MaharAjapuram Ramachandran@NGS on Feb12th,2014
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Violin : V V Ravi
Mrudangam : Mannargudi Easwaran
Ghatam : Vaikkom Gopalakrishnan
Concert Type : Nirvana - no concert to follow
Day/Duration : Wednesday / 2 hours and 5 mins
Concert Type/Crowd : Ticketed concert - around 100 to 125 (The hall can take much much more)
Hall: Narada gana sabha
missed the first varnam karunimpA in sahAnA
2.Varasiddhi vinayakam(S) - nattai - MD
4 mins swaras
3. sharanA gatham Endru (N S) - gowlai - GKB
3 mins neraval in karuna kaTAksham panna vEnum thillai kanaga sabayiL AAdum
4 mins swaas
4. rAma nannu brOva rA (N,S) - harikAmbOdhi -T
6 mins each in neraval and swaras
neraval in meppulakai kannatAvu-nappu baDaga
5A. hamsanAdam alapanai for 9 mins and violin return for ?? mins
5B. viruththam avan vElukku abhayam Thanigaiyum thOlukku abhayam - ????
5C.karathiniL vEl yEndum kandan(R N S) - hamsanAdam - swami surajAnanda (possibly tuned by SKR)
neraval in ezhilAna peyar kOnda azhagan eerAru karam koNda murugan for 2 mins
6 mins swaras
6. sarasiruha nanna rAma - mukhAri - T
7A. dOrakuna iTuvaNti (R N S T) - bilahari- T
10 mins alapana and 5 mins violin return
neraval in rAmabhrahma tanayuDau tyAgarAju tA bADucu nUcaga rAmuni for 5 mins
6 mins swaras
7B. tani for 9 mins
8A. viruththam -poothavalE - behAg +mohanakalyani + yamunAkalyAni - AbhirAmi anthAdi
8B. vandEham shAradham - yamunAkalyani - Swami dayananda saraswati
9. His personal pre mangalam closure - bho same Bho - revathi - Swami dayananda saraswati
10. pavamAna
MaharAjapuram Ramachandran@NGS on Feb12th,2014
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rajeshnat
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- Joined: 03 Feb 2010, 08:04
MaharAjapuram Ramachandran@NGS on Feb12th,2014
Last edited by rajeshnat on 14 Feb 2014, 22:30, edited 1 time in total.
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rajeshnat
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- Joined: 03 Feb 2010, 08:04
Re: MaharAjapuram Ramachandran@NGS on Feb12th,2014
It is roughly a month since I attended a concert , had time and went to the same artist - maharajapuram ramachandran whom I listened a month back . Went with an expectation that being a biggest sabha and with a start of 6:30 pm and most importantly being a ticketed concert- i thought the artist will sing 2 and 1/2 to 3 hours + . That did not happen -went to MSR to ask why he wrapped at 8 35 pm, the response from him was naan pAdalam ninaichEn ,mudichidannu sonnA (I wanted to sing but the organizer asked me to wrap) . I also witnessed at the end of 08:30 pm when MSR asked the organizer innum evalu pAdalam(how many more songs can I sing) , the organizer said onnu pAdi mudhichadalam(YOu can take one more and wrap it) . Then Maharajapuram Ramachandran wrapped with this pre mangalam closure - nirguna para brahmam in bho bho same sam bho - looks like it was a case of either the artist wanted to stop and/or the sabha indeed did not want him to sing.
Putting that aside it was a very musically mature concert concert that focussed on his core asset. His core asset was his voice quality with voice power without losing that much verve . I went bit late when he sang the nattai md krithi , the patterns were nearly the same as what i heard before- there was a dash of few sangathis from pancharatna krithi .Nattai with a powerful booming voice was indeed great .The next gowlai krithi saranAgatham endru is way different gowlai than his appa , his appa pauses with a alankaram in every phrase , but ramachandran goes bit restless like his thatha - well presented - noticed a slip in neraval.
His harikAmbOdhi has amazed me in general , especially this krithi of T is so very very dear to me rama/rAma/rAmA nannu brova rA gives so much goosebump starts with so many contours of RAMA, his neraval was bit vOttam where the metre of mrudangam just didnot settle that well .He made up well with swaras
WHAT a hamsanAdam it was ,maharajapuram ramachandran musical maturity is his midpoint of settling between vishwanatha iyer and santhanam . That means he is little more going away from santhanam in producing more brigas - but little less than vishwanatha iyer in producing brighas with minimal breath not taking sangathis . Wow taken what is best of his appa and thathA.
His appa mesemerized with lovely jolly viruththams. MSR dropped very much like his appa with hamsanadam . The emotive and oozing line avan vElukku abhayam was lovely.With the emote fully stirred he went back to fast brigas in a lovely krithi of surajananda in hamsanAdam.I think SKR has tuned this krithi- lovely one with lucid lines in thamizh . Neraval went bit too scalar with a touch and go -felt he should have gone more . The swara prastharam was fantastic in hamsanadam.
The filler in mukhari was a nayana pidi of his thathA - hardly cared for orderliness - i immensely liked it. The main was a bilahari - the alapana was less intense , this krithi dorakuna iTuvanti as a main is something I am assuming has not been taken by his appa or thatha as a main .The bilahari sangathis was lovely in neraval ,swaras were not that great . Perhaps loss of energy there.
The viruththam was very nice - the medlay of ragas like behag + mohanakalyani + yamunakalyani was lovely and he gave janaranjakam finish with vandeham sharadE .I personally felt this song is bit of doordarshan light music song than a concert krithi list for NGS hall. He ended with his baritoned voice in his usual bho sambhO , few went gA gA , few went with the feeling O gosh yet again.
The violinst VV Ravi played with a lot of sowkyam , bit slow but definitely well played . Easwaran of MannAr goody was just fantastic - lovely taps without an iota of overbang . Certainly I enjoyed his beats throughout with a real lovely rotation with ghatam artist . Vaikkom in ghatam gave an excellent support with real nice azhuttam during tani.
If there is some thing to crib, at times MSR loses a bit of layam alignment during neraval where a bit more leisureliness and bit more dwelling can indeed make it better . His voice is just sheer magic with a real power and sowkyam- his kalpana is a very well oiled machinery that takes his nabhi as the ignition engine.
Overall a very good to excellent concert for 2 hours and 5 mins.
Putting that aside it was a very musically mature concert concert that focussed on his core asset. His core asset was his voice quality with voice power without losing that much verve . I went bit late when he sang the nattai md krithi , the patterns were nearly the same as what i heard before- there was a dash of few sangathis from pancharatna krithi .Nattai with a powerful booming voice was indeed great .The next gowlai krithi saranAgatham endru is way different gowlai than his appa , his appa pauses with a alankaram in every phrase , but ramachandran goes bit restless like his thatha - well presented - noticed a slip in neraval.
His harikAmbOdhi has amazed me in general , especially this krithi of T is so very very dear to me rama/rAma/rAmA nannu brova rA gives so much goosebump starts with so many contours of RAMA, his neraval was bit vOttam where the metre of mrudangam just didnot settle that well .He made up well with swaras
WHAT a hamsanAdam it was ,maharajapuram ramachandran musical maturity is his midpoint of settling between vishwanatha iyer and santhanam . That means he is little more going away from santhanam in producing more brigas - but little less than vishwanatha iyer in producing brighas with minimal breath not taking sangathis . Wow taken what is best of his appa and thathA.
His appa mesemerized with lovely jolly viruththams. MSR dropped very much like his appa with hamsanadam . The emotive and oozing line avan vElukku abhayam was lovely.With the emote fully stirred he went back to fast brigas in a lovely krithi of surajananda in hamsanAdam.I think SKR has tuned this krithi- lovely one with lucid lines in thamizh . Neraval went bit too scalar with a touch and go -felt he should have gone more . The swara prastharam was fantastic in hamsanadam.
The filler in mukhari was a nayana pidi of his thathA - hardly cared for orderliness - i immensely liked it. The main was a bilahari - the alapana was less intense , this krithi dorakuna iTuvanti as a main is something I am assuming has not been taken by his appa or thatha as a main .The bilahari sangathis was lovely in neraval ,swaras were not that great . Perhaps loss of energy there.
The viruththam was very nice - the medlay of ragas like behag + mohanakalyani + yamunakalyani was lovely and he gave janaranjakam finish with vandeham sharadE .I personally felt this song is bit of doordarshan light music song than a concert krithi list for NGS hall. He ended with his baritoned voice in his usual bho sambhO , few went gA gA , few went with the feeling O gosh yet again.
The violinst VV Ravi played with a lot of sowkyam , bit slow but definitely well played . Easwaran of MannAr goody was just fantastic - lovely taps without an iota of overbang . Certainly I enjoyed his beats throughout with a real lovely rotation with ghatam artist . Vaikkom in ghatam gave an excellent support with real nice azhuttam during tani.
If there is some thing to crib, at times MSR loses a bit of layam alignment during neraval where a bit more leisureliness and bit more dwelling can indeed make it better . His voice is just sheer magic with a real power and sowkyam- his kalpana is a very well oiled machinery that takes his nabhi as the ignition engine.
Overall a very good to excellent concert for 2 hours and 5 mins.
Last edited by rajeshnat on 14 Feb 2014, 15:09, edited 1 time in total.
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sridhar_ranga
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- Joined: 03 Feb 2010, 11:36
Re: MaharAjapuram Ramachandran@NGS on Feb12th,2014
There was Sahana Adi taala varnam (Karunimpa) before varasiddhi vinayakam.
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rajeshnat
- Posts: 10121
- Joined: 03 Feb 2010, 08:04
Re: MaharAjapuram Ramachandran@NGS on Feb12th,2014
sridhar_ranga
Nice to meet you after you recognized me. Add your impressions too - not just me everyone would like to know.
Nice to meet you after you recognized me. Add your impressions too - not just me everyone would like to know.
-
rajeshnat
- Posts: 10121
- Joined: 03 Feb 2010, 08:04
Re: MaharAjapuram Ramachandran@NGS on Feb12th,2014
Any one ,
MSR viruththam had lines like
avaN velukku abhayam
iRu thAlukku abhayam
ThanigaiyAm thOlukku abhayam
...
vaLLi devivayAnaikku...
Does any one know this source of the viruththam. The thamizh was very very lucid and extremely catchy.
MSR viruththam had lines like
avaN velukku abhayam
iRu thAlukku abhayam
ThanigaiyAm thOlukku abhayam
...
vaLLi devivayAnaikku...
Does any one know this source of the viruththam. The thamizh was very very lucid and extremely catchy.