Kalpakam Swaminathan, Nada Inbam

rbharath · Post by **rbharath** » 02 Jul 2007, 23:29

Kalpakam Swaminathan (Veenai) - S R Padmavathi (Veena Support) - Thanjavur Kumar (Mrudangam)

Nada Inbam. Raga Sudha Hall
1st July 2007. 6pm

mAl marugA (varNam) - hindOLam - Adi - TSI
praNamAmyaham - gauLa - Adi - MV (S)
brihannAyaki - AndhALi - Adi - MD
kAmAkshi anudinamunu - bhairavi - misra cApu - SS
nAda sudhA rasambilanu - Arabhi - rUpakam - T (RS)
EkAmaranAtam - pUrvikalyANi - Adi - MD (RTN)
nagumOmu - AbhEri - Adi - T (R)
mahima daccincukOvayya - rishabapriyA - Adi - T (R)
endu dAginADO - tODi - misra cApu - T (RTNS)
tani Avarththanam
praNathAthihara - senchuruTTi - kaNDa tripuTa - MV (R)
tillAnA - kApi - Adi - RSI
simhAsanastithE - rAgamAlikA - rUpakam - MD
madhyamAvati short sketch

Two special concerts on two consecutive days. Still high on the kAmbhOji and darbAr and kuntaLAvarALi of Chingleput Sri Ranganathan, from the previous day, one entered Ragasudha Hall to be hear another doyen of carnatic music. Smt Swaminathan, (or kalpakam mami as she is affectionately refered to) was the artist of the day.

The concert began with a varNam in hindOLam. The gauLa kriti was followed by a quick round of svarams, which were well patterned. The AndhALi kriti was rendered in a moving fashion. The next was the bhairavi svarajathi. The majestic kriti got the best treatment in the hands of the veteran vainika.

The first AlApanai of the day was a moving Arabhi. The kriti was rendered with a quick round of svarams. The pUrvikalyANi was elaborated showing all the rAga bhAvam. The tAnam played was Smt Padmavathi was good. The kriti couldnt get rarer or heavier. Quick neraval was done at 'pancAkshara mantra rUpam prasanna rUpam'.

The quick AlApanai of AbhEri was followed by a rich rendition of the kriti. The rishabapriyA AlApanai, by Smt Padmavati, was the next in line with the kriti to follow.

The tODi AlApanai, was very elaborated and showed very many classical phrases all thro' it. The tAnam was amazing. The rendition of the grand kriti was just stunning. The neraval and svarams at 'alanADu kanakakashipu niNDAru' were quick and enjoyable.

The senjuruTTi AlApanai was elaborate and the kriti was rendered beautifully. The tillAnA and the rAgamAlikA mangaLam were both nice to hear as well.

Smt Swaminathan gave a truly amazing concert. The effect of her bhairavi and tODi joined to haunt me with the hangover of the previous day.

Smt Padmavathi provided valuable support to her guru. Sri Kumar played well and in anticipation to whatever the main artist played. His tani was short and sweet.

bharath

sbala · Post by **sbala** » 03 Jul 2007, 07:24

rbharath wrote:His tani was short and sweet.

This was the shortest tani I have heard. His accompaniment was fine though. My first experience of Smt Kalapagam Swaminathan and it was quite inspiring, to say the least. As Bharath said, there were some parts of the concerts that were truly moving. There's something about these old vidwans and vidushis. With a no frills approach, they take you to a completely different world.

Sundara Rajan · Post by **Sundara Rajan** » 03 Jul 2007, 07:56

Could some knowledgeable person throw some light on the rAga AndhOLi/AndhALi ?. What does it sound like (not just ArohaNa-avarOhaNa) if there is a similar rAga. Thanks.

mohan · Post by **mohan** » 03 Jul 2007, 09:59

AndhAli is a janya of Harikambhoji
S R2 M1 P N2 S - S N2 P M1 R2 G3 M1 R2 S

It is related to Madhyamavathi. The Avarohanam is similar to that of Purnachandrika but the Ni is different.

arasi · Post by **arasi** » 03 Jul 2007, 10:13

Thank you, Mohan. Need all the lessons you can give! I have to wait until the rAgam reaches the concert circuit before my memory fades away on it. Was just trying to figure out gItapriyA today. The more I get to know, the less I know...

mridhangam · Post by **mridhangam** » 03 Jul 2007, 10:24

Members

Generally while playing for mami it is difficult to play separately a Tani Avartanam in the fear that the whole atmosphere of sanctity, soothing silence and the all pervading tone of her veena would be lost. I am totally in concurrence with Tanjore Kumar, that shows his gnanam for the music more than projection and showing his vidwat. In an earlier concert I actually did not play a tani avartanam and it was reviewd in Rasikas also at http://www.rasikas.org/forums/viewtopic.php?id=1432 wherein a special mention about the forgoing of the tani was mentioned to give way for the rare Samanta Kriti and i have given a reply for that also. I reiterate my stand and maami's music is so all pervading and you merge with her music and there is no requirement of a separate show. This is an artiste's ultimate aim i think to merge with the music and get atonement and make the listernes partake in such an experience.

J.Balaji

mohan · Post by **mohan** » 03 Jul 2007, 11:07

There are two varnams in hindolam commencing "mAl marugA". It is likely that the one rendered was by TM Thiagarajan and not Tanjavur Sankara Iyer - as a mark of respect to the former who passed away last week.

rbharath · Post by **rbharath** » 03 Jul 2007, 11:18

mohan wrote:There are two varnams in hindolam commencing "mAl marugA". It is likely that the one rendered was by TM Thiagarajan and not Tanjavur Sankara Iyer - as a mark of respect to the former who passed away last week.

mAmi announced that she played the one composed by Thanjavur Sankara Iyer.

kartik · Post by **kartik** » 03 Jul 2007, 11:25

I think the rishabhapriya composition is mahima takkinsuko?

rbharath · Post by **rbharath** » 03 Jul 2007, 11:35

kartik wrote:I think the rishabhapriya composition is mahima takkinsuko?

yes! corrected!