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Well laid out expression

V.S.
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Concert ‘Narasimha’ was the focus of attention at Annamayya rendition by Haritha sisters.

In praise of Lord VenkateswaraGarikipati Venkat and Sriharitha and Sharika at the rendition.
In praise of Lord VenkateswaraGarikipati Venkat and Sriharitha and Sharika at the rendition.

Though Lord Venkateswara, the presiding deity of seven hills forms the leitmotif for the compositions of Annamayya, there were occasions when the bard composed his padams in praise of other deities as he visited temples on pilgrimage. Of all such compositions, his padams in praise of Nrusimha Swamy are a class apart. He even mentioned the place of the worship like Kadiri Nrusimhudu. These compositions are replete with lyrical nuances reflective of the bard’s eye for detail and his distinct craft. Taking up Nrusimha Swamy in the compositions of Annamyya as the theme for the evening, ‘Annamayya pada vedam Nrusimha naadam’; Hyderabad-based Srikrishna Swara Raga Sravanthi in association with Sri Vijaya Thyagaraja Sangeetha Sabha hosted a concert of promising artistes Sriharitha and Sharika at Kalabharati Visakhapatnam marking Nrusimha Jayanthi. Known as Haritha Sisters and disciples of exponent of Annamayya compositions B. Krishnamachari, the duo essayed well to lend a musical expression to the theme in its perspective.

Interspersed with Venkat Garikipati’s commentary, the session saw more than a dozen compositions come alive. Cases of commentaries enhancing the beauty of the session are more an exception than a rule and this one is no exception. Obviously for paucity of time, he confined to explaining the meanings of words more in the nature of an intro and did not choose to elucidate between the lines and beyond the lines import of the chosen compositions. The session commenced with Paripurna Garudadri Panchananam in raga Nata and what followed was a good exposition in perfect sync with tone and timber of two voices traversing at an identical wave length. The duo displayed remarkable talent in their grasp of both lyrical and musical aspects and devotional shades imbedded in the compositions. Sarananti matani in raga Lalita, Narulara in Mukhari, Namo namo Lakshmi Narasimha in Purnachandrika, Kadiri Nrusimhudu in raga Athana and Jaya jaya Nrusimha in raga Mohana and other numbers formed the fare.

Reddy Raja on keyboard, Mavuduri Surya Prasadarao on mridangam and A. Anand on tabla lent good support.

V.S.

The duo displayed remarkable talent in their grasp of both lyrical and musical aspects


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