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Preshta
Rs.300.00
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Preshta
K.Bharat Sundar K
Code SA554
Swathi's Sanskriti Series

Tracks

1.Varnam
Ragam: Bhairavi
Talam: Adi
Composer: Patnam Subramanya Iyer
2.Karikalaba mugam
Ragam: Saveri
Talam: Adi
Composer: Muthuswami Dikshitar
3.Aparatha
Ragam: Lathangi
Talam: Adi
Composer: Patnam Subramania iyer
4.Paripalimsu
Ragam: Suddha Saveri
Talam: Kanda Chapu
Composer: Venkatramana Sastri
5.Pakkala Neelapati
Ragam: Karaharapriya
Talam: Misra Chapu
Composer: Saint Tyagaraja
6.Ragam
Ragam: Todi
Talam: -
Composer: Chitravina Ravikiran
7.Karthikeya (Taniavartanam)
Ragam: Todi
Talam: Adi
Composer: Taranagampadi Panchanda iyer
8.Tarunameedama
Ragam: Gowlipantu
Talam: Adi
Composer: Shyama Shastri
9.Arabhimanam
Ragam: Ragamalika
Talam: Adi
Composer: Tarangampadi Panchantha Iyer
10.Innudayabharathe
Ragam: Kalyana Vasantham
Talam: Adi
Composer: Purandara Dasar
11.Smarasundara
Ragam: Paras
Talam: Adi
Composer: Dharmapuri Subbarayar
12.Amuthame
Ragam: Sindhubhairavi
Talam: Adi
Composer: Saint Arunagirinathar
13.Thillana
Ragam: Poornachandrika
Talam: Adi
Composer: Lalgudi G. Jayaraman
14.Magalam
Ragam: Madhyamavati
Talam: -
Composer: 0

DISC: 2
Format: ACD
Language: N/A
Duration: 02:13:11

Synopsis

Mrudangam - Dr.Umayalpuram K. Sivaraman | Vocal - K. Bharat Sundar | Violin - Nagai R. Sriram
 
Padma Vibhushan awardee, Sangita Kalanidhi Dr. Umayalpuram Sivaraman in his continued efforts to promote bright young talent introduces Sri Bharat Sundar, a disciple of Sangeetha Kala Acharya Sri P.S.Narayanaswami of the Semmangudi School of music. He is accompanied on the violin by yet another talented artiste, Sri Nagai Sriram who has carved a niche for himself.The concert, structured in the traditional kutcheri paddhadhi has Sri Bharat Sundar presenting the Karaharapriya krithi in a gripping kalapramanam with deep exploration of the colourful raga. The crisp exchanges during the nereval and swaras and the sarva lagu swaras that are a signature of the Semmangudi school are amply displayed. Both Sri Bharat Sundar and Sri Nagai Sriram explore the Todi raga in its entirety with scintillating interpretations, the highlight being a sruthi bedam by both in different places and a smooth slide back to the parent raga with utmost ease thus demonstrating the tonic shift distinctively.

Dr. Sivaraman provides ample evidence of his attractive, creative and appealing bani in every item thus elevating the concert. The gap filling technique employed with melkalam phrases that sparkle with absolute clarity, the signature arai chappu and the tremendous varieties of gumki that merges with the chapu nadam signify the style of play. Dr. Sivaraman provides the crowning glory, where the dictionary of percussion unfolds is the thani in which unique interpretations are provided all over. This includes tri gathi and pancha gathi korvais that demonstrate the supreme grip on the laya while retaining the sweet nadam that reverberates from the wide varieties of phrases employed. To match the sruthi bedam, Dr.Sivaraman presents gathi bedam and introduces a rare novelty to the percussion world in the penultimate phase of the thani. The legend displays his wizardry when he traverses like a trapeze while interpreting the kanda phrase in tisram and with the same kanda base switches to kanda gathi instantly with ease thus revealing his mastery over the art.
 


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