Sri N. Vijay Siva - Vocal
Kum. Amrita Murali - Violin
Sri N. Manoj Siva - Mrudangam
Sri Prasad - Tambura
Bhakta Rasika Ranjani Sabha, Chembur - 19.10.2008
1. sadA bAla rUpApi - slOka - hamsadhvani - Adi Shankara
2. varalakshimIm bhajarE - saurASTra - adi [2] - dikshitar
3. innum parAmukham EnO - bEgaDA - rUpaka - duraisvAmi kavi [Rs, N at ‘vanna tOgai mayil mEl varum, vayyApuri vEl murugayyA, S]
4. maragatha maNi varNA - varALi - adi [2] - tyAgarAjA [R, N at ‘dharaNi tanayakonna prEma rasamu’, S]
5. rAmaCandra raghunandana - nIlAmbari - adi - maisUr sadASiva rAu
6. ElAvatAram eTTukoNTivO - mukhAri - adi [2] - tyAgarAjA [R, S]
7. rAmA dayajUDavE - dhanyAsi - adi - bhadrACalam rAmdAs
8. rAgam.tAnam.pallavi - kAmbhOji - ‘kanja padam tanjam ena anjal Edu, nenjam adu SeNSaDai panCanada’ - tisra jhampa [misra gati] 6 beats x 7 aksharas / beat - eDuppu 2 aksharas after samam
kan - 2 ja - 2 pa - 1 dam - 2
tan - 2 jam - 2 e - 1 na - 2
an - 2 jal - 1 E - 2
du [arudi] - 5
nen - 2 jam - 2 a - 1 du - 2
SeN - 2 Sa - 1 Dai - 2
pan - 2 Ca - 2 na - 1 da - 1
rAgamAlikA swaras in bauLi, Ahiri, mAND
+ tani Avartanam
9. slOka ‘EkArAdi samastavarNa’ + annapUrNE visAlAkshi - sAmA - adi - dikshitar
10. tridasha vardaki vardita kaushalam - rAgamAlikA - 3.5 + 2 + 3.5 - from nArAyanIyam
11. pErugalAm tavam - mAyAmALavagauLa - tisra tripuTa - tiruNavukkarasar
12. iruppaval - suddhadhanyasi - adi [tisra gati] - aruNagirinAthar
13. nI nAma rUpamulaku - saurASTra - adi - tyAgarAjA
Sri N. Vijay Siva at BRRS, Chembur - 19.10.2008
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arunsri
- Posts: 249
- Joined: 04 Feb 2010, 13:07
It was an excellent concert - grand swaras in bEgaDa, awesome varALi, mukhAri and kAmbhOji renditions. Even the filelr pieces (nilAmbari, dhanyAsi), and post main items had so much dignity. Scholarly music without any show-off. The ease with which the music flowed spoke of the command that Sri. Vijay Siva had. Excellent rakti pradhAna selection of ragas.
Amurtha Murali - I was hearing her for the first time - was a revelation. Manoj Siva's mridangam nadam and playing were superb.
A one of its kind of a concert.
Arun
Amurtha Murali - I was hearing her for the first time - was a revelation. Manoj Siva's mridangam nadam and playing were superb.
A one of its kind of a concert.
Arun
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carnaticdasan
- Posts: 86
- Joined: 16 Jul 2008, 17:06
Great concert.V siva recovered from a slightly difficult throat and from Nilambari he got into his mood which was very well seen and reflected in RTP which followed.Awesome swarams.I thought Amrutha matched the singer in all aspects.
One aspect which i would like to share with the members is that Vijay siva was introduced as a student of Sri DKJ.Sabha must also consider the hard work and commitment to music and achievements of VS which has brought him to this height and fame and include this fact in the introductory speech.
One aspect which i would like to share with the members is that Vijay siva was introduced as a student of Sri DKJ.Sabha must also consider the hard work and commitment to music and achievements of VS which has brought him to this height and fame and include this fact in the introductory speech.
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shankarabharanam
- Posts: 296
- Joined: 24 Apr 2006, 09:12
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arasi
- Posts: 16873
- Joined: 22 Jun 2006, 09:30
hari,
"Why fear when I have my refuge at the lotus like feet of Siva?"
kanjam: lotus; kanja padam: lotus like feet
tanjam: refuge, haven
ena (enil); if so, if that is the case
anjal: to be afraid (anjudal)
Edu?: is there any reason for
nenjam adu: heart of mine
SenSaDai; beautiful (SemmaiyAna) matted locked panCanada!
"Why fear when I have my refuge at the lotus like feet of Siva?"
kanjam: lotus; kanja padam: lotus like feet
tanjam: refuge, haven
ena (enil); if so, if that is the case
anjal: to be afraid (anjudal)
Edu?: is there any reason for
nenjam adu: heart of mine
SenSaDai; beautiful (SemmaiyAna) matted locked panCanada!
Last edited by arasi on 21 Oct 2008, 04:57, edited 1 time in total.
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prashant
- Posts: 1658
- Joined: 03 Feb 2010, 09:01
I find myself unable to write a 'review' of this concert since it was so intensely satisfying. Trying to write a stage-by-stage commentary of this performance is something that is beyond me. A few observations though:
- In his podcast on Kalyanaraman Sir, Sri Sanjay mentioned that an AlApanA also should have an innate kAlapramANam. Sri Vijay's singing was very reflective of that statement. His mukhAri and kAmbhOji, especially were highlighted by beautiful use of kArvais and pauses between sangatis with no letdown in tempo. The space between the panCamam and the tArasthAyi madhyamam in mukhAri was explored exhaustively and leisurely. There was no sense of hurry, no launch into 2 kAlA sangatis due to paucity of ideas - Sri Vijay, in his AlApanAs, managed to beautifully blend a sense of leisurely saukhyam with a sharp focus and clarity of purpose. There were no redundant sangatis as far as my ears could tell. This aspect of Sri Vijay's singing was extremely instructive and enjoyable.
- Krithi renditions: One of the best comments ever about Sri Vijay Siva's music was made on this site by Uday_Shankar. He said that, "He sings each krithi as though his master Sri DKJ was seated right before him". The sangatis for innum parAmukham and especially the intensely difficult sangatis for ElAvatAra in the anupallavi just flowed so crisply. No contortions, no wild gestures, no flights of fancy during the krithi - just an intense and sincere effort to bring out every nuance of the pATAntaram of the krithi, blending his own vocal style with the pATAntaram handed down by Sri DKJ. Each time I hear Sri Vijay sing a krithi, I feel like learning it up, whether a little one like rAmaCandra raghunandana or a great 2-kaLai piece like ElAvatAra; that is the level of dignity that this artiste brings to the pieces he chooses to present on concert stage.
- A word about the accompanying artistes: this was the first time I am hearing Kum. Amrita Murali play the violin. She is incredibly talented. Her mukhari had the stamp of class from the get-go. The mandra sthayi phrases especially were haunting - her bowing is fluid and her tone is very pleasing. Kudos to her hard work and the training imparted by her guru Smt. Rukmini. Sri Manoj is well known for his supportive and involved accompaniment. I particularly enjoyed his playing for the pallavi especially during the swara passages, and the lift he provided without any hurry or harsh strokes for the bEgaDA piece which was rendered in a brisk tempo. He contributed a great deal to the saukhyam of the concert. It was also very nice to see both Sri Vijay and Sri Manoj visibly and vocally encouraging their young violinist.
Overall, a concert to cherish for a very long time with a wealth of details to learn from.
- In his podcast on Kalyanaraman Sir, Sri Sanjay mentioned that an AlApanA also should have an innate kAlapramANam. Sri Vijay's singing was very reflective of that statement. His mukhAri and kAmbhOji, especially were highlighted by beautiful use of kArvais and pauses between sangatis with no letdown in tempo. The space between the panCamam and the tArasthAyi madhyamam in mukhAri was explored exhaustively and leisurely. There was no sense of hurry, no launch into 2 kAlA sangatis due to paucity of ideas - Sri Vijay, in his AlApanAs, managed to beautifully blend a sense of leisurely saukhyam with a sharp focus and clarity of purpose. There were no redundant sangatis as far as my ears could tell. This aspect of Sri Vijay's singing was extremely instructive and enjoyable.
- Krithi renditions: One of the best comments ever about Sri Vijay Siva's music was made on this site by Uday_Shankar. He said that, "He sings each krithi as though his master Sri DKJ was seated right before him". The sangatis for innum parAmukham and especially the intensely difficult sangatis for ElAvatAra in the anupallavi just flowed so crisply. No contortions, no wild gestures, no flights of fancy during the krithi - just an intense and sincere effort to bring out every nuance of the pATAntaram of the krithi, blending his own vocal style with the pATAntaram handed down by Sri DKJ. Each time I hear Sri Vijay sing a krithi, I feel like learning it up, whether a little one like rAmaCandra raghunandana or a great 2-kaLai piece like ElAvatAra; that is the level of dignity that this artiste brings to the pieces he chooses to present on concert stage.
- A word about the accompanying artistes: this was the first time I am hearing Kum. Amrita Murali play the violin. She is incredibly talented. Her mukhari had the stamp of class from the get-go. The mandra sthayi phrases especially were haunting - her bowing is fluid and her tone is very pleasing. Kudos to her hard work and the training imparted by her guru Smt. Rukmini. Sri Manoj is well known for his supportive and involved accompaniment. I particularly enjoyed his playing for the pallavi especially during the swara passages, and the lift he provided without any hurry or harsh strokes for the bEgaDA piece which was rendered in a brisk tempo. He contributed a great deal to the saukhyam of the concert. It was also very nice to see both Sri Vijay and Sri Manoj visibly and vocally encouraging their young violinist.
Overall, a concert to cherish for a very long time with a wealth of details to learn from.
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carnaticdasan
- Posts: 86
- Joined: 16 Jul 2008, 17:06
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arasi
- Posts: 16873
- Joined: 22 Jun 2006, 09:30
Prashant,
While all that you say of Vijay Siva is true, some of your comments really stand out:
There was no sense of hurry, no launch into 2 kAlA sangatis due to paucity of ideas. Sri Vijay in his AlApanAs, managed to beautifully blend a sense of leisurely saukhyam with a sharp focus and clarity of purpose.
An intense, serious effort to bring out every nuance of the pATAntaram of the krithi, blending his own vocal style...
Each time I hear sri Vijay Siva sing a krithi, I feel like learning it...
And then, your quoting Uday Shankar: he sings each krithi as though his master DKJ were seated right before him...
As for me, all the above captures the art of Vijay Siva.
The accompanists? Amruta Murali is very talented. I like her personality as well. She has a bright future as a violinist and a vocalist.
Manoj Siva is very good, especially when he accompanies his bro.
While all that you say of Vijay Siva is true, some of your comments really stand out:
There was no sense of hurry, no launch into 2 kAlA sangatis due to paucity of ideas. Sri Vijay in his AlApanAs, managed to beautifully blend a sense of leisurely saukhyam with a sharp focus and clarity of purpose.
An intense, serious effort to bring out every nuance of the pATAntaram of the krithi, blending his own vocal style...
Each time I hear sri Vijay Siva sing a krithi, I feel like learning it...
And then, your quoting Uday Shankar: he sings each krithi as though his master DKJ were seated right before him...
As for me, all the above captures the art of Vijay Siva.
The accompanists? Amruta Murali is very talented. I like her personality as well. She has a bright future as a violinist and a vocalist.
Manoj Siva is very good, especially when he accompanies his bro.
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cienu
- Posts: 2392
- Joined: 04 Feb 2010, 11:40
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prashant
- Posts: 1658
- Joined: 03 Feb 2010, 09:01
Sorry for the late reply on this, hari.s_hari wrote:Prashant - This doesn't fall under any of classified talams.. It seems like a "sandham" from what i understand from reliable sources. What are the ragas in this ragamalika?
-hari
The rAgAs are: rEvati, chenjuruTTi, hamsadhvani, pilu, rAgEshri, rasikaranjani and shri.
This rAgamAlikA consists of the entire Canto 78 ["Prayer of Rukmini"], and selected verses [3, 4, 7 and 9] from Canto 79 ["Marriage of Rukmini"] of nArAyaNIyam.
It has been set to tune [quite beautifully, I might add] by vidvAn Shri R. K. Shriramkumar.