Topic started by Prasad on Fri Feb 11 01:14:36 .
All times in EST +10:30 for IST.
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This thread is to discuss the various banis and styles that have been and are in use during the twentieth century |
Responses:
- From: Sree (@ 134.243.96.152)
on: Fri Feb 11 09:47:22 EST 2000
As far as C.Music is concerned every well respected artist has left a bAni/style of himself (in a gender no-specific sense ;-) The well known bAnis with some famous torch bearers for each bAni who are still performing are
Musiri style
Ariyakudi style (can be seen in KVN)
Mani Iyer style (sarvalagu)
GNB style (briga)
DKP style (strict rendering of Dikshitar krithis)
Maharajapuram style
Chembai style
- From: Diwakar (@ 206.175.177.136)
on: Fri Feb 11 19:23:55 EST 2000
Prasad :
I started a thread Great Masters ( again in a gender no-specific sense :-) ) and the response was poor. Let us hope that this thread draws some interest.
To start it off :
Mani Iyer Style :
T.V.Shankaranarayanan
Tiruvengadu A. Jayaraman
GNB Style :
Trichur V. Ramachandran
Sudha Raghunathan
DKP Style :
Well, DKP ;-)
- From: Vasu (@ 160.austin-01-02rs.tx.dial-access.att.net)
on: Fri Feb 11 20:48:32 EST 2000
Can you guys give some explanation on the Great Masters styles? I for one am not well knowledged in these, though I keep hearing GNB is great in brighas etc. Any pointers to capture their styles in comparison to others etc would be helpful. I recently bought a CD-AIR recording of GNB (albeit poor quality but makes an excellent listening). So would love to know where GNB excels in comparison to others. Also is their a chart or list which says who follows which style (iow who is whose sishya/sishyai?). I know some but not all. Thanks.
- From: Prasad (@ hoproxy1.proxy.lucent.com)
on: Fri Feb 11 22:18:05 EST 2000
Diwakar:
I would differ here in saying that Ariyakkudi,GNB,DKP,Musiri were all banis and MMI,MLV are all styles in the sense,these banis were adapted into styles.Ariyakkudi used to sing in madhyamakala alapanas and krithis.he used to have short gaps in his alapanas.of course GNB started off thee briga concept
Musiri used to sing in chauka kala.Also GNB brought the graha bedam concept to carnatic music.
then there were these alathur brothers who used to sing nalu kalai pallavi
DKP started the Nadai pallavi concept.
Prasad
- From: Nadopasaka (@ akppp29.buffnet.net)
on: Sat Feb 12 01:13:58 EST 2000
I think before even MLV, T.S. Kalyanaraman is closer to GNB. I heard an exceptional Chakravakam and Latangi by him.
Any ideas where T.N. Seshagopalan might fit into this , if at all?
- From: Prasad (@ hoproxy1.proxy.lucent.com)
on: Sat Feb 12 01:22:09 EST 2000
I think TNS's is astyle of singing and he will belong to the last generation of trend setters of te twentieth century(Sudha et al might come later this century with time).What about semmangudi?
- From: Lakshman (@ ppp2657.on.bellglobal.com)
on: Sat Feb 12 15:16:25 EST 2000
Nadopasaka:
T.N.Seshagopalan is a disciple of Shri Shankarashivan(of Madurai)who was a shishya of Harikeshanallur Muttiah Bhagavatar. his is why TNS sings a number of Muttiah Bhagavatar's compositions.
- From: Prasad (@ hoproxy1.proxy.lucent.com)
on: Sun Feb 13 04:05:18 EST 2000
So did Muadurai Mani who was a direct disciple of Muthiah bhagavathar.But i think one can notice a striking diff between MMI and TNS isnt it?
- From: Nadopasaka (@ akppp15.buffnet.net)
on: Mon Feb 14 03:04:40 EST 2000
I agree ! (any ideas on HMB's other direct shishyas)
Two other inimitable sounds have to be MDR and T.R Mahalingam (the flutist, E&OE !!). Each rendition seems to produce new constructs.
What about Ramnad Krishnan ?
- From: siva (@ firestorm3.imrglobal.co.jp)
on: Mon Feb 14 03:21:45 EST 2000
Ramnad Krishnan was a great singer, unfortunate we do not have many recordings of his. There is a casette released by HMV.
WE should also LGJ to this list, he created a new bani in violin, bowing techniques, following techniques and his Gayaki style of rendering a solo concert.
If we are also discussing about Percussion then we should also include many other Mridangam Stalwarts
- From: Sree (@ 134.243.96.152)
on: Mon Feb 14 10:07:32 EST 2000
Prasad:
Semmangudi was a disciple of Maharajapuram Viswanatha Iyer. I believe, he also learnt from Narayanaswami Iyer, Sakharama Rao and Umayalpuram Swamnatha Iyer.
Nadopasaka:
MDR learnt music from Tiger Varadhachary and I have heard from elders that their styles are similar.
MMI is disciple of HMB but he also learnt from one Rajam Iyer who was known for singing swarams. Perhaps Rajam Iyer influenced his style of swaram singing for which MMI is known.
Ramnad Krishnan learnt music from Ramnad Sankara Sivan (who is also the guru of TNSesha)
- From: Sree (@ 134.243.96.152)
on: Mon Feb 14 10:10:14 EST 2000
Diwakar:
DKP style has DKJayaraman and Nithyashree in addition to DKP ;-)
- From: Narayanan (@ 195.224.238.98)
on: Mon Feb 14 11:36:17 EST 2000
Vijay Siva, Balaji Shankar, T.V.Govindarajan,
R K Sriramkumar, TG Badrinarayanan are a few more from DKP paani.
- From: Nadopasaka (@ afppp42.buffnet.net)
on: Mon Feb 14 22:34:46 EST 2000
It is very interesting that Ramnad Krishnan and TNS share the same guru and school with MMI. I have heard Ramnad Krishnan sing Manasu Swadhina
and Akshayalinga. The Sankarabharanam is quite different from MMI-TVS type.
Ramnad K also had good feel for Begada (Pattinam's Abhimana mennadu ) and several padam/javalis.
He seems to have the Brinda-Mukta flavor in this.
Where do Vina Dhanammal - Brinda and MSS fit into all this ?
- From: Prasad (@ hoproxy2.proxy.lucent.com)
on: Mon Feb 14 22:56:07 EST 2000
Brindha Muktha school(DHanammal Bani)probably gives more emphasis to the aesthetics of the ears rather than being bound by pure tradition.They are also famous for their padam and javali singing.I have heard a padam with priti madhyamam being used in Pharaz which gives a touch of melody rather than the traditional Suddha Madhyamam.
- From: Nadopasaka (@ afppp42.buffnet.net)
on: Mon Feb 14 23:52:38 EST 2000
Was it by Dharmapuri S. ? The prati ma touch is likely to provide features of Pantuvarali, especially in descending phrases, where Paras (Pharaju) is sampurna. (Pantuvarali being the prati madhyama equivalent of MMGowla, the Paras mela)
As for Brunda-Mukta, I heard a tremendously seductive Mukhari, Ososi ( Kshetragna ?? ) by them. It seemed light years away from say Brahma kadigina of Bhadrachala Ramdas or Emani ninne of Subbaraya Sastri.
- From: Prasad (@ hoproxy2.proxy.lucent.com)
on: Wed Feb 16 00:46:57 EST 2000
Is there anybody who Is/was following MDRs style?
Also Musiri's style followed heavy chauka kala rendition.can anyone point out what made MDR and Musiri distinct?Also MDR is supposed to sing each swara at its almost exact frequency..can anyone thro some light on this?
- From: Siva (@ firestorm3.imrglobal.co.jp)
on: Wed Feb 16 02:54:48 EST 2000
What about the Chittor School. I have heard that Madurai Somu belonged to that. Can anyone clarify. This school I understand gives more importance to Thalams.
- From: siva (@ firestorm3.imrglobal.co.jp)
on: Wed Feb 16 02:56:37 EST 2000
Can we include yesudoss in chembai style??
- From: Nadopasaka (@ akppp3.buffnet.net)
on: Wed Feb 16 03:35:16 EST 2000
Any ideas why Tiger Varadachary got his name ? I heard he used to ferociously claw the air while singing !!
Can't remember any MDR shishyas. His approach may have been difficult to clone, what a shame. Kalakshetra may have some imprints of his legacy. I heard a superb Yadukula K by him ( Yaarendra sri raghavanai ??, not sure whose this is, helpful if some one clarifies )
If you had to take only one YK to a desert island
this could well be it ! ( just my opinion )
Can't think of any other Chembai students other than Yesudas.
- From: Prasad (@ hoproxy1.proxy.lucent.com)
on: Wed Feb 16 05:28:00 EST 2000
Yes MDRs style suits chauka ragas best.I have heard that he avoids dha while singing alapana before Endaro and i have heard he has put Kalpana swarams for the same..Interestingly the few thanams of MDR that I have heard are all in Madhyama kala..But is Yesudoss style of singing not a combination of styles(GNB,Semmangudi and CHembai)..GNB when he does this shifting from Anu mandara stayi shadjam to Ati tara sthayi shadjam and down??Chembai's music i feel has more classism than Yesu..
- From: Nadopasaka (@ aappp3.buffnet.net)
on: Wed Feb 16 07:10:53 EST 2000
Yesudas's style is an example of how the whole can be less than the sum of its parts. His vocal versatility and interests have had him galloping at once in all directions, leading many times to lack of introspection.
Back to MDR, is it likely that exposure to classical dance elements contributed something to his style ? His Sahana is also glorious.
- From: Sree (@ 134.243.96.152)
on: Wed Feb 16 10:24:33 EST 2000
IMHO, MDR's kEdAram is by far the best kEdAram I have ever heard (sorry about that hyperbole ;-) I have his samayamidhE nannu brOva, Anandha natana prakAsam and tyagarAja gurum AshrayE (AFAIK, this is his own composition. Someone correct me if I'm wrong)
Some more of his that I love to hear repeatedly are SSastry's Kamakshi -- bhairavi swara jathi, kshinamAithirukka - mukhAri and O jagadambhA - Anandha Bhairavi.
His chauka kAla rendition is quite calming.
- From: Nadopasaka (@ akppp71.buffnet.net)
on: Wed Feb 16 10:41:58 EST 2000
He has also sung the superb Kedaram by Anayya, Bhajana seyave. I think Kedaram was one of his favorite ragas.
- From: Vasu (@ s06.austin.ibm.com)
on: Wed Feb 16 17:49:35 EST 2000
Is the MDR's cassettes (Kedaram etc) commercially available? Im a great fan of MDR and I have only two of his cassetted (And yes Sahana - giripai is one of the best). Thanks
- From: Nadopasaka (@ aeppp47.buffnet.net)
on: Wed Feb 16 20:41:56 EST 2000
Sadly MDR was not a worldly man and gave little thought to recordings. I think AIR has some of his concerts. A few e-mails to request them to put one of his pieces on the air.kode.net site could get a positive response. They have a BMK Vagadheeswari on there right now which can take some getting used to.
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