k.gAyatri Prasanna@BGS on Dec 07th,2013
--------------------------------
Vocal : K gAyatri Prasanna
Violin : Charulatha ramanujam
Mrudangam : J Vaidyanathan
Ghatam : N Guruprasad
Concert duration/Day : 2 hrs and 05 minutes /Saturday
Concert Type : Non Nirvana (concert to follow)
Sabha/Hall : BGS- sivagami petachi auditorium
Duration : 2 Hours and 5 mins
1. ninnnE nami uNNAdi rA (varnam)- amruthavarshini - suguna purushOttaman
2. muddumOmu (N,S) - suryakAntham - T
4 mins neraval in "ghananibha pathE vuni" and 4 mins swaras
3. eNraikku shivakripai (R) - mukhAri - Neelakanta Sivan
8 mins alapana and 5 mins violin return
4. veenAbhEri(S)- AbhEri - MD
2 mins swaras
4A. mOhana rAmA (R N S T) - mOhanam - T
8 mins alapana and 6 mins violin return
neraval in mOhana rAma modaTi daivamA for 5 mins
5 mins swaras
4B. 13 mins tani
5. RTP - amruthavarshini in Tisra Triputa kanda nadai
Pallavi line was - ghAnam amrutha varshini vAni brahma rAni mAm pAhi
6 mins alapana and 3 mins violin return
taanam for 7 mins
pallavi was for 6 mins
swara ragamAliga for 10 mins in samantA+ vaasanthi+ nattaikurinji
6. hey govind hey gOpAla - Piloo - ??
k.gAyatri Prasanna@BGS on Dec 07th,2013
-
rajeshnat
- Posts: 10121
- Joined: 03 Feb 2010, 08:04
Re: k.gAyatri Prasanna@BGS on Dec 07th,2013
The uncertainity of monsoon in chennai did continue in chennai where the gloomy day gave only a perception that it would rain heavily.The day did not end up with good rains outside , but certainly amruthavarshini raga (asscociated with rain)did provide a fair share of rain when vidushi K gayathri centered her concert with amruthavarshini pallavi in Brahma Ghana sabha.
K gayathri , student of KalaimAmani smt Suguna purushottaman started with a rare amruthavarshini varnam that kept the 150+ rasikas clandestinely whispering to everyone else as to who the composer was. With a phrase suguna ,it was fairly evident that the vidushi started with obesiance to her guru. The varnam was crisp with a very noticable second speed.
Sadguru Thyaraja suryakantham krithi muddumOmu steered the concert towards the zone of excellence . The neraval in muddumOmu and the swaras in suryakantam did drop short in the musical aesthetics. Mukhari followed next , the contemplative rasa of mukhAri rAgam soaks well with her impeccable musiri school. With a nice alapana in mukhAri she continued very well dwelling in a very arresting anupallavi line of KanriN kural Kettu segeuing beautifully with enraikku shiva kripai. The filler veenAbhEri, a muttuswami dikshitar krithi just did not register that well in the concert.
The main in mOhanam with Sadguru thyaraja's mOhana rAma had an aesthetic alapana and a very noteworthy diction . The neraval was for a change in the anupallavi line mOhana rAma modaTi daivamA than the usual charnam line dharamanu .K Gayatri did not match well in mohanam neraval , when compared to her alapana and krithi rendition. The swaras in mohanam brought the excellence back that got bit sidetracked in neraval.
The best of her concert was indeed her Amruthavarshini pallavi . The pallavi in tisra triputa tAlam in kanda nadai is indeed tricky and the pallavi line had a right spacing to bring in both raga bhavam and tala intricacy without getting entangled in either of the two . The pallavi line was in "ghAnam amrutha varshini vAni brahma rAni mAm pAhi". With the pallavi line ,one has to appreciate the vidushi more in incorporating the sabha name brahma ghAna-that leads to perhaps a rasika to take a guess that she took a bit of help from her illustrious guru Smt SugunA purushottaman,who is also a prolific vaggeyakkara. The swaras had a descending priority of difficulty for a rasika to connect the names of ragas -namely samAntA, vAsanthi and nAttaikurinji. There was a very noticable swara poruttam in ragamaliga. The bhajan in Piloo was just a short filler to hand over the dias to the next vidushi who was slated to perform next.
Vidushi charulatha ramanujan has certainly the right temperment to not rob any of the musical idea of the vocalist .The touch of little more violin nAdham in Mohanam may have added more brownie points to the concert . The accompansist J Vaidyanathan has a real feel of the lyrics(perhaps he got that being the son of Sangeetha kalAnidhi Shri DK Jayaraman) . J Vaidyanathan was very meticulous in applying the right touches to his mridangam. The ghatam artist N guruprasad gave the right support callibrating well with the mrudangist.
Vidushi K gayathri had a really nice settling voice with a right balance of layam and rAga bhavam .The two neravals for the krithis were a bit of trough in her concert . Overall a very good to excellent concert for 2 hours and 5 mins.
K gayathri , student of KalaimAmani smt Suguna purushottaman started with a rare amruthavarshini varnam that kept the 150+ rasikas clandestinely whispering to everyone else as to who the composer was. With a phrase suguna ,it was fairly evident that the vidushi started with obesiance to her guru. The varnam was crisp with a very noticable second speed.
Sadguru Thyaraja suryakantham krithi muddumOmu steered the concert towards the zone of excellence . The neraval in muddumOmu and the swaras in suryakantam did drop short in the musical aesthetics. Mukhari followed next , the contemplative rasa of mukhAri rAgam soaks well with her impeccable musiri school. With a nice alapana in mukhAri she continued very well dwelling in a very arresting anupallavi line of KanriN kural Kettu segeuing beautifully with enraikku shiva kripai. The filler veenAbhEri, a muttuswami dikshitar krithi just did not register that well in the concert.
The main in mOhanam with Sadguru thyaraja's mOhana rAma had an aesthetic alapana and a very noteworthy diction . The neraval was for a change in the anupallavi line mOhana rAma modaTi daivamA than the usual charnam line dharamanu .K Gayatri did not match well in mohanam neraval , when compared to her alapana and krithi rendition. The swaras in mohanam brought the excellence back that got bit sidetracked in neraval.
The best of her concert was indeed her Amruthavarshini pallavi . The pallavi in tisra triputa tAlam in kanda nadai is indeed tricky and the pallavi line had a right spacing to bring in both raga bhavam and tala intricacy without getting entangled in either of the two . The pallavi line was in "ghAnam amrutha varshini vAni brahma rAni mAm pAhi". With the pallavi line ,one has to appreciate the vidushi more in incorporating the sabha name brahma ghAna-that leads to perhaps a rasika to take a guess that she took a bit of help from her illustrious guru Smt SugunA purushottaman,who is also a prolific vaggeyakkara. The swaras had a descending priority of difficulty for a rasika to connect the names of ragas -namely samAntA, vAsanthi and nAttaikurinji. There was a very noticable swara poruttam in ragamaliga. The bhajan in Piloo was just a short filler to hand over the dias to the next vidushi who was slated to perform next.
Vidushi charulatha ramanujan has certainly the right temperment to not rob any of the musical idea of the vocalist .The touch of little more violin nAdham in Mohanam may have added more brownie points to the concert . The accompansist J Vaidyanathan has a real feel of the lyrics(perhaps he got that being the son of Sangeetha kalAnidhi Shri DK Jayaraman) . J Vaidyanathan was very meticulous in applying the right touches to his mridangam. The ghatam artist N guruprasad gave the right support callibrating well with the mrudangist.
Vidushi K gayathri had a really nice settling voice with a right balance of layam and rAga bhavam .The two neravals for the krithis were a bit of trough in her concert . Overall a very good to excellent concert for 2 hours and 5 mins.