N Vijay Siva - R K Shriram Kumar - N Manoj Siva
Srinagar Colony Sath Sangam, Saidapet Varasiddhi Vinayakar Temple.
Sri Ramanavami Concert series.
31st March 2006
slOkam followed by gam gaNapatE - hamsadvani - tisra Adi - HMB (NS)
mApAla velasikA - asAvEri - Adi - T
ninnu vinA - pUrvikalyANi - vilOma misra cApu - SS (RS)
Ora jUpu chOsEdi - kannaDa gauLa - Adi - T (RN)
cEta srI - dvijAvanti - tisra Ekam - MD
slOkam 'kumArA IsOha' followed by kArtikEya gAngEya - tODi - Adi - PS (RNS)
taniyAvardanam
sAradA bhujangam - ashTarAgamAlikA - Adi sankarar (tuned by RKS)
bArE pANDurangA - mAND - tukkArAm
slokam 'kalyANNOlAsa' in Ahiri, yamunakalyANi, maNirangu
mAmava paTTAbhirAmA - maNirangu - cApu - MD
tEvAram hymn - senchuruTTi
kandar anubUthi - rAgamAlikA - aruNagirinAtar
nI nAma rUpamulaku - saurAshTRam
The concert was very good and filled with classism from the word go. Starting late, because of the traffic at Saidapet, thanks to the elections, Sri Vijai Siva, was in no mood to dilute the music for the accomadating the delay. He was still his fullest and sang with a lot of bhavam.
The invocatory kriti with neraval at 'pankajAsanAdi vandita bhaktArti haraNamudita' with svaram at the pallavi line was a good start and was suitably followed by the asAvEri kriti.
pUrvikalyANi was elaborated well and the kriti in vilOma cApu was rendered in a rather hurried kAlapramANam than the usual viLamba kAla. the svaram were measured and good. The highlight of the concert was the kannaDAgauLa AlApanai. It was very well elaborated showing the beauty of the ragam and so did the neraval at 'dIna rakSaka shrta mAnava san-tAna gAnalOla tyAgarAjanuta'. The dvijAvanti kriti which followed was very moving and rendered with a lot of bhavam.
The main tODi AlApanai was rendered with a lot of classicm and showing essential parts of the ragam. The kriti was rendered with all the three caraNams and the way each line kept reminding one of renditions of old masters. The neraval and svarams at 'mAl maruga shaNmuga muruga guhA magapatiyum vidiyum tozhu' were very good, with neraval done in three kAlams.
The post tani part saw a nice rendition of sArada bhujangam and the rAgamAlikA slOkam leading to the maNirangu kriti. Other pieces were all good also.
Sri Shriram Kumar was good in all parts as usual. With every concert he is prooving his capablities of playing as one needs to play accompanying the main artist. He stood up to the main artist all thro' the concert.
Sri Manoj Siva was quite playing all the kriti on the mrudangam. He played with such anticipation and was very good even while accompanying the neraval and svarams. His tani was good also.
bharath
Vijay Siva, Srinagar Colony Sath Sangam
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Vocalist
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- Joined: 19 Feb 2006, 18:53
Do you remember the beginning words for the Thevaram and Kandar Anuboothi? Ironically, the piece most tempting for me out of the list (& review) was not the Tamil piece...but Thyagaraja's Orajoopu.
Could you explain;
kAlapramANam and viLamba kAla
I'm beginning to get bored of the some of the opening pieces that are being done to death. Gam Ganapathe (Muthiah Bhagavathar), Vathapi Ganapathim (Dikshithar), Karunai Seivai (Papanasam Sivan), Raghunayaka (Thyagaraja) & Sri Raghukula (Thyagaraja) have dominated the hamsadwani circuit. There must be more out there, equally worth rendering!
Could you explain;
kAlapramANam and viLamba kAla
I'm beginning to get bored of the some of the opening pieces that are being done to death. Gam Ganapathe (Muthiah Bhagavathar), Vathapi Ganapathim (Dikshithar), Karunai Seivai (Papanasam Sivan), Raghunayaka (Thyagaraja) & Sri Raghukula (Thyagaraja) have dominated the hamsadwani circuit. There must be more out there, equally worth rendering!