Accompanied by charumathi raghrAman - violin , manOj shiva -mridangam
and trichy murali - ghatam
There is always a subtle difference in vocal (single) vs vocal (double) concerts . I always prefer to hear vocal single (with or without support), certainly not that I dislike vocal (double) concerts.
1. In vocal (single), the artist need not bother about whether if they are taking little extra sangathis or little extra alankarams , they can go 100% on their own.
2. In vocal(double) the artists perhaps have to be little more conscious , hey am I going to next person boundary and because of that sub conscious feel there is always little onspot manOdharmam getting lost intrinsically in double OMGLIDE)that just does not get presented . But hey wait , this is not always felt in the entire concert .In rAga alAPana, usually in vocal (double), one takes completely one rAgam and the other takes completely the other one, the OMGLIDE just does not appear . But in neraval and swaras the OMGLIDE just manifests more fully as they appear to go in well practiced path. Just like rAga alApanais, the OMGLIDES is completely out in viruththam where each of the performing vocalist take one rAga , no trespassing there.
Ranjani and GAyatri presented quite a lot of rare krithis in this concert . Every number was verygood to excellent .The pick of the day was certainly their viruththam , with gAyatri crusing beautifully in ArAbi and khamAs and ranjani complementing beautifully in sAveri it was one outstanding viruththam.
Also one has to appreciate a more musically well presented abhang in mAnd ,this I should say had more musical merit than a typical carnatic mAnd of a muralidhara gOpAlA with a little abhang neraval in "tukamaNE tujhE ". The OMGLIDE took away the sheen a bit in the neravals of poorvikalyAni(submain) and kharaharapriya(main) and in swaras of poorvikalyANi. In the tukkadAs possibly sindhubhairavi was not their best,that was just good to very good.
Kum chArumathi was not in her usual best , her bowing could have had more nAdham . manOj shiva was excellent and murali was just good . Could not hear their tani as I had to walk out to offset the slightly excess air conditioning of BGS. The concert started at 6 PM .I had to miss the first two , I was told by a rasikA that they sang nAttai and mukhAri as the first two , not sure though.
Overall a very good to excellent concert ,their viruththam was simply outstanding
1& 2. "help needed"....
3.tanavArita nAmO deva (R S)- begaDa - T
4. geeta vAdhya natana - nAtakapriyA - Tanjore Shankara Iyer
5. SAkineni guruguha (R N S) - poorvikalyAni - Tanjore ponniah pillai
neraval in "KOti manmadha rupulE sadguNa sAgara chandrUDE"
6. kAlahara melarA harE - suddasAveri - T
7A. chakkani rAja(R N S T) -kharaharapriyA -T
neraval in "kanTiki sundara tharamAgu rupamE"
7B. tani
8A. viruththam "ullagellAm UNarNdhu ODarkku ariyavan" - Arabi
+ "thirunAma anjezhuthum" - sAveri + "thirunAma anjezhuthum" - kamAs - thevAram (appar ??)
8b. thEruvathO eppO NeNJE - kamAs - neelakanta shivan?
9. kalyAna gOpAlam - sindhubhairavi - Narayana theerthar
10. abhang nAmu thuthE - mAnd - sant tukkarAm
ranjani gAyatri@BGS on Dec 12th,2008
-
sramaswamy
- Posts: 366
- Joined: 24 May 2006, 22:29
I agree to most of the points - as there is no particular specialty during alapanai, kriti rendering or neravals. However, what I find interesting with double vocals or double violinists is during swaras. They present contrasting patterns even though some of these may be rehearsed, but still.... I find the pattern of taking off from where the other left off very pleasing. The accompaniment response is normally a pretty different interpretation . In addition, the two voices do provide a change in pace , style and delivery in the same concert. And on a personal front, I think it shows a great attribute in the two of them to be able to work together, compromise, adjust.2. In vocal(double) the artists perhaps have to be little more conscious , hey am I going to next person boundary and because of that sub conscious feel there is always little onspot manOdharmam getting lost intrinsically in double OMGLIDE)that just does not get presented . But hey wait , this is not always felt in the entire concert .In rAga alAPana, usually in vocal (double), one takes completely one rAgam and the other takes completely the other one, the OMGLIDE just does not appear . But in neraval and swaras the OMGLIDE just manifests more fully as they appear to go in well practiced path. Just like rAga alApanais, the OMGLIDES is completely out in viruththam where each of the performing vocalist take one rAga , no trespassing there.