SUNIL GARGYAN for Naada Inbam@Ragasudha 11.08.2017

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Sivaramakrishnan
Posts: 1582
Joined: 02 Jan 2010, 08:29

SUNIL GARGYAN for Naada Inbam@Ragasudha 11.08.2017

Post by Sivaramakrishnan »

Naada Inbam
Ragasudha, Mylapore, Chennai
11.08.2017

Sunil Gargyan - Vocal
L Ramakrishnan - Violin
Trivandrum Balaji - Mridangam
K V Gopalakrishnan- Kanjira


Time: 6.15 – 8.40 pm.

1. Nayaki- Varnam –Sarasijaksha – Rudrapatnam Venkataramiah
2. Saveri- Paripaahi Ganaadhipa Bhasuramurthey- Aadi- Swati Tirunal
3. Kannada- Sri Matrubhutham- Misra chapu- Dikshitar
4. Manjari- Pattividuvaraada- Aadi- Tyagaraja
5. Vachaspati-Kandajudumi- Aadi- Tyagaraja
6. Malavi- Ithinyaayama-Aadi- Patnam Subramania Iyer
7. Madhyamavati- Palintsu kamaksi paavani-Aadi- Syama sastri (Main)
8. Ragamalika (Aahiri, Hamirkalyani, Suruti) Vedantadesigar’s Adaikalappatthu
9. Ragamaalika Viruttham- Kaadhalaakikannir kasindhu
Behag,Bimplas, Kapi,Sindhubharavi, Khamas
10.Theduvadeppo nenje- Neelakanta sivan
11.Tarangini-Maaye Twam Yaahi- Aadi- Dikshitar
12.Bindumalini-Tillaana- P B Srirangachari.
Mangalam

I have been watching the progress of Sunil Gargyan for a few years now and note that the young Vidwan has almost matured into a consummate singer with a good voice, vyavahara and repertoire. Essentially a product of the PSN School, he has benefited from other Vidwans too, thanks to the benevolent Acharya. Sunil is however heavily inclined to the TNS rendition technique that invariably shows up in his presentations.

About the concert:
The Varnam in Nayaki is not a commonly heard one and that gave a good start for the concert. The kriti on Lord Ganesha which has been popularised by Vidwans of the Semmangudi school was faithfully rendered. Sunil’s delineation of Kannada was excellent and the kriti was most appropriate. L Ramakrishnan – who is a much sought after violinist- returned the essay quite admirably with authentic pidis of the raga. Swaraprastaara at the final words of the charanam – ‘Sadaasivam paramasivam’ was quite innovative. The ‘rendu thalli eduppu’ for misra chapu taala is a delight for percussionists and a seasoned Mridanga vidwan in Balaji made the segment scholarly and entertaining with the Kanjira vidwan following suit. The next kriti in manjari (which also is not common in kutcheris these days) was followed by the sub main in Vachaspati with a nice aalaapana and swaraprastaara in second speed at ‘alanaadu soumitri’. The TNS influence was marked in Vachaspati.

‘Ithinyayama’ in Maalavi with its string of cascading sangatis in the Pallavi was appealing.
Madhyamavati raga for the main kriti was rendered in detail with all its characteristic features. There was no dearth of flashy prayogas though one felt that sancharas with more karvai (say in the upper Shadja and Rishabha) would be desirable. Sort of restraint shall be adopted in cascading sancharas. Violin artist followed the vocals like a shadow. The Mudracharana (beginning Raajaadhiraaja) was sung and niraval at ‘Raajamukhi syamakrishna’ was impressive. Swaraprastaras were good and led to a precise finale. The kriti matched the mood of the day being Aadi velli (Friday).

The Tani avartanam by Balaji was authentic and evocative of his Gurus. The Gumkis - long unheard in recent times- brought memories of Sri Palghat Raghu whom I have listened to closely for many years at the Trivandrum Navaratri Mandapam. Balaji has also imbibed the unobtrusive yet scholarly style of his immediate Guru Trivandrum R Vaidyanathan (who passed away very recently). The Tani had more of Khanda nadai passages and the Kurraippu session with K V Gopalakrishnan (Kanjira) was entertaining. It was a model tani for ‘Aadi taalam rendu kalai with eduppu at samam’. Balaji lent gusto to the concert.

The items in the so called ‘Tukkada session’ were really heavy but attractive. The ragamalikas showed contrast and felicity in rendering. Muthuswami Dikshitar’s Maaye (Tarangini) was sung in the traditional style with Suddha dhaivataham (different from the popular versions employing Chatusruti Dha). The Thillana in praise of Lord Krishna (Maarajanakan mazhaimukilvarnan)- a composition of P B Srirangachari was in Bindumaalini giving it a unique hue.

There was a good audience turn out for the concert.

rshankar
Posts: 13754
Joined: 02 Feb 2010, 22:26

Re: SUNIL GARGYAN for Naada Inbam@Ragasudha 11.08.2017

Post by rshankar »

Sri Sivaramakrishnan: if your review "sings" we can all imagine how the kutcheri was!!
Shouldn't #9 be tEruvadu?

Sivaramakrishnan
Posts: 1582
Joined: 02 Jan 2010, 08:29

Re: SUNIL GARGYAN for Naada Inbam@Ragasudha 11.08.2017

Post by Sivaramakrishnan »

rshankar,
Yes, it's 'Theruvadeppo'. Thanks.

Rakesh Chari
Posts: 9
Joined: 30 May 2017, 22:11

Re: SUNIL GARGYAN for Naada Inbam@Ragasudha 11.08.2017

Post by Rakesh Chari »

Sunil gargyan is a Promising youngster. This was a very good concert supported well and handsomely by Lakshman, Balaji and KVG. I particularly thought that he handled kannada ragam pretty well with lakshman responding excellently. Young man with his PSN vazhi has internalised well. I was concerned that his voice tends to break sometimes which is more related to voice production and breath control. Observed this pronouncedly in kannada - sri mathrubootham. He is young and has many more years. Would do well to address this.

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