NI-SI synthesis Part 2: Kashmiri-Tamil synthesis in Music

by Guest Sun Feb 10, 2013 11:37 pm

A reverent hush fell over the auditorium as verses from "Devi Mahatmiyam" created a sense of serene melody. Their conclusion signalled the beginning of an exciting journey across the country through `Sangamam,' one of Padma Subrahmanyam's latest productions. The introduction to `Sangamam' referred to it as a `bouquet of poetic flowers.' How true!

Beginning with "Santhatham Paahima," reflecting Dikshitar's appreciation of the British national anthem, the music was rich with melody and as classical as it was versatile.

Gayatri Kannan's ability to replicate the nuances of regional compositions such as those of Rabindranath Tagore, Iraiamman Thambi, Kamban, Kashmiri Queen Khaba Khatoon, Dharmapuri Subbarayar, Periyazhvar, Tulsidas, Mayuram Viswanatha Sastri and a composition of Padma herself, was remarkable, her sweet voice captivating. Gayatri was supported by vocalists Vaishnavi Anand and Vidya Kalyanaraman.

The orchestration provided by Nellai Balaji (mridangam), C.P. Venkatesan (flute) and T. S. Babu (violin), complemented the singers. B. Kannan on the veena was the most involved of them all, providing percussive support and special effects when necessary, and pure melody at other times.

Though one has watched Padma many times, her artistry never fails to amaze — be it the impact of her storytelling or her ability to dramatise without losing sight of subtlety. The manner in which she captured the picture of Goddess Meenakshi spotting Lord Shiva, in Dikshitar's Poorvikalyani kriti, is what sets apart a legend. The moment was frozen in time and stretched as the heroine's awe turned to love and bashfulness.

In another instance, she juxtaposed two compositions, a Kashmiri song by Khaba Khatoon addressed to Krishna, and a javali "Parulanna Mata" by Dharmapuri Subbarayar, reflecting the same sentiments towards an indifferent lover. Though the heroines in both shared a chastising disposition, the dancer's treatment conveyed subtle differences.

http://www.hindu.com/ms/2006/01/03/stories/2006010300030700.htm

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With respect to the song in which a kashmiri song and a tamil song were juxtaposed by the singer (see the article above), i would like to say that i once attended a carnatic music concert in which there was one carnatic song (a Krishna devotional song) in which tamil and hindi lyrics were juxtaposed. I thought this was a fantastic idea. At any rate, what this juxtaposition of the hindi-tamil song and kashmiri-tamil song show is that there are many other people in India who are thinking along the same lines as yours truly.

by Guest Mon Feb 11, 2013 8:25 am

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NI-SI synthesis Part 2: Kashmiri-Tamil synthesis in Music

NI-SI synthesis Part 2: Kashmiri-Tamil synthesis in Music

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