Carnatic Music - Programmes on www.radioweb.in

askn · Post by **askn** » 27 Feb 2013, 18:17

R K Srikantan sings Swati Tirunal's Mamava Karunaya in the 56th melakarta raga, Shanmukhapriya
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askn · Post by **askn** » 28 Feb 2013, 19:57

The neraval is a true test of raga shuddhi and also sahitya bhava, and most importantly, whether the artiste can manage the two in an interesting and engaging manner bound strictly by laya or within the confines of the tala. Some popular songs with popular neraval lines
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askn · Post by **askn** » 28 Feb 2013, 20:04

Bhairavi is a raga with a rich feel and with a deeply classical flavour. Bhairavi is also an ancient raga, and there are dozens of well-known compositions in the raga. Classics include the ata tala varnam, Viriboni, and Syama Sastri's magnum opus, the swarajati Kamakshi Amba. These, and other popular and relatively unknown compositions are part of this programme on Raga Bhairavi.
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Govindaswamy · Post by **Govindaswamy** » 01 Mar 2013, 19:03

Regarding Posting 515
Sri O.S Thiagarajan’s singining of the kriti nEnendu vetukudurA- Karnataka Behag .
The pronunciation was faulty in anupallavi. The correct text with meanings are given below (Courtesy Sri.V.Govindan)

ఆ నాల్గు మోముల వాని మొర-
నాలగించి రాని నిన్ను (నేనెందు)

ஆ நால்கு3 மோமுல-வானி மொர-
நாலகிஞ்சி ரானி நின்னு (நேனெந்து3)

• அந்நான்கு வதனத்தோனின் முறையீட்டினையும் கருதி வாராத உன்னை நானெங்கு தேடுவேனய்யா?
ஆ/ நால்கு3/ மோமுல-வானி/ மொரனு/-
அந்த/ நான்கு/ வதனத்தோனின்/ முறையீட்டினையும்/

ஆலகிஞ்சி/ ரானி/ நின்னு/ (நேனு-எந்து3)
கருதி/ வாராத/ உன்னை/ நானெங்கு...

A nAlgu mOmula-vAni mora-
n(A)lakinci rAni ninnu (nEnendu)
Where will I search for You who did not come heeding the appeal of even that brahmA?
A : O Lord hari! Where will I search for You (ninnu) who –
did not come (rAni) heeding (Alakinci) the appeal (moranu) (moranAlakinci) of even that (A) brahmA – the four (nAlgu) headed (mOmula-vAni)?

Govindaswamy

askn · Post by **askn** » 01 Mar 2013, 20:36

Apart from Swati Tirunal, there have been quite a few others who have composed, essentially, in Sanskrit and Malayalam. Many of these composers were also court musicians in Swati Tirunal's time, such as Shadkala Govinda Marar and Palghat Parameshwara Bhagavatar. The Travancore royal family itself has had other composers. And who can forget Irayimman Thampi of the immortal lullaby, Omana Thingal Kidaavo?
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askn · Post by **askn** » 01 Mar 2013, 20:52

Tamil saint poet Nakkerar, describes the Arupadai Veedu temples as the most holy of the temples of Muruga. These temples are at Thirupparamkundram, Thiruchendur, Pazhani, Swamimalai, Thiruttani, and Pazhamudircholai. Composers from different eras have composed on these six temples, and this programme presents some of these songs
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askn · Post by **askn** » 03 Mar 2013, 09:56

Madurai Somu was one of the most individual, talented, entertaining and, in a way, mercurial of musicians. His music was bhava-laden, emotional, and highly personal. His interaction with the audience and his accompanists were a big part of the concert experience, and this contributed a good deal to the joyous experience that his performances invariably were. This concert presents the quintessential Madurai Somu.
Listen to Part 1 at http://www.radioweb.in/player-list?id=3386
Listen to Part 2 at http://www.radioweb.in/player-list?id=3387

Rsachi · Post by **Rsachi** » 03 Mar 2013, 12:52

Folks, a MUST Listen session with Sri Sethalapathi. I needed much perseverence since I wanted to listen to radioweb.in on my iPad. I need to tackle the show-stopper of Flash support missing in iPad, so I used a browser called Photon. I had the browsing session hanging up three times on me (=start from the beginningall over!), I have managed to listen to 50 minutes of a 59 min, program. Great Mohana Viruttam and Kaapaali, Manji-Varugalamo, Shanmukhapriya viruttam+Parvathi nayakane, now KHP viruttam with some splendid bowing by Akkarai Subhalakshmi..schadenfreude, i got bumped off the browser again. Will have to start all over, sometime...

I bought a year's subscription, but technical issues have stopped my attendance. I have requested the lovely folks Mahadevan and Krishnan at radioweb.in that their wonderful programming and audio quality should be enhanced by a better web design allowing bookmarking and cuing and IOS+Android support, plus they should connect more with the brick and mortar world of CM like radiowalla.in did at the BSU.

askn · Post by **askn** » 03 Mar 2013, 19:43

A selection of a few evergreen classical compositions. Includes Shobhillu Saptaswara, Bhajare Re Chitta Balambikaam, Naan Oru Vilayaattu Bommaiya with renditions by Mysore Nagaraj & Mysore Manjunath. R Vedavalli, Mambalam Sisters and others
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askn · Post by **askn** » 03 Mar 2013, 19:50

Sethalapathi Balasubramaniam's music was known primarily to people in the inner circles till his first album was released more than a decade ago. A simple man whose music went straight to the heart. Known to be a simple man, his music also reinforces the fact some of the greatest beauties lie in simplicity.
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askn · Post by **askn** » 03 Mar 2013, 19:54

Rsachi wrote: "enhanced by a better web design" & " IOS+Android support "

Coming soon , Sachi

askn · Post by **askn** » 04 Mar 2013, 19:56

An occasional theme where all the songs have a full-fledged alapana preceding them. This programme has alapanas and songs in ragas Kalyani, Vasanta, Begada and Abheri.
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askn · Post by **askn** » 04 Mar 2013, 19:59

Subrahmanya, the son of Shiva and Parvati, is revered as Murugan in Tamil Nadu. Composers in Carnatic music have made kritis on his various aspects - the commander of the armed forces of the Devas, the Guru, the handsome hero, and so on. This feature presents some kritis on the various facets of Subrahmanya.
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askn · Post by **askn** » 05 Mar 2013, 18:45

Many little towns and villages in South India have become well known primarily because of their association with musicians. This feature looks at a few places that are closely associated with some of our well-known musicians
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askn · Post by **askn** » 05 Mar 2013, 18:48

Their themes and concert presentations are refreshing and impressive to the veteran listener and appealing to a Carnatic music enthusiast. The vocalist duo Shashikiran and Ganesh are known to adapt themselves to conformity and also to experimentation, well within the traditions of Carnatic music.
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Rsachi · Post by **Rsachi** » 05 Mar 2013, 19:03

Krishnan,
Nice to know!

askn · Post by **askn** » 06 Mar 2013, 18:22

In Carnatic music, there have been several popular and revered duos - vocalists like the Alathur Brothers, Brinda-Muktha and the Bombay Sisters. Performing together as a duo. It requires perfect co-ordination between the two artistes, as well as keen mutual understanding. This programme features a few duos of Carnatic music.
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askn · Post by **askn** » 06 Mar 2013, 18:27

Unnikrishnan sings a detailed Kalyani followed by Muthuswami Dikshitar's classic Bhajare Re Chitta
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askn · Post by **askn** » 08 Mar 2013, 08:27

Focus on the trinity’s compositions set to Mishra Chapu tala. The odd-numbered seven-count tala lends a special beauty to compositions. All three composers have produced masterpieces in this tala, with Syama Sastri having had a special liking to it with almost 40 per cent of his compositions being in mishra chapu or variants in a similar seven-count cycle.
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askn · Post by **askn** » 08 Mar 2013, 08:31

The programme looks at the different hues of the raga Purvikalyani through an array of compositions. You can hear Purvikalyani clothed in the catchy rhythm of a Tiruppugazh on the one hand and in a slow rendition with a meditative feel on the other hand. With many rare songs and unique renditions, this two-part programme takes a comprehensive look at raga Purvikalyani.
Listen at http://www.radioweb.in/player-list?id=3413

askn · Post by **askn** » 10 Mar 2013, 09:49

One hour of a selection of instrumental music. Featuring Jayaprada Ramamurthy, V Sanjeev, Gottuvadyam Narayana Iyengar & Kadri Gopalnath
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askn · Post by **askn** » 10 Mar 2013, 10:01

G N Balasubramaniam sings a Ragam Tanam Pallavi in Raga Kalyani. GNB was known for his progressive elaboration of the raga, especially in his Ragam-Tanam-Pallavis, which is evident here too. The pallavi is set to Mishra Chapu tala, and the pallavi line is "Un Darisanam Kidaikkumo Nataraja Dayanidhe".
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askn · Post by **askn** » 10 Mar 2013, 10:04

There have been quite a few compositions in Carnatic music that have never ceased to engage the listener. Likewise, there are some kritis that are mirrors of the ragas and remind one of the compositions as soon as the raga is mentioned.
A selection of a few evergreen classical compositions.
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askn · Post by **askn** » 10 Mar 2013, 10:07

Tala is the framework of time for a composition, just like raga is the framework for melody. Seven talas called the Suladi sapta talas are in vogue today. Muthuswami Dikshitar, known for his scholarly approach to every aspect, has included the suladi sapta talas in an exclusive set among his compositions called the Navagraha kritis. Not only this, he has set many other compositions too to rare talas like eka and jhampa. This programme looks at some rare talas
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askn · Post by **askn** » 10 Mar 2013, 20:49

T N Seshagopalan has for years now been known for the brilliance of his renditions and also for his wide-ranging knowledge of music and related fields. In this special concert that was held in connection with Shivaratri, Madurai T N Seshagopalan presents compositions on Lord Shiva and his various facets and aspects. Along with the music, Seshagopalan also provides introductions and anecdotal commentaries along with a few of the songs in the concert..
Listen to Part 1 at http://www.radioweb.in/player-list?id=3428
Listen to Part 2 at http://www.radioweb.in/player-list?id=3431

askn · Post by **askn** » 11 Mar 2013, 18:40

Kalpana swarams as part of Manodharma sangeetham is a real test to the creativity the artiste brings to the music. They are beautiful expositions that bring the artiste’s proficiency to the fore. This is a selection of kritis being sung with swara elaborations
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askn · Post by **askn** » 11 Mar 2013, 18:45

Thanjavur Muktha (1914–2007) was one of the foremost representatives of the Veena Dhanammal school of Carnatic Music. Muktha, as with others from the Dhanammal school, is known for her strictly classical approach, and she was also a highly respected teacher. A highlight of her music in her memory.
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askn · Post by **askn** » 12 Mar 2013, 18:20

Rivers in India have been considered holy from times immemorial. Many revered pilgrimage centres are situated on the banks of rivers. Carnatic music has flourished on the banks of the river Cauvery. Composers talk of rivers in Kshetra kritis, on specific temples; occasionally, the songs address the rivers directly. This programme features a few of the songs that mention and refer to rivers..
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askn · Post by **askn** » 12 Mar 2013, 18:28

The excellence of the lyrics and the genuineness of feeling soon made Ambujam Krishna's songs well known. Today, several of her songs continue to be set to music and have become integral components of the concert platform. That itself speaks of the inherent value of her lyrical output. a showcase of her compositions
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askn · Post by **askn** » 14 Mar 2013, 18:59

Suguna Purushottaman and Suguna Varadachari , veteran traditionalists who are known for their erudition and also their nuanced understanding of aesthetics, present Patnam Subramania Iyer's composition, Nee Paadamuley, in Raga Bhairavi.
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askn · Post by **askn** » 14 Mar 2013, 19:03

Muthuswami Dikshitar travelled widely throughout his adult life, and this is one of the main reasons for the sheer variety of deities and temples that his compositions are based on. This feature follows Dikshitar on his peregrinations and presents the songs that he composed as he visited those temples.
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askn · Post by **askn** » 14 Mar 2013, 19:09

The works of poets, poet-composers, haridasas have very much shaped Carnatic Music and laid the foundation for the work that was to be carried on by the Trinity and later composers. In this segment, we sample the compositions of Muthutandavar, Tirunavukkarasar, Jayadeva and others.
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askn · Post by **askn** » 14 Mar 2013, 19:14

Athana has a majesty that is comparable to some of the major ragas like Shankarabharanam and Kalyani, but it is relatively limited in its scope. It is probably the ability to convey such grandeur even within its limited scope that makes it unique. We look at aspects and includes well known and rare compositions. This is Part 1 of the two-part programme on Raga Athana
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askn · Post by **askn** » 16 Mar 2013, 17:34

T V Gopalakrishnan sings a Ragam Tanam Pallavi in Raga Dharmavati. He is accompanied by S Varadarajan on the violin, T V Vasan on the mridangam, and V Suresh on the ghatam.
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askn · Post by **askn** » 16 Mar 2013, 17:40

Uppalapati Ankiah was initially a tavil and mridangam artiste. It was much later that he became a vocalist. He quickly built a reputation as not only an expert in laya, but also a rare musician who sang compositions in rare and unusual talas. His singing is characterized by an effortlessness in terms of both raga and tala. This Artiste Highlight is in connection with Uppalapati Ankiah's birth anniversary, which falls on March 15
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askn · Post by **askn** » 16 Mar 2013, 17:47

Ramnad Krishnan's music was marked by an ease of rendition that often belied the effort that went into making the vidwan, and made musical nuances seem like an easy thing to accomplish. A concert in two parts.
Listen to Part 1 at http://www.radioweb.in/player-list?id=3460
Listen to Part 2 at http://www.radioweb.in/player-list?id=3462

askn · Post by **askn** » 17 Mar 2013, 18:37

Most kritis in Carnatic Music are dedicated to various Gods and Goddesses. We have several compositions on Ganesha, Vishnu and his other forms - Rama and Krishna, Devi and her several forms, Subramania or Muruga, and Lord Shiva. This feature presents some kritis on deities or themes that are not so commonly sung about.
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askn · Post by **askn** » 17 Mar 2013, 18:49

M S Sheela is a senior Carnatic vocalist and has decades of concert experience. She is a disciple of R K Srikantan, and is a top rank artiste of All India Radio. This Artiste Highlight is in connection with M S Sheela's birthday on March 16.
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askn · Post by **askn** » 18 Mar 2013, 18:03

An occasional theme where all the songs have a full-fledged alapana preceding them. This edition has alapanas and songs in ragas Pantuvarali, Mohana Kalyani, Ranjani and Hindolam.
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askn · Post by **askn** » 18 Mar 2013, 18:08

V V Swarnavenkatesha Dikshitar was born in 1921, and started composing at the age of 16. He has composed around 2,000 songs. One of Dikshitar's best known compositions is Swarna Kaala Bhairavam in the rare Sankeerna Jati Triputa tala, which was popularized by Palghat K V Narayanaswamy.
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askn · Post by **askn** » 19 Mar 2013, 18:48

The most authentic version of a composition quite naturally comes from the composer. So, when a composer performs his or her own creation, it gains a sheen and character of its own. Featuring a few artiste-composers of recent years performing their own compositions inc. Lalgudi Jayaraman , Dr M Balamuralikrishna and more.
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askn · Post by **askn** » 19 Mar 2013, 19:00

Palghat K V Narayanaswamy's concert career spanned almost sixty years. He was a disciple of Ariyakudi Ramauja Iyengar, He was influenced by the styles of Musiri Subramania Iyer and the Veena Dhanammal family. These influences gave a soft, soothing touch to his music and enhanced the bhava or emotional element, aspects in which KVN remains unsurpassed.
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askn · Post by **askn** » 20 Mar 2013, 19:10

The word 'Mudra' commonly means a seal or a mark, and in carnatic music compositions, it is a mark that refers to a fact, like the authorship or raga. Presents some of these mudras, with specific compositions as examples
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askn · Post by **askn** » 20 Mar 2013, 19:15

Sikkil Gurucharan sings one of Tyagaraja’s most majestic of compositions, Rama Katha Sudha in Raga Madhyamavati.
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askn · Post by **askn** » 21 Mar 2013, 19:40

The programme looks at the different hues of the raga Purvikalyani through an array of compositions. With the emotions it evokes being as varied as the Adbhuta and Shanta rasas, the raga has a very distinct charm. With many rare songs and unique renditions, this two-part programme takes a comprehensive look at raga Purvikalyani..
Listen at http://www.radioweb.in/player-list?id=3487

askn · Post by **askn** » 21 Mar 2013, 19:56

Ananthalakshmi Sadagopan made her debut on the concert stage at the age of eleven, and in the next couple of years had sang on All India Radio and also released commercial recordings. In the later decades, she became known for her musical abilities and refined aesthetics, and also for her acumen as a teacher
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askn · Post by **askn** » 22 Mar 2013, 18:58

Madras or Chennaipattinam has, over the centuries, become a centre for the arts, especially Carnatic music. Musicians moved here from Thanjavur and other samasthanams, once the patronage of the rulers there began to diminish, with the advent of the British. Chennai has several ancient temples, and most composers have dedicated kritis to these deities.
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askn · Post by **askn** » 22 Mar 2013, 19:05

Madurai T N Seshagopalan sings a Ragam Tanam Pallavi in Raga Malahari. TNS is an acknowledged master of pallavis, and is known to put together pallavis on the spot. One of the popular parts of Seshagopalan's pallavi renditions is the extensive ragamalika section that he sings as part of the kalpana swaras
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askn · Post by **askn** » 24 Mar 2013, 11:08

A student of stalwarts S Ramanathan and T Muktha, Sowmya's music reflects the classical values that her gurus held dear, while at the same time being creative and innovative. One of the characteristics of her singing is the effortlessness that it seems to be imbued with, and this is true even when she is singing a rare raga or a challenging pallavi. A concert in two parts
Listen to Part 1 at http://www.radioweb.in/player-list?id=3499
Listen to Part 2 at http://www.radioweb.in/player-list?id=3501

askn · Post by **askn** » 24 Mar 2013, 19:17

Most of Muthuswami Dikshitar's compositions have the name of the raga mentioned in the lyrics. It shows Dikshitar's mastery of the Sanskrit language in the way he skilfully weaves them in. Looking at the different innovative ways he has added the raga mudra to the lyrics
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