The Mojo of Laya in Carnatic Music

Vid. Abhishek Raghuram, Parvathi 2012

In a recent DD-televised panel discussion featuring notable Carnatic and Hindustani musicians, a statement was made how Carnatic music has created a special place for laya. The important role played by mridangam and other percussion instruments, the special place for tani avartanam, and the matchless treasure of krithis that embody the best confluence of melody and rhythm in myriad ways…all this gives a unique mojo to Carnatic music. There is no wonder that mridangam vidwans and other laya vidwans occupy a special place in our hearts. Vid. Abhishek Raghuram has taken this a step further, transitioning from the role of a percussionist to a leading young vocalist today, and creating a new brand of Carnatic vocal music suffused with laya ornamentation. Abhishek recently won the Ustad Bismillah Khan Yuva Puraskar of the Sangeet Natak Akademi.

L to R: Tumkur Ravishankar, Tumkur Shashishankar, Abhishek Raghuram, Charulata Ramanujam

Abhishek comes from the “garadi (akhada)” or percussion school of the incomparable late Vid. Palghat Raghu, his grand-father. When Vid. Raghu was conferred the Sangeetha Kalanidhi title in 2007, his since-famous lec-dem on aspects of rhythm featured his two young grandsons Abhishek and Anand in performance. Abhishek has also honed his music skills under the tutelage of Sangeetha Kalacharya Vid. P.S. Narayanaswami.

This time we are happy to feature Abhishek’s concert from the 2012 Putturao Memorial series held at Mysore.

The accompanists have ably travelled the scintillating course of the concert with Abhishek. After a delightful “Ee Vasudha” in Shahana dedicated to the Kovur Sundareshwara by Saint Thyagaraja, he takes up Poorvi Kalyani for a most elaborate treatment. He paints its contours in a kaleidoscope of colours, much like a Windsor Manor Mango Festival featuring a surprising variety of dishes all with the mango theme (including one with mango marinated in champagne!). We can infer its overall impact on the audience when we read the critic Mr. Krishnamurthy’s words in his review for the Star of Mysore, ”the unprecedented Birkas, unimaginable sancharas were the highlight of Ragalapane”. The following song Parama Pavana Rama gives full rein to Abhishek’s laya prowess, and the violinist Charulata and the percussion duo of Ravishankar and Shashishankar as well, acquit themselves creditably.

In fact this song is mentioned in an incident narrated by Mysore Vasudevacharya in his memoir of his visit to the house of Ramnad Srinivasa Iyengar (his guru bhai). It was a meeting between two vaggeyakaras, and the occasion was graced also by the presence of Veena Sheshanna and Subbanna. Vasudevacharya writes how Poochi (nickname) looked after his students and made sure they mastered each song. Once, Poochi’s student Salem Doreswamy Iyengar was reprimanded by the guru for not rendering Parama Pavana Rama perfectly. That night, with Vasudevacharya looking on as a guest at his home, Poochi discovered that the student was not asleep but gone missing from his room. An alarmed guru went in search and finally discovered him beside the pond at the back, practising the song fervently through the night. The guru ran down the steps and placing his hands affectionately on his pupil's shoulders, exclaimed: "Dore! What is all this?" Doreswamy Iyengar was totally immersed in his singing, not aware of anything else. He was singing his guru's composition in Poorvi Kalyani, Parama Pavana Rama, his voice filling the serene night with ineffable sweetness, each note of the raga throbbing with life.

After the main item, we have a real feast of manodharma-soaked melodic pieces – in Kapi, Yamuna Kalyani and Sindhu Bhairavi. Abhishek offers his tribute to his grand-father (as well as grand-uncle Lalgudi) in his rendition of Krishna Nee Begane, in the typical Lalgudi style.

So welcome to a great concert!

Details – K. Putturao Memorial Concert, Jaganmohan Palace, Mysore – Sep. 1, 2012

Abhishek Raghuram – Vocal
Charulata Ramanujam – Violin
Tumkur Ravishankar – Mridangam
Tumkur Shashishankar – Ghatam

Song List

01. Abhogi varnam – Patnam Subrahmanya Iyer*** 02. Tulasidala – Mayamalavagowla-Thyagaraja *** 03. EE Vasudha – Shahana- Thyagaraja*** 04. Parama Pavana Rama – Poorvikalyani-Poochi Srinivasa Iyengar *** 05. Janaki Ramana – Kapi – Vanamaamalai Jeeyar **06. Krishna Nee Begane – Yamuna Kalyani- Vysasaraya *** 07. Bhavani Dayani – Sindhu Bhairavi *** 08. Piraviyalai – Thiruppugazh Sindhu Bhairavi and Mangalam ***

Music's Bylanes VI – Interludes with a Maestro

A memory in B&W – Vidwan Lalgudi Jayaraman

It has been a grieving few weeks for the multitudinous fans of the maestro Sri Lalgudi Jayaraman.

While the grief phase might be somewhat on the wane, we presume many would still be reaching out somewhere for a few quick clips of the great man, or indulging in some quick minutes of a strapped life for a favorite portion of his music, or even doing a quick scan of news items to see what might have been missed out on his life.

It is sort of hard for a human to reconcile themselves to a situation on someone, who till just yesterday was such a living presence and who by some quirk turn of fate, we are now told, is no more.

While this writer has had no competency in going to the forum groups and rejoicing with the many astute Rasikas who linger there with their finer impressions of his playing, he did savor the few precious moments afforded to him as a young teen, when he could wander freely in the house armed with a somewhat effortless Kodak Brownie.

That simple contraption would yield for contemplation, half a century later, a couple of black @ white moments of frozen time (re-posted above) with the Vidwan in the company of the other giants - UKS, AR and some of “Parvathi's’ own elders held young by time. They had found themselves coming together on a particularly memorial Puja day dedicated to the Goddess Gayatri.

And then that momentary interlude, also framed in time, by the same teenager who happened to express a certain regret to the great man (having been mesmerized earlier by the violin play) that he had never been lucky in visiting the sacred Thiruvaiyyaru. He subsequently found himself gazing into two mirthful liquid pools that surprised him somewhat with their answer “Why don’t you come with me. Stay with me. I will look after you”.

Even after so many years, there never has been cause for doubt that those words were uttered by a man evolved in abject sincerity.

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In speaking of things “Parvathi”, ours has been a metaphor only to capture a certain era.

To some of us, the fortunate few, who were present then and who are present today amidst the newer generations, it provides for contrasts. The word ‘value’ has a certain value only when you can compare things in light of contrasts.

That such an era is passing us by, continuously, has come about more as reminders in recent times , as we have stood by in homage through these pages to a Parur M.S. Gopalkrishnan, a Vellore Ramabhadran, a beloved actor in Karnataka’s Vishnuvardhan or the V. Shantaram documentary producer winner M.V.Krishnaswamy. Also, included in this circle as a finger count have been some of Parvathi’s own members.

The K. Puttu Rao tree – branching off into five generations

At home to the MahaSwamiji of Sringeri

Bon Voyage, Maestro!

A Tribute to the Carnatic Music Legend Sri Lalgudi Jayaraman (1930-2013)

When Vidwan Mysore T. Chowdiah ruled the Carnatic stage with his leonine presence, his resounding violin, and his large-hearted nature, the main artistes keenly competed to have him on their side and audiences thronged the concerts for unforgettable musical delights as well as delectable Kutcheri moments. Aptly called Pakkavadya Chakravarthy, he provided, in one scholar's expression, Krishna Sarathya - a sure formula for success - and underlined the primacy of the violin as an accompanying instrument. Thus, for the violin, its Carnatic journey reached a landmark; a journey which began with Sri Baluswami Dikshitar (brother of Muthuswami Dikshitar) and progressed over many decades in the capable hands of stalwarts who wielded the bow and tamed a western instrument to Carnatic mores. Using tennis analogy, this journey was like the transition from the Rod Laver wooden racket amateur era to the Boris Becker carbon composite professional era.

After Chowdiah, naturally, several young stars emerged. The term Violin Trinity was coined. Along with T. N. Krishnan and M. S. Gopalakrishnan, Lalgudi G. Jayaraman formed the new triumvirate of violin greats who brought a new lustre to Carnatic concert. All three came on the concert stage before their teens. However, it is interesting to note what Chowdiah said about Lalgudi: "All of us must stop playing now that this boy has appeared."

Sri Lalgudi Jayaraman, so dear to all music lovers world over, has finished his earthly journey (1930-2013). We pay our humble tribute to him and wish him Bon Voyage for his heavenly sojourn, filled as it surely will be, with ethereal music.

The Mysore Connection

Lalgudi Jayaraman comes from a family tracing direct discipleship to Saint Thyagaraja. After gurukula vasa, Thyagaraja's disciple Raman returned home, to live in Tapastheerthapuram (also called Lalgudi) across Cauvery from Thiruvaiyyaru. The saint later came to Lalgudi and stayed there at his home for some time, composing his Lalgudi pancharatnam kritis there in praise of the local deities Saptarisheeshwara and Pravirddha Srimati. Sri Rama Iyer has been mentioned as a direct disciple in Thyagaraja's biography by Walajapet Rama Bhagavatar. Rama Iyer later went to the court of Mummadi Krishnaraja Wodeyar in Mysore, as the asthana vidwan there. He once won plaudits for singing an elaborate four kalai trikala pallavi. He features in courtly attire in one of the palace paintings displayed in Jaganmohan Palace. Sri Jayaraman did research and managed to obtain a photograph of the vidwan's portrait which we reproduce here (from Sruti magazine).

Rama Iyer's son Radhakrishna Iyer resided in Ramanathapuram, and established himself as a famous violin vidwan. His second son Gopala Iyer was a multifaceted genius and had an interesting journey in matters of the spirit and music before he eventually settled down in Madras. His illustrious son and disciple is Sri Jayaraman. As they say, the rest is history.

Vidwan Lalgudi Rama Iyer – Disciple of Thyagaraja –Jaganmohan Palace Mysore Painting
(reproduced from Sruti magazine)

Mr. K. Srikantiah’s Tribute

I first met Lalgudi Jayaraman in 1950. My father had heard about this talented youngster and he had invited him to accompany GNB at Bidaram Krishnappa Rama Mandiram. However, GNB had brought along T.N. Krishnan to play the violin. So Lalgudi could not take the stage. Despite this setback, he decided to attend the concert and sat in the audience enjoying the concert, next to me. He was about 20 years then and sported a kudumi. We soon introduced ourselves, one as the violinist, and the other as the music-crazy son in the Putturao family, Srikantiah. Thus began a friendship which saw its diamond jubilee recently.

I was invited but could not attend Lalgudi's wedding at Hyderabad. However, 1958, Lalgudi accompanied Sri T.K. Rangachari in my wedding concert ( to be precise on 11 June, held inside Parvathi premises). I used to visit Lalgudi’s family at 9, Jones Road, Saidapet for many years. I have met his father and mother also. I reproduce below Lalgudi’s photograph from 1946, which he gave me, as well as my wedding concert photo. When the Chowdiah Memorial Hall was built, they also instituted the Chowdiah National award. The first national award was to be presented in 1982. I attended the selection committee meeting, where stalwarts like Veene Doreswamy Iyengar, Sri BVK Shastry and Sri Natarajan (GM, SBM and a musician) were present. I made a strong case before the awards committee that there was only one name worthy of the first ever Chowdiah National award - Lalgudi. The committee were more than convinced. Recall what Chowdiah had stated long back, that "all of us must stop playing now that this boy has appeared."

Later, in 1986, Krishna Gana Sabha honoured Lalgudi in a big function, celebrating an unbroken series of 50 violin solo concerts there. There were many dignitaries on the dais, viz. Sri Semmangudi Srinivasaiyer, the Travancore Prince, Dr. Pinakapani, Miss Lata Mangeshkar, Mrs. M.S. Subbulakshmi, and Maharashtra Housing Minister Dr. V. Subramanian. I had the honour to take the dais representing Karnataka. My speech felicitating Lalgudi was later quoted in the Hindu newspaper. Lalgudi also was gracious to mention, during his acceptance speech, our family’s long association with Carnatic music and our role in establishing a unique memorial, viz. The Chowdiah Memorial Hall in Bangalore.

Lalgudi has come and performed in Parvathi more than 30 times, giving a few solo concerts and donning the role of violin accompanist to many stalwarts. Several of these concerts have been shared in this blog. We share in this tribute some selections from these concerts.

I state here what I have said in several interviews about Lalgudi to reporters, authors and documentary makers: I have closely interacted with violin vidwans and Carnatic music stalwarts from the era of Rajamanickam Pillai and Chowdiah, Krishnan, Parur and Lalgudi, and several youngsters of today. I would like to sum up my assessment of Lalgudi. When it comes to the violin, we must first place Lalgudi aside. All other violinists form one group, Lalgudi stands separate. We can discuss others' relative merits and greatness. But Lalgudi is beyond comparisons, labels and definitions. He is the greatest as regards the violin in Indian music – as an accompanist, soloist, composer and teacher. I am glad his children and disciples are preserving the Lalgudi bani well.

Lalgudi was fond of visiting the calm and beautiful Nandi hills in summer with his family. I once accompanied him with my family. We thoroughly enjoyed the beautiful scenic setting, walks amidst the greenery, and talks about music. In fact he used to walk for one hour in our sprawling lawns between 6 and 7 AM every morning when he came over to Parvathi. He used to say it is good for one’s eyesight. Lalgudi always stayed in Parvathi during his concerts. In fact, after the concert, he used to look forward to the family feast, especially my mother’s “thatte idli”and “gasgase payasa”.

When Lalgudi won worldwide recognition in an honour from the International Music Council, Paris and the Asian Pacific Forum which judged him to be the best musician from 77 international entries, the result was announced over the national radio. I was delighted to hear the good news and I was the first one to congratulate Lalgudi and give him the extremely happy news over the phone. I visited him in Chennai as recently as 2010. He was physically not at his best but I was happy to see that he had continued to give music lessons and also compose new kritis.

We have posted a number of photos in this tribute, recalling so many special moments. We at Parvathi will always cherish our close association with a legendary vidwan and a great human being.

I am saddened that I have lost such a close friend. I cannot express my feelings any more. I can only say, without any hesitation, that Lalgudi’s passing is the end of an important era in Indian classical music. May his soul rest in peace and may he continue his musical pursuits for ever.

Recollections of Mysore Prabha

“The first thing that comes to my mind at the mention of Jayaraman Uncle's name is that he was a person very close to my father's heart.

I have several times heard my father say - "When you speak of violin-playing, keep Lalgudi Jayaraman apart, and then talk about it ".

This was not to bring down the virtuosity or merit of other veteran violinists in any way. It was just his unbounded adoration for his friend's violin-playing, particularly as a soloist."

As a young person, I always used to wonder how a person with such name and fame as Jayaraman uncle could be so simple and down-to-earth. I never heard him speak ill of anybody. He was never arrogant or boastful about his own art.He just used to smile happily with child-like pride whenever one praised his violin-playing or his compositions. And why not ? Only a jeweller knows his gems' worth ! "

Uncle Jayaraman always tremendously admired Lata Mangeshkar and her singing. (From what we have heard, the admiration was fully reciprocated by Lataji). I distinctly remember him telling me -"Every swara has a certain slot of it's own. Whenever a person sings, each and every swara should automatically go and fall into it's particular slot - like Lata Mangeshkar's singing ".

Whenever he used to visit our house, after the concert, he would ask me to sing some old Hindi film songs, Meera Bhajans, and would greatly appreciate some "Sangatis" in them.

One of my most cherished treasures is the notation and script of his Dhanasari tillana which uncle wrote for me in his own hand-writing, and an autographed book of his compositions.

During every visit he would without fail bring a gift for me - be it a tape-recorder, a box of sweets or a book on music.

Uncle had insisted that I stay in Madras for a few months and that he would fine-tune my singing. I regret that I did not pay heed to his suggestion. "

With a heavy heart, we have to accept the inevitable. The sound of his violin will always echo, but the platform would be empty now !

Eternally in our Collective Memories

Vidwan Lalgudi G. Jayaraman

September 17, 1930 - April 22, 2013
[Courtesy The Hindu – Slideshow compilation by T. Arvind]

We join in with the manifold mourners throughout this world, who are in prayer to this great soul’s journey.

He meant so many things to the so many – a dignified friend, a laudable human being, an extraordinarily respected teacher, a par-excellent musician, a brilliant composer, a loving family man and as the countless Rasikas would like to echo within their own minds – a man who could make the instrument ‘sing’.

Through these pages, in our blog, we have shared with you all, all that could be said – while he was living.

We believe our ‘Kartavyam’ (dutiful obligation) now, is to join in with you to keep those memories alive in every way.

Transmitting the Guru - Shishya Tradition

Sangeetha Kala Acharya P.S. Narayanaswami

by
R. Sachi

(courtesy rsmridangam.com)

Vidwan P.S. Narayanaswami was a welcome guest at Parvathi over many years when he came along with his illustrious guru Sri Semmangudi Srinivasa Iyer. Sri K. Srikantiah remembers him as a very dedicated disciple of his guru. Sri PSN, as he is fondly called by rasikas, used to play on the tambura and give vocal support to Sri Semmangudi. On this occasion, however, we are happy to feature a full-fledged vocal concert of Sri PSN in the company of Sri Lalgudi Jayaraman on the violin and Sri Vellore Ramabhadran on the mridangam. The concert took place during the Ramanavami festival of 1976.

We glean from The Hindu and Carnatica these biographical details:

P. S. Narayanaswami is one of the most prominent among the several famous disciples of Sri Semmangudi Srinivasa Iyer. Sri PSN is hardly known by his full name. He is so popular as a teacher of music in Chennai that most of the young musicians of today would have had a period of training under him. Certainly, this speaks volumes about his capacity and reputation as a great concert teacher.

Born on February 24, 1934, at Konerirajapuram, to Dr. P. N. Subramaniam, a medical practitioner, Sri PSN exhibited his talent in music at a very tender age and his parents put him under Thirupampuram Somasundaram Pillai, a nagaswaram vidwan, for his music lessons. Sri PSN made rapid progress and later came under Sangita kalanidhi Mudikondan Venkatarama Iyer, and then under Semmangudi Srinivasa Iyer. Under the gurukulavasa system, he joined Semmangudi in the early 1950s.

Sri PSN had started giving concerts, both public and through All India Radio, at the age of 15. He has received a number of awards starting from when he was just 12 years old! To name some of them: Bala Gana Ratnam (1946), Sangeeta Sikhamani (1972), Sangeeta Nadakkanal (1991), Sangeetaacharya (1992), Madhura Gana Mamani (1994), Sangeeta Kala Sagaram (1996), Isai Selvam (1997), Innisai Chakravarthy (1999), Gana Kalanidhi (1999), Sangeeta Kala Acharya (2000), Sangeetha Choodamani (2003) and Padma Bhushan (2012). He was also made the Asthana Vidwan of the Kanchi Kamakoti Peetham in 1990.

Vellore Ramabhadran, P.S. Narayanaswami, Lalgudi Jayaraman - 1976

Today Sri PSN is well known as a teacher of many star disciples. He is known to attend his disciples’ concerts regularly and give them much encouragement. He talked to Carnatica some years ago about his methods of teaching and his views. He trains aspiring professionals in around 40 ragas, and makes them work on those for rendering in concerts. He does not encourage his students to follow his own style but leaves it to their intelligence to develop their own style and maintain it. He states that in order to achieve a certain proficiency, each song should be sung at least 100 times!

Coming to this concert, we feature some elaborate renditions in Shankarabharana, Kamavardhini (MD: Kashiramakriya), and Mohana. After a vibrant Viriboni, the not-so-common Neranammithi in Chakravaka receives vigorous treatment. The Shankarabharana main piece- alapana, rendition of Enduku Peddala and the swara exchanges- is the highlight of this concert. It is a delight to feel the camaraderie and mutual appreciation among these three contemporary stalwarts. The tempo of the song as well as the solid vidwat on display gives an insight into Sri PSN’s musical values that eschew vocal callisthenics as well as overworked manodharma. The overall feeling is one of a very satisfying concert experience. The violin and mridangam accompaniments carry the hallmark of genius.

Details (Parvathi Ramanavami festival, 10.4.1976)

P.S. Narayanaswami – Vocal
Lalgudi Jayaraman – Violin
Vellore Ramabhadran – Mridangam

Song List

01. Viriboni – Bhairavi Ata Tala varna – Pachimiriyam Adiappayya *** 02. Neranammithi – Chakravaka – Mysore Vasudevacharya *** 03. Ramanatham Bhajeham – Kamavardhini – Muthuswami Dikshitar *** 04. Paripahi – Mohana – Swathi Thirunal *** 05. Enduku Peddala – Shankarabharana – Thyagaraja *** 06. Ramajogi – Khamach – Bhadrachala Ramadasu*** 07. Shloka – Saveri, Bilahari, Sindhu Bhairavi *** 08. Bhaja Bhaja Manasa – Sindhu Bhairavi – Swathi Thirunal *** 09. Thillana – Darbari Kanada – Lalgudi Jayaraman *** 10. Mangalam ***

Music's Bylanes IV - some Bric-à-Brac before Music

R. K. NARAYAN – A WAY OF PUTTING IT

" Narayan was always known for his terrific wit. But one thing stands in my memory. It was the time when he had lost his only daughter Hema and we had gone to pay condolence at his Chennai home. I was concerned as to how he would have taken her death. But the poignant words he uttered when he saw me, still rings in my ear and is a lesson for many in this world as to how to deal with life."

Narayan simply said, "Hema just jumped the queue," like a true philosopher.

- K. Srikantiah [ Courtesy: Treasure Trove of Katcheris by N Niranjan Nikam – Deccan Herald ]

In some ways, the photograph (below) is momentous – especially in the memory of a young man who was associated with it.

Families: R.K Narayan, R.K. Pattabhi and the Srikantiah’s

It came together during the days when India’s great matinee idol Dev Anand was negotiating the script of ‘The Guide’.

“Ah, you just missed him, he was here just now!” was Narayan’s remark to the young man who beamed wide with a certain hope.

Narayan was never happy with the outcome of the movie version of ‘The Guide’. It didn't fit in with his profile.

He had no use for the tinsel world of a Bombay or ‘Bollywood’, where the essence and spirit of a book’s theme could not be captured without resorting to gimmicks, without a foppery of dance and music and where essential characters were reduced into made-for-movie characterizations and styles. In this movie adaption, they had even gone to the lengths of introducing a tiger for some entertainment value.

He made his feelings known in one of his most sarcastic of jibes, to ‘Life’ magazine in the USA. There was for some time, a tension between Bollywood’s evergreen hero and India’s famous author in English.

The young man of whom we spoke , earlier, had for many a decade held on to an original copy of the publication from Life. But he seemed to have lost it, without even knowing how. It might have come in handy here, for a posting. The immaculate Mr. Srikantiah, too, seemed not to possess it any more. A serious search and query to Life Magazine Publications also went nowhere.

Memories of R.K.Narayan these days, remain at best, wistful.

The memorable times with him, or with a Semmangudi or K.V.Narayanaswamy have to be re-engineered. As always, we are inspired to lean on , Mr. Srikantiah, to take us to the very places where there were hours and hours of a walk, conducted in quietly animated discussions around the grounds of a beautiful Palace nestled at the foot of Chamundi Hills (it now serves as a grand hotel).

The Lalitha Mahal Palace
Courtesy: Commons.wikimwdia.org

R.K. Narayan, in essence, was but a very truthful man (besides any human quirks or stubborn perceptions he may have held onto). He wrote about life exactly as his conditioning's in India afforded themselves.

He wrote as much about the anxious feelings of a cobbler, pushed into his daily predicament with time and money, both of which stood poignantly still for him as he might narrate the insecurities of a ten year old who might suddenly find himself plucked out harshly by his elders from the bowels of blissful sleep, for the sake of a miserable and ‘yukki’ ‘oil bath’ just before the advent of a sun rise.

While Narayan was strong and well honed into craft with the English language, he rarely displayed that servitude so often found amongst educated Indians in quoting people always with a Western sounding name as being the final testimony to a perfect wisdom .

To him, his native India contained enough immortal characters for inspiration. Any remonstrance against human insensitivity that he exhibited, was directed to those that he saw in his daily surroundings, and he drew a characterization of them only through gentle quirks, satirical gaffes or in reviewing them as receptacles of human folly; just the way life in a simple town or village in India, would ebb on.

In view of this, one cannot be held guilty for sometimes gazing quizzically at India’s academics and its writers and journalists in English; especially from a far off land where one sees people rejoicing in their own empowerment. You wonder if a Bana or Kalidasa, the rows of Sangam poets, a Subramanya Bharathi, or aphorisms from ‘Neeti Chintamani’ have no merit? You wonder at the caliber of a present educational system, meant to mold its own future citizens, that would shun anything brilliant that their own forefathers might have afforded them?

To Narayan, his Malgudi or Mysore was a life made up in roots. Without recourse to any pretensions, he stood indeed tall. You might find him in a tie and jacket, but his personal relish lay, even in sophisticated Washington, or in New York, in the making of his own first cup of coffee; in the same manner of his grandmother’s sieving from a homespun cloth, or in the same stain less steel percolator , that connected him instantaneously to a home in Saraswathipuram, Yadavagiri or his magical Malgudi.

He has been long gone, but we salute him quietly in our hearts.

We also, sometimes, go up to the corner cupboard in Mr. Srikantiah’s house, where every book that Mr. Narayan wrote, rests autographed in his memory and made out to one of his truly great friends.

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A dear friend and Yoga teacher , living in NJ, USA, Dr. Rajan Narayanswamy , recently sent us this photograph.

He warned us that this may be our last look at another place that we once held so close to our hearts – the Malleswaram ‘ market place’. He warned us that it, too, would be disappearing, soon, and you guessed the reason correctly! – to make way for another high rise.

Eh? Didn’t the modern citizens of Bengaluru want to wear a ‘chip’ on their shoulder - of being known as the new ‘Silicon Valley’?

Well, with the denuding of trees and vast outpourings from gas and concrete, we are getting close, at least to what a Los Angeles stands for - ‘road rages’, smog, pollution, browning and all else.

Courtesy: www.DeccanHerald.com/

[We haven’t forgotten the Music - its coming – its just around the corner]

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 ***