PALLAVI DARBAR- 2019- DAY 1- 30/5/19- MFAC

[CRama]

The Pallavi Darbar is one event which is eagerly looked forward by the rasikas where we get exotic and complex pallavis rendered by top ranking musicians revealing their virtuosity, manodharmam and dedication. I have attended all the concerts for the many years and I could get much inputs on laya aspects from the concerts and explanations offered in the darbar concerts. Shashikiran and Parthasarathy Sabha deserves lot of appreciation for their skill in curating the festival year after year bringing in innovative formats.

Day 1- 30/5/2019
There was a Pallavi court. I could not take any notes and am not able to recollect the deliberations therein. I will give a brief account of the RTP concerts that were presented in awesome manner with overriding technical skill but never making it dry and ritualistic.

Concert 1-
Sriranjini Santhanagopalan- Vocal
Dr. Narmada- Violin.
Neyveli Sankar Prasad- Mridangam
Chandrasekhar Sarma- Ghatam.
1. Tirupugazh- Gowla
2. RTP- Shanmugapriya- Adi talam- Sankeerna Nadai.
Pallavi sahithyam- Kadir vadi velaa unadu paadam tunaye
Oraru mugane Devaadi devane
RM swarams- Kanada, Varali, Sarangamalhar and Rakesree.

This is the pallavi made famous by Alathur Brothers in their Academy concert. All the stars of today draw their inspiration from this pallavi as they have mentioned at various junctures for the technical superiority and aesthetical appeal which the brothers have brought in their presentation.

Sreeranjini presented a very methodical exploration of the ragam Shanmugapriya with imaginative sancharams around the key swaras and her dazzling voice revealing the finesse, exhuberance, gamakams and lightning brighas in abundant measure. Her manodharmam and the hard work that has gone behind the pallavi got amply revealed in the entire exercise. The tanam was simply electrifying. The audience liberally applauded at vantage points.

The Accompanists played their role with great precision and zeal which was really a tight rope walking.

Concert 2-
Bharat Sunder- Vocal
L. Ramakrishnan- Violin.
Sumesh Narayanan- Mridangam
Chandrasekhar Sarma- Ghatam.

RTP- Thodi-Adi- Mishra Nadai
Pallavi- Arupadai veedu pallavi
Thirupparamgiri Tiruchendur Pazhanimalai Muruga
Tiruveragam Tiruthanigai Pazhamudircholai.

This pallavi was coined by Doyen Chengelpet Ranganthan Sir.

Bharat Sunder has got a very pliable voice that has got strength, vitality, flexibility and reach onto the three octaves with consummate ease. The spacious alapana of Thodi ragam for 23 minutes revealed his manodharmam, voice felicity and eye for aesthetics. There was no dull moment or repetition in the alapana. The credit should also go to the Thodi ragam for the ragam offers immense scope for exploration without repetitive phrases. I always prefer these big ragams for pallavi in the place of small ragams like Gowla or Behag. The tanam had much imagination and the tanam from Bharat Sunder and L. Ramakrishnan received thundering applause for each avartanam. But since it was getting late, I left while the pallavi started. Waiting to catch it in the you tube.

[sureshvv]

Concert 1-
Sriranjini Santhanagopalan- Vocal
Dr. Narmada- Violin.
Neyveli Sankar Prasad- Mridangam
Chandrasekhar Sarma- Ghatam.
1. Tirupugazh- Gowla
2. RTP- Shanmugapriya- Adi talam- Sankeerna Nadai.
Pallavi sahithyam- Kadir vadi velaa unadu paadam tunaye
Oraru mugane Devaadi devane
RM swarams- Kanada, Varali, Sarangamalhar and Rakesree.

She presented the pallavi in 3 forms. Nadai, Gathi and a cyclical offset form of the tala where the veechu position varies. Although I knew they existed, I have never seen the "Nadai" and "Gathi" variations distinguished and presented at the same time. The last cyclical offset was also interesting but I was not fast enough to actually key into it as it was being presented. Will wait for the video to show up on online.

[CRama]

suresh, Thanks for the additional inputs.

[sureshvv]

Concert 2-
Bharat Sunder- Vocal
L. Ramakrishnan- Violin.
Sumesh Narayanan- Mridangam
Chandrasekhar Sarma- Ghatam.

RTP- Thodi-Adi- Mishra Nadai
Pallavi- Arupadai veedu pallavi
Thirupparamgiri Tiruchendur Pazhanimalai Muruga
Tiruveragam Tiruthanigai Pazhamudircholai.

This pallavi was coined by Doyen Chengelpet Ranganthan Sir.

Bharat mentioned that the beauty of the pallavi was centered around the number 9. The Poorvangam is split in 5s and the Uttarangam in 4s.

[K Nagarajan]

The videos for 30th May events have been uploaded in the youtube channel 'carnaticworld'.

[CRama]

Oh Thanks for the information. Never expected so soon.

[shankarank]

I listened to Bharat Sundar's RTP exposition and just beginning to listen KBMK on youtube. Bharat SUndar brings that air of weight and majesty in his bearings and expression, the way he emphasizes the sAhitya of the pallavi. The accompanists also were expressive, with Sumesh and Chandrasekara Sarma filling the spaces with much vibrant pharans, it was a tonally uplifting exposition. Impressed by the support from L Ramakrishnan.

Concert 2-
Bharat Sunder- Vocal
L. Ramakrishnan- Violin.
Sumesh Narayanan- Mridangam
Chandrasekhar Sarma- Ghatam.

RTP- Thodi-Adi- Mishra Nadai
Pallavi- Arupadai veedu pallavi
Thirupparamgiri Tiruchendur Pazhanimalai Muruga
Tiruveragam Tiruthanigai Pazhamudircholai.

This pallavi was coined by Doyen Chengelpet Ranganthan Sir.

Bharat mentioned that the beauty of the pallavi was centered around the number 9. The Poorvangam is split in 5s and the Uttarangam in 4s.

I think he said 9 for pURvangam and 8 for uttarangam. And the word splits kind of confirm that thiruparangiri is takita-takita-takita.

The pallavi in normal caturaSra naDai will fit to 2- Kalai sankIRNA tripuTA with a smaller Arudhi kArvai - 3 Aksharams - where the solfa is 4 per beat of total (9+4) 13.