Music I wish I could hear more

VK RAMAN · Post by **VK RAMAN** » 19 May 2016, 18:13

We discuss a lot of carnatic music related subjects but very often we do not spend enough time listening to music in this forum related discussion. I like to hear from rasikas what was one best music they listened in concerts they like to share with other rasikas say 5 to 6 minutes duration. Here is my favorite:

https://www.youtube.com/watch?v=LxwYOkCmZig

varsha · Post by **varsha** » 20 May 2016, 12:19

5 to 6 minutes duration

kAAAAAAya .... how sweeter can cm get ? Everytime she comes to KAya , I get the goosebumps .
https://archive.org/details/KAyArOhaNES ... DIkshithar

VK RAMAN · Post by **VK RAMAN** » 20 May 2016, 18:09

Yes kAAAAya - takes one to another dream world. Lovely Varsha

varsha · Post by **varsha** » 20 May 2016, 22:24

https://archive.org/details/ShLOkaDharb ... manChalisa

shankar vaidyanathan · Post by **shankar vaidyanathan** » 21 May 2016, 05:24

http://www.youtube.com/watch?v=c2wAmwPgFzs&sns=em

Sivakamasundari-Mukari-Sanjay

Starting around 3:50, KeLayO (கேளாயோ), Sanjay brings tears to my eyes every single time I listen. Watch how our Balaji and Sriram are enjoying it! Of course the Sishya is soaking it in too!!

srini_pichumani · Post by **srini_pichumani** » 21 May 2016, 09:45

GurugalE,

The "kAyArohanesam" is so beautiful that it has inspired me to post a most beautiful Gurbani that I have been hearing for a long time but have not had occasion to mention on this forum.

Please listen to the "Dhannaasi" Gurbani

Meri preet gobind sio jin ghatai

by Sant Ravdas from the Guru Granth Sahib sung by Bhai Iqbal Singh.

http://www.sikhnet.com/gurbani/audio/me ... jin-ghatai

Best regards,
-Srini.

Ps: As an aside, if the provenance of this Gurbani and its raaga nomenclature/history as recorded in the Granth Sahib had been better known, much wonderment and lec-dems about some "allied" ragas would have been rendered moot !!!

Of course, despite such misgivings, I readily admit to relishing every word and phrase of the venerable Prof.SR's lecdems !

akriti53 · Post by **akriti53** » 21 May 2016, 10:34

Dear Srini Sir,

It was really nice of you to have sent a link to a Gurubani. I was very lucky to stay very near a Gurudwara at Netaji Nagar in Delhi and I have heard great renderings of Gurbani on Sundays and on festival days like , Gurunanak and Gurugobind Singh's birthdays. Having been introduced directly to such pristine music, had a lot of impact on me and my perception of music in my heart. I always remember the broadcast of Bhai Santa Singh Ragi from AIR Delhi , who was legend in Shabad singing. Your link made me go into abyss of my memory and re-kindled my experiences of listening to Shabad rendering by Bhai Samund Singh Ragi , Bhai Dharam Singh Zakmi, Professor Darshan SIngh Ragi, Bhai Didar Singh etc. It was really a very pleasant feelings to discuss about Shabads in this forum and I thank you very much for that.

With warm regards

shankarank · Post by **shankarank** » 21 May 2016, 10:39

shankar vaidyanathan wrote:http://www.youtube.com/watch?v=c2wAmwPgFzs&sns=em
Sivakamasundari-Mukari-Sanjay

shankar vaidyanathan, please get hold of his 2000 NGS Charsur release and listen to it as well - the same song with Sri KRM. He was crispier. Yes the song has Pathos in it. A crispy and vervy rendition does not remove it IMO.

Some misconceptions like that have crept in elsewhere : https://www.youtube.com/watch?v=AhjPZTaKgyI . This is the result of what could be termed soft islamization ( of moods , feelings , emotions etc - rasa/Bhava does not mean any of that) wrought by Bollywood and Kollywood!

Doesn't Markanday Katju say - the most soulful poetry of India is in Urdu and every northern Railway station apparently sells a copy of one? Yes the shOkam from Islamic conquest needs an outlet!

And this is no offense to Balaji - who is from a tight kAla pramANam school and I wish Sanjay leveraged him there rather than taking advantage of his being a Junior.

Both him and TMK have become : toyyAdArai toyya vaittu toyndADum perumAL(s) - and this started with space afforded by who else - Arun Prakash - where Mridangam went from Thundering silence of PMI to ???? silence of his!.

That sums up my angst - that music of yore I wish I could hear more!!!!

varsha · Post by **varsha** » 21 May 2016, 12:35

The "kAyArohanesam" is so beautiful that it has inspired me to

Thanks.
btw the artist was Manda Sudha RanI
I presume VKR meant this thread to be for the short tracks that we may have lost sight of , given the vast musical sea around us .Something that sticks like a ear worm - Again , His original post reminded me of this song , to which I must have first twirled both of my fists back and forth .
https://archive.org/details/TArammayyaPurandaraDAsar
And that is how I hope others will drop in their most memorable flakes of gold dust.

varsha · Post by **varsha** » 21 May 2016, 12:54

It was really a very pleasant feelings to discuss about Shabads in this forum and

https://archive.org/details/BhaiBalbirSarang

K Nagarajan · Post by **K Nagarajan** » 21 May 2016, 15:15

Item No. 7 of this concert, a masterly rendition of

manvyala kincha - Nalinakanthi

http://www.sangeethamshare.org/ksj/Nedu ... y/NRK-002/

where the vocal rendition is inspired by the response on the violin and vice versa.

by the vidwans who had great mutual respect reflecting in their music.

shankarank · Post by **shankarank** » 23 May 2016, 09:56

K Nagarajan wrote:Item No. 7 of this concert, a masterly rendition of

manvyala kincha - Nalinakanthi

http://www.sangeethamshare.org/ksj/Nedu ... y/NRK-002/

where the vocal rendition is inspired by the response on the violin and vice versa.

by the vidwans who had great mutual respect reflecting in their music.

I guess you left out the Mridangist to be identified by those who bother about it - that is Shri KRM and you can see the conviction there in higher kAlam between Shri Nedunuri and Shri KRM.

shankarank · Post by **shankarank** » 23 May 2016, 10:04

And we get this these days : https://www.youtube.com/watch?v=bFgUMD1wPVg. Nalinakanti enna periya nAyakiya! Yes in Nellai district she is! Not in Palghat Jilla. You take a PudukkOTTai great there to do this?!

There are tabla touch ustads in the north - tablava toTTalE ustad! - thus spake a Mridangist recently. And he rued we have those that play kanDam and miSram here unrecognized. They are good enough for this.

He thought what happens in kalpathy needs to stay in kalpathy and cut off the recording - but it didn't quite turn out that way.

shankarank · Post by **shankarank** » 23 May 2016, 10:13

Speaking of nAyaki - here is my 5 minutes : https://www.youtube.com/watch?v=9mArK9-Te2A starting at 27:30 and that has been clarified to be Sri C. S. Murgubhoopathy and not Pazhani as noted in the title of the upload.

varsha · Post by **varsha** » 23 May 2016, 10:32

https://archive.org/details/ParakuMadad ... ubramaniam

Composer and singer , at their self deprecating best. Some pAmaras , these.

hnbhagavan · Post by **hnbhagavan** » 23 May 2016, 11:07

Post#11

Is the violinist Lalgudi Jayaraman?It looks like Lalgudi Sir's continuous bowing.

K Nagarajan · Post by **K Nagarajan** » 23 May 2016, 16:51

Yes, Sir. The violinist is Shri.Lalgudi.

Post #12

Thanks for enlightening on the finer points in the mrudangam accompanyment by Sri.KRM.

VK RAMAN · Post by **VK RAMAN** » 24 May 2016, 01:37

Shakarank, K Nagarajan - thank you. Hope others will join in this and share mind blowing 5-6 minutes music ecstasy.

narayan · Post by **narayan** » 25 May 2016, 07:18

shankarank wrote:Speaking of nAyaki - here is my 5 minutes : https://www.youtube.com/watch?v=9mArK9-Te2A starting at 27:30 and that has been clarified to be Sri C. S. Murgubhoopathy and not Pazhani as noted in the title of the upload.

Thanks! That was refreshing, to say the least. Was it my imagination or was there a small (deliberate) hastening of the speed in the caranam? Also the words seem very slightly different from what I hear today. End of the pallavi 'ne' instead of 'no' - my grammar is non-existent for me to take a call, and jaya ***ne in the last line. Any clarifications?

Now that I'm making a mountain over a rather nice molehill, during the one line where MSG plays on his own, the whole rhythm of the song is different and actually serves to emphasize the structure of the song when Balamurali returns.

varsha · Post by **varsha** » 26 May 2016, 12:28

https://archive.org/details/RaratriyaDa ... edByVoleti

haunting melody.
The inspiration?
https://archive.org/details/MunawarAliKhanDesi

shankarank · Post by **shankarank** » 27 May 2016, 09:14

narayan wrote: Was it my imagination or was there a small (deliberate) hastening of the speed in the caranam?

Yes there is a deliberate speed up! This is done many times - with slow paced songs.

narayan wrote: Now that I'm making a mountain over a rather nice molehill, during the one line where MSG plays on his own, the whole rhythm of the song is different and actually serves to emphasize the structure of the song when Balamurali returns.

MSG starts the second line on the beat - and BMK returns to 1 offbeat instead of two.

As regards the lyrics - all I can point you to is http://sahityam.net/wiki/Kanugonu - where it is kalgunA - that exhausts 3 vowels

shankarank · Post by **shankarank** » 27 May 2016, 10:22

http://www.sangeethamshare.org/tvg/SEAS ... a_Vasudev/ - the song No 2 garavamu - javali.. The trinity cluster of composers ( Yes Subbarama Dikshitar is a star in that cluster along with Subbaraya Shastri and others) - always produce such Gems. Liked especially Kalyani and nIlambari.

hnbhagavan · Post by **hnbhagavan** » 27 May 2016, 17:08

Here is MDR exploring Begada and his remarks in the beginning is very interesting.
https://www.youtube.com/watch?v=mVW2KwLk42U

VK RAMAN · Post by **VK RAMAN** » 27 May 2016, 18:00

shankarank - you url takes me to the website and thereafter I do not know how to get to that no.garavamu - javali

shankarank · Post by **shankarank** » 27 May 2016, 19:00

VK RAMAN wrote:shankarank - you url takes me to the website and thereafter I do not know how to get to that no.garavamu - javali

It should prompt you to login with Google/yahoo- you will need one of them - and then another page after login that has a link "Click here to Continue". Clicking that should take you to the list of songs.

There is a "Down Arrow" icon to download next to the song listing - try different mirrors if one of them gives you a problem.

shankarank · Post by **shankarank** » 28 May 2016, 05:17

hnbhagavan wrote:Here is MDR exploring Begada and his remarks in the beginning is very interesting.
https://www.youtube.com/watch?v=mVW2KwLk42U

OMG! - are we supposed to believe what he says? I guess musicians should try this trick - forget everything and try to remember it !

shankarank · Post by **shankarank** » 28 May 2016, 05:40

Now this cannot hide somewhere in a Kutchery review thread can it?

varsha wrote:this is paurusam in singing
https://archive.org/details/SAmajaVarag ... TyAgarAja1

RaviSri · Post by **RaviSri** » 28 May 2016, 18:20

Brinda-Muktha have sung the above with D2.

shankarank · Post by **shankarank** » 01 Jun 2016, 04:34

Since Somu is hot and trending in the forum: https://www.youtube.com/watch?v=prFzSr5C4WY - at 11:30 the moharsing starts a cross beat of fours layered over a tiSram and Somu teaches us how to enjoy it. Sri Yella in the next round - does a split of 30 ( 5 *6 ) as 8, 8, 6, 6 (28) starting at the offset of 2.

shankarank · Post by **shankarank** » 05 Jun 2016, 09:27

Good execution by Varadarajan and Tanjavur Murugabhoopathy at the end 10:20 minutes into this : https://www.youtube.com/watch?v=UScQjIbUU7M

Evocative rendition of a Bharathi song and good support by Arjun Ganesh : https://www.youtube.com/watch?v=eBKJanjx_fk

shankarank · Post by **shankarank** » 05 Jun 2016, 19:32

Tanjore Ramdass will never turn supple during swara prastara and keeps it taut ( a. la. palghat style) - leveraged well by both the vocalist and violinist : https://www.youtube.com/watch?v=MC2yNrh5gr8

The music we would have liked to hear more ( in retrospect) is already being rendered and out there - we just need to hear it patiently.

VK RAMAN · Post by **VK RAMAN** » 05 Jun 2016, 21:00

shankarank: thank you for this video of Sanjay https://www.youtube.com/watch?v=eBKJanjx_fk. Lakshmanji, can I have the lyrics for the two bharati compositions rendered by Sanjayji.

ganesh_mourthy · Post by **ganesh_mourthy** » 07 Jun 2016, 07:48

தீர்த்தக் கரையினிலே தெற்கு மூலையில் செம்பகத் தோட்டத்திலே
பார்த்திருந்தால் வருவேன் வெண்ணிலாவிலே பாங்கியோடென்று சொன்னாய்
வார்த்தை தவறிவிட்டாய் அடி கண்ணம்மா மார்பு துடிக்குதடி
பார்த்த இடத்திலெல்லாம் உன்னைப் போலவே பாவை தெரியுதடி
பாவை தெரியுதடி

(தீர்த்தக்)

மேனி கொதிக்குதடி தலை சுற்றியே வேதனை செய்குதடி
வானின் இடத்தையெல்லாம் இந்த வெண்ணிலா வந்து தழுவுது பார்
மோனத்திருக்குதடி இந்த வையகம் மூழ்கித் துயிலினிலே
நானொருவன் மட்டிலும் பிரிவென்பதோர் நரகத் துழலுவதோ (2)

and the second one is here

ninnaye rati endru ninaikkirenadi
–kannammA (ninnaye)

tannayiye sakhi endRu
Saranam eidinen

ponnaye nigartha meni,
minnaye nigarththa sayal

pinnaye! nitya
kanniye kannamma! (ninnayE)

maranambugaL en midu
vari vari visa
ni–kan parayO?
vandu serayO?
kannamma! (ninnaye)

yavumE suka munikkor
Isanam, enakkun tho

mevumE, ingu yavumE,
kannamma! (ninnaye)

arasi · Post by **arasi** » 08 Jun 2016, 04:53

Shankarank,Thanks! Tea time treat!

Somu has been so much on my mind the past two weeks. Whether that thread where I've been dwelling in translating Pasupathy's postings of Somu is hot (as you say) or not

here you bring hot, nay, cool stuff from him. What a serene flow of his voice and that of the full bench! Yella's majestic bhavani of beats spell grandeur and sukham. And Pudukkottai Mahadevan's morsing-mukha Sanka is something which in his playing at the beginning is simply soothing (yes, for a twangy instrument). Everything flows into one you think, such unity, and Somu exclaims something like 'ellAm oNNA SErndu pOchu'?! iSaiyODai (stream of music) flows along till the very end--Somu jumping in with svarams like there is no pause to this progression! Lovely!

Thirty two years pass by. Sanjay and company. This ini oru kaNam is a standout--the tension which you feel from the first syllable to the last line accompanied by a sway, in lyrics and in its exposition and it is so enjoyable. Yes, Varadu, Tanjai M Bhupathy and Tiruchy Murali blend again, and as with Somu, the svara prasthArA simply jives.

Tamizisai again: Times don't change in a way, in emoting. The lyrical beauty of Bharathi's words are brought out in this virutham (only part of the song tIrthak kariyinilE, VKR. I'm sure Lakshman has those lines too) exquisitely to weld on to the rati kriti! I also wish Sanjay sings all the verses of tIrtakkaraiyinilE. It's a superb song where the sequential verses build up the emotional state of the nAyakA...

VK RAMAN · Post by **VK RAMAN** » 08 Jun 2016, 20:57

ganesh_mourthy - thank you.

shankarank · Post by **shankarank** » 08 Jun 2016, 21:56

Arasi, Thanks for the nice review.

http://mio.to/album/KJ.+Yesudas/Arupadai+Thiruppukazh

Song no 7. Allil nerumin ( Allil is minnal) is the way tiruppugazh can be mainstreamed - bring them into the mainstream tAlams than the preservatory chanda tAlams that keep them as museum pieces or also there kind of items - then they are no longer classical ( if that means dead) but living experience of a concert goer.

Apt coddler (a. la. hamsanadam ) at No 3, 4 in the lineup. Saranga tarangini has its own sweetness by adding a D2 to hamsanadam ( instead of an almost absent D3) . Swarams are crisp and nice too.

This is a Thirupugazh on Valliyoor stalam ( enroute to Nagerkovil from Thirunelveli) and the tiruppugazh is etched in stone on the temple premises. I have a special attachment as this is my ancestral native town.

There is a main piece "mAlAsai kopa" also in Sankarabaranam in 2-kaLai Adi.

On those lines what works for tiruppugazh will work for Tirukkural and Subramania Bharati. Bharati got into disadvantage on musical stage by eschewing Chandas but getting into pudu kavitai style - revolution is good up to a certain extent.

What we need is a Papanasam Sivan type approach to rhythm by replacing words with other words of contemporaneous origin and get derivative compositions. And also need a set of new grammar rules that allow for substitution of case endings with vowelish ones!

Once one such a composition is rendered with manodharmic additions - the evocative original can be rendered post main to be faithful to the original composer ( or as a viruttam as a prelude)

Dikshitar has lot of precedent for this: e.g kannada becomes kannata ( suka sankannata) in SrI mAtRbhUtam. ( a Post from cmlover that I recall where he explained this as a pANiNi rule).

I read an article which argued that Indian Knowledge systems advanced by using rule generation! Cannot get the link now.

RaviSri · Post by **RaviSri** » 09 Jun 2016, 18:03

e.g kannada becomes kannata ( suka sankannata) in SrI mAtRbhUtam

It is, "sOmasakam nata suka sanaka naLa"

shankarank · Post by **shankarank** » 09 Jun 2016, 20:21

Thanks for the correction - wrote it in haste mixing up both sections.

sankark · Post by **sankark** » 09 Jun 2016, 21:25

https://www.youtube.com/watch?v=KKQ5a-MfP8s , under six minutes of nectar. md + dhanyasi + excellent vocalization - vErenna vEndum?

sankark · Post by **sankark** » 09 Jun 2016, 21:37

so autoplay of youtube took me to this https://www.youtube.com/watch?v=sMVWd7dkJGw at a pace much slower than I have heard this uruppadi. Especially the mridangam vaasippu from around 8:30 till the end of the uruppadi is graaaand. Haven't heard the artistes sing at such a slow pace either earlier.

arasi · Post by **arasi** » 10 Jun 2016, 08:01

Shankarank,
Thanks again. How very pleasing Nisha's singing is! Where is the video from? Oppiliappan Koil Sadagopan comes to mind...

Dwelling on perumAL, KVC has posted in the other thread an episode where Somu is invited to sing at the Srirangam temple, and this is frowned upon by the the Jeer for several reasons. However, Somu arrives at the temple with a chandana gOpi worn vertically as a nAmam with kumkum, starts with SuklAmbaradharam, continues with elaboration of rangapura vihAra and wins the hearts of the people and of the jeer (no jeers from the Jeer, no!).Wonder how he sang that ranga pura vihAra...

The delivery at that pace with Nisha reminded me of another perumAL, varadarAjan on his ulA (promenade). Again, a thing all about pace, Vedanta desikan's amazing poetry coming alive in Sanjay's music--three verses given voice to. So finely presented visually too along with the verses. You might have heard it. And ST's AndOLikA vAhanE, another pace piece...

VK RAMAN · Post by **VK RAMAN** » 10 Jun 2016, 18:05

தீர்த்தக் கரையினிலே தெற்கு மூலையில் செம்பகத் தோட்டத்திலே - beautifully and melodiously rendered by Sanjay and I could hear PittukkuLi Murugadas. This is my next few mornings listen during treadmill walk. Thanks again shankarank.

arasi · Post by **arasi** » 11 Jun 2016, 04:47

செண்பகத் தோட்டத்திலே is how Bharathi wrote it (the volumes of his poetry have it that way).champaka grove.

cembu+agam--chembagam= brass house or pot house.

kvchellappa · Post by **kvchellappa** » 11 Jun 2016, 06:06

Is there not a flower chembagam (shenbakam)?

arasi · Post by **arasi** » 11 Jun 2016, 07:28

Yes, VKR. The fragrant champak. Strange as it may seem, Shelley dAsan, Bharathi called himself once. His object of admiration brings in the heady smelling flower into his poetry--''champak odours fail", he wails in his Indian Serenade!

shankarank · Post by **shankarank** » 11 Jun 2016, 09:34

https://www.youtube.com/watch?v=DtM0Ad6EZcc. Please watch her do the tALam - it is as if the beats are not there. People talk about slow pace and all that .. how much more slower can this get?

I have mentioned this before - her kuzhaivu has a mAtra shudham or a kAla pramaNam.

If anybody knows the Mridangist's name - I would like to know. He plays with required emphasis and embellishments still not anywhere near even mellow, forget exuberance.

I was distressed about 2 years back to hear Smt Charumati and her daughter sing this - while nothing wrong with the way it was sung, Charumathi picked up a bell and a tong and started doing tAla with it.

I thought the entire agenda of Carnatic music is to become unaware of the beats and notes in the first place while still adhering to something called the Lakshana.

shankarank · Post by **shankarank** » 17 Jun 2016, 09:33

http://www.sangeethamshare.org/asokan/C ... IC/063-SSI

Item No 7 - SrI mAtRbhUtam.. hear all the jAlams of PMI..

VK RAMAN · Post by **VK RAMAN** » 18 Jun 2016, 18:35

I am surprised all our stalwarts have nothing to share recorded 5-6 minutes mesmerizing CM. Hope we can continue this as much as possible. Theories, and philosophies have a lot of contribution, hmmmm!

shankarank · Post by **shankarank** » 19 Jun 2016, 05:38

Ok no more theories / philosophies in this thread.

https://archive.org/details/MDR-Angarak ... MDikshitar

MDR in ARI zone, sublime TNK and an aggressive Vellore.

varsha · Post by **varsha** » 19 Jun 2016, 13:41

https://archive.org/details/CakravAkaLo ... ByEmaniMSG