SKGS awarded Sangeetha Choodamani yesterday to Smt Aruna Sairam . She was accompanied by HN Bhaskar -violin , J Vaidhyanathan - Mridangam and SV Ramani - Ghatam
1. Shree RAja MAthangI - suddhadhanyAsi - HMB
2. gAnamurthe - gAnamurthi - ThyagarAja
3. koniyADina nApai (R) -KAmbOdhi - VeeNai Kuppaiyyar
4. DEvaadi dEva (S) - sunAda vinOdini - mysore vAsudevachArya
5. ennEramum undan (R) - dEvagAndhAri - GKB
6. mariyaada gaadayya -bhairavam - ThyagarAja
7. kapAli (R S T)- mOhanam - pApanAsam Sivan
rAga alapanai was followed by a small viruttam ".... kapAli ....karthigai naal"
8. ranga bAro - sudda sAveri - Purandara DAsar
9. RTP - TOdi "thyAgarAja yana namaste guruguhAya shyama krishnAya" + swara rAgamaligai
10. Short Tani
11. rAde brindAvana nilaye (kalinga nartana)- reethigowlai - OVK
12. Abhang ("lalitha kanitha )- ???? -janAbhAi
13. enna kavi - neelamani - AnAyampatti Adisesha Iyer
14. Abhang ("ganapathi pApa Moriya")- BrindAvan SAranga ?? - ???
15. oru murai enakEnna vA muruga -??? -???
16. karuthil niraindhai kannil maraindhai - darbAri KanAda ? - thiruvArur ???
17. viruttam "tuppudaiyAnai adaivathellam" - shanmughapriya + ???
18. mudionrin moolagangalum - ragamaligai (?? + punnagavarAli + sindhubhairavi) - ???
19. pavamAna
Smt Aruna Sairam started with a suddadhanyAsi , her voice was not pliable yet to deliver this tough HMB varnam. gAnamurthe was quite good and with that her voice appeared settled . Her KAmbodhi alApanai started with the upper sthayi and stayed almost there. The rare koniyADina was sung with a bit gusto , but I could not appreciate that much. An excellent swaram in
sunAda vinOdhini .The leisurely devagAndhAri was good , but bhairavam was average . Her main krithi Alapanai was just ok ,the small viruttam was excellent. However she tried to give a non classical (some what folkish) start in the swarams of mOhanam . For me that appeared a little discontinous ,then she wrapped with a ok mOhanam swaram for about 4 to 5 minutes.She sang a good sudda sAveri (I liked it better than the usual ranga bAro in mAnd)
About RTP:
tOdi alApanai and TAnam was average (felt she could have elaborated more).I have heard thru forums a lot about this famous pallavi line paying obesiance to the trinity, so I was preconditioned somewhat that it will appear very good . But alas I did not find much depth in the pallavi rendition . After her Todi swarams she goes quickly from nAttai,gowlai(very shaky) , arAbi(ok),varAli (distinct and good, but every musician gets varAli that way) and shree rAgam. Then she traverses the swarams back in the reverse and surprisingly ends with phrases jagadAnandaka,duddugu,sAdhinchane,...upto shree rAgam ,ends with thyagarAja namaste.
She starts with kAmbodhi + kalyAni + BrindAvana saranga with short swarams up and a more detailed swarams down and then ends with SubramanyAya Namaste + kamAlAmba + rangapura phrases and then ending up with guruguhAyo namaste .
Then she takes bhairavi + sAveri + ahIri and ends with short swarms up and a little longer swarms down , and then ends with kAmakshi ,dudusugA and mayAmma phrases and ends with shyamakrishnAya namaste. Finally she takes all the rAgamaliga swarams in a reverse order and ends with tOdi swarams. Another short tAni follows up.It was 8:20 pm then after the concert started at 6:05 pm.
In first pass it may appear as a great pallavi with her obesiance to trinity appearing perfect , but a little introspection , you can spot cracks in the musical depth of each rAga and also you may question like me as to whether singing phrases of popular krithis without a convincing swara pattern is partially empty and void.
Post RTP:
Smt Aruna Sairam thanked SKGS for awarding the sangeetha choodAmani and then her next brindAvana nilaye in reetigowlai followed (usually she sings that pretty well), but was just average. The abhang 1 was ok ,enna kavi was excellent,the abhang 2 was ok (dont like more than one abhang).
I like Smt Aruna Sairam for her excellent tamil diction,the next 3 was a testimony to the same.The rAga of oru murai slipped me completely . The next Karuthil niraindhai kannil maraindhai is excellent tukkada .I remember she used to refer some one by name ThiruvArur ??? who used to visit her house and sing that . The viruttam and the ragamaligai with her perfect diction was a treat to watch.
HN Bhaskar violin was just ok . JV and SV Ramani are well set and conditioned for Aruna Sairam . Tani was just ok , though SV Ramani played quite well.
Aruna Sairam@SKGS on Aug 06th,2006
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rajeshnat
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Few +'s and -'s of Smt Aruna Sairam that I observed.
1. If other musicians had sung a rare koniyAda "veenai kuppaiyer krithi", they would have communicated poorly and usually said something like "this is VeeNai Kuppaiyyar's krithi". Each rasika would have to talk with 5 folks around him/her to catch what the musician said . But Aruna told clearly before the mike as though it is the first ragAm in a viruttam "This is
thyAgarAja's disciple VeeNai Kuppaiyyar's krithi. Lot of yesteryears musicians used to sing the same krithi ,now it is not that much sung". She is always an excellent speaker and she is very attentive to details .small things lead to perfection, but perfection is not a small thing. A big plus!
2. She never overstretches beyond her limits , to me giving a second tAni was a clever move for her to recuperate in a 3 hour concert.That is another plus to keep the attention of rasikas sustained when she takes the next krithi .No point rushing without understanding one's limitation. A big plus!
3. She communicated at the end of RTP and tani that she is grateful to all rasikas and SKGS about her sangeetha choodAmani title and surprisingly mentioned that I am done with RTP , I will oblige to sing to your wish list. I could see atleast 2 dozen rasikas in the next 30 minutes passing chits . Ironically almost at the end she says I wanted to sing lot of new songs , however I have a lot of popular requests. A big surprise and 2 diametrically opposite statement . I am not
pulling the trigger to suggest that she may not have have new krithis in her bag (infact she demonstrated a new viurttam and an excellent krithi), but being a senior artist ,can't she control indiscipline and too much of hush-hush that is at times making the crowd more and more boisterous. Carnatic musicians should tirelessly strive for silence and attention from rasikas .A Big minus to me.
4. Her pallavi and swarams was superficial in depth but extremely good for many in the crowd, she received thundering applause ,many rasikas around me when she connected gurugohAya and rangapurAvihAra , they thought it was heavenly bliss. This is -ve to me , but I certainly respect if it is positive for others.
1. If other musicians had sung a rare koniyAda "veenai kuppaiyer krithi", they would have communicated poorly and usually said something like "this is VeeNai Kuppaiyyar's krithi". Each rasika would have to talk with 5 folks around him/her to catch what the musician said . But Aruna told clearly before the mike as though it is the first ragAm in a viruttam "This is
thyAgarAja's disciple VeeNai Kuppaiyyar's krithi. Lot of yesteryears musicians used to sing the same krithi ,now it is not that much sung". She is always an excellent speaker and she is very attentive to details .small things lead to perfection, but perfection is not a small thing. A big plus!
2. She never overstretches beyond her limits , to me giving a second tAni was a clever move for her to recuperate in a 3 hour concert.That is another plus to keep the attention of rasikas sustained when she takes the next krithi .No point rushing without understanding one's limitation. A big plus!
3. She communicated at the end of RTP and tani that she is grateful to all rasikas and SKGS about her sangeetha choodAmani title and surprisingly mentioned that I am done with RTP , I will oblige to sing to your wish list. I could see atleast 2 dozen rasikas in the next 30 minutes passing chits . Ironically almost at the end she says I wanted to sing lot of new songs , however I have a lot of popular requests. A big surprise and 2 diametrically opposite statement . I am not
pulling the trigger to suggest that she may not have have new krithis in her bag (infact she demonstrated a new viurttam and an excellent krithi), but being a senior artist ,can't she control indiscipline and too much of hush-hush that is at times making the crowd more and more boisterous. Carnatic musicians should tirelessly strive for silence and attention from rasikas .A Big minus to me.
4. Her pallavi and swarams was superficial in depth but extremely good for many in the crowd, she received thundering applause ,many rasikas around me when she connected gurugohAya and rangapurAvihAra , they thought it was heavenly bliss. This is -ve to me , but I certainly respect if it is positive for others.
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Vocalist
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Geez, only 3 hours, yet with 2 thanis? She's definitely losing her touch, if she needed the double break.
One criticism often dished out at Aruna Sayeeram is that her choice of pieces can be too "wishy-washy". The above list illustrates this - an obvious excess of superficiality.
I personally feel that her additional communication with the audience is a +ive. If I were in that concert hall, I'd seize the moment (yes, the overused phrase "carpe diem" applies here). Get a piece of paper and write her a question that she could answer on stage. Whether its related to composers, musical technique, musical history, her musical background etc., it'd not only let us learn more, but give us a greater appreciation of CM (especially of the artist). Also, this way, Jaya TV wouldn't be the only "free+public" means by which you could pitch questions. Of course, it'd be a great horror if EVERY CONCERT followed this principle...
Btw, Mudi Ondrin (Ragamalika) was sung by MSS a fair bit.
One criticism often dished out at Aruna Sayeeram is that her choice of pieces can be too "wishy-washy". The above list illustrates this - an obvious excess of superficiality.
I personally feel that her additional communication with the audience is a +ive. If I were in that concert hall, I'd seize the moment (yes, the overused phrase "carpe diem" applies here). Get a piece of paper and write her a question that she could answer on stage. Whether its related to composers, musical technique, musical history, her musical background etc., it'd not only let us learn more, but give us a greater appreciation of CM (especially of the artist). Also, this way, Jaya TV wouldn't be the only "free+public" means by which you could pitch questions. Of course, it'd be a great horror if EVERY CONCERT followed this principle...
Btw, Mudi Ondrin (Ragamalika) was sung by MSS a fair bit.
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arasi
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muDiyonRi mUvulagangaLum popularized by MSS is is from tiruvAi mozhi by periAzhvAr.
I am glad Aruna Sayeeram sang it instead of singing kurai onRum illai or kATRinilE varum gItam as has become the trend to invoke the memory of MSS in concerts these days...
I am glad Aruna Sayeeram sang it instead of singing kurai onRum illai or kATRinilE varum gItam as has become the trend to invoke the memory of MSS in concerts these days...
Last edited by arasi on 09 Aug 2006, 09:36, edited 1 time in total.
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arasi
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By the way, when it comes to introducing a song or explaining something in tamizh, english or hindi (marathi too?), Aruna really delivers--in a clear and crisp way. Those in the auditorium do not have to put their heads together to figure out her words...
Last edited by arasi on 10 Aug 2006, 01:20, edited 1 time in total.
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arasi
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ksrimech,
muDiyonRi is from peria tirumozhi. Not nammAzhvAr's. This particular verse occurs in periAzhvAr's description of little krishnA in the ennAtan (my lord) section: starting from pAsuram 312--then 313, 315 and 316, of nAlAyira Divya prabandam aka tiru vAi Mozhi.
muDiyonRi is from peria tirumozhi. Not nammAzhvAr's. This particular verse occurs in periAzhvAr's description of little krishnA in the ennAtan (my lord) section: starting from pAsuram 312--then 313, 315 and 316, of nAlAyira Divya prabandam aka tiru vAi Mozhi.
Last edited by arasi on 16 Aug 2006, 07:11, edited 1 time in total.
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ksrimech
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Arasi Madam,
peria tirumozhi is by tirumangai AzhvAr. This piece, muDiyonRi mUvulagangaLum, is still from periyAzhvar tirumozhi.
nAlAyira divya prabandam is not tiruvAimozhi alone. It consists of 24 prabhandams including tiruvAimozhi. So it is not called tiruvAimozhi. Rather is given the name DraviDa vEdam like tEvAram, tiruvAsakam and others.
periyAzhvAr tirumozhi with tiruppAvai, nAcchiyAr tirumozhi, perumal tirumozhi and others falls under mudal Ayiram
periya tirumozhi with tiruneDuntANDagam and tirukuRuntANDAgam constitutes all of iraNDAm Ayiram.
tiruvaimozhi constitutes all the third thousand or mUnRAm Ayiram.
nAngAm Ayiram consists of the non musical part or iyaRpA, more prosaic but set to tunes in the 20th and 21st century by Sri T. K. Rangachari, Sri K. Venkataraman, Sri M. M. Dandapani Desikar (and the music director of the tamizh movie, tirumazhisai AzhvAr) and many others.
If you want, I can write up a short essay on nAlAyira divya prabandam and post under general discussions and may be have some discussion on the music in the divya prabandams, tEvAram, tiruvAsakam and others.
Thank you.
peria tirumozhi is by tirumangai AzhvAr. This piece, muDiyonRi mUvulagangaLum, is still from periyAzhvar tirumozhi.
nAlAyira divya prabandam is not tiruvAimozhi alone. It consists of 24 prabhandams including tiruvAimozhi. So it is not called tiruvAimozhi. Rather is given the name DraviDa vEdam like tEvAram, tiruvAsakam and others.
periyAzhvAr tirumozhi with tiruppAvai, nAcchiyAr tirumozhi, perumal tirumozhi and others falls under mudal Ayiram
periya tirumozhi with tiruneDuntANDagam and tirukuRuntANDAgam constitutes all of iraNDAm Ayiram.
tiruvaimozhi constitutes all the third thousand or mUnRAm Ayiram.
nAngAm Ayiram consists of the non musical part or iyaRpA, more prosaic but set to tunes in the 20th and 21st century by Sri T. K. Rangachari, Sri K. Venkataraman, Sri M. M. Dandapani Desikar (and the music director of the tamizh movie, tirumazhisai AzhvAr) and many others.
If you want, I can write up a short essay on nAlAyira divya prabandam and post under general discussions and may be have some discussion on the music in the divya prabandams, tEvAram, tiruvAsakam and others.
Thank you.
Last edited by ksrimech on 17 Aug 2006, 23:13, edited 1 time in total.
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rajeshnat
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Ksrimech,If you want, I can write up a short essay on nAlAyira divya prabandam and post under general discussions and may be have some discussion on the music in the divya prabandams, tEvAram, tiruvAsakam and others.
Please do as you suggested . Also include Tiruppugazh . If you give us pointers to identify each of these in concerts that would be great .
I would prefer you to go one at a time , give us enough time to read and contemplate (no one big post...)
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arasi
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ksrimech,
First of all, please don't call me madam. From what I gather, many of you seem to know much more about many more things than I do. I don't deserve the deference. Whatever the level of learning, we all tend to treat each other on an equal basis here (at least many of us do, and I hope it does not offend others;)).
Yes, please enlighten us with your postings.
Coming to muDiyonRi again, my nAlAyira divya prabandam published by tiruvEngaDAttAn tiru manRAm (1973) classifies the pAsurams thus:
periAzhvAr: 473 the very first set of verses where muDiyonRi occurs. Next comes ANDAl's 30 tiruppAvai, 143 nAcchiAr tirumozhi and so on.
I shouldn't have said peria tirumozhi, I understand...
First of all, please don't call me madam. From what I gather, many of you seem to know much more about many more things than I do. I don't deserve the deference. Whatever the level of learning, we all tend to treat each other on an equal basis here (at least many of us do, and I hope it does not offend others;)).
Yes, please enlighten us with your postings.
Coming to muDiyonRi again, my nAlAyira divya prabandam published by tiruvEngaDAttAn tiru manRAm (1973) classifies the pAsurams thus:
periAzhvAr: 473 the very first set of verses where muDiyonRi occurs. Next comes ANDAl's 30 tiruppAvai, 143 nAcchiAr tirumozhi and so on.
I shouldn't have said peria tirumozhi, I understand...
Last edited by arasi on 19 Aug 2006, 03:13, edited 1 time in total.
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kiransurya
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arasi
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aDakki vAsikka sonnAl, amrkkaLap paDuttugiRIrgaLE?
coolji,
'karman kI gati nyAri'--jismE paNDit hOWE bhikhAri, aur peasant becomes royalty!
cml and DRS, or should I say Fr. Shastry and J. Dikshitar? You make me blush in embarrassment. Could the 'other' connotation in some parts of the world be the underlying cause? What do I know?
No, I put it all down to the weekend spirit--I mean, weekend mood.
Have a good one...
coolji,
'karman kI gati nyAri'--jismE paNDit hOWE bhikhAri, aur peasant becomes royalty!
cml and DRS, or should I say Fr. Shastry and J. Dikshitar? You make me blush in embarrassment. Could the 'other' connotation in some parts of the world be the underlying cause? What do I know?
No, I put it all down to the weekend spirit--I mean, weekend mood.
Have a good one...-
drshrikaanth
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