Traditional Song and Western Influences

Vid. Rajkumar Bharathi – Vocal Concert 1998: "Parvathi" Ramanavami Music Festival

By R. Sachi

We are pleased to share with rasikas worldwide the concert from the Ramanavami series 1998 of Vid. Rajkumar Bharathi. This very enjoyable concert has traditional Carnatic fare as well as a lovely “English” note of Thyagaraja-swami and also a patriotic song of the famous Tamil literateur Subrahmanya Bharathi, the renaissance poet of the early 20^th century, who stridently voiced the spirit of the Indian freedom struggle and gave a whole region much inspirational poetry.

Rajkumar Bharathi is the great grandson of Sri Subrahmanya Bharathi.  For Rajkumar Bharathi it was but natural to be associated with music owing to his family’s keen interest in art and literature. By the instructions of his music guru, Sangeetha Kalanidhi T. V. Gopalakrishnan, Rajkumar decided to quit his engineering job in an R&D division and devote his time for classical music.

Rajkumar Bharathi has given Classical Carnatic music concerts throughout India and abroad. His career spans classical music, bhavageethe, film playback singing, composing for classical dance, international fusion and choir music and teaching. He has many audio cassettes and CDs to his credit. His voice is very popular across Karnataka for his clear diction and melodious singing of Kannada compositions.

The concert has excellent accompaniment from Sri Manjunath and Sri Cheluvaraju.

The concert features an interesting composition, not often heard, of Saint Thyagaraja, which sounds very much like an English note. The words are meaningful and clever. We reproduce the lyric and meaning, taken from sahityam.net:

The Subrahmanya Bharathi song in Behag reflects the aspirations of a resurgent India, a century ago, when the population was just 30 crores! The spirit of the nation and also the “modern” spirit of national pride was the product ironically of the efforts of the English rule to create a single nation patched up from several smaller princely states. The result was a “critical” mass of national spirit.

Come, let us enjoy the concert!

Concert Details

Rajkumar Bharathi -----------------  Vocal

Mysore Manjunath ----------------- Violin

Cheluvaraj ------------------------- Mridangam

Srinath ----------------------------- Ghatam

          on 13-4-98 During Ramanavami.

Song List

01. Chalamela -Atatala Varna Shankarabharanam- Swathi Thirunal *** 02. Vandisuvudadiyali- Nata- Purandaradasa *** 03. Sri Rama -Purnachandrika - Thyagaraja *** 04. Sunadavinodini alapana 05. Devadideva - Sunadavinodini- Mysore Vasudevachar *** 06. Chintane Sada - Kunthalavarali - Thygaraja *** 07. Madhyamavathi alapana *** 08. Ramakathasaudha - Madhyamavathi - Thyagaraja *** 09. Ramanamava Nudi Nudi- Ragamalika (Desh,Vasanthi,Brindavani)- Purandaradasa  *** 10. Hanumana matave - Jog- Purandaradasa *** 11. Varaleelaganalola -Shankarabharana-Thyagaraja *** 12.  Bharathasamudhayam-Behag-Bharatiyar *** 13. Mangalam 

Divine Grace- its Processes and Effects

Hyderabad Brothers, 1998 - Ramanavami

An introspection by Shri R. Sachi

We are very happy to share with Rasikas worldwide excerpts from a brilliant vocal duet of the senior vidwans, D. Seshachary and D. Raghavachary, popularly known as Hyderabad Brothers, held during the Ramanavami festival at "Parvathi", Mysore, in 1998.

The Hyderabad Brothers duo made a mark for themselves during late 1970’s and have won many honours since, especially the prizes for for the best concerts of the season in the Music Academy, Madras, year after year. They have a beautiful vocal duet technique and employ a deeply classical idiom to connect instantly with their audiences. They received the Sangeet Natak Akademi award for the year 2013.

The excerpts we share here have an enduring musical value. Consider the range of ragas essayed: Nata, Sriranjani, Ravichandrika, Kambhoji, Bhairavi, Tilang, Durga…What a range of krithis, and what contemplative lyrical depth. Many of the compositions dwell on the aspect of divine grace. What is divine grace and how does one become ready for it?

The very first song, a classic composition of Muthuswami Dikshitar, gives an inkling…

Swaaminaatha paripaalayaashu maam… kaamitaartha vitarana …bodha roopa nityaananda karana

So at a basic level, the Lord protects and nurtures us. At the next level, He fulfils our desires and wants. But His grace has its full effect in enlightening us on the ultimate reality of divine bliss, and taking us beyond worldly wants.

The following songs also highlight the same theme:

Brochevaarevare…bhavaabdhitaraNopaayamu nerani tyaagaraajuni karambidi..

Who else, but you, oh Rama, will take me across by hand over the ocean of worldliness.

Niravadhisukhadaa..saadhumaanasa susadana

Dwelling in the pure heart, you confer eternal bliss…

The Kshetrayya padam sung here, Rama Rama in Bhairavi, may appear at one level to depict the pangs of a lover, but Shringara is one of the nava vidha bhaktis. Radha, Andal, and Meera, all represent the yearning for the Lord that results in Mukti.

We also have in the concert an interesting admonition to the worldly man by Purandara Dasa. This Durga raga composition Dharma Shravanavidetake was made famous by GNB. The words used by the composer are quite strong, stating that it is totally futile for a man, even if born in the upper caste, to observe religious rituals and listen to spiritual discourses, until and unless he realises the futility of pursuits in the material world and yearns for liberation. He says, huttukurudage deepavidetake bhrashtanigeke kuladharma, meaning that the light of a lamp is useless for a man born blind, just as a depraved man should not flaunt the rituals of his high birth.

We can thus conclude that being eligible for grace is the only thing within our powers. Grace flows and confers on us the pleasures of this world, but more importantly, the bliss of liberation. And as all the saint composers stress, it is a question for us of looking for the true enduring reward of existence and not the trinkets of material prosperity.

Come, let us enjoy a brilliant concert recorded at Parvathi 16 years ago!

Concert Details

Hyderabad Brothers
(D.Seshachary and D.Raghavachary) -------- Vocal

H.K.Narasimhamurthy ----------------- Violin
Cheluvaraj ------------------------ Mridangam
Srinath ------------------------- Ghatam

on 9-4-1998 during Ramanavami at Parvathi.

Song List

01 Swaminatha-Nata-Muthuswami Dikshitar*** 02 Brochevarevare-Sriranjini -Thyagaraja*** 03 Niravadhisukhada-Ravichandrika-Thyagaraja*** 04 Kambhoji Raga-Tana*** 05 Pallavi-Kambhoji & swaras-Kambhoji, Bilahari, Saveri*** 06 Rama Rama- Bhairavi padam - Kshetrayya*** 07 Rama Rama-Tilang-Purandara Dasa*** 08 Dharmashravana-Durga- Purandara Dasa*** 09 Mangalam***

Shiva and Vishnu- Aspects of the Same Divinity

Vid. Papanasam Ashok Ramani
Excerpts from "Parvathi" 1995 & 1999 concerts

A concretisation by Shri R. Sachi

We are pleased to share with rasikas worldwide excerpts from two concerts held in Parvathi in the nineties, featuring the vocalist Vid. Ashok Ramani, who is the grandson of the great composer of the twentieth century, Sangita Kalanidhi Papanasam Sivan.

Born in 1964, Ashok Ramani commenced music training at a very young age with his mother Dr. Rukmini Ramani (daughter of Papanasam Sivan). Subsequently he was under the tutelage of Dr. S.Ramanathan, Calcutta K.S.Krishnamurthy and Bombay Ramachandran. He was a disciple of Palghat K.V.Narayanaswamy for over 17 years and has been training also under Vidwan P.S.Narayanaswamy.

( Courtesy: shivanisai.org )

Ashok Ramani has produced a multimedia CD Rom and related material on the great composer Papanasam Sivan for the Cleveland Aradhana in 2001.

( Courtesy: Sruti website )

Vidwan Papanasam Sivan (1890-1973) is one of the most respected composers in Carnatic music. Coming from humble beginnings, he learnt music and Sanskrit more as a spiritual pursuit. At the request of Smt. Rukmini Devi, he taught small school children of the Besant Theosophical School in the 1930’s the basics of Carnatic music. He shone later as an exemplary composer in the Classical field as well as classical music–based films. In fact he has composed in several languages, principally Tamil and Sanskrit. Great musicians like KV Narayanaswamy, DK Pattammal, DK Jayaraman, MS Subbulakshmi, have all learnt these compositions directly from him. Even at the height of his fame, he used to lead bhajans at the Kapaleeshwarar Koil temple in Mylapore. He was awarded the Mahamahopadhyaya title for his mastery of the Sanskrit language. The Madras Music Academy distinguished itself by conferring the title of Sangita Kalanidhi on Sri Sivan in 1971.

Let us look at this beautiful composition of Papanasam Sivan in Hindolam, sung by Ramani ( text and meanings from Karnatik.com ):

raagam: hindOLam
taaLam: roopakam
Composer: Paapanaasam Shivan
Language: Tamil

pallavi

maa ramaNan umaa ramaNan
malaraDi paNi manamE dinamE
(maa)

anupallavi

maara janakan kumaara janakan
malai mEl uraibavan paarkaDal
alai mEl tuyilbavan paavana

caraNam

aayiram peyaraal azhaippinum
aayiram urumaarinum - uyar
taayin migu dayaaparan padam
tanjam enbavarai anjal enraruLum

Meaning:

The one married to Lakshmi (Vishnu) and the one married to Uma (Siva), I bow down to your feet as beautiful as a flower, my love, every day.

Father of the god of love (Vishnu), and the father of Murugan (Siva). The one who lives on the mountain Kailaash (Siva), even the one who lies on the waves of the ocean of milk(Vishnu) upon his snake, I worship you.

Even if I call you with a thousand names (done for Vishnu), even if you change forms in a thousand ways (Siva), with more loving compassion than even one’s mother, you bless all at your feet. One who surrenders oneself at your feet will not be afraid, because you will bless and take one with you.

This clearly shows that the quarrels of misled devotes about Shiva and Vishnu are extremely puerile. Both in the Vishnu Sahasranama and in the Bhagavadgita, there are ample assurances that God is one and we simply choose to worship different aspects as suitable to us.

Come, let us enjoy the great music offered by Vid. Ashok Ramani. The accompaniments in both concerts are excellent and enhance the musical experience.

Part I

Ashok Ramani ----- vocal
S.V.Narayan ------ Violin
P.G Lakshminarayan --- Mridangam
0n 14-4-95 during Ramanavami at "Parvathi", Mysore

Song List

01 Tulasidala-Mayamalavagowla)-Thyagaraja ***
02 Enduku nirdaya- Hari Kambhoji- Thyagaraja ***
03 Maa Ramanan-Hindolam- Papanasam Sivan ***
04 Maname Kanamum - Bhimplas-Papanasam Sivan ***
05 Krishna mukunda murare-Yaman-Papanasam Sivan ***
06 Sloka(Ragamalika)-Rama namam-Desh-Tanjore Sankara Iyer ***

Part 2

Ashok Ramani---Vocal

S.V.Narayan ---- violin

G.S.Ramanujam --Mridangam 

Srinath ---- Ghatam on 3-4 -99 during Ramanavami.

Song List

01 Sarasuda(Varna)-Saveri-Kothavasal V Iyer ***
02 Rama Bhakti-Shudda Bangala-Thyagaraja ***
03 Tanavari Tanamu-Begada-Thyagaraja ***
04 Charukesi RTP (Only Pallavi & ragamalika) ***
05 Saravanabhava-Shanmukhapriya- Papanasam Sivan ***
06 Aaneyu karedare-Narajanma bandaga-Madhuvanti-Purandara Dasa ***
07 Karpagame-Madhyamavati-Papanasam Sivan ***
08 Mangalam ***

Ingredients of delicate artistry in Carnatic music

Vid. S. Sowmya – Ramanavami 1995

An appreciation from R. Sachi

We are pleased to share with rasikas a fine vocal concert from the 1995 series, by Vidushi S. Sowmya.

S. Sowmya is a Carnatic music vocalist as well as a vainika. She learnt music initially from her father Dr. Srinivasan, and later from Dr. S. Ramanathan and Smt.T. Muktha. In 1998, Sowmya co-founded Carnatica - an institution dedicated to classical music and dance instruction, archival, talent search and other related activities. She co-authored the first comprehensive reference CD-ROM on Carnatic music, Nadanubhava. She is also a visiting professor at the Advanced School of Carnatic Music of the Music Academy Madras.

S. Sowmya is a distinguished alumnus of IIT Madras with postgraduate qualifications in chemistry. She has been awarded a PhD for her research into the technical aspects of mridangam design and construction. We learn also that she is on her way to acquiring a PhD in Sanskrit from Madras University.

While listening to this present concert, we are to be forgiven for forgetting all these academic accomplishments of this distinguished vidushi. What shines forth is a high order of delicate artistry honed under great teachers including two legendary maestros. We feel her music is suffused with a rare quality in Carnatic music called “saumya” guna or delicate artistry.

The word “saumya” in Sanskrit signifies the epitome of aesthetic evolution. The dictionary defines it as resembling the moon, placid, gentle, mild, auspicious, happy, pleasant, cheerful and even “cool”- the buzzword these days. In the Bhagavadgita, after beholding the Vishwaroopa, Arjuna is so badly stirred and shaken that Krishna decides to cool him down with his “saumya” appearance – bhUtvA punaH saumyavapuH mahAtmA (BG 11.50). Even in the lalithAsahasranAma, Devi is described as sAmagAnapriyA saumyA (v.168).

In this concert, a young and extremely melodious Sowmya sings so many beautiful ragas – Saveri, Athana, Begada, Vasantha, Pantuvarali, Anandabhairavi, Shankarabharana, Bageshri, Nadanamakriya…each song is presented with a delicate voice modulation which has the stamp of scholarship as well as artistic sensibilities of the highest order. The Begada krithi is a rare Kannada one, and the alapana (seldom attempted by women vocalists!) is like a beautifully painted landscape. The swaras in Pantuvarali and Shankarabharana show her solid vidwat. The Anandabhairavi song is her gentle tribute to the vainika-gayaka Muthuswami Dikshitar.

The accompaniments of Vid. Narayan, Vid. Sharma and Vid. Srinath add further charm to this concert.

So, let’s enjoy the wonderful music of Vid. Sowmya!

Concert Details

S.Sowmya ----- Vocal
S.V.Narayan ---- Violin
Ananthakrishna Sharma ---- Mridangam
Srinath ------ Ghatam
on 9-4-95 during Ramanavami at Parvathi, Mysore

Song List

01 Sarasuda-Saveri Varna - Kotthavaasal Venkatrama Iyer *** 02 Anupama gunambudhi -Athana- Thyagaraja *** 03 Nimma bhagya- Begada -Purandara Dasa *** 04 Rama Rama -Vasantha- Purandara Dasa *** 05 Shiva Shiva- Pantuvarali -Thyagaraja *** 06 Manasa Guruguha- Ananda bhairavi – Muthuswami Dikshitar *** 07 Swararagasudharasa- Shankarabharana –Thyagaraja *** 08 Shloka & Rogaharane –Bageshri – Jagannatha Dasa *** 09 Karunajaladhe –Nadanamakriya- Thyagaraja *** 10 Mangalam