Trichur V Ramachandran in SIFAS 31/10/09 (GNB Memorial Conce

[bala747]

I had written a review of this concert for the SIFAS newsletter, but here is a modified review:

Vocal: Trichur V Ramachandran
Violin: K Sivaraman
Mridangam: T R Sundaresan


Before the concert began, a clip showing part of GNB's legacy was shown, from the GNB DVD. Following this, some old chap gave a meanderingly long introduction to the life of GNB, highlighting some lesser known facts about the great man, including the fact that he has composed in a raga called "Kuntuvarali", earned and lost all his money (not exactly the kind of thing people want to remember GNB as, especially during a centenary year), or that "Trichur" was his student. Once was pardonable but the man kept calling TVR, 'Trichur'. That's like people calling me 'Singapore'.

Sri TVR started with a less commonly heard varnam composed by GNB in the raga Hindolam, titled Sakala kala vani, Adi talam.

Following that he sang GNB's popular Varavallabha ramana in raga Hamsadhwani. The swaraprastara was a short affair, with some simple sarvalaghu passages. He sang swara passages in almost all the pieces upto the main item so I will skip that part unless it was particularly noteworthy.

The first raga alapana was Panthuvarali, which was a brisk foray into the various nuances of the raga. True to the GNB school, the brigha element of music was brought to the forefront, but the unique prayogas of Panthuvarali were sung with great bhava and feeling. Sri Sivaraman's violin reply was succinct and encapsulated the essence of the raga well. The krithi was one sung commonly by GNB, Siva Siva Siva of Thyagaraja. A short niraval was sung at the charanam, Bhagavatulato poshinci vara, followed by a brisk swaraprastara, in keeping with the brisk-paced nature of the krithi itself. This brings me to another problem in the concert. The mike arrangement was horrible. At times it felt like TVR was singing accompaniment to the violin and mridangam. Added to the fact was that Sivaraman used an electric violin (ala Ganesh Kumaresh) and it sounded absolutely horrid (The electric violin is not designed to be played at low sruthis. It sounds like someone's blowing a horn). It was also obvious that Sivaraman had not yet adapted fully to this instrument as there were some rather glaring mistakes made during his playing, but apart from that he actually played really well.

Following the Panthuvarali was a short sketch of the raga Abhogi, followed by Tamasa miga talamu, a telugu composition of GNB in Rupaka tala. The swaraprastaras that followed were rendered with aplomb.

The next item was a raga sung frequently by GNB, Andholika. Sri Ramachandran sang a brisk alapana in it, highlighting all the phrases that bring out the essence of the raga, ending each line of sanchara with GNB's 'trademark' plain notes. Sri Sivaraman followed with a soulful rendition of the raga that complemented Sri Ramachandran's brisk rendition very well (but the horn-like sound was rather irritating again). Sri Ramachandran announced that GNB had composed a krithi in this raga but chose to sing another of GNB's favourites, Ragasudharasa of Thyagaraja. The krithi was sung in the true GNB bhani, eschewing needless sangathis and frills and presenting the krithi in its chaste form.

The next piece was GNB's tamil composition in raga Bahudari, Unnadiye gai endradainthen. It has always been one of my favourite compositions of GNB (along with Bhuvanatraya, Manavakula and Ninnu pogada). It was sung well enough, but the swaraprastara was really good in this piece.

Following that was a brisk rendition of a Thyagaraja krithi popularised by GNB, Vararagalaya in Chenchukambhoji. In addition to composing the chittaswara for this krithi, GNB has composed a krithi in this raga himself (Nannu brova). As mentioned by Sri Ramachandran, Chenchukambhoji was often sung elaborately by GNB, which was a feat owing to the complexity of the raga, and the closeness it shares with many similar janya ragas of Sankarabharanam and Harikambhoji. It would have been great to hear Sri Ramachandran elaborate this raga but he chose not to.

The main item of the evening was Kalyani, and Sri Ramachandran sang a far too short (for Kalyani) alapana, but while that short alapana had all the main features of Kalyani, sung in the GNB tradition, with brisk brighas and short kaarvais, it was still only a small glimpse into what Kalyani had to offer. I guess age had a role to play. TVR must be in his mid to late 70's now so it is a bit unrealistic to expect elaborate 30 minute affairs, or spectacular pyrotechnics of old. Sri Sivaraman again, followed up with a soulful rendition, highlighting the gamaka-rich nature of this great raga. Almost disappointingly, Sri Ramachandran took up Thyagaraja's Vasudevayani. While this famous krithi was popularised by GNB and his rendition of this krithi was a gold standard, by which other renditions of this krithi were measured against, was it really a main-item worthy piece? GNB had also sung many super-heavies in Kalyani, including Ethavunara, Nidhi Chala etc. and one of those could have been chosen. Sri Ramachandran sang the krithi true to the GNB style, and followed it up with a quick swaraprastara, and rounded off with a quick korvai (vocal version of Ramabhadran's most commonly played korvai). There was nothing wrong with the rendition per se, apart from a few sruthi lapses in the swaraprastaras, which again had to do with the voice not obeying the mind. Sri Sundaresan played a brisk thaniavarthanam, with a particularly inspired misra nadai and rounded off with a short korvai.

Following the main item were a few pieces that were tuned and popularised by GNB, including two ragamalikas, Sonnathai Seithida, and Dhikkuteriyada kaatril, and Karanam kettu vaadi in Purvikalyani. Following these, was the second highlight of the concert, a viruttam (Vande Mataram) sung in Kharaharapriya, Amirkalyani, Ranjani and Sindhubhairavi. This was sung very well, and all the ragas were delightful to hear. At the end of it he quickly switched to madhyama sruthi to prepare for the last item. The concert finished off with a Jeyadeva composition, Radha Sametha Krishna, also popularised by GNB and the mangalam. While it was understandable to include pieces popularised by GNB, would it have been so hard to include a light GNB composition like Ninnu pogada tharama (Kuntalavarali) or his Thillana?

Overall it was a satisfying concert, and the setting, with the open auditorium, fans and rains brought back scenes of concerts in the 50s and 60's in Madras, and for a free concert, it was a very good one but I was hoping for more krithis of GNB himself (and he has composed main-item worthy pieces in Bhairavi, Thodi and other major ragas). The main item was a bit of a downer as it did not have the feel of a major piece. GNB was famous for elaborate Ragam thanam pallavis and not singing one this concert did detract from its overall quality. Furthermore Sri Ramachandran could have chosen some of the less common krithis popularised by GNB including Ananda Natesa (Thodi), or Aaragimpave (Thodi) or Ethavuna (Yadukulakambhoji), or some of his less commonly heard compositions. Pretty much every item (With the possible exception of the Varnam and Tamasa miga in Abhogi) has been sung numerous times by numerous artistes. As this was a centenary celebration here in Singapore, he could have used this opportunity to present some less-commonly heard songs, but for a free concert it more than delivered. This concert is a good primer into the GNB bhani and a good introduction to his style of music, but there was very little in it for a more elite, learned audience.

[rajeshnat]

The concert finished off with a Jeyadeva composition, Radha Sametha Krishna, also popularised by GNB and the mangalam.

bala747
As usual great review. This composition is in rAgam mishra yaman and the composer is unknown??? ,not jeyadeva. The submain and main were pantuvarAli and kalyAni , that is quite strange as it is two pratis , not complaining but observing . Personally this bahudari is one of the best compositions of GNB as a vaggeyakkArA.

[PUNARVASU]

The bahudaI kriti is a beautiful one. I really like the like the line in caraNam;
munnamE unniDam solli vaaittEnE'-
Our guru sings so many sangathis in this particular line-conveying so many moods- I really get mesmerised by the different moods brought by each sangati. Such a beautiful song.

[arasi]

Bala,
(notice that I don't call you singapore or 747)
Another review from you with the usual contents--substance, grit, humor et al.
Two minor points: tikkut teriyAda kATTil (in the woods, rather than in the wind)
'Some old chap' makes me 'some old woman'! While my tolerance level for long speeches is nada--if he happens to read this (which is doubtful), he might not be thrilled to be referred to as 'some old chap'!

The way we are getting more and more absorbing reviews from all corners of the world, the more our getting to be reviewers of reviews

[rajeshnat]

This is the first time I am seeing a singapore concert reviewed in the hindu chennai edition
http://www.hindu.com/fr/2009/11/20/stor ... 040400.htm