Vasanthi
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Re: Vasanthi
vAsanti has the similar scale to mOhanam (SRGPDS SDPGRS) except that it has the suddha dhaivatham (D1) instead of the chathusruthi dhaivatham (D2). This change of just one note gives it a completely different flavour and to me gives a feeling of pathos compared the more bright feel of mOhanam!
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Re: Vasanthi
a small anecdote .....hearsay not sure if this was true.....
once when TNS was accompanied by LGJ TNS started with SRGP and before he could go further LGJ took it as Mohanam and completed the phrase. Annoyed TNS started from where he left (meaning P) and then continued to launch Vasanti and a visibly embarrased LGJ continued with Vasanti ....One teacher to a student narrated this while emphasising that the accompanist should always follow the main artist and not attempt anything the main artist has not attempted...the teacher went on to say that if the main artist has not reached the upper swaras in swara singing the accompanist should not attempt it...
once when TNS was accompanied by LGJ TNS started with SRGP and before he could go further LGJ took it as Mohanam and completed the phrase. Annoyed TNS started from where he left (meaning P) and then continued to launch Vasanti and a visibly embarrased LGJ continued with Vasanti ....One teacher to a student narrated this while emphasising that the accompanist should always follow the main artist and not attempt anything the main artist has not attempted...the teacher went on to say that if the main artist has not reached the upper swaras in swara singing the accompanist should not attempt it...
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Re: Vasanthi
Either it happened . Or Did not . Writing something like this and saying I am not sure if this is true is immature and childish. To put it mildly.
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Re: Vasanthi
well it is time we switched over to other ragas in waiting in this thread!
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Re: Vasanthi
ref to post#3==anandasangeetham-- I do not know how old you are-but if you had listened to Mali Sir in the late forties and fifties and if you had been accompanying him you would have had to wait till eternity to figure out WHAT raga he was going to play!!
My view: If it is a rare raga in which there are not many compositions it is the singer's responsibility to delineate the ascent and descent deftly without letting the accompanist or the listeners guess the raga. If it is unintentional it is OK--but it should not be gamesmanship.
I would cite examples of GNB delineating Keeranavali(he will start with Sa Pa straightaway dispelling any trace of Keeravani OR a chenjukambodhi(with the Sa pa_ distingushing it from malavi.
My view: If it is a rare raga in which there are not many compositions it is the singer's responsibility to delineate the ascent and descent deftly without letting the accompanist or the listeners guess the raga. If it is unintentional it is OK--but it should not be gamesmanship.
I would cite examples of GNB delineating Keeranavali(he will start with Sa Pa straightaway dispelling any trace of Keeravani OR a chenjukambodhi(with the Sa pa_ distingushing it from malavi.
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Re: Vasanthi
Agree with Varsha that it is not very nice to put in anecdotes about real people that are not certain to be true.
My reason for guessing that it did not happen: (I imagine TNS refers to Seshagopalan and no one else). In age, TN Seshagopalan is junior to Lalgudi Jayaraman by a whole generation, and Lalgudi began performing at a very young age. He had already been performing for 20- 25 years when TNS entered the scene. Lalgudi was already a stalwart and very strong in concert technique and it is unlikely that TNS had any lessons for him there. This seems very reasonable to me. In addition deference to senior musicians was very much practised by those artists.
This anecdote has another mark of not being true: while the artists in question are named, the originator of the story, the teacher who narrated it, is nameless. The anecdote would have been perfectly interesting and far less offensive if you had removed the names of the artists too. Then the truth of it would be immaterial, and the point may receive at least a smile.
My reason for guessing that it did not happen: (I imagine TNS refers to Seshagopalan and no one else). In age, TN Seshagopalan is junior to Lalgudi Jayaraman by a whole generation, and Lalgudi began performing at a very young age. He had already been performing for 20- 25 years when TNS entered the scene. Lalgudi was already a stalwart and very strong in concert technique and it is unlikely that TNS had any lessons for him there. This seems very reasonable to me. In addition deference to senior musicians was very much practised by those artists.
This anecdote has another mark of not being true: while the artists in question are named, the originator of the story, the teacher who narrated it, is nameless. The anecdote would have been perfectly interesting and far less offensive if you had removed the names of the artists too. Then the truth of it would be immaterial, and the point may receive at least a smile.
Last edited by Ranganayaki on 20 Oct 2011, 00:26, edited 1 time in total.
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Re: Vasanthi
Sharing a link I found to a tillana in raga VAsanthi by Lalgudi Jayaraman..
http://www.esnips.com/doc/455f563b-80d4 ... ISRACHAPPU
This was the piece that brought home to me the genius of Lalgudi Jayaraman (as a teenager in 1980).
I know this is not a new piece, but I hope you will listen and enjoy it again.
http://www.esnips.com/doc/455f563b-80d4 ... ISRACHAPPU
This was the piece that brought home to me the genius of Lalgudi Jayaraman (as a teenager in 1980).
I know this is not a new piece, but I hope you will listen and enjoy it again.
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Re: Vasanthi
This reminds me of a novel by name "Arangam' by Sujata VijayarAghavan(?).It tells the story of a carnatic musician who comes from nowhere to stardom.Fame goes to his head and he becomes a real crook contracting vices like wine,women,etc.He loses his voice and fame realises his mistakes and recuperates.This was in the middle of 80's and it was alleged that the hero's character was inspired from ... ( I take a cue from RanganAyaki here)
There is a scene in the novel where a senior and famous violinist accomopanies the hero and how he almost coming to sing ( I think) KalyAni changes to LatAngi by singing Sudh.D while the violinist almost touches the chathus.D much to the violinist's distaste.He also challenges a senior mridangist in this way.
There is a scene in the novel where a senior and famous violinist accomopanies the hero and how he almost coming to sing ( I think) KalyAni changes to LatAngi by singing Sudh.D while the violinist almost touches the chathus.D much to the violinist's distaste.He also challenges a senior mridangist in this way.
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Re: Vasanthi
The thread is lingering around a doubtful anecdote. It would be better if the other ragas in the thread are discussed.
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Re: Vasanthi
bhavAni is the 44th mELakartta in the asampUrNa mEla scheme and is equivalent to pAvani in the sampUrNa mElam.
jayati shivA bhavAni is a rare composition of muddusvAmi deekshitar in this rAga.
jayati shivA bhavAni is a rare composition of muddusvAmi deekshitar in this rAga.
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Re: Vasanthi
bhavAni matches bhavapriyA [mELa 50], not pAvani.
there are two versions of the rAga -
vEnkaTamakhin/ dikSitar's version - srgmpdpns/ sndpmgrs, with some gpd gdp pnn phrases
Dr. S. rAmanAthan and daNdapAni desigar's treatment of the raga is srgmdns/ sndmgrs.Their compositions are bhavapriyE bhavAni and unnaiyanri uTra tuNai respectively.
there are two versions of the rAga -
vEnkaTamakhin/ dikSitar's version - srgmpdpns/ sndpmgrs, with some gpd gdp pnn phrases
Dr. S. rAmanAthan and daNdapAni desigar's treatment of the raga is srgmdns/ sndmgrs.Their compositions are bhavapriyE bhavAni and unnaiyanri uTra tuNai respectively.
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Re: Vasanthi
Ilayaraja has composed the song adho mega oorvalam from eeramana rojave in vasanti
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Re: Vasanthi
I have always enjoyed Vidushi Nagamani Srinath's tillAna in vAsanti rAga. I first heard it in an album titled Tillana produced by Sashti, Inc (based in Garland, Texas, USA). The orchestration in this recording is beautiful. I have witnessed this recording brilliantly adapted for a bharatanAtya group performance.
We can hear the same tillAna here, performed by Vid Nagamani Srinath herself.
https://www.youtube.com/watch?v=5zTf3qvgv6g
Another song I have enjoyed.... a song of Sri Kanaka Dasaru.
https://www.youtube.com/watch?v=ENZFusU ... E6L7Jwmq64
Another recording I enjoy listening to often is Sri BMK's rendition of Jayadeva's ashtapadi
https://www.youtube.com/watch?v=5xJfMAwcAEU
We can hear the same tillAna here, performed by Vid Nagamani Srinath herself.
https://www.youtube.com/watch?v=5zTf3qvgv6g
Another song I have enjoyed.... a song of Sri Kanaka Dasaru.
https://www.youtube.com/watch?v=ENZFusU ... E6L7Jwmq64
Another recording I enjoy listening to often is Sri BMK's rendition of Jayadeva's ashtapadi
https://www.youtube.com/watch?v=5xJfMAwcAEU
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Re: Vasanthi
Not surprising at all that TNS was annoyedanandasangeetham wrote: ↑18 Oct 2011, 09:44 Annoyed TNS started from where he left (meaning P) and then continued to launch Vasanti and a visibly embarrased LGJ continued with Vasanti ...
Recently in one of my programmes I was singing ragamalika and in that launched valaji and the accompanist still continued previous ragam that was darbari - I found it so difficulr after a point. I stopped to tell the accompanist this is valaji spelling out SGPDNS only for him to accompany with malayamarutham.
I quickly moved on to next song did not sing any more ragamalikas in that programme.
I have to admit that I was quite upset too
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Re: Vasanthi
[quote
My view: If it is a rare raga in which there are not many compositions it is the singer's responsibility to delineate the ascent and descent deftly without letting the accompanist or the listeners guess the raga. If it is unintentional it is OK--but it should not be gamesmanship.
[/quote]
Disagree - the accompanist should wait until vocalist has clearly established the ragam.
Or play exactly the notes that vocal has sung. That is what most accompanists do.
Not make assumptions and spoil the inspiration of vocalist and the concert itself.
TNS is a great vidwaan and he clearly establishes ragams in first few phrases.
Classic case of "avan yenn paattukku vaasikkavillai
Avan thann paattukku vaasikkiraan"
My view: If it is a rare raga in which there are not many compositions it is the singer's responsibility to delineate the ascent and descent deftly without letting the accompanist or the listeners guess the raga. If it is unintentional it is OK--but it should not be gamesmanship.
[/quote]
Disagree - the accompanist should wait until vocalist has clearly established the ragam.
Or play exactly the notes that vocal has sung. That is what most accompanists do.
Not make assumptions and spoil the inspiration of vocalist and the concert itself.
TNS is a great vidwaan and he clearly establishes ragams in first few phrases.
Classic case of "avan yenn paattukku vaasikkavillai
Avan thann paattukku vaasikkiraan"