Sanjay Subrahmanyan gave a fabulous concert here at the Aurora Temple, Chicago, oct 31, 2009. The hall was overfull with people standing. His accompanists had a hectic day judging the finalists of Chicago Tyagaraja Utsavam competition and after a brief break for an hour, gave a stalwart accompaniment to Sanjay.
I missed the first two songs but was told by students attending that these were the first two:
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Navaragamalika varnam
Poorvi kalyani- dEva dEva jagadheeswara, S,Swathi thirunal
Nattakurinji - vazhi maraithirukkudhe, Goplala Krishna bharathi, A, N
GAngEya bhUshani - Sari evvrarE ramiah, R,S, thyagaraja
Karaharapriya - chakkani Raja, R, S, thyagaraja
Thani
Shuba panthuvarali- enna rakshisO, purandara dasar
Abhogi-RTP
Pallavi text: 'NinnayE rathi enrU ninaikirEnadi’ in chathusra triputa
Innamum oru thalam - behag
Poothavae, kulam tharum followed by Narayananai thudhippai - kOmalAngi
I am big fan of Sanjay and enjoyed every bit of this concert. He did a fabulous job with Gangejabhusini. Normally I dont like such dragging ragams, but he brought so much life into the ragam, specially during the song rendition, nirval and swaram that it was very good. RTP was very good.
It was fun watching his mridangist and him. At a place in Pallavi, Sanjay held it up in Sa for a long time. The mridangist was trying to add color by doing the fast theermanan that they do when people hold it up... he did it, but Sanjay was still holding, again he did, Sanjay still held it... it went on for 4 times when Sanjay gave up to the huge applause from the audience. This was the trick or treat for halloween here I guess.
Varadarajan was great and followed him like a shadow. I like the combination of Sanjay and Neyveli Venkatesh and as always they had great chemistry.
Sanjay subrahmanyan,Varadarajan,Venkatesh, Chicago, 31/10/09
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kedharam
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Sri. Sanjay subrahmanyan, Sri. Varadarajan, Sri. Venkatesh at arora Temple, Chicago, oct 31, 2009
Navaragamalika varnam
Poorvi kalyani- dEva dEva jagadheeswara, S,Swathi thirunal
Nattakurinji - vazhi maraithirukkudhe, Goplala Krishna bharathi, A, N
GAngEya bhUshani - Sari evvrarE ramiah, R,S, thyagaraja
Karaharapriya - chakkani Raja, R, S, thyagaraja
Thani
Shuba panthuvarali- enna rakshisO, purandara dasar
Abhogi-RTP
Pallavi text: 'NinnayE rathi enrU ninaikirEnadi’ in chathusra triputa
Innamum oru thalam - behag
PoothavlE, kulam tharum followed by Narayananai thudhippai - kOmalAngi
My thoughts:
The concert began with the rendition of navaragamalika varnam with a lively gait followed by dEva dEva jagadeeswara with clean articulation and eloquent kalpana swarms.
Them came the transfixing account of Gopalakrishna bharathi, ‘vazhi maraithirukkudhE’ with melody and soulfulness in roughly equal measure dissolving into neraval at ‘UtrU pArkkavE chatrE AgilUm vilagAdhO undan mAdU’, fluid in its phrasing, melodies brimming with poetic intensity conveying the vibrant account of the composer's longing, and his plea came out like a ruminative melody, projecting some of the soaring emotions , boldly emphasizing the lyrical intensity with an earthy passion followed by a beautiful alapana in GAngEya BhUshani. He etched the raaga before plunging into the krithi, ‘Sari evvarE rAmaiaa’ with his clear diction imparting profundity to the text and exposed the poignant ache of the composer with pulverizing earnestness.
In Chakkani rAja, the composer's imagery emerged in all its fantastic light and shade with considerable ease revealing the emotional content of the composition and Sri.Varadarajan and Sri. Venkatesh reflected his creativity as the rhythm and melody melted into a wholesome in the kalpana swaram. In the rendering of ‘enna rakshisO’, Sanjay extended the inner quietness of Shubha panthuvarAli, beyond swaras and sancharas landing in a world of melody and classical lucidity exposing the composer’s expressionistic pathos in pure austerity through litheness of articulation.
After playing flirtatiously with passion in abhOgi alapana, came the arresting Thanam with subdued flow, drenching the constricted syllables in a vital undertow of the tension of the evening raga, creating a mass of hauntingly organic music so serene, you almost do not notice the dark stirrings below the riveting surface, setting the mood for the romantic contemplations of Bharathi’s thoroughly seductive pallavi text, ‘ninnayE rathi endru ninaikirEnadi’, merging melodic and rhythmic elements seamlessly in chathushra triputa thalam and in the beguiling beautiful pallavi, taking his time with phrases that swelled with longing and mathematical precision with which he intertwined the sangathis giving it an irresistible, powerhouse performance and Sri. Varadarajan and Sri.Venkatesh helped with rhythm and melody to form a motif of creative flight. The swarara ragamalika came in hamsanAdham, jaijaivanthi, hamir kalyani, dharabari kanada followed by S. Kalyanaraman’s darbari kanada thillana.
After a wonderful thani by Sri. Venkatesh, came ‘uppum karpooramum’ in behag followed by innamum oru thalam.
Sanjay concluding the gut wrenching concert with a pastoral and serene rendition of the viruttam, ‘poothavalE’ in sindu bairavi and ‘kulam tharum selvam thandhidum’ in kOmalAngi followed by ‘NarAyananai thudhippAi’.
Navaragamalika varnam
Poorvi kalyani- dEva dEva jagadheeswara, S,Swathi thirunal
Nattakurinji - vazhi maraithirukkudhe, Goplala Krishna bharathi, A, N
GAngEya bhUshani - Sari evvrarE ramiah, R,S, thyagaraja
Karaharapriya - chakkani Raja, R, S, thyagaraja
Thani
Shuba panthuvarali- enna rakshisO, purandara dasar
Abhogi-RTP
Pallavi text: 'NinnayE rathi enrU ninaikirEnadi’ in chathusra triputa
Innamum oru thalam - behag
PoothavlE, kulam tharum followed by Narayananai thudhippai - kOmalAngi
My thoughts:
The concert began with the rendition of navaragamalika varnam with a lively gait followed by dEva dEva jagadeeswara with clean articulation and eloquent kalpana swarms.
Them came the transfixing account of Gopalakrishna bharathi, ‘vazhi maraithirukkudhE’ with melody and soulfulness in roughly equal measure dissolving into neraval at ‘UtrU pArkkavE chatrE AgilUm vilagAdhO undan mAdU’, fluid in its phrasing, melodies brimming with poetic intensity conveying the vibrant account of the composer's longing, and his plea came out like a ruminative melody, projecting some of the soaring emotions , boldly emphasizing the lyrical intensity with an earthy passion followed by a beautiful alapana in GAngEya BhUshani. He etched the raaga before plunging into the krithi, ‘Sari evvarE rAmaiaa’ with his clear diction imparting profundity to the text and exposed the poignant ache of the composer with pulverizing earnestness.
In Chakkani rAja, the composer's imagery emerged in all its fantastic light and shade with considerable ease revealing the emotional content of the composition and Sri.Varadarajan and Sri. Venkatesh reflected his creativity as the rhythm and melody melted into a wholesome in the kalpana swaram. In the rendering of ‘enna rakshisO’, Sanjay extended the inner quietness of Shubha panthuvarAli, beyond swaras and sancharas landing in a world of melody and classical lucidity exposing the composer’s expressionistic pathos in pure austerity through litheness of articulation.
After playing flirtatiously with passion in abhOgi alapana, came the arresting Thanam with subdued flow, drenching the constricted syllables in a vital undertow of the tension of the evening raga, creating a mass of hauntingly organic music so serene, you almost do not notice the dark stirrings below the riveting surface, setting the mood for the romantic contemplations of Bharathi’s thoroughly seductive pallavi text, ‘ninnayE rathi endru ninaikirEnadi’, merging melodic and rhythmic elements seamlessly in chathushra triputa thalam and in the beguiling beautiful pallavi, taking his time with phrases that swelled with longing and mathematical precision with which he intertwined the sangathis giving it an irresistible, powerhouse performance and Sri. Varadarajan and Sri.Venkatesh helped with rhythm and melody to form a motif of creative flight. The swarara ragamalika came in hamsanAdham, jaijaivanthi, hamir kalyani, dharabari kanada followed by S. Kalyanaraman’s darbari kanada thillana.
After a wonderful thani by Sri. Venkatesh, came ‘uppum karpooramum’ in behag followed by innamum oru thalam.
Sanjay concluding the gut wrenching concert with a pastoral and serene rendition of the viruttam, ‘poothavalE’ in sindu bairavi and ‘kulam tharum selvam thandhidum’ in kOmalAngi followed by ‘NarAyananai thudhippAi’.
Last edited by kedharam on 04 Nov 2009, 07:11, edited 1 time in total.
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arasi
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Kedharam,
Some review! Must have been a special concert which inspired you to give such a poetic account.
Until I heard the Charsur CD with vazhi maRaittirukkudE, I had no idea that NaTTaik kuRinji could be sung in that mode. I have also heard Sanjay sing it in a concert. Then it seemed to me as if he either felt one with GKB and captured his mood, invested some of his own, or blended them both. Anyway, to me, it had a modern stroke too, as if the mADu was not Nandi but a terrestrial caNDi (stubborn) mADu which refused to move out of the way! In all this, the pathos of GBS's
lyrics remained intact. The RTP sounds interesting. While I have heard very good AbhOgi AlApanais from Sanjay a few times when he used to sing sabhApatikku vERu deivam, this is the first time I have heard of an AbhOgi RTP from him. Would like to know how he cast the very romantic line 'ninnaiyE' which he has been singing as a tukkaDa of late into majestic AbhOgi! His singing neraval at oru taram Siva cidambaramenRu SonnAl pOdumE is still fresh in my memory after many years. There were perhaps some in the audience who were looking for an exotic rAgam for a pallavi. If it was newness they were after, this blend of bARati's very romantic line sung not in a rare rAgam but in a stately and emphatic AbhOgi would have created some excitement, the same as an unheard melody of a rAgam.
Innovations come in many forms, and Sanjay knows how to blend different elements and shades in each of his concerts--solidly, but subtly too.
Varadarajan and Venkatesh 'ottARpOl vAsippdil tErndavargaL (are adept at sympathetic and cooperative accompaniment). They are admirers of Sanjay's music too and are just right for a vocalist who is on a tour and sings a solid concert in each place, and in quick succession.
Some review! Must have been a special concert which inspired you to give such a poetic account.
Until I heard the Charsur CD with vazhi maRaittirukkudE, I had no idea that NaTTaik kuRinji could be sung in that mode. I have also heard Sanjay sing it in a concert. Then it seemed to me as if he either felt one with GKB and captured his mood, invested some of his own, or blended them both. Anyway, to me, it had a modern stroke too, as if the mADu was not Nandi but a terrestrial caNDi (stubborn) mADu which refused to move out of the way! In all this, the pathos of GBS's
lyrics remained intact. The RTP sounds interesting. While I have heard very good AbhOgi AlApanais from Sanjay a few times when he used to sing sabhApatikku vERu deivam, this is the first time I have heard of an AbhOgi RTP from him. Would like to know how he cast the very romantic line 'ninnaiyE' which he has been singing as a tukkaDa of late into majestic AbhOgi! His singing neraval at oru taram Siva cidambaramenRu SonnAl pOdumE is still fresh in my memory after many years. There were perhaps some in the audience who were looking for an exotic rAgam for a pallavi. If it was newness they were after, this blend of bARati's very romantic line sung not in a rare rAgam but in a stately and emphatic AbhOgi would have created some excitement, the same as an unheard melody of a rAgam.
Innovations come in many forms, and Sanjay knows how to blend different elements and shades in each of his concerts--solidly, but subtly too.
Varadarajan and Venkatesh 'ottARpOl vAsippdil tErndavargaL (are adept at sympathetic and cooperative accompaniment). They are admirers of Sanjay's music too and are just right for a vocalist who is on a tour and sings a solid concert in each place, and in quick succession.
Last edited by arasi on 01 Nov 2009, 20:37, edited 1 time in total.
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kedharam
- Posts: 419
- Joined: 28 Sep 2008, 23:07
Yes, the neraval was so intense at one point, that the mAdu might have even moved a bit for nandan’s un obstructed view at which point, I gave close-up analytical peering and started internalizing the hint of mystery and the allure of the music. The romantic evocation of the pallavi text pretty much captured the astute simplicity of Bharathi's longing, as he joyfully unearthed the poet's whimsy with a childlike spirit...
Last edited by kedharam on 01 Nov 2009, 20:56, edited 1 time in total.
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vasanthakokilam
- Posts: 10958
- Joined: 03 Feb 2010, 00:01
kedharam, thanks for the excellent review. I attended the concert and your impressions were pretty much in line with what I experienced. It was indeed an excellent concert.
In the Navaragamalika varnam pUrvAngam in the first speed, I really liked Sanjay taking his time to sing each of the ragas a couple of times giving the significance they deserve. He spent close to 9 minutes on the varnam which worked well for a varnam fan like me. The Begada portion was especially good and quite creative. In each iteration, subtle variations in Begada Ma and Ni gamakas were brought in, soaking that whole passage with the different hues of Begada. Even his own Begada alapana in his commercial recordings paled in comparison. I felt then that Sanjay has great plans for this concert which turned out to be true.
The first kAlam niraval for vazhi maraithirukkudhe was quite innovative. Power packed emoting, almost viruththam like. I was reminded of Somu in some places. Sanjay's very own is to neatly juxtapose that kind of intense niraval variations with the same vazhi maraiththirukude line. Nice construction. Since I could understand the lyrics, it went beyond the normal superficial aesthetics based experience. I felt I had a direct connection to his emotions. May be that is what bhAvam is. In the alapana, instead of starting with the Nattakurinji signature, he played around in the perimeter of it for a few seconds before showing the identity. That was a nice way to reveal the raga.
Kharaharapriya was revealed right away. The first few minutes of the alapana were all sweet showing the various characteristics of the raga before getting into the 'performance' aspects of the alapana. The kalpanaswaras were excellent. Sanjay is indeed developing his own bANi for this and there is a lot to like in his way of presentation, both vocal power and subtlety in enjoyable combinations. In the alapana, he made some attempts at some new piDi/gamakas which did not stick well for me. ( it was like a curved landing at a lower swara ). I think he tried the same thing during kalpanaswaras and it was spot on and beautiful.
RTP was quite enjoyable. As Kedharam wrote, the thanam was just brilliant. I thought his alapana was a bit generic with the violinist doing a much better job. The thanam restored the quality to the Sanjay standards. The Pallavi was sung very well. It had an outward simplicity but it was illusory. That was the beauty of it. The words just caressed the beat boundaries until it landed on the arudhi. It was quite charming.
My only wish is, I am in Bilahari's camp here, that musicians not jump into the ragamalika swaras. Sanjay was running out of time and he could devote only around 8 to 10 minutes to the main pallavi line. It was so good that we could have listened to the pallavi line variations for another 10 minutes. The ragamalika swaras, adding a thukkada-ish quality and though sung very well, did not come close to matching the pallavi sophistication. Having said that, Sanjay's last set of swaras were very good, and as per his brand, he jumped right into the thillana in the same raga to good effect. ( Darbari Kanada? )
The Shubapanthuvarali was superb and very meditative. The incident Suma mentions in her review was quite funny. Mridangamist played a few avarthanams to Sanjay's kArvai and when it felt like enough time has passed, Mridangist loaded up the theermanam, Sanjay was still going on, loaded the theernam again, Sanjay was still holding on to the note, one more time, still not done, mridangist then did a two avarthanam theermanam, that is when the audience laughed, Sanjay smiled and ended the kArvai and got back to the song.
Kudos to the organizers, they did not interrupt the concert with speeches or vote of thanks. That was done at the end.
In the Navaragamalika varnam pUrvAngam in the first speed, I really liked Sanjay taking his time to sing each of the ragas a couple of times giving the significance they deserve. He spent close to 9 minutes on the varnam which worked well for a varnam fan like me. The Begada portion was especially good and quite creative. In each iteration, subtle variations in Begada Ma and Ni gamakas were brought in, soaking that whole passage with the different hues of Begada. Even his own Begada alapana in his commercial recordings paled in comparison. I felt then that Sanjay has great plans for this concert which turned out to be true.
The first kAlam niraval for vazhi maraithirukkudhe was quite innovative. Power packed emoting, almost viruththam like. I was reminded of Somu in some places. Sanjay's very own is to neatly juxtapose that kind of intense niraval variations with the same vazhi maraiththirukude line. Nice construction. Since I could understand the lyrics, it went beyond the normal superficial aesthetics based experience. I felt I had a direct connection to his emotions. May be that is what bhAvam is. In the alapana, instead of starting with the Nattakurinji signature, he played around in the perimeter of it for a few seconds before showing the identity. That was a nice way to reveal the raga.
Kharaharapriya was revealed right away. The first few minutes of the alapana were all sweet showing the various characteristics of the raga before getting into the 'performance' aspects of the alapana. The kalpanaswaras were excellent. Sanjay is indeed developing his own bANi for this and there is a lot to like in his way of presentation, both vocal power and subtlety in enjoyable combinations. In the alapana, he made some attempts at some new piDi/gamakas which did not stick well for me. ( it was like a curved landing at a lower swara ). I think he tried the same thing during kalpanaswaras and it was spot on and beautiful.
RTP was quite enjoyable. As Kedharam wrote, the thanam was just brilliant. I thought his alapana was a bit generic with the violinist doing a much better job. The thanam restored the quality to the Sanjay standards. The Pallavi was sung very well. It had an outward simplicity but it was illusory. That was the beauty of it. The words just caressed the beat boundaries until it landed on the arudhi. It was quite charming.
My only wish is, I am in Bilahari's camp here, that musicians not jump into the ragamalika swaras. Sanjay was running out of time and he could devote only around 8 to 10 minutes to the main pallavi line. It was so good that we could have listened to the pallavi line variations for another 10 minutes. The ragamalika swaras, adding a thukkada-ish quality and though sung very well, did not come close to matching the pallavi sophistication. Having said that, Sanjay's last set of swaras were very good, and as per his brand, he jumped right into the thillana in the same raga to good effect. ( Darbari Kanada? )
The Shubapanthuvarali was superb and very meditative. The incident Suma mentions in her review was quite funny. Mridangamist played a few avarthanams to Sanjay's kArvai and when it felt like enough time has passed, Mridangist loaded up the theermanam, Sanjay was still going on, loaded the theernam again, Sanjay was still holding on to the note, one more time, still not done, mridangist then did a two avarthanam theermanam, that is when the audience laughed, Sanjay smiled and ended the kArvai and got back to the song.
Kudos to the organizers, they did not interrupt the concert with speeches or vote of thanks. That was done at the end.
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rajaglan
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arasi
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VKokilam,
I agree with you and Bilahari on rAgamAlika svarams. Yes, they are good to hear only if plenty of time has been devoted to the main rAgam. When it is so, a few other added rAgams are appealing, and it also prepares you for the end of a well-rendered pallavi rather than seeming as if the journey came to an abrupt end.
A tough call for the artiste because there are those in the audience who do not care that much about an RTP and they rather look forward to a selection of tukkaDAs. RAgamAlikai svarams can serve the purpose of making them happy (the variety), if there isn't much time left for a number of tukkaDAs. Then of course, it also depends on the mood the singer at that time. Though I am an RTP fan, I look forward to a few tukkaDAs too, each of a different texture.
I agree with you and Bilahari on rAgamAlika svarams. Yes, they are good to hear only if plenty of time has been devoted to the main rAgam. When it is so, a few other added rAgams are appealing, and it also prepares you for the end of a well-rendered pallavi rather than seeming as if the journey came to an abrupt end.
A tough call for the artiste because there are those in the audience who do not care that much about an RTP and they rather look forward to a selection of tukkaDAs. RAgamAlikai svarams can serve the purpose of making them happy (the variety), if there isn't much time left for a number of tukkaDAs. Then of course, it also depends on the mood the singer at that time. Though I am an RTP fan, I look forward to a few tukkaDAs too, each of a different texture.
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rajeshnat
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VK/suma and kedharam (looks you are everywhere with sanjay in last kutcheri season you were hopping with most of his concerts in chennai and now in indianapolis and chicago)
Certainly appears a great concert . Of particular interest to me is his subhapantuvarAli. With respect to emotive lines of GKB krithi , this krithi is just lovely kind of almost theatre experience you get it , usually it is sung in two ragas by different one in nAttaikurinji and the other in Todi,music and lyrics at its best .AbhOgi as an rtp would have been great too , this raga sung by anyone just gets into a zone of excellence too fast and I like that always.
Certainly appears a great concert . Of particular interest to me is his subhapantuvarAli. With respect to emotive lines of GKB krithi , this krithi is just lovely kind of almost theatre experience you get it , usually it is sung in two ragas by different one in nAttaikurinji and the other in Todi,music and lyrics at its best .AbhOgi as an rtp would have been great too , this raga sung by anyone just gets into a zone of excellence too fast and I like that always.
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vasanthakokilam
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>Of particular interest to me is his subhapantuvarAli.
You would definitely have enjoyed it.
Here is a funny/odd issue personally for me. I do not get to attend a lot of live CM concerts like many of you do, my count is probably 2 to 4 a year max
and that may be the reason for the following.
After any grand song or a raga, it looks like I need some 'recovery' time to wind down from that raga aesthetics and rev up for the next one.
The artists of course need much more recovery time than the listeners but they have to keep going from raga to raga. It just amazes me that they can do it
and that too the varied selection of songs at the highest quality level each day's audience expects.
Anyway, all this to say that it took me a minute or so to get into the Subhapantuvarali after the grand karaharapriya. He sang it very well.
You would definitely have enjoyed it.
Here is a funny/odd issue personally for me. I do not get to attend a lot of live CM concerts like many of you do, my count is probably 2 to 4 a year max
and that may be the reason for the following.
After any grand song or a raga, it looks like I need some 'recovery' time to wind down from that raga aesthetics and rev up for the next one.
The artists of course need much more recovery time than the listeners but they have to keep going from raga to raga. It just amazes me that they can do it
and that too the varied selection of songs at the highest quality level each day's audience expects.
Anyway, all this to say that it took me a minute or so to get into the Subhapantuvarali after the grand karaharapriya. He sang it very well.
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arasi
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While sAhityam flows with ease in kannaDa and appeals to the listeners even if they do not understand the language (prime example: jagadOddhArana), enna rakshisO which I have heard Sanjay sing is (after his kaNDe na gOvindana) seems to appeal to many. Of course, the rAgam too, but also in its simpe words of plea--protect me!--again, even those who do not know the language seem to like it, though it is a fairly new one for them. The other song Sanjay sings sometimes in kannaDa is lAlisidaLu magana. I notice that his diction is very good in kannaDa, though it isn't expected of tamizh singers! Just as it is not, I suppose, in sanskrit krutis 
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musicmighty
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It is quite surprising that Kedharam reviews a concert in Austin one day and in many other cities of several artists including Sanjay's concert in Chicago. This site all a sham - many times artists themselves write their own, as usual, superlative reviews. Some do little cautiously by listing some downsides of their performances here and there in order to avoid readers from becoming suspicious of the source of the review!
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vasanthakokilam
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kedharam
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Well, musicmighty,
I am not here to validate my geographic location. Yes, I am addicted to certain masters’ music that includes masters of yesteryears as well as a few current masters. And I always start my review as my own personal experience. It is a disclaimer to ward off an unnecessary debate. my thoughts are totally subjective...to each his/her own"¦having said that, i welcome you in my club...if you can't beat them, join them:)
I am not here to validate my geographic location. Yes, I am addicted to certain masters’ music that includes masters of yesteryears as well as a few current masters. And I always start my review as my own personal experience. It is a disclaimer to ward off an unnecessary debate. my thoughts are totally subjective...to each his/her own"¦having said that, i welcome you in my club...if you can't beat them, join them:)
Last edited by kedharam on 17 Nov 2009, 06:02, edited 1 time in total.
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rajeshnat
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Musicmighthymusicmighty wrote:It is quite surprising that Kedharam reviews a concert in Austin one day and in many other cities of several artists including Sanjay's concert in Chicago. This site all a sham - many times artists themselves write their own, as usual, superlative reviews. Some do little cautiously by listing some downsides of their performances here and there in order to avoid readers from becoming suspicious of the source of the review!
Kedaram was not anywhere in austin , he was in only chicago , Indiana(west lafayette) and urbana all within a week or so. That is perfectly fine as they are all quite close to drive during each day ,even I would be driving those distances to watch any one perform CM, that too considering sanjay is his favourite.
Kedaram
Please keep reviews coming , I would also prefer you to cover other artists too . Of course that is only your choice
Last edited by rajeshnat on 03 Nov 2009, 07:02, edited 1 time in total.
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musicmighty
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Well, RajeshNat, please do check it out - Kedaram has indeed reviewed Shashank's flute recital in Austin and now from the midwest he reviews Sanjay. It is just a thinking, as in the past, there are a few who just write reviews imagining their presence in the concert than actually being there!
Just for your info, there are so many concerts that happen throughout the year of many great maestros around India and the world but only a few get reviews almost instantly following a concert prompting somebody to think that it is being written by artists themselves - classic example being TM krishna and Sanjay.
Just for your info, there are so many concerts that happen throughout the year of many great maestros around India and the world but only a few get reviews almost instantly following a concert prompting somebody to think that it is being written by artists themselves - classic example being TM krishna and Sanjay.
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prashant
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- Joined: 03 Feb 2010, 09:01
I checked out all 'kedharam''s [not kedaram] 154 posts here: http://rasikas.org/forums/search-posts-user5868.htmlmusicmighty wrote:Well, RajeshNat, please do check it out - Kedaram has indeed reviewed Shashank's flute recital in Austin and now from the midwest he reviews Sanjay. It is just a thinking, as in the past, there are a few who just write reviews imagining their presence in the concert than actually being there!
Just for your info, there are so many concerts that happen throughout the year of many great maestros around India and the world but only a few get reviews almost instantly following a concert prompting somebody to think that it is being written by artists themselves - classic example being TM krishna and Sanjay.
There is no review for a Shashank recital in Austin. Check your facts before you post balderdash on this forum. Also, if you think artistes of the caliber of Sri Sanjay and Sri TMK have the time, inclination and craven insecurity to sit and compose reviews of their own concerts on this forum, you need to seriously evaluate your own credentials as a music listener. They are at the pinnacle of their art, and are much above petty things like this.
Last edited by prashant on 03 Nov 2009, 20:26, edited 1 time in total.
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kedharam
- Posts: 419
- Joined: 28 Sep 2008, 23:07
hi musicmighty,
looks like you are indeed obsessed with me...well, i am an average looking IT male in early 30s living in madison, wisconsin ...please send me a mail thro the forum if you are interested...
looks like you are indeed obsessed with me...well, i am an average looking IT male in early 30s living in madison, wisconsin ...please send me a mail thro the forum if you are interested...
Last edited by kedharam on 09 Nov 2009, 06:59, edited 1 time in total.
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arasi
- Posts: 16873
- Joined: 22 Jun 2006, 09:30
Rajesh,
Kedharam has made a confession of his intentions. He likes (!) Sanjay's singing and also knows that many young women out there like to hear Sanjay, TMK, Vijay Siva, Suryaprakash, Gurucharan, Abhishek and all.
Keep an eye on him
Kedharam,
While I enjoy reading your reviews and have similar tastes, I know that this very much married--old to boot (!) woman stands no chance
There are many young women looking for a man like you--intelligent, spirited and with a sense of humor. Best of luck to you!
Kedharam has made a confession of his intentions. He likes (!) Sanjay's singing and also knows that many young women out there like to hear Sanjay, TMK, Vijay Siva, Suryaprakash, Gurucharan, Abhishek and all.
Keep an eye on him
Kedharam,
While I enjoy reading your reviews and have similar tastes, I know that this very much married--old to boot (!) woman stands no chance
There are many young women looking for a man like you--intelligent, spirited and with a sense of humor. Best of luck to you!
Last edited by arasi on 03 Nov 2009, 21:37, edited 1 time in total.
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vasanthakokilam
- Posts: 10958
- Joined: 03 Feb 2010, 00:01
musicmighty: Based on your past posts, we infer that this is a pet-peeve of yours and you write about the same theme quite often. That is fine, but...
I think Kedharam deserves an unconditional "I am sorry" from you since you misidentified the member. At the minimum, publicly acknowledge the mistake instead of being defensive.
I think Kedharam deserves an unconditional "I am sorry" from you since you misidentified the member. At the minimum, publicly acknowledge the mistake instead of being defensive.
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SangithaRasika
- Posts: 79
- Joined: 11 Mar 2006, 22:41
Nice review and discussion about Kedharam finding a suitable bride (he is ok with groom too ) I would like to meet you the next time for any of the concerts that might happen in Chicago area. btw, dont raise your hopes as its not bcos of your bachelor credentials 
. I was at the concert too, came in during purvikalyani ! Too many cops for me to be ontime ! I stay farther farther west of Chicago.
Nattakuranji, Shubapantuvarali was excellent but for me the pick of the day was GangeyaBhushani .. The raga rendition, song everything in that was simply superb and it took the concert to the next level !! I was little let down that he sang KHP as the main and then took Abhogi for RTP (Proly lack of time) tho' they were brilliant individually. Being a Tani illitrate, I should say that I still enjoyed it. For me, Varadaraj was very good in the RTP but all other places I would say he was a few steps behind Sanjay. Tukkadas were enjoyable too tho' he galloped to reach pavamana
Was there a Sindhubhairavi before he started Narayani and then switched to Narayani ?
) I would like to meet you the next time for any of the concerts that might happen in Chicago area. btw, dont raise your hopes as its not bcos of your bachelor credentials . I was at the concert too, came in during purvikalyani ! Too many cops for me to be ontime ! I stay farther farther west of Chicago. Nattakuranji, Shubapantuvarali was excellent but for me the pick of the day was GangeyaBhushani .. The raga rendition, song everything in that was simply superb and it took the concert to the next level !! I was little let down that he sang KHP as the main and then took Abhogi for RTP (Proly lack of time) tho' they were brilliant individually. Being a Tani illitrate, I should say that I still enjoyed it. For me, Varadaraj was very good in the RTP but all other places I would say he was a few steps behind Sanjay. Tukkadas were enjoyable too tho' he galloped to reach pavamana
Was there a Sindhubhairavi before he started Narayani and then switched to Narayani ?
Last edited by SangithaRasika on 03 Nov 2009, 22:51, edited 1 time in total.
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arasi
- Posts: 16873
- Joined: 22 Jun 2006, 09:30
He is here in the US until the end of this month, singing in different parts of the country.
I wonder why performers don't bother to post their schedules on their blogs. The organizers are indifferent too.
We know how rasikAs await the season concert schedule of sabhas to make plans.
In olden days, there were no lightening-speed facilities. It was only word of mouth which helped--then they got the bullock cart ready and rode away to another village to listen to music. However, rasikAs may want to attend concerts and they need time to plan--allowing time for travel. These may be rasikAs who are not going to be in Chennai for the season.
It is so with several toring musicians, I'm afraid. Only after seeing a review do we know about a concert which we missed. In my case, long distance driving is out but I listen to music to my heart's content in Chennai during the season.
Glad to note that Suryaprakash has posted his schedule on the forum.
I hope all the vidvAns and vidUshis who have a website give information about their concerts here and in the season at their earlist. It helps in planning OUR schedule too
I wonder why performers don't bother to post their schedules on their blogs. The organizers are indifferent too.
We know how rasikAs await the season concert schedule of sabhas to make plans.
In olden days, there were no lightening-speed facilities. It was only word of mouth which helped--then they got the bullock cart ready and rode away to another village to listen to music. However, rasikAs may want to attend concerts and they need time to plan--allowing time for travel. These may be rasikAs who are not going to be in Chennai for the season.
It is so with several toring musicians, I'm afraid. Only after seeing a review do we know about a concert which we missed. In my case, long distance driving is out but I listen to music to my heart's content in Chennai during the season.
Glad to note that Suryaprakash has posted his schedule on the forum.
I hope all the vidvAns and vidUshis who have a website give information about their concerts here and in the season at their earlist. It helps in planning OUR schedule too
Last edited by arasi on 14 Nov 2009, 00:39, edited 1 time in total.
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hari2810
- Posts: 23
- Joined: 30 Dec 2007, 01:03
Not exactly his concert schedule; but here's, from an earlier thread, his travel plan for his US tour 2009.
http://www.iacrf.com/wp-content/uploads ... l-2009.pdf
http://www.iacrf.com/wp-content/uploads ... l-2009.pdf