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K. Arun Prakash
FIRST PERSON
generation has done a lot,
but not enough. It has to be
a focused eort like a drastic
shock treatment, a wakeup
call. We have to propagate
and trumpet the greatness of
our music.
FIRST PERSON
Another important reason for the
birth of Nadamrta was my yearning
to learn. I select the topics and invite
presenters who are totally well-versed
and committed. There are numerous
aspects of music that need to be
discussed, explained: How to make
a korvai; how to do niraval; which
line or word to choose for niraval;
how to enunciate sahitya without
losing meaning and continuity; how
violin-play for niraval should sound
like niraval of the sahitya and not
like swara. The swara-singing styles
of the masters Madurai Mani,
GNB, Semmangudi, MDR can all
be discussed. When an expert talks
seriously, people are willing to listen.
Lalgudi Jayaraman said, The pallavi
Nadamrta,
an
experience
of
pristine Carnatic music, conceived
and founded by mridanga vidwan
K. Arun Prakash, was launched in
March 2010, at Chennai. An attempt
to showcase traditional Carnatic
music, the emphasis in the series
has been on lecdems and concerts
on old Carnatic raga-s and Trinity and
pre-Trinity compositions, shunning
contemporary insertions. A thinking
musician, Arun Prakash derived much
of his inspiration from his late father
L. Krishnan, a disciple of GNB, and
his mridanga guru M.N. Kandaswami
Pillai. The inaugural Nadamrta concert
was by T.M. Krishna, accompanied by
R. K. Shriramkumar on the violin,
Melakaveri K. Balaji on the mridanga
and B. S. Purushotham on the
khanjira.