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Thursday, November 19, 2009

Brahmachari and a person called UG Krishnamurti



"U.G. is not a teacher."
"He is a friend to you when your own teacher has become your enemy"
- (late) Vijay Anand, film director

If words like 'anti-Christ', 'anti-Guru' etc. have managed to create philosophical speculations for a good number of years in our world, then the good citizens of Sankar Mutt in Bangalore, members of a Bollywood industry ( Mahesh Bhatt , late Vijay (Goldie) Anand, late Parveen Babi ), and parts of the California and European worlds would not be found lacking for similar thoughts following astounding experience(s) with the personality of the late "UG" ( U.G. Krishnamurti ) .


Some have attempted to compare UG to a modern day Rasputin in struggling to come up with an image for him. Others have been simply caught numb, mesmerized by the provocative thoughts and pronouncements of an extraordinarily mysterious man. Some have thought of him as a thinker's thinker as he continued to pulverize all notions of a religious world; indeed of any world that chose to think in terms of the structure of a God or Divinity .

Growing up in a milieu of prayers, chanting, sacred music and amidst Shankaracharyas , it was indeed a fascinating walk that Brahmachari Shivaram Sharma ( Kunigal Shivaramiah, fourth son of K.Puttu Rao ) took from growing up in the shelter of "Parvathi" to finding himself besides UG and to decades of an association with the latter.

If there are any gleanings to be drawn from a reading of lives in the links provided, it is only to remind ourselves that this process that we call life is indeed but an extaordinary journey.

We present to you a UG, in the most expressive of terms by the late Brahmachari Shivaram Sharma (borrowed from the link on UG), and leave you to further fascinating readings within the same:




U.G. -- AN ENIGMA
--Brahmachari Sivarama Sarma


[Brahmachari Sivarama Sarma was once professor of Chemical Engineering at the Indian Institute of Science, Bangalore, India. He joined the Indian Administrative Service in the Nehru administration as Chief Engineer in the Sindhri Fertilizer Factory and resigned the job when Nehru pressured him to go to Russia. He then dedicated himself to spiritual pursuits under the guidance of the Sankaracharya of Kudli Math in the Karrnataka State, who subsequently chose him as his successor. But factional intrigue prevented him from accession to the seat (pitha= "seat" of religious authority). --Editor]

" The Naiyayikas (followers of one of the six orthodox systems of Indian Philosophy which specializes in logic and theory of knowledge) have declared that knowledge of the sixteen fundamental categories propounded by them would lead one to moksha (liberation). The scientists have vouchsafed that the knowledge of nature and the discovery of its mysteries will lead one to final and total happiness.


Both the claims have been negated by an `experience' which is intellectual and conceptual and is pushing mankind toward total annihilation. Here comes a man called U.G. who knows something of our Shastras (scriptures) but condemns them outright.


Who is this U.G.? What does he stand for? What are the principles of his teaching? What are his ideas? What is the meaning of his roaming around the world twice a year spending thousands of dollars on air travels and moving from continent to continent like a migratory bird?


In spite of my contact with U.G. for two decades I am unable to make out exactly what he stands for. I am unable to place him either as a `sage' or as a `saint', much less a social reformer.


U.G. doesn't give public lectures, nor does he belong to any institution. But people go to see him wherever he is and flock around him discussing all sorts of things `from disease to divinity' (as he himself would put it), including sex, morality, politics, and corruption.

He shuns religious persons, ridicules social reformers, condemns saints, speaks with disgust about sadhakas (spiritual aspirants), detests the chanting of the Vedas or the recitation of the Upanishads, and is full of rage when one speaks of Shankara or Buddha. He becomes furious of the very mention of Sai Baba or Rajneesh. The height of his rage could only be seen when `J.Krishnamurti freaks' approach him.


He doesn't give any solution to any of the problems raised and avoids questions on `enlightenment'. Whenever he gets entangled in a controversy he says, "It is so. Take it or leave it." Whenever he is confronted with arguments he becomes violent and says, "Who asked you to come here? You may get up and go. That's fine with me."


U.G. is a good conversationalist. He can speak confidently on any topic, be it economics, politics, history, or geography. He gives the impression of being a jack of all trades. He has studied a bit of Vedanta and is quite an expert in misquoting the passages from the Upanishads to suit his argument. When he is questioned about the authenticity of his statements he lashes out saying, "What I say has an authority of its own." Isn't it an egotistic attitude to make such claims, as if he is a `sage' or God?...


He is against morality, but refrains from preaching immorality. He gets wild when somebody speaks of honesty, though he is not dishonest himself. He is a bundle of contradictions. He statements are devastating. His ideas are shocking. His expressions are bewildering. His utterances are irritating.


Yet, I am pulled toward such a person! Is it my weakness? No. Or is it because of my passivity or cowardice, or incapacity to stand on my own? No. Not at all. Then what? I don't know! I don't give a tuppence for what he says on matters religious, much less his teaching. Yet, there is something in him that drags me to him.


He is like a machine gun shooting anything that moves in its vicinity. We only seem to be supplying the bullets.


What a tragic situation! Is this `hero worship' on my part? Am I idolizing? No. Certainly not. Am I then foolish or stupid? Am I such a gullible fellow; a fainthearted chicken? Is it the pusillanimity in me? Oh, man! Answer your conscience, if you have any left of your own. What avail is all your holy associations, your Japa (worship and meditation) and the like, if you still hang around him in spite of your distaste toward his way of life and teaching?


Yes. These are the questions I often posed to myself. I found no answers. I made up my mind not to think about him any more; nor bother to visit him. And yet, the moment he is anywhere near Bangalore my nerves reverberate! I become restless and find no peace till I run to him. Why? Why? Why? ...


There is yet another aspect of U.G.'s life, a totally different side of this man. He is very simple and behaves like a child. He acts meticulously and doesn't make a mess of things. Whenever a new visitor comes he receives him with all kindness and courtesies. When people are in difficulties, he helps them to come out of their troubles. Yet he says he has no `bleeding heart'.

He is at his best when he explains the chemical changes that have taken place in his body.


What have I gained in my twenty years of association with him? As a result of my contact with him my attachment to Gurus and sannyasins (holy men) has faded away. I have lost all my interest in visiting temples and sannyasins. Havanas and homas (oblations) which I was regularly performing have dropped away. I felt and still feel that dropping them, however, is not the be-all and end-all of existence.

Is it possible to reject totally whatever he is saying and go your own way? Impossible. At the same time, is it possible to swallow all that gibberish that he throws at you? That is out of the question. That is my predicament!


But then when someone asks, "Who is this U.G. whom you are talking about?" what answer can I give? Is he an enigma? Yes. It is impossible to gauge him. The Gurus and God-men we have in our midst to-day are no match to him. He is unique in every way. He is an undaunted spirit. He is a daring and fearless person.

Hearing him is one thing and being with him is altogether different. Meet him. Listen to him and you will yourself know what I am talking about. Don't bother about what he says. Don't try to know "THAT which is beyond words." If you attempt to do so, you may "land up in the loony bin singing loony tunes and merry melodies," to use his own expression. Or, to put it also in his own words: "You may have to go and hang yourself on the tallest tree with the longest rope."


This much is certain. You will not be the same after meeting him. You will start questioning your own actions--their validity and their usefulness. This is the help that he renders. He puts you on your path in a subliminal way and removes the cloak which you put on, trying to be what you are not. That's the sort of help you get from him. "


[Thought provoking times with UG in Bangalore, in the 1970s]
[Courtesy: ‘Stopped in our Tracks’ Second Series part 2 by K.Chandrasekhar; Editor J.S.R.L. Narayan Moorty]


Mahesh Bhatt talks on UG and Brahmachari Shivaram
[ Excerpted from the book U.G. Krishnamurti: A Life by Mahesh Bhatt ]
" U.G. and Brahmachari have for more than twenty years shared a volatile relationship. Brahmachari apparently had the world at his feet when U.G. stepped in and prevented him from getting it. The story goes that before dying the pontiff of the Kudli Math nominated Brahmachari as his successor. This meant being an heir to a property worth hundreds of millions of rupees, a fleet of cars and a residential palace in the heart of the city of Bangalore. A contest for the throne began when a rival stepped in, challenging Brahmachari's succession. This was the beginning of a long-drawn legal battle for the throne. Obviously both sides had much to gain. Little did Brahmachari know that even his life was in danger. Had it not been for U.G., who for three months, till the appointed day of coronation, sheltered him, Brahmachari's life would have ended in a tragedy. Every day, from dawn to late night, U.G. kept him under his guard, preventing him from venturing out, dissuading him from entertaining the idea of becoming a pontiff of the math. Brahmachari was permitted to go back home every night only when it seemed safe. On the day of the coronation, when his dream of scepter, throne and crown came tumbling down and his rival ascended the throne, Brahmachari was with U.G. The next day Brahmachari took him to visit a piece of land granted to him by the Karnataka Government. That same evening U.G. dropped him off at his residence, which happened to be a garage, and handing him two rupees, the remainder of the cab fare, said, 'With this, start your own ashram...' Months later, with the assistance of the Karnataka Government, Brahmachari set up a huge ashram on the outskirts of Bangalore, in which he also built a school, a temple, a guest house and cottages for the elderly. "


"Brahmachariji brings the Brahmajnani "

[ Title and text below excerpted from the book Stopped in Our Tracks : Stories of U.G. in India By K. Chandrasekhar, J. S. R. L. Narayana Moorty ]



" After Barry left, all the friends in the hostel talked for a long time about the things they had heard from him about U.G.
That same night, about 9 p.m., suddenly Mr. Brahmachari, a spiritual teacher who later became a friend of U.G., appeared outside the hostel. "I don't have much time. I am just arriving from Mysore to tell you of an important event. Tomorrow morning a Brahmajnani is coming to our 'cave'. Take a leave of absence in your offices, come to the Cave and meet him," he summoned. Who is this Brahmajnani that was going to sanctify Mr. Brahmachari's Cave? Normally Brahmachariji did not invite anyone to the Cave.
"He is U.G.Krishnamurti. Everyone calls him U.G." These words of Mr. Brahmachari resounded in my ears. I couldn't believe myself hearing them.
"Who? U.G.? The man who recently arrived from Switzerland?" I asked, containing my amazement and excitement with great difficulty. Mr. Brahmachari turned pale: "How do you know him? When did you meet him?" "I have heard about him. But I haven't met him yet. I am going to see him tomorrow morning," I briefly reported to him what had happened earlier with Barry."
"So, the publicity has started even before he has arrived in Bangalore. I met him in Mysore. When he told me he was coming to Bangalore, I invited him to the Cave."
"What sort of a man did he appear to be when you saw him?" I asked Mr. Brahmachari.
"I have no doubt that he is a true Brahmajnani. Wisdom dawned on him in a peculiar way. If you look at his eyes, it is absolutely certain that he is a jivanmukta. No matter how long I observed him, I could not find him blinking. His skin is soft and smooth like silk. Why try to know the taste of the curry when you are going to eat it? You will see him tomorrow." So saying, he left hurriedly.
That night I marveled: "What is this? Is this a dream or is it true? Or is this an illusion of Vishnu?" Such was the state of my mind. "I heard about him this morning. And tonight I have this news. Are these events coincidental? Or is this a grace from a mysterious force? Or is this merely my good fortune?" I pondered for a long time. "Tonight is a long night. When will it be dawn?" I laughed at my own craziness and dropped off into sleep.. "

Below, is the life of UG life as foretold by a Nadi Reader.......

"...So, the nadi reading resumed. 'This man will rise to prominence in his ravidasa (the phase of the Sun) like the rising Sun. Having been displaced from his native place, he never stays in any one place long. He does not go through initiation of any kind, he is born with it. His teaching is not like the teachings of hermits and jungle-dwellers. The light of his teaching keeps spreading everywhere. But he thoroughly disappoints those who come to him hoping to get somewhere. This person should be addressed as "atma" and not as "man" (implying that individuality is absent in him)...."


Brahmachari Shivaram seen with the Nadi reader who read UG's life




2012 Update: Associates of the late Brahmachari Shivaram Sharma and UG discuss the androgynous form of UG found in a painting.

L to R: K. Ravishankar, R. Sachi , 'Sripada' ( as named by Brahmachari ), K. Babu Chandrasekhar ( Author, Biographer of UG ), Shashidhar Arkalgud ( back to camera )


Sunday, November 8, 2009

Remembering Dec 3 as Vidwan Maharajapuram Santhanam Day, Each Year

In remembering Maharajapuram Santhanam's great compositions and the great 'bhakti' in his singing, we are reminded simultaneously in thinking of the Lord Murugan (who was the 'self' in several of his compositions) and of the great Seer of Kanchi, Chandrasekhar Saraswati Swamigal for whom he had a very great devotion. Maharajapuram Santhanam was a very honored guest in "Parvathi" and was accompanied in his concerts by the greatest Vidwans of his times. In 1972 he was joined by M.Chandrasekharan (violin) and Palghat Raghu (mridangam). 1977 saw him featured with Chandrasekharan (again) along with Guruvayur Dorai (Mridangam) and Ramachar (Kanjira). The next year 1978 saw him with Lalgudi (Violin), Vellore Ramabhadran (Mridangam) and M.A.Krishnamurthy (Ghatam). He completed the hat trick in 1979 again with Lalgudi, Ramabhadran and MAK and such was his draw that he went on to perform at the same venue for the next four years; 1980 (MC-VR-Ramachar), 1981 (Lalgudi, VR, MAK), 1982 (Lalgudi, VR) and 1983 ( V. Thyagarajan, Tanjore Upendran) .

[Palghat Raghu - Maharajapuram Santhanam - M. Chandrasekharan - Vikku Vinayakaram at "Parvathi", Mysore, March 28, 1972 ]
The Concert April 18, 1978 at "Parvathi" Maharajapuram Santhanam ---Vocal Lalgudi Jayaraman --- Violin Vellore Ramabhadran --- Mridangam M.A.K Murthy --- Ghatam 

Song List

 01. Brochevarevare - Sriranjani; 02. Rararaghuveera - Atana; 03. Saramegaani - Pantvarali; 04_Enthanerchina - Shuddadhanyasi; 05. Theliyaleru - Dhenuka; 06. Najeevadhara - Bilahari; 07. UrakeGalguna - Sahana; 08. Thungatheeravirajam - Ragamalika; 9.  Bansiwale - Mohanakalayani;10. Sreechakraraja - Ragamalika; 11. Tathwameruga - Garudadhawani; 12. Thillana; 13. Mangalam.


Saturday, October 17, 2009

A Work of this Nature



We are sometimes hard pressed to describe a work such as ours; not that anybody cares in this overwhelming and impersonal age of hustle and bustle, nor is there anyone really asking. Of course, one cannot also ask of that which one does not know.

The arrival of a state, where we are looking at our own work mostly in a manner of self-contemplation, comes after one has undergone a journey of some lengths, a journey where each trial encountered leaves behind a mixture of feelings, and the feelings hopefully take you into the next step of some learning and philosophy.

When we first started, our view was but a minimal one from a distance; thoughts of just being able to gather up a few old things, dust them up (in a manner of speaking), and put them up on this modern mantelpiece called a blog. Whatever initial euphoria there was, however, began to wear off quickly as we started to examine each detail in terms of providing it with an assignment, and then started to discover that all too familiar feeling of being overwhelmed.


There were just way too many things to contend with; way too much music to start with, all in several entities of boxes, spools, reels upon reels of magnetic tapes, many of them (particularly the older ones) in different stages of relapse or decomposition or stickiness, not to mention the confusion over labels versus the contents of the print matter given to us; way too many photographs and albums to inspect and a long span of history to rework, solely through discussions; all of which was topped by the logistics of a team scattered in different continents, spread over different time zones and whose members could only work intermittently in between more important commitments to life.

If this was the front to our domain, we also had to learn much in terms of how to deal with our inner selves, how to relate the pieces of that which we had discovered or encountered in great excitement, to literally paring that excitement down to a nothing in dealing with the practicalities that dictated the presentation - critical evaluations of how it would be received by both skeptical and knowledgeable viewers, evaluations of it adding appropriate content to our perceived goal, whether we needed to produce everything in an evidentiary form to a skeptical world who were always likely to wonder "did all of this suddenly come out of a woodwork?". Did we have a sample photograph illustrative of what we were going to write? Did we even have a small paper cutting or a sound bite to go with it? etc. The biggest suffering lay in the wait for information that was badly needed, and about which information one couldn’t say whether it existed or not?

For example, our central character was the grand old man K. Puttu Rao and we were told that he was an advocate as capable of springing a surprise in court, as a Perry Mason. Don’t a famous advocate’s cases get reported and where could one find them? On enquiry, we were told that Mysore’s famous papers of yester years such as Samyukta Karnataka’, ‘Prajavani’, ‘Thainadu or a Deccan Herald might carry the stories. But, online searches (in all combinations of key words) for content from these papers including the present online
Star of Mysore' yielded nothing. Now, who else could help us out with this? Where and of whom does one possibly seek? Who would be the one that would have cared to preserve cuttings of such a long, long time ago? Or could we hope that a rusty trunk like in the case of the famous mathematician Srinivasa Ramanujan’s papers would suddenly show up one day?

We were also informed in Chowdiah’s sound bite that Puttu Rao himself was not just about law and law courts but that he was a great aficionado of music! But, the latter had passed away in 1959 and in quick succession so were those whom formed the theatre of his world of music, Mysore Vasudevachar (1961), Pazhani Subramaniam Pillai (1962), GNB (1965), Chowdiah (1967), Ariyakudi (1967), Madurai Mani Iyer (1968) etc. Which way should we turn, now?

Consider also, an example from the time when we were told that Semmangudi Srinivasa Iyer, during his visits to Mysore would often prefer to spend some time in "Parvathi". On one such occasion he brought along a close friend, a high court judge from Chennai, and in introducing the visitor to "Parvathi" was overheard to remark in Tamil to the effect that "...every brick in this house oozes music!..", and we had to pause ourselves in time to wonder "Great! but on what evidence shall we produce this other than hearsay?"


On a similar note, we had to curtail ourselves from being able to talk in sufficiency of K. Puttu Rao’s late son, K.K. Murthy, of whose emboldening ways we were told (before the creation of a Chowdiah memorial) lay in wanting to convert a Bangalore into a Bollywood / Hollywood much before the city’s advent of being recognized as a Silicon Valley (as the reams of photographs of his wooing of movie thespians such as V.Shantaram or a Dilip Kumar from those days came to light). We were told that issues of yesteryears such as a ‘Cine Advance or ‘Screen’ might be the ones that might have carried a story. But, here too, we arrived at but a dead end.

We found, too, to our loss, that there were not many members left from the immediate family nor from its wider circles nor from the circle of any of Mysore’s old luminaries, dignitaries, colleagues and friends who could provide us with the type of intimate first level details that we needed to sufficiently build a portrait of K. Puttu Rao; a thing we wanted to do so badly considering the many things that we learned of his fascinating house "Parvathi" and its "home away from home" to the Carnatic musicians. We were, at least, glad to have come across some lucky ‘in their own voices’ type of tributes, from Chowdiah, R.K. Narayan, music critic Chalurayaswamy, Sangeeta Natak Poet P.T. Narasimhachar and from a few exaggerated sound bites of some musicians as they enjoyed themselves in Parvathi”. They provided us with some evidences of the old times. While adding to the significances, these discoveries also heightened in us the fact that too many things had just been lost.

We also had to keep many a turmoil all to ourselves, one of which was in discovering the violence of a modern day world (no, its just not HAL! from Stanley Kubric’s classic ‘2001 Space Odyssey’), when third party servers (in whom you innocently trusted) came to just wipe off all your work without a sign or warning. We also had to keep a lingering disquiet all to ourselves, that of the loss of an age old world of a lyricism, grace and tempo, as we discovered the quintessential world of Mysore, created from a totally different lens and script; a world that could only be reacquainted with someone who would stop and listen, who could be touched through the arts of a gentle ‘story telling’ or as the people of Karnataka themselves alluded to as a Yakshagana.

Along with our own discoveries of Mysore we are equally happy in letting you know of another couple of beautiful blogs that unites you with those times, as in
Churumuri, (Swalpa Sihi, Swalpa Spicy) ‘Once upon a Time' and as in Kamat's Poutpurri ‘Mysore Collection’

Finally, we did make a discovery, but all in a few words reminiscent of a ‘needle in a haystack’. It was in the quote of the late Prof. G.T Narayan Rao (well-known science writer, music critic, cultural organiser, and a prominent citizen of the city of Mysore, India) in a 1987 issue of that beautiful music magazine Sruthi dedicated to Chowdiah (shown first above).



“K. Puttu Rao, 1894-1959, was a leading advocate of Mysore. His love of music and regard for artists were proverbial. “Parvathi” the spacious bungalow where he lived, was second only to the Mysore Palace in its benevolence to art and artists. The bungalow was always overflowing with music. It was but natural that in such a household the violin maestro Mysore T. Chowdiah should have carved a warm niche for himself”.

- Prof. G.T. Narayan Rao






Thursday, September 3, 2009

Remembering a 'Shankar' i.e. the famed Dancer and Classical Singer Lakshmi Shankar



Christmas, December 25, 1982, is etched very keenly in the memory of this writer.
The first snow fall had just about come and gone leaving behind its white traces. It ushered in, however, a day that was gentle, beautiful and bright under it's reflection. For most Americans ( unlike New Year which represents one last sodden fling at happiness), Christmas is a subdued time when bonding with family and close friends is at its highest. Just about everyone thinks of reclining, eating and mingling for the day around a decorated tree; the one day you can take it 'real easy' (an Americana) after having been outspent the whole year. As in the case of most people, the movies are a beckoning feature ; in this particular case it was a call towards the 'Big Apple' (New York City); to the largely accomodative, red crimson carpeted, heavily draped theater of a bygone era; the Royal Ziegfield where Attenborough's Gandhi had just been premiered.
And, what an experience it turned out to be!
Where one expected to find a gathering, largely of 'desis' (the diaspora of Indians), the hall was all but packed to the hilt with African-Americans and 'whites', all dressed somberly but in their best attire that included suits, ties and hats. Where one expected to see only a 'good' movie, one was but arrested by a visual 'stunner', just magnificent in its proportions and which also brought on many an emotional and gut wrenching scene. On that particular day, it seemed, people had gathered not merely to witness a movie. It seemed, rather, that Americans from all walks of life had gathered to pay homage to the memory of a man (however 'frail' looking, 'brown skinned' and foreign he might appear to be) in whom they had come to empathize all that they had held dear to in their life; things like honesty, goodness, virtue, courage, honor, patience, dignity; all things that represented eternal values but cultivated through aeons of self sacrifice.
That Christmas day, one felt that a movie hall had transformed itself into the sacredness of a church; a feeling of being in cathedral pews as each individual rose up solemnly to respect the final strains of Gandhi's beloved piece 'Vaishnava Jana Tho', so hauntingly brought to life by none other than an honored member of India's cherished Shankar family, the artistic, classical singer and earlier dancer, Lakshmi Shankar. As the prayer set it's requeim to the movie's lasting legacy, many would recall shuffling silently to the exits amidst muffled sobs, amidst hundreds of glistening moist eyes and the constant reference to an 'Amen' from those deeply touched.
It gives us great pleasure to post some Sur Das, Kripalu Das, and other types of bhajans rendered by this beautiful singer with a very 'soulful' personality. It is from a concert that she gave in 'Parvathi', Mysore back in 1970. [ 1.Elo Elo Shashishekhara-Bhoop-Kannada song 2. Pathik Tum–Janasammodini–Kripalu Das & Begabaa Sakhi–Bageshri–Pu Ti Na 3. Nath Anathanaki-Manj Khamaj–Surdas 4. Mere Janam maran ke saathi-Darbari Kanada–Meera Bhajan & Khayal–Malkauns 5. Mori Choro Gagariya -Thumri–Pahadi 6. Ab ke Madhav–Sampurna Malkauns-Surdas Bhajan & Ajhoom Na Aye-Bhairavi ]



We also present Poet and fellow of India's Sahitya Academy, P.T. Narasimhachar( PuTiNa ) felicitating Lakshmi Shankar in Kannada:



We also show you a keepsake photograph from 1970. Also seen with Lakshmi Shankar is the famed Carnatic Singer Vidwan Trichur V. Ramachandran.



Saturday, August 29, 2009

Chowdiah awards for Lalgudi

It was but only fitting that the brothers K. Srikantiah (as the President of the Chowdiah Rama Seva Samthi, Mysore) and K.K. Murthy (as President, Academy of Music, Bangalore) should have considered honoring the living legend Lalgudi Jayaraman in the name and memory of a past legend, Chowdiah. Though differing somewhat in age, both violinists shared memorable years in each other's company, occupied many of the same platforms in the exalted music venues, accompanied the stellar vocalists and other percussion greats of their times, had been their own stars in solo performances and generally regarded by the consensus as the all time greats of their music.
Of course in Lalgudi's case, he was a seasoned world traveller and had won accolades from whichever corner of the world his accomplishments took him.

As this initial story about Lalgudi narrates

"It was not long before even his senior contemporaries in the violin field recognised his genius and talent and were unstinting in their praise and appreciation of his skills as a violinist par excellence. Sample some of these showers of praises from his contemporary senior violinists of those days: Chowdiah remarked: "All of us must stop playing now that this boy has appeared."

Attending Lalgudi's marriage, Chowdiah again said: "He was born Raman; he took up the bow and became Kothandaraman; with his marriage he has become Kalyanaraman; since he triumphs everywhere we can call him Jayaraman."

[http://www.carnaticsangeetham.com/forum/viewtopic.php?f=19&p=69]



K. Srikantiah honoring Lalgudi in "Parvathi" Mysore in 1980




Karnataka Chief Minister Gundu Rao and K.K. Murthy hold the plaque honoring the maestro in Bengaluru with The First Chowdaiah Memorial National-Level award in 1982.

Padma Bhushan Lalgudi Jayaraman was a long time performer in 'Parvathi' leaving behind his remembrances in 1958, 1966, 1971, 1973, 1974, 1975, 1976, 1977, 1978, 1979, 1980, 1981, 1982, 1983, 1984, 1985, 1986, 1987 and 1990. In the latter years he would combine for duets with his equally famous children Lalgudi Vijaylakshmi and/or Lalgudi GJR Krishnan and sometimes the children would either go solo or combine with themselves.


We produce for your listening pleasure an audio stream of a full Lalgudi Violin concert held in "Parvathi", Mysore in 1973 with Palghat Raghu (mridangam) and Vinayakram (ghatam). The musical pieces rendered are:

01-Sadinchane-Arabhi; 02-Janakiramana-Shudhaseemanthini; 03-Brovabaramma-Bahudari; 04-Ramanee-Kharaharapriya; 05-Marugelara-Jayanthasree; 06-SukhiEvaro-Kanada; 07-Rararajeevalochana-Mohanam; 08-Hachariga-Yedukulakambodi; 09-RTP-Shanmukhapriya; 10-Thillana-Dhanshree; 11-Krishnanee-YamanKalyani; 12-Shivaranjani; 13-Ragamalika; 14-Mangalam.
(Note: We are unable to correct the track names in archive.org for lack of password. Apologies!)



Monday, August 17, 2009

The Nightingale of "Parvathi"

Growing up in an environment like "Parvathi", one would expect all of its members to have imbibed music in one form or another. While some aspired to learn a musical instrument (Puttu Rao's daughter Subbalakshmi aspired to take her Veena lessons from none other the great master Veena Doreswamy Iyengar) and while others practised their vocals with another great Karnataka teacher M.A. Narasimhachar , it was only Mysore K. Prabha, none other than the daughter of a strict but doting father K. Srikantiah who managed to succeed into the professional ranks.

".....while her father was very keen that she should blossom into a Carnatic singer; it was stalwarts like Jesudas, Lalgudi and MLV who indicated that Prabha would suit 'Sugam Sangeet' admirably. Art expression to suit one's personality is of more importance than the form, they argued....."
"...I feel that my classical background has helped me to excel in the light music field...." (quote from Mysore Prabha)
" ...her film number, 'Hoovadare Chenna' composed by M.S. Vishwanathan was a resounding hit...."

[Courtesy Sunday Mid-day Magazine Dec 5 1982 by Shanti Mohanarangam]

We provide you with some select pictures of her as she progressed with her performances and career along with a few audio numbers of her virtuoso in both classical and light music.

Famed film actor, director and producer Kamal Hassan offers a bouquet!

while another thespian of the Karnataka celluloid world, Rajkumar, offers to croon wth her!

Mysore Prabha offers "Haridasavani" 1.Harininnolumeyu --(Abheri); 2.Hari narayana ---(Ragamalika); 3.Nanyaake badavanu --(Chakravaaka); 4.Kolananooduva ---(Suddha saveri); 5.Yenendu Kondaadi(Natabhairavi) 6.Venunaadapriya ---(Hindola gamini); 7.Karunisu narahari --(Charukeshi); 8.Naa ninagenu --(Dharmavati); 9.Kande naa kanasinali --(Mohana)

.. seen here warming up with the legendary Yesudas!

.....on stage with a full accompaniment

Mysore Prabha "Classical" Concert 1.Evarani --- (devamrutavarshini); 2.Yeti Yochanalu ---Kiranavali;3.Vaddane vaaru leru ---(Shanmugapriya); 4.Paridaana micchite --(Bilahari); 5.Mokshsmu galada --(Saramati); 6.Naan oru vilayatt ---(navarasa kannada); 7.Maa jaanaki --(Kamboji) 8.Srivalli ----(Natabhairavi);9.Maamavasada --(Kaanada); 10.Tunga teera --(Ragamalika); 11.Kaava daivavu --(Ragamalika); 12.Vilayada ---(Shanmugapriya); 13.Tillana ---(danasari); 14.Mangalam.

.... finally, with an encouragement from the Queen herself!

Wednesday, August 12, 2009

And did you know the King has a voice? : Karnataka Actor Rajkumar


We present here two interesting snapshots of the Kannada Cine Thespian Rajkumar taken inside "Parvati" as he records a song for its matriarch, Smt. Parvathamma. The latter was completely bowled over on hearing, for the first time, that Rajkumar carried such a well honed voice and was very musically adept. When she complimented him, Rajkumar in turn was so touched by her words that he immediately penned some lyrics to her name and asked for a recorder from K. Srikantiah to leave behind the legacy of this, his first visit. Other visits would come, soon and very often. Sometimes (as Rajkumar's wife would surprisingly reveal), during shooting asssignments at Mysore, he would cloak himself in the headgear of a peasant (to hide from his loyal fans who were known to cause major stampedes), park his car discreetly and sit as quietly as a 'church mouse' to enjoy the beautiful concerts of many a Vidwan performing within "Parvati" during the momentous Rama Navami times.

Actor Rajkumar seen in a close recording session with a Micro Recorder perched precariously on an arm rest!


Recording with Rajkumar over! Now, to a hearty home cooked meal and homespun stories!
[ L to R: Choreographer Uday Shankar, Host K. Srikantiah, Hostess Smt. Vatsala, Mr. & Mrs.Rajkumar and young Mysore Prabha ]


Post Script: In thinking of the late RajKumar, we are often reminded of the theme of the late Raj Kapoor's magnificient Bollywood opus 'Mera Naam Joker'; of the one who jokes away with the world outside while ever remaining a grief stricken soul on the inside. We ask you to view one of Rajkumar's last interviews, where he bares his soul to one of India's very fine journalists Sugata Srinivasaraju, Associate Editor (South), Outlook magazine.