Tanjavur S Kalyanaraman

Carnatic Musicians
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vs_manjunath
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#151 Re: Tanjavur S Kalyanaraman

Post by vs_manjunath » 12 Jan 2014, 13:47

Kedaragowla,Saveri,Ranjani & Ahiri.Each raga has been sung by TSK so masterly and each raga is a gem by itself!!!
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vasanthakokilam
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#152 Re: Tanjavur S Kalyanaraman

Post by vasanthakokilam » 12 Jan 2014, 14:04

Right indeed. Moreover, I thought of something which may sound crazy. Had that moving Ahiri by Kalyanaraman and the violinist been an alapana, any song following that would be so out of place. Crazy to think that lyrics and laya will be out of place. Not that there are no excellent songs in Ahiri but I felt, in this imagined situation, the emotionally fitting thing to do would be to take a break to let everyone recover and then move on to something else (just like this ragamalika slokam ). It is that good.
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vs_manjunath
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#153 Re: Tanjavur S Kalyanaraman

Post by vs_manjunath » 12 Jan 2014, 14:22

varsha wrote:celebrating his memory
https://www.mediafire.com/folder/1ru6bh ... alyanraman
recommended starting track :)
http://www.mediafire.com/listen/0zic1pz ... malika.mp3

What a wonderful world this is . Why should I care for Moksha ? When such music surrounds me .More Janmas , the merrier. :-BD
Varshaji must have made this statement after the "out of the world Ahiri emotional experience". :-BD
Last edited by vs_manjunath on 12 Jan 2014, 14:41, edited 1 time in total.
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varsha
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#154 Re: Tanjavur S Kalyanaraman

Post by varsha » 12 Jan 2014, 14:41

You may not believe this but nevertheless ...
As I listened to these tracks while posting here , I was crossing the Ahiri part and was reminded of a review of the recent Lalgudi GJR-Viji duet which said something to the effect of Ahiri making the eyes moist .I continued to listen and said to myself - Why should I gild this lily ?
Touching our souls - How these artists manage that , is divine . I cant even make myself understood well , at home or office. Let alone .... :|
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vs_manjunath
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#155 Re: Tanjavur S Kalyanaraman

Post by vs_manjunath » 13 Jan 2014, 06:40

Varsha- "Touching our souls- How these artistes manage that, is divine"
Very much true! I totally agree with your sentiments.
"why should I gild this lily ? "
In addition to enjoying lovely music, I am learning good English too.
By the by, if you have TNK's Keeravani recording which came as an LP abt 40 years back...pl do upload.
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kedharam
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#156 Re: Tanjavur S Kalyanaraman

Post by kedharam » 02 Jun 2014, 01:01

Remembering the legend on his birthday:

http://www.youtube.com/watch?v=AuDWdCIB_as
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venkatakailasam
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#157 Re: Tanjavur S Kalyanaraman

Post by venkatakailasam » 28 Jul 2014, 08:24

Concert 161- TSK-Shanmugapriya RTP TSK-MSG-TVG

RTP running to 1hour 20 mts.

http://mfi.re/listen/dpyixdiv1ucmixr/Co ... TVG-II.mp3
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kedharam
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#158 Re: Tanjavur S Kalyanaraman

Post by kedharam » 29 Jul 2014, 06:12

Thanks.
What a technically daunting piece of music! One of SK’s most ingenious and breathtaking work - to be guarded and protected.
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mahavishnu
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#159 Re: Tanjavur S Kalyanaraman

Post by mahavishnu » 30 Jul 2014, 06:20

kedharam wrote:Thanks.
What a technically daunting piece of music! One of SK’s most ingenious and breathtaking work - to be guarded and protected.
and shared and celebrated :)
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kedharam
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#160 Re: Tanjavur S Kalyanaraman

Post by kedharam » 30 Jul 2014, 06:50

:) :) :) :)
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kvjayan
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#161 Re: Tanjavur S Kalyanaraman

Post by kvjayan » 09 Aug 2014, 22:43

If not previously posted:

Tanjore S Kalyanaraman- Ashtapati in Raag Miyan Malhar

https://www.youtube.com/watch?v=vsN9F6TYEYM

(courtesy Raju Asokan)

Great Malhar. The violin accompaniment is equally good (name not mentioned).
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rshankar
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#162 Re: Tanjavur S Kalyanaraman

Post by rshankar » 10 Aug 2014, 04:45

A small correction, s'il vous plait, mon ami, as the Belgian detective would say - it's an ashTapadi - a verse with 8 lines/meters. ashTapati is probably a polyandrous woman with 8 husbands.:-)
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kvjayan
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#163 Re: Tanjavur S Kalyanaraman

Post by kvjayan » 10 Aug 2014, 20:51

rshankar wrote:A small correction, s'il vous plait, mon ami, as the Belgian detective would say - it's an ashTapadi - a verse with 8 lines/meters. ashTapati is probably a polyandrous woman with 8 husbands.:-)
Merci beaucoup pour votre aimable remarque. I lifted the details straight from the YouTube website and so any corrections may be directed to the uploader of the video.
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kedharam
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#164 Re: Tanjavur S Kalyanaraman

Post by kedharam » 09 Jan 2016, 14:36

Jan 9th - remembering through an ethereal Naganandini:

https://www.youtube.com/watch?v=WtNH9rC ... 6&index=19
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kedharam
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#165 Re: Tanjavur S Kalyanaraman

Post by kedharam » 02 Jun 2016, 00:21

Celebrating the genius on his Birthday with his transcendent music.

https://www.youtube.com/watch?v=nRkMAk1LmTM
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satyabalu
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#166 Tanjore S Kalyanaraman

Post by satyabalu » 02 Jun 2016, 20:43

"Tributes to S KALYANARAMAN (2 June 1930 – 9 January 1994), popularly known as SKR, popular Vocalist in the Carnatic tradition, on his Birth anniversary today.. Hailing from a famed musical family, where his great-grandfather was Komal Muthu Bhagavathar and his grand uncle was the celebrated vocalist Madirimangalam Natesa Iyer, S.Kalyanaraman became one of the foremost disciples of G. N. Balasubramaniam and established himself as an original musician in his own right.

Born in the ancient city of Thiruvengadu to N. Srinivasa Iyer, S.Kalyanaraman was born in a well-to-do musical family and received his initial music training under his father. Recognizing the boy's prodigious talents, his father realized that Kalyanaraman needs expert guidance from a respected musician. At that time, the reigning superstar of Carnatic music was none other than G. N. Balasubramaniam or better known as GNB & indeed, Kalyanaraman sang in the GNB bani even before becoming the disciple of his idol. In Chennai, a music teacher better known as Kittamani Iyer identified the boy's talents & upon realizing the impact of GNB's style on the boy's music, he introduced the young Kalyanaraman to GNB. Upon realizing the boy's immense potential, GNB took him under his arms and trained him for 15 years.

Like his master GNB, S. Kalyanaraman's musical acumen is beyond the ordinary and within less than a year of instruction under GNB, he was providing vocal support. GNB once remarked "What's there for me to teach, you are already singing so well".

So versatile was his voice that even before his debut in 1949, Kalyanaraman was already getting attention from the audience as a leading vocal accompanist to GNB. At times, realizing the rich manodharama of Kalyanaraman's musical intuition, GNB would hand him the reins for improvisations in his own concerts. The brief moments of Kalyanaraman's music captivated the audience who came to listen to GNB.

At his debut in the Gokhale Hall in 1949, guru GNB was in the audience and was carried away in musical wonder for Kalyanaraman's originality while retaining the mesmerizing bani of his own. GNB further added "The best respect to a guru is to follow his style in total. The best tribute to a guru is to embellish a style of your own. My dear boy... I am proud you are... indeed your own." Once while listening to Kalyanaraman's rendition of Nilayam Onru Enukku Arulvai, a Suddhananda Bharathi composition, GNB walked up to Kalyanaraman and demanded "Teach me this and give me the notation." So vast was his musical acumen and knowledge that G.B. Duraiswamy (the eldest of GNB sons) used to remark "the way he discussed intellectual queries and doubts with GNB was a treat to watch."

From then, S. Kalyanaraman's rise in Carnatic music was phenomenal. Like his guru, he emphasized on artistic individuality and won acclaim as a great artiste in his own right. His musical acumen transcended Carnatic music and when performing with Hindustani musicians, he would sing aptly with the Hindustani touch when rendering Hindustani ragas. Such was his admiration of Indian music, that he saw more similarities than differences in both Carnatic & Hindustani systems. He would go on to explain the gamaka technique in Carnatic music which most Hindustani musicians criticize as being detrimental to shruthi clarity. His climb to the 'A' Top rank in All-India-Radio (AIR) was meteoric. In his later years, Kalyanaraman gave some whistle concerts whistling away compositions of the Trinity, an art that he learnt with passion.

As a soloist he planned his concert items differently, often singing rare compositions while keeping popular numbers to a minimum, specializing in vivadi (dissonant) ragas rarely attempted by most popular musicians of his time and was full of musical complexities. He became a specialist in the handling of vivadi ragas and popularized the Śruti bhedam technique (modal shift of tonic note) introduced by his guru. He used nadais (transposed rhythmic patterns) extensively and unfortunately to the uninformed audience, his concerts are painstakingly challenging to be understood and interpreted. His renditions of vivadi ragas like Chandrajyothi, Sucharitra, Hamasanadam are well loved by the connessieur and the informed audience for the musical weight Kalyanaraman's genius had given. The buzz word that went around was "if it was easy, Kalyanaraman would not do it".

However, Kalyanaraman didn't completely ignore the legacy of his guru to forge that of his own, he popularized the GNB bani (style) of singing and also immortalized his guru's hallmark ragas like Shanmukhapriya, Kalyani (raga), Dheera sankarabharanam, Kapi Narayani and many more. He gave Hindustani touches to Hindustani ragas like Dwijawanthi, Brindavana Saranga and Hamir Kalyani. Such was his voice that it had an almost perfect substitute to the inimitable voice of GNB and while singing his guru's signature compositions it would often confuse the acute listener whether it is GNB singing or Kalyanaraman singing.

He notated a book, the first volume of GNB compositions with Trichur V. Ramachandran which was released by the GNB Foundation.

As a musical innovator he faced much criticism in his time for creating new ragas such as the dwi-madhyama ragas in which he eschewed the panchama of the first 36 mela ragas substituting with the prathi-madhyama. Apart from theoretically creating a new set of 36 of his ragas, he demonstrated them at a lecture held in the Music Academy in 1993. He was also ridiculed by critics that he would only handle the "rare stuff" of Carnatic music. But nothing bothered his style and preference. He also composed several varnams, krithis (some in ashtaragamalika format) and thillanas in both popular and vivadi ragas and like his guru, he refrained from using a mudra.

He was a strict teacher and expected nothing less than devotion to the art from his students. As such many of his students, unable to understand his teaching methods, left him. He would also take a back seat and analyze his teaching methods whether anything went wrong in his teaching. Noted among his disciples are his wife Bhushany Kalyanaraman, Prof. Gowri Kuppuswamy, Brinda Venkataraman and the popular cine playback singer, Anuradha Sriram.

Above all, he emphasized a lot on shruthi clarity which he felt Carnatic musicians lacked unlike their Hindustani counterparts. He formulated and tested methods to improve shruthi clarity in Carnatic musicians as well as some of his innovative teaching methods. He planned for the release of a book of all his findings, but it was never published.

Kalyanaraman's influence undeniably bore the GNB mudra. Though criticized many a times for his unique and misunderstood musical prowess, his renditions and contributions are finally gaining popularity among the younger generation as well as recognition. Held in high regard by most of his senior contemporaries like T. N. Seshagopalan, Dr. M. Balamuralikrishna, M. S. Gopalakrishnan and Lalgudi Jayaraman, Kalyanaraman's contribution to the world of Carnatic music is noteworthy.

The SKR Trust, established by his wife and student promotes his music and his legacy. A documentary of his life and work, is released by Kalakendra Sanskriti Series "The Sunaadha Vinodhan" in an audio visual DVD format."
Courtesy G Venkatraman.
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varsha
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#168 Re: Tanjavur S Kalyanaraman

Post by varsha » 30 Jul 2016, 09:12

https://archive.org/details/04RTPShaNmukhapriya

ShaNmukhapriya is the air . the GNB school mood is wrapping me
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kedharam
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#169 Re: Tanjavur S Kalyanaraman

Post by kedharam » 30 Jul 2016, 17:00

Me too :) Thanks.
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rajeshnat
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#170 Re: Tanjavur S Kalyanaraman

Post by rajeshnat » 02 Sep 2016, 21:37

All
I have heard for the past few years that SKR wrote an article in either The hindu , Indian Express or some other magazine titled some thing
like " The birth and death of GNB baani". SKR was objective and he wrote characterizing the greatness of GNB and also the fall of GNB in terms of strictly musical acumen . Some folks say SKR wrote that article when GNB was alive and some say it was written only after many years since GNB passed away.

Does any one have those writings or can one of you recollect what that was ? Please share all details on that. Recollect the source , may be the year, hearsay info about what you read.? Let us collaboratively search with very little information to start with?
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rajeshnat
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#171 Re: Tanjavur S Kalyanaraman

Post by rajeshnat » 16 Oct 2016, 02:45

Gentle reminder on what I asked on the above post about SKR writeup of GNB- old timers help?
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kedharam
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#172 Re: Tanjavur S Kalyanaraman

Post by kedharam » 09 Jan 2017, 00:33

Jan 9th, Remembering the master with his masterpiece :

https://www.youtube.com/watch?v=2EkD1Wx0E6Y
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varsha
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#173 Re: Tanjavur S Kalyanaraman

Post by varsha » 09 Jan 2017, 06:41

https://archive.org/details/Nidayakalgu ... ubramanian

Time to kick myself again . For never bothering to attend his concerts.
What sweetness !!! MSG-UKS-MFAC 72
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varsha
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#174 Re: Tanjavur S Kalyanaraman

Post by varsha » 09 Jan 2017, 06:41

DUPLICATE
Last edited by varsha on 09 Jan 2017, 06:44, edited 1 time in total.
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