Ramakrishnan Murthy is one of the wonderful, excellent, fantastic, outstanding, well knowledged, disciplined, dedicated classical artists.. You are great sir.. What a nice pleasant voice, completely concentrated.. I felt very happy and daily watch your programmes... I like you your efficiency dedication disciplined performance.. I like you i like you sir Dhanyawadamulu and hearty congratulations.. God gift to you... God bless you respected sir... Thank you all for organising and uploading ...Spl thanks to RUclips
Waooo what a pleasant moment of sreeman ramakrishnan Murthy 's unforgettable rendering of voice and support of young siranjeevi vittal rangan violin of his esteemed companion
A stunning performance by the maestro again 👏 Vidwan RKM gives a beautiful bouquet of select 14 kritis - all embellished with wonderful swaraprayogams, alApana, etc and neatly packaged in 170 minutes of pure bliss 👍 Starting with the auspicious sree ragam (vande vAsudevam) followed by nAdanAmakriya (sivalOkanAthanai), an 'ananda(mAna)bhairavi' (pAhi tarakshu) an expansive mandAri (ninnu jeppa), a sweet sankarabharanam (manasu svAdeenamaina)a neat Kannadagowla (sogasu juda tharamA), a breezy yadukulakambhoji (kumaran thaaL) and a superlative dhanyasi ( paradevata, a moving dikshitar kriti on tiruvidaimarudur thAyAr) a lively kalkada (parvati ninnunE) and then RTP in kEdAragowla. He followed with khamas (marubAri tAlalEnuru) then a livelyvkalyani (kannanE en kanavan), bharatiyar's teerAda vilayattu pillai (SB, Khamas, shhanmukapriya & mAnd) & wound up with sankarabharanam (syamalE meenAkshi) The 🎻 support by vidwan vittal rangan is out of the world! His mandAri, sankarabharanam, dhanyasi needs special mention. The percussion support of Vidwan Delhi Sairam and Vidwan B.S.Purushotaman was simply amazing 👌 Thanks to SICA for bringing us Live this wonderful concert 🙏
RKM is a master, gained mastery. Highly acclaimed singer. True master. Great vidwath and manodharmam. Bow to him. Vital is vital to any concert. Bow to you RKM.
The sitting position of all the artists on stage is highly commendable. All the arts given equal importance. Very good. Those who speak also may learn to do it.
A GREAT AND RARE TREASURE TO CARNATIC MUSIC WORLD.ADAKKAM, KACHIDAM, PISURE ILLAME. APT BHAVAM, . Pray he continues to be the greates musician in all quarrters. After KVN, if one has touched the core of our hearts in all sense, it is RamaKrishnan Murthy.God Bless
Most Enchanting and Enthralling Concert. !! Beautiful Raga alapanas ,Swara Singing and as well as Beautiful Niraval Singing !! Every Composition Sung with so much of expertise. !! Most amazing Violin and Percussion accompaniments added so much of Bliss to the entire concert. !! Enjoyed Listening to the concert so very Much. !!
………..Mellifluous,,,,sonorous..divine,,””Naadha..Upasana “” by inherently..talented..added..dedication ……….by Sri. RKM,,,thus giving Scope to all the accompaniments,,,blissful..rendition, Orchestration. ……….Music..Pure..music alone is projected,, presented…no. gimmicks,,,thus,,it is with “” Sublime. beauty “ ………..Solid,,knowledge,,with humble,,attributes..“” In Thamizh. “” Niraai. Kudam…Thalumbaathu” ……….With gratitude to all in SICA,,& for ‘ Uploading’ ………R. Seetharaman….75y…Mumbai-51.
An outstanding concert with a good choice of compositions. Can any one throw light on the Viruttam in Sanskrit preceding “ theeratha vilayattu …”? And the composer of the Kedaragowla piece ? Thanks N
Please give respect to Sivan avargal kruthis,. Alapana and his kruthi should be the norm. Not a breezy fast phased short piece. He is equal to thrinities.
Simple curtsey demands you mention the name of the tambura artist also. It is such kind of neglect that makes the tambura disappear from the stage and the electronic soulless sound replaced it. Instead of going on length about the vocalist, please mention a little more about the coartists also. All of them are equally or more talented in comparison to the vocalist. A not so talented co artist can ruin the kacheri, however exceptional the vocalist may be. So it is high time we gave them equal recognition as the vocalists. And it is s good practice if we stop using the word main artist.
RKM, BVR, DSS and BSP have given us one more feast of deep classicism, the hallmark of Karnataka Samgitam-fitting answer to TMK and likes questioning the identity of 'classical' for KM. Is this one more experience of 'intellectual pleasure'-lasting in time and duration? Total absence of intent for compelling value of excitement-rhythmic and sound dynamics delivering mechanical appreciation (applause). Admit minor concession to DSS teermanams!
I want to humbly express my views on seating or sitting arrangements on the dias by performing artists.. This type of sitting is being followed from the past 4 or 5 years. i dont know who has suggest this and what is the idea or concept behind this type of sitting arrangement. Generally those who are main artists whether it may be instrumental or vocal they were sitting in the front violin and mrudamgam on left and right sides and upa pakka vadyas on the back.Though there are no written rules for this, by practice it was followed by the our past perferformers and i feel that was apt as per the designation we assign for the performers as main artist and pakka vadyas or accompanists. Now voilinist is sitting with main performer.ok. what is convinience has been achieved by this? If one thinks that to bring equality among performers, i dont think it is fulfilled.or is there any thing about accoustics to be improved by this?no.Then why that arrangement which was in vogue in the past has not been followed by some artists?
There seems to be a welcome transition to moving away from using the words such as accompanists and pakka and uba pakka vadhyams. Musicians of equal caliber are collaborating together to perform music. The violin is a second voice in the concert, except that it is not a vocal voice. I agree that the violinist has advantage in reading the lips of the vocalist when performing by sitting perpendicular and I am not sure how that is overcome in this seating arrangement but I am very glad to see the violinist sitting right next to the vocalist in the concert.
@@raghugopalan6139 sir I am happy that I evoked a discussion on this type of new seating arrangement on dias.i promptly feel rather than sitting parallel ,by sitting in front ie left to him,performer and the violinist can see conveniently and both can respond to nuances of each.Always in a vocal concert,vocalist is the main performer and violinists though it resembles the voice closely can not become main performer because what the main performer chooses to sing he has to follow that and in all segments etc.Though accompanying artists are of equal caliber, by seating arrangement one can not give equal status. Then let mrudamgam, ghata also sit along with main performer in a straight line,why they shd sit in front of main performer.
@@MrSivakris1 yes.if the above format of sitting is followed this would be the fate of our revolutionary thinking.what I mean is our previous era musicians are so professional ,they have done what has to be done.we are not using properly and polluting it by our immature ideas.I think it was started by a music performer who opposes our sanatana dharma in carnatic music.Rest of it all are knowing .
Unfortunately I don’t think we will be able to converge on this topic. You have a rigid hierarchical view of how the seating arrangements must be. There is no room for you to be flexible. We will leave it at that. But food for thought: can we then have second violin sit on the side in a violin duet, or can we have Veena and venu sit on the side when it’s a veena, venu, violin concert? The concept of duet singing is independent to who chooses the composition to sing. I rest my thoughts here.
What a melody what a divinity what a profound concert how blessed are these youngsters in rendering the sweet namas of Sri Hari Shiva
Ramakrishnan Murthy is one of the wonderful, excellent, fantastic, outstanding, well knowledged, disciplined, dedicated classical artists.. You are great sir.. What a nice pleasant voice, completely concentrated.. I felt very happy and daily watch your programmes... I like you your efficiency dedication disciplined performance.. I like you i like you sir Dhanyawadamulu and hearty congratulations.. God gift to you... God bless you respected sir... Thank you all for organising and uploading ...Spl thanks to RUclips
Waooo what a pleasant moment of sreeman ramakrishnan Murthy 's unforgettable rendering of voice and support of young siranjeevi vittal rangan violin of his esteemed companion
A phantastic performance,reminds me of the traditional kacheri
RKM is an exaple of Bhakthi, Bhava. Great singing. Touches our soul. Saraswathi kadaksham . Paripoornam
A stunning performance by the maestro again 👏 Vidwan RKM gives a beautiful bouquet of select 14 kritis - all embellished with wonderful swaraprayogams, alApana, etc and neatly packaged in 170 minutes of pure bliss 👍 Starting with the auspicious sree ragam (vande vAsudevam) followed by nAdanAmakriya (sivalOkanAthanai), an 'ananda(mAna)bhairavi' (pAhi tarakshu) an expansive mandAri (ninnu jeppa), a sweet sankarabharanam (manasu svAdeenamaina)a neat Kannadagowla (sogasu juda tharamA), a breezy yadukulakambhoji (kumaran thaaL) and a superlative dhanyasi ( paradevata, a moving dikshitar kriti on tiruvidaimarudur thAyAr) a lively kalkada (parvati ninnunE) and then RTP in kEdAragowla. He followed with khamas (marubAri tAlalEnuru) then a livelyvkalyani (kannanE en kanavan), bharatiyar's teerAda vilayattu pillai (SB, Khamas, shhanmukapriya & mAnd) & wound up with sankarabharanam (syamalE meenAkshi) The 🎻 support by vidwan vittal rangan is out of the world! His mandAri, sankarabharanam, dhanyasi needs special mention. The percussion support of Vidwan Delhi Sairam and Vidwan B.S.Purushotaman was simply amazing 👌 Thanks to SICA for bringing us Live this wonderful concert 🙏
Your reviews are simple and clean...thank you
Thank you for naming the ragams
It woulbe a great service and help, if you could kindly review the other four cutcheris in this series too !
Stunning performance
NS, USHASATHYANARAYAN PADMASHALI BANGALORE 🙏🙏❤️👌👌 SUPER RAMAKRISHNA N SIR VERY VERY THANKS
RKM is a master, gained mastery. Highly acclaimed singer. True master. Great vidwath and manodharmam. Bow to him. Vital is vital to any concert. Bow to you RKM.
Mrindagam played by Sairam excellent. Pleasing concert
The sitting position of all the artists on stage is highly commendable. All the arts given equal importance. Very good. Those who speak also may learn to do it.
Excellent rendering
Thanks for a nice Kutcheri. Excellent artists. 👏👏👏
Shivaloka , brilliantly sung. I am addicted to your singing master
A GREAT AND RARE TREASURE TO CARNATIC MUSIC WORLD.ADAKKAM, KACHIDAM, PISURE ILLAME. APT BHAVAM, . Pray he continues to be the greates musician in all quarrters. After KVN, if one has touched the core of our hearts in all sense, it is RamaKrishnan Murthy.God Bless
8:45 Concert starts
8:51 Brief Outline of Sree Ragam
9:52 Vande Vasudevam - Sree - Khanda Chapu - Annamacharya
17:17 Sivaloka Nathanai - Mayamowlavagowla - Rupakam - Gopalakrishna Bharati (S@Sivaloka)
24:53 Alapana in Anandabhairavi
25:34 Pahi Taraksupuralaya - Anandabhairavi - Adi - Swati Tirunal
31:21 Alapana in Mandari
35:48 Violin alapana in Mandari
38:40 Ninnu Jeppa Karanamemi - Mandari - Adi - Patnam Subramania Iyer (NS@kalalOlaina venkatEshayani)
49:51 Alapana in Shankarabharanam
56:30 VIolin alapana in Shankarabharanam
1:02:50 Manasu Swadhinamaina - Shankarabharanam - Misra Chapu - Thyagaraja (N@rAjarAjEsha niranjana nirupama)
1:19:48 Thaniavarthanam
1:31:26 Alapana in Kannadagowla
1:34:37 Violin alapana in Kannadagowla
1:37:15 Sogasu Jooda Tarama - Kannadagowla - Rupakam Thyagaraja
1:42:25 Kumaran Taal Paninde - Yadukulakambhoji - Adi - Papanasam Sivan
1:46:27 Alapana in Dhanyasi
1:50:39 Violin alapana in Dhanyasi
1:53:49 Paradevata Brhatkucamba - Dhanyasi - Adi - Muttuswami Dikshitar (S@Kala Malini)
2:04:29 Parvathi Ninnu Nera - Kalgada - Adi (tisra nadai) - Syama Sastri
2:08:01 Alapana in Kedaragowla
2:10:45 Violin alapana in Kedaragowla
2:12:45 Continuation of Kedaragowla Alapana
2:14:31 Tanam in Kedaragowla,
2:20:39 Pallavi in Kedaragowla - Misra Jati Triputa (2 kalai)
Sahityam: karuna rasake kethara gowlanga pahi shiva sivdharga
Ragamalika neraval/swarams in: Gowlai, Kedaram
2:31:44 Thaniavarthanam 2
RKM followed in w/ kalpanaswarams in 3rd round of korvai
2:35:25 Marubari Talalenura (javali) - Khamas - Adi - Dharmapuri Subbaraya Iyer
2:39:02 Kannane En Kanavan - Kalyani - Adi - Sudhananda Barathi
2:42:49 Slokam in Sindubhairavi, Khamas, Shanmukhapriya, Mand,
2:45:13 Violin slokam/alapana in Mand, Shanmukhapriya, Khamas, Sindubhairavi
2:46:25 Teerada Vilaiyatupillai - Ragamalika (Sindubhairavi, Khamas, Shanmukhapriya, Mand) - Adi - Subramania Bharati
2:51:33 Shyamale Meenakshi (nottuswaram) - Shankarabharanam - Adi - Muttuswami Dikshitar
2:53:03 Mangalam (Sourastram)
Ram thankyou for the details of kacheri
Very interasting presentation of ramakrishna moorthy and mridangam will become a great experiense us
Thank u Sir
Great concert! Recording is really good!
Excellent concert...Vittal's sankarabharanam alapana ... Brilliant...
Most Enchanting and Enthralling Concert. !! Beautiful Raga alapanas ,Swara Singing and as well as Beautiful Niraval Singing !! Every Composition Sung with so much of expertise. !! Most amazing Violin and Percussion accompaniments added so much of Bliss to the entire concert. !! Enjoyed Listening to the concert so very Much. !!
Very very melodious and excellent performance 👍👌🌹🌷
What a commendable level of dedication to music. All the very best.
It was brilliant yet again by RKM and his team all the way ..
Beautiful rendition 😍
………..Mellifluous,,,,sonorous..divine,,””Naadha..Upasana “” by inherently..talented..added..dedication
……….by Sri. RKM,,,thus giving Scope to all the accompaniments,,,blissful..rendition, Orchestration.
……….Music..Pure..music alone is projected,, presented…no. gimmicks,,,thus,,it is with “” Sublime. beauty “
………..Solid,,knowledge,,with humble,,attributes..“” In Thamizh. “” Niraai. Kudam…Thalumbaathu”
……….With gratitude to all in SICA,,& for ‘ Uploading’
………R. Seetharaman….75y…Mumbai-51.
Wonderful
superb concert.
outstanding performance❤️❤️❤️
excellent concert
Fantastic concert. Liked all the songs
Kaduna rasa kedara goulanga wonderful!
Magnificent and melodious!
Very nice concert
Superb. Melodious. शुभकामनाएँ.
00:08:50 vandE vaasudEvam - Shree - Annamacharya
00:17:15 shivalOka nAthanai - Mayamalavagowlai - Gopalakrishna Bharathiyar
00:24:52 pAhi tarakSu purAlaya - Ananda Bhairavi - Swathi Thirunaal
00:31:20 ninnu jeppa - Mandaari - Patnam Subramanya Iyer
00:49:50 manasu svaadhinamaina - Sankarabaranam - Thyagaraja
Very very melodious nd outstanding
Wonderful performance
Awesome performance 👌👏
Grand concert 👏🏼👏🏼👏🏼🙏🏼🙏🏼Thanks again to Sica for organizing
Concert is pleasant and soothing
Stunning performance
Superb concert🥰🥰great team work RKM and team🤩🤩
Super
Superb
Ram very nice
Vuttal rangan fantastic
an extraordinary concert with superb violin and mrudangam but sorry for kancjira and instead ghatam would have been superb
8:51 Sri Ragam
9:52 Vande Vasudevam - Sri - Khanda Chapu - Annamayya
17:17 Sivaloka Nathanai - Maayamaalavagowla - Rupakam - Gopalakrishna Bharati (S)
24:53 Anandabhairavi (R)
25:34 Pahi Taraksupuralaya - Anandabhairavi - Adi - Swati Tirunal
31:21 Mandari (R)
38:40 Ninnu Jeppa Kaaranamemi - Mandari - Adi - Patnam Subramania Iyer (N) (S)
49:51 Shankarabharanam (R)
1:02:50 Manasu Swadhinamaina - Shankaraabharanam - Mishra Chapu - Thyagaraja (N)
1:31:26 Kannadagowla (R)
1:37:15 Sogasu Jooda Taramaa - Kannada gowla - Rupakam Thyagaraja
1:42:25 Kumaran Taal Paninde - Yadukula kambhoji - Adi - Papanasam Sivan
1:46:27 Dhanyasi (R)
1:53:49 Paradevata Brhatkuchaamba - Dhanyasi - Adi - Muttuswami Dikshitar (S)
2:04:29 Parvathi Ninnu Nera - Kalgada - Adi (3) - Syama Sastri
2:08:01 Kedaragowla (R)(T)
2:20:39 RTP Kedaragowla - Misra Jati Triputa (2 kala)
"Karuna rasakedaara gowlaanga, paahi shivaardhaanga"
2:31:44 Thani
2:35:25 Marubari Talalenura - Khamas - Adi - Dharmapuri Subbaraya Iyer
2:39:02 Kannane En Kanavan - Kalyani - Adi - Sudhananda Barathi
2:42:49 Slokam - Sindubhairavi, Khamas, Shanmukhapriya, Mand
2:46:25 Teerada Vilaiyatupillai - (Sindubhairavi, Khamas, Shanmukhapriya, Mand) - Adi - Subramanya Bharati
2:51:33 Shyamale Meenakshi (nottuswaram) - Shankarabharanam - Adi - Muttuswami Dikshitar
2:53:03 Mangalam
L TV
My grandson RKM ki blessings
It's 2 years old and a brilliant Concert by the team. In Theeratha Vilayattu Pillai did Murthy hurry through a bit?
👌👌👌👏👏👏💐💐💐
🙏🏻🙏🏻🙏🏻
His voice resembles that of the late Sheerkazhi Govindarajan
Really gramerical and sweet how?
8:55 concert starts
Exact pair
An outstanding concert with a good choice of
compositions. Can any one throw light on
the Viruttam in Sanskrit preceding “ theeratha vilayattu …”? And the composer of the Kedaragowla piece ?
Thanks
N
ayi murali mukundasmeravaktrAravinda
shvasanamadhurasaMj~ne tvAM praNamyAdya yAce |
adharamaNisamIpaM prAptavatyAM bhavatyAM
kathaya rahasi karNe maddashAM nandasUnoH
Virutham from shrI kRiShNa karNAmRitam
Vande vasudevam.. M.S.Amma’s divinity is missing.
You should probably listen to MS instead then? We cannot expect Sachin's cover drive and Kohli's cover drive to look the same
Please give respect to Sivan avargal kruthis,. Alapana and his kruthi should be the norm. Not a breezy fast phased short piece. He is equal to thrinities.
9:00- VANDHE VASUDEVAM-SRI-JHAMPA-ANNAMACHARYA,MMG- , sivalOka nAthanaik kaNdu sEvittiduvOm vArIr,
ghatam would have been nice instead of kanjira i do not understand why kanjira is chosen
I am new here. Why did the singer not start singing a song on Ganapathy? Or is it not a normal practice?
It is not mandatory to start like that.
Simple curtsey demands you mention the name of the tambura artist also. It is such kind of neglect that makes the tambura disappear from the stage and the electronic soulless sound replaced it. Instead of going on length about the vocalist, please mention a little more about the coartists also. All of them are equally or more talented in comparison to the vocalist. A not so talented co artist can ruin the kacheri, however exceptional the vocalist may be. So it is high time we gave them equal recognition as the vocalists. And it is s good practice if we stop using the word main artist.
Tambura artists name is Lashman Premi
Well said.
RKM, BVR, DSS and BSP have given us one more feast of deep classicism, the hallmark of Karnataka Samgitam-fitting answer to TMK and likes questioning the identity of 'classical' for KM. Is this one more experience of 'intellectual pleasure'-lasting in time and duration? Total absence of intent for compelling value of excitement-rhythmic and sound dynamics delivering mechanical appreciation (applause). Admit minor concession to DSS teermanams!
In concerts acoustics is very important. Here, the ginjara is not at all audible. Poor acoustical arrangement by the organisers
I want to humbly express my views on seating or sitting arrangements on the dias by performing artists.. This type of sitting is being followed from the past 4 or 5 years. i dont know who has suggest this and what is the idea or concept behind this type of sitting arrangement. Generally those who are main artists whether it may be instrumental or vocal they were sitting in the front violin and mrudamgam on left and right sides and upa pakka vadyas on the back.Though there are no written rules for this, by practice it was followed by the our past perferformers and i feel that was apt as per the designation we assign for the performers as main artist and pakka vadyas or accompanists. Now voilinist is sitting with main performer.ok. what is convinience has been achieved by this? If one thinks that to bring equality among performers, i dont think it is fulfilled.or is there any thing about accoustics to be improved by this?no.Then why that arrangement which was in vogue in the past has not been followed by some artists?
There seems to be a welcome transition to moving away from using the words such as accompanists and pakka and uba pakka vadhyams. Musicians of equal caliber are collaborating together to perform music. The violin is a second voice in the concert, except that it is not a vocal voice.
I agree that the violinist has advantage in reading the lips of the vocalist when performing by sitting perpendicular and I am not sure how that is overcome in this seating arrangement but I am very glad to see the violinist sitting right next to the vocalist in the concert.
@@raghugopalan6139 sir I am happy that I evoked a discussion on this type of new seating arrangement on dias.i promptly feel rather than sitting parallel ,by sitting in front ie left to him,performer and the violinist can see conveniently and both can respond to nuances of each.Always in a vocal concert,vocalist is the main performer and violinists though it resembles the voice closely can not become main performer because what the main performer chooses to sing he has to follow that and in all segments etc.Though accompanying artists are of equal caliber, by seating arrangement one can not give equal status. Then let mrudamgam, ghata also sit along with main performer in a straight line,why they shd sit in front of main performer.
In trying to be different and revolutionary this is what we come up with.. So in a solo violin concert will the mridangam sit next to violin
@@MrSivakris1 yes.if the above format of sitting is followed this would be the fate of our revolutionary thinking.what I mean is our previous era musicians are so professional ,they have done what has to be done.we are not using properly and polluting it by our immature ideas.I think it was started by a music performer who opposes our sanatana dharma in carnatic music.Rest of it all are knowing .
Unfortunately I don’t think we will be able to converge on this topic. You have a rigid hierarchical view of how the seating arrangements must be. There is no room for you to be flexible. We will leave it at that.
But food for thought: can we then have second violin sit on the side in a violin duet, or can we have Veena and venu sit on the side when it’s a veena, venu, violin concert? The concept of duet singing is independent to who chooses the composition to sing. I rest my thoughts here.
Begins join and became nothing
Mridangam is very noisy