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Suguna Purushothaman's book of songs has been published recently. Only some of Ravikirans's songs also have come out in book form, compiled by Savitha Narasimhan, though he has composed over 200 songs.
TNS often sings his own compositions, mostly tillAnAs.
Dr.V.V. Srivatsa seems to be very secretive about his work. Apart from one or two of his songs popularized by DKJ, the rest of his work is not available to the CM rasikas.
TNS often sings his own compositions, mostly tillAnAs.
Dr.V.V. Srivatsa seems to be very secretive about his work. Apart from one or two of his songs popularized by DKJ, the rest of his work is not available to the CM rasikas.
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Two of MUdicondan's varnams are noteworthy. One in Tisra Dhruva Talam in Shanmukhapriya ( available as rendered by Smt.R>Vedavalli in the HMV's release of her Legends series. The other is the Abheri Tana varnam with the original Suddha Dhaivata Prayoga, available in the book by Dr.B.M.Sundaram on Tana varnams.
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Arasi ji!
Sorry I couldn't respond to your query earlier as I was travelling. Actually we are in the process of notating some of the kritis of Dr. V V Srivatsa. I shall post them in due course for our friends. The kriti composed by Dr VVS on Thyagaraja Swami is "Thyagaraja Mahaguro" , Purvikalyani, Rupakam and as you said I have sung it once at the Academy and last year's Cleveland Fest too. Some of the kritis like "Tharadhi Panana Dasharatha Nandana Thaaraka Rama Jaaye (on Sita Devi)" : Kharaharapriya, Kanda chapu, "Shaaradambike", Saveri, Adi 2 kalai, "Kanikarambuna", Kanthamani, Adi, "Narayana Pankaja Charana", Dwijavanthi, Kanda Matyam are food for the connoiseurs, which I will start posting as soon as I complete my Krishna Gana Sabha concert tomorrow!
Regards
Surya
Sorry I couldn't respond to your query earlier as I was travelling. Actually we are in the process of notating some of the kritis of Dr. V V Srivatsa. I shall post them in due course for our friends. The kriti composed by Dr VVS on Thyagaraja Swami is "Thyagaraja Mahaguro" , Purvikalyani, Rupakam and as you said I have sung it once at the Academy and last year's Cleveland Fest too. Some of the kritis like "Tharadhi Panana Dasharatha Nandana Thaaraka Rama Jaaye (on Sita Devi)" : Kharaharapriya, Kanda chapu, "Shaaradambike", Saveri, Adi 2 kalai, "Kanikarambuna", Kanthamani, Adi, "Narayana Pankaja Charana", Dwijavanthi, Kanda Matyam are food for the connoiseurs, which I will start posting as soon as I complete my Krishna Gana Sabha concert tomorrow!
Regards
Surya
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darishittaLavin. rAgA: karnATakasArangA. Eka tALA.
P: darishittaLavin mukti peralAm puliyUrAnai darishittaLavin mukti peralAm
A: darishittaLavin mukti peralAm puliyUrAnai cidambara dEvanai
C1: haranai manmatanai shankaranai mAn mazhuvEndum karanai shaDaiyir-gangAdharanaip-
paranai sarva dayAparanaip-pAra digambaranait-tillai vAzh cidambaranai shankaranai
2: pAyanai ANDa upAyanai malai maghal nEyanai azhivillAk-kAyanai
tUyanai vaibhOga rAyanai nAl vEda vAyanai tANDavarAyanai shivAyanai
3: Ishanaiyum para kEshanai adhikap-prakAshanai kailAsa vAsanai
pUjanai sheyum anbar nEsanait-tripura nAthanai shivakAmi nEsanai sabEsanai
P: darishittaLavin mukti peralAm puliyUrAnai darishittaLavin mukti peralAm
A: darishittaLavin mukti peralAm puliyUrAnai cidambara dEvanai
C1: haranai manmatanai shankaranai mAn mazhuvEndum karanai shaDaiyir-gangAdharanaip-
paranai sarva dayAparanaip-pAra digambaranait-tillai vAzh cidambaranai shankaranai
2: pAyanai ANDa upAyanai malai maghal nEyanai azhivillAk-kAyanai
tUyanai vaibhOga rAyanai nAl vEda vAyanai tANDavarAyanai shivAyanai
3: Ishanaiyum para kEshanai adhikap-prakAshanai kailAsa vAsanai
pUjanai sheyum anbar nEsanait-tripura nAthanai shivakAmi nEsanai sabEsanai
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The one who wields/holds (Endum) a deer (mAn) and a battle-axe (mazhu) in his hands (karanai).
paran = supreme being - same as paraman.
pAyan IIRC is someone who is half/a part - may refer to the fact that SivA gave up half of his body to umA/pArvatI.
ANDa upAyan - the one who helped (upAyan) and also ruled (ANDa)
nAl vEda vAyan = one whose mouth/speech (vAyan) sanctifies even the four (nAl) vEdas - or whose speech is the four vEdAs, OR from whose speech the four vEdAs were derived.
manmatan - the god ot love/Cupid - also called anangan (because he is limbless/formless)/mAran etc. = in the context of this composition, it means someone who is very handsome, like cupid.
paran = supreme being - same as paraman.
pAyan IIRC is someone who is half/a part - may refer to the fact that SivA gave up half of his body to umA/pArvatI.
ANDa upAyan - the one who helped (upAyan) and also ruled (ANDa)
nAl vEda vAyan = one whose mouth/speech (vAyan) sanctifies even the four (nAl) vEdas - or whose speech is the four vEdAs, OR from whose speech the four vEdAs were derived.
manmatan - the god ot love/Cupid - also called anangan (because he is limbless/formless)/mAran etc. = in the context of this composition, it means someone who is very handsome, like cupid.
Last edited by rshankar on 27 Oct 2007, 06:13, edited 1 time in total.
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meena,
there is another word in the anupallavi before chidambara devanai when u listen to the song which sounds like
digambara natanapuri chidambara devani.the anupallavi begins with
darishittaLavin mukti peralAm puliyUrAnai and then this line comes.i listened to sanjay subrahmanyam sing it in musicindia online with the words u sent it.can u let me know whether the line i wrote to u is right?
there is another word in the anupallavi before chidambara devanai when u listen to the song which sounds like
digambara natanapuri chidambara devani.the anupallavi begins with
darishittaLavin mukti peralAm puliyUrAnai and then this line comes.i listened to sanjay subrahmanyam sing it in musicindia online with the words u sent it.can u let me know whether the line i wrote to u is right?
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this is a song by Periaswamy thooran in dwijanthi.
p
engu naan selvEn ayyaa,ennai neer thaLLinaal engu naan.....
ap
thingaL veN pinchinai senchadai thaangidum
sankaraa ambigai thaay vaLar mEniyaa
engu naan.....
ch
anchinor idar elaam azhiya Or kaiyinaal
abhayamE kaattidum arut perum aNNalE
nanchinai uNdumE vaanuLOr nalam uRa
naadium vaLLale naan maRai naathanE
engu naan.....
what is the meaning of this line.sankaraa ambigai thaay vaLar mEniyaa.cant seem to think the
sentence is right.thanks
p
engu naan selvEn ayyaa,ennai neer thaLLinaal engu naan.....
ap
thingaL veN pinchinai senchadai thaangidum
sankaraa ambigai thaay vaLar mEniyaa
engu naan.....
ch
anchinor idar elaam azhiya Or kaiyinaal
abhayamE kaattidum arut perum aNNalE
nanchinai uNdumE vaanuLOr nalam uRa
naadium vaLLale naan maRai naathanE
engu naan.....
what is the meaning of this line.sankaraa ambigai thaay vaLar mEniyaa.cant seem to think the
sentence is right.thanks
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Ramya,
Here is the meaning of the song:
P:
Where (engu) will I (nAn) go (selvEn) my lord (ayyA) if you (nIr) push (taLLinAl) me (ennai) away?
AP:
Oh SankarA! The one who bears (tAngiDum) the pale (veN - white/pale) cresent (pinjinai - pinju - developing/nascent) moon (tingaL) on his matted locks (S(c)enSaDai), and whose body (mEniyA) is the cherished abode (vaLar) of mother (tAi) parvatI (ambikai).
[the concept is of ardhanArISwara where Siva becomes mAdu (woman) Or (in one) bhAgA (part)]
C:
Oh divine (aruT) and mighty (perum) lord (aNNalE - aNNal is actually a name of SivA himself - because of his lofty/exalted position in the Hindu pantheon) who provides succour to those that seek refuge (anjinOr) in you and destroys (ahiya) all (ellAm) their distress (iDar) by reassuring them with the sight of (kATTiDum) his right hand (Or kaiyinAl) in abhaya (without fear) gesture (a sign of benediction and assurance that 'as long as I am here, why fear?' - 'yAm irukka bhayam En?'); who consumed (uNDu) the poisonous halAhalam (nanjinai); who is such a liberal and benevolent benefactor (vaLLal), that even the gods (vAnuLOr) seek (nADiDum) him when they need their lots bettered (nalam ura); and who is the lord (nAthan) of the four (nAn) vedAs (maRai) - if such a one as you pushes me away, pray tell me where I am to go!
Here is the meaning of the song:
P:
Where (engu) will I (nAn) go (selvEn) my lord (ayyA) if you (nIr) push (taLLinAl) me (ennai) away?
AP:
Oh SankarA! The one who bears (tAngiDum) the pale (veN - white/pale) cresent (pinjinai - pinju - developing/nascent) moon (tingaL) on his matted locks (S(c)enSaDai), and whose body (mEniyA) is the cherished abode (vaLar) of mother (tAi) parvatI (ambikai).
[the concept is of ardhanArISwara where Siva becomes mAdu (woman) Or (in one) bhAgA (part)]
C:
Oh divine (aruT) and mighty (perum) lord (aNNalE - aNNal is actually a name of SivA himself - because of his lofty/exalted position in the Hindu pantheon) who provides succour to those that seek refuge (anjinOr) in you and destroys (ahiya) all (ellAm) their distress (iDar) by reassuring them with the sight of (kATTiDum) his right hand (Or kaiyinAl) in abhaya (without fear) gesture (a sign of benediction and assurance that 'as long as I am here, why fear?' - 'yAm irukka bhayam En?'); who consumed (uNDu) the poisonous halAhalam (nanjinai); who is such a liberal and benevolent benefactor (vaLLal), that even the gods (vAnuLOr) seek (nADiDum) him when they need their lots bettered (nalam ura); and who is the lord (nAthan) of the four (nAn) vedAs (maRai) - if such a one as you pushes me away, pray tell me where I am to go!
Last edited by rshankar on 06 Nov 2007, 05:18, edited 1 time in total.
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There is another great miss in this thread... that of the great Madurai Shri Somu. He has sung many songs in praise of Madurai Meenakshi and Lord Muruga. The very popular Madurai Arasalum Meenakshi - Ragamaliga is one sample....In one such rendering LGJ had accompanied and you should listen to comprehen LGJ's genius....simply awesome to say the least....
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Is this the song?
rAma bhakta hanumAn. rAgA: jOnpuri. Adi tALA.
P: rAma bhakta hanumAn (shrI) avan nAmamE solli tudippOm vArIr
A: rAma rAma shrI rAma rAma jaya rAma rAma sItArAma rAmavenum
C1: kaDalinai tANDinAn nam karuttinil koNDAl kavalaiyum uNDO
2: sItai shOkam tIrttAn nam bAdhakam tIrppAn pAdamE gati
3: lankaiyai erittavan nam sankaTam tIrppAn mangaLam aruLvAn
4: veNNai sATri magizvOm nam eNNam kUDa vaDai mAlaiyum sATruvOm
rAma bhakta hanumAn. rAgA: jOnpuri. Adi tALA.
P: rAma bhakta hanumAn (shrI) avan nAmamE solli tudippOm vArIr
A: rAma rAma shrI rAma rAma jaya rAma rAma sItArAma rAmavenum
C1: kaDalinai tANDinAn nam karuttinil koNDAl kavalaiyum uNDO
2: sItai shOkam tIrttAn nam bAdhakam tIrppAn pAdamE gati
3: lankaiyai erittavan nam sankaTam tIrppAn mangaLam aruLvAn
4: veNNai sATri magizvOm nam eNNam kUDa vaDai mAlaiyum sATruvOm
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You can try and get hold of this concert. The details are from rajeshnat's blog:
Venue: Musiri Chamber Concerts, 28/2, Musiri Subramaniam Road, Mylapore
Date: 07 Jan 2007
Vocal: Smt. Suguna Purushothaman
Violin: Smt. Usha Rajagopalan
Mridangam: Sri Tanjore Kumar
List of songs:
1) gajAnanam bhUta gaNadi (prayer) - hamsadwani & kharaharapriyA
2) shankara hara priya (varnam) - rAgamAlikA - Adi - suguNA purushOthaman
(pallavi: kharhapriyA, anupallavi: kOkilapriyA, chiTTaswaram: rAmapriyA, charaNam: shanmukhapriyA, swaram 1: pasupatipriyA, swaram 2: rishabapriyA, swaram 3: gAyakapriyA, swaram 4: rasikapriyA)
3) gaNapatiyE sharaNam - yadukulakAmbOji - Adi - suguNA purushOthaman (S)
4) chaturmukha nAyaki - saraswati - chaturmukha tAlam - suguNA purushOthaman (O)
5) kanDEn kanDEn - aTANA - Adi - suguNA purushOthaman
6) krupajUDa samayamammA - hamsalatikA - kanDa chApu - suguNA purushOthaman (AS)
7) tiruvarangA nI irangAyanil - kOkilapriyA - misra chApu - suguNA purushOthaman (ON)
8 ) kanakadurgAmbA kAvavE - bilahari - Adi - suguNA purushOthaman (O)
9) tirumagaLE kaDaikkaN - valaji - tisra jampa (tisra gati) - suguNA purushOthaman (A)
10) madurakALi ambA - bhairavi - Adi - suguNA purushOthaman (AST)
11) lakshmIsamEta nArAyaNa - mOhanam - lakshmIsa - suguNA puruthOthaman
12) varAL ippOdE ambikai - varALi - misra chApu - suguNA purushOthaman (O)
13) navamaNigaLilE nalla maNi - yamunAkalyANi - Adi - suguNA purushOthaman (O)
14) rAma nAmam amudam - Ahir bhairav - Adi - suguNA purushOthaman
15) nIlavaNNanai ninaindAl - shudha sArang - misra chApu - suguNA purushOthaman
16) kaNNan varuvAnO (padam) - nIlAmbari - misra chApu - suguNA purushOthaman (O)
17) gOvindA harE gOvindA - rAgamAlikA - Adi - suguNA purushOthaman
18) kaNNan naTanam AdinAn - rAgamAlikA (kalyANi, hamIrkalyANi, pUrvikalyANi, mOhanakalyANi & yamunAkalyANi) - Adi - suguNA purushOthaman
19) rAma bhakta hanumAn - jOnpuri - Adi - suguNA purushOthaman
20) pavamAna (mangaLam) - sowrAshTram - Adi - thyAgarAja
(Key: O=raga outline, A=raga alapana, N=neraval, S=kalpana swaram, T=taniavartanam)
Venue: Musiri Chamber Concerts, 28/2, Musiri Subramaniam Road, Mylapore
Date: 07 Jan 2007
Vocal: Smt. Suguna Purushothaman
Violin: Smt. Usha Rajagopalan
Mridangam: Sri Tanjore Kumar
List of songs:
1) gajAnanam bhUta gaNadi (prayer) - hamsadwani & kharaharapriyA
2) shankara hara priya (varnam) - rAgamAlikA - Adi - suguNA purushOthaman
(pallavi: kharhapriyA, anupallavi: kOkilapriyA, chiTTaswaram: rAmapriyA, charaNam: shanmukhapriyA, swaram 1: pasupatipriyA, swaram 2: rishabapriyA, swaram 3: gAyakapriyA, swaram 4: rasikapriyA)
3) gaNapatiyE sharaNam - yadukulakAmbOji - Adi - suguNA purushOthaman (S)
4) chaturmukha nAyaki - saraswati - chaturmukha tAlam - suguNA purushOthaman (O)
5) kanDEn kanDEn - aTANA - Adi - suguNA purushOthaman
6) krupajUDa samayamammA - hamsalatikA - kanDa chApu - suguNA purushOthaman (AS)
7) tiruvarangA nI irangAyanil - kOkilapriyA - misra chApu - suguNA purushOthaman (ON)
8 ) kanakadurgAmbA kAvavE - bilahari - Adi - suguNA purushOthaman (O)
9) tirumagaLE kaDaikkaN - valaji - tisra jampa (tisra gati) - suguNA purushOthaman (A)
10) madurakALi ambA - bhairavi - Adi - suguNA purushOthaman (AST)
11) lakshmIsamEta nArAyaNa - mOhanam - lakshmIsa - suguNA puruthOthaman
12) varAL ippOdE ambikai - varALi - misra chApu - suguNA purushOthaman (O)
13) navamaNigaLilE nalla maNi - yamunAkalyANi - Adi - suguNA purushOthaman (O)
14) rAma nAmam amudam - Ahir bhairav - Adi - suguNA purushOthaman
15) nIlavaNNanai ninaindAl - shudha sArang - misra chApu - suguNA purushOthaman
16) kaNNan varuvAnO (padam) - nIlAmbari - misra chApu - suguNA purushOthaman (O)
17) gOvindA harE gOvindA - rAgamAlikA - Adi - suguNA purushOthaman
18) kaNNan naTanam AdinAn - rAgamAlikA (kalyANi, hamIrkalyANi, pUrvikalyANi, mOhanakalyANi & yamunAkalyANi) - Adi - suguNA purushOthaman
19) rAma bhakta hanumAn - jOnpuri - Adi - suguNA purushOthaman
20) pavamAna (mangaLam) - sowrAshTram - Adi - thyAgarAja
(Key: O=raga outline, A=raga alapana, N=neraval, S=kalpana swaram, T=taniavartanam)
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Smt. Nityashree Mahadevan has sung some of the songs that are part of the bAlakANDam in a commercial release - including:
avatAram SeidiDuvIr - where the gods go to vishNu and request relief from rAvaNa
parabramma svarUpam - how vishNu with AdisESa, pAncajanyam, and sudarSaNa cakra appear as the four divine brothers
rAmanai taruvAi - viSvAmitra asks for rAmA's help
peNNivaL alla - viSvAmitra 'introducing' tATaka to rAma
koDiya tATakai - tATaka falls
dEvi ivaL rAmA - viSvAmitra explains who ahalyA is after the dust from rAmA's feet redeem her
(y)ArO ivar (y)ArO - rAmA catches a glimpse of sItA at the kannimADam
ivanai (y)ArenDru eNNamalE - viSvAmmitra introduces rAma to King janaka
pungavanAm - rAma approaches the bow
villAnadu reNDAi - the bow breaks in two
maNam uLLa - all the auspicious rites that lead to the wedding
annai jAnaki vandALE - sItA appears in her bridal finery
rAghavan sItaiyai - rAmA accpets sItA's hand and they take the 'sAt phErE'
tirumagaLAm jAnakI - rAma, sItA and their retinue leave for ayOdhyA
maNNinil arasarai pOl - a 'discussion' between rAma and paraSurAma
innavagai - the wedding party return to ayOdhyA and bAlakANDam concludes
Sri KVN has rendered many of the songs from rAma nATakam tuned by his guru Sri ARI from all the kANDams
rAmanukku mannan muDi (ayOdhyA kANDam_ - kaikEyi expresses her happiness when matharA informs her of the coronation
eppaDi manam tuNindadO svAmI (ayodhyA kANDam) - sItA's anguish when rAma informs her that he wants to go to the forest alone
kANa vENDum laksham kaNgaL (AraNyakANDam) - sItA's beauty is being described by SUrpanakhA to rAvaNa
(y)ArenDru rAghavanai eNNinIr (AraNyakANDam) - lakshmaN tries to allay sItA's fears when she asks him to go to rAma's help
kaNDEn kaNDEn (AraNyakANDam) - hanUmAn comes back with news of sItA
SaraNam SaraNam enDrAnE (yuddhakANDam) - rAma's reason for accepting vibhIshaNa
indA vibhIshaNA (yuddhakANDam) - rAmA crowning vibhIshaNa the king of lankA
There are MANY MANY more of these and have been rendered by various artists at various times. However, Smt. Nityashree's is the only thematic rendering I am aware of.
avatAram SeidiDuvIr - where the gods go to vishNu and request relief from rAvaNa
parabramma svarUpam - how vishNu with AdisESa, pAncajanyam, and sudarSaNa cakra appear as the four divine brothers
rAmanai taruvAi - viSvAmitra asks for rAmA's help
peNNivaL alla - viSvAmitra 'introducing' tATaka to rAma
koDiya tATakai - tATaka falls
dEvi ivaL rAmA - viSvAmitra explains who ahalyA is after the dust from rAmA's feet redeem her
(y)ArO ivar (y)ArO - rAmA catches a glimpse of sItA at the kannimADam
ivanai (y)ArenDru eNNamalE - viSvAmmitra introduces rAma to King janaka
pungavanAm - rAma approaches the bow
villAnadu reNDAi - the bow breaks in two
maNam uLLa - all the auspicious rites that lead to the wedding
annai jAnaki vandALE - sItA appears in her bridal finery
rAghavan sItaiyai - rAmA accpets sItA's hand and they take the 'sAt phErE'
tirumagaLAm jAnakI - rAma, sItA and their retinue leave for ayOdhyA
maNNinil arasarai pOl - a 'discussion' between rAma and paraSurAma
innavagai - the wedding party return to ayOdhyA and bAlakANDam concludes
Sri KVN has rendered many of the songs from rAma nATakam tuned by his guru Sri ARI from all the kANDams
rAmanukku mannan muDi (ayOdhyA kANDam_ - kaikEyi expresses her happiness when matharA informs her of the coronation
eppaDi manam tuNindadO svAmI (ayodhyA kANDam) - sItA's anguish when rAma informs her that he wants to go to the forest alone
kANa vENDum laksham kaNgaL (AraNyakANDam) - sItA's beauty is being described by SUrpanakhA to rAvaNa
(y)ArenDru rAghavanai eNNinIr (AraNyakANDam) - lakshmaN tries to allay sItA's fears when she asks him to go to rAma's help
kaNDEn kaNDEn (AraNyakANDam) - hanUmAn comes back with news of sItA
SaraNam SaraNam enDrAnE (yuddhakANDam) - rAma's reason for accepting vibhIshaNa
indA vibhIshaNA (yuddhakANDam) - rAmA crowning vibhIshaNa the king of lankA
There are MANY MANY more of these and have been rendered by various artists at various times. However, Smt. Nityashree's is the only thematic rendering I am aware of.
Last edited by rshankar on 04 Nov 2008, 08:02, edited 1 time in total.
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The name of the great singer composer MMDandapani desikar is missing. Has it been already discussed? I just now thought of him after reading the review of Sanjay's performance of MMD's songs. While alive , he was treated shabbily by AIR, by not classifying him as a top gradeartist fit to perform in the national programme of saturday nights It was rumoured that the audition committee certified him as 'fit for light music only' gobilalitha
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There is some information at http://www.karnatik.com/co1056.shtmlpratheebha wrote:can anyone tel me from where i can trace the life history of Vaideeswarankoil Subbarama Iyer or s there any descendants for him?
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Lakshman Sir / Anyone else:
1. Is there a compilation of compositions by Tanjore Quartet? If so, are commerical recordings of the same, available?
2. Also, I heard that some of the compositions of MahArAjA SwAti TirunAL could possibly be actually composed by Vadivelu of the quartet. Is this true? If so, which ones?
Thanks.
1. Is there a compilation of compositions by Tanjore Quartet? If so, are commerical recordings of the same, available?
2. Also, I heard that some of the compositions of MahArAjA SwAti TirunAL could possibly be actually composed by Vadivelu of the quartet. Is this true? If so, which ones?
Thanks.
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There are many compositions that are not specifically attributed to the individual brothers. I do have a list of these. Even here there are some disputed ones.
Some have claimed that a few compositions credited to Svati Tirunal were actually the work of the Tanjavur Quartette. I am not sure which ones they are.
Some have claimed that a few compositions credited to Svati Tirunal were actually the work of the Tanjavur Quartette. I am not sure which ones they are.
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Subhiksha Rangarajan has a CD of compositions by Tanjore Quartette:cradle wrote:1. Is there a compilation of compositions by Tanjore Quartet? If so, are commerical recordings of the same, available?
http://www.kalakendra.com/shopping/musi ... p-984.html
Compositions included:
1. Calamela (Varnam) - Sankarabharanam - Ata - Vadivelu
2. Mayatita - Mayamalavagowlai - Rupakam - Ponnaiah
3. Amba Sowramba - Arabhi - Adi - Chinnaiah
4. E Mayaladira (Swarajati) - Huseni - Rupakam
5. Amba Nilambari - Nilambari - Adi - K. Ponnaiah
6. Kapaduve Unadu - Anandabhairavi - Rupakam - Sivanandam
7. Satileni - Purvikalyani - Misra Chapu - K . Ponnaiah
8. Janaro - Khamas - Rupakam - Chinnaiah
9. Dhim Tananana - Behag - Misra Chapu - K. Ponnaiah
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Re: More composers Mangalam Ganapathi
“Smt.Mangalam Ganapathy, an ordinary housewife with no formal training in music and proficiency in any language, at the age of 64 years, was suddenly bestowed by divine grace, with powers to create compositions of the highest order in classical mould in carnatic music.
What is amazing is her ability to write, the lyrics set to a particular raga, tala on any one of the hundreds of the Godheads of the Hindu pantheon and that too in one of the five languages all at the same time.
The genre of carnatic music she has covered in her compositions ranges from varnam, krithis, ragamalikas, thillanas, devotional bhajans etc.
You can visit the site at
http://www.mangalamganapathy.com/
There are 19 audio songs for which links are given below:
Mangalam Ganapathi's Compositions:
Download link: http://www.mediafire.com/folder/attoxc1v6q0g7
Many leading artists have rendered her compositions
The Hindu 18 june2004 brought out a write up on her by Lakshmi Venkatraman at:
http://www.hindu.com/fr/2004/06/18/stor ... 1801510400
venkatakailasam
What is amazing is her ability to write, the lyrics set to a particular raga, tala on any one of the hundreds of the Godheads of the Hindu pantheon and that too in one of the five languages all at the same time.
The genre of carnatic music she has covered in her compositions ranges from varnam, krithis, ragamalikas, thillanas, devotional bhajans etc.
You can visit the site at
http://www.mangalamganapathy.com/
There are 19 audio songs for which links are given below:
Mangalam Ganapathi's Compositions:
Download link: http://www.mediafire.com/folder/attoxc1v6q0g7
Many leading artists have rendered her compositions
The Hindu 18 june2004 brought out a write up on her by Lakshmi Venkatraman at:
http://www.hindu.com/fr/2004/06/18/stor ... 1801510400
venkatakailasam