Music from God’s own country

To hear some musicians sing is like going to a temple. Their music is simple, sweet, divine, and slow, makes you introspect, cleanses your soul and leaves you in a meditative state that last for hours after the concert. Call is anesthetic or cathartic!

Parasala Ponnammal (PP) and Sreevalsan Menon’s (SM) concert fall in this category of “sowkhiyamana and sowbhagyamana sangeetham”.

I was 25 minutes late for both concerts while trying to avail the valet parking facility at Music Academy.
1.Varnam – Andolika – GNB
2.Marive – Lathangi – Patnam Subramanya Iyer
3.Subramanyena (Ragam, nereval, swaram) – Suddhadhanyasi – Dikshithar
4.Jankiramana (Kalapanaswarams) – Suddhaseemanthini – Thyagaraja
5.Keeravani (Ragam, neveral, swaram and thani) – Bhavaye Sarasanabham – Swati Tirunaal
6.Padharavindhame aadharamey – Hindolavasantham - Ambujam Krishna
7.Parulanna maata – Javali – Kapi
8.Ilatalir Shayana – Punnagavarali
9.Kinkini nadham kaadhil olikuthey – Sindhubairavi – ?

PP to sit on that stage and give a performance for 150 mins at that age (80+) is quite a task. Her voice and Shruthi was not at the best, but still she managed to captivate the audience. There is so much of bakthi, tradition, aesthetics, and chasteness in her music. Musicians must attend performances to learn nereval and kalpanaswarams singing techniques. Kinkini nadham in Sindubairavi was one of the highlights of the concert and it kept people stuck to their chairs. And 3 days later my lips murmur the lines and the chaste Sindubairavi still keeps ringing in my ears. There is always an opportunity for learning new krithis and grasp the display of classicism for all kinds of listeners – novice, intermediate and advanced. Musicians can use PP’s music to stack rank their quality of music.

Akkarai Subhalakshmi – akkaraiyana vasippu! She was following the steps of grandma (PP) most of the times, but at times decided to go on her own and clear the way for grandma to walk.

PP has been performing at Music Academy (MA) only in the past 5 years, where was she all this while? I went a Trivandrum to hear her at Navarathri Mandapam. Why did it take MA so many years to discover this gem? Hearing PP every time is bonus music miles added to the life of a rasika.

Sreevalsan Menon:
We may have forgotten Neyyattinkara Vasudevan (NV), but he has left behind a few students who are upholding the tradition of divine music from God’s own country. This divine music grows on you like a vine and gets intoxicating like wine. I have not had a chance to hear NV, and decided to step inside Academy to hear that “Deva gaanam”. Thanks to Music Academy for discovering SM early unlike PP.

Sreevalsan Menon (SM) is blessed with a sweet and bold voice. More importantly he doesn’t imitate (there is no need) or does his voice resemble other popular singers from Kerala. SM exploited and explored the strengths of his voice to bring out the lyrical clarity while rendering songs. Unnikrishnan comes from the same land, but his voice is totally nasal and lyrical clarity is awful.

When the doors of Music Academy finally opened it was his Anandabairavi that invited me to my seat. Thyagaraja yoga vaibhavam was rendered with classicism and perfection. Dikshithar has structured the pallavi in gOpucca (cow's tail) yati, tapering at the end. The madhyama kaalam charanam consists of a phrase that is repeatedly extended, from "swa prakaasham" to "swaroopa prakaasham" and so on, called shrOtovaaha (estuary, river), going from narrow to wide. To hear SM execute this with perfection and without a hurry was a aural treat!

The next item was Todi, the most often presented raga of the season. SM’s uncovering of Thodi was methodical, gimmickless and gesticulation free. Music came from his Nabhi and definitely not from throwing the hands around, or showcasing contorted facial expression with flamboyance like other popular musicians in Chennai. The music and musician was pleasant. Sadly Chennai rasikas fall a prey to gimmicks, gesticulation and abhangs!

Another appreciable quality in SMs music is gradual showcase of elements of classicism than overloading upfront or all in one krithi. His choice of swara exercise for a few krithis, nereval for one was planned meticulously to ensure that his music didn’t reach the limits of cloying nor killed the lyrical beauty.

1.Varnam – Asaveri
2.Vasudevayani – Kalyani - Dikshithar
3.Ananda bairavi (R, S) – Thyagaraja yoga vaibhavam - Dikshithar
4.Thodi (R,S) – Mandhara dara sundara dhara – Swati Tirunaal
5.Ranidhi radhu – Manirangu - Thyagaraja
6.Naataikurunji (R,N,S) – Maayamma brovavamma nannu
7.RTP – Poorvikalyani – Misra chapu – Narada gana lola nathajana paripala (Swarams – Poorvikalyani, Sama, Jog, Saveri.
8.Mangalam - Madhyamavathi

It was close to 8 pm when Naataikurunji was taken for alapana and by the time thani avarthanam was done the LCD display (2 per wall) was 5mins away from 9. I was worried and wondering if SM could fit an RTP in 35 mins? What seemed like a test match all this while suddenly turned into a T20, and SM did a quick sketch of Poorvikalyani and thanam exercise in all three sthayis and lack of time didn’t give him much opportunity to complete the nereval workout. Swarams in Poorvikalyani, Sama, Jog and Saveri was delectable. A little more planning could have helped.

On a wednesday evening 200 of us walked out of the hall that could accommodate 1000+. Doesn’t matter if there are 5 or 5000 in the hall Sreevalsan Menon has earned the blessings of the ragadevatas, composers, almighty that evening. Why are there not many takers for such devout music? How do they create such a mood that last like anesthesia? Is it natural trait or an acquired skill? Secrets have to be discovered.

I decided to draw the list of attributes of their music that communicated with my soul - bold voice, crystal clear diction, clutterfree and methodical raga elaboration, and arithmetical approach to kalpanaswarams, and gimmick free singing. Grace comes to a few and like prasadam is shared only with a very few, hope you will watch out for their performances. It is blessed music and it comes from God’s own country.

Pigeon Tales from Music Academy

A pigeon from Music Academy attended Ranjani & Gayathri’s concert on Dec 25. The pigeon also attended Suguna Varadachari’s lecture on Nereval singing for krithis and pallavi that morning. At music Academy pigeons learn, while performers and parrots dont! I asked the pigeon to share more meat on R&G concert from that evening.

The pigeon reported that the start was grand with the Abogi varnam and Todi was sung to Academy standards. “Then what went wrong?”, I asked. The pigeon didn’t answer, he fluttered his wings, exhibited the strength of his sternum and perched higher in the balconys of Music Academy. He rolled his eyes and made gargling noise, even Music Academy pigeons can have a bad attitude and throat!

At last he looked at me at said, RTP in “Dwijavanthi”. I decided to defend R&G and retorted, “TNS has sung RTP in Dwijavanthi, so what? Now the pigeon laughed like a fox (Music academy creatures can turn into anything!) and said, “their pallavi couldn’t fit in into the thalam and neveral was nerudal! The sisters had to do an emergency c-section to deliver the pallavi”.

Though pigeons don’t have a voice or a call, I was amazed at this winged creature’s knowledge. I asked him, “what about the thukkadas?” he said, “it was like Mumbai electric train sangeetham and will never find a place in the heart and just time pass!” Time pass or pass time, a verdict time and rasikas will deliver.

Finally before taking off the pigeon said, “many musicians both senior and junior don’t attend these lec dems and as a result pigeons like me are getting wiser”.
Performers and parrots watch out for pigeon poop!

Erudite and Energetic Show at Music Academy

It is 15 years since he got his Sangita Kalanidhi, but there seems to be no dip in his energy and quality of Music post Sangita Kalanidhi. At the age of 90 plus, RK Srikantan (RKS) gave an erudite and energetic performance at Music Academy. He was vocally supported by his son, Ramakant (My mama friend from B’lore calls Ram can’t) but RKS didn’t seem like he needed vocal support. Throat was clear and his hearing was sharp. What is your secret?

While many youngsters today are moving away from beginning the concert with a varnam, RKS started the concert with Reetigowali varnam (Vanajaksha) and sang the varnam in different kalams without a hiss and hesitation. The next item was Gajananayutham in Chakravaham by Dikshithar was rendered with right kalapramanam and pitch. RKS stayed away from singing swarams for this krithi and instead let the Sahitya artham shine.

The audience and the artist didn’t need any more starters or warm up after the varnam and Hamsadwani krithi. After due salutations to Ganesha, RKS sang the Naatai Krithi Kamalambika in Khanda jampai (a rare talam) written by Mysore Jayachamarajendra Wodeyar. By the end of this krithi both Lalgudi GJR Krishnan on the violin and Sudheendra on the mridhangam were ready to make this concert the “season’s delight”.

RKS picked up Janaranjani for alapanai and took audience to the depth of bakthi by rendering Thyagaraja’s Smarane Sukamu. While Thyagaraja says mental recitation of the name Rama is sukham, but for the audience RKS’s rendition added sukham to Thyagaraja’s composition. He decorated the krithi with delectable swarams in the right kalapramanam.

The first hour of the concert came to an end with the rendition of Shyama Sastri’s Manji krithi “Brovavamma”. He did nereval at “Shyama Krishna sahodari amba” without any unnecessary brigas to embellish the lyrical beauty. This concert looked like a learning session for both musicians and rasikas –how to structure and perform in a concert and finally how should pakkavadhyams play to the main musician.

There was no sag in the tempo or energy in the concert so far and it would not be an overstatement if I called Sri. RK Srikantan as “Yuvarajan”. He scored sixes with respect to choice of songs, composers and ragams. Execution and impeccable voice put him on the list of Sangita Kalanidhis again. Will Music Academy consider him for another time?

Simple ragas and krithis when sung rightly can lift the mood of concert and audience was so true that morning. RKS picked up Mohanam for elaboration and Lalgudi GJR’s rendition further pricked the audience with “mohana mull”. RKS presented Thyagaraja’s Mohanarama krithi praising Rama of his beauty and explaining why devas, indira, kimpurushas, etc. incarnated as animals and birds during Ramaavatar. Though the kalapramanam of this krithi was slow, but the lyrical beauty never let anyone sleep. RKS decided to wake up those who still managed to sleep with the Emani Pogaduthura in Veeravasantham, another Thyagaraja krithi popularized by GNB.

Of the five great composer photographs that were hanging on the right side wall inside the auditorium, RKS made a tick against three of them. With 50mins to spare what could be the next item? RKS took Shanmukhapriya for elaboration. The basic ingredients for rasam and sambar are the same, but what makes them different is the paste of rice flour you add at the end, such is the difference between Natabairavi and Shanmukhapriya (the only change happens in madhyamam). During the elaboration of the ragam there was a different flavor of Shanmukapriya tending towards Natabairavi, while a different fragrance emanated during the thanam exposition. RKS didn’t disappoint listeners; instead he demonstrated the difference between singing nereval for a krithi and for a pallavi. The swara exercise after the pallavi and thani avarthanam was the icing on the cake.

RKS concluded the concert with Samsara vemba sagara in Suddha Saveri (Durga?) composed by Vijaya Vittala dasa. 150 mins after the concert both audience and artist were fresh and ready for another innings.

What made this concert a breeze? What made it successful? What differentiates a cloying performance from that which lacks basic ingredients? What made it scholarly? What made it a season’s delight? RKS had answers to all those that day. The concert left me with one question – when does an artist peak in his performance (not career!) May be in the early years when an artist does have the pressure of responsibility to prove the quality of his music and understanding, and again towards the end when awards and rewards don’t matter anymore. So what happens in the between years? Well attend the 6pm concerts in the city and you will find out!

A day at Music Academy – Dec 18, 2010

The entrance to the Music Academy (MA) may look contemporary with the newly styled glass windows, but the music inside the hall is still traditional and loaded with classicism. So many music doyens have performed at this venue and it is probably the only venue that continues to scares musicians and make them wish and wait (did I say work?) for their turn for Sangeetha Kalanidhi (SK).

It was 30 mins past nine when I arrived and people were walking out of Vijay Siva’s lec-dec ( I heard from a friend there were some hot exchanges between Vijay Siva and TMK), that so not VS! I didn’t want to trade in my mother’s Dwadasi menu for Arusuvai “whatever” and hence turned up 15mins late for Bombay Sister’s concert.

I was welcome by a beautiful Kambodhi as the new doors to the hall opened up. Sisters seated on the dais at the age of 70 and 72 were going on like 30’s. Their voice was still in shape and I thought for a moment did MA give SK too early to Bombay Sisters. Well, they have sung for 50 long years in every nook and corner of the world. Wish MA gave away SK in the past after such a strict scrutiny. While I was lost in these thoughts they moved on from Kambodhi to Navarasa Kanada. Their voice still had that timbre, clarity, shrill at times, but capable of comfortably moving up and down the octaves and delivering the emotions in right amount. In the first row among the audience was SK TK Govinda Rao was seen enjoying the laurels showered on his student. Barathratan MS was his student too.

Another interesting thought crossed my mind as the duo picked up Poorvikalayani for RTP. Why not MA increase the qualification age for SK? Well Nicolas Sarkozy increased the retirement age in France. By doing so MA can test their dedication, commitment and quality of their music? By increasing the age MA puts an additional responsibility on the musician to keep them healthy and fit. Most of them are overweight and unhealthy (also attitude)! For now let us hope that age and experience will have an effect on their dedication and quality (music and conduct).

Morning menu at MA is always special and interesting. I am not just referring to the canteen, but even inside the four walls. There are lecture demonstrations by senior musicians and musicologist, which may or may not end up in a verbal brawl. Post the lec-dec there is a concert by either past Sangita Kalanidhis or by other senior musicians who’ve never cared for awards or sung for them. Though Sabhas needn’t worry about their cash register, the past SKs have nothing to lose and have already proved their mettle to public (RK Srikantan). Coming to other senior musicians (Parasala Ponammal, Suguna Purushothaman) life is music for them music and it is more or less atma vicharam. It is a sheer delight to listen to these people.

Well some young people can bring the same delight. At noon when the bell rang and curtain was raised it was a tiger cub that welcomed us. He was just 1/3rd the age of the Bombay Sisters. He ascended scales of Sahana with delight, spirit to conquer, and confidence. It is with the same determination and confidence Hanuman ascended the skies to Lankapuri. Amba paradevata in Rudrapriya was decorated with kalpanaswarams and he seems to prove my statement again.

Afternoon slots are given to tiger cubs and it is the same slot our Sudhas, Sanjays, Nithyasris, Sowmyas, Vijaysivas sang and got promoted. But how are they singing today? Are they responsible? Are they worth the promotion? Some have turned out to be Hanumans while rest of them is wandering like vanaras aiming for the low hanging fruits. Well that is a different topic to discuss. For now, let me stay with to the concert.

The tiger cub picked up Varali and I wished the Varali would never end. He sang effortless in all octaves and it felt like wind just flowing through a bamboo. Dikshithar’s Seshachala Nayakam was offered as an afternoon treat before lunch. NC Baradway on the Mridhangam and Parur MS Anantharaman on the violin played beautifully embellishing the beauty of lines “Mandahasa vadanam sat chanda hridayam vadanam” and neraval at Govinda mriga shayanam aravinda patra nayanam made me escape gravity. May be we should ask senior musicians to hear him atleast once? A quick Thirupaavi in Aarabhi was presented before he took Karaharapriya. The Karaharapriya was like the aval kesari that I had in the canteen – well cooked, made to right sweetness and dripping with ghee (zero friction). His voice and delivery never seemed to tire you and it strums your heart and intoxicates your mind. Who could that be? Barath Sundar! He completed the concert with the brisk Behag Thillana composed by Lalgudi.

Rasikas keep talking Prasanna Venkatraman and I find him in everyones to-listen list. I had 15 mins before I could come back for Prasanna Venkatraman. When I went down to the canteen I saw SK R. Vedavalli finishing her thayir sadam and wearing a satisfying look on her face. Seems more satisfied than SK.

He started the concert with Chalamela varnam and I was hoping the cloud over his throat would lift after the varnam. Thaapagana in Suddhabangala was performed, but his epiglottis was constrained. He picked up Pantuvarali presented a neat sketch exposing the raga elements. The kriti delivery lacked clarity and he was clipping words and chewing them thereby creating an eddy effect in singing. Soundararajam Aashraye and the Kambodhi that followed suffered because of the bad throat. Anything beyond “Pa” turned nasal and took away the joy from the previous session. Both Barath and Prasanna jumped to higher octaves very quickly and they must realize the sowkyam in the lower octaves. Experience is the best teacher! May be I will hear him on a better day.

I sincerely hope Music Academy would look at the musicians they have promoted from this slot in the last 20 years and measure their progress and achievement. MA it is time you learn from your mistakes. Please retain these guys in these slots for the next 3-5 years and make them work more magic to their voice, repertoire and music. They have to sing the same Todi, Sahana, Sankarabharanam and Begada for the rest of their lives. Let the SK performance not be bad compared to their performance now.

Prasanna and Barath, you have a long way to go and there is no urgency to get there. Should I remind you of the hare and tortoise story? It is the journey that is more memorable than the destination.

I came to enjoy good music and here I am getting preachy and political. Well blame in on Music Academy. By 4 pm I had completed 7 hrs of music and two pages of written material. I have to leave now and I am sure you have to leave as well. Come back for more!

Coming soon – Sikkil Gurucharan at Brahma Gana Sabha – (Kokilapriya, Ranjani RTP and some exhilarating krithis)

Lighter moments of Markazhi

TM Krishna is not performing this Markazhi season, but he is very much into "arattai kutchery" be it during concerts or after concerts!

Aha! Look whose is all decked, dressed and posing like a 20 year old! Madam, what next? Kollywood movie? Iyengar veethu azhagey...!

Carnatic Music ‘s Tendulkar in the make

Artist: Saketharaman S
Venue: Sri Parthasarathy Swami Sabha
Date: Dec 17, 2010

Is there a better way to start a match than with a boundary? Sakethraman started the concert with a sketch of Saveri and moved on Sarasuda varnam to warm up the audience and his throat. His next krithi Kannathandri Naapai in Devamanohari reminded me of Barathratna MSS impeccable rendition. This krithis also reminds me of Adi Shankara’s Bhaja Gonvindam where he regrets his slow spiritual progress and wandering senses.

1. Varnam – Sarasuda – Patnam Subramanya Iyer
2. Kannathandri naapai – Devamanohari – Thyagaraja (A,S)
3. Thodi – Rajuvedala Joothamurari - Thyagaraja
4. Brindavana Saranga – Soundararajam Aashraye – Muthuswami Dikshithar (A, S)
5. Paramapurusham – Lalithapanchamam – Swati Thirunaal
6. Kambodhi – O Rangasayee – Thyagaraja (A, N,S,T)
7. Virutham – Ragamalika –
8. Yenna solli azhaithal – Kanada – Ambujam Krishna
9. Yeppovaruvaro – Jonpuri – Gopalakrishna Barathi
10. Thillana – Madhuvanthi – Lalgudi Jayaraman
11. Mangalam

Being Vaikunta Ekadesi most of the songs were on trip to some beautiful temples – Sri Rangam, Nagapattinam and Chidambaram.

Saketharaman presented another gem of Thyagaraja – Raju Vedala in Thodi. After a flash of Thodi he started the kriti “Ranga Raju veda” in praise of Sri Ranganathan. Thyagaraja describes the beauty of Kasturirangan’s procession on a horseback adorned with gems. When singing the charanam “kaaveri teeramunanu paavanamagu ranga purini” Saketh does it slow, soft, and with a jive and dive adding more beauty to the lines. Artists need lot homework to understand the context of the krithi, internalize the lyrics and delivered with artistically, Saketh presentation was as fragrant as “Kasturi”.

Can there be Markazhi without Brindavana Saranaga? The Vedam parayanam group always goes before the Perumal procession, similarly a chaste, fresh and bakthi loaded raga alapana of Brindavana Saranga was followed by Dikshithar’s Soundararajam Aashraye, a krithi in praise of perumal at Nagapattinam. While Saketh’s vocal chords was gradually ascending and descending the notes with melody, swaras were sung beautifully without altering the kalapramanam of the krithi. His diehard fans were shaking their hands and heads in appreciation his delivery and discipline. Tirvarur Bakthavatsalam on the Mridhangam and Ghatam also played soft and slow to make the entire recital pramadham. Nagai Sriram on the violin was so so!

To keep tempo of the concert Saketh picked up Swati Thirunaal’s Paramapurusham, a beautiful madhyamakala krithi. Raga Lalitha used by Dikshithar and others don’t use panchamam, but however Swati Thirunaal used “Pa” and hence it is called Lalitha Panchamam. The other Lalitha Panchamam moment in the concert was when Senior artist Bombay Jayashree walked in with her students. It is rare to see artist attend kutcherys of other artist and it even a rare occurrence to see them attend junior artists along with their students. BJ, thanks for bringing a new breeze in the politically smelling Carnatic music field. Hope this brings a change in attitude in the minds of the next generation.

The next alapana put the question out, is it Manam kavar or Manam kamazh Kambodhi? To see BJ’s head shake and approve Saketh’s rendition was heartwarming. Saketh proved it was both.

The O moment of the concert happened when Saketh started O Rangasayee and TM Krishan walked in. It was Oh Rangasayee than just O Rangasayee. While Saketh was rendering the kriti, Tirvarur Bakthavatsalam stopped playing the mridhangam to welcome TMK and offered him the front row seat. To stop in the middle of the song to welcome a rasika is not stage discipline. He could have welcomed him post the kriti. It disturbs the concentration of the main artist. Well may be that is the price one pays to have a super senior pakkavadhyam. It got worse when mridhangam and TMK started to engage in a mini concert with besh, bale, sabash! I was wondering who is singing now, it is the person on the stage or the person in the front row!

As a result the usually 15min thani turns out to be a 25 mins session. TMK is a distraction on both sides of the stage! Nereval at Bhoolaka Vaikuntam was done very softly and subtly embellished the rendition more. Kalapanaswaram were delectable. But still Brindavana Saranga was the highlight of the day!

While Carnatic perumal (TMK) made his pravesham here, within half hour Thayar (Sangeetha Krishna) also makes her visit, making it a star studded evening.

A Mama Special: I get a sms from the friend attending a performance in Music Academy this evening. The text read , “Nayagan Nayakikul pravaesithan”, I was shocked and re-read the sms twice. My mama friend in the meantime came to my rescue and clarified that he meant TNS was singing Nayaki. Nayaki can be dangerous even without Darbar!

A beautiful thamizh virutham in Ragamalika took us again to Sri Rangam.
Ooriley kaani illai, uravu matroruvar illai
Paariley nin paadha moolam patrinen parama murthy
Kaaroli vannaney kannaney kadharukindren
Arangama nagar ullaney
The virutham was followed by Ambujam Krishna Yenna Solli Azhaithal in Kanada. The last few songs were quick and popular numbers. Madhuvanthi Thillana and the ever green melody Yeppo varuvaro was a delight to hear.

Sore points:
1. Sri Parthasarathy Swami is the oldest sabha and has the crappiest of music system. It is time they find a better hall with decent acoustics, otherwise there is no point in brining the best of musicians.
2. If musicians feel offended when Rasikas walk out during Thaniavarthan, rasikas feel offended when musicians who come to attend the concert distract the artist on stage and try to steal their limelight.
3. Having a senior musician as accompanists can be a pain.
4. Markazhi is the only time we sing and hear Tirupaavi and Saketh should have presented a Thirupaavi.

High points:
1. The best Brindavana Saranga I have heard in the season so far and Kambodhi definitely had strokes of brilliance.
2. When I walked out of the hall I had a happy feeling that Carnatic Music’s Tendulkar is in the make. Saketharaman, is calm and composed and displays brilliance at many time with his strokes. He sings with an attitude that I am here for long and I am willing to work hard with discipline.
3. I heard Saketharaman 3 months back and when I hear him today I can see that a lot of preparation and hard work gone into his music. He has raised the bar and exceed again. I need to give him two hundred points for not taking even a centimeter of paper with him to the stage. Definitely today’s youngsters are putting senior vidwans to shame with their dedication and discipline. Senior may have vidwat and knowledge, but they lack basic discipline and stage manners.

A pilgrimage with Oothukadu Venkata Kavi

Should we call this a heritage walk, a spiritual walk, a musical walk or all of the above? Chitravina Ravikiran, calls it a pilgrimage with Oothukadu Venkata Kavi (OVK), that is more apt! Ravikiran he took us on a trip to dozen temples all over the country singing Tamil composition of the great scholar, Oothukadu Kavi.

A little context setting before we do a deep-dive. Oothukadu Venkata Kavi was born in Mannargudi in the year 1700 and lived till 1765. He passed away even before the birth of the Trinities. During the 65 years, he travelled all over India and composed songs in praise of numerous deities. But most of his works were closely guarded by his family and hence never enjoyed the popularity that Tirinities works enjoy today in the concert platform. Mannargudi Raju Sastrigal and Krishna Sastrigal also learnt and preserved the Kavi’s works. In 1940s Needamangalam Krishnamurthy Bagavathar brought Venkata Kavi’s work to Chennai for the first time and ever since they are being sung on the performing arts arena. Venkata Kavi has sung composition on most deities (Ganesha, Shiva, Parvathi, Vishnu, Suriyan, Anjaneya) and he was the first one to compose the Navavarna krithis. He has also composed krithis on sages – Sukar, Jayadeva and Valmiki. Be it krithis, thillana, or navavarna krithi OVK used both Sanskrit and Tamil proficiently, rhythmically, musically, scientifically and mathematically. Kanchi Kamakshi was his kuladeivam and Kalinga Krishnan at Oothukadu was his ishta deivam.

1.Sindhithavar Nenjil Irupathu Siva Yoga Ganapathyae – Naatai
He has fully explored the raga bhavam of Naatai in this kirthi. With the very first line of the krithi he instantly makes you think of Ganesha. Most composers use madhymakala later on in the krithis, while OVK has started this krithi in madhyamakalam. The charanam starts in sama kalam and moves towards madhyama kalam in the end.

2.Stop 1 : Tiruvarur: Thyagaraja Paramesh – Chakravaham
From this kriti we know that Tiruvarur in 1700s was referred to as “Aaroor”. OVK describes the kshetra puranam and extols the deity, Thyagaraja in this krithi. Enjoy the lines in the charanam – Sharanagatha Varunalaya Karunalaya Kamalalaya.

Stop 2: Oothukadu: The village of Oothukadu has 2 temples 1. Kalinga Krishna temple and 2. Shiva Temple. There is a sannadhi for Suriyan in this temple and OVK has composed a krithi, Padmini in Dhanyasi ragam. Ravikiran does a sketch of the krithi but doesn’t sing the full krithi. Instead he shared Vaiyam alandhu – Nadanamakriya krithi composed on Kalinga Krishna. OVK uses jathis in this composition and many others. This shows the close collaboration between dancers and musicians in those days, unlike today.

3.Stop 3: Chennai: OVK has come into Mylapore, the heart of the Chennai and sung a composition in Bairavi in praise of Singaravelan in Kapaleeshwarar Temple. Then he moved to Parthasarathy Swami temple in Tripliance and composed Thedi Arul Vandhan – Aarabhi in chowka kalam and Parathasarathy in Surutti. The aarabhi krithi was sung by his students.

4.Stop 4: Kanchipuram: OVK was the first to compose Navavarna krithis marrying the mantram, yantram, and tantram in 9 krithis. Kamakshi was OVKs kula devata and there is a 600 year old Kamakshi vigraham in OVK’s family that they continue to worship today. May be Dikshithar was inspired by OVKs Kamakshi Navavarnam to do Kamalamba Navavarnam? Kamakshi Navavarnam shows OVKs proficiency in Sri Vidya. It is believed that he took deeksha from Bhaskararaya, a exponent on Sri Vidya. During the same time Tanjore king had asked Bhaskararaya to move from Gujarat to Tamilnadu to spread Sri Vidya worship. OVK has composed 16 krithis on his guru, but he doesn’t discoles his guru’s name.

5.Stop 5: Tiruvaanaikaval – Akilandeshwari
In the phalasruthi of Kamakshi Navavarnam he pleads Ahkilandeshwari asking her to help him get an introduction to Sri Krishna and win his kataksham.

6.Stop 6: Pazhani: Adimudi Kaanatha – Huseni
In this krithi OVK extols the power of Subramanya who sees 5 faces of Shiva that Vishnu and Brahma couldn’t see. The charanam – Padipala vana Pazhani malai mela, parka thigattadha Pazhani urai vela shows OVKs ability to transport listeners with his words and his vivid description. OVK has also composed krithis on Valliyoor Murugan (Gajamukha) and Sikkil Singaravelan (Senapathe Namosthuthe and in the charanam refers to Sathyayathakshi, Sanskrit name for Parvathi in this kshetram).

7.Stop 7: Srirangam: Sri Ranganatham Anisam – Gambira Naatai.
Who will not want to sing on Ranganatha? In the anupallavi of this krithi he describes the location of Srirangam between the two rivers – Cauvery and Kollidam. He elevates the status of Kollidam river by referring to it as Dakshina Mandakini.

8.Stop 8: Chidambaram: Sen Shivajatadhara – Sindhubairavi.
Apart from handling Todi, Bairvai, Sankarabharanm, etc. OVK was proficient in handling ragas like Sindhubairavi. He refers to the now called Dwijavanthi as Dwi Jayavanthi.

9.Stop 9: Pandaripuram: Prasanna Gopala Krishna Pathim Karomi – Dwi Jayavanthi; Panduranga Vittala – Chaya tharangini
OVK has travelled all the way to Pandaripuram to enjoy the beauty of Lord Krishna. Apart from travelling there he has also used North Indian ragams in those krithis.

10.Stop 10: Udipi: Yenna than inbam kandayo kuzhal isaiyil – Devagandhari
He admires the beauty and qualities of Krishna in the krithi. In the anupallavi he refers to the front entrance of the garbhagraham being closed very differently. Mun azhagai kandal moham varum yendru pin azhagai kaanbithayo? In another kriti in Vasantha he tells Krishna that Chandra was ashamed seeing the palette of colors you carry and radiance and as a result he went and hid himself on the head of Shiva.

11.Stop 11: Madurai, Koothanoor- OVK has composed krithis on Madurai Meenakshi and Koothanoor Saraswati (Geetha rasike in Kalyani)

12.Stop 12: Ayodhya: Sri Rama jeyame jayam – Ragamalika (Naati, Varali, Aarabhi, Gowlai, and Manirangu)

When I look at the ragas in this krithi and in Thyagaraja’s pancharatnam, it makes me wonder if Thyagaraja took inspiration from OVKs composition. In this krithi OVK describes various kandams from Ramayana (Bala kandam, Ayodhya kandam, Aaranya kandam, Kishkintha kandam, Yuddha kandam and Sundara kandam) in the first 4 stanzas.

Bala kandam and Ayodhya kandam – Naatai
Aaranya kandam – Varali
Kishkintha kandam and Yuddha kandam – Aarabhi
Sundara kandam and Pattabishegam – Gowlai
Phalasruthi – Manirangu he says “punniya kadalil yaavarum neentha”

In his descripition of Ramayana OVK doesn’t highlight the bad qualities of demonic characters such as Kaykeyi. The krithis starts in a very auspicious note – Sri Rama Jayame Jayam. He refers to Vaali and Thatakai not as vadham but as moksham. He refers to only Maarichan as vatham and not even Raavana. He highlights Rama’s kaarunyam towards Ravana in the krithi “indru poi naalai vaa”. He ends the war and Ravana’s death in a very beautiful way – Jayam kandu pushpakam yeri. In the Paatabhishegam he describes those surrounding Rama and when it comes to Hanumar he says, “un perum paadhathinai thangi”.

OVK has composed operatic krithis – Ramayana, Mahabaratha, Daksha Yagnam, Prahlada Charithiram.

The 12 stop Ravikiran’s pilgrimage came to an end with the rendition of a Baktha bhagatheya Anajaneya krithi in Madhyamavathi. Other artist on this journey who rendered the krithis were Deepika Varadarajan (Sudha Raghunathan’s disciple – she sang the Ramayana Krithi, Anahita Ravindran (Ravikiran’s disciple) and Prasanna Venkatraman (Sanjay’s disciple).

PS: He is engaged in a dialogue with the OVK’s family to get many of his krithis into the performing arena. Let us congratulate him for his efforts and wish him the best.

MS’s gems comes to Sudha’s rescue during Nava vidha bakthi

Thematic concerts put two kinds of responsibility on the artist. One, trying to find right krithis to fit the theme and second, is to adhere to the concert paddhati (mix of suddha and prati madhyamam ragams, composers, raga alapanai, nereval, swaram, thani avarthanam). At times artist take the short cut to fit songs they have learnt over the years into the theme, and that is like trying to take the existing blouse to buy a matching new saree. Yes that is lazy logic! Get it? Rasikas have been trained over the years in this format put together by Sri Ariyakudi Ramanuja Iyengar and when artist don’t follow, rasikas like me get disappointed. Then there is the third kind of responsibility that is thrusted upon on artist by organizers when the praise and take the artist on a levitation trip, just like how Subshree Thanikachalam (ST) elevated Sudha Raghunathan to the super star of Carnatic music because it was Dec 13 and it is Rajinikanth’s birthday. So did Sudha deliver to three counts responsibilities to hall packed audience?

Shlokam – Shravanam keerthanam vishnosmaranam padhasevanam archanam, vadanam, daasyam, sakhyam, atma nivedhanam – Prahlada charithiram – Bowli
1.Shravanam – Sudha Maadhurya – Thyagaraja- Sindhuramakriya
Ramakatha Sudha – Thyagaraja – Madhyamavathi
2.Keethanam – Vyathu Vaazhveergal – Andal paasuram – Gowlai
Ongi ulagalandha – Andal paasuram – Aarabhi
Kaadar kuzhai aada – Thiruvembpaavai -
3.Smaranam – Yen neramum – Devagandhari – Gopalakrishna Barathi
Smarane Onde – Malayamarutham – Purandaradasar – Ragam, Nereval, Swaram
4.Paadhasevanam – Sri Ramapadhama – Amruthavahini – Thyagaraja
Brahma Kadigina – Mukhari – Annamacharya
5.Archanam – Sompaina – Ahiri- Thyagaraja
6.Vandanam – Vandanamu – Sahana – Thyagaraja
Gandhamu Pettanura – Thyagaraja
7.Daasyam – Dasanamadi – Nadanamakriya – Purandaradasa
8.Sakhyam – Ponnar Meniyena – Sundarar -
Vadavarayai – Ragamalika – Illangovadigal – Silapadikaram
9.Atma nivedhanam - Hari Tuma Haro – Darbari Kananda - Meera bhajan

Here are two other interesting facts revealed by (ST) during her accusative appreciation session. Vanja pughazcchi?
1. Sudha gave me the topic 12 days back when I was getting ready to print the invites. Sudha was also nervous that she had not prepared.
2. Sudha has a 40 page note book in front of her and she has delivered.

My cribs:
1. Why this dime a dozen song list? Are you giving your rasikas “hear one get one free” for each of the bakthi’s? In your unprepared status are you presenting all the songs you know?
2. I have been hearing Sudha since she started singing and the only 2 songs she has learnt for this ocassion are Vadavarayai and Brahma kadigina.
3. It was sad to see you looking at the paper even for Azhwar paasurams? It is your guru who popularized them and you need a reading aid? Even housewife and rasikas know them byheart.
4. Failing to deliver on the concert paddhati – just one raga alapana!
5. You could have spoken less and sung more.

My appreciations:
1. Malayamarutham alapana reminded me of her guru impeccable rendition. Sudha delivered on malayamarutham on dot.
2. Immense stage presence to manage the show with every little hardwork.
3. Voice and brigas that flow effortlessly.
4. Embar Kannan, Patri Satish Kumar and Raman – what a team work!

A Mami special:
An irate mami who sat behind me was literally cursing Sudha for not learning any new songs and what came to Sudha’s rescue was those rendered and popularized (Brahma kadigina, Dasanamadi, Vadavarayai, Hari tuma haro). She said, “Paatu paadu na calendar podara”. Apparently, Sudha has posed for a 12 sheet calendar for 2011 to raise money for her Saamudhaya foundation.

Q&A session:
During the Q&A session, a rasika had asked Sudha to distinguish between Sampradaya sangeetham, Shastriya sangeetham and janaranjaka sangeetham.

Sampradaya sangeetham – this is something that I learnt from my guru and she in-turn learnt from her guru. She gave an example of Raka Sashivada – Takka- Thyagaraja kriti and how GNB has vivaciously delivered and how she has been a part of the chain carrying it forward from MLV.

Shastriya sangeetham – this is sticking to the science of music. Taking what is permitted within the raga swaroopam and building it based on your karpanai and manodharama. She demonstrated how GNB would sing a sangati and how her guru MLV would and how she takes both of them together.

Janaranjaka sangeetham – She takes the example of “Vishamakara kanna” and everybody in the audience claps. May be Sudha took a dig at Aruna Sayeeram? Vishamakara Sudha? :-) I leave it to your imagination and interpretation.

My advice:
1. Just learn those songs sung and popularized by MS and deliver without paper and perfection, the world will sit at your feet. Nobody has filled the void or capitalized on the songs she rendered. Rasikas are hungry and waiting for another MS.
2. MS reached the peak of bakthi (Atma nivedhanam) by just delivering music. The songs she delivered are enough to get you all that you want in this world and in the other world.

3.Losing a guru early on in life is like losing your husband or ever more than that. You lost MLV in your prime and have come up with shear hard work. But remember you have many more miles to go.

Finally, did Sudha deliver on 3 counts?I was in a double mind after hearing Sudha at Indira Sivasailam Endowment concert, but I decided to stick it out for her. And it was MS gems that came to her rescue. Well you make your decision!

Sanjay stuns audience at Barathi Moovar Concert!

Sanjay’s homework and concert planning wins him a big applause at Jaya TV’s Markazhi Maha Utsavam. He had chosen “Barathi Moovar” as a theme for this year’s concert. So who could the trio be? Is it Gopalakrishna Barathi, Subramanya Barathi (today is his birthday) and Suddhananda Barathi? Well it was Kavikunjara Barathi, Mazhavai Chidambara Barathi and Suddhananda Barathi.

Sanjaya uvacha:
1.Siddhi Vinayakane – Kalavathi – Kavikunjara Barathi
2.Poomel valarum annaiye – Ananda Bairavi – Swaram - Mazhavai Chidambara Barathi
3.Ullam urigi urigi – Kanakangi – Suddhanandha Barathi – Alapana
4.Karunai thandhu yennai aalamma – Begada – Alapana, Nereval, Swaram - Mazhavai Chidambara Barathi
5.Deivam undu yendru nambu manamey – Kalyani – Kavi Kunjara Barathi - Alapana, Nereval , Swaram, Thani
6.Ivan yaaro ariyen sakhiye – Kambodhi - Kavi Kunjara Barathi
7.Paaril uyarntha nilam – Virutham – Ragamalika – Suddhanandha Barathi

Sanjay started the concert invoking Ganesha in Kalavati ragam. Hindustani too has “Kalavati” and Muthuswami Dikshithar also refers to Yagapriya as Kalavati. But this kalavati falls under Chakravaham s,r,m,p,d,s and s,d,p,m,g,r,s.

After the brisk Kalavathi Sanjay moved on to Ananda Bairavi. He gave an outline and started the beautiful kriti Poomel valarum Annaiye paying tributes to Goddess Saraswathi. The pallavi is lyrically melodic with alternate lines ending with Vani, Veni, Sarvani and Sukhavani. The song was definitely new to violinist Varadarajan and he had to wait for Sanjay at many places.

Before starting the next kriti in Kankangi, Sanjay gave this little information that Suddhananda Barathi has composed songs in all the 72 melakarthas. Sanjay’s raga detailing of Kanakangi was Suddham like the notes in Kanakangi (shuddha rishabham, shuddha gandharam, shuddha madhyamam, shuddha dhaivatham, shuddha nishadham). There are not too many krithis in this raga, thus making the scope of raga alapana limited.

Ullam urigi urigi anbu vellam aagatho parama was the pallavi of the song. It made me wonder, if it was a question, a statement or it was a thaapam Suddhananda Barathi was sharing with almight. Charanam has some wonderfully penned lines – aaviyagi, velli paniyaagi, minsaram aagi – Sanjay’s voice became all that he sang.

Sanjay now moved on to Suddhamadhyama ragas. He picked up Begada and flashed the trademark phrase creating instant recall in the minds of rasika. Varadarajan further embellished the raga before the lyrical beauty of the kriti Karunai thandhu aalamma was presented. Nereval was picked up at Anbarkkau arul kataakshi, Akhila bhuvana saakshi and culminated in garland of kalpanaswarams.

Do we have tamil krithis that can take Vasudevayani or Sri Subramanyena head on? Sanjay starts to answer with a detailed Kalyani alapana. This is the first Kalayani that I am hearing for the season and Sanjay has sent the benchmark really high. He renders the krithi “Deivam undu yendru nimbu manamey” on Subramanya and people around me get deeply involved using both their hands for a simple aadhi talam. The exercise of nereval, swaram and thani was done with perfection.

Do we have tamil padams? Yes! Ivan yaaro ariyen, Kuravanji padam in Kambodi was brought out and presented like a pearl. Charanam has some beautiful lines “Paadhathil oru mangai, pakkathil oru mangai, thirumaarpil oru mangai”. If Kavikunjara Barathi was around, I would like to ask who inspired him to write such lines.

Sanjay finally finished a concert with a patriotic virutham Paaril uyarntha nilam, thanga pacchai sezhitha nilam and used multiple ragas to pay his patriotism. I was engrossed in writing the lyrics and I remember hearing Sindhubairavi, Kaapi and Madhyamavathi. I know there was one or two more to this.

What went missing in yesterday concert today came to life. Only 7 songs were presented for the evening and selection of songs, mix of suddha and prati madhyama ragas and concert structure gets Sanjay a homerun straightaway. All of them were new krithis and unheard for rasikas and the violinist. Sanjay proved that Tamil compositions are in no way inferior to Trinity’s composition and we have tamil equivalents that can take on Ammaravamma, Vasudevayani and Himadri Suthe. Infact Sanjay presented a tamil padam towards the end of the concert. One could see Sanjay investing so much time picking the right ragas, krithis and was fully prepared to deliver the concert without a piece of paper in front on him.

Sanjay, thanks for giving us the faith that Carnatic Music is in the right hands of a few people. Hope you create more you through your students. We also sincerely hope your colleagues will learn from you. We look forward hearing more of you this season and in the coming years!

Dilution of Music at Jaya TV Markazhi Mahautsavam 2010

Are thematic concerts restricting the scope of the artists selecting songs and ragas? What does this mean for average listeners? Do thematic concerts give artists an opportunity to show case their vidwat? Is it a learning opportunity for the audience? Do themes bring down the focus and shrink the boundaries of carnatic music? Do they deviate from the traditional Carnatic music concert format? Do artist really prepare for the concert or they try to fit in all songs they know for the evening? Come on with me to Chettinadu Auditorium for Jaya TV Markazhi Utsavam where evenings concerts are thematic. Appanum Suppanum was this year theme given to Ranjani & Gayathri (RG). Well Appan refers to Shiva and Suppanum refers to his son Subramanyan.



Take a minute and scan through the songs presented in the 2 hour concert.

1. Saravanabhava – Revagupti – Muthuswami Dikshithar - Sanskrit

2. Paramanandha natanam – Kedaram – Swati Thirunal – Chittaswaram and artist’s Kalapanaswaram - Sanskrit

3. Chittam Irangadhadhenayya – Sahana – Papanasam Sivan - Tamil

4. Pantuvarali –Siva Siva- Thyagaraja – Ragam, Neraval, Swaram - Telugu

5. Kaalai thooki – Yadukula Kambodhi – Gopalakrishna Barathi - Tamil

6. Madhyamavathi – Saravanabhava Guhaney – Papanasam Sivam – Ragam, Nereval, Swaram & Thaniavarthanam - Tamil

7. Thayir chirandha – Virutham – Kambodhi, Amrithavarshini, Jonpuri - Tamil

8. Yeppovaruvaro – Jonpuri – Gopalakrishna Barathi - Tamil

9. Shankara sri –Basanth – Swati Thirunal - Hindi

10. Villinaiotha – Kavadi Chindu – Subramanya Barathi - Tamil



Here are my cribs and food for thought for R&G:

Revagupti shares a close resemblance to Bowli and is definitely a good start for concert, but why not start with a colorful varnam? Lalgudi has many varanams composed on Subramanya. Muthuswami Dikshithar composition is no inferior, but could have been reserved for the later in the concert. Nothing can substitute a brisk varanam like a morning coffee!



RG: May be lack of proper homework?



A brief alapana of Kedaram could have helped, but instead the duo jumped straight into Swati Thirunal’s composition Paramananda Natanam. The composer has put a lilting chittaswaram for the song, but why should the artist force a Kalpanaswaram in the end? A raga alapana of Kedaram could have embellished the song.



RG: Let concerts also involve planning of the songs and not just contrasting costumes, make up and jewellery.



A brief sketch of Sahana was shown and the artist jumped directly to Papanasam Sivan’s krithi. The rendition of the song was sterling silver, but 3 quick songs without any raga alapana made the concert hit a lull. Finally when Gayathri picked up Pantuvarali my slouching spine turned straight. Karthik on the ghatam and Manoj Siva on mridhangam eventually turned Thyagaraja’s Pantuvarali kriti on Shiva into Markazhi bajanai time.



RG: Everybody wants to reach the peak MS reached, but seldom do they realize that it was MS discipline to adhere to tradition that put her on the peak. Next time when you do your homework ask 10 times - What would MS sing? This must get you to perfection.



Did you look at multiple compositions from the same composer in the song list? Women, what were you trying to present on the stage? Was it a thukkada night? It could a 2 hour concert, but you could have restricted to 7 songs and given more quality performance.



The highlight of the evening was the sudden jump from Carnatic music to Hindustani sangeeth by the sisters. We understand that you both have lived in Bombay and learnt Hindustani, but why do we want to eat paanipuri during a full course south Indian meal on the banana leaf? As though you have completed exploring the boundaries of Carnatic music you now move into Hindustani Sangeeth with that Basanth alapana, doing no justice to Hindustani.



RG: What an exhibitionist attitude!Learn to differentiate yourself from the rest by singing a pure Todi or Sankarabaranam, not just throwing an alien Hindustani raga like Basant or Batiyaar. And as a result you get zero credits from serious Carnatic rasikas and Hindustani rasikas. So are you singing for the in-between and quacks?



For all the 120 mins of tamasha, Subhashree Thanikachalam (ST), Producer of this show gets on the stage and commands the public to give the sisters a standing ovation.



ST: Standing ovations are given as a result of what music does to the audience and not beacause you say so! Also understand that not to everyone in the audience agrees to dance to your stupid themes and tunes, though be people on stage do! You may be good at producing TV shows, but Carnatic music is more pure and far superior to TV shows.



Truly, Yeppo Varuvaro....yendhan Kali theera....what a befitting song for the evening! You get a chance to come on the TV and write stupid questions to be chosen for the evening, but there is absolutely no learning opportunity! As a result of the 2 hour thematic concert artist were neither able to showcase their vidwat nor educate the average listener. Music Academy may have political under currents but has more quality than this 11 year old Jaya TV Markazhi Mahautsavam. I don't mind living listening to the old records of Masters from the bygone era to satisfy my musical hunger than spoil my taste with sub-standard music.



RG, You need to be very responsible if you are going to sit in the center of the stage. May be you guys are better as violin accompanist? Time to think!

An evening with Saint Thyagaraja

It was a rainy weekend but that didn’t deter the music aficionados in Chennai from congregating at Chettinadu Auditorium to hear and enjoy the gems of Thyagaraja. Among Thyagaraja’s compositions the Utsava Sampradaya Krithis stay on the top, like the crown jewel. He composed these songs describing the rituals(inviting/invocation, oonjal, nalangu, mangalam, haarthi, lullaby) that he performs during his daily worship from sunrise to sunset (rain or shine) and some during special festival worships like Rama Navami. Thyagaraja sang these for only Rama and Sita. Though these songs are sung in weddings today and many at times Rama and Sita are replaced with bride and groom’s name.

The curator for the gem show was none other than Sowmya (a befitting choice) and the performers were the finalist from Jaya TV’s Carnatic Music Idol 2010, Brinda Manikavasagam, Sri Ranjani Santhanagopalan (daughter of Neyveli Santhanagopalan and Bavya (daughter of TV Soundaravalli). Well Thyagaraja doesn’t need any brand ambassadors for presenting his krithis, but one needs the right curator to explain the musical nuances of the krithis and present the right interpretation of the lyrics.

There are 27 such songs that deal with various rituals associated with the traditional models of devotion (pooja vidhi). Musically, Utsava Sampradaya Krithis can be divided into two kinds, Ekadhatu and Dwidhatu. In Ekadhatu, the pallav) and the following stanzas (charanam) have the same tune. In Dwidhatu they are structured differently. All these songs have, generally, simplicity as the key-note enabling all the devotees present with little or no musical training to join in chorus. Finally these are songs that help spread the joy not only of music but of serving and singing the praise of the Supreme Being. All these krithis are set in old and traditional ragas.

Sowmya and her team presented 14 of the 27 songs.

1.Heccharikaga – Yadukula Kamboji – Invocation song -Swagatham is extended to Rama as he enters the darbar to bless his devotees. Thyagaraja asks Rama to walk slowly to the Darbar. It is more of upacharam than a mere invite. He describes his radiance and extols his gunas and virtues. Each line of the pallavi and the charanams end in a very rhythmic fashion. Yadukula Kamboji is very old and traditional raga and Sangam literature refers to this as “Sevvazhi pan”. It is not an easy raga to pick up and detail and requires lot of mettle. The composition is sung with utmost love, devotion and bakthi.

2.Pavanajastuthi – Kurunji –Oonjal song. This beautiful krithi announces the wedding of Rama and Sita. The 6 Charanams beautifully describe the virtues and beauty of Rama, while the pallavi makes up to Sita by singing “Seetha kalyana vaibhogamey”. Again every charanam is set rhythemically. Ex: Charithraa and Gaatra, Jaala and Paala, Kaama and Dhaama, etc. Kurunji is yet another old raga born in the mountains. The gait, amplitude, swing, twist, pull, stretch in the raga is beautiful brought out in the lyrics. Same song is popularly sung in Sankarabharanam.

3.Nagumomu – Madhyamavathi – Nalangu song. Thyagaraja uses superlatives to describe Rama’s qualities - Devadi devuuni, divya sundaruuni, etc. Pallavi and charanams end with “uuni”. Again he glorifies his qualities attributing it to Sita –Janaki varuni, Seetha raghavuni.

4.Napaali Srirama – Navaroz –Nalangu song. In the first line of every charanam Thyagaraja extols Rama’s qualities and in the second line he asks Rama to show his feet so that he can apply the mixture of chunnambu and turmeric and pray for sharanagathi. Thyagaraja also shows that doing service to Rama’s feet (paadhasevanam) is the easiest way to find a place in his heart. In the last stanza he says, just like a pauper who finds happiness a pot of gold, I find happiness in you. Navaroz sounds similar to Kurunji and is yet another old raga. Kurunji stops with Ni in the lower octave, while Navaroz stops with Pa in the lower octave. Appar has sung a Thiruthandavam in this raga. Some sing this krithi in Sankarabharanam too.

5.Jayamangalam – Nadanamakriya – Mangalam for Nalangu. Rama and Sita are themselves victory (jayam) and prosperity (kalpakavruksha), why would they need victory and prosperity? By singing their qualities, beauty, radiance, lineage, etc. one can win life and death like how Gajendra and many other devotees.

6.Pathikihara – Surutti – Haarathi krithi. Thyagaraja address the Lord as Sita’s Rama and he calls upon the beautiful women to perform haarathi to Lord of the universe, lord of pure and soft speech with pride and without any delay.

7.Koluvayunnade – Devagandhari – Rama Durbar -Rama parivar adorns the throne and is surrounded by the celestial entourage – Sage Sanaka, Indira, Brahma, etc. Thyagaraja pictures himself as a servant rolling beetle leaves and offering it to the Lord while Sita is busy applying sandal paste on the Lord. What a way to enjoy the Lord! Devagandhari is a tricky raga to handle, especially with its twin Aarabhi, but if handled deftly it can be more fragrant than sandalwood. This kriti is faced paced among the lot and it set in madhyama kalam.

8.Shobaane – Pantuvarali – Salutations. with just 2 words Thyagaraja finishes the Pallavi of this krithi- Shobaane Shobaane – Salutations! Salutations. He salutes the Lord who quells the pride of Parasurama and who is ready to extinguish the fire of sin with rain of compassion for those who surrender.

9.Ksheerasagaravihara – Anandhabairavi –Oonjal. One of the rare krithis of Saint ThyagarAja in this raagam as a result of his pledge to an Archakar , who was an expert in rendering this raagam. This Anandabairavi krithi has a folk touch.

10.Uyyalalogavayaa – Neelambari – Oonjal - Invitation to the Lord to enjoy the swing set up in a gem- bedecked hall in front of all dEvAs). Yet another composition where he turns into a mother to get Rama to sleep. He has demonstrated the “Navavidha” bakthi in his krithis. Who can enjoy Rama more than Thyagaraja?

11.Laali Laalayya Laali - Kedaragowalai -oonjal Sevai in a special Mantapam and offering of Many UpachArams in a long krithi with 7 charaNams.

12.Rakshapettare – Bairavi – ward off the evil - Sri Thyagaraja sings utsava sampradaya song of an evening routine of warding off evil sight. It is a mother who usually wards off evil and protects her children and Thyagaraja takes the role of Rama’s mother. He calls upon Lakshmi to apply auspicious mark to ward off evil at dusk.

13.Pulapaanbu –Ahiri – Making the bed for Rama. Sowmya referred to this kriti in her presentation, but didn’t sing that evening. Here, Thyagaraja asks Rama to lie down on the bed of flowers he has to offer.

14.Jo Jo Rama – Ritigowali – Lullaby. Another motherly moment of Thyagaraja. He starts with praising the Lord’s birth dynasty and goes to enjoy the curly ringlets, his beautiful eyes (Surya, Chandra), his reclining posture on Sesha and requests him to fall asleep. The arohanam and avarohanam of Ritigowalai swings your heart back and forth and puts its to sleep.

15.Melukovaiyya– Bowli – Waking up of Rama. Thyagaraja requests the King of Suryakula to wake up. He requests Rama to hear the song of Narada and other sages and even tries to entice him fresh butter and milk. Finally he says the universe is waiting for you, so please wake up.

In many of the Utsava krithis you will find that Thyagaraja brings in Narada, Indira and Devas in the Krithis. Are these people close to Rama or to Thyagaraja or both? He narrates Surya and Chandra as Rama’s eyes.

Thyagaraja never had a star cast, glittery set up, and glamour to popularize his krithis. He sung these krithis cherishing the relationship he shared with the Lord, while employing simple, basic and traditional ragas and thalas in Carnatic music putting forward his love, devotion, bakthi for Rama. What Thyagaraja had sung during various sevas for his Ishtadevata was presented in 120 mins – clear, clean, and crisp. It was an evening with Thyagaraja’s Rama.

1. It was heartening to see Senior Musicians like Sowmya coming forward to share the knowledge and educate rasikas and upcoming musicians.
2. Sowmya is always a stickler when it comes to stage decorum, for once she allowed students to look at the lyrics while singing the krithis. Why Sowmya?
3. Students could have practiced more and sung with more perfection. We will excuse since it is a learning opportunity for them.
4. Pakkavadhyams played so well to the raga, mood, ritual and lyrics. They were never loud or trying to steal the thunder at any point of time.
Thyagaraja never had star cast, glitter, and glamour to popularize his krithis. He sung these krithis cherishing the relationship he shared with the Lord, while employing simple, basic and traditional ragas and thalas in Carnatic music to put forward his love, devotion, bakthi for Rama.Thyagaraja addresses Rama in many ways, as friend, God, father, son and master. Rama was his Kuladaivam (Resident-deity) and Kuladhanam (heirloom or legacy).

You can access Vidushi R. Vedavalli’s interpretation of Utsava Sampradaya Krithis.
1.http://www.mediafire.com/?w2qzat5mmkm Invocation and introduction
2.http://www.mediafire.com/?gwnnmnoywnc Sanskritslokam - Yadukulakambodhi
3.http://www.mediafire.com/?gmajuy1lzro Hecharika - Yadukulakambodhi
4.http://www.mediafire.com/?n2d2knoody2 Introduction
5.http://www.mediafire.com/?0rgwyrwdvzm Pavanaja - Kurinji
6.http://www.mediafire.com/?anyigchqnw5 Introduction
7.http://www.mediafire.com/?m2jjmmcnj0w Koluviyunnade - Devagaandhaari
8.http://www.mediafire.com/?4dzkytmmmr0 Introduction
9.http://www.mediafire.com/?ibbormmlzmw Nagumomu - Madhyamavathi
10.http://www.mediafire.com/?lthwghndjjy Introduction
11.http://www.mediafire.com/?z4d0zmi1nzz Naa paali shri raama - Navroj
12.http://www.mediafire.com/?znkmdaomztm Introduction
13.http://www.mediafire.com/?cdcnnuacxyu Jayamangalam - Naadanaamakriyaa
14.http://www.mediafire.com/?2rrkynnnf5t Introduction
15.http://www.mediafire.com/?kt3i2g0wmmz Pathiki haarathi - Surutti
16.http://www.mediafire.com/?az5znwzhvnv Pathiki mangala - Aarabhi
17.http://www.mediafire.com/?qwzcotyduxy Introduction
18.http://www.mediafire.com/?0yoywi5htdf Shobane - Panthuvaraali
19.http://www.mediafire.com/?zimk44mozcy Introduction
20.http://www.mediafire.com/?m1wwzzddozg Ksheera saagara - Aanandhabairavi
21.http://www.mediafire.com/?yde4zyiz3fd Introduction
22.http://www.mediafire.com/?kqojoj0tzyw Aaragimpave - Thodi
23.http://www.mediafire.com/?itumzemzqyj Introduction
24.http://www.mediafire.com/?ojdfkyytlzj Vidamuseyave - Karaharapriya
25.http://www.mediafire.com/?midiyqwizjo Introduction
26.http://www.mediafire.com/?3fzzimdtyx1 Laali laalayaani - Vedgoshapriya
27.http://www.mediafire.com/?jxh02jmdzty Introduction
28.http://www.mediafire.com/?mnukuydqjlt Laali yugave - Neelaambari
29.http://www.mediafire.com/?gwbimx0ymi3 Introduction
30.http://www.mediafire.com/?kcjijzjytyb Laali gunashaali - Kedhaaragowla
31.http://www.mediafire.com/?limnonzuwmo Introduction
32.http://www.mediafire.com/?rgyn2ikztug Raama sriraama laali - Sankarabaranam
33.http://www.mediafire.com/?mkoxzwyeoqe Introduction
34.http://www.mediafire.com/?mtjo2mdmndt Badalikaadhira - Reethigowlai
35.http://www.mediafire.com/?dwftymnqdo3 Introduction
36.http://www.mediafire.com/?gdjm2mlmde5 Sri raama raama - Neelaambari
37.http://www.mediafire.com/?y1jnyezy22n Introduction
38.http://www.mediafire.com/?ftkkmkiyxwh Jo jo raama - Reethigowlai
39.http://www.mediafire.com/?2mmnihgimem Introduction
40.http://www.mediafire.com/?zdzgvomz5f4 Melukovayya - Bowli
41.http://www.mediafire.com/?wrwxhzet2mj Introduction
42.http://www.mediafire.com/?51yzzttmmmr Meluko dhayanidhe - Sourashtram
43.http://www.mediafire.com/?hnnyzzgzntj Introduction
44.http://www.mediafire.com/?wnmjzmmyiyu Jaya mangalam - Ghanta
45.http://www.mediafire.com/?vi2ntjn2m2j Mangalam

December Music Season 2010

The stage is all set for December Music Season 2010. Some big wigs have announced a fewer concerts this season (Aruna Sayeeram, Sudha Raghunathan and Bombay Jayashree), while some like TM Krishna have gone on sabbatical to hone their listening skills. I hope this should give upcoming artist and those from outside of Chennai a chance to showcase their talent and learning. I plan to attend roughly 40 concerts this season across 18 schools of music. Not sure if these Sankarabharanams and Todis will taste like vetthakozhambu or morekozhambu.

(Click for an enlarged view)

Let me know if you are planning to come to Chennai. It is good to catch up over Shankarabaranam, Kaambodhi, Karaharapriya, and Todi, than just Kaapi and Adai aviyal. Don't sweat if you are not going to be part of the season, I will review every concert for you. Narashiman, did you hear that? Ramji where are you?

Not sure how many Sankarabharanams, Thodis', Bairavi's I am going to hear. But Im sure to overhear some Mami gossip to make the season reviews more interesting.
Keep checking on the blog for reviews.