For some research I was scanning copies of Ananda Vikatan and Kalki of 1940s-1960s and I was surprised to see the frequency of appearence of the name T.K.Jayarama iyer in the music reviews. Almost all of them were in praise of his concerts. Personally, I've not heard/read much about him anywhere.
Before going through the archives I was not even aware that he is a Sangita Kalanidhi and a Sangeet Natak academy winner.
I hope the veterans in this forum can throw some light on this violinist.
T K Jayarama iyer
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kaapi
- Posts: 146
- Joined: 05 Jun 2005, 14:32
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vidya
- Posts: 234
- Joined: 02 Feb 2010, 23:26
Ram,
Here's a biography that appeared on the erstwhile Sangeetham.com website written by KVS Vinay..
-----------------------------------
T.K. Jayarama Iyer (TKJ) was a household name in music circles for over half a century. Besides being a violinist of repute, he was a pioneer in the field of orchestration of Indian classical music. Known for his commitment to high levels of classicism TKJ's uniqueness lies in the daring experiments he undertook within the framework of Carnatic music. This article attempts to capture the life history, personality and contribution of the multifaceted genius.
TKJ was born on May 18 1894 in Kuttalam, a village in Tanjore district. His was a family with a musical background. His father, Kuppuswami Iyer was a violinist, Sanskrit scholar, and a Harikatha performer. TKJ showed a flair for music and languages at a very early age. As a schoolboy, TKJ developed a liking for the violin and requested his father to teach him the instrument. Interestingly, he was also an accomplished Jalatarangam player, an art he learnt from Anayampatti Subbaiyer. TKJ had his schooling at Sirkazhi and matriculated in 1911. He began his career as a government employee at Manapparai and then at Madurai. In 1915, TKJ married Vijayambal, who became a source of inspiration and strength and a partner in his quest for knowledge till the very end of his life.
During his stay in Madurai, TKJ's interest in music grew, thanks to encouragement from the likes of Nagaswaram vidwan Madurai Ponnusamy Pillai. He gradually established himself and started accompanying leading vidwans of the day. In 1918, TKJ was booked for a performance at Jaffna for Rs. 250 (his own rate being Rs. 35 at that time) with all expenses met. After obtaining the necessary leave TKJ made his trip with great success. He resigned his job in 1921 to plunge into a musical career.
TKJ moved to Kumbakonam in the 1930s, then brimming with musical activity with giants like Umayalpuram Swaminatha Iyer, Ariyakkudi Ramanuja Iyengar, Semmangudi Sreenivasa Iyer and Rajamanickam Pillai living there. TKJ's stint in Kumbakonam was very fruitful. He developed a great admiration for the violin playing style of Malakottai Govindasami Pillai and modeled his own technique in a similar fashion. TKJ also had great regard for Sri Ariyakkudi, from whom he learnt several kritis and intricacies of raga alapana. TKJ's musical career showed an upswing as he played many solo concerts with a distinct style even while continuing to accompany top vidwans. As N.R Bhuvarahan wrote (in an obituary in 1971): "His approach to violin was highly aesthetic"¦. The bowing was clean and crisp and the melodic beauty of the ragas were brought out in all their purity. The swara prastharas were saturated with raga bhava, with a neat sense of rhythm."
TKJ soon moved to Madras, which was slowly emerging as the centre of all musical activity. The Music Academy had just come into existence. TKJ used to take active part in the discussions of the Academy and soon found himself on the experts' committee. His knowledge of Sanskrit, Tamil, Telugu and English combined with his insight into the theory of music enabled him to make useful contributions to the proceedings of the Academy. The outbreak of the World War saw TKJ leave Madras and join his brother Balaganesa Iyer, a noted flautist, in Coimbatore.
In 1943, TKJ was offered a Professorship in Carnatic music at the Swati Tirunal Music Academy, Trivandrum. This gave him the opportunity of enhancing his musical acumen by associating with two very famous principals of the institution - Harikesanallur Muthaiah Bhagavatar and Semmangudi Sreenivasa Iyer. His erudition and his adeptness at handling both theory and practical classes won him accolades from his students, colleagues, and the royal family. He also used the stint to acquire a working knowledge of Malayalam.
A new chapter in TKJ's career opened up in 1946. He was invited by the AIR, Tiruchirapalli to occupy the post of Music Supervisor. This gave him ample opportunities to use his multifarious skills in the production of new programmes. He deeply studied the other systems of music and brought out various series of programmes like "Music from other lands" and "Ragas of the North and the South". It was in Tiruchi that TKJ started experimenting with orchestration as a separate form in Carnatic music. Of course, he was no novice to orchestration as a concept. He had by then scored music for a few films like Sati Sakkubai and A.K Chettiar's Mahatma Gandhi and Nandanar (with K.B Sundarambal in the lead).
Dr. Narayana Menon, who happened to hear TKJ's orchestral compositions from the Tiruchi AIR prevailed upon authorities to bring him to Delhi to take charge of the National Orchestra (Vadya Vrinda) alongside Pt. Ravishankar. TKJ was selected to compose in Carnatic music while Panditji handled the Hindustani compositions. It was in Delhi that TKJ's career reached its peak and he spent the best part of his life. His catholicity of outlook coupled with his deep knowledge of orchestration and deep devotion to classical music enabled him to attempt orchestration of many Carnatic ragas in a such a way that not only was their classical idiom maintained but their beauty was further enhanced by the richness of the instruments used. His Kamboji, Kalyani, and Vaagadeeswari are typical examples. Utilizing his deep knowledge of raga lakshanas, he daringly attempted orchestral pieces in very classical ragas like Dhanyasi, Nattakuranji, Mukhari, Saranga, and Balahamsa. TKJ also composed some thematic pieces like Meghadootam, Ritusamharam, and Abhigyana Shakuntalam. In 1957, he composed a special piece to commemorate the centenary of the Sepoy mutiny of 1857. Sometimes his attempts at orchestration evoked sharp criticism from purists. But such was his conviction and sincerity that he would often veer around to his side some of the avowed critics of orchestration. He was of the firm belief that it would ultimately enrich Indian music.
TKJ's contribution earned him many laurels. In 1960, he was invited to preside over the Music Academy's annual music conference and was conferred the title of Sangeetha Kalanidhi. The way he conducted the sessions and his special encouragement to young musicians made the conference memorable. He was awarded the central government's Sangeet Natak Academy award in 1963 for his contributions to music.
TKJ was a unique teacher of music. He trained many students in vocal and violin music. His classes were a treat for the observer. TKJ gave emphasis on correct pronunciation of sahitya and the aesthetic appeal of the compositions. He would explain the meaning and context of compositions and thus enable the students to sing or play the compositions with greater bhava. He thus also inculcated a sense of deep regard for the composers in his disciples. His exposition of raga alapana was so systematic that even a layperson could understand and enjoy the clarity of his thought and richness of imagination. Even three decades after his demise, his disciples revel in the experience of those classes. Many of his disciples have gone to make a mark. Prominent students of violin include his nephew Kovai B. Dakshinamurthy, niece Late B. Gyanambal, Late Tiruvellore Subramanian, V.K Venkataramanujan, and Smt Charubala (mother and guru of Sri M.Chandrasekharan). He also taught violin to Smt. D.K. Pattammal for some time. Among his prominent vocal music students are Smt. Akhila Krishnan and Smt. Mani Krishnaswami. Mention must also be made of veteran composer Sri S. Gopalakirshnan, who was his right hand and in many ways the inheritor of the orchestral legacy of TKJ.
TKJ was a tower of strength to musicians and music lovers in the Capital. He was affectionately called Numba (Our) Jayarama Iyer and was always easily accessible for advice. He was actively connected with the AIR even after retirement, as Sangeet Salahkar (a post specially created for him) for some time and then on various committees. He was the president of Tyaga Brahma Sabha and Music Club since their inception. He was also associated with a number of other sabhas and with the Faculty of Music in the Delhi University in various advisory positions.
TKJ was very accessible to young artistes. Being a self made man he never criticized them in public. All advice for improvement was given in private and care was taken that the artistes' sensibilities were not hurt. He was a stunning orator and was known to keep diverse audience riveted during his talks. One occasion that is family legend is the visit of the then American ambassador, J.K. Galbraith. Instead of the scheduled 5 minutes, he spent 30 minutes listening to TKJ's talk about orchestration and the subsequent performance by the Vadya Vrinda.
TKJ was an ardent student all his life. Till the very end, he read for about four hours a day, his interest ranging from religion, to music, to literature. He had a liking for precise knowledge. He was also known for his help to others, especially financial help for education.
The world of music was left poorer by the demise of this scholar-musician on June 20 1971. In 1994, Delhi based Gayathri Fine Arts collaborated with TKJ's family to organize four day birth centenary celebrations. The AIR specially commissioned a set of Delhi based artistes including Prof. T.R. Subramaniam and Dr.K. Vageesh to produce a feature on TKJ. This was broadcast on the AIR's National programme of Music in 1995. T.K. Jayarama Iyer's name lives in the music of his shishya parampara and in the strains of orchestral music that emanate from the studios of the AIR.
-----------------------------------
Here's a biography that appeared on the erstwhile Sangeetham.com website written by KVS Vinay..
-----------------------------------
T.K. Jayarama Iyer (TKJ) was a household name in music circles for over half a century. Besides being a violinist of repute, he was a pioneer in the field of orchestration of Indian classical music. Known for his commitment to high levels of classicism TKJ's uniqueness lies in the daring experiments he undertook within the framework of Carnatic music. This article attempts to capture the life history, personality and contribution of the multifaceted genius.
TKJ was born on May 18 1894 in Kuttalam, a village in Tanjore district. His was a family with a musical background. His father, Kuppuswami Iyer was a violinist, Sanskrit scholar, and a Harikatha performer. TKJ showed a flair for music and languages at a very early age. As a schoolboy, TKJ developed a liking for the violin and requested his father to teach him the instrument. Interestingly, he was also an accomplished Jalatarangam player, an art he learnt from Anayampatti Subbaiyer. TKJ had his schooling at Sirkazhi and matriculated in 1911. He began his career as a government employee at Manapparai and then at Madurai. In 1915, TKJ married Vijayambal, who became a source of inspiration and strength and a partner in his quest for knowledge till the very end of his life.
During his stay in Madurai, TKJ's interest in music grew, thanks to encouragement from the likes of Nagaswaram vidwan Madurai Ponnusamy Pillai. He gradually established himself and started accompanying leading vidwans of the day. In 1918, TKJ was booked for a performance at Jaffna for Rs. 250 (his own rate being Rs. 35 at that time) with all expenses met. After obtaining the necessary leave TKJ made his trip with great success. He resigned his job in 1921 to plunge into a musical career.
TKJ moved to Kumbakonam in the 1930s, then brimming with musical activity with giants like Umayalpuram Swaminatha Iyer, Ariyakkudi Ramanuja Iyengar, Semmangudi Sreenivasa Iyer and Rajamanickam Pillai living there. TKJ's stint in Kumbakonam was very fruitful. He developed a great admiration for the violin playing style of Malakottai Govindasami Pillai and modeled his own technique in a similar fashion. TKJ also had great regard for Sri Ariyakkudi, from whom he learnt several kritis and intricacies of raga alapana. TKJ's musical career showed an upswing as he played many solo concerts with a distinct style even while continuing to accompany top vidwans. As N.R Bhuvarahan wrote (in an obituary in 1971): "His approach to violin was highly aesthetic"¦. The bowing was clean and crisp and the melodic beauty of the ragas were brought out in all their purity. The swara prastharas were saturated with raga bhava, with a neat sense of rhythm."
TKJ soon moved to Madras, which was slowly emerging as the centre of all musical activity. The Music Academy had just come into existence. TKJ used to take active part in the discussions of the Academy and soon found himself on the experts' committee. His knowledge of Sanskrit, Tamil, Telugu and English combined with his insight into the theory of music enabled him to make useful contributions to the proceedings of the Academy. The outbreak of the World War saw TKJ leave Madras and join his brother Balaganesa Iyer, a noted flautist, in Coimbatore.
In 1943, TKJ was offered a Professorship in Carnatic music at the Swati Tirunal Music Academy, Trivandrum. This gave him the opportunity of enhancing his musical acumen by associating with two very famous principals of the institution - Harikesanallur Muthaiah Bhagavatar and Semmangudi Sreenivasa Iyer. His erudition and his adeptness at handling both theory and practical classes won him accolades from his students, colleagues, and the royal family. He also used the stint to acquire a working knowledge of Malayalam.
A new chapter in TKJ's career opened up in 1946. He was invited by the AIR, Tiruchirapalli to occupy the post of Music Supervisor. This gave him ample opportunities to use his multifarious skills in the production of new programmes. He deeply studied the other systems of music and brought out various series of programmes like "Music from other lands" and "Ragas of the North and the South". It was in Tiruchi that TKJ started experimenting with orchestration as a separate form in Carnatic music. Of course, he was no novice to orchestration as a concept. He had by then scored music for a few films like Sati Sakkubai and A.K Chettiar's Mahatma Gandhi and Nandanar (with K.B Sundarambal in the lead).
Dr. Narayana Menon, who happened to hear TKJ's orchestral compositions from the Tiruchi AIR prevailed upon authorities to bring him to Delhi to take charge of the National Orchestra (Vadya Vrinda) alongside Pt. Ravishankar. TKJ was selected to compose in Carnatic music while Panditji handled the Hindustani compositions. It was in Delhi that TKJ's career reached its peak and he spent the best part of his life. His catholicity of outlook coupled with his deep knowledge of orchestration and deep devotion to classical music enabled him to attempt orchestration of many Carnatic ragas in a such a way that not only was their classical idiom maintained but their beauty was further enhanced by the richness of the instruments used. His Kamboji, Kalyani, and Vaagadeeswari are typical examples. Utilizing his deep knowledge of raga lakshanas, he daringly attempted orchestral pieces in very classical ragas like Dhanyasi, Nattakuranji, Mukhari, Saranga, and Balahamsa. TKJ also composed some thematic pieces like Meghadootam, Ritusamharam, and Abhigyana Shakuntalam. In 1957, he composed a special piece to commemorate the centenary of the Sepoy mutiny of 1857. Sometimes his attempts at orchestration evoked sharp criticism from purists. But such was his conviction and sincerity that he would often veer around to his side some of the avowed critics of orchestration. He was of the firm belief that it would ultimately enrich Indian music.
TKJ's contribution earned him many laurels. In 1960, he was invited to preside over the Music Academy's annual music conference and was conferred the title of Sangeetha Kalanidhi. The way he conducted the sessions and his special encouragement to young musicians made the conference memorable. He was awarded the central government's Sangeet Natak Academy award in 1963 for his contributions to music.
TKJ was a unique teacher of music. He trained many students in vocal and violin music. His classes were a treat for the observer. TKJ gave emphasis on correct pronunciation of sahitya and the aesthetic appeal of the compositions. He would explain the meaning and context of compositions and thus enable the students to sing or play the compositions with greater bhava. He thus also inculcated a sense of deep regard for the composers in his disciples. His exposition of raga alapana was so systematic that even a layperson could understand and enjoy the clarity of his thought and richness of imagination. Even three decades after his demise, his disciples revel in the experience of those classes. Many of his disciples have gone to make a mark. Prominent students of violin include his nephew Kovai B. Dakshinamurthy, niece Late B. Gyanambal, Late Tiruvellore Subramanian, V.K Venkataramanujan, and Smt Charubala (mother and guru of Sri M.Chandrasekharan). He also taught violin to Smt. D.K. Pattammal for some time. Among his prominent vocal music students are Smt. Akhila Krishnan and Smt. Mani Krishnaswami. Mention must also be made of veteran composer Sri S. Gopalakirshnan, who was his right hand and in many ways the inheritor of the orchestral legacy of TKJ.
TKJ was a tower of strength to musicians and music lovers in the Capital. He was affectionately called Numba (Our) Jayarama Iyer and was always easily accessible for advice. He was actively connected with the AIR even after retirement, as Sangeet Salahkar (a post specially created for him) for some time and then on various committees. He was the president of Tyaga Brahma Sabha and Music Club since their inception. He was also associated with a number of other sabhas and with the Faculty of Music in the Delhi University in various advisory positions.
TKJ was very accessible to young artistes. Being a self made man he never criticized them in public. All advice for improvement was given in private and care was taken that the artistes' sensibilities were not hurt. He was a stunning orator and was known to keep diverse audience riveted during his talks. One occasion that is family legend is the visit of the then American ambassador, J.K. Galbraith. Instead of the scheduled 5 minutes, he spent 30 minutes listening to TKJ's talk about orchestration and the subsequent performance by the Vadya Vrinda.
TKJ was an ardent student all his life. Till the very end, he read for about four hours a day, his interest ranging from religion, to music, to literature. He had a liking for precise knowledge. He was also known for his help to others, especially financial help for education.
The world of music was left poorer by the demise of this scholar-musician on June 20 1971. In 1994, Delhi based Gayathri Fine Arts collaborated with TKJ's family to organize four day birth centenary celebrations. The AIR specially commissioned a set of Delhi based artistes including Prof. T.R. Subramaniam and Dr.K. Vageesh to produce a feature on TKJ. This was broadcast on the AIR's National programme of Music in 1995. T.K. Jayarama Iyer's name lives in the music of his shishya parampara and in the strains of orchestral music that emanate from the studios of the AIR.
-----------------------------------
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cacm
- Posts: 2212
- Joined: 08 Apr 2010, 00:07
Dear Vidya,
THANKS for bringing to our attention the VAST talents& contributions of TKJ. I still get goose bumos when I recall his virtuoso violin accompaniments to famous artists. As a matter of fact whenever his name was announced I was AUTOMATICALLY ELEVATED to another HIGHER level. Unfortunately I was too ignorant not that I am better now- At least I am older- did not have the GUTS to disturb him..VKV
THANKS for bringing to our attention the VAST talents& contributions of TKJ. I still get goose bumos when I recall his virtuoso violin accompaniments to famous artists. As a matter of fact whenever his name was announced I was AUTOMATICALLY ELEVATED to another HIGHER level. Unfortunately I was too ignorant not that I am better now- At least I am older- did not have the GUTS to disturb him..VKV
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cacm
- Posts: 2212
- Joined: 08 Apr 2010, 00:07
Dear Vinay,rajeshnat wrote:gamakam
KNS Viinay(also a violinist who i think is setled now in US) is the grandson of TK Jayarama Iyer. His id is rasaali. He can perhaps give the best of information.
I would like to at least correspond with you. My email is: vkv43034@yahoo.com VKV
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rasaali
- Posts: 172
- Joined: 05 Feb 2007, 10:08
Wow! I am left speechless......
This has to count as one of the happiest days of my life yet. Someone asking about my grandfather. And someone who has heard him accompanying!!
I was a mere toddler when he passed away and it is a such a treat for me to hear about him from people that have seen/heard him.
Gamakam - The article posted by Vidya encapsulates his life. I had the privilige of writing it for Sangeetham.com at the request of Sri Sanjay Subrahmanyan. A couple of the factoids I learnt later (thanks to the Internet)
- He accompanied MMI on the latter's first 16 RPM disc. There is actually a recording of this floating around somewhere.
- Apparently in a GNB concert he politely and publicly declined to play his turn of a Sahana apalana by saying to the audience 'I will not play on the violin - what is left for me'?
- He was the music director for a Malayalam film called 'Gnanambika' which was probably the second or third Malayalam talkie.
- I do know that the Kanchi Periyavaal had referred to his Academy presidential address in a lecture ro article on (probably) Lalita Sahasranamam. This was in the late 80s or early 90s and someone had sent us a cutting of the same but I dont have it.
I have an AIR recording or two that I can upload but am trying to build a repository of information that I can find about him purely for archival purposes. Can I contact you on your email to find out details on some of these old reviews? Please let me know.
VKV sir- Thanks so much for your ID. I will write to you separately.
Best regards all,
KVS Vinay aka rasaali
PS: I still cant stop smiling...
This has to count as one of the happiest days of my life yet. Someone asking about my grandfather. And someone who has heard him accompanying!!
I was a mere toddler when he passed away and it is a such a treat for me to hear about him from people that have seen/heard him.
Gamakam - The article posted by Vidya encapsulates his life. I had the privilige of writing it for Sangeetham.com at the request of Sri Sanjay Subrahmanyan. A couple of the factoids I learnt later (thanks to the Internet)
- He accompanied MMI on the latter's first 16 RPM disc. There is actually a recording of this floating around somewhere.
- Apparently in a GNB concert he politely and publicly declined to play his turn of a Sahana apalana by saying to the audience 'I will not play on the violin - what is left for me'?
- He was the music director for a Malayalam film called 'Gnanambika' which was probably the second or third Malayalam talkie.
- I do know that the Kanchi Periyavaal had referred to his Academy presidential address in a lecture ro article on (probably) Lalita Sahasranamam. This was in the late 80s or early 90s and someone had sent us a cutting of the same but I dont have it.
I have an AIR recording or two that I can upload but am trying to build a repository of information that I can find about him purely for archival purposes. Can I contact you on your email to find out details on some of these old reviews? Please let me know.
VKV sir- Thanks so much for your ID. I will write to you separately.
Best regards all,
KVS Vinay aka rasaali
PS: I still cant stop smiling...
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rajeshnat
- Posts: 9927
- Joined: 03 Feb 2010, 08:04
rasaali
Some time before I made a post asking if whether you are TKJ's grandson. You must have been wondering then about how I asked that. Your elderly cousin (another grandson of TKJ)with the same name as J of TKJ was my professor in my engineering course (now you will know the connection). I am sure How my professor got that expressive way of taking classes perhaps it is in the gene.
IIRC your mother tongue inclusive of TKJ is Telugu not thamizh ,if that is right I just wanted to put that view point here. Please upload the recording clipping at your leisure.
Some time before I made a post asking if whether you are TKJ's grandson. You must have been wondering then about how I asked that. Your elderly cousin (another grandson of TKJ)with the same name as J of TKJ was my professor in my engineering course (now you will know the connection). I am sure How my professor got that expressive way of taking classes perhaps it is in the gene.
IIRC your mother tongue inclusive of TKJ is Telugu not thamizh ,if that is right I just wanted to put that view point here. Please upload the recording clipping at your leisure.
Last edited by rajeshnat on 11 Aug 2009, 08:24, edited 1 time in total.
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Gamakam
- Posts: 241
- Joined: 03 Feb 2010, 23:04
wow Vidya/Rasaali, that was a load of information in a span of few hours. Thanks for throwing such insights.
rasaali: You can reach me at ramchi@gmail.com. Looking fwd interacting with you.
rasaali: You can reach me at ramchi@gmail.com. Looking fwd interacting with you.
Last edited by Guest on 11 Aug 2009, 10:20, edited 1 time in total.
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knandago2001
- Posts: 645
- Joined: 05 Sep 2006, 10:09
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vasanthakokilam
- Posts: 10956
- Joined: 03 Feb 2010, 00:01
Rasali: http://www.mediafire.com or http://www.sendspace.com are other sites we have reasonably good experience with.
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Ramasubramanian M.K
- Posts: 1226
- Joined: 05 May 2009, 08:33
VKV/Rasali: TKJ accompanied SSI(with Tanjore Vaidyanatha Iyer on the Mridangam in 1945 during the wedding of my aunt in Palamadai ( a village on the banks of the Tamiraparni inTrunelveli Dist)).SSI was very fond of TKJ's playing and my uncle Raja(96 years old) always had a high regard for TKJ. If I recall correctly he also played for a number of concerts for MS.
I may be able to coax some anecdotes from my uncle who is as sharp as a thumbtack!!
One of them pertains to me(obviously I have no recollection,because I was barely 7 years old).
I believe I could identify ragas at an early age and SSI(SSI knew me since the time I was born and used to call me Jalatarangam Ramanayya Chettiyar because my voice was hoarse like Chettiyar__)_challenged both Vaidyanatha Iyer and TKJ to sing/play ragas for me to identify--an exercise I was supposed to have come out with flying colors"" In retrospect, this seems to me to be one of those "Fish Stories"(where the size of the fish caught increases with each narration over the passage of time!!!).
I may be able to coax some anecdotes from my uncle who is as sharp as a thumbtack!!
One of them pertains to me(obviously I have no recollection,because I was barely 7 years old).
I believe I could identify ragas at an early age and SSI(SSI knew me since the time I was born and used to call me Jalatarangam Ramanayya Chettiyar because my voice was hoarse like Chettiyar__)_challenged both Vaidyanatha Iyer and TKJ to sing/play ragas for me to identify--an exercise I was supposed to have come out with flying colors"" In retrospect, this seems to me to be one of those "Fish Stories"(where the size of the fish caught increases with each narration over the passage of time!!!).
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Radhika-Rajnarayan
- Posts: 289
- Joined: 27 Jun 2009, 20:18
Vid Sri T K Jayarama Iyer's orchestral compositions are amazing. Two pieces, in particular - the NAgaswarAvaLi and the KOkiladhwani pieces are very attractive. Smt Sugandha Raman, my mother-in-law, was a part of the same National orchestra and played with Pt RaviShankar conducting the orchestra as well as Vid Jayarama Iyer conducting the orchestra.
She in turn gathered a group of young people in the early 70's, who had learnt / had a penchant for music - and taught them these compositions, as well as some of Pt Ravi Shankar's. I joined the group too, and we all presented these orchestral pieces at several venues.
I feel that these orchestral compositions strike the right balance between the heavy classical music which many lay people may not appreciate, and the totally filmy or pop music. Also, since there is no sahitya, there are no language barriers.
Our performances used to draw house-full crowds in those days - this is not an idle boast of our amateur abilities - rather it is proof of the genius of Sri Jayarama Iyer's compositions that were perhaps far ahead of his time.
Many people are unaware of these. I do not know whether AIR has preserved the recordings of the National orchestra performances of those days - I do hope they have! These must be priceless! Why do they not bring out a CD of these?
Does anyone know about any CD of these orchestral pieces?
She in turn gathered a group of young people in the early 70's, who had learnt / had a penchant for music - and taught them these compositions, as well as some of Pt Ravi Shankar's. I joined the group too, and we all presented these orchestral pieces at several venues.
I feel that these orchestral compositions strike the right balance between the heavy classical music which many lay people may not appreciate, and the totally filmy or pop music. Also, since there is no sahitya, there are no language barriers.
Our performances used to draw house-full crowds in those days - this is not an idle boast of our amateur abilities - rather it is proof of the genius of Sri Jayarama Iyer's compositions that were perhaps far ahead of his time.
Many people are unaware of these. I do not know whether AIR has preserved the recordings of the National orchestra performances of those days - I do hope they have! These must be priceless! Why do they not bring out a CD of these?
Does anyone know about any CD of these orchestral pieces?
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vasanthakokilam
- Posts: 10956
- Joined: 03 Feb 2010, 00:01
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Radhika-Rajnarayan
- Posts: 289
- Joined: 27 Jun 2009, 20:18
That is what I would like to know - whether these pieces played by the National Orchestra are available in the archives of AIR. I cannot find it in their website where they have given a list of the latest CD and cassette releases.
I do have a cassette recording of the amateur group playing all the pieces - Kolkiladhwani, NAgaswarAvaLi, also (Pt Ravi Shankar's?) Bageshree and (Sindhu)Bhairavi, these last two are superb pieces.
I can convert this recording and upload it - no fears of copyright, just a programme by amateurs at Bangalore about 35-40 years ago
Let me know if you are interested.
I do have a cassette recording of the amateur group playing all the pieces - Kolkiladhwani, NAgaswarAvaLi, also (Pt Ravi Shankar's?) Bageshree and (Sindhu)Bhairavi, these last two are superb pieces.
I can convert this recording and upload it - no fears of copyright, just a programme by amateurs at Bangalore about 35-40 years ago
Let me know if you are interested.
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rasaali
- Posts: 172
- Joined: 05 Feb 2007, 10:08
Sri TKJ's Sankarabharanam Alapanai
Violin support: Sri V.K. Venkataramanujam
https://www.yousendit.com/download/YkxJ ... V094dnc9PQ
Violin support: Sri V.K. Venkataramanujam
https://www.yousendit.com/download/YkxJ ... V094dnc9PQ
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rajeshnat
- Posts: 9927
- Joined: 03 Feb 2010, 08:04
All
Just wanted to add the mother tongue of TKJ and Vinay is Telugu, but their families are settled in what is modern TN for generations,. One can say he is the most authentic sishya parampara of Thyagaraja swami. Just wanted to add that important perspective as many assume being born in that vintage tanjore jillA (district)does not qualify automatically that the musicians mother tongue would be thamizh.
rasaaali
Can we get Shri TKJ's photograpth here . Meanwhile I googled to draw a blank of TKJ :rolleyes: , I only get DKJ and LGJ. Good news is I got a violinist by name Vinay who is TKJ's grandson
http://www.learnquest.org/conference200 ... /Vinay.jpg
Just wanted to add the mother tongue of TKJ and Vinay is Telugu, but their families are settled in what is modern TN for generations,. One can say he is the most authentic sishya parampara of Thyagaraja swami. Just wanted to add that important perspective as many assume being born in that vintage tanjore jillA (district)does not qualify automatically that the musicians mother tongue would be thamizh.
rasaaali
Can we get Shri TKJ's photograpth here . Meanwhile I googled to draw a blank of TKJ :rolleyes: , I only get DKJ and LGJ. Good news is I got a violinist by name Vinay who is TKJ's grandson
http://www.learnquest.org/conference200 ... /Vinay.jpg
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rasaali
- Posts: 172
- Joined: 05 Feb 2007, 10:08
Rajeshnat
I Just want clarify. I don't think my family is anyway a shishya parampara of the Saint Tyagaraja. Those would be people whose ancestors actually learned from him or his disciples.
I do however agree that like the Saint we are Telugu speaking folks from what is geographically TN today.
I am still figuring out how to post picturess here. Will do it soon. Thanks.
PS: Currently my main spoken language is a mishmash called EngHinTamTel-ese
I Just want clarify. I don't think my family is anyway a shishya parampara of the Saint Tyagaraja. Those would be people whose ancestors actually learned from him or his disciples.
I do however agree that like the Saint we are Telugu speaking folks from what is geographically TN today.
I am still figuring out how to post picturess here. Will do it soon. Thanks.
PS: Currently my main spoken language is a mishmash called EngHinTamTel-ese
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rajeshnat
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rasaali,rasaali wrote:Rajeshnat
I Just want clarify. I don't think my family is anyway a shishya parampara of the Saint Tyagaraja. Those would be people whose ancestors actually learned from him or his disciples.
PS: Currently my main spoken language is a mishmash called EngHinTamTel-ese
I certainly did not mean that Shri TKJ was one of the sishya paramparas of T, But reading my post again yes there was ambiguity. I only meant in terms of language ancestry being the same. Sorry about the blip.
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rasaali
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Radhika-Rajnarayan wrote:Vid Sri T K Jayarama Iyer's orchestral compositions are amazing...
I feel that these orchestral compositions strike the right balance between the heavy classical music which many lay people may not appreciate, and the totally filmy or pop music. Also, since there is no sahitya, there are no language barriers.
Our performances used to draw house-full crowds in those days - this is not an idle boast of our amateur abilities - rather it is proof of the genius of Sri Jayarama Iyer's compositions that were perhaps far ahead of his time.
Many people are unaware of these. I do not know whether AIR has preserved the recordings of the National orchestra performances of those days - I do hope they have! These must be priceless! Why do they not bring out a CD of these?
Radhikaji,
Thanks for your note about the orchestra pieces. My father got very nostalgic reading your post. You have so succintly brought out the salient features of the pieces and the goal they were was trying to accomplish.
I do hope they fulfil our wish of bringing out these recordings. Meanwhile it will be great to have your recordings. Our family members do not have recordings of these pieces. We have a few recordings from broadcasts the 80s. They need some editing. I remember my father waiting with his hands on the record button while we waited in suspense about which composer's piece would be played that night...
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rasaali
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In 1995 AIR broadcast a special program on Sri TKJ's contributions as a part of National Program of Music. it was scripted by Sri TRS and produced by Dr. K Vageesh
Here is a link to that recording
http://www.mediafire.com/file/hgl4zz5gd ... TENARY.zip
It contains two orchestra pieces - Nattakuranji and Saranga among other things.
Here is a link to that recording
http://www.mediafire.com/file/hgl4zz5gd ... TENARY.zip
It contains two orchestra pieces - Nattakuranji and Saranga among other things.
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Radhika-Rajnarayan
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- Joined: 27 Jun 2009, 20:18
I will upload the recording. Please bear with me till Thursday - I have an AIR broadcast on Wednesday. You may ask, what does that have to do with uploading the recording - I have this weakness of having any music I hear, stick in my head and go on and on. Especially so with these catchy orchestral pieces. The 'sticky' tune will rear its head at the most inopportune time, like when I am seriously practising a complicated kuraippu for misra jhampa talam, or bang in the middle of the live broadcast, and I will not be able to play correctly!
I am waiting to upload these wonderful compositions and share them with everyone.
I am waiting to upload these wonderful compositions and share them with everyone.
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vasanthakokilam
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- Joined: 03 Feb 2010, 00:01
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vasanthakokilam
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After tinkering with it a bit, I got both of them extracted. TKJ2.mp3 is fine but TKJ1.mp3 had a CRC problem. I tricked winzip to give it to me in spite of the complaints.
Rasaali, see if you find any issues. If you want me to zip and reupload, I can do that too.
( In TKJ1.mp3 right when the instrumental ensemble program begins (34th minute or so ), there is a some disturbance due to some mp3 file issue. But it plays OK after that. )
Excellent program. It sounds great. Thanks Rassali.
There is also an explanation about orchestration in Indian music, tracing its roots to bharatha Sasthra ( kuTupa sangitham, gOshTi sangItham ).
Rasaali, see if you find any issues. If you want me to zip and reupload, I can do that too.
( In TKJ1.mp3 right when the instrumental ensemble program begins (34th minute or so ), there is a some disturbance due to some mp3 file issue. But it plays OK after that. )
Excellent program. It sounds great. Thanks Rassali.
There is also an explanation about orchestration in Indian music, tracing its roots to bharatha Sasthra ( kuTupa sangitham, gOshTi sangItham ).
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rasaali
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- Joined: 05 Feb 2007, 10:08
Hello All
Thanks for downloading. I zipped only so I could upload both files at once. I will upload the files individually. You should have them in about 24 hours.
On another note, there are moments of silence in the recording itself due to power cuts in the local broadcasting station. I think it happens twice.
Thanks for downloading. I zipped only so I could upload both files at once. I will upload the files individually. You should have them in about 24 hours.
On another note, there are moments of silence in the recording itself due to power cuts in the local broadcasting station. I think it happens twice.
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rshankar
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Vinay,
Thank you for the files, and the picture. I really wish that people like you take it upon yourselves to familiarize people with yester-year greats, both to enrich our lives, and also to prevent something along the lines of bhArti(yAr?) from developing - so THANK YOU once again!!
And thanks to Rajesh's enthu in unearthing your connection to Sri TKJ!
Thank you for the files, and the picture. I really wish that people like you take it upon yourselves to familiarize people with yester-year greats, both to enrich our lives, and also to prevent something along the lines of bhArti(yAr?) from developing - so THANK YOU once again!!
And thanks to Rajesh's enthu in unearthing your connection to Sri TKJ!
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vasanthakokilam
- Posts: 10956
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Now that rasaali is going to upload the files separatey, the winzip trick is really not needed. ( just in case it is useful later on, the trick is to go to Windows, and copy the file it has created while it displays the window with the error message. When you dismiss the window, it deletes the file but you have the copy ).
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rajeshnat
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I used an utility called 7 zip, which kind of compresses and decompresses different zip file formats inclusive of winzip. Those who downloaded can try to unzip with this 7zip utility after installing this utility http://www.7-zip.org/download.html (try the first exe link there )
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Radhika-Rajnarayan
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Hello Rasaali - I have uploaded the Nagaswaravali and Kolkiladhwani pieces:
http://www.mediafire.com/?gzkjdtgjydn
http://www.mediafire.com/?mzzzdygmmym
I apologise for the poor quality of the recording. Please also bear in mind that most of the members of the orchestra were rank amateurs.
You were curious about the misra Jhampa piece I played in AIR -BudhamAsrayAmi.
http://www.mediafire.com/?gzkjdtgjydn
http://www.mediafire.com/?mzzzdygmmym
I apologise for the poor quality of the recording. Please also bear in mind that most of the members of the orchestra were rank amateurs.
You were curious about the misra Jhampa piece I played in AIR -BudhamAsrayAmi.
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rajeshnat
- Posts: 9927
- Joined: 03 Feb 2010, 08:04
Radhika-Rajnarayan wrote:Hello Rasaali - I have uploaded the Nagaswaravali and Kolkiladhwani pieces:
I apologise for the poor quality of the recording. Please also bear in mind that most of the members of the orchestra were rank amateurs.
You were curious about the misra Jhampa piece I played in AIR -BudhamAsrayAmi.
Radhika-Rajnarayan
The two Nagaswaravali and Kolkiladhwani pieces are tuned and orchestrated by Shri TKJ when he was alive or is it something that was performed by musicians after TKJ's demise.
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Radhika-Rajnarayan
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Indeed, the pieces were played by the National Orchestra (Karnatic section), composed & conducted by him, when Sri TKJ was there at Delhi in AIR. There are 2 other pieces (Bageshree and Sindhu Bhairavi), which, I believe, were composed by someone called Sehgal. Lovely pieces too, extremely catchy, 'sticky' too!rajeshnat wrote:Radhika-Rajnarayan wrote:Hello Rasaali - I have uploaded the Nagaswaravali and Kolkiladhwani pieces:
I apologise for the poor quality of the recording. Please also bear in mind that most of the members of the orchestra were rank amateurs.
You were curious about the misra Jhampa piece I played in AIR -BudhamAsrayAmi.
Radhika-Rajnarayan
The two Nagaswaravali and Kolkiladhwani pieces are tuned and orchestrated by Shri TKJ when he was alive or is it something that was performed by musicians after TKJ's demise.
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Radhika-Rajnarayan
- Posts: 289
- Joined: 27 Jun 2009, 20:18
To rshankar- ACA stands for Amateur Cultural Academy - a group of (then) young professionals - engineers working in PSU's, people working as college lecturers, bank staff etc. The group is still going strong. The members are now in their late 50's or 60's,many retired as senior managers etc , a few still working (Raj Narayan and myself - no choice ). Most of the group then (again, with the exception of a few) had very little musical training. In that performance, Raj Narayan does NOT play the flute - any guesses as to what he played? The instruments in the group are - Veena, sitar, violin, accordion, guitar, mandolin and mridangam.
To rasaali - by God's grace, the live programme went off smoothly, including misra jhampa!
). Most of the group then (again, with the exception of a few) had very little musical training. In that performance, Raj Narayan does NOT play the flute - any guesses as to what he played? The instruments in the group are - Veena, sitar, violin, accordion, guitar, mandolin and mridangam.To rasaali - by God's grace, the live programme went off smoothly, including misra jhampa!