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GS Mani concert
A demonstration cum delivery was presented by the versatile musician and musicologist G.S. Mani at the FGN Hall of Rasika Ranjana Sabha, Tiruchi, in the monthly ‘Eppadi Paadinaro,' music programme organised by the Sabha in association with Sri Krishna Sweets. The AIR artists, N.C. Madhav (violin) and Salem K. Srinivasan (mridangam), were the accompanists.
Following a distinct manodharma and rendition, this veteran presented an enjoyable solo with frequent elaborations on the ragas and their octaves conforming to the grammar of Carnatic music always.
Brief swarams
He treated all the ragas alike with brief swarams and sargams in all the kritis.
He commenced with a rare raga Kanthamani for Kotteeswara Iyer's kriti, ‘Nadhasukham Tharum.'
This was followed by Tyagaraja's ‘Raghuveera Ranadheera' in Husseini, Subbaraya Sastri's ‘Janani Ninnuvina' in Ritigowla and a rare Suryakanti for Tyagaraja's ‘Muddumomu.'
The veteran dealt with Bagesri and Mohanam with ease and poise and ended the concert with a traditional Purandaradasa's bhajan in Charumathi and Vallalar's ‘Thanayarinthinbamura' in Jhonpuri.
The accompanying artists lent able support. The mridangam of Salem Srinivasan was subtle and his thani was stupendous.
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Sanjay subramaniam,nithyasree mahadevan,and malladi brothers in the Kalpathy Sangeetholsavam showcased vintage Carnatic music at its best.
http://www.thehindu.com/arts/music/article2677425.ece
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The vocal recital of SP Ramh at Bharat Kalachar at YGP Auditorium had a convincing classical fore and revealed the vocalist’s grasp of nuances of carnatic music, imparted by violin maestro Lalgudi Jayaraman.
http://ibnlive.in.com/news/a-spellbi...73-60-120.html
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Nithyasree Mahadevan, the grand daughter of DK Pattammal, performed for Kartik Fine Arts at the Narada Gana Sabha Auditorium.
The concert was definitely a grand feast of vocal showers. Yet, how nice it would have been, if she, with her gift of a good voice, had taken melodious strides to measure the dimensions and reach the exploration of the Tarasthayi.
http://ibnlive.in.com/news/sweeping-...38-60-120.html
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saxophone maestro Kadri Gopalnath and flute legend Ronu Majumdar Saxophone-flute jugalbandi
http://timesofindia.indiatimes.com/c...w/11038400.cms
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There is a genre of Carnatic music that may be called “21st Century”! Leading musicians of the latter half of the 20th century have contributed a lot to the creation of this genre. Chaitra Sairam's performance at the Bharatiya Vidya Bhavan Mini Hall on Saturday evening with accompaniment by K.J. Dilip (violin) and Kumbakonam Swaminathan (mridangam) was in accordance with this genre.
http://www.thehindu.com/arts/music/article2709905.ece
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The violin duet of Akkarai Sisters, Subhalakshmi and Sornalatha, for Sri Krishna Gana Sabha on Sunday could be segmented into two parts. One that said, “Let us show you what we can do with the violin,” and the other, “Let us show you how beautiful Carnatic music can be.” Thankfully, the first part of the concert was a short one.
http://www.thehindu.com/arts/music/article2712521.ece
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R. Suryaprakash, Priya sisters, Kunnakkudi Balamuralikrishna, T.V. Sankaranarayanan, etc.
http://www.thehindu.com/arts/music/article2714487.ece
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The cake has Carnatic music as the crust, topped with new flavours. That could be a foodie's definition of Sowmya's music. There are few musicians who respect the original theorems of Carnatic music like she does, and yet she makes allowances for intelligent transgressions.
http://www.thehindu.com/arts/music/article2723391.ece
Unnikrishnan's vocal recital with S. Varadarajan (violin), B. Harikumar (mridangam) and Tripunithura Radhakrishnan (ghatam) as accompanists attracted a considerable turnout. Although husky undertones and a slight tremulousness in sahitya enunciation indicated that all was not well with his voice, the artist's intelligent handling of alapana and kalpanaswara shifted attention from vocal dexterity to musical content.
http://www.thehindu.com/arts/music/article2723311.ece
The repertoire invested the concerts of Sikkil Gurucharan and Malladi Brothers with classicism and clarity. However, vainika Rajhesh Vaidhya was not all that traditional in his approach.
http://www.thehindu.com/arts/music/article2723348.ece
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A Carnatic vocal concert usually follows a conventional style where maestros pick a major raga for the narration and also to present a notable ‘Kirthan’ to explore the mood of the raga. In between the elaborate narration of the composition, the accompanying artistes showcase their brilliancy in their respective percussion instruments.
Going against the conventional style, mridangam maestro Padma Bhushan Umayalpuram K Sivaraman presented two ‘Thaniyavarthanams’ at the vocal concert by the upcoming singer Bharath Sundar.
http://ibnlive.in.com/news/double-tr...94-60-122.html