1. Viribhoni- Ata tala varnam- Bhairavi
2. Rajagopalam - Mohanam - M.Dikshitar
3. Chandana charchita - Pantuvarali - Jayadeva Ashtapadhi
4. Brindavana lola - Thodi - Tyagaraja
5. Chetasri - Dwijavanti
6. Sri Rajagopala - Saveri (followed by tani avartanam)
7. Kaanirey - Khamas
8. Viruttam - Aniraimeikka Nee Podhu - Periazwar pasuram
9. Bhajare yadunatham - Piloo
10.Krishnanama Rasana - Ragesri - Surdas
11. Managalam - traditional followed by (Vijayagopala mangalam by Narayana teertha)
Krishna Gaanam was presented yesterday by TNS at Krishna Gana Sabha , with the accompaniment of V V Ravi ( Violin), Vellore Ramabhadran ( Mridangam), Purushottaman ( Kanjira).
It was Krishna gaanam ,paanam and neivedhyam at its best, inviting the arrival of the Lord on this auspicious day. It was an unimaginably, wholesome, erudite, choicest fare presented with so much care and bhava to both Krishna and the rasikas, befitting the spirit of the day.
The accent of the concert was on the relaxed presentation of the musical aspects of the raga and the kritis and passing it on to the audience.
The genius of TNS lies in his ability to combine erudition with elegance and this he did yesterday with ample ease of a master veteran that he is.
Dwijavanti raga exposition brought out his brilliance while the song that he sang got out the spirit and erudtion of Dikshitar in full.
Thodi , Saveri and Pantuvarali always take a great shape in his concerts and I dont want to risk a superficial explanation of the same.
Another of TNS's forte is his ability to sing bhajans in the very typical format and modality of the Hindustani style of singing the same. Krishna nama rasana , proved this facet. This song capped the very essence of the evening and I am certain that all the rasikas in the audience were leaving the hall with a pleasantly mesmerised effect of Krishna gaanam .
VV Ravi followed him nicely like a shadow, while Ramabhadran and Purushottaman brilliantly combined the naya - gana, aspects of percussion respectively, enriching the concert effect.
TNS at Krishna Gana Sabha, Gokulashtami series - 13.8.09
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rshankar
- Posts: 13754
- Joined: 02 Feb 2010, 22:26
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saptaratna
- Posts: 50
- Joined: 22 May 2008, 11:58
To answer this : I am "quoting (verbatim)" from saroja mami's review in her websites_hari wrote:Seem to be great concert and nice song selection. Kannirey? Who's composition is this? What ragas were sung in viruttam?
-hari
(( """ With the song kaaneere in kamas by Otthukkadu kavi and the pasuram of Periazvar that followed in ragamalika, TNS started the pasuram in Simmendhramadhyama. This pasuram aanirai meykka nee is the rasikas favourite as the other pasurams he used to sing such as siruviralaL, puLLinvaai piLandhittai , chediyaayas etc.
The simmendhramadhyama was spread over like a canopy under which the raga vaasanthi which was very skillfully presented and then there was a raga hamsavasantham, (clarified with TNS regarding the name), obviously coming out of the fertile imagination of TNS ,which was hamsanandi and vasantha with suddha madhyama and the prayogas by which it emerged with a distinguished svaroopa of its own.. The pasuram ended with the raga peelu followed by bajare yadhunatham in peelu.
Last was the Thillana is sindhubhairavi in fast pace which gave an end to the utsavam like that of the sound of melam. """ )).
Sorry this was missed by me in my earlier post.
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harimau
- Posts: 1819
- Joined: 06 Feb 2007, 21:43
An extraordinary concert in many ways.
It started right on time!
Sri Seshagopalan never even once wavered from the sruthi. In singing the major items of the concert, he did not engage in verbal gymnastics known as fast brighas. He was able to remain true to the sruthi and the effect was magnificent.
By the time he came to the tukkadas, he did his fast brighas but he still exercised excellent control over his voice and so stayed true to the sruthi.
Not too much of mathematical intricacies in singing swarams either. Thus, instead of being a tala vidwan's delight, the concert turned out to be a listener's delight. After all, Deekshithar did say "Bhava raga tala modhini" in his krithis, not "tala raga bhava modhini" no matter what some mridanga vidwans might think!
If there is one caveat, it is that Sri Seshagoplan's voice has a certain raspiness to it, which disappeared completely after about an hour. Perhaps some vocal exercises before a concert would cause it to disappear completely and his voice would be in great shape right from the beginning.
On the whole, he proved that "Sesha gaanam" is "Krishna gaanam".
It started right on time!
Sri Seshagopalan never even once wavered from the sruthi. In singing the major items of the concert, he did not engage in verbal gymnastics known as fast brighas. He was able to remain true to the sruthi and the effect was magnificent.
By the time he came to the tukkadas, he did his fast brighas but he still exercised excellent control over his voice and so stayed true to the sruthi.
Not too much of mathematical intricacies in singing swarams either. Thus, instead of being a tala vidwan's delight, the concert turned out to be a listener's delight. After all, Deekshithar did say "Bhava raga tala modhini" in his krithis, not "tala raga bhava modhini" no matter what some mridanga vidwans might think!
If there is one caveat, it is that Sri Seshagoplan's voice has a certain raspiness to it, which disappeared completely after about an hour. Perhaps some vocal exercises before a concert would cause it to disappear completely and his voice would be in great shape right from the beginning.
On the whole, he proved that "Sesha gaanam" is "Krishna gaanam".