Vijay Siva - San Diego - 16th April 2010

[bilahari]

Vijay Siva - Vocal
R.K. Shriramkumar - Violin
J. Vaidyanathan - Mrudangam

Duration: 2 h 30 min

Approximate Songlist:

01. nera nammiti (varNam) - kAnaDa - aTa
02. vidulaku mrOkEda (N @ kamalA gowri vANi, S) - mAyAmALavagowLa - Adi
03. mInalOchani brOva (R, N @ kAmapAlini bhavAni) - dhanyAsi - miSra cApu
04. raghupathi rAma (R, S @ pallavi) - sahAna - rUpakam (? or Eka?)

05. jambUpatE (N @ sarva bhIma dayAkara shambhO) - yamunAkalyANi - tiSra Eka
06. amba vANi nannu - kIravANi - Adi
07. srI raghuvara apramEya (R, S @ pallavi, T) - kAmbOji - Adi
08. viruTTam with words "sivapperumAnE... cikkena piditthEn" - rAgamAliga ending with jOnpuri
eppo varuvArO - jOnpuri - Adi

09. nArAyaNIyam
10. viTTala salagO swAmi - dES - Adi
11. thiruppugazh?
12. mangaLam

VS commenced his concert with a crisp rendition of the kAnaDa aTa tala varnam, singing the purvangam in two speeds and the uttarangam in the second speed only. Vidulaku was taken up next, and much to my pleasure, VS sang an elaborate neraval in two speeds at kamalA gowri vANi with excellent thanam-type second speed sequences. RKSK used delicate jArus admirably in phrases like DP PM MG in the neraval, adding to the ambience. The kalpanaswaras were also very well done in both speeds, with Vijay Siva using a particularly evocative slide in the phrase PG,M. He also used janTa prayogas effectively in the kalpanaswaras. VS immediately launched into a concise alapanai of dhanyAsi, covering many of the ragas essential phrases. While the alapanai was pleasant, I felt a less busy (read: brigha-heavy) approach might have been wiser. SS's krithi was delivered very well and the subsequent neraval was equally gorgeous. I especially enjoyed VS's use of the nishadam in the neraval, where he stopped quite frequently. VS worked his way up to the tara sthayi for the neraval and then dipped suddenly into the mandra sthayi towards the conclusion, offering a very pleasing contrast as well. Once again, the second speed sequences were executed flawlessly, especially with RKSK's background cut-bowing that I find always adds that additional dimension to mEl kala neraval singing. I was happy that VS did not continue with kalpanaswaras, since the dhanyAsi was picture-perfect after the thorough neraval.

VS then sang an elaborate sahAna. There was a beautiful, elongated RG,,,S phrase initially that was rather atypical, but the rest of the alapanai was standard sahAna. VS appropriately emphasised RNDP phrases, and appeared in general to favour ending phrases with NDP with a lovely slide to the nishadam on the way up. This was very successful with the audience, who were chu-chuing and head-nodding frequently during the alapanai. In particular, he sang a delicate RG, GM, M,P N,,DP with beautiful jarus to the G, M, P, and N. The karvai at the tara shadjam led to fast sequences with a DNS tail. Once again, while the sahAna had all the ingredients of a solid sahAna, I felt the "sowkhyam" was somewhat lacking because of the fast, brigha-laden approach adopted in elaborating the raga. While the subsequent krithi was sung nicely, I didn't like it very much and was thankful when the kalpanaswaras began. The swaras were staple sahAna fare, though the repeated use of janTa sequences - notably the RR GG MM PP refrain - seemed to me to verge on dwijAvanti and was most intriguing (or maybe that's only because I've listened far too many times to an SSI cEta SrI with janTa patterns in the kalpanaswaras). As I mentioned in my other VS review, what makes VS's kalpanaswara singing special is not the swara patterns but the swaras themselves - his decoration of each swara with an appropriate, pleasing gamaka redirects the attention of the listener to the beauty of each swara rather than on the larger patterns being formed, and that unique skill will hold VS in good stead.

The next item was VS's trademark jambUpatE, and he sang the krithi extraordinarily well in vilamba kalam, giving each syllable of every word its due importance both sahitya-wise and music-wise. Just when I thought this krithi could not get any better, VS embarked on a neraval at sarva bhIma. The yamunAkalyANi neraval would easily rate as one of the finest neravals I have heard live. It was delivered entirely in ati vilamba kalam, with VS slowly working his way up the octaves almost note by note. The delivery was almost Hindusthani-esque, perhaps inspired by the presence of an appreciative Pt. Ravi Shankar in the audience, and was immaculate, bringing out the beauty of the sahitya and raga while maintaining good control over the kalapramanam (which is no easy task at such a low speed!). This was not just good music - it was great music.

After the goosebump inducing yamunAkalyANi, I did not think the concert could scale greater heights, and I was correct. The subsequent kAmbOji alapanai was elaborate and pushed all the right buttons, but it was the third kAmbOji in a month and I was not particularly enthused by the alapanai. Nevertheless, the alapanai had its moments, with a well-executed karvai at the tara gandharam well complemented by RKSK in the mandra sthayi. Right after hitting the brakes for a long moment with the karvai, VS intelligently moved into fast sequences around the tara gandharam culminating in an evocative brush of the tara panchamam that deservedly gained applause from the audience. Certainly, the tara G centered phrases in the alapanai were handled exceptionally. The krithi that followed was sung nicely with the swara sahitya lines sung in two speeds. The kalpanaswaras were standard, though with a notable switch from the tara to madhya sthayi midway.

EppO varuvArO was the pick of the tukkadas for me (unfortunately I had to step out during the ragamaliga viruTTam, which everyone was raving about). The others didn't particularly make an impact on me. I felt a thillana would've been appropriate.

RKSK was very good on the violin. His playing for krithis was spotless and his mandra sthayi playing was especially noteworthy in the concert. His neraval returns in jambUpatE were especially brilliant, as was his accompaniment for neravals in general in this concert. His raga alapanais were chaste to the vocalist's ideas but even RKSK overdid the brighas in sahAna, I felt. RKSK's sahAna was noteworthy for the gamakas around the nishadam and his kAmbOji was noteworthy for the phrase SRG,,,R SN,,,D, with beautiful jarus on the G and N offering a very nice contrast. I don't know if it was due to the disproportionately loud volume of the violin, but RKSK's bowing sometimes sounded harsh. All in all, though, RKSK continues to rank as my favourite contemporary violinist.

JV was good on the mrudangam. His playing was never obtrusive, though his accompaniment to krithis in particular was outstanding. In particular, I enjoyed his accompaniment for the dhanyAsi krithi, where he played so perfectly for each sangathi and really elevated the concert. Additionally, I really enjoyed his playing for eppO varuvArO, which he concluded on the mrudangam as MMI would have sung - it was just too good. JV's playing for the jambUpatE neraval was also exceptional and laden with long moments of silence.

The tambura shruti (courtesy of iPods) was audible throughout the concert and notably elevated the ambience of the concert.

All in all, VS impressed me more than anything else with that immortal jambUpatE. His voice was in good shape and his shruti alignment was admirable. Of course, his krithi renditions are notable for immaculate enunciation and clarity, and this means his neravals are that much better because the sahitya isn't being chewed apart with canine ferocity even in mEl kalam. VS's neraval singing was singled out by the organiser at the end and with good reason - the man gives neraval singing its due emphasis, and with his sensitivity to sahitya, his ability to precisely pin down the bhavam of the raga, and his control over kalapramanam in two speeds, VS's neravals are the towering forte of his music. I do wish, however, that he takes a less aggressive approach to raga alapanai, slowing down just a bit - it would go a long way towards enhancing the "sowkhyam" component of his music, which is already in abundance.

This was a very good to excellent concert.

[mohanakalyani]

Boy, that was quick. I just checked half heartedly to see if the review would be there, and there it is. Excellent review for an outstanding concert. It was my first time listening to Vijay Siva, and I am glad I didn't miss it.

Jambupate was definitely the highlight. I have never heard anything like that before. Wow! I can't wait for the CD of the concert to hear it again.

All the other items were definitely good. I would rank VS as better than DKJ as I don't see the same bhava and sowkhyam in DKJ. Its a pity VS doesn't have the same recognition as other so called super stars (for whom people sit on railings and stairs). The auditorium was barely half full when the concert began.

The mridangam should be a text book lesson on how to play the instrument. The best mridangam is one that is not heard a lot, but just lingers in the background, until tani where it takes center stage. Even the tani was very different from any other I have heard.

I felt the violin was quite modest, though I heard that he has played much better. So, I reserve judgment on that one.

All in all best Friday evening in a long time.

[arasi]

Bilahari,
An excellent review from you as usual about what seems to have been a top notch concert. Can't agree with you more on the accomanying vidvAns. On all the occasions that I have heard JV, I don't remember his playing ever being loud or jarring. Even excellent older vidvAns sometimes opt for more sound (noise?). The more I hear JV, the more I appreciate him. Though they both play for Vijay Siva very often and are known to give us a solid performance as an ensemble, I have seen that whom so ever JV accompanies, he gives the same kind of unobtrusive but effective support. He is relaxed but lively in hs playing. and is a pleasant presence on the stage.
On a trivial note, I realized that his profile is almost like that of VAn Dyke in his self portrait

[rshankar]

Awesome review Bilahari. Thank you. I think the combination of VS, RKSK and JV rocks because of the fact that they are all from the same 'school', with both Sri VS and Sri RKSK being Sri DKJ's students and Sri JV his son - I think this allows for an unusual amount of shared sensitivities that then go on to shape a combined sense of esthetics that heightens the 'rasAnubhava'.

[bilahari]

Ravi, absolutely! There was wonderful understanding between all three on stage.
MK, I agree about JV's playing.
Arasi, one of my friends said JV's profile was similar to Rasputin!

[Jigyaasa]

That was among the best reviews I've EVER read... @bilahari, thanks so much! I can't WAIT for the concert at Boston...

and

05. jambUpatE (N @ sarva bhIma dayAkara shambhO) - yamunAkalyANi - tiSra Eka

It's sarva jIva dayAkara shambhO

[semmu86]

Jambupate was definitely the highlight. I have never heard anything like that before. Wow! I can't wait for the CD of the concert to hear it again. I would rank VS as better than DKJ as I don't see the same bhava and sowkhyam in DKJ.

There is a commercial release titled "Panchalinga kshetra krithis" by
Sri.DKJ and students and i think if you ever manage to lay your hands on it , please do it . All the krithis , especially "JambupathE & ChinthayamAm " cannot b sung with more azhutham and azhagu than DKJ and DKJ alone .. That cassette also has RKSK and JV as accompanists .

Its a pity VS doesn't have the same recognition as other so called super stars (for whom people sit on railings and stairs). The auditorium was barely half full when the concert began.
.

Like i quoted Palghat Mani Iyer before, VS' pure and chaste music sans any anAvasyams( cheap gimmicks) is unfortunately too pristine to be appreciated by the "vittala Vittala" crowd .. Infact i have even heard RKSK sing this JambupathE krithi once. Dont exactly remember where . He used to sing it very well .

[arasi]

Jigyaasa,
Have you read any of Bilahari's reviews before? If not, go to his reviews from other San Diego concerts. For someone so young, his understanding of CM is of a high order. His style of writing is super and his points are always backed up with substance.

Bilahari, I see that Rajesh's rating of a concert is getting popular!
Tell your friend that Rasputin had a nasty face whereas VAn Dyke looks charming in his self portrait!

[mohanakalyani]

Semmu,
Sorry, looks like I underestimated DKJ. I have heard only a few albums. Looks like I need to hear a lot more to discover the DKJ magic.

[srikant1987]

Great review, as usual! I'm very happy for you that you got such a treat!

As for the sahAnA-dwijavanti, most combinations of r-g-m-p are allowed in both, but some things like rg, gmmp,, mpmg, etc., sound more sahAna and rgr gmg mpm pdp etc., sound more dwijavantiyish. And while there's a gamaka in sahana over the ga between ga and ma, in dwijavanti, it's explicitly ga-ma-ga-ma. This could have come up because of ultra-slowness of dwijavanti in common usage.

[rajeshnat]

11. thiruppugazh?
.

bilahari
It was an excellent review.
# Thirruppugazh could be one iyaL isai in huseni that he sings often.
# Glad to hear that you immensely enjoyed his yamunAkalyAni especially the neraval , kind of similiar experience when few of us had in chennai few months back at the rathnagirieeshwarar temple

[rajeshnat]

VS immediately launched into a concise alapanai of dhanyAsi, covering many of the ragas essential phrases. While the alapanai was pleasant, I felt a less busy (read: brigha-heavy) approach might have been wiser.
.

I am assuming brigha heaviness will not bring the dhanyAsi its intrinsic feel(usually a kind of inverse relation there ) , perhaps you need to clarify what you wrote a bit better.