It was just another normal day of my life. My father told me that there is a documentary about GNB getting released at German hall in T Nagar. He insisted that, I should go and have a look at the screening of the documentary about the Stalwart. As usual, with a lot of restlessness and little bit of enthusiasm about what is going to happen, I started off for the documentary screening.
One thing that was cringing my mind was, "Are they going to make a fool of themselves?"
GN Balasubramaniam - The Legend
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ragam-talam
- Posts: 1896
- Joined: 28 Sep 2006, 02:15
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sudhakarks
- Posts: 73
- Joined: 06 Dec 2008, 09:08
Thanks Ranjani, glad to note we did not make a fool of ourselves 
It was indeed a privilege to see so many people come to our screening. We are planning on more next Sunday so that people who missed out due last Monday can me it.
I hope others also enjoyed it as much as we did making the documentary.
It was indeed a privilege to see so many people come to our screening. We are planning on more next Sunday so that people who missed out due last Monday can me it.
I hope others also enjoyed it as much as we did making the documentary.
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thanjavooran
- Posts: 3059
- Joined: 03 Feb 2010, 04:44
Global GNB birth centenary celebrations at NGS on 10th Jan 2010
The function started at 08 45 hrs with the ceremonial procession of Shri Raja rajeswari in a decorated palanquin around NGS. HH Maharaja of Mewar and vidwan UKS attended the function. Goshti ganam followed the procession. BMK did not attend. Few songs of GNB were sung. Niraval in Kamavarthani kriti was excellent. Balaji played mirudangam tied with a shoulder belt. He felt slight discomfort due to shoulder pain, after that he became alright. This reminded me of PMI playing for unjaviruthi at Thiruvaiyaru. The procession took 45 mins for a complete round. The rasikas were offered a very good breakfast consisting of hot kesari, kichadi , vadai and a steaming coffee.
The Symposium on GNB started at 09 45 hrs inside main auditorium.
Few observations are given below.
Prof TRS.
1. 'Na bootho na bhavishyathi ' This saying aptly fits in GNB's life
2. Voice culture is a vast subject and this knowledge he acquired during his Europe tour. A musician's voice will be different while singing, this is because of mechanisation of voice culture. Difference can be noticed when he speaks.
3. There is Drupad / slow music in HM and nothing of that type is available in CM
4. After llistening to GNB's music nobody can venture to reproduce the same voice. It is a God's gift. No voice culture can help to get this type of tonal beauty.
5. Once GNB sang in a ' parama choukka kalam ' which LGJ could not not accompany.
6. As regards his compositions he was a ' Uthama Vaggeyakarar ' since he was knowing sahithyam and mettu in par with Tirinity
7. Composing Sahithyam alone w/o 'mettu' is known as ' madhiyama '
8. Arunachala Kavirayar was not knowing mettu but he composed only sahithyam for Rama natakam. He was dependant upon 3 Iyers for swara composing.
9. For both Thyagaraja and GNB Music first and then compositions
10. As regs to Kanada kriti ' Paaraamuka" it is being sung from keezh sthayee only . As a challenge the sahithyam ' Inda parakku' was composed. It goes from bottom note in ascending order.
11. The Kama vardhani kriti is another composition following the grammar. { this he explained well in his lec dem at Partha S S }
12 Sahithyam should be composed only after attaining completeness in Music [ sangeetha mudhirchi]
13. After completing 50 yrs of sadhagam GNB composed sahithyam , this shows his' Gnana Mudhirchi '
14. Long live GNB's compositions and music
Dr. Ramanathan
He read out few interesting points in Lalitha Ram's recent book on GNB. His niraval and Swaram was at a different place on Thyagarja's Kambodhi kriti deviating from the conventional place. His intelectual approach in singing swaram for Samaja varagamana and Siva Siva ena radha is note worthy.
Dr. Pramila Gurumoorthy
1. His ' Evaribothana ' rendition was beautiful and she has listened to that song more than 20 times to grasp/ understand the beauty of it.
2. She missed seeing him.
3. He had a deep voice with musical depth.
4. He was traversing with ease and his was effortless singing.
5. Clarity was exceptional and his kalapramanam was good.
6. " Viru viruppu kuraiyadha " one can notice in his rendering and he used to give a totally finished perfect product.
7. He had very good sense of sruthi and always his voice totally aligned with sruthi
8. His rendering of MD's Gamakriya kriti used to be excellent and he has stylised the raga alapanai . His delineation of a raga were phrase oriented with beautiful embellishment of ' Bruga.' woven into alapana.
9. There used to be aesthetic finish in his raga singing.
10. In apppropriate place where ever possible he would to Niraval
11. His ' Thanam ' approach in Kalyani was good
12. In all Musical colleges, professors with pride and pleasure will teach GNB's sahithyams and she has been taught Andolika varnam and Ranjani kriti during her PG course.
13. He had abhara sadhagam and he can sing brugas continuously for 2 mins.
Dr Ramanarayanan
He read out a lengthy speech from which I could not make out anything interesting.
Shri NVSubramaniam
1. All spoke on various aspects of GNB with authority. A welcoming aspect.
2. His music was like a spring from a learned personality [ Gnana OOtru ] with 'abhara gnanam ' in CM
3. He was a saint like Thyagaraja in CM
4. ARI registered a stamp, when RTP was dominating CM
5 All Nadaswara vidwans were raga oriented and not much importance was given to sahithyam/ composition. Over a period of time Swara oriented compositions were slowly gaining importance. Only at that stage CM slowly gained popularity and growth was immense. Contributions of MVI and Alathoor were helpful in bridging the Nadaswaram pani and vocal style.
6. Music grammar was utilised properly by GNB in his kritis.
7. As regs to Manodharma only when there is sweet voice this can shine w/o blemish
8. Voice co operation is a must and as GNB was having facility he could shine well in expanding the ragas like Andholika , Ranjani etc.
9. In earlier times only pracheena ragas were taken up for alapanai.
10. A raga called Jingana was handled by Dwaram for 20 mins
11. GNB used to adopt the raga himself and as regs to Ranjani, after Thyagaraja GNB handled it beautifully
In the evening at 17 00 hrs Bhushani Kalyanaraman accompanied by Usha Rajagopal and A.S. Ranganathan performed for 60 mins.
1. Vara vallaba ramana Hamswadani S
2. Kavalai ellam kalaindhiduvadhu kadane Sarswathi S
3. Raga sudharasa Andolika R
4. Srichakra raja nilaye Sivasakthi
5. Enthuku nee mansu Kalyani R,N,S and T
6. Kannanai kaanpatheppo Hamsanandhi ragamaligai
Around 19 45 hrs TNS accompanied by MC and G Dorai. His concert started behind schedule due to addressing session by HH maharaja of Baroda.
I. Indha salamu Begada R and
2 Ennakanu rama bajana Pantuvarali R
3. Marukelara Jayantha sri R
4. Mara koti sundari Bahudhari
5 RTP when delineated Shanmuka priya for the 3rd stage I came out as it was very late.
In general the function was well arranged and very well organised on a grand scale and well attended. The hall was full in the A/N session. Dr. Durga did not attend the symposium in the morning session. Prof TRS repeated few anecdotes related to GNB from his lec dem at Partha SS . A big Kudos to organisers. There can be lot of omissions.and corrections. Request Forumites for guidence.
Thanjavooran
The function started at 08 45 hrs with the ceremonial procession of Shri Raja rajeswari in a decorated palanquin around NGS. HH Maharaja of Mewar and vidwan UKS attended the function. Goshti ganam followed the procession. BMK did not attend. Few songs of GNB were sung. Niraval in Kamavarthani kriti was excellent. Balaji played mirudangam tied with a shoulder belt. He felt slight discomfort due to shoulder pain, after that he became alright. This reminded me of PMI playing for unjaviruthi at Thiruvaiyaru. The procession took 45 mins for a complete round. The rasikas were offered a very good breakfast consisting of hot kesari, kichadi , vadai and a steaming coffee.
The Symposium on GNB started at 09 45 hrs inside main auditorium.
Few observations are given below.
Prof TRS.
1. 'Na bootho na bhavishyathi ' This saying aptly fits in GNB's life
2. Voice culture is a vast subject and this knowledge he acquired during his Europe tour. A musician's voice will be different while singing, this is because of mechanisation of voice culture. Difference can be noticed when he speaks.
3. There is Drupad / slow music in HM and nothing of that type is available in CM
4. After llistening to GNB's music nobody can venture to reproduce the same voice. It is a God's gift. No voice culture can help to get this type of tonal beauty.
5. Once GNB sang in a ' parama choukka kalam ' which LGJ could not not accompany.
6. As regards his compositions he was a ' Uthama Vaggeyakarar ' since he was knowing sahithyam and mettu in par with Tirinity
7. Composing Sahithyam alone w/o 'mettu' is known as ' madhiyama '
8. Arunachala Kavirayar was not knowing mettu but he composed only sahithyam for Rama natakam. He was dependant upon 3 Iyers for swara composing.
9. For both Thyagaraja and GNB Music first and then compositions
10. As regs to Kanada kriti ' Paaraamuka" it is being sung from keezh sthayee only . As a challenge the sahithyam ' Inda parakku' was composed. It goes from bottom note in ascending order.
11. The Kama vardhani kriti is another composition following the grammar. { this he explained well in his lec dem at Partha S S }
12 Sahithyam should be composed only after attaining completeness in Music [ sangeetha mudhirchi]
13. After completing 50 yrs of sadhagam GNB composed sahithyam , this shows his' Gnana Mudhirchi '
14. Long live GNB's compositions and music
Dr. Ramanathan
He read out few interesting points in Lalitha Ram's recent book on GNB. His niraval and Swaram was at a different place on Thyagarja's Kambodhi kriti deviating from the conventional place. His intelectual approach in singing swaram for Samaja varagamana and Siva Siva ena radha is note worthy.
Dr. Pramila Gurumoorthy
1. His ' Evaribothana ' rendition was beautiful and she has listened to that song more than 20 times to grasp/ understand the beauty of it.
2. She missed seeing him.
3. He had a deep voice with musical depth.
4. He was traversing with ease and his was effortless singing.
5. Clarity was exceptional and his kalapramanam was good.
6. " Viru viruppu kuraiyadha " one can notice in his rendering and he used to give a totally finished perfect product.
7. He had very good sense of sruthi and always his voice totally aligned with sruthi
8. His rendering of MD's Gamakriya kriti used to be excellent and he has stylised the raga alapanai . His delineation of a raga were phrase oriented with beautiful embellishment of ' Bruga.' woven into alapana.
9. There used to be aesthetic finish in his raga singing.
10. In apppropriate place where ever possible he would to Niraval
11. His ' Thanam ' approach in Kalyani was good
12. In all Musical colleges, professors with pride and pleasure will teach GNB's sahithyams and she has been taught Andolika varnam and Ranjani kriti during her PG course.
13. He had abhara sadhagam and he can sing brugas continuously for 2 mins.
Dr Ramanarayanan
He read out a lengthy speech from which I could not make out anything interesting.
Shri NVSubramaniam
1. All spoke on various aspects of GNB with authority. A welcoming aspect.
2. His music was like a spring from a learned personality [ Gnana OOtru ] with 'abhara gnanam ' in CM
3. He was a saint like Thyagaraja in CM
4. ARI registered a stamp, when RTP was dominating CM
5 All Nadaswara vidwans were raga oriented and not much importance was given to sahithyam/ composition. Over a period of time Swara oriented compositions were slowly gaining importance. Only at that stage CM slowly gained popularity and growth was immense. Contributions of MVI and Alathoor were helpful in bridging the Nadaswaram pani and vocal style.
6. Music grammar was utilised properly by GNB in his kritis.
7. As regs to Manodharma only when there is sweet voice this can shine w/o blemish
8. Voice co operation is a must and as GNB was having facility he could shine well in expanding the ragas like Andholika , Ranjani etc.
9. In earlier times only pracheena ragas were taken up for alapanai.
10. A raga called Jingana was handled by Dwaram for 20 mins
11. GNB used to adopt the raga himself and as regs to Ranjani, after Thyagaraja GNB handled it beautifully
In the evening at 17 00 hrs Bhushani Kalyanaraman accompanied by Usha Rajagopal and A.S. Ranganathan performed for 60 mins.
1. Vara vallaba ramana Hamswadani S
2. Kavalai ellam kalaindhiduvadhu kadane Sarswathi S
3. Raga sudharasa Andolika R
4. Srichakra raja nilaye Sivasakthi
5. Enthuku nee mansu Kalyani R,N,S and T
6. Kannanai kaanpatheppo Hamsanandhi ragamaligai
Around 19 45 hrs TNS accompanied by MC and G Dorai. His concert started behind schedule due to addressing session by HH maharaja of Baroda.
I. Indha salamu Begada R and
2 Ennakanu rama bajana Pantuvarali R
3. Marukelara Jayantha sri R
4. Mara koti sundari Bahudhari
5 RTP when delineated Shanmuka priya for the 3rd stage I came out as it was very late.
In general the function was well arranged and very well organised on a grand scale and well attended. The hall was full in the A/N session. Dr. Durga did not attend the symposium in the morning session. Prof TRS repeated few anecdotes related to GNB from his lec dem at Partha SS . A big Kudos to organisers. There can be lot of omissions.and corrections. Request Forumites for guidence.
Thanjavooran
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musicfan_4201
- Posts: 199
- Joined: 03 Feb 2010, 08:34
vijay wrote:Thanks Thanjavooran for your comprehensiVe review. Quick Qs:
Was it the Maharaja of Mewar or Baroda or both? Any specific association with GNB/CM?
Who were the "3 Iyers" who tuned Arunachala Kavi's lyrics?
One is Ariyakudi Ramanuja "Iyengar". Iyer includes Iyengars
Not sure about the other 2
Last edited by musicfan_4201 on 12 Jan 2010, 17:36, edited 1 time in total.
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thanjavooran
- Posts: 3059
- Joined: 03 Feb 2010, 04:44
shri Vijai,vijay wrote:Thanks Thanjavooran for your comprehensiVe review. Quick Qs:
Was it the Maharaja of Mewar or Baroda or both? Any specific association with GNB/CM?
Who were the "3 Iyers" who tuned Arunachala Kavi's lyrics?
In the morning Maharaja of Mewar and in the evening sessions HH maharaja of Baroda participated in the function. In the morning HH performed Mangala aarathi to Sri Raja Rajeswari as a mark of inauguration of the function. Since GNB was an Srividhya upasakar this procession would have been arranged.
As regards to 3 Iyers, when prof mentioned this there were some discussions by the panel on this subject and I could not grasp anything. May be AK's disciples Kothanda rama Iyer and venkata rama Iyer. [ 3rd Iyer ? ]
Association of HH s with GNB, only organisers can explain.
Thanjavooran
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musicfan_4201
- Posts: 199
- Joined: 03 Feb 2010, 08:34
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seemohan
- Posts: 50
- Joined: 19 Apr 2009, 07:29
For a comprehensive visual coverage of the 25 Dec 09 Music Academy LecDem on GNB by Lalgudi Jayaraman and G.J.R. Krishnan, please visit my album at http://bit.ly/55HOXG
C. Mohan
C. Mohan
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Gamakam
- Posts: 241
- Joined: 03 Feb 2010, 23:04
Review of the DVD: http://carnaticmusicreview.wordpress.co ... aseegaran/