Trichur Brothers@Los Angeles On Apr 08th,2015
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Vocal : Trichur Brothers - Srikrisha Mohan and Ramkumar Mohan
Violin : Rajeev Mukundan
Mrudu angam : Trichur Mohan
Concert Type : Nirvana - no concert to follow
Day/Duration : Saturday/ 3 hours and 10 mins inclusive of 5 mins speech
Concert Type : Ticketed Concert
Hall : Hoover School , Lakewood Los Angeles
Sabha : South Indian Music Academy LA(SIMALA)
1.sarasooda - sAveri - Kotthavaasal Venkatrama Iyer
2.rakshamAm saranagatham (RS,S)-gambheeranattai- meenakshisutham
swaras for 4 mins
3.diwakara tanujam (R) - yadhukulakAmbOdhi - MD
4. siva siva yenarAthA (R,S)- paNtuvarAli - T
9 mins alapana and 5 mins violin return
9 mins swaras
5. enneramum undan - devagandhari - GKB
6A. karanacharanakrutham - slokham - revati - Adi shankara
6B. first part of BhoSambhO - revati - swami dayananda saraswati (tuned by L krishan,father of K Arunprakash)
6C. taanam for 6 mins in revati
6D. second half of bhosambho
from jatis dhimita dhimita dhimi dhimikiTa ...matanga munivara
7. vanchatonuna - karnaranjani -HMB
8A. RTP in kApi for 1 hour and 5 mins
raagam in kApi for 20 mins
9 mins in violin return
taanam in KApi + dwijavanthi + vasantha + sindhubhairavi for 17 mins
pallavi line --- Hare rAmA govindA murArE mukundha sowrE murahara
swaras in 7 ragas (kApi + dwijavanti + harikAmbOdhi + dwijAvanthi + vasanta + hindolam Hamsadhwani )- order is not the same not sure
8B. tani for 6 mins
9A.kasturi tilagam - slokham - yamunakalyANi - madhurAshtakam
9B. krishnA nee beganE bArO - yamunAkalyani - Vyasatirtha
10. Omana thingal - neelambari - Irayimman Thampi
11. dheem tanana naaE ....padmanabha dAsa - Hamsanandi -HMB
12. pavamAna + sayeeshwara - mangalam - sowrashtram + shurutti
Trichur Brothers@Los Angeles On Apr 08th,2017
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rajeshnat
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Trichur Brothers@Los Angeles On Apr 08th,2017
Last edited by rajeshnat on 10 Apr 2017, 12:15, edited 2 times in total.
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rajeshnat
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Re: Trichur Brothers@Los Angeles On Apr 08th,2017
It is personally a near 3 months break after attending the last live concert at nageswaran house in kollywood (chennai) during Jan end for vidwan Madhavan. Work pushed me to LA -hollywood away from CM for the last two plus months.Thank god winter went,this is the first concert that is lined up in one of finest *rather the finest* sabhas in LA -simala.
Mohan brothers have two of the younger ones singing and the elder mohan brother plays the mrudu angam . Incidentally Rajeev Mukundan a fine student of the finest Kanyakumari plays fiddle. I am told rajeev is pursuing masters in education here - I hope he goes back soon to chennai (we dont want him to be a trichy sankaran or sangeetha swaminathan or salem shriram where we lose his excellence to braindrain in America) .
The same team of MOhan annA and Mohan thambis(atleast to me) and mukundan chinna thambi , I did witness in Austin a year back . As with any thing there is always an expectation that usually sets me in. Over the years the expectation is more hovering will artists get any time to sing atleast 3 and half to 4 hours to give a well rounded submain, main and RTP . 2 years back in the same hall when Abhishek sang he saved his half energy and sang only for 3+ hours and gave a near 4 hour concert to our sankritilaya sabha in bayarea and of course to our dear mahavishnu the very next day being a sunday concert in Bayarea (all this happened in 2015, my review is there) . I am always assuming the best is reserved for BayArea and incidentally it was a bit of dhuradashtam that a day back it starts in LA . The norm is usually it is sat - LA and Sun - Bay area . More time for Bayarea and little less time for LA is the unwritten rule - there are more NRI babus only in Bayarea.
But wait wait this crib is not applicable today.This year a day back on Friday the brothers sang in Bayarea(kalalaya) and saturday it was LA-simala . Right now they are singing on Sunday at Dallas . For a change I am glad that I got a great share on a saturday in LA.Incidentally i came to know that kalalaya was a bit of late start (I hope atleast when I am there simala in LA is not shortcharged by bayarea sabhas or the artist preference to save more energy for bayarea)
The concert started with sarasooda in its arresting saaveri dynamism, dynamism with a clear cut of speed . The elder Mrudangam Mohan brother is also a disciple of Palghat Mani iyer he was cautious and did not over bang and let the sarasooda go with the right mrudu. Bingo.
The next was a fanta fabulous number in gambeeera nattai . Popularized by chembai this krithi by meenakshisutha is one of a kind , extraordinary sanskrit lines and a ferrari ride of phrases in succession , there is just one way to sing this , you race and make it happen. Chembai titled Trichur Mohan as a sangeetha lokathil dhuruvan , there was a 4 dhuruva nakshatram in rakshamAm , fascinating swaras rolled and I enjoyed it throughly
Breaks were applied and the trichur two thambis sang well the diwakara tanujam krithi but i missed a bit of rakthiness in the brief alapana of yadhukulakambOdhi.Pantuvarali was a standard submain , I love and adore this raga and the semmangudi patantaram was evident in siva siva yenarAdha . Alapana in pantuvarAli was very very kashmirish, thank god i had rajeev mukundan who gave a return as kanyakumarish.
Bho sambO was taken to himalayan heights by maharajapuram santhanam . Santhanam took it as populist drop but personally as i listen more and more i prefer a less populist approach to CM concerts. Revati is mantra chanting , I always think the raga is born to succeed . Revati sarted with the slokham of karanacharana krutham and it was nice and they ended with few phrases of sambhO . I was thinking it was more appropriate to drop a mahadeva siva sambo of tanjavur sankara iyer than a bho sambHo in revati, but brothers wanted to take a more populist route. At some point before the jatis and the second half of bho sambho (dhimita dhimita dhimi... matanga munivara), suddenly they sang taanam in revati . REvati is so dear to me and the taanam in revati was lovely .This populist route of splitting the song in between and taking a taanam is needless adhigaprasangi thanam but taanam was not adhigaoomph tAnam.
The speed was bit reduced before and after revati . I loved the enneramum in devagandhari a lot , but the karnaranjani did not get me hooked that much, it was a bit of letdown.
Mohan brothers have two of the younger ones singing and the elder mohan brother plays the mrudu angam . Incidentally Rajeev Mukundan a fine student of the finest Kanyakumari plays fiddle. I am told rajeev is pursuing masters in education here - I hope he goes back soon to chennai (we dont want him to be a trichy sankaran or sangeetha swaminathan or salem shriram where we lose his excellence to braindrain in America) .
The same team of MOhan annA and Mohan thambis(atleast to me) and mukundan chinna thambi , I did witness in Austin a year back . As with any thing there is always an expectation that usually sets me in. Over the years the expectation is more hovering will artists get any time to sing atleast 3 and half to 4 hours to give a well rounded submain, main and RTP . 2 years back in the same hall when Abhishek sang he saved his half energy and sang only for 3+ hours and gave a near 4 hour concert to our sankritilaya sabha in bayarea and of course to our dear mahavishnu the very next day being a sunday concert in Bayarea (all this happened in 2015, my review is there) . I am always assuming the best is reserved for BayArea and incidentally it was a bit of dhuradashtam that a day back it starts in LA . The norm is usually it is sat - LA and Sun - Bay area . More time for Bayarea and little less time for LA is the unwritten rule - there are more NRI babus only in Bayarea.
But wait wait this crib is not applicable today.This year a day back on Friday the brothers sang in Bayarea(kalalaya) and saturday it was LA-simala . Right now they are singing on Sunday at Dallas . For a change I am glad that I got a great share on a saturday in LA.Incidentally i came to know that kalalaya was a bit of late start (I hope atleast when I am there simala in LA is not shortcharged by bayarea sabhas or the artist preference to save more energy for bayarea)
The concert started with sarasooda in its arresting saaveri dynamism, dynamism with a clear cut of speed . The elder Mrudangam Mohan brother is also a disciple of Palghat Mani iyer he was cautious and did not over bang and let the sarasooda go with the right mrudu. Bingo.
The next was a fanta fabulous number in gambeeera nattai . Popularized by chembai this krithi by meenakshisutha is one of a kind , extraordinary sanskrit lines and a ferrari ride of phrases in succession , there is just one way to sing this , you race and make it happen. Chembai titled Trichur Mohan as a sangeetha lokathil dhuruvan , there was a 4 dhuruva nakshatram in rakshamAm , fascinating swaras rolled and I enjoyed it throughly
Breaks were applied and the trichur two thambis sang well the diwakara tanujam krithi but i missed a bit of rakthiness in the brief alapana of yadhukulakambOdhi.Pantuvarali was a standard submain , I love and adore this raga and the semmangudi patantaram was evident in siva siva yenarAdha . Alapana in pantuvarAli was very very kashmirish, thank god i had rajeev mukundan who gave a return as kanyakumarish.
Bho sambO was taken to himalayan heights by maharajapuram santhanam . Santhanam took it as populist drop but personally as i listen more and more i prefer a less populist approach to CM concerts. Revati is mantra chanting , I always think the raga is born to succeed . Revati sarted with the slokham of karanacharana krutham and it was nice and they ended with few phrases of sambhO . I was thinking it was more appropriate to drop a mahadeva siva sambo of tanjavur sankara iyer than a bho sambHo in revati, but brothers wanted to take a more populist route. At some point before the jatis and the second half of bho sambho (dhimita dhimita dhimi... matanga munivara), suddenly they sang taanam in revati . REvati is so dear to me and the taanam in revati was lovely .This populist route of splitting the song in between and taking a taanam is needless adhigaprasangi thanam but taanam was not adhigaoomph tAnam.
The speed was bit reduced before and after revati . I loved the enneramum in devagandhari a lot , but the karnaranjani did not get me hooked that much, it was a bit of letdown.
Last edited by rajeshnat on 10 Apr 2017, 11:54, edited 2 times in total.
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rajeshnat
- Posts: 10144
- Joined: 03 Feb 2010, 08:04
Re: Trichur Brothers@Los Angeles On Apr 08th,2017
The day was a coffee day. KApi raga was more a starbucks stuff , too much of repetition in alapana not that it was not done well but i found srikrishna was singing almost the same patterns with only the other brother humming with a illayaraja - ar rehman kApi alapana tune in the background.
Taanam in kApi moved out of the froth of starbucks and zoned into kumbakonam degree filter kapi , one has to give it to the Mohan anna mrudhuangam - there was so much oomph there. taanamaliga was shared with vasantha taken by ramkumar and dwijavanthi taken by srikrishna , sindhubhairavi was bit light and not intensely focussed with taanamish phrases. But all in all rocking taanam
Pallavi amaippu was nice with harE rAma govinda murAE in purvangam and the line mukunda sowrE murahara in uttarangam , right aesthetics without an overdose of words . Swara ragamaliga concept of anchoring in each of the note for the ragas was something that I discovered 10 to 12 years back with suryaprakash when he sang the same kApi raga RTP with keezhkala sa to melkALa sA with all intermediate notes. I prefer SP kind of approach where that extra dwell of key notes in that raga will give more stickiness .
But since brothers have more energy as two are singing the switch of ragas was not as aesthetic it was nice for most of the time , certain ragas like harikAmbOdhi was fleeting and in the audience I was saying vasantha , the lady next to me was telling me lalita which is understandable the row in front of me another tells it as hamsanandi and amruthavarshini , so this excessive medlay of ragas is also an excessive populist route where rasikas lose the frame of reference for each raga.
Tani was short and the trichur nadabadhran was truly in vellore ramabadran way - no complaints there .I atleast got a 3 and half hour concert there. The tukkkadas was nice and catchy with Omana thingal neelambari konjal taking the best prize . It was nice to hear the tillana of HMB they made up well with hamsanandi thillana of HMB than the earlier karnaranjani one.
Rajeev Mukundan plays with Dwaram azhuttam that he has got it from kanyakumari. His play with pantuvarali was the best as it zoned back to CM as the brothers sang the alapana way too much away from carnatic idioms. For most of the time rajeev was only bowing straight during alapana I am assuming he had to do that as the trichur brothers were singing little excess hindustani fusionish route for atleast few ragas like pantuvarali. His return in taanam in kApi was lovely and also in swararagamaliga - there is azhuttam and purity of notes . Thank god he did not learn from any guru from kashmiri but he only learnt from kanyakumari.
What can one say with sangeetha lokathil dhuruvan titled Trichur mohan.Mohan is completing 50 years of play .Way back in 1960's he was baptized as a kutti payyan under chembai when chembai tells you are playing for the concert for which Mohan replies i have only learnt for only 7 or 8 months. Chembai tells mohan donot worry you will do well .What sacrifice chembai has done in 60's to encourage talent , contrast this to many of the vidwans of today who only take A Plus and not worry about the path to A Plus?
Mohan's play is more laya dhyanam , he does not put any extra muscle , he does not call the sound man and *does not show seniority* . Even if there is anything to be discussed he only talks to srikrishna mohan and they both decide . Mohan tells me his guru was Shri Koduvayur Radhakrishnan and advanced training from the deadly trio of Mridangam Maestros Shri Palakkad Mani Iyer, Shri Umayalpuram SivaRaman and Guru Karaikkudi R Mani. He focusses extremely on the toppi and he brings a magical balance to left and right . Most imporatantly he gives more airtime to his sons . Certainly he has the right angam to give mrudhu the mruduangam status. This is sarvalaghu laya manOdharmam at its best.
Few things that srikrisna and ramkumar mohan can work
---------------------------------------------------------------------------
1. Avoid taking little heavy populist route , there is a bit of overdoing of two voices singing simultaneously different sangathis . They can do for sure but not overdo. Remember god has given a chance for two brothers to sing in tandem but god has given rasikas only two ears and not four ears .
2. Donot break and fragment krithis like bho sambho revati by interspersing with taanam in between . We have already lost another capable vidwan who has decided to fragment, shuffle and hit a dead end . Being Popular is good but populist is bad for CM.
3. Give more stickiness in swaras when you move on from one raga to another with more longevity. YOu can take it from your manaseega guru Taala raaga swaroopan
there . Father Trichur Mohan knows more about TRS than me.
Special Shout out for Simala
------------------------------------
Concert was for 3 hours and 10 mins ,introduction was well done and I thank them for not having vote of thanks.Would be nice if they start at 5 PM and not 05:25 PM , let us not give only bay area the status of biggie concert , I wish there was a main also but that did not happen because the concert is only 3 hours and 10 mins. I thank simala for organizing and their service. God bless all of you - Simala team. I hope Simala should equal in musical content with bay area sankritilaya and CMana New jersey. The sound system was perfect from start to finish .
Conclusively
---------------
All said the brothers have high shruti suddham,heavy masculinity in voice and real verve .Verve is lacking with 90% of musicians of today and they sing with such high passion is surely a great usp. Right now at dallas the concert is on with the same A Plus passion. Semmangudi lives thru their guru Neyyattinkara Mohanachandran and drops as two trichur mohan brothers (I am not sure what they are learning or learnt from PSN despite they announcing they are sishyas of padmabushan psn - Let every sishya not be told as PSN student , yes PSN is quite powerful to influence but as move along the world forgets other gurus). These siblings continue to be my #1 as siblings and these kind of concerts just reinforces this . Keep it up srikrishna and ramkumar , you have an exclusive weapon Trichur Nadabadran and rajeev who only knows Urulakayangu varuval (not Aloo Tikki)
Overall an excellent concert for 3 hours and 10 mins.
Taanam in kApi moved out of the froth of starbucks and zoned into kumbakonam degree filter kapi , one has to give it to the Mohan anna mrudhuangam - there was so much oomph there. taanamaliga was shared with vasantha taken by ramkumar and dwijavanthi taken by srikrishna , sindhubhairavi was bit light and not intensely focussed with taanamish phrases. But all in all rocking taanam
Pallavi amaippu was nice with harE rAma govinda murAE in purvangam and the line mukunda sowrE murahara in uttarangam , right aesthetics without an overdose of words . Swara ragamaliga concept of anchoring in each of the note for the ragas was something that I discovered 10 to 12 years back with suryaprakash when he sang the same kApi raga RTP with keezhkala sa to melkALa sA with all intermediate notes. I prefer SP kind of approach where that extra dwell of key notes in that raga will give more stickiness .
But since brothers have more energy as two are singing the switch of ragas was not as aesthetic it was nice for most of the time , certain ragas like harikAmbOdhi was fleeting and in the audience I was saying vasantha , the lady next to me was telling me lalita which is understandable the row in front of me another tells it as hamsanandi and amruthavarshini , so this excessive medlay of ragas is also an excessive populist route where rasikas lose the frame of reference for each raga.
Tani was short and the trichur nadabadhran was truly in vellore ramabadran way - no complaints there .I atleast got a 3 and half hour concert there. The tukkkadas was nice and catchy with Omana thingal neelambari konjal taking the best prize . It was nice to hear the tillana of HMB they made up well with hamsanandi thillana of HMB than the earlier karnaranjani one.
Rajeev Mukundan plays with Dwaram azhuttam that he has got it from kanyakumari. His play with pantuvarali was the best as it zoned back to CM as the brothers sang the alapana way too much away from carnatic idioms. For most of the time rajeev was only bowing straight during alapana I am assuming he had to do that as the trichur brothers were singing little excess hindustani fusionish route for atleast few ragas like pantuvarali. His return in taanam in kApi was lovely and also in swararagamaliga - there is azhuttam and purity of notes . Thank god he did not learn from any guru from kashmiri but he only learnt from kanyakumari.
What can one say with sangeetha lokathil dhuruvan titled Trichur mohan.Mohan is completing 50 years of play .Way back in 1960's he was baptized as a kutti payyan under chembai when chembai tells you are playing for the concert for which Mohan replies i have only learnt for only 7 or 8 months. Chembai tells mohan donot worry you will do well .What sacrifice chembai has done in 60's to encourage talent , contrast this to many of the vidwans of today who only take A Plus and not worry about the path to A Plus?
Mohan's play is more laya dhyanam , he does not put any extra muscle , he does not call the sound man and *does not show seniority* . Even if there is anything to be discussed he only talks to srikrishna mohan and they both decide . Mohan tells me his guru was Shri Koduvayur Radhakrishnan and advanced training from the deadly trio of Mridangam Maestros Shri Palakkad Mani Iyer, Shri Umayalpuram SivaRaman and Guru Karaikkudi R Mani. He focusses extremely on the toppi and he brings a magical balance to left and right . Most imporatantly he gives more airtime to his sons . Certainly he has the right angam to give mrudhu the mruduangam status. This is sarvalaghu laya manOdharmam at its best.
Few things that srikrisna and ramkumar mohan can work
---------------------------------------------------------------------------
1. Avoid taking little heavy populist route , there is a bit of overdoing of two voices singing simultaneously different sangathis . They can do for sure but not overdo. Remember god has given a chance for two brothers to sing in tandem but god has given rasikas only two ears and not four ears .
2. Donot break and fragment krithis like bho sambho revati by interspersing with taanam in between . We have already lost another capable vidwan who has decided to fragment, shuffle and hit a dead end . Being Popular is good but populist is bad for CM.
3. Give more stickiness in swaras when you move on from one raga to another with more longevity. YOu can take it from your manaseega guru Taala raaga swaroopan
there . Father Trichur Mohan knows more about TRS than me.Special Shout out for Simala
------------------------------------
Concert was for 3 hours and 10 mins ,introduction was well done and I thank them for not having vote of thanks.Would be nice if they start at 5 PM and not 05:25 PM , let us not give only bay area the status of biggie concert , I wish there was a main also but that did not happen because the concert is only 3 hours and 10 mins. I thank simala for organizing and their service. God bless all of you - Simala team. I hope Simala should equal in musical content with bay area sankritilaya and CMana New jersey. The sound system was perfect from start to finish .
Conclusively
---------------
All said the brothers have high shruti suddham,heavy masculinity in voice and real verve .Verve is lacking with 90% of musicians of today and they sing with such high passion is surely a great usp. Right now at dallas the concert is on with the same A Plus passion. Semmangudi lives thru their guru Neyyattinkara Mohanachandran and drops as two trichur mohan brothers (I am not sure what they are learning or learnt from PSN despite they announcing they are sishyas of padmabushan psn - Let every sishya not be told as PSN student , yes PSN is quite powerful to influence but as move along the world forgets other gurus). These siblings continue to be my #1 as siblings and these kind of concerts just reinforces this . Keep it up srikrishna and ramkumar , you have an exclusive weapon Trichur Nadabadran and rajeev who only knows Urulakayangu varuval (not Aloo Tikki)
Overall an excellent concert for 3 hours and 10 mins.
Last edited by rajeshnat on 10 Apr 2017, 12:05, edited 1 time in total.
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arasi
- Posts: 16877
- Joined: 22 Jun 2006, 09:30
Re: Trichur Brothers@Los Angeles On Apr 08th,2017
Rajesh,
A sunday treat indeed, your review.
A true Rajesh stream of consciousness pravAham from one of the most faithful and expressive rasikAs of CM. I am also following your other thread (of old concert reviews at Sangeetham.com) every now and then. There! Enough evidence there for your fervor for CM!
You are here in the US for the past two months and we didn't know...
Now, about the concert: sounds like a good one, coming from you. All your suggestions to them seem valid (though I haven't heard them live in a while). As for Mohan, isn't he the father of the two? That's what I've heard--young-looking he is...
kApi seems to be a popular choice with them for RTP?
Rajeev is someone I would like to listen to in a concert. You Tube is'n't the same.
Hope you get to listen to a few more concerts in CA. Better still, in India! Hope it isn't too long a stay.
Winter? In LA? No wonder you don't come to the northeast! Today was the first day of spring for us
A sunday treat indeed, your review.
A true Rajesh stream of consciousness pravAham from one of the most faithful and expressive rasikAs of CM. I am also following your other thread (of old concert reviews at Sangeetham.com) every now and then. There! Enough evidence there for your fervor for CM!
You are here in the US for the past two months and we didn't know...
Now, about the concert: sounds like a good one, coming from you. All your suggestions to them seem valid (though I haven't heard them live in a while). As for Mohan, isn't he the father of the two? That's what I've heard--young-looking he is...
kApi seems to be a popular choice with them for RTP?
Rajeev is someone I would like to listen to in a concert. You Tube is'n't the same.
Hope you get to listen to a few more concerts in CA. Better still, in India! Hope it isn't too long a stay.
Winter? In LA? No wonder you don't come to the northeast! Today was the first day of spring for us
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bilahari
- Posts: 2631
- Joined: 03 Feb 2010, 09:02
Re: Trichur Brothers@Los Angeles On Apr 08th,2017
Hahaha. Winter weather in LA, eh. You've really been spoilt!
I think 3 h (or even 2.5) is plenty to have a proper main and RTP.
This is a truly bizarre songlist. What's with this tAnam smack in the middle of a composition? And why is rEvati in the middle of a concert (no offense to its fans).
Arasi, Trichur Mohan is indeed their father.
I think 3 h (or even 2.5) is plenty to have a proper main and RTP.
This is a truly bizarre songlist. What's with this tAnam smack in the middle of a composition? And why is rEvati in the middle of a concert (no offense to its fans).
Arasi, Trichur Mohan is indeed their father.
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thanjavooran
- Posts: 3059
- Joined: 03 Feb 2010, 04:44
Re: Trichur Brothers@Los Angeles On Apr 08th,2017
Shri rajeshnat,
As usual excellent reviw. Two thanams in the style of vina. Good to know you enjoy cool weather where as we experience scorching sun through out.
With wishes,
Thanjavooran
10 04 2017
As usual excellent reviw. Two thanams in the style of vina. Good to know you enjoy cool weather where as we experience scorching sun through out.
With wishes,
Thanjavooran
10 04 2017
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CRama
- Posts: 2939
- Joined: 18 Nov 2009, 16:58
Re: Trichur Brothers@Los Angeles On Apr 08th,2017
Rajesh, Happy to know that you got to hear a concert after a gap of three months. And Thrissur Brothers is a good bet for that. Somehow, whenever you go to U.S they are also following you. Feeling envious of you for enjoying winter there when we are in the mist of scorching heat in Chennai.
Rakshamam saranagatam- Chembai had sung this in his Gambheernamana voice in Gambheeranata. But Thrissur brothers, Saketaraman and a few other young singers are singing this in Nata. I have heard a few times from these Brothers in Nata only. So revisit again and decide whether it was Nata or Gambheeranata.
The slokam preceding Bho Sambho is Kara Charanam krutam vaak kayajam karmajam ( I think it is by Adi Sankarar) sung by M.S before the song Shambho Mahadeva in Bhowli. I have heard this also on many occasions. And this is the pattern they always sing. Tanam singing just before the jatis. It is a more populist version. Bho Shambho best suits after the tani sans all these frills. Thanks for your review. Hope you will hear many more concerts there.
Rakshamam saranagatam- Chembai had sung this in his Gambheernamana voice in Gambheeranata. But Thrissur brothers, Saketaraman and a few other young singers are singing this in Nata. I have heard a few times from these Brothers in Nata only. So revisit again and decide whether it was Nata or Gambheeranata.
The slokam preceding Bho Sambho is Kara Charanam krutam vaak kayajam karmajam ( I think it is by Adi Sankarar) sung by M.S before the song Shambho Mahadeva in Bhowli. I have heard this also on many occasions. And this is the pattern they always sing. Tanam singing just before the jatis. It is a more populist version. Bho Shambho best suits after the tani sans all these frills. Thanks for your review. Hope you will hear many more concerts there.
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Sivaramakrishnan
- Posts: 1582
- Joined: 02 Jan 2010, 08:29
Re: Trichur Brothers@Los Angeles On Apr 08th,2017
Nice review, rajeshnat, but how do you manage to write so exhaustively? We are happy, it gives lot of scope for discussion in the forum.
Well, CRama has rightly pointed out regarding the raga adopted for the word-packed 'Raksha Maam Saranaagatam'. In fact it is an interesting amalgam of Naatai & Gambheerannatai like some of the dual shaded fabrics allowing one to take sides!
More about the composer:
Lalitha Dasa -a pen name in itself- used 'Meenakshisuta' / 'Lalitasodara' as his mudra. He was a neighbour of Chembai during the latter's stay in Chennai and the pact made a great impact. Chembai tuned and sang the kritis regularly in his concerts and taught many of them to his disciples. Yesudas' contribution in further catapulting 'Paavanaguru' (Hamsanandi) to eternal fame is well known. Lalithadasa kritis deserve better patronage from the genext in these days of rasikas' craving for 'puthu paattu-s' (a.k.a old songs / unearthed kritis!).
If Bho Shambho is to L Krishnan, Kurai Onrum illai is to kadayanallur Venkataraman. While Shambho is a hot favourite for 'dance medais', Kurai onrum for 'voice medais' - courtesy the premier rendering by Maharajapuram Santhanam and MSS respectively.
Trichur Brothers invariably score in the selection of songs, robust rendering, care in sharing and an admirable stage presence.
Well, CRama has rightly pointed out regarding the raga adopted for the word-packed 'Raksha Maam Saranaagatam'. In fact it is an interesting amalgam of Naatai & Gambheerannatai like some of the dual shaded fabrics allowing one to take sides!
More about the composer:
Lalitha Dasa -a pen name in itself- used 'Meenakshisuta' / 'Lalitasodara' as his mudra. He was a neighbour of Chembai during the latter's stay in Chennai and the pact made a great impact. Chembai tuned and sang the kritis regularly in his concerts and taught many of them to his disciples. Yesudas' contribution in further catapulting 'Paavanaguru' (Hamsanandi) to eternal fame is well known. Lalithadasa kritis deserve better patronage from the genext in these days of rasikas' craving for 'puthu paattu-s' (a.k.a old songs / unearthed kritis!).
If Bho Shambho is to L Krishnan, Kurai Onrum illai is to kadayanallur Venkataraman. While Shambho is a hot favourite for 'dance medais', Kurai onrum for 'voice medais' - courtesy the premier rendering by Maharajapuram Santhanam and MSS respectively.
Trichur Brothers invariably score in the selection of songs, robust rendering, care in sharing and an admirable stage presence.
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rshankar
- Posts: 13754
- Joined: 02 Feb 2010, 22:26
Re: Trichur Brothers@Los Angeles On Apr 08th,2017
Smt. Gowri is the composer's granddaughter (pautri) and was a member of the forum - see this link for her posts, starting Feb 02, 2016.Sivaramakrishnan wrote: ↑10 Apr 2017, 18:25More about the composer:
Lalitha Dasa -a pen name in itself- used 'Meenakshisuta' / 'Lalitasodara' as his mudra. He was a neighbour of Chembai during the latter's stay in Chennai and the pact made a great impact. Chembai tuned and sang the kritis regularly in his concerts and taught many of them to his disciples. Yesudas' contribution in further catapulting 'Paavanaguru' (Hamsanandi) to eternal fame is well known. Lalithadasa kritis deserve better patronage from the genext in these days of rasikas' craving for 'puthu paattu-s' (a.k.a old songs / unearthed kritis!).
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pperumal
- Posts: 185
- Joined: 15 Oct 2013, 00:13
Re: Trichur Brothers@Los Angeles On Apr 08th,2017
I find their music extremely superficial and 'over packaged' - just not to my liking 
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rajeshnat
- Posts: 10144
- Joined: 03 Feb 2010, 08:04
Re: Trichur Brothers@Los Angeles On Apr 08th,2017
SRKSivaramakrishnan wrote: ↑10 Apr 2017, 18:25
Well, CRama has rightly pointed out regarding the raga adopted for the word-packed 'Raksha Maam Saranaagatam'. In fact it is an interesting amalgam of Naatai & Gambheerannatai like some of the dual shaded fabrics allowing one to take sides!
More about the composer:
Lalitha Dasa -a pen name in itself- used 'Meenakshisuta' / 'Lalitasodara' as his mudra. He was a neighbour of Chembai during the latter's stay in Chennai and the pact made a great impact. Chembai tuned and sang the kritis regularly in his concerts and taught many of them to his disciples. Yesudas' contribution in further catapulting 'Paavanaguru' (Hamsanandi) to eternal fame is well known. Lalithadasa kritis deserve better patronage from the genext in these days of rasikas' craving for 'puthu paattu-s' (a.k.a old songs / unearthed kritis!).
Lalitha Dasar and Meenakshi sutha are two different persons . The song rakshamam saranagatham was written by Meenakshi sutha who also goes with the name Bangalore Negara. The song rakshamam was written by Meenakshi sutha and I am not sure of tunesmith .
Check http://www.rasikas.org/forums/viewtopic ... 25#p298493 link where Gowri Radhakrishnan tells that rakshamam saranagatham is not by her grandfather Lalithadasar(TG krishna Iyer).
On raga I still go with gambheera nattai as that is what I heard . If I am wrong I will still think nattai had a very high share of gambheeram
with Trichur brothers rendition-
rajeshnat
- Posts: 10144
- Joined: 03 Feb 2010, 08:04
Re: Trichur Brothers@Los Angeles On Apr 08th,2017
You had 2 hour and 45 minute with RK Murthy at your singapore . He only sang a RTP as thukkada. You felt bit down there.
By the way I want proper submain (RNS) , proper main(RNS)and elaborate RTP. Thyagis like Trichur Mohan who plays 6 mins tani are so rare, he does that for his sons I am not sure how he has played in the past with other musicians . 3 and half is ideal bet , not sure if 4 is needed everytime - Laws of Carnatic Physics.
bilahari if concerts do not hover around 3 and half hours ,there is "no jeeva there" in the concert.
Last edited by rajeshnat on 11 Apr 2017, 11:10, edited 1 time in total.
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Sivaramakrishnan
- Posts: 1582
- Joined: 02 Jan 2010, 08:29
Re: Trichur Brothers@Los Angeles On Apr 08th,2017
rajeshnat,
I stand corrected. This must be also be an eye-opener to many.
‘Raksha Maam’ is hugely popular in Kerala and an oft repeated kriti at the Chembai festival in Guruvayur.
I have even heard radio announcements wherein the composer’s name was given as Lalithadasa.
Thanks to rshankar for providing the link.
Now I am eager to have more details on the composer Meenakshisutha!
I stand corrected. This must be also be an eye-opener to many.
‘Raksha Maam’ is hugely popular in Kerala and an oft repeated kriti at the Chembai festival in Guruvayur.
I have even heard radio announcements wherein the composer’s name was given as Lalithadasa.
Thanks to rshankar for providing the link.
Now I am eager to have more details on the composer Meenakshisutha!
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bilahari
- Posts: 2631
- Joined: 03 Feb 2010, 09:02
Re: Trichur Brothers@Los Angeles On Apr 08th,2017
Rajesh, while it is certainly easier to plan a more substantial concert for >3 h, there are musicians (Sanjay, R-G) who can pack a submain, main, and RTP within 2.5 to 3 h. That said, I agree entirely with you that the typical North American concerts spanning over 3 h are the most fulfilling ones I have attended.