மஹாகவி சுப்ரமணிய பாரதியார் சொன்னது முற்றிலும் உண்மை! Shashank Subramanyam புல்லாங்குழல் வாசிப்பில், அமுது பொங்கித் ததும்பும் நல் கீதம் அளிக்கிறார். இதை கண் மூடி, வாய் திறந்தே மனம் குளிர, திரும்பத் திரும்ப கேட்போம்!! Hearty thanks for uploading this extraordinary performance clip. 🙏🙏
sarasaangi an eternal bliss taking us close to krishna...Chi.shashank & Sow.subbulakshmi took us to differnt world through their music..God bless this eternal music tradition rooted from our Vedas..
What a superb RTP in Sarasangi (Mela 27). The purity of the rendering by both Shashank & Subbalakshmi was fantastic to hear. I felt a sense of elation very difficult to describe. My prostrations to the Lord for giving us such artistes of such sublime skill. Shankar, Melbourne.
Hi S.S. sir, what an unbelievable performance u r contacting. how u r control the lakhs N lakhs music enjoyers in your small flute. thanks, keep continue.🙏👍🙏
The supreme master in action - a shear pleasure to listen. Akkarai is superb and so is Arjun Kumar. Each concert of this supreme master gives so many clues to so many variations that could be played on this devine instrument. Blessed to be living in the same time period as this supreme master.
I wonder if anyone would comment on Ajay Yadav's comments on the 'besur' coming from the 'chakkar' of speed. Some reflections and questions: Do those resonances come from the interactions between almost-simultaneous articulations of the Sarasangi notes? Or are they the result of the even-tempering of the flutes? I did notice the dissonance, but found myself quietly and almost imperceptibly ignoring them--the way one would ignore Mallikarjun Mansur clearing his phlegmy throat right in the middle of an aethereal piece of music. In a concert like this and an audience like this, the musicians are addressing the minds rather than merely the ears. When the old Semmangudi sang a few flat notes, one didn't mind it, because his musical ideas were fantastic even at that age. The RTP is particularly prone to this kind of licence, I should imagine. I have heard both CM and HM listeners and musicians themselves complain about the lack of shruti-shuddi in the South. HM wouldn't take the risks that CM would gladly take, and this is the price they pay. Different aesthetic expectations? It was a shock to read Ajay Yadav's comment on this truly amazing concert. Also an opportunity to reflect on what we hear when we hear music, and what we don't hear when we hear music. The use of the harmonium as an accompanying instrument is perhaps a measure of a tradition's standardization. And not using it is a measure of how 'open' the shrutis used currently in that tradition are, and how well preserved the old shruti conventions are, perhaps? Is it even possible to think of a dhrupad performance with a harmonium accompaniment? Why not? Varali survives despite the 72-melakartha scheme precisely because of the ability of strings (for example) to wander into dissonances? Isn't it important then to hear shruti possibilities if a musical system is to be able to respond robustly to the soundscapes around? This is not to glorify dissonance, but only to see if there is some useful thinking to be done around and with it.
