Swathi Srikrishna@nAgeswaran house(rasikas.org concert) on Nov 26th,2017
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Vocal : Swathi Srikrishna- disciple of NC Krishnamacharyulu and PSN
Violin : VijayaGanesh (disciple of Gnanasundaram who learnt from Lalgudi Jayaraman)
Mrudu angam : Burra Sriram (may I know his gurus please)
Concert Type : Nirvana - No concert to follow , free concert
Day/Duration : Sunday - 2 hours and 50 minutes
Venue : Nageswaran house in West Mambalam
Occassion : Continuation of yearly joy and exuberance of Nageswaran Sir
I was late did not hear the first varnam and came at half point for second tiruarutpA
01. kAnadA varnam
02. Pozhudhu vidintha ??? (?,S) -malayamArutham - ThiruaRutpA (Tuned by PSN)
03. siddhi vinayakam seveham (R,S) - mohanakalyani - HMB
11 mins alapana and 6 mins violin return
5 mins swaras
04. aNanda natana prakAsam (RS, N) - kEdaram - MD
neraval in sangeetha vadhya phrase for 3 mins
05. nAdhA sudhA rasa (R,S) - Arabi - T
2 mins alapana without violin return
4 mins swaras
06. sarasa sAma dhAna - kAPinarayani - T
07. shankari shankuru (R N S T)- sAveri -SS
13 mins alapana and 6 mins violin return
5 mins neraval in shyama krishna soDhari
5 mins swaras
08A. RTP in brindavana saranga for 41 mins
Pallavi line --->>> Chetashri rAmam chintayE ravikOla sObham sathatham
alapana for 14 mins with intermediate violin return
taanam for 6 mins
pallavi and swararagamaliga for the rest of 41 mins
swara ragamaliga in brindavana saranga + hameerkalyani + Durga + ShuruTTi
08B. Tani for 8 mins
09A.viruththam pachai mA malai pOl meni - abheri ?? - divya prabhandham
09B. paluku thEnela thalli pavalinchenu - Abheri?? - AnnamAcharya???
10. mangalam
Swathi Srikrishna@nAgeswaran house On Nov 26th,2017
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rajeshnat
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Swathi Srikrishna@nAgeswaran house On Nov 26th,2017
Last edited by rajeshnat on 27 Nov 2017, 18:11, edited 1 time in total.
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rajeshnat
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Re: Swathi Srikrishna@nAgeswaran house On Nov 26th,2017
I assumed that swathi srikrishna has also learnt from Lalgudi jayaraman as many years before for the movie Sringaram which Lalgudi sir tuned she had sung. She clarified that Lalgudi was only manaseega influence . She had her training with NC krishnamarcharyulu from vijayawada and then most of her training was with Shri PS Narayanaswamy. Incidentally her cousin brother is MSN murthy and Pantula rama is her sister in law .
Personally I have not heard even an ounce of Swathi Srikrishna music other than me noticing her sringaram lalgudi connection ,and my awareness of swathi was only in print media
I did come late and the first varnam was already over . She was just halfway when she was just beginning the swaras of malayamArutham . As a first impression one could hear a lot of voice power in her voice . Swathi voice texture did have a lot of Smt sangeetham with a very healthy mix of shri sangeetham. Her voice texture reminds a bit of aruna sairam to me .She announced the tunesmith for the arutpa was PSN , I am not sure how many tiruarutpa that PSN has tuned , I think this is the second one that I am hearing after one Panniru Kann in poorvikalyani that PSN tuned . I loved this malayamarutham number.
Mohanakalyani alapana was very hindustanish . I was thinking musicians like santhanam and Lalgudi jayaraman have successfully imported mohanakalyani from hm to CM . She sang mohanakalyani alapana with strong voice and meditative hues to start , I thought she could have fared better when there was a dosage of more brighas .THe hmb krithi was well sung , many many years since i heard from TNS who is known for this mohanakalyani krithi.
Ananda natana prakasam needs a strong voice and swati indeed sang well , the leisurely gait with artistic musical nuance that dikshitar created did come up well with swati. Arabi was next , the alapana was not elaborate , the swaras were just sung in patches .I aurally felt few slips during krithi rendition of arabi. Strangely the neraval in arabi was only alapana phrases where she sang only that- few musicians inclusive of many who lived even before i was born have sung few alapana phrases but to sing only alapana phrases as neraval is perhaps a new innovation.
Sarasa sama dhana , i thought she started well but half way point the rhythmmic leash was not there - the laya blur with both accompanist was indeed there.
Saveri main was well done , her voice texture has power and she came up with nice manodharmam in distinct spots in both alapana and krithi. The neraval had enough saveri the swaras were not elaborate and was not having enough of saveri.
The best was indeed RTP in brindavana saranga. She came up with nice ideas and her strong voice indeed suited brindavana saranga that usually requires power.ALapana was well done , taanam she was bit very watchful. Pallavi amaippu was very nice .In swara kalpanas it was a touch and go affair for durga (very suggestive), hameer and shurutti contrast was better than durga . When she traversed back to brindavana saranga after shurutti her manodharma was well registered aesthetics .Overall a very well done RTP.
She could have gone for a bigger share of ragamaliga viruththam , but she just wrapped briefly with abheri?? followed by Annamacharya krithi. I just thought she missed an opportunity to present a better tukkada tail - elabore viruththam , thillana etc and could have showcased her emote side of CM.
Vijayaganesh has lovely shruthi and he is a very over cautious violinist . I am told he is coming back to full time concert circuit after corporate career . I loved his mohanakalyani which gave the lalgudi essence and sunaadam (not much press but still having beautiful raga bhavam). Brindavana saranga was measured and he did well. I felt he can play bit more during songs to guide the vocalist to give that key assertive closing sangathi during song rendition . I am thinking the patantara difference of swathi vs Vijayaganesh in songs like arabi and kapinarayani may have made him extra cautious . What I like about him in general he is never trying to over shadow the vocalist , my gut feel he is taking his time to really learn the fundamentals .He will be a great accompanist in future - no adhingaprasangithanam like raise volume ,feedback, intrusion during sangathis and proportion sense is very nice . I have no clue about his guru gnanasundaram but I wish he gets in to the league of his paramaguru lalgudi jayaraman.
Burra sriram , i am hearing and seeing him as accompanist for the first time . Incidentally in the last 3 or 4 concerts i have seen him seated as a rasika in few sabhas in mylapore next to me.Only yesterday i knew him that the rasika whose face was familiar is also a performing vidwan. He had nice sound, and goes with the flow of the music and his very madhyamakAla centric. His tani was perhaps not showcasing his real skill but I liked his play, little speed in few songs like arabi and during ragamaliga swaras in RTP may have made it better .
Swathi voice and throw is her asset she sings very well in madhyama kalam .She can make it bit more rounded in avoiding fluctuations during the course of the song especially when the sangathis hover around mel sthayi - there are slips and jerks which I believe will go out if she centers with little more rhythmmic leash.
Nageswaran Sir has to be thanked for all his zeal ,he continues to show his passion to CM being a lovely guardian like Goddess Durga . CRama spoke minimally and we had a crisp vote of thanks. His twin carnatic brother sivaramakrishnan was also there . Special thanks to sound engineer he was perfect and we had zero sound hiccups.
Overall a very good to excellent concert for 2 hours and 50 minutes
Personally I have not heard even an ounce of Swathi Srikrishna music other than me noticing her sringaram lalgudi connection ,and my awareness of swathi was only in print media
I did come late and the first varnam was already over . She was just halfway when she was just beginning the swaras of malayamArutham . As a first impression one could hear a lot of voice power in her voice . Swathi voice texture did have a lot of Smt sangeetham with a very healthy mix of shri sangeetham. Her voice texture reminds a bit of aruna sairam to me .She announced the tunesmith for the arutpa was PSN , I am not sure how many tiruarutpa that PSN has tuned , I think this is the second one that I am hearing after one Panniru Kann in poorvikalyani that PSN tuned . I loved this malayamarutham number.
Mohanakalyani alapana was very hindustanish . I was thinking musicians like santhanam and Lalgudi jayaraman have successfully imported mohanakalyani from hm to CM . She sang mohanakalyani alapana with strong voice and meditative hues to start , I thought she could have fared better when there was a dosage of more brighas .THe hmb krithi was well sung , many many years since i heard from TNS who is known for this mohanakalyani krithi.
Ananda natana prakasam needs a strong voice and swati indeed sang well , the leisurely gait with artistic musical nuance that dikshitar created did come up well with swati. Arabi was next , the alapana was not elaborate , the swaras were just sung in patches .I aurally felt few slips during krithi rendition of arabi. Strangely the neraval in arabi was only alapana phrases where she sang only that- few musicians inclusive of many who lived even before i was born have sung few alapana phrases but to sing only alapana phrases as neraval is perhaps a new innovation.
Sarasa sama dhana , i thought she started well but half way point the rhythmmic leash was not there - the laya blur with both accompanist was indeed there.
Saveri main was well done , her voice texture has power and she came up with nice manodharmam in distinct spots in both alapana and krithi. The neraval had enough saveri the swaras were not elaborate and was not having enough of saveri.
The best was indeed RTP in brindavana saranga. She came up with nice ideas and her strong voice indeed suited brindavana saranga that usually requires power.ALapana was well done , taanam she was bit very watchful. Pallavi amaippu was very nice .In swara kalpanas it was a touch and go affair for durga (very suggestive), hameer and shurutti contrast was better than durga . When she traversed back to brindavana saranga after shurutti her manodharma was well registered aesthetics .Overall a very well done RTP.
She could have gone for a bigger share of ragamaliga viruththam , but she just wrapped briefly with abheri?? followed by Annamacharya krithi. I just thought she missed an opportunity to present a better tukkada tail - elabore viruththam , thillana etc and could have showcased her emote side of CM.
Vijayaganesh has lovely shruthi and he is a very over cautious violinist . I am told he is coming back to full time concert circuit after corporate career . I loved his mohanakalyani which gave the lalgudi essence and sunaadam (not much press but still having beautiful raga bhavam). Brindavana saranga was measured and he did well. I felt he can play bit more during songs to guide the vocalist to give that key assertive closing sangathi during song rendition . I am thinking the patantara difference of swathi vs Vijayaganesh in songs like arabi and kapinarayani may have made him extra cautious . What I like about him in general he is never trying to over shadow the vocalist , my gut feel he is taking his time to really learn the fundamentals .He will be a great accompanist in future - no adhingaprasangithanam like raise volume ,feedback, intrusion during sangathis and proportion sense is very nice . I have no clue about his guru gnanasundaram but I wish he gets in to the league of his paramaguru lalgudi jayaraman.
Burra sriram , i am hearing and seeing him as accompanist for the first time . Incidentally in the last 3 or 4 concerts i have seen him seated as a rasika in few sabhas in mylapore next to me.Only yesterday i knew him that the rasika whose face was familiar is also a performing vidwan. He had nice sound, and goes with the flow of the music and his very madhyamakAla centric. His tani was perhaps not showcasing his real skill but I liked his play, little speed in few songs like arabi and during ragamaliga swaras in RTP may have made it better .
Swathi voice and throw is her asset she sings very well in madhyama kalam .She can make it bit more rounded in avoiding fluctuations during the course of the song especially when the sangathis hover around mel sthayi - there are slips and jerks which I believe will go out if she centers with little more rhythmmic leash.
Nageswaran Sir has to be thanked for all his zeal ,he continues to show his passion to CM being a lovely guardian like Goddess Durga . CRama spoke minimally and we had a crisp vote of thanks. His twin carnatic brother sivaramakrishnan was also there . Special thanks to sound engineer he was perfect and we had zero sound hiccups.
Overall a very good to excellent concert for 2 hours and 50 minutes
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rshankar
- Posts: 13754
- Joined: 02 Feb 2010, 22:26
Re: Swathi Srikrishna@nAgeswaran house On Nov 26th,2017
Rajesh - I think the pallavi could have been cEtaSrI rAmam cintayE ravikula sOmam satatam.
And was 9B paluku tenela talli pavvaLincavE?
And was 9B paluku tenela talli pavvaLincavE?
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rajeshnat
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- Joined: 03 Feb 2010, 08:04
Re: Swathi Srikrishna@nAgeswaran house On Nov 26th,2017
Definitely as pointed by you she only sang rAmam and not nAmam - I corrected my first post.My slip in pallavi line.
On the abheri krithi, I just checked my previous reviews where few artist have sung, i think the song is paluku thEnela thalli pavalinchenu, i have changed the first post .
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rajeshnat
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Re: Swathi Srikrishna@nAgeswaran house On Nov 26th,2017
Swati Srikrishna-VijayaGanesh-BurraSriram@Nageswaran House on Nov 26th2017-
rajeshnat
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- Joined: 03 Feb 2010, 08:04
Re: Swathi Srikrishna@nAgeswaran house On Nov 26th,2017
Crama and SRK , do write bit more about your experience .