Home Entertainment T.M. Krishna’s live performance for Tyagaraja Aradhana sparkled with classicim

T.M. Krishna’s live performance for Tyagaraja Aradhana sparkled with classicim

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T.M. Krishna’s live performance for Tyagaraja Aradhana sparkled with classicim

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T.M. Krishna rendering specially curated kritis at the Tyagaraja Aradhana concert that took place at the Music Academy on February 4, 2024.

T.M. Krishna rendering specifically curated kritis on the Tyagaraja Aradhana live performance that happened on the Music Academy on February 4, 2024.
| Photograph Credit score: Ok. Pichumani

They waited. Silently. Patiently. With hopes that they may hearken to the wonderful music of yore. T.M. Krishna was going to sing on the Music Academy as a part of Tyagaraja Aradhana, after a hiatus. The homage was open to all and a capability crowd stuffed the corridor.

Accompanied by his mates of a long time, Krishna opened the live performance with the sombre strains of Mukhari adopted by the uncommon kriti ‘Muripemu kalige gada Rama’ ( Haven’t you change into slightly proud , O Rama?) Whereas the raga was expansive at a leisurely tempo, the niraval and the madhyama kala swara have been capped by an upward spiralling motion. As this opening sequence lasted greater than half-hour, with by no means a uninteresting second or a cliched phrase, the alapana of Varali that adopted precipitated some uneasiness among the many listeners. Was the night going to be lengthy and sombre?

Krishna’s alapana was virtually a soul-searching journey in its depth, and on the prime strains when he burst forth with the anu pallavi ‘Eti janmam ithi’ (What sort of start is that this!), it appeared a re-creation of the second of inspiration that made Tyagaraja cry out in despair. The niraval for the phrase ‘Sagara Sayanuni’ sustained the temper of the tune and was not marred by an train in swaraprasthara.

A vibrant and brisk ‘Chinna nade na cheyi batti thive’ (Proper in my youth you took my hand and promised to maintain me) got here as a recent breath of air. A masterpiece within the arms of flute maestro Mali, this tune is just not typically heard as of late. Within the charanam, Tyagaraja wonders if Rama is pondering on whether or not to desert or settle for him and he pleads with Rama to guard his honour. The temporary alapana of the ragam Kalanidhi that preceded the tune sparkled within the deft and aesthetic weaving of the 2 disjointed halves of the arohanam.

T.M. Krishna with R.K. Shriramkumar on the violin, K. Arun Prakash on the mridangam and N. Guruprasad on the ghatam. He presented a special Tyagaraja aradhana concert at the Music Academy on February 4, 2024.

T.M. Krishna with R.Ok. Shriramkumar on the violin, Ok. Arun Prakash on the mridangam and N. Guruprasad on the ghatam. He introduced a particular Tyagaraja aradhana live performance on the Music Academy on February 4, 2024.
| Photograph Credit score:
Ok. Pichumani

Violinist R.Ok.Shriramkumar opened with the alapana of Mayamalavagowla as a prelude to ‘Devi thulasamma’. Rooted in custom, his exposition positioned the raga on strong floor for him to construct a classical edifice.

Krishna revels in Harikamboji, and the alapana discovered him in his component. A brisk paced ‘Chani thodi theve’ added pep and set the tempo for the thani by mridangist Arun Prakash and ghatam artiste Guruprasad, who labored the tempo to benefit and performed a riveting dialogue. Whereas accompanying the songs, Arun Prakash, as all the time, moved from silence to whisper and murmur, and his imperceptible construct to a crescendo within the charanam offered a joyous bounce to the lyrics.

Quickly, excessive drama set in with ‘Chede buddhi maanura’ (O thoughts, surrender the dangerous methods). Atana, the raga of assorted hues, took on a stentorian countenance and each repetition of the phrase ‘Chede’ (dangerous) was a whiplash of censure. The fast-paced swarams carried the drama to its climax.

‘Dwaithamu sukhama’ in reposeful Reethigowlai got here as oil on troubled and turbulent waters. Krishna’s graduation of a raga appears like he’s searching for a phrase that happens in the meanwhile, to latch on to. Typically, the violin treads a cautious path, by no means straying into any word that might counsel a raga. So it was, earlier than Krishna selected to accept Reethigowla. The note-perfect rendering of Semmangudi’s majestic pathantaram sailed forth like a stately ship.

Tyagaraja’s ‘Narayana Hari Narayana Hari’ in Yamuna Kalyani fell as mild rain from heaven because the fleeting alapana prelude soothed the spirits. The Pallavi of the keerthanam is a chant within the Nama Sankeerthanam custom, whereas the charanams denounce the materialism and petty mindedness of the folks round. The composer declares that he has no want for materials wealth, nor would he flatter the prosperous for favours.

The Suruti alapana introduced the finale, and the normal closing quantity ‘Geetharthamu Sangeethaanandamu’. Right here, Tyagaraja avows that the which means of the Gita and the bliss of music are each perceived in Rama. A slow-paced rendering of the mangalam ‘Nee nama roopamulaku’, and its a number of stanzas harking back to M.D. Ramanathan, concluded the live performance on a word that spelt calm.

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