Classial carnatic music youtube mlv full#

“While she attained proficiency on the violin, my chosen instrument was the mridangam. “We used to learn and practise together”, says N. Born in Tiruvarur, Balam was initiated early into music at age seven, when she began learning from her mother, Saraswathy Ammal and her aunt Sharadambal, Ramani’s mother. Hailing from a family deeply rooted in musical tradition, Balam was the grand-daughter and disciple of flute and vocal vidwan Azhiyur Narayanaswami Iyer and the cousin of late flute maestro N. Raama the Prince is a 'prince of the heart', to be emulated by us as a model of bountiful-ness a 'Kubera' in the distribution of his own wealth towards the welfare of people around him.The world of classical music has lost a veteran with the demise of Carnatic violinist Tiruvarur M. Narada, however, in emphasizing Raama with Kubera, has a message for all us. When we have occasion to use the name, we often use it as a term, in comparing someone as 'Avan Kuberan' or 'Avanu Kubera', and we allude to it singularly as someone who is possessed of wealth.

While reading this, we were made conscious of the very ignoble way in which we ourselves think of the word Kubera. One of the descriptions he provides is in comparing Raama with Kubera. Narada thrusts upon him the description of a Sri Raama.

Classial carnatic music youtube mlv full#

'Who can possibly be full of virtues in this present world?'

With just this introduction we leave you to your own devices to discover him for yourself, either through Google/Bing, through YouTube, Facebook or through a publishing entity such as the Huffington Post.įor those in India, who wish for a face to face meeting, here is your opportunity! (Click)Ī final urge to examining our own identity came in the light of reading the Ramayana, in its very first section where Valmiki asks the sage Narada: He is also currently involved in some very serious discussions with the senior members of India's government, bringing home issues facing India's integrity, its security and above all a 'lost' IDENTITY, far from the pale of issues that India's media can either comprehend or discuss with their public, other than the feeding of salacious material for some immediate end. In two very rapid successions this year, he has penned two extraordinary books 'BREAKING INDIA' and 'BEING DIFFERENT' and is currently riding on the crest of some very thought provoking meets both in India and in the USA. He is a man who has been given to some tremendous world wide charities, who is a very distinguished scholar in his own right, and who takes away ones breath in a most dynamic manner when he is on the podium relating to this very intriguing subject. The first, on the seriousness of 'Identity' was brought home by a very powerful representative of the Hindu community here in the USA, who has made this his home over several decades. MLV in Parvathi concerts.Īs we waited on our very learned friend in music R.Sachi to extol the virtues of the next concert from 'Parvathi', we found ourselves engrossed in a few serious issues concerning our own would be 'Identities' and they came simultaneously from three very different sources. Overall a rich experience that one associated with Dr. The concert has many fine Bhajans, Dasa compositions and ragamalikas. We could translate literally Gamanashrama to 'tough going'! There are also only a handful of recordings of RTP in this raga in Carnatic music archives. There are very few compositions in this raga which was called Gamakakriya by the Dikshitar school.

MLV is quite at home giving us the rich fare of a rare raga more remembered as the 53rd Melakarta whose Janyas are Purvi Kalyani and Hamsanandi. But there is a persuasive argument why we share this concert - there is a brilliant, yes brilliant, rendering of Gamanashrama in the Ragam, Tanam and Pallavi. The recording quality is not good in quite a few places. In this concert, we are treated to elaborate renderings of Madhyamavati and Kharaharapriya. It is no exaggeration that today, as we listen to fast paced 'modernist' Carnatic music, we often recall the GNB bani and the unique place held in our hearts by Dr. The result was quite often deeply memorable raga elaborations, rare krithis mined from the repository of compositions going beyond the trinity, and a brisk technique of delivery that gripped the audience from the word go. A musician hailing from the classical mould, she combined outstanding creativity with excellent voice control. To our community of listeners, we bring again another stellar concert from the redoubtable Dr.

Gamanashrama sung by Ganavisharade Dr.