Neyveli Santhanagopalan @ STSVS, Chennai (25 Apr 2007)

ram · Post by **ram** » 26 Apr 2007, 00:39

Venue: Sri Thiagaraja Sangeetha Vidwath Samajam, 5, Thiagarajapuram, Chennai

Date: 25 Apr 2007

Organizer: Sri Thiagaraja Sangeetha Vidwath Samajam (Sri Thiagaraja Jayanthi Concerts Series)

Vocal: Sri Neyveli Santhanagopalan

Violin: Sri M.A. Sundaresan

Mridangam: Sri Tiruvarur Bhaktavatsalam

Ghatam: Sri V. Suresh

List of songs:

1) sObillu - jaganmOhini - rUpakam - thyAgarAja (OS)

2) rAma bhakti sAmrAjyam - sudha bangALa - Adi - thyAgarAja (OS)

3) vADEra deivamu - pantuvarALi - Adi - thyAgarAja (ANS)

4) entani nE - mukhAri - rUpakam - thyAgarAja

5) krupaju - chAyAtarangiNi - adi - thyAgarAja

6) kadanuvAriki - tODi - Adi - thyAgarAja (ANST)

7) entamuddO - bindumAlini - Adi - thyAgarAja (O)

8 ) vinAyakuni - madyamAvati - Adi - thyAgarAja (S)

9) nI nAma rUpa mulaku (mangaLam) - saurAshTram - Adi - thyAgarAja

(Key: O=raga outline, A=raga alapana, N=neraval, S=kalpana swaram, T=taniavartanam)

A nice concert by Sri Neyveli Santhanagopalan and his team of experienced accompanists. tODi stood out. Sri M.A. Sundaresan was brilliant as usual.

Taniavartanam by Sri Bhaktavatsalam and Sri Suresh comprised chatusra and tisra naDais and a kuraippu. Kuraippu started like a kanDa kuraippu. First two rounds were played starting 2 beats (8 aksharams) after samam as 4 patterns of 5 aksharam each first in chatusra gati, then in kanDa gati and then again in chatusra gati (total = 2 beats gap + 14 beats of patterns = 16 beats = 1 avartanam of Adi tALam - 2 kaLai). The basic structure in the next round consisted of 3 patterns of 6 aksharam each with a one aksharam kArvai between the first and second and between the second and third pattern ( 6 + 1 + 6 + 1 + 6 = 20 aksharams). This was played starting 2 beats after samam, first time in chatusra gati, next in kanDa gati and then in chatusra gati (total = 2 beats gap + 5 beats in chatusram + 4 beats in kanDam + 5 beats in chatusram = 16 beats = 1 avartanam of Adi tALam 2 kaLai). The same structure was used in the next round except that the patterns were played now in double speed as "(6 x 1) + 2 aksharam gap + (6 x 2) + 2 aksharam gap + (6x3)" in place of the earlier "6 + 1 gap + 6 + 1 gap + 6" in normal speed. The combination of slow and fast speeds went on for one more round. The next few rounds all followed the structure of the first two rounds, viz 20 aksharams taken after 2 beats from samam and played in chatusra, kanDa and then back in chatusra gati one after the other. The half avartanam portion was played starting one beat after samam (or mid-point of the avartanam) as 2 x 5 aksharams in chatusram followed by 2 x 5 aksharams in kanDam followed by 2 x 5 aksharams in chatusram (total = 8 beats). The quarter avartanam portion was played starting 0.5 beats after samam (or after each 25% point of the avartanam) as a 5 aksharam pattern in chatusram followed by kanDam followed by chatusram again. After this, normal patterns in chatusra naDai for quarter avartanam portions started.

Source: http://ramsabode.wordpress.com/2007/04/ ... -25042007/

mridhangam · Post by **mridhangam** » 26 Apr 2007, 11:51

Ram an excellent analysis and super description. But the Koraippu was Misra Koraippu and not Khanda koraippu. When you take 2 beats after samam in Adi Talam (2 Kalai) it is Misra Koraippu where u have 14 beats in the beginning and then gradually it will reduce to 7 beats 3 1/2 and 1 3/4 like that and it was so amazing that shri.Bhaktavalsalam sir followed the chatusram-khandam-chatusram pattern till 3 1/2 it was so nice. That is how stalwarts play and they take a pattern and develop on it and see to it that till then end the same Aasu is followed with lots of varieties and personal touches.Otherwise the stalwarts dont take any pattern like that at all. Bhaktavatsalam sir stood out as an excellent example of the above. True Bhaktavatsalam sir proved his ability and creativity.

Now About Neyveli Santanagopalan. Soaked in Bhava and bhakti. sobillu itself was an excellent take off for the concert. I entered the hall little late while the shobillu kriti was well under way upto the point of swara patterns. Neyveli then took off Rama Bhakti to soak himself in immortal Rama and he himself made others relish the "Ila gani vivarimpa lenu Chala swanubhava me". I cant really explain the transcending of rama bhathi on to the rasikas it is only swanubhavam. felt really soul stirring and emotionally appealing. Neyveli as a true torch bearer of Classical Music enlivened the concert to an excellent musical journey on Lord Rama and made the audience realise the power of the Saint's vision and lyrical beauty. not only did he lift the mood of the audience and ambience but also gave out his best for the occasion at the Vidvat Samajam.

MAS stood out best in Thodi. His following is simply amazing and his bowing is very soft and effective. He stood out as a role model for a perfect violin accompaniment.

Ghatam suresh was simply sparkling. Dont find any other word. Brilliant and very perfect.

J.Balaji

ram · Post by **ram** » 26 Apr 2007, 12:21

Thank you Sir Balaji for the clarification and for sharing your experience of hearing Sri Santhanagopalan sing. That you were enjoying the concert thoroughly was evident from the way you were appreciating the concert sitting there right up in front !!!

When the kuraippu started with patterns of 5 I started thinking kanDa kuraippu which is why I wrote it started like kanDa kuraippu ('appeared like kanDa kuraippu to me' I realize would have been a better way to put it). But then I was puzzled as he started that after 2 beats which as you say is where misra kuraippu starts. Reality struck as soon as he started playing it in kanDa gati inbetween. Very interesting experience for me as it is the first time I am hearing misra kuraippu played this way. I have only heard it played with patterns of 7 before. Interestingly, Sri Shertalai Ananthakrishnan played it with patterns of 7 with chatusra gati and tisra gati varieties a couple of days back at the samajam.

mridhangam · Post by **mridhangam** » 26 Apr 2007, 12:36

To convey my points further ... i am enclosing a picture of Shri Neyveli sir .. cn you listen to the excellent Bindumaalini ? that is difficult na .. so are the words .. and actual experience...

The picture is capturing the mood of the artiste during Enta Muddo.

http://www.rogepost.com/n/0279961085

J.Balaji

(btw how to insert a picture here. with my limited knowledge of HTML Markup i tried put it didnt work. could anyone help me put the actual picture here and tell me how to do it .. so that i can enhance my postings also)

vijay · Post by **vijay** » 26 Apr 2007, 14:54

Ram you have taken reviewing to another level. Added to that Sri Balaji's comments and my laya knowledge is galloping along nicely!

arasi · Post by **arasi** » 26 Apr 2007, 19:58

Mridhangam,
You have said it so well. It captures the essence of Neyveli's music--the way he takes the rasikAs with him and letting them share his experience in sangItham and its spiritual dimensions...

jayaram · Post by **jayaram** » 26 Apr 2007, 22:34

Balaji - I have inserted the picture below:

Easiest way to do this is to upload at http://tinypic.com/
then use the 'IMG Code for Forums & Message Boards' option to paste the link here.

mridhangam · Post by **mridhangam** » 27 Apr 2007, 11:10

Jayaram thanks for getting the mood of the artiste in the post itself.

"IMG code for Forums & Message Boards ? what is that and where is that ?

J.Balaji

mridhangam · Post by **mridhangam** » 27 Apr 2007, 19:12

Jayaram here is another Pic

Hope i have done it right ...

J.Balaji

s_bala · Post by **s_bala** » 01 May 2007, 12:08

Can someone clarify the line at which Neyveli Sir sang Neraval in Vadera Deivamu ? thanks

ram · Post by **ram** » 01 May 2007, 23:00

s_bala,

IIRC, he sang neraval at "dhAtru vinutuDaina tyAgarAjuni ...... "