TM Krishna: Ragam Mayamalavagowlai
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- čas přidán 27. 06. 2019
- TM Krishna was the headlining artiste at the Mumbai chapter of the FEA-curated CROSSROADS festival. He began his recital with a Pasuram by Nammazhvar. This segued into a Thyagaraja kriti called "Meru Samaana" in Ragam Mayamalavagowlai in aadi thalam.
Krishna was accompanied by HN Bhaskar on violin, B Sivaraman on mridangam and KV Gopalakrishnan on kanjira. - Hudba
Of all the ragas I have learnt and listened to in the last seventy-one years, the raga Mayamalavagowla is my overwhelming favorite, by far: it is melodious, and luminous like a Deva, a divine being, (the word deva, by definition, means one who shines) and rich in sowkhya bhaava; when sung properly, at slow tempo, with lavish gamakas, giving sukham to the listeners is its innate characteristic. It is majestic, and in the hands of sensitive, delicate singers like Sri T M Krishna, who can express bhaava effortlessly through his malleable, robust voice, can not only be very soothing, but also make listeners feel euphoric, and fill their heart with divine joy. And like its Janya raga Malahari, it has the ability to calm and steady the mind. And that is the reason our Sangeetha Pitamaha, Sri Purandaradasa, chose Mayamalavagowla as the preferred raga to teach swaras to those who aspire to learn Carnatic music, and called it the King of all ragas. Meru among mountains, Mayamalavagowla among ragas, are supreme. When Kakali Nishada is used repeatedly in prayogas, and held for a long time, it induces a special effect on the listeners' minds, and gives joy or supreme ananda. Sri T M Krishna has sung the kriti in the most appropriate kaalapramana: Chowka kaala; When sung with bhaava, at this speed, the kriti not only sparkles, but also touches the listeners' heart; at higher speed, though enjoyable, it only entertains, without touching anyone's heart.
In this raga, three kritis in particular outshine all others: Sri Thyagaraja's majestic Merusamana, Sri Gopalakrishna Bharati's soul-stirring Sivaloka Nathanai Kandu, and Mysore Sri Jayachamarajendra Wodeyar's mesmerizing Ksheera sagara shayana vakshashthala, popularised by Sangeetha Kalanidhi Sri Semmangudi Sreenivasa Iyer, reign supreme. (yes, I know Sri Muthuswami Deekshitar's Shree Nathaadi Guruguho is also there, I did not forget it.) When I heard TMK singing this kriti immersed and almost lost in raaga bhaava, I could actually sense that when thyagaraja composed it, he actually had a vision and was seeing Sri Rama walking towards him in "vaiyyaara". Generally speaking, the word vayyaara is used to describe a devadasi or a voluptuous dancer walking to her lover; in this kriti he used the word deliberately to describe Sri Rama's compassion, delicacy and flexibility: the masculine sturdiness and strength of the Meru, and the feminine delicacy and voluptuousness of an Apsara.
I have recordings of TMK singing this kriti at three different concerts, and this video stands out for two reasons: Instead of singing a long, elaborate alapana, he sings a Vrittam or Pasuram by Nammazhvar, in addition to a brief, deeply moving alapana. When sung with bhaava, a pasuram always sounds grander than a mere alapana because Pasurams have meaning which alapanas lack, no matter how wonderful the alapana is. Also, TMK avoided singing Kalpanaswarams in fast speed (second kaala), a wise decision, which brought out the meditative quality of the kriti. Why hurry at any time while singing the kriti? is the point. My Sangeetha Acharya the late Sri T N Bala told me during my classes that for this kriti, it was perfectly all right to not sing Kalapanswarams at fast speed. Few vocalists bring out the beauty and ragaswaroopa of Mayamalavagowla as gracefully, delicately, and effortlessly, as TMK does: His Mayamalavagowla glitters, always. In this video, his singing came only deep from his heart, and not just from the throat. For any music to touch rasikas' heart, it should flow only from the musicians' heart. For neraval he has chosen the unusual line, "Taluku chekkulache danaroo"; few vocalists choose this line, Alagala muddunu is the line chosen most often.
Sri H N Bhaskar's violin playing is melodious and sweet beyond description. Its sweetness I can not easily describe, I can only feel it. Can anyone describe the sweetness of sugar cane juice? Both Sri B Sivaraman on bridanga and Sri K V Gopalakrishnan on Kanjita have played softly, gently, with sensitivity, without drowning the voice of TMK. Also, the thani avarthanam is soothing and very pleasant. This gem of a video I will treasure. Always.
Yesh Prabhu, Bushkill, Pennsylvania
Hi Shreyas. I will try to locate the audio cassettes of T M K's concerts. They are more than 25 years old and are somewhere in the 6 boxes full of audios and videos. All the concerts were arranged by CMANA and Sruti in NJ and Pennsylvania. It might take some time for me to locate them, and when I do, I will reply to your query. The only thing I remember about the concerts is that he sang Merusamana!, my all time favorite kriti in Carnatic music.
Beautifully expressed. I felt this way too. Thanks. Genius of a singer. I simply love his Portrayal of Srinaataadhi too. My favourite raaga too. Maayamaalavagowlai.
Sukhaanubhavam.
Thank you for such a beautiful description of when music becomes divine. Please keep doing this.
Thank you sir for sharing your information..❤️
@@yeshprab Beautiful comment, thank you for expressing your thoughts so well!
Such a divine rendition!❤️ Million thanks to FEA !
How do you start a concert like this? Even someone who walked out after just the first piece would have felt blessed... TMK is in a league all his own... the virtuosity of the music is unbelievable... Meru samaana indeed is the best way to describe the performance!!
Saukhyam. That's what this is. One of the most perfect Mayamalavagaula I've heard. The listeners are blessed
Violinist is also amazing.
Very responsible and creative rendition of a very great kriti. Such chauka kala neravals and chittais with total submission to gamaka really makes Time stand still. Very very responsible accompaniments too. Super pleased
Sri T M K is with a totally new accompaniments. The performance does not change a bit . Happy to listen to the music.
Love this rendition, cant help but think of my loving thatha who loved Rama and Thyagaraja. My mom has told me so many times, thatha would tell her "Rama - he was Meru Samana. The perfect man." Thatha is no more and I was not there when he passed away but this rendition brings me close to him. Thank you Krishna aNNa.
No words to express the blissful I am experiencing. Mayamalava raga itself a great raga & TMK singing elaborately adds to splendor
However many. times I listen to this ,every time I marvel at the soothing exposition of the krithi. .And the accompanying artists are truly amazing
So beautiful.Only TMK can transform a simple and elegant raga into a great one.
mayamalava gowla is a simple raga ?
So true!
Wow! TMK at his usual best. Have been a fan of your channel for a long time now. Waiting for a lecture demonstration series. TMK has done a few already. Wouldn't mind some more. In fact, how about some hindustani lecture demos and 101s as well for the Carnatic folks. Nevertheless, FEA you guys rock with respect to the content and the videos.
What a wonderful portrayal of this kriti and what a grand raaga. Thoroughly enjoyed this. Thank you FEA. Thanks TMK, HNB and other accompanying Artists. Excellent 🙏
As many of times I heard.. brought my eyes in to tears ❤️❤️❤️
I bow down to you TMK SIR🙏🙏🙏
Ah. What a divine voice you are mesmerized. Such a genius
This is meditation in mayamalavagowla. Close eyes and go to sleep in peace.
Enthralling performance!
Wow! Super TMK sir
Une vrai méditation chantée . I love it
It is indeed a please watching this genius sing
Was really fortunate to have seen him at Music festival many years back.
Regards from beautiful South Africa
I can not find you and your friends and you can not put them down. I think the other guy who can help me out with the same problem I can not say hi and not a person who is not a man is not the best person . I am planning to take a pj party at 6:00 night are you coming to the party ?
From mv mrudula
t
Atlast ❤️❤️❤️
Super!
Devine
👌👌👌🙏🙏🙏
Fea!!!!at last👍👍
Mayamalawagowla at its best?
Kindly add English version of the sacred literature being sung by such evocative sound
Here you go - www.karnatik.com/c2560.shtml
Super! Thanks FEA 😊😊
அற்புதமான இனிய இசை கிருஷ்ணாவுக்கு நன்றி!
Great
Excellent 👌
Ahaa
Aha
ஸ்ரீ பரதாழ்வானின் பாவனையை ஏறிட்டுக்கொண்டு சத்குரு ஸ்ரீ தியாகப்பிரம்மம் அன்று கதறினார்...ஸ்ரீ T.M.கிருஷ்ணா இன்று சத்குரு ஸ்ரீ தியாகப்பிரம்மத்தின் பரம சிரேஷ்டமான பாவனையை நமக்கும் அளித்துவிட்டார்...🙏🙏🙏🙏🙏🙏.....
Can you please post Sri Nammalvar lines which TMKrishna sang here? Thanks
@Shreesha Srinivas thanks alot for sharing the lyrics. Can you share the meaning too if possible? Thanks in advance.
Can someone explain the purpose of violin in Carnatic music? To come in half a second late after the melody? It’s very distracting and most people I talk to feel the same way. I’m genuinely curious.
I know what you mean... I think there are artists who manage it (not to distract) effortlessly, but it has to be managed by all artists together, I feel, and by sound managers. I love the violin in the concerts, but I do think that playing in tandem can be better managed.
Uniqueness in Carnatic music is the improvisation done on the spot by the performers. So when the Vocalist is presenting something created at that point 'on the spot' during performance, the violinist would respond/follow few seconds later. Violin plays in tandem when a known composition is presented. Even parts of a known composition may be improvised. This aspect is called Manodharma. Manodharma is a form of improvised Carnatic music and is created on the spot during the performance, but within the confines of strict grammar of music.. en.wikipedia.org/wiki/Manodharma
I think that is the beauty of violin. To follow so close to the voice and play the instrument akin to the vocal cords. It really is art and technique at its highest.
It is an acquired taste I think. Once you appreciate the fact that the violin is following the on-spot improvisation of the singer, it's much more enjoyable. And during the main composition, the violin plays in tandem.
@@sreecons what you call uniqueness is the heart of all Indian music, hindustani or south Indian ....