Dear All,
My father never sang his compositions except very rare occations.I will try to upload the song sadapalaya sung by his deciple late T R Balasubramanim-old &
first lp record released in mid 50s.of fathers compositions.It will take some time since I have to seek the help of Mr COOL for this.As promised,I have to upload some more items like his new innovations, varnams etc.Hope to do it shortly with Mr COOLs help.
Bhuvan. 11/03/07.
G.N. Balasubramaniam (GNB)
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gbb
- Posts: 16
- Joined: 23 Feb 2007, 06:56
Dear All,
I have just now received the Book-Keerthanai Agarathi from the shop
and fathers compositions source is shown as Tanjore S Kalyanaraman.I have gone to the residence of Ms.Bhushany Kalyanaram and gone through all the songs in TSK Book where he used to write all the notations. before publishing the 3rd volume. I got few songs and I included in the 3rd volume.I will make one more visit to her house shortly with the Book and make one more attempt.She was telling me that T S Ks sister has some collections and I will try to meet her also to verify if there is anything with her.Since the source is given as T S K,there is every chance for it.Father used to teech the new compositions to the deciple who comes on that day for learning music.Will revert soon.
Bhuvan. 15/03/07.
I have just now received the Book-Keerthanai Agarathi from the shop
and fathers compositions source is shown as Tanjore S Kalyanaraman.I have gone to the residence of Ms.Bhushany Kalyanaram and gone through all the songs in TSK Book where he used to write all the notations. before publishing the 3rd volume. I got few songs and I included in the 3rd volume.I will make one more visit to her house shortly with the Book and make one more attempt.She was telling me that T S Ks sister has some collections and I will try to meet her also to verify if there is anything with her.Since the source is given as T S K,there is every chance for it.Father used to teech the new compositions to the deciple who comes on that day for learning music.Will revert soon.
Bhuvan. 15/03/07.
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thanjavur
You can find Sada palaya sung by Trichur atgb wrote:Hi If someone has the song Sada palaya sung by the prince charming himself can you please post
Nada Anuboothi
http://home.sprynet.com/~dsivakumar/music/intromus.htm
Music Categories > Carnatic - Vocal > Song Title S...
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Lakshman
- Posts: 14040
- Joined: 10 Feb 2010, 18:52
Here is an article that GNB wrote in the 1964 souvenir of Bharatiya Music & Arts Society, Mumbai:
CONCERT TRADITION
Sangitha Kalanidhi Sri G. N. BALASUBRAMANIAM, B A. (Hons.)
THE word "Tradition" connotes the sum total of observances and practices as they come down in human history, in the aspect of man's mental and social activities such as literature, art, religion and philosophy. Each generation takes up the heritage of its distant and immediate past and perforce moulds it to the needs, tempe-raments and capacities of its own time. Therefore, tradition cannot be a dead fossil of the past, but it is a continuity of it, accommodated to the needs of the times. Other-wise it will cease to have a living quality about it. Its validity is proven by the discovery of its moorings in the early ages of human history.
Modern Classical concert music is an instance in point. The limbs and parts which go to make up the present day concert are the growth of such basic elements and components that were born even as early as a thousand years ago. To give a few instances, the raga, the soul of our music is a lyrical and historical corollary of and development from "Jathis", dating from 7th or 8th century A. D. Swara prasthara seems to have existed even as early or even earlier than the 13th century A. D. Both the "Sangitha Ratnakara" of Saranga Deva and the later "Ragavibodha" mention swara varisais or alankaras about sixty in number which are quite aesthetic and interesting, judged, even by modern standards.
"Kootatanam" as opposed to •'Suddhasadanam" is swara prasthara in vakra order. Thanam singing of the modern type in which raga phrases are sung to madh-yama kala with specified letters or aksharas, seems to be only 300 to 400 years old. Again Pallavi singing has been hinted at and vaguely described in the words "Roopaka Alapati" in the "Sangitha Ratnakara".
Between the post Ratnakara period, about which time, the Indian Music system seems to have bifurcated itself into the Southern and Northern systems and the 18th century, the 72 Mela Karthas with their enormous possibilities for the creation of innumerable janaka ragas had been propounded and exploited. The theory of the music of the South had been promulgated in all its elaborateness and detail Puran-dara Dasa had laid secure foundations of our music with his Alankara, Geetham and Chooladhis, not to speak of thousands of his Padas. Lakshana Geethams for many ragas had been composed by Venkatamakhin and others. The ground had been thoroughly prepared for the flowering of men of genius like the South Indian Trinity whoappeared in thefirmament of musicandflooded ourcontinentwith the light of their celestial compositions. The Krithi in its embryo form in the "GeethaGovinda" reached adolescence with the Talapakkam composers followed by Badrachala Ramdas and others and reached its full .naturity in the compositions of Sri Thyagaraja, Syama Sastri and Dikshithar. Periods of private and Royal patronage of music have always been rich in producing great composers and public encouragement, great performers. In the pre-Thyagaraja period, concerts were mostly held in the chambers of Royalty and Zamindars, where only a chosen few were privileged to listen to Classical Music. The concert then which lasted for about two hours and more was mainly elaborate raga singing followed by Pallavi. Musical history has it that even contests in such concerts were held in Royal courts. Nagaswaram, the most effective instrument tor the propagation of Classical music among the masses, on occasions of royal festivities as also religious and temple utsavas, was the medium through which, large sections of the public got gradually acquainted with many prasiddha ragas and talas.
Thus it will be seen that all the material for the structure of modern concert, barring krithies were ready in the Thyagaraja period. Varnams of Audiappier and others, krithies of the Trinity and other composers in their wake and the ragam, tan am, and pallavi. The early forms of music like Tayams, Prabhandams etc., were swept away by the advent of the krithies. But their spirit continued to live in the varieties of the krities produced by the Trinity. Dikshitar's krithies are Prabhandhas in spirit, those of Thyagaraja and Syama Sastri, of kavya. Kaipana Sangit which was till then only confined to ragam and pallavi, could now be had through the interpretation of various types of compositions.
From an analysis of the history of our music from very early times upto the 18th century, it will be evident that there had been a progressive, though slow, evolution of music in all its forms which gave nourishment and growth to individual talent, through scientific methods and codification of musical practice and knowledge. Ample opportunities were afforded in private houses of royalty and zamindars for exhibition of such individual artistic talents. The adaptation of the modern violin, an importation from the West and exploitation of its possibilities as a solo and accompanying medium in a concert came in handy and timely when the concert emerged from the private chambers into the public wing. With the increasing patronage of music by the public and private audiences, musicians were tempted to pursue it as a career. The performer as such had to enlarge his stock and repertoire. Unalloyed interpretative music was found inadequate to meet the increasing demands from the public. The performer had to include recitative portions also in the concert before and after the Ragam, tanam and pallavi. The post-Thyagaraja period saw an exuberance of compositions like Tillanas, Javalies etc. which supplied the needs of the performing musicians in this respect. The large volume of compositions of the Trinity came in a very strategic and psychological moment. These compositions afforded unprecedented scope for the display of the individual talent in the very handling of such pieces as well as raga prologue to the pieces in the niraval and swara improvisations which could be introduced during
or after the recitation of the piece. They were also of such wide range of variety
as could suit the varying musical temperaments and equipments of many talented
and gifted musicians, as also various grades of the fast growing public taste for
music.
It was in this way way that the two major aspects, the determinate and indeter-minate (the receptive and the interpretative) became the warp and woof of the texture-of the modern concert. The modern concert is a well thought-out and schemed arrangement m the presentation of Classical music in both these aso-cts The concert could be divided into three segments, (1) the prepallavi segment (2) the raga thanam and pallavi, and (3) the post-pallavi and comparativelv light-! s-ment' The one which precedes the pallavi is a mixture of recitative and interpretative elements. From the opening varnam, through alternating fast and slow phased krithies, small raga prologues to the former and elaborate expositions for the latter the classical atmosphere gets gradually heightened. ic culminates in the second' segment, i. e. ragam, tanam and pallavi which is the high water-mark of South Indian Classical Music. It is the peak of the concert. From the ragam, tanam, pallavi, to the end of the performance, there is a gradual watering down of classical and light music, so that at the end, even non-classical folk and Hindustani melodies fit with naturalness into the pattern of the concert. Even in the pre-r,ai!avi portion, in the rendering of each piece, the succession of the ragam, kriii, niraval and swara has a significance. From the raga to krithi, from krithi to niraval and from niraval to swara improvisation, it is a graded, increasing emergence and emphasis of the aspect of laya.
The unique appeal and greatness of our art are owing to its capacity for growth and adaptation, through a long period of time and more so because, men of great genius
system, throught heir knowledge and intelligence could have the greatest freedom for the
play of both thetse factors within the framework of tradition. Our system, the most
aesthetic, intricate and exalted in the world, is the noblest heritage of man.
Our concert tradition has come to stay.
It wiil be good to remind ourselves that all Art is great to the extent that it is informed of the spirit, by the nobility of its content, harmony of its parts and the elegance in its presentation. We should not allow this great heritage to disintegrate into mere and empty aesthetic formalism and uninspired technique and showmanship, which inordinate and indiscriminate commercialisation of any art is likely to bring in its wake.
Courtesy Bharatiya Music & Arts Society, Bombay (Souvenir 1964)
GNB was invited to give a special performance in the presence of the Travancore Royal Family. The immediate audience consisted only of three people— His Highness, Her Highness and Sri Karthikai Tirunal- Others who were only special invitees could hear the concert from an adjoining room, as befitting the practices in Maharaja's palaces of those days. GNB sang "Swartvnatha paripalaya" and executed an excellent n'irava'l ana swaraprasthara at 'the "point “Parvati Sukumara" as a tribute not only to the Deity described in the song but also his distinguished audience. (Her Highness's name was Parvati) -KSMR
CONCERT TRADITION
Sangitha Kalanidhi Sri G. N. BALASUBRAMANIAM, B A. (Hons.)
THE word "Tradition" connotes the sum total of observances and practices as they come down in human history, in the aspect of man's mental and social activities such as literature, art, religion and philosophy. Each generation takes up the heritage of its distant and immediate past and perforce moulds it to the needs, tempe-raments and capacities of its own time. Therefore, tradition cannot be a dead fossil of the past, but it is a continuity of it, accommodated to the needs of the times. Other-wise it will cease to have a living quality about it. Its validity is proven by the discovery of its moorings in the early ages of human history.
Modern Classical concert music is an instance in point. The limbs and parts which go to make up the present day concert are the growth of such basic elements and components that were born even as early as a thousand years ago. To give a few instances, the raga, the soul of our music is a lyrical and historical corollary of and development from "Jathis", dating from 7th or 8th century A. D. Swara prasthara seems to have existed even as early or even earlier than the 13th century A. D. Both the "Sangitha Ratnakara" of Saranga Deva and the later "Ragavibodha" mention swara varisais or alankaras about sixty in number which are quite aesthetic and interesting, judged, even by modern standards.
"Kootatanam" as opposed to •'Suddhasadanam" is swara prasthara in vakra order. Thanam singing of the modern type in which raga phrases are sung to madh-yama kala with specified letters or aksharas, seems to be only 300 to 400 years old. Again Pallavi singing has been hinted at and vaguely described in the words "Roopaka Alapati" in the "Sangitha Ratnakara".
Between the post Ratnakara period, about which time, the Indian Music system seems to have bifurcated itself into the Southern and Northern systems and the 18th century, the 72 Mela Karthas with their enormous possibilities for the creation of innumerable janaka ragas had been propounded and exploited. The theory of the music of the South had been promulgated in all its elaborateness and detail Puran-dara Dasa had laid secure foundations of our music with his Alankara, Geetham and Chooladhis, not to speak of thousands of his Padas. Lakshana Geethams for many ragas had been composed by Venkatamakhin and others. The ground had been thoroughly prepared for the flowering of men of genius like the South Indian Trinity whoappeared in thefirmament of musicandflooded ourcontinentwith the light of their celestial compositions. The Krithi in its embryo form in the "GeethaGovinda" reached adolescence with the Talapakkam composers followed by Badrachala Ramdas and others and reached its full .naturity in the compositions of Sri Thyagaraja, Syama Sastri and Dikshithar. Periods of private and Royal patronage of music have always been rich in producing great composers and public encouragement, great performers. In the pre-Thyagaraja period, concerts were mostly held in the chambers of Royalty and Zamindars, where only a chosen few were privileged to listen to Classical Music. The concert then which lasted for about two hours and more was mainly elaborate raga singing followed by Pallavi. Musical history has it that even contests in such concerts were held in Royal courts. Nagaswaram, the most effective instrument tor the propagation of Classical music among the masses, on occasions of royal festivities as also religious and temple utsavas, was the medium through which, large sections of the public got gradually acquainted with many prasiddha ragas and talas.
Thus it will be seen that all the material for the structure of modern concert, barring krithies were ready in the Thyagaraja period. Varnams of Audiappier and others, krithies of the Trinity and other composers in their wake and the ragam, tan am, and pallavi. The early forms of music like Tayams, Prabhandams etc., were swept away by the advent of the krithies. But their spirit continued to live in the varieties of the krities produced by the Trinity. Dikshitar's krithies are Prabhandhas in spirit, those of Thyagaraja and Syama Sastri, of kavya. Kaipana Sangit which was till then only confined to ragam and pallavi, could now be had through the interpretation of various types of compositions.
From an analysis of the history of our music from very early times upto the 18th century, it will be evident that there had been a progressive, though slow, evolution of music in all its forms which gave nourishment and growth to individual talent, through scientific methods and codification of musical practice and knowledge. Ample opportunities were afforded in private houses of royalty and zamindars for exhibition of such individual artistic talents. The adaptation of the modern violin, an importation from the West and exploitation of its possibilities as a solo and accompanying medium in a concert came in handy and timely when the concert emerged from the private chambers into the public wing. With the increasing patronage of music by the public and private audiences, musicians were tempted to pursue it as a career. The performer as such had to enlarge his stock and repertoire. Unalloyed interpretative music was found inadequate to meet the increasing demands from the public. The performer had to include recitative portions also in the concert before and after the Ragam, tanam and pallavi. The post-Thyagaraja period saw an exuberance of compositions like Tillanas, Javalies etc. which supplied the needs of the performing musicians in this respect. The large volume of compositions of the Trinity came in a very strategic and psychological moment. These compositions afforded unprecedented scope for the display of the individual talent in the very handling of such pieces as well as raga prologue to the pieces in the niraval and swara improvisations which could be introduced during
or after the recitation of the piece. They were also of such wide range of variety
as could suit the varying musical temperaments and equipments of many talented
and gifted musicians, as also various grades of the fast growing public taste for
music.
It was in this way way that the two major aspects, the determinate and indeter-minate (the receptive and the interpretative) became the warp and woof of the texture-of the modern concert. The modern concert is a well thought-out and schemed arrangement m the presentation of Classical music in both these aso-cts The concert could be divided into three segments, (1) the prepallavi segment (2) the raga thanam and pallavi, and (3) the post-pallavi and comparativelv light-! s-ment' The one which precedes the pallavi is a mixture of recitative and interpretative elements. From the opening varnam, through alternating fast and slow phased krithies, small raga prologues to the former and elaborate expositions for the latter the classical atmosphere gets gradually heightened. ic culminates in the second' segment, i. e. ragam, tanam and pallavi which is the high water-mark of South Indian Classical Music. It is the peak of the concert. From the ragam, tanam, pallavi, to the end of the performance, there is a gradual watering down of classical and light music, so that at the end, even non-classical folk and Hindustani melodies fit with naturalness into the pattern of the concert. Even in the pre-r,ai!avi portion, in the rendering of each piece, the succession of the ragam, kriii, niraval and swara has a significance. From the raga to krithi, from krithi to niraval and from niraval to swara improvisation, it is a graded, increasing emergence and emphasis of the aspect of laya.
The unique appeal and greatness of our art are owing to its capacity for growth and adaptation, through a long period of time and more so because, men of great genius
system, throught heir knowledge and intelligence could have the greatest freedom for the
play of both thetse factors within the framework of tradition. Our system, the most
aesthetic, intricate and exalted in the world, is the noblest heritage of man.
Our concert tradition has come to stay.
It wiil be good to remind ourselves that all Art is great to the extent that it is informed of the spirit, by the nobility of its content, harmony of its parts and the elegance in its presentation. We should not allow this great heritage to disintegrate into mere and empty aesthetic formalism and uninspired technique and showmanship, which inordinate and indiscriminate commercialisation of any art is likely to bring in its wake.
Courtesy Bharatiya Music & Arts Society, Bombay (Souvenir 1964)
GNB was invited to give a special performance in the presence of the Travancore Royal Family. The immediate audience consisted only of three people— His Highness, Her Highness and Sri Karthikai Tirunal- Others who were only special invitees could hear the concert from an adjoining room, as befitting the practices in Maharaja's palaces of those days. GNB sang "Swartvnatha paripalaya" and executed an excellent n'irava'l ana swaraprasthara at 'the "point “Parvati Sukumara" as a tribute not only to the Deity described in the song but also his distinguished audience. (Her Highness's name was Parvati) -KSMR
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sindhu
- Posts: 132
- Joined: 30 Oct 2006, 15:07
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vs_manjunath
- Posts: 1466
- Joined: 29 Sep 2006, 19:37
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gbb
- Posts: 16
- Joined: 23 Feb 2007, 06:56
Dear Sri Manjunath,
My father used to sing in both Adi and Deshadi talas some keerthanas including Sundara Thara in Panthuvarali.This was confirmed by a Mridanga Artist who is a keen follower of fathers singing.I can try to upload both-talas of it-if some one help me in this type of work.Pl. advise.
Bhuvan. 31/03/07.
My father used to sing in both Adi and Deshadi talas some keerthanas including Sundara Thara in Panthuvarali.This was confirmed by a Mridanga Artist who is a keen follower of fathers singing.I can try to upload both-talas of it-if some one help me in this type of work.Pl. advise.
Bhuvan. 31/03/07.
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vs_manjunath
- Posts: 1466
- Joined: 29 Sep 2006, 19:37
Thank you Sri.Bhuvan(gbb). Reg uploading of audio recordings, Coolkarniji/rasikas can advise, since i also have not done this activity.
Your father's available recordings, I have been listening atleast for the past 4 decades. Each song is a treasure. Shivakameshwarim & Nidhichala Sukhama in Kalyani;
Ananda natesha , Thamathame, KaddanuvAriki in Thodi; Sri Subramanyaya & Thillai Ishanai kAnadh Enna(RTP) in Kambodhi; Broche va in Kamach;Swaminatha in Nattai; Paridhana micchithe in Bilahari; O Rajeevaksha,Sadhinchane in Aarabhi;Raga Sudharasa in Andholika;Meenakshi Me Mudham in Poorvikalyani;Radha Sametha Krishna in Yamuna kalyani;Radhamukha Kamala in Hindusthani Kaapi; Himagiri Thanye in Shudda Dhanyasi;Kalala Nerchina in Deepakam;Ramakatha Sudha in Madhyamavathi and the other Thaygaraja's madhyamakala songs like Marugelara;Shobillu;Swararaga Laya etc have been providing continous enjoyment.
Your father's available recordings, I have been listening atleast for the past 4 decades. Each song is a treasure. Shivakameshwarim & Nidhichala Sukhama in Kalyani;
Ananda natesha , Thamathame, KaddanuvAriki in Thodi; Sri Subramanyaya & Thillai Ishanai kAnadh Enna(RTP) in Kambodhi; Broche va in Kamach;Swaminatha in Nattai; Paridhana micchithe in Bilahari; O Rajeevaksha,Sadhinchane in Aarabhi;Raga Sudharasa in Andholika;Meenakshi Me Mudham in Poorvikalyani;Radha Sametha Krishna in Yamuna kalyani;Radhamukha Kamala in Hindusthani Kaapi; Himagiri Thanye in Shudda Dhanyasi;Kalala Nerchina in Deepakam;Ramakatha Sudha in Madhyamavathi and the other Thaygaraja's madhyamakala songs like Marugelara;Shobillu;Swararaga Laya etc have been providing continous enjoyment.
Last edited by vs_manjunath on 31 Mar 2007, 17:59, edited 1 time in total.
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coolkarni
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gbb
- Posts: 16
- Joined: 23 Feb 2007, 06:56
Dear Sri Manjunath,
This has ref. to your personal mail and general information.As suggedted,I am replying through this.
My father used to practice in the early morning-in Dec.also-sitting against the wind in the Triplicane beach sea shore for more than an hour daily.
His voice was blessed with all the virtues of good voice. He made it very perfect by his asura sadhagam.He can sing from lowest octave to the top most octave with ease and amazing speed- even beyond the reach of Nadhaewaram-Sri T N Rajarathnam Pillai openly spoke about it in public.The brighas of his singing are the original-not in false voice-from Nabhi-the starting point of sound in the body.
Sri Lalgudi has openly stated recently that they can feel the vibration in the platform while the brighas flows from his voice.Sri T N Krishnan said -brigha means G N B and only one original brigha is that of fathgers.No bodyelse can be said or compared.Even Sri Bade Gulam openly admitted that his brighas are false and cannot be compared to my father.
In the early hours of the day and in the evenings also if free while in city,, he used to sing all the raghas elobratly while practising.
As said earlier,he never sang his own compositions exceopt one.There is no recordings of them.
Bhuvan. 04/04/07.
This has ref. to your personal mail and general information.As suggedted,I am replying through this.
My father used to practice in the early morning-in Dec.also-sitting against the wind in the Triplicane beach sea shore for more than an hour daily.
His voice was blessed with all the virtues of good voice. He made it very perfect by his asura sadhagam.He can sing from lowest octave to the top most octave with ease and amazing speed- even beyond the reach of Nadhaewaram-Sri T N Rajarathnam Pillai openly spoke about it in public.The brighas of his singing are the original-not in false voice-from Nabhi-the starting point of sound in the body.
Sri Lalgudi has openly stated recently that they can feel the vibration in the platform while the brighas flows from his voice.Sri T N Krishnan said -brigha means G N B and only one original brigha is that of fathgers.No bodyelse can be said or compared.Even Sri Bade Gulam openly admitted that his brighas are false and cannot be compared to my father.
In the early hours of the day and in the evenings also if free while in city,, he used to sing all the raghas elobratly while practising.
As said earlier,he never sang his own compositions exceopt one.There is no recordings of them.
Bhuvan. 04/04/07.
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vs_manjunath
- Posts: 1466
- Joined: 29 Sep 2006, 19:37
Genuine Modesty
An instance mentioned by Semmangudi Srinivasa Iyer speaks volumes of GNB's humility and his spontaneous appreciation of good music wherever it came from. The occassion was a flute recital by that genius TR Mahalingam. Semmangudi and GNB were in the audience. Mali played a hauntingly beautiful Bhairavi alapana. GNB was deeply touched and turning to Semmangudi he said: " You know after listening to this, I feel like giving up singing. Perhaps I can do so since I have a degree and can get a job somewhere." Semmangudi echoed the sentiment and said that perhaps he could also return to cultivate his lands.
(From: GNB - A Biography by TS Vedagiri et al Publ, Jan 1985)
An instance mentioned by Semmangudi Srinivasa Iyer speaks volumes of GNB's humility and his spontaneous appreciation of good music wherever it came from. The occassion was a flute recital by that genius TR Mahalingam. Semmangudi and GNB were in the audience. Mali played a hauntingly beautiful Bhairavi alapana. GNB was deeply touched and turning to Semmangudi he said: " You know after listening to this, I feel like giving up singing. Perhaps I can do so since I have a degree and can get a job somewhere." Semmangudi echoed the sentiment and said that perhaps he could also return to cultivate his lands.
(From: GNB - A Biography by TS Vedagiri et al Publ, Jan 1985)
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thanjavur
Coolkarniji, know the post is very old. Who is the singer in the Chandrahasitam track, TVR or GNB ?coolkarni wrote:CML
indeed it was that duo.
you will see a few more tracks of this combination.
Here are the next three
http://rapidshare.de/files/14553772/ent ... m.mp3.html
http://rapidshare.de/files/14553946/man ... e.mp3.html
http://rapidshare.de/files/14554109/Pad ... n.mp3.html
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kmrasika
- Posts: 1258
- Joined: 10 Mar 2006, 07:55
Here's a clip of ShrI A ShrInivAsan rAghavan, a disciple of GNB, rendering parama kr.pA sAgari:
http://www.rogepost.com/n/7025294693
http://www.rogepost.com/n/7025294693
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gb_rajasekar
- Posts: 42
- Joined: 22 Mar 2005, 07:11
Dear Rasikas,
today is the Death Anniversary of my father. There is a programme at Gokhale Sastri Hall organised by GNB Trust with a speech by MS Anantharaman followed by a concert of Ms Bhushany Kalyanaraman, this is at 9.30 AM, the venue is near Vivekananda College. As usual evening programme at IFAS is two concerts at 4.30 by Trichur Bros followed by the duo of Anuradha Sriram and Sriram Parasuram.
This is fyi
Rgds
Rajasekar
today is the Death Anniversary of my father. There is a programme at Gokhale Sastri Hall organised by GNB Trust with a speech by MS Anantharaman followed by a concert of Ms Bhushany Kalyanaraman, this is at 9.30 AM, the venue is near Vivekananda College. As usual evening programme at IFAS is two concerts at 4.30 by Trichur Bros followed by the duo of Anuradha Sriram and Sriram Parasuram.
This is fyi
Rgds
Rajasekar
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coolkarni
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vs_manjunath
- Posts: 1466
- Joined: 29 Sep 2006, 19:37
GN Balasubramaniam - Prince Amongst the Doyens ( I & II)
http://www.youtube.com/watch?v=WSvbdLh2 ... ed&search=
http://www.youtube.com/watch?v=W5fLjUrokgA&NR=1
http://www.youtube.com/watch?v=WSvbdLh2 ... ed&search=
http://www.youtube.com/watch?v=W5fLjUrokgA&NR=1
Last edited by vs_manjunath on 05 May 2007, 21:54, edited 1 time in total.
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thanjavur
-
thanjavur
Samanarahite - Sarangatarangini by TVR (Sangeethapriya - TVG link)
___________________________________________________________
Lyrics from karnATik
samaana rahithE
raagam: saaranga taarangini
65 mEca kalyaaNi janya
Aa: S R2 M2 P D2 N3 S
Av: S N3 D2 P M2 R2 S
taaLam : roopakam
Composer: G.N. Baalasubramaniam
Language : Sanskrit
pallavi : samAna rahitE amba sajjana manOllAsitE (samAna)
anupallavi : kumAra jananI bhAnu kOTi vijita prabhAkarE (samAna)
caraNam : ramA vANi sakala dEvatArAdhita padayugaLE
himAdri tanayE mAyE hEma sangha sahajAtE (samAna)
___________________________________________________________
___________________________________________________________
Lyrics from karnATik
samaana rahithE
raagam: saaranga taarangini
65 mEca kalyaaNi janya
Aa: S R2 M2 P D2 N3 S
Av: S N3 D2 P M2 R2 S
taaLam : roopakam
Composer: G.N. Baalasubramaniam
Language : Sanskrit
pallavi : samAna rahitE amba sajjana manOllAsitE (samAna)
anupallavi : kumAra jananI bhAnu kOTi vijita prabhAkarE (samAna)
caraNam : ramA vANi sakala dEvatArAdhita padayugaLE
himAdri tanayE mAyE hEma sangha sahajAtE (samAna)
___________________________________________________________
Last edited by thanjavur on 10 May 2007, 01:30, edited 1 time in total.
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Lakshman
- Posts: 14040
- Joined: 10 Feb 2010, 18:52
I don't know if anyone has sung it.
manasu rAdA. rAgA: sAmakAdambari. Adi tALA.
P: manasu rAdA mAyamma nIku tanayuDai nannu karuNinci brOva
A: dina dinamu dEvi nI sadA manasAraganE pUjinca lEdA
C: ninnu mati karagi pogaDE janula ghanamaina pApajAlamu dIrccu
anupama varada birudugala ghanuDaina gAdA tanavADanucu
manasu rAdA. rAgA: sAmakAdambari. Adi tALA.
P: manasu rAdA mAyamma nIku tanayuDai nannu karuNinci brOva
A: dina dinamu dEvi nI sadA manasAraganE pUjinca lEdA
C: ninnu mati karagi pogaDE janula ghanamaina pApajAlamu dIrccu
anupama varada birudugala ghanuDaina gAdA tanavADanucu
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Lakshman
- Posts: 14040
- Joined: 10 Feb 2010, 18:52
Here is an excerpt from someone's blog dated feb 12th, 2007.
I went to Shri Sanjay Subramaniam’s(SS) kutcheri at Hamsadhwani with Shri.Nagai Muralidharan on the violin and Shri Thanjavur Kumar on the Mridhangam.There was a Ghatam too(sadly,I don’t remember his name).Starting off with the Thodi Varna Era Napai,SS went on to sing the melodious Nen Endu Vethgudura in Karnataka Behag. Then followed an Asaveri Krithi of Thyagaraja.Dikshithar’s Akshayalinga in Sankarabharanam was next. The main piece was Gaangeya in Hamirkalyani. Then SS went on to sing a rare composition Manasu Radha by GNB in Samakadambari.At this point,I had to leave.It was a good kutcheri.The violinist played a good Hamirkalyani.The percussion was supportive.
I went to Shri Sanjay Subramaniam’s(SS) kutcheri at Hamsadhwani with Shri.Nagai Muralidharan on the violin and Shri Thanjavur Kumar on the Mridhangam.There was a Ghatam too(sadly,I don’t remember his name).Starting off with the Thodi Varna Era Napai,SS went on to sing the melodious Nen Endu Vethgudura in Karnataka Behag. Then followed an Asaveri Krithi of Thyagaraja.Dikshithar’s Akshayalinga in Sankarabharanam was next. The main piece was Gaangeya in Hamirkalyani. Then SS went on to sing a rare composition Manasu Radha by GNB in Samakadambari.At this point,I had to leave.It was a good kutcheri.The violinist played a good Hamirkalyani.The percussion was supportive.
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thanjavur
Thanks Lakshman. There is a review of the same concert here,
Index » Kutcheri Reviews & Recordings » Sanjay at Hamsadhwani - 11/2/2007
http://rasikas.org/forums/viewtopic.php?pid=37478
Index » Kutcheri Reviews & Recordings » Sanjay at Hamsadhwani - 11/2/2007
http://rasikas.org/forums/viewtopic.php?pid=37478
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thanjavur
Nada Anuboothi
Music Categories > Carnatic - Vocal > Composers G... > G N Balasubramaian
has the following tracks,
En mana thamarai - Ritigowlai by TVR
Karimukha Varadha - Nattai by TVR
Mamakuleswaram - Todi by MLV
Maravanune - Arabhi by TVR
Marivere gati - Malavi by DKP
Nee daya galguno - Shanmukhapriya by MLV
Nee daya rada - Andolika by MLV
Nee valayinche - Chayaranjani by MLV
Pada bhajana - Khamas by TVR
Paramakrupa sagari - Yadukulakamboji by TVR
Paramugamela - Kanada by TVR
Ranjani niranjani - Ranjani by TVR
Sada palaya - Mohanam by TVR
Samana rahite - Sarangatarangini by MLV,TVS
Saraswati namostute - Saraswati by TVR
Sri Chakra Raja Nilaye - Sivasakthi by MLV
Unnadiye gati - Bahudari by MLV
Vara Vallabha - Hamsadhwani by MLV
Music Categories > Carnatic - Instrumental > Composers G... > G N Balasubramaian
has the following tracks,
Paramugamela - Kanada by Kadiri
Saraswati namostute - Saraswati by Sheik Chinna Moulana
Music Categories > Carnatic - Vocal > Composers G... > G N Balasubramaian
has the following tracks,
En mana thamarai - Ritigowlai by TVR
Karimukha Varadha - Nattai by TVR
Mamakuleswaram - Todi by MLV
Maravanune - Arabhi by TVR
Marivere gati - Malavi by DKP
Nee daya galguno - Shanmukhapriya by MLV
Nee daya rada - Andolika by MLV
Nee valayinche - Chayaranjani by MLV
Pada bhajana - Khamas by TVR
Paramakrupa sagari - Yadukulakamboji by TVR
Paramugamela - Kanada by TVR
Ranjani niranjani - Ranjani by TVR
Sada palaya - Mohanam by TVR
Samana rahite - Sarangatarangini by MLV,TVS
Saraswati namostute - Saraswati by TVR
Sri Chakra Raja Nilaye - Sivasakthi by MLV
Unnadiye gati - Bahudari by MLV
Vara Vallabha - Hamsadhwani by MLV
Music Categories > Carnatic - Instrumental > Composers G... > G N Balasubramaian
has the following tracks,
Paramugamela - Kanada by Kadiri
Saraswati namostute - Saraswati by Sheik Chinna Moulana
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thanjavur
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thanjavur
Dear Lakshman :
Your list of GNB compositions (posted 2006-02-17 11:26),
http://www.rasikas.org/forums/viewtopic.php?pid=5447#p5447
has 83 kritis (not counting one duplicate Hamsanandhi thillana - Dhim tadhim).
Please post if you have an updated list.
Thanks
Your list of GNB compositions (posted 2006-02-17 11:26),
http://www.rasikas.org/forums/viewtopic.php?pid=5447#p5447
has 83 kritis (not counting one duplicate Hamsanandhi thillana - Dhim tadhim).
Please post if you have an updated list.
Thanks
Last edited by thanjavur on 18 May 2007, 02:57, edited 1 time in total.
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SangithaRasika
- Posts: 79
- Joined: 11 Mar 2006, 22:41
Hi,
Can anyone get me to Maa Janaki sung by GNB ? I am especially looking for the one that is missing in this concert below. Aalapana is superb and it just stops leaving me high and dry ! It was uploaded by Shri Vinay on Sangithapriya but I have no way of contacting him.
G N Balasubramaniam - Calcutta 1963
Violin: T N Krishnan
Mridangam: Palakkad Raghu
01-Ninnukori-Mohanam
02-Pranamamyaham-Gaula
03-Paralokha-Poorvi Kalyani
04-Samajavaragamana -Hindolam
05-Maa Janaki -Kambhoji
06-RTP-Todi
07-Sarasasamadana-Kapinarayani
08-Mangalam
Thank you,
SR
Can anyone get me to Maa Janaki sung by GNB ? I am especially looking for the one that is missing in this concert below. Aalapana is superb and it just stops leaving me high and dry ! It was uploaded by Shri Vinay on Sangithapriya but I have no way of contacting him.
G N Balasubramaniam - Calcutta 1963
Violin: T N Krishnan
Mridangam: Palakkad Raghu
01-Ninnukori-Mohanam
02-Pranamamyaham-Gaula
03-Paralokha-Poorvi Kalyani
04-Samajavaragamana -Hindolam
05-Maa Janaki -Kambhoji
06-RTP-Todi
07-Sarasasamadana-Kapinarayani
08-Mangalam
Thank you,
SR
Last edited by SangithaRasika on 30 Jul 2007, 21:39, edited 1 time in total.
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divakar
- Posts: 197
- Joined: 26 May 2005, 06:06
song # 06 is the one
http://www.sangeethapriya.org/~/parames ... tions/GNB/
http://www.sangeethapriya.org/~/parames ... tions/GNB/
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srinivasasarma
- Posts: 89
- Joined: 23 Oct 2006, 18:16
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sivachinta1965
- Posts: 189
- Joined: 13 Dec 2007, 11:32
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gb_rajasekar
- Posts: 42
- Joined: 22 Mar 2005, 07:11
Dear Rasikas,
This is a personal invitation for all of you to attend the wedding of my daughter Sow Sneha on the 26/27th January , 2008 at Bangalore with Shri Prithviraj .
Reception : 26th January, 2008 : 7.00PM to 9.00 PM
Venue : Dwarakapuri, ISKCON Temple, Harekrishna Hill,
Rajajinagar Chord Road,
Bangalore - 560 010
Wedding : 27th January, 2008..: 9.00AM to 10.30AM
Same Venue.
Rgds
Rajasekar
This is a personal invitation for all of you to attend the wedding of my daughter Sow Sneha on the 26/27th January , 2008 at Bangalore with Shri Prithviraj .
Reception : 26th January, 2008 : 7.00PM to 9.00 PM
Venue : Dwarakapuri, ISKCON Temple, Harekrishna Hill,
Rajajinagar Chord Road,
Bangalore - 560 010
Wedding : 27th January, 2008..: 9.00AM to 10.30AM
Same Venue.
Rgds
Rajasekar
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vs_manjunath
- Posts: 1466
- Joined: 29 Sep 2006, 19:37
It's so nice that all the rasikas have got the invitation for the wedding.
Very good news.
Also 27 th happens to be Saint Thyagaraja's Aradhana
Very good news.
Also 27 th happens to be Saint Thyagaraja's Aradhana
Last edited by vs_manjunath on 06 Jan 2008, 20:10, edited 1 time in total.