The vilambit is pretty good...and evokes the flavor of the raga...the early morning mood...and the drut bandish taans were quite fast and well rendered. Kudos. And Anirudh's comments quite beautifully adds to illustrate the technical aspects of the raga and the rendition. Quite a good experience. Looking forward to more....
Wah, kya baat hai! Meditative .. what added to the rendition is the clarity of wording/ pronounciation of all the compositions. So one could understand the BHAAV easily.
Outstanding would be an understatement. AshtangGayaki, with many aesthetic elements of Khayal, all excellently depicted, Bhav purn. Great Mandra saptak andolans and vilambit-khayal bolbants... really exceptional!!
@@Lodayaprashant Thank you for your interest in our programmes. To know more about our events, simply follow us on Facebook. (First Edition Arts). We normally upload a poster of our upcoming events with all the necessary details about the artistes, location and time. Our events usually happen in Mumbai and Bangalore.
wonderful rendition. a marvellous Lalit. However, the observation on ragam Lalitha in the Carnatic system by Anirudh Aithal is mistaken. Lalitha has really nothing to do with Lalit. It is closely related to Bhairav (Mayamalavagowlai) and Adi Basant (Vasantha). The movement between the two madhyams which is the classical marker of Lalit is entirely missing in Lalitha. It is more likely a southern development rather than an import from the north
Namaskara. Thank you for bringing this up. The information on the history of Raag Lalit was from a script that was prepared by a team priorly. The point about the Raaga being introduced to Carnatic music by Muthuswamy Dikshitar may not be accurate. This missed my attention, apologies. However, I wonder what your sources are to state that Lalitha is a South Indian creation. The fact that Ragam Lalitha has a northern origin is accepted by many. There are some research pieces, articles and blogposts as well talking about the same. And also the Ragam Lalitha is indeed closer to Raag Lalit than to Bhairav which is roughly analogous to Mayamalavagowla as you pointed out due to the absence of Pancham. As to the lack of the two Madhyams, that may just be an evolution. In any case the usage of the two Madhyams is one of the many markers of Raag Lalit. The Madhyam to Dhaivat movement is also an important marker in Raag Lalit which can be observed in Ragam Lalitha as well. You can refer to the paper entitled "North Indian Ragas in the compositions of Muttuswami Dikshitar" written by the Musicologist, composer and scholar Dr. V.V.Srivatsa where he has opined that there were several Raagas of North Indian origin citing examples such as Lalitha (a Ragam used by all three of the Trinity) in vogue in Carnatic music even before Muthuswamy Dikshitar. Thank you!
@aniruddhaithal thank you for taking the time to write a such a detailed reply. I hadn't read this paper. My source was my carnatic teacher Dr. Vasanthi rao to whom I had posed this question about Lalit and Lalitha and received this answer. I should read up this paper and return to her. Dikshitar was known for incorporating a number of North Indian ragas and dhrupad style compositions into carnatic music from his days in Kashi. In my limited knowledge I felt that the two madhyams were essential to lalit hence unlikely to be removed from a raga even when adopted into carnatic music. Regardless, thanks again for your reply. A big fan of your singing as well!!!
Its wonderfull... Rendition... And... Seriously..
Very Nice Voice aur Tayyari bhi Bahut acchi hai! Traces of Bhimanna and ofcourse Torviji.Very Bright future for this young man. Jai Ho!
aniruddh aithal who was the interlocutor in this video is an absolute beast of a hindustani classical singer himself 😅
Crisp taans. Emotions filled rendition. Excellent 👌🏻
The vilambit is pretty good...and evokes the flavor of the raga...the early morning mood...and the drut bandish taans were quite fast and well rendered. Kudos. And Anirudh's comments quite beautifully adds to illustrate the technical aspects of the raga and the rendition. Quite a good experience. Looking forward to more....
Wah, kya baat hai! Meditative .. what added to the rendition is the clarity of wording/ pronounciation of all the compositions. So one could understand the BHAAV easily.
Outstanding would be an understatement. AshtangGayaki, with many aesthetic elements of Khayal, all excellently depicted, Bhav purn. Great Mandra saptak andolans and vilambit-khayal bolbants... really exceptional!!
What a beautiful rendition & concept. Brilliant artists. Kudos to First Edition Arts. 🙏🙏
That Aalap has the capability to induce meditation in the listener's mind...... Absolutely mind silencing 👌🏻👌🏻👌🏻
Very melodius start to the raaga. Beautiful voice.
How do we get to attend such concerts in future please?
@@Lodayaprashant Thank you for your interest in our programmes. To know more about our events, simply follow us on Facebook. (First Edition Arts). We normally upload a poster of our upcoming events with all the necessary details about the artistes, location and time. Our events usually happen in Mumbai and Bangalore.
wonderful rendition. a marvellous Lalit. However, the observation on ragam Lalitha in the Carnatic system by Anirudh Aithal is mistaken. Lalitha has really nothing to do with Lalit. It is closely related to Bhairav (Mayamalavagowlai) and Adi Basant (Vasantha). The movement between the two madhyams which is the classical marker of Lalit is entirely missing in Lalitha. It is more likely a southern development rather than an import from the north
Namaskara. Thank you for bringing this up. The information on the history of Raag Lalit was from a script that was prepared by a team priorly. The point about the Raaga being introduced to Carnatic music by Muthuswamy Dikshitar may not be accurate. This missed my attention, apologies. However, I wonder what your sources are to state that Lalitha is a South Indian creation. The fact that Ragam Lalitha has a northern origin is accepted by many. There are some research pieces, articles and blogposts as well talking about the same. And also the Ragam Lalitha is indeed closer to Raag Lalit than to Bhairav which is roughly analogous to Mayamalavagowla as you pointed out due to the absence of Pancham. As to the lack of the two Madhyams, that may just be an evolution. In any case the usage of the two Madhyams is one of the many markers of Raag Lalit. The Madhyam to Dhaivat movement is also an important marker in Raag Lalit which can be observed in Ragam Lalitha as well. You can refer to the paper entitled "North Indian Ragas in the compositions of Muttuswami Dikshitar" written by the Musicologist, composer and scholar Dr. V.V.Srivatsa where he has opined that there were several Raagas of North Indian origin citing examples such as Lalitha (a Ragam used by all three of the Trinity) in vogue in Carnatic music even before Muthuswamy Dikshitar. Thank you!
@aniruddhaithal thank you for taking the time to write a such a detailed reply. I hadn't read this paper. My source was my carnatic teacher Dr. Vasanthi rao to whom I had posed this question about Lalit and Lalitha and received this answer. I should read up this paper and return to her. Dikshitar was known for incorporating a number of North Indian ragas and dhrupad style compositions into carnatic music from his days in Kashi.
In my limited knowledge I felt that the two madhyams were essential to lalit hence unlikely to be removed from a raga even when adopted into carnatic music.
Regardless, thanks again for your reply. A big fan of your singing as well!!!