Shriram Kumar & Varadarajan - Violin Duet, Nada Inbam

rbharath · Post by **rbharath** » 17 Jan 2007, 23:22

R K Shriram Kumar & S Varadarajan - Violin Duet
K Arun Prakash - Mrudangam

Nada Inbam, Raga Sudha Hall
17th January 2007. 6 pm

In memory of Marungapuri Gopalakrishna Iyer

vanajAksha - rItigauLa - aTa
kanchadaLAyadAkshi - manOhari - Adi - MD (NS)
sujana jIvanA - khamAs - rUpakam - T (R)
himAdri sutE - kalyANi - tisra Adi - SS (RNS)
inta saukya - kApi - Adi - T (R)
viDajAladurA - janaranjani - Adi - T
pakkala nIlabaDi - kharaharapriyA - misra cApu - T (RNS)
tani Avarththanam
ini yenna pEcirukkudu - sahAnA - rUpakam - Subbarama Iyer (jAvaLi)
kaNDu danyAnAnE - bEhAg - rUpakam
anRu ivvulagam - sindhu bhairavi - Adi - Andal Thiruppavai
nI nAma rUpamulaku - saurAshTram - Adi - T

It is quite understandable for siblings or two people from the same school or bani to perform in tandem together. Two people from totally different backgrounds performing together and in such good tandem complimenting each other well, is something one had to appreciate. From the start of the varnam to the end, the balance was good and it was very well presented. A concert to remember for quite sometime.

The varNam was well played. I was very happy to hear this varNam in a concert after a long time. Such a grand varNam presented with so much of bhavam gave a good start to the concert. The short sketch of manOhari by Sri Shriram Kumar was good. The kriti was rendered with nice neraval and svarams at 'rAkA shashivadanE...' The next was a very nice AlApanai of khamAs by Sri Shriram Kumar. The kriti was rendered very movingly.

Sri Varadarajan's kalyANi AlApanai was very nicely woven and the rare and so beautiful kriti was rendered beautifully with neraval and svarams at 'shyAmakRSNa sOdari gauri paramEshvari girijA'. I have been longing to hear this kriti for a long time and it was very fulfilling to hear it. The kApi AlApanai by Sri Shriram Kumar was very nice. The kriti was rendered very well with a quick viDajAladurA to follow.

The main AlApanai of kharaharapriyA by Sri Varadarajan was very nice and the kriti was rendered with nice round of neraval and svarams at 'manasuna dalaci mE maraciyunnArA'. Short sketches of sahAnA and sindhubhairavi by Sri Shriram Kumar and that of bEhag by Sri Varadarajan were all very good. The pieces were also rendered very well.

Sri Arun Prakash played according to each kriti with very good anticipation. His playing was very good and his tani was nice also.

bharath

mri_fan · Post by **mri_fan** » 18 Jan 2007, 08:17

What a fascinating combination. Did you notice if it was recorded by AIR or by a CD company?

arasi · Post by **arasi** » 18 Jan 2007, 08:44

Two very talented violinists of different schools playing togther! A new thing, and shows CM is healthy with young artistes coming together like this. And, SrirAm Kumar sings too! Now, isn't the season over? Arunprakash playing three days in a row?? Good for him, though...

arasi · Post by **arasi** » 18 Jan 2007, 08:52

Isn't kancha daLAyadAkshi in kamalA manOhari?

rajeshnat · Post by **rajeshnat** » 18 Jan 2007, 08:55

Lji
Is kaNDu danyAnAnE in bEhAg, a composition of purandaradAsar or kamalesa vittala. When I googled I found both.

meena · Post by **meena** » 18 Jan 2007, 10:40

rajesh

comp. of kamalesha vittala, the charnam bares his ankita: kamalesha vitalla

rbharath · Post by **rbharath** » 18 Jan 2007, 11:08

arasi wrote:Isn't kancha daLAyadAkshi in kamalA manOhari?

this kriti is listed a manOhari in the dikshitar tradition. i m told manOhari and kamalAmanOhari are names of the same ragam in the dikshitar and tyagaraja schools respectively.

rajeshnat · Post by **rajeshnat** » 18 Jan 2007, 13:45

rbharath wrote:
arasi wrote:Isn't kancha daLAyadAkshi in kamalA manOhari?
this kriti is listed a manOhari in the dikshitar tradition. i m told manOhari and kamalAmanOhari are names of the same ragam in the dikshitar and tyagaraja schools respectively.

Few points to confuse more,
1. The krithi's starting line is kancha daLAyadAkshi kamalAmanOhari, did MD use kamalA referring goddess or did he have the rAgA in mind.

2. I have seen a pdf where this rAga is referred as a janyam of #33 gangayabhooshhani ,seen few sites referring as a janya of mm gowlai (#15), which to my ears is more correct.

3. Also there is another altogether different manOhari rAgam which is a janya of #22 , kharaharapriya

manOhari and kamalAmanOhari reminds me of Orange and kamalAOrange

:P

drshrikaanth · Post by **drshrikaanth** » 18 Jan 2007, 15:27

rajeshnat wrote:Few points to confuse more,
1. The krithi's starting line is kancha daLAyadAkshi kamalAmanOhari, did MD use kamalA referring goddess or did he have the rAgA in mind.

The start is kanjadaLAyatAkShi. The rAga is manOhari only. it does not matter what word/words he used before the rAga name. It need not be part of the rAgamudre. As tyAgarAja's manOhari is different(a janya of kharaharapriya), someone along the way decided to give a qualifying prefix(Perhaps unwittingly) to dIkShitar's rAGa to differentiate the two. It may well be gOvindAcArya. This is similar to some people calling tarangiNi as sudhAtarangiNi to justify the use of D2 (as opposed to the asampUrNa mELa with D1).

2. I have seen a pdf where this rAga is referred as a janyam of #33 gangayabhooshhani ,seen few sites referring as a janya of mm gowlai (#15), which to my ears is more correct.

Traditionally it has been placed under gangAtarangiNi. It will make no difference to the rAga as RShabha is absent. Possibly the absence of R2 was the reason behind placing it under 33rd mELa. R2 is very characteristic of the 15th mELa (15th and 33rd mELas differ only in the RShabha