Varnams

Miscellaneous topics on Carnatic music
meena
Posts: 3326
Joined: 21 May 2005, 13:57

Post by meena »

kularniji

thanku for u/l mangalacharane mamavasatatam :)

divakar
Posts: 197
Joined: 26 May 2005, 06:06

Post by divakar »

that courtesy list was not all. thanks meenaji for helping me.
thanks to mahesh, rsrini, begada.
that was not deliberate, ofcourse.

cmlover
Posts: 11498
Joined: 02 Feb 2010, 22:36

Post by cmlover »

Lakshman/Meena
Lyrics for mangalacharane please!

divakar
Posts: 197
Joined: 26 May 2005, 06:06

Post by divakar »

mangaLa caraNE - hindOLam - Adi - tamil

P: mangaLa caraNE mAmava satatam mAmadurai vAzh mInAkshamma

A: sanga rahitE un tAL santatam pORRinEn sAmagAna vinOdini mAnini

C: u~ndan sannidi vandEn uLLam urugit tozha
va~ndiraiyaik kaNDEn vAnam veDittARpOla
minnal vEgamadil marugiDac ceydAyE
mahimai sollat taramA varadadAsan pORRum

corrections if any are welcome

meena
Posts: 3326
Joined: 21 May 2005, 13:57

Post by meena »

cml

By now u should know when it comes to mdr, call for divakarji :)

divakar
Posts: 197
Joined: 26 May 2005, 06:06

Post by divakar »

regarding the lyrics of vacaspati varNam of TIGER.
i posted in the previous page.. but there was a small error
got it corrected on listening to MDR version

vaNdanamu - vachaspati varNam - ATa tALam - TIGER

P: vaNdanamonariNciti vElakoladi
sAshTANgammu mA bhArata lakshmi vANi kin

A: maNdAra dhara pUra arivirim catulu tOshita caritE
mA vara vasaNta mOdini Sri rukmiNiki cirAyu nosagumu

C: aNtamuna kalAkshEtra adhyakshiNi supOshiNi

the change is at the beginning of second line of anupallavi..
it is not (mAra vasaNta) but (mA vara vasaNta)
rest is same.
again corrections, if any, are welcome

rshankar
Posts: 13754
Joined: 02 Feb 2010, 22:26

Post by rshankar »

Should it not be BArathI (= saraswathI/vANI) and not BAratha in the second line of the pallavI? If I remember correctly, the composer was asking for vANI and lakshmI to continue to shower their blessings on the amazing Rukmini Devi.
Ravi

divakar
Posts: 197
Joined: 26 May 2005, 06:06

Post by divakar »

rshankar: you may be right. but both (SRJ, MDR) sing as 'bhArata lakshmi vANi kin'
not sure if it should be 'bhArati' or 'bhArata'
those who learnt this varNam should be in a better position to tell/clarify to us.

cmlover
Posts: 11498
Joined: 02 Feb 2010, 22:36

Post by cmlover »

Thanks Divakar

Meena
You are quite right. coolkarni wanted Divakar to be alerted. We have a proverb in Tamil which goes as "If the mango is ripe is it necessary to send for the flies".

We are lucky to have such resources right with us. That hindolam is superb!

divakar
Posts: 197
Joined: 26 May 2005, 06:06

Post by divakar »

cmlover,
that kriti 'mangaLa caraNE - hindOLam' was completed and corrected with the expert help of Subramanianji.
i feel this is appropriate place to thank him for his patience in 'filling the gaps' and also correcting mistakes

you could post the meaning of the kriti for the benefit of rasikas in the 'mdr's compositions' thread in 'composers'. i already posted the same kriti in that thread.

cmlover
Posts: 11498
Joined: 02 Feb 2010, 22:36

Post by cmlover »

Our sincere thanks to Dr. Subramanian who is a great Tamil Scholar for helping us with Tamil kritis!

meena
Posts: 3326
Joined: 21 May 2005, 13:57

Post by meena »

Someone pl. post lyrics for Tiger's arabhi varna.
thanks in advance

Lakshman
Posts: 14019
Joined: 10 Feb 2010, 18:52

Post by Lakshman »

annamE arAvabharaNanai (tv). rAgA: Arabhi. Adi tALA.

P: annamE aravAbharaNanai azhaittu vA vEgamadAi
A: ponnambalattE kALiyuDan naTamiDum shivakAmi nEsanai
C: enna shOdanaiyO ariyEn

divakar
Posts: 197
Joined: 26 May 2005, 06:06

Post by divakar »

thank you Lakshmanji for the lyrics of Tiger's Arabhi varNam

chithra
Posts: 122
Joined: 26 Jun 2005, 22:56

Post by chithra »

Finally, I sat down and listened to the varnams uploaded by Davalangi and others.

gAravamu ganna (varNa), rAgAmAlikA, is simply superb - every ragam is sung in the inimitable SRJ style, and Ashwin and Rohan do their teacher pround indeed! Evaremi, in Sahana, is another stellar piece. Avidly listened to every one of them, and feel desperately for the lack of time in learning them all. Davalangi, thank you so much for sharing these gems.

Who has sung Arabhi - started playing it thinking it was being sung be Tiger, and could not believe my ears when the higher sruthy came out of the speakers.

The two Sriranjani varNas, both by MDR, seem to mine ears to be from very different periods - would the uploaders clarify, please?

A request:

Does anyone have a vocal rendering of the Ghanaraga malika Varnam, Inthakopam, by kALahasthy Venkatasamy Raja, in Adi, and The Ata thaala varNam in Poornachandrika - the latter has the grammer of Poornachandrika codified in it? Would you please share here? Many thanks.

BTW, did anyone bother to check out teh Sunadha Vinodhini Varnam sung by Shobah Sekar - it is very well done.

Chithra

meena
Posts: 3326
Joined: 21 May 2005, 13:57

Post by meena »

Tiger Arabhi varnA - smt. ananthalakshmi sadagopan

cmlover
Posts: 11498
Joined: 02 Feb 2010, 22:36

Post by cmlover »

Coolkarni
Any chance of some more of Ananthlakshmi SatagOpan? She was an outstanding performer of yester years,

coolkarni

Post by coolkarni »

70 odd minutes available of this artist-anantalakshmi sadgopan-
will upload maybe in a weeks time

rshankar
Posts: 13754
Joined: 02 Feb 2010, 22:26

Post by rshankar »

Where would I find a rendering of Tiger's AraBI varNam? Is it on the x-drive? And, on the same note who is the person singing the valachI thillAnA that was u/l on Rapidshare?
THANKS.
Ravi

chithra
Posts: 122
Joined: 26 Jun 2005, 22:56

Post by chithra »

Carnatica has released has a double CD set of Ananthalakshmi Sadagopan. Sri CML, would you know why / how we do not hear of this musician anymore - I mean why / how she disappeared from the public platform?

Chithra

cmlover
Posts: 11498
Joined: 02 Feb 2010, 22:36

Post by cmlover »

I do have the Sukhanubhava CDs from Carnatica. She was a disciple of Sattur Subramaniam and was also related to VV Satagopan. I have heard her inperson and on the Radio several occassions in the 40's and 50's. She withdrew for health reasons and as I understand is still living in Chennai. It is a great loss for CM :cry:

coolkarni

Post by coolkarni »

I do have the Sukhanubhava CDs from Carnatica.
cml
can you please confirm if it is not the same as this concert
anname(arabhi)-panthuvarlim kadaikann(vedanaya...)-kundram kudi(todi sivan)-rtp-sankarabharana ragamalika-parunam pasrakka-dhanyasi-thullu mada-poorvikalyani-arunagiri-sree ramacnandranukku-madhyamavathi-manila vazhkai-ragamalika sudhananda-sankara sirigiri-hamsanandi-sada unadhu-manohari-upacharamu-bhairavi-sarasa sunadana-kalyani-putham pudu-kapi-gana mazhai-rgamalika
there may be errors due my reading of the old tapes sleeve notes

but just wanted a quick look from you, to make sure.

chithra
Posts: 122
Joined: 26 Jun 2005, 22:56

Post by chithra »

I do not think so - the Carnatica CD does not have Anname (Arabhi).

Ananthalakshmi Sadagopan - related to V. V. Sadagopan? Talking of VVS, is any of his music available ?

Chithra

Here are the contents of Sukhanubhavam - Ananthalakshmi Sadagopan in Live Concert (2 Audio CDs). Price: Rs. 299

CD 1

1. Gananayakam - Rudrapriya - Adi - Muthuswami Dikshitar
2. Jaya jaya - Nattai - Jampai - Purandaradasa
3. Bhajanaseya raada - Atana - Rupakam - Tyagaraja
4. Nidhi chaala - Kalyani - Misrachapu - Tyagaraja
5. Mariyeami - Kannada - Adi - Ambujam Krishna (Music by Dr. Semmangudi Srinivasa Iyer)
6. Kolam kaana - Nattakurinji - Adi - Ambujam Krishna (Music by Dr. Semmangudi Srinivasa Iyer)

CD 2

1. Emayya Rama - Kambodhi - Jhampai - Bhadrachalam Ramadas
2. Ennallu - Subapantuvarali - Misrachapu - Tyagaraja
3. Mithri bhagyame - Karaharapriya - Adi - Tyagaraja
4. Adhi nee pai - Yamuna kalyani - Desadi - Dharmapuri Subbarayar
5. Bhajan - Lalath - Chatusra ekam - Tulsidas
6. Nagumomu - Madhyamavati - Adi - Tyagaraja

cmlover
Posts: 11498
Joined: 02 Feb 2010, 22:36

Post by cmlover »

coolkarni

Your listing does not cross with the commercial one. Please let us have that concert. All the songs are tempting and I am sure they were recorded when she was in her prime. In those days she was ranked better than MS for classicism. What a pity fate dealt her a bad hand :cry:

Again if you do have any concert of VVS it will be a divine treat!

Thanks

chithra
Posts: 122
Joined: 26 Jun 2005, 22:56

Post by chithra »

I have posted this info in a seaparate thread, but in case it got overlooked..

I recall reading a few months back re: release of commercial audio tapes of Sri V. V. Sadagopan. If anyone knows anything about that would they please post that info here? Many thanks.

The elders in my family say that NCV also offered MSS great deal of competetion, and may have eclipsed MS had she lived. A lot of old stories that are burned in the memories of the older generation, and definitely buried in the newspaper morgues.

chithra

prasadvrg
Posts: 28
Joined: 11 Jul 2005, 12:22

Post by prasadvrg »

Hello cmlover,

I am new to this forum. Iwas just reading the posts and read on of your posts:

meena
I was thinking of tying in the clip with the topic as well as the performer. More like the keywords we have in scientific circles. Once we have a number of clips we should be able to search using the acronym to find the relevant piece. I am not too clear in words but my thought process may be clear!


I use advacned id tagging method to label all my mp3 tracks. For my convenience, I also include the information such as where i sourced that particular track, accompanists and few other detials. If you want i can send a sample track so you can see if you can use.

Thanks for the wonderful discussion about CM.
Regards,
Prasad

cmlover
Posts: 11498
Joined: 02 Feb 2010, 22:36

Post by cmlover »

prasadvrg

Welcome

As you know meena is no longer editing the x-drive. We are still cautious about legal issues. But your offer of tagging the music files will be extremely useful for all of us. I myself am struggling with categorizing my music files. If this is your own technique pl make it available to the rest of us by uploading it in rapidshare. We may be able to initiate a thread discussing efficient classification of musical files. Of course your contribution will be fully acknowledged. Thanks

rshankar
Posts: 13754
Joined: 02 Feb 2010, 22:26

Post by rshankar »

The elders in my family say that NCV also offered MSS great deal of competetion, and may have eclipsed MS had she lived.
I grew up hearing my mother say this almost everyday. But as I listen to the available recordings of NCV, I am not impressed: she is definitely good, and I love the fact that she sings many tamizh compositions, but great? I don't think so. IMHO, while the inherent 'musicality' in MSS's music may have not have been phenomenal, the unattainable something in MSS that makes millions wake up to her renderings in all corners of the world, and bring tears to numerous eyes by its sheer beseeching, is nowhere to be heard in the surviving recordings of NCV. Of course, (as many of us realize after reading Sri George's biography), Sri Sadasivam's astute, perceptive and brilliant planning and support played no mean a role in making her into a national and international treasure.
Ravi Shankar

Lakshman
Posts: 14019
Joined: 10 Feb 2010, 18:52

Post by Lakshman »

But you are making these comments with all the years of MSS's music ringing in your ears while NCV's had stood still. The quote you have posted applies to the time when NCV had just passed on. So it it impossible to predict what could have happened had NCV lived as long a life as MSS.

kaapi
Posts: 146
Joined: 05 Jun 2005, 14:32

Post by kaapi »

I have also heard from practising musicians that "then" the muscical abilities of both MSS and NCV were at par however "now" ( ie about 15 years after NCV had passed away) MSS has progressed tremendously.

BTW, we seem to be moving away from the basic idea of the thread ie. Varnam.

prasadvrg
Posts: 28
Joined: 11 Jul 2005, 12:22

Post by prasadvrg »

Hello cmlover,
Thanks for the quick reply.

As Kaapi pointed out, I think we are going off the tangent in Varnam thread. May be you can start another thread for labelling the music files.

The system I follow to tag my music files is:

Start by numbering the Krithis as 01, 02 etc etc. Preferably in an album order or concert order. Also the Krithi name has the Ragam and Talam details added to it.

Then Select "Play all" and then right click the mouse over the play list and go to Advance ID tag link.

In there, I fill in the Artist Name, Name of the Album.
In Comments Section, I usually type down the Accomapanists Details.
In lyrics section, I type the Source, Contributed by and the date.

This way each music file is labelled and it is easy to trace them when they get lost with other music files.

When you right click on the music file, and go to properties->
-> advanced, there you will see all the details we entered.

This is only my way of labelling the music files. I am sure there may be other better ways.

Please let me know if I can be of any help.

I hope I have explained myself well.


Thanks and regards.
Prasad

vasya10
Posts: 101
Joined: 26 Mar 2005, 22:32

Post by vasya10 »

Here is a fairly close-to automated working model of cataloging... I have found it to be useful...

1. All files are catagorized by Performer stored in PER_PerformerName directory (PER is a unique 1-3 char code for *all* the known performers/composers so far). (eg DKJ_DKJayaraman)
2. Within that directory, there are individual albums (eg DKJ_DikshitarKritis)
3. All files within the directory are renamed in the format ##_Name_Raga_Tala_Composer.mp3 (Optionally a _Performer can be appended, if different composers are within the same directory).
4. I try to keep a simple transliteration, though its not perfect.
5. If one of them is not known, then I mark it with x. This way I can search for all the "x" and change it when I learn more...
6. For mass format renaming, I use the freeware called Rename (1.56.0), its a small but powerful renamer.
7. I also try to split multiple-tracks per MP3 into individual files (I use MP3 TrackMaker, $15)
8. Finally, the MP3 files can be cataloged into Tags using TagRenamer (Shareware, $25). Given the file name format this will automatically extract the file name and place it in the MP3 Tags.
9. I wrote a few small programs which would then scan the directory "PER_Performer" and tell me which combination of directories gives me close-to 700MB, which I then take and burn into CD.
10. The program also scans the directory to note the mp3 playing time, bitrate etc and load into my My SQL Server relational database (has a close-to comprehensive database model of all attributes), ready for web-cataloging (which is not done yet).

Only tough part is to identify the raga, tala and rename the file. Once renamed, the reset is pretty automated.... On a +ve note, this has helped me to identify ragas a little better than what i was an year ago (im a very poor tala identifier though)...

If anyone needs any help in parts of above cataloging method, I will be more than glad to oblige...

prasadvrg
Posts: 28
Joined: 11 Jul 2005, 12:22

Post by prasadvrg »

Thanks to the donor who donated Smt MSS's Canada live concert. the Varnam she started with is Superb: Mathe Malaye in Khamas. The only other place I heard this Varnam is in Morning Raga movie.

Smt MSS sang it with so much Bhava, it is simply marvellous.

thanks again,
Regards,
Prasad

arunk
Posts: 3424
Joined: 07 Feb 2010, 21:41

Post by arunk »

I believe mAtE is technically considered a dAru. I dont remember the specific differences between dAru and varnam, but only that it is quite different from a varnam (i think: not as much AkAram, structure is different etc., the intent behind composing a varnam as a "lesson in the rAga" but dAru doesnt have that)

Arun

rshankar
Posts: 13754
Joined: 02 Feb 2010, 22:26

Post by rshankar »

As far as I am able to tell, mAthEy malayaDHwaja pAndya sanjAthE (also sung by Sudha Raghunathan in her album on Devi Krithis), sri rAjarAjeshwarI etc. are dhAru varNams. The word dhAru alone is used for descriptive lyrics - many of the songs in 'naukA charitham' of Tyagaraja are dhArus. In music concerts, I have heard thAna varNams predominantly, with an occasional dhAru varNam, while dancers mainly use padha varNams. Here is what I have collected as the meaning of varNam and dhAru, but they are very general, and did not help me much. Maybe some one in this group can enlighten us more!

VARNAM: As in dance, in music also varnam is given great importance. Varnam, like geetham and swarajathi is used for teaching the form of the raga. It is also sung in concerts. Varnams are basically of three types, namely, tana varnam, pada varnam and daru varnam. Tana varnams begin with short sahithya passages. While only the pallavi, anupallavi and charanam have sahithya, the other parts are sung as swara passages. The pada varnam, on the other hand has sahithya in all its parts and is more popular in dance. The daru varnam includes jathi passages along with sahithya and swara. Some popular composers of varnam are Ramaswamy Dikshitar, Pallavi Gopala Iyer and the Tanjore Quartette.

DARU: A particular type of musical form (sabhaa gaanam), which relates a historical or puranic incident or ancient story, expressing love or the greatness of a generous person. It is often in madhyama kaalam, with pallavi, anupallavi (not always), and more than one caraNam, with a mixture of jatis. It is often used in dance dramas as an introduction (such as Arunaacala Kavi's RaamanaaTakam). There are 8 types of darus: pravEshika, varnanai, samvada, swaagata, uttara pratiuttara, jakkini, kONangi, and kOlaaTTa Daru.

Some specific questions are: what is the difference between the padha varNam and dhAru varNam? Is there a tradition on where to use which type of composition? How did they eveolve historically?
And if I understand the meaning of the types of dhArus, then 'chUdarE chellulArA' from naukA chanritham and 'maNNil arasarai pOl' (aruNAchala kavI's rAmanAtakam) are samvAdha dhArus....
Ravi

chithra
Posts: 122
Joined: 26 Jun 2005, 22:56

Post by chithra »

I am not sure of the purpose of Dharu Varnams, but from what Ravi has written, but perhaps Dharus are nothing other than ballads that tell a story, and may have one or more themes described above.

Thaana varnams, on the other hand, are like grammar for the gamakams, thaanams for the ragam, and also provide good examples for kalpana swaram.

digression - agree with sri Lakshman; NCV is frozen whereas MSS evolved. Quite unfair to MSS of 80s with NCV at her peak.

Chithra

cmlover
Posts: 11498
Joined: 02 Feb 2010, 22:36

Post by cmlover »

chitra
Other strong competitors in those days were Anantalakshmi satagOpan (who withdrew due to illness) and Savitri ganesan (sishya of MMI) who fate plucked down untimely in the Ariyaloor train accident! (there are some who will add MLV too :D )

chithra
Posts: 122
Joined: 26 Jun 2005, 22:56

Post by chithra »

Have been away for so long, and missed all discussions, downloads...

Though MLV may not have reached MSS's pinnacle in the popular front she was a musician par excellence, esp. in the realm of manodharma sangeetham. I believe that each of the triniumvirate - DKP, MLV and MSS - held / hold their unique positions, in their vidvath and in the public eye.

I apologise for this digression, fellow members. Srkris, pl. feel free to delete, move etc. As suggested somewhere here, perhaps a separate thread for discussions of composers, musicians etc...

Chithra

prasadvrg
Posts: 28
Joined: 11 Jul 2005, 12:22

Post by prasadvrg »

Hello rshankar,
Thanks for the informative post about the Varnams.

Please pardon my ignorance. Since it was the first song, I thought it is a Varnam. I didn't know that there are 3 types of Varnams. I think Smt MSS usually sings TanaVarnams. Am I correct?

thanks again for the information.

Regards,
Prasad

kaapi
Posts: 146
Joined: 05 Jun 2005, 14:32

Post by kaapi »

The description of the various type of varnams by rshankar is very informative.
However , the musicians start the kutcheris with Tana Varnams, including the madhyama kalam more as an voice excercise and get the kutcheri upto speed.
The Dharu Varnam in Kamas under discussion is a composition of HMB. MSS used to sing this during the late sixties and early seventies, starting probably from MA 1969 / 70.

rshankar
Posts: 13754
Joined: 02 Feb 2010, 22:26

Post by rshankar »

I posted that information on the varNams, just to get some explanantions. I am still not aware what the difference is between a padha varNam and a dhAru varNam, or where and when they are supposed to be used!
There is another dhAru varNam in sudhDHA DHanyAsI composed by HMB (sri rAja mAthangI), sung very charmingly by Gayathri Girish. Gayathri also sings another varNam that sounds like a dhAru varNam to me: nI indha mAyam (DHanyAsI), or is it a padha varNam?
Ravi

arunk
Posts: 3424
Joined: 07 Feb 2010, 21:41

Post by arunk »

nI inda mAyam (papanasam sivan) is probably a pada varnam. I think pada varnams are used in dance - my guess is pada varnams involve a hero/heroine theme (where hero can be the Lord).

Arun

rshankar
Posts: 13754
Joined: 02 Feb 2010, 22:26

Post by rshankar »

Here is a modification on a comment that I posted on another bb: Please pardon my ramblings as this is rather long!
As far as I can tell, the current format for a music concert was laid down by ARI (correct me if I am wrong) and the current 'mArgam' for a dance performance was laid down by the Tanjore Quartette.
A thAna varNam is used by the musician as a warm-up exercise (for the vocal cords, fingers, breathing technique etc), and is usually not a major piece.
A padha varNam on the other hand is the center peice of a dance recital. The legendary Balasaraswathi (in her acceptance speech at the Tamizh Isai Vizha) compared the traditional mArgam of the B'natyam programme to a trip to the temple: the dancer enters the temple through the alArippu, and traverses the arDHa mandapam in the jathiswaram, and enters the mandapam through the shabdham. The padha varNam comes next and is the CENTERPIECE of this format. Here the dancer is in the sanctum sanctorum and is in the presence of the deity. The dancer then communes quietly with god through the sedate padham that follows the varNam. This trip to the temple (and the performance) then concludes with a sparkling thillAna, like a brilliant karpUra ArathI!
So, I can see that the requirements of the thAna varNam are very different from that of a padha varNam. But when I listen to a dhAru varNam, I feel that the inherent rhythmicity of the piece is begging for a dancer to bring the poetry to life. Arun's point about the nAyaka/nAyakI theme of the padha varNam is well taken. It allows for the dancer to really show off his/her interprettive skill (aBinaya) expressing a myriad of emotions ranging from the pangs of separation to the ecstacy of union with the Lord. A dhAru varNam on the other hand actually sounds more like a dance-able thAna varNam.
Ravi Shankar

chithra
Posts: 122
Joined: 26 Jun 2005, 22:56

Post by chithra »

Thank you, Ravi, for your description of the progress of Bhratha Natyam in a temple - very evocative; I shall now think of Naatyam differently.

Prasad, there are 4 types of Varnams- Chowka, Thaana, Pad and Dharu Varnams.

Nee indha maayam is definitely a Pada Varnam, used often by dancers. Pada Varnam, as its very name implies, conveys the Nayaka-Nayaki Bhava of a padam. Padam, in turn implies "Word", hence Saahithya, and its importance. The second half of the name, Varnam, suggests Varnanai or narration / description. In contrast to Pada Varnam, Saahithyam is insiginificant and sparse in a Thaana Varnam. For that reason, Thaana varnams typically have no Saahithya for Mukthayi swarams, Ethukada Swaram etc. It is possible that Pada Varnams had existed prior to Thaana Varnams, and that the latter were modeled on the former, but with the important difference of shifting the emphasis from Pada Bhaavam to incorporating Raaga Swaroopam, Thaanams, gamakams, swaram etc. Thus, even Thaana varnams may have had Saahithyam for all Angams initially, and eventually that got phased out. Perhaps a music / dance historian would comment on this - Davalangi / SRJ ???

Bhairavi ATa Thaala Varnam has Sahithyam for all its Angams, it certainly is a Thaana Varnam par excellence - probably it falls under the realm of Chowka Varna.

Dharus tell stories; musically, the charanams in a Dharu are tuned to one dhaathu (according to Prof. P. Sambamoorthy). In the Dharu Varnam in Kamas, in the Mukthaayi Swaram passage, the Solkaatu or Jathys have the same dhaathu as the Sahithya . And, as Ravi points out, the solkattus emphasize the rhythm - hence are more like Alarippu in a dance, perhaps. Also, a Dharu Varnam has six Angams - Swaram, sahithyam, PaaTam / Jathy, Ragam, Thaalam, Rasam. HMB has composed another Dharu Varnam in Kapi, which has Solkattus for its Ethukada Swarams.

Lastly, Thaana Varnams though not centre / main pieces in a concert, are very high-class compositions, meant to be practised in thrikaalam. They are not easy to learn, and the typical dwikaala singing warms up the throat / fingers, and builds up the concert atmosphere.

Ravi, the Sudha Dhanyasi Varnam, Sri Raja Mathangi - does it have any solkattus in it - I have heard it only as a Thaana Varnam ?

Chithra

rshankar
Posts: 13754
Joined: 02 Feb 2010, 22:26

Post by rshankar »

Thank you, Ravi, for your description of the progress
Chithra,
That was actually Balasaraswathi's description, much as I'd like to claim credit for it!
Ravi, the Sudha Dhanyasi Varnam, Sri Raja Mathangi - does it have any solkattus in it - I have heard it only as a Thaana Varnam
I must listen to it again: have not heard it in a while!

THANKS for the detailed analysis of varNam: I have heard Priyadarshini Govind (an exquisite B'natyam dancer based in Chennai) describe varNam as 'color' and not 'varNanai'..!

Ravi

venkmal
Posts: 103
Joined: 23 Jun 2005, 10:38

Post by venkmal »

please upload these varnams and also papanasam sivan's thanjam abogi
varnam with notations. thx.


Your Download-Link: http://rapidshare.de/files/2673042/Track_4.mp3.html
Your Download-Link: http://rapidshare.de/files/2672829/Track_3.mp3.html
Your Download-Link: http://rapidshare.de/files/2672377/Track_2.mp3.html
Your Download-Link: http://rapidshare.de/files/2672092/Track_1.mp3.html

chithra
Posts: 122
Joined: 26 Jun 2005, 22:56

Post by chithra »

Venkmal:

I was able to d/l only

http://rapidshare.de/files/2673042/Track_4.mp3.html

which has a Varnam in Nalinakanthi (composed by Lalgudi Jayaraman, sung by ???) followed by one in Devamanohari (composed by ???, sung by Somu).

The other links are defunct.

Many thanks for the u/l

Chithra

meena
Posts: 3326
Joined: 21 May 2005, 13:57

Post by meena »

Kji

could u pl. make a note after u are all settled in, can u pl. u/l sree TRS Varamu Varna- Dharmatma idu taye, thanks

drshrikaanth
Posts: 4066
Joined: 26 Mar 2005, 17:01

Post by drshrikaanth »

two varnams, by mdr and msg
: http://rapidshare.de/files/4983493/mdr- ? a.MP3.html
: http://rapidshare.de/files/4999275/msg- ? i.mp3.html

and two lesser known kritis..
: http://rapidshare.de/files/4999511/Dars ? n.mp3.html
: http://rapidshare.de/files/4999891/Inna ? y.mp3.html

http://rapidshare.de/files/2672829/Track_3.mp3.html
http://rapidshare.de/files/2672377/Track_2.mp3.html
http://rapidshare.de/files/2672092/Track_1.mp3.html


i could dwnload only track4 rest r not workin. please can anyone u/l all these one by one.
thx. venkmal

venkmal
Posts: 103
Joined: 23 Jun 2005, 10:38

Post by venkmal »

i could dwnload only track4 rest r not workin. please can anyone u/l all these one by one.
thx. venkmal

Post Reply