V Navaneet Krishnan- a prominent follower and practitioner of the KVN school gave a nice Chamber recital at the residence of Dr A Gopalakrishna, in the IIT campus, Chennai on 14 Aug. 2016 (10.15 a.m.-12.45 p.m.)
Sruti: 1.5 kattai (C sharp)
Accompanists:
R Raghul -Violin
V N Sivakumar-Mridangam
Sai Subramaniam-Morsing
List of kritis:
01 - Sarasijanabha (Varnam) - Mayamalavagaula - Adi - Maharaja Swati Tirunal
02 - Siddhivinayakam - Shanmukhapriya - Rupakam - Muttuswami Dikshitar
03 - Dangoorava Saareeraiya - Vasanta - Adi - Purandaradasa
04 - Ungal Puzhaikkadai (Thiruppavai) - Anandabhairavi - Adi - Andal
05 - Ninnuvinaga Mari - Poorvikalyani - Deshadi (Viloma Chapu) - Shyama Shastri
06 - Nee Chittamu - Dhanyasi - Mishra Chapu - Tyagaraja Swami
07 - Paramapurusham - Lalitha Panchamam - Khanda Chapu - Maharaja Swati Tirunal
08 - Raasavilaasalolo - Kambhoji - Adi - Maharaja Swati Tirunal
09 - Bharatadesamendru - Ragamalika - Adi - Subrahmanya Bharati
10 - Sri Vishnupadachintana - Ragamalika - Mishra Jhampa - T.S.Balakrishna Shastrigal [Composed on Ariyakkudi - tuned by KVN]
11 - Andrivvulagam Alandhaai (Thiruppavai) - Sindhubhairavi - Andal
12 - Kumaragurupara (Thiruppugazh) - Senchurutti - Arunagirinathar
13 - Thillana - Poornachandrika - Adi - Ramnad Srinivasa Iyengar
14 - Nee Nama Roopamulaku (Mangalam) - Saurashtram - Adi - Tyagaraja Swami
(To be continued)
V Navaneet Krishnan- Chamber concert 14 Aug 2016
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Sivaramakrishnan
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CRama
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Re: V Navaneet Krishnan- Chamber concert 14 Aug 2016
Good selelction of songs and I know he would have made an excellent presentation. Because of logistic issues, I could not attend.
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rajeshnat
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Re: V Navaneet Krishnan- Chamber concert 14 Aug 2016
Great song list by navneet- keep it up . I knew that there is a KVN composition on ariyakudi. With the above post , I stand corrected - did not know that the great TS Balakrishna sastrigal has written the lyrics and kvn tuned ,on the composition of ariyakudi.Sivaramakrishnan wrote: 10 - Sri Vishnupadachintana - Ragamalika - Mishra Jhampa - T.S.Balakrishna Shastrigal [Composed on Ariyakkudi - tuned by KVN]
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Sivaramakrishnan
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Re: V Navaneet Krishnan- Chamber concert 14 Aug 2016
And here's the detailed review:
The Ariyakudi paddhati is marked by presence of a variety of compositions in the kutcheri menu that would appeal to a cross section of rasikas. The tradition was carried forward by Palghat K V Narayanaswami. Navaneet, who in turn is taking lessons from Smt Padma Narayanaswami, has imbibed the tenets of the school quite well.
The Mayamalavagoula Varnam was the opening item with a few rounds of Kalpana swaras at the end. Siddhivinayakam was presented with swaraprastara at the ‘irresistible’ point ‘Prasiddha gananaayakam’.
I was listening to the Purndaradasa kriti in vasantha which came next, for the first time. It was brisk and refreshing. The Aandaal Tiruppavai in Anandabhairavi was preceded by an aalaapana bringing out the aesthetic elements of the raga. The violin return was equally good and scholarly.
Poorvikalyani was delineated with ‘pidis’ characteristic of the school and the kriti ‘Ninnuvina’ was rendered in the unique Viloma Chaapu - Desadi mode. Niraval and swaraprastara were for ‘paramalobhulaku pogadi pogadi’ eliciting spirited involvement of the percussionists.
Dhanyasi aalaapana for ‘Nee Chittamu’ was vyavahaara oriented and the kriti in mishra chaapu was adorned with niraval and kalpanaswaras with appropriate kurraippu pattern. Needless to mention that Nee Chittamu is a connoisseur’s delight!
‘Paramapurusham hridaya bhaavaya tam’ the numero uno in Lalithapanchamam came next.
‘Raasavilaasa’ (Kambodhi) the gaiety composition of Swati Tirunal was the main. Navaneet did full justice to the Raga alaapana with ‘sampradaayik sanchaaras’. It was evident that he has done a lot of homework in perfecting the suite. The take off of the kriti can be colloquially described as ‘Onnarai edam’ demanding a high degree of proficiency from the singer. Niraval and Swaraprastara at ‘Madanaatura Gopika’ were handled ably and smoothly. The kuraippu patterns were simple but scholarly. Rahul gave nice support on violin.
The Tani by V N Sivakumar and Sai Subramaniam was enjoyable. The jewel in the crown was the final Trikaala Korvai accommodated in a single tala aavartha by Sivakumar. Sai Subramaniam a disciple of Kalaimaamani A S Krishnan offered pleasant but laya laden twangs on the Morsing.
(A brief write up on the Mridangist, a NRI is given at the end of this review)
The tukkada segment began with the patriotic ‘Bharatadesamendru’ of Mahakavi Subramanya Bharathiyar in Ragamalika (Kedaragoula, Pantuvarali, Punnagavarali and Sindhubhairavi).
‘Sri Vishnupadachintana’ hailing the glory of Ariyakudi Ramanuja Iyengar has the Sahitya in Sanskrit authored by Brahmasri T S Balakrishna Sastrigal and set to tune by none other than KVN in Ragamaalika (Yamuna kalyani,Nadanamakriya, Navaroz, Punnagavarali,Kapi and Sindhubhairavi). That was a fitting tribute by the singer to his Guruparampara.
Navaneet has an obsession for Tirupaavai that manifested in another composition ‘Andrivvulagum’ in Sindhubhairavi.
Thiruppugazh in Chenchurutti and the Tillana in Poornachandrika preceded the Mangalam.
Navaneet’s reverence is such that he selects only those songs that have been taught and practised by KVN-thanks to Smt Padma Narayanaswamy who retains the treasure in tact. He does not deviate even from the ‘niraval passges’ popularised by KVN. He makes it a point to use a 'wooden' sruti box in addition to the Tambura.
His music has elements of the old world charm and he offers music in analogue format- thankfully not digital!
**************
A note about Sri V N Sivakumar (Mridanga vidwan):
Sivakumar had the privilege of receiving his formal training in mridangam from the legendary and much beloved guru, the late Sangeetha Kala Acharya Kumbakonam Sri M.Rajappa Iyer. He also venerates Sangeetha Kalanidhi Sri T. K.Murthy as his teacher and ideal, and has, for many years, endeavoured to study and emulate TKM’s special approach to mridangam accompaniment. Sivakumar's first concert appearance took place in Madras over 35 years ago. An academic by profession, Dr. Sivakumar teaches mathematics at Texas A&M University in College Station.
I learnt that Sri Sivakumar has plans to settle down home in Chennai after retirement. Welcome, Professor!
**
The Ariyakudi paddhati is marked by presence of a variety of compositions in the kutcheri menu that would appeal to a cross section of rasikas. The tradition was carried forward by Palghat K V Narayanaswami. Navaneet, who in turn is taking lessons from Smt Padma Narayanaswami, has imbibed the tenets of the school quite well.
The Mayamalavagoula Varnam was the opening item with a few rounds of Kalpana swaras at the end. Siddhivinayakam was presented with swaraprastara at the ‘irresistible’ point ‘Prasiddha gananaayakam’.
I was listening to the Purndaradasa kriti in vasantha which came next, for the first time. It was brisk and refreshing. The Aandaal Tiruppavai in Anandabhairavi was preceded by an aalaapana bringing out the aesthetic elements of the raga. The violin return was equally good and scholarly.
Poorvikalyani was delineated with ‘pidis’ characteristic of the school and the kriti ‘Ninnuvina’ was rendered in the unique Viloma Chaapu - Desadi mode. Niraval and swaraprastara were for ‘paramalobhulaku pogadi pogadi’ eliciting spirited involvement of the percussionists.
Dhanyasi aalaapana for ‘Nee Chittamu’ was vyavahaara oriented and the kriti in mishra chaapu was adorned with niraval and kalpanaswaras with appropriate kurraippu pattern. Needless to mention that Nee Chittamu is a connoisseur’s delight!
‘Paramapurusham hridaya bhaavaya tam’ the numero uno in Lalithapanchamam came next.
‘Raasavilaasa’ (Kambodhi) the gaiety composition of Swati Tirunal was the main. Navaneet did full justice to the Raga alaapana with ‘sampradaayik sanchaaras’. It was evident that he has done a lot of homework in perfecting the suite. The take off of the kriti can be colloquially described as ‘Onnarai edam’ demanding a high degree of proficiency from the singer. Niraval and Swaraprastara at ‘Madanaatura Gopika’ were handled ably and smoothly. The kuraippu patterns were simple but scholarly. Rahul gave nice support on violin.
The Tani by V N Sivakumar and Sai Subramaniam was enjoyable. The jewel in the crown was the final Trikaala Korvai accommodated in a single tala aavartha by Sivakumar. Sai Subramaniam a disciple of Kalaimaamani A S Krishnan offered pleasant but laya laden twangs on the Morsing.
(A brief write up on the Mridangist, a NRI is given at the end of this review)
The tukkada segment began with the patriotic ‘Bharatadesamendru’ of Mahakavi Subramanya Bharathiyar in Ragamalika (Kedaragoula, Pantuvarali, Punnagavarali and Sindhubhairavi).
‘Sri Vishnupadachintana’ hailing the glory of Ariyakudi Ramanuja Iyengar has the Sahitya in Sanskrit authored by Brahmasri T S Balakrishna Sastrigal and set to tune by none other than KVN in Ragamaalika (Yamuna kalyani,Nadanamakriya, Navaroz, Punnagavarali,Kapi and Sindhubhairavi). That was a fitting tribute by the singer to his Guruparampara.
Navaneet has an obsession for Tirupaavai that manifested in another composition ‘Andrivvulagum’ in Sindhubhairavi.
Thiruppugazh in Chenchurutti and the Tillana in Poornachandrika preceded the Mangalam.
Navaneet’s reverence is such that he selects only those songs that have been taught and practised by KVN-thanks to Smt Padma Narayanaswamy who retains the treasure in tact. He does not deviate even from the ‘niraval passges’ popularised by KVN. He makes it a point to use a 'wooden' sruti box in addition to the Tambura.
His music has elements of the old world charm and he offers music in analogue format- thankfully not digital!
**************
A note about Sri V N Sivakumar (Mridanga vidwan):
Sivakumar had the privilege of receiving his formal training in mridangam from the legendary and much beloved guru, the late Sangeetha Kala Acharya Kumbakonam Sri M.Rajappa Iyer. He also venerates Sangeetha Kalanidhi Sri T. K.Murthy as his teacher and ideal, and has, for many years, endeavoured to study and emulate TKM’s special approach to mridangam accompaniment. Sivakumar's first concert appearance took place in Madras over 35 years ago. An academic by profession, Dr. Sivakumar teaches mathematics at Texas A&M University in College Station.
I learnt that Sri Sivakumar has plans to settle down home in Chennai after retirement. Welcome, Professor!
**
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rajeshnat
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- Joined: 03 Feb 2010, 08:04
Re: V Navaneet Krishnan- Chamber concert 14 Aug 2016
Kumbakonam Rajappa Iyer is a doyen who must have maximum number of performing students as of today - many of them have reached a great performing status . I hope sivakumar though retired from maths has adequate math in his hands and we will be blessed if he shows the TK Murthy delicacy. There is definitely a shortage of great mrudangam artists as the main artists count has gone exponentially. Nice to see a mrudangam reverse brain happening - best wishes to vidwan sivakumar.