/* START Google Analytics Code*/ /* END of Google Analytics Code */ A home called "Parvathi": The vidwat of harnessing the voice – Vidwan Tanjore S. Kalyanaraman

Thursday, June 2, 2011

The vidwat of harnessing the voice – Vidwan Tanjore S. Kalyanaraman

The GNB school has made a huge impact on Carnatic music. Frequent references are made in our circles to GNB's unique style and impact, his star disciples like MLV, and the briga-laden stylistics that are the inspiration of many an upcoming singer. In this context stands out a gifted musician, who added to the GNB style his own unique aesthetics, providing an eloquent direction to the youngsters who want to cultivate manodharma sangeetha instead of rattling off songs in quick succession.

Tanjore S. Kalyanaraman (1930-1994) whom we are privileged to feature in this concert, was a musician's musician. His music carries a freshness and charm. Singers and rasikas alike search avidly for his recordings. He had a grand design to his method, and his voice culture was a key to his success. We can glean from Internet resources details of this master musician's musical journey.

Before we list the concert details, let us share a quote from someone who has written about Kalyanaraman:

Quote (Mr. S. I. Krishnamachari of Woodridge, IL., USA )

He was a researcher, singer, composer, teacher, unrelenting learner, vainika, whistler and a teacher of violin too. To this date, he represents (what) one can do to ply one's own voice and be the ring-master of his own music. Intellect, analysis and faith in classical values were the characteristics of his music. Taught first by his father, and later by none less than GNB himself, he acquired a singing style and personality for himself. Awards and recognition eluded him. Nonetheless, other musicians and the modern- minded rasikas always saw him as a star on par with GNB himself. There are a few in the profession who believe that his Sangeetha Kalanidhi award was long overdue.

He was an expert on voice culturing. Realizing that traditional methods of voice culture would not work for him, given his congenital heart and respiratory problems, he had to develop one of his own.


We also give you a link to a documentary : Sunadha Vinodhan S. Kalayanaraman

Carnatic music is blessed to have these path-breaking innovators. They bring a new meaning to creativity within the context of classicism. In this concert, we have a fair measure of rare compositions and masterly raga expositions e.g. Dharmavathi and Kambhoji. MSG and Karaikudi Mani along with H.P. Ramachar have added their bit to make this concert truly memorable. Karaikudi Mani, whom we feature for the first time in this blog, has provided masterly accompaniment in the Kambhoji Pallavi. It seems the mridangam is singing the pallavi as much as the voice and the violin.

The Meera bhajan, set to music by Kalayanaraman, expresses his creative mindset well. He had done original work in the area of dwi-madhyama ragas.

The details of the concert:

S.Kalyanaraman ------ Vocal
Parur M.S. Gopalakrishnan --- Violin
Karaikudi Mani -------- Mridangam
H.P.Ramachar ------ Khanjira
at Parvathi Ramanavami Festival on April 20, 1973

Song list

01. Jaya Jaya – Nata – Purandaradasa*** 02. Makelara – Ravichandrika – Thyagaraja *** 03. Gajavadana – Gowla – Purandaradasa*** 04. Paramapavana Rama – Purvi Kalyani – Ramnad Srinivasa Iyengar*** 05. Ninnu Nera – Devamanohari-Muthiah Bhagavathar*** 06. Kanda – Dharmavathi – Koteeshwara Iyer*** 07. Nenarunchi Nanu -malavi-Thyagaraja*** 08. Ragam Tanam Pallavi Kambhoji (Ragamalika Ranjani, Kunthalavarali, Nayaki, Gangeyabhushani, Hamsanandi) *** 09. Koovi Azhaithal – Valachi – Valee*** 10. Hari gun gaavath – Dipali – Meerabai*** 11. Saapashyat Kausalya – Jonpuri – Panchapakesha Shastri*** 12.Mangalam