rhe KALAJYOTHI & NADAJYOTHI Awardees G.A.Hanumantha Bhat M.A.Krishnamurthy A.V.Prakash Anuradha Madhusudan Nadajyothi Sangeetha Nrithya Navaneetha A unique 40-days' music, dance dt cultural bonanza inaugurated The souvenir being released by KVR Tagore in the presence of Muddumohan, A.V. Anand, Soothram Nagar^ja Sastry, Dr. M. Surya Prasad and others. The present day Bhojaraja of the Cultural Kingdom K.N, Srinivas ofVinvic Foundation. B I'M CULTURAL ACADEMY Presents the thirteenth ARADHANA MAHOTSAVA SAPTHAHA from 17.1.2005 to 23.1.2005. Mon. 17th Jan 5 pm: “HARIDASA NAMANA” by “SrividyaSudha” Troup : Directed by Vid.Dwaraki Krishna Swamy. 5.30 pm: SRI PURANDARA DASA KRITHIS by M.S.ShecIa (Vocal), Mysore Srikanth ( Violin). H.S.Sudheendra (Mridanga), G.S.Ramanujam (Ghata). Tue. 18lh Jan, 5.30pm: SRI MUTHUSWAMY DIKSHITAR KRITHIS by O.S.Thyagarajan (Vocal), H.K.Venkataram (Violin), Satheesh Kumar (Mridanga), .N.Amrilh (Khanjira).Wed., 19th Jan, 5.30 pm: SRI THYAGARAJA SWAMI KRITHIS by Panltula Rama (Vocal), M.S.N.Murthy (Violin), C.Cheluvaraju (Mridanga), R.A.Rajagopal (Ghata). Thu., 2()lh Jan, 5.30 pm: SRI SHYAMA SASTRI KRITHIS by S. Shankar (Vocal), R.K.Sriram Kumar (Violin). Arjun Kumar (Mridanga), M.A. Krishna Murlhy (Ghata). Fri.. 21st Jan. 5.30 pm : SRI MUTHIAH BHAGAVATHAR KRI THIS by Suguna Purushothaman (Vocal), .Lalgudi Rajalakshmi (Violin), Ananthakrishna Sharma (Mridanga). .Sukanya Ramgopal (Ghata). Sat. 22nd Jan, 5.30 pm : SRI MYSORE VASUDEVACHARYA KRITHIS by Sreevaisan J.Mcnon (Vocal), B.U.Gancsha Prasad ( Vio- lin), V.Praveen (Mridanga), Maheshwaran (Ghata). Sun., 23rd Jan.: 9am : Aradhana, 9.30am : Pooja, 10 am : Pancharatna kritis, 11 am: Goshtigana & Mangalarathi. 12.30pm :Guru Seva Concerts (by Artistes) Venue: Sri Ramana Maharshi Academy for the Blind. 3rd Cross 3rd Phase J.P.Nagar. Sri Thyagaraja Gana Sahha Trust and Mukambika Talavadya Sangectha Kulashalc present Eka vaggeyakara sabha-compositions of Annamacharya at Sri Vani Vidya Kendra on 16th Jan. Bharatli Bharathi Sangectha Seva Pratisthana presents vocal by T.S.Vasanthamadbavi at the Indian Institute of World Culture on 21st Jan. at 6 pm. Indiaranagara Sangectha Sabha presents vocal by T.S.Paltabhirama Pandit & party at Puran- dara bhavana. 8th main, HAL 2nd stage on 22nd Jan. at 6 pm. Kanaka Music and Arts centre presents vocal by R. Chandrika and party on 29lh Jan. at 6 pm. at 7th block, 27th cross, Jayanagar. Adjacent to Ayyappa temple. Raga Sudhalaya Charitable Trust presents vocal by Sumana Chandrasekhar and parly at BEL Sri Ganapathy temple, BEL Colony. Jalahalli. Sri Rama Lalithakala Mandira, 26-1-2005 10 am: Sri Thyagaraja and Sri Purandaradasa Aradhana celebrations at Devagiri Sri Venkateshwara Temple, in association with Devagiri Sri Venkateshwara Trust. 6 pm: Cultural programmes at the Sangeel Sabha in connection with the Republic Day. -2 o o f?? Jiz&zc l>csz. or? aiz* rflii r-* £ ^ ^ r- tfd’cs'jflo'iEj rfjzzcl: Tq.u'zzj urfesf jj? zJ72C5Z> J :zJ yvcj a? oofs’ ^ s’ozs'flr*.: ersoj'zF^&r, L era, .S3* esp* 2?a*^-?£>:rorr* et^r, tfes/. £ ^ v?ff =*53.80, c rtf, vrizii oDdsfeti’, id’ottv’^tfo-stLoonc. zjjso'srad tfos?,: rnir, zll: KriZj 0 ^ecr? uizrfjtf o’ z*i?rfrG , D’F3'Cj 27? sfc*, azrctoz? zirertsJiotfo: zSitCZ ■avstfCjS/ Karnataka 's only English International Journal an nusic and dance Vol. VII Issue 8 January— 2005 Editor General Karnataka Kata Sri Dr. M. Surya Prasad Phone : 22253975 Associate Editors : Usha Kamalh Ph : 25598886 K. Ramamurthy Rao, Mysore Ph : 0821-2371899 B. L. Manjula, Ph : 25519227 Chief Patrons S K Lakshmmarayana (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 Sathyanarayana, Mysore 0821-2567891 T.S. Parthasaralhy. 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. Vmayaka Torvi. Ph : 23305701 Dr. Vasundara Doreswamy. Mysore. Ph : 0821-2542814. Ranjani Ganeshan, Ph .26615127 Leqai Adviser : C.N.Satyanarayana Shastri, Ph. 26620138 INSIDE: Calendar of Events 2 The MS splendour 4 From the Editor General 5 Conception and content of Bhnjan 6 Reviews 7 I .outlive the Nightingale 12 Nadajyolhi Sangeelha Nrithya Navaneeta 13 Remembering Thyagaraja 14 Leisure 15 Correspondents: INLAND . Bangalore - N. Ananthapadmanabharao. Ph : 25532658. Kusuma Rao. Ph : 23222593 Katte Sathyanarayana Rao. Ph : 23604663 Mysore - Dr. V. Nagaraj, Ph : 0821-511133 Mumbai-B. Nagabhushan. Ph: 0251-2472475 FOREIGN : California : Malathi Iyengar Ph: 81 8 788 6860.Nacheketa Sharma - Ph : 001 - 650-960-6906 Lavanya Dinesh Ph : 717-576- 8295 * We Welcome all unsolicited material hut do not take responsibility lor the same. If these are to he relumed 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 publisher. * 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. EDIT0RIAL0FFICE: ■M U N I K 0 T I’, NO. 8, S E C 0 N D CROSS 0PP. SRINIVASA MANDIRAH, BALEPET B A N G A L ORE - 560 053. PH : 080- 222 53975 e-mail : gunagrahi@yahoo.com, drm.surjaprasad@yahoo.com Articles, Photos, Write-ups, reports may also be sent to the following address : EHi t-rr i^mara 7 446, «JtoffPaballi P.O. J.P. t&Qar, Kanakapura Main Road, BANGALORE - 560 078. 3 The MS splendour in study MS, a vainika too 4 | GUNAGRAHI/JANU ARY 2005 From the Editor General Nobility of conception Symmetry, samvad and an architectural mobilisation of material as in a squadron of soldiers marching in step with each other or jets Hying in symmetrical formations, always present an eye-catching spec- tacle. The unison in steps of the military guards at the Lenin mauso- leum at Moscow’s Red Square would never fail to make one gaze in wonder. The eye is loth to turn away from the skydivers swimming in air in breathtaking patterns. The linear plantation of pine trees on both sides of the approach road to Srinagar in Kashmir is always a delight to watch. Even so is the melody rearing of some musicians. Their creations seem to derive their personality from a linear grace and sym- metry, a compactness of design, execution and ideas. These qualities are, in a great measure, ingrained in, or shall we say, are first born in the soul of an untrained musician. Conscientious, sound, training awakens them, makes them more explicit and concrete and an intelligent daily practice regulates their inflow, making it a matter of habit. When we say that style is the man, we have all these virtues in mind. A single-track style and untampered musical atmosphere was the gift from old musicians. Only a few of whom now remain. It would therefore be a memorable evening when unique and enviable stylists provide specimens of their hard earned, highly perfected ait. Could any golden opportunity to cherish such an art be missed? Without fear of exaggeration, one could say that those old maestros are the pride of Indian music. An out and out tradition- alist, such a musician, in all his long and distinguished musical career, will have blown the salubrious winds of musical health in all directions. Through his of own example, he will beinstrumental in stemming the rot of irresponsibility and profane and pleasure-seeking that has set in music and driven out divinity from it. There are a number of reputed musicians who subscribe to and have adhered to the traditionalist’s cult of a pure raga, pure technique and pure concep- tion. There are a few stalwarts who have thrilled the music lovers with their fine art and luscious playing but only a few who have uplifted them through the nobility of their conception, chaste means and ends as the past maestros had. Conception and Content of Bhajan NJMJAGOPALAN, IAS (Retd.) It is difficult to gather a compre- hensive impression of India with- out its grand, massive temples |in delirious, wondrous numbers], en- dowed with architectural, sculptural and painting marvels of fabulous dignity and beauty, spiritual lore and message, music and other arts. Three basic features viz. Religion, an inborn urge for spiritual eleva- tion and a magnificent array of sages, seers, bhagavatas, artistes etc. characterize Indian life with de- votional music as the sheet anchor, summum bon urn and the tour tie force of all activities. Devotion and Indian way of life are as inseparable as devotion and music. The inten- sity may vary from time to time, re- gion to region, from the expressive and explosive to the subtle and symbolic but the arterial lifeline has never been and may never be. frag- ile. It shall never allow itself to be subjected to ampulative surgery. Spiritual endeavour and music- have been like the Siamese twins in Indian life difficult to segregate or isolate each other. Just an instance in proof of it. About three decades and a half back. I was with a rationalist — a very elegant term for an unbeliever! Minister at Dhanushkodi. a sa- cred spot highlighted in the song of Thyagaraja, “Koli nadulu Dhanushkotilo nundaga” (Todi ]. Unconsciously, he sprinkled the water from that junction of the triple oceans on his head and body! That involuntary, inborn and most selective native action betrayed his Indianness. He could presum- ably ill-resist the surging urge! His Indian birth had continued to nourish and exercise its hold on native beliefs and faith notwith- standing his later, new-found in- clinations and transformation. Veda goshtis chant the musical Sarna Veda: bhajan goshtis perform the sampradaya -traditional - bhajan and Tevaram | Tamil hym- nal songs] goshtis sing the devo- tional, wisdom-soaked Tamil hymns of apostles. These consti- tute the nucleus of the ageless triple practice. (Concluded ) The Musical Soul Music, in its essence is the art which depends, more than every other ail, on the sense. The naive error of the harmonic theory (which, besides, was not exactly formulated before 1 722) was to confound the means and the aim and to take the means for the aim. Music is the ail which is most intimately based upon the sense, that is true, but the aim of music, as an ail is, I think, not the expression of the senses, but the expression of thesoul, (if we wish to employ these convenient dualistic terms). Otherwise, we can say, it is not the • • • I primitiveness, but the complexity of the soul which creates the musical art. The more or less primitive emotions find more perfect manifestations that music. Musi- cal art proves its full power only if music is the entertainment of the soul, cleared from the influence of the outer world, of the soul with itself. “A soul which is so complex that nothing in the world can satisfy besides itself, that is the musical soul, that is the musical sould. that the source of music” More than every other art, music embraces the whole scale of human emotions, from the simplest to the most refined, from the enjoyment of the ear unto the cries of the soul, which shatters the nerves and yet gives pain to the European ear.” — Alfred Westharp. GUNAGRAHI/JANUARY.....2005-. .R. E. V. I. E. W. S. mrnim Dr.A.H.Ramarao & Sudha Rao page That young mridangist H.S.Sudhecndru is not only a deft mridangist hut also a dy- namic organiser of programmes was proved when his school of music Suswaralaya College of Mu- sic celebrated its four day an- niversary celebrations at Sri Devagiri Sangeetha Sabha au- ditorium in a grand manner. Besides music recitals, veteran khanjira player H.P. Ramachar was honoured with a title of “Suswaralaya Shringa” by Prof. S. K. Ramachandra Rao. Another unique accomplish- ment was the release of up- dated version of “Directory of Karnatak Musicians (Karnataka)” compiled and edited by H.S.Sudheendra. This directory is only one of its kind in English to be published in Karnataka. It furnishes a handy information of musicians and information pertaining to Carnatic music under over 50 interesting categories (like vo- cal, instrumental, ensembles. music schools, colleges, organisations, travel agents. Government fxxlies connected liusic etc with updated ddresses, phone num- bers and e-mail addresses). Sudheendra said that the pro- ceeds of the sale of this direc- tory would go to Artistes' Medical Welfare Scheme called “Kalaashritha Kalpaka”. The first copy of the directory released by noted scholar Dr. Aralumallige Parthasarathy was received by seasoned flautist S. A.Shishadhar. A compact and impressive percussion ensemble comprising the students of Sudheendra followed this. It was a befitting sort of Guru Vandana. Various percussion instruments tuned the ascend- ing notes of Mohana (sa ri ga pa da sa) were handled superbly by the young members of the ensemble. Adi tala with nadai bedhas was expounded in detail jointly and severally. The teermana was very well worked out. In the follow- ing tlute recital A.P.Sarvotham regaled the audience with his presenta- tion ofNata (“Vandisuvudaadiyali”), Nagagandhari (“Sarasijanabhasodari”), a detailed Poorvikalyani (“Gnanamosagarada”) and others. * * ^ :}: * The year long Amritha Mahotsava (Plati- num jubilee celebrations) of Saraswathi Sangeetha Vidyalaya now led by Ubhayagana vidushi Shyamala G. Bhave was inaugurated by Dr. APJ Kalam, the President of India at Ravindra Kalakshetra. A three day festival of music was held in this connection. Maestros A.Subbarao and Dr.Prabha Atre were felici- tated with the maiden “Govind Lakshmi Puraskar”. Dr. Prabha Atre accompanied by Sarala Desai (vocal support), Ravindra Katoti (harmonium) and Ravindra Yavagal (tabla) enthralled the rasikas with a fine exposition of her favourite raga Shyam Kalyan. This is a curious combination 91 f;UNAGKAHI/JANIIAKY.....2005 of Hameer, Sarang, Gowda Sarang and Kedar ragas. The raga was aglow through two compositions. It was an outstanding and haunting exposition. A tarana with lyrics on Lord Shiva (“Mangaladhaama Shiva") and a Ram bhajan by Surdas in Peelu rounded off her recital. j ***** I Veteran and ; versatile singer ShyamalaG. | Bhave rose to the occasion with the delineation of Charukeshi, basically a Carnatic raga. A composition each in jhap tal (“Na gaavoo ab shyam”) and teen tal (“Sumiran kar ab”) stood out for her subtle mastery over the idiom. Vijayadasa’s “Bhakta jana paalaka” established an intimate rapport with the listeners. A Namdev-abhang sung in Keeravani,Todi and Bhairavi lent fullness to her concert which had the enriching accompaniments of Vasanlh Kanakapure (harmonium) and Vishwanatha Nakod (tabla). ***** On the morning of the second day of the festival young singer Vageesh Bhat proved his mettle as a merited singer. He surveyed the nook and corner of the raga Miyan-ki- Todi. He highlighted the nuances of the raga both in vilambitek tal (“Fdaya”)and drut teen tal (“Sach sach”). Vageesh excelled in the rendered. The lyrics were beautiful too. The myriad sentiments expressed through poetry came alive with dainty, delicate embellishments. He presented his programme after receiving the title of Gaana Varidhi from the M.A.Narasimhachar Music Foundation during its third * annual music festival. Ac- companied by Raghuram (violin), N.Vasudev (mridanga) and Ranganatha j A Chakra varthy (ghata) j Shankar never strayed from ■4'' ' 1 his allegiance to Carnatic tradition. His deep under- , . , | j y j standing of the Carnatic *“ genre was evident with his rendition of an Abhang “Utha voice being at its resounding Panduranga” in a rare raga Shyamrang. Vy&samurthy Katti (harmonium) and Gurunandan Kalyanpur (tabla) were the good ac- companists. The audience at the Bangalore Gayana Samaja auditorium was transported into an ambience of classi- cism and tradition of Carnatic music when veteran vocalist S.Shankarsang. His vilambakala singing made it possible to enjoy the lyrics of various compositions that he 8 best. He seemed to reach the heart of his songs and sang with total involvement. “Sri Maha Ganapathe Surapathe” GUNAGRAHI/JANUARY.....2005 good beginning. Neraval at “Kaarana maam kripaya pahi" was rounded off with short kalpanaswaras. “Nadatanumanisham” (Chiltaranjini),“Lavanya Rama” ( Bhinnashadja), “Narasimha brovave” ( Athana) were sung with maturity of manodharma. While Si mhendramadhyama for “N i nne namm i t i nayya' ' and Mohana for “Hare Venkatesha" (prefixed with a Ugabhoga “Tanumanadhanagala") were drawn on a wider canvass with several ear-catching bright spots. His range of voice which moved easily over the three sthayis was another impressive factor. ****** On the second day of the festival, versatile violinist A.Kanyakumari excelled in her solo violin recital. Sup- ported scintillatingly by Sukanya Ramgopal (ghata), N. Amrith (khanjira) and Kumar (mridanga), Kanyakumari unleashed fluid music, the phrasings well culled. Fitted with an artificial sound amplifying contraption, she never sounded noisy or harsh. Her renditions had emphasis on expression, the kalpanaswaras polished and the text rendered in diverse ways. “Vatapi Ganapatim bhaje” (Hamsadhwani) with swarakalpana saw her in fine fettle. She provided a high standard of instrumental music sans pyrotechnics. I was fully impressed with her approach to that grand raganialika kritlii by Swathi Tirunal “Bhavayami Raghuramam”. Each raga in that garland of ragas was delineated and the epitome of Ramayana captivated the rasikas. Thyagaraja’s “Sogasu jooda tarama” (Kannadagowla) was crisp. The violinist demonstrated that she was totally home with the nuances of Kapi. 9 Heralapana had fine gamakas, the catch phrases of the raga underlined, as they should be. There was tana also befitting the alapana. But I was disap- pointed to miss a matching pallavi. Instead I had to be satisfied with "Janaki Ramana”, though presented with profundity of knowledge and bhava. Here was a powerful technique and voice which admirably measures up to the demanding require- ments of laya. An expert exponent of laya, D.Shashikala happily accom- panied by Raghuram (violin) and Srishyla (ghata) and young K.V. Ravishankar Sharma’s (mridanga) who percussed with gusto tem- pered with understanding of a singer’s needs at accompani- ment exhibited her laya and vocal prowess. Her concert was held at Ananya under the “Samskrithika Sowrabha” programme of Dept.of Kannada and Culture. The rasikas were thrilled to see her singing the well-known atatala Bhairavi vama “Veeriboni”, in a mishra gathi aditala (7x8=56 aksharas). “Sri MaJiaganapathe ravaiumam” (Gowla) with neraval and taut kalpanaswaras was excellent. Rare krithis like “Amnia Dharma Samvardhini” ( Alhana, Thyagaraja), “Sri Guruguha” (Devakriya, Dikshitar) were crisp and charming. A uickish Dwijavanthi (“Akhilandeshwari”) and a proficient raga, tana and pallavi in Raga Vachaspathi were the important landmarks of her brillilant recital. The pallavi “Saptaswara sangeetha rasike raga bhava sahithe” in 1 1 akshara mishratriputatala was embel- lished with all the traditional flourishes. ***** An upcoming Bharatanatya dancer Shruthi S. Sharma gave a good account of her artistry in a performance held at ADA Rangamandira. She is trained by young dancer-couple G.S.Nagesh and Sriranjini Nagesh. It was like a praise- worthy addition to a great tradition popularised by veteran GuruH.R. Keshavamurthy. Though I was surprised to see some movements like jaaraduvus — which are alien to his tradi- tion, the overall effect was in the positive. Shruthi did full justice to the renditions. The 3-4-7 patterns in Pushpanjali and alarippu were a delight. Generally we find Shabdas addressed to Lord Vishnu. But veteran composer Chcnnakeshavaiah had done a beautiful piece on Lord Shiva (“Shankara Parameshwara”). Shruthi had this on her agenda and came out in flying colours in graphi- cally presenting the Shiva leelaas. Veena Seshanna’s Kalyani vama is all about a viahothkhanthita nayika who is pining for Krishna. In the first part of the vama the nayika implores her sakhi to bring Krishna to her. His greatness is described through the Drowpadi 10 maanasamraksha, Geetopadesha episodes in the latter pail. A composition by Kavi Bharathi and a Jayadeva Ashtapadi rendered by her vouched for her histrionics. Sri ranjitha Nagesh (nattuvanga). Bharathi Venugopal (vocal) and others contributed well to the success of the programme. In a domain domi- nated essentially by female dancers it is always a delight to watch male dancers performing with perfection. S. Raghunandan, a grandson of Natyacharya 1 1. R. Keshavamurthy and son- disciple of mridangist, dancer. Guru B.K. Shyam Prakash did proud to his lineage with a brilliant performance at the Yavanika under HFCEP series. Tall, well-built, Raghunandan *s B haratanatya recital showed a dancer with a fine grasp over rhythm and laya. Though there was an overdose of nritta part of the dance it was executed with accuracy and confi- dence. The Pushpanjali, Khamach swarajathi (with a couple of lines of sahitya attached to it), a keerthana from Rama Nutukum (“Nee urai pai", ragamalika)and the Ponnaiah Pillai vama in Naltakuranji in the first pail of the recital had all nritta segments in them. As far as the dance line and the profile went, Raghu was generally correct, though one would have like more immaculate mukhijas. His smile seemed to have overworked and overdone. His leg stretches and the ardhamandalas were neatly executed. A quietly held torso and hip without excessive jerky hip move- ments in the taltu melius in particular, gave the dance more dignity. B.K.Shyam Prakash (nattuvanga), Bharathi Venugopal (vocal), Janardhana Rao (mridanga), Gectha Prakash (veena) and Vi vek Krishna (Bute) were the successful accompanists. , v 3o-3ct?o£ c;3 £3r 3^3,33^ 3. 333 303: 3333V Svz 3?3o 3 t) 3./i,f3 33o 3 0 3. 33(13:. ~3? £c33f3£^ ~ ; zi.i ? 3 3 0 C3-, 3jz;33 3.;3. 3 0 -3.r ?3 33 ti,£qj;3:323 o3;3 i i+s* tistta 3:33 3; 3 37 : 3:3:_ 3;:0V 3.?: 33 *Siato& £:;vjz X%v3zi:^ tlzzL 3 jzz33:. «30 w 3 0 3,$ a ts& Bssa.tfzss £003* rW ( 3332t43&, 3U:33crt 3o3) «fjt<33 Ox33^3?5oi:&, 33 s?£i 3 3.rc3tf3^oLi: zteSQ. 3^?!^ OZ3? ti30 0oh;3 Zzzijz'tzti 33:3 rtf. 3=ar, 3;3:_. sJjsfoSf? 3:3^ ;*30 £>3, 3 0 ;3:^ rtrffO 3:3-3:J;£_ 323:.rck3 £.3_3^ 3^?03:. 3C330: ?r:3:rteo3 3:3 3 c 3:3 3? rtr:3.s:J;? 3^Ji fc ?JZ_ ^5?rtV3^ ?j£ 3303: w:3; 3f3tfjiVij3 35o332Cu:if 3:3^3 Oj? ‘ tf3 '.u.'iu; p? c_ 3c^r7r, ^2\3 wi 3_ oi, U o , 3: 3, ■_ 3 3x:3r3 0^3,. 33V- 3 3 30;. a. C m c 3 ul o j 3* 3 13 i330 3L;C7taC 6 -33^ rt;0: (tijtf&Z osrt) 03^03; 3 :.tc5 3:3;_. 3::0V £.33 333 0.t3rtV0.,i . rt;re £j0f3rfV3.d W3330333;. •< •< T «3er3 3?o3tf wc3rtw>3 3jj?3r. 303 s . 33 o^rtV: 3:3; 303:?c:rtV; w, 0*J w 3^ wCZc ZjI vZ, CX^O wc^ ^2 ZjJZ ? , 'iC^w t£Z^T^ z~iH!_z^'^ wcci. 33 30 :f; 3 3:333^ 3; 033:3?, 3?C33:?3 l20rfcrt,‘3C3:3 U3re. C30 ^3,rJ3 Q3rtV£i « 333 3 ji3v3c 3: 3?tf.36 - w 3 3: 3 c 3:3 3 w **“ D ~ «5 *• (« 3363 3: 0 c3jh, 3: f} o3 3? 3^35^ xrsoSjif oo30 u3j? fr 3c3f 3r3 :0;O;_ 3c3; (?^33;6_ 3? 3.; 3; 3^ 3crt; ^.33:3 3rc ^333-rc 3^'3cz3;i j 3. 3o33 3:3; 3^j3^ti33js 33 ?,o;«J3;=3 ~33 j if ,rt.t;33:. 3t3c, 3:3: is 3; 3 33rtV 33;sJ.i?:i3' 3ji«3rf. (Dc^zocj tfohtfrttf: -Jrt03;o3 3 ck 33 33rtf-33rA3;3;, -„3; 3c 3;; 3 ~;3 .'j3; 3z3 6 u m & n \i/c cij ? . Co o5j o ri 3^0 r2rfz&rjc3 z~cc5j z^j&Zj c3 Go Cj rj ^ZZiZj 37l 2J CZ&FFj. XjJ2&Cj rtjZOZurttf Cc? r^Xv ?2C. ty ^ -a t'sfcyw. C2£/3 i 3rcn;r eo^tfrtVrff 3:fc:r^. 30. «3tf z^-3 3;3;3pf? 3/tJc±rt3 ^3-ix5rt3rt 3trt 3 rt3tf 3ti 3; . CJ -> l_ „ sfjsn’ATscj’ ^oo^jseciFj n'v’o c3;3f(f ^3? 3:-t3 co33; C23 ?j 3C. 33 3c33;3 Z3>33fo* riSti t!3,dfi32 io-raeCDO*. 33dfiJ23 333^}ti. 3:3: tf3B* 30rc:^ — ' — * J 1 i j • tt33 3ooJji?33rtv' 3 js 3^3 t*33Jc3:. 3C3Z3: 3.3 -3-':3iJrtV3; 33:3 WO «4 W* -5 3333:3 !^3i?c3:jt 33trco. tis33 33: fc 3;36_ BTCr^ < '3 SqJ (3 3jt j ?0 e?* 3) 33:??5?3 rf 0 i/3: '3^3,30^33^ 333^^, rfqfo^. 33:3 tfc*rW 3c3rtV !3V33if rt3;^3r. w3:jj3r 33^33 30^:33 Ci33i_ 33?3£j3 30rt 3ro3 toj 3. 3f3ifafc 3:ed 3V3oarv3 3^3 rf3a, f':3o5^rf 3VA3 so cj l$ *< • tfr^^3V3^ 3rJ33^. 3; 3 zzzr^ 33^a33c t^ ccAtfrtV: 33:c33 33330./, c3,d3e" 3:3^ 33,03 3f£if 3:3^ -33f£»f 3on;3 3: Ore 33,0 3:^ 30res3:ffz0 303:3: 30,oteho5:f co3oi:333a33:. - 1 •< ^ I 1 ’’Long Live the Nightingale’ L ...Garland N. Rajagopalan (Aina Vasya, the New Moon day. chose to rob in the dark hours of December 1 1 21)04 the Itlo ^>r Dr. M.S. Suhbulakshmi. the gent and jewel of Classical Karnatak Music who paraded the musical scene lor u * decades. The cultured Prime Minister of Bhara, hailed her as the Queen of Music while Mahatma.,, preferred u. hear he recording his chosen song in prose, in ease she could not get at its tune, rather than ,1 be sung by others. Kings and dignitaries all over the world were won over hy the sweetness of her absorbing voice, the elegance ol presentation, the matchless delivery of sangi.a and sahitya and above all the dignity and image she presented, be ,n private life or a concerts or elsewhere. She was pristine grace and composure personified at concerts. Whether ,1 was at the United Nations or the Rashtrapati Bhavan or an Old Age Home for the Hapless, she was m her Bharatiya decor and dtgni y exuding angelic calm demeanour and graceful rappon.Thc alluring smile, the winning suavity, disarming simplicity tn speech and song left few who would not like to treasure and recall the grace and dignity of her I, re. her melodic voice, bhavu- laden music and her love of the good. I would recall the lives of Jayadcva and Padmavali. wherein he sang and she danced or she danced and he sang. Such a picture ruled and reigned in the lives of the Bharat Rama and her patriot spouse. Sadasivam. He provided the plan and inspiration and she excelled to Himalayan heights. She has patronized all noble causes and schemes. Her mux, c radiated therapeutic excellence, spiritual grace and all elusive graces and adornmenls ofbhava and rasa m sangtla an sahitya. ... u r»r Alas' Good and noble lives and deeds last not long as humans wish. We shall miss her much, very much. O course, she has legated her rare songs which shall remain the priceless treasure or the cognoscenti and the lay. Dr. M S. Subbulakshmi in physical frame is not there but the Bharat Ratna shall continue to find receptive warm home m the hearts ol dl ^ a (hc Ncw Moon day chosc lo dc _ 'Chakkani raja marf-anw \ She could have taken to a Me prive the music-loving world of its Kohinoor, the Rathna’ of a princess of the riches, kingdom. ^ . . . . - • , symbol of Bharatiya grace. She earned the benediction ol of Classical Kamatak Music, who was admired, adored. symtx,l ^ ^ g ^ SanlswaU lauded and applauded for nearly eight decades by millions Mahalmaji preferred her reciting a song in prose for her inimitable, soulful, involved. W,»k„ -soaked music. ^ ^ ^ ^ ^ ^ , hc , unc of his prayer song Sangita and Sahitya. bhava and rasa (lowed m all their ^ u ^ sung by olhcrs . Presidents. Prime Minis- afflucnt pristine grace and grandeur reminding one and all ^ ^ ^ ^ of , ndja lovcd lo grcc , her and listen to her of Thyagaraja’s description of the How in the Cauvery in his song Sari Vedalina. Her music stole the hearts of the cognoscenti and the lay. Her winning smile had eloquent therapeutic message. She carved out for herself a unique image in absolute conformity with the culture, tradition music. Her concerts exuding shantam. soukhyam. sivam and mangalam were the ideal for emulation. Her intense spiritual grace was praiseworthy. Her life with her spouse Sadasivam was a shin- ing gem and jewel of Bharatiya legacy, grace and perfection. and vision of Bharat, be it personal life, on the concert dais ( am rcmin d e d of the lives of Jayadcv and Padmavali- or elsewhere. Honours and titles that flowed throughout wbcrc j n h e sang and she danced or she danced he sang, her effulgent life like the perennial Ganges failed to change Evcn M Sadasivam gave her the lead, message and inspira- her life-style. Laudatory addresses from national and in- t j on and she rose to Himalayan heights, ternational dignitaries and forums could not change her Religion clarifies that ’alma' is immortal. Bharat mode of disciplined dignity and cultured decor. She aligned Ratna Dr. M.S. Subbulakshmi and her music shall continue herself in personal life with the message of Thyagaraja’ s to live and shine to eternity!! Nation needs their presence. 12 Kstd. 1965 Phones: 23604663, 2344138, 23207270, 22253975 Mobile: 98450 83291,31863473 Nadajyothi Sri Thyagarajaswaniy Hhajana Sabha (R.) No. 1 1 1, Margosa Road, Malleshwarum, Bangalore-560 003. & Malleshwaram AryaVyshya Sangha (R.) present Nadajyothi Sangcetha Nrithya Navaneetha (A 40-days' music, dance and cultural bonanza) From 5-1-2005 to 13-2-2005) Venue: Sri Kannikaparameshwari Temple premises, 8th cross, Malleshwaram. Bangalore-3. iNudaivotlii Sangeetha Nrithva Navaneetha — Discourses (from 5.30 pm to 6.30 pm) V 1.05 to 08.1.05 Kum.ArathiSubhramanya 10. 1 .05 to 1 5. 1 .05 Swamy Abhaya Chaithany; 7.1.05 to 22.1.05 Prof. H. S. Lakshminaravana llhatta 1 4.1 .05 to 29. 1 .05 Smt. Rama Srinivasan 1.2.05 to 05.2.05 Smt. B.G.Kusuma 0 7.2.05 to 12.2.05 Vid.Pavagada Prakashrao Daily evening programmes from 6.30 pm to 9 pm. 15.01.2005 Sat Gainaka -M.R.Suthya Narayana 16.01.2005 Sun Shashidhar & Nagarathna Shashidar - Flute & Veena, H.S. Krishna Murthy, N.S. Krishna Prasad 17.01.2005 Mon Pankaja Ramachandra- Vocal, C.Madhusudhan, V. Nanjunda Murthy. Ravishankar 18.01.2005 Tue Harikatha - Sheethal Jayanth Prabhu & Achal Jayanth Prabhu 19.01.2005 Wed Shwetha Lakshman- Bharatanatya 20.01 .2005 Thu Gamaka -Dr. A.V.Prasanna & Nirmala Prasanna 21.01.2005 Fri B.K.Ananth Ram & Amilh Nadig - Flute duet. Mattur R. Srinidhi, B.Dhruvaraj. “Kala Jyothi" L.Bheemachar 22.01.2005 Sat Harikatha - S.N.Suresh. Ramakrishnaiah, Gopalakrishna 23.01 .2005 Sun Dr. T.S.Sathyavalhi - Vocal, Dr. Jyothsna Srikanlh, K U. Jayachandra Rao 24.01. 2(X)5 Mon Hinduslhani vocal- Pandit Madhu Kamath & party 25.01 .2005 Tuc N.R. Marini & N.R. Sharada- Vocal duet, S.Usha. Anoor Anantba Krishna Sharma 26.01.2005 Wed Rudrapatnam Brothers -Vocal duet, S.Seshagiri Rao, A.V.Anand, Sukanya Ramgopal 27.01 .2(K)5 Thu Gamaka - Gangamma Keshava Murthy and Sunanda Gurudath 28.0 1 .2005 Fri PadmaAdiga- Vocal, C.Prema, Anoor Dattatreya Sharma, H.S. Kapileshwar 29.01.2005 Sat Dr. Tulasi Ramachandra (Bharatanatya) 30.01 .2005 Sun Dr. Sukanya Prabhakar - Vocal, Veena Suresh, N.G.Ravi, D.V. Prasanna kumar 31.01.2005 Mon D.Balakrishna, ManjulaSurendran, Vani Yadunandan - Veena Trio. Renuka Prasad. B.R.Ravikumar 01.02.2005 Tue S.Shankar- Vocal, B. Raghuram, M.T.Rajakesari, S.V.Giridhar 02.02.2005 Wed M.S.Sheela- Vocal, Nalina Mohan, Tumkur B. Ravishankar, A.V. Kashinath 03.02.2005 Thu Hinduslhani vocal- Pandit Raghavendra Gudi, Raju Kulkami , C.G.Ananthaswamy 13 04.02.2005 Fri 05.02.2005 Sal 06.02.2005 Sun 07.02.2005 Mon 08.02.2005 Tue 09.02.2(X)5 Wed 10.02.2005 Thu 1 1 .02.2005 Fri 12.02.2005 Sat 13.02.05 Sun R. A. Ramamani - Vocal. C.N.Chundrashekaran. V.Krishnu.T. N Ramcsh M.S.Lavanya & M.S.Subbalakshmi - Saxophone. Mysore Rajesh. M.R.Sainath Gudibande Brothers- Vocal. H.K.Narasimhamurthy. H.P.Ramachar.G.Qmkar Dr.N.Ramani - Flute. S.Seshagirirao. C.Cheluvaraj. Giridhar Udupa T.S.Krishnamurthy (violin). P.Shivakumar. S. Srishyla Veena - Anuradha Madhusudan. K.V.Prasad. M. A. Krishna Murthy Nccla Ramagopal - Vocal, Charulatha Ramanujan. S.V.Balakrishnan Maharajapurain Ramachandran - Vocal. H.K.Venkataram. I .A.S.Mani. B.N.Chandramouli Mysore A.V.Prakash- Flute. A.P.Srinivas^.S.Rajagopal. N.S.Narayananiurthy 5 pm: Valedictory of Nadajyothi Sangeetha Nrithya Navaneetha and prescMilation of Kala Jyothi and Nada Jyothi Awards. 6.30 pm:Tala Tarangini of Karnataka College of Percussion— T. A.S.Mani (mridanga) B.N.Chandramowli(khanjira). Raghavcndraprakash (ghala).T.N. Ramesh (Konokol). Chandrasekhar (dholak) and Karthik (dolu). Remembering Thyagaraja On Pushya bahula panchami day (30-1-2005). the Thyagaraja aradhana is celebrated throughout the country. Veteran musicians throng Thiruvaiyaru in Tamil Nadu, where Thyagaraja s samadhi exists, to pay musical homage to the saint-composer. Thyagaraja was a staunch devotee of Lord Rama and his keertanas are a treasure house of true devotion and musical excellence. Besides, the songs are replete with allusions toRamayana. Saint Thyagaraja’s references to the eternal verities of life prove to the lull that he was a great interpreter and exponent of Indian tradition. The corpus of his songs is often called —the Thyaga upanishad. His compositions abound with brilliant flashes of humour and sarcasm. Thyagaraja was a saini par excel- lence. The emotional content of his krithis is often spiced with gentle sarcasm. The great saint has incorporated Ninda-stuli into his compositions. In other words, his praise ol the Lord is in the garb of grouse against Him. In his Krithi “Seethanayaka” (in Reetigowala ruga). Thyagaraja questions Lord Rama as to why he has taken refuge in the Olympian heights of Tirupathi. Could it be a pretext to avoid the devotees? "By begging three-feel land from King Baleendra did you not forestall others from seeking favours from you?" he says. Like other saints. Thyagaraja was not afraid of Yatna, the God of death. To dilute its seriousness and to create an awakening among human beings, Thyagaraja cracks a joke about Yaina. He says that even the God of death is worried and has no work at all. For. human beings have thrown in their lot with Lord Rama and they are engrossed in praising Him. Rama-naama is the Taaraka mantra, which enables His devotees steer clear of the troubled waters of word I incss and its attendant sufferings. He scoffs at those who boast about their learning by just getting a bookish knowledge of Shastras without real devotion to God. Thyagarja asks Lord Rama why he has not yet bestowed His grace on him and adduces many reasons for His failure to do so. In the same spirit, he asks Rama, “which devotee indeed has gained any favours at your hands?” In the song "Adigi sukhamu (Madhyamavathi). He quotes the examples of Sila, Surpanakha, Devaki and Yashodha to drive home his point. Thyagaraja was an uncompromising opponent of Darshanamu seya naa tarama {Narayanagowla) ridicules people who visit temples forgetting God. In his song Dhyaname vara Gangasnaanamu (Saveri) and Koti nadulu (Todi). he derides ostentatiousness. In short, krithis in poetic parlance are draaksha paaka (distilled essence of grapes) which could be comprehended and relished easily. 14 GUNAGRAH17JANUARY.....2005 |PHOTO QUIZ .KXakshminarayana (Babu) Pag e | >UIZ OF FINE ARTS....28 1. Whal do you know about lids? 2. Whal do they indicate? T The frets are made of . 4. Frets of guts arc used in . 5. Which are the frets used in veena? h. They are fixed on . 7. The frets used in si tar are in shape. S. I low are they secured? ■). Whal is a fundamental raga? If). Ii is also known as MLUTION TO QUIZ OF FINE ARTS-.28 •k3kj uXunfio oaiiraij op oip oi posoddo sn uSuy t^RURf v ()| i’oim ui|i.n’>ji?|oiAj v '6 uiois oip ipnou •inpun Sujssrd inf? jo sfluuis jo sSuuds oj| imoui Xq uiois oip oi pojnoos oju Xoqj g •|i;opd!||H ‘l •Oopo| Xxi’.w oqj, y [Cioiu jo sjnq punoj-||ni| o.u? Xoqx -g innuji’A\s p ■joa| is - jo o/uojq ‘sstug £ •Suiddois po.1 joo uj dpq pun oauioo oip in sojou oip jo suoufsod oip jo smimpsi’jn.ws oqj •£ SJU0UIIU1SUI JU| llll|S pUlMUljS TllOOA Oip JO p.lUOq-JOolIIJ oqj ssojou poou | d |rioiu jo sdujs uiip oipp • j SOLUTION TO PHOTO QUIZ njiiQ puc i?Xp?m?ji?Ji?i|gjo juouodxo pouosnos pm? )ui?i||uq-pa)uo(C) XiqHiq y ANNOUNCEMENT u Artistes, Authors and publishers are wel- :ome to send two copies of their books/cas- settes/CDs on Indian music (Karnatak, Hindusthani, Sugama Sangeetha, folk music e}c) and Indian dance (classical and folk) tc GUNAGRAHI for review. While every effor will be made to acknowledge receipt of the same under "New Arrivals”, the decision to re- view a book/cassette/CD rests entirely with the journal. u The Sabhas, Organisations, Institutions and organisers are hereby requested to send the| details of their forthcoming activities/ programmes as also the events held to get them| enlisted in the current issue of GUNAGRAHI by post and/or through e-mail on or before 8th| [>f every month. UBSCR1BE TO ‘ GUNAGRAHI 15 (GUNAGRA1II RNI REGN. NO. 69149/98 Monthly Journal Regn. No. CPl VIG/KA/BGS-92/2( H)3-05 7TZZ/fjf\ XJ2 SDoKICj zt.rth oj; 2jqfci£„ series' ♦ */•? Si «s5:aj,rt Xcccsi £0uCid. Si ^3 jf0oCi3:3Tf\ £'-ccf 2j£?cS:5i!.h trtkx zZzzz'j X~3'~ 2?S rjzijt'n. c rots.wi dcX-3. - - • J ^ o ^ W-w * WsJ * - U ' Cn/W • V-/* OJ- hvwb Ov, JL/C ' J . i— - - W— W- U J l*\ K — 3?,sxJ XoC'-d 3f.c3.6Jc3: x?rto 3f:~ e . le^O if:*. ifijX^OiC. :•. :3c 3 3" 3j6 : c 3: STjffCCln^ CrdOw^, *Jc3i. •J £t o ♦ aS.rtojarc? X~:n tiiiisonrfi Si 22:5?$$, -'.'-^L’: O J ' "- 1 ^ -JO v*. Xcf^icf 3.^n if Icffcf:^ 3d'j: Xcfr z2^ Xcterfcf Reefed ~:?c ~Z'A -A oe Xc --J ♦ do C Co- *. ♦ zbzrttfj: ♦ n — »»J. UJ ‘iO tv C* J « cf:crt^/ ♦ i -JJ^J ™ . ** V m r ^ « ^ ** * | • . j » ■ - - Vs — / ^ i . “”. * —' f .( ” VI*' ”* t/ •. Jj ■ 5 ^ S% ,<>. ~W wJfrvL Jw*. vj- U# W "V ^ K J s w 0 W 1 — - -V • J — ' * . ^ ■ ■ » « — * rJ < I*'J. w^- r ^ v -jj ' JO * J, -V -v w * -V- — 'r. -2 X* — ' *r > -~'T J *— a< — '• — t * r* - -* * *• ** £ ~ t \ t * j r''* — T ^ <_ -j* 3 jii J - J. cjui » w * ^ c^-. -X- 5t^j. rw^vv. j-^vr*-. s-^.t-.w. — 3,* j . -j- • ^ p-/. -r-t — . — '• - J7 w 1 -. -*- 1 • . co j u;wi w— i it w ^ w slgtf.U 1 xc3:jJ n rf:x'-5 cf03^:Sc_ cf:3. ^ V H iJcf* ^;C, wJ <*< 0 ^ Owned. Published, Edited and Primed by Dr. M. Surva Prasad at “Munikoti . No. 8. second cross, Opp. Srinivasa Mandiram. Balepcl, Bangalore-56(K)53. Phone: 222339 75 Editor (ieneral: DR. M. St-RV'A PRASAD.