Artificial Intelligence (AI) found its way on the Carnatic concert stage-one can say ‘all-invasive’ in the world. The chatgipt returned to the spotlight tradition exactly two days after the Pallavi musician made her debut in the Pallavi Durbar 2025 (July 2 – 6).
Under the aegis of Carnatika and Sri Parthasarathi Swami Sabha, singer-Vayalainists Delhi P. The Pallavis prepared by Sundar Rajan’s disciple, previous owner and his guru were resumed and re -prepared. The event, organized as part of the annual Pallavi Darbar Festival, was held in Srinivasa Shastri Hall.
Shruti Shankar Kumar, RP Shravan, Padmashree Srinivasan and Dhanya Rudrapatnam not only presented a curated array of Pallavis with nature, but also clarified their structural and beauty amenities. A reminder, perhaps, that in Karnataka music, timelessness and development are two sides of the same coin.
Four of the nine Pallavis presented were by TR Subramaniam. , Photo Credit: KV Srinivasan
In the program called ‘Pallavi Memoirs’, nine pieces appeared in the quartet, in which Chidambaram ji on violin. R on Badrinath and Mridangam. Enthusiastic support was provided with Akshay Ram. Of the nine elected nine, four were composed by TR Subramaniam, which is M. There was a leading and four by Balamuralikrishna by four by Rajan. Given that the Pallavi structure was focused on, traditional Trikalam and Tissaram were displayed where the relevant, and Manodarma was kept minimal.
Balamulrishrishna’s Mukhi Pallavis
Known for Pallavi for her inventive, populist attitude, Subramaniam brought a new energy in the form. On the other hand, Balamural Krishna enriched the rhythmic canvas with his face Pallavis, leading to new discovery possibilities within the Carnatic idiom. The main Pallavi, composed by Sundar Rajan, was a creative expansion of the face concept of Balamullankrishna.
In this show M. Pallavi, a leading Pallavi composed by Balamuralikrishna, was involved. , Photo Credit: Ganesan V
Although it came into repetition later, the conceptual high point attracts quick attention here. As a tribute to Balmuralikrishna on its 95th birth anniversary, the team gave a brief performance of Mastro’s famous Panchmukhi etc. Talalavi in Kalyani’s Sugeta Lea Jananu, Sakla Sobgamu ‘. Balamuralikrishna applied Mukhi Taal-Anukhi, Panchmukhi, Saptamukhi, and Navamukhi-Ko Ek Suladi Tala by applying different gatis (rhythmic subdivisions) in two components of the Tala: prepared the sabda (with sound) and ni-shabada (without sound). In these applause, only the Saadbada Kriya (eg, 1, 5, and 7 beats in the lock) adopts a nadai in addition to the Chatusram, while the rest of the cycle retains its base structure. Tala has taken its name from Nadai applied to these audible beats: Tisram (Trimukhi), Khandam (Panchmukhi), Missram (Saptamukhi), and Suncornum (Navamukhi).
Inspired by the concept, Sundar Rajan composed the set for Mishra Triputa Tal, a Gati-Tray Bahmukhi Pallavi (three gatis and characteristic of several rhythmic dimensions) in the Charuksi. After a raga raga ragana by Dhanya, Badrinath shown on the violin, Shravan rendered Tanam. The complex Pallavi ‘Esnai Mahesanai Naii, Trinathranai Pavithranai Jaga (Disani) was killed by the disciples with poetry. Its vibrant rhythmic fabrics, representing the confluence of three gatis, included Tisra (first green), Khanda (eighth) and Mishra (10th) gatis in the SA-Shabda sections. After a small bursting of Kalpashnashwars, Akshay Ram capted the piece with a crisp, energetic tany avatar.
Recurrence was opened by smoothly with three consecutive consecutive Pallavis. The first Uttaraangam in Puvavali painted a Gopucha Yeti – a taping sequence of a cow’s tail – a taping sequence of syllables – began with ‘Santam’ (seven counts), followed by ‘Swayambho’ (6), and ‘Sanbo’ (5) and ‘Maha’ (4) with ‘Swayambho’ (6), and ‘Maha’ (4).
Interesting addition
Delhi p. The disciples of Sundar Rajan presented the four Pallavis composed by him. , Photo Credit: Special Arrangement
A Bilhari sketch by Shruti set the next Pallavi for the next Pallavi ‘Raghukula Tilakudai Velasina Ramachandraud, Maa Pali Devdu Sri’ for the mine Triputa. In each of the first three words, embedded Trikalam – 4: 2: 1 ratio – was executed with beauty, as Tisram was. The inverse ratio singing (1: 2: 4) was an interesting addition.
Kirwani Pallavi, ‘Valley Devna Senapathe, Namo Namasele’ had a stanning preamble by Padma Shri. Set for Khanda Triputa, this Pallavi depicted a mathematical mathematical pattern in Purvangam: ‘Valley’ – 4,4 counts; ‘Dev’ – 3,3; And ‘Senapatat’ – 2,2. In Uttangam, Namo – 1,4; Namese – 1,4; And 1,4 (last 4 infection in Purvangam). After Trikalam in Chataura and Tissra Nadis, Pritilomam was made from Arudhi – an unusual but complicated option. Apart from Kirawani, Swara Garland consisted of Valaji (Dhanya), Aaeri (Shruti), Shanmukhpriya (Shravan), Mohankalayani (Padmashree) and Vasanthi (Badrinath).
The next three presented were of Sundar Rajan. Savery Pallavi 2-Kali Adi Tala ‘Kumara (3 Syllabs) Gurupara (4) Kartike (YA) (5), Nindhupadhamul (7) Penivom (5), performs elegant ascending and descending patterns, in the panivom (5). Purvangam 1 Matra X 3 was built as syllables, 2×4, and 3×5, while Uttangam detected a descending sequence – 3×7, 2×5, and finally 1×3 (returning to ‘Kumara’).
Lathgi was set in Lathgi, Venkataramana, Sankatharana Tirupati ‘, Purvangam and Khanda Nadai (5×3) in Tisra Nadai (5×3), and in Chatusra Tisram and Prittiomam were given well as well. The Khamas ‘Samagana Lola Nin Padham Gati, Mahadev Sadashiv Nidham Paninden’ was presented at four speeds to Swarakshara Pallavi-Keys, Chhatashra-Tisram, Samam and Mel.
Closing Number – Sankerna Jhampa Tala (Tisra Nadai) ‘Valon Shivbalan Vargunselan, Valley Lankan’, a Surutti Pallavi, who was composed in Sritova Yeti, composed by Subramaniam. The Quartet performed the chaatusamam to this trinity Nadai Pallavi with assurance.
Published – July 15, 2025 01:18 pm IST
