Kedaram celebrated its tenth anniversary with a collection of music concert events. The inaugural efficiency was by a group of 4 up-and-coming musicians. One felt skeptical initially concerning the concept of bringing collectively a younger crew belonging to totally different faculties. However, the quartet rose as much as the problem with their well-synchronised rendition.
Nandhita Kannan, Shakthi Muralidharan, Dhanush Anantharaman and Niranjan Dindodi ensured the fundamental construction of a classical live performance was not compromised with. There was ample alternative for every to showcase their particular person manodharma and competence in alapanas and swaraprastaras.
Aptly commencing with ‘Guruleka eduvanti’ in Gowrimanohari (Khanda cChapu) by Tyagaraja, they took turns to render the kalpanaswaras. This was adopted by the Kalyani alapana, led by Sakthi. The ensemble uniquely included the veena (performed by C. Charulatha) as a substitute of the same old violin accompaniment. It added to the melody. Her Kalyani raga essay was satisfying. ‘Birana varalicci brovumu’ (Adi tala, tisra nadai), by Syama Sastri, was the chosen kriti. The musicians took turns to render niraval and swaras at ‘Puraani madhuravaani’.
Dikshitar’s uncommon composition, the sixth Guruguha Vibhakti kriti in Purvi raga, was a pleasure to hearken to. It was adopted by Papanasam Sivan’s bhakti-laden kriti in raga Marga Hindolam, ‘Thunai purintharul karunai madhava’.
The pièce de résistance of the live performance was Tyagaraja’s masterpiece ‘O, rangasayi’ in Kamboji. The raga alapana, led by Nandita, was a pleasant mix of lengthy and brief phrases. Charulatha’s adherence to custom got here by way of in her response on the veena. She successfully conveyed the essence of the raga. The quartet’s synchronised rendition drew up image of the Bhoolaka Vaikuntam — Srirangam. Each got here up with their distinct method to the niraval and swaras.
Aduthurai Guruprasad on the mridangam and Sriman Raghu Krishnan on the ghatam confirmed their command over laya through the thani.
After the Virutham, the group sang Sringeri Acharya Sri Bharati Thirtha Mahaswami’s ‘Bhajare lokagurum’ in Khamas. Thayumanavar’s ‘Angai lodumalar thoovi’ was rendered in ragas Chenjurutti and Nadanamakriya set to a uncommon Chanda tala. The live performance concluded with Samartha Ramadasa’s Abhang.
