Vidushi K Gayathri - vocal
Vidushi Charulatha Ramanujam - violin
Vid. Mannarkoil "mridangam" J Balaji - Mrudangam
08 Aug 2009, 6pm
Purandara Bhavana, Indira nagar sangeetha sabha
1. vanajakshi (varnam) - reetigowlai - kanda ata (outline)
2. sri mahaganapathim - atana - adi - Jayachamrajya wodayar (outline, swara @ sri maha ganapathim)
3. kandu kandu enna kai biduvare krishna - sahana - kanda chapu - purandara dasa (raga alapana, swara @ kandu kandu)
4. marivere - anadhabhairavi - misra chapu - shyama sastri (outline)
5. bhogindra sayinam - kuntalavarali - kanda chapu - swati thirunaal
6. enduku peddala - shankarabharanam - adi 2 kalai - thyagaraja (alapana, neraval & swaram @ veda sastra purana & tani avarthanam)
7. sudha madhurya bhashana - sindhuramakriya - adi - thyagarja
8. ragam thanam pallavi - shanmukhapriya - tishra jati jampa talam (misra nadai)
pallavi - mukunda nandana sri govinda muralidhara sridhara hare
eduppu - 1-1/2 aksharam??
ragamalika swaram - kokilapriya, pasupatipriya, rasikapriya
9. kaliyudadali hari - chenchuruti - adi - purandaradasa
10. rama baktha hanuman - jounpuri - adi - suguna purushotaman
11. thillana - ragamalika (vasanti, madhuvanti, ...) - adi - suguna purushotaman
12. pavamana - sowrastram - adi - thyagaraja
Awsome concert.. Will stay in memory for long long time. I am collecting my thoughts, will write soon
-hari
K.Gayathri @ Bengalore - 08Aug09
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s_hari
- Posts: 872
- Joined: 20 May 2007, 18:45
Ms Gayathri Kamakoti, a deciple of Smt Suguna Purushothaman gave a performance for Indira Nagar sangeetha sabha, in Purandara Bhavana. Starting with Reetigowlai ata tala varnam in two speeds, she set the tempo for rest of the concert. In atana swaras, there were characteristic pidis with focus on daivatham like M R S D, R S D, P D N D N P etc. She avoided gandharam in swara kalpana. Sahana alapana was very pleasing with necessary vishranti. After touching tara shadjam she had minor discomfort in throat, but recovered very quickly. Charulatha followed Gayathri like a shadow and played excellently. Sahana alapana was for about 7 minutes and violin return was 4 minutes. Purandara dasa’s keerthana was rendered very leisurely and brought out the raga bhava. The swara prastharam was also having all traditional sangathis, she touched upto tara styai panchamam in sangathi P M G M R. Marivere in andhabhairavi was sung in vilamba kalam nicely, each of the sangathis were with clarity. Balaji played supportingly with soft strokes.
As soon as shankarabharanam alapana started it rained very heavily outside to the extent that noise was visible inside the closed auditorium. She started the alapana around gandharam and developed the raga swara by swara. There were few sancharams in mandhara stayi also. Alapana was for about 10 minutes and violin return for 5 minutes. Again, charulatha ramanujam played exceeding well. Neraval was sung well in two speeds. Towards the end, few times, veda sastra was sung as "ve dasastra"
As soon as shankarabharanam alapana started it rained very heavily outside to the extent that noise was visible inside the closed auditorium. She started the alapana around gandharam and developed the raga swara by swara. There were few sancharams in mandhara stayi also. Alapana was for about 10 minutes and violin return for 5 minutes. Again, charulatha ramanujam played exceeding well. Neraval was sung well in two speeds. Towards the end, few times, veda sastra was sung as "ve dasastra"
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braindrain
- Posts: 587
- Joined: 03 Feb 2010, 09:25
They were all at the Unnati, Hari.. Overflowing the main hall, the first floor and the basement ( with CCTV and Screen projection)... Traffic jams and what not.s_hari wrote:The audience attendance was not great, i noticed around 30 during start and end. But, heard from balaji that there were close to 100 at some time.
Last edited by braindrain on 09 Aug 2009, 10:37, edited 1 time in total.
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srinivasrgvn
- Posts: 1013
- Joined: 30 Nov 2008, 07:46
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s_hari
- Posts: 872
- Joined: 20 May 2007, 18:45
That may be different song. She sang this song - http://www.karnatik.com/c2871.shtml - a janya of mayamalawa gowali
-hari
-hari
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mridhangam
- Posts: 981
- Joined: 04 Dec 2006, 13:56
Members
Steeped in tradition Gayatri Gave a very satisfying concert in front of the few learned audience present there including Mr.Hari. The start itself augured well for the proceedings as typically classical ragas like Reetigowla, Ataana, sahana, Anandhabhairavi, Kuntalavarali, Sinduramakriya, Shankarabharanam, Shanmukhapriya (all typically classically flavoured) followed in succession each demanding a great deal of strict traditional touch which is not so easy to handle. But she handled them with a great deal of composure and confidence. Gayatri acquitted herself quite well in each of the above ragas which in itself showed her real mettle and foretells a bright promising future.
Hari sir has covered quite well all the aspects.
The pallavi was looking very simple but really complicated. The pallavi starting point was 1 aksharam after samam. Gayatri did very well to render trikalam and also Pratilomam (which was very unexpected and she caught me unawares so to say). The korvai she sang was also very nice and yes while i ws playing a mohara there was not exactly a slip of talam but the anudrutam was missed out whereas the tala was going on correctly. At that point Suguna Mami came to her rescue (and my rescue too - if she had continued without the anudrutam .. it would sound as if i had made a mistake as things on stage go so fast as to understand and discern who made a mistake).
The positive aspects of the concert was her voice power, traditionally suited tones and her near-precise delivery. Her kalapramana is very good and has a very good control over laya (not speeding up while the mridangam artiste plays Farans or moharas). I played a quick on the spot mohara for the Pallavi consisting of 21 Aksharas and i repeated the korvai that she sang as her final Muktayam.
Charulatha was very gud and did her job well.
The mike system was good and i wonder whether the auditorium was airconditioned or not, as we were sweating and Gayatri Throat getting dried up too often in the initial stages getting her to cough a few times. There was no fan near the stage for the artistes. The feedback system was poor whereas the auditorium volume was a little high (so i felt) as i could see some of the audience closing their ears during tara sthayi explorations and also during climax where the main artiste and mridangam blends to give a big finale. Anyway all these mike aspects we dont have any control but i just share wat i saw and felt.
Mannarkoil J Balaji
Steeped in tradition Gayatri Gave a very satisfying concert in front of the few learned audience present there including Mr.Hari. The start itself augured well for the proceedings as typically classical ragas like Reetigowla, Ataana, sahana, Anandhabhairavi, Kuntalavarali, Sinduramakriya, Shankarabharanam, Shanmukhapriya (all typically classically flavoured) followed in succession each demanding a great deal of strict traditional touch which is not so easy to handle. But she handled them with a great deal of composure and confidence. Gayatri acquitted herself quite well in each of the above ragas which in itself showed her real mettle and foretells a bright promising future.
Hari sir has covered quite well all the aspects.
The pallavi was looking very simple but really complicated. The pallavi starting point was 1 aksharam after samam. Gayatri did very well to render trikalam and also Pratilomam (which was very unexpected and she caught me unawares so to say). The korvai she sang was also very nice and yes while i ws playing a mohara there was not exactly a slip of talam but the anudrutam was missed out whereas the tala was going on correctly. At that point Suguna Mami came to her rescue (and my rescue too - if she had continued without the anudrutam .. it would sound as if i had made a mistake as things on stage go so fast as to understand and discern who made a mistake).
The positive aspects of the concert was her voice power, traditionally suited tones and her near-precise delivery. Her kalapramana is very good and has a very good control over laya (not speeding up while the mridangam artiste plays Farans or moharas). I played a quick on the spot mohara for the Pallavi consisting of 21 Aksharas and i repeated the korvai that she sang as her final Muktayam.
Charulatha was very gud and did her job well.
The mike system was good and i wonder whether the auditorium was airconditioned or not, as we were sweating and Gayatri Throat getting dried up too often in the initial stages getting her to cough a few times. There was no fan near the stage for the artistes. The feedback system was poor whereas the auditorium volume was a little high (so i felt) as i could see some of the audience closing their ears during tara sthayi explorations and also during climax where the main artiste and mridangam blends to give a big finale. Anyway all these mike aspects we dont have any control but i just share wat i saw and felt.
Mannarkoil J Balaji
Last edited by mridhangam on 10 Aug 2009, 13:48, edited 1 time in total.
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arasi
- Posts: 16873
- Joined: 22 Jun 2006, 09:30
Thank you Balaji for your input which is always appreciated. What can be better than the mrudangam vidvAn explaining the tani for many who are keen to know the details?
I suppose that if even one among the organizers had paid attention to audience reaction as you did (while they closed their ears) due to the loudness, reducing the volume would have let them enjoy the tani.
The placement of fans near the stage (after consulting the performers) is necessary. While I agree that the organizers have many things to attend to, to make it comfortable to the artistes so that they can give the best to us in not too much to ask!
I suppose that if even one among the organizers had paid attention to audience reaction as you did (while they closed their ears) due to the loudness, reducing the volume would have let them enjoy the tani.
The placement of fans near the stage (after consulting the performers) is necessary. While I agree that the organizers have many things to attend to, to make it comfortable to the artistes so that they can give the best to us in not too much to ask!
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DhwaniB
- Posts: 30
- Joined: 07 Jan 2009, 19:51
In complete agreement...when the finer details of listening pleasure are missed out, it tends to mar the whole effect...'Customer satisfaction' falls short while concentration is more on Product and Marketing!!:/
Last edited by DhwaniB on 10 Aug 2009, 22:16, edited 1 time in total.
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cacm
- Posts: 2212
- Joined: 08 Apr 2010, 00:07
Dear Balaji,mridhangam wrote:Members
Steeped in tradition Gayatri Gave a very satisfying concert in front of the few learned audience present there including Mr.Hari. The start itself augured well for the proceedings as typically classical ragas like Reetigowla, Ataana, sahana, Anandhabhairavi, Kuntalavarali, Sinduramakriya, Shankarabharanam, Shanmukhapriya (all typically classically flavoured) followed in succession each demanding a great deal of strict traditional touch which is not so easy to handle. But she handled them with a great deal of composure and confidence. Gayatri acquitted herself quite well in each of the above ragas which in itself showed her real mettle and foretells a bright promising future.
Hari sir has covered quite well all the aspects.
The pallavi was looking very simple but really complicated. The pallavi starting point was 1 aksharam after samam. Gayatri did very well to render trikalam and also Pratilomam (which was very unexpected and she caught me unawares so to say). The korvai she sang was also very nice and yes while i ws playing a mohara there was not exactly a slip of talam but the anudrutam was missed out whereas the tala was going on correctly. At that point Suguna Mami came to her rescue (and my rescue too - if she had continued without the anudrutam .. it would sound as if i had made a mistake as things on stage go so fast as to understand and discern who made a mistake).
The positive aspects of the concert was her voice power, traditionally suited tones and her near-precise delivery. Her kalapramana is very good and has a very good control over laya (not speeding up while the mridangam artiste plays Farans or moharas). I played a quick on the spot mohara for the Pallavi consisting of 21 Aksharas and i repeated the korvai that she sang as her final Muktayam.
Charulatha was very gud and did her job well.
The mike system was good and i wonder whether the auditorium was airconditioned or not, as we were sweating and Gayatri Throat getting dried up too often in the initial stages getting her to cough a few times. There was no fan near the stage for the artistes. The feedback system was poor whereas the auditorium volume was a little high (so i felt) as i could see some of the audience closing their ears during tara sthayi explorations and also during climax where the main artiste and mridangam blends to give a big finale. Anyway all these mike aspects we dont have any control but i just share wat i saw and felt.
Mannarkoil J Balaji
Thanks for your reviews which I find very EDUCATIONAL as well as savvy. I think you are the perfect candidate to improve awareness & underastanding & elevating the audience awareness to greater heights as opposed to "Dumbing Down"....Pl continue to write your views freely. VKV
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mridhangam
- Posts: 981
- Joined: 04 Dec 2006, 13:56
Vkv Sir Thank you very much for your encouraging words. It is a tightrope walk that i m doing which i know thouroughly. But yet i hv taken up this herculean task of writing some good word about the artistes as well as the point of educating the audience. In the process my observations and impressions come to my mind while i type down my views. I try to be as frank and candid as possible. If i hide something or leave something unwritten it is just my ignorance only and nothing intentional.
J.Balaji
J.Balaji