GNB celebrations
Dr.M.,Narmada-Violin.
Mannarkoil J.Balaji-Mridangam.
Trichi Murali-Ghatam.
The programme started with Varavallabha Ramana-Hamsadhvani- a composition of GNB.We have heard both the kriti & Raga ,but there was something unique in what the artist presented without sacrificing the original padanthara she had learnt from Sri Sankaranarayanan who is living in Mumbai,the disciple of doyen GNB(It looked like she was paying tributes to both GNB& Sankaranarayan( for having got & handed over the authentic version).Next followed Marakodi sundari Malini- Bahudari **with breezy chittaswaam (again taking us to the nostalgia of Dr. MLV.).The choice of next no was Sundara daradeham-pantuvarali-Thiagaraja-with neraval @ Ragathi samharam_GNB favourite.
Next followed santhathamu ninne kori- Valaji- with raga elaboration.Dr.Narmada followed up nicely the nuances of this Janya of Chakravaham..
Next followed "Ranjani Niranjani"-Ranjani.(Unnadiye gathi on Bahudhari is also his composition)**
Mamakuleshwaram ,the MAGNUM OPUS on Shastha in Thodi came as a main in Thisra ekam.
Post thani, VS presented Krishna Ni Begane- Yeman kalyani,Ramachandra Praboo- Sindu Bhairavi-ST.&Tillana- Brindavani-BMK.before signing off with Neenama- Mangalam.
I was wondering when the artist has(should have) in possession a good no .of kritis as repertoire of this vaggeyakara why she could not have maintained this prog as GNB exclusive and opted to sing his varnams ,kritis in rare Ragams including Ragas he has created - Sivasakthi,Amirthabehag and the like .I am writing this as a part of normal expectation of a discerning rasika of both GNB & VS.One feed back is atleast justified in that she might have held on to deploy to this pattern realising the fact that the prog. could only be started very late (one of the accompanying artists having lost the way before reaching the venue taking us to the narrative of semmangudi mama who told after having confronted with similiar experience in Madipakkam"If Ravana had chosen to keep Sita in captivity in this place( Madipakkam) even Anjaneya could not have located her !")and the audience response.
Smt.Vijayalakshmy Subramaniam-Papanasam Karnataka Sangeetha
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rajeshnat
- Posts: 10121
- Joined: 03 Feb 2010, 08:04
I think that semmangudi mama's anecdote was at nanganallur and not madipakkam, of course both places are closebalusatya wrote:could only be started very late (one of the accompanying artists having lost the way before reaching the venue taking us to the narrative of semmangudi mama who told after having confronted with similiar experience in Madipakkam"If Ravana had chosen to keep Sita in captivity in this place( Madipakkam) even Anjaneya could not have located her !")and the audience response.
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mridhangam
- Posts: 981
- Joined: 04 Dec 2006, 13:56
Papanasam Sivan Sath Sangam is situated in Madippakkam beyond Ullagaram on the Nanganallur side of chennai city suburbs. Lots of development has taken place in those areas. As if to give tribute to the Great Vaggeyakkara they have created this sabha in the suburbs and to honour it and acknowledge the endeavour of the Sabha the Chennai Corporation has named the road itself as Sathsangam road. Earlier to reach the sabha it was a herculean task but now all the roads either from St.Thomas Mount side or from the Velachery side are accessible and the sath sangam road itself has been cement laid. Earlier they used to conduct the concert in the ground floor and now they have built a quite spacious hall upstairs and it is still under construction and awaiting final touches. The Stage is raised so that an audience of about 250 to 300 can easily see the artistes clearly from even the last row.
Now to the concert. Balu Satya is right in some aspects. Vijayalakhsmi has a vide repertoire of GNB Kritis and wanted to sing the entire concert of his compositions. But just about 15 mins before the organisers gave her an indication that it need not be his compositions alone it can even be the compositions popularised by GNB and hence Vijayalakshmi was at liberty to sing those comfortable kritis along with the ones that she had planned as exclusive GNB Kritis. It was over all an excellent concert with the artiste giving her heart and soul in the ragas as well as kriti renditions. She was well in control of the situation and did quite an excellent work on that day with the mixed Bag.
The songlist goes thus
The songlist...
1. Varavallabha ramana-- Hamsadhwani-- Adi -GNB
2. Marakoti Sundari -- Bahudari-- GNB
3. Sundaratara deham-- Pantuvarali- Thyagaraja
4.Santhathamu ninne-- Valaji-GNB
5. Ranjanai Niranjani-- ranjani-- GNB
6. Mama Kulaswaram-- Todi-- GNB
7. Krishna nee- Yamuna Kalyani- Vyasa Raya
8. Ramachandra Prabhu-- Sindhubhairavi-Swati Tirunal
9. Tillana-Brindavani-Balamurali
All the items were rendered with ease and creative fervour. Especially post thani Krishna Nee Begane Baro was rendered with an excellent pace and mellifluous tone.
Narmada was good in all the aspects but one thing she was very short in her raga alapana and her swara prastaras. There might be some reason but i cant decipher what it was. But whatever she gave in her short essays was very sweet and reminiscent of her father and parur style.
Myself and Trichy Murali played thani in Tisra Ekam with short exchange passages triggered by Vijayalakshmi's Muktayi Korvai at the end of the swaraprastara.
She sang 6+6+6 (poorvangam) and 10+10+10 (Utharangam)
I developed this korvai to real extent and played about 5-6 varieties in short passages. then went on to thisram and Khanda Kuraippu with a mohara and korvai in the end.
Trichy Murali was very receptive to the mridangam phrases and enhanced the recital for his turns during the violin swaras.
On the whole the concert was an enjoyable one.
Mike was good but the echo is still there and artiste feedback needs to be improved. For Deepika Varada Rajan's concert a monitor was kept in front of the Stage and god knows why it was removed before our concert.
J.Balaji
Now to the concert. Balu Satya is right in some aspects. Vijayalakhsmi has a vide repertoire of GNB Kritis and wanted to sing the entire concert of his compositions. But just about 15 mins before the organisers gave her an indication that it need not be his compositions alone it can even be the compositions popularised by GNB and hence Vijayalakshmi was at liberty to sing those comfortable kritis along with the ones that she had planned as exclusive GNB Kritis. It was over all an excellent concert with the artiste giving her heart and soul in the ragas as well as kriti renditions. She was well in control of the situation and did quite an excellent work on that day with the mixed Bag.
The songlist goes thus
The songlist...
1. Varavallabha ramana-- Hamsadhwani-- Adi -GNB
2. Marakoti Sundari -- Bahudari-- GNB
3. Sundaratara deham-- Pantuvarali- Thyagaraja
4.Santhathamu ninne-- Valaji-GNB
5. Ranjanai Niranjani-- ranjani-- GNB
6. Mama Kulaswaram-- Todi-- GNB
7. Krishna nee- Yamuna Kalyani- Vyasa Raya
8. Ramachandra Prabhu-- Sindhubhairavi-Swati Tirunal
9. Tillana-Brindavani-Balamurali
All the items were rendered with ease and creative fervour. Especially post thani Krishna Nee Begane Baro was rendered with an excellent pace and mellifluous tone.
Narmada was good in all the aspects but one thing she was very short in her raga alapana and her swara prastaras. There might be some reason but i cant decipher what it was. But whatever she gave in her short essays was very sweet and reminiscent of her father and parur style.
Myself and Trichy Murali played thani in Tisra Ekam with short exchange passages triggered by Vijayalakshmi's Muktayi Korvai at the end of the swaraprastara.
She sang 6+6+6 (poorvangam) and 10+10+10 (Utharangam)
I developed this korvai to real extent and played about 5-6 varieties in short passages. then went on to thisram and Khanda Kuraippu with a mohara and korvai in the end.
Trichy Murali was very receptive to the mridangam phrases and enhanced the recital for his turns during the violin swaras.
On the whole the concert was an enjoyable one.
Mike was good but the echo is still there and artiste feedback needs to be improved. For Deepika Varada Rajan's concert a monitor was kept in front of the Stage and god knows why it was removed before our concert.
J.Balaji
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rangahome
- Posts: 29
- Joined: 13 Feb 2007, 07:01
This concert was a very enjoyable experience. Mama kuleshwaram was the highlight and I also enjoyed the thani. Like balusatya, I was also expecting GNB raga's like Shivashakti.
Violinoist Narmada could have done a much better job. As one maami remarked "Edho vassikanum-nu vaasicha madhiri irundhadhu". The audio system could also have been much better. I have not been to this venue before, so I am not aware if this is the 'standard' here.
The girl playing thambura and another one sitting in the first row were engaged in some 'sign' language and smiles, and this was quite distracting. Those on stage should pay more attention to such stuff.
Violinoist Narmada could have done a much better job. As one maami remarked "Edho vassikanum-nu vaasicha madhiri irundhadhu". The audio system could also have been much better. I have not been to this venue before, so I am not aware if this is the 'standard' here.
The girl playing thambura and another one sitting in the first row were engaged in some 'sign' language and smiles, and this was quite distracting. Those on stage should pay more attention to such stuff.
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cksubra
- Posts: 12
- Joined: 28 Mar 2008, 19:45
A beautiful concert but distracted by a not so beautiful mic settings. Sometimes what happens on stage is distracting but I must say that what happens in the audience is more so. But that does not take away the merit of the concert as long as the artists themselves don't get distracted.
I must stress on the point that the GNB compositions do have some divine grace and when rendered so beautifully it really touches you.
I must stress on the point that the GNB compositions do have some divine grace and when rendered so beautifully it really touches you.
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arasi
- Posts: 16873
- Joined: 22 Jun 2006, 09:30
While 'distractions' from the audience can be annoying, those from the stage are even more so. Why? Because all attention is focussed on the stage. While the performers are earnest in presenting their music, those sitting right behind them or in the sidelines do have to be conscious about decorum. It is understood that they have to behave professionally. It is bad enough for the performers to face a distracting audience, but distractions from someone who is on the stage is even worse.
On the positive side, whena tambUra player who has been playing it for years for the love of music is moved by what he hears, to see his response adds to the enjoyment of the concert.
On the positive side, whena tambUra player who has been playing it for years for the love of music is moved by what he hears, to see his response adds to the enjoyment of the concert.