Bhushany Kalyanaraman, BGS Trust, 16/July/2017

[sankark]

https://www.youtube.com/watch?v=6L-MsIbDLjE

The tight nereval for kAshi rAgnim kapAlinIm is simply superb (#4 item). sri varnam - just a phrase of sri establishing it so firmly, AbhOgi (guruvaruLum thiruvaruLum), Arabhi (pAlimpavarAvadEmirA) preceding it.

Instantaneous reaction - what a glorious music!

[vijay.siddharth]

I agree- a truly brilliant (but ignored) musician.

Her Balagopala (with neraval at Neela Neeratha Shareera) is electrifying- but my only objection is that she split the words of Balagopala incorrectly. Dikshitar was inspired by the Sooladi format in creating a 1:2 ratio for deergha-hrsva syllables; but that was not followed, for she terminated the Go too early to go to the Pala. But of course, I might be too pernickety, but just a stray observation.

[rshankar]

(with neraval at Neela Neeratha Shareera)
I might be too pernickety.

As long as we are only being persnickety, nIrata is definitely not correct (it means indifferent) in this context, and nIratha as a word doesn't exist - it is nIla nIrada SarIrA - one with a body (SarIrA) that is blue (nIla) like a cloud (nIrada).

[vijay.siddharth]

She could be a little less Neeratha with regards to pronounciation

Though, on a side note, I'm surprised no Golt Musician hasn't purposely mauled Tamil songs like we do with Golt songs!!!

[narayan]

Persnickety and pernickety both seem to be correct.
But, vijay.siddharth, as far as I know, it is pronunciation, not pronounciation.
Can you please elaborate (elsewhere) on what the 1:2 format for deergha, hrsva syllables is? I'd like to know this principle.

Enjoyed the vigorous but melodious music of Bhushany Kalyanaraman in this concert.

[narayara000]

Can you please elaborate (elsewhere) on what the 1:2 format for deergha, hrsva syllables is? I'd like to know this principle.

I'd like to know more too

[vijay.siddharth]

I'm sorry for the delay, here is where I read this:

The structure of the gItam is such that it can be sung in three speeds. This prepares the students for tackling the other musical forms like prabandhAs later on. prabandhAs are longer compositions with many more khanDikAs. Dikshitar’s style of composing was steeped in prabandhAs. In his composition sUryamUrtE (saurAshTram), Dikshitar uses 2 akSarams for dhIrga syllables and 1 akSaram for all hrisva syllables. He adheres to this even in his 2 kaLai compositions.

from https://ramsabode.wordpress.com/2009/04 ... on-varnam/

[narayan]

Thanks for the pointer. That was interesting. Something to keep track of.

The issue does not detract from the concert too much, in my opinion. I think you feel the same, if I read it correctly.