Thursday, December 29, 2011

Lecture Demonstration-Saraswathi and Narada Gana Sabha-26.12.11

Venue - Narada Gana Sabha Mini Hall
Time - 8.30 a.m

Topic - "The place of Varnam in Carnatic Music"


















A beautiful and vast topic.

Will try and capture the essence of 1.5 hours of the Lec-Dem in a few lines :-)

After talking briefly about the etymology and history of Varnam, I talked about how the Varnam stands apart as a musical form that is ideal for "abhyAsam".

As a tool for abhyAsa gAnam, the varnam helps the music student in learning the nuances of a rAga. It helps in voice culture. These were illustrated with various examples.

I then spoke about the differences between pada varnams and tAna varnams.

















Varnam helps us in understanding the various facets of "manOdharma sangItam", like in singing the rAga AlApana, niraval,kalpanaswaras.These were again illustrated with examples.

tAna varnams give ample scope for singing the varnam in various speeds. Also, the art of tAnam singing can be developed from varnams. These were again explained with examples.

I then took up daru varnams, rAgamalika varnams and varnams with swarAkshara prayOgams.

In all, it was a truly enjoyable session for me and there was a very enthusiastic audience.

Incidentally, I happened to meet Mr.V.Subramanian after the Lec-Dem, who had beautifully drawn a sketch of the artistes on stage. Here it is:

Saturday, December 24, 2011

Music Academy - 23.12.11

23rd December, 7 p.m:






Accompanists:

V.Sanjeev - Violin
Bangalore Sri.Rajakesari - Mridangam
Bangalore Sri.Chandramouli - Kanjira






Song List:(R-Raga Alapana,N-Neraval,S-Kalpanaswaram,T-Tani Avarthanam)

1. Virutham followed by Keesu Keesendru - Tiruppavai - Bhairavi - Misra Chapu
2. Makelara - Ravichandrika - Adi - Tyagaraja (S)
3. Sri Vishwanatham - Chaturdasa Ragamalika - Adi - Muttuswami Dikshitar
4. Charanam Vijayasaraswathi - Vijayasaraswathi - Adi - Muthiah Bhagavatar (R)
5. Kamakshi Gowri - Saveri - Adi - Papanasam Sivan (R,N,S,T)
6. Chalamelara - Margahindolam - Adi - Tyagaraja
7. RTP- Kalyani - Adi Talam(Kantamukhi)
"Sangeetha Laya Gnanamu Sakala Sowbhagyamu"
8. Virutham followed by Chinnanjiru Kiliye - Ragamalika - Mahakavi Subramanya Bharatiyar
9. Eppadi Padinaro - Bhimplas - Adi
10.Tillana - Kamas - Adi - Lalgudi Jayaraman
11.Tiruppugazh - Chandrakouns
12.Mangalam

Thursday, December 22, 2011

Meenakshi Sundararajan Trust - 21.12.11

Venue - Meenakshi College, Kodambakkam






Accompanists:

Usha Rajagopal - Violin
B.Ganapathiraman - Mridangam
Sreesundarkumar - Kanjira





Song List:(R-Raga Alapana,N-Neraval,S-Kalpanaswaram,T-Tani Avarthanam)

1. Varnam - Begada - Adi- Veena Kuppier (S)
2. Deva Deva - Mayamalavagowla - Rupakam - Maharaja Swati Tirunal
3. Maayanai - Sree - Adi - Tiruppavai
4. Ninnu Nera - Pantuvarali - Rupakam - Tyagaraja (R,N,S)
5. Sakala Loka - Arabhi - Adi - Uthukadu Venkatasubbier (Kamakshi Navavarana Kriti)
6. Nambikettavar - Hindolam - Adi - Papanasam Sivan
7. Akshayalinga vibho - Shankarabharanam - Misra Chapu - Muttuswami Dikshitar (R,N,S,T)
8. Tum Bina - Misra Hindolam - Adi - Meera Bhajan
9. Virutham, Koovi Azhaithal - Valaji - Adi
10. Kalyanagopalam - Sindhubhairavi - Kantachapu - Narayanatheerthar
11. Tillana - Kamas - Adi - Lalgudi Jayaraman
12. Mangalam

Tuesday, December 20, 2011

Valayapatti Nadhalaya Trust- 20.12.11

Venue was Anantapadmanabhaswamy Temple, Adyar.







Accompanists:

Balu Raghuram - Violin
B.Sivaraman - Mridangam
Venkatasubramaniam - Kanjira




Song List:(R-Raga Alapana,N-Neraval,S-Kalpanaswaram,T-Tani Avarthanam)

1. Kanchadalaayathaakshi - Kamalamanohari - Adi - Muttuswami Dikshitar (S)
2. Virutham, Aazhi Mazhai Kanna - Varali - Adi - Tiruppavai
3. Mahavishnu Sodari - Anandabhairavi - Rupakam - Muthiah Bhagavatar (R)
4. Maravairi Ramani - Nasikabhushani - Rupakam (R,S)
5. Ranganayakam - Nayaki - Adi - Muttuswami Dikshitar
6. Sarasa Samadana - Kapinarayani - Adi - Tyagaraja
7. Sukhi Evaro- Kaanada - Adi - Tyagaraja (R,N,S,T)
8. Irakkam Varamal - Behag - Rupakam - Gopalakrishna Bharati
9. Pravisha Radhe - Misra Sivaranjani - Kanta Chapu - Jayadevar
10. Tillana - Hamsanandi - Adi - Muthiah Bhagavatar

Saturday, December 17, 2011

Mudhra - 16.12.2011

Sang an RTP in Gamanashrama yesterday.
"chidambara gamanashramaapaharaNam Ananda natESam Sivam bhajEham"















The Pallavi was set to Misra Jati Jhampa Talam (Chatusra Nadai). During the kalpana swaras, I switched over to Chatusra Jati Matya Talam (Chatusra Nadai) and to Adi Tala (Kanta Nadai) for the Ragamalika Swaras.







Accompanists:

Mysore Srikanth - Violin
J.Vaidyanathan - Mridangam
Alathur Rajaganesh - Kanjira




Song List:(R-Raga Alapana,N-Neraval,S-Kalpanaswaram,T-Tani Avarthanam)

1. Dinamani Vamsa - Harikambhoji - Adi - Tyagaraja
2. Virutham followed by Balakrishnan - Dhanyasi- Rupakam - Papanasam Sivan
3. Janani Ninnuvina - Reethigowla - Misra Chapu - Subbaraya Sastri (R,S)
4. Srikantha - Bhavapriya - Adi - Tyagaraja (S)
5. Balagopala - Bhairavi - Adi - Muttuswami Dikshitar (R,N,S,T)
6. Telisi rama - Purnachandrika - Adi - Tyagaraja
7. RTP - Gamanashrama - Misra Jathi Jhampai
8. Gopi Gopala - Gamanshrama - Adi(Kanta Nadai) - Surdas
9. Innudaya Baradhe - Kalyanavasantham - Kanta Chapu - Purandaradasa
10.Tillana - Madhuvanti - Adi - Lalgudi Jayaraman
11.Mangalam

Karthik Fine Arts - 15.12.2011

Bharatiya Vidya Bhavan, Mylapore has always been one of my favourite concert venues. Excellent acoustics. This was where I gave my first concert in the Music Season way back in 1991, which makes this auditorium very special :-)






Accompanists:

Mysore Srikanth - Violin
Poongulam Subramanian - Mridangam
Anirudh Athreya - Kanjira





Song List:(R-Raga Alapana,N-Neraval,S-Kalpanaswaram,T-Tani Avarthanam)

1. Varnam - Pantuvarali - Adi (S)
2. Vallabha Nayakasya - Begada - Rupakam - Muttuswami Dikshitar
3. Ganamurthe - Ganamurthi - Adi - Tyagaraja (R,S)
4. Virutham, Mannu pugazh - Azhwar pasuram - Neelambari - Kanta Chapu
5. Sri Subramanyaya - Kambhoji - Rupakam - Muttuswami Dikshitar (R,N,S,T)
6. Theeradha Vilayaatu- Ragamalika- Adi(Kanta Nadai) - Subramanya Bharatiyar
7. Slokam followed by Base Mere - Ragavardhini - Adi - Bhajan

Nungambakkam Cultural Academy - 13.12.2011

In almost every concert, I try to include either a rare song, or a song in a rare Ragam. In this particular concert, I chose the Kriti "Niramaye Niranjane", a composition of Harikesanallur Muthiah Bhagavathar. This Kriti belongs to the group of 108 Chamundi Ashttothara Kritis.







Accompanists:
Ganeshprasad - Violin
Manoj Siva - Mridangam








Song List: (R-Raga Alapana,N-Neraval,S-Kalpanaswaram,T-Tani Avarthanam)

1. Varnam - Shudhadhanyasi - Adi - Harikesanallur Muthiah Bhagavathar
2. Brochevaarevare - Sriranjani (S)
3. Virutham (Azhwar pasuram) followed by Seshachala Nayakam - Varali - Rupakam - MD
4. Chitham Irangaadenaya - Sahana - misra Chapu - Papanasam Sivan (R,S)
5. Niramaye Niranjane - Kunthalavarali - Tisra Adi - Harikesanallur Muthiah Bhagavathar
6. Kaligiyunte - Keeravani - Adi- Tyagaraja (R,N,S,T)
7. Varuvai Varuvai - Darbari Kaanada - Adi - Subramanya Bharatiyar
8. Jagajjanani- Ratipatipriya - Adi
9. Virutham (verses from Tirunaavukkarasar's Tiruthaandagam) followed by
Adiya Paadhathai - Surutti - Adi - Gopalakrishna Bharathi
10.Mangalam

Maragatham Sankaranarayanan Trust- 2.12.2011

The Maragatham Sankaranarayanan trust has been holding concerts on the 2nd of December every year,as part of the Remembrance Day of the composer Kallidaikurichi Dr.E.S.Sankaranarayana Iyer.

The venue for this year's concert was Sivakami Petachi Auditorium.

The concert was exclusively of Dr.ESS's compositions.




Accompanists were

M.A.Krishnaswamy - Violin
Manoj Siva - Mridangam
Anirudh Athreya - Kanjira





Looking at the compositions of Dr.ESS, it is very interesting to note that he has composed numerous kritis in Ghana ragas, Rakthi ragas and several rare ragas like Somatarangini, Sudhdhasyamala, Bhanuchandrika, Natanasrimati, Naadamurthi, Dwaithanandi and so on.

He has also composed a beautiful set of Kritis on Lord Shiva, called the Ekaadasa Rudra Kritis, Navagraha Kritis and a few Tamizh padams too.

That day I took up 2 rare ragas, Vivardhini and Sudhdhasyamala. Vivardhini is a Janya of Sankarabharanam and Sudhdhasyamala is a Janya of Chakravaham.

Song List: (R-Raga Alapana,N-Neraval,S-Kalpanaswaram,T-Tani Avarthanam)

1. Gajavadanam Bhaja - Natai - Adi(S)
2. Neeraja Nayane - Lalitha - Rupakam (R,S)
3. Mahadeva manohari - Devamanohari- Adi (R,S)
4. Bhakthileni - Vivardhini - Adi (S)
5. Bhagavantam Shukram - Varali - Adi (R)(Navagraha Kriti)
6. Paramukha - Sudhdhasyamala - Adi (R,S)
7. Bhavothbhavam - Kambhoji - Adi (R,N,S,T) (Ekaadasa Rudra Kriti)
8. Eppodhum Ennudan - Punnagavarali - Misra Chapu (Tamizh padam)
9. Manaththinil Kavalai - Virutham in Surutti followed by
Marakatha Maninibha - Surutti (Mangalam)

It was a great experience learning and presenting all the above mentioned Kritis.

Saturday, November 26, 2011

Bharatiya Vidya Bhavan-25th November 2011

Braving the rains in Chennai, we managed to reach the concert venue on Saturday :-)






Accompanists:
Akkarai Subhalakshmi - Violin
B.Sivaraman - Mridangam
Adambakkam Shankar - Ghatam





Song List:(R-Raga Alapana,N-Neraval,S-Kalpanaswaram,T-Tani Avarthanam)

1.Varnam-Andolika-Adi-G.N.Balasubramaniam (S)
2.Sri Vathapi-Sahana-Adi-Papanasam Sivan
3.Pahi Jagajjanani-Hamsanandi-Adi-Swati Tirunal (R,N,S)
4.Virutham, Chintaya Ma-Bhairavi-Rupakam-Muttuswami Dikshitar
5.Saravana Bhava-Pasupathipriya-Adi-Harikesanallur Muthaiah Bhagavatar
6.Geetharthamu-Surutti-Adi-Tyagaraja (R,N,S,T)
7.Gopi Gopala-Gamanashramam-Tisra Adi-Surdas
8.Vattu Naduve-Ragamalika-Periazhwar Pasuram
9.Virutham, Muruganin Marupeyar-Behag-Kanta Chapu-Guru Surajananda
10.Tillana-Sindubhairavi-Adi-Uthukadu Venkatasubbier

Mylapore Arts Academy - 20th Nov 2011

This concert was held at Dakshinamurthy Auditorium, P.S.High School, Chennai.




Accompanists:

B.U.Ganeshprasad - Violin
Tiruvarur Vaidyanathan - Mridangam
Trichy Murali - Ghatam







Song List:(R-Raga Alapana,N-Neraval,S-Kalpanaswaram,T-Tani Avarthanam)

1.Varnam-Kedaragowla-Adi-Tiruvottriyur Tyagayyar
2.Karunanidhiye Thaye-Bowli-Misra Chapu-Papanasam Sivan
3.Needayaradha-Vasantabhairavi-Rupakam-Tyagaraja(R,S)
4.Slokam,Yoga Nidre-Neelambari-Adi-Harikesanallur Muthiah Bhagavatar
5.Phanipathi sayee-Jhankaradhwani-Adi-Tyagaraja(S)
6.Rama Rama Gunaseema-Simhendramadhyamam-Adi-Swati Tirunal(R,N,S,T)
7.Paayum Oli-Ragamalika-Tisra Adi-Subramnya Bharati
8.Gayati Vanamali-Gavati-Adi-Sadasiva Brahmendra
9.Irakkam Varamal-Behag-Rupakam-Gopalakrishna Bharati
10.Kalyanagopalam-Sindhubhairavi-Kanta Chapu-Narayanatheerthar
11.Mangalam

Wednesday, November 23, 2011

Musiri Chamber Concert-13th November 2011

Here I am, writing after a gap of many months !!

I somehow preferred to stay away from technology for a while, but back now with renewed vigor :-)

I am yet to write in detail about this year's Navarathri Kolu. Many friends have asked for details and description, but I guess it will have to wait till January, since the Music Season here has already begun !

Many concerts have gone by in recent months, but I plan to write about my concerts from November onwards. And hence this post.

The atmosphere at the legendary Musiri Chamber concert venue in Mylapore was very homely and it was great having the audience at such close quarters.

There was a little girl (studying in class 1) who beautifully drew a sketch of all the artists and presented it to me at the end of the concert ! Here it is..


















And here is the actual photo:








Accompanists:
Smt. Usha Rajagopalan - Violin
Sri.S.Balashankar- Mridangam







Song List:(R-Raga Alapana,N-Neraval,S-Kalpanaswaram,T-Tani Avarthanam)

1. Varnam-Todi-Adi (S)
2. Sri Maha Ganapathi-Gowla-Misra Chapu-Muttuswami Dikshitar
3. Vanadurge-Vanaspathi-Rupakam-Muthiah Bhagavatar(R)
4. Edhayya Gati-Chalanaata-Adi-Koteeswara Iyer
5. Ninnu Nera-Pantuvarali-Rupakam-Tyagaraja(R,N,S)
6. Cheta Sri-Dwijavanti-Rupakam-Muttuswami Dikshitar
7. O Rangasayee-Kambhoji-Adi-Tyagaraja (R,N,S,T)
8. Om Namo Narayana-Karnaranjani-Kanta Chapu-Ambujam Krishna
9. Nagendra Haraya-Ragamalika-Kanta Chapu-Adi Shankara
10.Mangalam

Thursday, April 7, 2011

Nadajyoti Sri Muthuswami Dikshitar Foundation - 26/3/11

The theme taken up for the concert was " Healing Powers of Sri Muttuswami Dikshitar Kritis".

Music Therapy is a topic very actively researched by several scholars and institutions all over the country

It is widely claimed that Muttuswami Dikshitar's compositions have a therapeutic effect and have cured several diseases. His life story includes episodes of miraculous impact of his compositions,like his Navagraha Kritis curing his disciple Shuddha Mathalam Tambiappan from very serious stomach ailments.

Modern science has clearly established that mind and body are closely connected.It is well known that many diseases like diabetes,hypertension and resultant diseases are caused by mental stress and imbalance of bio-chemical constituents in the brain.

It is therefore justifiable to assume that listening to and singing music which has a calming effect on the mind,will have an impact on the functioning of the body too.

Our scriptures proclaim that the ultimate goal of liberation(Moskha)requires realisation of the “Self”. Self-knowledge(Atma Gnanam)requires several disciplines
to make one fit to receive this knowledge. Liberation is symbolically described cure from the Human disease of Samsara(cycle of birth and death and innumerable experiences we go through).

The Lord is visualized as the "doctor" who cures this Samsara Roga or Bhava Roga, thus helping us to attain liberation.

Muttuswami Dikshitar was a great Advaitin who had rigorously pursued the teachings of the Indian scriptures. His compositions clearly illustrate his yearning for liberation and cure from Samsara or Bhava Roga.

As an erudite scholar of several Sastras like Mantra Sastra and Tantra Sastra,he has very intelligently woven those Sastric practises into his compositions.

His compositions contain hidden treasures of scriptural teachings as well as the essence of Mantra and Tantra Sastras. When properly sung and heard,these will definitely have a positive impact on all the facets of human personality providing wholistic treatment of Bhava Roga.

In this concert,I selected his compositions from this perspective of seeking cure from Bhava Roga – sometimes Samsara is symbolised as an ocean (Bhava sagaram) and the composer sees the Lord as one who helps us cross the ocean of Samsara.

Though it does not appear that he has composed Kritis to cure physical ailments, there is no doubt that listening to his compositions and practising them in right earnest will have a positive impact on the total personality of an individual which includes the physical body also. There is therefore no wonder that there are reports of effect of the Kritis on physical ailments too.



















The concert was held at P.Obul Reddy Hall (Vani Mahal - mini).





Accompanists:

Mysore Srikanth - Violin
Poongulam Subramanian - Mridangam
K.V.Gopalakrishnan - Kanjira





I gave a short introduction to the theme at the beginning of the concert and also briefly explained before each Kriti, how it fitted into the theme.


Song List:
1. vAtApi - hamsadhwani - Adi
2. srI pArvatI paramEshwarau - bowLi - Adi
3. srI mAthrubhUtam - kannadA - misra cApu (S)
4. hiraNmayIm - lalitA - rUpakam (R)
5. navaratnavilAsa - navaratnavilAsam - Adi
6. srI kamalAmbikAyAm - sahAnA - tisra triputa (R)
7. srI guruNa pAlitOsmi - pAdi - rUpakam (S)
8. bhajarE rE citta - kalyANi - misra cApu (R,N,S,T)
9. diwAkara tanujam - yadukulakAmbhOji - chatusra Eka
10.srI kamalAmbikE - srI - kanta Eka


Chief guest for the evening was eminent musicologist, Dr.S.A.K.Durga who spoke on the concert's theme after the concert.


Sunday, April 3, 2011

TEAM INDIA - THE WORLD CHAMPIONS !!!

Hats off to the Indian Cricket Team.. They have done us all proud.
What a match it was !
Equally thrilling were the quarter-finals against the Aussies and the Semis against Pakistan.

I also liked Dhoni's short speech during the presentation ceremony and it was great to see that everyone in the team wanted to unanimously win this for the legend, Sachin.

Emotional Yuvi, Dhoni, Sachin, Harbhajan, on winning - these were unforgettable moments last night...

The score of 274 to chase looked scary, particularly after the early dismissal of Sehwag and Sachin. But, what an anchoring role Gambhir played ! And of course, our Captain took the real pressure on to his shoulders and steered the way for history to repeat itself after 28 long years !!!

It was a great Finals and a true test of handling the huge pressure out there.

A great moment for the entire nation and a big THANK YOU to our Team India from all of us - your ardent fans and supporters :-)).

Saturday, March 19, 2011

Sivaji Virudhu - 15/3/11

Marumalarchi Arts Academy and All India Sivaji Manram gave the annual " Sivaji Virudhu" awards on the 15th of March, 2011 at Kamarajar Arangam, Chennai, to artists from various fields.

It was a happy moment for me to receive the award from Mr. Ramkumar,the eldest son of Chevalier Sri.Sivaji Ganesan.

















Incidentally, here is a photo of me as a school student where I receive a prize from Nadigar Tilagam Sri.Sivaji Ganesan :-)


Wednesday, March 16, 2011

Tyagaraja Aradhana at Tiruvaiyaru - 24/1/11

It was a wonderful experience giving an introduction to the Aradhana (in Tamizh and English) at Tiruvaiyaru, which was telecast Live on Podhigai and National TV Network.





(Photo Courtesy : Kutcheribuzz Website)

Sunday, March 13, 2011

International Music Conference 2011 - Bangalore, 26/1/2011

The Indira Nagar Sangeetha Sabha, Bangalore conducted an International Music Conference and Festival in January 2011.

I presented a Lecture-Demonstration on the topic "Bhairavi as handled by the Music Trinity".

Chairperson for my session was Dr. Suma Sudhindra and reporteur was renowned violinist,H.K.Venkatram.

















Talking briefly about the pre-Trinity period, I explained the usage of the Dasa Vidha Gamakas in the Ata Tala Varnam-Viribhoni in Bhairavi and also the characteristic "Bhairavi phrases" in a Kshetragna Padam.


I talked briefly about the evolution of the Raga Bhairavi and went on to explain in detail, the similarities and differences in the handling of the Bhairavi Raga by the Music Trinity, Tyagaraja, Muttuswami Dikshitar and Syama Sastri.







(A section of the audience)

Tuesday, February 15, 2011

KALAIMAMANI AWARD - 13/2/2011

The Tamizhnadu State Government "KALAIMAMANI" awards (instituted by the Tamizhnadu Iyal isai Nataka Manram) for the years 2008, 2009, 2010 were given on the 13th February, 2011, at Valluvar Kottam, Chennai, by Hon.Chief Minister Of Tamilnadu, Kalaignar.Dr.M.Karunanidhi.

































Also seen in the picture below are writer Sri.T.Jayakanthan, who received the "Bharati award" and Isaignani Sri.Ilayaraja,who received the "M.S.Subbulakshmi award". (Dr.Padma Subramanyam was the recepient of the "Balasarasathi Award". - not seen in this picture)
















Tuesday, February 8, 2011

Tiruvaiyaru - 23/1/2011

This year's Aradhana was very special because it was a wonderful blessing for Vishruthi to sing at the Saint's Samadhi for the first time.










Accompanists were Sri.V.L.Kumar on the violin and Sri.Papanasam Kumar on Mridangam.

Tuesday, February 1, 2011

60th Birth Year Celebrations of Sringeri Jagadguru Mahaswamigal - 13/11/10

On the occasion of the 60th Birth Year Mahotsavam Celebrations of Sringeri Jagadguru Sri Sri Bharathi Theertha Mahaswamigal 60 personalities from different fields were honoured at Meenakshi College For Women, Chennai on 13th November,2010.

Among musicians, Sri.Vijay Siva, Sri.Neyveli Santhanagopalan, Sri.Manoj Siva,Smt.S.Sowmya and I were honoured. It was a very memorable experience.
















Guests of Honour were Dr.V.R.Gowrishankar(CEO and Administrator, Sri Sringeri Math), Hon'ble Justice Sri.R.S.Ramanathan (Judge, Madras High Court) and Sri.T.S.Krishnamurthy(Former Election Commissioner of India). Also seen in the picture is Miss.K.S.Lakshmi, Principal, Meenakshi College and an ardent devotee of Mahaswamigal. The college was the venue for a series of Pujas and Homams from 8th to 13th of November.

Monday, January 31, 2011

Bhubhaneshwar Tamizh Sangam - 16/1/11

This concert was part of the Pongal Festival at Bhubaneshwar.








Accompanists were :
V.V.Ravi - Violin
Poongulam Subramanian - Mridangam






Chief guest for the occasion was Chief Secretary of Orissa, Sri.B.K.Patnaik. Guest of Honour was Sri.K.V.Rangaswami of L&T.















Photos taken with rasikas and office bearers of Tamizh Sangam:
















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Lecture Demonstration at Music Academy - 23/12/10

The topic I took up was "Textual Aspects in Margadarshi Seshayyangar's Compositions".
















Margadarshi Seshayyangar was a pre-Trinity composer who lived in the mid-17th Century. He was a Sri Vaishnava Brahmin who lived in Srirangam and composed largely on Sri Ranganatha.

There were three pioneering composers who lived around this same time. Virabhadrayya left his mark on the musical form called Swarajatis, Govindasamayya on Tana varnams and Seshayyangar on Kriti form. All three were hence referred to as "Margadarshis".

The Muhanaprasa Antyaprasa Vyavastha of Maharaja Swati Tirunal is the primary reference that we have,regarding Seshayyangar's compositions. This treatise talks about Sabdalankaras in Sanskrit and there is a reference to 13 of Seshayyangar’s kritis by way of examples of prosody and alliteration. About 40 Kritis of Seshayyangar are available as on date. 13 others are unpublished and exist in manuscripts.

When we look at the melodic content in his compositions, we notice that most songs are of the pallavi-anupallavi-charanam type though some also have a pallavi followed by multiple charanams. There are some songs in which the melody of the last two lines of the charanam is the same as the anupallavi. A few Kritis have the anupallavi in madhyamakala. An example of this kind is rangapatE in Karnataka Kapi. Seshayyangar appears to have been an expert in Sanskrit for his songs indicate a vast vocabulary.

Seshayyangar was perhaps the first composer to modernise the previous structure of Kirthanas to Kritis and bring in the pallavi-anupallavi-charanam format into Kritis. There is also an extensive usage of Sabdalankaras in his compositions. These could have the reasons for the prefix "Margadarshi" to his name.

SabdAlankArAs and arthAlankArAs were taken up in detail for demonstration.

His compositions follow rules of
dvitIyAksharaprAsa,
antyaprAsa,
shrutyAnuprAsa,
chEkAnuprAsa,
paryAyOkti,
rUpaka alankAra,
muhana.

These were illustrated through the kritis Rangapate (Karnataka Kapi), Ranganayaka Bhujangasayana (Kedaragowla), Vande Vakulabharanam (Mukhari), Sarasadalanayana (Surutti), Anjaneya Paripaalaya (Mohanam).

Seshayyangar seems to have had an influence on later composers like Maharaja Swati Tirunal and the Trinity too.
His compositions offer huge scope for musicians and musicologists to understand the grammar and language to a great extent.

Thursday, January 13, 2011

Dasavani 2011 - 12/1/11

This concert was part of a series jointly organized by Sri LalithaKala Academy Foundation, Mysore and Sri Parthasarathy Swami Sabha, Chennai.

Theme was Dasa Sahitya Compositions.







Accompanists:

Akkarai Subhalakshmi - Violin
Tiruvarur Vaidyanathan - Mridangam
Sreesundar Kumar - Kanjira





Song List:(R-Raga Alapana,N-Neraval,S-Kalpanaswaram,T-Tani Avarthanam)

1.Dhyana Sloka, followed by saranu janakana - bilahari - Adi - purandara dAsa (S)
2.pAlisamma muddhu shAradE - sriranjani - Adi(tisra) - purandara dAsa (S)
3.innudaya bAradE - kalyANavasantam - kanta cApu - purandara dAsa (R,N)
4.rAmAnujarE namO - pantuvarALi - Adi - kanakadAsa (R,S)
5.neenE dayALO - Anandabhairavi - misra cApu - purandara dAsa (R)
6.bhUshaNakke bhushaNa - shankarAbharaNam - kanta cApu - sripAdarAya (R,N,S,T)
7.chandrachooda - rAgamAlikA - Adi - purandaradAsa
8.tirupati vEnkataramaNA - hamsAnandi - Adi - purandaradAsa
9.ugAbhOga followed by yamanelli - sivaranjani - Adi - purandaradAsa
10.mangaLam - surutti - Adi - purandaradAsa

Friday, January 7, 2011

Ragam-Tanam-Pallavi (RTP)

I have always had a great passion for singing Ragam-Tanam-Pallavis (RTPs) in my concerts.

The Ragam-Tanam-Pallavi is a musical form that is very unique to Carnatic Music. It is a form that offers a lot of scope for creativity. Anyone can compose a Pallavi line (with proper adherence to its grammar) and elaborate on it. Some Pallavis that past masters have composed and sung have become very popular and each artist portrays an elaboration of the same line in different ways, according to his or her own imagination.

I would neither claim myself to be an expert nor to be doing anything new. I would just call it my passion and courage (probably also weakness !!) to take up tough Pallavis, make an earnest attempt and present them to the best of my ability in my concerts.

(@ Mahesh - It is your comment on my previous post that has triggered off the idea of writing this post now :-))

Musicians of yesteryears have been a great source of inspiration in the kinds of Pallavis that they have taken up and the way they have handled them.

One of my greatest source of inspiration has been my Guru, Padma Bhushan Sangeetha Kalanidhi, Madurai Sri.T.N.Seshagopalan. The plethora of innovations he brings in, while singing Pallavis, the way he develops the alapana and the tAnam has always amazed me ! A true genius of this century..

Contemporary musicians (young and senior) have been exemplary in their presentation of RTPs and listening to each of them has always been a learning experience, according to me. I am not taking any names here, as the list would go on and on :-)

I always believe that a RTP should be aesthetically appealing and pleasing. I would never to go into too much of mathematics, which would make the ear "tired". I always try to maintain a good balance. Even the calculations that are done should be appealing and done with a lot of poise. According to me, an artist who can present a complex Pallavi and at the same time, make it sound easy to the listeners is the real artist.

It is a misnomer that Pallavis always have to be complex. Easy pallavis can definitely be taken up and the individual's numerous ways of interpretation of the same can go on and on. This is precisely why we call it a creative art form.

Just to name a few Pallavi types - Nadai pallavis, KaLai pallavis, Pallavis in multiple Talas,Nadais and Ragas, dwi-Avarthana Pallavis, madhyama Kala Pallavis, Pallavis with the raga names intelligently woven into the lyrics - such varieties are numerous.

I would personally internalize every RTP that I sing and make it my "own" before I present it on stage. It is not always true that musicians practise a RTP for weeks or months together before presenting it on stage. Internalizing its structure is the key. Once we get this into our system, the vast scope that each RTP could offer can be mind-boggling !
Each of these three components - Ragam, Tanam and Pallavi is a vast subject by itself.
Ragam - If we take the Raga Alapana, the raga exposition can be done in different stages. Recordings of past masters like GNB, Alathur Brothers,MLV,DKP,SKR (to name just a few) are excellent examples of how to develop the Alapana stage by stage. This area,by itself, offers a vast scope for creativity.

Tanam - Tanam singing is another art by itself. Syllables to be used while singing the Tanam, the permutations and combinations of these syllables used - all play an important role and at the same time,it should be appealing to the ear.

Pallavi - The Pallavi line is sung 2 or 3 times, for the accompanists and the audience to first get familiar with the particular line. Then a detailed Neraval is sung.
Neraval singing for Kritis is different from singing Neraval for a Pallavi. The words of the Pallavi should always fall at the same place in the Talam without deviation while singing the neraval. At the same time, the musician has to give a lot of varieties - by filling in the gaps and singing neraval at different speeds to avoid monotony. Singing an appealing Neraval is an art by itself.

After this, the Trikalam, Anulomam and Pratilomam are done. This is followed by Kalpanaswaras. This again is an area which offers a lot of scope. And of course, the Ragamalika Swaras sung towards the end is something that everyone looks forward to !

I am not going into the technicalities of these here. I am just reiterating the fact that any RTP should be complete, with proper focus and time allotted for each of the above aspects.

Earlier concerts used to be for a minimum duration of 4-5 hours. This gave the musician to sing the RTP at a very leisurely pace, giving ample time for the raga alapana to be sung and explored in various stages, sing an extensive Tanam and develop the Pallavi in all possible aspects.

I suppose singing a RTP these days can be more challenging, because one tries to bring in all these above mentioned aspects within the limited time available. For instance, in a 2.5 hour concert, I would personally set aside a clear 50-55 minutes for the RTP. Giving all the ingredients within this timeframe as a capsule requires a lot of mental planning. One must know where to stop ! I try singing as many varieties as I can while developing the pallavi and bring out as many possibilites as I can.

Role of Accompanists while presenting a RTP : I give a lot of importance to this aspect. When all artists take up the challenge and present the RTP, it is a very enjoyable experience. It is never a one-man show. I have been very fortunate in the sense that, all my accompanists play very earnestly for the RTPs that I sing. We share a lot of ideas on stage. If one of us comes up with a flash of an idea, the other artist takes the cue from there and we instantly improvise on it. On the whole, I find it very enjoyable. For instance, while I am singing the Neraval or Trikalam, I really like it if the Mridangist fills the gap with interesting patterns or flourishes without disturbing the flow of the lyrics.

One particular senior accompanist whom I have always admired and drawn inspiration from, is Sri.Mannargudi Eashwaran, for the kinds of replies that he gives while following a pallavi. I have heard him accompany my Guru on several occasions and his approach always amazes me. (This doesn't mean that I don't acknowledge other great percussionists or violinists - its just that I have had the opportunity to listen to Sri.Eashwaran on more occasions.)

While singing a RTP, minor mistakes do happen (atleast in my case!). We are after all humans, not robots ! A missed Karvai or an extra Karvai somewhere can result in the entire thing going haywire.
Earlier, maybe 10 yrs back, if I made a minor mistake somewhere in the calculations while singing the pallavi in a concert, the night after the concert would be a nightmare. I would keep tossing this way and that and the mistake used to haunt me for days together. To get rid of this, subsequently, with more experience, even if I made a small mistake, I always try and quickly calculate while the violinist plays his/her turn and attempt the same thing again and ensure that I get it right the next time! Of course one's aim would always be to present a flawless Pallavi, but at times we find ourselves in a tight spot and it requires a sharp, smart and alert mind to quickly wriggle out of such a situation !

I think it is the duty of every musician to educate the audience about the nuances of what we present in a RTP and to pass on this wonderful creative form to the future generations, in its purest form. I personally have never been able to accept RTPs sung and done away with, in just 15 or 20 minutes.

I have just quickly keyed down whatever ideas came to my mind now on this topic. I can go on talking about this subject but let me stop for now :-)

In every concert that I sing a Pallavi, I just take a deep breath and embark on this wonderful, musical journey of singing RTPs :-)

Wednesday, January 5, 2011

Newspaper Reviews (Part 1/2) - December 2010

Concert at Vani Mahal : 26/12/10 : Review in Tamizh Daily DINAMANI:













Concert at Nungambakkam Cultural Academy : 11/12/10 : Review in Tamizh Daily DINATHANDHI:






















Concert at Shanthi Arts Foundation : 10/12/10 : Review in Tamizh Daily DINAMALAR:

Saturday, January 1, 2011

HAPPY NEW YEAR - 2011

It seems like I wished everyone just a few days back at the dawn of 2010 and I just can't believe that one more year has gone by !

We are now into the next year - with a lot of dreams and goals for the forthcoming years.

Wishing all my friends a very bright and prosperous New Year :-)

A quick recap of my concerts during December Music Season 2010:
The first 10 days of December were dampened by the never-ending rains in Chennai.

My concert that had been scheduled on the 5th got cancelled due to the rains. The first concert was on the 7th at Meenakshi College - jugalbandi with Smt.Lakshmi Sriram. This is the first time I am doing a jugalbandhi at this venue. The previous years there have been with Padmasri Haridwaramangalam A.K.Palanivel accompanying me on the Tavil. Rains didn't deter the Rasikas from attending the concerts and our Jugalbandhi concert had a very good attendance inspite of the rains lashing 24*7.

After this were concerts at venues like Sastri hall, Bharatiya Vidya Bhavan, Mylapore Fine Arts,Vani Mahal, Music Academy, to name a few.

For the first time I gave a lecture Demonstration at the Music Academy during the Music Season and it was a great experience.

The Sangeetha Sandhippu - informal chat with Rasikas was great fun.

I sang two complex ragam -tanam -pallavis - one at the Mylapore Fine Arts and the other at the Music Academy.

I must thank all rasikas who attended all my concerts and gave me their valuable feedback. Personally, it was a very enriching December for me.

I didn't realize when December began and when it ended :-) - time has just flown by !

I eagerly look forward to a great musical 2011 :-)

The Music Academy - 31/12/10

Ended the year 2010 with this concert.

Accompanists:

Smt.Anuradha Sridhar - Violin
A.S.Ranganathan - Mridangam
Papanasam Sethuraman - Kanjira

Song List:(R-Raga Alapana,N-Neraval,S-Kalpanaswaram,T-Tani Avarthanam)

1.varNam - kAmbhOji - ata - vadivElu
2.EkAmranAthEshwarENa - caturangiNi - Adi - muttuswAmi dIkshitar (R)
3.anudinamunu - bEgadA - rUpakam - rAmanathapuram srinivasa Iyengar (S)
4.mAl marugA shanmugA - vasantA - Adi - pApanAsam sivan
5.tanayuni brOva - bhairavi - Adi - tyAgarAja (R,N,S)
6.sadAnandamayI - hindOlam - sankeerNa matyam - UthukAdu vEnkatakavi
7.RTP - latAngI - tisra triputa (4 kaLai) followed by Tani
8.rAgamAlikA slOkam followed by pravisha rAdhE - ashtapadI
9.ponnAr mEniyanE - tEvAram

Sri Thyaga Brahma Gana Sabha - 26/12/10

Concert at Sri Chandrasekharendra Saraswathi Auditorium, Vani Mahal

















Accompanists:

Dr.Hemalatha - Violin
A.S.Ranganathan - Mridangam
Papanasam Sethuraman - Kanjira

Song List:(R-Raga Alapana,N-Neraval,S-Kalpanaswaram,T-Tani Avarthanam)

1.vAtApi gaNapathim - hamsadhwani - Adi - muttuswAmi dIkshitar (S)
2.mA dayai - vasantA - Adi - pApanAsam sivan
3.sri vEnkata girisham - surutti - Adi - muttuswAmi dIkshitar (R)
4.ammarAvammA - kalyANi - kanta cApu - tyAgarAjA (R,N,S)
5.mAyamma - Ahiri - Adi - syAma sAstri
6.saravanabhavA - pasupatipriyA - Adi - muthiah bhAgavatar
7.sri subramanyAya namastE - kAmbhOji - rUpakam - muttuswAmi dIshitar (R,N,S,T)
8.chuttum vizhi - rAgamAlikA - tisra Adi - subramanya bhAratiyAr
9.virutham followed by kalyANagOpAlam - sindhubhairavi - kanta cApu -nArAyaNateerthar
10.tillAnA - nirOshtA - Adi - Padma Bhushan Madurai Sri.T.N.Seshagopalan
11.mangaLam

Shringeri Sharadha Temple - 25/12/10

Accompanists were Melakkaveri Thyagarajan on Violin, B.Sivaraman on Mridangam and Alathur Rajaganesh on Kanjira.

Song List:(R-Raga Alapana,N-Neraval,S-Kalpanaswaram,T-Tani Avarthanam)

1.varNam- bEgadA -Adi (S)
2.nAdasudhA rasa - Arabhi - rUpakam (S)
3.kalyANarAma - hamsanAdam - Adi - Uthukkadu vEnkatakavi
4.telisirAma - pUrNachandrikA - Adi - tyAgarAja
5.sukhi evvarO - kAnadA - Adi - tyAgarAjA (R,S)
6.pAdamE tuNai - valaji - Adi - pApanAsam sivan
7.endhuku pedhala - shankarAbharaNam - Adi - tyAgarAjA - (R,N,S,T)
8.ArabhimAnam - rAgamAlikA - Adi
9.tillAnA- rEvati - misra chApu - lalgudi Jayaraman
10.mangaLam

Sangeetha Sandhippu - Coffee chat with Rasikas

Carnatica had organized a Sangeetha Sandhippu - Coffee chat for artists with rasikas.

Smt.Vasundhara Rajagopal and I had an informal chat session with rasikas on the 20th of December at Sangeetha Restaurant, R.A.Puram.

















One hour was too short :-)

It was very lively with a lot of participation and questions from the audience.

















Nisha Rajagopal (Vasundhara's daughter) joined Vasundhara for a song and on a request from Nivedita(anchor for the program), Vishruthi came on to the stage and we sang a song together.



















A good, novel concept by Carnatica for artists to interact with Rasikas :-)

Valayapatti Nadhalaya Trust - 24/12/10

Accompanists:

V.V.S.Murari - Violin
Bangalore.V.Krishna - Mridangam
Nerkunam Shankar - Kanjira

















Song List: (R-Raga Alapana,N-Neraval,S-Kalpanaswaram,T-Tani Avarthanam)

1.varNam - pantuvarALi - Adi (S)
2.I vasudhA - sahAnA - Adi - tyAgarAjA
3.yArO ivar yArO - sAvEri - Adi - aruNAchala kavi
4.azhagA azhagA - sudhdhadhanyAsi - kanta cApu - ambujam krishnA (R,S)
5.bhuvanEshwariyA - mOhanakalyANi - Adi - muthiah bhAgavatar (R)
6.chakkani rAja - karaharapriyA - Adi - tyAgarAjA (R,N,S,T)
7.kAkkai chiraginilE - brindAvanasArangA - Adi - subramaNya bhAratiyAr
8.tambUri meetidava - sindhubhairavi - Adi - purandara dAsar
9.tillAnA - madhuvanti - Adi - lAlgudi jayarAman