Indian Classical Music Thread

An Aside...

Offtopic (sorry to others) but...

I'm a white Brit. I learned mridangam in London. for some years, in my 40s, and played morsing with kids. I've loved Indian music since my 20s, or, as long as I can remember. Looking at the music listings, so many bands I'd think I'd like to go and see, but the Indian music got my backside on the concert-hall seat. Balachandar, my mdridangam teacher, belongs to PSP school of playing.

The change of life that saw me settle down here is another story entirely, but I've been here 16 years. I have totally failed at Tamil, just as I failed at French in school --- although I probably know a few more animal/bird names in Tamil than French. On the other hand, a rasika friend told me recently, "You may not have learned the language, but your body language is Tamil!"

Online, quite a few people have thought I was Indian. It even happens in person too, although fair hair and blue eyes is a bit of a giveaway.

I've been watching Indian music for around 45 years, and mostly carnatic for past twenty or thirty. I haven't counted, but I think I must have been to over 2,000 concerts in my years here alone. Which all adds up to it being surprising how little I know. But hey, I'm just a lazy music lover, is all.

 

Here is a not-so-often heard gem from Sri Lalgudi Jayaraman ji - a legendary violinist and composer par excellence. This is one amongst his many classic Thillanas.



Additional Trivia:
1. This is in Raga 'Madhuvanti' & Adi taal (~ 8 beat cycle), a derivative of its parent raga 'Dharmavati'. "Approximate' western scalar equivalent of raga 'Dharmavati' would be 'Lydian b3'.

2. This raga should be familiar to Tchaikovsky's fans. Here is the composition I am talking about (the theme, in particular)

 

@Thad E Ginathom :
Thanks to you Thad ji, I discovered Madurai Somu ji - what a brilliant and powerful singer!
Actually, it was one of Lalitharam ji's (who you introduced here) videos on Madurai Somu ji (one of his few in English) that piqued my interest in Madurai Somu. The downside is that, I have to now search for word-for-word translations (from Tamil) on few of his memorable performances, that I have bookmarked.

PS: If going to 2-3 concerts/week everyday for past 16 years, is termed as 'lazy', I don't know what would qualify as an ardent rasika.

 

lol... It's the just sitting there enjoying without learning much that is the lazy bit.



Actually, not so lazy these days, since I took up the photography. Around 200 concerts this year. Seen/listened, photographed, edited. And this month I've been "commuting," sometimes twice a day, 20km round trip. Quite a lot of driving!

 

Back to Carnatic, after a short detour into Gypsy Jazz.
Continuing Thillanas theme, another one of Lalgudi sir's famous and early Thillanas, but rarely heard now-a-days. This one is from a live concert, with Flute N Ramani sir (disciple of legendary Flute Mali sir), accompanying him splendidly.



Additional Trivia:
1. This is in Raag 'Tilang'/'Thilang', a peculiar derivative raga (bhasanga janya raga) of Harikambhoji. Peculiar in the sense that it allows different tonic leading notes ('Ni' swaras) whether one is ascending or descending. "Approximate" western scalar equivalent of 'Harikambhoji' would be Mixolydian.

 

And, here is another one of Lalgudi sir's Thillanas, for happy moments in your life, composed in one of the happiest ragas known, namely, raga 'Kadanakutuhlam'. Lalgudi sir is such a good teacher as well that he teaches you the raga in the opening of the song itself. This also features in his monumental 'Dance of Sound' album, if I recall correctly.



Additional Trivia:
1. This raga is a derivative or child raga of the majestic 'Shankarabharanam' raga. "Approximate" western scalar equivalent of "Shankarabharanam" is Major scale or Ionian mode.

2. We have "western major scale" sounding Carnatic compositions also (although they wouldn't qualify as Raga 'Shankarabharanam') - 'Nottuswaram' compositions of Sri Muthuswami Dikshitar, for e.g. ('Nottu' from "notes in western scale"), with tunes that he heard from British bands and set to Sanskrit lyrics keeping the same melody.

 

Another Thillana (a popular composition of BMK sir), in the same infectiously happy raga, rendered superbly by Prince Rama Varma and the accompanying artists (for those who like watching live performances).

 

@ShriKrishix, here's something that might interest you:

How mridangam exponent Trichy Sankaran elevated the art of accompaniment

You might also be interested in other work by the author, Lakshmi Anand: Here's her website. This article is quite short: she usually delves deeper and longer, at least for her website versions.

She mentions a Canadian musician, Curtis Andrew. I first "met" Curtis on USENET (was it rec.music.indian.classical? I forget now) and subsequently , in person, on his visits to Chennai. Now there's a real knowledgable non-Indian! As well as being a jazz musician, he has deep connections with African percussion, and has been Trichy Sankaran's student for many years.

 

Loved it, Thad ji. Saved the article too - one never knows when the newspaper site implements 'Subscription Needed' to read articles. Thanks for the alternate source for the article, too. Will check Lakshmi ma'am's other articles, firstly, her articles on Kanyakumari Amma.

Trichy Sankaran ji's advice to young Mridangists and percussion players is golden. It reflects how sincerely he means what he said regarding knowledge of laya in the Polestar video and how he has imbibed not only the music but also the philosophy of his guru, PSP ji.

Did not know about Curtis Andrew ji - Will listen to him.

PS: Nice photograph of young Trichy Sankaran ji with Higgins Bhagvathar ji, and Thyagarajan ji. When I first heard Higgins ji's 'Endaro Mahanubhavulu', I was amazed at his diction and pronunciation, with (almost) no hint of accent - did not anticipate that all.

 

Was just listening to this amazing jam session. Was too absorbed to note down any personal thoughts. Can't put it in better words than the video description (quoting below):

"This was one of 3 concerts that took place (most likely in the 1950s). These three multi-talented musicians exchanged roles as lead performer, violinist and percussionist.
Maharajapuram Viswantatha Iyes appears quite talented as a mridangam player, as does Chembai as a violin player. Mali is said to have once remarked that he was a better violinist than a flutist!
It is apparent that all three musicians are relaxed and having great fun. Such an atmosphere often produces the best music. Throughout this concert, Mali is amazing and produces some superlative creative moments. You can hear the “oohs” and “aahs” from MVI who is egging him on. Enjoy!"



Additional Trivia:
1. The kriti or main piece 'Swara Raga Sudha' is in the grand Raga 'Shankarabharanam' (described a few posts above), in 'Adi Taal', 2 kalai (~ 8 beat cycle, with 1 beat consisting of 2 metronome beats, of a chosen speed).

 

The Hindu does. You get a limited number of free articles a month.

But hey, you just clear the cookies! I say this with no shame, because I have been paying for their newspaper every day over all my years here

My simplified way of thinking this: it's 16 beats. If anybody actually wants to know! The anatomy of the talam can come when a person is ready and interested to take it to that level.

 

ah ha! I always wondered...

 

I am not much of a dance person, but always liked Kathak. I was a fan of Saswati Sen, and always saw her performances when she came to London. I thought that nobody could take my eyes off her on the stage. Then, one day, her great guru, Pandit Birju Maharaj was there. To say that I was blown away is an understatement.

Maharaj-ji passed away, yesterday evening, from a heart attack, at the age of 83.

One of the Great People that I have met. He came from the stars, did his work, worked his magic, and now has returned.

A couple of times, I sneaked into a workshop of his for the day. Here is one of my happy memories --- with him and Saswati.

 

Been absent from this thread for a while. Some good online concerts past couple of months on Shaale, MMA and Youtube. Here is one from Abhishek , Anantha, Giridhar and Krishna. That first Kharaharapriya is really good!

 

Abhishek is... polarising. I'm at the negative poll: I avoid. I think he is a great loss to the world of Kanjira.

Both Sai and Krishna are excellent, and will surely enjoy, and ably respond to Abhishek's rhythmic challenges.

Krishna... I went to his arrangetram*, which he recently told me was in 2006. His first appearances on the concert stage were muted and seemed to lack confidence. I don't know what changed this, but it did, suddenly, change, and his skill and confidence erupted. He suddenly became a star, and I am sure that his name will become, like his guru, one of the always-remembered names of carnatic percussion. It's been amazing to watch this development.



*For the non-local readers: this is a formal debut concert. Translated as ascending the stage.

 

This is interesting. I didn't know that. Isn't he generally regarded to be a prodigious genius? Would like to hear your thoughts if you don't mind sharing.

Personally I love the way he pours himself into the music ( a bit like TMK) but also has a bit of flair and does not shy away from displaying his range.

Unfortunately I haven't had the chance to hear him much. Will be on the lookout henceforth.

 

I think I was only a tourist in India when I first saw him, playing Kanjira with his grandfather playing mridangam. It was an amazing combination.

I must have missed his switch to, and rise in, vocal music. I went to one of his concerts expecting great things. I survived until the third song. During its progress, my mouth fell open, and not with pleasure.

Why? Because niraval should not sound like manic kalpana swara; because kalpana swara should not sound like a double-manic thani... This, to me, was not carnatic music, should not be carnatic music. And I left.

In subsequent conversations, I was told that, yes, this was typical of his concerts. Many, including my best-mate rasika, do enjoy and celebrate his virtuosity. Plainly, he can fill halls, and is, no doubt, not much bothered about those of us (I am certainly not alone) who don't go. He will probably mellow, and the result of that, based on his undoubted virtuosity, will probably be great. He is young, and I am, errm, not so young: I may not live to see it. I have avoided him since that day, but I saw an instagram snippet, I think of that video concert, that confirmed that I'll going on doing so for the next decade or so.

I call him The Boy Racer. There is another fellow I avoid, that I call The kickboxer. I would fear for my teeth if I sat in the front row! I don't care very much for flailing arms in a concert. But this is entirely relative. If the person's voice and music is wonderful, I don't care how much gymnastics accompany it: if not so much, then all that stuff just helps me to not enjoy the concert. He fills halls too.

Obviously, I have favourites, more liked, less liked, etc. But there are very, very few artists in my reject pile. I'm not that fussy, and also, despite anything I just said, I don't expect everyone to have the stage presence of a demure 80-year-old. Nor do I expect every concert to be soul touching.

My opinions are strong. When I don't like, I prefer to shut up. I never want to be unkind. These are very successful artists that won't be affected one iota by anything I say.

In fact, I imagine that, in the unlikely event of my talking with them, they might say, "Thad, I can fill a hall with a thousand people any day: I am not bothered that you won't be among them."

 

On and from 6pm IST on 30 January, you can see Sai and Krishna accompanying Vittal Rangan's solo violin concert, on Parivadini Music Channel (youtube).

It was high-energy. It was fun! It was uplifting!

 

Haha. I sort of understand what you mean. There are some renditions of his that I dislike because of fast paced vocal theatrics and other similar characteristics you point out. But there are others which are meditative and some which straddle the line between the two states nicely. As I was writing this I got reminded of his MET concert.



But ultimately personal tastes do matter, like how I am unable to appreciate the music of a few established superstar "hall-fillers"

True that. It will be exciting to see how prodigies like Abhishek and Ramana evolve as they grow older.

 

Had a quick taste. Will listen to more.

The alapana is... interesting. Major Hindustani feel: is it one of those ragas? It also put me in mind of TMK.

I'll get back to it!