A quick overview of some afternoon concerts:
SANDEEP NARAYANAN - MUSIC ACADEMY (22 December 08)
One of Sanjay’s many students who have started working their way up the ranks. Sandeep’s concert featured Karthikeya in Thodi as the main, Evarikai in Devamanohari as the sub-main + a rare krithi of Garbhapurivasa in Mohanam (Maruvakudaiya) which had some swaras thrown in.
I am hearing Sandeep for the first time and it was certainly a very competent performance for a first timer. He has a strong voice and a lot of passion. Hit a bit of a rough patch towards the end of the swaras in Mohanam, getting a little carried away after a great build up. Devamanohari was handled with aplomb as was the main piece in Thodi.
Krishna Subramanian on the violin was deficient in his conception of Devamanohari but gave very alert responses to Sandeep’s swaras in Thodi which included quite a few mukthayi patterns.
Arjun Ganesh was brilliant on the mrudangam - his embellishment of krithis was out of this world. This is one guy to watch out for!
SAVITHA NARASIMHAN - MUSIC ACADEMY (22 December 08)
Savitha has been livening up afternoons at the academy for some years now and this year’s concert was no different. A bright start was achieved with swara-suffixed renditions of Raghunayaka (Hamsadhwani) and Vadera Daivamu (Pantuvarali). Patnam’s Nee Padamule Gathi (Bhairavi) and Periyasami Thoooran's Muruga in Saveri were the main and sub-main respectively. Both alaapanas were handled very well with haunting karvais on the constants. Overall, Savitha gave a very high standard concert for an afternoon slot but she needs just that little extra punch to take a shot at a bigger stage.
Nishant Chandran was on the violin and on the mrudangam was our own Manakkal Sriram. There was some confusion surrounding the eduppu of the mohra korvai which was a 3x3 and not a 1x3 as the artiste presumed. Perhaps these things can be discussed beforehand to avoid slipping up on stage.
Afternoon Beat 1 - Sandeep Narayan & SAvitha Narasimhan @ Ac
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ganeshkant
- Posts: 963
- Joined: 05 Feb 2010, 11:59
Vijay,
Muruga in Saveri is a composition of Periyasami thooran.You didn't mention about the Nayaki piece she sang that made one look inwards and was spiritual in nature.
While we all expected a RTP in Bhairavi,she presented a krithi which was good though.
The concert was very high in standard without any acrobatics, full of sowkhyam.I really wonder, when the discerning rasikas of CM are going to take Savita seriously and throng her concerts.
Today's hindu carries a review of Savita's concert which will morally boost her.
Muruga in Saveri is a composition of Periyasami thooran.You didn't mention about the Nayaki piece she sang that made one look inwards and was spiritual in nature.
While we all expected a RTP in Bhairavi,she presented a krithi which was good though.
The concert was very high in standard without any acrobatics, full of sowkhyam.I really wonder, when the discerning rasikas of CM are going to take Savita seriously and throng her concerts.
Today's hindu carries a review of Savita's concert which will morally boost her.
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manakkalsriram
- Posts: 88
- Joined: 10 Feb 2006, 11:00
I appreciate Vijay’s observation. But since the review does not show a clear picture stating the terms ‘confusion’ and ‘slipping’ , I am tempted to give my views.
1) First of all, 3 rounds of korvai is the basic rule always. There cannot be one round of a korvai, that too in a finishing period of thani Avarthanam. There cannot be two opinions about it. So, there is no meaning in the main artiste presuming it as one round in taking the eduppu of the song in this context.
2) Next, some of the fundamental basic things cannot be discussed beforehand. It is something which happens momentarily. It is a basic rule that after three rounds of a korvai only, you can start the eduppu of the song. But how many times we have come across incidents where main artists have not taken the eduppu at all even after the finishing of the thani. So, what I want to emphasise is that these are things which happen at the moment and it is something spontaneous and nobody can be blamed for it.
3) Actually, Savitha, after the concert told me in the stage itself that she was sorry for it and she told me the reason for it, was that she completely enjoyed and forgot herself in that particular Korvai and in her excitement she started the song in the first round itself. I, in turn, told her that I was happy at that, since she had given me special regard by taking the song two times. She told me that she was still sorry and it should not have happened.
But it was a great afternoon and I enjoyed accompanying Savitha, whose music was flowing with divinity. It was a delightful experience.
1) First of all, 3 rounds of korvai is the basic rule always. There cannot be one round of a korvai, that too in a finishing period of thani Avarthanam. There cannot be two opinions about it. So, there is no meaning in the main artiste presuming it as one round in taking the eduppu of the song in this context.
2) Next, some of the fundamental basic things cannot be discussed beforehand. It is something which happens momentarily. It is a basic rule that after three rounds of a korvai only, you can start the eduppu of the song. But how many times we have come across incidents where main artists have not taken the eduppu at all even after the finishing of the thani. So, what I want to emphasise is that these are things which happen at the moment and it is something spontaneous and nobody can be blamed for it.
3) Actually, Savitha, after the concert told me in the stage itself that she was sorry for it and she told me the reason for it, was that she completely enjoyed and forgot herself in that particular Korvai and in her excitement she started the song in the first round itself. I, in turn, told her that I was happy at that, since she had given me special regard by taking the song two times. She told me that she was still sorry and it should not have happened.
But it was a great afternoon and I enjoyed accompanying Savitha, whose music was flowing with divinity. It was a delightful experience.
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ganeshkant
- Posts: 963
- Joined: 05 Feb 2010, 11:59
See,Sriramji.... all dicerning rasikas noted the eduppu coming at the wrong time without the main artist realising it.I discussed this with one of my friends who is a leading mridangist and he told me that this has happened with even giants like KVN and his guru who is an icon has told my friend that he used to leave the thani then and there and go with the main artist to avoid any embarrasment.
Savita sang so well that day and this can be considered as a Dhrishti Kazhippu.
You accompanied her beautifully and your playing has excellent sunaadam.
Thanks for clearing your stand anyway.
Savita sang so well that day and this can be considered as a Dhrishti Kazhippu.
You accompanied her beautifully and your playing has excellent sunaadam.
Thanks for clearing your stand anyway.
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vijay
- Posts: 2522
- Joined: 27 Feb 2006, 16:06
Perhaps I did not make myself clear - the korvai (IIRC - i has been 6-7 concerts since) was 3 avartha korvai x 3 times. The take off was attempted after 3 avarthas (implying a one avartha korvai which was not the case). I am aware that the Korvai is played thrice.
Anyway I don't want to make it sound like a big deal. It was a minor thing in an excellent concert otherwise.
Anyway I don't want to make it sound like a big deal. It was a minor thing in an excellent concert otherwise.