Rhythm takes centre stage

MUSIC
SEASON
THE CHENNAI DECEMBER FESTIVAL ● WEDNESDAY, DECEMBER 31, 2008
Unnikrishnan
Winsome
package
page 2
Sangeetha
Swaminathan
In absolute control
page 5
Raji Gopalakrishnan
Gripping,
unhurried gait
page 6
Rhythm takes centre stage
Panchavadyam, led by Karaikkudi Mani, will be presented at the Music Academy tomorrow.
CHITRA SWAMINATHAN
‘M
eltdown,’ a dreaded term in
economy, has an elevating
import in music. Imagine
the creative boom when
egos, walls and rigid musical structures meltdown.
‘Panchavadyam’ is an outcome of
such an artistic surge. It is a concert
that will present five eminent percussionists collectively on a prestigious platform.
A concert that will bring down the
curtains on the Music Academy’s
Margazhi music festival even as it
salutes the New Year with resonant
beats.
Conceived by mridangam maestro
Karaikkudi Mani, ‘Panchavadyam’ is
a coming together of mridangam
(Karaikkudi R. Mani), tabla (Bikram
Ghosh), thavil (Thirupungur T.G.
Muthukumaraswami),
chendai
(Mattanur Sankaran Kutty Marar)
and pakhawaj (Ravishankar Upadhyay).
“It sums up my efforts of many
years to accord percussion instruments the respect they deserve. Accompaniment is just one aspect; if
their ability is tapped well they can
occupy centre stage. After all, if tala
is the heartbeat of music, tala vadyams are its lifeline,” says Mani emphatically.
Instead of tedious jamming sessions, ‘Panchavadyam’ will provide
ample space and time to each artist
If tala is the
heartbeat of music,
tala vadyams are
its lifeline.
This is essential to rejoice rhythm
and not make it jarring on the ear.”
Karaikkudi Mani has created a buzz
in the beat street with his unique
style, inventive albums and musical
exchanges with western composers,
instrumentalists and orchestras.
Thanks to him, mridangam is on
a global roll, yet his faith in classicism is unshakeable.
“Time and again I have proved
the all-time appeal of the classical
style. ‘Panchavadyam’ is another
such attempt. There will be no
place for gimmicks in it. Perform
from the heart, perform authentically… and you can hold the audience in a mesmeric spell.”
This is probably the first time the
Music Academy is hosting a musical ensemble in the prime time
(evening slot).
Says Mani, “An honour indeed.
More so for the instruments. A
pure percussion kutcheri can be as
enjoyable as a vocal recital because
it also has emotion, melody and
composed pieces. It is not that you
just play whatever comes to the
mind. A lot of planning and imagination go into successful tal-vadya
kutcheris.”
Pandit Ravishankar
Thirupungur T G
Bikram Ghosh
Karaikkudi Mani
Mattanur Sankaran Kutty
Elaborating further on the chalUpadhyay
Muthukamaraswami
Marar
A dynamic tabla artist, he
The mridangam maestro,
lenges of such concerts, Mani
has performed widely in
who has been in the music
He hails from a family of
He is known for his
His name is synonymous
India
and
abroad.
He
trained
stresses
on laya and sruti shuddfield
for
over
50
years,
is
musicians.
A
well-known
powerhouse performances
with the chendai. He began
under his father Pandit
known for his unique rhythm
solo and accompanying
on the thavil and the
ham as also a deep understanding
playing as a young boy
Shankar Ghosh. Besides
sense and innovative
artist, he has been teaching
traditional flourishes. Based
at temple rituals. He is
of the technical aspects.
several well-received
experiments. Guru Mani has
for 18 years. At present,
in Mayiladuthurai, he is a
also a frontline drummer
albums to his credit, he
collaborated with several
“It has to be the sound of the
he is a professor at
regular at temple and
at Thrissur Pooram,
leads the band
international artists and
the Kathak Kendra in
cultural festivals in the
an honour he values
soul, not sound of fury,” laughs
Rhythmscape.
orchestras.
Delhi.
region.
the most.
Karaikkudi Mani, proving his point
ram for mridangam and sankeer- with a few characteristic strokes on
to showcase the speciality of his veteran.
For the five instruments, he has nam for thavil.
instrument through individual
the mridangam.
style. “After playing to our own chosen five rhythmic tempos –
“In the solo segments, artists will
‘Panchavadyam’ will be presentbeats, we will finally converge to chatusram for pakhawaj, khandam stick to their individual scale as ed on January 1, 7 p.m., at the
create one sound,” explains the for chendai, tisram for tabla, mis- also the tempo that suits them. Music Academy.