‘Dhrupad and Krithi’
‘Dhrupad and Krithi’ I presented at the Kerala Fine Arts Society during a Seminar organised by Kerala Sangitha Nataka Academy in the presence of the Dhrupadias, of Gundecha Brothers(Umakanth-Ramakanth), Kavalam Narayana Panicker and the Carnatic vocalist, Vijaya Lakshmi Subrahmaniam, on 29-8-2002.
‘We in the South, can, in my humble opinion with advantage borrow Dhrupads which some of the krithis of Dikshithar resemble.’ These words by late G.N.Balasubrahmaniam B.A.(Hons) or GNB , who is considered a trail-blazer in the realm of Carnatic music.He further states, ‘Carnatic music and Hindusthani music are brothers from the same stock and differences are only there in the interpretation, classification and treatment of swars.’ In the form and rendering of both Krithis and Dhrupad (Dhruvapadas), there are many points of semblance. Both are almost introduced with raga-alap and in the interpretation of musicians of them, ample opportunities are given for the artiste’s Manodharma or improvisation according to certain fixed principles and in a particular pattern and also with the tacit understanding that the words of the compositions should not be shifted form their original place in thr rhythmic setup of the piece. Thus both the Krithi and Dhrupad are examples of a musical form, which combines Kalpitha and Kalpana aspects. It is indeed a great pity that such a classification and musical form of composition, has, of late lost its ground and appeal with the general public and more so with musicians. Possibly the history of Hindusthani music might have been parallel to the South Indian or the Carnatic, had the Dhrupad been kept up as its counterpart in the South.Coming back to Dikshithar and Dhrupads, his compositions considered as prabandhas in general and those like Chethasree (Dwijavanthi), Meenakshi memudam (Poorvikalyani),Jambupathe in Yamunakalyani and so on have a pronounced Dhrupad influence in them.
Though my knowledge in Dhrupad is very limited, it was by listening to Daggar brothers my interest init was focussed more directly than ever before. I am thrilled to learn that they will be performing at the Music Academy, during this 32nd conference (1958) in which I have been honoured with the Sangita Kalanidhi title.
In this context I wish to make a few remarks about the multifaceted royal –composer Swathi Thirunal who has created Dhrupads. His medium of expression is astoundingly the Northern Vraja Bhaasha that has also the traces of Dakhinee used in ancient devotional hymns of the South as well. My request is that an attempt should be made to unearth and render them by noted Dhrupad singers who display amazing control in voice to produce glides, graces and shades of ragas”.
‘We in the South, can, in my humble opinion with advantage borrow Dhrupads which some of the krithis of Dikshithar resemble.’ These words by late G.N.Balasubrahmaniam B.A.(Hons) or GNB , who is considered a trail-blazer in the realm of Carnatic music.He further states, ‘Carnatic music and Hindusthani music are brothers from the same stock and differences are only there in the interpretation, classification and treatment of swars.’ In the form and rendering of both Krithis and Dhrupad (Dhruvapadas), there are many points of semblance. Both are almost introduced with raga-alap and in the interpretation of musicians of them, ample opportunities are given for the artiste’s Manodharma or improvisation according to certain fixed principles and in a particular pattern and also with the tacit understanding that the words of the compositions should not be shifted form their original place in thr rhythmic setup of the piece. Thus both the Krithi and Dhrupad are examples of a musical form, which combines Kalpitha and Kalpana aspects. It is indeed a great pity that such a classification and musical form of composition, has, of late lost its ground and appeal with the general public and more so with musicians. Possibly the history of Hindusthani music might have been parallel to the South Indian or the Carnatic, had the Dhrupad been kept up as its counterpart in the South.Coming back to Dikshithar and Dhrupads, his compositions considered as prabandhas in general and those like Chethasree (Dwijavanthi), Meenakshi memudam (Poorvikalyani),Jambupathe in Yamunakalyani and so on have a pronounced Dhrupad influence in them.
Though my knowledge in Dhrupad is very limited, it was by listening to Daggar brothers my interest init was focussed more directly than ever before. I am thrilled to learn that they will be performing at the Music Academy, during this 32nd conference (1958) in which I have been honoured with the Sangita Kalanidhi title.
In this context I wish to make a few remarks about the multifaceted royal –composer Swathi Thirunal who has created Dhrupads. His medium of expression is astoundingly the Northern Vraja Bhaasha that has also the traces of Dakhinee used in ancient devotional hymns of the South as well. My request is that an attempt should be made to unearth and render them by noted Dhrupad singers who display amazing control in voice to produce glides, graces and shades of ragas”.
posted by jayan | 4:35 AM
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