I have earlier listened to Ragam Thanam Pallavis set in two or three ragams in “live” live and “recorded” live concerts from masters of this genre like Balamuralikrishna and Seshagopalan. Similarly, I look forward to be treated with RTPs in rare or not commonly heard ragams and generously offer my patience and praise even if such attempts falls short of expectations. As a listener, if we can’t have patience and support artists when they try something different, we will be provided with what we deserve – the drab standard fare of a ten-song-safety-first-sangeetham-next concerts.
This music season 2009 I listened to RTPs in both the above genres – the one set in multiple ragams and the one set in a rare ragam.
First, the multiple raga pallavi by Pantula Rama. (more…)
Musiri Subramania Iyer used to revel in mukhAri rAgAm. The madhyamam of rAgam mukhAri is a special one. It is neither that of bEgadA or that of shankarabharanam. Nedanuri Krishnamurthy has an exemplary understanding of this madhyamam, when he sings. One can listen to him speak about this rAgam and the special madhyamam in his interview with Ravikiran for the commercial album Karunyam – Mukhari – Volume 1 – Ragam Tanam Pallavi. Here is a good discussion on mukhAri archived in the Carnatica newsletter.
This music season 2009 I was fortunate to listen to this rAgam in two instances, both from young musicians who had good voice and caliber and took this rAgA for AlApanais (expositions). (more…)
rAgam nIlamaNi has its scale delineated as S R2 M1 P D1 N3 S in the ascend and S N3 D1 P M1 R2 S in the descend. It is the janya (child or derivative) rAgA of the 27the mElakarthA rAgam sarasAngi (which has all the seven notes within an octave of its scale in both ascend and descend as S R2 G3 M1 P D1 N3 S – S N3 D1 P M1 G3 R2 S)
Here is a short recording of rAgam nIlamani played in the nAgaswaram. The moving piece was recorded by me in 2006 (with the permission of the artist who shall remain unnamed) at the kEsava perumAl kOil in mylapore, Chennai, during a music season flop concert, (which I walked out).
This 2009 music season, I listened to ennakavi pAdinAlum, the standard (Tamil) song in nIlamani, played by Revathy Krishna on the veena, as a thukkadA (short songs at the tail end of a concert). Although the concert I attended was not one of her best, I was amazed at the voice like felicity she wielded her veena on this song – which, unfortunately, one can appreciate if only one can comprehend the Tamil lyrics. Even otherwise, enjoy the instrumental.
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Each time you enter the Madras Music Academy you suspect if it defies the law of mass conservation – there are more cars outside than people inside the concert hall. You dunk your iddly vadais at the canteen with the usual apprehension that the single most ethereal melody would have been delivered by the artist in your absence. From experience you know your concern is applicable for certain musicans. If not ethereal, at least their better effort begins and ends within a quarter hour. For Parassala Ponnammal, fostering such thoughts in your mind is a sin.
You know from your listening experience her singing portrays a laid-back bygone generation that we will forever loose in our Carnatic-for-ring-tone times. You are delighted she – a direct disciple of Harikesanallur Muthiah Baghavathar – was invited again by the Music Academy this season. (more…)
This blog primarily collects my micro-muse, laughs, occasional rants and motley web stuff I fancy. Lengthier (and hence, refined and possibly useful) content are collected in my website (see below).
With growing criticisms about journal impact factor and associated peer review and closed access publishing and the 
