Trichur Brothers@NGS on Nov 30th,2016
--------------------------------------------
Vocal : Trichur Brothers - srikrishna and ramkumar
Violin : L Ramakrishnan
Mrudangam : Trichur Nadabadran
Kanjira : Nerkunam Dr Shankar
Concert Type : Nirvana - No concert to follow , Free concet
Day/Duration : Wednesday / 2 and 1/2 hours
sabha/Hall : Aaradhana Utsav, NGS Main Hall
Dedicated to the memory of DR M Balamuralikrishna
1. varnam - Omkara pranava nAtho - Shanmughapriya- BMK
2. Brochevarevare Raghupathe(S)- shree ranjani -T
6 mins swaras
3. nadopAsana (R) - begada -T
6 mins alapana and 3 mins violin return
4. Nenarunchinanu annitiki - mAlavi - T
5. sAma gAna sarva bhowma swami thyagarAja(R,S) - amruthavarshini - BMK
11 mins alapana and 5 mins violin return
8 mins swaras
5B. tani
6. muruga muruga (raga sketch) - sAveri - PT
7. raghu vamsa sudha - kathanakutuhalam - Patnam
8.hari hara putram (R N S T) - vasantha - M
11 mins alapana and 5 mins violin return
7 mins neraval in Prarthita Putra pradam Vasanta
8 mins swaras
9.chinnan jiru kiliyE - ragamaliga - bharathiyar
10A. slokham -sarva mangala mangalyE - sindhubhairavi - help me ravi who wrote those sanskrit verses
10B. karunai deivamE karpagamE - sindhubhairavi - madurai sreenivasan
11. pavamana + slokham on sayee + shree venkata nivasAya
Trichur Brothers@NGS on Nov 30th,2016
-
rajeshnat
- Posts: 10144
- Joined: 03 Feb 2010, 08:04
Trichur Brothers@NGS on Nov 30th,2016
Last edited by rajeshnat on 01 Dec 2016, 20:01, edited 1 time in total.
-
rajeshnat
- Posts: 10144
- Joined: 03 Feb 2010, 08:04
Re: Trichur Brothers@NGS on Nov 30th,2016
The artist Trichur nadabadran , his two sons and L ramakrishnan remained the same since a month back when I heard them in Austin . The venue is alwarpet and there was just an addition of nerkunam shankar in kanjira . With DR BMK passing away , this concert was also dedicated to maestro balamuralikrishna.
The start was fantastic with an expressive or rather one of the most expressive ragas of CM - shanmughapriya. BMK gave so much of direction and with two open throated singers shanmughapriya varnam was an awesome start . I particularly enjoyed the second speed where the brothers gave immense joy in the phrase pAda nee ragamule . Another lovely raga followed , sadguru has given superb shree ranjani . The undulating contours of shree ranjani in this lovely krithi brochE va revararE is a great #2 to showcase the percussion-vocal zing .Mohan really provided adequate sarvalaghu cushion, the Kutcheri did not have any startup hiccups.
THe next in Begada did not turn out that well . BEgada rasa anubhava with its characteristic pidi was just a drift and I felt they should have presented it better . There was a slight rush without a sustenance in begada raga bhavam. The malavi is always 5th speed ferrari ride and the familiar krithi with cittaswaras was presented in quick turns. Particularly Mohan's controlled aggression was showcased at its best .
Amrithavarshi raga alapana was well done , particularly the continuous alapana akaaram by srikrishna made it very special . THe krithi of BMK was on sadguru and I liked their rendition . In the swaras ,the other brother Ramkumar gave lot of interesting patterns . Srikrishna Mohan jokingly said "amruthavarshi only gives rains but not cyclone" referring to the forecast in chennai. I adore amruthavarshini and I felt O boy BMK is a great vaggeyakkara and this krithi is a lovely musical abstraction of amruthavarshini. Towards the end of amruthavarshini swaras ,they ended with the arahona and avarohana swara notes and I liked their aesthetics.
The vilambit atlast appeared with saveri in muruga muruga. I felt both of them sang well with a right speed for atleast half the song . Certainly towards the second half i felt there was a noticeable drift in speed. Another fast filler the instrumentalist favourite -raghuvamsa sudha passed quickly.
The day's best was indeed vasanta . Superb alapana , the rendition of the krithi was not the 5th gear semmangudish Hurry Hara putram , it was bit slower say 4th gear harihara putram. Certain phrases in alapana were breathtaking . IIRC , I have not heard or may be I have forgotten that I have heard a neraval in harihara putram .I liked them taking up a neraval in this dikshitar masterpiece. Swaras were well done in their characteristic way - where one brother hums continously adding a tambura effect where the other brother juxtaposes with swara patterns.
The emote in chinnan jiru kiliyE could have been better if they had sung bit more leisurely. I was expecting atleast one malayalam number with lord guruvayurappa blessing as a desert , but they stuck with local alwarpet mylapore diety - karunai deivam karpagamE. The cindrella time was followed and exactly at 9 pm they wrapped .
L ramakrishnan played with finer raga bhavam especially in begada. His returns were very sweet and concise . The trichur nadabhadran- Mohan continues to rock. His posture and more importantly he keeps all the limelight on the singers - I have never heard him speak to the microphone . Even few gestures to sound adjustment are relayed through his putrans . He is very focussed on fundamentals and avoids any big showoff teermanams and continues to never disturb the flow of vocalist . I liked the way he amplifies and de amplifies the mrudu sound with his angam , possibly it is all kalpitam for him as he has practised it well with his putrans. Nerkunam shankar played well, I felt the volume was not adjusted right for him at all. At times I was struggling to hear his taps. I was drenched with amruthavarshini downpour and zoned out by not paying attention to tani.
Trichur brothers can focus bit more on neraval and they could have sung one more neraval, I particularly would like them to start slower in neraval- bit more neraval leisure can do wonders to their music .I missed a RTP, the start was advertised 6pm but got delayed till 06:30 pm .They had time but unfortunately they did not sing . May be dropping one of the two 5th gear krithis in malavi or kathana kutuhalam and apportioning that time to a bit slower and additional neraval would make their music wonderful . Neraval is itself having so much muse , I wish they donot treat it as though neraval is cannibalizing the forth coming swaras .
BMK as a vaggeyakkara was demonstrated so well in shanmughapriya varnam ,amrutha varshi krithi .I thank the aaradhana utsav orgaizers for providing me a share of * little lost * Carnatic muse. The takeaways of multi bedham murali mudhra pallavi in hamsanandi, sahana krithi (that was both sung by suryaprakash) and a lovely varnam in shanmughapriya with amruthavarshini krithi (BMK giving a run for money for even dikshitar challenging the siddhivinayakam and anandamurthavarshini krithi ). I am in the process of discovering BMK vaggeyakkara and in my psyche he is racing towards vaggeyakkara Lalgudi.
Overall a very good to excellent concert for 2 and 1/2 hours.
The start was fantastic with an expressive or rather one of the most expressive ragas of CM - shanmughapriya. BMK gave so much of direction and with two open throated singers shanmughapriya varnam was an awesome start . I particularly enjoyed the second speed where the brothers gave immense joy in the phrase pAda nee ragamule . Another lovely raga followed , sadguru has given superb shree ranjani . The undulating contours of shree ranjani in this lovely krithi brochE va revararE is a great #2 to showcase the percussion-vocal zing .Mohan really provided adequate sarvalaghu cushion, the Kutcheri did not have any startup hiccups.
THe next in Begada did not turn out that well . BEgada rasa anubhava with its characteristic pidi was just a drift and I felt they should have presented it better . There was a slight rush without a sustenance in begada raga bhavam. The malavi is always 5th speed ferrari ride and the familiar krithi with cittaswaras was presented in quick turns. Particularly Mohan's controlled aggression was showcased at its best .
Amrithavarshi raga alapana was well done , particularly the continuous alapana akaaram by srikrishna made it very special . THe krithi of BMK was on sadguru and I liked their rendition . In the swaras ,the other brother Ramkumar gave lot of interesting patterns . Srikrishna Mohan jokingly said "amruthavarshi only gives rains but not cyclone" referring to the forecast in chennai. I adore amruthavarshini and I felt O boy BMK is a great vaggeyakkara and this krithi is a lovely musical abstraction of amruthavarshini. Towards the end of amruthavarshini swaras ,they ended with the arahona and avarohana swara notes and I liked their aesthetics.
The vilambit atlast appeared with saveri in muruga muruga. I felt both of them sang well with a right speed for atleast half the song . Certainly towards the second half i felt there was a noticeable drift in speed. Another fast filler the instrumentalist favourite -raghuvamsa sudha passed quickly.
The day's best was indeed vasanta . Superb alapana , the rendition of the krithi was not the 5th gear semmangudish Hurry Hara putram , it was bit slower say 4th gear harihara putram. Certain phrases in alapana were breathtaking . IIRC , I have not heard or may be I have forgotten that I have heard a neraval in harihara putram .I liked them taking up a neraval in this dikshitar masterpiece. Swaras were well done in their characteristic way - where one brother hums continously adding a tambura effect where the other brother juxtaposes with swara patterns.
The emote in chinnan jiru kiliyE could have been better if they had sung bit more leisurely. I was expecting atleast one malayalam number with lord guruvayurappa blessing as a desert , but they stuck with local alwarpet mylapore diety - karunai deivam karpagamE. The cindrella time was followed and exactly at 9 pm they wrapped .
L ramakrishnan played with finer raga bhavam especially in begada. His returns were very sweet and concise . The trichur nadabhadran- Mohan continues to rock. His posture and more importantly he keeps all the limelight on the singers - I have never heard him speak to the microphone . Even few gestures to sound adjustment are relayed through his putrans . He is very focussed on fundamentals and avoids any big showoff teermanams and continues to never disturb the flow of vocalist . I liked the way he amplifies and de amplifies the mrudu sound with his angam , possibly it is all kalpitam for him as he has practised it well with his putrans. Nerkunam shankar played well, I felt the volume was not adjusted right for him at all. At times I was struggling to hear his taps. I was drenched with amruthavarshini downpour and zoned out by not paying attention to tani.
Trichur brothers can focus bit more on neraval and they could have sung one more neraval, I particularly would like them to start slower in neraval- bit more neraval leisure can do wonders to their music .I missed a RTP, the start was advertised 6pm but got delayed till 06:30 pm .They had time but unfortunately they did not sing . May be dropping one of the two 5th gear krithis in malavi or kathana kutuhalam and apportioning that time to a bit slower and additional neraval would make their music wonderful . Neraval is itself having so much muse , I wish they donot treat it as though neraval is cannibalizing the forth coming swaras .
BMK as a vaggeyakkara was demonstrated so well in shanmughapriya varnam ,amrutha varshi krithi .I thank the aaradhana utsav orgaizers for providing me a share of * little lost * Carnatic muse. The takeaways of multi bedham murali mudhra pallavi in hamsanandi, sahana krithi (that was both sung by suryaprakash) and a lovely varnam in shanmughapriya with amruthavarshini krithi (BMK giving a run for money for even dikshitar challenging the siddhivinayakam and anandamurthavarshini krithi ). I am in the process of discovering BMK vaggeyakkara and in my psyche he is racing towards vaggeyakkara Lalgudi.
Overall a very good to excellent concert for 2 and 1/2 hours.