A R Rahman or ABDUL RAHMAN

A R Rahman introduced as Abdul Rahman

please visit the link

A very rare interview

http://www.youtube.com/watch?v=1STKiZnB_Ps&feature=related

NAADAvidyaaLAYAM this month's programme

Let’s keep our Music alive

NAADAvidyaaLAYAM

SangeethaSatsangam,the musical get together

on all second Saturdays

Programme schedule of this month

On 14^th January 2012@4.30pm to 8.30pm

Venue: Tanjavur Ammaveed(Mithranikethan City Centre),

Gate next to Arumana Hospital, West Fort,

Thiruvananthapuram

Sessions:

1 : Abhyasam- Practice (SwaraSadhakam)
2 : Anubhavam- Carnatic Music Concert (Veena)

3.SahaBhojanam- Light refreshment
4 : Abhyasanam- Demonstration
5 : AnuSandhaanam - Follow-up discussion and interaction

Theme of the month:

Discovering the moods of Hindustani Ragas in Carnatic Music

Musician: Veena Maestro Sri. Ananthapadmanabhan

Mridangam : Sri.Mavelikkara Rajeev

Ghatam : Adichallur അനില്‍കുമാര്‍

Participation is free.

You are cordially invited. Sharp time schedule will be followed . So we request you to reach before time to avoid missing of celestial moods.

For Details contact : 9447374646

singer and actor !!!!!!!!!

Dr.Mangalampalli Balamuralikrishna as an actor and singer in films

http://www.youtube.com/watch?v=0fXsMpUnpiM
http://www.youtube.com/watch?v=N5VOxAgACec&feature=related

a Demonstration on VALUE OF MUSIC IN LIFE

Believe it or not !!!!!!! Amazing !!!!

Ustad Salamat Ali khan in his 10 with his father!!! Amazing !!!!




http://www.youtube.com/watch?v=dzmWskePHLM&feature=related

Born in1934, in the heartland of Punjab at Shamchaurasi, district Hoshiarpur, Ustad Salamat Ali Khan belonged to a family of traditional musicians representing the Shamchaurasi gharana. It is claimed that the gharana was founded in the 16^th century by Mian Chand Khan and Mian Suraj Khan who were contemporaries of Mian Tansen at the court of Mughal emperor Akbar. Prior to the emergence of Ustad Nazakat Ali Khan and Ustad Salamat Ali Khan as exponents of khayal, the gharana specialised in the dhrupad form of singing and was particularly renowned for its tradition of duet performances known as jugalbandi. Mian Karim Bukhsh Majzoob, Ustad Ahmed Ali Khan, Ustad Niaz Hussain Shami, and Salamat Ali Khan’s father Ustad Vilayat Ali Khan were some of the illustrious members of the Shamchaurasi gharana.

ALAIPAYUTHE...

Oothukkadu Venkata Subba Iyer was a saintly composer of Tamil Nadu the 18th century.
One of the greatest ever composers in Indian music, Oothukkadu Venkata Kavi (also referred to as Oothukkadu Venkata Subbaier) is said to have lived between 1700-65.

OOTHUKKADU IS a small village in Papanasam taluk of Thanjavur district, about 7 km from Thirukarugavoor, where the famous shrine of Goddess Garbha Rakshambigai is located. The main deity of Oothukkadu village is, of course, Lord Veda Narayanar flanked by goddesses Sridevi and Bhudevi on either side. The temple gained popularity after the discovery of the panchaloka idol of Kalinga Narthana Perumal from the temple tank. It is believed that sage Naradha witnessed the Kalinga Narthanam that Lord Krishna performed in front of the divine cows Nandini and Patti, children of Kamadhenu. Sage Naradha prayed to Krishna to remain in the village in the dance posture and bless the devotees. Hence it is believed that Lord Krishna remained in the dancing posture in Oothukkadu.

The idol of Sri Kalinga Narthana Perumal in the sanctum sanctorum of the temple is about 2.5 ft high. Lord Krishna, portrayed as a five-year old boy, is seen dancing with His left foot on the serpent's head and his right leg in the air.

An ardent devotee of Lord Krishna and Muruga, his compositions are graceful and stirring. Kalinga Nartana Tillana, one of his popular creations, portrays the dancing of Lord Krishna atop the serpent Kalinga. Alaipayuthe Kanna, Bala Sarasa Murali and Brindavana Nilaye Radhe are among his other significant works.

The sight of the Lord holding the tail of the serpent with His left hand and showing Abhaya Mudra with His right hand is indeed a feast for the eyes. It is so intricately sculpted that one can insert a thin piece of paper between the Lord's left leg and the head of the serpent. The beauty is that the weight of the Lord's body rests on the left hand that holds the serpent's tail, says the temple Bhattacharya. One can also see the scars on the right leg of Lord Krishna formed due to the violent beating from Kalinga's tail.

Mahakavi Venkatasa Subbhayyar, popularly known as Venkata Kavi, spent his entire life in front of the thulasi mada composing a number of melodious songs in praise of this deity. Due to the extreme devotion of Sri Venkata Kavi to the Lord, he is believed to be a reincarnation of Sage Naradha who witnessed the Lord's dance in the village. He was a complete master of music in all senses of the term – melody, rhythm or lyrics and was fluent in Sanskrit and Tamil. He was proficient in a variety of musical forms such as the krti, javali, tillana and kavadichindu.

He composed several types of krtis apart from the usual style of pallavi, anupallavi and charanam with the tune of the last few lines coinciding with that of the anupallavi. Venkata Kavi composed many songs with madhyama kala passages, some with more than one charana but with the same tune, others with multiple charanas in different tunes, some with just a samshti charana, some with gati bhedam and so on. He used talas and themes that few other Carnatic composers have used before or since.

His popular song Alaipayuthey.. in Raga Kanada by YESUDAS


ttp://www.youtube.com/watch?v=DngurpPulvM&feature=related

Naadam !! Swaram !! Nagaswaram !!

 http://www.youtube.com/watch?v=sgQwkgvTEaw&feature=related

Nadaswaram is a South-Indian version of Shehnai. It is also Called Nagaswaram. It is substantially larger than the shehnai and has a simple double reed rather that the more complex quadruple reed. It is considered a very auspicious instrument and is found at temples and at weddings. It is normally accompanied by a Sur Peti, Ottu, and a tavil. There is a smaller version of the Nadaswaram which is played in Folk Music and is known Mukhavina.

Nadaswaram, is considered to be one of the most ancient and unique musical instruments of Tamilnadu. It would be appropriate to call this instrument a rare combination of music and divinity. The history and current perspective of the instrument forms the fundamental basis of this presentation.

Our predecessors considered temples as the abode of peace and sanctity. This system of holding the temples as the centre stage of

our culture has prevailed for the last several centuries. Temples have nurtured several arts forms, the important ones being music and dance. Both these formed the basic essence of the bhakti tradition. The credit for such a rich tradition has to be given to the Azhwars and Nayanmars. The Tamil language and the patronage for music were interlinked during the ancient period. The temples in Tamilnadu have been the main inspiration and source of the bhakti tradition. Thus music played a special role as a medium for prayer. Musical celebrations were very popular and Nadaswaram acquired a special status in such presentations. Everyone in the temple precincts and the villages relished the music emanating from Nadaswaram. Thus this instrument became an integral part of temple celebrations throughout south India.



http://www.youtube.com/watch?v=cEfolc8oN8I

http://www.youtube.com/watch?v=2wC3N4-jMwA&feature=related

http://www.youtube.com/watch?v=Eee5jqs3lU4&feature=related

http://www.youtube.com/watch?v=LPYTxf_l_rE&feature=related

http://www.youtube.com/watch?v=-pRIcYRvePc&feature=related

http://www.youtube.com/watch?v=tY64qJHwve8&feature=related



http://www.youtube.com/watch?v=jsxVTT0BBlE&feature=related great Charukesi by TNR!!