Knowing what we don't know - True Wisdom

VIDWAN CHITTI BABU PARVATHI RAMANAVAMI CONCERT 1975

(Courtesy: chittibabu.org)

R. SACHI NARRATES ....

Recently when I visited Mr. Srikantiah, he was bursting with joy for having discovered a full concert recording of Vid. Chitti Babu from the 1975 Ramanavami festival at Parvathi, Mysore.

Scarcity of magnetic spools, and the vagaries of recording and archiving, had buried this as well as assorted other concerts in tracks here and there. This fortuitous discovery and digitization have helped us to share the full concert this time.

Vid. Chitti Babu was highly popular among Parvathi audiences in 1960's and 1970's. He delivered always memorable concerts, with melody, classicism and delightful light numbers. In this concert too, he delivers to a full house a typical Chitti Babu repertoire, from RTP to light numbers, in the company of the great mridangam Vidwan Palghat Raghu and Ghatam vidwan Manjunath.

There is also some novelty. At Mr. Srikantiah's request, Vid. Chitti Babu takes up the mike and sings a rare padam. He needlessly cautions the audience, 'Mr. Srikantiah, here I go, as you wanted me to sing today. The outcome will be your 'graha-chara!’ What follows of course is a very melodious rendering of a padam composed by Sri. Sarangapani in Jinjhuti.

The concert begins tentatively, as the veena clears its throat with 'Ramabhakti Samrajya'. But the next item is an impassioned rendering of the famous Thyagaraja piece in Dhenuka. The saint laments that no one knows the path of Bhakti. As the wise say, our journey begins only when we discover that we don't know. After all, the Oracle of Delphi called Socrates the wisest man after he had confessed to everyone in Athens that he knew nothing. Bhakti is not really to be mastered as knowledge, but approached with the true humility befitting the seeker who knows that he knows nothing of God's ways and the path to liberation. We give below the translation of the actual lyric:

O śrī rāma! People are not aware (teliya lēru) of the path (mārgamunu) of bhakti.

Roamiṅg (tirugucunu) all over (antaṭa) the Earth (ilanu) (ilanantaṭa), they babble as if in a dream

(kaluvariñcēru); but (kāni), O Lord śrī rāma! they are not aware of the path of bhakti.

Getting up (lēci) early in the morning (vēga), taking bath (nīṭa munigi) (literally takiṅg dip in water), smearing (pūsi) sacred ash (bhūti) on the body, (performiṅg japa by) counting (eñci) fingers (vēḷḷanu)(veḷḷaneñci), and posing (veliki) (literally ostensibly) as praise-worthy (ślāghanīyulai), they became (airē) totally (bāga) (literally very) committed (lōlulu) (literally dedicated) (lōlulairē) to earning (ārjana) money (paikamu) (paikamārjana), but (kāni) O Lord praised (vinuta) by this tyāgarāja! they are not aware of the path of bhakti.

(Courtesy: http://thyagaraja-vaibhavam.blogspot.com )

The concert has a number of popular items like Ninuvina, Nagumomu, Mokshamu Galada, and an English note “Rhapsody”. The main item is the famous Pakkala Nilabadi in Kharaharapriya. The short but impressive Kalyani RTP with ragamalika swaras shows mastery over the veena. All in all a very memorable concert!

DETAILS – Ramanavami Concert, Parvathi, Mysore, April 20, 1975

Vid. Chitti Babu – Veena
Vid. Palghat Raghu – Mridangam
Vid. Manjunath – Ghatam



Song List

01. Rama Bhakti – Shuddha Bangala – Thyagaraja *** 02. Teliyaleru rama – Dhenuka – Thyagaraja *** 03. Ninuvina – Navarasa Kannada –Thyagaraja *** 04. Pakkala Nilabadi – Kharaharapriya – Thyagaraja ***05. Mokshamu Galada – Saramathi – Thyagaraja ***06. Nagumomu – Abheri – Thyagaraja *** 07. Ragama Tanam Pallavi – Kalyani ( Ragamalika swaras) *** 08. Bhaktiko – Jinjhuti Padam – Sarangapani *** 09. Rhapsody – Chitti Babu ***10. Mangalam ***

Music's Bylanes III - "Thyagaraja Seva Rathnam" - through the lenses of a Thyagaraja Bhagvathar, M.S. Subbulakshmi and others

We find ourselves gathered, as we have done many a time before, in Mr. Srikantiah’s house in Bangalore.

An Illustrious musical icon, perhaps Sangeetha Kalanidhi V. Ramachandran, or Vidushi T.Rukmini , has called from their home, and the host is engaged in a heartwarming discussion of old times with them.

We are left in a reverie.

Honorables: M.S. Subbulakshmi, T. Sadasivam and Radha Vishwanathan

We are reminded, why we of the next generation, are also gathered here.

This is the theater of our nostalgia. We can wax eloquent here, as with Sri R.Sachi ( click ), who can tell us of his boyhood days visiting ‘Parvathi’ or of his wonderful musical experiences with Sri KVN or of his visits to Rukmini Arundale’s Kalakshetra.

This is where our host, who has met them all, can tell us more of an MS and Sadasivam, of a GNB and Semmangudi, a Prof TVS or a Prof. G.N. Chakravarthy, of an MGR/Jayalitha or of any of a slew of Karnataka Politicos, or of an AV Meiyappan or Sundarambal.

Governor Dharma Vira who always remained a steadfast friend of “Parvathi”during his tenure

NIE (National Institute of Engineering, Mysore) Mr. K. Srikantiah welcomes Justice M.C.Chagla India’s Education Minister

This is where you can also find jokes on them or from many of them.

This is also where you can find yourself suddenly threaded into remembering, with a certain poignancy, the life of documentary Filmmaker M.V. Krishnaswamy.

This is "little" Doreswamy Iyengar as shown in a documentary by M.V. Krishnaswamy

The house, in the photo above [ Photo Courtesy: http://bcp.wikidot.com/city-walks:malleswaram ], used to be known as ‘Kusuma Bhavan’. It was the house of the late Mr. M.V. Krishnaswamy, the V Shantharam Lifetime Achievement Award winner in 2010.

It sits directly across Veena Doreswamy Iyengar’s house. These may be the last of the few houses that once graced Malleswaram and Bangalore with great dignity, amidst some of the finest flora. These are slowly beginning to be brought down now with high rises, mass production architecture and synthetic interior decorations that resemble many a fake movie set.

M.V. Krishnaswamy remained close to two of K.Puttu Rao’s sons; one in terms of movie work and the other in terms of pure friendship retained over Maharaja's College days. For an article of heightened sensitivity written on this great documentary maker by one of India’s very sensitive and fine journalist cum author, Sugata Srinivasaraju, please see Outlook Magazine here

Sarod Maestro Pandit Shiva Kumar Sharma, Veena expert SUMA SUDHINDRA and the late K.K. Murthy

As we sit in Mr. Srikantiah’s house we are also reminded of something in our subconscious, of the heritage from where we have come? It has a cocoon like warmth. The warmth is also from another source; the continuous steaming from an Upama, a Masala Dosa or from the delight of the Mysore coffee. You can, without feeling guilty here, ask for several cups of the same, and you will be served with the same loving hands of Smt. Vatsala or a Mysore Prabha, as they might have done for countless years for a Ramani, Lalgudi, Vellore Ramabhadran or a Parur MSG.

The household is also a rare one for our modern times. As we see the family structure being destroyed so unfortunately, in our present day world, and particularly in America (where family life is considered anachronistic giving rise to so many causes of child abuse), the family in India still seems to have retained the ability of being able to survive amidst three generations under a single roof. All of Puttu Rao’s families seem to have maintained this type of ability.

Comfortably, ensconced, with our ears trained towards the conversations, some of us turn our eyes towards the pile of music jackets.

We ask to be reminded of who he is? – time has warped our memories!

Sri Srikantiah opens up :

“This was a great legend who passed away in 1959. He was barely then 50 years into his life. He was considered as the first superstar of the Tamil Cine world and a magnificent singer. When not found singing many of his own rich compositions, he would be found singing the magnificent compositions of a Papanasan Sivan. Recognized also for his very many charitable contributions, he was that rare breed who was also patriotic enough to refuse a British honor.

His life was one of an inner strife and ultimate tragedy in the latter years. Along with other members of his studio and cinema world, he would be drawn into as a suspect, when one of the members in his own group was deemed to have committed homicide. While nothing was proven with Sri Thygaraja Bhagvathar, and he was subsequently acquitted, the entire episode devastated this sensitive soul and he was left behind a sad and lonely figure with practically no money, in spite of all his great earnings and colossal fame.”

Rest in Peace (RIP) Sri Bhagavathar! - You all but gave us so much of yourself.

[ The labels EMI and the Gramophone Company of India and Capitol records on the Thygaraja Bhagvather phone record, also ushered in a rare nostalgia; that of how proud one felt, during those early years to herald one of India’s own countryman who had risen to some dizzying heights in world recognition. Mr. Bhaskar Menon in 1978 was appointed the first chairman and CEO of the newly formed EMI Music Worldwide ]

.......to be continued

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 ***

Please scroll down and up using side vertical slider:

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