Sandeep nArayan@nanganallur thyagaraja samajam on Oct 09th,2

rajeshnat · Post by **rajeshnat** » 10 Oct 2009, 11:30

Sandeep nArayan@nanganallur samajam on Oct 09th,2009
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This concert was held in NSTSS, Nanganallur in ranjani hall. Sandeep was accompanied by B. Ananthakrishnan - Violin,R. Sankaranarayanan(sishya of srimushnam) - Mrudangam and Chandrasekhara Sharma(sishya of subhash chandran) - Ghatam

1. .... late , varnam I think
2. vallabha nAyakasya(S) - bEgaDa -MD
swaraas for 4 minutes
3. pAmAlai ini (R N S)- harikAmbodhi - pApanAsam Sivan
neraval in "thamizhnAdu sEitha thava payanAi vandu"
alApana for 8 mins, violin return for 5 mins, neraval for 9 mins and swaras for 5 mins

4. naNNu viDachi - reethigowla - T
5. bhOgeendra sAyinAm(R S) - kunthalavarali - ST
alApana,violin return and swaras each for 2 mins
6. edhAri sancharinthura(rAga sketch) - shruthiRanjani - T

7A. ramakathA sudhA(R N S T) - madhyamavathi - T
10 mins alApana, 5 mins violin return , 7 mins neraval and 9 mins swaram
7B.tani was for 25 long minutes

8. nE nEnumE nandalAla ..baso mere??? (rAgA sketch)- mishra Soorya -???
9. rAmachandra needaya - shuruTTi - T
10. Pavamana

Sandeep started possibly with a varnam , i think I lost the first one , and as I sat the bEgaDa was settling well with he carrying out with a quick round of swaras. The best piece was the submain perhaps for one main reason, all along when harikAmbOdhi is sung as an alApana , the shades of kamAs is so much there with many musicians , but sandeep maintained the purity and atleast to my lakshya trained ears he did not tresspass with commas, it was flowing flowing with only one full stop at the end . The rare madurai mani popularized krithi was sung with gusto with the neraval being explosive and the swaras were very gripping .

The aggression cooled a bit with naNNu vidachi , but in my opinion he sang it little too aggressively this particular reetigowlai can be more vilamba kAlam and more soothing(I am sure he would have heard santhanam or dkj) it was sung as say a more expressive rAgaratnachalamAlikE , to an extent this was a dip.kuntalavarAli was a typical padanthara number and the krithi had aggression and little fast swaras keeping up with this krithi which in my opinion is a more expressive kuntalavarAli, job well done .

Few years back I heard shruthi ranjani for the first time with sriram gangadharAn, but when he began it just struck me as shruthiranjani not because he sang it that way , but I got reminded of sandeep posting and requesting the recording/notation of this krithi in our forum . This number was sung little bit fast and to an extent the accompanist unfamiliarity did not produce a cohesive effect to my ears.

The main was expressive madhyamAvati and was exceptionally well done , it just flowed beautifully and the alAapana ,krithi and neraval he sang beautifully, towards the end of the swaras there was slight vOttam in the sense percussion and his singing did not gel well , but in anycase it was a well done madhyamAvati.

Tukkadas followed after a brief speech(it was not boring )and to an extent I felt he could have slowed down a bit instead of that fast bhajan in a rare mishra sooryA, shurutti finish was good

The violinist played with good azhuttam and was keeping up well in pace with this explosive style of sandeep, but he had few rounds of poor nAdham for atleast few songs. The mridangist SankarAnArayanan was excellent throughout and kept up beautifully the kalapramanam of the vocalist. I wonder why this young to be soon great sankaranArayanan played such a long tani that just ate away atleast one tukkada. The youngest of the young chandrasekara sharam had good sound and played very well in tani , though the timing was not as immaculate as shankar.

Shortcomings:
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Musician has to get expressive aggression and sowkhyam , to a great extent the expressive aggression was very much evident with his explosive style and his high classicism. But his gesticulation is overlapping a lot with sanjay, I felt many things are perfect (infact I like sishyas following footsteps of guru in style), but he has to drop few of sanjayism one is always trying to overreach like LA lakers shaq o neal where he goes for little excessive dunks in the court. That over aggression is robbing sowkhyam.

Incidentally if he had taken a viruththam /slokham or a more slower number this concert would have been a half notch better. Having said that ,quite frankly at many points in concerts I liked him more than sanjay in his vocal exuberance, though he has to catch up with sanjay too. To a great extent this sandeep -shankar combo was as much as sanjay-shrimushnam (which I long to hear but difficult to get that combo).

rajeshnat · Post by **rajeshnat** » 10 Oct 2009, 11:30

About nanganallur:
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I have gone only twice to nanganallur before. Once long time back before 6 years to hear a sudha concert . A month back at hayagreevar temple to hear suryaprakash , now went to this place as I wanted to hear this sandeep. Incidentally when one of the sabha patrons read about future schedules in nanganallur, it appeared there are atleast 5 places where the patronage of CM is there all with in that pincode . In short if mylapore is followed by mambalam , now nanganallur is following mylapore. I love this patronage and the spirit of madras based organizers in trying to organize concerts(we need another 20 sabhas to match the growth of artists). Incidentally the hayagreevar was not advertised , but this concert in ranjani hall was advertised in the hindu. IT would be nice if nanganallur folks advertise by newspaper(rajumds are you listening) .Incidentally for me cutting across my workplace to nanganallur was faster than mylapore or mambalam (mambalam I need only helicopter...).

To sum up:
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Overall this first impression of sandeep was indeed splendid. Considering he is NRI born and brought up artist from california , this concert was indeed "hotel california such a lovely place such a lovely place" as he soared up most of the time like an eagle

.

Keep it going sandeep (deepsand is his id) ,little reduction of aggression will take you more up but certainly stepping down is easier than going up . Overall a very good to excellent concert for 2 hours and 20 minutes exclusive of speech.

prasanna.mr · Post by **prasanna.mr** » 10 Oct 2009, 15:24

1.Chalamu - Hindolam - Adi

Lakshman · Post by **Lakshman** » 10 Oct 2009, 17:17

Item 3 is pAmAlaik-iNai uNDO subramaNya bhAratiyE.

bilahari · Post by **bilahari** » 10 Oct 2009, 19:13

I didn't know you were a basketball fan, Rajesh! The analogies you bring up are ever so colourful!

PUNARVASU · Post by **PUNARVASU** » 10 Oct 2009, 19:46

Song no. 8-nayananmE nandalAlA basOmErE?

Good review.Glad to hear about the rise of this youngster.

arasi · Post by **arasi** » 10 Oct 2009, 21:29

Rajesh,
You always hit a home run with your reviews

Deepsand, Sandeep,
Way to go! I heard you twice last season and you make me proud twofold! North America breeds very good musicians.
When I heard you several years ago, I could hear a slight John Higgins accent in your singing but last year, not a trace of it! Living in India and being part of the 'young Sanjay's chElas' family has nourished you in that area too, no doubt.
Though you didn't answer my question about a rAgam on the forum

I know what an affable person you are. Please do post on the forum your concert schedule and those of Swarna Rethas and others. Is Krishna (the one who plays tambUra most of the time for their guru) performing this year?

rshankar · Post by **rshankar** » 11 Oct 2009, 03:25

8 should be basO mErE nainan mein nandlAlA, of mIrA (http://www.geocities.com/worldwidetechnologies/9.htm)...

rajeshnat · Post by **rajeshnat** » 11 Oct 2009, 14:45

Lakshman wrote:Item 3 is pAmAlaik-iNai uNDO subramaNya bhAratiyE.

Till this correction , for many many years I was assuming this was pApanAsam Shivan. Possibly since bhArathiyAr compositions are only sung as tukkadas, this being submain my mind is wrongly conditioned as shivan. Did any one by any chance had the same thought process like me, just curious?

brs · Post by **brs** » 11 Oct 2009, 16:40

i think the 3rd kriti is composed by papanasam sivan

rajeshnat · Post by **rajeshnat** » 11 Oct 2009, 16:53

brs wrote:i think the 3rd kriti is composed by papanasam sivan

Item 3 is pAmAlaik-iNai uNDO subramaNya bhAratiyE is what Lji meant. May be i misread that he is implying the composition of subramania bharathy.The composition had subramanya reference .possibly it is only papanasam shivan composition of subramani bharathiyAr. As such we will wait for LJi in knowing the composer

Lakshman · Post by **Lakshman** » 11 Oct 2009, 17:32

The song is by Papanasham Shivan.

pAmAlaikkiNai uNDO. rAgA: harikAmbhOji. Adi tALA.

P: pAmAlaikkiNai uNDO subramaNya bhAratiyE nI bhaktiyuDan toDutta
A: pUmAlai maNamazhagum azhiyum kaNam bhuvanamuLLa varaikkum kamazhum eLiya naDai
C: tamizhnADu shei-tavappayanAi vandavatarittAi manidar manam iruLOD-accam tavirttAi
amizdinum inidu nin kavitaiyin nayamE Arkkum taramO undan arputa karpanai nirai

arasi · Post by **arasi** » 11 Oct 2009, 21:35

Thank you, Lakshman!
When Sanjay sang it, I could not pick up all the words. The neraval at tamizh nAdu seida tavappayanAl is very appealing for all of us who love the language and speak it.

rajeshnat · Post by **rajeshnat** » 12 Oct 2009, 14:55

arasi
Reading the lines it appears as a nice krithi of shivan on bharathiyAr. I understood all words excepting Arkkum taramO ,what does taramO mean??

sureshvv · Post by **sureshvv** » 12 Oct 2009, 15:15

hope i am not speaking out of turn but "taram" which I would spell "tharam" would mean "quality" i would guess

rshankar · Post by **rshankar** » 12 Oct 2009, 17:35

Rajesh - Will any one (Arkkum) be capable of/have the capability to (taramO) equal your (nin) wonderful/amazing (arputa) imagination (karpanai nirai).

Suresh - you are correct - taram is quality, ability, etc....

gnaanam · Post by **gnaanam** » 12 Oct 2009, 18:00

Dear Folks,In the caharanam,
tamizhnadu sei thavappayanay vandhavadharithay manidar manam iruloda ,SAMBHAVITHAY, should be the correct word.

arasi · Post by **arasi** » 12 Oct 2009, 21:08

Thanks, 'gnaanam'! From the horse's mouth, as it were!

sureshvv · Post by **sureshvv** » 13 Oct 2009, 13:43

I like Lakshman ji's version better!

arasi · Post by **arasi** » 13 Oct 2009, 22:03

Sivan might have had two different versions himself (it happens!). While sabavittAi seems like the original one (he used a lot of sanskrit oriented tamizh words anyway), he might have changed it to vandavadarittAi (avadarittal is is from sanskrit too, but blends more with other tamizh words here). He might have wondered about it though because avadarittAi merely conveys the meaning that bArati was born. sambavittAi is more loaded in meaning that he 'happened' to appear as a result of tamizh nADu's tavam.

As Ravi says, taramA here means 'equal to'. taramA? is also is it possible?' can one even begin to describe?

sureshvv · Post by **sureshvv** » 13 Oct 2009, 23:01

Oops... Think I jumped the gun here.

Is Sambhavithay supposed to replace Vandhavadharithai?

I took Gnanam's correction to mean that Sambhavithay replaces Acham thavirthay!