Nalli chinnasami chetty online dating

aarvalan ([email protected]) For more photos : the one-stop destination for the latest news and information on the performing arts of India - classical music and dance, theatre, bhajans, discourses, folk performances, and other lesser known art forms.

Institutions that revolve around the performing arts have exploded in numbers, and thanks to the Internet which has made information easily accessible, the number of rasikas has grown too.

Corporate patronage has played a big part in increasing the world-wide reach of the Indian arts.

What carried more conviction in the song’s rendering was the kaalapramaanam that he chose which reminded very much of the vocal-rendering style. This is a scale that varies from Kalyani by just one swara. But the raga (Dharmavathi) when played in its alapana form, never gives you a hint of Kalyani.

The entire gamut of Dharmavathi was on display with ample stress on the Gandharam that distinguishes it from Kalyani in the hands of Kothandaraman.

Though the support Nayana Vidwan, Palani, began the alapana proceedings, Kothandaraman quickly took charge and maintained the tempo, heightened the bhava aspects of this raga and played like an accomplished vidwan. Karpooram Narumo a lovely piece in Khamas (Naachiyar Thirumozhi), where the Azhwar talks to the conch held by the Lord, occupied one’s mind fully as it was perfectly rendered.

And the Kaanada alapana that followed, perhaps suggested a listener’s request - Alai Paayudhe. What came up was Brihadeeswara Mahadeva, a composition of Mangalampalli Balamuralikrishna(MBK).

One had only heard Nookalla Chinna Sathayanarayana, a voice-alike of MBK, render this song.

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Kothandaraman acquitted himself creditably while playing this number with all its gamakas and sangathis.

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