Topic started by Trisha (@ 22.214.171.124) on Tue Aug 8 12:50:05 EDT 2000.
All times in EST +10:30 for IST.
I am bowled over by a great instrumental album called Resonance, by V.S. Narasimhan (of IR's How To Name It fame), V. Sekar (Kunnakkudi's son), Krishna Murali and B.J. Chandran. They play the Violin, Cello and Viola. Has anyone attempted similar stuff? I would like toknow if there are private albums such as this released by TFM Music Directors.
- From: Naveen Jebaraj (@ 126.96.36.199)
on: Tue Aug 8 23:26:41 EDT 2000
Looks like you are interested in String Quartet.
If you are interested in western classical, there are tons of string quartet compositions. (Mozart's string quartets are catchy) but I do not have much idea about carnatic compositions.
But I'm sure, musicians other than VSN should have tried carnatic based string quartets. I'll let you know, if I come across any of such composition.
- From: Neels (@ 188.8.131.52)
on: Wed Aug 9 01:39:46 EDT 2000
I have uploaded a couple of numbers from RESONANCE.
Check it out at:
Here's my review of RESONANCE:
Disclaimer: I am not a critique of carnatic music. I am just expressing my view on the album. Experts pardon me!
1. Nava Raga Malika Varnam
This, as most Carnatic music enthusiasts know is a famous composition by Patnam Subramaniam Iyer (1845-1902). Almost all learners would have been taught this number. It is set to 9 different Ragas: Kedaram, Shankarabharanam, Kalyani, Begada, Yadukula Kambodi, Kambodi, Mohanam, Bilahari and Sri.
It is a plain rendition, without any improvisations and it kind of sets the mood for the album.
Mysore Vasudevachar (1865-1961)
The Quartet starts this short composition right away, without any Alaapana. While the lead violin continues with the composition, the Cello, Viola and the other Violin provide the rhythm and harmony. A nice piece.
Papanasam Sivan (1890-1973)
This is one of the best numbers (I have uploaded this). Thereís a brief outlining of the raga before the composition begins. The rhythmic backing is excellent. Before they venture into the Anupallavi and later the Charanam, thereís a whole lot of improvisation by the Quartet and I enjoyed these bits the most. They weave a multitude of layers and complex patterns.
4. Raghu Vamsa Sudha
Raga: Kathana Kutoohalam
Patnam Subramaniam Iyer
This popular Kathanakuthookalam number gets a fresh treatment in this album. The raga being closest in resembling Western Classical Music, they make the most of it. There is a prelude to the main composition that sounds great. The Chittaswaram (swara pattern written by the composer himself) have been treated well.
5. Amba Kamakshi
Tala: Misra Chapu
Syama Shastri (1772-1827)
A simple, Ďazhuthamanaí rendition without any frills. You can almost feel the lyrics. Soothing.
6. Mokshamu Galadha
Again, a simple, soulful rendition.
7. Sara Sara Samaray
A peppy number (one of the few faster tracks), given a very Western treatment. Amazing!
8. Mohana Lahari
V. S. Narasimhan
VSNís own composition and one of my favorites in the album. It starts off with a brief Alapana of the ragam, which reaches a crescendo, from where an interesting melody (Taanam?) takes over. I couldnít help but recollect the Koondalile Megham Vandu number by IR in Balanagamma, which incidentally has an interesting violin interlude (probably performed by VSN himself)
The main melody is kept simple, but the improvisations are mind-blowing and the Quartet doesnít fail to surprise you with little twists and turns every now and then. Noteworthy is the excellent Cello played by V. R. Sekar.
(Sekar is the son of Kunnakkudi Vaidyanathan)
9. Krishna Nee Begane
Raga: Misra Yaman (Same as Carnaticís Yaman Kalyani?)
Tala: Misra Chapu
Kanaka Dasa (1508-1606)
This extremely popular song gets a new look here. The instrumentalists retain its original flavor, bring out its Hindustani shade well and present the song in a new light.
The introduction to the pallavi is very good and it evokes a myriad of emotions, a heady mix of happiness and pathos.
To summarize, I canít pick one track as the best, as the overall collection is excellent. And I wasnít disappointed by the absence of any Ďfast numbersí. Hereís awaiting their next album, with some more old krithis and original compositions. If a quartet can do such wonders, I canít imagine how a full western orchestra will sound! Perhaps the experience will be entirely different. The success of this album hopefully prompts them to scale new heights.
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