Nayuduetta EM Sanjeev Kumar and Mandveli Mohanraj along with Mayalai Kartikeyyan and Koleri ji Vinoth Kumar | Photo Credit: K. Pitchhumani
Limiting Nagasvaram and Thville at weddings and religious ceremonies does not grow well for these devices as they represent a rich tradition of classical music, requiring platforms dedicated to spread. Nagasvaram festivals are important because they provide very important visibility to this rare tool that is immersed in antiquity. The Sangeet Academy recently depicted several Nagaswararam and Thville artists as part of their Nadotsavam, which is an annual music ceremony dedicated to these devices.
Classic Abhogi Varnaam “Evwari Bodhana”, Mayelai Kartikeyan and Koleri ji Vinoth Kumar started their concerts and participated in two pace. Chittasvaram was creatively depicted by incorporating a Trikalam element in them. ‘Ananai Thudikka’ is a vibrant work in Kuntalwarli, which is built on Tyagaraj, the god of Thiruvarur. This was a prudent option before taking Atana (‘Anupama Gunambudhi’), a raga that Kartikan offered scope for adequate investigation. He focused on Nishadam during Alapana and brought out the different taste of the raga. The Swift Swars at the upper Rishham ended at Melkalam demonstrated the dexterity of Karthikeyan to handle the instrument. The final round of Kalpaneshwar included careful coordination among the Nagaswararam artists as they alternately came together in turn, in turn, coming together during Kanku.
Suposhini is an ekika raga made by Tyagaraja. His composition ‘Raminchuvrevuraura’ is presented in a fast tempo and has similarities of western tunes. The pair did a lot for the joy of Thville artists Nayudupatta EM Sanjeev Kumar and Mandveli Mohanraj, who enthusiastically detected their patterns.
The main piece of the evening was Ragam Tanu Pallavi in Kalyani. Tisra Jati Triputa Talam was dedicated to the Pallavi line Kapaleshwar in Triputa TalamOf Maylapur – ‘Mayilayil Wazham Kapali Unadu Thiruvadiani Paninden’. This recurrence ended with Thanjavur Shankara Iyer’s Anandbhairi Thailana. Sanjeev Kumar and Mohanraj provided competent assistance.
Nangur NK Selvaganapati and Idumbanam KSK Manikandan with Chinnamanur -e -Vijay Kartikeyan and Idumbanam V Prakash Ilaiyaraja. Photo Credit: K. Pitchhumani
In another concert in the festival, Chinnamanur was a Vijay Kartikeayan and Idumbanam V Prakash Ilaiyaraja to present a special concert called ‘Tamijham Nadamam’. Nangur NK Selvaganapati and Idumbanam KSK Manikandan with artists on Thville. The subject also showed how the exclusive Nagasvaram festival encourages these artists to rethink their approach and presentation. A great way to turn on the spotlight on the instrument.
All the compositions in Tamil highlighted the uniqueness of the Nagasvaram tradition. For example, his first piece ‘Rishabhshta Ragamalakai’ is a rare vanam, which has focused on the Rishabh tones of the ragas with eight ragas by Mastro Dharmapuram A. Govindarajan. The eight ragas are Kannada, Sahana, Saranga, Govalai, Sri, Suruti, Saraswati and Madhyamavati. Rishabh is Jeeva Swara in these ragas and its handling has the beauty of this vanam.
Nagavalli is a Janya of Khaharharpriya and a rare composition of KU. Sa Krishnamurthy ‘Var Venam Velne’ was further presented by the pair. Kriti ‘Kadikkan Vahethani’ chased in Raga Begada. It was commendably played by Kavin, the son of Prakash Ilayaraja, who continues the legacy of the family.
Chinamanur Vijay Kartikeyan has composed several crites. In the raga Gunwati, ‘Ananyalal’, which was taken forward, is one of them. This was followed by Dandapani Desikar’s ‘Anjezuthinai’ in Ragwinodini.
The main piece of the evening was in the raga Dharrdari, which was a Janya of Harikamboji. Kriti ‘Asaiyai Uraikkindren’ to Devkotai V. It is written by Ramanathan Chettiyar and tuned by Thiruppamburam Swaminath Pillai. After an electrification Tani Avataran by Thawal Vidavans, recurrence performed the raga with a Thailana in the country.
Published – 01 April, 2025 06:30 pm IST
Ilaiyaraja
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