![]() Kamalalaya refers to the temple tank, and The word ‘Kamala’ is used throughout the pallavi and anupallavi, but carries a different meaning each time. I have always felt that Dikshitar has given a glimpse of his alapana style in this free-flowing Thodi. The start of the pallavi on nishadam, and the meandering curves and embellishments spanning the madhya sthayi are noteworthy. Conventionally sung in Rupaka talam, this tisra eka composition by Muthuswami Dikshitar is power-packed in terms of sahitya and raga. The composer’s usual mudra is not seen, but there is a reference to the kings of the Vanchi region.Īnother kriti that has always amazed me is the Thodi Dhyana kriti of the Kamalamba Navavaranam series. Here too there are three charanams, but only the last is usually sung. The description of her locks dancing on her forehead is beautiful (Ĭhanchadali lalita alake ). The samskritam used by the royal composer is exquisite, with ‘Parvanendu’ (for the full moon), ‘kesari’ (for lions), and ‘ditijaali’ (for demons) uncommon words used in the kriti. The Arabhi in the pallavi itself is a work of art. That evening at the concert, he sang the piece, prefixed by a brilliant alapana and suffixed with kalpanaswarams at ‘Pahi parvatha’ using swaraksharam at ‘pa’ of Pahi. At the hotel, he suddenly told me to bring the shruti box and taught me ‘Pahi parvatha’ in Arabhi, composed by Swati Tirunal. I once travelled with my guru for a concert in Bengaluru. G r n ’ in the swara sahityam leading up to the pallavi is unique. The composition has many swaraksharams, a trademark of Syama Sastri. In the second charanam, Syama Sastri says that it is only She (Kamakshi) who can give him refuge as there is no one else equal to her. The first charanam describes the Pranava embodied (omkari). The play of words at ‘Bahu para kamalaguna’ is interesting. The first line of the anupallavi is a favourite for niraval singing. The anupallavi describes her as an ocean of mercy, compassion, and the queen of Pranatharthihara, as Dharmasamvaddhani, and as Tripura Sundari. The composer pleads for a disease-free life, an apt song for the pandemic. Though it has three charanams, it’s only the last mudra charanam that is usually sung. That morning, my guru started with an awe-inspiring Saveri alapana before teaching ‘Durusuga’ by Syama Sastri, a majestic composition that highlights the regal beauty of goddess Tripura Sundari. Ramanathan began at his Triplicane residence. I was excited about having already learnt two compositions since my gurukulavasam with Dr. At seven in the morning, I eagerly looked forward to attending my music class. ![]()
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