A classic tribute
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The soul of music lies in its sahityam, proves Lalitha Madhav.
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Adhering to the norm Lalita Madhav.
It is well known that composition written for Carnatic classical music has a separate tenor of structure with pallavi, anupallavi and charanas that the Trinity showed way and the other composers followed. But Annamacharya keertanas are a different lot, mostly consisting of charanas. Some classical musicians include a couple of them in their concerts because of the respect they hold for its sahitya content. However, some composers adopt the pick and choose approach to select some compositions and set them in classical ragas that suit the bhava of the Annamayya keertana. Considering this, presenting Annamacharya keertanas in a Carnatic concert format is slightly adventurous.
Noted vocalist, Lalitha Madhav experimented by setting her repertoire in Carnatic style. Lalitha is presently staying in Chennai and gave this concert on her brief visit to the city. She is M.A. gold medalist and M.Phil in Music from Madras University and belongs to the top tier of artistes on AIR. This programme was also a tribute to Annamacharaya on his 603rd Jayanthi. These keertanas were composed by eminent musicians like Nedunuri Krishna Murthy, Srirangam Gopalaratnam, Voleti Venkateswarlu, G. Balakrishna Prasad and Sathiraju Venu Madhav.
Originally trained by M.S. Balasubrahmanya Sarma, Lalitha, later learnt under different gurus and is now known as one of the consummate vocalists of Carnatic music. She has a rich and mellifluous voice with good range. It was good that she kept in mind the sahitya importance of the composition of Annamacharya and rendered them with perfect diction and expression with right emotion. The element of classicism was reserved for the numbers Ade Choodare Mohana Roopam set in Mohana taken as sub-main raga and was presented with a raga essay and swarakalpana.
The other raga she dealt with as her main offering was Shanmukhapriya in which the kriti Palu Vicharamulela was tuned accordingly, with nereval and swarakalpana. Shanmukhapriya was detailed well with nuances here and there. The nereval part suited the mood of the sahitya. The swarkalpana too was an exhilarating presentation, revealing her manodharma and technical expertise. The Keertana sahitya was clear in her diction. R. Dinakar on violin gave amazing support especially in his laudable Shanmukhapriya response. Burra Sri Ram on mridangam and K. Shyam Kumar on kanjira maintained musical tempo in the general support and their tani avartanam added lustre to the concert. The other notable compositions of Annamacharya that Lalitha sang on this occasion were Edutanunnadu Veedi in bhujangini and Purushothamuda veevu in Revagupthi, both tuned by Nedunuri; Alamelu Manga Nee Abhinava in Kalyani composed by Srirangam Gopalaratnam, Deva Devam Bhaje in Hindolam tuned by Sripada Pinakapani, Nagavulu Nijamani in Yaman Kalyan tuned by Voleti Venkateswarlu, Ramudu Raghavudu in Kanada scored by Balakrishna Prasad and Ihapara Sadhanamee Talapu in Bilahari scored by Sathiraju Venu Madhav.
G.S
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