Kalpa Media House | Special Article by Rasikapriya |
Neo Carnatic soundscapes is an evolution which focuses on story telling, conveying emotion instead of being very technical, building upon the traditional Carnatic concert structure. The genre aims at giving a new voice to the soul of Carnatic music through relatable ideas and compositions. Instead of traditional fusion, looking at a fresh perspective the duo musical couple of Y G Srilatha Nikshith on Veena and Puttur Nikshith on mridangam, gave an enjoyable duet with an impressive presentation.
Novel ideas were implemented by the musical couple in an inclusive concert series, at Bharathiya Vidya Bhavan, as a part of ‘Marghazhi Matram, Edition-6, festival celebrated by SciArtsRUs, U.S.A.
Saraswathi Veena is an intrinsic melodic instrument, an embodiment of subtle nuances of any chosen raga. It blends beautifully, rhythmically with the most ancient instrument, mridangam which is the father of all layavadyas. Mridangam, treated as an accompanying instrument, has been traditionally used in concerts, to follow the compositions rendered by the main artists and exhibit their prowess during a brief thani-avartanam.
Laya or rhythm and melody or raga are two inseparable faces of music. A melodic instrument is rhythmic too and one can equally well perceive the melody through a rhythmic instrument. This was demonstrated in this unique veena-mridangam duet concert portraying the various dimensions of instruments, engaging in interesting dialogues between the melodic veena and the rhythmic mridangam, keeping the audience on tenterhooks!
Concert began with avarnam ‘Ammaanandadayini’, of Dr.M. BalamuraliKrishna, in Gambhiranattai, aditalam, a composition which has a rare blend of lyrical eloquence with a high devotional obeisance to the divine mother.
Presentation of Mallari in concerts by the duo is a great revival of the ancient traditions. Mallariis playedon auspicious occasions bynadaswaram-thavilartists as a prelude in temple festivities and processions. It is hardly heard in concerts in recent times, particularly on other instruments . It was heartening to listen to this liltingpiece with a special pattern and entry on the rhythmsfollowed by the majestic gait of mallari in Gambhiranatai-Aditalamflowing down melodiously on theveena like the sparkling waters of Lodore plunging , rushing and roaring through the rocks.
Sri Thyagaraja’s, ‘enthamuddoenthasogaso” in Bindumalini hada scintillating conversation between the instruments particularly during the swaraprastharam. The highlight, Sri Thyagaraja’s panchratnakrithi “endaromahanubhavulu’ illustrated the concept of duet in a most impressive way, with conventional thaniavartanam meticulously woven between the charanams of the composition, keeping aesthetics at its best
Amelodious Sai bhajanin Revathi on Lord Shiva which seamlessly merged with Sri Dayananda Saraswathi’s evergreen ‘Bhoshambho ‘ was an icing on the cake. Audience who were in rapt attention soon joined in chorus to chant ‘shivayashivanamah om’.
It is beautiful to see such enriching ideas blossom among the present generation artists. Wish the duo all the best. Sincere complements to Nerkunam Dr.S.Shankaron Khanjiramand Sri Nerkunam Manikandan on morsing for a wonderful support.
Kudos to the organiser Dr. Ranjini Ramchandra Koushik for organising this great thematic all inclusive festival featuring cross-culture artists and imbibing in it the concepts of ‘Science meets Arts’ and several exemplary innovative concepts.
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