Geetha Rashmi (Only 1 Copy Available)

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Preface

Creativity sometimes blooms as a poem, a dance, a painting or a sculpture. Anything that comes out spontaneously is a bit more natural, than that which is purposefully written. Such spontaneous creations of mine, meant for Karnatic classical musicians and dance choreographers, have taken the shape of GEETHA RASHMI.

A vaggeyakarti is one who blends her creativity in musical notations with her ability of writing verses. With my flare for both Sahitya and Sangeetha, I started making musical compositions like kritis and keertanas way back in 1980. I am thankful to Dr. Tulasi Ramachandra noted danseuse of Mysore, for inducing me to compose Padavarnas, Varnadarus and Sabdams in Kannada. My experience of singing for her dance performances for around five years, helped me to understand the requirements of a dance recital, the need for introducing nade bedhas and mythological episodes for 'bhavabhinaya'.

My Padavarņas Swamiya Karetare, Anandanatana and Seetaramara Sundara Carite; varņadaru Tripura bhairavi; ragataļa malika dasavatara kriti Stutipe ninnanu are all in kannada and have been rendered in my first double cassette album Geetha Sindhu, along with other kritis and keertanas.

Among the variety of musical compositions, my first love is for Thillanas. I have always enjoyed composing and singing them. Twelve of my thillanas have been rendered in my second audio CD Geetha Madhuri. I have contributed two new ragas Deepa Darsini and Jaya Simha to Karnatic music, through these audio albums.

This third audio album Geetha Rashmi has twenty three new compositions of mine. The dhyana sloka on Sarasvati (5 verses) is set to an audava raga Hamsadhvani with the idea that swan (hamsa) is her vahana and each verse can be begun with one svara of the raga ie., SRGPN.

The svarajati in Pharaz on Rama, is suitably composed for beginners. The Ragamalika Sampūrṇa Ramayana Sabdam is one among the very few in Kannada which gives scope for presenting the epic in a short time.

Compositions like Janardanam (Ataņa kriti) Yendu bidade (Amrtavarsiņi kriti), Yenge nee maraindai (Tamil padam). Kalyaņa (Kuranji), Karava mugiyuve (Surați), lksvaku vamsa (Sabdam) and Taļalara Krsna (Ragamalika) were included in my first collection of dance oriented musical compositions Nūpura, published in 1993, in book form.