Oktober 2016


Carnatic Comfort Zone presents Sri T.V. Gopalkrishnan

Samstag 22.10.2016 18:00 | Einlass: 17:30 | Saal

Eintritt: 13 € /10 € (erm.) / 5 € (Soli-Beitrag, begrenzte Anzahl)

Veranstalter/-in: Werkstatt der Kulturen/ Manickam Yogeswaran

Kooperation Flyer


Carnatic Comfort Zone presents T.V. Gopalkrishnan

Legendary Musician from India “Sangita Kalanidhi” Sri T V Gopalkrishnan

Concert is accompanied by P. Kannan on Violin and M. Yogeswaran on Mirdangam

Dr. T.V. Gopalakrishnan - Vocals, Mridangam

Dr. T.V. Gopalakrishnan's music life is a mixture of versatility, creativity and vision. In all he is a cult figure, known as TVG for countless number of people around the globe.

Born at Trippunithura (Kerala, India), in a family of more than 200 years of musical heritage who adorned the courts of Royalties, Trippunithura Viswanathan Gopalkrishnan (TVG) learnt the complexities of this inimitable music from his father, Sri.Viswanatha Bhagavathar, who was himself a great exponent of Carnatic music. Even before the age of five, TVG was initiated to the great tradition and heritage –“parampara” ,handed down by Coimbatore Raghava Iyer, Mahavaidyanatha Iyer, Chakrathanam Subba Iyer (great grandfather of Chembai Vaidyanatha Bhagavathar) and Palghat Anantharama Bhagavathar. His Uncle Sri.Narayanaswamy Iyer taught him Mridangam too . He was a little Maestro even at the age of Six when he gave his maiden concert before the Last Viceroy of India, Lord Linlithgow 


Gifted with a mellow, bass voice capable of an envious panoramic range, TVG has trained it with infinite patience, practice, and research oriented originality. He has successfully moulded his voice into an enchanting medium, which weaves a magic spell of sonic beauty.

With complete discipline, concentration, natural aplomb, he maintains the purity of Carnatic and Hindustani renditions and an uncompromising adherence to the traditions to both. Utilizing an analytical and research oriented approach, coupled with his musical sensitivity and ingenuity, TVG has evolved a unique style in Hindustani music, emphasizing the Sahitya Bhava, Raga Bhava and Rasa Bhava with precise elaboration of the Boltans and Sargam (swara prastharas)-which is now better known as Madras Gharana.


Sri Packiyarajah Kannan - Violin

Sri P. Kannan had his initial training in violin under his father Sri Packiyarajah (Sithi), a professional violinist from Jaffna/Sri Lanka. He continued his music at the university of Jaffna and received the title of “Esai Kalaymani”. He had further training in violin from his Guru Parur Sri M.S Anantharaman from South India.
Kannan was rated in the highest category of artists by Sri Lankan radio for Carnatic music, violin solo, light classical music and composing. He was leading the orchestra at the Sri Lanka Broadcasting Corporation (SLBC) for number of years.
Kannan served as a violin lecture at the Indian fine arts society in Singapore before he came to the UK. He performs as soloist and accompany Barathanatyam arangetrams and dance dramas. He is most sort after violinist in carnatic music concerts. He is the founder and director of “Yalosai music school” in south of England where he teaches violin, flute and guitar. He has performed in Australia, Singapore, Malaysia, Scandinavia and in many countries Europe.


Sri Manickam Yogeswaran - Mridangam

Manickam Yogeswaran is a versatile singer and composer. His concerts are marked by a rare blend of virtuosity, creativity and teamwork. The “first ever Tamil voice in Hollywood" rendered film scores include Stanley Kubrick's “Eyes Wide Shut”, Spike Lee's “The 25th Hour” and British movie “Brick Lane.” Several multimedia productions by cultural and educational institutions feature his music. In 2012 he performed Jocelyn Pook’s musical tribute to Queen Elizabeth II on the occasion of her Diamond Jubilee in London.
Yogeswaran is based in Berlin where he teaches South Indian Classical vocals, mirdangam, kanchira and flute at the Global Music Academy. www.global-music-academy.net.



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About the music of South India (Carnatic music)

The origins of South Indian music are traced to prehistoric times. Many musical instruments form a favorite subject for sculptors and painters just as the authors of ancient Tamil and Sanskrit texts. Vocal and instrumental genres have since been amalgamated which explains the absence of a distinct instrumental repertoire.
Several strands have been intertwining throughout Indian music history. Music was cultivated by nobility and common people alike. A mere glance at India's literary heritage, including poetry, drama, mythology and scholarly texts, reveals an ongoing quest for new ideas. The same can be said of performers, instrument makers and skilled amateurs. The resulting "art music" is in fact an amalgam of different "regional" or "indigenous" styles (desi). Today it is being studied all over the world on account of its continuity, infinite variety and a rare capacity for self-rejuvenation.
Carnatic music owes its name to the Sanskrit term Karnâtaka Sangîtam which denotes "traditional" or "codified" music. The corresponding Tamil concept is known as Tamil Isai.


Purandara Dasa (1484-1564), a prolific poet-composer and mystic of Vijayanagar, introduced a music course that is followed to the present day. Since the 17th century, 72 principal scales have yielded hundreds of ragas (melody types). The type of song prevailing today, known as kriti (lit. "creation"), was popularized by the most revered poet-composer of South India, Tyâgaraja (1767-1847). Its predecessor is the kirtana, a simple devotional type of song also used in congregational singing. Comprising two or three melodic themes, these pieces still kindle creative expression as they lend themselves to being blended with improvised passages.

The present concert format evolved during the 20th century. Depending on a performer's background and outlook, a performance may be inspired by ancient scriptures, the great epics, mythology, philosophy, the customs and legends associated with a particular place of pilgrimage, lullabies or love poetry.
Whatever a musician's background or outlook may be, the aim of a performance is undiluted aesthetic experience (rasa). This is achieved by means of three concepts: raga (tuneful rendition with minute intervals and rich in embellishments), tala (rhythmic order marked by mathematical precision), and bhava (genuine expressivity).

Courtesy: Introduction by Ludwig Pesch www.carnaticstudent.org

Die Veranstaltung findet in Kooperation mit Manickam Yogeswaran statt.

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