Lalgudi Jayaraman, G.J.R.Krishnan and Palghat Raghu 1/2

[@MrKanthikumar]

This is yet another instance that establishes the supreme positioning of Sri Raghu as one of the top mridangam artistes of all times. I can only imagine the joy of his guruji, Abhinavanandi himself, whose simple instruction at his Kalpathy gramam residence to his young student who came calling on his guruji by way of an old Raleigh bicycle as the guruji was concentrating on aiding the budding singing career of the young KVN was "look, listen and learn." Sri Raghu did look, listened and learnt, and went on to be a Padmashri honouree -- while his guruji was still alive and kicking -- when that award meant something as it did to MDR who was unmercifully ignored by the Music Academy by denying him the SK award which MDR really craved for. These days undeserving people lobby for Padmashri and get rewarded by it. I wholeheartedly agree with the introductory sentiments ... about the disarmingly unpretentious and simple demeanor of the great ones. Compare that with the arrogant displays of stage mannerisms including hand gesticulations and annoyingly artificial facial contractions as if to convince us that they are indeed serious musicians by some of the young ones including upapakkavadyam guys these days. Narayanakurup Kanthikumar/Olympia,Wa/Jan 17,2014

[@shylsamp2]

the real treasures of our country are these musicians who will take us and transcend us to a divine, serene and peaceful domain and none would want to get away from that state

[@ambujavaradaraj9123]

I am saddened by the passing away of my favourite maestro. May his soul rest in peace. Those were the golden times for Indian music

[@balaji6583]

an absolute masterpeice..timeless classic...thanks...

[@radhakrishnan1041]

Composer par excellence. Such emotional experience from divine strings.

[@EnjoyTheVideos]

Very nice piece; hope we get to see other such videos of the greats posted on youtube

[@srinitaaigaura]

To make a few points about his music -- he'd practice from 4 30 in the morning with breaks only for breakfast and all the morning routines. After lunch it would be notation writing, vocal music lessons and learning new compositions. Then evening would have another round of practice, getting over only by 7 30 or so. Now throw in 65+ years of concert experience having accompanied six generations of artistes and only God knows how many concerts. And he is a great composer and teacher too ...

[@tablajazz]

kya bhat hai, this is a gem. thank you for uploading!

[@ksviewerx]

Lalgudi sir at his best...that laya and tala control in the kalpanaswaras! And look at that support from Raghu sir. Laya-Bhava-Raman as someone put it....

[@pjrjrao]

So nice thanks for uploading

[@furinkazaan]

Priceless!! Painful that it finishes abruptly...:-0

[@kishorebhatt2]

A very rare piece indeed. Thanks for posting

[@krisn90]

🙏🙏🙏

[@VaradhaYamunan1729]

As usual soothing! Maestro!

[@ghatamSURESHVAIDYANATHAN]

wow! fantastic! Every word of your description is true!

[@ShriramVasudevanMusic]

The adamodi galade is just great

[@IndyWorldyMusic]

Which year was this recorded? Master video piece.

[@eatersauce]

wow! do you know what year this was?

[@arihantkrishna1972]

wow wat a combination

[@vidyashankarsr]

Beautiful! You should Aneesh Vidyashankar play, he plays in the same style

[@Sketcher86]

that's true...very humble and genius artists if those days...that was a golden time!

[@haripadma]

Treasure.

[@mysuruvasudevacharya]

Superb For Academic Interest ! Adamodi galade Ragam Charukeshi 26th Mela Adi Talam Thyagarajar Krithi Is it just, O Lord Rama, this whim of yours in not talking to me when I have held your feet with such devotion? O Merciful Lord! Is it not true that when the erudite Anjaneya saluted you, you asked your younger brother to convey the details to him? However, is this fair, this whim of yours in not replying to this Tyagaraja? Adamodi Galade, set to the charming Charukesi raga Tyagaraja asks Lord Rama if it is fair that he persists in his whim of not speaking to him and reminds him that it was thus with even Hanuman, that the Lord did not reply directly to him when spoken to. Does Tyagaraja imply that if the Lord would not speak to Hanuman himself, what chance did he have? Does he see himself as a loyal servitor of Lord Rama, just as Hanuman was and thus worthy of his love? He does seem to berate the Lord, calling him whimsical! For lyrics and translation Pallavi: Adamodi Galade Ramayya Maata Why Rama was so reserved, even to talk to Anjaneya? Anupallavi: Thodunida Nive Yanuchu Bhaktito Gudina Nee Paadamu Battina Naato Maata He is inseperable from Rama. He is at Rama's feet with all devotion. Charanam: Chaduvulanni Delisi Shankaraantshu Dai Sadayu Daasuga Sambhavudu Mrokka Kadalu Tammuni Balka Jesitivi Gaakanu Tyaagaraaje Paati Maata He is the most learned and he is the incarnation of Siva. He is the son of Vayu (the Wind God) and he is bowing. Oh Rama, you asked your younger brother Lakshmana to talk to him (Anjaneya). Then what is after all Tygaraja for you? Meaning Gist : O Ramayya! You seem to feel too proud, too uppish, even to talk to me. I have sought you as my sole support and shelter and stuck to you steadfastly and devotedly but you seem to feel .. Do you remember that when kindly Anjaneya, an offshoot of Shiva Himself, at his very first meeting with you desired to be informed of your antecedents, you did not respond directly, but commanded Lakshmana to speak to him? When such was the lot of Anjaneya himself, who can expect you to talk to this frail Tyagaraja? Charukesi , the 26th melakartha raga which belongs to Bana Chakra(the 5th Chakra) is an exotic and intriguing raga that invokes a meditative mood. This raga clearly brings out the flavours of Sringara (Romance), Soka (Sorrow), Saantha (Tranquil, Peace) and Bhakthi Rasa (devotion)with equal felicity. It can also be said that the raga essentially conveys the feeling of “nenjai urukkum “ quality . Charukesi rejuvenates the mind helping one to age gracefully. It enlivens the singer and listener. This raga is suitable for singing at all times. In Mind, Body and Soul Chakra - Chakra 5 is the spirit Chakra: This chakra is located between the Solar Plexus and the Heart and is the energy center that contacts, and gets guidance from heavenly bodies. Charukesi give relief from heart ailments. Hence it is said that Charukesi is a raga close to the heart. It is also known as “Tarangini” in the “Dikshitar Asampoorna Mela System. Charukesi is usually referred to as combination of Sankarabharanam and Thodi. The first half (purvanga) has the swaras of Sankarabharanam and the second half (uttaranga) has the swaras of Thodi. But the transition of first half to the second is very graceful and not mechanical. Charukesi has the following Arohana and Avarohanam. Arohanam: S R2 G3 M1 P D1 N2 S Avarohanam : S N2 D1 P M1 G3 R2 S (chathusruthi rishabham, anthara gandharam, shuddha madhyamam, shuddha dhaivatham, kaisiki nishadham) The major notes of the scale in this raga gives it a personality of strength only to be followed with the minor notes D1 and N2 which gives a touch of softness and kindness that show limitless delicate potential. Rishabham is the Jeeva Swaram and the Nyasa Swaram for this raga. Prayogas - pdndpgr - srgmgrns - pdpnd - rgmg rsd - pdsrg mggrr srgmgrsrgrs -grrsrns Famous Compositions Although the Raaga has been handled by almost all the famous Carnatic music composers, Adamodi Galade by Saint Thyagaraja and Kripaya paalaya sowray by Maharaja Swathi Thirunaal are popular. Charukesi is a Raaga whose intricate structure is more visible and understood in the Anupallavi part of a Krithi (the higher octave of the Raaga exposition) giving a feel of a Himalayan glacier. Krithis of Thyagaraja are not manthra-s recited in temples. They are excellent musical tabloids which never age, on the contrary they mature with age. The more one sings them , one discovers everytime a new luminescence, a new shallow, a fresh freedom. What exactly has made these compositions unique? Is it the Sahitya(lyric), the satvik music ( pious melody), the message or the grammer? Whatever be the factor, the entire composition will ultimately lead the singer/listener to extreme divinity.“Hey Surano Chandrabha” is a famous Abhang in this Raag which is ery soulful. Lalgudi Jayram’s most famous Pada Varnam composition Varnam in this raag “Innam Manam Ariyadhe means “Oh Lord Dont you know my mind yet” in this particular raga is anexamplory blend of raga, bhava, rhythm and lyrical beauty. The unique feature about Lalgudi is that his music is very expressive. This is one of my favourites simply because it lends itself to be danced to in the classical style . ML Vasantha Kumari singing Ada Modi Galathe is an all time enchanting classic.

[@roborexasaurus1]

bale!!!!!!!!!

[@kulkarnidurga6367]

🙏🙏🙏🙏