Expressing poignancy in the songs of Bhadrachala Ramjasu

Live on violin on Sridangam. Shruti’s furnace with Kalisapati and Gin Bhuvan. , Photo Credit: Special Arrangement

Shruti s. Bhat made a statement with both intentions and content at the beginning of his concert, which was particularly dedicated to Bhadrachala Ramju’s compositions. It is rare to come into a work in Bhairavi as the initial number of a concert, and is still rare when it includes a Nirwal section. Violin on Sridangam and Ganan Bhuvan live. Along with Kailasapati, Shruti presented this settlement concert under the aegis of Sangeet Academy at Kasturi Srinivasan Hall.

Shruti’s voice was fine with the first note, as he opened Shaloka with ‘Dasharathi Sathkam’ in Bhairavi with Shiloka ‘Srirama Sitagaga’. The entire range of aspects of the raga also emerged in low rendering, which was a preface for the creation of ‘Ram Dayajudev’. Through the rendering of the refinement song, especially in Nirwal and imagination in ‘Rajiva Dala Lochana’, making immersive devotion.

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In a leculating Kuntalwarli, ‘Bhadrasaila Rajamandira’ was sung with enthusiasm, offering a light and opposite shade. Chakravakam first raga Shruti was discovered. While the deletion was perfect for the mood and structure of the raga, it used to enter the repetitive path, which could be fabricated more tightly for greater consistency. The version of the Kailasapati on the violin complemented the singer.

Here, Shruti narrated a fare for the 17th -century composer’s life, which belongs to the work ‘Abba Debbalku’ in Mishra Chapu. Rama, Ramdasu, a staunch devotee of Rama, was imprisoned by the Mughal ruler Tana Shah on charges of misbehaving for the construction of the Bhadrachala Ram temple. In this composition, he begs the Lord: “I promise on your feet, please listen. I have not given any money to anyone”. After listening to his prayers, Rama and Laxman appeared as messengers, paid money, and achieved Ramjasu’s release from jail. The song was presented with the reference warrant of poignancy, and in ‘Prema Th’, Swarakalapana displayed the troops of artists.

In Canada, ‘Hari Hari Naam’ extended the most famous composition by Ramdasu in the devotional enthusiasm and raga in Kamboji, and the evergreen ‘Imya Ram’ in Chapu. Shruti began by killing high notes shortly before growing in the lower octave, and then gradually shaped the raga, which revealed its splendor through the Gamka-Lude phrases. The presentation of Kailasapati was equally rich with sweet depth. Kriti was rendered before Kamboji’s grace, before Shruti scored with Sarwal and Swara exchanges in Charanam with ‘Parmatmudu Annie Ninnu’. Bhuvan’s rhythmic support was stable throughout, and his tani was marked by Varve and Tonal accuracy.

A verse in Yamunakalia, ‘Sriramchandra Karunakara’, followed by the song ‘Narahaideva’, and the concert concluded with a Mangalam in Madhyamavati.