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KRIS N
Добавлен 22 апр 2008
A channel dedicated to the students and hard-core listeners of Karnatik Music!
Love all ~ Serve all
Love all ~ Serve all
A shloka snippet in rAga nAttakkurinji - Semmangudi Srinivasa Iyer
New year's eve of 2022 was a special night that made me realise how much I value the great art form of karnatik music that we all celebrate and how deep and strong the bond with its soundscape is. No fun or frolic could stop me from putting my headphones on, on the dot at 12 AM, and listening to "ChakkagAni Bhajana" (RTP in rAga ShankarAbharanam by the Maha Vidwan of Semmangudi). Passion without insanity is futile as told to me by my wise guru once. Art manifests herself in the most insane, yet divine, experiences.
This shloka rendition by Semmangudi Srinivasa Iyer in rAga nAttakkurinji is very close to my heart and I feel this is the right time to share it with all of you. Aum is supposed...
This shloka rendition by Semmangudi Srinivasa Iyer in rAga nAttakkurinji is very close to my heart and I feel this is the right time to share it with all of you. Aum is supposed...
Просмотров: 285
Видео
rAma nee samAnamevaru - Semmangudi Srinivasa Iyer - An orchestrated drama of musical sound
Просмотров 567Год назад
This is a tribute to Semmangudi Srinivasa Iyer to mark his 115th birth anniversary. It's Kharaharapriya, it's samanamevaru, it's neraval, swaram at paluku paluku laku tEne, it's SSI, it can't get much better than this. It's the best rendition of this combination I've ever heard. The reason for uploading this rendition is also the fact that it feels like Srinivasa Iyer was a master at orchestrat...
M D Ramanathan - Kharaharapriya Alapana - Centennial Tribute
Просмотров 1 тыс.Год назад
I bow down to the musician and artist who was almost single-handedly responsible for opening all kinds of gates and windows in my musical journey. Thanks for showering the firmament of Karnatik Music with such fresh flavours and deep-rooted classicism with a tinge of wildness! Remembering the nights and days I have spent just in awe of your creativity oftentimes set in the unknown wilderness of...
Semmangudi Srinivasa Iyer - An AlApana in kApi
Просмотров 925Год назад
I genuinely feel I don't deserve to even spell out the name of this musician extraordinaire, let alone comment on this piece of art. Nonetheless, I feel like indulging my urge to share some thoughts on this alapana. Kapi as we all know seems to have come from regions in the north of India. The way it has been amalgamated into the Karnatik system is a stunning example of what the spirit of shari...
A Masterclass on Neraval Singing - Semmangudi Srinivasa Iyer ft. MSS - Bhairavi - EnATi nOmu phalamO
Просмотров 3 тыс.Год назад
This exposition of Bhairavi in the form of neraval, swaram for the charanam line starting 'Sundaresha Suguna Brunda' from the Tyagaraja composition EnATi nOmu phalamO (rAga - Bhairavi, tALa - Adi) is a real masterclass in a lot of ways. The informal 'home' setting makes it even more interesting and brings out the bhava in a more personal sense. The way Semmangudi motivates his shishya, M S Subb...
When Semmangudi was in the zone right out of the gate and greeted the rAga with an 'Aha'
Просмотров 1 тыс.Год назад
The day was the 24th of December, 1956, a Monday evening at the music academy, Madras. The excerpt is from this famous concert right before the epic 17 minute dEva dEva kalayAmithe (rAga - mALavagowLa, tAla - rUpaka, sAhitya - swAthi thirunAL, tunesmith - semmAngudi srinivAsa iyer) which was the starting piece. You would more often than not find artists settling in along with the audience in th...
Semmangudi Srinivasa Iyer - An excerpt in Behag from a shloka
Просмотров 2,8 тыс.2 года назад
This is the greatest exploration of Behag I have ever come across. I hope it moves you deeply! Some more description towards the end. The shloka is as follows (text courtesy my friend, whom I relate to musically the most): susnigdham nIlakEsham sphuTa madhura mukham sundara bhrU lalAtam | dIrghAksham ćArunAsApuTam amalamaNi shrENikA danta panktim || (The behag portion) bimbOshTam kambu kanTham ...
Neyveli Santhanagopalan - nAdupai balikEru - MadhyamAvati - Khanda ChApu - TyAgarAja
Просмотров 5912 года назад
Congratulations to the new Sangita Kalanidhi! This time, a truly deserving one has been chosen for the age-old token of excellence in Karnatik Music. I have thought a hundred times about what my next upload should be. To be honest, I was so glued to my last upload of Neyveli Santhanagopalan's kAnada alapanai that there were times I thought to myself, I shouldn't upload anymore. This was due to ...
Neyveli Santhanagopalan - kAnada AlApana
Просмотров 5812 года назад
Enjoy this stunning exposition of Raga Kanada by one of my favourite musical minds ever. It's so fresh and conventional at the same time, reinforcing the beauty of Kanada in our minds while constantly pushing the boundaries of the accepted soundscape of this great raga. NSG's rigorous mentorship with Thanjavur Shankara Iyer and his love for the Dhanammal bani shine through so well. I believe th...
Virutham Thanam Thiruppugazh - Sanjay Subrahmanyan - Shankarabharanam
Просмотров 1,1 тыс.2 года назад
Happy birthday to one of the greatest musicians ever! Enjoy this humble tribute to the maestro in the form of a stunning Virutham, Thanam, Thiruppugazh in Raga Shankarabharanam. Vizhikku Thunai from Kandhar Alankaram is the Virutham chosen and Kadi Modi the Thiruppugazh. The 21 akshara cycle is being segmented as a Santha Thalam into 2 Thishra Chapus followed by a Khanda Chapu and a round of Kh...
T M Krishna on Raga music, Tyagaraja the epitome of the form & his strokes of genius in Pancharatnam
Просмотров 21 тыс.2 года назад
The full Lecdem is given below: ruclips.net/video/o8F7uO5Fltc/видео.html Uploaded for the sheer joy of sharing!
Raghul Ravichandran - Vocal - Virutham followed by Vaa Vaa Vaa Velmuruga - Chandrika
Просмотров 3602 года назад
This is a stunning virutham from Arunagirinathar's Kandan Anubhoothi (Maa Vezh Jananam Keda) in Ragamalika (Saveri Hamir Kalyani, Sahana, Chandrika) followed by Mahavidwan M Chandrasekharan's compositon on Muruga in Raga Chandrika, Vaa Vaa Vaa Velmuruga set to Adi Talam. The M Chandrasekharan school of music blends a lot of hallowed traditions of Carnatic Music like Nadaswaram, Dhanammal bani e...
T Brinda - Krupa jUchuTaku - ChAyAtarangiNi - Adi - TyAgarAja
Просмотров 5373 года назад
109th Birth Anniversary Special! The fact that she can move you to an inexplicable musical ecstacy with just 3 minutes of a krithi rendition, which is made to sound so wholesome and creative, evinces what T Brinda stands for in the Karnatik Music and art worlds. Uploaded for the sheer joy of sharing!
A GEM - G N Balasubramaniam - A video snippet of Yochana in Darbar
Просмотров 3,4 тыс.3 года назад
A dear friend sent me this video snippet today morning and I couldn't hold back from sharing this gem with all of you. I couldn't take my eyes off the master, the man who inspired a tsunami of musicians and connoisseurs and made the single biggest paradigm shift in conceptualising and presenting this wonderful art form. My childhood hero, a hero then a hero always. I bow down to the musical gen...
M D Ramanathan - mOkshamu GaladA - sAramati - Adi - tyAgarAja
Просмотров 2,3 тыс.3 года назад
MDR's disciple says "MDR started singing the anupallavi of Mokshamu Galada (Sakashathkara) in this fashion as soon as the thani avarthanam got over. The entire Music Academy hall was awestruck. As MDR stayed on the Shadjam, the violin bow slipped out of Lalgudi Jayaraman's hands. Jayaraman was then spotted in a kind of trance, so much so that he couldn't continue playing out of ecstasy and shak...
Vaak Listening Session | M Balamuralikrishna | August 2021
Просмотров 2,2 тыс.3 года назад
Vaak Listening Session | M Balamuralikrishna | August 2021
Laya - An abstract experiential concept of time
Просмотров 4703 года назад
Laya - An abstract experiential concept of time
Semmangudi Srinivasa Iyer (Home Recording) - pArthasArathini sEvimpani - Yadukula kambhoji
Просмотров 2 тыс.3 года назад
Semmangudi Srinivasa Iyer (Home Recording) - pArthasArathini sEvimpani - Yadukula kambhoji
SarasasAmadAna - G N Balasubramaniam followed by Thani - Palghat R Raghu
Просмотров 4,3 тыс.3 года назад
SarasasAmadAna - G N Balasubramaniam followed by Thani - Palghat R Raghu
Musiri Subramania Iyer - O Rangasayee - Kambhoji - Adi - Tyagaraja
Просмотров 2,8 тыс.3 года назад
Musiri Subramania Iyer - O Rangasayee - Kambhoji - Adi - Tyagaraja
T Brinda - Sharanu Sharanu - Chenchurutti - Rupakam - Anai Ayya
Просмотров 4003 года назад
T Brinda - Sharanu Sharanu - Chenchurutti - Rupakam - Anai Ayya
M D Ramanathan - A trip down MDR lane
Просмотров 8113 года назад
M D Ramanathan - A trip down MDR lane
Palghat R Raghu - Epic Theermanam by the Master
Просмотров 9 тыс.3 года назад
Palghat R Raghu - Epic Theermanam by the Master
S R Janakiraman on T Brinda, Swaminatha Pillai, Kalyani, Gaddari vAgala
Просмотров 5033 года назад
S R Janakiraman on T Brinda, Swaminatha Pillai, Kalyani, Gaddari vAgala
Sanjay Subrahmanyan - Bhavanutha nA - Mohanam - Adi - Tyagaraja
Просмотров 2 тыс.3 года назад
Sanjay Subrahmanyan - Bhavanutha nA - Mohanam - Adi - Tyagaraja
12th Remembrance Day Special- Palghat R Raghu - Thani - Adi Thalam 2 Kalai Mukkal Edam (3/4)
Просмотров 5813 года назад
12th Remembrance Day Special- Palghat R Raghu - Thani - Adi Thalam 2 Kalai Mukkal Edam (3/4)
Mangalampalli Balamuralikrishna - Thodi Swaraprastharam - 1960s
Просмотров 2,4 тыс.3 года назад
Mangalampalli Balamuralikrishna - Thodi Swaraprastharam - 1960s
Carnatic Music = Raga Music. Nama Sankirtan = Lyrical music. Thank you to TM Krishna for clarification.
😊
Heard this on other channels. There's magic in TMK's voice. Though I completely disagree with his sociopolitical views I still listen to his great singing.
Anytime his sloka rendering is like a nectar..
To the listners..
Semangudi Chethan sri
🎉🎉🎉
V. Melodious.
@KRIS N . Is there any chance of getting this complete piece please ?
Awesome ❤
Brilliant rendition / mridangam was awesome - what timber and depth !!!!
Refferal files of suruti. No words to say.
Beautiful bro
Nee chollara music kku, swarattkku, ragattukku, bhavattukku, language kku, ellarhukku, ellame confused and confusing in this video…. No meaning is there to what you explain - utterly confused and confusing😂
Nee music kku, swarattkku, ragattukku, bhavattukku, language kku, ellarhukku, confused and confusing in this video…. No meaning to what you explain - utterly confused and confusing
What an exquisite gift to the audience! The spontaneity is peerless and inimitable. I feel blessed and thankful to you and the platform Can you also please share the full rendition ? it will be divine.
Brilliant Kalyani. Close your eyes and you will hear GN Sir!
From 00:09:08 onwards.....superb phrases...
Dear Kris, this is unbelievable behag! What concert is this from?
Emphasis has nothing to do with rage. Emphasis, stop and start are done for hilighting yati and prasa which is seen in chitte swaras. That beauty can't come when you sing sahitya as it has different yati prasa and meaning. When it comes to sahitya emphasis has to change in some places depending on the meaning and yatiprasa. Balamurali. Sings likes this. His jagadananda is nearly perfect in sahitya other than the notorious. ... nura gara gara......
What a divine rendition!
Other than the beautiful pattern what is the magic. Explain it to a layman.
Thank You for Sharing this 🙏
🙏
Splendid comments section! Some for and some against. Well thats the dichotomy of art isn't it. But if we dont use our intellectual faculties for a moment i saw an instrument just dissolved in the moment of greatness effortlessly. This is the primal goal of art end of day. Be.
మహద్భోనమః
Don't know how repeatedly i listened this kriti of swatithirunal.Satatam tavaka is the kriti .vellore ramabhadran fingers doing magics
No, it does not collapse. He himself splits at @2:36 correctly as per the Sahitya and maintains the integrity of the raga. He confuses two different aspects in this video - splitting the sahitya for breath and emphasis on swaras that highlight the raga. You can split the sahitya at the right places without compromising on the beauty of the raga.
Bhaavam is also in the rhythm, rhythmic patterns, and raaga - not just in the sahityam. We can see how Pt. Birju Maharaj ji tells stories and scenarios to the audience using sheer foorwork and tihaais. You see, in hindustani, we go like okay jhaptaal is playful, dhamaar taal is of grave and intense nature etc. Not sure if it applies to Carnatic music too. But then, taals are taals. Rhythms are rhythms no matter what. So, as a Hindustani dancer, I'm speculating that it can apply to carnatic music also.
At last an intelligent observer👌music is an aural art form , everything is in the sound including the sound of the syllables of sahitya...the composers composed the sahitya FOR the music
I'm a Kathak dancer and been learning it since my early to mid-twenties. Still am with much focus. It was initiated in my life by a friend and I never looked back. I am of Tamil tongue born and brought up outside TN, by the way. From what little I understand, both musicians and listeners always treat Carnatic music as 'sahitya music' and Hindustani as 'raaga music'. Now, after listening to him say these things, I am looking back and contemplating what disinterested me in learning carnatic music as a child. I have a fairly good voice. Was it its emphasis on sahitya (rather than raaga) even as not teaching the child (me as a child) the meaning of the words? I don't know. I have just started thinking on those terms. Too early to conclude anything now. ❤🎉
Most of audience comments because of poramai and to damage his Personality.Hmm...
TMK just wants to show of his knowledge he aquired but doesn't have the humility to acknowledge that he is known to oeople because of carnatic music Otherwise who knows him Wants to get publicity All his admireres will shun him now
The doyens of carnatic music gave reverence to the composers They never would sit cross legged and show the arrogance in public discourse and talking about the sahitya which he himself doesn't understand Thr sahitya of tyagaraja are in telugu of that of purandara dasa in kannada etc The doyens knew the language that is how karnatik music is alive
The doyens of carnatic music gave reverence to the composers They never would sit cross legged and show the arrogance in public discourse and talking about the sahitya which he himself doesn't understand Thr sahitya of tyagaraja are in telugu of that of purandara dasa in kannada etc The doyens knew the language that is how karnatik music is alive
The doyens of carnatic music gave reverence to the composers They never would sit cross legged and show the arrogance in public discourse and talking about the sahitya which he himself doesn't understand Thr sahitya of tyagaraja are in telugu of that of purandara dasa in kannada etc The doyens knew the language that is how karnatik music is alive
The doyens of carnatic music gave reverence to the composers They never would sit cross legged and show the arrogance in public discourse and talking about the sahitya which he himself doesn't understand Thr sahitya of tyagaraja are in telugu of that of purandara dasa in kannada etc The doyens knew the language that is how karnatik music is alive
TMK a magician 🎉🎉🎉
This guy talks nonsense. He doesn't know Telugu grammer. The sahityam fits in perfectly sarva + Unnata= Sarvonnata, if you want to split it the way u like it will never make any sense. Listen to Sri BMK and learn the pancharatna krithis once again.
We shouldn't split the Sahitya as per notation. If you follow this rule you can't sing any krithi. If you split like this sahitya bhava will damage. Don't give the wrong message to coming generations
Music all over the world is primarily a combination of notes and rhythmic patterns . Words are superimposed in it secondarily. In Hindustani music the Raga is the main focus and words do not bear much significance. The bandishes are very short and this allows the artiste innovate almost from the start without being bound by the word. Therefore this is best suited to nirguna ( attribute less ) form of Bhakti. Carnatic style is different. Krithis are long and words play a far more important role because the Bhakti here is Saguna and words are needed to describe the attributes. Yes Carnatic singers do tend to not pay attention to synchronizing word phrasing with note phrasing. But this does not mean words and Bhakti have to take a back seat in this form of music because that destroys the very form of Carnatic music.Understand and respect each form in its totality. No need to make issues of non issues .
Amazing! Thanks for sharing. What a masterclass of each raga this is!!
I don't think TMK himself has realized that he hasn't really spilt the words up the wrong way. He has merely emphasizes various syllables of a word in accordance with the swara-patterning. TMK is so filled with the obsessions to disapprove of people's desire to place sahitya over swara, he fails to see what he is himself doing. This preoccupation with rhythmic patterns is not a brain-child of TMK. It can be observed clearly in the chandas (metre) of Sanskrit slokas. TMK comes across as an individual, who cannot seem to agree with anything or anyone. He seems to be mounting argument merely for the sake of arguing, neither making real sense nor being able to reasonably prove his stance. He reasons that one must not define music based on ones own personal values. He seems to be doing the same in stating music is divorced from bhakti and the likes. I recommend he merely sing and keep his interpretations to himself!
I recommend that he stops singing. Simple, integrity issues. If he does not value lyrics or devotion, let him NOT touch the compositions which are essentially bhakthi-laden. Let him create his own songs n render. More importantly let him use 'accessible' language , something like Chennai Tamizh and create songs for his rendition. He should also stop using Brahmin accompanying artistes and 'brahminical ' accompaniments - should start using thaarai/thappattai/udukku etc and devote his life to promote music which has been 'denied' to various groups. He should drop the elite sounding Sanskrit name Krishna and use the local slang equivalent ...may be something like kisnaa to feel and sound more authentic as the champion of the deprived. I stead of RTP he should focus on Oppaari ஒப்பாரி.....
@@rsprasad-fg4kx I quite understand your sentiment.
Intellectually he speaks on a different plane ..not all of us can recognise his invitation, he makes an elegant point, doubly endorsed by the Trinity...the aesthetics of an art form, in this case carnatic music, are primarily internal to the sound, tempo, movement within the form itself. Sahitya adds an extra layer that may or may not move people, however the sound of the syllables, the alliterations all of them are sahityaa composed FOR music. What you experience in a purandara dasa kirtana I experience in the movement of a saveri. His remarks are about the aesthetics , the views expressed here have nothing to do with the subject under discussion by TMK , it's merely another convenient and easy judgement without an attempt to understand. I can live with that. After all the whole country is dealing with it. Evolve people!
@@mohanbala3743 Thank you for your thoughts. I beg to differ, though. I don't profess to understand carnatic music better than TMK does; I just argue that TMK is not the only "intellectual" out there, as also that TMK 's arguments are not logical enough for me. It is also my opinion that TMK cannot argue to know Tyagaraja or Diksitar the best; he seems to speak for them, and that is untenable. You are welcome to invite people to "grow up," of course, for calling out the glaring lapse in logic. Just begs the question who really needs to grow up😊
Please listen to BMK pancharatna krithis and u will understand Krishna. Ur explanation is wrong.
Love you sir ❤
TM Krishna will be singing a RTP "General Dyer Mahaan, Sikh log They bewakoof" and presenting it at Jallian Walla Bhagh and at the Amritsar Golden temple. Go TMK!!
Outstanding ❤❤
This nincompoop needs to understand that while the swaras have certain purpose and flavour, the sahityam, though aligned with the swaras have their own emotional appeal, thus meriting a diffrent approach. Let him listen to Sri Balamuraligaaru's rendition - incidentally, BMKgaaru starts with saa -dha dha paa paa pa which very well aligns with sahityam too. And more than anything else, one just shudders listening this overrated singer's harsh voice (and modulations) totally bereft of any aesthetic dimensions. Sad that such people are celebrated as musicians by a hugely ignorant crowd. Let him apply his mind and also refer to points such as omkara panchara (jagadananda karaka), madhi leka poyina(dudukugala) and saama gana lola (endaro mahanubhavulu) to learn how swaras /sahityams complement each other. The swaras are a guide post-the sahityams need to follow them, but lyrical meaning and purport need to be borne in mind. Therefore the treatments differ. This nitwit needs basic education in carnatic music.
This fellow doesn't need any sympathies. Call the liar and liar. Why be soft? This man, along with the Hindu newspaper group that controls music academy is running a completely mischievous campaign which is carefully planned and cunningly executed. No point in being polite. He needs to be held by the collar, else such sophisticated rogues will only take us for granted
Completely misunderstood Swami Thayagaraja
And in 4 minutes 37 seconds TM Krishna bestows blatant disgrace to both telugu Sanskrit and Aarabhi Raga all at once... Its so funny that when people speak passable english and muse in their surroundings for most of the time, they are construed as intellectuals. The goosebumps he got was probably due to the cringe that he showered upon unfortunate viewers. The concept of Vaadhi Samwadhi has completely jumped his obviously intellectual brain...... When you spilt words flippantly just to prove a point the concert may take a disastrous turn sir!!! please preserve your precious knowledge; but just outside carnatic music because Thyagaraja is rolling in his grave listening to your malevolent CRINGE......
If you don't know the meaning of the song you are singing then you haven't learned anything, you are singing a rap song like Eminem.
Meaning is poetry pa! Understand the meaning to know the poetry, not music! Learn an instrument you will know!!!
Sorry to break, it's not true. Meaning is secondary. Maybe you have commented based on the context of the video. Then yes you are right. Otherwise swaram is enough.