Vidushi Smt. Kanyakumari – violin with Vittal Rangan and Sri K.V Prasad.
Abhogi vaRNAM - Adi
Mahaganapatim – nATTai - Adi - Sri Dikshitar
( not caturaSra Ekam as she preferred that correcting us the beat keepers)
Harikambodhi – rAgam
rAma nannu brOva – rUpakam – Sri tyAgarajar ( N, S) neraval @ meppulakai
bhAvayAmi raghurAmam – rAgamAlika – rUpakam
candrajyOti - ragam
bhAagAya nayya - Adi - Sri tyagarajar with svarams.
Raghuvamsa sudhAmbudhi – kadanakutUhalam – dEsAdi
kiRavaNi rAgam , tAnam
kalgiyunTE kAdA - Adi – Sri tyAgarajar
AnnamacArya kiRtanam in a rAgam created by the viduShi herself ( forget the name of the rAgam)
<<tillana was her own composition in Sindhu bhairavi - confirmed from another rasika/Mridanga vidvan in attendance - now I remember Vittal anounced that - https://www.youtube.com/watch?v=1513JArHbFs >>
venkaTacala Nilayam – sindhu bhairavi – Sri PurandaradAsar
bhAgyAdA lakshmi bhAramma – madymAvati - – Sri PurandaradAsar
tiruppugazh - miSra gati
trying to find out if there was a tillana. I think there was one.
It was a great concert with not highly satisfactory attendance. She asked for audience preferences for kriti - including the starting on Ganapathi. Hamsadvani or nATTAI. HarikAmbOdhi Alapana was an intensely scholarly exposition.. Audience again chose a variety of songs and she did a surprise one - which I did not hear the audience selecting. She did sangatis unabashed as though they were made for her violin extending the syllables and emphasizing the rAgA. A great neraval exchange between her and Vittal with an electrifying round of svarams that set the stage for the concert. For the 4th item, she offered caturdasa rAgamAlika, bhAvayAmi and pancaratnam. The first two were heard, with bhAvayAmi was carried with voice vote. It was a serene rendition. candyajyOthi was a another lilting Alapana. bhAgAya nayya followed with effective svarams. She and Vittal brought out an electrifying raghuvamsa sudhAmbudhi bringing their expertise on the instrument to bear. In one ciTTai svaram round of repetition they alternated with a chord like phrasing, producing a panorama of tones and sounds.
Now the kIravAni was another intense exposition of the rAgam. Vittal shadowed her all through. She produced a cascading finale to the Alapana. She did graha bhEdam at pancamam ( I was told by another expert) and asked for audience input as to what it was. The expert rasika said rEvagupti - to which the vidushi replied it is bauLi. Post concert the expert rasika held to her view as from pancamam - it can only be rEvagupti.
Vittal did the tAnam in one speed - well appreciated by the audience. She did a mEL kAlam of the same full tAnam almost - that was brilliant.
The kriti rendition was again beautiful, with picture perfect sangati enunciation. The way she extended the sangatis again showed her scholarliness and experience. svara prastara was elaborate between the two of them.
VidvAn Sri K.V Prasad brought his vast experience and signature sound tone to bear through out. His soft approach and touches mixed with his exuberance that was controlled, enhanced the whole performance.
In the tani his trISra exposition was one of a kind. A vidvan, the audience in NA has been missing ever since his tour 12 years ago, with Sri GJR - for the violin, vINA, vENU with KR Subramaniam ( don't remember the vINA artiste). I guess his AIR stint prevented us from hearing him often.
Smt Kanyakumari implored the audience and organizers to support instrumental music.
Review the latest concerts you have listened to.
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#2 Re: Vidushi Smt. Kanyakumari – violin with Vittal Rangan and Sri K.V Prasad. IFAA Dallas Sep 8, 2019
Vidushi A kanyakumari has created 7 ragas in the name of 7 hills of tirumala.She must have likely played one of the 7 ragas , I am guessing that as a krithi in ragam Seshadri. Thank you for the review .