i always wonder..
shouldnt the slokam/viruttam and the kriti which follows have some connection?
if they are to be considered separate entities, then why continue a composition in the same ragam as the one which has finished the viruttam/slokam?
is there some tradition in this as well?
slokams/viruttams.. and the kritis which follow
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i did think always so..
however, i raised this query only because i have noticed that on some occasions, vidwans sing viruttam on a god and the kriti which follows will be on a totally different deity.
on some occasions, i have heard the pAsuram conclude in a rAgam and the next piece on a different deity and different rAgam, which i m ok with.
however, singing an Azhwar pasuram in rAgamAlikA and singing a tillAnA in the ragam that ended the pAsuram on Lord Muruga. or singing an Ambal slOkam in rAgamAlikA and singing a krishnar kriti in the same rAgam which ended the slOkam.. it does look absurd when somebody does that.
however, i raised this query only because i have noticed that on some occasions, vidwans sing viruttam on a god and the kriti which follows will be on a totally different deity.
on some occasions, i have heard the pAsuram conclude in a rAgam and the next piece on a different deity and different rAgam, which i m ok with.
however, singing an Azhwar pasuram in rAgamAlikA and singing a tillAnA in the ragam that ended the pAsuram on Lord Muruga. or singing an Ambal slOkam in rAgamAlikA and singing a krishnar kriti in the same rAgam which ended the slOkam.. it does look absurd when somebody does that.
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just like an anupallavi and charaNam should be of the same krithi in which the pallavi is being sung
, the rAgam - deity - language being the same could be more enjoyable and also it will reflect the line, "creativity blossoms from and within a frame just like freedom is enjoyed more by law... 


Last edited by erode14 on 10 Jan 2009, 18:48, edited 1 time in total.
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I may be wrong, but in this context of synchronizing the rAgam, deity, and language, I think Ranjani and Gayatri offer some of the most exquisite viruttams to precede kritis - they go as far as to enhance the 'poruttam' of the viruttam even more by ensuring that the sentiment of the viruttam and the kriti are also in concordance. Of course, they do have an advantage in that their father composes some of these gems (I alluded to them as 'designer viruttams' elsewhere, to Prashant's amusement!)