Nadasurabhi Cultural Association, (Regd.)
662, 6th Cross, 17th Main , 3rd Block, Koramangala, Bangalore.560 034.
Phone: 25539368. Email:[email protected]
Cordially invites you for the
Monthly Programme on
Sunday, 20th March 2011 at 4.15 PM
Venue: The Indian Heritage Academy Hall,
6th Block, Near Police Station, Koramangala, Bangalore. 560 095.
A Grand Flute Recital
By
Vidwan N.Rajkamal -Flute
Vidwan Mathur R. Srinidhi -Violin
Vidwan Tumkur B.Ravishankar - Mridangam
Vidwan Raghavendra Prakash - Ghatam
All are Welcome.
Vidwan Rajkamal had his early carnatic music training from Vidwan S.A. Shashidhar and now getting advanced training from senior Vidushi Neela Ramgopal and Sangitha Kalanidhi Padmashri Dr.N.Ramani. He has been performing from a very young age in all leading sabhas in India and abroad. He is a winner of the Sharabha Shastri award from Krishna Gana Sabha and several other awards and titles from prestigious organizations like Ananya and Karnataka Gana Kala Parishad. He is a recipient of Central Govt scholarships for several years. He has released carnatic music CDs. Being a graded artist, he has given many performances in AIR and TV .
Nadasurabhi - Vid.N.Rajkamal- Flute 20.3.2011
-
kssr
- Posts: 1596
- Joined: 30 Nov 2009, 15:28
Re: Nadasurabhi - Vid.N.Rajkamal- Flute 20.3.2011
Here is a brief review. The artist is young and handsome and quite a good flautist.
Vidwan N.Rajkamal commenced his concert with the Kaanada Ata Thala varnam Neranammithi. The sweetness of the rendition immediately set the stage for a pleasant evening. A brief alapanai of Vasantha followed. The krithi selected was Muthuswamy Dikshitar’s Ramachandram. Thyagaraja’s Surutti piece, Geetharthamu was the next item.
Rajkamal made it a point to announce the Pallavi line, raga, composer and tala before every kriti. It is very useful in an instrumental concert to be able to immediately relate to that particular composition.
The sub-main was Thyagaraja’s Paraloka Sadanamu in Poorvikalyani. An elaborate raga alapana brought out the beauty of the raga. Also, the artist displayed his technical virtuosity by demonstrating several complex structures which were quite enjoyable. The swara prasthara was also done quite efficiently.
After a Chenchukambhoji kriti of Thyagaraja- Vararagalaya, the artist plunged into the main number of the day. This was a Muthuswami Dikshitar’s Narasimha Agache in Mohanam. Consisting of detailed raga and swaraprastharam this was a wholesome treat to the listener. Some hard core rasikas missed the neraval which was for some reason omitted by the artist.
Final pieces were Swati Tirunal’s Ramachandra Prabhu in Sindhu Bhairavi and the intensely touching Thillana in Revathi which is a masterpiece composed by the maestro Lalgudi G Jayaraman. Concert concluded with the traditional Sourashtra Mangalam.
Mathur Srinidhi gave a commendable violin support. His following of the main artist and individual raga delineations were greatly enjoyable. Popular percussionists, Tumkur Ravishankar on Mridangam and Raghavendra Prakash on Ghatam provided able support.
Vidwan N.Rajkamal commenced his concert with the Kaanada Ata Thala varnam Neranammithi. The sweetness of the rendition immediately set the stage for a pleasant evening. A brief alapanai of Vasantha followed. The krithi selected was Muthuswamy Dikshitar’s Ramachandram. Thyagaraja’s Surutti piece, Geetharthamu was the next item.
Rajkamal made it a point to announce the Pallavi line, raga, composer and tala before every kriti. It is very useful in an instrumental concert to be able to immediately relate to that particular composition.
The sub-main was Thyagaraja’s Paraloka Sadanamu in Poorvikalyani. An elaborate raga alapana brought out the beauty of the raga. Also, the artist displayed his technical virtuosity by demonstrating several complex structures which were quite enjoyable. The swara prasthara was also done quite efficiently.
After a Chenchukambhoji kriti of Thyagaraja- Vararagalaya, the artist plunged into the main number of the day. This was a Muthuswami Dikshitar’s Narasimha Agache in Mohanam. Consisting of detailed raga and swaraprastharam this was a wholesome treat to the listener. Some hard core rasikas missed the neraval which was for some reason omitted by the artist.
Final pieces were Swati Tirunal’s Ramachandra Prabhu in Sindhu Bhairavi and the intensely touching Thillana in Revathi which is a masterpiece composed by the maestro Lalgudi G Jayaraman. Concert concluded with the traditional Sourashtra Mangalam.
Mathur Srinidhi gave a commendable violin support. His following of the main artist and individual raga delineations were greatly enjoyable. Popular percussionists, Tumkur Ravishankar on Mridangam and Raghavendra Prakash on Ghatam provided able support.