The Visakha Music & Dance Academy's Festival of Music, Dance & Drama began on the 10th of August, 2013 with the blessings of Poojya Guruji Sri Sivananda Murthy, at Kala Bharati Auditorium.
VMDA conducted a week of wonderful programs. Under the guidance of ardent lovers of music like Sri C. S. N. Raju garu and with the efforts of people like Sri G. R. K. Prasad, the festival marked its importance for its grandeur.
I congratulate VMDA on behalf of true rasikas of carnatic music for arranging such grand classical performances which made a deep impression in our hearts for a longtime.
It became a wonderful opportunity for us all to listen to such people.
On the 3rd day (12th Aug), the festival had Sri T. M. Krishna's Vocal accompanied by Sri R. K. Sriram Kumar on the Violin and Sri Arvind Ranganathan on the Mridangam.
Sri P. Madhusudhan, Director of Finance, from RINL - Steel Plant, was the chief guest and the program was sponsored by State Bank of India, Visakhapatnam.
The Concert, was like a recharge for true admirers of classicism. T. M. Krishna earned the confidence of people with his strength - high richness of classicism. His music is something which is very richly classic, elegant, soothing and inspiring.
Kaanada :
Kaanada, as we all know - is a raga that evokes Compassion (Karuna Rasam).
T. M. Krishna began with " శ్రీ నారద నాద సరసీరుహ (కానడ రాగం, త్యాగరాజ కృతి)" [Sri Naarada Naada Saraseeruha in Kaanada], a Tyagaraja's piece in a very neat, balanced way - which formed the theme of the concert. Throughout the concert, his strength of "balance" was evident.
Soon after he began, Sriram Kumar became a Sita for the singing Rama. Sriram Kumar followed him everywhere, every nook and corner of the wonderful world he took his audience with. He strengthened Krishna's strength by following, accompanying, improving the effect and inspiring him too, at times.
The Swara Kalpana in Kaanada was more based on the raaga bhavam, flow & mood and not just calculations. He started the prastaram around "Ri", and then "Ma" and then "Da" and then "Pa" and then "Ni" (the shaky, typical Kaanada "Ni") - and presented it with so many beautiful aesthetic patterns, which touched the bottom of hearts.
He also sang the taara sthaayi prastaaram very smoothly, without any kinds of ambiguities. He was absolutely clear in every note. The whole swaram went on for 5 to 6 mins approx. but it was not at all felt dragging or repetitive. It was highly balanced and poured Kaanada into the hearts of the listeners.
His importance to the accompaniment was seen when he gave the chance to violin after a very long swara kalpana. Sriram Kumar, as stated above, was a Sita who followed Rama with devotion and faith. There was no difference seen between the vocal and violin. They blended into a single soul with their combined effort and presented a complete portrait of Kaanada.
Kannada :
He then took up " శ్రీ మాతృ భూతం (కన్నడ రాగం, దీక్షితార్ కృతి)" Deekshitar's "Sri Maatrubhootam" in the raga "Kannada". He seemed to be following rhyming in the raagas he chosen (కానడ - కన్నడ) - (Kaanada and Kannada).
Both the ragas are entirely different in their impact.
Kannada's shades give an enthusiastic approach to the composition. It can be used for an adventurous theme. The daatu swara moorchana (zigzag) (S M G M P M D N) makes us feel the exploration of new places of beauty. Tyagaraja used it in a questioning theme - in his krithi "నిన్నాడనేల ??" (Ninnadanela??).
The charanam of this piece goes on like - "సువాసిత నవ జవంతి పుష్ప వికాస ప్రియ హృదయం సదయం - మాస వర్ష పక్షోత్సవ విభవం - సదా శివం, పరమ శివం".
[suvaasita nava javanthi pushpa vikaasa priya hrudayam sadayam - maasa varsha pakshotsava vibhavam - sadaa Sivam, parama Sivam]
The words "sa daa SivaM - parama SivaM" also represent swaraaksharams at sa, daa, pa & ma (underlined). Deekshitar is very well known for his swaraakshara saahitya.
Krishna immersed himself and the audience in the ardent flow of deekshitar and was himself delighted at the words, specially "sadaa SivaM - parama SivaM". His sense of appreciation of beauty (of sangeetham and sahityam) can be seen from his repetition of these words again.
His did swara kalpana in 1st kalam only. This shows his priority to the "balance" and the "bhava" of the krithi.
[Continued in Part 2]
I congratulate VMDA on behalf of true rasikas of carnatic music for arranging such grand classical performances which made a deep impression in our hearts for a longtime.
It became a wonderful opportunity for us all to listen to such people.
On the 3rd day (12th Aug), the festival had Sri T. M. Krishna's Vocal accompanied by Sri R. K. Sriram Kumar on the Violin and Sri Arvind Ranganathan on the Mridangam.
Sri P. Madhusudhan, Director of Finance, from RINL - Steel Plant, was the chief guest and the program was sponsored by State Bank of India, Visakhapatnam.
The Concert, was like a recharge for true admirers of classicism. T. M. Krishna earned the confidence of people with his strength - high richness of classicism. His music is something which is very richly classic, elegant, soothing and inspiring.
Kaanada :
Kaanada, as we all know - is a raga that evokes Compassion (Karuna Rasam).
T. M. Krishna began with " శ్రీ నారద నాద సరసీరుహ (కానడ రాగం, త్యాగరాజ కృతి)" [Sri Naarada Naada Saraseeruha in Kaanada], a Tyagaraja's piece in a very neat, balanced way - which formed the theme of the concert. Throughout the concert, his strength of "balance" was evident.
Soon after he began, Sriram Kumar became a Sita for the singing Rama. Sriram Kumar followed him everywhere, every nook and corner of the wonderful world he took his audience with. He strengthened Krishna's strength by following, accompanying, improving the effect and inspiring him too, at times.
The Swara Kalpana in Kaanada was more based on the raaga bhavam, flow & mood and not just calculations. He started the prastaram around "Ri", and then "Ma" and then "Da" and then "Pa" and then "Ni" (the shaky, typical Kaanada "Ni") - and presented it with so many beautiful aesthetic patterns, which touched the bottom of hearts.
He also sang the taara sthaayi prastaaram very smoothly, without any kinds of ambiguities. He was absolutely clear in every note. The whole swaram went on for 5 to 6 mins approx. but it was not at all felt dragging or repetitive. It was highly balanced and poured Kaanada into the hearts of the listeners.
His importance to the accompaniment was seen when he gave the chance to violin after a very long swara kalpana. Sriram Kumar, as stated above, was a Sita who followed Rama with devotion and faith. There was no difference seen between the vocal and violin. They blended into a single soul with their combined effort and presented a complete portrait of Kaanada.
Kannada :
He then took up " శ్రీ మాతృ భూతం (కన్నడ రాగం, దీక్షితార్ కృతి)" Deekshitar's "Sri Maatrubhootam" in the raga "Kannada". He seemed to be following rhyming in the raagas he chosen (కానడ - కన్నడ) - (Kaanada and Kannada).
Both the ragas are entirely different in their impact.
Kannada's shades give an enthusiastic approach to the composition. It can be used for an adventurous theme. The daatu swara moorchana (zigzag) (S M G M P M D N) makes us feel the exploration of new places of beauty. Tyagaraja used it in a questioning theme - in his krithi "నిన్నాడనేల ??" (Ninnadanela??).
The charanam of this piece goes on like - "సువాసిత నవ జవంతి పుష్ప వికాస ప్రియ హృదయం సదయం - మాస వర్ష పక్షోత్సవ విభవం - సదా శివం, పరమ శివం".
[suvaasita nava javanthi pushpa vikaasa priya hrudayam sadayam - maasa varsha pakshotsava vibhavam - sadaa Sivam, parama Sivam]
The words "sa daa SivaM - parama SivaM" also represent swaraaksharams at sa, daa, pa & ma (underlined). Deekshitar is very well known for his swaraakshara saahitya.
Krishna immersed himself and the audience in the ardent flow of deekshitar and was himself delighted at the words, specially "sadaa SivaM - parama SivaM". His sense of appreciation of beauty (of sangeetham and sahityam) can be seen from his repetition of these words again.
His did swara kalpana in 1st kalam only. This shows his priority to the "balance" and the "bhava" of the krithi.
[Continued in Part 2]
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