2016 Apr 13 Nagavalli Nagaraj, Ranjani Vasuki , Matturu Srinidhi , Manjunath BC , Vyasavittala CP @ Vani Shool

Vocal: Vid. Dr. Nagavalli Nagaraj, RanjaniVasuki
Violin: Vid. Matturu Srinidhi 
Mridanga: Vid. Manjunath BC 
Khanjari: Vid. Vyasavittala CP 

Occasion: 25th Ramanavami Music and Dance Festival @ Vani School, Basaveshwara Nagar, Bangalore

01 viribONi kEdAragauLa miSra jhampe rudrapaTNam venkaTaramaNayya

02 vAtApi gaNapatim bhajEham hamsadhvani Adi m.dIkshitar (N, S)
nereval @ praNava swarUpa vakratuNDam 

03 kanugoNTini bilahari dEshAdi thyAgarAja ( A S ) 
Swara @ kanuhoNTini 

04 karuNinchi brOva rAda bangALa  (budharanjani?) Adi mysUru vAsudEvAchArya
with chitteswara

05 nEnendu veTukudurA shrI karnATakabehAg tyAgarAja

06 ammA ninnu kOrina kOrika khamAs tALa? BMK

07 pakkAla nilabaDi golicE muccaTa bAga delpa kharaharapriyA tripuTa tyAgarAja (A, N, S, T)
Grahabedham into tODi  and kalyANi during alapane
Nereval @ manasuna dalachi mai marchi yunnAra
grahabEdham into tOdi kalyANi harikAMbOdhi naTabhairavi and shankarAbharaNa during swarakalpana

08 rAma rAma rAma rAma enniro mOhana k.cApu p.dAsa (A)

09 srImati janaka jAte rAmAyana guNa bhUte darbAri kAnaDa Adi Dr shatAvadhAni Ganesh (A)

10 bAro murAri rAgamAlika misra yaman TillAng madhuvanti vAdirajasvAmi.

11 tambUri mITidava bhavAbdhi dATidava sindhubhairavi purandara dhAsa (A)

12 tillAna sumanEsaranjani Adi Dr shatAvadhAni Ganesh

13 nI nAma rUpamulaku mangaLa sourAshtra Adhi thyAgarAja 
and shlOka

When a hot summer day drains all your energy at 40 Deg C, all you need is a soothing music to rejuvenate. When you attend it, you get more energised than expected... and you lose sleep over the freshness gained.

That's exactly what happened yesterday as I reluctantly pushed myself to attended the concert at Vani School. 

This was the first time I'm attending the concert of the lead artist for the day. 

The very first ball of the game went in for a Sixer. While the popular singers of the day only dwell with aTa / Adi tALa varnas, a miSra jhampe tALa varna in 2 speeds was a welcome change. The ease at which it was presented showed the amount of sweating at the net practice !

While most performances of vAtApi I have heard would have only swaras, the vocal duo picked nereval for this kriti. Brief swaras to end the song was well replicated by the violinist. Percussion duo of Manjunath and Vyasa Vittala added lustre to the muktAyis in each round of swaras. Initially, the violin volume was loud and obtrusive. Violinist himself requested the volume to be reduced to focus more on melody and not on decibel competition.

bilahari rAga AlApane was way different and unique as Dr. Nagavalli presented many refreshing sangatis, off beat ones that are not regularly heard in the run-the-mill alapane. kanugONTini was a pleasant surprise. Not so regularly heard kriti, was treated well with swaras at kanugoNTini. Dr. Nagavalli was able to traverse 3 registers with ease. The hard work of years was demonstrated with so much of ease, its difficult to explain in words.

karuninchi brOva in bangaALa / budharanjani was presented in a breakneck speed. Cittaswaras almost made the artists breathless.

nEnendu vedakududa without any additional ornamentation was juxtaposed in speed to the previous one. They did demonstrate that they can handle even ati viLamba gati with good command and control.

amma ninnu kOrika was a first time for me. After some internet search, I could find the lyrics and BMK's own rendition (LINK). A faster paced than BMK's own version was rendered.

అమ్మా నిజ దాసునిపై నీదయ చూప సమయం వచ్చినదమ్మా
రమ్యా, గజముఖ షణ్ముఖ అమ్మ, సౌమ్యముతో నాపై దయజూపవమ్మా
నా కోరిక, నీకరుణే నమ్మ , ననునమ్మమ్మ , మాయమ్మా అమ్మ
అమ్మా, నిజ దాసునిపై నీ దయ చూప సమయం వచ్చినదమ్మా
ఈ బొమ్మతోటి నీ కాటలాడ తగదమ్మ, మాయమ్మ అని నే పిలచిన పలుకవదేమమ్మ
అమ్మా ,ముమ్మాటికి నీవేగతి, ముక్కంటి సతి, ఓ కంట నను జూడ వమ్మ, అమ్మ
అమ్మా, నిజ దాసునిపై నీ దయ చూప సమయం వచ్చినదమ్మా
శ్యామా కృష్ణుని సోదరి వమ్మా, ప్రేమతో నిజదాసుడిని జూడవదేమమ్మా శ్యామలమ్మ
రమావాణి సంసేవిత వమ్మా ,ఉమా, లోకమాత నీవే గదమ్మా, నన్నుగన్నమాయమ్మ

అమ్మా, నిజ దాసునిపై నీ దయ చూప సమయం వచ్చినదమ్మా

kharaharapriya AlApane was the highlight of the concert. While it was daughter who dominated the alApane with a tOdi grahabEdha, it was mother who dominated in the swara prastara. Apart from small nereval, the swara prastAra delineated various swara patterns that can be demonstrated in kharaharapriya. Being a rAga in a cusp, it also offers grahabEdha opportunities. During swara kalpana, Dr Nagavalli demonstrated grahabEdham into tOdi .. KalyAni.. HarikAmbOdhi.. naTabhairaavi and shankarAbharaNa as she sang full scales shadja to shadja like a ladder yati and traversed 2 full pitches. The audience who recognised it burst into applause.

post main were compositions of Dr. Shatavadhani Ganesh (who was also present in the audience). (Off topic: One has to appreciate his simplicity. Though he was the chief guest of the evening, he was seated among the normal crowd on plastic chairs in the 10 - 15th row and did not want to occupy cozy front rows.)

Tamburi mItidava had a totally different rhythm / pATAntara as compared to run the mill show. It was preceded by a pretty long AlApane (for a tukkuDa). Same was the relevance shown to mOhana composition.

It was indeed an evening to remember for various highlights as listed. Though the same vocalists are empaneled to sing in other sabhas during this season, I may not be able to attend them. Regret the missed opportunity.

2016 Apr 12 1900 Kumaresh JayanthiKumaresh RShankarnarayanan Giridhar Udupa @ Vani School

Violin: Vid. Kumaresh R

ViNA: Vid. JayanthiKumaresh 

Mridanga: Vid. RShankarnarayanan 

Ghata: Vid. Giridhar Udupa 

Occasion: 25th Ramanavami Music and Dance Festival @ Vani School, Basaveshwara Nagar, Bangalore

01 vanajAkSirO I viraha kalyANi varNa Adi rAmanathapuram srInivAsa iyengAr

02 praNamAmyaham shri gaurisutam gauLa mysore vAsudEvacarya (S)

swara @ natalOka santOshadAyakam

03 shrI nArada nAda sarasIruha kAnaDA rUpakA tyAgarAja (A, S)

swara @ sri nArada

04 yArE rangana yArE krishNana HindhOLa Adhi puranDhara dhAsa

05 rAga tAna pallavi nATTakuranji chaturaSra tripuTa, 1 Kalai, Tani

06 composition in sindhubhairavi

07 medley madhyamAvati


Power packed concert in the season of T20s. The concert was in full speed from the very first note. 

KalyANi varna was directly played in second speed. During the chittaswaras, both fiddling  monk and vaiNika took turns to play the swaras independently. It was almost like both hands were dancing to 


swaras played for praNamAmyaham had interesting and trademark ma .. pa .. ni ending presented beautifully

kAnaDa was the choice for submain of the evening. Was expecting sukhi evvaro... but it turned out to be srI nArada. The very first bow of the AlApane indicated it would kAnaDa. Such was the precision !!

Post the quick hindOLa filler, came the elaborate rAga tAna in nATTakuranji. Very expansive essay of the rAga with each instrumentalists taking turns to decorate. The final tAna by Kumaresh received thunderous applause. 

There was no announcement of the pallavi line, nor were any rAgamAlika swaras at the end. It was a pure and pristine nATTakuranji all through the 40 minutes of RTP. 

Tani was another highlight of the concert. The newly setup pendal resonated many times during the ghumki playing by both percussionists. 

A composition in Sindhubhairavi and further medley in madhyamAvati (harivarAsanam, nagumOmu, bhAgyAdalakshmi bAramma) indicated that they are going to end the concert 15 mins early !!

A small note of dissappointment.. a 3 hour concert slot was used only for 2 hrs ! the junior concert earlier ended whopping 30 mins late !

However, everthing that was presented in 2 hrs was worth the hadrship of travelling 32 kms to the concert in hot summer evening of Bangalore when it was 40 Degree Celsius.

2016 Apr 11 SandeepNarayanan ParurMSAnanthakrishnan KUJayachandraRao Srishaila @ Sree Ramasevamandali

Vocal: Vid. Sandeep Narayanan  

Violin: Vid. Parur M S Ananthakrishnan  

Mridanga: Vid. K U Jayachandra Rao  

Ghata: Vid. Srishaila 

Occasion: 78th Sree Ramanavami Music Festival, Fort High School, Bangalore

01 tuLasI daLamulacE santOSamuga mAyAmALavagauLa rUpaka tyAgarAja (S)

swara @ sarasIruha punnAga

02 yArO ivar yArO bhairavi Adhi aruNAchala kavi (N)

nereval @ chandrabimba mukha

03 maruvakUdayya mOhanAnga mOhana Adi garbhapurivAsa (A, S)

Swara @ maruvaku daya

04 hiDikO beDabEDa rangana pAda aTANA Adi p.dAsa

05 pakkAla nilabaDi golicE muccaTa bAga delpa kharaharapriyA m.cApu tyAgarAja (A, S, T)

swara @ pakkala nilabaDi

06 pibarE rAmarasam yamunakalyAni sadhAsiva brahmEndrar

07 tillAna sindhubhairavi srImUshanam rAja rAo

08 nI nAma rUpamulaku mangaLa sourAshtra Adhi thyAgarAja

Quick Notes:

mAmALavagaula was good and haunting. Very sedate presentation of kriti. The swara kalpana waved round gAndhAra during the final round was worth listening.

Bhairavi started in a leisurely way. yAro ivar yAro brought mithila kanni-madam, rAma and sIta before us. The neraval at chandrabimba muka was very good but was bit disturbing by the last 5 mts durita kAla neraval in which Sandeep followed his guru Sanjay ditto. Should have avoided this duritha kAla as violinist found it difficult to match! But Bangalore rasika crowd greeted the ending of duritha kAla nerval with loud applause.

mOhana AlApana from his guru on Saturday gave a different picture than mohana AlApana of sishya today. May be 6th sense. Both of them were singing mOhana in 2 different locations at the same time yesterday !

All the glitches of the evening was long forgotten by the end of the concert. Another memorable evening at SRSM :)

2016 Apr 11 Vignesh Iswar Apoorva Krishna - S Ashok - Krishna Prasad @ Sree Ramasevamandali

Vocal: Vid. Vignesh Iswar 
Violin: Vid. Apoorva Krishna 
Mridanga: Vid. S Ashok 
Ghata: Vid. Krishna Prasad 

Occasion: 78th Sree Ramanavami Music Festival, Fort High School, Bangalore

01 ilalO praNatArti haruDanucu aThANa Adi tyAgarAja (S)
Swaras  @ ilalo

02 raghuvara nannu marava kAmavardani Adi tyAgarAja (O, N, S)
Nereval @ manasuna

03 kshitijA ramaNam dEvagAndhAri Adi m.dhIkshitar

04 enduku dayarAdura tOdi miSra-cApu thyAgarAja (A, T)

05 sApasya kousalyA-jOanpuri-Adi-thirupazhanam panchApakEsayyar

06 tillAna tOm tOm tadara sindhubhairavi srImUshanam rAja rAo

Concert started 1 hour late due to power cut and no backup power. The team tried to entertain the audience with a no mic concert with the first song. However, the audience could not hear the violin in such a large hall.

Another 20 mins break before the power was restored !

The evening completely spoilt the manodharma of the artists on the stage. The time was insufficient for them to demonstrate their potential. However, even this 1 hour concert was a treat to watch.

2016 Apr 10 Dr KJYesudas MahadevaSharmaSR ThiruvarurBhaktavasalam TRadhakrishnan @ Sree Ramasevamandali, Fort High School

Vocal: Vid. Dr K J Yesudas 

Violin: Vid. Mahadeva sharma S R 

Mridanga: Vid. Thiruvarur Bhaktavasalam 

Ghata: Vid. T Radhakrishnan 

Occasion / Venue: 78th Ramanavami National Music Festival, Sree Ramaseva mandali, Fort High School

01 valachi navarAgamAlika Adi paTNam subramaNya Iyer

02 shlOka followed by gaNapate enna pAlisO gambHira ratnakAnti TALA COMPOSER (A, S)

Swaras @ gaNapate

03 guru karuNa honduvudu parama durlabhavayya kIravANi Adi p.dAsa

04 nIkEla nAyeDa dEvamanOhari Adhi pUchi srinivAsa iyengAr

05 subrahmaNyEna rakshithOham shuDDha DhanyAsi Adhi MutthuswAmy dhIkshithar (A, S)

swaras @ SubrahmaNyEna

06 O ranga shAyI kAmbOdhi Adhi thyAgarAja (A, N, S, T)

nereval @ bhU lOka

07 SrIpatE nI pada nAgaswarALi dEshAdi thyAgarAja (S)

swaras @ rAjAdhi rAja

08 nAmADida karma balavanta vAdare kharaharapriyA m.cApu p.dAsa (A)

09 rAjIva nEtrAya rAghavAya namO shri aNNmAcArya

10 ellellu sangItave sAramati Adi? Chi, Udayashankar / Vijay Bhaskar (O) - from the movie malayamAruta

11 ajita hare jaya mAdhava krishna kathakali padam srI

12 jagadOddhArana kApi Adhi Purandara dhAsa

13 ennenjil paLLi koNDavan sriranga nAyakan kalyANi salem Eshwar (Updated)

14 krishNA nI bEgane yamunakalyANi chApu vyAsarAya

15 tiruppArkaDalil pallikondAyE bhairavi swamiayyappan movie (updated)

16 SwAgatham Krishna Mohana Adhi UtthukAdu Venkatasubba iyer

17 ayappa swAmi song

18 agre pashyami (shlOka)

19 nI nAma rUpamulaku mangaLa sourAshtra Adhi thyAgarAja

Only legends like KJY can deliver a concert lasting 3 hrs 15 mins even at this age. His voice was blending perfectly to shruti and loud applause from audience after every pause inspired the team to go long beyond the scheduled time of 9.30 pm.  The concert ended at 10.25 !! KJY was effortlessly singing in tAra panchamam and reached tAra nI few times in AlApane and swara prastAra. Infact it received thunderous applause in whole of the concert !

The highlight was the very second song of the concert, where he demonstrated the rAga (atleast new for me after listening to concerts for last 6 years).

KJY concert draw huge crowd, and yesterday was no different in that sense. However, kudos to organizers for commendable job in managing the crowd of around 9000+ !!

Some concerts are better listened than reviewed, just for the pure pleasure that English is a poor language to express the experience. What a memorable evening it was !

2016 Apr 09 1830 Sanjay SVaradarajan PoongulumSubramanian SVenkataramanan @ SRSM

Vocal: Vid. Sanjay Subrahmanyan 
Violin: Vid. S Varadarajan 
Mridanga: Vid. Poongulum Subramanian
Khanjari: Vid. S Venkataramanan

Occasion: Ramanavami National Music Festival
Venue: Fort High School, Bangalore

01 jalajAksha ninnE VarNa hamsadhwani Adhi mAnambUchavAdi venkatasubbayyar

02 pallANDu pallAnDu pallayirattandu palakkOi (tpl) nATa KChapu periAlwAr

03 bhajana sEyavE manasA kalyANi rUpaka tyAgarAja

04 kArubAru sEyuvAru galarE mukhAri Adi tyAgarAja (A)

05 mA jAnaki cheTTabeTTagA kAmbOdhi Adhi thyAgarAja
nereval @ vANi mATalentu 

06 enduku daya rAdura tOdi miSra cApu thyAgarAja (A, N, S,T)
Nereval @ tAraka charita tyAgarAja vinuta
Tani

07 innum parAmukhamEnO bEgaDa duraisvami kavirayar

08 mOhan rAga tAna Pallavi KhaNDa TripuTa 2 kaLai Edupu 2 beats after samam
Pallavi: Kanaka sabhEsha jagadIsha naTana prakAsha 
rAgamAlika in sahanA. . . VarALi. . HusEni. .. nalinakAnti. .Sindhubhairavi. .

09 iduvO tillai sindhubhairavi gOpalakrishna bharati

10 kanDu dhanya nAdhe behAg Adhi mOhanaviTTala dhAsa

11 gita du niki dhiku thillAna dhanashrI Adhi swAthi thirunAL

12 nI nAma rUpamulaku mangaLa sourAshtra Adhi thyAgarAja

Being the first concert after a month long sabbatical, I was all energetic. Cut short my Ugadi celebrations at my hometown, rushed back to listen to Sanjay as I knew the evening would be a blockbuster.

At the end, the concert represents a subtle theme. Rama praised through the eyes of his relationships- jAnaki, his subjects and lord Shiva. Lucky are those who lived to see rAma in their mortal form. Thanks to tyAgarAja for such gems which helps us to relive those days through his music. The main part of the concert was completely consumed by tyAgarAja compositions. Who else could have done justice in praise of lord rAma. Kudos to Sanjay for presenting in this theme.

And this is a firm footed assurance that on any evening Sanjay can deliver a 100 / 100 concert. On a very hot summer evening, he was still energetic to run another show of 3 hrs at the end of this concert. Only audience had drained out their energy through the evening. 

The sound engineer did a fantastic job of producing demon less sound throughout the evening. The backdrop of the stage has a fresh look of embossed carvings inspired by Mysore royalty. Kudos to the team that has organized this festival. With such glitch free 2 continuous days, I’m sure RSM is the place to invest the evenings of next 29 days.

206 Apr 03 - LecDem on Papanasham Sivan Compositions by Dr.Radha Bhaskar and Smt.Gayathri.Girish

The key points from their LecDem

Sri. Papanasam Sivan is a post trinity vAggEyakara and is also called as Tamil tyAgayya.

The similarities between both saint TyAgayya and Sivan are

•  Both have their own Ishta dEvata and composed a lot of songs on them. Rama for tyAgayya and kApAlishwara and karpagambAL for Sivan. 

(I would also feel even Thiruchendur muruga should be also sivan's ishta devata if we see the number of compositions on thiruchendur muruga.)

• Both are known for their personalized form of bhakthi as exhibited in their kritis.
• Both composed a lot of medium tempo kritis
• Simple, easy to understand style and language is lucid, conversational type so simple a layman can connect himself with their songs.

But the greatness of sri. Sivan is he followed what trinity composed but improved his own. He didn’t follow tyAgarAjA’s pattern on melody aspect tyAgarAja composed both anu pallavi and charanam in same melodic pattern. repetetion of anu pallavi melody in charanam also Sivan didn’t follow tyAgarAja but he followed MD. He used different melody for his charanam which brought a freshness.

He also composed many kritis, kIrtanAs, varNas and few tillAnas. he also composed two operas.

1.RAMACHARITA GEETHAM

2.KARAIKAL AMMAYAR( A SAIVA NAYANMAR)

The duo presented two songs

1.Ka Va Vaa( varali)

where sivan used different tunes for each charana.

2.Tiruparam kundra vela(hindolam) where the anu pallavi and charana are of same melody , similar to tyAgarAja utsava sampradAya kritis.

As they explained sivan has exhibited more personalized form of bhakthi in his compositions. It is more like a conversation between sivan and god..

Different type of bhakthi expressed by sivan

1.Nayaki Nayaka bhavam: In his varnams (Ex: Nattakurunji pada varnam)

2.Thai Chey bhavam (mother and son affection) (Amba nI irangavidil, pArvati nAyakane charanam)

3.Self pity (Pilla puliyar_Maya malava golwla,Pirava varum :Latangi)

4.Smaranam:remembering god always( Tirupathi Venkata Ramana)

5.Saranagathi( srinivasa thava charanam)

6.Nindha stuthi (GG presented a beautiful suruti song “ pichaiku vandeero) explaining about the bikshadanar kolam of kapali)

Melody aspects:

While following the foot step of trinity, sivan has his own imagination and improvisation with the boundary.

He has brought the rakti raga aspect/identification in the first phrase of the song it self. Rakti ragas are identified by typical phrases.

rItiguLa: padamararinai

kAnada: kAnthimathim annayaye

kEdAragauLa: samiku sari evvaro.

sahAna: chittam irangadenaiya. the key note rishaba is appearing in first phrase itself.

In mainly varali “ ka va va” it dwels on gandharam then lands through rishaba then shandjamam.different from mamava meenakshi of MD and kamakshi varali of shyama shastry where the gandhara lands to shandjamam directly..

In todi keertanai kundra kudi vela he built sangatis step by step.

In Adum deivame the sangatis at adum brings a dancing effect.or oscillating sangatis at adum( dancing)

Sivan compositions in rare ragas.

BImplAs: kannan Madura idazhai

valaji: pAdame thunai paramasiva

Shivaranjani: on lord ganesha :tharunam idahiya

tilAng: sri ganesha charanam

Sivan like tyAgarAja swami has composed 20 keertanais in karaharapriya. Please note MD and shyama sastri never composed any in karaharapriya)

Both artists on stage demonstrated 3 kIrtanAs in karaharapriya bringing the uniqueness of each. Sivan present new approach to karaharapriya, used different tempo, and kalapramanam.

1.senthil andavanan

2.srinivasa thava charanam: he used 2 kalai

3.illai endra sol ondrum mattum vendam: this is in tisra nadai. This song was composed on faith in god, counter to atheist movement which was dominant in 1950 and 1960 in Tamil Nadu.

Sivan also composed songs with swarakshara.

Samagana lolane

Sada

Parvathi nayakane charanam

Ma ramanan

Mahalakshmi jagan matha

Sivan also composed madhyama kala kIrtanAs like muthuswamy dikshitar.

Tharunam idaiyya

Isane (chakravaham)

He also presented enitire charana in madhyama kala, karpagame in madhyamavathi. Like MD’s kanjhadAlayatAkshi.

Sivan also composed swara sahithyam like shyama sastry.

 Example samaja varagamanan in madhyamavathi

Sivan also composed songs in different kalapramanam. He took same raga hindolam and composed songs in

Vilamba : ma ramanan. Here the jArus are more prominent like Hindustani music than gamakas.

Madhyama : samagana lolane,here gamaks are more prominent

Duritha: nambi kettavar evarayya

The different kalapramanams helps to reveal gamakas in different dimensions. The minute details of the raga portrayed differently in different tempo.

Sivan also composed two songs in keravani with entirely different approach.

In karunakarane siva sankarane he dwells more on the stability of shadjamam.

But in devi neeye thunai he never touches adara shadjamam even once,, dwelling more in rishabam then moved to thara stayi..

Sivan composed around 50 songs in Sanskrit. He used very simple words even a common man can understand. He was a upadhyaya in Sanskrit and he has compiled a Sanskrit dictionary.

Artists presented

1.narayana hari nayaka :sama

2.sri madhava vasudeva: behag

Sivan also composed songs with appreciation in grammar aspects.

Annaporneswari : bhairavi, the last words of each line are rhymic

Sri visvanatham baje : the last words of each line is rhymic

In thava charanam mama charanam song the second word of each line is rhymic

Sivan also composed a lot of tamil Sanskrit mani pravalam songs, the both languages seamlessly mixes much like tyAgarAja utsava sampradaya kitis where he seamlessly mixes telugu and Sanskrit.

Sivan like tyAgarAja used edupu as a tool to bring different internal structure or flow. He used different edupus to bring different internal structure or flow.

sama eDupu examples 

Padame thunai paramasiva

Unnai alal( kalyani)

½ edupu

Pirava varam

Ksherasagara sayana

atIta eDupu  (occurs after samam point of tALa)

¾ edupu Sri ganesha saranam

1 ½ edupu : sri madhava vasu deva

2 kalai ½ Edam : saravana bhava guhane

anAgata eDupu  (occurs before samam point of tALa)

Sivakama sundari

His versatility and depth of knowledge in various tALAs was also demonstrated by highlighting a krithi in various tALAs.

Tisranadai rupakam : Venkata Ramana

Kanda chapu : thanikai malai kumara

Misra chapu : mahalakshmi jagan matha

Both Artists presented a tillana in behag together

Sivan also composed songs on natrue, tamil language speciality, in praise of tamil language, freedom movement and patriotic songs.

He has composed pamalaiku enai undo in praise of subramanya bharathi

He has acted in 4 films and composed lot of classical songs as film music

Sivan famous songs

1.krishna mukunda murare : MKT in sivakavi

2.giridara gopala by MSS in meera

Conclusion

The composers like sivan has composed lot of songs which forms pillar of carnatic music. If any rasika wants to appreciate a raga tODi or shankarabharanam he can listen to songs of composer like sivan as they have frozen or codified the raga in those compositions for posterity.

The compositions form the context of music for structure and melody. Artist’s appeal was instead of simply listening to a song please go in deep and analyze the same which will enhance your enjoyment to multitude.

Art is always greater than Artist. The raga exploration is journey towards a mirage as u won’t reach the destination.