Vocal: P. Unnikrishnan
Violin: Vittal Ramamurthy
Mridangam: Arun Prakash
01. Varnam - Angayarkkanni - Behag - Adi - S. Ramanathan
02. Sivakama sundari - Jaganmohini - Rupakam - GKB [S]
03. Kantajudumi - Vachaspati - Adi - Tyagaraja [RNS]
04. Manasa sancharare - Sama - Adi - Sadashiva Brahmendra [RS]
05. Nannu Brova - Lalitha - Misra Chapu - Shyma Shastry
06. Antari Sundari Kamakshi - Kharaharapriya - Adi - Nilakanta Sivan [RNST]
Graha bedham - M1 to Harikambhoji, G2 to Kalyani, R2 to Thodi
07. RTP - Poorvi Kalyani - Khanda Triputa
"Kan kadaikkumo sabeshan darishanam kandal kali theerumo"
Ragamalika swaras in kambhoji, brindavani, bahudari
I left after this.
P Unnikrishnan @ Phoenix, AZ (April 8th, 2007)
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rasam
- Posts: 139
- Joined: 10 Oct 2006, 06:36
@ sbala:
Thesis or not, his grahabedham in each raga was pretty fleeting ... for harikambhoji he basically sang Dinamanivamsha, for kalyani he sang Nidhichala sukhama etc. Nothing elabaorate at all, although he did explain the graha bedham concept after he finished the alapana which would have been useful to the those who didn't catch/understand it during the alapana.
@ rajeshnat
Thanks for providing the composer information. It was a new song for me.
@ bala, bhaktha
I would be the last person to defend Unnikrishnan on his repertoire, but its really not fair to criticise a person for repetition just because he sang something in Madras, Singapore and Phoenix, given the unlikelihood of someone being at all these concerts
I'm glad someone like Semmangudi didn't sing in the internet era: he'd be torn to shreds by you folks!
About the concert, poorvi kalyani was probably the best piece ... just as I thought he'd launch into the tons of requests for thukkudas he was getting, I was pleasantly surprised by the RTP. Great choice!
On the flip side, I find two things a little annoying about Unnikrishnan in general: one is that he uses non-standard akaram phrases in his alapana (too much 'vu' 'lu' etc.) which doesn't have the azhuttam of the more usual 'ta', 'da', 'ri' etc. Secondly, during swarams he sings patterns like GG'G, MM'M, PP'P etc. which gets pretty annoying and repetitive after sometime.
Thesis or not, his grahabedham in each raga was pretty fleeting ... for harikambhoji he basically sang Dinamanivamsha, for kalyani he sang Nidhichala sukhama etc. Nothing elabaorate at all, although he did explain the graha bedham concept after he finished the alapana which would have been useful to the those who didn't catch/understand it during the alapana.
@ rajeshnat
Thanks for providing the composer information. It was a new song for me.
@ bala, bhaktha
I would be the last person to defend Unnikrishnan on his repertoire, but its really not fair to criticise a person for repetition just because he sang something in Madras, Singapore and Phoenix, given the unlikelihood of someone being at all these concerts
I'm glad someone like Semmangudi didn't sing in the internet era: he'd be torn to shreds by you folks!About the concert, poorvi kalyani was probably the best piece ... just as I thought he'd launch into the tons of requests for thukkudas he was getting, I was pleasantly surprised by the RTP. Great choice!
On the flip side, I find two things a little annoying about Unnikrishnan in general: one is that he uses non-standard akaram phrases in his alapana (too much 'vu' 'lu' etc.) which doesn't have the azhuttam of the more usual 'ta', 'da', 'ri' etc. Secondly, during swarams he sings patterns like GG'G, MM'M, PP'P etc. which gets pretty annoying and repetitive after sometime.
Last edited by rasam on 11 Apr 2007, 13:09, edited 1 time in total.
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bhaktha
- Posts: 323
- Joined: 15 Jan 2007, 23:02
@Rasam,
You do have a point there. But even otherwise, I feel Shri unnikrishnan is repetitive. And why bring in the pitamaha into the picture? I think vidwans those days had a principle: that they made some krtis their own by singing them often in concerts and not singing many of the compositions popularised by their contempraries, due to sheer respect (this is what one present day vidwan told me when i asked him this). One must also remember that during their period, vidwans and rasikas didn't have as much access to readily availabe knowledge and information as we have today.
-bhaktha
You do have a point there. But even otherwise, I feel Shri unnikrishnan is repetitive. And why bring in the pitamaha into the picture? I think vidwans those days had a principle: that they made some krtis their own by singing them often in concerts and not singing many of the compositions popularised by their contempraries, due to sheer respect (this is what one present day vidwan told me when i asked him this). One must also remember that during their period, vidwans and rasikas didn't have as much access to readily availabe knowledge and information as we have today.
-bhaktha
Last edited by bhaktha on 11 Apr 2007, 22:22, edited 1 time in total.
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arasi
- Posts: 16873
- Joined: 22 Jun 2006, 09:30
True. You could get away singing nearly the same stuff (if you chose to)--in Mumbai, Chennai, other cities and towns in the provinces, and yet not be criticized. Your expertise grew perhaps, with all the 'practise'. We now have our great team of reviewers who deliver their stuff like the morning paper and coffee within hours of the concert!
I have no problem about listening to several pieces from the same artiste over again--so long as they don't do it out of sheer laziness...
I have no problem about listening to several pieces from the same artiste over again--so long as they don't do it out of sheer laziness...
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rasam
- Posts: 139
- Joined: 10 Oct 2006, 06:36
Bhaktha, I didn't intend to demean Semmangudi in any way. As arasi notes, I just wanted to make the point that yesteryear artists could get away with a lot more 'repetiition' than modern artists. Your argument about making a krithi one's own by repetition can just as easily be applied to Unnikrishnan if he happens to repeat any particular composition, is it not?
Just for the record, as far as I remember, Unnikrishnan's last concert here in Phoenix was quite different with surutti, bahudari and shankarabarnam. Of course this is hardly indicative of hs repertoire.
Among modern artists, I think Sanjay is probably the only one who would be immune to criticism of repetition even with the around-the-world reporting crew that we have on rasikas.org.
Just for the record, as far as I remember, Unnikrishnan's last concert here in Phoenix was quite different with surutti, bahudari and shankarabarnam. Of course this is hardly indicative of hs repertoire.
Among modern artists, I think Sanjay is probably the only one who would be immune to criticism of repetition even with the around-the-world reporting crew that we have on rasikas.org.