How Krishna has inspired a wide body of Karnataka compositions

Archana and Samanavi were depicted at the Sri Jayanti Festival of Thayga Brahma Gan Sabha, where the singer displayed how Krishna has inspired a wide body of compositions. His choice of demonstrations offered the Critis of Muthuswamy Deekshati, Devmanas of Purandaradas, Othukadu Venkat Kavi’s works, Tamil pieces of Papanasam Shivan, and the devotees of Jayadeva and the devotional pasuramas of Jaydev and Ashtapadis. He was Harita Narayanan (violin), Aduthurai Guruprasad (Mridagham) and S. Was supported by Harikishore (Kanjira).

The concert was opened with Othukadu’s ‘Ranganatham Anishham’, known for the name of a work, which is characterized by the names of Alwar and other devotees of Vishnu in one of its charanam set in Gambera Natai. True about the characteristics of the composer, the piece surfaced on a vibrant note, setting the tone for the evening.

From there, the pair went to Purandaradas’s ‘Gopia Bhagiyavidu’ in Kapi Narayani, tuned by their guru Arvinda Hebbar. Resides on composition Bhagyam Yashoda, to bathe Krishna, sang Lori and molded him with a bad eye.

Harita Narayanan (violin) with Archana and Samanavi, Aduthurai Guruprasad (Mridangam) and S. With Harikishore (Kanjira). , Photo Credit: Velkani Raj B

The next segment showed Dhanasi, in which Samayavi shaped a thoughtful Alpana, which was supported by Harita. This was followed by Shivan’s ‘Balakrishnan Padmalar’.

The outspoken moments of the misleading were when the singers did not appear in the sink. The collisionists gave a lively support. Nirwal was entangled in ‘Neela Mughal Pol Azhagan’ and it was swept away in a round of Kalpana.

After this, the concert went to Govali Pantu in Dikshati’s ‘Krishnanand Mukund Murare’, which was distinguished by the use of Shudha medium. In Karaharpriya, Archana’s Alpana lifted her weight, although she stayed in the middle before starting again. Violin’s reactions were pleased, which established the stage for ‘Ras Kelly Vilasa’ of Othukadu, which was the main piece of the day. While Charanam saw both the singers staggering on the path of ‘Saharda Hrdi’ and corrected himself, in two columns, Kalpneshwar was killed very neatly. The section concluded with a vibrant tani, where Mridangam and skin were engaged in enthusiastic dialogues.

To conclude, the singer chose two lightly enough compositions yet – Nachiyar Tirumozi’s ‘Karpuram Narumo’, Khamas was sung with attraction in Khamas, followed by Jaydev’s ‘Nizagada Sa’, in Sindhubhairi. Both pieces were built for a fine conclusion for a concert dedicated to Krishna.