Majestic, Memorable and Mellifluous - Amritha Murali


MAJESTIC, MEMORABLE AND MELLIFLUOUS


Smt . Amritha Murali disciple of Shri K.R.Kedaranathan, Mrs. Meera Kedaranathan and Mrs. Rama Ravi commenced her concert with a crystal clear  “Saami Dhaya Juda” Kedaara Gowlai raga varnam composed by Thiruvottriyur Thyagayyar  in Aadi taalam. 

Then came a brief and breezy Hindolam alaapana. The evergreen Thyagaraja krithi “Saamajavara gamana” in Aadi taalam was the song presented. Amritha explored the intricate beauty of the ragam leisurely and painted a clear picture of Hindolam in such a way that even a layman could easily understand and appreciate. The elaborate exploration at “Veda Siro mathruja saptaswara Naadachala deepa sveekruta…” was powerful  but peaceful. The violinist’s display of Hindolam was very nice.

Then came Sadguru Thyagaraja Swamigal’s one more evergreen composition. “Amma raavammaa..”. The raga delineation was very interesting and a kaleidoscopic view of Kalyani was presented. The violinist did full justice in bringing out the nuances of the raagam especially at “Ni parimalamunu gani….”. The vocal-mridangam, Violin-Ghatam combo was soft and pleasing to the ears. Wonderful treat…!

A beautiful Brindhavana Saranga was the next offering. The song presented was Muthuswami Dikshithar’s majestic composition in Rupaka taalam…”Sri Soundara Rajam Aasraye..” The rendition at a slow pace especially at “Nanda nandana Rajam Nagappatana Rajam…..Sundari Ramaa Rajam Suravinutha MahiRajam …” reminded the procession of Sri Soundararaja Perumal of Nagappattinam in a beautifully decorated palanquin. Amritha Murali and her team literally took the audience on a virtual tour to Nagappattinam for a Kshethradanam. The presentation was so absorbing that one could visualize both D.K.Pattammal and D.K.Jayaraman singing this masterpiece in their own inimitable style. A memorable and mellifluous presentation.

A quick and short number came in the form of “Parvathy ninnu..” This Shyama Sastri krithi in the raagam Kalgada set to Aadi (Tisra nadai) taalam was energetic.

Then came the main item Khambhoji. Both the Raaga aalapana and the violin re-play were very neatly presented. The song chosen was “Sri Raghuvara Aprameya” The rhythmic beauty was experienced in the thani aavarthanam that enthralled the audience. 

The vocalist then presented a sloka “ Jaya Jaya Shringagiri …” on Goddess Saradambal of Sringeri followed by selected verses from the Saradha Bhujanga stotram composed by Jagadguru Sri Aadhi Sankaracharya. As a garland of ragas, the vocalist offered Nalinakanti, Naattaikurinji, Sri, Keeravani and  Saama and paid her obeisance to Goddess Saradambal.

“Sachidananda roopaya Vishwoth pathyaadhi hethave” was the next sloka in Yaman Kalyan followed by a verse in Kaapi as a prelude to “Jagadodhdhaarana…” by Purandharadasar.

Arunachala Kavirayar’s Raama Naataka Keerthanai “Ramanai tharuvai…Jagath rakshaka….”in Sindhu Bhairavi was soulfully rendered followed by a mangalam on Sharadambal.

A majestic, memorable and mellifluous presentation.

About the Author:

SHANKAR VENKATRAMAN, a practising company secretary by profession, hails from a family with musical lineage. On the maternal side, his mother’s great grandfather Nemam Subramania Iyer was one of the last disciples of Saint Thyagaraja Swamigal. His maternal grandfather Nemam Nataraja Bhagavathar was the disciple of Mahavaidhyanatha Sivan and an Asthana Vidhwan of Sringeri Samasthanam. His son “Kalaimaamani” Prof N.S.Ramachandran was the Director of different  Kendras of All India Radio and the  Dean and Director of Music Department, University of Delhi. He had composed many kruthis out of which “Sri Chandrasekhara Yatheendram Aashrayae”on Sri Kanchi Paramacharya in Sankarabharanam popularized by Dr.M.S.Subbulakshmi and “Sree Maha Ganapathae..” in Aabhogi an evergreen hit of M.L.Vasanthakumari are very popular.

Shankar Venkatraman’s father (Late) K.V.Venkatraman, son of Kanjanur-Kottur S.Vaithyanatha Swamy Iyer was an ardent devotee of Sri Kanchi Paramacharya and had served as the Correspondence-in-charge for Sri Paramacharya while Shri Periyavaa was camping in Kumbakonam during 1930-31(When Periyavaa was referred as Kumbakonam Periyavaa). Sri Sengalipuram Anantharama Deekshithar is Vaithyanathaswamy Iyer’s maternal cousin.

Shankar did his schooling at Vidya Mandir, Mylapore (1968-1982) Chennai and obtained a Bachelor’s Degree in Commerce from Loyola College, Chennai. He did his Company Secretary course from the Institute of Company Secretaries of India, Chennai-600034.


(*The views and opinions expressed herein are those of the author and not necessarily those of Music of Madras.) 

Commen


Comments

Post a Comment

Popular posts from this blog

Mridangam Maestro stole the show....! - Sandeep Narayan

Image
Mridangam Maestro stole the show....! Sandeep Narayanan commenced his concert with Poochi Srinivasa Iyengar’s Ata Taala varnam in Kaanada “Nera nammithi”.  Then came a rare composition of Thyagaraja in Gaanavaridhi ragam….”Dhaya Juchuta..” The violinist portrayed a beautiful Gaana varidhi. Muthuswami Dikshithar’s Dwijavanti kriti “Chetha Sri Balakrishnam Bhajare” was very pleasing. A quick and vibrant Kuntalavarali followed. Swati Tirunal’s “Bogeendra Saayinam…” had a marvelous mrudangam support by maestro Dr. Umayalpuram K.Sivaraman. His touches gave a dance recital effect to this particular song. The vocalist made a passing reference of M.K.Thagaraja Bhagavathar’s “Maname Nee Eesan Naamathai..” set in Kuntalavarali in the film “Ashok kumar” during his raga exploration.  An elaborate Thodi was captivating. The violinist’s version was effective. The vocalist traversed through Karnaranjani and Kurinji interludes innovatively. “Kaarthikeya Kaangeya Gowri Thanayaa” was
Read more

DICTION….DEDICATION…..DEVOTION……….AND DISTINCTION - N.Vijay Siva

Image
DICTION….DEDICATION…..DEVOTION……….AND  DISTINCTION Dedication, devotion, wide range of repertoire, concrete commitment to classicism without compromise and clarity in presentation make N.Vijay Siva stand out as  a distinct classical musician in the realm of carnatic music.  Vijay Siva commenced his concert with a heartwarming “Pagavari…” Hamsadhwani varnam composed by Patnam Subramania Iyer. That was followed by a clear-cut Jayamanohari raga krithi of Thyagaraja “Nee Bhakthi Bhagya Sudha..” The beautification at “Naadhathmaka Thyagaraja Nadha Aprameya sadhaa..”was so clear with a wonderful diction that it was easy to note down the entire song. That proved Vijay Siva is undoubtedly the torch bearer of DKP/DKJ legacy presenting the song with utmost clear diction in his own inimitable style without producing any mirror images of his mentors. Mysore Vasudevachariar’s Kalyani raga krithi “Kailaasa pathe maam paahi…Boo kailaasa pathe…” received a regal treatment with a good
Read more

Parampara…a myth or reality ? - Dr. Ritha Rajan

Image
Parampara…a myth or reality? Dr. Ritha Rajan hails from a family of musicians closely associated with Veena Dhanammal and Kancheepuram Nayana Pillai.  She had  initial training in music from her mother and grandmother.  She underwent intensive training from Sri Ramnad Krishnan for 6 years, then from Smt T.Muktha and also from Sangita Kalanidhi Smt T.Brindha. Smt Ritha Rajan had also accompanied Smt. T. Brindha in her concerts. Further she had special training under Shri Maruthuvakkudi Rajagopala Iyer. She was awarded Ph.D degree by the University of Madras for her research work on “Paatanthara-s in the compositions of the Musical Trinity”. A teacher par excellence she retired as Professor and Head of the Department of Music, Queen Mary’s college, Chennai. She is also a Member, Advisory Board of Experts, The Music Academy Chennai.  “Samudhra” magazine an offshoot of Mudhra, conferred the prestigious tittle “Gnana Samudhra” on Dr. Ritha Rajan on Saturday the 30 th N
Read more