A Syrian symphony
Syrian music is a heady mix of centuries of cultural impressions.
http://www.hindu.com/fr/2009/05/08/s...0850060200.htm
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A Syrian symphony
Syrian music is a heady mix of centuries of cultural impressions.
http://www.hindu.com/fr/2009/05/08/s...0850060200.htm
Spirited rendition
Kamalaramani presented her concert in a very traditional manner.
http://www.hindu.com/fr/2009/05/08/s...0850390300.htm
Confluence of streams of music
The Theerthapada Sangeethotsavam concluded with concerts by Carnatic vocalists.
http://www.hindu.com/fr/2009/05/08/s...0850890300.htm
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Friday, May 22, 2009
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Mixed bag
Mukund’s flute recital captured the inherent emotions of a raga. The sarod-veena presentation was not academic
MUSIC MAGIC To the joy of rasikas
Uttar-Dakshin was a joint venture by Shri Lalithakala Academy Foundation and Bidaram Krishnappa Ramamandira in Mysore. Vivek Naware’s sarod and Geetha Ramanand’s veena was featured; it was not a jugalbandi though.
With two instruments from two different streams of music, an academic approach would have achieved interesting results. Vivek Naware started with Hamsadhwani – elaborated the raga followed by a bandish. The badath could have been gradually progressive, before reaching the climax. This observation applied to Puryakalyan too. Rajendra Nakod (tabala) accompanied him.
As most of the movements were set to either medium or fast pace, one felt inadequate attention given to vilambit expatiations. Added to this, dominating layakaaris overshadowed the expressions of the lead artiste.
Geetha Ramanand’s consistent and composed approach imparted melody to “Raghunayaka” (Hamsadhvani- Thyagaraja). Likewise, pleasing alapana and appropriate swarakalpana embellished “Gangadhara Tripurahara” (Purvikalyani - Mysore Sadashivarayaru). H.L. Shivashankaraswamy (mridanga) accompanied her.
Ample scope, remained unexplored with respect to both Hindustani and Carnatic styles: introductory stages of the alapana (akshipthika – avachar - chalan), development in the various sthayis (raagavardhini – raagvisthar - sthaayi and so on) and others. The percussionists in a way thrived on their excellence, but in many instances their outstretched enthusiasm dulled the expressions of the main artistes.
Last, but not the least, the punctual rasika is always put through an ordeal of waiting for the concerts to start.
* * *
L.V. Mukund proved himself to be an artiste of high calibre and potential, much of which manifested admirably, commanding warm appreciations. Shrithimanjari Pratishtana, Mysore, had organised his flute concert; Veena Suresh (violin) and H.L. Shivashankaraswamy (mridanga) remarkably complemented Mukund.
Simplicity in presenting the compositions and an unassuming style projected the musical aspects to a degree which ultimately carried the audience to a state of pleasant repose.
As the general layout of the concert was set to a desirable slow-to-medium pace, and as all unnecessary tricky sancharas were kept at bay, every number shone in the spirit the composer had visualised it. A systematic approach to ragalapana for Simhendramadhyama (“Nathajana” - Thyagaraja) and Shankarabharana (“Endukupeddala” - Thyagaraja) gave a clear indication as to the importance given to their inherent moods, which later extended into the respective lyrical sections.
He realised the expectations by melodically translating the texts breathing into them the necessary animating musical elements. Even the “Bhogindrashayinam” (Kunthalavarali - Swathi Tirunal) was not an exception to this pleasing and aesthetic approach. Apt and timely pauses with appropriate nilugades while developing the sangathis played a significant role: so also the swaraprastharas comprising mood-enhancing patterns.
“Vinayaka” (Hamsadhvani - E.V. Ramakrishna Bhagavathar/Veena Kuppayya), “Therathiyakarada” (Goulipanthu - Thyagaraja), “Venkatachala Nilayam” (Sindhu Bhairavi-Purandaradasa) and “Bhaavayami Gopalabalam” (Yamunakalyani-Annamacharya) were other presentations.
http://www.hindu.com/fr/2009/05/22/s...2251000300.htm
Mellifluous notes
The Harmonium Habba, yet again, reinforced the great potential of the harmonium as a solo instrument
http://www.hindu.com/fr/2009/05/29/s...2950900300.htm
Lucid individuality
Vasudha Keshav’s firm grounding and traditional orientation were well-established through the concert
http://www.hindu.com/fr/2009/05/29/s...2950910300.htm
A musical synergy
Balachandra Nakod's performance was energetic
http://www.hindu.com/fr/2009/05/29/s...2950920300.htm
Pattammal, truly a class apart
GOWRI RAMNARAYAN
The rasikas felt a profound sense of awe in linking DKP’s frail figure to her pioneering achievements. A tribute to the music legend, who passed away on July 16.
Photo: Hindu Archives
Musician nonpareil: D.K. Pattammal.
The end of an era. How else do you describe the passing away of Damal Krishnaswamy Pattammal (1919-2009)? Has her death not restored power and poignancy to a well worn cliché?
Musicians and scholars, artists of every genre, and music lovers of three generations, rushed to pay their last respects to the grand old lady of Carnatic music. Each felt a profound sense of awe in linking the frail figure to her singularly pioneering achievements. The television cameras and soundbyte searches seemed wholly alien to the austere spirit that permeated her life and art.
Her journey is widely known and well recorded. No girl of her generation, born in an orthodox Dikshitar family, could hope to pursue singing, even as a hobby. Rasikas though they were, her parents had neither musicianship nor financial means to develop her talent. But they supported her in overcoming the mounting hurdles.
Patta’s love of music was inflamed when she heard the stalwarts of Carnatic music in hometown Kanchipuram at temples, weddings and at the Tyagaraja festival organised by titan Naina Pillai. Pillai’s laya mastery made him a legend in his time, and Patta’s manasiga guru. She never admitted that Naina Pillai terrified his full bench of accompanists. Rather, she would announce proudly, “He was a lion. Naturally he towered over everyone!”
Stories are told of how she and her three brothers jotted down kritis with notation during live concerts, practised and perfected them at home. Even in those days of little publicity, Patta’s gifts were recognised early in life. Her live singing in a school drama brought an offer from the Columbia Recording Company and drew the ire of family elders: Who will marry a girl who sings in public? The criticism continued through the process of learning from sources as disparate as the unknown Telugu musician who volunteered to teach little Patta, and Ambi Dikshitar, scion of the Muthuswami Dikshitar parampara. All her life, DKP was to accumulate her vast multilingual repertoire from teachers such as Tiruppugazh expert Appadurai Acharyar, pallavi specialist Narasimhalu Naidu, composers Kotiswara Iyer, Periyasami Thooran and Papanasam Sivan.
She never mentioned T.L.Venkatrama Iyer, from whom she imbibed an imposing heritage of Dikshitar’s compositions, without shedding tears, especially when she recalled how he refused to die until Pattammal rushed to receive his blessings as the recipient of the Sangita Kalanidhi award from the Madras Music Academy.
“God’s grace made me a musician,” she said invariably, pulling the pallav closer across the shoulder. Never once did she claim that her own will and razor-sharp intelligence triumphed over the hurdles.
Incredible support
Irascible husband R. Iswaran suffered neither fools nor foolishness. He protected his wife from both, leaving her free to hone her art. Pattammal had the incredible good luck to have her own brothers as accompanists at different stages, and watching Jayaraman develop into a Sangita Kalanidhi himself. She also had the rare distinction of performing on stage, accompanied vocally by daughter-in-law Lalitha, granddaughters Gayathri and Nithyashree, great granddaughter Lavanya, and on the mridangam by son Sivakumar.
Long-term violin accompanist T. Rukmini never found the least trace of the superficial in DKP. “Whether khanda nadai in tisra Triputa, or misra nadai in Adi talam, every part of the pallavi was shaped with finesse, precision, commanding total silence, often with seniors seated upfront Semmangudi, Musiri, MS, Dr.S.Ramanathan. After that masterly exposition she would launch ‘Petra Tai Thanai’ and melt into tears. I too found myself crying. Suddenly I saw every eye in the hall was moist.”
As DKP’s sole male accompanist besides her brothers, Vijay Siva (disciple of both DKJ and DKP) was astonished by her energy. “She was not conscious of the mike, but her voice sounded as electrifying as if amplified on a bass speaker. At age 82 she was able to bring off ‘Dharma samvardhini’ (Madhyamavati) with a sense of fullness and depth.” Siva found her evolving everyday, investing old songs with freshness. He explains, “While she made adjustments in the old patanthara to improve and correct, there were authentic reasons for her refusal to change some sangatis. For example, she made me retain what I thought was an alien phrase in a Mukhari kriti from her 1958 recording. I later discovered that the prayoga was perfect Mukhari when hyphenated by a pause."
Everyone knows that Pattammal’s mastery of laya established her as ‘Pallavi Pattamal,’ on a par with male performers. The sentimental had no place in her oeuvre, not even in patriotic songs or folk tailpieces. Says Neyveli Santhanagopalan, “Her tukkadas had the same gravity as a ‘Minalochana Brova.’ Listen to her Syamaladandakam. Each ragam has a regal gait. Like the veena, DKP’s music sounds divine, not because of her obvious technical perfection, but from her visranti, nidaanam and disciplined faith.”
Her accompanists found Pattammal an affable travel companion, ready to enjoy jokes, but talking always about music. “Naina’s Bhairavi was pure essence,” she would say, or, “Rajaratnam Pillai made you wonder if his music came from heaven.”
Pattammal’s own music had that impact on the young. After a DKP recital at the Music Academy, the adolescent T.M. Krishna came running down from the balcony. “I was crying. I became aware then that music is more than mere excitement.”
Bombay Jayashree is amazed by the equanimity with which the senior musician faced everything in life: remaining graceful, contented, with a lifelong commitment to her ideals. “Listening to DKP is to feel secure, knowing we are not alone. Seeing how successful she was as wife, mother, homemaker and musician, we felt we could do it too.”
Jayashree is inspired by the chiselled perfection of DKP’s music in compositions both resplendent and plain. To her, as to many others, DKP’s pathantara is the definitive source of reference in sangitam and sahityam.
Gayathri Venkataraghavan says, “She makes a complex sangati sound simple because so much thought has gone into it. It is subtle. The most important lesson for us is the absence of unwanted improvisation.”
Bearing the stamp of tradition as it did, DKP was also able to delight the masses at national conferences, Congress rallies, memorial services for leaders like Mahatma Gandhi. Many of her film songs (from yesteryear ‘Naam Iruvar’ to present day ‘Hey Ram’) became hits.
Vocalist Lakshmi Rangarajan, walking into DKP’s house on a condolence visit, was moved but not surprised, when she found an autorickshaw driver waiting in his vehicle, visibly captivated by DKP’s voice on the radio. No, not a film song, but an immaculate rendering of ‘Kamakshi,’ Muthuswami Dikshitar’s Bilahari gem!
http://www.hindu.com/fr/2009/07/24/s...2450680300.htm
Saying it rhythmically
Mridangam maestro D.K. Murthy was felicitated for his 75 years service to Carnatic music.
http://www.hindu.com/fr/2009/07/24/s...2451340400.htm
Where musical ideas are exchanged
Svanubhava 2009, opening on August 4, will be much more than a Carnatic music festival.
http://www.hindu.com/fr/2009/07/24/s...2451440600.htm
Emphatic statements
Rippling sangatis in Semmangudi style was a highlight of Palai Ramachandran’s concert.
http://www.hindu.com/fr/2009/07/24/s...2451190200.htm
Rare Tyagaraja kritis chosen
Senior vidwans Rangarajan and Ravindran proved worthy disciples of their guru A. Sundaresan.
http://www.hindu.com/fr/2009/07/24/s...2451290400.htm
Ragas in all their grandeur
Ragam Sisters’ concert for Indian Fine Arts Society showed their predilection to choose kritis of Syama Sastri to best effect.
http://www.hindu.com/fr/2009/07/24/s...2451450600.htm
The piano that MS played
Pianist Anil Srinivasan writes about discovering the instrument on which the legendary musician played many a times…
If you listen very carefully, there is so much melody wafting in the breeze. Especially if it happens to be one that was made immortal by a shy lady in a black-and-white film that I once saw years ago. Sometimes, when I sit alone by the piano, my fingers automatically find the notes and begin playing the song, one tantalising note after another, and I find her presence by my side, singing along. Hers is one of the most melodious voices we have ever heard, and in the quiet that follows, I often find that the restless wandering of my mind has finally found a pause. The worries that infested the day have literally packed up their tents and sailed along with the breeze.
Such is the power of the legendary M.S. Subbulakshmi, and such is the sheer beauty of the song ‘Katrinile Varum Geetham.’ A few weeks ago, I was taken to the instrument room at Kalakshetra by its director and my friend, Leela Samson. As the doors were thrown open, I was arrested by the sight of a beautiful baby grand piano. It looked lonely, but when opened and played on, I felt it come alive and smile, the frayed strings and damaged felt notwithstanding. It was an original Steinweg, a brand that later modernised itself and acquired a more anglicised name of ‘Steinway.’ I am not sure what love at first sight is. If it meant a certain powerful electric shudder when first coming across someone or something that evokes instant recognition and innate desire, I probably know what that means now.
An arduous task
The instrument chooses the musician, and never the other way around. The power to create music is a privilege that the instrument chooses to bestow. This is an arduous task, especially given this particular instrument’s journey across time and distance. I try to think of its birth nearly 150 years ago in East Germany, and the travails and stories it probably tries to share, sitting quietly in that sun-kissed alcove near the window. The vibrations it has captured, the hands that have played on it and the sensibilities of its various owners before it came to rest in the music room of MS amma’s home at Kalki Gardens in far-away Madras and its part in the creation of such immortal classics as ‘Hari Tum Haro’ (Composer:Meera; Raga: Darbari Kanada). Even as her dear ones tell me about her sitting at that piano and playing a few chords to accompany her singing, I find the vision vivid and somehow, my eyes turn moist. This is not an ordinary instrument. It is both a part and the whole of a living continuity, a repository of some of the greatest stories of Indian classical music and musicians, and a great pioneer by itself.
After all, it is one of the first instruments that have crossed into our shores in its original, pristine state. Long before ‘monsoon conditioned pianos and the more ubiquitious digital pianos and keyboards’ became the fashion. To be able to take part in its restoration, aided by the fantastic workmen at Musee Musicals and guided by the ever-reassuring vision of Leela akka, has been a benediction in itself. I feel like I finally belong, and I feel that I have been inexorably tied to a certain part of musical history.
As I look ahead to the concert on July 24 at Kalakshetra to celebrate MS and her piano, I feel nervous and exhilarated. It is a milestone in my life. And that languorous melody is still playing softly in the breeze, and I can sense a beautiful smile on that divine face, looking benignly on. I am home and I am about to play her piano.
http://www.hindu.com/fr/2009/07/24/s...2451460700.htm
Rich imagination and vision
Jayanthi Kumaresh’s veena recital needed a more exhaustive exploration, Swarnalatha Nagaraj’s concert had features rarely seen in kutcheris
http://www.hindu.com/fr/2009/07/24/s...2450910300.htm
Sound training
R. Raghuram’s uncompromising commitment to classicism was augmented by a robust and pliable voice
http://www.hindu.com/fr/2009/07/24/s...2450900300.htm
Winsome threesome
The recital by M.S. Gopalakrishnan (violin) assisted by his daughter Narmada and son Suresh took the rasikas on a pilgrimage to Tiruvaiyaru
http://www.hindu.com/fr/2009/09/04/s...0451030200.htm
Soorya Music & Dance Festival - 2009:
http://www.hindu.com/fr/2009/10/16/s...1650830300.htm
இஞ்சிக்குடி இ.எம்.சுப்ரமணியனின் நாதஸ்வர கச்சேரியை யாரேனும் கேட்டதுண்டா? ஒரு முறை அந்த உயர்ந்த இசையை அனுபவியுங்கள்.
Ups and downs
The musical opera Prahlada Bhaktivijaya was conceived interestingly; veteran T.N. Sheshagopalan's recital was captivating in parts
Distinct Lively progressions
Surabhi Gana Kalamandira celebrated Shri Thyagaraja-Purandara Aradhana for two days. On the inaugural day the organisation presented Shri Purandara Navarathna Maalika followed by Thyagaraja's musical opera (geya nataka), “Prahlada Bhaktavijaya”.
Around ten students admirably animated the characters (“Prahlada Bhaktavijaya”) on the stage under the guidance of Sukanya Prabhakar. The general narrative style remaining simple in consonance with the environment in which the theme was originally conceived, it focused on Prahlada's unconditional surrender to Shri Hari.
In the process of sublimating the context, Sukanya has liberally selected from the source — poetic forms like seesapadyas (Prahlada Naa Bhakthi), kandapadyas (Varamaina, Naa Moravini), utpalamalas (Narada Niku, Sareku Veene, Eppudu Purnakaami), in addition to conventional musical forms (kirthana). Scholarly compositions were rendered with meaning. Compositions like “Shri Ganapathini” (Sowrashtra), “Ipudaina Nanu” (Bhairavi), “Eti Janmamidi” (Varali), “Nanu Brovakanu” (Shankarabharana), “Varijanayana” (Kedaragoula), “Nannuvidachi” (Rithigoula) and “Entha Paapinaiti” (Goulipanthu) substantially represented all the five acts (anka-s).
The drama reached its climax in “Challare Ramachandruni” in Ahiri (that stood for renunciation -nirveda) highlighting devotion as the easiest means, an epitome of which Shri Thyagaraja stood.
Dr. Sukanya Prabhakar, Nagalakshmi, Amrita Subramaniam, Sangeetha, Meera Manjunath, Gowri Vishwanath, Sudha Venkatraghavan, Megha Bhat and Radhesh constituted the music ensemble.
* * *T.N. Sheshagopalan sang (Purandara Thyagaraja Sangeetha Aradhana by N.R. Mohalla Sangeetha Sabha), accompanied by C.N.Chandrashekhar, (violin), Tumkur B. Ravishankar (mridanga) and B. Shashishankar (ghata).
The veteran commenced the recital with Thyagaraja's “Mudhumomu” (Suryakantha) embellishing it with kalpanaswaras: a few strains in the madhyamakala (as opposed to those delivered in faster paces) amply complemented pensive meditative moods of Suryakantha.
Whereas “Padavini” (Salagabhairavi-Thyagaraja) impressed the audience with lively progressions carrying with it attractively knit swarakalpana, Nadopasana (Begade-Thyagaraja) acquired distinctness through majestic developments.
Purandaradasa's “Naa Ninna Dhyanadoliralu” (subliminally absorbing), preceded Thyagaraja's “Nee Pogada” (Varali), “Aparadhamula” (Rasaali), “Manavyalakim” (Nalinakanti - appended with delectable and scholarly kalpanaswaras, only an artiste of high acumen and stature could materialise.
In spite of all these plus points there were moments loaded with maze of passages and tangled kalpanaswaras more calculated to create wonderment and awe than to foster any ambience of repose. Observe Shanmukhapriya, the accomplished artiste developed in different stages before he introduced the listeners to the pallavi, “Ramabhaktha Thyagaraja”.
In matters of proportion, the alapana section consumed a major share (relatively, pushing the pallavi into undue brevity). The surging masterly bhirkas of various dimensions and frequencies instantly captivated the hall: nevertheless, such passages of bravura belittled the melodic aspects. Further, he could have advantageously avoided very frequent articulations beyond taara sthayi panchama for a pleasing impact.
Swarakalpana passed through Kedaragoula, Shubhapantuvarali, Hindola (passing shades), Athana (faintly recognisable: was clearly discernible with the violinist's refrains), Kuntalavarali, Nilambari and Kaapi.
Violinist lagged behind in technical aspects, and it was hard to conclude whether it was an act of voluntary restraint, or was it a sequel to a deficiency in dexterity in coping with the gushing spontaneity of the singer. The percussionists remained consistent and maintained balance throughout the concert.
http://www.hindu.com/fr/2010/03/19/s...1950890300.htm
Cheerful earful
Diverse Carnatic concerts.
S. Sowmya's was the first concert in Shanmukhananda Sangeetha Sabha's recently concluded Thyagaraja Music Festival. Driven by team spirit, the close to three-hour concert was delightful. She opened with Tyagaraja's “Sree Ganapatini” in raga Saurashtra. “Vandanamu Raghunandana”, another Tyagaraja composition, in raga Sahana, featured a brief alap in which Sowmya brought out the essence of the raga. The swaraprastaras were lively.
Yet another Tyagaraja, kriti, “Teliyaleru Rama” in raga Dhenuka was well presented with due attention to the raga's emotive aspects and the lyrics. “Bantu riti” in raga Hamsanadam and “Svararagasudha” in Shankarabharanam were enthralling. The detailed alap of Shankarabharanam brought out its complete features. She also presented neraval of the phrase “Raama naama manu vara khadga mivi” from the former song and “Muladhara nada merugute” from the latter composition. The neraval and swaraprastaras were rich in creativity. In addition to Tyagaraja kritis, Sowmya included a few appealing Tamil compositions. R.K. Sreeramkumar (violin), Neyveli Narayanan (mridangam) and B.S. Purushothamon (kanjira) provided understanding support. In particular, Sreeramkumar's sketch of Shankarabharanam was delightful. The percussionists played a lively tani avartanam in Adi tala. On the whole, Sowmya's concert livened up the festivity.
Sudha Raghunathan, who sang on the last day, too packed her recital predominantly with Tyagaraja compositions. It was a diverse pack chosen intelligently and contained “Darini Telusukonti”, (raga Suddha Saveri), “Emani pogadudura” (Viravasantam), “Mokshamu Galadhaa” (Saramati) and “Svararagasudha” (Shankarabharanam). Sadly, Sudha wasn't at her usual best, and it was a lacklustre performance. The highlight was the unfolding of raga Yamuna Kalyani, through the technique of graha bhedam (or sruti bhedam), while delineating raga Shankarabharanam.
B. Raghavendra Rao (violin), Patri Satish Kumar (mridangam) and R. Raman (morsing) provided impressive support to Sudha.
Nehru Park
Elsewhere, at Nehru Park, U. Srinivas' short mandolin recital during the Music in the Park series, too, disappointed. Srinivas opened with Koteeswara Iyer's “Varana mukhava” in raga Hamsadhwani. He suffixed this with crisp swaraprastaras. His central item was Tyagaraja's “Evvare Ramayya” in raga Gangeyabhushani. Though Srinivas could bring to the fore the emotive aspects of the raga, he stretched it too much during the alap and swaraprastaras. He finished off with three miscellaneous songs. While V.V. Srinivasa Rao provided good violin support, S. Swaminathan (mridangam) and S. Kannan (morsing) were mediocre.
http://www.hindu.com/fr/2010/03/19/s...1950150200.htm
A delightful cluster
G. SWAMINATHAN
CONCERT The excellent music of T.V. Gopalakrishnan deserved better sound engineering.
T.V. Gopalakrishnan.
What sets T.V. Gopalakrishnan's music apart is the deep voice which espouses his mastery of the nuances. Starting his vocal recital with ‘Viriboni,' the Ata tala Bhairavi varnam, at the Amarabharati Kalyana Mandapam, for Thiruvanmiyur Asthika Samajam, Gopalakrishnan designed his concert with rare compositions set in exotic ragas, integrating nuggets about the raga, the composition and the composer.
So we had ‘Gana Rajane' in Arabhi by Muthuswami Dikshitar followed by Tyagaraja's ‘Chinna Nadena' in Kalanidhi, a unique raga. He prefaced the kriti with a brief illustrative alapana that carried a strong resemblance to Karaharapriya since it is a derivative of the same. He appended the song with a cluster of swaras too and delighted the audience. Similarly, later TVG introduced raga Shankari – which has the swaras of Hamsadhwani without rishabam -- and the composition ‘Nannu Bro Judani,' enveloping it with a quick alapana and concluding with swarakalpana.
Swara sessions
Raga Pantuvarali was placed as a second main of the concert and TVG chose to present the Prahlada Bhakta Vijayam kriti of Tyagaraja, ‘Narada Muni Vedalina.' There was an expert niraval at ‘Rajilluni Tyagaraja' with a long procession of swaras centring on panchamam. Khambodi was set as the central attraction with sumptuous detailing of the raga for Veena Kuppiar's master piece ‘Koniyadina Napai.' The raga exposition was amply justified with the traditional pidis though built mostly on staccato phrases. The pallavi is popular for its multi-layers of sangatis with subtle to major variations.
TVG's baritone effortlessly assumed full power in the lower, middle and upper regions and in the enticing chittaswaram. S. Varadarajan on the violin gave a graceful version of Kambhodi and very attractive sketches of Kalanidhi and Shankari. Tiruvarur Bakthavatsalam, besides his almost blustery mridangam support, specially complemented TVG in his well aligned forays in the upper regions of Kambhodi. Anirudh Athreya's beats on the kanjira were commendable in texture.
It is both heartening and depressing to see these veterans perform with all humility in venues with the least infrastructure and still demonstrate music of very high quality. This particular venue with acoustics that was found much wanting almost reduced many segments of the concert to sheer noise that drowned the lyrics; the interesting titbits given by TVG as interludes sounded as if they were passing through a scrambler. It is time organisers and artists seriously addressed such audio inadequacies in several venues.
http://www.hindu.com/fr/2010/03/26/s...2651070200.htm
Fine-tuning process
M.V. RAMAKRISHNAN
Amrutha Venkatesh seems to be in the process of refining her skills and fine-tuning her presentation in concerts.
Amrutha Venkatesh
“S tunning .... clearly articulated lyrics....weighty sway of chittaswaram... gripping rounds of niraval.... solidity of patanthara-reinforced compositions....” Those were some of the lavish expressions used by the discerning music critic Lalithaa Krishnan to describe the performance of young vocalist Amrutha Venkatesh in February 2009. And even a couple of years earlier, when Amrutha was still only a teen-ager, Ms. Krishnan had declared: "Music that spells class.... weighty classicism...." (www.thehindu, Friday Review, Chennai, Feb. 6, 2009 and Jan. 12, 2007).
After hearing Amrutha perform in the city on a couple of recent occasions, one couldn't help recalling those extraordinary words of praise. And after quoting them, one can hardly think of anything more significant to say, except that Amrutha now seems to be in the process of refining her skills and fine-tuning her presentation. What that involves is mainly a little moderation of certain heavy elements of her original style, which she had acquired as an earnest disciple of T.L. Selvanarayanan and Charumati Ramachandran. And in this endeavour she's guided by Prince Rama Varma, whose ongoing concern is that of a mentor rather than a guru.
Profound performance
The main numbers in her recent concerts at Hamsadhwani, and in the All-Trinity series organised by the Saraswati Vaggeyakara Trust at Narada Gana Sabha's mini-hall, were Dikshitar's ‘Sri Subramanyaaya Namaste' in Khambodi and Syama Sastri's ‘Mayamma Nannu Brova' in Nattakurinji respectively. These were rendered in a profound and leisurely manner.
Taken in a much lighter vein were Tyagarajs's galloping ‘Vara Narada Narayana' (Hamsadhwani) and his lilting song ‘Varaleela Gaana Lola' (NGS). But in terms of sheer beauty, most likely to linger for a long time in one's memory are the songs ‘Sreedhara Kesava Narayana' in Kalyana Vasantam, composed by Nadopasana Srinivasan, and Dikshitar's kriti ‘Anandamritakarshni' in Amritavarshini .
What an exciting and adventurous future young Amrutha Venkatesh can look forward to, building such an impressive structure on such a solid foundation!
http://www.hindu.com/fr/2010/03/26/s...2651170400.htm
Not quite a jugalbandhi!
In their joint recitals, Anooradha and Sriram share a lovely common musical vision.
Awesome twosome:Sriram Parasuram and Anooradha Sriram.
The musicians themselves call it a ‘jugalbandhi,' obviously for want of a better expression. And the media even refers to it as ‘fusion' between Carnatic and Hindustani music. But neither of those terms really seems to provide a satisfactory definition or description of the joint vocal concerts of Sriram Parasuram and Anooradha Sriram -- in which the highly versatile and talented couple just sing assorted pieces of music belonging to both systems, sometimes (and not always) bringing out certain basic elements of contrast and similarity.
Different styles
The Hindi expression ‘jugalbandhi' broadly refers to encounters between two or more musicians belonging to different gharanas in Hindustani music, representing different styles of performance -- or playing different kinds of instruments which are not usually played side-by-side -- or even belonging to different musical cultures, especially the Hindustani and Carnatic traditions.
Since both Sriram and Anooradha are equally proficient in both kinds of music, what materialises on such occasions is actually a partnership of like-minded musicians -- and not an encounter between two musicians representing two different styles or systems.
In fact, technically speaking, both of them are quite capable of projecting the same picture without involving the other; but in artistic terms, their combined performance adds infinite value to their music, because there's such a wonderful harmony between their voices. Of course, each of them has independent aspirations and accomplishments -- Anooradha as a shining playback singer in Indian cinema, and Sriram as a Hindustani violinist aiming to attain great heights of excellence and status. But when they sing together they share a lovely common musical vision which propels them in the same direction and ensures the integrity of their performance.
No wonder a large audience sat through their performance in the sweltering summer heat in the semi-outdoor venue at Hamsadhwani, with intense concentration.
After explaining and exploring the nuances of the ragas Abhogi (common to Hindustani and Carnatic music) and Kedar-Hamirkalyani, and rendering a Syama Sastri kriti in Anandabhairavi without any frills, the vocalists took up the well-known and extremely popular traditional thumri ‘Kaa Karoon Sajanee.'
One has heard many moving versions of this beautiful song, but perhaps never seen it melting the listeners' hearts as well as this one seemed to do!
After this tour de force, one would have expected anything else to be an anti-climax.
But the climax seemed to be an extended one, with a spirited version of a Purandaradasa song in Bhimplas, Tyagaraja's ‘Marugelara' in Jayantasri, and an eloquent vrittam in Tamil.
Effective instrumental support was provided by Srinivasa Rao (violin), Shertalai Ananthakrishnan (mridangam), Umakant Puranik (harmonium) and Gurumurthi Vaidya (tabla).
http://www.hindu.com/fr/2010/04/16/s...1651140200.htm
A tranquil ambience
Mala Ramadorai's presentation was adorned with embellishments of delicate akaras and swaras.
Not quite a jugalbandhi!
In their joint recitals, Anooradha and Sriram share a lovely common musical vision.
Cultural fiesta
Variety Young aspirants proved their mettle at the programme organised by Tamil Nadu Iyal Isai Nadaga Mandram, Pollachi.
Refined and pleasing
Performing in both the styles of classical Indian music has been an heirloom of the Parur School of violinists. M. Narmadha, a very versatile artist, is able to offer Hindustani music of a high quality without traces of the Carnatic system, ...
Tad slow for a concert
Depth was singularly lacking in the recital of P.V. Parameswaran.
Sincere attempt
Mahalakshmi can go places if she hones her skills.
Lively interpretations
Chaitra Sairam's singing style was free from any pretence of profundity.
Confluence of East and West
Anupama Bhagwat and Anoushka combined in a refreshing duet.
http://www.hinduonnet.com/thehindu/f...6/chenindx.htm
1. Spotlight on Syama Sastri
Kanaka Durga and Shertalai Renganatha Sharma paid particular attention to raga bhava.
http://www.hindu.com/fr/2010/04/23/s...2351040200.htm
2. Poised in every aspect
Good choice of kritis and confidence made Swarna Rethas' concert an aural pleasure.
http://www.hindu.com/fr/2010/04/23/s...2351070200.htm
3. Reverberating with bhakti
The nine-day fest organised by the Sringeri Sankara Mutt, Srirangam, featured captivating recitals by eminent musicians.
http://www.hindu.com/fr/2010/04/23/s...2350720300.htm
4. In a devotional mood
Kallidaikurichi Sankaranarayanan chose some less heard numbers to showcase his imaginative skills.
http://www.hindu.com/fr/2010/04/23/s...2351100300.htm
5. Decidedly classical
Neat korvais and smooth flowing kalpanaswaras marked Rajini Hariharan's concert. Bhooma Kasturi presented a rich fare with vim and vigour.
http://www.hindu.com/fr/2010/04/23/s...2351090300.htm
14 May 2010 04:17 pm
Focus on Tamil kritis
The Tamizhisai festival served as a platform for young aspirants to exhibit their talents.
http://www.hindu.com/fr/2010/05/14/s...1450610300.htm
Mutually pleasant
Gayatri Asokan's casual approach and good improvisation of swaras made her recital quite enjoy.
http://www.hindu.com/fr/2010/05/14/s...1450620300.htm
Dipping into an aural treasure
Shreyah Ramnath displayed acumen in grasping the lyrical and devotional facets of Annamacharya kirtanas.
http://www.hindu.com/fr/2010/05/14/s...1451460200.htm
Musicians scout for talent
The aim of Sumanasa Foundation is to search for potential and showcase it.
http://www.hindu.com/fr/2010/05/14/s...1451500200.htm
Of voice and violin
Narmadha beautifully highlighted some rare kritis, adding an admirable vocal touch to her violin recital.
http://www.hindu.com/fr/2010/05/14/s...1451510200.htm
Presented with emotion
The Oduvars have sung Panniru Tirumurai soaked in bhakti.
http://www.hindu.com/fr/2010/05/14/s...1451580300.htm
Young harpists show promise
Diverse repertoire and expressive power marked the harp concert presented by students of A.R. Rahman's KM Music Conservatory.
http://www.hindu.com/fr/2010/05/14/s...1451630400.htm
COMMENT Madurai T.N. Seshagopalan's concert was in keeping with the spirit of the venue - the Parthasarathy Swami temple.
UNIQUE BEARER OF TRADITION: T. N. Seshagopalan
The Parthasarathy temple in Tiruvallikeni is said to be the oldest temple in Chennai city. Tiruvellikeni itself finds mention as a village even in the times of the ancient Pallava dynasty. And in this temple, with all its authenticity and grandeur, was the Brahmotsavam festival grand finale concert of Madurai T.N. Seshagopalan.
The crowds that had thronged the temple festivities organically reorganised themselves to transform the space into a spiritual theatre. And thus began the concert.
It was common knowledge that TNS had returned from a long American musical tour barely twelve hours before his concert, in one of the hottest days of the year. There was natural curiosity of how he would cope with the circumstances. But as the concert progressed, it became obvious that TNS would not disappoint, since he would capture the traditional connection between Carnatic music and its original proscenium, the temple.
Evocative Kaanada
Even as the concert began with and unfolded into the Dikshitar composition Shanka Chakra (Purnachandrika), the Chalamela varnam (Nattakurunji) concert had embedded itself in the universe of Parthasarathy. TNS enhanced the momentum with Ambujam Krishna's `Yenna Solli Azhaithai' that was preceded by a supremely evocative elaboration of raga Kaanada followed by a thematic virutham. `Keechu Keechendrengum' (Tiruppavai) in Bhairavi was an apt inclusion of Andal. The next composition was to connect inevitably with the spatial significance of the temple. The offering was a slokam `Sarva Dharmaan Parityajya,' the last of the Gitopadesam and is called Charamasloka, highlighting the surrender of the devotee to the higher force.
This was followed by the elaborate `Bhagayanayya' in Chandrajyoti. This wholesome offering meandered from the raga elaboration to the niraval and kalpana swaram.
The line of the niraval improvisation `Phalamu Neeku thanaku Laedhani Chakkaga Paalanamu Seya Laedha' refers to theGita sloka, (meaning, the action alone is your right and not the result). Even the anupallavi in the composition refers to the karmanyevaadhikaarsthe maa phaleshu kadhaachan Gitopadesa sloka (meaning, there is nothing to be done for me, or my own sake in all the three worlds). TNS could not have made a better offering to the philosophical symbolism of the presiding deity.
All the exquisite viruthams such as `Palliyil Othi Vanthadhor Siruvan' (Thirumangai Azhwar Pasuram) about Thiruvallikeni deity and `Shanka Chakra (Draupadi Maana Samrakshana slokam were thematic to the metaphors of the temple. TNS chose to even conclude the concert with a thematic mangalam `Vijaya Gopala' by Narayana Tirtha.
Vittal Ramamurthy on the violin and Ganapathy Raman on the mridangam harmonised faultlessly with the theme and texture of the concert.
The concert and its ambience transported even the average connoisseur (and perhaps even the non-believer!) to a world of yore when culture, spirituality and intellectual genius merged with organic ease. TNS demonstrated that he is a unique bearer of a musical tradition that can revitalise the transcended significance of a space called the temple.
http://www.hindu.com/fr/2010/05/21/s...2161340300.htm
1. Accent on musical discipline
Seetha Rajan's recital for Swati Tirunal Day was compact and creditable.
http://www.hindu.com/fr/2010/06/04/s...0451220200.htm
2. Vintage fare from veteran
Kalpagam Swaminathan's album was released recently.
http://www.hindu.com/fr/2010/06/04/s...0451230200.htm
3. Maestro's magic
For those Hindustani music aficionados who have not had the opportunity to listen to the scintillating music of Ustad Bade Ghulam Ali Khan, this CD will provide a glimpse into the masterly exposition of three ragas handled by the ...
http://www.hindu.com/fr/2010/06/04/s...0451250200.htm
4. Music, pure and pristine
Athira's judicious choice of compositions made her concert lively.
http://www.hindu.com/fr/2010/06/04/s...0450680300.htm
5. Unrelenting tempo
It was significant that Madhavan never resorted to contrivance of voice to feign reposefulness and sensitivity.
http://www.hindu.com/fr/2010/06/04/s...0451300400.htm
1. Vibrant vocals
Kasturi Kamala Deepthi gave a skilful vocal performance for Sankara Jayanti celebrations.
http://www.hindu.com/fr/2010/06/04/s...0450070200.htm
2. Delightful beat of the dolu
Miduthuru Tarigoppula Narayana performed 35 talas in less than 13 minutes.
http://www.hindu.com/fr/2010/06/04/s...0450160300.htm
3. One for the record
A marathon rendition of Annamayya keertanas finds place in the Guinness Book of World Records.
http://www.hindu.com/fr/2010/06/04/s...0450120200.htm
4. The little master
Abhishek Raghuram showed maturity beyond his age.
http://www.hindu.com/fr/2010/06/04/s...0450150300.htm
5. Magic of qawwali
An informal setting can transform the qawwali experience. And so it was when Warsi brothers Nazeer and Naseer Ahmed Khan performed at the LaMakan in Banjaral Hills. The Warsi brothers were their melodic best with chosen old-time hits like ...
http://www.hindu.com/fr/2010/06/04/s...0450180300.htm
A musical treat
Maestro Ilayaraja's album “Nothing But Wind” to be performed live on June 5
MAGICAL TUNES Ilaiyaraja.
I layaraja's fans have a huge reason to celebrate this weekend. “Nothing But Wind”, his album of international acclaim, is to be performed live on June 5, 7 p.m., at The Music Academy. The show will be inaugurated by the maestro himself and presided over by director Bharathiraja, music composer Uttam Singh and lyricist Vaali. Ace flautist Navin Iyer will take centre stage along with a 50-piece orchestra. The show is being organised by Bhavatharini, Ilayaraja's daughter, in connection with the virtuoso's birthday (June 2).
“Nothing But Wind” is Ilayaraja's second non-film album released in 1988. The album was performed by veteran flautist Hariprasad Chaurasia and a 50-piece orchestra and takes the conceptual approach suggested in the title — that music is a natural phenomenon akin to various air currents (e.g., the wind, the breeze, the tempest, etc.).
Now, for the first time, after two decades of its release, the album is to be performed live by city-based musicians Navin Iyer on the flute, Navneeth Sundar on the keyboard, Aalaap Raju on the bass guitar, Donnan Murray on the guitar, Leon on the keyboard, Geo Raj on the drums along with a 32-piece string section. It will be conducted by Prabhakaran.
“Nothing But Wind” comprises the tracks ‘Singing Self', ‘Mozart I Love You', ‘Song of Soul', ‘Composer's Breath' and ‘Nothing But Wind'. Tickets for the show, priced at Rs. 250, Rs. 500 and Rs. 1,000, are available at Landmark. For more information, call 99949 02173 or 98417 79699.
http://www.hindu.com/mp/2010/06/03/s...0350840100.htm
Music for a cause
Listen to sacred music featuring the Lutheran Men's Voice
A sacred music concertwill be held on June 5 at 6.30 p.m., at Arulnathar Lutheran Church, Harleys Road, Kilpauk, in aid of the ALC Piano Fund. The concert will feature the Lutheran Men's Voice, a group led by Prabhu G.J Dorairaj, which has been singing for the past 35 years. The evening will feature hymns, keerthanais, spirituals and gospel songs. The evening will also feature pianist Rajeevan David. Donor passes are priced at Rs. 100. For details, call 98842-94648.
http://www.hindu.com/mp/2010/06/03/s...0351030500.htm
1. Talent spreads its wings
Consistency and tonal balance marked K. Gayathri's concert.
http://www.hindu.com/fr/2010/08/20/s...2051210200.htm
2. Words of wisdom
Prof. Veezhinathan highlighted the Advaita philosophy in Dikshitar kritis.
http://www.hindu.com/fr/2010/08/20/s...2051250600.htm
3. Raga essays made the difference
Creative touches made Subbulakshmi Swaminathan's concert worth the while.
http://www.hindu.com/fr/2010/08/20/s...2051360400.htm
4. Symmetry in singing
Maharajapuram Ganesh Viswanath ably juxtaposed karvais and rapid prayogas.
http://www.hindu.com/fr/2010/08/20/s...2051380400.htm
5. Polished to sparkle
The neat delineation of kritis by Mambalam Sisters was proof of their diligent practice.
http://www.hindu.com/fr/2010/08/20/s...2050660300.htm
1. Tranquil notes
Suma Sudhindra and Pravin Godkhindi's jugalbandi bore testimony to technical virtuosity and aesthetic sensibility
http://www.hindu.com/fr/2010/08/20/s...2050940500.htm
Love holds devotion
2. Adil Husseini's five-hour performance had devotional and philosophical numbers
http://www.hindu.com/fr/2010/08/20/s...2050950500.htm
3. Fluent notes
Anantharam and Amith Nadig's concert evoked mixed responses, while Shrilakshmi's veena recital was imaginative
http://www.hindu.com/fr/2010/08/20/s...2050960500.htm
4. Eclectic rendition
Ranjani and Gayatri caught the pulse of the audience and made a fine presentation
http://www.hindu.com/fr/2010/08/20/s...2050970500.htm
Do you have review of T.M.Krishna's concert @ Times of India programme ?
1. Room for two
A look at the duet music concerts in the Sampratikam fest.
http://www.hindu.com/fr/2010/08/20/s...2050100200.htm
2. Torrential talent
Concerts by young Carnatic musicians who received Sangeet Natak Akademi's Yuva Puraskar.
http://www.hindu.com/fr/2010/08/20/s...2050120200.htm
3. Keeping tune with the times
Noted folk singers from Assam, Khogen and Archana Mahanta, on their long association with Bihu songs and the changing times.
http://www.hindu.com/fr/2010/08/20/s...2050140300.htm
Song on new wings
The Devanandan Ubhayker Yuva Sangeet Utsav brought together some promising young musicians of India
http://www.hindu.com/fr/2010/09/03/s...0350790200.htm
Tracing her own path
Gayatri Girishholds lessons from her guru sacrosanct; but her music is her own
http://www.hindu.com/fr/2010/09/03/s...0350850300.htm
Fluent and felicitous
Anil Murthy's concert was charged with emotion
http://www.hindu.com/fr/2010/09/03/s...0350820300.htm
Holding the audience in thrall
The 13th annual L.V. Memorial Concerts conducted by the Rasika Ranjana Sabha,Tiruchi, was a boon for the music lovers of the city.
Photo: R.M. Rajarathinam.
Vocalists captivate: (From left) K. Jyotsna; Ganesan; Mohan Santhanam; Gayathri Venkataraghavan and Ashok Ramani.
It was delectable music by mostly young masters at the 13th Annual L.V. Memorial Concerts, conducted by the Rasika Ranjana Sabha recently. The programme, held at the Sabha's FGN Hall, Tiruchi, was spread over 11 days and was a boon for music lovers.
The festival had a rousing start with Padma Sugavanam (vocal), who was accompanied by Venkatasubramanian on the violin and Ananthakrishnan on the mridangam.
Audience enthralled
The mellifluous voice of K. Jyotsna enthralled the audience as she sang ‘Karunai Sheivan' (Sri), ‘Ninnu Vina' (Varali) and ‘Nee Iranga' (Atana). She was accompanied by G.Venkatasubramanian on the violin and S. J. Arjun Ganesh on the mridangam.
The U.S. based engineer, Ramakrishna Murthy, delighted the rasikas by tackling Mukhari (‘Sivakamasundari'), ‘Subramanya' (Hindolam) and ‘Ankaranamaka' (Kapi) in his inimitable style on the third day. He was accompanied by Nagai Sriram on the violin and Ganapathiraman on the mridangam.
The doyen, ‘Tiruchi' Ganesan with ‘Ambalapuzha' Pradeep on the violin, ‘Palladam' Ravi on the mridangam and Rajaganesh on the kanjira gave a recital in his established style. Special mention must be made about the thani performed by the percussion trio.
The young executive from New Delhi, Mohan Santhanam, who took up popular ragas, gave an astounding performance. He was ably supported by N. C. Madhav on the violin, Salem Srinivasan on the mridangam and Murali on the ghatam. His ‘Mahaganapathim' (Thodi), ‘Kanagasabapathikku' (Atana) and ‘Marukelara' (Jayanthsri) will be remembered for a long time by the audience. Madhav in typical Dhwaram style gave good support. The rollicking thani of Salem Srinivasan on the mridangam and Murali on the ghatam was splendid.
Delightful recital
‘Papanasam' Ashok Ramani, accompanied by M.A.Sundareswaran on the violin and Ganapathiraman on the mridangam, gave a delightful performance befitting the music mela of the Sabha.
The vocal recital by Gayathri Venkataraghavan spoke of her scholarship in the craft and she traversed the octaves with ease. Elaborating in Mohanam (‘Ra Ra Rajeevalochana') with apt swaras, she delved deep into Varali (‘Gopalanatha'). Her Poorvikalyani (‘Intha Paramugam Enaiya') and Sama (‘Annapurne') spoke volumes of her mastery and it seemed that she relived MS that day. N. C. Madhav on the violin, Sivakumar on the mridangam and Renganathan on the ghatam gave her able support.
Two comedies were also staged. ‘VRS O VRS,' presented by Chennai Kala Nilayam, was directed by K. S. Nagarajan. ‘Enakkul Iruvar,' presented by Rail Priya, was directed by Ananthu- who was also responsible for the dialogue and story.
The bharatnatyam performances by Vijaya Mukundan's troupe of Salangai Academy of Indian Classical Arts and by Smitha Madhav, on the final day, also regaled the audience.
The festival was inaugurated by S. R. Jayasithalakshmi, former professor of music. She conferred the ‘Sageetha Sri' title on V. Venkata Nagarajan and also presented the L.V. Memorial awards and purses to vocalist S. Adithyanarayanan and mridangam vidwan Venkataraman.
http://www.hindu.com/fr/2010/09/03/s...0350610200.htm
1.Confluence of creativity
Harmony marked the musical conversation between flautist Shashank and sitar player Purbayan Chatterjee.
http://www.hindu.com/fr/2010/09/03/s...0351200200.htm
Optimum impact
2. Blessed with powerful voices, Ruchira Kale and Kumar Mardur proved their mettle.
http://www.hindu.com/fr/2010/09/03/s...0351260300.htm
Brothers unite for a cause
3. Jugalbandhi The Gundecha and Malladi Brothers have come together to raise funds for a worthy purpose.
http://www.hindu.com/fr/2010/09/03/s...0350600200.htm
Holding the audience in thrall
4. The 13th annual L.V. Memorial Concerts conducted by the Rasika Ranjana Sabha,Tiruchi, was a boon for the music lovers of the city.
http://www.hindu.com/fr/2010/09/03/s...0350610200.htm
5. Interpreted with ease
Duo Carnatica Brothers' rendition of the Saramathi raga was elegant.
http://www.hindu.com/fr/2010/09/03/s...0350670300.htm
1. Note of friendship
Chennai-based bigwigs sang to raise funds for a cause, while Delhi youngsters too presented their talents.
http://www.hindu.com/fr/2010/09/03/s...0350380200.htm
2. It is raining music
Delhi witnessed a number of delightful recitals in celebration of the monsoon.
http://www.hindu.com/fr/2010/09/03/s...0350360200.htm
The sitar reigns supreme
Madhu Murthy paid tribute to four stalwarts of the sitar.
http://www.hindu.com/fr/2010/09/03/s...0350190300.htm
1. Unusual selection of songs
Kotapalli Vandana, Vrinda Acharya and K.J. Nandini lent freshness to their recitals.
http://www.hindu.com/fr/2010/09/24/s...2451160200.htm
2. Catchy mix of old and new
‘Raag Roop Aur Rang' showcased film songs based on classical ragas.
http://www.hindu.com/fr/2010/09/24/s...2451150200.htm
3. Graceful blend of styles
Lakshmi Sreeram and Gayathri Girish showcased the two classical forms with deep commitment to grammar and composition.
http://www.hindu.com/fr/2010/09/24/s...2451090200.htm
4. In his inimitable way
Solo Gurucharan's swaras and niraval spoke of his scholarship in handling tough components of music with ease.
http://www.hindu.com/fr/2010/09/24/s...2450550300.htm
5. With effortless ease
By eminent musicians marked the finale of the September Season of Music and dance held in Coimbatore.
http://www.hindu.com/fr/2010/09/24/s...2450580300.htm
6. Display of virtuosity
The Parur style of bowing and fingering is reflected to great degree in the violin playing of the talented brothers from Mysore, Nagaraj and Manjunath. They have been in the concert arena for quite a few decades and enjoy popularity amongst ...
http://www.hindu.com/fr/2010/09/24/s...2451240400.htm
Musical revelry - (Soorya Dance and Music festival 2010)
http://www.hindu.com/fr/2010/10/22/s...2251340300.htm
Firm foundation
Kolkata Vijayaraghavan has potential, but he should steer clear of mere vocal display.
http://www.hindu.com/fr/2010/10/29/s...2950820200.htm
Jazzy lilt to raags
Hindustani vocalist Shantanu Bhattacharyya and the Canadian group Monsoon wove magic.
http://www.hindu.com/fr/2010/10/29/s...2950950400.htm
Spirit of adventure
With the accompanists playing perfect, Sanjay offered a sumptuous fare.
http://www.hindu.com/fr/2010/10/29/s...2951060500.htm
Evocative appeal
Vasudha Keshav's Carnatic vocal recital was well structured
Vasudha Keshav Complex structure and weighty classicism
Vasudha Keshav, accompanied by S. Yashasvi (violin), A. Radhesh (mridanga) and R. Ramesh (ghata), presented a vocal concert recently as part of the Sri Sargur Narasimha Murthy Endowment Programme of the MES Kalavedi, Bangalore.
The performance began with an emphatic rendering of Veena Venkatagiriappa's varna “Vanajaksha”, set to Gambheeranatta raga and adi tala, to which were appended a few avarthanas of kalpana swaras. A brief sketch of Saranga was then followed by “Gananathane”, a composition of Periyasami Thooran, also in adi tala. Kalyanavasantham was taken up for a short alapana that highlighted its evocative appeal, notable for the occasional stress on the dhaivatha during the ascent to the thara sthayi, and for the imaginative phrases that ran the entire gamut of the scale. The Deekshithar krithi “Sree Venkatesham Bhajami Sathatham” in rupaka tala, sung in a mellow tempo eminently suited to its lilting yet dignified charm, and suffixed with brisk kalpana swaras at the madhyamakala sahithya beginning “Shankha Chakra Dharam” completed a well constructed and executed item.
The succeeding expansion of Nattakurinji was suffused with raga bhava, replete with key phrases that combined improvisational acumen with strict adherence to the complex structure and weighty classicism of the raga. A full-throated akara at certain junctures would, however, have infused the exercise with greater vitality and revealed more effectively the true range and quality of the voice. Veena Kuppayyar's krithi beginning “Needu Moorthy” in adi thala was ornamented with a fairly detailed neraval at “Indiraramana Gunabharana”, made especially striking by the thara sthayi positioning of the sahithya. The ensuing kalpana swaras in the second speed were enlivened by a number of single avarthana segments leading to a final focus of diminishing tala cycles ending at the dhaivatha, and including a modicum of rhythmic patterns.
A bracing “Bhogeendrashayinam” in Kunthalavarali raga prefaced the main raga of the evening, Mohanam. The alapana was both meticulous and elaborate, and infused with the traditional flavour of the Carnatic idiom. Thyagaraja's “Nannu Palimpa” in adi tala was presented with a neraval and kalpana swaras at “Vanaja Nayana” and followed by a tani avarthana. A number of compositions by a variety of composers included in the well-planned recital were indicative of the lead artiste's wide repertoire and dedication. The concert, which was augmented by competent accompaniment by the violinist and exemplary support and understanding from the percussionists concluded with Purandaradasa's “Venkatachala Nilayam” in Sindhubhairavi raga and adi thala.
http://www.hindu.com/fr/2010/10/29/s...2950730300.htm
"Blessed with a velvety voice"
http://www.hindu.com/fr/2011/02/18/s...1851220200.htm