Awesome….I have recently started hearing his renditions and I am moved to ecstasy. He keeps the listener engrossed and waiting for the “ laya” phase and delivers fully. Truly magical when you realize this is all done conforming to talam and ragam and is extempore in many occasions. Music of the gods!! Thanks for loading. The violin and mridangam are exceptional and truly represent carnatic classical’s parallel to Jazz, or even more as the “laya” continues throughout the rendition.
Blissfully enjoyed a good treat of legend veteran Madurai Mani Iyer in his Kanada ragha krithi. His magical unique swaraprastharams carry the listeners to great heights as in this krithi also. I was gifted to hear several of his concerts. We are giftedvto hear him again and again through his recordings.
What a great performance by all, just with two mikes, and just in an ordinary stage , sides and top decorated with a white cloth , and singing one krithi for 37 minutes, are we getting this self satisfaction of attending a Kutcheri , which is performed with all kinds of decorations, with front speakers for the artists to hear what they are performing, with Laptop& books to refer?
Sri Madurai Mani Iyer has done SURUTI Ragam Swararagam which I heard sometime back which I could not save. It came in yuotube. Could you get it by you and forwarded. 24:18
thanks for the treat What a scintillating swarams and wonderful violin and mrudangam accompaniments.We are blessed. I am also blessed to listen to him in person Perambur Sangeetha Sabha first as a school boy and later in many other sabhas .temples.
Only one Mic for the singer, which picked up the Violin and the Mridhangham, no front speakers & no notes or iPad or Laptop. Violin did not have any amplifying attachments. They performed min three and half hours.
MMI at his best.His creativity is unmatched till this day.The violin and mridhangam vidwans are equal to the occasion and blended with Iyer totally .Technology must be able to remove the unwanted background noise so that only pure music is presented.Hope.
Can anyone ever imagine to sing so nicely and effortlessly , virtually all rasikas are lifted to a place of divine bliss. Excellent support from Lalgudi and plan.
Sweet and scentilating swaraprasthara which only he could deliver in plenty lalgudi and palani subramaniams mridangam adding more beauty and charm charm
Thanks a ton sir for the upload.Scintilating Swaraprasthara of Kannada and Sudden change of Raga in 23:41 to Hamir Kalyani(If wrong may be corrected) to Mohanam, Begada and finally with his favorite Sindhu Bairavi. What a violin accompaniment equaling the legend..Thanks for uploading a masterpiece. Can anyone even emulate like this?
Violin Jayaraman is okay in thani but displays obvious unwillingness to accompany him professionally during Raaga alapanai suggesting that the main artiste MMI should adjust his alapanai with elongated gaps for violinist to play as per his own imagination without reference to MMI's presentation.
With all due respect.... the rendition of this sahitya is an echo-replica of 'Alaipaayudhay' in Thamizh or vice versa - listen to it intensely from 8:15 onwards , particularly from 8:40 onwards till 10:10 and beyond! Any sahitya in Kaanadaa, irrespective of its language and the vocalist, sound the exact same except for the timbre of the vocalist.Same goes for any Raga rendition, for that matter. They all sound the same and a sense of deja vu(in a manner of speaking)persists in any concert. That comes across as an inherent shortcoming of the genre and either points to lack of verdant imagination of the vocalists or the genre's constrictive, martinet-ish structural dictates,most of them man-made! On the other hand, Hindustani music as a genre, seems to offer some bandwidth within the lucid boundaries for personal interpretations to both vocalists and instrumentalists and really challenges the imagination quotient & the qualitative cachet of vocalists as well as accompanists!
I don't think it's necessary a shortcoming of the genre, considering there are tons of ragas. If you want to experience a diff. mood, listen to a diff. raga. If you want to listen to Kaanada, listen to an alapana or any one song. If you listen to songs in in Kaanada back to back they'll obviously sound the same, that's the point of a raga. Especially, some ragas with very defining and distinctive sounds (Kaanada, Athana, Reethigowla, Saveri, Begada). There are plenty of ragas with songs having varied tune structures like Todi, Kambhoji, Kharaharapriya. E.g. In Saama, Annapurne, Shantamu Leka, and Manasa sancharare, all have different beginnings. They may have common parts in the middle but any song in any raga will have that. Besides, only the first sangathi of "Sukhi Evaro" from 8:40 is an "echo-replica", the following ones are quite diff. but obviously follow the same skeleton.
Legend at his best. Not a dull moment. Accompaniments rose to the occasion. Inimitable style.
What a great voice
As the name of the you tube channel implies, this concert takes you to ecstasy.
“Yes, it is absolutely true. Gana Kalatharar Madurai Sri Mani Iyer is a legend Carnatic Sangeetham Musician. Inimitable.” - “M.K.Subramanian.”
Awesome….I have recently started hearing his renditions and I am moved to ecstasy. He keeps the listener engrossed and waiting for the “ laya” phase and delivers fully. Truly magical when you realize this is all done conforming to talam and ragam and is extempore in many occasions. Music of the gods!! Thanks for loading. The violin and mridangam are exceptional and truly represent carnatic classical’s parallel to Jazz, or even more as the “laya” continues throughout the rendition.
My sincere thanks for the upload.
Violin by mayuram v.r govindaraja ppillai mridangam by c.s.murugaboopathi.the above concert was held in mayuram in the year 1960 Thula uthsavam.
awesome. if you can quote the source it’ll be wonderful.
Thanks for adding this valuable information.
Blissfully enjoyed a good treat of legend veteran Madurai Mani Iyer in his Kanada ragha krithi. His magical unique swaraprastharams carry the listeners to great heights as in this krithi also. I was gifted to hear several of his concerts. We are giftedvto hear him again and again through his recordings.
What a great performance by all, just with two mikes, and just in an ordinary stage , sides and top decorated with a white cloth , and singing one krithi for 37 minutes, are we getting this self satisfaction of attending a Kutcheri , which is performed with all kinds of decorations, with front speakers for the artists to hear what they are performing, with Laptop& books to refer?
Sri Madurai Mani Iyer has done SURUTI Ragam Swararagam which I heard sometime back which I could not save. It came in yuotube. Could you get it by you and forwarded. 24:18
thanks for the treat What a scintillating swarams and wonderful violin and mrudangam accompaniments.We are blessed.
I am also blessed to listen to him in person Perambur Sangeetha Sabha first as a school boy and later in many other sabhas .temples.
Only one Mic for the singer, which picked up the Violin and the Mridhangham, no front speakers & no notes or iPad or Laptop. Violin did not have any amplifying attachments. They performed min three and half hours.
“AvarOdu iNaintha pakka vaaththiyakkaararGaL Sri Lalgudi Jayaramanum, Mruthangaththil adiyEn guess ‘Thiru. C.S. Murugaboopathu adiyen oogam aagum. AdiyEn oogam aagum.”
-“M.K.Subramanian.”
unique rendition by master of masters
What a lovely rendition of the song
A great indeed.
The pakka vadhyams are kumbakonam rajamanikkam Pillai and subbudu which please note
“My guess turned true. His singing goes like the Mayiladuthuai Bullock Cart (their horns being cut short to the minimum. Athuvum oru azhagE. !!! Needur-il irunthu Mirasudar Subramaniam PiLLai ‘Jal Jal aaga Mayilaaduthurai Town-Kumari varuGinRaar vaayil karuppu veRRilaiyum, maNakkum pugaiyilum vaasanai chuNNaambum thadavi suganthatha vaasanaiyOdu. Pothumaa en varNanai.” - “M.K.Subramanian.”
MMI at his best.His creativity is unmatched till this day.The violin and mridhangam vidwans are equal to the occasion and blended with Iyer totally .Technology must be able to remove the unwanted background noise so that only pure music is presented.Hope.
God of carnatic music. Sahasra pranamam.
Yes. God of Carnatic Music.
Salute the Ganakaladharar.
The only Ganakaladharar
My request to Carnatic Ecstasy. 28:29
what a swaraprastharana. excellent and thanks a ton for uploading
namasthe sir, divinity through kanada
Excellent. Blessed to listen to this. Little distortion at the end unfortunately.
Kumbakonam rajamanikam pillai on violin
Excellent, lost for days
Exemplary.
Kudos to the entire Troup.
eedu inayatra sangeetham🙏🙏🙏
Can anyone ever imagine to sing so nicely and effortlessly , virtually all rasikas are lifted to a place of divine bliss. Excellent support from Lalgudi and plan.
Palani subramaniapillai and Lalgudi were the two eyes of MADHURA mani
@@ramanswaminathan6416 violin is surely not Lalgudi; Most probably it is Govindaraja Pillai
Super concert
Sweet and scentilating swaraprasthara which only he could deliver in plenty lalgudi and palani subramaniams mridangam adding more beauty and charm charm
Who is on the violin ? What a team & Swaras rendered are so nice. Anantha koti namaskarams to the artists
Excellent
The pace of singing I honestly could hear with any one else.
The mridhangam is unintrusive and the violin too true their roles as accompanists.
🙏🙏
Thanks a ton sir for the upload.Scintilating Swaraprasthara of Kannada and Sudden change of Raga in 23:41 to Hamir Kalyani(If wrong may be corrected) to Mohanam, Begada and finally with his favorite Sindhu Bairavi. What a violin accompaniment equaling the legend..Thanks for uploading a masterpiece. Can anyone even emulate like this?
VEERARAGHAVAN J Sir
I fully endorse your views.
But Genius like MM are above board.
They have the Liberty to cross boundaries'
Thanks
Isn’t it Saranga and not Hamir Kalyani ?
Shiv Visvanathan yes,it is Saranga
Violin Jayaraman is okay in thani but displays obvious unwillingness to accompany him professionally during Raaga alapanai suggesting that the main artiste MMI should adjust his alapanai with elongated gaps for violinist to play as per his own imagination without reference to MMI's presentation.
@@natarajansomasundaram9956 it is perfectly allowed but in this case two tracks seem to have been spliced. From that point on it is not sukhi evaro
With all due respect.... the rendition of this sahitya is an echo-replica of 'Alaipaayudhay' in Thamizh or vice versa - listen to it intensely from 8:15 onwards , particularly from 8:40 onwards till 10:10 and beyond! Any sahitya in Kaanadaa, irrespective of its language and the vocalist, sound the exact same except for the timbre of the vocalist.Same goes for any Raga rendition, for that matter. They all sound the same and a sense of deja vu(in a manner of speaking)persists in any concert.
That comes across as an inherent shortcoming of the genre and either points to lack of verdant imagination of the vocalists or the genre's constrictive, martinet-ish structural dictates,most of them man-made!
On the other hand, Hindustani music as a genre, seems to offer some bandwidth within the lucid boundaries
for personal interpretations to both vocalists and instrumentalists and really challenges the imagination quotient & the qualitative cachet of vocalists as well as accompanists!
What a load of bullshit!
I don't think it's necessary a shortcoming of the genre, considering there are tons of ragas. If you want to experience a diff. mood, listen to a diff. raga. If you want to listen to Kaanada, listen to an alapana or any one song. If you listen to songs in in Kaanada back to back they'll obviously sound the same, that's the point of a raga. Especially, some ragas with very defining and distinctive sounds (Kaanada, Athana, Reethigowla, Saveri, Begada). There are plenty of ragas with songs having varied tune structures like Todi, Kambhoji, Kharaharapriya. E.g. In Saama, Annapurne, Shantamu Leka, and Manasa sancharare, all have different beginnings. They may have common parts in the middle but any song in any raga will have that.
Besides, only the first sangathi of "Sukhi Evaro" from 8:40 is an "echo-replica", the following ones are quite diff. but obviously follow the same skeleton.