Ragas Of Devotion And Virtuosity The Hindu-Books Pdf

Ragas of devotion and virtuosity The Hindu
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Ragas of devotion and virtuosity The Hindu http www thehindu com features friday review music ragas of devotio. Malladi Brothers Sriram Prasad and Ravi Kumar Photo M Srinath. Sanjay Subramanyan Photo S S Kumar, Shashank Subramanyam. 2 of 5 25 7 15 2 52 PM, Ragas of devotion and virtuosity The Hindu http www thehindu com features friday review music ragas of devotio. N J Nandini, Festival Leading Carnatic musicians participated in a fete in Thiruvananthapuram to pay tribute to saint composer Neelakanta Sivan who. lived and composed his many kritis in the capital city. Abhishek Raghuram s concert began the 15 day music festival organised in Thiruvananthapuram to pay homage to composer saint. Neelakanta Sivan, Abhishek Raghuram, Beginning with an Adi tala varnam in Natakurunji Chalamela Jesavaya of Moolaiveedu Rangaswamy Nattuvanar he moved on to Swati. Tirunal s Jaya Jaya Padmanabha in Sarangi and Neelakanta Sivan s Anandanadamaduvaar in Poorvikalyani. An elaborate Kamboji portraying all the shades of the raga followed by a tanam and pallavi was the main item The pallavi was. Sarasijinabha Paahi Sathatham with niraval and progressive manodharma swaraprasthara further illuminating the pallavi. Erakkum Varaamaponnnethenna Swamy in Behag provided a soothing finishing touch to the concert. Trivandrum Sampath violin provided excellent support But he was not given an opportunity to play the Kamboji raga alapana Anand R. Krishnan is a talented percussionist but his hard beats on the mridangam marred the melody of the music. Malladi Brothers, Malladi Brothers Sreeram Prasad and Ravi Kumar presented a mellifluous vocal concert on the second day They began their concert with a.
varnam Kanakanji ni chelimi kori composed by Pallavi Gopala Iyer in Thodi. Two compositions of Neelakanta Sivan Innamum erakkum Illaiyya in Atana and Kannara kandana in Mukhari were a fitting tribute to. the composer Tygaraja s Ethuda nila chitha in Sankarabharanam was the main kriti of the day An elaborate raga alapana was presented in a. soothing manner While singing the kalpanaswaras the plangent Western notes embedded in Sankarabharanam made it an enchanting. After tani the Malladi Brothers rendered a ragam thanam pallavi in Rama Priya with ragamalika swaras in Saveri Aheri Mohanam. Hameerkalyani and Dwijayanti, M A Sundaresan presented the aesthetic embellishments with subtle strokes on the violin Patri Sathishkumar mridangam and B. Sunderkumar ganjira provided excellent support, Sanjay Subrahmanyan. Sanjay Subrahmanyan began with a varnam Maaghuvaa in Narayanagaula Swati Tirunal s Deva Palaya murare in Asaveri one of the. kshetra kritis in praise of Lord Krishna of Ambalappuzha was the next number The sweet classicism and the strength of gandhara and. dhaivatha in Mohanam were demonstrated through an enchanting rendition of Srirama ramaneeya manohara composed by Pallavi Gopala. In an elaborate Thodi Sanjay drew sustenance from depths of virtuosity and followed it up with the kriti Ennerumum oru kalai thookki. composed by Marimuthu Pillai Adi tala, In the post tani session a ragam thanam pallavi in Arabhi with ragamalika thanam blended with enchanting ragas such as Subhaantuvarali. Kedaram Saveri and Sahana was well received by the audience Sanjay suddenly switched over to Kharaharapriya and landed in Navasiddi. Petralum a Neelakanta Sivan kriti He wound up the concert with two small pieces in Ananda Bhairavi and Kapi. 3 of 5 25 7 15 2 52 PM, Ragas of devotion and virtuosity The Hindu http www thehindu com features friday review music ragas of devotio. M A Sundareswaran violin Patri Sathishkumar mridangam and B Sundarkumar ganjira excelled. Shashank Subramanyam, The opening number of flautist Shashank Subramanyam was the Viriboni varnam in Bhairavi.
The main piece was ragam thanam pallavi in raga Saramathi pallavi being Samanama Sabhapathi Sadasiva Saramathi was intertwined with. Behag and Pathuvarali in thanam Similarly while rendering kalpanaswaram in Saramathi Hamsadhani Renjini and Srirenjii were. combined to make the whole exercise captivating He concluded with a Behag piece Narayanane Namo Nama. Akkarai Subhalakshmi violin Paruppally Phalgum mridangam and B Sundarkumar ganjira proved to be excellent accompanists. Akkarai sisters, Akkarai Subhalakshmi and Akkarai Swarnalatha popularly known as Akkarai Sisters began their concert with a varnam in Saveri Sara. An attractive composition of their grandfather Sivasubraniam was a ragamalika composed of Natta Gaula Arabhi Varali and Sri raga In. each stanza the raga name was pertinent The chitta swaras were rendered in five ragas both in ascending and descending order. Neelakanta Sivan s Sivanai Ninai Maname in Hameerkalyani was also sung It is believed to be the first composition of Neelakanta Sivan. The main kriti was Tyagaraja s Emijesithanemi in Thodi The range of octaves and their breath control in an elaborate alapana was. unbelievably good, They concluded with a slokam in Desh. Attukal Balasubramanyam violin Babu mridangam and Thrikkakara Y N Santharam ganjira on the ganjira provided support. Baby Sreeram, Baby Sreeram chose to render the compositions of Neelakanta Sivan only She commenced with Sree Mahaganapathaye Thunai in Natta. followed by kritis in Kedaram Vasantha Varali and Hamsavinodini. Her focus was on Endranmeethil unathu Nenjam Irangammal Iruppathannayya in Bhairavi Chapu thalam Unfortunately the vocalist failed. in bringing out the innate nature of the raga bhava in her rendering However there was an attractive ragamalika pallavi Nambikol Nambikol. Sivanai comprising five Ranjinis Renjini Sriranjini Srutiranjini Janaranjini and Sivaranjini. Brilliant accompaniment was provided by Padmakrishnan violin Palghat Harinarayanan mridangam and Thrikkakkara Y N Santharam. N J Nandini, She started with Ramnad Sreenivasa Iyengar s varnam in Kalyani Vanajakshiro Ee viraha Adi tala A bouquet of rare and lovely kritis such. as Ikkanaina in Pushpalathika and Enthirivina in Urmika followed The modern approach to Bhavayami Raghuramam as a ragam thanam. pallavi with ragamalikaswaras in Saveri Nattakurunji Dhanyasi Mohanam Mukhari Poorvikalyani and Madhyamavathi was appealing She. wound up the concert with M D Ramanathan s Sagarasayana vibho in Bagheswari R Raghul violin N C Bharadwaj mridangam and. Attingal Madhu ghatam provided good support, S Saketaraman.
S Saketharaman chose Neelakanta Sivan s Sambho Mahadeva in Bowli to begin his concert Ananthudanu Gani a fast number of Tyagaraja. in raga Jingla was like an appetiser for the main kriti in Kalyani Muthuswami Dikshitar s Kamalambhajara followed with an extensive raga. alapana which maintained the melody and mood of the evening an apt choice for a Friday in the Tamil month of Aadi. A crisp niraval in Nithyakalyani further decorated the rendition. He concluded the concert with Visweswara Darsana in Sindhubhairavi and Sagarasayana in Bhageswari. Charulatha Ramanujam demonstrated her talent in her exposition of Charukesi Mukhari and Kalyani Poonkulam Subramanyam. mridangam and Guruprasanna ganjira extended excellent support. Mysore Brothers, Right from the opening notes of Sogasuga Mridanga in Sriranjini of Tyagaraja violin maestros Mysore Nagaraj and Mysore Manjunath set. the mood for the concert, The brothers played Ranjini raga as a prelude to the kriti Durmargachara with brilliant artistry Mariveri in Lathangi of Pattanam. Subrahmanya Iyer was full of astonishing virtuosity and outstanding artistic imagination The main kriti was Nanu Palimba of Tyagaraja in. Mohanam followed by a superb elaboration of the raga decorated with sprightly kalpanaswaras. They wound up the concert with Bhogeendra sayanam in Kunthalavarali followed by a thillana in Sindhubhairavi Karaikudi R Mani. embellished the recital with his fine rhythmic support Amrit was equally good on the ganjira. 4 of 5 25 7 15 2 52 PM, Ragas of devotion and virtuosity The Hindu http www thehindu com features friday review music ragas of devotio. The concerts were held under the auspices of Sree Neelakantasivan Sangitha Sabha Trust Karamana Thiruvananthapuram. Printable version Jul 25 2015 2 52 12 PM http www thehindu com features friday review music ragas of devotion and virtuosity. The opening number of flautist Shashank Subramanyam was the Viriboni varnam in Bhairavi The main piece was ragam thanam pallavi in raga Saramathi pallavi being Samanama Sabhapathi Sadasiva Saramathi was intertwined with Behag and Pathuvarali in thanam Similarly while rendering kalpanaswaram in Saramathi Hamsadhani Renjini and

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