maharAjapuram RAmachandran@nadopasana(PS High School) on Mar
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maharAjapuram RAmachandran@nadopasana(PS High School) on March 10th,2007
violin - MA Sundareswaran , Mridangam - guruvAyur Durai and Morsing - shrirangam Krishnan
1. nera nammiti (varnam) - kAnadA - poochi Iyengar
2. mUlAdhAra moorthi(S) - hamsadhwani -pApanAsam Sivan
3. jaya jaya jAnaki (S)- nAttai - PurandaraDAsar
4. anudinamunu kaavumayya(R,N,S) - bEgaDa - poochi Iyengar
neraval in the usual " kanakaruci nIrUpamu kAkOdhara shayanA rAmA"
5.vinAyakuni - madhyamAvati -T
6.bhuvanEshwariya (R)- mOhanakalyAni - HMB
7A. kArtikEya kAngEya (R,N,S)- tOdi - pApanAsam Sivan
neraval in "shIrttimEya tenparankunRu tiru sendil pazhani swAmimalai"
7B tani
8A. virutham
kandA guhA shanmugha (SAveri) + arumUganAi irundhum enakku (hameekalyAni) + panjilum pAdupaduvathu(subhapanthuvarAli) +
darisanam thArumayyA (brindAvani) - yAzhpAnam veeramani
8B. endha vElaiyum kanda vElaiyum sindhanai seidhidhu manamE - brindAvani - yAzhpAnam veeramani
9. sAgara sayana vibhO - bhAgeshri - MDR
10. karpagAme - madhyamAvati -pApanAsam Sivan
11. pavamAna
Shri rAmachandran is at an advantage in the minds of rasikas as he is the son of the greatest crowd puller . But at times that advantage goes against this vidwan , as most of the time he is stereotyped that he is just a replica of his dad and most of his krithis are repetitive.
To a great extent that stereotype does seem somewhat correct , but there are few distinct differences when compared to santhanam that he exhibited atleast in this concert.Shri ramachandran's best selling point is his rich baritoned voice , you would get a feeling that you are hearing a saxophone.
I was late just to hear his usual nera nammiti , perhaps I was happy in being late as he repeats this varnam too often .I heard for the first time mUlAdhara moorthi in hamsadhwani from him . The baritoned voice was perfect when he elongated the nishAdam and was able to hold it longer , that too in comparison to my yesterday's concert where gurucharan could not stand bit long in his swara aksharam in the same [email protected] concert is either a hamsadhwani or nAttai .It was both and the dAsar's nAttai was wonderful,exactly a replica of his dad's 1987 music academy rendition.
He demonstrated that he was different from his dad(case #1) in bEgadA as I have not heard Shri santhanam singing a very elaborate begada. The cittaswarams in this poochis krithi was nice.The surprise where he gave a long round for percussion at the end of charanam and then starting neraval and swarams was very good.A slight dip in the quality was his vinAyakuni in madhyamavati.
mOhanakalyAni alApanai was grand , he took it non stop upto close to 10 minutes with very few breath cycles .The krithi was just good.Easily the best that was showcased was his tOdi alApanai,his baritone voice was perfect.His dad santhanam imho, has only sung once a tOdi as main/rtp. (There is just one RTP of 1987 academy that I recollect,rest of the tOdi's were small fillers) . But ramachandran's tOdi as a main is a distinct difference from his dad (case #2)
SanthAnam has taken this "kanda guha shanmugha" viruttam to immortal heights where he usually starts with brindAvana sAranga ,usually ending with a revati or mishra sivaranjani tillAna,ending with thunderous applause. But rAmachandran started differently in sAveri , proceeded with hameerkalyAni , subhapantuvarAli (his dad takes the same subhapantuvarAli ) and then ended with brindavani(all 4 were wonderful) . A very expressive tamil krithi on Lord murugA ,(possibly known only to him as the composer was yAzhpAnam veeramani) was sung with great finesse by rAmachandran. Overall in the viruttam and the tukkada he was different than his dad (case #3) A good finish of MDR's evergreen bhAgeshri and Sivan's madhyamAvati was a great bonus to continue hearing his baritone voice.
Shri MA sundareswaran showed his class. He showed a great sense of urgency which is generally a prerequisite for swarams in hamsadhwani and nAttai. The heaviness of bEgadA was showcased well,he brought a tinge of western note with his trademark glides in mOhanakalyAni.For tOdi he appeared to treat with sanctity as the rAga tOdi demands total concentration. Also for a brief time in the charanam of tOdi,when rAmachandran forgot few lines, he shadowed brilliantly.
Shri durai was very good,especially in swarams and neravals in nAttai and tOdi .I noticied overall a very high sense of anticipation that too in comparison with my previous days concert.mOrsing went well with ramachandran's baritoned voice.Overall a very good to excellent concert, with the viruttam and the tukkada being outstanding.
violin - MA Sundareswaran , Mridangam - guruvAyur Durai and Morsing - shrirangam Krishnan
1. nera nammiti (varnam) - kAnadA - poochi Iyengar
2. mUlAdhAra moorthi(S) - hamsadhwani -pApanAsam Sivan
3. jaya jaya jAnaki (S)- nAttai - PurandaraDAsar
4. anudinamunu kaavumayya(R,N,S) - bEgaDa - poochi Iyengar
neraval in the usual " kanakaruci nIrUpamu kAkOdhara shayanA rAmA"
5.vinAyakuni - madhyamAvati -T
6.bhuvanEshwariya (R)- mOhanakalyAni - HMB
7A. kArtikEya kAngEya (R,N,S)- tOdi - pApanAsam Sivan
neraval in "shIrttimEya tenparankunRu tiru sendil pazhani swAmimalai"
7B tani
8A. virutham
kandA guhA shanmugha (SAveri) + arumUganAi irundhum enakku (hameekalyAni) + panjilum pAdupaduvathu(subhapanthuvarAli) +
darisanam thArumayyA (brindAvani) - yAzhpAnam veeramani
8B. endha vElaiyum kanda vElaiyum sindhanai seidhidhu manamE - brindAvani - yAzhpAnam veeramani
9. sAgara sayana vibhO - bhAgeshri - MDR
10. karpagAme - madhyamAvati -pApanAsam Sivan
11. pavamAna
Shri rAmachandran is at an advantage in the minds of rasikas as he is the son of the greatest crowd puller . But at times that advantage goes against this vidwan , as most of the time he is stereotyped that he is just a replica of his dad and most of his krithis are repetitive.
To a great extent that stereotype does seem somewhat correct , but there are few distinct differences when compared to santhanam that he exhibited atleast in this concert.Shri ramachandran's best selling point is his rich baritoned voice , you would get a feeling that you are hearing a saxophone.
I was late just to hear his usual nera nammiti , perhaps I was happy in being late as he repeats this varnam too often .I heard for the first time mUlAdhara moorthi in hamsadhwani from him . The baritoned voice was perfect when he elongated the nishAdam and was able to hold it longer , that too in comparison to my yesterday's concert where gurucharan could not stand bit long in his swara aksharam in the same [email protected] concert is either a hamsadhwani or nAttai .It was both and the dAsar's nAttai was wonderful,exactly a replica of his dad's 1987 music academy rendition.
He demonstrated that he was different from his dad(case #1) in bEgadA as I have not heard Shri santhanam singing a very elaborate begada. The cittaswarams in this poochis krithi was nice.The surprise where he gave a long round for percussion at the end of charanam and then starting neraval and swarams was very good.A slight dip in the quality was his vinAyakuni in madhyamavati.
mOhanakalyAni alApanai was grand , he took it non stop upto close to 10 minutes with very few breath cycles .The krithi was just good.Easily the best that was showcased was his tOdi alApanai,his baritone voice was perfect.His dad santhanam imho, has only sung once a tOdi as main/rtp. (There is just one RTP of 1987 academy that I recollect,rest of the tOdi's were small fillers) . But ramachandran's tOdi as a main is a distinct difference from his dad (case #2)
SanthAnam has taken this "kanda guha shanmugha" viruttam to immortal heights where he usually starts with brindAvana sAranga ,usually ending with a revati or mishra sivaranjani tillAna,ending with thunderous applause. But rAmachandran started differently in sAveri , proceeded with hameerkalyAni , subhapantuvarAli (his dad takes the same subhapantuvarAli ) and then ended with brindavani(all 4 were wonderful) . A very expressive tamil krithi on Lord murugA ,(possibly known only to him as the composer was yAzhpAnam veeramani) was sung with great finesse by rAmachandran. Overall in the viruttam and the tukkada he was different than his dad (case #3) A good finish of MDR's evergreen bhAgeshri and Sivan's madhyamAvati was a great bonus to continue hearing his baritone voice.
Shri MA sundareswaran showed his class. He showed a great sense of urgency which is generally a prerequisite for swarams in hamsadhwani and nAttai. The heaviness of bEgadA was showcased well,he brought a tinge of western note with his trademark glides in mOhanakalyAni.For tOdi he appeared to treat with sanctity as the rAga tOdi demands total concentration. Also for a brief time in the charanam of tOdi,when rAmachandran forgot few lines, he shadowed brilliantly.
Shri durai was very good,especially in swarams and neravals in nAttai and tOdi .I noticied overall a very high sense of anticipation that too in comparison with my previous days concert.mOrsing went well with ramachandran's baritoned voice.Overall a very good to excellent concert, with the viruttam and the tukkada being outstanding.
Last edited by rajeshnat on 12 Mar 2007, 19:39, edited 1 time in total.
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Rajesh,
It is difficult to follow the footsteps of a parent who has distinguished himself in the very same field. Tougher, when you have a sibling who is also in the same field. While brothers and sisters who sing as a duo have the problem of rasikas having difficulty in telling them apart, sons of the same vidwAn singing solo have a problem too. Let alone their names (sometimes, merely referred to as so and so's son)--the way each one sings may not register well in the minds of the listeners.
Brings to mind another problem. TVS had to sing for a while before he could free himself from the image of his being MMI's disciple and nephew. Suryaprakash seems to suffer the same fate. Sometimes, his rich imagination seems to go unnoticed, I think. Some old listeners see MMI in him, rather than TVS. I wonder what rasikas of other age groups think...
It is difficult to follow the footsteps of a parent who has distinguished himself in the very same field. Tougher, when you have a sibling who is also in the same field. While brothers and sisters who sing as a duo have the problem of rasikas having difficulty in telling them apart, sons of the same vidwAn singing solo have a problem too. Let alone their names (sometimes, merely referred to as so and so's son)--the way each one sings may not register well in the minds of the listeners.
Brings to mind another problem. TVS had to sing for a while before he could free himself from the image of his being MMI's disciple and nephew. Suryaprakash seems to suffer the same fate. Sometimes, his rich imagination seems to go unnoticed, I think. Some old listeners see MMI in him, rather than TVS. I wonder what rasikas of other age groups think...
Last edited by arasi on 13 Mar 2007, 13:26, edited 1 time in total.
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My assertion with tOdi and santhanam was for the following reasons.mri_fan wrote:If i could offer one suggestio...just because you only have heard of santhanam singing todi once doesn't mean that MRS only sang todi once...which is what your review implies...he's certainly sung todi elaborately several more times...including in 1986 with M. Chand and Bhaktavatsalam...
1.I have certainly heard a lot of santhAnam , that too I was hopping a lot from 1988 till a year before his demise on 1992(as he was my all time favourite then).I dont recollect even one single Main/RTP of tOdi of his.
2.IMHO, almost all of what that santhanam rendered are always available in CD/Audio tapes . I have got about 25 casettes and atleast 10 CD's of his .None excepting 1987 has got a todi as a main/RTP. Most of the times his main is in kAmbOdhi/mOhanam/ kalyAni/ShankArabharanam .
With that objective data , I was asserting though willing to correct if proven otherwise . Perhaps can you recollect(others can join) what are the tOdi's that santhAnam has sung in a concert as a main/RTP ?Can you tell me what you heard in 1986.
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I have heard few early recordings of ViswanAtha Iyer in sampradAya. There are quite a lot of krithis where santhAnam and MVI are identical (like ilalO pranathArthi in atAna and few mOhanams). I do accept that santhAnam did bring in few novelites like kalyAnavasantham/ Brindavana SAranga more breaking the traditon of kAmBodhi/kalyAni .But the key point is santhAnam had a whole generation of rasikas , where there was absolutely no frame of reference of MVI as audio recordings of MVI were scarce.rshankar wrote:Well, Sri Santhanam was very successful in gracefully moving away from the shadow of his father who was a colossus - somehow, I do not see his sons negotiating that same path with similar elan!
But the same santhanam's excessive recording and commercial casettes/cd's has given a significant beating for his sons in terms of recognition . Conclusively every cm musician takes a significant path of his/her father/guru, it is more that we assess the situation with our perceptions/data that makes a difference.
Last edited by rajeshnat on 13 Mar 2007, 23:39, edited 1 time in total.
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arasi,arasi wrote:Rajesh,
It is difficult to follow the footsteps of a parent who has distinguished himself in the very same field. Tougher, when you have a sibling who is also in the same field. While brothers and sisters who sing as a duo have the problem of rasikas having difficulty in telling them apart, sons of the same vidwAn singing solo have a problem too. Let alone their names (sometimes, merely referred to as so and so's son)--the way each one sings may not register well in the minds of the listeners.
Brings to mind another problem. TVS had to sing for a while before he could free himself from the image of his being MMI's disciple and nephew. Suryaprakash seems to suffer the same fate. Sometimes, his rich imagination seems to go unnoticed, I think. Some old listeners see MMI in him, rather than TVS. I wonder what rasikas of other age groups think...
IMHO an artist has to be preferably take a guru atleast one to one and half generation farthest from where he is(Infact If I am 18 now , I would be obliged if you take me as your sishya;)) .All the musicians who have taken a guru who is only half to one generation will be inevitably caught in the tangle of contention and pragmatically there is only an elbow room for one.That's reality,one has to accept that fact
In suryaprakash's case , I am with you when you say you see more of mmi then a tvs. But that fact is only seen by a small minority . Majority don't have that correct perspective. Also he appears to have almost zero connections for the kind of vidwat that he is demonstrating from 1989 when he started to sing all alone . Infact I was in the majority boat till I listened to him in 2000(tx to emails/internet/forums, I have more awareness). In suryaprakash's case mother luck also has to be with him.
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I have a recording of a Dasarathe with those two that i mentioned before as accompanists...the allapana is 11 minus, with a 7 minute response from M. Chand. The song is about 36 with a thani thats about 10 minutes long.
rajeshnat wrote:My assertion with tOdi and santhanam was for the following reasons.mri_fan wrote:If i could offer one suggestio...just because you only have heard of santhanam singing todi once doesn't mean that MRS only sang todi once...which is what your review implies...he's certainly sung todi elaborately several more times...including in 1986 with M. Chand and Bhaktavatsalam...
1.I have certainly heard a lot of santhAnam , that too I was hopping a lot from 1988 till a year before his demise on 1992(as he was my all time favourite then).I dont recollect even one single Main/RTP of tOdi of his.
2.IMHO, almost all of what that santhanam rendered are always available in CD/Audio tapes . I have got about 25 casettes and atleast 10 CD's of his .None excepting 1987 has got a todi as a main/RTP. Most of the times his main is in kAmbOdhi/mOhanam/ kalyAni/ShankArabharanam .
With that objective data , I was asserting though willing to correct if proven otherwise . Perhaps can you recollect(others can join) what are the tOdi's that santhAnam has sung in a concert as a main/RTP ?Can you tell me what you heard in 1986.
In the Bade Ghulam Ali Khan Interview , there is an interesting question posed on how he views this issue of lineage-The Pros and Cons.
Bade Saab replies that the Plus side is that the artist down the line has a great starting advantage.
The flip side is that
With each generation in a lineage THE EFFORT AT EACH SUCCESSIVE GENERATION is easily spotted by the discerning ear.That is what matters ,And will be the challenge in front of the artists drawing from that legacy.
Coming to think of it, Ajoy Chakraborthy is quite often faulted for not being a true inheritor of the Bade Legacy - and one can see the reasons.He is certainly a master of Charukesi, which Bade ridicules.He has made the effort to come down south and learn from BMK, whereas BGAK supports the theory of East is East, West is West and never the Twain shall meet, while talking of Thumris (Purab ang and Punjabi ang).
So definitely there is little merit in continuing any legacy without changes.
I personally loved the metamorphosis that took place with the Music of TVS in the early 80s.Compare that to some bigger names who remained a carbon copy of their Master throughout their careers.
Bade Saab replies that the Plus side is that the artist down the line has a great starting advantage.
The flip side is that
With each generation in a lineage THE EFFORT AT EACH SUCCESSIVE GENERATION is easily spotted by the discerning ear.That is what matters ,And will be the challenge in front of the artists drawing from that legacy.
Coming to think of it, Ajoy Chakraborthy is quite often faulted for not being a true inheritor of the Bade Legacy - and one can see the reasons.He is certainly a master of Charukesi, which Bade ridicules.He has made the effort to come down south and learn from BMK, whereas BGAK supports the theory of East is East, West is West and never the Twain shall meet, while talking of Thumris (Purab ang and Punjabi ang).
So definitely there is little merit in continuing any legacy without changes.
I personally loved the metamorphosis that took place with the Music of TVS in the early 80s.Compare that to some bigger names who remained a carbon copy of their Master throughout their careers.
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I have MVS concerts with main songs in kIravANi (kaligiyuNTE), SaNmukhapriyA (rA tA pa), dharmavaty (rA tA pa), tODi (rA tA pa), mOhana kalyANi (sangIta sAmrAjyA), sAvEri (rA tA pa), tODi (dASarati), bhairavi (amba kAmAkSi), ariyakkuDi rAmAnuja iyengAr's chatur rAgamAlika rA tA pa, kharaharapriyA (dayavillayA dayALO), kharaharapriyA (rA tA pa @ MA 1986), gamakkakriyA (kASi viSAlAkSi) and SaNmukhapriyA (marivErE dikku). All the other concerts have kAmbhOji, kalyANi, SankarAbharaNam and mOhanam.rajeshnat wrote:2.IMHO, almost all of what that santhanam rendered are always available in CD/Audio tapes . I have got about 25 casettes and atleast 10 CD's of his .None excepting 1987 has got a todi as a main/RTP. Most of the times his main is in kAmbOdhi/mOhanam/ kalyAni/ShankArabharanam .