Sangeet Sangam - Festival of Music
9 - 13 June 2009, 6.30 pm daily
Chowdiah Memorial Hall, G.D Park extension,
Vyalikaval, Bengaluru 560003
June 9th
Thriuvizha Jayashankar , kottayam - Nagaswaram
Arati Alankar, Pune - Hindustani Vocal
Ganesh and Kumaresh, Chennai - Violin
June 10th
Totaram Sharma - Pakhwaj
Kaivalya Kumar Gaurav - Hindustani Vocal
Sikkil Mala Chandrashekar - Flute recital
June 11
Hyderabad Brothers - Carnatic Vocal
Birendranath Mishra - Sitar
Kamal Sabri and M.S Narmadha - Sarangi and violin duet
June 12
Suma Sudhindra - Panch Veena
Seetha Narayanan - Carnatic Vocal
Tejendra Narayan Majumdar - Sarod
June 13th
Falguni Mitra - Hindustani Vocal
Shruti Sadolikar - Hindustani Vocal
Anoor Anantha Krishna Sharma -Laya Lahari Percussion ensemble.
All are welcome.
Sangeet Sangam - Sangeet Natak Akademi
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SreeR
- Posts: 17
- Joined: 25 Feb 2009, 22:12
Today's Hyderabad Brother's concert was excellent. Started with Rakshmpave-MayamalavaGowla and sang veirey of krithis including Bhaja Bhaja Manasa - SinduBhairavi -Swati Tirunal and Purandhar Das . When audience requested to sing Todi after the tukkadas, they obliged and extended their concert by another 20 minutes to sing Todi and NeeMaatale - Poorvi Kalyani. Over all it was great concert and wished , it was a full length concert.
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mmsimm
- Posts: 5
- Joined: 26 May 2009, 23:12
Smt. Sikkil Mala Chandrasekhar's concert on 10th June was marvellous. This Carnatic concert was so enchanting after two consecutive Hindustani concerts.
The list of renditions are as follows:
1.Om Namah Pranavaarthaaya
2.Maathe Malayadhwaja-Kamas-varnam
3.Bantu Reeti-Hamsanadam-Thyagaraja
4.Marivere Gati-Anandabhairavi-Shyamasastri
5.Marakathavalli-Kambodhi-Muthuswami Deekshithar
6.Tamboori Meetidhava-Purandaradaasaru
7.Bhaagyaada Lakshmi Baaramma-Purandaradaasaru
8.Maithreem Bhajatha
9.Pavamaana
Smt.Mala began the concert with a tranquilizing hymn, Om Namah Pranavaarthaya settling down the audience with the melody of flute. Then the varna in Khamas, Maathe was rendered. This was followed by Bantu Reeti, filling the auditorium with the beauty of hamsanadam & neraval was brilliant. Later Marivere Gati in Aanandabhairavi was rendered. The main piece for the concert was Marakathavalli in Kambodhi. A brief alapana was followed by the song , brisk kalpana swarams & tani aavartana. Then Tamboori Meetidhava, a Purandaradaasa devara naama was rendered followed by a fast & dancing tempo Bhaagyaada lakshmi. Concert came to an end with Maithreem Bhajatha rendered very specially & Pavamaana.
Concert was spanning just for 1 hour 15 mins but listeners were craving for more !
The list of renditions are as follows:
1.Om Namah Pranavaarthaaya
2.Maathe Malayadhwaja-Kamas-varnam
3.Bantu Reeti-Hamsanadam-Thyagaraja
4.Marivere Gati-Anandabhairavi-Shyamasastri
5.Marakathavalli-Kambodhi-Muthuswami Deekshithar
6.Tamboori Meetidhava-Purandaradaasaru
7.Bhaagyaada Lakshmi Baaramma-Purandaradaasaru
8.Maithreem Bhajatha
9.Pavamaana
Smt.Mala began the concert with a tranquilizing hymn, Om Namah Pranavaarthaya settling down the audience with the melody of flute. Then the varna in Khamas, Maathe was rendered. This was followed by Bantu Reeti, filling the auditorium with the beauty of hamsanadam & neraval was brilliant. Later Marivere Gati in Aanandabhairavi was rendered. The main piece for the concert was Marakathavalli in Kambodhi. A brief alapana was followed by the song , brisk kalpana swarams & tani aavartana. Then Tamboori Meetidhava, a Purandaradaasa devara naama was rendered followed by a fast & dancing tempo Bhaagyaada lakshmi. Concert came to an end with Maithreem Bhajatha rendered very specially & Pavamaana.
Concert was spanning just for 1 hour 15 mins but listeners were craving for more !
Last edited by mmsimm on 13 Jun 2009, 10:48, edited 1 time in total.
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SreeR
- Posts: 17
- Joined: 25 Feb 2009, 22:12
I think the concert is scheduled for an hour. This was conducted b jointly by Sangeet Natak Academi, New Delhi and Academy of Music, Bangalore.
The list of their renditions:
1. Rakshimpave - Mayamalavagoula - Khanda Chapu - Thyagaraja. K S
2. Amba Vaani - Keeravani - Adi - Muttaiah Bhagavatar. R K N S
3. Mataada Baaradeno - Khamas - Misra Chapu - Pracheena Javali
4. Bhaja Bhaja Maanasa - Sindhu Bhairavi - Adi - Swathi Thirunal Bhajan
5. Kshana Madunaa Narayana - Hamsanandi - Adi - Jayadeva Ashtapadi
6. RTP in TisraTriputa (Tisra Gathi) along with Mohana, Bhairavi, Saveri Ragamalika
7. Nee Maata Lemaayenura - Poorvi Kalyani
8. Mangalam - Sourastra
As they were preparing to conclude the concert within their allotted time after Jayadeva ashtapadi, there comes the request from the audience to sing Todi. Brothers obliged and Sri Sesha Chary started RTP. The RTP rendition was elegant, it clearly demonstrated their vidwath when they completed Ragam, Tanam and ragamalika in such a short time which is not an easy task.
They concluded Nee Mata Lemaayenuraa a beautiful javali in Poorvi Kalyani followed by managalam.
Thanks to the co-operation of the artists and support from the organizers, Banglore audience got a bonus and had a chance to listen to Brother's Todi yet one more time.
The list of their renditions:
1. Rakshimpave - Mayamalavagoula - Khanda Chapu - Thyagaraja. K S
2. Amba Vaani - Keeravani - Adi - Muttaiah Bhagavatar. R K N S
3. Mataada Baaradeno - Khamas - Misra Chapu - Pracheena Javali
4. Bhaja Bhaja Maanasa - Sindhu Bhairavi - Adi - Swathi Thirunal Bhajan
5. Kshana Madunaa Narayana - Hamsanandi - Adi - Jayadeva Ashtapadi
6. RTP in TisraTriputa (Tisra Gathi) along with Mohana, Bhairavi, Saveri Ragamalika
7. Nee Maata Lemaayenura - Poorvi Kalyani
8. Mangalam - Sourastra
As they were preparing to conclude the concert within their allotted time after Jayadeva ashtapadi, there comes the request from the audience to sing Todi. Brothers obliged and Sri Sesha Chary started RTP. The RTP rendition was elegant, it clearly demonstrated their vidwath when they completed Ragam, Tanam and ragamalika in such a short time which is not an easy task.
They concluded Nee Mata Lemaayenuraa a beautiful javali in Poorvi Kalyani followed by managalam.
Thanks to the co-operation of the artists and support from the organizers, Banglore audience got a bonus and had a chance to listen to Brother's Todi yet one more time.
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keerthi
- Posts: 1309
- Joined: 12 Oct 2008, 14:10
Today,on june 12th there was a 'panca-vINa' concert by Dr. Suma Sudhindra and students..
Accompanists - ANUr anantakrsna sarmA - mrdangam
S.N.nArAyaNa mUrti - GhaTam
Amrit N - khanjIra
They played the following -
1. Abhogi AditAla varnam in four? speeds - chatusram, tisram, second speed of each..
2. manasA etulOrtunE - malayamArutam - thyagarAja
3. bAlasubrahmanyam - suraTi - MD
4. something in kalyani, followed by tani Avartanam
5. pahaDi tillAna - lalgudi jayaraman.
Suma Sudhindra played a raga outline for malayamarutam, which bore no semblance to the raga as is normally seen, making unusual dAtu-s and employing unusual swaras for graha(landing)..all the artistes played kalpanaswara-s for malayamArutam, turn by turn..
the tillAna was played well, and in synchrony.. The percusionists were competent and impressive..
Accompanists - ANUr anantakrsna sarmA - mrdangam
S.N.nArAyaNa mUrti - GhaTam
Amrit N - khanjIra
They played the following -
1. Abhogi AditAla varnam in four? speeds - chatusram, tisram, second speed of each..
2. manasA etulOrtunE - malayamArutam - thyagarAja
3. bAlasubrahmanyam - suraTi - MD
4. something in kalyani, followed by tani Avartanam
5. pahaDi tillAna - lalgudi jayaraman.
Suma Sudhindra played a raga outline for malayamarutam, which bore no semblance to the raga as is normally seen, making unusual dAtu-s and employing unusual swaras for graha(landing)..all the artistes played kalpanaswara-s for malayamArutam, turn by turn..
the tillAna was played well, and in synchrony.. The percusionists were competent and impressive..
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keerthi
- Posts: 1309
- Joined: 12 Oct 2008, 14:10
Next was a concert by ViduSi Seetha Narayanan
Accompanists - mullaivAsal chandramauLi - violin
TanjOre subramaniam - Mridangam
A.S.Shankar - Ghatam
JagannAtha rao and another person on two tambUra-s
1. srI-rAja-mAtangi - suddha dhanyAsi varNam - muttaiah bhagavatar
2. mahAganapatim - nATa - catusra ekam - MD
3. vihara mAnasa - misra cchApu - ST -(rs)
4. Enduku peddalavale - sankarAbharaNam - adi (caukam) - ThyAgaraja(RNST)
5. dEvaranama - yamunA - purandaradAsa
6. Slokam, Bhajan - sivaranjani
The varnam was sung with vigour, in two speeds.. that the violinist knew the varnam , was evident from his confident bowing..
NAta was sung in a standard manner, without raga preamble or swarakalpana trails..
kApi ragam was imaginative, but short.. (Understandably so, what can one do in a one hour concert..,?)
Violinist's repartee was also good.. This krti seems to have more of SNP and sndnp phrases than straight sndp .. kalpanaswaras were charming and satisfying, though brief..
The highlight was shankarabharanam.. A wholesome, unhurried, unpretentious treatment in AlApana, responded to equally in every measure by the violinist.. His bowing techniques were impressive and he alternated flat notes with tremolo; intense phrases with mellow ones to good effect..
The krti was sung neatly, with all requisite sangati-s but no long-winded repetitions.. Neraval was built up methodically, and the violinist responded in kind; playing niraval lines, and not swaram passages masquerading as neraval (as many are wont to)
The mike for mrdangam was too loud, but by this time, I was acclimatised to it, and actually stopped perceiving it as a disturbance.. Ghatam mike volume was abysmally low, and even during tani-Avartanam; one had to look at his fingers and imagine the sounds that were being made!
The devaranama was prefaced by a viruttam-like passage, and most interesting; she sang parts of the song like 'anibaddha' prose set to music; and sang parts set to a talam..The accompanists must be familiar with this piece or this method of her's and knew when to stop, and when to pick the tala up again..
The music was reposeful, but not dreary; interesting but not frilly or gimmicky; and bore testimony to the artiste's understanding of aesthetics and proportion.
Accompanists - mullaivAsal chandramauLi - violin
TanjOre subramaniam - Mridangam
A.S.Shankar - Ghatam
JagannAtha rao and another person on two tambUra-s
1. srI-rAja-mAtangi - suddha dhanyAsi varNam - muttaiah bhagavatar
2. mahAganapatim - nATa - catusra ekam - MD
3. vihara mAnasa - misra cchApu - ST -(rs)
4. Enduku peddalavale - sankarAbharaNam - adi (caukam) - ThyAgaraja(RNST)
5. dEvaranama - yamunA - purandaradAsa
6. Slokam, Bhajan - sivaranjani
The varnam was sung with vigour, in two speeds.. that the violinist knew the varnam , was evident from his confident bowing..
NAta was sung in a standard manner, without raga preamble or swarakalpana trails..
kApi ragam was imaginative, but short.. (Understandably so, what can one do in a one hour concert..,?)
Violinist's repartee was also good.. This krti seems to have more of SNP and sndnp phrases than straight sndp .. kalpanaswaras were charming and satisfying, though brief..
The highlight was shankarabharanam.. A wholesome, unhurried, unpretentious treatment in AlApana, responded to equally in every measure by the violinist.. His bowing techniques were impressive and he alternated flat notes with tremolo; intense phrases with mellow ones to good effect..
The krti was sung neatly, with all requisite sangati-s but no long-winded repetitions.. Neraval was built up methodically, and the violinist responded in kind; playing niraval lines, and not swaram passages masquerading as neraval (as many are wont to)
The mike for mrdangam was too loud, but by this time, I was acclimatised to it, and actually stopped perceiving it as a disturbance.. Ghatam mike volume was abysmally low, and even during tani-Avartanam; one had to look at his fingers and imagine the sounds that were being made!
The devaranama was prefaced by a viruttam-like passage, and most interesting; she sang parts of the song like 'anibaddha' prose set to music; and sang parts set to a talam..The accompanists must be familiar with this piece or this method of her's and knew when to stop, and when to pick the tala up again..
The music was reposeful, but not dreary; interesting but not frilly or gimmicky; and bore testimony to the artiste's understanding of aesthetics and proportion.
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srikant1987
- Posts: 2246
- Joined: 10 Jun 2007, 12:23