Sri.Muthuswami Dikshitar's 200th Jayanti - AIR Concert of 1975 - M Balamuralikrishna - SDM - CSM
12.2 هزار بار بازدید -
4 سال پیش
-
Muthuswami Dikshitar (MD) [1775 –
Muthuswami Dikshitar (MD) [1775 – 1835] is believed to have transitioned on Naraka Chaturdashi in Ettiyapuram, Tamil Nadu.
MD, being one among the Carnatic music trinity, is a prominent luminary who propagated and personified the great art of Carnatic music. He created masterpieces with a perfect combination of devotion (Bhakti) and wisdom (Jnana) bounded together in aesthetics with the felicity of musical expression.
On this Naraka Chaturdashi, we present you a vintage radio concert of 1975 by Dr. M Balamuralikrishna (BMK) dedicated to MD.
This was a tribute to MD on his 200th Jayanti by All India Radio Chennai. Here, BMK is accompanied on the violin by Dr. S Dakshina Muthy and Sri. Ramanathapuram C S Muragabhupathy on the Mridangam.
In this radio concert, BMK has brought out many unique aspects in the masterpieces of Muthuswami Dikshitar. This quintessential concert captures MD as a rare phenomenon, a profound scholar, a poet, a composer of the highest order, a master singer and a natural mystic.
The clarity of the lyrics (sāhityam), BMK’s devotion to the composer’s intent, the purity of notes and the precision in placing them in their intended location on the landscape of a rāga (svara-stāna-shuddham) are some of the highlights of this concert.
BMK offers us a splendid portrayal of MD’s compositions. It does not matter which deity is glorified in a composition; he exploits music itself in addition to everything else.
BMK begins the concert with Shrī Neelóthpala nāyiiké in the rāga Rītigowla. This composition is classified as one of the Nīlóthpalāmbā-vibhaki kriti. It is in the praise of Lord Tyāgarāja’s consort of Tiruvārūr. The brief rāgālāpana of Rītigowla sets the right tone for this landmark radio broadcast.
Among the 25 attributes of unmanifested divine principles, the five elements, according to Hindu cosmology, that consists the universe are the Earth, Water, Fire, Air, and Ether. MD has composed a set of kritis known as “Panchabhūta linga kshétra kritis” for the five sacred places where the Lord Shiva has manifested in primordial form.
At Chidambaram (TN, India), He is Ākāsha Linga (space or ether) and the composition “Ānanda Natana Prakāsham” in the rāga Kédara is the main item of this concert. It is said that the space or the ether is the first one to manifest from the all-pervading consciousness. The sound (shabda) being the prime nature of space and subtleness being its form, the rendition guides the listener in grasping the subtle nature of Lord Shiva, the omnipresent Self. The rāgālāpana, kriti, svara-vinyāsam, followed by a laya-vinyāsam in this rendition portrays the subtleness of divine nature through the sound that is again the prime quality of Ākāsha.
Shrungāra rasamanjanri in the rāga Rasamanjanri is the next item, where BMK presents the interplay of melody and content. Here, MD has brought out the salient features of mantra and tantra of shākta school of philosophy. The rhythm is subtle, and the verse is divine.
What follows next is Nīlakantham bhajé in the rāga Kédāragowla. In his brief and brisk rendition, BMK brings out a captivating “chitta svara” for the madhyamkāla sāhityam.
A kriti is always the principal vehicle for expressing the beauty and structure of a rāga, which has the power to evoke a profound emotion when listened to.
Māyé twam yāhi in the rāga Tarangini is one such beautiful example. Rāga Tarangini is the 26th rāgānga rāga in the structure followed by MD. This composition has beautiful alliterations with impeccable phrasing and BMK brings out the richness of sound and intonation of Sanskrit language through his acumen.
The gópuccha yati pattern here is in the string of phrases – sarasakāyé-rasakāyé-sakāyé-āyé. The phrases progressively become shorter and shorter and taper down like a cow’s tail. The soft and melodious mridangam playing for this song in particular, is a treat to listen. This is a song that is beautifully rhetoric studded with yatis.
Māmava pattābhi rāma is the benchmark kriti for the rāga Mañirangu. This composition gives us a panoramic and picturesque portray of poetry about Sri Rama’s coronation as the king of solar dynasty. BMK’s rendition here is akin to the slow and steady movement of a video camera, panning every detail in a proper light and capturing every emotion that pass the mind on seeing (visualising) the spectacular event of Ramayana.
00:00 🌹Welcome to the album " Sri.Muthuswami Dikshitar's 200th Jayanti"
00:06 💠Shrī Neelóthpala nāyiiké - Rītigowla
11:07 💠Ānanda Natana Prakāsham - Kédara
32:31 💠Shrungāra rasamanjanri - Rasamanjanri
40:56 💠Nīlakantham bhajé - Kédāragowla
46:06 💠Māyé twam yāhi - Tarangini
51:34 💠Māmava pattābhi rāma - Mañirangu
Take your time to enjoy listening to the concert.
May I take this opportunity to wish you and your families to come out of the Corona blues at the earliest and have an illuminating Deepavali of the inner Self.
MD, being one among the Carnatic music trinity, is a prominent luminary who propagated and personified the great art of Carnatic music. He created masterpieces with a perfect combination of devotion (Bhakti) and wisdom (Jnana) bounded together in aesthetics with the felicity of musical expression.
On this Naraka Chaturdashi, we present you a vintage radio concert of 1975 by Dr. M Balamuralikrishna (BMK) dedicated to MD.
This was a tribute to MD on his 200th Jayanti by All India Radio Chennai. Here, BMK is accompanied on the violin by Dr. S Dakshina Muthy and Sri. Ramanathapuram C S Muragabhupathy on the Mridangam.
In this radio concert, BMK has brought out many unique aspects in the masterpieces of Muthuswami Dikshitar. This quintessential concert captures MD as a rare phenomenon, a profound scholar, a poet, a composer of the highest order, a master singer and a natural mystic.
The clarity of the lyrics (sāhityam), BMK’s devotion to the composer’s intent, the purity of notes and the precision in placing them in their intended location on the landscape of a rāga (svara-stāna-shuddham) are some of the highlights of this concert.
BMK offers us a splendid portrayal of MD’s compositions. It does not matter which deity is glorified in a composition; he exploits music itself in addition to everything else.
BMK begins the concert with Shrī Neelóthpala nāyiiké in the rāga Rītigowla. This composition is classified as one of the Nīlóthpalāmbā-vibhaki kriti. It is in the praise of Lord Tyāgarāja’s consort of Tiruvārūr. The brief rāgālāpana of Rītigowla sets the right tone for this landmark radio broadcast.
Among the 25 attributes of unmanifested divine principles, the five elements, according to Hindu cosmology, that consists the universe are the Earth, Water, Fire, Air, and Ether. MD has composed a set of kritis known as “Panchabhūta linga kshétra kritis” for the five sacred places where the Lord Shiva has manifested in primordial form.
At Chidambaram (TN, India), He is Ākāsha Linga (space or ether) and the composition “Ānanda Natana Prakāsham” in the rāga Kédara is the main item of this concert. It is said that the space or the ether is the first one to manifest from the all-pervading consciousness. The sound (shabda) being the prime nature of space and subtleness being its form, the rendition guides the listener in grasping the subtle nature of Lord Shiva, the omnipresent Self. The rāgālāpana, kriti, svara-vinyāsam, followed by a laya-vinyāsam in this rendition portrays the subtleness of divine nature through the sound that is again the prime quality of Ākāsha.
Shrungāra rasamanjanri in the rāga Rasamanjanri is the next item, where BMK presents the interplay of melody and content. Here, MD has brought out the salient features of mantra and tantra of shākta school of philosophy. The rhythm is subtle, and the verse is divine.
What follows next is Nīlakantham bhajé in the rāga Kédāragowla. In his brief and brisk rendition, BMK brings out a captivating “chitta svara” for the madhyamkāla sāhityam.
A kriti is always the principal vehicle for expressing the beauty and structure of a rāga, which has the power to evoke a profound emotion when listened to.
Māyé twam yāhi in the rāga Tarangini is one such beautiful example. Rāga Tarangini is the 26th rāgānga rāga in the structure followed by MD. This composition has beautiful alliterations with impeccable phrasing and BMK brings out the richness of sound and intonation of Sanskrit language through his acumen.
The gópuccha yati pattern here is in the string of phrases – sarasakāyé-rasakāyé-sakāyé-āyé. The phrases progressively become shorter and shorter and taper down like a cow’s tail. The soft and melodious mridangam playing for this song in particular, is a treat to listen. This is a song that is beautifully rhetoric studded with yatis.
Māmava pattābhi rāma is the benchmark kriti for the rāga Mañirangu. This composition gives us a panoramic and picturesque portray of poetry about Sri Rama’s coronation as the king of solar dynasty. BMK’s rendition here is akin to the slow and steady movement of a video camera, panning every detail in a proper light and capturing every emotion that pass the mind on seeing (visualising) the spectacular event of Ramayana.
00:00 🌹Welcome to the album " Sri.Muthuswami Dikshitar's 200th Jayanti"
00:06 💠Shrī Neelóthpala nāyiiké - Rītigowla
11:07 💠Ānanda Natana Prakāsham - Kédara
32:31 💠Shrungāra rasamanjanri - Rasamanjanri
40:56 💠Nīlakantham bhajé - Kédāragowla
46:06 💠Māyé twam yāhi - Tarangini
51:34 💠Māmava pattābhi rāma - Mañirangu
Take your time to enjoy listening to the concert.
May I take this opportunity to wish you and your families to come out of the Corona blues at the earliest and have an illuminating Deepavali of the inner Self.
4 سال پیش
در تاریخ 1399/08/23 منتشر شده
است.
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