Vid N Vijay Siva - Vocal
Vidushi Charulatha Ramanujam - Violin
Vid Neyveli Sri R Narayanan - Mridanga
Vid Ranganatha Chakravarthi - Ghatam
Sri Gopinath Rao & Sri Sripada Rao - Tanpura Shruti
Song list
1. sadabala rupapi (slokam), Karikalabha mukham - saveri - MD - rupakam
2. Samaja varada - suddha saveri - Ramanadapuram Srinivasa Iyengar - rupakam
Neraval & Swaram at kAma janaka shubha phaladA (Anupallavi line)
3. Ninnu vina - Purvikalyani - misra chapu - shyama sastri
(Alapana, swara @ ninnu vina)
4. nenarunchara na pai- simhavahini - Thyagaraja - Adi
5. Ni padamula gatiyeni - Bhairavi - patnam subramanya iyer - adi 2 kalai
(Alapana, Neraval & swaram @ shrI pancanadIshvaruni rANi )
6. bhajare bhajamanasa - kannada - thyagaraja - triputa
7. RTP - Abheri - (Nadai pallavi)
pAgAi urugu nenjE pangayar kannanai ninaindu
Talam - Tishra triputa - Purvangam in tishra nadai & uttarangam in chatusra nadai
Ragamalika swarams in mohanam, todi, valachi
8. entacheluvage - abheri - PD
9. Radhika krishna - ragamalika - Jayadeva ashtapati
(Raga - kamas - vasantha - mukhari - jaunpuri?)
10. idu enna pechu irukku pomo - sahana
11. viruttam - vAnil arasu vaikunta kuttan - kapi, hamir kalyani?, kAnadA, behag
12. Oruthi maganai pinrandu - behag - andal tiruppavai
13. Srirama jayarama - Yadukula kambhoji - Thyagaraja - Kanda chapu (Raga outline)
14. pavamana - sowrastram - thyagaraja
15. swasti prajabhya - (benediction sloka)
Detailed review follow.........
-hari
Vijay Siva @ Seshadripuram college grounds- 19 Apr
-
s_hari
- Posts: 872
- Joined: 20 May 2007, 18:45
• The concert started with a bang with a sloka – sadabala rupapi – followed by karikalaba mukham of muttuswami dikshitar in rupaka tala. This was followed by samaja varada of poochi iyengar and Vijay sang neraval and swaras for the anu pallavi line – kAma jana subha prada. Both nereval and swaras was very standard, typical suddha saveri sangathis and janta swara prayogams during swara kalpana.
• Then came nice alapana of poorvikalyani, lasting for about 6 minutes. Again, lot of vishranti in alapana, he started unhurriedly, and brought out the raga swarupa clearly. The raga sancharams were both in tara sthayi and mandra stjayi. Charulatha’s reply was also sweet, she also started in leisurely pace, and upper kala prayogas were also very pleasing. The keerthana choosen for the day is Ninnu vinaga mari of shyama sastri. No neraval was performed, and swaras in pallavi line. There were single avataras swaras for 2 or 3 rounds, and he shifted to 2nd speed. Some of the prayogams used were S- n d m g r, n d m g r, s – r d. , S n d m g n d m g r.
• Nenarunchara followed next, and this was the first keerthana having 1-1/2 eduppu, all earlier keerthanas being in samam.
• Then came a grand, grand bhairavi. No adjectives to describe, and one has to listen to get a feel of it. He sung in very leisurely way, lots and lots of vishranti, step by step, swara by swara, he unfolded the ragas. One could notice all the commonly known bhairavi pidis. The pace was such that, I could infact note down most of the sangathies while he sang (me being very novice in taking notation, no prior experience or expertise or knowledge!!). While ending the raga, he used the pattern S G – R S n…. S….. Charulata followed Vijay in every sangathi, and gave a nice reply. Vijay’s alapana was for about 10 minutes, and violin response for about 5 minutes or so. The keerthana chosen was ni pada mule of patnam subramanya iyer. Neraval & Swarams at Sri pancha nadishwarini rani. The thani was very good, and the sollus were very clear and crisp. Again, I can’t write much about laya aspects.
• The main and sub main song selection was apt (on shakti, godess) for the day being pournami. It was open air auditorium, and the dias was facing east. So the artists on the stage would have had good Chandra darisanam throughout!
• After a short song in kannada (bhajare bhaja manasa), Aberi raga was presented. The raga transcended all sthayis, and in tara styai - he touched upto panchamam (like M-- P ---- P--- M--G---) Almost at the end of raga alapana, some thing happened, i am not sure whether it is some apa sruthi or shruti slip, this was when he was doing mel kala sancharas in raga, and i think the place was around he was trying some thing like sgm sgmp little fasish – just less than a second, and soon after he slowed down the pace,and raga ended, and violin reply started. If some else observed it closely, might comment. Thanam was very brief.
• What can be said about the pallavi? I am hearing dwi nadai pallavi for first time!! The structure of the pallavi is kind of simple, but nadai difference made it challenging. Talam being tishra triputa talam – 2 kalai. I am trying to present the pallavi structure below.
Lagu (tisra jaati in tisra nadai => 3 + 3 + 3), two dhrutam (chatusra nadai => 2 +2 + 2 + 2)
Total aksharas in 2 kalai = 25
1 1 1 1 0 1 0
pAgai urugu nen je.... pangayar kannanai ninaindu
(Samam eduppu)
Trikalam was done. For swaras, Vijay siva shifted to 1 kalai. After few rounds of abheri swaras, ragamalika swaras in mohanam, todi, valachi followed. After that abheri again, and 1 more round of ragamalika swaras in same ragams, and from here, he sang ragamalika swaras in reverse order, and then went to abheri.
• As one would expect these days, after RTP, the song is also in same raga. Entacheluvage of purandara dasa was presented in typical DKP school stype.
• Jayadeva ashtapati was also in ragamalika, in Kamas, mukhari & jaunpuri.
• After idu enna pechu irruku pomo in sahana, a detailed virutham was sung in ragamalika, this time definitely it was like shane warne’s loops and flights! Tiruppavai followed the virutham.
• Srirama jayarama was sung with lot of bhava, and when in each charanam tapamemi jeseno was there, he shifted to upper octave, thereby creating electric effect.
• The concert ended with traditional pavamana mangalam, and swasti prajabhya slokam.
With two tanpuras played, it was all only suswarams all the way. The organizer in his speech referred the tanpura artists as rock of Gibraltar, which is certainly through. Complete vak shudduam, shruti suddam, swara suddham every where.
Disclaimer - These are my personal views, and i could be very well wrong, as i have very little knowledge in music. If there are any mistakes, i stand corrected (:-
yadakshara-padabhrashhTaM maatraahiinaM cha yadbhavet.h |
tatsarvaM kshamyataaM devi prasiida parameshvari
On overall really enjoyable concert, no let down, and vijay siva maintained same tempo and had everyone's attention throughout the concert till mangalam.
• Then came nice alapana of poorvikalyani, lasting for about 6 minutes. Again, lot of vishranti in alapana, he started unhurriedly, and brought out the raga swarupa clearly. The raga sancharams were both in tara sthayi and mandra stjayi. Charulatha’s reply was also sweet, she also started in leisurely pace, and upper kala prayogas were also very pleasing. The keerthana choosen for the day is Ninnu vinaga mari of shyama sastri. No neraval was performed, and swaras in pallavi line. There were single avataras swaras for 2 or 3 rounds, and he shifted to 2nd speed. Some of the prayogams used were S- n d m g r, n d m g r, s – r d. , S n d m g n d m g r.
• Nenarunchara followed next, and this was the first keerthana having 1-1/2 eduppu, all earlier keerthanas being in samam.
• Then came a grand, grand bhairavi. No adjectives to describe, and one has to listen to get a feel of it. He sung in very leisurely way, lots and lots of vishranti, step by step, swara by swara, he unfolded the ragas. One could notice all the commonly known bhairavi pidis. The pace was such that, I could infact note down most of the sangathies while he sang (me being very novice in taking notation, no prior experience or expertise or knowledge!!). While ending the raga, he used the pattern S G – R S n…. S….. Charulata followed Vijay in every sangathi, and gave a nice reply. Vijay’s alapana was for about 10 minutes, and violin response for about 5 minutes or so. The keerthana chosen was ni pada mule of patnam subramanya iyer. Neraval & Swarams at Sri pancha nadishwarini rani. The thani was very good, and the sollus were very clear and crisp. Again, I can’t write much about laya aspects.
• The main and sub main song selection was apt (on shakti, godess) for the day being pournami. It was open air auditorium, and the dias was facing east. So the artists on the stage would have had good Chandra darisanam throughout!
• After a short song in kannada (bhajare bhaja manasa), Aberi raga was presented. The raga transcended all sthayis, and in tara styai - he touched upto panchamam (like M-- P ---- P--- M--G---) Almost at the end of raga alapana, some thing happened, i am not sure whether it is some apa sruthi or shruti slip, this was when he was doing mel kala sancharas in raga, and i think the place was around he was trying some thing like sgm sgmp little fasish – just less than a second, and soon after he slowed down the pace,and raga ended, and violin reply started. If some else observed it closely, might comment. Thanam was very brief.
• What can be said about the pallavi? I am hearing dwi nadai pallavi for first time!! The structure of the pallavi is kind of simple, but nadai difference made it challenging. Talam being tishra triputa talam – 2 kalai. I am trying to present the pallavi structure below.
Lagu (tisra jaati in tisra nadai => 3 + 3 + 3), two dhrutam (chatusra nadai => 2 +2 + 2 + 2)
Total aksharas in 2 kalai = 25
1 1 1 1 0 1 0
pAgai urugu nen je.... pangayar kannanai ninaindu
(Samam eduppu)
Trikalam was done. For swaras, Vijay siva shifted to 1 kalai. After few rounds of abheri swaras, ragamalika swaras in mohanam, todi, valachi followed. After that abheri again, and 1 more round of ragamalika swaras in same ragams, and from here, he sang ragamalika swaras in reverse order, and then went to abheri.
• As one would expect these days, after RTP, the song is also in same raga. Entacheluvage of purandara dasa was presented in typical DKP school stype.
• Jayadeva ashtapati was also in ragamalika, in Kamas, mukhari & jaunpuri.
• After idu enna pechu irruku pomo in sahana, a detailed virutham was sung in ragamalika, this time definitely it was like shane warne’s loops and flights! Tiruppavai followed the virutham.
• Srirama jayarama was sung with lot of bhava, and when in each charanam tapamemi jeseno was there, he shifted to upper octave, thereby creating electric effect.
• The concert ended with traditional pavamana mangalam, and swasti prajabhya slokam.
With two tanpuras played, it was all only suswarams all the way. The organizer in his speech referred the tanpura artists as rock of Gibraltar, which is certainly through. Complete vak shudduam, shruti suddam, swara suddham every where.
Disclaimer - These are my personal views, and i could be very well wrong, as i have very little knowledge in music. If there are any mistakes, i stand corrected (:-
yadakshara-padabhrashhTaM maatraahiinaM cha yadbhavet.h |
tatsarvaM kshamyataaM devi prasiida parameshvari
On overall really enjoyable concert, no let down, and vijay siva maintained same tempo and had everyone's attention throughout the concert till mangalam.
Last edited by s_hari on 20 Apr 2008, 06:50, edited 1 time in total.
-
s_hari
- Posts: 872
- Joined: 20 May 2007, 18:45
What has vijay siva done to me in last 3 days!! I can't belive it. I am sure music and knowledge remaine same there, but at my side, definitely i feel i have started enjoying more, and more, and started focused on details (I recollect, some one went to MVI after a concert and said you sang very well today, and MVI immediately quipped, i have always sung same, only at your side your knowledge went up - ivvidam sangeetham appadiye than irruku - avvidam than gyanam adigam agiyirukku !!!)
And about charulata ramanujam!! Almost performed at same level as Vijay. I am going to attend her concerts irrespective who the main artist is!! Certainly i am a mad fan of her now.. I did tell her this after concert.
If i am to compare 17th and 19th April concert - based on concert planning, it is immaculate.
1. Began with varnam / ganapathi song
2. A nice keerthana - with nerval & swara
3. A prati madhyamama raga elaboration as sub main, neraval & swaras
4. A keerthana before main
5. Main raga - essentially ghana raga - with detailed neraval & swaram
6. A madhyamakala song
7. RTP - which may not be very elaborate - but sufficient enough on 2-1/2 concert
8. Viruttam, slokas...
9. A series of tukkadas
10. Mangalam & Swasti prajabhya
Shruti suddam, vak suddam, the way he handles sahitya, raga bhava, bringing out beauty of the composition, vishranti in raga alapana... wow! list goes on an on...
Both concerts were exactly 2-1/2 hours, and similar structure. A well mix of talas, composers, ragas, etc
I have never listened to DKJ live, and only once DKP (a short concert on mahakavi bharati composition in music academy - Dec 25/26 in 1994), and definitely he is making me forget that i never missed hearing them live...
-hari
And about charulata ramanujam!! Almost performed at same level as Vijay. I am going to attend her concerts irrespective who the main artist is!! Certainly i am a mad fan of her now.. I did tell her this after concert.
If i am to compare 17th and 19th April concert - based on concert planning, it is immaculate.
1. Began with varnam / ganapathi song
2. A nice keerthana - with nerval & swara
3. A prati madhyamama raga elaboration as sub main, neraval & swaras
4. A keerthana before main
5. Main raga - essentially ghana raga - with detailed neraval & swaram
6. A madhyamakala song
7. RTP - which may not be very elaborate - but sufficient enough on 2-1/2 concert
8. Viruttam, slokas...
9. A series of tukkadas
10. Mangalam & Swasti prajabhya
Shruti suddam, vak suddam, the way he handles sahitya, raga bhava, bringing out beauty of the composition, vishranti in raga alapana... wow! list goes on an on...
Both concerts were exactly 2-1/2 hours, and similar structure. A well mix of talas, composers, ragas, etc
I have never listened to DKJ live, and only once DKP (a short concert on mahakavi bharati composition in music academy - Dec 25/26 in 1994), and definitely he is making me forget that i never missed hearing them live...
-hari
Last edited by s_hari on 20 Apr 2008, 07:35, edited 1 time in total.
-
arasi
- Posts: 16873
- Joined: 22 Jun 2006, 09:30
s-hari,
A truly enjoyable review, piggybacking on the previous one. The way in which you have gone about capturing the essence of Vijay Siva appealed to me.
Without doubt, his Sruti Suddham, sAhitya Suddham and his bhAvam are commendable.The way he constructs a concert is noteworthy. I look forward to listening to him in the same way one would think about drinking from the clear waters of a brook. He had a great guru but I do not want to compare Vijay Siva with him. The DK siblings were a class act, and no one denies that.
Times have changed. The younger singers live in a competitive world today. No, I don't mean that they compete. It is just that we rasikAs are more demanding of them and they too find themselves in a period of time when many competent musicians are out there. Vijay Siva is very much there in the top, following his guru paramparA, but carving a niche for himself. Diction, dedication, crystal clear voice and such Sruti!
That is why when rasikAs argue about who is the best, I wonder why. Don't we need several super ones, each giving great CM their own brand of rendition?
I absolutely agree with you on Charulatha. As I mentioned just recently, watch out for Amruta Murali too...
A truly enjoyable review, piggybacking on the previous one. The way in which you have gone about capturing the essence of Vijay Siva appealed to me.
Without doubt, his Sruti Suddham, sAhitya Suddham and his bhAvam are commendable.The way he constructs a concert is noteworthy. I look forward to listening to him in the same way one would think about drinking from the clear waters of a brook. He had a great guru but I do not want to compare Vijay Siva with him. The DK siblings were a class act, and no one denies that.
Times have changed. The younger singers live in a competitive world today. No, I don't mean that they compete. It is just that we rasikAs are more demanding of them and they too find themselves in a period of time when many competent musicians are out there. Vijay Siva is very much there in the top, following his guru paramparA, but carving a niche for himself. Diction, dedication, crystal clear voice and such Sruti!
That is why when rasikAs argue about who is the best, I wonder why. Don't we need several super ones, each giving great CM their own brand of rendition?
I absolutely agree with you on Charulatha. As I mentioned just recently, watch out for Amruta Murali too...
Last edited by arasi on 20 Apr 2008, 08:55, edited 1 time in total.
-
grsastrigal
- Posts: 884
- Joined: 27 Dec 2006, 10:52
I agree with you. Last December, here at Chennai, i could attend only couple of concerts. Even his one and half hour concert at Music college had its class. He takes each raga and gives 100% and then moves it to other one. Dikshitar kritis need need extra ordinary brilliance in terms of pronunciation and shudham. Like Vikatan says- you can write the song, while VS renders, whatever language it is.
-
PUNARVASU
- Posts: 2498
- Joined: 06 Feb 2010, 05:42
This comment'You can write the song when the artist renders it' used to be applied to SMT.DKP .and Shri DKJ.grsastrigal wrote:I agree with you. Last December, here at Chennai, i could attend only couple of concerts. Even his one and half hour concert at Music college had its class. He takes each raga and gives 100% and then moves it to other one. Dikshitar kritis need need extra ordinary brilliance in terms of pronunciation and shudham. Like Vikatan says- you can write the song, while VS renders, whatever language it is.
No wonder Shri VS also follows the same padhdhathi.
-
matterwaves
- Posts: 130
- Joined: 24 Aug 2007, 18:26
Vijayashiva was performing in Mysore in sometime in January and he was half way through the nereval in Yamuna kalyani (Jambupathe- MD) when power gave way. Even the battery back up (failed after a loud bang!) but Vijay continued and his voice was clear and loud and the whole hall could hear him. Kudos to him. His shruti as people have mentioned is immaculate. Surely there at the top.
-
s_hari
- Posts: 872
- Joined: 20 May 2007, 18:45
-
s_hari
- Posts: 872
- Joined: 20 May 2007, 18:45
Okay ,here comes some analogy of this concert with saptaswara...
1 – Pournami day – poorna chandra darsanam (Indu - name of 1st chakram in melaraga malika composed by Mahavaidhyanatha sivan, meaning moon)
2 – Two tanpura playing in unison like surya - chandra or Lakshmi - Parvathi. Were is saraswathi then? She is omnipresent in vidwans and vidhushi on the stage
3 – Three ragamalikas rendered during concert - during RTP, Virutham, Ashtapadi
4 - Evening classes were happing in college - bell was ringing very loundly in between about 4 times (signifying end of class period... As rasika i found it difficult.... How come students were concentrating in class when such beautiful music is heard everywhere?) !! May be this concert can be called as "college concert" like SSI's "Airport concert"??
5. Saveri, Sudda Saveri, Abheri are all 5 swaras in arohanam, and so is Mohanam sung in ragamalika swara in RTP! Also, main song in bhairavi was about godess of thiruvayyaru (land of 5 rivers) and neraval on shrI pancanadIshvaruni rANi (Pancha + Nadhee + Eshwara + Rani)
6. Six vidhwans on the dias (Main artist , violin , mridangam , ghatam, 2 tanpura artists)
7. Concert on seventh day of the week, Saturday
-hari
1 – Pournami day – poorna chandra darsanam (Indu - name of 1st chakram in melaraga malika composed by Mahavaidhyanatha sivan, meaning moon)
2 – Two tanpura playing in unison like surya - chandra or Lakshmi - Parvathi. Were is saraswathi then? She is omnipresent in vidwans and vidhushi on the stage
3 – Three ragamalikas rendered during concert - during RTP, Virutham, Ashtapadi
4 - Evening classes were happing in college - bell was ringing very loundly in between about 4 times (signifying end of class period... As rasika i found it difficult.... How come students were concentrating in class when such beautiful music is heard everywhere?) !! May be this concert can be called as "college concert" like SSI's "Airport concert"??
5. Saveri, Sudda Saveri, Abheri are all 5 swaras in arohanam, and so is Mohanam sung in ragamalika swara in RTP! Also, main song in bhairavi was about godess of thiruvayyaru (land of 5 rivers) and neraval on shrI pancanadIshvaruni rANi (Pancha + Nadhee + Eshwara + Rani)
6. Six vidhwans on the dias (Main artist , violin , mridangam , ghatam, 2 tanpura artists)
7. Concert on seventh day of the week, Saturday
-hari