Navneet Krishnan@Nageswaran House On March 01st,2020
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V.Navaneet Krishnan- Vocal
M Vijay - Violin
Dr. V N Sivakumar - Mridangam
Sai Subramaniam - Morsing
...
....
3. Sreenivasa Tava charanam (R N S) - kharaharapriya
neraval in kamalaja manonhara shree for 7 mins
swaras
4A. needu charana pankaja (R N S T) - kalyani -Pallavi Gopala iyer
4B.tani
5. nArImaNI kainadrirA jAra cOramA -kamas- Dharmapuri subbarayar
6A. slokham - ambOdhE shiva - hamsanandi + kevam yastAtvana??? - Kapi + padmanabha prabhO - bhageshri
6B. sAgara sayana prabho - bhagesri - MDR
7. vanga kadal - shuruTTi- Andal tiruppavai
8. thillana - poorvi - nArImaNI kainadrirA jAra cOramA
9. shree ramanukku jaya mangalam - shuruTTi - AK
I could not be on time as communicated before . Unfortunately for a significant part of submain and almost full time of main i had to attend an emergency mobile call. Sorry artists for that
I have personally not heard Navneet and Dr Sivakumar in any live concert . THe violin of M Vijay whom i heard few times is definitely wonderful, he plays with precision and like his present guru S Varadarajan he is showing a great promise to be there with proportion , gamaka perfection etc. Sai Subramaniam twanged excellently and at times i felt his vibrancy was bit more than Dr Sivakumar mrudangam . Dr Sivakumar I am assuming was using a synthetic mrudangam , I bit felt in second half of Kharaharapriya there could have been bit more charge.
Navneet certainly has internalized a lot KVN . His musical steps were completely KVN at times in the lower and middle registers it came out very well , but I felt during neraval and swaras especially in kharaharapriya certain more spontaneity would have taken the concert to a notch higher place.
Kharaharapriya Sreenivasa tava charanam was a DKJ-KVN special. I am not sure if any one before them have sung this song (other than DKP) . This is a little slow moving kharaharapriya , the grandeur of this majestic melakartha 22 is there . I felt Navaneet did well and started very well . Some time in neraval and bit later in swaras i felt his grip over the kalapramanam was bit of a drag that did not register that well.
I did not hear that Long his main as i had to be out . The kamas was just ok . The best was indeed the slokham , navneet really gave a clean clinical typecast really enjoying every sangathi in the slokham. KVN sowkhyam was in full glory ending with MDR-KVN popularized sagara sayana vibho. Shurutti vanga kadal was just done well , the poorvi thillana was not really there bit down in quality. The last AK mangalam was done well showcasing his ariyakudi-KVN school.
Nageswaran Sir was championing , In his full enthusiasm mode and he announced he just turned 81. Congratulations nageswaran sir for all the trouble that you have taken .He did a great job in continuing to be a great host and the sound setup was perfect. Crama, SRK and the newly found generation gap "srinathK" was also there .
Overall a concert that i wished that i had bit more time to hear navneet .
Navneet Krishnan@Nageswaran House On March 01st,2020
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rajeshnat
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Navneet Krishnan@Nageswaran House On March 01st,2020
Last edited by rajeshnat on 02 Mar 2020, 17:46, edited 1 time in total.
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CRama
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Re: Navneet Krishnan@Nageswaran House On March 01st,2020
The songs rendered prior to the list of Rajeshnat.
1. Ramunikori- Varnam- Abhogi- Khanda Triputa- Poochi Sreenivasa Iyengar
2. Telisirama- Poornachandrika- T- (S)
3. Entharaneethana- Harikambodi- T (N,S)
4. Sree Sathyanarayanam- Subhapanthuvarali- MD- (R)
The varnam in Khanda Triputa is a very rare one. I have never heard this from any body.
Brief rounds of swaras for Telisirama added sparkle to the song.
Entharaaneethana - Elaborate neraval on the lines Seshudu sivuniki and sumptuous swaras brought weight to the concert.
Sree Sathyanarayanam- assumes relevance as the venue is opposite to the Sathyanarayana temple. The ragam alapana and kriti was rendered well in an unhurried manner.
1. Ramunikori- Varnam- Abhogi- Khanda Triputa- Poochi Sreenivasa Iyengar
2. Telisirama- Poornachandrika- T- (S)
3. Entharaneethana- Harikambodi- T (N,S)
4. Sree Sathyanarayanam- Subhapanthuvarali- MD- (R)
The varnam in Khanda Triputa is a very rare one. I have never heard this from any body.
Brief rounds of swaras for Telisirama added sparkle to the song.
Entharaaneethana - Elaborate neraval on the lines Seshudu sivuniki and sumptuous swaras brought weight to the concert.
Sree Sathyanarayanam- assumes relevance as the venue is opposite to the Sathyanarayana temple. The ragam alapana and kriti was rendered well in an unhurried manner.
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arasi
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Re: Navneet Krishnan@Nageswaran House On March 01st,2020
Many happy returns of the day, Sri. Nageswaran! We play hide and seek--with your concerts taking place in Chennai when I find myself in Bengaluru 
Your good work continues, bless you!
Navneet.
Good to hear about your concert.
Thanks Crama, Rajesh and Srinath for being there. One other influence in Navneeth (Krishnan)'s music comes from the MSS school. He did learn from Srimathi Radha Viswanathan for a while...
Your good work continues, bless you!Navneet.
Good to hear about your concert.
Thanks Crama, Rajesh and Srinath for being there. One other influence in Navneeth (Krishnan)'s music comes from the MSS school. He did learn from Srimathi Radha Viswanathan for a while...
Last edited by arasi on 03 Mar 2020, 00:20, edited 2 times in total.
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advaitam
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Re: Navneet Krishnan@Nageswaran House On March 01st,2020
Rather unfair review by Rajesh. I am pained to read this callous review of a genuinely high quality concert and musician. I heard a copy of the entire concert recording, and found Rajesh's criticisms lacking completely in stuff. Clearly, Rajesh feels he can get away with this pathetic excuse for a review, since in his books, the artiste in question is some one relatively unknown. Firstly, as Rajesh himself admits having heard the concert in bits and pieces amidst a series of phone calls to mitigate personal crises, is not the ideal way to go about reviewing a concert. I had come to know that Sri CRama and SRK were present for the entire concert. One could have allowed one of these gentlemen to write the entire review, rather than doing this piecemeal affair, and expecting Sri CRama to "fill in the blanks", so to speak. Let me shoot down each of Rajesh's flimsy criticisms point by point, as also highlight the reasons why this critique is absolutely unworthy:
1. "I felt during neraval and swaras especially in kharaharapriya certain more spontaneity would have taken the concert to a notch higher place." - Though Mr. Rajesh is entitled to his opinion, there seemed no lack of spontaneity in the Kharaharapriya at all, from my vantage point. The niraval and swaras were not only replete with soukhya, they were steeped in the typical KVN style of tier-by-tier build up, effulgent with raga bhava. I don't know how far Mr. Rajesh heard the musician in question with an open mind, amidst his phone calls.
2. "Some time in neraval and bit later in swaras i felt his grip over the kalapramanam was bit of a drag that did not register that well." - Again, Mr. Rajesh seems to confuse soukhya with dragging. I don't know what brand of music he is used to listening to, but the niraval and swaras in question were of a very high calibre indeed, clearly coming from the mind of a thinking musician. Navaneet Krishnan's greatest asset is that he sings without imitating KVN, while at the same time following KVN's style very authentically.
3. "I did not hear that Long his main as i had to be out" - This is the biggest disqualifying factor of this so-called "review". The main raga Kalyani was dealt with in a neat package, soaked in raga bhava. Like his inspiration KVN, Navaneet too seems to have quickly climbed to the tara sthayi sa, and started an elaborate delineation of the raga in the upper register, a la KVN. The niraval and swaras were beautifully chiseled out, with wonderful odhukkals and rhythmic patterns, making the simple Adi tala sama eduppu composition into a multifaceted and rich tapestry of Kalyani's magnificent grandeur. Again, Navaneet here seems to take a page out of KVN's book when it comes to restraint and proportion. In an age where more-seems-to-be-never-enough, it's refreshing to see a young musician who still follows the less-is-more philosophy.
4. "The kamas was just ok" - Clearly Mr. Rajesh knows very little of the difficulty in rendering this Javali in the Ariyakkudi-KVN style, to have made such a flippant remark. Navaneet has clearly worked hard to master the laya skills needed to sing this particular Javali. While almost every other style renders this Javali in the normal Adi thala, in the Ariyakkudi-KVN style, this Javali is rendered in Desadi thala, Misra jathi, that too where the misra element is reckoned as 4+3, rather than the usual 3+4. And to make it even more difficult, the entire misra jathi count is kept in the mind, while the thala is put as just a single beat. I don't know how efficacious my soliloquy is here, but suffice to say that making a remark like it "was just ok" reeks of Rajesh's ignorance, rather than any lack of mastery on behalf of Navaneet.
5. "Shurutti vanga kadal was just done well" - Not sure if this is some back-handed compliment.
6. "the poorvi thillana was not really there bit down in quality" - Again, with the baseless, flippant criticism. Not sure what Rajesh expects in a thillana rendition. Navaneet was in perfect pitch, in perfect rhythm, and rendered the thillana flawlessly. Clearly these callous comments stem from a place of deep bias, rather than genuine criticism of any sort.
7. "Overall a concert that i wished that i had bit more time to hear navneet" - When you couldn't even allow yourself to listen to the concert in entirety, with complete concentration (and possibly an open mind), why did you even bother writing this bilge? I would urge Navaneet, if he does read Rajesh's critique, to completely ignore it and continue on his wondrous musical journey.
1. "I felt during neraval and swaras especially in kharaharapriya certain more spontaneity would have taken the concert to a notch higher place." - Though Mr. Rajesh is entitled to his opinion, there seemed no lack of spontaneity in the Kharaharapriya at all, from my vantage point. The niraval and swaras were not only replete with soukhya, they were steeped in the typical KVN style of tier-by-tier build up, effulgent with raga bhava. I don't know how far Mr. Rajesh heard the musician in question with an open mind, amidst his phone calls.
2. "Some time in neraval and bit later in swaras i felt his grip over the kalapramanam was bit of a drag that did not register that well." - Again, Mr. Rajesh seems to confuse soukhya with dragging. I don't know what brand of music he is used to listening to, but the niraval and swaras in question were of a very high calibre indeed, clearly coming from the mind of a thinking musician. Navaneet Krishnan's greatest asset is that he sings without imitating KVN, while at the same time following KVN's style very authentically.
3. "I did not hear that Long his main as i had to be out" - This is the biggest disqualifying factor of this so-called "review". The main raga Kalyani was dealt with in a neat package, soaked in raga bhava. Like his inspiration KVN, Navaneet too seems to have quickly climbed to the tara sthayi sa, and started an elaborate delineation of the raga in the upper register, a la KVN. The niraval and swaras were beautifully chiseled out, with wonderful odhukkals and rhythmic patterns, making the simple Adi tala sama eduppu composition into a multifaceted and rich tapestry of Kalyani's magnificent grandeur. Again, Navaneet here seems to take a page out of KVN's book when it comes to restraint and proportion. In an age where more-seems-to-be-never-enough, it's refreshing to see a young musician who still follows the less-is-more philosophy.
4. "The kamas was just ok" - Clearly Mr. Rajesh knows very little of the difficulty in rendering this Javali in the Ariyakkudi-KVN style, to have made such a flippant remark. Navaneet has clearly worked hard to master the laya skills needed to sing this particular Javali. While almost every other style renders this Javali in the normal Adi thala, in the Ariyakkudi-KVN style, this Javali is rendered in Desadi thala, Misra jathi, that too where the misra element is reckoned as 4+3, rather than the usual 3+4. And to make it even more difficult, the entire misra jathi count is kept in the mind, while the thala is put as just a single beat. I don't know how efficacious my soliloquy is here, but suffice to say that making a remark like it "was just ok" reeks of Rajesh's ignorance, rather than any lack of mastery on behalf of Navaneet.
5. "Shurutti vanga kadal was just done well" - Not sure if this is some back-handed compliment.
6. "the poorvi thillana was not really there bit down in quality" - Again, with the baseless, flippant criticism. Not sure what Rajesh expects in a thillana rendition. Navaneet was in perfect pitch, in perfect rhythm, and rendered the thillana flawlessly. Clearly these callous comments stem from a place of deep bias, rather than genuine criticism of any sort.
7. "Overall a concert that i wished that i had bit more time to hear navneet" - When you couldn't even allow yourself to listen to the concert in entirety, with complete concentration (and possibly an open mind), why did you even bother writing this bilge? I would urge Navaneet, if he does read Rajesh's critique, to completely ignore it and continue on his wondrous musical journey.
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ram1999
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Re: Navneet Krishnan@Nageswaran House On March 01st,2020
advaitam wrote: ↑02 Mar 2020, 21:34 Rather unfair review by Rajesh. I am pained to read this callous review of a genuinely high quality concert and musician. I heard a copy of the entire concert recording, and found Rajesh's criticisms lacking completely in stuff. Clearly, Rajesh feels he can get away with this pathetic excuse for a review, since in his books, the artiste in question is some one relatively unknown. Firstly, as Rajesh himself admits having heard the concert in bits and pieces amidst a series of phone calls to mitigate personal crises, is not the ideal way to go about reviewing a concert. I had come to know that Sri CRama and SRK were present for the entire concert. One could have allowed one of these gentlemen to write the entire review, rather than doing this piecemeal affair, and expecting Sri CRama to "fill in the blanks", so to speak. Let me shoot down each of Rajesh's flimsy criticisms point by point, as also highlight the reasons why this critique is absolutely unworthy:
1. "I felt during neraval and swaras especially in kharaharapriya certain more spontaneity would have taken the concert to a notch higher place." - Though Mr. Rajesh is entitled to his opinion, there seemed no lack of spontaneity in the Kharaharapriya at all, from my vantage point. The niraval and swaras were not only replete with soukhya, they were steeped in the typical KVN style of tier-by-tier build up, effulgent with raga bhava. I don't know how far Mr. Rajesh heard the musician in question with an open mind, amidst his phone calls.
2. "Some time in neraval and bit later in swaras i felt his grip over the kalapramanam was bit of a drag that did not register that well." - Again, Mr. Rajesh seems to confuse soukhya with dragging. I don't know what brand of music he is used to listening to, but the niraval and swaras in question were of a very high calibre indeed, clearly coming from the mind of a thinking musician. Navaneet Krishnan's greatest asset is that he sings without imitating KVN, while at the same time following KVN's style very authentically.
3. "I did not hear that Long his main as i had to be out" - This is the biggest disqualifying factor of this so-called "review". The main raga Kalyani was dealt with in a neat package, soaked in raga bhava. Like his inspiration KVN, Navaneet too seems to have quickly climbed to the tara sthayi sa, and started an elaborate delineation of the raga in the upper register, a la KVN. The niraval and swaras were beautifully chiseled out, with wonderful odhukkals and rhythmic patterns, making the simple Adi tala sama eduppu composition into a multifaceted and rich tapestry of Kalyani's magnificent grandeur. Again, Navaneet here seems to take a page out of KVN's book when it comes to restraint and proportion. In an age where more-seems-to-be-never-enough, it's refreshing to see a young musician who still follows the less-is-more philosophy.
4. "The kamas was just ok" - Clearly Mr. Rajesh knows very little of the difficulty in rendering this Javali in the Ariyakkudi-KVN style, to have made such a flippant remark. Navaneet has clearly worked hard to master the laya skills needed to sing this particular Javali. While almost every other style renders this Javali in the normal Adi thala, in the Ariyakkudi-KVN style, this Javali is rendered in Desadi thala, Misra jathi, that too where the misra element is reckoned as 4+3, rather than the usual 3+4. And to make it even more difficult, the entire misra jathi count is kept in the mind, while the thala is put as just a single beat. I don't know how efficacious my soliloquy is here, but suffice to say that making a remark like it "was just ok" reeks of Rajesh's ignorance, rather than any lack of mastery on behalf of Navaneet.
5. "Shurutti vanga kadal was just done well" - Not sure if this is some back-handed compliment.
6. "the poorvi thillana was not really there bit down in quality" - Again, with the baseless, flippant criticism. Not sure what Rajesh expects in a thillana rendition. Navaneet was in perfect pitch, in perfect rhythm, and rendered the thillana flawlessly. Clearly these callous comments stem from a place of deep bias, rather than genuine criticism of any sort.
7. "Overall a concert that i wished that i had bit more time to hear navneet" - When you couldn't even allow yourself to listen to the concert in entirety, with complete concentration (and possibly an open mind), why did you even bother writing this bilge? I would urge Navaneet, if he does read Rajesh's critique, to completely ignore it and continue on his wondrous musical journey.
Navneet's music truly is full of classism. As rightly said he has internalised the the Giant KVN's music so beautifully that we see KVN in his form when he sings.
This is truly hard hitting and bang on ! I fully endorse, if one hadnt listened to a concert fully, refrain from writing a review with ifs and buts and back handed compliments.
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rajeshnat
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Re: Navneet Krishnan@Nageswaran House On March 01st,2020
Thiillana- Purvi - Tirugokaranam Vaidyanatha Bhagavathar (MDR popularized thillana). Made an error in typing the composer name. I donot want to edit the previous post of mine. 
Can some one also tell me the composer /vageyakkara of the ragamaliga slokham ?
Each of the three(SRK, Srinathk and Nageswaran Sir) who attended can also write inclusive of CRama also can finish the unfinished part.
Can some one also tell me the composer /vageyakkara of the ragamaliga slokham ?
Each of the three(SRK, Srinathk and Nageswaran Sir) who attended can also write inclusive of CRama also can finish the unfinished part.
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sureshvv
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Re: Navneet Krishnan@Nageswaran House On March 01st,2020
In Rajesh's defense, every one should know that a review is more about the mental state of the reviewer than anything else 
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Sivaramakrishnan
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Re: Navneet Krishnan@Nageswaran House On March 01st,2020
1. The Sanskrit sloka is from Swati Tirunal's 'Bhaktimanjari' (which KVN used to render at Navaratri Mandapam concerts). Navaneet's diction and rendering were good.
2. I was hearing the Abhogi varnam of Ramanthapuram Srinivasa Iyengar for the first time. Khanda Triputa for Varnam is also not common. A nice selection.
3. Alapana of Subhapantuvarali was very good.
4. Given the fact that Kritis in the 'tough to handle' Rupaka Talam 'rendu kalai' are less, Navaneet chose to render two kritis set in it (Sri satyanarayanam and Srinivasa tava Charanam)admirably. However I felt a composition in Misrachapu or tisra triputa could replace one for variety.
5. Navaneet's is perhaps a unique oriental style of singing.
6.Dr Sivakumar's 'No hide-no wood' Mridangam explained how innovation could go hand in hand with tradition. He led a laya-laden Tani.
Special regards to Nageswaran Sir for hosting concerts occasionally at his residence. He is a person who loves music as well as music lovers!
2. I was hearing the Abhogi varnam of Ramanthapuram Srinivasa Iyengar for the first time. Khanda Triputa for Varnam is also not common. A nice selection.
3. Alapana of Subhapantuvarali was very good.
4. Given the fact that Kritis in the 'tough to handle' Rupaka Talam 'rendu kalai' are less, Navaneet chose to render two kritis set in it (Sri satyanarayanam and Srinivasa tava Charanam)admirably. However I felt a composition in Misrachapu or tisra triputa could replace one for variety.
5. Navaneet's is perhaps a unique oriental style of singing.
6.Dr Sivakumar's 'No hide-no wood' Mridangam explained how innovation could go hand in hand with tradition. He led a laya-laden Tani.
Special regards to Nageswaran Sir for hosting concerts occasionally at his residence. He is a person who loves music as well as music lovers!
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sureshvv
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Re: Navneet Krishnan@Nageswaran House On March 01st,2020
Can you elaborate?Sivaramakrishnan wrote: ↑03 Mar 2020, 15:59
5. Navaneet's is perhaps a unique oriental style of singing.
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Sivaramakrishnan
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Re: Navneet Krishnan@Nageswaran House On March 01st,2020
Rendition that has, what you call, an 'old world charm'.
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Sachi_R
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Re: Navneet Krishnan@Nageswaran House On March 01st,2020
Folks, I envy you all as I have heard only good things about Sri. Navaneeth Krishnan and his great gurus. And celebrating the one and only MR. IRREPRESSIBLE DOYEN OF RASIKAS Sri. Nageswaran! Happy birthday sir.
I know your Chennai group supports you a lot more than us dull Bangaloreans
Kindly share a recording however convenient so we can enjoy this pure fare from a classical mould!
I know your Chennai group supports you a lot more than us dull Bangaloreans
Kindly share a recording however convenient so we can enjoy this pure fare from a classical mould!
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advaitam
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Re: Navneet Krishnan@Nageswaran House On March 01st,2020
The artiste was kind enough to share this recording with me. I share here a few select songs from this concertSachi_R wrote: ↑06 Mar 2020, 17:42 Folks, I envy you all as I have heard only good things about Sri. Navaneeth Krishnan and his great gurus. And celebrating the one and only MR. IRREPRESSIBLE DOYEN OF RASIKAS Sri. Nageswaran! Happy birthday sir.
I know your Chennai group supports you a lot more than us dull Bangaloreans
Kindly share a recording however convenient so we can enjoy this pure fare from a classical mould!
https://www.dropbox.com/s/fgbggjlp7quuj ... i.mp3?dl=0 - Ramuni kori Varnam in Abhogi
https://www.dropbox.com/s/huylkqart25sg ... i.mp3?dl=0 - Sri Satyanarayanam - Subhapanthuvarali
https://www.dropbox.com/s/otw7uegma085p ... a.mp3?dl=0 - Srinivasa - Kharaharapriya
https://www.dropbox.com/s/ccgguicwmp881 ... a.mp3?dl=0 - Ragamalika Slokam
https://www.dropbox.com/s/yasjwkqv5dx4a ... i.mp3?dl=0 - Sagara sayana
https://www.dropbox.com/s/eyr1ocg25e92n ... i.mp3?dl=0 - Thillana in Poorvi
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Sachi_R
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Re: Navneet Krishnan@Nageswaran House On March 01st,2020
Thank you sir.
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Sachi_R
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Re: Navneet Krishnan@Nageswaran House On March 01st,2020
Thank you sir.
I just heard the varnam and also the Ragamalika shloka.
Sri Navaneeth has a very sweet and mellow voice. The violin has matched his voice in tonality. The varnam is of course new to me and sounds quite nice and with a tricky tala which all 3 negotiate well.
The Ragamalika is sung very well with good enunciation and bhava. Swathi Thirunal always comes up with great imagery which would lend itself very much to abhinaya. The violin turns add to the mood created so well by the vocalist.
The sound balance between voice, violin and tambura is really optimal. Even the mridangam sounds nice,not too loud.
It looks like a very enjoyable chamber concert!
I just heard the varnam and also the Ragamalika shloka.
Sri Navaneeth has a very sweet and mellow voice. The violin has matched his voice in tonality. The varnam is of course new to me and sounds quite nice and with a tricky tala which all 3 negotiate well.
The Ragamalika is sung very well with good enunciation and bhava. Swathi Thirunal always comes up with great imagery which would lend itself very much to abhinaya. The violin turns add to the mood created so well by the vocalist.
The sound balance between voice, violin and tambura is really optimal. Even the mridangam sounds nice,not too loud.
It looks like a very enjoyable chamber concert!