DeekshitA@BVB(Mini) on Sept 15th,2009
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It was an exlusive GNB composition concert organized by ramjee's balabruhmam .
1. ambOruha padamE(varnam) - ranjani
2. varavallabha ramanA(S) - hamsadhwani
5 mins swaras
3 samana rahitE (R) - sarAngatharangini
5 mins alApanai and 3 mins violin return
4. thAmasamika talanu(R) - AbhOGi
5. shivAnanda kAmavardhani(R N S) - kAmavardhani
8 mins alApanai,5 mins violin, 4 mins neraval and 8 mins swaram
neraval in "bhAvAni pAvini kamala???"
6. parAmukha neveLanammA(rAga sketch) - kAnaDA
7. nee pAdamegati(R) - nalinakAnthi
4 mins alApanai and 2 mins violin return
8A.Inta paraku nive (R N S T)- bhairavi
9 mins alApanai , 5 mins violin return, 5 mins neraval and 7 mins swaras
neraval in "inta nahinA kenta pOni"
8B.tani for 7 mins
9. Unnadiye gati - bahudAri
10.rAdhA samethA krishnA - mishrayaman - unknown composer
11.pavamAna (mangalam)
A day before on Sept 14th, 3 musicians championed by brindA manickavasagam sang at the same venue their collective age must be sixty, yesterday it was a collective age of fifty concert. Deekshita is learning for quite a few years with Smt rAjee gOpalakrishnan (one of my favourite female artist ) and she is also learning from the jAmbhavAN TRS. As usual TRS and jayalakshmi santhanam were there in the first row , I also did see Prince Rama vermA in the audience.
The concert was exclusively of GNB compositions with very minimal context specific speech by deekshita for about a minute each for every 3 songs.DeekshitA was ably supported by shraddA - who is a second generation disciple of LGJ and krithivasan in mrudangam(there is just lot to write about this mrudangam support and also about the concert. )
For every no, I went on a little flash back mode after listening to year after year exclusive GNB day 's concerts . Concerts flashed with GNB school sishyas namely Trichur rAmachandran, sriram gangadharan , sanjay and sudhA and also few concerts by other school vidwans and vidushis like suryaprakash, nisha rajagOpalan and mambalam sisters,who sang few GNB day specials. All these musicians have sung quite a few gnb's own compositions , but predominantly they sing a main that is very popularized by GNB more as a musician(not a vaggeyakkara) like say tAmadam en Swami or vasudevayani, kind of a situation where I enjoyed then, but to a great extent GNB's magnificence as a composer was kind of not very expressive as the main is generally passed (though one mAmakuleshwaram was sung in tOdi but that is perhaps not as rare as this bhairavi).
But there was something unique in this concert as it was extremely well researched and given by deekshita. I did talk with TRS after the concert, he said in his humble way that this bhairavi was a very rare composition of GNB . I have personally not heard this at all. Also had a talk with deekshita and her dad (whose id I dont recollect who used to post a little bit few years back), they both said deekshita learnt this composition from their gurus and for many days they did not know where to take neraval in this krithi and it took several sittings with their gurus to sing the same.
The way this main was presented was a very clean and detailed presentation , this krithi was more like upachAramUlanu. The rAga alApanai of bhairavi was very well done , the neraval had a slight loss of stamina , she did make up well with swaras. Overall GNB as a magnificent composer in the most magnificent bhairavi was a very good rendering.
Post main she sang one of my favourite gnb composition in bahudAri and ended with the unknown composer but GNB's defining tukkada rAdha samethA (and plenty of brigha uruttals in) krishnA....
Before main two numbers had the GNB vigour , one was not fully filled vigour in kAnadA with few slips and the other in nalinakAnthi which was the second top pick which had a lovely alApana.The sprint from no #1 till main is a typical GNB style , the sprint was at its best in the kAmavardhini(pantuvarAli) composition, the krithi has so much swara aksharam and lot of swara poruttam , there was a lot of similarity and touch points in her rendition of shivAnanda kAmavardhani with TRS ,deekshita was riding a high speed ferrari atleast most of the time. Certainly the submain was my top pick .
Roughly a year back I heard a very detailed sArangatharangini from her guru rAjee , the same composition was sung almost close to Smt rAjee. The ranjani varnam was a very good start but the hamsadhwani brought the early excellence to her concerts, her swara patterns in hamsadhwani were extremely impressive with mridangist in full blast.
DeekshitA@BVB(Mini) on Sept 15th,2009
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rajeshnat
- Posts: 10121
- Joined: 03 Feb 2010, 08:04
Very few shortcomings (most of them minor):
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1. I always think musicians when singing main should never show any strain or fatigue . In short this is like their 11th standard annual exam paper they have to peak and give their best shot in main. Deekshita could have gauged the bhairavi main with pantuvarAli as a submain ,if she had possibly cut kAnada or nalinakAnthi , she would have given a more wholesome neraval and swaras in main. Again many established musicians make this mistake , possibly she fell in that bracket.
2. One viruththam or slOkham with a dash to rAdha samethA krishnA would have been more perfect to bring the emotive side of GNB which in general is very less when compared to expressive brigA style of GNB. May be ending with GNB's thillana in hamsAnandi would have given more completeness.
3. Was that AbhOgi or shree ranjani , I thought hearing just the krithi thAmasamika talanu , It appeared as more a shreeranjani then an abHOGi. I may be wrong here as like bhairavi I was hearing this ahbhOgi for the first time, possibly this line thAmasamika talanu rhymed with sogasugA mrudanga tAlamu possibly I was shreeranjani duped , abhOgi uncertain rasika.
Special mention about Accompanist:
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1.The violinist Shraddha is another 11th or 12th standard violinist like deekshita.She told me that she is learning from Smt sundareswaran or sundaresan (Not to be mistaken with MA Sundareshwaran) .She is the second generation disciple of LGJ. The nAdham was there , for the first few numbers she was bit tentative but she gave her best onwards, returns always had sweet nAdham.
2. I liked this mrudangist krithivasan a lot , unlike violinist and vocalist who perhaps can be a more matured musician even when young , say when compared to mrudangam artist as the finger staminA and reflexes needs more age , this young guy played beautifully. I was sitting at a spot where I could see both his hands , I was so impressed with his thOppi which just suited a lot with GNB sytle , and when I asked him his guru ,after I said I liked your thoppi, he told me that he is learning from tanjAvur rAmadAs and my guru always insists a lot to play with both hands ,that perhaps explains his thOppi.This guy is very very promising trying to steal lot of strokes , pushing the vocalist towards more dynamic sangathis, in short very very great firt impression.His tani was not as great as his play for songs, perhaps it was more of laya kanakku which does not interest me that much.
Would be nice in one of the days to come ,when Smt rAjee ,deekshita and other disciple paramparas of TRS give an exclusive TRS special concert(for sure that will have a rtp) . TRS idolized GNB but he was as great a musician as GNB. GNB brought in extraordinary vigour and sense of urgency to carnatic concerts, many like MLV,SKR and trichur got that in plenty being direct disciples of GNB. TRS despite being musiri's disciple borrowed more from GNB than perhaps even musiri.
Incidentally this concert being an exclusive GNB composition concert ,kind of asserted and doubled the vigour and sense of urgency that every musician has to take a leaf out of GNB which is most of the times lacking in today's concerts. Thyagaraja mastered telugu, Dikshitar mastered sanskrit and Shivan mastered thamizh, just look at the above concert song list there was all three languages and all were musically great.GNB as a composer is simply too brilliant.
Usually when artists are young, every rasika generally attaches more excellence than what is due, in this case I am not doing that .With Smt rajee and Shri TRS training deekshitA along with shraddA & krithivasn teamed up verywell.Overall this 2 hours concert was an excellent one.
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1. I always think musicians when singing main should never show any strain or fatigue . In short this is like their 11th standard annual exam paper they have to peak and give their best shot in main. Deekshita could have gauged the bhairavi main with pantuvarAli as a submain ,if she had possibly cut kAnada or nalinakAnthi , she would have given a more wholesome neraval and swaras in main. Again many established musicians make this mistake , possibly she fell in that bracket.
2. One viruththam or slOkham with a dash to rAdha samethA krishnA would have been more perfect to bring the emotive side of GNB which in general is very less when compared to expressive brigA style of GNB. May be ending with GNB's thillana in hamsAnandi would have given more completeness.
3. Was that AbhOgi or shree ranjani , I thought hearing just the krithi thAmasamika talanu , It appeared as more a shreeranjani then an abHOGi. I may be wrong here as like bhairavi I was hearing this ahbhOgi for the first time, possibly this line thAmasamika talanu rhymed with sogasugA mrudanga tAlamu possibly I was shreeranjani duped , abhOgi uncertain rasika.
Special mention about Accompanist:
--------------------------------
1.The violinist Shraddha is another 11th or 12th standard violinist like deekshita.She told me that she is learning from Smt sundareswaran or sundaresan (Not to be mistaken with MA Sundareshwaran) .She is the second generation disciple of LGJ. The nAdham was there , for the first few numbers she was bit tentative but she gave her best onwards, returns always had sweet nAdham.
2. I liked this mrudangist krithivasan a lot , unlike violinist and vocalist who perhaps can be a more matured musician even when young , say when compared to mrudangam artist as the finger staminA and reflexes needs more age , this young guy played beautifully. I was sitting at a spot where I could see both his hands , I was so impressed with his thOppi which just suited a lot with GNB sytle , and when I asked him his guru ,after I said I liked your thoppi, he told me that he is learning from tanjAvur rAmadAs and my guru always insists a lot to play with both hands ,that perhaps explains his thOppi.This guy is very very promising trying to steal lot of strokes , pushing the vocalist towards more dynamic sangathis, in short very very great firt impression.His tani was not as great as his play for songs, perhaps it was more of laya kanakku which does not interest me that much.
Would be nice in one of the days to come ,when Smt rAjee ,deekshita and other disciple paramparas of TRS give an exclusive TRS special concert(for sure that will have a rtp) . TRS idolized GNB but he was as great a musician as GNB. GNB brought in extraordinary vigour and sense of urgency to carnatic concerts, many like MLV,SKR and trichur got that in plenty being direct disciples of GNB. TRS despite being musiri's disciple borrowed more from GNB than perhaps even musiri.
Incidentally this concert being an exclusive GNB composition concert ,kind of asserted and doubled the vigour and sense of urgency that every musician has to take a leaf out of GNB which is most of the times lacking in today's concerts. Thyagaraja mastered telugu, Dikshitar mastered sanskrit and Shivan mastered thamizh, just look at the above concert song list there was all three languages and all were musically great.GNB as a composer is simply too brilliant.
Usually when artists are young, every rasika generally attaches more excellence than what is due, in this case I am not doing that .With Smt rajee and Shri TRS training deekshitA along with shraddA & krithivasn teamed up verywell.Overall this 2 hours concert was an excellent one.
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Krishna55
- Posts: 12
- Joined: 18 Sep 2009, 09:41
I have attended this unique concert on GNB krithi, being an ardent fan of GNB I paid my tribute to the great musician by attending the concert. I have heard Deekshita singing in the same venue few months back. She took NeedayaKalgu as main. A master piece of GNB composition in Shanmukapriya. with beautiful alapana with Nadaswaram pidis. She is blessed with rich and melodious voice with high timber.
This concert was soul filling and Deeksita should be appreciated for her daring attempt to sing only GNB krithis at this young age.
Krithi Tamasamika was sung in Perfect Abohi with swarakashara.
As Explained by her GNB has taken at most care in composing krithi with Innovation and yet within the tradition. Only composer maintained dwithi akshara prasam till the charanam and Athiya prasam where ever possible.
After the concert I congratulate her for the venture. she said the aim is to bring out more GNB krithis said she could have included few more krithis in raga like Sivasakthi, Keeravani, Mohanakalyani,Valaji etc but may be time factor.
May God bless her with Health and shreyas to enlighten us.
This concert was soul filling and Deeksita should be appreciated for her daring attempt to sing only GNB krithis at this young age.
Krithi Tamasamika was sung in Perfect Abohi with swarakashara.
As Explained by her GNB has taken at most care in composing krithi with Innovation and yet within the tradition. Only composer maintained dwithi akshara prasam till the charanam and Athiya prasam where ever possible.
After the concert I congratulate her for the venture. she said the aim is to bring out more GNB krithis said she could have included few more krithis in raga like Sivasakthi, Keeravani, Mohanakalyani,Valaji etc but may be time factor.
May God bless her with Health and shreyas to enlighten us.