Melody of the duck instrument

SUGANTHY KRISHNAMACHARI

Having learnt the oboe, Martina Leopoldt is keen on mastering the nagaswaram.

Photo: S.R. Raghunathan

unusual: Martina Leopoldt.

Ever since I dipped into our collection of records, to listen to the New York Philharmonic playing Prokofiev’s ‘Peter and the Wolf,’ conducted by Leonard Bernstein, the oboe has been, to me, synonymous with the duck. That’s be cause, it is the oboe that represents the duck in this piece. When I tell oboe player Martina Leopoldt this, she laughs, and says, “It’s not just you. Many of my friends in Germany call it the duck instrument too.’”

Martina is in Chennai to give finishing touches to her thesis for a post-graduate degree in Musicology. She is a student at the University of Leipzig, and the topic of her research is ‘Nagaswaram — ritual and religious connections in music — especially in connection with the Tiruvaiyaru Tyagaraja festival.’ She took the help of Prof B.M. Sundaram and Injikkudi E.M. Subramaniam for her thesis.

Curiosity kindled

When she was eleven, Martina decided to learn how to play the oboe. “An oboe teacher had just arrived in Ilmeneau, the small town in which I lived. Just out of curiosity, I enrolled for oboe lessons. My face would turn red when I played the oboe. My friends would tease me and say, “You are not only playing the duck instrument, you even look like a sick duck!”

How did she get interested in the nagaswaram? “When my grandfather visited Chennai in 2005, he bought a nagaswaram for me. I didn’t know a thing about it, until 2007, when I visited India, and learnt how to play it.”

She filmed the nagaswaram players at Tiruvaiyaru this year, and at the Tiruvannamalai and Chidambaram temples. “I even went trekking up to the Sorimuthu Ayyanarappan temple in the Mundanthurai sanctuary in Tirunelveli. This temple in a forest has a nagaswaram and thavil player, while many temples in more accessible places don’t have ritual nagaswaram playing. They say they lack funds. I also wanted to visit the Agastya temple, but the permission from the Forest Department didn’t come in time. So I couldn’t visit that temple.”

“In the West, we usually don’t use microphones for classical music concerts. But you have microphones in your sabhas, and that spoils the quality of your traditional music. Why aren’t your auditoriums designed keeping acoustics in mind?” she wonders. She’s a girl with very strong views on adhering to the traditions of music. Surprising in one so young. Martina is only 22.

In the 17th century the oboe made its way into concert halls. Today the nagaswaram too is heard in sabhas, a development Martina is not happy about. “The nagaswaram is the loudest wind instrument in the world. And your sabhas provide amplification for the nagaswaram too! Indians seem to have such a fascination for technology. I even heard an electronic veena. I didn’t like it one bit,” complains Martina.

She laments that in Europe, Hindustani music is known more widely than Carnatic music. “I couldn’t find many books on Carnatic music in our libraries, but there were many on Hindustani music.”

“Bollywood music is popular in India, and A.R. Rahman has used the oboe in a song in the film Jodha Akbar. That might make the oboe popular here!”

Martina plans to continue nagaswaram lessons under Balamurali, who studied in Annamalai University, and now lives in Germany. Once she submits her thesis, she’s going to come back to India, to train under Injikkudi Subramanian. And of course, there’s also that trek to the Agastya temple that she missed this trip, but is determined to do soon.

Comparative study

In a lecture recently organised by the Centre for Ethnomusicology, Martina spoke of the role of the oboe in every period in the history of Western music, and then of the similarities and differences between the oboe and the nagaswaram. Some highlig hts:

Like the nagaswaram, the oboe is a double reed instrument of the woodwind family. It’s made of a wood called grenadilla, which comes from Africa. “Of ten pieces of the wood, roughly one will be suitable for making an oboe. That’s why the oboe is expensive. An oboe costs 8000 Euros!” Martina explained. “Reeds have to be changed every week, and each reed costs 20 Euros, but I make my own reeds.”

The oboe too has a conical bore, but the reeds of the nagaswaram are thicker, which makes the latter more difficult to play.

Amazing ability

“No oboe player will be able to play for more than two hours at a stretch. And I am amazed at the ability of nagaswaram players who play continuously for more than six hours in temples,” Martina observed.

The modern oboe has 45 keys, and therefore one cannot produce gamakas on it. But the baroque oboe has only three keys, and is more like the nagaswaram, because you can produce microtones on it.

In the baroque oboe too sound is produced mainly with the oral cavity, as in the case of the nagaswaram. Both the nagaswaram and the oboe originated as outdoor instruments, although the nagaswaram was used in religious processions and the baroque oboe in military processions.

S.K.

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.

Scholar on a mission

Source http://www.hindu.com/fr/2008/11/07/stories/2008110751020300.htm

Scholar on a mission

S. SIVAKUMAR

Dr. Emmie finds Harikatha more direct, more authentic and more traditional.

Photo: M.Vedhan

MUSIC MATTERS: Dr. Emmie with Janakirama Bhagavathar

Dr. Emmie te Nijenhuis, a music scholar from Holland, has been coming to India since 1970 — this is her 11th visit — and is on a specific mission now. She studied Western Musicology, Classical Piano and Sanskrit in The Netherlands and then specialised in Indian musicology, to obtain her Ph.D. in 1970, from Utrecht University. She worked for 25 years as Associate Professor of Indian Musicology here.

“I timed my visit to India during this part of the year, as I found that in December everyone gets busy and is unable to spare any time. I wanted to look at Kathakalakshepam, which again is a vast subject.”

She then reasons out how she is always practical and “narrows her area of research to something compact, where I can complete my work according to schedule.”

The objective has been to look at live renderings of Bhadrachala Ramadas’s compositions as they are sung, differently, in Harikathas and in concerts. “I should thank Dr. Prameela Gurumurthy of the University of Madras who started organising things for me as soon as I went to her.”

Conscious decision

Dr. Emmie listened to a variety of performers during the three weeks of her stay: Dr. Kamala Murthy and Dr. Prameela — at the University of Madras — Kalyanapuram Aravamudhachariar at the Varasidhi Vinayagar temple, Janakirama Bhagavathar at the Music Academy, Udayalur Kalyanaraman at MATSCIENCE and Prof. Ramakrishna at the Telugu University at Hyderabad. And she has this to say: “In concerts, Ramadas’s kirtanas acquire the virtuosity and musical excellence of the singer and he adds his personality to it, but in the Harikatha, it is more direct, authentic, more traditional and probably more original. It is not merely the ragas but the original tunes themselves that are of importance to me.”

Dr. Emmie’s output is huge, caused by her conscious decision to pursue Sanskrit and Indian cultural history instead of the customary choice of Italian language. Her publications include historical works such as “Indian Music: History and Structure” (1974), “Musicological Literature” (1977), and “English translations of Sanskrit Texts on Sangitasastra” (Dattilam in 1970 and Sangitasiromani in 1992).

Not one to be enamoured of fusion, Dr. Emmie feels that there is nothing to fuse and any music will and need to exist on its own.

“The works of 17th century Western Classical Composers — Bach and others — were well-structured with wide scope for improvisations and variations like say the niraval or the pallavi of Carnatic music. Things have changed and it is all terse, written down music now,” she regrets.

Dr. Emmie plans to document the life and work of Papanasam Sivan and will be back in India soon. She recalls with gratitude the help rendered by Dr. Ramanathan in all her musical missions. One of her most memorable aesthetic experiences was a Kathakali performance in 1967-68. She expresses her special liking for the small modular introductory narration that always preceded the enactment of “each spectacle,” in Kathakali. Her father was a sculptor and all that she heard of Indian Art, Indian Philosophy and the Theosophical Society in those early years shaped her taste.

Praiseworthy

After listening to the concerts at the Spirit of Youth Festival organised by the Music Academy, Dr. Emmie was all praise for the Indian psyche that possesses a unique ability “to pick up, sort out and reinvent what is best for them from other cultures.”

Being a piano player herself, she reminds you that it took nearly 200 years for the piano to reach present form. She also learnt the veena and the sitar to practically orient herself to “experience the gamakas,” which can at best be played, to be understood.

Her dynamism and unclouded manner of speaking at her age - she is 77 – leaves you at the edge of your seat. And Music, one may conclude, is her religion - and faith.

Lawyer who nurtured music -- Prof. Sambamurthi

Source http://www.hindu.com/fr/2008/10/31/stories/2008103150970400.htm

ENCORE

Lawyer who nurtured music

SRIRAM VENKATKRISHNAN

PIONEER Prof. Sambamurthi worked all his life to make musicology an integral part of Carnatic music.

INNOVATOR Prof. Sambamurthi

Prof. P. Sambamurthi passed away on October 23, 1973. The Hindu published a detailed obituary on October 24 in which it recorded that the end came about at the Royapettah Hospital, Madras, after a brief illness.

The article first listed his awards and stated that he was a recipient of Padma Bhushan. And it went on to say, “Prof. Sambamurthi was honoured with the title of Sangita Kalanidhi at the 46th annual conference of the Music Academy, Madras in 1972. He was elected Fellow of the Sangeet Nataka Akademi in 1963 in recognition of his services to music.” It was an unprecedented list of honours and the Professor, as he was always known, deserved every one of them. He had worked hard all his life to make musicology an integral part of Carnatic music. And he began his endeavours at a time when music was largely an oral tradition with very little support for theory despite the various treatises on it and the proliferation of printed works in the late 19th and early 20th Centuries.

By then, the gurukula system was fast fading and even in the 1880s, there had been attempts by the Madras Jubilee Gayan Samaj to train students in music en masse by the establishment of schools for this purpose. Though this effort failed, the idea caught on and sporadic attempts were made in the 1900s as well. The Rev. H.A. Popley ran a summer school for music in 1918 which taught music to Christians. By 1921, this had become an annual feature, the entire course lasting six weeks.

In 1924, Sambamurthi, fresh out of law college, but more interested in music and better known as a performer on the flute, was invited to give ten lectures on the “Musical Forms in South Indian Music” at the summer school.

He so impressed the Rev. Popley that he was immediately appointed as a lecturer in the school. With Popley returning to London in 1926, Sambamurthi became Vice-Principal of the school and by 1927, became the Principal.

Not content with carrying on what the Rev. Popley had begun, Sambamurthi set about creating a syllabus for the school. The course expanded to comprise Elementary, Intermediate, Advanced and Honours sections and soon became a full-day school for the summer months, functioning out of various buildings in the city.
Created a syllabus

There were classes on theory and practice and each Friday, the students had to present, by way of public performances, what they had learnt. To introduce a fun element, Sambamurthi organised weekend outings to places of musical interest in and around Madras city.

Not everyone was impressed with such group singing. The noted critic ‘Kalki’ Krishnamurthy panned the attempt as monstrous but it was generally welcomed as an innovation. Encouraged by the response, Sambamurthi enlarged the summer course into a full five-year course. In addition, a Teacher’s Training Course was also introduced which became very popular among the music teachers of the Corporation Schools. Students began coming in from all over India and soon a separate course for instruments was also added.

The Music Academy, Madras, was started in 1928, with Sambamurthy as one of the founding secretaries. This body lobbied with the Government to introduce music as a regular course in colleges and in the Madras University.

The Queen Mary’s College (QMC) was the first to do so and Sambamurthi was appointed lecturer. At around this time, he was also asked to teach music in many schools of Madras, so much so that he had to evolve a rota system of teaching in all the schools and still continue as lecturer at the QMC and serve as Principal of the summer school! He of course, never practised law!

The Madras University funded his travel to Germany in 1931 to study at the Deutsche Akademie. In 1932, when the Music Department of the Madras University was formed, he framed its syllabus. Later he was to serve as its head for 25 years. From then on, there was no looking back either for him or for musicology. He wrote innumerable books, framed syllabi for several universities, helped the setting up of the Central College of Carnatic Music (now Isai Kalluri), was Professor of Musicology at the Venkateswara University and represented India at numerous music conferences abroad. He was also Director, Sangita Vadyalaya, Madras, from 1961 to 64 where he worked on creating and improvising music instruments. Sadly, the summer school that he put on the map, closed down in 1941. But it had served its purpose as a launch pad for musicology and systematic teaching of music.

(This article owes much to inputs from Dr M.A. Bhageerathi, faculty member of QMC, whose doctoral thesis was on Prof. Sambamurthi’s contribution to music theory.)

(The author can be contacted at srirambts@gmail.com)

He turned the spotlight on Annamayya

Source http://www.hindu.com/fr/2008/11/14/stories/2008111451360600.htm
ENCORE

He turned the spotlight on Annamayya

SRIRAM VENKATKRISHNAN

Commissioned to retrieve the songs of Annamacharya, Rallapalli Ananthakrishna Sarma worked in earnest setting them to tune and publishing volumes.

Sarma was of the view that the sringara compositions of Annamacharya were not being given the same importance as the spiritual.

Annamacharya.

Sixty years ago, the Sri Venkateswara University invited a scholar who had just then retired from the Maharajah’s College in Mysore, to head its Department of Music. The personage, or sage as some would have averred, was the apt choice, for he had not only a sound knowledge of music, but also of Sanskrit, Prakrit, Telugu and Kannada. On coming over, he applied himself to the main task at hand, that of setting to music the songs of Annamacharya, the great composer of Tallapaka. This personality was Rallapalli Ananthakrishna Sarma.

Born on January 23, 1893, at Rallapalli in Anantapur District to Sanskrit and Telugu scholar Karnamadakala Krishnamacharyulu and Alamelumangamma, Sarma was initiated into Sanskrit, Telugu and music by his parents. Resenting unchavriti (ritual alms seeking) he ran away from home at the age of 13. Reaching Mysore, he placed himself under the guardianship of the chief of the Parakala Mutt. Guided by the seer, he studied Sanskrit and Prakrit at the Chamaraja Pathasala and became a master in both languages. He also studied music under the palace vidwans such as Chikka Rama Rao, Bidaram Krishnappa and Karigiri Rao. He could sing and also play the violin and the flute.

Loved teaching

Sound knowledge of music: Rallapalli Ananthakrishna Sarma.

When Sarma was barely 18, his talent in Telugu was noticed by Sir Cattamanchi Ramalinga Reddy, the Principal of the Maharajah’s College, who appointed him Telugu Pundit. His love for teaching and his mastery over his subjects ensured he received the love and affection of his students. During his tenure there, Harikesanallur Muthiah Bhagavatar, though many years his senior, often consulted him on the musical and lyrical aspects of the project that he was then working on – Chamundamba Ashtottara kritis.

Sarma joined the Sri Venkateswara University in 1948. The Tirumala temple authorities had the previous year begun retrieving the songs of Annamacharya that had been stored for centuries on copper plates in the temple. The work was headed by Vetturi Prabhakara Sastry, well-known scholar who passed away. Sarma was then brought on board to head the project. He had first seen some songs of Annamacharya in 1937 and had even then been enamoured of their unique imagination, independent flow of words and variety. Beginning with ‘Alarulu kuriyaga adenade’ which describes the dance of Alamelumanga for the pleasure of Srinivasa, Sarma worked in earnest on the songs, setting them to tune and helping in the publications of volumes seven and eight of Annamacharya’s compositions.

In 1949, the first Vardhanti festival of Annamacharya was celebrated by the Tirumala Tirupati Devasthanam and from then on the demand for the composer’s songs grew. Between 1951 and 56, Sarma brought out five more volumes of Annamacharya’s compositions. He wrote the notation for 108 compositions and 87 of them were published in the Andhra Patrika Weekly.

Sarma continued working on Annamacharya’s compositions long after his retirement in 1962. He was of the view that the sringara (erotic) compositions of Annamacharya were not being given the same importance as the adhyatmic (spiritual) and argued that it was incorrect to associate only Kshetrayya with sringara as a theme. Sarma was in demand as an erudite speaker and also served as Vice-President of the Andhra Pradesh Sangeet Natak Akademi for some time. He wrote prolifically and collections of his writings were brought out as books. In the middle of all this, he also found the time to compose, becoming a fine vaggeyakara, though he rather regrettably did not bother to notate or teach them to his students. To him, they were only expressions of an inner urge.

In 1974, Sarma was conferred Sangita Kalanidhi by the Music Academy, Madras. He took the honour in his stride but it gave an opportunity for the citizens of Madras to meet, observe and listen to a scholar. His speech on the occasion of his being elected to preside over the Music Academy’s annual conference was a fine one, remarkable for its masterly summing up of the music scenario at that time and his arguments in favour of change especially in breaking free from the shackles of tradition.

A Spartan lifestyle saw Sarma remain healthy and active till the very end. He passed away in Bangalore in 1979. By then Annamacharya’s songs had become famous and several including M. Balamuralikrishna and Nedunuri Krishnamurthy had set them to music and were regularly singing them in concerts. That said, it must also be placed on record that it was MS Subbulakshmi’s rendition of them, released as a series of audio cassettes by the TTD that made the songs extremely popular. Sarma lives on, in the songs of Annamcharya that he set to music.

(The author can be contacted at srirambts@gmail.com)

Dedicated to teaching

Source http://www.hindu.com/fr/2008/09/19/stories/2008091950480300.htm

Dedicated to teaching

Many illustrious names figure among the disciples of Alathur Venkatesa Iyer, who was an accomplished composer too.

Alathur Venkatesa Iyer

Apart from being M.S. Subbulakshmi’s birthday, September 16 also has the honour of being the date of birth of another illustrious music personality who was many years her senior. Born in 1894 to Venkatarama Jatavallabhar and Parvatavardhini in Tiruvaiyaru, Alathur Venkatesa Iyer became well known as a teacher of music.

When he was eight, his parents shifted to Alathur near Tiruchi. Here he was trained in vocal music by Sentalai Govindasami Pillai, a nagaswaram vidwan. Venkatesa Iyer’s mother died a couple of years later and so the family moved back to Tiruvaiyaru. Here he was taught music by Dasavadyam Krishnaiah, singer and harmonist, who being a student of Tillaisthanam Panju Bhagavatar, belonged to the Tyagaraja sishya parampara. Krishnaiah was visually challenged and was therefore referred to as Guddi (meaning blind in Telugu). Venkatesa Iyer learnt to play the harmonium also from his guru.

Venkatesa Iyer married Lakshmi at a fairly young age and the couple shifted to Alathur once again, where the family held property. He also began teaching music in Tiruchi and its environs, but such was his reputation as a hard taskmaster that only the most diligent students could survive.

Venkatesa Iyer’s closest friends were Pudukottai Dakshinamurthi Pillai, percussionist and the veena duo, the Karaikkudi Brothers. Through the former, Venkatesa Iyer came to see the beauty of the Tiruppugazh and set several of its verses to music. He also composed tunes for the songs of Meesu Krishna Iyer, Gopalakrishna Bharati, Vedanayakam Pillai and Muthu Thandavar. Palani Muthiah Pillai, father of Palani Subramania Pillai was also a close friend of Venkatesa Iyer.

Venkatesa Iyer and Lakshmi lost their first child shortly after its birth. Their second son and only surviving child was Sivasubramaniam, who was born on July 7, 1916. He was trained in music by Venkatesa Iyer from a very early age. In 1922, a boy named Srinivasan was brought home. The son of Angarai Sankara Sroudigal, he was 11 years of age. Venkatesa Iyer decided to pair the boy with his own son and they became known as the Alathur Brothers.

Tough teacher

Training under Venkatesa Iyer was tough. He would think nothing of waking up the two boys at 2 a.m. so that they could stand in the Rock Fort area listening to the strains of the violin that wafted from Malaikottai Govindasami Pillai’s house as he practised secretly. Dakshinamurthy Pillai too trained the boys and he and Venkatesa Iyer (on the harmonium) were their accompanists in the early years of their career. At a time when the Tamil Isai Movement was still in its infancy, the Alathur Brothers, thanks to Venkatesa Iyer, could present full concerts featuring the Tiruppugazh alone. In time many honours came to the Alathur Brothers including the Sangita Kalanidhi (successively in 1964 and 65).

Venkatesa Iyer was actively involved with the Chinna Katchi, one of the two groups that conducted Tyagaraja Ardhana in Tiruvaiyaru. He was a senior office-bearer in the Sri Tyaga Brahma Mahotsava Sabha that was formed to observe a united Aradhana in 1940. But by 1945 he left the Aradhana committee and formed the Sadguru Sangeetha Sabha in Tiruchi which conducted an Aradhana for Tyagaraja at the 100-pillar hall in the Rock Fort. This tradition continues even now. He also conducted an annual festival in memory of Sadasiva Brahmendra.

Venkatesa Iyer was passionately devoted to Muthuswami Dikshitar as well and purchased the ancestral house of the composer in Tiruvarur and looked after it. It was later donated to the Trinity Sabha from whom it was acquired by the Sri Kanchi Kamakoti Peetha Karnataka Sangeetha Seva Trust which built a mandapam on the site.

Among Venkatesa Iyer’s students was the matinee idol M.K. Thyagaraja Bhagavatar. He was subjected to the same tortuous methods of learning as the other students and he stuck to it notwithstanding his star status. It is said that this is what lent sheen to his music and made him famous on stage and screen.

Thyagaraja Bhagavatar’s arrest in connection with the Lakshmikanthan murder case in the 1940s was one of the greatest shocks that Venkatesa Iyer sustained in his life. He remained close to his disciple and stuck to him through thick and thin. Bhagavatar’s come back film ‘Rajamukthi’ (1948) had one song set to music by Venkatesa Iyer’s son Sivasubramaniam.

Venkatesa Iyer had several disciples among whom were M.K. Govindaraja Bhagavatar (Thyagaraja Bhagavatar’s brother), the clarionet exponent and this year’s Sangita Kalanidhi designate AKC Natarajan, Chingleput Ranganathan and J. Venkataraman. When he died in 1958, Venkatesa Iyer had the satisfaction of seeing his students becoming well respected performing artists. Truly his was a life spent in teaching and propagating music.

(The author can be contacted at srirambts@gmail.com )

Song of real India

Source

Song of real India

ANJANA RAJAN

The classes and the masses meet in our films. From Begum Akhtar to M.S. Subbulakshmi, melody has known no barrier.

Akhtari Bai’s first film, “Ek Din Ka Badshah,” was directed by Tahir Hussain.

Photo: Rajeev Bhatt

A Classic is forever :Noted film director Muzaffar Ali (second left) with Jyoti Sabharwal (left), publisher Stellar, Prof. Rita Ganguly, musician, and Pawan Verma, Director General, ICCR, releasing the book ‘Ae Mohabbat… Reminiscing Begum Akhtar,’ in New Delhi.

When it comes to ghazal fans, there are those who swear by Begum Akhtar and then those who prefer the more modern version, as represented by, say, Pankaj Udhas, Hariharan and Ghulam Ali.

Over the decades, as melody and instrumentation embroidered the poetry, critics of the metamorphosing ghazal felt it was entering the realm of film music. And Begum Akhtar was hailed as the epitome and the bastion of classicism.

Indeed the divide between classical and ‘filmi’ music is quite entrenched, to the extent that when classical singers even sing playback for films, it is considered an event. But, as the recently released biography of Begum Akhtar, “Ae Mohabbat… Reminiscing Begum Akhtar,” penned by her disciple Rita Ganguly, shows, the Mallika-e-Ghazal herself spent a considerable part of her career as a film actress-singer as well as a theatre star.

Begum Akhtar was not the only singer of her time to blaze across the silver screen. M.S. Subbulakshmi not only starred in “Meera” in Tamil and in its Hindi remake “Bhakta Meera”, but also captured hearts in the title role of “Sakuntalai”, a Tamil film based on the story of Shakuntala, in which her co-star was the eminent Carnatic vocalist G.N. Balasubramaniam (see picture below). Her other films were “Sevasadanam” and “Savitri”

Another set of legends of classical music — vocalist Chembai Vaidyanatha Bhagavatar, violin maestro Mysore T. Chowdiah and mridangam vidwan Palghat Mani Iyer — acted in a film called “Vani”, recalls an old-timer.

“Begum and films”

Ganguly, who has been assiduously keeping the memory of her guru alive over 33 years — this event marks the 34th — promises that while this year her birth anniversary celebrations focused on the book release, next year the focus will be “Begum and films”. The process has already begun though.

Film personalities like Muzaffar Ali, Naseeruddin and Ratna Pathak Shah, Sushma Seth and others were present at the book launches in various cities.

From the days when singers feared they would lose their life as the air of their lungs would be sucked out by the recording machines of a studio, to today’s reality shows where youngsters across the country vie for recording contracts, India’s singing industry has come a long way.

In the book, brought out by Stellar Publishers, Ganguly relates with interesting and compassionate detail the journey of her guru from being the daughter of a ‘respectable’ Saiyyad family — whose love for music so distressed her mother — to Akhtari Bai Faizabadi, and then to Begum Akhtar.

Akhtari Bai signed a contract with Corinthian Theatre for Rs.300 a month. She made her theatre debut with “Nai Dulhan”, a new production of the well known scriptwriter Agha Munshi. The play had music composed by Jhande Khan, who later entered the Bombay film industry.

Renowned for having composed 62 completely distinct songs in a single raga — Bhairavi — he was later famous for his hit songs for the film “Chitralekha” based on the novel by Bhagwati Charan Verma.

It was surely the distilled classical training that produced such masters and their masterpieces. The song Akhtari Bai opened with in that first play was in Soheeni, a dawn melody, a raga she had learnt under Ata Khan’s rigorous methodology.

Akhtari Bai’s first film, “Ek Din Ka Badshah”, was directed by Tahir Hussain. She sang seven songs in the film. Her other films included “Ameena”, “Mumtaz Begum”, “Roop Kumari”, “Jawani Ka Nasha”, “Naseeb Ka Chakkar “and “Anaarbala”, all made, the book tells us, between 1934 and 1940 by East India Films of Calcutta. Her last film was “Roti”.

While the films of yesteryear did not require the singers to materially change their musical style, film music today is a genre of its own.

The ‘purists’ feel the form gets diluted in the popular medium. “I don’t think so,” says Ganguly. “One has to understand, anything that has reached a classical status cannot be harmed by a little experimentation. The ghazals which Ammi sang as Akhtari Bai Faizabadi and what she sang in the 1960s were different. A healthy change is very important in a classical form.”

Healthy change

The very fact that youngsters are singing ghazals today, she points out, shows this healthy change. “We often make the mistake that something classical has to be very difficult,” she remarks. “Something which has rules, which has a science, which has seen the test of time — it is classical.”

Therefore, she concludes, “Any classical form is in no danger whatsoever from any experiment.” Besides, the oral tradition which is a part of Indian culture ensures that things change even as they are preserved. “That’s how our Vedas survived.”

And if audiences can’t recognise a thumri but can sway to the same song when Madhuri Dixit skips along with it, so be it. “There is no need to tell them, if they are liking it, that it is a thumri or a ghazal. Why should they know it?”

In tune with tradition, Rita Ganguly too appeared in Pradeep Sarkar’s “Parineeta”. But her parting anecdote somehow brings the divide back into focus.

Once, recounts Ganguly, she performed in Bihar. The audience was 35,000-strong. To ‘balance’ the effect of classical music, the organisers had invited a film band to perform too! “I was about to leave. But my musicians said, at least sing for a while. We will be paid.” So she relented. But the moment she began singing, the crowd was in raptures, remembering an old album of hers featuring thumris and dadras and making requests. “I thought they were hooting, but they were not. I was so happy. You see, this TV and all is available only in a few metros.”

Welcome, then, to the melody of real India.

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Academy keeps a promise

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Academy keeps a promise

V. SRIRAM

The Music Academy and the Tag Corporation have embarked on a unique exercise of making a rich collection available for listening. The digital library opens today.

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The collection has been built up by Mr. Chari over three decades.

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Photos: V. Ganesan

BOON to music LOVERS: The entrance to the library (below) and the interior with Rajam’s painting adorning the wall.

Eighty years after its founding, the Music Academy is fulfilling one of its original objectives – that of forming and maintaining a library of music. With the inauguration of the TAG Digital Listening Archives at the Music Academy, Carnatic music rasikas will have a treasure trove of music at their disposal, all available at the touch of a finger on an electronic screen at the Music Academy premises.

Over the years, the Music Academy has steadily built up its archives. Recordings include concerts held under its auspices, lecture-demonstrations and speeches. In addition several private collections, including most notably, that of The Hindu’s G. Narasimhan’s, which was perhaps one of India’s finest, have been donated to the Academy.

But these have never been available to the public except for a brief while in the 1980s when through an arrangement with a private label, excerpts of concerts during the season used to be released as commercial tapes.

Of course, recordings of Music Academy concerts of various stalwarts have regularly done the rounds among music collectors and some are also available on the internet.

Past committees of the Academy have regularly spoken of their intention to get on with cataloguing and digitising the collection, but it is only now that intentions are being translated into action.

The process begins

The process of converting into digital format of around 6,000 hours of music has begun at the Music Academy.

Coinciding with this is the decision of R.T. Chari of Tag Corporation, to make available through the Music Academy to the public, around 6,000 hours of music available in his collection. These comprise 2,000 hours of music by late maestros, 1,500 hours of music by senior artists of today, 1,000 hours of performance by junior artists, 1,000 hours of special thematic concerts organised by Mr. Chari and others and 500 hours of lecture demonstrations.

None of these are commercially available recordings. The collection has been built up by Mr. Chari over three decades and comprises recordings of programmes he has organised and also recordings that he has sourced from other collectors.

The Music Academy and the Tag Corporation have embarked on a unique exercise for making this music available for listening.

The erstwhile exhibition space in the Academy premises, which used to house an art gallery, has been made over to the archives. In an aesthetically done up listening chamber, ten touch screen kiosks link up to a central server which houses all the music. The entire set of equipment, costing around Rs.15 lakhs, has been donated by Ramu Endowments, a charitable trust run by Mr Chari and his brother R.V. Gopalan in the memory of their father.

All other facilities, by way of furniture and lighting, costing a further amount of Rs.10 lakhs, have also been donated by Tag Corporation. The data-entry and digitisation have been done by employees of Tag Corporation.

User friendly

The software, created by Giri Trading, Chennai, allows for searches artist-wise and song-wise and provides details of raga, tala, composer and artist.

In addition, it allows listeners to select a full concert, opt for excerpts from a concert or build a bank of songs from various concerts by various artists and then listen to them, one by one.

The Academy has not yet made public the rules and regulations to be followed for usage of this listening archives. It is obvious that this will be a reference library with no downloading, copying or borrowing of music as such activities will be in violation of copyright laws.

To start with, around 1,000 hours of music will be made available. Further digitisation will go on till the middle of 2009 by which time, the entire Chari collection and the Music Academy’s archives will be in the server which has a capacity to hold around 15,000 hours of music. The Academy will enhance this capacity should the need arise.

The archives will be inaugurated by S. Rajam, artist, musician, musicologist and senior-most member of the Experts Committee of the Music Academy, today (December 12). The acting U.S. Consul General Frederick Kaplan will be the chief guest. Visitors to the Academy during the Music Season will be able to access the archives on an experimental basis. The listening facility is expected to be fully functional by February 2009.

A friendly staff will be in place to assist those who are unfamiliar with computer screens.

Visitors are welcomed by a large painting, executed by Rajam, depicting various composers through the ages. The air-conditioned area, with the portraits of the principal awardees of the Music Academy gazing benignly at the listeners, promises to become the gathering place for all Carnatic music lovers very soon.

And with Ariyakkudi, Musiri, MS and their likes singing into your ear literally, there is very little left to ask for!

(The author can be contacted at srirambts@gmail.com)

HIGHLIGHTS

• 6,000 hours of music to be made available by February, 2009

• 10 touch screen kiosks link up to a central server

•The software allows for search by artist and song

• Large painting of various composers by Rajam add value

• The software provides details of raga, tala, composer and artist’s details

• It allows listeners to select a full concert or just few songs

Flight of a nightingale - Vasanthakokilam

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ENCORE

Flight of a nightingale

SRIRAM VENKATKRISHNAN

N.C. Vasanthakokilam’s music offered plenty to attract audiences. The voice was high-pitched and clear and she had a large repertoire of Tamil songs.

Courtesy: Sruti magazine

DULCET VOICED: N. C. Vasanthakokilam

The Hindu dated November 8, 1951, carries a small news item. Captioned “Death of Srimathi N.C. Vasanthakokilam” it states: “The death occurred of Srimathi N.C. Vasanthakokilam, the well-known South Indian musician, last evening at her residence in Gopalapuram. She was ailing for the past two weeks and was in a private nursing home till November 6. She was 32.”

The star had been suffering from tuberculosis and it was only a matter of time before death came a calling. On November 21, there was an even smaller news item. It stated that “at a meeting of the Indian Fine Arts Society held on November 10 under the presidentship of Mr. K.S. Ramaswami Sastri, a condolence resolution touching the death of Srimathi N.C. Vasanthakokilam was passed.” And with that, N.C. Vasanthakokilam was history. It was a very quiet farewell to a person who for some time was considered to be a leading Carnatic musician.

Named Kamakshi at birth, she was from Irinjalakkuda in present day Kerala. Her career however began in Nagapattinam where the family had relocated. Her father Chandrashekhara Iyer had placed her under the tutelage of ‘Jalar’ Gopala Iyer, an accompanist in Harikatha performances. In 1936, the family moved to Madras, when based on the encouragement given by film director K. Subrahmanyam, it was believed that young Kamakshi stood a good chance in films. Her name was changed to N.C. Vasanthakokilam (the nightingale in spring). ‘N’ was for Nagapattinam and ‘C’ of course was her father’s initial.

The film career of Vasanthakokilam’s is well documented and so this article looks at her Carnatic music performances. It was a time when Brahmin and other upper-caste women were just realising that a career awaited them on stage. C. Saraswathi Bai had shown the way as early as in 1908 and following her came Vai Mu Kothainayaki Ammal and D.K. Pattammal. It was a strange new world where men still played an important role in career management. The guru, the father or the husband had to be manager and chaperon. Vasanthakokilam came on sans any of these appurtenances. Her marriage had been a failure. In later years, she found a life-partner in a lawyer turned film-maker, CK Sathasivan, who was popularly known as Satchi. It was a tempestuous relationship that endured till her death.

Musician in demand

Almost the first big singing opportunity was at the Music Academy’s annual conference of 1938, presided over by Ariyakkudi Ramanuja Iyengar and declared open by the Yuvaraja of Mysore. The first prize in vocal music went to Vasanthakokilam. From then on, she became a musician in demand. While the Academy was her launch-pad, it was the Indian Fine Arts Society, with its long tradition of supporting women artistes, that gave her many concert opportunities. Yet another Sabha that featured her often was the Nellai Sangeetha Sabha in Tirunelveli.

Apart from the glamour of the silver screen that she brought with her, Vasanthakokilam’s music offered plenty to attract audiences. The voice was high-pitched and clear and was easily able to bring off brigas. She had a large repertoire and sang plenty of Tamil songs. She made several of Shuddhananda Bharatiyar’s songs famous. The Tamil Isai movement, gaining ground in the 1940s found in her a ready supporter. She was a regular at the festivals of the Tamil Isai Sangam. The Tyagaraja Aradhana also saw her perform each year between 1942 and 1951.

Perhaps remembering her own sacrifices in making it big, Vasanthakokilam was particularly encouraging of young women artists. She was so impressed with a girl whom she heard in the temple at Sholingur that she offered to teach her music. This disciple, Andal, would later make it big for a short while in playback singing. When PR Thilagam, a Tiruvarur-based artist sang, Vasanthakokilam gifted her a tambura.

Comparisons with MS

Her rise to the top coincided with that of another star – M.S. Subbulakshmi. Comparisons are odious but were perhaps inevitable in this case. Both had high voices. Both were recording successes and were given prominence in the advertisements for gramophone records. Both had men named Sadasivam in their lives though it must be admitted that Vasanthakokilam’s Satchi was no match to T. Sadasivam when it came to career management. Both acted in films and both had played the role of Naradar. If M.S. Subbulakshmi was felicitated in Kumbhakonam and given the title of Isai Vani, Vasanthakokilam also was at the same town and given the title Madhuragita Vani! Even today, there are many who swear that the stakes between the two were evenly poised, though by 1951, M.S. Subbulakshmi had gone far ahead in terms of public image and adulation.

But then, 32 is hardly an age to die and who knows, if only Vasanthakokilam had lived…

(The author can be contacted at srirambts@gmail.com)

Rich repository of kritis

Source -http://www.hindu.com/fr/2007/04/06/stories/2007040600090300.htm

Rich repository of kritis

SULOCHANA PATTABHIRAMAN

In spite of his deep vidwath, Thiruvengadu Jayaraman sported a low profile and was never after opportunities, name, fame or lucre.

Thiruvengadu A. Jayaraman.

In recent months it can be said that Carnatic music has received several blows in the passing away of senior musicians — K.R. Kedharanathan, Vidhooshi T. Muktha, mridangam stalwart Kumbakonam Rajappa Iyer and now Thiruvengadu A. Jayaraman.

Jayaraman who hails from Thiruvengadu near Sirkazhi in Tamil Nadu was born on September 6, 1933.

Extremely passionate about classical Carnatic music, he opted out of school after basic education.

Natural talent

Initiated into classical music at the age of 10 by Melattur Swaminatha Dikshitar, Jayaraman's natural talent and sensibilities were finely honed by none other than the redoubtable Madurai Mani.

He stayed with his guru for over 20 years as part of his gurukula vasam and increased his repertoire of kritis and absorbed all the finer nuances of Carnatic music. He provided vocal support to Mani Iyer in many concerts.

A performing artiste of All India Radio since 1958, Jayaraman was ranked as a Top Grade Artiste by Prasar Bharati.

He was featured in the national programmes and Sangeet Sammelan concerts. Organisations all over the country invited him to perform.

Jayaraman was a repository of a wide range of compositions by the Trinity, Sivan, Muthaiah Bhagavathar, Oothukkadu Venkatakavi, Arunachala Kavirayar, Muthu Thandavar, Marimutha Pillai, Swati Tirunal, Purandaradasa and so on.

Jayaraman was an authority on the compositions of the Siddhar fraternity and this scribe remembers him with gratitude for his contribution to her archival project of All India Radio where he sang a concert of rare `Siddhar Paadalgal.'

Jayaraman was a treasure house of virutham, largely comprising sage Agasthya's verses in Tamil and his soulful rendition created a serene atmosphere.

He never traded traditional values for glitz, glitter or glamour. Although he strode the path of Madurai Mani Iyer faithfully for decades, he also evolved his own style of musical expression with sruti alignment, involved singing and captivating sarvalagu kalpanaswara.

Following the practice of his guru, Jayaraman always included a Navagraha kriti of Dikshitar in his kutcheris. Jayaraman, in spite of his deep vidwat, sported a low profile and was never one to elbow his way seeking opportunities, name, fame or lucre. The vidwan was a great devotee of Devi and his deeply religious bent of mind was perhaps the reason why he was performing the aradhana of Tyagaraja at Thiruvaiyaru for several years.

Jayaraman was the recipient of many awards and titles including the Sangita Kala Praveena, Gana Kalanidhi, Dikshitha Kirtana Gana Mani, the Bodhaka award from the Music Academy, Chennai, and the national eminence award for excellence in fine arts from Sri Jayendra Saraswathi.

The Sangeet Natak Akademi award in 2005 was perhaps the ultimate recognition of this great vidwan.

He has trained many students who are being recognised in the performing sphere.

A vidwan of great dignity, Jayaraman maintained an impeccable sense of decorum on the concert stage.

Wonderful human being

In the demise of Tiruvengadu Jayaraman, I have lost my elder brother, and the entire musical fraternity, which held him in high esteem, has lost a gem of a musician who commanded respect as a great scholar, teacher, performer and as a wonderful person.

He came into our family fold when he was 14, (I was five years old then) and became the eldest son to my parents, preceding me so naturally and remained that way till his last breath. He was the stern, but caring elder brother to me and my younger sister.

He taught me cycling, swimming, etc., and groomed us as it were. We had such fun together during those days.

Jayaraman was a true `Guru Bhakta Shiromani' and his bhakti for my uncle Madurai Mani Iyer and my father T.S.Vembu Iyer and his loyalty and affection for my family were quite out of the world.

He was very orthodox, pious, had the courage of his own conviction, would never compromise on traditional values, was a conservative to the core and had no use for new fangled ways and ideas.

Jayaraman was totally devoted to Goddess Meenakshi.

My wife Vijayalakshmi, sister Shantha and myself were at his bedside singing "Meenakshi Me Mudam Dehi," a kriti he loved. We were told that he attained Her Lotus Feet peacefully just ten minutes after we left. A poignant end indeed!

To our family and to me personally, his passing away has left a vacuum that cannot be filled and a loss that cannot be compensated.

T.V.SANKARANARAYANAN

T N Krishnan - Stringing life’s moments

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Stringing life’s moments

V. BALASUBRAMANIAN

On the eve of his 80th birthday, violin vidwan T. N. Krishnan talks about music then and now, and much more.

Sangitha Surabhi, Arsha Kala Bhushanam, Sangita Saamrat, Wisdom Star of India, Tamil Isai Vendar and Kala Ratna; hold your breath. For, all these titles have been awarded to violin maestro T.N. Krishnan within a span of 45 days beginning November 2008, creating a record of sorts. His effortless playing of varnams in three speeds is to be seen to be believed. What’s more, he has the ability to carry off a concert single-handed. Tomorrow (January 10), the maestro turns 80.

Excerpts from an interview:

On the shortening of concert duration and its effect on music…

Time constraint does affect concerts, particularly when you take up ragas such as Bhairavi, Todi, Khambodi and Sankarabharanam. Those days, ragas would be sung in three stages and at every stage, I would be allowed to play for a few minutes. The manobhavam will be at its best when you get this vishranthi. Also, rasikas also were patient. Today, things have changed drastically. The schedule is just restricted to 150 minutes and with the tani taking about 20 minutes, we are just left with 130 minutes. Within this time frame, not only will I have to settle down but also give my best. Quite tough. But we have to keep pace with change.

On monitors, sound check etc…

I dislike the presence of monitors on stage. I would only love to listen to the output that flows to the rasikas and play. Watching their reaction will help me adjust my playing. The monitors may not reflect what is being heard by the rasikas. Then this constant transaction with the sound engineer, signalling to him even as the concert is in progress is not etiquette. Sound check is a must for a light music orchestra with scores of violins, violas, cellos and drums. More the technological development, more the complications. When I play a phrase with dynamics, if the sound engineer increases or decreases the volume without understanding the nuances, imagine the consequences. He should have a thorough knowledge of music.

On the Ariyakkudi padhathi...

As everyone knows, he is the superstar of Carnatic music. The padhathi set by him is still going strong except for a few aberrations now and then, which I remember to have predicted about 10 years ago. A day may come when a concert may commence with a padam, javali or even ‘Prahlada Naradadi’. We should take the best out of his pattern instead of talking vociferously against it. His style of packaging concerts was unique and he was always successful in it. I think it is the greatest gift from him to the field.

On his experiences with Ariyakkudi...

There was always perfect camaraderie on his stage. He would give equal respect to all the accompanists irrespective of their age and experience. He always respected the sadas (audience) and would be a little scared every time he went on stage. Convincing him to accept a concert was not an easy task. He would always spot you in a crowd and greet you with love. He would never highlight the shortcomings of his saka vidwans on stage. Instead he would understand their strength and weakness. Active and energetic is what he expected us to be on stage and would not tolerate any sulking. Again, we were expected to have constant eye contact with him during the concert. No turning around to greet someone in the audience!

On violin accompanists today...

I have come across many promising youngsters with abundant talent. However, not everyone is allowed to blossom to their fullest capacity. I feel sorry for them. They are at the mercy of the main artist and have to play second fiddle in the real sense. I did not have such problems when I accompanied the stalwarts of those days.

On the challenges and outlook then…

Never was I informed about the pallavi for the concert by the vidwans with whom I was to play. It was really a challenge and when I came out unscathed, I would earn an inspiring ‘Sabaash’ or a ‘Bale’ from the seniors. Playing for stalwarts helped me hone my skills. Each of them had a unique style. All they knew was only music. They were prepared to go without concerts for days but would wait for opportunities. Ariyakkudi never referred to papers even in a thematic concert. Whether a sabha, a temple or a marriage concert, it was all the same for them. That is why their music is spoken about even today.

On his outlook on music then and now…

I have been playing for 76 long years. I still find something new in the Bhairavi varnam every time I play it. The feeling is fresh. Similarly, I enjoy playing the sadhaka varisais daily that help keeping me in fine fettle. Of course, in the initial stages playing a varnam was not a pleasant task. But once you get into its core, you would never feel like coming out at all. Varnams are a must in one’s daily practice routine.

On the Alathur Brothers…

They were famous for chittai singing and were an authority on pallavi singing. Not that the pallavi did not exist before them, but it attained a special status after them. They were intelligent enough to capitalise on their strength. They were strong in laya.

Looking back…

The field of music is an ocean and you will find everything in it. I have seen a lot of growth in the field. Music reflects one’s character. It is a form of yoga and gives you good health and shreyas. As Tyagaraja says, ‘suswara’ gives you a lot of energy. There is no substitute for hard work. Sometimes, the satisfaction I derive while practising, I may not find in a concert. It all depends on luck. Sadhakam lays the strong foundation but again one should not overdo it.

The son speaks…

PHOTO: V. GANESAN

TALENTED FAMILY: T. N. Krishnan with family.

T. N. Krishnan’s son Sriram says: ‘I do play like a professional but have not taken up violin playing as a profession. Music today has become an industry and it has its own advantages and disadvantages. The circumstances were different when my father started playing. I cannot compromise on certain issues because of my temperament. I’d rather play for a limited audience comprising my friends at home or in a chamber instead playing for 52 week.’

‘Call me GNB’

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ENCORE

‘Call me GNB’

SRIRAM VENKATKRISHNAN

Most of his knowledge had been acquired by listening intently to music, assimilating it and later making it his own.

Star: G.N. Balasubramaniam

It was said of him that letters simply addressed as “GNB, Madras” would make their way to his residence, such being his star status. And considering that he frequently shifted home, this was no mean task.

The Prince Charming of Carnatic Music, G.N. Balasubramaniam, GNB to fans and friends, both of which were legion, presided over the annual conference of the Music Academy in 1958, exactly fifty years ago.

On January 1, 1959, the birudu and insignia of Sangita Kalanidhi was conferred on him and as befitting his stature “a large and distinguished gathering of musicians and music lovers was present at the P.S. High School pandal, where the function was held and cheered GNB” (The Hindu, January 2, 1959). It must be remembered here that the Academys’s present auditorium was still being built.

Guru-sishya relationship

The Governor of Kerala, Dr. B Ramakrishna Rao presided over the event and in his speech “stressed the value of guru-sishya relationship and said that the lack of that personal relationship between the teacher and the taught was responsible for the calamitous things that that had happened in the field of general education.”

It was rather ironic that the Governor chose guru-sishya relationship as the theme of his talk, for GNB was rather unique in that respect.

Barring his initial learning under his father G.V. Narayanaswami Iyer, some further training under Madurai Subramania Iyer and still later a couple years under Tiger Varadachariar, GNB hardly had any guru to speak of. Most of his knowledge had been acquired by listening intently to music, assimilating it and later making it his own, giving it his unique stamp by means of his great intellect.

New phenomenon

His briga based music was a new phenomenon in the world of Carnatic Music. In fact, the citation mentioned that with “a unique style of his own and a speedy virtuosity of voice he gained a large popularity and a school of followers and pupils.” Of course, not everyone felt comfortable with his music and some detractors even went to extent of calling it ‘English Sangeetham,’ owing to GNB possessing a BA (Hons) degree in English literature.

It is interesting to read that the Academy’s sadas began on that day with a prayer sung by KV Narayanaswami, then a rising star. It must have made up somewhat for the absence of KVN’s guru, Ariyakkudi Ramanuja Iyengar who was in those years not accepting any concert opportunities at the Music Academy. GNB must have missed Ariyakkudi keenly, for to him Ariyakkudi was the very embodiment of music.

Among the vidwans assembled on the occasion, mention must be made of GNB’s close friends, T Chowdiah and Palani Subramania Pillai. Both spoke on the occasion and Palani in his speech complimented GNB for the way in which he conducted the Academy’s annual conference that year. Madurai Mani Iyer too was present and said “that he was very happy that his friend GNB was honoured on the occasion. Whenever GNB and he met, they would be speaking for hours on the intricacies of music. The music of GNB was noted for its verve.” GNB was still a relative youngster and there were seniors present as well. Among them, Tiruvizhimizhalai Subramania Pillai (the first nagaswaram artist to be conferred the title of Sangita Kalanidhi) and Annasami Bhagavatar, the Harikatha exponent, spoke.

In his acceptance speech, GNB said that he owed his present position to “his father, Tiger Varadachariar and Sri Ramanuja Iyengar.” He must have remembered the early days when Ariyakkudi was a frequent visitor at home. That was a period when GNB’s speed of singing had worried his father no end and he had consulted Ariyakkudi about it. The latter had said that a natural voice should never be tampered with and had encouraged GNB to sing the way he felt best.

GNB had always prided himself on being an “Academy boy” for he had performed along with Tiger Varadachariar as early as 1932 when the Teachers College of Music was begun by the Academy. His speech therefore also paid tributes to the institution. He said that “The Expert Committee of the Music Academy was an august body and he had not had the courage to reject the offer of Presidentship of the conference.” He said that “art was big and an artist was a mere dwarf before a giant”.

Unknowingly or perhaps otherwise, GNB had also sparked off another revolution in Carnatic music, albeit a minor one. With him, the trend of referring to musicians by initials and not by village name began and his were perhaps the most famous initials among them all. And so he wound his speech up with the request that “the musically minded public would continue to call him “GNB””!

(The author can be contacted at srirambts@gmail.com)

‘Jagadaanandakaaraka’ — the invocation

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‘Jagadaanandakaaraka’ — the invocation

LAKSHMI DEVNATH

Containing 108 epithets of Rama, this kriti is of special significance. Bagula Panchami falls on January 15.

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Tyagaraja decides to reiterate that Rama is the creator, protector and destroyer of the Universe. He, of unparalleled form, shines as the hero of the Ramayana — a story marked by melody and compassion.

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Photo.R. Shivaji Rao

NADOPASANA: This painting adorns a wall of the Tyagaraja’s samadi at Tiruvaiyaru.

‘Jagadaanandakaaraka’ — one who makes the entire world happy. That is the opening phrase of a composition — a gem that sings the glories of Rama. Tyagaraja, the composer, chose to embed this jewel in Sanskrit and in the majestic raga Nattai. That Ghana raga was capable of projecting shades, brilliant and subtle. Tyagaraja further shaped the scale of the raga to discard the vivadi note — dhaivata. The other vivadi note Rishaba was handled with great sensitivity. The raga continued to retain its identity.

The song moves on — ‘Jaya Janaki Praana Naayaka.’ The auspicious word “Jaya” finds a place in the pallavi. Rama’s fame had been heightened by his marital association with Janaki. Not surprising. Wasn’t she the daughter of Janaka, reputed for his spiritual wisdom?

Ancestry of Rama

‘Gaganaadhipa Satkulaja…’ The anupallavi firmly establishes the distinguished ancestry of Rama. Just as the radiant sun presides over the skies, the brilliant kings of the Solar dynasty dazzled the earth. Adding to this effulgence was Rama, God in human form. An overwhelmed Tyagaraja sings that He is a “bhavya daayaka” — bestowing his devotees with all that is auspicious. Tyagaraja seals his claim and the anupallavi with the words “sada” (always) and “sakala” (everything).

The third segment of the composition begins. Ten charanams vie with each other to portray several aspects, mystic and musical. Raga nuances, swaras that caper, crisscross and group themselves in increasing and decreasing formations, effective use of octaves, mridangam jatis, quaint Sanskrit usages… all these communicate that Tyagaraja, the devotee, was also a consummate composer. For the opening notes of these charanams, the composer confines his options to Sa or Pa.

‘Amara Taaraka Nichaya Kumudahita …’ The musical phrase, in the first charanam, glides downwards from ‘Sa’ to briefly linger on ‘Pa’ of the lower octave. The poet in Tyagaraja seems to look up and perceive Rama as a moon amongst devas, shimmering like a cluster of stars. Rama is the wish-giving Kalpa tree, fulfilling their desires; he is the sum total of everything in the universe. And therefore, it seems natural for Tyagaraja to see Govinda in Rama and sing of him as, ‘Dadhi Payodhivaasa Harana’ — one who steals pots filled with milk and curds.

‘Nigama Neeraja Amrtaja…’ Rama, the Supreme is the One who nourishes the lotus-like Vedas, a part of which is the nectarine Samaveda, from which is born Nada — musical sound. The very next phrase is, ‘Animishavairi Vaarida Sameerana.’ Like wind effortlessly scattering away clouds, Rama whiffs away the demons.

The reverential rhapsody now shifts to describing Rama’s beautiful form. ‘Indraneelamani Sannibha Apaghana…’ His blue-hued body is like the Indraneelamani gem. The sun and the moon are his eyes and he lies on the fair serpent, Adisesha.

‘Paada Vijita Mauni Shaapa…’ The verse unfurls to provide a visual imagery of random events from the Baalakaanda of the Ramayana. A redeemed Akalya bows down to Rama. Rama accords Visvamitra the enviable status of his guru and learns from him a mantras that include the powerful Bala and Atibala. Tyagaraja slips further into his reverie. The primordial Lord, at the request of Brahma, had taken on a human form and along with that, innumerable trials and tribulations. In the face of them all, he had displayed exemplary grace and amazing stoicism.

‘Srishti Sthithi Antakaara…’ Tyagaraja decides to reiterate that Rama is the creator, protector and destroyer of the Universe. He, of unparalleled form, shines as the hero of the Ramayana — a story marked by melody and compassion.

In the next verse beginning, ‘Sajjana Maanasa…’ Tyagaraja decides to honour Hanuman, the peerless devotee of Rama. ‘Surasaaripu Karaabja Laalitacharana…’ Hanuman, the enemy of the gory demon, Surasa, caresses the feet of Rama with his lotus-like palms. In one masterful flourish, Tyagaraja showcases the contrasting attributes of Hanuman — strength and tenderness. Alongside shines the composer’s laudable talent for clarity in brevity.

Potent mantra

The composition nears its conclusion. Tyagaraja provides the world a clue to attain Rama. ‘Omkaara Panjarakeera…’ Like a parrot in a cage, Rama is trapped in the potent mantra, Omkaara. Thereafter, a set of lovely phrases follows that gives one glimpses of the Lord. Highlighting all these is the concept of Saranagati — unconditional surrender to the Lord.

It is now time for Tyagaraja to bring in Vaalmeeki, the author of the Ramayana. This Aadikavi, in Tyagaraja’s words is, “Kaveena” — king amongst poets. Tyagaraja further describes the poet as “Bilajamauni.” Found in a state of meditation in a Valmeeka, ant hill, the poet came to be called Vaalmeeki. Since, in Sanskrit, the anthill is also described as Sarpabila — the home of serpents, the poet in Tyagaraja may have used the phrase “Bilajamauni.”

“Purana Purusha… ” These mark the opening words of the penultimate charana. The Sanskrit word Puraana translates as, old yet new. The verse expands to describe that the eternal Lord, in his birth as Rama, had rid the world of Ravana and his clan. Ravana means one who makes everyone cry. Tyagaraja sings, “Khara, Viradha, Ravana Viravana…” Here, Tyagaraja’s usage of the word “Viravana” is uncanny. Rama had driven the entire Rakshasa clan including the mighty Ravana to tears.

Hailing the innumerable qualities of Rama, the composition draws to a close. In the last three charanams, Tyagaraja reiterates his devotion to Rama by bringing in the word, “Tyagarajanuta” in each of them.

‘Jagadaanandakaaraka,’ along with ‘Dudukugala,’ ‘Sadhinchene,’ ‘Kana kana ruchira’ and ‘Endaro Mahanubhavulu’ stands labelled, in a unique category, as Pancharatna — five gems. ‘Jagadaanandakaaraka’ is entirely invocatory containing 108 epithets of Rama. There are other sets of ‘five compositions.’ The late scholar, T.S. Parthasarathy opined that those be described as Panchakas and not Pancharatna-s. Pancharatna-s are sung as swara-sahitya (swara and lyrics). From the 1940s, these continue to be regularly sung at the Aradhana.

It is recorded that, in Tyagaraja’s time, there was a criticism that he lacked “swarajnaana” (knowledge of swaras) and that his compositions, devotional as they were, lacked musical value. The Pancharatna-s, imposing examples of musical and poetic architecture, belie any criticism. All five are veritable “Jagadaanandakaaraka—s”

Nottuswara Sahityam- Dikshitar and the English connection

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Dikshitar and the English connection

‘Vismaya’ features the composer’s songs inspired by the West

More to Dikshitar Kanniks Kannikeswaran and his daughter Vidita at the launch

You could call it ‘colonial fusion’. Nearly 200 years ago, a collection of Celtic folk songs, English waltzes, marches, jigs, and reels were set to Sanskrit verses by the well-known composer Muthuswami Dikshitar (1775-1835). Now this fascinating but virtually-unknown part of our cultural heritage has been brought to the fore by U.S.-based Kanniks Kannikeswaran with his new CD, Vismaya — Nottusvara Sahityas of Dikshitar.

Recently released in India, the CD is the first complete recording of Dikshitar’s songs, collectively known as the Nottusvara Sahityas. Kannikeswaran spent three years researching these old compositions, putting together 39 of them for this CD.

“While growing up in Georgetown in Madras, I heard the temple bands playing these songs, and was charmed by them,” says Kannikeswaran. “I even learnt five of them when I learnt Carnatic music as a child.”

Delightful

But it wasn’t until he began teaching these songs to his own daughter and other children in his neighbourhood in the U.S. that he realised just how delightful they were.

“I found that regardless of their mother tongue, all children enjoyed these lively waltzes and jigs,” he recalls. “I realised they needed to be recorded, so I began to research them.”

What he found was that Dikshitar had written Sanskrit lyrics to 39 Western tunes that had arrived on Indian soil (‘God Save the King’ for example, became ‘Santatam Pahimam’), a handful apparently at the behest of a British collector. “It’s not clear why he wrote the rest, but when you look at his lyrics for these compositions, they’re in no way inferior to what he wrote for heavier kritis,” comments Kannikeswaran.

Fittingly, the songs have been recorded by his 12-year-old daughter Vidita in the U.S. with Celtic orchestration. “It was a great learning experience,” he says. “The Celtic musicians especially were fascinated — they were like, how did these tunes get to India?”

That, indeed, is the most interesting aspect of it all, says Kannikeswaran: “‘Kamalasana Vandita’, for example, was originally a European tune that migrated to the U.K. before travelling to India and also to the U.S., where it became part of the Apalachian music tradition. The whole thing is a study in inclusion and globalisation.”

These are themes this alumnus of IIT-Madras has long been interested in. A business intelligence consultant and the founder of The American School of Indian Art in Cincinnati, he’s worked on other cultural projects such as ‘Shanti’, a raga-based choral work performed by the community choir of 150 voices, and temple.net, a website that provides information on some 2,000 Indian temples he’s researched on.

But Vismaya is particularly close to his heart. “The question I keep asking is how did I not know about these songs all along? I lived right there in Parry’s Corner where temple bands played them all the time,” he says.

“They are a chunk of our cultural history that’s simply not thought about.”

Vismaya is available at various retail outlets. Kannikeswaran can be reached at 98404-59225 or at kanniks@yahoo.com.

DIVYA KUMAR