In love with the tambura: Vid. K.V. Narayanaswamy, the master musician

'Parvathi' Ramanavami Concert 1981

In deep admiration from R. Sachi

Whilst offering our best wishes to all our listeners worldwide for 2016, the new year, we share a wonderful concert of Sangita Kalanidhi K.V. Narayanaswamy, held in 1981 in Parvathi, Mysore. He is accompanied in the concert by two great artistes, Vid. Chalakudi Narayanaswamy, and Vid. Palghat Raghu.

The featured concert has many gems of songs, several of them embellished with the trademark KVN niraval and swaras, with the equally admired Raghu mridangam anticipation and embellishments. Throughout the 2½ hour concert, the voice, violin and mridangam are in such sweet synchrony. Dhanyasi, Athana, Shankarabharana, Yadukulakambhoji, Todi, and Khamach are among the lovely renditions.

Trying to describe Vid. KVN’s music is like holding a candle to the moon. He is the perennial favourite of all rasikas who look for melodious, truly classical, music full of sahitya bhava. In this concert, Vid. KVN sings an elaborate Todi followed by the Thyagaraja classic, Kaddanu Variki.

It is germane to reflect on the lyric of this song. The following translation (courtesy: Sri VG Govindan) gives the musical values cherished by the saint composer:

"O Lord well-praised by this tyAgarAja! Can the words of wise men, who declare that, ‘You are surely there for those who believe in You’, become untrue now?

You are such a merciful Lord who nourishes the devotees chanting Your names without wavering from their vow by even abandoning sleep, singing in a fine tune, with the voice resonating in alignment to the tambura being strummed well, with a pure mind.

Why would You not come near me in whom the wisdom has arisen to behold Your charming face shining with mirror-like cheeks? "

It is no coincidence that Vid. KVN also espoused similar musical ideals as Saint Thygaraja. In a detailed interview to Sruti magazine (Issue 27/28, December 1986) the vidwan speaks his mind clearly:

"Sruti is probably the most important thing to a musician. For getting sruti gnanam, there's no better method than tambura-playing. But the alignment of a tambura is a technically difficult task for new learners. Such people can use electronic sruti boxes, which are easy to handle, or even the plain old-fashioned sruti box with bellows. Staying perfectly in sruti and practising-that's all there is to good music.

There are many overtones in the sound of a tambura. Therefore there is need for one to be finicky about the wires to be used in the tambura. While I was teaching in college, I used to devote one whole class-period to train my students in this. I would say everyone should know how to handle a tambura and align its sruti. Just as a mridangam vidwan attends to his mridangam and keeps it correctly tuned and serviced, the vocalist should regard the tambura as his instrument and keep it perfectly aligned and neat. The tambura and sruti are what make the music possible.

I had once been to AIR-Bangalore where I met this tambura artist--I'm sorry I don't remember his name. It was a joy listen to the sound of his tambura, such was the flawless perfection with which he had both maintained it and tuned it. He said to me: "This [keeping perfect sruti] means much more to me than just a job."

On another occasion, a disciple of Pandit Jasraj strummed the tambura for me at a radio recital in Bombay. After finding what my sruti was, he got the tambura aligned in less than two minutes. It was absolutely miraculous, even divine. I confessed to him: I can't do it so superbly or so quickly."

It is interesting to note that the home of Parvathi was vouchsafed his personal tambura by Mysore Vasudevacharya and the family preserved it and donated it to Vasudevacharya Bhavana (Nadabrahma Sabha) in Mysore some years ago.

Concert Details:

K.V.Narayanaswamy -------------------- Vocal
Chalakudy Narayanaswamy ---------- Violin
Palghat Raghu ----------------------------- Mridangam

on 14-4-1981 at 'Parvathi" during Ramanavami.

Song List:

01. Evari Bodhana- Abhogi – Patnam Subramanya Iyer *** 02. Saketa nagaranatha- Harikambhoji-Sadashiva Rao *** 03. Nee Chittamu- Dhanyasi- Thyagaraja *** 04. Bhakti Bhiksha- Shankarabharana- Thyagaraja *** 05. Ela Nee daya- Athana-Thyagaraja *** 06. Ora Jupu- Kannadagowla-Thyagaraja *** 07. Todi alapana *** 08. Kaddanuvariki- Todi- Thyagaraja *** 09.Sukhi Evvaro- kanada- Thyagaraja *** 10. Broche varu- Khamach- Vasudevacharya *** 11. Entanuchu- Yadukula Kambhoji- Thyagaraja *** 12. Janakiramana- Kapi- Vanamamaliya Jeeyar *** 13. Dasharathasuta- Jaunpuri- Vanamamaliya Jeeyar*** 14. Janati Rama –Shloka*** 15. Yake Bande- Sindhubhairavi- Vijaya Vitthala dasa *** 16. Kandu Dhanyanade-Behag-Kamalesha dasa *** 17. Kanada Tillana- Poochi Srinivasa Iyengar *** 18. Mangalam

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Carnatic Music and its inherent strengths

Vid. Madurai Somasundaram 1977

Reflections by Shri R. Sachi

We are very glad to share a spectacular concert of Vid. Madurai Somasundaram from the 1977 Ramanavami series at Parvathi. Rasikas are quite familiar with our love for this unique vocalist. He brought to Carnatic music an energy and creativity unmatched. He exulted in the company of great accompanists. He engaged the audience in an inimitable empathy. He sang songs we wouldn’t hear from anyone else perhaps. He made up songs for the occasion at will. He wore his heart on his sleeve. He left a deep imprint on our hearts.

This concert is no exception. We are unable to catalogue the names of composers for many items. But suffice it to say that we attribute it all to Vid. Madurai Somu. Because these songs live and breathe through his musical genius. He also thrives on some excellent violin and mridangam accompaniment by the very melodious Vid. Chalakudy Narayanaswamy, and the energetic Vid. Tanjore Upendran. Not to forget Vid. Seshagiri das-Khanjira, and Vid. Krishnamurthy-Ghatam. Egged on by the redoubtable Vid. Somu, they all combine to create impactful percussion at several points in the concert.

Vid. Somu also refers affectionately to Sri. K. Srikantiah, and sings a song on the lord Srikantheshwara of Nanjangud. Vid. Somu attributes his melody-soaked music to Saint Thyagaraja’s guidance, and at once launches into Ragasudharasa. His approach elicits many bursts of encouragement and applause from the audience. If you see closely, the photo below shows the world-famous writer R.K. Narayan (bespectacled) sitting at the edge of the stage with characteristic intensity.

The major ragas in this concert are Thodi and Kharaharapriya.

At the end of it all, we can only feel bemused by the inherent richness of Carnatic music. What variety, what lyrical abundance, what an expanse of ragas and talas, what a scope for improvisation, for team work and finally spectacular peaks of aesthetic pleasure. Only a great World Cup tournament of the beautiful game football, in exuberant Brazil, can approach to being a distant parallel to our beloved Carnatic music.

Concert Details

Madurai Somasundaram -------- Vocal
Chalakudy Narayanaswamy ----- Violin
Tanjore Upendran ------------ Mridangam
Sheshagiri Das -------------- Khanjira
M.A.Krishnamurthy ----------- Ghatam
on 6-4-77 at "Parvathi" during Sri Ramanavami Music Festival.

Song List

01 Varnam- Thilang? ***
02 Vallabha Mahaganapathe-Gomethakapriya ***
03 Manasuloni-Varamu-Thyagaraja ***
04 Pasupathi Shankara-Dakshayani ***
05 Thodi alapana ***
06 Rama Bhadra Ra Ra-Thodi-Bhadrachala Ramadasu ***
07 Evarani-Devamruthavarshini-Thayagaraja ***
08 Ragasudarasa-Andolika-Thyagaraja ***
09 Kharakarapriya alapana ***
10 Chakkani Raja- KHP-Thyagaraja ***
12 Srikanantheshwara-Sindhu Bhairavi ***
13 Bhajamana Bhajare-Jhinjhuti? ***

Rama - The Abiding Subject of Carnatic Krithis

Vid. K.S. Gopalakrishnan – Flute 1977

A Contribution from R. Sachi

1977: Vidwan K.S. Gopalkrishnan in “Parvathi”

We are pleased to share with rasikas a wonderful flute recital held in the Ramanavami festival in 1977 at Parvathi, Mysore. Vid. KS Gopalakrishnan has been rather elusive and inaccessible to most Carnatic rasikas all these decades, although he is readily hailed by the cognoscenti as a great flute maestro. In this concert, like the one we shared before with rasikas from 1976, he indelibly stamps the music with his melodious manodharma and virtuosity.

The concert begins with the enchanting phrases of Ravichandrika. The raga name evokes images of the sun as well as the moon! The raga itself is a favourite of Saint Thyagaraja, with well-known krithis. The song Nirvadhi Sukhada is a special one. It is very popular with instrumentalists who render it at breathless speed. But here, Vid. Gopalakrishnan has created a wonderfully evocative mood and for the first time we feel like contemplating the meanings of the lyric. And the line śaṅkarādi gīyamāna sādhu mānasa susadana captures the Saint Composer’s sentiment about Rama. According to him, Rama is worthy of worship and therefore is the subject of his own songs: Rama is unparalleled in grandeur, grace and capacity to instil devotion. Lord Shiva himself sings Rama’s glories. And Rama dwells in the hearts of his devotees. No wonder that in the Ramanavami festivals at Parvathi, we have had a continual flow of wonderful music full of songs dedicated to Rama by so many stalwart musicians.

Pallavi

niravadhi sukhada nirmala rūpa
nirjita muni śāpa
Anupallavi
śaradhi bandhana nata saṅkrandana
śaṅkarādi gīyamāna sādhu mānasa susadana
Charanam
māmava marakata maṇi nibha dēha
śrī maṇi2 lōla śrita jana pāla
bhīma parākrama bhīma karārcita3
tāmasa rājasa mānava dūra
tyāgarāja vinuta caraṇa

Meaning:

O Lord who confers unceasing comfort!
O Lord of blemish less form!
O Lord who removed the sage's curse (on Ahalya)!
O builder of the causeway on the Ocean!
O Lord saluted by Indra!
One sung about by Siva and others, abiding in the hearts of pious people!
Please protect me, O Lord with emerald-like body!
One enamored by the precious Lakshmi!
O Nourisher of dependants!
One with terrifying prowess!
O Lord worshiped by the very hands of Bhima!
O Lord far-removed from people given to
inertia (darkness) and passion (action)!
O Lord whose feet is praised by Thyagaraja!

( Source: sahityam.net )

The concert features an expansive Abheri and the krithi Bhajare Re Manasa Sri Raghuviram of Mysore Vasudevacharya. The flute maestro is in a mood of creative exuberance as he develops the raga, the song and then embarks on an array of raga-malika swaras at the end of the song. This is like a shahi bhojan with a series of unexpected delicacies! The violin, mridangam and ghatam accompaniment are very good, too.

Details : Concert held on 7-4-1977 during Ramanavami at "Parvathi"

K.S.Gopalakrishnan ------- Flute
Chalakudy Narayanaswamy ---- Violin
Tanjore Upendran ------- Mridangam
M.A.Krishnamurthy ------- Ghatam

Song List

01 Niravadhi Sukhada – Ravichandrike- Thyagaraja *** 02 Manavinalakincha – Nalinakanthi - Thyagaraja *** 03 Abheri Raga *** 04 Bhajare re manasa-Abheri – Mysore Vasudevacharya Ragamalika swaras (Dwijavanti, Shekharachandrika, Mohana,Hindola, Bageshri, Sindhubhairavi) *** 05 Karunai daivame –Sindhubhairavi – Madurai Srinivasan *** 06 Cheline netlu Javali - Paras - T Chinniah *** 07 Ramgovind Hari (?) Kabir Bhajan –Desh *** 08 Thiruppugazh- Hamsanandi *** 09 Tillana –Kamach -- Patnam Subrahmanya Iyer *** 10 Mangalam ***

A Rare Artiste – N. Ramani

The festive season has begun. After Krishna Janmashtami, Ganesha Chaturthi and Navarathri will follow soon. No better time than now to feature a beautiful flute recital of Vidwan N. Ramani! It is drawn from the treasure trove of Parvathi. In this concert of 1972, Vid. Ramani has been ably accompanied by Vid. Chalakudi Narayanaswamy, Vid. Vellore Ramabhadran and Vid. H. P. Ramachar. 

(Courtesy: kutcheris.com)

 Abheri, with the evergreen favourite Nagumomu, takes centre-stage. Vidwan Ramani elaborates the raga with varied hues. There are ample Hindustani touches as well as solid Carnatic nuances. The vision built up is one of vivacity, richness and elegance. Vid. Narayanaswamy responds with an extremely sweet touch. Nagumomu, with all the paraphernalia of an elaborate and brilliant swara dialogue, follows. 

This is only a truncated set of excerpts we have been able to retrieve. But some gems shine therein. Dharmavathi, with the rare krithi Bhajana Seyaradha of Mysore Vasudevachar, follows. This raga has an unusual stimmung, with dark corners and lush foliage. Perhaps the Dandakaranya forest in Rama’s time would have been vibrant with this raga. Dharmavathi seems very well suited to sing Rama’s praises, and we give below the sahitya and translation. Vasudevachar sings of Rama in the raga Dharmavathi. Rama, the crown prince who stands as the epitome of Dharma, even when wrongfully banished into the forest for fourteen years.

 Bhajana seya rada (Dharmavathi, Rupaka) – Mysore Vasudevachar

P: bhajana sēya rādā ō manasā śrī rāmuni - Can you not sing the praises of Rama, O Mind?

AP: aja bhavēndrādi nutuni sujanāvana lōluni (bhajana) - The one extolled by Brahma, Siva and Indra; one who enjoys protecting the noble.

C: paranārī sahōdaruni paripūrṇa kāmuni dharaṇijā manōharuni para vāsudēvuni śaraṇa janādhāruni sarasīruha nētruni niravadhi sukha dāyakuni paramātmuni bhakta pāluni - The brother to others' wives; fulfiller of desires, stealer of Sita's heart; the great Vaasudeva, Supporter of those who take His refuge; lotus-eyed, giver of boundless comforts; Supreme Lord, protector of devotees. 

We came upon an exposition of this same Dharmavathi krithi by Vid. Ramani elsewhere , dated as during 2008 Ramanavami. The mood and vibrancy in that rendition is identical to the one here during Ramanavami at Parvathi in 1972. Dr. N. Ramani is truly a rare artiste with such a wonderful mastery over this difficult instrument and an exemplar of the classical idiom for over over 5 decades! No wonder Vid. Ramani has been a great favourite with rasikas in Parvathi. This is in fact the fifth concert we feature here. 

What follows Dharmavathi is quite interesting. Bhaja Govindam, in the tune made popular by MSS. Then comes a beautiful Behag tillana composed by Vid. Lalgudi Jayaraman. And finally a rare Thiruppugazh in Kannada raga! A truly fulfilling listening experience in the festive season. 

Concert Details
(Ramanavami Concert at Parvathi, on 25 - 3 - 1972)
N.Ramani ------ Flute
Chalakudy Narayanaswamy ----------- Violin  
Vellore Ramabhadran ------------ Mridangam        
H.P.Ramachar ------------- Khanjira 
Song List
01-Evarani-Devamruthavarshini-Thyagaraja-6.39 ***02-Nagumomu-Abheri- Thyagaraja - 36.28***03-Bhajana seyarada-Dharmavathi - Mysore Vasudevachar-16.53*** 04-Bhaja Govindam - ragamalika - Adi Shankara-8.03***05-Jagadoddharana - Kapi - Purandaradasa-4.47***06-Tillana- Behag- Lalgudi Jayaraman-4.42***07- Thiruppugazh - Kannada - Arunagirinathar-1.39***08-Pavamana- Saurashtra-Thyagaraja-0.24 

Remembering God without a List of Demands confers True Joy – Dr. N. Ramani

We are privileged to feature another splendid flute recital from the Parvathi Ramanavami series, this time of Dr. N. Ramani from 1975. He is accompanied by stalwarts and the concert sparkles with great music.


After the preliminaries of Nata (Mahaganapathim) and Chakravaka (Neranammithi), Vidwan Ramani presents a delightful Bilahari.

In the ‘60s, Prof. P. Sambamurthy, the musicologist, visited Mysore and gave extremely interesting lectures about Carnatic music. He demonstrated how a flute could be constructed so it would be easier to play. Of course we are not suggesting that anyone can produce good Carnatic music by merely being able to blow into a flute! Prof. Sambamurthy then also spoke of the impact beyond cultural borders of melodies we develop via our ragas. He stated that the raga Bilahari instantly evokes joy wherever it is heard, even by someone totally new to Carnatic music. We remember his words as we listen to the Bilahari presented here. It is a timeless favourite at Parvathi.

The song that follows is a lovely composition of Maharaja Swathi Thirunal. He describes the charms and glories of Krishna, and the devotee is urged to remember God, not in the context of his own miseries, but for the devotee to delight in the glories of the Almighty: “Smara sadā mānasa bālagōpālam”. This chronicler once asked Vidwan KVN what he liked about Swathi compositions. The maestro stated that the Maharaja always spoke the language of the aesthete, a devotee who did not think of God from a perspective of misery. This song is a good illustration of that.

And that brings us to the violinist from Kerala, Vidwan Chalakudy N. S. Narayanaswamy (1925-2003). He has accompanied many stalwarts at Parvathi. A disciple of Semmangudi Srinivasa Iyer, Sri Narayanaswamy was a Professor of Music at Shri Swathi Thirunal College of Music , and Staff Artiste of the AIR at Tiruvanantapuram from 1946 to 1956. Later, he was the Principal of the Sri Swathi Thirunal College of Music at Tiruvanantapuram for a number of years.

After Bilahari, we are treated to a wonderful alapana of Amrithavarshini. Vidwan Ramani evokes a wide spectrum of moods with his manodharma and virtuosity on the flute. Later we have a grand Kambhoji prelude to ‘’O Rangashaayi.’’

Once again, the Parvathi favourite Vidwan Vellore Ramabhadran adorns this recital with his wonderful mridangam.

And there is a bonus: a scintillating Thani!

REMEMBRANCES OF VIDWAN H. P. RAMACHAR (KANJIRA)

The upa-pakkavadyam prominent in so many Parvathi concerts is the khanjira wielded by Vidwan H. P. Ramachar. Over many decades, he endeared himself to artistes and audiences with his enthusiastic presence. We quote below excerpts from the Kutcheribuzz obituary in 2006:

Having chosen music as life at the early age of seven, he had the fortune of accompanying the doyens of music as well as the young stars. He was a staff artiste of AIR, Bangalore. Performances in India and abroad brought him fame with his innovative approach, imagination and undying enthusiasm that remained unaffected by age. He had also participated in percussion ensembles alongside the likes of Zakir Hussain and Vellore Ramabhadran. Ramachar also directed a unique percussion ensemble of women percussionists called – ‘Mahila Laya Madhuri’.

He was a recipient of a number of awards and honours, some of which are: Rajyotsava award of Government of Karnataka, ‘Laya Kala Nipuna’ and ‘K Puttu Rao Memorial Palghat Mani Award’ of Percussive Arts Centre, ‘Sangeetha Kalaratna’ of Bangalore Gayana Samaja.

Homage by Prof. T. N. Krishnan:

" I am extremely sad to know about the sudden demise of my good friend and colleague H P Ramachar the well known, versatile Kanjeera Maestro. It is still fresh in my memory. the many concerts we had played together with the Stalwarts like Ariyakudi, Chembai, Maharajapuram, Semmangudi, GNB, Madurai Mani Iyer. Alathur Bros, Mali and others. Mr Ramachar was a very nice person and sincere friend. His contribution to the growth of music in general and percussive arts in particular is quite phenomenal.

My association with him on and off the concert platform dates back to more than six decades. His passing away is a great loss not only to the music world, but personally also. I am sure his tradition will be looked after and kept alive by his talented daughter Smt Latha. My sincere condolences to all the family members."

Concert details

Ramanavami concert held at Parvathi on 22 April 1975.
N. Ramani – Flute
Chalakudy Narayanaswamy – Violin
Vellore Ramabhadran – Mridangam
H. P. Ramachar – Khanjira

Song List
01. Mahaganapathim – Nata – Muthuswami Dikshithar*** 02. Neranammithi – Chakravaka- Mysore Vasudevachar*** 03. Smara Sada Manasa – Bilahari – Swathi Thirunal *** 04. Anandamrithakarshini – Amrithavarshini – Muthuswami Dikshithar *** 05. Nenarunchinanu – Malavi – Thyagaraja *** 06. O Rangashayi – Kambhoji – Thyagaraja *** Thani*** 07. TBA – Revathi – TBA*** 08. Sharavana bhava – Shanmukhapriya – Papanasam Sivan *** 09. Hey Govinda – Desh – Meera*** + Sadho - Ahir Bhairav - Surdas *** 10. Kavadi Chindu *** 11. Mangalam ***

A Deepavali Special : Sangeeta Kalanidhi Vidwan Madurai T.N. Seshagopalan

One of the prodigiously talented Carnatic musicians performing actively for the past four decades at always the top level is Vidwan T. N. Seshagopalan. Apart from being a brilliantly creative vocalist, he is also a talented vainika and plays even the key-board. He also performs musical Harikathas which showcase his musical as well as narrative skills and sense of humour. He comes from the lineage of Harikeshanallur Muthiah Bhagavathar, being a disciple of Vidwan Ramanathapuram C. S. Sankarasivan, himself a direct disciple of the great composer.

(Gratefully acknowledged: "Photography by Kartik Pashupati" )

Being a versatile artiste. Vidwan Seshagopalan attracted the best accompaniment as well as critical acclaim early in his career. He started performing in early '70s and the concert featured here is from 1973. The concert features an absolutely brilliant Shanmukhapriya, with excellent alapana, manodharma-filled rendering of Patnam's “Marivere dikkevaraiya Rama?”.

The violin and mridangam support make the concert even more memorable.

Listening to his wonderful Mohana and “Rara Rajeevalochana Rama”, we may be excused for remembering that the delightful raga Mohana Kalyani was conceived and the Kannada kriti Bhuvaneshwariya was composed by his lineage guru Sri Muthiah Bhagavathar, while under the Mysore royal patronage.

His Kabir bhajan is very evocative, and the words have been intoned with much feeling.

Vidwan Seshagopalan has been conferred the titles of Sangeetha Kalanidhi in 2006 and the Padma Bhushan in 2004. He can be described as a connoisseur's musician, as he approaches each item in the concert with a spontaneity that stems from mastery over the idiom as well as a creative exuberance. His exuberance is shorn of egoism, which is rare. When we listen to musicians like Vidwan Seshagopalan, we are intrigued and wonder what must be going on in their minds, as their musical output seems to be always daring and fresh, and never a canned fare, all rehearsed and perfected with concert effects. This chronicler heard Vidwan Umayalpuram Sivaraman mention once that Vidwan Seshagopalan's repertoire is so vast that he knows 300 kritis in Thodi alone!

We found a very charming description from the vidwan of his early musical training in an interview in Carnatica.net:

"At that period it was music, music and only music. I used to get up at 5.30, bathe, do sandhyavandanam, visit the temple and then my guru's house. I did not even have the idea of going to the movies. No recreations, only music, spiritual discourses, temple, books and literature. That was the prevailing situation. Always bhajans, namasankeerthanams, Kamban vizha, sloka competitions, etc. If you turned to one side, there was Anantharama Dikshitar's house and on the other Variyar's... There used to be political conferences and I have attended the speeches of Anna and EVR to see how they talk. If we used to hear the news it was to know about the cricket scores. We would buy Sportstar and Illustrated Weekly to know how Barrington played and how wickets were kept. Radio was switched on only for commentary."

The Concert

Madurai T.N.Seshagopalan-----Vocal
Chalakudy Narayanaswamy ----Violin
Tanjore Upendran ------ Mridangam
Sosale Sheshagiri Das ---- Khanjira
at Parvathi on April 13, 1973


01. Chalamela varna – Darbar – Tiruvottriyur Thyagayyer*** 02.Sri Raghukula -Hamsadhvani – Thyagaraja*** 03. Ninnunera nammi naanu -Pantuvarali – Thyagaraja*** 04.Vandanamu - Shahana – Thyagaraja*** 05. Marivere -Shanmugapriya – Patnam Subramanya Iyer *** 06. Ra ra raajeevalochana -Mohana – M. Vasudevachar*** 07.Harinaama bhajare – Bhairav – Kabir*** 08.Rama mantrava japiso -Jaunpuri – Purandara Dasa*** 09. Kanden kanden Seetheyai – Bageshri – Arunachala Kavi***

Scholarly Touch : Prof. T. R. Subramanyam

Carnatic music is an interesting field of art. It is as much cerebral as it is musical. Given its rigorous classical structure, much like the German language, it has a terseness to it that generally puts off those interested in light music. But at the same time, the more “Mensa' types are attracted to it, as every composition presents a kind of riddle, with its raga, tala structure, and composer's style. Some musicians even go out of their way to mystify the audience.

But what can one do with good training, an improvisation technique that does not bore and at the same offers a cerebral version of Carnatic music? The answer presents itself as Prof. T. R. Subramanyam (TRS). As you listen to his music, the first thing that strikes you is his fine voice. A rich timbre, a facile movement to the higher octave, brigas and modulation, all are present. He has a charming way of pronouncing words, and also a zest in rendering songs.

TRS is a disciple of Musiri Subramanya Iyer. He formally graduated from the university. TRS retired a few years ago from the University of Delhi, where he was a Professor in the Department of Music. He has given many lec-dems, including on Ragam Tanam Pallavi.

In this Parvathi concert, he renders Palisemma Muddu Sharade in Trishra Eka Tala, in Shriranjani. This rendition is quite interesting, and is his own tune. Similarly his Pantuvarali composition “Idu Bhagya” is gripping. TRS's admiration for GNB's music is evident in several places in the featured concert. The concert recording itself rather truncated, but has many interesting moments. The accompanists have risen to his challenge and both the violin and mridangam excel in several places.

TRS renders a fantastic string of ragas and sings a wonderfully evocative shloka, Adi Shankara's Meenakshi Pancharatnam, which is unforgettable.

[Courtesy: http://www.hindu.com/fr/2010/03/19/stories/2010031951060300.htm]

The Hindu writes, “Apart from having been a successful performer and a very generous teacher, TRS has also been one of those few vidwans who have greatly encouraged the younger generation of artists by attending their concerts irrespective of the bhani which they follow.”

Parvathi Concert Details

T.R Subramanyam ---Vocal
Chalakudy Narayanaswamy---Violin
V.Kamalakara Rao-----Mridangam
Manjunath -----Ghatam
on 9-4-1974 at Parvathi

[ 01. Evarani- Devamruthavarshini- Thayagaraja *** 02. Rara mayintidaka – Asaveri – Thyagaraja *** 03. Palisemma muddu Sharade- Shriranjani- Purandara Dasa *** 04. Idu Bhagya – Pantuvarali- Purandara Dasa *** 05. Mokshamu Galada -Saramathi – Thyagaraja *** 06. Vara Narada – Vijayashri – Thyagaraja *** 07. Kalyani Raga Alapana ( Vocal and violin) *** 08. Shivakamasundari – Mukhari – Papanasam Sivan *** 09. Meenakshi Pancharatnam – Ragamalika (Poorvi Kalyani, Nayaki, Saama, Hamsaanandi) *** 10. Dhyanavu Krutayugadalli – Ugabhoga- Sindhu Bhairavi *** 11. Tamboori Meetidava – Sindhu Bhairavi – Purandara Dasa ]

Parvathi Days
( Text from R. Sachi's soundbites of Shri. K. Srikantiah )

"... on some days the house would just be a bedlam... starting early in the morning with the first cup of coffee ... sounds of my mother doing puja intermingled with Balamurli exercising his vocals... refrains of Parur in another room with the violin... TVG banging away on the mridangam in a third room...."

" .... along with these types of things going on all the time...there was that Bidarama Krishnappa Rama Mandiram too with its brilliant 'Kutcheris'... Maharajapuram Vishwanatha Iyer... and Musiri Subrahmanya Iyer... all these great heavyweights would come... I am young and I am engulfed in their music...Maharajapuram used to sing brilliantly Bilahari, Abheri, Arabhi...Mohana...I don't think there was any greater music than those wonderful times....now Father is also President of the Rama Mandiram... as I told you earlier Maharajapuram Vishwanath Iyer brought his wife with him on an occasion... and my father invites them both for lunch the next day... before that the previous day the funds at the gate were less...so my Father immediately before the 'mangalam' orders me to go home and ransack his coat pockets and almirah and bring whatever money there is in our house... he would always make up a respectable total himself ... this was the life back then..."