G.N. Balasubramaniam (GNB)
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- Posts: 16
- Joined: 23 Feb 2007, 06:56
Dear all,
I give below the contact details of Karnatic Music Book Center.
Tel-Chennai-28111716/28113253.
E mail- knbc@vsnl.net
web site-www.tkmbc.com.
I have already given the address of it.
I will try to upload certain sections of his compositions like new innovations, varnams 6 except Varali and his Tamil compositions -all by various artists.
Sri coolkarni Sir. Pl. be in touch with me when you are free ,so that I can give the recordings to you so that you can up load it here, on our behalf. All of them are ready with me now.
All up dated up to 30/09/06.
I give below the contact details of Karnatic Music Book Center.
Tel-Chennai-28111716/28113253.
E mail- knbc@vsnl.net
web site-www.tkmbc.com.
I have already given the address of it.
I will try to upload certain sections of his compositions like new innovations, varnams 6 except Varali and his Tamil compositions -all by various artists.
Sri coolkarni Sir. Pl. be in touch with me when you are free ,so that I can give the recordings to you so that you can up load it here, on our behalf. All of them are ready with me now.
All up dated up to 30/09/06.
I am reminded of a famous RK Laxman cartoon -When You are free...
There is a foreign Dignitary , who at the end of his official visit has invited the Indian minister , to visit his country-in return.
As he is climbing into his aircraft, he can see the Indian Minister following him , rushing to get into the same aeroplane.
I am so tempted to drop everrything and rush to your house , right now.
But I will be a gentleman,Will drop in tomorrow.
Oh !. The pains of collecting GNB in the early 80s.In trekked to a gentlemans home in Umapathy Street with a borrowed tape recorder and a meltrack tape to collect my free treasure of 45 minutes of glorious music , for the week. A feat I repeated-week after week- for 3 years to get some idea of our heritage.
If some angel had told me that some day you would be inviting me to collect such rare stuff , I would have laughed and waved the angel away.
Thanks Sir.On behalf of all of us.
And PLEASE call me only coolkarni."Cool" if you prefer that .
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- Posts: 16
- Joined: 23 Feb 2007, 06:56
Dear All,
Sri Rajeshnat- I am not.I only spoke about my father few years back in one of Carnaticas function.
Sri. Cool-Thanks for the nice response.Pl. call me before coming to my house since I will be going out regularly.
I am thinking of uploading some speeches about fathers music by varous artists.This because our members interes in knowing more about him.
Hope our members will like it
Bhuvan.
Sri Rajeshnat- I am not.I only spoke about my father few years back in one of Carnaticas function.
Sri. Cool-Thanks for the nice response.Pl. call me before coming to my house since I will be going out regularly.
I am thinking of uploading some speeches about fathers music by varous artists.This because our members interes in knowing more about him.
Hope our members will like it
Bhuvan.
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- Posts: 13754
- Joined: 02 Feb 2010, 22:26
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- Posts: 1466
- Joined: 29 Sep 2006, 19:37
In addition to so many great qualities of GNB which we relish, the most remarkable one was his selection of neraval at unusual places of the popular songs. In Sri Subramanyaya Namasthe(Kambodhi), if all the stawarts selected- vAsavAdi sakala, GNB used to select "thApathraya ". In nidhichala (kalyani), mamatha bandhanyutha is the popular choice, where as GNB used to select "sumathi thyagaraja". These choices made the popular songs with GNB stamp which was unique.
In brocheva revuraura ( kamach, Mysore Vasudevachar), he never used to sing the popular CHITTA SWARA, but making the song so enjoyable with GNB baani.
In brocheva revuraura ( kamach, Mysore Vasudevachar), he never used to sing the popular CHITTA SWARA, but making the song so enjoyable with GNB baani.
Last edited by vs_manjunath on 28 Feb 2007, 07:14, edited 1 time in total.
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- Joined: 13 Nov 2006, 08:34
I would add - in Meenakshi(Purvikalyani) vidhuviDambanavs_manjunath wrote:In addition to so many great qualities of GNB which we relish, the most remarkable one was his selection of neraval at unusual places of the popular songs. In Sri Subramanyaya Namasthe(Kambodhi), if all the stawarts selected- vAsavAdi sakala, GNB used to select "thApathraya ". In nidhichala (kalyani), mamatha bandhanyutha is the popular choice, where as GNB used to select "sumathi thyagaraja". These choices made the popular songs with GNB stamp which was unique.
In brocheva revuraura ( kamach, Mysore Vasudevachar), he never used to sing the popular CHITTA SWARA, but making the song so enjoyable with GNB baani.
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- Posts: 16
- Joined: 23 Feb 2007, 06:56
Dear All,
We were told that Sri GNB used to sing ragas and keerthanas in Ranjani( Dhunmargasadha),Dhayasi (Paradevde) and Varali etc.But later days(when recording facilities came)he never sang many of them.
In our recordings-tapes-there is one Varali raga in one of the slokams only.Tha Varali Varnam notation was published only recently(book.3) and we have not got any recording so far.With t help he help of Mr Cool,I will try to fulfil the desires of the members slowly.It will take some time. Pl. bear with us.
Bhuvan. 28/02/07.
We were told that Sri GNB used to sing ragas and keerthanas in Ranjani( Dhunmargasadha),Dhayasi (Paradevde) and Varali etc.But later days(when recording facilities came)he never sang many of them.
In our recordings-tapes-there is one Varali raga in one of the slokams only.Tha Varali Varnam notation was published only recently(book.3) and we have not got any recording so far.With t help he help of Mr Cool,I will try to fulfil the desires of the members slowly.It will take some time. Pl. bear with us.
Bhuvan. 28/02/07.
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- Joined: 10 Mar 2006, 07:55
And while we wait (with enormous patience...), take some time to watch and listen to MLV's rendition of ninnuvinA (rItigauLa), a composition of GNB, extracted from Sangeethapriya and uploaded to YouTube by a rasika:
http://youtube.com/watch?v=AnJJVPCEfr8
http://youtube.com/watch?v=AnJJVPCEfr8
Last edited by kmrasika on 03 Mar 2007, 09:24, edited 1 time in total.
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- Joined: 26 Mar 2005, 17:01
I have not played this clip as Youtube does not work well for me. But if the song is "ninnivinA marigaladA", that is SyAmA SAStri's composition. (Sung in rItigauLa as well as abhEri(Old) by some schools)kmrasika wrote:take some time to watch and listen to MLV's rendition of ninnuvinA (rItigauLa), a composition of GNB,
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- Joined: 10 Feb 2010, 18:52
Here is the song by GNB:
ninnu vinA vErE gati. rAgA: rItigauLa. Adi tALA.
P: ninnu vinA vErE gati evarammA nikhila lOka janani
A: vinutuni pAlince birudu vahincina anupama karuNAkari nIvE gAdA
C: nannu marace nIku meragAdammA tanayuni talli mari evaru brOcutunu
munu jEsina neramEmO teliya tanuja vairi hrtkamala nivAsini
ninnu vinA vErE gati. rAgA: rItigauLa. Adi tALA.
P: ninnu vinA vErE gati evarammA nikhila lOka janani
A: vinutuni pAlince birudu vahincina anupama karuNAkari nIvE gAdA
C: nannu marace nIku meragAdammA tanayuni talli mari evaru brOcutunu
munu jEsina neramEmO teliya tanuja vairi hrtkamala nivAsini
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ShrI gbb and gbrajasekar sirs:
The following compositions are mentioned by Smt Bhagyalekshmy as ShrI GNB's compositions. I omitted the ones that have appeared in print and hopefully you can shed light whether these are indedd your fathers' works. As I mentioned before she attributes ShrI S kalyANarAman as her source.
inta tAmasa - kannaDa - rUpakam
inta parAkEla - janaranjani - rUpakam
innamum EnO dhEnukA - Adi
unpukazhalE nAn - yadukula khAmbhOji - Adi
ettanai nAL inda - yadukula khAmbhOji - Adi
kuRai tIrkka - vardhani - Adi
ShArangadhara - sAranga - rUpakam
tALatuva - bhairavi - rUpakam
nannu brOcEvA - sahAnA - Adi
nAyeDa - bEgaDA - miShracApu
nirupama suguNa - kEdAra gauLa - Adi
ninnADE - kannaDa - Adi
ninnE nammi - mukhAri - Adi
nIpAdamulanu - sahAnA - Adi
nI manasu - hindOLam - ?
nIvE gAdA? - nIlAmbari - Adi
nEgati nIvE - kiraNAvaLi - Adi
padasArasamulu - khAmbhOji - Adi
paramEShvari - kamAs - rUpakam
bhavapAdalu - khAmbhOji - Adi
perumaiyai - hindOLa vasantam - Adi
mAmava mAtangi - rItigauLa - rUpakam
yAr ennai - dhanyAsi - Adi
rArarAjEshvari - bhairavi - Adi
vikasita pUrNa - pUrNacandrikA - Adi
ShrI vijaya - vijayanAgari - Adi
The following compositions are mentioned by Smt Bhagyalekshmy as ShrI GNB's compositions. I omitted the ones that have appeared in print and hopefully you can shed light whether these are indedd your fathers' works. As I mentioned before she attributes ShrI S kalyANarAman as her source.
inta tAmasa - kannaDa - rUpakam
inta parAkEla - janaranjani - rUpakam
innamum EnO dhEnukA - Adi
unpukazhalE nAn - yadukula khAmbhOji - Adi
ettanai nAL inda - yadukula khAmbhOji - Adi
kuRai tIrkka - vardhani - Adi
ShArangadhara - sAranga - rUpakam
tALatuva - bhairavi - rUpakam
nannu brOcEvA - sahAnA - Adi
nAyeDa - bEgaDA - miShracApu
nirupama suguNa - kEdAra gauLa - Adi
ninnADE - kannaDa - Adi
ninnE nammi - mukhAri - Adi
nIpAdamulanu - sahAnA - Adi
nI manasu - hindOLam - ?
nIvE gAdA? - nIlAmbari - Adi
nEgati nIvE - kiraNAvaLi - Adi
padasArasamulu - khAmbhOji - Adi
paramEShvari - kamAs - rUpakam
bhavapAdalu - khAmbhOji - Adi
perumaiyai - hindOLa vasantam - Adi
mAmava mAtangi - rItigauLa - rUpakam
yAr ennai - dhanyAsi - Adi
rArarAjEshvari - bhairavi - Adi
vikasita pUrNa - pUrNacandrikA - Adi
ShrI vijaya - vijayanAgari - Adi
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- Posts: 16
- Joined: 23 Feb 2007, 06:56
Dear KMRASIKA and All,
Thanks for the mail.As we have said earlier,there is no records with us to verify them.
I am trying to get the full details of Githajali Art & Printers location, their contact information etc.Few days before,while I was talking to Ms Bhushny Kalyanaraman about these things,she said that from available records with her,she could not confirm about the correctness of the information.Sri G.N Balakrishnan, younger brother of Sri GNB, also could not confirm the information.If we are able to get the lyrics,notations etc,I can easily get it confirmed by , Sri T S Balasubramanim, the seniormost deciple who can identify and confirm them to some extend.Pl. help us to get the details of the sources of the information.We will be too happy to help you all,more so our family.
Sorry we could not help you on this at present.
Bhuvan. 06/03/07.
Thanks for the mail.As we have said earlier,there is no records with us to verify them.
I am trying to get the full details of Githajali Art & Printers location, their contact information etc.Few days before,while I was talking to Ms Bhushny Kalyanaraman about these things,she said that from available records with her,she could not confirm about the correctness of the information.Sri G.N Balakrishnan, younger brother of Sri GNB, also could not confirm the information.If we are able to get the lyrics,notations etc,I can easily get it confirmed by , Sri T S Balasubramanim, the seniormost deciple who can identify and confirm them to some extend.Pl. help us to get the details of the sources of the information.We will be too happy to help you all,more so our family.
Sorry we could not help you on this at present.
Bhuvan. 06/03/07.
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- Joined: 10 Mar 2006, 07:55
Shri gbb Sir: The 1000 kriti index is published by CBH Publications. Their webpage: http://www.geocities.com/cbhpub/ and e-mail: cbhpub@vsnl.com. You might be able to get a hold of Smt Bhagyalekshmy through them.
Your father has a few students unknown to rasikas. One of them is A Srinivasan Raghavan, son of late Sanskrit and vaishNava scholar ShrI Aravamudachariar, one of the few vidwans who give 3 - 4 hour long concerts. Smts. rAdhA and jayalakshmi (disciples of TR bAlu, disciple of GNB) could be a good source on the compositions of GNB.
Your father has a few students unknown to rasikas. One of them is A Srinivasan Raghavan, son of late Sanskrit and vaishNava scholar ShrI Aravamudachariar, one of the few vidwans who give 3 - 4 hour long concerts. Smts. rAdhA and jayalakshmi (disciples of TR bAlu, disciple of GNB) could be a good source on the compositions of GNB.
Last edited by kmrasika on 08 Mar 2007, 07:30, edited 1 time in total.
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- Joined: 23 Feb 2007, 06:56
Dear All,
Thanks for the input. I will see the web site and contact them through the mail.
Radha & Jayalakshmi were in no way connected to any of the 3 Books released.They rareIy move with us. I had been to their house few times in Saidapet before the publication of the 3rd Book to ascertain that some compositions may be with them.So that we can include them in the Book.. But they said that they have no unpublished songs with them.I have explored all the available sources at my level before the 3 Book was published.
I know Sri Srinivasa Raghavan.I think I met him in the GNB Foundation Inaguration Function last time.I think he is living near Mahalingapuram.Recently I have not seen him.
Bhuvan. 08/03/07.
Thanks for the input. I will see the web site and contact them through the mail.
Radha & Jayalakshmi were in no way connected to any of the 3 Books released.They rareIy move with us. I had been to their house few times in Saidapet before the publication of the 3rd Book to ascertain that some compositions may be with them.So that we can include them in the Book.. But they said that they have no unpublished songs with them.I have explored all the available sources at my level before the 3 Book was published.
I know Sri Srinivasa Raghavan.I think I met him in the GNB Foundation Inaguration Function last time.I think he is living near Mahalingapuram.Recently I have not seen him.
Bhuvan. 08/03/07.
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- Joined: 23 Feb 2007, 06:56
Dear cmfan and All,
We have ordered the book-list of songs- here and will be getting it in few days time. Only after verifying the source of the information about the songs,we can contact them and get all possible information about fathers songs.Pl. bear with us for some more time till we gather the information.We will give all the information to you all as soon as possible.
Bhuvan. 10/03/07.
We have ordered the book-list of songs- here and will be getting it in few days time. Only after verifying the source of the information about the songs,we can contact them and get all possible information about fathers songs.Pl. bear with us for some more time till we gather the information.We will give all the information to you all as soon as possible.
Bhuvan. 10/03/07.
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- Joined: 03 Feb 2010, 16:52
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- Joined: 23 Feb 2007, 06:56
Dear All,
My father never sang his compositions except very rare occations.I will try to upload the song sadapalaya sung by his deciple late T R Balasubramanim-old &
first lp record released in mid 50s.of fathers compositions.It will take some time since I have to seek the help of Mr COOL for this.As promised,I have to upload some more items like his new innovations, varnams etc.Hope to do it shortly with Mr COOLs help.
Bhuvan. 11/03/07.
My father never sang his compositions except very rare occations.I will try to upload the song sadapalaya sung by his deciple late T R Balasubramanim-old &
first lp record released in mid 50s.of fathers compositions.It will take some time since I have to seek the help of Mr COOL for this.As promised,I have to upload some more items like his new innovations, varnams etc.Hope to do it shortly with Mr COOLs help.
Bhuvan. 11/03/07.
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- Joined: 23 Feb 2007, 06:56
Dear All,
I have just now received the Book-Keerthanai Agarathi from the shop
and fathers compositions source is shown as Tanjore S Kalyanaraman.I have gone to the residence of Ms.Bhushany Kalyanaram and gone through all the songs in TSK Book where he used to write all the notations. before publishing the 3rd volume. I got few songs and I included in the 3rd volume.I will make one more visit to her house shortly with the Book and make one more attempt.She was telling me that T S Ks sister has some collections and I will try to meet her also to verify if there is anything with her.Since the source is given as T S K,there is every chance for it.Father used to teech the new compositions to the deciple who comes on that day for learning music.Will revert soon.
Bhuvan. 15/03/07.
I have just now received the Book-Keerthanai Agarathi from the shop
and fathers compositions source is shown as Tanjore S Kalyanaraman.I have gone to the residence of Ms.Bhushany Kalyanaram and gone through all the songs in TSK Book where he used to write all the notations. before publishing the 3rd volume. I got few songs and I included in the 3rd volume.I will make one more visit to her house shortly with the Book and make one more attempt.She was telling me that T S Ks sister has some collections and I will try to meet her also to verify if there is anything with her.Since the source is given as T S K,there is every chance for it.Father used to teech the new compositions to the deciple who comes on that day for learning music.Will revert soon.
Bhuvan. 15/03/07.
You can find Sada palaya sung by Trichur atgb wrote:Hi If someone has the song Sada palaya sung by the prince charming himself can you please post
Nada Anuboothi
http://home.sprynet.com/~dsivakumar/music/intromus.htm
Music Categories > Carnatic - Vocal > Song Title S...
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Here is an article that GNB wrote in the 1964 souvenir of Bharatiya Music & Arts Society, Mumbai:
CONCERT TRADITION
Sangitha Kalanidhi Sri G. N. BALASUBRAMANIAM, B A. (Hons.)
THE word "Tradition" connotes the sum total of observances and practices as they come down in human history, in the aspect of man's mental and social activities such as literature, art, religion and philosophy. Each generation takes up the heritage of its distant and immediate past and perforce moulds it to the needs, tempe-raments and capacities of its own time. Therefore, tradition cannot be a dead fossil of the past, but it is a continuity of it, accommodated to the needs of the times. Other-wise it will cease to have a living quality about it. Its validity is proven by the discovery of its moorings in the early ages of human history.
Modern Classical concert music is an instance in point. The limbs and parts which go to make up the present day concert are the growth of such basic elements and components that were born even as early as a thousand years ago. To give a few instances, the raga, the soul of our music is a lyrical and historical corollary of and development from "Jathis", dating from 7th or 8th century A. D. Swara prasthara seems to have existed even as early or even earlier than the 13th century A. D. Both the "Sangitha Ratnakara" of Saranga Deva and the later "Ragavibodha" mention swara varisais or alankaras about sixty in number which are quite aesthetic and interesting, judged, even by modern standards.
"Kootatanam" as opposed to •'Suddhasadanam" is swara prasthara in vakra order. Thanam singing of the modern type in which raga phrases are sung to madh-yama kala with specified letters or aksharas, seems to be only 300 to 400 years old. Again Pallavi singing has been hinted at and vaguely described in the words "Roopaka Alapati" in the "Sangitha Ratnakara".
Between the post Ratnakara period, about which time, the Indian Music system seems to have bifurcated itself into the Southern and Northern systems and the 18th century, the 72 Mela Karthas with their enormous possibilities for the creation of innumerable janaka ragas had been propounded and exploited. The theory of the music of the South had been promulgated in all its elaborateness and detail Puran-dara Dasa had laid secure foundations of our music with his Alankara, Geetham and Chooladhis, not to speak of thousands of his Padas. Lakshana Geethams for many ragas had been composed by Venkatamakhin and others. The ground had been thoroughly prepared for the flowering of men of genius like the South Indian Trinity whoappeared in thefirmament of musicandflooded ourcontinentwith the light of their celestial compositions. The Krithi in its embryo form in the "GeethaGovinda" reached adolescence with the Talapakkam composers followed by Badrachala Ramdas and others and reached its full .naturity in the compositions of Sri Thyagaraja, Syama Sastri and Dikshithar. Periods of private and Royal patronage of music have always been rich in producing great composers and public encouragement, great performers. In the pre-Thyagaraja period, concerts were mostly held in the chambers of Royalty and Zamindars, where only a chosen few were privileged to listen to Classical Music. The concert then which lasted for about two hours and more was mainly elaborate raga singing followed by Pallavi. Musical history has it that even contests in such concerts were held in Royal courts. Nagaswaram, the most effective instrument tor the propagation of Classical music among the masses, on occasions of royal festivities as also religious and temple utsavas, was the medium through which, large sections of the public got gradually acquainted with many prasiddha ragas and talas.
Thus it will be seen that all the material for the structure of modern concert, barring krithies were ready in the Thyagaraja period. Varnams of Audiappier and others, krithies of the Trinity and other composers in their wake and the ragam, tan am, and pallavi. The early forms of music like Tayams, Prabhandams etc., were swept away by the advent of the krithies. But their spirit continued to live in the varieties of the krities produced by the Trinity. Dikshitar's krithies are Prabhandhas in spirit, those of Thyagaraja and Syama Sastri, of kavya. Kaipana Sangit which was till then only confined to ragam and pallavi, could now be had through the interpretation of various types of compositions.
From an analysis of the history of our music from very early times upto the 18th century, it will be evident that there had been a progressive, though slow, evolution of music in all its forms which gave nourishment and growth to individual talent, through scientific methods and codification of musical practice and knowledge. Ample opportunities were afforded in private houses of royalty and zamindars for exhibition of such individual artistic talents. The adaptation of the modern violin, an importation from the West and exploitation of its possibilities as a solo and accompanying medium in a concert came in handy and timely when the concert emerged from the private chambers into the public wing. With the increasing patronage of music by the public and private audiences, musicians were tempted to pursue it as a career. The performer as such had to enlarge his stock and repertoire. Unalloyed interpretative music was found inadequate to meet the increasing demands from the public. The performer had to include recitative portions also in the concert before and after the Ragam, tanam and pallavi. The post-Thyagaraja period saw an exuberance of compositions like Tillanas, Javalies etc. which supplied the needs of the performing musicians in this respect. The large volume of compositions of the Trinity came in a very strategic and psychological moment. These compositions afforded unprecedented scope for the display of the individual talent in the very handling of such pieces as well as raga prologue to the pieces in the niraval and swara improvisations which could be introduced during
or after the recitation of the piece. They were also of such wide range of variety
as could suit the varying musical temperaments and equipments of many talented
and gifted musicians, as also various grades of the fast growing public taste for
music.
It was in this way way that the two major aspects, the determinate and indeter-minate (the receptive and the interpretative) became the warp and woof of the texture-of the modern concert. The modern concert is a well thought-out and schemed arrangement m the presentation of Classical music in both these aso-cts The concert could be divided into three segments, (1) the prepallavi segment (2) the raga thanam and pallavi, and (3) the post-pallavi and comparativelv light-! s-ment' The one which precedes the pallavi is a mixture of recitative and interpretative elements. From the opening varnam, through alternating fast and slow phased krithies, small raga prologues to the former and elaborate expositions for the latter the classical atmosphere gets gradually heightened. ic culminates in the second' segment, i. e. ragam, tanam and pallavi which is the high water-mark of South Indian Classical Music. It is the peak of the concert. From the ragam, tanam, pallavi, to the end of the performance, there is a gradual watering down of classical and light music, so that at the end, even non-classical folk and Hindustani melodies fit with naturalness into the pattern of the concert. Even in the pre-r,ai!avi portion, in the rendering of each piece, the succession of the ragam, kriii, niraval and swara has a significance. From the raga to krithi, from krithi to niraval and from niraval to swara improvisation, it is a graded, increasing emergence and emphasis of the aspect of laya.
The unique appeal and greatness of our art are owing to its capacity for growth and adaptation, through a long period of time and more so because, men of great genius
system, throught heir knowledge and intelligence could have the greatest freedom for the
play of both thetse factors within the framework of tradition. Our system, the most
aesthetic, intricate and exalted in the world, is the noblest heritage of man.
Our concert tradition has come to stay.
It wiil be good to remind ourselves that all Art is great to the extent that it is informed of the spirit, by the nobility of its content, harmony of its parts and the elegance in its presentation. We should not allow this great heritage to disintegrate into mere and empty aesthetic formalism and uninspired technique and showmanship, which inordinate and indiscriminate commercialisation of any art is likely to bring in its wake.
Courtesy Bharatiya Music & Arts Society, Bombay (Souvenir 1964)
GNB was invited to give a special performance in the presence of the Travancore Royal Family. The immediate audience consisted only of three people— His Highness, Her Highness and Sri Karthikai Tirunal- Others who were only special invitees could hear the concert from an adjoining room, as befitting the practices in Maharaja's palaces of those days. GNB sang "Swartvnatha paripalaya" and executed an excellent n'irava'l ana swaraprasthara at 'the "point “Parvati Sukumara" as a tribute not only to the Deity described in the song but also his distinguished audience. (Her Highness's name was Parvati) -KSMR
CONCERT TRADITION
Sangitha Kalanidhi Sri G. N. BALASUBRAMANIAM, B A. (Hons.)
THE word "Tradition" connotes the sum total of observances and practices as they come down in human history, in the aspect of man's mental and social activities such as literature, art, religion and philosophy. Each generation takes up the heritage of its distant and immediate past and perforce moulds it to the needs, tempe-raments and capacities of its own time. Therefore, tradition cannot be a dead fossil of the past, but it is a continuity of it, accommodated to the needs of the times. Other-wise it will cease to have a living quality about it. Its validity is proven by the discovery of its moorings in the early ages of human history.
Modern Classical concert music is an instance in point. The limbs and parts which go to make up the present day concert are the growth of such basic elements and components that were born even as early as a thousand years ago. To give a few instances, the raga, the soul of our music is a lyrical and historical corollary of and development from "Jathis", dating from 7th or 8th century A. D. Swara prasthara seems to have existed even as early or even earlier than the 13th century A. D. Both the "Sangitha Ratnakara" of Saranga Deva and the later "Ragavibodha" mention swara varisais or alankaras about sixty in number which are quite aesthetic and interesting, judged, even by modern standards.
"Kootatanam" as opposed to •'Suddhasadanam" is swara prasthara in vakra order. Thanam singing of the modern type in which raga phrases are sung to madh-yama kala with specified letters or aksharas, seems to be only 300 to 400 years old. Again Pallavi singing has been hinted at and vaguely described in the words "Roopaka Alapati" in the "Sangitha Ratnakara".
Between the post Ratnakara period, about which time, the Indian Music system seems to have bifurcated itself into the Southern and Northern systems and the 18th century, the 72 Mela Karthas with their enormous possibilities for the creation of innumerable janaka ragas had been propounded and exploited. The theory of the music of the South had been promulgated in all its elaborateness and detail Puran-dara Dasa had laid secure foundations of our music with his Alankara, Geetham and Chooladhis, not to speak of thousands of his Padas. Lakshana Geethams for many ragas had been composed by Venkatamakhin and others. The ground had been thoroughly prepared for the flowering of men of genius like the South Indian Trinity whoappeared in thefirmament of musicandflooded ourcontinentwith the light of their celestial compositions. The Krithi in its embryo form in the "GeethaGovinda" reached adolescence with the Talapakkam composers followed by Badrachala Ramdas and others and reached its full .naturity in the compositions of Sri Thyagaraja, Syama Sastri and Dikshithar. Periods of private and Royal patronage of music have always been rich in producing great composers and public encouragement, great performers. In the pre-Thyagaraja period, concerts were mostly held in the chambers of Royalty and Zamindars, where only a chosen few were privileged to listen to Classical Music. The concert then which lasted for about two hours and more was mainly elaborate raga singing followed by Pallavi. Musical history has it that even contests in such concerts were held in Royal courts. Nagaswaram, the most effective instrument tor the propagation of Classical music among the masses, on occasions of royal festivities as also religious and temple utsavas, was the medium through which, large sections of the public got gradually acquainted with many prasiddha ragas and talas.
Thus it will be seen that all the material for the structure of modern concert, barring krithies were ready in the Thyagaraja period. Varnams of Audiappier and others, krithies of the Trinity and other composers in their wake and the ragam, tan am, and pallavi. The early forms of music like Tayams, Prabhandams etc., were swept away by the advent of the krithies. But their spirit continued to live in the varieties of the krities produced by the Trinity. Dikshitar's krithies are Prabhandhas in spirit, those of Thyagaraja and Syama Sastri, of kavya. Kaipana Sangit which was till then only confined to ragam and pallavi, could now be had through the interpretation of various types of compositions.
From an analysis of the history of our music from very early times upto the 18th century, it will be evident that there had been a progressive, though slow, evolution of music in all its forms which gave nourishment and growth to individual talent, through scientific methods and codification of musical practice and knowledge. Ample opportunities were afforded in private houses of royalty and zamindars for exhibition of such individual artistic talents. The adaptation of the modern violin, an importation from the West and exploitation of its possibilities as a solo and accompanying medium in a concert came in handy and timely when the concert emerged from the private chambers into the public wing. With the increasing patronage of music by the public and private audiences, musicians were tempted to pursue it as a career. The performer as such had to enlarge his stock and repertoire. Unalloyed interpretative music was found inadequate to meet the increasing demands from the public. The performer had to include recitative portions also in the concert before and after the Ragam, tanam and pallavi. The post-Thyagaraja period saw an exuberance of compositions like Tillanas, Javalies etc. which supplied the needs of the performing musicians in this respect. The large volume of compositions of the Trinity came in a very strategic and psychological moment. These compositions afforded unprecedented scope for the display of the individual talent in the very handling of such pieces as well as raga prologue to the pieces in the niraval and swara improvisations which could be introduced during
or after the recitation of the piece. They were also of such wide range of variety
as could suit the varying musical temperaments and equipments of many talented
and gifted musicians, as also various grades of the fast growing public taste for
music.
It was in this way way that the two major aspects, the determinate and indeter-minate (the receptive and the interpretative) became the warp and woof of the texture-of the modern concert. The modern concert is a well thought-out and schemed arrangement m the presentation of Classical music in both these aso-cts The concert could be divided into three segments, (1) the prepallavi segment (2) the raga thanam and pallavi, and (3) the post-pallavi and comparativelv light-! s-ment' The one which precedes the pallavi is a mixture of recitative and interpretative elements. From the opening varnam, through alternating fast and slow phased krithies, small raga prologues to the former and elaborate expositions for the latter the classical atmosphere gets gradually heightened. ic culminates in the second' segment, i. e. ragam, tanam and pallavi which is the high water-mark of South Indian Classical Music. It is the peak of the concert. From the ragam, tanam, pallavi, to the end of the performance, there is a gradual watering down of classical and light music, so that at the end, even non-classical folk and Hindustani melodies fit with naturalness into the pattern of the concert. Even in the pre-r,ai!avi portion, in the rendering of each piece, the succession of the ragam, kriii, niraval and swara has a significance. From the raga to krithi, from krithi to niraval and from niraval to swara improvisation, it is a graded, increasing emergence and emphasis of the aspect of laya.
The unique appeal and greatness of our art are owing to its capacity for growth and adaptation, through a long period of time and more so because, men of great genius
system, throught heir knowledge and intelligence could have the greatest freedom for the
play of both thetse factors within the framework of tradition. Our system, the most
aesthetic, intricate and exalted in the world, is the noblest heritage of man.
Our concert tradition has come to stay.
It wiil be good to remind ourselves that all Art is great to the extent that it is informed of the spirit, by the nobility of its content, harmony of its parts and the elegance in its presentation. We should not allow this great heritage to disintegrate into mere and empty aesthetic formalism and uninspired technique and showmanship, which inordinate and indiscriminate commercialisation of any art is likely to bring in its wake.
Courtesy Bharatiya Music & Arts Society, Bombay (Souvenir 1964)
GNB was invited to give a special performance in the presence of the Travancore Royal Family. The immediate audience consisted only of three people— His Highness, Her Highness and Sri Karthikai Tirunal- Others who were only special invitees could hear the concert from an adjoining room, as befitting the practices in Maharaja's palaces of those days. GNB sang "Swartvnatha paripalaya" and executed an excellent n'irava'l ana swaraprasthara at 'the "point “Parvati Sukumara" as a tribute not only to the Deity described in the song but also his distinguished audience. (Her Highness's name was Parvati) -KSMR
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Dear Sri Manjunath,
My father used to sing in both Adi and Deshadi talas some keerthanas including Sundara Thara in Panthuvarali.This was confirmed by a Mridanga Artist who is a keen follower of fathers singing.I can try to upload both-talas of it-if some one help me in this type of work.Pl. advise.
Bhuvan. 31/03/07.
My father used to sing in both Adi and Deshadi talas some keerthanas including Sundara Thara in Panthuvarali.This was confirmed by a Mridanga Artist who is a keen follower of fathers singing.I can try to upload both-talas of it-if some one help me in this type of work.Pl. advise.
Bhuvan. 31/03/07.
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Thank you Sri.Bhuvan(gbb). Reg uploading of audio recordings, Coolkarniji/rasikas can advise, since i also have not done this activity.
Your father's available recordings, I have been listening atleast for the past 4 decades. Each song is a treasure. Shivakameshwarim & Nidhichala Sukhama in Kalyani;
Ananda natesha , Thamathame, KaddanuvAriki in Thodi; Sri Subramanyaya & Thillai Ishanai kAnadh Enna(RTP) in Kambodhi; Broche va in Kamach;Swaminatha in Nattai; Paridhana micchithe in Bilahari; O Rajeevaksha,Sadhinchane in Aarabhi;Raga Sudharasa in Andholika;Meenakshi Me Mudham in Poorvikalyani;Radha Sametha Krishna in Yamuna kalyani;Radhamukha Kamala in Hindusthani Kaapi; Himagiri Thanye in Shudda Dhanyasi;Kalala Nerchina in Deepakam;Ramakatha Sudha in Madhyamavathi and the other Thaygaraja's madhyamakala songs like Marugelara;Shobillu;Swararaga Laya etc have been providing continous enjoyment.
Your father's available recordings, I have been listening atleast for the past 4 decades. Each song is a treasure. Shivakameshwarim & Nidhichala Sukhama in Kalyani;
Ananda natesha , Thamathame, KaddanuvAriki in Thodi; Sri Subramanyaya & Thillai Ishanai kAnadh Enna(RTP) in Kambodhi; Broche va in Kamach;Swaminatha in Nattai; Paridhana micchithe in Bilahari; O Rajeevaksha,Sadhinchane in Aarabhi;Raga Sudharasa in Andholika;Meenakshi Me Mudham in Poorvikalyani;Radha Sametha Krishna in Yamuna kalyani;Radhamukha Kamala in Hindusthani Kaapi; Himagiri Thanye in Shudda Dhanyasi;Kalala Nerchina in Deepakam;Ramakatha Sudha in Madhyamavathi and the other Thaygaraja's madhyamakala songs like Marugelara;Shobillu;Swararaga Laya etc have been providing continous enjoyment.
Last edited by vs_manjunath on 31 Mar 2007, 17:59, edited 1 time in total.
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Dear Sri Manjunath,
This has ref. to your personal mail and general information.As suggedted,I am replying through this.
My father used to practice in the early morning-in Dec.also-sitting against the wind in the Triplicane beach sea shore for more than an hour daily.
His voice was blessed with all the virtues of good voice. He made it very perfect by his asura sadhagam.He can sing from lowest octave to the top most octave with ease and amazing speed- even beyond the reach of Nadhaewaram-Sri T N Rajarathnam Pillai openly spoke about it in public.The brighas of his singing are the original-not in false voice-from Nabhi-the starting point of sound in the body.
Sri Lalgudi has openly stated recently that they can feel the vibration in the platform while the brighas flows from his voice.Sri T N Krishnan said -brigha means G N B and only one original brigha is that of fathgers.No bodyelse can be said or compared.Even Sri Bade Gulam openly admitted that his brighas are false and cannot be compared to my father.
In the early hours of the day and in the evenings also if free while in city,, he used to sing all the raghas elobratly while practising.
As said earlier,he never sang his own compositions exceopt one.There is no recordings of them.
Bhuvan. 04/04/07.
This has ref. to your personal mail and general information.As suggedted,I am replying through this.
My father used to practice in the early morning-in Dec.also-sitting against the wind in the Triplicane beach sea shore for more than an hour daily.
His voice was blessed with all the virtues of good voice. He made it very perfect by his asura sadhagam.He can sing from lowest octave to the top most octave with ease and amazing speed- even beyond the reach of Nadhaewaram-Sri T N Rajarathnam Pillai openly spoke about it in public.The brighas of his singing are the original-not in false voice-from Nabhi-the starting point of sound in the body.
Sri Lalgudi has openly stated recently that they can feel the vibration in the platform while the brighas flows from his voice.Sri T N Krishnan said -brigha means G N B and only one original brigha is that of fathgers.No bodyelse can be said or compared.Even Sri Bade Gulam openly admitted that his brighas are false and cannot be compared to my father.
In the early hours of the day and in the evenings also if free while in city,, he used to sing all the raghas elobratly while practising.
As said earlier,he never sang his own compositions exceopt one.There is no recordings of them.
Bhuvan. 04/04/07.
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Genuine Modesty
An instance mentioned by Semmangudi Srinivasa Iyer speaks volumes of GNB's humility and his spontaneous appreciation of good music wherever it came from. The occassion was a flute recital by that genius TR Mahalingam. Semmangudi and GNB were in the audience. Mali played a hauntingly beautiful Bhairavi alapana. GNB was deeply touched and turning to Semmangudi he said: " You know after listening to this, I feel like giving up singing. Perhaps I can do so since I have a degree and can get a job somewhere." Semmangudi echoed the sentiment and said that perhaps he could also return to cultivate his lands.
(From: GNB - A Biography by TS Vedagiri et al Publ, Jan 1985)
An instance mentioned by Semmangudi Srinivasa Iyer speaks volumes of GNB's humility and his spontaneous appreciation of good music wherever it came from. The occassion was a flute recital by that genius TR Mahalingam. Semmangudi and GNB were in the audience. Mali played a hauntingly beautiful Bhairavi alapana. GNB was deeply touched and turning to Semmangudi he said: " You know after listening to this, I feel like giving up singing. Perhaps I can do so since I have a degree and can get a job somewhere." Semmangudi echoed the sentiment and said that perhaps he could also return to cultivate his lands.
(From: GNB - A Biography by TS Vedagiri et al Publ, Jan 1985)
Coolkarniji, know the post is very old. Who is the singer in the Chandrahasitam track, TVR or GNB ?coolkarni wrote:CML
indeed it was that duo.
you will see a few more tracks of this combination.
Here are the next three
http://rapidshare.de/files/14553772/ent ... m.mp3.html
http://rapidshare.de/files/14553946/man ... e.mp3.html
http://rapidshare.de/files/14554109/Pad ... n.mp3.html
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Here's a clip of ShrI A ShrInivAsan rAghavan, a disciple of GNB, rendering parama kr.pA sAgari:
http://www.rogepost.com/n/7025294693
http://www.rogepost.com/n/7025294693
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Dear Rasikas,
today is the Death Anniversary of my father. There is a programme at Gokhale Sastri Hall organised by GNB Trust with a speech by MS Anantharaman followed by a concert of Ms Bhushany Kalyanaraman, this is at 9.30 AM, the venue is near Vivekananda College. As usual evening programme at IFAS is two concerts at 4.30 by Trichur Bros followed by the duo of Anuradha Sriram and Sriram Parasuram.
This is fyi
Rgds
Rajasekar
today is the Death Anniversary of my father. There is a programme at Gokhale Sastri Hall organised by GNB Trust with a speech by MS Anantharaman followed by a concert of Ms Bhushany Kalyanaraman, this is at 9.30 AM, the venue is near Vivekananda College. As usual evening programme at IFAS is two concerts at 4.30 by Trichur Bros followed by the duo of Anuradha Sriram and Sriram Parasuram.
This is fyi
Rgds
Rajasekar