Trichur rAmachandran@Ashtika samAjam(thiruvAnmiyur) on Jan 0

rajeshnat · Post by **rajeshnat** » 09 Jan 2009, 16:51

Trichur rAmachandran@Ashtika samAjam(thiruvAnmiyur) on Jan 08th,2009
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Accompanied by Vocal support - easwaran,KumbakOnam M R GOpinAth - violin and R . Ramesh - mrudangam

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3. gNanamu sagarAdha (R N S) - poorvikalyAni -T
neraval in "paramAthmudu jeevAthmudu"
4.unnaDiyE gati enraDaindEn tAyE - bahudAri - GNB

5. mama hridayE (R)- reetigowlai - Mysore vasudevAchArya
6. Maravanune ninnu - Arabi - GNB

7A. upachAramUlaNu (R N S T) - bhairavi - T
9 minutes alApanai
7 minutes violin return
6 minutes neraval in " kapaTa nAtaka sutra"
8 mintes of swara
7B. tani for 13 minutes

Trichur ramachandran is a musician whom I hearing after a 3 year gap , must be my fourth concert or so. The last one I heard was one where he sang very well for the first few numbers till submain , but some what quite after that he was falling quite short of breath and shruthi and did give a mediocre concert experience. This one with vocal support of eashwaran , shri Trichur rAmachandran was able to impress far better with a high classical CM focus .

Was late and joined in poorvikalyAni alApanai towards the end. The poorvikalyANi number was very fast as that was the trend that was set for years with a well rounded neraval. bahudAri is one great rAga where few composers like the unknown achutadAsar and much more known GNB have taken to dizzying heights .This number unnaDiyE gati enraDaindEn tAyE is musically a superb composition by Shri GNB, but to me the vocalist brought in a lot of shades of navarasa kannada in bahudAri.

GNB's classicism is generally felt through out and to reinforce that he sang a very good reetigowlai , more than the krithi I liked the alApanai a lot . Arabi a deadly rAga when paced bit slowly will fall into devagAndhari and when retaining its preferred speed will confuse this rasika more with sudda sAveri. I took quite a time to make up between sudda sAveri and Arabi and once I made up my mind I felt the singer sang Arabi only .The rendition was just ok to good.

The main was GNB's famous bhairavi krithi and certainly the vocalist brought in quite a lot of GNB touch and it was very good . He lost a bit of shruthi in neraval but gave a well rounded swaras , he had just a poor mike etiquette during swaras of bhairavi where he turned his neck 45 degrees towards mridangist and we all lost few swaras there(unfortunately when the vocalist turns away from mike , the mridangist cannot take his mike 45 degrees away to compensate, I wish I had some remote control to move the mike ).

rajeshnat · Post by **rajeshnat** » 09 Jan 2009, 16:55

fake 8. real speech break by Shri narasimhan
real 8. sevikka vENdum ayyA - AnDolikA- MT
9A. slOkham "vaNde MAtaram ambikAm bhagavathim" - sAveri + hameerkalyAni + ranjani + revati - ??
9B. mahadeva shiva sambhO - revati - Tanjore Sankara Iyer
10. pavamAna - sowrAshtram - T

Shri narasimhan who comes from mayAvaram tanjore belt had quite a few anecdotes about Shri GNB. They were quite interesting , I felt he may eat into concert . But this is where Shri Trichur rAmachandran impressed me a lot , instead of ending with enna thavam or kurai onrum he picked up tempo with AndOlika masterpiece and explored in detail the gnb-chembai trademark RagamAliga slOkham . The icing in the cake was he ending in revati. All these years I have waited to hear this tanjore shankara Iyer no 1 master piece in revati and he wrapped up beautifully in mahAdeva shiva sambhO in revati. This is what I love with live concerts ,there is always something waiting to satisfy your long desire even if you listen to lots of concerts every year after year.

The mridangist ramesh ,being a sishyA of Guru karaikudi mani was very good during krithi renditions. Perhaps he was at a disadvantage during tani as Shri Trichur rAmachandram moved 45 degrees , I thought he already started tani during bhairavi swaras. But the real top notch artist was KumbakOnam M R gOpinAth there is just so much to write about this top class violin accompanist, he is so consistent for the last few years and was today excellent to outstanding .Shri narasimhan also compared gOpinAth with rAjamANickam pillai, the kumbakOnam being at least the sure undebatable common denominator.

overall good to very good concert

rbharath · Post by **rbharath** » 09 Jan 2009, 18:11

though the acoustics are bad.. i love this place, for
a. it is very close to my hostel
b. it is possible to have a good dinner at affordable prices before heading back
c. the artists called are usually good and they give good performances here
d. the speeches by Sri Narasimhan are an entertainment in themselves

rbharath · Post by **rbharath** » 09 Jan 2009, 18:12

looks like it was a great concert.. with bhairavi

for the main course
and i missed it...

Lakshman · Post by **Lakshman** » 09 Jan 2009, 18:42

#3 should be jnAnamosagarAdA.

sramaswamy · Post by **sramaswamy** » 10 Jan 2009, 01:58

rajeshnat wrote:
........ cut ......

Arabi a deadly rAga when paced bit slowly will fall into devagAndhari and when retaining its preferred speed will confuse this rasika more with sudda sAveri. I took quite a time to make up between sudda sAveri and Arabi and once I made up my mind I felt the singer sang Arabi only .The rendition was just ok to good.

...... cut .........

Recently I had the same experience. Someone sang gaurISAya namastE in Arabhi and I constantly got the feeling that it was Suddha Saveri. But this does not happen with Sadhinchane or Sri Saraswathi Namostuthe. Is there something different in these songs that make it sound like Suddha Saveri?

rajeshnat · Post by **rajeshnat** » 10 Jan 2009, 08:03

sramaswamy wrote:
Recently I had the same experience. Someone sang gaurISAya namastE in Arabhi and I constantly got the feeling that it was Suddha Saveri. But this does not happen with Sadhinchane or Sri Saraswathi Namostuthe. Is there something different in these songs that make it sound like Suddha Saveri?

No other reason excepting that the krithi is not familiar , at times all of us attack rAga identification only with our known lakshya aspect, till we pick up lakshanam aspect I think these shades of gray is inevitable . On the side note once my periappa(GNB-MLV paithiyam) identified a famous vidwan known for arAbi , he sang a famous Arabi no , then somewhere in anupallavi he told me that he is going to sudda sAveri. Well that is what intense rasikAtvam , identifying a rAga straying into another land despite a clear start with where it belonged.

vijay · Post by **vijay** » 10 Jan 2009, 12:50

MGR is the key phrase to distinguish - the nishadam, I think, is still milder than the Gandharam. Since the distinguishing notes (G and N) are also very weak, this can easily lead to confusion....

Chn.Bala · Post by **Chn.Bala** » 13 Jan 2009, 15:42

Just to complete the list furnished by Shri Rajesh, there were three items that featured ahead of Gnana Mosaga Raada in Purvikalyani. These were:
1. Saveri Varnam (unfortunately not clearly identifiable by me but I did catch the phrase Nannu Brova)
2. Shri Mahaganapathi Ravatu mam in Gowlai
3. Paravatipatim Pranaumi satatam in Hamsadhwani.