To all the critically commented gentlemen! Arun Prakash sir has clearly mentioned that this Lec-dem is his approach of playing Neraval. I hope everyone know and understand that every Bani (school) has it's own place in the music and moreover every musician has his own approach. I think some of you are saturated to one kind of mridangam accompaniment. As a rasika, let's give respect for the effort. Please refrain from making such comments in public forum. Thank you!
This is a very usefull lesson to the listener indeed. especially to those critics who always criticise the accompanists in comparison to the main artists with out properly knowing the proper technics of niraval and nades.
Kudos to the team for such enjoyable LecDem which enables rasikas like me to appreciate how Mridangam enriches the listening experience .. It would be worth trying a whole concert with Mridangam always accompanying the vocalist and violin but vocal and violin are not performed at the same time to see if there is a different kind of listening experience
Some of the comments in this video make me wonder if rasikas are able to appreciate anything even slightly beyond what they are accustomed to hearing. Arun Prakash sir may not play just like the old masters, but in my opinion plays beautifully for the neraval in almost all cases and is extremely sensitive to the composition and how it is rendered. Such is the beauty of subjective art.
Thats not true. Its a method of slowly elaborating each line. The one with 3 avartanams only had the first three lines of the neraval (Dhara Rig Saa - maadulalo - Vara Gaayathri..) He then sings the entire neraval (Dhara Rig Saa - maadulalo - Vara Gaayathri - Hrudayamuna), which was for 4 avartanams. This is not inconsistent with what the Mridangam player is enunciating.
No, I think it is definitely the case that singers adhere to it. When they sing neraval, there is some leeway to expand but as the musicians here point out, it must follow the laya pattern of the original line. For example, if its adi taalam rendu kalai, then they would always sing neraval, slow or in fast speeds, such that it finishes at the end of the tala cycle, Everytime. The issue arises with violinists not following it correctly in the case of rupaka talam or misra chapu, primarily because counting 4 avartanas everytime is kinda hard. But the really great violinists always have that sense of tala in their mind and make sure the 4avartanam cycle is not deviated from.
Holy crap... I hope the senior Mridangam masters are listening...( I thoroughly enjoyed TMK and RKS though)... This proves that neither the so called 'expert' who is giving the lecture nor the audience have ever heard great masters play and accompany. I am sure that late MNK sir would certainly turn in his grave if he knew what has been 'demonstrated' in this flop show
To all the critically commented gentlemen! Arun Prakash sir has clearly mentioned that this Lec-dem is his approach of playing Neraval. I hope everyone know and understand that every Bani (school) has it's own place in the music and moreover every musician has his own approach. I think some of you are saturated to one kind of mridangam accompaniment. As a rasika, let's give respect for the effort. Please refrain from making such comments in public forum. Thank you!
Those making such comments are children of illiterate parents. What can one do!
The whole lec dec was brilliant .. each one of them had shown what their class is !!!!!
This is a very usefull lesson to the listener indeed. especially to those critics who always criticise the accompanists in comparison to the main artists with out properly knowing the proper technics of niraval and nades.
Kudos to the team for such enjoyable LecDem which enables rasikas like me to appreciate how Mridangam enriches the listening experience .. It would be worth trying a whole concert with Mridangam always accompanying the vocalist and violin but vocal and violin are not performed at the same time to see if there is a different kind of listening experience
Some of the comments in this video make me wonder if rasikas are able to appreciate anything even slightly beyond what they are accustomed to hearing. Arun Prakash sir may not play just like the old masters, but in my opinion plays beautifully for the neraval in almost all cases and is extremely sensitive to the composition and how it is rendered. Such is the beauty of subjective art.
34:15
I enjoyed all my favourites
Very much informative
Haha, at 6:58 Arun Prakash mentions this niraval cannot drift from 4 avartanams and almost immediately TMK sings for 3 avartnams.
Thats not true. Its a method of slowly elaborating each line. The one with 3 avartanams only had the first three lines of the neraval (Dhara Rig Saa - maadulalo - Vara Gaayathri..) He then sings the entire neraval (Dhara Rig Saa - maadulalo - Vara Gaayathri - Hrudayamuna), which was for 4 avartanams. This is not inconsistent with what the Mridangam player is enunciating.
Sure Raghul. Thanks for clarifying. But his argument that the total number of avartanams should be divisible by 4 is still incorrect right?
No, I think it is definitely the case that singers adhere to it. When they sing neraval, there is some leeway to expand but as the musicians here point out, it must follow the laya pattern of the original line. For example, if its adi taalam rendu kalai, then they would always sing neraval, slow or in fast speeds, such that it finishes at the end of the tala cycle, Everytime. The issue arises with violinists not following it correctly in the case of rupaka talam or misra chapu, primarily because counting 4 avartanas everytime is kinda hard. But the really great violinists always have that sense of tala in their mind and make sure the 4avartanam cycle is not deviated from.
😭😭😭😭It could be in English.....
Madhuritu Chakraborty Bahaar Since it is happening in Chennai, they are doing it in Tamil since there would be lot more Tamils. U may use the captions
Aravindhakshan Suresh It is not available in this video....
Madhuritu Chakraborty Bahaar Then u have to learn Tamil or you should have a translator.
Aravindhakshan Suresh Yeah !😅 actually ......that is why I have started learning thamizh !😅
Madhuritu Chakraborty Bahaar What's your mother tongue?
Holy crap... I hope the senior Mridangam masters are listening...( I thoroughly enjoyed TMK and RKS though)... This proves that neither the so called 'expert' who is giving the lecture nor the audience have ever heard great masters play and accompany. I am sure that late MNK sir would certainly turn in his grave if he knew what has been 'demonstrated' in this flop show
@@SYOGESHWARBEC you can take your opinion and shove it up your .....
Mudra vaya mayiru munda!
Very much informative