Amrita Murali with RK Sriramkumar (violin) and K Arun Prakash (mridangam). , Photo Credit: Special Arrangement
Soon after presenting a lech-dem on ‘The changing nature of raga in compositional forms’ at the Music Academy, Amrita Murali offered a soulful performance for Nada Iambam in the memory of Smt. and Mr. V. Ananthanarayanan. In the vocal section, three inspiring Niravalas in ‘Padayugu Madilo Dalachi’, ‘Parula Nutimpagane’ and ‘Madana Ripu Sati’ marked his excellent treatment of Ananda Bhairavi, ‘Marivere’ (Mishra Chapu) in a melodious composition of Shyama Shastri Kriti. slow speed.
In the elaborate alpanas of Thodi and Kalyani, Amrita brought out their musical structure and essence by adding attractive patterns. The work he chose for Thodi was Dikshitar’s ‘Sri Subramanyo Maam Rakshatu’ on the deity at Tiruchendur. In this work, which is in the first inflection, there is mention of the Navaveers who helped Lord Subramanya in the war. Dikshitar also mentions Patra Vibhuti – sacred ash distributed on a leafThe cheese tree. Pallavi’s vocal delivery combined her musicianship and technical proficiency well.
In Kalyani he presented ‘Sive Pahimam Ambike’ composed by Saint Tyagaraja. This work is a praise of Thiruvaiyar’s Dharmasamvardhini. The extensive Niraval and vocals were in ‘Kaverajottara Thera Vasini’ (Anupallavi).
Amrita was accompanied at the concert by her guru, violinist RK Sriramkumar. His ability to easily weave a web of attraction in any raga was revealed in Alpana and Swarprastar. He is also a musician and Amrita presented one of his compositions ‘Nidamum Un Padam’ in the melodious Jaymanohari on Meenakshi in Madurai.
The understated richness of mridangam scholar Arun Prakash was an asset for the singer. His technical expertise and creativity came through in his taunts. He presented a wonderful Thani, a blend of technical excellence and creativity.
Amrita started her concert with ‘Tyagaraja Palayasumam’ with Samashti Charanam, the meditative piece from Dikshitar’s Tyagaraja Abhivyakti works in the eighth (Sambhadan Pratham) vibhakt. Kalpanaswar was in ‘Shri Guruguha Pujita’. Another Dikshit composition he presented was ‘Chetha Sri Balakrishnam’ (Roopakam) in Dwijavanti, a raga that brought out the devotional and karuna rasa of the literature. Amrita’s interest towards spontaneity and perfection came to the fore in this presentation. His urge for spontaneity and perfection was strong.
Amrita presented Tyagaraja’s ‘Haridasulu Vedale’ in Yamuna Kalyani with excellent modulation and effortless subtleties. After Virutham, ‘Shanku Chakra Gadha Panim’ in Kapi and Behaga, he presented Kamaleesa Dasa’s ‘Kandu Dhanyadeno Sri Udupi Krishnan’ (in Behaga).
Amrita once again displayed her creative skills by rendering some verses of Thiruvarutpa from Vallalar’s ‘Mahadev Malai’ as Virutham. he presented verses
Captured the imagination of the audience through musical rendition of some verses of Thiruvarutpa from Vallalar’s ‘Mahadev Malai’. he presented verses,‘Paramagi Sukkumamay Thulamagi’ (Khanda Chapu) after Vedanta Nilaiyagi as virutham In Ragamalika. Creating an environment of spiritual peace.
published – January 11, 2025 04:07 PM IST