KV Narayanaswamy- MSG-VR Concert @ Music Academy,1982
01. Varnam(Shankarabharanam}
02. Kanjadalayatakshi(Kamalamanohari)
03. Anuragamule(Saraswathi)
04. Ma ramanan(Hindola)
05. Ungalpurai(Ananadabhairavi)
06. Bhogindrashayinam(Kuntalavarali)
07. Karuna Cheyyan (Sri)
08. Neekela na( Devamanohari)
09. RTP in Four Ragas- Shankarabharanam,Todi, Kalyani and Durbar
10. Kanavendamo(Sriranjani)
11. Varugalamo (Maanji)
12, Eppo varuvaro(Jonpuri)
https://youtu.be/80VUcfDTfOU
K.V.Narayanaswamy
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vs_manjunath
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Re: K.V.Narayanaswamy
Last edited by vs_manjunath on 19 Sep 2022, 15:27, edited 2 times in total.
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Sachi_R
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Re: K.V.Narayanaswamy
This concert of KVN is extremely famous. I was sitting some ten feet away from the musicians on the stage!
4 raga pallavi
4 raga pallavi
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rajeshnat
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Re: K.V.Narayanaswamy
Varugalamo is in maanji. Edit above post
Kvn has selected every gem that kind of gives his gurus like ariyakudi,touch of ssi , touch of mmi, veena dhanammal is all there. Taking malayalam main shows kvn uniqueness. Bringing lot of popular thamizh tail is so welcome and a coverage of all languages and composers. May be one kannada language number would have been perfect but hey we got malayalam
Naadabadran took it to Himalayan heights , with msg also adding his maGical touch. Three extraordinary perfectionist creating multiplier classical magic. I have heard this concert atleast 25 times in last 20 years
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vs_manjunath
- Posts: 1466
- Joined: 29 Sep 2006, 19:37
Re: K.V.Narayanaswamy
Thanks @rajeshnat
Varugaalamo by KVN is out of the world !
Varugaalamo by KVN is out of the world !
Last edited by vs_manjunath on 19 Sep 2022, 09:16, edited 1 time in total.
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Sachi_R
- Posts: 2190
- Joined: 31 Jan 2017, 20:20
Re: K.V.Narayanaswamy
A superb Lec-dem by Vid H V Srivatsan on Maha Vidwan Sri KVN at Music Academy
https://youtu.be/UiNeInuCduI
I shared this at FB group rasikas.org with the following comments
This is a worthy tribute to the one-and-only Sri KVN. I am not the first to say it, but his music caught me the very first time I heard him in the seventies. There were so many divine moments in his concerts that I always wondered how someone could get it “so right”! In the Gita, Bhagavan defines what is Sattvic nourishment – it is life-giving, soul-nourishing, creating inner wellness and strength. It has to be sweet, juicy, and hearty. Those very words describe Sri KVN’s music. Sri KVN sang for Bhagavan, for the composer of the song, and for the rasika, all in equal measure. He had समत्वम् – a perfect “Just Right” feeling or “Balance” in everything – shruti, Laya, Sahitya, Manodharma, Concert organisation. Music smiled through him always.
My Pranams to Sri KVN always.
https://youtu.be/UiNeInuCduI
I shared this at FB group rasikas.org with the following comments
This is a worthy tribute to the one-and-only Sri KVN. I am not the first to say it, but his music caught me the very first time I heard him in the seventies. There were so many divine moments in his concerts that I always wondered how someone could get it “so right”! In the Gita, Bhagavan defines what is Sattvic nourishment – it is life-giving, soul-nourishing, creating inner wellness and strength. It has to be sweet, juicy, and hearty. Those very words describe Sri KVN’s music. Sri KVN sang for Bhagavan, for the composer of the song, and for the rasika, all in equal measure. He had समत्वम् – a perfect “Just Right” feeling or “Balance” in everything – shruti, Laya, Sahitya, Manodharma, Concert organisation. Music smiled through him always.
My Pranams to Sri KVN always.
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ram1999
- Posts: 556
- Joined: 26 Nov 2015, 17:20
Re: K.V.Narayanaswamy
Just right / balance or the measure was the forte of Ariyakudi which KVN followed steadfastily. Ramnad Krishnan / Voleti Venkateswarulu were couple of vidwans who sang with the perfect balance / proportion. Of course amongst the femalae vocalists Brindamma, MSS, MLV and DKP were known for this quality.Sachi_R wrote: ↑26 Dec 2022, 18:58 A superb Lec-dem by Vid H V Srivatsan on Maha Vidwan Sri KVN at Music Academy
https://youtu.be/UiNeInuCduI
I shared this at FB group rasikas.org with the following comments
This is a worthy tribute to the one-and-only Sri KVN. I am not the first to say it, but his music caught me the very first time I heard him in the seventies. There were so many divine moments in his concerts that I always wondered how someone could get it “so right”! In the Gita, Bhagavan defines what is Sattvic nourishment – it is life-giving, soul-nourishing, creating inner wellness and strength. It has to be sweet, juicy, and hearty. Those very words describe Sri KVN’s music. Sri KVN sang for Bhagavan, for the composer of the song, and for the rasika, all in equal measure. He had समत्वम् – a perfect “Just Right” feeling or “Balance” in everything – shruti, Laya, Sahitya, Manodharma, Concert organisation. Music smiled through him always.
My Pranams to Sri KVN always.
KVN's music was divine - the voice, the tempo and every element such as alapanas, the kriti rendition, the swaras flowing with absolute ease, the repertoire etc ....
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shankarank
- Posts: 4242
- Joined: 15 Jun 2009, 07:16
Re: K.V.Narayanaswamy
This is one from that memorable era of music, full of polish and perfection:
https://www.youtube.com/watch?v=xPUcUdBl-5s
https://www.youtube.com/watch?v=xPUcUdBl-5s
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sam
- Posts: 1171
- Joined: 04 Mar 2020, 20:25
Re: K.V.Narayanaswamy
A nice introduction by sriramv
.
KV Narayanaswamy -
Madras Heritage and Carnatic Music.
.
https://sriramv.com/2010/07/12/kv-narayanaswamy/.
.....
Excerpts
In Carnatic music, it is often possible to identify an artiste from the demeanour of the audience as it streams out at the end of a performance. Such an exit poll would often show excited conversation, vehement arguments, eulogistic praise and sometimes sheer awe. For one artiste alone, the audience invariably left the hall in complete silence at the end of the performance. For that artiste invariably made the audience join him in worshipping music. It was a communion between a musician and many musical souls and that experience left the audience in a state of bliss for describing which silence was perhaps the best tribute. That artiste was KV Narayanaswamy or KVN as he was fondly referred to.
...
KVN was born on 15th November 1923 at Palakkad to Viswanatha Bhagavatar and Muttulakshmi. The father was a violinist. Grandfather Narayana Bhagavatar and great grandfather Viswam Bhagavatar were musicians in Krishnan Attam performances, a dance form of Kerala and Viswam Bhagavatar had been honoured by Maharajah Ayilyam Tirunal of Travancore (r 1860-1880AD).
.From very early in life it was clear that KVN would shine as a musician and his conventional schooling was therefore given up when he was in standard VII. .
He had his initial musical training under his father and also his grandfather. His first concert took place when he was very young, at a village near Kollengode. His grandfather not wanting to intimidate the boy by his presence hid behind a pillar and was very proud to hear the audience appreciating the child. .
..
The mridangam maestro Palghat Mani Iyer was a close friend of the family and took on KVN as his student
.
On Mani Iyer’s recommendation he also learnt music for a while from CS Krishna Iyer then resident at Kalpathi.
.In early 1941, he was sent to Madras to observe and learn from violin maestro ‘Papa’ KS Venkataramiah. When Papa’s family moved to Tanjavur in 1942 following the evacuation of Madras, KVN followed suit. It was clear however that given his training under Mani Iyer and Papa, he would soon gravitate to Ariyakkudi Ramanuja Iyengar, the then numero uno in Carnatic music and the one whom both Mani Iyer and Papa literally worshipped...
The introduction happened in Madras at Devakottai House, present day AVM Rajeshwari Kalyana Mandapam in Mylapore in 1942.
.
KVN became a student in residence under Ariyakkudi’s care and soon became a faithful adherent of the Ariyakkudi bhani.
In 1947 he made his appearance at the December festival of the Music Academy, Madras.
His first major concert in Madras city however was in 1954 when at the instance of Mani Iyer he stood in for his Guru who excused himself from a Music Academy performance...( age..31)
Over the years he emerged as the most popular concert performer in the Ariyakkudi tradition. However unlike his Guru who excelled in the madhyamakala or medium tempo, KVN began to specialize in the vilambakala or slow tempo as well.
In this he was influenced by the styles of Musiri Subramania Iyer and the Veena Dhanammal family among whose members was Jayammal, the mother of T Balasaraswathi, and she taught him padams and javalis.
.
His knowledge of most south Indian languages ensured he presented the lyrics most faithfully. His niraval was superb and full of bhava.
He invariably included a ragam tanam pallavi suite..
Among the end pieces the song “varugalamo ayya” from the Nandan Charittiram of Gopalakrishna Bharati was an eternal favourite and in later years so was MD Ramanathan’s “Sagara Shayana Vibho”.
KVN married Palghat Mani Iyer’s cousin Annapoorni in 1948.
They had three daughters and a son. It was a happy union till her sudden death in 1962 which left KVN bereft.
In 1965 he married his own disciple Padma who later also began accompanying him in his concerts. He had a daughter through his second marriage.
KVN was a man of great discipline true to his Gandhian ideals. At the same time he was loving and gentle and this resulted in several disciples attaching themselves to him.
.
.He taught them all with equal love and affection. In 1962, KVN joined the Central College of Carnatic Music Madras, now the Isai Kalluri and retired from there as Professor of Music in 1982..
His first major concert abroad was at the Edinburgh Music Festival in 1965. The same year he was invited by the Wesleyan University for a two year teaching stint.
Many of the major awards came his way.
These included the
Sangita Kalanidhi from the Music Academy (1986)
, the Padma Shri (1976) and the Central
Sangeet Natak Akademi award (1976).
Perhaps the award that in name best summed up his music was Nada Brahmam which was conferred on him by the Narada Gana Sabha in 2001.
.
KVN’s biography was written in Tamil by the veteran journalist and music lover Neelam in 2001. This was translated into English the same year by Justice VR Krishna Iyer who was a great admirer of KVN and his music.
KVN passed away on 1st April 2002 after a lifetime in music, much mourned by fans all across the world.
.
.
KV Narayanaswamy -
Madras Heritage and Carnatic Music.
.
https://sriramv.com/2010/07/12/kv-narayanaswamy/.
.....
Excerpts
In Carnatic music, it is often possible to identify an artiste from the demeanour of the audience as it streams out at the end of a performance. Such an exit poll would often show excited conversation, vehement arguments, eulogistic praise and sometimes sheer awe. For one artiste alone, the audience invariably left the hall in complete silence at the end of the performance. For that artiste invariably made the audience join him in worshipping music. It was a communion between a musician and many musical souls and that experience left the audience in a state of bliss for describing which silence was perhaps the best tribute. That artiste was KV Narayanaswamy or KVN as he was fondly referred to.
...
KVN was born on 15th November 1923 at Palakkad to Viswanatha Bhagavatar and Muttulakshmi. The father was a violinist. Grandfather Narayana Bhagavatar and great grandfather Viswam Bhagavatar were musicians in Krishnan Attam performances, a dance form of Kerala and Viswam Bhagavatar had been honoured by Maharajah Ayilyam Tirunal of Travancore (r 1860-1880AD).
.From very early in life it was clear that KVN would shine as a musician and his conventional schooling was therefore given up when he was in standard VII. .
He had his initial musical training under his father and also his grandfather. His first concert took place when he was very young, at a village near Kollengode. His grandfather not wanting to intimidate the boy by his presence hid behind a pillar and was very proud to hear the audience appreciating the child. .
..
The mridangam maestro Palghat Mani Iyer was a close friend of the family and took on KVN as his student
.
On Mani Iyer’s recommendation he also learnt music for a while from CS Krishna Iyer then resident at Kalpathi.
.In early 1941, he was sent to Madras to observe and learn from violin maestro ‘Papa’ KS Venkataramiah. When Papa’s family moved to Tanjavur in 1942 following the evacuation of Madras, KVN followed suit. It was clear however that given his training under Mani Iyer and Papa, he would soon gravitate to Ariyakkudi Ramanuja Iyengar, the then numero uno in Carnatic music and the one whom both Mani Iyer and Papa literally worshipped...
The introduction happened in Madras at Devakottai House, present day AVM Rajeshwari Kalyana Mandapam in Mylapore in 1942.
.
KVN became a student in residence under Ariyakkudi’s care and soon became a faithful adherent of the Ariyakkudi bhani.
In 1947 he made his appearance at the December festival of the Music Academy, Madras.
His first major concert in Madras city however was in 1954 when at the instance of Mani Iyer he stood in for his Guru who excused himself from a Music Academy performance...( age..31)
Over the years he emerged as the most popular concert performer in the Ariyakkudi tradition. However unlike his Guru who excelled in the madhyamakala or medium tempo, KVN began to specialize in the vilambakala or slow tempo as well.
In this he was influenced by the styles of Musiri Subramania Iyer and the Veena Dhanammal family among whose members was Jayammal, the mother of T Balasaraswathi, and she taught him padams and javalis.
.
His knowledge of most south Indian languages ensured he presented the lyrics most faithfully. His niraval was superb and full of bhava.
He invariably included a ragam tanam pallavi suite..
Among the end pieces the song “varugalamo ayya” from the Nandan Charittiram of Gopalakrishna Bharati was an eternal favourite and in later years so was MD Ramanathan’s “Sagara Shayana Vibho”.
KVN married Palghat Mani Iyer’s cousin Annapoorni in 1948.
They had three daughters and a son. It was a happy union till her sudden death in 1962 which left KVN bereft.
In 1965 he married his own disciple Padma who later also began accompanying him in his concerts. He had a daughter through his second marriage.
KVN was a man of great discipline true to his Gandhian ideals. At the same time he was loving and gentle and this resulted in several disciples attaching themselves to him.
.
.He taught them all with equal love and affection. In 1962, KVN joined the Central College of Carnatic Music Madras, now the Isai Kalluri and retired from there as Professor of Music in 1982..
His first major concert abroad was at the Edinburgh Music Festival in 1965. The same year he was invited by the Wesleyan University for a two year teaching stint.
Many of the major awards came his way.
These included the
Sangita Kalanidhi from the Music Academy (1986)
, the Padma Shri (1976) and the Central
Sangeet Natak Akademi award (1976).
Perhaps the award that in name best summed up his music was Nada Brahmam which was conferred on him by the Narada Gana Sabha in 2001.
.
KVN’s biography was written in Tamil by the veteran journalist and music lover Neelam in 2001. This was translated into English the same year by Justice VR Krishna Iyer who was a great admirer of KVN and his music.
KVN passed away on 1st April 2002 after a lifetime in music, much mourned by fans all across the world.
.
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sam
- Posts: 1171
- Joined: 04 Mar 2020, 20:25
Re: K.V.Narayanaswamy
Nādabhṛṅga presents the first concert in this series celebrating the 98th Birth Anniversary of Sangita Kalanidhi Mahavidwan Sri Palghat K V Narayanaswamy. This concert was performed at the Navarātri Maṇṭapam in Thiruvananthapuram, most probably on the 18th of October, 1977. In this concert, one can hear Sri KVN in full unfettered flow like the mighty Ganges in spate, along with his stellar accompanying musicians, who together take the audience on a transcendent aural journey.
Palghat K V Narayanaswamy
T N Krishnan - Violin
Palghat T S Mani Iyer - Mridangam
https://youtu.be/xMNj7mWrU_I?si=oH-CN9y8TTfK5183
1. sarasijanābhamurāre (varṇam)
- māyāmāḷavagauḷa
- ādi - mahārāja svāti tiruṇāḷ [00:00]
2. māmava sadā janani
- kānaḍā -
rūpakam - mahārāja svāti tiruṇāḷ [08:43]
3. devadeva jagadīśvara
- pūrvikalyāṇī -
ādi - mahārāja svāti tiruṇāḷ [18:37]
4. sumasāyaka vidhurāmava
(pada varṇam) -
kāpi -
rūpakam - mahārāja svāti tiruṇāḷ [38:03]
5. smara sadā mānasa bālagopālam
- bilahari -
ādi - mahārāja svāti tiruṇāḷ [53:21]
6. rāma rāma guṇasīma -
simhēndramadhyama
- ādi - mahārāja svāti tiruṇāḷ [01:13:25]
7. tani āvartana [01:51:13]
8. janani pāhi sadā -
śuddha sāvērī -
miśra cāpu - mahārāja svāti tiruṇāḷ [02:01:21]
9. smarajanaka śubhacarita
- bihāg -
miśra cāpu - mahārāja svāti tiruṇāḷ [02:48:53]
Palghat K V Narayanaswamy
T N Krishnan - Violin
Palghat T S Mani Iyer - Mridangam
https://youtu.be/xMNj7mWrU_I?si=oH-CN9y8TTfK5183
1. sarasijanābhamurāre (varṇam)
- māyāmāḷavagauḷa
- ādi - mahārāja svāti tiruṇāḷ [00:00]
2. māmava sadā janani
- kānaḍā -
rūpakam - mahārāja svāti tiruṇāḷ [08:43]
3. devadeva jagadīśvara
- pūrvikalyāṇī -
ādi - mahārāja svāti tiruṇāḷ [18:37]
4. sumasāyaka vidhurāmava
(pada varṇam) -
kāpi -
rūpakam - mahārāja svāti tiruṇāḷ [38:03]
5. smara sadā mānasa bālagopālam
- bilahari -
ādi - mahārāja svāti tiruṇāḷ [53:21]
6. rāma rāma guṇasīma -
simhēndramadhyama
- ādi - mahārāja svāti tiruṇāḷ [01:13:25]
7. tani āvartana [01:51:13]
8. janani pāhi sadā -
śuddha sāvērī -
miśra cāpu - mahārāja svāti tiruṇāḷ [02:01:21]
9. smarajanaka śubhacarita
- bihāg -
miśra cāpu - mahārāja svāti tiruṇāḷ [02:48:53]