So many "Margazhi" music festivals have gone by. I had gone to a few of the "Sabhas" to enjoy the cuisine there. Hari, alias Harishankar Varmaraja was the catalyst who provided the impetus to go for a few of the concerts during the last two years.
The first one that we attended together was a free programme named "Panchvaadyam", not the traditional Kerala style, but a combination of Mridangam, Thavil, Chenda, Pakwaj and Tabla; played by renowned artistes in their own genres of percussion. I have taken video of the same and will upload it separately.
The second edition came recently, on 07 Jan 2011. TM Krishna was the vocalist with a good set of accompanying artists. The attempt to gain entry into the Sabha at Mylapore started off dismally. We had reached the Parthasarathy Sabha about an hour in advance, only to be told that all the tickets are sold out. We said that we were even willing to stand and listen, but the gate controller was not interested. We decided to stick around for some more time and were thinking of various tactics to get to hear the concert.
The aroma of fresh "Mysore Bondas" and "Rava roast" lead us to the canteen side of the Sabha. We decided to refresh ourselves and ordered a few goodies and topped it with excellent coffee. The cost of the fare was on the higher side, but the tastes and the behaviour of the serving crew were exemplary. While wolfing down the "Dosa", "Thavala vada" and "Mysore Bonda", we noticed that the cashier was dishing out some sort of coupons. On Inquiry, she told that tickets were being sold in the entrance foyer. By the time we reached there, a long queue had formed up by the ticket holders for entering the auditorium and we did not sight the table where tickets were being sold.
As all the ticket holders went inside, we sighted the table with some turmoil around it. People were crowding with Rs 1000 and 500 notes and demanding one or two tickets costing Rs 100 each. I took out two Rs 100 notes and the cashier there noticed the change and dished out two tickets to me before many others who were there before us. Thus we were inside.
Plain plastic chairs, a rickety wooden staging, dirty and shabby buntings brought about some apprehension on the quality of the programme. We were seated in the last but one row, but with a fair view of the stage. Hearing was more important, hence that did not trouble us. The last minute gate crashers like us kept pouring in and even were standing all over by the time the concert got underway.
There was a short delay in in the starting of the concert, probably because of the Ghatam artist not turning up. Ghatam was missing from the ensemble, as the screen opened, showing stage. With the seating being so close, it was very difficult no to listen to others. We had a couple of "Mamis" sitting behind us discussing all sorts of things within and outside India, There were a lot of family confidential matters being discussed in public. It did not matter to us since we did not know the protagonists nor cared to know more. We feared that the conversation may not cease at all and may disturb us through the concert, but once the stage came alive, the conversations just stopped.
I am totally Carnatic music illiterate, but enjoy listening to good vocal numbers. TM Krishna started off slowly, but as the show progressed, the tonal variations, shifting from high frequency to low frequency notes, high energy singing to barely audible sounds filled the atmosphere. Krishna's body language complemented his singing. His wonderful chemistry with the violinist, mridangam artist and the youngster on ganjira was very evident through out the concert. The main Kirtanas were dealt with so much mastery and variations that the audience were observing pin drop silence, broken only by the applause for some of the master strokes by each of the artists.
TM Krishna was so good that there were hardly anyone moving out of the auditorium for a mid concert snack, although mouthwatering aroma of freshly cooked bondas and strong filter coffee kept wafting in.
The nuances of "Raga vistaram", "Avarthanam", "Thani aavarthanam" etc in the main kirtanas brought out the great depth of Krishna's capabilities and the best out the accompanying artists. The violinist was excellent in mimicking Krishna's vocal rendering and the youngster on Ganjira matched beat by beat with the senior artist on Mridangam.
As the final "Mangalam" was being rendered, people started moving out; TM Krishna rebuked the truant audience, very correctly and the audience took it in the right spirits.
Though the hall looked shabbily decorated, the sound quality was excellent and well managed.
Ringing cell phones and animated conversations were another conspicuous absentee. There were hardly any disturbances in that front except for very few quick rings and muted but short conversations.
Over all, it was an excellent audio visual treat put up by TM Krishna and his troupe for the day. I will definitely make more trips to the Sabhas in every coming season, not only as a foodie, but to listen to good music.
The first one that we attended together was a free programme named "Panchvaadyam", not the traditional Kerala style, but a combination of Mridangam, Thavil, Chenda, Pakwaj and Tabla; played by renowned artistes in their own genres of percussion. I have taken video of the same and will upload it separately.
The second edition came recently, on 07 Jan 2011. TM Krishna was the vocalist with a good set of accompanying artists. The attempt to gain entry into the Sabha at Mylapore started off dismally. We had reached the Parthasarathy Sabha about an hour in advance, only to be told that all the tickets are sold out. We said that we were even willing to stand and listen, but the gate controller was not interested. We decided to stick around for some more time and were thinking of various tactics to get to hear the concert. The aroma of fresh "Mysore Bondas" and "Rava roast" lead us to the canteen side of the Sabha. We decided to refresh ourselves and ordered a few goodies and topped it with excellent coffee. The cost of the fare was on the higher side, but the tastes and the behaviour of the serving crew were exemplary. While wolfing down the "Dosa", "Thavala vada" and "Mysore Bonda", we noticed that the cashier was dishing out some sort of coupons. On Inquiry, she told that tickets were being sold in the entrance foyer. By the time we reached there, a long queue had formed up by the ticket holders for entering the auditorium and we did not sight the table where tickets were being sold.
As all the ticket holders went inside, we sighted the table with some turmoil around it. People were crowding with Rs 1000 and 500 notes and demanding one or two tickets costing Rs 100 each. I took out two Rs 100 notes and the cashier there noticed the change and dished out two tickets to me before many others who were there before us. Thus we were inside.
Plain plastic chairs, a rickety wooden staging, dirty and shabby buntings brought about some apprehension on the quality of the programme. We were seated in the last but one row, but with a fair view of the stage. Hearing was more important, hence that did not trouble us. The last minute gate crashers like us kept pouring in and even were standing all over by the time the concert got underway.
There was a short delay in in the starting of the concert, probably because of the Ghatam artist not turning up. Ghatam was missing from the ensemble, as the screen opened, showing stage. With the seating being so close, it was very difficult no to listen to others. We had a couple of "Mamis" sitting behind us discussing all sorts of things within and outside India, There were a lot of family confidential matters being discussed in public. It did not matter to us since we did not know the protagonists nor cared to know more. We feared that the conversation may not cease at all and may disturb us through the concert, but once the stage came alive, the conversations just stopped.
I am totally Carnatic music illiterate, but enjoy listening to good vocal numbers. TM Krishna started off slowly, but as the show progressed, the tonal variations, shifting from high frequency to low frequency notes, high energy singing to barely audible sounds filled the atmosphere. Krishna's body language complemented his singing. His wonderful chemistry with the violinist, mridangam artist and the youngster on ganjira was very evident through out the concert. The main Kirtanas were dealt with so much mastery and variations that the audience were observing pin drop silence, broken only by the applause for some of the master strokes by each of the artists.
TM Krishna was so good that there were hardly anyone moving out of the auditorium for a mid concert snack, although mouthwatering aroma of freshly cooked bondas and strong filter coffee kept wafting in.
The nuances of "Raga vistaram", "Avarthanam", "Thani aavarthanam" etc in the main kirtanas brought out the great depth of Krishna's capabilities and the best out the accompanying artists. The violinist was excellent in mimicking Krishna's vocal rendering and the youngster on Ganjira matched beat by beat with the senior artist on Mridangam.
As the final "Mangalam" was being rendered, people started moving out; TM Krishna rebuked the truant audience, very correctly and the audience took it in the right spirits.
Though the hall looked shabbily decorated, the sound quality was excellent and well managed.
Ringing cell phones and animated conversations were another conspicuous absentee. There were hardly any disturbances in that front except for very few quick rings and muted but short conversations.
Over all, it was an excellent audio visual treat put up by TM Krishna and his troupe for the day. I will definitely make more trips to the Sabhas in every coming season, not only as a foodie, but to listen to good music.
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