Dr.Nithyashree Mahadevan on 14th March'09, Nehru Centre -
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Dr.Nithyashree Mahadevan - Vocal
V.Sanjeev - Violin
KalyanaRaman - Mrindangam
Venkatramanan - Kanjira
Shree VignaRajam Bhaje- Gambeera naatai.
Shashivadana - chandrajyoti - Thyagaraja
Va Saravana Bhava - Bilahari
Nilotpalaamba - Nari Ritigowlai- muthuswami dikshitar
Rama Rama Gunaseema - Simhendra madyaman - Swati tirunal
neraval at munimanasa
Udayadi Naazhigai - Viruttam
Followed by Sri padam Sevikka - Varnarupini
Krishna Yene Bharade - Purandaradasa- basant
It was a crisp concert for 1 and half hours .
The crowd had a generous mix of North Indians who were surprisingly appreciative of the concert.
It was organised by Dakshinayan which organises this 2 days concert of Music and dance to promote carnatic music.
Dr.Nityashree was on dot right from go with clear diction and melody.
I really enjoy her concerts as she never refers to an notes or laptop,staight from heart rendition.
I am not an expert on ragas so I could only recognise the ones which I knew.May be experts can enlighten me as usual.
It was a thoroughly divine concert.
The alaap for Bilahari and Simmendramadyamam was too good .
The Sripaadam sevikka and Purandaradasa number were absolutely divine rendition.
V.Sanjeev - Violin
KalyanaRaman - Mrindangam
Venkatramanan - Kanjira
Shree VignaRajam Bhaje- Gambeera naatai.
Shashivadana - chandrajyoti - Thyagaraja
Va Saravana Bhava - Bilahari
Nilotpalaamba - Nari Ritigowlai- muthuswami dikshitar
Rama Rama Gunaseema - Simhendra madyaman - Swati tirunal
neraval at munimanasa
Udayadi Naazhigai - Viruttam
Followed by Sri padam Sevikka - Varnarupini
Krishna Yene Bharade - Purandaradasa- basant
It was a crisp concert for 1 and half hours .
The crowd had a generous mix of North Indians who were surprisingly appreciative of the concert.
It was organised by Dakshinayan which organises this 2 days concert of Music and dance to promote carnatic music.
Dr.Nityashree was on dot right from go with clear diction and melody.
I really enjoy her concerts as she never refers to an notes or laptop,staight from heart rendition.
I am not an expert on ragas so I could only recognise the ones which I knew.May be experts can enlighten me as usual.
It was a thoroughly divine concert.
The alaap for Bilahari and Simmendramadyamam was too good .
The Sripaadam sevikka and Purandaradasa number were absolutely divine rendition.
Last edited by anandabhairavi on 18 Mar 2009, 12:48, edited 1 time in total.
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- Posts: 122
- Joined: 29 Nov 2006, 15:00
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- Posts: 122
- Joined: 29 Nov 2006, 15:00
I stand corrected on my post.
Shri Vignarajam _ gambheera nattai
Va Saravana bhava _ Bilahari
Nilotpalamba _ Nari riti gowlai-Muthuswamy Dikshitar
Narajenma- Basanth - Purandaradasa.
Thanks Rajeshnat sir for the guidance .
Sorry Prashantsir, you had to comment that way because of me not being familiar with Bilahari or Shanmukapriya intricacy.I am just a learner.
I apologise.
Shri Vignarajam _ gambheera nattai
Va Saravana bhava _ Bilahari
Nilotpalamba _ Nari riti gowlai-Muthuswamy Dikshitar
Narajenma- Basanth - Purandaradasa.
Thanks Rajeshnat sir for the guidance .
Sorry Prashantsir, you had to comment that way because of me not being familiar with Bilahari or Shanmukapriya intricacy.I am just a learner.
I apologise.
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Attended this concert.. It was a great experience.. The bilahari was rather special... but I thought the center piece of the concert was amba neelotpalamba in nari reethigowla... I found it it to be a mix of modern day reethigowla and natabhairavi.. Further research on the internet revealed that the great mutthuswami deekshidar followed the asampoorna mela scheme which has nari reethigowla as a natabhairavi janya or as a asampoorna mela itself.. Experts could please clarify.. Overall this was a very difficult krithi to sing and nityashree did complete justice to it.
I feel nityashree had a booming clear voice that day and the auditorium acoustics were exemplary, which elevated the overall enjoyment of the concert.
TC,
Rajeev Siddhan
I feel nityashree had a booming clear voice that day and the auditorium acoustics were exemplary, which elevated the overall enjoyment of the concert.
TC,
Rajeev Siddhan
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Please check out these threads:
http://rasikas.org/forums/viewtopic.php? ... gowla.html
http://rasikas.org/forums/viewtopic.php? ... gowla.html
Strictly, per the system dIkshitar followed, there was only nArirItigowLa with D1 - no raga with name rItigowLa, or the raga with D2. Some artists sing nIlOtpalAmbAm as well as nIlOtpalanAyikE with rItigowLa (D2). The first one does not appear in SSP but the second one does (of course as nArirItigowLa). So it is generally believed that the rItigowLa versions are corrupted ones.
However, atleast one scholar (Dr. V.V. Srivatsa) thinks that dIkshitar could have composed nIlOtpaAmbAm bhajarE in the other rItigowLa (which obviously was in existence as tyAgarAja composed many songs in it), and this could be another case where he acknowledged the other system (e.g he composed in AbhOgi. Also, I am not 100% sure but I think dEvagAndhAri does not appear in muddu-venkatamakhin's system but MD has composed in it). Of course I believe that Dr. V.. Srivatsa also thinks that it is unlikely dIkshitar composed 2 krithis in a "set" (nIlOtpAlamba), particularly when the set is highly techinical (all ragas with gowLa prefix, all ragas with nI as graha/jiva swara) etc. There was an article on sangeetham.com on this - I dont have it and thus this is all from memory.
But in spite of all this, this opinion that dIkshitar also composed in rItigowla, I think is considered a minority one. It is generally believed that the rItigowLa versions are later corruptions and that dIkshitar composed only in nArirItogowLa
Arun
http://rasikas.org/forums/viewtopic.php? ... gowla.html
http://rasikas.org/forums/viewtopic.php? ... gowla.html
Strictly, per the system dIkshitar followed, there was only nArirItigowLa with D1 - no raga with name rItigowLa, or the raga with D2. Some artists sing nIlOtpalAmbAm as well as nIlOtpalanAyikE with rItigowLa (D2). The first one does not appear in SSP but the second one does (of course as nArirItigowLa). So it is generally believed that the rItigowLa versions are corrupted ones.
However, atleast one scholar (Dr. V.V. Srivatsa) thinks that dIkshitar could have composed nIlOtpaAmbAm bhajarE in the other rItigowLa (which obviously was in existence as tyAgarAja composed many songs in it), and this could be another case where he acknowledged the other system (e.g he composed in AbhOgi. Also, I am not 100% sure but I think dEvagAndhAri does not appear in muddu-venkatamakhin's system but MD has composed in it). Of course I believe that Dr. V.. Srivatsa also thinks that it is unlikely dIkshitar composed 2 krithis in a "set" (nIlOtpAlamba), particularly when the set is highly techinical (all ragas with gowLa prefix, all ragas with nI as graha/jiva swara) etc. There was an article on sangeetham.com on this - I dont have it and thus this is all from memory.
But in spite of all this, this opinion that dIkshitar also composed in rItigowla, I think is considered a minority one. It is generally believed that the rItigowLa versions are later corruptions and that dIkshitar composed only in nArirItogowLa
Arun
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Sowmya has a commercial recording of the nilotpalamba kritis. Does anyone know if she sings the D1 or D2 version of (nari)reethigowlai? From my memory I would say D2 but I could be wrong.
Last edited by sureshvv on 20 Mar 2009, 01:30, edited 1 time in total.
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