T M Krishna, Kalpadruma Arts Festival

rbharath · Post by **rbharath** » 13 Aug 2007, 10:59

T M Krishna - R K Shriram Kumar - Mannargudi Eswaran - T V Vasan

Kalpadruma Arts Festival. Sivagami Pettachi Auditorium
11th August 2007. 6:30pm

mangaLa slOkam from abhignyAna sAkuntalam - mAyAmALavagauLa, kEdAram
Ananda naTana prakAsham - kEdAram - misra cApu - MD (NS)
srI kALahastIsha - husEni - kaNDa cApu - MD (S)
aruNAcala nAtam - sArangA - rUpakam - MD (R)
cintayamAkanda - bhairavi - rUpakam - MD (RS)
RTP - sankarAbaraNam - kaNDa jhampai kaNDa naDai (4 akshara eDuppu - 6 akshara aridi)
panchAnanA pancabUtAkAra vibhO pAhimAm shambO
rAgamAlikA svarams in Anandabhairavi, sAmA, kalyANi
tani Avarththanam
jambUpatE - yamunA - rUpakam - MD
mangaLAni dishatu nA sadA - suruTTi - rupakam

The concert was on the theme, 'the five elements' or the 'pancha bhUta'. The artist hence chose to present the five pancha bhUta kshEtra kritis of Dikshitar at the concert.

The concert began with the mangaLam slOkam, appropriate to the theme of the concert, rendered in mAyAmALavagauLa and kEdAram. The kEdAram kriti was rendered nicely with a elaborate round of neraval and svarams at 'saNgItavAdya vinOdatANDavajAta bahutara bhEdacOdyam'. The fiddle vidwan was following like a shade and gave amazing replies.

The husEni kriti was sung in a very moving fashion and a elaborate round of svarams were sung at the pallavi line. The svara prastaram was very inspiring. The sArangA AlApanai was done in a fashion fitting the dIkshitar kriti, incorporating special prayOgam used by dIkshitar with the kriti to follow. The violinst was good in playing for the song. The percussion dept also made the kriti more enjoyable.

While i was expecting a bhairavi main, i was rather surprised to hear an AlApanai which was barely 5 minutes. The shorter 4 min reply from violinist, made one wonder what was in store. The kriti was rendered in a rather slow tempo, compared to the popular version in vogue. The round of svarams at 'maNgaLakara mandahAsa vadanam' was short and sweet.

Then came the amazing AlApanai of shankarAbaraNam. It was really fantastic AlApanai. It had quite a few SSI-benchmarked-phrases incorporated into it. The violinst also made a nice portrayal of the rAgam. The tAnam was amazing also with both the vocalist and violinst making some good exchanges. The pallavi was rendered in a grand manner and was aptly set in accordance to the theme of the day. It was rendered quite elaborately with anulOma pratilOma and the rAgamAlika svarams. The Mridangam and Ghatam vidwans were visibly quite happy to be playing for such a pallavi, in a not so popular tALam. The tani they shared for about 15 minutes was definetely very different to hear and many students of percussion must have benefitted from the patterns that were played. They played a korappu to the start of the pallavi line and also a 2 Avarthana mOhra at the end of the tani.

The yamunA piece was rendered in a amazing manner with all the grandeur and majesty associated with the piece. The concert ended with a newly composed mangaLam, that was composed for the occasion by the violinist of the day.

A very fullfilling concert to remember for sometime. I only hope they release the audio and video of the concert, in CDs or something. It would be a collector's item to store.

bharath

sankirnam · Post by **sankirnam** » 13 Aug 2007, 15:34

Yes, I too am interesting in obtaining this recording now, seeing that the theme is on the panchabhuthas, its not something that one hears often...

coolkapali · Post by **coolkapali** » 13 Aug 2007, 16:25

Missed the concert..........but thanks for the review.

bhaktha · Post by **bhaktha** » 13 Aug 2007, 21:20

IIRC, Shri kAlahastishA is in k.cApu and not rUpakam.
-bhaktha

rbharath · Post by **rbharath** » 13 Aug 2007, 22:18

bhaktha wrote:IIRC, Shri kAlahastishA is in k.cApu and not rUpakam.
-bhaktha

edited. thanks for pointing out.

ksrimech · Post by **ksrimech** » 14 Aug 2007, 00:01

SrI kAlahastISa is neither in rUpaka nor kanDa cApu, it is in jhampa tALam. Just confirmed with SSP. As Dr SRJ says, dIkSitar never composed in any of the cApu tALA.

prashant · Post by **prashant** » 14 Aug 2007, 07:04

Can someone post the text of the slOkA?

vijay · Post by **vijay** » 14 Aug 2007, 12:19

Which Jhampa is it then? I suppose Misra Jhampa can be reduced to Khanda Chapu but I don't suppose it would be very elegant...

My song list puts it under "Jhampa" too without bothering to qualify it further - or does Jhampa have a default jathi connotation like Rupakam?

bhaktha · Post by **bhaktha** » 14 Aug 2007, 12:21

ksrimech wrote:As Dr SRJ says, dIkSitar never composed in any of the cApu tALA.

What about Renuka devi and Shri swaminathaya? Are they in jampa too? I have heard even Dikshitar experts like Shri DKJ rendering Renuka devi in k.cApu...
-bhaktha

shishya · Post by **shishya** » 14 Aug 2007, 17:32

Vijay,

Each of the sapta talas has a default jAti associated with it IIRC.

And miSra jAti is the default for jhampa.

The default jAtis are chaturasra for dhruva, maThya, rUpaka and Eka taLas, miSra for jhampa, khanDa for Ata and trisra for tripuTa tALa.

nadhasudha · Post by **nadhasudha** » 14 Aug 2007, 19:11

vijay wrote:Which Jhampa is it then? I suppose Misra Jhampa can be reduced to Khanda Chapu but I don't suppose it would be very elegant...

One other instance where a misra jhampa tala has been reduced to khanda chapu - the kriti Meluko Vaiyya in Bowli is actually in Misra Jhampa talam but usually rendered with Khanda Chapu. In the above concert too, this practice might have been followed for the Huseni kriti.

rbharath · Post by **rbharath** » 14 Aug 2007, 21:43

paritAnamichidE in bilahari is another kriti which has suffered the same fate...

ksrimech · Post by **ksrimech** » 14 Aug 2007, 22:19

prashant wrote:Can someone post the text of the slOkA?

I think it should have been vAgartAviva samprittau vAgarthapartipattayE jagatappitarau vandE pArvati paramESvarau.

vijay wrote:Which Jhampa is it then?

It is miSra jhampa.

rbharath wrote:paritAnamichidE in bilahari is another kriti which has suffered the same fate...

We don't have to go that far. SrImahAgaNapatiravatumAm in gouLa is in tisra tripuTa. There are other songs too which are being rendered that way. What is the use if the vAggEyakArar sets in that somebody is now chopping it? We might loose the original tALAs due the chops (cApus) of the 20th Century.

A lot of SyAmA SAStri kritis are also in sung in cApu tAlAs but SSP gives different tALAs for some of them too. For example, T K Govinda Rao gAru lists kAmAkSi ni pAdayugamu in yadukula kAmbhoji as miSra chApu while sangIta sAmpradAya pradarSini reports it as miSra Ekam.

http://www.medieval.org/music/world/car ... ugamu.html
http://www.ibiblio.org/guruguha/ssptwo_click.pdf (pg 727 - 28.12.4)

sowmya · Post by **sowmya** » 19 Aug 2007, 08:13

The first shloka of shAkuntala is not vaagarthaaviva. It is the following one -
yaa sRShTiH sraShTuraadyaa vahati vidhihutaM yaa haviryaa ca hotree
ye dve kaalaM vidhattaH shrutiviShayaguNaa yaa sthitaa vyaapya vishvam |
yaamaahuH sarvabeejaprakRtiriti yayaa praaNinaH praaNavantaH
pratyakShaabhiH prapannastanubhiravatu vaH taabhiraShTaabhireeshaH ||

The shloka prays to Lord shiva in his eight forms - Water, Fire, the Sacrificer, Sun, Moon, Ether, Earth and Air - responsible for the existence of all life.