M.D. Ramanathan (MDR)
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kulkarniji
thanku for the endaro mahanubhavulu clip.
Balaji
In this article:
DELETED
thanku for the endaro mahanubhavulu clip.
Balaji
In this article:
DELETED
Do u have any info regarding late jaya pasupathi?Through his association with Kalakshetra he taught many students out of which perhaps the late Jaya Pasupathi is the best known.
Last edited by meena on 07 May 2008, 01:54, edited 1 time in total.
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Jaya Pasupathi is wife of Pasupathi, who was a disciple of Mysore Vasudevacharya. If i am right, she learned from my dad mainly in Kalakshetra. She is no more. She passed away 14 years ago.
Many of my father's students from Kalakshetra pursued/still pursue Music Teaching at various capacities. In fact, if i may say, Kalakshetra produced more music teachers than performance artists unlike dance. There are many famous dancers from Kalakshetra, like Dhananjayans, Sudharani, Leela Sampson etc, but very few vocal musicians.
I really don't have an anwer to the some of the questions above.Some of his students, who spent almost 10 years learning from him, have told me that they found his style & thought process too difficult to comprehend & execute. So, when following itself is so difficult, how would it be possible to generate such thoughts on own accord?That was their concern..
In my personal experience, i have found that if i want to learn a kriti, i find shri.KVN's or DKJ/DKP's more approachable, but when i try my father's padAndaram, it seems impossible. Please don't take me wrong, it is just my personal experience. Sometimes, it appears as though it is simple, but it is mysteriously deceptive.
Many of my father's students from Kalakshetra pursued/still pursue Music Teaching at various capacities. In fact, if i may say, Kalakshetra produced more music teachers than performance artists unlike dance. There are many famous dancers from Kalakshetra, like Dhananjayans, Sudharani, Leela Sampson etc, but very few vocal musicians.
I really don't have an anwer to the some of the questions above.Some of his students, who spent almost 10 years learning from him, have told me that they found his style & thought process too difficult to comprehend & execute. So, when following itself is so difficult, how would it be possible to generate such thoughts on own accord?That was their concern..
In my personal experience, i have found that if i want to learn a kriti, i find shri.KVN's or DKJ/DKP's more approachable, but when i try my father's padAndaram, it seems impossible. Please don't take me wrong, it is just my personal experience. Sometimes, it appears as though it is simple, but it is mysteriously deceptive.
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thanks kulkarniji for those additional clips of Sr MDR.
thanks balaji for the lyrics of the two compositions.
thanks for sharing more information about his sishyas.
Listening to his concerts, I feel it is just not possible to have any one to follow him because there seems to be no distinct 'style' as such. For a particular kriti, his rendition itself varies from concert to concert..
thanks balaji for the lyrics of the two compositions.
thanks for sharing more information about his sishyas.
Listening to his concerts, I feel it is just not possible to have any one to follow him because there seems to be no distinct 'style' as such. For a particular kriti, his rendition itself varies from concert to concert..
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Thanks Balaji
for an honest forthright answer. You have also pointed out the difficulty factor. It is very lucky that Tiger got MDR for the sishya who carried forward his style and embellished it. Gurukulavaasa has completely disappeared and so has the kind of gurubhakti that MDR idealized towards Tiger. It is most appropriate to recall it on thie guru pourNima day!
We are most fortunate to have a vast number of concerts and video as well as his own kritis available to reconstruct 'MDR Music'. Above all you are there who unselfishly shares his leagcy with the world without putting out any legal shackles. In my view you are a model worth emulation by other progenies of great Carnatic Musicians. Our goal is to enjoy, preserve and propagate this great art heritage of ours. The great collections of raju, coolkarni and many unnamed donors which are appearing in this site and others would not be possible were it not for the generosity of persons like you, Mrs Somu, GBR, SRJ (family and students) and others who will follow your shining example. It reminds me of the glorious efforts of U Ve Swaminatha Iyer who preserved for us the almost-lost literary gems of Tamizh in the early part of last century.
It is an honour to have you with us and your free and frank contributions to our discussions.
for an honest forthright answer. You have also pointed out the difficulty factor. It is very lucky that Tiger got MDR for the sishya who carried forward his style and embellished it. Gurukulavaasa has completely disappeared and so has the kind of gurubhakti that MDR idealized towards Tiger. It is most appropriate to recall it on thie guru pourNima day!
We are most fortunate to have a vast number of concerts and video as well as his own kritis available to reconstruct 'MDR Music'. Above all you are there who unselfishly shares his leagcy with the world without putting out any legal shackles. In my view you are a model worth emulation by other progenies of great Carnatic Musicians. Our goal is to enjoy, preserve and propagate this great art heritage of ours. The great collections of raju, coolkarni and many unnamed donors which are appearing in this site and others would not be possible were it not for the generosity of persons like you, Mrs Somu, GBR, SRJ (family and students) and others who will follow your shining example. It reminds me of the glorious efforts of U Ve Swaminatha Iyer who preserved for us the almost-lost literary gems of Tamizh in the early part of last century.
It is an honour to have you with us and your free and frank contributions to our discussions.
I regret to say that I dont have the other Four.By any chance do you have the other 4 kritis too.
Incidentally , you may not remember me as the chap residing across the street at no 5 besant avenue (neighbour to kumar-akhila)
I missed a great opportunity in getting to know you early .Those were the days (1998-9) when my awareness of your fathers music was limited to the couple of albums in the market and somehow ,I had not overcome some impressions created very early in my life by the reviews i had read from some critics in bangalore (in the papers).
Well they had the right to express their views, but at an impressionable age, looking for directions to sustain my interest, I probably got carried away with their description of MDRs music as Rodana Sangeetha.
While I was too busy with artists of every other hue,MDR remained on the fringes.That is when i first came to know about you (my wife used to visit your mother)
and then one day , I received a clip - a very short one , in the swara passages of sogasuga mrudnaga thalamu.
that came my email -those heady early days of internet in India-
unbelievable to get a clip over the email -we kept playing it nonstop for days-it was only a 2 minute extract.
Tar Ramanujam who , these days , is active at sangeetham with his x drives, sent me that.he was relocating from thailand to the Us and was my Mp3-guru those days.
Much later i got the full concert with that specific rendering , but i must admit that it is one track which explains MDR in full.
Yes many may say Giripai , but that assessment has the same element of falsehood that befell Hindi Film actor Amjad khan when he was sterotyped as gabbar singh in sholay.(He regretted that role till his last breath).Even the assessment of the Kannada critics (some of them noted authors) had the same element of falsehood..
One look at the swaras here, it is clear that MDR CHOSE to sing like he did. And he must have been a brave man to do so.
More concerts followed and I have seen him in various moods ranging from the Searing hot to the Frosty melancholy.
Well , it is manodharma at its best-like as though we know the person without ever having met him.
As i keep listening to him these days, I still remember the days of my Rodana tag .all my later experiences with meanings of the kritis , familiarity with the general undercurrent of sadness in most HM raga renditions --they all lead me to believe that (as i say often) appreciating MDR is a fruit that grows on the tallest of branches .takes some time and effort for us to get there.
this thread on his compositions is only adding one more dimension to my admiration.
Here is the link that put me on course...
http://rapidshare.de/files/3245902/Soga ... _.mp3.html
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coolkarni,
Are you implying that MDR is stereotyped for giripai ? Maybe so but I for one dont mind at all. I have this 50 minute gem (includes a very goo tani). I am sure it is a combination of the meaning/situation behind the song, MDR's rendering of it, sahana being one very apt for his slow contemplative style etc. it is just pure bliss to hear. Everytime I listen to it, I go into a trance - outside world seems so far away. In short, I dont think I have heard a better sahana. I may be biased here but I do like and appreciate almost all musicians past and present. Among all the great ones I have heard, to me, MDR delivers the bhava of a raga the maximum - in every raga he chooses. Dont know why, how - its just how I perceive it
Arun
Are you implying that MDR is stereotyped for giripai ? Maybe so but I for one dont mind at all. I have this 50 minute gem (includes a very goo tani). I am sure it is a combination of the meaning/situation behind the song, MDR's rendering of it, sahana being one very apt for his slow contemplative style etc. it is just pure bliss to hear. Everytime I listen to it, I go into a trance - outside world seems so far away. In short, I dont think I have heard a better sahana. I may be biased here but I do like and appreciate almost all musicians past and present. Among all the great ones I have heard, to me, MDR delivers the bhava of a raga the maximum - in every raga he chooses. Dont know why, how - its just how I perceive it
Arun
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coolkarni
That was a very nice story as to how you got to like MDR. In fact the Rodana label is too trite. I for one started liking him for that particular reason. 'one man's poison is another's food'
In fact my sentiments are very similar to what Arun has summarized. I was blown off my feet when I heard his Giripai. I once wrote in Sangeetham that Thyagaraja composed 'Giripai' knowing that there would be a MDR to sing it with native feeling! I believe it! But then with your and raju's help a whole new world of MDR has opened. I am still an addict for his melancholy! But MDR has revealed that there is an infinite variety of melancholy! Thanks for that iconoclastic 'sogasoga'
That was a very nice story as to how you got to like MDR. In fact the Rodana label is too trite. I for one started liking him for that particular reason. 'one man's poison is another's food'
In fact my sentiments are very similar to what Arun has summarized. I was blown off my feet when I heard his Giripai. I once wrote in Sangeetham that Thyagaraja composed 'Giripai' knowing that there would be a MDR to sing it with native feeling! I believe it! But then with your and raju's help a whole new world of MDR has opened. I am still an addict for his melancholy! But MDR has revealed that there is an infinite variety of melancholy! Thanks for that iconoclastic 'sogasoga'
i had uploaded endaro in chorus.
balaji had responded saying it was from a radio program and was wondering if had the other four (out of the five pancharatna kritis)
aunk.
i was implying it in the sense that one tends to sum up an artist based on certain famous renderings.(atleast that was my mistake)
with the technologies at our command,we are now coming to know
that there is a bigger picture.
Today his giripai vies for a place in my assessment of his muisc , with so many outstanding RTP's in kalyani , the way he handles Todi in the concerts , his treatment of ragas like natakuranji and janaranjini,his unbelievable geetarthamu with l Subr in tow ......the list is big.
as far as giripai is concerned , you are dead right.except for BV raman Laxman, I am yet to hear any other rendering which can measure upto mdr's version.
balaji had responded saying it was from a radio program and was wondering if had the other four (out of the five pancharatna kritis)
aunk.
i was implying it in the sense that one tends to sum up an artist based on certain famous renderings.(atleast that was my mistake)
with the technologies at our command,we are now coming to know
that there is a bigger picture.
Today his giripai vies for a place in my assessment of his muisc , with so many outstanding RTP's in kalyani , the way he handles Todi in the concerts , his treatment of ragas like natakuranji and janaranjini,his unbelievable geetarthamu with l Subr in tow ......the list is big.
as far as giripai is concerned , you are dead right.except for BV raman Laxman, I am yet to hear any other rendering which can measure upto mdr's version.
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cmlover sir,
Thanks for your kind words. I feel it is my duty to facilitate the desire of dedicated rasikas of my father's music to get a closer access to him. The day he passed away, many music fans who came to our house, kept on repeating he didn't die & he will live for ever. I did not understand the full meaning of that statement then, but realized it later. If any artist lives beyond his physical age, it is all due to the rasikas, who continue to revere the musician, out of choice.So, a musician's true age is dependent on the sum total of all rasika's age over time.
If other musician-families refuse to share more information/resources with rasikas, it could be because they fear exploitation. It has happened to us several times before. Unfortunately some musicians are involved in this too. In the name of "promoting our music, tradition & heritage" they indulge in fund-raising efforts for their own personal cause. I don't want to get into this discussion, but just trying to explain from another perspective.
coolkarni,
I recollect meeting you once, but i am not sure if you are the right person that i am thinking of. It is nice to hear how you got into the "MDR Circle", if i may call so. Many are under the impression that to appreciate his music, we need to elevate our taste & work towards it. But i have an interesting story to share:
During my high school days, i went to a famous "Student's Xerox" (xerox/binding store) to compile & bind my science project. It is a well-known shop at least for chennaites. It is a busy shop & i was asked to wait in the lobby. And, to my surprise, my father's music was played there & the shop owner was enjoying it. He noticed that even i was enjoying the music & started his conversation. He asked me whether i enjoy carnatic music & whether i have listened to MDR before. I had to suppress my excitment, coz i was more curious to hear him talk about it. He said that he didn't even know what the seven notes are, but when he listened to this music, there's an everlasting peace & that calms him down from the strenous daily operations.
These are exceptional cases, but in general to appreciate & enjoy his music, one needs to transcend beyond the boundaries of technical descriptions. In one interview, he quotes Rabindranath Tagore's "All Singing is not Music" to justify the "meaningful pauses" that he gives inbetween his singing. He mentions in the same interview that he wanted to pursue a traditional yet scientific approach to music & that he found in Shri Tiger, who according to him, was a Tiger in music but a gentle cow otherwise.
Thanks for your kind words. I feel it is my duty to facilitate the desire of dedicated rasikas of my father's music to get a closer access to him. The day he passed away, many music fans who came to our house, kept on repeating he didn't die & he will live for ever. I did not understand the full meaning of that statement then, but realized it later. If any artist lives beyond his physical age, it is all due to the rasikas, who continue to revere the musician, out of choice.So, a musician's true age is dependent on the sum total of all rasika's age over time.
If other musician-families refuse to share more information/resources with rasikas, it could be because they fear exploitation. It has happened to us several times before. Unfortunately some musicians are involved in this too. In the name of "promoting our music, tradition & heritage" they indulge in fund-raising efforts for their own personal cause. I don't want to get into this discussion, but just trying to explain from another perspective.
coolkarni,
I recollect meeting you once, but i am not sure if you are the right person that i am thinking of. It is nice to hear how you got into the "MDR Circle", if i may call so. Many are under the impression that to appreciate his music, we need to elevate our taste & work towards it. But i have an interesting story to share:
During my high school days, i went to a famous "Student's Xerox" (xerox/binding store) to compile & bind my science project. It is a well-known shop at least for chennaites. It is a busy shop & i was asked to wait in the lobby. And, to my surprise, my father's music was played there & the shop owner was enjoying it. He noticed that even i was enjoying the music & started his conversation. He asked me whether i enjoy carnatic music & whether i have listened to MDR before. I had to suppress my excitment, coz i was more curious to hear him talk about it. He said that he didn't even know what the seven notes are, but when he listened to this music, there's an everlasting peace & that calms him down from the strenous daily operations.
These are exceptional cases, but in general to appreciate & enjoy his music, one needs to transcend beyond the boundaries of technical descriptions. In one interview, he quotes Rabindranath Tagore's "All Singing is not Music" to justify the "meaningful pauses" that he gives inbetween his singing. He mentions in the same interview that he wanted to pursue a traditional yet scientific approach to music & that he found in Shri Tiger, who according to him, was a Tiger in music but a gentle cow otherwise.
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He never played to the gallery
IN 1944, Justice T. L. Venkatrama Iyer, speaking at Dikshitar Day celebrations at R.R. Sabha, deplored the habit many musicians had of singing at the speed of the boat mail. This train, popular with those travelling between Madras and Kumbakonam, was the 1940s' equivalent of the present day superfast trains. One musician against whom such a criticism could never be levelled was the late M. D. Ramanathan popularly known as MDR, whose 80th birth anniversary was observed recently.
MDR was the only son of Manjaparai Devesa Bhagavatar. Although he majored in physics from the Palghat Victoria College, music was his first love. He had his early training in music under his father. In 1944, the year T. L. Venkatrama Iyer criticised musicians who sang at breakneck speed, MDR enrolled in Kalakshetra for the Sangita Shiromani course. The principal of Kalakshetra at that time was Tiger Varadachariar. MDR's entry into Kalakshetra was to mark the beginning of a guru-sishya relationship between Tiger and the tall, lanky young man from Palghat whom Tiger had interviewed at the time of admission.
While Tiger was equally at ease singing in madhyamakala and vilambakala, MDR confined himself to vilambakala, a tempo that suited his bass voice. While he excelled in every aspect of manodharma sangita, MDR never played to the gallery. He never indulged in excessive swara-singing and a sense of proportion was the hallmark of his kutcheries. He confined himself to ragas replete with rakti.
This writer has particularly enjoyed his Todi, Reetigowla, Kedaram, Hamsadhwani and Hindolam. His rendering of the Tyagaraja kriti, "Samajavaragamana," in Hindolam was unique. He would start the saranam with words "Sama Veda", although in the original version the saranam begins with the word "Veda". When asked him he added the prefix "Sama" "to the word "Veda", MDR with a twinkle in his eyes said, "Well, for one thing I'm a Sama Vedin. More important Lord Krishna Himself has said that of the four Vedas, He likes the Sama Veda the best."
His music was soul stirring and reposeful. Since he had an excellent knowledge of Telugu, he savoured every word in the sahitya. His vilambakala singing was a delight to his fans. MDR was a composer too and has written more than 300 songs in Tamil, Telugu and Sanskrit. His Kadanakuthoohalam tillana was especially popular among his rasikas. His Bhageshree composition, "Saagara sayana vibho" has been immortalised by KVN. His mudra was "Varada Dasa", a tribute to his guru Tiger Varadachariar.
MDR was awarded Padma Sri in 1974. But the Sangita Kalanidhi never came his way. Many of his admirers were keen that he should have been conferred the title in 1983-84. That did not happen and he passed away soon after. But what was a mere award anyway when to his rasikas he was a Sangita Kalanidhi?
MDR did not have mass appeal, but he had his own band of committed rasikas who admired his total involvement in nadopasana.
SUGANTHY KRISHNAMACHARI
Last edited by meena on 07 May 2008, 01:53, edited 1 time in total.
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sAgara shayana. rAgA: bAgeshrI. Adi tALA.
P: sAgara shayana vibhO prabhO sAmagAna lOla sAdhu janAvana kSIra
A: nAgarAja shayana bAga brOvumayyA bAgA shrI bhUmi sahituDai velayu kSIra
C: pApa rahita nAma (dEva) pAmara vidUra pAtaka haraNa pAvana nAma
shrI padmanAbha shrtajana pOSaka shrIkara shubhakara varada dAsanuta
P: sAgara shayana vibhO prabhO sAmagAna lOla sAdhu janAvana kSIra
A: nAgarAja shayana bAga brOvumayyA bAgA shrI bhUmi sahituDai velayu kSIra
C: pApa rahita nAma (dEva) pAmara vidUra pAtaka haraNa pAvana nAma
shrI padmanAbha shrtajana pOSaka shrIkara shubhakara varada dAsanuta
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Folks,
not sure if u all are aware, of the site dedicated to Sree MDR:
http://mdramanathan.com/index.htm
has been update on the webpage-a new article has been uploaded under the 'Rasika's Voice', written by Dr. V Radhakrishnan
http://mdramanathan.com/rasikasvoice2.htm
not sure if u all are aware, of the site dedicated to Sree MDR:
http://mdramanathan.com/index.htm
has been update on the webpage-a new article has been uploaded under the 'Rasika's Voice', written by Dr. V Radhakrishnan
http://mdramanathan.com/rasikasvoice2.htm
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here is a beautiful slOkam on rAma. -SRngAraM kshitinaNdinI from shrI rAma karNAmRtaM.
rAgA:khamas (mind-blowing)- excellent saveri - sahana (has mdr stamp on it and kapi
and shrI MC 'talking' with his violin is something
Hope u all enjoy:
Text:
SringAram kShitinandInI viharaNE
vIram dhanur bhanjanE
KAruNyam bali bhOjanE
adbhuta rasam sindhou giri sthApanE
hAsyam ShUrpaNakhA mukhE
bhayam aghE
bheebatsam anyAmukhe
Roudram RavaNa mardanE
munijanE shAntam vapu: pAtu na:
rAgA:khamas (mind-blowing)- excellent saveri - sahana (has mdr stamp on it and kapi
and shrI MC 'talking' with his violin is something
Hope u all enjoy:
Text:
SringAram kShitinandInI viharaNE
vIram dhanur bhanjanE
KAruNyam bali bhOjanE
adbhuta rasam sindhou giri sthApanE
hAsyam ShUrpaNakhA mukhE
bhayam aghE
bheebatsam anyAmukhe
Roudram RavaNa mardanE
munijanE shAntam vapu: pAtu na:
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SringAram = sentiment of love
kShitinandInI = delighter of earth ( sItA)
viharaNE = in dallying
vIram = sentiment of heroism
dhanur bhanjanE = in breaking the bow (of Siva)
KAruNyam = sentiment of mercy
balibhOjanE = in the crow (kAkAsura episode)
adbhuta rasam = sentiment of wonderment
sindhou giri sthApanE = while establishing the rocks in the ocean (sEtu bandhanaM)
hAsyam = sentiment of humour
ShUrpaNakhA mukhE = in facing shUrpaNakhA
bhayam = sentiment of fear
aghE = in facing sin
bheebatsam = sentiment of repugnance
anyAmukhe = in looking at other (voluptuous) women
roudram = sentiment of anger
RavaNa mardanE = in killing RavaNa
munijanE = in facing sages
shAntam = sentiment of tranquility
naH = our
vapupAtu = protect the body
SK MC is indeed keeping pace (talking through bowing) with MDR as the emotions are displayed. The audience reaction also has been captured in the recording which makes it all the more enjoyable!
kShitinandInI = delighter of earth ( sItA)
viharaNE = in dallying
vIram = sentiment of heroism
dhanur bhanjanE = in breaking the bow (of Siva)
KAruNyam = sentiment of mercy
balibhOjanE = in the crow (kAkAsura episode)
adbhuta rasam = sentiment of wonderment
sindhou giri sthApanE = while establishing the rocks in the ocean (sEtu bandhanaM)
hAsyam = sentiment of humour
ShUrpaNakhA mukhE = in facing shUrpaNakhA
bhayam = sentiment of fear
aghE = in facing sin
bheebatsam = sentiment of repugnance
anyAmukhe = in looking at other (voluptuous) women
roudram = sentiment of anger
RavaNa mardanE = in killing RavaNa
munijanE = in facing sages
shAntam = sentiment of tranquility
naH = our
vapupAtu = protect the body
SK MC is indeed keeping pace (talking through bowing) with MDR as the emotions are displayed. The audience reaction also has been captured in the recording which makes it all the more enjoyable!
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badri
thanks for saving me time and for the u/l, hope u dont mind me posting sree mdr link here.
MDR's own composition tyAgarAja gurum ASrayE with Chalakdy & Raghu
deleted
tyAgarAja gurum. rAgam: kEdAram. tAlam: rUpaka. Composer MDR
P:tyAgarAja gurum AshrayE sadA mudA SrI
A:nAgarAja Sayana dAsam rAgabhAva layOllAsam
sAmagAna saptaswara sat sangItavAsam
C:vara pancanada kshEtram vara nAradAvatAram
svara rAgasudhA rasayuta sankIrtana sAram
vara kEdArAdyakhila rAgaratna mAlikam
parama bhakta yOgivaram varadadAsa sannutam
thanks for saving me time and for the u/l, hope u dont mind me posting sree mdr link here.
MDR's own composition tyAgarAja gurum ASrayE with Chalakdy & Raghu
deleted
tyAgarAja gurum. rAgam: kEdAram. tAlam: rUpaka. Composer MDR
P:tyAgarAja gurum AshrayE sadA mudA SrI
A:nAgarAja Sayana dAsam rAgabhAva layOllAsam
sAmagAna saptaswara sat sangItavAsam
C:vara pancanada kshEtram vara nAradAvatAram
svara rAgasudhA rasayuta sankIrtana sAram
vara kEdArAdyakhila rAgaratna mAlikam
parama bhakta yOgivaram varadadAsa sannutam
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Yes!
thanks to Fredric Lieberman and Amy Catlin we have one recording
http://www.apsara-media.com/At%20Home%20v4.html
It is a gem!
thanks to Fredric Lieberman and Amy Catlin we have one recording
http://www.apsara-media.com/At%20Home%20v4.html
It is a gem!
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Here's another rendition of sAgara sayana... "a small piece of rava laddu from the top shelf"
http://rapidshare.de/files/13033876/2_S ... geshri.mp3
http://rapidshare.de/files/13033876/2_S ... geshri.mp3
there is one more recording.
I was given this information by an old time mylaporean who is a regular visitor in these forums but has never posted any comments.
He called me up to find ways of archiving his family heritage(Read spools) for the benefit of all of us.He wanted to contribute his bit to what he calls a "wonderful social integration" going on through these forums.
He informs me that one other Video was recorded By a student of FTI Pune (Ms.Soudamini).
Does it ring a bell to any around here.
(I can hear Meena clicking and searching the Web for more details , with this thin ray of Hope.
Still puzzled by divakars silence,though!!)
I was given this information by an old time mylaporean who is a regular visitor in these forums but has never posted any comments.
He called me up to find ways of archiving his family heritage(Read spools) for the benefit of all of us.He wanted to contribute his bit to what he calls a "wonderful social integration" going on through these forums.
He informs me that one other Video was recorded By a student of FTI Pune (Ms.Soudamini).
Does it ring a bell to any around here.
(I can hear Meena clicking and searching the Web for more details , with this thin ray of Hope.
Still puzzled by divakars silence,though!!)
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That was such a beautiful piece - i tried listening to figure out what MDR says at various points - but can't seem to figure it out, the audio is too faint or my hearing aint that good - at timestamps 1:15, 6:18, 19:11here is a beautiful slOkam on rAma. -SRngAraM kshitinaNdinI from shrI rAma karNAmRtaM.
rAgA:khamas (mind-blowing)- excellent saveri - sahana (has mdr stamp on it and kapi
and shrI MC 'talking' with his violin is something
Hope u all enjoy:
http://rapidshare.de/files/12037349/slO ... a.MP3.html
: pAtu na: