KVN sir’s presentation of yadukula kAmbhOji ragam and the krithi are filled with Sruthi suddham and soukhyam. The maestro has taken up an elaborate improvisation of the first line of the third charanam with exhaustive neraval and swara prastAras. Viewing from the eye of a thirsty student eager to learn, it is not difficult to spot a serious flaw in his treatment of the line of the lyric he has chosen for this elaboration. Here are is this line: “ninu chUDa vacchu bhagini karambu chiluka” (నిను చూడ వచ్చు భగిని కరంబు చిలుక) Here are the meanings of these words: ninu chUdA vacchu = Who comes to see you bhagini = sister karambu = in the hand chiluka = parrot The two words that were treated inappropriately in KVN sir’s presentation are bhagini (sister) and karambu (in the hand). Instead of “bhagini-karambu” (భగిని-కరంబు), he has split them as “bhagi-nikarambu” (భగి-నికరంబు), making both these words looks like gibberish and meaningless. Even more disappointing is the fact that every time he has ended the line with bhagi- (భగి-) instead of bhagini- (భగిని-) Today’s performers and students should correct this when they learn and sing this krithi. Is this really a big deal? It depends. If you believe the words in any language were created to convey specific meaning and these words are sacred and deserve to be treated with respect, then yes, it is a big deal. When great masters make fundamental mistakes like this, people will follow and adopt them as gold standard. Teachers are propagating these same mistakes and students are inheriting them. This chain can be and should be broken. In today’s connected world, it is very easy to raise awareness, fix these issues in Carnatic music if and only if we keep our eyes and ears open and are willing to make corrections. -Kishore Meduri
The inimitable KVN, what an incredible Yedukulakamboji! Mellifluous voice, bhavam overload, and master of Neravals! Does anyone know who the mridangist is, phenominal patterns, especially in the vilamba jhampa that KVN rendered here?
So wonderfully satisfying. Masterly rendering by singer bringing out the raga and tala interplay. Outstanding mridangam . Guessing U Sivaraman and Chandrashekar on violin.
Despite the extra slow tempo chosen by KVN, what amazing control shown by the co-artists! Complete justice done to the krithi 🙏🏼
Sri K.V.Narayanaswamy mama with Sri M. Chandrasekaran on the Violin and Dr. Umayalpuram Sri K. Sivaraman Sir on the Mrudangam, perumbavur concert
KVN sir’s presentation of yadukula kAmbhOji ragam and the krithi are filled with Sruthi suddham and soukhyam.
The maestro has taken up an elaborate improvisation of the first line of the third charanam with exhaustive neraval and swara prastAras. Viewing from the eye of a thirsty student eager to learn, it is not difficult to spot a serious flaw in his treatment of the line of the lyric he has chosen for this elaboration. Here are is this line:
“ninu chUDa vacchu bhagini karambu chiluka”
(నిను చూడ వచ్చు భగిని కరంబు చిలుక)
Here are the meanings of these words:
ninu chUdA vacchu = Who comes to see you
bhagini = sister
karambu = in the hand
chiluka = parrot
The two words that were treated inappropriately in KVN sir’s presentation are bhagini (sister) and karambu (in the hand).
Instead of “bhagini-karambu” (భగిని-కరంబు), he has split them as “bhagi-nikarambu” (భగి-నికరంబు), making both these words looks like gibberish and meaningless. Even more disappointing is the fact that every time he has ended the line with bhagi- (భగి-) instead of bhagini- (భగిని-) Today’s performers and students should correct this when they learn and sing this krithi.
Is this really a big deal? It depends. If you believe the words in any language were created to convey specific meaning and these words are sacred and deserve to be treated with respect, then yes, it is a big deal. When great masters make fundamental mistakes like this, people will follow and adopt them as gold standard. Teachers are propagating these same mistakes and students are inheriting them. This chain can be and should be broken. In today’s connected world, it is very easy to raise awareness, fix these issues in Carnatic music if and only if we keep our eyes and ears open and are willing to make corrections.
-Kishore Meduri
Loved this comment, lyrics are absolutely important part of the piece.
Outstanding pandityam
Salutations to the maestro
Hechcharika gaa raa raa:raagam Yadhukula Kambhoji-28th melakartha raga Harikambhoji raagams derived deravative jannya raagam yadhukula kambhoji raagam, thaalam jhampa thaalam, and composer shri thyaagaraaja swaamiigalzhzh.
The inimitable KVN, what an incredible Yedukulakamboji! Mellifluous voice, bhavam overload, and master of Neravals!
Does anyone know who the mridangist is, phenominal patterns, especially in the vilamba jhampa that KVN rendered here?
So wonderfully satisfying. Masterly rendering by singer bringing out the raga and tala interplay. Outstanding mridangam .
Guessing U Sivaraman and Chandrashekar on violin.
@@asinha4528 antholikarsgsm
M Chandrasekharan for sure, Probably Palghat Raghu
Hechcharika gaa raa raa: raagam Yadhukula Kambhoji-28th melakartthhaa raga Harikaambhojii raagam’s jannyyaa derived deravative raagam Yadhukula Kambhoji raagam, thaalam jhampa or khanda chaapu thaalam, and composer shrii thyaagaraajasswaamiigal.
Pleasant music
Mirudhangam Poongulam Ramakrishnan
T N Krishnan? Palghat Mani Iyer?
M.chandrasekharan, violinist
its not jhampa.. ita khanda chapu