A new Organization spearheaded by a resident Violin Vidvan - which has started with bringing violinists to the fore.
sarasUDa - savEri vaRNam - Adi
vAraNa mukhavA dayai purivai - hamsadvani - rUpakam - kOTISvara Iyer - brief sketch of rAga, svarams
sAdhincanE (pancaratnam) - Arabhi - Adi - a semi elaborate sketch of rAga
Raghu vamsa - katana kutUhalam - dEsAdi - paTNam
pavanAtmaja - cala nATa - khaNDa cApu (Jhampa) - MD - brief sketch of rAga
aruLvai nI tAyE angayarkaNNi nIyE - sAramati - rUpakam - daNDapANi dEsikar - a semi elaborate sketch of rAga
pURvi kalyANI - RTP - khaNDa tripuTA - 2 kaLai
|| (1/2) rAja mAtangi pAvani pari pURaNi | (7) ratna bhUshani manOn || maNi
Tani..
Ananda Bhairavi, kAnaDa , a HM rAgam, nATTaikurinji
Hari tum harO
vaishNava janatO
nArayaNatE namo namO - yaman - Adi - Annamacharya
niraimati - tirupugazh
BhAgyAta lakshmi bharamma - madyamAvati - PD
MangaLam
A wholesome concert organized at a short notice prior to a Spring Break weekend. By word of mouth about 100 Plus crowd could gather for a violin concert by a Maestro. An organizer told me she saw her program in Houston (in facebook) and got in touch with the team. After "cacm"'s exasperation in the forum - I had texted one of them almost a year back. My wishes came true Sunday.
Lots of children in the front seated on a spread blankets - lapping it up.
We were all in for a about 3 hours of drenching violin. A brisk sarasUda was followed by a vervy vARNa mukava. She played many odukkams to keep the gripping tension alive. Arabhi was almost the approach of Dr BMK in the handling of phrases and sequences. sAdhincanE was played with gusto , had an extra passage - I learnt in the post concert conversations as a musician inquired her about it. She said Sri PSN taught her that and it is in SSI school from tirukODikaval krishna Iyer. raghu vamsa sudhA starting itself was in quite a fast tempo and she did two further fast speeds on that on caraNams. She was interactive and mentioned that Parurji developed this technique. pavanAtmaja was a serene break addressed to Lord Hanuman.
sAramati was a lilting presentation in the raga and kriti.
pUrvi kalyANi was developed in a grand fashion and tAnam was done with percussion. She sang the pallavi and explained the eduppu. Pallavi flowed nicely and after trikAlam , she did high speed conversion for part of the pUrvAnga and uttarAnga and triSram conversion in the same way.
The rAgamalika really captivated the audience - the kAnAda especially as the entire hall fell for an ending phrase, the way she executed it!
tanI by Vijay Ganesh and Sri Sarma was of a high standard - they did triSram. Chandrasekhara Sarma played khaNDam in caturAsram split for the first 5 and caturaSram for remaining 4 for khaNda tripuTa , alternated it and then did a SanKiRNa split in caturASram for the 18 mAtras (msakella terms
). Sarma's triSra reply was impressive. Final Mohra kORvai was interesting: ta-ti-tOm kiTatakatomkiTatOm - dhittAngiDa tagundAri kiTataka dhin-ta-tOm - not able to work out the rest. The kOrvai also had the same face with a shortening of the ta-ti-tOm to ta-tOm and tOm in sequence.Post RTP smaller items were also equally enjoyable.
