Sarvam Vishnu Mayam Series
Vid. Sumithra Vasudev - Vocal
Vid. Dr Hemalatha - Violin
Vid. SrI B. Ganapathy Raman - Mridangam
Vid. SrI K.V. Gopalakrishnan - Kanjira
SaiSruthi - tambura
Jihve kIRtaya – mukunda mAlA of kulaSEkhara Azhwar - nATTai, gAULa, Arabhi, vaRALi , SrI
Theme: Surrender to the cosmic principle of viShNu
centa jErci – hamsadvani – Adi – SrI tiruvattiyoor tyAgayyA
kAnAda rAgam
enna Solli azhaittAl varuvAyO – Adi – Smt. ambujam krishNa
yadukulakAmbOdhi – rAgam
pARthasArathini – Adi – SrI subbarAma dIkshitar
I Surulu – aTANa – khaNDa cApu – SrI annamacArya
bhairavi rAgam
ODi bArayyA – Adi – Purandara dAsa – 1 kaLai - ½ offset , RNST
Neraval mangalAnga mOhana kAyA - ranga - sangIta lOla sadguna SIla
Svara passages had nsrg prayOgam to connect to mangalAnga – which is svarakshara at ma – sanctioned by bhairavi vaRNam.
naDanda kAlgaL (pAsuram) – Sindubhairavi – triSram – tirumazhisai Azhwar
(the pre-screen detail mentioned: tuned by SrI T.K. Rangachari)
rAma nATakam : avatAram saidiDUvIRE - Jonpuri – Adi – Aruncala Kavi
As explained by the musician : Has the bhagavAn’s own words before he takes the rama avatAr , asking everybody else to prepare the stage.
Concluded with a SlOkam from SrI vishNu sahasranAma.
saSankha cakram sakirITa kuNDalam – Jonpuri(short), BehAg, bhAgESri, SuruTTi
Vid. Sumithra Vasudev - Charsur Arts Foundation - Prem. Dec 15, 2021
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- Joined: 15 Jun 2009, 07:16
Re: Vid. Sumithra Vasudev - Charsur Arts Foundation - Prem. Dec 15, 2021
I am writing a delayed report, as I wanted to take the time to write this one.
She began the concert with a gana raga viruttam with a slokam from mukunda mala. The transition from viruttam to a sudden fast flowing kriti lacked continuity. May be she could have chosen nAma kusuma to continue the musical feel of the viruttam with a slower pace kriti. Well may be the choice of kAnAda and slow flowing enna Solli, back filled this opening number. The kAnAda kriti and it's position definitely made it clear that this is a thematic concert .
Carnatic weight started accruing with yadukula kAmbodhi , the kriti of SubbarAma DIkshitar - ParthasarathinI. Yadukula kambodhi was rendered nicely by both of them. Dr Hemalatha had that extra touch of kAkali niShAda that I had clipped here in the rAgAs forum: viewtopic.php?p=374358#p374358.
Bhairavi was a chaste no frill and neat Alapana and reply by the violinist. ODi bArayya sounded familiar, but I never seek to hear Sri dAsarvAL personally in a carnatic setting. Looks like it has been in vogue since MSS days ( idenllam pAdiRkA polrukku ) . The kriti has a nice layout and neraval fitting line mangaLAnga kAyA ranga that she did a very fine neraval with.
Ganapathy Raman and KVG with Hemalatha really enhanced the neraval. That it has a svarakshara at "ma" made it more deliberative and she used that to dwell around it.
The svarams were also sort of vervy yet scholarly. While she ended the svarams with nsrg at least twice at two different not consecutive occassions, Dr Hemalatha did not pickup on it. She was making a point that nsrg is allowed in bhairavi as noted by RKSK in a article/Lecdem?, as that is used with a dhIrgha on sa nisa..riga . Have to checkout if there is one without it. ( Well I am getting ahead into concepts explored by Dr Hemalatha in her Lecdem on Sri dIkshitar's handling of many rAgAs with Suddha daivata and vivadis in the rAgAnga sampradaya).
SrI Ganapathyraman, the dexterous one, brought his vibrant phrases to the tani. KVG executed very neat replies and a nice kOrvais – with couple of decreasing patterns in caturaSram as well as in triSram.
Both their sounds were well captured – but the toppi mike setting had an extra reverb.
Her thematic exposition had a nice wind down with Sindhubhairavi, Jonpuri and a closing viruttam in Naya rAgAs.
The concert went well with a Gana "Viruttam" to Naya "Viruttam".
Gana - naya - dESyamAna concert.
She began the concert with a gana raga viruttam with a slokam from mukunda mala. The transition from viruttam to a sudden fast flowing kriti lacked continuity. May be she could have chosen nAma kusuma to continue the musical feel of the viruttam with a slower pace kriti. Well may be the choice of kAnAda and slow flowing enna Solli, back filled this opening number. The kAnAda kriti and it's position definitely made it clear that this is a thematic concert .
Carnatic weight started accruing with yadukula kAmbodhi , the kriti of SubbarAma DIkshitar - ParthasarathinI. Yadukula kambodhi was rendered nicely by both of them. Dr Hemalatha had that extra touch of kAkali niShAda that I had clipped here in the rAgAs forum: viewtopic.php?p=374358#p374358.
Bhairavi was a chaste no frill and neat Alapana and reply by the violinist. ODi bArayya sounded familiar, but I never seek to hear Sri dAsarvAL personally in a carnatic setting. Looks like it has been in vogue since MSS days ( idenllam pAdiRkA polrukku ) . The kriti has a nice layout and neraval fitting line mangaLAnga kAyA ranga that she did a very fine neraval with.
Ganapathy Raman and KVG with Hemalatha really enhanced the neraval. That it has a svarakshara at "ma" made it more deliberative and she used that to dwell around it.
The svarams were also sort of vervy yet scholarly. While she ended the svarams with nsrg at least twice at two different not consecutive occassions, Dr Hemalatha did not pickup on it. She was making a point that nsrg is allowed in bhairavi as noted by RKSK in a article/Lecdem?, as that is used with a dhIrgha on sa nisa..riga . Have to checkout if there is one without it. ( Well I am getting ahead into concepts explored by Dr Hemalatha in her Lecdem on Sri dIkshitar's handling of many rAgAs with Suddha daivata and vivadis in the rAgAnga sampradaya).
SrI Ganapathyraman, the dexterous one, brought his vibrant phrases to the tani. KVG executed very neat replies and a nice kOrvais – with couple of decreasing patterns in caturaSram as well as in triSram.
Both their sounds were well captured – but the toppi mike setting had an extra reverb.
Her thematic exposition had a nice wind down with Sindhubhairavi, Jonpuri and a closing viruttam in Naya rAgAs.
The concert went well with a Gana "Viruttam" to Naya "Viruttam".
Gana - naya - dESyamAna concert.
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- Posts: 4106
- Joined: 15 Jun 2009, 07:16
Re: Vid. Sumithra Vasudev - Charsur Arts Foundation - Prem. Dec 15, 2021
I want to make this a separate note - as I did not want to muddle my report / review with side comments.
The Dolby stereo made an act of itself.
Vocal/violin was the right channel - I wore my angled ear pods in the appropriate ears - and it kept the standard right-left configuration intact as intended by the recordists.
Ganapathy Raman/KVG went on the left and generally Charsur ensures the toppi is captured prominently, but with their controls they also avoid over sounding it. This time, it had a reverb.
Whereas KVG was just right in balance , with no extra vibration.
But there was something more: There was a slight delay in vocalist channel and vocal was behind by two threads of time instants ( oru irAndu noolizhai pinnAl). That added an extra verve to neraval, but exposed itself when Ganapathy Raman issued his exuberant pharan landings targetted at the eduppus. The fast numbers especially brought this out.
So a saukyam artist now became an odukkam artist all the way.
The concert felt like one from a TNS schooler rather than the "set ways" school of Smt. vEdavalli amma.
inda perumai Dolby digital stereo systattaiyum Suresh gOpalanaiyum cArum. ippAdi kUda concerta mAttaradukku vazhi uNdu pOla! Virtual reality fore runners - please note
All we need is a 5 channel encoded recording - what with 5G now all the bandwidth will be available , and we can balance our own concert for starters and then virutual reality can make the most of it with ordered information!
Another real good thing he had a Mic. for tampura!! Kudos to him!
The Dolby stereo made an act of itself.
Vocal/violin was the right channel - I wore my angled ear pods in the appropriate ears - and it kept the standard right-left configuration intact as intended by the recordists.
Ganapathy Raman/KVG went on the left and generally Charsur ensures the toppi is captured prominently, but with their controls they also avoid over sounding it. This time, it had a reverb.
Whereas KVG was just right in balance , with no extra vibration.
But there was something more: There was a slight delay in vocalist channel and vocal was behind by two threads of time instants ( oru irAndu noolizhai pinnAl). That added an extra verve to neraval, but exposed itself when Ganapathy Raman issued his exuberant pharan landings targetted at the eduppus. The fast numbers especially brought this out.
So a saukyam artist now became an odukkam artist all the way.
The concert felt like one from a TNS schooler rather than the "set ways" school of Smt. vEdavalli amma.
inda perumai Dolby digital stereo systattaiyum Suresh gOpalanaiyum cArum. ippAdi kUda concerta mAttaradukku vazhi uNdu pOla! Virtual reality fore runners - please note
All we need is a 5 channel encoded recording - what with 5G now all the bandwidth will be available , and we can balance our own concert for starters and then virutual reality can make the most of it with ordered information!
Another real good thing he had a Mic. for tampura!! Kudos to him!