Rayil Sneham - Intha Veenaikku Theriyathu
Intha Veenaikku Theriyathu from the good ol' DD "Rayil Sneham" serial. Like every other Sahaana, this one too sounds similar and 'happy'. What a great thing to listen to for a quick mood change! Brings back so many good memories... Thanks, Neha! You made my day (for two days - Yesterday and today :D)!
Sahana is a relatively untouched raaga. And I think Balachandar's fascination revolves around that fact. Sindhu Bhairavi dealt with music at various levels I think. The isolation experienced by musicians, especially true when their own spouses do not share their passion, but are devoted anyway. And of the internal and external conflicts experienced in Carnatic Music. And they all run parallel.
The extra-marital affair, the burden of a marital bond, the notion of 'virtuous women' (Sindhu's mother), the notion of virtue in Carnatic Music, the 'purity' required etc. Of particular interest was the drunkard. Janagaraaj, who played the Ghatam/ or Mridangam (shit..memory fails!) and his questions about alcohol, and what purity meant. And I like the fact that the name of the movie itself refers to two women: Sindhu and Bhairavi, who reflect the lifechoices that the singer is expected to make.
What does the world expect of those who are compelled to sing? To carry the weight of tradition, or to simply be absorbed in music?
:) However, I agree! Balachandar is obsessed with Sahana. Probably because of the way it sounds. (Not the raaga, but the name!)
Peace
N
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Sahana is a relatively untouched raaga. And I think Balachandar's fascination revolves around that fact. Sindhu Bhairavi dealt with music at various levels I think. The isolation experienced by musicians, especially true when their own spouses do not share their passion, but are devoted anyway. And of the internal and external conflicts experienced in Carnatic Music. And they all run parallel.
The extra-marital affair, the burden of a marital bond, the notion of 'virtuous women' (Sindhu's mother), the notion of virtue in Carnatic Music, the 'purity' required etc. Of particular interest was the drunkard. Janagaraaj, who played the Ghatam/ or Mridangam (shit..memory fails!) and his questions about alcohol, and what purity meant. And I like the fact that the name of the movie itself refers to two women: Sindhu and Bhairavi, who reflect the lifechoices that the singer is expected to make.
Very true. I think Janagaraaj is a liar, he only strums the tambura. The mrigangam player in the movie is Delhi Ganesh (he gets drunk once and questions about alcohol). so I don't know what you are mixing up with what. :)
:) However, I agree! Balachandar is obsessed with Sahana. Probably because of the way it sounds. (Not the raaga, but the name!)
Some trivia:
I attended a 'lecture demo' at Parthasarathy Swami Sabha[1] on "Ragas in the family of Kanada in Hindustani and Carnatic systems". They mentioned that Sahana classifies to be a Kanada variety because:
1. 'sahana' derives from the word 'shah-na'. It is believed that this must have been a raga invented in the north (much after the mughal invasion) and hence must belong to the Hindustani family
2. 'sahana' uses the 'ga ma ri' and 'dha ni pa' prayogams as much as any other 'kanada' although it has a different 'Ga' (ga3) ('Nayaki' is supposedly from the 'kanada' family. Of course, Dharbar is a kanada too.)
(now this was a surprise to me because I thought 'sahana' is 'truly' south indian. and I thought its soooo like harikamboji on steroids)
It is believed (after some sort of research) that sahana must have gone through immense evolution and hence has 'lost' all its 'hindustani' traces as it exists in the Carnatic system today. He also said that at some point sahana must have been widely used everywhere and hence it must have:
a. spread down south to our system.
b. gone through so much of evolution.
He jokingly said "We Carnatic musicians do not like simplicity. Even if there is something simple, We try to make it complex so that performing it really requires a lot of challenges." and I thought "how true. Jobless folks (who didn't care about inventing light bulbs) had nothing else to do but to sit and make complex rules and hence this excellent art form".
[1] http://en.wikipedia.org/wiki/Parthasarathy_Swami_Sabha - I've created a stub there. If you can contribute to it, that would be good.
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:)
You're right. Liar and the Player. Fused the two identities in my mind.
The links between Hindustani and Carnatic remain vastly unexplored yet. It's also interesting that some of the Heavy Carnataic influence raagas in Hindustani tradition (Like Hamsadhwani) though are classified in the 'Time-Period' frame, they are also referred to as Mangala Raagas. (Meaning they can be played at any time of the day or night.)
HariKamboji on steroids!!! (ROTFL)
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Ok, I just heard one more Sahana, so you can officially declare this as 'Sahana Dinam'. Pathiniye unpol from Kannagi.
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ah... Its _veera abhimanyu_. When I doubt, I always use 'Karnan' :D
Ok, I just heard one more Sahana, so you can officially declare this as 'Sahana Dinam'. Pathiniye unpol from Kannagi.
oh, I haven't heard that one.
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