AKC natarAjan@hamsadhwani on Feb 07th,2009

rajeshnat · Post by **rajeshnat** » 09 Feb 2009, 09:27

AKC natarAjan@hamsadhwani on Feb 07th,2009
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Accompanied by SD Sridhar- violin, mridangam - R.Ramesh and got him - ghatam suresh

NadAswaram has a good , bad and ugly side . The good is its simply beautiful nAdham , it just gives so much purity of notes especially considering that many vocalist have taken almost many of their rAga bhAva manodharmam from all the nAdaswara vidwan .Incidentally nAdaswaram though a semi closed instrument needs in general a more open auditorium preferably a temple like tirunAgeswaram or thiruvenkAdu

There is a bad side of nAdaswaram which in my opinion is more of our generation creation. We never go to temples to hear nAdaswaram .Incidentally we still show little patronage to nAdaswaram by bringing into echoing and deafening marriage halls(giving mike to both nAdaswaram and thavil) and form an opinion in general that nAdaswaram and thavil is a more ear piercing instrument and gradually the aversion is more and more deep in most of us.

The ugly side of nAdaswaram is more we showing absolutely no patronage to this great instrument, we miss hearing the purity of notes, a little longer and sustained gamakams of nAdaswaram .

To that extent AKC nAtarAjan is a genius for the last 50 plus years , though crossed his noon of his career is still able to pull a very good concert . Incidentally AKC adopted a little less piercing nAdaswaram more conveniantly known to all as clarionet and that innovation is certainly welcome . I personally like nAdaswaram especially kAraikurichi, though I have never been to any of the clarionet concerts. BTW is there any one who plays clarionet other than shri AKC.

AKC's start was very good , it took some time to figure out which krithi was it , but certainly no doubts that it was gowlai.A nice and gripping swarams in a tad faster pace was perfect.

The janyAs of melakartha 28 and 29 are all there in excellent shape simply because of nAdaswara bAni jana ranjani (janya of 29)was beautifully played, Though I took a long time to catch the rAga and the krithi

The submain was something I thought it was simm madhyamam even till the end , I went and asked Shri AKC at the end , he said it was kaikavAshi. Certainly he played it very good, I am assuming he must have sung Vachama gochara.

1.pranamAmyaham?(RS S) - gowlai - MV
2. Smarane Sukhamu - janaranjani - T
2. kAna vendAmO(R) - shreeranjani - PSivan
3. ?? (R,S) - kaikavAshi -?

rajeshnat · Post by **rajeshnat** » 09 Feb 2009, 09:29

The contrast of two varying speed krithis was brilliant, devagAndhAri and vijayashri was superb I particularly liked the alApana of slow moving devagAndhAri not a shade of any Arabi , the vijayashri he was blowing little less but perhaps by his experiened fingering technique was very well presented gave all the lovely gamakAs.

What can I say about the majestic kAmbOdhi in the hands of the nadaswara/clarionet vidwans

. I have heard thru grapevine that ghana rAgas when you sing the alApana itself has so much scope that you can tailor it to that particular krithi. He was in the tAra sthayi perhaps this kAmbOdhi alApana was towering as much as North block of WTC. He followed with my favourite mA jAnaki , exquisite expressions loopin back to mA.,,, jAnaki almost equal to South block of WTC. Perhaps I am assuming he wanted to bring an expansive neraval and swaras of kAmbOdhi he lost bit of breadth there and he decided to slowly end the kAmbOdhi , certainly more in line with WTC collapse.

The main was madhyamAvati , AlApana was brilliant especially more than the krithi he took very short burst of swaras of madhyamavati it was a beautiful presentation ,simply superb shruthi sense in madhyamavati was a delight to hear.

4. ksheerasAgara sayanA (R)- devagAndhAri -T
5. vara nArada - vijayashri - T
7. mA jAnaki (R)- kAmbOdhi - T
7 minutes alApanai with 6 minutes violin return

8A.saravana bhava guhane (R S)- madhyamAvati - psivan
8B. tani for 19 minutes

There was no kurai onrum illai till then

, only till that number came. Somehow I am not for this krithi. Liked MS amma's kAtrinile varum geetham , especially in the lines neela nirathiL bAlakan Oruvan he bought in a very good nAdham in the instrument . Revati was a bit dampener , just perhaps his age gave way to that. The last thirruppugazh was too fast , i think he did not play it fully.

The accompanist were all good , especially Ramesh being a KM disciple his fast strokes in krithis for the first few numbers and in kAmbOdhi was very good.Their tani was bit too long and well presented I guess it was long by design as Shri AKC needs more lung space.

9. kurai onrum illai - rAgamAliga - Rajaji
10. kAtrinilE varum geetham - savithri - kalki
11. bho sambho - revati - swami dayAnanda saraswati
12. thirruppugazh - hamsAnandi - AGN
13. madhyamAvati alApanai

Overall a very good concert.Certainly his vidwat being so lofty, his play was more like hearing a grand vocal concert in clarionet(his style is more centered on sahityam,then notes of rAgA)

rajeshnat · Post by **rajeshnat** » 11 Feb 2009, 09:17

it is clarinet instead of clarionet , infact I knew that only after one rasika sent me a personal email.

O clarionet you are without a O ...

PUNARVASU · Post by **PUNARVASU** » 11 Feb 2009, 11:57

So it is finally clari(fied over the) net!

ratnam · Post by **ratnam** » 11 Feb 2009, 21:01

Was it Kshirasagara in Devagandari or Karuna sagara or sitavara?

rajeshnat · Post by **rajeshnat** » 12 Feb 2009, 09:49

ratnam wrote:Was it Kshirasagara in Devagandari or Karuna sagara or sitavara?

To the best of my knowledge , it was only T's ksheerasAgara in devagAndhAri

arasi · Post by **arasi** » 12 Feb 2009, 11:24

Rajesh,
The spelling 'clarionet' once did exist. It is not in use any more. There is another clarionet--which is a torture instrument

producing the opposite of the pleasure AKC's instrument brings!