's singing style was free from any pretence of profundity.

Confluence of East and West

Anupama Bhagwat and Anoushka combined in a refreshing duet.

http://www.hinduonnet.com/thehindu/fr/2010/04/16/chenindx.htm

[R.Latha]

1. Spotlight on Syama Sastri
Kanaka Durga and Shertalai Renganatha Sharma paid particular attention to raga bhava.
http://www.hindu.com/fr/2010/04/23/stories/2010042351040200.htm

2. Poised in every aspect
Good choice of kritis and confidence made Swarna Rethas' concert an aural pleasure.
http://www.hindu.com/fr/2010/04/23/stories/2010042351070200.htm

3. Reverberating with bhakti
The nine-day fest organised by the Sringeri Sankara Mutt, Srirangam, featured captivating recitals by eminent musicians.
http://www.hindu.com/fr/2010/04/23/stories/2010042350720300.htm

4. In a devotional mood
Kallidaikurichi Sankaranarayanan chose some less heard numbers to showcase his imaginative skills.
http://www.hindu.com/fr/2010/04/23/stories/2010042351100300.htm

5. Decidedly classical
Neat korvais and smooth flowing kalpanaswaras marked Rajini Hariharan's concert. Bhooma Kasturi presented a rich fare with vim and vigour.

http://www.hindu.com/fr/2010/04/23/stories/2010042351090300.htm

[R.Latha]

14 May 2010 04:17 pm

Focus on Tamil kritis
The Tamizhisai festival served as a platform for young aspirants to exhibit their talents.
http://www.hindu.com/fr/2010/05/14/stories/2010051450610300.htm

Mutually pleasant
Gayatri Asokan's casual approach and good improvisation of swaras made her recital quite enjoy.
http://www.hindu.com/fr/2010/05/14/stories/2010051450620300.htm

Dipping into an aural treasure
Shreyah Ramnath displayed acumen in grasping the lyrical and devotional facets of Annamacharya kirtanas.
http://www.hindu.com/fr/2010/05/14/stories/2010051451460200.htm

Musicians scout for talent
The aim of Sumanasa Foundation is to search for potential and showcase it.
http://www.hindu.com/fr/2010/05/14/stories/2010051451500200.htm

Of voice and violin
Narmadha beautifully highlighted some rare kritis, adding an admirable vocal touch to her violin recital.
http://www.hindu.com/fr/2010/05/14/stories/2010051451510200.htm

Presented with emotion
The Oduvars have sung Panniru Tirumurai soaked in bhakti.
http://www.hindu.com/fr/2010/05/14/stories/2010051451580300.htm

Young harpists show promise
Diverse repertoire and expressive power marked the harp concert presented by students of A.R. Rahman's KM Music Conservatory.
http://www.hindu.com/fr/2010/05/14/stories/2010051451630400.htm

[R.Latha]

COMMENT Madurai T.N. Seshagopalan's concert was in keeping with the spirit of the venue - the Parthasarathy Swami temple.

UNIQUE BEARER OF TRADITION: T. N. Seshagopalan

The Parthasarathy temple in Tiruvallikeni is said to be the oldest temple in Chennai city. Tiruvellikeni itself finds mention as a village even in the times of the ancient Pallava dynasty. And in this temple, with all its authenticity and grandeur, was the Brahmotsavam festival grand finale concert of Madurai T.N. Seshagopalan.

The crowds that had thronged the temple festivities organically reorganised themselves to transform the space into a spiritual theatre. And thus began the concert.

It was common knowledge that TNS had returned from a long American musical tour barely twelve hours before his concert, in one of the hottest days of the year. There was natural curiosity of how he would cope with the circumstances. But as the concert progressed, it became obvious that TNS would not disappoint, since he would capture the traditional connection between Carnatic music and its original proscenium, the temple.

Evocative Kaanada

Even as the concert began with and unfolded into the Dikshitar composition Shanka Chakra (Purnachandrika), the Chalamela varnam (Nattakurunji) concert had embedded itself in the universe of Parthasarathy. TNS enhanced the momentum with Ambujam Krishna's `Yenna Solli Azhaithai' that was preceded by a supremely evocative elaboration of raga Kaanada followed by a thematic virutham. `Keechu Keechendrengum' (Tiruppavai) in Bhairavi was an apt inclusion of Andal. The next composition was to connect inevitably with the spatial significance of the temple. The offering was a slokam `Sarva Dharmaan Parityajya,' the last of the Gitopadesam and is called Charamasloka, highlighting the surrender of the devotee to the higher force.

This was followed by the elaborate `Bhagayanayya' in Chandrajyoti. This wholesome offering meandered from the raga elaboration to the niraval and kalpana swaram.

The line of the niraval improvisation `Phalamu Neeku thanaku Laedhani Chakkaga Paalanamu Seya Laedha' refers to theGita sloka, (meaning, the action alone is your right and not the result). Even the anupallavi in the composition refers to the karmanyevaadhikaarsthe maa phaleshu kadhaachan Gitopadesa sloka (meaning, there is nothing to be done for me, or my own sake in all the three worlds). TNS could not have made a better offering to the philosophical symbolism of the presiding deity.

All the exquisite viruthams such as `Palliyil Othi Vanthadhor Siruvan' (Thirumangai Azhwar Pasuram) about Thiruvallikeni deity and `Shanka Chakra (Draupadi Maana Samrakshana slokam were thematic to the metaphors of the temple. TNS chose to even conclude the concert with a thematic mangalam `Vijaya Gopala' by Narayana Tirtha.

Vittal Ramamurthy on the violin and Ganapathy Raman on the mridangam harmonised faultlessly with the theme and texture of the concert.

The concert and its ambience transported even the average connoisseur (and perhaps even the non-believer!) to a world of yore when culture, spirituality and intellectual genius merged with organic ease. TNS demonstrated that he is a unique bearer of a musical tradition that can revitalise the transcended significance of a space called the temple.

http://www.hindu.com/fr/2010/05/21/stories/2010052161340300.htm

[R.Latha]

1. Accent on musical discipline
Seetha Rajan's recital for Swati Tirunal Day was compact and creditable.
http://www.hindu.com/fr/2010/06/04/stories/2010060451220200.htm

2. Vintage fare from veteran
Kalpagam Swaminathan's album was released recently.
http://www.hindu.com/fr/2010/06/04/stories/2010060451230200.htm

3. Maestro's magic

For those Hindustani music aficionados who have not had the opportunity to listen to the scintillating music of Ustad Bade Ghulam Ali Khan, this CD will provide a glimpse into the masterly exposition of three ragas handled by the ...
http://www.hindu.com/fr/2010/06/04/stories/2010060451250200.htm

4. Music, pure and pristine
Athira's judicious choice of compositions made her concert lively.
http://www.hindu.com/fr/2010/06/04/stories/2010060450680300.htm

5. Unrelenting tempo
It was significant that Madhavan never resorted to contrivance of voice to feign reposefulness and sensitivity.
http://www.hindu.com/fr/2010/06/04/stories/2010060451300400.htm

[R.Latha]

1. Vibrant vocals
Kasturi Kamala Deepthi gave a skilful vocal performance for Sankara Jayanti celebrations.
http://www.hindu.com/fr/2010/06/04/stories/2010060450070200.htm

2. Delightful beat of the dolu
Miduthuru Tarigoppula Narayana performed 35 talas in less than 13 minutes.
http://www.hindu.com/fr/2010/06/04/stories/2010060450160300.htm

3. One for the record
A marathon rendition of Annamayya keertanas finds place in the Guinness Book of World Records.
http://www.hindu.com/fr/2010/06/04/stories/2010060450120200.htm

4. The little master
Abhishek Raghuram showed maturity beyond his age.
http://www.hindu.com/fr/2010/06/04/stories/2010060450150300.htm

5. Magic of qawwali
An informal setting can transform the qawwali experience. And so it was when Warsi brothers Nazeer and Naseer Ahmed Khan performed at the LaMakan in Banjaral Hills. The Warsi brothers were their melodic best with chosen old-time hits like ...
http://www.hindu.com/fr/2010/06/04/stories/2010060450180300.htm

[R.Latha]

[tscii:0f3c2e2349] A musical treat

Maestro Ilayaraja's album “Nothing But Wind” to be performed live on June 5



MAGICAL TUNES Ilaiyaraja.

I layaraja's fans have a huge reason to celebrate this weekend. “Nothing But Wind”, his album of international acclaim, is to be performed live on June 5, 7 p.m., at The Music Academy. The show will be inaugurated by the maestro himself and presided over by director Bharathiraja, music composer Uttam Singh and lyricist Vaali. Ace flautist Navin Iyer will take centre stage along with a 50-piece orchestra. The show is being organised by Bhavatharini, Ilayaraja's daughter, in connection with the virtuoso's birthday (June 2).

“Nothing But Wind” is Ilayaraja's second non-film album released in 1988. The album was performed by veteran flautist Hariprasad Chaurasia and a 50-piece orchestra and takes the conceptual approach suggested in the title — that music is a natural phenomenon akin to various air currents (e.g., the wind, the breeze, the tempest, etc.).

Now, for the first time, after two decades of its release, the album is to be performed live by city-based musicians Navin Iyer on the flute, Navneeth Sundar on the keyboard, Aalaap Raju on the bass guitar, Donnan Murray on the guitar, Leon on the keyboard, Geo Raj on the drums along with a 32-piece string section. It will be conducted by Prabhakaran.

“Nothing But Wind” comprises the tracks ‘Singing Self', ‘Mozart I Love You', ‘Song of Soul', ‘Composer's Breath' and ‘Nothing But Wind'. Tickets for the show, priced at Rs. 250, Rs. 500 and Rs. 1,000, are available at Landmark. For more information, call 99949 02173 or 98417 79699.

http://www.hindu.com/mp/2010/06/03/stories/2010060350840100.htm[/tscii:0f3c2e2349]

[R.Latha]

Music for a cause

Listen to sacred music featuring the Lutheran Men's Voice

A sacred music concertwill be held on June 5 at 6.30 p.m., at Arulnathar Lutheran Church, Harleys Road, Kilpauk, in aid of the ALC Piano Fund. The concert will feature the Lutheran Men's Voice, a group led by Prabhu G.J Dorairaj, which has been singing for the past 35 years. The evening will feature hymns, keerthanais, spirituals and gospel songs. The evening will also feature pianist Rajeevan David. Donor passes are priced at Rs. 100. For details, call 98842-94648.

http://www.hindu.com/mp/2010/06/03/stories/2010060351030500.htm

[R.Latha]

1. Talent spreads its wings
Consistency and tonal balance marked K. Gayathri's concert.

http://www.hindu.com/fr/2010/08/20/stories/2010082051210200.htm

2. Words of wisdom
Prof. Veezhinathan highlighted the Advaita philosophy in Dikshitar kritis.

http://www.hindu.com/fr/2010/08/20/stories/2010082051250600.htm

3. Raga essays made the difference
Creative touches made Subbulakshmi Swaminathan's concert worth the while.

http://www.hindu.com/fr/2010/08/20/stories/2010082051360400.htm

4. Symmetry in singing
Maharajapuram Ganesh Viswanath ably juxtaposed karvais and rapid prayogas.

http://www.hindu.com/fr/2010/08/20/stories/2010082051380400.htm

5. Polished to sparkle
The neat delineation of kritis by Mambalam Sisters was proof of their diligent practice.

http://www.hindu.com/fr/2010/08/20/stories/2010082050660300.htm

[R.Latha]

1. Tranquil notes
Suma Sudhindra and Pravin Godkhindi's jugalbandi bore testimony to technical virtuosity and aesthetic sensibility

http://www.hindu.com/fr/2010/08/20/stories/2010082050940500.htm
Love holds devotion

2. Adil Husseini's five-hour performance had devotional and philosophical numbers

http://www.hindu.com/fr/2010/08/20/stories/2010082050950500.htm

3. Fluent notes
Anantharam and Amith Nadig's concert evoked mixed responses, while Shrilakshmi's veena recital was imaginative

http://www.hindu.com/fr/2010/08/20/stories/2010082050960500.htm

4. Eclectic rendition
Ranjani and Gayatri caught the pulse of the audience and made a fine presentation

http://www.hindu.com/fr/2010/08/20/stories/2010082050970500.htm

[Irene Hastings]

Do you have review of T.M.Krishna's concert @ Times of India programme ?

[R.Latha]

1. Room for two
A look at the duet music concerts in the Sampratikam fest.

http://www.hindu.com/fr/2010/08/20/stories/2010082050100200.htm

2. Torrential talent
Concerts by young Carnatic musicians who received Sangeet Natak Akademi's Yuva Puraskar.

http://www.hindu.com/fr/2010/08/20/stories/2010082050120200.htm

3. Keeping tune with the times
Noted folk singers from Assam, Khogen and Archana Mahanta, on their long association with Bihu songs and the changing times.

http://www.hindu.com/fr/2010/08/20/stories/2010082050140300.htm

[R.Latha]

Song on new wings
The Devanandan Ubhayker Yuva Sangeet Utsav brought together some promising young musicians of India
http://www.hindu.com/fr/2010/09/03/stories/2010090350790200.htm

Tracing her own path
Gayatri Girishholds lessons from her guru sacrosanct; but her music is her own
http://www.hindu.com/fr/2010/09/03/stories/2010090350850300.htm

Fluent and felicitous
Anil Murthy's concert was charged with emotion

http://www.hindu.com/fr/2010/09/03/stories/2010090350820300.htm

[R.Latha]

[tscii:0b46cc6b65] Holding the audience in thrall

The 13th annual L.V. Memorial Concerts conducted by the Rasika Ranjana Sabha,Tiruchi, was a boon for the music lovers of the city.

Photo: R.M. Rajarathinam.

Vocalists captivate: (From left) K. Jyotsna; Ganesan; Mohan Santhanam; Gayathri Venkataraghavan and Ashok Ramani.

It was delectable music by mostly young masters at the 13th Annual L.V. Memorial Concerts, conducted by the Rasika Ranjana Sabha recently. The programme, held at the Sabha's FGN Hall, Tiruchi, was spread over 11 days and was a boon for music lovers.

The festival had a rousing start with Padma Sugavanam (vocal), who was accompanied by Venkatasubramanian on the violin and Ananthakrishnan on the mridangam.

Audience enthralled

The mellifluous voice of K. Jyotsna enthralled the audience as she sang ‘Karunai Sheivan' (Sri), ‘Ninnu Vina' (Varali) and ‘Nee Iranga' (Atana). She was accompanied by G.Venkatasubramanian on the violin and S. J. Arjun Ganesh on the mridangam.

The U.S. based engineer, Ramakrishna Murthy, delighted the rasikas by tackling Mukhari (‘Sivakamasundari'), ‘Subramanya' (Hindolam) and ‘Ankaranamaka' (Kapi) in his inimitable style on the third day. He was accompanied by Nagai Sriram on the violin and Ganapathiraman on the mridangam.

The doyen, ‘Tiruchi' Ganesan with ‘Ambalapuzha' Pradeep on the violin, ‘Palladam' Ravi on the mridangam and Rajaganesh on the kanjira gave a recital in his established style. Special mention must be made about the thani performed by the percussion trio.

The young executive from New Delhi, Mohan Santhanam, who took up popular ragas, gave an astounding performance. He was ably supported by N. C. Madhav on the violin, Salem Srinivasan on the mridangam and Murali on the ghatam. His ‘Mahaganapathim' (Thodi), ‘Kanagasabapathikku' (Atana) and ‘Marukelara' (Jayanthsri) will be remembered for a long time by the audience. Madhav in typical Dhwaram style gave good support. The rollicking thani of Salem Srinivasan on the mridangam and Murali on the ghatam was splendid.

Delightful recital

‘Papanasam' Ashok Ramani, accompanied by M.A.Sundareswaran on the violin and Ganapathiraman on the mridangam, gave a delightful performance befitting the music mela of the Sabha.

The vocal recital by Gayathri Venkataraghavan spoke of her scholarship in the craft and she traversed the octaves with ease. Elaborating in Mohanam (‘Ra Ra Rajeevalochana') with apt swaras, she delved deep into Varali (‘Gopalanatha'). Her Poorvikalyani (‘Intha Paramugam Enaiya') and Sama (‘Annapurne') spoke volumes of her mastery and it seemed that she relived MS that day. N. C. Madhav on the violin, Sivakumar on the mridangam and Renganathan on the ghatam gave her able support.

Two comedies were also staged. ‘VRS O VRS,' presented by Chennai Kala Nilayam, was directed by K. S. Nagarajan. ‘Enakkul Iruvar,' presented by Rail Priya, was directed by Ananthu- who was also responsible for the dialogue and story.

The bharatnatyam performances by Vijaya Mukundan's troupe of Salangai Academy of Indian Classical Arts and by Smitha Madhav, on the final day, also regaled the audience.

The festival was inaugurated by S. R. Jayasithalakshmi, former professor of music. She conferred the ‘Sageetha Sri' title on V. Venkata Nagarajan and also presented the L.V. Memorial awards and purses to vocalist S. Adithyanarayanan and mridangam vidwan Venkataraman.

http://www.hindu.com/fr/2010/09/03/stories/2010090350610200.htm[/tscii:0b46cc6b65]

[R.Latha]

1.Confluence of creativity
Harmony marked the musical conversation between flautist Shashank and sitar player Purbayan Chatterjee.

http://www.hindu.com/fr/2010/09/03/stories/2010090351200200.htm
Optimum impact

2. Blessed with powerful voices, Ruchira Kale and Kumar Mardur proved their mettle.

http://www.hindu.com/fr/2010/09/03/stories/2010090351260300.htm
Brothers unite for a cause

3. Jugalbandhi The Gundecha and Malladi Brothers have come together to raise funds for a worthy purpose.

http://www.hindu.com/fr/2010/09/03/stories/2010090350600200.htm
Holding the audience in thrall

4. The 13th annual L.V. Memorial Concerts conducted by the Rasika Ranjana Sabha,Tiruchi, was a boon for the music lovers of the city.

http://www.hindu.com/fr/2010/09/03/stories/2010090350610200.htm

5. Interpreted with ease
Duo Carnatica Brothers' rendition of the Saramathi raga was elegant.


http://www.hindu.com/fr/2010/09/03/stories/2010090350670300.htm

[R.Latha]

1. Note of friendship
Chennai-based bigwigs sang to raise funds for a cause, while Delhi youngsters too presented their talents.

http://www.hindu.com/fr/2010/09/03/stories/2010090350380200.htm

2. It is raining music
Delhi witnessed a number of delightful recitals in celebration of the monsoon.

http://www.hindu.com/fr/2010/09/03/stories/2010090350360200.htm

[R.Latha]

The sitar reigns supreme
Madhu Murthy paid tribute to four stalwarts of the sitar.

http://www.hindu.com/fr/2010/09/03/stories/2010090350190300.htm

[R.Latha]

[tscii:5d3aa86d32]1. Unusual selection of songs
Kotapalli Vandana, Vrinda Acharya and K.J. Nandini lent freshness to their recitals.
http://www.hindu.com/fr/2010/09/24/stories/2010092451160200.htm

2. Catchy mix of old and new
‘Raag Roop Aur Rang' showcased film songs based on classical ragas.
http://www.hindu.com/fr/2010/09/24/stories/2010092451150200.htm

3. Graceful blend of styles
Lakshmi Sreeram and Gayathri Girish showcased the two classical forms with deep commitment to grammar and composition.

http://www.hindu.com/fr/2010/09/24/stories/2010092451090200.htm

4. In his inimitable way
Solo Gurucharan's swaras and niraval spoke of his scholarship in handling tough components of music with ease.

http://www.hindu.com/fr/2010/09/24/stories/2010092450550300.htm

5. With effortless ease
By eminent musicians marked the finale of the September Season of Music and dance held in Coimbatore.

http://www.hindu.com/fr/2010/09/24/stories/2010092450580300.htm

6. Display of virtuosity

The Parur style of bowing and fingering is reflected to great degree in the violin playing of the talented brothers from Mysore, Nagaraj and Manjunath. They have been in the concert arena for quite a few decades and enjoy popularity amongst ...

http://www.hindu.com/fr/2010/09/24/stories/2010092451240400.htm
[/tscii:5d3aa86d32]

[raagadevan]

Musical revelry - (Soorya Dance and Music festival 2010)

http://www.hindu.com/fr/2010/10/22/stories/2010102251340300.htm

[R.Latha]

Firm foundation
Kolkata Vijayaraghavan has potential, but he should steer clear of mere vocal display.

http://www.hindu.com/fr/2010/10/29/stories/2010102950820200.htm
Jazzy lilt to raags

Hindustani vocalist Shantanu Bhattacharyya and the Canadian group Monsoon wove magic.

http://www.hindu.com/fr/2010/10/29/stories/2010102950950400.htm

Spirit of adventure
With the accompanists playing perfect, Sanjay offered a sumptuous fare.

http://www.hindu.com/fr/2010/10/29/stories/2010102951060500.htm

[R.Latha]

[tscii:8cbe8bd0df] Evocative appeal

Vasudha Keshav's Carnatic vocal recital was well structured



Vasudha Keshav Complex structure and weighty classicism

Vasudha Keshav, accompanied by S. Yashasvi (violin), A. Radhesh (mridanga) and R. Ramesh (ghata), presented a vocal concert recently as part of the Sri Sargur Narasimha Murthy Endowment Programme of the MES Kalavedi, Bangalore.

The performance began with an emphatic rendering of Veena Venkatagiriappa's varna “Vanajaksha”, set to Gambheeranatta raga and adi tala, to which were appended a few avarthanas of kalpana swaras. A brief sketch of Saranga was then followed by “Gananathane”, a composition of Periyasami Thooran, also in adi tala. Kalyanavasantham was taken up for a short alapana that highlighted its evocative appeal, notable for the occasional stress on the dhaivatha during the ascent to the thara sthayi, and for the imaginative phrases that ran the entire gamut of the scale. The Deekshithar krithi “Sree Venkatesham Bhajami Sathatham” in rupaka tala, sung in a mellow tempo eminently suited to its lilting yet dignified charm, and suffixed with brisk kalpana swaras at the madhyamakala sahithya beginning “Shankha Chakra Dharam” completed a well constructed and executed item.

The succeeding expansion of Nattakurinji was suffused with raga bhava, replete with key phrases that combined improvisational acumen with strict adherence to the complex structure and weighty classicism of the raga. A full-throated akara at certain junctures would, however, have infused the exercise with greater vitality and revealed more effectively the true range and quality of the voice. Veena Kuppayyar's krithi beginning “Needu Moorthy” in adi thala was ornamented with a fairly detailed neraval at “Indiraramana Gunabharana”, made especially striking by the thara sthayi positioning of the sahithya. The ensuing kalpana swaras in the second speed were enlivened by a number of single avarthana segments leading to a final focus of diminishing tala cycles ending at the dhaivatha, and including a modicum of rhythmic patterns.

A bracing “Bhogeendrashayinam” in Kunthalavarali raga prefaced the main raga of the evening, Mohanam. The alapana was both meticulous and elaborate, and infused with the traditional flavour of the Carnatic idiom. Thyagaraja's “Nannu Palimpa” in adi tala was presented with a neraval and kalpana swaras at “Vanaja Nayana” and followed by a tani avarthana. A number of compositions by a variety of composers included in the well-planned recital were indicative of the lead artiste's wide repertoire and dedication. The concert, which was augmented by competent accompaniment by the violinist and exemplary support and understanding from the percussionists concluded with Purandaradasa's “Venkatachala Nilayam” in Sindhubhairavi raga and adi thala.

http://www.hindu.com/fr/2010/10/29/stories/2010102950730300.htm
[/tscii:8cbe8bd0df]

[raagadevan]

"Blessed with a velvety voice"

http://www.hindu.com/fr/2011/02/18/stories/2011021851220200.htm

[R.Latha]

Bhavan's cultural festival sets the tone for music season

Balamuralikrishna and Nityashree Mahadevan

Carnatic musicians Balamuralikrishna and Nityashree Mahadevan receiving the Obul Reddy and P. Gnananba Memorial Awards in Chennai on Sunday. G. Srinivasan, Chairman and Managing Director, United India Insurance Company ( left), T.S. Krishnamurthy, chairman, Bhavan's Chennai Kendra, Sucharitha Reddy, wife of Pratap C.Reddy , chairman, Appolo Hospitals, and K.N. Ramaswamy, director, Bhavan's Chennai Kendra are in the picture. Photo: R.Shivaji Rao
The Hindu Carnatic musicians Balamuralikrishna and Nityashree Mahadevan receiving the Obul Reddy and P. Gnananba Memorial Awards in Chennai on Sunday. G. Srinivasan, Chairman and Managing Director, United India Insurance Company ( left), T.S. Krishnamurthy, chairman, Bhavan's Chennai Kendra, Sucharitha Reddy, wife of Pratap C.Reddy , chairman, Appolo Hospitals, and K.N. Ramaswamy, director, Bhavan's Chennai Kendra are in the picture. Photo: R.Shivaji Rao

Several eminent artists, old and young, felicitated

Bharatiya Vidya Bhavan's Cultural Festival 2011 kick-starts the popular ‘Madras music season' here on Sunday.

The Bhavan took this opportunity to felicitate several eminent artists, old and young.

Eminent Carnatic musician and composer Balamuralikrishna, who was presented the P. Obul Reddy Award, described Bhavan as the “home of arts and artistes.” Himself a patron of the London branch of the Bhavan, he said this institution had been rendering yeoman service to arts and culture and expressed hope that it would continue to remain so.

G.Srinivasan, chairman and managing director, United India Insurance Company, the chief guest, said Chennai turns into a different city altogether during the music season. And the cultural festival of Bhavan was not only free but was also of high quality. Thanks to its rasikas of high calibre, it provided an opportunity for an interface of high quality artistes and rasikas. Such festivals took the public to a different plane altogether, to the level of “communion with God.”

Describing Bhavan as an institution that had been in the forefront of “intellectual and cultural movement” of the country, he quoted its founder K.M. Munshi as saying it was an institution which had its “faith in the past, the present and the future.”

The movement and the contribution of Bhavan were quite relevant today because of the challenges facing the world which was suffering from “moral deficit,” he added.

T.S. Krishnamurthy, former Chief Election Commissioner and the chairman of the Bhavan's Chennai Kendra, observed that it was honouring the old artists in a bid to express its concern for the old and honouring the young to say that the future was safe in their hands. The Bhavan proposed to extend its activities to T. Nagar and Tiruporur also, he added.

Carnatic musician Nithyasree Mahadevan was presented the P. Gnanambal Memorial Award by Sucharita Reddy, wife of Pratap C. Reddy, chairman, Apollo Hospitals group. Parur M.S. Anantharaman, Sembanarkovil S.R.G. Rajanna, Suguna Varadachari, Prapancham Sitaram and G. Abhilash received Bhavan's Chennai Kendra cultural awards.

Keywords: Bharatiya Vidya Bhavan, Madras music season

[R.Latha]

Sudha Ragunathan

Brilliant presentation: Sudha Ragunathan. Photo: K. Ananthan


Sudha Ragunathan enthralled her rasikas by delivering a wide variety of songs.

Sudha Ragunathan's distinctive flair for giving a fresh touch in her presentation skills was evident in her vocal recital under the aegis of Arsha Kalaa Arangam, held at the Sarojini Auditorium, Coimbatore. Her well-developed vocal faculty came in handy to her while picturing the ragas with twists and turns.

Her modest start of ‘Siddhivinayakam Anisam' in Mohanakalyani with a brilliant chittaswaram made the listeners sit up for more in the following numbers.

Glitzy stimulation underlined the succeeding ‘ Sobillu' (Jaganmohini) and ‘Mokshamu Galada' (Saramathi).

Spate of kalpanaswaras

A delightful raga vinyasam of Kalyani with richly worked out sancharas integrated with vocal articulation for the kriti, ‘Ulagellam Eendra Annai' unravelled the sensitivity of the raga. The niraval and the spate of kalpanaswaras were rooted in the emotion of rakti.

The concluding pieces of Swami Dayananda Saraswathi's compositions—‘Bo Shambho' and ‘ Mahalinga Vibho' were marked by lyricism, mellowness and devotional fervour.

Embar Kannan's violin accompaniment was classy in the solo segment of raga delineations and swara sallies.

Sai Giridhar (mridangam) played strokes adding meaning to the percussive support in company with Ramani's morsing. Both painted a picture of laya in a lilting thani.

Keywords: Sudha Ragunathan, carnatic music

[R.Latha]

Chennai, November 20, 2011
Ringing in the Yule spirit
At the outset of Canticle of Joy — a package of classical, semi-classical and contemporary music at Museum Theatre designed to welcome the Yule spirit and, at the same time, to enthral classical mu... »
Members of Anubhuti at The Music Academy Photo: S.R. Raghunathan

November 18, 2011
High on curiosity, confidence
Only brave hearts or confident artistes can take up such a challenge, the challenge of performing at a moment's notice. Talented Carnatic vocalists, Trichur Brothers, who filled in for the postpone... »
COIMBATORE, November 18, 2011
When music spoke through slide guitar and violin
A musician living on the banks of the Ganges and another living in Singara Chennai came together on one stage to create music so divine that it struck a chord in every listener. ‘Adrishta', the op... »
Tarun Bhattacharya

November 17, 2011
Strings of a melody
An ace santoor artiste, Tarun Bhattacharya who was recently in the city for a musical ensemble, shared his childhood passion for the instrument, his musical journey and his love for the city. ... »
Prema Ramamurthy

November 17, 2011
Melodious repertoire
It was a full house at the mini hall of Thyagaraya Gana Sabha for veteran Prema Ramamurthy's vocal performance. Prema is the senior most disciple of Mangalampalli Balamurali Krishna. She is a well... »
Madurai Mani

November 17, 2011
Celebrating Madurai Mani
"Elderly lovers of Carnatic music sometimes find it difficult to believe that many decades have passed since the good old days when the scene had been dominated by venerable vocalists such as... »
Brilliant presentation: Sudha Ragunathan. Photo: K. Ananthan

November 17, 2011
With devotional fervour
Sudha Ragunathan's distinctive flair for giving a fresh touch in her presentation skills was evident in her vocal recital under the aegis of Arsha Kalaa Arangam, held at the Sarojini Auditorium, C... »
Soulful notes: Kadri Gopalnath

November 17, 2011
Short and sweet
Right from the beginning Kadri Gopalnath appeared unsettled. First, the concert began late and then he had his struggles with the sound system. So it took some time for the sax maestro to get warm... »
SAYING IT WITH FLOWERS: SPB wishing Ananthu, (from left) Balamuralikrishna, MSV and Ganesh look on. Photo: S.S. Kumar

November 17, 2011
Deserving accolades
Ananthu’s evening of film numbers titled ‘Oru Naal Podhuma,’ at Kamaraj Arangam, on Children’s Day, had a salient pick of everlasting songs. Ananthu, an MSV protégé, has been with the illustrious c... »
Vocalist Sikkil Gurucharan and pianist Anil Srinivasan at the opening concert to launch ‘The Hindu Friday Review November Fest 2011’ in the city on Wednesday. Photo: K. Ananthan

COIMBATORE, November 17, 2011
The Hindu Friday Review November Fest launched
The second edition ofThe Hindu Friday Review November Fest was launched in the city on Wednesday night at the Grand Kovai Ballroom, Le Meridien. Dignitaries from various sections of society... »

[R.Latha]

November 19, 2011
Touching the right chord
Suddala Ashok Teja's songs are simple and transparent, like him. They break the wall between writer and the listener and touch the heart. He talks about the power of a song, “When Tansen sang… the... »

KOCHI, November 18, 2011
November Fest to begin in city today
The Hindu Friday Review November Fest, which was launched in Chennai in 2005, is coming to Kochi for the very first time, at the Kerala Fine Arts Hall, for three days this weekend starting... »
BEST OF BOTH WORLDS Dulsori Photo: S.R. Raghunathan

November 17, 2011
The delicate sound of thunder
The distant rumble of drums heralded lilting rain on lush fields. Strident gongs signalled the clash of battle swords in faraway lands. And a lissome flautist's trills painted a peaceful pasture. H... »
Singing strings Sarfaras Khan. Photo: K.K. Najeeb

November 17, 2011
Sweet strains of the sarangi
For the first time in Thrissur, music buffs had the privilege of revelling in the enthralling notes bowed out of the sarangi by Sarfaras Khan. The 16-year-old musician, son of Ustad Faiyaz Khan, e... »
Srinivasa Iyengar and son giving violin concert

November 17, 2011
Father-son duo impress
At times concerts by veterans give us the feel of ancient styles with perfect grammar and sahitya import. Violin concert by 78-year-old Nallan Chakravarthula Srinivasa Iyengar in the company of hi... »
Kalamandalam Sankara Warrier. Photo: Thulasi Kakkat

November 17, 2011
Percussionist par excellence
In his cautiously written critique on Kathakali maddalam, Kalamandalam Krishnankutty Poduwal has noted that but for the avant-garde efforts of Thiruvilwamala Venkichan Swamy, the maddalam would ha... »
aesthetic: Hemmige Prashanth. Photo: K. Ananthan

November 17, 2011
Appealing patterns
Hemmige Prashanth's (disciple of late K.V. Narayanaswami) vocal recital featured by Rajalakshmi Fine Arts, Coimbatore, in its monthly programme, was marked by strict adherence to tradition and its... »
Violin duet by Naveen Kumar and Poorna Pragnya at the concert organised by Association for Carnatic Music (ACM) in Tirupati last week.

November 17, 2011
Enthralling duet
Naveen Kumar and Poorna Pragnya performed a violin duet at the monthly musical programme conducted by the Association for Carnatic Music (ACM) at Mahati mini hall in Tirupati last week. ACM devote... »

Chennai, November 17, 2011
‘Lahori Blues’ concert cancelled
Warm Greetings from The Hindu Events Team. We thank you for the patronage for our ongoing Friday Review November Fest 2011 at the Music Academy. Today’s concert,... »
SOUND SENSE: The Minguet Quartet. Photo: S.R. Raghunathan
November 16, 2011
Mood, musicality and Minguet
The road to a mature string ensemble is a long and arduous one. Since much of the charm of chamber music is to return the compliment of the other, four musicians who love to play string instrument... »

[R.Latha]

Concert conjures up magic of abhangs

Aruna Sairam performing Wisdom of Vithala at The Hindu Friday Review November Fest 2011, Fine Arts Hall, Kochi. Photo: Tulasi Kakkat


Friday Review November Fest
music classical music
arts, culture and entertainment

The city has a history of abhang singing that is more than 100 years old. The Sree Vithoba Devasthan in Mattancherry has regular abhang renderings and most of the compositions of this traditional form are quite familiar to those who participate and listen to them here. For them, Aruna Sairam's abhang performance was another chance to revisit their musical roots, for the others, an initiation into a powerful world of devotional music.

Aruna Sairam was singing on the opening day ofThe Hindu Friday Review November Fest at the Kerala Fine Arts Hall on Friday. The programme was aptly titled ‘Wisdom of Vithala,' as most of the songs penned by poet saints are addressed to Lord Vithala.

Classical as well as non-classical singers have explored this form. Earlier, abhangs were sung by classical singers only as part of a general concert, usually at the end of it. Masters like Pandit Bhimsen Joshi crossed the barrier between classical music and popular music; became a sort of icon through the medium of this form.

As a Carnatic vocalist, Aruna Sairam is known for her full-throated and personalised style of singing. She always enjoyed singing one or two abhangs in her concerts. It was at the same festival in 2006 in Chennai that she first presented an exclusive recital of abhangs. Her strong voice, resonant timbre and exposure to a range of styles are much suited to this form. And today, Aruna Sairam is much-sought after for her abhang singing.

“She was both professional and very devotional. We have seen so many abhang singers but most of them simply sing. There is very little ‘bhava.' In Aruna Sairam's case, it was so different. She interspersed her rendering with the history of the music form, of the compositions, about Pandharpur, stories about the saints.

And her singing was exuberant, soaked in ‘bhakti,' ” says Mahesh N. Joshi, trustee, Sree Vithoba Devasthan.

Aruna Sairam opened the concert with Jog raga and followed it up with the extremely popular Sant Namdev abhang. 'Teertha Vitthala kshetra Vitthala…' (Ahir Bhairav). Originally, abhangs were not meant for the stage or put into a classical framework. It was simply singing the praise of the lord in simple terms, conveying the rich philosophy and teachings of the saint composers.

By the time Aruna Sairam had finished Sant Eknath's ‘Majhe mahir Pandhari…' and Sant Tukaram's classic in Sivaranjini, ‘Rajasa sukumara madancha…' the audience had got into the mood. They were swaying and clapping to the pulsating rhythms and Aruna's soulful rendering.

From the Bhakti Movement of the North she travelled down South with Sampradaya Bhajans, a tradition of singing bhajans with a collection of kirtanas and namavalis. Aruna chose five ragas – Nattai, Abheri, Madhyamavathi, Saveri and Panthuvarali – set in five definite talas.

A short, crisp taniavartanam involving the mridangam (J. Vaidynathan), ghatam (S. V. Ramani), tabla (Manoj Bhati), pakhawaj (Prakash Shejwal) and Pratap Rath (additional percussion) followed.

Blending genres like part of a Tamil kriti and an abhang, an innovative mix of vibrant abhang singing with the buoyant Gondhali was beautifully executed. Every second of the concert was filled in beautifully by the sitar (Kishore Kumar), harmonium (Atmaram Bicholkar) and violin (H.N. Bhaskar).

The surprise was the Malayalam devotional, ‘Anjanashilayil adi parasakthi…', written by Vasudevan Potti and set to tune by Jaya-Vijaya. Her pronunciation might have been a bit flawed but the soul was certainly there. Aruna Sairam wound up the two-hour performance with ‘Omkara saroopa…' in Revathi, Narayanaeeyam sloka tagged on with apadam from Natya Sangeetham.

Keywords: Kochi November Fest

[R.Latha]

Swaras in Slovenia
Slovenia-based Gopuram, Institute for Vedic Culture, non-profit private organisation, established to promote cultural and educational activities in the field of art and culture, recently organised... »

http://www.thehindu.com/arts/music/article2656323.ece

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November 24, 2011
Captivating concert
The Heritage Hall of the renowned Ravenshaw University in the millennium city of Cuttack — the former cultural capital of Odisha — reverberated with the memorable sarod recital by Sura Ranjan Mukh... »
Jayaprada Rammurthy's show was engaging. Photo: Special Arrangement

http://www.thehindu.com/arts/music/article2655773.ece

November 24, 2011
Style of play
Jayaprada Ramamurthy won international recognition by bagging ‘Global world record' recently. She was honoured recently for this achievement at Thyagaraya Ganasabha. She was the choice musician to... »

http://www.thehindu.com/arts/music/article2655763.ece

November 24, 2011
Classical to the core
Simple,down-to-earth, they make you feel at ease at the very outset. The maestros that they are, Bombay Sisters belong to the golden era of MS, MLV and Pattammal, Radha and Jayalakshmi-this makes... »
T.K. Ramamurthy

http://www.thehindu.com/arts/music/article2655764.ece

November 24, 2011
Felicitating TKR
M.S. Viswanathan will honour his counterpart, T.K. Ramamurthi, at a function organised by Rasikaas, in the presence of Rama. S. Vairam Chettiar, on November 27, 4.25 p.m. onwards, at the Cine Music... »
Promising talent: Palghat R. Ramprasad. Photo: S.R. Raghunathan

http://www.thehindu.com/arts/music/article2656192.ece

November 24, 2011
Manodharma in evidence
Palghat R. Ramprasad, a singer with a resonating voice has resurfaced after a hiatus. And his concert for Nadopasana at P.S. High School Auditorium, showed a lot of promise. Ramprasad's v... »
FETED: Vani Jairam receiving Sangam Academy's Lifetime Achievement Award from Mr. K. Rosaiah, Governor of Tamil Nadu. Photo: Special Arrangement

http://www.thehindu.com/arts/music/article2656195.ece

November 24, 2011
Melodic sojourns
Vani Jairam is continuously active on the concert circuit both here and abroad. Beginning with her show of exclusive Tamil hits at Harrow, London, the past few months have sped past at a frenetic p... »
Marti Bharath: With his band Sapta. Photo: Special Arrangement.

http://www.thehindu.com/arts/music/article2656188.ece

November 23, 2011
Riding on 7
Number “7” has a big history. And the latest Electronic fever spreading in Chennai is also related to the number. Wondering how? Marti Bharth - said to be the youngest Electronic music composer in... »
Coimbatore 18/11/2011. 'Adrishta' by Ganesh Rajagopalan (violin) and Debashish Bhattacharya (slide guitar) at 'The Hindu Friday Review November Fest 2011' at Corporation Kalai Arangam in Coimbatore on November 17, 2011. Photo:K.Ananthan.

http://www.thehindu.com/life-and-style/nxg/article2652773.ece

Hyderabad, November 23, 2011
A perfect blend
Date: November 26Venue: Ravindra Bharathi, Lakdi Ka PulTime: 7.30 p.m.Ganesh Rajagopalan is a violinist from the folds of Carnatic music. Debashish Bhattacharya is a Grammy-nom... »

http://www.thehindu.com/arts/music/article2653282.ece

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The Academy of Music conducted its annual music festival last week, at its own Chowdaiah Memorial Hall. Senior musicians T N Seshagopalan and Rudrapattana Brothers (R N Thyagarajan and R N Tharanathan) received the “K K Murthy Memorial Chowdiah Award” for this year.

Popular vocalist Nityashree Mahadevan, who gave the inaugural concert, was accompanied by M A Krishnaswamy (violin), Shivakumar (mridanga) and S Srishylan (ghata). Nityashree, who was in her elements, started with a familiar varna in the raga Durbar. This was followed by a lesser-known composition of Tyagaraja, ‘Okasari Chudagarada’ in the raga Kalawathi. The Nalinakanthi ragalapana was brief but with lively phrases. It was followed by a Kannada devaranama ‘Nindakarirabeku’ and the all time favourite, ‘Akhilandeswari’, in a grand ‘vilamba kaala’. With her voice traversing with ease, and abundant birkas Kalyani was sparkling. ‘Nidhichala sukhama’ with Nerval (Mamatha Bandhanayutha) was wholesome and stood out for its emotional sensitivity.
Another devaranama ‘Thamburi meetidava’, Sai bhajan and a thillana (Maharajapuram Santhanam) – that followed were also pleasing. In total it was a bright beginning for this year’s music festival.

http://www.deccanherald.com/content/207793/music-dance-reviews.html

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Ganesh Rajagopalan and Debashish Bhattacharya's ‘Adrishta' concert held at Ravindra Bharathi was a stupendous success right from the start

Wedded by music, the violin and slide guitar seemed the most compatible couple on earth. Ganesh Rajagopalan on the violin seemed the masculine strain of Carnatic music: strong and steady with the velocity of the wind; Debashish Bhattacharya on the slide guitar was the feminine form: rich in melody, paced with poise like the earth.
On a roller coaster

The fortunate (Adrishta) duo took us on a roller-coaster at the Ravindra Bharathi auditorium on the second day of The Hindu Friday Review November Fest 2011. The concert was ordained for nothing short of stupendous success right from the start. The ragas presented were chosen that they had a thread of commonality running between them or an equivalent in both the Carnatic and Hindustani musical parlance.

We were initiated into the Madhyamavathi (Megh) with the composition of Sadaarang (18th century Niyamat Khan) set to Jhampa tala (Jhup taal). The opening notes of this stirring raga were an elaborate exposition of its finer aspects as Ganesh deftly wielded his bow-string on the violin.

The high concordance as the raga takes the first three notes of the cycle of fifth and fourth was so evident in his handling.

The concurrent Megh on the guitar, invoked the clouds to pour in its sweet, stringing melodic tones.

The rather rigid instrument seemed to melt in the hands of Debashish and it almost spoke in human voice like the veena.

In fact, the cadence was similar to that of veena. As Ganesh led in improvising this popular raga, Debashish's guitar followed suit. No, it was not repetitive. Far from it, each artiste gave his version of the raga in almost similar lines that it appeared to a follow-up but it had its innate identity.

The improvisations were markedly intricate as Ganesh and Debashish scaled the altitude in stunning speed as they whirled past the higher octave. The formal spin down was not just a fall, it was methodically calculated set of declining syllables totally rhythmic that came to a natural end. The tabla by Subhashish Bhattacharya and mridangam by Ananthakrishna literally were on a sport drive – trying to outdo each other while Trichi Krishna on the ghatam maintained a low tempo except towards the end of a true, blue taniavartham (solo percussion). The passionate Charukeshi (recently adapted to Hindustani) opened to a brilliant alapana by the violinist.

The nuances spoke eloquently on the instrument which were further enhanced by the guitar.

We never knew we would be shortly taken on a breath-taking trip of the heavens as both the artistes alternately set the pace which peaked and landed us on what seemed the heights of a beautiful snow-clad mount.

The stylish spill out of syllabic utterances in quick succession, without a breather was Ganesh's forte while Debashish took the cue and took wings flying into a boundless space on a rapid action mode. It was like a clap of thunder and lightning with the percussionists on an Abacus.

The triangular contest of tabla, mridangam and ghatam was worth a watch though Ananthakrishna emerged a clean victor. The sweet Sindhubhairavi gave a fitting finale to the marvellous ensemble.

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Chennaiites have a lot to look forward to in terms of song and dance this Margazhi

The much-awaited Margazhi music season is just around the corner. Rasikas can look forward to another enjoyable season of concerts and lectures. Here's a look at some of the treats in store this year.

Normally, it is vocalists who get the lion's share attention as well as the best slots. But this year, The Music Academy has 20 instrumental concerts lined up. The nagasvaram concerts, which have become a rarity, will see a return, as the academy has included a nagasvaram concert by Sheikh Mehboon Subhani and Khalsha Bi-Mehboob in the schedule.

Some of the other highlights include the concert of veteran Parassala Ponnammal, who comes with seven decades of experience and has the distinction of being the first woman to sing at the Navarathri Mandapam. Also performing at the same Kalakshetra Festival are Aruna Sairam and Paduka Pattabishekam. The ancient form of musical story-telling, Villupattu, by Kavingar Subbu Arumugam will be part of the highlights at the festival at Bharatiya Vidya Bhavan this year. As for the purists, there's a great treat in store. One can look forward to the renditions of rare and popular ragas like Charukesi, Vagadeeswari, Rishabhapriya and Priyadarshini in the concerts of K J Yesudas. He will be singing at many venues to commemorate his 50 years in the field of music.

This year also sees the launch of Sadhguru Santhananda Kalaa Kendra, an organization promoting classical music in Tambaram and other suburbs close by. Other big sabhas, including the Chennai Fine Arts, Kartik Fine Arts, Prabhata Sangeetham (the early morning concerts) and Bharat Kalachar, will see some great concerts lined up. Some of the most popular singers like Bombay Jayasri, Sudha Ragunathan, P Unnikrishnan and Kunnakudi M Balamuralikrishna will be performing at these venues. Lovers of Hindustani music too have some big names set to enthrall them.

Featured in the itinerary this year are world famous names like Pandit Hariprasad Chaurasia, Shubha Mudgal, Debashish Bhattacharya, Tarun Bhattacharya and Abhijeet Banerjee.

And what's a season without young talent? Some of the brightest names from the Indian classical music scene are expected to perform here as well. There will be many lecture-demonstrations (lec-dems) for the discerning audiophiles, who want to keep a track of the changing trends. Topics vary from the changing role of the nagaswaram, the mridangam as leader and follower and the handling of minor and major ragas.

The dance festivals too offer some great treats for the culturati. The theme for the Natya Kala Conference at Sri Krishna Gana Sabha is Abhyaasa Sampradaya with performances of different forms like Yakshagana, Manipuri, Mohiniattam, Kutiyattam, Chhau and Odissi apart from Bharatanatyam and Kuchipudi recitals.

This year some NRI sabhas are organizing interesting concerts like the 12-day festival organized by Singapore Indian Fine Arts Society. And what's the month of Margazhi without talking about the food and pattu saris? The city's best caterers are all set to dish out their delectable treats at the various canteens run by the sabhas.

Get your best pattu saris out, mark your calendars and just sit back and enjoy, for Margazhi this year has something for everyone!

[R.Latha]

GS Mani concert

A demonstration cum delivery was presented by the versatile musician and musicologist G.S. Mani at the FGN Hall of Rasika Ranjana Sabha, Tiruchi, in the monthly ‘Eppadi Paadinaro,' music programme organised by the Sabha in association with Sri Krishna Sweets. The AIR artists, N.C. Madhav (violin) and Salem K. Srinivasan (mridangam), were the accompanists.

Following a distinct manodharma and rendition, this veteran presented an enjoyable solo with frequent elaborations on the ragas and their octaves conforming to the grammar of Carnatic music always.
Brief swarams

He treated all the ragas alike with brief swarams and sargams in all the kritis.

He commenced with a rare raga Kanthamani for Kotteeswara Iyer's kriti, ‘Nadhasukham Tharum.'

This was followed by Tyagaraja's ‘Raghuveera Ranadheera' in Husseini, Subbaraya Sastri's ‘Janani Ninnuvina' in Ritigowla and a rare Suryakanti for Tyagaraja's ‘Muddumomu.'

The veteran dealt with Bagesri and Mohanam with ease and poise and ended the concert with a traditional Purandaradasa's bhajan in Charumathi and Vallalar's ‘Thanayarinthinbamura' in Jhonpuri.

The accompanying artists lent able support. The mridangam of Salem Srinivasan was subtle and his thani was stupendous.

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Sanjay subramaniam,nithyasree mahadevan,and malladi brothers in the Kalpathy Sangeetholsavam showcased vintage Carnatic music at its best.

http://www.thehindu.com/arts/music/article2677425.ece

[R.Latha]

The vocal recital of SP Ramh at Bharat Kalachar at YGP Auditorium had a convincing classical fore and revealed the vocalist’s grasp of nuances of carnatic music, imparted by violin maestro Lalgudi Jayaraman.

http://ibnlive.in.com/news/a-spellbinding--musical-performance/208173-60-120.html

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Nithyasree Mahadevan, the grand daughter of DK Pattammal, performed for Kartik Fine Arts at the Narada Gana Sabha Auditorium.

The concert was definitely a grand feast of vocal showers. Yet, how nice it would have been, if she, with her gift of a good voice, had taken melodious strides to measure the dimensions and reach the exploration of the Tarasthayi.

http://ibnlive.in.com/news/sweeping-rasikas-off-their-feet/209638-60-120.html

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saxophone maestro Kadri Gopalnath and flute legend Ronu Majumdar Saxophone-flute jugalbandi

http://timesofindia.indiatimes.com/city/pune/Saxophone-flute-jugalbandi-mesmerises-M-Balamuralikrishna-concludes-Day-2/articleshow/11038400.cms

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There is a genre of Carnatic music that may be called “21st Century”! Leading musicians of the latter half of the 20th century have contributed a lot to the creation of this genre. Chaitra Sairam's performance at the Bharatiya Vidya Bhavan Mini Hall on Saturday evening with accompaniment by K.J. Dilip (violin) and Kumbakonam Swaminathan (mridangam) was in accordance with this genre.

http://www.thehindu.com/arts/music/article2709905.ece

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The violin duet of Akkarai Sisters, Subhalakshmi and Sornalatha, for Sri Krishna Gana Sabha on Sunday could be segmented into two parts. One that said, “Let us show you what we can do with the violin,” and the other, “Let us show you how beautiful Carnatic music can be.” Thankfully, the first part of the concert was a short one.

http://www.thehindu.com/arts/music/article2712521.ece

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R. Suryaprakash, Priya sisters, Kunnakkudi Balamuralikrishna, T.V. Sankaranarayanan, etc.

http://www.thehindu.com/arts/music/article2714487.ece

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The cake has Carnatic music as the crust, topped with new flavours. That could be a foodie's definition of Sowmya's music. There are few musicians who respect the original theorems of Carnatic music like she does, and yet she makes allowances for intelligent transgressions.

http://www.thehindu.com/arts/music/article2723391.ece

Unnikrishnan's vocal recital with S. Varadarajan (violin), B. Harikumar (mridangam) and Tripunithura Radhakrishnan (ghatam) as accompanists attracted a considerable turnout. Although husky undertones and a slight tremulousness in sahitya enunciation indicated that all was not well with his voice, the artist's intelligent handling of alapana and kalpanaswara shifted attention from vocal dexterity to musical content.

http://www.thehindu.com/arts/music/article2723311.ece

The repertoire invested the concerts of Sikkil Gurucharan and Malladi Brothers with classicism and clarity. However, vainika Rajhesh Vaidhya was not all that traditional in his approach.

http://www.thehindu.com/arts/music/article2723348.ece

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A Carnatic vocal concert usually follows a conventional style where maestros pick a major raga for the narration and also to present a notable ‘Kirthan’ to explore the mood of the raga. In between the elaborate narration of the composition, the accompanying artistes showcase their brilliancy in their respective percussion instruments.

Going against the conventional style, mridangam maestro Padma Bhushan Umayalpuram K Sivaraman presented two ‘Thaniyavarthanams’ at the vocal concert by the upcoming singer Bharath Sundar.
http://ibnlive.in.com/news/double-treat-for-carnatic-music-lovers/213394-60-122.html

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Amritha Murali is one youngster who has made a mark as a vocalist and violinist. This studious artiste, a disciple of stalwarts such as the Kedaranathans and vidushis Rama Ravi (vocal) and T. Rukmini (violin), is also mentored by P.S. Narayanaswamy. With such impeccable credentials and a meticulous work ethic, she has become one of the brighter talents of the young brigade that gives much hope and optimism for the future of Carnatic music. Her approach during a concert for Brahma Gana Sabha in the 2.15 p.m. slot on Saturday, in the company of Ranjani Ramakrishnan (violin) and Arjun Ganesh (mridangam) served to reinforce that optimism.
http://www.thehindu.com/arts/music/article2729792.ece

At the concert held at Narada Gana Sabha, Kadri Gopalnath began the� Saxophone recital in raga Bahudari (Janyam of Harikhambodhi) and took up Bhaja Manasa composed by Thulasivanam. The pattern of swaras had a progression in terms of enticing rhythmic models. It was evident that he was exploring to achieve the noble dimension of self-enjoyment and spiritual quest.
http://ibnlive.in.com/news/a-scintillating-performance/213410-60-120.html

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When vocalist Sowmya, in her concert for Narada Gana Sabha, displayed the ‘Sukham’ aspect of music, rather than displaying vocal propensities, the ‘loftiness of Carnatic music came to the fore. When she dwelt at length on (Ra Ra Mayandi) of Thyagaraja in Raga Asaveri with extensive swaras, the astuteness of the vocalist, in evoking the ‘Bhava’ came to the forefront.
http://ibnlive.in.com/news/vocalist-fascinates-music-lovers/213703-60-120.html

Nisha Rajagopal, the recipient of ‘The Hindu Saregama M.S. Subbulakshmi Award', presented a satisfying morning concert at The India Fine Arts Academy on Sunday. She was accompanied by Nishanth Chandran on the violin and B. Ganapathiraman on the mridangam. The well-balanced presentation was a testimony to her commitment to the core values of Carnatic music. Endowed with a sruti-aligned expressive voice-range traversing the octaves, Nisha used it to good effect to render gamaka rich phrasings with ease. The influence of her training under several gurus was also evident, her style, a neat amalgam of several styles.
http://www.thehindu.com/arts/music/article2732787.ece

Nagabhushan� Hegde, an exponent of the kirana gharana style of Hindustani classical music, the audience through a gamut of� expressions or rasas - from fervour and obeisance to ecstasy, from adoration� and passion to utter sorrow of separation, and finally from sheer joy and revelation in the beauty of the Lord, back to devotion and bhakthi.
http://ibnlive.in.com/news/audience-mesmerised-by-music/213738-60-119.html

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Parasuram and Anuradha sriram jugalbandi
http://ibnlive.in.com/news/mindblowing-performances-of-jugalbandi-music/214035-60-120.html

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Veteran Vedavalli’s musical expressions on the inaugural day of the Academy’s 85 Annual Conference and Concerts, reiterated her strong faith and humility in presenting the purity and divinity of Carnatic music. One is awed by her grasp of on the ragas’ range and melody, and her proclivity to bring forth the succulent parts of the raga. ‘Meenalochana Brova’ of Syama Sastri carries the quintessence of Dhanyasi and Vedavalli added extra aesthetic flourishes in her niraval and swaras on ‘Syama Krishna Sodari.’
http://www.thehindu.com/arts/music/article2737920.ece

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The art of their presentation and imagination in the mixed menu, presented by Trichur Brothers (Srikrishna Mohan and Sriramkumar Mohan), disciples of legend vocalist PS Narayanaswamy and Neyyatinakara Mohanachandran, was scintillating, as they brought out the tranquility and grandeur of compositions, chosen for exposition at Krishna Gana Sabha.
http://ibnlive.in.com/news/an-ebullient-performance/214608-60-120.html

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Synergistic synchrony among the violin trio in a concert led by Sangita Kalanidhi T.N. Krishnan along with his daughter Viji and son Sriram, was a breezy touch of class at The Music Academy on Christmas morning. The concert was of vintage value as the octogenarian vidwan — active in the field for nearly seven decades — chose to play from the choicest list of the best of the stalwarts he has accompanied over the years.
http://www.thehindu.com/arts/music/article2747537.ece

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Dr Krishna Vageesh's knowledge shines through his music. His choice of songs encompasses unheard songs of known composers. When he started the concert, for Naadhabrahmam, with Khambodi Ata tala varnam, ‘Sarasijanabha,' sung in two speeds with charanam in fast pace, with his sonorous and powerful voice, the hall was filled with sunaadam.
http://www.thehindu.com/arts/music/article2754363.ece

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A bright star in the Carnatic music horizon. What a voice in the young childish frame. Prachothan is still a child but his music is mature. After a brief essay of Janaranjani he sang ‘Nejesina’ with swaras for the pallavi. His raga alapana of Ranjani had depth and grace.
http://www.thehindu.com/arts/music/article2754265.ece

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Vocalist Madurai T.N.S. Krishna performed on Monday and was supported by a team of experienced artistes — S.D. Sridhar (violin), Umayalpuram Mali (mridangam) and S.V. Ramani (ghatam). If one were to listen to T.N.S. Krishna with eyes closed, it would be immediately evident that he has imbibed the musical approach and values from his father and guru T.N. Seshagopalan, with a nearly identical style of akara phrasings and brikas. His grip over raga, kriti rendition, neraval and kalpana swaras was on display during his concert. The end product is that he is able to deliver high quality music with punch and vigour and thus keep the tempo going throughout the concert.
http://www.thehindu.com/arts/music/article2758677.ece

It was the meeting of North and South in terms of the music and, that of East and West as regards the instruments. Curiosity was writ large on the faces of the rasikas as Kadri Gopalnath shared the dais with Pravin Godkhindi. The saxophone and the flute or bansuri together created mesmerising effects as was evident from the rounds of spontaneous applause from the audience.
http://www.thehindu.com/arts/music/article2757989.ece

Priya sisters were in their usual zest and verve. The concert was so peppy that by the end of the first hour, the main ragam, Kharaharapriya had been launched, after six songs. The kathanakuthuhalam varnam, ‘Sri Vatapi’ (Sahana, Sivan) with swara adjuncts, ‘Lavanya Rama’ (Purnashadjam, Tyagaraja), ‘Pirava Varam’ (Lathangi, Sivan), ‘O, Jagadamba’ (Anandabhairavi, Syama sastri) and ‘Nagagandhari Raganuthe’ (Dikshitar) descended into the hall in an hour of musical hailstorm. The similar tala structures and an essentially uniform kalapramanam made it sound like an orchestral serial. ‘O, Jagadamba,’ promised to provide the calming effect, but the upper speed play of Patri Satish Kumar (a bit inappropriate) put paid to any such enjoyment. The sisters’ talents were however fully displayed in the Lathangi alapana (especially in ga,ma,da and da,ni,ri zones).
http://www.thehindu.com/arts/music/article2758015.ece

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Voice is one of T.M. Krishna’s strengths and exceptional tonal quality, good use of amplification and articulate enunciation of lyrics stood out at this concert. His reputation for new tactics (sometimes controversially bizarre) creates curiosity before a concert. Vagatheeswari (‘Paramatmudu’) as the main piece, first speed swaram for a second speed sahityam and the likes filled the newness quota for the evening.
http://www.thehindu.com/arts/music/article2760764.ece

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Kafi with Pandit Ajoy Chakraborty electrifies Amdavadi rasikas

Nawab Kalb Ali Khan (1865-1887) of Rampur - now in Uttar Pradesh - was a worshipful disciple of Bahadur Khan, an ustad of sursingar (a precursor of sarod). The nawab's love for his mentor inflamed wild envy in his courtiers. The nawab decided to use music to eliminate the meanness.

One day, he ordered the courtiers to report to his durbar at a particular time. Before the session was to begin, he requested Ustad Bahadur Khan to start playing outside the durbar hall. No courtier kept the appointment that day. The ustad's mastery not only froze the courtiers, but also purged their souls.

If Ustad Bahadur Khan made the courtiers put off their durbar appearance, Pandit Chakraborty made Amdavadi audience put their lives on hold.

At the festival venue - Amrut Mody School of Management - one young neo-rasika gushed: "Is raat ki subah nahin honi chahiye' (This night should not end!). Panditji elucidated Kafi, a raga not normally associated with the khayal form he presented. But because of his supreme saadhana, Kafi looked as resplendent and proud on khayal as jewellery would on a beautiful bride.

As for his Saptak performance, panditji set his own composition to Kafi. He began with the hymnal deliberation of 'Jako man laago' and then roused the sparklier disposition of the raga with 'Batiya banavo nahin bar bar'. In the finale - 'Ja rey koyaliya', panditji annexed every register with regal authority. Kafi expressed its innate shringar ras like a lover's heart: surging at the sight of the beloved; plummeting at the moment of farewell; and soaring again when an embrace is granted.

TOI

[raagadevan]

http://expressbuzz.com/topic/k-j-yesudas-charms-rasikas/342788.html

http://www.highonscore.com/margazhi-report-k.j.yesudas-at-sivagami-petachi-auditorium

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Organised by Sparsh Foundation in aid of SparshVachana, the charity wing of Sparsh Hospitals, the event brought together veteran vocalist and composer Balamuralikrishna and talented violinist Jyotsna Srikanth on one platform for the first time. When Balamuralikrishna’s soulful Carnatic classical rendition was blended with world fusion, it was an unparalleled experience for the audience.
http://www.deccanherald.com/content/218144/reflection-musical-dreams.html

Bombay Jayashri Ramnath is idolized by Carnatic connoisseurs because her singing expresses the atoning purity of a stotra. Since her intellectual command is absolute, her instincts are supple. Ramnath did not come to the Saptak Music Festival - on Day 10 - with a precooked programme. "I planned the repertoire after considering the ambience," Ramnath told TOI. But she is unassuming about her creative facility. "I owe it to my guru, Lalgudi Jayaramanji," she said.
http://timesofindia.indiatimes.com/city/ahmedabad/Carnatic-flowers-bloom-in-Saptak-garden/articleshow/11455799.cms

A young Ambi Subramaniam played with endearing charm and easy elan in an ensemble of percussion and other stringed instruments and then accompanied his mother Kavita Krishnamurti Subramaniam's velvety voice to play a Carnatic thillana, who also sang a special classical number 'Badal badse' dedicated to the monsoons. The doyen of Indian violin Dr L Subramaniam played a composition 'Journey' that he had been created for Yehudi Menuhin with Ambi.
http://timesofindia.indiatimes.com/city/ahmedabad/Sound-of-world-music/articleshow/11457013.cms

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There were several factors which made Prince Rama Varma's recent vocal recital at the Vinayaka Temple in Besant Nagar a memorable exercise in excellence.

Playing the mridangam was veteran T.V. Gopalakrishnan. The three primary sources of Rama Varma's inspiration are his guru, Balamuralikrishna, his idol, the late maestro M.D. Ramanathan and his mentor TVG, who himself is known for his very special rapport with Balamurali now and MDR then.

On the violin was S. Varadarajan, an outstanding disciple of TVG, who has not only learnt the subtler techniques of playing the violin from his many-sided guru, but also assimilated the latter's compelling spirit of give-and-take among performers.

When these three musicians got together in front of a highly enthusiastic audience in the sacred ambience of the Vinayaka Temple, perhaps it was inevitable that the performance should have a monumental quality.

The twin towers that cast a deep spell on the audience were Shyama Sastri's swarajati, ‘Kaamaakshi,' in Bhairavi -- strongly reminiscent of MDR's majestic rendering of the same composition -- and Balamuralikrishna's soul-stirring song ‘Omkaara Aakaarini' in the intriguing raga Lavangi, invented by himself.

These were preceded by fine versions of ‘Vaataapi Ganapatim Bhaje' (Hamsadhwani, Dikshitar) and ‘Jayalakshmi Varalakshmi' (Lalita, Annamacharya).

All three performers seemed to be at their very best, revelling in one another's company. The mridangam sounded melodic, not only in the solo session, but throughout the concert. Watching maestro TVG perform and recalling his many valuable contributions to Carnatic and Hindustani music, one couldn't help wondering why the Music Academy hasn't yet conferred the Sangita Kalanidhi on him.
http://www.thehindu.com/arts/music/article2814154.ece

[R.Latha]

CRITIQUE ON MUSIC SEASON


CHENNAI:� We scanned the music season, to assess whether Carnatic music will be retaining its highly aesthetic and elevating spirit, as its unique individuality. We evaluated the depressing ‘drought’ by way of attendance, during the rest of the year. We intonated our faith in ‘young musicians’ who are developing their art to the ‘quality’ of old vidwans, by their intrinsic academic strength and� good voices.

While on this aspect, as I have been pointing it out in my reviews, practice of the ‘book spread inspiration’, is coming to stay, even for the oft repeated kirtanas. It is certainly an acknowledgement, on the part of the musicians, that the songs have not been committed, fully to the memory. The sangathis in ‘Trikalam’ is only an alibi, to cloth the ‘bookish skeleton structure’ to make them respectable.

Such an adhoc approach to song interpretation, makes it obvious that either the mind of the musician is not in the beauty of the song or his or her devotion to the great composers is so fragile, that he or she is not able to understand the ‘intent’ of the composers, who have dedicated their lives to the ‘preservation of high standards’.

Few musicians were looking into papers before them, even while singing Kalpana Swaras! Probably the paper contained information, as to where to commence, particularly ‘long’ SWARA KORVAIS, also help to systematise, even ‘Kalpana Swaras’.

The extraneous aides, to make carnatic music, and still pass for a ‘great fine art’. It is not more ‘artifice’ than ‘art’.

Let us evaluate the role of the Sabhas and the Rasikas Organisations for fostering culture are more concerned with the ‘entertainment value’ and so to them, music is only one item among others. The Sabha organisers should understand that as long as they overrate the ‘utilisation value’ of money, and the arts depending on the ‘doles handed out’, there can be no hope, for our cultural heritage to ever attain its� pristine glory.

Those harping on ‘Standards’ would be ‘poo-poohed’ by Sabhas, since they make their toll any way.

Decades earlier, only a small group of musically knowledgeable listeners formed the audience. Their aesthetic sense of appreciation was elevated by the sheer artistry of the giants of that day. Today, we see people of all hues, listening to music and waiting to applaud at the torrential Tara Sthayi.

There needs to be a critical examination of the ‘real worth’ and not the ‘inflated worth’ of the musicians. There is no room for personal bias, consideration of consanguinity or any other such relevance.

If reality is any reflection of the present trend of ‘money flow’ only towards the coffers of the sabha, at the cost of sanguine cultural thrust, there is need for soul searching by musicians/organisations and rasikas.
http://ibnlive.in.com/news/time-for-some-soul-searching/225392-60-120.html

[Lakshman]

R.Latha: Please check your hub mailbox. Thanks.

[Arvind Srinivasan]

Guys a happy news from my side. I will be performing in 5 different sabha's in this year's musical season. I have Mylapore Fine Arts, Narada Gana Sabha, Vani Mahal, Bhrama Gana sabha and Parthsarathy Sabha in the pipeline. Hopefully chennai music rasikas can attend my concerts. The dates not finalised though...

[lydayaxobia493]

Congratulations Arvind.. :)

[Arvind Srinivasan]

Thanks Rockstar...It will actually be my third year for the music season and is my biggest one yet....

[Balaji.r]

Congrats AS. Booking started for December?

[Arvind Srinivasan]

^ Thanks Balaji....Dont know about the other bookings for December...Just that I was informed before hand....

[raagadevan]

Rare and grand

http://www.thehindu.com/news/cities/chennai/chen-arts/chen-music/rare-and-grand/article4195693.ece

[R.Latha]

Friday Review » Music

Aruna Sairam. Photo: K.V. Srinivasan

The Hindu Aruna Sairam. Photo: K.V. Srinivasan
Sri Kalinga Narthana Perumal temple in Oothukadu. Photo: B. Velankanni Raj
The Hindu Sri Kalinga Narthana Perumal temple in Oothukadu. Photo: B. Velankanni Raj

TOPICS
arts, culture and entertainment
music

music
Concert

Aruna Sairam’s concert on August 29 in Chennai, is a fund raiser for the Oothukkadu Krishna temple.

Legend has it that Nandhinee and Patti, the two cows seen in the Krishna temple at Oothukkadu village, in Thanjavur, loved listening to the stories about the child Krishna and his pranks. But they were not convinced about the story of Kaliya. How could a small child with dainty feet dance on the head of a poisonous snake? In order to dispel the doubts of his beloved cows, Krishna re-enacted his dance on Kaliya’s head and vanquishing it, on the waters of the temple tank, which was witnessed by the cows and several of his devotees. Such legends abound the temple town of Oothukkadu. These stories probably inspired the great composer Oothukkadu Venkata Subbaiyer to compose the famous Kalinga Nardhana thillana.

“At most of my concerts, requests pour in for this song and I must acknowledge here that it is this thillana along with a few other compositions of this composer, that catapulted me to another level of popularity,” says vocalist Aruna Sairam.

The composer’s songs are so simple, straight forward and emotional that they strike an instant chord with the listeners. His love for Krishna was such that he visualised the child sleeping on his lap, and therefore, refrained from keeping the talam on his lap.

To celebrate this composer’s love for Krishna and Janmashtami, Carnatic vocalist Aruna Sairam will present a concert titled ‘Maadu Meykkum Kanne’ on August 29, 7 p.m., at The Music Academy, Chennai.

The concert, which is a fund raiser for the renovation of Oothukkadu’s Kalinga Nardhana Perumal temple, is structured as a story that retells Krishna’s childhood through popular songs such as ‘Vishamakara Kannan,’ ‘Thaye Yashoda,’ ‘Maadu Meykkum Kanne’ and the Kalinga Nardhana thillana.

Says Aruna, “The concert aims to create an atmosphere of being with Krishna in Gokul. There are a few surprises which the rasikas can look out for.”

The event is hosted by the three CEOs of S.S. International Live, Muralidharan, Elango Kumaran and Ananthakrishnan. Aruna also acknowledges the contribution of Kris Yogam, a doctor from the U.S., for being a motivational force behind this concert.

Keywords: Aruna Sairam concert, Oothukkadu Krishna temple, Maadu Meykkum Kanna

[raagadevan]

Spirit of harmony

-The Hindu; Friday Review, July 10, 2014

Father Paul Poovathingal is a Christian priest with a doctorate in Carnatic music from University of Madras... His classical concert was a paean to religious amity... Music buffs were amazed not only by the rendition delivered in his charming voice, but the alacrity with which the priest entreated Lord Venkatesa (‘Maruni kanna Sri Venkatesa, Sukumara nannelukora sarasuda’) to protect him. The concert at the hall of the Manalarukavu Temple, Viyyur, was an example of harmony in every sense of the word. Inspired by the protracted applause from the auditorium packed to its capacity, the vocalist switched to Dikshitar’s ‘Vathapi Ganapathim’ after a short alapana of Hamsadwani.... Tyagaraja’s ‘Nagumo’ in Abheri was both crisp and inspiring. The musician’s virtuosity was evident in the elaboration of Sankarabharanam, which was the main raga of the evening...

Perhaps it was the temple authorities who deserved praise for having organised such a unique concert...

http://www.thehindu.com/features/friday-review/music/spirit-of-harmony/article6193014.ece?homepage=true