Violin: Ambika Prasadh
Mrudangam: Erode Nagaraj
1. thirumAl marugA un thirunAmaM – varNam-AndhOLikA – Adhi – Lalgudi Jayaraman
2. ainkaran illAmal – kEdhAram – Adhi – Periyasamy Thooran
3. OrARu mukanE – reethigowLa – Adhi- Neelakanta Sivan
4. padhumanAbhan marugA – nAgasvarAvaLI – Adhi – Papanasam Sivan
5. aruL seyya vENdum ayyA – rasikapriyA –Adhi – Koteesvara Iyer
6. varuvArO – Sama – Adhi – Gopalakrishna Bharathi
7. thAmadhamEn svAmi – thOdi – Adhi – Papanasam Sivan
8. kaliyuga varadhan – brindhAvana sArangA – Adhi- Periyasamy Thooran
9. azhagu dheivamAga vandhu – kAvadichindhu – senchurutti - Periyasamy Thooran
10. karuNai dheivamE – sindhu bhairavi – Adhi – Madhurai Srinivasan
11. kumaragurupara – dhvijAvanthi – thiruppugazh – misra gathi – Adhi - Arunagirinathar
12. thillAnA – kamAs - Adhi – Lalgudi Jayaraman
13. ARiru thadanthOL vAzhga – viruththam – kandhapurANam
Slowly I am becoming a long time no see fellow. Well, when you come across the corners of the art of smelling, you can only but admit you’re becoming a nosy guy! A nosy guy who fell-low becomes aware of kinds of smell. I, fortunately as a musician, could only feel the presence of God, as I fell on lotuses (CM) instead of mud and I inhale only the fragrances.
One such aroma was the concert of Sankari Krishnan on skandha sashti day at kAsi visvanAtha temple in mAmbalam. Ably supported on the violin by Ambika Prasadh, she commenced her concert with Lalgudi sir’s varNam in AndhOLikA. Right from the start, Sankari maintained three important qualities throughout the concert which are bhAvam, emphasis on lyrical beauty and nice improvisations.
Her kEdhAram added spirit to the pace of the concert and the swaras for mooNu thaLLi eduppu were good. The recent come again of the cine music, reethi gowLa, was in the traditional attire and it had a majestic appearance in the temple court. Both the AlApanai and the krithi contained nidhAnam and soothing rendition as it is a song on ‘ARuthalai’ aLikkum ARu-thalai.
The selection of songs, not only consisted various composers but also it showed murugan as marumagan of thirumAl, remembered his aNNan in second song and ammai umaiyAL in third song. I was wondering what would be the krithi next and there came the nAgasvarAvaLi krithi of “Sivan” and varuvArO after the rasikapriyA.
She began the thOdi in the higher octave and created an effect like we have been hearing the rAgam for the past few minutes already and created a friendly mixing very easily. The krithi was thAmadhEn svAmi. Since, the beginning was higher (octave), the level of it could be considered as jnAna and why a thAmasam for attaining jnAna! In eight minutes, she weaved a nice ponnAdai in thOdi and Ambika Prasadh added colours too. niraval and svaram were for the pallvai line and she emoted well with due emphasis in svAmi thamiyEnukkaruL seyya. She sang a wonderful misra kuRaippu in svarA singing where the structure of the seven and the roopa of the rAga were well balanced.
The post thani songs included a dhwi kAla rendition of thiruppugazh in dhwijAvanthi. A sound of horn from one of the vehicles from madley road in a matching rishabam gave a good lead to the beginning of the viruththam in madhyamAvathi. A good concert in temple atmosphere.
The maNdapam of the temple is a good place for sadh sangam. The three idols seemed there, natarAja-pArvathi kalyANam-oordhva thANdava were nice. Only thing is the lifted leg of shiva is sculpted wrongly in an impossible position...
1. thirumAl marugA un thirunAmaM – varNam-AndhOLikA – Adhi – Lalgudi Jayaraman
2. ainkaran illAmal – kEdhAram – Adhi – Periyasamy Thooran
3. OrARu mukanE – reethigowLa – Adhi- Neelakanta Sivan
4. padhumanAbhan marugA – nAgasvarAvaLI – Adhi – Papanasam Sivan
5. aruL seyya vENdum ayyA – rasikapriyA –Adhi – Koteesvara Iyer
6. varuvArO – Sama – Adhi – Gopalakrishna Bharathi
7. thAmadhamEn svAmi – thOdi – Adhi – Papanasam Sivan
8. kaliyuga varadhan – brindhAvana sArangA – Adhi- Periyasamy Thooran
9. azhagu dheivamAga vandhu – kAvadichindhu – senchurutti - Periyasamy Thooran
10. karuNai dheivamE – sindhu bhairavi – Adhi – Madhurai Srinivasan
11. kumaragurupara – dhvijAvanthi – thiruppugazh – misra gathi – Adhi - Arunagirinathar
12. thillAnA – kamAs - Adhi – Lalgudi Jayaraman
13. ARiru thadanthOL vAzhga – viruththam – kandhapurANam
Slowly I am becoming a long time no see fellow. Well, when you come across the corners of the art of smelling, you can only but admit you’re becoming a nosy guy! A nosy guy who fell-low becomes aware of kinds of smell. I, fortunately as a musician, could only feel the presence of God, as I fell on lotuses (CM) instead of mud and I inhale only the fragrances.
One such aroma was the concert of Sankari Krishnan on skandha sashti day at kAsi visvanAtha temple in mAmbalam. Ably supported on the violin by Ambika Prasadh, she commenced her concert with Lalgudi sir’s varNam in AndhOLikA. Right from the start, Sankari maintained three important qualities throughout the concert which are bhAvam, emphasis on lyrical beauty and nice improvisations.
Her kEdhAram added spirit to the pace of the concert and the swaras for mooNu thaLLi eduppu were good. The recent come again of the cine music, reethi gowLa, was in the traditional attire and it had a majestic appearance in the temple court. Both the AlApanai and the krithi contained nidhAnam and soothing rendition as it is a song on ‘ARuthalai’ aLikkum ARu-thalai.
The selection of songs, not only consisted various composers but also it showed murugan as marumagan of thirumAl, remembered his aNNan in second song and ammai umaiyAL in third song. I was wondering what would be the krithi next and there came the nAgasvarAvaLi krithi of “Sivan” and varuvArO after the rasikapriyA.
She began the thOdi in the higher octave and created an effect like we have been hearing the rAgam for the past few minutes already and created a friendly mixing very easily. The krithi was thAmadhEn svAmi. Since, the beginning was higher (octave), the level of it could be considered as jnAna and why a thAmasam for attaining jnAna! In eight minutes, she weaved a nice ponnAdai in thOdi and Ambika Prasadh added colours too. niraval and svaram were for the pallvai line and she emoted well with due emphasis in svAmi thamiyEnukkaruL seyya. She sang a wonderful misra kuRaippu in svarA singing where the structure of the seven and the roopa of the rAga were well balanced.
The post thani songs included a dhwi kAla rendition of thiruppugazh in dhwijAvanthi. A sound of horn from one of the vehicles from madley road in a matching rishabam gave a good lead to the beginning of the viruththam in madhyamAvathi. A good concert in temple atmosphere.
The maNdapam of the temple is a good place for sadh sangam. The three idols seemed there, natarAja-pArvathi kalyANam-oordhva thANdava were nice. Only thing is the lifted leg of shiva is sculpted wrongly in an impossible position...
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