Chembur Fine Arts : Saturday, 21 Feb
Hyderabad Brothers - Vocal
Dwaram Satyanarayana Rao - Violin
P.Jaishankar - Mridhangam
No one else on stage except a laptop.
What I heard:
Begada varnam
Sabhapati (Abhogi)
Nenendu (K.Behag)
Durmargachara (Ranjani - alapana introduced by S and finished by R)
Tyagaraja yoga vaibhavam (A.Bhairavi)
Tulasi bilva (Kedaragowla) - ragam by S and good neraval at anupallavi
Teliya leru (Dhenuka)
Bhairavi (left when the tanam began).
Kedaragowla ragam was good and the violinist replied with plenty of Narayanagowlai, which is OK since we don’t get to hear that these days. Good neraval. Teliya leru was pleasing. Anandabhairavi, the grand charanam was sung just once, which is a pity. Bhairavi ragam was good.
I like the music of the Hyd Bro, or Hyd Bros as people may see fit. I think Raghavachary is the more flowing and contented singer, but seems almost inaudible in the joint presentations. Seshachary seems to be stage managing too many things and is too self aware of what is happening. There is this upanishadic image of the two birds on the tree branch and all that, well if brothers are singing, it is ideal, one can sing freely and the other sakshi is available for free! Seshachary just didn’t get into the flow, and there were few happy discoveries in the flow of raga or kalpana swarams, which is often the major source of simple pleasures. Tani was gripping and explosive, to say the least.
Narayan
Hyderabad Brothers at Chembur Fine Arts, Mumbai
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bilahari
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vijay
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Thanks Narayan - had planned to attend but something came up at the last minute. Sad to have missed Tulasi Bilva, my favourite krithi in K-gowla (which is more often than not upstaged by Saraguna Palimpa). BTW, the reference to the violinist's response was hilarious!
Normally, Sesahchary is highly creative - in fact, almost too creative - but I suppose ragas like KGowla and Bhairavi can cramp his style a bit. His Bharavi at the Academy was pretty good too - I was not sure how he would fare in such a raga, having seen him render more of Thodi, Sankarabharanam, Kalyani etc.
Also, would have been good to meet you!
Normally, Sesahchary is highly creative - in fact, almost too creative - but I suppose ragas like KGowla and Bhairavi can cramp his style a bit. His Bharavi at the Academy was pretty good too - I was not sure how he would fare in such a raga, having seen him render more of Thodi, Sankarabharanam, Kalyani etc.
Also, would have been good to meet you!
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anandabhairavi
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I dint understand why one of the brother was quiet mostly except for singing some swaras and neraval .
I read in the recent issue of a magazine Shruti commenting " that one of the brothers was always mute - may be cold "during the recent season in Madras
I found the comment relevent here too as one brother was managing the show.
Then I heard a mami commenting "10 varusham munnaadi inga paadinaar appovum oru brother paadalaai innum appdiye thaan irukaar"
And the most shocking thing was the concert got over in 2 hours as they had to catch a train in the same night.That was a shock to all of us!!
I read in the recent issue of a magazine Shruti commenting " that one of the brothers was always mute - may be cold "during the recent season in Madras
I found the comment relevent here too as one brother was managing the show.
Then I heard a mami commenting "10 varusham munnaadi inga paadinaar appovum oru brother paadalaai innum appdiye thaan irukaar"
And the most shocking thing was the concert got over in 2 hours as they had to catch a train in the same night.That was a shock to all of us!!
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saptaratna
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Hyd, Bros., started off in their career showing a lot of promise and ""almost tried"" to pitch themselves as present day Alathur Bros. But sadly the river has taken meandering courses, with its roots and tributaries being untraceable. They have not stood the test of time.
Seshachary is very creative and also stong with laya, and he also can play the mridangam well. But then , he seems to be a case of unhoned creativity, running berserk sometimes.
Raghavachary, having a fragile voice and being literally domineered by his brother, can neither match upto his brothers' lung power nor wits.
All in all their concerts have become rather tentative and sometimes even unpleasurable. Especially, Seshachary's penchant for showing his Hindustani prowess, bursts forth in large measures and even in time tested shuddha carnatic ragas he deliberately infuses these shades which dont fuse together and leaves the listener foxed !!!.
The best case in point is his rendition of Ramapriya this season in the Academy !! If not for the fidelity and strength of accompaniment shown by Varadarajan on the Violin, the entire concert would have fallen apart.
Too much of noise , distracted presentation and general disrespect for the stage is what is seen in their concerts these days. I for one have a soft corner for these duo, and never miss them, have sometimes tolerated them too, but this time during the season, I had enough.
The same pattern seems to be continuining , when I read the above report of the Mumbai concert.
Seshachary is very creative and also stong with laya, and he also can play the mridangam well. But then , he seems to be a case of unhoned creativity, running berserk sometimes.
Raghavachary, having a fragile voice and being literally domineered by his brother, can neither match upto his brothers' lung power nor wits.
All in all their concerts have become rather tentative and sometimes even unpleasurable. Especially, Seshachary's penchant for showing his Hindustani prowess, bursts forth in large measures and even in time tested shuddha carnatic ragas he deliberately infuses these shades which dont fuse together and leaves the listener foxed !!!.
The best case in point is his rendition of Ramapriya this season in the Academy !! If not for the fidelity and strength of accompaniment shown by Varadarajan on the Violin, the entire concert would have fallen apart.
Too much of noise , distracted presentation and general disrespect for the stage is what is seen in their concerts these days. I for one have a soft corner for these duo, and never miss them, have sometimes tolerated them too, but this time during the season, I had enough.
The same pattern seems to be continuining , when I read the above report of the Mumbai concert.
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arunsri
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Hyd Bros - showed a lot of promise as DUO. I personally liked their music a lot in the early 1990s. However the sheer dominance of Seshachary, almost insulting Raghavachary on stage, keeping a copy (the only one) of the sahitya of the song being rendered with himself leaving the poor brother to peep, his ruthlessness in swaras sometimes, their almost predicatble set-lists have almost made me anti Hyd-Bros. I wish for the sake of music lovers, they split as duo and perform as solo musicians.
I feel that the audience opinion does not matter to the brothers. Else with so much written about the aspects of their music which repels audience from them, one would expect some change from their end - may not be genuine, atleast superficially.
All said and done, they should not have accepted a concert with a train journey as a constraint and sing for only 2 hrs, when it is a norm to sing for close to 3 hrs in a sabha like FAS, Chembur.
I feel that the audience opinion does not matter to the brothers. Else with so much written about the aspects of their music which repels audience from them, one would expect some change from their end - may not be genuine, atleast superficially.
All said and done, they should not have accepted a concert with a train journey as a constraint and sing for only 2 hrs, when it is a norm to sing for close to 3 hrs in a sabha like FAS, Chembur.
Last edited by arunsri on 23 Feb 2009, 13:34, edited 1 time in total.
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narayan
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The laptop, presumably containing the song list and the lyrics, was equidistant to the two bros. Seshachary had a conversation with the mridangist (about the talam of the pallavi to come, judging from the gesticulations), thereby ruining the violinist's finish of the Bhairavi alapana. This sort of thing is easily avoided.
But I like the music, ragam sense, sangatis etc. Will wait for Seshachary to cool down, I guess. May be I should listen to recordings only! Also I wish Raghavachary sings suddha madhyama ragams.
Narayan
But I like the music, ragam sense, sangatis etc. Will wait for Seshachary to cool down, I guess. May be I should listen to recordings only! Also I wish Raghavachary sings suddha madhyama ragams.
Narayan
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vijay
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Well put Narayan - In case of the Hyd Bros (as in case of a few others), it is useful to draw a line between stage mannerisms/dominance and the music. If one focusses on the latter alone, their music can be quite satisfying.
Saptaratna, it is true that Seshachary's alaapanas can be a little different. But I am not sure I agree that only time-tested phrases should be used or that listeners should not be "foxed"...this one likes to be foxed sometimes!
Aesthetics is a different matter though. As is often the case with those who are blessed with a good Manodharma, Seshchary can go a little overboard at times. You could also say this about giants like Voleti who had a much more distinctly Hindustani style...But I'd take that any day over those who trot out trite alaapanas in concert after concert...
Saptaratna, it is true that Seshachary's alaapanas can be a little different. But I am not sure I agree that only time-tested phrases should be used or that listeners should not be "foxed"...this one likes to be foxed sometimes!
Aesthetics is a different matter though. As is often the case with those who are blessed with a good Manodharma, Seshchary can go a little overboard at times. You could also say this about giants like Voleti who had a much more distinctly Hindustani style...But I'd take that any day over those who trot out trite alaapanas in concert after concert...
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HeyNarayana
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I have to agree with Vijay and wish people separate music from artists’ stage dynamics. Laptop is kind of tacky and two hours by Hyderabad is not reasonable.
I wonder if anybody has given a thought about Raghavachary’s subdued behavior, may be he is content or may be he doesn't want to put anymore energy than what he can or could be simply lack of enthusiasm... However Brothers have to remember they do have responsibility to present a good concert that includes coordination between them and audience should pay less attention to who sang how long and who sang what. Can one really listen to a solo concert by Rahavachary? I am an admirer of both brothers and I enjoy them singing together but do not get bothered by who sang what and how long and who controlled the show as long as they produce good music in the end.
How many artists can one today who can present Pahadi thillana like Seshachary. I am unfortunate, never had an opportunity to listen to Sri Voleti’s live but Bothers do fill that gap. Several other artists may claim they are descendants of Sri Voleti just because they learned his style but no match to the combination of creativity and voice like brothers.
Talk about ragas they chose, swara kalpana, or anything related to their music but leave them alone. If one truly loves music, one has responsibility to be subjective. This kind of conversation may lead to gossip.
Having said all this I wish brothers pay attention to these reviews whether they are subjective or objective and see where they can improve as they are talented and it is a pity to see these kind of reviews.
I wonder if anybody has given a thought about Raghavachary’s subdued behavior, may be he is content or may be he doesn't want to put anymore energy than what he can or could be simply lack of enthusiasm... However Brothers have to remember they do have responsibility to present a good concert that includes coordination between them and audience should pay less attention to who sang how long and who sang what. Can one really listen to a solo concert by Rahavachary? I am an admirer of both brothers and I enjoy them singing together but do not get bothered by who sang what and how long and who controlled the show as long as they produce good music in the end.
How many artists can one today who can present Pahadi thillana like Seshachary. I am unfortunate, never had an opportunity to listen to Sri Voleti’s live but Bothers do fill that gap. Several other artists may claim they are descendants of Sri Voleti just because they learned his style but no match to the combination of creativity and voice like brothers.
Talk about ragas they chose, swara kalpana, or anything related to their music but leave them alone. If one truly loves music, one has responsibility to be subjective. This kind of conversation may lead to gossip.
Having said all this I wish brothers pay attention to these reviews whether they are subjective or objective and see where they can improve as they are talented and it is a pity to see these kind of reviews.
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saptaratna
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It would be better if my mentioning of infusing NI phrases, is understood correctly.
I am not against the same and am not suggesting tht only time tested phrases should be used. If this were to happen , both creativity and music would have perhaps died by now .
What I was talking about was the "non - fusion" of those kind of phrases when not warranted. How you 'fuse" two styles and genres is more important an element of creativity, than fusion itself. It is in this respect that mention was made.
As I said I too am fond of their style and singing. But then should we always obfuscate issues !?
I am not against the same and am not suggesting tht only time tested phrases should be used. If this were to happen , both creativity and music would have perhaps died by now .
What I was talking about was the "non - fusion" of those kind of phrases when not warranted. How you 'fuse" two styles and genres is more important an element of creativity, than fusion itself. It is in this respect that mention was made.
As I said I too am fond of their style and singing. But then should we always obfuscate issues !?
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vijay
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Thanks for your clarification Saptaratna - I think our views are broadly in agreement.
Heynarayana - I too am quite confident that the Brothers have an understanding as to who will handle what and in what proportion. Seshchary easily has the more powerful voice and if he dominates brigha/tara sthayi section it is only understandable. I do not see why a 2 member team necessairly has to imply that the division of labour should be exactly 50%. This is only the result of our own conditioning...
Heynarayana - I too am quite confident that the Brothers have an understanding as to who will handle what and in what proportion. Seshchary easily has the more powerful voice and if he dominates brigha/tara sthayi section it is only understandable. I do not see why a 2 member team necessairly has to imply that the division of labour should be exactly 50%. This is only the result of our own conditioning...
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HeyNarayana
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appu
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In the words of vidwan SR Janakiraman, the do's of Kedaragowlai are the dont's of Narayanagowlai. I can see how the violinist could have slipped into Narayanagowlai.narayan wrote:Chembur Fine Arts : Saturday, 21 Feb
Kedaragowla ragam was good and the violinist replied with plenty of Narayanagowlai, which is OK since we don’t get to hear that these days. Good neraval. Teliya leru was pleasing. Anandabhairavi, the grand charanam was sung just once, which is a pity. Bhairavi ragam was good.
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girish_a
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What's with the practice of keeping laptops on the stage? Do they use it to record their music? Or is it for managing stage accoustics?
I first saw Shashank do this, then Ganesh/Kumaresh, and later, Malladi brothers. And now you report that the Hyderabad brothers have taken to it! This is clearly a growing trend.
Oh, and all of them had Macintoshes!
I first saw Shashank do this, then Ganesh/Kumaresh, and later, Malladi brothers. And now you report that the Hyderabad brothers have taken to it! This is clearly a growing trend.
Oh, and all of them had Macintoshes!
Last edited by girish_a on 24 Feb 2009, 19:55, edited 1 time in total.
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annamalai
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Agreed. With Alathur Brothers as a benchmark, that comparison always exists.vijay wrote: I do not see why a 2 member team necessairly has to imply that the division of labour should be exactly 50%. This is only the result of our own conditioning...
Alathur Subba Iyer did the raga alapanas of big ragas - Bhairavi, Kamboji, Kalyani, Thodi; whereas Srinivasa Iyer typically did smaller ragas - Durbar, Saama, Manirangu, Kuntalavarali. Yet the Vidwat of both the vidwans was clearly evident during Neraval and Swarms.
With DKP & DKJ duo, clearly DKJ took a lesser role in concerts. DKJ's kalpanaswaras were always sparkling in DKP concerts. But later he blossomed as a great vidwan in his own. Same with Brinda & Muktha, Muktha took a lesser role.
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HeyNarayana
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I would assume the same that this could be used for lyrics. These days audience expects 3 to 3.5 hour concerts with wide range of songs from traditional carnatic music to abhangs which makes it difficult for these modern day artists. The issue is they don’t simply enjoy the music, will start comparing with other artists. That is disrespectful to both as we tend to ignore the fact that each may have their own style, strengths and weaknesses. These artists, not just Brothers are no different than many of us who developed dependency on tools and techniques and add their travel fatigue to it. We are not talking about presenting a paper in a conference that was prepared earlier, this is creativity and impromptu.
However looking at lyrics makes it look like elementary school competition or like somebody said playback singing. But if you need this variety, better pay the price and live with that. This option is much better than witnessing Unni Krishnan forgetting Annamayya song in the middle of a 3.5 hour concert and getting prompted by fist row audience which was kind of cute as I love his music and didn’t bother me. The reason I am going to this lengthy discussion is make people think on how much support and respect is there for this music in terms of finance or popularity as compared to playback singing. Just appreciate that there are artists out there who were sincere to this music and because of them enjoying this today. I am tying to see the human side of the artist that’s all.
However looking at lyrics makes it look like elementary school competition or like somebody said playback singing. But if you need this variety, better pay the price and live with that. This option is much better than witnessing Unni Krishnan forgetting Annamayya song in the middle of a 3.5 hour concert and getting prompted by fist row audience which was kind of cute as I love his music and didn’t bother me. The reason I am going to this lengthy discussion is make people think on how much support and respect is there for this music in terms of finance or popularity as compared to playback singing. Just appreciate that there are artists out there who were sincere to this music and because of them enjoying this today. I am tying to see the human side of the artist that’s all.
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anandabhairavi
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I think I said earlier too in jaya tv Vijay shiva sir told that "paper vechindu paada kudadu " as kutcheri dharmam.maybe lap top is modern day paper.
BTW Dr.Nityashree sang 4 hours in BARc on 24th Jan and she didnt have any paper in front of her except for the list she had prepared.Similarly Sanjaysir and Sudhamami!!
I felt it ruins the atmosphere with lap top on dias.
PS.It was not Apple but some old model =(
BTW Dr.Nityashree sang 4 hours in BARc on 24th Jan and she didnt have any paper in front of her except for the list she had prepared.Similarly Sanjaysir and Sudhamami!!
I felt it ruins the atmosphere with lap top on dias.
PS.It was not Apple but some old model =(
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arunsri
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Laptop has been used to record the music being sung or sometimes play the CD for the tambura sruti.
Use of laptop for lyrics is unpardonable, as a professional. You can have a paper with the lyrics as a reference in case of a slip etc. If the artiste cannot take the time to memorise the lyrics for the pieces being sung, he/she better not sing the same. KJY, G-K, Sashank doing it does not make it any more/less acceptable. Vocalists like R.K. Srikantan, Smt. Vedavalli who are quite advanced in age do not need a paper for lyrics.
In a concert by a vocal duo - one does not expect exactly 50% role for each of the duo. But one does not expect fights of supremacy or a disimissive attitude towards the other. The duo can have serious differences, but once they are on stage the ambience they create should be devoid of these. There is something called stage decorum, respect for audience etc.
What happens in case of Hyd Bros is a breach of everything. The behavior of the younger one towards the elder is worse than that of a Guru to the junior most shishya, who sometimes is on stage just to give the guru water. Making the elder brother strain his head for the sheet with the sahityam, cutting the other person's manodharma part (while in progress) etc are simply unacceptable. I have seen this happening with utmost disgust many times. If you cannot tolerate the other one's singing - do not sing with him. PERIOD! For all this show of upmanship - the repertoire of the duo is pretty much stagnant, which also does not warrant a laptop for lyrics.
Ranjani Gayathri have been performing as duo for a while now, no one writes anything about their role sharing. Even Smt. Suguna Varadachary and Suguna Purushottaman have sung as duo once in a while, but never has it been a show of one-upmanship - even though both are great artistes in their own right. TMT-PSN, TNK-MC all have performed as duo many a time. One does not feel this sense of disgust that one gets seeing the attitude of Seshachary, in any of the above cases.
Use of laptop for lyrics is unpardonable, as a professional. You can have a paper with the lyrics as a reference in case of a slip etc. If the artiste cannot take the time to memorise the lyrics for the pieces being sung, he/she better not sing the same. KJY, G-K, Sashank doing it does not make it any more/less acceptable. Vocalists like R.K. Srikantan, Smt. Vedavalli who are quite advanced in age do not need a paper for lyrics.
In a concert by a vocal duo - one does not expect exactly 50% role for each of the duo. But one does not expect fights of supremacy or a disimissive attitude towards the other. The duo can have serious differences, but once they are on stage the ambience they create should be devoid of these. There is something called stage decorum, respect for audience etc.
What happens in case of Hyd Bros is a breach of everything. The behavior of the younger one towards the elder is worse than that of a Guru to the junior most shishya, who sometimes is on stage just to give the guru water. Making the elder brother strain his head for the sheet with the sahityam, cutting the other person's manodharma part (while in progress) etc are simply unacceptable. I have seen this happening with utmost disgust many times. If you cannot tolerate the other one's singing - do not sing with him. PERIOD! For all this show of upmanship - the repertoire of the duo is pretty much stagnant, which also does not warrant a laptop for lyrics.
Ranjani Gayathri have been performing as duo for a while now, no one writes anything about their role sharing. Even Smt. Suguna Varadachary and Suguna Purushottaman have sung as duo once in a while, but never has it been a show of one-upmanship - even though both are great artistes in their own right. TMT-PSN, TNK-MC all have performed as duo many a time. One does not feel this sense of disgust that one gets seeing the attitude of Seshachary, in any of the above cases.
Last edited by arunsri on 25 Feb 2009, 11:16, edited 1 time in total.
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vasanthakokilam
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On musicians using notes and laptops: http://rasikas.org/forums/viewtopic.php? ... orise.html
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prashant
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I don't think DKP-DKJ were a 'duo'. From what I have heard, DKJ provided 'active vocal support' to DKP but it was very clear that Smt. Pattammal was the lead performer. Brinda-Mukta concerts [again from what little I have heard] did not feature extensive manodharma exercises and were more orientated towards pristine and flawless renditions of compositions. I do agree that Smt. Mukta used to participate to a lesser extent in whatever manodharma there was.
I think the Alathur Brothers got it right in the first place, and the Malladi Brothers emulate them very well. If I want to listen to the Hyderabad Brothers, I go to one of the many excellent recordings of their sparkling music in the 90s. In a two member team, I do not expect a 50% exact division of labour, but it should at least be in some striking range of uniform participation. In the case of the Hyderabad Brothers now, unfortunately Sri Raghavachary is a glorified spectator - he even sings in a hushed tone whereas Sri Seshachary [a brilliant musician, no doubt] is full-throated to the extreme. At least for me, this is not what is expected from a vocal duo. Until this changes, I can sample excellent music elsewhere and don't feel I am losing anything musically by staying away from their concerts.
I think the Alathur Brothers got it right in the first place, and the Malladi Brothers emulate them very well. If I want to listen to the Hyderabad Brothers, I go to one of the many excellent recordings of their sparkling music in the 90s. In a two member team, I do not expect a 50% exact division of labour, but it should at least be in some striking range of uniform participation. In the case of the Hyderabad Brothers now, unfortunately Sri Raghavachary is a glorified spectator - he even sings in a hushed tone whereas Sri Seshachary [a brilliant musician, no doubt] is full-throated to the extreme. At least for me, this is not what is expected from a vocal duo. Until this changes, I can sample excellent music elsewhere and don't feel I am losing anything musically by staying away from their concerts.
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narayan
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Just to say that I am pretty sure that Raghavachary is not unhappy about anything particular (in fact, I said that he is the happier singer!) and the split up of decisions between the bros is a matter between them. I only feel that overall Seshachary's style is a little too aggressive and intrusive to make for pleasant viewing. I'm quite sure there is nothing more to it as far as the dynamics between the two is concerned.
Also, I think I would go for a concert by either of them singly also. I like their music and even if their repertoire is stagnant, they sing a lot that I like.
Also, I think I would go for a concert by either of them singly also. I like their music and even if their repertoire is stagnant, they sing a lot that I like.
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gobilalitha
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post no20 about Ranjani Gayatri' '' No one writes about their role sharing''
What is there to write? should anybody write for the sake of writig? They are blending marvellously in perfect unison. B ut just because they sing the abhangs in a soul stirring manner, some listeners want them to sing more and more abhangs. Afterallt is not a performance for abhangs alone . they maintain an equal proportion of all kritis gobilalitha
What is there to write? should anybody write for the sake of writig? They are blending marvellously in perfect unison. B ut just because they sing the abhangs in a soul stirring manner, some listeners want them to sing more and more abhangs. Afterallt is not a performance for abhangs alone . they maintain an equal proportion of all kritis gobilalitha
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HeyNarayana
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vijay
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I don't pretend to be an expert on gauging these things but, like Narayan, I too haven't perceived any sort of competitive tension between the brothers. The younger is admittedly dominant but this seems to me the result of prior agreement/understanding rather than one-upmanship/stealing the limelight on part of the younger, who can come across as slightly comical. However I could not detect any arroagance...However this is based on maybe 7-8 concerts and I tend not to look at the stage too often - so it is possible that I might have missed out some cues that others have noticed.
Notwithstanding the above, I generally try to separate the artiste from his/her art (and not only in music). It is not always easy - but there's just too much at risk otherwise...Seshachary's on-stage demeanour/antics are, I find, relatively easy to stomach, in light of tales that haunt my appreciation of other great artistes...
Notwithstanding the above, I generally try to separate the artiste from his/her art (and not only in music). It is not always easy - but there's just too much at risk otherwise...Seshachary's on-stage demeanour/antics are, I find, relatively easy to stomach, in light of tales that haunt my appreciation of other great artistes...
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SreeR
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I have to admit with Vijay, I am one of those who enjoy art for the sake of art. I was fortunate to attend many concerts by many artists and enjoy every body's music. I know some of these artists personally and they all get along fine (at least superficially) and are polite to each other and in fact attend each others’ concerts. My observation is Sri Seshachary and Raghavachay get along well and care for each other. If they are unhappy, they wouldn’t sing as duo for this many years so please respect that and their privacy.
If semantics like looking at paper vs. not looking at is critical to you, limit your attendance to those artists and have great time. This is not a competition and you are not judges.
If semantics like looking at paper vs. not looking at is critical to you, limit your attendance to those artists and have great time. This is not a competition and you are not judges.
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sadvimarsha
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I agree with Vijay and SreeR. One must be able to enjoy the musical content in a concert rather than the mannerisms of the artists.
Especially these days when the interest for pure Carnatic Music is dwindling away and there are a few takers of this art, let us protect the ART by projecting the artists. In that way, we can use this forum for a better purpose.
Those days of Semmangudi are gone anyway. There are only a few artistes today who are trying their best to keep up the purity of this Classical art. let us be happy that they are still performing and we are able to listen to these concerts.
I think we should start discussing about the contents of the concert, rather than waste our time and energy this way. Then we will be helping the artistes too and get what we want in a concert.
Especially these days when the interest for pure Carnatic Music is dwindling away and there are a few takers of this art, let us protect the ART by projecting the artists. In that way, we can use this forum for a better purpose.
Those days of Semmangudi are gone anyway. There are only a few artistes today who are trying their best to keep up the purity of this Classical art. let us be happy that they are still performing and we are able to listen to these concerts.
I think we should start discussing about the contents of the concert, rather than waste our time and energy this way. Then we will be helping the artistes too and get what we want in a concert.
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prashant
- Posts: 1658
- Joined: 03 Feb 2010, 09:01
This is exactly the point that most people are missing in this discussion. For coming to the point of 'separating the ariste from the art', an artiste must be given a chance to display his/her art to a basic level so that the audience can assess it. I do not feel that the current concert presentation of the Hyderabad Brothers allows Sri Raghavachari even a modicum of chance to do so - the reasons for that are of course personal; between the brothers and definitely not within my/our purview.vijay wrote:Notwithstanding the above, I generally try to separate the artiste from his/her art (and not only in music). It is not always easy - but there's just too much at risk otherwise...
However, as a rasika, I think it is OK to stick to my contention that despite moments of brilliance from Sri Seshachari, the concerts of the Hyderabad Brothers lack the aesthetic sheen and diversity of ideas that two singers with different vocal styles / rAgA aesthetics can bring to the stage. I respect them tremendously as musicians, respect the privacy of their interpersonal dynamics but cannot help feel that their teamwork could be far better than it is right now.
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endaroo
- Posts: 38
- Joined: 26 Feb 2009, 08:05
Narayan, HeyNarayan, vijay, sadvimarsha etc.,
Regarding Hyd.Bros concert in Fine Arts, Chember, Mumbai.
I appreciate your interest to make criticise about south indian music concerts and musicians. But, you all are forgetting to protect values and project our Classical music artists with this present crucial time. With this present situation some of the Classicial artists are changing their profession into other fields i.e., to organise fusion music to earn respectedtly. Some of the artists are going USA to organise workshops instead of begging concerts.
We all should protect and project the artists, so that people cannot hesitate to attend our devine music concerts.
Please don't show your knowledge in criticism and some times members are fighting with their views and it can easily avoid.
Agree with SreeR and we are not the judges to give them prizes etc., and also not submitting thesis for Doctorate.
Regarding Hyd.Bros concert in Fine Arts, Chember, Mumbai.
I appreciate your interest to make criticise about south indian music concerts and musicians. But, you all are forgetting to protect values and project our Classical music artists with this present crucial time. With this present situation some of the Classicial artists are changing their profession into other fields i.e., to organise fusion music to earn respectedtly. Some of the artists are going USA to organise workshops instead of begging concerts.
We all should protect and project the artists, so that people cannot hesitate to attend our devine music concerts.
Please don't show your knowledge in criticism and some times members are fighting with their views and it can easily avoid.
Agree with SreeR and we are not the judges to give them prizes etc., and also not submitting thesis for Doctorate.
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endaroo
- Posts: 38
- Joined: 26 Feb 2009, 08:05
I appreciate the criticism given by people of the forum about the duo's, people are saying its one man army show and the army is following him.
We are not Gods, after all, we all are human's and the music is one which gives the route to mooksha, people are there to protect it and still taking forward in this new era.
Request you all to enjoy the music and take esthetic sense and reach the god inspite of criticising the artists.
We are not Gods, after all, we all are human's and the music is one which gives the route to mooksha, people are there to protect it and still taking forward in this new era.
Request you all to enjoy the music and take esthetic sense and reach the god inspite of criticising the artists.
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rshankar
- Posts: 13754
- Joined: 02 Feb 2010, 22:26
I do not think that there was ANYTHING disrepectful in any of the postings of the posters you've named, particularly Vijay's. Just because 'these times' are perceived by some as being particularly tough for CM artists (I would argue that it is most certainly not so*), I do not think that we should stop critiquing, or condemn all sorts of criticism. What you say is true of unwarranted/unsavory/destructive criticism, and you can rest assured that the site admin or the moderators will step in were that to happen. If we want our music and the artists who practice it to get better, then they better be open to constructive criticism. The point of all criticism has to be constructive. Critiquing is not just the job of 'judges' and 'PhD students', but is part of what makes anything better (if you want to use the PC term for it, we can call it 'feedback').endaroo wrote:Narayan, HeyNarayan, vijay, sadvimarsha etc.,
Regarding Hyd.Bros concert in Fine Arts, Chember, Mumbai.
I appreciate your interest to make criticise about south indian music concerts and musicians. But, you all are forgetting to protect values and project our Classical music artists with this present crucial time. With this present situation some of the Classicial artists are changing their profession into other fields i.e., to organise fusion music to earn respectedtly. Some of the artists are going USA to organise workshops instead of begging concerts.
We all should protect and project the artists, so that people cannot hesitate to attend our devine music concerts.
Please don't show your knowledge in criticism and some times members are fighting with their views and it can easily avoid.
Agree with SreeR and we are not the judges to give them prizes etc., and also not submitting thesis for Doctorate.
* A good friend of mine told me 'anda kAlattilE enga appA pATTu kArALLukku poNNu tara mATTEn enru SonnAr, AnAl, nAn inda kAlattilE dArALamA yenda artistukkum poNNu kuDukka tayAr' - "In those days, my father refused to give his daughters away in marriage to musicians, but, in these days, I am certainly open to the prospect of giving my daughter away to an artist." The statement was revealing both in terms of perceptions, as well as the fact that the reference to the performing artists as lowly pATTu kArar (music maker) has changed for the better as well!
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rasaali
- Posts: 172
- Joined: 05 Feb 2007, 10:08
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endaroo
- Posts: 38
- Joined: 26 Feb 2009, 08:05
O.K. the entire music atmosphere i.e., concerts, musicians (main artists and accompanists), associations, secretaries, audiance. mike system and mainly payment to the artists have completely changed. In olden days, the secretary goes to a Musicians house to request his concert, but now a days Musicians (mostly) are approaching the secretaries. The audiance are not serious i.e., coming and going, chit chating, eating, drinking, mainly gossips (comparing the artists), beaurocrasy and also lover's spot - extremely sorry.
Likewise, days are going, the criticisers are in their own ideas and expressing their own views.
endaroo
endaroo
Likewise, days are going, the criticisers are in their own ideas and expressing their own views.
endaroo
endaroo
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anandabhairavi
- Posts: 122
- Joined: 29 Nov 2006, 15:00