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 ***

Seeing the Romantic in Every Raga

M. Chandrasekharan & G. Bharathi-violin duet, 'Parvathi' Ramanavami 1981

An appreciation by R. Sachi

Courtesy: Times of India

Among the many musical stars that have shone brightly in the Parvathi sky, Sangeetha Kalanidhi M. Chandrasekharan, or Chandru to Sri K. Srikantiah, and Vidwan MC to others, is a bright and constant one. For many decades now, Vidwan MC has been a leading violinist wowing audiences with his remarkable violin accompaniment, solos, and duets. In Parvathi alone, he has performed a few dozen times. This blog has already featured him in 16/17 concerts, as an accompanist as well as in violin duets. This is a small indicator of the immense love and respect that is mutual between Sri KS and Vidwan MC.

For anyone who has attended a concert by Vidwan MC, three things are etched in the mind forever. First, his smiling face with dark glasses. Second, his unflagging enthusiasm throughout the concert. Third and most important, his violin playing which is remarkably sweet and highly effective in every type of music. What makes this musician tick?

Vidwan MC is 79 years old now, and has been playing the violin on the concert stage for more than 67 years. He sees music brilliantly, despite his visual handicap. He is loved by audiences and musicians worldwide. Playing the violin in a demanding genre like Carnatic music is not easy. The visual handicap adds many challenges. But not only has Vidwan MC overcome every difficulty, but he has also developed the inner eye to see music in a life-long romance. He sees the romantic side of every raga, always. The present concert is ample proof of this, and covers a range of compositions. Vidwan MC connects instantly with the audiences because he is so sensitive. He says in an interview, conducted by Kutcheribuzz on the occasion of his receiving the Sangeetha Kalanidhi title from the Madras Music Academy: " One can sense the preferences of the audience minutes after a concert begins. I see everything through my heart."

In this concert, the vidwan plays a rare composition "Ramesham Jagadeesham", composed by Bangalore Yogacharya Sundaram. It appears to be tuned in the raga Shuddha Malavi by Vidwan MC himself. In many places throughout the concert, Vidwan MC vocalises the lyrics as well.

Vid. Bharathi, daughter and disciple of Vidwan MC, has accompanied him in this concert with equal enthusiasm. Percussion support by Vid. TAS Mani and Vid. Ramesh draws praise from the main artistes.

Come, let us enjoy a lovely concert held in Parvathi, Mysore, 35 years ago!

Details

M.Chandrasekharan ----------- Violin
Bharathi ----------------------------- Violin
T.A.S.Mani ------------------ Mridangam
T.N.Ramesh ---------------- Ghatam

on 20-4-81 at "Parvathi" during Ramanavami

Song List

01. Manasa Etulo-Malayamarutha-Thyagaraja *** 02. Raghuvamsha-Kadanakutuhala-Patnam Subramania Iyer *** 03. Janani Ninnuvina-Reetigowla-Subbaraya Shastri *** 04. Bhuvaneshvariya-Mohanakalyani-Muthiah Bhagavatar *** 05. Nagumomu-Abheri-Thyagaraja *** 06. Ramesham Jagadeesham- Shuddha Malavi?-Bangalore Yogacharya Sundaram *** 07.Shanmukhapriya Ragam, Tanam *** 08. Ragamalika Pallavi *** 09. Seethakalyana-Kurinji-Thyagaja ***

"A blend of Vocal, Veena and Nagaswaram" : Violin Maestro M. Chandrasekaran

[Photo: Courtesy http://www.carnatic.com/people/cs-violin.html ]

"... he will always be 'Chandru' to me, as I affectionately used to call him... he first performed in "Parvathi" all the way back in 1965... since then he has performed so many times with all the Veterans for many of the festivals in the house..."

"...as you know, from birth he has always been physically challenged and it was a great comfort for me to see that he was always accompanied on his travels by either a disciple or family member...those were the days you had to change trains twice, from Madras to Bangalore and then from Bangalore to Mysore...now, once, to my great astonishment and shock 'Chandru' arrives all alone for a concert! When I worriedly questioned him he said coming to "Parvathi" was nothing new to him... and he says all of that in that beautiful innocent demeanor of his...I advised him never to venture out like that again...and I saw to it that he was safely escorted back all the way home..."

-K. Srikantiah's Recollections

On Dec. 15, 2009, the inaugural concert of the season at the Music Academy in Madras (Chennai) featured three Sangeetha Kalanidhis. Vidwan T.N. Seshagopalan was accompanied by two other greats, Vidwan M. Chandrasekaran and Vidwan Vellore Ramabhadran. They were the recipients of the Sangeetha Kalanidhi title in the years 2004, 2005 and 2006 in the reverse order.

The Hindu, in a tribute on 1 Dec. 2005 to Sangeetha Kalanidhi designate M. Chandrasekaran, quoted Dr. Pinakapani, “Chandrasekaran's style of violin playing is a blend of vocal, veena and nagaswaram."

2009 also marked the sixtieth year of concert performances for the violin maestro M. Chandrasekaran. He had received his first award in the Music Academy in 1950, just a year after he started performing in public at the age of eleven. Vidwan Chandrasekaran has gone on record that he owes everything to his mother, who dealt with his visual impairment at the age of two and undaunted, taught him music, as well as Braille. He has founded a trust in her memory, the Charubala Mohan Trust, to encourage young artistes.

The art of violin accompaniment is like walking on the edge of a razor. Carnatic music, when amplified through the mike system, poses challenges to artistes and audiences alike. It is difficult to balance the instruments and yet preserve the fabric of the original music. In addition, the violinist has to keep up the accompaniment throughout the concert, getting a respite only during the tani avarathanam. After a marathon swara cycle, the main artiste often takes a break, but the violinist is impelled to respond. The main artiste has the advantage of planning the concert ahead, and playing in his zone of comfort. But the violinist has to deal with the unknown, preserve and embellish the manodharma of the main artiste, and improvise in his solo passages without excess or digress. The dialogue during alapana, neraval and swara passages has to be harmonious, eschewing one-upmanship. On many occasions, the main artiste may slacken a bit and lose his grip on the proceedings. Then the violinist has to raise the flagging tempo and rekindle the main artiste. All this is asking a lot. And without the important eye-contact, the challenge is all the greater.

We must remember these aspects when we listen to Vidwan Chandrasekaran. He has made hundreds of concerts unforgettable by his indefatigable artistry as an accompanist. Of course he is a great soloist, and noted as a composer and even vocalist. But he will always be remembered as the crown prince among accompanists.

The Parvathi concert series posted here bear ample testimony to Vidwan Chandrasekaran's talents. We have featured his recording in a double violin concert with T.N. Krishnan as well as in violin accompaniment for Balamuralikrishna, Madurai Somu, Doreswami Iyengar, Ramani, and M.D. Ramanathan already. In every concert, we can hear his frequent “Aahs” of spontaneous appreciation for the main artiste. When his turn comes, he has excelled in improvisation. In his solo passages, he has reminded us of the Shehnai maestro Bismillah Khan. He has cooed the lovely sounds of rakti ragas with Ramani. He has embellished the majesty of the veena. In MDR's concert, when he plays to the words, “Veeram Dhanurbhanjane”, MDR is spurred by his forceful play to exclaim, “Oh, you're yourself armed with the bow!”

We feature a concert recording here from 1999, his fiftieth performing year. It is a violin duet with his daughter Smt. G. Bharathi, who we are informed has an active musical career in the USA.

Concert
'Parvathi' March 30, 1999

[Photo: Courtesy http://www.hindu.com/ms/2005/12/01/stories/2005120100120200.htm ]

M. Chandrasekharan & G.Bharathi (Violin Duet)
T.A.S.Mani ----(Mridangam)
M.A.Krishnamurthy ---(Ghatam)

[ 1. Naa Jeevaadhaara – Bilahari- Thyagaraja (partial) 2. Durmargachara- Ranjani – Thyagaraja 3. Nannu vidachi – Reetigowla – Thyagaraja (vocal) 4. Manavyalakinchara – Nalinakanti – Thyagaraja 5. Ragam Tanam Pallavi – Simhendra madhyamam (& Ragamalika) 6. Baro Krishnayya – Ragamalika ( Maand, Misra Piloo, Jaunpuri) – Kanaka Dasa 7. Bhagyada Lakshmi Baramma – Madhyamavati – Purandara Dasa ]