38th Baithak | Artistry of Two Major Musical Streams of India | Vidushi Aruna Sairam
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- Опубліковано 19 вер 2019
- 38th Baithak
Artistry of Two Major Musical Streams of India
Vidushi Aruna Sairam
Pandit Arvind Parikh
and
Shri Ganesh Kumar
In Dialogue with
Vidushi Aruna Sairam
Audio & Video : Priyo
#arunasairam
#allinclusivetalim
Its such a privilege listening to you Arunaji ! And we are all so thankful to Arvind Parekhji for providing us this opportunity . Of course it will be a living testimony of our tradition which shall resonate for posterity and help thousands and thousands of music enthusiasts as well as professional musicians . Thanks a lot !
Pranam Pandit ji. Heartful Thanks, You are creating a heavenly treasure for all music lovers. I have a kind request please conduct a session with Dr N Rajam. I am so looking forward to see her in one of the sessions. Please consider my request.
Unbelievably lovely! Thank you Aruna Sairam m'am. Pranaams! 🙏🏾🙏🏾🙏🏾
Lots to enjoy, learn, and practice for every sangeet sadhak. Thank you for organizing and sharing this wonderful session 🙏🏼🙏🏼
I will watch this episode again and again.It is not enough to just listening to her experiences once.Very beautiful and thank you for broadcasting this on you tube.
What an enriching session ...loved every bit of it ! Respect to Aruna Sairamji !
Please invite Prince Rama Varma, Carnatic musician on this program, also some prominent musicologists from Carnatic stream....
thanks for bringing such great personality closer to the fans like us ......first time I saw a short video of Her from "darbar festival" with Patri Satish Kumar, after that I starved to listen all the recitals. Her explanation of her journey is unmatched .......... Next nitengale of India
Hearing your crystal clear demonstration literally I am crying ArunaAmma......no words...............thank you,.....
So sad that I can hit the like button only once. Overwhelmed.. What you are doing is charity for music lovers who otherwise don't get a chance to meet the maestros or listen to them. Thank you Panditji for this. Koti Koti Pranam to you. There are many Hindustani Musicians from Karnataka; like Pt. Vinayak Torviji, Pt. Venkatesh Kumarji, Jayateerth Mevundiji etc. Please invite them as well. Would love to listen to/learn and inspire from them. Thank you so much.. ___/\___
Listened deeply engrossed. It is so nice to listen to the great vidushi Aruna Sairam as she narrates simply yet with great élan her journey through life in the world of music; with her lucid address in this video she introduces listeners step by step from threshold to the advanced levels of South Indian classical vocal music. It is a treat to listen to some of the finest samples of her rich and vast collections and ingenious performance.
It was a spell binding session of Aruna ji - what a fantastic depth of knowledge of our Shastriya Sangeet and such a clear articulation of concepts. This can come only with years of Sangeet Sadhana and tapasya. Her singing is simply divine, so full of rasas, she is an embodiment of Nada Brahma.
She is so humble and down to earth. My Pranams to her. 🙏🙏🙏
Panditji, very keen to listen Pt.Mukul Shivputra ji and also Pt.Satyasheel Deshpande ji in Baithak with you. Please consider this request. Looking forward to listen them.
Pt.Arvind Parikh Ji, I request you to arrange another Baithak with another maestro of Karnataka Sangita to demonstrate and discuss on the contents of Karnataka Sangita-musical forms of ati vilamba; vilamba; madhyamam; thurita, dasa/dwadasa gamakams, forms of pure notes and oscillating notes in select compositions, niraval etc., which will open out all the possibilities and all encompassing nature of one of the greatest art form of music, Karnataka Sangita.
Thank you Panditji....What a treat !
Unbelievable sessions .... I have listened to Shri Gundecha Brothers & this session ... I don't have words to express my gratitude to this lovely initiative by Arvindbhai & GaneshanJi ... Just Amazing & presenting facets of artistes which otherwise would never have surfaced & come to the knowledge of one & All ... My Pranaaam to You both ...
"Ma" is such an Universal shabdh!!
Such a beautiful informative session!!!! thank you so much for this Parikh ji , i've seen a number of your presentations, not all, but i think, of all i've seen this has to be one of the best!
This is so good. I am a fan of hers after watching this!
Glad to listen to such great artistes. Best programme on classical music. Hope government starts an exclusive channel for only classical music soon.
Already available. Please listen to Ragam channel on AIR
Loved this episode. The questions asked allowed Aruna ji to express differences in the two ICM of India. It re-instates the fact that the two systems are so different, and should not be compared. I do feel that one of Arvind ji's question was left unanswered, he had asked whether a swar vistar system that is in North Indian music, existed in Carnatic music. However she explained vivadi ragas and kampita gamaks, which is one area where the two systems seem to differ immensely, which was noted by Purvi ji. A very enjoyable and educational episode.
Wonderful Session. Thanks to Arvindji.
Would love to listen to experiences and more technical aspects from carnatic music performers of different genre like T M Krishna.
What a ocean of knowledge...😍
I thank each and every person who made this video.
My heart is overwhelmed by all of it.
I thank u pandit ji for making it possible.
I possibly tried to viewed all d episode. Gr8 artist knowledge n experience is all we could ask for.
Thanks once again.
N also a gr8 fan of Aruna ji. ..
She is a God'es of classic music for me.
Thanks u for d experience.
Looking forward for many gr8 artist.
One small request, if in future u can invite Shree Ronu mujumdar Ji.
We would loved to get knowledge n blessing from him through ur videos.
Regards. 😇🌿
We already planning to invite Rono Malumdar.
@@pt.arvindparikh That's wonderful sir.
Ur a true visionary. 🌿
I dont know is it appropriate to ask u but if there by any chance I could attend d session personally, it would be a gr8 honour n lifetimes experience sir. I highly respect u pandit ji, n what ur doing is really a pure act of kindness towards d music learners and many others . I don't know what's d criteria to attend d session as iv seen in videos many students were there. As I'm also a student of bansuri n purely into hindustani classical music. It would be a gr8 honour for me to attend d live session with Ronu ji. I truelly idolise him.
I'm from Amravati, it's near Nagpur. Maharashtra.
But if I get a chance to attend d session I'm willing to come to mumbai, just for pure knowledge.
I hope u wont mind my random request offensive or selfish, but yes anything it is ....its just a student's opens hearted wish.
Thanking you for ur reply..🌿😇
Regards
Deep
Thank you so much
Excellent English, she is so knowledgable . Can't stop listening to her experiences. Well educated and and she explains so nice .We can learn a lot from her about music and singing.
My favrate song is madu meikkum kanney great
Aruna Amma ji
Thanks of lot for upload this wonderful vedio
ऐकणार्याला समृद्ध करणारी बैठक
One of the splendid interviews I have ever heard.
Awesome programme!
Ultimate performance and great explanation.
Speechless. Spellbound 🙏🙏🙏💐💐💐
What arunaji sang in gujrati' vaishnav jan "is called Raamagari raag.Sung in early morning to awake lord krishnaji.This is the signature raag of Gujrat.🙏
One of the outstanding baithak sessions, Pt Arvind Parekhji.
So so informative ...
Amma.... Really you are genius amma.... iam very fan of you... good lecture.. explanation... demonstration.........in my thought you are real goddes of music.... love you amma..... 🎶🥰❤️.
Arunaji, ofcourse you are a musical genius. How eloquently you speak! Look at the English words she uses
Seriously part 2 is needed
Very beautiful
A great talented singer with command on languages.
Waw! I was getting goosebumps when she sang Kurai on drum ....
Ps excuse my spelling .
जय हरी विठ्ठल विठ्ठल विठ्ठल... देव विठ्ठल... देव पूजा...
Arinaji! You are the goddess of music.
Zaru=dhuran-muran.Dhruvpad term for gamak.Both
r same.Because I believe that Veena is the ancient instrument.
OMG!!!! Someone please beg Aruna ji to do a recording of shri Lalita Sahasranama, Please please please!!!!!!! For heaven sake! so important!!!!
Aruna ji at her best.. If she chances to read this.. I would request you to help Nityashree Mahadevan to the German teacher who helped you fly..
Excellent
My Pranams!
Namaskaram Arvindji
We have already approached Rajamji. Due to some exigencies she is unable presently to accept our invitation.
Namaskaram Sri Aravindji. I humbly requesting you to please please give a chance for my daughterto perform Carnatic music. My daughter is a Carnatic Singer. Please sir
Sir...you are doing a gr8 job....pls continue to do so.....I would love to be a part of such beautifully Creative musical conversation.
Pt. Arvind Parikh ji- All Inclusive Talim - Baithak this channel is great blessing for the world, can’t thank enough. Sir it will be great to invite next generation musicians and singers as well to share their journey in addition to senior artists. like T M Krishna, Rakesh Chaurasia, Rupak Kulkarni, Kaushiki Chakravarti, Rashid Khan.... list is endless:). They can share their fresh journey and their perspectives about pursuing music.
super! mesmarizing notes.
I enjoyed watching this baithak. Many thanks for featuring Vidushi Arun Sairam ji. I was telling a friend of mine recently that 'I have graduated from listening Carnatic music to Hindustani'. When I was young, I listened to a lot of Carnatic music - Mali, MSG, Bala Murali, Nedunuri, Ramani, MS et al and was greatly enamoured by it... However, when I listened to Pt. Bhimsen Joshi sing raag Kalashree for the first time about 45 plus yrs ago, I must say I was completely overwhelmed and kept humming Kalashree continuously for the next 3 days - something I never experienced listening to Carnatic... Lyrics/sahitya was never important for my musical experience...
Around 1:43:14, Arunaji demonstrates 'what it takes Kalyani to say the same thing said by Yaman', characterising it as the difference in the thought process... 1:44:00 Carnatic music, perhaps tries to blend the 'analytical' left brain and the 'creative' right brain, but the gimmicks of the gamak and the lilt of the lyrics doesn't quite provide the musical experience for me... When I listen to say Pt. Nikhil Banerjee's Hemant, Bageshri, Rageshree et al, the music moves you and its serenity soothes your spirit...
It's funny that sahityam and the vibrant gamaks are the main reasons I graduated to Carnatic recently. I might have derided these same gimmicky gamakas some years ago.
@@elborrador333 Whatever floats your boat, as they say... There is a friend of mine who listens to Carnatic 'only for sahityam''. Years ago, when I was an avid listener of Carnatic music, I used to complain to my friend Eswaran 'there is only so much bhakthi (devotion) I can muster and manage '... ;-)
For me, 'music begins where
words, language, poetry end...' to paraphrase Goethe, Ezra Pound, Heinrich Heine et al... So, Carnatic music is like presenting the whole dictionary when you ask for a good book ;-)
I completely understand how you feel, having listened a lot to both forms of music and being a student of Carnatic music. It is true that some times, the technical aspect takes the foreground since there are so many technical elements in Carnatic music. But there are, even today, definitely, a few very good artists who manage to balance both of these very well and they sound very impressive aesthetically. Having said that, the amount of pleasure that you can derive from listening to Carnatic Music increases hugely as the listener himself begins to understand the technical aspects - for example, it takes a lot of listening to understand and appreciate the gamakas in Carnatic Music. I myself am always of the opinion that the artist should never compromise aesthetics for technical gimmicks - and indeed there are yesteryear and present generation artists who have shown the way for us to take it forward.
@@carnaticcreations9922 I grew up in a Carnatic Music (CM) environment. My sisters played veena and performed Bharatha Natyam. My mother took to mridangam, yes mridangam, at the age of 40 plus... I have been often found lost in the lilt of Mali's flute, the magic of MSG's crisp violin and the bhava of Bala Murali's beautiful voice... And yet, I prefer Hindustani for reasons stated above...
Fairly recently, I attended a CM concert by a famed flautist accompanied by a elderly, but reputed mridangam player, as well ghatam and morsing players... To me, the concert felt like a fierce fight for "one-upmanship" using technical skill, pace, gamakams and 'gimmickams'... There is only so much of such one can take, and I just wanted to walk out, but it was pouring rain outside the pandal and my ride was stuck in traffic somewhere :(
I have seen this 'one-upmanship' at play in many a CM concert, and extending beyond to many famous CM artistes professing the view 'if you know CM well, you can play anything'... Alas :(
@@swarsur True. Even I wish that this kind of thing does not happen in many concerts, and as you said, they happen in most concerts. It is all mostly for audience applause. Also when this happens, sometimes the basic elements like sruthi perfection take a backseat and that off puts even more listeners who have listened to Hindustani Music where pitch perfection is the primary focus(rightly so).
But I think there is some hope, after all.
Many artists like Ranjani Gayatri, Bombay Jayashri, TMK and many others do not allow unnecessary calculations and sawal-jawaab gimmicks to spoil the aesthetic feel of their rendition.
Even though this is the case, it is unlikely that you will get the peace and calm you experience while hearing a good vilambit bandish by hearing a carnatic concert.
But I think this is where CM is fundamentally different from HM. True, there are many things CM singers can learn from HM, but HM is HM, and CM will be CM. It is true, just as you said, that artists are over exploiting technicalities in concerts with less focus on aesthetics - but at the same time we must remember that the music forms are fundamentally different and have different appeal. Both these effects are at play in what we see in today's performance of a Carnatic Music concert.
Finally, regarding 'if you can play carnatic music you can play anything' - I think what the artists actually want to express is that to develop a basic understanding of (atleast certain forms of) music, Carnatic Music helps greatly. For example, I myself was able to develop a great sense of notes and could identify them in many songs of various genres even after just a few years of learning instrumental and carnatic vocal. However, in no way this will mean that a great carnatic singer can become a pro at film music just like that. Only his understanding of many music genres might improve considerably, this I do believe.
who are in the world put thumb down? at this divine lady ???
Wow
Waiting her arrival at sankatmochan sangeet samaroh🙏🙏🙏
Great admirer of Arunaji Sairam
Learnt so much
My pranam to a stalwart versatile artist
👏👌🙏
Panditji... It's a request to you... Please invite Pandit Jasraj ji...
Aruna ji is a great artist. This session reveals her passion for music and how willing she is to share her experience and expertise with rasikas. A true gem of a musician,
Thank you Aruna li and Arvind Ji,
Thank you Panditji ... Pranaam 🙏
1:58:30
GRACIAS THANKS FROM ARGENTINA , MAHADEV ITALIAN PERFCT SONG I AM CRYING ...BHOLENATH
Music experiences are of sthoola, gross of external conscious and sookshma, the subtle, of internal conscious. Primacy in Shastriya Sangita, Indian Classical Music is for subtlety. Subtlety is aesthetic beauty of abstract, formless. Only very deep engagement both by the practitioner and the rasika (s) can experience such abstract aesthetic beauty as this is of individual consciousness. Performing in public to 'serve' is to the rasikas the sensed values in excitement in freshness, novelty of newness and be with mass consciousness of popular perception, acceptance, endorsement and support. Performing also in public to uplift both the practitioner and the rasika (s) to aesthetic, subtle and abstract beauty by partaking the inner realization in expressions and its expansions, which delivers intellectual pleasure is idealism. Idealism also serves in enriching the experiences, continuum. On 'thukkada' part of concert performance of Karnataka Sangita, I desire to throw the light on reality, free from misconceptions and misunderstanding. In the pre-modern 'sadas' concerts, final part consisted of 'pure devotional' musical elements in forms-keertanas, slokas, vachanas, padas and viruthams. After the artist exhibits his mastery of vidwath in 'mano dharma' sangita (mano-manas, sense of mind in imagination, ideation, innovation, discovery and creativity, exceptionally and dharma, sense of mind in righteousness to the lakshya and lakshana of the art form), the artist renders the pure devotional rooted in self denial or self abnegation, where the unified consciousness is that of devotion, not showcasing the mastery. In the modern 'sabha' concerts the excitement and novelty values created by the popular artists receiving greater acceptance, endorsement and support of rasikas; patrons; event promoters and managers has become the contemporary and trendy. But, the original value sensed (by Vid.Aruna Sairam in MSS music) has greatly eroded and suffered. Is it 'thukkada' or 'Pakkad'? Only a small but significant artists and discerning rasikas are serving the true cause and ideal of Indian Classical Music.
At 1:37 is she singing a Carnatic version of Shiva Ranjani?
36:35
Such an informative session...i request you to have a similar session with carnatic musicians ranjani-gayatri and Harikatha exponent Vishaka Hari...
Please invite KAUSHIKI CHAKRABORTY
😇🇳🇵💚💚💚🙏
To my limited knowledge 'abhang' was introduced by Vidu.Charumathi Ramachandran, many years earlier to Vidu.Aruna Sairam and recordings are available of such rendering. Inspiration for singing and offering 'abhangs' goes to Karnataka based Hindustani Music -Dharwad-Hubli region of Karnataka.
Her Guru MLV sang abhangs much before her. So did Smt. M.S. Subulakshmi.
Charumathi Ramachandran was the first Karnatic Vidushi to introduce Abhangs and I request you to check her profile.@@arunsri15
@@madhvamunirao.sandhyavanda40
Sir, Could you share the link where such a statement is made, Thank you
en.wikipedia.org/wiki/Charumathi_Ramachandran@@arunsri15
@@madhvamunirao.sandhyavanda40 , sir, it says she was 'one of the first'
Shankar Mahadevan is a very apt person to give both sides...carnatic and hindustani..
What an excellent artist and presentation. God bless her and Shri Arvindbhai.
:)
Aprateem !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
1:21:42
Guru ji #Dhrupad Gharhna se kisi Ko bualaiye ♥️
Can you invite Ustad Shafqat Ali Khan sahib ? Son of Ustad salamat Ali khan ?
2:05:00
2:18:43
North Indian music came from South Indian music.The question was voice versa.
14:34
1:41:00
6:14
30:56
Interesting
1:38:17 haaaa what a experssion
Why a guy along with Smt. Aruna Sairam and that guy is mansplaining everything?
I humbly request you to give a chance for my daughter to perform Carnatic music. Please sir
We are inviting established artists having a large national status. We are not concert organisers. Please don’t misunderstand our inability to invite your daughter.
Another false claim on viruttham by the audience and Aruna Sairam says yes. Viruttams existed even from GNB days to render a verse from Divya prabhandam, Lalitha sahasranamam, Vishu Saharanamams, and Vedas as a prelude to a song. Similarly, in Karnataka, most Dasar padas had some Ugabhogam one can call it virutham in simple words. Such pieces existed even during MLV days. False claim seems to be her best and last resort to prove her worth/ positioning in Carnatic music? This is a question the artist needs to answer to oneself!
Please let Aurna Sairam speak with less interruption as she has a lot of interesting experiences to share. And the person in the center needs to learn how to pronounce words it’s quite embarrassing to hear words mispronounced.
Brutal misrepresentation on abhangs. Aruna Sairam did not bring abhang to Chennai. MSS, MLV, Sudha Ragunathan used to sing Abhangs in the 1970s, 80s, and 90s before Aruna Sairam was even known to a larger audience. Artists should carry moral responsibility and take credit for what they delivered and not try to claim false fame.
Many yesteryear musicians have always commenced a concert with a prayer sloka. Forget the past; I have never seen Suguna Varadachari mam commence a concert without Gyanananda mayam devam sloka on the lord Hayagriva, similarly Amrita Murali and Sriranjani Santhanagopalan, always commence a concert on Narada or Kanchi Acharya. This is nothing new or innovative at all. Also, to add, the Anada selvathu pasuram was handled by MLV and MSS before singing Srinivasa Thiruvenkada mudaiya. You have only inserted that to Kurai ondrum illai song. You haven’t discovered or excavated it from manuscripts. Everything claimed in this session seems to be based on pretense.
It's so bad for the artist to acknowledge or nod when the audience says padams and javali are becoming rare these days and rendered by you.
It is not rare at all. Many musicians like Sowmya, TM Krishna, Suguna Varadhachari, and TN Seshagoapalan sing padams and javali’s in many concerts. Again, please take moral responsibility to explain that Padam’s and Javali’s are not rare and ensure you are not the one carrying the lineage or padanthara!
32:05
1:37:19
47:57
1:32:10
36:39
1:07:50
1:37:15
1:19:20