T N Rajarathnam Pillai

Svaapana · Post by **Svaapana** » 04 Aug 2009, 00:10

I was too young when TNR was a super star. The few (live) concerts that I had heard was notable for (1) his penchant for elaboration in the mandhara sthayi (2) tavil accompanyist taking proportionally longer time (3) idiosyncrasies mentioned by others in this thread. All these were of course trivial because TNR would produce several magical moments in the raga alapana and present extremely pleasant and dramatic surprises. However, we used to be ecstatic listening to TNR's prime disciple KPA. He took us a to a different world when he played thodi for 25 minutes (non stop) without the tavil support! That was simple amazing.

coolkarni · Post by **coolkarni** » 04 Aug 2009, 07:04

thanjavooran · Post by **thanjavooran** » 04 Aug 2009, 07:36

coolkarni avl,
Many thanks for concluding part.
Thanjavooran

sr_iyer · Post by **sr_iyer** » 06 Aug 2009, 09:52

Thanks for all the insightful posts.

Ramasubramanian wrote:Also another feautre of his playing was his mastery of the lower octave--the clarity of the lowest note(most Naedaswara Vidwans freely travers the middle and higher octaves but rarely go down to the Panchamam--TNR would touch the Ma in the lower octave in Kambodhi which will be 'pitch and tone- perfect.

Would like to add -- he has actually touched the lower shadjam in an RTP shanmukhapriya. I have a partial recording (not so good quality) from a cassette I made, and hence have included only an excerpt of a few seconds where he touches the lower sa.

http://www.mediafire.com/?sharekey=e4f6 ... f6e8ebb871

rbharath · Post by **rbharath** » 07 Aug 2009, 11:10

wow!

There is this tamil movie called 'mella tirandadu kadavu', in which the heroine is always showing her eyes alone to the hero. never once in the full movie, the hero gets to see the heroine's full face.

there is also this bhairavi padam, 'mugattai kATTi dEham muzhumaiyum kATTAmal'.

this file of TNR Playing shanmukhapriya, reminds me of such things...

rajeshnat · Post by **rajeshnat** » 14 Dec 2010, 12:07

Lovely writeup from the archives of Hindu.
http://www.thehindu.com/arts/music/article948529.ece

mankuthimma · Post by **mankuthimma** » 14 Dec 2010, 14:35

http://www.mediafire.com/?yhxau6msclei3cf

Yesterday was his Death Anniversary . Passed away on Dec 12th 1956.
The link above , is of a 45 minute AIR presentation . It has a good sprinkling of his playing , his singing and much more .
A beautiful tribute .
I can put up a beautiful , hour long , RTP in Jayanthasree , if someone is interested.

thanjavooran · Post by **thanjavooran** » 14 Dec 2010, 16:08

Shri mankuthimma,
Thanks a lot for the link. Interested to listen Jayanthasree too.
with wishes,
Thanjavooran 14 12 2010

mankuthimma · Post by **mankuthimma** » 14 Dec 2010, 17:44

thanjavooran wrote: Interested to listen Jayanthasree too.with wishes,Thanjavooran 14 12 2010

here , it is.
http://www.mediafire.com/?jhh35na99h0h5yj

thanjavooran · Post by **thanjavooran** » 14 Dec 2010, 19:00

Shri Mankuthimma,
Many thanks for prompt response.
Thanjavooran 14 12 2010

Venkatg · Post by **Venkatg** » 17 Dec 2010, 16:04

Thanks Cji for the RTP. Listened to it and have a couple of questions which probably the more knowledgeable experts from our forum can explain.

There is no doubt that he starts off with Jayantashree, shows some phrases of the popular thyagaraja krithi in the opening 3-5 minutes or so, but the raga alapana sounds more like hindolam at a lot of places. Hindolam , varamu, surya and jayantashree all seem to be quite close.

Even in the ragamalika he starts of the second raga with varali and then touches subhapantuvarali in higher octave. Is this swara bedham or closeness of these ragas?

There is no thanam played after the raga alapana its the pallavi.

Ramasubramanian M.K · Post by **Ramasubramanian M.K** » 18 Dec 2010, 00:00

Mankuthiamma: Thanks for the Jayanthasree piece--I have never heard this before--In my early life I have listened to TNR's FOUR live concerts. Based on this experience and my "quizzing" Semmangudi Mama and Lalgudi Sir about TNR's techniques(sometimes much to the irritation of the musicians who probably wished I had asked them more about their techniques!!!) let me try to address how he has handled Jayanthasree.
Generally except for some brief raga alapana like Suddhaseemanthini(before the Janaki Ramana piece) TNR did not believe in elaboration of rare ragas--his criteria--as inculcated to him by his Guru Thirukkodikaval Krishna Iyer and practiced by his contemporary musicians like Ariyakudi,Musiri,Semmangudi et al-before you elaborate a raga make sure you either learn or hear several kritis in that raga. Although he himself did not actively learn many kritis even in the Gana ragas like ThodiKambodhi,Bhairavi,Sankarabharanam. but if you listen to his elaboration of these ragas he would have incorporated some of the key phrases of the raga as elucidated in several other krithis of Thyagaraja or Muthuswamy Dikshitar--for example his Thodi alaborations--if you watch closely-- would have the Arakimbave or jesinalla tella marachithivo ,rajuvedala or Kaddanavariki phrases embedded .

Given this how does one explain his handling of Jayanthasree in this piece with only one known song in it?

To me that explains TNR's genius--he can isolate the common phrases of Hindolam and Jayanthasri---dwell on them elaborately with an occasional foray into the Panchamam in the avarohanam.

If you listen carefully(and if you are as tolerant as I am of his occasional liberties that he takes at times) you would notice that against the conventional technique of repeated touching the Panchamam in the descent(Sa Ga Ma Dha Ni Sa----- Sa Ni Dha Ma Pa Ma Ga Sa ) he will dwell on the descent ending with the Ma(not touching the Panchamam) and delve into the lower octave upto the Ma(again not touching the Panchamam). What you should look for is the Kuzhaivus--how he "weaves" the swaras in the form of an intricate Kolam--when the lines are being drawn in Kolam --especially an intricate one-- if you observe you would be wondering what the kolam artist is attempting and when the piece is finished you would marvel at the architecture and appreciate the method followed by the Kolam artist.

Note that he uses the Sa Ga Ma phrase--in the ascent-(and not go to the Ni)-- sketches a Suddha Danyasi-like foray before he goes to the Panchamam.(Pa Ma ga Sa)

In fact the whole alapana should be a clinic for Vidyarthis--especially if you are a aficionado of Lakshyam in Music than Lakshanam- alone-TNR made no pretense of his disdain for Lakshanam--this permeated his whole attitude towards music--not a slavish adherence to Grammar(Lakshanam).

Example : In his Yochana Disc(Darbar) at the tail end when he does the usual flourish--typical of TNR-- he
shows a flourish of Nayaki(the difference being in Darbar you would sing on the Ascent--Sa Ri Ma Pa Dha Ni Sa whereas in Nayaki you would drag the Ni in the ascent,touch the Dha Pa as in the descent and then touch Mel Sadja). One of his admirers -- who was also a purist in his fidelity to Raga Lakshanam--asked TNR about the "stray" into Nayaki-- to which TNR is purported to have replied in Tamil "Nayaki Illama Oru Darbar Unda(Can there be a Darbar without a Nayaki--nice pun!!).

Apart from the Thyagaraja krithi in jayanthasree, MLV used to sing a Dasar Nama -- Sreedhara (lyrics fail me here,HELP!!) and GNB has sung the raga in his Sonnadai Seyda Sahasama Kiliye(the piece Thannilai Thadumari Tavikkurenadi)--the Thadumari portion reflects the Panchamam and then again in the Vennilavu Veesum vetta veli Thannil Annavan Enakkoru Asai Thandan Adi(Thandan).
The beauty of this piece(thanks to Mankuthimma) is that TNR has elaborated it nicely without feeling circumscribed by its limitation.

Sorry,I am such an aficionado of TNR that I could dwell on his music for hours--what little knowledge of Appreciation of our Music I have is derived from listening to him--however few and far between the occasions may have been!! In my opinion none of my contemporaries --who have had a chance to listen to him would be equivocal in their assessment of his genius!! The fact that there is no Nadaswaram Vidwan today who comes even close to TNR--almost 50 plus years after his death shows he was ONE OF A KIND!!!

Mankuthiamma,could you dig up from your archives his Charukesi or Kambodhi. They would be illustrative and educatve to our forum young vidyarthis!!.i

Music · Post by **Music** » 18 Dec 2010, 00:37

When it comes to allied ragas, sometimes I think we look at the raga rendering too critically (I don't mean Venkatg at all....just talking about allied ragas in general). When we look at related ragas like Saveri and Malahari etc., the fact is that there is commonality. E.g., when you sing/play Malahari, just because Saveri is more prominently heard, you cannot focus only on the distinguishing aspects of Malahari and ignore the phrases that overlap with Saveri. Part of the identity of Malahari is that is sounds like Saveri some parts. Does not make it any less of a Malahari. How much an artist should dwell on the commonality seems to become very subjective.

ksrimech · Post by **ksrimech** » 18 Dec 2010, 02:59

Ramasubramanian M.K wrote:MLV used to sing a Dasar Nama -- Sreedhara (lyrics fail me here,HELP!!)

Its is a composition of maisUrU vAsudEvAchAriAr. It probably is the one of the twelve songs he composed on the kESavAdi dvAdasa nAmas as I'm able to identify the other 11. I don't know whether he really composed it in that sense.

pallavi:
shrIdhara pAhi dayAkara vEda sugOcara giridhara
anupallavi:
yAdava varada parAtpara pAda natAmara sukhakara
charaNam:
bhUsurAdi pAlana para vAsudEva muraLIdhara
bhAsura maNi bhUSaNa nAgAsura hara dAmOdara

Ramasubramanian M.K · Post by **Ramasubramanian M.K** » 18 Dec 2010, 10:29

Thank you ksrimech!!! When one has the rasikas Forum WHY does one need Wikipedia or Google search!!!!

mankuthimma · Post by **mankuthimma** » 18 Dec 2010, 11:06

MKR
Thanks . I with have embedded your comments into the track with your name .
Millions of years down the line , when somebody unearths this track in an alien environment , and listen ,it will pop out with your comments scrolling on their screens . A fine choice of words describing immortal Music . And marvel at the beauty of it all. As I do now .

Yes I will come back with your requests and much more of TNR , as the demands pour in . I have the full backing of their family to use this music as I wish . ( obviously, if it has not been published )
Hopefully I will be getting Karaikurchi's Son-in-law tomorrow to the meet.He is a good friend of mine and has pampered me with TNR - Karaikurchis Music.
Guess what ? I have been telling all my commercial-label-friends that, Here is a family that is willing to sign on any dotted line to publish this music for pittances , but still I have failed to elicit responses . Failed for years . And here you come with such fine tributes .
So much is wrong with our world today .

We can run this TNR thread just with thodi until you move into your 80s , and the rest of it all until you hit a century .

RTP's... Someone asked a question about thanam.
I have never really come across a typical Thom Nom kind of Thanam . Or atleast something resembling that , and which is neatly placed between an alapana and a Pallavi. Your assessment about the Laskshyam and Lakshanam may have a bearing with the method they use , switching to a ragamalika after longish alapanas . Which go back and forth in phases ,interspersed with Thavil playing .
I will come back with those tracks.

mankuthimma · Post by **mankuthimma** » 18 Dec 2010, 11:07

Ramasubramanian M.K wrote:Thank you ksrimech!!! When one has the rasikas Forum WHY does one need Wikipedia or Google search!!!!

And horror of horrors , I forgot to attach a face to this name , recently . So unpardonable of me .

mankuthimma · Post by **mankuthimma** » 18 Dec 2010, 12:15

ksrimech wrote: Its is a composition of maisUrU vAsudEvAchAriAr.

Three tracks to go along with the lyrics
http://www.mediafire.com/?33c7l4382sr89

mankuthimma · Post by **mankuthimma** » 18 Dec 2010, 13:24

http://www.mediafire.com/?83n7fls69asjdzg

Concert with a major khamboji .
MKR
I did not have the courage to apply the scissors and prise out the Khamboji alone .Where should one apply the markers in the software ???
The concerts are such prime examples of a long and majestic thought process , that winds its way like a river . It is very difficult to understand when the actual Khamboji starts or ends .
And so I have put up the full track that I have . I have 42 such amazing concert excerpt tracks and we could cover all of them , if you have the time and patience to feed our indulgences . Even if required over months and years .
Until then I will keep looking for Charukeshi , which is going to be more difficult than the Khamboji .

Ramasubramanian M.K · Post by **Ramasubramanian M.K** » 18 Dec 2010, 18:26

Dear Mankuthiamma: THANKS A MILLION--POSTERITY WILL THANK YOU FOR YOUR CONTRIBUTIONS TO THE DISSEMINATION,DISCERNMENT OF OUR GREAT CARNATIC MUSIC.
I HAVE NOT LISTENED TO THE KAMBODHI PIECE YET--SOMETIMES THE MEDIAFIRE DOWNLOADS DO NOT WORK PROPERLY IN MY COMPUTER--DON'T WORRY--IT IS DUE TO MY DIGITAL IGNORANCE.

TNR's handling of Kambodhi is my favorite discussion topic--I WILL REVERT AFTER I HAVE SOLVED MY DIGITAL PROBLEM!!!

THANKS AGAIN FOR TAKING THE EFFORTS TO REVIVE TNR'S MUSIC AND YOUR EAGERNESS TO MAKE IT COMMERCIALLY AVAILABLE.

fduddy · Post by **fduddy** » 19 Dec 2010, 14:27

MKR

mediafire d/l are getting to be difficult these days. I have struggled with Internet Explorer and Mozilla Firefox. But recently found this works wonderfully well if d/l from google chrome. NO ERRORS. Suggest you d/l the google chrome engine to d/l in future !

bilahari · Post by **bilahari** » 20 Dec 2010, 18:13

Sri MKR, here is a cArukEsi:
http://www.youtube.com/watch?v=jsxVTT0BBlE

The accent on the nishAdam is curious!

Ramasubramanian M.K · Post by **Ramasubramanian M.K** » 21 Dec 2010, 09:55

Bilahari: Thanks for the Charukesi piece--I had it in my archives and had lost it--when I first heard it almost 30 years ago I was impressed by his flawless rendering--despite some heavy Brigas traversing 2 octaves--like an intricate roller-coastal ride ---hearing that -- used to remind me of a circus spectator watching with trepidation and fear a trapeze artist performing w/o a safety net marvelling it at the alacrity but at the same time fearful that he may "trip" and fall!!

Yes the Nishadam is handled slightly differently--instead of a text-book Shanmughapriya Nishadam--that in my opinion was his genius--the ability to drop a key swara and still retain the charm of the raga. In this piece despite it being a Melakartha Raga with all the 7 notes in Krama Sampurnam, TNR refuses to be tied down to the conventional presentation and even in the lower octaves he uses the Ga Ma Ga Ga Ri Sa as commonly used in kambodhi(Note the Sarasija Varnam in Kambodhi in the Chittaswaram Ma Ga Ga Ri Ri Sa). It is conventional wisdom that one has to learn many kritis in a Raga before embarking upon elaborate Alapana--but TNR was an exception--the only kriti he has known is Adamodi Gala De--yet in this clip he has let his imagination "fly" and persons who may have known several kritis in Charukesi could not have explored the "nooks-and-cranies" as well as the "Contours" of Charukesi as TNR has done in this clip.

I have always summoned the courage to ask the contemporaries-- Semmangudi Mama, MS MamiGNB Sir Lalgudi Sir,TKM sir .MLV Amma as to what they thought of TNR's music--all of them were unequivocal in their praise and admiration of TNR and how each one of them sometimes unobtrusively and sometimes straightforwardly will attend his concerts and come back marvelling "where does that imagination come from? All of them if one notes carefully have imbibed his raga delineation technique in their own performances.

On a lighter side the collage of pics attached to the Video Clip reveals some facets of what TNR was like-- the pic where he is seated aside a mirror and seems to enjoy his reflection in the mirror-- a kind of self-adulation and never failed to point out how far superior he was compared to his contemporaries.

An anecdote--I may have posted it early in this thread--nevertheless I will repeat the same here.
In one of the pics in the collage shows TNR playing with Kulikkarai Pichaiappa and Thiruvudamarudur Veerusamy Pillai--TNR considered it an insult to have anybody else--especially Veerusamy play next to him or with him.
Once when Ariyakudi celebrated his daughter's wedding in the late Thirties in Kumbakonam,there were a whole lot of Senior Vidwans attending the wedding including Superstar(of that time MKT)--both TNR and Veerusami Pillai had come for the wedding--some of the rasikas milled around Ariakudi cajoling him to request TNR and Veerusami Pillai (who both had come for the wedding) play duet. Ariyakudi knowing TNR's ego-although ARI was atleast 10 years older-- did not encourage the idea. However the rasiks pestered him and with great reluctance and ven trepidaton approaches TNR and says plaintively(ARI was known for his plaintive approach to all his rasikas not wanting to hurt their feelings!!)--Neengalum Veerusamy Pillai avargalum shendu vasikkanam enru ellorum virumbarargal(rasikas want you and veerusamy Pillai play together ). TNR is taken aback by the suggestion and even gets a little irate but calms down and in the same plaintive voice like ARI says "Enakkum Romba Nala Oru Asai Irukku(for me too there is a longstanding desire).. ARI asks what is that desire-- TNR says "Neengalum MKT yum shendu padanam (he equated Veerusamy Pillai with MKT!!!)

ARI embarassed does not know what to say and feels put upon by the rasikas blaming himself for listening to them knowing how TNR would react to the suggestion. TNR then comes down and says almost in disgust and contempt "Sari Sari Avanai vadyathai eduthuttu vara chollunga(OK OK Ask him to bring his instrument.)
That's WHY that pic in the collage with Veerusamy Pillai standing next to TNR but not playing is an archival pic!!!!

rahm221 · Post by **rahm221** » 25 Dec 2010, 02:07

Unfortunately Mankuthimma's recent uploads to mediafire have vanished. Could someone reupload the Kambodhi concert and the one in three parts please.

venkatakailasam · Post by **venkatakailasam** » 15 Aug 2012, 18:44

A one hour concert by TNR..

001-Concert-055-TN Rajamanickam Pillai.mp3 - 58.9 Mb

Another one TN Rajaratnam pillai-Concert I hour 53mts.,

002-TN Rajaratnam pillai-Concert-053.mp3 - 104.8 Mb

cmlover · Post by **cmlover** » 15 Aug 2012, 21:39

Thanks
Appropriate timing for the anniversary!

TheListener · Post by **TheListener** » 25 Sep 2012, 06:42

Sri MKR, looking forward to more of your reminiscences.

Recently, was listening to a string of ragamalikas played by TNR (post-RTP I think). I don't remember what those ragams were, for my mind wouldn't even venture into identifying them. It simply didn't matter in those moments of awe. The beauty of whatever he played outshined other such mundane details. What an experience it was - even from a recording. And how wonderful it must have been listening to him live.

Sapthagiri · Post by **Sapthagiri** » 04 Oct 2012, 00:45

Dear friends,Let me have the privilege to indicate in this page dedicated to TNR that I am uploading from my collection of music over past seven decades in my blog --apkoilns.blogspot.com--.Great TNR's masterpieces also find a place. Please listen and enjoy. Regards-ANSapthagireesan

Ramasubramanian M.K · Post by **Ramasubramanian M.K** » 09 Oct 2012, 04:03

To The Listener(Post#52).Sorry for the belated ack. Thanks for your kind remarks.To me TNR shaped my musical appreciation skills and I seldom get tired recounting his genius. An anecdote:

Circa 1954--I was studying B.Sc. in Presidency College(VKV was my Physics tutor--used to take permission from VKV to skip the Labs to attend a concert only to find out VKV had cancelled the whole class to show up at the same concert!!!!)) On a Friday riding the 21 B Mandavali Bus(I lived in mandavali) I happened to overhear a conversation between two old ladies(Chettiars) talking about a big wedding of one of their rich Chettiars where TNR was going to play on Sunday in Purasawalkam--With the three key phrases--leading Chettiar house wedding,TNR playing and Purasawalkam--in the absence of any Google or any other search engine I managed to "scout the location --a big Pandal in a big school in Purasawalkam
and "trekked" my way(anybody who knows Chennai of those days would know that from mandavali to Puraswalkam one has to take 2 or three buses and returning late at night(after the reception concert) was a risky proposition because of the lack of frequency of buses on those routes. reached the pandal around 5 P.M.--just in time for the reception concert to start--did not know anybody in the crowd--was very cordially invited by the hosts--much to my embarassment because I was a wedding-crasher and looked every inch a street urchin wandering into the wrong place. TNR was awesome(no interruptions or pauses--either the Chettiar must have been a knowledgeable rasika or a very generous patron of the Arts!!)--the concert was going on even after 8 ;30 and I got nervous about my return trek and reluctantly left the concert--when I was getting out the hosts were profusely requesting me-- a boy of 16 to stay for dinner etc--I was too embarassed(first having to crash the wedding w/o invitation and second to stay for Dinner would have been the height of indiscretion ). I excused myself and managed to reach home at a decent hour-that was the third live concert of TNR I had heard. To this day those memories haunt my mind--his genius in Raga expositions--imitated by his peers (Vocalists/Instrumentalists)-his style of raga outlines that carry the imprint of allied ragas and yet distinct enough to charm you.

The greatest lesson I learnt --which I try to follow in my own singing style --is the leisurely pace of gamakams and Kuzhaivus--there will be no flat notes--even if the Raga stipulates that there shoul be no oscillations of a Jeeva Swara he was adept in giving it the gamakam and Kuzhaivu w/o marring the spirit of the Raga--the speed and the clarity--his famous Thodi is a classic example--Note that he has brought out the Classic Thodi krithis of Thyagaraja(Jesinathella, Arakimbave) in the alapana. He had a very limited repertoire of krithis in the Gana ragas that he was fond of playing--Kalyani,Kambodhi,Bhairavi,Thodi, Sankarabharanam and yet the gamut that he covered in his Raga Alapanas brought out the phenomenal Lakshyam in his music. He was a towering Colossus and made no efforts to hide it!!!

My uncle told me a story(in 2009--he died 3 moths later @ 96) about TNR and our family. Circa 1929-- for my Aunt's wedding--TNR was arranged for the all-night Janavasam procession in Mylapore--the wedding was in Luz Church Road(where the Petachi Auditorium is currently built). One of our family elders-- a landlord in Tirunelveli and patron of the arts was a fan/fiend/patron of TNR(TNR was 30 and had already acquired both fame and notoriety!!) and he persuaded my maternal grandfather (who was a leading Bank executive at that time to arrange TNR.Given the kind of crowd my grandfather expected at the wedding he was a litle skeptical about the idea of TNR and his "alleged idiosynchrasies". However the grand uncle who had orchestrated the whole idea hit upon a novel idea-- TNR was to come 3 days before the wedding to be lodged in a private setting far away from the Hall with plenty of the "holy Liquid"--the understanding was that TNR could indulge for 2 days but should be absolutely clean and sober on the day before the wedding(the janavasam procession being in the night there was plenty of time for the "sauce" to "dry out"). TNR respected it and according to my uncle played his heart out(ofcourse TNR would not play on foot-- an open "pleasure car"(TNR's favorite expression for the foldable top!!) was arranged for him--the procession from Luz Church Road to the Kapali temple and back lasted into the wee hours of the morning--the wedding day till 4 A.M--the family and the guests barely had time to prepare for the wedding to start in a couple of hours. TNR could play his heart out whenever he willed it if he is convinced of the genuineness of the host in terms of musical tastes--ofcourse one has to be careful in not inviting any other artiste--his peers --for a Double nagaswaram idea very popular in big society weddings in those days.

Another anecdote pertaining to his sensitivity to being "clubbed" with other artistes--no matter how respectable they may have been(his signature in his letter of acceptance of a concert engagement will be a big bold NADASWARA CHAKRAVARTHI--the text itself will be only a few lines.

Anecdote in my next post---

cacm · Post by **cacm** » 09 Oct 2012, 07:29

THANKS FOR THE MEMORIES...KEEP THIS STREAK GOING....VERY FASCINATING & INTERESTING....VKV

annamalai · Post by **annamalai** » 09 Oct 2012, 13:08

Ramasubramanian M.K wrote:
Circa 1954--I was studying B.Sc. in Presidency College(VKV was my Physics tutor--used to take permission from VKV to skip the Labs to attend a concert only to find out VKV had cancelled the whole class to show up at the same concert!!!!))

Very interesting story. You did not drag Sri VKV for TNR concert ?
I have heard stories in my village near Tiruvarur, they used to walk 10 km to concerts of Maharajapuram Viswanatha Iyer in some remote village, have food at the marriage and walk back well past midnight. I have also heard that TNR used to perform for Tiruvarur temple Lord Thyagaraja Vrushaba vahanam and TNR used to come decked javadhu pottu and diamond earrings (Vaira kadukkan).

My only trip to Purasawakkam in during my hostel days was to see a Kamalahasan movie on the first (release) day @ Purasawakkam and we walked back to the hostel (with several stops at tea shops along the way); seems lowbrow compared to attending a TNR concert.

Ramasubramanian M.K · Post by **Ramasubramanian M.K** » 09 Oct 2012, 20:26

Annamalai: I am glad I am not the only one to do such crazy things in pursuit of something philosophers might say "ephemeral" but "vital for fans like us -each in his own way--somehow the idiosynchracies of geniuses blind us to such eccentricities!!!

rajeshnat · Post by **rajeshnat** » 24 Jan 2014, 18:05

I wish I lived then to hear TNR live- how it must have been to sit from 10 pm to 2:30 AM, with a tOdi , neelambari and bowli- TNR and karaikkurichi alteast to me are the greatest. A nice write up in the hindu today.

http://www.thehindu.com/features/friday ... 609696.ece

cacm · Post by **cacm** » 25 Jan 2014, 09:56

[quote="annamalai"][quote="Ramasubramanian M.K"]

Circa 1954--I was studying B.Sc. in Presidency College(VKV was my Physics tutor--used to take permission from VKV to skip the Labs to attend a concert only to find out VKV had cancelled the whole class to show up at the same concert!!!!))

Very interesting story. You did not drag Sri VKV for TNR concert ?
I have heard stories in my village near Tiruvarur, they used to walk 10 km to concerts of Maharajapuram Viswanatha Iyer in some remote village, have food at the marriage and walk back well past midnight. I have also heard that TNR used to perform for Tiruvarur temple Lord Thyagaraja Vrushaba vahanam and TNR used to come decked javadhu pottu and diamond earrings (Vaira kadukkan).

My only trip to Purasawakkam in during my hostel days was to see a Kamalahasan movie on the first (release) day @ Purasawakkam and we walked back to the hostel (with several stops at tea shops along the way); seems lowbrow compared to attending a TNR concert

MKR HAS THE UNCANNY GENIUS OF RECALLING THE BEST OF OUR DAYS IN MADRAS! I cannot even the begin to describe THE ENERGY EXCITEMENT & ELEVATED SPIRITS WHEN WE HEARD TNR; EVEN GNB& MMI HAVE VIVIDLY DESCRIBED TNR'S THODI & SUDDHA SEEMANDHINI THO' TNR USED TO ASK GNB& MMI TO SING THOSE RAGAS FOR HIM.... I HAVE TO CONCLUDE THOSE WERE THE DAYS! IF TNR HAD KNOWN about MKR' S situation he would have taken him to dinner! MMI, LGJ, & PSP HAVE done it for me! I attended MMI-LGJ- PSP concert at RAMNAD RAJA'S DAUGHTER'S WEDDING THAT WAY as well as KAPALI KOIL CONCERTS BEC. LGJ spotted me in the thousands thronging in Mada street & took me with him to the stage!...THERE IS SIMPLY NO WAY OF REPAYING THEIR KINDNESSES; FORTUNELY EVEN JUST THE MEMORIES TAKE ME TO A PARRELLEL UNIVERSE! VKV

cacm · Post by **cacm** » 25 Jan 2014, 09:56

[quote="annamalai"][quote="Ramasubramanian M.K"]

Circa 1954--I was studying B.Sc. in Presidency College(VKV was my Physics tutor--used to take permission from VKV to skip the Labs to attend a concert only to find out VKV had cancelled the whole class to show up at the same concert!!!!))

Very interesting story. You did not drag Sri VKV for TNR concert ?
I have heard stories in my village near Tiruvarur, they used to walk 10 km to concerts of Maharajapuram Viswanatha Iyer in some remote village, have food at the marriage and walk back well past midnight. I have also heard that TNR used to perform for Tiruvarur temple Lord Thyagaraja Vrushaba vahanam and TNR used to come decked javadhu pottu and diamond earrings (Vaira kadukkan).

My only trip to Purasawakkam in during my hostel days was to see a Kamalahasan movie on the first (release) day @ Purasawakkam and we walked back to the hostel (with several stops at tea shops along the way); seems lowbrow compared to attending a TNR concert

MKR HAS THE UNCANNY GENIUS OF RECALLING THE BEST OF OUR DAYS IN MADRAS! I cannot even the begin to describe THE ENERGY EXCITEMENT & ELEVATED SPIRITS WHEN WE HEARD TNR; EVEN GNB& MMI HAVE VIVIDLY DESCRIBED TNR'S THODI & SUDDHA SEEMANDHINI THO' TNR USED TO ASK GNB& MMI TO SING THOSE RAGAS FOR HIM.... I HAVE TO CONCLUDE THOSE WERE THE DAYS! IF TNR HAD KNOWN about MKR' S situation he would have taken him to dinner! :-BD MMI, LGJ, & PSP HAVE done it for me! I attended MMI-LGJ- PSP concert at RAMNAD RAJA'S DAUGHTER'S WEDDING THAT WAY as well as KAPALI KOIL CONCERTS BEC. LGJ spotted me in the thousands thronging in Mada street & took me with him to the stage!...THERE IS SIMPLY NO WAY OF REPAYING THEIR KINDNESSES; FORTUNELY EVEN JUST THE MEMORIES TAKE ME TO A PARALLEL UNIVERSE! VKV

:ymapplause:

venkatakailasam · Post by **venkatakailasam** » 27 Aug 2014, 09:12

Concert 253-Shri T.N.RAJARATTHINAM Pillai
“ Our own PIED PIPER” His birth day to day-27-08-2014
Listen at:
http://myblogkumara.blogspot.in/2014/07 ... rt-ix.html
Concert details:
01_raguvara_nannu_panthuvarali_
02_samaja_varagamana_hindolam_
03_kalyani_
04_aaragimpave_thodi
05_nannupaalimpa_mohanam_
06_aalapanai_shanmukapriya_

satyabalu · Post by **satyabalu** » 11 Jan 2015, 11:35

டி.என்.ஆரின் ஜென்ம சாபல்ய கச்சேரி

(இன்றைய தினமணி)

சுமார் 60 வருஷங்களுக்கு முன்பு என்று எனது நினைவு. பரமாச்சாரியார் தஞ்சாவூர் ஜில்லாவில் திக்விஜயம் செய்து கொண்டிருந்த நேரம். மாயவரத்தில் பரமாச்சாரியாரின் பட்டணப் பிரவேசத்திற்கு ஏற்பாடு செய்திருந்தார்கள். பரமாச்சாரியாரின் பட்டணப் பிரவேசம் என்று சொன்னால் யானை, குதிரை எல்லாம் முன்னால் ஊர்வலமாக வரும். பரமாச்சாரியார் பல்லக்கில் வருவார்.

தருமபுரம் மடம் வழியாக பரமாச்சாரியாரின் பல்லக்கு வந்தது. அங்கே பூர்ணகும்ப மரியாதையுடன் தருமபுரம் ஆதீனத்துக்கு விஜயம் செய்தார் அவர். பண்டார சந்நிதி அவரை கெளரவம் செய்து மடத்திற்கு அழைத்துச் சென்றார். பிறகு மயிலாடுதுறைக்குள் நுழைந்தது பரமாச்சாரியாரின் பட்டணப் பிரவேச ஊர்வலம்.

நாகஸ்வர சக்ரவர்த்தி டி.என்.ராஜரத்தினம் பிள்ளை பெயரில் மட்டுமல்ல, நிஜமாகவே ஒரு ராஜாவைப் போல வாழ்ந்தவர். அவருடைய லெட்டர்பேடில் "அகில உலக நாகஸ்வர சக்கரவர்த்தி திருவாவடுதுறை ராஜரத்தினம் பிள்ளை அவர்கள்' என்றுதான் அச்சிடப்பட்டிருக்கும். கப்பல் போன்ற ஸ்டுடிபேக்கர் காரில்தான் பயணிப்பார். இந்த சந்தர்ப்பத்தில் வெளியூரில் கச்சேரி செய்துவிட்டு திருவாவடுதுறை திரும்பிக் கொண்டிருந்தார் டி.என்.ஆர்.

அந்த நாளில் மாயவரத்தில் பிரபலமான காளியாக்குடி ஹோட்டல் அருகில் உள்ள மணிக்கூண்டு வழியாக சென்று கொண்டிருந்த டி.என்.ஆர். கூட்டத்தைப் பார்த்துவிட்டு "என்ன விசேஷம்?' என்று வினவினார். பரமாச்சாரியாரின் பட்டணப் பிரவேசம் வந்து கொண்டிருக்கிறது என்றும் அடுத்த தெருவில் இருக்கிறது என்றும் கேள்விப்பட்டவுடன் வண்டியை ஒரு ஓரமாக நிறுத்தச் சொன்னார். சட்டையைக் கழற்றினார். அங்கவஸ்திரத்தை இடுப்பில் சுற்றிக் கட்டிக் கொண்டார். மணிக்கூண்டு அருகில் நின்று கொண்டு நாயனம் வாசிக்கத் தொடங்கிவிட்டார்.

இவரது நாயன சங்கீதம் காதில் விழுந்தவுடன், "ராஜரத்தினம் வாசிப்பு போலிருக்கிறதே, அங்கே போங்கோ' என்று பரமாச்சாரியார் உத்தரவிட்டு, பட்டணப் பிரவேச ஊர்வலத்துடன் பல்லக்கு மணிக்கூண்டை நோக்கி நகர்ந்தது. இதைத்தானே ராஜரத்தினம் பிள்ளை எதிர்பார்த்தார்! அவருக்கு பரம சந்தோஷம். உற்சாகம் தாங்கவில்லை. அடுத்த ஒன்றரை மணி நேரம் மணிக்கூண்டு அருகில் நின்றபடியே வாசித்துக் கொண்டிருந்தார் டி.என்.ஆர். மாயவரம் நகரமே அங்கே கூடிவிட்டது.

பரமாச்சாரியார் ராஜரத்தினம் பிள்ளையின் வாசிப்பை மெய்மறந்து கேட்டு ரசித்தார். அவருக்கு ஒரு சாத்துக்குடி பழத்தை ஆசிர்வாதமாக வழங்கினார். சாஷ்டாங்கமாக விழுந்து நமஸ்கரித்து விட்டு நாகஸ்வர சக்ரவர்த்தி சொன்னார்- "இந்த ஜென்மா சாபல்யம் அடைந்துவிட்டது!'

- ஆஸ்திக சமாஜம் நரசிம்மன்

cacm · Post by **cacm** » 11 Jan 2015, 22:02

A TYPICAL ASTHIKASAMAJAM NARASIMHAN RECOLLECTION! WE NEED HIM TO WRITE MORE OF THESE EXPERIENCES AS HE IS THE ONLY ONE WHO LIVED THRU' THOSE GOLDEN TIMES OUTSIDE OF MADRAS! VKV

pattamaa · Post by **pattamaa** » 11 Jan 2015, 23:00

nice recollection...

SrinathK · Post by **SrinathK** » 12 Jan 2015, 22:39

Some snippets of that legendary Thodi : https://www.youtube.com/watch?v=wJqbyKPVLlM

This I believe is the higher pitched Timiri Nadaswaram. The swara shuddham and range is amazing and I can here where so many plain note and heavy gamaka brighas were inspired from

. This is the first time I've ever heard a high pitched nadaswaram. So far I have only read and heard of it. From what I have read in V Sriram's book "A Carnatic Summer", the lower pitched "Bari" that TNR switched over to was a notorious instrument to tame and brought a lot of false notes in the hands of many other players. Some one please clarify if this was indeed what happened.

Now the thodi in vocal (OMG! What brighas!) : https://www.youtube.com/watch?v=GGIacJj_HSs

kvchellappa · Post by **kvchellappa** » 18 Nov 2016, 09:55

http://www.thehindu.com/todays-paper/tp ... 358708.ece

rajeshnat · Post by **rajeshnat** » 18 Dec 2017, 12:58

TNR said then "Singing for AIR alone will not get them fame". I guess if he was living today he would have really felt give me one Margazhi concert in Mahautsav celebrations that gets beamed in television instead of 100 concerts for a year , i will keep the count of rasikas and then keep it steady from there on.
Write up on TNR that was published in The Hindu dated Dec 18th,2017.
http://www.thehindu.com/news/national/t ... 828183.ece

SrinathK · Post by **SrinathK** » 05 Jun 2019, 10:57

Wonder why no one's noticed just how many of TNR's recordings are up on YT?

https://www.youtube.com/watch?v=-wedhSve8lY&t=1724s

shankarank · Post by **shankarank** » 03 May 2020, 08:28

Interview with TNR - 1951:

https://www.youtube.com/watch?v=T8H_GCH41sw

He dwells on lakshya and lakshana. "Lakshya sangIta is appreciated by many at large. Those well versed in lakshana come to find faults , they are waiting for faults. And faults too happen and they derive their enjoyment from finding that" He is particularly not dismissive of them.

Talks about BANi. "BANi is not defined in either lakshana grantAs or by musicians themselves. Depending on time, place and circumstance, it is defined by rasikas . Whatever style appeals to rasikas they name it as a bANi".

In the larger/grander sense: "there is kaRnATaka BANi which is essentially made in ThanjAvur" and it is synonymous with ThanjavUR BANi. It is due to the birth of tri-mUrti vaggEyakkaras in ThanjAvUr. The development of sweetness and appeal of music is owed to them only. Then there were cinnayya, ponnayya, sivanandam, vaDivElu - the naTTuvaNAr. Various samasthAnams like Mysore, tiruvidAngUr(Travancore), Sethupati(Ramanathapuram), pudukOTTai, eTTayapuram even if they patronized the art, still all of it is included in the tanjAvUR bANi ".

He credits ViNA DhanammAL, his teacher ThirukoDikkAval Krishna Iyer, malaikOTTai Govindaswamy PiLLai, Madurai Ponnuswamy (nAgasvaram) for the development of music then! Madurai Ponnuswamy is the only nAdasvara vidvAn he mentions by name.

He recalls how ThirukkODi kaval krishna iyer fixed his bEGaDa ni which was plain when rendering the vaRNam.

So for him, ThanjavUR is an "universal"!

"Any susvara is karnAtaka sangIta. apasvara (dissonance) and apalaya (lack of rhythmic integrity) are there , but they are like durdEvatAs. SangIta has to be done as a upAsana"

Asked about jAVaLis and how they are not accepted in lakshana - He plays a jAVaLi recording - not there in this recording. "jAVaLi is susvara" and he accepts them! No discussion on content , no controversies mentioned or even acknowledged on content! - Pure and simple!

As regards reach of music: "The vocalists prior to his time were singing to the only about a 100 strong richer patrons in sabhas, before then in samasthanams. The larger common populace received their music only through the nadasvara vidvAns playing in temple festivals, bhajana sampradayas, bhagavata mELAs, Theru koothu, and other dramaturgy. S.G. kiTTappa's dramas were attended by him and Govindaswamy PiLLai. They will pick up musical ideas from the renderings there!

Instrumental vs vocal music: "Any instrumentalist must be a vocalist. An instrument's lakshya is to follow vocal singing and sound like vocal. The reverse is NOT so great! Vocal has prominence in this form of music"

Cauka (slow) kAlA singing: " All music must be built on the cauka kAla as the base. " When asked will that be gained by instruction - "One needs Gnana, gurukula vasam, talai yezhuutu (luck or play of chance in life). Gaining knowledge - or Gnanam is paramount. A success is not gaurenteed and depends on circumstances." The interviewer is surprised to hear this from TNR given how turita (tamizh!) kAlam (or dRta) his renditions are.

parivadini · Post by **parivadini** » 12 Dec 2021, 22:11

https://www.youtube.com/watch?v=OHbqh0SFrkg

Pasupathy · Post by **Pasupathy** » 27 Aug 2022, 16:37

2021. சங்கீத சங்கதிகள் - 326
திருவாவடுதுறை விசிட்: இசையில் சிறந்தவன் எல்லோரிலும் சிறந்தவன்!
ரமேஷ் வைத்யா
https://s-pasupathy.blogspot.com/2022/08/2021-326.html