The concluding session of day certainly one of The Huddle 2020 started with a tune. Two artistes — Anil Srinivasan, pianist and educator, and musician Sikkil Gurucharan — opened their act, aptly titled “Between jazz and Jaunpuri: finding music’s middle ground”, with an attention-grabbing medley of poetry and music.
Beginning off with a composition by 15th century poet-saint Arunagirinathar’s Nada Bindu Kaladi Namo Namaha, a tune in reward of Lord Muruga, and segueing into Ave Maria and a poem on Allah, each by poet and freedom fighter Subramanya Bharathi, Srinivasan and Gurucharan set the context for his or her session.
With an intent to current music that was common in its spirit and enchantment, the session reiterated the pursuit and risk of a number of truths. “There’s your truth, and then there’s mine,” mentioned Srinivasan reinforcing music and its potential to allow and nurture a number of, significant and truths which can be manifold.
In opposition to the backdrop of the polarised world of in the present day, Srinivasan made a press release about how as musicians, they [referring to himself and to Gurucharan] had been neither left nor proper. “We walk the middle ground because music is after all about compassion and if there is any side that requires for us to be on it, the best way to do it would be by expanding our empathic universe.”
The 2, who’ve collaborated for over a decade now and always created music that marries the classical and the modern in a approach that the general expertise is genre-bending, laced their session with attention-grabbing items of music that helped exhibit the very thought of the center floor.
Srinivasan spoke in regards to the very magnanimous nature of music and the way, in a way, it doesn’t belong to anyone place, area or group that may, subsequently, declare possession of it.
They demonstrated this concept of inspiration, layering and universality with Srinivasan enjoying a bit of verse of the nationwide anthem of the UK, God Save the Queen.
Gurucharan went on to current how that melody manifested itself in a composition known as Santhatham Paahimam by Muthuswamy Dikshitar, one of many Trinity within the Carnatic music repertoire, approach again within the early 19th century.
“Thank god we didn’t have Twitter then,” mentioned Mr. Srinivasan drawing consideration to how audiences in the present day had maybe misplaced the power to benefit from the music purely for its magnificence and sentiment.
Making references to the music of the blues, jazz and its relevance, the journey of Tamil Isai, and Frederic Chopin and traversing via all of them, with ease and conviction, Mr. Srinivasan and Mr. Gurucharan demonstrated the premise and philosophy of music, at massive.
“We are, after all,” mentioned Mr. Srinivasan, “just one community and we need to allow music to speak to ourselves and to others.”