S.Sowmya@Hamsadhwani on July 25th,2006

rajeshnat · Post by **rajeshnat** » 26 Jul 2006, 16:12

Accompanied by EmbAr Kannan -Violin and J.VaidyanAthan - Mridangam.The occassion was 98th birthday celebration of shri Semmangudi SrinivAsa Iyer.

1. ?
2. mEru samAna (?,?, S)- mAyamAlavagowlai -thyagarAjar
3. brOcEvaarevarE raghupate (R,S)- shree ranjani - thyagarAjar
4. AAdi KondAr Antha - mohanAm? - muttuthAndavar
5. cheta Sri Balakrishnam (S)- DwijAvanti - Dikshitar
6. teliyalEru rAma - dhenuka - thyagarAjar
7. padavini (R,S) - salAkabhairavi - thyagrAjar
8. RTP - KalyAni ,pallavi line in SSI's famous "un darisanam kidaikumo natarAja" + Tani
9. telisenurA - sAveri - Patnam Subramania Iyer
10. idadhu padam - kamAs - pApanAsam Sivan
11. adi neepai marulu (jaavali) - yamuna kalyAni - Dharmapuri SubbarAya Iyer
12. padigi haradeerE - shuruTTi -thyagarAjar
13. Mangalam

The pristine composition of thyagarAjar in mmgowlai was very apt for a late comer who had to beat the traffic snarls. The swarams were good .Her next sriranjani alApana was lovely, made me to completely identify that as shriranjani.(no doubts of Abhogi). An unoften heard brOcEvaarevare (thyagAraja masterpiece ) with multiple charanams matched up well and had a good fitting swarams .

I heard for the first time this muttuthAndavar composition and was impressed with her diction. DwijAvanthi was average , sowmya delivered the konjal well , but not the upper sthayi lift.

dhenuka and salAkabhairavi (nice alApana)are tests of good lung stamina,sowmya did not deliver these two ssi masterpieces well.She was noticably falling short of breath during both krithi renditions. Well that is where kalyAni comes to the rescue of ever demanding CM . She took her time and delivered a very elaborate kalyAni . TAnam was the best to me . Pallavi and Swarams in kalyAni was just ok,she caught up well at the end singing 3 to 4 ragamaliga swarams all short avarthanams in one go .

I heard for the first time the sAveri krithi and was not too appealing.kamAs was plain. The yamuna kalyAni javAli and surutti was a very good finish to the concert.

The accompanist EmbAr Kannan was ordinary , JV's tani was uninspiring though he played quite good for most of the songs.Overall a good concert , Smt Sowmya is always more known for her repertoire and knowledge , she certainly demonstrated that.

drshrikaanth · Post by **drshrikaanth** » 26 Jul 2006, 18:35

>>>salAkabhairavi <<<- sALagabhairavi

>>>12. padigi haradeerE - shuruTTi - <<< patiki hAratIre- suraTi

Mahesh · Post by **Mahesh** » 26 Jul 2006, 19:37

Looks like a partial SSI concert list to me!!!

ramanathan · Post by **ramanathan** » 26 Jul 2006, 23:34

"telisEnura" is a padam, not a kriti. Sowmya sang this as a very special tribute to SSI, who loved padams immeasurably. During his last days, he used to listen repeatedly to a tape of padams & javalis rendered by her, including this gem in sAveri.

rajeshnat · Post by **rajeshnat** » 27 Jul 2006, 11:03

DRS
Some people say shuruTTi ,you corrected as suraTi. Karnatik.com refers shuruTTi (suraTi). Any fundas there??

drshrikaanth · Post by **drshrikaanth** » 27 Jul 2006, 16:29

DRS
Some people say shuruTTi ,you corrected as suraTi. Karnatik.com refers shuruTTi (suraTi). Any fundas there??

Rajesh. It is suraTi only. It is a hypercorrection by Tamil speakers thinking it should be Shu that is wrongly pronunced as su.

Vocalist · Post by **Vocalist** » 27 Jul 2006, 19:48

Rather than pronounced as "Shurutti" by Tamil speakers, I've heard it more as "Churutti", like in Chenchurutti. Ironically, I've heard Sowmya, OS Arun etc. pronounce it as "Surutti". ANYWAY...

It's nice to hear that a Sriranjani alapana was handled nicely. "Aadi Kondaar" is usually sung in Mayamalavagoulai, so it's curious to be identified as Mohanam. Its a shame to hear about the Dwijavanti piece.

Lakshman · Post by **Lakshman** » 27 Jul 2006, 22:19

Aadi Kondaar" is usually sung in Mayamalavagoulai, so it's curious to be identified as Mohanam.

In the book Dravida Ganam by K.V.Srinivasa Iyengar the rAgA listed is mOhana for this song.

Vocalist · Post by **Vocalist** » 28 Jul 2006, 18:21

Thanks for the clarification Lakshman.

gundakriya · Post by **gundakriya** » 28 Jul 2006, 18:50

Dr. VV Srivatsa's opinion on suraTi, as found in Carnatica's 'Raganubhava' section:

(http://www.carnatica.net/newsletter/sur ... letter.htm)

The names of some ragas are indicative of the region from where they originated, e.g., raga Kambhoji from Kambhoja desha (Cambodia), Gurjari from Gujara desha (N.W.F.P.), Sindhubhairavi from Sindh, Malavi from Malwa etc. The region which has two Nadas (west-flowing rivers - Narmada and Tapti), bound in the North by Sowrashtra, in the East by Malwa, by the Sahya mountain in the South and by the sea in the West was know as Soratta desha and its capital was Soratt (Surat). It was a very prosperous region and the hub of commercial activity. The great port Bhrigukaccha (Bharuch) was located here, all trade with the Greeks and Romans were routed through this port. The East India Company sought the Mughal EmperorÃƒÆ’Ã‚Â¢ÃƒÂ¢Ã¢â‚¬Å¡Ã‚Â¬ÃƒÂ¢Ã¢â‚¬Å¾Ã‚Â¢s permission to establish their first base at Soratt. The residents of this area were not insensitive to cultural values. Culture always thrived where prosperity prevailed. Surati is a raga, which originated from this region.

Pundarika Vittala, who resided at Jamnagar, refers to this raga as Soratti. The same name is found in Rasakowmudi, as also in the anubandha of Chaturdandi Prakasika. The absence of reference in ancient texts like the Sangeeta Makaranda, Sangeeta Samaya Sara by Parswadeva, Sangeeta Ratnakara, Ragatarangini or even Swaramela Kalanidhi makes this a raga which evolved in the medieval times. Cross-references date it to the 16th century AD. Many Bhashanga ragas were accepted and absorbed, in Carnatic music at that time and Surati is ostensibly, one of them. A sankeertana of Annamacharya, ÃƒÆ’Ã‚Â¢ÃƒÂ¢Ã¢â‚¬Å¡Ã‚Â¬Ãƒâ€¦Ã¢â‚¬Å“ItaritamaÃƒÆ’Ã‚Â¢ÃƒÂ¢Ã¢â‚¬Å¡Ã‚Â¬Ãƒâ€šÃ‚Â