Topic suggested by Geetha on Tue Sep 8 09:06:14 .
All times in EST +10:30 for IST.
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It will be nice for us all to discuss the various Carnatic concerts we attend during the year. I feel that it's a good idea to categorise this by year, starting with 1998, so that we can keep track of what, who saw in which year. |
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- From: RR (@ netapps2.krdl.org.sg)
on: Fri Dec 15 04:10:52 EST 2000
Music season reviews:
http://www.the-hindu.com/stories/09150709.htm
Scroll down and follow the 'Next' link recursively for more reviews.
Would like to read reviews from Chennai surfers as well.
- From: RR (@ netapps2.krdl.org.sg)
on: Fri Dec 22 21:44:56 EST 2000
This week's reviews:
http://www.the-hindu.com/2000/12/22/stories/09220709.htm
(follow 'Next' link for more)
- From: Nadopasaka (@ nas-133-133.nyc-t.navipath.net)
on: Sat Dec 30 19:33:53 EST 2000
Just heard a very good concert by Radha Kalpana, in the line of TS Kalyanaraman, very fine EnnaluUrake, SubhaPantuvarali and also a rare kriti in Rupavati etc. as part of MD area local Tyg. Aradhana. The standard Hindolam and Mohana did not drag and Vasudevayani Kalyani was refreshing in its brevity. Quite impressive skills , is a newcomer to the US and should have no problem finding stages. Accompaniment was also good, Sandhya? on violin and a local mridanga expert, which always helps.
- From: RR (@ netapps2.krdl.org.sg)
on: Mon Jan 1 02:02:44 EST 2001
music season reviews from hindu:
http://www.the-hindu.com/2000/12/29/stories/0929070b.htm
- From: mani (@ 202.86.174.162)
on: Wed Feb 7 12:39:39
Young Jayateertha Mevundi, hailing from a family of musicians, virtually swept off the rasikas by the multi-directional mobility of his throat, technical acumen, the musical dare devilry and not the least his fine sense of melodic beauty. In his morning concert held on the second day of the Rajaguru Smrithi, he showed promise of doing well in the coming days. He sang in a melodious voice which had no tinge of shrillness. All his swaras were in place and tuneful. His enunciation of Lalith, Sohani Bhatiyar(Kannada bhakti geeth 'Neene ballidanu') spoke well of his systematic training.
This was borne out by his correct paces in both tetrachords of his Lalith and Sohani Bhatiyar and his adept and graceful treatment of the concordant notes. A greater variety as well as a more sustained effort marked his tanas.Ravindra Katoti(harmonium) and Udayaraj Karpur(tabla) enriched the recital with their seasoned artistry.
Venkatesh Kumar of Dharwad sang enthusiastically Deshi, Gaud Sarang and Patadeep ragas(with a vachana 'Chakorange Chandramana chinte'). The very mobility of his throat(more pronounced in tanas) lent stability and steadiness to his classical singing. Apt and appropriate melodic variations prettified the even texture of his music. Venkatesh showed maturity, sedateness and restraint in his explications. I was very happy to note that he is not preyed by the desire to be different or spectacular. He goes for the familiar but makes it come alive through the impact of his steady voice and feel for the musical usage. This could be observed in his rendition of compositions in vilambit and drut. One could take note of the perfectly legitimate variations in laya. He brought out the ragas explicitly. The auditorium filled with an active and knowledgeable audience indeed seemed to enthuse the vocalist and put him in an inspiring mood. Vyasamurthy Katti (harmonium) and Gopalakrishna Heggade(tabla) lent an enlivening accompaniment.
MES Kalavedi, Malleswara presented a delicious fare of Carnatic music in its monthly concert programme series. A seasoned veena player Shanti Rao's veena play laid emphasis on the radiance of choice krithis presented. Saraswathi Ramachandran on the second veena had very little to offer either while accompanying Shanti or in her individual turns.
In the agile and artistic company of N.Vasudev(mridanga) and B.N. Chandramowli(khanjira), Shanti gave a fitting start to the evening proceedings and built the concert tempo with the rendition of 'Vatapi Ganapatim bhaje' embellished by kalpanaswaras. Her focus on the appealing and vibrant features of the raga was laudable. Thyagaraja's Nata pancharathna krithi 'Jagadanandakaaraka' raised the tenor of the earlier part of the recital. The artiste chose Arabhi for Dikshitar's fine krithi on Goddess Saraswathi 'Sri Saraswathi namostute' beautifying it with swaras. Though her rendition of varieties of laya patterns including 1-2-3 kaalaas in one avartana with gati-bedha etc, but still it evoked mixed reactions.
Her surveying of the raga Hindusthani Kapi was brief with the string of sancharas around madhyama sthayi being captivating. The raga swaroopa was further extended through 'Meevalla gunadhosha' followed by a neat swaraprastara. A quaint-krithi by Thyagaraja in Garudadhwani was crisp and charming.
Selection of Devagandhari(Ksheera sagara shayana) surprised me. After Arabhi the effect of Devagandhari gets diluted. Variety in tonal colour was provided when Shanti took up a prati-madhyama raga, Simhendramadhyama(Ninne nammitinayya), for a detailed sketch. Her experience was well to the fore in the raga delineation enmeshing the melody's finer aspects which was greatly appreciated by the keen audience. The ease and fluency of the exercise was notable. The neraval and swaras made deep impression on the minds of the listeners through the vainika's involvement with the lyrics and music.
- From: Ashlesh (@ la24004.lalabs.umt.edu)
on: Sat Feb 10 16:08:39
Wondered whether anyone attended OS Arun's concert at Mylapore Fine Arts Club during the season in Chennai. He presented some well known heavy pieces as well as some light numbers. Wondered whether anyoe knew the raga in which he presented the Swathi tirunal piece, "Aaj Aaye Shyaam Mohan" and the Sai Bhajan with which he wrapped up the concert. The former sounded more like a Hindusthani version of Hamsanadham(Malarani maybe?) and latter had a slight shade of Piloo.
- From: Chandrasekaran (@ b190.masconit.com)
on: Mon Mar 12 12:51:36
Ravikiran - Chitra Veena
Srikanth Venkatraman - Violin
Rohan Krishnamurthy - Mridangam
Place : Arora Balaji Temple, Chicago
Date: March 10, 2001, 6.00 PM
Organizer: Chicago Thygaraja Aradhana Committee
After a brief introduction about the instrument Ghottu Vadhyam - sorry - Chitra Veena,
RaviKiran, opened the concert with Sahana Varnam. Certain Ragas are meant for certain
instruments. Sahana, a ragha to be rendered with gamakas, is a perfect fit for Chitra veena.
As most of the audience wanted to guess the raga, Ravi announced the raga, krithi details
at the end of the song. After hearing the first two or three notes which Ravi played,
many people whispered the name of the raga correctly to their neighbours with proud faces. Thats the strength of RaviKiran, where he proves himself repeatedly that he is a master of raghas.
Then came Thulasi Dhala in perfect Maya Malawa Gowlai scale. The audience poured lot of
requests when Ravi invited for, which he later jokingly announced he needed 10 more
concerts to fulfill their desires. Devagandhari and not so popular Nagaswarali were
rendered nicely. Upon oral request from the audience, Ravi Kiran played Hemavathi in great detail.
The person who requested Hemavathi, was sitting next to me and he was whispering every note of the Hemavathi
as Ravi played to display his excitement. It earned a lot of applause. Ragam Tanam Pallavi in
Kalyani as main raga was a good choice and as usual Ravi "composed" the pallavi on the "spot"
while the violin was playing. Sometimes, the rubbing noise of strings on Chitra veena was heard. This was
especially when he was going from low octave to high octave. Was it due to the teflan material
he used instead of the traditional stone ?
On the accompaniments. Srikant Venkatraman was on the violin. He grew up in US learning Violin
from various masters for the last 15 years and he was able to accompany Ravi, to good extent.
At times he was not so confident and displayed some immaturity on handling the beautiful instrument.
He was continuously encouraged by Ravi whenever complicated swara prastharas were to be played.
Few screaches on the string were heard when he was replying to Ravi on kalpana swaras.
Mridhangam by our forum hub visitor Rohan Krishnamurthy was greatly appreicated by the audience. The
13 year old, 9th grade boy from Michigan learnt the instrument over telephone for several years
and now learning from great Guruvayur Durai. Some of the phrases (farans), the tender and fragile boy
used were of those masters and he did give good company to Ravi. Ofcourse, he missed few beautiful
places on several occassions where the filling had to be done and despite this, Ravi was
greatly appreciating with words "sabahsh", "aaha" etc. At few occassions, Rohan missed one or
two beats and waited for a comfortable place where he could give theermanams and korvai.
But he proved his love towards the instrument at "thani". The applause continued for about quarter
minute. Definetly in 1 or 2 years, he would equate to Indian percussionists.
Ravi then concluded with "Theeratha Villayaattu pillai", thillana and mangalam. Overall the concert
was good and it opened doors for American percussionists.
- From: comment (@ ttdslppp147.sttl.uswest.net)
on: Mon Mar 12 12:57:25
Chandrasekaran , thanks for a very good review.
- From: kik (@ ts3-140.silcon.com)
on: Wed Apr 11 00:03:44
CDW (Charsur Digital Workstation) has just released in Chennai a set of 16 tapes/cds containing live concerts from the Dec 2000 music festival at the various sabhas - all are vocal concerts lasting about 2 hrs. They claim that the concerts are unedited and unabridged except for brief interruptions when the tape was being switched from one side to another. Artistes include TNS,TVS, Sanjay Subrahmanyam, Unnikrishnan, Nithyasree, Aruna Sairam, etc
- From: Nick` (@ host.sumitomomarine.co.uk)
on: Wed Apr 11 08:57:29
I have some very nice CDs from CDW, but I feel ripped off because not one the so far exceeds 60 minutes of music. That is 14 minutes per cd that they owe me. I'm buying a CD, not a tape, and I expect CD duration (resissues etc obviously excepted). Reasonable?
- From: Rohan Krishnamurthy (@ pm539-18.dialip.mich.net)
on: Wed Apr 25 21:16:31
Dear Mr. Chandrasekaran,
I would like to thank you for the very nice review. I would just like to point out that the certain places where I didn't play and started "comfortably"is actually deliberate. It gives a certain impact on the audience when executed.
Well done once again.
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