Topic started by Prasad on Fri Feb 11 01:14:36 .
All times in EST +10:30 for IST.

This thread is to discuss the various banis and styles that have been and are in use during the twentieth century

Responses:

• Old responses
  
• From: siva (@ firestorm3.imrglobal.co.jp) on: Thu Feb 17 02:01:58 EST 2000
  
  Nadopasaka:
  
  The song is Yarendru Rag(h)avanai in Y Kamboji. I also like his "Harium Haranum onre enru"
  
  Vasu:
  
  There was a live recording (2 casettes)released by Vani casettes sometime back. Though the rec quality leaves much to be desired it is a good one
  
  
• From: Siva (@ firestorm3.imrglobal.co.jp) on: Thu Feb 17 02:06:21 EST 2000
  
  What about Dr. S Ramanathan. Can we call him a unique style. Who was his guru? Can someone clarify. His students are Sowmya & unnikrishnan
  
  
• From: Nadopasaka (@ akppp81.buffnet.net) on: Thu Feb 17 05:25:20 EST 2000
  
  > Any pointers to capture their styles in comparison to others etc would be helpful.
  
  Vasu:
  
  You may want to get renditions of the same raga by different exponents. And work slowly up to the same krities, if possible.
  
  Years ago, I put all my e.g. Pantuvaralis, Todis etc., whatever I had, each on a separate set of tapes for continuity. It gave a great feel for different composers, instruments, talams and voices. I would listen for days to one raga, spread out over several tapes. I mentioned this to Ravi Kiran when he visited once. He started producing cassettes with different krities in the same raga. You can also pester visiting performers for particular ragas to enlarge or complement your experience. ( there are pros and cons to this ) Sometimes you can also see the effect of time on voice and ideas too. I suppose you should listen widely and intensely and most of all with memory. The Smriti element, is, I think, very important in Carnatic music.
  
  
  
• From: Sree (@ 134.243.96.152) on: Thu Feb 17 11:12:16 EST 2000
  
  Siva
  
  >What about Dr. S Ramanathan.
  
  Ramanathan's daughter is Geetha Bennett. She has a webpage http://www.geethabennett.com/ You can get all info about Dr. SR from there.
  
  
• From: Prasad (@ hoproxy2.proxy.lucent.com) on: Thu Feb 17 23:32:18 EST 2000
  
  Digressing a bit from discussing abt the main artiste.I was wondering if accompanying artistes like Mridangistes,violinists,Ghatam/Kanjra artistes like Rajamanickom Pillai,Palghat Mani Iyer,Murugabhoopathy,pazhani subbudu,Govindaswamy pillai,Govindaswamy Naicker et all have established a style of their own which r in vogue now.If so can anyone throw some light on their style of playing accompanying,diff between their solo playing and sondha manodharmam during avarthanam as an accompanyist..any banis that evolved later???can someone throw some light on these?
  
  
• From: Nadopasaka (@ adppp43.buffnet.net) on: Fri Feb 18 02:12:18 EST 2000
  
  Chowdiah managed to maintain a unique identity even while accompanying some of the dominant vocalists.
  
  
• From: Sree (@ 134.243.96.152) on: Fri Feb 18 09:24:01 EST 2000
  
  Prasad,
  
  The most dominant styles among Mridangist in the 20th century were that of Palani Subramaniam Pillai and Palghat Mani Iyer. There is an interesting article in Mohan's website about Guru-sishya paramparai among Mridangist.
  
  
• From: Nadopasaka (@ aappp42.buffnet.net) on: Sat Feb 19 09:56:34 EST 2000
  
  For whatever reasons neither BMK or MSS got much mention here yet. Before moving on to accompaniment any ideas on them ?
  Is the jury still out on BMK ?
  He seems to have metamorphosed before us over the last 2 decades or so.
  
  
  
  
• From: Nadopasaka (@ afppp30.buffnet.net) on: Tue Feb 22 22:16:51 EST 2000
  
  Has anybody heard of Sandhyavandanam Srinivasa Rao? I heard some very good renditions by him in Huseni, Varali ( ne pogada ) , YK ? What school was he from ?
  
  
• From: Narayanan (@ 195.224.238.98) on: Wed Feb 23 03:42:25 EST 2000
  
  I have been to some concerts of Sri SS Rao.
  He is one of those unfortunate lot who despite having vast gnanam and paatanthram did not shine.
  He is an authority in Purandara Dasa krithis. He also sings some rare Thyagaraja and Dikshitar krithis.
  Some of his favourites are
  Kaliyuga Thalli - Purandara Dasa - Chenchurutti
  Odi Baarayya - Bhairavi - Purandara Dasa
  Daakshaayani - Thodi - Dikshitar
  Munnu Ravana - Thodi - Thyagaraja
  
  
• From: Nadopasaka (@ abppp44.buffnet.net) on: Fri Feb 25 11:46:06 EST 2000
  
  Speaking of banis, Narayanan, can you or others comment on Flute Mali ? I heard two terrific Begadas by him , Anudinamunu (by Poochi ??)and Tyagaraja's Nadopasana.
  
  It seems like even faults were looked on benignly when Mali was concerned. Is there some classical dance music background in his experience ? for e.g. did Kalakshetra etc. influence him and his unique style ?
  
  
• From: Lalitha (@ ) on: Mon Sep 18 04:15:04
  
  talking about banis i am surprised why no one has spoken about lalgudis vocalist shishyas. is notBombay jayashree one of the forefront singers of the present generation? which bani is she singing in ? can anybody throw light on yhat?
  
  
• From: Karthik (@ 202.141.26.2) on: Tue Sep 19 06:58:18 EDT 2000
  
  we must probably talk about vocal & instrumental (each one ) separately.
  Say for violin now we have the distinct "Parur" bani, the TNKrishnan bani, of course the style of Lalgudi. Chowdiah, Dwaram et al were renowned for their distinct styles.
  
  

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