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Carnatic Music Concert Reviews Balasubramanian Gurumurthi

22/04/2022

Her concert stood out for the choice of kritis and nuanced raga essays

31/03/2022
27/03/2022

A blog about Tamil writers and artists

23/03/2022

Keep on the lookout for sone exciting news that music lovers will enjoy.
Meanwhile, this is an excellent article posted that talks about initiatives to keep the Diksh*tar musical tradition alive. Ravi Kiran Shanthala Subramanyam

15/01/2022

Vivek Sadasivam’s graceful raga sancharas and interesting kalpanaswaras created impact

01/01/2022

Happy New Year 2022 to you all !! 😊😊
With the grace of God and blessings of all his Guru's, Rahul Vellal has been recognised as "Change Makers 2022" by Deccan Herald. Couldn't have asked for a better way to start the new year, with this recognition and award.

Deccan Herald identifies individuals, who through their work, initiatives, creativity or innovation paves way for better tomorrow, across different spheres of work. Here is the article published in Deccan Herald today. Thank you Ramakrishna sir for this wonderful article and Deccan Herald for this award. Award ceremony will happen shortly.

01/01/2022
29/12/2021

A blog about Tamil writers and artists

27/12/2021

So happy to share the review published in Adyar times newspaper..
,

16/12/2021

The gem of the Trinity

15/12/2021

Kshetrayya was undoubtedly the most well known among the Padam composers setting a trend for Padams in that time period. He was from the village of Muvvapuri or Muvva where he is said to have been a devotee of Lord Gopala who took residence there.

Later, frustrated with mundane life, he sets out on his journey to different places or kshetras that earned him title "Kshetrayya " ( his birth name being Varadayya). He is said to have travelled to several kingdoms such as Mysore, Travancore and Thanjavur, where is said he composed his famous " Adi Yokka Yugamu " or Vadaraka Po Pove in raga Kambhoji leavinga challenge to the
poets there only to come back and finish it himself.

It is also believed that Kshetrayya was enamored by a temple dancer by name Mohanangi who became his muse and inspiration for his padams on Lord Muvva Gopala, the same becoming his mudra.

Such padams by their nature of being erotic and graphic, are rarely performed in public places and hence confined to chamber performances and house concerts both in the music and dance scene.

13/12/2021
02/12/2021

Meet Saketharaman, who has been using the digital platform to take Carnatic music to the masses, introduce the art form to students and take his liste

01/12/2021

Garbhapurivaasa - Also called Garbhapuri Srinivasa, this "composer" is actually a quartette of composers who composed in KannaDa together. The main two were PeDDa DEvuDu VenkaTasubbiah (a violinist, Karur Dakshinamurthy, 1860-1887) and Cinna DEvuDu Krishniah (Karur Krishna Iyer, 1861-1901, also a violinist and composer). The other two were Karur Chinnaswamiah (a violinist as well, 1888-1967) and Dakshinamurti Sastri (dates not known). The first three were sons of Narasa Ayyar and Akhilandammal. Dakshinamurthi Sastri was a cousin of the other three and was a lyricist and teacher in the High School at Karur.

They had their training under Nemam Subramania Ayyar, a direct disciple of Tyagaraja. Karur Chinna Devudu composed several songs like 'Neramanchakura' (Sankarabharanam). His violin duets with his elder brother, Pedda Devudu had a premature end when the elder died. Chinna Devudu then trained his younger, Chinnaswamiah and both were playing together.

It was Karur Chinnaswamiah who was later honoured by the Music Academy wth the conferemnt of the title 'Sangita Kalanidhi' in 1950. He had accompanied most of the great artistes. His musical expertise was sound and used the full bow. Musiri Subramanya Ayyar, K.S.Papa Venkatramiah, G.N.Balasubramaniam and Varahoor Muthuswami Ayyar were his disciples. His capacity to present rich ragabhava, wide range of ragas, unequalled skill in producing rare and unique tones on his instrument and his remarkable attractive style have been complimented by Keerthanacharya C.R.Srinivasa Ayyangar.

Chinna Devudu composed note-swaras also like Muthuswami Diksh*tar. 'Sami Ninne' (shree ragam - adi tala) varna is his. Their compositions are all in the tradition of Tyagaraja. Prof.P. Sambamurthi Ayyar says that Dakshinamurthi Sastri wrote the Sahityas (script) which were set to music by DevuDayya and that the two are called Garbhapuri composers after their signature 'Garbhapuri'. A collection of the compositions has been published by the Mus

28/11/2021

A peek into our archives - a rare photograph of vidwans Dhandapani Desikar, Semmangudi Srinivasa Iyer and Rajamanickam Pillai

After his father’s death in Singapore during a musical tour, Desigar went to Kumbakonam at the age of 13 to live with his elder sister. He became a disciple of violin maestro Rajamanickam Pillai, known for his supportive play as an accompanist of vocal artists as well as his mastery of traditional pathantara. Dandapani learnt in gurukulam style for four years.
Desigar loved his guru’s playing and filled his ears with his music. It was also a period of learning through listening to many music stalwarts performing kutcheri-s in Kumbakonam. Desigar would be
SAMUDRI ARCHIVES
The formative years
The money and the words of encouragement had whetted the appetite for acclaim and Dandapani was firm on learning music. Muthiah Desigar now put him under the nagaswara vidwan Sattaiyappa Pillai who took him through the round of sarali, jantai, geetam and varnam into kriti. Paternal uncle Manicka Desigar, a teacher at a Tevaram school at Poovanur near Needamangalam, also chipped in to widen the repertoire of the boy. He trained the young Desigar for three years in the songs of the Tiruvachakam and Tiruppugazh, the latter famed
16 l SRUTI September 2008 special-feature-dandapani.indd 16
waiting at the kutcheri hall even before the artists or other rasika-s turned up. The air was filled with music and the fever caught on. In this musical ambience, even Semmangudi once learnt a Tevaram from Desigar when they met in the Gandhi Park. Semangudi once related this to Desigar’s disciple Muthukumaraswamy.

23/10/2021

The young vocalist’s refreshing singing style and choice of ragas made the concert enjoyable

10/10/2021
04/10/2021

SATHUR AG 'S A1 CONCERT!

Today's Isai Pettakam concert was that of a legend Sattur A G Subramanian fondly called Sattur AG. Known for his fast brighas and clarity of sangatis (nuances) full of raga rasa bhava, he won praise not only from the audiences but stalwarts who were his contemporaries such as GNB and Ariyakudi.

A scholar of many languages including Telugu and Sanskrit, not to speak of Tamil, he mesmerized audiences not only with his madhyama kala, madhyama sthayi (middle tempo,middle octave) brigha laden phrases rooted in tradition but also creative in expression.

Today's concert began with 'O Jagadamba' kriti of Syama Sastri in Anandhabairavi which served as a delightful opener.The chittaswaram was beautiful and added to the overall impact.

A popular Tamil piece of Ramaswamy Sivan in Begada rag followed ' Kadai Kann Vaithu ennai Alamma' .The raga alapana was brief and to the point. The swara kalpana at Pallavi brought out in ample measure the vidwans mastery of the madhyama kala pramana which is the mainstay of the Carnatic tradition.

A delectable Harikeshanallur's Himagiri dhanaye in Sudha Danyasi served as the filler and also the bridge to the main piece of Thyagaraja's Sundari nee in Kalyani. The raga alapana was well proportioned and showcased all aspects. The short and sweet niraval at Kalilo Dheenarakshaki was an amazing piece of Vinyasam and reminded one of his mastery over RTP. The ensuing kalpana swarams were a commendable combination of manodharma and Mathematics with change of nadais enthusing the mridangist to take the concert to an altogether different level.

AIR should be thanked for preserving and broadcasting such rare recordings and transporting the listeners to a by gone era when Carnatic music was at its Zenith with such stars as Sattur in the musical firmament.

The accompanists were V Sunderesan on the violin and Thiniyum Y Krishnan on the mridangam both vidwans in their own right.

I first heard of Sattur AG from Kumaraswamy Bagavathar -Principal of Music Academy Trivandrum, when I met him in his official residence at Thycaud Trivandrum. Bhagavathar'son Sriram was a mridangist and was a classmate and friend of my brother Ramaraj ,who wanted to learn a prayer song from the Bagavathar. I accompanied my brother then.Sir asked my brother to sing a kriti for which Sriram played the mridangam. Listening to my brother sing Sir likened his style to Sattur's which according to him was heavily brigha laden and fast. That comment about Sattur was correct and today's concert amply proved it.

The official residence of the Principal of Music Academy Trivandrum at Thycaud was home to stalwarts such as Harikesanallur, GNB and Semmangudi, that it would have seen endless hours of practice sessions and chamber concerts making it a hallowed place. Vidwan P S Narayanaswamy who spent a few months Gurukulavasam under Semmangudi testified to this fact. Kerala Government has rightly converted this into a museum of Carnatic music, bringing out the rich connection between music and Travancore.

28/09/2021

Smt T Abhiramasundari , a lesser known artiste from the Veena Dhanammal Clan was a violin vidushi and sister to Smt T Brinda & Smt T Muktha .A sishya of Pap...

14/09/2021

Feels awesome to be featured in for the series by . Thank you for penning this article so beautifully. Thank you to the awesome for making us a part of this dream project. Kudos to , and the entire team for their amazing work. Huge shout out to and for supporting us always ❤❤
It was great being part of this lovely series with my dear friends & .
Thank you all for your wishes & support. We are delighted to see such amazing response for this series 🙏

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