paTTabhirAma Pandit@Thiruvanmiyur (crt #19) on April 17th,2010
--------------------------------------------------------------------------
Shruthi jauhari@mantra's house (rasikas crt #15) on Apr 12th,2009
Vijaya Shiva @ Agastheewarar Temple (rasikas crt #16), June 20th, 2009
Aishwarya Venkatraman @nAgeshwaran's concert on Dec 20th ,2009
sandhya dhArani-badri govindarajan-aravind(crt #18)@rAgasudha on Jan 1st,2010
and after a long gap
.....
.....
.....
paTTabhirAma Pandit@Thiruvanmiyur (crt #19) on April 17th,2010
We are planning to start the concert series , now with a name rasayana chiefly championed by our beloved karni , who has now turned from cool to geek(I cant find the cool smilie only geek smilie is there in this new site). The concert starts sharply at 6pm in
Home of Meera & Karthik.
Q-201 The Atrium
22 Kalakshetra Road
Thiruvanmiyur
Chennai 600041
You dont have to be at home if you are in chennai to cheer the bangalore royal challenger , the bangalore team has already almost made it to the semis of IPL with their fairly high runrate, instead come and enjoy the bangalore alchemists(rasayAna ) of Today ,paTTabhirAma pandit- spananthapadmanabhan and manjunAth.
I hate to miss a raskikas-by-any-other-name concert, but had committed to see Sumitra Vasudev this evening. I hope you guys had an excellent concert.
By the way... in the enumeration of history, has Aishwarya Venkatraman's concert at Prema Rangarajan's house been left out? Wasn't that under the Rasikas' horse pieces?
Nick , yeah we had a fabulous concert with a lovely ambience ( am sure you would have loved it ) .. Even though i had to leave after the thani , it was great catching up with Mrs and Mr.Uday , Cool , rajesh , happened to say "Hi" to Mrs.cool and kedar ( sorry , i was sure there were few other forumites , whom i dont know personally and missed interacting with them today) . Sri.Narasimhan from Asthika samajam Thiruvanmiyur gave a lovely speech as usual regaled with old anectodes . I just love all his speeches. Very sad to leave as a pallavi was being requested as i was leaving . Waiting for Rajesh for the complete report .. And a big thanks to the host for a lovely coffee and mixture
paTTabhirAma Pandit@Thiruvanmiyur(crt #19)on April 17th,2010
------------------------------------------------------------------------------
Vocal : paTTabhirAma Pandit -sishya of his mother nAgarathnammA , vallabham kalyAnasundaram and impeccable KV narAyanaswami
Violin : S P ananthapadmanAbhA - sishya of A. kanyAkumAri
Mrudangam : B C manjunAth - sishya of TK Murthy
Concert duration : 3 hours and 10 minutes and an exclusive 14 minute additional speech by ashtika samAjam narasimhan
Sponsors : By rasikas under coolkarni's newly formed rasayAna
Theme: Mysore Composers
1. viribOni - bhairavi - Pacchimiriyam Adiyappa
2. sakEtha nagara (RS,N S) - harikAmbOdhi - Mysore sadAshiva rao
brief rAga sketch
neraval in rAjitAmara pAla rAmacandra bhUpAla rAjarAja vandita for 3 mins
swaras for 5 mins
3. dattAthreya(R) - ranjani - sachidAnanda swami
5 mins alApanai and 3 mins violin return
4. shree jAlandhara(S) - gambeerAnAttai - Jayachamaraja Wodeyar
6 mins swaras
5. mAnayatha maNjula vilAsa(R)- KOkilapriyA - Jayachamaraja Wodeyar
7 mins alApanai and 4 mins violin return
6A. brOcEvArevarurA(R N S T) - kamAs - Mysore vasudevAcharyA
9 mins alApanai and 6 mins violin return
11 mins neraval in "Aturamuga karirAjuni brOcina vAsudEvuDE nIvu gadA" and 9 mins swaras
6B. tani for 9 mins
Speech Break by Ashtika samAjam for 14 mins
This is my third concert of PattabhirAma , the first one was when he sang for UKS's laya lAvanya and the next sometime in rAgasudha . Every time he impressed me with his classicism , this time he immensely impressed me by significantly raising the bar of classicism.
Pattabhi started with a brief bhairavi alApana to launch into one of the most classical varnams viribOni and he was right there ,a little more stay in madhyamakAlam there in the varnam would have been better but nevertheless very well rendered. KVN has particularly taken few krithis and immortalized that , the submain was his classicism intense sAketha nagara , really paTTabhi took off excellently , the alApana of harikAmbOdhi was brief the neraval was quite elaborate and a fantastic swara prasthAnam with a touch of kanakku followed .
The contrast of ranjani was very meditative and I liked the choice of that rAga after the racy harikAmbOdhi, another kVN immortalized number of contemporary swamiji followed and was very well done. Another lovely contrast from ranjani to gambeeranAttai just was wonderful , this rare number is one that I heard for the first time when santhAnam sang it , and the krithi is just lovely and there was racy swaras at the end of gambeera nAttai and was well done .The next was a scholarly treatment in a rAga kOkilapriyA , it was near close to tOdi ,but I did know it was not. He came with a very vilamba kAla krithi of JC WodeyAr and I dont recollect hearing that at all , nevertheless well done.
HarikAmbOdhi as a sub main and khamAs as a main may look a bit of a bad choice more in paper and certainly the way he sang kamAs was very noteworthy . kamAs alApana had the right touch of the so called near KVN sowkhyam of khamAs , the masterpiece krithi was very well done, neraval was superb almost nearly coming close to the famous recording of KVN -Nagai murali - Vellore combination of 1990's US tour, there was KVN'ish smoothness and sowkhyam in the neraval and true to his guru's style even in upper sthAyi he only sang and not shouted.
The speech by Asthika samAjam narasimhan was brief , the first half was his asscociation with Uday's father in law soolamangalam rAmMohan and then few anecdotes of his often Poshakku and thripti keywords recalling maharAjapuram Vishwanatha Iyer's kamAs rendition before vasudevacharyA , where vasudevAcharya told MVI's rendition was like a rich bride even though when he tuned she was not as rich.
Last edited by rajeshnat on 19 Apr 2010, 10:56, edited 2 times in total.
7. bhOgEEndra sAyinAm - kuntalavarAli - ST
8. RTP - tODi
pallavi line was "dAsharathE karunA bayO niDhE yiNa?? kula thilakE"
alApanai for 19 mins in two stages (5 and 8 mins alApanai) with violin return in two stages (3 and 4 mins)
tAnam for 6 mins
pallavi for 7 mins with trikAlam
13 mins swararAgamAliga in tODi + nalinakANthi + revati + bilahari
11. tom tom ... needu mahima - poornachandrikA - poochi Iyengar
12. nee nAma roopamulaku - sowrAshtram - T
Just when I thought I hope the speech should only serve as a strategic time out to freshen for pallavi and not a rush towards neenAma , I just recollected a situation 2 years back when suryaprakash sang in an april 2007 concert at manakkal's house when he launched into pallavi after the speech of nAgeshwaran , something in me said let this brilliant musician pandit go for a pallavi at the end of 2 hours , and just to be in the safer side when the clock striked 20:20 , I shouted pallavi please.
"Pallavi I will surely sing, but it will take an hour" was pattabhi's response , immediately I went next step pallavi in keeravAni just to ensure that he does not take may be a kalyANi as it was quite a long concert, people may wind with a little less taxing rAgA and also just to hear KVN'ish keeravAni, uday said pallavi yes but let us leave it to artist .I had no qualms there and certainly that suggestion of uday was nice, a good second round kickstart.
I think pattabhi sang a brief alApana, the mridangist and pattabhi spoke and possibly they felt before launching it to pallavi let us get the momentum and launced into kuntalavarAli, possibly this number has no connection with Mysore composer , I think viribONi author had his kannada land roots and all the rest were in and out mysore composers. Nevertheless the momentum he got back .
And he launched into pallavi in his grand favourite rAga (incidentally all three occasions that I heard him I have heard him sang tOdi, not that I am implying that he is repeating), tOdi alApana was superb, well built in two stages with adequate brighas and a madhyamakAlam first half and then cutting loose with top notch tara sthAyi cruise.
TAnam was very well done and I was satisfied may be another few minutes with a mEl Kalam and with mridangam would have been better . Pallavi was spectacular, it was not a pallavi where he sang just few neraval lines, but instead was very very complete, there was a trikAlam and the swaras were superb.
Todi swaras in the first 4 minutes was TN rajarathnamish in and out nAdawara piDI , a deluge of patterns with a right fast formula one kAlapramanam, he jumping from there to nalinAkanthi(2 rounds there) was brilliant , swaras in nalinakAnthi were like TRS very intense , long and sustained classicism, revati had its share of unique patterns and he particularly surprised with a fourth rAga bilahari as usually when rAgas like sindubhairavi or revati is taken it means it is the last rAgamAliga swaras.
There was a brief slokham in bhAgeshri and very emotive KVN'ish who must have taken it from MDR, very very lovely rendition of sAgara sayana vibhO, an apt tukkada for the flat which is in kalakshetra road. I felt the last behAg kandu dhaya mAdho had just not the behAg touch but a significant yamunAkalyAnish touch (I am not sure if he sang two rAgas as rAgamAliga, I am assuming it is an unintentional slip into yamunAkalyani), the krithi of anandadAsa had bEhag and a very slight of even mAnd there. thillAna was well done
Overall a near R N S in submain , a R N S in main, a fantastic pallavi , in the emotive side a slokham and a ugabbhooga and the concert was for 3 hours 10 minute, five fantastic quantitative ingredients to a wholesome concert. Am I referring any thing not at all????.I had a chance to drop the vocalist and mridangist at around 11:20 for the 11:30 pm train to bangalore at madhyamkALam station more commonly known as central , kind of I raced as fast as his swara rAgamAliga, nevertheless when I reached home ,the index of my wife was in a bit panic mode.Thank god my mom was in neelAmbari then.
The violinist SP ananthapadmanAbha was excellent,nice kanyAkumari trademark azhuttam and a fairly high shruthi suddham. I have not heard this mridangist manjunAth a young vidwan who is a sishya of TK murthy, he played very well with a nice usage of thoppi only in khamAs there was a brief noticable vOttam and in the high speed gambeeranAttai the kAlapramanam was bit slow when compared to the racing vocalist. But overall a fantastic first impression,semmu should say more about tani , I was not concentrating much.
Our concerts are definitely great not because of we participating ,but in general the musicians have a desire to sing more ,and it just comes out very naturally without any of our insistence, may be an occassional pallavi please is the only coercion(cool we will tell that upfront) , but artists just go into the zone of classical flow with continued excellence.The passion of his pallavi was a true testimony for the success that we had, you all will hear that soon.
Thanks to Uday and his cobrother's family , cool's family,semmu86 and mantra was there too. Uday did the initial kickoff , quite apt with his name and introduced the series.Overall a musician with a very high classical touch and he kept it very engaging.Overall an excellent concert for 3 hours and 10 minutes.
Last edited by rajeshnat on 19 Apr 2010, 14:26, edited 5 times in total.
It is very heartening to hear about the success of this concert and eagerly looking forward to listen to the recording.
B C Manjunath (http://bcmanjunath.com/) is mRdanga vidwan B K Chandramouli's son. They come from a family rich in music - Rajamma Keshavamurthy, veteran vocalist, Sons B K Chandramouli and B K Anantha Ram (Flautist). Next generation
B C Manjunath and Anantha Ram's son Amit Nadig (Flautist).
And the entire family is actively involved in organizing events (via Vamshi Academy) and are doing a great job in providing rich musical fare in Bangalore.
rajeshnat wrote:
But overall a fantastic first impression,semmu should say more about tani , I was not concentrating much.
.
Sri.Manjunath played very well for the krithis as well as thani . Even for me , this is the first time am listening to him , probably due to the fact that he is based in bangalore?? .. The thani was played very well with a very good thisra gathi . My humble opinion( making this opinion only as a rasika and not as a mrudangam student ) is that , a little more clarity should be achieved in his vAsippu , especially while playing thisram .. There is a sound of "sssssh" ( rubbing of the palm) , which should not come . After the thisram , there were some nice podi sollus and pharans leading to a classic "Thanjavur" school mOhrA-kOrvai .. I liked the way he played the three khandam in mEl kAlam thrice in the final korvai .
Looking forward to listen to him more frequently in the future ..
semmu86 wrote:My humble opinion( making this opinion only as a rasika and not as a mrudangam student ) is that , a little more clarity should be achieved in his vAsippu , especially while playing thisram .. There is a sound of "sssssh" ( rubbing of the palm) , which should not come .
Very seasoned rasika indeed! 8)
Btw rajeshnat, even though 8) is the "cool" icon, karni somehow seems to suit him more! Nice choice!
===
semmu86, I think keerthi refers to a pallavi of KVN's formed from the (first?) verses of "bhAvayAmi raghurAmam" set in sAvEri.
Nick H wrote:
By the way... in the enumeration of history, has Aishwarya Venkatraman's concert at Prema Rangarajan's house been left out? Wasn't that under the Rasikas' horse pieces?
Nick
Looks like we have to count it correctly there were also few jam sessions and few bangalore concerts also, may be I and karni have to talk and get the count right.
semmu86 wrote:keerthi , though i have not heard this pallavi mentioned in the songlist , the pallavi you are referring to must be "dasaratha bAla ramachandrayyA"
I stand corrected...
srikant1987 wrote:semmu86, I think keerthi refers to a pallavi of KVN's formed from the (first?) verses of "bhAvayAmi raghurAmam" set in sAvEri.
Nope.. case of mistaken identity.. what with dAsarathE and dasarathabAla..
ksrimech wrote:9A. slOkham "nArAyana nAma" - bhAgeshri - ??
Rajesh, if you remember a few more words in the SlOka, it will be easy to find out more about it.
Unfortunately I dont recollect anything more, I only know to chant 'nArayana nAma' kind of apt right that too with ksrimech asking. |(
Last edited by rajeshnat on 20 Apr 2010, 13:00, edited 1 time in total.
The line should be dASarathE karunA payOnidhE inakula thilaka.
dASarathE - SrIrAman, son of daSarathan; one who could drive his chariot in 10 directions.
karunAbayOnidhE - repository of "Compassion" & "Scare"; This is not correct!
karunApayOnidhE - Ocean (Repository) of Compassion.
(payOnidhi could also be taken to mean pArkaDal; though it directly is not the same; which gives use the meaning One who is as compassionate as the Milk Ocean, kSIrAbdhi. The kSirAbdhi compassionately gave all the wealth when the dEvAs and the asurAs churned it. payOdhi directly means ocean)
inakula thilaka - Crest jewel of the SuryavamSam.
Krishna,
It is nice, your explaining multiple meaning of words and expressions every now and then. I bet many on the forum think (as I did some years ago) that you are a mature scholar of the senior kind! Some of you yongsters on the RasikAs are awesome in your knowledge in many subjects!
rajeshnat wrote:Uday
I am sure you have something to say about the concert. I do know for sure that you are not a shy and modest host.
No, certainly not "shy and modest" . Very hard pressed for time .
It was an excellent trio and Pattabhiram's shruti shuddham, sowkhyam and control over laya stood out. Ananthapadmanabha met the challenge very well and Manjunath supported it excellently. After the concert, we had a good time chatting with the artists and I was surprised to hear that Pattabhiram was not a full-time career musician; he has a flourishing career as an engineer in a multinational by day and practices music at night !
rajeshnat wrote:............maharAjapuram Vishwanatha Iyer's kamAs rendition before vasudevacharyA , where vasudevAcharya told MVI's rendition was like a rich bride even though when he tuned she was not as rich.
If I am not mistaken, this was after an MS concert where MV is reported to have asked MS " Idhu Naan Potta Paatta ? "
This incident finds mention in Gowri Ramnarayan's "MS & Radha - Saga of Steadfast Devotion" - page No 172:
I quote the relevant passage from the book as follows:
" That MS did more than justice to the composition was clear when after her concert at Kalakshetra where she sang his Khamas Kriti "Brochevarevarura" composer Mysore Vasudevachar close to 90 took the mike to say " I feel like the poor father who sent his daughter to her husband's house in black beads and glass bangles, but watched her return in a dazzle of silk and gems."
cienu wrote:............maharAjapuram Vishwanatha Iyer's kamAs rendition before vasudevacharyA , where vasudevAcharya told MVI's rendition was like a rich bride even though when he tuned she was not as rich.
If I am not mistaken, this was after an MS concert where MV is reported to have asked MS " Idhu Naan Potta Paatta ? "
This incident finds mention in Gowri Ramnarayan's "MS & Radha - Saga of Steadfast Devotion" - page No 172:
Unquote
Cienu: The same incident is mentioned to have happened after the renditions of MVI, GNB and as you rightly point out MS.
When I interviewed S.Rajam's reminiscences, he recalled this incident as the one happened after a MVI concert and he also mentioned that he was present when MV showered accolades on MVI.
I would tend to go with him as that is the only version that seems to have some first hand information:-)
Thanks for the recording. Heard the first part.
Faithful xerox of the guru
Very talented youngster who has undoubtedly put in effort to master music...but, being a duplicate copy wouldn't suffice
To put it bluntly, I would rather listen to an old KVN concert
Sad that such a talented youngster has still not found his own style....Keep up the hard work.
Apologies for the harsh words.
dikshitarbhaktha wrote:Thanks for the recording. Heard the first part.
Faithful xerox of the guru
Very talented youngster who has undoubtedly put in effort to master music...but, being a duplicate copy wouldn't suffice
To put it bluntly, I would rather listen to an old KVN concert
Sad that such a talented youngster has still not found his own style....Keep up the hard work.
Apologies for the harsh words.
Hello dikshitarbhaktha,
Don’t you feel that you are being a bit insensitive ? Why use harsh words in the first place and then apologise ? Pattabhirama Pandit is a young musician , a KVN: disciple and he will emerge as an eminent musician in his own right in the years to come.
After all did not the great musician from Palghat too have to go through the grind before emerging out of the shadows of the distinguished Ariyakudi. ?
Well, I might sound harsh but isn't it better to offer the youngster the forthright comments _now_ rather than later when it might be too late for course correction?
Honestly, I was stunned when I heard the Viriboni varnam - it was just like a KVN old tape...same vocalization..same stress...etc.
guru's bani is good to have but guru's 100% vocalization ends up being imitation.
if you listen to kvn's early concerts (earliest i have heard is early 60s) - it is distinct vocalization but steeped in his guru iyengarval's bani....
nevertheless good work pattabhi.
cienu wrote:
" That MS did more than justice to the composition was clear when after her concert at Kalakshetra where she sang his Khamas Kriti "Brochevarevarura" composer Mysore Vasudevachar close to 90 took the mike to say " I feel like the poor father who sent his daughter to her husband's house in black beads and glass bangles, but watched her return in a dazzle of silk and gems."
Cienu sir , this comment about MV on MVI finds a place in the documentary of MVI , which used to be broadcasted in DD long time ago . If someone is interested , i can post that documentary . It has a few lines of immortal "Brochevarevarura" & "ilalO " sung by MVI and some priceless photos of MVI with TNR..
diskhitharbhaktha, Clearly u have no clue what u r talking about. Pandit is in no way a carbon copy. While the songs he chooses are classic KVN school, his swara patterns, his extensive sangathi selections, differential brigha/akara modulations and the additional kanakku he brings are definitely a notch higher in mix than KVN ever preferred. And, I dont even want to get into speed and pace of concert. KVN was slower in pace and tempo. Additionally, KVN's alapanas were not as expansive, neither were his swaras as long in duration. Pandit is very much original, his applications beautiful and irrespective of your opinions, he will do well. The younger generation be it Pandit, Abhishek or anyone new for that matter dont need either your consent or so called "goodwill". Your words are tiring, hateful and just suck! Sorry for being harsh, but your pearls of wisdom dont really count!
Last edited by mahesh3 on 24 Apr 2010, 06:36, edited 1 time in total.
Gowri Ramnarayan's book is not a casual blog . So any incident mentioned in her book would have been thoroughly vetted. On the other hand, the MVI story rings true from multiple sources too.
Conclusion: Shri Mysore Vasudevachar repeated the story on two separate occasions (perhaps more !) ... once in the 30's with respect to MVI and again around 1950 with respect to MS. All of them MVI, GNB and MS have brought sparkle and glory to the song in their own way. So perhaps Shri Vasudevachar should consider the Draupadi model for the song.
Obviously no insult to Shri Vasudevachar but keep in mind that men, especially old men, tend to repeat themselves often....repeat themselves often...repeat themselves...
mahesh3 wrote:diskhitharbhaktha, Clearly u have no clue what u r talking about. Pandit is in no way a carbon copy. While the songs he chooses are classic KVN school, his swara patterns, his extensive sangathi selections, differential brigha/akara modulations and the additional kanakku he brings are definitely a notch higher in mix than KVN ever preferred. And, I dont even want to get into speed and pace of concert. KVN was slower in pace and tempo. Additionally, KVN's alapanas were not as expansive, neither were his swaras as long in duration. Pandit is very much original, his applications beautiful and irrespective of your opinions, he will do well. The younger generation be it Pandit, Abhishek or anyone new for that matter dont need either your consent or so called "goodwill". Your words are tiring, hateful and just suck! Sorry for being harsh, but your pearls of wisdom dont really count!
I rest my case - no point having a view and trying honestly to express it.
uday_shankar wrote:
Conclusion: Shri Mysore Vasudevachar repeated the story on two separate occasions (perhaps more !) ... once in the 30's with respect to MVI and again around 1950 with respect to MS. All of them MVI, GNB and MS have brought sparkle and glory to the song in their own way. So perhaps Shri Vasudevachar should consider the Draupadi model for the song.
Obviously no insult to Shri Vasudevachar but keep in mind that men, especially old men, tend to repeat themselves often....repeat themselves often...repeat themselves...
In the third part recording of the concert ,asthika samAjam Narasimhan talks about this incident ,wherein he was there in a sabha in mambalam where MVI was singing and vasudevAcharya talks about the incident . Possibly on the same day S.rAjam also was there(that gamakam has mentioned) , or may be for almost all brochEvA revura renditions when vasudevAcharya was there he may have told this incident, afterall the rAga is only commas right so he can repeat it again , again and again.. :$ ..
If at all shri vasudevAcharya lived another 18 years like a japanease thAtha for 114 years till 1979 , he would have seen the movie shankarAbharanam and hugged SPB for his brilliant rendition of brochevA , a terrific number , a real run for money for GNB,MM,MS and MVI.
dikshitarbhaktha wrote:
I rest my case - no point having a view and trying honestly to express it.
I don't think your honesty is questioned or doubted. Your comments come out as unduly harsh towards a young upcoming musician on the threshold of popularity . And reveal a certain naivete' to believe that "originality" will be encouraged (or even tolerated) from a musician just beginning to making a mark for himself in an art steeped in tradition such as Carnatic Music.
The part 3 recording of the concert ends with the nalinakAnthi rAgamAliga as we ran out of tape. As per coolkarni ,We have additionally recorded in a mobile device also . The second half of nalinAkanthi rAgamAliga (he sings it twice),revati and bilahari ragamAliga swaras and all the remaining tukkadas, we will upload it and will keep you all posted once when done.
Just came across this thread. I would love to listen to this concert. However, the dropbox links don't work anymore. Can anybody that recorded this concert upload the full concert again - preferably to mediafire.
Just came across this thread. I would love to listen to this concert. However, the dropbox links don't work anymore. Can anybody that recorded this concert upload the full concert again - preferably to mediafire.
uday_shankar wrote:Gowri Ramnarayan's book is not a casual blog . So any incident mentioned in her book would have been thoroughly vetted. On the other hand, the MVI story rings true from multiple sources too.
Conclusion: Shri Mysore Vasudevachar repeated the story on two separate occasions (perhaps more !) ... once in the 30's with respect to MVI and again around 1950 with respect to MS. All of them MVI, GNB and MS have brought sparkle and glory to the song in their own way. So perhaps Shri Vasudevachar should consider the Draupadi model for the song.
Obviously no insult to Shri Vasudevachar but keep in mind that men, especially old men, tend to repeat themselves often....repeat themselves often...repeat themselves...
I would go one step further to say that this kriti is one which is SO BEAUTIFUL irrespective of who sings it
karni , who has now turned from cool to geek(I cant find the cool smilie only geek smilie is there in this new site). The concert starts sharply at 6pm in 
) is that , a little more clarity should be achieved in his vAsippu , especially while playing thisram .. There is a sound of "sssssh" ( rubbing of the palm) , which should not come . After the thisram , there were some nice podi sollus and pharans leading to a classic "Thanjavur" school mOhrA-kOrvai .. I liked the way he played the three khandam in mEl kAlam thrice in the final korvai . 
8)
. Very hard pressed for time 
.