Carnatic Album Reviews..

[Oldposts]

Topic started by Nishanth (nishanthanoyomous@yahoo.com) (@ mcf3.wc.optusnet.com.au) on Fri Aug 29 05:04:02 .


I want this thread dedicated to Carnatic Album Reviews....If you have any, please add them.....Also, Please do not put unrelated topics in this thread...Thanks,

[Oldposts]

This cassette review was off the sify carnatic music website review section which no longer exists. I have the cd and will put my own review soon.

Title : Tharunam Idhuvae
Cassette/CD : Cassette
Artiste : SUDHA RAGHUNATHAN


Among the latest cassette releases os Sudha Raghunathan is

Tharunam Idhuvae in a case that is as attractive as the voice of the artiste herself. Sudha needs no introduction. She has won innumerable prizes and has

performed all over the world. Her music reminds us of her guru, Smt.

M.L.Vasanthakumari's wonderful music. Sudha is accompanied by B.V.Raghavendra Rao on the Violin, Thiruvarur Vaidyanathan on the Mridangam, R.Raman

on the Morsing and Nellai Krishnan on the Thambura.

This cassette features only songs by Papanasam Sivam. The

songs, 8 in number are well selected. Sudha starts off with an invocation to

Lord Ganapathy -Karunai Seivai in Hamsadhwani set to Adi Talam. Next comes Parathpara in Vachaspathi set to Adi Talam, with a few crisp swarads.

Karthikeya in Thodi, set to Adi Talam follows melodiously.Sri Madhava in Behag set to Adi Talam follows next, the style reminding us of the vocalists guru.

Side B starts off with Mayil Vahana?in Mohanam, set to Adi Talam, an invocation to Lord Muruga, describing Him and seeking His blessings.Saranam Aiyappa is set to Misra chapu and blends with the mood of the season .

Paratheivam in Poorvikalyani set to Adi Talam is the main number . Sudha renders the raga beautifully.It is short and sweet and does not make the listener feel bored. The Violinist too does his part well. Paratheivam

follows and is impressive. The next ragam is introduced by the Violinist and the

Mridangist, who play a small piece in Bhimplas. The song Maname Kanamum follows in a pace faster than the other songs and gives a lively finish to the

concert.

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So it happens, for instance in Amutham, that Nithyasree sings Papanasam Sivan Krithis, Vol. 1, whereas Sudha performs Papanasam Sivan Krithis, Vol. 2. And no piece recorded by one Amutham artist can be re-recorded by another. "Why should I repeat a song?" Panchacharam asks. "There are thousands of unrecorded songs yet to be explored, and people are dying to hear something new."
That is why there is no vol.1 in Sudha Raghunathan's Papanasam sivan krithis and no vol. 2 of nithyasree's papanasam sivan krithis. My reviews of these 2 albums are coming up.

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Title : Papanasam Sivan Krithis Vol.1
Cassette/CD : CD
Artiste : Nithyasree Mahadevan
Amutham.

Nithyasree starts off with a beautiful song dedicated to Lord Ganapathi. The song is Sri Vathapi Ganapathiye (Tamil Song I think) and it is beautiful. Set in Raga Sahana, her allaap (Raga introduction) is simply superb. The song itself is beautiful and is just as brilliant. The recording of all the songs is excellent! She then goes to ragam Anandha Bhairavi singing Swami Charanam with all her gamakas, bruga sangathis, sangathis and assaivus brilliantly. What would you expect from D.K.Pattamal's Granddaughter? Padhumanabhan Marugaa Muruga in Nagaswaravali is a calmm soothing song, after all this. Maathaa Innum Vaathaa in Sriranjani is just, terrific, enjoyable always. Then a nice very calming beautiful song set in Kalyani known as Venkata Ramana, which was beautifully sung. The next song is just as good sung in Raga Khamas, Senthil Valar Sevalane. Then in Sindhu Bhairavi, is a song known as Kooviazhaikka Koodaathaa (Tamil) which is not bad. Kunthalavarali Ragam song Paadi Alluthenaiyaa (Tamil) which is nice too. Then to finish off, in Kaapi Ragam, Ennunakkinum Irakkamillai (Tamil) which is sung with so much bhava (life/feeling) that you want to listen to the album again and again. This album is truly one of Nithyasree's best!! Also, majority of the songs sung in this album are tamil, ideal for tamils/tamilians.

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Title: Papanasam Sivan Krithis Vol.3
CD
Artistes: T.M. Krishna-Vocal
B.U. Ganesh Prasad - Violin
Melakaveri Balaji - Mridangam
B.S. Purushothaman- Ghatam
Amutham

1. Sadhaa Shivakumara Suddha Shanyasi
2. Sri Valli Devasena pathey Natabhairavi
3. Lathangi Alapana fld by Venkata Ramana
4. Kana Vendamo Sri Ranjani
5. Sharadhey Devagandhari
6. Kambodhi Alapana and Kanakkan kodi
7. Sreenivasa Hamsanandi
8. Thunai Purintharul Varamu

This album is a good balance of popular songs of Sri Sivan and not so often heard pieces as well. Krishna renders these kirtanais very well, closely following on the footsteps of Sri Semmangudi S. Iyer, especially the Sreenivasa piece and the kambodhi alapana.
Krishna has a very bhakthi laden way of rendering krithis and true to the semmangudi school, his rendering is unhurried and bhava laden. Certainly a welcome addition to Sri Sivan's kirthana albums.
It would have been nice to have also rendered a varnam, a padham, and a thillana by Sri Sivan, in any of these volumes. Nevertheless, a very successful attempt by Amutham. Kudos.
This vol 3 is totally worth the cost in my humble opinion.

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By the way, I forgot to mention that the accompanists are absolutely stellar!!!!

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Title: Papanasam Sivan Krithis Vol.2
CD
Artistes: Sudha Raghunathan
B.V.Raghavendra Rao - Violin
Thiruvarur Vaidyanathan - Mridangam
R.Raman - Morsing
Nellai Krishnan - Tambura
Amutham

Sudha starts off with the invocation to Ganapthi with the song Karunai Seivai set to Hamswadhwani. She then proceeds to Saranam Iyappaa (Tamil) which is a little long winded, but effective, then the highlight Paraitheivam in Poorivkalyani is brilliant. MElodiously sung with bhava (feeling&life) gamakas and all brilliantly and accurately done. The allaap (raga introduction) she sings is simply superb. Then the song Mayil Vahana (Tamil) is sung with a nice beat in Raga Mohanam to keep listeners listening. Then comes Karthikeya in Thodi and this sung brilliantly, gamakas, bruga sangathis, sangathis, bhava, the lot are attained well in this song too. THen Paraath Paraa in Vachaspathi is sung with a nice beat, then Kanna in Madhyamavathi is sung well as well, Sri Madhava in Behag is sung in a nice way followed by Maname Kannamum in Bhimplas which is sung quite lively giving an excellent finish. This is One of Sudha Raghunathan's Best Albums and is worth it just as Nithyasree's Papanasam SIvan Krithis Vol.1. The accompaniments in this album is superb, with a special mention of the mridangist THiruvarur Vaidhyanathan with excellent naadham, talam, precision, he is truly one of the best mridangists in the world.

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I totally agree, it is an excellent album...

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Bombay Jayashree
Accompaniments not mentioned.

Vandanamu Sahana Thyagraja
Amritavarshini fld by Anandamritha Dikshitar
Anupama Gunaambudhi Ataana Thyagaraja
Sri Valli Natabhairavi Sivan
Madhyamavathy fld by Sharavana Bhava Guhaney
and Tani.

This is a very aurally friendly album which also showcases the ample ability of the artist(s)manodharma, ability to bring out the classical aspects of the raga and the bhakti aspects of the sahitya.
As per the Lalgudi tradition, Jayashree begins with Sahana, and renders brisk swaras at the pallavi. Her rendition definitely demonstrates her wanting to display a difference from other renditions of this popular krithi. It is good.
She moves on to Amrithavarshini, very moving alapana, reminding me of Smt MLV who was very fond of rare raga alapanas. Anandamrithakarshini is rendered with the due fervor, still lacks the depth of bhava, all in due time I am sure.
Anupama is a fast paced one, and Sri Valli devasenapathey is rendered very plainly.
She makes up for this in a superlative Madhyamavathy alapana, reminding me of GNB, followed by Sharava Bhava Guhaney, with neraval unusually at "Panniru Kangalal" instead of the more common "Annaiyum thandaiyum". This piece was A plus. The whole CD was worth just this song.
HMV has not mentioned the accompanists, this is atrocious.

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Yes, i agree with your point that Bombay Jeyashree has a lack of bhava and her bruga sangathis as well as her other sangathis, gamakas and assaivus need to be improved, well, that's my opinion anyway, but her voice can be changed quite a bit, sometimes sounding like Sowmya, sometimes sounding like MLV and reminding us of many artists, which is why she has popularity even with the limited sangathis.

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Title: Chinnanchiru Killiye
Artist: Sowmya
CD Vocal
Violin:Vital Ramamurthy,
Mridangam:Melakaveri K.Balaji,
Ghatam:S.Karthick.

1. Karunai Seyvai-Hamsadhwani-Adi-Papaasam Sivan,
2. Guruvayurappane-Reetigowla-Adi-Ambujam Krishna,
3. Srinivasa Thiruvengada-Hamsanandi-Adi-Papanasam Sivan,
4. Kannavenum Laksham-Suruti-Adi-Arunachala Kavi,
5. Manadirikkukaga-Sindubhairavi-Adi-Tanjavur Sankara Iyer,
6. Kalliyuga Varadhan-Brindavana Saranga-Adi-Periyasami Thooran,
7. Kunitha Puruvamum-Ragamalika Viruttam-Appar,
8. Idhuthanuo-Behag-Adi-Gopalkrishna Bharati,
9. Nanoru Vilyatu Pillai-Navarasakannada-Adi-Papanasam Sivan,
10. Chinanchiru Kiliyae-Ragamalika-Tisra Nadai-Subramanya Bharathi,
11. Karpagame-Madhyamavati-Adi-Papanasam Sivan

Sowmya starts with Karunai Seivai in Hamswadhwani by Papanasam SIvan, it is ok, but not as good as sudha raghunathan or nithyasree....she then moves to Ambujam Krishnan's Guruvayurappane Appan in Reethi Goulai and renders this better than sudha raghunathan, She then moves to raga poorvikalyani which she sings alaap or raga introduction beautifully for then going to the song Srinivasa Thiruvengata by Papanasam Sivan.....then she moves to Kanavenum Laksham in Surutti by Arunachala Kavi and this she sings quite beautifully, Manadirukugandhadhu in Sindhu Bhairavi by Thanjavur Shankara Iyar is sung quite well, then she moves on to Kaliyuga Varadhan in Brindhavani/Brindhavana Saranga by Periyaswami THooran and doesn't render it as well as SUdha Raghunathan, then she sings a ragamalika virutham or thevaram set of appar, and this is rendered very very well, then moves on to Gopalakrishna Bharathis Idhu THano Thillai Sthalam in HIndusthani Behaag and this isn't bad at all, She then goes to sing in Navarasa Kannada by Papanasam SIvan, the very popular Naan Oru Villayatu...then she sings subramania bharathi's popular chinnanchiru killiye in ragamalika and sings this extraordinarily well with a lot of bhava, and her sangathis are perfection and then finishes off with papanasam sivan's karpagame in Madhyamavathi. THis is a pretty good cd, sound quality could be improved though.

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i want tamil devotional songs on lord krishna

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Title: Pratidhwani
Artistes: M.L. Vasanthakumari-Vocal
Charumathy Ramachandran- Vocal
A. Kanyakumari Violin
T. Bhakthavatsalam-Mridangam

Songs:
1. Gananayakam-Purnashadjam-Dikshitar
2.Jaya Jaya Jaya -Nattai - Purandaradasa
3. Karaharapriya fld by Rama Nee Samanam-Thyagaraja
4. Va Muruga Va-Begada-Spencer Venugopal
5. Seve Srikantam-Mohanakalyani-Swathi Thirunaal
6. RTP- Shanmukapriya

This is one of the best concerts I have ever heard. Its more like a Jugalbandhi where MLV lets Charumathy sing neraval and swaras. The RTP is fantastic for a whole hour. All the kirtanas are rendered in the typical MLV style. Definitely a good album to have.
The accompaniments are very much praiseworthy.

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Title: Pratidhwani
Artistes: M.S. Subbulakshmi-Vocal
Vocally Accompanied by Smt. Radha Viswanthan
Accompaniments:
Violin-V.V. Subramanyam
Mridangam - T.K. Moorthy;
Kanjeera - V. Nagarajan;
Ghatam - T.H.Vinayarkaram

Songs:
1. Viriboni (Varnam) -Bhairavi-Ata Thala-
2. Paraath Paraa-Vachaspathi-Adi-Papanasam Sivan
3. Hariharaputram-Vasantha-Adi-Dikshithar
4. Enati Nomu Phalamo-Bhairavi-Adi-Thyagaraja
5. Bhogindra Sayinam-Kunthalavarali-Swathi Thirunaal
6. Palinstu Kamakshi-Madhyamavathi-Adi-Syama Sasthri
7. Nada Vindu (Thiruppugazh)

This is one of the best concerts/albums I have ever heard from golden greats. Its more like a Jugalbandhi where MSS lets Radha Vishwanathan sing neraval and karpana swaras. MSS sings Viriboni at such a speed for second kala or second speed, that it is very hard to keep up when you are singing with her or following her on cd, her throat is so flexible and all her sangathis/assaivus/brugas are coming with such ease, Radha Vishwanathan then goes to the high pitch at times, and this sounds wonderful. Paraath paraa she sings the nereval and swaras with such bhava/feeling. Hariharaputhram is rendered well too, with a lot of bhava as well. Enati Nomu Phalamo is obviously the grand hit. WIth alap/ragam at the beginning, followed by the song, then the nereval and swaras by both MSS and Radha Vishwanathan and the violinist and this is the most grand part. Excellent, and brilliant are just a few of the feelings you will feel when you hear it. Bhogindra Sayinam is alright, but doesn't deserve a special mention. Palinstu Kamakshi is rendered well and once again, Radha Viswanathan goes to the high pitch at times. Then Nada Vindu finishes the album off. This thiruppugazh is rendered in a different and interesting way, seeing not many sing it in this way. Overall it was a brilliant album/concert and the accompaniments are very much praiseworthy. The best of all is what i'd say for MSS's singing.

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I followed Shyams format in writing the review up. But the title is Sangita Kalanidhi. That's all for now,

Nishanth

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Hi nishanth
I meant title of the album.
Shyam

[Oldposts]

Rising Stars: Live at Narada Gana Sabha 1998
Balaji Sankar-Vocal
BV Raghavendra Rao-Violin
Srimushnam Raja Rao-Mridangam

1. Shankaram Abhirami-Kamalamanohari-Dikshitar
2. Paalimpa Raava- Arabhi-Pallavi Seshayyar
3. Nadachi Nadachi-Kharaharapriya-Thyagaraja
4. Karunai Deivame-Sindhubhairavi-Sreenivasan
5. Daya mado Ranga- Kalyani-Purandaradasaru
6. Laali-Peelu-Purandaradasaru
7. Shobanam-Madhyamavathy-Arunachala Kavirayar

A very refreshing concert. Balaji's voice is just superb, and equally good are the accompaniments. Raghavendra Rao's training under giants such as TN. Krishnan and Balamurali really shows. He really showcases his ability in the alapanais of Kharaharapriya and Kalyani.
I have come to like all of Balaji's comnmercial and non commercial ventures, he sings a good combo of rare and commonly rendered kritis in his style showing strict adherence to shruti. DKP/DKJ training is evident in this concert, but he also has tried hard to showcase his own creativity, good effort, still has long ways to go, yet very promising.
His pronounciation is impeccable even in the kannada songs. Kudos to you man!!!

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Ragam Thanam and Pallavi
Bombay Sisters-Vocal
USha Rajagopal-Violin
Arjunkumar-Mridangam
Govindarajan-Ghatam

The RTP is in Thodi. I am an ardent fan of the duo, but they have declined a lot in their quality from where they used to be. This album is aurally disturbing, unpleasant, to say the least.
Thodi is one of the most majestic ragas and it like kambojhi and bhairavi has many many shades to it that have been brought forth by eminent artists. GNB, SSI, MSS and MLV's thodi comes to mind. I have them rendering Thodi as RTP more than one time,a nd everytime, they are able to bring out a subtley different thodi.
This alapana is awful!!! So bland that I dont mind myself hearing my own rendition in my own gruff voice! Their beautiful voices have become so dull,and they make absolutely no effort to present any racy swaras. Can you believe there is no trace of brighas in the pallavi?
What happened to all that talent?
USha Rajagopal is one of those artists whose performance seems to coincide with the artists.
Accompaniments can be heard when the sisters are not croaking away.
That tape went straight into my dustbin.

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I meant title of album was Sangita Kalanidhi M.S.Subbulakshmi for my review from yesterday. I have never enjoyed bombay sisters singing, it is so bitter. ANyway, that is all,
Nishanth

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Ganaamrutham
Nithyashree Mahadevan-Vocal
M.A. Krishnaswamy - Violin
Mridangam - I.Sivakumar
Ghatam - S. Karthick
Kanjira - Ganesh Kumar

1. Arula Vendum- saaramathy-Dandapani desikar
2. Piraava Varam - Lathaangi- Papanasam Sivan
3. Enna Solli - Kaanada - Ambujam Krishna
4. Yen Palli - Mohanam and Kapi - Arunachala
Kaviraayar
5. Muruga Muruga -Saaveri-Periyasami Thooran
6. Dhikku Theriyatha -Ragamalika-Mahakavi
Bharathiyar
7. Shankara - Sindhu Bhairavi-Ganapathy Raman
8. Thiruppugazh

Nithyasree's voice has really matured and I dont find her shouting. I have always liked her style, but sometime my ears hurt (literally) after listening to her live concerts on my mp3 player.
This is a very pleasantly rendered album starting out with the rarely heard arula Venum in saaramathy. This is followed by a crisp alapana in lathangi, a coomon violin alap, and an excellently rendered Pirava Varam tharum with bhava soaked neraval and swaras at the anupallavi. Well done!
All the other pieces are well rendered, an hour and money very well spent i would say. Totally worth it!

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Title : Sowmya Vocal (cover is yellow so you can distinguish it easier)

Vocal - Sowmya
Violin - Embar S. Kannan
Mridangam - Neyveli Narayanan
Kanjira - B. Purushothaman
Morsing - Raman

1. Gam Ganapathe - Hamsadwani - Adi (tisra nadai) - Muthiah Bhagavathar
2. Chitham Irangada - Sahana - Misrachapu - Papanasam Sivan
3. Varanarada - Vijayasri - Adi - Thyagaraja
4. Dayarani - Mohana - Jhampa - Thyagaraja
5. Dinamanivamsha - Harikambhoji - Adi - Thyagaraja
6. Bhajare Yadunatham - Peelu - Adi - Sadasiva Brahmendra
7. Thiruppugazh - Arunagirinathar

This album is one of the best i have heard. Sowmya's solid, rich and melodious voice makes the listener want more and more. Gam Ganapathe opens the album, and it is rendered pretty well. The tamil krithi Chitham Irrangada is sung very beautifully, and i am very serious when i say very beautifully, especially her alap. I liked Varanarada a lot, it is a fast moving, or i may say very fast moving song, which is the action part of the album, being the fastest song, and her management to do nereval and katpana or manodharma swarams for this is simply superb and at its best. Dayarani is sung ok. Dinamanivamsha being the obious highlight having alap/raga introduction, the song, katpana/manodharma swarams, as well as the chance for tani avarthanam between the mridangist, kanjira player and ghatam player. This is done very well as well. Bhajare Yadunatam has been sung with a lot of bhava/feeling, and i enjoyed this one as well. Then the thiruppugazh is set in surati, but is actually not a thiruppugazh as i found out last year. It is a thiru-arutpa, therefore it most probably is not composed by arunagirinathar. But overall, this album is very delightful, giving carnatic music lovers a huge taste of everything. It's worth it as well. Do you want to listen to this album and see for yourself? Well, you may listen to this album by Sowmya, as well as other albums by Sowmya, as well as other albums by other artists, at my music website http://carnaticnish.topcities.com (http://carnaticnish.topcities.com
)
For those wanting to listen to this album...click on vocal in the sidebar, click on Sowmya near the bottom of the webpage and then click on the last album on Sowmya's album page. It should be called "vocal" But overall this is a nice album, why not have a listen? Also, Chittam Irrangada should be available for download at coolgoose.com. Till then, ciao amigos! Have a listen, it is worth it too.
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[RR]

Inreco IP 5103 Compact Disc - Carnatic Classical - Tyagaraja Hrudayam - Neyveli R. Santhanagopalan — Rs. 200.

"THYAGARAJA HRUDAYAM," released by INRECO, comprises 11 songs of Tyagaraja sung by Neyveli R. Santhanagopalan with S. Varadarajan (violin), K. Arun Prakash (mridangam) and S. Karthick (ghatam) as accompanists. "Giri Raja Sutha" in Bangala with kalpanaswaras is a spirited opener.

"Marugelara" in Jayanthasri is a pleasant rendering. Yet, the customary beginning of the charanam sung by most musicians with the solfa phrase, "P P P; P m P M" is likely to offend the lakshana sense of the rasika, since the whole line sounds like Suddhadhanyasi and not Jayantasree.

Lalgudi Jayaraman's version, "D D D; D m P M," is an outstanding example of how the disciplined tenets of grammar could be synthesised effectively with aesthetic sensitivity. "Hecharikaga Ra Ra" announcing the arrival of Lord Rama at the marriage hall, is beautifully tuned in Yadhukulakambhoji, and the singer's interpretation is flooded with rich `bhava.'

"Nidhi Chala Sukhama" in Kalyani, in which Tyagaraja asserts that it is only the Lord's darshana that will give unalloyed bliss and not material wealth, connects with the listener spontaneously.

The Todi kriti, "Ninnuvina," "Sujana Jeevana" in Khamas and "Inta Sowkhya" in Kapi sung with creditable involvement and composure address the mind and heart in a positive fashion.

"Haridasulu" in Yamuna Kalyani brings golden memories of Maharajapuram Viswanatha Iyer's exquisite rendition that invariably led one into a state of ecstasy. "Vinayakuni" on Devi Kamakshi in Madhyamavati, and "Tulasidala" in Mayamalavagowlai complete the album, with grace and melody.

The last song could have been more appropriately fitted in the first section of the programme. The errors in the inlay card are far too many to be listed. — S.P.

http://www.hindu.com/fr/2005/02/04/stories/2005020402380400.htm

[RR]

Sea Records SD CD CCV 2031— Carnatic Classical Vocal — Master Shankaran Namboodiri — Price not indicated.

MASTER SHANKARAN Namboodiri, disciple of T. V. Gopalakrishnan, has blossomed into a full-fledged vocalist since the days he was acclaimed as a child prodigy.

His CD beginning with the Arabhi ratna of Tyagaraja, "Sadinchene," with a lively gait, infuses infectious enthusiasm.

Todi is a commendable exposition of the boy's innate musical sensitivity, and it is to the guru, T. V. Gopalakrishnan's, credit that the alapana is free of irrelevance and blots on the lakshana canvas.

The violinist, one of the TVG brothers as mentioned in the album, plays a mature alapana with the melody motif in full flow. A neat version of `Dasarathe' serves as a platform for the tani avartanam between the ghatam and the mridangam, played by TVG himself.

The artiste's ability to focus on the swaroopa of the raga is well reflected in his interpretation of Kalyani, lacing it with karvais and melodic prayogas in different kalapramanams. The oral range is praise-worthy with the phrases in the tara sthayi even traversing above the panchamam, emerging loud and clear. "Nammivachina," one of the Kovur gems of Tyagaraja replete with niraval and swaras, is indicative of the singer making a mark in his pursuit of classical music.

http://www.hindu.com/fr/2005/03/11/stories/2005031101910400.htm

[RR]

[tscii:72ebf37662]Veteran A. Kanyakumari has teamed up with her disciple V.Sanjeev, on the violin, to present nine tillanas of various composers to the accompaniment of an orchestra.

The disc begins with a well-conceived Sindhubhairavi composition of Kanyakumari, where accent is more on melody than on rhythm. The next is N. Ramani’s tillana in Nalinakanthi followed by the ever popular Sivaranjani number composed by Maharajapuram Santhanam. The orchestral compositions for both these pieces blend into a seamless whole, unlike the umpteen Carnatic CDs flooding the market today, which virtually butcher great compositions with their heavy orchestra. . The Tanjore Quartet’s Kanada in Tisra Nadai opens soothingly with a cascade of strings, flute and violin. An appealing piece with a judicious balance of melody and rhythm — Misra Kalyani (Mishrachapu) — composed by Kanyakumari and Sulochana Pattabhiraman also finds a place in the album. . M. Balamuralikrishna’s evergreen Brindhavani that oozes with the beauty of the raga has been well executed by Kanya and Sanjeev.
Adding grace

The pick of the CD is Thanjavur S. Kalyanaraman’s Dwijavanthi. Kanya breaking off into the fourth string time and again adds grace. Due credit should be given to her for presenting a rare tillana in Thodi, very differently conceptualised by Ramanathpuram Srinivasa Iyengar.

Marking the end is N. Ramani’s Madhyamavathi woven with felicitous phrases — a neat presentation. Punya Srinivas(veena) proves her mettle with expressive expositions even with taut strings. Palghat Sriram (flute) is equally adept. Rex and his group of violins and Solomon Augustine’s keyboard fuse well while Jayachandran (timings) is perfect.

The rhythm support of K.V. Prasad (mridangam), A. S. Murali (ghatam) and Madhusudhan (tabla) is noteworthy without being dominant.

Kanyakumari takes credit for the concept and music for the orchestra, very passionately done. A. Dakshinamurthy’s orchestral arrangements move along with the main theme. Sound Engineer Gopi’s brilliant work makes the fare enjoyable. Digitally recorded at Kothandapani Audio Lab, Subramanian has mastered the album. Useful for music students, this tillana collection is also a connoisseur’s delight.

Dancing Melodies

Kum.A.Kanyakumari &

V. Sanjeev (violin)

Sa Re Ga Ma

CD – Rs.150[/tscii:72ebf37662]

[R.Latha]

[tscii:dfcd70f3c9] Nagaswaram and thavil as vocalist’s orchestra

Nithyasree Mahadevan has a high pitched and a very pliable voice that obeys her commands to the fullest at present. This could probably be the reason for her to have had nagaswaram and thavil accompanists in M.K.S. Siva and A.K. Palanivel in addition to the violin and mridangam accompaniment of B.V. Raghavendra Rao and J. Vaidhyanathan.The opening strains of Reethigowla on the nagaswaram at the beginning of this album lead on to a prayer song invoking the blessings of the elephant headed Ganesa.

‘Thathvamariya Tharama’ of Papanasam Sivan is the chosen composition. The anupallavi rendition alternates between voice and the wind instrument. It is appreciable that the thavil and mridangam players take turns while accompanying the singer without raising the decibel levels. ‘Devadi Deva’ (Sunadavinodini-Mysore Vasudevachar ) owes its popularity to the exquisite rendering by Dr M. Balamuralikrishna. This composition is rendered vigorously by Nithyasree. A slight harshness is noticeable when the vocalist dwells on the upper gandhara note in a raga phrase in the latter half of the charanam.

The swara bouts by the singer and the nagaswaram player are precise. The korvai is initially shared by both of them before being rendered in unison for ‘Devadi Deva.’ The brief vinyasa of Chakravaham by Nithyasree employing Janta prayogas is a soft version and paves the way for Tyagaraja’s ‘Sugunamule’ in Rupaka tala. The blending of the nagaswaram with the voice is absent when the pallavi and charanam opening lines are played on the wind instrument.

Nithyasree’s Khambodi essay is initially over frilly but sobers down later. The brighas are clear as always with the singer. The violinist Ragahavendra Rao offers a sedate version of the raga. Papanasam Sivan’s masterpiece describing the majestic procession of Lord Kapaleeswara is an involved rendition by the vocalist with the thavil accompanying her during the pallavi segment of the song.

The kizh kala and madhyama kala solfa passages are professional exercises. The korvai before the kuraippu swaras has a thisra nadai appendage. The kuraippu centred around the dhaivatham has voice, nagaswaram and violin taking turns. Nithyasree takes over the sarvalaghu swara singing after the kuraippu and embarks on the korvai which lands with precision at ‘Manickam Vairam. A not-so-oft heard creation of Oothukadu Venkata Subbier in Jayantasri (Neerathasama Neela Krishna ), a Sanskrit composition, is briskly sung.

The Shanmukhapriya alapana on the nagaswaram is bright though with traces of the avoidable Chathsruthi daivatham creeping in. The song sung after the elaborate virutham is by a lesser known composer Sathur Karpagam. The raga snatches of Mohanam and Shanmukapriya vocalised have an extra punch, which would reach out to lay listeners.

‘Broohi Mukundethi’ (Senjurutti-Sadasiva Brahmendra) falls softly on the ears and is in contrast very soothing to the earlier dramatic rendition. The album comes to a close with the overworked tillana in Dhanasri by Swathi Tirunal. Apart from the novelty of having nagaswaram and thavil accompaniment for the voice, they do not contribute much to enhance sedate listening pleasure.

http://www.hindu.com/fr/2009/01/23/stories/2009012351400800.htm[/tscii:dfcd70f3c9]

[R.Latha]

SRI KAPALI FINE ARTS
Rendered with verve
Geetha Raja brought out the essence of the chosen ragas with spirit and passion.
http://www.hindu.com/fr/2009/01/23/stories/2009012351150300.htm

[R.Latha]

[tscii:b71d20861b] Springing a surprise

PVK

Album Judicious choice of kritis by Pantula Rama makes this twin-CD pack enjoyable.


Sasivadana and Manipravalam

Pantula Rama Carnatic Vocal Audio CD (Price: Rs. 195 each)

The two audio compact discs released with the divine blessings of Sri Kandukuri Sivananda Murthy have intricate and manodharma dominated music of a high quality offered by Pantula Rama. She has made her music reach out to the connoisseur's and she has come to be recognised as a Pallavi specialist. Her more or less permanent accompanists M.S.N. Murthy (violin) and V.V. Ramanamurthy (mridangam) provide their services for these discs admirably.

‘Sri Vighnarajam' (Gambira Nattai-Oothukkadu Venkata Subba Iyer) in Khanda gathi is a good choice as the opening number. The sahitya enunciation is clear.

Pantula Rama's voice is ideally suited for Carnatic music and has uniform ‘azhutham' in the Madhya, Tara and Mandra sthayis. The brigas are also executed with finesse.

A vivadi raga, Chandrajyothi is slightly lengthy. A briefer version would have created a better impact. Tyagaraja's ‘Sasivadana' on Lord Siva is a spirited rendering followed by kalpanaswaras for the pallavi. The violinist responds with ease to the swara bouts.

Madhyama sruti based ragas were generally not taken up by the past masters for Ragam, Tanam and Pallavi suites as their scope for vinyasa is limited.

The ragas would mostly be one amongst Thodi, Sankarabharanam, Kalyani, Khambhodi, Bhairavi or Kharaharapriya. Shanmukhapriya found place as a pallavi raga later on. Other rakti ragas such as Saveri, Nattakurinji, Sriranjani and Madhyamavati would be sparingly taken up for pallavi renditions.

Pantula Rama springs a surprise by choosing Chenchuruti (Janjhuti) for the pallavi. The alapana is nevertheless very good and is handled very convincingly. The vocalist's gnanam is evident as prayogas of Kurinji and Navroz are judiciously eschewed in the vinyasa. The tanam is gone through more as a formality. The singer is very impressive in her handling of the pallavi which is set to Adi tala two kalais and commences on the beat (samam). The base structure of the sahitya ‘Marakatha Mani Nibha Deha Mamava Sada – Janakipathe' covers three speeds. The niraval and trikalam exercise are flawless and is reflective of the homework done. The credit for composing the pallavi, as per the inlay card, goes to M.S.N. Murthy, the violinist. His accompaniment for the pallavi enthuse Rama to give her best. The kalpanaswaras sung at different points make mature music. The thani avartanam by V.V. Ramanamurthy is to the point and subdued without being noisy.

A padyam from the opera ‘Prahlada Bhakthi Vijayam' in Kapi is followed by ‘Pahi Kalyanarama' in the same raga and brings the disc to a good finish.

Rare compositions

The second disc titled ‘Manipravalam' covers compositions in Kannada, Tamizh, Telugu and Malayalam. Purandaradasa's Atana devarnama ‘Sakala Graha' is sung with all the charanams which is rare to hear.

A brief exposition of Kedaragowla is gamaka rich and moves on to Ramaswamy Sivan's ‘Natanam Seyyum.'

This song seems to be one of the vocalist's favourite Tamizh composition and this scribe has listened to her frequent rendition of this song in her Chennai concerts.

Pantula Rama's Kalyani vinyasa is powerful and majestic in a unhurried manner. The rare kriti of Tyagaraja ‘Karu Velpulu' with its plethora of sangatis is sung gracefully. The swaraprastharas for this song however falls slightly short of Rama's musical standard.

A haunting sketch of Dwijavanti leads on to Swati Tirunal's ‘Tharuni Nyan' and is leisurely vocalised befitting the nature of the lyrics.

http://www.hindu.com/fr/2010/03/26/stories/2010032651180400.htm[/tscii:b71d20861b]