karnataka devagandhari vs. abheri; jog vs. tilang
Uma M Subramanian
between karnatakadevegandhari and abheri in the last 2 months -- this
question had bothered me for a long time too. So, during the intermission at
a Ramani concert about 10 days ago, I asked the violinist Kanyakumari
about the difference between these two ragas and here is what she had
to say about the two ragas:
they're identical in their arohanam and avarohanam, the only difference being
the way one holds the notes S and P. (This is what she said in Tamil: "svaram
pidikkaratulataan vidyaasam"). She sang out the difference and this is
what I concluded from it: in K.devagandhari, she landed on P in the avarohanma
with more gamakam (it sounded more like PaDaPaa) whereas in Abheri, it was
a straight Pa. Similarly, she landed on S in the avarohanam with SaRiSaa in
K.devagandhari; in Abheri, it was a flatter Sa. I could be wrong in
interpreting the differences from her singing. In particular, it could be
PaNiPaa and SaGaSaa in K.Devagandhari. BTW, she sings very well.
I also asked her about the differences between the ragas Jog and Tilang.
(I heard TNSeshagopalan's rendering of Sadasiva Brahmendra's "smaravaaram
vaaram" in Jog at a recent concert in Dayton, which is included in
his double cassette album by AVM audio, and I couldn't tell the difference
between Jog and Tilang.) She said she didn't know -- at this point Ramani
appeared and she asked him, and he didn't know either. She told me that
they don't know of the raga Jog. Can someone help me here? Thanks in advance.
Regards.
Uma Subramanian
P.S.: Ramani's concert in Columbus on 21 May was not only not very good,
but was also frustratingly irksome: first, it was very mediocre -- a selection
of very hackneyed pieces and ragas. I don't recall the exact order of all
that he played: 'viriboni' in Bhairavi, 'entharoo mahaanu' in Sriragam,
'venkataacalanilayam' in Sindhubhairavi, a kriti in Ranjani with ragamalika
kalpana svarams, Dhanaasri tillana and some other things I might have omitted
here. The concert was scheduled in an elementary school auditorium -- very
ineffective acoustics, the flute was too loud at points, some children cried
at various points of the concert. I don't mean to belittle the efforts of those
who organized the concert -- they did their best, I'm sure, and without their
efforts, there wouldn't have been a concert. But, all in all, it was one of
the few low points of my classical music experience.
TNSeshagopalan's concert in Dayton on May 16, was stellar. Very moderate
use of some devices that I personally think belong in the class of vocal
gymnastics. He took his time while doing the alapanas, (Subhapantuvarali,
especially), no belaboring of grahabedhams (in fact, he did none that day),
his elaborations of Mohanam were very unique, which is hard to achieve with
a very common raga like Mohanam; sang some unusual ragas like Gokilaaravam
and Gaanavaaridhi. His voice creaked at one two points, once during
Subhapantuvarali. But it was a stimulating and satisfying performance, indeed.
A.Pavan
>Many netters on this newsgroup have discussed the putative distinction
>
.
.
>appeared and she asked him, and he didn't know either. She told me that
>they don't know of the raga Jog. Can someone help me here? Thanks in advance.
Jog is the Hindustani equivalent of the Raga 'Naata' (sp ?) in Carnatic.
Maybe that's why they (N.Ramani and Kanyakumari) didn't know the Raga Jog.
Am sure they would have explained it to you otherwise. Naata is fairly
popular Raga in the Carnatic system and so is Jog in Hindustani.
here's some trivia on the Raga Jog : The ad tune for Vicco Turmeric
vanishing cream (goes something like 'Bade Naazon se paali ...' is
based on the Raga Jog).
Pavan
--
------------------------------------------------------------------------
pa...@umn-cs.cs.umn.edu Off: 612-626-7509 Res:612-341-0708
------------------------------------------------------------------------
Rajan Parrikar
>In article <1992Jun1.1...@magnus.acs.ohio-state.edu> usub...@magnus.acs.ohio-state.edu (Uma M Subramanian) writes:
>>Many netters on this newsgroup have discussed the putative distinction
>>
>>I also asked her about the differences between the ragas Jog and Tilang.
>.
>.
>.
>>appeared and she asked him, and he didn't know either. She told me that
>>they don't know of the raga Jog. Can someone help me here? Thanks in advance.
>
>Jog is the Hindustani equivalent of the Raga 'Naata' (sp ?) in Carnatic.
>Maybe that's why they (N.Ramani and Kanyakumari) didn't know the Raga Jog.
>Am sure they would have explained it to you otherwise. Naata is fairly
>popular Raga in the Carnatic system and so is Jog in Hindustani.
>
>here's some trivia on the Raga Jog : The ad tune for Vicco Turmeric
>vanishing cream (goes something like 'Bade Naazon se paali ...' is
>based on the Raga Jog).
No! It is based in Raga Todi (Just hum d N S r g r S to get the feel
of the jingle and Todi).
Now for some brief comments on Ragas Jog and Tilang (I've discussed
Jog in some detail sometime earlier on this net).
Raga Jog: Uses both the gandhaars, a komal nishad. Omits the rishab
and dhaivat.
Chalan: P' n S g S...G M P n P..G M^^g S (^^ denotes the meend from M
to g)
Raga Tilang: Uses only the shuddha gandhaar, both the nishads.
Chalan: G M P N S" n P G M...
Rajan Parrikar
==============
email: parr...@mimicad.colorado.edu
Srini Pichumani
erase it. The re-birth of this topic from time to time on s.c.i,
and now on r.m.i.c, should be convincing enough, I insist..
Anyway, getting down to brass tacks, here is the scoop on this subject.
If it sounds painfully familiar, please bear with me.
Abheri (ar/av S G2 M P N2 S -- S N2 "D" P M G2 R2 S) used to be sung
with the "shuddha dhaivatam" i.e D1 in the days of yore. It is listed
as a "upAnga" janya rAga of the 20th melakarta/rAgAnga rAga in books
like the "sangIta sampradAya pradarshini".
TyAgarAjA's "Nagumomu" and Dikshitar's "vINAbheri" are examples of
compositions in this rAga. Dikshitar had also composed kritis in another
rAga called DevagAndhara(m) -- "pancAsat pIta rUpiNI" etc...
In this rAga, with virtually the same arohanam/avarohanam and other
usages, the chatusruti dhaivatam i.e D2, is used.
However, this latter rAga and Dikshitar compositions in that rAga were
not popular at all with the performing musicians till the 1940s
or so, when Justice T.L.Venkatarama Iyer and his disciples started
unearthing the treasures of the Dikshitar tradition and presenting it
on the concert platform.
B.Subba Rao mentions in his book, "rAganidhi", that some musicians at the
turn of the century (it is claimed that the legendary Madurai Pushpavanam
Iyer started this practice) started singing Abheri with the chatusruti
dhaivatam, i.e D2, giving it a Bhimpalas touch. He also observes
that the Bhimpalas touch got stronger as the days went by and
distinctions grew very blurred between Karnataka Devagandhari/Abheri/Bhimpalas
One of the earliest recordings of "Nagumomu" rendered in this new
style is that of Musiri Subramania Iyer, who renders it with great
lyricism & class. Semmangudi also recorded this sometime in the 40s.
Of course, later on, Balamurali's rendition in the 60s became very
popular.
[In fact, there is a BIG-TIME record collector called V.A.K.Ranga Rao
in Madras who mentions in a newspaper article that he has about 10
versions of this kriti, recorded in the time frame 1910-1990]
In the 30s/40s/50s, after extensive rAga lakshaNa discussions at places like
the Music Academy, Madras, experts rechristened the Devagandhara(m) of
the Dikshitar tradition as "karnAtaka devagAndhari" to clearly differentiate
it from the standard DevagAndhAri of songs like "kshIra sAgara" etc ...
[Dikshitar has also composed kritis like "kshitijA ramaNam chintaye",
"vadAnyesvaram" etc in this rAga. DKJ has rendered the first one on
a few occasions]
However, the central issue of the difference between Abheri and KarnAtaka
DevagAndhAri did not go away. This provided the grist to many a mill -- the
nitpickers had a field day lecturing/writing on this issue at many forums;
the "carry-your-learning-lightly" type of folks/musicians went
about their own way, looking at this issue as merely one of "semantics",
and rendered basically the same melodic form whether it was announced as
Abheri or the other.
The only person to my knowledge who renders "Nagumomu", publicly, in the
older style is S.Rajam (the elder brother of the late vINa S.Balachander)
In fact he makes it a point to announce that he is going to render it
in the older style, as he learnt it from none other than PApanAsam Sivan
himself, with the shuddha dhaivatam i.e D1
He also makes a strong case for the usage of "shuddha dhaivatam" in this
rAga and kriti, essentially from a meta-musical view. If you buy into the
view that the "shuddha dhaivatam" gives a touch of pathos, which the
"chatusruti dhaivatam" does not [I think even the most jilted person in the
world will agree with the latter half of this proposition :-)] -- then,
the former svaram would seem more appropriate for this kriti which opens
in a sad mood.
If this is not so interesting, than the rationalization he offers for
things getting changed in Abheri is certainly quite intriguing. S.Rajam
states that it is much harder to sing the "shuddha dhaivatam" ( D1 )
right in the avarohanam; there is more than a grain of truth in this.
--Srini.
ps:
1. The mention of Papanasam Sivan with an aura of authority is essential
here -- sort of establishes S.Rajam's musical pedigree.
Papanasam Sivan, being a composer himself, and a devout Tyagaraja
bhakta, was the repository of many a classic Tyagaraja kriti in its
pristine form; not the razzmatazz forms into which they get converted
on the concert platform. Sivan himself had heard these kritis from
various people like the Umayalpuram Brothers who were direct disciples
of the bard of AyyAru.
2. The chatusruti dhaivatam version of Abheri has however come to stay.
And with the increased dissemination of the rAga in this form via
records throughout this century, the shuddha dhaivatam version has
become a total relic of the past.
3. As far as I know, no one uses both the chatusruti and the shuddha
dhaivatam in this rAga -- in practice. Viewed in this light,
Krishna Kunchitapadam's statement that Abheri is a bhAshAnga rAga in an
earlier post (about 3 weeks back) is quite intriguing. I wonder if it is
just mentioned as such in some book or manuscript.
4. When TNSeshagopalan sang Abheri in Detroit recently, he used one
phrase with a suggestion of shuddha dhaivatam in the AlApana -- this
happened just once. It was more like a slip or a case of poetic
licence, rather than a revivalist attempt like that of S.Rajam.
Krishna Kunchithapadam
When I saw the post on this topic in the morning, I
started to type out a followup but due to a news connection
fault, was unable to post it then. Thanks to Rajan Parrikar and
Srini Pichumani for their explanations. I just thought I might
send out my article and hope that the topic is closed (atleast
for now) in RMIC.
Srini, my recollection of the scales of Karnataka
Devagandhari seems to be those with a Rishabha in the arohana.
So, there does seem to be a difference between Abheri and
Devagandhari based on just scale. On the other hand, there is no
difference between Devagandharam and Abheri (for the reasons you
mentioned).
I would first like to say a few words on Nattai and Jog.
To a good approximation, the ragas Jog and Nattai do seem
similar. However, I have noticed that when vocalists sing the
raga Jog (and this is true for many other ragas too), they do not
sing swara passages or completely avoid the singing of the
Rishabha swara.
For example, I have heard the phrase "g3 m1 p m1 g3 m1 g3
s" with the Gandhara notes sung with a lot of gamaka, thereby
giving it touches of the Shatsruthi Rishabha, but the "r"
syllable is not explicitly sung. To be sure, I have not heard
very many renditions of the ragas in the Jog family, and most of
them have been performances on instruments (where solfa passages
do not make as much sense).
Could someone throw some light on the kinds of swaras
that are used in ragas like Jog, which are the equivalent of
Vivadi ragas in the Carnatic system. What are the swaras employed
in the scale of the raga and how does one assign these ragas to
one of the 10 thats, especially since none of the 10 thats are
vivadi.
I find it hard to believe that the score for the "Vicco
turmeric" ad is in the raga Jog. Pavan, are you sure it is Jog
proper or one of the mixed ragas in the Jog group. There seems
absolutely no hint of the Shatsruthi Rishabha notes in the score.
Karnataka Devagandhari and Abheri:
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
I think this topic will be flogged to death without
reaching a consensus. Those who have heard "Veenabheri", the
famous Muthuswamy Dikshithar krithi in the raga Abheri will find
very little similarity between this Abheri and the version of
Abheri that is employed in the Tyagaraja krithi "Nagumomu
kanaleni". Abheri is described as a bhashanga raga, and makes use
of both Sudha and Chatusruthi Dhaivata notes. From what I have
heard, Abheri originally was an upanga raga, janya of Nata
Bhairavi and in the later bhashanga version, Chatusrurthi
Dhaivata was the "anya" swara. The practice of singing Abheri
with Chatusruthi Dhaivata as the main note was originally
introduced by Musiri Subramanya Iyer, in the singing of
"Nagumomu". Nowadays, everyone sings Abheri this way, there is
hardly any hint of a Sudha Dhaivata note in the raga.
As far as I know, these are the arohana and avarohana
(and the most commonly used prayogas) of Abheri, Karnataka
Devagandhari, Bhimplas and Dhanashri.
Abheri:
~~~~~~~
s g2 m1 p n2 S S n2 d1 m1 g2 s [20]
s g2 m1 p n2 S S n2 d1 p m1 g2 r2 s [20]
s g2 r2 g2 m1 n2 S S n2 d1 p m1 g2 r2 s [20]
s m1 g2 m1 p p S S n2 d1 p m1 g2 r2 s [20]
s g2 m1 p S n2 S S n2 d1 p m1 g2 r2 s [20]
s g2 m1 p n2 S S n2 d2 p m1 g2 r2 s [22]
Karnataka Devagandhari:
~~~~~~~~~~~~~~~~~~~~~~~
n3_ s g2 m1 p d1 p m1 g2 r2 s n3_ [21]
n3_ s g2 m1 p d1 p m1 g2 r2 s n3_ [21]
s g2 m1 p d1 S S n3 d1 p m1 g2 r2 s [21]
s g2 m1 p d1 S S n3 d1 m1 g2 s [21]
s r2 g2 m1 p d2 n2 S s n2 d2 p g2 r2 s [22]
s r2 g2 m1 p d2 p n2 n2 S S d2 p m1 g2 r2 s [22]
Bhimplas:
~~~~~~~~~
s n2_ s g2 m1 p n2 S S n2 d2 p m1 g2 r2 s [20]
Dhanashri:
~~~~~~~~~~
n2_ s g2 m1 p n2 S S n2 d1 p m1 g2 r2 s [20]
(The numbers in square brackets are the janaka melas of the
scale)
I do not remember the sources of the different versions,
but the following is clear. There does not seem to be any scale
identity between Abheri and Karnataka Devagandhari. The version
of K.Devagandhari derived from Keeravani is certainly a different
raga from what we are talking about (another instance of
different scales having the same name).
However, all usages of K.Devagandhari have the Rishabha
in their arohana while Abheri does not employ the Rishabha in the
arohana. The Kharaharapriya janya version of Abheri is also
called Devagandharam (which suggests its similarity to
K.Devagandhari ??).
Except for the "s n2_ s" krama, Bhimplas has the same
scale as "Devangandharam". Likewise, the krama of Dhanashri is
similar to that of Abheri versions janya from Natabhairavi.
It is quite clear that the arohana-avarohana form only a
small part of the essence of a raga. However, the differences in
the above four ragas are based on scale *and* on the kinds of
prayogas used.
In my opinion, most performers do not concentrate on the
scale of a raga during a performance. Krithi prasthara is not a
problem - based on the primary sangathis, one can come up with
newer sangathis without even worrying about scale. Raga alapana
is similar. The more krithis you know in a raga, the more
versatile you get at alapana and neraval. The only problem comes
about in swara prasthara, where you *have* to be absolutely sure
of the scale of the raga. You simply cannot sing swaras which
conflict with the scale of the raga - you cannot do this in any
aspect of the raga sanchara, more so in swara prasthara since it
would become blatantly obvious that the scale is not being
followed.
Deciding what actually constitutes the arohana-avarohana
of a raga requires a lot of careful thought and deep study.
However, most of this would be of theoretical interest - as far
as practical music is concerned, the scale of a raga is of
secondary importance. I am sure that different artistes will
have different opinions about the scale of closely allied ragas
as the above four.
For example, I have heard different versions/scales for
Bilahari and Khamas and most of these differences are due to the
bhashanga character of these ragas.
Jog and Tilang:
~~~~~~~~~~~~~~~
Once again I find it difficult to accept that these two
ragas are similar. In my opinion, Tilang is quite similar to the
raga Bahudhari. Bahudhari is an upanga raga and a janya of Hari
Kambhoji. The use of Tilang in Hindusthani music may permit
Shatsruthi Rishabha (or its equivalent) but as far as the raga
lakshana in Carnatic music is concerned, the scales of Bahudhari
and Tilang are as follows:
Bahudhari:
~~~~~~~~~~
s g3 m1 p d2 p d2 n2 S S n2 p m1 g3 s [28]
s g3 m1 p d2 p d2 n2 S S n2 d2 m1 g3 r2 m1 g3 s [28]
s g3 m1 p d2 p d2 n2 S S n2 d2 p m1 g3 r2 s [28]
s g3 m1 p d2 n2 S S n2 p m1 g3 s [28]
Tilang:
~~~~~~~
s g3 m1 p n2 S S n2 p m1 g3 s [28]
The last version of Bahudhari (the Rishabha varja scale)
is what is commonly used. The only difference between this scale
and that of Tilang is the use of the Dhaivata note in the arohana
of Bahudhari. In fact, Balamuralikrishna has sung the krithi
"Smaravaaram vaaram" in the raga Bahudhari. Sometimes, the Kakali
Nishada note is used in the arohana and avarohana of Tilang (and
these constitute very ranjaka prayogas).
If any one has more information on the topic, please post.
-- Krishna
+---------------------------------------------------------------+
| Krishna Kunchithapadam kri...@cham.cs.wisc.edu |
| Department of Computer Sciences |
| University of Wisconsin, Madison |
+---------------------------------------------------------------+
D Jayasimha
>P.S.: Ramani's concert in Columbus on 21 May was not only not very good,
>but was also frustratingly irksome: first, it was very mediocre -- a selection
>of very hackneyed pieces and ragas. I don't recall the exact order of all
>that he played: 'viriboni' in Bhairavi, 'entharoo mahaanu' in Sriragam,
I agree. Ramani's Columbus concert was mediocre in all respects- not only were
the pieces hackneyed but so was the swaraprasthara and the raga alapana.
Being the "flute groupie," that I am, I attended Ramani's concert in
Cleveland, Columbus, and Dayton in that order. In Cleveland, Ramani was
overwhelmed by the sheer volume of the mandolin played by U. Srinivas who uses
an electronic pickup (this was a jugalbandhi concert with Kanyakumari- violin,
Gurvayoor Dorai- mridangam, and Zakir Hussain- tabla). The only memorable
"pieces" that I can recall from the concert is a swaraprasthara in Kapi on
the mandolin during the ragamalika and Kanyakumari's excellent rendering of
Shanmukhapriya- everything else, apart from Zakir Hussain's tabla, was
forgettable.
The Columbus concert was really the low point of the three concerts- of course,
you can't expect much when the concert is held in a middle school gymnasium
with a sound system which "shrilled" out whenever Ramani went higher than
the high Sa!- add to this the shrill evocations of dipleasure from the tiny
tots (if it is a Ravi Shankar concert, the moms and dads will pay for a baby
sitter- but for a Ramani concert- come on, how can you even suggest such a
preposterously expensive thing like that) and an organizer introducing
Gurvayoor Dorai as Umayalapuram Sivaraman- I could go on but you get the
picture. The only saving grace of the concert was Kanyakumari's violin playing.
I had heard Ramani in the early eighties with MSGopalakrishnan on the violin
in Bangalore- the Ranjini alapana, kriti (Durmaargachara), and swaraprasthara
that they played more than a decade back still rings in my ears- Ramani and MSG
had fully conveyed the beauty and pathos of Ranjini! I followed Ramani to
Dayton hoping against hope that he would exhibit that touch at least in
flashes. The Dayton concert started out with a varnam in Nattakuranji.
After about half an hour, I had begun to expect the same mechanical playing
that had characterized the previous concerts. Ramani had started Hindolam;
outside there was a lot of thunder and lighting and then it started to rain
heavily. At this time, something really strange happened- Ramani felt,
perhaps, that the gods were not only seething with anger at his playing
but were venting it too- maybe, he spied Krishna looking displeased
(the concert was in the Hindu temple at Dayton which boasts
of idols of Rama, Krishna, and Venkateshwara)- the alapana just got better-
and, no, he did not play Saamajavaragamana! (I do not know the name of the
particular kriti he played) and, the swaraprasthara was great- no siree, no
hackneyed phrases even in such a raga as Hindolam.
After this came a beautiful and soulful Kambodhi alaapana, one of the two main
ragas of the evening. O Rangasayee was then presented in all its grandeur-
slow paced and melodic. Then followed a raga, tana, and pallavi in
Shanmukhapriya- Ramani brought out the essence of the raga in the alaapana-
the tana was rather short. He then played a pallavi in Khandajaati Triputa
taala. I forget the ragas he played in the ragamaalika- he played Behaag, for
sure- with typical Mali phrasings.
After this he played another ragamalika, a composition of Kanankadasa,
"Yaadavaraaya Brindavanadolu" which starts in Basant Bahar- no doubt
influenced by Kanyakumari- who in turn was influenced by MLV who popularized
many Purandaradasa and Kanakadasa compositions (strangely Ramani initially
said that it was a composition of Vyasaraya and, then, after being prodded
by Kanyakumari, corrected himself). This was followed by yet
another ragamalika!- a composition of Bharatiyar which begins in Kapi.
The concert came to a close at 11:15p- even the mangalam was played
unhurriedly!- Ramani had played for 3 1/2 hours without a break.
Patience pays- I was full of that indescribable feeling of fullness
and satisfaction which one gets after listening to a great concert.
jayasimha (jay...@cis.ohio-state.edu)
P. J. Narayanan
I am glad, Jayasimha, that your perseverance paid off. Instruments like
flute and veena can be quite mechanical in concerts, missing the "soul".
This is particularly a problem in Carnatic music when playing specific
songs.
Ramani's DC concert about a month ago was one of the best I have
attended. It must have inspired him to see the auditorium of Sri Siva
Vishnu Temple overflow (for the first time in its 2 years' existence).
My memory of what he played isn't perfect now, but I will try. He
played Latangi and Madhyamavati (Rama kadha sudha). Ragam tanam
pallavi, played in Todi, was delightful indeed. The alapana was
soulful and the pallavi well executed in all (four) speeds. With
Kanyakumari and Dorai joining in the multi-speed exercises, there was
considerable confusion, especially at the start of the tisra-gati
section. They got it right eventually. The ragamalika swarams were
excellent too, in particular the last bead of the garland, Hindolam.
Ramani played "teerAdu viLayAtta piLLai" of Bharatiyar (in Sindhu
Bhairavi, Kamas, ShaNmukhapriya, and Maand) exceedingly well. The
drowsiness and drunkenness was very well brought out in Maand at the
line "KaLLAl mayanguvatu pOlE".
I have always felt that Ramani's style is a "technical" style, with less
emphasis on the gayaki ang. T. R. Mahalingam and some of his other
disciples (such as T. S. Sankaran) have a more vocal-like style that, in
my opinion, is more difficult and enjoyable by itself.
I would like to ask the netters if they have seen a multi-record set
on Indian music (I think with a title like "Anthology of Indian music"
or something close) produced by Ravi Shankar music societs (now, what
is that?). I heard it once. It contains some very nice (but short)
pieces, including a piece using different Tabla's tuned to different
pitches and Alla Rakha playing pakhwaj! One of the Carnatic pieces in
it is a fast, no FAST, and crisp and delectable "Samajavaragamana" in
Hindolam played by Ramani! I couldn't believe my ears when I listened
to it! I don't think I have heard Ramani playing that well anytime
live or recorded. Unfortunately, I don't have either the record or
tape of that music. I may be able to dig up the reference.
PJN
Kris Kamisetty
usub...@magnus.acs.ohio-state.edu (Uma M Subramanian) writes:
*P.S.: Ramani's concert in Columbus on 21 May was not only not very good,
*but was also frustratingly irksome: first, it was very mediocre -- a selection
*of very hackneyed pieces and ragas. I don't recall the exact order of all
*that he played: 'viriboni' in Bhairavi, 'entharoo mahaanu' in Sriragam,
*'venkataacalanilayam' in Sindhubhairavi, a kriti in Ranjani with ragamalika
*kalpana svarams, Dhanaasri tillana and some other things I might have omitted
*here. The concert was scheduled in an elementary school auditorium -- very
*ineffective acoustics, the flute was too loud at points, some children cried
It is interesting to note that Ramani played almost every piece mentioned above
by Uma in his Phoenix Concert except for the Ranjani piece. I guess they get
away with it all with a small well-rehearsed repertoire.
--
Krishna Kamisetty,CIM Systems Research |||| kr...@cimnext.cim.eas.asu.edu
+RECYCLE & Make a Difference - Better yet, REFUSE, REDUCE or REUSE+
Srihari Keshavamurhty
>
>I am glad, Jayasimha, that your perseverance paid off. Instruments like
>flute and veena can be quite mechanical in concerts, missing the "soul".
>This is particularly a problem in Carnatic music when playing specific
>songs.
>
>
>
>PJN
Speaking of Ramani...I have a very old Mysore concert of Ramani on
tape with MSG and TVG and I don't think he has ever played with
that kind of "manodharma" in the concerts that I have been to..
(which is a lot...). Most of his recent concerts have been
pretty stereotypical....you can guess the next swaram!
Srihari
