A tribute concert to Nedunuri Krishnamurthi

The concert of Annamacharya krithis was sincere and harmonious

Sponsored by the Sangeet Nataka Academy, New Delhi, and Dept of Kannada and Culture, Bangalore, Nadajyothi Sangeetha Sabha Trust in collaboration with Nadopasana Sankeertana Sangha celebrated Sri Annamacharya Jayanthi recently in Bangalore. They presented krithis set to tune by the late Sangita Kalanidhi Dr. Nedunuri Krishnamurthi, the doyen of Carnatic classical music.

The programme was directed by Malladi Jayashree who is known for her dedicated service in propagating Annamcharya Sankirtanas by teaching hundreds of students and conducting many music concerts. The group consisted of Jaya Tyagaraja, Chandra Bhanu, Sumathi Murari, Shree Vani, Padmini Ambatipudi, Shruthi Arjun, Ramesh, Pavan Hari, Samagnya, and Adithi. They were supported on the violin by Pavani Srikanth, Mridangam and Kanjeera by Syamakrishna Mallajosyula and Sivateja Mallajosyula.

They opened their concert with the recital of ‘Shakthi sahitha-gurumurte’ with Adithi playing the guitalele, a guitar-ukulele hybrid. It is commendable that youngsters like Adithi explore rare instruments. This presentation laid a good start to the concert that was followed by Jaya Tyagarajan’s ‘Veravaku’ in Ragamalika, ‘Rama Rama’ in Kalyani and ‘Saranu Saranu’ in kuntalavarali Her rendition was refreshingly soothing, especially while singing ‘Rama Rama’ befitting the ambience of Rama Mandira premises.

Sree Vani presented ‘Ramachandrudithadu’ in raga Dvijavanti, ‘Sakala lokeshwarlu’ in raga Tilang. Sree Vani with her singing struck an interplay with audience to evoke good response. Sumathi Murari rendered “PurushottamuDa neevu” in raga Regupti, “Sadanandamu” in raga Anandabhairavi followed by “Navaneetachora” in raga Jhenjuti. The singing of “PurushottamuDa neevu” showed Sumathi Murari in her elements – very impressive singing and Pavani Srikanth matched her tempo with equal gusto earning audience applause deservingly.

Padmini Ambatipudi sang the lyric “Venakedo mundaredo” in raag Huseni. Her voice has a robust quality which makes the song reach everybody with its strength and standing. Shruthi Arjun’s presentation of “Nagadhara nanda gopa” in raga Shuddha Dhanyasi was well received.

Chandrabhanu Tanikella sang “Manasija guruDitaDu” in raga Reetigowla, followed by “Ghummani yeDi Sruth” in Purvikalyani and concluded with the song “Anta rangamella” in raga Huseni. Her selection of krithis and their presentation was laudable. Pavan Hari presented ‘Narayanachyuta’ in raga Mayamalavagowla with soothing and lilting undulations of the lyric’s divine expressions.

Ramesh with his rendition of Ramadasa krithi and Sivateja’s “Emayya Ramayya” added to the aural treat of the evening. Pavani Srikanth rendered “Neevu DevuDavu” in raga Sindhu Bhairavi and proved her mettle as a vocalist too apart from being a thorough violinist. She is known for her repertoire- who can make the violin sound not like an accompaniment but with a vocal output that sounds as though a human voice is singing. The finesse and dexterity exhibited by her clearly spoke of her virtuosity and learning.

A special mention must be made of the two young musicians - Syamakrishna and Sivateja who played with ease and confidence displaying a maturity much beyond their tender age. Their playing seemed perfectly tailored to flow along the rendition of the singers matching in melody and tempo. They are disciples of Patri Satish Kumar in mridangam.

Annamacharya’s sankiratans have an emotional and aesthetic appeal and the artists sang with mellifluousness, good diction and range with a command over the nuances. Their sincerity was evident in their presentation. Though there is no possibility of improvised exposition in musically pre-set lyrics, yet the beautiful vocal vinyāsam of the artists proved that ‘music is the outward expression of inner harmony.’

The sound system could be improved in Rama Mandira Sabhangana, to help the audience connect better and appreciate better.

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Printable version | Feb 24, 2020 5:34:28 PM |

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