I.5HRUTHI (VAYAK ARCH AIM A PRAVEEIM KUMAR .M VEEIN1A .R.V RAIMJITHA 60VINDARAJU RAJALAK5HMI

lARSHIIMI MANJUIVATH

Nava Rangapraveshotsava-2003-04
from 16-2-2004 to 20-2-2004

Dept, of Kannada and Culture

&

Sri Vivekananda Kala Kendra

KANYAKUMARI

HREEVALLY .B.K CHETHANA

SHRLJTHI .R

LAK5HMI .B.K

Transport & Information Commissioner & a great patron
of music and dance LM.Vitthalamurthy honouring veteran
vocalist Uma Nagabhushan of Dombivili, Mumbai

The new director of
Dept, of Kannada & Culture

Poet - Bureaucrat V. Srinivas

Wish all of you a
Happy & Prosaperous
Sri Thaarana Naama Samvatsara

Ugadi

GUNAGRAHI/ MARCH

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Karnataka’s only English International Journal on music and dance

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| GUNAGRAHI /MARCH— 2004

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Editor General

Karnataka Kata Sri

Dr. M. Surya Prasad

Phone : 22253975

Associate Editors : Usha Kamath Ph : 25598886

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Vol. VI Issue 10 March-2004

Inside :

40 principles of Hindusthani music 4

From the Editor General 5

Reviews 7

Mumbai Meets 10

‘Garland ’ N.Rajagopalan writes 1 1

Calendar of Events 13

Advertisement 14

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GUNAGRAHI / MARCH-2004

Continued from page no.4.

22. The ragas in wnicn both the Ma appear are similar in nature. The aaroha is different but
the avaroha is quite similar.

23. In the ragas sung at 1 st prahar of the night and which have both the Ma, Shuddha Ma is
taken in both aaroha as well as the avaroh but Teevra Ma is taken mainly in aaroh.

24. In ragas of 1 st prahar of the night aarohi Ni and Avarohi Ga are Vakra. Ni in the avaroha
is not emphasized.

25. In Hindusthani classical music as opposed to the Kamatak classical music, the swar is
more important than the Taal.

26. The poorv ragas show their special characteristics in the aaroha where as the uttar ragas
show their special characteristics in the avaroh.

27. Each Thaat can produce poorva and uttar ragas.

28. In the ragas of the serious, calm nature Sa , Ma , Pa seem to have a prominent place.
They are more effective in the Mandra Saptak. Whereas in the ragas of light mood, this is

not found to be so.

29. While entering from one Thaat into another Thaat, Para Mel Praveshak ragas (ragas on
the border of the two Thaats) are rendered.

30. The sequence normally followed is sandhi Prakash raga then ragas with Re Dha shuddha
then the ragas with Ga , Ni komal.

3 1 . Sandhi Prakash raga invoke Karuna , Shanta rasas. The ragas with Re, Ga , Dha
shuddha invoke Shrungaara and Hassya rasa. The ragas with Komal Ga, Ni invoke
Veera, Roudra rasas.

32. The ragas which have Komal Ni normally have Shuddha Ni in the aaroha. For example
Kaphi and Khamaj.

33. When two to four notes are together they cannot be called a raga . They can at best be
called a taan.

34. In raga notes can be prominent or insignificant (insignificant does not mean absent
though).

35. After twelve at night and twelve in the morning Sa, Ma, Pa start assuming importance
gradually.

36. In the ragas sung in the afternoon, Aaroha either does not consist ot Re and Dha or they
are insignificant. In these ragas Ga and Ni really shine with full glory.

37. The ragas with Sa, ma. Pa as Vaadi are of serious nature.

38. In the dawn time ragas Komal Re and Komal Dha are predominant and dusk time ragas

have the prominence of Shuddha Dha and Shuddha Ni.

39. The combination Ni Sa ReGa immediately establishes Dawn - Dusk time raga.

40. Poorva ragas are more elaborate in the aaroha and uttara raags are more elaborate in
the avaroh. O

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GUN AgRAHI / MARCH— 2004

rily one of the varnas of the
famous Tanjore Quartette.

This year’s and the fourth
mjcIi festival was held at

ma Rao & Sudha Rao page

Kittappa Pillai dance festi-
val:

Veteran Guru Kittappa
Pillai was a great exponent of
Bharalanalya. He was an ex-
pert singer loo. He had among
other specialities an impec-
cable sense of laya and his kala
pramana never wavered even
a bit during the course of a
composition. While conduct-
ing the programme, he com-
manded the kala pramana so
majestically that the dancer had
the total freedom to concen-
trate on the dance movements.
This used to give a feeling of
total abandon, extreme joy and
ecstasy for the dancer. After
his death in October 1 999, one
of his prominent disciples and
a noted dancer-choreogra-
pher-Guru Padmini Rao of
Ponnaiah Lalitha Kala
Aademy, has started a dance
festival for youth in the former’s
name to perpetuate his memo-
ries. The young dancers are
provided with an opporunily to
expose their talents. They are
asked to perform compulso-

ayana auditorium. Chandra
Prabha, a disciple of Manjula
Paramesh, gave the first
programme. She seemed to
be good in abhinaya. The
varna in Khamach was well
explored by her in the dem-
onstration of her latent talents.
Archana Shastry charms:
Tall and well disposed
Arachana Shastry, a prize-
disciple of Guru Radha
Sridhar of Sri Venkatesha
Nalya Mandira and the
daughter of an eminent advo-
cate C.N. Sathyanarayana
Shastryprcsented the second
programme. She seemed to
have some problem in her
legs but still, she negotiated
the dance as she wished, with
a compositional command
and grace. She worked out
the Shankarabharana varna
‘Manavi chai’ by Tanjore
Quartette with a textbook
perfection and chamiing for-
mal integrity. With a keen
sense of timing the artiste re-
sponded to every inherent or
marked nuance of shading
and expression. The picture

7

reviews!

of a virtahothkhanthitha nayika
was graphically presented by
her. The nritta and nrithya as-
pects were well taken care of.
In a rarely heard Purandara
dasa pada ‘Maruthaneelendu
ebbisidalanjaneyu’ (set to a
pleasing Vasanthi raga). the
saint-composer describes
Anjana, the mother of
Anjaneya waking him up and
enlisting his deeds to be ex-
ecuted in the service of Lord
Rama. Archana endeared her-
self to the lovers of dance with
her neat abhinaya. In the fol-
lowing Behag javali ‘Idene
sakhi’, one got the glimpses of
Vasakasajjika and Virahoth-
khanthitha nayikas. She had
packed the concluding
Brindavani tillana with some at-
tractive charis, greeva bedhas
and teermanas. Praveen kumar
(nattuvanga), Bharathi Venu-
gopal (vocal), A.Nagaraj (vio-
lin) and V.R. Chandrasekhar
(mridanga) imparted useful sup-
port.

All night musical soiree

The 21 s ' all-night musical
soiree held at the 1 1 Sc
gymkhana under the aegis of
Gururao Deshpande Sangitha
Sabha led by veteran singer
Pandit Vinayak Torvi and

GUNAGRAHI/ MARCH— 2004

tablaji G.S.Hegde provided
not only a treat in Hindusthani
music but also in Carnatic mu-
sic. Ace violinist proficient in
both the systems of Indian
music M.S.Goplakrishnan in-
augurated the festival. Srirama
Deshpande, a disciple of
Pandit Ulhas Kushalkar un-
folded raga Yaman in all its
glory. The bhajan sung by him
was just moving.

MSG & Narmada shine:
Accompanied by his
daughter Narmada, M.S.
Gopalakrishnan was at the top
of his brilliance and expertise
in delineating Maru Behag.
The raga roopa was emphati-
cally, artistically and aestheti-
cally drawn by the artistes.
Another raga Jog was also
featured with all its nuances. It
was noteworthy that the instru-
mental play was captivating
due to the gayaki-based ren-
ditions. Arathi Anklekar (vo-
cal), S. Shankar (Karnatak-
vocal), Ronu Majumdar (flute),
Pt. VinayakaTorvi, Ravindra
Yavagal, Rajedra Nakod,
Gurumurthy Vaidya (tabla),
Vyasamurthy Katti, and
Ravindra Katoti (harmonium)
were the other artistes who
presented their programmes
during the all-night festival.

Resplendent Rachana:

In her “Manjeera Manasa
Yaaga”, a Bharatanatya pres-
entation at Ravindra
Kalakshetra last week, young
R. Rachana gave a creditable
account of her artistry. Trained
by Guru Jyothi Pattabhi of
Sadhana Sangama, Rachana
struck interesting nritta bhangis
with some attractive
paadagatis knit with beautiful
jathis while eulogizing Lord
Nataraja on the basis of
“Narthana Nataraja” set to
Hamsadhwani raga.

The popular Papanasham
Shi van vama in Dhanyasi raga
“Swamiye inda mayam” was
delineated by Rachana in all its
manifestations. The virahoth
khanthitha nayika explicates
her pathetic condition in the
absence of her nayaka
Krishna. All the pleasant and
sweet things annoy her con-
stantly without Him. She
awaits the return of Krishna.
These were neatly depicted by
Rachana in her abhinaya. She
needs to perfect her
ardhamandalis and the subtle-
ties of the laya. The Tamil
pada “Edakkittanai modi taan”
was explored well for
characterisation of a khanditha
nayika. This nayika questions

8

her Lord Shiva and expresses
her angu i sh over H i s contem pt
towards her. Rachana won the
audience applause for her ex-
position. She also did well in
the portrayal of an engaging
Kannada pada by Shavadhani
R.Ganesh. “Illi baarendu
sollisidavanelli” in Behag raga
focussed on the vipralabdha
nayika. A depressed heroine
beseeches the creeper to de-
scribe her pangs to the Nayaka
who had promised to meet her
but never turned up. The por-
trayal could fetch her full
marks. A tillana by mridangist
G.Gurumurthy in Nalinakanthi
raga was the fitting finale. Guru
Jyothi Pattabhiram (nattu-
vanga) led a successful team
of musicians who contributed
their artistry positively.

Dr. Pavithra delights:

It was a delight to watch Dr.
K. S. Pavithra, a researcher in
psychiatry and a disciple of Dr.
Vasundhara Doreswamy of
Mysore, presenting a
Bharatanatya recital filled with
full involvement and dedica-
tion. She had the sincerity of
purpose. And hence whatever
she did on stage at Nayana
during her EFECEP recital es-
tablished an intimate rapport
with the audience. With a fine

GUNAGRAHI / MARCH-2004

orchestral support led by her
Guru Dr. Vasundhara Dore
swamy on nattuvanga she ren-
dered Krishna kauvuthuvam
(Mohana) with ease. She had
Sridharan Mudungadi’s “Koti
punyamu undadi" addressed
to Lord Shanmukha as the
main item of her recital. The
nritta, nrithya and abhinaya
aspects of the vama were pro-
portioned well. While the
nritta and nrithya were of high

standard marked by varieties of
adavus, charis and teer- manas her
abhinaya seemed to be ripened
with a touch of her experience and
expertise. Her facial expressions
were also apt. Pavithra excelled in
her abhinaya and the javali in
Anandabhairavi raga ‘Madhura
nagarilo’ had a vibrant exposition.
As a welcome and successful at-
tempt she had adapted an
Akkamahadevi Vachana
“Chilipiligultuva” to the vocabu-
lary of Bharatanatya. One liked her
sundari neck movements, rich
charis and demanding teermanas
in the rendition of the concluding
tillana set to Dhanashri raga.
Kumara Vyasa Bharatha attracts
The 55 ,h anniversary and con-
vocation of Keshava Nrithya
Shale was held at Ravindra
Kalakshetra for two days. On the
first day morning a symposium
was held dealing with the
Kannada songs to be adapted to
Bharatanatya. Dancer-Gurus
Sundari Santhanam, Lalitha
Srinivasan, • Shakunthala,

Vasantha lakshmi, Dwaraki
Krishna swamy led by veteran
Gum H.R. Kesha vamurthy contrib-
uted their invaluable views on the
subject. Reputed scholar
Dr.R.Sathyanarayana was the co-
ordinator.

In the evening the twelfth dance
drama in a series of eighteen dance
drama under the title of “Kannada
Kavi Kaavya parampare" was un-
folded under the able direction of
Guru Keshavamurthy. Key epi-
sodes from Kumara Vyasa
Bharatha (Maha bharatha by
Gadugina Naranappa were re-en-
acted on the stage. Verses drawn
from the epic were set to Carnatic
ragas and usefully delineated.
Dance composition was by
B.K.Shyam prakash and
Vasanthalakshmi. As usual, the pit
of the Ravindra Kalakshetra stage
was used and it was nice to see
the musicians sitting there and
lending live music support. Male
and female voices were used for
dialogues which enhanced the
dramatic effect. Traditional cos-
tumes and appropriate properties
caught the eyes of the connois-
seurs. The students of Keshava
Nrithya Shale brought laurels to
their Gum with their good perfor-
mances.

Golden jubilee of Sri Rama
I^alitha Kala Mandira:

Sri Rama Lalitha Kala Mandira,
now in its golden jubilee year, held
its 1 7 ,h Spring Music festival at its
premises for nine days. Sri
Devagiri Sangeetha Sabha under
its auspices has been actively en-
gaged in the propagation of

Carnatic music by holding variet-

9

ies of Carnatic music programmes.
The Spring festival featured top-
notch musicians drawing large au-
diences. The open-air auditorium
well suited for these programmes.

Sanjay Subramanyam’s recital
showed that his renditions are
very much worth listening to and
way ahead of all the younger
artistes in evoking raga moods. I
was transported into another
world of bliss when he sang
Shankarabharana for Thyaga
raja’s quaint krithi “Vallagaa
danaka, Seethavallabha, brovu".
Though he could have infused

more bhava into it, the import of
the krithi could impress the audi-
ence. The kalpana swaras ap-
pended to it brought to the fore
his laya acumen. Same feeling per-
sisted while hearing to a
Purandaradasa krithi “Ninna
nambide" set to Mukhari raga.
The swara embellishment was re-
warding.

Sanjay scored well in the selec-
tion and presentation of some in-
teresting ragas. The strong em-
phasis on the vadi and vivadi
swaras and the balance maintained
between them in the alapana of
Neelambari was remarkable. He

A

neatly sang a rare krithi by
Ponnaiah Pillai “Amba
Neelambari". The drawing of the
Saveri raga on a wider canvass war
marked by a couple of ingenuous

strokes. The alapana followed by
the Thyagaraja krithi “Durusuka"
with neraval was never at a loss of
melodic ideas while the rhythm
and melody blending in the rhyth-
mic work of swaras in attractive
patterns was as good as ever.

Pavani, the 41 s ' mela kartha raga
was ihe raga, tana and pallavi
raga. Its portrayal in all its maj-
esty and detail in sectional end-
ings was of a high class. The
pallavi line “Paalimclui
Kamakshi Paavani" with the
name of the raga inserted clev-
erly into it was manipulated in
different speeds and gaits. This
held proof for his Karnatak mas-
tery. H.K.Venkataram (violin).
Vellore Ramabhadran (mrid-
anga) and B.N. Chandra mowli

GUNAGRAHI / MARCH— 2004

“Arul tara” accounted for a
sumptuous feast of Karnatak
classical music.

Vakulabharana was the raga,
tana and pallavi raga. Nagamani
developed raga phrases deli-
cately and with much of the old
magic of her fine lyrical man-
ner. Her tonal finesse beautified
the approach to the higher
sthayis. The characteristically
melodious delineation was fetch-
ing. “Geelha priyc sangcctha
priye raga Vakulabharana priye".

licity I.M.Vitthala Murthy,
IAS. The endearing bureau-
crat Vitthala Murthy observed
that Kuvempu has enriched
Kannada literature with his
contributions. He envisaged a
Universal Man and he had a
far sight. And hence, he was
never confined to Karnataka
only. His Ramayana
Darshanam is an eternal work,
he observed. Later he

(khanjira) did full justice in their
supportive roles.

Artistic Nagamani Srinath
One of the leading female
singers of Karnataka Nagamani
Srinath sang in a clean and pol-
ished manner. Her assets are:
well-honed artistry and a rich
voice which can easily traverse
three and a half octaves. Some-
times one his carried away by
her dual voice effect. All these
were available in plenty in her
concert on the third day of the
festival. Thyagaraja’s “Bhuvni
dasu dani" (Sriranjini), Shyama
Sastry’s “Ninnu vinaga mari" set
to a teasing viloma chapu tala in
Poorvi Kalyani raga and a Tamil
composition by Koteeshwariyer

the pallavi line was ornamented
with the entire traditional pallavi
rendition. Nalina Mohan (violin),
C.Cheluvaraj (mridanga) and

Dayananda Mobile (ghata) rose
to the occasion in enriching the
recital.

Mysore Sangeetha
Vidyalaya, Dombivili, Mumbai
led by a famous vocalist-
teacher Uma Nagabhushan
celebrated the birth centenary
of the Rashtra Kavi
KUVEMPU. The celebrations
were inaugurated by the great
patron of classical music and
dance and also the Commis-
sioner of Transport and Pub-

ANNOUNCEMENT

honoured the Principal of the
Vidyalaya Uma Naga-
bhushan. Suman Chiplinkar
presented a brief account of
Kuvempu's live and works.

The highlight of the cel-
ebrations was the presentation
of Kuvempu’s compositions by
the students of the Vidyalaya.
With music set by Uma
Nagabhushan comprising clas-
sical ragas, it was a delightful
experience to hear them. The
Naada Gcethe “Jaya he
Karnataka Maathe”. “Ellelliyu
neenideyanthe”, “Baagilolu kai

mugidu”, “Yugadi”, “Maagi

P.T.O

As in the past years, this year also Sri Thyagaraja Gana Sabha Trust will celebrate Sri
Shankara Jayanthi Sangcetotsava at Sri Vani Vidya Kendra, Rajajinagar from 20-4-
2004 to 25-4-2004. In this connection competitions are also being held in vocal, instru-
ment and Karnatak percussions on 28-3-2004 and 11-4-2004 respectively. The com-
petitions will be held on the said days from 9 a.m. onwards. For applications, entries
and other details contact the following phone numbers: 2359 1723, 2357 9372, 94480

8* )890, 2372 6937, 2372 2956, 2332 2239, 2357 6102 and 98454 89974. y

10

GUNAGRAHI / MARCH— 2004

■

‘Garland’ N. Rajagopalan from Chennai writes:

Dear Dr. Surya Prasad, Hindu mythology and music refer to varied aspects of Goddess such
as Meenakshi, Kamakshi, Vishalakshi, Neelayatakshi, Meenalochani etc. Our great, legendary
authors and composers have drawn utmost delight in the most picturesque descriptions of the
eyes of deities. Not only they have gripped the attention and imagination of devotees but it has
lent colourful, meaningful feathers to music, dance, painting, sculpture, culture and more par-
ticularly normal living standards by all accounts. It is always a joy to the soul to see a beautiful
face. The joy is greater when the face is cultured. The joy is remarkable if it is that of an artiste
who radiates bhava, rasa with a message. The joy is supreme when it is that of a Goddess. All,
thanks to the beauty of the eyes, the lessons they teach, the message they radiate!

The cover page of Gunagrahi Vl/9 inspires the above thoughts on seeing the wonderful
galaxy of looks portrayed therein. One gathers the joy of seeing the charming child, the loving
sister, the fond mother, the beloved spouse, the patronizing, benedictory Goddess, etc. -all
with meaningful, cultured, suggestive, communicative ‘looks’. Lord! How much have You in-
vested in the looks of the fair sex ! You should have laboured hard to divine and devise them all !
How poorer would our literary and music works, icons, painting, etc. be without them?
Gunagrahi readers should appreciate the good presentation. We wish the artistes all prosper-
ity and thank Gunagrahi for the thoughtful presentation.

Item 2. A personal request: I am now bringing out two works ( 1 ) on ‘Music Therapy’

and (2) ‘A Garland for Patrons’. If you identify the ‘foremost, nishkaama patron’, kindly let
me have full details of him for his lavish patronage of artistes, purely for arts’ sake. Quicker,
the better. Let it refer to his place and date of birth, parentage, occupation, nature of artistic
activities, approach to and kind of patronage etc, — in short, all relevant data that should
highlight his contribution and eminence.

chali” and others sung by them won the instant applause from the audience. Sowmy, Sukanya,
Susheela, Aruna, Aanandlakshmi, Ravikiran, Sowmyashree, Mahalakshmi, Srinath, Padma,
Pavithra and Vi nod Phadke (harmonium), Phaneesh (mridanga) and others stole the show.

B.L.Lalitha of Bangalore Doordarshan presented a captivating Bharatanatya featuring
“Valmiki bhagya” based on Kuvempu’s Ramayana Darshanam. Her choreography was all en-
compassing and enthralling. Srivathsa (vocal), Chandramowli (mridanga), Brinda (nattuvanga),
Vi vek(fl me)gaveexce l jen tsupport .

Tarangini Veena trio concert featuring Dr.Suma Sudheendra and her disciples
C.M.Praveen and B.Divya accompanied by B.C.Manjunath (mridanga), S.N. Narayana murthy
(ghata) and B.K. Chandramowli (khanjira) at Ananya Sabhangana, Malleshwara on Friday
1 9 lh March 2004 at 6.30 p.m. The concert will be followed by a question-answer session on
the Tarangini Veena.

it

With Best Complements from:

- 'y\

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izvi» V/.v ■,

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14

L.E.I.S.U.R.E.

S>

[S'

vK.Lakshminaravaiia (Babu) Page

1. Chitta Ranjani is a

2. It is derived from

raga

melakartha

raga

Give its scale.

What is its speciality?

Name the famous krithi in China Ranjani
raga.

What is Chittam?

What do you mean by Chitta taanas?
What do you know about them?

PHOTO QUIZ

Name this instrument ?

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SOLUTION TO PHOTO QUIZ

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9. They are usually taught in raga.

10. Kadri Gopalnath has been selected for

national award.

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15

GunagraHi
Monthly Journal

RNI Rcgn. No. 69 1 49/98
Rtgn. No. CJPMG/KA/liGS-^2/2003-05

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Editor General : Dr. M. Surya Prasad