‘Shubhada’, a The live performance to mark M.S. Subbulakshmi’s start anniversary, was a celebration of her artwork and persona
A quintessential ‘M.S.’ live performance was recreated on her 116th start anniversary on the uniquely designed auditorium (with out digital amplification) named after her, within the Asian College of Journalism campus, Chennai. Senior violinist R.Okay. Shriramkumar, who had accompanied M.S. Subbulakshmi at a number of concert events, shared his reminiscences and experiences. Vocalist Amritha Murali sang a number of compositions popularised by the illustrious musician.
The session opened with an invocation to Dakshinamurthy, fairly like the best way M.S. would start her concert events. Annamacharya’s ‘Namo namo raghukula nayaka’ (Nattai) that adopted set the tone for a grand night.
Remembering her character and musical method, Shriramkumar stated although music got here to her naturally, M.S. by no means missed her each day sadakam, as she was not the one to take her voice as a right.
Shubhada – remembering M.S. Subbulakshmi start anniversary, carnatic vocal live performance, by Amritha Murali, with R.Okay.Shriramkumar (violin), Okay. Arunprakash (Mrindangam), Anirudh Athreya (kanjira), N. Guruprasad (ghatam) at Asian College of Journalism Campus in Chennai on Friday.
| Photo Credit: VELANKANNI RAJ
From M.S.’s repertoire
A composition in Yamuna Kalyani ‘Dhava vibho kaurunakara Madhava’, from M.S.’s repertoire, and a favorite of her husband T. Sadasivam, was introduced by Amritha with a quick niraval at ‘Janana marana bhaya.’ Percussionists Okay. Arunprakash on the mridangam, N. Guruprasad on the ghatam, and Anirudh Athreya on the kanjira alternated with their delicate strokes all through the track, lastly becoming a member of to intensify the ending line.
Shriramkumar and Amritha subsequent demonstrated a number of vocal workout routines that M.S. adopted in her each day follow routine. Pointing out how the late musician was explicit about patantara (the best way a composition is taught), Shriramkumar introduced a line in ‘Sri Ganapathini’ (Sowrashtram) with a novel prayoga that M.S. had learnt from T. Brinda.
Though Tamil was her mom tongue, she learnt easy methods to pronounce phrases in different languages when she needed to render songs in them. She was additionally explicit about understanding the which means of the lyrics. Amritha introduced the Thevaram ‘Siraiyarum’ (Suddha Saveri) in a means that linked a phrase from the earlier line.
To throw gentle on M.S.’s well-structured and pleasant raga alapanas, Amritha introduced Kamboji, constructing round panchama area with lengthy karvais and transferring exactly to tara sthayi shadja (higher ‘sa’) together with Shriramkumar on the violin.
M.S. carried out some difficult compositions such because the Melaragamalika of Mahavaidyanatha Sivan. “Parts of this tricky composition with ragas close to each other in every other line became a staple at her concerts. She sang two chakras every year at The Music Academy,” stated Shriramkumar and the crew introduced the Bana chakra from the raga Mararanjani to Sankarabharanam.
Singing from a number of niraval strains: ‘Eeduleni malayamaruthamuche’ from ‘Muripemu’ (Mukhari, Tyagaraja), ‘O jagajjanani’ from ‘Needu charana’ (Kalyani, Pallavi Gopalayyar) and ‘Viyadaadi bhoota kirane’ from ‘Kamalambike’ (Thodi, Muthuswami Dikshitar), the crew confirmed how M.S. structured the niravals in gradual, medium and fast-paced phrases in response to the kritis and ragas.
The pallavi ‘Vara sangita layaananda pradam vande shubhadam’ composed by Shriramkumar in Purvikalyani was the spotlight of the night, Amritha briefly prefixed it with tanam and with swaras in elongated phrases to convey out the fantastic thing about the raga.
Known for infusing bhakti into her music, M.S. turned synonymous with Meera bhajans, notably after she was featured in a movie on the saint-poet. The crew introduced ‘Pyare darsan dijo aaj’.
Annamacharya’s compositions have been additionally her forte and the composition ‘Enta maatramuna’ the primary half set in Brindavani and the second in Mayamalavagowla garnered appreciation for the crew. The live performance ended with the evergreen ‘Maitreem bhajata’, a composition M.S. sang in benediction for world peace on the United Nations live performance in 1966. During an interactive session with the viewers after the live performance, the crew sang on request one other fashionable M.S. track, ‘Kurai onrum illai’.
The reviewer writes on Carnatic music.