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♫ Sangeetha Saagaram ♪ - A Tribute To Indian Music Greats


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A Tribute to All Greatest Musicians of India

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Sangeetha Saagaram



നമ്മുടെ സംഗീത ലോകത്തെ അനശ്വരമാക്കി തീര്‍ത്ത പ്രതിഭാശാലികളായ സംഗീതജ്ഞരെ കുറിച്ച് നമുക്ക് മറ്റുള്ളവരുമായി പങ്കുവെക്കാനായി ഒരു ടോപ്പിക്ക്!!

 


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Sangeetham :music: Kelkkan imbamulla sabdam :music: Sravanasundharangalaya sabdangal kondu manassil vikarangal srishtichu rasippikkunna oru kala aanu sangeetham. Samyamakunna geetham (Nalla geetham) ennanu sangeetham enna vaakkinte artham. Athi sambushtamaya sangeetha parabaryam ulla ragyamanu nammude bharatham. Vaidhika kalathu bharathil roopam kondittulla kala aanu sangeetham. :violin:
Manushyanu daivam kodithittulla ettavum vallya varadhanam aanu paadanulla kazhivu. Nammal ellavarkkum nannayi paadan kazhijillengilum pattu kettu aswadikkuvanulla kazhivu undu! athu thanne ethrayo vallya bagyamanu!... 8->


Nammude sangeetha lokathe anaswaramakki theertha prethibhashalikalaya sangeethanjare kurichu namukku mattullavarumayi panguvekkuvanayi oru topic!


Topic Index

A

Amir Khusrau
Asha Bhosle
Allauddin Khan
Ananda Shankar
AR Rahman
Adnan Sami

Appukkutty Nattuvan Click Here
Anuradha poudwal click here
Archana Udupa :click:
Aruna Sairam click here
Anuradha Suresh Krishnamurthi :click:
Annapurna Devi click here
Alla Rakha :click:
Ariyakudi Ramanuja Iyengar click here

Anto C O http://www.punchapaa...29#entry2362596

 

B
Beghum Akhtar
:click:
Bombay Ravi click here
Bhupen Hazarika :click:
Bhadrachala Ramadas click here
Baradwaj :click:
C
Chembai Vaidyanatha Bhagacathar click here
C O Anto Click here 
D

D.K. Pattammal :click:
Devashish Dey :click:

V. Dakshinaamurthy  http://www.punchapaa...29#entry2362596

 

E

F


G
G. Devarajan
G. Venugopal
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Gangubai Hangal :click:
H
Hariprasad Chaurasia
Hariharan

Hirabai Barodekar :click:
Hyderabad Brothers (D. Seshachari & D. Raghavachari) :click:
I
Ilayaraja

J
Johson Master

Jassie Gift click here
Jagjith Sigh click here
Jerry Amaldev Click here

Jayadevar Click Here 
 
K
K.J. Yesudas
K.S. Chithra
Kavitha Krishnamurthy
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Kesarbai Kerkar :click:
Kalamandalam Hydarali :click:
K.S. George :click:
K.P.A.C. Sulochana :click:
Kadri Gopinadh Click Here
Kozhikkod Abdul KhaderClick Here
Kunnakudi Vaidhyanadhan click here
 
 
 
L
Latha Mangeshkar
Luckyali

Lal gudy Jayaraman  click here
LPR Varmma Click here
 
 
M
Miyan Tansen
:click:
Muthuswami Dikshitar
MS Subbulakshmi
M.S. Baburaj
M.K. Arjunan Master
M.G. Radhakrishnan
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Mohan Sitara :click:
M.S. Viswanathan :click:
Madhu Balakrishnan :click:
M. Jayachandran :click:
M. Balamurali Krishna :click:
M.M. Keeravani :click:
M.G. Sreekumar :click:
Moshavathsalam :click:
Mysore Ananthaswamy :click:
Machad Vasanthi :click:
Maharajapuram Santhanam Click here
 
N
Naushad Ali
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Neela Ramgopal :click:
Neyveli Santhanagopalan :click:
Neyyattinkara Vasudevan :click:
O
Ouseppachan

Ottukkadu Venkata Kavi :click:
P
Purandara Dasa
:click:
Pandit Ravi Shankar
Pandit Debu Chaudari
P. Unnikrishnan
P. Jayachandran
P. Leela
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P. Susheela :click:
Pandit Bhim Sen Joshi :click:
Pt. Chintaman Raghunath :click:
Pandit Jasraj :click:
Pandit Laxmi Ganesh Tewari :click:
Pandit Ajay Chakrabarty :click:
Pt. Mallikarjun Mansur :click:
Pandit Omkarnath Thakur :click:
Pradip Somasundaran :click:
Palakkad Mani Ayyar Click here

 

 

 

 
R
Raveendran Master

Ramesh Narayanan :click:
S
Swathi Thirunal
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Shadkala Govinda Marar :click:
Semmangudi Srinivasa Iyer
Shamsahad Begam :click:
Shiv Kumar Sharma
Salil Chowdhury
Shankar Mahadevan
S. Janaki
S.P. Venkatesh
S.P. Balasubrahmanyam
Sharreth
Shreya Goshal
Sujatha Mohan
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Shankar- Ehsaan- Loy :click:
Srinivas :click:
Syama Sasthrikal :click:
Sumati Mutatkar :click:
S.R. Veeraraghavan :click:
Sumitra Guha :click:
Shyam :click:
Saint Ramdev :click:
S.A.Jameel :click:
Santhi Sarmma Click Here

Sreevalsan J Menon Click Here 
 
T
Tygaraja Swamikal
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Thallapaka Annamacharya :click:
U
Ustad Ali Akbar Khan
Ustad Amjad Ali Khan
Ustad Bismillah Khan
Udit Narayanan
:click:
V

Vidya Sagar
Vani Jayaram

Vasumathi Badrinathan :click:
Vidhyadharam Mash :click:
Vinay Bharat Ram Click Here
 
W
 
Wasifuddin Dagar Click Here


Edited by Parasaala PachaN, 23 July 2014 - 11:25 PM.
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Pandit Omkarnath Thakur

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Pandit Omkarnath Thakur, regal in appearance and bearing, dressed in flowing silken robes, and sporting a leonine mane of shoulder-length white hair, accompanied by four tanpuras, two vocalists, and often two melodic accompaniments, is one of the enduring images of the last century in Hindustani music. On stage, Omkarnath was living theatre. But, he was much more than a musician. He enjoyed a rare combination of stature and popularity as a teacher, administrator, theoretician, political activist, and an institution-builder.

For almost three decades, starting from 1930, his was a towering presence in Hindustani music. He rose to national eminence sharing the stage with formidable rivals like Ustad Faiyyaz Khan and Kesarbai Kerkar, and held on to his position even as the next generation of vocalists like Ustad Bade Gulam Ali Khan and Ustad Ameer Khan were acquiring large followings and building awesome reputations.

Pandit Omkarnath was honoured by the President of India with a Padma Shri, and with several decorations by prestigious cultural organizations. He was amongst the few musicians in whose memory the Government also issued a postage stamp. He received honorary Doctorates from Benares Hindu University and Vishwa Bharati University. Among his many awards was the title of “Sangeet Martand”, which was most commonly used by the music community as a prefix to his name.

Though trained under Vishnu Digambar, a scholar-musician of the Gwalior gharana, Omkarnath deviated substantially from the tradition, and became a daring innovator. In an era when khayal was still bound by the Dhrupad legacy of formal aloofness, Omkarnath had the courage to adopt an emotionally charged, and even melodramatic, style of rendition. He freely introduced elements of Tappa and Thumree into khayal rendition, sometimes blurring the borders between the genres. In a milieu in which grammarians were taking over the organization of musical knowledge, he emphasized the esoteric aspects, and even experimented with the healing powers of raga-s.

Omkarnath is often considered a forerunner of the romanticist movement that surfaced in khayal vocalism in the 1970s with the emergence of Kumar Gandharva (1924-1992), Kishori Amonkar (Born: 1931), and Jasraj (Born: 1930). As an artistic ideology, romanticism signifies a preference for emotionally charged expression, along with relative indifference to the structural aspects of music. Omkarnath exhibited a generous dose of classicism in his musical personality. But, with his emphasis on the explicit communication of emotional values through the khayal, he paved the way for later romanticists.

Childhood and grooming

Pandit Omkarnath was born at Jahaaj in the Khambhat district of Gujarat. His grandfather and father were both soldiers in the employ of the Peshwa rulers. Under the influence of a saint, Omkarnath’s father, Gaurishankar, lost all interest in worldly affairs. Heedless of the material needs of his family, he became a hermit and devoted his life to Pranava Sadhana -- the exploration of the mysteries of “Om”, the primeval sound. This spiritual pursuit led him to name his last child Omkar.

Omkarnath’s mother was cheated out of her husband’s share of the family’s assets, and left destitute, along with her four children. A strong-willed woman, she moved the family to neighboring Bharuch (Central Gujarat), did menial tasks as a domestic servant, and brought up the children. From the age of five or six, Omkarnath started contributing to the family’s resources by working as a domestic servant, as a cook’s assistant, as a laborer in a textile mill, and as an occasional singer-actor in local theatrical productions. When Omkarnath was in his teens, he came in contact with Seth Shahpurji Doongaji, a philanthropist of Bharuch. The wealthy merchant noticed his talent and passion for music, and sponsored him for training under Pandit Vishnu Digambar Paluskar at the Gandharva Mahavidyalaya in Bombay.

From 1910 to 1916 (according to some accounts:1913-1919), Omkarnath learnt the vocal art of the Gwalior gharana and the Pakhavaj (two-faced barrel drum), studied authoritative musicological texts, and served his Guru with devotion. When his Guru decided to open a branch of his music school at Lahore, Omkarnath – still in his early 20s -- was sent there as its Principal. Working tirelessly as a teacher and administrator at the Lahore school, he also launched his career as a performing musician. After three years at Lahore, he returned to Bharuch to start a music school, and to launch himself in political activity. His music school was later shifted to Bombay in 1934, and thence to Surat in 1942.

His family circumstances had not permitted him to go to school in childhood. But, in his early years, while he was struggling to help support the family, he had worked for a Jain religious establishment, where the monks taught him to read and write. Later on, by his own efforts, he mastered several languages – Hindi, English, Marathi, Sanskrit, Bengali, Punjabi, Urdu and Nepali. With himself as his only tutor, Omkarnath grew to be the most articulate orator and the most profound theoretician amongst musicians of the 20th century.

In the profession



In 1918, his career took off with impressive concerts at the court of Maharaja Sayajirao Gaekwad III of Baroda, and at the Harballabh Sangeet Sammelan at Jallandhar. A few years later, he visited Nepal at won the admiration of the King, who could not persuade Omkarnath to accept his patronage. By 1930, Omkarnath’s fame had spread far and wide, and he became a star attraction at every major music festival in India.

In 1931, he was invited to the International Music Conference at Florence in Italy. From there, he traveled to Germany, Holland, France, England, Wales, and Switzerland, giving performances and lecture demonstrations, introducing the beauties of Hindustani music to European audiences. This was an era in which the West knew India only as the land of Gandhi, Tagore, and Uday Shankar. Indian classical music was an unknown entity. It was Omkarnath who ignited a degree of serious interest in Hindustani music amongst Western scholars and audiences three decades before they had heard the Elder Dagar Brothers, Pandit Ravi Shankar and Ustad Ali Akbar Khan.

While earning laurels as a musician, Pandit Omkarnath also involved himself actively in the freedom struggle. He was elected President of the Bharuch Congress Committee, and a member of the Gujarat Provincial Congress Committee. When India made its tryst with destiny at the stroke of midnight on August 14-15, 1947, Jawaharlal Nehru invited Pandit Omkarnath Thakur to sing the national song, “Vande Mataram” at the Central Hall of Parliament House, from where it was broadcast nationally. In later years, his composition of Vande Mataram became, by public demand, almost a permanent feature of his public concerts.

When Pandit Madan Mohan Malaviya was establishing the Benares Hindu University (BHU), he invited Pandit Omkarnath to set up and manage the Department of Music. This could not happen during Malaviya’s lifetime; but it did happen in 1950, and Omkarnath moved to Benares as the first Dean of the Music Faculty to serve there until retirement.. At BHU, he trained a group of outstanding musicians and scholars to build a center of excellence. Amongst his most distinguished students were Dr. Premlata Sharma, whom he groomed as an eminent musicologist, and Dr. N Rajam, whom he nurtured into an outstanding violinist.

During his tenure at BHU, he accelerated work on two major musicological treatises: Pranava Bharati, published in 1956, is landmark treatise on the theoretical aspects of music – swara, raga, and rasa. Sangeetanjali (in six volumes) published between 1938 and 1962, is a manual on the practical aspects of music performance, including raga grammar and esthetics.

Between 1934 and 1961, Pandit Omkarnath cut over twenty records with HMV in the 78 rpm, 45 rpm and Long Playing formats. On most of these recordings, he was accompanied on the Sarangi by Pandit Ramnarain, the sarangi maestro, who later gave up accompaniment in favour of a career as a soloist. Several of Pandit Omkarnath’s radio broadcasts were posthumously published by All India Radio archives. The repertoire on his recordings consists of Khayals, bhajans, and patriotic songs. As a result, in the popular imagination, Omkarnath is most widely recognized by his two Meera bhajans – Jogi mat jaa, and Pag ghunghroo band Meera naachi re – and his rendering of the national song, Vande Mataram.

Musicianship

Omkarnath had been trained only by Vishnu Digambar Paluskar, a thoroughbred maestro, and pioneering educator, of the Gwalior gharana. With his formidable intellect and erudition, Omkarnath obviously did not have the makings of a conformist. To an extent, he was influenced by the doleful and sweet style of another Gwalior-trained maverick, Auliya Rehmat Khan (1860-1922); but his own deviations from Gwalior were more radical. Critical opinion therefore regards Omkarnath as an original musician, though with firm moorings in Gwalior vocalism.



Like the later romanticists, Pandit Omkarnath’s repertoire consisted only of Khayal and Bhajans. He never sang Tarana-s, Tappa-s or Thumree-s in public, although all these were part of the Gwalior repertoire in his times. His Khayal repertoire had a substantial representation of common ragas like Malkauns, Desi, Shuddha Kalyan, and Komal Rishabh Asavari, and a moderate presence of uncommon raga-s like Devgiri Bilawal, Sughrai, and Shuddha Nat. He adapted a few Carnatic raga-s so comfortably, that they virtually lost all traces of their Carnatic origins. He selected them for their emotional content, and rendered them in his own unique style.

There are clearly three facets to Omkarnath’s personality as a musician. The first is his pre-occupation with mystical aspect of musical pursuits, inherited from his father, who renounced the world to unravel the mysteries of the primal sound, “Om”. The second is the scholarly facet, steeped in ancient musicological texts, whose wisdom he attempted to translate into performance. The third is the dramatic, even theatrical, facet which explicitly sought to create an impact amongst his audiences. How comfortably these facets cohabited in the same person is a matter of opinion. The combination, however, made him a colorful, and even, controversial musician.

The Pandit Omkarnath had cultivated a monumental voice in terms of volume, range, and pliability. His faultless technique enabled him to cover two and a half octaves without any sacrifice of musical value. He made very effective use of volume and timbre modulations in order to heighten the emotional intensity of his renditions. He had strong views on the emotional personality of each raga. In pursuance of these perceptions, he composed a large number of bandish-es in various raga-s under the pen-name “Pranav Rang”, published them in his six-volume work, Sangeetanjali, and performed them regularly at concerts. He tailored all aspects of his rendition of each raga based on his perception of it, drawn mostly from ancient and mediaeval musicological texts. This approach could sometimes lead to unorthodox architecture or apparently libertarian interpretations of raga-s as currently understood. But, most of the time, it was compelling music.

His explorations in the melodic and emotional personalities of raga-s were informed by his experiments with their non-musical applications. For instance, in Sangeetanjali (Vol.IV), he narrates how he was able to cure a child of insomnia by singing to him the vilambit alap of a variant of raga Puriya in the lower octave around sunset continuously for a week. Though Omkarnath did not claim scientific validity for such successes, he was unjustly derided for having made such claims. While the scientific value of these experiments may be questioned, there is no doubt that Omkarnath enriched his own insight into mysteries of the raga-s through them.

Omkarnath had a rare ability to deploy the poetry of his khayals in a variety of ways and for achieving a variety of effects. While rendering the bandish, he treated the poetic element with great respect as literature. In rhythmic play, however, he could mutilate the words, treating them, effectively, as clusters of meaningless consonants. And, as evocative expressions, he could use them virtually in conversational deployment. The various ways in which he enunciated selected phrases, along with melodic variants, almost approached the lyrical sophistication of the Thumree genre.


While at BHU, Omkarnath suffered a heart attack, recovered from it, and continued to perform. In 1965, he had a paralytic stroke which claimed his life in 1967.
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Archi uncle :good: posts....


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Devashish Dey

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Devashish Dey has been regarded as one of the leading aspirants and is a Varanasi based Hindustani classical vocalist. He had won many hearts with his magical voice.

Early Life of Devashish Dey
Devashish Dey was born on 26th April in the year 1964. He has received his training in Indian Hindustani classical music under the expert tutelage of Pt. Pashupati Nath Mishra (Disciple of Pt. Mahadev Prasad Mishra - Banaras Gharana) and Pt. Mukund Vishnu Kalvint (Disciple of Padmabhushan Pt. S.N.Ratanjankar - Agra Gharana & Pt. Rajabhaiya Puchwale - Gwalior Gharana). From them he has learnt different genre of Classical music. It includes Classical Vocal (Khayal), Light Classical (Thumri, Dadra, Tappa, Chaitl, Kazri etc.) and Bhajan & Bengali Songs. He has obtained his master degree in Music `Sangeet Praveen` from Prayag Sangeet Samiti - Allahabad. In the field of Academics he has obtained B.Sc. (Honours. in Physics) from Banaras Hindu University, Varanasi.

Life in Music for Devashish Dey
Acknowledging his talent he has been selected as an `A` Grade artist in Classical Vocal & `B-High` Grade in Light Classical Vocal. He has also won many accolades in All India Radio Music Competition in the year 1985 for the both Classical & Light Classical Groups; Prayag Sangeet Samiti in the year 1984, he won Gold Medal; U.P.
Sangeet Natak Academy in the year 1982 (Senior group); awarded `SUR MANI` by Sur Singar Samsad, Mumbai. He has executed at many highly esteemed festivals at Delhi Gandharva Vidyalaya, Habitat, India International Centre, Maolankar Auditorium, Triveni, Air Force Auditorium; Mumbai Haridas Sammelan, National Centre for Performing Arts; Kolkata Jhankar, Tansen Sangeet Sammelan, Bharatiya Samskriti Samsad; Bangalore Hindustani Sangeet Kalakar Mandali, Bangalore Sangeet Sabha; Allahabad Palusker Jayanti by Prayag Sangeet Samiti; Bhopal Arambh at Bharat Bhavan; Alwar Kala Bharati; Agra Palusker Jayanti at Sur Sadan by Sangeet Kala Kendra; Gwalior Rawatpura Sarkar, At Tansen`s birth place, Baihat; Lucknow Awadh Sandhya by U.P. Sangeet Natak Academy, Sparsh; Varanasi Sankat Mochan Sangeet Samaroh, Ganga Mahotsav, Ninad by ABC, Kislaya by Sangeet Parishad, Pt. Omkar Nath Thakur birth centenary by Samskar Bharati and many others; Abroad Visited EUROPE in the year 1995, 98, 99, 2000 and 2001 respectively.

Devashish Dey has also given lecture demonstration at the B.H.U. Varanasi in the years1991, 2001, Allahabad University in the year1999, Agra University in the year 1992. He has also performed in the Radio Concerts at the cities like Delhi, Bhopal, Jabalpur, Gorakhpur, Varanasi and also given performance at the Television centres like CPC Delhi, Lucknow, Gorakhpur District.

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Pradip Somasundaran

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Born : January 26 1967
Place : Nelluvaya, Thrissur, India

Instruments : Vocals


Pradip Somasundaran also known as Pradeep Somasundaram, is a famous Indian playback singer.

Early life

Pradip Somasundaran was born on January 26, 1967 in Nelluvaya, Vadakkaancherry, Thrissur, Kerala, India. He was initially trained in Carnatic Music under Geetha Rani and later under V. Gopalan of Thrissur, and started giving stage performances at the age of sixteen.Pradip holds a masters in electronics from Andhra University and is currently working as the Principal of College of Applied Science, Vadakkencherry, Palakkad.He is a free software enthusiast and was involved in the activities of the Free Software Foundation India during Richard Stallman's 2001 visit to Kochi.
Music career

It was music director Ravindran who gave Pradip Somasundaran the first break in 1993, with the song "Samayam Manoharam" in the film Ezhuthachan. He has also worked with the late Johnson, Mohan Sitara and Ilayaraaja in malayalam. Sandeep Chowta introduced him in Telugu films with Bujjigadu directed by Puri Jagannadh. He also sang for Saleem another Sandeep Chowta musical, directed by YVS Chowdary. He has also sung the title song "Bhagavane" for the television series Gajarajan Guruvayur Keshavan which was composed by Vidhyadharan for Surya TV. In addition to being a playback singer he sings carnatic music, ghazals and devotional songs.

In 2007 he released "Koti Pranam" his first international album as a composer and singer for the Art of Living foundation. In 2011 he released "Mazhanritham" his first musical work in malayalam as a composer collaborating with other playback singers like Gayatri Asokan, Franco, Shahabaz Aman and actor Manoj K Jayan.

Achievements

He won the "Lata Mangeshkar Trophy" for the best male singer along with Sunidhi Chauhan who won in the female category, in the national level music competition Meri Awaz Suno in 1996, which was telecast by Doordarshan. Meri Awaz Suno was conducted jointly by Doordarshan, Lata Mangeshkar, and Yash Chopra's Metavision.
Discography

Songs

Muthe Ninne Thedi (a romantic duet with Minmini) - Manasam, 1997
Punyam Pularna - Kalyanappittennu
Samayam Manoharam - Ezhuthachan
Perumathodi - Mannadiyar Penninu Chenkotta Chekkan Ankith
Moham Manassil - Arjunan Pillayum Anju Makkalum
Mohini Enikkayi - Manjeeradhwani
Sandhya Ragamai - Kannadikkadavathu
Manava Mochana - Arunam


Awards

1991 - President's Gold medal winner in All India Radio National level Light Music competition
1996 - Lata mangeshkar Award for best male singer of India in Meri Awaz Suno, the first National level televised music competition in India.
1997 - Ten Outstanding Young Indian (TOYI) Award given by Junior Chamber International India in recognition to his contributions in music.
1998 - Best T.V. Playback singer of Kerala award for the song 'Ennakkaruppin'.
2005 - Kalaratna State Award for overall contributions to the field of music.


Trivia/ Quotes

Pradip Somasundaran composes his own music and is a member of the online musical venture Blogswara for which he has composed and sung many songs.
Pradip Somasundaran has performed for Satya Sai Baba at Puttaparthi.

Edited by InduchoodaN, 15 August 2012 - 10:14 AM.

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he was our Judge for Star Singer Season 1 :)


Thanks for sharing dear


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ഗംഗുബായ് ഹംഗൽ

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ഒരു ഹിന്ദുസ്ഥാനി സംഗീതജ്ഞയായിരുന്നു ഗംഗുബായ്‌ ഹംഗൽ‍.(മാർച്ച് 5 1913 – ജൂലൈ 21 2009). കർണ്ണാടകയിലെ ധാർവാഢിൽ ജനിച്ച ഹംഗൽ, കിരണ ഘരാനയിലെ സവായി ഗന്ധർവ്വയുടെ പ്രഥമശിഷ്യയായിരുന്നു.

കർണ്ണാടകയിലെ ധാർവാഢിൽ ഒരു സാധാരണ കർഷകന്റെ മകളായാണ് ഹംഗൽ ജനിച്ചത്. ഹംഗലിന്റെ അമ്മ ഒരു കർണ്ണാടിക് സംഗീതജ്ഞയാണ്. പേര്, അംബാബായ്. പ്രാഥമിക വിദ്യാഭ്യാസം മാത്രം ലഭിച്ചിട്ടുള്ള ഹംഗലും തന്റെ കുടുംബവും 1928-ൽ കർണ്ണാടകയിലെ ഹൂബ്ലിയിലേക്ക് താമസം മാറുകയുണ്ടായി.

യാഥാസ്ഥിതിക കുടുംബപശ്ചാത്തലത്തിൽ നിന്നും പൊരുതി സംഗീതലോകത്ത് തന്റേതായ ഒരു സ്ഥാനം വഹിച്ച വ്യക്തിയായിരുന്നു ഹനഗൽ.ഹുബ്ലിയിലെ പ്രാദേശിക സംഗീതാദ്ധ്യാപകരായ എച്.കൃഷ്ണാചാര്യ,ദത്തോപാന്ത് ദേശായി തുടങ്ങിയവരായിരുന്നു ആദ്യഗുരുക്കന്മാർ.കിരാന ഖരാനയുടെ ഉപജ്ഞാതാവായ ഉസ്താദ് അബ്ദുൾ കരീം ഖാനുമായുള്ള കണ്ടുമുട്ടലാണ് ദീർഘവും നിരന്തരവുമായ സംഗീതാഭ്യസനത്തിലേക്ക് നയിച്ചത്.

പതിമൂന്നുവർഷം ഹുബ്ലിക്കും കുണ്ടഗോളിനും ഇടയിൽ സഞ്ചരിച്ച് അഭ്യസിച്ചാണ് അരങ്ങേറ്റം നടത്തുന്നത്.ഭൈരവി,അസാവരി തോടി,ഭീം‌പലാശ്, തുടങ്ങിയ ചിലപ്രത്യേകരാഗങ്ങളിലെ പ്രാഗല്ഭ്യമാണ് ഇവരെ പ്രശസ്തയാക്കിയത്.അനേകദിവസങ്ങൾ എടുത്താണ് ഒരു പദം തന്നെ ഗുരു ഇവരെ പഠിപ്പിച്ചിരുന്നത്.ഈ സംഗീതാഭ്യസനത്തെ പറ്റി ഇവർ ഇപ്രകാരം പറയുന്നു. "ഒരു പിശുക്കൻ പണം പങ്കുവെക്കുന്നതുപോലേയാണ് ,അത്ര സൂക്ഷ്മതയോടേയാണ് അദ്ദേഹം ഞങ്ങളെ പഠിപ്പിച്ചിരുന്നത്."

നന്നാ ബടുകിന ഹാദു ആണ് ആത്മകഥ.ദ് സോങ് ഓഫ് മൈ ലൈഫ്(The Song Of My Life) എന്ന ഇഗ്ലിഷ് തർജ്ജമയും ഇതിനുണ്ട്

നിരവധി പുരസ്ക്കാരങ്ങൾ ലഭിച്ചിട്ടുണ്ട്.2006ൽ തന്റെ ഔദ്യോഗികജീവിതത്തിന്റെ 75ആം വാർഷികത്തിലാണ് അവസാനമായി കച്ചേരി അവതരിപ്പിക്കുന്നത്.

പുരസ്കാരങ്ങൾ

2002-ൽ പത്മവിഭൂഷൺ, 1973-ൽ സംഗീതനാടക അക്കാദമി പുരസ്‌കാരം, 1971-ൽ പത്മഭൂഷൺ, 1962-ൽ കർണ്ണാടക സംഗീത നൃത്ത അക്കാദമി പുരസ്‌കാരം തുടങ്ങി നിരവധി പുരസ്‌കാരങ്ങൾ ലഭിച്ചിട്ടുണ്ട്‌.
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JagannadhaN

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:thanks: annaaa..


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Rukkmini

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:thanks:
new infm :athe:


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#370
KD Archith

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അരിയക്കുടി രാമാനുജ അയ്യങ്കാർ


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പ്രശസ്തരായ കർണാടക സം‌ഗീതജ്ഞരിലൊരാളാണ് അരിയക്കുടി രാമനുജ അയ്യങ്കാർ (1890–1967). ഇന്നു നിലവിലിരിക്കുന്ന കച്ചേരിസമ്പ്രദായം ആവിഷ്കരിച്ചെടുത്തത് രാമനുജ അയ്യങ്കാരാണ്. തിരുപ്പാവൈയിലെ മുപ്പത് ഗീതകങ്ങൾക്ക് സംഗീതം നൽകി ആത്മാവ് പകർന്നത് ഇദ്ദേഹത്തിന്റെ വലിയ മഹത്വമായി പരിഗണിക്കപ്പെടുന്നു.

1890-ൽ തമിഴ്നാട്ടിലെ കാരൈക്കുടിക്കു സമീപമുളള അരിയക്കുടി ഗ്രാമത്തിൽ തിരുവെങ്കിടം അയ്യങ്കാരുടെയും ചെല്ലമ്മാളുടെയും പുത്രനായി ജനനം. ഇരുപതാം വയസിൽ സ്വന്തമായി കച്ചേരി നടത്തിയ അദ്ദേഹത്തിന് മുപ്പത് വയസ് ആയപ്പോഴേക്കും നല്ല ഗായകൻ എന്ന അംഗീകാരം നേടിയെടുക്കുവാൻ കഴിഞ്ഞു.

മനോധർമ്മം, മദ്ധ്യമ കാലത്തിൽ ആലാപനം, ഗമകങ്ങൾ,കല്പനാസ്വരങ്ങൾ എന്നീ മേഖലകളിൽ സവിശേഷമായ വ്യത്യസ്തത പുലർത്തുന്ന കാര്യത്തിൽ ഇദ്ദേഹം ശ്രദ്ധിച്ചിരുന്നു.

പുരസ്കാരങ്ങൾ

1958-ലെ പത്മഭൂഷൺ പുരസ്കാരത്തിന് പുറമേ സംഗീതകലാനിധി, സംഗീതരത്നാകാര, സംഗീതകലാശിഖാമണി, ഗായകശിഖാമണി തുടങ്ങിയ നിരവധി ബഹുമതികൾ അരിയക്കുടി രാമനുജ അയ്യങ്കാർക്ക് ലഭിച്ചിട്ടുണ്ട്.


പാരമ്പര്യത്തെ ബഹുമാനിക്കുമ്പോൾ തന്നെ പുതുമകളെ സ്വീകരിക്കുവാൻ താത്പര്യം കാണിച്ച ഈ മഹാസംഗീതജ്ഞൻ 1967 ജനുവരി 24-നു തന്റെ 77-ആം വയസിൽ ചെന്നൈയിൽ വെച്ച് അന്തരിച്ചു.
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Nakshathra

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nice info :D

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Shinto Seban

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great musician.... good job Indhuchoodan....

#373
Paul Barber

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Wow :o


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Pokkiri Kuttu

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Archuz n Insu :vgood: Ellam New info ;)


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JagannadhaN

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:good:


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