vINA vs violin

rshankar · Post by **rshankar** » 21 Jul 2005, 22:01

Listening to the really SUPERB renderings of Kalpagam Swaminathan thanks to davalangi's munificence, reminded me of a question I have been meaning to ask for ages: I have heard that for a very long time, the vINA was the preferred accompaniment to a vocal concert. In fact, all of MSS's biographies mention that her early concerts in and around Madurai were family affairs with mother Shanmugavadivu playing the vINA and brother Shaktivel on the mridangam. If I remember correctly, even her first disc 'maragadha' had her mother playing the vINA. When did musicians start having a violinist accompany them instead of a vaiNIka, and why?
Thanks.
Ravi

cmlover · Post by **cmlover** » 21 Jul 2005, 22:26

I guess sometime in the 19th century. Though his brother learned violin from the British MD himself apparently had vINa accompaniment. Violin became more popular after concert paddhati were standardised. Some historian should be able to add the dates.

davalangi · Post by **davalangi** » 22 Jul 2005, 04:14

I know this doesn't answer your question but thought would share this info....I have a recording of a lecdem by SRJ (on MD krithis) in which he is accompanied (aptly) by Srividya Chandramouli (daughter of Rajeswari Padmanabhan) on the vINa. It is a welcome change from the violin accompaniment

You can readily notice this from the SSI/MSS/KSN recordings also. I shall try to upload the SRJ lecdem (atleast parts of it) when I get a chance.

coolkarni · Post by **coolkarni** » 23 Jul 2005, 10:29

and why?

ravishankar
No matter when the transition took place, I feel that it was great one.
cant think of a concert without a violin can we?
Before geeting on to my analysis i must admit that for lay rasikas like me, appreciating Vocals with Veena is like my admiring a Picasso.I am told it is great , but I have to search for the reasons ..
who would like to be seen with people who proclaim that they dont get the point?
(that is the same case when i see people swoon over Mali , or even Brinda Muktha)
To my mind Viloin scores over Veena due to the following reasons:
1.Veena just does not match with a vocal rendering.May be because of the frets , or whatever, it tends to draw a unique position for itself.
Whereas the violin subjugates itself as the secondary voice in the performance and uses every single opportunity that presents itself, to show its own brilliance-provided by the song or the artist.
so we have a whole range of accompanying violinists( i always think of them in terms of the fielder at the gully position in a cricket match.One can go far back enough to make sure that you dont let many strokes go past you , or like Jonty Rhodes (read MSG-LLG-TNK) you put yourself at tremendous risk by going nearer , but in a position to go for the jackpot.
A veena simply cannot do this.
all the wealth of the recordings we have of these great violinits and all their clones (in a very respectful sense) simply puts the case beyond doubt.
2.I have simply have never heard any great veena artist who could have probably bridged this gap with a touch of innovation..Emani is too individualistic, some artists (like chittibabu) have styles which make it difficult for me to follow the song amidst all the chatter of the sympathetic (is that the right word ?) strings.
The nearest we have to vocalising is balchander , but three hours of listening to him drains me out of energy-great artistry, but in the context of accompanying, that would not help.
I would like to hear clippings of other artists if I have to change my opinion.
For the same reason I prefer Ravikirans concerts when he is accompanied by another chitraveena to the ones where he is accompanied by a violin.

3.There is also something magical about a violin.At times in concerts I do get confused about the identity of a raga when the vocalist is singing -some sense of incompleteness - but the moment the violinist squeezes out the first movement, things get so clear.This has nothing to do with the level of comptence of the violinist -i have checked that out so many times- something which begs explanation.

4.Lastly if one remembers that a concert is a short trip through countryside, with rapidly changing landscapes, it is only the violin that is fleet footed to keep pace with the main vocalist, donning the role of a devout follower, sometimes a playmaker but always an echo of the thoughts of the main artist.
Our generation has been fortunate to see such lovely greats give us so many blissful moments, while we have to give due credits to the likes of VVS, VVR, TRukmini,Nagai Muralidharan,M Chandru,A Kanyakumari,Thiruuparkadal, V Thyagarajan....... ........ VL Kumar , embar kannan varadrajan.... the list is seemingly endless.

Here are a few clippings to substantiate my point.

http://rapidshare.de/files/3278010/bmk- ... i.mp3.html

THIS IS MY ALL TIME CHARTBUSTER FOR THIS THEME CLOSELY FOLLOWED BY THIS GEM FROM GNB-LALGUDI

http://rapidshare.de/files/3278328/gnb- ... m.mp3.html

as far as playmaking is concerned one can observe what Lalgudi does to Somu in the first couple of minutes.
http://rapidshare.de/files/3278153/mana ... _.mp3.html
Last word.
I keep egging my friends here in chennai (who are fairly accomplished artists) to take up the sarangi -which is a dying instrument in HM(especially after the advent of the harmonium) and try to fit it into the scheme of CM.Sensitive as they are to the damages that may occur to their fingers, that may take a long time to happen
Until then we can only speculate about the feel of such an instrument.
Here is a clipping in Dilruba by Angamali KJ jose , which may give some idea.
http://rapidshare.de/files/3278437/anga ... I.mp3.html

Boy Do i really look like a Kansen Today .Spare me the brickbats if you can.I am here only to learn. i am learning fast.and am willing to change.

rshankar · Post by **rshankar** » 23 Jul 2005, 17:58

You can readily notice this from the SSI/MSS/KSN recordings also.

Ramji,
Are there commercial or other recordings of MSS or SSI singing to the accompaniment of a vINA?
Ravi

cmlover · Post by **cmlover** » 23 Jul 2005, 19:09

coolkarni:
you have made a number of valid points. I totally agree about the help of violin in identifying the raga during the performance. Now I have a question for you. In spite of vINa being very ancient why it did not get incorporated into HM. Is sitar a poor imitation of vINa. Do you have any HM performed on the vINa solo or in accompaniment. Thanks.

abadri · Post by **abadri** » 23 Jul 2005, 23:10

coolkarni:
In spite of vINa being very ancient why it did not get incorporated into HM. Is sitar a poor imitation of vINa. Do you have any HM performed on the vINa solo or in accompaniment. Thanks.

I'm sure that Shri Kulkarni can do abetter job here, but when has that ever prevented me from posting my 2 cents?!

The veena (or rudra veena / beeN specifically) has played a big part historically in HM. Like our gayaka & vaiNikA traditions
there's also a gayaka & beeNkAr tradition in HM.
I've also read that the Dhrupadiyas have sung to the accompaniment of the beeN upto the early 20th century(?), though
I've never heard a recording of this.

Today, the rudra VINa is facing the same situation of declining popularity like our saraswati veena. I guess there are only two
prominent practioners of this instrument now (Asad Ali Khan and Baha-ud-din Dagar - son of late maestro ZM Dagar).
I guess a decline in the importance of beeN vis-a-vis sitAr, etc is probably a symptom of the reduced poularity of dhrupad in general!

Technically, I'm far from competent to comment on the differences between a rudra veena and the saraswati veena.
However the rudra veena has a more bass sound, giving the music it produces a very mediatative feeling!

cmlover · Post by **cmlover** » 23 Jul 2005, 23:27

Thanks Badri

I want to hear some clean HM on the veeNa and am trying to smoke out coolkarni. Am I right that the vINa of MD was actually Rudra vINa? In my younger days most women traditionally learned vINa and vocal singing accompanied it. Most households used to have the vINa and it was a rarity to find the violin. Flute (pullaa^Nguzhal) was more popular among males. Times have changed tremendously!

coolkarni · Post by **coolkarni** » 24 Jul 2005, 05:43

some clean HM on the veeNa

it is 5 o clock here (in the morning) and i cannot describe the effect this particular bhibas has on me evrytime i hear it.
http://rapidshare.de/files/3288592/Lalm ... s.mp3.html
no wonder this is the most ancient of all instruments.
and my God, what a raga (is revagupthi the nearest equivalent?? i can hear trs's grahabalamemi popping out in many places..they are so similar)

it is a well known fact that the veena has seen a decline with the advent of the khayal..which has pushed dhrupad almost into extinction.

i have an 30mt long video on the origins of the sitar(from dd bangla)
however due to upload constraints , i have uploaded only the audio.it is very informative and supports all that badri had to say on this subject.
if anyone is keen to see the video , i can upload it in small segments, one gets to see all the kinds of veenas.
http://rapidshare.de/files/3289913/01-O ... r.mp3.html

as far as vocals with veena is concerned, the nearest we can get there is a clip from a duet of rashid khan and shahid parvez performing bagesree...
http://rapidshare.de/files/3288328/SHAH ... E.MP3.html
as lalmanis bhibas draws to a close, i feel as though i am getting out of a time machine.

cml.
though i am not sure if the sitar is a POOR imitation of anything,it is a splendid piece of instrumentation, cant think of HM without it ..and all those wonderful names, vilayath, nikhil,ravisankar,abdul halim jafar khan,budhaditya mukherji............

kannan · Post by **kannan** » 24 Jul 2005, 06:06

The bibhas sounds amazing. I can imagine how it would feel for you with the Sun rising! It sounds a lot like Ravikiran's citravINA. In fact if you hadn't said it, I would have thought it was Ravikiran playing revagupti/bhauLi.

I found a list for comparable Carnatic/Hindustani ragas here
http://www.rso.cornell.edu/spicmacay/sp ... /raga.html

cmlover · Post by **cmlover** » 24 Jul 2005, 08:58

WOW!
Am I glad i provoked you! That bhibas was out of this world! And what a music to wake up to! I am replacing my suprabaatham casette with the bhibas

It is much closer to bauLi but has more energy in the dhurit kaal. Thanks!

The historical prelude was quite informative; how the kacchapi vINa transformed into the Sitar. Also the derision for sitar even till 19th century vis-a-vis the vINa. That perhaps is about the time violin creeped into CM! Sitar to HM is what violin is to CM! The sitar to guitar craze will not dull HM nor will incursion of mandolin make a big change in CM. I said 'poor sitar' because HM will be poor indeed without it. As I wonder why vaiNikas did not break into HM, I equally wonder why sitar did not break into CM. It is such a rich instrument. Perhaps the answer is why nadaswaram did not enter HM and why shenai is never played in our temples (Our lingering prejudices).

I was not too impressed with the Bagasree

Something is missing. Perhaps certain combinations are intrinsically banal.

coolkarni · Post by **coolkarni** » 24 Jul 2005, 12:54

that bhibas .. the whole credit for saving that bit for posterity goes to a fenchman-patrick moutal.
wonder if you have visited his site.

i will try to squeeze in some noncommercial dagars veena as well abdul halim jafar khans sitar, which as good as a veena....

drshrikaanth · Post by **drshrikaanth** » 24 Jul 2005, 14:51

I was not too impressed with the Bagasree Something is missing. Perhaps certain combinations are intrinsically banal.

I think you have got used to the CM version of bAgESri where we use it for evoking karuNA and dainya rasa. We elongate the niShAda and give it a mild kampana in ÃƒÆ’Ã†â€™Ãƒâ€šÃ‚Â¢??SNDN~~~DMPg~g~M(G)R_SÃƒÆ’Ã†â€™Ãƒâ€šÃ‚Â¢??. We also use a lot of jArugamaka, and sing it in a slow pace. Pancama is used sparingly.
In HM, from which we have adapted this rAga, this evokes SRngAra rasa (as evident in the song uploaded here- balmA mOri). In this rAga, the focus is of course on madhyama. And you will notice that niShAda is distinctly plain without any gamaka in this rendition. Also, this rendering is devoid of Pancama and is auDava ShADava bAgESri. It is also crisper than the way we sing.

cmlover · Post by **cmlover** » 24 Jul 2005, 22:34

OK Modimasthaan (or Pied Piper if you like it better) if you have selections like that Bhibas let go! You will make atleast a few converts in this CM crowd!

DRS
Honestly my bagesri exposure comes entirely from Film music or typically the cooing of Lata and good-old KVM rendered in their golden voice by AM Raja and Jikki

.
http://rapidshare.de/files/3317325/Maya ... i.mp3.html

In CM it is just a curiosity to be used as an interlude in Ragamalika. You will pardon my ignorance of the classical HM version! While we in CM (too cautious with purity!) will try hard to shield it away from sriranjani I assume the HM exponents will boldly launch into territories unexplored by our pusillanimous bards, I will greatly appreciate if you can help me with help from coolkarni to probe the real beauty of this fine raga. Thanks

coolkarni · Post by **coolkarni** » 25 Jul 2005, 10:14

DRS

here are my opening lines

that classic from KL Saigal
http://rapidshare.de/files/3330817/Kund ... d.MP3.html
For more on that one could visit parrikars site at
http://sawf.org/newedit/edit12022002/musicarts.asp

Since this subject appears on a thread related to Vina-Violin I have put up the first track which is a dhrupad rendering by Dinakar Kaikini
http://rapidshare.de/files/3330178/Dina ... 1.mp3.html

http://rapidshare.de/files/3330555/Dina ... 2.mp3.html
DRS

Saab, if you fee like taking on from here on a separate thread.
I will stand by with
a rendering of malini rajurkar at my hometown two decades ago
and that ultimate artist BGAK in a concert in 1954-Calcutta
CML
your repeated references to the two shades of -
Veena -Sitar, Dhrupad-Khayal, HM-CM, and your excitement in this ping pong battle,reminds me of an experience with Kota Shivram Karanth - a Colossus for us kannadigas.
He was the chief guest at our School annual day functions.The day was marked by a Debate on the subject of whether God Existed or Not.
After hearing us all cry hoarse for well over two hours, he decided which team had won , but was confronted with a question by our Principal who asked for his opinion on the matter-Did HE exist or not ?)
What followed was exhilarating...I remember it like yesterday
Dr Karanth spoke brilliantly for 15 minutes arguing that HE did not exist .at the end of it everyone one of us were fully convinced that HE did not exist.
More surpises followed.The next 15 minutes he took up arguing that HE did exist.and all of us were now willing to follow him to the Promised Land(leaving everyone behind) , that very moment.
With the last 5 minutes of summing up he coaxed us to find out for ourselves and in the process,benefiting from that process.
I cannot help recalling those wonderful moments whenever this twilight zone stands in front of me.
BGak's rendering seems to answer many questions.
If the sitar did indeed prove inferior to the Veena, it was because somebody like BGAK did not play it.(it took a genius of a vilayath or a Nikhil bannerji to raise to its present status)One gets this feeling after listening to his rendering.That is why I have kept it till the end.
DRS
I have heard a kannada song "Hanthakana Dootharige Kinchittu"
but am not sure where to get it again.(My Grandma used to sing it beautifully)Wonder if you have it with you.

kaapi · Post by **kaapi** » 25 Jul 2005, 19:47

CML Sir,
Did MVI sing Bagesri ? I have heard old timers go into raptures over the mere thought of his Desh and Darbari Kanada in his viruttams.

Lakshman · Post by **Lakshman** » 25 Jul 2005, 20:25

The song by Radha & Jayalakshmi is available here:http://www.musicindiaonline.com/l/1/m/artist.35/
The raga is mislabeled as hindola.

cmlover · Post by **cmlover** » 25 Jul 2005, 21:51

Not that I know of! The older generation were very traditional and used to dip into lighter vein during the JaavaLis. I am not aware of any 'famous' JaavaLi in Bagesri. But then TNR used to make excursions into all the exotic ragas and the audience loved him for that. His Desh and Darbaari Kaanada were scintillating! It was SG KiTTappa who popularized some of these HM ragas and will belt them out in the dramas with verve. I am sure if TNR had heard that bhibas he would have used it in lieu of bhUpaaLam to wake up our deities.

DRS
If you like the discussion of Bagesri can we move to another thread, now that Lakshman has fulfilled your childhood fancy. That was a sweet song and would love to know the meaning!

coolkarni
let me add an anecdote to yours to show that the world does not change but adapts to the colour of the glass you wear!

Once a communist was arguing with apriest vigorously about the nonentity of GOD and thuderously concluded:

GOD IS NOWHERE!

The priest quietly asked him to write it down and said it all required some space externally and in the heart as well. And he moved over and put in the space between W and H

GOD IS NOW HERE!

May I conclude by saying

'Sitar kUDa vINaa chaNDai pODalai'
(you can choose the meaning you like!

)

Lakshman · Post by **Lakshman** » 25 Jul 2005, 22:39

found a list for comparable Carnatic/Hindustani ragas here
http://www.rso.cornell.edu/spicmacay/sp ... html[quote]

kannan: This file is part of my book Alphabetical Index of Karnatak songs that I published in 1993. I have the karnatak>hindustani chart also in it.

[/quote]

Lakshman · Post by **Lakshman** » 25 Jul 2005, 23:25

OOPs! The quote goes with the first part of the post.

nnramya · Post by **nnramya** » 26 Jul 2005, 00:07

I have heard a kannada song "Hanthakana Dootharige Kinchittu"
but am not sure where to get it again.(My Grandma used to sing it beautifully)Wonder if you have it with you.

Dear Kulkarniji,
I have this song rendered by Shri. Nedunuri Krishnamurthy. Lovely piece!
Enjoy!

http://rapidshare.de/files/3348856/Hant ... a.mp3.html

drshrikaanth · Post by **drshrikaanth** » 26 Jul 2005, 05:35

coolkarni
I dont know so much about HM. ella kELme j~nAna aShte.
antakana dUtarige is a famous recording of Radha Jayalakshmi which Lakshman has already posted. This is one of the hundreds that MIL has given wrong information about. The same song is listed under 3 different composers and not one of them s right !!! Anyway

kOTa SivarAma kAranth is a colossus. Period. More of his works should be translated so that non-kannaDigas know about him, and savour the great literature that he has produced..This kaDala tIrada bhArgava has also done yeoman`s service to yakShhagAna by giving it new life as well as written books on architecture and other non-fiction. He is one of those kannaDa literateurs who I believe ought to have got the Nobel prize. Thats a nice anecdote. That reminds me of another that took place during the Mysore mahArAja`s times. One of the members of the sankEti cmmunity argued convincingly with quotes from SAstras saying widow remarriage is allowed and then equally convincingly gave the counterargument.
CML
what is that childhood fancy of mine that you seem to know about!! Am curious to know.
Will post the meaning later.

cmlover · Post by **cmlover** » 26 Jul 2005, 05:43

mea culpa!
I attributed to you the childhood fance of coolkarni

Awaiting the meaning whenever you are ready!

Lakshman

Do we know who brought bagesri to CM?

drshrikaanth · Post by **drshrikaanth** » 26 Jul 2005, 05:49

CML
I think you made a point about our musicians keeping bagESri away from SrIranjani. Now that may be subconcious. Bagesri avoids R and P in ascent and P in descent. Of course P does appear in some phrases. In bAgESri, madhyama is the main note(as mentioned earlier)- the vAdi while S is the samvAdi in HM. But in CM we gloss over it and do not give it much prominence.If we do, it would start sounding like SrIranjani/abhOgi.
But the N in bAgESri is treated similar to SrIranjani. That I think is due to the inherent nature of CM where we avoid/abhor plain notes. Especially N2.
But note that even in HM there are variations in the scale used and R can occur in some arOhi phrases. and also our abhOgi has become very famous in HM and so even hindUstAni singers have to watch where they tread to avoid mixing up the two.
Here are 2 links to know more about bAgESri- on by Parrikar inSAWF and the other by B.Subbarao(rAganidhi).

http://www.sawf.org/newedit/edit12022002/musicarts.asp

http://www.carnatic-music.com/ragas/bageshri.txt

This rAga I think is a very good example of how the same rAga adapts itself to the genius of a different system as also evokes an entirely different mood by varying the emphasis on the swars and changing the gamakas.

drshrikaanth · Post by **drshrikaanth** » 26 Jul 2005, 06:34

Just an add on. Even in HM, bAgESri is associated with karuNA rasa but the poignance is nowhere near that seen in CM-in any case in the recording provided by coolkarni, the rasa seems predominatly SrngAra . To me it gives a mixture of love and compasiion. I think it is very good to portray a lover-lorn maiden`s anguish- viraha. My first exposure to the rAga was in the rAgamAlike- ponmalar pAdam paNindEnamma.

drshrikaanth · Post by **drshrikaanth** » 26 Jul 2005, 06:39

coolkarni
the bAgESri u posted -balma mOri by Shahed Parvez- are you sure it is not a commercial recording? The same(may not be an identical recording. im not sure) is posted on MIL under karun. The rendition (or bAgESri) does not start until sometime into the clip.
heres the link

http://www.musicindiaonline.com/l/28/s/type.37/

drshrikaanth · Post by **drshrikaanth** » 26 Jul 2005, 06:45

Lakshman
are there any CM compositions (Im sure ther must be some) in bAgESri. We all know MDR`s sAgaraSayanavibhO. Any tillAnas(lAlgudi jayaraman has composed in rAgESri. Any in bAgESri). Can you post a list please?
Coolkarni
do you have any recordings of CM bAgESri apart from MDR`s composition?

coolkarni · Post by **coolkarni** » 26 Jul 2005, 07:01

drsrikaanth
not sure..
so i have deleted the rapidshare link.
thanks
kulkarni

coolkarni · Post by **coolkarni** » 26 Jul 2005, 07:12

a rapidcheck on bagesri in cm

chembai- kolhapureswari
mamava raja rajeswari
somu-ninaikatha neramillai
mlv -govindamiha
tmt- a thiruppugazh
neyveli-erumayil(such a lovely rendering!!!)
ost-anatha natha sayee
trs-thillana
msg-naneke paradesi
plus a duet of tnk- nrajam

i can post whatever you like

cmlover · Post by **cmlover** » 26 Jul 2005, 07:36

Why not all! It is a short list. Any way start with chembai,mlv and trs. Are there any RTP in bagesri? I guess not since it is light weight

abadri · Post by **abadri** » 26 Jul 2005, 08:10

TMT's tiruppugazh nADi teDi in Bageshri
[rapidshare link deleted]

cookmex · Post by **cookmex** » 08 Jun 2011, 21:18

In ritualistic ancient music, indian violin was also a favorite instrument as accompanist.

http://www.youtube.com/watch?v=XknH8YhEWaE

harimau · Post by **harimau** » 10 Jun 2011, 12:12

The violin is entirely unnecessary in Carnatic music.

I know you will find this statement hard to believe.

But in November 2010, Swami Ganapathi Sacchidananda's ashram in Mysore arranged a concert with 108 musicians (in actuality, 113 turned up). The only condition was that only instruments native to India could be used to accompany the singers. Thus the violin was ruled out. Veena, flute, nagaswaram and jalatarangam were ruled in.

You can watch the result at: http://www.youtube.com/watch?v=gOj_PtBFHpo

In addition, Sankara-TV broadcasts a concert by the Carnatica Brothers accompanied on the veena by Jayalakshmi Sekhar. You can again judge the results for yourself.

There is one LP record where Semmangudi Srinivasa Iyer sings to the accompaniment of K. S. Narayanaswamy's veena. The krithi is "Sri Dakshinamurthe" of Sri Muthuswamy Deekshithar. After singing the krithi, Semmangudi Mama says, "This is the way music is meant to be heard, with veena as the accompaniment."

So, don't take my word for it; take Semmangudi Mama's!

VK RAMAN · Post by **VK RAMAN** » 10 Jun 2011, 21:22

I tend to endorse harimau's observation on violin use in CM

veeyens3 · Post by **veeyens3** » 10 Jun 2011, 22:46

Violin has enhanced the aesthetics of carnatic music.While we have to accept Sri Semmangudi's right to have his views regarding violin, it does not prevent us from having our tastes and views. Art is dynammic and is constantly evolving. Nowadays electronics have made inroads into our culture and we have easily adapted to the new entrants.

Nick H · Post by **Nick H** » 11 Jun 2011, 02:07

A Brief History of the Violin

In the sixteenth century, Italians invented the violin.

In the nineteenth century, Indians made it sound good

mahavishnu · Post by **mahavishnu** » 11 Jun 2011, 07:47

Good one, Nick.

I think the violin has a permanent place in Carnatic music. Its origins in Europe have nothing to do with its irreplaceable stature on the carnatic stage.

I think it is pernicious to selectively quote the doyen out of context to make a point. The same Semmangudi has been extremely appreciative of the accompaniment of Rajamanickam Pillai, LGJ, TNK and others who have enhanced his concerts and taken them to a different level. While he had violinists accompany him for 99.99% of his concerts, he had veenai accompaniment on very rare occasions. Most of them were sessions with KSN. The music they made together was, no doubt, magical.

There are millions of reasons why he could have said that the veenai goes well with the singing of Dikshitar songs, especially given that they were composed by a vainika-gayaka. I think vocal music sounds wonderful with veenai accompaniment, please don't get me wrong. One does not have to belittle the violin or call its use "unnecessary" to make this point.

rajeshnat · Post by **rajeshnat** » 11 Jun 2011, 10:37

mahavishnu wrote: There are millions of reasons why he could have said that the veenai goes well with the singing of Dikshitar songs, especially given that they were composed by a vainika-gayaka. I think vocal music sounds wonderful with veenai accompaniment, please don't get me wrong. One does not have to belittle the violin or call its use "unnecessary" to make this point.

Mahavishnu
Very well said , well one can get few goosebumps with veena as an accompaniment but if you hear for a full length concert you will surely miss violin.

sureshvv · Post by **sureshvv** » 27 Nov 2011, 13:38

First of all I will confess that I have a bias for the Veena and its sound really strikes a chord in me deep within.

However, I heard Sriram Parasuram on FM gold this morning and the violin sounded just as weighty and solid as a Veena. He played Hiranmayeem Lakshmim followed by an alapana of Amirtha behag (for the GNB kriti) followed by Lalithe in Bhairavi as the main piece. It was exquisite and the virtuosity showed in every single moment of his presentation.

So now I feel it is all in the one playing the strings.

rasikas.org

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