SAVITHA NARASIMHAN @ HAMSADHWANI oN 12/03/09

ganeshkant · Post by **ganeshkant** » 13 Mar 2009, 14:03

Accompaniments:

Usha Rajagopalan - Violin

Kallidai Shivakumar - Mri.

Song list:

1.Varnam - Simhavahini - Adhi - Ravikiran

2.Aragimpave - Todi - T

3.Ninnenera - Pantuvarali - T - ( N @ veda sastra purana,S)

4.Venkata Shaila Vihara - Hameer Kalyani - Subbaraya Sastry - ( R )

5.Shiva Shiva Bhava Bhava - Reedhi Gowlai - Narayana Theerthar -( S )

6.Vazhi Maraikkudhe - Nattakurinji - GKB - (R,N @ Uttruparkave)

7.Aduka - Manoranjani - T

8.Simhendra Madhyamam - RTP - Adi
(Thanam in Nattai,Gowlai,Arabhi,Varali & Shree -
Pallavi line -Manavaala vaa,Dhayala Vaa,Vadivelavaa,Dheivayanaimanavalavaa...
During pallavi ragamalika swaram in 2 vivadi ragas - kanakangi & Rasikapriya ( Melams 1 & 72 - Wah..)

9.Saramaina - Behag - ST

10.Virutham - Petra Thaithanai - Nadhanamakriya followed by Aaraar Asaipadaar - MT

11.Tungatheera - Yaman - Kamalesha Vitthala Dasar.

12.Mangalam

Savita initially pledged the concert to late K.S.Mahadevan and true to her words the concert was a real offering ( samarpanam ).The music was flowing filling the minds of the listeners soaked in bhakthi bhava sans ostentation,extra frills ,etc.The music was not dominated by the musician rather she presented herself as an instrument to the music flowing from her.

The concert is noteworthy for the alaapanas of HK & NK.Both the scores were replete with sancharas that carried the jeevan of the ragas throughout.The neraval for NK krithi was so soulful that I doubt whether any of the listener's was not moved by it.

The SM RTP was done effortlessly and that speaks volumes about the saadhana and the adherence to sampradhaya of the artist.

The artist's stlye of singing,her personality all reminded me of late legend Smt.Mani Krishnaswamy.

A pure & chaste CM concert.

Both the accompanists played well to preserve the concert in the same mood as the main artist.

srikant1987 · Post by **srikant1987** » 13 Mar 2009, 14:53

Interesting to find reeti gowlai and nattai kurinji back to back.

malavi · Post by **malavi** » 13 Mar 2009, 22:09

I was also confused when she started nattakkurinji immediately after ritigowlai but she did it very easily and what niraval at utrupparkave. The tanam in gana panchakam was so beautifully sung and esp.when she sang itin the reverse order she did it so gracefully without any break.she is such a talented singer with a very sweet voice .her viruttam and the song aarar aasaippadar reminded me of M.S. AMMA.

rajeshnat · Post by **rajeshnat** » 13 Mar 2009, 23:22

ganeshkant wrote: 1.Varnam - Simhavahini - Adhi - Ravikiran

Can some one post the starting lines of varnam please

kmrasika · Post by **kmrasika** » 14 Mar 2009, 08:15

rajeshnat wrote:
ganeshkant wrote: 1.Varnam - Simhavahini - Adhi - Ravikiran

Can some one post the starting lines of varnam please

It starts with "sArasAksha ninnu nE kOri."

Arakimpave - Todi - T

An acquaintance told me the word is "AragimpavE" (derived from Aragimpumu) meaning to partake(???) Can someone clarify?

ganeshkant · Post by **ganeshkant** » 14 Mar 2009, 12:32

kmrasika,

It must be aragimpave.Edited by me in the main post.Sorry...I don't know Telugu.

sureshvv · Post by **sureshvv** » 16 Mar 2009, 01:46

It was an awesome concert. Every raga alapana was done in a leisurely manner with a lot of sowkyam. The RTP was brisk and vigorous.

vasanthakokilam · Post by **vasanthakokilam** » 16 Mar 2009, 08:33

srikant1987 wrote:Interesting to find reeti gowlai and nattai kurinji back to back.

What are you getting at? I do not normaly consider them to be related in aesthetics so I am curious.

vijay · Post by **vijay** » 16 Mar 2009, 11:37

I was wondering as well - they are janyas of different Melas (although related) - even phrase-wise there aren't too many similarities. Maybe there is something we are missing...

uday_shankar · Post by **uday_shankar** » 16 Mar 2009, 11:51

reeti gowlai (RG) and nattai kurunji (NK) are somewhat related if you get over your tonic (shruti reference) fixation

. Here are some parallel phrases:

RG --- N D M,, G R G~ G~,, G~ M P, M,, G R
NK --- M G S,, N D N~ N~,, N~ S R~, S,, N D

Try this experiment...

1) Play a reeti gowlai alapana on your computer. Note the swarasthana of M in reetigowlai.
2) Now play a shruti box really loud, set to the M swarasthana earlier noted.

You may hear shades of nattai kurunji. No guarantee that this experiment will work

.

vijay · Post by **vijay** » 16 Mar 2009, 14:12

Wow - brilliant as usual! Some sort of a sruthi bedham is possible then?! Have to say though that I at least did not ever think them related...

uday_shankar · Post by **uday_shankar** » 17 Mar 2009, 07:12

Oops...vijay the above wasn't meant too seriously ! Yes, there is scope for some fleeting shruti bhedam as shown above. But that's not a "connection".

I too am curious what srikanth and malavi meant. I am aware of no earthly connection between reetigowla and naattakkurunji.

sureshvv · Post by **sureshvv** » 18 Mar 2009, 13:32

Uday_Shankar wrote:reeti gowlai (RG) and nattai kurunji (NK) are somewhat related if you get over your tonic (shruti reference) fixation

crass comparison deleted. Our forumites/mods are unable to handle PG-13 topics even if it involved matrimony.

arasi · Post by **arasi** » 19 Mar 2009, 10:03

eDuppE s/ari illaiyE, Suresh--I mean, in what you have stated above? I know you don't mean it

sureshvv · Post by **sureshvv** » 19 Mar 2009, 12:21

crass comparison deleted. Our forumites/mods can't handle toilet humor either. Looks like the only thing allowed around here is bitching about successful artistes

uday_shankar · Post by **uday_shankar** » 19 Mar 2009, 12:34

No Suresh, it is also a fixation. Now you're beginning to talk utter nonsense. I know you to be a more intelligent person than these ridiculous posts suggest.

One can achieve shruti shuddham in music where the AdhAra or tonic changes, i.e., shruti shuddham doesn't mean an unwavering awareness of AdAra shadja (think of a melodious folk tune from Rajasthan that they simply blurt out). As for the example above, it is a genuine one...it is actually possible to do a little shruti bhedam in RG or NK and show shades of the other. I will record a demo sometime. These are actually simple, straightforward things in other systems of music but seem like a big deal in Carnatic music.

prashant · Post by **prashant** » 19 Mar 2009, 12:56

I tried the above sruti bhedam, and as Uday says, it works just fine.

vijisubra · Post by **vijisubra** » 19 Mar 2009, 15:03

I think a very simple way of looking at it-- just sing the N D M and pause... you can continue as Ritigowlai or nattaikurinji! There have been concerts when I thought this raga was coming and the other did... Some ragas can do that to you... DP S in Poorvikalyani and Begada are alike... so on and so forth. Of course, I'm sure the next phrase would dispel any doubt. After all we do not look at phrases in isolation. Which is why ragas like Dharmavati can be confusing to some less experienced listeners

Unless rendered as wholesome phrases, they give shades of other ragas.

uday_shankar · Post by **uday_shankar** » 19 Mar 2009, 16:22

vijisubra wrote:I think a very simple way of looking at it-- just sing the N D M and pause... you can continue as Ritigowlai or nattaikurinji!

vijisubra,

This is true but this is not what I was trying to show above - so if somebody is confused this would only confuse them even more

.

I was trying to show an actual shruti-bhedam where NDM in riti gowlai would be equivalent to MGS in nattakurunji if you held the M of the original ritigowla as Sa.

sureshvv · Post by **sureshvv** » 20 Mar 2009, 00:57

Uday_Shankar wrote:No Suresh, it is also a fixation.

Calling it a "fixation" seems to be passing some kind of value judgement.

These are actually simple, straightforward things in other systems of music but seem like a big deal in Carnatic music.

You are right. It is a big deal in Carnatic music. Kind of like sanctity of motherhood or the kitchen. You are being so not-nice by being dismissive of it.

One can achieve shruti shuddham in music where the AdhAra or tonic changes, i.e., shruti shuddham doesn't mean an unwavering awareness of AdAra shadja

Don't dispute that. However in Carnatic music, we try to keep the AdhaAra nailed to the ground firmly all through = kind of like an inertial reference frame - of course some games illustrating that are entertained. Your position seems to be sympathetic if not outrightly advocate a Carnatic music session where each song can be sung with its own tonic. Sorry to be dragging mom and the commode to bolster my argument.

What bugs me even more is that when neither Nattakurinji nor Reethigowlai are scale based ragas - I may be going over my speed limit here but I think they are gamaka laden rakthi ragas with quite a few vakra prayogas - lumping them together is like tying the knot between mottai thalai and muzhangal, notwithstanding prashant's experiment.

I would have dragged amavasai and abdul khader here, but our mods may haul me up again for being so un-PC.

I know you to be a more intelligent person than these ridiculous posts suggest.

May be I just had you fooled

sureshvv · Post by **sureshvv** » 20 Mar 2009, 01:13

vijisubra wrote: There have been concerts when I thought this raga was coming and the other did...

Yep... Like Billy Crystal would say, I hate it when that happens...

sureshvv · Post by **sureshvv** » 20 Mar 2009, 01:17

Uday_Shankar wrote: I was trying to show an actual shruti-bhedam where NDM in riti gowlai would be equivalent to MGS in nattakurunji if you held the M of the original ritigowla as Sa.

Absolutely! What kind of piano was it?

vasanthakokilam · Post by **vasanthakokilam** » 20 Mar 2009, 02:20

Suresh: Thanks for editing your posts. It is much appreciated. Though your knock on the mods is unwarranted, let us move on with the topic of this thread. Getting moderated like this is not a big deal, it is not personal and no offense need to be taken since none is meant. So let us not harp on that by taking digs at the mods at every opportunity. Thank you for your understanding. ( any further conversation on the moderating activity can be had with the admin by email )

prashant · Post by **prashant** » 20 Mar 2009, 09:02

sureshvv wrote:
What bugs me even more is that when neither Nattakurinji nor Reethigowlai are scale based ragas - I may be going over my speed limit here but I think they are gamaka laden rakthi ragas with quite a few vakra prayogas - lumping them together is like tying the knot between mottai thalai and muzhangal, notwithstanding prashant's experiment.

What does it matter if they are 'scale-based' or 'rakti ragas'? It makes little difference to the bare technicalities of shruti bhedam. For example, there is an easy shruti bhedam to produce nIlAmbari from nATakurinji. Sri LGJ used to play this in quite a few of his nATakurinji RTPs. There is yet another one between bilahari and yamunAkalyANi. All these are rakti rAgAs with vakra prayOgas.

vijay · Post by **vijay** » 20 Mar 2009, 22:50

Suresh, I don't think Uday is lumping the ragas together - only suggesting that there are phrases with similar intervals which can cause the ragas to be occasionally suggestive of each other. He has himself said that there is no other connection between the two ragas. Since you have edited your posts, I can't figure out what your original point was...but I thought Uday's was a nifty piece of swara combinatorics. I am sure we will strat seeing some NK/RG shruthi bedhams on the concert stage now!

Regd moderation, we have quite a few seniors/conservative folk on this forum so the mods are right to be a little cautious when it comes to usage/humour....be assured that many of us are not as stiff in real life!

uday_shankar · Post by **uday_shankar** » 21 Mar 2009, 00:00

suresh, check this out...

http://rasikas.org/forums/post112246.html#p112246

sureshvv · Post by **sureshvv** » 21 Mar 2009, 01:34

prashant wrote:
What does it matter if they are 'scale-based' or 'rakti ragas'?

From what I understand, scale based ragas are all about the swaras that occur in them. For rakti ragas the matter lies even more in how these swaras are connected - you got to hear between the swaras, the glides and the gamakas. So just playing the swaras will not bring out the essence of a rakti raga.

sureshvv · Post by **sureshvv** » 21 Mar 2009, 01:43

vijay wrote:be assured that many of us are not as stiff in real life!

Thanks for clearing things up. Silly me... I thought this was real life

vijay · Post by **vijay** » 21 Mar 2009, 21:00

Sorry Suresh - that should have been "in person"...