that 'jalajAbha ..." starting from 51:08 is pure magic. Just look at how Vid. Jayachandra Rao reacts to it... And mridangam was aptly silent during that sublime moment.
What a beautiful thanam in Kamas with Akkarai simply showing her brilliance. So with the two thillanas following the thanam. Mridangam and Ghatam are lifting the concert. Such concerts are to be heard in person for full enjoyment.
This is a very melodious serious concert and we need to have immense patience to listen and appreciate. After the first composition of Dixithar in Goula, Vidwan TMK sings a beautiful vachana of Basavanna ""Tande neenu (u r the father), tayee neenu (u r the mother), bandhu neenu (u r my relative), balaga neenu (u r my friend), neenallade mattaru illaiah (other than you, there is none for me), kudalasangama deva (lord kudala sangama), halalladdu (you may dip me in milk), neeralladdu (you may dip me in water). Perhaps this is the first time, I am listening to a Carnatic musican of fame singing Basava Vachana right in the beginning of the concert. Kudos to Vid TMK for giving prime importance to Basaveshwara Vachana which musicians usually render in the end. In kedaragoula, VTMK, sings Tyagaraja's Tulasi Bilva Mallikaadi, Next is the melodious Kamach raga, tana, choosing two thillanas composed by Sreenivasa Iyengar Tham Tham tham udani thom thananam and . Tannana dhirana dheemta dheerana by Lalgudi G Jayaraman. Next is the composition by Sadashiva Bramhendra - Bruhi Mukundethi Rasane in Kurinji, very melodious. The last one is a Bengali composition. This is a great concert and will remain green in the minds of students of MAHE as well as all listeners. God bless VTMK, Violonist Smt Akkarai Subbalakshmi, Vid Jayachandra Rao, Mrudanga and Sri Vid Chandrashekara Sharma, Ghata for contributing to an excellent concert which is stress reducing and peace enhancing, as well as enhancing the welfare of all.
that 'jalajAbha ..." starting from 51:08 is pure magic. Just look at how Vid. Jayachandra Rao reacts to it... And mridangam was aptly silent during that sublime moment.
Oh, thank you at 26.12 for annotating the earlier kiirtanam and the present one. I think you should do this more expansively, like the discussion on Mutturama Dikshitar's "vibhakt" about Tyagaraja in the first composition. Many thanks.
excellent gowla. Now a days, whos caring about these raga. These ragas are merely sung for 2 min to 5 min in the start. But they being abstract, organic and ghana ragas, they have immense potential. All the shanmukhapriyas, simhendramadhyamas and other synthetic ragas are sung for ease and all the narayanagowlas, anandabhairavis, mukharis, husenis where are these ragas? Singers, especially youth are getting away singing these scales up and down 40 times and this is a great concern. The raga, swara, phrase definitions are changed and where is the kampitha in the singing, it seems we are listening to hindustani or western scales. If this continues we loose our beautiful music. Dhanamma, Brindamma, and other great carnatic legends sung the real music, TM krishna and some other artists are trying to get the carnaticness back, but majorly including sudha raghunathan, aruna sairam, ranjani gayathri, jayanti kumaresh and so on having learnt from legends don't sing these abstract and carnatic ragas anymore, only scales, 40 times up and down scheme. This is a shame and all the rasikas and concert conductors should strictly say atmost 1 synthetic raga should be sung that's it.
Brilliant! Is this all he sang? Pretty short for his usual time... By the way, there's a typo in the description... It's Shri KU Jayachandra Rao on the mridangam... Not HU Jayachandra Rao...
