February 3rd:
Venue: Eranakulathappan Temple, Eranakulam, Kerala.
Time: 6.30 pm
Violin: T.H. Subrahmaniam
Mridangam: Trichur R Mohan
Ghatam: Gopinathaprabhu
February 28th:
Venue: Nada Sudha, Velachery
Time: 6.30 p.m.
Violin: L Ramakrishnan
Mridangam: Trichur R Mohan
Ghatam: Venkat
Jan 28, 2009
Jan 3, 2009
Concerts for the month of January 2009
January 4th,
Venue: Bharath Kalachar Auditorium,
Time: 10.30a.m-12.30pm
Violin: R.K. Shriramkumar
Mridangam: Arun Prakash
Ghanjira: Purusshothaman
January: 9th
Madipakkam
6.30pm
(Details ASAP)
January 11th:
MLV Rasigar Mandram, Sastri Hall, Mylapore
6.30pm
(Details asap)
January 18th:
Sarwani Sangeeth Sabha, Music Academy Mini Hall
6.30 pm
(Details ASAP)
Jan 1, 2009
Chembai Mama and my dad.
Namasthe,
I was quite happy to see the Times Newspaper, Chennai edition, introducing a few Carnatic Music bloggers to the rasikas at large. I am here to share yet another incident that relates to the great Chembai Vaidyanatha Bhagavathar.
Chembai mama, as he is lovingly addressed, was a great devotee of Guruvayoorappan. For those of you, who are yet to visit this Punya Kshethram, I strongly request you to do so. The temple stands as a testimony to the wonders and miracles that numerous devotees have experienced and still do. A few words about the temple will not be out of place. This Kshethram which is approximately 27 kms from Trichur is one of the most ancient shrines in the state. Guru and Vayu are supposed to have built this for Lord Sankarshana Moorthy. The method of worship (Puja Vidhi) is prescribed by none other than Acharya Adi Shankara. Narayaneeyam, the great hymn on Bhagavan Shri Krishna was composed at this very place. Our own Chembai mama regained his lost voice at the mercy of the Lord here. The famous Chembai annual music festival is conducted by the administration of the temple itself. Chembai mama will for ever be the one who has performed the maximum number of dawn to dusk (Udayasthamana) puja at this temple, as I was told that , the puja is booked so often nowadays that the earliest date available is not during one’s own life span. Coming back to the subject, Shri Chembai was so attached to Guruvayoorappan that he literally gave away whatever he earned from his concerts to the temple ever since he turned 60 years of age. He would travel only by second class coach for a very long time so that the money saved would be an additional contribution to the temple. The man has also the reputation of having a character, so spot less in nature and so admirable in its self less ness. He was the driving force to nurture many artistes towards making a mark in their chosen fields. This includes my dad among so many others.
Let me tell you about my dad, Shri Trichur R Mohan’s very first stage appearance as a mridangist. As I had mentioned in an earlier post, Chembai mama stayed at our place whenever he toured Trichur. During one such occasion, it so happened that he listened to my dad practicing Mridangam. Dad was hardly past his teens and had been learning from Shri Koduvayoor Radhakrishnan for not more than a year. Chembai mama called him and announced in front of the entire family, “Mohan, you are accompanying me on the Mridangam for my next concert”. I am sure he must have been pleasantly surprised if not rudely shocked. Chembai was a household name in Kerala and had a reputation par excellence. To accompany him is no easy task. My dad vehemently refused, saying that he has never performed on stage so far. To this retort, the Bhagavathar asked, “How many months have you been playing the Mridangam?” Six months came the reply. “Do you know how many years I have been singing? For more than sixty years. Is it you or I, who knows better as to who can accompany me for my concert?” The matter was decided before anybody could protest. Chembai mama gave rigorous training to my dad for the next few months and lo! , as he had announced, my dad did accompany him on that fateful day. The concert was a big turning point in his career, as Chembai gave him a title on stage. “Sangeetha Lokathil Dhruvan”, translates as Dhruva in the world of music. The title, Chembai mama explained, meant to show that within a short span of time he had blossomed into a Vidwan in the field of Mridangam. For hundreds of concerts including the very last concert of Chembai Mama, my dad was fortunate to have accompanied him on the Mridangam. Thus began a wonderful journey, for which all of us are grateful to Chembai Shri Vaidyanatha Bhagavathar.
I was quite happy to see the Times Newspaper, Chennai edition, introducing a few Carnatic Music bloggers to the rasikas at large. I am here to share yet another incident that relates to the great Chembai Vaidyanatha Bhagavathar.
Chembai mama, as he is lovingly addressed, was a great devotee of Guruvayoorappan. For those of you, who are yet to visit this Punya Kshethram, I strongly request you to do so. The temple stands as a testimony to the wonders and miracles that numerous devotees have experienced and still do. A few words about the temple will not be out of place. This Kshethram which is approximately 27 kms from Trichur is one of the most ancient shrines in the state. Guru and Vayu are supposed to have built this for Lord Sankarshana Moorthy. The method of worship (Puja Vidhi) is prescribed by none other than Acharya Adi Shankara. Narayaneeyam, the great hymn on Bhagavan Shri Krishna was composed at this very place. Our own Chembai mama regained his lost voice at the mercy of the Lord here. The famous Chembai annual music festival is conducted by the administration of the temple itself. Chembai mama will for ever be the one who has performed the maximum number of dawn to dusk (Udayasthamana) puja at this temple, as I was told that , the puja is booked so often nowadays that the earliest date available is not during one’s own life span. Coming back to the subject, Shri Chembai was so attached to Guruvayoorappan that he literally gave away whatever he earned from his concerts to the temple ever since he turned 60 years of age. He would travel only by second class coach for a very long time so that the money saved would be an additional contribution to the temple. The man has also the reputation of having a character, so spot less in nature and so admirable in its self less ness. He was the driving force to nurture many artistes towards making a mark in their chosen fields. This includes my dad among so many others.
Let me tell you about my dad, Shri Trichur R Mohan’s very first stage appearance as a mridangist. As I had mentioned in an earlier post, Chembai mama stayed at our place whenever he toured Trichur. During one such occasion, it so happened that he listened to my dad practicing Mridangam. Dad was hardly past his teens and had been learning from Shri Koduvayoor Radhakrishnan for not more than a year. Chembai mama called him and announced in front of the entire family, “Mohan, you are accompanying me on the Mridangam for my next concert”. I am sure he must have been pleasantly surprised if not rudely shocked. Chembai was a household name in Kerala and had a reputation par excellence. To accompany him is no easy task. My dad vehemently refused, saying that he has never performed on stage so far. To this retort, the Bhagavathar asked, “How many months have you been playing the Mridangam?” Six months came the reply. “Do you know how many years I have been singing? For more than sixty years. Is it you or I, who knows better as to who can accompany me for my concert?” The matter was decided before anybody could protest. Chembai mama gave rigorous training to my dad for the next few months and lo! , as he had announced, my dad did accompany him on that fateful day. The concert was a big turning point in his career, as Chembai gave him a title on stage. “Sangeetha Lokathil Dhruvan”, translates as Dhruva in the world of music. The title, Chembai mama explained, meant to show that within a short span of time he had blossomed into a Vidwan in the field of Mridangam. For hundreds of concerts including the very last concert of Chembai Mama, my dad was fortunate to have accompanied him on the Mridangam. Thus began a wonderful journey, for which all of us are grateful to Chembai Shri Vaidyanatha Bhagavathar.
Dec 23, 2008
Review that appeared in Hindu this morning.
Kalarasana
Clear diction, amazing precision
G. SWAMINATHAN
Their intelligence in fascinating the listeners were evident in Trichur Brothers’ recital.
ENTHUSIASTIC and SINCERE: Trichur Brothers
It is, indeed, gratifying to note that the younger artists of today are emerging into competent performers. Trichur Brothers, Srikrishna Mohan and Ramkumar Mohan, are on the wings to take off with several favourable aspects on their side like youth, strong vocal power coupled with clarity in delivery, pleasant stage presence and good foundation. The duo’s Tamizh Isai was well planned and accomplished. The ragas chosen, the compositions identified and the layout o f the programme proved their diligence and intelligence in fascinating the listener.
Sriranjani and ‘Gaja Vadana’ of Papanasam Sivan set the concert on the right note of spirit and speed. A notably Hindustani accented Hindolam alapana gave a relaxed feel that was followed by equally serene ‘Ma Ramanan’ (Sivan). Purvikalyani was launched on the upper registers which later encompassed the other regions in an enchanting way. Can there be a better option for them here than ‘Aananda Nadamaduvar’ by Neelakanta Sivan? The kalpanaswaras were bouncy with contributions from Usha Rajagopalan on the violin, Trichur Mohan on mridangam and D.V. Venkatasubramaniam on the ghatam. The raga expositions alternatively offered by Srikrishna and Ramkumar are always zealous. The output demonstrates their affection in complementing each other musically. The main piece Thodi was imposingly handled and here the choice once again went in favour of Sivan. ‘Karithikeya Kangeya’ and a comprehensive niraval which was developed at ‘Malmaruga Shanmuaga Muruga Guha.’ The swara sallies were dynamic and competitive. Passion packed Ritigowla in ‘Guruvayoor Appane’ (Ambujam Krishna), joyous Suddhasaveri through ‘Thaye Tripurasundari’ (Thooran), soft and lingering Devagandhari with ‘Enneramum’ (Gopalakrishana Bharati), piety Ragamalika viruttam followed by ‘Srichakra Raja’ were part of the package that concluded with the Hamsanandi tongue twisting Thiruppugazh. Usha Rajagopalan’s participation is encouraging and impeccable. Trichur Mohan kept a low profile but was fire and brimstone during thani with Venkatasubramaniam.
http://www.hindu.com/ms/2008/12/23/stories/2008122350110600.htm (Link to the review)
Clear diction, amazing precision
G. SWAMINATHAN
Their intelligence in fascinating the listeners were evident in Trichur Brothers’ recital.
ENTHUSIASTIC and SINCERE: Trichur Brothers
It is, indeed, gratifying to note that the younger artists of today are emerging into competent performers. Trichur Brothers, Srikrishna Mohan and Ramkumar Mohan, are on the wings to take off with several favourable aspects on their side like youth, strong vocal power coupled with clarity in delivery, pleasant stage presence and good foundation. The duo’s Tamizh Isai was well planned and accomplished. The ragas chosen, the compositions identified and the layout o f the programme proved their diligence and intelligence in fascinating the listener.
Sriranjani and ‘Gaja Vadana’ of Papanasam Sivan set the concert on the right note of spirit and speed. A notably Hindustani accented Hindolam alapana gave a relaxed feel that was followed by equally serene ‘Ma Ramanan’ (Sivan). Purvikalyani was launched on the upper registers which later encompassed the other regions in an enchanting way. Can there be a better option for them here than ‘Aananda Nadamaduvar’ by Neelakanta Sivan? The kalpanaswaras were bouncy with contributions from Usha Rajagopalan on the violin, Trichur Mohan on mridangam and D.V. Venkatasubramaniam on the ghatam. The raga expositions alternatively offered by Srikrishna and Ramkumar are always zealous. The output demonstrates their affection in complementing each other musically. The main piece Thodi was imposingly handled and here the choice once again went in favour of Sivan. ‘Karithikeya Kangeya’ and a comprehensive niraval which was developed at ‘Malmaruga Shanmuaga Muruga Guha.’ The swara sallies were dynamic and competitive. Passion packed Ritigowla in ‘Guruvayoor Appane’ (Ambujam Krishna), joyous Suddhasaveri through ‘Thaye Tripurasundari’ (Thooran), soft and lingering Devagandhari with ‘Enneramum’ (Gopalakrishana Bharati), piety Ragamalika viruttam followed by ‘Srichakra Raja’ were part of the package that concluded with the Hamsanandi tongue twisting Thiruppugazh. Usha Rajagopalan’s participation is encouraging and impeccable. Trichur Mohan kept a low profile but was fire and brimstone during thani with Venkatasubramaniam.
http://www.hindu.com/ms/2008/12/23/stories/2008122350110600.htm (Link to the review)
Nov 23, 2008
As the curtain raises to usher the December Season
December 8th:
Sabha: Kalarasana
(Exclusive Tamil Songs)
Venue: Swamy's Hall
Time: 6.00 p.m.
Violin: Usha Rajagopal
Mridangam: Trichur R Mohan
Ghatam: Venkat
December 12th: Yuva Kala Bharathi title bestowed on us at 6.30 pm at the YGP auditorium
December 16th:
Sabha: SAFE
Venue: Sastri Hall
Time: 4.00 p.m.
Violin: Sanjeev
Mridangam: Trichur R Mohan
Ghatam: Venkat
December 17th:
Sabha: Sri Parthasarathy Swami Sabha
Time: 2.00 p.m.
Violin: Madurai Balasubramaniam
Mridangam: Trichur R Mohan
Ghatam: B. Subbarao
December 20th:
Sabha: Kapali Fine Arts
Venue: Sastri Hall
Time: 9.00 A.M.
Violin: M.A. Sundaresan
Mridangam: Trichur R Mohan
Ganjira: Anirudh Atreya
December 21st:
Sabha: BrahmaGanaSabha
Venue: Sivagami Petachi Auditorium
Time: 3.45 pm
Violin: M.A. Krishnaswamy
Mridangam: Trichur R Mohan
Ghatam: Uduppi Shreedhar
December 23rd:
Sabha: Nalinakanthi
Time: 6.30 p.m.
Mridangam: Trichur R Mohan
Will provide the rest of the details asap.
December 25th:
Sabha: GK Foundation
Time: 6.30 p.m.
Violin: Madurai Balasubramaniam
Mridangam: Trichur R Mohan
Ghatam: B. Subbarao
December 29th:
Sabha: Mylapore Fine Arts
Time: 3.00 p.m.
Violin: Rajasri
Mridangam: Trichur R Mohan
Ghatam: Venkat
December 30th:
Sabha: Thyagabrahma Gana Sabha
Venue: Vani Mahal
Time: 4.00 p.m.
Violin: Sivakumar
Mridangam: Trichur R Mohan
Ghatam: Trichy Murali
Nov 7, 2008
Concerts for November
November 8th,
PSBB Millenium School,
Time: 6.30pm
Violin: MA Krishnaswami
Mridangam: Trichur R Mohan
Ghatam: Venkat
Time: 6.30pm
Violin: MA Krishnaswami
Mridangam: Trichur R Mohan
Ghatam: Venkat
November 15th,
Time: 6.30 pm
Ayyappa Temple, Anna Nagar (Sreekrishna Sweets Organised Only Tamil Concert)
Violin: Shertalai Sivakumar
Mridangam: Trichur R Mohan
Oct 17, 2008
Press clipping that appeared in the Hindu this morning
Excerpt from the article written by Jaya Narayanan in the Friday Review , Trivandrum Edition
Trichur Brothers, Sreekrishna and Ramkumar Mohan have become regulars at Navaratri concerts in Kerala.
Their hearty performance took off with Bhairavi varnam and ‘Mahaganapathe’(Gowla- Mishra Chapu-Dikshitar). The brothers chose Abhogi (Sabhapathi) as the second raga and delighted the audience with their musical sparring. ‘Gangeyavasana’(Hameerkalyani-Adi-SwathiTirunal) and ‘Ranganayakam’ (Nayaki-Adi-Dikshitar) were rare treats. An assortment of Ranjini, Janaranjini, Megharanjini and Sreeranjini came as a pleasant surprise.
Their main raga, Mohanam was a tribute to their maturity as well as sheer talent. The alapanam was full of promise and the delivery of the kriti did not disappoint. Even in the lower register, their singing was powerful and Sreekrishna rendered a brilliant burst of manodharma swaras. ‘Nanupalimpa,’ the well-known Tyagaraja composition was sung with devotion.
Complementing each other with perfect harmony, the brothers kept up the audience interest with alternate slow and fast-paced songs. Their father, Trichur Mohan played the mridangam, accompanied by Udupi Sridhar on the ghatam and Trikkakara Y.N. Santharam on the ganjira.
The promising youngster, Viju.S. Anand was the violinist.
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