Instrumental Tribute to the Great Masters

Vid. Emani Sankara Sastry 1973 Ramanavami

Reflections by R. Sachi

We present this festive season a wonderful instrumental ensemble- the redoubtable maestros Vid. Emani Sankara Sastry and Vid. M. S. Gopalakrishnan, accompanied by Vid. Guruvayur Dorai and Vid. Manjunath. They performed to a full house in the Ramanavami festival of 1973 at Parvathi, Mysore.

The concert has a wonderful flow of melody and a beautiful dialogue between the two masters, Emani and MSG. Emani fills the concert with musical masterpieces from Saint Thyagaraja and presents his trademark virtuoso melody, combined with great musical understanding between the accompanists. MSG produces his trademark violin responses, filled with an incomparable sweetness and matching the main artiste’s manodharma, throughout.

The main ragas are Vachaspati, Shankarabharana and Shanmukhapriya. Of course there are Jagadanandakaraka, Ganamurthe, and Nadaloludai, songs made famous by Emani’s renditions on many occasions. But the raga elaborations and song presentations in Vachaspati and Shankarabharana are vintage classics. The RTP in Shanmukhapriya is warrants that we will listen to it a few times to soak up its beauty. The Tanam is unforgettable.

The Thyagaraja composition in Vachaspati celebrates Lakshmana’s devotion as a true karma yogi. His construction skills when he erects the hermitage in Panchavati are so impressive that Rama feels ecstatic. He embraces Lakshmana and says Lakshmana’s deep empathy, righteousness as well as craftsmanship are such that Rama feels the presence of their dear father in Lakshmana! The hermitage construction is wonderfully described by Valmiki, the Adikavi:

Come, let us relive this vintage concert!

Concert Details

Emani Sankara Sastry --------------- Veena
Parur M.S.Gopalakrishnan ------------- Violin
Guruvayur Dorai -------------------------- Mridangam
K.S Manjunath -------------------------- Ghatam
on 19-4-73 at Parvathi

Song List

01 Jagadanandakaraka-Nata- Thyagaraja *** 02 Shobillu Saptaswara-Jaganmohini- Thyagaraja *** 03 Vachaspati –Kanta Judumi-Thyagaraja *** 04 Nadaloludai -Kalyana Vasantha –Thyagaraja *** 05 Nee Bhajana-Nayaki- Thyagaraja *** 06 Swararagasudha- Shankarabharana – Thyagaraja *** 07 Shanmugapriya RTP *** 08 Surdas Bhajan(Emani sings with Veena) *** 09 Folk song(Emani sings with Veena) *** 10 Krishna nee begane- Yamuna Kalyani- Vyasaraya *** 11 Japa (Veda) *** 12 Mangalam ***

An Epoch of Instrumental Excellence – M. S. Gopalakrishnan (1931-2013)

This morning began with the sad news of the passing away of Padma Bhushan, Sangeetha Kalanidhi, Parur M.S. Gopalakrishnan. MSG, as he was known worldwide, had been the subject of many articles recently during the Margazhi season. People had been writing about how he was an exemplar in many ways:

1. Mastery of the violin as an instrument.

2. A long career right at the top in Carnatic music.

3. An epoch-maker in the Parur or MSG Bani, perhaps the most copied instrumental technique among aspiring Carnatic violinists from all over.

4. An astonishing mastery of the Hindustani musical idiom, which won him the utmost respect among North Indian connoisseurs.

5. An ideal accompanist who made many concerts memorable with many great vocalists and other instrumentalists.

So when the news trickled this morning, we were not surprised that rasikas world over started writing in various forums and email groups expressing a sense of great loss to the world of Carnatic music and offering condolences. In fact, the number of people who expressed genuine sorrow and shared so many reminiscences showed how MSG stood for a lofty ideal in the minds of many.

MSG, or Parur as Mr. K. Srikantiah fondly refers to him, has come and played in Parvathi a number of times over 5 decades. Mr. Srikantiah has only positive memories of the man. He conveyed these words:

“MSG the violinist had a unique style of play. His instrumental mastery and sweetness of play is legendary. He has accompanied many great vocalists and instrumentalists in Parvathi. He came across as a man of few words, who had no time for idle gossip. He was very disciplined. He always did his best in every concert. Many rasikas have long remembered the concerts he played at Parvathi, both during Ganesha and Ramanavami festivals. His sruthi perfection was a sheet anchor for the main musician. His passing away is a genuine loss to the Carnatic world. May his soul rest in peace.”

The best tribute we can pay MSG is to share some of the wonderful pieces of his accompaniment in the various Parvathi concerts uploaded here. These are only excerpts. The full concerts can be accessed via the index.

Excerpts:

01. N. Ramani - Gajavadana – Sriranjani ***02. M. Balamuralikrishna – Nagumomu – Abheri *** 03. S. Kalyanaraman – Kambhoji RTP*** 04. Madurai Somasundaram – Ragamalika Shloka *** 05. Emani Sankara Sastri – Jnanamosagarada – Purvikalyani ***

Today, in Sangeethapriya.org, they featured this tribute, inspiring us to say these words:

Today, the string that sang snapped.
There is a silence like never before.
Music that stirred our guts stopped.
The one and only MSG is no more.

Music is Man’s Ultimate Response to Creation - 2012 Sangeeta Kalanidhi Designate Trichur V. Ramachandran

Mr. K. Srikantiah and the Parvathi family express great happiness and offer felicitations and best wishes to this year’s Sangeetha Kalanidhi designate Vidwan Trichur V. Ramachandran.

The Masters weave their magic - 1972!

L to R: Palghat Raghu, Vikku Vinayakaram,
Trichur V. Ramachandran, Parur M.S. Gopalakrishnan

We have already featured a much-appreciated concert of Vid. Ramachandran held in Parvathi during the 1974 festival.

We now have pleasure in featuring a 1972 concert of his, in the company of two other Sangeetha Kalanidhis, Vid. M. S. Gopalakrishnan and Vid. Palghat R. Raghu. This concert again shows the mesmeric attraction that the GNB bani has, with its verve, tempo and highly colourful repertoire. As if in response to audience requests, Sri TVR has sung in this concert all the GNB trademark compositions, including Ragasudharasa, Darini, Radhasametha Krishna. The accompaniment of Vid. MSG, Vid. Raghu and Vid. Vinayakram make this concert truly special.

Mr. Srikantiah recalls meeting Sri TVR first in Vidushi MLV’s house, whom she introduced as training under her with the national scholarship. Sri TVR later came and performed a few times in Parvathi in various festivals.

Mr. Srikantiah turns meditative as he recalls how five generations of musicians have come and sung in this home. To name some: Maharajapuram Vishwanatha Iyer, Mysore Vasudevachar, Chowdiah, Ariyakudi, Musiri, TR Mahalingam, GNB, Alathur Bros., Madurai Mani Iyer, Semmangudi, MSS, DKP, MLV, KVN, MDR, TKR, Sathur, Somu, TVS, TVR, TRS, TSK, Lalgudi, TNS, MSG, TNK, Ramani, Doreswamy Iyengar, Emani, Chittibabu, MC, Mani Iyer, Palani, Raghu, Sivaraman, Ramabhadran, Upendran, Radha Jayalakshmi, Sikkil Sisters, Bombay Sisters, and many current stars like U Shrinivas, Mysore Nagaraj and Manjunath…the list is almost endless.

When we consider these great artistes, and the impact they had on the rasikas, we cannot but recall the famous words of India's Poet Laureate and 1974 Padmabhushan,"DVG"(D.V. Gundappa), in his 1943 opus Mankuthimmana Kagga, describing how music evokes feelings in us as our ultimate response to the wonderful creation around us:

Tune, scale and song; dance and dramatic fine art- all
Awaken from mind's slumber many moods
Expressing our innermost nature. Art is man's commentary
On the Supreme Spirit, oh Mankuthimma!

So again, our heartiest congratulations and best wishes to Vidwan Trichur Ramachandran!

CONCERT DETAILS

Ramanavami Concert March 29, 1972

Vocal: Trichur V. Ramachandran
Violin: M. S. Gopalakrishnan
Mridangam: Palghat R. Raghu
Ghatam : T. H. Vinayakram

Song List

01.Neranammithi – Kanada Varnam – Ramnad Srinivasa Iyengar *** 02. Vinayaka Vghnanashaka-Vegavahini-Muthuswami Dikshitar ***03. Paraloka Sadhaname – Purvikalyani-Thyagaraja ***04. Ragasudharasa-Andolika-Thyagaraja ***05. Sada Palaya – Mohana – GNB *** 06. Teliyaleru Rama – Dhenuka – Thyagaraja *** 07. Darini Telisukonti – Suddha Saveri – Thyagaraja *** 08. Ananda Natesha – Todi- Ramaswamy Sivan *** 09. Paramukha melara – Suruti – Thyagaraja (also ascribed to Mannargudi Rajagopala Iyer) *** 10. Shankarabharana raga *** 11.Enduku Peddala-Shankarabharana-Thyagaraja *** 12. Himagiri Tanaye- Shuddha Dhanyasi – Muthiah Bhagavathar ***13. Sarasa sama dana – Kapi Narayani – Thyagaraja *** 14. Shloka – Hamsanandi, Dhanyasi, Begada, Kapi*** 15. Radha Mukha Kamala – Kapi – Papanasam Sivan *** 16. Radha Sametha Krishna – Mishra Yaman – Traditional *** 17. Sitakalyana Vaibhogame – Kurinji- Thyagaraja *** 18. Dhanashri Tillana – Swathi Thirunal *** 19. Mangalam ***

The course of Kalyani, all beneficences of life - Madurai Somu waxing eloquent

In our humdrum lives, it is easy to pass by the true beneficences of life, busy as we are “getting and spending”, as Wordsworth said.

Therefore do we need to thank every moment our heritage, upbringing, and childhood experiences that foster a love for classical music. Our music combines so many life-affirmative resonances that nobody can ever feel totally down and out if he or she can even faintly recall the joy of music. Carnatic music insightfully combines all musical values - melody, rhythm and lyric - into a worship of life. And one of the high points of Carnatic music is Kalyani. Kalyani means not only the popular raga but also benediction, the Cosmic Mother, a cool pool of holy water we can immerse ourselves in… so many connotations. And the raga Kalyani celebrates life like none other. Hence every composition in Kalyani is such an enriching experience.

Madurai Somu, the eternal favourite of Parvathi rasikas, begins this concert with Kalyani. MSG follows his raga contours closely, and we have a solid foundation for the song that follows, śivē pāhi mām , of Thyagaraja. The saint refers to Kaveri, the nectarine river that courses through every Carnatic music lover’s veins...

Thyagaraja addresses the mother goddess as kAvErijOttara vAsini kAtyAyini dharma samvardhini , meaning, “ You are Katyayini, known as Dharma Samvardhani residing on the north side of Kaveri river”. This composition is one of his Thiruvaiyaru khestra compositions.

The neraval and swaras are executed very melodiously, with some great accompaniment by MSG and the redoubtable Raghu. Raghu intones the words so well on the mridangam, modulating each stroke to match the melody.

What strikes you is the fine fettle of Somu’s voice, matched by the sweetness of MSG’s violin, as well as Raghu’s measured percussion. An elaborate Bhairavi has a fullness to it. Somu lends a tangy flavour to the nishada, and MSG replicates it. Raghu takes off in the neraval and swara like only he can. The result is a virile treatment of Bhairavi lasting over 40 minutes. The audio quality of this home recording done 41 years ago is outstanding.



Madurai Somu is all praise for MSG as the honeyed flow of Abheri from his violin simply heightens the mood of this ever popular raga. We just got the happy news of MSG’s being honoured as Padma Bhushan in today’s Republic Day honours. A richly deserved recognition by a grateful nation of this outstanding violinist.

The Shanmukhapriya RTP is a feisty improvisation. Even here, Raghu revels in the rhythmical segments like a homing bird.

Among the following items, the impromptu shloka in Jijhooti and other ragas is highly memorable.

THE CONCERT
1971 Gowri-Ganesha Festival in "Parvathi"

Madurai Somasundaram – Vocal
Parur M.S. Gopalakrishnan ---- Violin
Palghat Raghu ------- Mridangam

01. Sive Pahimam – Kalyani –Thyagaraja *** 02. Manavi aalakincha- Nalinakanthi -Thygaraja *** 03. Shri Rajarajeshwari – Bhairavi –TBA*** 04. Shankaraparane – ragamalika –TBA *** 05. Nagumomu – Abheri – Thyagaraja *** 06. Shanmukhapriya RTP *** 07. Unnai Bharata – Hindolam – TBA *** 08. Azhagiya mayil – Basant Bahar – TBA *** 09. Bhaja mana bhajare – Bhimplas – TBA *** 10. Swarna Gowri Srimahaganapathe – Shloka – Jinjhooti, Punnagavarali, Sindhubhairavi, Natakurinji, Kambhoji, Saveri Kalyani Bhairavi Kamach Kanada Kedaragowla *** 11. Nadabindukala – Jinjhooti – Arunagirinathar *** 12. Bhajore Bhayya – Desh, Mand – Kabir *** 13. Mangalam ***

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

Worship through music – Dr. N. Ramani

[ Courtesy: Lokabhiramam ]

The concert we feature this time is from Dr. Ramani, a perennial favourite with the rasikas in Parvathi, Mysore. The concert held during Ramanavami festival in 1974 features also the redoubtable M.S. Gopalakrishnan on violin, Tanjore Upendran on the mridangam and Mysore Manjunath on the ghatam.

The concert starts off with the Begade varna and then moves to a splendid rendition of the Sriranjani krithi from Papanasam Sivan, “Gajavadana Karunasadana”.

It is our tradition to begin all auspicious activities by paying obeisance to Ganesha and seeking his blessings for a successful endeavour without impediments. Papanasam Sivan has taken this prayer to a higher level in his song. He says therein that Ganesha is the spiritual preceptor and will show the way to liberation through conferring devotion and spiritual insight (Shivaagama). In other words, the popular deity is not just one to confer worldly success but one who shows the way to the ultimate goal of life. If we take our song and prayer to that level, we not only enjoy the wonderful music of a krithi but also progress towards life's ultimate goal. That is true worship through music.

Ramani has given us a memorable rendition of this Sriranjani krithi, one of the famous compositions of the “Tamil Thyagayya” Papanasam Sivan.

The next krithi, with a brisk tempo, is in Chakravakam. After exhausting our resources, we approached an expert and friend, Shri Shailesh Ramamurthy. He painstakingly researched all sources and finally found the krithi and its notation in the Tamil magazine Swadeshamithran dated 3 April 1955. It is a krithi of Mysore Vasudevachar! Talk of 'the butterfly effect'... Our profuse thanks to this rasikottama. In the process our listeners have a chance to hear a rare krithi of a master composer in Chakravakam.

The concert progresses to lofty musical levels in Charukeshi and Mohana. In Mohana, one of Ramani's favourite ragas, the music unfolds with a multi-faceted splendour. Ramani, and MSG, by turn, charm the listener. Upendran plays with much zest in the song that follows, Nanu Palimpa, one of the immortal krithis of Thyagaraja. We share in the vivid experience of the saint as he describes how he is overwhelmed by the blessed vision of Rama and Sita.

After Nadaloludai in Kalyana Vasantham, Ramani takes up Kambhoji for Ragam Thanam Pallavi. The raga is presented majestically in a very gayaki style that harks back to the grand masters of yore. His sedate and lustrous alapana is responded to in kind by MSG. The emotive weight of the raga is manifest in both presentations.

There are generous touches of Hindustani music from MSG... for that matter even from Ramani, in many places. Mohana, Abhogi and Behag stand out...

The Concert

N.Ramani --- Flute
M.S.Gopalakrishnan --- Violin
Tanjore Upendran --- Mridangam
K.S.Manjunath --- Ghatam

held during Ramanavami festival on April 4, 1974 at Parvathi

01. Inta Chala – Begade Varna – Veena Kuppaiyer *** 02. Gaja Vadana – Sriranjani – Papanasam Sivan *** 03. Neranammithi Neevegathi - Chakravakam – Mysore Vasudevachar *** 04. Niravadhi Sukhada – Ravichandrika – Thyagaraja *** 05. Aada Modi Galada – Charukeshi – Thyagaraja *** 06. Nanu Palimpa – Mohana – Thyagaraja *** 07. Nada Loludai – Kalyana Vasantham – Thyagaraja *** 08. Ragam- Thanam – Pallavi – Kambhoji + Raga Malika (Varali – Sama- Abhogi-Behag) *** 09. Saravanabhava – Shanmukhapriya – Papanasam Sivan *** 10. Magudi *** 11. Bhajan – Bageshree *** 12. Thillana – Dhanashree – Swathi Thirunal ***

Dr. Emani Sankara Sastry – the one man symphony in Carnatic music

A handsome young veena maestro came to Mysore in the 60’s and stirred up the imagination of the Carnatic music lovers with his cuckoo song and his rosewood veena. That was Sri Chitti Babu.

This chronicler (R. Sachi) remembers how that vidwan’s guru himself came and played some months later. Looking every bit a grand master of the grandest of Indian musical instruments, the veena, the guru produced such a range of musical sounds from his veena that he could be hailed verily as a one man symphony.

That was Emani Sankara Sastry. His music was a wide spectrum. Some lilting silken streams of sound and some majestic cascades. Some sounds that were so vocal you had to pinch yourself to remember it was the veena, and some vibrant and emphatic patterns that spurred the percussionists like a military march. This maestro simply left you bemused. At last you understood why Carnatic music did not need a 50-piece orchestra. The veena alone was enough. No wonder Lord Shiva played the veena. In addition to Goddess Saraswathi and Sage Narada. And even Ravana.

Emani Sankara Sastry (1922- 1987) was born in Draksharamam, Andhra Pradesh. He came from a family of celebrated classical musicians. His father Vainika Bhooshana Veena Acharya Emani Achuta Rama Sastri was a famed vainika and sastragna; a contemporary of Sangameshwara Sastri and Veena Venkata Ramana Das of Andhra. After graduating from Andhra University, Vidwan Emani Sankara Sastry worked as the music director in Gemini Studios. Emani joined All India Radio in 1959 as producer of music at Madras. Soon he rose to the position of director and composer of national orchestra and chief producer of music at AIR New Delhi. He was the asthana vidwan of Tirumala Tirupati Devasthanams and a member of the University Grants Commission. He was conferred among many titles the prestigious title of Maha Mahopadhyaya by the Banaras Hindu University – the first Carnatic musician to be so honoured.

He was invited to perform at the United Nations in the 60’s. He won the admiration of violinist Yehudi Menuhin and at his special invitation participated in the festival of international music council at Paris in 1974. This concert was named the concert of the century by discerning reviewers. He also performed for the UNESCO at Alma Ata, Soviet Union.

Emani played memorable Jugalbandi duets with maestros like Pandit Ravi Shankar, Ustad Halim Zaffar Khan. The featured concert is a duet with Vidwan M.S.Gopalakrishnan.

When this chronicler had the good fortune to meet Vidwan Emani in Delhi, the maestro was all grace and charm. When the Vidwan spoke about music, there was a twinkle in his eye. He recounted his prodigious training from a young age under his unsparing father. At his home, there was a painting of his father playing the veena holding it vertically, as Lord Shiva has been depicted in ancient sculpture.

While playing a recording of his famous UN Concert featuring Kalyani, the vidwan remarked to this chronicler how it was vital that the artiste addressed the veena with reverence, and pleaded, “mother, kindly allow me to play some music”. That was his approach to music always.

Vidwan Emani composed Adarsha Shikhararohanam, an orchestral tribute to the conquest of Mount Everest by Tenzing Norgay in 1953. He also composed another opus, Indu Chakra, to symbolise the significance of the Indus Valley in Indian culture (and the great river projects of the ‘50s) using the six ragas in the first melakarta cycle. His orchestral pieces were liked so much by Dr. S. Radhakrishnan, the then President of India, that he was known to hear the recordings almost every day.

In this concert, we have a treat of symphonic genius, from both Vidwan Emani and the redoubtable maestro M.S. Gopalakrishnan. Emani expounds Meru samana with peaks of emotive grandeur to do justice to Thyagaraja’s imagery of Rama standing battle-ready like the Meru mountain. He transports you in every song to realms beyond conventioncal Carnatic song. The way he strikes the first notes of Purvi Kalyani is colossal. And when he announces the Surdas bhajan and sings the lines, you know what a master artiste he is.

The sheer tonal delight of MSG’s violin enhances his perceptive collaboration here. MSG does not fiddle to distract in the middle of the veena passages, and bides his turn to provide apt counter points at every stage of the concert. His honeyed bow seems to dance in the swarm of resonant bees that the veena conjures up. A remarkable concert indeed, from Viriboni to Veda mantra.

The rasikas at Parvathi were treated to this torrent of virtuoso excellence in 1971. We are indeed lucky, after 39 years, to have a chance to listen to this recording, thanks to Sri K. Srikantiah’s munificence.

PARVATHI CONCERT
Emani Sankara Sastry---Veena
M.S. Gopalakrishnan-----Violin
Guruvayoor Dorai----Mridangam
on April 10, 1971.



[ 1. Veeriboni -Bhairavi Atatala varnam- Pachimiriyam Adiyappa *** 2. Vatapi Ganapathim –Hamsadhvani – Muthuswami Dikshitar *** 3. Merusamana –Mayamalavagowla – Thyagaraja *** 4. Orajoopuchu – Kannadagowla – Thyagaraja *** 5. Gnanamosagarada – Purvikalyani – Thyagaraja *** 6. Raghuvamsha –Kadanakutuhalam – Patnam Subrahmanya Iyer *** 7. Brochevarevarura – Kamach – Mysore Vasudevachar *** 8. Sudhamayi – Amrutavarshini- Muthaiyya Bhagavatar *** 9. Ragam Tanam Pallavi – Kharaharapriya *** 10. Surdas Bhajan – Misra Hindustani Todi *** 11. Jagadoddharana – Hindustani Kapi – Purandara Dasa *** 12. Veda Mantra *** 13. Mangalam. ]

SHRI SRIKANTIAH RECALLS ' GNB '

"...man, I tell you when that person called GNB sat on the platform, in his very first concert in Mysore …I swear, I thought I was in some 'Swara loka'...what a 'roopa'!... those diamond ear rings...hair so neatly groomed …I was so crazy admiring him that after the performance I went up to him and asked him “Sir, what is the scent you are wearing?” Unhesitatingly, he said ‘Swag’! …my God to hear his 'bhirkha'...the 'vaikhari'…the new trend in Kalayani...in Carnatic music he introduced us to a totally new wave. It just arrested me... I just went crazy for GNB. Then slowly over time a friendship developed...GNB would come home...he came to sing at my elder brother’s wedding...for that he was accompanied by Chowdiah and Palghat Raghu...even to this day that performance is etched in my memory... then you know there was a big blow to all of us in his passing away at Tiruvananthapuram, in his fifties...he was then a principal of the college there... all in all he was my hero!.....ah, now I remember that other song from 'Shakuntala'... ”Premayil…” (Sri Srikantiah regales once again)…Can you believe all this is somewhere between 1939 and 1942?...”

"...now, the Bidaram Krishnappa Mandiram secretary, Advocate Ramachar, is Vasudevachar's great friend and he has started the Saraswati Samaja Music Sabha...their first concert is in Town Hall...GNB, Mani and Chowdiah were invited first time to inaugurate it...GNB was simply in terrific form that day...it is my privilege to be there and I am sitting next to the great Octogenarian Vasudevachar ...then GNB chooses 'Khamach' and starts to sing 'Brochevararevurara'...the rendering is electrifying...at that point Vasudevachar turns to me and says "Magu" (he always called me Magu-young man),..."Nana Kriti nalli ishtu merugu ide anta ivvate gottu aitu " (only today have I come to realize that this composition of mine has such a glitter!). ... man, was I thrilled!...as soon as the ‘kutcheri' was over then I jumped onto the platform and went straight to GNB and said “this is what the composer has said to me…”...Immediately GNB girded the sash around his mid waist came down with me and bending down touched the great man’s feet...saying that this was his greatest honour to receive such an acknowledgment from the master composer himself.

Where, I ask you, do you see such incidents of respect these days?..."

Madurai Somu – music that stormed Mysore from "Parvathi"

Inside "Parvathi" and feeling very happy, indeed! - Palghat Raghu, Madurai Somu, M.S. Gopalakrishnan

Vidwan Madurai S. Somasundaram (1919-1989), popularly known as Madurai Somu, is one of the most remembered vocalists who adorned the "Parvathi" concert platform for many years and shone brightly in the firmament of artistes who left their mark on the Ganapati and Ramanavami festivals and in the memory of T. Chowdiah, there. Hailing from the Chittoor Subrahmanya Pillai school, Madurai Somu brought incredible energy and passion into every concert. His concerts invariably lasted 3-4 hours and he was always featured with top-notch accompaniment of stalwarts like Lalgudi Jayaraman, M. S. Gopalakrishnan, M. Chandrasekharan, Palghat Raghu, Guruvayoor Dorai, Umayalpuram Sivaraman, Vellore Ramabhadran and so on.When Madurai Somu first came to "Parvathi", Mr. Srikantiah could not reconcile his diminutive figure and mild conversational voice with his reputation as a resonant vocalist. But once he went on stage, he lit the stage aglow with a vibrant, sruti-aligned voice that scaled a wide range from 'mandara' to 'tara sthayi' and held the audience captive right from the four-speed varnam to the final devotional pieces. True to the Chittoor bani, laya was his forte and the accompanists exulted in his racy delivery. Somu etched himself into every one’s heart with his colossal manodharma and profound rendering of ragas of substance that are the quintessential treasures of Carnatic music. His concerts in "Parvathi" always drew mammoth crowds who filled the pandal as well as the surrounding areas outside the compound wall. In fact, Mr. Srikantiah would announce that the concert would end by 10 PM out of consideration to students in the adjoining Maharaja’s College Hostel . But the students themselves would loudly remonstrate that the concert should go on, as they wanted to enjoy Somu's music. Call it coincidence or otherwise, Somu’s concerts most often brought a welcome downpour in the city. The "Parvathi" pandal was built sturdily with 32 tarpaulins for waterproofing and a gabled roof that rose more than 20 feet. But the public power supply often played truant when it rained. And yet the music would soon resume after a brief interruption with generator back-up for the mikes. Once the downpour ended, the people listening outside would gladly reassemble from the surrounding residential areas where they had sought shelter during the downpour. Somu once rendered a memorable Sriranjani and sang the kriti Sogasuga Mridanga Talamu. When he came to the words, “navarasayuta-kriti che bhajiyinchu”, he seemed overwhelmed with emotion and stopped singing, with tears in his eyes. It took several minutes for him to regain his composure and continue. Later he confided in Srikantiah that just the previous day, during his concert in Salem, there had been an ugly incident caused by miscreants during the Lord Sri Rama procession. He recalled that sad incident at that point on the stage and felt immense grief. Such was his passionate devotion and involvement in the singing.

1971 - another view under the "Parvathi" canopies - Palghat Raghu, Ramachar, Madurai Somu, Lalgudi Jayaraman

Somu sang the 'manodharma sangeetha' that was his hallmark for a good 2-3 hours and then regaled the audience with more, in the lighter segment. He sang a trademark kriti that extolled all the famous deities in South Indian temples like Meenakshi, Kamakshi and so on in a delightful ragamalika. He was always requested by the audience to sing in the end his famous film song, 'Marudamalai Mamaniye Murugayya' from the Devar Films’ production Daivam. Madurai Somu sang over a dozen times in Parvathi, starting in 1971. The crowds always asked when his concert was billed. Somu's unique music continues to endure in the rasika’s memory for its classicism, emotive appeal, verve and weightiness. Likewise, Somu also dearly loved to perform in "Parvathi", and said with feeling that his music always rose to a new level being next to Sri Rama who was enthroned under the Parijatha tree.

[Excerpted from R. Sachidananda's "Recorded Conversations with Advocate Kunigal Srikantiah" (a private collection) ]

AND NOW FOR YOUR LISTENING PLEASURE .....

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1975 "Parvathi" - Madurai Somu, M.Chandrasekharan (Violin), Guravayur Dorai (Mridangam), H.P. Ramachar (Kanjira), M.A.Krishnamurthy (Ghatam), Nagaratnam (Morsing)

[01 Ninnu nammi naanu – Shuddha Dhanyasi varnam ; 02 Shakti Ganesham – Shuddha; 03 Seetapate naamanasuna- Khamach; 04 Parameshwaram Jagadeeshwaram – Kumarapriya ; 05 Abhayamu chakkave – Ahiri; 06 Banturiti – Hamsanadam; 07 Pakkala Neelabadi – Kharaharapriya; 08 Sogasuga Mridanga – Sriranjani; 09 Koluva maragatha – Todi; 10 O Rama nee nama – Poorvikalyani; 11 Rama namamu – Athana; 12 Ninnai Kada neramillai – Bageshri; 13 Enna kavi paadinalum – Shivaranjani ; 14- Maduraiyil Meenakshi – Ragamalika; 15 Elumalai vasanakku – Abheri; 16 Viruttam – Ragamalika; 17 Marudamalai maamaniye – Darbari Kanada ; 18 Bhajo re bhayya – Desh?; 19 Nada bindu kala swaroopa – Jhinjuti; 20 Vande mataram – sloka – Madhyamavati ; 21 Pavamana –mangalam - Sourashtra]

Dr. M. Balamuralikrishna: “Mandiramu... manamandiramu”

A proceeding of Nov 29, 2009 in Bangalore Chowdiah Memorial Hall

The two Vidwans felicitated together - Kadri Gopalnath and 'Guru' Dr. M. Balamurlikrishna [ Photo: Courtesy Samath Kumar G.P. http://www.thehindu.com/2009/11/30/stories/2009113053660400.htm ]

"I accept this as prasadam from Mysore T Chowdaiah and KK Murthy."

- Dr. Balamurli Krishna on Nov 29, 2009,

on receiving the K.K. Murthy Memorial T. Chowdiah Awards

"Terming the T. Chowdiah award as more a blessing than an award, Dr. Balamuralikrishna sang “Mandiramu... manamandiramu”, a Telugu song composed by himself, in honour of the renowned violinist the late Chowdiah and lover of music and architect of the T. Chowdiah Memorial Hall in the city, the late K. K. Murthy....] [Courtesy: http://www.thehindu.com/2009/11/30/stories/2009113053660400.htm]

The evening began with a Vedagosha by Pt Balu Shastry and party, followed by an invocation by Suchethan Rangaswamy. Governor HR Bharadwaj, who was the chief guest, presented a cash prize of Rs1 lakh and a miniature violin each to the two pundits.
On receiving the award, Balamuralikrishna said, "I accept this as prasadam from Mysore T Chowdaiah and KK Murthy." He even rendered Mandiramu Manamandiramu composed by him when the hall was inaugurated.
[Courtesy: http://www.dnaindia.com/bangalore/report_music-fest-climaxes_1318230]

A Proceeding of May 31, 2005 at the Chowdiah memorial Hall "in the name of the father"

Karnataka Governor T N Chaturvedi (L) giving the "K Puttu Rao Memorial Palghat Mani Iyer" award to legendary singer Dr M Balamuralikrishna (R) in Bangalore.

[Courtesy: http://www.thehindu.com/gallery/0320/032001.htm ]

The story begins, much... much earlier, in "Parvathi" (music included)

Vintage 1965 in "Parvathi" : M.Balamurlikrishna with M.S. Gopalakrishnan and T.V. Gopalakrishnan

[01-Saraguna-Todi Varnam-Balamuralikrishna; 02-Vandenishamaham-Hamsadhwani-Vasudevachar; 03-Thamralochani-Lathangi-Balamuralikrishna; 04-Emi Neramu-Shankarabharanam-Thyagaraja; 05-Nagumomu-Abheri-Thyagaraja; 06-Mere mana anat kahan sukh pave -Jaijaivanti- Hindi-Surdas; 07-Pibareramarasam- Ahir Bhairav-Sadashiva Brahmendra ; 08-Jamuna kinare-Misra Piloo-Swati Tirunal; 09-Naina bhaye-Shivaranjani-Surdas; 10-Shrithakamala-Ashtapadi-Jinjhuti-Jayadeva; 11-Thillana-Brindavana Saranga-Balamuralikrishna; 12-Pavamana-Mangalam-Thyagaraja;]