Old compositions in new form retain the magic

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Follow us:WhatsappFacebookTwitterTelegram.cls-1{fill:#4d4d4d;}.cls-2{fill:#fff;}Google NewsIt was a gala album release function at Krishna Gana Sabha recently. The album titled ‘Hymns to the Goddess’ conceived and produced by vocalist Saashwathi Prabhu, is a spiritual and melodic presentation, consisting of songs in praise of the divine mother, originally composed, by great saints such as Dikshidar, Purandaradasar, Subramanya Bharathiyar and a few other contemporary composers.We are aware that the expressions of creativity are the most fundamental and complex attribute of the mankind, and that our ability to channel thoughts, and emotions into a tangible creations is unique. Everywhere, everyone, strive to find the means to express one self.These are our thoughts when we hear the ‘Hymns to the goddess’: the album, sims to bring out the classics of carnatic music compositions with their beautiful and spiritual essence. However, what seems to be unique is the concept.The songs are structurally classical, but the addition of western instrumentation gives a spiritually uplifting experience.The seven songs of this album are on the goddess, depicting her different personalities and manifestations in various forms. The songs are on Goddess Mookambika, Goddess Saraswathy, Goddess Mahalakshmi, Goddess Durga and Goddess Akhilandeswari. The seven songs reveal the artists’ nietzschean, to explore artistic vistas, though self-expressions which is an individualistic style.The orchestra with a host of instruments such as acoustic and distortion guitar, that are being aesthetically played to suit the melodic content of that particular piece, along with the piano, flute, drums, sitar, tabla, etc. to enhance the resonance of the rendition. The music has been arranged with an emphasis on oral expressions.The album opens with Bhagyadalakshmi of Purandaradasa in raga Madyamavathi, with the background vocal support of violinist Padmashankar. Her spirited rendition exhibiting a genre of music of classical temper.She moves to Akhilandeswari of Dikshidar in raga Dwajavanthi and explores music with a compelling clarity. The orchestra brings out the sense of proportions, giving it a distinctive contour.She renders Shri Jagadesswari in raga Ahir Bhairav with a fine impulse — a lesson for the youngsters in the field. On the whole, the blending of the tune with music is a treat to a listener.When Saashwathi Prabhu gave a carnatic concert at the beginning of the function, I had a feeling that the unspoiled traditions and musical culture over the decades will be maintained by the vocalists. She gave all a great experience in understanding the creative depth of vaggayakaras.first published:September 17, 2012, 10:08 ISTlast updated:September 17, 2012, 10:08 IST
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It was a gala album release function at Krishna Gana Sabha recently.

The album titled ‘Hymns to the Goddess’ conceived and produced by vocalist Saashwathi Prabhu, is a spiritual and melodic presentation, consisting of songs in praise of the divine mother, originally composed, by great saints such as Dikshidar, Purandaradasar, Subramanya Bharathiyar and a few other contemporary composers.

We are aware that the expressions of creativity are the most fundamental and complex attribute of the mankind, and that our ability to channel thoughts, and emotions into a tangible creations is unique. Everywhere, everyone, strive to find the means to express one self.

These are our thoughts when we hear the ‘Hymns to the goddess’: the album, sims to bring out the classics of carnatic music compositions with their beautiful and spiritual essence. However, what seems to be unique is the concept.

The songs are structurally classical, but the addition of western instrumentation gives a spiritually uplifting experience.

The seven songs of this album are on the goddess, depicting her different personalities and manifestations in various forms. The songs are on Goddess Mookambika, Goddess Saraswathy, Goddess Mahalakshmi, Goddess Durga and Goddess Akhilandeswari. The seven songs reveal the artists’ nietzschean, to explore artistic vistas, though self-expressions which is an individualistic style.

The orchestra with a host of instruments such as acoustic and distortion guitar, that are being aesthetically played to suit the melodic content of that particular piece, along with the piano, flute, drums, sitar, tabla, etc. to enhance the resonance of the rendition. The music has been arranged with an emphasis on oral expressions.

The album opens with Bhagyadalakshmi of Purandaradasa in raga Madyamavathi, with the background vocal support of violinist Padmashankar. Her spirited rendition exhibiting a genre of music of classical temper.

She moves to Akhilandeswari of Dikshidar in raga Dwajavanthi and explores music with a compelling clarity. The orchestra brings out the sense of proportions, giving it a distinctive contour.

She renders Shri Jagadesswari in raga Ahir Bhairav with a fine impulse — a lesson for the youngsters in the field. On the whole, the blending of the tune with music is a treat to a listener.

When Saashwathi Prabhu gave a carnatic concert at the beginning of the function, I had a feeling that the unspoiled traditions and musical culture over the decades will be maintained by the vocalists. She gave all a great experience in understanding the creative depth of vaggayakaras.