![]() These might seem basic aspects of tuning, but within each, Arun Prakash went beyond.įor the most part, he chose ‘pracheena’ ragam-s, those he believes have been in the Carnatic realm for long. This crucial first step was the cornerstone for deciding several subsequent aspects including what ragam(s) would be suitable, what speed ( kalapramanam) it should be set to, which junctures in the piece should be stressed and, of course, what talam would suit. The first thing he did was to read the lyrics one composition at a time, noting what deity/ kshetram it was on, registering its meaning and the emotion therein. He chose ten pieces that had no specifications. There were some that had already been notated earlier, and others where she had suggested ragam-s. Nick Haynes.Īrun Prakash was given a compendium of Sundaravalli Ammal’s compositions, all of which are in Tamil. Jayalakshmi Balakrishnan of Naada Inbam and the family of the Late Smt. This article was written for the book Sundara Amutha Ganam at the request of Smt. He says, in fact, that he looks at every composition from the aspect of its tuning and has done so since the age of 6. However, besides percussion, he is a very knowledgeable musician and a passionate and skilled tunesmith and composer too. Arun Prakash as an erudite and avant-garde mridangist. ![]() ![]() When Jayalakshmi Balakrishnan suggested to the family of the Late Sundaravalli Ammal that some of the lady’s compositions be set to tune and performed, she also knew exactly whom to entrust the task to. ![]()
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