Lalgudi G. Jayaraman
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Hi, Vrbadri,
Kunnakudi Vaidyanathan has rendered the Pancharatna Kritis along with an orchestra. Brand: Keerthana. This is also available on www.udbhava.com
Dear all,
Here are some video clips from vasya10.tripod.com
Lalgudi Jayaraman
Lalgudi video clips (source: Coolkarni)
http://www.savefile.com/files/8521513
http://www.savefile.com/files/8475106
http://www.savefile.com/files/8249594
Coolkarni to comment.
Kaumaaram
Kunnakudi Vaidyanathan has rendered the Pancharatna Kritis along with an orchestra. Brand: Keerthana. This is also available on www.udbhava.com
Dear all,
Here are some video clips from vasya10.tripod.com
Lalgudi Jayaraman
Lalgudi video clips (source: Coolkarni)
http://www.savefile.com/files/8521513
http://www.savefile.com/files/8475106
http://www.savefile.com/files/8249594
Coolkarni to comment.
Kaumaaram
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Coolkarni,
That was something that you had shared with that website owner. I meant that your popularity is so wide that if you contest in the next elections from the T Nagar constitutency, I am sure that you will win! I need not say that our NRI members will cast their votes by post.
Please do share the bigger chunk.
Kaumaaram
That was something that you had shared with that website owner. I meant that your popularity is so wide that if you contest in the next elections from the T Nagar constitutency, I am sure that you will win! I need not say that our NRI members will cast their votes by post.
Please do share the bigger chunk.
Kaumaaram
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Deccan Herald: 26-2-2006
Better late than never?
G Ulaganathan writes about violinist Lalgudi Jayaraman who has entered the arena of films with his music composition for the film, Sringaram - Dance of Love.
Lalgudi Jayaraman, the well-known violinist, is a purist to the core and is one of the Carnatic music legends of our time. He has mesmerised music lovers all over the world with his traditional music and has shyed away from controversies, unlike some of his contemporaries.
He, along with his children G J R Krishnan and Vijayalakshmi, form an unique team. Apart from the numerous tillanas that he has composed, which are widely used in the dance repertoire today, Lalgudi has been a connoisseur?s delight and has been lecturing students from different parts of the world, sharing his enormous music wisdom.
However, one field which he had managed to avoid all these days, is films. Though many of his compositions have been used fully or partly in film music, he has never ventured into composing music for films so far.
?I am not very comfortable with films that are being made these days... they are mostly on romantic themes interspersed with a lot of violence. For me music is divine, and anything that amounts to demeaning it is taboo,? he told a writer some time ago.
So, it comes as a surprise when he actually accepts to compose music for a feature film. ?But it is about music and the dominant theme will be the Sringara rasa, one of the Navarasas, he says.
Sringara, incidentally, is a hot favourite among poets and authors. The movie, Sringaram - Dance of Love is based on the Devadasi tradition. The movie has been directed by Sharada Ramanathan and the renowned cinematographer Madhu Ambat handles the camera.
Many popular classical singers including Bombay Jayshree, S Sowmya, O S Arun and T L Maharajan have rendered songs for this film. There is also a special instrumental number called Three seasons by G J R Krishnan and Vijayalakshmi. Mallari, a popular temple music form, has been stylised and presented by the Injikkudi Brothers on the Nadaswaram.
According to Sharada Ramanathan, the movie is a feature film and her chief protagonist is a Devadasi seeking freedom. Newcomer, Aditi Rao Hydari, a half-Konkani half-Muslim, who is also a Bharatanatyam dancer, has played this role. Malayalam actor Manoj Jayan plays the role of a mirasdar and the script is in Tamil. The film will be dubbed in other languages as well.
?Lalgudi agreed to compose music only after listening to the story and script a few times. It is still a mystery why he agreed to do this film though earlier he had rejected many film offers. There must have been something in the script to inspire him,? the director says.
An interesting addition is a folk song, and a traditional song of the Brahmanical engagement ceremony, contrasting with the sensuous Padam of the Devadasi.
The audio cassette was recently released recently in Chennai by maestro Ilayaraja who rarely attends such audio release functions. ?I came because I wanted to honour the living legend Lalgudi Jayaraman for his yeoman service to the field of Carnatic music,? he said at the function.
Better late than never?
G Ulaganathan writes about violinist Lalgudi Jayaraman who has entered the arena of films with his music composition for the film, Sringaram - Dance of Love.
Lalgudi Jayaraman, the well-known violinist, is a purist to the core and is one of the Carnatic music legends of our time. He has mesmerised music lovers all over the world with his traditional music and has shyed away from controversies, unlike some of his contemporaries.
He, along with his children G J R Krishnan and Vijayalakshmi, form an unique team. Apart from the numerous tillanas that he has composed, which are widely used in the dance repertoire today, Lalgudi has been a connoisseur?s delight and has been lecturing students from different parts of the world, sharing his enormous music wisdom.
However, one field which he had managed to avoid all these days, is films. Though many of his compositions have been used fully or partly in film music, he has never ventured into composing music for films so far.
?I am not very comfortable with films that are being made these days... they are mostly on romantic themes interspersed with a lot of violence. For me music is divine, and anything that amounts to demeaning it is taboo,? he told a writer some time ago.
So, it comes as a surprise when he actually accepts to compose music for a feature film. ?But it is about music and the dominant theme will be the Sringara rasa, one of the Navarasas, he says.
Sringara, incidentally, is a hot favourite among poets and authors. The movie, Sringaram - Dance of Love is based on the Devadasi tradition. The movie has been directed by Sharada Ramanathan and the renowned cinematographer Madhu Ambat handles the camera.
Many popular classical singers including Bombay Jayshree, S Sowmya, O S Arun and T L Maharajan have rendered songs for this film. There is also a special instrumental number called Three seasons by G J R Krishnan and Vijayalakshmi. Mallari, a popular temple music form, has been stylised and presented by the Injikkudi Brothers on the Nadaswaram.
According to Sharada Ramanathan, the movie is a feature film and her chief protagonist is a Devadasi seeking freedom. Newcomer, Aditi Rao Hydari, a half-Konkani half-Muslim, who is also a Bharatanatyam dancer, has played this role. Malayalam actor Manoj Jayan plays the role of a mirasdar and the script is in Tamil. The film will be dubbed in other languages as well.
?Lalgudi agreed to compose music only after listening to the story and script a few times. It is still a mystery why he agreed to do this film though earlier he had rejected many film offers. There must have been something in the script to inspire him,? the director says.
An interesting addition is a folk song, and a traditional song of the Brahmanical engagement ceremony, contrasting with the sensuous Padam of the Devadasi.
The audio cassette was recently released recently in Chennai by maestro Ilayaraja who rarely attends such audio release functions. ?I came because I wanted to honour the living legend Lalgudi Jayaraman for his yeoman service to the field of Carnatic music,? he said at the function.
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http://rapidshare.de/files/31636695/12_ … _.mp3.html
http://rapidshare.de/files/31636695/12_ ... _.mp3.html
I picked up this concert of LGJ from a generous donor and I was just listening to this song while working and my mother directed my attention to the way LGJ plays parts of it - he is certainly a genius.
The way he plays "vilayattu" is so playful, the way he allows the mridangist to take away the "thatti" in "thingindra podile thatti parippaan", the way his violin beseeches "enappan en aiyyan enral", the way his notes weave "pinnal"s in "pinnalai pinnindru", the way the notes disappear at "maraivan", the colorful notes that adorn the "vanna pudhu chelai", and of course when he plays "pullanguzhal kondu varuvan" is just mind-blowing(or should i say wind-blowing ), and i sure am drunk after listening to "kaLLal mayanguvadu" - how can anyone create such emotions and sounds in a violin?
Wonder if he's done anything similar with other songs?
http://rapidshare.de/files/31636695/12_ ... _.mp3.html
I picked up this concert of LGJ from a generous donor and I was just listening to this song while working and my mother directed my attention to the way LGJ plays parts of it - he is certainly a genius.
The way he plays "vilayattu" is so playful, the way he allows the mridangist to take away the "thatti" in "thingindra podile thatti parippaan", the way his violin beseeches "enappan en aiyyan enral", the way his notes weave "pinnal"s in "pinnalai pinnindru", the way the notes disappear at "maraivan", the colorful notes that adorn the "vanna pudhu chelai", and of course when he plays "pullanguzhal kondu varuvan" is just mind-blowing(or should i say wind-blowing ), and i sure am drunk after listening to "kaLLal mayanguvadu" - how can anyone create such emotions and sounds in a violin?
Wonder if he's done anything similar with other songs?
Last edited by new_cmfan on 02 Sep 2006, 08:03, edited 1 time in total.
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It is this very thread see page 1.Vocalist wrote:Yeah, I thought I'd read LGJ had performed his final concert too. Maybe it was at the BBoard...
http://rasikas.org/forums/viewtopic.php?pid=4744#p4744
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IMHO, Lalgudi's solo wasn't as phenomenal as his accompaniment. I sometimes find that he becomes a caricature of himself during his solo renditions, excessively stretching certain swarams for highlighting the bhavam. His accompaniment is however another matter. We have seen so many brilliant violinists (Mysore Nagaraj, Manjunath, Gayatri when she used to play, Akkarai Subhalakshmi) but there are hardly a few who can match Lalgudi's class. I repeatedly get goosebumps when I hear his quick repartees for Alathur bros or GNB. Even though he has taken his last bow from the concert circuit, his old recordings will give us solace.
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No doubts about this. Shri LGJ was and is the greatest violinist who excelled more when he accompanied artistes. Was he inspired by them ? Was it the challenge ? The ability to exactly reproduce what they sang and even go further ? Unfortunately, with his seniority, you cannot expect him to play 'second fiddle' to artistes much younger than himself !
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Thank you DRS. Didn't think of looking there/here :S lol
The LGJ trio altogether are quite good too. As strange as it may sound, the item I most look forward to in his concerts is/are LGJ thillana(s). Listening to him play at his senior level now (especially the thillanas), I feel I'm being transported into a dreamy kinda world...
The LGJ trio altogether are quite good too. As strange as it may sound, the item I most look forward to in his concerts is/are LGJ thillana(s). Listening to him play at his senior level now (especially the thillanas), I feel I'm being transported into a dreamy kinda world...
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The 4 raga RTP is available in the sangeethamshare site, It is a wonderful treasure worth possessing
Kiran surya I am aware of the guidelines of this thread it was a request made with the intention of knowing if any one had the recording. For ur inf I had the privilege of listening to a 4hr concert of lalgudi playing this piece elaborately I had a copy of the recording which is damaged beyond redemption
Kiran surya I am aware of the guidelines of this thread it was a request made with the intention of knowing if any one had the recording. For ur inf I had the privilege of listening to a 4hr concert of lalgudi playing this piece elaborately I had a copy of the recording which is damaged beyond redemption
The case of the Perfect 10
Way back in 1976 , when reports of Nadia Comaneci's perfect 10 at the Olympics splashed all over, I was a bit puzzled by the expression -Perfect 10.
Sure I knew that there would be judges who would be scoring and taking averages , but in those days , when I did not have access to TV , it was difficult for me to comprehend the full meaning of the expression.
And so when I took my doubt to my Dad and asked what was the nearest other thing I could relate with a Perfect 10, he looked up from his paper , thought for a while , and said
' Maybe a Lalgudi Concert.That is the closest that I can think of " and went back to his paper.
Decades later , while listening to a KGS concert of 1981, I am reminded of those words.Here are a few tracks from that memorable concert.
http://www.sendspace.com/file/4b0mpo
03-Orajoobaju-Kannadagowla.mp3
http://www.sendspace.com/file/174l81
05-Rama Nee Samana-Kharaharapriya.mp3
http://www.sendspace.com/file/eetdv1
10-Rtp-Keervani.mp3
Way back in 1976 , when reports of Nadia Comaneci's perfect 10 at the Olympics splashed all over, I was a bit puzzled by the expression -Perfect 10.
Sure I knew that there would be judges who would be scoring and taking averages , but in those days , when I did not have access to TV , it was difficult for me to comprehend the full meaning of the expression.
And so when I took my doubt to my Dad and asked what was the nearest other thing I could relate with a Perfect 10, he looked up from his paper , thought for a while , and said
' Maybe a Lalgudi Concert.That is the closest that I can think of " and went back to his paper.
Decades later , while listening to a KGS concert of 1981, I am reminded of those words.Here are a few tracks from that memorable concert.
http://www.sendspace.com/file/4b0mpo
03-Orajoobaju-Kannadagowla.mp3
http://www.sendspace.com/file/174l81
05-Rama Nee Samana-Kharaharapriya.mp3
http://www.sendspace.com/file/eetdv1
10-Rtp-Keervani.mp3
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http://www.hindu.com/fr/2007/06/15/stor ... 940300.htm
I think we should move this to the vAgEyakaras thread...
Kji,
Any possibility of u/l his navarasa padavarNam, and
Lji,
Can we have the lyrics for the same?
I think we should move this to the vAgEyakaras thread...
Kji,
Any possibility of u/l his navarasa padavarNam, and
Lji,
Can we have the lyrics for the same?
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angayarkkaNNi (navarasa varNa). rAgamAlikA. Adi tALA.
1: Anandam. (rAgA: bilahari)
P: angayarkkaNNi Anandam koNDALE dishai engum venru veTri vAghai cUDinALE aNivIrargaL ratha gaja turagamuDan
2: shrngAram. (rAgA: husEni)
A: nangai kailainAthan tanaik-kaNDAL manam koNDAL nANik-kunindu iLa naghai cinda ninrAL
3: adbhutam. (rAgA: valaji) (ciTTasvara sAhitya)
erittAn mAranai kAlAl udaittAn kAlanai shivapirAn cirittE muppuram poDi ceida adbhutam kaNDu viyandAL
4: hAsyam. (rAgA: sArangA)
piTTukku maN sumandu ulagOr pirambaDi paDa vaitta shivanAr viraguk-
kaTTODu pADa umai kai koTTi cirittAL vAi potti naghaittAL
5: bIbhastam. (rAgA: sucaritra)
C: dEviyaip-paNindu aruL peruvOm
1: patiyai madiyAda dakSanin cerukkAl veruppuTrAL dAkSAyaNi
6: raudram. (rAgA: aThANA)
2: mahAkALi kapAlini trishUlini simhavAhini cinandezhundAL
kaNDamuNDa koDiya bhaNDAsuranai khaNDa tuNDamAi vadam sheida
7: bhayAnakam. (rAgA: rasikapriyA)
3: AlakAla viSam aran arunda arakkan kailai tanaik-kaiyAl asaittiDavE tighaitta
8: kAruNyam. (rAgA: shahAnA)
tAi pOl itdAraNi tannil dayai ceivAr uNDO aruT-pArvaiyE jagam kAttiDum
tuyar tIrttiDum em annai tanjam enrAl uLLam kanindu tanik-karuNai ceivAL
kaNNIr malgi karuttinilE tirup-pAdattai iruttiyE
9: shAntam. (rAgA: nAdanAmakriyA)
sarvAnandamaya cakravAsini shrI lalitAmbikaE sharaNam sharaNam ammA
muzhu mati mukham aruL vizhi punnakai tavazh ezhiluruvE unnai ennALum
tudippOm avaniyil anbu oTrumai arivATralum amaidi Anandam aishvaryamum
aruLvAi shAnta svarUpiNi sharaNam ammA shAnta svarUpiNi mInAkSi
1: Anandam. (rAgA: bilahari)
P: angayarkkaNNi Anandam koNDALE dishai engum venru veTri vAghai cUDinALE aNivIrargaL ratha gaja turagamuDan
2: shrngAram. (rAgA: husEni)
A: nangai kailainAthan tanaik-kaNDAL manam koNDAL nANik-kunindu iLa naghai cinda ninrAL
3: adbhutam. (rAgA: valaji) (ciTTasvara sAhitya)
erittAn mAranai kAlAl udaittAn kAlanai shivapirAn cirittE muppuram poDi ceida adbhutam kaNDu viyandAL
4: hAsyam. (rAgA: sArangA)
piTTukku maN sumandu ulagOr pirambaDi paDa vaitta shivanAr viraguk-
kaTTODu pADa umai kai koTTi cirittAL vAi potti naghaittAL
5: bIbhastam. (rAgA: sucaritra)
C: dEviyaip-paNindu aruL peruvOm
1: patiyai madiyAda dakSanin cerukkAl veruppuTrAL dAkSAyaNi
6: raudram. (rAgA: aThANA)
2: mahAkALi kapAlini trishUlini simhavAhini cinandezhundAL
kaNDamuNDa koDiya bhaNDAsuranai khaNDa tuNDamAi vadam sheida
7: bhayAnakam. (rAgA: rasikapriyA)
3: AlakAla viSam aran arunda arakkan kailai tanaik-kaiyAl asaittiDavE tighaitta
8: kAruNyam. (rAgA: shahAnA)
tAi pOl itdAraNi tannil dayai ceivAr uNDO aruT-pArvaiyE jagam kAttiDum
tuyar tIrttiDum em annai tanjam enrAl uLLam kanindu tanik-karuNai ceivAL
kaNNIr malgi karuttinilE tirup-pAdattai iruttiyE
9: shAntam. (rAgA: nAdanAmakriyA)
sarvAnandamaya cakravAsini shrI lalitAmbikaE sharaNam sharaNam ammA
muzhu mati mukham aruL vizhi punnakai tavazh ezhiluruvE unnai ennALum
tudippOm avaniyil anbu oTrumai arivATralum amaidi Anandam aishvaryamum
aruLvAi shAnta svarUpiNi sharaNam ammA shAnta svarUpiNi mInAkSi
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Pallavi expresses how mInAkshI was happy with her dik-vijayam, and anupallavi describes how on seeing the lord of Mt. kailAsh she felt overcome by love and coyness (because, she realized he was the ONE - the legend, when she appeared from the ceremonial fire as malayadhwaja pANDyan was performing the putrakAmEShThi, it was noticed that she had a supernumary mammary gland - a voice - asharIri - announced that it would disappear when she set eyes on the man she would marry - mInAkshi actually gets to Mt. kailAsh to conquer it, and defeats the shiva gaNas that are first sent to do battle with her, and finally shiva comes to do battle - but mInAkshi feels her extra breast disappear and is overcome by shringAra)...and so on and so forth...amazement (wonder) as she watched shiva destroy tri pura, kick yama, burn manmathan...laughed as she saw the whole world feel the swatch of the cane that hit shiva on his back, disgust at daksha for disrespecting her husband, fear as she saw halAhalam almost destroy her husband, compassion, like that of a mother to her devotees, and Lalgudi asks for the blessings of the SAnta swarUpiNi - the ever calm one.