Maharajapuram Ramachadran@MFAC on Dec 12th,2018
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Vocal : Maharajapuram Ramachandran
Violin : Nagai Muralidharan
Mrudangam : Tiruvarur Bhaktavatsalam
ghatam : Vaikkom Gopalakrishnan
Concert Type : Nirvana - no concert to follow / Ticketed Concert
Day/Duration : Tuesday/ 2 hours and 40 mins
Hall : MFAC Hall
01. intachalamu (S) -BeGaDa - patnam
02. pranamAmyaham(S)- gowlai - MV
8 mins swaras
03. muddumOmu (R,S)-suryakAntham - T
9 mins alapana and 5 mins violin return
5 mins swaras
04.nee vAda nee gAna (S) - saranga - T
05. ninnu vinA gamari (R,N)- poorvikalyani - SS
10 mins alapana and 6 mins violin return
neraval for 6 mins in parama pOgadi pOgadi yathi???
06A.dinamani vamsa (R,S,T) - harikAmbOdhi -T
11 mins alapan and 6 mins violin return
swaras for 7 mins
06B. tani for 20 mins
07. SuTTum vizhic chuDartAn kaNNammA - bhimplAs + behAg + kAnadA - mahakavi bharathiyar
naTTanadu nisiyiL??? theRiyum natchaththirangaLadi
08A. viruththam - kandA guhA shanmugha - hamsAnandi + pArtharul seyya parAmugham - behag
08B. avathAraminri ..upadesam... perumAle - behag - Thiruppugazh
09. mangalam
Maharajapuram Ramachadran@MFAC on Dec 12th,2018
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rajeshnat
- Posts: 9930
- Joined: 03 Feb 2010, 08:04
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rajeshnat
- Posts: 9930
- Joined: 03 Feb 2010, 08:04
Re: Maharajapuram Ramachadran@MFAC on Dec 12th,2018
Way back in late 80's till 1992 when santhanam had 3 musical sons in rotation - Ramachandran , srinivasan and Dr ganesh to give solid vocal support .Most of the concerts of santhanam only had the combo of Nagai Muralidharan in the violin and Tiruvarur bhakthavatsalam in mrudangam both young hands then and more importantly were very capable to produce such musical richness that santhanam and his vocal support gave .
It is atleast 26 years past the tragic tindivanam car crash of santhanam, but even in 2018 one can hear the vocal , violin and mrudangam sons of maharajapuram santhanam performing with core sathiyam towards classicism .They each excel though the sound asura has slightly taken over in an ascending scale the violin son and mrudangam son of maharajapuram santhanam . Ramachandran is a master who particularly plays hide and seek in my ears .At times ramachandran hides from his appa santhanam vishranti and seeks his thatha vishwanatha iyer with pouring air tight brighas .
THe start in intachalamu was just ok, i found it bit difficult to hear the voice over and above the volume of both violinist and mrudangam .From second round in begada the setting was set right atleast in terms of absolute volume , the boom of ramachandran appeared to even challenge bhaktha's intelligent beats and muralidharan's well tuned raga curves. Gowlai with pranamAmyaham is a lovely drop , these kind of krithis are born to make the concert start with success , ramachandran continued wiht lovely downpour of swaras in gowlai.
THe Best two was the next two . I have once heard suryakantham as a main when K J Yesudas sang.I struggled then to remove ambiguities of clusters of ragas like chakravakham , sowrashtram etc . Alapana of suryakantham is quite rare . Ramachandran alapana in suryakantham was just brilliant , he gave some superb brigas , I dont know if even vishwanatha iyer has ever sung suryakantham .I am making an assumption possibly vishwanatha iyer would have sung suryakantham alapana like his grand son ramachandran. Lovely krithi of muddu mOmu with arresting voice and superb embellishments by bhakthavatsalam so many patterns bit high on sound yes still the tradeoff of varying patterns was ok .I also sat away in MFAC to a point where speaker is heard the less- for this reason only you mainly to have a ticketed concert. Swaras were not as manodharmic as alapana but still suryakantham was well done .
Poorvikalyani with karuna rasa was superb in alapana , all of a sudden poorvikalyani stayed only as poorvikalyani despite having some pantuvaralish energy booster vitamins .What an alapana and what a beautiful return by nagai muralidharan , when agggresion is shown at times ,shruthi can go bit off and more importantly it may turn bit filmy but nothing happened like this. Certain boooming hmmmmmm karams with closed mouth sangathis makes me wonder if by any chance if ramchandran had suddenly played a studio recording in the background and only did the visual acting .The duo of vocal and violin son matched with intense mastery in poorvikalyani in krithi with superb embellishments from bhaktha for most time. I was expecting the thamizh krithi of SS but i got ninnu vina gamAri and I liked ramachandran's rendition .Poorvikalyani was classicism at its best.
Semmangudi and Maharajapuram school have intense commonality and when ragas like harikambOdhi with follow up of dinamani vamsa is taken ,the differences of semmangudi and maharajapuram schools comes to bare minimum. Vishwanatha iyer restlessness came in spurts with ramachandran and during krithi the landing of every sangathi was quite santhanamish with a lot of balance. Swaras were well done, i guess unlike kAmbOdhi ,harikAmbodhi has bit limited patterns.
The days second best after poorvikalyani was the bharathiyar krithi suttum vizhi . Lovely cascade of ragas of bhimplas , behag and kAnadA , the power of singing with such fidelity. Ramachandran had the gestalt of shruthi suddham without an iota of shruthi kurachal and he was simply superb.There is a bit of waxing and waning in the KAnada section of bharathiyar krithi like kaaththiruppaEn Odi idhu to wax and sAThthiram paesugiRaay for wane, whoever tuned and picked kAnada for this mahakavi lines is a genius.
The popular kanda guha shanmugha is sung in two fashions one in a more leisurely and detailed way with some ragas like brindavana saranga , subhapantuvarali thrown in . The second avatar is bit like kavadhi chindu. Ramachandran picked up kavadichindu typecast and did well in both ragas hamsanandi(hope it is sunOdavinodhini)?? and behag , He ended with a thiruppugazh ?? in behag .THere was no signature closure with Bho sambho which was fine but he not singing a thillana was not fine.
Nagai Muralidharan plays with such aesthetic perfection during alapana , you feel and hear such an intense connect with raga devata . Slightly jacked up volume but with rAga bhavam in returns it was ok. I was bit thinking and apprehensive of how concerts gets fared with bhakthavatsalam sir's heavy duty beats . Bhaktha showed his class for many songs with lovely embellishments with pockets of litle excessive beats in sporadic times . Certain songs like poorvikalyani and suttumvizhi bhaktha showed clarity of solkattu ,he has an arsenal of patterns and he really lifted the quality for atleast two songs . In tani he was quite a tiruvarur gajaa cyclone even his first round itself was a full tani for me. Vaikkom from kerala was restrained when compared to the other three , his patterns were limited . The varying embellishments of Tiruvarur bhakthavatsalam , the concise raga orientation of Nagai Muralidharan, the booming voice of Maharajapuram Ramachandran carried forward the rich legacy of maharajapuram mrudangam, violin and vocals sons forward. I missed either a RTP or a very detailed slokham/viruththam. .
Maharajapuram Ramachandran is just musically ageing right . He had an untold slogan - He musically says I have lot of vocal power and I couple with high shruthi fidelity.
Overall a very good to excellent concert for 2 hours and 40 mins
It is atleast 26 years past the tragic tindivanam car crash of santhanam, but even in 2018 one can hear the vocal , violin and mrudangam sons of maharajapuram santhanam performing with core sathiyam towards classicism .They each excel though the sound asura has slightly taken over in an ascending scale the violin son and mrudangam son of maharajapuram santhanam . Ramachandran is a master who particularly plays hide and seek in my ears .At times ramachandran hides from his appa santhanam vishranti and seeks his thatha vishwanatha iyer with pouring air tight brighas .
THe start in intachalamu was just ok, i found it bit difficult to hear the voice over and above the volume of both violinist and mrudangam .From second round in begada the setting was set right atleast in terms of absolute volume , the boom of ramachandran appeared to even challenge bhaktha's intelligent beats and muralidharan's well tuned raga curves. Gowlai with pranamAmyaham is a lovely drop , these kind of krithis are born to make the concert start with success , ramachandran continued wiht lovely downpour of swaras in gowlai.
THe Best two was the next two . I have once heard suryakantham as a main when K J Yesudas sang.I struggled then to remove ambiguities of clusters of ragas like chakravakham , sowrashtram etc . Alapana of suryakantham is quite rare . Ramachandran alapana in suryakantham was just brilliant , he gave some superb brigas , I dont know if even vishwanatha iyer has ever sung suryakantham .I am making an assumption possibly vishwanatha iyer would have sung suryakantham alapana like his grand son ramachandran. Lovely krithi of muddu mOmu with arresting voice and superb embellishments by bhakthavatsalam so many patterns bit high on sound yes still the tradeoff of varying patterns was ok .I also sat away in MFAC to a point where speaker is heard the less- for this reason only you mainly to have a ticketed concert. Swaras were not as manodharmic as alapana but still suryakantham was well done .
Poorvikalyani with karuna rasa was superb in alapana , all of a sudden poorvikalyani stayed only as poorvikalyani despite having some pantuvaralish energy booster vitamins .What an alapana and what a beautiful return by nagai muralidharan , when agggresion is shown at times ,shruthi can go bit off and more importantly it may turn bit filmy but nothing happened like this. Certain boooming hmmmmmm karams with closed mouth sangathis makes me wonder if by any chance if ramchandran had suddenly played a studio recording in the background and only did the visual acting .The duo of vocal and violin son matched with intense mastery in poorvikalyani in krithi with superb embellishments from bhaktha for most time. I was expecting the thamizh krithi of SS but i got ninnu vina gamAri and I liked ramachandran's rendition .Poorvikalyani was classicism at its best.
Semmangudi and Maharajapuram school have intense commonality and when ragas like harikambOdhi with follow up of dinamani vamsa is taken ,the differences of semmangudi and maharajapuram schools comes to bare minimum. Vishwanatha iyer restlessness came in spurts with ramachandran and during krithi the landing of every sangathi was quite santhanamish with a lot of balance. Swaras were well done, i guess unlike kAmbOdhi ,harikAmbodhi has bit limited patterns.
The days second best after poorvikalyani was the bharathiyar krithi suttum vizhi . Lovely cascade of ragas of bhimplas , behag and kAnadA , the power of singing with such fidelity. Ramachandran had the gestalt of shruthi suddham without an iota of shruthi kurachal and he was simply superb.There is a bit of waxing and waning in the KAnada section of bharathiyar krithi like kaaththiruppaEn Odi idhu to wax and sAThthiram paesugiRaay for wane, whoever tuned and picked kAnada for this mahakavi lines is a genius.
The popular kanda guha shanmugha is sung in two fashions one in a more leisurely and detailed way with some ragas like brindavana saranga , subhapantuvarali thrown in . The second avatar is bit like kavadhi chindu. Ramachandran picked up kavadichindu typecast and did well in both ragas hamsanandi(hope it is sunOdavinodhini)?? and behag , He ended with a thiruppugazh ?? in behag .THere was no signature closure with Bho sambho which was fine but he not singing a thillana was not fine.
Nagai Muralidharan plays with such aesthetic perfection during alapana , you feel and hear such an intense connect with raga devata . Slightly jacked up volume but with rAga bhavam in returns it was ok. I was bit thinking and apprehensive of how concerts gets fared with bhakthavatsalam sir's heavy duty beats . Bhaktha showed his class for many songs with lovely embellishments with pockets of litle excessive beats in sporadic times . Certain songs like poorvikalyani and suttumvizhi bhaktha showed clarity of solkattu ,he has an arsenal of patterns and he really lifted the quality for atleast two songs . In tani he was quite a tiruvarur gajaa cyclone even his first round itself was a full tani for me. Vaikkom from kerala was restrained when compared to the other three , his patterns were limited . The varying embellishments of Tiruvarur bhakthavatsalam , the concise raga orientation of Nagai Muralidharan, the booming voice of Maharajapuram Ramachandran carried forward the rich legacy of maharajapuram mrudangam, violin and vocals sons forward. I missed either a RTP or a very detailed slokham/viruththam. .
Maharajapuram Ramachandran is just musically ageing right . He had an untold slogan - He musically says I have lot of vocal power and I couple with high shruthi fidelity.
Overall a very good to excellent concert for 2 hours and 40 mins