The man who immortalised "Harivarasanam" – K. J. Yesudas

Friends and mutual admirers: Yesudas, Srikantiah, Vishnuvardhan, Bharati

Vidwans (L to R): Guruvayoor Dorai, Yesudas, Mysore Manjunath

During January 2013, the media is full of news about the Kumbh Mela, a conclave where several million people are going to visit the holy confluence of Ganga, Yamuna and Saraswati rivers at Allahabad for a dip during this auspicious period and to get blessings of holy men, as ordained in the Puranas. Both BBC and the Harvard School have taken interest in documenting this great human congregation. Perhaps no less in magnitude and complexity is the human phenomenon of the Sabarimala annual pilgrimage, which just ended this month.

We reproduce information from several sources:

The shrine of Sabarimala is one of the most remote shrines in southern India and yet it draws three to four million pilgrims each year. Surrounded by mountains and dense forests, Sabarimala is believed to be the place where Lord Ayyappan meditated. The pilgrimage begins in the month of November and ends in January. Certain customs are to be strictly observed if one has to undertake a pilgrimage to Sabarimala. A pilgrim attending the Mandalapooja should observe austerities for 41 days.

Harivarasanam is a devotional song composed in the astakam metre, recited at Sabarimala before closing the temple door every night. The song was written by Kambangudi Kulathur Srinivasa Iyer and was recited the first time by Swami Vimochanananda at the temple. Though there have been many versions of this song sung by many renowned vocalists, the Sabarimala temple plays the rendition by K. J. Yesudas of a musical version composed by the renowned music director G. Devarajan every evening after the final pooja.

The story goes that VR Gopala Menon, from Alapuzha used to accompany Thirumeni Eashwaran Namboothiri, the Melshanthi (head priest), to Sannidhanam every time, and would stay there by himself even when the temple was closed, remaining undisturbed by the wild animals. Later, when the Devaswom Board was formed, it is believed that he was asked to move out. He eventually died at a tea estate at Vandiperiyar.

Gopala Menon used to recite Harivarasanam with devotion during his time at Sannidhanam, and the news of his passing away deeply saddened Thirumeni Eashwaran Namboothiri. Once, at the end of the day's rituals, the Namboothiri was about to close the doors of the Sannidhanam when he remembered the dedication and sacrifice of Gopala Menon and he then began to recite Harivarasanam starting a nostalgic tradition that remains unbroken till date. Today, as the final verses are being sung, all the assistant Santhis (priests) leave the Sreekovil one by one. As the song ends, only the Melsanthi is inside. He extinguishes the lamps one at a time and closes the doors for the night.

It is interesting that this song Harivarasanam challenges the usual stereotypes in Carnatic music. It is associated with a lesser known Hindu deity, Hari-Hara putra Ayyappan. His temple is in a remote forest in Kerala. Harivarasanam has been set to tune by G. Devarajan, who was a self-confessed Communist/agnostic. It has been sung by K. J. Yesudas, who is not from the typical Tamil Brahminical mould. And yet it has moved millions for a long time, and is broadcast in the Sabarimala temple every day in Yesudas’s voice.

Thus, Vid. K. J. Yesudas, one of the most gifted, recognised and honoured musical voices in Indian cinema, should also be recognised as the voice that immortalised Harivarasanam .

Mr. K. Srikantiah’s close friend for many years, Sri Yesudas has come and performed in Parvathi on more than 20 occasions, to large crowds of eager fans. In the 2007 concert we feature here, his energy and enthusiasm is undiminished at 67 years. He sings a large number of his hugely popular numbers, both classical pieces and film songs. In fact, the Kannada matinee idol Mr. Vishnuvardhan (featured in the photo with Mr. Srikantiah, Mr. Yesudas and Mrs. Bharati Vishnuvardhan, another famous film star) sat through this concert, and enjoyed the song “Ellellu Sangeethave” from his hit movie Malaya Marutha, sung by Sri Yesudas!

Sri Yesudas turns nostalgic in the middle of the concert and narrates how his father (his first guru) was a famous theatre artiste and sang at an impossibly high pitch and with unbelievable felicity in the higher octave in the days when there were no mikes. He explains how being totally surrendered to the guru and learning from the masters in person as well as continual, rigorous practice are crucial to one’s progress as a musician. He cautions youngsters that they should never imagine that there is a short cut to success by merely learning music from tape recordings. He says his success is entirely due to his father’s and gurus’ blessings and encouragement.

We get also an insight into the spiritual appeal of Sri Yesudas’s music when he explains how he feels the godhead in every phrase of his music and how God pervades all beliefs and faiths equally.

We are happy to share such a lovely concert with excellent recording quality during the Sabarimala season.

[ Text due to R. Sachi ( click ) ]

CONCERT DETAILS: Ramanavami festival, 29 March 2007

K.J. Yesudas – Vocal
Mysore Manjunath – Violin
Guruvayoor Dorai – Mridangam
GS Ramanujam – Ghatam

Song List

01. Sarasija Nabha – Varnam _ Nata – Palghat Parameshwara Bhagavatar *** 02. Adiyali Gajamukhana Archisu – Hamsadhwani – Purandara Dasa *** 03. Guruvina Gulama – Hamsanandi – Purandara Dasa*** 04. Ela Nee Dayarada – Athana – Thyagaraja *** 05. Rama Sadguna – Todi- Jagannathadasa*** 06. Ragasudharasa – Andolika – Thyagaraja *** 07. Enduku Peddala – Shankarabharana – Thyagaraja *** (followed by Tani) *** 08. Brochevarevarura – Khamaj – Mysore Vasudevachar ***09. Dasadasara maneyadasa- Hindola – Kanakadasa *** 10. Thiruparkadalil Pallikondaye – Bhairavi – G. Devarajan ***11. Ellellu Sangeethave – Saramathi – Vijayabhaskar *** 12. Krishna Diwani Meera – Bhajan – Ravindra Jain *** 13. Enu Vara Bedali Nanu *** 14. Oru Neram - Dwijavanti *** 15. Speech *** 16. Swami sangeethadindolise – Abheri *** 17. Harivarasanam – Madhyamavati - Kambangudi Kulathur Srinivasa Iyer+G. Devarajan *** 18. Mangaladarshanadayike Mookambike ***19. Agre Pashyami, Yogindranam – Narayaneeyam *** 20. Mangalam ***

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An Epoch of Instrumental Excellence – M. S. Gopalakrishnan (1931-2013)

This morning began with the sad news of the passing away of Padma Bhushan, Sangeetha Kalanidhi, Parur M.S. Gopalakrishnan. MSG, as he was known worldwide, had been the subject of many articles recently during the Margazhi season. People had been writing about how he was an exemplar in many ways:

1. Mastery of the violin as an instrument.

2. A long career right at the top in Carnatic music.

3. An epoch-maker in the Parur or MSG Bani, perhaps the most copied instrumental technique among aspiring Carnatic violinists from all over.

4. An astonishing mastery of the Hindustani musical idiom, which won him the utmost respect among North Indian connoisseurs.

5. An ideal accompanist who made many concerts memorable with many great vocalists and other instrumentalists.

So when the news trickled this morning, we were not surprised that rasikas world over started writing in various forums and email groups expressing a sense of great loss to the world of Carnatic music and offering condolences. In fact, the number of people who expressed genuine sorrow and shared so many reminiscences showed how MSG stood for a lofty ideal in the minds of many.

MSG, or Parur as Mr. K. Srikantiah fondly refers to him, has come and played in Parvathi a number of times over 5 decades. Mr. Srikantiah has only positive memories of the man. He conveyed these words:

“MSG the violinist had a unique style of play. His instrumental mastery and sweetness of play is legendary. He has accompanied many great vocalists and instrumentalists in Parvathi. He came across as a man of few words, who had no time for idle gossip. He was very disciplined. He always did his best in every concert. Many rasikas have long remembered the concerts he played at Parvathi, both during Ganesha and Ramanavami festivals. His sruthi perfection was a sheet anchor for the main musician. His passing away is a genuine loss to the Carnatic world. May his soul rest in peace.”

The best tribute we can pay MSG is to share some of the wonderful pieces of his accompaniment in the various Parvathi concerts uploaded here. These are only excerpts. The full concerts can be accessed via the index.

Excerpts:

01. N. Ramani - Gajavadana – Sriranjani ***02. M. Balamuralikrishna – Nagumomu – Abheri *** 03. S. Kalyanaraman – Kambhoji RTP*** 04. Madurai Somasundaram – Ragamalika Shloka *** 05. Emani Sankara Sastri – Jnanamosagarada – Purvikalyani ***

Today, in Sangeethapriya.org, they featured this tribute, inspiring us to say these words:

Today, the string that sang snapped.
There is a silence like never before.
Music that stirred our guts stopped.
The one and only MSG is no more.

A Style that makes Singing look so Simple – Vidushi M. S. Sheela

[ Courtesy: Ganesh-Goddesses-New-Year-2013-HD-Wallpapers ]

We bring you our warm Greetings of the Season and Sincere Wishes for a Very Happy 2013!

We thought we will feature this time a lovely concert held in "Parvathi" in 2005 of Vidushi M.S. Sheela.

The following review of the Music comes to us from Sri R. Sachi ....

" Vid. Sheela is very well known in Carnatic music circles for many years now. She features in prime time slots in big music festivals in the company of well-known accompanists. She has performed in Parvathi festivals four times so far, including in this year’s Puttu Rao Memorial festival.

Hailing from a musically endowed family, Vid. Sheela sang her first notes under the guidance of her mother late Smt M N Rathna, a popular musician of yesteryears. Strict and rigorous training under Sangeetha Kalanidhi Dr R K Srikantan added lustre to her musical prowess. She has a postgraduate degree in Music from Bangalore University, and is a Gold medallist.

We quote a critic who heard her many years ago:

"This disciple of Sangeetha Kalanidhi R K Srikantan has learnt kritis with purity of padanthara and attention to bhava that her rendering of Dikshitar classic "Madhurambikayam" (Hemavathi) touched one's heart. Later, her detailed sketch of Sankarabharanam had a diaphanous harmony that brought out the leonine character of this raga - both in the middle register and the top one - her melody enveloping herself and the audience in a warm embrace. "Enduku Peddalavale", the Tyagaraja masterpiece was striking, in the panoply of moving sahitya, raga enchantment and intellectual application."

- K S Mahadevan, The Indian Express, Chennai, December 18, 1997.

Here, Vid. Sheela has given a most delectable concert effortlessly. To this writer, her singing style is unique in appearing to make classical singing so simple. No doubt that is the result of God’s gift of a voice with depth and range, a keen musical intellect, and excellent training. Her repertoire spans many great composers including Veene Sheshanna, Mysore Sadashiva Rao, Mysore Vasudevachar, Mysore Maharaja, and Dasasahitya, apart from the weighty compositions of the trinity.

The highlights of this concert, with enthusiastic accompaniment by Mysore H.N. Bhaskar on the violin and Vid. Krishna on the mridangam (also Vid. Manjunath on the ghatam) are Lathangi and Bhairavi.

Lathangi is according to “A Raga’s Journey”, a sweet and sour raga. Lathangi could invoke in one’s mind images of a tribal tableau during the Republic Day Parade, showcasing grass-skirted, feather-crowned dancers from the North East, sporting bows and arrows. It is enchanting as well as intriguing. Its instant charm is not without reason. It poses challenges to musicians as this melakarta is quite gingerly positioned with just one-note variations from the scales of popular mainstream ragas like Pantuvarali, Simhendramadhyama and Kalyani. In the words of Prof. S. R. Janakiraman, “when you sing the Chatushruthi Rishabha in Lathangi, you should immediately bring in Anthara Gandhara and Shuddha Dhaivata, to ward off Kamavardhini (Pantuvarali), Kalyani and Simhendramadhyama, as the three fellows will be waiting to seek entrance...” Maybe for these reasons, Lathangi is sparingly attempted by less-than perfect singers. There are also only 11 krithis listed in Lathangi in a popular compilation as compared to 144 krithis in Kalyani!

Here, in this concert, Vid. Sheela seems to thrive as she unfolds the raga and sings Marivere by Patnam Subramanya Iyer, with élan. Then comes Bhairavi. Upacharamu, a classic composition of Thyagaraja, receives royal treatment. She elaborates the raga and also does great niraval and swara prasthara at “Kapatanatakasutradhari”. Bhaskar’s responses, as well as the following tani by Krishna and Manjunath, show how she has built up the tempo in the concert and inspired them.

The closing items in Janasammodini and Pilu establish a clear position in our minds of a great artiste with mastery over the Carnatic idiom in both classic and devotional segments.

So let us welcome 2013 in a fitting way, listening to Vid. M.S. Sheela and her ensemble! "

Concert Details

M.S. Sheela -Vocal
H.N. Bhaskar - Violin
V. Krishna -Mridangam
Manjunath -Ghatam
Held in Parvathi Ramanavami festival, April 20, 2005.

Song List

01. Kambhoji Ata tala Varnam – Swathi Thirunal *** 02. Gananathaya – Gowla- Ambi Dikshitar *** 03. Soagasuga – Sriranjani – Thyagaraja *** 04. Marivere – Lathangi – Patnam Subramanya Iyer *** 05. Sogasujuda – Kannadagaula – Thyagaraja*** 06. Intakante – Kannada – Patnam Subramanya Iyer*** 07. Paripahimam – Shubhapantuvarali – Mysore Vasudevacharya *** 08. Upacharamu – Bhairavi – Thyagaraja ***09. Tani*** 10. Shloka – Hamsanandi, Janasammodini *** 11. Ramamantrava Japiso – Janasammodini – Purandara dasa *** 12. Karuna Jaladhe – Pilu – Traditional *** 13. Sitakalyana – Kurinji – Thyagaraja *** 14. Mangalam ***

Music's Bylanes - II: 2012 - K.K. Murthy Music Festival and T. Chowdiah Awards

July 21, 2005
Late K.K. Murthy and N. Dharam Singh (Ex-CM) celebrate
the birthday of then KPCCI President Mallikarjuna Kharge
[Courtesy: THE HINDU - Photo: K. Gopinathan]

Readers can recall, that as our blog continued to progress, we often continued to reflect on the inspiring activities of the Chowdiah Memorial, that unique building consecrated to the memory of the great Violinist T. Chowdiah by the late K.K. Murthy ( younger brother to K. Srikantiah and youngest son of Sri. K. Puttu Rao).

Nov 24, 2012
India's Union Labor Minister M. Mallikarjun Kharge and Academy of Music Members are seen with award winners: Pt. Vasanth Kanakapur, Mysore Nagaraj, Mysore Manjunath and T.K. Murthy at the K.K. Murthy Memorial Music Festival in Bangalore.
[ Courtesy : The Hindu ]

As an exercise in “lateral thinking”, we also drew parallels with our many experiences of an Alice Tully Hall (in Manhattan), of a Washington Smithsonian and of the BAM (Brooklyn Academy of Music), so perfect within their individual identities.

We often reflected, also, on the many touches that a distinguished memorial like the Chowdiah memorial could do more with, as acts of ‘right’ embellishment.

These were things, that were easily within the reach of a “pro-active” citizenry of music patrons, and not necessarily dependent on any government agency’s help.

We often felt that a few deft touches would render a more complete identity to the man, Chowdiah, who once bestrode the landscape as a colossus armed but solely with a Violin, a man of towering musical knowledge and the command of a giant personality.

Nov 24, 2012
Mridangam’s great Vidwan T.K. Murthy is seen once again, honored with the K.K. Murthy Award by Union Minister Mallikarjuna Kharge and Academy office bearers.
[Courtesy: The Hindu]

(1) As starters, we had felt earlier that the building, recognized as a performing arts museum dedicated to Chowdiah’s illustrious name, needed indeed to house his famous violin for all to view permanently.

We remember having spoken about this and emailed even some people who would hear us out, from time to time. We are not sure , if any “wind” carried our message to any of the powers to be, but a recent report from The Hindu does gladden our hearts.

The Chowdiah Memorial now finds itself in the possession of the famous man’s violin ( click ).

R. Subbaraj Urs, Secretary, Academy of Music: “…Chowdiah’s violin would be under the safe custody of the academy. After all, the hall was designed after his violin..."

Readers will note that T. Chowdiah’s instrument was unveiled earlier, in “Parvathi”, Mysore on April 15, 1970 in the distinguished presence of Karnataka Governor Dharma Vira and Minister Rajasekhara Murthy.

Violin Virtuosos! Vidwan Manjunath and Vidwan Nagaraj celebrate being honored with the KK Murthy awards.
[ Courtesy: The Hindu ]

(2) As we have come to believe with some research, Chowdiah had in his lifetime of seven decades, provided for a staggering number of concerts. He had criss-crossed many a geographical boundary, and squeezed time and space sufficiently, to render many a performance even in a single day.

Granted that not all of his performances were recorded (he passed away in 1967 when the country had barely come to grips with tape recorders), it would still be a safe bet that many a recording by him probably lies scattered somewhere, largely uncared for , in worn out tapes junked in some ancestral holding.

It draws a parallel somewhat , with the findings of the notes of the mathematical genius Ramanujan; the accidental finding of scattered notes in a relative’s abandoned trunk; which discovery became instrumental in sparking a worldwide interest in Ramanujan!

The grass root patrons of music need to provide an 'all around call' for people to release any recordings that they may have of T. Chowdiah into a central custody at the memorial, so that an audio-visual display of a musical era can be dedicated to the legend and his peers in the open foyer of the memorial.

The permanent exhibit should be on anything related with T. Chowdiah: photographs, tapes, writings, compositions, notebooks with each item preserved, tagged and the names of donor persons acknowledged. The recordings should be cleaned and amplified and a playing booth created so that people may hear them at their leisure.

Then only, can a future generation, be made to understand the footprints of a cherished past and the value in a heritage associated in someone’s name.

We hope that another “gust” of the wind will carry our plea to the like minded preservers of the heritage.

Vidwan Vasant Kanakapur conferred with a Lifetime Achievement Award

Music's Bylanes - I

While we wait for our very learned friend in music, R.Sachi ( click ) to process another delectable concert for us, we thought we’d walk the Rasikas through some music's by-lanes .

The following pictures were the results of ‘prying’ into more “Parvathi” albums. This time though, it was courtesy of Shri K.L. Rao’s family. No, not the founding father of India’s Irrigation industry! but the third elder son of Sri. K. Puttu Rao, about whom we spoke earlier as having once lived in Chennai, next to the hallowed Music Academy in Mylapore, and who provided dedication as an engineer to the Chennai Harbor, during the 60’s.

Here are some pictures of Carnatic music’s greats, in a more relaxed venue and in more informal postures.

Could we say that this was their way of “jamming”?

Supreme maestros all! (L to R): U.K. Sivaraman, M.L. Veerabhadriah (Palghat Mani Iyer’s disciple), K.S. Manjunath , T. Chowdiah

T.Chowdiah with Sri K.L. Rao.
It looks to be a respite after lunch,
as we detect the faint outlines of a ‘pan’
being chewed by Chowdiah!

The 'Krishna' of Music! [ click ]
Maestro M. Bala-Murali-Krishna and party!

[ If one views keenly one can also notice Vid. M.A. Narasimhachar in the audience]

Veena Maestro Chitti Babu
pondering away ‘dreamily’
amidst musical notes in a warm up !

Veena’s other great exponent Doreswamy Iyengar
seen with stalwarts Vellore Ramabhadran, K.S. Manjunath, T. Chowdiah

Classicism as the Core: Vidwan O. S. Thyagarajan - 1994

[ The following text is due to R.Sachi ( click ) ]

This time we are happy to feature a well-known senior vidwan, Sri. O.S. THyagarajan. He has come and performed in Parvathi around 8 times over the past few decades.

Recalling his music, Sri K. Srikantiah says, “there are a few artistes who are simple, not after crowd-pulling music, and focused on giving a wholesome concert with classicism as its core value. The foremost among such artistes was Palghat K.V. Narayanaswamy. Sri O.S. Thyagarajan comes in the same mold. A man of few words, I found his music and personality endearing for its calmness."

[Courtesy: The Hindu ]

Gleaning from various sources on the Internet:

Sri O.S.Thyagarajan was born on April 3,1947. He is a classicist who paints in glorious colours the fine shades of raga, krithi and swara in his numerous concerts.

He had his earlier training under his father Sangeetha Bhooshanam O.V. Subramanian, and later under the celebrated maestro Lalgudi G. Jayaraman and finally, Sangeetha Kalanidhi T.M. Thyagarajan. An ‘A- Top’ graded artist of the All India Radio and of Doordarshan, he has been giving a large number of concerts well appreciated and relished.

The titles conferred on him are “Sangeetha Choodamani” (Sri Krishna Gana Sabha), Sangeetha Kala Sagara (Kalasagaram, Hyderabad), “Nada Gana Kala Praveena”, “Sangeetha Samrajya” Madurai, “Nadha Booshanam” Shanmukhananda Sangeetha Sabha, and New Delhi.

He is regularly featured by all leading sabhas in Chennai as well as throughout India and has toured many countries, including USA, Canada, Australia, Singapore, Middle East, Malaysia, Hong Kong, South Africa, and many cities in Europe. He worked as Dean, Faculty of Fine Arts, and Annamalai University for 5 years. He has trained many disciples too.

In an interview he gave a couple of years ago, OST, as he is fondly known, called upon artistes to spread “Sasthriya Sangeetham." He recalled his first lesson from his guru in 1980. “Never try to get applause by singing something absurd and if you don’t get applause despite sensible singing never bother. This is one lesson I remember even today,” he said, revealing his utmost reverence for the two Thyagarajas – the saint composer and his guru.

In this concert held in Parvathi in 1994, we enter straight away into a concert in full swing, to the strains of the raga Asaveri. Featured in Thyagaraja’s opera, Prahlada Bhakti Vijayam, the song is a plaintive cry by the devotee to the lord:

" RARA MAYINTIDAKA " (Asaveri)

Oh Raghuvira! Tyagaraja's fortune! Pray, come to my house; I bow to you. Bless me. I cannot bear the separation any longer. Till now, with unfulfilled desire, I have been in long and vexatious search for you. Pray, do come today at least, in all your glory. My purpose in seeking you is to implore you every morning to teach me, to have the privilege of the Darshana of your enchanting face, to stand by your side and worship you every day, and thus be blessed. Believing that you alone are my refuge, I have allowed myself to be in your grip. Why do you forget this, and why do you not come to me promptly?

(Taken from The Spiritual Heritage of Thyagaraja)

The other songs, with enthusiastic accompaniment on the violin and mridangam, are a scintillating Shanmukhapriya “Marivere”and “O Rangashayi”rendered in a majestic Kambhoji by Vidwan O.S. Thaygarajan.

The concert is well recorded and the five items featured all showcase melody, virtuosity and bhava, all in the mould of pure classicism.

Concert Details: ( "Parvathi" Ramanavami, April 12, 1994 )

Vocal - O.S. Thyagarajan
Violin - H.K. Venkatram
Mridangam - T.A.S. Mani
Ghatam - G.S. Ramanujam

Song List:

01.Rara Mayintidaka – Asaveri – Thyagaraja*** 02. Marivere – Shanmukgapriya – Patnam Subramanya Iyer *** 03. O Rangashayee – Kambhoji – Thyagaraja *** 04. Narayanaya Namo Madhavaya – Karnaranjani – Narayana Tirtha *** 05. Sri Raghavam - Shloka – Kapi, Varali, Sindhu Bhairavi ***

Worshipping Chamundi – The Spirit of Navaratri

BEGUM PARWEEN SULTANA & USTAD DILSHAD KHAN

We feature during this Navaratri, music from the duo of Parween Sultana and Dilshad Khan. They performed in Parvathi 22 years ago. In this concert, they have sung a beautiful khayal with words of prayer to Goddess Saraswati, the deity conferring the gifts of music and arts. Then follow a thumri and bhajan in Pahadi. They round off the concert with their signature bhajan “Bhavani” in Mishra Bhairavi.

This concert is significant on many levels. The famous city of Mysore, with its presiding deity of Chamundi and the celebrated Dassara Navaratri festival, attracts musical stalwarts from all parts of the world. Just as the Maharaja was the patron of philharmonic music and western composers, he was also a great Sri Vidya "upasaka" and Carnatic composer in his own right. So Mysore symbolizes a very open milieu for excellence in music, and also symbolises the spirit of Devi worship (especially during the Navaratri festival). Navaratri is dedicated to worshiping the Devi in her forms of Saraswati, Lakshmi and Chamundi or Bhavani.

CHAMUNDI DEVI - MYSORE [ Courtesy: shobhakarandlaje.com ]

We also offer our respectful remembrances of the great Vidwan Madurai Mani Iyer, whose birth centenary is on 25 October 2012. We feature here a fine article ( "Periyava & Music" - CLICK ) by Mr B. M. N. Murthy [see Footnote], which narrates how this Maha Vidwan was known for his wonderfully beautiful and worshipful music.

We reproduce (partially from the article):

Happy Navaratri!

Concert Details

Begum Parween Sultana & Ustad Dilshad Khan – Hindustani Vocal Duet

Held at Parvathi, October 10, 1990

Song List

01.Hamsadhwani Khayal *** 02. Thumri – Pahadi *** 03. Nandanandana Giridhari Bhajan*** 04. Bhavani Dayani – Bhajan – Mishra Bhairavi ***

[ FOOTNOTE: Mr. B.M.N. Murthy has had a very distinguished career in Civil Engineering, retiring from professional life as Chief Engineer at LIC, India. What has been very remarkable in his life, is his rare collections and subsequent writings on India's great heritage and achievements. Many people, particularly the younger generations, have been very thankful to him for disseminating this knowledge to them. The Hindu, as we tagged previously, also wrote on his inspired efforts. From time to time, we too draw on his articles. He hails from a family of renowned "Vaidikas" connected very closely with the House of Sringeri ]