Experimenting with the new
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The newly-discovered Thyagaraja kirtanas are now being popularised.
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D. Sandhyasree, a vocalist of commendable talent has made it her mission to render the newly-found compositions of saint Thyagaraja in her concerts. She rendered a lullaby with pallavi, Laali loogavayya set to tune by Nedunuri Krishnamurthy in Kedaragowla-Rupaka talam for the Hyderabad Music Circle, last week. N. Ananthakrishna on violin and Vidyasagar on the mridangam were her accompanists.
Swaraprastharam
The Kedaragowla varnam was followed by an invocation to Ganesha in Abhogi- Sri Mahaganapathe set to Khanadachapu talam.
Both the numbers exercised her voice well. Then came Nee Sari Saati in Hemavati, a pleasing rendition. Kannada was her first raga effort. The alapana, though precise, gave comprehensive picture of the melody. She rendered in this Ide Bhagyamu in Misrachapu.
The swaraprastharam she did also reflected her rich imagination. Sarasijanabha Sodari in Naga Gandhari that came next too was a pleasing rendition. Then she took up major raga Thodi as her main effort. She elaborated it with care an
d sense of beauty.
In Kaddanuvariki her swaraprastharam revealed again her creative skills in variegated rhythmic patterns. The mridangist’s tani avartanam was an added attraction. But the Ragam-Tanam-Pallavi in Kalyani that she chose to presen
t next also stole some of the grandeur of the earlier Thodi number. Kalyani too came for detailed presentation with a methodical approach.
Pallavi
The pallavi she coined was Parasakti brovave in Adi with four ‘akshara jaga’ in pai kalam (upper octave) and two ‘akshara jaga’ in the lower. It was presented well and the swaraprastharam too was well receive
d. The latter part had a Purandaradasa’s composition Yare Rangana in Hindolam too.
G.S.
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