T.N. Krishnan
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There are a couple of excellent TNK concerts here:
http://www.sangeethamshare.org/sl/T_N_K ... ENNAI_05_/
This concert features a really elaborate bhairavi RTP that easily ranks amongst the best I've heard in this raga. The raga alapana is searching and filled with sowkhyam, and the bhairavi thanam is excellent, followed by a brilliant ragamaliga thanam especially in nIlAmbari and bowLi. The thani is great as well. I do not know much about the mrudangam vidwan, but his accompaniment is very good.
http://www.sangeethamshare.org/sl/T_N_K ... ANGALORE_/
A nearly three hour concert with several vidwans in the audience, going by the chatter during the concert. A top notch concert in ARI style, with several crisp and interesting raga alapanais (mukhari ragam and mandra sthayi dominated nIlAmbari ragam are noteworthy), and all the kalpanaswaras are handled excellently (very melodious swaras in hamsadwani). The kAmbOji rendition has ARI written all over it and is just brilliant. There's also an interesting and rather humorous moment in rAma katha sudha--listen to it.
http://www.sangeethamshare.org/sl/T_N_K ... ENNAI_05_/
This concert features a really elaborate bhairavi RTP that easily ranks amongst the best I've heard in this raga. The raga alapana is searching and filled with sowkhyam, and the bhairavi thanam is excellent, followed by a brilliant ragamaliga thanam especially in nIlAmbari and bowLi. The thani is great as well. I do not know much about the mrudangam vidwan, but his accompaniment is very good.
http://www.sangeethamshare.org/sl/T_N_K ... ANGALORE_/
A nearly three hour concert with several vidwans in the audience, going by the chatter during the concert. A top notch concert in ARI style, with several crisp and interesting raga alapanais (mukhari ragam and mandra sthayi dominated nIlAmbari ragam are noteworthy), and all the kalpanaswaras are handled excellently (very melodious swaras in hamsadwani). The kAmbOji rendition has ARI written all over it and is just brilliant. There's also an interesting and rather humorous moment in rAma katha sudha--listen to it.
Last edited by bilahari on 02 Jun 2009, 07:56, edited 1 time in total.
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Enna Solven and Bilahari. Sometimes when you are engrossed and immersed in the music you tend to loose count of the talam. In this case TNK started on the last veechu. realised when he looked up and saw the talam that the ghatam artist was putting.
Now on the flip side many a times the ghatam artist could have picked up the count incorrectly which I highly doubt. I have seen it happen however at many instances. I just looked at the clip from about 4:13. I will go back and listen to it carefully and put talam from the beginning to see if the ghatam artist picked up the talam incorrectly.
Now on the flip side many a times the ghatam artist could have picked up the count incorrectly which I highly doubt. I have seen it happen however at many instances. I just looked at the clip from about 4:13. I will go back and listen to it carefully and put talam from the beginning to see if the ghatam artist picked up the talam incorrectly.
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VK, So that settles it. However in regards to instrumentalist they have a lot to do in terms of multi tasking, which includes keeping the talam, the kirtanam itself , development of ragam etc. In one kutcheri, I heard Vellore ramabhadran sing the charanam when the main artist forgot the line. So it boils down to being a team work on stage, and that was the hallmark of yester year musicians, I think.
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appu: I know what you mean. Understood. On top of that, personally for me, it is not a big deal at all. This is a convention anyway. Layam wise, he was right on target, his eduppu was correct with respect to the beat. It is just that it was wrt to the prior beat. If he had continued and everyone adjusted to it, nothing would have been lost, it just means resetting the avarthanam beginning. Had the mridangist played a theermanam then it is a different matter, it makes sense to strictly obey the beginning of the avarthanam. I realize this is a radical and liberal position to take but I do not see a huge laya violation if someone does that.
In fact, I find the awkward and unnatural pause waiting around for a complete avarthanam a bit annoying. This sometimes happens when the artist misses the eduppu ( especially with the 1.5 desAdi eduppu ). Then they have to wait for the whole avarthanam to finish to take that back up. If the mridangist is just playing regular strokes rather than a micro-korvai-like theermanam, someone should start a new trend whereby the artist chooses to reset the thala avarthanam with some kriya so everyone adjusts. This can be done at the transition point between P and AP and between P and C. We will call it emotional rhythm. Who knows, it may actually sound quite dynamic and provide for a little bit of variety.
In fact, I find the awkward and unnatural pause waiting around for a complete avarthanam a bit annoying. This sometimes happens when the artist misses the eduppu ( especially with the 1.5 desAdi eduppu ). Then they have to wait for the whole avarthanam to finish to take that back up. If the mridangist is just playing regular strokes rather than a micro-korvai-like theermanam, someone should start a new trend whereby the artist chooses to reset the thala avarthanam with some kriya so everyone adjusts. This can be done at the transition point between P and AP and between P and C. We will call it emotional rhythm. Who knows, it may actually sound quite dynamic and provide for a little bit of variety.
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TNK and Viji play gajAnanayutam in this video:
http://video.webindia123.com/music/viol ... /index.htm
Electrifying kalpana swaras!
http://video.webindia123.com/music/viol ... /index.htm
Electrifying kalpana swaras!
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Ragjay, I am extremely grateful to you! You have uploaded some excellent concerts of his, particularly that 3-h ARI-esque Bangalore concert. An LGJ-TNK concert - wow! Would love to hear that if anybody has it! By the way, any luck contacting Shankara Nethralaya for TNK's US concert recordings?
Sri TVG has uploaded a brilliant AIR national program of TNK recently. The bahudari (with a really creative alapanai) and tODi are out of this world, and the concert ends with a gorgeous parulannamATa.
Sri TVG has uploaded a brilliant AIR national program of TNK recently. The bahudari (with a really creative alapanai) and tODi are out of this world, and the concert ends with a gorgeous parulannamATa.
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I have loved TNK's music, but I think that today, I heard TNK actually turning in a bad performance. I heard "Raga of the Day" (Kharaharapriya) on Sunaada.in and was not impressed with the apaswaras, pauses and excessive use of a single phrase. I don't know which concert it was, but I hope the other songs in it were good.
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The November 2009 issue of "Sruti" features a cover story that I wrote on Prof. TNK. A teaser is avbl here: http://sruti.com/2009/sruti_magazine_no ... coverstory
To read the full story, you need a subscription to the print edition
To read the full story, you need a subscription to the print edition
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Sir,
I was trying to get the keeravani lp song for so many years. I was so glad to see the links
Guruji: Here are the links. Please bear with me for poor recording.
http://rapidshare.com/files/181290487/0 "¦ m.MP3.html
http://rapidshare.com/files/181290489/0 "¦ a.MP3.htm
unfortunately both the links are not working any more. can some one who have already dowloaded the song please upload it or send to my mail vasu.balaji@gmail.com.
i was searching for the song for more than 3 decades.
please help .
I was trying to get the keeravani lp song for so many years. I was so glad to see the links
Guruji: Here are the links. Please bear with me for poor recording.
http://rapidshare.com/files/181290487/0 "¦ m.MP3.html
http://rapidshare.com/files/181290489/0 "¦ a.MP3.htm
unfortunately both the links are not working any more. can some one who have already dowloaded the song please upload it or send to my mail vasu.balaji@gmail.com.
i was searching for the song for more than 3 decades.
please help .
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kIravANi ragam: http://www.sendspace.com/file/b6hqjj
kaligiyunTE: http://www.sendspace.com/file/tf81xu
The krithi is incomplete. Contact me via forum e-mail if you want more TNK music.
kaligiyunTE: http://www.sendspace.com/file/tf81xu
The krithi is incomplete. Contact me via forum e-mail if you want more TNK music.
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Thank you so much for uploading the song again. eventhough its incomplete i cant express the joy in my heart. it took 30 long years to hear it again. my pursue for the complete song will however continue and if i get it i will definitely share it here. thank you so much sir. I will contact you through forum e-mail.
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This invitation/posting is being place here on the suggestion of member Bilahari
Please welcome to a violin-mridangam duet featuring T.N. Krishnan-M.Chandrasekharan-Umayalpuram K. Sivaraman and Tanjavur Upendran performed in "Parvathi" Mysore 1972 http://chowdaiahandparvati.blogspot.com/
Please welcome to a violin-mridangam duet featuring T.N. Krishnan-M.Chandrasekharan-Umayalpuram K. Sivaraman and Tanjavur Upendran performed in "Parvathi" Mysore 1972 http://chowdaiahandparvati.blogspot.com/
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Re: T.N. Krishnan
Nostalgia: Remembering a TNK concert experience, http://carnaticmusicreview.wordpress.co ... algia-tnk/
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Re: T.N. Krishnan
Nice e-mail - thanks, Gamakam!
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Re: T.N. Krishnan
Respected Members,
Vidwan T.N. Krishnan's performances in just this one house "Parvathi", Mysore, have been so innumerable and so memorable over these decades that only recently we really started to assess the counts against him and of the other giants. We hope to post these numbers sometime. In the meantime, please welcome, at your convenience, to several of his classical performances with a most recent posting of him accompanying Vidwan K. V. Narayanaswamy in 1972.
http://chowdaiahandparvati.blogspot.com/
Vidwan T.N. Krishnan's performances in just this one house "Parvathi", Mysore, have been so innumerable and so memorable over these decades that only recently we really started to assess the counts against him and of the other giants. We hope to post these numbers sometime. In the meantime, please welcome, at your convenience, to several of his classical performances with a most recent posting of him accompanying Vidwan K. V. Narayanaswamy in 1972.
http://chowdaiahandparvati.blogspot.com/
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Re: T.N. Krishnan
Sri TNK is currently touring Australia. I had an opportunity to record a radio program featuring music of TNK and it will go to air in Sydney this Friday night at 9pm Sydney time (it runs for 1.5 hours). It will be streamed live online at www.2ser.com but there is no podcast available. More details at http://many-flavours.blogspot.com/
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Re:
arvindt wrote:Dear divakar,
I'm a new member on this forum. I'm excited to hear that there is a recording of Ariyakudi singing the Chatur Raga Pallavi -
Thanks a lot,
Arvind
I have posted the Chadur raga RTP by Ari in another thread.
venkatakailasam
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Re: Chatur raha RTP
Chatrur Raga RTP: Ariyakudi Shri Ramanuja Iyengar :
Pallavi : Sankarabarananai Azithodi vadi Kalyani darbarukku
http://www.youtube.com/profile?user=vka ... pMDVSjI3tU Part I
http://www.youtube.com/profile?user=vka ... hi5emS45UQ Part II
http://www.youtube.com/profile?user=vka ... itwNzx79vI Part III
http://www.youtube.com/profile?user=vka ... T9nD9C1gQc Part IV
Total about 25 mts.
venkatakailasam
Pallavi : Sankarabarananai Azithodi vadi Kalyani darbarukku
http://www.youtube.com/profile?user=vka ... pMDVSjI3tU Part I
http://www.youtube.com/profile?user=vka ... hi5emS45UQ Part II
http://www.youtube.com/profile?user=vka ... itwNzx79vI Part III
http://www.youtube.com/profile?user=vka ... T9nD9C1gQc Part IV
Total about 25 mts.
venkatakailasam
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Re: T.N. Krishnan
Reminder this show will be on air (on www.2ser.com) Friday at 4.30pm IST and 7am in New York.mohan wrote:Sri TNK is currently touring Australia. I had an opportunity to record a radio program featuring music of TNK and it will go to air in Sydney this Friday night at 9pm Sydney time (it runs for 1.5 hours). It will be streamed live online at http://www.2ser.com but there is no podcast available. More details at http://many-flavours.blogspot.com/
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Re: T.N. Krishnan
Mohan, thanks for the info on the radio program. It will be aired at 4AM my time, so... is there any possibility of a recording?
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Re: T.N. Krishnan
I will try and get the mp3 recording of it. It is 90 minutes so the file might be rather large.
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Re: T.N. Krishnan
Mohan gracias! Much appreciated...LOVELY program - great recording.
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Re: T.N. Krishnan
Thank you very much, Mohan. I will listen to the program on my flight back on Mon.
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Re: T.N. Krishnan
Mohan, that was indeed a lovely program, as Ravi has already said. Thank you very much. You pretty much covered the essence of TNK's music - the sowkhyam of his style was evident in the sAramati, the flow of his manOdharma in the nATTai swaras, his alacrity during accompaniment in MMI's kalpanaswaras, his sensitivity to the main artiste and to rAga bhAvam in MDR's kEdAragowLa, and his immaculate raga alapanai (punctuated brilliantly with pauses) in SankarAbharaNam. I have always been especially fond of his accompaniment to MMI and MDR and was very pleased that you chose those particular artistes in your program! Kudos!
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Re: T.N. Krishnan
Thanks - glad you enjoyed the show! The Sydney concert went off well and featured elaborate renditions in Chakravaham (Gajananayutham), Pantuvarali (Sarasaksha) and Kapi (RTP).
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Re: T.N. Krishnan
vidwan TNK says:
I had an open-handed usage of Ariyakudi schooling because of my rapport with him during an impressionable age. Semmangudi always said, one has to be a slave to chaste melody, and his approach and add-ons got me into a bold bowing technique and a lucid left hand precision on notes.
http://www.hindu.com/fr/2010/12/10/stor ... 900300.htm
I had an open-handed usage of Ariyakudi schooling because of my rapport with him during an impressionable age. Semmangudi always said, one has to be a slave to chaste melody, and his approach and add-ons got me into a bold bowing technique and a lucid left hand precision on notes.
http://www.hindu.com/fr/2010/12/10/stor ... 900300.htm
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Re: T.N. Krishnan
TNK and PMI play sukhi evaro (dated about 1977): http://www.youtube.com/watch?v=rqa7pX0f ... ideo_title
TNK's use of the entire bow is almost intimidating! Thanks to Srikant for pointing out this link.
TNK's use of the entire bow is almost intimidating! Thanks to Srikant for pointing out this link.
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Re: T.N. Krishnan
Thers is also a "bilahari" in this concert The venue is sastri hall and i dont think it is as late as 1977. Should be in the early 70's
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Re: T.N. Krishnan
Shri [Master] ]T.N. Krishnan's experiences wih Music over the last 75 years.
Lec Dem @ MA on 17 12 2012
Few interesting points are as listed below .
His association with MA is since 1942
He was earleir given A/N 1st slot. In the next year itself elevated to the evening progrm.
He has accompanied all stalwarts viz Palladam,Palghat Ramu Bhagavathar, MVI, GNB, Musiri and SSI
He initially accompanied KR Kumarasamy during 1942 and in 1943 played for Thanjavur Nanu
From the age of 3 he started his musical journey.
His father Shri Narayana Iyer was his first Guru and gave him the violin and bow asking him to produce sound/music whatever he thinks.
He was asked to repeat the phrase his father sings and he was doing it perfectly.
Hamsadwani phrase Ga Ri Sa he was asked to play and he was continuously playing w/o break
This was going on as lesson for few days.
Then he was taught the few phrases in Hamsadwani and he had unique ability of reproducing the phrases he listened.
Everyday a new phrase was taught and at the age of 4 he was taught varnams on Thodi, Begada, Kalyani , Bhyravi and Saveri.
When he was 5 yrs he had these varnams on stock and was playing w/o mistake. His father used to wake him up by 4 am and will ask him to practice whatever he was taught the previous day.
4am to 6 he will do sadhagam of the same varnams and Bhyravi ata thala varnam will be there in the list.
Then he will go to school and even during lunch break he has to practice.
In the evening while returning from school his father will be watching him whether he comes home straight
He has never joined with his playmates for playing 'Goli kundu' and in the evening his sadhagam
will continue from 5 pm to 7 pm and again from 8 to 9 30 pm
This was his practice until 7 yrs.
He was then taught Vathapi, Brova barammma.
From that early age till now he has been practicing Bhyravi varnam
Playing this piece in childhood was not a problem. But even at this age he practices to enahance the beauty of that varnam with innovation of pidis and sangathis.
Bhyravi's 'pidippu' materialises [only at this age] now.
Now he has mastered all styles clearly viz playing varnams Kanada, Reethigowla, Narayana Gowla, Kalyani and others
Guru's personal attention is definitely needed and it was available in those days.
Learning through computer is not advisable and one should work hard to come up
It is a big handicap for playing to a concert since one has to reproduce what the singer performs.
Nobody excepting his father had commented about his performance in a concert as he used to observe meticulously
In earlier days he was simply reproducing what stalwarts would sing.
When he became independant [ let loose ] he had the problem of getting guidance from elders.
But SSI guided him properly and started teaching him the intricacies of CM
He will do sadhagam himself [ in his care ] but the sudden appearance SSI whenever he commits mistake was a blessing to him
After correction he will be going on singing that helped him a lot to shape his career.
Such training and guidance are important for anybody.
'Rajamargam' should be shown to students as T said in Karharapriya kriti Chakkani Raja
Whatever he is today it is because of ARI, Musiri, Chembai, GNB and SSI
Then he took the violin and started playing the various styles adopted by stalwarts.
He played Saveri as Musiri would sing
Then followed the style of GNB
He played Sankarabaranam in ARI pani.
He also sang in ARI style
SSI style of singing will be continuous and the bowing should be without break.
SSI only taught him elaborately the method of dilineation of raga
He played thanam also in the same style
MA Kalyana krishna Bhagavathar, his thanam will be continuous as he was a vina vidwan.
He has learnt from him too as he used to discuss after the concert elaborately.
His first concert in MA was in 1942 and it continues still.
My observations.
The hall was full of vidwans , vidushis and rasikas. One hour is not sufficient for such a learned person to share his musical experince. He mentioned that he has not touched the techniques of playing violin and requested to arrange during next year. There were frequent interruptions by Pappu rao by way of appeal to rasikas. When TNK was ready to answer or clarify any doubts by rasikas Pappu Rao squarly cut by saying that the sweet atmosphere need not be spoiled by unwanted comments and talks. This was not in good taste. In total the lecture in simple english was quite educative and interesting.
Thanjavooran 18 12 2011
Lec Dem @ MA on 17 12 2012
Few interesting points are as listed below .
His association with MA is since 1942
He was earleir given A/N 1st slot. In the next year itself elevated to the evening progrm.
He has accompanied all stalwarts viz Palladam,Palghat Ramu Bhagavathar, MVI, GNB, Musiri and SSI
He initially accompanied KR Kumarasamy during 1942 and in 1943 played for Thanjavur Nanu
From the age of 3 he started his musical journey.
His father Shri Narayana Iyer was his first Guru and gave him the violin and bow asking him to produce sound/music whatever he thinks.
He was asked to repeat the phrase his father sings and he was doing it perfectly.
Hamsadwani phrase Ga Ri Sa he was asked to play and he was continuously playing w/o break
This was going on as lesson for few days.
Then he was taught the few phrases in Hamsadwani and he had unique ability of reproducing the phrases he listened.
Everyday a new phrase was taught and at the age of 4 he was taught varnams on Thodi, Begada, Kalyani , Bhyravi and Saveri.
When he was 5 yrs he had these varnams on stock and was playing w/o mistake. His father used to wake him up by 4 am and will ask him to practice whatever he was taught the previous day.
4am to 6 he will do sadhagam of the same varnams and Bhyravi ata thala varnam will be there in the list.
Then he will go to school and even during lunch break he has to practice.
In the evening while returning from school his father will be watching him whether he comes home straight
He has never joined with his playmates for playing 'Goli kundu' and in the evening his sadhagam
will continue from 5 pm to 7 pm and again from 8 to 9 30 pm
This was his practice until 7 yrs.
He was then taught Vathapi, Brova barammma.
From that early age till now he has been practicing Bhyravi varnam
Playing this piece in childhood was not a problem. But even at this age he practices to enahance the beauty of that varnam with innovation of pidis and sangathis.
Bhyravi's 'pidippu' materialises [only at this age] now.
Now he has mastered all styles clearly viz playing varnams Kanada, Reethigowla, Narayana Gowla, Kalyani and others
Guru's personal attention is definitely needed and it was available in those days.
Learning through computer is not advisable and one should work hard to come up
It is a big handicap for playing to a concert since one has to reproduce what the singer performs.
Nobody excepting his father had commented about his performance in a concert as he used to observe meticulously
In earlier days he was simply reproducing what stalwarts would sing.
When he became independant [ let loose ] he had the problem of getting guidance from elders.
But SSI guided him properly and started teaching him the intricacies of CM
He will do sadhagam himself [ in his care ] but the sudden appearance SSI whenever he commits mistake was a blessing to him
After correction he will be going on singing that helped him a lot to shape his career.
Such training and guidance are important for anybody.
'Rajamargam' should be shown to students as T said in Karharapriya kriti Chakkani Raja
Whatever he is today it is because of ARI, Musiri, Chembai, GNB and SSI
Then he took the violin and started playing the various styles adopted by stalwarts.
He played Saveri as Musiri would sing
Then followed the style of GNB
He played Sankarabaranam in ARI pani.
He also sang in ARI style
SSI style of singing will be continuous and the bowing should be without break.
SSI only taught him elaborately the method of dilineation of raga
He played thanam also in the same style
MA Kalyana krishna Bhagavathar, his thanam will be continuous as he was a vina vidwan.
He has learnt from him too as he used to discuss after the concert elaborately.
His first concert in MA was in 1942 and it continues still.
My observations.
The hall was full of vidwans , vidushis and rasikas. One hour is not sufficient for such a learned person to share his musical experince. He mentioned that he has not touched the techniques of playing violin and requested to arrange during next year. There were frequent interruptions by Pappu rao by way of appeal to rasikas. When TNK was ready to answer or clarify any doubts by rasikas Pappu Rao squarly cut by saying that the sweet atmosphere need not be spoiled by unwanted comments and talks. This was not in good taste. In total the lecture in simple english was quite educative and interesting.
Thanjavooran 18 12 2011
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Re: T.N. Krishnan
I thought it was a boring lecdem; not sure if this is even a lecdem.
Ok, he has playing from 3 years old, performing form 1942 ...
I thought he would recount some of the memorable experiences on the concert stage.
Ok, he has playing from 3 years old, performing form 1942 ...
I thought he would recount some of the memorable experiences on the concert stage.
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Re: T.N. Krishnan
Thank you, thanjavooran.
Before beginning to demonstrate the musical insight he had gained from masters of the yesteryears, as Sri Sriram Krishnan began strumming the tambura, Prof TNK said that even when asked to sing by one's friends, etc., one should not sing without shruti.
He mentioned vallinam and mellinam here.But even at this age he practices to enahance the beauty of that varnam with innovation of pidis and sangathis.
To me, it seemed he found it a handicap because everyone felt he "knew everything", and were not inclined to give corrections and suggestions, when he (and his father, and later, Semmangudi) knew there was still so much for him to learn.It is a big handicap for playing to a concert since one has to reproduce what the singer performs.
Before beginning to demonstrate the musical insight he had gained from masters of the yesteryears, as Sri Sriram Krishnan began strumming the tambura, Prof TNK said that even when asked to sing by one's friends, etc., one should not sing without shruti.
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Re: T.N. Krishnan
The full TNK-PMI concert here:
http://www.youtube.com/watch?v=FVepBhTbTo0
http://www.youtube.com/watch?v=FVepBhTbTo0
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Re: T.N. Krishnan
What did he mean by that? Can you or anyone else please elaborate? Thx.He mentioned vallinam and mellinam here.
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Re: T.N. Krishnan
I didnt know what he meant in the context of the lec-dem as i was not there, but vallinam-mellinam generally means the loud-soft phrases (If i can roughly translate and put it that way).
The usage of vallinam-mellinam is quite often while learning laya, as those kind of phrases are generally played to create a contrast....
The usage of vallinam-mellinam is quite often while learning laya, as those kind of phrases are generally played to create a contrast....
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Re: T.N. Krishnan
Yes, he probably meant modulation of notes and phrases to best bring out the bhAvam of the raga and composition - it is a point RKSK made in his lecdem last year that I had recapped on the forum.
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Re: T.N. Krishnan
A 1986 concert with Vidwans Palghat Raghu and Palghat Sundaram: http://www.sangeethamshare.org/sl/16-TNK_RAGHU_1986/
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Re: T.N. Krishnan
From the Madras Music Academy's archives, Prof TN Krishnan's Sangeetha Kalanidhi address: http://issuu.com/themusicacademy/docs/1981