cml - thanks for the alert; hope arasi will soon give us a recording!cmlover wrote:... not to mention her venture into Patdeep
(Nandakumar! are you watching?)
Arasi (Smt. Rajee Krishnan)
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Good to hear from you, Nandagopal!
One of the two professional singers involved in the project will oblige, I hope. Neela Ramgopal incidentally has a set of CDs to her credit where she has sung in all the mElakartA rAgAs. She handles any rarely heard rAgA with penache.
CML,
I do hope there aren't any more cats in the bag. Those felines might give me a feelin of jitters
One of the two professional singers involved in the project will oblige, I hope. Neela Ramgopal incidentally has a set of CDs to her credit where she has sung in all the mElakartA rAgAs. She handles any rarely heard rAgA with penache.
CML,
I do hope there aren't any more cats in the bag. Those felines might give me a feelin of jitters
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Good! Lakshman is getting ready for the bout of requests.
Arasi
Don't put copyright restrictions on the book.
However you may solicit donations from satisfied Rasikas
We want those songs to be sung far and wide!
Nandagopal
Nice to hear from you! You must have some real goodies for us this music season!
Arasi
Don't put copyright restrictions on the book.
However you may solicit donations from satisfied Rasikas
We want those songs to be sung far and wide!
Nandagopal
Nice to hear from you! You must have some real goodies for us this music season!
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- Joined: 22 Jun 2006, 09:30
Poor Ravi! His load is tremendous indeed, just as Lakshman's in bringing the songs reuested by forum members. He at least has a thousand more songs to translate before he gets to work on mine. While I can give the gist of meaning of the songs, Ravi's talent in translating songs is something else. He wouldn't mind if a few Arasi songs which come up for translation, d'accord, Ravi.
It's a good idea, CML. How about giving a few lines of meaning along with the transliteration? Just a thought.
It's a good idea, CML. How about giving a few lines of meaning along with the transliteration? Just a thought.
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arasi
The last frame of reference on your progress about your songs is this post you made in Dec 1st week 2009.
The last frame of reference on your progress about your songs is this post you made in Dec 1st week 2009.
Where are we now arasi?I vaguely remember when I met you in bangalore in private ,that you said you gave it to smt neelA ramAgOpAl,btw I hope you gave that lovely mukhAri in that remaining 34 of yours to smt neelA, that you showed me when I was in bangalore .arasi wrote: Rajesh, CML (you already know this) and Lakshman,
Here is the work in progress report: I am in India now, and so are a hundred songs. Neela and I are meeting the day after tomorrow and are going to pick 34 songs from them (we already have 14 from the CD, vaLLi nAyakanE and gAnakkuyil onRu).
Will keep you posted smile
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CML,
Thanks for your concern and care and larger-than-life dreams for me--Rajesh, the one who constantly carries that stick to prod me was in BengaLuru in December and was nice enough to drop in on us with his sweet mate. When he started asking questions about my progress, I told him I was working hard in getting the songs together before I left for Chennai and was almost done. To convince him, I let him walk into my study and see the scattered about papers with the songs on them. He poked through them (with his stick, of course glanced through them, seemed happy and walked out. He must have seen a mukhAri song too.
Now, we have to wait for Gnaanam to find the time to get it all done. She is also working hard amid all her projects and activities. Sumitra too. It is understood that one can't hurry it just for the sake of it. Their efforts should bring about good results--not a lot of printer's devils and little time for internalizing the songs before recording them.
Hope you understand
Rajesh, hidden somewhere in my note books of all the rest of the songs is a bhairavi one--a dozen years or so old at that came to me in spite of myself. Now that my relationship with bhairavi has reached a cordial level, I should look at it again. If Uday gets to read this, he would know that I have been a closet bhairavi fan all these years, after all JS is more than welcome to sing it!
Thanks for your concern and care and larger-than-life dreams for me--Rajesh, the one who constantly carries that stick to prod me was in BengaLuru in December and was nice enough to drop in on us with his sweet mate. When he started asking questions about my progress, I told him I was working hard in getting the songs together before I left for Chennai and was almost done. To convince him, I let him walk into my study and see the scattered about papers with the songs on them. He poked through them (with his stick, of course glanced through them, seemed happy and walked out. He must have seen a mukhAri song too.
Now, we have to wait for Gnaanam to find the time to get it all done. She is also working hard amid all her projects and activities. Sumitra too. It is understood that one can't hurry it just for the sake of it. Their efforts should bring about good results--not a lot of printer's devils and little time for internalizing the songs before recording them.
Hope you understand
Rajesh, hidden somewhere in my note books of all the rest of the songs is a bhairavi one--a dozen years or so old at that came to me in spite of myself. Now that my relationship with bhairavi has reached a cordial level, I should look at it again. If Uday gets to read this, he would know that I have been a closet bhairavi fan all these years, after all JS is more than welcome to sing it!
Last edited by arasi on 23 Jan 2010, 08:47, edited 1 time in total.
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Arasi,arasi wrote:CML,
Now, we have to wait for Gnaanam to find the time to get it all done. She is also working hard amid all her projects and activities. Sumitra too. It is understood that one can't hurry it just for the sake of it. Their efforts should bring about good results--not a lot of printer's devils and little time for internalizing the songs before recording them.
Hope you understand
Rajesh, hidden somewhere in my note books of all the rest of the songs is a bhairavi one--a dozen years or so old at that came to me in spite of myself. Now that my relationship with bhairavi has reached a cordial level, I should look at it again. If Uday gets to read this, he would know that I have been a closet bhairavi fan all these years, after all JS is more than welcome to sing it!
Looks like 34 new songs has been given apart from the 16 that is already there like sumitra nitin cd , valli nAyakane,gAnakuyiL etc... Now the ball is in gnaanam's court (smt neelA ). I would love if any bangalore based forumites like s_hari, jayan , srisub etc help gnaanam too(please send me and personal mail ).I just wish I am in bangalore in 15 days I will get it done
gnaanam-arasi-sumitranitin - all others who are going to help arasi in bangalore,
Lets push a target date no hurry '50 songs before May 2010 hitting the shelves'.That is a time before you go back to US. Please take the remaining 150 copies so that we can start working from 2011-2012 margazhi end onwards.
Thank you arasi and team!!!
Thank you!!!
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Rajesh,
You don't give up easily, do you?
Gnaanam is very keen on this project I know that the songs are in the right hands. Ananthalakshmi Sadagopan and Sumitra worked, and are working on the rest. You are beckoning to fellow-forumites in BengaLUru to play cheerleaders, arent you?! I don't know if you have met Gnaanam. She is herself a most energetic cheerleader and catalyst. You got the month wrong. I leae here early March. However, I don't have to be here. It is after all they who are doing the work now.
You don't give up easily, do you?
Gnaanam is very keen on this project I know that the songs are in the right hands. Ananthalakshmi Sadagopan and Sumitra worked, and are working on the rest. You are beckoning to fellow-forumites in BengaLUru to play cheerleaders, arent you?! I don't know if you have met Gnaanam. She is herself a most energetic cheerleader and catalyst. You got the month wrong. I leae here early March. However, I don't have to be here. It is after all they who are doing the work now.
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Re: arasi (Smt. Rajee Krishnan)
Arasi
With all the forum migration confusion, I forgot your project . Where are we in your "first 50 songs before March 2010" project. Looks you have a week more before you return to US as per your last post.
sappri or gnaanam
any updates from Smt gnaanam (smt neelA ramagopal)
With all the forum migration confusion, I forgot your project . Where are we in your "first 50 songs before March 2010" project. Looks you have a week more before you return to US as per your last post.
sappri or gnaanam
any updates from Smt gnaanam (smt neelA ramagopal)
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Re: arasi (Smt. Rajee Krishnan)
arasi or smt neelA
Any updates on the progress of "publishing first 50 songs of arasi", it is may 2010.
Any updates on the progress of "publishing first 50 songs of arasi", it is may 2010.
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Re: arasi (Smt. Rajee Krishnan)
Few interesting and great posts , I just copy and paste into my local machine. ONe lucky post that can celebrate the return of sherlock holmes (srinivasrgvn)
Srinivasrgvn - review of Arasi's CD is pasted below
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Vocal: Smt.Sumithra Nitin
Violin: Dr.Hemalatha
Mrudangam: Sri J.Vaidhyanathan
Ghatam: Sri S.V.Ramani
Composer of songs: ‘Arasi’ Smt.Rajee Krishnan
Recording Company: Rajalakshmi Audio
Price of Album: Rs.195/-
‘Classical’ and ‘Comforting’ would be the two best words that can be used to describe the album ‘Arasi-Compositions of Smt.Rajee Krishnan’ released by Rajalakshmi Audio. Smt.Rajee Krishnan has astounded listeners through an accomplished and potent vehicle, Smt.Sumithra Nitin. Her voice is indeed a pleasant blend of power, range, fluency and melody as mentioned by Smt.Sulochana Pattabhiraman, in one of her reviews. Smt.Rajee’s compositions are gems, unearthed fresh and very much suitable for the modern rasika, who desires acuity as well as orthodoxy.
The opening song ‘nAdi vandEn’ in raga gambhIra nAttai and tAlam Adi is indeed grandiose. A short alapana by the singer quickly reminds the listeners of the raga. The opening pallavi line majestically ascends to the upper shadjam, thereby bringing the noticeable traces of the raga and conveying the composer’s message of seeking the Lord. The composer’s humility is conveyed when the line ‘unnai’ descends back to the lower shadjam. This stresses the composer’s message as well as explores the scale of the raga, giving listeners ultimate satisfaction and understanding. Also, in the anupallavi, for the line ‘alavillA gambhIramudai nin’, the ‘gambhIram’ is showed with the help of the standard ascending ‘gmpn’ phrase. Also, a silent swaraksharam is inserted in this phrase as the sahityam is ‘gambhIram’ and the swaras are ‘gmpn’. Smt.Sumithra has given her best throughout the album, with no exception in this piece. She has incorporated the fine nuances of the composition sensibly. This song will be a ready refresher and the concert platform will look much better if ‘vAthApi ganapathim’ is replaced with a song like this one.
The next song ‘kadiravan mennoLi’ in raga bowli and tAlam Adi is a poetic masterpiece. The lyrics are especially moving. The composer has written her perception of God from nature, describing the rays of the sun as his sweet smile. The use of ‘kadiravan’ or Sun is apt and brilliant as the raga bowli is a morning raga. This song is so poignant and lucid that even a blind person will be able to visualize God easily! The plea of the composer to the Almighty is plainly audible through the phrase ‘enakkarulvAyO paramA’ where another swaraksharam is inserted neatly in this ascent. The madhyamakala passage has been composed agreeably. Fast phrases in compositions are not common in this raga and this idea of the composer must be appreciated. Overall, bowli has been handled differently, and it bears no resemblance to the standard ‘ElukO’ or ‘srIman nArayanA’ or ‘brahmam okatE’. This shows the originality of the composer and her imagination. Smt.Sumithra has captured the composer’s emotions correctly through her commanding voice.
The subsequent short viruttam by Smt.Sumithra in raga AbhOgi is a bit confusing as it gives shades of shivaranjani initially but slowly blends to give AbhOgI. The composition ‘rAmA nI pAdhamu’ in tAlam Adi is a marvel. A smart swaraksharam in the phrase ‘dhanyulu’ is striking and poise. The telugu lines are easily comprehensible. This composition precisely covers the scope of AbhOgI and pleases the mind, with its leisurely sangathis interspersed with devotion. The sangathis in the pallavi and charanam are adequate and the raga bhava has been brought out sincerely by the singer and her crew.
The next piece, ‘cholla cholla iniththidumE’ is preceded by a brief alapana in the raga wherein the singer and the violinist have given the essence of the beautiful prathi madhyama raga ‘vAchaspathi’. This is the only alapana by the singer and the violinist in the whole album. It would have been better if some more AlApanas or a neraval/kalpanaswaram section had been included in the album so that listeners would get an idea about the artiste’s manOdharmA and the scope of the compositions. This delightful composition on Lord Narayana, the Almightly will make listeners say ‘kEtka kEtka inikkiradE’ (this song is so sweet to listen!). Owing to the inherent intelligence of the composer, it would have been sweeter if some more sangathis had been included in the pallavi, as this raga offers a lot of scope and is largely unexplored by many past composers. The unambiguous and long phrase ‘pOmO’ in the line ‘vallamai kURiDavum pOmO?’ offers joy to the listeners and this style of composing is quite unique. This was noticeable in many compositions. This composition was also unique and the singer has presented it just the way the composer would have desired.
‘vEngadavA’ in raga sAmA and tAlam Adi is a stable source of succinct solace. This composition is just too fantastic to describe in words. It will be a sure favourite among rasikas, if they get the opportunity to listen to this lovely composition. The lazy pallavi lures the listener, taking him/her to the composer’s world, where she prays to the greatest God Sri Venkateswara of Tirumala. The anupallavi and charanam have also been composed in a languid and serene tone. The whole composition comprises of alliterations like ‘vEngadavA-vEndinEn’, ‘andiyavar-annalE’, ‘kandadum kaliyUrum’, etc. The charanam has ‘ma’ as the alliteration base and the composer has also utilized a swaraksharam – the madhyamam which coincides with ‘malaiyAi’, the starting word of the charanam. The composer’s bilateral thinking skills are evident from this piece. The whole song is admirable and inspirational. The second sangathi of the charanam is again a marvelous piece of work. Specifications cannot be given, to this rare composition in such a suitable raga. The lyrics and raga have just blended together to make a bond, which is only God given.
The next composition, ‘nAtyamAdO natarAja’ in raga pUrvikalyAnI and tAlam Adi is a forte. The composer’s skills have been squeezed out through this energizing composition in kannada. A listener can never listen to this composition just once. Such is the effect it has on listeners. Everything in this composition is something to wonder at! The ‘ma da’ swaraksharam in the pallavi, the higher scale-anupallavi, the ‘tadIngiNatOm tOm tOm’ jathi that is inserted sleekly, the author’s child-play with kannada words, the entire structure of the composition extracting pUrvikalyAni to its maximum potential… Many more factors can be added. The piece was very catchy. It will be very apposite for a filler in between the main song and the pre-main song. It will also be suitable for dance performances. The pace of the composition is its strength and Smt.Sumithra has presented it warmly, pleasing listeners and delivering the message of the composer agreeably.
‘mayilEri’ in the romantic raga chArukEsi set to misra chApu talam is a dedication to Lord Muruga. The short alapana with percussion accompaniment sung by the singer is peaceful. The slow composition relieves one of all stress and worries. This composition will outshine other compositions if sung in a concert, or performed in a dance recital. The deep emotions and prayers of the composer have been magnified with the help of chArukEsi raga. The pallavi starts with the standard phrase of chArukEsi which is the ‘pa da ni da pa’ phrase which distinguishes chArukEsi from other common ragas. The sangathis are particularly outstanding. Even in the pallavi of this song, one can never fail to notice the humility and faith of the composer. She uses the ascending phrase from ‘pa da ni sa…’ for the sahityam ‘mayilEri’ as if to signify the Lord ascending on his peacock majestically. While the sahityam ‘varuvAi murugA’ is sung, the swaras are descending and stagnate at the lower shadjam and the subsequent swaras (srgrg,,) as if to signify the composer is requesting/humbly calling the Lord with affection and anticipation. In the charanam, the beautiful bridging between the end of the charanam and the pallavi is just amazing. In the sahityam ‘vadi vElA varuvAi arul taruvAi “unâ€â€™, the word “un†links the charanam and pallavi in a fine manner. This style is noticeable in other compositions also but the bridging in this particular composition was attractive and unassuming.
The next composition ‘srI lakshmi varadhAyikE’ is set to the serious simhEndramadhyamam raga and rUpaka talam. This composition is an undoubted candidate for the main piece of a concert. The sangathis, the capturing of the raga bhava and apt places for neraval and kalpanaswaram throughout the piece make it suitable. The composer has given confidence to the performers by setting the song to rUpaka talam. The first line of the pallavi is enough to get the grace of Goddess Lakshmi through the sublime simhEndramadhyamam. The absolutely awesome anupallavi has hidden swaraksharas. The alliterated anupallavi is a pleasure. The madhyamakala sahitya is a work of intelligence, with all the words ending with ‘ni’ like ‘mAlini’, ‘pUrani’,etc. One has to listen to this sahityam to know the various names of Goddess Mahalakshmi. Credit has to be given to the composer for one feature – the composition is on Goddess Lakshmi. It would not be exaggerating to say that there are very limited compositions on Goddess Lakshmi. The number will turn more meager if compared to the compositions on Goddess Parvathi or Goddess Saraswathi. Once again, Smt.Sumithra and team have given a dainty performance.
‘engu pArthalum’ in raga dEvagAndhAri is the next piece, which is set to Adi talam. The composer’s dEvagAndhAri is a pure one, without the slightest traces of Arabhi or sahAnA. These two allied ragas somehow occur in most of the compositions in dEvagAndhAri but were never noticeable in this one. The expertise of the composer is palpable through her handling of this rare and raucous raga. This composition will sound good on the dance stage too, since it is the composer’s vision of God in all the striking characteristics of Mother Nature. The composition is a masterpiece – with an unparalleled sahityam and an unequalled musical setting with necessary sangathis. The composer has conveyed her thoughts through rich imagery in the anupallavi and charanam – both sound and tactile. This composition should not be heard, but experienced. The sounds in the charanam are actually audible through the swaras. One has to thank Smt.Sumithra and team for bringing out the features of the composition so accurately.
‘shAradE saraswathi’ in raga kunthalavarAli and Tisra Adi talam is an capitulation to Goddess Saraswathi. The pallavi is unique, with a new dimension to raga kunthalavarAli. The composition’s tone is bubbly and happy throughout. This composition scores 100/100 as it will be most appropriate for all occasions – a post-main piece in a concert, a quick finisher in dance performances, a devotional piece in bhajan sessions/namasankeerthanam, a song to worship Goddess Saraswathi on Saraswathi Pooja/any other pooja, a song that can be taught by music teachers to small children in schools, a song that adds variety to an instrumental performance, or even a song that can be presented in a Indian-western fusion concert, as the song gives a western feel! There is nothing more to say about this delightful little composition.
The next compostion ‘inru varuvAnO’ in raga kalyAna vasantham and tAlam Adi can never be appreciated through words. The composer’s seemingly hidden power has been broadcasted chillingly. The composition is a mixture of emotions and the finest of music. The sahityam, by itself, is a poetic tour de force. The music has been set according to the sahityam, conveying the emotions so excellently. The sahityam and swaram correlation is perceivable easily. ‘inru varuvAnO nAlayO’, which means ‘Will he come today or tomorrow?’ is a worried question. And, the worry, the anxiety, the agony, the pain in the question ‘inru varuvAnO’ is conveyed mightily through the dhaivatham of kalyAna vasantham. ‘nAlayO’ is not what it is expected, as the Lord is expected to come on that day itself! The composer has expressed her shock or unexpectedness through the upper shadjam. In the phrase ‘ennEramum avan vazhi nOkki ninrEn’, the word ‘ninrEn’ occupies the swaras ‘gmpmgrsn’ touching the lower nishAdham, which is the quintessence of kalyAna vasantham. Plenty of sangathis in this rare raga make the composition even more special. The uneasiness and apprehension of Mother Yashoda(or the composer) is evident from the anupallavi. The charanam is indeed masterful. The madhyamakala passage has superb spacing in terms of talam, which was unique. The first three lines of the passage were indeed fast but the last word in the last line (oli pozhi mugam “kAttidaâ€) was slow and stagnant to indicate the relief that would have been caused if Lord Krishna had shown his face to Mother Yashoda. This also provides an effective bridging back to the pallavi, which is the unmatched skill of the composer.
The ragamalika composition ‘AdippAdi dinam’ set to Adi tAlam is one of the best compositions in the album. This ragamalika should be called a classical ragamalika as it is different from some typical post-main ragamalikas which are sung in obscure ragas. This ragamalika has been composed akin to those of other great composers like Thanjavur Shankara Iyer, Kadalur Subramaniam, etc. The ragas which have been covered in great detail are Anandhabhairavi, Mohanam, Sama and Sindhubhairavi. The raga bhava of each raga is infinite in every phrase of the song. The attraction which cannot be missed is the playing of the violin player before every raga neatly. The first two ragas have been explored finely. The third raga, sAmA, is doubly special, since it bears no resemblance to the composer’s other song ‘vEngadavA’! The composer is indeed gifted, to have such a lot of imagination and improvisational skills, elevating her compositions in every possible way! The first three stanzas cover the lovely acts and beauty of Lord Krishna. The fourth stanza is a transition from fun and frolic to deep emotions enhanced by Sindhubhairavi, as Mother Yashoda conveys her fortune of being the mother of the Lord of the Universe.
The penultimate ‘makkala Atava’ in raga behag and talam Adi is a very different and enjoyable composition. The combination of kannada and behag has turned out to be very successful. This piece will sound extremely good in post-main sections of concerts. The behAg feel has been incorporated well by the composer and the rendition was transcendent.
The final ‘unnai ninaindhE’ in ragam punnAgavarAli was unique and mind-melting. It was a confession to the Lord that complete surrender to him is the only happiness in the world. The raga bhava was covered beautifully, giving adequate importance to the feel and emotion.
Overall, it was sheer gratification to listen to this album. Derivable information was that Smt.Rajee Krishnan is a musical and poetic genius. The album offers such a lot of variety in terms of language, deity, raga, talam and other factors. Full credit has to go to Smt.Sumithra Nitin and team. Without them, the composer cannot gain any fame. The mridangam and ghatam accompaniment should also be appreciated. The accompanying was warm and erudite through the album, playing apt phrases, enhancing the compositions significantly. This album is a must-listen for all music lovers. After listening to this album, it will not be exaggeration to say that the listeners will classify the people of the world into two categories - ones who have experienced Smt.Rajee’s music and ones who have not.
Srinivasrgvn - review of Arasi's CD is pasted below
-------------------------------------------------------------
Vocal: Smt.Sumithra Nitin
Violin: Dr.Hemalatha
Mrudangam: Sri J.Vaidhyanathan
Ghatam: Sri S.V.Ramani
Composer of songs: ‘Arasi’ Smt.Rajee Krishnan
Recording Company: Rajalakshmi Audio
Price of Album: Rs.195/-
‘Classical’ and ‘Comforting’ would be the two best words that can be used to describe the album ‘Arasi-Compositions of Smt.Rajee Krishnan’ released by Rajalakshmi Audio. Smt.Rajee Krishnan has astounded listeners through an accomplished and potent vehicle, Smt.Sumithra Nitin. Her voice is indeed a pleasant blend of power, range, fluency and melody as mentioned by Smt.Sulochana Pattabhiraman, in one of her reviews. Smt.Rajee’s compositions are gems, unearthed fresh and very much suitable for the modern rasika, who desires acuity as well as orthodoxy.
The opening song ‘nAdi vandEn’ in raga gambhIra nAttai and tAlam Adi is indeed grandiose. A short alapana by the singer quickly reminds the listeners of the raga. The opening pallavi line majestically ascends to the upper shadjam, thereby bringing the noticeable traces of the raga and conveying the composer’s message of seeking the Lord. The composer’s humility is conveyed when the line ‘unnai’ descends back to the lower shadjam. This stresses the composer’s message as well as explores the scale of the raga, giving listeners ultimate satisfaction and understanding. Also, in the anupallavi, for the line ‘alavillA gambhIramudai nin’, the ‘gambhIram’ is showed with the help of the standard ascending ‘gmpn’ phrase. Also, a silent swaraksharam is inserted in this phrase as the sahityam is ‘gambhIram’ and the swaras are ‘gmpn’. Smt.Sumithra has given her best throughout the album, with no exception in this piece. She has incorporated the fine nuances of the composition sensibly. This song will be a ready refresher and the concert platform will look much better if ‘vAthApi ganapathim’ is replaced with a song like this one.
The next song ‘kadiravan mennoLi’ in raga bowli and tAlam Adi is a poetic masterpiece. The lyrics are especially moving. The composer has written her perception of God from nature, describing the rays of the sun as his sweet smile. The use of ‘kadiravan’ or Sun is apt and brilliant as the raga bowli is a morning raga. This song is so poignant and lucid that even a blind person will be able to visualize God easily! The plea of the composer to the Almighty is plainly audible through the phrase ‘enakkarulvAyO paramA’ where another swaraksharam is inserted neatly in this ascent. The madhyamakala passage has been composed agreeably. Fast phrases in compositions are not common in this raga and this idea of the composer must be appreciated. Overall, bowli has been handled differently, and it bears no resemblance to the standard ‘ElukO’ or ‘srIman nArayanA’ or ‘brahmam okatE’. This shows the originality of the composer and her imagination. Smt.Sumithra has captured the composer’s emotions correctly through her commanding voice.
The subsequent short viruttam by Smt.Sumithra in raga AbhOgi is a bit confusing as it gives shades of shivaranjani initially but slowly blends to give AbhOgI. The composition ‘rAmA nI pAdhamu’ in tAlam Adi is a marvel. A smart swaraksharam in the phrase ‘dhanyulu’ is striking and poise. The telugu lines are easily comprehensible. This composition precisely covers the scope of AbhOgI and pleases the mind, with its leisurely sangathis interspersed with devotion. The sangathis in the pallavi and charanam are adequate and the raga bhava has been brought out sincerely by the singer and her crew.
The next piece, ‘cholla cholla iniththidumE’ is preceded by a brief alapana in the raga wherein the singer and the violinist have given the essence of the beautiful prathi madhyama raga ‘vAchaspathi’. This is the only alapana by the singer and the violinist in the whole album. It would have been better if some more AlApanas or a neraval/kalpanaswaram section had been included in the album so that listeners would get an idea about the artiste’s manOdharmA and the scope of the compositions. This delightful composition on Lord Narayana, the Almightly will make listeners say ‘kEtka kEtka inikkiradE’ (this song is so sweet to listen!). Owing to the inherent intelligence of the composer, it would have been sweeter if some more sangathis had been included in the pallavi, as this raga offers a lot of scope and is largely unexplored by many past composers. The unambiguous and long phrase ‘pOmO’ in the line ‘vallamai kURiDavum pOmO?’ offers joy to the listeners and this style of composing is quite unique. This was noticeable in many compositions. This composition was also unique and the singer has presented it just the way the composer would have desired.
‘vEngadavA’ in raga sAmA and tAlam Adi is a stable source of succinct solace. This composition is just too fantastic to describe in words. It will be a sure favourite among rasikas, if they get the opportunity to listen to this lovely composition. The lazy pallavi lures the listener, taking him/her to the composer’s world, where she prays to the greatest God Sri Venkateswara of Tirumala. The anupallavi and charanam have also been composed in a languid and serene tone. The whole composition comprises of alliterations like ‘vEngadavA-vEndinEn’, ‘andiyavar-annalE’, ‘kandadum kaliyUrum’, etc. The charanam has ‘ma’ as the alliteration base and the composer has also utilized a swaraksharam – the madhyamam which coincides with ‘malaiyAi’, the starting word of the charanam. The composer’s bilateral thinking skills are evident from this piece. The whole song is admirable and inspirational. The second sangathi of the charanam is again a marvelous piece of work. Specifications cannot be given, to this rare composition in such a suitable raga. The lyrics and raga have just blended together to make a bond, which is only God given.
The next composition, ‘nAtyamAdO natarAja’ in raga pUrvikalyAnI and tAlam Adi is a forte. The composer’s skills have been squeezed out through this energizing composition in kannada. A listener can never listen to this composition just once. Such is the effect it has on listeners. Everything in this composition is something to wonder at! The ‘ma da’ swaraksharam in the pallavi, the higher scale-anupallavi, the ‘tadIngiNatOm tOm tOm’ jathi that is inserted sleekly, the author’s child-play with kannada words, the entire structure of the composition extracting pUrvikalyAni to its maximum potential… Many more factors can be added. The piece was very catchy. It will be very apposite for a filler in between the main song and the pre-main song. It will also be suitable for dance performances. The pace of the composition is its strength and Smt.Sumithra has presented it warmly, pleasing listeners and delivering the message of the composer agreeably.
‘mayilEri’ in the romantic raga chArukEsi set to misra chApu talam is a dedication to Lord Muruga. The short alapana with percussion accompaniment sung by the singer is peaceful. The slow composition relieves one of all stress and worries. This composition will outshine other compositions if sung in a concert, or performed in a dance recital. The deep emotions and prayers of the composer have been magnified with the help of chArukEsi raga. The pallavi starts with the standard phrase of chArukEsi which is the ‘pa da ni da pa’ phrase which distinguishes chArukEsi from other common ragas. The sangathis are particularly outstanding. Even in the pallavi of this song, one can never fail to notice the humility and faith of the composer. She uses the ascending phrase from ‘pa da ni sa…’ for the sahityam ‘mayilEri’ as if to signify the Lord ascending on his peacock majestically. While the sahityam ‘varuvAi murugA’ is sung, the swaras are descending and stagnate at the lower shadjam and the subsequent swaras (srgrg,,) as if to signify the composer is requesting/humbly calling the Lord with affection and anticipation. In the charanam, the beautiful bridging between the end of the charanam and the pallavi is just amazing. In the sahityam ‘vadi vElA varuvAi arul taruvAi “unâ€â€™, the word “un†links the charanam and pallavi in a fine manner. This style is noticeable in other compositions also but the bridging in this particular composition was attractive and unassuming.
The next composition ‘srI lakshmi varadhAyikE’ is set to the serious simhEndramadhyamam raga and rUpaka talam. This composition is an undoubted candidate for the main piece of a concert. The sangathis, the capturing of the raga bhava and apt places for neraval and kalpanaswaram throughout the piece make it suitable. The composer has given confidence to the performers by setting the song to rUpaka talam. The first line of the pallavi is enough to get the grace of Goddess Lakshmi through the sublime simhEndramadhyamam. The absolutely awesome anupallavi has hidden swaraksharas. The alliterated anupallavi is a pleasure. The madhyamakala sahitya is a work of intelligence, with all the words ending with ‘ni’ like ‘mAlini’, ‘pUrani’,etc. One has to listen to this sahityam to know the various names of Goddess Mahalakshmi. Credit has to be given to the composer for one feature – the composition is on Goddess Lakshmi. It would not be exaggerating to say that there are very limited compositions on Goddess Lakshmi. The number will turn more meager if compared to the compositions on Goddess Parvathi or Goddess Saraswathi. Once again, Smt.Sumithra and team have given a dainty performance.
‘engu pArthalum’ in raga dEvagAndhAri is the next piece, which is set to Adi talam. The composer’s dEvagAndhAri is a pure one, without the slightest traces of Arabhi or sahAnA. These two allied ragas somehow occur in most of the compositions in dEvagAndhAri but were never noticeable in this one. The expertise of the composer is palpable through her handling of this rare and raucous raga. This composition will sound good on the dance stage too, since it is the composer’s vision of God in all the striking characteristics of Mother Nature. The composition is a masterpiece – with an unparalleled sahityam and an unequalled musical setting with necessary sangathis. The composer has conveyed her thoughts through rich imagery in the anupallavi and charanam – both sound and tactile. This composition should not be heard, but experienced. The sounds in the charanam are actually audible through the swaras. One has to thank Smt.Sumithra and team for bringing out the features of the composition so accurately.
‘shAradE saraswathi’ in raga kunthalavarAli and Tisra Adi talam is an capitulation to Goddess Saraswathi. The pallavi is unique, with a new dimension to raga kunthalavarAli. The composition’s tone is bubbly and happy throughout. This composition scores 100/100 as it will be most appropriate for all occasions – a post-main piece in a concert, a quick finisher in dance performances, a devotional piece in bhajan sessions/namasankeerthanam, a song to worship Goddess Saraswathi on Saraswathi Pooja/any other pooja, a song that can be taught by music teachers to small children in schools, a song that adds variety to an instrumental performance, or even a song that can be presented in a Indian-western fusion concert, as the song gives a western feel! There is nothing more to say about this delightful little composition.
The next compostion ‘inru varuvAnO’ in raga kalyAna vasantham and tAlam Adi can never be appreciated through words. The composer’s seemingly hidden power has been broadcasted chillingly. The composition is a mixture of emotions and the finest of music. The sahityam, by itself, is a poetic tour de force. The music has been set according to the sahityam, conveying the emotions so excellently. The sahityam and swaram correlation is perceivable easily. ‘inru varuvAnO nAlayO’, which means ‘Will he come today or tomorrow?’ is a worried question. And, the worry, the anxiety, the agony, the pain in the question ‘inru varuvAnO’ is conveyed mightily through the dhaivatham of kalyAna vasantham. ‘nAlayO’ is not what it is expected, as the Lord is expected to come on that day itself! The composer has expressed her shock or unexpectedness through the upper shadjam. In the phrase ‘ennEramum avan vazhi nOkki ninrEn’, the word ‘ninrEn’ occupies the swaras ‘gmpmgrsn’ touching the lower nishAdham, which is the quintessence of kalyAna vasantham. Plenty of sangathis in this rare raga make the composition even more special. The uneasiness and apprehension of Mother Yashoda(or the composer) is evident from the anupallavi. The charanam is indeed masterful. The madhyamakala passage has superb spacing in terms of talam, which was unique. The first three lines of the passage were indeed fast but the last word in the last line (oli pozhi mugam “kAttidaâ€) was slow and stagnant to indicate the relief that would have been caused if Lord Krishna had shown his face to Mother Yashoda. This also provides an effective bridging back to the pallavi, which is the unmatched skill of the composer.
The ragamalika composition ‘AdippAdi dinam’ set to Adi tAlam is one of the best compositions in the album. This ragamalika should be called a classical ragamalika as it is different from some typical post-main ragamalikas which are sung in obscure ragas. This ragamalika has been composed akin to those of other great composers like Thanjavur Shankara Iyer, Kadalur Subramaniam, etc. The ragas which have been covered in great detail are Anandhabhairavi, Mohanam, Sama and Sindhubhairavi. The raga bhava of each raga is infinite in every phrase of the song. The attraction which cannot be missed is the playing of the violin player before every raga neatly. The first two ragas have been explored finely. The third raga, sAmA, is doubly special, since it bears no resemblance to the composer’s other song ‘vEngadavA’! The composer is indeed gifted, to have such a lot of imagination and improvisational skills, elevating her compositions in every possible way! The first three stanzas cover the lovely acts and beauty of Lord Krishna. The fourth stanza is a transition from fun and frolic to deep emotions enhanced by Sindhubhairavi, as Mother Yashoda conveys her fortune of being the mother of the Lord of the Universe.
The penultimate ‘makkala Atava’ in raga behag and talam Adi is a very different and enjoyable composition. The combination of kannada and behag has turned out to be very successful. This piece will sound extremely good in post-main sections of concerts. The behAg feel has been incorporated well by the composer and the rendition was transcendent.
The final ‘unnai ninaindhE’ in ragam punnAgavarAli was unique and mind-melting. It was a confession to the Lord that complete surrender to him is the only happiness in the world. The raga bhava was covered beautifully, giving adequate importance to the feel and emotion.
Overall, it was sheer gratification to listen to this album. Derivable information was that Smt.Rajee Krishnan is a musical and poetic genius. The album offers such a lot of variety in terms of language, deity, raga, talam and other factors. Full credit has to go to Smt.Sumithra Nitin and team. Without them, the composer cannot gain any fame. The mridangam and ghatam accompaniment should also be appreciated. The accompanying was warm and erudite through the album, playing apt phrases, enhancing the compositions significantly. This album is a must-listen for all music lovers. After listening to this album, it will not be exaggeration to say that the listeners will classify the people of the world into two categories - ones who have experienced Smt.Rajee’s music and ones who have not.
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Re: arasi (Smt. Rajee Krishnan)
Oh, thank you so much, rajeshnat, for posting this review again! I noticed that you had done so only now! When you called me, I did not know! Sorry!
As I told you, I still have my album and concert reviews safe. Any particular piece that you/anybody need, I will be glad to publish again!
As I told you, I still have my album and concert reviews safe. Any particular piece that you/anybody need, I will be glad to publish again!
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Re: arasi (Smt. Rajee Krishnan)
Srinivasrgvnsrinivasrgvn wrote: As I told you, I still have my album and concert reviews safe. Any particular piece that you/anybody need, I will be glad to publish again!
Any reviews or any long posts that you have made you can go to the respective thread and post it again .No probs . Assuming that you dont have your shreya - hari storyline ,I immediately recollect that your poem on kharaharapriya and the review of KBMK of shanmughapriyA can be posted immediately.
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Re: arasi (Smt. Rajee Krishnan)
Incidentally, I was listening to Arasi's CD in my car stereo today and I was just flabbergasted listening to her vAchaspathi, simmendramadhyamam and chArukEsi! She has her own way with mElakarthA rAgas, which I noticed only today!
Arasi ji, I was just wondering if you have composed any song in one of my most favorite ragas - Kharaharapriya! Have you?
Arasi ji, I was just wondering if you have composed any song in one of my most favorite ragas - Kharaharapriya! Have you?
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Re: arasi (Smt. Rajee Krishnan)
Srini,
Yes, I have. Thanks for the compliment, but I wouldn't know one mElakartA rAgam from another
Yes, I have. Thanks for the compliment, but I wouldn't know one mElakartA rAgam from another
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Re: arasi (Smt. Rajee Krishnan)
arasi or smt neelA
Any updates on the progress of "publishing first 50 songs of arasi", it is oct 2010.
Arasi
Before you hop and step soon to bangalore and chennai , I hope we will all see the light at the end of the tunnel by this year end , 50 of arasi by 2010.
Any updates on the progress of "publishing first 50 songs of arasi", it is oct 2010.
Arasi
Before you hop and step soon to bangalore and chennai , I hope we will all see the light at the end of the tunnel by this year end , 50 of arasi by 2010.
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Re: arasi (Smt. Rajee Krishnan)
Rajesh,
Thanks for your unflagging interest and faith in my songs, for whatever they are worth--for your care and concern about me as well. Will keep you and other friends posted...
Thanks for your unflagging interest and faith in my songs, for whatever they are worth--for your care and concern about me as well. Will keep you and other friends posted...
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Re: arasi (Smt. Rajee Krishnan)
A composition by Arasi- NaatyamAadu Nataraja
Dance performance by Tara Krishnan
http://www.youtube.com/watch?v=Cu1_oFfT ... ture=share
Music was composed by Arasi Rajee Krishnan and choreographed by Sunanda Narayanan
sung by Geetha Murali.
venkatakailasam
Dance performance by Tara Krishnan
http://www.youtube.com/watch?v=Cu1_oFfT ... ture=share
Music was composed by Arasi Rajee Krishnan and choreographed by Sunanda Narayanan
sung by Geetha Murali.
venkatakailasam
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Re: arasi (Smt. Rajee Krishnan)
Time for new year thoughts...
Rajesh and I have a destiny together of sorts. Otherwise, when Arasi CD was going to be released and a few friends on the forum knew about it, I wanted it all to be quiet until the CD came out. When I had informed a few Chennaites about it, I had even asked someone to please not tell Rajesh--knowing that he would mention it on the forum pronto! He on the other hand scrutinized the Engagements column in The HIndu, saw Sumitra Nitin's name and the news about the release. He wondered: is it 'our' Arasi by any chance? He came to the concert, listened to the CD and wrote a glowing review--well-deserved or not. Rajesh, CML and others on the forum have been my cheer leaders--more like vigilant monitors!
Young Srinivasaraghavan, astute for his age and in his mature appreciation for music then added another review which bowled me over. The more he pointed out my strengths, the more I knew that I had no idea of what he was talking about--his giving credit for things which I wasn't even aware of
The kalyanavasantham song inRu varuvAnO has been sung quite several times during the past few seasons by Suryaprakash, Gayatri Girish and Sumitra Nitin. Veteran vocalist Jayalakshmi Santhanam sang SaradE a few days ago and it sounded very good. She has sung Charukesi, Bilahari and kAnaDa (the last two not in the CD). On the forum, Sujiram has played VEngaDavA and vaLLInAyakanE!
Sumitra Nitin has sung many of my songs in several places. Musicians are still asking for my CD and I am still waiting for some of them who have them to sing a song
The few review lines on my songs in the Hindu have favored my kalyana vasantham. One reviewer dismissed engu pArthAlum as 'sounding like' ennEramum!
Two more of my CDs (one already recorded) are coming out early this year. Also a book of 50 notated songs.
I heard many songs in tamizh this season--many beautiful ones. Songs which needed exposure ages ago. Those composers are no more with us. How many hundreds more are waiting their turn? My place in the line is farther away than that of the last rasikA who stood patiently from dawn to buy tickets for concerts during the season. I am in no hurry, but it makes me happy when I hear my compositions sung
Venkatakailasam,
Thanks for putting up the youtube segment of Tara's dancing to nATyamADO! The singing was very good but a few kannaDa words were not pronounced correctly there.
Rajesh and I have a destiny together of sorts. Otherwise, when Arasi CD was going to be released and a few friends on the forum knew about it, I wanted it all to be quiet until the CD came out. When I had informed a few Chennaites about it, I had even asked someone to please not tell Rajesh--knowing that he would mention it on the forum pronto! He on the other hand scrutinized the Engagements column in The HIndu, saw Sumitra Nitin's name and the news about the release. He wondered: is it 'our' Arasi by any chance? He came to the concert, listened to the CD and wrote a glowing review--well-deserved or not. Rajesh, CML and others on the forum have been my cheer leaders--more like vigilant monitors!
Young Srinivasaraghavan, astute for his age and in his mature appreciation for music then added another review which bowled me over. The more he pointed out my strengths, the more I knew that I had no idea of what he was talking about--his giving credit for things which I wasn't even aware of
The kalyanavasantham song inRu varuvAnO has been sung quite several times during the past few seasons by Suryaprakash, Gayatri Girish and Sumitra Nitin. Veteran vocalist Jayalakshmi Santhanam sang SaradE a few days ago and it sounded very good. She has sung Charukesi, Bilahari and kAnaDa (the last two not in the CD). On the forum, Sujiram has played VEngaDavA and vaLLInAyakanE!
Sumitra Nitin has sung many of my songs in several places. Musicians are still asking for my CD and I am still waiting for some of them who have them to sing a song
The few review lines on my songs in the Hindu have favored my kalyana vasantham. One reviewer dismissed engu pArthAlum as 'sounding like' ennEramum!
Two more of my CDs (one already recorded) are coming out early this year. Also a book of 50 notated songs.
I heard many songs in tamizh this season--many beautiful ones. Songs which needed exposure ages ago. Those composers are no more with us. How many hundreds more are waiting their turn? My place in the line is farther away than that of the last rasikA who stood patiently from dawn to buy tickets for concerts during the season. I am in no hurry, but it makes me happy when I hear my compositions sung
Venkatakailasam,
Thanks for putting up the youtube segment of Tara's dancing to nATyamADO! The singing was very good but a few kannaDa words were not pronounced correctly there.
Last edited by arasi on 03 Jan 2011, 22:55, edited 2 times in total.
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Re: arasi (Smt. Rajee Krishnan)
Really a touching summary Arasi as you look back!
You have come a long way from that shy girl to one who can stand the lime light from some of the devoted Rasikas.
It is all in your genes as I know personally!
So happy to hear that the New year gift to us will be forthcoming...
With my new lease on life (I am pronounced good for a few more years ) I look forward to hearing more of my
favourite VVS's niece...
Eagerly await the book release and the CDs and of course Rajesh's glowing review...
Your admirer and friend from across the seven seas!
You have come a long way from that shy girl to one who can stand the lime light from some of the devoted Rasikas.
It is all in your genes as I know personally!
So happy to hear that the New year gift to us will be forthcoming...
With my new lease on life (I am pronounced good for a few more years ) I look forward to hearing more of my
favourite VVS's niece...
Eagerly await the book release and the CDs and of course Rajesh's glowing review...
Your admirer and friend from across the seven seas!
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- Joined: 03 Feb 2010, 02:03
Re: arasi (Smt. Rajee Krishnan)
... I thought you two were on the same continent for most of the year! VVS's niece! goodness!
Anway, to today, and to the season, which is not over! (You know what they say: it's not over until the fat lady sings. Or dances, in this case, perhaps, as dance follows song in January. Am I saying some of our dancers are a little plump? Never! )... ... ...
<Sorry... posted in the wrong thread: shifted to twitter>
Anway, to today, and to the season, which is not over! (You know what they say: it's not over until the fat lady sings. Or dances, in this case, perhaps, as dance follows song in January. Am I saying some of our dancers are a little plump? Never! )... ... ...
<Sorry... posted in the wrong thread: shifted to twitter>
Last edited by Nick H on 04 Jan 2011, 00:07, edited 1 time in total.
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Re: arasi (Smt. Rajee Krishnan)
Nick,
Now, let's be realistic. . The VVS you are thinking of isn't old enough to be my uncle! The one CML is referring to is V.V.Sadagopan whose centenary year is around the corner!
I also think that you have taken this for theTwitter thread?
CML,
Great to know your good news. Sorry I've not written (hoped that you would get my news from the forum). Life as you know was a whirl with music, music, music. Paid for it by getting sick but now I'm better!
Keep your fingers crossed. As for my 'coming out', I owe it to you, to your encouragement and to that of other friends here.
Now, let's be realistic. . The VVS you are thinking of isn't old enough to be my uncle! The one CML is referring to is V.V.Sadagopan whose centenary year is around the corner!
I also think that you have taken this for theTwitter thread?
CML,
Great to know your good news. Sorry I've not written (hoped that you would get my news from the forum). Life as you know was a whirl with music, music, music. Paid for it by getting sick but now I'm better!
Keep your fingers crossed. As for my 'coming out', I owe it to you, to your encouragement and to that of other friends here.
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Re: arasi (Smt. Rajee Krishnan)
Nick - may be it is time for you and everyone to say so ....Among the leading dancers in India, RAMP (to use Ms. Anita Ratnam's acronym to describe the quartette of Ms. Rama Vaidyanathan, Ms. Alarmel Valli, Ms. Malavika Sarukkai and Ms. Priyadarshini Govind) seem to be some of the exceptions...Nick H wrote:.Or dances, in this case, perhaps, as dance follows song in January. Am I saying some of our dancers are a little plump? Never! )... ... ...
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Re: arasi (Smt. Rajee Krishnan)
Arasi: I have reached an age when I am entirely confused about ...age! All the generations seem to be merging
rshankar, indeed: I have heard remarks about the "shape of bharatnatyam," in particular, although the person who most often used to remark on this was a beautifully slim kuchipudi student.
And I posted all that in the wrong thread: it was supposed to be in twitter! Will edit and shift it
rshankar, indeed: I have heard remarks about the "shape of bharatnatyam," in particular, although the person who most often used to remark on this was a beautifully slim kuchipudi student.
And I posted all that in the wrong thread: it was supposed to be in twitter! Will edit and shift it
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Re: arasi (Smt. Rajee Krishnan)
O tempora! O mores! ( O altered times and manners! (for those who don't know Latin )
During my younger days 'plumpiness' was equated with beauty (since leanness and emaciation was equated to starvation! (for those who may remember the famous Bengal Famine or the Royalaseema Famine!), and I cursed my fate for getting married to one of the cutest 'vAmAngI' (and who is till one in her ripe old age!)
During my younger days 'plumpiness' was equated with beauty (since leanness and emaciation was equated to starvation! (for those who may remember the famous Bengal Famine or the Royalaseema Famine!), and I cursed my fate for getting married to one of the cutest 'vAmAngI' (and who is till one in her ripe old age!)
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Re: arasi (Smt. Rajee Krishnan)
Is it 'vAmAngi' or 'vAmAnki'?
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Re: arasi (Smt. Rajee Krishnan)
There is another thread on Smt. Arasi under Abum review. Can they be merged?
venkatakailasam
venkatakailasam
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Re: arasi (Smt. Rajee Krishnan)
Arasiarasi wrote: Two more of my CDs (one already recorded) are coming out early this year. Also a book of 50 notated songs.
I hope there is a function planned in bangalore to release the 2 CD's and notated songs. Just let us all know few weeks back so that we could plan.
Arasiarasi wrote:Veteran vocalist Jayalakshmi Santhanam sang SaradE a few days ago and it sounded very good. She has sung Charukesi, Bilahari and kAnaDa (the last two not in the CD).
Your bilahari is "mayilERi", dont know the kAnadA one . I suggest you put the kAnadA lyrics of yours , kind of preparatory till you have the function. kAnadA suits a lot as every singer will generally like to grab it.
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Re: arasi (Smt. Rajee Krishnan)
Rajesh,
MayilERi oyilAi is in Charukesi. VaLLi nAyakanE in Bilahari and vEngaDavA in kAnaDa--not to be confused with the other vEngaDavA in SAma which is in the first CD! So, kAnaDa is not going to be there I'm afraid, except in a rAgamAlikai if that is Sumitra's choice between the two I've given her.
The release will be in Chennai, I think.
MayilERi oyilAi is in Charukesi. VaLLi nAyakanE in Bilahari and vEngaDavA in kAnaDa--not to be confused with the other vEngaDavA in SAma which is in the first CD! So, kAnaDa is not going to be there I'm afraid, except in a rAgamAlikai if that is Sumitra's choice between the two I've given her.
The release will be in Chennai, I think.
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Re: arasi (Smt. Rajee Krishnan)
Arasi's second cd release function and discussions on Smt Neela ramgoplal concert of Arasi's composition is there in this thread
http://www.rasikas.org/forums/viewtopic. ... 49#p190449
http://www.rasikas.org/forums/viewtopic. ... 49#p190449
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Re: arasi (Smt. Rajee Krishnan)
Arasi's Third cd -Inide VandarulvAn release function is there in this thread
http://www.rasikas.org/forums/viewtopic.php?f=2&t=17937
http://www.rasikas.org/forums/viewtopic.php?f=2&t=17937
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Re: arasi (Smt. Rajee Krishnan)
Arasi was interviewed by Nivedita in the 2011 season time and Arasi told me that it would be telecast some time this month or next .
Can either nivedita ,arasi or any one post us about the telecast date and time of Arasi's interview in doordarshan.
Can either nivedita ,arasi or any one post us about the telecast date and time of Arasi's interview in doordarshan.
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Re: arasi (Smt. Rajee Krishnan)
Kindly post the video of the interview as well when aired...
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Re: arasi (Smt. Rajee Krishnan)
Rajesh,
It was going to be shown today, but they informed me that it's postponed to next Saturday. You did see me that day, and knew how tired I was! Don't remember half of what I said, I'm afraid
CML,
Hope I haven't made a fool of myself:)
Nivedita and the producer Viji Bharathi were simply sweet!
It was going to be shown today, but they informed me that it's postponed to next Saturday. You did see me that day, and knew how tired I was! Don't remember half of what I said, I'm afraid
CML,
Hope I haven't made a fool of myself:)
Nivedita and the producer Viji Bharathi were simply sweet!
Last edited by arasi on 28 Jan 2012, 21:28, edited 1 time in total.
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Re: arasi (Smt. Rajee Krishnan)
Arasi,
Can you let us know What time is the programme aired this saturday - feb 04th,2012. Please post so that our Venkatakailasam sir can record and upload.
Can you let us know What time is the programme aired this saturday - feb 04th,2012. Please post so that our Venkatakailasam sir can record and upload.
Last edited by rajeshnat on 31 Jan 2012, 14:11, edited 1 time in total.
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Re: arasi (Smt. Rajee Krishnan)
arasi
Nivedita is a kind seasoned interviewer
She would never let you make a fool of yourself...perhaps an angel!
Nivedita is a kind seasoned interviewer
She would never let you make a fool of yourself...perhaps an angel!
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Re: arasi (Smt. Rajee Krishnan)
# Is it possible for you to record the video from podhigai and post the upload links here.
rajeshnat
There is no problem for me to record..I am not able to get the time of the interview..
can this be helped?
vk
rajeshnat
There is no problem for me to record..I am not able to get the time of the interview..
can this be helped?
vk
Last edited by venkatakailasam on 31 Jan 2012, 15:18, edited 1 time in total.
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Re: arasi (Smt. Rajee Krishnan)
Welcome back Venkatakailasam. Happy to see your post after a long hiatus.
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Re: arasi (Smt. Rajee Krishnan)
Vkailasam,
Thanks! Seven thirty in the morning--is what I heard. I have no idea if they repeat all their programs the same time at night.
Anyway, I'm not sure if I can watch it. I used to get Podigai here until a few days ago. Now, I cant!
Thanks! Seven thirty in the morning--is what I heard. I have no idea if they repeat all their programs the same time at night.
Anyway, I'm not sure if I can watch it. I used to get Podigai here until a few days ago. Now, I cant!
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Re: arasi (Smt. Rajee Krishnan)
07:30 AM on Saturday, Feb 04th,2012 right in DoorDarshan - Podhigai TV Channelarasi wrote:Vkailasam,
Thanks! Seven thirty in the morning--is what I heard.
Last edited by rajeshnat on 01 Feb 2012, 12:06, edited 1 time in total.
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Re: arasi (Smt. Rajee Krishnan)
Rajesh,
That's my understanding.
That's my understanding.
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Re: arasi (Smt. Rajee Krishnan)
I have a rare Saturday off this 4th Feb and would like to catch this program on TV. Will be a pleasure waking up before 6 am on a holiday just to watch Arasi's interview.
Which TV channel are we talking about? If it is podhigai TV we don't get it here in our Dish TV bouquet in Muscat.
Which TV channel are we talking about? If it is podhigai TV we don't get it here in our Dish TV bouquet in Muscat.
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Re: arasi (Smt. Rajee Krishnan)
Sridhar,
It is on Podigai. Looks as though we both are going to miss it
It is on Podigai. Looks as though we both are going to miss it
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Re: arasi (Smt. Rajee Krishnan)
To be confirmed doubly read the message from Nivedita
http://www.rasikas.org/forums/viewtopic. ... 5&start=50
We can expect some 'juicy' stories from her after the telecast about our
Royal Highness
http://www.rasikas.org/forums/viewtopic. ... 5&start=50
We can expect some 'juicy' stories from her after the telecast about our
Royal Highness
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Re: arasi (Smt. Rajee Krishnan)
Venkatakailasam SIr
With the date and time known (07:30 AM on Saturday, Feb 04th,2012 in DoorDarshan - Podhigai TV Channel), hope u can record it sir
With the date and time known (07:30 AM on Saturday, Feb 04th,2012 in DoorDarshan - Podhigai TV Channel), hope u can record it sir
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Re: arasi (Smt. Rajee Krishnan)
The program must have been telecast.
Eagerly awaiting the posting of the video
Thanks in advance...
Eagerly awaiting the posting of the video
Thanks in advance...