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Thread: Musicians,events,anecdotes and tid-bits

  1. #111
    Senior Member Seasoned Hubber R.Latha's Avatar
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    Dr.Jothi Kausalya

    Rendered with devotion
    Dr.Jothi Kausalya has brought out a Tamil translation of both Bhajagovindam and Gnanapaanai.

    http://www.hindu.com/fr/2009/03/13/s...1350330300.htm

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  3. #112
    Senior Member Seasoned Hubber R.Latha's Avatar
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    Tyagaraja as management guru

    Professor V. Sivakumar drew parallels between the lyrical content of Tyagaraja kritis and management principles at a recent talk.

    http://www.hindu.com/fr/2009/03/13/s...1351210300.htm

  4. #113
    Senior Member Seasoned Hubber R.Latha's Avatar
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    Lilting songs
    Kaushiki and Purbayan put out excellent performances
    NTENSE Kaushiki’s thumris were mesmerising and Purbayan was felicitous

    Sursagar, Bangalore, music festival featured two of India’s most renowned, Calcutta based young maestros sitar virtuoso Purbayan Chatterjee and the young talented vocalist Kaushiki Chakraborthy Desikan. Both the artistes re-established their cr edentials as performers par excellence amidst thunderous applause from the audience who attended these concerts in large numbers.
    see Her photo is here

    http://www.hindu.com/fr/2009/03/13/s...1351460200.htm

  5. #114
    Senior Member Seasoned Hubber R.Latha's Avatar
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    The annual Tyagaraja Music Festival in New Delhi saw some fine recitals.

    Photo: V.V. Krishnan

    Rich! Maharajapuram Ganesh Viswanathan in performance.

    Amongst the youngsters who performed in the annual Tyagaraja Music Festival, organised in the Capital recently by Sree Shanmukhanda Sangeetha Sabha, Maharajapuram Ganesh Viswanathan put up an impressive performance. Whether it was the rendition of th e compositions or the manodharma aspects (raga alapana, neraval and swaraprastaras), Ganesh’s calibre came to the fore during his recital spanning close to two hours.


    http://www.hindu.com/fr/2009/03/13/s...1350530200.htm

  6. #115
    Senior Member Seasoned Hubber R.Latha's Avatar
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    Memorable concert O.S. Thyagarajan.

    In a rare appearance in Vijayawada, O.S. Thyagarajan of Chennai engaged the audience with his performance. The concert which took place at Gokaraju Laila Gangaraju Kala Vedika was organised by Sri Sadguru Sangeeta Sabha to mark the first death annive rsary of Vishnubhotla Sriramachandra Murthy, a musician and head of a family of reputed musicians.OST (O.S.Thyagarajan), as he is popularly known, struck a chord with the listeners right from the start of the concert. He began with Sahana Varnam and followed it with Sunderatara Deham of Thyagaraja in Pantuvarali and the Pancharatna keertana Endaro Mahanubhavulu in Sri Ragam. The Kalyani keertana Eesa Pahimam was complemented by detailed and efficient swaras. For the main item of the concert, Thyagarajan expanded Kambhoji in a detailed manner. He sang Evarimata of Thyagaraja decorating it with competent and bhava-filled Niraval and delightful kalpana swaras.

    http://www.hindu.com/fr/2009/03/13/s...1350700200.htm

  7. #116
    Senior Member Seasoned Hubber R.Latha's Avatar
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    One and only Balamurali

    Balamuralikrishna’s concert proved why he is called a maestro.



    Edge over others Balamuralikrishna’s concert was a class act.

    Nadaprabha Cultural Trust organised an evening of music with music maestro Mangalampalli Balamuralikrishna at Ravindra Bharathi. He began the concert with his own varnam in Natai Saptaswaramulu.

    Sidhi, a new ragam founded by the maestro with only four swarams in it was the next wherein he sang a small invocatory Sidhim Dehi. Nadavarangaini, a creation of Thyagaraja was chosen for Kripalavala, a rare item and it was sung in his own way. Karnataka Kapi was taken for Syamasastry’s Akhilandeswari Durusuga, another rare item. Chandrajyothi was taken for an essay and here his class act was distinctly heard.
    Unique style

    His style of the ragam was unique and the ragabhavam was brilliant for Bagayanayya. Bhairavi was taken next and the ragam though briefly sung was a bit unconventional to hear. Bala Gopala of Deekshitar was a class composition and he delivered it in his own style with complex swaram. The major attraction of the evening was the famous Thyagaraja Pancharathna kriti Endaro Mahaanubhavulu in Sree Ragam. One of the great aspects was that he could sing swara in the three octaves effortlessly and effectively make a clear edge over others. His base voice was as bright as his top voice and he proved that only he can sing like this. D.V.Mohan Krishna gave the vocal support, (maestro’s disciple) young Dinakar on violin was playing for the first time along with the maestro, the veteran mridangam player M.L.N.Raju, Nemani on ghatam and Satya Sai was on morsing. The concert concluded with some light melodies and tatwams from Balamurali.

    His photo here

    http://www.hindu.com/fr/2009/03/13/s...1350760300.htm

  8. #117
    Senior Member Seasoned Hubber R.Latha's Avatar
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    Dance like a woman
    Puja Allepalli shines through her performance. A. Ramalinga Sastry

    Her photo here

    if u like this post ur comments u like it
    http://www.hindu.com/fr/2009/03/13/s...1350740200.htm

  9. #118
    Senior Member Seasoned Hubber R.Latha's Avatar
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    1. Veena guru honoured
    Pappu Padmavathi Paramahamsa was felicitated recently.

    http://www.hindu.com/fr/2009/03/13/s...1350720200.htm

    2. Music is divine
    Talk Peri Sree Ramamurthy’s lecture was held recently.

    http://www.hindu.com/fr/2009/03/13/s...1350770300.htm

  10. #119
    Senior Member Seasoned Hubber R.Latha's Avatar
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    1. Speedy execution of swaras

    There was variety in Pantula Rama’s choice of kritis for her Sarvani Sangeetha Sabha concert.

    http://www.hindu.com/fr/2009/03/20/s...2051230200.htm


    2. At his creative best

    T. N. Krishnan’s concert for Narada Gana Sabha exemplified refinement and experience.

    http://www.hindu.com/fr/2009/03/20/s...2051260200.htm


    3. All sound and fury

    Of the auditoria in India that are not acoustically well-equipped.

    http://www.hindu.com/fr/2009/03/20/s...2051290300.htm

    4. Anniversary fete

    Shri Vigneshwara Cultural Academy, Ramapuram, celebrated its fourth anniversary on March 15 at Dr. Vimala Convent, Nesapakkam. On the occasion, titles were conferred on veteran musicians T.K. Murthy (‘Nandhi Nadha Nipuna’) and ...

    http://www.hindu.com/fr/2009/03/20/s...2051330300.htm

    5. Visitors from Vienna

    It was an earnest performance from the Austrian orchestra.

    http://www.hindu.com/fr/2009/03/20/s...2051360400.htm

    6. Specific, appropriately hued
    The concluding part of the explanatory series detailing S. Rajam’s calendar

    http://www.hindu.com/fr/2009/03/20/s...2051370400.htm

    7. On Chaturagiri

    Chithagiry Audio, Madurai, (04549-275165, 9444325633) has released two video albums on Chaturagiri.
    The visuals capture the scenic hills and pilgrims trekking their way up to have darshan of Siva.

    Chant and songs in keeping with ...
    http://www.hindu.com/fr/2009/03/20/s...2050420300.htm

    8. An interesting exercise
    Listen to Suguna Purushothaman as she gives many useful tips and guidelines to achieve proficiency in the art of Pallavi singing.

    http://www.hindu.com/thehindu/fr/200...0/chenindx.htm

  11. #120
    Senior Member Seasoned Hubber R.Latha's Avatar
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    Mellifluous rendition

    PVK

    Enjoy listening to the songs of various composers sung by O.S. Arun.



    Wide collection of songs

    Vipulam

    Amutham Music P Ltd. O.S Arun
    Carnatic – DVD – Price Rs.399

    O.S. Arun’s popularity is more as a singer of bhajans and abhangs than as traditional Carnatic concert performer. His wide repertoire and flexible voice have made him a much sought-after artist for bhajan sandhya concerts. Ten songs of various composers have been sung by Arun in the recently released DVD titled ‘Vipulam,’ by Amutham Music P Ltd.

    ‘Palisamma Muddu Sharade’ in Sriranjani (Purandaradasa) is the opening number. The hand gestures and facial expressions of the vocalist match the structure of the sangatis in this composition.

    A few rounds of solfa passages are sung at ‘Sarvalankara Daya’ which just pass muster. The absence of a manual tambura is glaring especially in a DVD recording.

    A folksy varnamettu is employed for the Mohanam number ‘Vadana Suhasyarasala’ (Samartha Ramadasa). Arun’s brief vinyasa of Kalyanavasantham in the Hindustani genre is totally sruti-aligned and engages the attention of the listener. A Marathi abhang ‘Thoomaja’ which follows is a spirited rendering.

    The pure Carnatic segment in this DVD is displayed in the few phrases of Bhairavi raga sung by Arun. The very brief alapana does not give any room for Hindustani touches. A Bhadrachalam Ramadas composition in Eka tala (Tisra Nadai) ‘Alola Tulasi’ is energetically vocalised. The percussionists enjoy Arun’s rendering and accompany with enthusiasm.

    A niraval like approach is adopted at the phrase ‘Kshirabdi Sayana.’ The vocalist’s voice shows a definite strain in the upper register during this song rendition.
    Dramatic exposition

    The Brindavani alapana is done dramatically employing the usage of ‘Hari’ for the exposition. Swati Tirunal’s ‘Chaliye’ is the chosen number in Brindavani.

    The virutham on the Lord at Kadirgamam in Sri Lanka is sung as a prelude to the beautiful composition of Kavignar Vaali’s ‘Koovi Azhaithaal’ in Valaji which has been set to tune by Thanjavur S. Kalyanaraman. It is amusing to listen to Arun repeating the lyric ‘Kumara’ over six times at one stage of the virutham singing. Jayadeva’s ‘Nindati Chandana’ (Darbari Kanada) is rendered with ease by the singer. The continuity in the singing of this Ashtapadi takes a backseat due to the long gaps in between the verses.

    The DVD comes to a close with Saint Tyagaraja’s ‘Namo Namo Raghavaya,’ which is believed to be the first composition of the vaggeyakara. This song is normally sung in Desiya Thodi. Arun follows tradition though the inlay card mentions the raga as Sindu Bhairavi. The accompanists are M.R. Gopinath (violin), A.V. Manikandan (mridangam), S. Ganapathi (tabla) and S. Selvam for timing.

    http://www.hindu.com/fr/2009/03/20/s...2051280300.htm

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