Showing posts with label books. Show all posts
Showing posts with label books. Show all posts

Friday, September 18, 2009

How to retire - premier bookshop

Sournce

http://www.hindu.com/mag/2009/03/15/stories/2009031550090300.htm


PAST & PRESENT

How to retire

RAMACHANDRA GUHA

Though many residents of Bangalore will mourn the closure of Premier Bookshop, after four decades of yeoman service, Mr. Shanbhag had earned the right to go out on his own terms…


Mr. T.S. Shanbhag was not merely the most knowledgeable bookseller in Bangalore, but also the most likeable. But, taking our cue from the man, we would not display our emotions.


Photo: G.G. Welling

End of a long innings: T.S. Shanbhag and his Premier Bookshop shortly before its closure.

It was a fellow writer, Achal Prabala, who called to tell me that Premier Bookshop was closing down. “Mr. Shanbhag seems quite determined,” said Achal: “The landlord is giving trouble again. He has to undergo an eye operation himsel f. And his daughter is keen that he come visit her in Australia. The nice thing is that he seems very calm about it.”

I claim a long connection with Mr. T.S. Shanbhag and Premier Bookshop, but Achal’s connection was deeper. Since he is some 15 years younger, he had known them all his life. (I was already a teenager by the time I made my first acquaintance with the bookseller and bookshop.) Anyway, like me and countless other residents of Bangalore, he had come to regard them as indispensable and immovable. When, after many years overseas, Achal had moved back to his home town, it was in the knowledge that Mr. Shanbhag and Premier would take care of at least one part, perhaps the most critical part, of his life. To see the shop close and the owner retire was for him as unanticipated, and as hard to bear, as the death of a revered family elder.

Considered decision

Fortunately, I was not due to travel anywhere in the fortnight after I heard the news. I went to Premier the next day, to find the owner almost as stoic as I had been told he would be. He rehearsed his reasons for retirement, but when I found a book to buy (Simon Winchester’s essay collection, Outposts) he said, with some emotion: “I will not let you pay for this.” When he insisted, I asked only that he inscribe the book for me.

When I went back the next day, Mr. Shanbhag had regained his composure. I bought some books and paid for them, and he made me sign some copies of a book I had written. He had, he said, a week more to run, before he put down his shutters and put himself in the hands of the eye surgeon. By now, word of his closure had spread. Every day the number of visitors grew. The great mound in the middle of the shop became shorter and slimmer. The top layers on the side-shelves were peeled off by paying customers, to reveal books published in the 1980s and before, that had lain buried, unseen and unsold.

Fine gesture

On the first Sunday after Mr. Shanbhag had made his decision known, a city magazine organised a photo shoot. Several writers were called to feature in the frame, among them the distinguished Kannada novelist U.R. Anantha Murthy. As he sat himself down among us, Anantha Murthy asked, “Why is Girish [Karnad] not here?” I knew the answer: that great patron of Premier could not come because his daughter was getting married the next week. I said that Girish’s wife sometimes told him, when he came home with the day’s loot, that their house had begun to resemble Shanbhag’s shop, with books on the steps, books on the window-sill, books on the kitchen counter, books everywhere including on one’s head. I added that my wife sometimes told me the same thing. There were laughs all around, the loudest from Mr. Shanbhag.

I went back several times the next week. Once I took my daughter along, so that she could buy her own last books from Premier, and also take some photographs of the shop and its owner. It did not look at all like a store that was soon to go out of business. Customers bumped into one another on the narrow walkways. Some faces were known to me — I had seen them, and they, me, in the same place for the last 20 years or more. But there were strangers too, as well as surprises. A lady peeked in and asked Mr. Shanbhag whether he bought old computer books. He quietly answered that he did not.

A void

In those last days and weeks at Premier, the friends and patrons of the shop gamely suppressed their own feelings. For them, as for Achal Prabala, Girish Karnad, my daughter, and myself, the passing of the shop meant a void in their lives. Mr. T.S. Shanbhag was not merely the most knowledgeable bookseller in Bangalore, but also the most likeable. But, taking our cue from the man, we would not display our emotions. We would see things as he, silently and by example, encouraged us to see them. A bookseller had carried out his calling with pride and integrity for four decades. Had he not earned himself a dignified retirement?

The very many individuals who have come to depend on Premier Bookshop will naturally mourn its closure. For, Mr. Shanbhag’s dealings with publishers, retailers, customers and strangers were always exemplary. Still, nothing became the man so much as the manner of his leaving. The last stages of the careers of our politicians, cricketers and film stars tend to be embarrassingly extended. Contrasting Mr. Shanbhag’s behaviour with theirs, we might be inspired to suppress our private sorrow in a public celebration for a career conducted with honesty and dignity, and always on its own terms.

Monday, July 13, 2009

Collector’s item: The Oxford Illustrated Companion to South Indian Classical Music

Source http://www.hindu.com/fr/2009/03/13/stories/2009031351370500.htm

Collector’s item

LALITHAA KRISHNAN

The second edition of ‘The Oxford Illustrated Companion to South Indian Classical Music’ by Ludwig Pesch is out on the stands.

Photo: R. Shivaji Rao.

Perceptive: Ludwig Peschm.

Ludwig Pesch’s tryst with the Indian classical arts began in the late 1970s. His long-standing association with Kalakshetra, merging with its sylvan ambience and imbibing from distinguished mentors such as S. Rajaram and D. Pasupathi deepened h is perception of the subtly shaded nuances and the philosophy underlying South Indian classical music and dance. Having familiarised himself with precept, it was inevitable that Pesch be drawn to practice as well, learning the flute from H. Ramachandra Sastri and graduating to performance.

In 1999, ‘The Oxford Illustrated Companion to South Indian Classical Music’ authored by Pesch was published by Oxford University Press.

Vast scope

Pesch’s latest offering is the second edition of this publication. Compiling his painstakingly acquired knowledge on the subject into a book could not have been an easy task as the vast scope would have posed a challenge even to the musician or musicologist born and bred in the tradition. Others had done it before, with many efforts sliding into a pedantic morass that invariably succeeded in intimidating the lay reader or summoning the Sandman.

Not so with Pesch. The author’s scholarship extends beyond formal study and comprehension to a tone of ready empathy with the aesthete, whose instinctive appreciation of art forms, both familiar and unfamiliar, is in response to an inner call. In art, there is much that cannot be explained. Only experienced. Pesch unerringly homes in on this truth, trusting in intuition to guide him into spaces illuminated by the spark of enquiry and the glow of discovery that transform mere sight into vision. And herein lies the book’s USP.

A worthy addition

Three reasons that make this volume a must-read and a worthy addition to a classical music aficionado’s collection - the scope is comprehensive, the content is meticulously researched and accurately presented and the tone communicative, striking an instant rapport with the reader. Spanning a broad spectrum ranging from basic concepts, dynamics of voice and instruments, musical forms and composers to complexities of gamaka, raga, tala and rhythm, Pesch employs simple language and lucid explanations to unscramble jargon and decipher technicalities. Sifting, seeking and analysing but never overwhelming, the author engages the reader in a conversation that grows progressively absorbing in its traverse through deftly interwoven past and present, fact and belief, tradition and zeitgeist. The text is richly layered with the musings and quotes of savants and musicians such as George L. Hart, Rangaramanuja Ayyangar, Rabindranath Tagore, Joap Bor and Yehudi Menuhin.

At 514 pages inclusive of a glossary-cum-index, this tome is substantive but not exacting. Certainly, a book that can be judged by its tastefully designed cover that has you running your hand covetously over the embossed gold lettering accentuating a muted olive background graced with a mural depicting a colourful procession of female musicians playing instruments. The layout makes for pure reading pleasure with its vision-friendly font size and apt illustrations that include paintings, photographs, sketches, diagrams and staves.

The inside pages…


• From basic concepts, dynamics of voice and instruments to musical forms and composers

• Complexities of gamaka, raga, tala and rhythm explained in detail.

• Simple language and lucid explanations

• Quotes of savants and musicians such as George L. Hart, Rangaramanuja Ayyangar, Rabindranath Tagore, Joap Bor and Yehudi Menuhin.

Tuesday, May 12, 2009

A doyenne remembered - Vai.Mu.Kothainayaki Ammal

Source - http://www.hindu.com/fr/2008/12/12/stories/2008121251260300.htm

A doyenne remembered

SUGANTHY KRISHNAMACHARI

The 13th annual music festival of Shanthi Arts Foundation and Endowments is a tribute to the genius of Vai.Mu.Kothainayaki Ammal.

PHOTO: R. SHIVAJI RAO

Dedicated to music: (from left) Ramabhadran, O.S. Tyagarajan, Seetha Narayanan, Padmavathi Ananthagopalan, Madurai T.N.Seshagopalan, R.Seshasayee and Tirupur Krishnan.

The 13th annual music event of Shanthi Arts Foundation and Endowments (SAFE) was held at Srinivasa Sastri Hall on December 9. Mr. Seshasayee, managing director, Ashok Leyland, was the chief guest. The programme began with an invocation by Deepika, di sciple of Sudha Ragunathan.

This year, SAFE’s music festival is dedicated to the memory of Vai.Mu.Kothainayaki Ammal to mark her 108th birth anniversary.

A book of Vai.Mu’s compositions, set to tune and notated by her, was released on the occasion.

Vainika Padmavathi Ananthagopalan, and vocalists Seetha Narayanan and O.S.Tyagarajan were honoured on the occasion.

Presiding over the function, T. N. Seshagopalan commended Ramabhadran of SAFE for bringing out the book.

He said, “I knew Vai.Mu had been an author, but I learnt of her musical acumen only now.”

He added, “It isn’t difficult to find music students in Mylapore. But Padmavathi Ananthagopalan has established a music school in Villivakkam, which has 300 students on the rolls. This is proof of her dedication to the cause of music, and her teaching abilities. Seetha Narayanan deserves praise for still considering herself a student. She is learning some pallavis from Sri Chengalpet Ranganathan now! Seshagoplan said, “ OST was a close friend. He does not need a tambura for sruti.”

Commendable feat

Seshasayee said, “Vai.Mu, Guhapriya and my mother were great friends. Their conversation would be about politics, music and literature. Those days, it was difficult being a woman author. The fact that Vai.Mu wrote more than 100 novels those days, is proof of her grit.”

Tirupur Krishnan, editor of Amudhasurabhi, and the first one to write a book on Vai.Mu, said, “Vai.Mu falsified the observation that if one is Jack of all trades, then one is master of none. She was a master of everything she touched. Suddhananda Bharati used to break his vow of silence only after he heard Vai.Mu sing. It was she who gave Rajaji’s grandson the name Rajmohan. She sang so beautifully that all one had to do was to mention that before a programme, the invocation would be by Vai.Mu, and people would come.”

Padmavathi recalled that Jaganmohini, the magazine that Vai.Mu edited, was the only magazine her father bought. “Vai.Mu’s stories were collected and bound by my father,” she said.

Talking about SAFE, vocalist Varalakshmi Anandakumar said it not only organised cultural events, but had a social commitment too. The trust provided aid to the needy in times of calamities such as the tsunami. Besides, it offered scholarships to music students, and organised contests to encourage youngsters.

The evening concluded with a veena recital by Padmavathi Ananthagopalan.