A kanyAkumari@Swamy's hall on Jan 04th,2012
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Violin : A kanyAkumari
Violin Support: Anuthama
Mrudangam : Srimushnam Raja Rao
Ghatam : Vaikkom gOpAlakrishnan
Concert duration/Day : 2 hours and 15 mins/Wednesday
Concert Type : Nirvana (prime evening concert , no concert to follow)
Sabha/Hall : sriranjani / Swamy's hall
1. ekadantam(S)-bilahari - MD
2. shree parvatim - bowli - MD
3. mAru balkA (R S) - shreeranjani - T
raga alapanai for 2 mins and swaras for 9 mins
4. bAlakrishnan - dhanyAsi - papanAsam sivan
5. tatvamara tarugA - garudAdhwani - T
6. hiranmayeem lakshmeem (R,N,S)- lalita - MD
raga alapanai for 6 mins and neraval/swaras for 9 mins
7. shree venkatesa - shuruTTi - MD
This is my third or fourth live concert of Vidushi A kanyAkumari . Her concert was to an extent a wonderful demonstration of virtuosity/skill with few pockets of bumpy rides where High volume killed the divine nAdham of her violin. Also in general I like srimushnam for his mrudangam intellect , and when this two well set experienced musicians - AK and srimushnam lead the show , there is always joy of seasoned experience that counts a lot.
The start in bilahari was a typical aggression of her paramaguru GNB , the briskness of ekadantam perhaps warms up her fingers to move quickly across the board is my best guess .The contrast of bowli was a beautiful sunrise, this particular bowli krithi parvati got a touch of sereneness, few sangathis it was like a MS ammA rendition.
The sabha that organized the concert was sriranjani, AK did do very well in shree ranjani , but was very finicky in general with the volume, she had a contact violin and her volume was generally set very high as she kept asking "Dil MaangE More".
I felt despite her amplification, the mAru balkA was high voltage electric sangathi semmangudi stuff , her skill was amazing , In particular I have to appreciate Srimushnam sir who played wonderfully , strokes were there but he kept the mrudangam quite far where the niceties of his play settled well without an iota of overbang .
The next in dhanyAsi was played very well, the sound adjusted well as I think she did not bow as forcefully as shreeranjani. The next in general a very sound prone number, tatvameruga in garudAdhwani , it is quite a commotion number with its random zig zag sangathis, this number appeared as a sure shot dampener and it indeed was , AK's violin was tearing my ear drums.
AK then said , "nAn yEr kanave Oru katcherila lalitA vAshichutten , AnA mAmA ketkarunnu thirumbi vAsikerAn", I have to say I should have given 100 bucks to that mAmA. That mAmA asked lalitA , the simply most serene number that arrests your disturbed mind and with hiranmayeem it was a lakshmi katAksham . Her bowing in lalita was so aesthetic , the sangathis never robbed sowkhyam and there was not a touch of abrasiveness that generally violinist have and it was well done. The MD krithi in lalitA looped to a lovely neraval and swaras , there was a slight touch of a western jazz in lalitA too ,but srimushnam caught that well and he played beautifully, there were strokes but it was just right embellishment in lalitA.
Her next number was shree venkatesha in shurutti and she announced tomorrow being vaikunta ekadasi she is playing that and I liked it.
A kanyAkumari@Swamy's hall on Jan 04th,2012
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rajeshnat
- Posts: 10121
- Joined: 03 Feb 2010, 08:04
Re: A kanyAkumari@Swamy's hall on Jan 04th,2012
8. pallavi in two ragas - brindAvana sarangA and valaci
7 mins alapana and 7 mins for tanam
11 mins pallavi
8B. tani for 23 mins
9. ??
10. rama jogi ??- kamas - BR
11.govindA govindA - ragamAliga -KanyAkumari's own tune
12. venkatAchala nilayam - sindubhairavi - PD
13.BhAgyAda - madhyamAvati - PD
14. pavamAna
As I looked at my song list , there was a hunch in me she has exhausted sudda madhyamam and played a sriranjani krithi, this hall swamy's hall is a home ground for another sabha shanmughapriyA , will that come and rob with her Dil Maange More mike amplification. A rasika asked RTP and also said brindAvana sarAngA pallavi . She was happy and said if you dont mind with that raga I will combine another rAga and play a two rAga pallavi.
The pallavi was a cracker , the purvangam was in brindavana sArangA and the uttarAngam was in valaci . Both in crossroads of HM-CM music and i like those ragas in general,it was intensely classical and she was a gem in that pallavi .
TAnam was well done , the high speed tAnam was slamdunk after slamdunk and Srimushnam decided to go with his mrudangam, vaikkOm smiling as a non striker and he passed it . TAnam had superb fireworks one or two returns did not gel well with srimushnam but the way he adjusts and recallibrates quickly was superb. Here there was a pallavi ,where the musician has not prepared an iota , decides at the spot with double rAga pallavi , absolutely no discussion and she just went as though she practiced for the whole day. Wonderful kalpana sangeetham at its best
.
The tani was an ok affair , what i dreaded happened srimushnam moved his right mike bit closer and it was a bang affair for the second half and it was a long one too. Tukkadas in khamas and another raga was very good.
Then the most irritating thing happened , the skill and virtuosity of AK started backfiring . WHen AK played few sancharas of revati alapana, srimushnam took the mike and since they had planned before , he asked the audience of nearly 70 to clap and get the blessings as it is vaikunta ekadasi , and introduced a bit about Ak's rAgamAligA creation.
AK would play her tune that had lines govinda in 5 or 6 ragas ,she played in two speeds and her volume was unbearable and it teared not just the eardrum , but temporarily shelved the carnaticness in a carnatic concert. It was a swamy's hall bhajana seva mandali with this high blast gOvindA gOvindA .
Carnatic normalancy arrived again with the special contingent from venakatA chala nilayam but they were bit biased with gOvindA gOvindA and normalancy was only in parts , then the second contingent of bHagyAda lakshmi bArammA brought back the total carnatic normalancy.
I found Ak having the contact mike and at times she had this electic guitar like sound which was ok for few sangathis, but with high decibel sangathis it was a tear to my ears. Overall a brilliant violinist with a "Dil MaangE more" amplification obsession , turned out quite annoying.
The mrudangist Srimushnam played wonderfully in the first half till tani, from tani the volume factor did erupt my enjoyment, but overall the layam intellect of rao sir just definitely peps the concert as he is so creative and reads the main artist sangathis in a jiffy.
AK's student , AnutamA(Can some one confirm if I have got her name right) gave good support , most of the time she was not heard as AK only had a contact mike , but overall for very little I heard it looks like Ak has successfully trained another disciple AnutamA which is always appreciable and AK's violin disciples are very very impressive.
My hunch was right when I overheard post concert , that she had planned to play shanmughapriyA as a main. This super vidushi has to give the amplification control to the rasikas . Empathize that mike man who had an array of knobs but all his eyes was in that "dil mAngE more" amplification Knob.To that extent I prefer concerts that are held in sabhas like kalAkruthi (that too the historic ones near dasaprakash hotel) , where the mikeman keeps it once and does not baby sit with the 4 knobs ,and returns back to the hall only after 2 hours
.
Next time if I see her name I will hear her for sure as there is so much of skill and brilliance in her play, I may end up asking a shocking question to my family, is tomorrow Vaikunta EkAdasi :^) .
Overall a very good to excellent concert, the two raga pallavi and lalita was very noteworthy .
7 mins alapana and 7 mins for tanam
11 mins pallavi
8B. tani for 23 mins
9. ??
10. rama jogi ??- kamas - BR
11.govindA govindA - ragamAliga -KanyAkumari's own tune
12. venkatAchala nilayam - sindubhairavi - PD
13.BhAgyAda - madhyamAvati - PD
14. pavamAna
As I looked at my song list , there was a hunch in me she has exhausted sudda madhyamam and played a sriranjani krithi, this hall swamy's hall is a home ground for another sabha shanmughapriyA , will that come and rob with her Dil Maange More mike amplification. A rasika asked RTP and also said brindAvana sarAngA pallavi . She was happy and said if you dont mind with that raga I will combine another rAga and play a two rAga pallavi.
The pallavi was a cracker , the purvangam was in brindavana sArangA and the uttarAngam was in valaci . Both in crossroads of HM-CM music and i like those ragas in general,it was intensely classical and she was a gem in that pallavi .
TAnam was well done , the high speed tAnam was slamdunk after slamdunk and Srimushnam decided to go with his mrudangam, vaikkOm smiling as a non striker and he passed it . TAnam had superb fireworks one or two returns did not gel well with srimushnam but the way he adjusts and recallibrates quickly was superb. Here there was a pallavi ,where the musician has not prepared an iota , decides at the spot with double rAga pallavi , absolutely no discussion and she just went as though she practiced for the whole day. Wonderful kalpana sangeetham at its best
.The tani was an ok affair , what i dreaded happened srimushnam moved his right mike bit closer and it was a bang affair for the second half and it was a long one too. Tukkadas in khamas and another raga was very good.
Then the most irritating thing happened , the skill and virtuosity of AK started backfiring . WHen AK played few sancharas of revati alapana, srimushnam took the mike and since they had planned before , he asked the audience of nearly 70 to clap and get the blessings as it is vaikunta ekadasi , and introduced a bit about Ak's rAgamAligA creation.
AK would play her tune that had lines govinda in 5 or 6 ragas ,she played in two speeds and her volume was unbearable and it teared not just the eardrum , but temporarily shelved the carnaticness in a carnatic concert. It was a swamy's hall bhajana seva mandali with this high blast gOvindA gOvindA .
Carnatic normalancy arrived again with the special contingent from venakatA chala nilayam but they were bit biased with gOvindA gOvindA and normalancy was only in parts , then the second contingent of bHagyAda lakshmi bArammA brought back the total carnatic normalancy.
I found Ak having the contact mike and at times she had this electic guitar like sound which was ok for few sangathis, but with high decibel sangathis it was a tear to my ears. Overall a brilliant violinist with a "Dil MaangE more" amplification obsession , turned out quite annoying.
The mrudangist Srimushnam played wonderfully in the first half till tani, from tani the volume factor did erupt my enjoyment, but overall the layam intellect of rao sir just definitely peps the concert as he is so creative and reads the main artist sangathis in a jiffy.
AK's student , AnutamA(Can some one confirm if I have got her name right) gave good support , most of the time she was not heard as AK only had a contact mike , but overall for very little I heard it looks like Ak has successfully trained another disciple AnutamA which is always appreciable and AK's violin disciples are very very impressive.
My hunch was right when I overheard post concert , that she had planned to play shanmughapriyA as a main. This super vidushi has to give the amplification control to the rasikas . Empathize that mike man who had an array of knobs but all his eyes was in that "dil mAngE more" amplification Knob.To that extent I prefer concerts that are held in sabhas like kalAkruthi (that too the historic ones near dasaprakash hotel) , where the mikeman keeps it once and does not baby sit with the 4 knobs ,and returns back to the hall only after 2 hours
.Next time if I see her name I will hear her for sure as there is so much of skill and brilliance in her play, I may end up asking a shocking question to my family, is tomorrow Vaikunta EkAdasi :^) .
Overall a very good to excellent concert, the two raga pallavi and lalita was very noteworthy
.