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Ph : 26612244 Vol. VIII Issue 10 March-2006 INSIDE: -J m Glory of Indian [Carnatic] Music 4 From the Editor General 5 Reviews 7 Calendar of Events 1 2 Mumbai/Mysore news 13 Leisure 15 Principal Advisers Dr. R. Salhyanarayana. Mysore 0821-2567891 T.S. Parthasarathy, Chennai. 044-2459005 Guru Maya Rao, Ph : 22261816 Mallur 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 Avarlhi, 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 PI. Vinayaka Torvi, Ph : 23305701 Dr. Vasundara Doreswamy, Mysore. Ph : 0821-2542814. Ranjani Ganeshan. Ph 26615127 Legal Adviser : C.N.Salyanarayana Shastri, Ph. 26620138 EDITORIALOFFICE: "M U N I K 0 T I", NO. 8, S E C 0 N D CROSS OPP. SRINIVASA MANDIRAM, BALEPET B A N G A L ORE - 560 053. PH : 080- 222 53975 e-mail : gunagrahi@yahoo.com, dmisunaprasad@jahoo.com 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: 818 788 6860.Nacheketa Sharma - Ph : 001-650- 960-6906 Lavanya Dinesh Ph : 717-576-8295 * Wc 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 publisher. * The editors and publishers of Gunagrcihi 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, Jaraganaltalli P.O. J.l'. Nagar, Kanakapura Main Road , BANGALORE - 560 078. 3 Glory of Indian [Carnatic] Music: ‘Garlands’ N. Rajagopalan, IAS (Retd.) Classical Carnatic music [the Music of India] is, like the religion of India, anaadhi. not known to have been ‘born’ at any particular period of time commencing its illustrious life. It is the most ancient, per- fected, codified, extant musi- cal system of the world. The music and its visually expres- sive twin natya have since been taken to different continents. There is a mini globalisation trend in the context of its ag- gressive urbanising phenom- enon. What the first Prime Minister of India, Jawaharlal Nehru said in another context aptly applies in toto to this sys- tem of music: “Her infinite charm and variety! The wide spaces.. .of her diversity.. .some depth of soul which I could not fathom [why,has anyone else been able to?] though I had occasional and tantalizing glimpses of her [even as mil- lions through millennia have ex- perienced!]” Music, and to a lesser extent Dance, have been handmaids of Hindu [Sanathana Dharma] religion, not to speak of cultural, social. occupational and political fes- tivities and functions from an- cient times. Musical and dance passages and comparisons abound in ancient epics and lit- erature. For instance, the morning deity Usha as she leaps in the morning on the horizon is compared to a dancer! A clari- fication on tiie word ‘Hinduism’ is but relevant and proper here: ‘Hinduism is not the proper name of our eternal religion. The real, original and proper name was Vaidika Mata or Sanatana Dharma. Unlike other religions, Hinduism cannot be brought under any age or sage. It includes all Gods for One. ‘ Ekam sat; vipra bhahuta vadanti' [Reality is One; sages call it differently. [ Paths for re- al ization are karma marga, jnana marga and bhakthi marga...’ -Prof. P. Vanchinatha in Rameswaram Patasala Golden Jubilee Souvenir, 1965. As is the religion, so is its music. Both are Anadhi (without a specific origin]. An- cients have graphically said that man got the earliest inspiration of music when he cognized the sweet sounds emanating through the holes of bamboo clusters as wind pressed through them and of laya when he was struck with the self-or- dained rhythm with which rain droplets fell in harmonious sys- tematic regularity ! It is this be- lief that inspired the latest popu- lar song of poet Kannadasan: ” Pullanguzhal tanda mungilgale; Purushottaman pugazh padungale!’ [0 bam- boos, you gave us the divine flute; Pray, sing the praise of Purushottama!] There is a parallel beautiful allusion to music in the poem Don Juan XV of the ro- mantic poet George Gordon Byron 1 1788-1824], which echoes like sentiments: ‘There’s music in the sighing of a reed; There's music in the gushing of a rill; There’s music in all things, if men have ears; Their earth is but an echo of the spheres.’ The eminent poet sig- nificantly mentions the need for ears -surely not just the physi- cal but musically sensitive ears! The crying baby in need of a lullaby, the art-conscious bridal couple longing for the sweet (Continued on Page 6) GUNAGRAHIAI ARCH-2006 iiiiiiiiiiiiiiiiiiimiilffl 1 1 ntm llu- l-.dilor ( k norai I The Cry For Attention Karnatak music is getting attention. Considering the situation which obtained not long ago. the position today appears im- proved. Still the cries often heard that Karnatak music is not getting the attention it deserves. Most often this is the complaint of public speakers. It has become habitual for them. It is good that they make this point. It is risky to rest satisfied with a position even if it is good. The cry must always be for more. The fact, however, remains that Karnatak music is claiming the interest that it deserves in its present state of soundness. If this interest is extremely sober, it is natural too. One cannot expect Karnatak classical music to get fans (locking. It happens it the soccer stadium. It can attract the few who can follow it. ‘Painting exhibitions do not attract mobs. Why do you expect jrowds for Karnatak music?”, an artiste-friend asked. The fine arts are not mass-appeal subjects. Of course, Karnatak music gets an enormous spurt of attention during De- cember. But then, this season does not represent ordinary times. It is festive time when Karnatak music becomes part of a winter holidaying and carnival tradition of enjoyment. But if the real interest, the enduring interest is to be truthfully assessed, one lias to rely on the basis provided by the normal times. There are people who are not satisfied with crowds that gather lo hear Karnatak music particularly during the festival season. At the other extreme there are people who are satisfied with what is available even if it is the least. The other performance lor instance, the audience was very thin. It was a youth music festival and the organizers obviously did not want to strike any discordant or discouraging note. Thanking the young artistes who had already performed and announcing the names of the next ensemble, he expressed grati- tude to the “large audience” that had turned up. And, at that point of time looking round one could count hardly 20 persons in the hall. Still, to this rasika, the description of the audience as large did not appear meaningless. He remembered many occa- sions at the same venue, when the audience turn-out had even lesser than 20 by a considerable margin. He particularly remem- bered the occasion when there was a concert by a popular in- strumental ensemble. — Karnataka Kala Sri Dr. M. Surya Prasad. 5 (Continued from Page 4) strains of auspicious music to commence their wedded life, the pooja at home waiting for prayers to be reinforced with chaste, devotional music, the services at temples in need of music and dance to lend glitter and glamour, colour and pol- ish, domestic functions and many such occasions demand music to clothe and embellish them all with the artistic aroma of grace and fragrance. There are references to music and dance even in the Vedas. Mu- sic either in formative or devel- oping form should have been perennially present continu- ously from very ancient times. Sans the twin arts, functions look bleak like the cited pro- verbial metaphors, woman without beauty (as if man should be left with an unchal- lenged monopoly of all ugli- ness!], sky without stars and moon, temple without icon, river without water, etc. There is little doubt that music en- hances the aura and aroma of religious and other functions and draws the attention and appre- ciation, interest and involve- ment of one and all. India has traditionally been to the pursuit of arts as part of its spiritual wisdom and exercises. With its time-old ad- herence and emphasis on kama parampara, gurukula and manodharma which are all sym- bolic of the culture and .wisdom of India, it built up a system of music that answers to varied occasions, demands and emo- tions. As one fervently looks back at our immense creative heritage and laudable legacy, the musical oration of Maha kavi Subramanya Bharati of Eltayapuram comes to mind and rings in our ears. He sang: ‘Mother, in those distant days, in the resplendent pearls of your languages, you had presented the universe with Vedas, Upanishads, Puranas, Itihasas and many more in all your mu- sical wisdom [isaittajnanam].’ — Song of Bharata Maha Navarathna Maalai. The earliest glimpses one gathers of the cultured life of Bharat are overtly seen to have adopted and strenuously emphasized the close inter se bond and liaison between reli- gion and arts, particularly mu- sic. Music without ornamenta- tion (gamakas and brikas] may sustain itself though bereft of its full blossom and bloom, but without religion, it would have lacked its perennial source and inspiration, lost the prodigious scope and content for lyrics and the copious supply of precious food and energy and the needed flesh and bone as well as the soul for its bhava-rasa-soaked presentation and musical struc- tures. The avatars of Rama and Krishna, gods Siva, Vinayaka, Subramanya and Ayyappa and the Trinity of goddesses Durga, Lakshmi and Saraswati, for in- stance, account for a major slice of songs sung in different languages. Perhaps Indian population explosion may cry ‘halt’ to its own untiring bloom for just a day but no day shall pass without addition to the musical repertoire. The source is boundless; the inspiration is profound. Religion has need for constant focus and manifesta- tion and music has the needed stamina and potential to illu- mine. Different accounts are in currency on the divine origin of music and dance. Such in- dulgence is at once the strength merit and weakness and defect of the Hindu. Every sthala, murthy and teertha normally carries a story [sthala purana] in prose, poetry or songs on its sanctity and merit. Here is a juicy specimen description on the origin of Natya Veda which ipso facto denotes also the rich and mature music, abhinaya and stream- lined bhava- rasas. R. E. V. I. E. W. S rilliant dancer-couple Sanjay Shantharam and Shama Shantharam showed an ease and dramatic verity which spoke of their feel for choreography during the presentation of a dance-drama “Shankari” at the Ravindra Kalakshetra. It was held in connection with the 17"' anni- versary of their Shivapriya ot only by training youngsters rom cross-section of the society but also by holding annual competitions and festivals. Gurudev Lalitha Kala Academy founded by the couple has been a hub of dance and literary activities. The ten-year-old Academy has many significant programmes to its credit. A four-day festival of dance “Narthana” was held at marga-items of Bharatanatya could perform Salangai pooja (worshipping the anklets). It is a stepping-stone for Rangapravesha. Medini danced confidently and rendered Pushpanjali, a Subrahmanya Kauthuvam, Dasara padas “Gajavadana” and “Yadavaraya” with conviction. She holds a lot of promise. School of Dance. Addressed to the Goddess Parvathi and Her various forms and traits the subject is hardly new and yet the dance visualization was not just an adding up of the usual images. There was no impoverishment of thought or imagination in drawing the picture of the Devi. Shama as Parvathi and Shantharam as Shiva stole the show. Captivat- ing recorded music, apt choreography, meaningful light-designing et al, contrib- uted to the success of the presentation. ***** NKW auditorium. During this festival four of Guru Chethana’s disciples M.G.Sindhu, S.Shwetha, Sindhu and Bindu Rao regaled the packed audiences with their Bharatanatya artistry. Guru Radhakrishna herself with her skilled student Megha B. Kakkilaya was in her peak form in an enthralling duet. ***** Guru Chethana and Radhakrishna’s petite daughter Medini Radhakrishna did her “Salangai Pooja” and won the accolades from the rasikas for Endowed with a charming face and lissome figure M.G.Sindhu and S.Shwetha, both trained under Guru Chethana Radhakrishna gave a creditable account in their duet. Appropriately accompanied by Chethana (nattuvanga), Balasubramanya Sharma (vocal), Venugopal (flute) and Janardhana rao (mridanga), both of them rendered Pushpanjali (Bahudari), obeisance to Lord Nataraja and Guru, 5-7-9 patterned alarippu with good understanding and synchro- Young and talented exponent of Bharatanatya Chethana Radhakrishna along with her enthusiastic husband Radhakrishna has been rendering some useful service her neat performance. There is a practice of performing this pooja in Bharatanatya. The dancer who is yet to make her debut performance and who has been taught almost all the 7 nized movements. The King of Dance was saluted on the basis of “Ananda Natanam” (Ranjani raga). The virahotkhanthita nayika as depicted in the Dhanyasi varna GlJNAGRAHI/MARCH-2006 “Nee inda mayam” was reenacted by the dancers. Nothing was overdone. The nritta and nrithya was studded with demanding laya patterns. The portrayal of the Dashavatara in the course of the presentation of a Purandaradasa pada “Amina nimma manegalalli” spoke of the histrionic abilities of the dancers. It is a happy augury for classical Carnatic music, that youth in general and software engineers in particular are evincing lot of interest in it and with their inheritted and acquired talent and expertise have been able to win big audiences all over. It is also noteworthy that these intelli- gent minds could easily adapt themselves to the rigors of the traditional music. These thoughts flit past my mind when I heard young G.Ravikiran sang for Ganagruha at the Ananya auditorium during its three day anniversary festival of music. Ravikiran is a disciple of veteran vocalist Dr. R. K. Srikanthan. By accompanying him on stage, Ravi has imbibed the technique of Srikanthan-bani correctly and perfectly too. The imprint of the Guru was available to be seen in the renditions of the shishya. But the singer saw to it that it never boiled down to blind imitation. There was ingenuity in good measure too. Like his Guru, Ravi also captured the beauty and grandeur of vilamba kala. Highly sensitive, full of subtleties of bhava, raga and laya, impeccable manodharma and a cohesive expressive- ness of Ravikiran greeted the ears. Swati Tirunal’s “Deva deva” (Mayamalavagowla) opened up the concert. It was adorned with kalpanaswaras woven into sarvalaghu, daatu and janti patterns. The beauty ofakrithion “Sri Dakshinamoorthe” in Shankarabharana by Muthuswamy Dikshitar is something to be cherished. Ravi was at home in dealing with the maathu and dhaatu. The delineation of a demanding raga Varali for Thyagaraja’s “Itu janma midi” was another milestone of his recital. Artistic neraval attached with cascading swaras delighted both the mind and ears. But in the singing of “Raksha battare” (Bhairavi) he rounded off the krithi with swaravinyasa sans neraval. He enthralled the audience by rendering swaras in the anaagatha (sahitya 8 starting before the tala) edduppu. ‘Bhogeendra shaiyanam”, “Broohi Mukundethi” and "Smariso sadaa Hariya” pleased the ears. J.K.Sridhar (violin), ' K.U. Jayachandrarao (mridanga) and Dayananda Mohithe (ghata) imparted an enlivening accompaniment. ***** Sadhana Sangama Trust led by a Bharatanatya- expert Jyothi Pattabhi and her husband adept in Yoga Pattabhi held a four day “Mukula-Yugala nrithyotsava in the premises of Sri Maha Veeranjaneya swamy Temple, Mahalakshmi Lay out. On the third day Gum Sunandadevi’s disciples Hemabharathi and Preethi Prakash with their laya perfect mercurial movements won the hearts of the rasikas. Beginning with Brahmanjali, Hemabharathi moved and pranced like a deer in the presentation of Mandooka shabda revolving around the tale of Mandodari. The depiction of Dashavatara was another interesting item. The Kuchipudi duet concluded with a tillana in Kuntalavarali raga. Gum Sunandadevi (nattuvanga), Ramaa Jagannath (a rich and fine GINA(;RAHIAIARCH-2(H»6 vocal), Ashwathanarayana (flute) and Chandrasekhar (mridanga) enriched the dance. ***** “Preksha Gruha” was the venue of some of the important episodes during the life of Pandavas who were in Agnaatavaasa of Mahabharatha. Arjuan’s curse, Arjuna as Brihannale training Uttare in natya. Bhccma-Keechaka fight, Uttarakumara’s tale et al were strung together for depiction in the format of a dance-drama. Penned by Shatavadhani Ganesh the story was choreo- graphed by Jyothi Pattabhi with music scored by singer Balasubramanya Sharma. The dance drama unfolded in an artistic manner. The students of Jyothi at Sadhana Sangama, rose to the occasion in putting across the theme. Well aided by a recorded music the dancers clad in traditional costumes reacted positively to the tunes of music. The combination of nritta, nrithya and abhinaya was even and enriching. Sadhanasri, Narayan, Sushma Narahari, Ananth, Nagesh among others stole the show. A veteran exponent of BharatanatyaGuru Narmada is a name to reckon with. Her contribution to the field of Todaya Mangalam Bharatanatya is immense and (raga and talamalika) and varied. As an adept choreog- "Jaya Janaki Ramana” were rapher she has innumerable rendered by Sridhar, Savithri, productions to her credit. As a Raju and Nirupama. One Guru she is par excellence. could enjoy the nritta ap- Though she had many ups and pended to it. Sowndarya, downs in her personal life, she Lalitha. Praveen. Lakshmi and never got perturbed by them and carried on her mission of popularizing the Bharatanatya. Her disciples all over the world have been actively engaged in propagating the art of Bharatanatya. In a delightful and dignified programme held at the Yavanika, she was felici- tated by her leading disciples on the occasion of completion of 25 years by her school of dance Shakuntala Nrithyalaya. The organizer-disciples paid dance tribute to their Guru and did proud to her with her impeccable performances. The disciples who performed were P.Praveenkumar, Dr. Sridhar, Sathyanarayana Raju, Nirupama Rajendra, B.L. Lalitha, Lakshmi Gopalaswamy, Indira Kadambi, Nandini Mehtha, Subhashini Vasanth, Savithri Ramaiah, Sowndarya Srivatsa and Padmini Upadya and Malathi Iyengar and her daughter Lakshmi Iyengar of Rangoli Foundation of Califor- nia, America. Indira demonstrated their fine hold over laya in the presenta- tion of a swarakattu set to Todi raga. The different traits of Ganesha were captured by Lakshmi, Nandini and Subhashini with the lyrical support drawn from “Ananda Narthana Ganapathim”. The three-tiered varna was addressed to Lord Brihadeeshwara. Charana in durtha laya was excellently done. The dancers worked out the varna in duos and trios and at the end all of them provided a well laidout teermana in unison. It was a delight to watch this item rendered by the seasoned and talented dancers. The concluding Dhanasri tillana saw the dancers in groups moving like one unit and render the demanding teermana with ease. Guru Narmada’s nattuvanga had a rare punch and inspired the dancers to give out their best. Srivatsa (vocal), Madhusudan (flute) were in their elements. Double 9 mridangu by Gurumurthy and Kiran Subramanya was the special attraction of the evening. ***** A vocal recital by Pool napragna Rao held at Seva Sadana Hall, during the Sankranti Sangeetotsava under the aegis of R.K.Srikanthan Trust yielded mixed results. Hailing from a family of traditional Carnatic music, there was an authentic and firmly grounded pataanthara, formidable tradition and classicism in his rendition. But there seemed to be more of artistic expanse rather than the aesthetic depth. There was a strange crudity which could be attributed to the past genera- tion singers in his style of singing. His introductions to some of the compositions that he sang, were either uncalled for or seemed to be redundant. However, his presen- tation of “Paridaana michchithe” (Bilahari), Athana (“Maathu maathige Kcshava Narayana"), “Vidajaldura” (Janaranjani), “Ranganayakam bhavaye” (Nayaki) among others imparted a rare listening experience. Dr. Jyotsna Srikanth’s violin support was of high standard. Mridanga by Srinivasan was of great utility. ***** Veteran Guru late S.V.Srinivas was remembered on his 86 ,h birth anniversary by her pri zed-disciple Shubha Dhananjay at the ADA Rangamandira. The programme presented under the banner of Shubha’s Natyantharanga was titled “Guru Namana”. It was befitting and enthralling to see 1 0 1 students of Shubha performing in groups and rendering different composi- tions on the stage. It was also pleasing to note and watch Shubha’s senior students like Veena Basavarajaiah, Radhika, Komala, Keerthi, Anjali, Pavani, Bhagyasri, Manjusri, Nagesh and Maya Dhananjay shining like promis- ing choreographers. The welcome speech by Dhananjay was followed Pushpanjali, Brahma sandhi.Ganesh, Muruga and Natesh Kauthuvams, Saraswathi and Shiva Vandanas presented in an admirable disciplined way. There was simplicity in artistry. Maya Dhananjay, in her early teens, disciple and daughter Shubha Dhananjay and Dhananjay deserves a special mention here for her three compositions and a praiseworthy Kathak perfor- mance (Ganesha Vandana). The21 sl Kinkini nrithyotsava 10 was held at Dr. H.N.Kalakshetra quite suc- cessfully. The inaugural dance programme was presented by Padmini Upadhya, a talented disciple of Guru Narmada. As it happened to be Sri Thyagaraja Aradhana day, Padmini rightly paid dance- tributes to the great vaggeyakara. With a glowing classical artistry Padmini saluted the Lord Ganesha on the basis of Thyagaraja’s Sowrastra krithi “Sri Mahaganampathini”. She could etch the traits of Ganapathi through her sensi- tive abhinaya. “Raara maa inti daaka” in Asavcri raga is one of Thyagaraja’s emotionally charged krithis. Padmini captured the essence of the krithi and won the paeans of praise for her neat abhinaya. She negotiated the nritta, nrithya and abhinaya portions of the ragamalika varna ("Swamiye azhaituva”) by Dandayudhapani Pillai. One could get the feel of a virahothkhantitha nayika. A Purandaradasa pada (“Kadagola taarenna chinnave”) was utilized to highlight the leelaas of the child Krishna. Guru Narmada (nattuvanga), Balasubramanya Sharma (vocal) and Janardhanarao (mridanga) <>1 \ \<.R Mll/M \U( || - 2 »<)ft iiiiiiiiiiiiiijiniiir imparted lively support. ***** One of the priceless plays of Kalidasa, “Malavika- Agnimithra”. is a classic work dealing with the sentiment of love. This theme has been well tried and unfolded in various mediums. The dancer-couple, Kiran Subramanya and Sandhya Kiran, exhibited their extraordinary dance-cquip- mcnt in adapting it to a dance- drama. Colourful mythological costumes, useful set-designing and properties, meaningful lighting, group dance choreog- raphy, male and female voice overs, evocation of navarasas el al brought to the fore the creative abilities of Kirans. But one felt that should have had a better representation and major part in the dance- drama. Even the musical support seemed to be monoto- nous. Rashmi, Divya, Shivaranjani, among other dancers, deserve a special mention for their immaculate dancing. Shivaranjani, in particular, deserved a better slot in the dance drama. The < live music support was headed ’ by Kiran Subramanya ! (nattuvanga), Srivatsa and I Manasi Prasad (vocals). I ***** ^ The prestigious nine- £ day 4 1 S1 sangeetotsa va u nder t the aegis of Sri Nadajyothi Sri Thyagaraja Bhajana Sabha Trust held at Sri Kanyaka Parameshwari Temple, Malleshwara, was marked by the honouring of Centurion II Pandit Sudhakara Chaturvedi and presentation of Kalajyothi title to Dr. Padma Murthy, Basavanagudi G. Nataraj and C.G.Ananthaswamy. Flautist M.K.Pranesh received the Nadajyothi Puraskara. Veteran violinist Basavanagudi Nataraj en- thralled the audience with his skillful violin play. He has lot of experience, expertise and excellence in him. With young and well equipped violinist- daughter Suneetha Ramabhadran accompanying him on the second violin, Nataraj give a free rein to classical music. He never got perturbed by the power failure. Appropriately accom- panied by Vasudevarao (mridanga) and Dayananda Mohitc (ghata), he opened his recital with a ragamalika varna. The father-daughter combine proceeded ahead with Kaanada (Mamavasada), Sri (Endaro Mahanubhavulu), Poomachandrika (Telisi Rama) and Nalinakanthi (Manavyalaginchara) ragas and impressed the rasikas with their synchronized vidwath and variety. The detailed delinea- tion of Shanmukhapriya for "Marivere” with alapana, neraval and kalpana swaras was the highlight of Nataraj ’s instrumental cutcheri. ***** 3 t~k — ’ r-1 ic&o 1 TOwssJrrs & Sot dffTCfdO Zjg'Z! ojJ r-i djaeo odd rtjfalijii -3 d?jD H U c( dxd 2? - j c~it) uCjO Cjj sfowD. tfi JoiiCtfoS 8 -* m dfrooc&d JJtTSOfcB’ £d?FZJtfC3d CjJf. £3. wdcfc d?edo3 d?rot;:d:>d «dtfred£) cf;d diotidd?^ A gQa&FXj wdo^roAcftd J5>rfabr rtv^e •3 tfoaddab zjsdjsds 1 koed rtotf: du ff .t3o s '.???jtfdd5ja.BFrttf Glory of Indian [Carnatic] Music: GUN AGRAIII/M ARCH-2006 dcj^ WC FlEfzCZ , 2jT2co Jj C oj r j , zS^jAFi roodrtf dad wc^od erni^sd sfcrJjaesud zicjrSdejrtVa daacssd d^d^r^*pod XcpiJdX3 dat3 ’iwu-. wc-ctfd s&sssofc;©, wcosJ: (5,3,, z33:dz5 £;3; Led ) 23:3: rtr*?3 _X> K3X w 3d© tJedjajroO X^d,, iJacdd $cd tf?drtV: 23; d:. 2332r r3 As?; cj«j2£n/ 252 Ac3 &j). a rtae&tfc&c* ajf1v£’3fcljC^3[> ZjZ~ a (xldsj gag;d:)d wzpriak wqirdJsrerroAd^. wood drer ed odd .30 otrtd:. wdd O Q djsaOiE’d^”^ xi&jd^ da^djsda dc^5dDtcddd; . srodoidrd Q -° i^dddd; rtad: $?dddxfc!>rrttf? 6 «* drfO^ad. wdd© d^Doda fcdd Oj '“’ darsntdddjz wdoJaosd wAXAdja H J H ^ocszdasi^. drf. djaifrodeoSad -X * -C ddodd ddres^a drard OdoSad srjdjSrrt Xa32c3;$2j2Ad: . ix??J24 s^, d 0 3 4 da 3^ w^dcd di daj 2 djs t^AAs?^ daoiidda. ad, KArtv*?^ dada^ daas^dart^ wdda ©fw^dsearoA SjosofcsXsssA ^driuAidda. dosdad dc3d duj (x^QfXddd ^soaaifoJa Jidre: doKot^dra), t3sd«? (ojoQsi ?^ da#, dj5?dd) dad^ wood dcddri XjsS d-jXd dcSiied dda^ Sads^d dfdd^sda (dc5di tio dwoJao, s,oc?a^dO) As? wd doia dadJl^odda. wrorsz dut,d dada dssdstd daortv' dcdxd^j. -X rtada d.if. zj2C2;52e? (dtiaroort), ^tddederxrtasesjto* (nscdad), A? 32 J^QdBDCr (0?rf), KMJvf" o — ' 023? (da 0 dod) dad^ dadroo* (£odd) wdd kd; & es? XdB 2 d iod 232 Ad; . w a£ CALENDAR OF EVENTS: Raat»a Sudhalaya Charitable IVust: Sat. 25th Mar. 06, 6.30 pm. Veena recital by Kalavathi and Party, at BEL Sri Ganapathi temple, BEL Colony, Jalahalli. Sri Vani Vidya Kendra presents Sri Ramanavami Sangeetotsava: at C.A. Site No. 1 , 4th ‘B’ Main, 3rd Stage, 3rd Block. Basaveshwaranagar: 6th Apr.: Violin duet by Mysore M. Nagaraj & Mysore M. Manjunath and party. 7th Apr.: Vocal by M.S. Sheela and party. 8th Apr.: Hindustani Classical music by Jayateertha Mevundi and party. 9th Apr.: Vocal by S. Shankar and party. 10th Apr.: Vocal by Dr. T.S. Sathyavathy and party. 11th Apr.: Veena recital by D. Balakrishna and party. 12th Apr.: Vocal by R.K. Padmanabha and party. 13th Apr. : Duet by Rudrapatnam Brothers and party Sri Rama Lalitha Kala Mandira presents, 10th Mar.: Saxophone recital by Lavanya sisters, Mangalore & party, at 6.00 pm. 1 1 th Mar.: Hindustani Classical music by Mrityunjaya Agadi, Dharwad & party, at 6.00 pm. 12th Mar. : Kamatic Classical music K.Vrinda Acharya & party, at 6.(X) pm. at Sri Rama Lalitha Kala Mandira, 9th Main, BSK 2nd Stage. BTM Cultural Academy, Sat.25th March, 5.30 pm.: Vocal recital by Thiruvengadu Jayaraman at Sri Ramana Maharshi Academy for the Blind, 3rd cross, 3rd phase, J.P.N agar. Malleshwaram Sangeetlia Sabha and Ananya, 12th March 2006 at Ananya Sabhangana. Malleshwara, the first concert of the “Vaggeyakara krithi vaibhava” series by Dr. T.S.Satyavathi (vocal), S.Seshagiri Rao (violin), Anur Dattatreya Sharma (mridanga) and G. Omkar(ghata)at4.15 pm. 12 UUNA(;KAHIAIAKCH-2U06 Mumbai news: Mother and daughter delight Nadopasana Music Dias, Dombivili (East).Mumbai, organized their annual Thyagaraja festival on the 4th and 5th Feb. at the Chandrakanth Phadkar Vidyalaya Audito- rium featurig music concerts of artistes of national repute. For the first time in the history of the Sabha, Natya Visharada Ranjani Ganeshan Ramesh (Kalakshetra, Chennai) was invited to perform Bharatanatya. Ranjani presented a thematic Bharatanatya feature titled “MOKSHA” aloud with her daughter-Child Prodigy Daksha Ramesh. The concept was entirely based on various captivating compositions of Saint I hyagaraja. Thyagaraja's journey thru gnanamarga. bhaktimarga leading to moksha was the concept. It was conceived, choreographed and music direction by Ranjani. The successful music support was led by nttuvanga: Savithri Ganesan, Vocal: Mangalam Murthy, mridanga; Bombay Krishnamurthy and flute: Satish. “Damam Mahotsava" An evening of Namasankeertan and Nrityopachara by eminent artistes in the field of music and dance on the auspicious occasion of “Mahashivaratri” was held on 26th Feb. 2006, Sunday, at the Subhash Bhavan Auditorium, 9th Main, Ideal Homes Township, Rajarajeshwari Nagar from: 6.(X) p.m. till past midnight. The programmes started with inauguration and Swasthi by Veda BrahmaSri Ganesh Ghanapaatigal followed by Sathyanaraju’s fine Bharatanatya, Deepa Sashidharan’s Kuchipudi, Anuradha Vikrantha and Svikritk (Bharatanatya and Kathakjugalbandi), Ranjani Ganesan Ramesh and Baby Daksha Ramesh (Bharatanatya), Ganesh Desai (Vocal concert) and 9. 1 5 Mahaprasadam was followed by Vyjanthi Kashi and Troupe ( Kuchipudi), Kiran Subramanyam & Sandhya Kiran (Bharatanatya), Savitri Ganesan & Troupe (Bhajan), Sharmila Mukherjee & party (Odissi), Sanjay Shantaram & Kshama Shantharam (Bharatanatyam),Gayathri Keshavan , Kum. Mathangi Keshavan (Bharatanatyam)and Mangala by all artistes. Mysore news: GOLDE N JUBILEE OF SRI NADABRAHMA SANfilTl-lA saiuia Sri Nadabrahma Sangeetha Sabha, Mysore now led by its president and philanthro- pist-patron-connoisseur K. V. Murthy celebrating its golden jubilee year in a special manner. Titled “Nada Suvama”, the year long celebration is to be marked by fifty programmes. “Nada Kishore Utsava” during August 06 is also planned to provide opportunity for the upcoming artistes. During the golden jubilee year of the Sabha, opportunities are provided for the youth on the occassion of Sri Gokulashtami. It is to make Krishnotsava a musical treat by the young an energetic artistes of our land. This festival is going to be held at Mysore during the second week of August-2006. The following parameters are enumerated for participation in Krishnotsava-06:- 1 . Any artiste who has not crossed 30 years of age is eligible. 2. Only Indian classical music (both Karnatak and Hindusthani music) is entertained. 3. Both vocal and Instrumental catagories arc included. 4. The candidate should be capable of performing for 90 minutes. 5. The aspiring musician should send his/her bio-data with two photos and a CD/cassette recorded during the live music concerts (Not the pre-recorded ones). 6. The committee of jury is empowered with shorlisting the candidates to 30. 7. Out of 30. 20 are given an opportunity to perform and the rest will be reserves. X. The terms and conditions, remuneration etc. will be intimated to the selected artistes later. 9. The bio-data with CD/cassette (non-returnable) should reach any of the following addresses on or before 31st March 2006:- Krishnotsava competitions, c/o. 38 C. “Bhagirathi”. second cross. Jayalakshmipuram. MYSORE-570012.. OR Krishnotsava competions. c/o. 162 (P). second cross. Belagola Industrial Area. Metagalli P.O., MYSORE-570016. f Statement of Ownership and other particulars about Newspaper “GUNAGRAHI” I FORM IV (See Rule 8) 1. Place of Publication: 2. Periodicity of Publication: 3. Printer’s Name: Whether Citizen of India: Address: 4. Publisher’s Name: Whether Citizen of India: Address: 5. Editor's Name: Whether Citizen of India: Address: 6. Name and address of individuals who own the newspaper: I)r. M. Surya Prasad Whether Citizen of India: Yes Address: “Munikoti”, No.8, second cross, Opp.Srinivasa Manidra, Balepet, Bangalore-560 053. I, Dr. M. Surya Prasad, hereby declare that the particulars given above are true to jthe best of my knowledge and belief. Balepet, Bangalore-560 053. Monthly Dr. M. Surya Prasad Yes “Munikoti”, No.8, second cross, Opp.Srinivasa Manidra, Balepet, Bangalore-560 053. Dr. M. Surya Prasad Yes “Munikoti”, No.8, second cross, Opp.Srinivasa Manidra, Balepet, Bangalore-560 053. Dr. M. Surya Prasad Yes “Munikoti”, No.8, second cross, Opp.Srinivasa Manidra, Balepet, Bangalore-560 053. langalore-560 053, st March 2006 (Sd/- DR. M. SURYA PRASAD) Signature of the Publisher y 14 GUNAGRAHI/MARCH-2006 LK.Lakshminarayana (Bab u) Page) QUIZ OF FINE ARTS....42 i .what is an Apuma Lakshana Kagamalika? 2. 1 1 is opposite lo composition . 3. What is its speciality? 4. ( live an example lor Apuma I .akslwna Kagamalika? 3. The ragamalika "Nithya Kalyani"is a composition. f>. What is its speciality? 7 What is a Vishesha Lakshana Ragamalika? 5. What does it contain? l >. C iive an example for the above. 10. What is Ashlabluija Nataraia? SOLUTION TO QUIZ OF FINE ARTS...42 soaim tuo||g ai]i ill uaas s; puu>| sitp jo ajnid|nas i: ‘fianmN pajapinoqs-uitfi^ ()| • i:i|sijpi»;?i:iiui: t j., ( y '■>ia i?Aiii|i?s niii'jnui i:.ii: wsirjiiqa ot|j joj u.\ j jtjus •iMiiu|s'jnp:ji:.\\s °'l!l s^jinnaq |i?.Tju pjixo sunnuoa i| x 'Uijoj ai||joi!in*i|s'|i*| aipoi nui|i?p.i siinod atp ||ti 3uiun:iuo."»oi uoiiippe m ipiq w auos| .''la lutiwsmimp i?umj>|ruio|iA •njCMs|i!iiii|.-) Mupnuii’niM atp sunnuoa i| y i:>l!|iHiinoiu numjs'inq iuun { j y lupnnnmiM aip mniuo.i ion soup n r * r>l *! s l ,:,inj LL ! *'• "S |o ..i:ui:ai:i|s iupuooiHiui: f j„ p •i!in!i|s'|i:| VII OI nmii’ia.i stujod oip ||e ii in si:i| i:'p|i:umai:j irunp'p: | i’ujooj { •i:'t!|Run!Si!.i i?uiu|s'|i!-| i:ujoo f | - ■UI.IOJ nqtjo ruui|s>jn| aip ,» Tunmpj simod pnj -uassoatp jooa\i joau in ampt’i R^qimmguj y i PHOTO QUIZ W hat do you know about these maestros? : it SOLUTION TO PHOTO QUIZ *s!MP! u| M ,! M Ki|joa3uKs a.n? tu,it|| jo qjoj| UHji:q>|osnjpui?q3 |s;u; | -oj.\ ooi? put? Kiiiuiiiyj ^ is;in(?|j urjojo\ ANNOUNCEMENT ♦ Artistes, Authors and publishers are wel- come to send two copies of their books/cas- lettes/CDs on Indian music (Karnatak, lindusthani, Sugama Sangeetha, folk music etc) md Indian dance (classical and folk) to 3 UNAGRAHI for review. While every effort 'ill be made to acknowledge receipt of the iame under “New Arrivals”, the decision to re- 'iew a book/cassette/CD rests entirely with the loumal. ♦ The Sabhas, Organisations, Institutions ind organisers are hereby requested to send the letails of their forthcoming activities/ > r ogrammes ?s aNo the e^^ts held to wt them ■nlisted in the current issue of GUN A GRA HI >y post and/or through e-mail on or before 8th )f every month. SUBSCRIBE TO ‘GUNAGRAHT /tHJNAGRAHl RNl RKGN.NO.69 149/9fT\ V Monthlv Jou rnal R egn.No.CPMG/KA/BG(S)-92/2006- 0iy ( \ KESHAVA COLLEGE OF DANCE & MUSIC 556, 1 1TH MAIN, ISRO LAYOUT, BANGALORE-560078, INDIA. [AFFILIATED TO HAH GALORE UNIVERSITY J INVITES APPLICATIONS FOR ADMISSION IT ) B.A. DEGREE IN BIIARATAN ATYA & KARNATAK MUSIC FOR THE ACADAMIC YEAR 2006 (SEMESTER SCHEME EXAMINATIONS) BECOME A QUALIFIED DANCER OR A MUSICIAN & OBTAIN A DEGREE CERTIFICATE CLASSES ARE C ( »N1>1 TTK1) BO Tl I VI RA.I.A.I IN AG.A R & I SRO I. AT OL T By Experienced And Qualified Teachers Of Both Dance & Music Contact for admissions: College: Between 10 A.M. & 1 P.M. Tel : 26669565 B.K. Shyam prakash: 23523773, Mobile: 94489 04120 E- MAIL: keshava_college@redilTniail.coin bkshyam@redifTmail.coni (Owned. Published. Edited and Printed by Dr. M. Surya Prasad at “Munikoti”, No.8^ I second cross, Opp. Srinivasa Mandiram, Bulepet. Bangalore-560053. Phone: 22253975. Editor General: DR. M. SURYA PRASAD.