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Bhavan's cultural festival sets the tone for music season
Balamuralikrishna and Nityashree Mahadevan
Carnatic musicians Balamuralikrishna and Nityashree Mahadevan receiving the Obul Reddy and P. Gnananba Memorial Awards in Chennai on Sunday. G. Srinivasan, Chairman and Managing Director, United India Insurance Company ( left), T.S. Krishnamurthy, chairman, Bhavan's Chennai Kendra, Sucharitha Reddy, wife of Pratap C.Reddy , chairman, Appolo Hospitals, and K.N. Ramaswamy, director, Bhavan's Chennai Kendra are in the picture. Photo: R.Shivaji Rao
The Hindu Carnatic musicians Balamuralikrishna and Nityashree Mahadevan receiving the Obul Reddy and P. Gnananba Memorial Awards in Chennai on Sunday. G. Srinivasan, Chairman and Managing Director, United India Insurance Company ( left), T.S. Krishnamurthy, chairman, Bhavan's Chennai Kendra, Sucharitha Reddy, wife of Pratap C.Reddy , chairman, Appolo Hospitals, and K.N. Ramaswamy, director, Bhavan's Chennai Kendra are in the picture. Photo: R.Shivaji Rao
Several eminent artists, old and young, felicitated
Bharatiya Vidya Bhavan's Cultural Festival 2011 kick-starts the popular ‘Madras music season' here on Sunday.
The Bhavan took this opportunity to felicitate several eminent artists, old and young.
Eminent Carnatic musician and composer Balamuralikrishna, who was presented the P. Obul Reddy Award, described Bhavan as the “home of arts and artistes.” Himself a patron of the London branch of the Bhavan, he said this institution had been rendering yeoman service to arts and culture and expressed hope that it would continue to remain so.
G.Srinivasan, chairman and managing director, United India Insurance Company, the chief guest, said Chennai turns into a different city altogether during the music season. And the cultural festival of Bhavan was not only free but was also of high quality. Thanks to its rasikas of high calibre, it provided an opportunity for an interface of high quality artistes and rasikas. Such festivals took the public to a different plane altogether, to the level of “communion with God.”
Describing Bhavan as an institution that had been in the forefront of “intellectual and cultural movement” of the country, he quoted its founder K.M. Munshi as saying it was an institution which had its “faith in the past, the present and the future.”
The movement and the contribution of Bhavan were quite relevant today because of the challenges facing the world which was suffering from “moral deficit,” he added.
T.S. Krishnamurthy, former Chief Election Commissioner and the chairman of the Bhavan's Chennai Kendra, observed that it was honouring the old artists in a bid to express its concern for the old and honouring the young to say that the future was safe in their hands. The Bhavan proposed to extend its activities to T. Nagar and Tiruporur also, he added.
Carnatic musician Nithyasree Mahadevan was presented the P. Gnanambal Memorial Award by Sucharita Reddy, wife of Pratap C. Reddy, chairman, Apollo Hospitals group. Parur M.S. Anantharaman, Sembanarkovil S.R.G. Rajanna, Suguna Varadachari, Prapancham Sitaram and G. Abhilash received Bhavan's Chennai Kendra cultural awards.
Keywords: Bharatiya Vidya Bhavan, Madras music season
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Sudha Ragunathan
Brilliant presentation: Sudha Ragunathan. Photo: K. Ananthan
Sudha Ragunathan enthralled her rasikas by delivering a wide variety of songs.
Sudha Ragunathan's distinctive flair for giving a fresh touch in her presentation skills was evident in her vocal recital under the aegis of Arsha Kalaa Arangam, held at the Sarojini Auditorium, Coimbatore. Her well-developed vocal faculty came in handy to her while picturing the ragas with twists and turns.
Her modest start of ‘Siddhivinayakam Anisam' in Mohanakalyani with a brilliant chittaswaram made the listeners sit up for more in the following numbers.
Glitzy stimulation underlined the succeeding ‘ Sobillu' (Jaganmohini) and ‘Mokshamu Galada' (Saramathi).
Spate of kalpanaswaras
A delightful raga vinyasam of Kalyani with richly worked out sancharas integrated with vocal articulation for the kriti, ‘Ulagellam Eendra Annai' unravelled the sensitivity of the raga. The niraval and the spate of kalpanaswaras were rooted in the emotion of rakti.
The concluding pieces of Swami Dayananda Saraswathi's compositions—‘Bo Shambho' and ‘ Mahalinga Vibho' were marked by lyricism, mellowness and devotional fervour.
Embar Kannan's violin accompaniment was classy in the solo segment of raga delineations and swara sallies.
Sai Giridhar (mridangam) played strokes adding meaning to the percussive support in company with Ramani's morsing. Both painted a picture of laya in a lilting thani.
Keywords: Sudha Ragunathan, carnatic music
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Chennai, November 20, 2011
Ringing in the Yule spirit
At the outset of Canticle of Joy — a package of classical, semi-classical and contemporary music at Museum Theatre designed to welcome the Yule spirit and, at the same time, to enthral classical mu... »
Members of Anubhuti at The Music Academy Photo: S.R. Raghunathan
November 18, 2011
High on curiosity, confidence
Only brave hearts or confident artistes can take up such a challenge, the challenge of performing at a moment's notice. Talented Carnatic vocalists, Trichur Brothers, who filled in for the postpone... »
COIMBATORE, November 18, 2011
When music spoke through slide guitar and violin
A musician living on the banks of the Ganges and another living in Singara Chennai came together on one stage to create music so divine that it struck a chord in every listener. ‘Adrishta', the op... »
Tarun Bhattacharya
November 17, 2011
Strings of a melody
An ace santoor artiste, Tarun Bhattacharya who was recently in the city for a musical ensemble, shared his childhood passion for the instrument, his musical journey and his love for the city. ... »
Prema Ramamurthy
November 17, 2011
Melodious repertoire
It was a full house at the mini hall of Thyagaraya Gana Sabha for veteran Prema Ramamurthy's vocal performance. Prema is the senior most disciple of Mangalampalli Balamurali Krishna. She is a well... »
Madurai Mani
November 17, 2011
Celebrating Madurai Mani
"Elderly lovers of Carnatic music sometimes find it difficult to believe that many decades have passed since the good old days when the scene had been dominated by venerable vocalists such as... »
Brilliant presentation: Sudha Ragunathan. Photo: K. Ananthan
November 17, 2011
With devotional fervour
Sudha Ragunathan's distinctive flair for giving a fresh touch in her presentation skills was evident in her vocal recital under the aegis of Arsha Kalaa Arangam, held at the Sarojini Auditorium, C... »
Soulful notes: Kadri Gopalnath
November 17, 2011
Short and sweet
Right from the beginning Kadri Gopalnath appeared unsettled. First, the concert began late and then he had his struggles with the sound system. So it took some time for the sax maestro to get warm... »
SAYING IT WITH FLOWERS: SPB wishing Ananthu, (from left) Balamuralikrishna, MSV and Ganesh look on. Photo: S.S. Kumar
November 17, 2011
Deserving accolades
Ananthu’s evening of film numbers titled ‘Oru Naal Podhuma,’ at Kamaraj Arangam, on Children’s Day, had a salient pick of everlasting songs. Ananthu, an MSV protégé, has been with the illustrious c... »
Vocalist Sikkil Gurucharan and pianist Anil Srinivasan at the opening concert to launch ‘The Hindu Friday Review November Fest 2011’ in the city on Wednesday. Photo: K. Ananthan
COIMBATORE, November 17, 2011
The Hindu Friday Review November Fest launched
The second edition ofThe Hindu Friday Review November Fest was launched in the city on Wednesday night at the Grand Kovai Ballroom, Le Meridien. Dignitaries from various sections of society... »
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November 19, 2011
Touching the right chord
Suddala Ashok Teja's songs are simple and transparent, like him. They break the wall between writer and the listener and touch the heart. He talks about the power of a song, “When Tansen sang… the... »
KOCHI, November 18, 2011
November Fest to begin in city today
The Hindu Friday Review November Fest, which was launched in Chennai in 2005, is coming to Kochi for the very first time, at the Kerala Fine Arts Hall, for three days this weekend starting... »
BEST OF BOTH WORLDS Dulsori Photo: S.R. Raghunathan
November 17, 2011
The delicate sound of thunder
The distant rumble of drums heralded lilting rain on lush fields. Strident gongs signalled the clash of battle swords in faraway lands. And a lissome flautist's trills painted a peaceful pasture. H... »
Singing strings Sarfaras Khan. Photo: K.K. Najeeb
November 17, 2011
Sweet strains of the sarangi
For the first time in Thrissur, music buffs had the privilege of revelling in the enthralling notes bowed out of the sarangi by Sarfaras Khan. The 16-year-old musician, son of Ustad Faiyaz Khan, e... »
Srinivasa Iyengar and son giving violin concert
November 17, 2011
Father-son duo impress
At times concerts by veterans give us the feel of ancient styles with perfect grammar and sahitya import. Violin concert by 78-year-old Nallan Chakravarthula Srinivasa Iyengar in the company of hi... »
Kalamandalam Sankara Warrier. Photo: Thulasi Kakkat
November 17, 2011
Percussionist par excellence
In his cautiously written critique on Kathakali maddalam, Kalamandalam Krishnankutty Poduwal has noted that but for the avant-garde efforts of Thiruvilwamala Venkichan Swamy, the maddalam would ha... »
aesthetic: Hemmige Prashanth. Photo: K. Ananthan
November 17, 2011
Appealing patterns
Hemmige Prashanth's (disciple of late K.V. Narayanaswami) vocal recital featured by Rajalakshmi Fine Arts, Coimbatore, in its monthly programme, was marked by strict adherence to tradition and its... »
Violin duet by Naveen Kumar and Poorna Pragnya at the concert organised by Association for Carnatic Music (ACM) in Tirupati last week.
November 17, 2011
Enthralling duet
Naveen Kumar and Poorna Pragnya performed a violin duet at the monthly musical programme conducted by the Association for Carnatic Music (ACM) at Mahati mini hall in Tirupati last week. ACM devote... »
Chennai, November 17, 2011
‘Lahori Blues’ concert cancelled
Warm Greetings from The Hindu Events Team. We thank you for the patronage for our ongoing Friday Review November Fest 2011 at the Music Academy. Today’s concert,... »
SOUND SENSE: The Minguet Quartet. Photo: S.R. Raghunathan
November 16, 2011
Mood, musicality and Minguet
The road to a mature string ensemble is a long and arduous one. Since much of the charm of chamber music is to return the compliment of the other, four musicians who love to play string instrument... »
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Concert conjures up magic of abhangs
Aruna Sairam performing Wisdom of Vithala at The Hindu Friday Review November Fest 2011, Fine Arts Hall, Kochi. Photo: Tulasi Kakkat
Friday Review November Fest
music classical music
arts, culture and entertainment
The city has a history of abhang singing that is more than 100 years old. The Sree Vithoba Devasthan in Mattancherry has regular abhang renderings and most of the compositions of this traditional form are quite familiar to those who participate and listen to them here. For them, Aruna Sairam's abhang performance was another chance to revisit their musical roots, for the others, an initiation into a powerful world of devotional music.
Aruna Sairam was singing on the opening day ofThe Hindu Friday Review November Fest at the Kerala Fine Arts Hall on Friday. The programme was aptly titled ‘Wisdom of Vithala,' as most of the songs penned by poet saints are addressed to Lord Vithala.
Classical as well as non-classical singers have explored this form. Earlier, abhangs were sung by classical singers only as part of a general concert, usually at the end of it. Masters like Pandit Bhimsen Joshi crossed the barrier between classical music and popular music; became a sort of icon through the medium of this form.
As a Carnatic vocalist, Aruna Sairam is known for her full-throated and personalised style of singing. She always enjoyed singing one or two abhangs in her concerts. It was at the same festival in 2006 in Chennai that she first presented an exclusive recital of abhangs. Her strong voice, resonant timbre and exposure to a range of styles are much suited to this form. And today, Aruna Sairam is much-sought after for her abhang singing.
“She was both professional and very devotional. We have seen so many abhang singers but most of them simply sing. There is very little ‘bhava.' In Aruna Sairam's case, it was so different. She interspersed her rendering with the history of the music form, of the compositions, about Pandharpur, stories about the saints.
And her singing was exuberant, soaked in ‘bhakti,' ” says Mahesh N. Joshi, trustee, Sree Vithoba Devasthan.
Aruna Sairam opened the concert with Jog raga and followed it up with the extremely popular Sant Namdev abhang. 'Teertha Vitthala kshetra Vitthala…' (Ahir Bhairav). Originally, abhangs were not meant for the stage or put into a classical framework. It was simply singing the praise of the lord in simple terms, conveying the rich philosophy and teachings of the saint composers.
By the time Aruna Sairam had finished Sant Eknath's ‘Majhe mahir Pandhari…' and Sant Tukaram's classic in Sivaranjini, ‘Rajasa sukumara madancha…' the audience had got into the mood. They were swaying and clapping to the pulsating rhythms and Aruna's soulful rendering.
From the Bhakti Movement of the North she travelled down South with Sampradaya Bhajans, a tradition of singing bhajans with a collection of kirtanas and namavalis. Aruna chose five ragas – Nattai, Abheri, Madhyamavathi, Saveri and Panthuvarali – set in five definite talas.
A short, crisp taniavartanam involving the mridangam (J. Vaidynathan), ghatam (S. V. Ramani), tabla (Manoj Bhati), pakhawaj (Prakash Shejwal) and Pratap Rath (additional percussion) followed.
Blending genres like part of a Tamil kriti and an abhang, an innovative mix of vibrant abhang singing with the buoyant Gondhali was beautifully executed. Every second of the concert was filled in beautifully by the sitar (Kishore Kumar), harmonium (Atmaram Bicholkar) and violin (H.N. Bhaskar).
The surprise was the Malayalam devotional, ‘Anjanashilayil adi parasakthi…', written by Vasudevan Potti and set to tune by Jaya-Vijaya. Her pronunciation might have been a bit flawed but the soul was certainly there. Aruna Sairam wound up the two-hour performance with ‘Omkara saroopa…' in Revathi, Narayanaeeyam sloka tagged on with apadam from Natya Sangeetham.
Keywords: Kochi November Fest
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Swaras in Slovenia
Slovenia-based Gopuram, Institute for Vedic Culture, non-profit private organisation, established to promote cultural and educational activities in the field of art and culture, recently organised... »
http://www.thehindu.com/arts/music/article2656323.ece
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Concert
November 24, 2011
Captivating concert
The Heritage Hall of the renowned Ravenshaw University in the millennium city of Cuttack — the former cultural capital of Odisha — reverberated with the memorable sarod recital by Sura Ranjan Mukh... »
Jayaprada Rammurthy's show was engaging. Photo: Special Arrangement
http://www.thehindu.com/arts/music/article2655773.ece
November 24, 2011
Style of play
Jayaprada Ramamurthy won international recognition by bagging ‘Global world record' recently. She was honoured recently for this achievement at Thyagaraya Ganasabha. She was the choice musician to... »
http://www.thehindu.com/arts/music/article2655763.ece
November 24, 2011
Classical to the core
Simple,down-to-earth, they make you feel at ease at the very outset. The maestros that they are, Bombay Sisters belong to the golden era of MS, MLV and Pattammal, Radha and Jayalakshmi-this makes... »
T.K. Ramamurthy
http://www.thehindu.com/arts/music/article2655764.ece
November 24, 2011
Felicitating TKR
M.S. Viswanathan will honour his counterpart, T.K. Ramamurthi, at a function organised by Rasikaas, in the presence of Rama. S. Vairam Chettiar, on November 27, 4.25 p.m. onwards, at the Cine Music... »
Promising talent: Palghat R. Ramprasad. Photo: S.R. Raghunathan
http://www.thehindu.com/arts/music/article2656192.ece
November 24, 2011
Manodharma in evidence
Palghat R. Ramprasad, a singer with a resonating voice has resurfaced after a hiatus. And his concert for Nadopasana at P.S. High School Auditorium, showed a lot of promise. Ramprasad's v... »
FETED: Vani Jairam receiving Sangam Academy's Lifetime Achievement Award from Mr. K. Rosaiah, Governor of Tamil Nadu. Photo: Special Arrangement
http://www.thehindu.com/arts/music/article2656195.ece
November 24, 2011
Melodic sojourns
Vani Jairam is continuously active on the concert circuit both here and abroad. Beginning with her show of exclusive Tamil hits at Harrow, London, the past few months have sped past at a frenetic p... »
Marti Bharath: With his band Sapta. Photo: Special Arrangement.
http://www.thehindu.com/arts/music/article2656188.ece
November 23, 2011
Riding on 7
Number “7” has a big history. And the latest Electronic fever spreading in Chennai is also related to the number. Wondering how? Marti Bharth - said to be the youngest Electronic music composer in... »
Coimbatore 18/11/2011. 'Adrishta' by Ganesh Rajagopalan (violin) and Debashish Bhattacharya (slide guitar) at 'The Hindu Friday Review November Fest 2011' at Corporation Kalai Arangam in Coimbatore on November 17, 2011. Photo:K.Ananthan.
http://www.thehindu.com/life-and-sty...cle2652773.ece
Hyderabad, November 23, 2011
A perfect blend
Date: November 26Venue: Ravindra Bharathi, Lakdi Ka PulTime: 7.30 p.m.Ganesh Rajagopalan is a violinist from the folds of Carnatic music. Debashish Bhattacharya is a Grammy-nom... »
http://www.thehindu.com/arts/music/article2653282.ece
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The Academy of Music conducted its annual music festival last week, at its own Chowdaiah Memorial Hall. Senior musicians T N Seshagopalan and Rudrapattana Brothers (R N Thyagarajan and R N Tharanathan) received the “K K Murthy Memorial Chowdiah Award” for this year.
Popular vocalist Nityashree Mahadevan, who gave the inaugural concert, was accompanied by M A Krishnaswamy (violin), Shivakumar (mridanga) and S Srishylan (ghata). Nityashree, who was in her elements, started with a familiar varna in the raga Durbar. This was followed by a lesser-known composition of Tyagaraja, ‘Okasari Chudagarada’ in the raga Kalawathi. The Nalinakanthi ragalapana was brief but with lively phrases. It was followed by a Kannada devaranama ‘Nindakarirabeku’ and the all time favourite, ‘Akhilandeswari’, in a grand ‘vilamba kaala’. With her voice traversing with ease, and abundant birkas Kalyani was sparkling. ‘Nidhichala sukhama’ with Nerval (Mamatha Bandhanayutha) was wholesome and stood out for its emotional sensitivity.
Another devaranama ‘Thamburi meetidava’, Sai bhajan and a thillana (Maharajapuram Santhanam) – that followed were also pleasing. In total it was a bright beginning for this year’s music festival.
http://www.deccanherald.com/content/...e-reviews.html
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Ganesh Rajagopalan and Debashish Bhattacharya's ‘Adrishta' concert held at Ravindra Bharathi was a stupendous success right from the start
Wedded by music, the violin and slide guitar seemed the most compatible couple on earth. Ganesh Rajagopalan on the violin seemed the masculine strain of Carnatic music: strong and steady with the velocity of the wind; Debashish Bhattacharya on the slide guitar was the feminine form: rich in melody, paced with poise like the earth.
On a roller coaster
The fortunate (Adrishta) duo took us on a roller-coaster at the Ravindra Bharathi auditorium on the second day of The Hindu Friday Review November Fest 2011. The concert was ordained for nothing short of stupendous success right from the start. The ragas presented were chosen that they had a thread of commonality running between them or an equivalent in both the Carnatic and Hindustani musical parlance.
We were initiated into the Madhyamavathi (Megh) with the composition of Sadaarang (18th century Niyamat Khan) set to Jhampa tala (Jhup taal). The opening notes of this stirring raga were an elaborate exposition of its finer aspects as Ganesh deftly wielded his bow-string on the violin.
The high concordance as the raga takes the first three notes of the cycle of fifth and fourth was so evident in his handling.
The concurrent Megh on the guitar, invoked the clouds to pour in its sweet, stringing melodic tones.
The rather rigid instrument seemed to melt in the hands of Debashish and it almost spoke in human voice like the veena.
In fact, the cadence was similar to that of veena. As Ganesh led in improvising this popular raga, Debashish's guitar followed suit. No, it was not repetitive. Far from it, each artiste gave his version of the raga in almost similar lines that it appeared to a follow-up but it had its innate identity.
The improvisations were markedly intricate as Ganesh and Debashish scaled the altitude in stunning speed as they whirled past the higher octave. The formal spin down was not just a fall, it was methodically calculated set of declining syllables totally rhythmic that came to a natural end. The tabla by Subhashish Bhattacharya and mridangam by Ananthakrishna literally were on a sport drive – trying to outdo each other while Trichi Krishna on the ghatam maintained a low tempo except towards the end of a true, blue taniavartham (solo percussion). The passionate Charukeshi (recently adapted to Hindustani) opened to a brilliant alapana by the violinist.
The nuances spoke eloquently on the instrument which were further enhanced by the guitar.
We never knew we would be shortly taken on a breath-taking trip of the heavens as both the artistes alternately set the pace which peaked and landed us on what seemed the heights of a beautiful snow-clad mount.
The stylish spill out of syllabic utterances in quick succession, without a breather was Ganesh's forte while Debashish took the cue and took wings flying into a boundless space on a rapid action mode. It was like a clap of thunder and lightning with the percussionists on an Abacus.
The triangular contest of tabla, mridangam and ghatam was worth a watch though Ananthakrishna emerged a clean victor. The sweet Sindhubhairavi gave a fitting finale to the marvellous ensemble.
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Chennaiites have a lot to look forward to in terms of song and dance this Margazhi
The much-awaited Margazhi music season is just around the corner. Rasikas can look forward to another enjoyable season of concerts and lectures. Here's a look at some of the treats in store this year.
Normally, it is vocalists who get the lion's share attention as well as the best slots. But this year, The Music Academy has 20 instrumental concerts lined up. The nagasvaram concerts, which have become a rarity, will see a return, as the academy has included a nagasvaram concert by Sheikh Mehboon Subhani and Khalsha Bi-Mehboob in the schedule.
Some of the other highlights include the concert of veteran Parassala Ponnammal, who comes with seven decades of experience and has the distinction of being the first woman to sing at the Navarathri Mandapam. Also performing at the same Kalakshetra Festival are Aruna Sairam and Paduka Pattabishekam. The ancient form of musical story-telling, Villupattu, by Kavingar Subbu Arumugam will be part of the highlights at the festival at Bharatiya Vidya Bhavan this year. As for the purists, there's a great treat in store. One can look forward to the renditions of rare and popular ragas like Charukesi, Vagadeeswari, Rishabhapriya and Priyadarshini in the concerts of K J Yesudas. He will be singing at many venues to commemorate his 50 years in the field of music.
This year also sees the launch of Sadhguru Santhananda Kalaa Kendra, an organization promoting classical music in Tambaram and other suburbs close by. Other big sabhas, including the Chennai Fine Arts, Kartik Fine Arts, Prabhata Sangeetham (the early morning concerts) and Bharat Kalachar, will see some great concerts lined up. Some of the most popular singers like Bombay Jayasri, Sudha Ragunathan, P Unnikrishnan and Kunnakudi M Balamuralikrishna will be performing at these venues. Lovers of Hindustani music too have some big names set to enthrall them.
Featured in the itinerary this year are world famous names like Pandit Hariprasad Chaurasia, Shubha Mudgal, Debashish Bhattacharya, Tarun Bhattacharya and Abhijeet Banerjee.
And what's a season without young talent? Some of the brightest names from the Indian classical music scene are expected to perform here as well. There will be many lecture-demonstrations (lec-dems) for the discerning audiophiles, who want to keep a track of the changing trends. Topics vary from the changing role of the nagaswaram, the mridangam as leader and follower and the handling of minor and major ragas.
The dance festivals too offer some great treats for the culturati. The theme for the Natya Kala Conference at Sri Krishna Gana Sabha is Abhyaasa Sampradaya with performances of different forms like Yakshagana, Manipuri, Mohiniattam, Kutiyattam, Chhau and Odissi apart from Bharatanatyam and Kuchipudi recitals.
This year some NRI sabhas are organizing interesting concerts like the 12-day festival organized by Singapore Indian Fine Arts Society. And what's the month of Margazhi without talking about the food and pattu saris? The city's best caterers are all set to dish out their delectable treats at the various canteens run by the sabhas.
Get your best pattu saris out, mark your calendars and just sit back and enjoy, for Margazhi this year has something for everyone!
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GS Mani concert
A demonstration cum delivery was presented by the versatile musician and musicologist G.S. Mani at the FGN Hall of Rasika Ranjana Sabha, Tiruchi, in the monthly ‘Eppadi Paadinaro,' music programme organised by the Sabha in association with Sri Krishna Sweets. The AIR artists, N.C. Madhav (violin) and Salem K. Srinivasan (mridangam), were the accompanists.
Following a distinct manodharma and rendition, this veteran presented an enjoyable solo with frequent elaborations on the ragas and their octaves conforming to the grammar of Carnatic music always.
Brief swarams
He treated all the ragas alike with brief swarams and sargams in all the kritis.
He commenced with a rare raga Kanthamani for Kotteeswara Iyer's kriti, ‘Nadhasukham Tharum.'
This was followed by Tyagaraja's ‘Raghuveera Ranadheera' in Husseini, Subbaraya Sastri's ‘Janani Ninnuvina' in Ritigowla and a rare Suryakanti for Tyagaraja's ‘Muddumomu.'
The veteran dealt with Bagesri and Mohanam with ease and poise and ended the concert with a traditional Purandaradasa's bhajan in Charumathi and Vallalar's ‘Thanayarinthinbamura' in Jhonpuri.
The accompanying artists lent able support. The mridangam of Salem Srinivasan was subtle and his thani was stupendous.
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Sanjay subramaniam,nithyasree mahadevan,and malladi brothers in the Kalpathy Sangeetholsavam showcased vintage Carnatic music at its best.
http://www.thehindu.com/arts/music/article2677425.ece
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The vocal recital of SP Ramh at Bharat Kalachar at YGP Auditorium had a convincing classical fore and revealed the vocalist’s grasp of nuances of carnatic music, imparted by violin maestro Lalgudi Jayaraman.
http://ibnlive.in.com/news/a-spellbi...73-60-120.html
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Nithyasree Mahadevan, the grand daughter of DK Pattammal, performed for Kartik Fine Arts at the Narada Gana Sabha Auditorium.
The concert was definitely a grand feast of vocal showers. Yet, how nice it would have been, if she, with her gift of a good voice, had taken melodious strides to measure the dimensions and reach the exploration of the Tarasthayi.
http://ibnlive.in.com/news/sweeping-...38-60-120.html
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saxophone maestro Kadri Gopalnath and flute legend Ronu Majumdar Saxophone-flute jugalbandi
http://timesofindia.indiatimes.com/c...w/11038400.cms
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There is a genre of Carnatic music that may be called “21st Century”! Leading musicians of the latter half of the 20th century have contributed a lot to the creation of this genre. Chaitra Sairam's performance at the Bharatiya Vidya Bhavan Mini Hall on Saturday evening with accompaniment by K.J. Dilip (violin) and Kumbakonam Swaminathan (mridangam) was in accordance with this genre.
http://www.thehindu.com/arts/music/article2709905.ece
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The violin duet of Akkarai Sisters, Subhalakshmi and Sornalatha, for Sri Krishna Gana Sabha on Sunday could be segmented into two parts. One that said, “Let us show you what we can do with the violin,” and the other, “Let us show you how beautiful Carnatic music can be.” Thankfully, the first part of the concert was a short one.
http://www.thehindu.com/arts/music/article2712521.ece
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R. Suryaprakash, Priya sisters, Kunnakkudi Balamuralikrishna, T.V. Sankaranarayanan, etc.
http://www.thehindu.com/arts/music/article2714487.ece
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The cake has Carnatic music as the crust, topped with new flavours. That could be a foodie's definition of Sowmya's music. There are few musicians who respect the original theorems of Carnatic music like she does, and yet she makes allowances for intelligent transgressions.
http://www.thehindu.com/arts/music/article2723391.ece
Unnikrishnan's vocal recital with S. Varadarajan (violin), B. Harikumar (mridangam) and Tripunithura Radhakrishnan (ghatam) as accompanists attracted a considerable turnout. Although husky undertones and a slight tremulousness in sahitya enunciation indicated that all was not well with his voice, the artist's intelligent handling of alapana and kalpanaswara shifted attention from vocal dexterity to musical content.
http://www.thehindu.com/arts/music/article2723311.ece
The repertoire invested the concerts of Sikkil Gurucharan and Malladi Brothers with classicism and clarity. However, vainika Rajhesh Vaidhya was not all that traditional in his approach.
http://www.thehindu.com/arts/music/article2723348.ece
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A Carnatic vocal concert usually follows a conventional style where maestros pick a major raga for the narration and also to present a notable ‘Kirthan’ to explore the mood of the raga. In between the elaborate narration of the composition, the accompanying artistes showcase their brilliancy in their respective percussion instruments.
Going against the conventional style, mridangam maestro Padma Bhushan Umayalpuram K Sivaraman presented two ‘Thaniyavarthanams’ at the vocal concert by the upcoming singer Bharath Sundar.
http://ibnlive.in.com/news/double-tr...94-60-122.html
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Amritha Murali is one youngster who has made a mark as a vocalist and violinist. This studious artiste, a disciple of stalwarts such as the Kedaranathans and vidushis Rama Ravi (vocal) and T. Rukmini (violin), is also mentored by P.S. Narayanaswamy. With such impeccable credentials and a meticulous work ethic, she has become one of the brighter talents of the young brigade that gives much hope and optimism for the future of Carnatic music. Her approach during a concert for Brahma Gana Sabha in the 2.15 p.m. slot on Saturday, in the company of Ranjani Ramakrishnan (violin) and Arjun Ganesh (mridangam) served to reinforce that optimism.
http://www.thehindu.com/arts/music/article2729792.ece
At the concert held at Narada Gana Sabha, Kadri Gopalnath began the� Saxophone recital in raga Bahudari (Janyam of Harikhambodhi) and took up Bhaja Manasa composed by Thulasivanam. The pattern of swaras had a progression in terms of enticing rhythmic models. It was evident that he was exploring to achieve the noble dimension of self-enjoyment and spiritual quest.
http://ibnlive.in.com/news/a-scintil...10-60-120.html
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When vocalist Sowmya, in her concert for Narada Gana Sabha, displayed the ‘Sukham’ aspect of music, rather than displaying vocal propensities, the ‘loftiness of Carnatic music came to the fore. When she dwelt at length on (Ra Ra Mayandi) of Thyagaraja in Raga Asaveri with extensive swaras, the astuteness of the vocalist, in evoking the ‘Bhava’ came to the forefront.
http://ibnlive.in.com/news/vocalist-...03-60-120.html
Nisha Rajagopal, the recipient of ‘The Hindu Saregama M.S. Subbulakshmi Award', presented a satisfying morning concert at The India Fine Arts Academy on Sunday. She was accompanied by Nishanth Chandran on the violin and B. Ganapathiraman on the mridangam. The well-balanced presentation was a testimony to her commitment to the core values of Carnatic music. Endowed with a sruti-aligned expressive voice-range traversing the octaves, Nisha used it to good effect to render gamaka rich phrasings with ease. The influence of her training under several gurus was also evident, her style, a neat amalgam of several styles.
http://www.thehindu.com/arts/music/article2732787.ece
Nagabhushan� Hegde, an exponent of the kirana gharana style of Hindustani classical music, the audience through a gamut of� expressions or rasas - from fervour and obeisance to ecstasy, from adoration� and passion to utter sorrow of separation, and finally from sheer joy and revelation in the beauty of the Lord, back to devotion and bhakthi.
http://ibnlive.in.com/news/audience-...38-60-119.html
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Veteran Vedavalli’s musical expressions on the inaugural day of the Academy’s 85 Annual Conference and Concerts, reiterated her strong faith and humility in presenting the purity and divinity of Carnatic music. One is awed by her grasp of on the ragas’ range and melody, and her proclivity to bring forth the succulent parts of the raga. ‘Meenalochana Brova’ of Syama Sastri carries the quintessence of Dhanyasi and Vedavalli added extra aesthetic flourishes in her niraval and swaras on ‘Syama Krishna Sodari.’
http://www.thehindu.com/arts/music/article2737920.ece
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The art of their presentation and imagination in the mixed menu, presented by Trichur Brothers (Srikrishna Mohan and Sriramkumar Mohan), disciples of legend vocalist PS Narayanaswamy and Neyyatinakara Mohanachandran, was scintillating, as they brought out the tranquility and grandeur of compositions, chosen for exposition at Krishna Gana Sabha.
http://ibnlive.in.com/news/an-ebulli...08-60-120.html
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Synergistic synchrony among the violin trio in a concert led by Sangita Kalanidhi T.N. Krishnan along with his daughter Viji and son Sriram, was a breezy touch of class at The Music Academy on Christmas morning. The concert was of vintage value as the octogenarian vidwan — active in the field for nearly seven decades — chose to play from the choicest list of the best of the stalwarts he has accompanied over the years.
http://www.thehindu.com/arts/music/article2747537.ece
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Dr Krishna Vageesh's knowledge shines through his music. His choice of songs encompasses unheard songs of known composers. When he started the concert, for Naadhabrahmam, with Khambodi Ata tala varnam, ‘Sarasijanabha,' sung in two speeds with charanam in fast pace, with his sonorous and powerful voice, the hall was filled with sunaadam.
http://www.thehindu.com/arts/music/article2754363.ece
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A bright star in the Carnatic music horizon. What a voice in the young childish frame. Prachothan is still a child but his music is mature. After a brief essay of Janaranjani he sang ‘Nejesina’ with swaras for the pallavi. His raga alapana of Ranjani had depth and grace.
http://www.thehindu.com/arts/music/article2754265.ece
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Vocalist Madurai T.N.S. Krishna performed on Monday and was supported by a team of experienced artistes — S.D. Sridhar (violin), Umayalpuram Mali (mridangam) and S.V. Ramani (ghatam). If one were to listen to T.N.S. Krishna with eyes closed, it would be immediately evident that he has imbibed the musical approach and values from his father and guru T.N. Seshagopalan, with a nearly identical style of akara phrasings and brikas. His grip over raga, kriti rendition, neraval and kalpana swaras was on display during his concert. The end product is that he is able to deliver high quality music with punch and vigour and thus keep the tempo going throughout the concert.
http://www.thehindu.com/arts/music/article2758677.ece
It was the meeting of North and South in terms of the music and, that of East and West as regards the instruments. Curiosity was writ large on the faces of the rasikas as Kadri Gopalnath shared the dais with Pravin Godkhindi. The saxophone and the flute or bansuri together created mesmerising effects as was evident from the rounds of spontaneous applause from the audience.
http://www.thehindu.com/arts/music/article2757989.ece
Priya sisters were in their usual zest and verve. The concert was so peppy that by the end of the first hour, the main ragam, Kharaharapriya had been launched, after six songs. The kathanakuthuhalam varnam, ‘Sri Vatapi’ (Sahana, Sivan) with swara adjuncts, ‘Lavanya Rama’ (Purnashadjam, Tyagaraja), ‘Pirava Varam’ (Lathangi, Sivan), ‘O, Jagadamba’ (Anandabhairavi, Syama sastri) and ‘Nagagandhari Raganuthe’ (Dikshitar) descended into the hall in an hour of musical hailstorm. The similar tala structures and an essentially uniform kalapramanam made it sound like an orchestral serial. ‘O, Jagadamba,’ promised to provide the calming effect, but the upper speed play of Patri Satish Kumar (a bit inappropriate) put paid to any such enjoyment. The sisters’ talents were however fully displayed in the Lathangi alapana (especially in ga,ma,da and da,ni,ri zones).
http://www.thehindu.com/arts/music/article2758015.ece
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Voice is one of T.M. Krishna’s strengths and exceptional tonal quality, good use of amplification and articulate enunciation of lyrics stood out at this concert. His reputation for new tactics (sometimes controversially bizarre) creates curiosity before a concert. Vagatheeswari (‘Paramatmudu’) as the main piece, first speed swaram for a second speed sahityam and the likes filled the newness quota for the evening.
http://www.thehindu.com/arts/music/article2760764.ece
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Kafi with Pandit Ajoy Chakraborty electrifies Amdavadi rasikas
Nawab Kalb Ali Khan (1865-1887) of Rampur - now in Uttar Pradesh - was a worshipful disciple of Bahadur Khan, an ustad of sursingar (a precursor of sarod). The nawab's love for his mentor inflamed wild envy in his courtiers. The nawab decided to use music to eliminate the meanness.
One day, he ordered the courtiers to report to his durbar at a particular time. Before the session was to begin, he requested Ustad Bahadur Khan to start playing outside the durbar hall. No courtier kept the appointment that day. The ustad's mastery not only froze the courtiers, but also purged their souls.
If Ustad Bahadur Khan made the courtiers put off their durbar appearance, Pandit Chakraborty made Amdavadi audience put their lives on hold.
At the festival venue - Amrut Mody School of Management - one young neo-rasika gushed: "Is raat ki subah nahin honi chahiye' (This night should not end!). Panditji elucidated Kafi, a raga not normally associated with the khayal form he presented. But because of his supreme saadhana, Kafi looked as resplendent and proud on khayal as jewellery would on a beautiful bride.
As for his Saptak performance, panditji set his own composition to Kafi. He began with the hymnal deliberation of 'Jako man laago' and then roused the sparklier disposition of the raga with 'Batiya banavo nahin bar bar'. In the finale - 'Ja rey koyaliya', panditji annexed every register with regal authority. Kafi expressed its innate shringar ras like a lover's heart: surging at the sight of the beloved; plummeting at the moment of farewell; and soaring again when an embrace is granted.
TOI
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Organised by Sparsh Foundation in aid of SparshVachana, the charity wing of Sparsh Hospitals, the event brought together veteran vocalist and composer Balamuralikrishna and talented violinist Jyotsna Srikanth on one platform for the first time. When Balamuralikrishna’s soulful Carnatic classical rendition was blended with world fusion, it was an unparalleled experience for the audience.
http://www.deccanherald.com/content/...al-dreams.html
Bombay Jayashri Ramnath is idolized by Carnatic connoisseurs because her singing expresses the atoning purity of a stotra. Since her intellectual command is absolute, her instincts are supple. Ramnath did not come to the Saptak Music Festival - on Day 10 - with a precooked programme. "I planned the repertoire after considering the ambience," Ramnath told TOI. But she is unassuming about her creative facility. "I owe it to my guru, Lalgudi Jayaramanji," she said.
http://timesofindia.indiatimes.com/c...w/11455799.cms
A young Ambi Subramaniam played with endearing charm and easy elan in an ensemble of percussion and other stringed instruments and then accompanied his mother Kavita Krishnamurti Subramaniam's velvety voice to play a Carnatic thillana, who also sang a special classical number 'Badal badse' dedicated to the monsoons. The doyen of Indian violin Dr L Subramaniam played a composition 'Journey' that he had been created for Yehudi Menuhin with Ambi.
http://timesofindia.indiatimes.com/c...w/11457013.cms
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There were several factors which made Prince Rama Varma's recent vocal recital at the Vinayaka Temple in Besant Nagar a memorable exercise in excellence.
Playing the mridangam was veteran T.V. Gopalakrishnan. The three primary sources of Rama Varma's inspiration are his guru, Balamuralikrishna, his idol, the late maestro M.D. Ramanathan and his mentor TVG, who himself is known for his very special rapport with Balamurali now and MDR then.
On the violin was S. Varadarajan, an outstanding disciple of TVG, who has not only learnt the subtler techniques of playing the violin from his many-sided guru, but also assimilated the latter's compelling spirit of give-and-take among performers.
When these three musicians got together in front of a highly enthusiastic audience in the sacred ambience of the Vinayaka Temple, perhaps it was inevitable that the performance should have a monumental quality.
The twin towers that cast a deep spell on the audience were Shyama Sastri's swarajati, ‘Kaamaakshi,' in Bhairavi -- strongly reminiscent of MDR's majestic rendering of the same composition -- and Balamuralikrishna's soul-stirring song ‘Omkaara Aakaarini' in the intriguing raga Lavangi, invented by himself.
These were preceded by fine versions of ‘Vaataapi Ganapatim Bhaje' (Hamsadhwani, Dikshitar) and ‘Jayalakshmi Varalakshmi' (Lalita, Annamacharya).
All three performers seemed to be at their very best, revelling in one another's company. The mridangam sounded melodic, not only in the solo session, but throughout the concert. Watching maestro TVG perform and recalling his many valuable contributions to Carnatic and Hindustani music, one couldn't help wondering why the Music Academy hasn't yet conferred the Sangita Kalanidhi on him.
http://www.thehindu.com/arts/music/article2814154.ece
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CRITIQUE ON MUSIC SEASON
CHENNAI:� We scanned the music season, to assess whether Carnatic music will be retaining its highly aesthetic and elevating spirit, as its unique individuality. We evaluated the depressing ‘drought’ by way of attendance, during the rest of the year. We intonated our faith in ‘young musicians’ who are developing their art to the ‘quality’ of old vidwans, by their intrinsic academic strength and� good voices.
While on this aspect, as I have been pointing it out in my reviews, practice of the ‘book spread inspiration’, is coming to stay, even for the oft repeated kirtanas. It is certainly an acknowledgement, on the part of the musicians, that the songs have not been committed, fully to the memory. The sangathis in ‘Trikalam’ is only an alibi, to cloth the ‘bookish skeleton structure’ to make them respectable.
Such an adhoc approach to song interpretation, makes it obvious that either the mind of the musician is not in the beauty of the song or his or her devotion to the great composers is so fragile, that he or she is not able to understand the ‘intent’ of the composers, who have dedicated their lives to the ‘preservation of high standards’.
Few musicians were looking into papers before them, even while singing Kalpana Swaras! Probably the paper contained information, as to where to commence, particularly ‘long’ SWARA KORVAIS, also help to systematise, even ‘Kalpana Swaras’.
The extraneous aides, to make carnatic music, and still pass for a ‘great fine art’. It is not more ‘artifice’ than ‘art’.
Let us evaluate the role of the Sabhas and the Rasikas Organisations for fostering culture are more concerned with the ‘entertainment value’ and so to them, music is only one item among others. The Sabha organisers should understand that as long as they overrate the ‘utilisation value’ of money, and the arts depending on the ‘doles handed out’, there can be no hope, for our cultural heritage to ever attain its� pristine glory.
Those harping on ‘Standards’ would be ‘poo-poohed’ by Sabhas, since they make their toll any way.
Decades earlier, only a small group of musically knowledgeable listeners formed the audience. Their aesthetic sense of appreciation was elevated by the sheer artistry of the giants of that day. Today, we see people of all hues, listening to music and waiting to applaud at the torrential Tara Sthayi.
There needs to be a critical examination of the ‘real worth’ and not the ‘inflated worth’ of the musicians. There is no room for personal bias, consideration of consanguinity or any other such relevance.
If reality is any reflection of the present trend of ‘money flow’ only towards the coffers of the sabha, at the cost of sanguine cultural thrust, there is need for soul searching by musicians/organisations and rasikas.
http://ibnlive.in.com/news/time-for-...92-60-120.html
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R.Latha: Please check your hub mailbox. Thanks.
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Guys a happy news from my side. I will be performing in 5 different sabha's in this year's musical season. I have Mylapore Fine Arts, Narada Gana Sabha, Vani Mahal, Bhrama Gana sabha and Parthsarathy Sabha in the pipeline. Hopefully chennai music rasikas can attend my concerts. The dates not finalised though...
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Congratulations Arvind.. :)
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Thanks Rockstar...It will actually be my third year for the music season and is my biggest one yet....
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Congrats AS. Booking started for December?
