For her newest venture, violinist Kanyakumari focuses on Tyagaraja’s ekaika ragas
Final December, A. Kanyakumari started a thematic sequence to showcase Tyagaraja’s ekaika ragas – these with just one kriti. She started the sequence with ‘E daari sancarintura’ in raga Srutiranjani. The veteran violinist had envisioned it as a three-week venture for the 2019 music season, however the overwhelming response has made her proceed. To date, 49 ragas and kritis have been premièred, one every Friday.
“I needed to take up a theme not handled earlier. Tyagaraja’s attraction lies in his compositions with lyrics which can be easy and understandable ,” she says.
That instrumental music isn’t given its due within the current day was additionally a difficulty she wished to handle. “Nadam comes from devices. The tambura too is used for that. Lyrics might be faithfully replicated by devices whereas conveying the suitable bhava. Instrumental music must be on a par with vocal and instrumentalists must be given their correct due,” she says.
In addition to being a reputed violinist, Kanyakumari is a famend instructor who has been constantly grooming gifted children. Her rationale within the collection of the items, and the order of presentation, displays this understanding of assorted age teams, ranges of musical competence, and a focus span. “I started the sequence with catchy ragas to pique curiosity. One can’t completely current uncommon songs or solely vilamba kala kritis. If we pressure freshmen to be taught bigger chowka kala kritis, they’ll get disheartened and lose curiosity within the music itself. There’s immense selection in Tyagaraja’s compositions. ‘Ramincuvarevarura’ in Suposhini, for instance, consists in a Western type, in a quick tempo, however with a easy construction that enables even freshmen to be taught it. This kind of kriti will also be sung in a gaggle. Then there are heavier and slower kritis. You will need to usher in selection by taking part in widespread items, uncommon songs and by taking part in in quick and gradual tempos to cater to each kind of learner and fanatic,” she says.
Earlier than launching the venture, she went by way of the huge repository of Tyagaraja’s compositions, on the lookout for ekaika ragas, and has gathered 134 to date. Whereas she knew a few of them already, she needed to be taught others. For that, she listened to recordings of yesteryear stalwarts and, wherever potential, of a number of artistes. She says that many of the composer’s items are simply understandable, particularly since Telugu is the violinist’s mother-tongue. She sang every freshly learnt piece a number of occasions, adapting it to her type, and setting some sangatis in the event that they appeared acceptable, all of the whereas preserving in thoughts the sanctity of the lyrics and flexibility for each vocal and instrumental music. Solely then did she try to play it.
Many solitary songs
She has been assisted considerably on this endeavour by her disciples Vittal Rangan, Sayee Rakshith and Mallajosyula Srikanth who, in addition to taking part in alongside, have additionally helped produce the completed audio. Others disciples like Mudicondan Ramesh, Embar Kannan, L. Ramakrishnan and Shilpa Venkatesh additionally lent help.
“Opposite to what may be assumed, solely single items can be found even in some frequent and widespread ragas corresponding to Abheri, Bahudari, Brindavana Saranga and Hemavati,” says Kanyakumari. There are different ragas which can be so uncommon that no different composer has set items in them — Raamamanohari (to be distinguished from Ramaamanohari, a raganga ragam within the nomenclature adopted by the Muthuswami Dikshitar parampara), Gundakriya, and even Suposhini are amongst them. Kanyakumari factors out how Tyagaraja brings out the raga essence and bhavam even in these kritis. She additionally seen the appropriateness between the ragas chosen by the composer and the lyrics of the kriti. “After all, how a musician renders the piece is a key a part of conveying the message the composer desires to. For example, in ‘Nenendu Vetukudura’, Tyagaraja laments about the place he can seek for Rama’s idols which were thrown away. This emotion can’t be conveyed if performed in a quick or aggressive method, it must be rendered with the required pathos.”
Kanyakumari hopes to proceed the sequence so long as she will be able to. “I might be releasing notations for all of the songs to make it simpler for college students to be taught. I hope it serves as a useful resource by way of which extra songs and different information about Tyagaraja might be discovered,” she says.
The writer writes on classical music and musicians.