A rare Veena treat by TNS at Nungambakkam Cultural, 29.12.08

[nightingale]

On Sunday morning, the 29th , I as usual, flipped the engagement column to pick some concerts for the day.

First on the tick list was a concert at 9 a.m. at Nungambakkam Cultural Academy, a Veena Concert , by none other than the Sangita Kalanidhi Sri. T.N. Seshagopalan.

Since I had heard him last in 2000 on the Veena for a Guruguhanjali concert, at Sastry Hall, which was still fresh in memory, I decided to go and listen to this one.

The Meenakshi Memudham Dehi that he played in 2000, still rings in my ears and as if by sheer coincidence, that morning , he played the same song. He poured out the beauty of the Devi in Madurai in more than sweet musical phrases.

Starting with the Pada Varnam (Chalamela) in Nattakurinji, Gamakakriya ( Meenakshi) followed suit. A short , compact Varali raga , was followed by (Kana Kana Ruchira) . Sankarabharanam ( Akshaya Lina Vibho) was the main piece. A very traditional , typical Madhyama Kala Tanam decorated the Krithi. The Tanam was played in Natai, Gowla, Arabhi, Subhapantuvarali (as Varali had been played before) and Sri ,before rounding it off to Sankarabharanam.

Vellai Tamarai (Bhimplas), was moving, followed by Eti ruga nannu (Nadanamakriya) and Hari Guna Gavath Nachungi(Meerabai)-Maru Behag which completed the concert song list.

TNS's veena playing was the absolute Gayaki style , with strong emphasis on the Gamaka aspects of the raga. Even the faster phrases, were gamaka oriented and not swara based.

The mastery over the instrument in all octaves , creating the right dhwani , resonance and emphasis, is only comparable to his mastery over his voice.
Not a scratchy bit or instrumentation was seen in his playing. Especially the Sankarabharanam phrases from 'Pa' to 'Pa' in all octaves , was recorded with absolute clarity and on one stroke. The Varali Gandharam had the right appeal and he was in absolute control of the kalapramana of the Pancharatna Krithi.

Composure, measured gait, gamaka driven approach, mastery over the instrument were the key hallmarks of the way he handled the instrument, so much so it produced a soothing, divine effect, in the morning hours of a quiet Sunday morning.

Writing about his swara playing, I think is superfluous on my part. Hence, I refrain from doing so, as the readers I'm sure know enough about it.

In a lighter vein :- the musical strains of the Veena were so joyful, that the contact mike on his Veena kept jumping up and down, dancing sometimes to its own tunes !!!

[mridhangam]

I can understand the mesmerising Veena of TNS but is it so hypnotic that u forgot to listen to the accompanists portion completely ???? (Just a joke and a different method of a gentle reminder to you to give the names of the accompanists and how they fared)

J.Balaji

[sethuraman]

The accompanist was Sri.Guruvoyur Dorai.

[sarojaRamanujam]

Veena concert of TNS at Nungambakkama cultural Academy on 28-12-2008

The concert started with the natkurinji varnam and TNS was supported on mrdhangam by Guruvayur Dorai who did an excellent job of it embellishing the playing with his expertise. It was just as it should be for a veena concert.

TNS then started the raga poorvikalyani, in which one could hear the dasagamaka, implying the krthis that was to follow, namely ‘meenaakshi me mudham’ of Dhikshithar. The krthi was excellently suited for veena and the way TNS played it, the name of the raga in Dhikshithar school .as gamakakriya was justified. This was followed by the Thyagraja krthi ‘.padhvini sadbhakthiyu,’ in saLagabhairavi and ‘entha muddho ,’ in bindumalini.

Then came a fantastic varali with gamaka played beautifully in mantharsthayi. TNS played the pancharathna krthi, ‘kanakanaruchira.’ The svara and sahithya could be distinguished by the difference in playing and it was as majestic as ever.

The main raga of the day was sankarabharanam and after the elaborate raga alapana fully bringing out the ragabhava, the thanam that followed was in raga malika consisting of the ragas nata,goula,arabhi, subhapanthuvarali and sree which was beautiful and then TNS played the krthi. Akshaylingavibho,’ of Dhikshithar. The neraval svara was at ‘badarivanamula,’ and it was an enjoyable interaction between TNS and Guruvayur Dorai.

TNS then played ‘veLlai thaamarai,’ of Bharathiar in bheemplas. The veena playing of TNS is in gayaki style, resembling the vocal music and at times one could hear the words by the playing itself.

The next was a melodious ‘Etheeruganannu,’ in nadhanamakriya of Bhaktharamadasar and the concert ended with the meerabajan ‘giridhar aagE nachoongee.’ With the playing of the veena by TNS and the mrdhangam by Guruvayur Dorai the word ‘naachoongee,’ bccame vivid depicting the dance of Meera in front of Giridhari.

[nightingale]

Mridhangam,

Not only have i forgotten to write the name of the accompanist Sri.Guruvayoor Durai, Who gave an examplary accompaniment, but also messed up with the date. Date should read as 28.12.08.

Apologies.

Thanks.

[Amruthavarshini]

The meera bhajan was 'Hariguna gaavatha Nachoongi" The Shankarabharanam ragam and the tanam that followed were my pick of the day. I left wondering the power of this raga and the way it sounds in a veena! It is a very well known fact that TNS sings shankarabaranam like a titan. In the hands of TNS and with the veena, it was simply heavenly. Could not help mentioning his Shankarabaranam for KGS. What precision!

[sarojaRamanujam]

The sankarabharanam is sung by TNS like aTitan is quite correct The sankarabharanam sung in KGS , referred to by Amrthavarshini was majestic and a real Dheera snkarabharanam. The word dheera denotes majesty , durable and composed and according to the derivation of the word dheera meaning dheeH raathi ithi, TNS dished out his brilliance through it.
Detailed review in b my sulekha blog.