Sivaranjani with a twist

[sureshvv]

https://www.youtube.com/watch?v=FFrsqFl ... e=emb_logo

[Purist]

Can you elaborate on the "twist" ?

[sureshvv]

I found that the alapana started out like Mohanam and twisted into Sivaranjani at about the end of the first minute. Wonder if anyone else had the same experience.

[shankarank]

Anti-tyAgaraja approach to raga elucidation is there sometimes. Happened in a Cleveland concert in 2001 or 2. My friend , the tanjore marathi Grundig tape collector, was telling me, as soon as he stretched his legs at the beginning of the Alapana, rItigaULa became Anandabhairavi. Next day as I was raving about the concert in sangeetham.com, a handle named "anamika" made the exact point. I know my friend was not a poster!

Vagadheesvari in Dallas was treated the same way.

Seshu was talked about doing this to catch accompanists off gaurd - that is something I heard in my teens, from a senior aged student (part time) of Sailam Iyer (the latter's grandson now sings: Madurai Siva Ganesh - there was an Arkay concert!). On the day of that conversation, I remember the student sang pADI kriti of dIkshitar ( SrI gurunA palitOsmi) at my home - late 80s. Sailam Iyer seems to have been a repository of such rare items.

[shankarank]

A twist in a rAgA field, produces a new vector potential called ragnetism in the orthogonal direction, in another dimension! That attracts a lot of people!

[Sath]

Heheh shankarank.

sureshvv: it seemed to me that he deliberately focused on the higher swaras (pdsr) at the beginning and kept it light to provide contrast, so that the very first G that he hit could bring out the intensity of sivaranjani. His expression seemed to indicate the intentionality to me. And the expression of the gentleman behind him showed the same surprise you did too, perhaps.

[Purist]

I found that the alapana started out like Mohanam and twisted into Sivaranjani at about the end of the first minute. Wonder if anyone else had the same experience.

It sounded Shivaranjani from 0.14 -0.25 sec band, to me.

[Ranganayaki]

Yes, the only difference swara-wise between the two ragas is the lower G in Shivaranjani. And as Sath says in #6, he stays clear of the G and remains in the range that is common to mohanam. , But the typical gamakas were absent for the “mohanam.” But it was a nice trick, he was definitely trying to throw the audience off - considering that the common practice is to try to establish the raga in the very first few notes. The smile too, as Sath says.

He begins with the strong oscillation on the D. He actually begins with Mohanam. And exactly where Purist says, at the 14 second mark, he drops the gamakas. And you stop having the mohanam impression, and get an inkling of the shivaranjani. But it’s confirmed when he reaches the G.

I don’t think anything’s a fluke with Sanjay. He is always really prepared, and intentional.

[nadhasudha]

Anti-tyAgaraja approach to raga elucidation is there sometimes. Happened in a Cleveland concert in 2001 or 2. My friend , the tanjore marathi Grundig tape collector, was telling me, as soon as he stretched his legs at the beginning of the Alapana, rItigaULa became Anandabhairavi. Next day as I was raving about the concert in sangeetham.com, a handle named "anamika" made the exact point. I know my friend was not a poster!

Vagadheesvari in Dallas was treated the same way.

Seshu was talked about doing this to catch accompanists off gaurd - that is something I heard in my teens, from a senior aged student (part time) of Sailam Iyer (the latter's grandson now sings: Madurai Siva Ganesh - there was an Arkay concert!). On the day of that conversation, I remember the student sang pADI kriti of dIkshitar ( SrI gurunA palitOsmi) at my home - late 80s. Sailam Iyer seems to have been a repository of such rare items.

I attended this concert in Cleveland. We attributed it to lack of knowhow to differentiate between Ritigowlai and Anandabhairavi or artist had not made up his mind on what to sing.

The goal of any raga alapana is to establish the raga Swaroopa on the first phrase itself so as to not confuse the rasika and then build on it. At least that is what yester year vidwans did. But some contemporary artists do otherwise and their fans will justify it.

[nadhasudha]

Anti-tyAgaraja approach to raga elucidation is there sometimes. Happened in a Cleveland concert in 2001 or 2. My friend , the tanjore marathi Grundig tape collector, was telling me, as soon as he stretched his legs at the beginning of the Alapana, rItigaULa became Anandabhairavi. Next day as I was raving about the concert in sangeetham.com, a handle named "anamika" made the exact point. I know my friend was not a poster!

Vagadheesvari in Dallas was treated the same way.

Seshu was talked about doing this to catch accompanists off gaurd - that is something I heard in my teens, from a senior aged student (part time) of Sailam Iyer (the latter's grandson now sings: Madurai Siva Ganesh - there was an Arkay concert!). On the day of that conversation, I remember the student sang pADI kriti of dIkshitar ( SrI gurunA palitOsmi) at my home - late 80s. Sailam Iyer seems to have been a repository of such rare items.

I attended this concert in Cleveland. We attributed it to lack of knowhow to differentiate between Ritigowlai and Anandabhairavi or artist had not made up his mind on what to sing.

The goal of any raga alapana is to establish the raga on the first phrase itself so as to not confuse the rasika and then build on it. At least that is what yester year vidwans did. But some contemporary artists do otherwise and their fans will justify it.

[sureshvv]

sureshvv: And the expression of the gentleman behind him showed the same surprise you did too, perhaps.

Yes. KVG plays the perfect foil

[sureshvv]

At least that is what yester year vidwans did. But some contemporary artists do otherwise and their fans will justify it.

Yep. The times they are a changing