Ananya is holding a youth festival @ Ananya Sabhangana, 4th Main Road Malleswaram. They have programs through Saturday and the flyer is attached.
May 12th, Saturday - 6:30 PM
Vid. Ashwin Anand - Veena
Vid. A. Radhesh - Mridanga
Vid. Omkar Rao - Ghata
Venue: Ananya Sabhangana
4th Main Road, Malleswaram
Bangalore
Also, an award function follows the next day, Sunday. Details are in the attached flyer.
Ashwin Anand - Veena - Ananya Sabhangana - Blore - May 12
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gardabha_gana
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- Joined: 24 Dec 2006, 07:44
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gardabha_gana
- Posts: 1033
- Joined: 24 Dec 2006, 07:44
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srikant1987
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- Joined: 10 Jun 2007, 12:23
Re: Ashwin Anand - Veena - Ananya Sabhangana - Blore - May 1
Was hoping G-g would put the list. 
? (varNam) - kannaDa - Adi
tulasi daLa - MMG - rUpaka - T (RNS)
cAlAmElarA - mArgahindOLam - Adi - T
ninnu sEvincina janulaku - yadukulakAmbhOji - cApu - Subbaraya Shastri (RS)
cinna nADE - kalAnidhi - Adi - T
shambhO mahAdEva - kAmavardhani - rUpaka - T (RS)
bAlagOpAla - bhairavi - Adi - MD (RTS)
tani
two more rather heavy songs
It was a beautiful concert.
The varNam very quickly brought briskness to the concert. MMG was done very well. I began liking the krti more upon listening to the rendition, especially the anupallavi is so beautiful! I think the tArasthAyi always packs a punch in MMG.
The yadukulakAmbhOji AlApanai was very complete, very mature and very wholesome. Wish it had been divAkara tanujam! Then again, ninnu sEvincina is a beautiful krti too.
bhairavi AlApanai was also very good. The tAnam was lovely; the tALam strings were very diligently employed, and they were very well audible too. I wished that was done for the krti too! My obsession with the tALa strings began with a mundu venuka rendition in an NGS concert by Sri Trivandrum Venkataraman. Every time they were strummed it added to the rapture I experienced ...
Notwithstanding it, it was lovely to listen to bAlagOpAla. Has been a while since I've come across it. The sudden rareness did add considerably to my relish!
I missed a neraval there. If something else had to be sacrificed to get time for the neraval, I'd choose the kAmavardhani.
Sri Radhesh accompanied with restraint, which is likely necessary for a veena concert. (Violin Vidushi Nalina Mohan put it as, "hEgiruvabEkO, hAgittu.") He was conscientious and made sure never to upset Sri Ashwin Anand's flow of thought, but there might have been a rare occasion when Sri Ashwin just wanted him to play anything.
The tani was delightful. Especially the khaNDanaDai round by Sri Radhesh was so musical, fun-filled and thrilling ...
Sri Ashwin Anand's musicianship is amazing for his age. However, like "vainika" pointed out, he uses very little split-fingering, and also uses sliding for gamakas at times (like for the ma of yadukulakAmbhOji). This perhaps took out considerably from the kAmavardhani, which is a rAgam I feel is extremely demanding on neatness and technique.
? (varNam) - kannaDa - Adi
tulasi daLa - MMG - rUpaka - T (RNS)
cAlAmElarA - mArgahindOLam - Adi - T
ninnu sEvincina janulaku - yadukulakAmbhOji - cApu - Subbaraya Shastri (RS)
cinna nADE - kalAnidhi - Adi - T
shambhO mahAdEva - kAmavardhani - rUpaka - T (RS)
bAlagOpAla - bhairavi - Adi - MD (RTS)
tani
two more rather heavy songs
It was a beautiful concert.
The varNam very quickly brought briskness to the concert. MMG was done very well. I began liking the krti more upon listening to the rendition, especially the anupallavi is so beautiful! I think the tArasthAyi always packs a punch in MMG.
The yadukulakAmbhOji AlApanai was very complete, very mature and very wholesome. Wish it had been divAkara tanujam! Then again, ninnu sEvincina is a beautiful krti too.
bhairavi AlApanai was also very good. The tAnam was lovely; the tALam strings were very diligently employed, and they were very well audible too. I wished that was done for the krti too! My obsession with the tALa strings began with a mundu venuka rendition in an NGS concert by Sri Trivandrum Venkataraman. Every time they were strummed it added to the rapture I experienced ...
Notwithstanding it, it was lovely to listen to bAlagOpAla. Has been a while since I've come across it. The sudden rareness did add considerably to my relish!
I missed a neraval there. If something else had to be sacrificed to get time for the neraval, I'd choose the kAmavardhani.
Sri Radhesh accompanied with restraint, which is likely necessary for a veena concert. (Violin Vidushi Nalina Mohan put it as, "hEgiruvabEkO, hAgittu.") He was conscientious and made sure never to upset Sri Ashwin Anand's flow of thought, but there might have been a rare occasion when Sri Ashwin just wanted him to play anything.
The tani was delightful. Especially the khaNDanaDai round by Sri Radhesh was so musical, fun-filled and thrilling ...
Sri Ashwin Anand's musicianship is amazing for his age. However, like "vainika" pointed out, he uses very little split-fingering, and also uses sliding for gamakas at times (like for the ma of yadukulakAmbhOji). This perhaps took out considerably from the kAmavardhani, which is a rAgam I feel is extremely demanding on neatness and technique.
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gardabha_gana
- Posts: 1033
- Joined: 24 Dec 2006, 07:44
Re: Ashwin Anand - Veena - Ananya Sabhangana - Blore - May 1
Srikanth - was hoping you would put it up We have a family function coming up and was away from the internet. I enjoyed Ninnu sevanchina immensely. This has become a favorite of mine, and Ashwin's rendition is so reflective of his guru's (Vid Vedavalli) - i can listen to it on and on. I particularly liked the tanam, chalamelara and bala gopala. I was also a bit disappointed waiting for the usual neraval at neela neerada shareera. The time crunch did it I think. The swarams for pantuvarali and bhairavi were very nice. The song selection was very good - with a good blend of not so common songs and 1 pratimadhyamam and 2 shuddhamadhyamam ragas delineated. The varnam was nice and new to me, a composition of Patnam. At the end was a song in neelambari followed by a Tillana.
I was extremely impressed with the Mridangam playing. His sensitive playing was a treat - particularly when an instrument like the veena demands it, and moreover, for a style such as Ashwin's with its subtelities and nuances. His sensitive playing was so self evident - even in a small hall such as the sabhangana. I look forward to this pair performing in the years to come! The ghatam artist Omkar, too played with great sense of anticipation and coordination. Believe he was also a recent recipient of the Yuva Puraskara.
As Vidushi Nalina mohan aptly described, we should congratulate ourselves for attending this concert filled with Nemmadi Kudos to Ananya (specifically Dr. Raghavendra Rao) for having featured these sets of concerts. The next day, Vids. Rajkamal, Ashwin and Radhesh were awarded the Yuva Puraskara by Prof. UR AnanthaMurthy, Prof. HK KeshavaMurthy, Dr. Jairaj and others. It was very touching to see all the three dedicating it to their gurus (Vids Shashaidhar, Neela Ramgopal, Ramani - Rajkamal, HV Krishnamurthy, Vedavalli - Ashwin, Lakshminarayana - Radhesh) one could get a sense of what the gurus meant to them, in addition to family and friends.
I sincerely hope that organizations in bangalore provide an opportunity for instrumental solos to such talented artists.
We have a family function coming up and was away from the internet. I enjoyed Ninnu sevanchina immensely. This has become a favorite of mine, and Ashwin's rendition is so reflective of his guru's (Vid Vedavalli) - i can listen to it on and on. I particularly liked the tanam, chalamelara and bala gopala. I was also a bit disappointed waiting for the usual neraval at neela neerada shareera. The time crunch did it I think. The swarams for pantuvarali and bhairavi were very nice. The song selection was very good - with a good blend of not so common songs and 1 pratimadhyamam and 2 shuddhamadhyamam ragas delineated. The varnam was nice and new to me, a composition of Patnam. At the end was a song in neelambari followed by a Tillana.I was extremely impressed with the Mridangam playing. His sensitive playing was a treat - particularly when an instrument like the veena demands it, and moreover, for a style such as Ashwin's with its subtelities and nuances. His sensitive playing was so self evident - even in a small hall such as the sabhangana. I look forward to this pair performing in the years to come! The ghatam artist Omkar, too played with great sense of anticipation and coordination. Believe he was also a recent recipient of the Yuva Puraskara.
As Vidushi Nalina mohan aptly described, we should congratulate ourselves for attending this concert filled with Nemmadi
Kudos to Ananya (specifically Dr. Raghavendra Rao) for having featured these sets of concerts. The next day, Vids. Rajkamal, Ashwin and Radhesh were awarded the Yuva Puraskara by Prof. UR AnanthaMurthy, Prof. HK KeshavaMurthy, Dr. Jairaj and others. It was very touching to see all the three dedicating it to their gurus (Vids Shashaidhar, Neela Ramgopal, Ramani - Rajkamal, HV Krishnamurthy, Vedavalli - Ashwin, Lakshminarayana - Radhesh) one could get a sense of what the gurus meant to them, in addition to family and friends. I sincerely hope that organizations in bangalore provide an opportunity for instrumental solos to such talented artists.