A Sadasivam - S Varadarajan - Trichur C Narendran
Dikshitar Day, Music Club IIT Madras.
14th November 2006. 7 pm.
ucchishTa gaNapatau - kAsirAmakriyA - Adi (S)
sandhyA dEvIm sAvitrIm - dEvakriyA - Adi (S)
guruguhabhavAntaraNgiNIm - caturaNgiNi - cApu (RS)
siddIsvarAya namastE - nIlambari - cApu
shrI satya nArAyaNamupAsmahE - shiva pantuvarALi - rUpakam (RNS)
tani Avarththanam
praNatAtiharAya - sAmanta
RTP - nATTakuranji - kaNDa tripuTa (4 kaLai)
'then param girivaLar muruga guhanE deivAnaikaruL saravaNa bava guhanE'
rAgamAlika svarams in bEhAg, nartaki, rEvati
pasupatIsvaram - rAgamAlika (sindhubhairavi, hindOLam, bEhAg, kApi) - rUpakam - Kallidaikurichu Ananthakrishna Iyer
lalitA paramEshvarI - suruTTi - Adi
mangaLam kOsalEndrAya - suruTTi
The concert started off with a short sketch and the kriti ucchishTa gaNapatau with nice kalpana svarams. The second kriti on sarasvati dEvi was also nicely rendered and the svarams with intricate kaNakku, which were good also. The first elaboration of the evening was caturaNgiNi, which is the 66th asampUrNa mELa rAgam. It was very nicely elaborated and the kriti was rendered very well with nice svarams. The nIlAmbari kriti was nice as well.
The shivapantuvarALi AlApanai brought out the complete flavour of the rAgam and the kriti was rendered beautifully. The neraval at 'mathsya kUrma varAhAdi dasAvatAra prabhAvam' was nicely done with graha(sruthi) bEdam to madhyamAvati and suddha dhanyAsi, with nice kaNakku and kOrappu svarams to follow. The sAmanta kriti was nice also.
The nATTakuranji AlApanai was good. The tAnam was really nice as well. The pallavi was nicely rendered doing the tri kAlam and anulOma and pratilOma, and the rAgamAlika svarams.
It was a nice concert from a rather less known artist. His voice could display all his ideas and he was very good. It was again a grim reminder that, for every good musician we get to hear, there perhaps ten others who are languishing for want of opportunities to perform. Will our sabhas be willing to go after those who do not seek and those who have none to 'recommend' them?
The violinist was good in all his replies and in accompanying the artist. His AlApanais and svarams stood upto those of the main artist. The mrudangist was very mature in accompanying, playing according to the sangatis and also, meticulously following the kriti. The tani was good also.
bharath
A Sadasivam, Dikshitar Day, Music Club IIT Madras
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I think it was not sudha dhanyasi but hindolam. Try taking the G as S in shubapantuvarali and sing G M D N R G and G R N D M G ….. you will get S G M D N S , S N D M G S. Sudha danyasi is S G M P N S, S N P M G S. Difference of a P and DThe neraval at 'mathsya kUrma varAhAdi dasAvatAra prabhAvam' was nicely done with graha(sruthi) bEdam to madhyamAvati and suddha dhanyAsi,
http://ramsabode.wordpress.com/2006/11/14/509/
Last edited by ram on 16 Nov 2006, 00:12, edited 1 time in total.
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For those who might not know, Sri A. Sadashivam comes in the direct sishya parampara of Muthuswami Dikshitar. His grandfather Sri A Ananthakrishna Iyer was one of the trio who learnt under Ambi Dikshitar. The family is a veritable storehouse of lesser known Dikshitar kritis.It was a nice concert from a rather less known artist. His voice could display all his ideas and he was very good. It was again a grim reminder that, for every good musician we get to hear, there perhaps ten others who are languishing for want of opportunities to perform. Will our sabhas be willing to go after those who do not seek and those who have none to 'recommend' them?
Last edited by srinidhi on 16 Nov 2006, 10:58, edited 1 time in total.
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Re:
I was a student of Guruguha Gana Vidyalaya in Kolkata and learnt from A Anatharama Iyer and Jambu teacher. Today I am learning in Bangalore from A Sadasivam. Yes they are from the direct shishya parampara of Deekshithar. The lineage continues with Vivek Sadasivam and Ananth R Krishnan, the two grandsons of Anantharama Iyer.srinidhi wrote: ↑16 Nov 2006, 10:57For those who might not know, Sri A. Sadashivam comes in the direct sishya parampara of Muthuswami Dikshitar. His grandfather Sri A Ananthakrishna Iyer was one of the trio who learnt under Ambi Dikshitar. The family is a veritable storehouse of lesser known Dikshitar kritis.It was a nice concert from a rather less known artist. His voice could display all his ideas and he was very good. It was again a grim reminder that, for every good musician we get to hear, there perhaps ten others who are languishing for want of opportunities to perform. Will our sabhas be willing to go after those who do not seek and those who have none to 'recommend' them?
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Re: Re:
For those that didn't realize, this is THE Anantha R. Krishnan, who everyone knows as a master percussionist and a grandson of Vid. Palghat Raghu. Fewer people know that he has an equally illustrious lineage on his paternal side as well!!meerag56 wrote: ↑28 May 2021, 17:15 I was a student of Guruguha Gana Vidyalaya in Kolkata and learnt from A Anatharama Iyer and Jambu teacher. Today I am learning in Bangalore from A Sadasivam. Yes they are from the direct shishya parampara of Deekshithar. The lineage continues with Vivek Sadasivam and Ananth R Krishnan, the two grandsons of Anantharama Iyer.