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vasantha

Saketharaman – interesting and rare

Five years ago, I attended my first Abhishek Raghuram concert as a TMK concert at the same time, different venue, was overflowing with rasikas. Yesterday (27th Dec) the same happened as tickets sold out for AR, and thus I ended up at the concert of Saketharaman, a disciple of Lalgudi Jayaraman. He was accompanied by Mysore Nagaraj on the violin, Bengaluru Praveen on the Mridangam and Guru Prasanna on the kanjira.

I don’t believe in blindly listing all the songs performed, hence I directly move to highlight the best parts of the concert. I would call Muthuswamy Dikshithar’s Arthanareeswaram the sub-main song of the concert, even though there were other songs with equal improvisation(manodharma). It is set in the raga Kumudhakriya (a child of Pantuvarali raga), and Saketharaman performed crisp neraval – swaram to the madhyama kalam.

The other best part of the concert was pulling off a weird concept as Ragam Thanam Pallavi. If someone takes two polar opposite ragas such as Vasantha and Behag and sing a Pallavi in misra (7) jathi triputa thalam, that has similar lyrics for Lord Siva in Vasantha and Lord Vishnu in Behag, that alone requires an applause.

lolanai, gana lolanai (sama / venu) gana lolanai, (haranai / hariyai) sadha ninaindhidu

That was the pallavi lyrics for you; read before the slash for the uttaranga and after the slash or the purvanga. The pallavi was also presented in ragamalika where ragas such as Sama (sama gana lolanai) and Patdheep were well chosen and handled.

What could have been different

Sharavana Bhava in Pasupathipriya (Harikesanallur Muthiah Bagavathar) was unintelligibly fast. Uyyalaluga Vaiyya’s (Thyagaraja) aalapana in Neelambari was also hurried than what you would expect as the raga’s comfort.

What I liked

The choice of songs at the start of the concert were from rare composers like Aanayya (Intha Paraka in Mayamalava Gowlaiand Pallavi Sesha Iyer (Palimparavathe in Arabhi). The korvais at the end of kalpana swarams by Saketharaman embellished the Lalgudi style. The fillers / arudhi played by Bangalore Praveen for each song was bang on.

Until next,

Vid 🙂

13. Vasantha

This post is about the raga Vasantha. One of the oldest raga in vogue for more than a thousand years, it is said; suitable to be sung in the evening.

It is derived from the 17th melakartha (parent raga) Suryakantham. The scale is S M1 G3 M1 D2 N3 S / S N3 D2 M1 G3 R1 S. As you can notice, it is a PA varjya (sans) raga.

Kritis in Vasantha include:

Ramachandram Bhavayami by Dikshitar
Seethamma Maayamma by Thyagaraja
Kodu Bega Divyamathi by Purandara Dasar
Natanam Aadinaar by Gopalakrishna Bharathi

This sound cloud link has a song by Dasar sung in Vasantha. Do listen and give feedback…

Movie songs that have used Vasantha include Andhi Mazhai Pozhigiradhu from the movie Raja Parvai … Kanden Kanden from Pirivom Sandhippom … The latter’s link below:

The previous post in the series can be found here.

– Until next,
Vid 🙂

Vasantha

This post is about the raga Vasantha. One of the oldest raga in vogue for more than a thousand years, it is said; suitable to be sung in the evening.

It is derived from the 17th melakartha (parent raga) Suryakantham. The scale is S M1 G3 M1 D2 N3 S / S N3 D2 M1 G3 R1 S. As you can notice, it is a PA varjya (sans) raga.

Kritis in Vasantha include:

  • Ramachandram Bhavayami by Dikshitar
  • Seethamma Maayamma by Thyagaraja
  • Kodu Bega Divyamathi by Purandara Dasar
  • Natanam Aadinaar by Gopalakrishna Bharathi

This sound cloud link has a song by Dasar sung in Vasantha. Do listen and give feedback…

Movie songs that have used Vasantha include Andhi Mazhai Pozhigiradhu from the movie Raja Parvai … Kanden Kanden from Pirivom Sandhippom … The latter’s link below:

The previous post in the series can be found here.

  • Until next,
    Vid 🙂

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