Explanatory and exemplary rendition

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Music Jyothirmayi Chowdary sang with conviction and explained the difficult phrases in her songs to the audience.

Emotional renditionJyotirmayi Chowdhary singing Annamayya compositions .
Emotional renditionJyotirmayi Chowdhary singing Annamayya compositions .

Annamacharya kirtanas are sahitya dominated and written using the idiom that existed 600 ago. Hence you find some strange words that are not comprehensible to the audience.

It becomes necessary for the artiste to project Sahitya bhava and then explain some of the words if he or she understood them. Jyothirmayi Chowdary did exactly that in her recital like a brand ambassador of the Annamayya in the concert she gave for Delhi Telugu Academy, TTD and Venkateswara Bhakti Channel, held at Ravidnra Bharati last week.

Jyotirmayi is often seen on television and has kept the herimage as a refined vocalist rendering compositions as they should be.Quite a few of them were rarely heard numbers and some were fresh.

She opened with an awakening song of the Lord Meluko Sringara Raya in Malayamarutham and then took up Veedevo Vijaya Raghavudu in Brindavani that describes Srirama. Challare Sarasapu Jaajara in Mohana as part of Sringara Kirtanas. Garudagamana Garudadhwaja in Revati was description of Mahavishnu.

Rendering Rookalai Madalai Ruvvalai Tirigenu in Vakulabharanam saying Annamayya was a great economist and displayed social outlook, she said everything was not just about the science of music but is of the soul too.

Rural life was reflected in another song of Annamacharya Mootal, Maatal, Mural, Baral that figure in the kirtana Cinnika Teve Selavunika was a funny alliteration that Annamayya wrote. Vicheyavamma Vennelabomma in Abheri was written in philosophic mode on Sita and Lakshmi. Harineeve Sarvatmakudavu in Darbarukanada that says one has to feel God only by experience. Yennadu Vigjnanamidi in Sivaranjani argues that whatever we feel as ours is nothing but God’s own creation.

Jyotirmayi opened her show with a chanting of Venkatanadha and ended with a jog number in Bhajan mode and another in Mohana. Charged with emotion, Jyotirmayi stood up and danced to these bhajans. She also rendered Kodalalo Nelakonna in Hindolam on audience request.

V. Reddi Raja on keyboard, Devasarma on tabla, Paramesa on Dolak and Suresh providing some effects lent support to the Jyotirmayi.




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