Music's Lady Virtuoso : M. L. Vasanthakumari

A lady musician, just 26, was conferred the title Sangeeta Vani in Madras in 1954. Her accomplishments were worthy of being recognised at a function graced by some of the greatest music exponents of that era including Rajamanickam Pillai, Maharajapuram Vishwanatha Iyer, T.L. Venkatarama Iyer, Bade Ghulam Ali Khan, C. Saraswathi Bai, K. B. Sundarambal, and M.M. Dandapani Desikar; and connoisseurs like Dr. R. Krishnaswami, Dr. U. Krishna Rao and finally the Chief Minister C. Rajagopalachari. That lady virtuoso was none other than Dr. M. L. Vasanthakumari or MLV.

[ Courtesy: South Asian Woman's Forum ]

MLV went on to win many more laurels including the Sangeetha Kalanidhi in 1977 as the youngest woman recipient till now (49). Among the legion of her fans, her acronym was expanded also as Melody-Laya-Vidwat. MLV was born into a musical family, but during those difficult times, she needed strong encouragement from a musical celebrity like GNB to dare choose a career in music. That she became his most famous disciple is the stuff of legend.

MLV's mother Madras Lalithangi once met a saint visiting from Karnataka who initiated her into the rich treasure of Purandara Dasa kritis. It made such an impact on her that Lalithangi and her guru-husband Mr. Iyer spent all their fortune to bring out a compilation of kritis, “Sri Purandara Mani Malai” during the difficult times of World War II. It was Life's way of honouring the family's unremitting efforts that MLV was conferred a doctorate by Mysore University in 1976 for her contribution to the propagation of Dasa Sahitya.

MLV was much loved and honoured in Parvathi. She performed there many times. In 1971 she was honoured along with Mysore V. Doreswamy Iyengar and the function was followed by a brilliant MLV concert. We are privileged to offer that recording here.

[ Mr.M.S.Swaminathan IAS, Divisional Commissioner of Mysore, Presides ]
[ Sangeetha Natak Academy Award Winners felicitated in "Parvathi" 1971 ]
[ Dr. M.L. Vasanthakumari and Vidwan Doreswamy Iyengar ]

The concert itself is remarkable on many counts. Following an emphatic rendering of Begada -something rare from a lady vocalist, MLV proceeds with a wonderful Kalyani. There are many moments of explosive creativity in the rendering. The kriti Rama Ni Vadukonduvo is a rarely heard Thyagaraja piece in Trishra Nadai, and it is a feast. Then comes an elaborate Bhairavi RTP. Add to that a Pancharatna kriti and some splendid Devaranamas, and you have a quintessential hallmark concert with the stamp of MLV's musical genius. It is doubly satisfying to feel the camaraderie and virtuous collaboration from the violin and mridangam accompanists. The ensemble's delightful musical journey is akin to a joyous family's travelling in good old times on Chamundi Express from Bangalore to Mysore, savouring every tasty treat and scenic delight on the way. What a blessing indeed!

The Concert
Ramanavami Concert - 8 -4- 1971.

M.L. Vasanthakumari – Vocal
T.M. Prabhavathi – Vocal Support
Tiruvallur Subramanyam – Violin
Tanjavur Krishnamurthy Rao – Mridangam
? - Ghatam



01. Vanajaaksha- Mandari varnam – Mysore Vasudevachar*** 02. Pranamaamyaham- Gowla- Mysore Vasudevachar*** 03. Jagadaanandakaaraka – Naata Pancharatna – Thyagaraja *** 04. Laalisidalu magana – Aarabhi – Purandara dasa *** 05. Shankari neeve – Begade- Subbaraya Shastri *** 06. Raaka Sashivadana - Raga Takka – Thyagaraja *** 07. Rama Ni Vadukonduvo – Kalyani – Thyagaraja *** 08. Mariyaadagaadayya – Bhairavam – Thyagaraja *** 09. Bhairavi RTP + Bauli-Saama-Kiranaavali ragamalika *** 10. Shloka and Yaadavaraaya- Basant Bahar-SindhuBhairavi-Durga –Kanaka Dasa *** 11. Uga Bhoga, Yaake Nirdayanaadeyo – Ragamalika (Bhairav, Kalavati, Bhimplas) – Purandara Dasa *** 12. 12. Vaame Bhoomisuthaa – Shloka – Hamsanandi, Saveri, Shubhapantuvaraali, Suruti *** 13. Dhanashri Tillana – Swathi Thirunal *** 14. Mangalam

CHERISHED MEMORIES OF DR.MLV IN "PARVATHI"

Even after so many years, her name brings a hush in the "Parvathi" household. It is a hush caused by reflection on so many beautiful and personable moments of her having been there. There is even one, that includes her coaxing family members to join her in singing (yes, there are some recordings of that too!).

So we egged on, someone, who was almost like a daughter to her. Here are the words of 'that' daughter, captured solemnly:

"What really can I add to the things that have already been said? She was everything to me! I have but only very fond memories of 'dear MLV aunty'.

When I was a child, she would almost, always , bring me the gift of a beautiful doll, an expensive frock, or some such thing whenever we visited each others homes.

Later on as I grew up and started to sing, after each of her concerts in "Parvati", and as we used to relax, she would invariably ask me to sing old Lata Mangeshkar's songs. She would appreciate them so much, that she would ask me to sing more and more. She would make me feel as if I was on top of the world!

I also cannot forget the affectionate, encouraging and appreciative words that she spoke during my cassette release function.

Personally, I put her in the number one spot amongst carnatic vocalists. What 'shaareera' ! What gamakas! What ease with which she sang! and what creativity!, be it 'alapana', 'neraval', 'swaraprastara' or 'sloka'!

SHE IS SARASWATI TO ME!

I was sitting listening to that very same Karaharapriya which is posted on this blog, when we got the news that she was no more.

Above all, what a fine human being she was! Never spoke a harsh or ill word about anyone. She lived just for the sake of her art.

These few words of mine are just MY VERY HUMBLE OBEISANCE to this great soul... "

- Mysore Prabha

AUDIO DOESN'T PLAY? CLICK HERE

"Where is your abode?" - Vidwan Maharajapuram Santhanam

Imagine that you ask someone, “Sir, where are you from?” And he replies: “I was born in the land of kings.'' A great start to a conversation about credentials!

It so happens that one can translate the name Maharajapuram Santhanam to mean 'one born in the land of kings'. Once you have a name like that, its a big task to live up to. With Vidwan Santhanam's music, you feel his music reflects the regality in his name. Vidwan Santhanam was the son and disciple of Maharajapuram Vishwanatha Iyer, a monarch in the world of Carnatic music. Hailed in his time as first among equals, he ruled supreme on the concert stage. People to this day recollect his incomparable renderings of ragas like Mohana and Mukhari, and his explosive creativity.

[ Courtesy Carnaticdurbar.com ]

Vidwan Santhanam, whose scintillating concert at Parvathi we have already featured several months ago, is our artiste again this time.

Vidwan Santhanam came into his own in the '70s, after his father's demise. He rose in popularity for his resonant and sweet voice, his great stamina, and the ability to please audiences with engaging, happy music. He put his trade-mark on songs such as “Srichakraraja Simhasaneshwari”and “Narayana”. He was conferred the Sangeetha Kalanidhi title in 1989. The music world lost him prematurely - he died in a car accident in 1992.

In this concert, in the company of the ever-excellent Lalgudi G. Jayaraman, Santhanam presents E Tavunnara in Kalyani. This song is popular for a long time and makes an instant connection with the listener. Like so many other songs of Saint Thyagaraja, this song also has several layers of meaning.

The meaning given in the Spiritual Heritage of Tyagaraja is this: “Which is your place of abode? You are not easily to be found, however closely you are searched for.

Is it in the feminine forms of the deity like Sita, Gouri and Saraswati or is it in the five elements of earth, water, fire, air and ether or in the innumerable worlds or among the Trinity?”

To this writer, the song unveils three layers of God's presence in one's spiritual discovery. The first layer, encountered through the stirrings of bhakti, is that of grace. The mother goddess personifies grace through benign protection (Durga), the gift of intelligence (Saraswati) and prosperity (Lakshmi). After passing this phase of basking in God's grace, the aspirant starts to experience God's immanence: His all-pervading presence in this world, finally composed of the five elements. As Krishna says in the seventh chapter of the Gita, prakriti personifies Him. But the bhakta's journey finally takes him to the point when God is pure transcendence- all this and more. The ultimate conceptualisation of God in Hinduism is that of Trinity- the Creator Brahma, the Protector Vishnu, and the Destroyer Shiva. This song is just one way of saying that for a true bhakta like Thyagaraja, Lord Rama is grace, immanence and transcendence all combined.

Come, let us now enjoy the feast of music from Vidwan Santhanam, in the Ramanavami festival of Parvathi 1979.

The Concert

Maharajapuram Santhanam ------Vocal
Lalgudi Jayaraman ------------ Violin
Vellore Ramabhadran -------- Mridangam
M.A. Krishnamurthy ----------- Ghatam
on April 5, 1979 at Parvathi during Ramanavami.

Song List
01. Orajoopu – Kannadagowla – Thyagaraja *** 02. E tavunara – Kalyani – Thyagaraja *** 03. Haridasulu – Yamuna Kalyani – Thyagaraja *** 04. Ragam- Tanam – Pallavi – raga Kharaharapriya *** 05. Narayana - Shuddha Dhanyasi – Purandara Dasa ***

This Yamuna Kalyani is the version other than the version employed in the famous Krishna Nee Begane).

Red Flag: Embedded audio player not picking correct song names

BENEVOLENCES FROM MYSORE

The mere roll of names like Maharajapuram Santhanam, Maharajapuram Vishwanatha Iyer, The Bidarama Krishnappa Rama Mandiram, Mysore Vasudevachar, HH Jayachamrajendra Wodeyar, and "Parvathi", and all of it in one breath, stands to create a huge welter of emotions. For, it presents a world of great charms once beheld, of a world of kings and courts and composers and gentle Musical strains, not just Carnatic, mind you, but a far flung one with inroads, too, into a European culture.

Through a few collections, some ours and some from the other great souls of erstwhile Mysuru (as found on the Internet), we connect you to a grand era, which with each day's passing seems to roll away from our eyes into an indistinguishable distance.

From 1970 we show you (below), the very popular Chief Minister of Karnataka D. Devaraj Urs, alongside Mr. K. Srikantiah, unveiling the photograph of Mysore Vasudevachar in "Parvathi".

Celebrating an Unbroken Tradition – Vidwan T.V. Sankaranarayanan

Carnatic music is a continuing tradition that traces back to Sama Veda and the musical tradition started by sage Valmiki, the epic poet who sang Ramayana:

kUjantam rAma-rAmeti madhuram madhurAkSharam Aruhya kavitASAkhAm vande vAlmIki kokilam

Our prayer before reciting the Ramayana remembers Hanuman also:

sItArAma-guNagrAma-puNyAraNya-vihAriNau vandE viSuddha-vij~jAnau kavISvara-kapISvarau

Sage Valmiki sang Ramayana, and his greatest audience was the eternal rasika and bhakta Hanuman, ever present under the Parijatha tree, engrossed in Rama nama. Those in Parvathi, too, enjoyed the festive tradition of Ramanavami for over sixty years.

Maestros in "Parvathi" 1985 Vellore Ramabhadran, T.V. Sankaranarayanan, G.J.R. Krishnan. [ In our featured concert from 1986, the violinist has been replaced by his father ]

Mysore Prabha, hailing from the home of Parvathi, made her foray into Carnatic music in 1986 and her first album was released by the legend of our times, Lalgudi G. Jayaraman.

[ Sri Lalgudi G. Jayaraman speaks in Tamil ]

You can hear Lalgudi explain what is so special about the ambience of Parvathi that made

[ Vidwan T.V. Sankaranarayanan in a recent photo - courtesy Kartik Pashupati ]

musicians give unforgettable music to eager rasikas year after year. Coming to the concert featured this time. This concert held on the same day in 1986 is a superb example of Carnatic music's unbroken tradition. Vidwan T.V. Sankaranarayanan hails from the Thyagaraja-Muthiah Bhagavathar-Madurai Mani Iyer lineage. He became famous in the seventies as a gripping concert perfomer. The Hindu paid him a fine tribute describing his career as a joyous musical journey, when he received the Sangeetha Kalanidhi title from the Madras Music Academy in 2003. In this concert, he is accompanied by Lalgudi G. Jayaraman, a fourth generation musician in the Thyagaraja lineage. And they together create magic with the song Brochevarevarura by Mysore Vasudevachar, a disciple of Patnam Subrahmanya Iyer, continuing Thyagaraja's disciplic line. He was a frequent visitor and performer in Parvathi for many years. In this concert, excellent percussion accompaniment is provided by Vidwan Vellore Ramabhadran and Vidwan Bangalore Venkataram.

Joyful Supplication – the hallmark of a blessed devotee

Brochevarevarura rendered elaborately by Sankaranarayanan, is lyrically and musically a shining example of joyful supplication, an attainment given to few bhaktas. Vasudevachar composed this masterpiece in Khamach (a raga synonymous with positive energy), extolling Rama's grace that readily showers on the devotee. Vasudevachar invokes the example of Hanuman, the unparalleled devotee with these words: vAtAtmajA-rcita-pAda. Sankaranarayanan's concert begins with Yochana in Darbar, and builds up the mood of joyful supplication in Khamach. This mood continues in Mohana Rama. The concert climaxes in Revathi, wherein Purandaradasa tells the Lord that He is great but His devotees are even greater, able to summon Him at will and imprison Him in their devoted hearts. Purandaradasa gives the example of the boy Prahlada who could summon the Lord's incredible avatara of a man-lion out of a pillar! Sankaranarayanan's Revathi is a brilliant outpouring, matched by Lalgudi's gifted exposition. The ambience of this occasion, the music of T. V. Sankaranarayanan and Lalgudi G. Jayaraman, and the magnificence of Mysore Vasudevachar's composition – this is a real treat for all of us. What better way to begin 2011!

The Concert T. V. Sankaranarayanan - Vocal Lalgudi G. Jayaraman - Violin Vellore Ramabhadran - Mridangam Bangalore K. Venkataram - Ghatam Held at Parvathi on 23 April 1986. Song List 01. Yochana Kamalalochana – Darbar – Thyagaraja *** 02. Brochevarevarura – Khamach – Mysore Vasudevachar *** 03. Mohana Rama – Mohana – Thyagaraja *** 04. Neene Doddavano – Revathi – Purandaradasa ***

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***

T. Chowdiah’s 'Krishnasarthaya' – Remembering a giant and his era

As we live out our lives in this supposedly great internet age, as we ‘facebook’ and ‘twitter’ away time, as we provide a mind with only moments in which to decipher an others destiny rendering instinctively a ‘raaga’ (‘I select you’) or ‘dvesha’ (‘I reject you’), we occasionally receive a stimulus which arrests us. Hopefully, the arrest provides us with a relief , wanting us to cast away that bedlam from life which we feel is so unrelentingly thrust upon us, notwithstanding any belief by newer generations that everything is just a matter of a material choice.

We would like to sometimes slink away into that other world, wistfully into the days when we were once young, into an age when time afforded us some reflection and contemplation to savor a quality ...

[1957 - Sri Chowdiah going 'solo' with disciple in "Parvathi" when Sri. K. Puttu Rao was still alive. Looking on is the revered 'Gamaki' Ramakrishna Shastri and young friend K. Srikantiah]

... when you were so poor it did not matter because you could lean on your friend for a ‘one by two coffee’ (is this just a Karnataka/Mysuru/Bengaluru phrase and feeling or is it a general one amongst all the citizens of Tamilnadu, Telangana and Karnataka who drew upon each other as one under the Wodeyars? ), where you could herald yourself to where the great Vidwans and Vidushis held magnificent courts , albeit with make shift platforms assembled as a ‘stage’, enough to give them a lift just so that you could see them in your insufficiency while you were seated far away, but sufficient enough to bask in the glory of their artistry as you let them transport you into some rapturous heaven through great god given skills.

[1959 - Sri Chowdiah preserves Sri. K. Puttu Rao's memory at the Bidarama Krishnappa Rama Mandiram, along with Sri K. Srikantiah]

Such a recent stimulus was given to this writer by a veteran member of a very popular ‘Rasikas’ forum, stylizing himself as Sri ‘Mankuthimma’, who in casting about a very few words 'I am full of Chowdiah, today!’ sent this writer into a sudden tizzy, a withdrawal of longing into those times, into that space that the once popular crooner of bygone years, the Anglo-Indian-Australian crooner Tony Brent described for us as “In my little room, I’m hiding away, planning to stay…..in my little room...”

So Rasikas, come with us.

Let us spend some moments with the great violinist of a bygone era, T. Chowdiah, and the equally brilliant great men and women of his times that drew upon him; immortal names like GNB, Madurai Mani Iyer, Chembai Vaidyanath Bhagvathar, Ariyakudi Ramanuja Iyengar, M.S. Subbalakshmi and Mannakal Rangarajan (who thankfully is still with us!).

As we prepare for our next posting from "Parvathi", let us take you into their world, drawing upon the words of Karnataka’s eminent science writer, music critic, cultural organizer, the late Shri G.T. Narayan Rao [ produced here from the book Sangeetharatna Mysore T. Chowdaiah by Sri. K.Srikantiah] [Click to magnify pages below].

Ah, is it only words this time or is there any music - you ask?

Yes, we have great music! However, not from “Parvathi” (as we prepare it's music for the next occasion), but from a concert which you may all have perhaps heard but which nevertheless is considered a classic of its times. It is from the AIR Sangeeta Sammelan of 1961 with the combo of T.Chowdiah - Madurai Mani Iyer - Palani Subramanya Pillai - Kodanda Rama Iyer, all of them perhaps at their brilliant best.

It wouldn’t hurt to listen to it once again in our company. For, it does pull quite a bit at those heartstrings!

OUR SALUTATIONS TO
PANDIT JASRAJ BEING HONORED
with the
K.K. MURTHY MEMORIAL CHOWDIAH AWARD
Nov 28, 2010
by
FORMER CHIEF JUSTICE OF INDIA
M.N. VENKATACHALIAH

[ Also seen is Vocalist Prof. Nagamani Srinath who won the State award ]

[ Photo: Sampath Kumar G.P. The Hindu Nov 29, 2010 ]

When God beckons to Man – Flute's eternal fascination with Dr. N. Ramani

[ Lord Ramachandra as worshipped in "Parvathi" ]

Sarojini Naidu, (blessed is the land that gave birth to great souls like this Nightingale), writes in her haunting poem 'The Flute-Player of Brindaban':

Why didst thou play thy matchless flute
'Neath the Kadamba tree,

And wound my idly dreaming heart
With poignant melody,

So where thou goest I must go
My flute-player with thee?

Still must I like a homeless bird

Wander, forsaking all
The earthly loves and worldly lures

That held my life in thrall
And follow, follow, answering

Thy magical flute-call.

Such is the eternal fascination of the flute. A humble reed that epitomizes surrender at God's lips, whence come all divine vibrations. Perhaps to be a flute-player calls for several births of evolution. It is perhaps the simplest musical instrument, and yet has the maximum impact on a listener. Wordless but vibrant lips that infuse Prana or “Life-breath” into our ears and penetrate the deepest part of our souls. A simple note alone from a flute will suffice. Then what of the majestic melody of a Kharaharapriya or a Thodi, melodies born of millennia of spiritual quest of those residing in their Vishuddhi Chakra?

It is not only us Krishna-worshippers. The whole world knows the divine abandon that flute beckons us to. Keats, in his Ode on the Grecian Urn, writes,

Heard melodies are sweet, but those unheard
Are sweeter; therefore, ye soft pipes, play on;
Not to the sensual ear, but, more endear'd,
Pipe to the spirit ditties of no tone.

His words point to another key aspect of flute music. Silence is embedded in each phrase! There is an eternal tango between melody and silence in the music of the flute.

It is almost for sure that Keats is thinking of the divine flute-player we call Krishna when he says,“ happy melodist, unwearied/ For ever piping songs for ever new. ”

It is not too different from the words of Swathi Thirunal who sang: "Mohanamayii tava muraligaanam Aho..."

And so dear Rasikas, we bring you Dr. N. Ramani's concert held in Parvathi in 1970. With great accompaniment, Vidwan Ramani has transported us to a heaven we are loathe to take leave of! Come to the feast. Brochevaruevarura... Kharaharapriya, no less... Thodi RTP... and more and much more. Krishna nee begane is uniquely presented on the long flute.

The Parvathi Concert
April 19, 1970 Shri Ramanavami Festival

N. Ramani- flute
K. Alagiriswamy - violin
K. Sivaraman – Mridangam
M. Manjunathan - Ghatam



[ 01.Sarasijanabha Atatala Varnam – Kambhoji – Swathi Thirunal*** 02. Vatapi Ganapathim – Hamsadhwani – Muthuswami Dikshitar*** 03. Dudukugala – Gowla Pancharathnam – Thyagaraja*** 04. Niravadhisukhada- Ravichandrika – Thyagaraja***05. Paripurna Kama – Poorvikalyani – Thyagaraja*** 06. Broche varu – Khamach – Mysore Vasudevachar*** 07. Ninuvinaa – Navarasakannada – Thyagaraja*** 08. Chakkaniraja – Kharaharapriya – Thyagaraja*** 09.Raghuvamsha – Kadanakutuhalam – Patnam Subrahmanya Iyer*** 10. Thodi Ragam Thanam Pallavi Ragamalika*** 11. Krishna nee begane – Yamunakalyani- Vyasaraya*** (long bamboo) 12. Jagadoddharana – Kapi – Purandaradasa*** 13. Magudi *** 14. Sadho Sadho - Ahir Bhairav- Surdas Bhajan *** 15. Mangalam *** ]