Chitravina Ravikiran @ Unnati (24 August 2013)

[KSJaishankar]

Chitraveena N Ravikiran
Akkarai Subhalakshmi
J Vaidyanathan

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1) Ata tala Varnam - Saveri (Ravikiran's composition)

2) Entha Vedukokondu Raghava - SaraswathiManohari (S)

3) Prema Svaroopa - AnandaBhairavi (R, S)

4) Durmarga Chara - Ranjani (R, N @ Khalulanchata Pogadani, S)

5) Samikki Sari Evvare - Kedaragaula (R)

6) Samajavara Gamana - Varamu

7) RTP - Shanmukhapriya, Adi 2 Kalai, Sama Eduppu

"Murahara Nagadhara Bhava Bhaya Hara | Hare Sri Krishna"

Nalinakanti, Bahudari, Valaji

Tani Avartanam

8) Iddari Sanduna - Kalyani padam

9) Vega Neevu - Surutti javali

10) Thillana - Hamsanandi

11) Mangalam

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Nothing much to say... SHEER BLISS :ymapplause:

[mahavishnu]

Nothing much to say... SHEER BLISS :ymapplause:

I can only imagine. Such beautiful compositions he has chosen!
I don't think I have ever heard Ravikiran with JV.

[Rsachi]

Had to miss it despite best intentions. Shows you the equivalent of 'daane daane pe likha hai khanevale ka naam'

I think of JV as I think of RKSK. Pedigree. Experience. Skill.Musical sensibility. Long career sharing the stage with- stalwarts, crowd pullers, youngsters. I think when JV is in the zone he can raise the concert by another 30%.

[KSJaishankar]

Had to miss it despite best intentions. Shows you the equivalent of 'daane daane pe likha hai khanevale ka naam'

I think of JV as I think of RKSK. Pedigree. Experience. Skill.Musical sensibility. Long career sharing the stage with- stalwarts, crowd pullers, youngsters. I think when JV is in the zone he can raise the concert by another 30%.

Absolutely agree - his accompaniment for the padam in particular was brilliant. A less sensitive mridangist could easily have murdered the effect RK was creating with that beautiful piece.

[varsha]

Nothing much to say..

It has been like that from the beginning . Not one minute of second rate music over a full career .
Simply amazing !!!

[parakal]

Can someone post a recording of this beautiful concert?

[Purist]

Was Samaja vara gamana in VARAMU?. Never heard being rendered in Shudha Hindoam/Varamu.

[KSJaishankar]

Was Samaja vara gamana in VARAMU?. Never heard being rendered in Shudha Hindoam/Varamu.

Yes... He announced it specifically, saying that the Wallajahpet school has followed this pathantaram and Brindamma used to render it as such. He also mentioned that the Wallajahpet school rendition of ragas like Saramathi (besides Hindolam) is also with the Chatusruti Dhaivatam.

[keerthi]

http://www.youtube.com/watch?v=iPkkChbsIvM


Sangeeta Kalanidhi Chittoor S. Pillai sings Samaja-vara-gamana..

[Rsachi]

Thanks Keerthi
I found it sounded very many times like Reetigowla. Maybe that's why people went to the Hindola version.

[keerthi]

Thanks Keerthi
I found it sounded very many times like Reetigowla. Maybe that's why people went to the Hindola version.

Maybe.There is no reckoning why people change versions; it could be unconscious, it could be changing notions of what is attractive and musical. In the case of the other song, ManasulOni marmamu; both versions are equally popular; with MSS and Semmangudi singing the 'Suddha hindolam/Varam' version; and Balamurali/ Hyde brothers [among vocalists]. Once, when I asked Dr. Pinakapani about the D2 hindOLam, he responded quite Vehemently, 'Abbabe, If that is Hindolam, then I will proudly sing tyagarAja kRtis in MAlkauns'.

The reason that it sounds like some other familiar rAga isn't enough to change a pAThantara of a song of TyagarAja. It appears that there have existed these multiple variants of the rAgas, that emerged as a consequence of the disappearance/collapsing of the trisruti and pancasruti variants of notes. But this is just a premature surmise, and I won't elaborate till I have solid data to back my speculations.

I am happy to have all variants of the rAga and the kRti coexist.

[Rsachi]

Keerthi,
I feel good having connected in one swell swoop with Keerthi AND Dr.Pinakapani-garu!
Yes I agree different versions continue to have research interest despite personal preferences.

After all the bard says "VARA"-gamana, sir!

Sachi R

[uday_shankar]

trisruti and pancasruti variants of notes.

I don't know about pancasruti, but the so-called trishruti dhaivata (5/3) is routinely used, either consciously or unconsciously, in the place of chatushruti dhaivata. It is customary to tune the sympathetic strings of the chitravina to this value. It is arrived at by tuning it in consonance with antara gandhara (5/4 X 4/3 = 5/3). South Indian flute makers routines punch the dhaivata hole to this value too. Just to please the world at large, I refer to it as "chatushruti dhaivatam".

In actual practice on the chitravina and chitravenu, I have found that in ragas with a strong antara gandhara like shankarabharanam and kamboji (the latter with a strong dhaivata too), we tend to use the so-called trishruti (5/3) value for the dhaivata while in ragas with sadharana gandhara like bhairavi and kharaharapriya we tend to strike the dhaivata at the "true" chatushruti dhaivata sthana (27/16), i.e., which is consonant with chatushruti rishaba (9/8), which in turn is consonant with panchama.

Theories and assumptions about shruti values could be misleading and self-deceptive if based only on voice.