Sudha Iyer and Shrivadhya Iyer’s music Purandardasa

Srividya Iyer and Sudha Iyer were performing as part of Jayanti in Srivajuraj Sangeet Vidwath Samjam. , Photo Credit: Srinath M

Along with keeping Cander endurance, Puranadardasar addressed Vitala: “What if I am crooked, will your name lose its merit when I spoke?”, “What if the river turns and turns, the water will shed its purity?” A strong ‘no, not at all’, each of these reduces the questions of rhetoric. Srividhya RS Iyer and Sudha RS Iyer presented this soul-series Devanama ‘Na Donka Aadhaar’ in his vocal repetition for Shri Thegaraj Sangeet Scholar Samjam, when he recently celebrated the Jayathi of St.-Campozer.

So, what if the concert of brother -in -law bowed more than the fiery? It fulfilled its purpose as a suitable tribute to ‘Santita Pithmaha’ and her deep root devotion. The hardworking gift was supported by Anuthama Murali on the violin and by Nagai Narayanan on the Mrindangam.

Rich raga shape

Srividya Iyer and Sudha Iyer supported Violin and Nagai Narayanan by Srividya Iyer and Sudha Iyer on Srividangam. , Photo Credit: Srinath M

The Iyer sisters started with ‘Sakla Graha Bala Nene’ at Raga Atana, Khanda Chapu Tal, topped it with crisp Swara exchanges. He did it with the aforesaid contemplative song, which ‘Aadharenu?’ (What would happen? Raga was suited to the philosophical depth of the songs prescribed for Roopakam. While Swarakalpana was well-organized, GA-Mai-DHA and Ma-DH-Ne-Near the phrases a little more anchoring and their retrograde would have manifested the contour of the raga better.

Srividya delinated Canada, riding in Mishra Chapu, ahead of ‘Naa Ninna Dhyanna Doliralu’, ride his mood -filled curry. Another classic composition, it highlights the value of unwavering belief and the invitation of devotees of Vitala. “The way ants cannot touch the fire, jealousy cannot touch me, thank you for your grace.”

Natai made an unusually belted entry, as the fourth song, as the fourth song as ‘Jaya Jaya Jaya Jaya Janakant’ in Khanda Chapu. Spritley Madhyama Kalam Marg increased the appeal as the pair took a dip through the song.

Welfare came forward, Sudha discovered his emotional colors in an alpana, which preserved its inner plaintiff. ‘Inu Dayabarad’, again in Khanda Chapu, brought out the spirit of Dasar and the spirit of surrender, and the sisters presented it with poetry.

Kalyani was chosen as the center of the evening. After being sung in the first Humswinodini, choosing for another raga can be offered more tanwala and structural contrast. Nevertheless, Sudha expanded the raga before passing by Srividya on the baton, who navigated the upper Octave with some absorbed phrases. The yearning of the soul for the divine grace found voice in ‘Dayamado Ranga’ (Adi), and the sisters infected the song with the expected Bhava. Niravali, who opened the ‘Ihapara Gati Nine’ in Charanam, was specially touching, and was holding Swarakalpana with Nishada Nyasam. Annuthma’s sensitive game increased the melodic appeal. Tani was brief by Narayanan, but was alive.

The Bhakti Yatra continued with ‘Rama Mantra Japiso’ in Jompuri, which in Kapi ‘Jagdodrana’, and ‘Kandena Govindana’ in Chandrakoun, before the brothers and signed signed with ‘Bhagida Lakshmi Barma’ in Sri.

The list of demonstrations offered a commendable thematic diversity, although the rhythmic spectrum was disappeared. While Chapu-S and Roopakam held dominated in the first half, the Tala only made his first appearance in the main work and remained until the end by putting a shadow of monotonity. Making the order slightly would have an imbalance.