Audio stream for KVN-TNK-UKS-KSM 1972

The original blogpost is here: https://chowdaiahandparvati.blogspot.com/2010/03/ingeetham-should-come-before-sangeetham.html

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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Ruminations of a Rasika

Reference to Vid. K.V. Narayanaswamy, 1978 Ramanavami

R.Sachi: Transcriptions of conversations with Sri K. Srikantiah

K. Srikantiah - Moments of Inspiration

" I wish to share my unbounded joy after listening again to the 1978 Ramanavami concert recording of Vid K. V. Narayanaswamy that we have just posted.

To preface my specific comments, let me share how I have been blessed by Lord Rama to enjoy the greatest of Carnatic music from 1940s in the best of places including the holy setting of Thiruvaiyyaru, as well as all the leading sabhas such as the Madras Music Academy. I have had a close acquaintance with all the stalwarts including Mysore Vasudevacharya, Chowdiah, Ariyakudi, Chembai, GNB, Mani Iyer, Semmangudi, and almost all others of that generation. Lord Rama granted me the opportunity to arrange many of their concerts at home, and our tradition of Ramanavami music festival continued for many decades with five generations of male and female artistes.

To make good concert recordings for posterity was not an easy task. As the tapes were scarce, I had to get them from America. The old faithful Philips reel-to-reel recorder has been serving the cause of Rama all these years.

I say all this as a prelude to expressing my feelings about the latest posting of the KVN 1978 concert.

I am simply overwhelmed by its impact.

I just heard it again after the posting. It gives a feeling like being flanked on one side by the might Himalayas and on the other side by the endless ocean. KVN has risen to Himalayan heights in his raga alapana of Kharaharapriya. The way he has rendered the song, with the neraval on the line "manasuna talachi mai marachi" gave me goose bumps.

His swaras took me to a different world. And Raghu - with his deep strokes like the roar of the ocean, throughout the concert! Particularly in the Kharaharapriya krithi, at the start of the anupallavi, and during neraval and swaras, his strokes are simply masterful.

This is such a wonderful concert that I have to express my feelings of endless gratitude to Lord Rama. One should be really fortunate to enjoy this level of music. I wish more and more Rasikas partake of this feast. "

Thyagaraja’s Ecstasy of Devotion

Vid. K.V. Narayanaswamy, 1978 Ramanavami

An appreciation from R. Sachi

During this Ramanavami season, it is our great pleasure to share with rasikas a fine concert by the Sangita Kalanidhi Palghat K.V. Narayanaswamy. KVN, as he is affectionately called, is an eternal favourite of Carnatic music lovers around the world. As the most famous Shishya of the most famous legend in CM, Sangitakala Shikhamani Ariyakudi Ramanuja Iyengar, KVN is the torchbearer of a truly classical tradition that gives deeply enriching, aesthetic and devotional, experience to every listener. KVN had perfected his art to maximise the lasting beauty of classicism, eschewing all dramatics and frills. He came across in person as someone who lived this spirit 24/7 as they say these days.

This concert also features the famous combination of KVN and Raghu. This combo is as proverbial as the famous Ariyakudi-Palghat Mani combo. Other examples are MSS-TK Murthy and Ravi Shankar-Alla Rakha. Indian classical music places great emphasis on rhythm or tala (Srutirmaata layah pitaa). So when such a great combination of a lead performer and percussionist clicks, we get decades of great musical excellence, based on a musical rapport at the gut level. This is a bonus in this concert too.

KVN and Raghu collaborated and taught together at a US university during the ‘60s. Here is the disc cover of their famous LP, brought out with an introduction to South Indian music:

Coming to this concert, it is full of rich melody and song repertoire. Spanning major ragas eg. Shankarabharana, Kharaharapriya, Mohana, and Todi (a rare Tillana), KVN delivers his trademark raga alapanas, neraval and swaras in a succinct manner. The shlokas and the Kannada padas are suffused with devotional fervour. Talking of which, the famous krithi Nanu Palimpa, expressing Thyagaraja’s ecstasy of devotion, is rendered with a lot of verve. This krithi is reported to have been composed by the saint on beholding a beautiful painting of Sri Rama, painted by one of the Walajapet disciples Pallavi Ellayyar and carried on foot over a long distance to be presented to the saint. The meaning of this song as given in The Spiritual Heritage of Thyagaraja is reproduced below:

"NANU PAALIMPA" (Mohana)

Oh Lord of my Life! Have you come walking all the way to bless me,knowing fully the unexpressed secret longing of my heart, that to have a vision of your lotus-eyed face is the sole purpose of my life! You have been gracious enough to appear before me with a body resplendently blue colored, adorned in the chest with strings of pearls, with shining bow, and arrows in hand and accompanied by Sita.

We therefore feel blessed to be able to share this concert with Rasikas.

Concert Details:

K.V.Narayanaswamy ------- vocal
T.S. Veeraraghavan ------- Violin
Palghat Raghu ----- Mridangam
K.S.Manjunath ---- Ghatam
on 24 -4-1978 during Ramanavami Festival at "Parvathi", Mysore.

Song List

01 Bhaktibhiksha-Shankarabharana- Thyagaraja *** 02 Kharaharapriya Raga *** 03 Pakkala nilabadi-Kharaharapriya – Thyagaraja *** 04 Rangapuravihara- Brindavana saranga- Muthuswami Dikshitar *** 05 Nanu Palimpa-Mohana- Thyagaraja *** 06 Shlokas – Khamach, Mayamalavagowla, Behag, Sindhubhairavi *** 07 Harihara ninnanu- Sindhubhairavi – Purandaradasa *** 08 Kandu dhanyanade- Behag- Kamalesha Dasa *** 09 Tillana –Todi –Poochi Srinivasa Iyengar *** 10 Mangalam***

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 Role of Introspection in Carnatic Music – K. V. Narayanaswamy

[ Courtesy: Narada.Org ]

The 2010 December Season is upon us. Venerable newspapers are filled with concert reviews, reports of awards and speeches, as well as scholarly articles and discussions about topics such as the monetization of Carnatic music. We also read with fascination that jet-setting Carnatic music stars are busy tweeting on their smart phones from airport departure lounges. Perhaps that is when they are not appealing to the PM for remedying neglect of classical arts(!). We also hear that some have Facebook pages to shepherd their flock of fans. Of course there is no gainsaying that art cannot exist without an audience. But during a season reminiscent of the Kumbh Mela, it is a delightful task for us to sit back and wonder: What is the role of introspection in Carnatic music? Is Carnatic music only to feed audiences and hence on its way to head-banging rock cult status - a metamorphosis aided by media frenzy, or does it still retain some roots to nourish its avowed inner spiritual quest? Does a Carnatic music artiste introspect in the quest for reaching things beyond mundane success? The concert we feature this time in the sanctified precincts of Parvathi gives some answers. First let us look at the artistes. We have some astounding musicians. They would be called diggajas in Sanskrit. Palghat K.V. Narayanaswamy, Lalgudi G. Jayaraman, Palghat R. Raghu and T. H. Vinayak Ram. We don’t need to preface their names with titles or honorifics. Simply put, they are the lords of their art. They have given more than six decades of musical largesse to millions of ears. A piece of history: when Raghu, born in Burma, went as a very young man seeking discipleship to Palghat Mani Iyer, Mani Iyer was teaching mridangam accompaniment to a varnam being rendered by another student- KVN. Thus began their famous life-long association as fellow travellers in Carnatic music. And that self-same eternal effulgence of a varnam in Bhairavi sung on that day is the one that begins this concert, with the same musicians. And Raghu's unique way of enhancing KVN's music is the stuff of legends. Another piece of history: a newcomer Lalgudi Jayaraman performed first in Madras Music Academy when he provided violin accompaniment to another rising star: KVN. This was in 1948 and launched Lalgudi’s career (his first fan after that concert was GNB). These same two-some regale us with Ananda Bhairavi, Thodi and Bilahari here in this concert. You will remember their renditions for a long time. So KVN-LGJ-PRR. What a Trio indeed, ladies and gentlemen! But let us come back to the question of introspection. In this concert, we have a series of introspections by Carnatic composers. Music uniquely aids meditation. Hence it is called food for the soul. Carnatic music as a performing art is basically not demonstrative. It is introspective. And Carnatic music is replete with lovely krithis, all in the mould of introspections and conversations with God. It is fascinating to just think about the lyrical import of each song in this concert :

1. Shobhillu Saptaswara : Oh mind, meditate on the beauty of the seven notes that will lift you to the divine through your body: navel-heart-throat (Mainpura-Anahata-Vishuddhi chakras, Kundalini Yoga) 2. Manasa Guruguha : Oh mind, meditate on the divine, do not waste your precious human journey with outward distractions, surrender to your guru! 3. Entanuchu Sairintunu - Oh Rama, meditated upon by sages! Won’t You condescend to come near me even now? 4. Dasharathi - Oh Rama, how can I repay your debt? You have given me musical fame, and you’ve also given me the wisdom that liberates! 5. Sri Chamundeshwari: Oh Goddess of the (Chamundi) Hill, your divine deeds are worshipped by gods and mystics. I seek your grace! 6. Maataa Raamo, Jaanaati Raama – Rama, you're my mother, father, and everything – oh, for your glories! 7. Yake Bandi Jeeva – Oh soul, why did you give up the communion with God and take birth in this world of wretched goings-on? 8. Kandu Dhanyanaade – I have been blessed with the vision of the Lord! 9. Vanga Kadal – The last pasuram in Andal’s Thiruppavai wherein she describes the liberating power of loving worship of the mighty Lord who set up the churning of the sea.

If you think that we are reading some abstruse but unintended meaning into this concert repertoire, think again. K.V. Narayanaswamy was singularly meditative in his music. His interview and profile linked here are ample proof of a rare man who sought a higher realm through music. The Parvathi Concert Ramanavami Festival 1 April 1974 Palghat K.V. Narayanaswamy - Vocal Lalgudi G. Jayaraman – Violin Palghat R. Raghu – Mridangam T. H. Vinayak Ram - Ghatam Song List 01. Viriboni – Atatala Varnam – Bhairavi – Pachimiriyam Adiappaiya *** 02. Shobhillu Saptaswara – Jaganmohini – Thyagaraja*** 03. Manasa Guruguha – Ananda Bhairavi – Muthuswami Dikshithar*** 04. Entanuchu Sairinchunu – Yadukula Kambhoji – Thyagaraja*** 05. Dasharathi – Thodi – Thyagaraja *** 06. Sri Chamundeshwari – Bilahari – Mysore Vasudevachar *** 07. Maataa Ramo – Shloka – Kapi- Traditional *** 08. Jaanaati Raama – Shloka – Dwijavanti, Sindhu Bhairavi - Traditional *** 09. Yake Bandi Jeeva – Sindhu Bhairavi- Dasarapada *** 10. Kandu Dhanyanade – Behag – Kamalesha Dasa*** 11. Vanga Kadal – Suruti- Andal Thiruppavai***

"Ingeetham should come before Sangeetham” : Vidwan Palghat K.V. Narayanaswamy

Those who have been following the annals of Parvathi would have asked in their minds, “What about KVN ? Did he not perform at Parvathi ?”

Well, as we delight our listeners with more and more fascinating concerts, we now come to KVN, as Palghat K.V. Narayanaswamy is universally known.

April 23, 1970, "Parvathi", Mysore

Vidwans: KV Narayanaswamy (Vocal)- T.N. Krishnan (Violin)- Umayalpuram Sivaraman(Mridangam)- K.S. Manjunath (Ghatam)- H.P.Ramachar (Kanjira)

CHRONICLE OF TEAM MEMBER R.SACHI

Who doesn't know KVN among the Carnatic music aficionados? Just three coordinates will do.

1. KVN is universally acclaimed to be the inheritor of the Ariyakudi legacy. Ariyakudi Ramanuja Iyengar was hailed as the crest jewel in Carnatic music (Sangeetha Shikhamani).

2. KVN enjoyed the admiration of many musical greats – let us just mention Pandit Ravi Shankar, Yehudi Menuhin and of course KVN's own guru Palghat Mani Iyer.

3. Rasikas who have a penchant for specific composers all claim that KVN's renditions are truest to their tradition... and most notable for this are the Travancore royal family and KVN's mastery over the compositions of Swati Tirunal.

KVN was born in 1923 into a musical family in Palghat. This chronicler knew him closely in the '80s. He heard directly from the master how he would be bribed with four annas just to practise music as a young boy. The same boy later would have great teachers: C. S. Krishna Iyer, Palghat Mani Iyer, Papa Venkataramiah, and Ariyakudi Ramanuja Iyengar. It was Palghat Mani Iyer who taught KVN how to actually “sing”- be it alapana, compositions, and swaras – the actual intonations, and the embellishments, without the rough edges and idiosyncrasies one normally finds in any busy performer. That is why you will find in KVN a perfect balance of everything, and no quirks like nasal twangs or too much gimmickry. He always remembered the words of Ariyakudi, that one should have immense understanding and common sense before musical sense. He would quote Thyagaraja, “Ingitham should come before Sangitham”. That is why all rasikas found in KVN the true expression of “mot juste”.

KVN was reverence personified when speaking of Ariyakudi, whom he called “Gurnathar”. In many interviews, he has spoken in a hushed awe about his Guru. It is a bit like Swami Vivekananda's relationship with Sri Ramakrishna. Once, when Swamiji was asked to speak about his master in America, with tears in his eyes he said that he could not do justice to the topic at all.

KVN used to sing a song in memory of his Guru, composed by T.S. Balakrishna Shastrigal. On the suggestion of the famous critic Subbudu, KVN had set it to a languid tala scale and a lovely ragamalika. He would pause with awe when he came to the words, “Nija-guru-pada-sevitha- shishya-vrindam”.

KVN spent time in Mysore with Ariyakudi, who was the guest of the Mysore Palace. This chronicler believes that was the time when Ariyakudi would sit on a swing in a veranda and enjoy the salubrious hospitality of the princely city. He would begin to compose the music for one of the songs in Andal Thiruppavai. KVN the scribe would write it down. And it would be finally polished into shape. Everyone follows the Ariyakudi tradition for singing Thiruppavai and you hear these lovely songs not only in concerts but also during the Margazhi season on AIR.

Once KVN sang a delightful composition in raga Ranjani. This chronicler asked him later whose composition it was. He said it was that of Mysore Ganapathi Sacchidananda Swamiji and KVN himself had set it to music.

KVN taught many university students in India and USA. He was for many years a professor at the Music Teacher's Training College in Madras. He also had many stints at the Wesleyan University in California.

Someone once mused, “what if KVN had a powerful resonant voice?” This chronicler replied that KVN's musical armamentarium is like a BMW or Mercedes engine. So much power would not suit a ceremonial golden chariot, known more for its glitter than as a conveyance. The chariot would hardly cope with performance of a BMW or Mercedes engine. That somewhat explains how KVN had honed his vocal equipment to produce perfect Carnatic music aligned to the resonance of a tambura. And consequently was the supreme vocalist in Carnatic music for many generations of rasikas. And both God and the gifted composers of Carnatic music listened to KVN in thrall.
Sri K. SRIKANTIAH RECOLLECTS

An Assembly of the Giants in Tiruvayyaru![ Annaswamy Bhagavatar- Kumbhakonam Rajamanickam Pillai - Chembai Vaidyanatha Bhagavatar - Semmangudi Srinivasa Iyer - Ariyakudi Ramanuja Iyengar ]

“… you know I had such a lot of respect for KVN …. he performed so many times in our house “Parvathi”…sometimes with Lalgudi, sometimes with Parur (Gopalakrishnan) … sometimes with T.N.Krishnan … with Shivaraman … Ramabhadran …with Raghu … very, very chaste concerts … always a crowd favorite…”
“… but whenever his name comes up …somehow, immediately, Sri Ariyakudi’s (Ramanuja Iyengar ) name also crops up in me …you know when my father Shri K.Puttu Rao died in 1959, Shri Ramanuja Iyengar came all the way to “Parvathi” to extend his personal condolences … during one of my visits to Tiruvayyaru for the Thyagaraja Utsavam, I attended a concert of Dhanammal sitting next to Ariyakudi, and Ariyakudi was so very happy about it”
“... you know there is also that time in 1963 …when a public function was arranged in Rajaji Hall in Madras to honor Sri Ariyakudi as architect of our modern Carnatic music … now in this connection, one fine morning, KV Narayanaswamy shows up in “Parvathi”… and guess who he has brought along with him? Sriyuts Madurai Krishnan and Rajam Iyer … now they all want His Highness Jayachamarajendra Wodeyar to preside … so they wanted my help … how could I say “No” ?... I arranged for an interview through the Durbar Bakshi of the Palace … and they were all very happy when the Maharajah gladly agreed … I remember the commemoration committee was chaired by Justice P.V. Rajamannar ... they also included my name in their committee … overall it was a very grand function… the Maharaja had earlier conferred the honorific 'Gayaka Shikhamani' on Shri Ariyakudi ..."
'PARVATHI' CONCERT
K. V. Narayanaswamy -----Vocal
T.N Krishnan ------- Violin
Umayalpuram Sivaraman ------Mridangam
K.S.Manjunath -----Ghatam
Performed on 26-3-1972

[ 1. Era napai–Todi varnam–Patnam Subrahmanya Iyer 2.Evarani–Devamrutavarshini-Thyagaraja 3.Ninne nera nammi naanu raa-Pantuvarali–Thyagaraja 4.Enta rani–Hari kambhoji–Thyagaraja 5.Ora jupu–Kannada Gowla–Thyagaraja 6. Manasu Swadhina–Shankarabharana–Thyagaraja 7. Brochevarevarura–Khamach–Mysore Vasudevachar 8. Janaati Rama–Shloka Ragamalika–Traditional 9. Thiruppavai–Sindhu Bhairavi–Andal 10. Tillana–Paras–Ramnad Srinivasa Iyengar 11. Mangalam ]

If you have difficulty in accessing the audio, please click here.