Abilash Giriprasad@Karthik Fine Arts (BVB Hall) on Dec 18th, 2022
------------------------------------------------------------------------
Vocal : Abilash Giriprasad
Violin : B Ananthakrishnan
Mrudangam : N C Bharadwaj
Ghatam - S Krishna
Concert Type : Non Nirvana - concert to follow
Day/Duration : Sunday /2 hours
Sabha / Hall : Karthik Fine Arts / BVB Mini hall
01A. Slokham Gnana nanda mayam devam - signature tune of slokham that ms amma sings
01B. Slokham sadA bAla rupApi vignAthri - hamsadhwani -?
01C. vandE ham Jagath Vallabham (S) - hamsadhwani -AC
10 mins swaras
02. O jegadambA (R,CS)- Anandabhairavi - SS
2 mins alapana without violin return
03. bhAgayya naya (R) - chandrajyothi - T
9 mins alapana and 6 mins violin return
04. Nambi kEttavar evarayyA (R,S) - hindOlam - Psivan
Swaras for 5 mins
05A. Muttu kumarayyanE (R slokham N S T) - Shankarabharanam - Ramaswamy Sivan
Neraval in muttuk-kumarayyanE bhaktarkkaruL meyyanE for 8 mins
Swaras for 9 mins
05B. Slokham before krithi was dwishathbujam dwAdashath divya netram - Shankarabharanam -????
05C. Tani for 8 mins
06. Chandrachooda (R) - darbAriKAnada - PD
2 mins alapana in Darbari
07. Nijagadasa yajunandanE - sindhubhairavi - Jayadeva Ashtapadi
08. kalikavarathE??? sEthubandan…. Shree padmanabham - madhyamavati - ST
Abilash Giriprasad@Karthik Fine Arts (BVB Hall) on Dec 18th, 2022
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rajeshnat
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- Joined: 03 Feb 2010, 08:04
Abilash Giriprasad@Karthik Fine Arts (BVB Hall) on Dec 18th, 2022
Last edited by rajeshnat on 21 Dec 2022, 12:38, edited 2 times in total.
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rajeshnat
- Posts: 10123
- Joined: 03 Feb 2010, 08:04
Re: Abilash Giriprasad@Karthik Fine Arts (BVB Hall) on Dec 18th, 2022
Apart from listening intently to CM and writing some time in 2004 to 2006,I had developed three sets of curiosities
1.Since the time say 2004 or 2005 I started some what looking at the angle of how one generation of artists build up on the previous generation of artists . This started say from mapping directly vijaysiva to DKJ and also finding patterns like how TNS say has taken influence from SKR or Ramnad Krishnan or TRS
2.The second curiosity just developed within me where I personally started looking at music academy slots where I wrote comparing year on year and atleast comparing the slots of evening artists and wrote few pdfs comparing slots . All this is just a curiosity where one feels how important is for artists to sing in big sabhas like music academy.
3.At the same time is how artists are singing so well in not so popular halls or sabhas or time slots the so called non sapta Rishi slots of say 7 sabhas . The slot is morning BGS Mini hall certainly not a prime hall yes. I entered 10 mins before 10 AM ,apart from family of Abilash, few sishyas of violinist Ananthakrishnan , that is all 2 other percussionist joined , boom the music was filled with extraordinary aesthetics where the young team started boom few mins before 10am.
Abilash takes the best of say Sanjay, Suryaprakash, Abhishek , vijay Siva in all the facets of both Kalpana and kalpitha - I would humbly say he is bit like TK Rangachari gives the best of SSI, GNB , Musiri. Abilash main guru is AS Murali whom I have heard too little but how he anchors with his grand paramaguru SSI and takes a very distinct route to stick distinctly with a bit of MDR (not that much in singing as vilamba Kalam as MDR but certainly giving extraordinary masculine voice power in lower octaves ) is so much of intense Carnatic aesthetics
The morning around 09 15 am ,before me attending this concert I went to music academy around say 09 30 AM and decided to have vazhapoo dosai in academy . There was one big banner of all schedules in academy where I saw that this Vidhan is not featured in any slot in academy . For the past 10 years he not even singing even a noon slot is indeed puzzling me. For this kind of ideas brimming with such manodharmam he appears bit connection less in those high profile sabhas . Way back in early or mid 2000 when I did the academy schedule comparing slots I could see Vidwans like Suryaprakash Also had 8 to 9 years gap between noon to afternoon slots. Abilash has to wait patiently for connections , but musically he has far far ahead with extraordinary creativity
The 4 youngsters were all well set From the word go . The slokham was nice and he segued to a nice annamacharya krithi in hamsadhwani .What a swaras with first number , it was as comparable to his grand paramaguru Electric Cheenu of vathApi , brilliant ideas with a fantastic flow .
The vilambit was superb . O jegadamba with closed mouth singing bit reminded of the voice power of a typical TNS who sings with such power even with closed mouth. Shyama Sastri caresses anandabhairavi where he searches all the pockets of keezh Kalam ecstasy and Abhilash did very well with really cute no kalaprAmana vOttam by Bharadwaj.
Detailed long alapana by chandrajyoti was the submain . This did not have the same exotic rasa of a SKR , abilash had a bit more share of gamakam but still well done . Krithi was nice bit disappointed that he wrapped up with just stand alone krithi. Hindolam has a lot of charm and this Sivan of Papanasam gives such a rhythmmic muse despite so much of twisting of words . I would humbly say it may be a easy Krithi to start but abolish showed his class with fantastic diction and the swaras were so tight without sagging of hindolam .His ideas were too good almost all ending with some phrase like marupozhudu sivan peyar where he chooses different patterns and different endings bit like TRS mama juggling with swara poruttam.
Main alapana was started with a midpoint section , kind of felt at that time did he forget the first half of basic aakaram of Shankarabharanam .He saved the alapana time and surprised with a very detailed slokham in Shankarabharanam . He danced with words bit later with the semmangudi electric Cheenu touch in muttukumarayyanE , very very difficult song where slip in thamizh will lead to noticeable music slips . Neraval had so much of keezh kala voice power and also swaras had the usual shankarabharnam touch points .He had one big swara pattern in kuraippu and final flourish and he hardly gave that much violin return.
The tukkada of Chandra chooda was fantastic , he got the muse so well and Darbari rewards both the singer and rasikas. I could spot a bit of Neyveli santhanagopalan in Chandra chooda who is a terrific Darbari kAnada singer . Jayadeva ashtapadi in sindhubhairavi was a good departure away from bit excess thamizh and the last Swati tirunal closure was nice, he kind of showed the assortment of language and krithis . Abilash had to vacate and give the slot to the next artists who was just 15 mins away
Ananthakrishnan played with such azhuttam and his curves during course of song was lovely. I donot know why he was asking more volume , he was senior most junior next generation artist hope that is not the reason for a bit of dil maange more of violin. Ananthakrishnan could have bit rationed down the proportion element of main or submain. Usually he plays one of them bit long and the other he keeps it crisp. This time both were bit long and was unlike previous ananthakrishnan that I have heard of him. The way he toed in both hamsadhwani and Shankarabharanam in song was crisp and very well done
Mrudangam youngsters of today are brimming with excellence . Lovely play by Bharadwaj , he listens intently and plays so well to suit the main artist . The youngster Ghatam S Krishna artist used more the open ended Ghatam to generate bit less sound and I would say that was thoughtful as the sabha is mini hall.
All said I have noticed Abilash is generally treated as a bit of blue eyed boy by say two mrudangam artists Tiruvarur Vaidyanathan and Neyveli Venkatesh, but with the overcrowding of youngsters he is needlessly placed in a queue . I think he is extremely well rounded in the idioms of antha Kalathu Sangeetham , hope he gets bit more noticed and he also has to have bit more luck, I also wish him to do bit more marketing that many youngsters do . Merely singing is just not enough, let him market like raga , Sanjay or Trichur brothers.
All said 4 of the youngsters Abilash-Ananthakrishnan-Bharadwaj - Krishna did so well encouraging the other three without diluting any paddandara suddham.
GLICSPAWES 2022 "Goto LIve Concert Show PAtronage Without Excuses Series" concert #8 of 12 is done.
Overall an excellent concert for 2 hours.
1.Since the time say 2004 or 2005 I started some what looking at the angle of how one generation of artists build up on the previous generation of artists . This started say from mapping directly vijaysiva to DKJ and also finding patterns like how TNS say has taken influence from SKR or Ramnad Krishnan or TRS
2.The second curiosity just developed within me where I personally started looking at music academy slots where I wrote comparing year on year and atleast comparing the slots of evening artists and wrote few pdfs comparing slots . All this is just a curiosity where one feels how important is for artists to sing in big sabhas like music academy.
3.At the same time is how artists are singing so well in not so popular halls or sabhas or time slots the so called non sapta Rishi slots of say 7 sabhas . The slot is morning BGS Mini hall certainly not a prime hall yes. I entered 10 mins before 10 AM ,apart from family of Abilash, few sishyas of violinist Ananthakrishnan , that is all 2 other percussionist joined , boom the music was filled with extraordinary aesthetics where the young team started boom few mins before 10am.
Abilash takes the best of say Sanjay, Suryaprakash, Abhishek , vijay Siva in all the facets of both Kalpana and kalpitha - I would humbly say he is bit like TK Rangachari gives the best of SSI, GNB , Musiri. Abilash main guru is AS Murali whom I have heard too little but how he anchors with his grand paramaguru SSI and takes a very distinct route to stick distinctly with a bit of MDR (not that much in singing as vilamba Kalam as MDR but certainly giving extraordinary masculine voice power in lower octaves ) is so much of intense Carnatic aesthetics
The morning around 09 15 am ,before me attending this concert I went to music academy around say 09 30 AM and decided to have vazhapoo dosai in academy . There was one big banner of all schedules in academy where I saw that this Vidhan is not featured in any slot in academy . For the past 10 years he not even singing even a noon slot is indeed puzzling me. For this kind of ideas brimming with such manodharmam he appears bit connection less in those high profile sabhas . Way back in early or mid 2000 when I did the academy schedule comparing slots I could see Vidwans like Suryaprakash Also had 8 to 9 years gap between noon to afternoon slots. Abilash has to wait patiently for connections , but musically he has far far ahead with extraordinary creativity
The 4 youngsters were all well set From the word go . The slokham was nice and he segued to a nice annamacharya krithi in hamsadhwani .What a swaras with first number , it was as comparable to his grand paramaguru Electric Cheenu of vathApi , brilliant ideas with a fantastic flow .
The vilambit was superb . O jegadamba with closed mouth singing bit reminded of the voice power of a typical TNS who sings with such power even with closed mouth. Shyama Sastri caresses anandabhairavi where he searches all the pockets of keezh Kalam ecstasy and Abhilash did very well with really cute no kalaprAmana vOttam by Bharadwaj.
Detailed long alapana by chandrajyoti was the submain . This did not have the same exotic rasa of a SKR , abilash had a bit more share of gamakam but still well done . Krithi was nice bit disappointed that he wrapped up with just stand alone krithi. Hindolam has a lot of charm and this Sivan of Papanasam gives such a rhythmmic muse despite so much of twisting of words . I would humbly say it may be a easy Krithi to start but abolish showed his class with fantastic diction and the swaras were so tight without sagging of hindolam .His ideas were too good almost all ending with some phrase like marupozhudu sivan peyar where he chooses different patterns and different endings bit like TRS mama juggling with swara poruttam.
Main alapana was started with a midpoint section , kind of felt at that time did he forget the first half of basic aakaram of Shankarabharanam .He saved the alapana time and surprised with a very detailed slokham in Shankarabharanam . He danced with words bit later with the semmangudi electric Cheenu touch in muttukumarayyanE , very very difficult song where slip in thamizh will lead to noticeable music slips . Neraval had so much of keezh kala voice power and also swaras had the usual shankarabharnam touch points .He had one big swara pattern in kuraippu and final flourish and he hardly gave that much violin return.
The tukkada of Chandra chooda was fantastic , he got the muse so well and Darbari rewards both the singer and rasikas. I could spot a bit of Neyveli santhanagopalan in Chandra chooda who is a terrific Darbari kAnada singer . Jayadeva ashtapadi in sindhubhairavi was a good departure away from bit excess thamizh and the last Swati tirunal closure was nice, he kind of showed the assortment of language and krithis . Abilash had to vacate and give the slot to the next artists who was just 15 mins away
Ananthakrishnan played with such azhuttam and his curves during course of song was lovely. I donot know why he was asking more volume , he was senior most junior next generation artist hope that is not the reason for a bit of dil maange more of violin. Ananthakrishnan could have bit rationed down the proportion element of main or submain. Usually he plays one of them bit long and the other he keeps it crisp. This time both were bit long and was unlike previous ananthakrishnan that I have heard of him. The way he toed in both hamsadhwani and Shankarabharanam in song was crisp and very well done
Mrudangam youngsters of today are brimming with excellence . Lovely play by Bharadwaj , he listens intently and plays so well to suit the main artist . The youngster Ghatam S Krishna artist used more the open ended Ghatam to generate bit less sound and I would say that was thoughtful as the sabha is mini hall.
All said I have noticed Abilash is generally treated as a bit of blue eyed boy by say two mrudangam artists Tiruvarur Vaidyanathan and Neyveli Venkatesh, but with the overcrowding of youngsters he is needlessly placed in a queue . I think he is extremely well rounded in the idioms of antha Kalathu Sangeetham , hope he gets bit more noticed and he also has to have bit more luck, I also wish him to do bit more marketing that many youngsters do . Merely singing is just not enough, let him market like raga , Sanjay or Trichur brothers.
All said 4 of the youngsters Abilash-Ananthakrishnan-Bharadwaj - Krishna did so well encouraging the other three without diluting any paddandara suddham.
GLICSPAWES 2022 "Goto LIve Concert Show PAtronage Without Excuses Series" concert #8 of 12 is done.
Overall an excellent concert for 2 hours.
Last edited by rajeshnat on 21 Dec 2022, 12:38, edited 1 time in total.
-
rajeshnat
- Posts: 10123
- Joined: 03 Feb 2010, 08:04
Re: Abilash Giriprasad@Karthik Fine Arts (BVB Hall) on Dec 18th, 2022
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Abilash Giriprasad@Karthik Fine Arts (BVB Hall) on Dec 18th, 2022
------------------------------------------------------------------------
Vocal : Abilash Giriprasad
Violin : B Ananthakrishnan
Mrudangam : N C Bharadwaj
Ghatam - S Krishna
www.rasikas.org/forums/viewtopic.php?p=378303#p378303
Abilash Giriprasad@Karthik Fine Arts (BVB Hall) on Dec 18th, 2022
------------------------------------------------------------------------
Vocal : Abilash Giriprasad
Violin : B Ananthakrishnan
Mrudangam : N C Bharadwaj
Ghatam - S Krishna
www.rasikas.org/forums/viewtopic.php?p=378303#p378303