A short but soul-stirring Sahana alapana. Listening to it I felt that here he was not trying to show off his vidwath, but was only singing for himself, from his heart. Singing from the heart, not just from the throat, touches listeners’ heart. His unhurried style of singing reminded me of Sangeetha Kalanidhi Smt Brindamma, who often sang alapanas briefly, but they were always brimming with raaga bhaava and sparkling like gems. That style of singing has now almost disappeared, except for a few vocalists such as Sri T M Krishna and Dr Cherthala Ranganatha Sharma, and Malladi Sri Suribabu, and a few others, who still sing that way. I have often wondered why did the Music Academy ignore Sri Ramnad Krishnan, and did not honor him with the Sangeetha Kalanidhi title, just as it did with the great vainika Sri S Balachandar, and the vocalist Tanjavur Sri Kalyanaraman. Yes, he passed away at a relatively young age (he was 54), but there was ample time, I think, for the Music Academy to honor him if it wished. My sangeetha acharya Sri T N Bala (Sri Madurai Mani Iyer’s shishya) thought very highly of Sri Ramnad Krishnan, and spoke admiringly, during a few of my classes, about his Devagandhari and Sahana alapanas. Be that as it may, the rasikas of Carnatic Music should be glad that recordings of so many of his delightful and satisfying concerts have been preserved, and are available to those who wish to listen to bhaava laden singing. Yesh Prabhu, Bushkill, Pennsylvania
Yes! God knows the politics of music sangam bigwigs......and he studied with Brindamma as well. The only Sahana as good as this is one i have on cassette from K. Arunachalam on Nadaswaram....thank to this recording i can always recognize Sahana at concerts....
@@extanegautham8950 Yes, Sri Arunachalam was a great Nadaswaram player. Of all the musical instruments, I like Nadaswara the most. Even as a boy of three or four, I was drawn to it, and at weddings, if there was a Nadaswara party playing it, (which was quite rare because often they hired only clarinet players, not Nadaswara players, because Nadaswara players demanded higher fees) I will sit near them, often in front of them only a few feet away, and listen to their divine alapanas of Bhairavi and Mayamalavagowla, and i felt like I was temporarily in heaven. Yesh Prabhu, Mylapur, Chennai
@@vthyaga sorry, this is a year later....well i had already lived in Tamil Nadu for 18 months, and was familiar with the idea of carnatic music, but had only heard one concert, at a function in Thillai near the kovil, one of the sons of one of the priests, who sang his heart out for 3 hours.....And i had heard Nadaswaram and Thavil and also MSS played from the temple in early morning in Kaanadukathan, my guru's village, a fond fond memory. When i returned to Chicago as Devon Ave became more and more "Little India" i found a small Indian market run by Christian Tamils, (all the others were Gujarathis or Punjaps) i was able to purchase cassettes of DKP, Somu, MS, and K. Arunachalam, which i loved. In fact its KPA's Sahana that also hit me the hardest.....To this day if i feel too much stress i listen to that..... So one day, by total chance, i was going to visit my brother who was in town giving lectures at the museum, and there was a record store downtown with a big sale. I had no record player as i was living in an ashram, and the most you have was a small cassette player, and even that was an "innovation." a laxity of sorts.... I just wanted to have a look, as i grew up with western classical music...So, there in the Indian music section were the Nonesuch label recordings of T. Vishwa, Ramnad K, and also one Vainika M. Nageswara Rao, Ten Graces of the Veena, and also a solo one. The ten graces was with the same people accompanying krishnan, here.... I bought them b/c i already knew that label as very good, and also my gut just told these will be very fine. And they were all Tamils! I was very much in love with traditional Tamil culture, and also had lived in San Thome, next to Mylapore (my next trip to Tamil Nadu 3 years later i very much went to concerts during Marghzhi.!) Lucky for me, or as fate would have it, my brother's friend that he stayed at had a record player....i rushed out and bought cassettes, copied the LPs, and gave them to my brother....i wore those cassettes out on my little tiny cassette player. Thank god they LPs were all reissued on CD, and i have them. There are two for RK--Vidwan, and Kaccheri....both excellent, of course....
Krishnan was aptly called ‘Sahana’ Krish nan thanks to his approach to the raga - innovative, fresh and passionate, no matter how often he rendered it."" from his bio article in Sruthi.
One can notice that his alapana is a sketch of the Sahana padam of Kshetrayya “ Moratopu” ! Such was his love for padams and the Bani of his gurus Smt T Brinda & Smt T Muktha !
Interesting! Really? I thought Moratopu immediately moves to upper Sa and then comes down slowly at "gopalasami." But not sure. Would love to hear why you think so, super curious.
What a Lovely Alapanai followed by the Krithi ! ini enna pEccudukkidupOm (padam). rAgA: shahAnA. rUpaka tALA. Vaitheeswarankovil subbarama Iyer Krithi This is a lovely, short padam where a scorned nAyikA is raking the nAyaka (muruga) over the coals for not keeping a tryst with her pallavi ini enna pEcc(u)irukkudu pOmO ellOrkkum nagaip(u)Accudu Go away (pOmO)! What (enna) else is there (irukkudu) to talk about (pEccu) anymore (ini), when my pitiable state has become (Accudu) the fodder for everyone's (ellOrkkum) derisive laughter (nagappu)? (I have nothing to say to you...go away). anupallavi taniya vaitt(u)ingE varAdirunda tappidam pOdAdO muttaiya vElarE (ini enna...) Oh handsome (muttaiya) spear-wielder (vElarE)! Is the fault/mistake (tappidam) of having (vaittu) me wait here (ingE) all alone (taniya), and then, standing me up (varAdirunda), not enough (pOdAdO) for you [1]? (I have nothing to say to you anymore). caraNam manadirk(u)iSainda paDi AccE maTTu mIri pOccE sugandha kuntaLa vaLLi maNALarE subbarAman sAmikk(u)iSainda lOlarE (ini enna...) Everything has happened (AccE) according (paDi) to the dictates (iSainda) of your desires (manadirku), and in the process, all limits (maTTu) of decency have been exceeded (mIri pOccE)! Oh husband (maNALarE) of the fragrant (sugandha)-tressed (kuntaLa) vaLLI! While you may the one who delights (lOlarE) the heart of subbarAman (subbarAma sAmikku) [2], (I have nothing to say to you anymore). FOOTNOTES [1] What the nAyika leaves unsaid is the following question: Do I need any more reasons to not want to talk to you? [2] The composer's sva-nAma mudra - is this usual in his compositions?
A short but soul-stirring Sahana alapana. Listening to it I felt that here he was not trying to show off his vidwath, but was only singing for himself, from his heart. Singing from the heart, not just from the throat, touches listeners’ heart. His unhurried style of singing reminded me of Sangeetha Kalanidhi Smt Brindamma, who often sang alapanas briefly, but they were always brimming with raaga bhaava and sparkling like gems. That style of singing has now almost disappeared, except for a few vocalists such as Sri T M Krishna and Dr Cherthala Ranganatha Sharma, and Malladi Sri Suribabu, and a few others, who still sing that way. I have often wondered why did the Music Academy ignore Sri Ramnad Krishnan, and did not honor him with the Sangeetha Kalanidhi title, just as it did with the great vainika Sri S Balachandar, and the vocalist Tanjavur Sri Kalyanaraman. Yes, he passed away at a relatively young age (he was 54), but there was ample time, I think, for the Music Academy to honor him if it wished. My sangeetha acharya Sri T N Bala (Sri Madurai Mani Iyer’s shishya) thought very highly of Sri Ramnad Krishnan, and spoke admiringly, during a few of my classes, about his Devagandhari and Sahana alapanas. Be that as it may, the rasikas of Carnatic Music should be glad that recordings of so many of his delightful and satisfying concerts have been preserved, and are available to those who wish to listen to bhaava laden singing.
Yesh Prabhu, Bushkill, Pennsylvania
Absolutely agree with u sir
Yes! God knows the politics of music sangam bigwigs......and he studied with Brindamma as well. The only Sahana as good as this is one i have on cassette from K. Arunachalam on Nadaswaram....thank to this recording i can always recognize Sahana at concerts....
listen to Kiranavalli vidayshankar, not so well known , student of Brindamma..what about Sanjay S.?
@@anulakshman2025 Oh, thank you so very much, Anu Laxman.
@@extanegautham8950 Yes, Sri Arunachalam was a great Nadaswaram player. Of all the musical instruments, I like Nadaswara the most. Even as a boy of three or four, I was drawn to it, and at weddings, if there was a Nadaswara party playing it, (which was quite rare because often they hired only clarinet players, not Nadaswara players, because Nadaswara players demanded higher fees) I will sit near them, often in front of them only a few feet away, and listen to their divine alapanas of Bhairavi and Mayamalavagowla, and i felt like I was temporarily in heaven.
Yesh Prabhu, Mylapur, Chennai
its this tune that fell me in love with Carnatic music.
Wow! Really? Can I ask how you found this particular tune/song?
@@vthyaga sorry, this is a year later....well i had already lived in Tamil Nadu for 18 months, and was familiar with the idea of carnatic music, but had only heard one concert, at a function in Thillai near the kovil, one of the sons of one of the priests, who sang his heart out for 3 hours.....And i had heard Nadaswaram and Thavil and also MSS played from the temple in early morning in Kaanadukathan, my guru's village, a fond fond memory.
When i returned to Chicago as Devon Ave became more and more "Little India" i found a small Indian market run by Christian Tamils, (all the others were Gujarathis or Punjaps) i was able to purchase cassettes of DKP, Somu, MS, and K. Arunachalam, which i loved. In fact its KPA's Sahana that also hit me the hardest.....To this day if i feel too much stress i listen to that.....
So one day, by total chance, i was going to visit my brother who was in town giving lectures at the museum, and there was a record store downtown with a big sale. I had no record player as i was living in an ashram, and the most you have was a small cassette player, and even that was an "innovation." a laxity of sorts....
I just wanted to have a look, as i grew up with western classical music...So, there in the Indian music section were the Nonesuch label recordings of T. Vishwa, Ramnad K, and also one Vainika M. Nageswara Rao, Ten Graces of the Veena, and also a solo one. The ten graces was with the same people accompanying krishnan, here....
I bought them b/c i already knew that label as very good, and also my gut just told these will be very fine. And they were all Tamils! I was very much in love with traditional Tamil culture, and also had lived in San Thome, next to Mylapore (my next trip to Tamil Nadu 3 years later i very much went to concerts during Marghzhi.!)
Lucky for me, or as fate would have it, my brother's friend that he stayed at had a record player....i rushed out and bought cassettes, copied the LPs, and gave them to my brother....i wore those cassettes out on my little tiny cassette player. Thank god they LPs were all reissued on CD, and i have them. There are two for RK--Vidwan, and Kaccheri....both excellent, of course....
Ahaa... Enna aanandam
Krishnan was aptly called ‘Sahana’ Krish
nan thanks to his
approach to the raga - innovative, fresh and passionate,
no matter how often he rendered it."" from his bio article in Sruthi.
Sahana is such a pleasing raga, no matter the kritti...but this one is so fine...
One can notice that his alapana is a sketch of the Sahana padam of Kshetrayya “ Moratopu” ! Such was his love for padams and the Bani of his gurus Smt T Brinda & Smt T Muktha !
Interesting! Really? I thought Moratopu immediately moves to upper Sa and then comes down slowly at "gopalasami." But not sure. Would love to hear why you think so, super curious.
Rare singer golden collection. VGururajan chennai42.
SUPER
thanks
What a Lovely Alapanai followed by the Krithi !
ini enna pEccudukkidupOm (padam). rAgA: shahAnA. rUpaka tALA. Vaitheeswarankovil subbarama Iyer Krithi
This is a lovely, short padam where a scorned nAyikA is raking the nAyaka (muruga) over the coals for not keeping a tryst with her
pallavi
ini enna pEcc(u)irukkudu pOmO
ellOrkkum nagaip(u)Accudu
Go away (pOmO)! What (enna) else is there (irukkudu) to talk about (pEccu) anymore (ini), when my pitiable state has become (Accudu) the fodder for everyone's (ellOrkkum) derisive laughter (nagappu)? (I have nothing to say to you...go away).
anupallavi
taniya vaitt(u)ingE varAdirunda
tappidam pOdAdO muttaiya vElarE (ini enna...)
Oh handsome (muttaiya) spear-wielder (vElarE)! Is the fault/mistake (tappidam) of having (vaittu) me wait here (ingE) all alone (taniya), and then, standing me up (varAdirunda), not enough (pOdAdO) for you [1]? (I have nothing to say to you anymore).
caraNam
manadirk(u)iSainda paDi AccE
maTTu mIri pOccE
sugandha kuntaLa vaLLi maNALarE
subbarAman sAmikk(u)iSainda lOlarE (ini enna...)
Everything has happened (AccE) according (paDi) to the dictates (iSainda) of your desires (manadirku), and in the process, all limits (maTTu) of decency have been exceeded (mIri pOccE)! Oh husband (maNALarE) of the fragrant (sugandha)-tressed (kuntaLa) vaLLI! While you may the one who delights (lOlarE) the heart of subbarAman (subbarAma sAmikku) [2], (I have nothing to say to you anymore).
FOOTNOTES
[1] What the nAyika leaves unsaid is the following question: Do I need any more reasons to not want to talk to you?
[2] The composer's sva-nAma mudra - is this usual in his compositions?
Which language is this?
tamil
P: ini enna pEccudukkidupOm pOm ellOrkkum naghaippAccudu
A: taniyE vandingE vArAdirundOr tappidam pOnadum muttayya vElarE
C: manadirk-kishainda paDiyAccE maTTumIri pOccE
kusuma tandaLa vaLLI maNALarE subbarAman tamizhk-kishaianda vElarE
It is vaittu inge not vandu inge
Can somebody tell me the exact situation is been told in this Padam.
What the exact nayika is in this Padam?