Reposting cool's post below, 2007 we started with a bang with great concerts , personally felt each of the performers gave something very special (to borrow vasanthakOkilam's phrase entropy was close to zero between the performers performing and the rasikAs experiencing delight)this year should be great too !!!
I dont have my digital camera yet repaired , can one of you bring it please.
-rajesh
Vocal:Prema Rangarajan Violin:Padma Shankar, Mrudanga:Kallidaikurichi Sivakumar
Venue is No 18, Second Street, lake area, Nungambakkam, Chennai - 600034 (Behind Valluvar Kottam, Street, two streets after the Padma Seshadri Bala Bhavan Main School
Likely Concert List will be
Though some small last minute changes are likely
Composition Raga Tala Composer On Lord
1Sarasijanabha Nata Adi Swati Thirunal Padmanabha
2.Bhajare Gowla Kandatriputa Walajapet Venkata… Rama
3.Paramatbhuta Khamas Adi Mysore Sadasiva Rao Ranganatha
4.Mammubrocu Simmendrama Adi Veenai Kuppier Venkatesa
5.Muraharena Sudhamukhari Rupakam M.Dikshitar Krishna
6.Ramam Namami Vagulabaranam Rupakam Vasudevachar Rama
7.Ranganayaka Kedaragowla Adi Margadarsi Seshaiyengar Ranganatha
8.Venkatesa Ninnu MadhyamavathiAdi Adi Tyagaraja Venkatesa
9.Devaki Ragamalika Adi Purandaradasar Krishna
10.Bagilenu Chandrakauns Adi Kanakadasa Narayana
11.Pasuram Virutam Venkatesa
12Thillana Sri Tisra Adi Poochi Rama
Looking forward to meeting you all. 2008 has been a sticky start and we want the momentum to pick up.
-cool
premA rangarAjan@mantra's house (rasikas concert #1 )on 20th
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knandago2001
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Nick H
- Posts: 9472
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I'm willing you better 
I seem to remember getting lost there before. Could you give some more directions please?
On this google map: http://maps.google.com/maps?f=q&hl=en&g ... 01296&z=16
There a couple of second streets and a second cross street: please clarify which is which!
I seem to remember getting lost there before. Could you give some more directions please?
On this google map: http://maps.google.com/maps?f=q&hl=en&g ... 01296&z=16
There a couple of second streets and a second cross street: please clarify which is which!
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coolkarni
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- Joined: 22 Nov 2007, 06:42
And we had a concert ,yesterday,with a Little audience.Little words are the sweetest to hear;
Little Charities fly farthest and stay longest on the wing;
Little lakes are the stillest;
Little hearts are the fullest;
And Little farms are the best tilled.
Little books are the read most;
And Little songs the dearest loved.
And when nature would make anything especially rare and beautiful,she makes it little;
Little pearls, little diamonds,little dews.
Agar's is a model prayer;
But then it is a little one.
And the burden of the petition is for but little.
The Sermon on the mount is little,
But the last dedication discourse was an hour long.
Life is made up of littles;Death is what remains of them all.
The day is made up of little beams , and
The Night is glorious with little stars.
Author Unknown
But the night was glorious with little stars.
Author -Known and Fuming - about to decide whether he should continue the series.
:):(
Last edited by coolkarni on 21 Jul 2008, 07:25, edited 1 time in total.
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vijay
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rajeshnat
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Composition Raga Tala Composer On Lord
1 Sarasijanabha(S) nAttai Adi Swati Thirunal Padmanabha
2.Bhajare mAnasa(S) Gowla Kandatriputa Walajapet Venkata… Rama
3.Ranganayaka Kedaragowla Adi Margadarsi Seshaiyengar Ranganatha
4.Ramam Namami (R N S) Vagulabaranam Rupakam Vasudevachar Rama
neraval in "vAsavAdi sampUjitha basAmAna vara charanam"
5. varadarAja ninnu - svarabhUshani - T
6.Narasimha Agacha(RS) - mOhanam - Muthuswamy Dikshitar
7.Paramatbhuta Khamas Adi Mysore Sadasiva Rao Ranganatha
8.Mammubrocu (R N S) Simmendramamadhyamam Adi Veenai Kuppier Venkatesa
neraval in "heema giri velAyu seshagiri eesha venkatEsha"
9A.Venkatesa Ninnu (R N S T) Madhyamavathi Adi Tyagaraja Venkatesa
neraval in "bhAgava priya thyagarAja nutha"
9B. tani
10.devaki nandana nanda mukunda Ragamalika i 3 rAgAs Adi Purandaradasar Krishna
11.Bagilenu Chandrakauns Adi Kanakadasa Narayana
12. santatam rAjam (kind of nottuswaras ???) - shankarAbharanam - ?
13.Thillana "nAdhiru taiya tana tOm ta" shurutti - ???
Vidushi Smt premA rangarAjan must have put in a lot of effort to perform a thematic concert on different avatars of Lord vishnu. Her start was extermely impressive both nAttai and gowlai were very good , somehow I feel when these two rAgas are sung in general the percussionist reach their zone of excellence always.
The next was a bit of stretch , connected kedaragowlai most of the tiem still at times I was wondering if I had heard a devagAndhAri all possibly because of unfamiliarity of krithi. The day's best to me was her vakulAbharanam , all thru it was great. How beautiful is vakulAbharanam perhaps the only way to connect that is to assume for a few minutes that it is a mAyA mAlavagowlai ,then spotting this brilliant rAgam . The neraval and swaras were just excellent . SwarabhUshani was a complete bouncer before I could appreciate this fast paced krithi was gone.
Her rendition of mOhanam was quite good and the khamAs that followed was appearing as a very difficult krithi , there were too many commas
in this stretched krithi certainly there was no shades of harikAmbOdhi.Singing two R N S back to back has its own perils , for me as a rasika I found it difficult to concentrate and also I just noticed it takes a Smt MLV'ian stamina to sing the same . The R N S of simm madhyamam was rendered beautifully , with me possibly expecting a tani there.She going to another R N S in madhyamAvati was quite welcome as there were quite a few Smt MLV'ish brighAs there , but certainly the stamina was missing in the neraval , she sang a very appealing second half swaras in madhyamAvati. Certainly overall two back to back R N S had an effect on my concentration and to me personally dipped the quality.
Tukkadsas were all very good . chandrakauns never lets anyone down , and there was a rare nottuswara kind of krithi of shankArAbharanam . I went and asked smt premA at the end of the concert if she sang two thillanAs , she said no there was a nadai change and it was only one.
I confidently asked her again if she had sung yamunA kalyAni or kalyAni before Ahir bhairav in that lovely purandaradAsar krithi as I and sathej could not make up . She replied "I sang bhAnupriyA and not Ahir bhairav,the first rAga was hamsadhwani" . Perhaps both me and sathej are so conditioned that since it is a tukkada we subconsciously exclude the early raiser hamsadhwani . My 100% confidence dropped 100% when I asked her whether she sang an hameer kalyAni or some other kalyANi after bhanupriya , she assured it was only hameer. This is what I love about CM concerts , you think you know only to realize later that you dont know, some times you do know but you are just not confident .
The mridangist Kallidaikurichi Sivakumar was excellent in his play every tap had his guru's palakkAd raghu's trademark azhuttam. I liked his play for songs more than the tani. Smt padmA played excellently, I particularly like her style of really taking few extra seconds to really give great returns.
2008 was a great start , perhaps the start would have been greater if there were more rasikas, to that extent there was little disappointment which will just go away when I again hear this little star vakulAbharanam.
1 Sarasijanabha(S) nAttai Adi Swati Thirunal Padmanabha
2.Bhajare mAnasa(S) Gowla Kandatriputa Walajapet Venkata… Rama
3.Ranganayaka Kedaragowla Adi Margadarsi Seshaiyengar Ranganatha
4.Ramam Namami (R N S) Vagulabaranam Rupakam Vasudevachar Rama
neraval in "vAsavAdi sampUjitha basAmAna vara charanam"
5. varadarAja ninnu - svarabhUshani - T
6.Narasimha Agacha(RS) - mOhanam - Muthuswamy Dikshitar
7.Paramatbhuta Khamas Adi Mysore Sadasiva Rao Ranganatha
8.Mammubrocu (R N S) Simmendramamadhyamam Adi Veenai Kuppier Venkatesa
neraval in "heema giri velAyu seshagiri eesha venkatEsha"
9A.Venkatesa Ninnu (R N S T) Madhyamavathi Adi Tyagaraja Venkatesa
neraval in "bhAgava priya thyagarAja nutha"
9B. tani
10.devaki nandana nanda mukunda Ragamalika i 3 rAgAs Adi Purandaradasar Krishna
11.Bagilenu Chandrakauns Adi Kanakadasa Narayana
12. santatam rAjam (kind of nottuswaras ???) - shankarAbharanam - ?
13.Thillana "nAdhiru taiya tana tOm ta" shurutti - ???
Vidushi Smt premA rangarAjan must have put in a lot of effort to perform a thematic concert on different avatars of Lord vishnu. Her start was extermely impressive both nAttai and gowlai were very good , somehow I feel when these two rAgas are sung in general the percussionist reach their zone of excellence always.
The next was a bit of stretch , connected kedaragowlai most of the tiem still at times I was wondering if I had heard a devagAndhAri all possibly because of unfamiliarity of krithi. The day's best to me was her vakulAbharanam , all thru it was great. How beautiful is vakulAbharanam perhaps the only way to connect that is to assume for a few minutes that it is a mAyA mAlavagowlai ,then spotting this brilliant rAgam . The neraval and swaras were just excellent . SwarabhUshani was a complete bouncer before I could appreciate this fast paced krithi was gone.
Her rendition of mOhanam was quite good and the khamAs that followed was appearing as a very difficult krithi , there were too many commas
in this stretched krithi certainly there was no shades of harikAmbOdhi.Singing two R N S back to back has its own perils , for me as a rasika I found it difficult to concentrate and also I just noticed it takes a Smt MLV'ian stamina to sing the same . The R N S of simm madhyamam was rendered beautifully , with me possibly expecting a tani there.She going to another R N S in madhyamAvati was quite welcome as there were quite a few Smt MLV'ish brighAs there , but certainly the stamina was missing in the neraval , she sang a very appealing second half swaras in madhyamAvati. Certainly overall two back to back R N S had an effect on my concentration and to me personally dipped the quality.Tukkadsas were all very good . chandrakauns never lets anyone down , and there was a rare nottuswara kind of krithi of shankArAbharanam . I went and asked smt premA at the end of the concert if she sang two thillanAs , she said no there was a nadai change and it was only one.
I confidently asked her again if she had sung yamunA kalyAni or kalyAni before Ahir bhairav in that lovely purandaradAsar krithi as I and sathej could not make up . She replied "I sang bhAnupriyA and not Ahir bhairav,the first rAga was hamsadhwani" . Perhaps both me and sathej are so conditioned that since it is a tukkada we subconsciously exclude the early raiser hamsadhwani . My 100% confidence dropped 100% when I asked her whether she sang an hameer kalyAni or some other kalyANi after bhanupriya , she assured it was only hameer. This is what I love about CM concerts , you think you know only to realize later that you dont know, some times you do know but you are just not confident .
The mridangist Kallidaikurichi Sivakumar was excellent in his play every tap had his guru's palakkAd raghu's trademark azhuttam. I liked his play for songs more than the tani. Smt padmA played excellently, I particularly like her style of really taking few extra seconds to really give great returns.
2008 was a great start , perhaps the start would have been greater if there were more rasikas, to that extent there was little disappointment which will just go away when I again hear this little star vakulAbharanam.
Last edited by rajeshnat on 21 Jul 2008, 17:04, edited 1 time in total.
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Nick H
- Posts: 9472
- Joined: 03 Feb 2010, 02:03
A beautiful concert.
I can understand Coolji being disapointed with the numbers. For my part, any number in the audience will do just fine, as great artists have this way of making it seem they are singing just for the individual us!
Perhaps that is not how the artist sees it, and it must be a little embarrassing to an organiser if the numbers are small. When I spoke to Cool about money afterwards, he said, "it is not money I want: it is people".
There are always commitments. We cannot argue with the individual reasons of any one person.
I just hope that sufficient numbers are there for our next even to keep Cool and those who work with him happy to continue the work. This is a commitment too.
Phew... enough of that!
It was a beautiful concert from a performer who combines power and sweetness in her voice.
I too enjoyed the mridangam very much; so very many perfectly chosen strokes, and how splendidly the touches of gumaka were used. The thani seemed appropriate to the concert, both in content and length --- which is right and proper for a thani which is, after all, part of the concert.
I enjoyed Padma Sankar's playing very much, and in conversation afterwards she gave me one of those moments that leaves me just awe-struck by carnatic music and musicians in general: she told me that all the songs, with the single exception of the thillana, were new to her!
I'm not knocking Western music, but, by comparison, when did it ever happen that a singer took his pianist (without any notation) on stage and proceeded to sing a dozen songs the pianist had never heard before, and the result is beautiful music. I am, yet again, stunned!
I had the pleasure of Sureshvv's company on the way home, and he told me that they were, indeed rare songs, that he might not expect to hear again in a decade --- so I guess that many of Sivakumars so-well-formed phrases, sounding as if he knew the song exactly, must also have been from improvisational skill.
I not only love this music: I love the way it happens!
Sureshvv and I found each other in the street, bothe mutually recognising a rasika in search of a concert. Despite having been to the house once before, I was having problems finding it. Mrs Coolkarni was there, as a beacon, to guide us to the right house.
(Thanks to Suresh for the pleasure of dinner with his family, and apologies for keeping he and his wife up so late with conversation)
I can understand Coolji being disapointed with the numbers. For my part, any number in the audience will do just fine, as great artists have this way of making it seem they are singing just for the individual us!
Perhaps that is not how the artist sees it, and it must be a little embarrassing to an organiser if the numbers are small. When I spoke to Cool about money afterwards, he said, "it is not money I want: it is people".
There are always commitments. We cannot argue with the individual reasons of any one person.
I just hope that sufficient numbers are there for our next even to keep Cool and those who work with him happy to continue the work. This is a commitment too.
Phew... enough of that!
It was a beautiful concert from a performer who combines power and sweetness in her voice.
I too enjoyed the mridangam very much; so very many perfectly chosen strokes, and how splendidly the touches of gumaka were used. The thani seemed appropriate to the concert, both in content and length --- which is right and proper for a thani which is, after all, part of the concert.
I enjoyed Padma Sankar's playing very much, and in conversation afterwards she gave me one of those moments that leaves me just awe-struck by carnatic music and musicians in general: she told me that all the songs, with the single exception of the thillana, were new to her!
I'm not knocking Western music, but, by comparison, when did it ever happen that a singer took his pianist (without any notation) on stage and proceeded to sing a dozen songs the pianist had never heard before, and the result is beautiful music. I am, yet again, stunned!
I had the pleasure of Sureshvv's company on the way home, and he told me that they were, indeed rare songs, that he might not expect to hear again in a decade --- so I guess that many of Sivakumars so-well-formed phrases, sounding as if he knew the song exactly, must also have been from improvisational skill.
I not only love this music: I love the way it happens!
Sureshvv and I found each other in the street, bothe mutually recognising a rasika in search of a concert. Despite having been to the house once before, I was having problems finding it. Mrs Coolkarni was there, as a beacon, to guide us to the right house.
(Thanks to Suresh for the pleasure of dinner with his family, and apologies for keeping he and his wife up so late with conversation)
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uday_shankar
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cienu
- Posts: 2392
- Joined: 04 Feb 2010, 11:40
I empathise with Cool.
Chamber concerts by definition are not meant for a large audience. Notwithstanding that, there must be a quorum. I remember Sanjay's chamber concert in Bangalore wherein there were a number of empty chairs! (from the photographs in Rasikas). .
25 to 30 persons in the audience is good enough for a chamber concert. Normally the house owner invites close friends , so that should take care of around 10. The main artist & accompanists usually bring a few persons with them , I will take it at 5 members.
Therefore if just 10 to 15 Rasikas attend , you have around 25 to 30 committed listeners.
If the numbers are lesser than even 25 people , then I must say Cool has a right to lose his cool
But as Vijay had mentioned in his post above, maybe this was a case of prior commitments clashing with the concert date and we must be optimistic that future concerts will see a change for the better !
Chamber concerts by definition are not meant for a large audience. Notwithstanding that, there must be a quorum. I remember Sanjay's chamber concert in Bangalore wherein there were a number of empty chairs! (from the photographs in Rasikas). .
25 to 30 persons in the audience is good enough for a chamber concert. Normally the house owner invites close friends , so that should take care of around 10. The main artist & accompanists usually bring a few persons with them , I will take it at 5 members.
Therefore if just 10 to 15 Rasikas attend , you have around 25 to 30 committed listeners.
If the numbers are lesser than even 25 people , then I must say Cool has a right to lose his cool
But as Vijay had mentioned in his post above, maybe this was a case of prior commitments clashing with the concert date and we must be optimistic that future concerts will see a change for the better !
Last edited by cienu on 22 Jul 2008, 10:24, edited 1 time in total.
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sureshvv
- Posts: 5542
- Joined: 05 Jul 2007, 18:17
There was quite a bit of variety in the talas also... I think the Khamas kriiti was in Khanda triputa too... possibly for all the commas that rajesh perceived.
To me the top thee things of the concert, not in any order were:
1. Beautiful seldom heard kritis of well known composers.
2. Madhyamavati neraval at Bhagavata priya (I remember being disappointed when Amruta sang this kriti extremely well as the main piece at Ragasudha some time ago but chose a different charanam for neraval. I guess one needs a special sense of aesthetics to recognize these opportunities
3. Meeting the die-hard rasikas and ride home with Nick
To me the top thee things of the concert, not in any order were:
1. Beautiful seldom heard kritis of well known composers.
2. Madhyamavati neraval at Bhagavata priya (I remember being disappointed when Amruta sang this kriti extremely well as the main piece at Ragasudha some time ago but chose a different charanam for neraval. I guess one needs a special sense of aesthetics to recognize these opportunities
3. Meeting the die-hard rasikas and ride home with Nick
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kmrasika
- Posts: 1279
- Joined: 10 Mar 2006, 07:55
Correction on Song list
mammu brOcu is one of the five pancaratnAs of vINA kuppaiyyer on vEnkaTEShvara. He has also composed another set on kALahastIShvara.
The starting words for the suraTi tillAnA seem to be correct as for being authored by UtukkADu.
I had expected to read a very rare list of items for this artist's concert and I guessed right. Coolkarni Sir, this is a very good effort on your part to organize concerts of rarely recognized but high-caliber artists. Hope to read more about your efforts.
This is one of the five varNAs composed by pAlghAt (nUrani) paramEShvara bhAgavatar in the ghana rAgAs. It is commonly attributed to svAti owed to the "sarasijanAbha" signature.1Sarasijanabha Nata Adi Swati Thirunal Padmanabha
mammu brOcu is one of the five pancaratnAs of vINA kuppaiyyer on vEnkaTEShvara. He has also composed another set on kALahastIShvara.
The starting words for the suraTi tillAnA seem to be correct as for being authored by UtukkADu.
I had expected to read a very rare list of items for this artist's concert and I guessed right. Coolkarni Sir, this is a very good effort on your part to organize concerts of rarely recognized but high-caliber artists. Hope to read more about your efforts.
Last edited by kmrasika on 23 Jul 2008, 07:02, edited 1 time in total.
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coolkarni
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Rengarajan
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Rengarajan
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Thanks for the information and correction regarding author's names of the varnam and Tillana.The mistakes are mine without reference to the musiciankmrasika wrote:Correction on Song listThis is one of the five varNAs composed by pAlghAt (nUrani) paramEShvara bhAgavatar in the ghana rAgAs. It is commonly attributed to svAti owed to the "sarasijanAbha" signature.1Sarasijanabha Nata Adi Swati Thirunal Padmanabha
mammu brOcu is one of the five pancaratnAs of vINA kuppaiyyer on vEnkaTEShvara. He has also composed another set on kALahastIShvara.
The starting words for the suraTi tillAnA seem to be correct as for being authored by UtukkADu.
I had expected to read a very rare list of items for this artist's concert and I guessed right. Coolkarni Sir, this is a very good effort on your part to organize concerts of rarely recognized but high-caliber artists. Hope to read more about your efforts.
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mohan
- Posts: 2808
- Joined: 03 Feb 2010, 16:52
As far as I know they were not related but they did have a link!rshankar wrote:Is pAlghAt SrI paramESwara bhAgavatar related to pAlghAt SrI rAma bhAgavatar?
pAlghAt rAma bhAgavatar was a disciple of nUrni mahAdeva bhAgavatar, a Travencore court musician and violinist and the son of pAlghAt paramESwara bhAgavatar.
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Ragjay
- Posts: 208
- Joined: 12 Oct 2006, 17:10
I was very happy to read the wonderful comments of all those who took the pains to put them on this forum. I am particular happy that Smt Prema Rengarajan is being praised for her vidwat. I worked with her in a nationalised bank and I can assure you that she was as adept a banker as the singer that she is today. It is unfortunate that lesser known undeserving singers are being given an opportunity to sing in the premier sabhas and singers like her are being denied her rightful due. One thing is certain that such talented singers cannot be ignored for long and with their dedication ,hard work, and vidwat they bound to reach the top.... Ragjay