Bharat Sangeet Utsav - 2007
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3rd Nov - Saturday - 5-7 pm
Vocal: Smt. S. Sowmya
Violin: Shri R.K.Sriram Kumar
Mridangam: Shri J.Vaidhyanathan
Ghatam: Dr.S.Karthik
Song List:
1. calamEla (varNam) - darbAr - Adi - Tiruvotriyur Thyagaiyer
2. evvarE rAmaiyA - gAngEyabhUshaNi - Adi - Tyagaraja (S)
3. kadalE vADu - nArAyaNagauLa - Adi - Tyagaraja (S)
4. shrInivAsA tiruvEnkaTamuDaiyAn - hamsAnandi - Adi - Papanasam Sivan (R, N)
5. mAnasa guruguha - Anandabhairavi - rUpakam - Muthuswamy Dikshithar
6. jEsinaDella - tODi - Adi - Tyagaraja (R, S, T)
7. shrI mAdhavA - behAg - Adi - Papanasam Sivan (R)
8. smarasundarAnguni (jAvaLi) - paras - Adi - Dharmapuri Subbarayar
9. bhUmi mecchiDum (kAvaDi cindu) - Annamalai Reddiyar
3rd Nov - Saturday - 7-9 pm
Vocal: Shri P.Unnikrishnan
Violin: Shri Varadarajan
Mridangam: Shri K.V.Prasad
Kanjira: Shri B.S.Purushottaman
Song List:
1. sarasijanAbha (varNam) - nATTai - Adi - Palghat Parameswara Bhagavathar (Raga sketch)
2. dEva dEva kalayAmitE - mAyAmALavagauLa - rUpakam - Swati Tirunal (N, S)
3. kanTa jUDumi - vAcaspati - Adi - Tyagaraja (R, S)
4. bhOgIndra shAyinam - kuntaLavarALi - khaNDa cApu - Swati Tirunal
5. andari sundari kAmAkshi - kharaharapriya - Adi - Nilakantan Sivan (R, N, S, T)
I left after the main piece, so maybe someone else who stayed through the entire concert can post the rest of the list.
Vocal: Smt. S. Sowmya
Violin: Shri R.K.Sriram Kumar
Mridangam: Shri J.Vaidhyanathan
Ghatam: Dr.S.Karthik
Song List:
1. calamEla (varNam) - darbAr - Adi - Tiruvotriyur Thyagaiyer
2. evvarE rAmaiyA - gAngEyabhUshaNi - Adi - Tyagaraja (S)
3. kadalE vADu - nArAyaNagauLa - Adi - Tyagaraja (S)
4. shrInivAsA tiruvEnkaTamuDaiyAn - hamsAnandi - Adi - Papanasam Sivan (R, N)
5. mAnasa guruguha - Anandabhairavi - rUpakam - Muthuswamy Dikshithar
6. jEsinaDella - tODi - Adi - Tyagaraja (R, S, T)
7. shrI mAdhavA - behAg - Adi - Papanasam Sivan (R)
8. smarasundarAnguni (jAvaLi) - paras - Adi - Dharmapuri Subbarayar
9. bhUmi mecchiDum (kAvaDi cindu) - Annamalai Reddiyar
3rd Nov - Saturday - 7-9 pm
Vocal: Shri P.Unnikrishnan
Violin: Shri Varadarajan
Mridangam: Shri K.V.Prasad
Kanjira: Shri B.S.Purushottaman
Song List:
1. sarasijanAbha (varNam) - nATTai - Adi - Palghat Parameswara Bhagavathar (Raga sketch)
2. dEva dEva kalayAmitE - mAyAmALavagauLa - rUpakam - Swati Tirunal (N, S)
3. kanTa jUDumi - vAcaspati - Adi - Tyagaraja (R, S)
4. bhOgIndra shAyinam - kuntaLavarALi - khaNDa cApu - Swati Tirunal
5. andari sundari kAmAkshi - kharaharapriya - Adi - Nilakantan Sivan (R, N, S, T)
I left after the main piece, so maybe someone else who stayed through the entire concert can post the rest of the list.
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4th Nov - Sunday - 7-9 pm
Vocal: Shri Sanjay Subrahmanyan
Violin: Shri Nagai Muralidharan
Mridangam: Shri Mannargudi Easwaran
Kanjira: Shri K V Gopalakrishnan
Song List:
1. Chalamelalra - Maarga Hindolam
2. Varadanipuna - Poornachandrika
3. Unnaiyallal - Kalyani
4. Sukhi evvaro - Kaanada (main)
5. Thiruvadi charanam - Kamboji
6. Oorilen kaaniyillai - Virutham - Sindhu Bhairavi, Surutti
7. Theruvinil - Surutti
8. Thillana - Dwijavanthi
Vocal: Shri Sanjay Subrahmanyan
Violin: Shri Nagai Muralidharan
Mridangam: Shri Mannargudi Easwaran
Kanjira: Shri K V Gopalakrishnan
Song List:
1. Chalamelalra - Maarga Hindolam
2. Varadanipuna - Poornachandrika
3. Unnaiyallal - Kalyani
4. Sukhi evvaro - Kaanada (main)
5. Thiruvadi charanam - Kamboji
6. Oorilen kaaniyillai - Virutham - Sindhu Bhairavi, Surutti
7. Theruvinil - Surutti
8. Thillana - Dwijavanthi
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Review in today's New Indian Express:
Click here
Click here
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I attended a few concerts of both genres...here's a quick roundup
TM Krishna presented Shankarabharanam (Endukku Peddala, RNST) and Thodi (Kalambike - R) as the main pieces. A concert of consistently high quality. The koraippu in Shankarabharanam was an assertive demonstration of his complete grasp of the raga - very interesting patterns. UKS and Shree Sundar Kumar were a splendid team as usual. TKV Ramanujacharyulu's support on the voilin was melodious and unobtrusive.
Ashwini Bhide took up a Vilambit/Drut Khyal in Shree (interestingly apart from the constants, all the swaras of this raga, related to Dhanasree, are differeft from the carnatic counterpart!) in Keherwa (Khanda Chapu) and Teen Tal (Adi) and a similar quite in Bhoop-Nat (both in Teental). The latter raga was Mohanam with a Madhyamam thrown in. Ashwini's voice is remarkably agile and the taans as well as karvais in tara sthayi were quite astoudning. There is some sluggishness in the lower octave but she plays to her strengths.
I could only catch the last part of Gayathri Girish's excellent afternoon concert. Her alaapana in Bhairavi for Tanayuni Brova (not 100% sure - Sathej?) easily puts her in the top bracket of women artistes in terms of vocal strength. There was also an excellent Surati (not sure of the krithi). Sanjeev on the voilin is, in my opinion, among the top 2-3 violinists in CM. Bhairavi was a frolicking, gurgling brook in his supple hands...Ganapathiraman and Guruprasad very highly intepretative in their accompaniment and their adventurousness was probably also an indication of Gayathri's strength in laya which is only to be expected from a TNS student. Sadly, I had to miss Sowmya's concert which I was really looking forward to, thanks to the Rasikas event.
Rs. 100 bought me insurance against missing out on Sanjay's concert thanks to the popularity of the musician preceding him. I needn't have worried. Ms. Sayeeram's fans did not bother to hang around long after the conclusion of her performance, except to Q up for the free cup of Bru Instant coffee made available at the venue...Truth be told I was part of that line-up of philistines, forsaking Woodland's thorouhbred beans to save myself 9 rupees...and I was among those who sat through Aruna's Bhairavi (Upacharamu) wondering why her music was the object of such derision among the cognoscenti. Perhaps the answer lies in the counter-intuitive response of rasikas for the 2 performances that evening...
Sanjay did not exactly sing to empty seats but the audotorium had certainly shed its "jam packed" status by the time he ascended the stage. Now that was hardly what such a virtuoso performance deserved especially in light of the stampede one had just witnessed. My "concert of the festival" started with Chalamelara (Margahindolam, Thyagaraja Adi) which included some brilliant improvisations in sangathis. Kalyani (Unnai Allal, Sivan) and Kaanada (Sukhi Evvaro Thyagaraja) were both case studies in interpretative genius. The tukkada section was made a mockery of with an elaborate neraval for Thiruvadi Charanam! Seniors Nagai Muralidharan and Mannargudi Eashwaran ensured that the accompaniment was equal to the high standards of the vocalist and yongster KV Gopalakrishnan acquitted himself admirably well in the presence of such giants.
I had a great time at BHarat SAngeethutsav 07 and I compliment Carnatica for the initiative.
TM Krishna presented Shankarabharanam (Endukku Peddala, RNST) and Thodi (Kalambike - R) as the main pieces. A concert of consistently high quality. The koraippu in Shankarabharanam was an assertive demonstration of his complete grasp of the raga - very interesting patterns. UKS and Shree Sundar Kumar were a splendid team as usual. TKV Ramanujacharyulu's support on the voilin was melodious and unobtrusive.
Ashwini Bhide took up a Vilambit/Drut Khyal in Shree (interestingly apart from the constants, all the swaras of this raga, related to Dhanasree, are differeft from the carnatic counterpart!) in Keherwa (Khanda Chapu) and Teen Tal (Adi) and a similar quite in Bhoop-Nat (both in Teental). The latter raga was Mohanam with a Madhyamam thrown in. Ashwini's voice is remarkably agile and the taans as well as karvais in tara sthayi were quite astoudning. There is some sluggishness in the lower octave but she plays to her strengths.
I could only catch the last part of Gayathri Girish's excellent afternoon concert. Her alaapana in Bhairavi for Tanayuni Brova (not 100% sure - Sathej?) easily puts her in the top bracket of women artistes in terms of vocal strength. There was also an excellent Surati (not sure of the krithi). Sanjeev on the voilin is, in my opinion, among the top 2-3 violinists in CM. Bhairavi was a frolicking, gurgling brook in his supple hands...Ganapathiraman and Guruprasad very highly intepretative in their accompaniment and their adventurousness was probably also an indication of Gayathri's strength in laya which is only to be expected from a TNS student. Sadly, I had to miss Sowmya's concert which I was really looking forward to, thanks to the Rasikas event.
Rs. 100 bought me insurance against missing out on Sanjay's concert thanks to the popularity of the musician preceding him. I needn't have worried. Ms. Sayeeram's fans did not bother to hang around long after the conclusion of her performance, except to Q up for the free cup of Bru Instant coffee made available at the venue...Truth be told I was part of that line-up of philistines, forsaking Woodland's thorouhbred beans to save myself 9 rupees...and I was among those who sat through Aruna's Bhairavi (Upacharamu) wondering why her music was the object of such derision among the cognoscenti. Perhaps the answer lies in the counter-intuitive response of rasikas for the 2 performances that evening...
Sanjay did not exactly sing to empty seats but the audotorium had certainly shed its "jam packed" status by the time he ascended the stage. Now that was hardly what such a virtuoso performance deserved especially in light of the stampede one had just witnessed. My "concert of the festival" started with Chalamelara (Margahindolam, Thyagaraja Adi) which included some brilliant improvisations in sangathis. Kalyani (Unnai Allal, Sivan) and Kaanada (Sukhi Evvaro Thyagaraja) were both case studies in interpretative genius. The tukkada section was made a mockery of with an elaborate neraval for Thiruvadi Charanam! Seniors Nagai Muralidharan and Mannargudi Eashwaran ensured that the accompaniment was equal to the high standards of the vocalist and yongster KV Gopalakrishnan acquitted himself admirably well in the presence of such giants.
I had a great time at BHarat SAngeethutsav 07 and I compliment Carnatica for the initiative.
Last edited by vijay on 08 Nov 2007, 12:52, edited 1 time in total.
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Vijay,
Yes, the Bhairavi Krithi by Smt Gayathri Girish was Thanayuni Brova. The Surutti Krithi was Balasubramanyam Bhajeham by Dikshithar. It was a nice concert, yes.
For the list, http://nadasudha.wordpress.com/2007/11/ ... eth-utsav/
Sathej
Yes, the Bhairavi Krithi by Smt Gayathri Girish was Thanayuni Brova. The Surutti Krithi was Balasubramanyam Bhajeham by Dikshithar. It was a nice concert, yes.
For the list, http://nadasudha.wordpress.com/2007/11/ ... eth-utsav/
Sathej
Last edited by Sathej on 07 Nov 2007, 20:30, edited 1 time in total.
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Yes, I agree with suresh... Sowmya was simply fabulous. The Express reviewer got it absolutely right when he used the words 'deceptively simple'. Sowmya's presentation seems understated and easy but listen carefully to the nuances: the subtle emphases, skilful deployment of plain notes, smartly interwoven Hindustani-sounding phrases (in Hamsanandi), etc. Alapanas of Todi, Hamsanandi & G'bhushani of course were sublime, but her concert stands out in my memory for one short spell of about 3 minutes... the kalpanaswaras in Narayanagowla. Out of the world creativity and a display of sheer vidwat! (nivedita, small correction to the song list: 'R, S' for Gangeyabhushani)
Other concerts: I didn;t get much of a kick out of Shivkumar Sarma. Jhinjoti was good, but the concluding Pahadi seemed a tad mechanical and repetitive. The Jugalbandi of Ravikiran & VM Bhatt stood out more for Haridwaramangalam Palanivel's laya virtuosity. He ran rings in Khandam around the poor tabalchi who looked so cluless! The Suhas Vyas concert (though poorly attended in the beginning) was good. First time I heard him.
Other concerts: I didn;t get much of a kick out of Shivkumar Sarma. Jhinjoti was good, but the concluding Pahadi seemed a tad mechanical and repetitive. The Jugalbandi of Ravikiran & VM Bhatt stood out more for Haridwaramangalam Palanivel's laya virtuosity. He ran rings in Khandam around the poor tabalchi who looked so cluless! The Suhas Vyas concert (though poorly attended in the beginning) was good. First time I heard him.
Last edited by gopalank on 08 Nov 2007, 22:14, edited 1 time in total.
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Just returned from some fabulous music by Vijay Siva, RKS and Manoj Siva. Smt Gowri Ramnarayan took compering to a whole new level. This was a tribute to DKP and it was sheer class all the way. Even though the artistes were all luminaries in their own right, they displayed unbelievable humility and elegance. I have nothing but admiration for Vijay Siva and Gowri Ramnaryan who managed to keep their images in the background and created an ambience where we felt as if we were right in DKP's home basking in the great lady's music. The best program that I have attended in Bharat Sangeet Utsav by a mile !
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Ok ...here goes!! Smt Gowri spoke in phases about Smt DKP and her musical career, and each time Shri Vijay followed it up with a song, the list being roughly as follows (from what I can recollect):
1. Shloka in Nattai, arabhi- Mannikya vinam
2. enneramum-purvikalyani-SS (R)
3. Sri soundarrajam- B.SAranga- MD (in true DKP-DKJ style!)
4. nanni vidacchi- ritigoulai-T
5. RTP in TOdi- ADi (the lagu was set to tisra gati and the 2 drutams were in k.gati...I was amazed at the ease with which he effected the change in nadais...tisram-kandam, kandam-tisram, catusram, trikalam...every possible facet of a pallavi was executed)
6. A javali in Behag
7. A ragamaligai vriuttam in mohanam, ahiri and surutti
8. Punkuyil koovum (I must say that if Smt. DKP had heard this, she would have cried for sure!!!...so did all of us)
9. Aduvome- mand- SB
10. another song of Sri Sivan in mand
11. A concluding song in sindubairavi for world peace...
The above list does not convery much...One must have been there to experience the bliss!! Probably someone else can cover the facts that were presented at the programme.
-bhaktha
1. Shloka in Nattai, arabhi- Mannikya vinam
2. enneramum-purvikalyani-SS (R)
3. Sri soundarrajam- B.SAranga- MD (in true DKP-DKJ style!)
4. nanni vidacchi- ritigoulai-T
5. RTP in TOdi- ADi (the lagu was set to tisra gati and the 2 drutams were in k.gati...I was amazed at the ease with which he effected the change in nadais...tisram-kandam, kandam-tisram, catusram, trikalam...every possible facet of a pallavi was executed)
6. A javali in Behag
7. A ragamaligai vriuttam in mohanam, ahiri and surutti
8. Punkuyil koovum (I must say that if Smt. DKP had heard this, she would have cried for sure!!!...so did all of us)
9. Aduvome- mand- SB
10. another song of Sri Sivan in mand
11. A concluding song in sindubairavi for world peace...
The above list does not convery much...One must have been there to experience the bliss!! Probably someone else can cover the facts that were presented at the programme.
-bhaktha
Last edited by bhaktha on 09 Nov 2007, 22:53, edited 1 time in total.
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I don't think a songlist will do justice to this program. The entire program was weaved like a story with Smt Gowri Ramnaryan tracing DKP's life from her childhood and some of the important songs/moments/people who shaped her musical journey. Gowri would narrate the story and then talk about a particular facet of her music (a song or her laya expertise, bhava, her fascination for tamizh songs, the way she learnt Dikshitar Krithis). Vijay Siva would follow up with a krithi or song that best exemplifed that particular facet of DKP. I'll stop here and let someone more knowledgeable to present the details.
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I agree with Bala and Bhakta that this was indeed a sublime concert. Simply superb Vijay, RKS, Manoj and Gowri. Kudos to Carnatica for making it happend and the audio folks for creating such perfect sound...a first time experience in a Chennai auditorium for me. Hope this trend continues during the "see-sun".
I walked in during Sri Soundarrajam. Here's my partial paraphrase of Gowri Ramnarayan's excellent introductions in Tamil :
4. nanni vidacchi- ritigoulai-T
"...In those days, Tamil songs if sung would only be as Tukkudas. DKP, on the other hand, sang Tamil songs even as the first or second items. Even then the Tamil Isai movement didn't recognize her intially but went begging to artistes who never sang Tamil songs to come and sing Tamil songs. But nevertheless, Kalki and others recognized her talents (I don't remember exactly what the Kalki anecdote was).
Although DKP excelled in Tamil Isai, here's a song taught to DKP by "Tamil Thiagaiyyar" Papanasam Sivan...a composition in Telugu by the great Telugu Thiagaiyyah himself
..."
5. RTP in TOdi- ADi
"...In 1948, in the music academy a young lady (DKP) rendered this pallavi...in the front row sat TNR next to MMI. TNR was heard wondering whether a mere "pombalai" (woman) can render such complex pallavis...MMI is supposed to have replied that the more appropriate thing to wonder about is whether any "aambalai" can accomplish that !!..."
6. A javali in Behag
"...A prevailing thought in those days was why should a lady singer bother with laya vyavahara, why not sing pretty songs like padams and javalis. Sure, DKP could do that too. In fact, Jayammal is supposed to have remarked after hearing her "yengalukke theriyadadu elllam nanna paadariye" (you're singing so well that too items that even we don't know)..."
7. A ragamaligai vriuttam in mohanam, ahiri and surutti
"...A prevailing misconception those days was encapsulated as "DKP for laya, MS for Bhava" as though DKP didn't have bhava or that MS didn't have laya !! Ariyakudi is supposed to have punned "Pattamal, Paatammal, paadu pattamal.."
.
8. Punkuyil koovum
"...When Kalki heard the gramaphone record of the great Saigal piece "bAlam AyE basO mOrE man ME", he decided immediately wrote a poem for Pattamal to sing, with the same mettu. Now that mettu has become synonymous with Pattamal..."
9. Aduvome- mand- SB
"...Pattamal has sung for a few films with a lot of caveats and orthodox restrictions such as:
1. Won't sing a duet with a male artistes...in fact the only male artistes who have sung with Pattamal are DKJ and Vijay Siva himself (laughter)
.
2. She wouldn't sing on screen, only playback.
3. She sang both male and female voices when duets were a must !
The most recent song she sung for films was for Hey Ram for which Kamalahasan arranged to have the recording done in her home.
10. another song of Sri Sivan in mand
"...During the freedom movement, DKP was swept by the prevailing sentiments. Her patriotic songs drew repeated requests for encore ("once more, once more"). DKP also has the unique privilege of having sung the only "banned" Carnatic gramaphone record. During the freedom movement, the communist party had requested Papanasam Sivan to compose a song with words to the effect of "Workers unite", etc.. and Patammal recorded it. The British government promptly banned it! ..."
11. Shanti Ahimsa...? Mayavaram Vishwanatha Iyer ?
This is a sanskrit song, presumably about Gandhiji.
"... Rajendra Prasad is supposed have been moved to tears listening to it..."
This is only an incomplete and possibly inaccurate recollection. Others please complete/correct.
I walked in during Sri Soundarrajam. Here's my partial paraphrase of Gowri Ramnarayan's excellent introductions in Tamil :
4. nanni vidacchi- ritigoulai-T
"...In those days, Tamil songs if sung would only be as Tukkudas. DKP, on the other hand, sang Tamil songs even as the first or second items. Even then the Tamil Isai movement didn't recognize her intially but went begging to artistes who never sang Tamil songs to come and sing Tamil songs. But nevertheless, Kalki and others recognized her talents (I don't remember exactly what the Kalki anecdote was).
Although DKP excelled in Tamil Isai, here's a song taught to DKP by "Tamil Thiagaiyyar" Papanasam Sivan...a composition in Telugu by the great Telugu Thiagaiyyah himself

5. RTP in TOdi- ADi
"...In 1948, in the music academy a young lady (DKP) rendered this pallavi...in the front row sat TNR next to MMI. TNR was heard wondering whether a mere "pombalai" (woman) can render such complex pallavis...MMI is supposed to have replied that the more appropriate thing to wonder about is whether any "aambalai" can accomplish that !!..."
6. A javali in Behag
"...A prevailing thought in those days was why should a lady singer bother with laya vyavahara, why not sing pretty songs like padams and javalis. Sure, DKP could do that too. In fact, Jayammal is supposed to have remarked after hearing her "yengalukke theriyadadu elllam nanna paadariye" (you're singing so well that too items that even we don't know)..."
7. A ragamaligai vriuttam in mohanam, ahiri and surutti
"...A prevailing misconception those days was encapsulated as "DKP for laya, MS for Bhava" as though DKP didn't have bhava or that MS didn't have laya !! Ariyakudi is supposed to have punned "Pattamal, Paatammal, paadu pattamal.."

8. Punkuyil koovum
"...When Kalki heard the gramaphone record of the great Saigal piece "bAlam AyE basO mOrE man ME", he decided immediately wrote a poem for Pattamal to sing, with the same mettu. Now that mettu has become synonymous with Pattamal..."
9. Aduvome- mand- SB
"...Pattamal has sung for a few films with a lot of caveats and orthodox restrictions such as:
1. Won't sing a duet with a male artistes...in fact the only male artistes who have sung with Pattamal are DKJ and Vijay Siva himself (laughter)

2. She wouldn't sing on screen, only playback.
3. She sang both male and female voices when duets were a must !
The most recent song she sung for films was for Hey Ram for which Kamalahasan arranged to have the recording done in her home.
10. another song of Sri Sivan in mand
"...During the freedom movement, DKP was swept by the prevailing sentiments. Her patriotic songs drew repeated requests for encore ("once more, once more"). DKP also has the unique privilege of having sung the only "banned" Carnatic gramaphone record. During the freedom movement, the communist party had requested Papanasam Sivan to compose a song with words to the effect of "Workers unite", etc.. and Patammal recorded it. The British government promptly banned it! ..."
11. Shanti Ahimsa...? Mayavaram Vishwanatha Iyer ?
This is a sanskrit song, presumably about Gandhiji.
"... Rajendra Prasad is supposed have been moved to tears listening to it..."
This is only an incomplete and possibly inaccurate recollection. Others please complete/correct.
Last edited by Guest on 09 Nov 2007, 23:56, edited 1 time in total.
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Uday/SBala/Bhakta,
Thanks for sharing and allowing us to vicariously enjoy the tribute to Smt. DKP. If even reading it makes for horripilations, being fortunate to attend it in person was probably unimaginable in terms of impact!
Smt. Gowri Ramnarayan is a great speaker, and I am sure her skills in compering the event and Sri Vijay Siva's performing skills would have been the perfect complement for one another in this instance.
I really HOPE that Carnatica has recorded this event along with the others in this series! This one will certainly be a collector's gem for ages.
Thanks for sharing and allowing us to vicariously enjoy the tribute to Smt. DKP. If even reading it makes for horripilations, being fortunate to attend it in person was probably unimaginable in terms of impact!
Smt. Gowri Ramnarayan is a great speaker, and I am sure her skills in compering the event and Sri Vijay Siva's performing skills would have been the perfect complement for one another in this instance.
I really HOPE that Carnatica has recorded this event along with the others in this series! This one will certainly be a collector's gem for ages.
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One of the many gems and again I don't know if this was the intent or my interpretation. Gowri was talking about how DKP learnt Brovamma in Manji. She then stopped and said Vijay is not going to sing that song but will instead sing SS's kriti in tamizh.
And when he sang the anupallavi
punnagaiyuDan kaNpArttennai eppOdum mannippadum nIyE en tAyE, it was so moving and described DKP so perfectly, that one couldn't help but marvel at Vijay Siva's genius in selecting the krithi.
And when he sang the anupallavi
punnagaiyuDan kaNpArttennai eppOdum mannippadum nIyE en tAyE, it was so moving and described DKP so perfectly, that one couldn't help but marvel at Vijay Siva's genius in selecting the krithi.
Last edited by sbala on 10 Nov 2007, 09:16, edited 1 time in total.
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Was in a trance yesterday to even write anything about the programme... Blessed indeed were the ones who attended it...and I do really pity the ones who left the hall in the middle for the best was to come at the end...the sindubairavi piece on Mt. Gandhi.
Uday has covered the facts admirably though I can add a wee-bit.
The shlokam was sung to demonstrate that SMt DKP's first exposure to music was her fathre's renditions of shlokas as musical verses.
The purvikalyani kriti was a fitting tribute to Smt DKP and sbala has made a very nice observation regarding this.
Soundarrajam (a DKP-DKJ-NVS patent) was sung in all its glory with immense sowkhyam. This was sung in order to indicate the fact that Sri Ambi Dikshitar had heard Kum. DKP render Shri Subramanyaya and had told her father that he would himself coach the young girl.
The ritigoulai that followed was a revelation that a kriti in ritigoulai can be sung at any pace and still the raga bhavam can be maintained...Shri Vijay rendered the kriti in madyamakalam and what a treat it was!
I dont even want to venture to write about the RTP because its not everyday that one gets to hear such RTPs, though the ragam and tanam were short (due to time constraint)
I have always wondered at the importance and weight Shri Vijay attaches to even a small and light song like Poonkuyil... It was sung in the same vein as he had sung the others...same level of commitment and dedication.
The last song in s.bairavi was truly emotive and the various facets of the ragam were handled with utmost care...
And add to all this Shri RKS's and Shri Manoj SIva's accompaniment and
Smt Gowri's compering...what more can a person ask as a Deepavali gift!!
My mp3 rec was screwed and I couldn't rec it...Sorry folks!!
-bhaktha
Uday has covered the facts admirably though I can add a wee-bit.
The shlokam was sung to demonstrate that SMt DKP's first exposure to music was her fathre's renditions of shlokas as musical verses.
The purvikalyani kriti was a fitting tribute to Smt DKP and sbala has made a very nice observation regarding this.
Soundarrajam (a DKP-DKJ-NVS patent) was sung in all its glory with immense sowkhyam. This was sung in order to indicate the fact that Sri Ambi Dikshitar had heard Kum. DKP render Shri Subramanyaya and had told her father that he would himself coach the young girl.
The ritigoulai that followed was a revelation that a kriti in ritigoulai can be sung at any pace and still the raga bhavam can be maintained...Shri Vijay rendered the kriti in madyamakalam and what a treat it was!
I dont even want to venture to write about the RTP because its not everyday that one gets to hear such RTPs, though the ragam and tanam were short (due to time constraint)
I have always wondered at the importance and weight Shri Vijay attaches to even a small and light song like Poonkuyil... It was sung in the same vein as he had sung the others...same level of commitment and dedication.
The last song in s.bairavi was truly emotive and the various facets of the ragam were handled with utmost care...
And add to all this Shri RKS's and Shri Manoj SIva's accompaniment and
Smt Gowri's compering...what more can a person ask as a Deepavali gift!!
My mp3 rec was screwed and I couldn't rec it...Sorry folks!!
-bhaktha
Last edited by bhaktha on 10 Nov 2007, 14:00, edited 1 time in total.
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I was also there for this entire "PoonkuyiL pattammAl" concert. Just adding few observations for the almost complete write up by others.
Smt Gowri ramnarayanan speech and vijayashiva's start of every rendition was aesthetically perfect. A good analogy If you had been to ooty , a guide will show you there is dodda bettA , the highest peak where as the guide speaks you would not experience because it is misty, but a little later you see the colossal mountain in its entirety.Such was the experience of Smt Gowri narrating the greatness of Smt DKP and then vijayashiva giving the sensual feel where that intermediate silence was really superb. An anecdote to back up what I say.
Smt DKP was a young kid (age 12 or so), her school headmistress of kanchipuram Smt Ammukutty ammAl was determined and took her to ambi dikshitar (grand nephew of muttuswami dikshitar). Ambi dikshitar asked DKP "Do you know mutthuswami dikshitar" for which Smt DKP never answered to his question. Well what she did ..............................................
Smt DKP just sang SubramanyAya namastE in KAmbOdhi. Just as I was thinking how could a young girl sing this difficult krithi,at the backdrop was a brief Alapanai of brindavana sAranga and a emotive sounderarAjam of MD.
# The pallavi line in tOdi was "mAmaramum nizhalum kuyilum uNNai thOzhuva iDhu nalla samayam"
# The second mAnd that was sung (Sivan's communism ideology based song) was "pazham bhAratha nannAdu" .
#. The javAli was "idu rAramanni ??" in behAg(Lji please clarify the lines and the composer)
#. There was a mention about Shri Easwaran and Smt pattammAl and then the rAgamAliga "viruththam PAliNaindhu vootum??" - rAgamAligA (Ahiri was very good) - rAmalinga swamigal???
#. The last sindhubhairavi is "shAntha ahimsA moorthi samOdhita samarasa keerti" by mayuram vishwanAtha sastri.
I would have personally preferred if there are atleast 2 more numbers and little more insight in this beautiful thematic concert. Smt gowri could have mentioned the awards like padma vibhushan ,SK ,sangeeth sammelan and possibly vijayashiva could have sung say a vaLLi kannavan or something. Smt pattammAL's early journey was emphasised more, possibly if these awards were mentioned I felt Smt DKP 's later life could have been also emphasised. Nevertheless it was a very lovely experience.
Smt Gowri ramnarayanan speech and vijayashiva's start of every rendition was aesthetically perfect. A good analogy If you had been to ooty , a guide will show you there is dodda bettA , the highest peak where as the guide speaks you would not experience because it is misty, but a little later you see the colossal mountain in its entirety.Such was the experience of Smt Gowri narrating the greatness of Smt DKP and then vijayashiva giving the sensual feel where that intermediate silence was really superb. An anecdote to back up what I say.
Smt DKP was a young kid (age 12 or so), her school headmistress of kanchipuram Smt Ammukutty ammAl was determined and took her to ambi dikshitar (grand nephew of muttuswami dikshitar). Ambi dikshitar asked DKP "Do you know mutthuswami dikshitar" for which Smt DKP never answered to his question. Well what she did ..............................................
Smt DKP just sang SubramanyAya namastE in KAmbOdhi. Just as I was thinking how could a young girl sing this difficult krithi,at the backdrop was a brief Alapanai of brindavana sAranga and a emotive sounderarAjam of MD.
# The pallavi line in tOdi was "mAmaramum nizhalum kuyilum uNNai thOzhuva iDhu nalla samayam"
# The second mAnd that was sung (Sivan's communism ideology based song) was "pazham bhAratha nannAdu" .
#. The javAli was "idu rAramanni ??" in behAg(Lji please clarify the lines and the composer)
#. There was a mention about Shri Easwaran and Smt pattammAl and then the rAgamAliga "viruththam PAliNaindhu vootum??" - rAgamAligA (Ahiri was very good) - rAmalinga swamigal???
#. The last sindhubhairavi is "shAntha ahimsA moorthi samOdhita samarasa keerti" by mayuram vishwanAtha sastri.
I would have personally preferred if there are atleast 2 more numbers and little more insight in this beautiful thematic concert. Smt gowri could have mentioned the awards like padma vibhushan ,SK ,sangeeth sammelan and possibly vijayashiva could have sung say a vaLLi kannavan or something. Smt pattammAL's early journey was emphasised more, possibly if these awards were mentioned I felt Smt DKP 's later life could have been also emphasised. Nevertheless it was a very lovely experience.
Last edited by rajeshnat on 10 Nov 2007, 14:00, edited 1 time in total.
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She did mention the SK award and how DKP's guru was still alive when she received it. We can't ask for a song for every achievement of DKP. I think the concert planning was perfect. I feel Carnatica should take this concept of compered carnatic concerts seriously and maybe even create a new genre of concerts, fit for tributes. It's quite a riveting format and will be a big forward step from the current format of long speeches that will make you lose interest in a great vidwan.
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sbala,sbala wrote:She did mention the SK award and how DKP's guru was still alive when she received it. We can't ask for a song for every achievement of DKP. I think the concert planning was perfect. I feel Carnatica should take this concept of compered carnatic concerts seriously and maybe even create a new genre of concerts, fit for tributes. It's quite a riveting format and will be a big forward step from the current format of long speeches that will make you lose interest in a great vidwan.
I am not asking a song for every achievement, for Smt DKP that will take days. But another 2 more could have topped it up. Remember the concert was only from 7:20 to 9:00 pm. Few specials that I think could have been added by Smt Gowri with my own imagination.
# No one has searched and increased the reportoire as Smt DKP. Not just trinity and Sivan, thevArams and thirrupuggazhs , GKB's,MT,NS etc. Certain composers like panchApekesan only Smt DKP has taken to the stage.
A drop of Enraikku shiva kripa in mukhAri here would have been lovely
# No one has trained future vidwans/vidushis like Smt DKP. Has anyone trained foreign students as wholeheartedly expecially East Asians, only Smt DKP has done it.
vallikanavan here...
Again all these remarks are just to give more supporting facts, certainly not taking any excellence that Smt Gowri and vijayashiva exhibited. Also RKSK's tOdi return was brilliant and manojShiva's play was apt.
Last edited by rajeshnat on 10 Nov 2007, 18:21, edited 1 time in total.
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Rajesh,
I definitely understood what you meant. Both Gowri and Vijay Siva are meticulous planners and I'm sure they would have discussed all options and chose what in their mind would have created the biggest impact. Ultimately, they left us wishing for more and that's a hallmark of a successful performance. And to say they succeeded y'day would be an understatement.
I definitely understood what you meant. Both Gowri and Vijay Siva are meticulous planners and I'm sure they would have discussed all options and chose what in their mind would have created the biggest impact. Ultimately, they left us wishing for more and that's a hallmark of a successful performance. And to say they succeeded y'day would be an understatement.
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Sbala, Bhaktha and Udayshankar,
Thanks for capturing the event for us with feeling and vividness. It would be nice if the event is restaged in other cities before a CD is released--the same ensemble.
Rajesh,
Thanks for the 'extra' with special effects of fog (the grey area in your post too!) and for saying it in your own inimitable way.
The pallavi line as I remember it is, 'mA maramum nizhalum kuyilum, unnait tudikka idu samayam'?? I have loved the line just as 'mOhana vElai idE, vasanta kAlamidE, malaya mArutam vISum Ananda bairavi aruLum--mOhana vELai'. We normally hear sanskrit nAmAvaLi in pallavis which is fine, but a tamizh (or telugu, kannaDA or malayALam line for that matter) is refreshing too...
Thanks for capturing the event for us with feeling and vividness. It would be nice if the event is restaged in other cities before a CD is released--the same ensemble.
Rajesh,
Thanks for the 'extra' with special effects of fog (the grey area in your post too!) and for saying it in your own inimitable way.
The pallavi line as I remember it is, 'mA maramum nizhalum kuyilum, unnait tudikka idu samayam'?? I have loved the line just as 'mOhana vElai idE, vasanta kAlamidE, malaya mArutam vISum Ananda bairavi aruLum--mOhana vELai'. We normally hear sanskrit nAmAvaLi in pallavis which is fine, but a tamizh (or telugu, kannaDA or malayALam line for that matter) is refreshing too...
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10th Nov - Saturday - 3-5 pm
Vocal: Gayathri Venkatraghavan
Violin: Padma Shankar
Mridangam: Ganapathyram
Ghatam: Guruprasad
Songlist:
1. Varnam - Bahudari
2. Gopalaka pahimam - Bhoopalam
3. Maarubalka - Sriranjini
4. Sri Janaka tanaye - Kalaakaanti
5. Akilandeswari - Kapi
6. Nijadasavarada - Kalyani (main)
7. Virutham - Dhanyasi, Nalinakanthi
8. Nathajanaparipalini - Nalinakanthi
9. Arul mazhai pozhivaar - Ragamalika
Vocal: Gayathri Venkatraghavan
Violin: Padma Shankar
Mridangam: Ganapathyram
Ghatam: Guruprasad
Songlist:
1. Varnam - Bahudari
2. Gopalaka pahimam - Bhoopalam
3. Maarubalka - Sriranjini
4. Sri Janaka tanaye - Kalaakaanti
5. Akilandeswari - Kapi
6. Nijadasavarada - Kalyani (main)
7. Virutham - Dhanyasi, Nalinakanthi
8. Nathajanaparipalini - Nalinakanthi
9. Arul mazhai pozhivaar - Ragamalika
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The violin concert of VVS and his son: AWESOME! Wish the man performs more often. What sublime touch and what raga bhava... there was an out-of-the-world alapana of Lalita and a delightful Kuntalavarali. And the best part was Bhaktavatsalam's mridangam support. He eschewed his usual exuberance and played with such finesse. Folks, don't miss the VVS Academy concert in Dec.
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gopalank,
Can you post the songlist of VVS's violin concert. I did hear the second half of an awesome poorvikalyAni (meenAkshi memudham) and a very good , sindhubhairavi tukkada. Shri vvs's bowing is really exceptional.
Can you post the songlist of VVS's violin concert. I did hear the second half of an awesome poorvikalyAni (meenAkshi memudham) and a very good , sindhubhairavi tukkada. Shri vvs's bowing is really exceptional.
Last edited by rajeshnat on 12 Nov 2007, 11:03, edited 1 time in total.
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I attended a few of the concerts in this series. Here's the songlists:
Date: Sunday, Nov. 4, 2007
Pandit Suhas Vyas: Hindusthani Vocal
Vyasaraya Katti- Harmonium
Ravindra Yavagal - Tabla
1. br.ndAvan sArangA (he announced it as br.dAvani sArangA)
2. bhImpalAsi
3. rAmkali
4. bhajan - rEvati
Aruna Sayeeram: Vocal
Padma Shankar - Violin
J Vaidhyanathan - Mridangam
Dr S Karthick - Ghatam
VVS Manian - Ghanjira & Konnakol
(Rsk: rAga sketch, R = rAga AlApana, S = svara)
1. ShrI vighnarAjaM bhajE - ghaMbhIra nATa - khaNDam - UtukkADu vEnkaTa kavi (Rsk + S at pallavi)
2. lAvaNya rAma - pUrNashadjam - rUpakam - T
3. mInAkshimE - pUrvikalyANi/gamagakriyA - Adi (2 kalai) - MD (R, N +S at "mInalOcani pAShamOcani")
4. AdiyapAda - darbAr - Adi - GKB
5. upacAramUlanu - bhairavi - Adi (2 kalai) - T (R, N+S at kapaTanAtakasUtra)
tani Avartanam by percussionists
6. nIrada samanIla kr.shNa - jayantaShrI - Adi (tiShranaDai) - UtukkADu vEnkaTa kavi
7. paNDaricavAs - mix of bhAgEShrI & AbhOgi - Eka - nAmdEv
8. manamE kaNamum - bhImpalAs - Adi - PS
9a. pATTuvittAl (viruttam) - Shubha pantuvarALi, nAdanAmakriyA - rAmalinga svAmigal?
b. cittam eppaDiyO - nAdanAmkriyA - miShracApu - samuel vEdanAyakam piLLai
Date: Friday November 9th, 2007 (dedicated to DK Pattammmal)
Vocal - Geetha Rajashekhar
Violin - G Srikanth
Mridangam - Vellore Ramabhadran
1. ErA nApai (varNam) - tODi - Adi - PSI (Rsk)
2. dEvadEva kalayAmi - mAyAmALavagauLa - rUpakam - ST (N + S at "bhuvanatraya nAyaka")
3. entarAnitana - harikhAmbhOji - Adi (2 kalai) - T (S at "SheshuDu Shivuniki)
4. marivERE dikkevvaru - latAngi - khaNdacApu - PSI (A, S at pallavi)
5. ranganAyakam - nAyaki - Adi (2 kalai) - MD
6. iDadu padam tUkki - kamAs - Adi - PS
7. cakkanirAja - kharaharapriyA (A, N +S at "kaNTiki sundara")
tani Avartanam by Vellore Ramabhadran
8. eppaDi pADinaro - karNATaka dEvagAndhAri - Adi - ShuddhAnanda bhArati
Violin - Sri VV Subramaniam
Violin Support - VVS Murari
Tiruvarur Bhaktavatsalam - Mridangam
Vaikom Gopalakrishnan - Ghatam
1. a piece in ShrI I couldn't identify
2. mahA gaNapatiM - nATa - catuShra Ekam - MD (S at pallavi)
3. nAdatanumaniSham - cittaranjani - Adi - T
4. nannubrOvu lalita - lalitA - miShracApu - SS (A)
5. annapUrNE - sAma - Adi - MD
6. bhOgIndra ShAyinam - kuntalavarALi - khaNDa naDai - ST
7. mInAkshimE - gamagakriyA - Adi (2 kalai) - MD (A, N +S at "madurApurinilayE")
8. A piece in sindhubhairavi I couldn't identify.
9. Rsk in suraTi
Date: Sunday, Nov. 4, 2007
Pandit Suhas Vyas: Hindusthani Vocal
Vyasaraya Katti- Harmonium
Ravindra Yavagal - Tabla
1. br.ndAvan sArangA (he announced it as br.dAvani sArangA)
2. bhImpalAsi
3. rAmkali
4. bhajan - rEvati
Aruna Sayeeram: Vocal
Padma Shankar - Violin
J Vaidhyanathan - Mridangam
Dr S Karthick - Ghatam
VVS Manian - Ghanjira & Konnakol
(Rsk: rAga sketch, R = rAga AlApana, S = svara)
1. ShrI vighnarAjaM bhajE - ghaMbhIra nATa - khaNDam - UtukkADu vEnkaTa kavi (Rsk + S at pallavi)
2. lAvaNya rAma - pUrNashadjam - rUpakam - T
3. mInAkshimE - pUrvikalyANi/gamagakriyA - Adi (2 kalai) - MD (R, N +S at "mInalOcani pAShamOcani")
4. AdiyapAda - darbAr - Adi - GKB
5. upacAramUlanu - bhairavi - Adi (2 kalai) - T (R, N+S at kapaTanAtakasUtra)
tani Avartanam by percussionists
6. nIrada samanIla kr.shNa - jayantaShrI - Adi (tiShranaDai) - UtukkADu vEnkaTa kavi
7. paNDaricavAs - mix of bhAgEShrI & AbhOgi - Eka - nAmdEv
8. manamE kaNamum - bhImpalAs - Adi - PS
9a. pATTuvittAl (viruttam) - Shubha pantuvarALi, nAdanAmakriyA - rAmalinga svAmigal?
b. cittam eppaDiyO - nAdanAmkriyA - miShracApu - samuel vEdanAyakam piLLai
Date: Friday November 9th, 2007 (dedicated to DK Pattammmal)
Vocal - Geetha Rajashekhar
Violin - G Srikanth
Mridangam - Vellore Ramabhadran
1. ErA nApai (varNam) - tODi - Adi - PSI (Rsk)
2. dEvadEva kalayAmi - mAyAmALavagauLa - rUpakam - ST (N + S at "bhuvanatraya nAyaka")
3. entarAnitana - harikhAmbhOji - Adi (2 kalai) - T (S at "SheshuDu Shivuniki)
4. marivERE dikkevvaru - latAngi - khaNdacApu - PSI (A, S at pallavi)
5. ranganAyakam - nAyaki - Adi (2 kalai) - MD
6. iDadu padam tUkki - kamAs - Adi - PS
7. cakkanirAja - kharaharapriyA (A, N +S at "kaNTiki sundara")
tani Avartanam by Vellore Ramabhadran
8. eppaDi pADinaro - karNATaka dEvagAndhAri - Adi - ShuddhAnanda bhArati
Violin - Sri VV Subramaniam
Violin Support - VVS Murari
Tiruvarur Bhaktavatsalam - Mridangam
Vaikom Gopalakrishnan - Ghatam
1. a piece in ShrI I couldn't identify
2. mahA gaNapatiM - nATa - catuShra Ekam - MD (S at pallavi)
3. nAdatanumaniSham - cittaranjani - Adi - T
4. nannubrOvu lalita - lalitA - miShracApu - SS (A)
5. annapUrNE - sAma - Adi - MD
6. bhOgIndra ShAyinam - kuntalavarALi - khaNDa naDai - ST
7. mInAkshimE - gamagakriyA - Adi (2 kalai) - MD (A, N +S at "madurApurinilayE")
8. A piece in sindhubhairavi I couldn't identify.
9. Rsk in suraTi
I think it is pronounced as "kalakaNTi," meaning one with a neck resembling a conch shell. Gayathri did render a number of uncommon songs.isai_rasigan wrote:4. Sri Janaka tanaye - Kalaakaanti
Last edited by kmrasika on 14 Nov 2007, 10:13, edited 1 time in total.
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Didnt know that. Fixed and thank you for the info. Yes, he certainly deserves the title.gopalank wrote:He's not yet an SK! Fully deserves one, though!kmrasika wrote:Violin - Sangeetha Kalanidhi Sri VV Subramaniam
Thanks, haven't heard this kriti before hence couldn't make the recognition.gopalank wrote:Shri Muladhara (MD)kmrasika wrote:1. a piece in ShrI I couldn't identify
Last edited by kmrasika on 14 Nov 2007, 10:21, edited 1 time in total.