OliChamber Concert


Just a few random thoughts ….

getting to know through the HINDU paper of this chamber-concerts in Chennai, having tried/planned/failed 2 times, got lucky 3rd time around and made it to last evening’s show

always made it a point to attend Pongal nadaswaram (south indian oboe) festival at KrishnaGanaSabah, more for the ‘intimacy’ as we would be hardly 30-50 in numbers, but last evening’s certainly beat that too, though the artists were not too familiar (to me) – great setting, brought both the music and the art-form ‘closer’ for sure – the oil lamps on a platform just around the stage reminded me of paraffin-lamps lit up in the sands of the Sahara desert for a music festival that I went back in 2003 and a flowery stage made for a Carnatic concert in Budapest (out of sacred-reverence by the Hungarians); hard to find such stage decor here and it was wonderful to find that simple touch…of course SPACES, the place set up by dancer Chandraleka made it all the more special and not to forget that crisp intro, rightly in Tamiz language by Ms. Gowri – all for free admission ???? – amazing !!

This is a wonderful concept and certainly does give an interesting perspective on music and the form – and draws just enough connoisseur

I was also wondering, may be once in few months, if it could be experimented by having it in the morning hours, as they do with Hindustani music in north india…
also, though last evening’s ragas and krithis were common, may not be so every time and to everyone, so wondering if the artist could make it known just b4 every piece

Kudos to Olichamber team !

p.s. having attended more of these by now , starting to have more perceptions – even the artist featured has limitations/not reputed, these concerts leave a much higher ‘gratification’ than the ones by highly known artists in the sabah scenario; can feel the real essence of music as it indeed invokes ‘bakti/devotion’ in us. In short, the beauty of Carnatic-music stand taller than any other aspect; I’m sure it does a great deal to the artist too as he/she doesn’t have to stare at a dark-hall but can be ‘in touch’ with the rasikas all through, and that certainly help them ‘deliver’ a much better performance !

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