Prof Trichy Sankaran @ BVBhavan, UK - Milapfest (8 May 2010)

[Rishi Sharma]

This event was a double-header with an excellent veena concert followed by a spectacular violin performance.

Sorry for the late posting of this review. Unfortunately, I have been distracted from ‘life’s ruling passion…’ for the last 2-3 weeks.

The first concert details:
Veena: Smt. Subathra Raguraman (wife of Balu Raguraman, the violinist mentioned below).
Mridangam: M. Balachandar
Morsing: Sidambaranathan
Venue: Bharatiya Vidya Bhavan, London from 6.15pm to 7.45pm

01 Vanajakshi (Varnam) – Kalyani – Adi (2 kalai) – Ramanathapuram Srinivasa Iyengar
02 Edaiyya Gathi – Chalanattai – Adi – Koteeswara Iyer (R)
03 Sri Shankara Guruvaram – Nagaswaravali – Rupakam – Maha Vaidyanatha Sivan (S @ Pallavi)
04 Pakkala Nilabadi – Kharaharapriya – Misrachapu – Tyagaraja (R, S @ Manasuna Dalaci Me) - Tani Avartanam –
05 Sonnadai Seithida – Ragamalika – Adi – Mayuram Viswanatha Sastri
06 Srinivasa Tiruvenkata – Hamsanandi - Adi - Papanasam Sivan

The concert commenced with a sketch of the “arasi” of the ragas (Todi is the Raja of the ragas and Kalyani is the Rani, in my opinion). The frequent visits to N3 swara add more beauty to Kalyani, as recommended by GNB, especially in the charanam ‘Nirupa Rani Moha MAni’.

Chalanattai was given elaborate treatment. The vivadi R3 and D3 sounded pleasant. M. Balachandar showed brilliant stroke play, taking a backseat to the main performance when necessary. Sidambaranathan also had excellent understanding of the kritis and showed restraint where necessary. Sowkhyam was present in both the Mridangama and the Morsing.

The first notes of the next raga confused this rasika who thought that this was Bahudari. What a guru vandanam! This was composed by the MahAn who received the title “Maha” when he was just 12.
It would have been interesting to see who would have first composed in Nagaswaravali, Maha Vaidyanatha Sivan / Ramaswamy Sivan or Patnam Subramanya Iyer, given their so called competition!

The main piece was in my favourite ragam and it did sound so majestic on this divine instrument. The subtle tones and nuances were highlighted. During the raga, there was griha bedham to Senjurutti and then to Abhogi which she did with ease. Unfortunately, due to paucity of time, tanam could not be done.
Jayaram was in heaven! His favourite tala that too for the main piece!
Niraval was at ‘Manasuna Dalaci Me’ a favourite of Sri KVN. A wondrous swarakalpana ended with a poruttham for ‘ma – na – su - na’ that was too good!
Tani in Misrachapu is always one to see for the calculations involved. Both vidwans not only played for the song with so much understanding but their tani was the jewel in their crown.

‘Sonnadai Seithida’ was a number popularised by GNB. There was flawless transitions between ragas. There was a charanam in Devamanohari which I have not heard before that added icing to the performance.

Hamsanandi gives the feeling of pathos and the wanting to be saved. Srinivasa Tiruvenkata is an appropriate kriti which reflects this yearning, particularly in the line beginning “Jagannatha, shanka chakra dharane..”. The soft play of the pakkams reflected this.

The second concert details:
Violin: Balu Raguraman
Mridangam: Prof. Trichy Sankaran
Ghatam: RN Prakash
Venue: Bharatiya Vidya Bhavan, UK between 8.10pm and 10.30pm.
01 Mahadeva Sutham – Arabhi – Adi – M. Balamuralikrishna (S @ Pallavi)
02 Kanjadalaya Takshi – Kamalamanohari – Adi – Muthuswamy Dikshitar
03 Paramathmudu – Vagadeeswari – Adi (2 kalai) – Tyagaraja (R)
04 RTP – Shanmukhapriya – Adi (2 kalai)
Pallavi: ‘Saravanabhava Guha Shiva Shanmukha Varam Taruvai Guruparane’
Ragamalika Swaram in Pallavi: VAsanti, Charukesi & Valaji
- Tani Avartanam –
05 Marubari (Javali) – Khamas – Adi – Dharmapuri Subbarayar
06 ?? – Sindubhairavi - ?? (may have been a Jeyadeva Ashtapathi)
07 Kanda Dhanya Nathe – Behag – Rupakam – Purandaradasar
08 Bhavayami Gopala – Yamunakalyani – Khandachapu – Vyasarayar
09 English Notes – Adi (Tisram) – Harikesanallur Muthiah Bhagavathar
10 Mangalam ending in Madhyamavathi

The concert started off with a raga that displays veera rasa. Prof Sankaran was on top form on the day as one could hear his mridangam sing the kriti.
I am starting to believe in the musical therapy of our carnatic music. Once fully immersed in CM, this raga can cure the maladies of life (‘samsAra bhIthyam’). Swarakalpana was at the Pallavi line.

Then a soulful Kamalamanohari. Prof Sankaran played a ingenious muktayam, which was a poruttham for the charanam line “rAkA shashivadane”.

The first few minutes of this raga, got me thinking of Harikambhoji. Then all of a sudden, there was the R3 on the descent! I remember a TK Rangachari concert with MSG and Palghat Raghu where for about 3.5 minutes, he has everyone confused.
Whether this is grammatically correct or not, I loved it anyway. Just the omission of one note, giving the chaya of a different raga is clever and makes one think about the fidelity to swara suddham.

Shanmukhapriya was the main piece. There is a dichotomy to this raga. Not only does it have a ‘spright gamana’ but it also evokes pathos. Balu did justice to both angams. I was expected a kriti when Balu launched into Tanam.
After the ragam and tanam, which lasted about 18 mins, Balu explained the meaning of the word ‘Pallavi’. Pallavi is composed of Pada, Laya and Vinyasam.
Pada – Word
Laya – Rhythm structure maintained through the pallavi
Vinyasam – Exposition

Balu talked about his formative years and how he could not even dream of performing with Professor Trichy Sankaran.

The pallavi was set to Adi 2 kalai with MukkAl edam (starts 3 beats after samam). The arudi was after Shanmukha.

The first section of the swara vinyasam highlighted Balu’s talents, then contained a section where Prof Trichy Sankaran reproduced Balu’s swara prashnams on the mridangam. It was amazing to see Prof Sankaran’s laya vidwat in reproducing exactly what he had heard a few seconds earlier.

The ragamalika swarams were in VAsanti, Charukesi and Valaji. Prof. Trichy Sankaran encouraged Prakash to play, interweaving the Charukesi swarams with both laya vadyams coming together at the end. During Valaji, Prof Sankaran played on the thoppi which was ecstatic! Balu and Prof Sankaran exchanged the korvai with the Professor playing some interesting phrases.

It was about 45 mins into the RTP where Sankaran sir launched into a tani that lasted 30mins. How do I explain the mathematics and intricacies of how the tani was? The truth is I cannot!! The student of the Pazhani school interspersed slow and quick phrases within the same cycle that had this ignorant rasika so engrossed that a 30min tani was not enough! During the second round, Prof Sankaran played some gumukhis, special to this school, that evokes many ‘sabash’s’ from all around the auditorium.

The tani in Adi 2 kalai was very educative indeed. RN Prakash rose up to Prof Sankaran puzzles and replied well. It was a grand finish to a scintillating pallavi.

A lilting Khamas started the post-tani pieces. Sindubhairavi is ever the crowd-pleaser; I could hear phrases of ‘Karunai Deivame Karpakame’ in Balu’s painting of Sindubhairavi. Unfortunately, I could not identify what piece it was. After a sketch of Behag, Prof Sankaran added further colouring to Balu’s rendition through gumukhis at the pallavi. A mellifluous Yamunakalyani and the ever-popular English Notes popularised by Madurai Mani Iyer completed the 4hrs+ sangeetAmruthavarshini at the Bhavan where all 6 artistes were at the top of their game.

Prof Sankaran was honoured by the chief of Bhavan UK, Dr. Nandakumara. Sankaran sir talked about his past and mentioned that Balu Raguraman’s father was his classmate in Trichy. Sankaran sir then talked about how it was his pleasure to play at the Bhavan and thanked the Bhavan and the audience.

[Nick H]

Thank you for your long and evocative review.

I think you were re-living the concert experience as you wrote it: even though I do not understand the raga aspects, I can feel your joy in the writing

[rajeshnat]

Unfortunately, I have been distracted from ‘life’s ruling passion…
....
Balu explained the meaning of the word ‘Pallavi’. Pallavi is composed of Pada, Laya and Vinyasam.
Pada – Word
Laya – Rhythm structure maintained through the pallavi
Vinyasam – Exposition

Rishi
A very well written review , get full time into your life's ruling passion.I am going to borrow that phrase from you just like Kerala - Gods own country ===> carnatic music -- life's ruling passion

By any chance I hope you have listened to a pallavi composed by Prof TRS "padamAm layamAm viNyAsamAm pallavi EnRAL" rendered by him in nAttaikurinji (IIRC)and there is also another one rendered by suryaprakash in dharmavati.This pallavi line is a precise line for the definition of the pallavi

[rshankar]

In Needamangalam Sri Krishnamurthy Bhagavatar's words 'padam tanakkoru pa; layam tanakkoru la; vinyAsam tanakkoru vi - iduvE kANum pallavi'. When I spoke to Smt. Vedavalli many years ago in Indianapolis, she said that it was an over-simplification or words to that effect.

[kssr]

In Needamangalam Sri Krishnamurthy Bhagavatar's words 'padam tanakkoru pa; layam tanakkoru la; vinyAsam tanakkoru vi - iduvE kANum pallavi'. When I spoke to Smt. Vedavalli many years ago in Indianapolis, she said that it was an over-simplification or words to that effect.

I have heard TNS give a pallavi with the same idea-but not exactly the same words as the two pallavis quoted.

[Rishi Sharma]

[update]

This event was a double-header with an excellent veena concert followed by a spectacular violin performance.

Sorry for the late posting of this review. Unfortunately, I have been distracted from ‘life’s ruling passion…’ for the last 2-3 weeks.

The first concert details:
Veena: Smt. Subathra Raguraman (wife of Balu Raguraman, the violinist mentioned below).
Mridangam: M. Balachandar
Morsing: Sidambaranathan
Venue: Bharatiya Vidya Bhavan, London from 6.15pm to 7.45pm

01 Vanajakshi (Varnam) – Kalyani – Adi (2 kalai) – Ramanathapuram Srinivasa Iyengar
02 Edaiyya Gathi – Chalanattai – Adi – Koteeswara Iyer (R)
03 Sri Shankara Guruvaram – Nagaswaravali – Rupakam – Maha Vaidyanatha Sivan (S @ Pallavi)
04 Pakkala Nilabadi – Kharaharapriya – Misrachapu – Tyagaraja (R, S @ Manasuna Dalaci Me) - Tani Avartanam –
05 Sonnadai Seithida – Ragamalika – Adi – Mayuram Viswanatha Sastri
06 Srinivasa Tiruvenkata – Hamsanandi - Adi - Papanasam Sivan

The concert commenced with a sketch of the “arasi” of the ragas (Todi is the Raja of the ragas and Kalyani is the Rani, in my opinion). The frequent visits to N3 swara add more beauty to Kalyani, as recommended by GNB, especially in the charanam ‘Nirupa Rani Moha MAni’.

Chalanattai was given elaborate treatment. The vivadi R3 and D3 sounded pleasant. M. Balachandar showed brilliant stroke play, taking a backseat to the main performance when necessary. Sidambaranathan also had excellent understanding of the kritis and showed restraint where necessary. Sowkhyam was present in both the Mridangama and the Morsing.

The first notes of the next raga confused this rasika who thought that this was Bahudari. What a guru vandanam! This was composed by the MahAn who received the title “Maha” when he was just 12.
It would have been interesting to see who would have first composed in Nagaswaravali, Maha Vaidyanatha Sivan / Ramaswamy Sivan or Patnam Subramanya Iyer, given their so called competition!

The main piece was in my favourite ragam and it did sound so majestic on this divine instrument. The subtle tones and nuances were highlighted. During the raga, there was griha bedham to Senjurutti and then to Abhogi which she did with ease. Unfortunately, due to paucity of time, tanam could not be done.
Jayaram was in heaven! His favourite tala that too for the main piece!
Niraval was at ‘Manasuna Dalaci Me’ a favourite of Sri KVN. A wondrous swarakalpana ended with a poruttham for ‘ma – na – su - na’ that was too good!
Tani in Misrachapu is always one to see for the calculations involved. Both vidwans not only played for the song with so much understanding but their tani was the jewel in their crown.

‘Sonnadai Seithida’ was a number popularised by GNB. There was flawless transitions between ragas. There was a charanam in Devamanohari which I have not heard before that added icing to the performance.

Hamsanandi gives the feeling of pathos and the wanting to be saved. Srinivasa Tiruvenkata is an appropriate kriti which reflects this yearning, particularly in the line beginning “Jagannatha, shanka chakra dharane..”. The soft play of the pakkams reflected this.

The second concert details:
Violin: Balu Raguraman
Mridangam: Prof. Trichy Sankaran
Ghatam: RN Prakash
Venue: Bharatiya Vidya Bhavan, UK between 8.10pm and 10.30pm.

01 Mahadeva Sutham – Arabhi – Adi – M. Balamuralikrishna (S @ Pallavi)
02 Kanjadalaya Takshi – Kamalamanohari – Adi – Muthuswamy Dikshitar
03 Paramathmudu – Vagadeeswari – Adi (2 kalai) – Tyagaraja (R)
04 RTP – Shanmukhapriya – Adi (2 kalai)
Pallavi: ‘Saravanabhava Guha Shiva Shanmukha Varam Taruvai Guruparane’
Ragamalika Swaram in Pallavi: VAsanti, Charukesi & Valaji
- Tani Avartanam –
05 Marubari (Javali) – Khamas – Adi – Dharmapuri Subbarayar
06 Gangadeeswaram – Sindubhairavi - Adi - Guru Surajananda
07 Kanda Dhanya Nathe – Behag – Rupakam – Purandaradasar
08 Bhavayami Gopala – Yamunakalyani – Khandachapu – Vyasarayar
09 English Notes – Adi (Tisram) – Harikesanallur Muthiah Bhagavathar
10 Mangalam ending in Madhyamavathi

The concert started off with a raga that displays veera rasa. Prof Sankaran was on top form on the day as one could hear his mridangam sing the kriti.
I am starting to believe in the musical therapy of our carnatic music. Once fully immersed in CM, this raga can cure the maladies of life (‘samsAra bhIthyam’). Swarakalpana was at the Pallavi line.

Then a soulful Kamalamanohari. Prof Sankaran played a ingenious muktayam, which was a poruttham for the charanam line “rAkA shashivadane”.

The first few minutes of this raga, got me thinking of Harikambhoji. Then all of a sudden, there was the R3 on the descent! I remember a TK Rangachari concert with MSG and Palghat Raghu where for about 3.5 minutes, he has everyone confused.
Whether this is grammatically correct or not, I loved it anyway. Just the omission of one note, giving the chaya of a different raga is clever and makes one think about the fidelity to swara suddham.

Shanmukhapriya was the main piece. There is a dichotomy to this raga. Not only does it have a ‘spright gamana’ but it also evokes pathos. Balu did justice to both angams. I was expected a kriti when Balu launched into Tanam.
After the ragam and tanam, which lasted about 18 mins, Balu explained the meaning of the word ‘Pallavi’. Pallavi is composed of Pada, Laya and Vinyasam.
Pada – Word
Laya – Rhythm structure maintained through the pallavi
Vinyasam – Exposition

Balu talked about his formative years and how he could not even dream of performing with Professor Trichy Sankaran.

The pallavi was set to Adi 2 kalai with MukkAl edam (starts 3 beats after samam). The arudi was after Shanmukha.

The first section of the swara vinyasam highlighted Balu’s talents, then contained a section where Prof Trichy Sankaran reproduced Balu’s swara prashnams on the mridangam. It was amazing to see Prof Sankaran’s laya vidwat in reproducing exactly what he had heard a few seconds earlier.

The ragamalika swarams were in VAsanti, Charukesi and Valaji. Prof. Trichy Sankaran encouraged Prakash to play, interweaving the Charukesi swarams with both laya vadyams coming together at the end. During Valaji, Prof Sankaran played on the thoppi which was ecstatic! Balu and Prof Sankaran exchanged the korvai with the Professor playing some interesting phrases.

It was about 45 mins into the RTP where Sankaran sir launched into a tani that lasted 30mins. How do I explain the mathematics and intricacies of how the tani was? The truth is I cannot!! The student of the Pazhani school interspersed slow and quick phrases within the same cycle that had this ignorant rasika so engrossed that a 30min tani was not enough! During the second round, Prof Sankaran played some gumukhis, special to this school, that evokes many ‘sabash’s’ from all around the auditorium.

The tani in Adi 2 kalai was very educative indeed. RN Prakash rose up to Prof Sankaran puzzles and replied well. It was a grand finish to a scintillating pallavi.

A lilting Khamas started the post-tani pieces. Sindubhairavi is ever the crowd-pleaser; I could hear phrases of ‘Karunai Deivame Karpakame’ in Balu’s painting of Sindubhairavi. After a sketch of Behag, Prof Sankaran added further colouring to Balu’s rendition through gumukhis at the pallavi. A mellifluous Yamunakalyani and the ever-popular English Notes popularised by Madurai Mani Iyer completed the 4hrs+ sangeetAmruthavarshini at the Bhavan where all 6 artistes were at the top of their game.

Prof Sankaran was honoured by the chief of Bhavan UK, Dr. Nandakumara. Sankaran sir talked about his past and mentioned that Balu Raguraman’s father was his classmate in Trichy. Sankaran sir then talked about how it was his pleasure to play at the Bhavan and thanked the Bhavan and the audience.

[/update]

[Nick H]

update?