Venu Gaana Praveene – Sikkil Sisters

To introduce the artistes we feature in this concert, we cannot do better than to quote the article that appeared in the Hindu in 2002 when they were conferred the Sangeetha Kalanidhi title by the Madras Music Academy:

"Indeed, the Sikkil sisters, as they are popularly known in the music fraternity, have perfected the `gayaki' style of playing on their musical instrument-the flute-certainly no mean achievement for, in Carnatic music unlike in the West, there are no separate scores for musical instruments. ``To us the audience is of prime importance. We sincerely try to please them. That is the aim of our music," declares the elder of the sisters, Kunjumani. An unassuming artiste, she talks, on their music, in a manner totally devoid of any frills and artifices. Her sister Neela seemed content to allow her sister to narrate their story. As Kunjumani began her narration, we travelled back in time just sixty years to the place of their birth - Sikkil, a small village in Thanjavur district.

Back home at Sikkil, the sisters plunged heart and soul into their chosen field. They gave many concerts together. They were guided in their every move, not only in their career but also in their music by their father. With careful monitoring was shaped the `style' of the Sikkil sisters. A slow and gradual revelation of the colours of the raga, well within the rules of grammar, delicate swara volleys, a firm eschewal of populist trends in classical music and with several other attributes in their music, the Sikkil sisters firmly entrenched themselves both in the hearts of the listening lay public and the discerning connoisseur. Recognition came in the form of several concert assignments both in different parts of India and abroad. As a natural corollary to their music also came awards aplenty. The earliest was the Venugana Praveena awarded to them as early as 1942, by the Mysore samsthanam. The latest is the ultimate aspiration of any musician, `Sangeeta Kalanidhi,' to be conferred on January 1, 2003."

Mysore is here again shown as a great centre for the promotion of fine arts, and the Parvathi concert by the sisters Sikkil Neela and Sikkil Kunjumani in 1976 is a feast for the ears. Two interesting aspects…we have always said that Kharaharapriya was a favourite of the Parvathi audiences. And also we have featured some great flute concerts (of Vidwans Ramani, Mahalingam and Gopalakrishnan). So the tradition continues as we feature an elaborate rendition of Chakkaniraja on the flute this time by the Sikkil Sisters.

The Concert Details
( held at at Parvathi on Aug 29, 1976 )

Sikkil Sisters (Neela and Kunjumani) ---- Flute
Mysore Nagaraj -------------- Violin
Tanjore Upendran ------------ Mridangam
M.A. Krishnamurthy -------- Ghatam

Song List
01. BrOcEvArevarurA – Khamach- Mysore Vasudevacharya*** 02. Durmargachara – Ranjani- Thyagaraja *** 03. Chakkani Rajamargamu – Kharaharapriya – Thyagaraja *** 04. Baro Krishnayya – Raga Malika –Kanakadasa*** 05. uyyAlalUgavayya – Nilambari – Thyagaraja*** 06. Enna thavam seidanai – Kapi – Papanasam Sivan*** 07. Shloka – Kalyanavasantha, Darbari Kanada *** 08. Govardhana giridhara – Darbari Kanada – Narayana Thirtha***

(We regret the poor audio quality in some parts)

It's all about balance - Dr. Sreevalsan Menon

Before we bring you the very fine concert by Dr. Sreevalsan Menon, we would like to provide a closure to the ‘K Puttu Rao Memorial Concert’ which ended on Sept 4, 2011, with its five day feast of grand performances , fine speeches by dignitaries and the participation of a vibrant audience. We are told that even Mother Nature brought an auspiciousness to the proceedings, in sending her proverbial rains to cool the environment .

Lighting an auspicious lamp for the arts!

While the newspapers did their just share of the reporting, we would like to reflect on what we heard and on what we can take away. A definitive thing was what India’s noted Novelist Dr. S.L. Bhyrappa alluded to in his opening remarks. Dr. Bhyrappa, has been known throughout his many monumental works to be an avid thinker on matters of “ truth” , both in our empirical world and in the metaphysical world of 'Vedanta'. He is a strong believer that human independence lies in an intellectual freedom, which can only be nurtured by strong foundations, like those laid out in the teachings of India’s rich and ancient past subscribing to many a value.

" A kingdom for a stage, princes to act, and monarchs to behold the swelling scene! " - William Shakespeare “King Henry V”

As a Blogger on Bhyrappa remarked

“ The genius of Bhyrappa’s works stems from the genius of India. Bhyrappa’s works triumph in any test because they are powerfully-creative expositions of universal values. Trying to write about SL Bhyrappa’s works is akin to trying to enclose the Sun in your fist.”

So, here is a summary of what he said:

- He asked us to pay heed to Classical Music which is on the great decline in India. - With a razor sharp deftness he distinguished what being ‘aristocratic’ meant versus what just being ‘rich’ meant. He urged people to be ‘aristocratic’, in their nature, possessing a taste in finer things such as music and in the performing arts. “Rich ones only make money”, he concluded. - Paying tribute to the memory of Sri K. Puttu Rao, he said “ those who continued to patronise music are the real lovers of music and Putturao is one amongst them,'

Now, for an actual newspaper report from amongst many reports ( click image ):

THE K. PUTTU RAO MEMORIAL CONCERT 2011 Jagan Mohan Palace, Mysore (Following text is by Sachi R. )

Dr. Sreevalsan Menon has been performing as a popular Carnatic vocalist for some years now. His guru, Shri Neyyattinkara Vasudevan had come and performed at "Parvathi" a few times. Known for his traditional classicism, often listeners would mention KVN, MDR and such heavy names while listening to Shri Vasudevan. His disciple, a doctorate in Agricultural Sciences and a well-placed officer, Dr. Sreevalsan Menon has established himself as a musician of repute in many dimensions. His range of work include Malayalam poetry, Swathi Thirunal's less known romantic compositions, and even music for a movie called My Mother's Laptop.

Dr. Sreevalsan Menon performed on September 1, 2011 in the recent Puttu Rao Memorial concert in Mysore. We bring to you an excellent recording of the entire concert. The first thing that strikes about this concert is the balance and composure in Dr. Menon's voice. It is indeed a gift to have a rich voice with a big range, no nasal twang, no tendency to loudness. And it is an additional merit to harness it with a sense of balanced aesthetics, without tricks and pyrotechnics. The concert has another dimension of balance. The violinist is the well-known Mysore Nagaraj, with his 'MSG' or 'Hindustani' flourishes. The mridangam and ghatam accompaniments are very competently handled by Tumkur Ravi Shankar and Shashi Shankar, brothers and sons of Mridanga Vidwan Shri Tumkur Bhadrachar. The recording is well balanced and brings out the mridangam bass touches as well as the sharp tonality of the violin. The concert again shows a rich balance in the repertoire presented.The Sri raga varnam by 'Garbhapurivasar', Vasudevacharya's Gowla and Abheri classics, Swathi Thirunal, Purandara Dasa...not a humdrum mix of the usual. Abheri deserves a special mention. The vocalist presents a rich tapestry in his resonant voice. The violinist responds with delectable 'shehnai' touches. The song itself is wonderful. Mr. Srikantiah recalls how Shri Vasudevachar came home and presented his new composition to Shri Puttu Rao, his friend and patron. Shri Puttu Rao was moved so much, and embraced the great composer, savouring the words 'Rajakumaram Ramam', and exclaiming how appropriate the words were. Poorvi Kalyani comes with verve and pace, the violinist getting inspiration from the vocalist to sketch its lower octave contours to much effect. And the first krithi from among the Trinity, Jnana Mosagaraada is sung with finesse. The words that Thyagaraja uses to describe Shri Rama, "Paripurna, Nishkalanka, Niravadhi Sukhadayaka" apply equally to what a well balanced music concert can do. An elaborate Enduku Peddala in Shankarabharanam follows, rounded off with Sindhu Bhairavi dasara pada and thillana. The tani between the brothers is very sonorous.

Dr. Sreevalsan Menon ----- Vocal Mysore Nagaraj ------ Violin Ravishankar --------- Mridangam Shashishankar ------ Ghatam Song List 01. Sami Ninne -Sri Raaga Varnam – Garbhapurivasar Karur Devudu Iyer *** 02. Pranamamyaham – Gowla – Vasudevachar*** 03. Sakalagrahabala – Atana – Purandara Dasa*** 04.Paramapurusha – Vasantha – Swathi Thirunal*** 05. Bhajare re Manasa – Abheri – Vasudevachar*** 06.Jnanamosaga rada – Purvi Kalyani-Thyagaraja*** 07.Enduku Peddala – Shankarabharanam- Thyagaraja*** 08. Venkatachalanilayam – Sindhu Bhairavi – Purandara Dasa*** 09. Thillana – Khamach – Patnam Subramanya Iyer*** 10. Mangalam***

In Memoriam 2011: Sri Kunigal Puttu Rao - II

Sri K. Puttu Rao lived a mere 65 years.

‘Mere’ did we say?

(Even, the great GNB himself passed away into immortality at a young 55, when the world wanted him to rule undisputed for another half a century? So, how do you reconcile ‘mere’ with sixty five years? )

Precisely. This is why we have this helpless notion that life sometimes looks like a travesty (maybe even as a ‘Maya’, if you like). Even though sixty five is not a small age (this writer has experienced that roll-over within his own lifetime), we are forced into using the word ‘mere’ in a relative setting; as applied to a man having exhibited a powerful vitality and passion while living, only to be found plucked into sudden nothingness where you would think the health and passion he displayed would propel him towards twice the longevity!

THE CONSUMMATE ATTORNEY

It used to be whispered, once upon a time, in the inner circles (that exists no more), that Kunigal Puttu Rao, in his day, was a ‘very shrewd’ lawyer who earned even the respect of ‘their Lordships’. He was the consummate and committed defense lawyer whose ‘client’ could do no wrong! He was known to have taken on cases of even supposed 'undesirables' ( a subjective view held by some members of a society on anyone outside their norms ), affording them the necessary protection under the law as owed to one’s citizenry. "You are not guilty until proven!" was an ideal he bought unto his heart and profession. He would be prone to bringing friends and clients home for a celebration after winning their cases, and it would be especially hard on the part of the matriarch of the family who had her own daily 'Niyama' to attend to, but whose services would be requested at all odd hours for food and other things on the arrival of an ‘a-thithi’ ( ah, you got it right! – that welcoming, feeding and honoring of a guest, who arrives with no prior appointment! – what an added refinement to an already great civilization! ).

Did Puttu Rao not ever smile?
Perhaps not, unless you found him in the distinguished company of a
Sir C.P. Ramaswami Iyer or an Ariyakudi Ramanuja Iyengar!
Could it be music? Could it be law?

A MAN'S MAN

What was a very deep mystery about “Parvathi”, the house that he built, was about how it ever ran! It was such a large and burgeoning household, which depended solely on just one income. Granted, K. Puttu Rao sometimes expressed the grit of a lion and his spouse, the erstwhile Parvathi (amma) no less in resilience than that of a tigress, the combined effect would yield, dominantly in no time, a large household of seven "ligers" with never ending demands associated with one's growing up; the phenomenal expenses of long term educational fees, the economics of food and clothing and transport, costs of private tutoring towards traditional language and arts, the impact of costly ceremonies to be performed as befitting each member of a traditional household, and the huge expenses that came to be associated with religious ceremonies. These would be held every other day, as determined by a crazy almanac, and culminating in invitations to a prolific number of guests, priests and entertainers.

Added to all of this was a certain ‘strange’ notion cultivated by distant family members, that the house was the equivalent of a free ‘board and lodge’ house (a veritable 'chatram'). Members would show up from distant villages, first with a customary ‘note’ from some well known family head, claiming some filial connection with an accompanying request for some ‘temporary’ shelter, till a certain justified event could be completed. These initial short stays however always happened to get recycled, to the point where after a while, the person would be found to have happily ensconced themselves 'as a member' with now a stronger case than ever. There were also other 'member(s)' established under a natural duress, such as a widowed lady unable to support herself or a lady having been abandoned by a husband, or an orphan girl, whom the family came by in compassion, who had to be included as family till such time as she could be given away in marriage, or into another pasture of safe custody.

CARNATIC MUSIC'S GREAT AFICIONADO

Earlier, on many an occasion, we spoke of Sri. K. Puttu Rao's abiding passion for music and in his being at home to several stalwarts of Carnatic Music ( click ). We now add to that ever growing list, memories of some other stars in the CM firmament who graced "Parvathi" during his lifetime:

Immortal G.N.Balasubramaniam (GNB) in the house !
(click on photo to magnify)

Immortal Duo!
Chembai Vaidyanatha Bhagavathar and Palghat Mani Iyer
in the House !
(click on photo to magnify)

Immortals Manakkal Rangarajan and T. Chowdiah in the House !
(click on photo to magnify)

IRON FIST IN A VELVET GLOVE

Puttu Rao was known to be a strict disciplinarian, especially with his sons and his staff. Somewhere, however, over the years, people realized that while there might be that quick temper and a bark to the man, there was also the outer shell with a whole lot given to a softer side. This would be noticed, particularly during certain events and in its calculated moments. While pictures in the house, sometimes revealed an Oldsmobile, a Dodge Kingfisher or a Chevy Impala over the years, it would not be uncommon to find Mr. K. Puttu Rao trudging many a time on foot to and fro from Court.

At times, one would find him in a ‘tonga’, too, doing a back and forth from Mysore's great Devaraja market, with its myriad stalls of fruits or its beautiful stalls of sweet smelling Jasmine flowers. From here, he would invariably pick up beautiful hair adorning for his large retinue of daughters-in-law with whom he was ever conscious of doing the right thing in making them integrate seamlessly into his own family. He would even be seen, as the 'tonga' waited, at the cloth emporiums of Mysore’s main thoroughfare on Sayaji Rao Road, where he would indulge in some of his fancies; where he would pick up select pieces of cloth hoping for the benefit of a customized tailoring of immaculate shirts and coats that he wore with aplomb on himself. He would also be seen ordering rich blouse material (the 'Khanas') for all the Gods and the women folk of his own family. The whole thing would prove to be nothing more than a fanciful charade into an evening's outing; he would concoct an elaborate 'scheme' of seeming to tuck away all his treasures into some hidden compartments from preening eyes, only to realize, once again, the inevitable! It would all vanish, in no time, without nary a sign of the actual culprit (or culprits) ever being found from within that large contingent of humans that dwelt in that house.

M.L.Vasanthakumari was always regarded as 'family' !
Seen with Puttu Rao's pride - the daughters-in-law !
(Is there a young Sudha Raghunathan, too,somewhere there?)

Puttu Rao's zest for life, as we have indicated before, was not confined to just music and musicians alone, or on being God fearing to one's daily propitiation's. He was fiercely loyal and prone to take on various challenges of a social order, in order to do good. He worked with Mysore's several institutions and committees; with Mysore's City Cooperative Bank, Mysore Cooperative Society and many of its charitable Housing projects. He loved to battle in order to save institutions. Notable amongst these was the institution (pictures below) of which he was once both its Secretary and its President. He saved it from many a lender's hand, providing some deft legal maneuvering, but ironically died the very next day, after the courts had moved in his favor!

Bidarama Krishnappa Rama Mandiram in it's 'heydey' !

Its once pristine interiors - Courtesy: The Hindu

As we leave you with the memory of a man in whose lifetime, there was a great 'cause celebre' for the heritage of Carnatic Music, we remind you of the concerts in his honor that commence on Aug 31, 2011 in Mysore.

As with the tradition of our blog, we would also like to leave you with some music. What better than a video presentation of Padma Bhushan and Sangeeta Kalanidhi T.V.Sankaranarayanan (who will be casting his magic on the last day of the memorial concert), performing as he did twenty five years before! in "Parvathi", the house that K. Puttu Rao built and where he bequeathed his last!

Vidwan T.V. Shankaranarayanan is shown accompanied by Vidwans G.J.R. Krishnan (violin), M.A.K Murthy (Ghatam) and incidentally Vellore Ramabhadran who accompanied him first in his (TVS's) memorable debut on February 2, 1968!

In Memoriam 2011: Kunigal Puttu Rao - 1

The son, Mr. K. Srikantiah, is the direct and last surviving relative of Sri K. Puttu Rao and is, by himself, well into the Octogenarian years.

You would think, at his age, that Mr. Srikantiah would choose the comfort of a quiet life nestling mostly with one's own grandchildren. But, no, that’s not for him. He has soaked up Carnatic Music (CM) all his life, with its world of great composers and artists like no other. He is what you call a living encyclopedia to all of CM’s hallowed memories. So, what does such a person do? He dives in again, into that same world where he once lived supreme; he wants to work in that same universe of music’s joys and share the rewards of that joy freely with everyone. This time he wants to do it with a difference. He feels, he owes everything in life to the memory of a father. It is his ‘tarpanam’ to a hallowed name. He now wants to invite the world to a musical sequence of five days in the company of some great maestros, to the redoubtable sanctuary of the famous Jagan Mohan Palace of Mysore.

The venue is a 150 year old Palace!
The coronation of H.H. Krishnaraja Wodeyar IV
was held here in 1902.
The Viceroy and Governor-General of India,
Lord Curzon, too, attended that ceremony.

So, here is Mr. Srikantiah's invitation. Please find it issued to all of our gentle readers who may find themselves in Mysore, from August 31 to September 4, 2011, and lucky enough to find a seat in the auditorium.

( click on photo to magnify )

Mr. Srikantiah has chosen some eminent and elderly names, to preside over this occasion. They are India's, Karnataka's and Mysore's very distinguished sons such as Dr. SL Bhyrappa who is regarded as one of India's most powerful and award winning novelists in the last twenty five years. Joining him are Mr. Krishna Vattam, another powerful journalistic voice for over six decades whom we have mentioned before in our blog. The third distinguished member to grace the opening is none other than revered Mr. M.A. Sampath Iyengar Esq. President Emeritus of Mysore's famous National Institute of Engineering (NIE) Rounding up the group, will be another distinguished personality, Mr. K.B. Ganapathy, Law Graduate and Founder of Mysore's famous newspapers, Star of Mysore and the Mysore Mithra.

Our salutations to all four of them and to the very distinguished artists !

( click on photo to magnify )

Mr. Srikantiah, wants to open with none other than the Indian Mandolin Prodigy U. Srinivas. In a lot of ways, Sri. Srikantiah admires Srinivas, not only for the artiste’s genius but for his rare humility (“God has given him everything! Yet, look at that grace and respect towards others, particularly towards elders! ”). We have remarked elsewhere in our blog, that Srinivas first came to the attention of Mr. Srikantiah at a tender, shy age of nine. He came many a time afterwards to perform in “Parvathi”.

This is U. Shrinivas (video below) performing an enthralling piece in “Parvathi”, in 1985, at a youthful age of 16!

Before that, we bring you the viewpoint of our own brilliant 'Rasika' R.Sachi on this segment of the music.

"August brings the start of famous Indian festivals. The incomparable story of Krishna's birth, in a prison at midnight amidst a monsoon deluge, is the basis of a big celebration. Soon comes the month of Bhaadrapada, with the sun starting to peep out of dark monsoon clouds. And on Chaturthi, the fourth day, the ever-delightful god of auspicious starts, Lord Ganesha, is installed and worshipped by the devout. This is tellingly pictured by Sri Muthuswami Dikshitar in the hugely popular song, Siddhi Vinayakam in Shanmukhapriya. The raga, the lyric, and the tempo always kindle a concert and take it to great heights. Dikshitar's songs like Siddhi Vinayakam and Vatapi Ganapathim are very popular, but musicians know how difficult it is to do justice to them, replete as they are with lyrical grandeur, musical richness and a taut tempo. Especially for instruments, they are always a challenge.

So consider this on the mandolin. A bubbling teenager cast a spell with this opening piece 25 years ago in Parvathi. We are happy to share this video with you, of the grand opening by Mandolin Shrinivas. The accompanists look absolutely delighted, especially Sri Vellore Ramabhadran.

The song itself is noteworthy in describing how sattvic are the worshipers of Lord Ganesha. After all, he is totally bereft of violent temper and desire ( raudrabhAva rahitam dAsa janahRdaya virAjitam rauhiNEyAnujArccitam IhanA varjitam )".

God as the ultimate Rasika - Vidwan M.D. Ramanathan

“Oh Lord, without You, how can Thyagaraja sing the song of your gunas?”.. this is the burden of the wonderful Athana song Narada Gana Lola. All aesthetic endeavour is an expression of our response to the beauty of creation. Amongst all arts, music is called the highest human expression. William Shakespeare said, “To know the cause why music was ordain'd! Was it not to refresh the mind of a man after his studies or his usual pain?” In other words, music is the ultimate antidote to human difficulties or intellectual fatigue. Here, on the other hand, Thyagaraja says that all the miseries of our existence can be sublimated into worship by singing of the Lord’s glories. And by calling Him “Narada Gana Lola”, Thyagaraja has indicated God’s musical preferences. Narada was the Lord’s most ardent and musically gifted devotee. In many ways the Parvathi festival typified the attitude of the devotee. No commercialism. Pure music, devoutly offered by the best musicians of the era, to an eager set of rasikas in a setting created with much ardour by the family of Parvathi.

This time we are happy to offer excerpts (1 hr: 20 mins) from MDR’s 1974 concert: Concert Details Vocal M.D.Ramanathan Violin M. Chandrasekharan Mridangam Vellore Ramabhadran Khanjira H.P Ramachar on April 7, 1974 at Parvathi (excerpts only) Song List 01. Rama Nipai – Kedaram – Thyagaraja *** 02. Narada Gana Lola – Athana – Thyagaraja *** 03. Janani Ninnuvina – Reeti Gowla – Subbaraya Shastri ***

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.)