When a Golden Voice Comes with a Golden Heart - Vidwan K.J. Yesudas

For many years, if you took an early morning flight out of the Bangalore HAL Airport, you could start your journey auspiciously – listening to a golden male voice intoning “Om Namo Narayanaya”or ”Om Namah Shivaya”. The well-meaning Sankars Bookshop owner would be playing a CD of Yesudas's recitations. The whole airport would fill with the divine chant and one would just be transported by the Golden Voice. K.J. Yesudas is a singer whose popularity spans the entire country and also two worlds of music – classical and films. He is well known to be endowed with a golden heart as well as a golden voice. His voice is the envy of every male singer. Equally, Yesudas is active in serving social causes following the motto of Narayana Guru, "One caste, One religion and One God for all humanity". He is an ardent devotee of Goddess Mookambika.

Under the watchful gaze of Mysore Vasudevachar and T. Chowdiah ! Vidwans K.J.Yesudas, T.G.Tyagarajan (violin), Tanjore Upendran (mridangam), Bangalore Venkataram (Ghatam) - "Parvathi" April 13, 1987. !

The singer with the highest number of Best Male Playback Singer National Awards, K. J. Yesudas has also made a name for himself as a classical Carnatic musician. He was first taught classical music by his father, Vidwan Augustine Bhagavathar. After studying at the Swathi Thirunal Academy, Yesudas finally underwent advanced training under the all-time great Chembai Vaidyanatha Bhagavathar. Since '60s, Yesudas has maintained a very busy musical career on the Carnatic stage and at the same time as a multi-lingual playback singer in Indian cinema. He is an icon for many stars: actor Kamal Hassan, Oscar-winning music director A. R. Rahman, film director Adoor Gopalakrishnan, and noted playback singer S. P. Balasubrahmanyam.

Yesudas's association with Parvathi started eventfully. He was first billed by Mr. Srikantiah to sing on 14 April 1976. But he did not turn up and an upset Mr. Srikantiah had to arrange for Vidwan Neyyattinkara Vasudevan to sing on that day instead of Vasudevan's own slot the next day. Next morning at daybreak, Vidwan Yesudas called Mr. Srikantiah to explain how his party had been stranded on the Bangalore-Mysore Highway due to vehicle trouble. He agreed to sing on the 18th April instead, and a young Mysore Nagaraj got a chance to accompany him (see photo below). And the concert, featured here, turned out to be very successful. From that day began a deep bond of family friendship between Yesudas and Srikantiah. Mysore rasikas heard Yesudas in large numbers that day, and thereafter always turned up in full strength as Yesudas performed at Parvathi for many years.

How's that singing voice, these days?

Two veteran friends Yesudas and K.Srikantiah kidding each other !

Mr. Srikantiah recollects his recent visit to Kerala to attend Yesudas's son Vishal's wedding at Trissur on 22-8-2010. During the marriage ceremony, precisely at the auspicious time of Muhurtham, the recording of Yesudas's rendering of "Seetha Kalyana Vaibhogame " was played in the background. This Thyagaraja kriti was so melodious, emotional and moving in Yesudas's voice that Mr. Srikantiah was deeply touched and and entralled.

The Parvathi Concert (April 18,1976) K.J.Yesudas ----Vocal Mysore M Nagaraj -----Violin Erode Gururajan ------Mridangam Sheshagiri Das -----Khanjira Manjunath ----Ghatam

Notice Mysuru's young Violin prodigy in support of the Veteran Yesudas !

01.Sarasijanabha – Nata Varnam – Palghat parameshwara Bhagavathar *** 02. Vaathapi Ganapathim – Hamsadhwani – Muthuswami Dikshithar *** 03.Paavanaguru – Hamsanandi – Lalitha Dasar*** 04.Neekelana -Devamanohari – Ramnad Srinivasa Iyengar*** 05. Teliyaleru Rama- Dhenuka – Thyagaraja *** 06.Ksheerasagara-Devagandhari- Thyagaraja*** 7.Sarasijanabha Todi – Swathi Thirunal*** 08.Sree Ramam Ravikulabdhisomam -Narayana Gowla – Muthuswami Dikshithar*** 9.Muruganai Kaana Ayiram Kann- Abheri – Arulavan*** 10.Om iti Brahma - Upanishad*** 11. Mangala darshana dayike Mookambike- Ragamalika*** 12.Chand Akela - Film song*** 13. Athisaya ragam -Film song*** 14.Bhaja Govindam-Ragamalika-Shankaracharya*** 15. Yogeendraanam -Kapi, Sindhubhairavi -Narayaneeyam***16. Pavamana – Mangalam

Bowing in gratitude to a genius – Celebrating Vidwan Sri Lalgudi Jayaraman’s 80th Birthday

Through this blog

Mr. K. Srikantiah and family wish the great maestro Lalgudi Jayaraman the following:

" Happy 80th Birthday celebrations throughout the year and fond wishes for a long and healthy life full of many more musically wonderful moments. May the Almighty shower His blessings on our friend and musician nonpareil ! "

These were Sri Srikantiah’s sentiments and felicitations as he personally called the Maestro from Mysuru, on the evening after the ceremonies in Chennai on September 18, 2010

"The Way We All Once Were !" - Parvathi in the '1960s
Celebrating Devi Bhagavata Saptaha and Gayatri Homa

[ L to R: K.K. Murthy (future builder of the Chowdiah Memorial), Vidwan Umayalpuram Sivaraman, K. Srikantiah, Vidwan Lalgudi Jayaraman, Vidwan Alangudi Ramachandran, Vidwan M.A. Narasimhachar ]

In our last posting (on Vidwan Madurai Mani Iyer) we drew a link to Sri Lalgudi’s impending 8oth Birthday and the felicitations planned in his honor, in Chennai and elsewhere.

We, ourselves, had to wait a little longer (so enraptured were we with the proceedings in Chennai) before we could express our own gratitude to this immortal maestro, who in more ways than one has lived an exemplary life, in decency,in humility and in spirituality, while bequeathing so much joy to fans all over the world through his own brilliant artistry.

We put the following question to Sri Sachi ( our chronicler on ‘Parvathi’ matters and please click here to see his homage to Sri Lalgudi ) “How is the veteran Mr. Srikantiah taking it on this great day ? (in his own devotion and friendship to Sri Lalgudi)”

Pat came the answer “ As in every other day, where he listens to these two pieces without fail and in particular to Lalgudi’s rendering of them (from the full concert posted on Aug 29, 2009 ).

(1) Marugelara: Mr. Srikantiah is particularly fond of this Thyagaraja's song in Jayanthashree, He often talks of how Thyagaraja seems to be in a continuous dialogue with Lord Rama whom he is questioning on so many things.

In this song, Thyagaraja asks, “O Raghava (Lord Rama)! Why do you need to conceal yourself? The Universe itself is your form, with the sun and the moon as your eyes. By deep contemplation, inquiry, and search, I have directly perceived that you are everything, and everything is within you. There is no place in my mind for any other God. I solicit your protection.”

Lalgudi Jayaraman's genius in interpreting this song is very impactful. Listen to the clip below, and see how he collaborates with Palghat Raghu to create a profound effect, all within 8 minutes.

(2) Brovabhaaramaa: It is special, because, if you listen, it sounds like 2 violinists are playing it (one in higher octave and another in lower octave) . It is simply that wonderful . When Sri Lalgudi happened to visit "Parvathi" some years back, Sri Srikantiah played this piece for him, and the maestro himself was thrilled to listen to it, forgetting in a most innocent demeanor that it was after all his own playing. A great artist admiring his own great art !!

O Raghurama! While You are present in and as all Universes,
is protecting me alone a burden to You?
Sri Vasudeva! Don't you have crores of Universes
in Your stomach? Yet, is protecting me a burden to You?
Didn’t You, out of compassion, lift mountains
(once) in the Ocean of Milk for the sake of celestials,
and again, for the sake of gOpis? O Merciful Lord!
(Yet) is protecting Thyagaraja alone a burden to You?

Harking Back to the Golden Era of the Voice : 'Ganakaladhara' Vidwan Madurai Mani Iyer

[ Courtesy: Arvindsdad Blogpost ]

The "Parvathi" team is back from their sabbatical! And with a bang. Not the bang associated with Diwali crackers or modern rock stars. We are talking of the high point of musical excellence that suffused the milieu of the 1950's and 1960's.

Let us not forget that these decades witnessed the most glorious era of Carnatic vocal music. The veritable doyens were holding court. And youngsters were coming up, those talented enough to peep out from under the canopy of these stalwarts.. be it in accompaniment or solo performance.

Is it a coincidence that Hindi film music of the '50s and 60's stands for the very best in pure vocal excellence, shorn of digital enhancements and airbrushed glamour of today? In the '50s and '60s, Carnatic music too had only rudimentary mike amplification. Avid listeners would throng the small halls, and get a crick in the neck getting a glimpse of the performers on stage. And each stalwart would pour out wonderful soul-stirring music over many hours that had the stamp of his or her unique style. Listeners would not be thinking of MP3 and You Tube. They lived in the moment.

And the purest ray serene of this effulgence in vocal music is Ganakaladhara Vidwan Madurai Mani Iyer (1912-1968). He had a voice that clicked from the first note in a concert. He did not cause headaches for the accompanists nor fatigue to the audience with pyrotechnics. He gave melody its true place. His voice was always sruti-aligned, a kind of yogic “samatwa” that Lord Krishna talks of in the Bhagavadgita. He was so obviously enjoying the melody and the intrinsic laya in any composition that he would only embellish it, not hide it nor distort it with his extrapolated manodharma.

It is perhaps some indication that there have been NO me-too Madurai Manis. Like there has been no Hemant Kumar again nor again a master poet in the mould of Walt Whitman. Another interesting aspect that many veterans who have heard Madurai Mani Iyer's music always say is that they think of is his version as they hum their favourite songs, be it in Tamil, Telugu or Sanskrit. His ever-tuneful, clear, and balanced presentation brought out the lyrical beauty in the song most eloquently.

And now for the Parvathi concert. Held during the Ganesha Festival in 1963 – 47 years ago! - the concert has grand accompaniment. None other than T. Chowdiah on the violin, and a spirited Umayalpuram Sivaraman on the mridangam. It seems that day Vidwan Mani Iyer was running a high temperature. But he was not to be deterred, and presented a grand concert. He began with Vatapi, in obeisance to Lord Vighneshwara, and continued with Diwakara Tanujam.. a song in praise of Lord Shaneeshwara. With their double blessings, the concert turned out to be a memorable one, Coincidentally, this year the Ganesha Chaturthi is celebrated on September 11, Saturday! So Ganesha and Shani are both coming together to bless us again!

As if on cue, both Chowdiah and Sivaraman go to great lengths in their turn to embellish the concert and we have many interesting moments in the Ragamalika after the Pallavi as well as in other songs.

Concert Details

Madurai Mani Iyer ----Vocal
Vocal accompaniment -Vembu Iyer
T. Chowdiah ---------Violin
Umayalapuram K Sivaraman -----Mridangam
Sheshagiri Das ------Khanjira

"Parvathi" Ganesha Festival on August 23, 1963
For a photograph please click here

[Note: Only a few pieces of this distinguished concert were posted earlier on the blog since the audio tape was corroded, but with some effort we have now managed to restore a semblance of the whole ]

1. Vatapi Ganapathim-Hamsadhwani- Muthuswami Dikshithar *** 2. Diwakara Tanujam -Yadukula Kambhoji -Muthuswami Dikshithar*** 3. Enta bhagyamu -Saranga – Thyagaraja*** 4. Brochevarevarura - Khamach – Mysore Vasudevachar*** 5. Seethamma Mayamma – Vasantha – Thyagaraja*** 6. Vallabha Nayakasya- Begade – Muthuswami Dikshithar 7. Mahaganapathim – Thodi – Muthuswami Dikshithar*** 8. Darini – Shuddha Saveri – Thyagaraja*** 9. Sarasamukhi-Gowda malhar- Muthiah Bhagavathar*** 10.Ragam Thanam Pallavi in Simhendramadhyama followed by Ragamalika*** 11. Virutham Dhanyasi, Shloka-Hamsanandi-Thiruppuzhal*** 12. Vellai tamarai – Bhimplas – Subrahmanya Bharathi*** 13. English note – HM Bhagavathar***


In case the audio doesn't play, please click here






Felicitation of artists by Musicologist and Veena Virtuoso M Cheluvarayaswamy.

REMEMBERING SRI LALGUDI IN HIS 80th YEAR! (click)
( also please click here for an earlier posting )

Festival food being served in "Parvathi"?
Participating (L to R): Krisna Gana Sabha Secretary Yagnaraman, Lalgudi Jayaraman, Veena C Krishnamurthy, Vellore Ramabhadran, Yesudas, Mrs. Yesudas (Prabha)

RELIVING THE PAST

Sri. Krishna Vattam happens to be one of Karnataka’s and Mysore’s most reputed journalists. His contributions over several of these decades , starting from the early 50s, are about as wide and varied as his multifarious interest in causes. One can catch a glimpse of him here or perhaps here or one can take their pick over a lifetime’s compilation from any of the Internets search engines.

Recently, Sri Vattam picked up his pen to re-live a certain glorious past and wrote to The Editor, The Star of Mysore on July 25, 2010. We are honored to reproduce his words, below:

Sir,

As I was reading M.R. Shivanna's write-up titled "Great musicians on blog", the blog titled as "A Home called Parvati" (SOM dated July 21), I was reliving the past.

It was not a mere dwelling house built with brick and cement but true to its name the Home had a distinct character, the like of which we can find in two or three homes in Lakshmipuram.

I was lucky to have attended from 1960 all concerts arranged on the occasion of Ganesha Chaturthi and Sri Ramanavami. They were literally a treat for all music lovers.

If MS, MLV, DKP, Mangalampalli Balamurali Krishna, Semmanagudi, Madurai Mani Iyer, Madurai Somasundaram, Maharajapuram Santhanam, Par-weena Sultana, Lakshmi Shankar came out with soulful divine vocal recitals, there were giants like Violinist T. Chowdaiah, Flute Mahalingam, to mention a few, who elevated the 'bhava' of the listeners.

While the Ganesha festival concerts were held in the hall in Parvati, Sri Ramanavami concerts were being arranged in the open space abutting the Home. What was striking about Parvati was the divinity that permeated the premises, inspiring the artistes to feel a sense of bliss as they rendered. The open ground where Sri Ramanavami concerts were organised was in no way less in importance in the awesome ambience it was graced with. A photo, very big in size, of SriRamachandra, Seetha, Lakshmana, Satrugna and Hanuman used to be placed on the dais and a parijata tree just above the photo, serving as it were a divine umbrella, was dropping its fragrant flowers on the photo to the sweet strains of music, evoking a feeling of "ananda."

All good things should come to an end, they say. Parvati had its "anthya". K. Srikantiah's passion was to make people listen to good music and he found supreme satisfaction if the rasikas enjoyed it. It was good of him to have made use of the online technology so as to enable lovers to continue to listen to the music of stalwarts. However, the blog needs to be updated and concerts of all artistes mentioned in the blog may be posted there.

� Krishna Vattam
Mysore
25.7.2010

The cool breeze from Kerala’s climes – Flute Vidwan K.S. Gopalakrishnan

The year is 1976, Parvathi is again celebrating the Ramanavami music festival. A grand pandal is in place, and fills every evening with crowds eager to soak up truly classical music. And on this day, Lord Rama and his devotees decide to enjoy some flute music.

The tender breeze that prefaces the onset of monsoon is specially delightful in these idyllic parts of old Mysore state. It blows over the western ghats from Malabar, and in Sanskrit it is called Malayamaruta….

[ Courtesy: The Hindu ]

On this day in April 1976, the music blows across from the flute of Vidwan K.S. Gopalakrishnan. Vidwan KSG as many refer to him fondly, hails from Kerala and lives in Trivandrum. After initially impressing everyone with his vidwat on ample display in many memorable concerts, Vidwan KSG had turned reclusive and subsequently was not seen in the active Chennai concert circuit for reasons unknown. But many Carnatic aficionados have been blogging about his excellent music and also his wonderful serene personality. He seems to have made a deep impression among the cognoscenti.

Vidwan KSG reportedly had his initial training under his father, K.Shankaranarayana Iyer and later studied under K.Raghava Warrier of Thiruvananthapuram.

In this Parvathi concert from 34 years ago, a young Vidwan K.S. Gopalakrishnan is accompanied on the violin by Vidushi T. Rukmini, whom many consider Karnataka’s gift to Chennai. Over many decades, she has accompanied many stalwarts like Mali and Balamurali and younger vidwans like Gottuvadyam Ravikiran. In this concert, her violin has a limpid tonality and adds a very cheerful touch.

Vidwan Tanjore Upendran,, a southpaw, has enlivened the concert on the mridangam. He has a solid presence in all songs, especially brisk ones like Vathapi and Marivere in Lathangi, where again Vidwan KSG has played with a sparkle.

In the middle of the concert, Vidwan KSG takes up Kharaharapriya. To many of us, it seems that the Parijatha and Audambara trees in the Parvathi precincts harboured not only well-known gods but also the Raga Kharaharapriya. Almost every top artiste has exulted in presenting this wonderful raga in his or her Parvathi concert. Merely as an archive of the kaleidoscope of Kharaharapriya manodharma and its wide lyrical repertoire, this blog would occupy a great place in Carnatic music. Vidwan KSG’s elaborate Kharaharapriya and his delectable rendition of Raama nee samaanamevaru lasts nearly 60 minutes. Vidushi Rukmini gives an excellent swara response at the end of the song.

The Parvathi Concert
( Ramanavami Series April 11, 1976 )

Vidwan K.S Gopalakrishnan ---Flute
Vidushi T.Rukmini -----------Violin
Vidwan Tanjore Upendran -----Mridangam
Vidwan M.A.Krishnamurthy ----Ghatam



[ 01.Vathapi Ganapathim – Hamsadhvani – Muthuswami Dikshithar*** 02. Mokshamu galada – Saramathi – Thyagaraja *** 03. Marivere Dikkevvaru (first part) – Lathangi – Patnam Subrahmanya Iyer *** 04. Raama nee samaana– Kharaharapriya – Thyagaraja 05. Alasara paritapamu (padam)– Suruti – Swathi Thirunal*** 06. Marulu konnadira Javali – Khamach – Ramnad Srinivasa Iyengar*** 07. Piloo??? *** 08. Bhajan - Desh *** 09. Dhanashree Thillana – Swathi Thirunal 10. Mangalam ]

Acknowledging our Rasikas

Thanks to the keen interest evinced by 'Rasikas' towards the music brought forward from "Parvathi", the internet, somewhere, might have reached some sort of a critical mass bringing to its fold the attention of a reputed journalist of Mysore like Mr.M.R. Shivanna who wrote the following piece on July 21, 2010 in the popular paper The Star of Mysore. We are pleased to reproduce the article in our indebtedness to both the 'Rasikas' and to Mr.Shivanna.

Simply Scintillating – Vidwan Trichur V. Ramachandran

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

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

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

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

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

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

[ Courtesy: The Hindu ]

The Parvathi Concert

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

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

A Popular Sister Act : Vidushis C. Saroja & C. Lalitha

Congratulations to the Vidushis
for winning the "Sangeeta Kalanidhi" award for 2010

Parvathi's inner coterie of Rasikas celebrate 'Ganesha Utsavam'
with The Bombay Sisters in 1974
Accompanying them: Vidwans S, Mahadevappa, P.G. Lakshminarayanan, M.A. Krishnamurthy

"Parvathi" hosted a very popular duo, the Bombay Sisters, in 1974. They had inherited the mantle from Radha Jayalakshmi by then and continued to be prolific performers with a variegated discography for over 4 decades.

Smt. Saroja and Smt. Lalitha, also known as the Bombay Sisters, hail from Palghat area and spent their formative years in Bombay- hence the eponym. The sisters had their initiation into Carnatic Music from their elder sister, Smt. Sethu Mahadevan and later learnt from Shri. Chellamani Baghavathar. Further on, the Government of India Cultural Scholarship brought them to Madras for higher studies in Carnatic Music at the Central College of Carnatic Music, Adyar, under the direct tutelage of late Shri. Musiri Subramania Iyer. They continued their training in Carnatic Music from Shri. T.K. Govinda Rao, the primary disciple of Shri. Musiri Iyer.

The Bombay Sisters won the Sangeetha Rathna T. Chowdiah Memorial Award in 1996.

In this featured concert, the sisters have regaled the Parvathi rasikas with a wide repertoire of songs not often heard in Carnatic music. The Purandara Dasa songs shine in a new light in the different ragas. The ashtapadi in Darbari Kanada is brilliant. The violin and mridangam accompaniment rise to the occasion very well. Another rich feast indeed.

Concert Details

Bombay Sisters (C.Saroja and C. Lalitha) ---Vocal
S.Mahadevappa -------Violin
P.G.Lakshminarayan ---Mridangam
M.A.Krishnamurthy ----Ghatam
on September 20, 1974 at Parvathi during Ganesha Festival.



[ 01. Geetavadya-Natakapriya-Tanjavur Sankara Iyer***02. Srirama Padama- Amrithavahini – Thyagaraja*** 03.Meevalla –Kapi – Thyagaraja *** 04. Yadava Nee Baa –Shanmukhapriya- Purandara dasa *** 05. Akhilandeshwari- Dwijavanti- Muthuswami Dikshitar *** 06. Kaliyugavaradan- Brindavana saranga – Periyasami Thooran*** 07. Innudayabarade – Kalyanavasantha – Purandara Dasa*** 08. Narajanma Bandaga –Kharaharapriya – Purandara dasa *** 09. Acharavillada Nalige – Shahana-Purandara dasa *** 10. Hari Chitta – Jonpuri-Purandara Dasa*** 11. Baro Krishnayya – Ragamalika – Kanaka Dasa*** 12. Nandananda – Ragamailka – Narayana Thirtha*** 13. Ab Mein Nacho – Yaman – Surdas*** 14. Beet Gaye Din – Yaman – Kabir*** 15. Payoji Maine – Piloo – Meera Bai*** 16. Saa Virahe – Darbari Kanada – Jayadeva*** 17. Rati Sukha Saare – Madhuvanti – Jayadeva*** 18. Thillana – Jinjhuti – Mysore Veene Sheshanna*** ]

Musings from the Past
(From the music magazine Sruthi August 2003)

The Percussive Arts Center (PAC) 22nd annual Thaalavadyothsava from May 27-31 2003 in Bangalore

Rani Satish, Minister for Culture, Karnataka Govt presenting the
Palghat Mani-K.Puttu Rao Award to "Vikku" Vinayakram in 2003.
Also seen are Dr.A.H. Rama Rao (President,National Education Society) and Dr. V.V. Srivatsa, Chennai Musicologist

“The valedictory function on the 31st was marked by the presentation of the K. Puttu Rao Memorial Palghat Mani Award and the title of Sangeetha Kalaa Shiromani to Ghata maestro T.H. Vinayakram. He received a citation and the award which comprises of 10,000 rupees, from Rani Satish, Minister for Kannada & Culture, Govt. of Karnataka, who lauded the services of the Percussive Arts Center in the promotion of percussive arts and artists.

She recalled the services of K. Puttu Rao as a legal luminary and the contribution of K.K. Murthy in shaping the monumental Chowdiah Memorial Hall.

Dr. V.V. Srivatsa, scholar from Chennai, delivered the valedictory address. He also presented certificates and prizes to the winners of the competitions held in percussion instruments. The award function was followed by a music ensemble led by ‘Vikku’ Vinayakram. The participants included Sukanya Ramgopal, V. Umashankar, D.V. Venkatasubramanian (all ghata), N. Rajraman (ghata and gettu vadyam), A. Ganeshan (morsing) and Umamahesh Vinayakram (vocal support)”

,

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?..."