Nithyashree Mahadevan @ SGBS, Bangalore 2009.07.29
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Nithyashree Mahadevan @ SGBS, Bangalore 2009.07.29
A satisfying concert, staring off with Kalyani Ata tala varnam, followed by Mariyada(Bhairavam), Durmarga(Ranjani), Thyagarajaya(Begada), Narayana ninnero(?)(Jingla, Purandaradasa), Kannathandri(Devamanohari), and main piece Adigisukhamu(Madhyamavati). Missed the rest as I had to start for Chennai.
Smt. NM was in good voice with some resplendent anthara gandhara soundings in the tara sthayi still ringing in my ears. Mandra sthayi was not as robust as usual, but that is a minor quibble, given that nowadays half-an-octave worth of rasping is enough to get a halfpage splash in The Hindu. Jingla was a nice change (have only heard Anathudanu in this raga, also by the same artiste) but the chittaswaras were awkward.
Raghavendra Rao (Violin), J.Vaidhyanathan(mridangam), S.Srishyla(ghatam) accompanied well.
Listening to NM never fails to impress upon me how rigorous attention to basics like precise pitching, robust sound production, clean intonation, clear diction makes all the difference, and how wide the gap is between top professionals like her and moonlighting amateurs.
A satisfying concert, staring off with Kalyani Ata tala varnam, followed by Mariyada(Bhairavam), Durmarga(Ranjani), Thyagarajaya(Begada), Narayana ninnero(?)(Jingla, Purandaradasa), Kannathandri(Devamanohari), and main piece Adigisukhamu(Madhyamavati). Missed the rest as I had to start for Chennai.
Smt. NM was in good voice with some resplendent anthara gandhara soundings in the tara sthayi still ringing in my ears. Mandra sthayi was not as robust as usual, but that is a minor quibble, given that nowadays half-an-octave worth of rasping is enough to get a halfpage splash in The Hindu. Jingla was a nice change (have only heard Anathudanu in this raga, also by the same artiste) but the chittaswaras were awkward.
Raghavendra Rao (Violin), J.Vaidhyanathan(mridangam), S.Srishyla(ghatam) accompanied well.
Listening to NM never fails to impress upon me how rigorous attention to basics like precise pitching, robust sound production, clean intonation, clear diction makes all the difference, and how wide the gap is between top professionals like her and moonlighting amateurs.
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Here is song list
1. vanajakshi (varnam) - kalyani - kanda ata
2. mariyada gadayya - bhairavam - adi - thyagaraja
3. durmarga chara - ranjani - rupakam - thyagaraja (raga outline, swara @ paluku poti)
4. thyagarajaya namaste - begada - rupakam - muthuswami dikshitar (alapana)
5. narayana yanniro - jingala - misra chapu - purandara dasa
6. ekkalathilum unnai maravamal - purvikalyani - adi 2 kalai - (alapana)
7. kanna tandri neve elAgu nannu - narayani - adi - patnam subramanya iyer (Swara @ kanna tandri neve)
8. tarunam idamma - gowli pandu - adi - shyama sastri
9. adigi sukhamu - madhyamavati - misra chapu - thyagaraja (alapana, neraval, swaram @ nike daya buti and tani avarthanam)
10. eppadi padinaro - karnataka devagandhari - adi - suddhananda bharati
11. godhuli dhu sarita komala... (virutham) - behag
11a. kandena udupiya krishnena - behag - purandara dasa
12. tirada vilayattu pillai - ragamalika - tisra nadai - subhramanya bharati
13. sai rama sarthaya nama (bhajan) - ?
14. cheli nene (javali) - paras
15. santhi nilava vendum - tilang - sethumadhava rao
16. pavamana (mangalam) - sowrastram - adi - thyagaraja
Another nice concert, well presented. purvikalyani & madhyamavati alapana was nice.
Narayani & devamanohari are almost similar! S R M P D S in arohanam could help me to tell that it is not devamanohari. Also, no S N D N P in avarohanam
-hari
1. vanajakshi (varnam) - kalyani - kanda ata
2. mariyada gadayya - bhairavam - adi - thyagaraja
3. durmarga chara - ranjani - rupakam - thyagaraja (raga outline, swara @ paluku poti)
4. thyagarajaya namaste - begada - rupakam - muthuswami dikshitar (alapana)
5. narayana yanniro - jingala - misra chapu - purandara dasa
6. ekkalathilum unnai maravamal - purvikalyani - adi 2 kalai - (alapana)
7. kanna tandri neve elAgu nannu - narayani - adi - patnam subramanya iyer (Swara @ kanna tandri neve)
8. tarunam idamma - gowli pandu - adi - shyama sastri
9. adigi sukhamu - madhyamavati - misra chapu - thyagaraja (alapana, neraval, swaram @ nike daya buti and tani avarthanam)
10. eppadi padinaro - karnataka devagandhari - adi - suddhananda bharati
11. godhuli dhu sarita komala... (virutham) - behag
11a. kandena udupiya krishnena - behag - purandara dasa
12. tirada vilayattu pillai - ragamalika - tisra nadai - subhramanya bharati
13. sai rama sarthaya nama (bhajan) - ?
14. cheli nene (javali) - paras
15. santhi nilava vendum - tilang - sethumadhava rao
16. pavamana (mangalam) - sowrastram - adi - thyagaraja
Another nice concert, well presented. purvikalyani & madhyamavati alapana was nice.
Narayani & devamanohari are almost similar! S R M P D S in arohanam could help me to tell that it is not devamanohari. Also, no S N D N P in avarohanam
-hari
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Thanks for the correction! I switched off during the kannathandri; don't care much for either Devamanohari or Narayani. To think I actually learnt a varnam in Narayani ages ago... (by Poochi Srinivasa Iyengar I think)s_hari wrote:Narayani & devamanohari are almost similar! S R M P D S in arohanam could help me to tell that it is not devamanohari. Also, no S N D N P in avarohanam
-hari
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Wow!!! I quite like both Devamanohari and Narayani.. Nice ragas in my opinion. Why are no artists doing a RTP at this venue? Lack of time, speech by organisers or just co-incidence???
Interestingly I heard from the rendering of my aunt,a wonderful mahishAsura mardinIm - rAgaM nArAyaNi - tALaM miSra cApu, of the great MD , and curiously enough I have never heard this on the concert platform.. It is one beautiful krithi, as far as krithis go...
Also I have found that Narayani in dikshitar and thyagaraja paramparas are quite different.. the mahishasura mardinim of of Dikshitar sounds to my ears more cose to Gowlai than Devamanohari..Experts in the field may be able to throw more light on the situation..
Interestingly I heard from the rendering of my aunt,a wonderful mahishAsura mardinIm - rAgaM nArAyaNi - tALaM miSra cApu, of the great MD , and curiously enough I have never heard this on the concert platform.. It is one beautiful krithi, as far as krithis go...
Also I have found that Narayani in dikshitar and thyagaraja paramparas are quite different.. the mahishasura mardinim of of Dikshitar sounds to my ears more cose to Gowlai than Devamanohari..Experts in the field may be able to throw more light on the situation..
Last edited by rajeevsid on 30 Jul 2009, 11:07, edited 1 time in total.
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This song is a favourite of KJ Jesudas.........rajeevsid wrote:Wow!
Also I have found that Narayani in dikshitar and thyagaraja paramparas are quite different.. the mahishasura mardinim of of Dikshitar sounds to my ears more cose to Gowlai than Devamanohari..Experts in the field may be able to throw more light on the situation..
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Rajeev......Would it be possible to share a copy of your aunt's rendition of 'Mahishasura mardhineem'. Any idea as to where she learnt it from ?rajeevsid wrote: Interestingly I heard from the rendering of my aunt,a wonderful mahishAsura mardinIm - rAgaM nArAyaNi - tALaM miSra cApu, of the great MD , and curiously enough I have never heard this on the concert platform..
Karthikbala : I would second Keerthi's request. Can you share a recording of the varnam as you learnt ?karthikbala wrote: To think I actually learnt a varnam in Narayani ages ago... (by Poochi Srinivasa Iyengar I think)
In the extant interpretation of the MD composition as exemplified by Chembai's version ( & possibly KJY as well) , the raga has been needlessly Bilaharified and the composition's kalapramana has been accelarated to fit into khanda capu, so much so that one wonders if its indeed a Dikshitar composition as it is much at variance with the SSP notation ! I leave it at that


Narayani of Dikshitar is placed under the sankarabhana mela and it joins the long list of rare derivatives of Sankarabharana such as Purvagaula, Chhayatarangini, Narayanadesakshi, Nagadhvani et al not counting in Kuranji and Navaroz . These ragas are no longer in circulation and as such their lakshana as codified in the SSP & the Dikshitar kritis in them are the only surviving corpus.
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Thank you coolkarniji as ever ... A valuable comparision it is between chembai and TVR...very nice thanks..
Raviraj - I myself have heard her live and not on tape , so sorry I dont have a copy of that to share with you...
AI wonder, Is there an SSP compliant version of the narayani sung by any stage artist? MD Ramanathan or DK Jayaraman possibly?
Raviraj - I myself have heard her live and not on tape , so sorry I dont have a copy of that to share with you...
AI wonder, Is there an SSP compliant version of the narayani sung by any stage artist? MD Ramanathan or DK Jayaraman possibly?
Last edited by rajeevsid on 30 Jul 2009, 20:44, edited 1 time in total.
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I like this, er, rendering of Adigi Sukhamu: by Vijay Siva, available from Charsur.mohan wrote:A favourite recording of mine is of 'adigi sukhamu' sung by DKP and Lalitha Sivakumar (Nithyasree's mother).
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I've uploaded the notation. I'd rather not upload any of my recordings, given my dim view of amateur renditions. If I can find a decent version, I shall share it. However, as I had learnt it from Bhagavatulu Seetarama Sarma, my patient guru, it is eminently possible that a recording by his student Sri TM Krishna exists. He has been known to draw from this vast repertoire of varnams, swarajatis in concerts. I can think of many such rarely-performed pieces; Mandari, Nayaki, Kadanakutuhalam, Kanada (Adi), Gaula, Mohana (Ata), Vasanta (pada) varnams, Yadukulakambhoji (varnam & swarajati) etc.raviraj wrote: Karthikbala : I would second Keerthi's request. Can you share a recording of the varnam as you learnt ?
See:
http://charulathamani.com/clips/nv1.jpg
http://charulathamani.com/clips/nv2.jpg
http://charulathamani.com/clips/nv3.jpg
http://charulathamani.com/clips/nv4.jpg
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