Dr M.narmadha @ MA 20-Dec-2012

[eesha]

When I entered the hall at around 10.30 AM, thOdi aalapana was almost coming to an end. I started warming up to the fast sancharas that Dr Narmadha was taking us through at the end of aalapana.

Narmadha's ninnE namminAnu (SyamasAstri, misra chapu) was sublime and meditative. With crisp bowing and mastery over techniques that are trademarks of Parur bani, the full essence of thOdi was on display without any blemish. Kriti with niraval and swaras lasted around 16 mins followed by percussion round by Shertalai Ananthakrishnan (Mrdangam), Udupi Balakrishnan (Ghatam) and Bhagyalakshmi M. Krishna (Morsing).

Ananthakrishnan's mathematical patterns and left vs right side balance were enjoyable. Bhagyalakshmi got special round of applause from audience during her turn. The percussion round lasted 19 mins.

This was followed a "filler" mayil vAhanana in mOhanam for around 5 mins.

Narmadha took up RTP in kAmboji in kanta jAti triputa tAlam, kanta nadai (4 maatra away from start). She sang the pallavi lines which were as below:

PART 1: kamalAsani duhkha dwamsini rAja rAjeSwari
PART 2: raja mathangi rathna bhooshaNi

after a detailed and lovely raga aalapana, Narmadha signalled towards mrudangist to accompany for the tAnam. The pallavi followed with tri-kaalam (but no tisram) . After swaras in kAmboji, Narmadha played raaga malika swaras in ragas kAnada, amrutavarSini, bEgada, hameerkalyani, shAna and himdOlam. The swaras in hameerkalyani and hindolam were torrential, it attracted spontaneous applause from audience. Ananthakrishnan played a "mini-thani" at the end of the RTP. I am not sure whether Narmadha expected that as she appeared a bit surprised.

This was followed by a soothing jagadOdhAraNa. At the end of this I had to leave, though reluctantly. Perhaps there were couple of thukkadas after this item. I saw Nick in the audience, perhaps he can list the remaining items.

On the whole a high quality concert.

(NOTE: it is a pleasure writing elaborate reviews for good concerts. And no point elaborating on average / poor concerts)

[Nick H]

It was a lovely concert, warming to the heart and spirit. Narmada uses dynamics in her playing more than many others, and in finely judged amounts.

Bhagyalakshmi was the junior of the percussionists, without that 100% surety of experience, but she played very, very well, and was sure of herself during the thani, handling the calculations with an ease that allowed her to concentrate on the sound, and doing some stuff that those of us who have ever held a morsing to our teeth would have recognised as difficult.

[ramanathan]

[rsbiju]

Hi,

Here is the complete song list and concert details:

Dr.M Narmadha - Violin
Cherthalai R Ananthakrishnan - Mridangam
Uduppi Balakrishnan - Ghatam
Bhagyalakshmi M Krishna - Moharsing

Venue: Music Academy, Chennai on 20-Dec-2012

varnam-sAveri-Adi-kothavAsal venkatarAma iyer
gam ganapathE-hamsadhwani-Adi tisram- harikEsanallUr muthaiAh bhAgavathar
paramathmudu-vAgadIswari-Adi-thyAgarAja
bOgIndra sAyinam-kunthalavArali-Adi-swAthi thirunAl
ParandAmavati Jayathi -dharmavati-rUpakam-muthuswAmi dIkshitar
Ninne namminAnu sadA-TOdi-misra chApu – shyAma sAsthri
mayil vAhanA-mOhanam-Adi-pApanAsam sivan
RTP-kAmbOji - khanda jAthi triputa – khanda nadai
JagadOdhArana-kApi-Adi-purandara dAsaru
Adum Chidambaramo-behAg-Adi-bhAratiyAr
pibarE raama rasam-Ahir bhairav-Adi-sadAshiva brahmEndra
tarAna-sindhu bhairavi - Adi
bhagyAda lakshmi bArammA- madhyamAvathi-Adi-purandara dAsaru

The concert started when the day was still fresh in the morning, with a warm Saveri varnam, played in the Parur single string style, in two speeds. Charana swaras were further beautified with some fine filler phrases and some accented bowing.

‘gam ganapathe’ had a crisp rAga Alapana, and some long swara sancharas.The varnam and the ganapathi stuthi energized and set the tone of the concert.

‘paramAthmudu velige’ in the vivAdi mEla rAga, vAgadIswari , followed, truly conveying its philosophical bhAva .

The next one was the popular kunthalavarAli krithi, bOgIndra sAyinam, The essence of raga was displayed through a brief ,fast paced rAga Alapana.

The prathimadhyama, mela raga,Dharmavathi,was unfolded and ornamented to its fullness, with a typical Parur school presentation, showing the mastery over the instrument and the raga, raga bhava presented with heavy gamakas, short plain notes with high dynamics, and through the runs with incredible speed and clarity. The never ending sarva laghu swara sancharas traversing all three octaves and beyond held everyone breathless. The magnificent Dikshitar krithi, 'Parandaamavati Jayathi' , was presented giving its due weight and respect.The passes between violinists and percussionists during the swara sancharas made every one to participate in the experience...

The krithi, Ninne namminaanu sadaa, was prefaced with a grand alapana, and the pace of krithi was just right , to bring out the weight of the kriti, and the raga bhaava. The often played staccato sagathis with pure notes clearly spelt out the sahitya of the krithi. She started the niraval by singing first, with a well controlled mridangam accompaniment, and the niraval was followed by kalpana swaras and a thani avarthanam. This main piece took about 50 minues.

Cherthalai Ananthakrishan played in a well controlled and anticipative way, adding value to the overall concert experience. His understanding of the kritis were well visible ( I mean, hearable!!) in the way he supported, and his own mastery was displayed during the thani avarthanam. Bhagyalakshmi won many hearts during her rounds through the thani , and Mr. Balakrishnan supported on ghatam.

This was followed by a quick ‘Mayil vahana valli mana mohana’, in mohanam… the sahitya sometimes stressed on ‘mohana’ …

Then flowed the RTP, in kAmboji. Raga was treated with traditional Parur sancharas, and with some innovative patterns as well. Thanam, as usual in her concerts, was with Mridangam accompaniment. The ‘thanavil’ (staccato) bowing, powered with right amount of gamaka , was extensively used - a specialty of the Parur tradition. Pallavi, 'KamalAsani dukha dwamsini rAja rAjeswari',was followed by crispy and beautiful ragamalika swaras, kAmboji ,kAnada,amruthavarshini,bEgada, hameerkalyani ,sahAna , hindOlam and kAmboji again decorated this garland, and concluded with a short thani lead by Ananthakrishnan.

The lighter section started with JagadodhArana, played in a meditative mood, with some smooth sangatis with beautifully curved notes . ‘Adum Chidambaramo’ and 'pibare rama rasam' followed. Then came the vibrant and colorful Parur master piece, the sindhu bhairavi tarAna, popularized by Sri. Parur Sundaram Iyer, Dr. Narmadha’s grand father.

The concert was concluded with the madhyamAvathi piece, ‘bhagyAda lakshmi bArammA.’

The best thing about the concert was that the artists themselves were seem to enjoy the concert very well, and that got transferred to the rasikas as well… For many items, Dr.Narmadha sang the opening sangatis , to demonstrate the sahitya, which gave glimpses of her capability in vocal music too.

Also, this concert was a good example that an instrumental solo concert with good accompaniments, can be as great an experience as that of a vocal music concert.

The Music Academy ambience and acoustics gets special mention.. the sound was well balanced for the instruments, and one gets to hear the true tone of the violin here.. I have felt that Parur MSG school is one that is consciously careful about the tonal quality of the instrument and clarity of notes played, be it the fast running plain notes or the single stringed heavy weight gamaka phrases. For some time, I quietly enjoyed listening ,sitting alone in one part of the upper circle, in front of those BOSE speakers ,….and the view of the stage from top , is magnificent too….

biju

[sureshvv]

Nice review! Keep 'em coming. Think that should be parandhamavati yuvathi.

[mahavishnu]

Suresh, it is parandAmavati jayati pArvati paramEsa yuvati.
rsbiju had it right.

[sureshvv]

Oops... Thanks mahavishnu. Sorry for the noise folks!

[rsbiju]

Hi,

Here is a moment from the concert...



.biju

[mahavishnu]

She looks and smiles just like her father.
Thanks for the picture!