Here is an imagined scene:
Reviewer to colleagues: Great! Finally I have been asked to write about vidvAn X, the best of them all!
Editor: (Overhearing him): Big Head and Basher are ill. Otherwise, I would not have assigned this concert to you. By the way, you stay exactly for thirty minutes and go on to cover two more concerts. We are terribly short of staff...
Suresh,
I have been to concerts where the performers arrive early, sound system check is done too, and yet there are annoying disturbances during the concert--too much sound, none of it and 'you name it' problems.
There was one such concert where the mrudangist kept asking for mega doses of sound when I started signaling to the sound men shaking my head, gesturing, covering my ears. The mrudangist persisted. I don't know if the sound men were getting fed up with my gestures or they couldn't take the noise themselves--they just ignored looking at the mrudangist and even toned the sound down a little bit. I thanked them with my smile and a salAm. They smiled back. Call it rasikA power. My one time victory!
Concert Attendance Report
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srikant1987
- Posts: 2246
- Joined: 10 Jun 2007, 12:23
nick H,
I don't fully agree. If a sub-editor decides in advance how much space can be given, the journalist should be able to write appropriately. For example, in our own forum we have people like rbharath who write hardly a line or two (apart from the list) and people like bilahari who write pages and pages. A journalist should be able to do both. (But policies like reviewing 20 minutes of a concert are ludicrous! The journalist should strike!
)
Analogously, an artist should be able to arrive at reasonably good settings if the venue is available only five minutes in advance, and at the same time be able to set the sound system to surgical precision if a whole hour is available.
I don't fully agree. If a sub-editor decides in advance how much space can be given, the journalist should be able to write appropriately. For example, in our own forum we have people like rbharath who write hardly a line or two (apart from the list) and people like bilahari who write pages and pages. A journalist should be able to do both. (But policies like reviewing 20 minutes of a concert are ludicrous! The journalist should strike!
)Analogously, an artist should be able to arrive at reasonably good settings if the venue is available only five minutes in advance, and at the same time be able to set the sound system to surgical precision if a whole hour is available.
Last edited by srikant1987 on 02 Sep 2009, 10:37, edited 1 time in total.
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Nick H
- Posts: 9382
- Joined: 03 Feb 2010, 02:03
Srikant, I have to force my memory back 40 years, to what I was knew a little of as a child, when my father was a newspaper editor (he retired in 1967). The author may be asked to write so many hundred words to fit in with the page plan, but the final layout may well include further cuts, and they may not pay a great deal of attention to content, or even, sometimes, sense! In the newspaper world, a writer has no control at all over his copy once it is out of his hands, and, if he doesn't like what happens, well, journalism is a field with a huge queue of aspirants!
-- They leave the stage, and return, not necessarily to the same spot. The difference between three inches from the mic and six inches from the mic is substantial in its effect.
-- Our dearest friends, the speech makers, often borrow a mic, quite often the mridangam's, and it will not be returned to the same position.
-- The acoustics of a hall with people are entirely different to an empty hall
-- When the concert starts for real, they get warmed up, and the levels become quite different.
But... this is a topic well covered in other threads, past and future!
Unfortunately, what typically happens, even with those artists of good intention who, along with organisers of good intention, take the trouble to do this, is that many of them will sit and hum a few few lines into the microphone.Analogously, an artist should be able to arrive at reasonably good settings if the venue is available only five minutes in advance, and at the same time be able to set the sound system to surgical precision if a whole hour is available.
-- They leave the stage, and return, not necessarily to the same spot. The difference between three inches from the mic and six inches from the mic is substantial in its effect.
-- Our dearest friends, the speech makers, often borrow a mic, quite often the mridangam's, and it will not be returned to the same position.
-- The acoustics of a hall with people are entirely different to an empty hall
-- When the concert starts for real, they get warmed up, and the levels become quite different.
But... this is a topic well covered in other threads, past and future!
Last edited by Guest on 02 Sep 2009, 14:50, edited 1 time in total.
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Nick H
- Posts: 9382
- Joined: 03 Feb 2010, 02:03
I'm still trying to catch up on some of the artists that are spoken of with great respect on this site, but are, as yet, unknown to me.
Tonight I saw Suguna Purushothaman give an RTP concert, accompanied by R. Hemalatha and K R Ganesh.
It was a terrific concert. Just to hear such a long ragam, two turns each, vocal and violin, was a treat. It would be great if someone can post a proper rasika report. I arrived with nerves frazzled after a really dreadful drive which added one more bad scratch to my car. My nerves were put back in working order as soon as the concert began. Wonderful; another great rasikas.org "recommendation"
I'm a confirmed fan of RH, having seen her play maybe five or six times, now. I'm so impressed, not only with her music, but with the way that she adjusts to the character and music of the main artist, and the way she played tonight was brilliant.
Tonight I saw Suguna Purushothaman give an RTP concert, accompanied by R. Hemalatha and K R Ganesh.
It was a terrific concert. Just to hear such a long ragam, two turns each, vocal and violin, was a treat. It would be great if someone can post a proper rasika report. I arrived with nerves frazzled after a really dreadful drive which added one more bad scratch to my car. My nerves were put back in working order as soon as the concert began. Wonderful; another great rasikas.org "recommendation"
I'm a confirmed fan of RH, having seen her play maybe five or six times, now. I'm so impressed, not only with her music, but with the way that she adjusts to the character and music of the main artist, and the way she played tonight was brilliant.
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arasi
- Posts: 16787
- Joined: 22 Jun 2006, 09:30
Nick,
Your attendance reports are worth reading. I think SP is one of my favorites. She gives me the feeling as though I'm sitting with her in a room and she is singing just for me. Her singing has a calming effect. She knows so much about music and laya and yet she seems so very accessible to a rasikA. No wonder your fraught nerves were calmed. Another thing. jAmbavAn (veteran) that she is in tALams, I was surprised that even when she indulged in complicated kaNakkus, I didn't feel intimidated but was drawn in. Looking forward to hearing her this season...
Your attendance reports are worth reading. I think SP is one of my favorites. She gives me the feeling as though I'm sitting with her in a room and she is singing just for me. Her singing has a calming effect. She knows so much about music and laya and yet she seems so very accessible to a rasikA. No wonder your fraught nerves were calmed. Another thing. jAmbavAn (veteran) that she is in tALams, I was surprised that even when she indulged in complicated kaNakkus, I didn't feel intimidated but was drawn in. Looking forward to hearing her this season...
Last edited by arasi on 08 Oct 2009, 01:41, edited 1 time in total.
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Nick H
- Posts: 9382
- Joined: 03 Feb 2010, 02:03
She is likely to become one of my favourites too, Arasi.
Before the palavi, she talked to the audience, and it was indeed as if she was talking to family friends in her living room, and there was a lot of laughter. Of course, I didn't understand --- and I didn't have my personal Tamil stenographer with me.
I was told that the raga for the RTP was the 72nd melakarta raga. As you know, I cannot comment on raga with any knowledge, but it had, to my ear, an unusual sound, with a flavour that sometimes made me think of jazz or blues.
Before the palavi, she talked to the audience, and it was indeed as if she was talking to family friends in her living room, and there was a lot of laughter. Of course, I didn't understand --- and I didn't have my personal Tamil stenographer with me.
I was told that the raga for the RTP was the 72nd melakarta raga. As you know, I cannot comment on raga with any knowledge, but it had, to my ear, an unusual sound, with a flavour that sometimes made me think of jazz or blues.
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Nick H
- Posts: 9382
- Joined: 03 Feb 2010, 02:03
I am delighted to say that, today, I did not miss the announcement, and got to see Saswati Sen dance, in the presence of her great guru, Pandit Birju Maharaj, and, for one small finale, to his tabla accompaniment.
There was a presentation made to Pt. Birju Maharaj in the first part of the program, and a short kathak performance by Saswati in the second half.
Usually, I would consider driving, from home, into the city, twice in one day as something just not to be done, but the sight of those two names, Maharaj and Sen, made my evening trip as vital as my unavoidable morning errand. Expecting a packed hall, I put on my "cab driver" personality, and worked hard to arrive at the venue a good ten minutes early.
I arrived to an empty car park and a very sparce audience.
The proceedings started half an hour late, and audience numbers filled out a bit, but Kathak doesn't seem to have a a great following here. Whilst the performance was well received, there was a certain hesitancy in the audience, a certain feeling of not being sure, and not wanting to be caught clapping in the wrong place. I confess to feeling that myself once or twice.
There was a presentation made to Pt. Birju Maharaj in the first part of the program, and a short kathak performance by Saswati in the second half.
Usually, I would consider driving, from home, into the city, twice in one day as something just not to be done, but the sight of those two names, Maharaj and Sen, made my evening trip as vital as my unavoidable morning errand. Expecting a packed hall, I put on my "cab driver" personality, and worked hard to arrive at the venue a good ten minutes early.
I arrived to an empty car park and a very sparce audience.
The proceedings started half an hour late, and audience numbers filled out a bit, but Kathak doesn't seem to have a a great following here. Whilst the performance was well received, there was a certain hesitancy in the audience, a certain feeling of not being sure, and not wanting to be caught clapping in the wrong place. I confess to feeling that myself once or twice.
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rajeshnat
- Posts: 9927
- Joined: 03 Feb 2010, 08:04
Richmond has published the song list of suryaprakash's last week concert
http://www.richmondrasikas.org/
I am particularly interested in review of his houston concert on Nov 1st,2009 as it is madurai mani iyer foundation one. This week Friday and Sat (oct 30 and 31st), performing in rochester and buffalo in upstate Newyork.
http://www.richmondrasikas.org/
I am particularly interested in review of his houston concert on Nov 1st,2009 as it is madurai mani iyer foundation one. This week Friday and Sat (oct 30 and 31st), performing in rochester and buffalo in upstate Newyork.
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Enna_Solven
- Posts: 827
- Joined: 18 Jan 2008, 02:45
Austin, TX - November 8, 2009
An excellent concert by Sanjay Subrahmanyan, S. Varadarajan and Neyveli B. Venkatesh
1. calamu seya - hindOlam (It smelled like hindOlam, so it should be; but I may be wrong)
2. sri parvati paramAdvaita sivE - Sri
3. anudinamunu kAvumayya - begada
4. bhOgIndra sAyinam - kunthalavarAli (rAgam - beautiful)
5. kAmakshi ambA - bhairavi
6. murugA muzhumadhi pazhikkum - sAvEri (RNS) During the neraval, he dwelt on just three notes - MPD - for about five minutes. Though it was good, I lost the feeling of sAvEri during this time.
7. niravadhi sukhadA - ravichandrikA
8. enna rakshisO (subha panthuvarali?)
9. RTP - Jonpuri, palavi: eppO varuvArO followed by full krithi! I could identify only pahadi in the pallavi.
10. vishaveshwar - sindhubhairavi
11. viruttam: kundram Endhi kuLir mazhai (kambhOji), UrilE kANiyillai (kApi), jAnati rAma (mAnd) followed by rAmani bhajittAl - mAnd
12. mangaLam - pavamana.
The concert lasted a little over 3 hours, but it was too short! He was still in full flow but the organizer called time
Concerts like this make our year! (Envy the people in chennai who get to listen to Sanjay every so often.) The sAveri main was fantastic. Kunthalavarali was beautiful. Varadarajan & Venkatesh accompanied excellently.
An excellent concert by Sanjay Subrahmanyan, S. Varadarajan and Neyveli B. Venkatesh
1. calamu seya - hindOlam (It smelled like hindOlam, so it should be; but I may be wrong)
2. sri parvati paramAdvaita sivE - Sri
3. anudinamunu kAvumayya - begada
4. bhOgIndra sAyinam - kunthalavarAli (rAgam - beautiful)
5. kAmakshi ambA - bhairavi
6. murugA muzhumadhi pazhikkum - sAvEri (RNS) During the neraval, he dwelt on just three notes - MPD - for about five minutes. Though it was good, I lost the feeling of sAvEri during this time.
7. niravadhi sukhadA - ravichandrikA
8. enna rakshisO (subha panthuvarali?)
9. RTP - Jonpuri, palavi: eppO varuvArO followed by full krithi! I could identify only pahadi in the pallavi.
10. vishaveshwar - sindhubhairavi
11. viruttam: kundram Endhi kuLir mazhai (kambhOji), UrilE kANiyillai (kApi), jAnati rAma (mAnd) followed by rAmani bhajittAl - mAnd
12. mangaLam - pavamana.
The concert lasted a little over 3 hours, but it was too short! He was still in full flow but the organizer called time
Concerts like this make our year! (Envy the people in chennai who get to listen to Sanjay every so often.) The sAveri main was fantastic. Kunthalavarali was beautiful. Varadarajan & Venkatesh accompanied excellently.
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Nick H
- Posts: 9382
- Joined: 03 Feb 2010, 02:03
Narada Gana Sabha, 3rd December 2009
Prema Rangarajan, Padma Shankar, J Balaji, A Murali.
A stunning concert, which I hope someone will review. Prema Rangarajan floated through the concert, with equally beautiful music from Padma Shankar. Balaji provided utterly sparkling accompaniment.
I had to move away from four chattering old men. Gentlemen: Although younger than you, I am deaf too; I understand you cannot hear whispers, because I can't either, so how about passing each other notes instead of shouting, eh?
Anyway, a very minor irritation in a wonderful concert. I could not believe that nearly two hours had passed when I looked at my watch.
My first concert of December 2009 --- and a wonderful start
Prema Rangarajan, Padma Shankar, J Balaji, A Murali.
A stunning concert, which I hope someone will review. Prema Rangarajan floated through the concert, with equally beautiful music from Padma Shankar. Balaji provided utterly sparkling accompaniment.
I had to move away from four chattering old men. Gentlemen: Although younger than you, I am deaf too; I understand you cannot hear whispers, because I can't either, so how about passing each other notes instead of shouting, eh?
Anyway, a very minor irritation in a wonderful concert. I could not believe that nearly two hours had passed when I looked at my watch.
My first concert of December 2009 --- and a wonderful start
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tkb
- Posts: 695
- Joined: 04 Feb 2010, 11:14
I just came from a concert of Vidwan Palladam Venkataramana Rao, who gave a scintillating concert on Harmonium and supported on second Harmonium by his grand son Mstr Krishna Prasad s/o Flute Vidwan Prapancham Balachandar. They were enhanced by Ms Bharathi d/o Violin Maestro Vidwan M. Chandrasekaran and Sri Poongulam Ramakrishnan.
The highlight was that this was a mike less chamber concert organised by Sath Guru Gana Nilayam run by Sri Govindarajan, a Mrudhanga Vidwan from 1952. When i entered the hall Sri Palladam was performing a Thyagaraja krithi RamaBakthi in Suddha Bangla followed by a great presentation of Denuka with the krithi Theliyaledhu Rama. He then went on to perform a elobarate Kannada Gowla aalapana followed by the krith Sogasujuda Tharama.
All this while Mstr. Krishna Prasad was accompanying his grand father and came to the focus after a wonderful presentation of Kalyani Raaga aalapana from Sri Palladam ji and Smt. G. Bharathi. It was really commandable on the part of this young artist to first of all attempt to perform the Kalyani aalapana after the entire structure was almost exhausted by two senior musicians. Yet Mstr Krishna Prasad gave a excellent presentation and drew a special applause for his efforts. Palladam ji caught on to Thanam presentation after announcing that, "I am only trying to bring the best on this instrument with all the limitations it has and known to the world". However Sri Chandrasekharan sir immediately said, "you have brought the best already". It was seconded by Sri Saranathan who said,"If this was just trying how great best could be!". Well i thought Sri Palladam Venkataramana Rao has done the best possible on a harmonium like the other great vidwans on Flute, Violin, Mandolin, Veena and other melody instruments have managed to achieve. It was so good but feel sad that this great artiste has not been taken care by the Music field in the right way with due recognition, just because it was probably banned by "AIR".
The kalyani raaga aalapana was followed by his raagamalika thanam presentation with highlight of Sahana & Saveri. PVR ji brought indeed the best and was applauded by MC sir many times and at the end of the concert he openly praised his great efforts on the Kannada Gowla ragam and krithi presentation. Sri Poongulam Ramakrishnan was great in his efforts and enhanced the concert in the best way possible with a crisp thani for the krithi Nithichala Sukama set to Misra Chapu. Later the krithi Karunaideivame Karapace was presented by Krishna Prasad and here he showed what great a material he is and i pray Almighty that this child gets the due recognition and with his focus, achieve great laurels which probably did not get attached to his grand father!
A soulful evening with a great music to the ears and lots of satisfaction - Mana Nimmadhi. I pray Almighty to get the due right recognition to the artist and instrument soon and it is indeed a fact that years before Carnatic / Karnatic music learners actually had started off with harmonium as the sruthi and even today many of our leading artists knows to perform the instrument. Still the fact today is that this is kind of neglected instrument and requires urgent attention and patronage.
I wanted to write on Ms Sharadha Mohan and Ms Sriranjani Santhanagopaln's concerts i attended yesterday at Pethachi Auditorium which i will do it tmrw.
The highlight was that this was a mike less chamber concert organised by Sath Guru Gana Nilayam run by Sri Govindarajan, a Mrudhanga Vidwan from 1952. When i entered the hall Sri Palladam was performing a Thyagaraja krithi RamaBakthi in Suddha Bangla followed by a great presentation of Denuka with the krithi Theliyaledhu Rama. He then went on to perform a elobarate Kannada Gowla aalapana followed by the krith Sogasujuda Tharama.
All this while Mstr. Krishna Prasad was accompanying his grand father and came to the focus after a wonderful presentation of Kalyani Raaga aalapana from Sri Palladam ji and Smt. G. Bharathi. It was really commandable on the part of this young artist to first of all attempt to perform the Kalyani aalapana after the entire structure was almost exhausted by two senior musicians. Yet Mstr Krishna Prasad gave a excellent presentation and drew a special applause for his efforts. Palladam ji caught on to Thanam presentation after announcing that, "I am only trying to bring the best on this instrument with all the limitations it has and known to the world". However Sri Chandrasekharan sir immediately said, "you have brought the best already". It was seconded by Sri Saranathan who said,"If this was just trying how great best could be!". Well i thought Sri Palladam Venkataramana Rao has done the best possible on a harmonium like the other great vidwans on Flute, Violin, Mandolin, Veena and other melody instruments have managed to achieve. It was so good but feel sad that this great artiste has not been taken care by the Music field in the right way with due recognition, just because it was probably banned by "AIR".
The kalyani raaga aalapana was followed by his raagamalika thanam presentation with highlight of Sahana & Saveri. PVR ji brought indeed the best and was applauded by MC sir many times and at the end of the concert he openly praised his great efforts on the Kannada Gowla ragam and krithi presentation. Sri Poongulam Ramakrishnan was great in his efforts and enhanced the concert in the best way possible with a crisp thani for the krithi Nithichala Sukama set to Misra Chapu. Later the krithi Karunaideivame Karapace was presented by Krishna Prasad and here he showed what great a material he is and i pray Almighty that this child gets the due recognition and with his focus, achieve great laurels which probably did not get attached to his grand father!
A soulful evening with a great music to the ears and lots of satisfaction - Mana Nimmadhi. I pray Almighty to get the due right recognition to the artist and instrument soon and it is indeed a fact that years before Carnatic / Karnatic music learners actually had started off with harmonium as the sruthi and even today many of our leading artists knows to perform the instrument. Still the fact today is that this is kind of neglected instrument and requires urgent attention and patronage.
I wanted to write on Ms Sharadha Mohan and Ms Sriranjani Santhanagopaln's concerts i attended yesterday at Pethachi Auditorium which i will do it tmrw.
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Ramasubramanian M.K
- Posts: 1226
- Joined: 05 May 2009, 08:33
Just came from a concert by R.K.Srikantan(Sriramkumar/Raja Rao/Kanjira player not known-apologies!) @ the Asthika Samajam under the auspices of the Guruvayoor Durai Foundation.
Concert started @ 7:40 P.M. preceded by a tedium of speeches(which I managed to miss providentially!! Brief 90 mts concert.Varnam(Sri Ragam),Vinayaka(Hamsadhwani),Manasunilpa(Abhogi),Enthaveduko(Saraswathimanohari),Varamulu(Keeravani) followed by light pieces in Abheri(Dasar nama?), and a piece in Sindhubhairavi. The Tani was in the Keeravani kriti.
The concert was vintage RKS--chaste,strong on fundamentals--sruthi,Kalapramanam,Bhavam etc,balanced with a good sense of proportion..Ramakant gave the vocal support to his father--gave a good account of himself with Keeravani alapana. The fact that at his age(probably in the Mid eighties)RKS was able to maintain the tone and timbre of his voice speaks volumes for his classicism and arduos practice.
Sriramkumar was sowkhyam incarnate and an able 'foil' to RKS and Ramakant in the swaraprasthara exchanges,unfettered by Srimushnam's overlyenthusiatic intrusive playing--heightened by the mike volume and the less-than-ideal acoustics of the Asthika Samajam Hall.
As promised in my follow-up to Kedaram's TNS concert recap,I will continue my crusade against the overbearing mridangam style of playing,notwithstanding the fact that the artistes concerned are very well accomplished and very well known to me personally as well!!Sorry I have listened to too many concerts of Palghat Mani Iyer,Palani Subramania Pillai and C.S.Murughabhoopathi--none of whom "banged" the instrument the way these folks are doing!! I acknowledge all of them are talented and endowed with technical virtuosity,but as the Tamil saying goes--Ponnusiyai irundalum kannai kuthikulla Mudiyadu!!
I think it is about time the artistes listened to us --the listeners -- for a change,in matters of mike volume enhancement!!
Concert started @ 7:40 P.M. preceded by a tedium of speeches(which I managed to miss providentially!! Brief 90 mts concert.Varnam(Sri Ragam),Vinayaka(Hamsadhwani),Manasunilpa(Abhogi),Enthaveduko(Saraswathimanohari),Varamulu(Keeravani) followed by light pieces in Abheri(Dasar nama?), and a piece in Sindhubhairavi. The Tani was in the Keeravani kriti.
The concert was vintage RKS--chaste,strong on fundamentals--sruthi,Kalapramanam,Bhavam etc,balanced with a good sense of proportion..Ramakant gave the vocal support to his father--gave a good account of himself with Keeravani alapana. The fact that at his age(probably in the Mid eighties)RKS was able to maintain the tone and timbre of his voice speaks volumes for his classicism and arduos practice.
Sriramkumar was sowkhyam incarnate and an able 'foil' to RKS and Ramakant in the swaraprasthara exchanges,unfettered by Srimushnam's overlyenthusiatic intrusive playing--heightened by the mike volume and the less-than-ideal acoustics of the Asthika Samajam Hall.
As promised in my follow-up to Kedaram's TNS concert recap,I will continue my crusade against the overbearing mridangam style of playing,notwithstanding the fact that the artistes concerned are very well accomplished and very well known to me personally as well!!Sorry I have listened to too many concerts of Palghat Mani Iyer,Palani Subramania Pillai and C.S.Murughabhoopathi--none of whom "banged" the instrument the way these folks are doing!! I acknowledge all of them are talented and endowed with technical virtuosity,but as the Tamil saying goes--Ponnusiyai irundalum kannai kuthikulla Mudiyadu!!
I think it is about time the artistes listened to us --the listeners -- for a change,in matters of mike volume enhancement!!
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arasi
- Posts: 16787
- Joined: 22 Jun 2006, 09:30
R,
Srikantan's music is straight from the treasure chest of classicism.
I am glad you feel the way I do about percussionists sacrificing their mastery at the altar of big sound. The said mrudangist was one of my favorites--until he took to the big bang route. I heard him last year and it seemed as though he was back with his glory in bringing down the sound. It's pity he has reverted to the old ways.
Srikantan's music is straight from the treasure chest of classicism.
I am glad you feel the way I do about percussionists sacrificing their mastery at the altar of big sound. The said mrudangist was one of my favorites--until he took to the big bang route. I heard him last year and it seemed as though he was back with his glory in bringing down the sound. It's pity he has reverted to the old ways.
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girish_a
- Posts: 432
- Joined: 03 Feb 2010, 13:33
Kind Attn: Sri MKR
Sir, you ought to post your reports in the main Kutcheri review section, because this thread is for lay rasikas who might be hesitant to post a full fledged review for want of technical knowledge. You obviously belong among the more knowledgable folk.
I'm sure your reviews (and observations) in the main review section will spark lively chatter.
Sir, you ought to post your reports in the main Kutcheri review section, because this thread is for lay rasikas who might be hesitant to post a full fledged review for want of technical knowledge. You obviously belong among the more knowledgable folk.
I'm sure your reviews (and observations) in the main review section will spark lively chatter.
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sivakami
- Posts: 254
- Joined: 07 Mar 2009, 14:03
Hyderabad - 3rd December’09
Kalasagaram Annual Festival of Music, Dance & Drama
Enthralling concert by the Malladi Brothers
Sriram Prasad & Ravikumar
M. A. Sundaresan - violin
K. V. Prasad-mridangam
Tiruchi Murali -ghatam
1. karuNimpa idi manci taruNamu - sahaanaa varnam
2. bhuvini dhaasuDanE - shree ranjani
3. ranganaatuDE - sowraashTram
4. pasupathEswaram - subhapanthuvarALi
5. saravana bhava guhane shanmukane
6. panchAshat peeta rUpiNi
7. mari mari vachuna - kAmbhoji(neraval at 'ramuni mahimanemani pogaduthu')
tani avardanam 16-18 min
8. Short RTP in kalyANi,
Pallavi: "dikshita vara syama tyAgarAjam bhaje, sangIta sadgurum sadha"
Kalasagaram Annual Festival of Music, Dance & Drama
Enthralling concert by the Malladi Brothers
Sriram Prasad & Ravikumar
M. A. Sundaresan - violin
K. V. Prasad-mridangam
Tiruchi Murali -ghatam
1. karuNimpa idi manci taruNamu - sahaanaa varnam
2. bhuvini dhaasuDanE - shree ranjani
3. ranganaatuDE - sowraashTram
4. pasupathEswaram - subhapanthuvarALi
5. saravana bhava guhane shanmukane
6. panchAshat peeta rUpiNi
7. mari mari vachuna - kAmbhoji(neraval at 'ramuni mahimanemani pogaduthu')
tani avardanam 16-18 min
8. Short RTP in kalyANi,
Pallavi: "dikshita vara syama tyAgarAjam bhaje, sangIta sadgurum sadha"
Last edited by sivakami on 10 Dec 2009, 22:00, edited 1 time in total.
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tkb
- Posts: 695
- Joined: 04 Feb 2010, 11:14
I was there at Sivagami Pethachi Auditorium on the 5th December'09 at 1pm and listened to Ms. Shraddha Mohan who gave a confident presentation. I say this because while she was singing the power went off and with no sign of panic or hesitation she continued to sing and suddenly the environment turned to be that of a chamber concert - with no mikes. When the power came in also she did not adjust her voice level and so was the enhancement artists namely Sri Rahul on Violin and Sri Parthasarathy on Mrudhangam. Kudos to the team for this.
Shraddha started the concert with Ninne Bajanaseya in Naatai followed with Sattininne in Purvikalyani, a Ponnayapillai Krithi set to Misrachapu. She then sang a fast number Varanaradha in Vijayasri before getting to the detail aalapana of Kamboji for Sriraguvara followed by good niraval and the kalpanaswaram. She is really confident with good bhavam and the diction is also good. I am sure she is one of the artists who will become a quality artists in few years. Sri Rahul was very good on his violin and truly enhanced the concert along with Sri Parthasarathy on Mrudhangam who gave a short but effective thani avarthanam. She finished the concert with a Chandrakowns Dasarkrithi Kandena which was really pleasing to the ears. My best wishes to all the artists featured in this team for a great future.
This concert was followed by Ms Sriranjani, daughter and disciple of Neyveli Santhanagopalan, who began her concert brightly with the Navaragamalika varnam. Blessed with a voice that does her bidding, she then sang 'Sri Shankara Guruvaram', Maha Vaidyanatha Iyer's composition in Nagasvaravali. Rounding off her rendition with brisk svaras - including in the higher speed - she portrayed the exuberance of youth with the confidence that comes with it. Her solid grounding in the Carnatic music tradition was evident in the Lathangi alapana that she took up next. Patnam Subramania Iyer's 'Aparadhamulanniyu' followed, again at a brisk pace and Sriranjani showcased her ability to render long phrases with ease. The neraval was energetic and the svara patterns scintillating.
Thyagaraja's 'Sukhi Evvaro' was the main piece of the recital and the Kanada alapana that preceded the krithi was well structured. I felt, with excellent diction and the effort to pronounce the words correctly, she could be more effective if she renders the sangathis a trifle slower but that will probably come with more experience. Violinist Ragul shone with his excellent essays, the succinct Kanada alapana being the highlight. His sensitive accompaniment was quite reminiscent of his guru, Sangita Kalanidhi M. Chandrasekaran. Kudos to this youngster to adapt to have adopted to two differt school of singers and played his role of being an accompanist in the true spirits. Palakkad Narayanan on the mridangam was supportive and, conscious of time, kept the thani brief. Sriranjani concluded with the Marimutha Pillai song in Behag, 'Innamum our thalam' sung with a lot of bhava.
Shraddha started the concert with Ninne Bajanaseya in Naatai followed with Sattininne in Purvikalyani, a Ponnayapillai Krithi set to Misrachapu. She then sang a fast number Varanaradha in Vijayasri before getting to the detail aalapana of Kamboji for Sriraguvara followed by good niraval and the kalpanaswaram. She is really confident with good bhavam and the diction is also good. I am sure she is one of the artists who will become a quality artists in few years. Sri Rahul was very good on his violin and truly enhanced the concert along with Sri Parthasarathy on Mrudhangam who gave a short but effective thani avarthanam. She finished the concert with a Chandrakowns Dasarkrithi Kandena which was really pleasing to the ears. My best wishes to all the artists featured in this team for a great future.
This concert was followed by Ms Sriranjani, daughter and disciple of Neyveli Santhanagopalan, who began her concert brightly with the Navaragamalika varnam. Blessed with a voice that does her bidding, she then sang 'Sri Shankara Guruvaram', Maha Vaidyanatha Iyer's composition in Nagasvaravali. Rounding off her rendition with brisk svaras - including in the higher speed - she portrayed the exuberance of youth with the confidence that comes with it. Her solid grounding in the Carnatic music tradition was evident in the Lathangi alapana that she took up next. Patnam Subramania Iyer's 'Aparadhamulanniyu' followed, again at a brisk pace and Sriranjani showcased her ability to render long phrases with ease. The neraval was energetic and the svara patterns scintillating.
Thyagaraja's 'Sukhi Evvaro' was the main piece of the recital and the Kanada alapana that preceded the krithi was well structured. I felt, with excellent diction and the effort to pronounce the words correctly, she could be more effective if she renders the sangathis a trifle slower but that will probably come with more experience. Violinist Ragul shone with his excellent essays, the succinct Kanada alapana being the highlight. His sensitive accompaniment was quite reminiscent of his guru, Sangita Kalanidhi M. Chandrasekaran. Kudos to this youngster to adapt to have adopted to two differt school of singers and played his role of being an accompanist in the true spirits. Palakkad Narayanan on the mridangam was supportive and, conscious of time, kept the thani brief. Sriranjani concluded with the Marimutha Pillai song in Behag, 'Innamum our thalam' sung with a lot of bhava.
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Nick H
- Posts: 9382
- Joined: 03 Feb 2010, 02:03
Today I have been listening to Dr R Hemalatha accompanying.
Actually, I went in the afternoon because it was an RTP concert. Her name on the program was a bonus.
Concert A: RTP concert...
Vocal, G. Madhavan
Violin, Dr R Hemalatha
Mridangam, K S Ramana.
Not a fireworks concert, but a gently satisfying concert; no complaints at all!
From the program, I noticed that R Hemalatha was playing in the evening too. "Yes," she said, "They are my sisters!".
Vocal: Mambalam Sisters
Violin: Dr R Hemalatha
Mridangam: Tanjore Subramaniam
Kanjira: K S Rangachari.
Afterwards, I asked if she had a mridangam player in the family too. She pointed out the the gentleman playing kanjira was their father! A family affair. Of the whole day, I enjoyed the RTP the most, but the sister's concert was excellent too.
This was held by Chennai Fine Arts, at Gokhale Sastri Hall, Karpagambal Nagar, Mylapore. It is a nice hall, and, sitting near the front, one has the feeling of being in chamber concert. There is no stage, no curtain, and so on. After initial difficulties with the sound, it was well balanced, volumes were appropriate, and balance was good.
Actually, I went in the afternoon because it was an RTP concert. Her name on the program was a bonus.
Concert A: RTP concert...
Vocal, G. Madhavan
Violin, Dr R Hemalatha
Mridangam, K S Ramana.
Not a fireworks concert, but a gently satisfying concert; no complaints at all!
From the program, I noticed that R Hemalatha was playing in the evening too. "Yes," she said, "They are my sisters!".
Vocal: Mambalam Sisters
Violin: Dr R Hemalatha
Mridangam: Tanjore Subramaniam
Kanjira: K S Rangachari.
Afterwards, I asked if she had a mridangam player in the family too. She pointed out the the gentleman playing kanjira was their father! A family affair. Of the whole day, I enjoyed the RTP the most, but the sister's concert was excellent too.
This was held by Chennai Fine Arts, at Gokhale Sastri Hall, Karpagambal Nagar, Mylapore. It is a nice hall, and, sitting near the front, one has the feeling of being in chamber concert. There is no stage, no curtain, and so on. After initial difficulties with the sound, it was well balanced, volumes were appropriate, and balance was good.
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hSrikanth
- Posts: 8
- Joined: 17 May 2007, 09:58
on a 19th Dec 2009 Saturday morning on a lec dem on bhajans and its beauty, by Dr Sri ram parasuram could get about 50 serious rasikas and uniqueness was their participation. He chose one soordas bhajan and one abhang. One is darbari and another in equivalent to saveri. As usual two hours just flied he brought up nuances of each word in bhajan with beautiful anecdotes and observations. To me it was a huge educational experience. I have no word to praise the amount of work he has done on all these rare topics. Ability to articulate is immaculate and clearly shows as a rasika how we have to move up in the value chain by making an effort to improve.He says rasikas gets kick the moment they hear a known kritii so then they just do not make an effort to go deeper and understand. Abhang song he dealt beautifully, very different from usual abahangs people sing with huge excitement and shouting. He too showed different ways of singing abhangs, ofcourse being a chemburkar he knew marathi quite well. Lots of observations by him made immense sense to me
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Nick H
- Posts: 9382
- Joined: 03 Feb 2010, 02:03
R Vedavalli, MA, 9.15am.
Concert was great; audience was horrible. I've posted the promised rant elsewhere.
Saswati Sen, Birju Maharaj, Hamsadvani, evening.
Poor Saswati (who I have never seen give a poor performance) got off to a bit of a rough start, with growing irritation at the inadequacies of the sound system. I wouldn't have liked to have been on the receiving end of some of the looks she gave them! Eventually, things fell into shape, and the highlight of her performance came after she asked Birju Maharaj to sing, and subsequently, to play tabla for her.
The second part of the conference put Pandit Birju Maharaj at the centre of the stage, or rather, at the centre of the platform, for he did not dance, but presented, seated, a mixture of vocal recital and abinhaya performance. I've said before that he can tell more of a story with one finger than most people can with their whole bodies. It was absolute, pure, magic.
The program was well received by a much larger audience than I expected, including Mrs YGP, abandoning her own Sabha for the entire evening, and whose request resulted in one of the items performed by Maharaj-ji.
.
Concert was great; audience was horrible. I've posted the promised rant elsewhere.
Saswati Sen, Birju Maharaj, Hamsadvani, evening.
Poor Saswati (who I have never seen give a poor performance) got off to a bit of a rough start, with growing irritation at the inadequacies of the sound system. I wouldn't have liked to have been on the receiving end of some of the looks she gave them! Eventually, things fell into shape, and the highlight of her performance came after she asked Birju Maharaj to sing, and subsequently, to play tabla for her.
The second part of the conference put Pandit Birju Maharaj at the centre of the stage, or rather, at the centre of the platform, for he did not dance, but presented, seated, a mixture of vocal recital and abinhaya performance. I've said before that he can tell more of a story with one finger than most people can with their whole bodies. It was absolute, pure, magic.
The program was well received by a much larger audience than I expected, including Mrs YGP, abandoning her own Sabha for the entire evening, and whose request resulted in one of the items performed by Maharaj-ji.
.
Last edited by Guest on 28 Dec 2009, 00:20, edited 1 time in total.
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rshankar
- Posts: 13754
- Joined: 02 Feb 2010, 22:26
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rajeshnat
- Posts: 9927
- Joined: 03 Feb 2010, 08:04
Before vijaysiva's concert in kalarasana, I had a chance to listen to the previous slot which is reserved for thamizh isai . GeethA sundaresan supported by akkarai swarnalatha(in violin) sang jagadEEShwari-mohanam as a main and wrapped with muruganin maru peyar in behAg.The vocalist sang pretty well , since I was only from the second half of the main , I have missed a lot.
But the tani and the energetic play of Arjun Ganesh.was really very very good , he is probably an artist to watch out in the future.
But the tani and the energetic play of Arjun Ganesh.was really very very good , he is probably an artist to watch out in the future.
Last edited by rajeshnat on 29 Dec 2009, 16:57, edited 1 time in total.
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erode14
- Posts: 726
- Joined: 21 Jan 2007, 21:43
she is a good singer, rajesh. I have played two concerts for her at raga sudha and one in rr sabha. she used to visit from muscat, a disciple of DKP.rajeshnat wrote: GeethA sundaresan
in fact, i still remember what she sang 9 years ago... pAhimAm shrI rAjarAjesvari (nAttai), shrI sathyanArAyaNam and a nice rtp in thOdi...
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sridhar_ranga
- Posts: 809
- Joined: 03 Feb 2010, 11:36
Shertalai Ranganatha Sharma at Neelakanta Sivan Academy, Velachery, 1-Jan-2010, 7 PM
Accompanied by Kandadevi S. Vijayaraghavan (V) and Trichur Narendran (M)
Running a temperature, I could no way have driven to Mylapore or T Nagar for a 'regular' concert so I popped an extra Crocin and walked 5 minutes to the Kalyana Mandapam nearer home for this concert. Turned out to be a good decision in spite of the uncomfortable plastic chairs and a sub-par audio / speakers system.
Shri Sharma started with a varnam (didn't mak notes and forgot), followed up with a Neelakanta Sivan kriti in Nattai (I think) said to have been composed on the mukkuruni vinayakar of Madurai Meenakshi temple and then a GNB kriti in Tamil in bahudari. Both were fresh and energetic. Then came a sublime varaali (Seshachala nayakam), a very moving mukhari (enRaikku Siva krupai varumo - N. Sivan) and a scintillating kapi (inta sowkhyamani) which was the main. Wish to see more of this artiste. Violin and Mridangam support were very good and added well to the overall effect.
Accompanied by Kandadevi S. Vijayaraghavan (V) and Trichur Narendran (M)
Running a temperature, I could no way have driven to Mylapore or T Nagar for a 'regular' concert so I popped an extra Crocin and walked 5 minutes to the Kalyana Mandapam nearer home for this concert. Turned out to be a good decision in spite of the uncomfortable plastic chairs and a sub-par audio / speakers system.
Shri Sharma started with a varnam (didn't mak notes and forgot), followed up with a Neelakanta Sivan kriti in Nattai (I think) said to have been composed on the mukkuruni vinayakar of Madurai Meenakshi temple and then a GNB kriti in Tamil in bahudari. Both were fresh and energetic. Then came a sublime varaali (Seshachala nayakam), a very moving mukhari (enRaikku Siva krupai varumo - N. Sivan) and a scintillating kapi (inta sowkhyamani) which was the main. Wish to see more of this artiste. Violin and Mridangam support were very good and added well to the overall effect.
Last edited by sridhar_ranga on 03 Jan 2010, 14:37, edited 1 time in total.
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Sam Swaminathan
- Posts: 846
- Joined: 04 Feb 2010, 08:45
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true_rasika
- Posts: 20
- Joined: 06 May 2007, 18:49
A video recording of PAhimAm (nAttai) is available at this link below.:
http://www.veenavaani.com/music.html
Please scroll down and click on the first You-tube recording titled Trimurthi Day 2009 - Bridgewater NJ. This song was rendered by students of Kalyani Ramani in New Jersey, in March 2009.
http://www.veenavaani.com/music.html
Please scroll down and click on the first You-tube recording titled Trimurthi Day 2009 - Bridgewater NJ. This song was rendered by students of Kalyani Ramani in New Jersey, in March 2009.
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Sam Swaminathan
- Posts: 846
- Joined: 04 Feb 2010, 08:45
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braindrain
- Posts: 587
- Joined: 03 Feb 2010, 09:25
Vocal : Dr. Varadarangan
Violin : Dr.Jyothsna Srikanth
Mrudangam : Arjunkumar
Venue : SGBS TRust, Unnati Centre, Bangalore , 3rd Jan 2010
Songlist:
01 vanajAksha ninnE kOri ( varNam) - mandAri - Mysore Vasudevacharya ( O )
02 srI mahAgaNapathE - nAtta - Mayuram Viswanatha Shastri ( A,S )
03 bhajarE rE mAnasa - AbhEri - Mysore Vasudevacharya ( A)
04 vENugAna lOluni - kEdAragauLa - Thyagaraja ( A )
05 nE pogaDakuNTE - shubhapantuvarALi - Thyagaraja ( A,N,S )
neraval & swara @ ‘nIraja nayana shrI tyAgarAjanuta bAluDagu‘
06 guruguha swAminin bhaktim karOmi - bhAnumati - Muthuswami Dikshitar ??
07 pAlinchu kAmAkshi - madhyamAvathi - Shyama Shastri ( A,N,S,T )
neraval & swara @ ‘ kAntamagu pEru ponditivi kAruNya mUrti‘
08 enna thavam seidhanai - kApi - Papanasam Sivan
09 thillAna - miyAn ki malhAr - Mysore R Visweswaran
10 slOkam ( kichinoLagE ..??) - hamsAnandi - Purandara Dasa
kashta pattaru illa - hamsAnandi - Kanakadasa
11 srI chakra rAja - rAgamAlika - Agasthyar
12 mangaLam - saurAshtram - Thyagaraja
mangaLam kOsalEndra - SrI / Madhyamavathi
Very good concert with pure classisism, sans frills. Good way to start the new year.
Posted here as there are few interesting krithis and ragams in there. Thillana in Miyan ki Malhar , a Bhanumati kriti , few more not often heard krithis( varnam, shubhapantuvarali etc).
Violin : Dr.Jyothsna Srikanth
Mrudangam : Arjunkumar
Venue : SGBS TRust, Unnati Centre, Bangalore , 3rd Jan 2010
Songlist:
01 vanajAksha ninnE kOri ( varNam) - mandAri - Mysore Vasudevacharya ( O )
02 srI mahAgaNapathE - nAtta - Mayuram Viswanatha Shastri ( A,S )
03 bhajarE rE mAnasa - AbhEri - Mysore Vasudevacharya ( A)
04 vENugAna lOluni - kEdAragauLa - Thyagaraja ( A )
05 nE pogaDakuNTE - shubhapantuvarALi - Thyagaraja ( A,N,S )
neraval & swara @ ‘nIraja nayana shrI tyAgarAjanuta bAluDagu‘
06 guruguha swAminin bhaktim karOmi - bhAnumati - Muthuswami Dikshitar ??
07 pAlinchu kAmAkshi - madhyamAvathi - Shyama Shastri ( A,N,S,T )
neraval & swara @ ‘ kAntamagu pEru ponditivi kAruNya mUrti‘
08 enna thavam seidhanai - kApi - Papanasam Sivan
09 thillAna - miyAn ki malhAr - Mysore R Visweswaran
10 slOkam ( kichinoLagE ..??) - hamsAnandi - Purandara Dasa
kashta pattaru illa - hamsAnandi - Kanakadasa
11 srI chakra rAja - rAgamAlika - Agasthyar
12 mangaLam - saurAshtram - Thyagaraja
mangaLam kOsalEndra - SrI / Madhyamavathi
Very good concert with pure classisism, sans frills. Good way to start the new year.
Posted here as there are few interesting krithis and ragams in there. Thillana in Miyan ki Malhar , a Bhanumati kriti , few more not often heard krithis( varnam, shubhapantuvarali etc).
Last edited by braindrain on 05 Jan 2010, 09:52, edited 1 time in total.
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Nick H
- Posts: 9382
- Joined: 03 Feb 2010, 02:03
Yesterday I saw Vijay Siva, just up the road in Thiruvanmiyur. It is impossible not to enjoy his concert, because it shows that he enjoys it! A remarkable aspect of this occasion was sitting in the front row, very close to Trichy Sankaran's right hand: quite an experience!
Today I saw Neyvali Santhanagopalan. For an artist that I enjoy so much, it is strange that I have only seen him sing live twice (and coincidentally, it was the same place this time last year that I saw him the first time). This concert was characterised by the extremely high proportion of improvised music. Delivered in very gentle and contemplative style (actually could have done with a little more volume; he was asking the sound man to reduce it!) this made it a very meditative program. Excellent. J Balaji absolutely sparkled. With my guruji (50% same teacher as Balaji) settled in my old country, thank goodness Balaji is here in India!
Happy concert days!
Today I saw Neyvali Santhanagopalan. For an artist that I enjoy so much, it is strange that I have only seen him sing live twice (and coincidentally, it was the same place this time last year that I saw him the first time). This concert was characterised by the extremely high proportion of improvised music. Delivered in very gentle and contemplative style (actually could have done with a little more volume; he was asking the sound man to reduce it!) this made it a very meditative program. Excellent. J Balaji absolutely sparkled. With my guruji (50% same teacher as Balaji) settled in my old country, thank goodness Balaji is here in India!
Happy concert days!
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Nick H
- Posts: 9382
- Joined: 03 Feb 2010, 02:03
Tonight I saw Smt Radha Viswanathan, giving a memorial concert for her mother, MSS. She was ably accompanied by the clear and strong voice of S Aishwarya, daughter of our Cienu. The program was introduced by the [in]famous VKV from these very pages, and Cleveland Sundaram also spoke.
Being an event function, speeches were acceptable, but I am forced to admit that VKV's speeches are becoming quite appealing to me!
Nothing against Sri Cleveland S... but he spoke in Tamil, so I cannot make any comment. I think VKV is pioneering the language of Tam-erican
Apparently Aishwarya is no stranger to the Bangalore concert stage. Looking forward to hearing more of her here!
Being an event function, speeches were acceptable, but I am forced to admit that VKV's speeches are becoming quite appealing to me!
Nothing against Sri Cleveland S... but he spoke in Tamil, so I cannot make any comment. I think VKV is pioneering the language of Tam-erican
Apparently Aishwarya is no stranger to the Bangalore concert stage. Looking forward to hearing more of her here!
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arasi
- Posts: 16787
- Joined: 22 Jun 2006, 09:30
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Nick H
- Posts: 9382
- Joined: 03 Feb 2010, 02:03
We have two young Aishwaryas in our musical midst just now and, although the violinist is a couple of years older, it is very difficult to believe, of either of them, that they are so young. Just imagine what people might be saying of them in a few decades!
Glad to hear that SA also plays the veena.
I'll be listening to the other Aishwarya play tomorrow night!
Glad to hear that SA also plays the veena.
I'll be listening to the other Aishwarya play tomorrow night!
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Nick H
- Posts: 9382
- Joined: 03 Feb 2010, 02:03
TN Krishnan & Viji.
I really look forward to TNK concerts, but tonight I had a headache, the hall was packed and people kept coming and going throughout. Most unusually, I left immediately after the main piece.
I have, though, to put in a special word for Bhakthavatsalam's mridangam (Indeed, for Bhakthavatsalam himself even!). his play was delicate, retrained and absolutely appropriate throughout. Even in the thani he held himself back to a style that was in keeping with the evening, giving only a brief indication of his dynamic range at the climax of his first korvais. Brilliant and musical.
I really look forward to TNK concerts, but tonight I had a headache, the hall was packed and people kept coming and going throughout. Most unusually, I left immediately after the main piece.
I have, though, to put in a special word for Bhakthavatsalam's mridangam (Indeed, for Bhakthavatsalam himself even!). his play was delicate, retrained and absolutely appropriate throughout. Even in the thani he held himself back to a style that was in keeping with the evening, giving only a brief indication of his dynamic range at the climax of his first korvais. Brilliant and musical.
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prasanna.mr
- Posts: 29
- Joined: 23 Nov 2008, 11:20
Sandeep Narayan @ Chennai Sangamam,15-01-2010
Violin-Mysore Sriakanth
Mrudangam-Neyveli Venkatesh
Venue:Natesan Park,T.Nagar
Time: 5:10 to 6:00
1.Polla puliyinum-Mayamalavagowla-Adi-Papanasam Sivan (S)
2.Kadavulai maravadhe-Thandavam-Adi-Dandapani Desikar
3.RTP-Hindolam-Viloma Chapu
Pallavi-Vande mataram enbom engal manila tayai vanangugudum enbom
Swaras in Hindolam,Kuntalavarali,Revathi,Behag
Thani
4.Vande mataram enbom-Kedaram-Adi-Subramanya Bharathi
5.Koovi azhaithal-Valaji-Adi-Vaali
6.Thunbam nergaiyil-Desh-Adi-Dandapani Desikar
7.Ninnaye rathi-Bageshri-Rupakam-Subramanya Bharathi
8.Vazhiya senthamizh-Madhyamavathi
Violin-Mysore Sriakanth
Mrudangam-Neyveli Venkatesh
Venue:Natesan Park,T.Nagar
Time: 5:10 to 6:00
1.Polla puliyinum-Mayamalavagowla-Adi-Papanasam Sivan (S)
2.Kadavulai maravadhe-Thandavam-Adi-Dandapani Desikar
3.RTP-Hindolam-Viloma Chapu
Pallavi-Vande mataram enbom engal manila tayai vanangugudum enbom
Swaras in Hindolam,Kuntalavarali,Revathi,Behag
Thani
4.Vande mataram enbom-Kedaram-Adi-Subramanya Bharathi
5.Koovi azhaithal-Valaji-Adi-Vaali
6.Thunbam nergaiyil-Desh-Adi-Dandapani Desikar
7.Ninnaye rathi-Bageshri-Rupakam-Subramanya Bharathi
8.Vazhiya senthamizh-Madhyamavathi