Dr. Shrikaanth K Murthy
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Thanks ramakriya for the glimpse. I am still waiting to receive my CDs!
Though I am not a scholar in CM at your level I have an equal enthusiasm as a Rasika of DRS. His sahityams are very informative, musically pure and educational. May I invoke your help to understand the kannada/sanketi compositions so we can enjoy the music here along with the meanings?
Though I am not a scholar in CM at your level I have an equal enthusiasm as a Rasika of DRS. His sahityams are very informative, musically pure and educational. May I invoke your help to understand the kannada/sanketi compositions so we can enjoy the music here along with the meanings?
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srinivasrgvnsrinivasrgvn wrote:CML, an album review will definitely come from me, after a few weeks. And, Rajesh will review it too. His analysis will be better than mine, I am sure. But, you are assured of 2 reviews at least!
Let us do this , you have the cds and I have the cds. We both have not opened the cds yet .Let us first listen , review that, keep it in our notepad . Let us call each other,post each of our reviews in succession without either of us reading the other. All compositions are new let us see how our tastes match-mismatch with DRS compositions, neither of us should not read the other review. Either this week or the 2nd week from now . I will keep it ready. Nice seeing you yesterday.
Last edited by rajeshnat on 27 Nov 2009, 07:12, edited 1 time in total.
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nAchArA AmbAm = To mother nAcAramma
namAmhyaham = I venerate
shrI
narasimha dEva bhaktAM = devotee of Lord narasimha
shAntAm = one who is peaceful
AchAra sampradAya dIpikAm = One who has established a (new) way of conduct (AchAra)
avalaMbita jana mArgadIpikAm = lighting a new path to the trusting followers [1]
ganDIchIra pravartikAm tAM = One who introduced the new distinct way of dressing the sari (known as gaNDI chIra) [2]
khAMdIkRta matsarayuta kupanDitAm = One who castigated the jealous evil-minded scholars(kupaNDitAm) [3]
sakalA shAstra vidyA vishAradAm = A scholar versed in all shAstras
sangIta nRtya sAhityAmudAm = One who is pleased by music/dance/literature
akaLamkAm = the spotless one
svayamEva shAradAm = who is the incarnation of Goddess sarasvati
Anandita shrIkanta kRti padAm = one who is pleased by the verses of shrIkaanta
prakaTIkrta jyOtishmatI phalAm = Who exposed the (effects) of the jyotiShmati fruit [4]
prabalIkrta sankEti varakulAm = Who made famous the 'sankEti' clan of followers.
vikalIkrta bhaktAgha kaShmalAm = one who removes the sins and faults of the devotees
vividha varadAna chaNa padakamalAm = one who is an expert in granting various boons (to devotees prostrating on her lotus feet)
For clarification of the historical details in [1] to [4] consult the references given above. Perhaps ramakriya can enlighten us concisely these historical details which refer to the evolution of the sanketi community who count themselves in about a million spread all over SI and many who are prosperously established in several parts of the world.
namAmhyaham = I venerate
shrI
narasimha dEva bhaktAM = devotee of Lord narasimha
shAntAm = one who is peaceful
AchAra sampradAya dIpikAm = One who has established a (new) way of conduct (AchAra)
avalaMbita jana mArgadIpikAm = lighting a new path to the trusting followers [1]
ganDIchIra pravartikAm tAM = One who introduced the new distinct way of dressing the sari (known as gaNDI chIra) [2]
khAMdIkRta matsarayuta kupanDitAm = One who castigated the jealous evil-minded scholars(kupaNDitAm) [3]
sakalA shAstra vidyA vishAradAm = A scholar versed in all shAstras
sangIta nRtya sAhityAmudAm = One who is pleased by music/dance/literature
akaLamkAm = the spotless one
svayamEva shAradAm = who is the incarnation of Goddess sarasvati
Anandita shrIkanta kRti padAm = one who is pleased by the verses of shrIkaanta
prakaTIkrta jyOtishmatI phalAm = Who exposed the (effects) of the jyotiShmati fruit [4]
prabalIkrta sankEti varakulAm = Who made famous the 'sankEti' clan of followers.
vikalIkrta bhaktAgha kaShmalAm = one who removes the sins and faults of the devotees
vividha varadAna chaNa padakamalAm = one who is an expert in granting various boons (to devotees prostrating on her lotus feet)
For clarification of the historical details in [1] to [4] consult the references given above. Perhaps ramakriya can enlighten us concisely these historical details which refer to the evolution of the sanketi community who count themselves in about a million spread all over SI and many who are prosperously established in several parts of the world.
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A million is a very high number in this context - Although I don't have exact number, something between 50,000 to 100,000 might be a realistic estimate.cmlover wrote:the evolution of the sanketi community who count themselves in about a million spread all over SI and many who are prosperously established in several parts of the world.
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While we are celebrating Shrikaantha, I spoke to someone who is a thousand times prouder than all of us put together--his mother. She was delighted that Dr. Sathyavathy took up his kharaharapriya kruthi and elaborated on it. A sublime main it must have been.
While I agree that several of us are cheerleaders here on the RasikAs and get carried away sometimes, DRS is truly something else. So young and yet so mature in his learning and in his compositions. If you think of him as our modern MD, his knowledge of tamizh would surprise you more.
Let's hope there will be tamizh songs too, coming from tiruvin maNALan, sahAnA priyan
While I agree that several of us are cheerleaders here on the RasikAs and get carried away sometimes, DRS is truly something else. So young and yet so mature in his learning and in his compositions. If you think of him as our modern MD, his knowledge of tamizh would surprise you more.
Let's hope there will be tamizh songs too, coming from tiruvin maNALan, sahAnA priyan
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...and pruthvee rAjan
Yes he is a polyglot as his knowledge of Tamil is superior. He has of course composed in Tamil and of late in Malayalam as well. We know a doctor has to know many tongues so he can cure illness universally. He is one step higher since he knows the language of Music which is universal!
Nice to hear you talked to Padmini Amma who must be very proud that her son's talents are getting recognized. We should all be grateful to her for laying the foundation.
By the by you should also get one of your songs tuned in rItigauLai which is a bewitching raga!
Yes he is a polyglot as his knowledge of Tamil is superior. He has of course composed in Tamil and of late in Malayalam as well. We know a doctor has to know many tongues so he can cure illness universally. He is one step higher since he knows the language of Music which is universal!
Nice to hear you talked to Padmini Amma who must be very proud that her son's talents are getting recognized. We should all be grateful to her for laying the foundation.
By the by you should also get one of your songs tuned in rItigauLai which is a bewitching raga!
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Many thanks ramakriya!
So I goofed mistaking Kannada for sanketi
Please tell us when nArIritigaulai separated from rItigauLai. Of course Thyagaraja composed only in the later version of rItigauLai. It will be nice if Arun participates and sets the historical records right.
I meant DRS has MD style only as far as the sanskrit kritis aree concerned. His Kannada kritis are daasar style only since he is equally an expert in that area.
Can you tell us (or provide a link) about ShishunaLa Sharief?
We are counting on your help to understand the rest of kannada/sanketi compositions of DRS!
So I goofed mistaking Kannada for sanketi
Please tell us when nArIritigaulai separated from rItigauLai. Of course Thyagaraja composed only in the later version of rItigauLai. It will be nice if Arun participates and sets the historical records right.
I meant DRS has MD style only as far as the sanskrit kritis aree concerned. His Kannada kritis are daasar style only since he is equally an expert in that area.
Can you tell us (or provide a link) about ShishunaLa Sharief?
We are counting on your help to understand the rest of kannada/sanketi compositions of DRS!
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Some info about ShishunaLa Sharrief:
http://wp.me/p3hkb-5
http://wp.me/p3hkb-6
-Ramakriya
http://neelanjana.wordpress.com/2007/09 ... %E0%B2%BF/
http://wp.me/p3hkb-5
http://wp.me/p3hkb-6
-Ramakriya
http://neelanjana.wordpress.com/2007/09 ... %E0%B2%BF/
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Here is a review of the CDs of DRS by Sandhya Vinjamuri the daughter of the noted CM savant:
http://launch.groups.yahoo.com/group/ra ... sage/32354
This review has appeared in the sangeethapriya.comDear Rasikas,
It was kind of Dr. ShriKaanth Murthy to have got his CDS sent to me. Here is a short writeup that he richly deserves. I hope that the rasikas will do well in obtaining the CDs to listen and encourage the young, talented first RasikaPriya awarded Rasika.
The first CD is not heavy classical in the way they were sung (without Ragam, swaram etc.) by Vidushi TS Satyavathi and her disciples. The songs were arranged in a male , female alternative voices with a short introduction about the raga. Dr.SM introduced a few apoorva ragas in this mix (or they selected) like Kokilarava, Nariritigowla, Jayasuddhamalavi, Nagadhwani etc. which gives a chance for rasikas to enrich their knowledge. The renditions were so pleasing to the ear that one could listen to the entire CD without ever feeling the time pass by. Even though I am not well versed in Sankethi or Kannada, the language is so smooth flowing for one not to feel the burden of listening to an unknown language. All in all CD-1 is a must for any music lover!
The second CD is more heavy classical and was solely sung by Smt. Satyavathi which were in ragas Desisimharava (Hemavathi or Haimavathi?) - ata tala varnam, krutis in Gowla, Madhyamavathi, Kedara and Kambhoji (Spelt as Kambodhi). The songs were pleasing to the ear, once again and is a little heavy to concentrate and listen in one sitting, unless of course you can devote the time to it. Both CDs are very good and compliment each other.
To talk about the lapses (as small as they might be): 1. There is difference in the order of the songs listed verses recoded (very minor). 2. I definitely would have preferred to have the lyrics (if not notation) to be included in the CDS since the lyrics are new to everyone except the singers and the composer. I am sure a collection book is in the works but providing lyrics would enhance the experience of listening to the new compositions tremendously. Other than these two, there were no lapses on the part of the producers of the CDs - the look is very professional, not unreasonable mistakes in the print (except there is a mix of different spellings - CHAPU and Caturasra, Kambhodi for Kambhoji (which is agreed to be the correct pronunciation) which again are minor and could be corrected for future productions.
All in all, I need to congratulate Dr. Sreekaanth for giving me this opportunity to listen and giving me permission to publish this to the Rasika group. I thoroughly enjoyed the CDs. My best wishes to Sreekanth for his future compositions. I am not sure how he finds time to (of course he is a man as opposed to a woman who has a lot more responsibility in this generation) do so many things, being a doctor, teaching music, composing and answering Rasikas questions etc.. when I am not able to do half of it without constantly fighting with the time! I admire you Dr. Sreekaanth!! Keep it up!!!
Regards,
Sandhya
http://launch.groups.yahoo.com/group/ra ... sage/32354
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I have listened to CD1 of Drs' compositions so far - and the compositions I must say are excellent. The gait, the spacing of the words, the prasa etc. (although I havent placed that much attention yet) are all top-knotch.
I liked the nArirItigowla composition a lot. It starts with dpmgrs which I confirmed from drs as a prayoga that would that be something not in ritigaula i.e. the D2 one.. He said he wanted a start that will clearly establish that this raga is not a straightforward replacement of D2 of today's ritigowla with D1. I also found a particular sangati of one of the lines very unique and intriguing - perhaps something that could not in standard ritigaula or atleast rare (something like rgmgrs or something but ri itself is after an earlier sa?). Very haunting and charming krithi.
I had my mind made up even before listening to everything that I would probably like the nArirItigowLa the best - but then the nAgadhwani composition was equally excellent. Lovely cittaswara - and of course a rare tala (khanda jhampa). I thought it had some janaranjani/purnachandrika at the start and some nilAmbari shades, but I felt mostly sankarabharanam touch.
The yadukulakAmbhOji krithi is also lovely - simply superb. When I "look back", this was perhaps the best that I liked.
The "main" is a Anandabhairavi krithi (I guess understandably) reminded be of SS krithis - with the pallavi sort of like O Jagadamba, the anupallavi start (and may be start of swarasahita) marivere. The krithi is a very grand one with many intricate sangatis.
The suraTi krithi starts with ni~~ and that is a unique and lovely start.
I need to listen to it again and of course listen to the other CD.
Arun
I liked the nArirItigowla composition a lot. It starts with dpmgrs which I confirmed from drs as a prayoga that would that be something not in ritigaula i.e. the D2 one.. He said he wanted a start that will clearly establish that this raga is not a straightforward replacement of D2 of today's ritigowla with D1. I also found a particular sangati of one of the lines very unique and intriguing - perhaps something that could not in standard ritigaula or atleast rare (something like rgmgrs or something but ri itself is after an earlier sa?). Very haunting and charming krithi.
I had my mind made up even before listening to everything that I would probably like the nArirItigowLa the best - but then the nAgadhwani composition was equally excellent. Lovely cittaswara - and of course a rare tala (khanda jhampa). I thought it had some janaranjani/purnachandrika at the start and some nilAmbari shades, but I felt mostly sankarabharanam touch.
The yadukulakAmbhOji krithi is also lovely - simply superb. When I "look back", this was perhaps the best that I liked.
The "main" is a Anandabhairavi krithi (I guess understandably) reminded be of SS krithis - with the pallavi sort of like O Jagadamba, the anupallavi start (and may be start of swarasahita) marivere. The krithi is a very grand one with many intricate sangatis.
The suraTi krithi starts with ni~~ and that is a unique and lovely start.
I need to listen to it again and of course listen to the other CD.
Arun
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Re: Dr. Shrikaanth K Murthy
Perhaps Dr. Shrikaanth is the only Carnatic composer in Sanketi (the language itself is sort of endangered), and hopefully this CD by Dr Sathyavathy will receive widespread interest among the larger CM community in considering Sanketi as a medium of expression along with the other lesser known languages. Dr. Shrikaanth's efforts will leave their footprints for posterity for linguists and musicians alike.
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Re: Dr. Shrikaanth K Murthy
Well said, srkris! I hope that they also sing his kannaDa and sanskrit krutis. There are several sankEti speaking vidvAns and vidUshis. Hope they serve their language as well by singing Srikaanth's krutis in sankEti.
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Re:
Suji Ram wrote:wow!!drshrikaanth wrote:Lakshman
I just found 1 varNa in the tALa- kAmakOTi sundarAnguDa of vINe SEShaNNa, A rAgamAlike. This is a real odd varNa- The pallavi, anupallavi, ciTTeswara, ettugaDe pallavi and 4 ettugaDe swaras are in behAg and then there is long tail of rAgamAlike swaras starting with behAG, 13 rAgas and behAg again!!! I can hardly believe it!
You should render it for us !
@ DrShrikaanth
were you able to take it up ?