Sri R.R.Keshavamurthy passed away
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The violinist, R. R. Keshavamurthy, passed away. Story in
http://www.hindu.com/2006/10/25/stories ... 970400.htm
He was a contemporary of T. Chowdiah. Both of them learnt under the same guru Bidram Krishnappa.
Does any one have violin solos of RRK?
http://www.hindu.com/2006/10/25/stories ... 970400.htm
He was a contemporary of T. Chowdiah. Both of them learnt under the same guru Bidram Krishnappa.
Does any one have violin solos of RRK?
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Sri RR Keshava Murthy-The Legendary Violinist
Bangalore: Speed,dexterity and style are the hallmarks of the legendary violin virtuoso RR Keshava Murthy.
A man who thought discipline was god, RRK- as he was better known-brushed aside the Wadiyar king’s patronage in Mysore and made his living from performances and teaching. He was so popular that he earned enough to own a car in the 1950s!
"He would start teaching at 6AM and go on till 11 am, take a break upto 3 pm and then go on till 9 pm, everyday. If any student was late to class by even five minutes, he would pack up and go. But he projected his students more than his own children."
Bangalore: Speed,dexterity and style are the hallmarks of the legendary violin virtuoso RR Keshava Murthy.
A man who thought discipline was god, RRK- as he was better known-brushed aside the Wadiyar king’s patronage in Mysore and made his living from performances and teaching. He was so popular that he earned enough to own a car in the 1950s!
"He would start teaching at 6AM and go on till 11 am, take a break upto 3 pm and then go on till 9 pm, everyday. If any student was late to class by even five minutes, he would pack up and go. But he projected his students more than his own children."
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Thanks for the article Manjunath. Yes, he ran a music school in Srirampura, Bangalore. he named it after his guru, biDAram kRShNappa. He was an extremely knowledgable man, very outspoken and brutally frank. The last quality, as pointed in the article, did not win him friends. He was very friendly on approach. But he would never compromise when it came to msuic. So if someone asked him how their peroformance had been- "hEgittu swalpa dayaviTTu hELtIra sir", he would say "hmm. Enu anta hELabEku!"- "hmm. What should I say? "
He is famed for his fiery temper. It is said that he once hit Mali with his bow onstage. There had also been some repartees between him and flutist koLalu puTTaNNa of agrahAra at the Mysore Palace. oDeyar is said to have tactfully intervened.
I have heard him on stage accompanying R.K.Padmanabha and D.V.Nagaraja in Malleswara Raghavendra matha (Swimming Pool Extension). In recorded samples, I
find it almost impossible to differentiate between his and Chowdiah's playing.
He was an eloquent speaker. He once gave a speech in the Gayana Samaja. After his speech, Mysore V. Subrahmanya (This time sangIta kalAratna awardee) was all praise for him and said "avara mAtinalli A sankEti sogaDu eShTu sogasAgi irotte" meaning " How sweet is the fragrance of snakEti in his words".
He had a great sense of humour. In the same programme above, the topic of guides for PhD students came up. Apparently, those who hold doctorates themselves can only be allocated as guides. Subrahmanya said it w as a shame that scholars like Keshavamurthy could not be guides and that it was a loss to the students to which RRK immediately retorted "adukkEnu, namagU ondu degree-na aNTisibiDi. aShTE tAne" [So what. Just attach a degree to us too. Whats the big deal!]
The timbre of the 7-stringed violin is very sonorous. Once, in an interview for "Ananya Abhivyakti"(?), Srikantam Nagendra Shastri had asked something about the deep nAda of the instrument and RRK joked "gaNDasaru iShTa irOvarige nanna piTIlu iShTa Agotte. hengasaru iShTa adavarige sAmanyavAda piTIlu nAd iShTa Agutte. nannadu gaNDuvAdya" [Those who like men will like my violin. Those who like women will like the usual violin. Mine is a male instrument].
It is sad that his last days, he suffered financial adversity.
He is famed for his fiery temper. It is said that he once hit Mali with his bow onstage. There had also been some repartees between him and flutist koLalu puTTaNNa of agrahAra at the Mysore Palace. oDeyar is said to have tactfully intervened.
I have heard him on stage accompanying R.K.Padmanabha and D.V.Nagaraja in Malleswara Raghavendra matha (Swimming Pool Extension). In recorded samples, I
find it almost impossible to differentiate between his and Chowdiah's playing.
He was an eloquent speaker. He once gave a speech in the Gayana Samaja. After his speech, Mysore V. Subrahmanya (This time sangIta kalAratna awardee) was all praise for him and said "avara mAtinalli A sankEti sogaDu eShTu sogasAgi irotte" meaning " How sweet is the fragrance of snakEti in his words".
He had a great sense of humour. In the same programme above, the topic of guides for PhD students came up. Apparently, those who hold doctorates themselves can only be allocated as guides. Subrahmanya said it w as a shame that scholars like Keshavamurthy could not be guides and that it was a loss to the students to which RRK immediately retorted "adukkEnu, namagU ondu degree-na aNTisibiDi. aShTE tAne" [So what. Just attach a degree to us too. Whats the big deal!]
The timbre of the 7-stringed violin is very sonorous. Once, in an interview for "Ananya Abhivyakti"(?), Srikantam Nagendra Shastri had asked something about the deep nAda of the instrument and RRK joked "gaNDasaru iShTa irOvarige nanna piTIlu iShTa Agotte. hengasaru iShTa adavarige sAmanyavAda piTIlu nAd iShTa Agutte. nannadu gaNDuvAdya" [Those who like men will like my violin. Those who like women will like the usual violin. Mine is a male instrument].
It is sad that his last days, he suffered financial adversity.
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RRK has trained countless students, several of whom have made it big. His students include T.Rukmini, T.V.Ramprasad, Bhuvaneswariah, Jytosna Shrikanth. I know a few more worthy names but these are not "Popular" or widely-known.
He has penned several books that are very widely used by music-students. They include, the wonderful book "rAga lakShaNa mattu rAgakOSa", 2 volumes of kShEtrj~na padas, a volume on Hindustani Ragas, a book for Junior students including saraLe etc upto simple kRtis, 2(?3) volumes) of "vAggEyakAra kRtigaLu" covering various composers, "bahattara rAgamAlika" of Maha Vaidanatha Iyer(72-mELarAgamAlike) . I have seen a few more but cannot recall them offhand.
He has penned several books that are very widely used by music-students. They include, the wonderful book "rAga lakShaNa mattu rAgakOSa", 2 volumes of kShEtrj~na padas, a volume on Hindustani Ragas, a book for Junior students including saraLe etc upto simple kRtis, 2(?3) volumes) of "vAggEyakAra kRtigaLu" covering various composers, "bahattara rAgamAlika" of Maha Vaidanatha Iyer(72-mELarAgamAlike) . I have seen a few more but cannot recall them offhand.
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Jyotsna is based in London. I have heard her couple of times - she is very very good.RRK has trained countless students, several of whom have made it big. His students include T.Rukmini, T.V.Ramprasad, Bhuvaneswariah, Jytosna Shrikanth. I know a few more worthy names but these are not "Popular" or widely-known.
Anyone has RRK's recordings to u/l?
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Time to hear one of his recitals and see him on the intro page.
http://www.rogepost.com/dn/slcy
http://www.rogepost.com/dn/slcy
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"rAga lakShaNa mattu rAgakOSa"- In this book, He Keshavamurthy deals with the 72 mELas (Both asampUrNa and sampUrNa) and their janyas as handled by the trinity. He gives the lakShaNa SlOkas, scales and then writes about each rAga- its jIva swras, any foreign notes, catch phrases, rasas evoked etc and the difference, if any in their handling by dIkShitar and tyAgarAja. If therAgas have changed, he also talks of their differences. At the end, he has given the sara sancAras (Like the sancAris of Subbarama Dikshitar in SSP). At the end, in the appendix he has listed hundreds of rAgas from various treatises along with their ArOhaNa and avarOhaNa. A must have for those seriously into music.
The book on hindUstAni rAgas, I dont remember. Possibly similar to the above. Manjunath may be able to say more about this volume.
2 volumes of kShEtrj~na padas- each notating 50(?) padas of kShEtraj~na
Likewise the volumes of "vAgEyakAra kRtigaLu" have botations of kRtis from variuos popular composers in a wide variet of rAgas. These have been produced partly keeping in mind the syllabus for the Music exams of the Karnataka state.
"bahattara rAgamAlika" of Maha Vaidanatha Iyer(72-mELarAgamAlike) . - This gives notation for the 72- mELa rAgamAlike of Maha vaidyanatha Iyer. (bahattara meaning 72)
The book on hindUstAni rAgas, I dont remember. Possibly similar to the above. Manjunath may be able to say more about this volume.
2 volumes of kShEtrj~na padas- each notating 50(?) padas of kShEtraj~na
Likewise the volumes of "vAgEyakAra kRtigaLu" have botations of kRtis from variuos popular composers in a wide variet of rAgas. These have been produced partly keeping in mind the syllabus for the Music exams of the Karnataka state.
"bahattara rAgamAlika" of Maha Vaidanatha Iyer(72-mELarAgamAlike) . - This gives notation for the 72- mELa rAgamAlike of Maha vaidyanatha Iyer. (bahattara meaning 72)
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guru-SiShya patampare.
Here is a picture of guru biDAram kRShNappa and SiShya R.R.Keshavamurthy. Most of you ehere will be surprised to see a young RRK. You will love it.
http://www.rogepost.com/dn/s2sy
Here is a picture of guru biDAram kRShNappa and SiShya R.R.Keshavamurthy. Most of you ehere will be surprised to see a young RRK. You will love it.
http://www.rogepost.com/dn/s2sy
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>> The timbre of the 7-stringed violin is very sonorous. Once, in an interview for "Ananya Abhivyakti"(?), Srikantam Nagendra Shastri had asked something about the deep nAda of the instrument and RRK joked "gaNDasaru iShTa irOvarige nanna piTIlu iShTa Agotte. hengasaru iShTa adavarige sAmanyavAda piTIlu nAd iShTa Agutte. nannadu gaNDuvAdya" [Those who like men will like my violin. Those who like women will like the usual violin. Mine is a male instrument].
This is only my opinion but the tone of Chowdiah's and RRK's violin is pretty harsh and robs the beauty of the instrument. His innovations in the mike-less days is commendable, but for me the sound of Chowdiah's violin is a big turn-off especially while listening to old recordings of GNB.
In fact, as any student of the violin will agree, the 4-stringed instrument itself sounds better at higher sruthis even though we use it at sruthis like C and C# to accompany male artists in CM. But then again, I am male, and I "like" women not men
This is only my opinion but the tone of Chowdiah's and RRK's violin is pretty harsh and robs the beauty of the instrument. His innovations in the mike-less days is commendable, but for me the sound of Chowdiah's violin is a big turn-off especially while listening to old recordings of GNB.
In fact, as any student of the violin will agree, the 4-stringed instrument itself sounds better at higher sruthis even though we use it at sruthis like C and C# to accompany male artists in CM. But then again, I am male, and I "like" women not men
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IMO, its not a question of being less or more majestic. If the 7-stringed violin indeed had a special charm to it as you suggest, there would be practioners of the instrument today and a select following. The very fact that it has died out symbolizes the primitiveness of the instrument. A person like Chowdiah or RRK would be laughed out of the concert circuit today, simply because we have seen what LGJ, MSG et. al. can do with the 4-stringed instrument. If you listen to Chowdiah's recordings the gamakams techniques on the instrument as we know it today are simply not there.srkris wrote:Yeah the 7 stringed violin can sound rough, compared to the 4 stringed one, but it has its own majesty. Of course not everyone expects majesty from a violin in a music concert as opposed to lilting melody.
As regards to majestic versus lilting melodies, that is more a function of the raga and the way it is played as opposed to the instrument itself. A good violinist today can play a majestic darbAr or atAna and just as easily switch to a lilting nilambari or yadukula kambhoji.
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Perhaps a sidetrack- if the stone-wheel had not been invented by the caveman, you wouldnt have had a Ferrari today. Remember it runs on wheels. One does not have to put down the ealrier greats to call the later ones great. SOme things are best left unsaid. I cannot see what you or anyone gained from that particular comment of yours.rasam wrote:Just because the caveman innovated and came up with the wheel, does that make a stone-wheel contraption more appealing than a Ferarri?
solluga sollil payanuDaiya sollaRka
sollil payanilA sol |
One other minor point, Caveman and Ferrari are spearated by aeons. Not so Chowdiah,RRK and Lagudi
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In recent times( within 15-20 years), Mandolin and Saxapone have been used for CM. While, Mandolin could reach its peak (thanks to prodigy U.S), Saxapone mars the tune when when paa is expanded and repeatd, as if pom pom (more like old baloon horn of Buses).
Except AKC, no body could shine in Clarinet.
.. it is like that.
Except AKC, no body could shine in Clarinet.
.. it is like that.
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>> if the stone-wheel had not been invented by the caveman, you wouldnt have had a Ferrari today. Remember it runs on wheels
drshrikaanth, you completely misunderstood the analogy. While the stone-wheel may be a necessary precursor to the Ferarri, does the stone wheel seem more appealing to you than the Ferarri? In other words, given the choice of a stone wheel or a Ferarri to travel in today which would you rather choose?
My opinion which you so quickly shot down as being "appalling" was in response to the the following comment:
My point is this: the 7-stringed violin did not contribute in any way to improving the tonal quality of the instrument during the course of its evolution. Given this and the chronological proximity of his career to the violin trinity (who were surely far advanced in terms of instrumentship), makes one wonder if he was truly one of the CM greats or whether his abilities have just come to be exaggerated in a typical example of the cliched Indian expression "old is gold."
drshrikaanth, you completely misunderstood the analogy. While the stone-wheel may be a necessary precursor to the Ferarri, does the stone wheel seem more appealing to you than the Ferarri? In other words, given the choice of a stone wheel or a Ferarri to travel in today which would you rather choose?
My opinion which you so quickly shot down as being "appalling" was in response to the the following comment:
The above has several implications: firstly, it puts forth the idea that the 7-stringed violin is more appealing (at least to some) today than its 4-stringed counterpart, which I find to be highly bizarre. Secondly, and more importantly, it seems to suggest that people today listen to the 4-stringed violin because of its somewhat effeminate qualities even though it is lacking in the so-called "majesty."srkris wrote:Yeah the 7 stringed violin can sound rough, compared to the 4 stringed one, but it has its own majesty. Of course not everyone expects majesty from a violin in a music concert as opposed to lilting melody.
My point is this: the 7-stringed violin did not contribute in any way to improving the tonal quality of the instrument during the course of its evolution. Given this and the chronological proximity of his career to the violin trinity (who were surely far advanced in terms of instrumentship), makes one wonder if he was truly one of the CM greats or whether his abilities have just come to be exaggerated in a typical example of the cliched Indian expression "old is gold."
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>> One does not have to put down the ealrier greats to call the later ones great. SOme things are best left unsaid. I cannot see what you or anyone gained from that particular comment of yours.
Sure there is a point ... when historians wonder if Shakespeare indulged in plagiarism in his works or whether the US did really land on the moon, people dont balk and call their opinions "awful", "appalling" or "pointless."
Indeed, I have noticed that CM rasikas, in general, tend to deify historical figures. In the name of tradition, lets not be naive: criticize Chowdiah's music in the same spirit as you would a TMK or a Sudha concert.
Sure there is a point ... when historians wonder if Shakespeare indulged in plagiarism in his works or whether the US did really land on the moon, people dont balk and call their opinions "awful", "appalling" or "pointless."
Indeed, I have noticed that CM rasikas, in general, tend to deify historical figures. In the name of tradition, lets not be naive: criticize Chowdiah's music in the same spirit as you would a TMK or a Sudha concert.
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I believe that a 7-stringed violin sounds great. Those days people had to adapt a western instrument. Since varieties existed, I think a 7-stringed instrument required a special mastery and skill in handling the instrument - else, it would have been a common one as a four-stringed violin. Possibly the 7-stringed violin did not give scope to bring out the imagination of the artist. It would be unfair to fault the person if the instrument had limitations. If the instrument is large enough, I think you will not have the flexibility of a small one.
Using a seven-stringed instrument would have been a matter of creativity of the artist. Sukumar Prasad thought it fit to use the Electric Guitar for carnatic music without even modifying the instrument; whereas, the hindustani artists modified the instrument to suit the music.
On the whole, let us accept the limitations of the instrument.
Using a seven-stringed instrument would have been a matter of creativity of the artist. Sukumar Prasad thought it fit to use the Electric Guitar for carnatic music without even modifying the instrument; whereas, the hindustani artists modified the instrument to suit the music.
On the whole, let us accept the limitations of the instrument.
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Can somebody throw some light on what does the 3 extra strings have (7 -4). Can I consider the extra 3 strings just for the sake of amplification as vocalists have an extra one or two mikes.
OR
Does the 3 extra strings have a distinct tone some where within the already existing 4 strings (min/max range) or outside of the min-max range of already four?
OR
Does the 3 extra strings have a distinct tone some where within the already existing 4 strings (min/max range) or outside of the min-max range of already four?
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Maestro's memory
http://www.hindu.com/fr/2008/07/04/stor ... 880400.htm
A tribute to the great violinist R.R. Keshavamurthy
Sangeetavidyasaagara, the first memorial function of the Late R.R. Keshavamurthy, a prominent violinist, was celebrated last weekend in Bangalore. The event was organised by the Sri. R.R. Keshavamurthy Foundation comprising his students, at the Malleshwaram Seva Sadan.
The inaugural concert was by Mysore M. Nagaraj and Mysore M. Manjunath, accompanied by V. Praveen (mridanga) and Giridhar Udupa (ghata). The mesmerising concert drew a full house and gave the function a befitting start.
As a tribute to the dedication and contribution to music , Prof. V. Ramarathnam, was given the title of "Saadhanaacharya', along with a cash award of Rs.10,000. Prof. V. Ramarathnam is a well-known Carnatic vocalist, author, teacher, musicologist and composer. Disciple of Mysore T. Chowdiah, and served as the first Principal of the University College of Music and Dance, University of Mysore, since its inception in 1965. The foundation is driven by its members' zealous love and respect for their guru. The enthusiastic group is already brainstorming plans for their future activities.
http://www.hindu.com/fr/2008/07/04/stor ... 880400.htm
A tribute to the great violinist R.R. Keshavamurthy
Sangeetavidyasaagara, the first memorial function of the Late R.R. Keshavamurthy, a prominent violinist, was celebrated last weekend in Bangalore. The event was organised by the Sri. R.R. Keshavamurthy Foundation comprising his students, at the Malleshwaram Seva Sadan.
The inaugural concert was by Mysore M. Nagaraj and Mysore M. Manjunath, accompanied by V. Praveen (mridanga) and Giridhar Udupa (ghata). The mesmerising concert drew a full house and gave the function a befitting start.
As a tribute to the dedication and contribution to music , Prof. V. Ramarathnam, was given the title of "Saadhanaacharya', along with a cash award of Rs.10,000. Prof. V. Ramarathnam is a well-known Carnatic vocalist, author, teacher, musicologist and composer. Disciple of Mysore T. Chowdiah, and served as the first Principal of the University College of Music and Dance, University of Mysore, since its inception in 1965. The foundation is driven by its members' zealous love and respect for their guru. The enthusiastic group is already brainstorming plans for their future activities.
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Re:
I learnt from RRK, as he was fondly referred to as., for a short period of time., before IT and migration took their toll on the continuum of learning from the legend.vs_manjunath wrote: ↑26 Oct 2006, 06:39 Sri RR Keshava Murthy-The Legendary Violinist
Bangalore: Speed,dexterity and style are the hallmarks of the legendary violin virtuoso RR Keshava Murthy.
A man who thought discipline was god, RRK- as he was better known-brushed aside the Wadiyar king’s patronage in Mysore and made his living from performances and teaching. He was so popular that he earned enough to own a car in the 1950s!
"He would start teaching at 6AM and go on till 11 am, take a break upto 3 pm and then go on till 9 pm, everyday. If any student was late to class by even five minutes, he would pack up and go. But he projected his students more than his own children."
Wondering if anyone has access or a copy of this book - rr keshavamurthy ***kutcheri paddhati****