Vainika Gayaka Guruguha will bless this child! It is said in our shastras that Veena, among all instruments, is closest to nadabrahma, the highest truth! And this child is bringing such pure sounds from 'para' to all of us, a clear manifestation of paramatma vibhuti!!
K H Vineeth is the best thing that has happened in our music. When he comes to USA I will take him in my Cadillac SUV anywhere. I love him. Narayanakurup Kanthikumar in California
His veena playing style and the way tells us a little bit of the sahityam are unique. This young man gave a feeling of being in the transcendental world!
As you know I am big fan of yours Ramana Balachandran:) Yet another brilliant performance! Speaks volumes of your devotion and sadhana! May you scale greater heights in your musical journey!
This is one of the most endearing mini kutcheris in a long time. The pakkoms are the very best in their mastery as well as in their polished stage demeanor. What a lovely way to begin a kutcheri with this sweetest Kannada song : "Sri mathrubhutam trissiragirinatham hrudi chintaye sungandhi kuntalamba sametam ..."(Madurai Mani Iyer!!!) The young artiste brilliantly played the fast madhyakalasahityam at the end doing full justice to the composer "Vainikagayaka Guruguhan." There is no way better for any vainika to begin any kutcheri than with a Dikshitar kriti and to introduce it with a hum along. Ha ... ha ... just pure gold!! I agree completely with my friend rasika-to-the-nth-power Dr Chandramouli, currently of Bangalore, that his singing along adds a sweet touch to this delightful recital. Sri Vineeth is not missing a single beat or swaram. The moment I knew it was Sahana(say it with short emphasis on each syllable : "Sa" "ha" and "na"; it is not Sahaana; remember the lecture of that great vidwan and musicologist Prof SRJanakiraman and practice what he taught you!! I hear; I hear)my mind was all around all sorts of songs; I shall wait; if in doubt this young vidwan will sing the pallavi for me and for all those doubters out there.(You know with instrumentalists -- if they briefly -- announcing while singing a new song : Eg: Smt Kanyakumari tuned an Annamacharya sahitya to a raga of her own creation called 'Venkatadri' -- is a great blessing. The beauty was that she did the announcement after she played the alapana in full while I was dancing around wrong Revati; another commendable thing she did at the same kutcheri was tat she told us about the Yadukulakambhoji(I am proud to say I got the raga guessing correctly), a gem by her guru's guru, Sri GeeyeNBee!!!, what a joy to a doubtful rasika! I was talking about GNB, and here it was the beautiful Saraswati raga kirtanai of mahavidwan GNB!! This is one of the best Bhaiavis long time coming. I wish this young man the best of health and peace of mind for him to be around a long, long time to cover all parts of our vast Carnatic music field. "Upacharamu ?"; "Emi jesine?"; "Balagopala?";"...Prithvilingam ...Chintayamakandamoolakandam ... ? -- Smt Vedavalli vidushi used to sing to her heart's content!! Let's wait : it is going to be Ragam-Tanam-Pallavi !!! Ta -- nam ... Anantam twam(Endless thou) ... Anandam twam (Eternal bliss thou) ... repeat ... repeat ... more repetitions ... "twam ... "Ta" ... nantam ... nandam ... "Nam." in the fast rendering what we get is : "Tanam" !!! We have "Tanayuni brova", a lovely Tyagarajaswami gem!!! Actually this is indeed Ragam-Tanam-Padam in the Swati Tirunal tradition of Navaratri kutcheris where the whole song is sung after Tanam making it a Padam instead of a phrase that is elaborated as "Pallavi." In the Ragam-Tanam-Padam scenario mridangam would accompany; I wish Sri Ramana would incorporate that ornamental aspect in his future kutcheris. This is the second time I am listening to this kutcheri since I got it from Dr Chandramouli couple of days back. This sounds sweeter than the first time. Vineeth is amazing. As a Malayali when I first caught him on a video from Bangalore last year I thought he had the looks of a Malayali; now I am smarter by paying close attention to his first initial "H", and instantly decipher it as belonging to a Kannadiga. Come to think of it, isn't it quite appropriate to begin a kutcheri in Karnataka with 'Kannada' as the arabham raga? Layavinyasam is quite good; such young and capable artistes to perpetuate our inimitable music as long as civilization exists. Surati(brings back MDR memories!);Kapi; Begada(Nadopasana : KVN and NRamani, together with double mridangams in Cleveland!!) Darbarikanada(Dr Chandramouli recalls with fondness Sri Ramnad Krishnan's DKanada version!!) ... Chandrachuda Sivasankara pahi "Ramana" ... namo namo . How clever : Paying tribute to that great seer Ramana Maharishi after whom the young man was named with a song by the Karnataka-native , the Pitamaha of our great music tradition !!! He did pay attention to the venue of this short and sweet recital. Good for him! I am glad he sang the charanam with "Purandara viddala" in it!!! I must say a word about the exquisite placement of the stage; no fuzz; no mess; clean and elegant; a speaker's podium far to the right not obstructing the stage; a tall oil lamp with fresh flower garland snaking around its stem; mellifluous Kannada speeches with many familiar Sanskit words common to my Malayalam: Swagatham, upakramam, upacharam, etc: making me to get to like Kannada more than I was ever familiar with. Pranams to the trio of musicians who are very serious about what they were doing from a senior rasika camping in Brooklyn, NY ... Narayanakurup Kanthikumar
I came to know if this young artist through Sangeet Sakarya Facebook group and am impressed by the sheer classicism that this young man exhibits. I am also deeply appreciative of your learned comments Shri Kanthikumar Sir. Keep it coming!
I just realized that Saraswati devi whom I grew up worshipping in central Travancore involving daily pooja with fresh flowers, singing and deepa aradhana came to us devotees with a book in one hand and a veena on the other : reestablishing her reputation as the Goddess of Learning and Music : so, here the young and accomplished vainika gayaka Ramana comes up with a gap-filler of a song : GeeyeNBee's "Saraswati namostute..." in raga appropriately named "Saraswati !!!!" How sweet and apt !! Narayanakurup Kanthikumar still in Brooklyn/NY
Perfectionist... Hearing first time and amazed. Ramana must be the most happening Veena artist.... He is very comfortable playing at a brisk pace, sings along and classically pure in his rendering. He retains the traditional contours of Sahana, Saraswati and Bhairavi ragas. There was no hard plucking and very fine tonal quality and modulation. Perfectionist..... He's the consummate Veena performer.
M.A.Sundaram:A lovely performance by such a young artist! The bhairavi was superb.The accompanists were so supportive. I am sure we will be hearing more of these artists.
Lakshmi Prasanna wrote that she is the biggest fan of Ramana; she must be right; however, I at 70 must be the 'oldest' fan. Narayanakurup Kanthikumar , camping in Brooklyn/NY
I humbly suggest this to Vineeth: Listen to old recordings of Abhinavanandi Palghat Mani Iyer accompanying Veena K S Narayanaswami : The great man would patiently wait for the upapakkavadyam to finish his term in its entirety for the full segments allotted to him; PMI would not with an unquenched urge so as to prove his might join the upa at the closing of segments; in fact he would even wait couple of segments after the Sri Narayanaswami began his playing. Even that slight waiting adds to the joy of anticipation for the rasikas as to what new technique he was going to come up with. Silence and occasional withdrawal formation make his style all the more pleasing. Giving away ample time to upas is a sign of strength. Madurai Somu used to admonish mridangam players in his own way : oru chance kodoo pakktahinu. Learn those nuances from the greatest and use it in every future kutcheri so as to perpetuate the best of our music traditions for ages. Narayanakurup Kanthikumar/ 449 Bainbridge St, Brooklyn/NY
Vainika Gayaka Guruguha will bless this child! It is said in our shastras that Veena, among all instruments, is closest to nadabrahma, the highest truth! And this child is bringing such pure sounds from 'para' to all of us, a clear manifestation of paramatma vibhuti!!
K H Vineeth is the best thing that has happened in our music. When he comes to USA I will take him in my Cadillac SUV anywhere. I love him. Narayanakurup Kanthikumar in California
A traditional performance with dedication .India needs artists like Ramachandran to run our good cultural heritage .
Awesome playing Ramana...:) such a matured performance. hats off to your dedication. may God bless...
Wonderful performance by Ramana. Sky is not the limit for this child. He has Saraswati's blessings
His veena playing style and the way tells us a little bit of the sahityam are unique. This young man gave a feeling of being in the transcendental world!
As you know I am big fan of yours Ramana Balachandran:) Yet another brilliant performance! Speaks volumes of your devotion and sadhana! May you scale greater heights in your musical journey!
This is one of the most endearing mini kutcheris in a long time. The pakkoms are the very best in their mastery as well as in their polished stage demeanor. What a lovely way to begin a kutcheri with this sweetest Kannada song : "Sri mathrubhutam trissiragirinatham hrudi chintaye sungandhi kuntalamba sametam ..."(Madurai Mani Iyer!!!) The young artiste brilliantly played the fast madhyakalasahityam at the end doing full justice to the composer "Vainikagayaka Guruguhan." There is no way better for any vainika to begin any kutcheri than with a Dikshitar kriti and to introduce it with a hum along. Ha ... ha ... just pure gold!! I agree completely with my friend rasika-to-the-nth-power Dr Chandramouli, currently of Bangalore, that his singing along adds a sweet touch to this delightful recital. Sri Vineeth is not missing a single beat or swaram. The moment I knew it was Sahana(say it with short emphasis on each syllable : "Sa" "ha" and "na"; it is not Sahaana; remember the lecture of that great vidwan and musicologist Prof SRJanakiraman and practice what he taught you!! I hear; I hear)my mind was all around all sorts of songs; I shall wait; if in doubt this young vidwan will sing the pallavi for me and for all those doubters out there.(You know with instrumentalists -- if they briefly -- announcing while singing a new song : Eg: Smt Kanyakumari tuned an Annamacharya sahitya to a raga of her own creation called 'Venkatadri' -- is a great blessing. The beauty was that she did the announcement after she played the alapana in full while I was dancing around wrong Revati; another commendable thing she did at the same kutcheri was tat she told us about the Yadukulakambhoji(I am proud to say I got the raga guessing correctly), a gem by her guru's guru, Sri GeeyeNBee!!!, what a joy to a doubtful rasika! I was talking about GNB, and here it was the beautiful Saraswati raga kirtanai of mahavidwan GNB!! This is one of the best Bhaiavis long time coming. I wish this young man the best of health and peace of mind for him to be around a long, long time to cover all parts of our vast Carnatic music field. "Upacharamu ?"; "Emi jesine?"; "Balagopala?";"...Prithvilingam ...Chintayamakandamoolakandam ... ? -- Smt Vedavalli vidushi used to sing to her heart's content!! Let's wait : it is going to be Ragam-Tanam-Pallavi !!! Ta -- nam ... Anantam twam(Endless thou) ... Anandam twam (Eternal bliss thou) ... repeat ... repeat ... more repetitions ... "twam ... "Ta" ... nantam ... nandam ... "Nam." in the fast rendering what we get is : "Tanam" !!! We have "Tanayuni brova", a lovely Tyagarajaswami gem!!! Actually this is indeed Ragam-Tanam-Padam in the Swati Tirunal tradition of Navaratri kutcheris where the whole song is sung after Tanam making it a Padam instead of a phrase that is elaborated as "Pallavi." In the Ragam-Tanam-Padam scenario mridangam would accompany; I wish Sri Ramana would incorporate that ornamental aspect in his future kutcheris. This is the second time I am listening to this kutcheri since I got it from Dr Chandramouli couple of days back. This sounds sweeter than the first time. Vineeth is amazing. As a Malayali when I first caught him on a video from Bangalore last year I thought he had the looks of a Malayali; now I am smarter by paying close attention to his first initial "H", and instantly decipher it as belonging to a Kannadiga. Come to think of it, isn't it quite appropriate to begin a kutcheri in Karnataka with 'Kannada' as the arabham raga? Layavinyasam is quite good; such young and capable artistes to perpetuate our inimitable music as long as civilization exists. Surati(brings back MDR memories!);Kapi; Begada(Nadopasana : KVN and NRamani, together with double mridangams in Cleveland!!) Darbarikanada(Dr Chandramouli recalls with fondness Sri Ramnad Krishnan's DKanada version!!) ... Chandrachuda Sivasankara pahi "Ramana" ... namo namo . How clever : Paying tribute to that great seer Ramana Maharishi after whom the young man was named with a song by the Karnataka-native , the Pitamaha of our great music tradition !!! He did pay attention to the venue of this short and sweet recital. Good for him! I am glad he sang the charanam with "Purandara viddala" in it!!! I must say a word about the exquisite placement of the stage; no fuzz; no mess; clean and elegant; a speaker's podium far to the right not obstructing the stage; a tall oil lamp with fresh flower garland snaking around its stem; mellifluous Kannada speeches with many familiar Sanskit words common to my Malayalam: Swagatham, upakramam, upacharam, etc: making me to get to like Kannada more than I was ever familiar with. Pranams to the trio of musicians who are very serious about what they were doing from a senior rasika camping in Brooklyn, NY ... Narayanakurup Kanthikumar
So true
I came to know if this young artist through Sangeet Sakarya Facebook group and am impressed by the sheer classicism that this young man exhibits.
I am also deeply appreciative of your learned comments Shri Kanthikumar Sir. Keep it coming!
I just realized that Saraswati devi whom I grew up worshipping in central Travancore involving daily pooja with fresh flowers, singing and deepa aradhana came to us devotees with a book in one hand and a veena on the other : reestablishing her reputation as the Goddess of Learning and Music : so, here the young and accomplished vainika gayaka Ramana comes up with a gap-filler of a song : GeeyeNBee's "Saraswati namostute..." in raga appropriately named "Saraswati !!!!" How sweet and apt !! Narayanakurup Kanthikumar still in Brooklyn/NY
Kanthi Kumar great
Pure bliss
Perfectionist...
Hearing first time and amazed.
Ramana must be the most happening Veena artist.... He is very comfortable playing at a brisk pace, sings along and classically pure in his rendering. He retains the traditional contours of Sahana, Saraswati and Bhairavi ragas.
There was no hard plucking and very fine tonal quality and modulation.
Perfectionist.....
He's the consummate Veena performer.
Excellent brilliant
Excellent. Very melodious. May God bless him with all comforts. All the best
Ram Ram. Aesthetic and elevating music. God bless.
Brilliant, the sahityam comes out so clearly. Excellent Thani.
😍🙏 excellent
M.A.Sundaram:A lovely performance by such a young artist! The bhairavi was superb.The accompanists were so supportive. I am sure we will be hearing more of these artists.
Greate vainika nd gayaka
Lakshmi Prasanna wrote that she is the biggest fan of Ramana; she must be right; however, I at 70 must be the 'oldest' fan.
Narayanakurup Kanthikumar , camping in Brooklyn/NY
Wonderful Bhairavi!!
Excellent
Pure bliss.
So excellent.
Super
This is lovely
No words
I humbly suggest this to Vineeth: Listen to old recordings of Abhinavanandi Palghat Mani Iyer accompanying Veena K S Narayanaswami : The great man would patiently wait for the upapakkavadyam to finish his term in its entirety for the full segments allotted to him; PMI would not with an unquenched urge so as to prove his might join the upa at the closing of segments; in fact he would even wait couple of segments after the Sri Narayanaswami began his playing. Even that slight waiting adds to the joy of anticipation for the rasikas as to what new technique he was going to come up with. Silence and occasional withdrawal formation make his style all the more pleasing. Giving away ample time to upas is a sign of strength. Madurai Somu used to admonish mridangam players in his own way : oru chance kodoo pakktahinu. Learn those nuances from the greatest and use it in every future kutcheri so as to perpetuate the best of our music traditions for ages.
Narayanakurup Kanthikumar/ 449 Bainbridge St, Brooklyn/NY
Raga hamir ? Wah ramana. Opening raga only.
That was kannada