Gokul Chandramouli Iyer@Karthik Fine Arts on Dec 21st,2013
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Vocal : Gokul Chandramouli Iyer
Violin : Ravi Srinivasan
Mrudangam : Niranjan Balachandran
Concert duration/Day : 1 hr and 20 minutes/Saturday
Concert Type/Crowd : Non Nirvana ( concert to follow)/ 70 for a free concert
Hall : BVB-Mini Hall
1. karunimpa - sahana - T T
2. ninnAda(S) - kannada - T
3. paripoorna kAma(R N S) - poorvikalyAni - T
alapana for mins , violin return for 4 mins
neraval for sAketha dipani mukha for mins
4 mins swaras
4. sarasa sama dhAna (N,S) - kApinarayanai - T
2 mins neraval and 7 mins swaras
5. brihannayaki varadAyati -AndhAli -MD
6. brovasamayamiddhE rAmaiyyA (R S T) - gowrimanohari - garbapurivasar
8 mins alapana and 4 mins violin return
7 mins swaras
6B.tani for 7 mins
7.smarasundarAnguni - parAs - DS
8. tom tom - thillana - poornachandrika - Poochi
9. mathiyal vithAgi - shuruTTi - thirruppugazh???
Gokul Chandramouli Iyer@Karthik Fine Arts on Dec 21st,2013
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rajeshnat
- Posts: 10121
- Joined: 03 Feb 2010, 08:04
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rajeshnat
- Posts: 10121
- Joined: 03 Feb 2010, 08:04
Re: Gokul Chandramouli Iyer@Karthik Fine Arts on Dec 21st,20
This is my first concert of Gokul Chandramouli Iyer whose paternal chitappa is Neyveli shri santhagopalan.Gokul has written few times few reviews with his id tyagarajadasa id in this forum . There is definitely a very true sincerity in his music,but of course sincerity alone will not take you to a complete success for a concert.
Started with karunimpa ,where I felt a little more oomph serenity in the beginning will make it a bit more serene sahana- after all what you expect in sahana excepting serenity. The next in ninnAda was lovely , I could definitely got his sangathis having the same differentitation as his chitappa.His modelling of NSG is not that much in sangathis , but certainly his mannerism is very much like him. I dont think he has to change that immediately and I sincerely believe he will change that mannerism as he keeps progressing year after year.
THe poorvikalyani was submain with a neraval. Poorvikalyani is a damn tricky raga - i internally call it as a recurring decimal raga . Had he moved with more faster brigas would have added more charm then squatting with just karuna rasa , but definitey well done - as most of the musicians sing that way.
The sarasa sAma dhana was creative surely with atouch and go in neraval and swaras in short burst in kapinarayani was definitely creative . The drop of andhali md krithi could have come with a more sangathi repitition - I think possibly he started worrrying about the short duration and he has to move on to main.
The ragam gowrimanohari in alapana is damn trickly, perhaps i had in my sub conscious mind keeravani - i was thinking he could given a bit more stronger signal of gowrimanohari . The krithi with swaras definitely went with the right assertion. His influence in his music is just not NSG but also brinda - muktha, i could hear a tad slower smara sundaranguni in paras which was lovely. The last thillana in poornachandrika is an usual nsg no which i believe nsg himself has taken a bit of kvn - it was the same degree of softness which went well. THe last shurutti i belive is thirruppugazh , it was not a cacophonous perumAle fullstop.
The violinist during songs was not aligning that well in shruthi , but he played well during alapana return. The mridangist a much younger boy was good in few moments where there is some kind of linear sarvalaghu typecast. Overall both the accompanist are surely upcoming .May i know the gurus of violinst and mrudangam artist . I see with the way the violinist keeps the violin bit flatter makes me think he is a student of VVS
I personally felt if there is one drawback in gokul is his almost non interactive nature with the accompanist . I have observed about a dozen or so musicians in the last decade and very recently in two concerts where abhishek/suryaprakash when accompanied by even high quality artists like anantha krishan/mannargudi easwaran where they take a conscious effort to beat talam bit high at discrete intervals and that kind of thing indeed makes a right aesthetic correction . Gokul at times sings too much in his sukha anubhavam one way track , not really interacting with mrudangam artist needs correction.
Overall a very good concert for 1 hour and 20 minutes.
Started with karunimpa ,where I felt a little more oomph serenity in the beginning will make it a bit more serene sahana- after all what you expect in sahana excepting serenity. The next in ninnAda was lovely , I could definitely got his sangathis having the same differentitation as his chitappa.His modelling of NSG is not that much in sangathis , but certainly his mannerism is very much like him. I dont think he has to change that immediately and I sincerely believe he will change that mannerism as he keeps progressing year after year.
THe poorvikalyani was submain with a neraval. Poorvikalyani is a damn tricky raga - i internally call it as a recurring decimal raga . Had he moved with more faster brigas would have added more charm then squatting with just karuna rasa , but definitey well done - as most of the musicians sing that way.
The sarasa sAma dhana was creative surely with atouch and go in neraval and swaras in short burst in kapinarayani was definitely creative . The drop of andhali md krithi could have come with a more sangathi repitition - I think possibly he started worrrying about the short duration and he has to move on to main.
The ragam gowrimanohari in alapana is damn trickly, perhaps i had in my sub conscious mind keeravani - i was thinking he could given a bit more stronger signal of gowrimanohari . The krithi with swaras definitely went with the right assertion. His influence in his music is just not NSG but also brinda - muktha, i could hear a tad slower smara sundaranguni in paras which was lovely. The last thillana in poornachandrika is an usual nsg no which i believe nsg himself has taken a bit of kvn - it was the same degree of softness which went well. THe last shurutti i belive is thirruppugazh , it was not a cacophonous perumAle fullstop.
The violinist during songs was not aligning that well in shruthi , but he played well during alapana return. The mridangist a much younger boy was good in few moments where there is some kind of linear sarvalaghu typecast. Overall both the accompanist are surely upcoming .May i know the gurus of violinst and mrudangam artist . I see with the way the violinist keeps the violin bit flatter makes me think he is a student of VVS
I personally felt if there is one drawback in gokul is his almost non interactive nature with the accompanist . I have observed about a dozen or so musicians in the last decade and very recently in two concerts where abhishek/suryaprakash when accompanied by even high quality artists like anantha krishan/mannargudi easwaran where they take a conscious effort to beat talam bit high at discrete intervals and that kind of thing indeed makes a right aesthetic correction . Gokul at times sings too much in his sukha anubhavam one way track , not really interacting with mrudangam artist needs correction.
Overall a very good concert for 1 hour and 20 minutes.