1. Suryamurte - Sourashtra - Druva Thalam- Dikshitar
2. mapala velasi ika - asaveri - adi - tyagarajar
3. sItApati nA manasuna - kamas - deshadi - tyagarajar
(alapana, neraval @ prema juci napai pedda manasu jesi , swaras )
4. ammaa raavamma - kalyani - k/chapu - tyagarajar
(alapana, neraval @ tamarasa daLa netrudu tyagarajuni mitruDu , swaras )
5. muruga muruga enrAl - saveri - chapu - periyaswami tooran ( alapana)
6. Nenarunchinanu - Malavi - deshadi - tyagarajar
7. RTP varali - adi thalam - sammam edupu - thattu (Laghu) mattum Laghu + 2 kalai Laghu ( i m not that much experts sry if i am wrong)
garuda gama rara
kamala manohara
pallavi ragamalika/swaras ragamalika - varali , nattaikurunji, kadanakuthukalam
8. kumara gurupara muruga saravaNa guha shaNmuga kari tirupugazh - dwijavanti - tisra-triputa - arunagiri nathar
9. mangalam
Abhishek raghuram at AKP fine arts vani mahal
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Re: Abhishek raghuram at AKP fine arts vani mahal
• Another super concert from TEAM A3- Abhishek, Akkarai Subbalakshmi and Anantha R Krishnan. But it was A1 team.
• Khamas alapana was only outline. The neraval at Premajoochi naapai pedda manasujesi and the cascade of cracker swaras that followed were mind boggling. The long melkaala neraval with laya variations was cracker stuff.
• Kalyani alapana- The alapana took 5 minutes. It was neither structured as an outline. It was started as a step by step exploration with karvais, gamakams, pauses all appropriately intertwined. When he was negotiating in nishadam, I felt that his mind told him” Porum ragam padinathu” and he immediately started the kriti even without giving for violin return. That was disappointing for me. He should have gone for a complete portrayal of the ragam. I have heard his many Kalyanis- many times awe inspiring.
• The intense neraval at Tamarasadalanetru Tyagarajuni mitru and the highly vyavaharam laden swaras were astounding. Raga bhavam got a hit a few times. But I don’t mind that. While doing swarams, he showed srutibhedam to Thodi.
• Saveri alapana was for five minutes, but it brought out the complete picture of the ragam through the choicest phrases. The best alapana of the concert. When he took up the alapana, I was expecting a pallavi. But as the ragam progressed, I could sense that it is not going to be a pallavi. Muruga Muruga was rendered very well. I was very glad that he sang an alapana at that juncture. Many vidwans will not sing an alapana (Other than RTP) after the tani. They will fill up with two kritis.
• At 8.40 P.M he announced I will sing a short pallavi. But it was never a short pallavi. The RTP concluded at 9.20 P.M. It took 40 minutes. Oh what a pallavi. The alapana took ten minutes- probably not leaving any aesthetic phrase in the Varali ragam. Because of time factor, tanam was played by Akkarai. Many times, Abhishek do like that. The pallavi was in Adi talam- but a very tricky one- tattu (in laghu and drutam) 2.5, others 1. Pallavi sahithyam- Garuda gamana raa raa Kamala manohara. In neraval and swarams, he took Natakurinji and Kathanakuhoohalam.It was highly intellectural, aesthetic, enjoyable, laya oriented presentation, his intelligence shining throughout. Trikalam in such a tricky talam also was presented with precision. Rajesh used to complain that Abhishek restricts kalpana swarams in RTPs. Here he rendered elaborate swarams- koraippu in Varali, culminating in a complex korvai.
• The other two As- they were equal partners with Abhishek in carrying this concert to a very high level. Akkarai’s alapanas, swara and neraval returns all were super. Soaked in raga bhavam, exhibiting her manodharmam, intelligent following for the RTP- she is easily one of the topmost violinists of today. Anantha R.Krishnan, also was exciting. His following for kritis, neravals, swarams, clarity of strokes, nadam, right volume, astounding tani for 10 minutes, completely embellishing the concert without the support of an upa pakka vadyam, he is brilliant.
• Since it was organised by Haridwaramangalam Palanivel Trust, there were lot of Tavil and Nadawara vidwans and students. Probably, that is the reason that the laya quotient was over riding throughout the concert. Haridwaramangalam Palanivel gave high accolades to the team at the end of the concert.
• Khamas alapana was only outline. The neraval at Premajoochi naapai pedda manasujesi and the cascade of cracker swaras that followed were mind boggling. The long melkaala neraval with laya variations was cracker stuff.
• Kalyani alapana- The alapana took 5 minutes. It was neither structured as an outline. It was started as a step by step exploration with karvais, gamakams, pauses all appropriately intertwined. When he was negotiating in nishadam, I felt that his mind told him” Porum ragam padinathu” and he immediately started the kriti even without giving for violin return. That was disappointing for me. He should have gone for a complete portrayal of the ragam. I have heard his many Kalyanis- many times awe inspiring.
• The intense neraval at Tamarasadalanetru Tyagarajuni mitru and the highly vyavaharam laden swaras were astounding. Raga bhavam got a hit a few times. But I don’t mind that. While doing swarams, he showed srutibhedam to Thodi.
• Saveri alapana was for five minutes, but it brought out the complete picture of the ragam through the choicest phrases. The best alapana of the concert. When he took up the alapana, I was expecting a pallavi. But as the ragam progressed, I could sense that it is not going to be a pallavi. Muruga Muruga was rendered very well. I was very glad that he sang an alapana at that juncture. Many vidwans will not sing an alapana (Other than RTP) after the tani. They will fill up with two kritis.
• At 8.40 P.M he announced I will sing a short pallavi. But it was never a short pallavi. The RTP concluded at 9.20 P.M. It took 40 minutes. Oh what a pallavi. The alapana took ten minutes- probably not leaving any aesthetic phrase in the Varali ragam. Because of time factor, tanam was played by Akkarai. Many times, Abhishek do like that. The pallavi was in Adi talam- but a very tricky one- tattu (in laghu and drutam) 2.5, others 1. Pallavi sahithyam- Garuda gamana raa raa Kamala manohara. In neraval and swarams, he took Natakurinji and Kathanakuhoohalam.It was highly intellectural, aesthetic, enjoyable, laya oriented presentation, his intelligence shining throughout. Trikalam in such a tricky talam also was presented with precision. Rajesh used to complain that Abhishek restricts kalpana swarams in RTPs. Here he rendered elaborate swarams- koraippu in Varali, culminating in a complex korvai.
• The other two As- they were equal partners with Abhishek in carrying this concert to a very high level. Akkarai’s alapanas, swara and neraval returns all were super. Soaked in raga bhavam, exhibiting her manodharmam, intelligent following for the RTP- she is easily one of the topmost violinists of today. Anantha R.Krishnan, also was exciting. His following for kritis, neravals, swarams, clarity of strokes, nadam, right volume, astounding tani for 10 minutes, completely embellishing the concert without the support of an upa pakka vadyam, he is brilliant.
• Since it was organised by Haridwaramangalam Palanivel Trust, there were lot of Tavil and Nadawara vidwans and students. Probably, that is the reason that the laya quotient was over riding throughout the concert. Haridwaramangalam Palanivel gave high accolades to the team at the end of the concert.