Vid. Sudha Raghunathan - 2007 Ramanavami Concert at Parvathi

Sangeetha Kalanidhi Vid. Sudha Raghunathan - Sri Ramanavami 2007

One of the favourites of the Parvathi audiences, and a celebrated concert artiste for over three decades, Vid. Sudha Raghunathan performed in 2007 at Parvathi to a full house. Unfortunately, the audio we can retrieve is a "hall recording" with significant sound degradation. However, the concert stands as a testament to Vid. Sudha's calibre and concert aesthetics. 

We decided to ask Perplexity.AI to list five notable facts about Vid. Sudha. Here is what it told us!!!

Here are the five best things one can say about Vid. Sudha Raghunathan:

One of India’s foremost Carnatic vocalists and a Padma Bhushan awardee: Sudha Raghunathan is widely recognized as one of the leading exponents of Carnatic music, having been honored with some of the country's highest civilian awards including the Padma Bhushan (2015) and Padma Shri (2004).

Recipient of the prestigious Sangeetha Kalanidhi: She was awarded the Sangeetha Kalanidhi by the Madras Music Academy, a distinction regarded as the highest honor in Carnatic music, and she was among the youngest to receive it, marking a generational transition in the field.

Innovator and global ambassador for Carnatic music: Sudha has evolved a distinctive style, blending tradition with innovation, and has performed at major venues worldwide, including being the only Carnatic musician after M.S. Subbulakshmi to sing at the United Nations. Her repertoire spans over 200 albums and includes forays into film and fusion music.

Dedicated disciple and torchbearer of a legendary lineage: She is a direct disciple of the legendary Dr. M.L. Vasanthakumari, and has carried forward her guru’s legacy, both musically and in her approach to professionalism, resilience, and stage presence.

Committed philanthropist and educator: Beyond music, Sudha Raghunathan has made significant contributions to society through her Samudhaaya Foundation, supporting numerous social causes including health, education, and disaster relief, and actively promoting music education and outreach.

These qualities underscore her artistic excellence, pioneering spirit, and social commitment, making her a role model in the world of Indian classical music and beyond.

Concert Details 

 Sudha Raghunathan - Vocal

 Mysore V. Srikanth - Violin 

 C. Cheluvaraj - Mridangam 

 M.A. Krishnamurthy - Ghatam 

 Date: 27 March 2007.

 Sri Ramanavami Festival conducted at the home of "Parvathi".

Song List

1. Shloka and Mathe Malayadhwaja - Khamach - Muthiah Bhagavatar
2. Vatapi Ganapathim - Hamsadhwani - M. Dikshitar
3. Shloka and Jaya Jaya Janakikantha - Nata - Purandaradasa
4. Endaro Mahanubhavulu - Sriraga Pancharathna - Thyagaraja
5. Nagumomu - Abheri - Thyagaraja
6. Marivere Dikkevaraiyya Rama - Shanmukhapriya - Patnam Subrahmanya Ayyar
7. Kurai Ondrum Illai - Ragamalika - Rajaji
8. Shloka - Bhavayami Gopalabalam - Yamuna Kalyani - Annamacharya
9. Gandhamu puyyaruga - Punnagavarali - Thyagaraja
10. Ragamalika - Uga bhoga - Baro Krishnayya - Kanakadasa
11. Viruttam - Rama Namame - Tanjavur Sankara Iyer
12. Brahmam Okate - Bauli - Annamacharya
13. Mangalam

 

Sudha Raghunathan – A Worthy Inheritor and a Shining Star

Padma Bhushan Vid. Sudha Raghunathan - Sri Ramanavami 2005

The mantle of the MLV bani sits lightly on the most successful lady musician on the Carnatic scene of the past 30 years. Vid. Sudha Ragunathan has performed at the Madras Music Season every year since 1990, the very year in which her Guru Dr. ML Vasanthakumari breathed her last. 

In 2013 she was awarded the Sangita Kalanidhi of the Madras Music Academy. She was awarded the Padma Bhushan, India's third-highest civilian honour, in January 2015. 

Her charities are very well known, carried out by her trust. Her musical collaborations, from performing with Dr. Balamuralikrishna to joining groups that created world music, are prolific and fascinating.

Vid. Sudha’s energy, charm and creativity were on full display during the Covid lockdown. She conducted a number of exciting sessions with musicians and other personalities of all ages in a warm tête-à-tête style. She even had live cooking sessions on her YouTube channel, where she sang and cooked at the same time!

We have featured several concerts of Vid. Sudha Raghunathan in the Parvathi blog already. She has been a regular in our festivals and a much acclaimed star for the Parvathi audiences.

In this 2005 concert, Vid. Sudha presents a rich bouquet of songs from many composers. Her easy style of reaching top octave notes is on display early in the concert. . All the accompanists are established names from Karnataka. Her essay of Todi and the song Chesinadella are captivating. Behind her ease in negotiating the high notes and an easy fluidity characteristic of her music lies hidden her lifelong Sadhana in a successful journey prophesied by none other than Bhagavan Sathya Sai Baba.

Concert Details

 Sudha Raghunathan - Vocal

 Mysore V. Srikanth - Violin 

 C. Cheluvaraj - Mridangam 

 M.A. Krishnamurthy - Ghatam 

 Date 21 April 2005 

 Sri Ramanavami Festival conducted at the home of "Parvathi"

Song List

1. Viriboni – Bhairavi Atatala Varnam – Pachimiriyam Adiyappayya
2. Gajavadana Beduve – Hamsadhvani – Purandara Dasa 
3. Ramanatham Bhajeyam – Pantuvarali – Muthuswami Dikshitar 
4. Mokshamu Galada – Saramathi – Thyagaraja 
5. Bhavayami Raghuramam – Ragamalika – Swathi Thirunal 
6. Dayarani – Mohana – Thyagaraja 
7. Akhilandeshwari – Dwijavanthi – Muthuswami Dikshitar 
8. Vidajaladura – Janaranjani – Thyagaraja
9. Jesinadella Marachitivo – Todi – Thyagaraja 
10. Kurai Onrum Illai – Ragamalika – C. Rajagopalachari 
11. Maneyinda Santhosha – Ugabhoga – Yamuna Kalyani – Sripadaraja 
12. Hari Smarane Mado –Yamuna Kalyani – Purandara Dasa 
13. Brahmam Okate – Bowli - Annamacharya 
14. Mangalam

ಉಗಾಭೋಗದ ಸಾಹಿತ್ಯ: 

ಮನೆಯಿಂದ ಸಂತೋಷ ಕೆಲವರಿಗೆ ಲೋಕದಲಿ 

ಧನದಿಂದ ಸಂತೋಷ ಕೆಲವರಿಗೆ ಲೋಕದಲಿ 

ವನಿತೆಯಿಂದ ಸಂತೋಷ ಕೆಲವರಿಗೆ ಲೋಕದಲಿ 

ತನಯನಿಂದ ಸಂತೋಷ ಕೆಲವರಿಗೆ ಲೋಕದಲಿ 

ಇನಿತು ಸಂತೋಷ ಅವರವರಿಗಾಗಲಿ ನಿನ್ನ ನೆನೆವೋ ಸಂತೋಷ ಎನಗಾಗಲಿ ನಮ್ಮ ರಂಗವಿಠ್ಠಲ ॥

Mother worship in Carnatic music

Vids. M. Chandrasekharan and Bharathi
K.Puttu Rao Memorial Violin Concert 2014

Review by R. Sachi

Welcoming the spring season of 2018, called Vasanta Ritu in India, we offer you a lovely violin concert by Sangeetha Kalanidhi Sri. M. Chandrasekharan, accompanied by his daughter and disciple Vid. Bharathi. The accompaniment by Vid. Cheluvaraju on the mridangam and Vid. Ramanujam on the ghatam complete a great team offering rich music in the Carnatic idiom.

Vid. Chandrasekharan is noted for his patent dark glasses as well as his singing violin with a unique personality. He has provided superb violin accompaniment for many decades to the best Carnatic musicians. His sensitive and imaginative approach to solo music is also recognised by rasikas. “Chandru” is a dear friend at the home of Parvathi and he has performed dozens of times in the Parvathi festivals. He casts a timeless charm even today on the audiences.

We have given much information about the Vidwan and his association with Parvathi in the previous concert postings. However, the subject of his mother’s influence on his music, and its importance in the context of Carnatic music, cannot be overemphasized.

Chandru’s violin guru was his mother, Smt. Charubala Mohan. We quote him from an interview to the Times of India in 2016:

Elaborating on her teaching style, Chandrasekaran says, "Her unimposing attitude gave me ample freedom to develop my own style and also appreciate various kinds of traditional music." Recalling one of his practice sessions with a smile, he says, "Just once she gave a gentle tap on my thigh because the bow for the violin kept slipping even after she taught me the technique. After that, I started doing it correctly."

Understanding the importance of exposure, Charubala ensured her son did not miss out on the performances of Carnatic stalwarts. From techniques to compositions, young 'Chandra' - as she fondly called him developed an ear for a variety of styles. "My mother would accompany me for almost every concert. If she couldn't make it, she made sure she sent someone with me. I rarely missed a performance," he reminisces.

The idea of the Mother Goddess is unique to Hinduism. Further, in Carnatic music, we have a huge body of compositions worshipping the Mother. In his famous Darini Telusukonti, Saint Thyagaraja says:

The saint was a devotee of Sri Rama, but found it fit to make this prayer to the Mother Goddess. This kind of prayer to the Mother pervades the krithis of many other composers, too, particularly Sri.Shyama Shastri, and Sri. Muthuswami Dikshitar.

Come, let us enjoy a lovely concert from a veteran master and his talented daughter!

Concert Details


M.Chandrashekharan --------- Violin
Bharathi --------------------------- Violin
Cheluvaraju ----------------------- Mridangam
Ramanujam --------------------- Ghatam

on 4-9-2014 during K.Puttu Rao Music Festival at Mysore.

01 Siddhi Vinayakam Anisham-Muthuswami Dikshitar-Chamaram (Shanmukha Priya) *** 02 Sri Jaalandhara-Jayachamaraja Wadiyar-Gambhira Nata *** 03 Enta Muddo-Thyagaraja-BinduMalini *** 04 Dattatreya Trimurtirupa-Ganapathi Sacchidananda Swamiji-Ranjani *** 05 Nagumomu-Thyagaraja –Abheri - ragamalika swaras medley: Begada, Basant, Desh followed by Tani *** 06 Tune only-Bagesri *** 07 BaroKrishnayya-Kanakadasa-Ragamalike *** 08 BhagyadaLakshmi-Purandaradasa-Madhyamavati ***

The Mysore Veena spoke in His Hands

Sangeetha Kalanidhi V. Doreswamy Iyengar (1997)

Reminiscences from R. Sachi

We are happy to share on the eve of Ugadi a beautiful veena concert from 1997 of Vidwan Doreswamy Iyengar. His concert in the first year of the Ramanavami festival, 1970, has already been shared here.

The featured concert of 1997 would be his last in Parvathi since he left his mortal coil in the same year.

In this concert, even at the age of 77, Sri Doreswamy Iyengar has shown his famous touch of class. Ragas like Narayanagowla, Harikambhoji, Purvikalyani and Todi come out in splendid finery. His veena speaks and sings with such melody. The tempo is really easy on the ears. The concert shows what Sri Doreswamy Iyengar was most loved for... the true sweetness of the Mysore Veena bani.

Sri Iyengar shared a close friendship with Mr. K. Srikantiah and used to spend long hours with him and RK Narayan, the famous writer in the beautiful city of Mysore. The three formed a kind of three musketeers. Sri Doreswamy Iyengar was honoured by the home of Parvathi during the silver jubilee of the Parvathi concerts in 1994 (photo here).

Here is a translation of the page on Sri Doreswamy Iyengar in the Kannada musical encyclopedia, “Karnataka Sangita Vishaya Vishwa Kosha” (author Dr. V.S. Sampathkumaracharya, pub. DVK, Mysore, 2012):

========

Veene Doreswamy Iyengar (1920-1997)

A famous contemporary vainika, V. Doreswamy Iyengar was born in 1920 in the family of Veena and Flute maestro Venkatesha Iyengar. He began his musical training under his father on the veena and later received advanced training under Asthana Vidwan Vainika Venkatagiriyappa. He performed when he was 14 in the presence of Nalwadi Krishnaraja Wodeyar and received the king’s appreciation. He passed BA in Mysore Maharaja’s College.

His first public performance was in 1943 Ramotsava in Bangalore. Since then he has performed at every venue known for Carnatic music, and also Bombay, Calcutta, Delhi and other cities. Apart from solo appearances nationwide, he has performed with Ali Akbar Khan and Halim Jaffer Khan. He has performed duets with T. Chowdiah for over 10 years. He has performed with Dr. Balamurali Krishna in a veena-viola duet. He represented India at the international music conference in Shiraz, Iran in 1969. He travelled and performed in many concerts in Europe and America. He served for several years until retirement as the music producer in AIR, Bangalore. He was awarded the Central Sangeet Natak Akademi award in 1970. He was the eighth president of the Bangalore Gayana Samaja conference and received the title Sangeetha Kala Ratna. The Mysore University awarded him an honorary doctorate.

Iyengar’s veena style touches the heart. His plucking is majestic in gait, pleasant always and melodious. His raga essays are filled with rich manodharma and his kalpana swaras show great expertise. His style of play is predominantly gayaki. Natakurinji, Hamir Kalyani, Todi, Kalyani, Shankarabharana, Kharaharapriya, Kambhoji, Shanmukhapriya, Jinjhuti, Darbari Kanada – in these ragas, his renditions showcase his unique style. He received the Padma Bhushan from the Government of India. He served as the head of Karanataka Sangeetha Nataka Academy. He presided over the 1984 conference of the Madras Music Academy and was conferred the Sangeetha Kalanidhi title.

Among his numerous disciples are his son D. Balakrishna and Mysore C. Krishnamurthy.

=====

Concert Details

V.Doreswamy Iyengar ----------- Veena
D.Balakrishna ---------- Veena accompaniment
Cheluvaraj ---------------- Mridangam
M.A.Krishnamurthy ----- Ghatam
on 24-4-97 during Ramanavami.

Song List

1. Sarasuda- Saveri varnam - Kothavasal Venkatarama Iyer *** 2. Vallabha Nayakasya-Begada-Muthuswami Dikshitar *** 3. Teliyaleru Rama - Dhenuka- Thyagaraja *** 4. Shobhillu- Jaganmohini-Thyagaraja *** 5. Chani Todi-Harkambhoji-Thyagaraja *** 6. Ninnuvinaga mari- Purvi Kalyani- Shyama Shastri *** 7. Narayanagowla Tana+Sri Ramam- Thyagaraja *** 8. Tani 9. Koluvamaragada-Todi-Thyagaraja *** 10. Marulukonnadira - Khamach Javali- Ramnad Srinivasa Iyengar *** 11. Sapashyat- Jaunpuri - Panchapakesha Shastri *** 12. ??Jinjhuti 13. Mangalam

Traditional Song and Western Influences

Vid. Rajkumar Bharathi – Vocal Concert 1998: "Parvathi" Ramanavami Music Festival

By R. Sachi

We are pleased to share with rasikas worldwide the concert from the Ramanavami series 1998 of Vid. Rajkumar Bharathi. This very enjoyable concert has traditional Carnatic fare as well as a lovely “English” note of Thyagaraja-swami and also a patriotic song of the famous Tamil literateur Subrahmanya Bharathi, the renaissance poet of the early 20^th century, who stridently voiced the spirit of the Indian freedom struggle and gave a whole region much inspirational poetry.

Rajkumar Bharathi is the great grandson of Sri Subrahmanya Bharathi.  For Rajkumar Bharathi it was but natural to be associated with music owing to his family’s keen interest in art and literature. By the instructions of his music guru, Sangeetha Kalanidhi T. V. Gopalakrishnan, Rajkumar decided to quit his engineering job in an R&D division and devote his time for classical music.

Rajkumar Bharathi has given Classical Carnatic music concerts throughout India and abroad. His career spans classical music, bhavageethe, film playback singing, composing for classical dance, international fusion and choir music and teaching. He has many audio cassettes and CDs to his credit. His voice is very popular across Karnataka for his clear diction and melodious singing of Kannada compositions.

The concert has excellent accompaniment from Sri Manjunath and Sri Cheluvaraju.

The concert features an interesting composition, not often heard, of Saint Thyagaraja, which sounds very much like an English note. The words are meaningful and clever. We reproduce the lyric and meaning, taken from sahityam.net:

The Subrahmanya Bharathi song in Behag reflects the aspirations of a resurgent India, a century ago, when the population was just 30 crores! The spirit of the nation and also the “modern” spirit of national pride was the product ironically of the efforts of the English rule to create a single nation patched up from several smaller princely states. The result was a “critical” mass of national spirit.

Come, let us enjoy the concert!

Concert Details

Rajkumar Bharathi -----------------  Vocal

Mysore Manjunath ----------------- Violin

Cheluvaraj ------------------------- Mridangam

Srinath ----------------------------- Ghatam

          on 13-4-98 During Ramanavami.

Song List

01. Chalamela -Atatala Varna Shankarabharanam- Swathi Thirunal *** 02. Vandisuvudadiyali- Nata- Purandaradasa *** 03. Sri Rama -Purnachandrika - Thyagaraja *** 04. Sunadavinodini alapana 05. Devadideva - Sunadavinodini- Mysore Vasudevachar *** 06. Chintane Sada - Kunthalavarali - Thygaraja *** 07. Madhyamavathi alapana *** 08. Ramakathasaudha - Madhyamavathi - Thyagaraja *** 09. Ramanamava Nudi Nudi- Ragamalika (Desh,Vasanthi,Brindavani)- Purandaradasa  *** 10. Hanumana matave - Jog- Purandaradasa *** 11. Varaleelaganalola -Shankarabharana-Thyagaraja *** 12.  Bharathasamudhayam-Behag-Bharatiyar *** 13. Mangalam 

The Mother Goddess in our Prayers – Parvathi

Vid. Chandan Kumar – Flute, 2013 K. Puttu Rao Festival

An Appreciation by Shri R. Sachi

We extend our season’s greetings to Rasikas worldwide as we share a lovely flute recital recording. Vidwan Chandan Kumar, the great-grand son of the legend Mysore T. Chowdiah, is a well-known, highly talented, flautist with concert engagements around the globe. He has a pleasant blowing technique and brings considerable vidwat into play with a wide repertoire. In this concert, he offers a range of krithis with some excellent violin and percussion accompaniment.

In his remarks to the audience, Mr. Srikantiah shares his appreciation of Chandan Kumar’s flute technique and states how, per his request, the concert includes famous compositions of Mysore Vasudevachar. The youngster’s music carries the blessing of the violin legend Vid. Chowdiah.

Mr. K. Srikantiah also records his affection and appreciation for the long musical career, as a performer as well as an excellent teacher, of Vid. H. K. Narasimhamurthy, who has produced many violinists shining on the concert stage today.

Coming to the fare in this concert, Vid. Chandan Kumar presents a rare krithi of Sri Muthuswami Dikshitar in the raga Dharmavati (called Dhaamavati in the asampurna paddhati). The song itself is a prayer to Parvathi (the text is reproduced below from Vid. T. K. Govinda Rao’s compilation):

It is a notable aspect of Carnatic music that all vaggeyakaras, from Purandara Dasa to the Trinity as well as the 20th century composers like Papanasam Sivan and Vasudevachar, have composed works in praise of the mother goddess.

Just like the presiding deity of Mysore is the goddess Chamundi, the presiding deity of the family of Mr. Srikantiah is goddess Parvathi. The genius of our civilization is exemplified by the worship of the mother goddess. We combine the ideas of the Eternal Principle, earthly beauty and filial affection in a unique way in our worship. Sri Adi Shankara’s Soundarya Lahari is a veritable blueprint for seeking salvation through prayer to the Mother Goddess. In this composition, Sri Dikshitar gives a quick résumé of Parvathi: the youthful consort of Shiva, the Eternal Light and ever-loving Mother.

Come, let us enjoy an excellent flute concert of nearly three hours.

Concert Details

M.A.Chandan Kumar ----- Flute
H.M.Smitha ------------------- Violin
C.Cheluvaraj --------------- Mridangam
G.S.Ramanujam ----------- Ghatam
on 2-9-2013 during K.Puttu Rao Memorial Music Festival at Mysore.

Song List

01. Evari Bodhana- Abhogi- Patnam Subramanya Iyer *** 02. VinayakaNinnuVina-Hamsadwani- E.V.Ramakrishna Bhagavatar
*** 03. TeliyaleruRama- Dhenuka- Thyagaraja *** 04. Bhajare Re Manasa- Abheri- Mysore Vasudevachar *** 05. Parandhamavati- Dharmavathi- Muthuswami Diskhitar *** 06. RaghuvamshaSudha- KadanaKutuhala- Patnam Subramanya Iyer *** 07. RaRaRajeevaLochana- Mohana- Mysore Vasudevachar + Tani *** 08. Speech-K Srikantiah *** 09. Govardhana Giridhari- Darbari Kanada – Narayana Tirtha *** 10. Tillana- Dhanasri- Swati Thirunal ***

Divine Grace- its Processes and Effects

Hyderabad Brothers, 1998 - Ramanavami

An introspection by Shri R. Sachi

We are very happy to share with Rasikas worldwide excerpts from a brilliant vocal duet of the senior vidwans, D. Seshachary and D. Raghavachary, popularly known as Hyderabad Brothers, held during the Ramanavami festival at "Parvathi", Mysore, in 1998.

The Hyderabad Brothers duo made a mark for themselves during late 1970’s and have won many honours since, especially the prizes for for the best concerts of the season in the Music Academy, Madras, year after year. They have a beautiful vocal duet technique and employ a deeply classical idiom to connect instantly with their audiences. They received the Sangeet Natak Akademi award for the year 2013.

The excerpts we share here have an enduring musical value. Consider the range of ragas essayed: Nata, Sriranjani, Ravichandrika, Kambhoji, Bhairavi, Tilang, Durga…What a range of krithis, and what contemplative lyrical depth. Many of the compositions dwell on the aspect of divine grace. What is divine grace and how does one become ready for it?

The very first song, a classic composition of Muthuswami Dikshitar, gives an inkling…

Swaaminaatha paripaalayaashu maam… kaamitaartha vitarana …bodha roopa nityaananda karana

So at a basic level, the Lord protects and nurtures us. At the next level, He fulfils our desires and wants. But His grace has its full effect in enlightening us on the ultimate reality of divine bliss, and taking us beyond worldly wants.

The following songs also highlight the same theme:

Brochevaarevare…bhavaabdhitaraNopaayamu nerani tyaagaraajuni karambidi..

Who else, but you, oh Rama, will take me across by hand over the ocean of worldliness.

Niravadhisukhadaa..saadhumaanasa susadana

Dwelling in the pure heart, you confer eternal bliss…

The Kshetrayya padam sung here, Rama Rama in Bhairavi, may appear at one level to depict the pangs of a lover, but Shringara is one of the nava vidha bhaktis. Radha, Andal, and Meera, all represent the yearning for the Lord that results in Mukti.

We also have in the concert an interesting admonition to the worldly man by Purandara Dasa. This Durga raga composition Dharma Shravanavidetake was made famous by GNB. The words used by the composer are quite strong, stating that it is totally futile for a man, even if born in the upper caste, to observe religious rituals and listen to spiritual discourses, until and unless he realises the futility of pursuits in the material world and yearns for liberation. He says, huttukurudage deepavidetake bhrashtanigeke kuladharma, meaning that the light of a lamp is useless for a man born blind, just as a depraved man should not flaunt the rituals of his high birth.

We can thus conclude that being eligible for grace is the only thing within our powers. Grace flows and confers on us the pleasures of this world, but more importantly, the bliss of liberation. And as all the saint composers stress, it is a question for us of looking for the true enduring reward of existence and not the trinkets of material prosperity.

Come, let us enjoy a brilliant concert recorded at Parvathi 16 years ago!

Concert Details

Hyderabad Brothers
(D.Seshachary and D.Raghavachary) -------- Vocal

H.K.Narasimhamurthy ----------------- Violin
Cheluvaraj ------------------------ Mridangam
Srinath ------------------------- Ghatam

on 9-4-1998 during Ramanavami at Parvathi.

Song List

01 Swaminatha-Nata-Muthuswami Dikshitar*** 02 Brochevarevare-Sriranjini -Thyagaraja*** 03 Niravadhisukhada-Ravichandrika-Thyagaraja*** 04 Kambhoji Raga-Tana*** 05 Pallavi-Kambhoji & swaras-Kambhoji, Bilahari, Saveri*** 06 Rama Rama- Bhairavi padam - Kshetrayya*** 07 Rama Rama-Tilang-Purandara Dasa*** 08 Dharmashravana-Durga- Purandara Dasa*** 09 Mangalam***

Welcoming the Year with the “Madhura” Vani of Mani Iyer School

We are happy to bring you a recording of the concert by Vidwan T.V. Sankaranarayanan held in the Puttu Rao Memorial series in the Jagan Mohan Palace, Mysore recently. The vidwan is a great favourite of Parvathi rasikas, with his effervescent style and the bani of the great Madurai Mani Iyer. The world celebrates Madurai Mani Iyer’s centenary throughout 2012. As this blog is also a tribute to the great rasika Sri Puttu Rao and his legacy at Parvathi, we think it is fitting that we begin the new year by giving a great concert fare from Vidwan TVS just on the eve of Sankranthi. We would like to quote some fine words about Vidwan Mani Iyer from the Hindu:

2002 Birth Anniversary (http://www.hindu.com/thehindu/fr/2002/10/25/stories/2002102501340900.htm)

" A vidwan with a unique style, Madurai Mani had indeed cast a spell on the listeners of Carnatic music, young and old, connoisseurs and even the rickshawallahs of those times. People came in hordes to listen to his singing. They sat on the walls, on the floors and wherever they could find a place to sit or stand. They did not mind the inconvenience. They only wanted to listen to Madura Mani as he was fondly called. Madurai Mani was certainly Madura (sweet) Mani. His music was melodious. More than anything else, he enjoyed singing and that reflected in his personality both on and off stage. In fact he often eschewed lyrics that smacked of disillusionment with the world and other worldly matters. He firmly believed that music should enliven the listener. That was his conviction right from the start of his professional career as a musician, a joyous journey that began in 1924 at a temple Kumbhabishekam in the district of Ramanathapuram. He was 12 years old then. "

2011 Margazhi Season (http://www.thehindu.com/todays-paper/tp-national/tp-tamilnadu/article2754050.ece)

From the pen of Vidwan Ravikiran:

" The torch-bearer of the Madurai Mani Iyer bani, T.V. Sankaranarayanan reminisces about his uncle's incredible repertoire, memory and musicianship. “Mama taught me numerous songs that one would have rarely heard him sing at concerts — Idisamayamura (Chayanata), Sanatana (Phalamanjari), Evarunnaru (Malavashri), Paramatmudu (Vagadheeshwari), Samukhana nilva (Kokilavarali), Namoralagimpa (Devagandhari), Etavuna nerchitivo (Yadukulakambhodhi), Nadachi nadachi (Kharaharapriya), Ninnuvinaga (Poorvikalyani), Durusuga (Saveri)... I can go on and on,” he says. “What is incredible is that he would not have revised these songs in 20 years but would access them from memory at will.” This was augmented by the celebrated mridangam vidwan T.K. Murthy. “At a concert in Delhi, Mani Iyer sang outstandingly but a critic, known for his inconsistent and perverse reporting, had a dig at him the following day for singing his usual fare. Mani Iyer just smiled but in another concert the same day, his list consisted of pieces that even I — who had accompanied him for several years — had never heard him sing. The critic, who also made it to the concert, apologized profusely!” TVS adds: “His voice had just the right balance between delicateness and weight and his sense of gamakas was impeccable. And the way he could hold any note almost endlessly was mesmeric! It would create an all-permeating tranquility that had to be experienced to be believed.” Anyone who has spoken to me about this distinguished musician has been unanimous in accrediting him as a human being of impeccable qualities. He was gentle, courteous, well-meaning, helpful to younger artistes, loving towards his disciples, committed to the art, and devoid of negativism even in jest. In short, as pitch-perfect in life as in music... "

THE CONCERT Performed on Sept 4, 2011 T.V Shankaranarayanan ----- Vocal Mahadevan (son of TVS) ---- Vocal support M.S. Govindaswamy -------- Violin C.Cheluvaraju --------------- Mridangam M.A.Krishnamurthy ------- Ghatam 01 Maha Ganapate Namo- Hamsadwani- Indira Natesan*** 02 Orajupuju- Kannada Gaula – Thyagaraja *** 03 Appa Rama Bhakti- Pantuvarali- Thyagaraja *** 04 Ee Pariya Sobagava- Ragamalike – Purandaradasa *** 05 ManasuNilpaShakti- Abhogi – Thyagaraja *** 06 Smara Janaka Shubha Charita – Behag – Swathi Thirunal *** 07 Marakathavallim – Kambhoji – Muthuswami Dikshitar *** 08 Virtuttam – Bageshree, Tilang *** Rama Rama Rama Enniro-Tilang *** 09 EnglishNote- Shankaraabharana – Muthiah Bhagavathar *** 10 EppoVaruvaro- Jonpuri – Gopalakrishna Bharathi*** 11. Mangalam ***