Memories of a Bygone Era

 Vid. Lalgudi Jayaraman - Sri Ramanavami 1984 - Violin Solo

By R. Sachi

The Parvathi Finale is bringing up the December Season of Carnatic deluge with this upload of a vintage Lalgudi Solo concert from 1984 (~40 years ago!).

If you are a silver-haired veteran rasika, try explaining to the current generation of Carnatic consumers who are steadily fed on the Zomato/Swiggy fare of Youtube airbrushed videos, FB, Instagram reels and so on that once upon a time, one indeed went to great lengths to go and sit in a classical Carnatic concert featuring just a violin, with mridangam and ghatam, that went on for 3 hours. It would be impossible for them to relate to. Indeed, silver-haired veterans too are indeed feeding on such "clips" nowadays instead of the long-braided concerts on stage! What a quarantine from real Carnatic music!

The Lalgudi-Parvathi connection has been well documented in this blog. There are over 40 posts mentioning the maestro and his great achievements as well as his emotional bond with the family of Parvathi. In our lives, many such associations are divinely ordained. This is our way of celebrating the Bharatiya culture with no barriers of language or region.

This concert features a solo violin rendition, unlike many other Parvathi concerts where the doyen was featured along with his children. Here, he is accompanied on the mridangam by Vid. Vellore Ramabhadran and on the khanjira by Vid. Ramachar. The mridangam follows the violin like a musical shadow. You can notice this in every song in this concert, especially in Vasantha, where the maestro presents a majestic rupaka-driven swara array.

The master of manodharma often conjures up a dialogue between the two personas inhabiting his single four-stringed violin with such juicy content that you marvel at his multidimensional musical imagination- especially with his multi-string bowing which is simply awesome.

The Shankarabharana suite is a violin ensemble serenading you on an oceanliner deck matching the majesty, silvery glitter and high waves of the mighty ocean. It is a tribute to Shankarabharana with the famous composition Enduku Peddalavale of Saint Thyagaraja. The welcome inclusion of the Tani in this recording is befitting the title of the "Parvathi Finale" upload.

Come, let us celebrate a bygone era of concerts!

Concert Details
Held at the home of Parvathi, Sri Ramanavami, 13 April 1984.

Lalgudi G. Jayaraman - Violin
Vellore Ramabhadran - Mridangam
H. P. Ramachar - Khanjira

Song List
1. Varnam - Bowli - Lalgudi Jayaraman
2. Sri Narada - Kanada - Thyagaraja
3. Makelara Vicharamu - Ravichandrika - Thyagaraja
4. Smarane Sukhamu - Janaranjani - Thyagaraja
5. Ramachandram Bhavayami - Vasantha - Muthuswami Dikshitar

6. Raghuveera Ranadheera - Huseni - Thyagaraja

7. Endukupeddalavale - Shankarabharana - Thyagaraja (>60 minutes incl. Tani!)

8. Tani

9. Bagayanayya - Chandrajyothi - Thyagaraja

10. Bhairavi Ragam Tanam Pallavi - Raga changes in swaras - Yadukula Kambhodi, Bhavapriya, Anandabhairavi, Ranjani, Behag (pyrotechnics!)

11. Bgeshri Bhajan

12. Misrashivaranjani Thillana _ Lalgudi Jayaraman

***

The Doyen at Parvathi - Vid. Semmangudi Srinivasa Iyer, 1978

Excerpts from the Doyen's Concert

1978 Sri Ramanavami Concert

Vid. Semmangudi Srinivasa Iyer - Vocal

Vid. T. Rukmini - Violin

Vid. Tanjore Upendran - Mridangam

Vid. Ramachar - Khanjira

Vidwan Semmangudi Srinivasa Iyer strode the Carnatic scene for about 80 years as a colossus with his hugely charismatic and energetic vocal style that earned him the Sangeetha Kalanidhi when he was just 39. He had musical lineage and shone brightly as a torch-bearer for an energetic Carnatic music style that perhaps dominated the minds of students of Carnatic music who subsequently rose to become stars. His legion of Bhaktas included great singers like Vid. MSS herself, and instrumentalists like Vid. T.N. Krishnan and Vid. Vellore Ramabhadran and so on. Vid. Semmangudi also gave us his unforgettable musical creations through tuning a major portion of King Swathi Thirunal's compositions. The music and sahitya that came together in the final body of work made Swathi Thirunal a unique composer in Carnatic music.  

The home of Parvathi played host to the doyen many times. We have managed to retrieve for the Finale excerpts from his concert in 1978. He is ably assisted by Vid. T. Rukmini and Vid. Tanjore Upendran and Vid. Ramachar. The musical value of these excerpts is immense as it celebrates the coming together of two great personalities in Carnatic music - Vid. Semmangudi and Sri. K. Srikantiah.

Details (Parvathi Sri Ramanavami festival, 21.4.1978)

Semmangudi Srinivasa Iyer – Vocal

T.Rukmini - Violin
Tanjore Upendran – Mridangam

H.P. Ramachar - Khanjira

Song List in the Excerpts

01. Enduku Nirdaya - Hari Kambhoji - Thyagaraja *** 02.     Nannu Kanna Talli - Sindhu Kannada - Thyagaraja *** 03. Ksheenamai - Mukhari - Thyagaraja *** 04. Ramachandrena Samrakshitoham - Manji - Muthuswami Dikshitar *** 05. Rama Jogi - Khamach - Bhadrachala Ramadas 06. Shloka Ragamalika - Kharaharapriya, Varali, Bilahari, Saveri, Keeravani, Kapi ***. 07. Parulannamata - Javali - Kapi *** 08. Sapashyat Kausalya - Jaunpuri - Panchapakesha Shastri

The Singer for all Seasons – Vid. K. J. Yesudas

The Singer for all Seasons – Gaana Gandharvan K. J. Yesudas 

 1977 Sri Ramanavami Concert at Parvathi

By R.Sachi

If we know of a man for all seasons, and a man of many parts, then we can also begin to appreciate India's singer for all seasons, Padma Vibhushan K.J. Yesudas. To give a perspective of his achievements, let us see Wikipedia:

Kattassery Joseph Yesudas (born 10 January 1940) is an Indian playback singer and musician who sings Indian classical, devotional and film songs. He is widely regarded as one of the greatest singers in the history of Indian Music and also as a cultural icon. Yesudas is estimated to have recorded more than 50,000 songs in various Indian languages, including Malayalam, Tamil, Kannada, Telugu, Hindi, Odia, Bengali, Marathi as well as Arabic, English, Latin, and Russian, in a career spanning six decades. He is often referred to as Gaana Gandharvan (transl. The Celestial Singer).

Yesudas won the National Award for the Best Male Playback Singer a record eight times, the Filmfare Awards South five times, and the State Award for the Best Playback Singer forty-three times, including awards given by the state governments of Kerala, Tamil Nadu, Andhra Pradesh, Karnataka, and West Bengal. He received the Padma Vibhushan (the second-highest civilian award) in 2017 from the Government of India for his contributions to the arts.

Yesudas started his academic music training at R. L. V. Music Academy, Thrippunithura, and completed the Ganabooshanam course. Later he studied at Swathi Thirunal College of Music, Thiruvananthapuram under the tutelage of the Carnatic music maestro K. R. Kumaraswamy Iyer and the doyen Semmangudi Srinivasa Iyer but could not complete his studies due to financial constraints. For a brief period, he also studied music under Vechoor Harihara Subramania Iyer, after which he took advanced training from Chembai Vaidyanatha Bhagavatar.

This author witnessed an event when the doyen Chembai was honoured with a statue of Goddess Saraswathi during his concert for some organisation at the Madras Music Academy hall. He, in turn, promptly conferred it on his disciple Yesudas who was accompanying him on the stage, saying that Gaana Saraswathi would like it to be given to him!

We have featured several concerts performed at the home of Parvathi over 5 decades by Vid. Yesudas. He shares a unique chemistry with Sri. K. Srikantiah, and has come more readily to perform in Parvathi than even at the Mysore Palace Dasara.

In this concert, Sri. Yesudas is accompanied by two Sangeetha Kalanidhis who have made and continue to make our lives richer through their music – Vid. M. Chandrasekharan on the violin and Vid. T. V. Gopalakrishnan on the mridangam. There is also ghatam accompaniment by Vid. T.V. Vasan and khanjira accompaniment by Vid. H.P. Ramachar. Sri. Yesudas sings in three octaves with ease, and negotiates a plethora of rich ragas and famous compositions of the great Vaggeyakaras, and gives nearly an hour of his popular film songs that draws huge applause.

Hindolam is very well presented. Then, there is a consummate presentation of Kharaharapriya and the famous Thyagaraja song Pakkala Nilabadi. 

As the Vidwan begins the alapana of Shankarabharanam, an idea strikes me. The most common scale in the world of music is this raga, also called C Major or the Ionian mode. In fact, this raga is the most natural scale offering a harmonic relationship between any two notes. 

True to its name- which means Lord Shiva’s ornament, Shankarabharanam accommodates many different interpretations, just as Lord Shiva has three ornaments - the crescent moon in his crest, the cascading Ganga down his matted locks, and snakes all over. Shankarabharanam has Carnatic gems of Krithis like Akshayalingavibho and Swara Raga Sudha, as also the currently hugely popular, child-friendly, Nottuswarams. These are like the splendid moon on Shiva’s crest. Then the raga allows for expansive, fluid, and evocative alapanas and Tanams (listen to Vid. Yesudas here!). They are like the Ganga cascading down Shiva’s matted locks! Finally, Western/ Jazz/ Rock/Heavy metal interpretations are also hugely popular. They are a bit like the fascinating snakes that coil and slither all over the Lord's body! What a gift of music is Shankarabharanam from Lord Shiva to us all, irrespective of our tastes!

The reason for featuring this concert in the Parvathi finale is simple – the December Music Season may come and go, but Gaana Gandharvan Vid. Yesudas will thrill any listener in any season, and this concert is precious proof of that!

Concert Details

K. J. Yesudas - Vocal

M. Chandrasekharan  - Violin

T.V. Gopalakrishnan - Mridangam

T.V. Vasan - Ghatam

H.P. Ramachar - Khanjira

Date 4 April 1977

during Ramanavami Festival, "Parvathi", Mysore, April 1977.

Song list:

1. Evari Bodha – Abhogi varnam – Patnam Subrahmanya Iyer

2. Siddhi Vinayakam – Chamaram (Shanmukhapriya) – Muthuswami Dikshitar

3. Pavanaguru-Pavanapuraadheesham Aashraye – Hamsanandi – Swathi Thirunal

4.       Govardhana Girisham – Hindolam – Muthuswami Dikshitar

5.       Pakkala Nilabadi – Kharaharapriya –Thyagaraja

6.       Manavyalakimcha radate- Nalinakanthi- Thyagaraja

7.       Adhiye Paranjyothiye – Narayanagowla? – Vedanayagam Pillai

8.       Shankarabharanam alapana

9.       Tanam with mridangam accompaniment

10.   Enduku Peddala Vale – Shankarabharanam – Thyagaraja

11.   Thirupar Kadalil Pallikondaye – Bhairavi - Vayalar

12.   Harivarasanam – Madhyamavati – Dakshinamurthy

13.   Chand Akela Jaye Sakhi Ri

14.   Apoorva Ragam

15.   Jab Deep Jale Aana

16.   Murugane Kaana Aaayiram Kann Vendum

17.   Ni Sa Ga Ma Pa Ni

18.   Shloka – Bhimplas, Anandabhairavi

19.   Mangala Darshana Dayike – Ananda Bhairavi

20. Yogeendraanaam – Ragamalika (Kapi, Sindhubhairavi) – Narayaneeyam

21.   Mangalam

Worship through Music

Vid. Chittibabu
'Parvathi' Ganesha Festival 1968 Concert

A Review by R. Sachi

Dear rasikas, we wish you all a wonderful season of festivals, come earlier than usual in 2017. The famous Gauri Ganesha Festival of Mysore is upon us. Endless prayers, homas, image worship with the choicest of flowers, distribution of Prasad, the grand immersion procession, all fill our minds and hearts with the greatest joy.

Vid. Chittibabu should be described as a unique musician who produced the sweetest veena music in the world. We have already shared two concerts of his before. Here is a full concert performed 49 years ago in Parvathi Mysore! Vid. Chittibabu stormed the scene when Mr. K. Srikantiah introduced him to the appreciative audiences of Mysore in the 60’s.

In this concert, accompanied by some spirited percussion (Vid. Vellore Ramabhadran. Vid. Ramachar and Vid. Vaidyanathan), Sri. Chittibabu unleashes a plethora of beautiful ragas and songs.

The veena speaks to our hearts in the most loving manner. There cannot be any worship better than music. The great poet Kalidasa says in the Shyamaladandakam,

māṇikyavīṇāmupalālayantīṁ
madālasāṁ mañjuḻavāgvilāsām |
māhendranīladyutikomalāṅgīṁ
mātaṅgakanyāṁ manasā smarāmi ||

Translation: I pray to Gauri, daughter of Matanga Muni, of delicate limbs and lustrous mien
like the blue mountain, the charming maiden speaking with the sweetest voice, and
caressing the bejewelled veena.

The home of Parvathi, who have worshipped through music for seven decades and more, are conducting one more festival on 31 August, in memory of Sri. K. Puttu Rao. Here is the cordial invitation to all rasikas!

Vid. Chittibabu Concert from 49 years ago
Vid. Chittibabu – Veena
Vid. Vellore Ramabhadran – Mridangam
Vid. H.P. Ramachar – Khajira
Vid. Vaidyanathan – Ghatam
- Ganesha Festival held at Parvathi on 31 August 1968

Song List

01 Paridana micchite-Bilahari- Patnam Subramanya Iyer *** 02 Manivinala kinchara-Nalinakanti –Thyagaraja *** 03 Kamboji Raga*** 04 Tana in Ragamalika*** 05 Pallavi(Parimala Rangapate)-swara*** 06 Chinnanjiru kiliye(Ragamalika)- Subramanya Bharati *** 07 Govindamiha-Bageshri- Narayana Tirtha *** 08 Jagadodhaarana-Hindustani kapi – Purandara Dasa *** 09 Devaranama*** 10 Kommalo koyila*** 11 English note*** 12 Come september*** 13 Mangalam and Veda***

The Core of Carnatic Music’s Appeal is the Krithi

VID. MAHARAJAPURAM SANTHANAM - 1977 RAMANAVAMI CONCERT

AN APPRECIATION by R. SACHI

We feature this time a typical ebullient concert of Vid. Maharajapuram Santhanam. Vid. Santhanam established himself as a classical concert crowd puller in the ‘70s and ‘80s with his virtuosity, voice timbre, and concert repertoire. He was particularly popular in rendering the songs with sowkhyam and madhuryam, especially the ragamalikas. In this concert, we have a major example, Nalinakanti-mati, with a huge bouquet of ragas.

Gurvayoor Dorai, H.P.Ramachar, Maharajapuram Santhanam, M.Chandrasekharan

We feel that the principal appeal of Carnatic music lies in its ocean of krithis or lyrics. The krithis, especially of the Trinity, Purandara Dasa and other great composers, provides an incomparable fund of joy, with devotional meaning as well as musical richness. Many musicians confess that to master a raga, what they must do is learn and practice well the major krithis in that raga. So the krithi goes beyond just wordy delight. The krithi is in fact the infrastructure of Carnatic music.

Vid. Santhanam covers a wide array of krithis in this concert. From his favourites like Mohana and Garudadhwani, he also forays into many other popular numbers. His obvious delight in rendering the “Nalinakantimati” ragamalika is infectious. The accompanists- Vid. M. Chandrasekharan and Vid. Guruvayur Dorai, have provided spirited, innovative accompaniment. As we have said in this blog elsewhere, it is not difficult to understand why Vid. Chandrasekharan has been a perennial favourite for violin accompaniment. His totally committed, virtuosic, tonally nectarine, accompaniment has made many a concert in Parvathi memorable. Similarly, Vid. Dorai is a very solid mridanga vidwan and his deep and measured strokes always enhance the musical impact.

We also want to quote the translation from The Spiritual Heritage of Thyagaraja for the Garudadhwani song. Like many others, this song’s musical appeal somewhat hides the deep spiritual import of the saint composer’s thoughts:

It is only fitting that Saint Thyagaraja’s image adorns the stage in the photo of this concert.

CONCERT DETAILS

Ramanavami Festival, Parvathi (3 April 1977)

Vid. Maharajapuram Santhanam – Vocal
Vid. M. Chandrasekharan – Violin
Vid. Guruvayur Dorai – Mridangam
Vid. H.P. Ramachar – Khanjira

Song List

01. Seetapate----- Khamach- Thyagaraja *** 02. Samajavaragamana-Hindola- Thyagaraja *** 03. Tatvamerugatarama-Garudadhwani- Thyagaraja *** 04. Evarura-Mohana- Thyagaraja *** 05. Sloka & Lalgudi Tillana – Brindavani*** 06. Nalinakantimati-Ragamalika- Madurai T Krishnaswamy *** 07. Ragamailka – continued *** 08. Tungateera- Salagabhairavi – Kamalesha Vitthala Dasa*** 09. Bansiwale – Mohanakalyani – Swati Tirunal *** 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 ***

Gamanashrama sung by Ganavisharade Dr. M. L. Vasanthakumari

To our community of listeners, we bring again another stellar concert from the redoubtable Dr. MLV. A musician hailing from the classical mould, she combined outstanding creativity with excellent voice control. The result was quite often deeply memorable raga elaborations, rare krithis mined from the repository of compositions going beyond the trinity, and a brisk technique of delivery that gripped the audience from the word go. It is no exaggeration that today, as we listen to fast paced "modernist" Carnatic music, we often recall the GNB bani and the unique place held in our hearts by Dr. MLV.

In this concert, we are treated to elaborate renderings of Madhyamavati and Kharaharapriya. The recording quality is not good in quite a few places. But there is a persuasive argument why we share this concert - there is a brilliant, yes brilliant, rendering of Gamanashrama in the Ragam, Tanam and Pallavi. Dr. MLV is quite at home giving us the rich fare of a rare raga more remembered as the 53rd Melakarta whose Janyas are Purvi Kalyani and Hamsanandi. There are very few compositions in this raga which was called Gamakakriya by the Dikshitar school. There are also only a handful of recordings of RTP in this raga in Carnatic music archives. We could translate literally Gamanashrama to 'tough going'!

The concert has many fine Bhajans, Dasa compositions and ragamalikas. Overall a rich experience that one associated with Dr. MLV in Parvathi concerts.

PARVATHI CONCERT
April 1, 1972

Dr. M.L. Vasanthakumari --- Vocal
Smt T.M. Prabhavathi --- Pinpattu
Sri Tiruvallur Subrahmanyam --- Violin
Sri Tanjavur Krishnamurthy Rao --- Mridangam
Sri H.P.Ramachar --- Khanjira.

01_Varnam- Shuddha Todi- Kothavasal Venkatarama Iyer 4:37
02_Srimahaganapathe_Abhogi - N.S. Ramachandran 4:22
03_Swaminatha_Natai_ Muthuswami Dikshitar 7:44
04_Nadupai_Madhyamavathi_ Thyagaraja 19:12
05_Kalayami Raghuramam_Begada_Swathi Thirunal 20:03
06_Mariyadagadayya_Bhairavam_Thyagaraja 5:55
07_Ramaneesamana_Kharaharapriya_Thyagaraja 29:25
10 Gamanashrama RTP ( Kanada Hindola) 43:08
11_Yadavaraya_Ragamalika_Kanakadasa 5:31
12_Yakenirdaya_Ragamalika-Purandaradasa 5:47
13_Abhang_Devaranama 8:11
14_Payoji Maine Ramratan_Mishra Pahadi_Meera Bai 4:35
15_Ragamalika Shloka Mamava Pattabhirama_Manirangu_Dikshitar9:33
16_Barokrishnayya_Ragamalika_Kanakadasa 4:55
17_Mangalam 0:39

IF AUDIO DOESN'T PLAY CLICK HERE.

God as the ultimate Rasika - Vidwan M.D. Ramanathan

“Oh Lord, without You, how can Thyagaraja sing the song of your gunas?”.. this is the burden of the wonderful Athana song Narada Gana Lola. All aesthetic endeavour is an expression of our response to the beauty of creation. Amongst all arts, music is called the highest human expression. William Shakespeare said, “To know the cause why music was ordain'd! Was it not to refresh the mind of a man after his studies or his usual pain?” In other words, music is the ultimate antidote to human difficulties or intellectual fatigue. Here, on the other hand, Thyagaraja says that all the miseries of our existence can be sublimated into worship by singing of the Lord’s glories. And by calling Him “Narada Gana Lola”, Thyagaraja has indicated God’s musical preferences. Narada was the Lord’s most ardent and musically gifted devotee. In many ways the Parvathi festival typified the attitude of the devotee. No commercialism. Pure music, devoutly offered by the best musicians of the era, to an eager set of rasikas in a setting created with much ardour by the family of Parvathi.

This time we are happy to offer excerpts (1 hr: 20 mins) from MDR’s 1974 concert: Concert Details Vocal M.D.Ramanathan Violin M. Chandrasekharan Mridangam Vellore Ramabhadran Khanjira H.P Ramachar on April 7, 1974 at Parvathi (excerpts only) Song List 01. Rama Nipai – Kedaram – Thyagaraja *** 02. Narada Gana Lola – Athana – Thyagaraja *** 03. Janani Ninnuvina – Reeti Gowla – Subbaraya Shastri ***

Thyagaraja's Faith in Sri Rama – Vidwan K.V. Narayanaswamy

The House of Sankalpa "Parvathi", Mysore, congratulates Vidwan Trichy Shankaran for winning the "Sangeeta Kalanidhi" award for 2011

The Parvathi Ramanavami festival started in 1970. Its inspiration for the Chowdiah Memorial that later came up in Bangalore is documented in this blog elsewhere. In that watershed year, many glorious concerts were held in Parvathi in memory of Sangeetha Rathna Chowdiah. The concert we feature here is one such gem, with stalwarts KVN, V. Sethuramiah, Trichy Sankaran, H.P. Ramachar and Mysore Manjunath.

Vidwan K.V. Narayanaswamy, whose name comes up every time we discuss the great Carnatic musicians of the last 60 years, has done exemplary service to the spirit of the Ramanavami festival in this concert. Every song is a masterpiece of music and devotional excellence.

The Pantuvarali song Ninne nera nammi nanura, sung with gusto, translates thus ( taken from The Spiritual Heritage of Tygaraja) :

From my early days, convinced that everything in the world is unreal, I have placed my implicit faith in you and you alone, Oh Rama! I have seen people learned in Vedas, Sastras and Puranas stand bewildered at the undetermined religious controversies. I have seen people roam restlessly performing Yagas passionately for worldly enjoyments. I have come to the conclusion that unless one obtains your grace, one cannot thrive in life in this world.

The saint composer states in Evarani:

I prostrate to those wise ones who combined the spirit of the two mantras viz. Ma from Shiva Panchakshari, and Ra from Narayana Ashtakshari and arrived at your blessed name “Rama”.

He goes on in Mokshamu galada:

Is it possible for one who is devoid of real devotion and knowledge of divine music, to attain salvation?

The concert has three stellar compositions – Pakkala Nilabadi in Kharaharapriya, Sri Subrahmanyaaya in Kambhoji, and Brochevaarevarura in Khamach. KVN delivers his trademark punches in the neraval and swara cycles in each song, replete with laya gymnastics, glides and curls around key musical phrases.

Maestro Sankaran's long career as a professor in Canada has limited his appearances in India somewhat to the December festivals (which he compares to the Olympics). This great artiste has made a unique contribution to Carnatic music over so many decades now. Vidwan Sankaran's mastery over the 'naada' of the mridangam as well as the art of accompaniment is in full flow in this concert.

Vidwan Sethuramiah's seven stringed violin accompaniment respectfully invokes the presence of his guru and rounds off this concert as a true tribute to T. Chowdiah, the epochal star of Carnatic music.

The Concert Details

K.V.Narayanaswamy ---- Vocal
V.Sethuramiah ----------- Violin
Trichy Shankaran -------- Mridangam
K.S.Manjunath ----------- Ghatam
H.P.Ramachar ------------ Khanjira
On 23 - 4 - 1970 at Parvathi.


Song List

01. Evarani – Devamruthavarshini – Thyagaraja *** 02. Ninne nera nammi – Pantuvarali – Thyagaraja *** 03. Pakkala Nilabadi – Kharaharapriya – Thyagaraja *** 04. Mokshamu galada – Saramathi – Thyagaraja *** 05. Sri Subrahmanyaaya – Kambhoji – Muthuswami Dikshithar *** 06. Brochevarevarura – Khamach – Mysore Vasudevachar ***.

(PS: We regret the vagaries of tape speed in this 41-year old recording.)

The vidwat of harnessing the voice – Vidwan Tanjore S. Kalyanaraman

The GNB school has made a huge impact on Carnatic music. Frequent references are made in our circles to GNB's unique style and impact, his star disciples like MLV, and the briga-laden stylistics that are the inspiration of many an upcoming singer. In this context stands out a gifted musician, who added to the GNB style his own unique aesthetics, providing an eloquent direction to the youngsters who want to cultivate manodharma sangeetha instead of rattling off songs in quick succession.

Tanjore S. Kalyanaraman (1930-1994) whom we are privileged to feature in this concert, was a musician's musician. His music carries a freshness and charm. Singers and rasikas alike search avidly for his recordings. He had a grand design to his method, and his voice culture was a key to his success. We can glean from Internet resources details of this master musician's musical journey.

Before we list the concert details, let us share a quote from someone who has written about Kalyanaraman:

Quote (Mr. S. I. Krishnamachari of Woodridge, IL., USA )

He was a researcher, singer, composer, teacher, unrelenting learner, vainika, whistler and a teacher of violin too. To this date, he represents (what) one can do to ply one's own voice and be the ring-master of his own music. Intellect, analysis and faith in classical values were the characteristics of his music. Taught first by his father, and later by none less than GNB himself, he acquired a singing style and personality for himself. Awards and recognition eluded him. Nonetheless, other musicians and the modern- minded rasikas always saw him as a star on par with GNB himself. There are a few in the profession who believe that his Sangeetha Kalanidhi award was long overdue.

He was an expert on voice culturing. Realizing that traditional methods of voice culture would not work for him, given his congenital heart and respiratory problems, he had to develop one of his own.

Unquote

We also give you a link to a documentary : Sunadha Vinodhan S. Kalayanaraman

Carnatic music is blessed to have these path-breaking innovators. They bring a new meaning to creativity within the context of classicism. In this concert, we have a fair measure of rare compositions and masterly raga expositions e.g. Dharmavathi and Kambhoji. MSG and Karaikudi Mani along with H.P. Ramachar have added their bit to make this concert truly memorable. Karaikudi Mani, whom we feature for the first time in this blog, has provided masterly accompaniment in the Kambhoji Pallavi. It seems the mridangam is singing the pallavi as much as the voice and the violin.

The Meera bhajan, set to music by Kalayanaraman, expresses his creative mindset well. He had done original work in the area of dwi-madhyama ragas.

The details of the concert:

S.Kalyanaraman ------ Vocal
Parur M.S. Gopalakrishnan --- Violin
Karaikudi Mani -------- Mridangam
H.P.Ramachar ------ Khanjira
at Parvathi Ramanavami Festival on April 20, 1973

Song list

01. Jaya Jaya – Nata – Purandaradasa*** 02. Makelara – Ravichandrika – Thyagaraja *** 03. Gajavadana – Gowla – Purandaradasa*** 04. Paramapavana Rama – Purvi Kalyani – Ramnad Srinivasa Iyengar*** 05. Ninnu Nera – Devamanohari-Muthiah Bhagavathar*** 06. Kanda – Dharmavathi – Koteeshwara Iyer*** 07. Nenarunchi Nanu -malavi-Thyagaraja*** 08. Ragam Tanam Pallavi Kambhoji (Ragamalika Ranjani, Kunthalavarali, Nayaki, Gangeyabhushani, Hamsanandi) *** 09. Koovi Azhaithal – Valachi – Valee*** 10. Hari gun gaavath – Dipali – Meerabai*** 11. Saapashyat Kausalya – Jonpuri – Panchapakesha Shastri*** 12.Mangalam

Manasuna Talaci Mai Maraci – The Wizardry of Vidwan Chittibabu

It is well known that in the sixties, Mysore was a paradise of regal beauty, verdant quietude and social graces that people from Madras and Bangalore would love to escape to. The quiet nights would be free from auto rickshaw noises. In fact we children could occasionally catch the distant roar of big cats from the Mysore Zoo! One so inclined could meditate, or listen to choice music, or read a book, and dissolve into sleep in a tranquil mood.

The home of "Parvathi", accustomed to the continual flow of great music, had a preference for aural treats, and many a great musician would be on hand to perform for the family in a soiree. Those fortunately present would later recall with a faraway look these musical experiences. So transpired also this episode that we are delighted to share.

[ Vidwan Chitti Babu in "Parvathi" 1960s ]

A young and handsome prince of a vainika started making waves in Madras during early '60s. Mr. Srikantiah's brother, Mr. K. Lakshminarayana Rao ( who in those days lived in Mylapore, Madras in the shadows of The Music Academy ), introduced him to the family and thus came the vainika to stay in Mysore for a few days. The gracious hospitality of the family to this charmer was rewarded by some veena music that was truly a treat for the gods. Hardly 30 years of age, Vidwan Chittibabu was different from run of the mill musicians. He was bold in his veena play, and emphasized melody uniquely. His music had instant appeal to the layman as well as connoisseur. During his stay, he would play inside the house, without accompaniment, for the delight of the family.

It was one of those quiet nights. Mr. Srikantiah and family were oblivious to their surroundings. Nobody looked at the clock. Vidwan Chittibabu was in his element. He played a glorious ragam tanam pallavi in Kambhoji. And proceeded with his famous songs- Kommalo Kokila, Veda... Mr. Srikantiah was highly impressed with his melodious playing, soft strumming, faultless notes and perfect laya gnana. Forcing himself out of his thrall, he whispered a blessing to the young maestro. He predicted a very bright future for him and said that there was no doubt that he would reach the peak of success and popularity in the music world. Just then, the clock struck twelve, and Time nodded its “Tathasthu” to the blessing.

This, luckily, has been captured on tape. And we are pleased to share this with rasikas.

When Saint Thyagaraja says, with envy, how Seetha and Lakshmana are fortunate to serve Rama, standing on either side, and as a result find themselves in enthralled reverie, we can relate to his sentiments. Pakkala Nilabadi, in the Kharaharapriya raga that is so intrinsic to Parvathi concerts, is the next item we feature. Vidwan Chittibabu, in the company of Vidwan Palghat Raghu, has excelled in this song. He has brought out the majesty of Kharaharapriya, as well as its rich melody. The song, with interesting swara dialogue, makes this a feast. What Thyagaraja says of the good fortune of Seetha and Lakshmana (Manasuna Talaci Mai Maraci) to lose themselves in devotion, applies to our feelings when we listen to Vidwan Chittibabu.

Vidwan Chittibabu was a rage in the Carnatic music world in later years. He played at Parvathi during various festivals more than a dozen times. His concerts drew full houses and the pandal had no standing space even. Unfortunately we do not have all those concert recordings. But we do have some more items on tape and we are happy to share some of them this time. More, later!

The audio in this posting

1. Informal recording during Chittibabu's first visit *** 02. Pakkala Nilabadi – Kharaharapriya – Thyagaraja *** 03. Govindam iha – Bageshri – Narayana Tirtha ***

Accompaniment

Item 02: Palghat Raghu - K.S.Manjunath (Ramanavami -- 20-4-75)
Item 03: Vellore Ramabhadran - Vaidyanathan - H.P.Ramachar ( Ganesh Festival - 31.8.68 )

There is a beautiful article on the Mellifluous Veena by Mr. B.M.N. Murthy below (click to magnify). It explains the endless charm of this divine instrument.




And, who is author Mr. B.M.N. Murthy? The Hindu (click here) chooses to characterize him as "The man who knows everything".

Grapes and Wine – Madurai Somu, Lalgudi Jayaraman and Palghat Raghu

The Biblical story of how Jesus at Cana miraculously turned water into wine was the subject of an essay for Lord Byron when he was a school student. He wrote, revealing his famous romanticism, that “Water saw her Creator and blushed.“ 

 The symbolism of wine for a divine quality that goes beyond normal sensory appeal very aptly applies to music. Especially vintage music from the masters, preserved and cherished by connoisseurs. Bhagavan Krishna says in the Gita that as the moon (Soma), he instills the juice into life forms on earth: “puShNAmi cauShadhIh sarvAh sOmO bhUtvA rasAtmakah”. We begin to understand that heavenly intoxicant called Soma. 

That is the same juice that courses through music. We have already mentioned how Somu gave of his best in the inspiring environs of Parvathi. This Parvathi concert of 1971 by Vidwan Madurai Somasundaram in the company of stalwarts Lalgudi Jayaraman and Palghat Raghu is heady vintage stuff. It is said that grapes are sweet, but a culture on their surface ferments them into wine. The culture of Parvathi rasikas surely seems to have helped the great vidwans to render this classic heady fare. 

The first song starts appropriately in “Deva Manohari” and the concert from that start is a feast fit for gods. There is another saying that when it comes to good food and good wine, it's hard to choose: "Food and wine. Decide which is the soloist, which the accompanist." That is precisely the atmosphere in this concert. Both Lalgudi and Raghu have delighted in rising to greater and greater heights on the spur from Somu and the result is an unending flow of fantastic virtuosity. 

We thought of grapes and wine after hearing the extremely sweet sound of the maestro's violin, which draws time and again much appreciation from the master singer. Similarly Raghu's mridangam play is such that the concert throughout is ripping with rhythmic embellishments. The tempo never flags and one can only conjecture the impact it would have had on the fortunate rasikas who heard the concert live. 

The concert has many bright moments but the best are during Kharaharapriya improvisations. Again the RTP in Kambhoji has Somu waxing eloquent, singing “Rama Jayarama Raghurama Ravikula Soma”. The names encompass all the artistes on the stage!

THE CONCERT 

 Madurai Somasundaram ---- Vocal 

Lalgudi Jayaraman ----- Violin 

Palghat Raghu ------- Mridangam 

H.P.Ramachar ------ Khanjira 

at Parvathi on April 5, 1971 

 

Song List

01.Ninnu nammi –varnam – Deva Manohari *** 02. Mahaganesham *** 03. Neelakantha -Kuvalayabharanam – Indira Natesan (?) *** 04. Rama Neepai – Kedaram – Thyagaraja *** 05. Gurulekha yetuvanti – Gowrimanohari- Thyagaraja *** 06. Ninne Nera Nammi- Pantuvarali- Thyagaraja *** 07. Chakkaniraja - Kharaharapriya - Thyagaraja *** 08. Sankarabharane Devi Ragamalika *** 09.O Rama nee namam - Purvi kalyani- Bhadrachala Ramadasa *** 10. Ramanaamamu -Athana – Thyagaraja *** 11. Ragam-Tanam-Pallavi in Kambhoji *** 12. Madu meikkum- Desh *** 13. Enna Kavi Paadi *** 14.Madurayil *** 15. Viruttam *** 16.Bhajo re bhaiyya – Kabir *** 17. Hara hara Shankara *** 18 Tiruppugazh *** 19.

 Ragamalika Mangalam ***

Simply Scintillating – Vidwan Trichur V. Ramachandran

Did you recognize him?
This is a picture posted earlier from Lakshmi Shankar's concert in 1970.
The beaming Maestro is seated front row extreme left (in a dark shirt)

We have written in many places, in our earlier postings, about the heady attraction that GNB's persona and music held for Mr. K. Srikantiah. The latter not only had many flourishing meetings with the superstar, but he was a host as well as a part of GNB's entourage in several concerts in India. Most regrettably the precious recordings of GNB's concerts in "Parvathi" have been lost over the years.

The year 1974 also seems significant. We have already featured several splendid concerts held at Parvathi in 1974. Now we give you another brilliant concert – this time in the GNB school- from Vidwan Trichur V. Ramachandran.

After the passing of GNB, many were missing his fast-paced, colourful briga-laden music from a rich male voice that evoked the same feeling. Then came his disciple Trichur Ramachandran. He had the bright personality, rich voice, a typical GNB-style of singing, and treated audiences to rich fare. The Parvathi concert from 1974 was no exception. He was accompanied by none other than Vidwan M. Chandrasekaran and Vidwan Vellore Ramabhadran. Vidwan H.P. Ramachar was on the khanjira. The concert we feature here has a brisk tempo, is extremely pleasing and keeps you on your toes as it were... rapid brigas, excellent repartees, inspired mridangam play, and at several points a feast of dialogue between the vocalist and the violinist. In a way this concert typifies the treat that rasikas came to associate with Parvathi concerts.

A few years ago, Vidwan Ramachandran was honoured in Chennai for completing fifty years of service to music. From the words he spoke that day. his humility oozes out. We quote from The Hindu [http://www.hindu.com/2006/12/01/stories/2006120113660600.htm]:

Mr. Ramachandran said it was important that those who wanted to learn Carnatic music should listen as many concerts of veteran musicians as possible. This was what he learnt from his master, GNB. Describing the period of 1945-60 as the golden period of Carnatic music, he said the exposure, which he got by attending music concerts of stalwarts during the period, laid a strong basis for him to develop himself as a musician.

[ Courtesy: The Hindu ]

The Parvathi Concert

Trichur V Ramachandran---Vocal
M. Chandrasekharan -----Violin
Vellore Ramabhadran ----Mridangam
H.P Ramachar -----Khanjira
at Parvathi on 6-4-1974

01. Nera nammi-Kaanada Ata Tala Varna – Poochi Srinivasa Iyengar *** 02. Pranamamyaham – Gowla – Mysore Vasudevachar *** 03. Rama nannu borvara – Hari Kambhoji – Thyagaraja *** 04. Manasa etulo – Malaya marutha – Thyagaraja *** 05. Baageaayenayya - Chandrajyothi- Thyagaraja *** 06. Paridana Micchite -Bilahari – Patnam Subrahmanya Iyer *** 07.Marugelara-Jayantashri – Thyagaraja*** 08. Ramakatha sudha – Madhyamavathi-Thyagaraja *** 09. Sarasa sama dana-Kapi narayani -Thyagaraja*** 10. Kambhoji Ragam Tanam Pallavi*** 11. Sonnadai Saidida—Ragamalika – Mayuram Vishwanatha Sastri *** 12. Janathi Rama Shloka – Saveri, Shahana,Aananda Bharavi, Saama,, Ninnu pogada tarama – GNB *** 13. Yadava nee baa -Mand- Purandaradasa *** 14.Radha sameta Krishna – Mishra Yaman - traditional *** 15.Dhanashree Tillana – Swathi Thirunal *** 16. Pavamana – Sourashtra – Thyagaraja Mangalam

'Rare and Refined' : Vidwan T. K. Rangachari

"...Ananda Sagara in Raga Garudadhwani a favourite of my grandfather...The swara patterns he weaves with Garudadhwani is simply simply superb..."

- D.B. Ashvin ( Carnatic Vocalist and grandson of Kalaimamani T. K. Rangachari )

[Text by Sri R. Sachi ]

Just after that delectable fare from 'Chandru' ( previous post ), we feature another concert, by a doyen and teacher, Vidwan T. K. Rangachari.

Regrettably, we have not much biographical detail about this master. We are informed that Vidwan T.K.Rangachari (1912-1979) learnt music initially from Namakkal Narasimha Iyengar and later trained under K.Subbiah Bhagavatar. He was a student in Annamalai University where he earned a Sangita Bhushanam diploma. Later he was a lecturer at the same university and also taught at the Central College of Music in Chennai.

Vidwan Rangachari was a frequent and popular performer in Mysore. In fact he performed in the company of Lalgudi Jayaraman at the wedding concert of Mr. K. Srikantiah. And later too in many festivals. In this 1969 Ganesha Chaturthi festival, he is brilliantly supported by M. Chandrasekaran and Vellore Ramabhadran.

After the Bhairavi Varnam, Vidwan Rangachari presents the arangetram of his own musical composition in Mandari of the Ganesha Pancharatnam of Adi Shankara. This shloka, with a pronounced Trishra rhythm in the words, was composed by Adi Sankara perhaps to be recited in a celebratory mood by all. The very first stanza emphasizes how Ganesha enjoys the 'kadubu' treat, and wears the crescent moon as adornment in his crest. He protects all those who delight in the beautiful aspects of God's creation. No wonder the debut of this song occurred auspiciously in Parvathi – a place where rasikas enjoyed listening to great music for many decades.

The third song is surely a rare one in Narayani- by Thyagaraja. The next item is also a rare one- Brovamma in the raga Manji. This raga has a unique flavour and distinguishes itself from Bhairavi by some lovely, languorous off-beat movements.

Vidwan Rangachari has fulsome praise for Chandru, and even holds him responsible for choosing Evari Mata in Kambhoji!

Vidwan Rangachari seems inspired by the mridangam to sing Sogasuga. He then takes up a shloka from Mukundamala, a lovely ragamalika which will linger long in our hearts.

The Vidwan reveals his earnestness when he apologises for any likely mispronunciations in Kannada when he sings Jagadoddharana.

All in all a concert that should be described as 'rare and refined'.

CONCERT in "Parvathi" on September 19, 1969l

T.K.Rangachari-----Vocal
M.Chandrasekharan-----Violin
Vellore Ramabhadran------Mridangam
H.P.Ramachar------------Khanjira

[ 1. Viriboni – Bhairavi Ata Tala varnam – Pachimiriyam Adiyappa 2. Ganesha Pancharatnam- Adi Sankara (Raga Mandari, set by T.K. Rangachari) 3. Bhajanaseyu Margamu – Narayani – Thyagaraja 4. Brovamma – Manji – Shyama Shastri (partial) 5. Evari Mata – Kambhoji – Thyagaraja 6. Sogasuga Mridanga Talamu - Sriranjani-Thyagaraja 7. Mukundamala Shloka - Raga Malika - Kulashekhara Alwar 8. Jagaddodharana - Hindustani Kapi - Purandara Dasa 9. Tillana - Tilang ]