T.M.Krishna - Bangalore - 04July09
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Vid T.M.Krishna - vocal
Vid R.K.Sriram kumar - violin
Vid Arun Prakash - Mrudangam
Vid Giridhar Uduppa - ghatam
1. vanajakshi (varnam) - kalyani - kanda ata - pallavi gopala iyer
2. thyagaraja palaya - gowlai - adi - muthuswami dikshitar (S @ bhogadiprada sri nagarasthitha & sri guruguha)
3. narasimha mamava - arabhi - kanda chapu - swathi thirunaal
4. amba neelayatakshi - neelambari - muthuswami dikshitar (alapana)
5. sarasa samadhana - kapi narayani - thyagaraja (brief alapana, N & S at hitavu matalendo)
6. Kasiki poyyene (padam, starting with Ososi Namadi)- mukhari - misra chapu - muddu natesa (alapana, N&S at muddugu manam iddaru and tani avarthanam)
7. sadananda tandavam - bahudari
8. RTP - Todi - chatushra triputa kanda nadai - pallavi - tiruparangiri tiruchendur pazhani malai muruga turuveragam tirutanigai pazhamudircholai - ragamalika swaras - mohanam, surati, pantuvarali, sahana, tarangini, chalanatai, sahana (with sadharana gandharam), lalith
9. nanda gopala - yamuna kalyani - muthuswami dikshitar
10. dasarendare purandara darasa - yadukula kambhoji -
11. sagara sayana vibho - bhagesri - MDR
12. mangalam kosalendraya - bhagesri & madhyamavati
13. pavamana - sowrastram
concert started on bright note with kalyani ata tala varnam. Thyagaraja palaya sumam & amba neelayatakshi was sung in vilamba kalam and was too slow. in gowlai keerthana, swaras were sung in two places and mel kala swaras in madhyama kala passage - sri guruguha. mukhari alapana was good. It was interesting that krishna took a padam to sing as main. pallavi was executed well. All accompanying artists supported well. Too many keerthanas in vilamba kalam doesn't make concert great, this concert also falls in that bucket.
-hari
Vid R.K.Sriram kumar - violin
Vid Arun Prakash - Mrudangam
Vid Giridhar Uduppa - ghatam
1. vanajakshi (varnam) - kalyani - kanda ata - pallavi gopala iyer
2. thyagaraja palaya - gowlai - adi - muthuswami dikshitar (S @ bhogadiprada sri nagarasthitha & sri guruguha)
3. narasimha mamava - arabhi - kanda chapu - swathi thirunaal
4. amba neelayatakshi - neelambari - muthuswami dikshitar (alapana)
5. sarasa samadhana - kapi narayani - thyagaraja (brief alapana, N & S at hitavu matalendo)
6. Kasiki poyyene (padam, starting with Ososi Namadi)- mukhari - misra chapu - muddu natesa (alapana, N&S at muddugu manam iddaru and tani avarthanam)
7. sadananda tandavam - bahudari
8. RTP - Todi - chatushra triputa kanda nadai - pallavi - tiruparangiri tiruchendur pazhani malai muruga turuveragam tirutanigai pazhamudircholai - ragamalika swaras - mohanam, surati, pantuvarali, sahana, tarangini, chalanatai, sahana (with sadharana gandharam), lalith
9. nanda gopala - yamuna kalyani - muthuswami dikshitar
10. dasarendare purandara darasa - yadukula kambhoji -
11. sagara sayana vibho - bhagesri - MDR
12. mangalam kosalendraya - bhagesri & madhyamavati
13. pavamana - sowrastram
concert started on bright note with kalyani ata tala varnam. Thyagaraja palaya sumam & amba neelayatakshi was sung in vilamba kalam and was too slow. in gowlai keerthana, swaras were sung in two places and mel kala swaras in madhyama kala passage - sri guruguha. mukhari alapana was good. It was interesting that krishna took a padam to sing as main. pallavi was executed well. All accompanying artists supported well. Too many keerthanas in vilamba kalam doesn't make concert great, this concert also falls in that bucket.
-hari
Last edited by s_hari on 05 Jul 2009, 12:27, edited 1 time in total.
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Seems to have been a good concert. I , for one, dont mind vilamba kala krithis as main items. I enjoy them immensely. I think certain ragas are exploited best in vilamba kalam, but that may be just me
!!
In a recent concert in Seshadripuram, I heard a wonderful Mamava Pattabirama as the main. But I thought he mixed up fast and slow numbers well in that concert. I think slow numbers bring out bhava and raga definition beautifully whereas fast numbers aid in fast swara prasthara and provide a general adrenaline rush without allowing the enthusiasm to fade . However I understand the need for madhayama kala renditions cause such krithis seem to combine the best of both worlds .. or do they? Would be a nice discussion isn't it?
Nice concert list, nevertheless.. Lucky Bangloreites .. wish I were there
regards

In a recent concert in Seshadripuram, I heard a wonderful Mamava Pattabirama as the main. But I thought he mixed up fast and slow numbers well in that concert. I think slow numbers bring out bhava and raga definition beautifully whereas fast numbers aid in fast swara prasthara and provide a general adrenaline rush without allowing the enthusiasm to fade . However I understand the need for madhayama kala renditions cause such krithis seem to combine the best of both worlds .. or do they? Would be a nice discussion isn't it?
Nice concert list, nevertheless.. Lucky Bangloreites .. wish I were there

regards