Sep 3, 2014

Ranjani Gayatri's December Season 2014 Concert Schedule

Saturday, November 29th 2014 at 6.30 PM for Bharatiya Vidya Bhavan. Venue: BVB, Mylapore.

Sunday, December 7th 2014 at 6 PM for Brahma Gana Sabha. Venue: Sivagami Petachi Auditorium, Alwarpet.

Saturday, December 13th 2014 at 6.30 PM for Jaya TV Margazhi Maha Utsavam. Venue: Chettinad Vidyashram, R.A.Puram.

Sunday, December 14th 2014 at 6.30 PM for Tyaga Brahma Gana Sabha. Venue: Vani Mahal, T.Nagar.

Saturday, December 20th 2014 at 4.30 PM for Indian Fine Arts. Venue: German Hall, T.Nagar.

Sunday, December 21st 2014 at 4.45 PM for Chennayil Thiruvaiyyaru. Venue: Kamaraj Arangam, Anna Salai.

Thursday, December 25th 2014 at 4.15 PM for The Music Academy. Venue: TTK Auditorium.

Saturday, December 27th 2014 at 4 PM for Narada Gana Sabha. Venue: Sathguru Gnanananda Hall.

Sunday, December 28th 2014 at 6 PM for Kalarasana. Venue: Chinmaya Heritage Centre, Chetpet.

Friday, Jan 2nd 2015 at 6.30 PM for Nungambakkam Cultural Academy. Venue: Ramarao Kala Mandap, T.Nagar.

Mar 28, 2014

North American tour Spring 2014 concert schedule

We are on a concert tour of North America.  Accompanying us are the veteran, accomplished musicians Sri.H.N.Bhaskar on the violin and Sri.N.Manoj Siva on Mridangam. Here is a brief synopsis of our schedule. More details about venue, time and tickets can be accessed at our Facebook page

 Date -Day - Location - organization  - website (if present) - Contact 

 Mar 28 2014, Friday -New Jersey - CMANA - -  Aravind Narasimhan 

 Mar 29 2014, Saturday -Chicago -Lemont Temple-
Usha  Pariti 

Mar 30 2014 , Sunday -  Dallas India Fine Arts Academy  - - Shanthi Murali

 Apr 4 2014,  Friday - Augusta, GA - The Hindu Temple Society Inc - Prof T Dharma 

Apr 5 2014, Saturday - Atlanta - CAMAGA- - Dr Ram Sriram 

Apr 6 2014, Sunday -San Jose - Sankritilaya - - Viji Mani

 Apr 11 2014, Friday -  Houston Classical Arts society of Houston - - Prabha Bala 

Apr 12 2014, Satuday -Austin - IFA, Austin - - Dr. A Nagarajan 

Apr 13 2014, Sunday - Toronto - Bharathi Kala Manram - Toronto Venkataraman

 Apr 15 2014, Tuesday - Pittsburgh -(CMU) Carnegie Melon University - Lavanya Subramaniam 

Apr 17 2014 , Thursday - Cleveland - Cleveland  Thyagaraja Aradhana - - VV Sundaram 

Apr 18 2014, Friday - Boston - Learn Quest - - Durga Krishnan 

Apr 19 2014, Saturday - Los Angeles - SIMA  - Hari Asuri 

 Apr 25 2014, Friday - Portland - Hindu Temple - - Priest Rajagopal 

Apr 26 2014,  Saturday - Denver -  Colorado Fine Arts - Ajay Menon 

Apr 27 2014 Sunday - Omaha Hindu Temple of Nebraska - -  Anusha Narasimhan 

 May 2 2014, Friday -  Kansas City - Carnatic Music Association of Kansas City - Dr Sreekumar Nair 

May 3 2014, Satuday - Edmonton, Canada - Ragamala - - Nikhil Rao

Jun 17, 2013

Bolava Vitthal- a festival of Abhangs

Every year, the time of Aashad Ekadashi is especially auspicious for the devotees of Lord Vitthala. Thousands of devotees throng the holy shrine at Pandharpur, Maharashtra, many of them sing Abhangs continuously as they make their joyous way to the temple town.

"Bolava Vitthal" is a festival of Abhang concerts that happens around this time of Aashada Ekadashi. This festival makes a tour of India,with back to back concerts of Hindustani musicians, mostly classical musicians, and the concerts comprise of only Abhangs. We performed last year for the first time in this festival, and it was a beautiful experience for us.

This year we will be performing in six cities - Belgaum, Bangalore, Hyderabad, Nashik, Pune and Mumbai. We look forward to being part of this festival again!

Details of venue and date:
July 11th at Lokmanya Rangmandir, Konwal Galli, Belgaum at 5.30 PM
July 12th at Chowdiah Memorial Hall, Bangalore at  6. 30 PM 
July 13th at BharatiyaVidya Bhavan, Basheerbagh, Hyderabad at 6.30 PM
July 18th at Kalidas Kala Mandir, near Shalimar  Chowk, Nashik at 9 PM
July 19 th at Shanumakhananda Hall, Mumbai  at 6 PM
July 20th at Ganesh Kala Krida Manch, Swargate, Pune at 5.30 PM

For information on tickets, the organizer's contact is:
Pancham Nishad Creatives, Mumbai.
Tel: 022-24124750/ 24188494

Feb 13, 2013

Email Id Notification

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Feb 12, 2013

Australia- New Zealand Tour 2013

Here is the itinerary of our Australia-New Zealand concert tour. We are accompanied by Sri.H.N.Bhaskar on the violin and Sri. Delhi Sairam on Mridangam.

Friday, 22 February 2013, 7 PM: Concert at Werribee, Melbourne.

Saturday, 23 February 2013,7 PM - Concert at Forest Hill, Melbourne.

Sunday, 24 February 2013 - Concert in Perth.

Saturday, 2 March 2013 - Concert in Brisbane.

Saturday, 9 March 2013 - Concert at Wellington.

Sunday, 10 March 2013 - Concert at Auckland

Dec 27, 2012


Recently, we wrote a piece on Alapana for the first edition of Alap, a performing arts magazine. We reproduce the article below.

Alap or Alapana means to speak, discourse and communicate. The fabric of Indian music is made up of thousands of melodies, called ragas. A raga literally is a melodic framework sans rhythm, consisting of a given combination of notes or swaras arranged in a particular fashion. The swaras and their arrangement determine the outline and form of the raga. It is from the concept of raga that Indian classical music gets its melodic identity. When a musician develops and interprets a raga, it is called alapana.

At first glance it may appear that when one knows the notes and the way they combine in a raga, one can delineate an alapana. However, knowing the swaras is only the first step, very much like learning the alphabet and knowing a few basic words in the language. Just as a writer uses the building blocks of words to make phrases, sentences, sparkling prose and lyrical poetry, a musician has to master much more than the basic tenets of classical music to be able to conceive a raga alapana.

A raga cannot be merely understood or expressed through the syntax of swaras. To truly experience the beauty of a raga, one must get under its skin. Gamaka or the way a note is oscillated is one of the most important indicators of a raga’s unique beauty. To intimately know a raga, one has to understand the subtle relationship between the swaras, their shades, tones and characteristic phrases that makes the raga distinct. Great compositions are spotlights which throw light on the beautiful facets of the raga and make the process of understanding a raga simpler. Can one try to understand Kambhoji without knowing a O Ranga Sayee or a Subramanyaaya Namaste?

Raga alapana is generally acknowledged to be one of the most difficult and challenging aspects of the classical art form. For it is here that the threads of discipline, training, and the creative mind all come together. There are no props- of words, composition or tala (rhythm). It takes years of assimilating, learning, applying and meditating to conceive and deliver a raga alapana that breathes life into the notes and lifts it to an exalted plane. As the colloquial Tamil saying goes “Paada Paada Ragam!”

Generally speaking, there are two techniques of raga elaboration. One is the veena technique, where the raga is explored using short, beautiful phrases and building up the picture of the raga with little, telling sangathis. As the sound is produced in the veena using the meetu or pluck, the picture of the raga is painted using shorter phrases. The other style of rendering a raga is the Nadhaswaram style, where the artiste blows into the pipe to produce sound. Here, long kaarvais (long resting periods on the same note), and continuous flow of phrases make up the raga. The two styles represent the opposite ends of the spectrum- one is deliberate and spaced out, giving the raga a sedate and disciplined feel, while the other is eloquent and flowing, like a torrential river in spate!

There are some memorable raga alapanas that stand out in our memory. One is a Thodi by the great Nadhaswaram Vidwan Sri.T.N.Rajarathnam Pillai. Oh, what breathtaking leaps of imagination, what majesty in its sweep! Thodi remains incomplete without listening to this maestro’s conception of it! Another unforgettable raga alapana is the Karaharapriya of the grand doyen of music Semmangudi Srinivasaiyer. The Kambhoji and Kalyani of Sri.G.N.Balasubramaniam is the stuff that legends are made of! The elusive charm of the Sahana, Begada and Bahudari of Ramnad Krishnan, and the adventurous yet timelessly beautiful Shanmukhapriya of S.Kalyanaraman - all of this are rapturous examples of raga alapana. A brilliant alapana of Nattakurinji that our guru Sri.P.S.Narayanaswamy sang in a chamber concert forever changed the way we looked at that raga.

What is magical about the alapanas of these great maestros and many other great artistes is that they extended and redefined the scope of a raga. A raga was not a static thing in their hands, something to be merely diligently learnt and conscientiously delivered. The raga flowered under their treatment, the boundaries extended. They raised the bar; widened horizons and their creative genius have influenced and inspired several future generations of students and musicians.

Rendering a raga well is the true test of the musicianship and maturity of the musician; it cannot be taught. Like poetry, raga alapana lives and breathes in the inspiration of a gifted artiste. Grammar and technique, as important and vital as they are, have to be so deeply internalized that they must operate at the sub-conscious level. For when one sings a raga, one has to soar with it. This is possible only when being grounded in tradition and opening one’s mind happens simultaneously. To us, a raga alapana is the ultimate music of freedom, and the most beautiful metaphor of life. It is the ultimate proof that pure music, without the aid of words or rhythm can touch you in a way that nothing else can.

A raga alapana can be the most intimate statement of an artiste’s musical perspective. It lays bare his or her values and clarity of thought. Moods, emotions, thoughts - it expresses them all, and reflects the personal and musical journey of an artiste. Can one measure the joy that comes when one explores a raga with utter abandonment and when the artiste and the raga become one? Little wonder that it is said, music is a way of giving voice to the inexpressible. And an inspired alapana is the ultimate experience of that magic.