S. Varadarajan – Violin
Karaikudi R. Mani – Mridangam
V. Suresh – Kanjira
The evening began with the crowd eagerly anticipating the day’s performance. With the critically-acclaimed Hyderabad Brothers behind the screen and their co-artists on the stage getting ready with their instruments, the hall was buzzing with excitement.
Niravathi Sukadha – Ravichandrika – Adi was the first piece to be performed. Chitta Swaram was rendered in a more traditional fashion as the accompaniments tried to gloss over the rhythms with dynamic strokes.
Their version of ‘Teliyaleru Rama’, Dhenuka (Adi) literally moved the audience and tugged at our heartstrings as the Raga along with the verses of Thyagaraja created a unique feeling of stepping towards the almighty ones. It basically showcased the devotional aspects of the Carnatic music. It was in full Bhava when Hyderabad Brothers gave finishing touches of the Raga as Karaikudi R Mani carried the piece with his unique stokes.
Lathangi was really modernized and I need to mention that it was another unique facet of today’s concert. Never-before heard sangathis were spotted by Hyderabad Brothers and interpreted beautifully. Varadarajan added his flavor with his strings, as he was able to strike perfect rhythm. ‘Aparadha Moolan’ fulfilled the desires of the audience, as did Swaram while rendering a faster pace for the item. Korvai was drenched in reverbs with rhythmic passion. KRM, as usual, added more creativity to the item with due support from Suresh.
Rithi Gowlai, Nannuvidachi and Gaanamoorthe were a few amongst the most familiar pieces, which the audience could recognize and enjoy to the fullest. Seshachari even rendered the fabulous Harikambhoji with more unique touches in Raga. The Raga by itself is an embodiment of divine Carnatic music and is also the primary concern in ‘Tamil Pann’.
So melodious and enjoying it was that when Seshachari even showed varieties of it and indicated the flexibility of the Raga. The Hyderabad Brothers possess a very versatile style of singing even though their appearance is simple and traditional. The famous ‘Dhinamani Vamsa’ was the hit of the day. They modulated the song to let the audience feel the essence of music. Had the stage ever been prone for experiments, this time they tested more of their knowledge in mathematics and it is sad to notice that they were unsuccessful.
Trying Misra Koraipu led them into trouble even with KRM helped them with his favourite snippets. KRM has worked more on the Koraipu and his repertoire of various Koraipu (Misra Koraipu, Thisra Koraipu etc) is admirable and fairly sufficient for any artist to think rationally and explore the beauty of this wonderful art. So was his Thani when he attempted to play more unique and elegant rhythmic pieces and let Suresh to turn back to the audience. Suresh was in a spirit of entertaining as he played more calculations to integrate with KRM. It was almost a mess when KRM attempted to showcase a different Mohara Korvai, but that was compensated with his spirit to perform more on stage. Ethanai Sonnalum, Saveri was next and finally Alasaara Parithapam was the concluding piece of the day.
As one knows, music can be endless like the ocean. I personally think that musicians should try to capture as many seashells as they can! It’s their confidence level and continued effort that gains them the edge they need as performers and understanding their own capability and fluency for the moment is the key aspect of any performance art. Cultural organizations should take care to engage the right kind of artists to entertain their audience. In general, the quality of performance is directly proportional to the density of the crowd!
Artist-Rasika Twine: It’s the duty of every musician to entertain every audience at all levels. On the other hand, the Rasikas should also raise themselves to understand the music, enjoy and appreciate the artist for their right versions. Of course they form the primary feedback for the artists’ growth. If one knows how to achieve their adoration, he/she will stay ever in the minds of the rasikas like our yesteryears’ stalwart Madurai Mani Iyer whose music was enjoyed and appreciated even by music teetotalers!
They are awesome! Truly carnatic
@”Artist-Rasika Twine: It’s the duty of every musician to entertain every audience at all levels.”
It is impossible for any musician to satisfy every one in the crowd and that is not his primary duty( If he think music is more than money ) . The primary duty of every musician is to play what he truly believes in rather what the crowd wants. and this is the only reason why Carnatic music still exists. It is a fact that when we look globally carnatic music is very less commercial. if one have the intention of satisfying every one in the crowd, he needs to bend few things which will not be acceptable by many , which is exactly what kunnakudi tried to do with his violin. So in the end, no one can satisfy all . some one will be left disappointed in the end , no matter what……….
“@On the other hand, the Rasikas should also raise themselves to understand the music, enjoy and appreciate the artist for their right versions”
The above line is true, people should be with more open and accepting mind. once again, this is also not possible all the time. ONE MAN’s Obsession is another man’s trash. This is the basic principle applied in every field and this is the only reason why people have point of difference and this is the only reason why music is an ocean .
And regarding experimenting on stage – well no one can understand this other than the musicians who are playing on stage. This is the secret why playing on stage is a special feeling. ( Regradless of whether the experiment is successfull or not ) .
Reply to Srikrishna:
The idea of Music is more accustomed to ease one’s mind while entertaining. I do agree that it’s not possible to satisfy 100% of the crowd. Experimenting on stage will be more delightful when the artists blend their uniqueness with the rasikas response to the concert. This is clearly evident when artists like Mani sir and others performs with a goal to demonstrate the nuances of the instrument and engage the audience to feel the real spirit of the music. Success factor is only limited to the day’s performance and that doesn’t limit the artisits creativity and calibre.
On the other hand the rasikas also require an open mind and a little bit of knowledge in music to hear and appreciate the performance. This is possible even to a layman when he attempts to hear the raga or tala or krithi more than once, to understand and identify. Of course, one with a passion to listen and experience the music will succeed. Eating the bread for the first time will induct the taste(sweet/salty) and if it’s liked, then it is easy to identify and appreciate the sandwiches made out of that. If it’s not liked then it is avoided. Likewise a good music induces the audience its real form and more such experiences will pave a way to become a good rasika. I feel this is inherent in the artist-rasika twine.
@The idea of Music is more accustomed to ease one’s mind while entertaining
Well, this is not the idea of music. Idea of music is a way of expressing feelings . This is how it was originated. when money came in to the picture it went commercial and NOW THEY CALL THE IDEA OF MUSIC IS ACCUSTOMED TO EASE ONE”S MIND WHILE ENTERTAINING. “Its like a whole other world where you can smell the food but you cant touch the silverware…what luck”
A real musician will never compose music for entertaining unless if he sees bread and butter with music ( i am not against commercialization of music , But against the way people think about music and mis interpret the origin of it ) .
Time has repharsed may things. this is one. and time has also thought us to live with the facts and this is one such fact which is still hard to digest.
Bottom line : One man’s obession is another man’s trash. I rest my case .
Although people have different thoughts on music the basic facts of the music idealogy are true. It is clearly evident from the history that music (Nadopasana) was performed only in the divine courts (temples) of the lords in those days to attain spiritual eternity. There after it was performed in the courts of the lords/kings for entertainment and sheer pleasure and continued till day with the same attributes. When it accounts to entertainment it becomes commercial as any other bussiness do. Does it mean that music has lost its purity? definitely not.
Music is there for anything and everything is the truth behind. Music also brings the bread and butter to the musician who performs with sincierity and devotion. This is one of the reason why Carnatic music is still adored with due respect because it is not only expressing the feeling but the verses of the divine composers like saint thiyagaraja that enriches the music itself.
Nadhabrahmam is immortal and it is upto the living being to capitalize it for eternal bliss(ease one’s mind) or for mere entertainment pleasures. I realized this when I got a chance to hear K.J. Yesudas in one of his concerts during the season.
Human obsessions are always bound to tactical imaginations and perversions. Realizing the good will take a long for anyone and demands lot of efforts and experiences. But the ideal soul will “take the good and leave the rest”. And that is the truthfull living.