Sanjay's concert at academy left me with mixed feelings. So many concerts this season has taken toll on his voice. But thats not a bad sign. There were sruthi lapses, especially in Lathangi and his timing of "aparAdhamulanniyu manninci" was perfect.
If his voice had been good, he might have tried 'brigas' that he invariably fails to get. (when he did occasionally try, it didn't fail to let him down). The other sore point was his attempt to mimick MMI.
Having said this, his vidwat cannot be denied. His 'Thodi' was extremely good with brilliant neraval and swarams (except for those MMI-like sangathis he tried). Arabhi was decent, but while singing in the upper octave his mimickry of 'MMI style' resulted in a Morsing like sound. The 'Thirukkural' line as the pallavi line was cute:-)
I really hope to see the Sanjay of old who used his strengths and was himself becoming a Legend, rather than trying to mimic the Legends. He would do well to sing such imitations in a concert dedicated to mimicry.
Overall it was a decent concert (thanks to his strained voice, that resulted in briga-less sangathis that he can sing pretty well).
Friday, December 28, 2012
Wednesday, December 19, 2012
The Long and Short of Alapanas
In a crude way of putting, there are 4 types of 'alapana' based on time - Sketch, Short, Long and Detailed.
Sketch is just showing the scales of the raga with some swish and flick and maximum goes upto a minute or two. A short alapana ranges from 5-8 mins. Long one goes from 15 - 30 mins, while the detailed ones go beyond 30 mins. The time inbetween these Sketch - Short and Long can be classified eitherway, depending on the level of satisfaction.
While many of the concerts nowadays are a mixture of Long and Short ones. Very few artists take up the Detailed type. Anyways proper mixture of these would satisfy most of the rasikas.
But the emergence of capsule concerts have started to spoil the mixture. In the 1.30 hrs to 2 hrs, the artists plan to sing atleast 3 ragas that forces them to choose the short-type for all the ragas (incl main). This affects the "Wholesome or Completeness" a rasika feel at the end of the piece/concert.
I have attended 2 Vijay Siva concerts this season until now. One was in Karthik Fine Arts and the other one in Nalinakanthi. I was surprised in the former though, as he sang three 'Short' alapanas in Kalyani, Reethigowlai and Saveri (main). Even the main piece's alapana was within 8 mins. Though these were really good, it did not give the 'Completeness' everyone wish for. Maybe he did so as a warm-up to the season because in the latter concert, he sang Varali (Short-type) and an elaborate Kambodhi (Long-type) which immensely satisfied everyone. Given the virtuosity and seniority of Vijay Siva, I think if he follows the second pattern in his concerts, it will stand as an example for the upcoming artists, as it has been so for years now. Sadly quite a few have started to follow the 'Short' route nowadays.
TNS Krishna's Masterly performance at Charsur is worth noting. He sang an elaborate RTP (Detailed type) in Kalyani and Lalitha, alongwith 'Hamsadhwani sketch' and 'Panthuvarali short alapana' which gained loud applause and huge appreciation from the packed crowd. The way he handled both the ragas simultaneously in every phase of the RTP was just mindblowing. Also the typical TNS korvais and Porutthams for the eduppu were total delight to the listeners. அப்பாவுக்கு மகன் தப்பாமல் பிறந்திருக்கார். Very much satisfying to youngsters like me who have not heard TNS sir when he was young.
Abishek Raghuram's performances needs no words to say how good it was at Brahma Gana Sabha, where he sang a 'Long' Vasantha and a 'Detailed ' Madhyamavathy. Similarly at MFAC, he sang a 'Short' Nasikabhushani, 'Long' Varali and a 'Detailed' Sankarabharanam RTP. There was a standing ovation to the artists at the end of the concert. It was also a great gesture from Abishek to let the percussionists (Ananth and Sree Sundarkumar) play the Thani before singing swarams for the Pallavi, because it was already getting late and people looked like they were about to leave once he finishes the swaram.
Conclusion - People may put up an argument stating Quality is more important than Quantity and stuff. But friends, Complete satisfaction will be obtained only when both quality and quantity are in proper proportion Ofcourse more the quality, better the music. But for that sake quantity shouldnot be reduced.
The difference is obvious. One/Two good, elaborate alapanas are way better than 3 / 4 short ones.
Sketch is just showing the scales of the raga with some swish and flick and maximum goes upto a minute or two. A short alapana ranges from 5-8 mins. Long one goes from 15 - 30 mins, while the detailed ones go beyond 30 mins. The time inbetween these Sketch - Short and Long can be classified eitherway, depending on the level of satisfaction.
While many of the concerts nowadays are a mixture of Long and Short ones. Very few artists take up the Detailed type. Anyways proper mixture of these would satisfy most of the rasikas.
But the emergence of capsule concerts have started to spoil the mixture. In the 1.30 hrs to 2 hrs, the artists plan to sing atleast 3 ragas that forces them to choose the short-type for all the ragas (incl main). This affects the "Wholesome or Completeness" a rasika feel at the end of the piece/concert.
I have attended 2 Vijay Siva concerts this season until now. One was in Karthik Fine Arts and the other one in Nalinakanthi. I was surprised in the former though, as he sang three 'Short' alapanas in Kalyani, Reethigowlai and Saveri (main). Even the main piece's alapana was within 8 mins. Though these were really good, it did not give the 'Completeness' everyone wish for. Maybe he did so as a warm-up to the season because in the latter concert, he sang Varali (Short-type) and an elaborate Kambodhi (Long-type) which immensely satisfied everyone. Given the virtuosity and seniority of Vijay Siva, I think if he follows the second pattern in his concerts, it will stand as an example for the upcoming artists, as it has been so for years now. Sadly quite a few have started to follow the 'Short' route nowadays.
Abishek Raghuram's performances needs no words to say how good it was at Brahma Gana Sabha, where he sang a 'Long' Vasantha and a 'Detailed ' Madhyamavathy. Similarly at MFAC, he sang a 'Short' Nasikabhushani, 'Long' Varali and a 'Detailed' Sankarabharanam RTP. There was a standing ovation to the artists at the end of the concert. It was also a great gesture from Abishek to let the percussionists (Ananth and Sree Sundarkumar) play the Thani before singing swarams for the Pallavi, because it was already getting late and people looked like they were about to leave once he finishes the swaram.
Conclusion - People may put up an argument stating Quality is more important than Quantity and stuff. But friends, Complete satisfaction will be obtained only when both quality and quantity are in proper proportion Ofcourse more the quality, better the music. But for that sake quantity shouldnot be reduced.
The difference is obvious. One/Two good, elaborate alapanas are way better than 3 / 4 short ones.
Tuesday, December 18, 2012
Manodharmam is the best policy
TN Seshagopalan SIR's concert
I had little concern about his voice before deciding to go for it. But, the Master was in full-flow and his voice too settled down when he took up Kumudakriya (Ardhanareeswaram). He took Thodi as the main raga, employed Graha-bedam technique and this thodi was so good that a very old rasika stood up and praised him once the alapana was over. The houseful crowd was enjoying every minute of the evening. But the best part of the concert was TNS' honesty while singing and his experimental mind..
Then a "Oh" came from him (i think he would have guessed what went wrong) and he tried it once again and got it right which gained loud applause from the houseful crowd.
First of all there was no necessity for him to sing such complicated korvais for he had been doing that for decades now and could have stopped it. Even while trying, when it missed the eduppu he could have adjusted but he dint. This shows the Manodharmam of a great musician. It was evident that he was not singing to satisfy the audience or their applause, but to satisfy his conscience. Actually Respect everyone had on his music grew 10 times and I was a witness for a loud cheer from the crowd for his manodharmam.
This is something every current generation artist should learn from the MASTER. To err is human, whether you try to cover it up or rectify the same is what that really defines you. Hail Honesty!! Hail TNS!!
Monday, December 17, 2012
Not sure 'Thani' or 'Mini'
In one of the (2 hour) concert of a senior vidwan with fairly decent crowd he started off with varnam and a krithis with neravals and swarams.
He then gladly sang three short alapanas in Kalyani, Reethigowlai and Saveri. I would put it as showing the sketch of the ragam in a slightly lengthy way (3-5 mins).
Saveri was supposed to be the main piece i guess, for it was followed by Thani (by definitely above avg percussionists).
One korvai by the Mridangist for which he got a similar reply from the Khanjira vidwan. This was followed by two avarthanam kuraippu and then peria Mohrra. In 4 minutes, instant Th... sorry, Mini Avarthanam ready which got a loud "Sabhash" by the Singer as a reward. And then concluded the concert with 18 mins of tukkadas.
I know in all these capsule concerts it quite difficult to find time. But why restrict Thanis and give more importance to tukkadas?
Why people who feel bad when alaps are made just for 4 mins doesnt feel the same for Thanis :'(.
Truely, gone are the days where the Station Master held a train just because Thani was not over and the artists had to wrap up fastly, which ofcourse resulted in a beautiful Thani and a Memo for the Station Master.
Unfortunately it has become S'O'ga suga (சோகசுகா) mridanga thalamu with all these restrictions for solos.
He then gladly sang three short alapanas in Kalyani, Reethigowlai and Saveri. I would put it as showing the sketch of the ragam in a slightly lengthy way (3-5 mins).
Saveri was supposed to be the main piece i guess, for it was followed by Thani (by definitely above avg percussionists).
One korvai by the Mridangist for which he got a similar reply from the Khanjira vidwan. This was followed by two avarthanam kuraippu and then peria Mohrra. In 4 minutes, instant Th... sorry, Mini Avarthanam ready which got a loud "Sabhash" by the Singer as a reward. And then concluded the concert with 18 mins of tukkadas.
I know in all these capsule concerts it quite difficult to find time. But why restrict Thanis and give more importance to tukkadas?
 |
| "4 mins of thani over?!?!?! Time for tukkadas Mr. Mridangist" |
Why people who feel bad when alaps are made just for 4 mins doesnt feel the same for Thanis :'(.
Truely, gone are the days where the Station Master held a train just because Thani was not over and the artists had to wrap up fastly, which ofcourse resulted in a beautiful Thani and a Memo for the Station Master.
Unfortunately it has become S'O'ga suga (சோகசுகா) mridanga thalamu with all these restrictions for solos.
Why does 'Repeats' Repeat themselves Repeatedly?
Why do I get to hear the same ragas and same songs in most of the concerts nowadays.
Kambodhi and Karaharapriya seems to be everyone's take this season.
If the artists themselves get bored of repeats, they seem to find happiness and content in Bairavi or Kalyani.
Despite great efforts taken by Legends like SKR and S Rajam and many others, why is that none wants to take up many rare and vivadhi ragas.
Even Reethigowlai and Varali seems to be the major 'Sub-main specialists'.
I hope these people must read "Sangeetha Vishayam" article written by Bharathiyar before their performance.
(TNS' tape singing in the next room - "Ethanai Kettalum Podhum enbadhey illai" in Bairavi :'( )
Kambodhi and Karaharapriya seems to be everyone's take this season.
If the artists themselves get bored of repeats, they seem to find happiness and content in Bairavi or Kalyani.
Despite great efforts taken by Legends like SKR and S Rajam and many others, why is that none wants to take up many rare and vivadhi ragas.
Even Reethigowlai and Varali seems to be the major 'Sub-main specialists'.
I hope these people must read "Sangeetha Vishayam" article written by Bharathiyar before their performance.
(TNS' tape singing in the next room - "Ethanai Kettalum Podhum enbadhey illai" in Bairavi :'( )
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| Why dont you take diversion buddy? |
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