Hello folks, @meerasndr here. Today being Vidwan Ramnad Krishnan's birth anniversary, here is a short thread with some of my favourite pieces sung by him. (1/n) #carnatic#RamnadKrishnan cc @Raaga_Suresh
(2/n) My intro to Ramnad Krishnan's music several years ago was a Sriranjani (Bhuvini dasudane). The raga alapana had me hooked from the get go-
(3/n) He's also done a short RTP in Sriranjani here!
(4/n) Upon digging into archives, I noticed that he had a penchant for ragas like Purnachandrika, Begada, Kannada, Sahana, Sriranjani and Harikamboji to name a few. The initial raaga flash & kalpana swaras in Purnachandrika here are something else-
(5/n) Here is a thoroughly enjoyable Begada-
(6/n) And, a superb Kalyani
(7/n) Ramnad brings out such beautiful colours of Sahana
(8/n) Kalpana swarams fireworks in Aarabhi
(9/n) More fireworks in rare Maalavi
(10/n) The unmistakeable influence of T Brinda, one of his mentors. The raaga aalapana is such a different take on Kaapi-
(11/11) Ramnad Krishnan has come to be known as the 'musician's musician'. Though he didn't attain extreme fame or superstardom during his time, his music continues to be a great influence on musicians & students. Do check out more of his music here youtube.com/playlist?list=…
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[Tyagaraja & Rama - A thread] Tyagaraja considered himself as much a rama bhakta as a composer. Rama was his ista dhaivam, his muse. He worshipped the idol of Rama daily and was distraught when he lost the idol. His krithis are mostly his conversations with Rama.
Tyagaraja has two groups of krithis: the Utsava Sampradaya krithis and Divya Nama Sankeetams that are dedicated to Rama. The first set is about Tygaraja doing pooja to the idol in his house. These krithis start from Melukolupu (waking him up) and end in Lalli.
The other set, Divya Namasankeertams, are mainly aimed at group singing. They have a simple repeating structure that is well suited for bhajanais. In this thread, we will not play from these sets but from his standard krithis.
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His playing was energetic and that energy is what drew a lot of people towards his playing. He could lift up the song with his amazing patterns. It was always a pleasure to listen to him.
He had done a lot to popularize rhythm in its own right. He has collaborated with multiple rhythmic artists and did vadya vrinda kind of concerts, which were well received.
Bombay Sisters, C.Saroja and C.Lalitha, were a popular duo in the 80s and the 90s. They have given many concerts all over the country.
More importantly, they recorded some rare songs of Tyagaraja, which were not sung by many musicians. We will give you a few of them in this brief thread.
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Musicians and singers do love to create or assimilate new ragas to give color to their compositions or performance respectively. Hence there is a constant search for new ragas.
A raga becoming popular or not depends on a large numbers of factors. Some become a staple diet on the concert stage whereas some fade away from the audience's mind.
[Raga thread] Today we will take up the raga Vasantha and Lalitha for this thread. Vasantha is the more popular of these two ragas.
For the uninitiated, Lalitha will sound close to Vasantha but once you keep hearing them, you will see that Lalitha has a personality of its own. There are limited number of krithis in both these ragas. Let us have look at them.
Let is start with Tyagaraja's bewitching 'Seethamma Mayamma' in the raga Vasantha. Here is MS singing this krithi.
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Many of the artists of the earlier era had grown up in small towns / villages. In those places, nadaswaram was constantly played during temple festivals. Great artists played nadaswaram throughout the night.
Nadaswaram artists were mainly known for their amazing creativity in raga alapana. They could play any raga for hours togethers. And the phrases they played on nadaswaram, called nadaswaram pidis, were adapted by vocal artists for their concerts.