If I have to highlight a few personal qualities of Vijay Siva that dazzled like a Kohinoor during his recent concert for Jaya TV Markazhi Mahautsav – a true scholar and soulful singing doesn’t seek any advertisement and pageantry, music is penance, humbleness and magnanimity comes only by birth. A true scholar never shies away from sharing knowledge.
There was no trace of paper on the stage and or any other reference material, Vijay Siva was fluently (not flamboyantly) and erudite in quoting shlokams and drawing parallels from Bhagavadam, Narayaneeyam, Kamba Ramayanam, Valmiki Ramayanam, Oothukaadu and Arunachalakavirayar. I wish every musician who performed a thematic concert on this dais was as prepared and as scholarly as Vijay Siva. It is so true that brilliance can never be hidden and needs no advertisement.
He opened the concert with the first slokam “Sada Bala Rupaapi Vignadhri hanthri” from Subramanya Bhujangam in Begada and proceeded to well know Dikshithar krithi Vallabha Nayakasya. He highlighted the phrase “Valli vihaha kaaranasya” and paid due tributes and respects to Ganesha before proceeding with his Mama/Mami’s kalyanam. Only very few sing the Jathi (Dheem thakita jham..) which was originally composed by Dikshitar himself in the samashti charam - which reflects the true and original patantharam of DKP/DKJ school (Thanks to my friend Ramji for pointing this out).
In those days people turned to soothsayers than astrologers’ when it came to knowing about their marriage and partner. The next krithi Villai Murithidum Vallavanukku vaaithittu describes Seetha’s would-be husband. This krithi was popularized by DK Pattammal long ago. Tradition never fails.
Seetha can be decked with exquisite ornaments and fragrant perfumes, but one aabharanam that adds the final touch to her majesty and beauty is Sankarabharanam. Vijay’s rendition of Sankarabharam was pure, unhurried and grand. Annai Janaki vandaalae by Arunachalakaviraya was so befitting for the occasion. In this krithi Arunachalakaviraya describes Seetha’s bridal finery and how she looks at her bangle to catch the reflection of Rama. Neraval was done in the line “Sundara paadham vaikavey”. It makes me wonder was it Seetha or Arunachalakaviraya or Vijay Siva and his team exhibiting the Nayaka-Nayaki bhavam? To write such exquisite pieces one has to fall in love with both Nayaka and Nayaki.
Hamsanadham is one raga that conveys jubilation and Vijay siva’s brought out the mood and the essence of the raga during elaboration. Any wedding celestial or otherwise is never complete without the august presence of revered souls. Kalayanarama krithi by Oothukaadu describes the wedding scene and the attendees present “Gowthama, Vashista, Narada, Thumburu, Kashyapa munijana vara”. Neraval at Mallikaathi sukanthamaya was very fragrant and colorful.
Vijay Siva moved from Oothukaadu to Narayana Bhattathri’s Narayaneeyam to describe Rukmani Kalayanam. He highlighted the difference in interpretation between Narayaneeyam and Bhagavadam when it came to Rukmani Kalayanam. Rukmi favored the wedding according to Bhattathri but Rukmi seems to have objected the wedding according to Sukar in Bhagavadam. Vijay rendered Tridasha Varthaki in Revathi (Revathi was there in the sahityam) and then turned the rest into a beautiful garland – Ragamalika. He also explained the beauty of the alliteration in the 4th line – Navapuram and vapuram. He rendered this long piece without a piece of paper or any reference material in front of him. This piece exuded confidence and bakthi.
What is so pious about Phalguni Uthiram? 4 important celestial weddings Rama- Seetha, Murugan – Valli, Shiva- Parvathi, Ranganatha- Andal happened on the same day. With this brief information Vijay proceeded to sing Oonjal composition by Pillai Perumal Iyengar. He took a few stanzas from Ranganatha swami oonjal paatu tuned in Kurunji and Ranaganayaki oonjal paatu tuned in delectable Nadanamakriya and presented a delightful scene on who besides the couple gently pushed the oonjal. This was a very rare and never heard before item in the concert.
Dikshithar may not have used the word Radha in her composition, Sukar may not have described this in his Bhagavadam, but love and kalyanam is never complete without Radha and Krishna. Vijay presented Jayadevar’s 22nd ashtapadi Radha Vadana in Sri Ragam as the penultimate piece in the concert.
Hanuman is inseparable from Rama and Ramayana, but sadly this messenger was not present during Rama-Seetha kalayanam. Thyagaraja says when Hanuman first saw Seetha in Lanka he picturized the divya dhampati Rama and Seetha together and sang Paavanaja stuthi paatra paavana caritra ravi soma pavanetra ramaneeya gaatra. What is more befitting than finishing the concert and Ekadesi with the lines Seetha kalyana vaibhogamae Raama kalyana vaibhogamae from Thyagaraja’s Utsava sampradaya krithi?
After doing a diligent home work on the theme “Kalayana Vaiboghame” Vijay Siva and his team (RK Shriramkumar on the violin and Manoj Siva on the Mridhangam) gave the audience a hair-raising concert on Perumal Kalyanam rendering slokams from various scriptures and krithis composed by various vaggeykaras . That day also happened to be Kaishika Ekadesi. Should we call this opportunity a double spiritual jackpot?
For some sangeetham and sapaadu both are done according to tradition and Vijay Siva definitely falls in this category. Vijay Siva had satiated our spiritual hunger and had also arranged for sundal prasadam to be distributed at the end of the concert. Now I am thinking if we should recommend a change in the famous Thirukural
Sevikku unavu illadha pothu
sirithu vyatrikkum eeyapadum
There was no trace of paper on the stage and or any other reference material, Vijay Siva was fluently (not flamboyantly) and erudite in quoting shlokams and drawing parallels from Bhagavadam, Narayaneeyam, Kamba Ramayanam, Valmiki Ramayanam, Oothukaadu and Arunachalakavirayar. I wish every musician who performed a thematic concert on this dais was as prepared and as scholarly as Vijay Siva. It is so true that brilliance can never be hidden and needs no advertisement.
He opened the concert with the first slokam “Sada Bala Rupaapi Vignadhri hanthri” from Subramanya Bhujangam in Begada and proceeded to well know Dikshithar krithi Vallabha Nayakasya. He highlighted the phrase “Valli vihaha kaaranasya” and paid due tributes and respects to Ganesha before proceeding with his Mama/Mami’s kalyanam. Only very few sing the Jathi (Dheem thakita jham..) which was originally composed by Dikshitar himself in the samashti charam - which reflects the true and original patantharam of DKP/DKJ school (Thanks to my friend Ramji for pointing this out).
In those days people turned to soothsayers than astrologers’ when it came to knowing about their marriage and partner. The next krithi Villai Murithidum Vallavanukku vaaithittu describes Seetha’s would-be husband. This krithi was popularized by DK Pattammal long ago. Tradition never fails.
Seetha can be decked with exquisite ornaments and fragrant perfumes, but one aabharanam that adds the final touch to her majesty and beauty is Sankarabharanam. Vijay’s rendition of Sankarabharam was pure, unhurried and grand. Annai Janaki vandaalae by Arunachalakaviraya was so befitting for the occasion. In this krithi Arunachalakaviraya describes Seetha’s bridal finery and how she looks at her bangle to catch the reflection of Rama. Neraval was done in the line “Sundara paadham vaikavey”. It makes me wonder was it Seetha or Arunachalakaviraya or Vijay Siva and his team exhibiting the Nayaka-Nayaki bhavam? To write such exquisite pieces one has to fall in love with both Nayaka and Nayaki.
Hamsanadham is one raga that conveys jubilation and Vijay siva’s brought out the mood and the essence of the raga during elaboration. Any wedding celestial or otherwise is never complete without the august presence of revered souls. Kalayanarama krithi by Oothukaadu describes the wedding scene and the attendees present “Gowthama, Vashista, Narada, Thumburu, Kashyapa munijana vara”. Neraval at Mallikaathi sukanthamaya was very fragrant and colorful.
Vijay Siva moved from Oothukaadu to Narayana Bhattathri’s Narayaneeyam to describe Rukmani Kalayanam. He highlighted the difference in interpretation between Narayaneeyam and Bhagavadam when it came to Rukmani Kalayanam. Rukmi favored the wedding according to Bhattathri but Rukmi seems to have objected the wedding according to Sukar in Bhagavadam. Vijay rendered Tridasha Varthaki in Revathi (Revathi was there in the sahityam) and then turned the rest into a beautiful garland – Ragamalika. He also explained the beauty of the alliteration in the 4th line – Navapuram and vapuram. He rendered this long piece without a piece of paper or any reference material in front of him. This piece exuded confidence and bakthi.
What is so pious about Phalguni Uthiram? 4 important celestial weddings Rama- Seetha, Murugan – Valli, Shiva- Parvathi, Ranganatha- Andal happened on the same day. With this brief information Vijay proceeded to sing Oonjal composition by Pillai Perumal Iyengar. He took a few stanzas from Ranganatha swami oonjal paatu tuned in Kurunji and Ranaganayaki oonjal paatu tuned in delectable Nadanamakriya and presented a delightful scene on who besides the couple gently pushed the oonjal. This was a very rare and never heard before item in the concert.
Dikshithar may not have used the word Radha in her composition, Sukar may not have described this in his Bhagavadam, but love and kalyanam is never complete without Radha and Krishna. Vijay presented Jayadevar’s 22nd ashtapadi Radha Vadana in Sri Ragam as the penultimate piece in the concert.
Hanuman is inseparable from Rama and Ramayana, but sadly this messenger was not present during Rama-Seetha kalayanam. Thyagaraja says when Hanuman first saw Seetha in Lanka he picturized the divya dhampati Rama and Seetha together and sang Paavanaja stuthi paatra paavana caritra ravi soma pavanetra ramaneeya gaatra. What is more befitting than finishing the concert and Ekadesi with the lines Seetha kalyana vaibhogamae Raama kalyana vaibhogamae from Thyagaraja’s Utsava sampradaya krithi?
After doing a diligent home work on the theme “Kalayana Vaiboghame” Vijay Siva and his team (RK Shriramkumar on the violin and Manoj Siva on the Mridhangam) gave the audience a hair-raising concert on Perumal Kalyanam rendering slokams from various scriptures and krithis composed by various vaggeykaras . That day also happened to be Kaishika Ekadesi. Should we call this opportunity a double spiritual jackpot?
For some sangeetham and sapaadu both are done according to tradition and Vijay Siva definitely falls in this category. Vijay Siva had satiated our spiritual hunger and had also arranged for sundal prasadam to be distributed at the end of the concert. Now I am thinking if we should recommend a change in the famous Thirukural
Sevikku unavu illadha pothu
sirithu vyatrikkum eeyapadum
Dear Sir,
ReplyDeleteSrimati MSS has sung the tiruvAzha tiruvAzhicchangam vAzha in the SrIrangam rAjagopuram mahAsamprOkSaNam concert in 1987. Thank you.
thanks Ksrimech.
ReplyDelete