G Abhilash@Vanimahal on Jun10th,2016
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Vocal : G Abhilash
Violin : Anayampatti Venkatasubramanian
Mrudangam : Guru Raghavendra
Kanjira : S Sunilkumar
Concert Type : Nirvana - No concert to follow
Day/Duration : 2 hours and 5 mins -06:30 to 08:35 pm
sabha/Hall : VaniMahal -Obul Reddy Hall, T Nagar
1A. om namah prannava
1B. jalajAkshi ninnE - hamsadwani - manambuchavadi venkatasubbaiyer
02.tulasidala moolachE (RS N S) - mAyamAlavgowlai -T
6 mins neraval in sarasiruhA punnaga champaka and 2 mins swaras
3A. suddhadhanyAsi alapana for 6 mins alapana and 3 mins
3B. ugabhooga - "tappusA thiragala oppikAyO....thimmapA...roopa purandara vittala" - suddhadhanyasi - ???
3C. nArayana ninna - suddha dhanyasi-PD
4.darisanam kanDArkku(N,S) - mohanam - GKB
neraval in darisanam kanDArkku marujanmam illayE for 6 mins
swaras for 4 mins
5. nee kElena - devamanOhari - poochi
6A.ninnE nammiti nayyA (R,N,S) - simmhendramadhyamam - MV
14 mins alapana and 8 mins violin return
4 mins neraval in pannagendra sayana
13 mins swaras
6B.tani for 15 mins
7. muruganin maru peyar - behAg - swami surajanANdA
8. karpagamE - madhyamavati -psivan
9. nee nAma roopamulaku - sowrashtram - T
10. kalitavara sEtubandham - madhyamavati - ST
G Abhilash@Vanimahal on Jun10th,2016
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rajeshnat
- Posts: 10144
- Joined: 03 Feb 2010, 08:04
Re: G Abhilash@Vanimahal on Jun10th,2016
It is atleast 3 or 4 years since I heard abhilash singing exclusively in a concert. I was glad to see that he had a concert in nirvana-evening slot and I made it on time. Abhilash started with a ms amma inspired slokham in bhaja govindam tune- om namah prannava and segued to a rare varnam in hamsadhwani . Aurally the hamsadhwani was significantly different than what I have heard with few of the veterans who have sang it . In the second half from the lines nee sati he possibly alternated too fast in layam - was there two nadais may be there was . His ideas were bit more anchored more in a stronger laya base with possibly hamsadhwani raga bhavam taking a slightly conspicous rear seat.
His next in mayamAlavagowlai with a brief raga sketch and starting with a phrase santoShamu and then looping with lines tulasi dhala was aesthetically very nice . Neraval was lovely with a real drive , swaras were bit measured and with it I had a share of minimal disappointment .
suddhadhanyasi as an alapana is usually very very sketchy, even with most recordings vidwan/vidushi just sketch and dwelve to krithis. I was very impressed with his detailed alapana with a lot of freewheeling brigas . The short ugabhooga was lovely every phrase did have a right accentuation , narayana was slighly sober with few anchoring pidis in krishna krishna was well done.
DKJ typecast sangathis came up well in the darisanam kandarkku especially with few phrases like iravu pagal repeated in the same way
i thought he almost replayed what was there in dkj sir tape. In mohanam swaras the trajectory was lovely . He started with few swarakshara patterns with the phrase pA dA implying the pAdam (feet)of the diety . In second half he sang mohanam swaras in one go and I found copious manodharmam there.
devamanOhari did not appeal that much little more gel with the entire team would have been better . The day's best was indeed the main simmhendramadhyamam. The once referred master abhilash mastered with manodharmam. The alapana had lovely aakarams and brigas were very very polished , ideas were definitely original with a slight orientation like TNS . The krithi just passed and the neraval wasjust there. IN swaras he was absolutely wonderful - that too some where in midpoint of swaras with just two avartanas he literally ideated in stage , there were also few hindustani pidis but the charge in giving long patterns was accompolished with flair. When ragas like simmhendra madhyamam are taken as main swaras will be bit curtailed when compared to big 5 ragas but abhilash showed his mastery in swaras with so much of ideas.
The tukkadas just did not register that well with emote . Muruganin in behag had a lot of hindustani flourishes and he managed well . The mangalam was a concotion of karpagame,nee nama and then the MDR popularized kalitavara - I felt in tukkadas he could have gone for a slokham and may be a md krithi would have given the missing contrast of composers.
Anayampatti violin was bit flat and the nAdham could have had a share of more sunaadam. While in returns he was good I felt in songs he was slighly excessively playing with the main vocalist . Guru Raghavendra enjoyed and he was very responsive- the vadhyam mruduangam is a shruthi vadhyam , i found bit more tuning would have helped . All said he literally took the concert a notch up with his intense sarvalaghu. I am noticing sunil for the first time and he was clean ,during tani his azhuttam was more marked and he did a fine job.
Abhilash has a voice that is very strong and enunciation of lyrics is clean irrespective of language .sangathis are well rounded but if he adds a little more shruti aligned sangathis with a little less absence of laya poruttam he can make a much better mark . His musical ideas were very noteworthy and certainly this young very recent kid is absolutely wonderful in manodharmam . There is a influence comparable to his paramaguru's disciple (abhilash-AsMurali-PSN-Abhishek)The alapana , swaras in simm madhyamam and the mohanam second half swaras were very original and you dont see any cd recording influence of past masters. I wish he went for another 30 to 45 minutes , vanimahal wraps at 08:30 and i felt his potential is still partly hidden in chennai.
Overall a very good to excellent concert for 2 hours and 5 minutes.
His next in mayamAlavagowlai with a brief raga sketch and starting with a phrase santoShamu and then looping with lines tulasi dhala was aesthetically very nice . Neraval was lovely with a real drive , swaras were bit measured and with it I had a share of minimal disappointment .
suddhadhanyasi as an alapana is usually very very sketchy, even with most recordings vidwan/vidushi just sketch and dwelve to krithis. I was very impressed with his detailed alapana with a lot of freewheeling brigas . The short ugabhooga was lovely every phrase did have a right accentuation , narayana was slighly sober with few anchoring pidis in krishna krishna was well done.
DKJ typecast sangathis came up well in the darisanam kandarkku especially with few phrases like iravu pagal repeated in the same way
i thought he almost replayed what was there in dkj sir tape. In mohanam swaras the trajectory was lovely . He started with few swarakshara patterns with the phrase pA dA implying the pAdam (feet)of the diety . In second half he sang mohanam swaras in one go and I found copious manodharmam there.
devamanOhari did not appeal that much little more gel with the entire team would have been better . The day's best was indeed the main simmhendramadhyamam. The once referred master abhilash mastered with manodharmam. The alapana had lovely aakarams and brigas were very very polished , ideas were definitely original with a slight orientation like TNS . The krithi just passed and the neraval wasjust there. IN swaras he was absolutely wonderful - that too some where in midpoint of swaras with just two avartanas he literally ideated in stage , there were also few hindustani pidis but the charge in giving long patterns was accompolished with flair. When ragas like simmhendra madhyamam are taken as main swaras will be bit curtailed when compared to big 5 ragas but abhilash showed his mastery in swaras with so much of ideas.
The tukkadas just did not register that well with emote . Muruganin in behag had a lot of hindustani flourishes and he managed well . The mangalam was a concotion of karpagame,nee nama and then the MDR popularized kalitavara - I felt in tukkadas he could have gone for a slokham and may be a md krithi would have given the missing contrast of composers.
Anayampatti violin was bit flat and the nAdham could have had a share of more sunaadam. While in returns he was good I felt in songs he was slighly excessively playing with the main vocalist . Guru Raghavendra enjoyed and he was very responsive- the vadhyam mruduangam is a shruthi vadhyam , i found bit more tuning would have helped . All said he literally took the concert a notch up with his intense sarvalaghu. I am noticing sunil for the first time and he was clean ,during tani his azhuttam was more marked and he did a fine job.
Abhilash has a voice that is very strong and enunciation of lyrics is clean irrespective of language .sangathis are well rounded but if he adds a little more shruti aligned sangathis with a little less absence of laya poruttam he can make a much better mark . His musical ideas were very noteworthy and certainly this young very recent kid is absolutely wonderful in manodharmam . There is a influence comparable to his paramaguru's disciple (abhilash-AsMurali-PSN-Abhishek)The alapana , swaras in simm madhyamam and the mohanam second half swaras were very original and you dont see any cd recording influence of past masters. I wish he went for another 30 to 45 minutes , vanimahal wraps at 08:30 and i felt his potential is still partly hidden in chennai.
Overall a very good to excellent concert for 2 hours and 5 minutes.
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Sivaramakrishnan
- Posts: 1582
- Joined: 02 Jan 2010, 08:29
Re: G Abhilash@Vanimahal on Jun10th,2016
rajeshnat's review must be of immense benefit to the young artist (and his team) whom I have listened to in the Isai Mazhalai concerts organised by Apaswaram Ramji a few years ago.I had also seen him at Tyagaraja Aradhanas in chennai.
Last week, an earlier Mudhra concert of Abhilash was Web cast in the Paalam series and I found that his voice has matured.
I could not attend this concert and am happy to note that rasikas forum has given a timely boost to the boy through a constructive review.
I am awaiting the observations of CRama who had also attended the concert.
An artist to watch.
Last week, an earlier Mudhra concert of Abhilash was Web cast in the Paalam series and I found that his voice has matured.
I could not attend this concert and am happy to note that rasikas forum has given a timely boost to the boy through a constructive review.
I am awaiting the observations of CRama who had also attended the concert.
An artist to watch.
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CRama
- Posts: 2939
- Joined: 18 Nov 2009, 16:58
Re: G Abhilash@Vanimahal on Jun10th,2016
This is my first live concert of this most promising young vidwan. He started the concert with Om Nama Pranavarthaya slokam- which is the typical start of a MS concert. Hamsadhwani varnam, not that frequent in concerts, was rendered with more accent on laya. The charanams he sang both in chatusram and tisram. liked that new approach. Both raga alapanas Sudhadhanyasi and Simmendramadhyamam were wholesome. The alapanas came with lot of depth and many innovative sangathis with appropriate karvais, brigha and long passages in the correct mix. Darisanam kandarkku was sung with typical DKJ sangathis. After DKJ, I have never heard this song in any concert. I am happy for this selection. He has good voice control and abundant manodharmam. There were many Kalyanaraman pidis in alapanas and kalpanaswarams. The swarams also had lot of vyavaharams in that. He must be a devotee of MDR also. He concluded the concert with Kalitavarasethubandham- the last charanam of Bhavayami- including viswapalam, sakala viswa palam, nikhila viswa palam etc a la MDR. A very good concert. Whenever his concert comes in your vicinity and convenience, don’t miss it.
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CRama
- Posts: 2939
- Joined: 18 Nov 2009, 16:58
Re: G Abhilash@Vanimahal on Jun10th,2016
On a tangential note, today's young brilliant vidwans dont restrict to their school only. They take liberty to absorb the good things from other schools also. For instance, in my above review, I have shown the influence of Kalyanaraman, DKJ and MDR. Abhilash is a sishya of AS Murali who belongs to the PSN Acshool. And today's gurus also are not strictly against their sishyas taking good points of other vidwans. I have heard that in the olden days some Gurus did not want their sishyas to listen to other vidwans because they will be influenced by the music of other vidwans.
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rajeshnat
- Posts: 10144
- Joined: 03 Feb 2010, 08:04
Re: G Abhilash@Vanimahal on Jun10th,2016
I made a mistake on the name of the violinist, apologies
The violinist was karaikal Venkatasubramanian (not anayampatti)
The violinist was karaikal Venkatasubramanian (not anayampatti)
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Sivaramakrishnan
- Posts: 1582
- Joined: 02 Jan 2010, 08:29
Re: G Abhilash@Vanimahal on Jun10th,2016
It is not uncommon nowadays for a singer to learn from more than one guru and teachers have also become liberal in their approach to teaching.
As Sri Neyveli Santhanagopalan has said on various occasions, this is the age of 'Sishyakula's where the Guru teaches a single student or a group at their place for a few days and this is of mutual benefit.
The cosmopolitan attitude and the concept of 'global village' have made matters immensely flexible for practitioners of fine arts too. An artist of today easily attains 'seniority ' by 40 whereas vidwans of yesteryears needed to be 'senior citizens' also to attain the status.
But isn't there a perceptible difference in the music of the golden era of carnatic music and the present times?
(This discussion can be moved to a different thread 'changing trends' if need be )
As Sri Neyveli Santhanagopalan has said on various occasions, this is the age of 'Sishyakula's where the Guru teaches a single student or a group at their place for a few days and this is of mutual benefit.
The cosmopolitan attitude and the concept of 'global village' have made matters immensely flexible for practitioners of fine arts too. An artist of today easily attains 'seniority ' by 40 whereas vidwans of yesteryears needed to be 'senior citizens' also to attain the status.
But isn't there a perceptible difference in the music of the golden era of carnatic music and the present times?
(This discussion can be moved to a different thread 'changing trends' if need be )
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sangeethadasan
- Posts: 42
- Joined: 08 Jun 2013, 09:22
Re: G Abhilash@Vanimahal on Jun10th,2016
@Rajeshnat great review. I've heard Master Abhilash quite a number of times. What I have felt is, his voice doesn't have the flexibility to hit clean notes. There's always a tinge of abhaswara in whatever he sings. And his raga deliberations need to be more pointed and contemplated instead of random singing, which is what he presently does. And in ur opinion with regard to resembling TNS I would beg to differ and state that he mimics Abhishek Raghuram to a greater extent than sri TNS. Abhilash needs to work on his voice in order to provide a rich concert experience. As any great musician would recommend, sadhakam is the only way. Hope he takes this in the right spirit and becomes a big name in the near future.
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CRama
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- Joined: 18 Nov 2009, 16:58
Re: G Abhilash@Vanimahal on Jun10th,2016
sangeetadasan, I beg to differ from your view about Abhilash. Recently I happend to hear 3 concerts of Abhilash, one paalam webcast, another CD and this concert. There were no abaswarams in any of the songs rendered. His voice is by nature a thick voice. Has similarity with Palghat Ramaprasad. He is taking many good things from many masters of yesterday as I have already pointed out. But I did not find him emulating either TNS or Abhishek. I feel nobody can emulate Abhishek and they need not. IN fact his ragams Sudhadhanyasi and Simmendramadhyamam were well structured and had many unheard sangathis along with the characteristic pidis.