Page 5 of 23 FirstFirst ... 3456715 ... LastLast
Results 41 to 50 of 224

Thread: Musicians,events,anecdotes and tid-bits

  1. #41
    Senior Member Senior Hubber
    Join Date
    Jul 2006
    Location
    thiruvananthapuram
    Posts
    562
    Post Thanks / Like

    MALLADI BROTHERS SENIORS (CARNATIC VOCALISTS)

    A couple weeks ago, the guest house in Kuthira Malika premises was reverberating with music with the accompaniment of Thampura. Malladi brothers (seniors), Suri Babu and Narayana Sarma were practicing for their performance that was to follow, at the Navarathri madapam. It was a pleasant surprise to see them with thampura-as today’s concerts sans this essential instrument.
    We brought it all the way from Hyderabad. The electronic gadget produces monotonous sound and becomes unbearable after some time. We prefer Thampura and it would take 40 minutes to tune it.

    We hail from the family of musicians. Their father Malladi Ramamurthi, was a musician and an exponent. The brothers had advanced training from Voletti Venkiteswaralu a disciple of Sripatha Pinakapani.

    We learnt nearly 400 kirtanas, from voletti. We could learn from him when he conducted music lessons for AIR.

    Perfect notation, padantharam, and sruthi soaked music are the salient features, of Pinakpani School. He was deeply inspired by many great maestros and has been taken good qualities from their renditions which were ingrained in Raga alapana and niraval. They said.

    In their opinion Swati Tirunal’s compositions are perfectly tuned. Singing at the Navarathri Mandapam, is a strange experience-really an invocation to the Goddess. The ambience is just perfect, for the concert.
    The repertoire of these brothers, is vast. They have set tunes for the compositions of Annamacharya, Narayana Thirtha Sadasiva BRAHMENDRA AND Bhadrachala Ramadas.

    123456789

  2. # ADS
    Circuit advertisement
    Join Date
    Always
    Location
    Advertising world
    Posts
    Many
     

  3. #42
    Senior Member Senior Hubber
    Join Date
    Jul 2006
    Location
    thiruvananthapuram
    Posts
    562
    Post Thanks / Like

    RANJINI & GAYATHIRI -(CARNATIC VOCALISTS)

    Ranjini & Gayathri
    Excerpts from the interview:
    “Our father N Balasubramanium former UNICEF official from Harippad, plays violin. Our mother Meenakshi is a vocalist. Thus we had the opportunity to learn both. We were further trained by SANGEETHA BHOOSHANAM, T S KRISHNASWAMI. He organized our debut concert at the Shanmughnanda Hall. Ranjini was 13 and I 10” said Gayathri.

    The sisters then started accompanying great stalwarts like Balamuralikrishna and D K Pattammal.

    Our family shifted to Chennai. We had our advanced training form P S Narayanaswami the primary disciple of Semmangudi.

    “We had our debut vocal concert at Mylapore. It was at a time when we had good reputation as violinists. Pessimists opined that if the concert flopped it would adversely affect our future. But our master was confident” remembers Ranjini.

    The sisters had perfect understanding although their approach to the rendition of ragam and manodharmam are different.

    “Each of us has our own style” said Gayathri and added “ Ranijini’s music is sober deep and profound.” “Hers is more flamboyant” retorted Gayathri.

    As we had spent our grooming years in Mumbai we had the opportunity to hear Hindustani music.
    Initially when we performed vocal concerts, our attention automatically went to the violinists. We could not resist but looking at the bow movements.

    The sisters have performed at USA, South Africa, Europe, Malaysia and Singapore.


    123456789

  4. #43
    Senior Member Senior Hubber
    Join Date
    Jul 2006
    Location
    thiruvananthapuram
    Posts
    562
    Post Thanks / Like

    GORA SARBADIKARI-(RABINDRA SANGEETH)

    Four decades ago, Gora Sarbadikari, decided to settle in Germany. On the eve of his departure, he visited Santhinikethan-the Abode of Peace, which changed the course of his life. Much against the protest of his family members he joined Santhinikethan. He served the institution as the tutor of Rabindra Sangeeth for four decades. Prof Gora was in the city to perform Rabindra Sangeeth and Rabindra nritya, organized by Swati Tirunal Sangeetha Sabha. (I E DATED, 04-09-04)

    This is the debut performance of the Santhinikethan troupe in Kerala.

    For the uninitiated, Tagore-poet, novelist, playwright, philosopher, actor, composer, painter and educationist has left his imperishable mark in the history of Indian dance.

    In 1901, Gurudev the preceptor founded Santhinikethan. There he experimented to his new educational methods. The curriculum included general academic subjects, and great stress was laid on arts. Tagore’s play Geethinatyam, was novel in that, the dialogues were in blank verses often set to music. The words were arranged to suit the ragas that would best relate the mood. In 1926, he brought Nabakumar, an exponent in Manipuri to Santhinikethan. NATIR Puja, Chitrnagada, Shyama, Chandalika are the best known plays of Tagore.

    Tagore devised the choreography, for most of his dance dramas. He found that the Manipuri technique would not do justice to his plays. He brought gurus from Kerala to teach Kathakali. He devised new dance techniques by incorporating Manipuri, Kathakali and folk dance forms. It was severely criticized. But it really paved the way to the rehabilitation of Manipuri dance which till then had never been seen outside Manipur.

    “Rabindra sangeeth is the third form of classical music in India. Tagore had penned and composed nearly 3000 songs with notations” informed Prof. GORA.

    The show began with RITURANGA. OUT OF THE SIX SEASONS, Hemantha and Varsha were performed. It was followed by Jogathujudae udarassoor, from Gitanjali, Tagore’s teenage work, Padhavali deals with separation and reunion of Radha and Krishna written in Brij bholi.

    “Tagore’s adoration for Jayadeva and his work Git Govind, is the best contribution to Sanskrit by a Bengali. It is a high point of Vaishnavism. The divine love of Radha and Krishna is expressed at its most intense form.”

    “Tagore’s family conservative Brahmins disapproved of it. But Tagore was deeply impressed and he insisted that “srutha kamala kuja…” should be rendered before Padhavali” informed GORA.

    Rabindra nrutya is brightly hued, soft, willowy and feminine to the point of feebleness. It is free from voluptuousness and sensuality. It has considerable grace and refinement. Love, wrath, chivalry, joy all human emotions find their place in this play.

    It was under CHCHATIMTALA (EZHILAM PAALA) that Maharshi Debendranath Tagore meditated. On December 23 every year (ANNUAL DAY OF SANTHINIKETHAN), “PARI POORNAM AANANDAM” IS RENDERED AT THIS SPOT.
    PROFESSOR GORA with his troupe has widely traveled all over the world performing RABINDRA SANGEETH AND RABINDRA NRUTHY
    123456789

  5. #44
    Senior Member Senior Hubber
    Join Date
    Jul 2006
    Location
    thiruvananthapuram
    Posts
    562
    Post Thanks / Like

    MALA CHANDRASEKHAR- FLAUTIST

    FOR Mala, music is in the family. She is the daughter of famed flautists Sikkil sisters-Neela and Kunjumani. She is wedded to Chandrasekharan son of Radha who used to accompany the legendary musician MS.

    “I feel the rich tradition is well maintained here, in Kerala. In Chennai, you have to do plenty of PRO work and lobbying” she said.

    My mother Neela, and aunt Kunjumani, are the first women flautists in India. My mother taught me initially. I was not at all serious. But at the academic levels there existed healthy competition and it urged me to master this” she explained.

    What is the sikkil style?

    “We give more importance to verse and melody. We will not employ any gimmicks, including very fast movements of the fingers. Th ehead movements and the thuthukara prayogams, will be prominent. A flow towards upper octave never stops, and there will be a reverse flow.”


    Regarding improvisation, she said: it should be like a pyramid with broad base and strong foundation. It should be an offhand creation and spontaneous. Ragalapana can be either one minute or one hour. In the former only the jeevaswaras are exposed quickly. In the latter, the raga is unfolded carefully. It demands highest degree of training and control.

    The sikkil sisters focus more on the lakshana of the ragas to expose its various facets, ranjaka prayogas, vishesah sancharas and sanchara karma.

    “Flute is an instrument with fixed sruthi. The artists very often change the instrument to render higher and lower pitches. But we don’t.

    Why?
    The sruthi of human voice is fixed and varies from person to person. Do a vocalist ever keep a by stander to render the sruthi which he cannot? Mine is a three katta flute. I can go up to gandaram in the mantrasthayi-said Mala and added “There is a tendency to sideline flute and veena.”

    Mala had the oppportuinty to render for Our Hon. President APJ Abdul Kalam. He asked me render “Kurai ondrum illai.”

    She was conferred the prestigious Mali Award instituted by the Madras Music Academy in 1991.

    The contributions offered by my mother and aunt to the world of classical music are stupendous. But they are yet to receive due any recognition from the government. But they have no qualms. They say music is for Nadopasana.
    123456789

  6. #45
    Senior Member Senior Hubber
    Join Date
    Jul 2006
    Location
    thiruvananthapuram
    Posts
    562
    Post Thanks / Like

    T N KRISHNAN-( ACE VIOLINIST)

    Padmabhushan Trupunithura Narayanan Krishnan needs no introduction. This violin maestro is conferred with the Kendra Sangeetha Nataka Academy Fellowship. This musician known for his simplicity is happy but not excited.

    In an interview, the artist narrates his association with Thiruvananthapuram, his style, and how teaching helped to improve his performance.

    For Krishnan music is inherent. He represents the sixth generation of musicians in the family. Born in 1928 to A Narayana Iyer, and Ammini Ammal, this child prodigy made his debut concert at the age of eight! “By Gods grace, I am busy till today” he said.
    “My father gave me a violin when I was three. In those days violin was slowly gaining popularity. My father wanted me master this instrument” he reminisced.

    “I was taught the music lessons. Parallel to that my father asked me to repeat on violin what others sang. Initially I was asked to perform in temples. It was on one such occasion, I met Alappuzha Parthasarathy Iyengar, a renowned musician. He introduced me to Semmangudi Sreenivasa Iyer. Here began my long association with Thiruvananthapuram” he said.

    It was a period of revival of carnatic music in Travancore. Late Chithira Tirunal and his mother Amma Maharani took steps to propagate the compositions of Maharaja Swati Thirunal. Thus Swati Thirunal Music Academy was established and Seemangudi was made the Asthana Vidwan of Travancore.

    “My father was transferred to Nagercoil. I stayed with Semmangudi at Thycaud and had my schooling at SMV and Model High School” he slipped suddenly into those golden days of music.
    “In 1942, the flute wizard Mali, (T R Mahalingam), performed at the VJT Hall, and I had the fortune to accompany him. That was a turning point in my life. He was impressed and asked me accompany him in his future concerts. That is how I reached Chennai” he explained.

    His command over the instrument made him the most sought accompanist. At my younger age I could accompany the legends like Ariyakkudi, Musiri, Alathur brothers, Chembai and Maharajapuram Viswanatha Iyer.
    “I was the beneficiary. My repertoire widened” he said.
    TN Krishnan performs solo recitals as well. What difference do you notice?
    “While accompanying I have to maintain maximum restraint. Never try to over do things. You must know the doses to be administered. Your performance should not mask that of the main artiste.” That was the cue for the aspiring ones.
    TN K is known for his gentle touches through which he could convey the mood of the composition. It is unique and inimitable. How did you achieve this?
    This was not achieved overnight. You need perseverance. Try and test to excel every time, by perfecting the traditional format. Even after 70 years of stage experiences, I still feel that there is more to explore, in ragas like Thodi and Sankarabharanam. I love teaching. I am seized with the ecstasy of delight, when I teach. I find more scope for learning. Also I wanted to share what I have learnt with others. Till then I will be restless.” He said.

    TNK is an excellent flautist. Once he was accompanied by the doyen of Carnatic music DR. Balamurali Krishna on mrudangam and TVG (known vocalist cum mrudangist) on violin!!
    His sister T N Rajam is the renowned violinist in the Hindustani style of music. I owe much to my wife Kamala. “Without her support I would not have achieved anything” he concluded.
    TNK was awarded the Swati Puraskaram in 2002.



    123456789

  7. #46
    Senior Member Senior Hubber
    Join Date
    Jul 2006
    Location
    thiruvananthapuram
    Posts
    562
    Post Thanks / Like

    GHATOM S KARTHICK (GHATAM ARTISTE)

    INTERVIEW: GHATOM .S. KARTHICK -637 WORDS

    It happened 27 years ago on the day of Swargavathil ekadesi. Vikku Vinayakram, heard a knock at the gate. The Ghatam maestro wondered and peeped out. Who could be that at this hour? He saw the faint images of small boy holding the fingers of his father. The father said: "this is my son Karthick. I want you to accept him as his disciple. We could not tolerate his pranks. He plays by proxy on all available utensils."
    "That was how I became the disciple of Vikku" said Ghatam Karthick, who at his zenith of his carrier was in the city recently, to perform at the on going Swati Festival-2007. He accompanied Sanjay Subramanium on the inaugural day and Prince Rama Varma on the second day.

    Excerpts from the interview:
    He is a native of Thiruvananthapuram. Padma his mother is a former student of Swati Tirunal Music Academy and a pupil of GNB. "Thus I had flair for music. My father was an ardent listener. It was my grand father, who inspired me and the option regarding future carrier was left to me. I did my Post Graduation is Sanskrit, took my M.Phil and awaiting the result of PhD. My thesis was based on "musical instruments in Sanskrit literature." Knowledge in Sanskrit is indeed a blessing for it helps him in composing songs replete with alliterations and swaraksharams.

    Karthick always keeps an open mind. "I listen to Semmangudi as well as Michael Jackson. I am one among the team of BGM lead by A R Rehman, Elayaraja, Vidyasagar and Harris Jayaraj. As far as I am concerned, there is no classification of music like the Indian and West. We have only good and bad music."
    Karthick has a strange fascination for composing music. One day he composed a song in Sankrit in the tune of "Kaadal Rojavae..." praising Goddess Saraswati. That became instant hit. Similarly he composed a tillana while giving vent to his feelings when his father passed away. When a TV channel invited him for a laya vinyasam, his friends persuaded him to play his own composition. That too became a hit. That was how "heartbeats" came into being. It ensemble team consists of besides Ghatom, Kanjira, mrudangam, mandolin, konnakkol (vocal percussion), violin and morsing. Our team released a CD "Thakathimi thakajunu." It was well received. We completed a full circuit in the USA, Canada, Europe, Australia, and New Zealand" HE SAID.
    Karthick is a positive thinker and believes in perseverance. "We had songs praising Gods pleading for mercy. Suddenly it occurred me “why not compose songs that triggers the need for self-confidence, positive thinking and perseverance instead?" Thus came out wonderful pieces in Tamil.
    You are singing well. Little training would make you an accomplished singer. Any idea of pursuing in that line?

    “No” he said emphatically. “I am very clear. I am well aware of my limitations capabilities and efficiencies besides of what I should not venture into” he said and added “Also while accompanying one should know when to play and when not to play. I have accompanied Namasangeerthanams, and bhajans, which taught me how to accompany and also the sense of restrain.”
    We know that ragas can create bhava and that is very specific. Similarly Karthick had tried creating rhythms, in tune with moods.
    What is your opinion on the exodus of audience while thani avarthanam is progressing? Karthick retorted thus:
    “That is very bad. Let me ask a question. When the main artiste render raga alapana, will it be nice and wise on the part of the tala vadya artistes-to move out of the stage for a cup of coffee or a puff?”
    Today Karthick name has almost synonymous with Ghatam. He is capable of taking this little clay pot stellar heights.
    123456789

  8. #47
    Senior Member Senior Hubber
    Join Date
    Jul 2006
    Location
    thiruvananthapuram
    Posts
    562
    Post Thanks / Like

    sangeetha sivakumar-sub standard performance

    Day five: - Accompanists acted as savior on the fifth day of the Swathi Sangeetholsavam-2007. Sangeetha Sivakumar gave a sub standard performance. Audience gathered to hear Sangeetha’s (wife of T M Krishna) concert with great expectations. But everything boiled down in no time. Attukal Balu, on violin, dr. g babu on mrudangam and adichanaluur anilkumar on ghatam performed very well.

    The concert began with “Sarasijanabha...” In the 2007 festival, so far none had rendered Varnam. So when it wafted down, the audience was delighted. But it failed to appeal the listeners. It was followed by Deva deva kalayimithae..in Mayamalavagaula and Palayamam ayibho in Kamaz. The latter was rendered at a higher pace as if chasing the last bus. “Paripalayamam-Sree Padmanabha mooooooorarae….”was a test doze to check our patience. Exodus of listeners began at this juncture.
    After Narasimha mamava bhagavan.., Sumasayaka in Kapi Bhogeendra sayanam in kundalavarali..was an elaborate rendition of Kalyani. Pankaja lochana…
    It is very evident that within a short period she had tried to learn these compositions for the festival.
    “Sanggetha” paerila mattum eruntha pothathu.. paadupavarin manaivi endra pathavi—(reflected glory) erunthalum pothathu…Uzhaithu paadavendum purinchutha?

    123456789

  9. #48
    Administrator Diamond Hubber RR's Avatar
    Join Date
    Sep 2004
    Posts
    6,081
    Post Thanks / Like
    Thanks for the interviews & reviews, padmanabha!

  10. #49
    Senior Member Senior Hubber
    Join Date
    Jul 2006
    Location
    thiruvananthapuram
    Posts
    562
    Post Thanks / Like

    artistes behaving badly

    B.SIVAKUMAR (READ BELATED SIVAKUMAR!):

    Belated sivakumar set an example for “Artistes behaving badly” at the venue.
    For the concert at six he dropped in at seven, tuned his veena for another 15 minutes, and began the concert at 7.20. The pick up mike was horrible.
    It is learnt that he left the palace guest house 5 kms away from the venue only at 6 pm for the concert at 6 pm!!
    Half way through he realized that he had left the (horrible) pick up and took a u turn. The concert would have audible with out that pick up.
    I went to interview him for the Indian Express, at 11 am. While departing he asked me how far is the venue and I suggested him to leave the guest house by 4.15 so that he can be at the venue at least by 5.15. He can tune the instrument and can comfortably present the concert.
    It is learnt that
    “He IMAGINED that the concert is at 6.30.”

    Even then, how can he reach the venue 5 kms away, for the concert in half an hour?

    The organizers, asked the accompanying artistes-mrudangam, gahtam and morsing to play an ensemble. They performed for 45 minutes and it was a surprising delight!! Thus we had a “thani avarthanam” before the concert.

    123456789

  11. #50
    Senior Member Senior Hubber
    Join Date
    Jul 2006
    Location
    thiruvananthapuram
    Posts
    562
    Post Thanks / Like

    lec-dem on two swati padams

    That was an excellent demonstration by Kalamandalm Kshemavathi, the exponent of Mohiniyattam, in connection with Swati Sangeetholsavam at the Department of Music.

    By just demonstrating two padams by Maharaja Swati Tirunal Kalamandalam Kshemavathi proved once again that her performance was unparalleled for its expression of emotion. She portrayed the mood gently but effectively the diverse feelings of a lady. She represented the love in separation, the rising moon, the breeze, the cuckoo, the hum of the bees, the consequences of having subjected to Cupid’s arrows..Wah!

    It left the audience awe struck when we realizes the potential of the composer in knowing the science of dance and its aesthetics.
    Kshemavathi chose Damisamajendra gamini in thodi. Here the nayika addresses the sakhi and expresses her pangs of separation. She confides her sakhi the mental anguish and how she pines for reunion with the Lord. Her improvisation on each line revealed her fertile imagination.

    Poonthen neer mozhi sakhi njan viraham…She asks her sakhi “when can I expect my nayaka? My lover Sree PADMANABHAN IS a mild person by nature. I want to smear him with sandal paste.. I want to adorn him with garlands of jasmine..I wants to sing for HIM... but..where is he?”

    Maharaja Swati Tirunal has composed nearly 67 padams, meant for Abhinaya.

    Kaladharan in his talk analyzed the legacy of Kerala in terms of vocal music. Does Kerala have a true vocal tradition was the question posed by him? No body knew when sopana sangeetham which has become a relic now, emerged. He opined that there existed a strong resistance from Kerala Brahmins. They suppressed all the emotions from influencing sopana sangeetham. That is the reason why it lacked emotions. Even Bhakti Movement had no impact in Kerala. But it flourished in Tamilnadu.

    According to him Talavadya ensemble is the legacy of Kerala. In vocal tradition the expressions of cultural nuances are visible. Today Mohiniyattam, is essentially linked to carnatic classical tradition. The vocal music of Kerala achieved an identity only when it was employed in the applied form of music. It was Mundaya Ramakrishnan Bhagavathar and Venkitakrishnan Bhagavathar who systematized slokams and dandakams. They never forget to retain Kerala ragas like puraneru.
    Dr. R P Raja also enlightened the audience on the musical heritage of Kerala.
    123456789

Page 5 of 23 FirstFirst ... 3456715 ... LastLast

Similar Threads

  1. TV tid bits
    By aanaa in forum TV,TV Serials and Radio
    Replies: 625
    Last Post: 10th December 2017, 07:38 AM
  2. Interesting Anecdotes
    By NOV in forum Miscellaneous Topics
    Replies: 1127
    Last Post: 2nd August 2015, 06:02 PM
  3. IR music bits as ringtone (mp3)
    By dochu in forum Ilaiyaraja (IR) Albums
    Replies: 8
    Last Post: 17th June 2009, 03:05 PM
  4. Tit Bits
    By R.Latha in forum TV,TV Serials and Radio
    Replies: 5
    Last Post: 1st March 2009, 12:13 AM
  5. Project Alpha has entered the TOP 6 most played musicians.
    By Project Alpha in forum World Music & Movies
    Replies: 3
    Last Post: 27th September 2005, 06:38 AM

Bookmarks

Posting Permissions

  • You may not post new threads
  • You may not post replies
  • You may not post attachments
  • You may not edit your posts
  •