R Vedavalli - V Sumitra - R Hemalatha - Neyveli Narayanan

srikant1987 · Post by **srikant1987** » 05 Jul 2009, 11:17

Nadopasana, P S High School
July 4, 2009

I didn't originally plan to review this concert, and even after the thought occurred to me some time during the nATTaikurinji piece, I wasn't listing everything down, as music was simply flowing from Dr Vedavalli, leaving little time to waste listing songs.

1. Shanmukhapriya varNam
2. nI mati - Anandabhairavi - Adi-1 - R, NS @ ninnu bhajichi (?) yunnamu OmkAri! SrI tripura sundari! - Matrubhutayya
3. kuRai yEdu gOvindA? - nATTaikurinji - cApu - R - ?
4a. parama pAvana rAma - pUrvI kalyANi - NS @ kanakAmbaradhara ... - Poochi Srinivasa Iyengar
4b. tani
5. nIlOtpalAmbAya - kannaDa gauLai - MD
6. padam in S. Bharanam
7, 8. A jAvaLi and a dEvarnAma
9a. pavamAna sutuDu - saurAShTram
9b. Slokam in madhyamAvati

Anandabhairavi AlApanai was very nice, and the violinist's reply was superb too. Neraval was detailed and swarams were quick. The nATTaikurinji was also good, and the violinist gave a fitting reply again. Purvi kalyani neraval was good, and swarams were very, very elaborate, and koraippus were sung to tAra ga, ri, sa, and madhya dha, pa, ma, ga, ri and sa. Vocal support from Smt Sumitra was again very good, and the neraval and swarams she sang in Anandabhairavi and Purvi Kalyani were also impressive. The mridangist played with very good anticipation and very inspiringly, and the tani was of very appropriate length too, both to the elaborateness of the main piece, and the duration of the concert.

An intense and engaging concert.

This nI mati was a very different version from what I heard in Vidushi Suguna Varadachari's concert (with MAK and Mannarkoil Shri Balaji).

Sathej · Post by **Sathej** » 05 Jul 2009, 11:44

Was the Shanmukhapriya Varnam by Mudicondan Venkatarama Iyer in Tisra Dhruva Talam? Have heard Smt Vedavalli sing it quite often.

Sathej

prashant · Post by **prashant** » 05 Jul 2009, 11:48

Yes, this varNa is by Mudicondan Sri Venkatarama Iyer.

The nATakurinji piece [kuRai Edu enakku ini] is by Smt. Ambujam Krishna and is set to music by Smt. Vedavalli. A version of this is found on Smt. Vedavalli's Ambujam Krishna concert CD released by Rajalakshmi Audio.

srikant1987 · Post by **srikant1987** » 05 Jul 2009, 12:03

Oh yes, must have been. It was a 11-beat, but I wasn't able to figure out which kind of talam has 11 beats. I was thinking of sankirna rupakam, but the place where the mridangist finished didn't fit for it. Tishra dhruvam it must have been.

Nick H · Post by **Nick H** » 05 Jul 2009, 14:14

I am very sad that this concert clashed with another commitment. It is a small mercy that I didn't know about it before!

srikant1987 · Post by **srikant1987** » 05 Jul 2009, 15:31

@ nick H

I had a fleeting thought about how big a fan of Vidushi Vedavalli you are while writing this review.

Nick H · Post by **Nick H** » 05 Jul 2009, 21:50

Never mind... I was, at least, enjoying music elsewhere.

Next time!

sankirnam · Post by **sankirnam** » 06 Jul 2009, 05:46

Thanks for the review, Srikanth1987.

sivapriya · Post by **sivapriya** » 06 Jul 2009, 13:24

The Shanmukhapriya Varnam is by Sri.Mudicondan Venkatarama Iyer. It is set to Tisra jathi dhruva tala.

Padam in Sankharabharanam - Manamebhooshaname and Javali - Modi jese vela ra - Khamas.

Smt. Vedavalli, is not Dr.Vedavalli, ( in the formal definition of the Phd version or the medical version) !!

But then she definitely self qualifies to be one , given her sharp research mindedness, erudition, analytical approach, her diction, her dedication to her chosen profession both as a performer and a teacher.

In this world of emerituses, we have an emerald, whom we rasikas can definitely confer her with one !!!!

coolkarni · Post by **coolkarni** » 06 Jul 2009, 14:02

Sathej · Post by **Sathej** » 06 Jul 2009, 14:57

Yes, Cool ji. Thats most likely Dr MB Vedavalli.

Sathej

srikant1987 · Post by **srikant1987** » 06 Jul 2009, 16:05

Is Smt R Vedavalli not Dr Vedavalli?

Or is she not the only Dr Vedavalli?

srinivasrgvn · Post by **srinivasrgvn** » 06 Jul 2009, 16:32

Yes, there is another Dr.M.B.Vedavalli, who is a Retd. Prof and Head from Dept. of Indian Music, Univ. of Madras.
R.Vedavalli Mami also possesses a doctorate.

Jigyaasa · Post by **Jigyaasa** » 06 Jul 2009, 21:36

This was a very nice concert... One thing I observed was that during the a'bhairavi k'swaras, Smt Sumitra touched tara sthayi panchamam. I've heard that this is grammatically incorrect... A'bhairavi stretches from mandara stahyi ni to tara sthayi ma...

bilahari · Post by **bilahari** » 07 Jul 2009, 00:42

That's an interesting observation, Jigyaasa. For a long time I wondered why artistes would not venture much past even the tara gandharam in AB. I must go back and listen to GNB's RTP to see what he does.

srikant1987 · Post by **srikant1987** » 07 Jul 2009, 07:58

I noticed this too, but this range thing is disregarded too often to be worthy of mention. They say that pantuvarali should not go beyond tAra ga too.

mohan · Post by **mohan** » 07 Jul 2009, 08:49

sivapriya wrote:The Shanmukhapriya Varnam is by Sri.Mudicondan Venkatarama Iyer. It is set to Tisra jathi dhruva tala.

What are the lyrics of the pallavi for this varnam?

Jigyaasa · Post by **Jigyaasa** » 07 Jul 2009, 20:10

srikant1987 wrote:I noticed this too, but this range thing is disregarded too often to be worthy of mention. They say that pantuvarali should not go beyond tAra ga too.

That's a weird way of lookin at it... I mean I definitely don't accept. Jus because a lot of ppl do something wrong doesn't make it right...

sankirnam · Post by **sankirnam** » 07 Jul 2009, 20:15

I have heard TNS sir go up to hi dha in pantuvarali before...

vasanthakokilam · Post by **vasanthakokilam** » 10 Jul 2009, 07:43

Jigyaasa, Are your strongly worded statements about such details on raga lakshana based on some reliable sources, or it is based on what is typically done and not done. Just curious.

vasanthakokilam · Post by **vasanthakokilam** » 10 Jul 2009, 08:08

mohan wrote:
sivapriya wrote:The Shanmukhapriya Varnam is by Sri.Mudicondan Venkatarama Iyer. It is set to Tisra jathi dhruva tala.
What are the lyrics of the pallavi for this varnam?

I have that song by Smt. Vedavalli in her Legends album.

With all the akAram it is hard to figure out where the words end.....the start sounds close to 'sarasamu tho nannu rakshimpaNi....sari evvararu naru....

It is a distinctly different sounding varnam. But I can not quite figure out where the padagarba falls in the dhruva tala with its three laghus. The charanam refrain line helps a little bit in that there is an extra bit of stress on the beginning of the second laghu. Does the padagarbha normally fall there for a dhruva thala?

rshankar · Post by **rshankar** » 10 Jul 2009, 21:55

This is a tangent, but here is some interesting information about Smt. Sumitra's other half http://www.hindu.com/fr/2009/07/10/stor ... 470300.htm

Lakshman · Post by **Lakshman** » 10 Jul 2009, 22:35

sarasamutO nanu. rAgA: SaNmukhapriyA. t/dhruva tALA. Composer: Mudikondan Venkatarama Iyer.

P: sarasamutO nanu rakSimpa nIku sari evarunnAnurA
A: dharalO velasina shikhi vAhana makuTadharapura vAsunipai krpa jUDarA
C: SaNmukhapriya dAsunipai

If someone wants the notation I can probably did it up.

rshankar · Post by **rshankar** » 10 Jul 2009, 23:08

makuTadharapura - a lyrical phrase for Mudikondan

Jigyaasa · Post by **Jigyaasa** » 10 Jul 2009, 23:41

vasanthakokilam wrote:strongly worded statements

Hmmm, strongly? Now I'm curious... What makes the songbird of spring consider my stmts as strongly worded? I'm just expressing an opinion. One that is based on what my guru has told me when discussing a'bhairavi. Dunno abt p'varali though... The point remains that statistics has (at least here) nothing to do with grammatical correctness...

arunk · Post by **arunk** » 11 Jul 2009, 00:21

On the contrary. I think grammatical "correctness" as in establishing of grammar, in this case itself is based on use. Its not like there is some inherent law of nature in Anandabhairavi that limits its range. But if a limit was indeed placed (and I am not doubting that), it would have been so at some point based on existing usage i.e. based on some informal consensus, and hence based on statistics. But it still doesn't make it an inherent, immutable law - IMO this is a fundamental mistake that is made aplenty in the carnatic music arena. So if at a later point in time, by and large many musicians don't adhere to it later (again, I am not saying it is indeed so here), then the previous consensus is out-dated - the "grammar" is outdated. The problem here is not that things have changed, but the elevation/interpretation of a previous consensus to "grammar" and associating immutability to it. Change is constant in any form of music - although such "grammars" and tendency to adhere to it etc. are stuff which keep usage on a tether. But I think all ragas have changed over time - before trinity, during trinity and after trinity.

But anyway I believe what vk is asking for is some source (written) where this limit in Anandabhairavi's range is mentioned (i.e besides my guru, who learned it from his/her guru who in turn from his/her guru etc. - which is certainly fine but would be additionally corroborated if there is also other sources).

Arun

vasanthakokilam · Post by **vasanthakokilam** » 11 Jul 2009, 00:27

Jigyaasa, I meant it in the manner Arun explained. I snuck in the 'strongly worded' because you sounded very sure about it in your response to srikant and so I was looking for where such things are mentioned.

Jigyaasa · Post by **Jigyaasa** » 11 Jul 2009, 16:32

@vk, Well I'm so sure my guru know's what he's talking about that I haven't ventured to find alternative corroboration for it... If I do... on second thoughts, I'm not looking for any

If some1 else does and posts it here, I'd be really glad.

@arunk, your point sounds so right. But it always confuses me, I mean like the "Did the hen come first or the egg?"-scenario... Do u mean that any rule whatsover was laid only to standardize what was already in existence? And therefore, that there were no "original" rules?

arunk · Post by **arunk** » 11 Jul 2009, 18:49

For something that is widely practiced (music, language, arts), and subject to human dynamics, IMO rules always follow practice, and rules are not immutable. But they do throttle the speed of change. There can certainly be "original rules" - say something that was invented and then put to practice. But once practice is done widely and they soon are bound to become outdate and hanging on to them is impractical

Arun

VK RAMAN · Post by **VK RAMAN** » 11 Jul 2009, 18:54

In music IMHO rules always follow practice; and it is dynamic.

vasanthakokilam · Post by **vasanthakokilam** » 11 Jul 2009, 20:27

Jigyaasa, thanks, that answers my question. Not to drag this further, but I was going to ask if you had found those rules to be widely followed by professionals, but then realized that is what you are discussing with Arun.

gnaanam · Post by **gnaanam** » 12 Jul 2009, 20:36

Laxmanan Sir,It is very sweet of you. Can you send me the notation of Shanmukapriya varnam (Mudikondan Venkatrama Iyer,s composition)and I will be greatful .

arasi · Post by **arasi** » 12 Jul 2009, 21:33

Ravi,
Thank you for bringing to our notice V. Sumitra's other artistic half. Such an example and encouragement for young artistes who are concernedwhether marriage would disrupt or destroy their artistic pursuits.
Best wishes to Sumitra and Vijay Madhavan for a life of art and harmony...

jukebox · Post by **jukebox** » 16 Jul 2009, 09:08

I would agree with Jigyaasa about the 'range' of ragas. I think the best guide would be compositions themselves. Going by those examples, neither Anandabhairavi nor Pantuvarali have many phrases in the higher octaves.

Jigyaasa · Post by **Jigyaasa** » 17 Jul 2009, 21:50

Just wanted to mention... Today, I was hearing a lecdem at IITM by Prof N.Ramanathan where he discusse the concept of rAgA at length. There, he clearly mentions that lower ni to upper ma is indeed the range of a'bhairavi. So much for "corroboration"! (attention vk)

sureshvv · Post by **sureshvv** » 22 Jul 2009, 15:45

Jig(n)yaasa... As long as you get the point that grammar is secondary to aesthetics in music and art in general...

vasanthakokilam · Post by **vasanthakokilam** » 23 Jul 2009, 02:55

Jigyaasa: I just noticed your post. Yes, noted. Did the Professor say if he culled it from books or the prevailing practice or it is just a well known idiom, etc.?

srikant1987 · Post by **srikant1987** » 23 Jul 2009, 09:53

Yes, he in fact said if you sing tara pa or more, you'll be asked to come down from the stage.

Did he mention pantuvarali in this? What did he say about it?

Jigyaasa · Post by **Jigyaasa** » 23 Jul 2009, 15:33

http://www.sangeethapriya.org/Downloads ... -5.3.2008/

http://www.raagabox.com/search.php?m=2&searchterm=IITM

The lec dem is available in either of these places (well at least it was a while ago)

I do suggest that ppl download it... I like his style

@srikant He does talk abt p'varali but def don't remember any range constraints being mentioned.

vasanthakokilam · Post by **vasanthakokilam** » 24 Jul 2009, 21:34

Thanks Jigyaasa. Got it. Paraphrasing the professor, the raga range is a reverse engineered lakshaNam from compositions. Thanks for the link. Quite informative.

Ajit Ramachandran · Post by **Ajit Ramachandran** » 14 Apr 2013, 15:26

Lakshman Sir

This is an old thread but wondering if you could you please send me the notation for the shanmugapriya varnam?

Regards,
Ajit

rasikas.org

R Vedavalli - V Sumitra - R Hemalatha - Neyveli Narayanan

Re: R Vedavalli - V Sumitra - R Hemalatha - Neyveli Narayana