With Chidambaram because the theme for live performance


The workforce of 4 younger musicians proved {that a} one-hour live performance, bereft of manodharma points, can nonetheless be fulfilling

The workforce of 4 younger musicians proved {that a} one-hour live performance, bereft of manodharma points, can nonetheless be fulfilling

The Carnatic repertoire has a number of compositions on Chidambaram, the favored Nataraja temple, with composers corresponding to Muthuswami Dikshitar, Manickavachagar, Papanasam Sivan, and Gopalakrishna Bharati describing varied points of the lord of dance, particularly his magnificent Ananda Tandavam. Throughout the rule of Raja Raja Chola, the dear works of Nayanmars, the Saivite saints, have been recovered from a chamber within the temple. He instructed musicians to carry out and popularise them.

Lately, 4 younger artistes, Anugrah Lakshmanan, Navaneetha Krishnan, Bhuvanashree Bhavani, and Gopika Rajendran, college students of veena artiste Jayashree Aravind (disciple of Ok.S. Narayanaswamy, T. Brinda, Ok.V. Narayanaswamy, and Bombay Ramachandran), sang Tamil songs on Chidambaram. The one-hour live performance was organised by Rukmini Arts and Music Belief.

The live performance targeted completely on the songs, making no area for alapana, niraval, kalpanaswaras, and tani avartanam.

The thorough coaching of the children by their guru got here to the fore. They have been accompanied by senior artistes, Mannarkoil Balaji, on the mridangam, and Trichy Murali, on the ghatam.

Wealthy repertoire

They started their live performance with ‘Anname’, the Arabhi varnam by Tiger Varadachariar, adopted by Ramaswami Sivan’s Nattakurinji composition, ‘Ekkalathilum maravene’ (Rupakam – 2 kalai). This was a favorite of each DKP and DKJ. The tune describes Shiva’s valour.

After a really temporary Thodi sketch by Anugrah, the younger workforce rendered ‘Ananda Natesa’, one more Ramaswami Sivan kriti, set to Rupakam. Marimutha Pillai’s Yadukula Kamboji kriti, ‘Kalai thookki ninru’ felt like cool breeze on a heat summer time night.

The jewel on the crown was Neelakanta Sivan’s ‘Ananda natam aduvar thillai’ (Rupakam) in Purvikalyani, after a quick sketch of the raga by Navaneetha Krishnan. The workforce adopted this up with Papanasam Sivan’s evergreen piece, ‘Kaana vendaamo’ in Sriranjani, which was an apt alternative for this live performance. Their rendering of Muthu Thandavar’s ‘Aarar asaippadar’ (Nadanamakriya) was light and soothing. The quartet wound up the live performance with Gopalakrishna Bharati’s ‘Varugalamo’ in Manji, and ‘Vaanaagi mannaagi’ (Thiruvachagam).

Excellent alternative of kritis and synchronisation made the live performance pleasant. The 2 senior accompanying artistes embellished the efficiency as nicely.

The Chennai-based author specialises in Carnatic music.


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