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[Editor's
Note: The concert reports and song lists appearing in this page are
contributed by a rasika Sri. V. Balakrishnan. Any views and
opinions expressed here are entirely his own]
Priya sisters
Haripriya and Shanmukhapriya
are endowed with a clear and briga-laden voice. Their voices merge naturally
and the result is very pleasing to the ear. Singing for the Mylapore Fine Arts
Club, they gave a satisfying concert on Dec. 19, 2003. Of course, as usual,
the latter part of the concert was more appealing with Tukkadas, in enchanting
Rakthi ragas.
Song list
-
Vanajakshi (Kalyani) Varnam in
Adi
-
Sri Vathapi (Sahana) of
Papanasam Sivan in Adi. Few avartas of swaram.
-
Sobhillu (Jaganmohini) of
Tyagaraja in Rupakam with chittaswaram.
-
Pahijagajjanani (Hamsanandi) of
Swati Tirunal in Adi. Shanmukhapriya started the alapana. Her voice was
shaky and lacking in confidence. A few avartas of swaras were rendered at "Sarasakrithanilaye"
-
Akhilandeswari (Dwijavanti) of
Dikshitar in Adi2
-
Dasarathi (Todi) Tyagaraja in
Adi2 is a majestic song which is rarely heard nowadays in concert platforms.
Raga alapana by Haripriya had the traditional sancharas. There is much scope
for Vilamba and Madhyama kala passages in this raga. There was a predominance
of fast-paced briga sangatis, that did not make the required impact. Neraval
at "Bodhinchina Tyagaraja" saw Shanmukhapriya struggling with a voice that did
not co-operate. A few avartas of well rehearsed swaras were rendered.
-
Nambikettavar Evarayya (Hindolam)
of Sivan in Adi
-
Hemavati was taken up for RTP.
Alapana of the raga found many of the rasikas suggesting that the same was
Dharmavati. Their confusion came to an end only when the pallavi, beginning
with "Namamyaham Hemavatim" (Khandajati Triputa in Khanda nadai) was sung. The
swaras were given in Revathi and Madhuvanti also, culminating with the now
fashionable reverse stroke. The tani avatanam at this stage by Neyveli
Skandasubramanian was attractive.
-
Sriranganathanin Guru sevai kana
(Arabhi) by Bharathi Ganesh, made the audience sit up by the mere merit of its
rhythmic sahitya. The fast paced rendering of the kriti was an instant
success.
-
Matsya Kurma Varaha (Arabhi),
Teerada vilayattu (Ragamalika) and a Sai bhajan found
the conclusion of the concert.
Akkarai Subalakshmi was
brilliant in her raga delineation of Hamsanandi and Todi.
Sankarabharanam Raganubhava
A very informative and largely
attended lecture-demonstration on Raga Sankarabharanam, was arranged by Sri
Parthasarathy Swami Sabha in association with Carnatica.com on Dec. 22, 2003.
Introducing the subject, Dr. V. V. Srivatsa mentioned that this 29 th
Melakarta raga was a glorious, ancient, popular raga of yester years, which
had found copious reference in music treatises like Sangita Ratnakara, etc.
The raga had been established independently by the practitioners of Hindustani
music as Bilawal. It was the central note system in western music as Major C
scale. In Pann Isai it was named 'Pazham Panjuram'. This could be traced to
the 6th and 7th century AD and liberally used in recitation of Tiruvachakam,
etc. There was a legend that the raga was gifted by sage Agastyar. Meaning
"the ornaments of Lord Sankara" each swara of srgmpdn referred to the
different ornaments on the body of Sankara: Sarpa-s, Rudraksha-r, Ganga-g,
Mriga-m, Pushpam-p, Damaru-d, Nisaakaram-n. There is one Tarangam and
the Ashtapadi, Pashyati Dishi dishi, sung popularly in Sankarabharanam.
Namasivaya, the panchakshara mantra has 5 letters. Sankarabharanam
occurs as the fifth raga in the fifth chakra of the 72 melakarta scheme. The
raga is mostly associated with Lord Siva. In the Dikshitar kriti "Sadasivamupasmahe"
in Sankarabharanam, it is mentioned that the Lord could be extremely pleased
by singing Sankarabharanam.
About Pann, Dr. Pramila Gurumurthy said that singing a Pann was an exercise
that made use of the navel region, heart, throat and tongue to produce
wholesome sound. She sang from some ancient Tamizh texts which use
Sankarabharanam extensively.
Smt. Suguna Purushottaman
described the Griha Bhedam technique in Sankarabharanam and demonstrated how
Kharaharapriya is arrived at when rishabham of Sankarabharanam is kept as
Adhara Shadjam. The swaras s, r, g, m, p are "Griha" swaras. All the swaras of
the raga are "Chaya" swaras as they distinctly convey the image of the raga.
Sri. V. Subramaniam said that Sankarabharanam is a raga where there is scope
for expansive display of manodharma. It is a raga which gives the greatest
satisfaction to the singer and the listener. There are all types of
compositions like gitam, varnam, kirtanam, Kriti, padam, javali and tillana
in the raga. The Trinity has composed a number of kritis beginning the kritis
from s (Dakshinamurthi, Swararagasudha), p (Akshaya linga vibho),
upper s (Sarojadalanetri). Sankarabharanam alapana is instantly
recognisable and impressive when commenced from lower shadjam, where as in
Kalyani these could be achieved when commenced from upper shadjam.
Sankarabharanam could be embellished with all types of Gamakas. Sri.
Subramaniam ably demonstrated all the above aspects by his presentation, which
was highly appreciated.
A large number of rasikas felt that the demonstration was very helpful. The
Lec-Dem on Sankarabharanam was followed by a thematic concert of some
compositions in the raga by the Carnatica Brothers (K. N. Sashikiran and
P.Ganesh), which explored and exemplified the different contours of the raga.
Thrissur V. Ramachandran
Sri. Thrissur Ramachandran is
perhaps the only present day musician who reminds us of the GNB school. He has
also been endowed with a voice akin to that of GNB. On Dec. 21, he sang for
the Mylapore Fine Arts Club. He has a clear briga-oriented saareeram. His long
years of experience stood him in good stead during the concert.
Song list
-
Vanajakshi (Kalyani) Varnam in
Ata Talam
-
Vara vallabha ramana (Hamsadwani),
GNB in Adi Talam.Swaram at "Karadhrita kamala"
-
Gnanamosagarada (Purvikalyani),
Tyagaraja in Rupakam. A short effective alapana. Neraval and swaram at "Paramatmudu"
-
Kamakshi (Bhairavi) Swarajati of
Syama Sastri in Misra Chapu.
-
Jaya Jaya Guha (Suddha Dhanyasi)
Sivan in Adi. Few avartas of swaram
-
Lavanya Rama (Purnashadjam),
Tyagaraja in Rupakam
-
Chintayami Jagadamba (Hindolam)
of Mysore Maharaja in Misra Jhampa.
-
Etavuna (Yadukula Kambhoji),
Tyagaraja in Adi with a few avartas of brisk swaras
-
Bhajare Manasa (Abheri), Mysore
Vasudevachar in Adi2.The raga was elaborated with bhava bringing out its
attractive aspects.The swara prasthara with sarva-lagu prayogas was very
successful
-
Banturiti (Hamsanadam),
Tyagaraja in Adi. A durita kala neraval and a few avartas of swaras in
the same tempo
-
RTP in Nattakurinji. Adi
2-kalai. Tanam in Navaratri mandapam style.
-
Muralidhara (Maand), Adi of
Periasamy Thooran
-
A slokam and Bhaja Govindam in
Hamsanandi,Kuntalavarali and Subha pantuvarali
Sri M.A Sundaresan on the violin
shone in the alapana of Purvi kalyani, Abheri and Nattakurinji. The perfect
anticipation of the percussionists Sri.Vellore Ramabadran and Sri.
Govindarajan on the ghatam, was amazing. The Tani avartanam received a loud
applause.
Maharajapuram Ramachandran
Sri. Maharajapuram Ramachandran
gave a concert under the auspices of the Shanti Arts Foundation and
Endowments, on Dec 18, 2003. He has a clear, free-flowing and a moderate briga-laden
voice. He has established himself as a Vidwan and is steadily growing in
confidence. He always sticks to the traditional concert style, not indulging
in gimmicks.
Song list
-
Karunimpa (Sahana) Varnam
-
Sri Maha Ganapathe (Nattai), Adi
of Mayavaram Viswanatha Sastri. The song has a beautiful chittaswaram.
-
Santhana Gopala (Khamas),
Dikshitar in Rupakam. A few avartas of swaras were sung.
-
Anandamrithakarshini (Amirtavarshini),
Dikshitar in Adi Talam. Sri Ramachandran announced that singing this raga and
the kirtana was his humble service for bringing rain to the rain-starved
Chennai. His rendering was effective that Chennai is experiencing belated
(though not copious) rains! The alapana was elaborate and the neraval
and swaras at "Sri Nandanadhi" were executed well.
-
Tolijanma (Bilahari),Tyagaraja
in Jhampa was rendered at a brisk pace.
-
Sri Rajagopala (Saveri),
Dikshitar in Adi2. An impressive alapana with all the traditional sangatis was
applauded. Neraval and swaras at "Narayana Tarakadi" were done expansively.
The Tani avartanam at this stage by Sri. Guruvayur Dorai and Sethuraman won
great audience appreciation.
-
Payummozhi of Bharatiar was
given as a ragamalika with Desh, Sivaranjini and Behag.
-
Sambho Sivasambho (Revathi) by
Dayananda Saraswathi in Adi, was sung at the request of the audience. This
song rendered with feeling and bhava had great popular appeal.
Sri. Sundaresan on the violin
gave excellent support to the vocalist. His Saveri alapana was a treat.
T. K. Govinda Rao
Naada Inbam featured senior
Vidwan Sri Govinda Rao at an excellent tradition-based concert on Dec. 17,
2003. His strong voice and songs full of raga bhava were very impressive. He
stuck to the kutcheri pattern laid down by stalwarts of the past.
-
Ninnu kori, Varnam(
Vasantha),Adi
-
O Jagadamba (Anandabhairavi),
Syama Sastri, Adi2. The rendering of kalpana swaras at "Kannathalli" with
sarva-laghu patterns was very attractive.
-
Saravanabhava Guhane (Kannada),
Sivan, Adi. The song has a short and beautiful Chittaswaram. A few avartas of
swaras were wholesome.
-
Ikanaina (Pushpalathika), of
Tirupati Narayanaswami. Neraval and swaram at "Karuninchivega", were tricky.
-
Janani Ninnuvina (Ritigowla),Subbaraya
Sastri, Triputa. Alapana with traditional sancharas, replete with bhava was
appealing. The stage by stage development of the raga was majestic in
grandeur. Neraval and swaram at "Dikkevaramma" was difficult and an altogether
new experience. The diverse patterns that followed with great ease were
captivating. Tani Avartanam was taken up at this stage by Sri Srimushnam Raja
Rao who revelled, providing great satisfaction to the audience. Sri. T. V.
Vasan on ghatam was a fitting match to Sri. TKG. Sri B. U. Ganesh Prasad was
supportive.
At the beginning of the concert,
he was presented with a title "Nada Oli" by the sabha. Sri Govinda Rao
concluded his concert with a Ragamalika slokam and a Tukkada.
O. S. Thyagarajan
On December 7, The Bharatiya
Vidya Bhavan Kala Kendra had arranged a concert by Sri. O. S. Thyagarajan. He
is a musician who has established a name for Manodharma music and very
successful during the last few years. His concerts never fail to elicit full
satisfaction of the audience. The following songs were rendered:
-
Entuku nirdaya (Harikambhoji)
of Tyagaraja in Adi Talam. A few avartas of fast paced swaram.
-
Nadatanumanisam (Chittaranjani)
of Tyagaraja in Adi Talam. Five avartas of swaram
at tricky 'Sama vedasaram.'
-
Marivere (Shanmukhapriya) of
Patnam Subramania Iyer in Adi Talam. A breezy alapana mostly in Akaram,
mainly dwelling on Madhyama sthayi panchaman to Tara sthayi panchamam.
Pleasing acrobatics were evidence of the vocalists grip. The neraval and
swaram at 'Sannuthanga' exhibited very many patterns, mostly in sarvalaghu.
The Rasika was, as if taken on a horse back by the laya. A korvai at the end
of the swara effort reached an applause-fetching crescendo.
-
Kanden kalitheerthen (Kalyani)
of Gopalakrishna Bharathi in Rupakam
-
Vanane Mathisudiya (Kiravani)
a Thevaram piece in Chapu. A dignified alapana and the lyrics of the song
were very impressive. The alignment to Sruthi was particularly noticeable
when standing for a length of time, at swaras in Thara sthayi. Being
Tiruvannamalai Deepam day, the audience had great satisfaction in the song.
The numerous patterns of swaras at 'Vanane' were enjoyable. Sri. K. V.
Prasad's Tani at this stage was very pleasing.
-
Muruganin Marupeyar (Behag) of
Surajananda in Chapu.
-
Kanavendamo (Sriranjini) of
Sivan in Adi Talam. Both these songs were rendered movingly.
-
Saranagati Krishna ( Gowla) of
Gopalakrishna Bharathi was a rarely heard composition.
-
Nadupai (Madhyamavati) of
Tyagaraja was the last piece.
Sri. Delhi Sundararajan showed
his class in Shanmukhapriya and Kiravani.
Sankaran Nambudiri
M. K. Sankaran Nambudiri has
been singing at Chennai platforms since many years. After languishing in
morning and afternoon slots, he has managed to get near prime slots in some
sabhas in recent times. Mylapore Fine Arts Club featured him in the 6.00 pm
concert on 15-12-2003. He has a strong, open throated and briga-laden voice
which traverses 2 1/2 octaves with some booming sancharas in Mandra stayi. He
is carried away by a passion to present novelty and thereby misses better
overall appeal. He would do well to stick to the traditional kutcheri pattern.
Though he has a grip on laya, by overdoing kalpana swaras and impossible
patterns, he sacrifices spontaneity.
Song list:
-
Varanamukha (Hamsadwani)
Koteeswara Iyer in Rupakam
-
Karpakambike (Bilahari), Sivan
in Rupakam with swaram
-
Pattividuvaradhu (Manjari)
Tyagaraja in Adi
-
Venkatasaila (Hamir kalyani)
of Subbaraya sastri. An elaborate alapana mainly dwelling in Tara sthayi
sounded unconventional in the early part of the concert. There is not much
scope for such an exercise in this raga and a musician is bound to repeat
the sancharas. There were 2 or three pidis which were suspect. There
were too many avartas of swaras.
-
Sujanajeevana (Khamas)
Tyagaraja in Rupakam. There was no bhava in the rendering of this devotional
piece. The tempo was too fast as if singing in a bhajan. The swaras were not
necessary at all.
-
Swaminathena (Brindavanasaranga)
of Dikshitar in Adi2. A long, fast-paced and tiring alapana does not impress
in this raga. Acrobatics and too much of Kanakku robbed the sublimity of the
raga /kriti. The kriti was novel and therefore welcome.
-
Nenerunchinnanu (Malavi)
Tyagaraja in Adi.
-
The main raga Sankarabharanam
was taken up after 2 hours of the concert when the audience started to melt.
The conventional sacharas were missing in the alapana. There was no step by
step development and there was haste in this other wise soulful raga.
Navarathri madapam type Tanam followed with Talam. A Tamizh pallavi was
rounded of with ragamalika rendering in Kapi, Valachi and Ranjani.
A grand Tani avartanam at this
stage by Sri. Guruvayur Dorai and Sri. B.S. Purushottaman was stimulating.
-
Kanavendamo (Sriranjini) of
Sivan in Rupakam
-
Kshemam kuru (Mohanam) of
Narayana Theerthar in Chapu
-
Bhajare gopalam (Hindolam) of
Sadashiva Brahmendrar in Adi.
-
A slokam in Sivaranjani,
Revathi, Arabi and Madyamavati ended a concert in which too much was sought
to be achieved. Surprisingly there was not even a single Swati Tirunal Kriti
from this musician hailing from Kerala.
Madurai Balasubramaniam on
violin was adequate. His alapana in Sankarabharanam had all the traditional
sancharas.
C. B. Ramanarayanan
On December 7, 2003, Kala Kendra
of the Bharatiya Vidya Bhavan featured Sri. C. B. Ramnarayanan, which turned
out to be a very satisfying concert. He has a strong, booming voice, which has
been trained to produce fast paced brigas. His sruthi alignment is very good
even in higher octave. The following songs were rendered:
-
Intha modi (Saranga varnam)
-
Merusamana (Mayamalavagowla)
of Tyagaraja in Adi Talam(2k). A short raga outline and a few avartas of
brisk swaras at Galamuna.
-
Eti Janmamidi (Varali) of
Tyagaraja in Chapu. A tara sthayai dominant alapana with neraval and swaras
at sadileni.
-
Samaganalolane (Hindolam) of
Sivan in Adi Talam preceded by a short and brisk alapana.
-
Evarimata (Khambhoji) of
Tyagaraja in Adi Talam (2k). The alapana was elaborated with expansive akara
prayogas.This was embellished with fast paced sangatis. All contours of the
raga were explored. Neraval and swaram at Bhakta paradhi were well
executed.
-
Irakkam varamal (Behag) of
Gopalakrishna Bharati in Rupakam was rendered in a prayerful mood.
Kum. Akkarai Subhalakshmi
excelled in her alapana of Varali and Kambhoji. She was quite a match in
swaras and flawless in arriving at the edam. Sri Ananthakrishnan accompanied
on the mridangam with gusto.
Abhang Presentation
Thiruppoonthurithi Narayana
Theertha Swamigal Trust, Conducted its 7th Mini Tarangam Festival at Chennai
for three days. Besides concerts highlighting Narayana Theerthars Tarangams,
there were Samprdaya Bhajans by groups. On 7th and 8th December 2003, Sri.
Thukaram Ganapathi of Vittoba Bhajan Mandali of Kadayanallur presented
scintillating Abhang bhajans. Recently Abhangs are being introduced in regular
music concerts too. The rakthi ragas in which they are sung, of course in the
Hindustani style, have won positive audience response. South Indian Bhajan
groups have been traditionally singing Abhangs in their Sampradaya Bhajans. In
the last two years, some music sabhas in Chennai have been organising
exclusive Nama sankeertana festivals. The simplicity of the lyrics of Abhangs,
is captivating.
The group, in their traditional attire of turban, white caps with Harmonium
and Tabla, won spontaneous acclaim. Sri. Tukkaram Ganapathi has a pleasing
voice. His yeas of training under Abhang Gurus of Maharashtra, has made
him a master of Abhangs. The rising popularity of this form of music has made
Chennaites to flock to his Bhajans in large numbers. His lucid explanation of
the meaning and significance of the Abhangs in simple Tamizh, gives a highly
devotional content to his bhajans. The outpourings of saints like Tukkaram,
Jnanadev, Surdas, Namdev, Jayadev and Jana Bai in praise of Panduranga and
Raghumayee of Pandarpur, are the subject matter of Abhangs. Service to saints
and the importance of Satsang are eulogised in their script.
The Bhajan was preceded by a Veena concert by Smt. Jayanthi Kumaresh. The
lilting tarangams of Narayana Theerthar in Kiravani, Poorvikalyani and
Nilambari were rendered with great feeling. |
