Shri Neyveli Santhanagopalan at Musiri Chamber Concerts on A

sbala · Post by **sbala** » 06 Aug 2007, 10:35

Accompaniment
Violin - Shri R.K. ShriramKumar
Mridangam - Shri Mannarkoil J. Balaji

In a recent concert, Thanjavur Sankara Iyer had remarked that true carnatic music is found in chamber concerts and not in big venues. After yesterday's experience, I had to bow down to the veteran's observation. There is probably no better venue than Musiri's residence with the Trinity adorning the walls lending an air of serenity to the place. And you could not have hoped for a better team to grace the occasion. All the 3 artistes are known for their soothing music and it turned out to be a classy presentation. A partial song list (apologies for errors and omissions)

1. Intha Chala - Begada, Veenai Kuppayyar, Adi
2. Tulasi Dalamula - Mayamalavagowla,Tyagaraja,Adi
3. Mamava meenakshi - Varali,Dikshtrar,Misra Chapu
4. Vinaradana - Devagandhari, Tyagaraja,Adi
5. Sree Krishnam Bhaja Maanasa-Todi,Dikshitar,Adi
6 .Nathajana paalini -Nalinakanthi,Thanjavur Sanakara Iyer
7. Mandirkkughandadu-Sindhubhairavi,Thanjavur Sanakara Iyer,Adi
8. Karpagame - Madhyamavathi ,Papanasam Sivan,Adi

I especially loved NSG's Nalinakanthi. This is the second time I'm hearing a kriti in Nalinakanthi from him in a space of a month and there was a subtle sangati around the word nalina that made my day. Alapanais were done for Varali and Todi. NSG's kalpanaswarams always have something new to offer and it isn't one of those well rehearsed downpour that seem to be the norm. Too bad I forgot some of the combinations.

Shriram Kumar's responses were equally good. Balaji's accompaniment and tani were of a high standard. Not many left the hall during the tani, that in itself is a accomplishment. IIRC, he played chatusram and trisram. I might be completely off the mark here on the technical details, though.

vijay · Post by **vijay** » 06 Aug 2007, 11:25

You are bang on Bala - it was Chatushram and Tisram. A nice 2 avartha korvai too - his accompaniment for the neraval of Mamava Meenakshi was also very impressive.

Also agree with you on the venue - easily among the best in Chennai. Hats off to the Musiri family for taking the trouble to organize these concerts so regularly - I am sure, this is not without some personal inconvenience - especially on a Sunday afternoon.

A really intense concert that was of a consistently high standard.

sbala · Post by **sbala** » 06 Aug 2007, 17:52

Vijay,
I was floored by the way they welcome each and everyone. In my case, they went a little overboard by asking me to sit in the first row. I would rather contribute to a stampede than sit in the first row in a concert!

uday_shankar · Post by **uday_shankar** » 07 Aug 2007, 05:44

Superb Concert.

Thanks to the Musiri family's drive to accomodate all rasikas, I had the privilege of sitting two feet in front of maestro NSG (or should I say at the two feet of the maestro?!). The experience from that close is different from the usual concert experience. You catch so many nuances and that amply made up for my trying to hunch my back so as not to obscure the view of those behind.

As sbala pointed out, kalpana swaras are truly kalpana in the case of NSG. Maintining perfect shruthi and perfect kalapramana creates such a magic of its own. NSG immerses himself in that shruti and kalapramana with his eyes half-closed in a sort of trance and out of that pulls out all these gems seemingly effortlessly!

Another characteristic of great art is a sense of proportion. Shri NSG never overdoes anything and this concert was no exception.

With such inspiration, it is little wonder that the fine accompanists rose to the occassion. RKS' playing was reminiscent of the greats like TNK and his Todi alapana stood out, among others. His replies during swaraprastharas were lively and stayed thematically true to Shri NSG's direction.

Shri Balaji played superbly. The naadham and the gumki gave me the goosebumps (I can't believe some people think the tabla sounds more "melodious" than the mridangam, fools) and the addakkam must be a lesson to all mridangam players. Apart from the nadais already mentioned in the tani one mustn't forget the sarvalaghu variations so characteristic of the Palani school.

arasi · Post by **arasi** » 07 Aug 2007, 07:23

A nice review, sbala.
Such ambience, such soulful music--no wonder you were at the two feet of the maestro, Uday, and I like the way you said it!
The kalinga warrior isn't away from home. He can listen to some good music, thanks to his boss (ess?)...

sbala · Post by **sbala** » 07 Aug 2007, 09:10

Uday_Shankar wrote:Apart from the nadais already mentioned in the tani one mustn't forget the sarvalaghu variations so characteristic of the Palani school.

Uday/Balaji Sir,
Could you throw more light on these sarvalaghu variations so that I can look out for it next time?

vijay · Post by **vijay** » 07 Aug 2007, 12:36

Arasi, the Kalinga warrior has been withdrawn from battle...only to be despatched to fresh trouble brewing elsewhere. However, I have worked out a way of sneaking back on weekends - yes, thanks to my "bossess"...

Coming back to the concert, flashes of bhashanga swaras in Sindhu Bhairavi (N3 and G3 I think) were interesting as well.

Bala, about the sarvalaghu variations I doubt if even the artist himself would remember all of them but it would be great to have his views nevertheless...

sbala · Post by **sbala** » 07 Aug 2007, 14:01

Vijay,
I was more interested in knowing the uniqueness of the Palani school in this respect.

mridhangam · Post by **mridhangam** » 07 Aug 2007, 15:02

Bala, vijay and others

It is really difficult to recall the variations in sarvalaghu since the whole concert was on the spot and whatever combinations that came to me was just getting on the flow of the song and also the combinations. that is all i thnk.

J.Balaji