Concert of Shri Madurai T.N.Seshagopalan at Shanmukhanandha

[Tharangam]

Dear members,

I am sharing a review by Smt. Mangalam Krishnamurthy, courtesy, Facebook.

Sri T. N. Seshagopalan’s concerts aim at improving the musical knowledge, appreciation, spiritual levels of the listeners. Every composition, every note rendered, are chiseled with devoted vidwat, total commitment to bring alive the mood of the raga, bhava experienced by the composer, enabling the listener to raise his levels of understanding of this great art form - Carnatic Music.

As usual, Sir was at his best on Sat, 12.11.11 at Shanmukhananda, Mumbai, where he has been performing since 1971.

Commencing the visual, emotional, musically enlightening treat with the famous Begada varnam, followed by Bhava-laden crispy swaraprasatharams, Sir went on to educate the audience on how to sing Devaamruthavarshini Raagam, sans Khaharapriya pidis. The raagam delineation brought out the best of a Guru in him, soulfully transferring the essence of the Raagam to all the Shishyas (Audience). The first phrase itself established the raga swaroopam wherein he adapted the first line of the composition (Evarani Nirnayinchirira), as if to reaffirm the concept that Raagas thrive through compositions. Lucky are those who could take home the maximum through their Shraavya Shakthi.

A soul stirring Poorvikalyani followed next – the composition dedicated to Sri Kanchi Kamakshi by Sri Shyama Sastri – Ninnuvinaagamaridikkevvarunnaaru – Niraval in “Pannagabhushadunaina”, was ornamentalised with his own inimitable style of swaraprastharams.

The audience was taken to Srirangam next, to have the darshanam of Ranganaayanki sametha Ranganatha.

The Thyagaraja krithi “Baagaayanayya” in Chandrajyothi was preceded by a detailed raga alapana. Sir took the rasikas to higher planes by guiding them through a soul-searching journey along with him.

Devi Nee pada Sarasaamule (in Kamboji), one of the Meenakshi Navarathnamalika krithis of Sri Syama Sastry was rendered with majesty.

Giripriyam Gangadharam (Sri Muthiah Bhagavathar’s composition in Kadanakuthoohalam) added excitement to the mood of the concert.

Sri R. Ramesh (Mridangam accompanist), this rasika, and probably some others in the audience, were in tears when he brought in the Maathruthva bhaavam in the raga delineation of Bhairavi & Sindhubhairavi for RTP. It was listener’s ecstasy when he alternated between the 2 Bhairavis in small phrases, towards the end of the raga alapanam. After having done full justice to the Thanam in both the ragams in all the 3 kaala pramaams, the Pallavi “Kapaalini Trisoolini Ezhil Sindhum Bhairavi Paahimaam” (Kanta Triputa – 3 aksharam atheetha eduppu) was handled with excellent mathematical virtuosity.

And lo behold! All rasaas of life were in full form when he sang the slokam "Saayankaale Vanaanthe" and brought in some 15 - 18 raagams for the line "Navarasabharitha", followed by his own Thillana in Chandrakauns...

Saayamkaale Vanaanthey Kusumitha Samaye Saikadhe Chandrikayam – Saaveri, Vasanthaa

Trilokyaa Aakarshaanangam Suranara ganitha Mohanangapanga murthim – Mohanam

Sevyam Sringara Bhavaihi..Kamaas …brimming with Sringara Bhaavam

Navarasa Bharithaihi – Atanam- Veeram, Syama – Kaarunyam, a majestic Kedara gowlai, emotional Aahiri, Hamsanandhi, Huseni, auspicious Aanandabhairavi, Kalyanavasantham, Mukhaari, Melonchalic Shubhapantuvaraali, Playful Kuntalavaraali, Sprightly Kadanakuthoohalam, a peaceful Neelambari, an awakening Bhowli, Kaapi, a bright Bilahari,

Gopakanya Sahasraihi – Surutti

Tasya Gopalakrishnamurthim – Chandrakauns (Tillana in Tisra Adi) – reminding one of the Pallakku Sevai at Srirangam, followed by his own Thillana, any dancer’s delight.

Serthalai Sri Sivakumar, who has been accompanying Sir on the violin, for some years now, has put in conscious efforts to imbibe the glory of Sir’s style in his own way and contributed very well in enhancing and following the Doyen in the right pace, whether they were raga renditions, or niravals or swara prasthara. Special mention has to be made about the way he took Devaamruthavarshini raga alapanam, reminding one of the Charanam “Shivamantramunaku” of the krithi “Evarani”.

Being the senior-most disciple of Sri Karaikkudi Mani, Sri R. Ramesh with all his humbleness, lent the apt support for such a mathematical genius. Sri Sundar Kumar on Khanjira, always embellishes the concerts with a wonderful Naadam from this Vaadhyam. The duo added their might to take this memorable concert to great heights, in their own way.

[Anandhabhairavi]

Thanks very much Tharangam for sharing the review.
Reading the review, I felt as though i was attending the concert:-) . Truly a treat!

[Sam Swaminathan]

Anandhabairavi....my sentiments exactly ! Well done Sir!

[csuresh]

I was one of the fortunate rasika to attend the concert on 12th November.Shanmukananda hall(ground floor) was almost full with around 800 rasikas.
Excellant concert from Master.

[CRama]

There was one concert of TNS last week- 10 or 11 Nov in Sastri Hall, in connection with Remembrance Day of Dwaram. In that concert also, he sang a splended Devamrithavarshini for Evareni and also an elaborate Eesamanohari for Manasa sree rama chandruni. That concert had the presence of scholars like SRJ, TRS, Prapancham Seetharam, Members of Dwaram family etc. While singing Eesamanohari, TNS remembered that his Guru had requested Dwaram to play this ragam in Madurai when TNS as a boy of 10 or 11 was seated next to his Guru. He further added that Dwaram/s expositon of this ragam has been his guide till day for this ragam.

[rajeshnat]

As usual, Sir was at his best on Sat, 12.11.11 at Shanmukhananda, Mumbai, where he has been performing since 1971.

For a vocalist to sing for 40 years is an exemplary achievement that too looking at the song list of the concert , only Shri TNS can perform with this kind of excellence

[arasi]

Rajesh,
Yes, and we realize why Mangalam Krishnamurthi here and SR (used to) sing praises of him.
A great vidvAn, making his great guru's soul proud.