People today speak a lot on Artificial Intelligence and all. What is this then ?? What is triggered in mind is played, and in a fraction of sec, absolutely replicated to perfection by the great MSG. This is the greatness of carnatic music. The foundation is such that any talented and hard worked musician can bring out different dimensions to same scale !! Truly thankful to Lord for making me born here, and giving me an opportunity to listen and understand a bit of all these great Gandharva-Vidyas 🙏🙏
No doubt, MSG is MSG. But since you brought up AI, I would like to mention about the 'Continuator'. The counterpoints that it instantaneously constructed, albeit in the Jazz style, are truely mind bogling, at least to me. ruclips.net/video/RIoE4ckZYgs/видео.html
Delving on small ga between 7:45 to 8:00, and then shifts to shuddha gandharam and slides back between 8:02 - 8:12. That effect he generates is magical. How many times one can hear this..
After 30 years of learning practicing and teaching Carnatic music, I am firmly convinced that the pacing of phrases is the sign of maturity in an artist. Mali demonstrates this. 🙏🏾 what poignant pauses and rests. Each phrase is delivered deliberately and effectively. Thank you for sharing this beautiful organic music with us.
I think it is more than just maturity. Many "mature" musicians don't use silence nearly as well as Mali. What Mali brings to the music world, that very few if any can match, is a total immersion into the music and a constant search for the correct follow-on phrase that fits with the previous phrases and is consistent with the overall theme/mood of the alapna. The periods of silence are also very shrewd tactical strategies. These silences provide just enough time to imprint some of the magical phrases in the minds of the listeners so that they are there for a long time. Todays musicians tend to present too much in too short a time with the result that the mind cannot digest everything that is is bombarded with.
Wow. Mali plays some phrases that are just so new and innovative. There is a sliding set of notes he plays from 12:25 - 12:34. It sounds beautiful but I am not sure if this is within the manodharma of Kapi. In fact, MSG follows this with his own set of sliding notes that sounds more - dare I say - in the "classical Kapi" mould. Of course, Mali's one is so unique to hear that MSG must have had his doubts at that moment and played it "safe". God knows what these geniuses were thinking when they created this music. Thank you for posting this.
kApi permits using 10 notes (out of a possible 12) and Mali is using all 10 in a descending cascade. So he is not going out of bounds. Admittedly the phraseology is unique and unconventional. Mali sometimes does this to play with the minds of the audience. After grasping the audience's attention, he will follow up with exquisitely deep meditational phrases, as here. The beauty of it all is that even the unusual phrases seem to magically fit into the whole alapna. Mali and TNR are the only two musicians that I have heard who have the imagination to carry out this. Sometimes they do this even transgressing rules (listen to Mali's amazing sankarabharanam uploaded, where he dwells in the ni - a "no-no" for Sankarabharanam, yet puts you into a meditative mood).
I have seen musicians (LGJ and Mali specifically) play the descending cascade for Behag and Sindhubhairavi ragaas where there is a precedent. That's why I wasnt sure if the same approach is permissible within the range of Kapi. Thanks for clarifying this. I have also listened to the Sankarabharanam where he delves into the Ni, which is usually a reserve for Kalyani. I remember hearing it and trying to play the same on my violin. It didn't feel right at all. I realized that it is possibly interconnected to the build up to the Ni and what he does after exploring Ni. The magical fit as you rightly pointed out, was clearly missing in my attempt. Not a musician for novices to imitate!
When people like Mali play music, we never think about raga sanchara at all. Whatever they play fits in the raga better than anyone. So eyes closed and cry hard
Indeed. Has always been a favorite of mine ever since I listened to it first time in 1969! The kalyANi RTP and the kAmbhOji varnam from the same concert are superb too. Please do listen to them also.
Mali- & t n rajaratnum pillai - the only two members of a *_unique_* tribe. What creativity, & bold experiments _on stage_! And Mali explored music possibilities in the flute like _ No OtHeR flautist_! Musicians like Mali happen once in a hundred years..we are fortunate to have lived & listened during his time. And now, our listening pleasure continues thanks to a VaStLy improved technology!
What an absolutely mesmerizing interpretation of Kapi. Without taking anything away from Mali, MSG's solo was also deeply moving. Cheers for the upload!
Totally agree with all comments below. I have heard the album version of the alaap and imitated the shorter take of the bit between 06:45 and 07:15 which to me epitomized an entirely new look at Kaapi. The composition around the 12:00 mark is unique and I cant think of any other musician who could have thought through this combination. It is like a sculptor. There are many. The rock is the same. The tools are the same. But when the tool is applied to the rock, we see something absolutely new and delightful. A Van Gogh / Picasso who took the art and turned it on its head. Thank you 'Best of Carnatic Flute.'
Nicely put. Please do listen to many of the other gems uploaded in this channel, such as the "divine mohanam" or the "amazing shankarabharanam", or 'the Pied Piper of Thalanayar".
People today speak a lot on Artificial Intelligence and all.
What is this then ??
What is triggered in mind is played, and in a fraction of sec, absolutely replicated to perfection by the great MSG.
This is the greatness of carnatic music. The foundation is such that any talented and hard worked musician can bring out different dimensions to same scale !!
Truly thankful to Lord for making me born here, and giving me an opportunity to listen and understand a bit of all these great Gandharva-Vidyas 🙏🙏
Amen brother. :-) MSG is god playing violin.
No doubt, MSG is MSG.
But since you brought up AI, I would like to mention about the 'Continuator'. The counterpoints that it instantaneously constructed, albeit in the Jazz style, are truely mind bogling, at least to me.
ruclips.net/video/RIoE4ckZYgs/видео.html
Delving on small ga between 7:45 to 8:00, and then shifts to shuddha gandharam and slides back between 8:02 - 8:12. That effect he generates is magical. How many times one can hear this..
My favorite song..Meevalla~ gunadosha~ Misrachappu talam superb.. 😊❤🎉
After 30 years of learning practicing and teaching Carnatic music, I am firmly convinced that the pacing of phrases is the sign of maturity in an artist. Mali demonstrates this. 🙏🏾 what poignant pauses and rests. Each phrase is delivered deliberately and effectively. Thank you for sharing this beautiful organic music with us.
I think it is more than just maturity. Many "mature" musicians don't use silence nearly as well as Mali. What Mali brings to the music world, that very few if any can match, is a total immersion into the music and a constant search for the correct follow-on phrase that fits with the previous phrases and is consistent with the overall theme/mood of the alapna. The periods of silence are also very shrewd tactical strategies. These silences provide just enough time to imprint some of the magical phrases in the minds of the listeners so that they are there for a long time. Todays musicians tend to present too much in too short a time with the result that the mind cannot digest everything that is is bombarded with.
@@bestofcarnaticflute2736 thank you for thoughtful response and comment. Needless to say, I wholeheartedly agree. 🙏🏾
The Flute rings in the year even when he is not playing.
@@bestofcarnaticflute2736absolutely! It is the pauses/silence that is actually the music! The sound is there only to kindle that music
I am really happy that I found this channel. It is raining outside and tears are flowing in my eyes.
Wow. Mali plays some phrases that are just so new and innovative. There is a sliding set of notes he plays from 12:25 - 12:34. It sounds beautiful but I am not sure if this is within the manodharma of Kapi. In fact, MSG follows this with his own set of sliding notes that sounds more - dare I say - in the "classical Kapi" mould. Of course, Mali's one is so unique to hear that MSG must have had his doubts at that moment and played it "safe". God knows what these geniuses were thinking when they created this music. Thank you for posting this.
kApi permits using 10 notes (out of a possible 12) and Mali is using all 10 in a descending cascade. So he is not going out of bounds. Admittedly the phraseology is unique and unconventional. Mali sometimes does this to play with the minds of the audience. After grasping the audience's attention, he will follow up with exquisitely deep meditational phrases, as here. The beauty of it all is that even the unusual phrases seem to magically fit into the whole alapna. Mali and TNR are the only two musicians that I have heard who have the imagination to carry out this. Sometimes they do this even transgressing rules (listen to Mali's amazing sankarabharanam uploaded, where he dwells in the ni - a "no-no" for Sankarabharanam, yet puts you into a meditative mood).
I have seen musicians (LGJ and Mali specifically) play the descending cascade for Behag and Sindhubhairavi ragaas where there is a precedent. That's why I wasnt sure if the same approach is permissible within the range of Kapi. Thanks for clarifying this. I have also listened to the Sankarabharanam where he delves into the Ni, which is usually a reserve for Kalyani. I remember hearing it and trying to play the same on my violin. It didn't feel right at all. I realized that it is possibly interconnected to the build up to the Ni and what he does after exploring Ni. The magical fit as you rightly pointed out, was clearly missing in my attempt. Not a musician for novices to imitate!
That sliding cascade reminds me of the 'flight of bumblebee'. But bumblebee has all 12 notes.
When people like Mali play music, we never think about raga sanchara at all.
Whatever they play fits in the raga better than anyone. So eyes closed and cry hard
Kapi is a bhashanga raga . Though it is derived from 22nd melakarta raga kharaharapriya, it permits usage of ni3, ga3, da1,
All time Great Flute Vidwan
Sri TRM.👌👌👌🙏
What a classic Kaapi .Aaha
Easily among the best of kApi AlApana I have ever listened. What an amazing creativity.. casting fresh ideas on the raga
Indeed. Has always been a favorite of mine ever since I listened to it first time in 1969! The kalyANi RTP and the kAmbhOji varnam from the same concert are superb too. Please do listen to them also.
Late Shri,T.R,Mahalingam is Pullankuzhal[flute-chakravarthy and Nadaswaram chakrabarty is Late T.N.Rajarathinam pillai in their own fields.
Mali- & t n rajaratnum pillai - the only two members of a *_unique_* tribe. What creativity, & bold experiments _on stage_! And Mali explored music possibilities in the flute like _ No OtHeR flautist_!
Musicians like Mali happen once in a hundred years..we are fortunate to have lived & listened during his time. And now, our listening pleasure continues thanks to a VaStLy improved technology!
MSG is such a great musician, yet even he seems impatient with his notes, playing with Mali
No body understood what genius he was made off.A diver into the ocean of raga diving deep to fetch the best pearls of the raga.
What an absolutely mesmerizing interpretation of Kapi. Without taking anything away from Mali, MSG's solo was also deeply moving. Cheers for the upload!
It is, of great pity, that Music could never get enough of Mali sir🙏
Totally agree with all comments below. I have heard the album version of the alaap and imitated the shorter take of the bit between 06:45 and 07:15 which to me epitomized an entirely new look at Kaapi. The composition around the 12:00 mark is unique and I cant think of any other musician who could have thought through this combination. It is like a sculptor. There are many. The rock is the same. The tools are the same. But when the tool is applied to the rock, we see something absolutely new and delightful. A Van Gogh / Picasso who took the art and turned it on its head. Thank you 'Best of Carnatic Flute.'
Nicely put. Please do listen to many of the other gems uploaded in this channel, such as the "divine mohanam" or the "amazing shankarabharanam", or 'the Pied Piper of Thalanayar".
Dear friend Many thanks for this Kaapi by the incomparable Mali and the very able accompanists
At his best!
Good accompaniement, good sound
Please do not forget to subscribe to this channel to support it and provide motivation for further uploads. Thanks.
What a clip !!! great channel.. much appreciated thanks!
5:15 Nishadam 😂
Avlo dheergama jora irunkkarche andha smiley anga fit aagalaye
@@sankaranarayananbalachandr8101 nishadam konjam kammi aayi ruthi ange
13:32 sounds exactly like the cuckoo bird.
It should be Nadaswara chakravarthi not as typed.error regretted.