Marukela oh Ragava
The
greatness of certain compositions have to be savored thus:-
Different
shades of Marukela oh Ragava from the musically superb to melody-wise soothing
to mentally sublime to movie world's superficial versions, all give something
substantial to the ears because the composition is so well aesthetically carved
out.
GNB with his
briha popularised it in his concerts and bequeathed the talent to MLA who too
imbues it with her own brihas and Kalyanaraman who renders superbly (recording
is poor) but slightly nasal brihas.
https://youtu.be/DcJHxJNlPBg -GNB
https://youtu.be/rwaYg_mN-8s - MLV
- S.
Kalyanaraman
Dr.M.
Balamuralikrishna the master perfectionist revels in the meaning of the lyrics
in addition to his superb natural briha and sense of scale.
Maharajapuran
Santhanam, the best, as for this Keerthana is concerned seems to savor the
spirit of pleading in pleasant chowka kalam or slow speed ) soulful with his
full throated superb rendering.
Unnikrishnan
loves the lullaby style.
Pleading is
gender neutral and gets immortalized in Parasuram's swaras and at times flows
fast, at times smoothly and at times cascades like the Narmada river through
the shining colorful marbels of kalpana swaras.
Charulatha
Mani makes a neat pleasant presentation.
Kadri
Gopinath because of the key based wind instrument cannot venture into too much
of intricate nuanced gamakas and hence renders a version suitable to the
instrument.
In Nadhaswaram
any pain or all pains can vanish away through the alapanais of this unique
instrument and here you have a master piece in the Alapanai of Marukelara by
Sheik Chinna moulana.
The
pleading is aired through the holes of a flute of Ramani sir.
Lalgudi's
bow which doesn't move away from the strings (even through a full three hour concert)
bows to every good style and supplies the best of all versions in instruments.
Kunnakudi
Vaidyanathan plucks any composition from the strings of his flamboyant
confidence and control over instrument and bridges the gap between diehard
purists and melody loving average listener and make all bow to his
gimmicks.
In Veena it
can scale different pitches and speeds without compromising on any minute
gamakas.
Man's dole
of pleading is grace then through this composition it gracefully and fully
glides fast in the Mandolin too.
The
composition is amenable to numerically measured playing in Guitar too because
of the symphonic structure of its notes.
S. Janaki in
to the film in order sync with emotions of the scene swings from the throat
choking huskiness to the impatient shrill.
In the
Telugu Saptapathi the song surges behind the pillar of emotions and eyes for
the attention of the viewers.
In the movie
kaasi the emotional rendering of grief takes one to kaasi.
It can cross
the oceans and dance to yoyo of human aspirations and inspirations as in Yoyo
TV productions.
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