She sure speaks her mind. I am glad Kala along with her cousin Sangeeta are around and taking violin forward in Hindustani music. I wish Panditji not spend time on quizzing every artist about fusion-music. We all understand what Panditji thinks about fusion-music. It's waste of time during such precious occasions.
pt. arvind ji, you are a true musician. the way you are serving hindustani classical music, no one had done before. take my pranam🙏 I am a regular audiance of your baithaks. lots of love from Bangladesh🇧🇩🇧🇩🇧🇩 plzz post more baithaks regularly🙏
This is brilliant explanation by Kala ji. I am very fortunate to listen to her live many times including a concert in my house. She is dynamic, she is soft, she is expressive and she is devotional. Well done Kala ji. Well done Arvind ji for your precise and detailed questions. You are also a musician of a highest class.
Kala Ramnath is an exceptionally gifted musician, that Bhairavi in the end was whew!! pure nectar! On the discussion of western music I don't think it's productive in comparing western and indian music, both have their own richness. Also to suggest western classical music does not have a spiritual aspect to it I'll have to respectfully disagree 😊. To illustrate my point I'll take n example of Bach! Johann Sebastian Bach's music is often closely associated with spirituality, particularly with his Lutheran faith. Bach was a deeply religious man who viewed music as a means of glorifying God and expressing his own faith. His music reflects his profound religious convictions and often draws on biblical texts and themes. Bach's works frequently incorporate complex musical structures and techniques that are designed to convey spiritual and emotional depth. For example, his use of counterpoint - the interweaving of multiple independent melodies - creates a sense of unity and harmony that reflects his belief in the unity of all things in God. Many of Bach's vocal works, such as his cantatas and passions, are explicitly religious in content and were written for use in church services. These works often include chorales and hymns that were familiar to the congregation and were intended to inspire and uplift them. Bach's music also reflects his personal struggles with faith and doubt. In his works, he explores themes of suffering, redemption, and the human condition, expressing a range of emotions from joy and exultation to sorrow and despair. So western classical music does have it's own introspectiveness or "inwardness" contrary to Kala Ramnath's postulations that western music lacks inner spiritual reflection.
I’m a Punjabi and I listen to and sing a lot of South Indian classical music. Lalgudi ji was a bit shocked when I asked him to play Banturiti in rag hansa naadam! In the royal festival hall. I find it addictive. Plus the fact that Kritis are endearing poetry of deities often startling in the rich imagery they open in ones heart. This is an important means of quantum entanglement. In my youth, for many years I only ever listened to rudra veena and Dhrupad Dhamar my favorite was Ram Chatur Mallick. Pretty much unknown in India. Indians are a sad lot of lost souls who have decided to ditch their ancient culture in favor of that of the pirates who landed on India’s shores with the motive to rob. Thank you for your fantastic series. A lady mentioned silence between notes I was aware of this many years back after constant listening to emani Shankar shastri’s endaro Mahanu bhavalu His mridang accompanist Kannan did the same. My Pakhawaj Guru Shri Gopal Das of all India radio fame, was in awe of South Indian musicians and never spoke disrespectfully towards them. Has anyone ever heard of G Harishankar? If not I suggest you watch this late musician. Music is a language which expresses the soul of a culture and never as universal as clichéd. It depends on one’s mood as to which language one wishes to indulge in. These days I listen to the dark sounds of post punk ‘Joy Division’ I suggest a good listening of their music which can be very intense.
@GandharKulkarni2000 Yes, it's always a better idea to spread ones tastes and appreciate the different flavours of different genres, artists and their countries.
Absolute first class Kala ji. Zabardast. Such innovation , and yet when you said that you have not explored it enough, it blew my mind. Great great mastery and artistry. Bhagwan aapko humari umar de de. I second the request to call upon Budhaditya Mukherjee , great to hear the Genius himself.
Parikh Ji, Please invite Shri Sriram Parasuram Ji who has been giving performances in both Hindustani and Carnatic styles. He is perhaps the best person to compare and contrast both the systems. Regards Ram
Arvindji, what a wonderful initiative this is. If I may, one artist I would love to request, please invite Arati Ankalikar Tikekar ji if you can! She is a beautiful artist with such great vocal mastery. It would be so beneficial for us vocal students!
had the great fortune to listen to her in Chicago a few years ago... She played Bihag. It was sublime. Thank you for this series... A treat for music lovers everywhere
is the bandish she is playing similar to "kaahe maan karo sakhi ri ab......bahut dinan par piya ghar aaye vaahi manao dheer dharo...."?? someone please shade some light upon it
amogh deodhar Take regular talim from a Guru. Ab guman man nahi kariye- jo sab gunijan kahe chitta dhariye. Don’t be arrogant. Learn from a learned great/ guru and retain the knowledge
Wish people could be more respectful towards Carnatic Music. It is an expression of certain vibrancy, a joy, a bhakti towards deity. Wish Hindustani musicians attend more Carnatic concerts before being so judgemental. As in south they say, Hindustani is like like stretching rubber and puts you to sleep. And sleep is good :))
पंडितजी प्रणाम .. आपकी बैठक कार्यक्रममे अगर मुझे श्रोता होने का भाग्य नसीब होता है, तो ये मेरेलिये परमआनंदसे कम नही हैं .. जय माँ शारदे . ...मनीष कर्णिक (मुंबई).9867669712
Comment on Carnatic music one doesn't know if it's arrogance but didn't expect from a senior artist. I'm sure she would have heard solo genius Lalgudi whose violin spoke or heard the jugalbandhi of the greats BMK and Bhimsenjoshi
Invite Indian Classical Violinist Dr.N Rajam as well, Kala ji started violin under her guidance. We will be very thankful to you. Her Darbari Kanada recital made a coma patient come out of coma..... miraculous.....
My Honest comment. Karnatic is absotluty pitch perfect and not sure why it is not as per respected Kalaji. I would say Carnatic music has more techniques and possibilities of expansion of music compared to Hindustani. NOT to discredit Hindustani at all. Even Her own Uncle T.N.Krishnan Ji would concur with Kalaji.
Great artist. Kalaji should also know better. Please listen to MS Gopalakrishnan, TN Krishnan, Lalgudi Jayaraman, etc. All these greats, do badhat, elaboration, and deep exploration on the raga. I'm disappointed with her lack of awareness. Ustad Amir Khan also assimilated Carnatic concepts, and we know his heights today.
Kala Ramanath is truly a gifted violinist and a musicologist too. Her views on Carnatic music is a bit premature and uncalled for. Carnatic music is vibrant always and Hindustani is soulful. You have have many kirthanas in a concert in Carnatic whereas in Hindustani it’s one or two with more of elaboration. Well, in Carnatic there are many living legends who go on and on while doing a Raga alapana but they restrict themselves keeping the listeners tempo in mind , hence its wrong to criticise
I appreciate the format of this interview and hope other renowned artistes would also be invited in due course. Ms. Kala Ramnath is an accomplished violinist, no doubt about that. However, I was disappointed by her ignorance or disregard for violin playing in North India. Her statements that not much has been done on the technique of violin playing in the north, the violinists in North India are miserable, they even don’t know how to hold the bow, etc. are atrocious, to say the least. She plays in the Gayaki style, so do many others from North India, and almost all from South India. But, there is a distinctive ‘Tantrakari’ style too, which is prevalent in North India, which she appears to have conveniently forgotten. Does she not know great violinists like Pandit Gajanan Rao Joshi and Pandit V. G. Jog, who were icons of violin playing in North India. Pandit Jog ji was not only a renowned solo violinist, he had accompanied all top notch vocalists of the country from his generation and even from the next generation. His jugalbandies with Ustad Bismillah Khan are immortal, not to talk of jugalbandies with several other artistes. His name had become synonymous with violin and his playing technique and unique tonal quality of his violin inspired whole generations to learn violin. There are numerous other violinists in North India, who made a name for themselves at the highest level. Did these artistes, Pandit Gajanan Rao Joshi, Pandit Jog and other of next generations, did not know how to hold the bow and played miserably? By making some irresponsible statements, she has insulted all of these great violinists. I sincerely feel that she should have shown some respect for these great violinists and should have exercised some restraint, instead of simply writing off the violinists of North India the way she did.
The technique of violin playing across India, be it in the north or south, is quite poor. N. Rajam and Kala madam have done a lot in taking the steps in the right direction while maintaining the aesthetic of Indian raga music. Kala's comments come from expertise and reason. I don't want to speak about individual artists, but in general the technique in the north is very poor. It is only slightly better in the south which has adopted the instrument more in accompaniment. If Indian music is to be taken seriously, artists must consider the parameters of their technique accordingly. The current generation of violin players in the north and south are on average better technically than those in previous generations. Maybe we haven't even discovered the violin fully in an Indian context, unlike the Sitar which is magnificently developed. In making and maintaining the instrument, we are many decades away in India. All you are doing is pontificating, instead of having a nuanced and informed understanding of the violin and its state in India.
Kalaji is a great musician. I am afraid she is caught by Panditji's controversial questions by expressing her mind and posibly due to lack of true depth and breadth of Indian music. I hope she will learn how to be policitally correct and respectful of other traditions in answering in future.
I am shocked to hear Vidu.Kalaji's understanding of Karnataka Sangita. She expresses popular misconception on 'Besur' in the practice of Karnataka Sangita. Sur -pitch and Svara-Sthana is the major difference and also in listening experiences of Hindustani and Karnatik music. Intervallic time between note to note progression also are distinct and also contributes to the span of attention of the listeners. Listen and observe the fidelity in the progression of ati vilambit-vilambit-madhyama-turita to understand the simplicity and complexity. Karnatik music public performances stress more on complexity than the simplicity aspects of musical expressions and both practitioners and listeners of Hindustani fail to realize this. On training-paltas, system established and improvised over centuries is based on musicological research and standardization. Ideal is only the strong foundation of Kalpita-premeditated music gives the freedom, the quintessential quality for Kalpana-sense of mind in imagination, ideation, innovation and exceptionally, the creativity. In classical music, there are two-gross and subtle. Lesser emphasis on gross over subtle makes the difference to feel, lack of 'peacefulness' and is a misconception. Shortness, in time and duration of alaap in Karnatic music is also a misconception. Alaap's time and duration varies between one to 15 minutes in the both the systems. Performers created the tendency of impatience in listening discipline to alaap of more than three minutes seeking to offer sensations and excitements in layakari to gain the patronage. I listened to Pandit Ajoy Chakrabarthy in Uttar-Dakshin event at Music Academy, Chennai bemoaning on this and appealing to rasikas to enjoy 15 minutes of alaap, the exalted state given to manodharma sangit. Vidu.Kala's playing only was the saving grace.
I've learnt both systems and think that both systems are brilliant and we'll need to preserve both of them. Having said that I always request Carnatic musicians the following: 1. Take it easy - don't be in a tearing hurry like speed of light - to finish a Kriti - explore the Kriti by expressing the emotion of the Kriti using the raaga framework. It is ok if they cover a couple of lines of the Kriti, but make it count. This is almost absent (except a few A listers who everyone knows). Pace it right. Don't jump to super-speed when you start. 2. Sing/play only 3 raagas (max 4) in a concert not 60. By doing this, you're bringing the "thehrav" aspect to music which Kala ji refers to. At the end of the concert, the tune and the words/framework should stay with the listener..it should get adsorbed (beyond absorbed) in their minds and hearts. For that to happen, 60 raagas in 2 hours will be a cognitive burden on any poor soul and nothing stays except fretful awe. 3. Take it easy accompanists especially percussionists - there is a need for them to follow and not boss around by asking the main artiste to follow them or chase them like there isn't a tomorrow. It becomes a cacophony of sorts when they chase and the main artiste runs away to ensure he doesn't get beaten by the rhythmic cycles. (there is a baithak of Pt. Suresh Talwalkar ji in this series which is the best of the lot and he explains the difference between the two playing styles - a must listen. Pt. Suresh Talwalkar ji is the right authority to say this given he has learnt both percussion styles).
Kuldeep Ji, Thanks for the reply. Practitioners of both the systems are serving the cause of preservation. It's more the responsibility of all the other stakeholders of both forms, rasikas, in particular to serve the cause. Giving point by point, my replies, as given below: 1. 'Tale it easy': Lakshana of art form and its tradition of art form is the basis. Raga and Sahithya bhava of composition is presented. Manodharma, manas, sense of mind in imagination; ideation; innovation; discovery; creativity and dharma, righteousness to the lakshya and lakshana of art form is primacy. Raga, alapana; Tana; Kruti or Keertana, composition; Niraval; Pallavi; Svara prastara, kalpana; Devotional-sloka; ugabhoga; pada; vachana are the forms of manodharma, covering all aspects of expressions (comprehensively) in presentations. Time constraints have affected the presentation in both the systems. Rasikas form the tendencies for excitement value and seek populism created by the performers and not support sowkhya, visraddhi. 2. Rasikas of Karnataka Samgita have accepted the concert system and practices and appreciate varied forms-One or two raga and multiple raga based. Please observe the practice of 2/3 minutes and 10-15 minutes of raga alapana in delineation. 3. On percussion artists giving accompaniment, I agree with you the present trend of compelling rhythmic acrobatics and least of aesthetic of laya, kala pramana. Intention is to secure and compel instant gratification and appreciation by the excited rasikas (loud noise of percussion instruments and claps of rasikas). It is required to judge the art form practices with lakshya, lakshana and sampradaya and not by comparison with out them. I have been advocating for restoration of practice of thrayee sthayee and chatur laya, kalapramana-ati vilamba; vilamba; madhyama; turita. Exceptionally few, do present vilamba kala compositions in concerts.
I don’t agree with what the lady says about Carnatic sing to pitch perfection - what is pitch perfection ? It depends on the ears - music is a lot more than notes and phrases -‘it’s what goes on in your head when you hear familiar notes and how that translates into emotion - the answer to that is more Hindustani players need to listen to Carnatic before commenting
... exquisite , but why , oh why , this terrible , harsh , electronic tanpura ? with all those musicians present , surely someone could play a real tanpura , no ? kindly , wilhelm
Panditji, I am a regular viewer of this channel and I enjoy it a lot. Unfortunately the same can not be said about this episode. I did not find her playing very impressive. Carnatic music needs violin as some shruties can not be played by freted instruments. Hindustani music never needed violin as it has sarangi. Sarangi has a million times more expression than violin has and Hindustani system requires that much expression. It sounded like she is using violin for something which it is not meant to do. Also comparing Carnatic, Western and Hindustani music is just bad taste. They are each completely different from the other and they are all equally good. Being good at one system does not make one adept at the others.I wonder how much she knows about orchestration, harmonies and counterpoint in western system or the precise and absolute rules of Carnatic system. And there is nothing wrong with today's kids. We have very talented kids today. Also to suggest that women muscisions must work harder than men is just preposterous. We have so many successful musicians in India who are women.I also felt that such a gathering of eminent musicians is not the best place to discuss basics of violin such as bow positions. In short I found today's guest very divisive and opinionated but short on talent, playing an instrument that just does not belong here. Dont get me wrong. I like violin by Vivaldi and Lalgudi. But just not when it is played distracted like this.Yes, when you abruptly stop after playing a phrase, it is not 'teheraav'. It is called distracted playing.
"Hindustani music never needed violin as it has sarangi. Sarangi has a million times more expression than violin has and Hindustani system requires that much expression. It sounded like she is using violin for something which it is not meant to do" and she is opinionated :D
This makes zero sense. Is there only a single slot for bowed fretless instruments in hindustani classical music? Should the surbahar and rudra veena not exist because the sitar does? Mind you, I do feel that the sarangi is more capable of gayaki than the violin. But that doesn't mean the violin doesn't bring other things to the table that make it a worthwhile and aesthetically satisfying endeavor.
What I meant to say is violin is essential in Carnatic music and violin techniques have been developed in Carnatic music to suit the type of gayaki used in that genre. Similarly sarangi has developed expressions in Hindustani music. Seen how ustad Sultan Khan places his fingers folded next to the string and not on them? Guitar has been adopted Hindustani music and I love it. Similarly bansuri in late 19th century. I dont see her doing the same thing with the violin. Apart from the meend - which has a well understood method on violin - it is the Carnatic motifs that come through in her playing (that she so vehemently dissociate herself from). Please listen to her play yaman. Where is the expression? Where is the 'teherav' that she accused other genres of not having? Did you feel the raaga? Now do the same thing with with Sultan Khan on sarangi.
I'm not saying I agree with any of what you're claiming, because honestly I find your argument weak at best. Regardless, if you're not sensing the intended emotional output from her playing, isn't it far more likely that you're are subjectively just not a fan of her style, rather than the violin not being an appropriate instrument for Hindustani classical? Regarding the question of Hindustani music and violin itself, that spans a world far bigger than just Kala Ramnath. Baba Allaudin Khan has recordings of him playing the violin beautifully (yes, he played the Sarangi as well). N Rajam (Kala's aunt) played Hindustani Classical on the violin (while her brother, T N Krishnan, played Carnatic). V.G. Jog was perhaps the best recognized violinist in Hindustani Music until he passed away. D.K. Dattar beautifully incorporated D.V. Paluskar's gayaki style into his violin, the likes of which hadn't been ever heard before. His student Milind Raikar is a fantastically articulate violinist himself, who has studied under the late Kishori Amonkar. There are MANY more - Kala is only part of the picture. I wouldn't dismiss the place of an instrument in music because of my personal predispositions about it. That's far too much hubris for a person to have.
This is a very silly interview of a crude person, a person who lacks basic dignity and has little respect for music. In addition, Kala Ramnath is ignorant about music in general besides her narrow expertise, which she delivers with some competence and it looks memorized lacking in dynamism and originality. Her take on Carnatic music borders on the scandalous ignorance and arrogance. When someone knows so little about a deep and vast genre, a person of mild intelligence would have kept quiet, but not his woman. She utters in her unsophisticated phrasing and crude language stuff that belongs in the deep regions of nonsense. This video should be spread far and wide, and it will damage her reputation. I wonder why Pt Parikh whom I respect deeply allowed this nonsense to take place under his watch. As far as this Kala Ramnath, there are 10 better violinists in the streets of Chennai and other parts of south India. Next time, it might be a good idea to interview a person of higher stature who knows something about Indian music at a respectable level.
What was silly in this interview if I may ask. In fact you are very ignorant of bowed instruments and their difficulties and technicality. She is explaining the things keeping respect for other musicians and instruments. Sitar might be pure indian instrument but violin have proved to be an instrument for any kind of music. Kala Ramnath is one of the artist who brings pride to Indian music.
I agree. She obviously knows nothing about Carnatic or Western classical music but she seemed happy to belittle them. She might've been nervous but her attitude just came across as pretentious. Should've just said she doesn't have enough experience in those things and stayed silent.
अद्भुत मधुवंती! आज के समय में वायलिन वादन की गौरव हैं विदुषी कला रामनाथ जी! 🙏🙏🙏
She sure speaks her mind.
I am glad Kala along with her cousin Sangeeta are around and taking violin forward in Hindustani music.
I wish Panditji not spend time on quizzing every artist about fusion-music. We all understand what Panditji thinks about fusion-music. It's waste of time during such precious occasions.
pt. arvind ji, you are a true musician. the way you are serving hindustani classical music, no one had done before. take my pranam🙏
I am a regular audiance of your baithaks. lots of love from Bangladesh🇧🇩🇧🇩🇧🇩
plzz post more baithaks regularly🙏
This is brilliant explanation by Kala ji. I am very fortunate to listen to her live many times including a concert in my house. She is dynamic, she is soft, she is expressive and she is devotional. Well done Kala ji. Well done Arvind ji for your precise and detailed questions. You are also a musician of a highest class.
Kala Ramnath is an exceptionally gifted musician, that Bhairavi in the end was whew!! pure nectar!
On the discussion of western music I don't think it's productive in comparing western and indian music, both have their own richness. Also to suggest western classical music does not have a spiritual aspect to it I'll have to respectfully disagree 😊. To illustrate my point I'll take n example of Bach! Johann Sebastian Bach's music is often closely associated with spirituality, particularly with his Lutheran faith. Bach was a deeply religious man who viewed music as a means of glorifying God and expressing his own faith. His music reflects his profound religious convictions and often draws on biblical texts and themes. Bach's works frequently incorporate complex musical structures and techniques that are designed to convey spiritual and emotional depth. For example, his use of counterpoint - the interweaving of multiple independent melodies - creates a sense of unity and harmony that reflects his belief in the unity of all things in God. Many of Bach's vocal works, such as his cantatas and passions, are explicitly religious in content and were written for use in church services. These works often include chorales and hymns that were familiar to the congregation and were intended to inspire and uplift them.
Bach's music also reflects his personal struggles with faith and doubt. In his works, he explores themes of suffering, redemption, and the human condition, expressing a range of emotions from joy and exultation to sorrow and despair. So western classical music does have it's own introspectiveness or "inwardness" contrary to Kala Ramnath's postulations that western music lacks inner spiritual reflection.
This is the only place where we don't expect anything in any term. A joy of musical melodies.
Mann Lago Mero Yaar Fakiri Mein
Vidushi Kala Ramnath is a gem of our Hindustani classical music!
Baithak is the best interview series so far. Pranam to Panditji!
She is a Carnatic violin player and from Carnatic music disciple... nonetheless she is amazing and I think at this level they know it all
An Ocean of Gratitude to PanditJi for your wonderful service to music.
I’m a Punjabi and I listen to and sing a lot of South Indian classical music. Lalgudi ji was a bit shocked when I asked him to play Banturiti in rag hansa naadam! In the royal festival hall. I find it addictive. Plus the fact that Kritis are endearing poetry of deities often startling in the rich imagery they open in ones heart. This is an important means of quantum entanglement. In my youth, for many years I only ever listened to rudra veena and Dhrupad Dhamar my favorite was Ram Chatur Mallick. Pretty much unknown in India. Indians are a sad lot of lost souls who have decided to ditch their ancient culture in favor of that of the pirates who landed on India’s shores with the motive to rob. Thank you for your fantastic series. A lady mentioned silence between notes I was aware of this many years back after constant listening to emani Shankar shastri’s endaro Mahanu bhavalu His mridang accompanist Kannan did the same. My Pakhawaj Guru Shri Gopal Das of all India radio fame, was in awe of South Indian musicians and never spoke disrespectfully towards them. Has anyone ever heard of G Harishankar? If not I suggest you watch this late musician. Music is a language which expresses the soul of a culture and never as universal as clichéd. It depends on one’s mood as to which language one wishes to indulge in. These days I listen to the dark sounds of post punk ‘Joy Division’ I suggest a good listening of their music which can be very intense.
Nobody cares about your ignorant remarks on Indian msuic and culture... if you even know what those words mean. Moron!
Joy division is awesome!
@GandharKulkarni2000 Yes, it's always a better idea to spread ones tastes and appreciate the different flavours of different genres, artists and their countries.
Kindly request Pt. Budhaditya Mukherjee. Thank you.
Kala amma ! Loads of love from kanchipuram 😍
Her simplicity (in presentation) comes from deep knowledge and different patterns playing with mistros. Many best wishes for her Sangeet Seva.
In addition to being a great artist, Kala-ji is so sweet and apolitical! I started listening to Violin because of her. 🙏
I liked your style of violin Vidushi ji God bless you pls keep sharing your music experiences and your noble centiments behind
Underpriviledged children encouraged, to like music
wao she is awesome!!!!!😍😍😍😍
pandit ji gives so much importance to gharana
Awesome Kalaji. Thank you Panditji for bringing her to us. These Baithaks are such that I felt I was sitting there all the time.
Absolute first class Kala ji. Zabardast. Such innovation , and yet when you said that you have not explored it enough, it blew my mind. Great great mastery and artistry. Bhagwan aapko humari umar de de.
I second the request to call upon Budhaditya Mukherjee , great to hear the Genius himself.
Thanks a ton for uploading!!
this is precious !!!!!
Very very thankful to you sir for conducting such knowledge imparting sessions. Great opportunity for students to learn from home
🙏🙏🙇
Fantastic
Salutations to the Great Maestros
God Bless
Thanks
Parikh Ji,
Please invite Shri Sriram Parasuram Ji who has been giving performances in both Hindustani and Carnatic styles. He is perhaps the best person to compare and contrast both the systems.
Regards
Ram
Arvindji, what a wonderful initiative this is. If I may, one artist I would love to request, please invite Arati Ankalikar Tikekar ji if you can! She is a beautiful artist with such great vocal mastery. It would be so beneficial for us vocal students!
Mesmerized, Thanks for sharing.
The lady with golden heart
Bhyrwi was very Meledious as
Ever . I enjoyed very much . But I felt Des,s" Jhalk" in it,may be my lake of Classical
Knowledge.
Wah wah kya baat hai Kala ji..
Ahahaa ! Amazing Madhuvanti🙏❤️
had the great fortune to listen to her in Chicago a few years ago... She played Bihag. It was sublime. Thank you for this series... A treat for music lovers everywhere
Bhut ache nice
My name for these baithaks..
Ungli chugli baithak ..
Is gharane ungli Karo us gharane ki chugli Karo ....
Aise kisse sunke Naya music paida hoga Kya ?
Panditji,
I enjoyed this session very much. Please do invite Carnatic musicians too.
is the bandish she is playing similar to "kaahe maan karo sakhi ri ab......bahut dinan par piya ghar aaye vaahi manao dheer dharo...."?? someone please shade some light upon it
yes, this bandish is 'kaahe man karo' in pandit jasraj ji's style :)
Yes. Thats is the bandish
Spot on. This is Kahe man Karo in Rag Madhuvanti
Marvelously played 🎻👌 kala is in her name itself. Rare combination of art and intellect.
very inspiring
v.nice
PLEASE INVITE Dr. N RAJAM
Thanks guruji to share this. If we want learn or improve so what to do. Pls guide
amogh deodhar Take regular talim from a Guru. Ab guman man nahi kariye- jo sab gunijan kahe chitta dhariye. Don’t be arrogant. Learn from a learned great/ guru and retain the knowledge
@@pt.arvindparikh
धन्यवाद पंडितजी.
Pt. Arvind Parikh - All Inclusive Talim - Baithak Salutations to this initiative of yours.I started watching these a week back.
Excellent
Kindly request for ustad Asghar hussian g violinist delhi grana ..kabhi unko bhi invite kijyea beithak mai..plzz sir
Still in India
Is Still in India
U are soooo sweet
Wish people could be more respectful towards Carnatic Music. It is an expression of certain vibrancy, a joy, a bhakti towards deity. Wish Hindustani musicians attend more Carnatic concerts before being so judgemental. As in south they say, Hindustani is like like stretching rubber and puts you to sleep. And sleep is good :))
पंडितजी प्रणाम .. आपकी बैठक कार्यक्रममे अगर मुझे श्रोता होने का भाग्य नसीब होता है, तो ये मेरेलिये परमआनंदसे कम नही हैं .. जय माँ शारदे . ...मनीष कर्णिक (मुंबई).9867669712
Nice
The tabla player is good too
Comment on Carnatic music one doesn't know if it's arrogance but didn't expect from a senior artist. I'm sure she would have heard solo genius Lalgudi whose violin spoke or heard the jugalbandhi of the greats BMK and Bhimsenjoshi
Arvindji Is there away we can be a part of future baithaik , i stay at brijkutir
Send your email address so that we can invite you for future Baithaks
Pt. Arvind Parikh - All Inclusive Talim - Baithak falgunibansal@gmail.com
falgunibansal@gmail.com
Pt. Arvind Parikh - All Inclusive Talim - Baithak falgunibansal@gmail.com
Arvindji, please add my email as well: rahulforfun2@gmail.com
Sir please invite buddhatiya Mukherjee..
Invite Indian Classical Violinist Dr.N Rajam as well, Kala ji started violin under her guidance. We will be very thankful to you. Her Darbari Kanada recital made a coma patient come out of coma..... miraculous.....
My Honest comment. Karnatic is absotluty pitch perfect and not sure why it is not as per respected Kalaji. I would say Carnatic music has more techniques and possibilities of expansion of music compared to Hindustani. NOT to discredit Hindustani at all. Even Her own Uncle T.N.Krishnan Ji would concur with Kalaji.
Great artist. Kalaji should also know better. Please listen to MS Gopalakrishnan, TN Krishnan, Lalgudi Jayaraman, etc. All these greats, do badhat, elaboration, and deep exploration on the raga. I'm disappointed with her lack of awareness. Ustad Amir Khan also assimilated Carnatic concepts, and we know his heights today.
You should mention Dr.N Rajam ji too.....kala ji initiated under her guidance.
Please invite Pt. Budhaditya Mukherjee.
Kala Ramanath is truly a gifted violinist and a musicologist too. Her views on Carnatic music is a bit premature and uncalled for. Carnatic music is vibrant always and Hindustani is soulful. You have have many kirthanas in a concert in Carnatic whereas in Hindustani it’s one or two with more of elaboration. Well, in Carnatic there are many living legends who go on and on while doing a Raga alapana but they restrict themselves keeping the listeners tempo in mind , hence its wrong to criticise
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I appreciate the format of this interview and hope other renowned artistes would also be invited in due course. Ms. Kala Ramnath is an accomplished violinist, no doubt about that. However, I was disappointed by her ignorance or disregard for violin playing in North India. Her statements that not much has been done on the technique of violin playing in the north, the violinists in North India are miserable, they even don’t know how to hold the bow, etc. are atrocious, to say the least. She plays in the Gayaki style, so do many others from North India, and almost all from South India. But, there is a distinctive ‘Tantrakari’ style too, which is prevalent in North India, which she appears to have conveniently forgotten. Does she not know great violinists like Pandit Gajanan Rao Joshi and Pandit V. G. Jog, who were icons of violin playing in North India. Pandit Jog ji was not only a renowned solo violinist, he had accompanied all top notch vocalists of the country from his generation and even from the next generation. His jugalbandies with Ustad Bismillah Khan are immortal, not to talk of jugalbandies with several other artistes. His name had become synonymous with violin and his playing technique and unique tonal quality of his violin inspired whole generations to learn violin. There are numerous other violinists in North India, who made a name for themselves at the highest level. Did these artistes, Pandit Gajanan Rao Joshi, Pandit Jog and other of next generations, did not know how to hold the bow and played miserably? By making some irresponsible statements, she has insulted all of these great violinists. I sincerely feel that she should have shown some respect for these great violinists and should have exercised some restraint, instead of simply writing off the violinists of North India the way she did.
The technique of violin playing across India, be it in the north or south, is quite poor. N. Rajam and Kala madam have done a lot in taking the steps in the right direction while maintaining the aesthetic of Indian raga music. Kala's comments come from expertise and reason. I don't want to speak about individual artists, but in general the technique in the north is very poor. It is only slightly better in the south which has adopted the instrument more in accompaniment. If Indian music is to be taken seriously, artists must consider the parameters of their technique accordingly. The current generation of violin players in the north and south are on average better technically than those in previous generations. Maybe we haven't even discovered the violin fully in an Indian context, unlike the Sitar which is magnificently developed. In making and maintaining the instrument, we are many decades away in India. All you are doing is pontificating, instead of having a nuanced and informed understanding of the violin and its state in India.
Also Dr. N. Rajam Ji......the great violinist of our time.
Kalaji is a great musician. I am afraid she is caught by Panditji's controversial questions by expressing her mind and posibly due to lack of true depth and breadth of Indian music. I hope she will learn how to be policitally correct and respectful of other traditions in answering in future.
I am shocked to hear Vidu.Kalaji's understanding of Karnataka Sangita. She expresses popular misconception on 'Besur' in the practice of Karnataka Sangita. Sur -pitch and Svara-Sthana is the major difference and also in listening experiences of Hindustani and Karnatik music. Intervallic time between note to note progression also are distinct and also contributes to the span of attention of the listeners. Listen and observe the fidelity in the progression of ati vilambit-vilambit-madhyama-turita to understand the simplicity and complexity. Karnatik music public performances stress more on complexity than the simplicity aspects of musical expressions and both practitioners and listeners of Hindustani fail to realize this. On training-paltas, system established and improvised over centuries is based on musicological research and standardization. Ideal is only the strong foundation of Kalpita-premeditated music gives the freedom, the quintessential quality for Kalpana-sense of mind in imagination, ideation, innovation and exceptionally, the creativity. In classical music, there are two-gross and subtle. Lesser emphasis on gross over subtle makes the difference to feel, lack of 'peacefulness' and is a misconception. Shortness, in time and duration of alaap in Karnatic music is also a misconception. Alaap's time and duration varies between one to 15 minutes in the both the systems. Performers created the tendency of impatience in listening discipline to alaap of more than three minutes seeking to offer sensations and excitements in layakari to gain the patronage. I listened to Pandit Ajoy Chakrabarthy in Uttar-Dakshin event at Music Academy, Chennai bemoaning on this and appealing to rasikas to enjoy 15 minutes of alaap, the exalted state given to manodharma sangit. Vidu.Kala's playing only was the saving grace.
I've learnt both systems and think that both systems are brilliant and we'll need to preserve both of them. Having said that I always request Carnatic musicians the following:
1. Take it easy - don't be in a tearing hurry like speed of light - to finish a Kriti - explore the Kriti by expressing the emotion of the Kriti using the raaga framework. It is ok if they cover a couple of lines of the Kriti, but make it count. This is almost absent (except a few A listers who everyone knows). Pace it right. Don't jump to super-speed when you start.
2. Sing/play only 3 raagas (max 4) in a concert not 60. By doing this, you're bringing the "thehrav" aspect to music which Kala ji refers to. At the end of the concert, the tune and the words/framework should stay with the listener..it should get adsorbed (beyond absorbed) in their minds and hearts. For that to happen, 60 raagas in 2 hours will be a cognitive burden on any poor soul and nothing stays except fretful awe.
3. Take it easy accompanists especially percussionists - there is a need for them to follow and not boss around by asking the main artiste to follow them or chase them like there isn't a tomorrow. It becomes a cacophony of sorts when they chase and the main artiste runs away to ensure he doesn't get beaten by the rhythmic cycles. (there is a baithak of Pt. Suresh Talwalkar ji in this series which is the best of the lot and he explains the difference between the two playing styles - a must listen. Pt. Suresh Talwalkar ji is the right authority to say this given he has learnt both percussion styles).
Kuldeep Ji, Thanks for the reply. Practitioners of both the systems are serving the cause of preservation. It's more the responsibility of all the other stakeholders of both forms, rasikas, in particular to serve the cause. Giving point by point, my replies, as given below:
1. 'Tale it easy': Lakshana of art form and its tradition of art form is the basis. Raga and Sahithya bhava of composition is presented. Manodharma, manas, sense of mind in imagination; ideation; innovation; discovery; creativity and dharma, righteousness to the lakshya and lakshana of art form is primacy. Raga, alapana; Tana; Kruti or Keertana, composition; Niraval; Pallavi; Svara prastara, kalpana; Devotional-sloka; ugabhoga; pada; vachana are the forms of manodharma, covering all aspects of expressions (comprehensively) in presentations. Time constraints have affected the presentation in both the systems. Rasikas form the tendencies for excitement value and seek populism created by the performers and not support sowkhya, visraddhi.
2. Rasikas of Karnataka Samgita have accepted the concert system and practices and appreciate varied forms-One or two raga and multiple raga based. Please observe the practice of 2/3 minutes and 10-15 minutes of raga alapana in delineation.
3. On percussion artists giving accompaniment, I agree with you the present trend of compelling rhythmic acrobatics and least of aesthetic of laya, kala pramana. Intention is to secure and compel instant gratification and appreciation by the excited rasikas (loud noise of percussion instruments and claps of rasikas).
It is required to judge the art form practices with lakshya, lakshana and sampradaya and not by comparison with out them. I have been advocating for restoration of practice of thrayee sthayee and chatur laya, kalapramana-ati vilamba; vilamba; madhyama; turita. Exceptionally few, do present vilamba kala compositions in concerts.
I don’t agree with what the lady says about Carnatic sing to pitch perfection - what is pitch perfection ? It depends on the ears - music is a lot more than notes and phrases -‘it’s what goes on in your head when you hear familiar notes and how that translates into emotion - the answer to that is more Hindustani players need to listen to Carnatic before commenting
Raag, nor raga.
... exquisite , but why , oh why , this terrible , harsh , electronic tanpura ? with all those musicians present , surely someone could play a real tanpura , no ? kindly , wilhelm
Panditji, I am a regular viewer of this channel and I enjoy it a lot. Unfortunately the same can not be said about this episode. I did not find her playing very impressive. Carnatic music needs violin as some shruties can not be played by freted instruments. Hindustani music never needed violin as it has sarangi. Sarangi has a million times more expression than violin has and Hindustani system requires that much expression. It sounded like she is using violin for something which it is not meant to do. Also comparing Carnatic, Western and Hindustani music is just bad taste. They are each completely different from the other and they are all equally good. Being good at one system does not make one adept at the others.I wonder how much she knows about orchestration, harmonies and counterpoint in western system or the precise and absolute rules of Carnatic system. And there is nothing wrong with today's kids. We have very talented kids today. Also to suggest that women muscisions must work harder than men is just preposterous. We have so many successful musicians in India who are women.I also felt that such a gathering of eminent musicians is not the best place to discuss basics of violin such as bow positions. In short I found today's guest very divisive and opinionated but short on talent, playing an instrument that just does not belong here. Dont get me wrong. I like violin by Vivaldi and Lalgudi. But just not when it is played distracted like this.Yes, when you abruptly stop after playing a phrase, it is not 'teheraav'. It is called distracted playing.
"Hindustani music never needed violin as it has sarangi. Sarangi has a million times more expression than violin has and Hindustani system requires that much expression. It sounded like she is using violin for something which it is not meant to do" and she is opinionated :D
Amit Nag Ha ha.. Good point.
This makes zero sense. Is there only a single slot for bowed fretless instruments in hindustani classical music? Should the surbahar and rudra veena not exist because the sitar does? Mind you, I do feel that the sarangi is more capable of gayaki than the violin. But that doesn't mean the violin doesn't bring other things to the table that make it a worthwhile and aesthetically satisfying endeavor.
What I meant to say is violin is essential in Carnatic music and violin techniques have been developed in Carnatic music to suit the type of gayaki used in that genre. Similarly sarangi has developed expressions in Hindustani music. Seen how ustad Sultan Khan places his fingers folded next to the string and not on them? Guitar has been adopted Hindustani music and I love it. Similarly bansuri in late 19th century. I dont see her doing the same thing with the violin. Apart from the meend - which has a well understood method on violin - it is the Carnatic motifs that come through in her playing (that she so vehemently dissociate herself from). Please listen to her play yaman. Where is the expression? Where is the 'teherav' that she accused other genres of not having? Did you feel the raaga? Now do the same thing with with Sultan Khan on sarangi.
I'm not saying I agree with any of what you're claiming, because honestly I find your argument weak at best. Regardless, if you're not sensing the intended emotional output from her playing, isn't it far more likely that you're are subjectively just not a fan of her style, rather than the violin not being an appropriate instrument for Hindustani classical?
Regarding the question of Hindustani music and violin itself, that spans a world far bigger than just Kala Ramnath. Baba Allaudin Khan has recordings of him playing the violin beautifully (yes, he played the Sarangi as well). N Rajam (Kala's aunt) played Hindustani Classical on the violin (while her brother, T N Krishnan, played Carnatic). V.G. Jog was perhaps the best recognized violinist in Hindustani Music until he passed away. D.K. Dattar beautifully incorporated D.V. Paluskar's gayaki style into his violin, the likes of which hadn't been ever heard before. His student Milind Raikar is a fantastically articulate violinist himself, who has studied under the late Kishori Amonkar. There are MANY more - Kala is only part of the picture.
I wouldn't dismiss the place of an instrument in music because of my personal predispositions about it. That's far too much hubris for a person to have.
This is a very silly interview of a crude person, a person who lacks basic dignity and has little respect for music. In addition, Kala Ramnath is ignorant about music in general besides her narrow expertise, which she delivers with some competence and it looks memorized lacking in dynamism and originality. Her take on Carnatic music borders on the scandalous ignorance and arrogance. When someone knows so little about a deep and vast genre, a person of mild intelligence would have kept quiet, but not his woman. She utters in her unsophisticated phrasing and crude language stuff that belongs in the deep regions of nonsense. This video should be spread far and wide, and it will damage her reputation. I wonder why Pt Parikh whom I respect deeply allowed this nonsense to take place under his watch. As far as this Kala Ramnath, there are 10 better violinists in the streets of Chennai and other parts of south India. Next time, it might be a good idea to interview a person of higher stature who knows something about Indian music at a respectable level.
What was silly in this interview if I may ask. In fact you are very ignorant of bowed instruments and their difficulties and technicality. She is explaining the things keeping respect for other musicians and instruments. Sitar might be pure indian instrument but violin have proved to be an instrument for any kind of music. Kala Ramnath is one of the artist who brings pride to Indian music.
Sitar Hysterics feel pity for u coz of the words u uttered. May god give u simplicity .
if you only do one thing make sure you do it well. I guess she picked up the violin and you picked up criticising.
Learn to give due respect.
Sad indeed.
I agree. She obviously knows nothing about Carnatic or Western classical music but she seemed happy to belittle them. She might've been nervous but her attitude just came across as pretentious. Should've just said she doesn't have enough experience in those things and stayed silent.
Still in India
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