Abhilash Giriprasad@Music Academy on Dec 16th ,2024
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Vocal : Abhilash Giriprasad
Violin : Aniruddha Bharadwaj - Help needed on his guru
Mrudangam : D V Sivaraman - Help needed on his guru
1 Tamburas : ??
Concert Type : Non Nirvana - concert to follow , Non Ticketed concert
Day : Monday
Duration - 90 mins
Sabha/Hall : Music Academy
01A.gnana nanda mayam- hayagreevar slokham
01B. brief 2 mins slokam
01C. karunimpa - sahana - Tiruvottiyur thyagayya
02. gajamukhanE siddhidAyakanE(S) - gambheera nattai - Vyaasaraaya
4 mins swaras
03. seshachala nAyakam (R N S) -varAli -MD
6 mins alapana and 3 mins return
6 mins neraval and swaras in aravinda pAtra nayanam
04A. endukku pEdala (R N S T) - shankarabharanam - T
9 mins alapana and 5 mins violin return
neraval in Veda sastra tatvaarthamu for 4 mins
11 mins swaras
04B. tani for 9 mins
05A. Viruththam
SOnaiyum kaatu - hamsanandi + Draupadi than mundAnai- behag + hanumanaiyum kAthu - kApi - ????
05B. Aravinda pada malar - kAPi - Ambujam krishna
06. atatAdhani viswa .. theertha??? - sindhubhairavi - it had some mudra like padmanAbha - ST?????
Some one can let us know the gurus of accompanist and the authorship of viruththam and last number please...
Abhilash Giriprasad@Music Academy on Dec 16th ,2024
-
rajeshnat
- Posts: 10120
- Joined: 03 Feb 2010, 08:04
-
rajeshnat
- Posts: 10120
- Joined: 03 Feb 2010, 08:04
Re: Abhilash Giriprasad@Music Academy on Dec 16th ,2024
Music Academy is unquestionally a big arena for performers .Ofcourse in the course of time say from 1980's to 1990's i personally did not know how big is academy , heard some mention about Sangeetha kalanidhi . Atleast one year i was very happy where i felt maharajapuram Santhanam got it or rather that year i thought music academy got an award from Santhanam in 1989. Those were the years of early rasika days
Then from 2000 to say 2015 particularly two years i wrote few writeups in pdf comparing slots of music academy and really targeting why and how evening 1 and evening 2 slots are given/not given . Almost going over all artists end to end and judgemental to why he/she was passed . Those were possibly years where i felt just like how we have to do well in crucial years say writing a examination to get into some professional seat .
Some time in that period there was one big year where Jaya tv and few more channels were pushing a bunch of youngsters ranging from Bharath sundar , Anahita Apoorva , ashwath , sriranjani santhanagopalan , abilash giriprasad, Brinda manickavasagan etc(talking about quarter to half generation behind gurucharan, abhishek, saketaraman,Amrutha and amritha, kgayathri etal) certainly that generation interested me because their music was indeed of a great quality. Personally lost a bit of interest in tracking bit after this isaimazhalai gen as i did not get an opportunity to hear them(talking about say the Rahul Vellal, Soorya gayathri)
I particularly found this youngster Abilash Giriprasad of extraordinary quality . HE may have a bit of shrillness and a minor voice coarseness at times konjam falling short of pure notes, but ideas ideas are all brimming with Carnatic intensity. I will kind of say his swara "suryaprakash" kalpanism , alapana "abhishek" brighaism and repertoire "sanjay" breadthism amazes me . Particularly i used to go for atleast 3 years in last 10 years to his home ground pozhichalur where his close to 3 hours just showed intensity
Abilash is atlast into his first strike in a subjunior slot of 11:45 to 01:15 pm in academy . I dont know how he is going to fare with a crowded market with excess supply , but do hear him , he particularly takes a lot of not just the above 3 whom i mentioned but i see he at times he is also a clever concoction of a SSI-MDR typecast.
I went on time yes 5 mins before , academy morning- noon session on the first day Day 1 -16th Dec is sluggish for sure in terms of attendance. He started with hayagreevar slokham popularized by MS Amma . Sahana with a brief alapana with a very steady voice gave a mdr touch to me and karunimpa was a great start . His prime guru AS Murali sat in the first row post sahana he came in , possibly relaying the goodwill and blessing of his guru PSN and his parama guru Semmangudi.
Post a lovely sahana , he just went into gambheera nattai . I neither knew the krithi and this is where his creativity came into limelight . What a pouring swara Kalpana , it was organically tight to the krithi. In academy every musician tries to sing a rare krithi , this rare is so rare that i only knew the vaggeyakkaara (post googling), i neither knew the krithi and i am not acclimitized with this rare vageyyakkara then one number . Gambeera nattai (hopefully not nattai) came out well
Varali is a beautiful ragam if the musician has a very azhuthamana voice . I personally did not like varali for many years till i heard semmangudi recording . Abilash sang a lovely submain ,bit reduced swaras but hey it is just 90 mins concert with a possible 10 mins tani in that . I think some time in the start of varali i also saw TM Krishna coming and encouraging abilash in the first row . I also saw kumbakonam Swaminathan mrudangist who was there and few more disciples of TMK in the crowd .
From submain to main no time for either a slow or a fast filler . What a lovely shankarabharanam , he distilled all the lovely Jeeva pidis and did not waste even a minute for a build up of that Jeeva pidis . Shankarabharanam and his sister Kalyani are difficult ragas to master when you consider the sag element that can easily set in . When i say master i mean it strictly that suits my ears and my psyche . SO many pockets of dull insipid sangathis can come easily in this shankarabharanam-kalyani combo and he did very well. Lovely endukkku peddala that came from Semmangudi to Abilash . Short neraval in veda sAstra but impactful that stayed with minimal or zero sag , swara Kalpana was very organically stiched and i loved his main
NIce viruththam came in next post tani.THe words are a plead to describe the Draupadi helplessness and hamsanandi , behag and kapi are designer ragas for viruththam. Great choice of ambujam krishna as it is academy concert .Aravinda pada malar came out very well with some racy podi sangathis like electric cheenu. Last was a last 120 second rendition , i wish he had skipped that and just stayed a little more in Ural vadivAi eerezhu ulagalandai in coffee itself . The cindrella bell rang sharply and vidushi Keerthana was waiting next .
I also heard the standalone keerthana for the first time two songs of keerthana (sister of flute artist Sruthi sagar and cousin of Anahita apoorva). Keerthana has a way too strong voice , with her voice you cannot map her age for sure . she sang a natanarayani (mahA ganapathE)and a todi sub main(munnu ravana), i had to leave academy for lunch at time and i also attended one more concert in the evening time after lunch and few hours of work at home. For that review i need rest for sure.
Both the accompanist are new to me . THe violinist Aniuddha was bit work in progress for me , he managed well for most part , during violin alapana he could have gone with fewer ideas . MRudangam Sivaraman played with quite a bit of anticipation but i preferred bit more sound especially from right. I always notice in general for sub senior slots the vocalist generally shows more wholesomeness - excelling vocal is little easier when compared to accompaniment is my theory , The accompanist take little more time to bloom, i think that is the nature of accompaniment - possibly it takes far more years for fingers to grasp rightly the violin string and may be the mruduangam fingers to have better right -left combo. Best wishes to both Aniruddha bharadwaj and sivaraman
Abilash i see has considerable patronage given by two mrudangam artist - Tiruvarur Vaidyanathan and Neyveli Venkatesh and may be few more that is not as consipcous as the two whom i mentioned . I wish he gets little more right connection, let him also be as patient as RK Shrikantan and SEmmangudi to have a long performing innnings . BEst wishes for him to move quickly to afternoon slot.
Overall a very good to excellent concert for 90 mins
Then from 2000 to say 2015 particularly two years i wrote few writeups in pdf comparing slots of music academy and really targeting why and how evening 1 and evening 2 slots are given/not given . Almost going over all artists end to end and judgemental to why he/she was passed . Those were possibly years where i felt just like how we have to do well in crucial years say writing a examination to get into some professional seat .
Some time in that period there was one big year where Jaya tv and few more channels were pushing a bunch of youngsters ranging from Bharath sundar , Anahita Apoorva , ashwath , sriranjani santhanagopalan , abilash giriprasad, Brinda manickavasagan etc(talking about quarter to half generation behind gurucharan, abhishek, saketaraman,Amrutha and amritha, kgayathri etal) certainly that generation interested me because their music was indeed of a great quality. Personally lost a bit of interest in tracking bit after this isaimazhalai gen as i did not get an opportunity to hear them(talking about say the Rahul Vellal, Soorya gayathri)
I particularly found this youngster Abilash Giriprasad of extraordinary quality . HE may have a bit of shrillness and a minor voice coarseness at times konjam falling short of pure notes, but ideas ideas are all brimming with Carnatic intensity. I will kind of say his swara "suryaprakash" kalpanism , alapana "abhishek" brighaism and repertoire "sanjay" breadthism amazes me . Particularly i used to go for atleast 3 years in last 10 years to his home ground pozhichalur where his close to 3 hours just showed intensity
Abilash is atlast into his first strike in a subjunior slot of 11:45 to 01:15 pm in academy . I dont know how he is going to fare with a crowded market with excess supply , but do hear him , he particularly takes a lot of not just the above 3 whom i mentioned but i see he at times he is also a clever concoction of a SSI-MDR typecast.
I went on time yes 5 mins before , academy morning- noon session on the first day Day 1 -16th Dec is sluggish for sure in terms of attendance. He started with hayagreevar slokham popularized by MS Amma . Sahana with a brief alapana with a very steady voice gave a mdr touch to me and karunimpa was a great start . His prime guru AS Murali sat in the first row post sahana he came in , possibly relaying the goodwill and blessing of his guru PSN and his parama guru Semmangudi.
Post a lovely sahana , he just went into gambheera nattai . I neither knew the krithi and this is where his creativity came into limelight . What a pouring swara Kalpana , it was organically tight to the krithi. In academy every musician tries to sing a rare krithi , this rare is so rare that i only knew the vaggeyakkaara (post googling), i neither knew the krithi and i am not acclimitized with this rare vageyyakkara then one number . Gambeera nattai (hopefully not nattai) came out well
Varali is a beautiful ragam if the musician has a very azhuthamana voice . I personally did not like varali for many years till i heard semmangudi recording . Abilash sang a lovely submain ,bit reduced swaras but hey it is just 90 mins concert with a possible 10 mins tani in that . I think some time in the start of varali i also saw TM Krishna coming and encouraging abilash in the first row . I also saw kumbakonam Swaminathan mrudangist who was there and few more disciples of TMK in the crowd .
From submain to main no time for either a slow or a fast filler . What a lovely shankarabharanam , he distilled all the lovely Jeeva pidis and did not waste even a minute for a build up of that Jeeva pidis . Shankarabharanam and his sister Kalyani are difficult ragas to master when you consider the sag element that can easily set in . When i say master i mean it strictly that suits my ears and my psyche . SO many pockets of dull insipid sangathis can come easily in this shankarabharanam-kalyani combo and he did very well. Lovely endukkku peddala that came from Semmangudi to Abilash . Short neraval in veda sAstra but impactful that stayed with minimal or zero sag , swara Kalpana was very organically stiched and i loved his main
NIce viruththam came in next post tani.THe words are a plead to describe the Draupadi helplessness and hamsanandi , behag and kapi are designer ragas for viruththam. Great choice of ambujam krishna as it is academy concert .Aravinda pada malar came out very well with some racy podi sangathis like electric cheenu. Last was a last 120 second rendition , i wish he had skipped that and just stayed a little more in Ural vadivAi eerezhu ulagalandai in coffee itself . The cindrella bell rang sharply and vidushi Keerthana was waiting next .
I also heard the standalone keerthana for the first time two songs of keerthana (sister of flute artist Sruthi sagar and cousin of Anahita apoorva). Keerthana has a way too strong voice , with her voice you cannot map her age for sure . she sang a natanarayani (mahA ganapathE)and a todi sub main(munnu ravana), i had to leave academy for lunch at time and i also attended one more concert in the evening time after lunch and few hours of work at home. For that review i need rest for sure.
Both the accompanist are new to me . THe violinist Aniuddha was bit work in progress for me , he managed well for most part , during violin alapana he could have gone with fewer ideas . MRudangam Sivaraman played with quite a bit of anticipation but i preferred bit more sound especially from right. I always notice in general for sub senior slots the vocalist generally shows more wholesomeness - excelling vocal is little easier when compared to accompaniment is my theory , The accompanist take little more time to bloom, i think that is the nature of accompaniment - possibly it takes far more years for fingers to grasp rightly the violin string and may be the mruduangam fingers to have better right -left combo. Best wishes to both Aniruddha bharadwaj and sivaraman
Abilash i see has considerable patronage given by two mrudangam artist - Tiruvarur Vaidyanathan and Neyveli Venkatesh and may be few more that is not as consipcous as the two whom i mentioned . I wish he gets little more right connection, let him also be as patient as RK Shrikantan and SEmmangudi to have a long performing innnings . BEst wishes for him to move quickly to afternoon slot.
Overall a very good to excellent concert for 90 mins
-
rajeshnat
- Posts: 10120
- Joined: 03 Feb 2010, 08:04
Re: Abhilash Giriprasad@Music Academy on Dec 16th ,2024
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Abhilash Giriprasad@Music Academy on Dec 16th ,2024
-----------------------------------------------------------
Vocal : Abhilash Giriprasad
Violin : Aniruddha Bharadwaj - Help needed on his guru
Mrudangam : D V Sivaraman - Help needed on his guru
1 Tambura : ??
GLICSPAWES 2024 "Goto LIve Concert Show PAtronage Without Excuses Series" concert #21 of xy is done.
www.rasikas.org/forums/viewtopic.php?p=383393#p383393
Abhilash Giriprasad@Music Academy on Dec 16th ,2024
-----------------------------------------------------------
Vocal : Abhilash Giriprasad
Violin : Aniruddha Bharadwaj - Help needed on his guru
Mrudangam : D V Sivaraman - Help needed on his guru
1 Tambura : ??
GLICSPAWES 2024 "Goto LIve Concert Show PAtronage Without Excuses Series" concert #21 of xy is done.
www.rasikas.org/forums/viewtopic.php?p=383393#p383393