Sivaganesh with Raghu on the violin, Ananthakrishnan on the mridangam and Sunil Kumar on the Kanjira.
| Picture Credit score: Courtesy: Kedaram
A well-crafted live performance for Kedaram Belief was offered by a bunch of unassuming artistes, with a artistic bent of thoughts.
Madurai Sivaganesh started his two-hour live performance with Muthiah Bhagavatar’s ‘Shakthi ganapathim’ in Nattai. With Ragul on the violin offering the precise help, Sherthalai Ananthakrishan on the mridangam and Sunil Kumar on the kanjira steered the live performance like a drive on a German autobahn, setting the precise rhythm.
Sivaganesh trod a highway much less travelled in a vivadhi ragaNabhomani singing Tyagaraja’s ‘Nayadavanchana’. The percussion accompanists’ kalapramaanam was soothing, offering the precise tonal impact to the kriti’s temper.
Syama Sastri’s ‘Ninuvina mari galada’ in Rithigowla got here subsequent. Sivaganesh was in a position to contact the decrease register with ease and readability, and his artistic area in kalpanaswaras and alapanas have been huge. The camaraderie between Sunil and Ananthakrishnan was conspicuous complementing one another nicely.
Music and math
In ‘Nanu palimpa’, Sivaganesh demonstrated loyalty to his lineage by seamlessly shifting the tonic be aware (grihabedham) brieflyfrom ragaMohanam to Madhyamavati. The niraval chosen by the lead singer in ‘Nadaci vaccitivo’ was elaborative andexhibited the precise mix of music and math. The kalpanaswaras have been embedded with intricate math with kuraippu in Tisram.
The tani avartanam was an in depth one, the place each Ananthakrishnan and Sunil Kumar demonstrated impeccably their intricate calculations. In contrast to different concert events, they launched all their korvaisfrom samam to idam and so they selected kuraippu in Khanda nadai. General, the thani was not solely cerebral, but in addition pleasing with faransand sarvalaghus. Anathakrishnan’s selection of mridangam (kappi) and his model reminded of guru Karaikudi Mani. Sivaganesh concluded the live performance with a soothing Ashtapadi ‘Sanchara dadhara’.
Nidhi and Gauri Chandrasekhar.
| Picture Credit score:
Courtesy: Kedaram
Proficient duo
Younger and gifted sisters Nidhi and Gauri Chandrasekhar began their live performance with Thanjavur Sankara Iyer’s ‘Maal marugan shanmugan murugan’ in Hindolam. This was adopted by a breezy ‘Jaya jaya ramanatha’ in Naatai by Narayana Theerthar. They packaged their one-and-half-hour live performance in a way that it didn’t have any boring second.
They have been ably accompanied by Sreelakshmi Bhat on the violin. Sreelakshmi’s exposition of Mohanam was elaborative. Nidhi and Gauri complemented one another nicely, projecting their respective strengths. It took a while for them to cool down and their rendition of ‘Sri ‘Kanthimathim in raga Hemavathi was extra fluent and detailed. They selected to do the niraval at ‘Shuddha Tamraparnita’with good help from Sreelakshmi.
Jaidev’s mridangam accompaniment was easy and measured (the bass aspect might have been tuned nicely for a better-balanced sound). His temporary thani began in Tisra nadai and he ended the ultimate Korvaistructuring it in a way that it organically led to the road ‘shuka shaunakadi’, which the singers selected to launch the kalpanaswaras.
The live performance included a kriti in Devagandhari (‘Kshithija ramanam chintaye’) and ‘Jagadodharana’ in kapi, Arunagirinathar’s Thiruppugazh ‘Erumayil erivilaiyaadum’ in Ragamalika overlaying ragas akin to Bageshri, Hamsanandhi, Kamboji and Kedaragowla.
The live performance concluded with Patnam Subramanya Iyer’s thillana in Khamas and ‘Karunai Deivame’ in Sindhubhairavi. The younger sisters can do nicely with proper steerage and rigorousapply.
