T.R.Mahalingam - Flute (2002)

TR. Mahalingam


About this album

A child prodigy and musical genius were the special attributes to the flute maestro T.R.Mahalingam who mesmerized the audiences with captivating flow of melody from his flute. His was a total involvement into the musical experience when he played the raga elaborations with his fine sketches of bold and light shades; he kept his listeners as though under a magical spell. Equally proficient was he in aspects of Java (Rhythm). There was an exquisite touch of coolness that pervaded in his music, spreading and filling the arena. Such was the power of his musical expertise, which was filled with Bhava or emotion.

1. Patnam Subramania Iyer's lilting melody 'Raghu Vamsa Sudha' (Kathanakuthoohalam - Adi) extols Lord Rama as the moon of the ocean of Raghu Kula (clan) and glorifies his valorous acts as the King of Kings in the Surya Vamsa; the composer's signature is 'Venkata' or Sri Venkatesa.

2. Thyagaraja praises Lord Rama's virtues as glorified in the Vedas, in his kriti 'Entarani' (Hari Kambhoji - Adi). He says that whatever may come to him and go away, his closeness to Rama will never be reduced, just as the other deities like Siva, Adisesha, Vasishta and other Devas who came down to serve Him as Hanuman, Lakshmana, Counsellor and the Vaanaras respectively.

3. 'Ninnu Vina' (Navarasa Kanada - Rupakam) explains the varied ecstatic experiences of Thyagaraja on the vision of Lord Rama whom he refers to as the fruit of all his penance and meditation.

4. The extreme devotion to Lord Vishnu, Muthuswami Dikshitar addresses the deity with carried names like Mukunda, Madhava and Govinda and mentions the various virtuous deeds of the consort of Goddess Lakshmi, as Krishna in Gokula and as one who is lotus-eyed. The kriti 'Sarasadala Nayana' is set in raga Khamas and Adi tala.

5. 'Paridhanamichithe' (Bilahari - Khandachapu) is a well-known kriti of Patnam Subramania Iyer, questioning Lord Venkatesa, the ultimate Supreme, over the lack of grace on this devotee who says that probably if some wealth is given to the Lord, he could obtain His Grace; but, he adds that he is neither Kubera to do that, nor Janaka or Sugreeva to offer a maiden or the army respectively to secure the blessings of the Lord.

6. Thyagaraja highlights the importance of the chanting of Rama nama and the bliss attained through that; he glorifies the name of the Lord as that which helps men cross the bondage of life and further praises those that are blessed by singing the Lord's name musically and intently with a fixed and pure swara, in this kriti 'Sukhi Evaro' (Kanada - Adi).

7. With the underlying note of Madhura Bhakti, Thyagaraja seeks protection from Lord Rama, the great one, who has taken care of him from his early days. 'Chinna Naade' (Kalanidhi - Adi) refers to the superior charm that the deity extends to his ardent devotee.

8. 'Paramathmudu' (Vagadheeswari - Adi) a composition of Thyagaraja, brings in the powers of Supreme Lord Rama who manifests Himself in everything and everywhere in the innumerable worlds; thus speaking of the all-pervading force of the deity who constantly dwells in holy devotees like Thyagaraja.

9. The short lyrical songs known as 'Javalis' are endowed generally with erotic emotion and suited much for a Bharatanatyam recital, and also sung in concert platforms. Dharmapuri Subbarayar, the well-known Javali composer, a close associate of the famous Veena Dhanammal is said to have composed several of his Javali pieces in the musical atmosphere of Dhanammal's house. 'Sakhiprana', (Senchuruti - Adi), a Javali forms a fitting conclusion to this album. It has beautiful lyrics with fine feelings of love expressed therein.


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