PERAMBUR SANGEETHA SABHA 2016 CONCERTS

[CRama]

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[CRama]

In the recently conducted Shathabhishekam of Sri.B.M.Sundaram, his students sang a varnam composed by BMS and announced the name of the ragam as Putrika. While hearing, it was same as Niroshta. Now I understand from Keerthi's post that it is more appropriate to call it as Putrika. Thank you Keerthi.

[thanjavooran]

A writeup on Chithirai Isai Vizha of PSS in Today's Hindu [ Dt 13 05 2016 ] is given below.
http://www.thehindu.com/todays-paper/tp ... 591633.ece
Thanjavooran
13 05 2016

[thanjavooran]

Concert on 29 05 2016

Sri. Shankar Ramani VOCAL
Smt. Usha Rajagopal VIOLIN
Sri. Kumbakonam Ramakrishnan Mirudangam.

The concert started exactly 6.45 p,m there were good audience.

VAGKRATHUNDA MAHA KAYA VIRUTHAM

JALAJHAKSHI VARNAM HAMSADHWANI

GANA MURTHI GANA MURTHI I

THIRVADI SARANAMENDRU KAMBOJI

SRI KRISHNAMOM RAKSHATHU NASIKA BHOOSHANI

SAMAGANA LOLANE HINDOLUM

GURUVAYOORAPPANE APPAN REETHI GOWLA

THODI RAGAM NIRAVAL SWARAM THANI
KARUNANIDHI IVARO

KRISHNA NEE BEGANE YAMUNA KALYANI

MANGALM

Sri.Shankaran who is US based is working as vice president for CONGNIZIANT TECHNOLOGY. In general the concert was well planned and good. Accompanying artistes rendered their duty perfectly well.

The prog was sponsored by sethulakshmi cultural trust Perambur.

Concert concluded 9 pm. Rasikas almost sat till the end.

The delay in the review is due to eye surgery.

Thanjavooran
09 06 2016

[rshankar]

Thank you for the review!

The delay in the review is due to eye surgery.
Thanjavooran
09 06 2016

Hope you are recovering well from the eye surgery!

[arasi]

Thanjavooran,
Wishing you a speedy recovery!

Whose student is Sankar Ramani?

[Lakshman]

Wishing you will be back to normal after a fast recovery. Take care.

[thanjavooran]

Rshankar, Arasi and Lakshman ,
Thanks. Turning normal.
With wishes,
Thanjavooran
24 06 2016

[rshankar]

Great to hear!

[thanjavooran]

13 08 2016 Saturday 18 30 hrs

Kumari Anjana Thirumalai Vocal
Thirucherai Karthick Violin
Thirucherai Koushik Mirudhangam


Eranapai Thodi
Gajana nayudham Sourashtram
Sri sankara guru Nagaswarali
Marivere thik Shanmugapriya R N S
Innamum irakkam illaia ?
Nenanrunjina Malavi
Koluva maragatha Thodi R N S T
Aasai mugam marandu Jonpuri
Thirupugazh Kunthalavarali
Thillana Hamsanandhi
Ranjani mirudhu Ragamalika
Ellorum inbamai Madhyamavathi
Mangalam

My observation

The concert started at 18 45 hrs with 20 rasikas. Later improved to 25.
The vidushi was at her best but for the selection of songs. Yes there were two Thodis. A disciple of Padma Sandilyan and Srimushnam. Presently under the tutelage of Suguna Varadachari. Performed few temple concerts besides Sabhas in Chennai , Mumbai and Vaikkam etc. Though her voice is sweet should set the concert pattern jana ranjagam by listening stalwarts frequently.
Mirudhangam and violin are twin brothers.
Karthik is the disciple of V.L. Kumar and Sri Varadarajan. His reply to swarams were good. He played Thodi well.
Kausik is the disciple of Mannargudi Easwaran and Vellore Ramabadhran. He is an AIR artiste too. His thani for 5 mts was excellent. All the 25 Rasikas enjoyed the concert till the end.
Is there any precedent of taking up same raga twice?
Thanjavooran
14 08 2016

[rajeshnat]

Kumari Anjana Thirumalai Vocal
Thirucherai Karthick Violin
Thirucherai Koushik Mirudhangam

Innamum irakkam illaia ?

Is karthick and kaushik siblings who is elder ??

I thick anjana thirumalai is based out of USA . I may be wrong . Thank you thanjavooran for the review- looks suguna varadachari parampara has some spillover from arkay center mylapore to perambur.

Innamum irakkam illaia ?

Innamum irakkam - atana - neelakanta sivan

[rshankar]

Precedent for same rAga twice: Didn't Sri ARI sing the varNam and the RTP in the same rAgam?

[thanjavooran]

Shri rajeshnat,
Thanks for the song correction. Since they are twins no further details could get. This was mentioned by the secretary while thanks giving.
Shri rshankar,
AFIK I have not heard two numbers in the same raga. Presently repetition is avoided even in Ragamalika. I had an opportunity once, to listen to two allied ragas by Madurai Srirangam Iyengar.
Thanjavooran
15 08 2016

[ashwinsv]

24-09-2016 6:30pm
Selvi Swetha Balasubramanian (Vocal)
Shri Kovai Chandran (Violin)
Shri Kumbakonam Ramakrishnan (Mridangam)
at Sankaralayam, Perambur

1. shrI rAjamAthangI (varnam) - suddha dhanyAsI - Adi - HNB
2. shrI ramA saraswathi - nAsikabhUshanI - Adi - D
3. pArvathi ninnu - kalkaDa - Thisra Adi - SS
4. shyAma sundarAnga - dhanyAsi - rUpakam - T
5. innamum oru tharam - yadhukula kAmboji - Deshaadi (2 kalai) - GB
6. ennai nI maravAthe - amruthavarshiNI - Adi - DD
7. shrI dakshiNAmUrthE - shankarAbharanam - Mishra Jhumpa - D - Thani Avarthanam
8. karuNArasa pUrNA - yaman kalyANi - Eka thalam (2 kalai) - ?
9. sharaNu venkaTa - suraTi - suruTTi - Adi - purandaradAsar
maNgaLam - shrI

The concert started at around 7pm. Selvi Swetha Balasubramanian started with a very brief alapana and thana varnam in Suddha Dhanyasi. It was followed by an interesting alapana and the krithi Shree Rama Saraswathi in Nasikaabhooshani. Parvathi ninnu, by Shyama Shastri in Kalkada was used for kalpana swaram. Dhanyasi was elaborated a bit by Selvi Swetha with Shyama Sundaranga. Yadhukula kamboji was sung with utmost ease by the artist and Innamum oru tharam in rettai kalai was handled interestingly. There was a brief alapana of Amruthavarshini for which the audience were expecting Anandamruthakarshini. To our surprise there was this fast paced krithi by Dhandapani Desikar which augmented the mood of the sabha. Shankarabharanam was taken as the ragam for the day. The phrase 'n. r m g' was used beautifully by the singer and the violinist. The use of gamakas in the alapanai made it really soothing to hear. Shri Dakshinamurthe in Mishra Jhumpa was sung. This was followed by Thani avartanam by Shri Kumbakonam Ramakrishnan. Jhumpa had its own value addition to the programme. Karunarasa poorna, a composition dedicated to Mahaperiyava was presented in the holy Sankaraalayam. The concert concluded with a krithi - Sharanu Venkataramana by Puradara Daasar and the Mangalam in Shree ragam.

Overall the concert was well-planned and well-disciplined. The co-ordination between the artistes was really good. The inclusion of the fast paced Ennai nee maravathe was certainly a value adder. The selection of krithis is to be appreciated as the thalas taken were not the same.

[rajeshnat]

ashwinsv
Thanks for your review. I just googled to find out Swetha is the fourth generation disciple of Musiri- Bombay Sisters-Umashankar . You have written a very nice review , in future please open a new thread that way each artist gets more individual attention and all posts will be easily referenced in the future with all replies grouped in the same thread.

[rajeshnat]

8. karuNArasa pUrNA - yaman kalyANi - Eka thalam (2 kalai) - ?

This composition is dedicated to His Holiness Chandrasekara Mahaswami. I think the lyrics was by Jayendra Swami- not sure if the tunesmith was Jayendra Swami or some one else?

[thanjavooran]

Ashwin,
Thanks ! Excellent review. Really happy to go through the writeup. Keep reviewing concerts you attend.
Shri rajeshnat,
Your suggestion to open up a separate thread is well noted. In order to project the North chennai PSSabha this I resorted to.This was earlier pointed out by Shri CRama too.
With wishes,
Thanjavooran
25 09 2016

[ashwinsv]

@thanjavooran and @rajeshnat - Thank you for your support. I will surely review the concerts I hear.

[thanjavooran]

The Raga Niroshta and the kriti of HMB sung by Smt Anupama reminds of Dasa kumara Charitham a Kavyam by Thandi in which one prince due to gum boil and dry lips speaks with out touching lips and the slokas of the entire sargam with padams without Pa and Ma

Great observation Sir. I too have felt that Muttiah Bhagavatar may have derived the idea for this rAga from the niroSTya passage in the Dasha-kumAra-caritam. Two small observations -

1. The KumAra had to speak without the p, ph, b, bh ,m sounds, not because of gum boils, but because he had returned home after a long time, and in the course of his reunion with his sweetheart, she bit at his lips so hard, that they were swollen the next day, and it hurt when he used the OSThya consonants. An exceptional tribute to this literary mastery of daNDi is Isabelle Onians's translation of the Dasha-kumAra-caritam for the Clay Sanskrit series, wherein she has translated this section eschewing the labial p, ph, b, bh, v consonants in the English translation as well.

It is a stupendous feat - a literary master-act that is a befitting tribute to the poet from KAncipuram.

2. NiroSTh(y)a is technically not the correct name for this rAga - it refers to a class of 36 rAga-s derive from the mela set, each of which is a niroSThya. The 29th niroSThya [janya of ShankarAbharaNa] which has been enlivened by Muttiah Bhagavatar's genius, is called PutrikA. Artistes from andhrA will only refer to it by this name.

"நிரோஷ்டா ராகம்"

ஹரிகதா சக்கரவர்த்தி' என்று புகழ்பெற்ற
ஹரிகேசநல்லூர் முத்தையா பாகவதர், தியாகப்பிருமத்தின் சீடர் பரம்பரையில் வந்தவர். தியாக பிருமத்தைப் போலவே புதிய ராகங்களைக் கையாளும் ஆற்றலும் பெற்றிருந்தார்.

தியாகப் பிரும்மம் சங்கராபரண மேளத்திலிருந்து கருடத்வனி, கோலாஹலம், விவர்த்தனி, கன்னட என்று புதிய ராகங்களை ஏற்படுத்தியது போல், இவரும் சங்கராபரணம் மேளத்திலிருந்தே நிரோஷ்டா, கெüடமல்ஹார், ஸôரங்க மல்ஹார், பசுபதிப்ரியா, புதமனோகரி என்று பல புதிய ராகங்களை உண்டாக்கி தமது சாகித்யங்களை அமைத்திருக்கிறார்.

இன்று திரைப்பட இசையமைப்பாளர்கள் நிறையக் கையாளும் வலசி, ஹம்ஸôனந்தி, விஜயநாகரி, மோஹனகல்யாணி ராகங்கள் இவரது கண்டுபிடிப்புதான்!

இந்த நிரோஷ்டா ராகம் ஏற்படுத்தப்பட்டதே ஓர் அரிய சம்பவம். மைசூரில் பாகவதர் இருந்த சமயம், கிருஷ்ணராஜ உடையார் பாரிச வாயுவால் தாக்கப்பட்டுச் சரிவரப் பேச முடியாமலும் கை, கால் உதவாமலும் இருப்பதைப் பார்த்த பாகதவர் சாமுண்டீஸ்வரி சன்னிதிக்கு விரைந்து, ""மகாராஜாவைக் காப்பாற்று...'' என்று பொருள்பட, உதடுகூடாமல் வரும் ஒரு சாகித்யம் அமைத்து, ராக ஸ்வரமும் உதடு கூடாமல் வரும்படியாகப் பாடிப் பிரார்த்தித்தார். அதுதான் "ராஜ ராஜ ராதிதே...' என்னும் "நிரோஷ்டா' ராகக் க்ருதி. உஷ்டம் என்றால் உதடு. "நிர் + உஷ்ட' என்றால் உதடு கூடாதது என்பது பொருள்.

அம்பாளின் அனுக்ரஹமோ, அன்பனின் வேண்டுதலோ மகாராஜாவின் வியாதி குணமாகிவிட்டது. சங்கீத உபாசகர்கள் சர்வ சித்தி கைவரப்பெற்றவர்கள் என்பது நிச்சயம்.

மைசூர் மகாராஜா, முத்தையா பாகவதரை மற்றுமொரு முறையும் சோதனை செய்திருக்கிறார்.

""சாகித்தியங்கள் செய்வதில் நீர் சமர்த்தரானால் ஒரே இரவிற்குள் நூறு கீர்த்தனைகள் செய்துகாட்டும்..'' என்று பணித்திருக்கிறார்.

பாகவதரும் அம்பாளை இறைஞ்சி வேண்டி அம்பாளின் அஷ்டோத்திர அர்ச்சனை நாமாக்களைக் கொண்டு நூறு கீர்த்தனைகளைப் பாடி முடித்திருக்கிறார். அதுதான் "சாமுண்டாம்பா அஷ்டோத்ர' கீர்த்தனைகள்! அனைத்தும் கன்னட மொழியில் இயற்றப்பட்டவை.

இதைக் கண்டு மகாராஜா அதிசயித்துப் போனார். உடனே பாகவதருக்கு "காயகசிகாமணி' என்னும் விருதை அளித்துக் கெüரவப்படுத்தினார். பின்பு அஷ்டோத்திரமும் செய்ய வேண்டினார். பாகவதர் சம்ஸ்கிருதத்தில் அவற்றைச் செய்தார். அதைத் தொடர்ந்து நவகிரக கீர்த்தனைகள், நவாவரண ராகமாலிகை என்பனவைகளை முத்துஸ்வாமி தீட்சிதரின் அடியொட்டிச் செய்திருக்கிறார். வேத அத்யயனம் செய்தவரல்லவா? விஷய ஞானம் நிரம்பப்பெற்றவர்!

("அம்புஜம் வேதாந்தம்' எழுதிய "ஹரிகதைச் சக்கரவர்த்தி' என்ற கட்டுரையிலிருந்து...)