Bookmark/Share this page:
Discography
-
Immortal Sounds of the Veena ()
Tracks: 4
Download Immortal Sounds of the Veena mp3
Price: $ 0.86
Most popular «S. Balachander»'s youtube video clips:
carnatic classical instrumental music veena humble contribution to Veena S.Balachander
Insert this video to your blog/website (HTML code):
Link to this video (Email & IM):
Link to this video (Websites & Blogs):
Click thumbnail to play video
Title: carnatic classical instrumental music veena humble contribution to Veena S.Balachander
Description: humble contribution to Veena S.Balachander melaragam 15 ragam and third in agni chakra
Description: humble contribution to Veena S.Balachander melaragam 15 ragam and third in agni chakra
Title: carnatic classical instrumental music veena - humble contribution to Veena S.Balachander hamsanadham
Description: humble contribution to Veena S.Balachander hamsanadham thaanam
Description: humble contribution to Veena S.Balachander hamsanadham thaanam
Title: carnatic classical instrumental music humble contribution to Veena S.Balachander hamsanandhi ragam
Description: hamsanandhi ragam
Description: hamsanandhi ragam
Title: carnatic classical instrumental music-veena- humble contribution to Veena S.Balachander kalyani ragam
Description: kalyani ragam
Description: kalyani ragam
Title: S. Balachander - genius on veena - raag Hamsanandhi
Description: This video with pictures taken from the worldwideweb features the Side A-second track of a great, very well produced&recorded album 'The Music Of India', a mid-seventies release, however, with no mentioning of a recording date. It's an album by the legendary veena player S(undaram) Balachander (1927-1990), who was a child prodigy, a multi-instrumentalist (but the veena became his specialty and his favourite instrument) and a mostly self taught musician. The album means a lot to me, as it was the first Indian classical music record I owned (I remember I bought it together with a nice album by North Indian sitar and surbahar player Narendra Bataju). This was in 1978, I was 14 then, and this album surely was one of the great 'big bangs' in my listener's career. Of course I had already been listening to Ravi Shankar at 'Woodstock' and the 'Concert for Bangla Desh' - stuff that came to me via the record collection of an older brother - but at the time I found the music of S. Balachander far more impressive. His veena playing was simply mindblowing! Just listen and you'll understand what I mean. S. Balachander's sound is unmistakeable his own, one of the many trademarks being his unique strong 'attaque' on the veena strings, that helps him to bring out the depth and intensity of a raag. His veena playing is unmatched and always 'avant garde' in the true sense of the word. I'm sure evry musician involved in improvising music -from whatever genre of music or cultural background- will immediately recognize Balachander's genius and be inspired by his playing. Balachander is accompanied on mridangam by Sri Umayalpuram K. Sivaraman (1935), the greatest and most influential player of his generation. Some of the pictures show S. Balachander and K. Sivaraman, showing them at a much older age than when they were doing this recording. The song that is played is 'Neethumahima' in raag 'Hamsanandhi', thalam is Aadhi. for some biographical information on S. Balachander, see http://en.wikipedia.org/wiki/Sundaram_Balachander and http://www.geocities.com/usivaraman.geo/home.html is K. Sivaraman's homepage The recording presented here on youtube is only in mono and lacks of course the greater depth and dynamics of the original stereo sound on record. Hope you'll enjoy this top performance!
Description: This video with pictures taken from the worldwideweb features the Side A-second track of a great, very well produced&recorded album 'The Music Of India', a mid-seventies release, however, with no mentioning of a recording date. It's an album by the legendary veena player S(undaram) Balachander (1927-1990), who was a child prodigy, a multi-instrumentalist (but the veena became his specialty and his favourite instrument) and a mostly self taught musician. The album means a lot to me, as it was the first Indian classical music record I owned (I remember I bought it together with a nice album by North Indian sitar and surbahar player Narendra Bataju). This was in 1978, I was 14 then, and this album surely was one of the great 'big bangs' in my listener's career. Of course I had already been listening to Ravi Shankar at 'Woodstock' and the 'Concert for Bangla Desh' - stuff that came to me via the record collection of an older brother - but at the time I found the music of S. Balachander far more impressive. His veena playing was simply mindblowing! Just listen and you'll understand what I mean. S. Balachander's sound is unmistakeable his own, one of the many trademarks being his unique strong 'attaque' on the veena strings, that helps him to bring out the depth and intensity of a raag. His veena playing is unmatched and always 'avant garde' in the true sense of the word. I'm sure evry musician involved in improvising music -from whatever genre of music or cultural background- will immediately recognize Balachander's genius and be inspired by his playing. Balachander is accompanied on mridangam by Sri Umayalpuram K. Sivaraman (1935), the greatest and most influential player of his generation. Some of the pictures show S. Balachander and K. Sivaraman, showing them at a much older age than when they were doing this recording. The song that is played is 'Neethumahima' in raag 'Hamsanandhi', thalam is Aadhi. for some biographical information on S. Balachander, see http://en.wikipedia.org/wiki/Sundaram_Balachander and http://www.geocities.com/usivaraman.geo/home.html is K. Sivaraman's homepage The recording presented here on youtube is only in mono and lacks of course the greater depth and dynamics of the original stereo sound on record. Hope you'll enjoy this top performance!
Title: Golden Throne of the Veena Series: S. Balachander: Part-1
Description: This is a clip of Veena S. Balachander taken from the documentary produced by Doordarshan. Despite the clip being very short, one is awed by the dexterity, immense creativity and the singularly magnificent playing of Veena S. Balachander. In him, we find the rare combination of genius of various kinds - musical, mathematical (for his explorations in symmetries is remarkable) and the innovator. Often these days, the Vainikas lament about the lack of popular interest in the Veena. Are we meeting the golden standards set forth by the yesterday masters - should the reason for dwindling interest in the Veena solely be carried on the shoulders of the listeners? Can we - the Vainikas - still learn from the mastery and magnificence of these stalwarts. The Golden Throne Series is wholly dedicated to S. Balachander - as, in my opnion, there is none to even come close to his mastery of the instrument or the grandeur of his music on the Veena. We, as Vainikas, have a responsibility we have to shoulder - however daunting and painful - we should push the capabilities, horizons and the limits beyond where these stalwarts left behind. SB's videos are very rare. But, what little I have gathered from the Doordarshan documentary, I will showcase in this Golden Throne of the Veena series. If anyone has more videos of SB, please share with me and I would be delighted to extend this series for the benefit of musical posterity.
Description: This is a clip of Veena S. Balachander taken from the documentary produced by Doordarshan. Despite the clip being very short, one is awed by the dexterity, immense creativity and the singularly magnificent playing of Veena S. Balachander. In him, we find the rare combination of genius of various kinds - musical, mathematical (for his explorations in symmetries is remarkable) and the innovator. Often these days, the Vainikas lament about the lack of popular interest in the Veena. Are we meeting the golden standards set forth by the yesterday masters - should the reason for dwindling interest in the Veena solely be carried on the shoulders of the listeners? Can we - the Vainikas - still learn from the mastery and magnificence of these stalwarts. The Golden Throne Series is wholly dedicated to S. Balachander - as, in my opnion, there is none to even come close to his mastery of the instrument or the grandeur of his music on the Veena. We, as Vainikas, have a responsibility we have to shoulder - however daunting and painful - we should push the capabilities, horizons and the limits beyond where these stalwarts left behind. SB's videos are very rare. But, what little I have gathered from the Doordarshan documentary, I will showcase in this Golden Throne of the Veena series. If anyone has more videos of SB, please share with me and I would be delighted to extend this series for the benefit of musical posterity.
Title: Veena S. Balachander Documentary: Part-2
Description: Documentary of the greatest Veena Legend. In this episode, I would like to point your attention to his Veena Playing - What a Krishna Nee Begane....He takes us all with his sheer spontaneous music....No safe route here - We all are sucked into an awesome adventure created by his genius mind....Now, how can we let this style of playing persih?
Description: Documentary of the greatest Veena Legend. In this episode, I would like to point your attention to his Veena Playing - What a Krishna Nee Begane....He takes us all with his sheer spontaneous music....No safe route here - We all are sucked into an awesome adventure created by his genius mind....Now, how can we let this style of playing persih?
Title: carnatic music madhyamavathi video
Description: my dad once told me that the pegs of the veena act as an amplifier. if you keep your ears on them you would get a better quality of sound and you can rectify mistakes. i tried and got it :)
Description: my dad once told me that the pegs of the veena act as an amplifier. if you keep your ears on them you would get a better quality of sound and you can rectify mistakes. i tried and got it :)
Title: Hindustani Raagas on Veena: Episode-1: SindhuBhairavi
Description: I am posting this again after removing the video/audio mismatch in the original post. This is the start of another series where in I will be playing Hindustani Raagas on the Veena. I will also explore other world music influences where appropriate to discover how we can rediscover boundaries without compromising on the core Indian values in our music. This is again a homage to the greatest inspiration in my life, Veena S. Balachander whose restless spirit of experimentation has profoundly influenced my world and life.
Description: I am posting this again after removing the video/audio mismatch in the original post. This is the start of another series where in I will be playing Hindustani Raagas on the Veena. I will also explore other world music influences where appropriate to discover how we can rediscover boundaries without compromising on the core Indian values in our music. This is again a homage to the greatest inspiration in my life, Veena S. Balachander whose restless spirit of experimentation has profoundly influenced my world and life.
Title: LecDem-4: New Plucking Techniques
Description: The techniques presented here are, to the best of my knowledge, new and never before used on the Veena. I would be grateful if someone can correct me with evidence of prior existence. I am hapy to share these techniques with all of you. I would also like to highlight here that since music is sacred, a true teacher of music should NEVER hide techniques, ideas and thoughts from ones who seek knowledge. I am saddened by the fact that many talented performers and teachers don't follow this ideal. Mr. K. S Venkatagiri of Rasigapriya group has brought to my notice that the vertical holding sytle of the Veena use a two way plucking technique; although this technique was not to produce the higher frequency plucking, suggested here in this demo, this plucking style has existed before. The finger-skin-bowing technique, all the same, seems to remain a new contribution. On March 1, 2007, I saw a very beautiful right-hand plucking technique from Prince Rama Varma that also produces high-frequency plucking. Please see around 10:05 (time-stamp) in the following video: http://video.webindia123.com/music/veena/ramavarma/perf2/index.htm
Description: The techniques presented here are, to the best of my knowledge, new and never before used on the Veena. I would be grateful if someone can correct me with evidence of prior existence. I am hapy to share these techniques with all of you. I would also like to highlight here that since music is sacred, a true teacher of music should NEVER hide techniques, ideas and thoughts from ones who seek knowledge. I am saddened by the fact that many talented performers and teachers don't follow this ideal. Mr. K. S Venkatagiri of Rasigapriya group has brought to my notice that the vertical holding sytle of the Veena use a two way plucking technique; although this technique was not to produce the higher frequency plucking, suggested here in this demo, this plucking style has existed before. The finger-skin-bowing technique, all the same, seems to remain a new contribution. On March 1, 2007, I saw a very beautiful right-hand plucking technique from Prince Rama Varma that also produces high-frequency plucking. Please see around 10:05 (time-stamp) in the following video: http://video.webindia123.com/music/veena/ramavarma/perf2/index.htm
Title: Golden Throne of the Veena: SB Shubhapantuvarali Audio
Description: I apologize for not having the video to put here. But, just the audio music is in itself so powerful, that I venture to put just audio without a video. SB plays a heart-melting, mind-boggling, soul-stirring ShubhaPantuvaralli. I am sure every Vainika will be forced into self-introspection and see how and where one in on the side of this steep magnificent mountain of Veena music set by one unique and sigularly creative man - SB I first of all thank Mr. SBS Raman (SB's son) for sharing this gem with me - and, further allowing to share with with the world. I quote Mr. Raman below: Begin Quote: "This is from the early days SB was experimenting (as typical with him, exploring uncharted unrehearsed territory, walking a high strung tightrope with no safety net, on stage, in live concert) with playing in the "tuning-box" area with no frets to guide where a note lands. His "andavane", "ayyo" (as the next 'logical' sequence of sangathis strikes him), "sabhash" (to himself) and chuckles sharing the enjoyment of the audience, are particularly endearing. This clip brought back a flood of memories I wanted to share with you!" End Quote
Description: I apologize for not having the video to put here. But, just the audio music is in itself so powerful, that I venture to put just audio without a video. SB plays a heart-melting, mind-boggling, soul-stirring ShubhaPantuvaralli. I am sure every Vainika will be forced into self-introspection and see how and where one in on the side of this steep magnificent mountain of Veena music set by one unique and sigularly creative man - SB I first of all thank Mr. SBS Raman (SB's son) for sharing this gem with me - and, further allowing to share with with the world. I quote Mr. Raman below: Begin Quote: "This is from the early days SB was experimenting (as typical with him, exploring uncharted unrehearsed territory, walking a high strung tightrope with no safety net, on stage, in live concert) with playing in the "tuning-box" area with no frets to guide where a note lands. His "andavane", "ayyo" (as the next 'logical' sequence of sangathis strikes him), "sabhash" (to himself) and chuckles sharing the enjoyment of the audience, are particularly endearing. This clip brought back a flood of memories I wanted to share with you!" End Quote
Title: Hindustani Raagas on Veena: Episode-2a: BhairagiBhairav
Description: Part-a of the second Raaga in this Hindustani Raaga series. This is more commonly known as Revathy in Carnatic music but is treated differently here along the lines of Hindustani music.
Description: Part-a of the second Raaga in this Hindustani Raaga series. This is more commonly known as Revathy in Carnatic music but is treated differently here along the lines of Hindustani music.
Title: Punnagai Mannan - Enna Satham Music Ilayaraja
Description: Nice love song from the film the film punnagai mannan. Music by Ilayaraja and directed by K Balachander.
Description: Nice love song from the film the film punnagai mannan. Music by Ilayaraja and directed by K Balachander.
Title: New Pioneering Vainikas: Veena Srinivas
Description: This is the first of a new series. I want to post in this series Vainikas who are exceptional in talent and who are actively pushing the frontiers and horizons of the music from the Veena. I was very surprised when I first heard Veena Srinivas. Music gushes out - and the techniques behind his music are remarkable. My surprise was doubled because I had never heard of him till recently. I am also partly shocked that such talent has not gained the visibility it deserves. While we lament about the dwindling interest from the public towards the Veena in general, we Vainikas should open our arms to promote such talented Vainikas. I believe that the future of Veena lies in the hands of these hidden jewels; here I recollect a beautiful passage from Thomas Gray: "Full many a flower is born to blush unseen and waste its sweetness on the desert air" We, as Vainikas and as conscientious music lovers, cannot let this happen. Setting aside vested interests, we should join hands and promote everything great and divine about the Veena - including such great talents - we must cross boundaries, set new standards for ourselves - both in music and in ethics, and push the frontiers to the best of our ability.
Description: This is the first of a new series. I want to post in this series Vainikas who are exceptional in talent and who are actively pushing the frontiers and horizons of the music from the Veena. I was very surprised when I first heard Veena Srinivas. Music gushes out - and the techniques behind his music are remarkable. My surprise was doubled because I had never heard of him till recently. I am also partly shocked that such talent has not gained the visibility it deserves. While we lament about the dwindling interest from the public towards the Veena in general, we Vainikas should open our arms to promote such talented Vainikas. I believe that the future of Veena lies in the hands of these hidden jewels; here I recollect a beautiful passage from Thomas Gray: "Full many a flower is born to blush unseen and waste its sweetness on the desert air" We, as Vainikas and as conscientious music lovers, cannot let this happen. Setting aside vested interests, we should join hands and promote everything great and divine about the Veena - including such great talents - we must cross boundaries, set new standards for ourselves - both in music and in ethics, and push the frontiers to the best of our ability.
Title: HamsaDwani Raagam - RaagaMalika Taanam: Part-2
Description: The Taanam is influenced in many ways by Jod playing/singing in Hindustani music. I try to mix the carnatic gaamakas with the North-Indian Meend type of note inflections. The meend interpretation on the Veena is quite chllenging since involves extensive pulling from a single note; here I derive a great deal of inspiration from SB.
Description: The Taanam is influenced in many ways by Jod playing/singing in Hindustani music. I try to mix the carnatic gaamakas with the North-Indian Meend type of note inflections. The meend interpretation on the Veena is quite chllenging since involves extensive pulling from a single note; here I derive a great deal of inspiration from SB.
Comment it
Copied to
clipboard
clipboard
