Arasi wrote:OVK's verbosity is endearing because he is overwhelmed with his love for Krishna and he can't but gush the way he does! ... Minimalism is becoming of poetry but OVK is one of the exceptions.
But indeed, they are always set to madhyamakAlam and dhurita kAlam, except maybe some songs in miSracApu.RShankar wrote:Until fairly recently, OVK's compositons were considered 'fit' only for dances.
Since the trinity, especially Dikshithar, vilambakAlam and madhyamakAlam are largely preferred in the "pure music" domain.
And they make so much hype about Sankari Sankuru! I have read someone say that there has been no "reply" to such a rhythmic setting after Shyama Shastri. While that is true, that had Shyama Shastri known this song, Sankari Sankuru itself forms a "reply" was not mentioned.ifcm_rfi wrote:Here is another excellent composition. It is fairly well known but the word flow is remarkable. The pallavi and anupallavi are in tisra gati. The charanam is mostly in chaturashram but goes to tisram in the last line.
These days one would be ridiculed and ostacrised if they made such a claim. In fact, I wonder if OVK wasn't punished for making such claims when he was alive. (That might have been a major factor in keeping his popularity down until recent years.)dancingmaiden wrote:I wonder if there are any contemporary (in the past 200 years) composers who can claim - like OVK did - that they learnt music directly through a spiritual revelation.