VIJAYA SIVA IN DAKSHINAMURTHY AUDITORIUM 21/7/16

[CRama]

Accompanists- Charumati Raghuraman- Violin, Manoj Siva- Mridangam
List of songs.
• Slokam- Nadathanum anisam- Chittaranjani- T
• Tanjam enru vanda ennai dayavudane kaathiduvay-Kedaragowla (N,S)
• Nambikettavar illavo-Kalyani PD (R,N,S)
• Nee dayache Rama- Yadukulakambodi-T
• Ramabhirama Manasu- Dhanyasi –T (R)
• Parvati ninnu ne- Kalgada-SS
• Pahimam Ratnachalanayaka-Mukhari-MD (R,N,S)
• Tani
• Virutham- Oru kalil sangu, oru kalil chakram- Begada, Bhowli, Jonpuri
• Asai mukam marandu poche-Jonpuri
• Madar pirai-Chenjuruti
• Santha Ahimsamurthy-Sindubhairavi
• Karpagame-Madhyamavathy
• Marukkulaviya-Tirupugazh-Poorvikalyani
• Mangalam

Vijaya Siva is a stickler to tradition and provides wholesome unadulterated music inherited from his Gurus DKJ and DKP in abundant measure. His full open throated singing, right kalapramanam, authentic padantharam, sruti aligned bell like voice, well rounded brighas, measured presentation of gamakas and brighas all make his music as the Gold Standard for chaste carnatic music. When VS is performing, there is a quality, clarity and songs covering various composers and divinity surrounding the atmosphere. I for one think that Vijay Siva is in a league of his own.

The concert started at 6.45PM. The reverberation of well aligned sruti from the two tamburas provided the right ambience for the concert. The hall was almost full waiting to savour the chaste classical fare that is synonymous with Vijaya Siva. He commenced the concert with a slokam followed by Nada thanum anisam in Chittaranjani, the lone composition in this raga. This was followed by a rare song in Kedaragowla. I think it is a composition of Kavi Kunjara Bharati- not sure though. The song has very bhava centric lyrics directly touching the heart. It was presented in a gripping tempo. The neraval at Nenjil oliyaga nee nindru vazhi kaattuvay and cascade of two kala swaras provided the required pep at the beginning of the concert itself.

The first raga of the concert was Kalyani. Elaborate alapana interspersed with characteristic sancharams, jarus and janta prayogams, gamakams and brighas made this a very enjoyable kalyani. After a brief ugaboga (which could have been avoided) the PD composition popularised by Ari/KVN etc, Nambi kettavar illavo was presented with neraval at Ambujanayana Akhila lokesana and detailed swaras in two kalams. I will call this as the first main song instead of sub main as this had all the elements of a main song sans the tani. The entire song took 30 minutes. The next three songs which came as filler were also rendered well with full fidelity to the sahithyam and sangeetam. My only crib here is that Dhanyasi alapana was very brief- only 3 minutes. He could have gone for an elaborate alapana. Nowadays many musicians have adopted a two ragam formula even when there is time for three ragams. The rendition of the song in Kalgada needs special mention. The characteristic glide in Paaarvathy came off in a commendable manner.

The main ragam for the day was Mukhari. When Kalyani came as the first ragam, I was sure that the main is going to be something other than Big Five. I expected Saveri. But Mukhari came as a pleasant surprise. Raga alapana went for nearly 10 minutes inviting Bhale Besh from the whole auditorium. Pahimam Rathnachala is a favourite of DKP and Vijay Siva. The song was rendered well in the authentic patantharam. Neraval was in the lines Sadyojathi Panchamukhari followed by detailed kalpana swaras. The entire song took 35 minutes. The tani was for 8 minutes only. The tail ender songs were much enjoyed by the discerning rasikas. The concert concluded at 8.55 P.M

Charumathi Raghuraman provided excellent accompaniment. Her alapanas and swara returns were lively and authentic. Only one observation- her alapanas consumed equal time as the vocalist. Manoj Siva embellished the concert with the right amplification, nadam and nidanam. He had good anticipation and in many places his mridangam sang along with VS.

It is to be appreciated that VS still threads dedicatedly on the path laid by his Gurus. His repertoire is enviable. An excellent concert for two hours ten minutes.

[rajeshnat]

• Tanjam enru vanda ennai dayavudane kaathiduvay-Kedaragowla (N,S) - ?????(Lji Help)

• Asai mukam marandu poche-Jonpuri - bharathiyar
• Madar pirai-Chenjuruti - tevaram(tirunavakuarasar)
• Santha Ahimsamurthy-Sindubhairavi - mayuram vishwanatha sastri
Thank you crama for your vs review.

[CRama]

Thanks Rajesh for the addl inputs. Reg Kedaragowla song, I searched in many places. I could not get.

[thanjavooran]

Many thanks CRama for the excellent review. V S will never compramise with anybody on any issue. As you say he maintains tradition to the core.
Thanjavooran
23 07 2016

[Rsachi]

CRama,
I consider it a singular upside of visiting rasikas.org often that I get to read wonderful reviews like yours. Thank you.

Any musician who can command such words in a review of a present-day concert, after performing for so many years, should consider the entire journey as having been well worth it, unlike most seniors who often can only bask in old glory of their early years:

When VS is performing, there is a quality, clarity and songs covering various composers and divinity surrounding the atmosphere. I for one think that Vijay Siva is in a league of his own.

[hnbhagavan]

Vijaya Siva should be honored with Sangeetha kalanidhi in 2016.

[Sivaramakrishnan]

Rsachi,
That's indeed a fitting compliment you have given to CRama!
It's also a pointer as to how artists must deserve to earn such encomium from connoisseurs.

[Sivaramakrishnan]

Now a few remarks about the VS concert which I too attended (with CRama):

The 2 songs I enjoyed most were Raamaabhiraama(dhanyasi) and Paarvati(Kalgada). There was a 'thoughtful' kalyani between the cousins Kedaragoula and Yadukulakambodhi.

VS was apparently suffering from a cold but that didn't deter him from scaling the ragas in full; for example the upper Gandhara in Kalyani aalaapana.

The strains of the carefully tuned Tambura pair was well audible to the audience perhaps only in the beginning or during the raga aalaapana/ at the breaks between songs. What about having a mike for at least one instrument?

[Rsachi]

Yes, tamburas need mikes. Otherwise we will hear only their electronic substitutes, when used.
I have seen even electronic tamburas (iphone/android apps with bluetooth speakers) are now connected with line output to the amplifiers by many artistes these days. If no line out works, they place a hand mike near that speaker.

Perhaps it is rare, but I have observed some "real tambura" artistes (especially young ones placed on stage for optics) not playing the tambura continuously. I found it so in a few instances, but would not say it is a common thing.

[Sivaramakrishnan]

True, Rsachi.
In the concert under review, the Tamburas were strummed quite well but the problem was with amplification!

[Nick H]

Rsachi,
That's indeed a fitting compliment you have given to CRama!
It's also a pointer as to how artists must deserve to earn such encomium from connoisseurs.

Fitting compliments to great artist and one among several great rasikas including CRama and yourself.

[Vocalist]

CRama, thanks for posting this review. It helped me appreciate what a discerning rasika you are too; the way you captured sir's rendition of the Kalgada composition was a highlight in my opinion, but the entire review provides such lovely footage for those of us who could not attend with you.

The tail ender songs were much enjoyed by the discerning rasikas.

I can imagine! In fact, the entire song list is very exciting; it is impressively packed with so much DKP/DKJ flavour while reserving an appropriate proportion of VS individuality. Whether it is the rarely heard Kedaragowla composition, or the elaborate Mukhari, or each and every item in the post-thani section, it must have been a treat.

The post-thani section I find is often nowadays being rushed or not given enough importance in concerts. I think artists (perhaps) unconsciously forget that the audience will comprise of people who have different levels of understanding/appreciation/music-education. While I don't want to downplay the role of heavy CM, the "lighter" doses are essential and this list resembles a better sense of balance in my opinion.

[Nick H]

I want to add extra praise for Manoj Siva's mridangam. I thought it was exceptional. it was not just the known-all-their-lives sibling connection to his brother, but the fabulous sound (both sides and their combination) and beautiful musicality of his differentiation (could we call it pronunciation?) of each stroke.

Charumati Raghuraman played wonderfully too.

It was one of those concerts where the perfect team work of each person combined to give a whole greater than the parts.

[sureshvv]

He seemed to be in a really upbeat jubilant mood, first pushing himself to execute those applause eliciting sangatis flawlessly and then taking in the spontaneous appreciation with an "I told you" smile. Covered all the heavy ragas so breezily without a moment of sag in the whole concert.

[grsastrigal]

Tanjan enru - Periasamy tooran. VS was telling someone after the concert.