The strings that resound in heaven - Vid. Chitti Babu - Veena Excerpts

Parvathi Finale

Vid. Chitti Babu - Sri Ramanavami at Parvathi - 1982 - Concert Excerpts

In heaven, there is said to be music always. Remember that the gods are blessed to listen to the greatest of musicians. If I imagine what music from here would hold even the gods in thrall, it would be the Veena music of Vid. Chitti Babu. Unlike the modern sounds of Veena, which mimic an electric guitar, his Veena resonated with a strange charm of pure, golden, metallic and acoustic vibrational soundscape. It was rich, melodious and invigorating. 

Yajnavalkya says,

वीणावादनतत्वज्ञः श्रुतिजातिविशारदः तालज्ञः अप्रयासेन मोक्षमार्गं नियच्छति

"The expert Vainika who knows ragas and talas well attain the path to liberation easily."

Vid. Chitti Babu arrived with his heavenly Veena music on the Mysore scene in the sixties. He enthralled audiences and even won the honour of getting the royal medallion. 

In this 1982 concert, he was accompanied by Vid. Palghat Raghu and Vid. Manjunath. Unfortunately, we could not retrieve the entire concert recording but only an excerpt of his Tanam and the Javali that followed. The Tanam is a bouquet of ragas which simply steal our hearts with their melody. The instrumental technique is something extraordinary by any standard. The purity of sound and the resonance of the plucking endorse the idea that Tanam was created only for the Veena!

The ragas are Shubhapantuvarali...

                                       Madhuvanti...

                                               Ranjani...

                                                      Revati...

                                                           Behag...

                                                                Kanada...

                                                                       Kapi...

Followed by the delectable Javali in Kapi, "Sarasamulade" by Poochi Srinivasa Iyengar.

Then comes a Tillana in Tilang... 

While listening to all these ragas pouring out, one thought of Kalidasa's Shyamaladandakam. He begins by saying how the Devi holds the Manikya Veena tenderly. He mentions how she holds the Veena called Vallaki and thoroughly enjoys its music. This comes again and again. And finally, he says she is being regaled by the celestials-

श्रवणहरदक्षिणक्वीणया वीणया किन्नरैर्गीयासे "You are being praised by Kinnaras accompanied expertly on the Veena that steals ears and hearts"... Did Kalidasa hear Vid. Chitti Babu?

Concert Details

Chitti Babu - Veena

Palghat Raghu - Mridangam

Manjunath - Ghatam

Sri Ramanavami Festival, Parvathi, Mysore held on 4 April 1982.

Chitti Babu = Veena Palghat Raghu - Mridangam Manjunath - Ghatam Date 4 April 1982

The Festival of Inner Light

Vid. Veena Doreswamy Iyengar
1981 'Parvathi' Ramanavami Concert

A Deepavalli inspiration from R. Sachi

If one were to choose ten words to describe India and its culture, the word “Deepaavali“ would surely feature high in that list. What lights, sparkles, noises, food, gifts, and all-round cheer, does this one word bring to mind!

This year, everyone is telling everyone else that we should have less noise and pollution, and more prayer and goodwill toward one another. Is there a better way to bring this to everyone, than music!?

Featuring this time the famous vidwan from Mysore, Veena Doreswamy Iyengar, we offer you our Deepaavali greetings, and also some exquisite music.

He performed many times in Parvathi festivals, and was loved by the audiences for his sober and sweet music befitting the Mysore Veena Bani. This time he is accompanied by his son and successor, Sri D. Balakrishna, as well as the redoubtable percussion combo of Sri Palghat Raghu on the mridangam and Sri Manjunath on the ghatam.

The music offered spans a range of classical krithis, and noteworthy is the krithi of Saint Thyagaraja, “Nama Kusuma” in Sri Raga. In the Spiritual Heritage of Sri Thyagaraja, this is the translation offered:

“ Install the Lord on the golden throne of thought, seat Him on a music-bedecked seat, and worship Him with flowers of my chant of Rama and Shiva names, oh mind!”” The spirit of this Thyagaraja song closely follows Adi Shankara's composition, "Shiva Maanasa Puja".

Can there be a better definition of what is worship through music, and what is the festival of inner light, the true Deepaavali in our hearts!?

Details

Vid. V.Doreswamy Iyengar --------------Veena
Vid. D.Balakrishna -------------------- Veena accompaniment
Vid. Palghat Raghu -----------------------Mridangam
Vid. Manjunath -------------------------- Ghatam

Concert held on 15-4-1981 at PARVATHI during Ramanavami.

Song List

01. Shahana Varna –Tiruvottriyur Thyagayyar *** 02. Merusamana – Mayamalavagowla-Thygaraja *** 03. Sarasvathi Manohari-? *** 04. Ninne nera nammi-Pantuvarali-Thyagaraja *** 05. Nama Kusuma – Sriraga-Thyagaraja *** 05a. Evarani Vedanu? - Bilahari- Vasudevachar? 06. Nati Mata – Devakriya – Thyagaraja *** 07. Nidhi Chala – Kalyani-Thyagaraja *** 08. Brochevaru – Khamach- Vasudevacharya *** 09. Kanada Thillana – Vasudevacharya *** 10. Kalaye –Jinjhuti- Swathi Thirunal *** 11. Bhajare Yadunatham – Piloo-Sadashiva Brahmendra *** 12. Folk Song *** 13. Mangalam ***

Ananda Natesa - a unique conception of God in HInduism

Vid. KJ Yesudas 1982 'Parvathi' Ramanavami Concert

A coverage by R. Sachi

We feature another full-fledged concert of Vid. KJ Yesudas this time. The love affair between "Parvathi" and Sri Yesudas continues after many decades and at his Putturao Memorial concert last year, almost crowd control measures were needed when 2500 people thronged the Jagan Mohan Palace. His popularity has always soared high for his delightful presentation style and unparalleled voice. In this concert, held 34 years ago, he enjoys the company of two stalwarts and eventual Sangeetha Kalanidhis, Vid. M. Chandrasekharan and Vid. Palghat Raghu. As usual, the excellent recording quality, despite its being a home recording, is a precious gift of "Parvathi" to all rasikas.

The song list includes the Tamil composition Ananda Natesa. The conception of God in cosmic dance is unique to Hinduism. Celebrated in iconography, art, music, dance and culture, this symbolism goes beyond mere beauty. The five elements are present in this dance, and the chidambara is a metaphor for the daharaakasha, the abode of the Infinite in our bosom.

Ananda Coomaraswamy, the famed writer and researcher, had this to say about the conception of Nataraja.
From the Dance of Siva by Ananda Coomaraswamy (1918) (also the image reproduced below):

" Now to summarize the whole interpretation we find that the Essential Significance of Siva's Dance is threefold: First, it is the image of his Rhythmic Play as the Source of all Movement within the Cosmos, which is Represented by the Arch; Secondly, the Purpose of his Dance is to Release the Countless souls of men from the Snare of Illusion; Thirdly the Place of the Dance, Chidambaram, the Centre of the Universe, is within the Heart. So far I have refrained from all aesthetic criticism and have endeavoured only to translate the central thought of the conception of Siva's dance from plastic (i.e.sculptural form) to verbal expression, without reference to the beauty or imperfection of individual works. But it may not be out of place to call attention to the grandeur of this conception itself as a synthesis of science, religion and art. How amazing the range of thought and sympathy of those rishi artists who first conceived such a type as this, affording an image of reality, a key to the complex tissue of life, a theory of nature, not merely satisfactory to a single clique or race, nor acceptable to the thinkers of one century only, but universal in its appeal to the philosopher, the lover, and the artist of all ages and all countries. How supremely great in power and grace this dancing image must appear to all those who have striven in plastic (an expression used to describe art forms such as sculpture etc.) forms to give expression to their intuition of Life! "

So dear rasikas, come and enjoy pure melody from 35 years ago!

Concert Details

Vid. K.J. Yesudas -------------- Vocal
Vid. M. Chandrasekharan-- Violin
Vid. Palghat Raghu ---------- Mridangam
Vid. M.A. Krishnamurti ---- Ghatam
On 5-4-82 during Ramanavami at 'Parvathi'.

Song List

01. Evaribodhana- Abhogi Varna-= Patnam Subrahmanya Iyer *** 02. Vatapi-Hamsadhvani- Muthuswami Dikshitar *** 03. Rakshamam - Nata - Meenakshisuta *** 04. Pavanaguru-Hamsanandi- Lalithadasar *** 05. Santana Ramaswaminam-Hindola vasanta- Muthuswami Dikshitar *** 06. Abhimanamennadu- Kunjari- Thyagaraja *** 07. Mokshamu galada-Saramati- Thyagaraja *** 08.Todi Raga *** 09. Ananda Natesa-Todi- Ramaswamy Sivan *** 10. Shankarabharana Raga *** 11. Tana-Pallavi-Ragamalika swaras *** 12.Nandanandana-Desh- Lalitha Dasar *** 13. Kannanai Kandayo -Sindhubhairavi-Lalithadasar ***14. Shadj ne paya- Ragamalika- Tansen *** 15. Mangalam ***

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

>

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, The Saint Composer

Vid. Maharajapuram Santhanam – 1972 Ramanavami

Text by R. Sachi

We are happy to share with rasikas this concert from 1972 as a part of our Season’s greetings and best wishes for the New Year 2014. This season is auspicious for Hindus and Christians alike, being a period of prayer and holy celebration. The Margashirsha masa (Margazhi in Tamil) is considered the best month in the Hindu calendar as it instils a mood of prayer and tranquility.

In this concert, Vid. Santhanam has sung a wonderful composition of the saint composer Thyagaraja in Yadukula Kambhoji, a raga most suited to prayer. In the song (part of Prahlada Bhakti Vijayam), Thyagaraja describes his utter anguish at his separation from Lord Rama. His feelings are very similar to those of anguish in the voices of mystics Meera, Andal and Chaitanya. We give below the lyric and translation from The Spiritual Heritage of Thyagaraja (pub. Ramakrishna Math, Chennai)

Concert Details

Ramanavami Concert 1972, Parvathi Mysore, held on 28-3 1972

Vid. Maharajapuram Santhanamm – Vocal
Vid. M.Chandrasekaran ----- violin
Vid. Palghat Raghu ------ Mridangam
Vid. Vikku Vinayakram ------Ghatam.

Song List

01-Gananathaya-Gowla-Ambi Dikshitar*** 02-Telisirama-Purnachandrika-Thyagaraja*** 03-Banturiti-Hamsanadam-Thyagaraja*** 04-Unde Yedi-Harikambhoji-Thyagaraja*** 05-Mohanam-Alapana*** 06-Mohanarama-Mohana-Thyagaraja*** 07-Chelimini Jalajakshu Kante-Yedukulakambhoji-Thyagaraja*** 08-Kandukandu-Mohana-Purandaradasa*** 09-Yochana-Darbar-Thyagaraja*** 10-Ammaravamma-Kalyani*** 11-Sarangamarugane-Ragamalika-Veeramani***

A Vibrant Musician from Andhra – Nookala Chinna Satyanarayana

The year 2013 has witnessed already the passing of many doyens of Carnatic music. Vid. Satyanarayana passed away recently and we quote excerpts from The Hindu below.

Mahamahopadhyaya Padma Bhushan Nookala Chinna Satyanarayana was born in 1923 at Anakapalle in Andhra Pradesh. Nookala was spotted as a young talent and came under the initial guidance of Vid. Balamuralikrishna’s father, Vid. Mangalampalli Pattabhiramayya. At Vizianagaram he learned to play the violin from renowned musician Dwaram Venkataswamy Naidu. But the influence of Dr. Pinakapani made him take up Carnatic vocal. Nookala’s personality changed as a musician under Dr. Pinakapani’s tutelage.

Over the years, Nookala became an icon in the field of Carnatic vocal. His analytical approach to music was stupendous and he passed on the same to his students, making their knowledge of musical science complete. Ahead of his times, Nookala was engaged in comparative studies of western and Hindustani music, and was an active author and even teacher on Skype to his overseas students.

Sri K. Srikantiah draws our attention to a special quality of attractiveness in Nookala’s music and also his impeccable diction in Telugu and other languages. Indeed Nookala is a vibrant musician from the great land of Andhra Pradesh.

In this concert, we also feature Vid. M. A. Krishnamurthy on the Ghatam. This artiste also passed away recently. He was a very popular ghatam artiste and played with all the stalwarts of Carnatic music. Trained under Vid. P.G. Lakshminarayana, he played the mridangam as well as ghatam.

Sri K. Srikantiah recalls fondly his association with Parvathi and mentions that he must have performed over 60 times in Parvathi concerts over many decades. Vid. Krishnamurthy also served as a staff artiste on AIR, Bangalore.

Vid. Krishnamurthy’s cheerful presence on the concert stage will be missed by many.

The other stars featured in this concert are Vid. Palghat Raghu and Vid. T. Rukmini.

CONCERT DETAILS

Parvathi Ramanavami Concert, Mysore (12 April 1976)
Nookala Chinna Satyanarayana ------ vocal
T.Rukmini ------------------ Violin
Palghat Raghu ------------ Mridangam
M.A.Krishnamurthy ------------ Ghatam

SONG LIST

01. Vatapi –Hamsadhvani- Muthuswami Dikshitar 02. Bantureethi – Hamsanada – Thyagaraja *** 03. Brovabhaarama – Bahudaari – Thyagaraja *** 04. Nee pogadakunte- Shubhapantuvarali – Thyagaraja *** 05. Anaathudanu kaanu – Jingla – Thyagaraja *** 06. Ranganaathude – Sowrashtra –Ponniah Pillai *** 07. Kaddanu variki – Todi – Thyagaraja *** 08. Undedi Ramudu- Harikambhoji – Thyagaraja *** 09.Chellare – Ahiri – Thyagaraja *** 10. Ramakatha Sudha – Madhuvanti – Thyagaraja *** 11. Sri Ramachandra Kripalu – Tulsidas Bhajan *** 12. Kapi Madhuripunaa – Jayadeva Ashtapadi *** 13. Dooru Maduvarene – Behag – Purandara dasa ***

Knowing what we don't know - True Wisdom

VIDWAN CHITTI BABU PARVATHI RAMANAVAMI CONCERT 1975

(Courtesy: chittibabu.org)

R. SACHI NARRATES ....

Recently when I visited Mr. Srikantiah, he was bursting with joy for having discovered a full concert recording of Vid. Chitti Babu from the 1975 Ramanavami festival at Parvathi, Mysore.

Scarcity of magnetic spools, and the vagaries of recording and archiving, had buried this as well as assorted other concerts in tracks here and there. This fortuitous discovery and digitization have helped us to share the full concert this time.

Vid. Chitti Babu was highly popular among Parvathi audiences in 1960's and 1970's. He delivered always memorable concerts, with melody, classicism and delightful light numbers. In this concert too, he delivers to a full house a typical Chitti Babu repertoire, from RTP to light numbers, in the company of the great mridangam Vidwan Palghat Raghu and Ghatam vidwan Manjunath.

There is also some novelty. At Mr. Srikantiah's request, Vid. Chitti Babu takes up the mike and sings a rare padam. He needlessly cautions the audience, 'Mr. Srikantiah, here I go, as you wanted me to sing today. The outcome will be your 'graha-chara!’ What follows of course is a very melodious rendering of a padam composed by Sri. Sarangapani in Jinjhuti.

The concert begins tentatively, as the veena clears its throat with 'Ramabhakti Samrajya'. But the next item is an impassioned rendering of the famous Thyagaraja piece in Dhenuka. The saint laments that no one knows the path of Bhakti. As the wise say, our journey begins only when we discover that we don't know. After all, the Oracle of Delphi called Socrates the wisest man after he had confessed to everyone in Athens that he knew nothing. Bhakti is not really to be mastered as knowledge, but approached with the true humility befitting the seeker who knows that he knows nothing of God's ways and the path to liberation. We give below the translation of the actual lyric:

O śrī rāma! People are not aware (teliya lēru) of the path (mārgamunu) of bhakti.

Roamiṅg (tirugucunu) all over (antaṭa) the Earth (ilanu) (ilanantaṭa), they babble as if in a dream

(kaluvariñcēru); but (kāni), O Lord śrī rāma! they are not aware of the path of bhakti.

Getting up (lēci) early in the morning (vēga), taking bath (nīṭa munigi) (literally takiṅg dip in water), smearing (pūsi) sacred ash (bhūti) on the body, (performiṅg japa by) counting (eñci) fingers (vēḷḷanu)(veḷḷaneñci), and posing (veliki) (literally ostensibly) as praise-worthy (ślāghanīyulai), they became (airē) totally (bāga) (literally very) committed (lōlulu) (literally dedicated) (lōlulairē) to earning (ārjana) money (paikamu) (paikamārjana), but (kāni) O Lord praised (vinuta) by this tyāgarāja! they are not aware of the path of bhakti.

(Courtesy: http://thyagaraja-vaibhavam.blogspot.com )

The concert has a number of popular items like Ninuvina, Nagumomu, Mokshamu Galada, and an English note “Rhapsody”. The main item is the famous Pakkala Nilabadi in Kharaharapriya. The short but impressive Kalyani RTP with ragamalika swaras shows mastery over the veena. All in all a very memorable concert!

DETAILS – Ramanavami Concert, Parvathi, Mysore, April 20, 1975

Vid. Chitti Babu – Veena
Vid. Palghat Raghu – Mridangam
Vid. Manjunath – Ghatam



Song List

01. Rama Bhakti – Shuddha Bangala – Thyagaraja *** 02. Teliyaleru rama – Dhenuka – Thyagaraja *** 03. Ninuvina – Navarasa Kannada –Thyagaraja *** 04. Pakkala Nilabadi – Kharaharapriya – Thyagaraja ***05. Mokshamu Galada – Saramathi – Thyagaraja ***06. Nagumomu – Abheri – Thyagaraja *** 07. Ragama Tanam Pallavi – Kalyani ( Ragamalika swaras) *** 08. Bhaktiko – Jinjhuti Padam – Sarangapani *** 09. Rhapsody – Chitti Babu ***10. Mangalam ***

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 ***

A Musical Downpour called Madurai Somu

Our blog rasikas have already rejoiced in two full concerts we have posted before, of Vidwan Madurai Somasundaram from the '70s. Simply put, come spring and summer, Mysore waited for Somu, or in other words a downpour. And Mysore is known for its early showers around Ramanavami, showers that cool down the whole town and instil a sense of well-being in people. Like the proverbial peacock whose dance heralds rain, Vidwan Somu invariably brought rain with his music at Parvathi. It was perhaps an example of what Karl Jung called synchronocity, the experience of two or more events, that are apparently causally unrelated or unlikely to occur together by chance, that are observed to occur together in a meaningful manner.

We think the best way to describe Somu's music is to call it a musical downpour. The way rain builds up, from a patter to a drizzle to a downpour and finally a roar. Music that floods our consciousness like an overflowing Cauvery. Momentarily we forget the raga, the song, the tala, and experience the pure joy of musical expression. His voice may be husky, his words may be indistinct, his phrases may be sporadic. Yet the music takes us to a different plane. We experience this at many places in the current concert (1973). We must warn you that the actual downpour (=rain) that day disrupted the recording many times and therefore you get to hear only a truncated version. There are some gems nevertheless. Evarani, Ragasudharasa, and a lovely Kalyani. Both Lalgudi Jayaraman (a bow that stresses its beauteous presence like Mysore jasmine) and Palghat Raghu (what a stamp of emphatic percussion!) have given superb accompaniment in the concert, and Kalyani brings it all together uniquely. Apparently it was Somu's own composition in Kalyani, wrought in Trishra Nadai, full of evocative words to worship the mother goddess: Paradevathe Sowbhagyavathi Maam Pahi Rajarajeshwari Kalyani Surasevithe Sukumari Gowri Aravinda nayani Atmarupini Karakamali Kamani Katyayani Chamundeshwari Amba Chandrakaladhari Sringerivase Vagaeeshwari Shyamakrishnasodari

The Concert Details Madurai Somasundaram ---- Vocal Kazhugumalai Kandaswamy ----- Vocal Support Lalgudi Jayaraman-------Violin Palghat Raghu-------------Mridangam Vinayakram--------Ghatam On April 11, 1973 at Ramanavami Festival, Parvathi. Song List 01-Mahaganesham-Jaganmohini-TBD-I *** 02-Pranavaswaroopa-Triveni-TBD *** 03-Krupajuchutaku-Chayatharangini-Thyagaraja *** 04-Paradevathe-Kalyani-TBD *** 05-Evarani-Devamruthavarshini- Thyagaraja*** 06-Ragasudharasa-Andolika-Thyagaraja *** 07-Raga-Kharaharapriya-I *** 08-Marudamalai-Darbarikanada-TBD *** 09-Bhajore Bhayya-Desh,Mand-Kabir *** 10-Nadabindu-Jinjhuti-Arunagirinathar *** 11-Elloru Varingal -continued *** 12-Rajarajeshwari Stotra-Ragamalika *** 13-Pavamana-Saurashtram-Thyagaraja ***

(I – Incomplete, TBD – to be determined) ( Please Note: The player does not roll over to the next piece of music. You may have to do it manually by clicking the right arrow )

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".

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***

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 ***

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 .....

p>

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]