An avant-garde and cogitating affair blue-blooded ‘Ganesha in our music and mythology; was presented by Shravanam at the Art Plaza of Fine Arts Society, Chembur. Shravanam is an action by three musicians of Mumbai — Kanchana Manyam, Sidhi Krishnamurthy and Subramanian Chidambaran (Subbu).
“We accept a abundance accession of article in our scriptures. But we charge to accomplish bodies acquainted of them,” says Kanchana.
“We accumulated puranic stories, actual aspects and classical kritis,” adds Sidhi.
Trained beneath illustrious gurus, they did abundant analysis afore putting calm the presentation. Subbu is additionally a academic in Tamil, Sanskrit and Puranas.
The programme began with a assortment of accepted Carnatic songs on Lord Ganesha. Subbu again took the admirers through the Vedic aeon and the Mahabharata and Puranas’ epoch.
Stories apropos to the bearing of Ganesha were followed by an active apprehension of Tyagaraja kriti ‘Giriraja suta Tanaya’ in ragam Bangla by Kanchana. The account activated the altered forms of adoration and the acceptation of alms Durva grass, 21 leaves and modakam. Kanchana followed it up with a Purandara Dasarnama ‘Sharanu Benakane’ in Nalinakanti.
The accent of Chaturthi viradam was stated, followed by the majestic apprehension of Dikshitar kriti ‘Siddhivinayakam Anisham’ by Sidhi.
Subbu again presented a actual angle of how Gaanapatyam camp grew in bulge in South India, affective to Karnataka and Maharashtra and how Ganesha adoration was added with the accession of Vatapi Ganapati from Karnataka to Tamil Nadu. This area was interspersed with the Tiruppugazh ‘Kaithala Nirai Kani’ by Sidhi.
‘Vatapi Ganapatim’ was rendered in acceptable way by Kanchana. The acceptation of the kriti was dwelt upon, giving the arcane and Puranic ambience to all the specifics mentioned by Dikshitar.
The final area focused on the agent of Ganesha bhakti in Maharashtra; with the Peshwas admiration Ganesha as their ancestors celestial and arresting saints like Sant Dnyaneshwar and Moraya Gosavi, propitiating through cantos. Soulful apprehension by Sidhi of the ballad ‘Om Namo Ji Aadya’ of Sant Dnyaneshwar and abhang ‘Omkar pradhan’ of Tukaram were accustomed well. The programme assured with a mangalam on Ashtavinayak.
Team Shravanam’s aing contemporary concert ‘Mupperum Deviyar’ was at the Shankaralayam, Chembur, for Navaratri. Opening with a set of accepted kritis on Devi, the concert began by absorption on Kashi with the account by Subbu on the Siva Shakti tatvam and enactment of the Shakti Peetams.
The fable of Kasi Annapoorni was capped with a accordant arrangement of ‘Annapoorne Visalakshi’ by Kanchana. Affective to Kanchipuram, the absolution of Parvati was narrated; the iconographical appearance of citizen goddess Kamakshi were compared with the adumbration in Lalita Sahasranamam.
Dikshitar’s two gems, ‘Ekambresa Nayike’ in Karnataka Suddha Saveri and ‘Kanchadalayadakshi’ in Kamala Manohari, articulate by Sidhi were apt choices.
The agreeable adventure assured at Madurai with abundant account of the feats of the warrior angel Meenakshi and her alliance with Sundareswara in Madurai. ‘Meenakshi Me Mudam’ of Dikshitar by Kanchana and a attenuate song on Meenakshi Kalyanam (composed by Meenakshisundaram Pillai) by Sidhi, preceded the Mangalam on Devi.
Both Sidhi and Kanchana appear complete compassionate of the music idiom. They sang with absolute delivery to back the acceptation alike while application he melody quotient..
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