#Krishna Ganam Songs Download Sri Krishna

Krishna Ganam Songs Download Sri Krishna

Join Facebook to connect with Krishna Ganam and others you may know. Listen to all songs in high quality & download Sri Krishna Ganam songs on Raaga.com.View the profiles of people named Krishna Ganam. Sri Krishna Ganam album has 18 songs sung by Vani Jayaram, P. Music of Sri Krishna Ganam songs are composed by. Sri Krishna Ganam ( 2010) Sri Krishna Ganam is a Tamil devotional album released on 2010.

During a lecture demonstration on the composer by Needamangalam Krishnamurthy Bhaagavatar in December 1955, The Music Academy Madras Experts' Committee noted that 'Venkata Kavi's compositions filled a gap between Purandara Dasa (1484-1564) and the Carnatic Music Trinity of Tyaagaraaja, Muthuswami Dikshitar and Shyama Shastri, who lived around 1760s-1840s.' Amara Jeevitham MP3 Song: Download Amara Jeevitham mp3 song from Sri Krishna Ganam. His compositions are a blend of a high degree of scholarship on a variety of subjects and inspired expression. He used Taalas and themes that many other Carnatic composers have not handled. Renowned for his rare depth, scholarship and sublime appeal, he was proficient in a variety of musical forms such as the kriti, tillana and kaavadicchindu. He was fluent in Sanskrit and Tamil.

One of his nephews, Kattu Krishna Iyer was a musician in the royal court of the Thanjavur Maraatha King Prataapa Simha Bhonsale in the later part of the 18th century. Though his ancestors had resided in various villages in South India around the temple town of Mannaargudi, Venkata Kavi moved to Oothukkadu village (referred to as 'Dhenushvasapuram' in Sanskrit), near Kumbhakonam. Venkata Kavi, named Venkata Subramanian, was born in Mannaargudi (about 200 miles from Chennai) as the eldest of five children to the Tamil Smaartha couple of Subbu Kutti Iyer and Venkammaa, according to the family records in the possession of the descendants of his brother Raamachandra Vaathoola's family. His works also reveal the proximity and deep devotion that he felt towards Krishna. They have also shown that this and numerous other pieces on Krishna in lilting Tamil were parts of an opera based on the Bhaagavatam.

Venkata Kavi believed that music had to be blended with spirituality (bhakti) in order to shine. There are several references to good musical approach, practices and even technical terms of ornamentation like saahatam and pratyaahatam. I received the fortune of knowledge in the benevolent glance of my guru.' Musicianship The greatest evidence of his musical pedigree is his compositions. He is believed to have received initiation from the Lord himself, as asserted in one of his Tamil compositions, Guru paadaaravindam komalamu - in the raga Abhogi, he declares: 'I have never studied the scriptures or yoga nor pretended to have done so.

His vision of the raaga and melody as a whole is considerable and can be seen in the number of different styles in which he composed various krtis in the same raaga. His approach to even common raagas like Sahaana, Pharas, Naadanaamakriya, and Aarabhi are distinctive and refreshing. In some instances, his works are the first or only ones to be available in a given raaga such as Sri Shivanayike in Lalitagandharvam and Paadasevanam in Deeparam. He used a wide variety of raagas ranging from the well known such as Todi, Kalyani, Kharaharapriya, Sahana, through minor ones like Kannadagowla, Jayantashri, Maalavi, Umaabharanam and a few that are seldom used today such as Balahamsa and Rasamanjari.

Examples: Shuddha Saveri , Navarasakannada. He has also incorporated raaga mudra (mentioning the names of raagas of the compositions) in several krtis. He also employed attractive swaraaksharas вЂ“ a technique where the lyrics match the solfa notes of the tunes.

In his compositions for example: Neerada-sama (Jayantashree), Natavara-taruni (Kannadagowla), Vitasama-vara (Vasantaa), and Urugaada manam (Todi). He was probably the only composer to have not only handled chaturashra (4/4) time-signatures but also tishram (3/4 or 6/4) as well as khandam (5/4 or 5/8) etc. He could change the gati (gait) with ease. He effortlessly employed complex eduppus (take-off or landing points of various sections of a composition) without affecting the flow of the music or the lyrics.

madhukara champaka vana vihaara nava pallava padakara madana gambheera madhukara champaka vana vihaara manamohana Madhusoodana navabhooshana For instance, in the pallavi of his Aabhogi kriti, Mahashaya hrdaya, he has composed three variations in the madhyamakaala passage as given below: Several of Venkata KaviвЂ™s pieces have such sangatis but he also demonstrated a rarely seen concept of lyrical variations. Usually, variations are melodic in nature while the lyrics remain constant.

For example, Bhuvanamoha in Dhanyasi, where he has capped off the charanam with a pattern of 6 repeated 11 times, which is a wonderful way to get to half a beat landing (which is the commencing point of the pallavi) from the beat after 2 cycles of Adi tala. In several songs, his endings are in interesting rhythmic patterns. Venkata Kavi was a master of finishes. In this composition, he has also used innovative structuring by inserting medium-fast passages between two slower cycles, investing the section with.

This quality sets him apart even in his general compositions such as Chindittavar nenjil iruppadu (Nattai). Not so well known is the reply by Krishna to every one of these charges in another piece, Illai illai in Mohanam, also with eight charanams. This song has eight charanams (stanzas) and each one describes the pranks of Krishna very humorously. He had the ability of use common words in uncommon contexts.His poetic ability to create unique scenarios or give singular twists to even common stories is seen in hundreds of songs such as Taye yashoda in raga Todi, where the gopikas are complaining to Yashoda about her son Lord Krishna. His vocabulary was immense - words such as kalamba (arrow), charatha (wandering), shileemukha (bee) are just a few examples out of hundreds seen in his works, which are especially unique in Carnatic literature. His fluency in Sanskrit rivalled that of his command of Tamil, a commentary not only on his erudition but also a pointer to.

His works contain references to Azhwars, Nayanmars, Ramanuja, Tulasidas and many others revealing his knowledge of their works and contributions and his reverence towards them. He has also composed on great sages such as Shuka Brahma Rishi, Jayadeva, and Valmiki, on the greatness of Guru, and general philosophy and approach to God. The most popular of his songs are on Lord Krishna but he has composed on a number of other deities as well, such as Vinayaka, Radha, Tyagaraja of Tiruvarur, Kamakshi, Rama, Kartikeya, Narasimha, Anjaneya, Ranganatha, Surya and other divine figures. Complete Compositions of Oothukaadu in EnglishVenkata Kavi has composed on a wide range of themes.