Arasi (Smt. Rajee Krishnan)
-
- Posts: 9946
- Joined: 03 Feb 2010, 08:04
Arasi (Smt. Rajee Krishnan)
On Jan 31st,2006 , I did see the hindu paper where it was mentioned about our arasi's CD release.Though not sure , if it was indeed our arasi. I arrived late at 07:15 pm to see the curtains (un?)fortunately missed her speech. But fortunate to hear the entire concert .The vocalist Smt sumitra nitin was assisted by Charulatha ramAnujam in violin and R.SankaranArayan in mridangam
1. nAdi vanden pAdi aruL theDi ninren unnai(RS,S) - gambheera nAttai - in Tamil
The first number nAdi vanden was a beautiful number .The rAgam gambheera nAttai was asserted with a wonderful line in her anupallavi alavillA gambheeramudai , with sumitra really asserting with extra gambheerAm and gently remainding all
rasikas of that it is gambheera nAttai.Arasi gave a great first impression, that she is a musically inclined vageyakkara.
2. rAmA nee pAdamu pattina varulu dhanyulu - AbhOgi - in Telugu
The second number a telegu number. IMHO,Telegu the most perfect language for carnatic music. The rAga AbhOgi gives an excitement whenever end of the anupallavi/saranam accomodates the immediate ascent that typically follows in the
pallavi.arasi achieved this in her triple sundae of telegu+ AbhOgi + perfect ascent back to pallavi. This krithi was almost the same as the famous manasunilpA in AbhOgi. Felt Smt Sumitra could have done a neraval, it must have been wonderful.
3. cholla cholla inithidUmE amudhan nAmam (R,S)- vAchaspati -in Tamil
The third was to me the best in concert experience.Smt Sumitra gave a very wonderful rAga alApanai in vachaspathi. Sumitra continued with a wonderful number cholla cholla inithiDumE amudhan nAmam was a perfect vAchaspathi.This number had atleast two wonderful neraval piDi's, one in charanam "sollukku iniyavan eedhu inaiyilladavan, yashOdai maghizhum chella pillai avan" and the other in anupallavi "nArayana..."
4.Engu pArthalUm un innurAve kAnum inbAm enakkul arulvAyO(R)- devagAndhAri -in Tamil
Another nice number followed which gave a perfect devagAndhAri was her superlative pallavi line .If you just hum the line with a faint devagAndhari in your head,you would enjoy the choice of the rAga as a perfect one.But however in the charanam line "chilu chilu enru...", it appeared either our arasi dropped sumitra towards the arAbiian sea or maybe smt sumitra strayed into the arAbian land .
5.nAtyamAdO natarAja(R)- poorvikalyAni - in kannada
I am not sure if there is kannada number with rhythmic phrases( deem tOm)like what you would hear in neelakanta sivan's tamil number anandanadanamAduvAr in poorvikalyAni .That is what I heard with this nAtyamAdo which was a fast number .So she has filled a great gap.
6. valli nAyakane vA vA (R N S T) - bilahari - in Tamil
Nice alApanai in bilahari followed with a valli nAyakane vA vA ,with vA vA giving adequate scope for giving the life phrase of bilahari. Neraval was nice in the lines "thanthai neeyE tava pudalvanum neeyE" , the phrases thanthai and pudalvanum
provided 2 touch points for excellent neraval rendition by Smt Sumitra. Swarams and tani were good.
7.rAgamAliga - tamil number
Another fantastic rAgamaliga with excellent choice of rAgas. Is there a better rAgam to start the rAgamaliga than Anandabhairavi .The Anandabhairavi rAgamAliga had outstanding lyrics "Adi pAdi dhinam alaindirUndAl Ayar padiyinil Anandam thAn kannan". Followed with an excellent contrast bringing the valour in mOhanam rAgam with lyrical lines "mOhanamAi muruval izhayum mugham".
The next in rAgamaligai was shyamA with lines "vAri vAri mannai thoovinAlum" was another great contrast to mOhanam. Following The popular tradition of time immemorial vageyakkaras she ended the rAgamaliga in sindhubhairavi with excellent lines in "tava payanO enda jenma punniyAmO" .
8.makkalAtava nOdini neeve -behAg - in kannada
Nice number in behAg , bringing almost all beautiful rAgaswaroopam of behAg (maximum drowsiness and minimum tara stayi to just wakeup the rasikas ).
9.unnai ninaindhEn innisAi pAdi ennAlum irundhidalamO - punnagavarAli -in Tamil
The speciality of punnagavarAli as a tukkada is that it helps each of the rasikas (whether a sangeetha kalanidhi or a bathroom singer ) to give a unique emotional experience to hum and go home, which is generally difficult with most of the rAgas . The simplicity of the lyrics created by the composer is tested in punnagavarAli.Arasi was outstanding here with great lyrics with one emotively brilliant phrase "veenAsaigalil vizhvEnO ulaga..karai kAna inbAm"
10 .pavamAna( mangalam )
Attn Vidwans/Vidushis
I did attend few months before a concert of exclusive ambujam krishna concert. There is so much similiarity in Arasi's compositions to what Smt ambujam krishna achieved before .
There is simplicity in most of her numbers. Even if there is slight complexity, Arasi has intelligently choosen the right rAgas and never reduced a bit of classical content. If Shri SSI popularized Smt Ambujam Krishna , I would urge you all to take up her krithis. There is aesthetics in her numbers and her lyrical content(in tamil for sure) was almost perfect . I did talk to her, she said she composed roughly 400 krithis (She started writing from her age 10). Arasi mentioned that she roughly tuned most of her songs and took the help of her relative vidushis Smt Ananthalakshmi SadagOpan and Smt Jayalakshmi santhanam.
Hoping to hear more of arasi's composition from vidwans and vidushis .
1. nAdi vanden pAdi aruL theDi ninren unnai(RS,S) - gambheera nAttai - in Tamil
The first number nAdi vanden was a beautiful number .The rAgam gambheera nAttai was asserted with a wonderful line in her anupallavi alavillA gambheeramudai , with sumitra really asserting with extra gambheerAm and gently remainding all
rasikas of that it is gambheera nAttai.Arasi gave a great first impression, that she is a musically inclined vageyakkara.
2. rAmA nee pAdamu pattina varulu dhanyulu - AbhOgi - in Telugu
The second number a telegu number. IMHO,Telegu the most perfect language for carnatic music. The rAga AbhOgi gives an excitement whenever end of the anupallavi/saranam accomodates the immediate ascent that typically follows in the
pallavi.arasi achieved this in her triple sundae of telegu+ AbhOgi + perfect ascent back to pallavi. This krithi was almost the same as the famous manasunilpA in AbhOgi. Felt Smt Sumitra could have done a neraval, it must have been wonderful.
3. cholla cholla inithidUmE amudhan nAmam (R,S)- vAchaspati -in Tamil
The third was to me the best in concert experience.Smt Sumitra gave a very wonderful rAga alApanai in vachaspathi. Sumitra continued with a wonderful number cholla cholla inithiDumE amudhan nAmam was a perfect vAchaspathi.This number had atleast two wonderful neraval piDi's, one in charanam "sollukku iniyavan eedhu inaiyilladavan, yashOdai maghizhum chella pillai avan" and the other in anupallavi "nArayana..."
4.Engu pArthalUm un innurAve kAnum inbAm enakkul arulvAyO(R)- devagAndhAri -in Tamil
Another nice number followed which gave a perfect devagAndhAri was her superlative pallavi line .If you just hum the line with a faint devagAndhari in your head,you would enjoy the choice of the rAga as a perfect one.But however in the charanam line "chilu chilu enru...", it appeared either our arasi dropped sumitra towards the arAbiian sea or maybe smt sumitra strayed into the arAbian land .
5.nAtyamAdO natarAja(R)- poorvikalyAni - in kannada
I am not sure if there is kannada number with rhythmic phrases( deem tOm)like what you would hear in neelakanta sivan's tamil number anandanadanamAduvAr in poorvikalyAni .That is what I heard with this nAtyamAdo which was a fast number .So she has filled a great gap.
6. valli nAyakane vA vA (R N S T) - bilahari - in Tamil
Nice alApanai in bilahari followed with a valli nAyakane vA vA ,with vA vA giving adequate scope for giving the life phrase of bilahari. Neraval was nice in the lines "thanthai neeyE tava pudalvanum neeyE" , the phrases thanthai and pudalvanum
provided 2 touch points for excellent neraval rendition by Smt Sumitra. Swarams and tani were good.
7.rAgamAliga - tamil number
Another fantastic rAgamaliga with excellent choice of rAgas. Is there a better rAgam to start the rAgamaliga than Anandabhairavi .The Anandabhairavi rAgamAliga had outstanding lyrics "Adi pAdi dhinam alaindirUndAl Ayar padiyinil Anandam thAn kannan". Followed with an excellent contrast bringing the valour in mOhanam rAgam with lyrical lines "mOhanamAi muruval izhayum mugham".
The next in rAgamaligai was shyamA with lines "vAri vAri mannai thoovinAlum" was another great contrast to mOhanam. Following The popular tradition of time immemorial vageyakkaras she ended the rAgamaliga in sindhubhairavi with excellent lines in "tava payanO enda jenma punniyAmO" .
8.makkalAtava nOdini neeve -behAg - in kannada
Nice number in behAg , bringing almost all beautiful rAgaswaroopam of behAg (maximum drowsiness and minimum tara stayi to just wakeup the rasikas ).
9.unnai ninaindhEn innisAi pAdi ennAlum irundhidalamO - punnagavarAli -in Tamil
The speciality of punnagavarAli as a tukkada is that it helps each of the rasikas (whether a sangeetha kalanidhi or a bathroom singer ) to give a unique emotional experience to hum and go home, which is generally difficult with most of the rAgas . The simplicity of the lyrics created by the composer is tested in punnagavarAli.Arasi was outstanding here with great lyrics with one emotively brilliant phrase "veenAsaigalil vizhvEnO ulaga..karai kAna inbAm"
10 .pavamAna( mangalam )
Attn Vidwans/Vidushis
I did attend few months before a concert of exclusive ambujam krishna concert. There is so much similiarity in Arasi's compositions to what Smt ambujam krishna achieved before .
There is simplicity in most of her numbers. Even if there is slight complexity, Arasi has intelligently choosen the right rAgas and never reduced a bit of classical content. If Shri SSI popularized Smt Ambujam Krishna , I would urge you all to take up her krithis. There is aesthetics in her numbers and her lyrical content(in tamil for sure) was almost perfect . I did talk to her, she said she composed roughly 400 krithis (She started writing from her age 10). Arasi mentioned that she roughly tuned most of her songs and took the help of her relative vidushis Smt Ananthalakshmi SadagOpan and Smt Jayalakshmi santhanam.
Hoping to hear more of arasi's composition from vidwans and vidushis .
Last edited by rajeshnat on 02 Feb 2007, 23:44, edited 1 time in total.
-
- Posts: 1876
- Joined: 04 Feb 2010, 02:05
Ifyou are talking about jatis woven into the sAhitya, I think there are a few; One whick I can immediately recall is the famous daru of HBM mAtE malayadhwaja in kamAch.rajeshnat wrote:5.nAtyamAdO natarAja(R)- poorvikalyAni - in kannada
I am not sure if there is kannada number with rhythmic phrases( deem tOm)like what you would hear in neelakanta sivan's tamil number anandanadanamAduvAr in poorvikalyAni .That is what I heard with this nAtyamAdo which was a fast number .So she has filled
[/b].
-Ramakriya
-
- Posts: 4066
- Joined: 26 Mar 2005, 17:01
Thanks for reporting on this event Rajesh. Those of us who could not be present are much obliged.
There are quite a few dEvaranAmas. "tAtattatt taddhimi ene harikuNidADidane" for one There ae several others.rajeshnat wrote:5.nAtyamAdO natarAja(R)- poorvikalyAni - in kannada
I am not sure if there is kannada number with rhythmic phrases( deem tOm)like what you would hear in neelakanta sivan's tamil number anandanadanamAduvAr in poorvikalyAni .That is what I heard with this nAtyamAdo which was a fast number .So she has filled a great gap.
-
- Posts: 11498
- Joined: 02 Feb 2010, 22:36
Thanks rajeshnat
for taking us there through your verbal chiaroscuro! No wonder the Tamil sparkles and now we have another Ambujam Krishna among us. Let us sure hope more of these compositions will be heard in the concert platforms.
Now we can't wait to hear the same from her CD's.
Best wishes to Arasi once again.
for taking us there through your verbal chiaroscuro! No wonder the Tamil sparkles and now we have another Ambujam Krishna among us. Let us sure hope more of these compositions will be heard in the concert platforms.
Now we can't wait to hear the same from her CD's.
Best wishes to Arasi once again.
-
- Posts: 16805
- Joined: 22 Jun 2006, 09:30
Taking a few deep breaths before I even begin to say anything...
Arrived home after an exciting and exhausting trip. Read all the pAmAlais (there were pUmAlais--bunches of flowers--specially the ones from Mr&Mrs Bean). I wondered if I was in this world or had changed my address. The eulogies made me doubt if I was still on the voters list of planet earth! No 'may her soul rest in peace' in all the flood of affection So, I realize I am still alive and am surrounded by people who are indescribably generous in their kindness towards me.
Interesting--Cool stayed for the speeches, Rajesh came to Sumitra's concert, and the only other known attendee from the forum is returning to the US after his vacation (VK). He and his wife stayed from the beginning to the end. Wish Cool had been there when we lingered on after the affair. I wish I had at least spotted him in the audience. I could not see beyond the first few rows and missed seeing many friends and relatives who were very much there!
After all your accolades, whatever I say now would sound weak and lifeless:)
I am very much alive, but believe me, you all make me soar--it is mainly your affection for the gal which makes her flip. Hopefully, the songs won't disappoint you.
Rajesh, you are a card! I had such a good time with you around. Thanks for the review, sArathy.
Will post a few corrections on the report when I recover. Ah, I am swooning again!
Arrived home after an exciting and exhausting trip. Read all the pAmAlais (there were pUmAlais--bunches of flowers--specially the ones from Mr&Mrs Bean). I wondered if I was in this world or had changed my address. The eulogies made me doubt if I was still on the voters list of planet earth! No 'may her soul rest in peace' in all the flood of affection So, I realize I am still alive and am surrounded by people who are indescribably generous in their kindness towards me.
Interesting--Cool stayed for the speeches, Rajesh came to Sumitra's concert, and the only other known attendee from the forum is returning to the US after his vacation (VK). He and his wife stayed from the beginning to the end. Wish Cool had been there when we lingered on after the affair. I wish I had at least spotted him in the audience. I could not see beyond the first few rows and missed seeing many friends and relatives who were very much there!
After all your accolades, whatever I say now would sound weak and lifeless:)
I am very much alive, but believe me, you all make me soar--it is mainly your affection for the gal which makes her flip. Hopefully, the songs won't disappoint you.
Rajesh, you are a card! I had such a good time with you around. Thanks for the review, sArathy.
Will post a few corrections on the report when I recover. Ah, I am swooning again!
Last edited by arasi on 03 Feb 2007, 08:51, edited 1 time in total.
Arasi
Cool stayed for the speeches as well as te first two items of the Concert.Mrs Cool was there too.
But unforuntately I had taken a break from a Directors meeting (that later extended till late into the night.)
Blame it all on Papee Peth (The Sinful stomach which forces our priorities )
How I wish I could be a Nalli... or an Obul...without having to worry where my next meal comes from !!
btw we must hear that abhogi bit here on this forum.
it has such a nice feel while take-off-especially when it comes to dhanyulu..
Cool stayed for the speeches as well as te first two items of the Concert.Mrs Cool was there too.
But unforuntately I had taken a break from a Directors meeting (that later extended till late into the night.)
Blame it all on Papee Peth (The Sinful stomach which forces our priorities )
How I wish I could be a Nalli... or an Obul...without having to worry where my next meal comes from !!
btw we must hear that abhogi bit here on this forum.
it has such a nice feel while take-off-especially when it comes to dhanyulu..
-
- Posts: 16805
- Joined: 22 Jun 2006, 09:30
ksrimech,
I am totally drowned in the praises of good friends and others on the forum. Your collective enthusiasm exceeds the quality of the songs, no doubt! Soon, we will find a way of putting up a few examples. Meanwhile, here are the lines of the dEva gAndhAri song. tALam? You can be pretty sure that most songs are in Adi! This one too.
engu pArththAlum un innuruVE kANum inbam enakkaruLVAyO?
ellai ilA nIla vAnil un vaNNamum
minnum viNmIngaLil un oLi vizhigaLumAi (engu)
Sala Salavenum nadi un salangai oliyO?
kala kalavenum magavin nagai undan kaLiyO?
Silu Siluvena vISum thenRal un thazhuvalO?
pal vidamAi oLirum kATchigaLil ellAm-nAn (engu pArthAlum)
I am totally drowned in the praises of good friends and others on the forum. Your collective enthusiasm exceeds the quality of the songs, no doubt! Soon, we will find a way of putting up a few examples. Meanwhile, here are the lines of the dEva gAndhAri song. tALam? You can be pretty sure that most songs are in Adi! This one too.
engu pArththAlum un innuruVE kANum inbam enakkaruLVAyO?
ellai ilA nIla vAnil un vaNNamum
minnum viNmIngaLil un oLi vizhigaLumAi (engu)
Sala Salavenum nadi un salangai oliyO?
kala kalavenum magavin nagai undan kaLiyO?
Silu Siluvena vISum thenRal un thazhuvalO?
pal vidamAi oLirum kATchigaLil ellAm-nAn (engu pArthAlum)
Last edited by arasi on 04 Feb 2007, 20:03, edited 1 time in total.
-
- Posts: 1050
- Joined: 03 Feb 2010, 04:25
arasiyArE (if that usage is acceptable),
AhA! enna arumaiyAna pAttu. idanalayEtAn tamizha teviTTAda inbam enRu kUruvArO? ummadu pulamaikkum tiramaikkum, aDiyEnadu siram tAzhtiya vaNakkangaL. I'm sure you are praising Mother Nature here. As I read the song, this is what ran into my head. I immediately associated the nIla vAnam to kaNNapiran (vibhavAvataram). And I felt the rest of the songs were mapping the arcA divya dEsams. First line to tiruvEnkaTam, second line to gurupavanapuram, third line to singavEzhkuRam and the last one to all other divya dEsams and beautiful temples which we can see with our eyes. I could also associate thoughts of some greats thinkers, philosphers and vAggEyakaras like subrahmaNya bAratiyAr, AzhvArgaL, svAmi dEsikan, ambujam krSnA and of course, our own, tyAgarAjar. This is aDiyEn's imagination. I'm immensely happy reading such beautiful poetry and dEvagAndhari also seems very suitable when I try humming a tune along with the lyrics. I wish to hear it on the main platform one day. Thank you for sharing it with us here.
AhA! enna arumaiyAna pAttu. idanalayEtAn tamizha teviTTAda inbam enRu kUruvArO? ummadu pulamaikkum tiramaikkum, aDiyEnadu siram tAzhtiya vaNakkangaL. I'm sure you are praising Mother Nature here. As I read the song, this is what ran into my head. I immediately associated the nIla vAnam to kaNNapiran (vibhavAvataram). And I felt the rest of the songs were mapping the arcA divya dEsams. First line to tiruvEnkaTam, second line to gurupavanapuram, third line to singavEzhkuRam and the last one to all other divya dEsams and beautiful temples which we can see with our eyes. I could also associate thoughts of some greats thinkers, philosphers and vAggEyakaras like subrahmaNya bAratiyAr, AzhvArgaL, svAmi dEsikan, ambujam krSnA and of course, our own, tyAgarAjar. This is aDiyEn's imagination. I'm immensely happy reading such beautiful poetry and dEvagAndhari also seems very suitable when I try humming a tune along with the lyrics. I wish to hear it on the main platform one day. Thank you for sharing it with us here.
-
- Posts: 16805
- Joined: 22 Jun 2006, 09:30
ksrimech,
nAnum Siram thAzhththi ummai vaNanguginREn. You are absolutely right. Mother Nature figures prominently in this kriti. nIla vAnam, I thought (after the song was born), refered to krishnA. If it brings the divya kshetrams to your mind, great! I was wondering--but for the nIla vAnam, this could be a hymnal in any religion...
nAnum Siram thAzhththi ummai vaNanguginREn. You are absolutely right. Mother Nature figures prominently in this kriti. nIla vAnam, I thought (after the song was born), refered to krishnA. If it brings the divya kshetrams to your mind, great! I was wondering--but for the nIla vAnam, this could be a hymnal in any religion...
-
- Posts: 16805
- Joined: 22 Jun 2006, 09:30
For those who are looking for the CD, please go to www.rajalakshmiaudio.com--you will find details.
arasi:
I mentioned this in another thread before. I noticed actress Radhika is infringing on your trademark "Arasi" by starting a megaserial by the same title on Sun TV. You should sue her!!!
If she does not settle with you, we will all boycott her serial (I never watch them anyway--see, there you go. I already was boycotting knowing this would come to pass!)
I mentioned this in another thread before. I noticed actress Radhika is infringing on your trademark "Arasi" by starting a megaserial by the same title on Sun TV. You should sue her!!!
If she does not settle with you, we will all boycott her serial (I never watch them anyway--see, there you go. I already was boycotting knowing this would come to pass!)
-
- Posts: 9946
- Joined: 03 Feb 2010, 08:04
arasi,
Just had time to hear your entire album after I bought it that day.Out of all the remaining 6 that was not sung in the live concert , kalyAna vasantham krithi is simply outstanding. Even I love simm madhyamam . Is simm madhyamam krithi in sanskrit.If it is, you are also a sanskrit kavi.
Just had time to hear your entire album after I bought it that day.Out of all the remaining 6 that was not sung in the live concert , kalyAna vasantham krithi is simply outstanding. Even I love simm madhyamam . Is simm madhyamam krithi in sanskrit.If it is, you are also a sanskrit kavi.
Last edited by rajeshnat on 04 Feb 2007, 22:52, edited 1 time in total.
-
- Posts: 16805
- Joined: 22 Jun 2006, 09:30
Rajesh,
Thanks for listening to the whole caboodle in one go. The simhEndra madhyamam song IS in sanskrit, and I do not profess to know sanskrit. As I stated that day, I am a bit aware of what I put down on paper when I write prose, but when it comes to the songs, I have no idea where they come from. I just sing them out. There is another sanskrit one there in kuntalavarALi. The bilahari song Sumitra sang is not there in the CD.
mahakavi,
I hope that those who bring me the songs don't get to sue me some day You are right. Arasi serial has just started, they say, and I have heard jokes about the timing of the CD release. One of the speakers that day mentioned it as well. We know we have our doctors on the forum. Any lawyers?:)
Thanks for listening to the whole caboodle in one go. The simhEndra madhyamam song IS in sanskrit, and I do not profess to know sanskrit. As I stated that day, I am a bit aware of what I put down on paper when I write prose, but when it comes to the songs, I have no idea where they come from. I just sing them out. There is another sanskrit one there in kuntalavarALi. The bilahari song Sumitra sang is not there in the CD.
mahakavi,
I hope that those who bring me the songs don't get to sue me some day You are right. Arasi serial has just started, they say, and I have heard jokes about the timing of the CD release. One of the speakers that day mentioned it as well. We know we have our doctors on the forum. Any lawyers?:)
Last edited by arasi on 05 Feb 2007, 12:21, edited 1 time in total.
-
- Posts: 1430
- Joined: 13 Aug 2006, 10:51
Interesting.but when it comes to the songs, I have no idea where they come from
There is another thread 'Composition Process' initiated by jayaram where inspiration is being discussed. If I may say so, Madam Arasi needs to be probed a bit more to find out about this.
Last edited by vgvindan on 06 Feb 2007, 19:51, edited 1 time in total.
-
- Posts: 16805
- Joined: 22 Jun 2006, 09:30
vgovindan,
Yes, when Jayaram said O ranga sAyI seems to be more of an inspired kriti than nannu pAlimpa, I said it could be the other way round too. There is another thing. The way the listener reacts to a song--his mood, his experiences and the way he reacts to the singer--all these color his rasanai.
I do feel that many composers would have felt the way I do: when a song is born, there is no way to know how it appeared all in a sudden. Of course, there are trigger events or feelings--my husband coming down for breakfast, humming a rAgA, my continuing it as I do my work, sometimes brings me a song. Losing myself in the beauty of Nature as I take a walk, the laughter of children at play, a kind deed, a beautiful rendition of a rAgA by a vidwAn or vidUshi, my scanning the lines of a great composer, a spiritual moment in a quiet temple, and many unexplainable things could be triggers for a song. One song can inspire another to follow. I remember getting three songs in one day, and once, two songs in the same rAgA within hours. I go for months without getting a single song.
I am not a vAggEyakAra exclusively. That part of me is what nourishes my soul. I sing the songs out to myself and it makes me very happy...
Yes, when Jayaram said O ranga sAyI seems to be more of an inspired kriti than nannu pAlimpa, I said it could be the other way round too. There is another thing. The way the listener reacts to a song--his mood, his experiences and the way he reacts to the singer--all these color his rasanai.
I do feel that many composers would have felt the way I do: when a song is born, there is no way to know how it appeared all in a sudden. Of course, there are trigger events or feelings--my husband coming down for breakfast, humming a rAgA, my continuing it as I do my work, sometimes brings me a song. Losing myself in the beauty of Nature as I take a walk, the laughter of children at play, a kind deed, a beautiful rendition of a rAgA by a vidwAn or vidUshi, my scanning the lines of a great composer, a spiritual moment in a quiet temple, and many unexplainable things could be triggers for a song. One song can inspire another to follow. I remember getting three songs in one day, and once, two songs in the same rAgA within hours. I go for months without getting a single song.
I am not a vAggEyakAra exclusively. That part of me is what nourishes my soul. I sing the songs out to myself and it makes me very happy...
Last edited by arasi on 06 Feb 2007, 22:34, edited 1 time in total.
-
- Posts: 1430
- Joined: 13 Aug 2006, 10:51
Nice of you to have shared your thoughts.
I shall relate my oft-repeated dream experience. I am not at all trained in abc's of music. I am at best a bath room singer of film music vareity. But I am very fond of classical (Carnatic) music and I have a good collection.
On quite a few occasions, I had this weird experience in dream of myself performing a long Alapana - no lyrics - just pure music - holdng breath - like SPB does in the picture 'kELaDi kaNmaNi; I would wake up panting for breath, but relishing the experience of the sweet music. This has happened on many occasions - not necessarily related to hearing songs before going to bed.
Mind's workings are indeed strange!
I shall relate my oft-repeated dream experience. I am not at all trained in abc's of music. I am at best a bath room singer of film music vareity. But I am very fond of classical (Carnatic) music and I have a good collection.
On quite a few occasions, I had this weird experience in dream of myself performing a long Alapana - no lyrics - just pure music - holdng breath - like SPB does in the picture 'kELaDi kaNmaNi; I would wake up panting for breath, but relishing the experience of the sweet music. This has happened on many occasions - not necessarily related to hearing songs before going to bed.
Mind's workings are indeed strange!
-
- Posts: 1317
- Joined: 30 Jun 2006, 03:08
The last two postings (by arasi and vgvindan) were music to my eyes! Opening a window to the creative process is simply sweet...
I have a confession to make: my statement about O Rangasayi and Nannu palimpa was only partly serious - the other part was really meant to provoke some responses. I was so much hoping that a composer on this forum would take the bait and provide us with some counterpoints and perhaps an insight into their creative process. Arasi's posting above (and vgvindan's also to some extent) did open the window a little for me. However, I hope we can get some more insights.
Years ago, I used to work in the area of Artificial Intelligence, and reading thru journal papers on how to model the creative aspects of intelligence, used to make me wonder if there could ever be a way to capture at least some aspects of the composition process in carnatic music on a computer. Do we have some general rules of what combinations of words (or word types) and raga swaras can result in a 'musical' composition, as against a pedestrian one? Or to put it in another way, what makes O Rangasayi such a great composition, while another 'average' kriti in Kambodhi may not evoke a similar response in our hearts?
Arasi, I would very much like to hear renditions of some of your compositions. I am sure others here would also be interested.
I have a confession to make: my statement about O Rangasayi and Nannu palimpa was only partly serious - the other part was really meant to provoke some responses. I was so much hoping that a composer on this forum would take the bait and provide us with some counterpoints and perhaps an insight into their creative process. Arasi's posting above (and vgvindan's also to some extent) did open the window a little for me. However, I hope we can get some more insights.
Years ago, I used to work in the area of Artificial Intelligence, and reading thru journal papers on how to model the creative aspects of intelligence, used to make me wonder if there could ever be a way to capture at least some aspects of the composition process in carnatic music on a computer. Do we have some general rules of what combinations of words (or word types) and raga swaras can result in a 'musical' composition, as against a pedestrian one? Or to put it in another way, what makes O Rangasayi such a great composition, while another 'average' kriti in Kambodhi may not evoke a similar response in our hearts?
Arasi, I would very much like to hear renditions of some of your compositions. I am sure others here would also be interested.
-
- Posts: 16805
- Joined: 22 Jun 2006, 09:30
Rajesh,
The event started with two students of Ananthalakshmi Sadagopan, Janani and Ramya, singing an invocation (the bowLi song kadiravan mennoLi which is on the CD). Sujatha Vijayaraghavan introduced the speakers. Dr. Satish Kumar (of Rajalakshmi Audio) welcomed the guests. Sri. Krishnaswami (NGS) presided and released the CD. Cleveland Sri. Sundaram, the guest of honor, received the CD. After they both spoke, I thanked everyone who was involved in the project--a long list!--and specially the three generations of women--Ananthalakshmi Sadagopan (she chased after the tAlA which tends to run away from my lyrics as I sing them!)--Sujatha Vijayaraghavan who took care of all the nitty gritty, since I do not live in India--Sumitra Nitin who has been singing some of my songs
for years and has worked hard in bringing out this CD.
I thanked my uncle VVSadagopan who inspired me to develop a love for music and literature--his house brimming with musicians and literati. A truly renaissance man--singer, thinker, musicologist, teacher, vAggeyakArA of kritis and children's songs. I thanked my father's cousin's wife Ambujam Krishna who was almost a mother to me, some of her inspired moments of songs happening when I was right there. My aunt Dr. Soundaram, an exemplary woman, a true gandhian (see the technical section--contemporary themes where CML has posted a hymn on her). She learnt to play the vina from Muthiah Bhagavathar and would sing Bharathi's songs passionately.
I said a few words about how songs come to me--see another thread where the creative process of the composers is discussed.
Thanks for asking, Rajesh
The event started with two students of Ananthalakshmi Sadagopan, Janani and Ramya, singing an invocation (the bowLi song kadiravan mennoLi which is on the CD). Sujatha Vijayaraghavan introduced the speakers. Dr. Satish Kumar (of Rajalakshmi Audio) welcomed the guests. Sri. Krishnaswami (NGS) presided and released the CD. Cleveland Sri. Sundaram, the guest of honor, received the CD. After they both spoke, I thanked everyone who was involved in the project--a long list!--and specially the three generations of women--Ananthalakshmi Sadagopan (she chased after the tAlA which tends to run away from my lyrics as I sing them!)--Sujatha Vijayaraghavan who took care of all the nitty gritty, since I do not live in India--Sumitra Nitin who has been singing some of my songs
for years and has worked hard in bringing out this CD.
I thanked my uncle VVSadagopan who inspired me to develop a love for music and literature--his house brimming with musicians and literati. A truly renaissance man--singer, thinker, musicologist, teacher, vAggeyakArA of kritis and children's songs. I thanked my father's cousin's wife Ambujam Krishna who was almost a mother to me, some of her inspired moments of songs happening when I was right there. My aunt Dr. Soundaram, an exemplary woman, a true gandhian (see the technical section--contemporary themes where CML has posted a hymn on her). She learnt to play the vina from Muthiah Bhagavathar and would sing Bharathi's songs passionately.
I said a few words about how songs come to me--see another thread where the creative process of the composers is discussed.
Thanks for asking, Rajesh
Last edited by arasi on 08 Feb 2007, 15:03, edited 1 time in total.
Yes, and so are genetic, engineer, ingenue although the final justification is tenuous.
The above was intended to be a tongue-in-cheek remark as you might notice with the play of words.
Seriously gene could be considered a root word only for genesis (origin), and genus (family).
Incidentally I came across a NY Times science article which identified a gene for speech. And quiet flows the Don......
The above was intended to be a tongue-in-cheek remark as you might notice with the play of words.
Seriously gene could be considered a root word only for genesis (origin), and genus (family).
Incidentally I came across a NY Times science article which identified a gene for speech. And quiet flows the Don......
Last edited by mahakavi on 09 Feb 2007, 08:18, edited 1 time in total.
I have been listening to the CD and all of a sudden I found myself in a fascinating spot - that nascent period when a Composition starts breathing and moving , with a Life of its own.
And as the sweet voice of Sumitra Nitin plays out the words, I cannot help wondering at the various aspects involved -especially in the CM Context.
We have been wondering elsewhere in this forum , about the Precomposing issues , But here I am left wondering what happens after the composition is out of the mind of the Composer.
Is it a case where its still an unfinished task , until The compositions meets ideal and competent practitioners ,who while experimenting with it further over periods of time , add an element of creativity of their own in the process , before it becomes a part of a Lineage.
I am reminded of the story of the famous ghazal in Yaman
"Ranjish e sahi ", which was in cold storage for years after being rejected by the Producers of the Movie for which it was penned , but then was picked up by Mehdi Hasan who made it immortal.
How would the Composer have felt if that ghazal had remained out of limelight ?
In other words , is there a level of fulfilment that comes only when it is sung or is it just a case of Not knowing how the process happened and treating everything else as a Bonus ?
Or Do Composers often feel let down like RK Narayan did afer he saw his novel made into a film by Dev Ananad (Guide).
The Cd is progressing sweetly , Arasi Avare,
and is indeed ,an excellent "buy".
And as the sweet voice of Sumitra Nitin plays out the words, I cannot help wondering at the various aspects involved -especially in the CM Context.
We have been wondering elsewhere in this forum , about the Precomposing issues , But here I am left wondering what happens after the composition is out of the mind of the Composer.
Is it a case where its still an unfinished task , until The compositions meets ideal and competent practitioners ,who while experimenting with it further over periods of time , add an element of creativity of their own in the process , before it becomes a part of a Lineage.
I am reminded of the story of the famous ghazal in Yaman
"Ranjish e sahi ", which was in cold storage for years after being rejected by the Producers of the Movie for which it was penned , but then was picked up by Mehdi Hasan who made it immortal.
How would the Composer have felt if that ghazal had remained out of limelight ?
In other words , is there a level of fulfilment that comes only when it is sung or is it just a case of Not knowing how the process happened and treating everything else as a Bonus ?
Or Do Composers often feel let down like RK Narayan did afer he saw his novel made into a film by Dev Ananad (Guide).
The Cd is progressing sweetly , Arasi Avare,
and is indeed ,an excellent "buy".
-
- Posts: 11498
- Joined: 02 Feb 2010, 22:36
Very good point coolkarni!
A lyric is nothing but a string of words until the singer breathes life into it. Of course the meaning is important which is often common place. VG is doing a marvellous job of bringing the ideas behind T's compositions I wonder how many would strictly read them were it not for the divine music in them which T himself has created. On the other hand the works of Bharahti (for us Tamils) are energizing with are without any music. It is not just the ideas but the language and diction. I would venture to say that 'the medium is as much (or more) important than the message itself'.
A lyric is nothing but a string of words until the singer breathes life into it. Of course the meaning is important which is often common place. VG is doing a marvellous job of bringing the ideas behind T's compositions I wonder how many would strictly read them were it not for the divine music in them which T himself has created. On the other hand the works of Bharahti (for us Tamils) are energizing with are without any music. It is not just the ideas but the language and diction. I would venture to say that 'the medium is as much (or more) important than the message itself'.
-
- Posts: 16805
- Joined: 22 Jun 2006, 09:30
-
- Posts: 1430
- Joined: 13 Aug 2006, 10:51
Do the names of rAgas also trigger a composition? A few of tyAgarAja kRtis seems to be so -
sItA manOhara - rAga rAmamanOhari;
evaritO nE - rAga mAnavati; (evaritO ne - to whom shall I complain; mAnavti -a modest woman)
mEnu jUci - rAga sarasAGgi; (mEnu jUci - looking at the body)
mOhana rAma - rAga mOhanam;
Santamu lEka - rAga sAma; (sAman - tranquility)
SambhO Siva - rAga SankarAbharaNam;
sundarESvaruni (On Lord Siva) - rAga SankarAbharaNam;
gAnA mUrtE (on kRShNa) - rAga gAna mUrti (this is in the category of doubtful songs).
Of course nIlAmbari and bhauLi type of rAgas need not be mentioned here.
sItA manOhara - rAga rAmamanOhari;
evaritO nE - rAga mAnavati; (evaritO ne - to whom shall I complain; mAnavti -a modest woman)
mEnu jUci - rAga sarasAGgi; (mEnu jUci - looking at the body)
mOhana rAma - rAga mOhanam;
Santamu lEka - rAga sAma; (sAman - tranquility)
SambhO Siva - rAga SankarAbharaNam;
sundarESvaruni (On Lord Siva) - rAga SankarAbharaNam;
gAnA mUrtE (on kRShNa) - rAga gAna mUrti (this is in the category of doubtful songs).
Of course nIlAmbari and bhauLi type of rAgas need not be mentioned here.