New age, new star - Vidushi Sudha Raghunathan

Even from early '80s, a young student of MLV used to feature along with her on the "Parvathi" concert stage in 'pinpaattu'. Educated in Bangalore with an MA in Economics, she went on to become a big draw in Carnatic music, carrying on the tradition of MLV's style with her presence and musical impact. She is now a reigning star. Vidushi Sudha Ragunathan is proudly featured this time, from her 1996 concert.

Much material about this artiste can be gleaned on the Internet. Subbudu, the famous critic is quoted as having written that if he ever were to be marooned on an island, his wish would be to be able to listen to a cassette of Sudha's music!

"Parvathi" Concert March 30, 1996

01. Sami ninne - Shankarabharana varna - Veena Kuppaiyar *** 02. Varavallabha Ramana - Hamsadhwani - G.N. Balasubramaniam*** 03. Jaya jaya - Naata - Purandaradasa*** 04. Sadinchane - Aarabhi pancharatna - Thyagaraja *** 05. Saarame gaani - Pantuvarali - Thyagaraja *** 06. Marugelara - Jayanthashri- Thyagaraja *** 07. Sogasugaa - Shriranjani - Thyagaraja *** 08. Sudhaamayi - Amritavarshini - Muthiah Bhagavathar *** 09. Raama kathaa sudhaa- Madhyamavati- Thyagaraja *** 10. Venkataachala nilayam - Sindhubhairavi - Purandaradasa *** 11. Brahmam Okate - Bowli - Annamacharya *** 12. Ramanamame - Desh - Tanjavur Shankara Iyer *** 13. Aaneyu karedare Suladi- Hamsanandi, Shahana, Shivaranjani- Purandaradasa + Yamanelli Kaananendu - Shivarajani - Purandaradasa *** 14. Thillana - Hamir Kalyani - ? *** 15. Mangalam

Thyagaraja's Faith in Sri Rama – Vidwan K.V. Narayanaswamy

The House of Sankalpa "Parvathi", Mysore, congratulates Vidwan Trichy Shankaran for winning the "Sangeeta Kalanidhi" award for 2011

The Parvathi Ramanavami festival started in 1970. Its inspiration for the Chowdiah Memorial that later came up in Bangalore is documented in this blog elsewhere. In that watershed year, many glorious concerts were held in Parvathi in memory of Sangeetha Rathna Chowdiah. The concert we feature here is one such gem, with stalwarts KVN, V. Sethuramiah, Trichy Sankaran, H.P. Ramachar and Mysore Manjunath.

Vidwan K.V. Narayanaswamy, whose name comes up every time we discuss the great Carnatic musicians of the last 60 years, has done exemplary service to the spirit of the Ramanavami festival in this concert. Every song is a masterpiece of music and devotional excellence.

The Pantuvarali song Ninne nera nammi nanura, sung with gusto, translates thus ( taken from The Spiritual Heritage of Tygaraja) :

From my early days, convinced that everything in the world is unreal, I have placed my implicit faith in you and you alone, Oh Rama! I have seen people learned in Vedas, Sastras and Puranas stand bewildered at the undetermined religious controversies. I have seen people roam restlessly performing Yagas passionately for worldly enjoyments. I have come to the conclusion that unless one obtains your grace, one cannot thrive in life in this world.

The saint composer states in Evarani:

I prostrate to those wise ones who combined the spirit of the two mantras viz. Ma from Shiva Panchakshari, and Ra from Narayana Ashtakshari and arrived at your blessed name “Rama”.

He goes on in Mokshamu galada:

Is it possible for one who is devoid of real devotion and knowledge of divine music, to attain salvation?

The concert has three stellar compositions – Pakkala Nilabadi in Kharaharapriya, Sri Subrahmanyaaya in Kambhoji, and Brochevaarevarura in Khamach. KVN delivers his trademark punches in the neraval and swara cycles in each song, replete with laya gymnastics, glides and curls around key musical phrases.

Maestro Sankaran's long career as a professor in Canada has limited his appearances in India somewhat to the December festivals (which he compares to the Olympics). This great artiste has made a unique contribution to Carnatic music over so many decades now. Vidwan Sankaran's mastery over the 'naada' of the mridangam as well as the art of accompaniment is in full flow in this concert.

Vidwan Sethuramiah's seven stringed violin accompaniment respectfully invokes the presence of his guru and rounds off this concert as a true tribute to T. Chowdiah, the epochal star of Carnatic music.

The Concert Details

K.V.Narayanaswamy ---- Vocal
V.Sethuramiah ----------- Violin
Trichy Shankaran -------- Mridangam
K.S.Manjunath ----------- Ghatam
H.P.Ramachar ------------ Khanjira
On 23 - 4 - 1970 at Parvathi.


Song List

01. Evarani – Devamruthavarshini – Thyagaraja *** 02. Ninne nera nammi – Pantuvarali – Thyagaraja *** 03. Pakkala Nilabadi – Kharaharapriya – Thyagaraja *** 04. Mokshamu galada – Saramathi – Thyagaraja *** 05. Sri Subrahmanyaaya – Kambhoji – Muthuswami Dikshithar *** 06. Brochevarevarura – Khamach – Mysore Vasudevachar ***.

(PS: We regret the vagaries of tape speed in this 41-year old recording.)

The vidwat of harnessing the voice – Vidwan Tanjore S. Kalyanaraman

The GNB school has made a huge impact on Carnatic music. Frequent references are made in our circles to GNB's unique style and impact, his star disciples like MLV, and the briga-laden stylistics that are the inspiration of many an upcoming singer. In this context stands out a gifted musician, who added to the GNB style his own unique aesthetics, providing an eloquent direction to the youngsters who want to cultivate manodharma sangeetha instead of rattling off songs in quick succession.

Tanjore S. Kalyanaraman (1930-1994) whom we are privileged to feature in this concert, was a musician's musician. His music carries a freshness and charm. Singers and rasikas alike search avidly for his recordings. He had a grand design to his method, and his voice culture was a key to his success. We can glean from Internet resources details of this master musician's musical journey.

Before we list the concert details, let us share a quote from someone who has written about Kalyanaraman:

Quote (Mr. S. I. Krishnamachari of Woodridge, IL., USA )

He was a researcher, singer, composer, teacher, unrelenting learner, vainika, whistler and a teacher of violin too. To this date, he represents (what) one can do to ply one's own voice and be the ring-master of his own music. Intellect, analysis and faith in classical values were the characteristics of his music. Taught first by his father, and later by none less than GNB himself, he acquired a singing style and personality for himself. Awards and recognition eluded him. Nonetheless, other musicians and the modern- minded rasikas always saw him as a star on par with GNB himself. There are a few in the profession who believe that his Sangeetha Kalanidhi award was long overdue.

He was an expert on voice culturing. Realizing that traditional methods of voice culture would not work for him, given his congenital heart and respiratory problems, he had to develop one of his own.

Unquote

We also give you a link to a documentary : Sunadha Vinodhan S. Kalayanaraman

Carnatic music is blessed to have these path-breaking innovators. They bring a new meaning to creativity within the context of classicism. In this concert, we have a fair measure of rare compositions and masterly raga expositions e.g. Dharmavathi and Kambhoji. MSG and Karaikudi Mani along with H.P. Ramachar have added their bit to make this concert truly memorable. Karaikudi Mani, whom we feature for the first time in this blog, has provided masterly accompaniment in the Kambhoji Pallavi. It seems the mridangam is singing the pallavi as much as the voice and the violin.

The Meera bhajan, set to music by Kalayanaraman, expresses his creative mindset well. He had done original work in the area of dwi-madhyama ragas.

The details of the concert:

S.Kalyanaraman ------ Vocal
Parur M.S. Gopalakrishnan --- Violin
Karaikudi Mani -------- Mridangam
H.P.Ramachar ------ Khanjira
at Parvathi Ramanavami Festival on April 20, 1973

Song list

01. Jaya Jaya – Nata – Purandaradasa*** 02. Makelara – Ravichandrika – Thyagaraja *** 03. Gajavadana – Gowla – Purandaradasa*** 04. Paramapavana Rama – Purvi Kalyani – Ramnad Srinivasa Iyengar*** 05. Ninnu Nera – Devamanohari-Muthiah Bhagavathar*** 06. Kanda – Dharmavathi – Koteeshwara Iyer*** 07. Nenarunchi Nanu -malavi-Thyagaraja*** 08. Ragam Tanam Pallavi Kambhoji (Ragamalika Ranjani, Kunthalavarali, Nayaki, Gangeyabhushani, Hamsanandi) *** 09. Koovi Azhaithal – Valachi – Valee*** 10. Hari gun gaavath – Dipali – Meerabai*** 11. Saapashyat Kausalya – Jonpuri – Panchapakesha Shastri*** 12.Mangalam

A Musical Downpour called Madurai Somu

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

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

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

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

"Parvathi" Videos: Sangeetha Kalanidhi D.K. Jayaraman and Vidwan Vidyabhushan Swami

We have been, till now, providing you with audio concerts and showing you rare and still photographs of "Parvathi", Mysore, infusing you with memories of a great era in our Carnatic music heritage.

Now, for the first time, we attempt to do the same by showing you views of some of the great concerts in video snippets.

VIDEO 1:

April 8, 1985

For our very first video, we offer you a very soulful artist, none other than Sri Vidyabhushan Thirtha. Back then, he was a Swamiji affiliated with the Subrahmanya Matha. Having been blessed both with the vocal chords and the inspired heart of a great devotee, he cast many a spell all over southern India, on the several that thronged to hear his music in 'bhakti'. We present to you his first performance in "Parvathi". Even though sick at the time of the concert and being treated for fever by an ENT professor/doctor from Mysore's famous Krishna Rajendra (KR) hospital, he refused any obligatory rest and stepped onto the podium to provide one of the most thrilling of performances in front of what was a mammoth crowd that day.

And, who were his accompanists? None other than Mysore's Vidwan Nagaraj (Violin), Vidwan Erode Gururajan (Mridangam) and the redoubtable Ghatam Vidwan Bangalore Venkataram.

Though he relinquished the Sanyasa Ashrama, at a later stage, and entered the 'Grihastha' (family) life, Sri Vidyabhushan still continues to provide rave concerts in devotion, even to this day.

Memories, only Memories

Release of M.S.Subbalakshmi's Biography by T.J.S. George

[ L to R: India's former Union Minister Mallikarjun Kharge, Chowdiah Memorial 'visionary' K.K. Murthy, India's current External Affairs Minister S.M. Krishna , author T.J.S. George ]

[ Courtesy : The Hindu ]

K.Srikantiah honoring eminent Mrudanga Vidwan T.K. Murthy in "Parvathi"

[ Rasikas will remember him accompanying M.S. Subbalakshmi in our 1967 concert posting. Vidwan Murthy graced the podium innumerable times in "Parvathi". ]

VIDEO II:

April 7, 1985

The irony with our featured artist Sangeetha Kalanidhi Vidwan D.K. Jayaraman, here, is that he came to "Parvathi", first, all by himself, and it is only after stealing the hearts of all the Rasikas did he lay the stage to accompanying his ever famous sister, Sangeetha Kalanidhi Vidushi D.K. Pattamal onto the "Parvathi" platform.

As Rasikas will recognize, he is accompanied here by the redoubtable triumvirate of M.Chandrsekharan (Violin), Tanjore Upendran (Mridangam)and once again, Bangalore Venkataram (Ghatam). You will see what their unified zest does to the ambiance, and why Vidwan DKJ was such a favorite of the cognoscenti! You will also get to hear parts of a rare Kambhoji piece "Sriraghuvaraaprameya".

Vidwan MannarGudi Easwaran being presented with the "K.Puttu Rao - Palghat Mani" Award

[ Courtesy : Percussive Arts Center, Bangalore ]

Worship through music – Dr. N. Ramani

[ Courtesy: Lokabhiramam ]

The concert we feature this time is from Dr. Ramani, a perennial favourite with the rasikas in Parvathi, Mysore. The concert held during Ramanavami festival in 1974 features also the redoubtable M.S. Gopalakrishnan on violin, Tanjore Upendran on the mridangam and Mysore Manjunath on the ghatam.

The concert starts off with the Begade varna and then moves to a splendid rendition of the Sriranjani krithi from Papanasam Sivan, “Gajavadana Karunasadana”.

It is our tradition to begin all auspicious activities by paying obeisance to Ganesha and seeking his blessings for a successful endeavour without impediments. Papanasam Sivan has taken this prayer to a higher level in his song. He says therein that Ganesha is the spiritual preceptor and will show the way to liberation through conferring devotion and spiritual insight (Shivaagama). In other words, the popular deity is not just one to confer worldly success but one who shows the way to the ultimate goal of life. If we take our song and prayer to that level, we not only enjoy the wonderful music of a krithi but also progress towards life's ultimate goal. That is true worship through music.

Ramani has given us a memorable rendition of this Sriranjani krithi, one of the famous compositions of the “Tamil Thyagayya” Papanasam Sivan.

The next krithi, with a brisk tempo, is in Chakravakam. After exhausting our resources, we approached an expert and friend, Shri Shailesh Ramamurthy. He painstakingly researched all sources and finally found the krithi and its notation in the Tamil magazine Swadeshamithran dated 3 April 1955. It is a krithi of Mysore Vasudevachar! Talk of 'the butterfly effect'... Our profuse thanks to this rasikottama. In the process our listeners have a chance to hear a rare krithi of a master composer in Chakravakam.

The concert progresses to lofty musical levels in Charukeshi and Mohana. In Mohana, one of Ramani's favourite ragas, the music unfolds with a multi-faceted splendour. Ramani, and MSG, by turn, charm the listener. Upendran plays with much zest in the song that follows, Nanu Palimpa, one of the immortal krithis of Thyagaraja. We share in the vivid experience of the saint as he describes how he is overwhelmed by the blessed vision of Rama and Sita.

After Nadaloludai in Kalyana Vasantham, Ramani takes up Kambhoji for Ragam Thanam Pallavi. The raga is presented majestically in a very gayaki style that harks back to the grand masters of yore. His sedate and lustrous alapana is responded to in kind by MSG. The emotive weight of the raga is manifest in both presentations.

There are generous touches of Hindustani music from MSG... for that matter even from Ramani, in many places. Mohana, Abhogi and Behag stand out...

The Concert

N.Ramani --- Flute
M.S.Gopalakrishnan --- Violin
Tanjore Upendran --- Mridangam
K.S.Manjunath --- Ghatam

held during Ramanavami festival on April 4, 1974 at Parvathi

01. Inta Chala – Begade Varna – Veena Kuppaiyer *** 02. Gaja Vadana – Sriranjani – Papanasam Sivan *** 03. Neranammithi Neevegathi - Chakravakam – Mysore Vasudevachar *** 04. Niravadhi Sukhada – Ravichandrika – Thyagaraja *** 05. Aada Modi Galada – Charukeshi – Thyagaraja *** 06. Nanu Palimpa – Mohana – Thyagaraja *** 07. Nada Loludai – Kalyana Vasantham – Thyagaraja *** 08. Ragam- Thanam – Pallavi – Kambhoji + Raga Malika (Varali – Sama- Abhogi-Behag) *** 09. Saravanabhava – Shanmukhapriya – Papanasam Sivan *** 10. Magudi *** 11. Bhajan – Bageshree *** 12. Thillana – Dhanashree – Swathi Thirunal ***

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

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