Vijayashiva@kalaraasana on Dec 22,2006
RK ShriramKumar - violin , Trichy Sankaran - Mridangam , Ghatam Suresh in ghatam
1. Pagavari bodana vini pantamela jesevura -Hamsadhvani-Patnam Subramania Iyer
2. suguNamulE jeppukoNTi (N S) - cakravaakam - T
3. nee vanti deivamu kAnanu ninne (R N S) "shree jAnaki dinai dudu nannu brOvabarAma" - varAli - ??
4. nanu vidachi - reetigowlai - T
5. kAsi vishveshwarA ehi Mam (R N S T)- kAmbOdhi - MD
brilliant neraval line "kAsi ksetra sadrsA Adhi ka phala da... bhakta viswA"
6. karuna needhi lalO - tOdi- shyama sAstri
7. RTP "palinchuda kA nadachiva chitivO shree ramA " - kAnadA -
ragamAliga swarams in mOhanam +revati + kAnadA
8. enthAnum vara vara saginthune?? - kalyAni -???
9. cheyne dO saginthune ??? - ??? - ???
10.Krithi on Lord Muruga??? - rAgamaligai -??
11.mangalam
Brief review:
My pull to hear was the team , especially Trichy Dr Sankaran whom we lost because of brain drain. It was a 3 hours concert ranging from being very good to outstanding.
Liked the chakravAkam , varAli, tOdi a lot.The kAmbOdhi was a lovely brand new krithi of MD and was excellent. KAnadA was truly outstanding.I just would to like to give 2 views to this great vidwan after discussing with 2 other rasikas who came in today.
1.I am noticing not just today , but over a period of time that Shri Vijayashiva takes the ching chakku jalra for the last krithi. The last krithi on Lord murugA was sung in a rAgamaliga (?? + kAnandA + mAnd + madhyamAvati) was fast and his extra pakkavadyam was intrusive for me to catch the lyrics which was too good, despite his best effort to play with minimum sound. I prefer him not to use the jAlrA .
2. Another viewpoint is I and another rasika thought was right, but the 3rd rasika felt we two were wrong . The main krithi alApanai of Shri vijayashiva was brilliant , but for the first significant half we thought it was not kAmbOdhi , but it was a closest cousin melakartha #29. Just perhaps if he takes that distinct line of kAmbOdhi, that may be just a perfect kAmbOdhi . If there are few who attended the concert who felt the same or the opposite, please reply to this post. Otherwise lets leave it at that. Vijayashiva is one of my top favourites.
Nevertheless a brilliant concert ,made special by RKSK who was rightly filling the lung space time of vijayashiva. The Tani was outstanding , with both suresh and the jAmbhavan TS playing very well. Rani Seethai hall has got everything right , but we all thought we were not in AC hall, but inside a refrigerator freezer.
Vijayashiva@kalaraasana on Dec 22,2006
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prashant
- Posts: 1658
- Joined: 03 Feb 2010, 09:01
I'll post a full review later, but for now, I just have one thing to say: the kAmbhoji was simply outstanding. A large portion of it was sung in the middle octave bringing out a different flavor of the rAgA from the usual quick dash to the tAra sthAyi. To my mind, it was rock-solid kAmbhOji from start to finish.
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prashant
- Posts: 1658
- Joined: 03 Feb 2010, 09:01
Sorry for the delay in posting this review - my internet access in Chennai was less than ideal!
Sri N. Vijay Siva - Vocal
Sri R.K. Shriramkumar - Violin
Trichy Sri Sankaran - Mridangam
Sri V. Suresh - Ghatam
Kalarasana - Rani Seethai Hall - 22.12.2006
1. pagavAri - hamsadhwani - adi [2]
2. suguNamulE - chakravAham - rUpaka [N at 'shrI nAyaka',S]
3. nIvaNTi daivamu kAnanu - varALi - adi [N at 'tEjOmaya shrI jAnakISa',S]
4. nannu viDaCi kadalakura - rItigauLa - misra CApu
5. kASi viSvESwara - kAmbhOJi - khaNDa aTa [R,N at 'kAshI kSEtra sadRshAdhika phalada garttatIravAsa bhakta vishvAsa',S,T]
6. karuNAnidhi ilalO - tODi - adi [tisra gati]
7. rAgam.tAnam.pallavi - kAnaDA - 'pAlinCuTakA naDaCi vaCCitivO, shrI rAmA nannu' - khaNDa tripuTa - rAgamAlikA swarams in mOhanAm, rEvati
8. EngAnum vara vara - kalyANi - adi [2 kaLai]
9 CEli nE nETLu - pAras - adi
10. kandar anubhUti - rAgamAlikA [gambhIranATa, hindOLam, kAnaDA, mAND] - adi
11. pavamAna - saurAStra - adi
After the superb tODi and bhairavi from Nedunuri gAru in the morning, I was ready for a second helping of the delectable music offered by Sri Vijay Siva, this time with the added spice of the ever-dependable Sri R.K. Shriramkumar on the violin. This concert delivered on pretty much all fronts.
The hamsadhwani varNam was rendered calmly followed by a brisk suguNamulE setting the tempo for the concert. Sri Vijay Siva's voice was in fine fettle and varAli was effortlessly and crisply rendered. Two DKJ favorites, Spencer Venugopal's nIvaNTi daivamu and tyAgarAjA's nannu viDACi followed.
A classical and deep kAmbhOji AlApana followed. Sri Vijay Siva took his time with the AlApanA, building up the tempo slowly and eschewing cliched phrases. It was a detailed, thoughtful, classical and thoroughly enjoyable elaboration made special by the detailed elaboration in the middle octave rather than the hurried ascent most performers make to the rafters while singing this rAgA. The absence of a Dikshitar krithi so far made for some intriguing head-scratching during the grand kAmbhOji AlApanA - sri subrahmaNyAya, marakatavaLLim, shri vAlmIkalingam [a beautiful rendition from guruguhAnjali still fresh in the mind], the navAvarNam? Or could it be the unseen giant that lurks in the shadows...? Could it be...
... kASi viSwESwara? YES! I had been waiting for years to hear this krithi and I was privileged to hear it from Sri Vijay Siva who, I am sure, must have learnt it from the classical Dikshitar tradition of the DKP/DKJ school. The krithi was rendered with finesse and beautiful attention to the words, and Sri Vijay Siva was [as expected] followed like a shadow by Sri Shriramkumar. The grand niraval was first elaborated over the 4 avartanas that the line spans, then compressed to 2, and the entire line was rendered over a 1-avartana span in a final flourish - each portion gave a different flavor to the line - the first third with long kArvais, the second part a brisk madhyamakala flavor setting up the stage for the final ending. Swarams were rendered well - Sri Vijay Siva missed a couple of 'iDams' during the kuraippu but recovered very nicely preserving the aesthetic of his kAmbhOji presentation. The entire suite spanned 40 minutes and was, to my ears, a kAmbhOji for the ages - absolutely wonderful effort.
Sri Sankaran and Sri Suresh exchanged a smile and a wink during the niraval and I was ready for a classic tani in a relatively rare tALam. The opening was mellifluous defining the structure of the tAlA - two khanDAm passages of varying speeds capped off with a chaturasram flourish. After Sri Suresh's reply, the team proceeded to take advantage of the 14-beat tALam by exploring the misra gati in depth - beautiful nAdam and saukhyam in the tani with Sri Sankaran exploiting the thoppi to great effect as is the wont of the Pazhani tradition. Sri Suresh's hands glide snake-like over his ghaTam and the clarity of his sollus is just outstanding. The kuraippu was executed nochalantly followed by a simple and elegant 1-avartana kOrvai. A half-hour tani Avartanam which I shall be replaying in my head for weeks to come.
After all this, the kAnaDa was nice but did not reach the exalted levels of kAmbhOji - the suite was competently executed, and a trikalam would have been nice but was not forthcoming. The post-pallavi piece were very nice, especially the kalyANi jAvaLi [any idea who the composer is?] which was lovely. The kandar anubhUti rendered in a bhajana sAmpradAya style, complete with, to steal a phrase 'ching chakku jAlrA' brought a close to a very satisfying concert.
I'm pretty spent from writing the long review - my views on Sri Vijay Siva's music are well know, so - great concert, great team, great selection. I look forward to hearing more of Sri Vijay Siva's music - his creative journey follows a different path from that taken by the other stars Sri Sanjay and Sri T.M. Krishna, a path that is unique and intriguing while taking care to safeguard the treasures and traditions of the the Pattammal / Jayaraman school of music.
Sri N. Vijay Siva - Vocal
Sri R.K. Shriramkumar - Violin
Trichy Sri Sankaran - Mridangam
Sri V. Suresh - Ghatam
Kalarasana - Rani Seethai Hall - 22.12.2006
1. pagavAri - hamsadhwani - adi [2]
2. suguNamulE - chakravAham - rUpaka [N at 'shrI nAyaka',S]
3. nIvaNTi daivamu kAnanu - varALi - adi [N at 'tEjOmaya shrI jAnakISa',S]
4. nannu viDaCi kadalakura - rItigauLa - misra CApu
5. kASi viSvESwara - kAmbhOJi - khaNDa aTa [R,N at 'kAshI kSEtra sadRshAdhika phalada garttatIravAsa bhakta vishvAsa',S,T]
6. karuNAnidhi ilalO - tODi - adi [tisra gati]
7. rAgam.tAnam.pallavi - kAnaDA - 'pAlinCuTakA naDaCi vaCCitivO, shrI rAmA nannu' - khaNDa tripuTa - rAgamAlikA swarams in mOhanAm, rEvati
8. EngAnum vara vara - kalyANi - adi [2 kaLai]
9 CEli nE nETLu - pAras - adi
10. kandar anubhUti - rAgamAlikA [gambhIranATa, hindOLam, kAnaDA, mAND] - adi
11. pavamAna - saurAStra - adi
After the superb tODi and bhairavi from Nedunuri gAru in the morning, I was ready for a second helping of the delectable music offered by Sri Vijay Siva, this time with the added spice of the ever-dependable Sri R.K. Shriramkumar on the violin. This concert delivered on pretty much all fronts.
The hamsadhwani varNam was rendered calmly followed by a brisk suguNamulE setting the tempo for the concert. Sri Vijay Siva's voice was in fine fettle and varAli was effortlessly and crisply rendered. Two DKJ favorites, Spencer Venugopal's nIvaNTi daivamu and tyAgarAjA's nannu viDACi followed.
A classical and deep kAmbhOji AlApana followed. Sri Vijay Siva took his time with the AlApanA, building up the tempo slowly and eschewing cliched phrases. It was a detailed, thoughtful, classical and thoroughly enjoyable elaboration made special by the detailed elaboration in the middle octave rather than the hurried ascent most performers make to the rafters while singing this rAgA. The absence of a Dikshitar krithi so far made for some intriguing head-scratching during the grand kAmbhOji AlApanA - sri subrahmaNyAya, marakatavaLLim, shri vAlmIkalingam [a beautiful rendition from guruguhAnjali still fresh in the mind], the navAvarNam? Or could it be the unseen giant that lurks in the shadows...? Could it be...
... kASi viSwESwara? YES! I had been waiting for years to hear this krithi and I was privileged to hear it from Sri Vijay Siva who, I am sure, must have learnt it from the classical Dikshitar tradition of the DKP/DKJ school. The krithi was rendered with finesse and beautiful attention to the words, and Sri Vijay Siva was [as expected] followed like a shadow by Sri Shriramkumar. The grand niraval was first elaborated over the 4 avartanas that the line spans, then compressed to 2, and the entire line was rendered over a 1-avartana span in a final flourish - each portion gave a different flavor to the line - the first third with long kArvais, the second part a brisk madhyamakala flavor setting up the stage for the final ending. Swarams were rendered well - Sri Vijay Siva missed a couple of 'iDams' during the kuraippu but recovered very nicely preserving the aesthetic of his kAmbhOji presentation. The entire suite spanned 40 minutes and was, to my ears, a kAmbhOji for the ages - absolutely wonderful effort.
Sri Sankaran and Sri Suresh exchanged a smile and a wink during the niraval and I was ready for a classic tani in a relatively rare tALam. The opening was mellifluous defining the structure of the tAlA - two khanDAm passages of varying speeds capped off with a chaturasram flourish. After Sri Suresh's reply, the team proceeded to take advantage of the 14-beat tALam by exploring the misra gati in depth - beautiful nAdam and saukhyam in the tani with Sri Sankaran exploiting the thoppi to great effect as is the wont of the Pazhani tradition. Sri Suresh's hands glide snake-like over his ghaTam and the clarity of his sollus is just outstanding. The kuraippu was executed nochalantly followed by a simple and elegant 1-avartana kOrvai. A half-hour tani Avartanam which I shall be replaying in my head for weeks to come.
After all this, the kAnaDa was nice but did not reach the exalted levels of kAmbhOji - the suite was competently executed, and a trikalam would have been nice but was not forthcoming. The post-pallavi piece were very nice, especially the kalyANi jAvaLi [any idea who the composer is?] which was lovely. The kandar anubhUti rendered in a bhajana sAmpradAya style, complete with, to steal a phrase 'ching chakku jAlrA' brought a close to a very satisfying concert.
I'm pretty spent from writing the long review - my views on Sri Vijay Siva's music are well know, so - great concert, great team, great selection. I look forward to hearing more of Sri Vijay Siva's music - his creative journey follows a different path from that taken by the other stars Sri Sanjay and Sri T.M. Krishna, a path that is unique and intriguing while taking care to safeguard the treasures and traditions of the the Pattammal / Jayaraman school of music.
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rajeshnat
- Posts: 10112
- Joined: 03 Feb 2010, 08:04
Prashant
Excellent review.Just 2 points to add.
1.I used to like bhajana samprAdaya style finish, infact in one last post of Shri vijayashiva at BhArat kalAchAr ,he did the same. But the lyrics were just too precious to be lost with his fairly fast pace of rendering the kandar anubhUti in rAgamaliga .
2. I am acclimitized to hearing a kAmbOdhi in a middle or lower octave, IIRC the best by Shri TNS (few years back)when he sang a devi nee pAda sarasamule, a rare shyamA sastri krithi. That day I never assumed it was not KAmbOdhi.
Above points are not to refute , but just to reclarify my understanding and to present from where I am coming from. The MD "KAsi vishvEsvara" krithi in KAmbOdhi with those sanskrit lines(especially neraval) can only be achieved by this brilliant VijayaShiva.
Excellent review.Just 2 points to add.
1.I used to like bhajana samprAdaya style finish, infact in one last post of Shri vijayashiva at BhArat kalAchAr ,he did the same. But the lyrics were just too precious to be lost with his fairly fast pace of rendering the kandar anubhUti in rAgamaliga .
2. I am acclimitized to hearing a kAmbOdhi in a middle or lower octave, IIRC the best by Shri TNS (few years back)when he sang a devi nee pAda sarasamule, a rare shyamA sastri krithi. That day I never assumed it was not KAmbOdhi.
Above points are not to refute , but just to reclarify my understanding and to present from where I am coming from. The MD "KAsi vishvEsvara" krithi in KAmbOdhi with those sanskrit lines(especially neraval) can only be achieved by this brilliant VijayaShiva.
Last edited by rajeshnat on 28 Dec 2006, 15:43, edited 1 time in total.