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Bangalore R Ramanath
Watch Layasamudhra programme in Podhigai TV
on 1st June 2016 (wednesday) at 9.30pm(IST).
TRICHY V.V.S.MANIAN
on Teaching of Tamil Month, Year, Nakshatram & Aathichuvadi
through Konnakol in Schools.
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TANI AVARTHANAM
by
Thiruvarur Vaidhyanthan - Mridangam
Chandrasekara Sarma - Ghatam
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You can also watch this at www.layasamudhra.com
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Preview YouTube video Konnakol and Tani Avarthanam in Layasamudhra (podhigaiTV) on 1st june
Greetings from Inayavaani team,
Sri Gurubyo Namaha !
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» TODAY'S PAPER » FRIDAY REVIEW
June 24, 2016
Beauty and brilliance
Kunnakkudi M. Balamuralikrishna enthralled the audience with his mature performance
Kunnakkudi M. Balamuralikrishna, a rare gem among the upcoming artists in the field of Carnatic music, gave an extraordinary concert for the Nadasurabhi Sabha, in Bangalore recently. As he sang the varnam, the audience sat back comfortably, fully convinced that it was going to be a wholesome treat. The sahityam for all the chittaswaras of the varnam (which is very rare), and embellishment of the charana- “Nannu brova neeku” with swaras added weight.
His ‘Parvathi Parameshwaram’ in Raga Bhouli was crisp and appealing. In Kalyani, his innovative ‘sancharas’ were refreshing and with his rich intonations he captivated the audience. He traversed with ease in all the three octaves. The composition ‘Birana Brova’ was replete with beautiful sangathis. Neraval and swaraprastharam at “Nee Pada Pankaja….” was ornamented with a mature manodharmam. “Ninnadenella” in Raga Kannada with swaras was brisk and enjoyable.
The main piece was in Raga Saveri. He made it very interesting with pleasing and melodious ‘sancharas’ and ‘brighas’. Presentation of St. Thyagaraja’s composition ‘Rama Bana’ was full of ‘bhava’ throughout. Sparkling swara passages with interesting combinations were classy. After a brilliant and power packed tani avartanam by B.C. Manjunath – mridangam and G. Guruprasanna – khanjira, Balamuralikrishna went to present an RTP in Brindavani. Raga was sweet and melodious. The ragamalikai in tanam added more charm to it. Pallavi was short and sweet. He concluded with a Purandaradasa devaranama and a tiruppugazh. The three-hour mesmerising concert delighted the jam packed hall of rasikas.
With his powerful voice, rich manodharmam, high energy level and vast repertoire, he is an asset to the field of Carnatic music. Young Vittala Rangan on the violin was outstanding, proving his excellence and maturity.
The percussion duo – B.C. Manjunath and Guruprasanna gave excellent support, with their perfect understanding of the mood of the main artist.
Their authority over the instruments as senior, experienced artists was evident throughout.
Friday Review
Great start for brothers
Updated: June 23, 2016 21:03 IST | Venkatesan Srikanth
R. Narayanan and R. Arjun Sambasivan.
In their first keyboard recital, R. Arjun Sambasivan and R. Narayanan impressed the Capital’s music lovers.
The India International Centre (IIC) in the Capital had organised a Summer Festival of Music and Dance last week at its auditorium. Chennai-based siblings R. Arjun Sambasivan and R. Narayanan delighted music lovers in their brief keyboard recital of about an hour, which was in the Carnatic style.
At the outset, IIC needs to be complimented for the choice of the instrument and the youngsters for inclusion in their festival. However, the time provided to them was inadequate. Instead of packing two concerts on a single evening (the other being a vocal recital by a Delhi-based youngster), IIC could have provided time of at least two hours for each concert and held it on two different days.
Thanks to the improvisations in the instrument, artistes now produce ‘gamakas’, a hallmark of the Carnatic music, on keyboard too. So did the confident and enthusiastic Arjun and Narayanan who kept the proceedings lively. The opening piece itself, “Sri Vathapi Ganapathiye”, a composition of Papanasam Sivan in the raga Sahana was rendered in a delightful manner producing gamaka-laden phrases. The two then proceeded to take up a detailed rendition –– Tyagaraja’s ‘Gnanamu sakarada’ in the raga Poorvikalyani. The younger sibling, Narayanan presented a very brief but scintillating alapana of this raga. Apart from handling this beautiful composition in a fine manner, they also presented neraval of the phrase ‘Paramatmudu jeevatmudu’ and the subsequent kalpanaswaras in a manner that spoke high of their creative talents.
Sensing time constraint, the siblings moved immediately to the central item of their recital, which was Mysore Vasudevachar’s ‘Bhajare re manasa’ in the raga Abheri. The elder sibling Arjun delineated this raga this time in a detailed manner bringing out the nuances of the raga to the fore. The other noteworthy feature here was the utmost importance given to various sangatis and the clarity. Kalpanaswaras that flowed with rich creativity once again brought out the duo’s talents in the sphere of creative music.
Arjun-Narayanan concluded their recital with a delectable rendition of Oothukadu Venkata Kavi’s famous composition ‘Alaipayuthey Kanna’ in the raga Kanada. By the time the duo completed their recital they had exceeded their time limits, creating some anxious moments for the organizers.
Delhi R. Sridhar on the violin, Shankar Raman on the mridangam and Mannai Kannan on the Ghatam provided appropriate support to the keyboard exponents. The Delhi-based accompanying artistes had established a quick rapport with the brothers. The performance of all as a team turned out to be a rewarding evening to the music lovers. R. Arjun Sambasivan and R. Narayanan were initiated into the keyboard by Korattur Sahasranamam and they later honed their skills under late Mandolin U. Srinivas. Presently, they are under the tutelage of renowned Chitravina N. Ravikiran. The two did capture the hearts of the Delhi music lovers in their very first recital in the Capital.
Song
https://www.youtube.com/watch?v=azuLGOemdw4
taaLam: caapu
Composer: Vyaasaraaya
Language: KannaDa
pallavi
krishna nee bEganE baarO
anupallavi
bEganE baarO mukhavannu tOrO
(krishna nee bEganE baarO)
caraNam 1
kaalaalandhugE gejje nIlada baavuli
nIlavarNane naaTya vaaduta baarO
(krishna nee bEganE baarO)
caraNam 2
Udiyalli udigejje beraLalli ungura
koraLalli haakida vaijayantiya maalE
(krishna nee bEganE baarO)
caraNam 3
kaashi peethambara kaiyalli koLalu
pUsida shreegandha mayyOLagamma!
(krishna nee bEganE baarO)
caraNam 4
taayige baayalli jagavannu torida
jagadhOddhaaraka namma uDupi shree krishna
(krishna nee bEganE baarO)
Meaning:
pallavi: krishna nee bEganE baarO - Krishna ! Come hither soon !
anupallavi: bEganE baarO mukavannu tOrO - Come hither soon! Show (me) your face!
caraNam 1: kaalaalandhigE gejje niladhabaavuli - Beautiful anklets adorn your feet! Sapphire bracelets (on your arms)!
nilavarNane naaTya maaduta baarO - "(Oh!)Blue coloured one.. (Please) come hither dancing !
caraNam 2: Odiyalli odigejje beraLalli ongura - Waistbands with bells adorn your waist! Ring(s) on your finger(s) !
koraLalli haakita vajayantimaalE - "The (divine)Vaijayanthi necklace garlands your neck !
caraNam 3: kaasi peeTambara kaiyalli koLalu - (Sacred)Saffron cloth from Kashi (covers you) ! (a) flute in your hand(s)!
pushita shreegandha mayallOLagamma! - Oh dear! Your body is anointed with sandal paste !
caraNam 4: taayige baayalli jagavannu torita - The one who showed his mother the universe in his mouth
jagadhOdhaaraka namma uDupi shree krishna - (that)Benefactor of the world (Is) our Udupi Shri Krishna !
Contributed by Jayaram Suryanarayana.
Other information: "Bhava darpana" by S. Jayaram Uparna.
Saint Vyasaraya reaches his devotional pinnacle in this song. There is hardly anyone who is not moved when he hears this song being rendered correctly. Here the Saint calls out to Krishna and implores him to come to him . He launches into a devotional trance where he sees Krishna at a distance. Krishna's immaculate dressing and exquisite beauty makes the Saint detail them in this evergreen song. The amalgamation of genuine Bhakti with touchingly simple composition, sets one thinking whether is Krishna who is decorated with the ornaments, or the other way around.
There is a more profound philosophical meaning to this song. The anklets are worn in India with a belief that the bells attached to them would create a sound which beckon good fortune and drive away demons. When the Saint describes Krishna, he allocates a first place to this ornament, thus requesting Krishna to ward off all the demons of ignorance in our heart and bestow all his divine mercy on us.
The next in line is the armlet. The armlet (popularly called as Baajuband in the northern parts of India), is an ornament in the upper portion of the arm. The Armlet is an ornament that restricts the free movement of the hand, it has a tight grasp and is a constant reminder of its presence. Ideologically, this ornament is considered to be a symbol of restraint and control, of what is called as 'SaMyama'. Hence, the Saint calls out to the Lord to grant the benign qualities of restraint and control, to his devotees. Not only does the Saint ask Krishna to come, but He also implores the Lord to come dancing ..... a symbol of pure, unadulterated joy.
WaistBands are worn mostly by the affluent, aristocratic families in India, and the mention of these here has profound significance. The Waistbands worn on children, apart from their other mundane practical purposes, is supposed to disenchant and protect the young one. Since Krishna's beauty is above all, it is as if the Saint is imploring the Lord to not forget to wear the waistband, so that the evil eye cast by his devotees on him (when they see His lotus like face), does not affect him...!
Rings have always been associated with the show of dedication all over the world ( be it the royal insignia, the Seal or even the wedding ring). The Saint implores Krishna to bless him with dedicated unflinching devotion, so that he may never stray from the path of Love towards the Supreme.
The Vyjayanthi Mala, a divine necklace born during the churning of the KsheeraSagara (Milk Ocean), is a sacred and potent ornament. It is said to bestow unrestricted victory to anyone who wears it (hence the name Vaijayanti -- Vijayee Kurvanti iti Vaijayanti ). The Saint describes the Lord wearing this ornament, so that the Love for the Lord (Bhakti) in the devotees heart always emerges victorious over the other emotions that ravage the human heart.
Kaashi is one of the oldest inhabited cities in the world, and for the Hindus, it is the sacred city of death. Every devout Hindu aspires to breath his last in this city for it is believed that one who does so attains salvation without doubt. Kashi, also called as Benares, is very famous for the rich golden silk cloth that is made there. The Saint remembers the City through its famous silk, imploring the Lord to bestow him with the ultimate goal of any living entity .. the remembrance of Krishna while passing away.
The Flute is a unique musical instrument. Utterly mellifluous and demystifyingly simplistic and practical, the flute is Krishna's favorite instrument. The flute not only soothes the humans listening to it, but even the beasts have been known to slow down, calm and be subdued at the sound of the Flute. Metaphorically speaking, Krishna's flute is remembered here to defeat the beasts in us and to congregate the saintly ( the cow has always been associated with a saintly nature, and Krishna's flute always calls the cows together).
After all the ornaments and instruments, the Saint directs his attention to the most revered of all beautifying agents - Sandal Paste. The Sandal tree is a unique tree. It gives itself up, and though it undergoes pain and torture when it is rubbed together vigorously, it endures it all and perfumes even the hand that caused it the suffering. The Sandal has always been a symbol of sacrifice and total submission. Devotees of the highest grade have been compared to the Sandalwood. Hence, by mentioning the aromatic Sandal paste here, the Saint cautions one towards the ideal of complete submission to and absolute dependency on, Krishna.
Lest the devotee take Krishna's love in jest, the Saint reminds him of the famous episode from Krishna's childhood when he shows the entire universe in his lotus like mouth to his startled mother. By this Krishna shows to the devotee that he is the be all and end all of everything. He is the originator, benefactor and ultimate destroyer of everything. The Devotee is cautioned that he should never take Bhakti lightly, for that may sound the death knell of his existence...and the pure devotee is spirited away into remembrance of the splendid world of Krishna Leela. A befitting end to a glorious song. Shri KrishNArpaNam astu. Some corrections from Harish.
Colourful Old Mama (whom I couldn't identify)
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250th Birth Anniversary Tribute to Sri Thyagaraja
Gurumurthy Vaidya, fondly called as “Tabla Guru” is one of the leading musicians in the world of rhythm.
He belongs to the rich traditions of Ustad Ahmed Jan Tirakhwa Saheb.
Born in to a musically inclined family, Gurumurthy hails
from culturally rich belt in Western Ghats of Karnataka called
Yallapura. At a tender age, Gurumurthy showed his keen interest towards
music. Gurumurthy remembers
his childhood of trying to understand the complex rhythmic patterns of Yakshagana. He started his musical journey at the age of 12. He started his initial lessons in Classical Tabla from Pandit G G Hegde, Yallapura and later went on to get additional training from well-known Pandit Basavaraj Bendigere of Dharwad. Later became
a disciple of legendary master Pandit Ravindra Yavagal and continues to take guidance from the master.
Gurumurthy is a graded Tabla artist of AIR and DOORDARSHAN .
While Gurumurthy has been given several prestigious stages worldwide,
he has accompanied eminent artists like Vidushi Ashwni Bhide Deshpande,
Pt. Ulhas Kasalkar, Pandita N.Rajam, Pt. Ramarao Naik, Pt. Brijbhushan Kabra, to name few.
He has been performing in prestigious platforms across the country and abroad. To name few, Sawai Gandharva Festival Pune,Pt.Vishnu Digambar Paluskar Sageeth Sabha, Pt.Taranath Foundation, Pt. Vasanth Rao Deshpande Smrithi Sangeeth Samaroh Nagpur,USA ,Muscat.Dubai and Bahrain
Gurumurthy Popularised Laya Vinyasa, an ensemble of Tabla, Pakhawaj, Yakshagana maddale and Chende over many prestigious stages which has gained its own popularity appealing to the crowds.
Being musically adept, Gurumurthy also has knowledge of Ragas in depth. He has composed for many commercial CDs and participated in musical seminars and workshops. As technology enthusiast, he understands finer nuances of recording, and has been part of many commercial projects.
Gurumurthy continues to train and guide talented students though Guru-Shishya Parampara. His students receive quality training through dedicated attention, which has resulted in a good number of students reaching professional grade.
TABLA Classes Through SKYPEwww.gurutabla.com
WhatsApp +91-9611703306
Thought for Life
- Guruji Viswanath
(Founder Guardian, Manava Seva Kendra, Bengaluru)Source: 365 Day 100 Year Calendar
~IMESELFBE, JUST BEBELONG don't Be Long
BE Your SELF, Belong to TRUTH
LIFE is SIMPLE, Don't Complicate It
DISCIPLINE is the greatest FREEDOM
To be in BLISS is to BE LESS in I (EGO)
The 'I', Conceived by SOUND, Consumed by SILENCE
SLEEP when Life TEASES, WAKE when Life TEACHES
PLAY Like a CHILD, PERFORM Like a PROFESSIONALpaNbu (CULTURE) is paNivu (HUMILITY) plus aNbu (LOVE)
TAKE what is GRANTED and DON'T TAKE it For GRANTED
LIGHT and SOUND are ILLUSION, DARKNESS and SILENCE are TRUTH
Only the BOND with the AGELESS SELF (Athma) can give freedom from BONDAGE
Build the EDIFICE called LIFE on the unshakable FOUNDATION of SELF-CONFIDENCETwo important things in life, first knowing ONE's PLACE in creation and second BEING THEREThe DOOR to HEAVEN is a PIN HOLE, the SOUL fattened by even the slightest EGO cannot enter itLike the MIRROR reflects the Light of a Lamp don't' Repeat the Words of a GURU, get Lit like a LAMPFrom THOUGHT comes DOUBT, QUESTIONS and FEAR, SILENCE is the only TRUE FAITH & the only TRUEST KNOWLEDGE
Be a SERVANT (dhAsa) in BODY, a FRIEND (sakha) in MIND, a DIVINE BEING (dhEva) in HEART and be the SILENT TRUTH (sathya) beyond all these three~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
The 'I', Conceived by SOUND, Consumed by SILENCE
Be a SERVANT (dhAsa) in BODY, a FRIEND (sakha) in MIND, a DIVINE BEING (dhEva) in HEART and be the SILENT TRUTH (sathya) beyond all these three