Carnatic Music - Programmes on www.radioweb.in

Miscellaneous topics on Carnatic music
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askn
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Gopalakrishna Bharati composed mostly on Nataraja, and his magnum opus is the opera Nandanar Charitram, on the life of the great devotee, Nandanar. A feature on the life and works of the devotee of Lord Nataraja of Chidambaram on www.radioweb.in

askn
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Kalpana swarams as part of Manodharma sangeetham are a real test to grade an artiste in various parameters like swara shuddhi, adherence to laya, raga jnaana, and most importantly the creativity the artiste brings to the music. This is a selection of kritis being sung with swara elaborations in the ragas Pantuvarali, Shankarabharanam, Mohana Kalyani and Varamu on www.radioweb.in.

askn
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The Rudrapatnam Brothers, R N Taranathan and R N Thyagarajan, are part of the family of stalwarts that include R K Venkatrama Sastry and R K Srikantan. They are deeply influenced by the great masters of yesteryears, and this is reflected in their music, which is chaste, classical, and adheres to the tradition of Carnatic music. A highlight on www.radioweb.in

askn
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Bhairavi is a raga with a rich feel and with a deeply classical flavour. This janya of the 20th melakarta Natabhairavi is one raga whose popularity outshines its melakarta raga. The anya swara, Chatushruti Dhaivata, contributes to the beauty of Bhairavi in no mean measure, and makes it a Bhashanga raga. Some popular and some relatively unknown compositions are part of this programme on Raga Bhairavi on www.radioweb.in

askn
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Beauty lies in the eyes of the beholder - or, the composer!

There are many hundreds of references to the eyes of deities. They have been likened to a flower or its petal, mostly the lotus, innumerable times. Here is a selection of some kritis that are descriptive in nature, and also begin particularly with phrases describing the eyes on www.radioweb.in

askn
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Palghat K V Narayanaswamy's concert career spanned almost sixty years. He was a disciple of Ariyakudi Ramauja Iyengar, but unlike his guru who excelled in madhyamakala, KVN specialised in vilambakala as well. He was influenced by the styles of Musiri Subramania Iyer and the Veena Dhanammal family. These influences gave a soft, soothing touch to his music and enhanced the bhava or emotional element, aspects in which KVN remains unsurpassed. Listen to an hour of music by a musician unsurpassed in saukhyam and proportion on www.radioweb.in

Also read an article on KVN : http://www.radioweb.in/narayanaswamy-3

askn
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Many instrumentalists in Carnatic Music learn to sing; this is true in the case of percussionists too. Many vocalists also learn to play instruments, as it enhances their understanding of music. Of these, a few reach the level where they become equally adept at both and are able to give full-fledged concerts on their second choice, whether it is vocal or instrumental. This feature presents renditions of a few such multifaceted artists, who are capable of holding their own both in vocal music, and on the instruments they play on www.radioweb.in

askn
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This programme pays tribute to Jayachamaraja Wodeyar, the last maharaja of the Wodeyar dynasty of Mysore, who is among the well known composers of Carnatic music. The programme carries extracts from an interview with author Vikram Sampath, whose first book ‘Splendours of Royal Mysore - The Untold Story of the Wodeyars’ , is hailed as one of the most definitive accounts of the Wodeyar dynasty in recent times. Listen on www.radioweb.in

askn
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The Alapana feature is an occasional theme where all the songs have a full-fledged alapana preceding them. This edition has alapanas in ragas Purvikalyani, Athana, Madhyamavati and Rasikapriya. Listen on www.radioweb.in

askn
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Tanjavur district has a great tradition of carnatic music, and has been the birthplace of several eminent musicians. The district is also known for its ancient temples, which have been praised in several carnatic music compostions. This feature presents compositions on some temples in the city of Thanjavur. listen on www.radioweb.in

askn
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Ramanathapuram "Poochi' Srinivasa Iyengar came in the Tyagaraja shishya parampara, and was a disciple of Patnam Subramania Iyer. He was a versatile composer of over 100 songs, and his compositions include tana varnams, a pada varnam, kritis, javalis, tillanas, kavadi chindus and ragamalika pieces. Listen to a selection of his compositions on www.radioweb.in

askn
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The tender face of the child-Krishna has inspired a thousand and more beautiful verses in Indian literature. The way in which the infant Krishna was dressed, the way he crawled, his love for butter - everything about him is lyrical and musical, from the way it has been illustrated, particularly in Carnatic Music. Haridasa sahitya dominates when it comes to its share of songs on Krishna. There’s a flourish of Oothukkadu’s songs about Krishna’s various exploits and his description of the Lord, the shringara-laden Jayadeva’s Ashtapadi, and Sadashiva Bhahmendra’s songs with deep philosophical undertones among the many who wrote about him.
Here is a selection of popular kritis by various composers, mostly about Balakrishna on www.radioweb.in

askn
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A concert by Ramnad V Krishnan -a musician known for his sensitive and nuanced music on www.radioweb.in
Ramnad Krishnan's music was marked by an ease of rendition that often belied the effort that went into making the vidwan, and made musical nuances seem like an easy thing to accomplish. Krishnan was a student of Ramnad Sankara Sivam, and that’s when he became Ramnad Krishnan.

askn
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The renowned brother of D K Pattammal, D K Jayaraman had his musical training under many stalwarts like Papanasam Sivan and his own sister. He had a sizeable repertoire and is credited with popularising several masterpieces with his crisp rendition. One hour of music of DKJ, known for his extensive repertiore and strict classicism on www.radioweb.in

askn
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One Raga One Kriti programme on www.radioweb.in
Raga Mayamalavagaula - S Sowmya sings Muthuswami Dikshitar's Neelotpalamba Vibhakti kriti

askn
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The earlier part of the twentieth century saw quite a few composers who contributed significantly to the Carnatic music repertoire such as Papanasam Sivan, Mysore Vasudevacharya and Harikesanallur Muthiah Bhagavatar. In later decades, more composers have come to the fore, and a few of their compositions have captured the imagination of listeners. This programme presents a few such composers from the second half of the twentieth century on www.radioweb.in

askn
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The Ragam Tanam Pallavi has for long been the showpiece of performance, calling attention, as it does, to the technical competence of the artiste. The tala often becomes important in exhibiting one’s prowess, and the pallavi too is suitably selected so that it retains its integrity even when intricate mathematical combinations are performed. The Pallavi on this programme, by Lalgudi Jayaraman and Lalgudi GJR Krishnan, is in Raga Shankarabharanam and set to Khanda Jati Triputa tala (Mishra Nadai) on www.radioweb.in

askn
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The origin of the word ‘rakti’ is hard to trace, but the term is used commonly to denote a manner of singing that is of a highly appreciated quality. It carries with it a sense of intense involvement or engagement. That which is pleasing, which engages the mind joyfully may be called rakti. Compositions in Rakti Ragas Yadukula Kamboji Huseni, Anandabhairavi, Mukhari & Natakurinji on www.radioweb.in

askn
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Apart from numerous songs dedicated to Lord Padmanabha of the temple at Thiruvananthapuram, Swati Tirunal composed Navavidha Bhakti kritis, Utsava Prabandha songs, bhajans, padams, javalis, thillanas, khayals, drupads, slokams and upakhyanams.This feature presents songs from the Utsava Prabandha and the navavidha bhakti groups, and some kshetra kritis along with interesting information and anecdotes on www.radioweb.in

kathakali
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Post by kathakali »

@askn, great service , and i enjoyed the site :)
apart from himself , King Swati Tirunal he had one of the most prestigious court, which was dominated by musicians and poets.. Many of the Tyagaraja's s disciple were there and the great musician Shadkala Govinda Marar. Though not so famous outside kerala his chief poet Irayimman Thampi had written and composed some of the evergreen numbers. His lullaby 'omana thinkal kidavo' a trademark for any lullabies in Kerala, no child can escape from it's joy and beauty. Thampi also had written /composed 3 famous attakadhas ( kathakali sahityam ) which is still very popular among kathakali (and it's music ) enthusiasts.

keerthi
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Krishnan was a student of Ramnad Sankara Sivam, and that’s when he became Ramnad Krishnan.

1. Of the siblings in that family, four prefixed Ramnad to their names, though none of them were born there. Most were born in Allepey.

2. The family moved to Madurai eventually, and the eldest son V. Lakshminarayana got employment at the Ramnad palace. He moved there and took along his brothers, who went to school at Ramnad. Eswaran and Krishnan learnt from Lakshminarayana's friend Sankarasivam, and Raghavan learnt from Eswaran, but there is little evidence to say that they prefixed Ramnad to their names because of the teacher.

The full list of the siblings is given here -
Lakshminarayana (1911-1990) - violinist,
Ramnad Eswaran (1913-1985) - mridangist,
Ramnad Venkatachalam - violinist,
Ramnad Krishnan(1918 - 1973) - vocalist,
C.V.S.Mani - Gemini Studios,
Ramnad Raghavan (1927 - 2009) - mridangist (USA)

askn
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Semmangudi Srinivasa Iyer was one of the most influential personalities in the field of Carnatic music in the last 60-odd years. Whether it was his music, his opinions, or his decisions, they all had a profound impact on the musicians and musical atmosphere around. This programme pays tribute to Semmangudi on his birth anniversary with soundbytes from musicians and others, and also some of his most popular compositions on www.radioweb.in

askn
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The foundation of the current character of Carnatic music was laid by the Trinity of composers, Tyagaraja, Muthuswami Dikshitar and Syama Sastri. This programme presents a few of the Trinity's relatively lesser known and heard kritis, which have been composed in some rare ragas too. There is also a rendition of a composition by Vedavalli in the original form of raga Ritigaula, which uses the shuddha dhaivata on www.radioweb.in

askn
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kathakali wrote:@askn, great service , and i enjoyed the site :)
Thank you !

askn
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The GNB school, starting with GNB himself, has for long been known for its comprehensive treatment of Tyagaraja's Tiruvotriyur Pancharatna kriti in Raga Shuddha Saveri - Daarini Telusukonti. The way GNB, and later MLV, decked the pallavi and anupallavi with a series of cascading sangatis was exhilarating. On this programme, GNB gives an elaborate treatment to the raga and the composition. Listen on www.radioweb.in

askn
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There are quite a few songs that have become undoubted evergreen classics, and these include many weighty kritis too, apart from the expected lighter compositions. Sometimes, it's a rare song in a rare raga that becomes popular and end up being performed often. This programme presents a few such favourites on www.radioweb.in

askn
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Muthuswami Dikshitar visited several temples and composed kritis on the various deities of these temples. These compositions are replete with descriptions of the temple and the deities there, and also narrates the history of the temples and spiritual and religious significance of the deities. Dikshitar has composed kritis on both the main deity and the consort of some temples. This feature presents some such compositions on www.radioweb.in

askn
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The Ragam Tanam Pallavi has for long been the showpiece of performance, calling attention, as it does, to the technical competence of the artiste. The tala often becomes important in exhibiting one’s prowess, and the pallavi too is suitably selected so that it retains its integrity even when intricate mathematical combinations are performed. The Pallavi on this programme, by T R Subrahmanyam, is in Raga Mohanam and set to Mishra Jati Triputa tala (Tisra Nadai).

askn
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Madurai Somu was one of the most individual, talented, entertaining and, in a way, mercurial of musicians. He could be brilliant one moment and totally impish the next - but always entertaining. His interaction with the audience and his accompanists were a big part of the concert experience, and this contributed a good deal to the joyous experience that his performances invariably were. This concert presents the quintessential Madurai Somu on www.radioweb.in

askn
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There are sets of ragas that sound similar to each other, and are related to each other as a result of having the same notes and also similar phrasings and usages. For instance, the pair of Bhairavi and Manji are both bhashanga, and use similar notes, including the anya swara. This programme looks at two such sets where the ragas in each set have many similar characteristics - Bhairavi-Mukhari-Manji-Useni on one hand; and Anandabhairavi-Ritigowla on the other on www.radioweb.in

askn
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Rivers in India have been considered holy from times immemorial. Many revered pilgrimage centres are situated on the banks of rivers. Rivers are also associated with centres of learning and culture. Carnatic music has flourished on the banks of the river Cauvery. Composers talk of rivers in Kshetra kritis, on specific temples; occasionally, the songs address the rivers directly. This programme features a few of the songs that mention and refer to rivers on www.radioweb.in

askn
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Ragas fall under Janaka and Janya categories - Janaka ragas are parent scales that give rise to other ragas with the same notes. Janaka ragas, also called Melakarta ragas, were formally classified by Venkatamakhi. Govindacharya then expanded the Melakarta system into the Sampoorna raga scheme that is used today. On this feature, the vainika Dr Jayanthi Kumaresh presents the evolution of the Melakarta raga system. We also look at some other raga systems. Listen on www.radioweb.in

askn
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Lord Rama and Seeta’s representations in Indian art and culture evoke images of ideal couplehood and their much celebrated mutual respect and understanding. Carnatic Music composers who sang extensively about Lord Rama and his virtues and valor, have also included his consort Seeta in their narratives, attributing the glory to both of them. Listen to a selection of of kritis that begin with a reference to Rama as Seeta’s consort on www.radioweb.in

askn
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Lakshmi is the goddess of wealth, prosperity - both material and spiritual - fortune, and the embodiment of beauty. She is the consort of Vishnu. Also called Mahalakshmi, she is said to bring good luck. This feature presents some songs on her various aspects, including the Ashtalakashmi. Listen on www.radioweb.in

askn
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There has been a generous exchange of cultures in the form of music and literature between South and North India. The Bhakti wave that swept South India had a tremendous influence even in North India. Bhakti saints like Meera, Namdev, Jnaneshwar, and Gorakhnath, all sang praises of the divine and called upon people to include spirituality even among all things worldly. These, mostly Hindi and Marathi songs in the form of bhajans or abhangs, are much awaited in concerts due to their simple yet profound lyricism and the light yet engaging style of rendering them. Here are some popular bhajans sung the Carnatic way, replete with alapana and swaras on www.radioweb.in

askn
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Second part of the programme on allied ragas i.e sets of ragas that sound similar to each other, and are related to each other as a result of having the same notes and also similar phrasings and usages. This programme looks at two such sets where the ragas in each set have many similar characteristics - Madhyamavati-Shri-Manirangu on one hand; and Kedaram-Neelambari on the other on www.radioweb.in

askn
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K Varadachariar - musician, composer and guru - was given the title 'Tiger' by the King of Mysore. He was known for his unique style of singing, and his sense of humour. On this feature, author and music historian Sriram V, in his witty and engaging style, presents insights into the life of Tiger Varadachariar. Sriram also quotes from a radio interview given by Varadachariar himself, and from the memoirs of SY Krishnaswamy, a close friend of Tiger.

askn
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Patnam Subramania Iyer, had an easy compositional style, with his work being mostly in the medium tempo. His compositions are widely sung, and his compositions such as the evergreen composition Raghuvamshasudha and the well known varnam in Raga Abhogi, Evari Bodhana, being instant recall. This Composer Showcase programme brings you a few familiar and rare compositions of Patnam Subramania Iyer, along with some interesting anecdotes on www.radioweb.in

askn
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Kalpana swarams as part of Manodharma sangeetham are a real test to grade an artiste in various parameters like swara shuddhi, adherence to laya, raga jnaana, and most importantly the creativity the artiste brings to the music. Kalpana swaras, when rendered competently with able accompaniment, are beautiful expositions that bring the artiste’s proficiency to the fore. They also bring colour and energy to the rendition. This is a selection of kritis being sung with swara elaborations on www.radioweb.in

askn
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Vasuda Kesav hails from a musical family of Mysore. She has been performing music concerts for over two decades, and her singing adheres to traditional classical style. Vasuda underwent music training in the gurukula system. and is currently under the tutelage of P S Narayanaswamy. Listen to A Vasuda Kesav, vocalist in the classical mould on www.radioweb.in

askn
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Sikkil Gurucharan sings Tyagaraja's masterpiece Rama Nee Samaanam Evaru in Raga Kharaharapriya on One Raga One Kriti programme on www.radioweb.in

askn
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Semmangudi Srinivasa Iyer was one of the most influential and iconic musicians of the twentieth century. He brought into the mainstream ragas such as Salagabhairavi, and his renditions of ragas such as Varali, Shankarabharanam, Bhairavi and Mukhari, to mention just a few, have been considered definitive. Semmangudi's concerts convey an immediacy to the listener. This edition of Kutcheri features a classic concert of Semmangudi, which includes many of the ragas and compositions that are identified with him. Listen on www.radioweb.in

askn
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The lives of the Carnatic Music Trinity, the saint composers, musicians, and other composers are well known and written about. However, there are several others who have contributed to Carnatic music, like Kothavasal Venkatarama Iyer, Neelakanta Sivan, and Annaswami Shastri, but the extent of their contributions and their life stories are relatively unknown. This feature presents compositions of, and information on, some a few such composers on www.radioweb.in

askn
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T V Gopalakrishnan sings a Ragam Tanam Pallavi in Raga Dharmavati. He is accompanied by S Varadarajan on the violin, T V Vasan on the mridangam, and V Suresh on the ghatam. Listen on www.radioweb.in

askn
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Some compositions in Carnatic music are attributed to the wrong composer, because composers may have a common signature, or mudra. In some cases, songs attributed to a composer may differ in style, giving rise to the suspicion that they may not be by that composer. This programme presents a few such compositions on www.radioweb.in

askn
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2012 is the centenary year of T Brinda, the "musician's musician" and a universally revered artiste and aesthete. Musicians who came to learn compositions from her included seniors such as Semmangudi Srinivasa Iyer and M S Subbulakshmi. Ramnad Krishnan was a student of hers. T Brinda's music continues to influence musicians not with its sparkle and style, but with its core musical and aesthetic content. Listen to a highlight of her music on www.radioweb.in

askn
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Though there is a lot of leeway in the speed at which compositions are sung, there is an inherent aesthetic about what is the right pace. Certain compositions, the way they are structured, are best sung at a slow pace. This programme presents a few compositions of the Trinity in the slower speed, or vilamba kaala on www.radioweb.in

askn
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There are quite a few songs that have become undoubted evergreen classics, and these include many weighty kritis too, apart from the expected lighter compositions. Sometimes, it’s a rare song in a rare raga that becomes popular and end up being performed often. This programme presents a few such favourites. listen on www.radioweb.in

askn
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Swati Tirunal's Anjaneya Raghurama Doota in Raga Saveri presented by Parassala Ponnammal on the One Raga One Kriti programme on www.radioweb.in

askn
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Krishna is the god with perhaps the most interesting aspects. His story is full of interesting and dramatic incidents. His variegated roles as a god incarnated as a man and being aware of both his realities makes Krishna a fascinating character. All this has been put into song by various composers to create compositions addressing a wide range of feelings. The songs on the young Krishna are some of the most beautiful. This programme presents some compositions on Krishna by various composers in connection with Janmashtami on www.radioweb.in

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