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Engulfed by music

G.S.
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Event Unheard Annamayya kirtanas were rendered sans sahitya clarity.

High on musicPerformers at the event
High on musicPerformers at the event

The fundamental principle that underlines the rendition of Annamayya kirtanas is to retain the pristine quality of sahitya of the composition clearly and distinctly so that the audience can enjoy the literary content. They are all sahitya pradhana compositions, music is just a vehicle to convey them, especially when a new set of compositions of Annamayya, hitherto untouched, are to be rendered. But shrouding them with heavy orchestra and a rendition sans sahitya clarity defeats the very purpose of the programme. This was the experience of audience who attended the show presented by Alapana at Telugu University’s NTR auditorium, last week.

Vinnakota Muralikrishna, a noted name in the world of light and light classical music chose some Sringara kirtanas of Annamacharya set to Carnatic ragas. In fact he already set music for 200 kirtanas of Annamayya and even released about 40 CDs. He organised the orchestration too for the programme, fielding two keyboards (Brahmanandam and Guruprasad), two tablas (Ramu and Anil), a flute (Duttatreya) and a clarinet (Achibabu). Later he was felicitated by Akkineni Nageswara Rao. Though they are called ‘Sringara kirtanas’, they fall in the bracket of ‘Madhura Bhakti’, all attributing to Lord Venkateswara and his consort Alamelu Manga. Singers Sarada Reddi, R.Viswanath and Sarada’s daughter Ajetha, rendered the select compositions mostly as solos and a few as duets by Sarada and Ajeta.

The session opened with a prayer song by Viswanath and later Sarada Reddi rendered Ninu Basina in Brindavana Saranga. Viswanatham then chose Vanitah Jaavvanamuna in Hamsanandi. Later the youngest of the three singers, Ajeta, came with Maravaku Neemata Madilo Nannu in Misr Kambhoji. Sarada Reddi then rendered Teliyadevvariki Deva Devesa in Kalyani, and one set in Yadukula Kambhoji with Ajeta. Viswanath’s Bhageswari number and Sarada’s Ratiraja Janaka O Rama set in Tilang and Ajetha’s Chandrudu Udayinche in Misr Peelu were good. Audience could enjoy the muspical element but failed to understand the gist. Hope theunit prepare better for the next presentation of these numbers.

G.S.


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