The Karnataka Gana Kala P&rishath Awardees r Gana Kala Sri H.K.Venkataram V Gana Kala Bhushana ft / Dr. T. Sachidevi “Hamsadhwani Puraskara” presented to R.R.Keshavamurthy R.K.Srikanthan CALENDAR OF EVENTS: Shantala Arts Academy presents “Dasara Samskrulika Mela” (at 6.30pm every day) at No.7. Pulakeshi Road. Behind Petrol Bunk, 1st Main, Ycshvvanlhpur. 1 5th Oct., Fri. : Vocal Duet by Brinda Madhusudhan and Suma Krishna, 16th Oct.. Sat. : Devaranama by Bharathi Vcnugopal. 17th Oct . Sun.: Harikathaby Bhadragiri Sarvothama Pai, 1 8th Oct., Mon.: Vocal Recital by Akshata Bolar. 19th Oct.. Tue.: Instrumental Music by "Lava Surabhi” directed by M.Vasudeva Rao. 20th Oct., Wed.: Gamaka by Nirmala. Vyakhyana by Prasanna. M.E.S. Kalavedi presents Drama, “Jo Kumaraswamy" by BENAKA on 1 6th Oct., Sat.. 6.30pm. Veena-Venu Duet by D. Balakrishna and Vainshidhar on 1 7th Oct.. Sat.. 6.30pm at New Conference Hall. M.E.S. College. 15th Cross. Malleswaram. 24th Oct., Sun., 6.00 pm : lndiranagur Sangeetha Sablia presents Vocal recital by Manasi Prasad and Parly at Purandara Bhavana, 8 1 h Main. HAL II Stage. 24"‘ Oct.. Sun.. 5.30 pm: Sri Vinayaka Sangeetha Sabha presents Classical Music by Deepa and Roopa (Kasaravalli Sisters) and party at Sri Vinayaka Sangeetha Sabha, Sir M.V Nagar. A.H.C.S. Layout. 29th Oct.. Fri., 6.30 pm : Nadajyothi Sri Tyagaraja Swamy Bhajana Sabha presents Vocal Recital by Gowri Natarajan with Dr. S. Nataraja Murthy (Violin), R.P. Ravishankar (Mridanga) at Sri Kannyakaparameshwari Temple Premises. 8th Cross, Malleswaram. 30th Oct., Sat., 5.30 pm : BTM Cultural Academy presents Vocal Recital by T.S. Sathyavathi accompanied by I I.N. Bhaskar (Violin), AnanthakrishnaSharma (Mridanga), L. Bhecmachar (Morsing) at Sri Ramana Maharshi Academy for the Blind. 3rd Cross. 3rd Phase, J.P. Nagar. 30th Oct.. Sat.. 6.00 pm : Sri Rama Lalitha Kala Mandir in association with Dept, of Kannada it Culture presents Vocal Concert at Institute premises, 9th Main Road. Banashankari 2nd Stage. 3 1 si Oct.. Sun., 6.30 pm : Raagasudhalaya Charitable Trust presents Sai Bhajan by Sri Sathya Sai Seva Samithi. Ycshvvanlhpur at BEL Ganapathy Temple premises, BEL Colony, Jalahalli. ANANYA cordially invites you to “AROHANA” on Saturday. 6th Nov. 2004 at 6 pm for Vocal Recitals by Meghana Murthy B. (disciple of Rajarajeshwari Bhat). Priyadarshini (disciple of B.S.N. Murali), Sangeetha S. (disciple of Dr. Sukanya Prabhakar). On Sunday, 7th Nov. 2004 at 6 pm. Vocal Recitals by Jyolsna N.S. (disciple of Chilrachari). Pallavi Bhat (disciple ol Sringeri H.S. Nagaraj). Violin Trio by Adilya M.P. Ashwin Kalyan A. and Arjun N. (disciples of T.S. Krishnamurthy) accom- panied by Violin: Anantha Sathyam & A.V.Sathyanarayana. Mridanga: Renuka Prasad & A.S.N.Swamy at Ananya Sabhangana, Mallcshwara. Oct. 1 7.. Sun. 10 am.: Veena Doreswamy Iyengar Memorial Trust presents Pallavi recital by Necla Ramagopal and party. Ananya Sabhangana. Sruti Sindhura Academy of Music, 278, ‘Sindhura’, IE A Main. I Phase. Giri Nagar. Ph: 26420031, 944X4-9003 1 . 5:30 pm to 8:00 pm. Venue: Sri Ramakrishna Park. Near Swamy Vivekanada Statue, Behind Sri Ramashrama, 1st Phase, Giri Nagar. SPECIAL PROGRAMME ON 31 s1 October & l' 1 NOVEMBER ‘ 04 \ on the eve of children’s day, this year also the academy is organising special programme ‘ARIJNODAYA’ - a dance and music festival for children. Talented and willing child artistes in the field of dance and music — of below 1 5 years- are requested to enroll and register their names either over phone or in person. All the participants shall be: Provided with the accompani- ments by the academy. Honored with the certificate and a Momento. Bound by the common rule formed by the academy for the smooth conduct of the event. Provided fair and equal opportunity. Telephone numbers to be contacted 26420031 - 56961 130 - 26799154 - 26722363. Karnataka's only English International Journal on music and dance Editor General Karnataka Kata Sri Dr. M. Surya Prasad Phone : 22253975 Associate Editors : Usha Kamath Ph : 25598886 K. Ramamurthy Rao, Mysore Ph : 0821-2371899 B. L. Manjula. Ph: 25519227 Chief Patrons :S.K. Lakshminarayana (Babu) Mysore. Ph : 0821-2513414. V. Krishnan. Ph : 23345665 Dr. A H. Ramarao, Ph : 26691175 M. Bharadwaj, Ph:081 82-222051 H.K. Ganesh, Ph : 56702763 H. Kamalanath. Ph : 26612244 Principal Advisers Dr. R. Salhyanarayana. Mysore 0821-2567891 T.S. Parlhasarathy, Chennai. 044-2459005 Guru Maya Rao. Ph : 22261816 Mattur Krishnamurthy Ph:23346404 Shyamala G. Bhave, Ph : 23443900 Admn. Executive : Dr. H.N. Shivaprakash. Ph : 26672189 Advisory Council : Dr. Manjunath Bhat Ph : 26647654 Durga C. Avarthi, Ph : 25298954 T.A.S. Mani. Ph : 23441515 K. Balasubramanyam. Chennai. Ph : 04424992474 H.N. Suresh, Ph : 23347918 C. Cheluvaraj. Ph : 23328361 Prof.K.E.Radhakrishna. Ph: 23321641 Guru H.R. Keshavamurthy Ph: 23320903 Pt. Parameshwar Hegde. Ph : 23310039 Pt. Vinayaka Torvi, Ph : 23305701 Dr. Vasundara Doreswamy. Mysore. „ Ph : 0821-2542814. Ranjani Ganeshan. Ph :26615127 Legal Adviser : C.N.Satyanarayana Shastri, Ph. 26620138 EDIT0RIAL0FFICE: ■M U N I K 0 T I', NO. 8, S E C 0 N 0 CROSS OPP. SRINIVASA MANDIRAM, BALEPET B A N G A L ORE - 560 053. PH : 080- 222 53975 e-mail : gunagrahi@yahoo.com, drmsuryaprasad@yahoo.com Vol. VII Issue 5 October— 2004 INSIDE: Calendar of Events 2 The Presidents of music conference 4 From the Editor General 5 Reviews 7 Mahatma Gandhiji wrote so 11 10 i iuz sJOfffr SjocSCoft «rf3’. 13 ut $ O Leisure 15 Correspondents: INLAND : Bangalore - N. Ananthapadmanabharao, Ph : 25532658. Kusuma Rao, Ph : 23222593 Katte Sathyanarayana Rao, Ph : 23604663 Mysore - Dr. V. Nagaraj, Ph : 0821-51 1 1 33 Mumbai-B. Nagabhushan, Ph: 0251-2472475 FOREIGN : California : Malathi Iyengar Ph: 818 788 6860.Nacheketa Sharma - Ph : 001 - 650-960-6906 Lavanya Dinesh Ph : 717-576- 8295 * We Welcome all unsolicited material but do not take responsibility for the same. If these are to be returned postage should be included * Letters are welcome * All rights reserved. Nothing may be printed in whole or in part without the written per- mission of the pubfisher. * The editors and publishers of Gunagrahi do their best to verify the information pub- lished but do not take responsibility for the absolute accuracy of the information. The opinions/views expressed by individual au- thors in articles published are not necessar- ily those of Gunagrahi. Articles, Photos, Write-ups, reports may also be sent to the following address : Editor General, 446, Jaraganahalli P.O. J.P. Nagar, Kanakapura Main Road, BANGALORE - 560 078.' 3 The 35 th prestigious annual music conference of the Karnataka Gana Kala Parishath is in progress at Sri Ramanathapura in Hassan dis- trict. A veteran musician will preside over it. The young musicians’ conference which features young artistes is also simultaneously held. A young musician is selected to preside over it. It is a well-known fact that the Parishath is a repre- sentative organisation of the musicians of the State. Musi- cians themselves manage it. At present versatile vocalist R.K.Padmanabha is its presi- dent. It is also noteworthy that the Parishath has been holding its annual music conferences outside the city of Bangalore in different districts of the State every year. This year’s twin con- ferences are presided over by a veteran vocalist and musi- cologist Dr. T. Sachidevi and a young and dynamic violinist H.K. Venkataram respectively. Dr. Sachidevi, the president of the 35 ,h music conference will be felicitated with the title of “Gana Kala Bhushana” along with “Kum. Jyothi Subramanya Memorial Award" carrying a purse of ten thousand rupees sponsored by reputed industrialist-philan- thropist BN V Subramanya at the Sadas (valedictory func- tion) to be held on Sunday ( 1 0- 10-2004). The young musicians’ conference president H.K. Venkataram will be con- ferred the title of “Gana Kala Sri" along with “Rama-Sudha Prashasthi” with a purse often thousand rupees donated by the noted academician-art pa- tron Dr. A. H. Rama Rao at the same Sadas. Dr. Rama Rao has been sponsoring the young musicians’ conference right from its beginning. VETERAN MUSICOLOGIST 65-year old Dr. Sachidevi had the fortune of being trained by great names like Belakawady Varada- rajaiyengar, C.PRamaswamy Iyengar, Veena Shankaranarayana Sastry and M.S.Selvapullai Iyengar. She obtained degree in music un- der the guidance of Veena maestro Chennamma. She be- came a post-graduate under the supervision of Rallapallai Ananthakrishna Sharma and D.Pashupathi. In addition to learning of music she was in- clined towards research. As a result she took to an intense study ol “the evolution of mu- sical compositions” under the guidance of Dr. PadmaMurthy and the Bangalore University awarded her Ph.d, for her scholarly thesis on the subject. Her research into the compo- sitions of Haridasas, Ugabhogas, Sooladis and Dikshitar’s krithis has been re- warding. A stickler to tradition, Sachidevi has been perform- ing within and outside Karnataka along with her sis- ter T.Sharada since 1 952. She Continued on Page no.6 4 From the Editor General The Young Musicians The last quarter of the 20th century is marked by breathtaking changes j in technology as well as in working and social conditions, all of which 1 are altering our living and recreational styles in a spectacular manner. ; But so far as our love for classical music is concerned, most of us tend | to cling desperately to traditional values, even when we arc being car- ried away by the powerful currents of modernism This phenomenon is somewhat like our appreciation of architec- ture While we go on building modern structures which have different aesthetic and functional values, we are proud of our classical buildings j and ancient monuments and show an increasing awareness of the need to protect and preserve them. Similarly, the collective sentiment which favours conservatism in classical music is so deep-rooted that even when we welcome novel and sensational trends, we do not lose our profound respect for older norms. Influence of tradition One can cite many examples to illustrate this point. The world’s symphony orchestras still continue to feature Mozart and Beethoven prominently in their repertoires, although they also go in for Schoenberg or Stravinsky. Karnatak music is still dominated by the songs of Thyagaraja, Dikshitar and Shyama Sastri, though new vistas are con- stantly emerging. Exponents of Hindustani music still avoid rendering j die morning ragas in the evening and vice versa, though they do not mind the invention of a new raga altogether. We are thrilled to see the mandolin being introduced in Karnatak music, but we are also delighted to note that the dazzling young genius who has introduced it cares intensely for the traditional elements and performs classical music of the purest quality. One of the main worries of the dedicated lover of Karnatak music is that the younger generation of musicians might turn out to be too forward-looking and quite insensitive to the traditional values. But this fear is not borne out by facts. Some of our younger musicians today seem to have a very clear perception of the orthodox standards of Karnatak music. In fact, in the exquisite art of our teenaged won- ders Ravi Kiran, Mandolin Srinivas and Shankaran Nambuthiri - we do see a reinforcement of the noble tradition and a surety for its survival far into the next century. Karnataka Kala Sri Dr. M. Surya Prasad. Continued from Page no.4 taught music at Maharani’s College, Bangalore and Mysore as a lecturer. She has a good number of students to her credit. After her decades’ of useful service, she retired as a professor of music. She has also been a ph.d. Guide. Apart from participa- tion in various seminars, sym- posia and lecture-demonstra- tions, she has authored many articles on music. “Sangeetha Darpana” (in four parts), “Apoorva vamas”, “Shobhana shataka” are some of the suc- cessful works created by her. Sachidevi has been awarded titles and honours for her more than five and half decades’ ser- vice. “Karnataka Kala Sri” from the Karnataka Sangeetha Nrithya Academy, Kempe gowda award, awards from Thyagaraja Gana Sabha, Ananya are among many such honours. MULTI-FACETED YOUNG VIOLINIST 39-year old an engi- neering graduate H. K. Venkataram is a software en- gineer by profession and vio- linist by vocation. He is the son-disciple of renowned vio- linist Prof. H.V.Krishnamurthy. Bom into a family of musicians, he soon grasped the nuances of Karnatak music in general and the violin play in particu- lar. His elder brother late H.K. Raghavendra and the dynamic younger brother H.K.Ganesh, all of them are violinists. Late violinist A. Veerabhadraiah also trained him. The father-sons combina- tion has many performances to its credit. A soft-spoken, Ven- kataram launched his concert- career at his early age of seven. Since then he never looked back. He came out in flying colours in the unique opportu- nities he had had of accompa- nying tiie top-notch musicians. He has toured extensively within and outside India on performing assignments. He was awarded the prestigious prizes at the Music Academy, Chennai. He has been training students along with his father and brother Ganesh at their Vijaya College of Music. An Engineering Manager in a leading company, Venkataram has used all his hi- tech skills in bringing out multi- media presentations on Thyagaraja’s pancharatha krithis and Muthuswamy Dikshitar’s life and achieve- ments. He has penned a book called “Thyagaraja Vachanamritha”. Nada Yoga (Music itself as the Supreme God) A few krithis composed by Sri Thyagarajaswamy on Nada Yoga are given below: Mokshamu galada(Saramathi), Naadopaasanache (Begada), Naada Loludai (Kalyanavasantha), Vidulaku mrokkeda (Mayamalavagowla), Ananda Saagara (Garudadhwani), Sitavara Sangita Inanamu (Devagandhari), Sangitha Sastra Jnanamu (Mukhari), Swara Raaga Sudhaa fShankarabharana), Raga Sudhararasa (Andolika),Vara Raga Laya (Chenchukambhoji), Sripa iriya Sangitopasana (Athana) and Shobhillu Saptaswara ( Jaganmohini). Gandharva Veda should be cherished for gaining peace for oneself and to bring peace to others. I 6 R. E. V. I. E. W. S. Dr.A.H.Raniarao & Sudha Rao page iff Priyanka pleases Priyanka Raghavan, a disciple of Guru Padmini Ramachandran provided relish to the rasikas with her innate talent. Her performance at the Yavanika under the EFCEP series was marked by confi- dence and conviction. Endowed with attractive eyes and com- municative face, Priyanka ex- celled in the nritta, nrithya and abhinaya in the exposition of a Papanasham Shivan’s varna in Mayamalavagowla (Mayan edo swamy). Notwithstanding a few rough edges in the araimandis, the dancer was Successful Swathi Muthalik Beautiful angikas corrobo- rated by hasta-pada vinyasas, young Swathi uthalik impressed the audi- ence at ADA Rangamandira with her neat and tidy Bharatanatya. Trained by a tal- ented dancer-teacher Santoshi Simha, Swalhi’s exposition of the medium was gentle and graceful. The tattu-mettus, in particular, were a delight to watch. Santoshi deserves to be commended for the selection of items which suited the age, ex- perience and expertise of her younger ward. The shabda woven around a few leelas of Krishna was in the right spirit. Swathi graphically presented the varied attributes of Lord Shiva in Shiva stuti. bers seemed to be made for Swathi. The tender moments of the first sight and meet of Rama and Seetha are captured in the Ramanatakam. Swathi's abhinaya, naturally, required more experience and profun- dity. Many karanas and charis that filled the concluding Revathi tillana vouched for Santoshi’s fruituful research into the dance form. Santoshi Simha (naltuvanga), Srivatsa (vocal), Ashwathanarayana (flute), Lalitha (vcena) and Chandrasekhar (mridanga) im- parted lively support. Pulikeshi dazzles Three male dancers KRV Pulikeshi, Nagesh and Ananth dazzled in a dance drama held at Ravindra Kalakshetra under the aegis of the Shanthala Arts Academy able to capture the essence of love and devotion on the basis of the tale of Valli and Muruga. The vatsalya rasa was well nourished in her abhinaya for a Purandaradasa pada “Ellyadi bandeyo”. The concluding tillana was marked by some in- teresting rechikas and neck movements. Her Guru Padmini Ramachandran led a success- ful orchestral ensemble with her impeccable nattuvanga. The major item of the evening a varna in Dhanyasi raga (Ee maguva) by Mysore Sadashivarao addressed to his patron-King Chamaraja Wodeyar. The virahoth- khanthita nayika’s plight was reenacted by the young dancer. A Subramayyar’s pada (Kambhoji) and a Purandaradasa pada (Aluvudyaathako Ranga) came handy to portray the pranks of child Krishna. These two num- 7 inconnection with its ninth an- niversary celebration. The un- folding of the mythological tale of Ekalavya of Mahabharatha was based on Kuvempu’s drama ‘Beral ge koral’, as a tribute to the ace poet-play- wright whose birth centenary is being celebrated throughout the State. The adaptation of the play to dance was to a larger extent rewarding. The dancers dealt with the story of Ekalavya in a vibrant tempo. A young boy Ekalavya was determined to become a skilled archer. When he was refused to be trained by Drona he returned to the forest and made an image of Drona and decorated it with flowers and practiced archery with devotion and dedication. He could mas- ter the archery. His hardwork and involvement and devotion towards the Guru paid him rich dividends. The Kaurava and Panda va princes who had come to the forest on a hunting expe- dition were amazed at the un- usual manner in which the ar- rows were shot by Ekalavya. Drona was impressed at the way Ekalavya had shot the ar- rows. All the princes were jeal- ous of Ekalavya’s archery skills. Even he defeats Drona’s best disciple Arjuna in the fight. So Drona demands Ekalavya to give him ‘Guru Dakshina’. Ekalavya, the devoted disciple was only too happy to give him the thumb from his right hand. Pulikeshi as Ekalavya was a sure winner. Apart from satwikaabhinaya, hismukhijas were apt. Carnatic ragas like Kalyani, Mohana, Athana, Hamsadhwani, Kadana kutoohala, Behag etc, were ap- propriately used. A few catchy and interesting dialogues picked up from Kuvempu’s play were delivered on the stage lending another dimension to the rendi- tion. The eka-aharya disposition, the refined neck movements, charis, bhramaris and varied adavus including mai-adavus filled the vocabulary. There was an admirable harmony and co- ordination in their movements. The nrithya was used for the exit and entries. Mohan (vocal), Karlhik Datar (nattuvanga), Harsha Samaga (mridanga), H.S.Venugopal (flute) and Pramathkiran (rhythm pads) enriched the dance drama with their lively musical support. Sushimitha scores Sushmitha, a disciple of Guru Prof. M.R. Krishnamurthy of Kalakshithi had a well honed sense of rhythm in her Bharatanatya performance at Ravindra Kalakshetra. She needs to maintain a far more emphasised demi-pile posture and refined mukhijas. But the geometry of dance was flawless. That she is an active and talented thea- tre actress came to the fore in her abhinaya disposition. The pranks of Child Krishna as por- trayed in Shabda by the Tanjore Quartet were beautifully en- acted by the dancer. The Dhanyasi varna (Ee maguva) was the highlight of the evening. The description of a nayika 8 questioning his nayaka about his disinterestedness towards her was done with fine hastha vinyasas, sthanakas and angikas. The philosophical tint that the Kshetragna’s Shankarabharana pada carried could be emphasised well by Sushimitha. Vocalist Hariprasad’s diction could have been clearer. Ananya’s nattuvanga was of great utility Rekha Harinath radiates The curtain of the three-day music festival in connection with the Ganesha festival un- der the aegis of Brahmana Vidyarthi Sahaya Sangha in Seshadripuram rose with a competent vocal recital by Rekha Harinath. Endowed with a melodious and melliflu- ous voice with a wide range, Rekha sang the compositions with perfect ease sustaining lis- tener interest. The vistaras were systematic and profound, free from repetitive phrases. She made the best of her choice, lacing light and heavy numbers in changing tempos with pleasing effect. ‘Vatapi Ganapatim bhaje’ with kalpanaswaras, ‘Baagaaya nayya’ (Chadrajyothi) in a de- lightful tempo and an artistically drawn Charukeshi for Thyagaraja’s “Aadamodi - galada” lent classical charac- ter and substance to the con- cert. Sadashiva Brahmcndra’s ‘Gayathi Vanamali’ (Hamsa - dhwani based mishra raga) was moving. 1 was thrilled to watch dealing with the popular Purandaradasa pada “Ksheerabdhi kannike”. Her brilliance, expertise and con- cert-craft shoneforth in the manner she presented it. The pada was tuned to Kuranji, Yamuna Kalyani, Darbari Kaanada, Sindhu Bhairavi and Nadanamakriya ragas all of them in madhyama shruti. She did well in a little far away from the mike while rendering this composition. Thus, though she reached uppermost regis- ters, she never tended to be harsh or noisy. Naturally, she was applauded by the audience for her concert-skill. C.Ramadass, who is also an expert harmonium player, accompanied on the vio- lin with excellence. C. Cheluvaraju (mridanga) and L.Bheemachar (morsing) con- tributed in no mean measure to the success of the programme. Delightful Deepa and Roopa There was a captivat- ing flow of melody, rhythm and maturity in the vocal duet of Deepa Krishnamurthy and Roopa Kiran, the accomplished singing sisters better known as Kasaravalli Sisters. Their programme held on the second day of the Ganesha festival at the same venue was marked by aplomb with a stark sense of phrase and beat. The sisters are well versed in Sugama Sangeetha too. Born and brought up in Shimoga and now settled in Bangalore after their marriage, the duo is trained un- der the great names in Carnatic music. They have a grand record of concerts within and outside the country. A rich, resonant and resilient voice is their born-gift. Utilisation of that gift to yield productive results is their admi- rable skill. When such a voice and skill merge the emerging beauty is inexplicable. Match- ing manodharmas, useful co- ordination, synchronisation in their musical thought and ex- ecution, sincerity of purpose among others has won them an enviable success. These points came to the fore in the concert under review. Aptly accompanjed by J. K. Sridhar (violin), Ravi shankar (mridanga) and Sriram (ghata), they opened their re- cital with the Navaragamalika varna. They eulogised the Lord 9 of Obstacles through the Shanmukha priya krithi “Siddhi Vinayakam”. An enjoyable tempo was created with the singing of kalpanaswaras in madhamaya kala. Thyagaraja’s “Maakelara vicharamu” (Ravi chandrika) added liveliness to the concert. A tricky Kcdara gowla raga blossomed into a fine alapana. Deepa scored well in the alapana. Yet another gem-krithi “Venuganaloluni ganave” was full of high com- petence expected of them. Both of them proved their mettle with the unmistakable stamp of their deep manodharma and talent in the swaraprastara at “Vikasitha”. “Ananadamritha varshinim” in Amrithavarshini raga tagged with chittaiswaras evoked the sublimity of the raga. Again Deepa’s raga vistara in Kalyani (“Nidhi chaala sukhama”) was indicative of her ascendant fame into the front rank in the field. It was well developed in the lower, middle and higher octaves with intimately embel- lished phrases. Hitherto miss- ing neraval in the concert now appeared. The krithi was fol- lowed by neraval at “Mamatha bandhanamu”. The cascade of swaras shared by Deepa and Roopa pointed to their thorough training and practice in this as- pect of music meant for con- cert halls. 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Mahatma Gandhiji wrote So:- It will be interesting to know a little on the views of Gandhiji, whose prayer meetings were world-famous, on kindred matters and here is an authentic account, as corrected by himself! Speaking after prayers, Gandhiji introduced to the gathering Shri Dilip Kumar Roy who sang the bhajan at the evening. “Gandhiji said that though he knew nothing of the art of sing- ing, he felt that the voice of the singer was sweeter and richer than when he first heard him sing in the Sassoon hospital in Poona where he had undergone an operation as a prisoner. Probably very few persons in the world had Shri Roy’s natural sweetness of voice. He be- longed to the ashram in Pondicherry of Rishi Arbindo. The audience should know that there was no race or religious distinction at the ashram. He remembered that the late Sri Akbar Hydary went to the ashram as on pilgrimage. Naturally Shri Roy was a chip of the old block and had no prejudices. “He had been to see him earlier in the day when he had sung two songs, viz., “Bande Mataram” and Iqbal’s “Sare Jahan se Accha”: The concluding line of the evening bhajan that the wealthy had their crores in palaces, horses, etc., and the devotee had his all in and through his God whom he knew as Murari, Ram, Hari, etc. If they all took the lesson to heart, they would shed all prejudices”. The emphasis on the efficacy of bhajan, un- derstanding of the message of sahitya, atten- dant involvement, the lure of the sweetness of voice are all brought to focus in the brief script. In this context, one can appreciate his empha- sis on expecting Dr. M.S. Subbulakshmi ren- dering a song in prose if she did not know the tune rather than it be sung by any other! ****** Bhava, the sheet anchor: Bhava is the sheet anchor and soul of In- dian arts, more particularly to music, dance, drama, sculpture and painting. To adopt the meaningful metaphor of old, arts without bhavas are akin to sky without moon, river without water, temple without deity and woman with- out ornaments. After all arts are but the exter- nal, graphic expression, clarification, illustration, manifestation and true-to-life portrayal or pro- jection of a vision or fertile imagination of hid- den emotions and messages, be it sculpture, painting, song or dance. Languages are galore and the myriad com- positions of eminent vaggeyakaras, saints and sages are in diverse languages and even when a song is in the language of the locality, it is dif- ficult for lay to understand or grasp the full con- tent, context and meaning, message and signifi- cance unless it is portrayed and clarified. The great epics, Githa, Ashtapadis, etc, have thus many commentaries. Even so, emotions could be expressed variously and the rich manodharma of the artiste is the limit! Some songs are worded in such obstruse terms, that they require a commentary or bhashya. What is couched in words in such cases needs be translated into overt action through song and dance, sculpture and painting. Each song un- s an incident, describes an episode, con- veys a message or carries an instruction or di- rection — moral, spiritual, religious or otherwise, as entertainment or enlightenment. II it is all only for intelligentsia, commentar- ies may, perhaps, suffice. But the message has to reach the vast humanity and even the intelli- gentsia has to be alerted on hidden, unrevealed graces, excellence and significance of the story, song or act. Arts alone enjoy the innate virtue and advantages of not only to relate, portray, demonstrate and describe but to carry the spirit and glory, content .and message to the minds and hearts of listeners and leave their imprint to be re-experienced at leisure. Sans bhava rasas, poetry, song or sculpture is apt to be lifeless, placid and colourless. Thus our ancients millennia back from before the days of the Ramayana, Mahabharata and the Natya Sastra kept in view, bhavas, be ii in poetry, song or drama, sculpture or painting. Raga “Yo sau dhwani visheshu swara varna — Prolessor Kane in ‘The Hislory of Dharma Sastra’ -II-XV -493. [Note: ‘Unfortunately a deep and careful study of our national Ilihasa literature is beyond the pur- view of modern Indian archaeologists; and histo- rians follow the footsteps of Western masters.’ | Ancient History of India through Vcdic As- tronomy. [The additional factor is the lack of knowledge of Sanskrit). ►► « ►► a ►► a The result of the abundant surplus of compo- sitional skill, proliferation of composers, themes, facile languages, etc, is positive. This will be evident on a comparison of the affluence and abundance of arts and literature in this ancient country with those of others where religion is regimented. The diverse forms of Gods and Goddesses thrill the bosm of composers, musicians, danc- ers, dramatists, architects, sculptors, painters, moulders and every one else in pursuit of his own individual occupation and he holds direct communion with God in the manner he relishes through his own creations. ...Each man, woman vibhushitah, Ranjako Jana chithanam sa cha Pagauthahrutha.” [That group of sounds, which gives joy to the ears, when embellished by swaras and vamas, is called the Raga.) WRONG PLEADING ‘Both Thibaut and Kaye approach problems with a peculiar mentality. Their criticism [like de- or child is blest with a vision of God as he or she chooses or likes, sings, the songs of his choice, and carries on a fully contented religious, moral life. Arts develop; occupations proliferate; el- ementary economy gets a kick for prosperity. Different people assemble in common and cel- ebrate festivals without distinction. Universal tolerance, mutual understanding, flow of human- ity across the country on pilgrimage, inspiration nying the knowledge of planets to Vedic Indians, for arts from diverse aspects and areas, all stand etc.] is mainly destructive and has a flavour of to benefit. Arts in particular are the greatest special pleading against things and ideas, Indian, beneficiaries and they have well prospered. 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I a^a 1 do ef’OT^n'o'do Ss j tfs^eOo*^ moJ^ sjtco wdort «dd 6 | s'ud 23,5^7) Zjoo'J^.dddi 1?Q | rfSdl)x:OTrtid)C3j. i)iidrt«?rt o3x>23 I doetfd xloa7)t>d djd)^ #. rockrf | Koi)^?q^)F£J7a«' adds^ ^ tftf Sod i i)vsj3c3£j xiodiFx; o:a3od;. avstf: . 102/1, £>,e oasddfodJro dod, , 8?5e ad dtf , djodF snjc^xdddd . dxf . doid ed do, dcn’v'jodo- -j c3 560003. Cjj2d5j7)r^ »*oaf 6 : '^3311360. y “Suswaralaya College Of Music” is bringing out the sec- ond edition of THE DIREC- TORY OF KARNATAK MUSICIANS OF KARNATAKA’. The Artistes .Schools and Colleges of Music, Music Organi- sations etc, are hereby reque- sted to kindly send their address, contact number, e mail-id within 10th of October 2004 to H S Sudhindra, 12, 28 th Cross, Geetha Colony, 4 lh block, Jayanagar, Bangalore- 5600 1 1 . suswaralava @ vahoo.com . Tel - 080 S &633623, 26545655 J 14 1 S'OTcDCjD’ rfZ j3Z>£, 1 6 1 tooxJ. 35 Xzjz 2j 3 i.j ^ ^ 3crts/ djsdo dliiosd 57 oil” 5 3 jj Cj ^ cj37r3i0uj?3O3 toAj eol: xJoAed 73:3: =3.3, 5sj7£c30rf ad57d Tjfd£id. tsxJ5 Suuijdd: -5 wt^5d3 aq3537 57 o3dfc3£jf, Ajo C ^05 5 ZjZfTdf 1^3 » 5?3, rfo. 556, 1 1 :ioi) 5 d< , df Et?, dort^cb-78. ^ LiTOtfdi XJcSjdFXJlOaJDdi. Anecdote corner • Whatever the conductor’s contributions, the orchestra can sometimes give an adequate ac- count of the music. Once, while conducting Bethoven’s Fifth Symphony, the conductor’s braces snapped during the first movement and for the rest of the work the unfortunate maestro was busy in keeping up his trou- sers. However, the members of the orchestra gave a good ac- count of the work, without look- ing to the conductor’s instruc- tions. • A journalist once asked the first Oboe player of the BBC or- chestra “Who conducted this afternoon?” to which the musi- cian replied “Sorry, I forogt to Vlook.” J PHOTO QUIZ .K.Lakshminarayana (Babu) Page )UIZ OF FINE ARTS....25 1 1 . Wluit are Group krithis? 2. They are also called . 3. What are their specialties? 4. I low many krithis should he there in Group krithis? 5. Mention Th yaga raja’s Group krithis? ft. What are Dikshilar's Group krithis? 7. Shvama Sastry’s Group krithis are S. What are Swati Tirunal's Group krithis? 9. Veen a Kuppayyar's Group krithis are 10. What are the other two noteworthy Group krithis? SOLUTION TO PHOTO QUIZ OLUTION TO QUIZ OF FINE ARTS.-25 •ruSrji31|s'X jo supiid uuqinjnqaund l?AtH|3»^JRAl!fly\ pill! UAAI’lliesiipul AOi) jttSt:uiOAJR>i jo smi.ii!A nuqinjnq;wn ( | aq j o| sti|iu>| ruiiumrii.hirj t:qsoin>iua/\ put! Sjljljj'j I!IK||IUI!1(01IK C | 1!l|S'^l||s'l!l|l!|t!N| •|!>J!|l!Uli:Ul|ll!.n!Al!fsJ X nunpnpqjo |AO( I M|S>|l!UaajAJ JO OSmJll Ul l!>(l|t!UH:UJI!AI!.M!(sJ l_ •Sll|l jj>| |?IUI!A1!A1!ISJ pun s'nputj i!i|i!J«?i!Ai!{\j ‘stq)(j>j i:p!t|is noiir| input:,] ij s(i|iu>| nuqinjnqaund .mAjllOAUJ! i put: su|ijj'j nuqinjuqnund jiiaonj •siiiji.isj nuqu;ji:qjui! r | i:3n>| ttunqij c aujUJooAtj p stqit.i'j dnojij asodiuoaoi Sjosodmoo aadj a o] a|uo tiOAji? s; i| uasodtuoa aqi jo suiuoo oqi jo staadsn utnuaa aqi jo.uuu oi aajas Kaqj a\oia jo |ujod uiauiumuaiua pun amiapnan aqi uiojj isa.iaun jo ajn Aaq p \ •su|iu>| t’/Cnpnun:^ • z aiuaqi inpon.ind t! no suoutsoduioa jo unup e ojr Koq p -| SUBSCRIBE TO ‘GUNAGRAHI .L.E.I.S.U.R.E. Name these ace artistes?:- (nj|fuut|>l) jt!ijot>un!>[ ( j || |)UH(i?Sui;puiu) m!j|)ei|qnuiu>i o.io||.i\ k (ui|oiA) fiuefluN ojosaj/VJ eui|sij>|jn?jiiiui?|U}|*i/\j*j(i 15 GUNAGRAHI Monthly Journal RNI REGN. NO. 69149/98 Regn. 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