Mridangam was B. Sivaraman who was in good form today.
#2 was set to Ganamurthy.
#7 in Madhyamavathi
Mangalam was a virutham in Lathangi and Surutti.
Gayathri Girish at Narada Gana Sabha (Mini Hall)
-
priyaram78
- Posts: 393
- Joined: 03 Feb 2010, 08:57
The RAgAs are here as follows :
1. BAla Ganapathi PAhimAm- Valaji
2. KarunA SAgari KapAlishwari-GAnAmoorthi
3. ThirupathivAsa SrinivAsA-KAnadA
4. Yadukula Thilakane-Chenchurutti
5. UpAsanai SeidhAl-Vitapi
6. Ninai PAdi Ninna Vannangi-Dwijavanthi
7. KarpagAmbikai PrAnanAthanai-MadhyamAvathi
8. Sri PArthasArathy-SumanesaRanjani
9. Mangalam-LathAngi and Surutti
1. BAla Ganapathi PAhimAm- Valaji
2. KarunA SAgari KapAlishwari-GAnAmoorthi
3. ThirupathivAsa SrinivAsA-KAnadA
4. Yadukula Thilakane-Chenchurutti
5. UpAsanai SeidhAl-Vitapi
6. Ninai PAdi Ninna Vannangi-Dwijavanthi
7. KarpagAmbikai PrAnanAthanai-MadhyamAvathi
8. Sri PArthasArathy-SumanesaRanjani
9. Mangalam-LathAngi and Surutti
-
sureshvv
- Posts: 5542
- Joined: 05 Jul 2007, 18:17
It is hard to sing a full 2.5 hour concert with compositions of a single composer. It can be even harder to sit through one 
Barring Thyagaraja and Sivan, I don't think there is a composer who provides enough variety in their compositions to make this challenge particularly appealing. However, this concert went a long way in demonstrating how well a set of compositions can be chosen and presented to keep the momentum of the concert up and sustain the interest of the rasika.
Raga vitapi was chosen for submain and elaborated in fine manner. Having personally not heard this raga before, I was quite awestruck with the medley of moods it evokes (kinda somewhere between the effervescent suddha saveri and the morose Dikshitar's karanataka suddha saveri). The lyrics to this kriti are also set in an interesting wave-like nadai which was well presented showcasing the genius of the composer.
Ganamurthy was sung very well and the immaculate shruthi suddham announced the raga well before the raga mudhra present in this kriti. Alapanas were sung for Kaanada and Madhyamavathi (main). Kaanada included an elaborate round of swaras which also evinced the talent of the accompanists. The Senjurutti kriti had some haunting mandhira sthayi sangathis making it memorable. The brief overview preceding the Dwijavanthi kriti hinted at the scope and potential of this raga and the rasika was left wondering if 2.5 hrs is may be a little short for such a concert.
Barring Thyagaraja and Sivan, I don't think there is a composer who provides enough variety in their compositions to make this challenge particularly appealing. However, this concert went a long way in demonstrating how well a set of compositions can be chosen and presented to keep the momentum of the concert up and sustain the interest of the rasika.Raga vitapi was chosen for submain and elaborated in fine manner. Having personally not heard this raga before, I was quite awestruck with the medley of moods it evokes (kinda somewhere between the effervescent suddha saveri and the morose Dikshitar's karanataka suddha saveri). The lyrics to this kriti are also set in an interesting wave-like nadai which was well presented showcasing the genius of the composer.
Ganamurthy was sung very well and the immaculate shruthi suddham announced the raga well before the raga mudhra present in this kriti. Alapanas were sung for Kaanada and Madhyamavathi (main). Kaanada included an elaborate round of swaras which also evinced the talent of the accompanists. The Senjurutti kriti had some haunting mandhira sthayi sangathis making it memorable. The brief overview preceding the Dwijavanthi kriti hinted at the scope and potential of this raga and the rasika was left wondering if 2.5 hrs is may be a little short for such a concert.