M.S. Gopalakrishnan
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IMHO - In my humble opinion . For all such internet slags: http://en.wiktionary.org/wiki/Appendix:Internet_slang
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Yep yep he seems to always do that to any vocalist - this was perhaps the reason Ariyakudi got angry with him once and never took him as an accompanist thereafter.Sam Swaminathan wrote:MSG was right up there when it came to returning the "serves"...more than that, I have noticed his returns were delightfully different, instead of repeating what TNS had sung earlier....thereby prompting TNS to serve different combinations in his next volley...
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Kris, Ariyakudi apart, don't you think that kind of playing is refreshingly nice? In one of the music magazines, I remember reading that once, in a small town, one of the top violinist was playing along with his son/disciple in a concert. This kid, though very good, was just repeating what his father was playing (while playing swarams) and this went on for some time. After some time into swarams, one rasika got up and said in words to the effect "please do your sadakam at your house, we have come here to listen to a concert".
But then, Kris, Chembai sir used to encourage MSG a lot on this and some times, he would reverse the process and sing what MSG had played. Once again, in my opinion, this is what the pakkavadyam is suppose to do. Up lift the concert by some intelligent playing. Give a big support to the main artist. Support does not necessarily mean " e adichan copy"....I am not saying that the pakkavadyam should do it all the time....but some times where warranted, must do this change....my two cents worth...
But then, Kris, Chembai sir used to encourage MSG a lot on this and some times, he would reverse the process and sing what MSG had played. Once again, in my opinion, this is what the pakkavadyam is suppose to do. Up lift the concert by some intelligent playing. Give a big support to the main artist. Support does not necessarily mean " e adichan copy"....I am not saying that the pakkavadyam should do it all the time....but some times where warranted, must do this change....my two cents worth...
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No doubt MSG is a highly accomplished artist who can take on any vocalist. His vidwat has at many
times overshadowed the main artist (his replies some times being longer than the vocalist )
. Perhaps his tendency to play a shade before the vocalist many times has put off some senior vocalists
as they beacme ' accompanists'. One can listen to Sri TKRanagachari's Mysore Ramanavami's l
concert (widely circulated concert....also in sangeethapriya site ) to feel this. A bit annoying beacsue its an
hindrance or blocking the main artists manodharma. (Yet a great and humble TKR signals 'besh' 'aha'.through the cocnert) .
times overshadowed the main artist (his replies some times being longer than the vocalist )
. Perhaps his tendency to play a shade before the vocalist many times has put off some senior vocalists
as they beacme ' accompanists'. One can listen to Sri TKRanagachari's Mysore Ramanavami's l
concert (widely circulated concert....also in sangeethapriya site ) to feel this. A bit annoying beacsue its an
hindrance or blocking the main artists manodharma. (Yet a great and humble TKR signals 'besh' 'aha'.through the cocnert) .
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Ah, how many rewards and minuses in such a situation where the violinist (soloist too) is extremely able and yet, it works magic in some instances and not at all in others?
While an accompanist is faithful in shadowing the vocalist, it is pleasing. If it is without any flair, it can be boring. If the talented violinist exhibits his wares in a big way, it is intrusive and overshadowing. Yet, a bit of assertive playing can enhance the performance.
Above all, the personality combinations play a big part.
M.S. Anatharaman's playing comes under the ideal accompanists category (such expertise but almost underplaying). Son Sundaresan (in expertise) is getting there! Others I can think of at the moment are Mysore Nagaraj and of late, Charulatha Ramanujam. There are others too, of course.
The generosity of the vocalist means a lot too...
While an accompanist is faithful in shadowing the vocalist, it is pleasing. If it is without any flair, it can be boring. If the talented violinist exhibits his wares in a big way, it is intrusive and overshadowing. Yet, a bit of assertive playing can enhance the performance.
Above all, the personality combinations play a big part.
M.S. Anatharaman's playing comes under the ideal accompanists category (such expertise but almost underplaying). Son Sundaresan (in expertise) is getting there! Others I can think of at the moment are Mysore Nagaraj and of late, Charulatha Ramanujam. There are others too, of course.
The generosity of the vocalist means a lot too...
Last edited by arasi on 28 Jun 2008, 20:03, edited 1 time in total.
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Talking of accompanying (sorry it gets drifted from MSG) ... I think many violinists these days play very, very fast in order to put in a lot of stuff in the very restricted time frame. Do you agree with this observation? Yes, Purist says:
his replies some times being longer than the vocalist
OK, kalpana svarams and neravals, fine, this is a good thumbrule (excepting the first svaram round). But with aalapanai this "shorter duration than the vocalist" seems to result in the overspeeding.
his replies some times being longer than the vocalist
OK, kalpana svarams and neravals, fine, this is a good thumbrule (excepting the first svaram round). But with aalapanai this "shorter duration than the vocalist" seems to result in the overspeeding.
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I feel the discussion on MSG involves the age old problem of who the IDEAL accompanist is as well as what his role & how far he should assert or subordinate or contribute towards ENHANCING the CONCERT TO HIGHER LEVELS.
Sri. MSG'S career (which I have followed from day one practically) is probably the one to examine in some detail. Reg. his talents there is NO QUESTION whatsoever he is one of the BEST musicians of our times.
Yet in the EARLY stages of his career he was practically igniored & shunned by most major artists for various reasons: his tendency to play N.Indian style things, one-upmanship reg. his replies etc being the common ones GIVEN. I am keeping the TECHNICAL reasons of his superiority strictly out of bounds in this discussion. However GNB( His Nattakurinji R.T.P. is probably the BEST we are likely to hear in our life times; MSG'S inspiration made it rise to UNBELIEVABLE heights & GNB has acknowledged it himself being the utterly truthful artist he was), MALI & MMI ( PAMAILLAIKINNAI UNDO OF SIVAN in which MSG'S utter brilliance in raisng the LEVEL of that SIVAN masterpiece on Bharatiyar along with PMI'S greatness again has raised the rendering of that piece to one of the MASTERPIECES of ALL TIME).T.K.Rangachary's open admiration truly reflects the acknowledgement of GENIUS irrespective of where it originated. I say this because I attended that particular concert. Those times were TRULY like that.
Like many accompanists, IN THE LATTER STAGES OF HIS CAREER exposed his great genius as soloist as well as MASTER of both N & S Indian music; As accompanist he TRULY followed the manodharma of the main artist - one can easily see how he can & does follow the main artist swara for swara- & ENHANCED the concert.
There are various ways to enhance the whole concert experience at various levels. LGJ, PALANI, TIRUVALANGADU SUNDARESA IYER among many others did it in an obvious fasion; PMI did it his own way. I find- without any negative impilcations of the talents & achievements of todays great artists-
I realise what LGJ & Palghat Raghu meant when they said the golden age of carnatic music to them was between late forties & sixties . I wish we do more to remember & understand GREATNESS irrespective of time. vkv
Sri. MSG'S career (which I have followed from day one practically) is probably the one to examine in some detail. Reg. his talents there is NO QUESTION whatsoever he is one of the BEST musicians of our times.
Yet in the EARLY stages of his career he was practically igniored & shunned by most major artists for various reasons: his tendency to play N.Indian style things, one-upmanship reg. his replies etc being the common ones GIVEN. I am keeping the TECHNICAL reasons of his superiority strictly out of bounds in this discussion. However GNB( His Nattakurinji R.T.P. is probably the BEST we are likely to hear in our life times; MSG'S inspiration made it rise to UNBELIEVABLE heights & GNB has acknowledged it himself being the utterly truthful artist he was), MALI & MMI ( PAMAILLAIKINNAI UNDO OF SIVAN in which MSG'S utter brilliance in raisng the LEVEL of that SIVAN masterpiece on Bharatiyar along with PMI'S greatness again has raised the rendering of that piece to one of the MASTERPIECES of ALL TIME).T.K.Rangachary's open admiration truly reflects the acknowledgement of GENIUS irrespective of where it originated. I say this because I attended that particular concert. Those times were TRULY like that.
Like many accompanists, IN THE LATTER STAGES OF HIS CAREER exposed his great genius as soloist as well as MASTER of both N & S Indian music; As accompanist he TRULY followed the manodharma of the main artist - one can easily see how he can & does follow the main artist swara for swara- & ENHANCED the concert.
There are various ways to enhance the whole concert experience at various levels. LGJ, PALANI, TIRUVALANGADU SUNDARESA IYER among many others did it in an obvious fasion; PMI did it his own way. I find- without any negative impilcations of the talents & achievements of todays great artists-
I realise what LGJ & Palghat Raghu meant when they said the golden age of carnatic music to them was between late forties & sixties . I wish we do more to remember & understand GREATNESS irrespective of time. vkv
Last edited by cacm on 28 Jun 2008, 01:31, edited 1 time in total.
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A Somu MSG combo- ( I think I got this from s priya site- cannot locate now)
Sensitive playing by MSG
The solo by MSG following Somu's alapana is in the same mood set by Somu.
http://www.sendspace.com/file/lqs0qw
Sensitive playing by MSG
The solo by MSG following Somu's alapana is in the same mood set by Somu.
http://www.sendspace.com/file/lqs0qw
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You people who have been around and in touch for longer than I have had the advantage and privilege of hearing today's elder soloists playing as accompanists, and seeing musicians who's greatness you were aware of even then forming wonderful teams.
I wonder what, if any, main/accompanying teams of today's younger artists strike you as being combinations people may be remembering in decades to come?
I wonder what, if any, main/accompanying teams of today's younger artists strike you as being combinations people may be remembering in decades to come?
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Dear Nick,
I feel Akkarai S & Varadarajan are definitely in the mold of the greats from those days. Akkarai accompanying Chitraveena Ravikiran to me is already such a team. Varadarajan's aplomb as accompanist- maybe his experience with K.V.N. helps him- is astounding to me. Of course Sriramkumar is at the confluence of the Rudrapatnam school ( the great R.K.Venkataraman & R.K.Srikantan) & D.K.J. apart from his own talents& expertise as well as experience. To me at least these three are already there! vkv
I feel Akkarai S & Varadarajan are definitely in the mold of the greats from those days. Akkarai accompanying Chitraveena Ravikiran to me is already such a team. Varadarajan's aplomb as accompanist- maybe his experience with K.V.N. helps him- is astounding to me. Of course Sriramkumar is at the confluence of the Rudrapatnam school ( the great R.K.Venkataraman & R.K.Srikantan) & D.K.J. apart from his own talents& expertise as well as experience. To me at least these three are already there! vkv
Last edited by cacm on 28 Jun 2008, 18:52, edited 1 time in total.
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Nick
Memories of Harisankar with UKS will be on the top of a heap of memories that I will carry with me, to my Maker, when the Time Comes.
And Then ..
Balmuralis Concert with M Chandru and Upendran at Sastri Hall,
Santhanams Mass Hypnotic appeal at Ayodhya Mantap,
UKS and VVS on two sides of a main artist
Lalgudi looking intently at Kariakkudi Mani as the climax of the thani approaches,
MSG's smile as a token of Thanks after his alapanas,
Ravikiran, Bent over his instrument, Painting a Saveri
A cute little Shashank flanked be a heavily reassuring UKS for his first concert at the Academy.
A jam packed parking Lot on the day of a U Srinivas Concert at Academy
Memories ...Memories.......
Memories of Harisankar with UKS will be on the top of a heap of memories that I will carry with me, to my Maker, when the Time Comes.
And Then ..
Balmuralis Concert with M Chandru and Upendran at Sastri Hall,
Santhanams Mass Hypnotic appeal at Ayodhya Mantap,
UKS and VVS on two sides of a main artist
Lalgudi looking intently at Kariakkudi Mani as the climax of the thani approaches,
MSG's smile as a token of Thanks after his alapanas,
Ravikiran, Bent over his instrument, Painting a Saveri
A cute little Shashank flanked be a heavily reassuring UKS for his first concert at the Academy.
A jam packed parking Lot on the day of a U Srinivas Concert at Academy
Memories ...Memories.......
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Well said, VK....I have just finished hearing a raga alapana of MSG in the raagam Hamsanandi. Preceding TNS alapana was out of this world. Not only my headache is gone, my decision to give up playing violin has increased hundred fold !!
And belated birthday greetings to MSG sir ( it is two years since this thread was started !) and my humble namaskarams to him.
And belated birthday greetings to MSG sir ( it is two years since this thread was started !) and my humble namaskarams to him.
Last edited by Sam Swaminathan on 29 Jun 2008, 05:01, edited 1 time in total.
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Nick
You can still SEE them with your eyes Closed .
Thanks to mp3.
http://rapidshare.com/files/125744652/tns.mp3.html
Pune 1974 !!!!
You can still SEE them with your eyes Closed .
Thanks to mp3.
http://rapidshare.com/files/125744652/tns.mp3.html
Pune 1974 !!!!
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Arasi
This one is for you too....
http://rapidshare.com/files/125761088/a ... -.mp3.html
Reminded of Lorrie Moore's words
Here is a track which displays some exotically inflamed sense of punctuation ..Both by Alathoor and TNK
I put these tracks up, in the belief that these artists are just not comparable to each other , even across generations.
This one is for you too....
http://rapidshare.com/files/125761088/a ... -.mp3.html
Reminded of Lorrie Moore's words
Though the reference to expertise is an obvious understatement, the bit about punctuation finds some echo in this trackWriters have no real area of expertise.They are merely generalists with a highly inflamed sense of punctuation.
Here is a track which displays some exotically inflamed sense of punctuation ..Both by Alathoor and TNK
I put these tracks up, in the belief that these artists are just not comparable to each other , even across generations.
Last edited by coolkarni on 29 Jun 2008, 10:15, edited 1 time in total.
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The heritage of Art is one thing to the public and quite another to the succeeding artists.
The artists inheritance from other artists can be little more than certain enthusiasms, which usually spoil his first work.
And a definite knowledge of the modes of expression,which contributes to perfecting his more mature performance.This is a matter of technique
Ezra Pound
Last edited by coolkarni on 01 Jul 2008, 06:48, edited 1 time in total.
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I attended the function and saw MSG Sir and heard about it I also heard that he was determined to get back to playing the violin as early as possible. W all the ardous and enormous effort of practice put in by him I am sure with divine grace we will all have the pleasure of see him back to his usual self.I sincerly pray for his quick recovery.Bye Ragjay
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I don't know where sunayanaa got his info - I wish people would verify news before putting it out there and starting a discussion.
We have been able to ascertain through Mysore H. K. Narasimhamurthy (my daughter's violin guru and disciple of Sri MSG) and another very good friend who is a close associate of Sri MSG that the maestro is fine and has not had any stroke recently, at least not as recent as TNK's sadhaabishekam event.
Lalitha Swaminathan
We have been able to ascertain through Mysore H. K. Narasimhamurthy (my daughter's violin guru and disciple of Sri MSG) and another very good friend who is a close associate of Sri MSG that the maestro is fine and has not had any stroke recently, at least not as recent as TNK's sadhaabishekam event.
Lalitha Swaminathan
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Thank goodness.
Here's an excellent concert of his: http://www.sangeethapriya.org/Downloads/msg/msg-uks/
The RTP in Shanmugapriya is breathtaking, with a typically brilliant thanam.
Here's an excellent concert of his: http://www.sangeethapriya.org/Downloads/msg/msg-uks/
The RTP in Shanmugapriya is breathtaking, with a typically brilliant thanam.
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