LN Sisters Dr M Lalitha and M Nandini Concert Schedule for Sept 2014
Sept 6th – Chief Guest for Sankalp’s 14th Annual Day
Sept 13 – Private Concert @ Chengelpet
Sept 17 – Kovai
Sept 18th – Manoranjithan Gokulastami and Navarathri Music Festival series, Coimbatore
Sept 19th – Musical Instruments in Divinity Arkay Convention Center
Sept 22 – Private Event, corporate
Sept – 24th- Private Show
Sept – 26th – Hariharapura – Navarathri Music Festival
Sept – 29th – Private Show
About the Event
DR. M. LALITHA PRESENTS `MUSICAL INSTRUMENTS IN DIVINITY’ – A SERIES OF THEMATIC MULTIMEDIA PRESENTATION
Under the Production Grant, supported by the Ministry of Culture, Govt of India, Violinist Dr M Lalitha Senior Violinist, Musician & Fulbright Fellow, (of the Duo M. Nandini), will be presenting a series of episodes on `Musical Instruments in Divinity’- a thematic Multimedia presentation featuring different instruments each month. This month as part of the fourth episode on Thursday July 24th 2014 the instruments to be featured will be `Mridangam and Mridanga or the Khol’ at the Raga Sudha Hall, Mylapore from 6.30 PM. Sri. S. Santhanagopal, Branch Head, Printer & Publisher, The Times of India Group, Chennai, will be the Chief Guest while Mridangam Maestro Guruvayur Sri. Durai will be the Guest of Honor. Special Performances by Dr. M. Lalitha and M Nandini – Violin accompanied by Sri K. R. Ganesh – Mridangam and Nama SanKirtan by the Gaudiya Vaishnava Societies of Bengal by Samrta Krishna Das – Vocal, Sadachar Das – Kartan & Vocal accompanied by Jayanandahari Das on the Mridanga / Khol of Hare Krishna Movement, Chennai.
Dr M Lalitha will deal about the History, evolution of the instrument, Mythological, Sculptural evidences, its usage in temple rituals, similarities in global musical cultures, references in Literature and in musical compositions.
Lecture on Navavidha Bhakti kritis of Tyagaraja
Chennai:
The violin duo of M Lalitha and M Nandini will present a special lecture on the Navavidha Bhakti Kritis of Saint Tyagaraja for the 6th year Sathguru Sri Tyagaraja Swamigals Aradhana Isai Vizha on July 18, 2014, in Chennai.
The event will be held at the Chennai Om Sri Skandasramam, 1 Kambar St, Mahalakshmi Nagar, Selaiyur, East Tambaram, Chennai – 600 073 at 6 p.m.
Nagasvaram and Tavil artistes Sath Sangam will also participate in the programme. All are welcome.
Topics: Tamilnadudotcomcom, Apdotcomcom, Special Lecture On Navavidha Bhakti Kritis Of Tyagaraja, Violin Duo Of M Lalitha And M Nandini, Saint Tyagaraja,
http://www.kovaidotcom.com/kovaidotcom/art-culture/270/lecture-on-navavidha-bhakti-kritis-of-tyagaraja
http://www.apdotcom.com/apdotcom/music/270/lecture-on-navavidha-bhakti-kritis-of-tyagaraja
http://www.kochidotcom.com/kochidotcom/music/270/lecture-on-navavidha-bhakti-kritis-of-tyagaraja
Growing together, bowing together, The Hindu, New Delhi, Anjana Rajan
IN SYNCLalitha and Nandini have created musical history together
Interview Lalitha and Nandini, the ‘Violin Sisters’, on their approach to music. ANJANA RAJAN
There’s something about performing duos, especially siblings. Even when they are distinct in appearance and age, and treat their arts as complementing, not twinning each other, it can be difficult for a non-acquaintance to tell them apart. But perhaps what really makes it complicated is that successful duos speak in one voice — metaphorically. The violin duo of M. Lalitha and M. Nandini certainly does, so much so that their emails and sms messages are signed collectively, and both identify themselves to strangers on the phone as “Lalitha Nandini”. Then again, why should we know who’s who, as long as their strings are always in sync? Interestingly, the two sisters are also soloists, since with their varied commitments they cannot always be together. Known as the ‘Violin Sisters’, they are renowned as the only female duo in Asia to perform World music, South Indian classical, fusion and Western classical music. Granddaughters of the late Lakshminarayana Iyer, they are nieces of the celebrated violinists L. Subramaniam and L. Shankar and represent the fourth generation of their lineage. Here, Lalitha and Nandini, who will be performing a Carnatic violin duet this Friday evening in the Capital, answer a few questions on their journey. Edited excerpts:
You started playing the violin at a very early age. As we grow up we all have found that our tastes, our inclinations and sometimes even our strong opinions or principles change with time, as we gain new experience and exposure to the larger world. Have you observed the same happening in your music too — perhaps in your approach, in likes and dislikes, etc.?
Lalitha We started learning from our grandfather and guru V. Lakshminarayana Iyer at around two and a half years and still continue to learn from our mother and guru Subbulakshmi Muthuswamy, since music is an ocean and you learn every day, every minute. We learnt vocal from the doyen of Carnatic music Sri Semmangudi Srinivasa Iyer and have specialised in the rendering of Muthuswamy Dikshitar’s compositions. We started performing together as a duo. Though our tastes, inclinations do differ, in music we have found that our vibrations exactly match. For instance, in the middle of a concert, sometimes keeping the audience in mind, I will have a raga or a kriti and ask Nandini what do you think we should play next and immediately, as though reading my mind, she will say the same that I would have thought of. It’s vice versa too and many times we have kept quizzes too, and found that it matches, till date.
Is it tough to transition from being a duet partner to a soloist and back?
Yes, we started performing as a duo and continue till date. In fact as a duo we have created a lot of history in the field of music.
Since both of us were based abroad, we were selected as cultural ambassadors with Fulbright and Charles Wallace Trust Fellowships, we were in the U.S. and the U.K. respectively. Given that situation we had to adapt to a newer role sometimes, and became soloists too. This is not tough, and we feel this is the process of evolving as a musician.
Though we perform together, yet we have our parts as soloists too in a duet concert. Each of us has our own individualities, though both of us are inseparable. We have also been performing jugalbandis that involve one of us along with a North Indian artiste. We have performed with Ustad Shahid Parvez Khan, Ronu Majumdar, Abhijit Banerjee, Yogesh Samsi, Fazal Qureshi, Purbayan Chatterjee, Tarun Bhattacharya, to name a few.
In fusion music we have collaborated with George Brooks (saxophone) from USA, Miguel Chachowski (Flamenco guitar) from Poland, Carl Rathus (Shakuhachi) from Australia, Pirpauke from Finland, Homayoun Sakhi (rabab) from Afghanistan, Abbos Kosimov (doyra) from Uzbekistan, and others.
You have studied a number of musical genres of the world. Has this eclectic learning had an influence on your Carnatic music playing in any way?
Every system has its own beauty, though we have studied a number of musical genres of the world, we see to it when we play Carnatic we do not mix the other styles. Though we have tried to adapt the strong bowing technique of Western classical to Carnatic music to enrich the music. Also, the usage of fourth finger which is primarily used in Western classical, which we have adapted too, This was particularly taught by our guru V Lakshminarayana who developed good exercises for mastering the fourth finger technique.
Have you any plans for the performance, and how much do you actually plan your classical concerts, given the improvisational and mood-driven nature of India’s classical music?
Generally we have a basic structure in mind but on the concert stage depending on the vibe we get from the audience and also sometimes requests, we might change the concert contents. And also, Carnatic music is improvisational in nature, as you rightly put it.
Lalitha and Nandini will perform as part of the Horizons Series of the Indian Council for Cultural Relations, Azad Bhavan, Indraprastha Estate, New Delhi, July 11, at 6.15 p.m. They will be accompanied by Kumbakonam N. Padmanabhan (mridangam), Mannai N. Kannan (ghatam), M. Subbulakshmi (tala) and K. Muthuswamy (special effects).
Though our tastes, inclinations do differ, in music we have found that our vibrations exactly match.
Lalitha presents Venu in multimedia presentation
Chennai:
Violinist M Lalitha presents ‘Venu’ in her thematic multimedia presentation ‘Musical Instruments in Divinity’ in Chennai on May 25, 2014.
Under the Production Grant, supported by the Ministry of Culture, Govt of India, Violinist M Lalitha, Senior Violinist, Musician and Fulbright Fellow, (of the Duo M. Nandini), will present a series of episodes on `Musical Instruments in Divinity’- a thematic Multimedia presentation featuring different instruments each month.
The first episode featured the instrument `Vina’ and this month on Sunday May 25, 2014, will feature the instrument `Venu’ at the Raga Sudha Hall at 6 p.m. Leela Samson, Bharatanatyam exponent and Chairperson, Sangeet Natak Akademi, New Delhi will be the Chief Guest while flautist N Ramani will be the Guest of Honour. Nandini Ramani, Bharatanatyam exponent and Managing Trustee, DR V Raghavan Centre for Performing Arts, will present the Welcome address.
Lalitha will deal about the history, evolution of the instrument, mythological, sculptural evidences, its usage in temple rituals, similarities in global musical cultures, references in Literature and in musical compositions.
Topics: Tamilnadudotcomcom, Music News, Lalitha Presents Instrument Venu In Multimedia Presentation, Art And Culture,
http://www.maduraidotcom.com/maduraidotcom/music/241/lalitha-presents-instrument-venu-in-multimedia-presentation
Violin in Global Styles with Special Focus on its Usage in South Indian Classical Music
M.Lalitha
Violin is known as the King of Instruments and is used in many world music traditions. In South Indian Classical Music traditions, the Violin is an accompaniment to Vocal and to instruments like flute, mandolin. Violin is also a primary Solo instrument and in dance it occupies the role of an accompanist. Carnatic Music is written for singing and the instrument is required to produce the music as it is sung. With regard to the Posture of holding the violin the sitting posture is adopted or designed so to have a secured feeling especially while playing the gamaka-s or the ornaments which is the pivotal aspect of Carnatic Music.
Keywords – Violin, World Music, South Indian Classical Music, Carnatic, gamakas.
Violin is known as the King of the Instruments and is seen in many world music traditions. Violin, Fiddle, Vitula, Keman, Viulu, Hegedu, Violine, Vayalin (in Tamil) is used in the traditional music of Egypt, Turkey, Ireland, Norway, Sweden, Folk music traditions of USA, Albania, Armenia, Russia, Hungary, Moldova, Canada, gypsy music, Jazz music and in the classical music traditions from Europe, India, Morocco, North Africa, the Middle-East and Central Asia. The violin is regarded as a very expressive instrument, next to the human voice.
VIOLIN IN WESTERN CLASSICAL TRADITION
In Western classical Music the violin occupies the centre stage as a Solo instrument and as part of the orchestra. `Compositions especially for the violin have been composed’, (Menuhin:1997). In an orchestra the Violins are predominant with two sections, the first and the second violins where the first violin usually renders the melody while the second violin plays the harmony, serving as an accompaniment to the first violins.
VIOLIN IN ALGERIAN MUSIC
Algerian Music is identical with rai that is a form of folk music having its origins in Oran, Algeria from Bedouin shepherds mixed with French, African, Spanish and Arabic Musical forms. Traditional Maqam-s are also played. `Improvisations find a place and this music is microtonal in nature’, M’Kachiche:2011. Inspired by vocal traditions of Arab Andalusian music the Chaabi which is the traditional music of Algeria features a distinctive mournful, Arabic/Berber vocals set against an orchestral setup with violins, mandolins, piano and percussion.
HARDANGER FIDDLE FROM THE NORWEGIAN TRADITION.
The Hardanger Fiddle is an instrument `Very special to Norway and is a national instrument of Norway’, (Tellefson: 1997) `Before 1850s this instrument was played in venues, villages and not in concerts and only for the past 150 years this instrument is played in concerts. It’s a solo instrument. The Hardanger Fiddle is used mostly in folk, dance and is used in ceremonies’. (Maurseth:2011).
VIOLIN IN THE RUSSIAN GYPSY STYLE
The gypsy music came from Egypt to Europe and gypsies took music from each place they travelled. `In Russia, Violins are not that important and only guitars and singing is more predominant’, (Erdenko and Bessonov:2011). In Russia the violins accompanied for singing and for dance, but now it is played as a Solo instrument too with groups like Lyoko focussing on it.
VIOLIN IN POPULAR MUSIC
The violins became a vital part of popular music especially for dance music during the 1920s and early 1930. The violin is also used in mainstream pop apart from disco/dance music. The Indian, Arabic, Turkish and Pakistani pop music uses the violins in both solo and as part of the ensemble. In Jazz `Violin emerged as a Solo instrument during the first decades of the 20th century and now it is an indispensible par t of the Jazz Fusion’, (Graphelli:1992). `In Jazz music, the Violin has the job of improvising using chord progressions and scales’, (Ponty:2008).
AMERICAN COUNTRY VIOLIN MUSIC STYLES
`There are different styles of American Music designed by 400 yrs of European and African American culture, Native American, Traces of Gypsy and middle eastern touches are also met with’ (O’Connor:2011). In Jazz- ragtime, improvisations are part of it including Syncopations.
VIOLIN IN CARNATIC MUSIC OR THE SOUTH INDIAN CLASSICAL MUSIC
Carnatic Music is written for singing and the instrument is required to produce the music as it is sung. Secondly, it is handed down from generation to generation through oral tradition and is not played by seeing into the notations. The notations here do not provide full information as to how the music should be rendered i.e., all the intricate nuances are not written down and the notation is a mere skeleton. The individuals are supposed to memorise all the compositions. Thirdly Carnatic Music is raga based and gives ample scope for manodharma sangita and individuals add their own imagination.
POSTURE OF HOLDING THE VIOLIN
`It is seen that normally all the artistes assume a sitting posture with the right foot stretched in front and the left foot tucked under the right thigh. The back of the violin body, especially the upper part rests on the left side of the chest. The scroll of the violin rests on the heel of the right foot. The sitting posture is adopted or designed so to have a secured feeling especially while playing the gamaka-s or the ornaments’. (2005: 115-117).
HOLDING OF THE BOW
The right-hand fingers hold the stick portion of the bow near the frog. The thumb of the right-hand goes inside and is curved. It is placed near the frog, whereas the other right-hand fingers namely the index finger, the second finger, the ring finger and the little finger are placed above the stick portion of the bow.
USAGE IN SOUTH INDIAN MUSIC TRADITION.
In Harikatha which is religious discourse, narrating stories from epics and purana-s, combined with musical compositions, the Harikatha Bhagavatars have a violin or Harmonium and a Tabla or Mridangam as accompaniments.
VIOLIN IN HARIKATHA
Here in this clip, a Harikatha performance by Sri Dhulipala Siva Rama Krishna Sarma Garu in Yadagirigutta who after narrating an episode, sings the verses like a viruttam, which is free of rhythm and the violin accompanies accordingly. Again the Harikatha Bhagavathar gives discourse and sings a song for which the Violinist accompanies. In between the passages the violinist also improvises. Here in this clip the Harikatha Bhagavathar stands, to his left is seated the Violinist and to his right are the percussion instruments Mridangam and Kanjira. Sometimes the violin also plays solo the same phrase as sung by the Harikatha bhagavathar or improvises in a gap.
VIOLIN IN CARNATIC MUSIC
In Carnatic Music the violin is used as an accompaniment to the Main vocalist. The violins play an important role while accompanying the main artiste. Carnatic music has two branches the kalpita which is pre composed music and the manodharma sangita which is improvisation by raga alapana, kalpana svaras, niravel, tanam etc. During the manodharma section the role of the violin is to render `both the ideas of the main artistes and the violinists’, (Ramadas:2012). While following the main artiste the violins should accompany without hindering the main artiste.
VIOLIN ACCOMPANIMENT TO A SONG DURING A CONCERT FOR A DASAR PADAM
In this M S Subbulakshmi sings the Dasar padam, jagadodharana in the Raga Kapi. Here the violin accompanies the singer and the song. Sometimes in between, the violinist just renders only the open strings.
VIOLIN ACCOMPANIMENT TO A RAGA ALAPANA
(In this singer Semmangudi Srinivasa Iyer sings the Raga alapana for Kalyani)
During the raga alapana the violin accompanies the main vocalist and mostly repeats the ending phrase of the main singer and sometimes repeats the entire phrase or even renders his own. `While accompanying the violinist should make an attempt to repeat at least a few phrases sung by the main artistes during alapana’, (Ramadas:2012).
It is though customary to repeat whatever the singer has sung. Sometimes the violinist just renders the open strings without playing any notes. After the singer has completed the alapana, then the Violinist renders the same raga. `As an accompanist one should render the raga in a crisp format, bringing the entire gamut of the raga within a very short duration’, (Hemalatha:2012). The duration is very important while rendering the raga alapana `if the main artiste sings a raga alapana for 10 minutes, the dharma for the accompaniment is to play for 6 – 7 minutes of duration and not to exceed the main artistes’, (Ramadas:2012).
VIOLIN ACCOMPANIMENT DURING THE NIRAVEL
During the Niravel when the vocalist sings, the violin accompanies important phrases or just plainly renders the open strings and after the main vocalist has completed, the violinist tries to repeat the phrase and also improvises on his own.
VIOLIN DURING THE KALPANA SVARAS
During the Kalpana svara when the vocalist sings the violinist either listens with rapt attention or just plays the open strings sometimes renders the phrase the sung by the vocalist in a low manner, after the vocalist finishes the violinist renders the kalpana svara-s, which is improvisatory with tala / rhythm. The violinist sometimes tries to play the same phrase as sung by the vocalist but along with their own too.
VIOLIN ACCOMPANYING THE MAIN FLAUTIST.
In Carnatic concerts, the violins also accompany the Main instrumental concerts like flute, Mandolin and so on.
In this case the accompanying style of the Violinist is similar to the style of accompanying a vocalist.
VIOLIN AS A SOLO INSTRUMENT
Apart from accompanying the violins are also Solo instruments playing in the traditional concert set up with Mridangam and / or Kanjira / Ghatam / Morsing. `The Violin in Carnatic Music is as important solo instrument where the capacities and capabilities of the instrument are exploited too apart from bring the singing style while playing which is an important aspect of Carnatic Music’, (Nandini:2012).
Here while one Violinist renders the raga alapana, the second violinist accompanies the ending phrase and sometimes there is a pause or just open string sounding. The Kriti is rendered by the two in unison and sometimes one playing on an octave below after which the Kalpana svara-s are rendered. Here during the rendering the Kalpana svara-s both improvises on the spot. While one renders the kalpana svara-s, the other just listens and there is no accompaniment when one is rendering the kalpana svara-s.
VIOLIN IN DANCE
http://www.youtube.com/watch?v=TfP88FD2zPY – 2.28
In Bharatanatyam dance recitals the violins don the role of an accompanist following the main singer. During the song the violinist accompanies the vocalist, during the short alapana sung by the vocalist, the violinist just accompanies. Sometimes the violinist just plays the lines sung by the vocalist in between the song. The violinist also plays either raga alapana or kriti-s during interludes or in between the recitals. Sometimes during the dance recital depending upon the scene or the mood, the violinist improvises to bring the emotion enacted by the dancer. This supports in bringing the necessary effect.
VIOLIN IN TAMIL FILM – (Film Rajaparvai – Violin solo) till 2.45
The violin is also a principal instrument for Tamil South Indian Film music where is it used in between the songs or during the background as part of the orchestra. Sometimes Solo parts are also given.
Here the heroine goes to the hero’s concert who is a Violinist in this film. The violin starts off with a raga alapana in raga Pantuvarali in slow phase and then goes into the melody where it plays followed by the Vina which renders the same phrase. Then the orchestra consisting of flute and Mridangam joins. Here in between the Violin renders the solo followed by the Western Orchestra, it moves on from Karnatic to Western style.
http://www.youtube.com/watch?v=d9o2LoCvsz8 (Enakku 20 Unakku 18 – violin in between the song) 1.33
Here after theme of the song which is pallavi there is an interlude before going on the second section, in this the violins plays the interludes. Starts off with a trill in Western style, then renders solo followed by the string section of the orchestra and percussion with modulation or shifting of scales in between.
VIOLIN IN THE BACKGROUND SCORE OF TAMIL FILMS
The violin is used in the background depending on the mood of the scene. Here the hero slaps the heroine (childless couple and he wants to adopt the child which the heroine refuses) and apologises to her. In that he presents her with a painting and leaves to his room, here the violins in an orchestra plays the mood.
VIOLIN IN FUSION MUSIC
In Fusion music combing Indian and World music elements, the violins have a different role to play solo and to complement the other instruments apart from bringing the different moods or rasa-s depending upon the composition and style. Here the violin plays the composition along with different Western instruments and then goes on to improvise. While the other instruments improvise, the violin plays the harmony or accompanies the phrasings.
CONCLUSION
Violin is a versatile instrument finds its place in different global music cultures. Different postures, tunings are adopted in various global musical styles in Violin playing and the techniques also differ according to the repertoire, the style of music played while the bow hold tends to remain mostly the same in most of the styles, barring a few traditions. In Carnatic music traditions it assumes various roles from accompaniment to solo in various genres like harikatha, music dance, film and fusion. The violinist accompanies the various musical forms. During the rendition of a composition, the role of the violinist is just to accompany the song, while playing the improvisatory sections like the alapana, kalpana svara-s, the violin just accompanies either the ending phrase or plays the open strings plainly. During Kalpana svara-s, while the Main artiste is rendering, the violinist just absorbs and doesn’t render accompaniment rather waits for his turn. Normally the Violinist tries to play the same phrase as performed by the main artiste in combination with his own phrase, which is a very big challenge. During Solo or Duet concerts, the violins assume the role of a Main instrument where the capacities and capabilities of the instrument can be exploited. While accompanying the violinist just accompanies whatever the Main artiste renders. The role of violin in Carnatic music is to bring the Vocal effect and the Violin should sound like singing or the Gayaki style. During dance recitals, the violins have an additional role of filling up the gaps during interludes and also sometimes play in between the scene to enhance the mood that is brought out by the violinist in the violin. In the films, the Violins are either used as a solo instrument or as an accompaniment or in the orchestra as part of the String section. The violins play for background thus bringing up the mood of the scene on the instrument apart from playing interludes / sections in between a song. Here the violins do not just accompany the singer as is done in Carnatic music. In Fusion the Violin apart from being solo instrument also accompanies, performs the background melody or harmony too.
Biblioghraphy
Lalitha, M. Violin Techniques in Western and South Indian Classical Music – A Comparative Study. New Delhi: Sundeep Prakshan, 2005.
INTERVIEWS / LECTURES
Erdenko, Sergey and Vladimir Bessonov. Interview by Lalitha Muthuswamy. Personal interview. Mumbai, January 9, 2011.
Graphelli, Stephane. Interview by Lalitha Muthuswamy. Personal interview. London, February 6, 1990.
Hemalatha, R. Interview by Lalitha Muthuswamy. Telephone interview. Chennai, December 18, 2012.
M’Kachiche, Kheir Eddine. Interview by Lalitha Muthuswamy. Personal interview. Mumbai, January 9, 2011.
Maurseth, Benedicte. Interview by Lalitha Muthuswamy. Personal interview. Mumbai, January 9, 2011.
Menuhin, Yehudi. Interview by Lalitha Muthuswamy. Personal interview. New Delhi, January 26, 1997.
Muthuswamy, Nandini. Interview by Lalitha Muthuswamy. Personal interview. Chennai, December 18, 2012.
O’Connor, Mark. Interview by Lalitha Muthuswamy. Personal interview. Mumbai, January 9, 2011.
Ponty, Jean Luc. Interview by Lalitha Muthuswamy. Personal interview. Chennai, January 10, 2008.
Ramadas, Pakala. Interview by Lalitha Muthuswamy. Telephone interview. Chennai, December 15, 2012.
Tellefson, Arve. Interview by Lalitha Muthuswamy. Personal interview. Chennai, January 6, 1997.
INTERNET RESOURSES
Bala Girish, Semmangudi Srinivasa Iyer-Birana brova-Kalyani Raga-Part I.Nov 13, 2010.http://www.youtube.com/watch?v=nPQbSuDk25k
bhuvanambika, Untitled1_0001.avi. Dr. M. Lalitha and M. Nandini – Trans Global Fusion Apr 17, 2011http://www.youtube.com/watch?v=c0ghXCKmwoQ
desimantri, Bharatanatyam Arangetram – Angela Abraham & Azhelia Pradhan.Sep 4, 2011.http://www.youtube.com/watch?v=TfP88FD2zPY
isaignanidasan, En Bommukkutty Ammavukku – Classic 6-minute BGM with Varying Moods.Jun 11, 2010.http://www.youtube.com/watch?v=7jwXO_3inyw
kamakotisankara, M S Subbulakshmi jagadodharana kapi.Mar 4, 2009.http://www.youtube.com/watch?v=nac8u8i4w8c
mccbala. swaram & thani – dakshiNAmUrtE – Semmangudi Srinivasa Iyer.Sep 28, 2011. http://www.youtube.com/watch?v=nIlgviqkpRk
paramparaa1916, M.S.Subbulakshmi Kharaharapriya Neraval clip – Trivandrum, 1988.Mar 19, 2009.http://www.youtube.com/watch?v=LtbnqfzgXyY
RaajaGeetham, Raja Paarvai Movie BGM – The Violin Concert – Ilaiyaraja. Jun 27, 2010 http://www.youtube.com/watch?v=5nz0YthJQHA
raindropletz, Edho Edho Ondru – Enakku 20 Unakku 18.Jan 27, 2010 http://www.youtube.com/watch?v=d9o2LoCvsz8
SouthAsianArtsUK. Raga Hamsadhwani, Raga Valaji – Violin Sisters.Aug 7, 2009.http://www.youtube.com/watch?v=6GRZFuxiL_s
srinu panthangi, Hari katha.Mar 22, 2011, http://www.youtube.com/watch?v=7R1lHYxObRg
vichella, Sri T.R. Mahalingam Concert Pt. 1.May 5, 2008.http://www.youtube.com/watch?v=ajr07JUa79I
Published in Atodya – Journal of the Department of Instrumental Music, Rabindra Bharati University
tamilnadudotcom.com
Multimedia presentation on Gethuvadhyam
Updated by admin on Thursday, June 26, 2014 10:34 AM IST
Chennai:
Eminent violinist M Lalitha presented Gethuvadhyam in her series of thematic multimedia presentation, `MUSICAL INSTRUMENTS IN DIVINITY’, in Chennai on June 24, 2014.
Under the production grant, supported by the Ministry of Culture, Government of India, violinist M Lalitha, Senior Violinist, Musician & Fulbright Fellow, (of the Duo M. Nandini), presents a series of episodes on `Musical Instruments in Divinity’- a thematic Multimedia presentation featuring different instruments each month.
The first episode featured the instrument `Vina’ while the second was on `Venu’. This month on Tuesday, June 24th 2014, the instrument featured was the rare instrument `Gethuvadyam – Jhallari’ at the Raga Sudha Hall, Mylapore from 6.30 p.m.
K Ayyanar, Regional Officer, Indian council for Cultural Relations, Chennai, was the Chief Guest while senior vainika exponent, Kalaimamani P Vasanth Kumar, Committee Member, The Madras Music Academy, was the Guest of Honour.
Lalitha dealt with the history, evolution of the instrument, mythological, sculptural evidence, its usage in temple rituals, similarities in global musical cultures, references in literature and in musical compositions.
There was a special performance of Lalitha and Nandini, accompanied by Avudayarkoil H Subramaniam on the Gethuvadyam assisted by his student, S Subramaniam, and a solo performance of the instrument.
Topics: Tamilnadudotcomcom, Spirituality, Art And Culture, Multimedia Presentation On Gethuvadhyam, M Lalitha, Musical Instruments In Divinity, M Nandini, Carnatic Music, Carnatic Performance,
http://tamilnadudotcom.com/music/260/multimedia-presentation-on-gethuvadhyam
Our talk on the Nava Vidha Bhakti Compositions of Saint Tyagaraja for the 6th year Sathguru Sri Tyagaraja Swamigals Aradana Isai Vizha
Drmlalitha's Blog 