BS Raja Iyengar
This is taken from a write-up on vidwan B.S. Raja Iyengar in Sruti (vol.
203).
Sri. B.S. Raja Iyengar (1901- 1978) hailed from the village of Banavar
near Arsikere (Hasan district) of Karnataka.
His initial music training
was under the guidance of his maternal uncle followed by lessons from Harmonium
vidwan Shama Rau who played with the drama company of Mysore Varadachar.
Later on, Raja Iyengar received advanced training from Sri. K.V.
Srinivasa Iyengar, brother of Tiger Varadachariar.
Iyengar’s concert debut in Egmore -
Madras, was followed by a performance at the Akhil Bharat Sangeet Sammelan,
held during a session of the Indian National Congress in 1927 in Madras. In a
career that spanned over three decades, Raja Iyengar garnered recognition for his achievements - the
Karnataka State Sangeet Natak Academy Award (1967), Gana Kala Bhooshana from
the Karnataka Gana Kala Parishat (1970) and the central Sangeet Natak Academy
Award (1973).
Raja Iyengar's singing of Jagadoddharana in Kafi, contained in a
78
rpm disc, was the rage of the nineteen thirties. Equally popular was
his rendition of Ksheerasagara in Devagandhari. He had a high-pitched
but sweet voice and his singing was notable for its captivating
tempo, measured briga-s and the predominance of lakshya.
rpm disc, was the rage of the nineteen thirties. Equally popular was
his rendition of Ksheerasagara in Devagandhari. He had a high-pitched
but sweet voice and his singing was notable for its captivating
tempo, measured briga-s and the predominance of lakshya.
Raja Iyengar
starred as Narada in the film 'Satya Harishchandra' made in 1943 and directed
by Nagendra Rao.
Audio link to "Shantiye jeevana" from the movie (the
tune of this song is reminescent of Tyagaraja's evarani)….
He had a pliant, powerful voice, and sang in the 'Drama company'
style, with a high pitch, impressive range and harmonium accompaniment..
Arunachalappa, a versatile harmonium and violin player, provided accompaniment the music of B.S. Raja Ayyangar ….
His brilliant rendition of Brocheva, Kshirasagara, jagadOddhArana
where he sang the second line AdisidaLE -shOdA! And also nagumOmu ….
Some one pointed out that istening to rAja
iyengar's music, we can understand the evolution/progress
of Carnatic music, in the court, temple performance- theatre-stage performance
- sabha performance….
His renditions are here:
http://www.mediafire.com/folder/q445u2hx3shju/BS_Raja_Iyengar
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