Please find below, the invite for the second episode of Kshetra Sangeetham on Chidambaram. The event is on 14th March 2010 (Sunday) at Narada Gana Sabha mini hall . Please treat this as a personal invitation and do make it convenient to attend the concert.
Best Wishes for a wonderful program. Are there any plans to make these programs (both the music and the presentation) available to the public as commercial recordings?
* I hope the speech (although interesting &educative)does not curtail the time to cover more songs on Chidambaram.,given the wide repertoire of the artist..I recall VS accompanying Sri.S.Rajam for a full fledged lec-dem on GKB longback in MA?
Balusatya - I understand your point, but the speaker is none other than Dr. Sudha Seshayyan. But, both the orator and the vocalists and seasoned professionals - so, I am sure the proportions will be maintained with 'aucityam'!
Kshetra Sangeetham – Chidambaram was a unique experience in many ways - the impressive song list, the fine execution by Smt. Vijayalakshmy Subramaniam , the majestic Nataraja icon on the performing stage which arrested attention , the excellent talk on Chiambaram by Dr. Sudha Seshayyan. The song list was a fine blend of compositions by most of the composers who have sung on the Kshetram, as well as devotional hymns, set to tune by the artiste herself. The presentation on the Kshetram highlighted most of the songs to be rendered that evening, and their meanings, and this made the whole listening experience more educative
The concert had many highlights. The Pada Varnam in Nattaikurinji, a rarely heard song, set the stage for a perfect concert to follow and transported the audience to Thiruchitrambalam itself.
The charanam line chosen for Neraval in Sabapathiku – ‘Oru dharam Siva chidambaram’ was striking and showcased very beautiful phrases of Abhogi.
Govindarjena in Mecha Bowli (a janya of Mayamalava Gowlai) on Govindaraja Perumal, yet another rare composition of Dikshitar was a good contrast after the popular Abhogi composition.
Ravana Tandavam , a hymn heavy on lyrics was handled with ease. This song was rendered in Vaasanthi, Mohanam , Sivaranjani , Hamsanandhi and finally culminated in the slokam in Revathi. The unique aspect of the first three ragams is that each ragam—S R G P D - is different from the other by only one note and this subtle change was beautifully brought out by the rendition.
‘Abhaya Karathai’ in Behag and ‘Thillai Ambalathanai’ in Suruti are two other rare compositions on Chidambaram which the artiste had included in the song list. The latter is a very unique work by Gopalakrishna Bharati, alternating about both Nataraja and Govindaraja Perumal, singing in ecstasy on the two Gods of Chidambaram.
Following a divine Sindubhairavi, the concert ended with Thirupallandu, Thevaram and Mangalam in Madyamavathi.
mannuga thillai is also from tEvAram. I don't think there is a thiruppallANDu equivalent in the tirumuRai.
Also, tirunAvukkarasar is the author of tEvAram and not sEkizhAr. sEkizhAr was the author of periyapurANam.
*Hamsadhwani chitaswaram I liked.
*MD Kedaram -Chidambaranataraja- nice to see Sankari picking up the rare one with VS.
*Esan Kanakasabesan-Begada-KI- "Thejomaya" was very appealing. I could see Rajam sir effect fully in it.
*The title display in power point one could view relevant paintings of Sri S.Rajam.-real value addition.
*Special thanks to HR for bringing out the significance of the rare piece of GKB in Surati ( I had to leave before that) alternating the description of Govindarajaperumal &Nataraja- I have been told by one longtime resident of Chidambaram that a few staunch vaishnavites -may be longback- who used to have dharshan of govindaraja perumal in chidambaram temple close to natarajar sannidhi while coming out of perumal temple used to cover one side of the face with their left hand ostensibly to avoid seeing Nataraja by chance- I am sure this Kriti should have been intended to have put all the possible prevalence of difference/dwesham at rest. Good selection by VS.May I request for the words to be reproduced for the benefit of everyone?
* The chioce of composers and tuning of hymns by VS reflects her deep,commited devotional musical fervour.
* There is no limit for one's expectation. Sri Swarnavenkatesa Dikshidar has done so much for this kshetra by composing a number of kritis on this shrine (popularised by SKN-KVN) .Besides ,I am told Manikavasagar has sung (maximum among the three-correct if otherwise) on this place. To be fair to both ,their songs can also be covered in future presentation.
ksrimech wrote:
mannuga thillai is also from tEvAram. I don't think there is a thiruppallANDu equivalent in the tirumuRai.
Also, tirunAvukkarasar is the author of tEvAram and not sEkizhAr. sEkizhAr was the author of periyapurANam.
Rather late posting this for various reasons, but just wanted to add an errata to the errata here:
1.mannuga tillai is not from the tEvaram. Only the first seven tirumurais written by the mUvar mudalis(tirunavukkarasar,
campantar and cuntarar) are technically known as the 'tevaram'.
2.mannuga tillai is a composition of cEntanAr and forms part of the ninth tirumurai.
3.And yes the tiruppallandu is a part of the Saivite temple tradition too and forms part of the Pancapuranam routinely sung in the Cidambaram temple.
I don't intend to start another (?) controversy. But in the Cidambaram list, the song "saTrE (saRRE) vilagi" is out of place. Many people think it is on Cidambaram but it is not. It is on the kshEtram called tiruppungUr திரà¯à®ªà¯à®ªà¯à®™à¯à®•à¯‚ர௠a few miles away from Cidambaram. "SivalOganAdanaik kaNDu" is also about the same kshEtram. tiruppungUr is the place where nandanAr sang "vazhi maRaittirukkudE" about the nandi in front. The sequel for that is the reply by the Lord "saTrE vilagi irum piLLAy". In tiruppungUr, the nandi is seen to be shifted slightly out of center (at the Lord's request). I read an account that the nandi protested a bit at first but obeyed the Lord later!!!!!!
