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Thread: The Lighter side of Carnatic Music

  1. #11
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    Nadopasaka (@ akpp*) on: Thu Feb 24 03:50:07 EST 2000




    I once attended a Pandit Jasraj concert.

    As is usual in such concerts, there is a lot of pomp and occasion, as the audience and singer try to recreate some grand court ambience. Several ladies dressed gaudily and with full war-paint (makeup) make it a point to go to the powder-room and return with a lot of flourish. Jasraj seemed to actually relish this and not mind it even if it happened right in front of him, right during his renditions. The organisers didn't control it either.

    As usual, Jasraj was treated like a rock star and there were several, raucous calls from the cheap seats for him to sing his pet piece 'Mataa Kali Ka' in Adaana, ( an upper octave Darbari Kanada of sorts ).

    With a mischievous smile at the attention-hungry ladies flitting in front of him, he said

    ' Ab kya gaaunga Mata Kali Ka ?
    Mata Kaliyan sab ja rahe hain ! '

    What Mata Kali Ka am I going to sing now ?
    All the Mata Kalis are leaving !





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  3. #12
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    Siva (@ fire*) on: Thu Feb 24 05:34:15 EST 2000




    Sree:

    I agree with you totally on the present day. Looks like carnatic music is racing away in its path of globalisation. Break neck speed seems to be the name of the game. Everybody wants to sing akara Sangathis whether or not they are able to do it properly. Raga Alapanas seem to be a jet cruise with no time both for the artist and the audience to digest.
    Also people have a set of krithis to sing which make it very stale. You could bet your life savings on what each artist would sing in a given raga and most of them do not give a performance but just execution - the same sangathis and the same speed. "Anubavichu padaradhu" is just not there in many concert singers of the day





  4. #13
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    Narayanan (@ 195.*) on: Thu Feb 24 05:49:47 EST 2000




    Sree/Siva:
    I remember once listening to a Semmangudi kutchery on tape. The main RTP was over, and he had sung a couple of Thukkaadas as well (almost 3 hrs). It started raining heavily outside and the crowd could not go anywhere. Semmangudi spole on the mike and said "Velleela Mazhaila nanaiyaradhukku ulla Sangetha mazhaiyile innum konjam ninaiyungo" and started singing Sankarabharanam. The concert continued for another 1.5 hours with Sankarabharanam and another Tani from PMI. One of the great concerts i have ever heard. Such was the dedication of artists then. It is so pathetic to see the attitude of today's artists. We do need more Subbudus...





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    Nadopasaka (@ aapp*) on: Thu Feb 24 06:41:19 EST 2000




    I am curious about how seriously the Vidwans took Subbudu or others, if at all.

    Critics of this style ( newspaper ) flourish in the Western concept and exert an influence on an artist since thes opinion can matter to organisers , future engagements etc. In Western art etc. such a critic carries enormous influence on careers.

    I wonder how the artists today react or care or how they can be made to , if needed?





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    Sree (@ 134.*) on: Thu Feb 24 16:44:28 EST 2000




    I heard somewhere that Yesudas refuses to sing anywhere where Subbudu is present. SVK of The Hindu is highly respected and his opinions count. I don't think artistes care too much about "matrum palar" reviewers.

    Reviews do have an effect on artistes. I remember a thread in rmic newgroup that was unkind to Sowmya's performance that day up in Flint, MI. Later somebody who hosted her wrote that she was defending herself etc.,. etc.,. Anyway, the point is artistes do look at these reviews.





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    siva (@ clw.*) on: Mon Feb 28 08:03:22 EST 2000




    Narayanan:

    While artistes do need to respect the critics what we need is an unbiased opinion and not because I did not smile at the critic/ prostrate before him (typical Tamil Nadu style) the previous day before the kutcheri. I have heard that there was a one violinist who had planned to file a defamation suit for subuddu's comments on the concerts. It should not be also that critics should not look for cheap publicity using their position.

    I saw a recent review (Dec Season) of Nityashree where the reviewer commented that her voice in uchastai was like Nadaswaram (probably referring to a cassette where she is accompanied by Thavil)





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    Nadopasaka (@ aepp*) on: Thu Mar 2 12:44:24 EST 2000




    There is GNB concert where during Pantuvarali, I think, Chowdiah speaks up , challenging those who claimed that GNB could miss his sruti, to be there to witness what GNB was doing. Everyone seems to have a big laugh at this. anyone else heard this ??

    In this context, can anyone comment how the bhashaanga swara migrates during Murchana or sruti-Bhedam ( for Janya ragas ) of , say, Bilahari to Yadukula Kamboji. If GNB was overdoing this and missing the transform of this swara it could have been one problem. Thanks





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    Isai Rasigai (@ dial*) on: Thu Mar 2 13:22:16 EST 2000




    In a Trichur. V. Ramachandran concert, there was this guy on the thamburaa... he seemed to be moving away from the vocalist for some wierd reason and V.R. was patiently asking him to come forward so he could listen to the thambura sruthi better... this was going on for almost more than an hour... then an impatient V.R. sang "sonnadhei seidhida" .... houseful auditorium broke into laughter :))





  10. #19
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    Narayanan (@ 195.*) on: Thu Mar 2 13:27:15 EST 2000




    Once (1960s) in a town near Kanchipuram, Salem Chellam Iyengar was singing in a temple concert. There was a decent crowd and SCI was impressed.
    There was an elderly man sitting int he front row staring at Sri SCI. The vidhwan, to impress this rasika flashed several "birkas" but the rasika would not respond positively. In between krithis, he spoke to the violinist about this and the conversation went like this (you need to know tamil)

    SCI to Violinist : "enna ivvalavu birkaa paadinalum avar thalaiye aatta maatengaraaru?"
    Violinist after speking to the organizer, who referred to some temple people and comes back.
    Violinist : "Avar innaiku illai inimel ennaikum thalai aata maattaru" and said that it was a dead body waiting to be carried to the cementry. (People in a caste called Kammaala bury the dead in seating posture - preferably in a chair).

    The Vidhwan lost his sruti and did not recover for the rest of the concert.






  11. #20
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    Sree (@ 134.*) on: Thu Mar 2 14:55:23 EST 2000




    oh-uh, that's so morbid!





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