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Posts Tagged ‘Rajam100’

In his formative years, Rajam visited the frescoes in temples such as Kailasanatha Temple, Panaimalai, Sigiriya etc. In some places, he even tried to copy and recreate a portion of it.

Today we present one such attempt of Rajam from 1944. This is part of the Sundarar Panel in Thajavur Brahadeeshwara Temple.

chola master piece

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Rajam100 – Song 14 of 365

Another Kotiswara Iyer classic that was brought into the concert circle by S.Rajam. His raga development through short yet beatifully connected phrases, clean sangatis and crisp neraval/swaram makes it a delightful listen despite recording glitches.

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Although Rajam was known for his works based on literature, mythology and classical music, one can find several works based on contemporary themes as well.

Even in such themes, he is true to his style. Here is one such from 1955.

kolam

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Rajam100 – Song 13 of 365

S.Rajam’s most known contribution is his efforts in popularizing the 72 melakartha kritis of Kotiswara Iyer. However, he has sung several other kritis of the composer. Here is a rare one rendered in a AIR concert in Raga Khamboji.

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As promised yesterday, I’m posting the remaining portion of the similie sketches published in the early 1940s.

selected 3

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The song Manasuloni is often mishandled. Especially the word “marmamulu” is split wrongly as “mar” and “mamulu” to incorporate sangatis. This is a private recording of a teaching session to Smt. Gomathi where Rajam shows the right way to render the song despite the cascading sangatis.

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இந்த வருடம் முழுவதும் பரிவாதினியில் மாதம் ஒரு கச்சேரி எஸ்.ராஜம் நூற்றாண்டை முன்னிட்டு நடைபெரும்.

முதல் கச்சேரி எஸ்.ராஜம் அவர்களின் சீடர் அக்‌க்ஷய் பத்மநாபன் பாடுகிறார்.

SRajam- Akshay

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This picture needs no explanation. This was one of the early publications of Rajam i the early 1940s (I think in Kalaimagal). There are few more in this series. I’ll publish them tomorrow.

similie

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A Fairly detailed exposition of this rare ragam with an alapana and some lilting swaras. This was part of an AIR concert during the later days of Rajam. He was accompanied by Vidwan VL Kumar on the violin and Vidwan K.V.Prasad on the mridangam.

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It is usually easy to identify Rajam’s works by just looking at them. The fingers, the lines, the eyes etc. are unmistakable. However, some rare works of his demand a relook to confirm that it was indeed done Rajam. Here is one such line drawing from Kalaimagal in the 1950s, illustrating writer Akilan’s story.

#Rajam100

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Rajam100 – Song 10 of 365

Today I present a rare Anai Ayya Kriti in Dhanyasi. This again is a private recording. Each and every phrase drips with Dhanyasi. This recording without accompaniments should be useful particularly for students who would like to learn the song.

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Today I present a wrapper from Vanoli depicting Tyagaraja. Apart from water colours, Rajam sir’s was known for his portrayal through line drawings. This a good example for his steady yet graceful lines.

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DSC_0313

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Rajam sir was always looking to learn new compositions. It didn’t matter if it was a composition of old masters or his contemporaries or even his juniors. Here we present a composition of his slightly senior contemporary artist, G.N.Balasubramaniam in raga Sarangatarangini. A fairly detailed presentation with a short introduction.

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