Carnatic Music - Programmes on www.radioweb.in

Miscellaneous topics on Carnatic music
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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).

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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

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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

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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

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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

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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

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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

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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

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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

askn
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A senior musician today and a senior student of the pioneering musician, G N Balasubramaniam, Trichur V Ramachandran will be awarded the prestigious Sangita Kalanidhi for the year 2012. Ramachandran can of course be easily identified through his voice and singing style, which are remarkably similar to that of his guru, GNB. This programme features Trichur Ramachandran singing compositions of GNB. Ramachandran also talks about being open to influences to aid learning, and about his tryst with Hindustani music. Listen on www.radioweb.in

askn
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This programme features an ancient raga and one among the heavy ragas of Carnatic music, Saveri. With a very classical flavour and with its predominant mood being the Karuna rasa or compassion, Saveri has a special appeal. It also has great scope for elaboration, and is therefore often chosen in concerts. Dfferent types of compositions have been included on this episode of Colours of a Raga to bring out the flavours of Saveri on www.radioweb.in

askn
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Alapana is the most abstract of improvisational forms in Carnatic music, with no words or underlying rhythm. It is totally free-form, and hence is able to reflect the gamakas and bring out the raga’s character in the best possible manner. Alapana is an occasional theme where all the songs have a full-fledged alapana preceding them. This edition has alapanas in ragas Shankarabharanam, Varali, Sahana and Punnagavarali on www.radioweb.in

askn
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In this programme, G N Balasubramaniam sings a Ragam Tanam Pallavi in Raga Kalyani. GNB was known for his progressive elaboration of the raga, especially in his Ragam-Tanam-Pallavis, which is evident here too. The pallavi is set to Mishra Chapu tala, and the pallavi line is "Un Darisanam Kidaikkumo Nataraja Dayanidhe". Listen on www.radioweb.in

askn
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Alepey Venkatesan is the of the most senior musicians now following the Ariyakudi style. His music is classically founded, and he strictly follows paddhati. Alepey Vednkatesan is also a musician who is respected for his knowledge and his view on Carnatic music. Listen to selection from one of his concerts 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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Uppalapati Ankiah was initially a tavil and mridangam artiste. It was much later that he became a vocalist. As a vocal musician, it was perhaps understandable that he would be strong in laya. He quickly built a reputation as not only an expert in laya, but also a rare musician who sang compositions in rare and unusual talas, including those from the 108 classical talas. Uppalapati Ankiah was also renowned for his rendition of pallavis in rare ragas. Listen to a highlight on www.radioweb.in

askn
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Rama Varma is a direct descendant of Maharaja Swathi Thirunal Rama Varma and Raja Ravi Varma. He has an expectedly large repertoire of Swathi compositions, from the rare Khamas Varnam, Saa Vaama Rusha, to the popular Paahi Sreepathe in Hamsadhwani. He is a student of M Balamuralikrishna and is a repository of probably the largest number of Balamurali's compositions. Listen to a highlight on www.radioweb.in

askn
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T Viswanathan, grandson of Veena Dhanammal and brother of T Balasaraswati, was one of the most influential Carnatic musicians in the USA, where he spent many years researching and teaching. Jon B Higgins, the first musician from the West to make a mark in Carnatic music, was Viswa's student. A tribute on www.radioweb.in

askn
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Kalpakam Swaminathan was a vainika and vocalist who followed the Tanjavur style of playing the veena. Kalpakam Swaminathan's veena playing style closely followed the vocal, and it was built on reproducing the gamakas and graces of the voice. Her music was very much like her - simple, direct, elegant and evocative, without using technical artifices to produce effect. Listen on www.radioweb.in

askn
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The sophistication in terms of the raga and tala structure may not always be apparent in the compositions of the Trinity. This is particularly true of the laya aspect, which is the underlying rhythmic principle that operates in a composition. This programme looks at the eduppu aspect – or the position in the tala cycle where the composition begins – which is one of the important aspects pertaining to laya on www.radioweb.in

askn
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V R Dileep Kumar presents Muthuswami Dikshitar's Sri Venkatagireesham Aalokaye in Raga Surati on the One Raga One Kriti programme on www.radioweb.in

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Ramanathapuram Srinivasa Iyengar, who is better known as "Poochi" Srinivasa Iyengar, came in the Tyagaraja shishya parampara, and was the disciple of Patnam Subramania Iyer. Among his most popular compositions are Saraguna Paalimpa in Raga Kedaragaula and Parama Paavana Rama in Raga Purvikalyani. His varnams are also often performed, especially Vanajaakshiro, the adi tala varnam in Raga Kalyani, and Nera Nammiti, the ata tala varnam in Raga Kaanada. Ramanathapuram "Poochi" Srinivasa Iyengar was born on August 16, 1860, and passed away in 1919.Listen to a selection of his compositions on www.radioweb.in

askn
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Hindolam is one of the more popular pentatonic ragas in Carnatic music. The Hindustani equivalent of the raga is Malkauns. Hindolam is a raga that can provide both a classical feel, as in the established kritis such as Neerajakshi, Saamaja Vara Gamana and Maamavatu Sri Saraswati, and also devotional touch in bhajans and semi-classical pieces. Listen on www.radioweb.in

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Vinjamuri Varadaraja Iyengar was a leading disciple of Tiger Varadachariar. He was popularly known as Vinjamuri. Varadaraja Iyengar's music was classical and traditional in its form. He composed only a few compositions, but those few were unique and carried his stamp. Listen to a selection 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. It also provides a complete experience of all the improvisational elements. In this programme, S Sowmya sings a Ragam Tanam Pallavi in Raga Kaanada. The pallavi is set to Chatusra Jati Triputa tala, Khanda nadai. The pallavi line is "Narada Gaana Lola Naada Geeta Paripaala" on www.radioweb.in

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Coimbatore Thayi (1872-1917) was one of the first Carnatic musicians to be recorded. Even though she passed away early, her records were released and re-released even many years after her death, continuing to be popular even at a time when records of popular musicians such as Ariyakudi and Chembai must have been out in the market. This feature presents some of her renditions, and we have Sriram V, author and historian, talking about her life. The programme also features other relatively unknown artistes of the beginning of the recording era in India. Listen to this exclusive on www.radioweb.in

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Sikkil Gurucharan comes from a family steeped in music, which includes the Sikkil Sisters, Kunjumani and Neela, and Mala Chandrashekhar. Gurucharan, apart from being a musician in the classical mould, has also been acclaimed as a partner in an ensemble of contemporary classical music, which includes pianist Anil Srinivasan. Listen to a concert by Sikkil Gurucharan on www.radioweb.in

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T S Balakrishna Sastrigal (1919-2003) was one of the foremost and popular Harikatha exponents. With his wide knowledge of subjects, mastery of the Vedas, Puranas and Sastras, he was a master storyteller. With his command over music, Balakrishna Sastrigal presented many harikathas on musical topics, including Tyagaraja. This programme has excerpts of a harikatha in English, on the topic of Tyagaraja Kshetraadanam. Balakrishna Sastrigal uses his skills and his wide knowledge to explain some of the deeper facets of Tyagaraja the composer. Listen on www.radioweb.in

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There are several composers who have contributed to Carnatic music, like Pallavi Gopala Iyer, Maha Vaidyanatha Sivan, Tiruvarur Ramaswami Pillai and so on, but their life stories are relatively unknown. Some of the compositions of these personalities are also among the better known and popular items in performances. This feature presents compositions of a few such composers on www.radioweb.in

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The temple at Tiruvaiyyaru is dedicated to Lord Shiva in the form of Pranatharthihara or Panchanadeeshwara, and his consort Dharmasamvardhani. Tiruvaiyyaru is where Tyagaraja lived, and his samadhi is on the banks of the river Kaveri. Not surprisingly, Tyagaraja has composed quite a few compositions on the temple here. This feature takes you through the temple at Tiruvaiyyaru and also plays some of the popular songs composed on the deities at the temple on www.radioweb.in

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Swathi Thirunal composed not only in Carnatic music but also Tappas and Khayals with a great helping of Hindustani ragas and styles. His songs in Hindi are rich in devotion, distinctive for their simplicity in style and lyrics. Here is a selection of his popular songs in Hindi, most of which are sung like bhajans on www.radioweb.in

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There have been quite a few compositions in Carnatic music that have never ceased to engage the listener. Mention the Bhairavi varnam, and it is spontaneously remembered as Viriboni. Likewise, there are some kritis that are mirrors of the ragas and remind one of the compositions as soon as the raga is mentioned. Here are some well-known ones that have retained their magic in our music over the decades, including Viriboni , Sudhamayi by GNB and more. Listen on www.radioweb.in

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Kalpana swaras 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 with some beautiful and inventive kalpana swaras performed by Lalgudi Jayaraman & Srimathi Brahmanandam, S Sowmya , Sumitra Vasudev and other artists Listen on www.radioweb.in

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O S Thiagarajan, who is known for his chiselled improvisations on the classical ragas such as Kamboji, Shankarabharanam and Bhairavi, sings an elaborate alapana, followed by Tyagaraja's composition, Emi Neramu, which is set to Adi tala. O S Thiagarajan is also a musician known for his sense of proportion, and his treatment in this rendition progresses smoothly, giving a wholesome view of both the "king of ragas" and Tyagaraja's classic composition on www.radioweb.in

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