Shri Saketaraman at Gokulashtami series, Malleswaram, Bangal

giridharan · Post by **giridharan** » 07 Sep 2007, 20:50

Shri Saketaraman-Vocal
Shri Seshagiri Rao-Violin
Shri Arjun Kumar-Mridangam
Smt. Bagyalakshmi-Moorsing

Very bright future is awaiting this young Musician who definitely reminds us of someyesteryear musician to say the least.

His kalpana swaram rendition and neraval need a special applause.Kedaragowlai was exceptional and the kriti that followed-Samikku Sari Evvare definitely brings tears in to the eyes of rasikas.

Main peice for the day was Bhairavi-Bala gopala-was rendered briskly with the violinist showing equal aggression in his replies was quite interesting.

The Thani by Shri Arujun Kumar with Madam Bhagyalakshmi on the Moorsing(interesting as always) is worth mentioning.

Then came the pleasant surprise for the day , an RTP in Brindavana Saranga was highly exceptional , stamping his authority and class of a full fledged musician.

And the thukkadas Krishna nee Begane and others were flamboyant.

As a whole , a great musical treat for the good number of rasikas present.

Anusha · Post by **Anusha** » 10 Sep 2007, 14:26

Kedaragowlai alapanai and kriti rendering was excellent indeed. Balagopala in Bhairavi was very nicely presented, esp. the neraval. Personally, I didnot find it brisk, I thought it was rendered at the right pace! Smt. Bhagyalakshmi on the Morsing
was exceptionally good. Infact, the style adopted by Shri Bheemachar and his disciples is unique and catchy.

giridharan · Post by **giridharan** » 10 Sep 2007, 21:27

I quoted it as brisk in the sense, it is the main for the day, still i noticed a sense of swiftness may be for the day he has to sing that RTP as well

Thanks for the info that Smt Bhagyalakshmi is a disciple of Shri Bheemachar.

Anusha · Post by **Anusha** » 11 Sep 2007, 16:14

I got to know recently that Bhagyalakshmi is Shri Bheemachar's daughter as well.

arasi · Post by **arasi** » 11 Sep 2007, 22:20

Another father-daughter (disciple) instance--late khanjira vidwan H.P. Ramachar and his daughter Latha. Hope she is actively playing in concerts and continues her father's great tradition...

giridharan · Post by **giridharan** » 12 Sep 2007, 20:31

unfortunately these talented artists from Karnataka and other state never get a due recognition as they deserve in Chennai & other popular CM circles.

Moorsing is considered one of the difficult instrument to play even by the Male artists. that is why only very few have come to limelight taking up this divine instrument.

But i feel some one should take the initiative through this forum to lift the spirit of artists like Smt Bhagyalakshmi who comes from the great musical treadition bound family as heard from the speeches of organisers.Myself has attended some 2 concerts in which Mrs.Bhagyalakshmi has provided the accompaniment.

We can only remember a few names like Pudukkottai Mahadeven,Srirangam Kannan,Raman to name a few recognised artists in this .

This is one upa pakkavadyam which totally boosts the concert to a greater extent, still, not finding the place it ought to have been.

Ragjay · Post by **Ragjay** » 14 Sep 2007, 06:52

Hi I think that Giridharans comment that artists from Karnataka do not get due recognition is not factually correct A number of such musicians have flourished. It is on record that Mysore Nagaraj has openly said that the success that they enjoy is solely due to the encouragement received at Chennai. T Chowdiah is another shining example. It is a fact that opportunities for performance are greater in Chennai and a lot of artist of very good calibre are available locally . this could be the reason for the position. It is unfortunate that among the top ranking performing artist very few are from Karnataka. BFN Ragjay

sangitaRasika · Post by **sangitaRasika** » 14 Sep 2007, 19:31

I agree with Ragjay. Chennai is "Rasika Central" with very open minded connoisseurs of music. So many artists have come from AP, Karnataka, Kerala, regions of Northern India and have made it big with Chennai as their present head quarters. When artists visit us in the US, they always comment about how they grew because of the Chennai environment. There is always somebody that will slip through the cracks for some reason, and that is sad that they dont get the press they deserve, but that is a universal phenomenon...

giridharan · Post by **giridharan** » 15 Sep 2007, 09:58

Ragjay wrote:Hi I think that Giridharans comment that artists from Karnataka do not get due recognition is not factually correct A number of such musicians have flourished. It is on record that Mysore Nagaraj has openly said that the success that they enjoy is solely due to the encouragement received at Chennai. T Chowdiah is another shining example. It is a fact that opportunities for performance are greater in Chennai and a lot of artist of very good calibre are available locally . this could be the reason for the position. It is unfortunate that among the top ranking performing artist very few are from Karnataka. BFN Ragjay

it is only a chosen few who have made it to the higher grade and not all talented. Plenty of artists are still waiting to get the recognition/not geting recognised

arasi · Post by **arasi** » 15 Sep 2007, 10:03

Many more artistes from Chennai perform in Karnataka than the artistes from Karnataka in Chennai. It is not a matter of numbers but of proportion...

vijay · Post by **vijay** » 15 Sep 2007, 11:32

Arasi's point is valid. However I think it is not a case of discrimination per se. It is just that Chennai is where most of the action in CM is (apart from the US I guess!) and artistes who do not reside in the city get less visibility. Thus it is not so much a question of one's ethnicity as one's physical location or local networks.

Thus Balamurali's relocation to Chennai probably helped his career while Voleti/Nedunuri in distant Vjayada/Vizag could not get the same opportunities. Same can be said for RK Srikanthan and many other eminent vidwans. Of course the fact that they do not play to the gallery may also have had an impact...

If you are not in Chennai, you have to go that extra mile to develop networks/establish a base...on the other hand you are likely to be hihly sought after locally - for concerts, weddings and teaching, which would make it seem unnecessary to "work" the Chennai market. Over time you realize that your visibility has gone down substantially...

In any profession it is important to be in the centre of things - if you are an IT professional, you would lose out if you are not in a tier 1/2 city. A talented cricketer would be wasting his time in the US. Music is not very different.

arasi · Post by **arasi** » 15 Sep 2007, 19:56

Vijay,
You covered all the bases!

rajaglan · Post by **rajaglan** » 16 Sep 2007, 17:52

Hi,

This is the piece I heard when Ravikiran talked of a song and its influences from tanjore style and then actually went in to discussing the carnatic music history in Blore odukathur mutt.
1. Actually it was originally Mysore where most vidwans moved to for a living those days. The maharaja was an ardent fan of music. Harikesavanallur MB was in his court.
2. Then came Tanjore kings and people moved out of Mysore and then moved to tanjore. Also trivandrum maharaja also was a fan of music both CM, HM.
3. Then came british time where lawyers and rich people from chennai (capital of madras precidency) started patronising CM. It continued. Now CM is slowly having dual patronising ie chennai and NRIs abroad. But there is nothing equivalent to listening to CM at MA ,Chennai in December.