KanyAkumari@MA(Mini) on Jan 25th,2010

rajeshnat · Post by **rajeshnat** » 26 Jan 2010, 12:33

KanyAkumari@MA(Mini) on Jan 25th,2010
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Violin :A.KanyakumAri
Violin support : V .Sanjeev
Mrudangam : Bangalore Praveen Rao??
Tabla : ?????
SabhA : Sarvani sangeetha sabhA
Not too sure of both the mrudangam and tabla Artist names???
Concert duration : 2 hour 10 minutes

I glanced at the newspaper to see kanyakumari and sanjeev's name and other two names , it was not mentioned what they are playing . As I entered few minutes late ,the hamsadhwani was in the charanam . And as I sat I was wondering for the thyagarajA aradhAna concert of sarvani sangeetha sabha , having mridangist percussion as main pakkavadyam , and not having kanjirA , mOrsing or ghatam as upapakkavadhyam but instead tablA was bit odd , but anyway I was open to hear this brilliant vidushi

The hamsadhwani swaras were gripping and AK cruised in a comfortable and superb speed without losing aesthetics. Then she played the Arabhi pancharatnA krithi, her aesthetics and her nAdham came out beautifully.

Smt MLV has taken raghuvara nannu and that was the submain by the violinist disciple of MLV ,AK. In the usual line of neraval manasuna the neraval was rotated by AK and Sanjeev, you could see a difference in their play but more importantly sanjeev had to play with the tablA as the pakkavadyam , it kind of gave me a carnatic feel when mridhangam was played and devotional concert feel more because of the choice of tablA as the accompanist. Swaras in pantuvarAli gives ample oppurtunity for violinist to play fast and I enjoyed the pantuvarAli swaras a lot

sitApathe in khamas was next and it was quite a fast one , perhaps if both had slowed a bit I would have loved a lot. ThyagarAja swami has composed only two krithis (both rare) in shanmughapriyA. The first alApana of the day was her shanmughapriyA it was exceptionally well done ,with really super support by Sanjeev they teamed beautifully. The rare T's krithi of shanmughapriyA unfolded (can you guess what it was right now by taking a pause....)

rajeshnat · Post by **rajeshnat** » 26 Jan 2010, 12:37

Did you get the shanmughapriyA krithi???

Two fillers found its way one was a rare janaranjani which was just ok and the other karnataka behAg krithi popularized by semmangudi school which was very good. I thought when she took the second alApana as kApi fo 5 minutes it would be a kApi main. I anticipated the most popular krithi of T in kApi , but I got perhaps the second popular krithi of T.KApi was elegant one.

A super speed nAdaswara bAni in jAnaki ramana in suddaseemanthini what a lovely krithi it is that too when there is a super punch of swaras in raktha nalina dhalA.The main unfolded after 8 minutes of alApana and to me it was excellent. nannu Palimpa krithi was played and she did an amazing swaras there and went from mohanam to revati , I perhaps thought A. KanyakumAri was passing a message to thyagarajA swami "Why swami you did not take up revati at all in any of your compostions". Revati and mohanam swaras was superb superb.The revati morphed back from there to mohanam the change was really superb and rounded with a round of tani. tani of mridanagam and tablA , cant say it was a tani but it was unnecessay percussion jugalbandhi.

Fillers were varied , the first was Ananda bhairavi ksheerasagara her touch was ultra feather touch in the second half superb . Two krithis sahAna was played little too fast a bit of charm of sahAna charm was gone, and the rare desikatoDi krithi (which is close clone to sindhubhairavi)was played.Then the lullaby neelAmbari followed where it started as a lullaby but went little too fast later not to my liking and the final madhyamavati utsava sampradaya came out which I liked it a lot.

I went to the sabhA patron and thanked him for arranging the concert and asked him why there is a tablA accompanist for a madi madi carnatic concert that too all sadguru thyagarAJa aradhana concert , he said AK decides on that as she is innovative.That innovation is not resonating to me well as tablA gave a devotional feel to the entire concert whenever he played that too all returns of sanjeev though carnatic in violin gelled with tablA and morphed as television isai mAlai. How important it is to have only mridangam, ghatam , morsing and kanjira ONLY , not tabla for a carnatic concert.

1. ???(S) - hamsadhwani (was that koteeshwara iyer krithi varana mukha by any chance I just heard one last phrase of that at the end not sure)
swaras for 6 mins
2. sAdinchanE -Arabi -T
3. raghuvara naNNu (N ,S)- pantuvarAli - T
4 mins neraval in manasuna and 7 minutes swaras

4. siTapathe -,,,, -T
5.vaddanE vAru (R) - shanmughapriyA -T
6. viDajAladurA - janaranjani

7. nEnendu vEtukudurA - karnATaka behAg -T
8. mI valla guNadOsha - kApi -T
9. jAnaki ramanA (S)- suddaseemantani -T

10. nannu pAlimpA - mohanam -T
7 mins alapana
9 mins swaras in mohanam and revathi(plea to thyagaraja swami that he has not composed one in revati).
10B. tani for 9 mins

11. ksheera sAgara - anandhabhairavi - T
12. vandanamu raghunandanA ??? - sahAna - T
13. namO namO rAghavAya - dEshikatODi - T
14. uyyAlalUga vaiya?? - nIlAmbari - T
15. nagumOmu galavAni - madyamAvati - T
16. pavamana mangalam

All said and done AK has extraordinary virtuosity last time I saw her in just only 6 months back in the same MA -Mini with another violin accompanist L.ramakrishnan this time it was with sanjeev . Will I see kamalkiran vinjamuri playing with her guru AK, IF AK is reading this I want AK to drop this tabla.Overall a very good concert by AK .

arasi · Post by **arasi** » 26 Jan 2010, 12:52

Rajesh,
The mrudangist's name is just Praveen. He is the son of vidvAn VIrabhadraiah, if I'm not mistaken.
I like his playing. Heard him accompany Gurucharan at KGS this season? Took me sometime to recognize him because his hair is cut short now. When he sported long hair, he looked similar to J. VAidyanathan from a distance.

musicfan_4201 · Post by **musicfan_4201** » 26 Jan 2010, 17:49

Why should tabla be dropped. This is rather a latest innovation. When a mandoling can be accompanied by thavil and half a dozen percussion, what is wrong in tabla accompaniment. Innovation is key to growth of CM. You should have an open mind !

Is CM not devotional ? Ithoght it was since all kritis revolve around gods and goddesses, puranas etc etc...

How nadaswara bani in a violin play! Are we kind of getting carried away to say any alapana has nadaswara bani. I am not sure we have understood the idiom to keep reiterating it over again !

arasi · Post by **arasi** » 26 Jan 2010, 18:02

Did Rajesh mean 'devotional' with a bhajan concert in mind --just as a harmonium is part of such a concert in CM?

rajeshnat · Post by **rajeshnat** » 27 Jan 2010, 11:54

musicfan_4201 wrote:Why should tabla be dropped. This is rather a latest innovation. When a mandoling can be accompanied by thavil and half a dozen percussion, what is wrong in tabla accompaniment. Innovation is key to growth of CM. You should have an open mind !

Is CM not devotional ? Ithoght it was since all kritis revolve around gods and goddesses, puranas etc etc...

How nadaswara bani in a violin play! Are we kind of getting carried away to say any alapana has nadaswara bani. I am not sure we have understood the idiom to keep reiterating it over again !

For the last part , nAdaswara bAni, I think I made a small mistake in my post. I should have said "A super speed nAdaswara piDI (not bAni) in jAnaki ramana in suddaseemanthini what a lovely krithi it is that too when there is a super punch of swaras in raktha nalina dhalA."

For the first two parts , we will move on....

rajeshnat · Post by **rajeshnat** » 27 Jan 2010, 12:05

arasi wrote:Did Rajesh mean 'devotional' with a bhajan concert in mind --just as a harmonium is part of such a concert in CM?

Arasi

Generally when carnatic krithis are sung in classical category of concerts like our usual kutcheri concerts where we have mrudangam and ghatam/kanjira and mOrsing .This percussion ensemble is usually called "carnatic classical" or in general "carnatic". vs

When the same carnatic krithis is generally sung with a tabla as an accompaniment we call it as "carnatic devotional" or in general "devotional".

As such if you go to CD shops you will see this 2 sets of racks for all the cds one is carnatic and the other devotional. These are not "hard and fast rules", but generally the well accepted prevelant categorization(I did not invent anything new here).

I did not mean bhajan at all .

arasi · Post by **arasi** » 27 Jan 2010, 12:16

Got it.

sureshvv · Post by **sureshvv** » 27 Jan 2010, 13:14

I guess "Light Classical" is what you mean - performed by artists such as Revathy Krishna, Rajesh Vaidya etc.

musicfan_4201 · Post by **musicfan_4201** » 27 Jan 2010, 13:53

In the name of light classical, a masterpiece such as endaro mahAnubavu is butchered and torn to pieces

When I listen I am glad Saint Thyagaraja is not alive to hear it being the way it is rendered or played!

musicfan_4201 · Post by **musicfan_4201** » 27 Jan 2010, 16:51

rajeshnat wrote:
musicfan_4201 wrote:Why should tabla be dropped. This is rather a latest innovation. When a mandoling can be accompanied by thavil and half a dozen percussion, what is wrong in tabla accompaniment. Innovation is key to growth of CM. You should have an open mind !

Is CM not devotional ? Ithoght it was since all kritis revolve around gods and goddesses, puranas etc etc...

How nadaswara bani in a violin play! Are we kind of getting carried away to say any alapana has nadaswara bani. I am not sure we have understood the idiom to keep reiterating it over again !
For the last part , nAdaswara bAni, I think I made a small mistake in my post. I should have said "A super speed nAdaswara piDI (not bAni) in jAnaki ramana in suddaseemanthini what a lovely krithi it is that too when there is a super punch of swaras in raktha nalina dhalA."

For the first two parts , we will move on....

Yesterday I saw a short clip in youtube of Ravikiran Gottuvadhyam accompanied by Thavil and tabla