Jayanthi Kumaresh@KFA on Dec 12th,2015
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Veena: Jayanthi Kumaresh
Mrudangam : Chidambaram Balashankar
Kanjira : Trichy Krishnaswami
Concert Type : Nirvana - No concert to follow
Day/Duration : Saturday/ 2 hours concert
Concert Type/Crowd : Ticketed concert - 60
Sabha/Hall : Karthik Fine Arts/ BVB Main hall ,mylapore
1. nattaikurinji varnam with a brief alapana
2. pancha mAtanga (R,S) - malahari - MD
2 mins alapana
5 mins swaras
3.kapAli (R S) - mohanam - psivan
4 mins alapana and 6 mins swaras
4A.brief raaga alapana then with 11 mins pancha ratna raga taanamAiga in nattai, gowlai,arabi,varali and shree ragam
4B. sarasa sAma dhAna - kapinarayani- T
5A. meenakshi memudham (R S T) - poorvikalyani - MD
11 mins alapana and 10 mins swaras
5B. tani for 14 mins
* 6. bhajarE yathunaatham??(R) - piloo - SB
* 7. narayanathE ?? naMo namO - behag - AC
8. tamburi meetidava (R) - sindubhairavi - PD
2 mins alapana
9. kAmAkshi lOkasAkshini - madhyamavati - SS
* not sure with krithi #6 and #7
Jayanthi Kumaresh@KFA on Dec 12th,2015
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rajeshnat
- Posts: 10144
- Joined: 03 Feb 2010, 08:04
Re: Jayanthi Kumaresh@KFA on Dec 12th,2015
I have heard only in recordings vidushi Jayanthi. This is my first live concert experience of hearing jayanthi playing veena. The concert was ticketed and the count of patrons was pretty decent in my opinion for an instrument concert . Her start was in the gentle nattaikurinji, her second speed could have been better , but certainly a great start.
From there on everything was wonderful and consistent in classicism. The malahari alapana was lovely . Her play in the MD krithi was just wonderful, MD association with veena in general is well known , here was a vidushi giving such lovely krithi intonations with her sunaadam touch in veena.With she playing few phrases of the popular malahari geetham did give the joy of identifying malahari for many of us including me.
For me my last three concerts had the same kapalis in a row - I have become hatrick kapali rasikA. The mohanam alapanai had a lovely azhuttam , it was bit unconventional pidi to start but as she moved on with alapana her usage of bass tone of veena was aurually very distinct . The krithi kapali had such a lovely vallinam mellinam azhuttam I do know most of the lines of this song and the way she played was a distincht gayaki touch , added lot of aesthetics.
Next She played a brief alapana and taanamaliga in the big 5 pancharatna ragas was lovely. Usually i get easily foxed as to when nattai ends and when gowlai starts , to an extent many instrumentalist/vocalist dont give me that distinct clarity, but Jayanthi gave a very distinct clarity from nattai to gowlai. What I also noticed is she played few phrases of the pancha ratna krithis .In arabi the tone was quite the opposite to the varali and its distinct gandharam it was azhuttam at its best . Post varali many musicians give a touch and go feel for shree ragam ,but Jayanthi showed her class in shree ragam . I was immensely surprised with her kapi narayani - what can I say i had an extension of mmi listening group experience to hear a fanta fabulous sarasa sama dhana in kapi narayani.
The main was poorvikalyani. Her alapana was more in the keezh to madhyama kalam she did not go with any noticable high speed brigas in alapanai. In krithi her veena was born for meenakashi me mudham . Again very distinct azhuttam with every phrase having the karuna rasa of poorvikalyani . In swaras she certainly cut loose with few dhurita kalam sangathis and I enjoyed both her style and control.
In The tukkadas piloo was the top pick .Her few minutes of intense raga alapana in piloo with such high emote brought tears and I think she played the sadasiva brahmendra krithi. Behag was not as great as the previous piloo and I heard a namo namo like phrase and I am assuming with that she played the annamacharya krithi. The sindhu bhairavi was a foot tapping experience and I personally donot like this PD krithi that much , it is not an intense carnatic number . THe last she announced and shyama sastri madhyamavati was a lovely closure
Both the percussionist played well and they did not bang the mrudangam/ghatam . At many parts in the concert , especially in swaras both joined in tandem and I still heard a brilliant veena nAdam - that perhaps showcased jayanthis strength in her veena . I did not listen fullly the tani as I had to be out .
If there was some thing better - it is more in the periphery:
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1. She could have gone bit more than the exact 120 minutes count down. Bit more sangathis in poorvikalyani would have better
2. She made announcement for all the easy krithis and left the piloo and behag krithis for the listeners for them to figure out themselves.
Ticketing of instrument concerts:
-------------------------------
Instrument concerts need not be ticketed exactly in line with a vocal concert. Charging min 100, 300 and more just does not make sense . I think they should bring it down to 50 or 75 Rs. That too in the same BVB there is a parallel mini hall concert.
Any way for the serious 60 listeners , veena dexterity,distinct octave shifting was very much there . The laya was so ingrained with raga bhavam with the octave shifts were as seamless like her uncle mahavidwan LGJ violin(Sorry I have no clue about her guru vainika padmavathi anantagopalan) - certainly Lalgudi school touches were indeed there.
For me there was one Wow moment
. In shree ragam taanam she stopped using her plucked right fingers , but instead just used her left gliding fingers to create mesemerizing phrases. Does that mean she is holding enough resonance created a minute back from the pluck, I just dont understand that but to me that was pure mastercard moment .
Overall excellent concert for 2 hours.
From there on everything was wonderful and consistent in classicism. The malahari alapana was lovely . Her play in the MD krithi was just wonderful, MD association with veena in general is well known , here was a vidushi giving such lovely krithi intonations with her sunaadam touch in veena.With she playing few phrases of the popular malahari geetham did give the joy of identifying malahari for many of us including me.
For me my last three concerts had the same kapalis in a row - I have become hatrick kapali rasikA. The mohanam alapanai had a lovely azhuttam , it was bit unconventional pidi to start but as she moved on with alapana her usage of bass tone of veena was aurually very distinct . The krithi kapali had such a lovely vallinam mellinam azhuttam I do know most of the lines of this song and the way she played was a distincht gayaki touch , added lot of aesthetics.
Next She played a brief alapana and taanamaliga in the big 5 pancharatna ragas was lovely. Usually i get easily foxed as to when nattai ends and when gowlai starts , to an extent many instrumentalist/vocalist dont give me that distinct clarity, but Jayanthi gave a very distinct clarity from nattai to gowlai. What I also noticed is she played few phrases of the pancha ratna krithis .In arabi the tone was quite the opposite to the varali and its distinct gandharam it was azhuttam at its best . Post varali many musicians give a touch and go feel for shree ragam ,but Jayanthi showed her class in shree ragam . I was immensely surprised with her kapi narayani - what can I say i had an extension of mmi listening group experience to hear a fanta fabulous sarasa sama dhana in kapi narayani.
The main was poorvikalyani. Her alapana was more in the keezh to madhyama kalam she did not go with any noticable high speed brigas in alapanai. In krithi her veena was born for meenakashi me mudham . Again very distinct azhuttam with every phrase having the karuna rasa of poorvikalyani . In swaras she certainly cut loose with few dhurita kalam sangathis and I enjoyed both her style and control.
In The tukkadas piloo was the top pick .Her few minutes of intense raga alapana in piloo with such high emote brought tears and I think she played the sadasiva brahmendra krithi. Behag was not as great as the previous piloo and I heard a namo namo like phrase and I am assuming with that she played the annamacharya krithi. The sindhu bhairavi was a foot tapping experience and I personally donot like this PD krithi that much , it is not an intense carnatic number . THe last she announced and shyama sastri madhyamavati was a lovely closure
Both the percussionist played well and they did not bang the mrudangam/ghatam . At many parts in the concert , especially in swaras both joined in tandem and I still heard a brilliant veena nAdam - that perhaps showcased jayanthis strength in her veena . I did not listen fullly the tani as I had to be out .
If there was some thing better - it is more in the periphery:
-------------------------------------------------------------
1. She could have gone bit more than the exact 120 minutes count down. Bit more sangathis in poorvikalyani would have better
2. She made announcement for all the easy krithis and left the piloo and behag krithis for the listeners for them to figure out themselves.
Ticketing of instrument concerts:
-------------------------------
Instrument concerts need not be ticketed exactly in line with a vocal concert. Charging min 100, 300 and more just does not make sense . I think they should bring it down to 50 or 75 Rs. That too in the same BVB there is a parallel mini hall concert.
Any way for the serious 60 listeners , veena dexterity,distinct octave shifting was very much there . The laya was so ingrained with raga bhavam with the octave shifts were as seamless like her uncle mahavidwan LGJ violin(Sorry I have no clue about her guru vainika padmavathi anantagopalan) - certainly Lalgudi school touches were indeed there.
For me there was one Wow moment
. In shree ragam taanam she stopped using her plucked right fingers , but instead just used her left gliding fingers to create mesemerizing phrases. Does that mean she is holding enough resonance created a minute back from the pluck, I just dont understand that but to me that was pure mastercard moment .Overall excellent concert for 2 hours.
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rshankar
- Posts: 13754
- Joined: 02 Feb 2010, 22:26
Re: Jayanthi Kumaresh@KFA on Dec 12th,2015
Rajesh - looks like you too have fallen under Smt. Jayanthi's spell!
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mahavishnu
- Posts: 3341
- Joined: 02 Feb 2010, 21:56
Re: Jayanthi Kumaresh@KFA on Dec 12th,2015
Here is a short clip from the concert: https://www.youtube.com/watch?v=PhX8YQY8g-U
I think Smt. Jayanthi is just brilliant!
For those interested she is performing at Prabhat Sangeetham on Jan 2 at 5:30am; with Sri Neyveli Narayanan. Not to be missed!
The address is Venue : AS-2 , PALLAVA HEIGHTS, LUZ AVENUE 5TH STREET, MYLAPORE, CHENNAI - 600004
I think Smt. Jayanthi is just brilliant!
For those interested she is performing at Prabhat Sangeetham on Jan 2 at 5:30am; with Sri Neyveli Narayanan. Not to be missed!
The address is Venue : AS-2 , PALLAVA HEIGHTS, LUZ AVENUE 5TH STREET, MYLAPORE, CHENNAI - 600004
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rajeshnat
- Posts: 10144
- Joined: 03 Feb 2010, 08:04
Re: Jayanthi Kumaresh@KFA on Dec 12th,2015
Review of the same concert that came up in dec 18th The Hindu
http://www.thehindu.com/features/friday ... 000303.ece
http://www.thehindu.com/features/friday ... 000303.ece
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arasi
- Posts: 16877
- Joined: 22 Jun 2006, 09:30
Re: Jayanthi Kumaresh@KFA on Dec 12th,2015
Rajesh,
Your response to her live concert is the same as mine (though I'm yet to hear her live--the almost live Cleveland festival streaming concert of hers hooked me in).
Ravi,
Yes, she casts a spell...
Ramesh,
Thanks for the clip and the comment. Yes, brilliant...I was charmed by the pancha ghana rAgam tAnam. The ease, emotional bursts and exuberance in her playing gives us joy.Did you make it to Chennai, after all?
Not forgetting the Hindu reviewer's comments--'adding to the mood was the lingering sweetness of her mITu (plucking)', 'she gave enough time for the audience to enjoy every phrase'.
Your response to her live concert is the same as mine (though I'm yet to hear her live--the almost live Cleveland festival streaming concert of hers hooked me in).
Ravi,
Yes, she casts a spell...
Ramesh,
Thanks for the clip and the comment. Yes, brilliant...I was charmed by the pancha ghana rAgam tAnam. The ease, emotional bursts and exuberance in her playing gives us joy.Did you make it to Chennai, after all?
Not forgetting the Hindu reviewer's comments--'adding to the mood was the lingering sweetness of her mITu (plucking)', 'she gave enough time for the audience to enjoy every phrase'.