GUNAGRAHI FAMILY BgOgg ; ...'Ci • W~: Dr. M. Suryo Prasad x- ' ■.■:■ ‘ ' :y - ' xv • ■ \vCvK$J%* LfrAa iC'i7??k?i/f R. /fflwia/TiHrfAy /?a; Dr. A //. Rama Raa S\ La/tf/imi'naravatta V. Af. Bharadzoaj //. K. Oaves k B. V. K. Shastrx P R Rer/rwram Ratter Seshadri Prof. AL S. Nanjunda Dr. H. N. Shiva I^ndit Parameswara Gavayi P ao Prakash Hegde (To he Continued in the Next Issue) X (A/ yy^ka. Karnataka's only English International journal on music and dance Editor General Dr. M. Surya Prasad Phone : 2253975 Associate Editors : Usha Kamath, Ph. 5598886 A'. Ramamurthy Rao Mysore. Ph. 0821481899 R.L Manjuta, Ph : 6619227 Printer : Balakrishna , Ph: 6679333 Chief P a Irons ; S* K. Lakshminamyana ( Bahu ) Mysore* Ph : 0821 -513414 V: Krishna ft, Ph : 3345665 Dr. A.//.Afl/^mo,Ph : 6691175 M. Bharadwaj, Ph : 08 1 82-2205 1 H. K. Ganeshy Ph : 645359 Principal A d risers: B'VK. Sastry, Ph : 3342682 E.R. Sethuram, Ph : 603116 Dr R. Sathyanarayana Mysore, 0821-529599 TS. 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Haris ft f Ph: 0821-510407 Guru Pad mini Rao , Ph. 6670013 Lochana Ajay Kumar Vol.l Issue 1 June 1998 Inside The Rising Stars From Editorial Desk Varijashri A genius of music by I Karnatik classical music in Karnataka world then and now m Maya Rao.. ...the Queen of Kathak Reviews Cassette Review Quiz of Fine Arts and Calendar of events ■ T h is issue is Co-sponsored by ; T D. Rajendra and Nirupama Correspondents INLAND : Bangalore A n antkapadmana b ha Rao Ph: 5532658 Mysore-/fe$/iffr and K. Raghavendra Rao Ph: 0821513517 Shimoga-iS rikanthaiah. Hubli-Dliarwar- Jayasree Guttal- Ph: 0836347532 Hassan /V. Raghu Ph:08 17250466. Bombay-/?. Nagabhushan Ph. 0251472475 and V.R. Karnad Ph: 0444308102 New DelhL/VaterA Wadehara FOREIGN : Singapore- Girish Panicked Ph. 65-2992352 Wellington - Vivek Kinra, Ph r 54 4-3873888 San Fransisco Mythili Krishna. , Ph. 408-7256845: 408-7252951 *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 but are subject to editing. * Ml rights reserved. Nothing may be printed in whole or in part without the written permission of the publisher. *The editors and publisher of Gunagrahi do their best to verify the information published but do not take responsibility for the absolute accuracy of the information. The opinons/views expressed by individual authors in articles published arc not necessarily those of Gunagrahi EDITORIAL OFFICE : }t MVNIKOTI\ NO. 8, SECOND CROSS , OPR SRINIVASA MAND IRANI, BALE FEZ BANGALORE - 560 053. PH : 2253975 THE RESING ST*RS L BALASUBRAMANYA 8 HARM A (VOCALIST) 28-year otd Balasubramanya Sharma hails from a cultural and traditional family of Kaivara In Kgtara district. His father Kaipu Lakshminarastmha Sastry is a reputed A. P, SARVOTHAMA (FLAUTIST) Born on 26th April 1973, Sarvothama was exposed to music right from his early age. Veteran flutist M.S.Srinivasamurthy gave him the initial training. He had his advanced traning under the R. RAGHURAM (VIOLINS!) 26-year old R, Raghuram is a popular violinist in the Karnatik music field. He has passed his M A from Bangalore University with distinction by getting a rank. At musician and also a scholar. Sharma guidance of M.R, Doras wa my . received his initial training from his Along with training in music he also father. Later on he continued his pursuit obtained his B.Sc. degree received his initial training from his father. Later on he continued his pursuit of music with noted violinist S, Seshagirirao of Akashwani, Bangalore, At present he is being trained by veteran vidwan P. Sun dares ban A science graduate of Bangalore i University, Sharma has determined to settled down as a professional musician. He has secured first class in vidwath (vocal) examination conducted by the ■ Karnataka Secondary Education Examination Board. He has also passed the senior examination in mridangajn first class. Witti tiardwork and dedication to the art, Sharma has assimilated a rich present he is doing his M. Phil. Right form the age of 10, he started learning violin under the (electronics). Sarvothama successfully passed his senior music examination with a first class. Karnataka Sangeetha Nrithya Academy recognised his budding ■ talents by awarding him a scholarship for three years. This or young flutist has won first prizes in the AIR instrumental music competitions (1993) and South Centra! Zone Cultural Centre's national level competitions (1994). A “B" grade artiste of AIR, Sarvothama was adjudged as the gui Ulsoor S. Chandrasekhar. Seasoned singer T. S. Vasantha Madhavi gave him useful training in vocal music. and varied repertoire of krithis. He has » Best instrumentalist" in the junior been recognised by Akaswani Bangalore as a ”B ir greade artiste Bangalore as a ”B ir greade artiste. Sharma has to his credit prestigious sabhaand public performances and four *■ audio cassettes. No. 809, 25th Cross, 52nd main, Kumarswamy Lay out I stage, B - 73, Phone: 091 -80-6663248: concert competitions conducted by the Bangalore Gayana Samaja. Sarvothama has performed in various Sabhas of Bangalore and other cities. Wo. 42, “Bhakti Nilaya”, K.R.Road, Basavangudi, B - 4, Phone: 6601114. Raghuram got trained in the Intricacies of the violin play under the guidance of Late Anoor S. Ramakrishna. With his inborn talents and hardwork and also the knowledge of vocal music he could emerged both as an able soloist and an accompanist. He has won many prizes in various competitions. A good number of scholarships has also been pocketed by him. He has utilised the opportunities of accompanying different artistes on different stages to his best iBr advantage by winning accolades. He has to his credit many solo per formances. No.528, 14th cross, 27th main road, J.P.Nagar I phase, B - 78. GUNAGRAHI/JUNE 1998 ZdUo^Uai SbedA :'v 2 p ^ 'Ji Despite many un q j coffee aa d the onl> Land of ^ven, ^Lan ^ gI0W th of u State wherein one can . musiCj it has been both KarnatUc and Hind both within and outside deprived of i ts due recognm_ » h ^ matured and versatri the Country. We have highly mastery ove r their art and OTf i is - SS*£i is i« *• rf sme £ ' i: unpressario communication is esi vide d. is hightime, a P owe “ d the outside agencies is P link between our artistes an of mUS ic and dance 1 rr • (t rloselv moved with the ti , strong medium, Having closeiy u t he need ol a strong £STl bought of doing *» ““ 2" to „„„ in your hand. *<2U* . " * ShUd front Kar^ SKSSSSS created. We and gel ** ■ ’ the ^operation of otte and * 0 Ef -**- “ magazine oi today, with an y E1 q RIC HMENT. Scontributemyour-yronsEN ^ \ Ik VflRIlflSHRI A genius of music by birth sharper. At four, she could sing the compositions of aptitude found new dimensions . Singing exacting literally a ’’child’s play" for her. ""Without doub. Dr. M. Surya Prasad.] minutes. Be it alapana and/ or sahitya and swaraprastara, Varijashri’s musical-resourcefulness was astonishing. in different talas and nadais was i genius of music by birth." opines age, she could identify more than hundred ragas! Her musical instinct became more sharper. At four, she could sing the compositions of Thyagaraja, Shyama Sastry and Muthuswamy 1 Dikshitar with It was a big event. The Bangalore Gayana Samaja auditorium was full to the brim. Every available space both on and off the stage overflowed with the avid and curious listeners. The centre of att racti o n was r- ;p— — a seven-year old did not stop at that. As she grew in age, her musical aptitude found new dimensions. The five year girl V a r i j a s h r i musical wizardry was incredible. i The full-fledged bv®. concert given by her was 1 1’“^*; remarkably successful. go ft Varijashri’s pHIS vocal recital held 1 under the auspices of Narthana Keerthana Centre for Performing Centre was a grand success. Despite Born to popular flautist three or four captivating concerts elsewhere, the r rasikas had thronged the Samaja hall to hear to got exposed when she was Variiashri. And the tiny tot just 2 year old. Mot only her parents but whoever saw the two and a half year child Varijashri did cross their fingers. At that milk-tooth- listeners by L singing exacting paltavis in different talas and nadais.The wonder-child SHARP MUSICAL INSTICT by birth having more wunin herself than acquiring and Rama tantalized them with her amazing talent and skill. She held the audience spellbound for more than 1 20 Her musical knowledge is not a shallow one. I myself grilled her at her residence for more than two hours quizzing her about various ragas, keerthanas etc. She was always right in identifying the name of the raga, its janaka-janya status, the correct number of the janaka raga and so on. She was at home in solving my riddles of replacing one swara in a particular raga with some other and giving the correct name of the-thus* changed-raga. Her command over more than hundred ragas was marvelous. GRAND MAIDEN CONCERT Her maiden concert brought to fhe fore her depth of knowledge. Varijashri sang with rare confidence and conviction. She bagan with the popular Mohana varna. She was applauded for her very first item rendered with ease and poise. Then came Hamsadhwani. Vyasaraja’s “Gajamukhane” was a fine choice. Intonating perfectly without distorting the Sahitya, the prodigy projected her rhythmic hold too. Varijashri’s methodical approach and spontaniety of musical ideas not only made the raga glow in all its grandeur but also provided a feast of tasty music. Thyagaraja's Sri raga pancharathna krithi "Endaro Mahanbhavulu, was accorded its due. The way she sang the swaras and the sahiya of the krithi was enticing. She sang all the Twinkling Little Star songs by heart. No reference book or chits were there. Her memory power was phenomenal. BRILLIANT PALLAVI She swept the audience off their feet by rendering a ■ scholarly raga, tana and pailavi in Mohana. Tana was testified to her brilliance. Though little more depth and direction was left wanting, Varijashri impressed the rasikas by rendering the pailavi in the most traditional way. The 3-S-7-9 patterns of swaras, manipulation of the sahitya in trishra, interesting korvais etc made for the rich musical experience. The concluding phase of her recital featuring Vasantha (Ramachandra), Sindhubhairavi (Venkatachala Nilayam) and Brindavani (Tillana) highlighted one or the other speciality of a 66 great- vocalist- in-the-m a king Varijashri. It would be good ’for her parents to safeguard this musicai-bud with care. She shold not be overexposed for any temptation of purse and popularity. I wish she is guided more immaculately on the subtleties of gamaka prayoga, the soul of Karnatik music. R. Raghuram's violin support was adequate. The detailed treatment meted out to Kamavardhini for Thyagaraja’s “"Shiva Shiva enaraada” startled the audience, ■ ■ ■■ ■ ■ ^ comparatively short. The pailavi line “Shankari Shivashankari sada paahi Parameshwari” set to two kalai khanda triputa tala Gurumurthy and Srishyla on mridanga and ghata inspired the chiid-vocalist to give out her best. ♦ 4 GUIMAGRAHI/JUNE 1998 Special j4vtic£e KARNATIK CLASSICAL MUSIC IN KARNATAKA THEN AND NOW Mysore has been the cultural capital of Karnataka right from the days of Mummadi Krishnaraja Wodeyar, a period covering more than one and a half century. The rulers of Mysore were great patrons of music, dance, painting, sculpture and literature, apart from an aesthetic approach to all that is good in life. Musicians, dancers, vaggeyakaras, sculptors, scholars, literary figures, artists, actors, architects adorned the court. The rules were themselves great connoisseurs of classical and western classical music also. Some of them were adept in playing various musical instruments. The last Maharaja, Sri Jayachamarajendra Wodeyar was well up in Karnatik music and had also acquired the Diploma in Piano play from the Trinity School of Music, London. He was also a uttama vaggeyakara. More than 90 scholarly krithis in Sanskrit and in varous rare ragas are to his credit. The musical ambience in the court had its effect on the citizenry also, young girls were compulsorisly learning music. This found expression in the opening of Prasanna Seetharama Mandira in 1 929 by the legendary Bidaram Krishnappa, who started the 10 day Sree Ramanavami festival of Karnatika classical music concerts by inviting famous vidwans from all over the South. This lead was taken up by various other sabhas and by the time of Independence there were about a dozen sabhas, which were holding concerts during Sree Rama Navami, This was a great boon to those music lovers who had no entry to the Dasara concerts in the Palace and specially to the students of music. Similarly Bangalore had Gayana Samaja and Sri Rama Seva Mandali many distance town were also conducting Rama Navami festivals . If we go back by 50 years to 1 947, we find that the livig J legend M. S. Subbulukshmi, - K. Raghavendra Rao then 31 years old, was already an established artiste. D. K. Pattammal, then 28, was a star. M. L. Vasanthakumari had started making wavas. G. N, B. 37 year old, had become a trend-setter with his new style of pace laced with birkhas. Semmangudi Srinivasa Iyer, 39 years old, was a top-ranker. Similarly, Alathur Bros. Chembai and Madurai Mani were front- rankers. T. R. Mahalingam, then 21, had already been hailed as a genius. The mridanga maestro Palghat Mani was 35. The scene in Mysore was also impressive. Mysore Vasudevacharya was heading the fold. Thitte Krishna Iyengar was then 45 year old (he passed away) last year at the age of 94, He was active till the end and used to give concerts. Mysore T. Chowdiah was the monarch of the violin. Vainikas R.S. Keshava Murthy, Swaramurti V. N. Rao were in their 40's. R.K. Venkatarama Shastri, the GUNAGRAHl/JUNE 1998 violinist, Vainikaa Neelamma Kadambi, V. Ramarathnam, B.Devendrappa, Shelvapulla Iyengar, Honnappa Bhagavathar, R.K, Narayanaswamy {elder brother of R.K. Srikantan), R. Chandrashekharaiah eldest of Mysore Brothers, R. R. Keshava Murthy were in their 30's and had already established themselves. Vainikas V. Doreswamy Iyengar (who passed away last year), R.N. Doreswamy, M. J. Srinivasa Iyengar, N. Chokkamma, V.Deshikachar, Vocalists, B. Krishnappa, R.K. Srikantan were in their 20s. Vyyapuri Devaru had trained many mridanga piayers who were active in the field. The oft-heard refrain amongst the aficionados of Karnatik music is that other media of entertainment like the television and videos have taken over and classical music is on the decline now. But the ground conditions are quite to the contrary. The major quantitative change that has come about during these fifty years is a sort of democratisation of classical music. While the Dasara and Ugadi festival concerts are continuing in the Palace, the number of sabhas has proliferated, the latest count being forty. Some are active during Sri Rama Navami festival, some during Hanuma Jayanthi, Janmashtami and Ganesha festivals and some throughout the year. Observance of Sri Purandaradasa Aradhana and the days of Trimurtis of Karnatik music i.e. Thyagaraja, Muthuswami Dikshitar and Shyama Shastri are conducted by many sabhas.There is, thus, music alround the year with fairly good attendance. The concerts mostly have no entry fees and are sponsored by various corporate and private bodies and donations. Consequently, the number of audiloria have also gone up with modern seating arrangements and sound systems.The number of teachers, students and institutions have also multiplied, though the gurukula system has disappeared. The University of Mysore established a Fine Arts College in 1 965 which trains students upto Master's Degree in music. Many alumini of this Institute have won national fame. Some like Mysore M. Nagaraj and Dr. Mysore M. Manjunath, Violinists and vocalists Sukanya Prabhakar and Janhavi Jayaprakash are internationally famous. Vocalist R.N. Sritatha, who was the first to obtain a Doctoral Degree in Karnatik music from Mysore University is on the faculty of this college. Many publications on music, including krithis of Haridasas and Mysore composers have been published with notations by Prasaranga of Mysore University. Many audio-cassetes of Karnatik music have come into the market. There are quite a number of young performers now - vocal and instrumental, with ladies leading by number amongst vocalists. (I have not listed them here as i t will be a fairly long list). But, how does one define youth in the realm of performing arts? Many feel that an artist is young as long as the fount of creativity is active in him. Going by the output of the vaggeyakaras of this century, most of them were late-bloomers. C. Northcote Parkinson, the famous economist and management guru of the 50s and 60s, defined thirty-five as the age of frustration. y«v. ' • • * *•. “ basis in the Christian world where people sub- consciously tend to compare their ■ : , ■ ■ tv | ■■■ : ■ ■' achievements with those of Jesus Christ who died at the young age of 33. Hence, in Parkinson's system if you are not somebody in society in any walk of life by thirty five, you tend to resign yourself to mediocrity. Again, this was at a time when 55 was considered as public services. Since then, the average longevity has definitely gone up due to various factors like improved health services, nutrition, etc. The retirement age having been enhanced to 58 and with talks of raising it further to 60, the age of frustration also gets extended to 38 consequently. In the Indian context, this corresponds to the life span of an achiever like Swami Vivekananda who lived upto 39 years. However arbitrary this reckoning of 38 years as the upper limit of youth, one gratifying statistic which emerges is that there is not dearth of young musicians in Mysore. The future of classical music is safe in the hands of the youth who will carry its torch forward to the 21st century. A survey made of young musicians in various disciplines - vocal and instrumental, who are already active in the performance circuits reveals certain characteristics vis-a- vis the musicians at the time of Independence. Most of them are well educated. In some cases, graduation in technical disciplines such as engineering or midicine and post-graduation are aiso seen. Some are chartered accountants. Some are doctoral degree holders. Remuneration to Karnatik musicians continue to be poor, specially when compared to their Hindustani counterparts. Some Sabhas even make a virtue of being ‘poor’, Artists earning extra through recordings are confined only to cities like Bangalore which have recording facilities. Most of the young musicians have some job or the other and very few depend on music alone for their means of livelihood. The Western system of talent Scouts, impresarios and agents is virtually absent in Karnatik music field. The Sabhanayakas are called upon t o be three-in-ones. This results in imbalances and frustrations. All India Radio and teaching institutions are prominent means of employment. Employment does however restrict the mobility of artists to quite some extent and thus they get confined to certain regions, instead of going national or international. This compromise deprives them of fame and name and higher earnings, (to be continued in the next issue). JVlaya l^na The Queen of Kathak Guru Maya Rao recently turned 10. She has also completed her five decades of classic al i lan i c- 1 k o re og i qp ky -tea c h i ng care er. /1 5 a birthday gift to her, one of her most popular choreographic work ‘vision qfAmr Khusro” was presented at, Ravind ra Kalaksheim by her i chronologises her career and throws light on her versatile personality> ingenuous ivork and remarkable achievements. The renowned dancer- choreographer-Guru Maya Rao believes a person dances in a certain way because there is an innate compulsion to express one's creative impulse through that medium. Kathak and choreography are second nature to her. She has internalised their aesthetics. Maya, at 14, made up her mind to master Kathak, a dance which prevailed in North India. She did not care for the opposition from her parents and r ose to become a leading name in the field of Kathak and Choreography. Born in 1928, Maya was somewhat disappointed when Pandit Sohanlal, the only one teacher who was teaching Kathak in Bangalore shifted over to Bombay. Fortunately and lovingly too she found a lecturer’s job in Jaipur. She continued her Kathak learning along with her job. She had the rare opportunity of specialising Kathak under the two Gurus Padma Sri Shambhu Maharaj of Lucknow and Pandit Sundar Prasad of Jaipur style. Maya could synthesise the best elements of both the styles and created her own style of According to her, why the classical dance appears to be mediocre and boring is because aptitude, proficiency and dedication have become superfluous in a world of quick fix solutions, of instant mixes. In today’s show biz it is the glamour and the packaging which count. The integrity of the gurus, parents and students is essential to tide over this situation. She believes in the collective responsibility of the Kathak. She was doubly- found traditional modes blessed to perform along stifling. There is enough with her Guru Shambhu scope for innovation within Maharaj. She the frame work. Most of this attributes to her teachers who had taught her“to be her own dancer”. On the foundation they provided, Maya constructed her own ideas about the use of space, abhinaya, choreography and the content of dance. She does not believe in “fractured choreography” W0$0$m. V.W? - • ■$ • % “The greatness of the Natya Sastra and of our classical styles is that they have given dancers infinite freedom to express their individual and movements” For her, every movement has a “feeP of its own, which is to be savoured must come within. If you have the conviction in what you are doing you will be able to convey that joy to your audience” says she. periormances have mesmerised audiences deep rooted. Contrary to what most dancers embracing contemporary forms argue, Maya has never dance community. Dancers have to reach out to people, “talk less in jargons". The torch - bearer of Shambhu Maharaj's tradition, Maya has got rid the Kathak of its crudities. Internationally reputed, Maya Rao is the only Indian with a post-graduate certificate in Choreography from U.S.S.R. on their scholarship for which she was nominated by the Government of India. Administration Sahitya Kala Parishad. She is also the Gold Medal holder for her solo dance at the International Festival-cum- competition of Art held in Helisinki in 1962. Recently she has been honoured with the CHOREOFEST AWARD With a meaningful blend of at Delhi. Lucknow and Jaipur AWARDS MAYA Rao is the only Gharana techniques, she put grace and liquidity into the art of Kathak.With her bold and brilliant experimentations, Maya became a distinguished and a versatile Choreographer. She has won for herself an enviable place in the hierarchy of the For her yeoman service to dance and choreography. Maya Rao has the distinction of being honoured with the National Academy of Dance and Music, the Sangeet Natak Academy Award for Dance, “Nritya Vilas" title of Sur-Singer of Bombay and South Indian who has specialised in Kathak under the g^ Veterans, Padmashri, Shambhu Maharaj of Lucknow Gharana and Pandit Sunder Prasad of Jaipur Gharana, as the first scholarship holder of the Government of India. She has imbibed the best element of both the techniques and presented them in her enthralling solo recitals and ensembles of Kathak which have won praise all over the country and abroad. Maya Rao has the unique honour of partnering her Guru Shambhu Maharaj on historic occasions like the inauguration of the First National Film Seminar and the UNESCO Seminar at Delhi, For her rich contribution to the reportoire of Kathak and training of dancers, besides giving Lecture- Demonstrations and writing articles, the Sangeet Natak Akademy had nominated Maya Rao as a member of the Advisory Committee of its Kathak Kendra, a National Centre for this form. As a Choreographer of outstanding merit, Maya Rao has been invited to U.S.S.R, twice as consultant- Choreographerforthe Soviet Maya Rao in action Productions of the Baliets Kathak dance by systematising its repertoire to bring out all its aesthetic and artistic possiblities. the much coveted Karnataka State Award for eminence in Kathak and Choreography, Award of ‘'Shakuntala" in 1963 and 1 979. Maya Rao was invited to the International Ballet Competitions, as Guest of PROGRAMMES FOR I.C.C.R Since 1970, Maya Rao other European Countries to participate in Seminars on Ballet and Choreography. As Founder- Director of the Natya I Countries. She has led * her troupe to Afganistan, Srilanka, Nepal and Male among neighbouring countries I and to Europe, Egypt, South American Choreography, affiliated to UNESCO and the first and only Institute of its kind in India, probably in Asia also, Maya Rao has trained over two hundred aspirants for the diploma course, short term-condensed L course as well as at ovations for the been organised by the several state Academies and Cultural Organisations in the Country. Most of the candidates trained by her are either dancers deputed on Central, State Govern ment Scholarships or fellows sof foundation Grants from U.S.A., Europe and Canada. Her disciples are prospering as performers of Choreographers in India and outside, many of them have been appoin ted by the I.C.C.R. as Dance-Directors in their Centres abroad. Maya Rao was also the Choreographer-Director of the Natya Ballet Centre, the leading Institution for the propogation of Dance- Drama. Hoysala Vaibhava”, “Krishna Leela”, “Surdas”, “Venkateswara Vilasam”, ‘Tulsi ke Ram" (Ramayana based on Tulsidas work). Along with M.S. Natarajan, her husband, Maya Rao is responsible for starting the Natya Saraswati Centre of Dance & Music in Bangalore as early as 1 945 which helped in the renaissance movement to inspire youngsters to study Independence Day there, Also for the world famous International Dance Festivlat Maya Rao founded Natya Institute of Kathak and Choreography at Bangalore with the assistance of the Karnataka Government 40’s, the centre presented contemporary ballets on“Art & Life", “Grow more food”, etc,, some of which were presented at the nternational Labour Organisation Conference at Mysore in 1949 winning encomiums. Thus the centre was to promotion and propogation of high standard ballets, Maya Rao has directed over 50 ballets, at movement in the State and pioneered the cause of social themes in South on important occasions COURSES RECOGNISED The Natya Institute has been accorded affiliation to the Bangalore University since 1992, thereby the Natya College is the first of its kind in the Country.Three batches have already graduated with flying colours. In recognition of her services to the State and the Country, Maya Rao was nominated as the Chairman of the Karnataka State Sangeet Nritya Academy and also as Member of the General Council of Sangeet Natak Akademy, Delhi. WORKSHOPS AND PROGRAMMES ABROAD: In 1988, Maya Rao was invited to U.K. by the Bharatiya Vidya Bhavan to conduct workshops in wo in aspirants underwent training. In 1992, Maya Rao was invited to Toronto, Canada by the Kathak Institute to participate in a seminar on Traditions and Innovation in Kathak and conduct workshops on the same theme. In 1992, she was in New York to conduct workshops in Kathak for the East West School ot Dance-U.S.A. directed by Sathyanarayan Charka. Later she was invited to design the Choreography and Music of the production of “Shakuntala” at U.S.A. for the E.W. Dance Centre. In 1994, Maya Rao with her disciples presented another spectacular ballet “Vikramaditva” in various parts of U.S.A. for the ICDS {Indian Classical Dance In 1995, she choreographed “Mira" for Supriya Desai and her Institution based in North Carolina. This ballet also won encomiums. In 1997, at the invitation of the Kannada Koota New York & Washington Maya Rao, with a troupe of six dancers presented programmes enlitled “Glimpses of Karnataka". Maya Rao, later travelled to various other parts of U.S.A. presenting the "Dances of India" in connection with the fifty years of Indian Independance organised by other agencies. ^ ADVERTISE IN GUNAGRAHI AND BE BENIFITED GUNRGRRHI, is a journal dedicated to the promotion of music and dance. It will focus attention on oil aspects oF the twin arts and the artistes uuho are involved in them. Edited by an experienced team of writers on the subject, the journal is profusely illustrated. It is printed in the offset process with q multi-colour cover page. Its pages carry Information on the activities in the twin fields, write-ups on personalities. Interviews with eminent artistes besides covering the several performances connected with the twin subjects, R note on books and review of cassettes is an addltinal attraction. This journal helps our artistes to achieve excellence in their arts and get an Internationa! exposure. Hence it will be a ’must" for all artistes os well os those interested In them. GUNRGRRHI is the right medio as much for oil music and dance schools os to individual artistes. It reaches a wide spectrum of aesthetes thot matters. It is a privilege to carry advertisements relating to oil such activities. Please find out advertisment tariff. UUe are sure you will avail of this opportunity and extend your patronage for our mutual benefit. GUNAGRAHI/JUNE 1998 by a Jazz and fusion concert by the Amit Heri group. The group consisted of a talented lot of musicians of repute. Amit Heri (A constict Electriguitar) Richard Francis (Bass auitarl artforms and contemporary dance idioms to present a unique visual imagery. The music for this sequence was provided by Amit, a taiented musician and composer, who is a graduate of the prestigious Berklee College and Butto Patnaik of Music underthe guidance (Hindustani Flute), of the Manis of the Karnataka College of This evening termed as a ppm i««inn studio performance was a true amalgam of both dance The second sequence and music and was received was a satire on the human very enthusiastically by the psyche. The human being audience who had filled the hall beyond its capacity. — SH RAVANI VISUAL IMAGERY Dancers of the STEM dance theatre & the Natya Institute of Kathak & choreography performed at ‘Bhoomika’ on the 4th of June. performance SUBHASHINI ENTHRALLS Samskrithi led by dancer Sathyanarayanaraju presented Subhashini Vasantha in neat was making a comeback on the dance arena. It was good to see her maintaining a slim figure. She moved on the per se who is always trying to ward off insecurities most often imagined than in reality. This sequence was an excerpt from STEMs earlier work “Crows, Caws & Facades”. Music by Praveen Rao, talented Tabla player and composer was good. The performers for this evenings presentation were M.B.Naqarai, Madhu. comprised of 2 vibrant sequences choreo graphed by the Kathak & contemporary dancer/ choreographer and founder director of STEM - Madhu, M.Nataraj and a student of Maya Rao and Chitra Venugopal. The sequence was an adaption of a sloka from the Abhinaya Darpana, attributing the 4 forms of expression to Lord Shiva. This piece named “Cosmic Dancer" utilised motifs of “Mahadeva” in Revathi raga addressed to the Lord Shiva, she etched the various forms and attributes of Shiva through her communicative Brinda Jacob, Satish B.G, Jagdish Holla, Pavithra Gowda, Harish and Madhavi Menon. Subhashini Subhashini, though on a couple of occasions, seemed to be fatigued, struck a fine form in the 1 delineation of a varna in Nattakuranji raga. The theme of eulogising Lord Srinivasa was artistically and aesthetically elaborated. The interspersing nritta and nrithya brought out the inherent talents of the dancer. Subhashini was rhythm perfect. Some of the intricate jatis of the Varna were translated into dance with ease. ENJOYABLE VOCAL RECITAL C. Saroja and C. Lalitha, popularly known as Bombay Sisters ragaled the audience at the Adarsha Institute in R.T. Nagar with their scholarly vocal duet. Their programme was held on the concluding day of a two-day musical festival of R.T.Nagar Cultural Association’s anniversary celebrations. With young H.N.Bhaskar (violin), C. Cheluvaraju (mridanga) and H. Shivaramakrishnan (ghata) providing them a competent instrumental support, the sisters created many an enjoyable moment. The Bombay Sisters cameout in flying colours in detailing Simhendramadhyama for that popular krithi “Ninne nammitinayya". The sahitya and swaravistara at “Pannagendra Shayana" was rounded off with a well laidout swaravinyasa. The uncomfortable moments in the taarasthayi did not deter the flow of music. Those areas were cleverly avoided and the raga, tana and pallavi in Shankarabharana vouched for their talent and expertise. OUTSTANDING SINGER Vijayanagara Sangeetha Sabha presented B.R.Geetha, a gifted vocalist in its mothly concert series at Udaya Educational Trust auditorium. Geetha, a staff artiste of Akashwani, is well versed in Carnatic, Hindustani and light music. She has developed her own style of singing. The voice culture that she could accomplish, has been of immense utility. She sang with a sincerity of purpose. Her systematic renditions registered well with the audience. Accompanied by S. Seshagirirao (violin), C. Cheiuvaraj (mridanga) and M.A. Krishnamurthy (ghata), Geetha was in hertopform. Shankarabharana Varna (Saami ninne kori) selected by her was a familiar one, but the manner in which she sang it, was of great interest. She converted the gati into trishra, chaturashra and so on. She handled this demanding exercise most capably. Even the ettukadai swaras too, were in the above fashion. After a brilliant and scholarly varna, she sang “Panchammatanga” in Malahari raga. The sarvalaghu patterned swaras flowed like a cascade. “Marugelara O Raghava” in Jayanthasri raga was a fitting gap filler. Geetha’s voice culture and sound knowledge of the niceties of Carnatic music got fully exposed in the detailed exposition of Bahudari. The atitara sthayi sancharas never sounded artificial. Rarely heard Mmaarkoti Sundaram” was neatly presented and crowned with a systematic swaraprastara.The detailed delineation of Keeravani for “Kaligiyunte” was another highlight of her recital, — A. P. R. By K. RAMAMURTHY RAO 'Nrithyaloka' an illustrated reference work in Kannada on Indian dances especially GUNAGRAHl/JUNE 1998 Bharathanatya authored by Pandanallur school and released by R. Guru an Natyacharya K. Muralidhara published by Athri book industrialist at Jaganmohana Rao (1924) the doyen of the centre Mangalore was palace wih K. V, Murthy President The Natyacharya was honoured with a cheque for Rs, 1 Lakh as purse and Rs. 50,000 as royalty on the function was followed by the Natyacharya's disciple Bharatanatya recital. The Rao Sanman Nrithya Kala Parishat (R.), ( L to R) K. V. Murthy, R. Guru, K. Muralidhara Rao, G. T. Narayana Rao and K. Ramamurthy Rao are seen (V 1 OWARNA BHARATHI; Choral rendering of patriotic songs in ■J Sanskrit. Composer: Mayuram Viswanatha sastry. Ganasudha: Produced by Percussive Arts Centre, 2nd block, jayanagar, Bangalore-11. Singers S.Shankar, P.Shashidhar, Ajai, C.R.Amarnath, Swarna Shankar, V.Kalavathi, N.R.. Sharada and lakshmi Subramanya. Side A : Introduction, Jayathi Jayathi, Jaya Jaya Bharatha, Bharatha Janani and Ranjitha Bhuvanam. Side B: Veeradhwajam. Shantha Ahimsa, Saamanava Hitha and Mangalam. Mayuram Vishwanatha Sastry(1 883-1 958) was an outsanding vaggeyakara. He was a great Sanskrit scholar and playwright. His patriotic songs are inspiring. His select eight songs are rendered in a group comprising seasoned singers. S.Shankar and T.Srinivas have done well in adapting them in ragas like Khamach, Behag, Shankarabharana, Kapi, Sindhubhairavi, Kuntalavarali and others. The use of flute as a prominant background instrument has been appropriate. The singers have sang in unison and they have done justice to the sahitya and raga of the concerned song. vtm \ xti s GUNAGRAHl/JUNE 1998 Fine Arts uiz of Hindusthani music corresponds to the 1. Give the date of birth Melakarta of Karnatik music. highlight of any Bharatanatya recital. 9. Name the Trinity of of Thyagaraja. 2. Give the date of death of Thyagaraja. 3. Name the five ghana ragas. 4. What is an aiarippu? 6. Name the artist who Karnatik music won the Bharatarathna award last year 7. Mention the varieties of 10. What is the pen-name of Purandaradasa? (Solutions in the next issue) Calender of events Malleswaram Sangeetha Sabha presents a vocal recital by Trichur V. Ramachandran with Dr. Mysore M. Manjunath (Violin). Guruvayur Dorai (mridanga), K.N. Krishnamurthy (ghata) and Bellary M. Gururaj (morsing) as accompanists at Gokhale Institute Hall, Malleswaram at 4.15 p.m. on 21 -6-1998. Sumitra Nitin accompanied by N.N.Ganeshkumar (violin), Anur Dattatreya Sharma (mridanga) and S. Prashanth (Khanjira) sings for Percussive Arts Centre at 5 p.m. on 21-6- 1998 at Gokhale Institute of Public Affairs, N.R.Colony. Under the joint auspices of PAC a nd Devagiri Sangeetha Sabha Usha Char sings at the Sabha auditorium on July 7, 1998. Five day "Mysore Musicians Music festival’’ will be held featuring artistes from Mysore, T.R. Srinath (flute), S. Rajaiakshmi (veena), Dr. R.N.Srilata (vocal), G.S. Kamaia and G.S. Rajalakshmi (vocal duet) and Mysore M.Nagaraj and Dr. Mysore M. Manjunath (violin duet) under the auspices of Sri Devagiri Sangeetha Sabha from June 24 to 28 daily at 6 p.m. Rendering of a specified pallavi will be the highlight of each of the concert. A vocal jugaibandhi recital by N. Ananthapadmanabha Rao and Vageesh Bhat accompanied by Ganeshkumar (violin), Dhruvaraj (mridanga). Umakanth Puranik (harmonium) and Srinath Bhat (tabta) on 27-6-98 at 6.30 p.m. and a Bharatanatya recital by Archana Bhargavi on 28-6-1 998 at 6.30 p.m. will be held at Udaya Vidya Samsthe, Vijayanagar under the aegis of Vijayanagara Sangeetha Sabha Trust. Veena maestro R.K. Suryanarayana will be felicitated on June 20 at 6 p.m. at chowdaiah Memorial Hall. / AT Mysore: Bharatiya Nrithya Kala Parishath presents Madhura Srinath in a Bharatanatya recital on June 18, at 6.30 p.m. at Veene Seshanna Bhavana, Mysore. Give the name of the dance-form shown in the photo: ■ * -y . i- I ” fey ■ : :■ Pk, i . ■;v - . i ' 5 I I r *7r f f ■HI Dr.AJiMama Rao and Sudha Rao page n.r/prashanth (vocal): He is one of the popular young vocalists. He learnt music from Titte Krishna Iyengar and later on from R,K, Padmanabha, Now he is being trained by Neela Ramgopal, Endowed with a pleasant voice, he has several concerts within and outside the country' to his credit. Just now he has returned from his UK concert trip. He is known for his successful Eka Raga and Eka Vaggeyakara concerts. Prashanth’s cassette N Om name Narayana" is very popular. His "Ramanuja prapatti 11 , "Dasoham’ 1 , Srinivasa Kalyana" amd "Shyama Krishna" successful cassettes. Prashanth has won the best musician and best pallalvi singing prizes from the Bangalore Gayana Samaja. An engineer by profession, he has been assisting Dr, Raja Ramanna in the publication of a book The structure of music in raga and Western system, 1 " He is also actively involved in a project at the National Institute of Advanced Studies for the documentation and conversion of Karnatak music compositions into staff notation on computer using Delux Music 2.5 version. #163/279, 6th cross, Garden Villa, Nagarabhavi Post, Bangalore- 560 072, Ph. 321089, 3217959. K.VRAVISHANKAR S H A R M A (Mr id a nga ) : Sharma is a textile technician. He had his earlier training in mridanga from T.N.Shashikumar and Vasudevarao Mohite. Now he is being trained by Shivu. He has also learnt vocal music from D.Shashikala specialising in singing rare pailavis. As a mridanga accompanist of merit he has made a good name performing in almost all the sab has and festival with the leading names of Karnatak music. He is the member of the "Laya Lahari" troupe led by his Guru Anur Ananthakrishna Sharma. Sharma has won best mridangist and upapakkavadyagaara prize from Bangalore Gayana Samaja, He is on the staff of Union Bank of India. #278, Sindhura, II ' A 1 Main, l phase, Girinagara, Bangalore- 560 055. Ph, 6722363(R), 2204268/ 2260913 ( 0 ). RMADHUKASHYAP (Vocal): Madhukashyap is a child prodigy. 12-year old Madhu is the son of musicians N.G.Ravi and Meenakshi Ravi. He started playing on mridanga at a very' tender age of 2. He could identify ragas at the age. He had his prelimnary tutelage from his mother Meenakshi and now he is under the guidance of Neela Ramgopal. Madhu is noted for singing rare ragas and compositions. He has won prizes at different competitions including the recently held competition at Shimoga under the banner of Nada Sudha Sangeetha Sabha. #65 A/, Ramarao Layout, Kathriguppe, Bangalore-560 085. Ph. 6694782. m Karnataka 's only English International Journal on music and dance Copy Editor Printer : Chief Patrons Editor General Dr M. Surya Prasad Phone : 2253975 Associate Editors: Usha Kamath, Ph. 5598886. K. Ramamurthy Rao, Mysore. Ph 0821-481899, B. L Mwtjukt, Ph: 6619227. Copy Editor ■ Vijaya Ramesh , Ph: 6674964, Printer : Halakrishna, Ph: 66793 33, Chief Patrons : 5, K. Lakshminarayam (Bab it) Mysore, Ph: 082 1 -5 1 34 1 4. V Krishtum, Ph : 3345665. Dr. A,H. RamaraOy Ph : 6691175. M. Bharadwaj, Ph : 08182-22051. //. K, Gattesh, Ph: 645349, //. Kam/danatk, Ph: 6612244 M. V. RamacJumdrasa, Ph: 2$ 76131 Principal Advisers: B. V. K , S as try, Ph: 3342682 E. R. Sethuram, Ph: 6783116 Dr . R. Sathytmarayana, Mysore 0821-529599. T S. Parthasaraihy Chennai, 044-459005. Pandit Seshadri Gavayi Ph : 6263 7 1 Guru Maya Rao, Ph: 2283486 Mattur Krishnamurthy, Ph: 3346404 Guru Lalitha Srinivasa n f Ph: 3348275 Prof M. S, Nanjunda Rao Ph; 2261816 Shyamata Bhave , Ph: 3443900 Admn. Executive: Dr, H.N. Shivaprakash, Ph:6672189 Advisory Council : Dr Manjunatha Bit at, Ph: 6647654 Ditrga . C. Avar! hi, Ph: 5298954 T 4. 5. Mani, Ph: 3441515 K. Balasubramanyam, Chennai, Ph; 0444992474. Ft. Gowrang Kodikal, Ph: 33 16325. H.N. 5iimA,Ph:33479I C. Cheluxaraf Ph;332836l Prof K. E. Radhakrish na, Ph: 332 1 641 Guru II . R. Keshavamurthy Ph: 3 320903. PtPartimeshwar Hegde, PH:33 10039. Pf Vtnayaka Torvi, Ph: 3305701 . Dr. 71 S.Vaidyeshwar, Ph:6650026 Dr.Vasundara Doreswamy Ph:082 1-5428 14. Ranjani Ganeshan, Ph: 5548147 7 R. Harish , Ph: 0821-510407. Guru Padmini Rao, Ph: 6670013. Guru Geetha Da tar, Ph:0Sl 8270 1 80 Guru Usha Datar , Ph:349235L Lochatta Ashok Kumar, Ph: 546448 8 P R. Executive ; V Nagaraf Ph:6229 1 8 Legal Adviser : C S. Nagesh - 9628-804898 EDITORIAL OFFICE : "MUNiKOTI" NO. 8, SECOND CROSS, 0PP. SRINIVASA MANDIRAM, BALEPET. BANGALORE-560 053 PH: 2253975 Adorn. Executive. Advisors Council P. R. Executive Lega l Adviser : Vol. 1 Issue 9 February 1999 Inside Calender of Events From the Editor General Holding high the banner of tradition interview with Rajalakshmi Tirunarayanan The distinctive vocalist Review Ustad Zakir Hussain Quiz of Fine Arts Etc. 19 20 Correspondents INLAND ; Bangalore- Ananthapadmanabharaa, Ph: 5532658 . Katie Sa thy a n a ray an arao y Ph: 3444663. My so re- S. P. Keshav and K , Raghavendra Rao , Ph: 0821 51 35 17. Hubli-Dharwar- Jayasree Guttal- Ph: 0836347532. Kshama Govinda Rao. Nassau- N. Ragh u t Ph: 081- 7250466 . Bombay-B. Nagabhushan, Ph: 0251-4724/5 V. R, Karnad, Ph: 044-4308102. New DelhCPrakash Wadehara FOREIGN: Singapore -Girish Pamcker, Ph: 65-2992352 , Wellington - Vtvek Kinra. Ph: 54-4-387388. San Fmnsisco - My thill Krishna, Ph: 408-7256845 , 408-7252951. *We welcome all unsolicited material hut do not take responsibility for the same. It 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 permission of the publisher, *The editors and publisher of GunagtBhi do their best to verify the information published but do not take responsibility for the absolute accuracy of the information. The opinons/views expressed by individual authors in articles published are not necessarily those of Gunagraihi, A rticles, photos, write-ups, reports may also be sent to the following address : Editor General, 446 1 JaraganahalH RO. J. P. Nagai; Kanakapura Main Road Bangalore - 560 078 1 Saras wathi Gana Sabha, Aradhana Celebrations, Odukkathur Sw ami gal Mutt: March 6, 6.00 pm R.M Thyagarajan, R,M Tharanathan (Rudrapatnam Brothers) B.U. Ganesh Prasad, H.S. Sudhindra, H. Sivaramakrishnan March 7. 6.00 pm Maharajapuram S. Srinivasan. Mullaivasal S.K.Lakshmmarayana(Babu) Page BANGALORE: Sri Devagiri Sangeetha Sabha,9th main road. Banashankari 2nd stage: 10th Vasantha Sangeetotsava at the open air auditorium of the Sabha. March 3 5 p.m. P Rajagopal, V.Murali (nagaswara). 5.45 p.m. maniam Raghunathan ifoilowed by her vocal recital; main rag a of the recital "Mayamalavagowla". March 4 6 p.m. S.Shankar(vocal);"Reetigowla". March 9, 6.00 pm Dr. Shankar Srinivas, 5 6 p.m. E . Gaya tri(vee na) ; 1 1 Gowla 1 . March 6 Dr. S. Jyotsna, Anantha Subramanyam, 6 p.m. T V. Shankaranarayan(vocal); R. Ramesh March 10, 6.00 pm T. Iswaran Kannadagowla . March 7 5 p.m, Neel a Bhattadri, B. Raghuram, S. Sethumadhavan Ramgopal(vocal); "Narayanagowla". March 8 y Giridhar Udupa, March 11 6p.m, M.S.SheeLafvocal) ,, Kedaragowla 1 '. March BK Anantharam, Master Amit A. Nadig 9 6.30 p.m. Rangashree(Bharatanatya), Percussive Arts Centre: Feb. 21 4.15 p.m. At Gokhale Institute of Public Affairs, 1 1th main, Malleswara; Prof.R.Visweswaran(veena), Feb. 27 6 p.m. At Indian Institute of World Culture N.R.Harini and N.R.Sharadafvocal duet). March 14 5 p.m. GIPA Hall, MR, Colony. N.C. So wndaravaili (vocal). Nanganallur Shanthi Sridhar Ma lies war am Sangeetha Sabha: Venkatagiriappa, Laxmh Dayanidhi March Gokhale Institute of Public Affairs, Malleswara 14 7 . 00 am Mangala Vadhyam&Pooja8.30 11th cross. Feb. 21 3.45 p.m. Distribution of (Jthsava Divyanama Keerthanam by An any a Pratibhe, Bharat ha-Bharathi Aradhana Group 10.30 am Pancharathna Pratishthana and Tiger Varadachar music Keerthana (Ghoshti Gana) competitions pnzes by Shyamala G.Bhave. Feb. Purandaradasa Keerthana b y duet). March 14 4.15 p.m. Bombay Indian Insttute of Sam Group 2.30 pm 5isters(uocal duet). Music by Vidwans, Vidhushis & Others — , |.!||| Dr, Ra. Sa. presents his works to the President I , Prof, R, Sathyanarayana of Mysore, internationally ? . \ K acclaimed authority on Indian music and dancing presented a 'V three volume set of his critical edition, translation and M.A, Krishnamurthy March 12. 6,00 pm Thiruvananthapuram Krishna Kumar S.V. Narayanan, Annor R. Ananthakrishna Sama, M Amrit March 13, 6,00 pm Karnataka to Sri K.R, Narayanan, President of India on the 14-12-1998 inst. at the Rasbtrapati Bhavan in a special, glittering function organised by the publisher, Indira Gandhi Centre, introduced Prof. Sathyanarayana to the President as an outstanding authority on Jndiar music and dance, scientist, musician, musicologist, danceologist and most erudite versatile scholar I t&e Sdtiwi THE NATIONAL AWARDS It is heartening to note that the national awards have been announced and the country’s highest award "Bharata Rathna" is being bestowed upon superior sitarist Pandit Ravi Shankar. It is praiseworthy that a musician of Panditjis calibre and expertise is tipped for this. Without any doubt.. Pandit Ravi Shankar deserves it. GUNAGRAHI is happy to present a brief account highlighting his accomplis merits and singular service to the Indian music in general and Hindusthani music in particular in this issue. To put it most appropriately, the national award is sanctified by the above act. At the same time, it is disheartening and unfortunate to note that not even a single artiste from Karnataka is featured in the list of Padma" awards* Without any partisan and ill-feelings towards any body, it is felt that the Karnataka artistes are sidelined. There are a good number of worthy persons who have been rendering yeoman service to the fields of music and dance in Karnataka. Their dedication, sincerity and contribution are nothing less than the others who have been tipped for the National awards. It is reliably learnt that the Govt. of Karnataka had recommended atleast four names for M Padma M awards. One wants to know the fate of these recommendations? Was it not sent in time? Did it not reach the right persons and place? If it is in the positive then why this miss? Or Is it the lack of PR or is the recommending authority blind to the achievements of the Karnataka artistes? Or is there any preconceived decision against the artistes of Karnataka in matters of awarding such awards? One wants to know* It is better the sooner that the loopholes, if any, be plugged immediately. Something solid is required to be done in setting right the anamolies and misunderstandings in order to accord the due to the artistes of Karnataka* Taking important lessons from this year’s announcements the concerned should act to avoid such repetitions. —DR. M. SURYA PRASAD, knowing full well that one who has, for decades, been trained to live within the fence The 79-year-old Pt. Ravi Shankar, an uncompromising Q classicist and traditionalist is probably the only musician in the country to put Indian music on the cultural map of the world in a big way. It was chiefly because of his zealous and steadfast espousal of Indian music in the West over a long period of time which discovered the glory and greatness and the scientific basis of Indian music io the Western world which dub it as ethnic music. It was the cumulative begins to woo them with one s whole heart. Their observance becomes the life- breath, the very raison d etre of a musician. Even alter his thriving in t he Western clime and atmosphere, did one ever find him swerving away from music in inaia, m oi mem, in fact the whole of India, owes a debt to Ravi Shankar, our cultural ambassador par excellence. Renowned violinist Yehudi Menuhin who is more than a musicain — he is something of a philosopher and a keen student of world culture — on coming in contact with Ravi Shankar and Indian music, became a life-long friend of both. He studied Indian ragas. in any raga or compromising with the purity the dignity and the depth of a raga which he has always treated as a holy priest in a shrine? Ravi Shankar is a musicians' musician, t - How many of them j m* have perfected their fit 1 art just by emulating Shankar’s calibre as a r musician, his firm roots i in Indian tradition and * 'sansakara$\ his ! education and I cultivated intelligence, I his power of dear and | unbefuddled thinking i and expression and . not the least his winsome, graceful I personality and | personal magnetism ] that he was able to i conquer the West for . Indian music. As a L result of his efforts, the Western interest in the study of Indian music snowballed. Many foreign universities established chairs of Indian music. Today it is difficult to have a count of Indian music concerts held abroad or the number of our musicians, young and old, visiting and performing in many Western countries. Also to be taken note of is the large number musician musician s Prakash Wadhera, tracing the career of the maestro, who has been nominated for the Bharat Ratna award. Lovers of Indian classical music the I w h om he world over would greet the news of the I national Bharat Ratna being awarded to the globally famous sitar maestro, Pandit Ravi Shankar, with glee and satisfaction. | such as the Sangeet i Natak Academy Award, Grammy ^ Award etc, who are his :iples. Some of the names create some musical scores one can instantly think of are which sought to build a bridge Uma Shankar Mishra, Gopal between the Indian and the Krishna, Vishwa Mohan Rhatt, Western music. However, the Deepak Choudhary, Kartik tremendous name and fame Kumar, Shamim Ahmad, versed in the rules of the game. Far from budging from it, they have held aloft the banner of tradition. Thus not the guru alone but also the large band of his disciples are a veritable blessing to Indian music. abandon dance and come into the lap of music. Six years of rigorous, unremitting practice and trianing under is me Kina or man ana musician our Ravi Shankar, the winner of the prestigious Magasaysay and Grammy award and a whole host of other national and international awards and followed. The latter treated him as his son. Ravi Shankar s exposure to the West widened his outlook and mental horizon He studied the Western orchestra and the harmony. Though an out and out traditionalist he was ever eager to break new paths in art. He was fascinated by the Carnatic ragas and talas many of which he adapted to Hindustani music. The citation for his Magsaysay award mastery of the sitar that colours the mind,” Ravi Shankar wrote the musical scores for Bangla films like "Kabuliwala” and Satyajit Ray’s "Father Pan chalk’ as well as for Hindi film like "Anuradha" And "Godan 1 . As the chief conductor of the All India Radio Vadya Vrinda or the National Orchestra, he wrote some of the Finest orchestral compositions. As far as the systematic exposition of classical ragas is concerned, he has few equals. His alap is undoubtedly matchless. In his heyday, one heard him play a small melody like Hamir for two hours. Of laya and tala Ravi Shankar is the supreme master. titles, is. His parentage is as distinguished as any. Born in the holy city of Benares in 1920. Ravi Shankar's father. All his life Ravi Shankar hands ungrudgingly, i le who had an occasion of visiting his abodes at Ashoka Road, later at the Pataudi House and still later at Lodhi Estate would readily affirm that at any given time a host of young learners could be seen living uner his roof whom he nursed and taught even as they shared his table and shelter. There still are living some senior musicians who do not oar-at-Law oesiaes oeing an eminent scholar of Sanskrit. Ravi Shankar was the youngest ofhis four sons, Uday Shankar the world reputed dancer, Rajendra Shankar and Gyenendra Shankar, It was in 1938, when Ravi Shankar was 18, that leaving brother Uday Shankar he came to Maihar in Madhya Pradesh to learn sitar at the feet of Baba AUauddin Khan who had been coaxing him to their deep grattitude to Ravi Shankar for his munificence and help in their hour of need (immediately after the partition of the country 1 ). That HINDU "An Instrumentalist must be trained in vocal. ..." Q: Will you please tell us about your training in music? A: In Mysore 1 used to listen to V.Desikachar s teaching of music. My parents Joshyer and Singaramma made arrangements for my learning of veena from Subramanya. I lived on the same road where Veena maestro Veena Venkata giriyappa also resided. He was good friend of my father. At the age of seven, 1 started learning veena from that legendary vainika vidwan. He taught me ghana ragas and he insisted me to sing along with the veena play. He would not spare me whenever lommitted a mistake but at the same time, he had the large- heart of appreciating my good at the Dept, of Music along play. My Guru suggested me with my PG course. 1 also that I should continue my became a guide for M. Phil and learning from his prominent Ph.D. students and finally disciple Prof, became the head of the R.N.Doreswamy. Dore dept. of DDM. My husband swamy s parental care and vigorous training helped me a lot in grasping the nuances of the music and the veena. Q: Can you tell us about your debut performance and veena much popularity due its distinctive fingering technique. Veena play is notable for dealing of gamakas. This should be Chandratiasa Gupta, Secretary. DKC. Conferring "Ganakala Btui#ana l on RsjaFakshmi Tirana raya nan. Mysore V. Subramanya end Vi ma la Rangadiar are also seon wanted to do post-graduation in music. Thanks to Dr.H, Narasimhaiah, the then V.Cof Bangalore University, I meticulously followed. The striking of the strings should be smooth and unobtrusive. Incorporation of daatu swaras in sampoorna ragas makes the music more impressive. Q; Your advice to the upcoming musicians? A: The talented musicians should strive for perfection. Listen to music regularly. The instrumentalists should have the tala structure in their minds and should not depend on someone to put tala for encouragement till this date is the secret behind all my success. I take lot of pleasure in teaching music. I believe that a teacher should always encourage and inspire the students, Q: Your opinion about jugalhandhis? And overseas performances? A: There is nothing wrong about jugalbandhis. But I feel that a Karnatak musician should not attempt to sing Hindusthani and vice versa. between the accompanists and the artiste community should me maintained. Royal Palace when I was just 13 in the august presence of Sri dayachamarajendra Wodeyar. I started performing within and outside Bangalore prolificacy. I was inspired by Dr.V.Doreswamy Iyengar, Musuri Subramanya Iyer, be trained in vocal. Only then the sahitya of the compositions could be produced clearly on the veena. The bhaava gets effectively communicated. My Guru was very particular Distinctive Vocalist The grand prima dona of Karnatak music D. K, Pattammal is a legend by herself. She is tradition al-- -in her looks, in her music and in her life style. Come March 1999, she will be eighty year old. But she is still young and vibrant in her music. Pattammal entered the Karnatak music field in, what may be called, adverse conditions. Adventurous She ventured to enter into a dominion of male chauvinists who scoffed off her talents, artistry and abilities. Pattammal had to shot her into fame but her emotional touch also did the magic. Her music became both an intellectual and increased in variety and number, DKP reached the top rung with her sincere and dedicated approach. The rasikas eagerly looked VT’ ■ forward to her m concerts to savour rising Ravana ", ’ Shive p a h i m a m ’ , n M a n a s a Guruguha M and 1 Akshayalinga vibhoT The way she could create the entities of Kalyani, Todi, D. K. PattammaL..., Majestic Malayamaruta was unique. The established male singers. She Damal Krishnaswamy silenced them with her Pattammal was trained in tradition-bound and laya music first by Ambi Dikshiiar perfect music. The hold over and later on by intricacies and complexities of T.L Venkatarama lyer T an laya that she demonstrated eminent scholar. Hence her was remarkable. The mastery music brimmed with both and the artistry with which she lakshana and lakshya* bhaava could negotiate trishra, chaturashra, khanda, mishra and sankeerna jatis was, sometimes, beyond the reach of the male singers of her time. In fact, it was envied by music. And so did her them. It was not just laya that repertoire. Her repertoire had considered the great laya his maestro Kancheevaram "N Naina Filial as her manasika K; prove distinctiveness in rendering the Bharathi s ’Aduvome Pallu Pattammal 's guidance. Her songs by her contemporary Paduvome ", "Vetri Ettu granddaughter Nityashree composers. She familiarised Dikkum h "Santi nilava M ah ade van has already made the compositions of vendunV and others need a a name in the Karnatak music Kotishwara Iyer, Papanasam special mention. arena. Shivam, Koval Varadarajan Great Teacher Pattammal has Besides her scores of accomplished much both as a performances within and performer, teacher and as an outside the country, upholder of Karnatak Pattammal has also left benind tradition. Her unique her legacy in the form of contribution is recognised in training innumerable students., a befitting manner. It is Her brother late heartening to note that she of D.K Jayaraman held DKP s has been awarded the most ity banner till the end of his life, prestigious national award se Her daughter in law Lalitha, "Padma Vibhushana" by .re son Shivakumar and nephew Mr. K.R. Narayanan, the fa J.Vaidyanathan(both of them President of India, iis are mridangists) are the proud GVNAGRAHI washes her artistes to be benefitted by good health, prosperity and success in her pursuit. them wiin ease ana perfection, Pattammal shoneforth both as an enlightener and entertainer. National Songs Prof. T R. Subramanyam has this to say about " Tradition and Innovation " ■ This topic of Tradition and Innovation"' is a favourite one for me. Right from my music college days, I have been fascinated by innovation. I was considered an outlaw and a rebel during my college days. Tradition and Innovation never had a smooth meeting point. It was always orthodoxy and heterdoxy throughout! When a great scientist said that he earth was round and not a square, he was hanged. Human mind just refuses to come out of its routine to which it has been habituated for a long time!. They say M OLD HABITS DIE HARD ' 1 So a tradition which has outlived its purpose can very well be rehabitated by meaningful innovations!. So, I would say that tradition and innovation are the two opposite sides of the same coin and not merely two Eides of the same coin!. There have been lots of cases where innovation had been resisted. In T hy a ga raja's days he was called a neo-classic. He resorted to the use of 1 ' Madhyamakalam at a time w r hen this was not the accepted practice In those days, music was associated with slowness. It was Thyagaraja who found the use of ' Madhyamakalam’' to be very effective in his kritis. Evert his contemporary 1 Dikshithar was was a traditionalist in the [rue sense, as he resortec to 'Chauka 11 kalam very m frequently. But he himself would get tired and introduced madhyama kalam at appropriate points in the sahitya. Even after the days of Tyagaraja" the resistance to speed in carnatie music continued. Speed was allowed only in Nadaswaram. GNB was also a '"rebel" of sorts. I le was also considered a neo- classic in those days. Infact, one senior musician went to the extent of even advising me to consciously avoid following The English-karan" style. Today, GNB’s music has got merged with M SAMPRADAYA ri or what we call TRADITION. This we have seen in our own life time. Courtesy: Mudhra r Chennai HUBLI DHARWAD HUMS Madhavagudi were the other programmes which were held under the leadership of K.S^Upadhye, S.B.Guttal, C.Nagaraj, Dr.ChachchL N.R.Kulakarni and others. natmaia", "Brochevare varura", "Raghuvara" and others. f Iis manodharma was rich and vibrant. Impressive: Maruthi prasad’s bhava-laden singing was impressive. Opening with Sri raga varna, he sang By Jayashree Guttal rticn voice Karnataka Vidya Vardhaka Sangha,Dharwad T Janapada Mantapa and Akkana Balaga featured a vocal recital by Akashwani artiste D.Kumardas. Veteran journalist DrPatil Puttappa presided. Shantakka Mathada. H.C.Molali and Mukunda Ragalkote were the chief guests. Kumardas sang in his rich voice raga Puriya Kalyan. He j unfolded the raga in at systematic manner I underlining the bhaava and | lakshana of the raga. The I rich voice was pleasing to the ears too. This was followed *- by the singing of thumris, vachana and Haridasa compositions. Purandaira Aradhana Sri Purandara A R ad h an a was celebrated for three days under the aegis of Sri Vishwa Madhwa Parishath. A procession of Purandaradasa BANGALORE BUZZ 10th anniversary of KNK school A. V. Anand Honoured his latent talents and good scholarship in the swaravinyasa. A.S.Jaya prasad (violin), H.-S, Krishna murthy (mridanga'; and Hanumaiah(ghata) supported him well. "Lava Bhushana to me lutn anniversary ot Sri K.N . Krishnamurthy Uchita Talavadya Shaale and Sri Purandara and Trimurthy ardhana was held for three Mahalakshmipuram. Krishnamurthy inaugurated the festival. Prashanth pleases: N.R. Prashanth pleased the audience with his scholarly and melodious singing. Aptly supported by Venkatesh Joiser(violin), T. S . Ch andrase khar(mri danga) and R.N.Prakash (ghata), he scored well in the rendition of was honoured with the title of singing of his padas, kolata, bhajans. nagaswara etc, was held. In the night Sripati Padigar, a disciple of Pt. Bheemsen Joshi regaled the audiences with his singing of Haridasa padas, Dasavani by Ana nth Kulkarni of Bagalkot, Bhakfi Sangeeth by Pt. and a purse of Rs.1000 by released the souvenir brought out on the occasion. felicitaton speech. M.A. Jayaramarao welcomed. B.K.Chandramowli dance presentations by Dr.Tulasi Ramanchandra and her disciple Kshama from Mysore were the highlights of the day. The main item of the day was Shathakantha gayana led by seasoned vocalists R.K.Padmariabha and D.V.Nagarajan. Navarathna malika krithisfnme gem compositions by Purandaradasa) were sung in a group in unison on the lines of singing Thyagaraja's nancharathna kriihis at Singing, ner concen was neiu in connection with the 34th Sangeetotsava and Aradhana mahotsava under the aegis of Sri Nadajyothi Thyagaraja Swamy Bhajana Sabha at Sri Kannika Parameshwari Temple, Malles war a. She was Purandara Aradhana Nata(Maha Ganapatim), Sri Purandaradasa Bhairavi(Kamakshi), a rare aradhana(death anniversary) Purandaradasa pads was celebrated at Mulabagalu (Taamboolava kolle under the aegis of Sri Kamalavadane). Purandara Aradhana Seva Shubhapantuvarali (Ennalu Samithi Trust under the unde) was the highlight of her leadership of Sant Bhadragiri recital. Venkatesha Joiser Sarvotham Das and (violin), A.D.Sharma N.Rajarao in a traditional (mridanga) and RR.Pratap manner With the (ghata) lent lively support, programmes held in the Full of dedication: premises of the newly Balasubramanya Sharma constructed Sri sang with full involvement and Pandurangaswamy and Sri dedication. NatafNinne Purandaradasa temple, the bhajana), Yadukula Kambhoji whole atmosphere was filled (Echcharikagaraara), were with devotion. The notable for scholarly swaras. photograph oi Ranjani(Durmargachara), Purandaradasa was taken out Nagaswaravali (Sripate), in a procession to the singing Suruti (Geetarthamu) and of b N*ns and Dasa^knthis to Todi (Daachi kovaleva) were the accompaniment o the other items that were chittikais and harmonium. It , w c n/- was a sight to behold, captivating. Sm.Ganesn 3 kumar (violin), H.S. Krishna The sprawling pandal was The shathakantha gayana began with the singing of pillari geethas "Sri Gananatha Sindhuravarna' . Kereya neeranu" and Padumanabha"(all in neene murthy (mridanga) and N.S.Krishnaprasad (ghata) provided good support. Vivid vocal: Dr. K, Varadarangan gave an excellent account of himself in his vocal recital accompanied by Dr.S.Jyotsna (violin), H.S.Sudheendra packed with musicians drawns from different parts of the State, Musicians rendered Purandaradasa krithis in turns and paid musical homage to the Karnataka Sangeetha Pitamaha. A krithi sung in Hindusthani style by K.V.Nandakumar and two dinave shubha dinavu" (Suruti). Rajaguru Smrithi The fourth anniversary of Rajaguru Smrithi led by vocalist Pandit Parameshwar Hegde was celebrated in a unique manner at Bharatiya Vidya Bhavana. An artistically created stage caught the eyes at the very first sight. Ananya calendar 1999 A flute and a vocal recital- --with a programme of release of the Ananya calendar- 1 999 thrown in captivated the audience. The Ananya, the cultural wing of GML organisation, Malleswara, has been doing a yeoman service to the music and dance field in its unique way. The speciality of the calendar is that it carries the photos ol the great maestros of Hindusthani music with a brief note written by veteran musicologist BVK Sastry. The twelve leaves of the calendar contain the photos of Ustad Allauddin Khan(l 881-1972), Pt. Savoi Gandharva(18S6- 1952), Pt.Ramarao V.Naik(1909- 1998), Pt.Mallikarjuna Man$ur( 1 91 1-19 92), Dr.Gangubai Hangal(1913), Dr.Putiaraja Gavai(1914), Ustad Bismillah Khan(1916), Pt . Ravishankarf 1 9 2 0), Pt.Basavaraja Rajguru(192Q- 1992). PtBheemsen Jo$hi(1922), Pt.Devendra Murudeshwar(1923) and Pt.Kumara Gandharva(1924- 1992). Thanks to Dr.Raghavendra Rao, the Ananya’ s founder, that in the last few years such calendars were printed. The earlier ones carried the photos of the Kannada poets and the photos of Kamatak musicians. Mellow flute A mellow and scholarly flute recital by Rajesh Pandit had a sombre majesty of its own. The draft of raga Hamsadhwani reaffirmed so conclusively that even a raga as straight and shorn of cliches as Hamsadhwani was not just an up and down stuff. His talim got reflected in his dealing of the raga. The unfolc ing had both quality and character and the majesty and pace of a deep, slow stream. He re cieved skilful and artistic tabla support from Udayaraj Karpur. The concluding dhun in mishra Khamach was a pleasing melodic finale to the concert. Rich vocal was supported by Omkar and /yasamurthy Katti nanr onium). The vocalist was a fine fettle and dealt with the ubtleties of the raga Bhoop. der voice was quite helpful md the practised vocalist out her best. Her itimate awareness of maximum nuances of the aga, her technical, aesthetic nd artistic competence to convincingly an Thy agar a] a Aradhana Sri Thyagaraja Aradhana was c elebrated with traditional gaiety and devotion at Sri Kodandaramaswamy and Sri Thyagarajaswamy Temple, Srirangapattana on the — — - — CE> Thyagaraja Aradhana day. The idol of Sri Thyagaraja is installed on the mrittika brought from Tiruvayyar by reputed mukhaveena artiste late A.V.Narayanappa(he was instrumental in the insiallaltion of the idol) one and a half decade ago in this holy island surrounded of river Kaveri. After his demise, his son Selvananda has been carrying on the good work of holding the aradhana celebrations. On the aradhana day, the musicians drawn from different parts of the State assembled and performed Ooncha vritti followed by goshti gana of Pancharathna krithis by Thyagaraja. Singer Bellary Venkateshachar led the procession, The goshti gana was followed by the mahamangalarathi and musical homage to Thyagaraja by various musicians. On the second day, Seeiha Kalyana was performed. There was a Harikatha recital by Anuradha Naidu. Uma delights 16-year old Uma Kadekodi from California a disciple of Viji Prakash could evoke the essence of the classical spirit of Bharatanatya at Guru Nanak Bhavan in an impressive manner under the banneret "Nrithya Samarpan 1 ', Uma took invigorating rounds of jatis and the miracle was entirely one of her own creation. The mandi adavus and going on kneels in a circle in a brisk pace caught the special attention of the lovers of dance. Her involvement with the dance was total. Her dancing form came in irom the wings on the strains of Vac hasp at hi varna 'Velanai cholladi'h The varna addressed to Lord Muruga had the devotee praying for the reunion with the Lord. The play with rhythms and the mimetic sequences were so clear that there was hardly any gap between the dancer’s intent and its communication to the rasikas, A Meera Bhajan "Turn bin meri kaun khabar hef was rendered Yamuna Kadekodi, the mother of Uma sang it in her rich and evocative voice. Lima's father Narayan Kadekodi played on the tabla got to be bound by an usefully. She highlighted some acceptable and uniform of the Mahabharatha- dance designs, it would be episodes including the game more demanding to deal with of dice. Drowpadi maana abstract themes. This could be samrakshana followed by a accomplished only by an couple of episodes like expert and skilful Shabari moksha. Ahalya shaapa vimochana etc, drawn from Ramayana. ’Gummana Kareyadire 1 M.S.Kannan (violin), Indian classical music. It is Narasimhamurthy (flute) and interesting to note that the Vedakrishnan (mridanga) shapes of some of the enriched Uma’s dance with rhythmic patterns of the yatis their admirable play. Shirish correspond to some of the MOhan’s lighting, stage and percussion instruments used sound design was attractive. in the traditional Indian music Maiathi Iyengar system, mesmerizes Maiathi Iyengar, who has It is very difficult to been successfully identifying choreograph a dance feature the new frontiers of with the Bharatanatya working very y dancers well within the traditional drawn format, had conceived and f r ° m choreographed an admirable IMl ! ^ different dance feature. Young and sc h°°l s - talented S.V.Balakrishna had The composed the music. The original idea of projecting styles. Malathi’s husband designer mvmk. Ife; : moods Suresh Iyengar's drawn igs of percussion instruments did not materialise due to the inadequacies of stage. Praveen Rao (rnuris a r r a nge m e n t) , Sh a t a vad h an i was Kowshiki Dazzles Kowshiki Chakraborthy dazzled in her short vocal recital. The 18-year old Kowshiki sang with rare confidence and conviction. Dancer-Guru Maiathi Iyengar from Los Angeles, displayed her extraordinary brilliance and hold over the melodious voice to produce Kadana kutoohala tillana was cnsp and lively with interesting poses, rechikas and teermanas. But the sawal- jawab with the percussions and nattuvanar was nothing more than a gimmickry aimed at the gallery. Babu Parameshwaran's vocal refrain was rewarding. Viji Prakasb (nattuvanaaL her premier show of Gati- Pragathi '(Dance in progress) presented by Nartana Keertana Centre for Performing Arts at Sri JSS auditorium. She did well in presenting an abstract theme exploring the various shapes and rhythmic patterns known u/ere music has evolved, even though it is also treated as one in which the young receive the elementary lessons, ft is simple, yet beautiful. When she sang itin detail the initiated young were amazed and the connoissuers went into ecstasies. The very first few phrases that she produced, the Mail resounded with the beauties of the raga, some of it subtle and enchanting. There was volume in the sancharas, there was intense tunefulness in the notes and there was imagination in the permutations. Even the simple ni re dha ni re sa, or re ga ma pa, or ma dha ni dha pa with accent on re ga ma pa, had an ecstatic effect. She built a most delightful and complete structure of the raga with full involvement. The singing in Lhe fourth register was noteworthy. Taans and sargams traversing through three and a half octave were spirited, Harnsadhwani was the next raga by her. She sang Dikshitar's ’Vatapi Ganaptim bhe" creating a good rapport with the listeners. She ornamented this line with a spate of phrases always reaching the sam with a great relish. It w r as felt that she should correctly understand the words of the krithi. A bandish on the same lines of the above line of the krithi l^aagi lagan" could have been avoided to nullify the experience of repetition. She was inspringly supported by her father Ajoy Chakraborthy (harmonium) and Yogendra Shamsi (tabla). Brilliant Ajoy Ajoy Chakraborthy took the stage to a packed audience. The expositions in Jaijawanthi and Shankara were modulated brilliantly. Appropriately accompanied by Vyasamurthy Katti (harmonium) and yogendra Shamsi (tabla) the maestro regaled the audience with his lively singing. The scholarship and sensitivity blended well in creating an impact on the rasikas. The charming ragas had enough of a logical follow up. The notes differently used had a pleasing serenity about them. The maestro did full justice to them. Delightful rhythmic patterns emerged, some ol the sequences being ingenuous, when he switched over .o drut. He made the raga a tour-de-force of his singing elegance and control. The exposition had awesome precision and musicianship and carefully graduated emphasis that dazzled with its sheer wit ol conception, of a score of marvellous delicacy, which evoked an atmosphere that w r asat once tense and pure with repeated climaxes of intensity. An Evening of Sonatas Preludes Mysore Music Association presented Trefor Smith, pianist, in a Western Classical recital in the intimate Jyothi Hall of Hotel Southern Star, on the evening of twenty — fourth January 99. The Artiste Trefor Smith, born in Aberdeen, Scotland, started learning piano right from the age of six and continued study of music and composition at the Aberdeen and Liverpool Universities. He recieved the Performer s Diploma from Royal Manchester College of Music. He continued his studies at the Musikho — chschule in Hamburg, Germany, where he settled down and teached music apart from performing in many countries. His repertoire includes works of almost every major composer for the piano. Sonatas He commenced the recital with the famous German Composer Ludwig Van Beethoven (1770 1827)'s Sonata in Eb Major Opus 27 No. 1 , which has four movements. To the delight of the ' audience, the performance also included Beethoven's Moonlight Sonata in C sharp minor. This highly popular Sonata with its th ree movements, was composed in 1801 and the composer himself - ailed it a fantasia. After Beethoven’s demise, the German Critic Rellstab likened its first movement (adagio) to the reflections of moonlight on Lake Lucerne, Switzerland and called it "Moonlight Sonata' , The second allegretto movement was light and fanciful and the third ITT n ttttt I S r a fci i i i rvi rr n-rTi-rr- • y-?-n t - /FEBRUARY 1999 M .1 1 I f , l v ^ ■ preto-agitato movement was quite turbulent as the name itself suggests. Preludes In piano-solos, prelude is a brief, independent piece expressing mood and emotion and leaves the listener expecting more to follow. But, the French Composer Claude Debussy (1862 - 1918) placed them at the end of compositions instead of at the beginning. He has twenty four preludes to his credit. Belonging to the Impressionist School all these are delicate pieces with subtle moods. In fact, he gave them names to indicate what inspired him to compose each one of them. The artist played three of them named "Dead Leaves ', 'Gate to Vino' a musical description of the Alhambra Gate in Granada and The Heath 11 . The artist showed his gratitude to his city of domicile also, by playing four preludes of Theodor Kirchner (1823 - 1903) of Hamburg. These were more straight forward and energetic ones. Nocturne Nocturnes are romantic and poetic pieces of music suggesting the calm and serenity of the night. The Polish master Frederic Chopin (1810 - 1849) perfected this form and composed twenty nocturnes. The artist played the Nocturne in E sharp minor. Incidentally, it is to be mentioned here that the public Solo - piano recitals as we know them now originated with Chopin; also, playing with the profile to the audience, as is the practice now. Other Items The prolific Hungarian composer Franz 1 uszi (1811 1886) was also featurec in the recital, Liszt wrote more than a thousand compositions in almost all forms. The artist had selected the "Fountains at the Villa D’ este", with its repeating arpeggio motif of water falling into the pool with tinkling sounds, A very charming piece, ’Polonaise 1 is a solo - piano form popularised by Chopin drawing inspiration from the Polish dances that originated as a court ceremonial. Chopin composed his first Polonise for piano sole when he was just twelve years of age. He left Poland when he was twenty and could not return to his native land thereafter. It is said that when he left Poland, his teacher presented a silver urn containing Polish soil which was buried along with Chopin when he died in Paris. Chopin's love for his native - land made him treat its folk - dances to serious artistic purpose and he wrote thirteen ’Polonaise’s The artist played the one in A Flat major. Opus 53 whicn has quite a heroic, material vein. The artist obliged with an encore, a Mazurka by Chopin. Mazurka is another form of Polish National dance and the nostalgic, national feelings which the composer carried with him made him compose seventy mazurkas. The opening phrase of the one played was reminiscent of the 26th parent - raga Charukeshi, in the 72 Mela raga system of Karnatak music and popularised by Pandit Ravi Shankar in North India . The sixty-five minute recital was hoard in pin-drop silence. The technical perfection, a result of years of hard practice, was taken for granted by the audience, as the music touched the hearts and left everyone oraving for more. The day happened to be the "Ratha Sapthami" day, when the Sun is worshipped by offering prayers for health. The same morning Sri Thyagaraja Sangeetha Sab ha held group singing of Sri Purandara Dasa's Pillar! geethas fintial exercises in music) and the ghana-raga pancharathna compositions of Thyagaraja. Listening to the moonlight sonatas and nocturnes the same evening was quite some experience for this writer. The aficionados of Western Classical music in the city attended in number. It would be enlightening for lovers of Indian classical music also to attend such concerts and benefit by the variety presented by Mysore Music Associaxion . Sister John. President of the Association, thanked and honoured the artist. Kudos are due to the authorities of Hotel Southern Star for the excellent maintenance of the hall with its perfect acoustics, which makes listening to music there a pleasure indeed. Raghavendra Rao Musicians 7 Conference 29th Annual Musicians conference organised by the Karnataka Ganakala Parishat, the forum of Musicians, from the 3rd to 7th instrument Gethu Vaadya were also there. Rajalakshmi Summed up each event adroitly and succeeded as a competant resident. Concerts included recitals of Nagaswara, Veena, Jalatiarang and a full-bench- concert to mark the Birth Centenary of Chittoor Subramanya Filial, Vocal recitals and a Sugama Sangeetha event, A.R. Chandrahasa Gupta, Secretary, Kannada and Culture, Government of Karnataka conferred the title on 8th Feb. 1999 at the Gokhale Institute of Public Affairs Auditorium. Sangeetha Kalarathna Kanakapurandara Awardee M.S. Ramaiah inaugurated the Seminar. Bangalore K. Venkataram. the Executive Director of the Arts Centre, while welcoming the gathering, explained the details of the Thaalavaadya Seminars. Acquiring authentic data on the various aspects of the Thaalavaadyas and publishing the same has been the main goal of these February 1999 at the Bangalore Gayana Samaja Auditorium was presided by Veena Vidhushi Rajalakshmi Thirunarayanan. Dr. H. Narasimhaiah, Former Vice Chancellor of Bangalore University inaugurated and Y.K. Muddu Krishna, Director, Kannada and Culture, Government of Karnataka wa sthe Chief Guest, The 3-day academic sessions included the Birth Centenaries of Mrudanga Ratnakara H. Puttachar and Sangeetha Kalanidhi Chittoor Subramanya Piliai . Symposia on opportunities of Veena programmes and some aspects of Dikshitar, Salient aspects of Kambodi and Yadukula Kambodi and a demonstration on Veena teaching methods were on the agenda. A paper on - a rare musical text 'Sangeetha Gnaana Kalaanubhavak a demonstration of the only stringed percussion "Ganakala Bhushane" on the con Rajalakshmi Thirunarayan Dr; N. Pattabhiraman. Editor Sruti 1 ’ felicitated R.N. Doraiswamy, M.S, Ramaiah, N.R. Krishna Mruthy, Gudibande Ramachar, C.K. Shankaranarayana Rao and Garland Rajgopalan. Dr. Pattaohiraman in his address referred to the deterioration of the Manodharma aspects of Classical music in preference to number of , resulting in aspects. The conference iwas aided by the Directorate of Kannada and Culture, Government of Karnataka and 17 sponsors including several endowments. Thaalavaadya Seminar The Percussive Arts Centre, the only organisation working exclusively for the promotion of Percussive Arts organised their 5th Seminar ventures, dealt with the Scientific aspects. Thaalavaadya Traditions of the 4 different southern states. Western and The ^econa seminar aspects of Ghata and Khanjari, While the 3rd Seminar focussed r- arid Gethu Vaadya organised at the Bharatiya Vidya Bhavan, Madras. The 4th Seminar Naquara. While the proceedings of the First three seminars have already been published, the 4th Seminar proceedings are ready for publication. The 5th Seminar is dealing with the Chandes of different schools and references to Laya Vaadyas in inscriptions etc. and certain drums of select foreign countries. Dr, Prabhakara Joshi of Mangalore and V.V. Parmeshwar of Udupi demonstrated the 'Chandes music ana Gance was neia in memory of Dhanmabhus hana Late K, Seetharama Rao of Dasaprakash Group. Under Academy Foundation at Veene Seshanna Bhavana Mysore. The festival was flagged off by Rtn K.B. Ganapathy. Editor the star of Mysore and S.N. Chandrasckar Editor, Phoenix Bangalore. On the inaugural day Java Balasubra m any am , falling in the lineage of Chembi Vaidyanatha Bhagavathar, gave her vocal recital accompanied by Sandhya Srinalh (violin), Srinaih Balasubramanyam (mridanga) and Bhakrhavaihsalam (ghata). Not very remarkable feats savoured the concert inspite of appreciable involvement and efforts, "Karunakara" composed by Rajalakshmi Krishnan in Sunadavinodini rendered fervently provided a good turn and impetus, which was further improved in Mohana ' Nannupalimpa '* The alpana was thoughtfull M. S. Ramaiah inaguratmg the Seminar. Bangalore Venkataraman and justice Nitty r Srinivasa Rao look on of Thenku Thittu and Badagu names of the various Thittu . In a highly informative instruments, their origin and and interesting usage, salient rhythms used demonstration, the similarities there on these instruments, and differences of the Art Critic S.N. Chandrashekar Chandes including the made a specific observation that these instruments are worthy of note. P. Nambiathan Nambudiri and party from Trichur - Kerala, demonstrated Chande of Kerala, Idakka and Ellathaalam and thier usage in Temple rituals, Festivals and other occasions with suitable narrations. Noted Mrudangam Artist A.V. Anand referred to the exemplary display of these instruments. Ganakala Bhooshana ditrerent aspects of pi ay were exhibited and the relevant academic contents explained* Dr. Choodamani Nandagopa! in her illustrated talk on References to Laya Vaadyaas in inscriptions, Sculptures, Paintings etc." profusely used slides to illustrate her points and observed that it was mostly ladies who handled these I .ay a Vadyas earlier. N.S. Krishna Murthy, Former Director of Programmes, Station Director, AH India Radio made an observation that the illustrated talk w r a$ highly informative and worthy of preservation, H.S. Anasuya Kulkarni demonstrated the "Drums of Papua New Guinea and Uganda" and explained the Violinist iver The proceedings have been video taped for preservation. The seminar was co- sponsored by Sangeeth Natak Academi, New Delhi. Lima Rao honouring the dancers ........ ....... GUNAGRAHI/ , fTTTr .. y - r . and marginally suffered by a Fapanasham Shivam were lack of fluency; clear the other attractions, delineations! details lagged in She was accompanied by in-depth graces. Necessary Sandhya Srinath (whose intonations and sancharas balanced support and brought out the raga bhava extempore dexterity were during alapana and tana parts remarkable) and Srinath in Kalyani, and the paliavi Balasubramanyam(mridanga). section "Tharaka Brahma Worthy Mohini Attam by the young danseuse, Shobha Subramanyam, through her notable technical was a worthy performance. Movements and postures depicting t he Lord in the invocative Ganesha Vandana in kedara and Reethigowla, and the dance sequences absorbingly rendered compositions, warmth and experience in narrative aspects, reasonably drawn 'Kalpanaswarasb Starting with a Varna' "Amboruha" in Ranjani followed by HamsadhvanL both composed by G.N. Balasubramanyam, be created a serene atmosphere through majestic narration in or Mutnuswamy uixitnar in Sowrastra. The audience were at his sway when he Swarupinf was followed by comprising Shudha mritta recited Jayachamaraja attractive Kalpana swaras. in combined with the sentimental Wodeyar s "Sri Jalandharam" Kalyani, Hindola and Revathi. expressions characteristic of in Gamghiranata and ’Devi Other inclusions were "Sri the raga Revathi in Brovasamayamide ,r of Shama Maha Ganapathim" (Athana Jathiswara, were self Shastri in Chintamani. Jayachamaraja Wodeyar), explanatory of her proficience Alapana and notations! "Narayana Ninna Namada ,f in the art. In the next two improvisations for ’Samagana (Sudha Dhanyasi - Purandara numbers - a Varna by lole 11 , another composition by dasa) and a Tillana Irayimman Thampi in G.N. Balasubramanyam in (Brindavanasaranga Lalgudi Shankarabharana and a Pada 1 lindola t maintained the mood Jayaraman). , composed and melody, the construction Comiitted by Swathi and lyrical exuberance of the Radha Thandaveswar’s J T; ■ Thirunal in text, vocal recital on the second Kurunji, H.K. Narasimha Murthy day portrayed absolute d|| §m the (violin) endowed with devotion and commitment, |pfP* Abhinaya, adroitness and artistry Whereas a methodically 1 1 | \ w 1 1 h extended befitting support, drawn alapana in Lathangi alluring Jayachandra Rao s Mridanga (Marivere Dekkevarayya - stances, enticing strengthened the concert, Patnam Subramanya Iyer) gesticulations and meaningful Grand Sant oor clearly passing through glancess, demonstrated As second part of the introductory, expository and Sringara rasa, the essence of programme R, Vlsweshwaran concluding phases delineated the art. played Santhoor gran dly all the intricacies and moods She was accompanied by support on the tabla by inherent m the raga, the finally Jaya Balasubramanyam xr , +1 M , , T , i . j j .1 / i j i * v visnwanatn iNctKoo* i *10 embroidered swaraprasthara, (vocal and nattuvanga), . . "Kalavathi Kamalasana Sandhya Srinath (violin) and s P in * ua ron £ lan ^^ lc ^^ n Yu vat hi’ in 'Yagapriya Srinath Balasubramanyam essence of Charukeshi , Divakara Thanujam" in (mridanga). found a form and expression Yadukula Kamboji, both Absorbinq In the Alap and rhythm in N ri thyageetanjali Inaugurated composed by Muthuswamy R. Vtsweshwaran s the Jod sections of the Dixithar, "Mayil Vahana’ in premiere Karnatak vocal narration. With driving Mohana composed by recital on the third day was accelerando. pleasing painting was to mass-produce hand painted minimallstic souvenir icons for the pilgrims to the Kali-temple in Calcutta on both religious and secular subjects. It made commercial sense for the artists to cater for the three main sects such as the cult of Shakti (Kali), of Krishna and that of Rama, Secular paintings depicted the goings on of the new rich and the sensational murder case of an adulterous young housewife was a one-off theme. In the current production the India Dance Wales Company specially choreographed their presentation accordingly into Parameshwari - a piece from Shiva Parana that deals with the Shakti cult, Radahakrishna on the Krishna cult. Fate of Elokeshi - the murdered housewife and finally, Panchavati - on the cult Kiran Ratna. In the past the of Rama, the hero of the epic company danced the Ramayana, thematically similar tales of Choreography of the cult- the Indian and Welsh epics in themes moulded with ease its Mahabharata Mabinogion into Bharata Natyam idioms that caused tremendous interest among the lovers of Bharat Natya - the classical dance of India as well as the Welsh theatregoers. This year the company is inspired by the unique exhibition of sixty-nine paintings of the Kalighat Icons (or patas as they are known in India) of Calcutta at the National Museum and Gallery of Wales, Cardiff. The aim of this school of amplifications and assuaging softenings, the stage, when the rhythm doubled, projected laudable craftsmanship and imagination. The concluding number based on Kashmiri folk music went through series of ragas. — Dr. Nagaraj blokesm was sKiiruny ana pleasingly based on mime alone. Not many choreographers would undertake such a task even in India because mine - the heart and soul of Bharata Natyam - is harder to get across than pure dance in its REVIEW praise, ner reci iea looiwom beats blended boldly and Kalighat Icons (Performance by India Dance Wales at the Reardon Smi th Theatre, National Museum and Gallery of Wales, Cardiff) A review by Bishnu P. Choudhury* Cardiff Adventurous production is the hallmark of India Dance ne music. It was a treat to Najrul and other songs in Bengali. They added an authentic flavour to the It is always a pleasure to see Wales’s own Kiran Ratna and Megan Lloyd dance. They have been at It for all ihese years and every year they seem that much better than the last. The male parts were danced by Praveen Kumar pure dance and mine because of the classical nature of the story line. The challenge of (CcmtcL on Page 20) Musings on Musicians By Lavanya Dinesh, Florida maesiro has accompanied the In 1992 his album Planet most outstanding vocalists and Drum' with Mickey Hart instru Tienta lists of Hindustani received a Grammy in the and Karnatic music, as well as world music album category, dancers. The Ustad also received He has given the tabla an another nomination in the autonomous entity through his same category in 1 996, Zakir solo performances, figuring has over 145 albums to his out ways to make it an credit. He is a composer par instrument of greater range excellence and a complete and refinement. Seeing this musician in the true sense of tabla- wizard perform, is like the word, versatile and at being entangled in a web of ease, weaving tunes and magic, like being thrown into melodies as well as creating a world of heightened immaculate rhythmic perceptions and complete compositions. Credits include enjoyment. the scores for moveis - Ismail The deep and authentic Merchant's In Custody’, expression of the self through Bernardo Bertolucci s 'Little his tabla-playing is so Buddha \ Apocalypse Now' animated and flamboyant that and so on . the energy seems to flow into Awards and accolades the audience, making them comprise of the Padmashri reciprocate both emotionally from the Indian government, and physically. Originally from Bombay, India and currently residing in the United States, Zakir has always stayed true to his art and faithful to hsi roots in thd Indian classical tradition . He has nevertheless branched out into various arenas of fusion music, successfully producing some of the most innovative albums The phenomenon that is Zakir Hussain has conquered the hearts of millions of music lovers all over the world. Zakir's name is practically synonymous, at 1 - ^ 'tabla'. a percussion : . : hl, meni used in North Indian Classical Music. Ustad Zakir Hussain combines an impeccable display of regorous craftsmanship with a passion and ebullience taht is seductive as it is alluring. Zakir has single-handedly popularized the tabla as an instrument of mass appeal award for fostering culturalties between the two nations. Zakir exudes a certain boyish charm with his energetic and electric performances. In addition, he prossesses a media-sawy and an overall charming intermationally famous personality. But none of the instrumentalists and hype can detract from the fact percussionists, ranging from that Zakir Hussain is a brilliant practitioners of western musician and a name to classical music, rock and jazz, reckon with in the vast field to Afr cal folk music. of World Music. along with its traditional rhythmic function, Zakir is the son and disciple of Ustad Allah Rakha players of our times, a torch- bearer of the Punjab gharana. Displaying prodigious talent at a very tender age, Zakir burst into the concert scene at twelve and started making successful international tours at eighteen, He has not looked back sindce. The QUIZ OF FINE ARTS... 8 SOLUTIONS TO QUIZ OF FINE ARTS.... 7 ^ PmWW 2. (1) Swanaama mudra wherein the composer's own 1. Give examples for name figures as the signature Dukka ragas. &nd (2) Itara naama mudra 2. What is a Raga Mudra? wherein the composer has 3. What do you mean by Dviteeya Ragavardhini? 4. What is its character? 5. Mention its speciality? 6 . What is an Eduppu? 7. How many kinds of eduppus are there? S. Explain them? 9. What is meant by extempore music? 10. Mention its five branches? character and used in PHOTO QUIZ : Name this instrument taking two anya swaras or foreign notes. 5. Hindusthani Behag. 1. The ankita or signature of a composer fy. I The versatile percussionist ' i|p||P 1||%' ; Janardhana Rao and the flautist $ || :• • I Peter Stacey kept up the mood of |if§? "the story and the tempo of the dance “Is- N- all through. Michael Harvey’s ; disciplined narration was non- f . j The uninitiated section of the f ' • audience would have been benefited || ^ad his narration preceded Ijhe Saroja Natarajan " * murder. 1 do it or think diere'was any way of making it any less abrupt because of thematic diversity of the stories. Projection of the original Kalighat icons at appropriate dance sequences was a visual delight. On the whole the production was purposeful, skilful and imaginative Dr B P Choudhury, 2 Clos-yr-Wenallt, Rhiwbina, Cardiff CF4 6T Tel: 01222 628922 £53 Ww (fl^i cw Ww t * tfc&Mi«*»«^dbdc35d^detf, ^ddad&r &5aofcFri0 dd^d&Srt d^dodd^^daod? ssdcb a&d}dc&d s^d^^fi iraifb ^aod:3e2$ T - d^^roo©* ^e^j* de0do3 ddooD/l# ^d>i3d*aode t^d^. sradodda S3dd roddomddx ^^doDrlo $e0c5« - doa^ fc 3 ^a£c^ c$a£d>, fc*dd ao^uatfd ^^etfdrftA^Oab, ^egjrtW ^oOsM 35 ^ 035 , j$o*J dedd esfejaa^rWb yd^a? us^d abcs^d nso^e^ofo^d toc&$^ :&a52^d loa&^cdb &>^«3afo£^ t^d8ecd)to&rLo^^^^rfritf^^a^^r^rf^bE^dttOT»9a5d£i> "wc&atf rfsaSs" aod? “ _0 LS *( d do dt^A ^ cd>^ cron tD.OT^eotSe od> a? 00 cpa tfi dd> erud^aos fi d&^ft© cCo&> , 1?f d^rdtf &od **de £5d ®odd aamo^t-oo-OF^odod^ cron aotSei^ sSc^cf steo3 di3&d y d^’, r^ 0 $ T + ?^daf stoats Ba8rttto3>. <»db ^ri^d^^^dri^dh. rf£VTO^*’dodd^O*. Iff S} aScdoO *3(S ;$»& at) 03. 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NO. 691 49/98 WITH BEST COMPLIMENTS FROM: Ready Print No.2907, Ell Main Road Vanivilasa Mohalla, Mysore - 570 002 ©: 516803, 513414 Fax : 0821-516803 E-mail : vitpl @ giasbgol.vsnl.net.in 'S' Printed , Published, Edited and Owned by Dr. M, Sitrya Prasad, at “Munikoti”, No s 2nd Cross, Opp. Srinivasa Mandiram, Balcpet, Bangalore-560 053 Ph : 22.' 3975. Printed by Balakdshna at Sr ee rang a Printers and Binders, No. 242 \ 7th Cross . Wth Main , Sri Ramanjaneya Road, Hamtmanthanagar. Bdngalore-560 019 Phone : 6679333 Editor General ; Dr, M. Sitrya Prasad JHANSI MAHOTSAV ms?} rsm&. l-i ansi Festival ■ Where ndi folk traditions legends come alhc to recount laic? of gfoiy, fcsttvit spirit blooms ■n rhi’ dir and awaits your discovery totich The land that courageously and where mighty forts srifl echo the war songs of the 1 hurtles fought . It k a ajmpbte celebration of ait, a ah and culture of thb famous region that attracts prammcnL artists and per formers - * «» St: enthrall you vv| tti tradition si fo-lh songs and dances. i d f >*m. wfe -k & ■■ ■■: ■* . v UTTAR PR ADI Sf I The c : iaente_»f lnilB.i Directorate nT Tbui isn K h**X ¥i*tm (U ISDLA .THAMSl MAT fOTSAV M JuJ. - tM«. UOUO f«J nl'.rji Niijjlhi.il. Ki-Jis I ‘ttrf,, n|aMAr«J T. r iF4 l?"UL r J Ti’J ii - t i *y. OBITUARY: Sri S.N. Ashwathanarayana Sastiy (83), Founder - President of Vittala Sangeetha Sabha, Bangalore and Father of Dr. M. Surya Prasad passed away on 6-2-2000 at his residence. May Ills soul rest in peace. Gunagrahi Monthly Journal i RNI Regn. No. 69 1 49/98 Regn. No. CPMG/KA/BGS-92/2001 n i 1 WITH BEST COMPLIMENTS FROM: READY PRI NT No. 2907, 3rd Main Road r Vaniviiasa Mohalla, Mysore - 570 002. 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The hall got illu- minated with his sheer mastery and quality of his performance. Appropriately accompanied by M.S.Gc ' 1aswamy(violin) 5 TAS Mani(mn r ja) p Srishyla(ghata) and M.uururaj (morsing), Krishna started his recital with the navaragamalika varna. He re- galed the audience with Kalyant and Nayaki(Nee bhajana gaana). The manner he dealt with a tick- lish raga like Nayaki and the sahitya of the song was endear- ing, He could underscore the beauteousness of the raga Nayaki with his fine elongation of nishadha in both arohana and avarohana and andolana on gandhara. The charm and spe- cialty of singing in vllamba kala came to the fore in his delinea- tion of TodifSri Krishnam bhaja manasa) and Anandabhairavi(t) Jagadamba). He was at home in the manodharma aspects also. The singer could lay equal impor- tance on the sahitya shuddhi, a plus point indeed! The singing of an adorable krithi by Thyagaraja in Salaga Bhairavi(a janya raga of 22 rsd Melakarta, Kharaharapriya) was moving, it was a befitting finale to the mu- sic festival. Bharatanatya duet ■ ft was a delight to watch Venugopal-sisters Sajinc Venugopai and Mridula Venugopal-performing a Bharatanatya duet at Sri Jayaramaseva Mandali under the aegis of the Dept.of Kannada and Culture. Though I couid attend only the initial part of their duet. I was convinced with their artistry. The sisters did proud to their Gu- rus Chitra Thyagarajan and Jayanthi Thyagarajan with their neat performance. Though they need to make a couple of correc- tion in their rechikas and neck movements, on the whole, they evidenced a lot of promise. The Todayam in Hamsadhwani was followed by a Ganesha stuti in Nata raga. The sketching of the traits of Lord Ganesha was apt and artistic. The Sisters were in their elements in dealing with the nritta, jati passages studded on to the Swati Tirunal-krithr in Hamsanandi raga "Shankara Shri 1 . This krithi addresedto Lord Nataraja was explored to the full- est extent in giving vent to the dancing skills of Sajina and Mridula. The dancers were fully benefited by the orchestral sup- port comprising their Guru Chitra Natarajanfnattuvanga), D.S.Srivatsa(vocal), Madhusudan (violin) and Jayaram (flute). N.Narayanaswamy's mridanga support deserves a special men- tion for his neat and tidy rhythmic guidance, Shobha scintillates Young, tall and lean dancer T.K.Shobha excelled in every as- pect of her dance recital held at Kannada Bhavana under the ae- gis of Paramesh Performing Centre In connection with its an- niversary celebrations. It is note- worthy that the founder of the Centre H.M.Paramesh, himself a merited Bharatanatya and Kuchipudi natya performer, has been doing good work by not only holding dance festival within and outside Bangalore but also dis- tributing clolthes and stationery to the needy students. This year also more than 20 students were given clothes and stationery. Shobha, a dedicated disciple of Guru Revathi Narasimhan of Natya Nlketan, showed clean lines and there was aesthetic fluidity in her limb movements. All the more impor- tant mukhijas were in their place. As far as the rhythm was concerned, Shobha displayed remarkable hold over it. At the outset, she seemed to be fa- tigued but soon she couid over- come it. She opened with a Shiva stuti, a traditional item paying obeisance to the Lord Shiva by eulogising His great deeds and traits. One was grati- fied to watch her select and ex- ecute a varna in Valachi raga by Subbudu. This varna 'Anname aruginava 1 addressed to Lord Muruga provides enormous scope for the delineation of nritta, nrithya and abhinaya. Shobha utilised it to the best ef- fect. Purandaradasa ‘s ‘Gummana kareyadtre' was de- lineated in an appealing way. It was a good idea that she pre- sented a dramatic episode of Seetha Kalyana on the basis of two verses drawn from Kamba Ramayana(Bhairavj) and Thyagaraja’s 'Pavanaja stuti paatra' (Kuranji) respectively. The dance reetial concluded with a Lalgudi Jayaraman's tillana in Mohana Kalyani raga. Guru Revathi Narasimhan in- spired the dancer with her re- fined nattuvanga. Jahnavi Jayaprakash intensified the pro- ceedings with her melodious singing. Gurumurthy (mridanga) and Narasimhamurthy(flute) were in their elements. 18 Ill r* j t ■■I GUNAGRAHI/ APRIL 2001 a i.... j,., , !,— , 1 .1 . 1 I 1 L HRK’s contribution Veteran Bbaratanatya-mae- stro Guru H.R.Keshavamurthy Aparna appeals Lean but agile, A.Aparna won the appreciation of the lovers of dance assembled at Ravindra Kalakshetra. A disciple of Guru Revathi Narasimhan, Aparna has gone through the rigors of Bharatanatya with dedication. One felt that she should get more of physical stamina to negotiate the demanding aspects of Bharatanatya. Though she seemed to be tired here and there, she displayed a good un- derstanding of the idiom. She had all the traditional items on her agenda. Opening with a Pushpanjali(Vaiachi, trishra triputatala) and Ganesha stufi (Hamsadhwani, a composition by Maharajapuram Santhanam "Sadashivan maindane 3 ), Aparna sketched the traits of Lord Ganesha in a meaningful ges- tural language. She could portray an innocent child Krishna on the basis of a Purandara dasa pada "Aada hodalle makkalul She did excellently well in doing full jus- tice to the nritta, nrithya and abhinaya white delineating a varna "Nlnne nera namminaaunura Krishna 1 In •r Athana raga by Tiruvayur Rajagopala Sharma. Appropri- ately accompanied by her Guru Revathi Narasimhan (nattvuanga), Jahnavi Jayaprakash (vocal), G.Gurumurthy(mridanga), J.K. Sndharfviolin), Narasimha Murthy(flute) and Prasanna Kumar(morsing) f Aparana gave a commendable account of her- self in the exposition of a Swati Tirunal-krithi "Shankara Giri'fHamsanandi) followed by 'Aduvum sol!uvaf(Subbu Rama Iyer, Sowrashtra raga) and a tillana in Kuntafavarali by Dr.M.Balamuralikrishna has been doing some wonderful work in bridging the literature and dance by choreographing the an- cient Kannada epics under the banner of ‘Kannada Kavya Paramparel. The eighth In the series was premiered at Ravindra Kalakshetra on the oc- casion of the 52^ anniversary and convocation ceremony of Keshava Nrithya Shala founded by Guru H.R.Keshavamurthy, The famous poet Harihara's one of the superb creations ’Girija Kaiyana 1 in champu (mixture of prose and poetry) style was un- folded in a dance-drama based on Bharatanatya vocabulary. The theme of the work was the marriage of Lord Shiva with Girija. Birth of Girija, demon Taarakaasura's menacing acts, the burning of the Cupid and the ultimate Girija Kaiyana et al were portrayed in eight scenes. Keshavamurthy's alround exper- tise got itself exposed in his di- rection and nattuvanga. Vasanthalakshmi and Shyamprakash's dance- direct ion (well assisted by Malathi and Mallni) was admirable. Jahnavi Jayaprakash’s music di- rection and singing was rrfillifiu- ous, For the first time after sev- eral years that the pit of the Ravindra Kalakshetra was used in which the members of the or- chestra were seated and gave a lively music support. "Girija Kaiyana' was a fine collage of song, .dance and drama that are a veritable feast for the eyes. Elaborate stage designs and propsfon a couple of occasions they were not handled properly) anc traditional costumes were rewarding. Dr.Sridhar as Shiva could have been more expressive, Pulikeshi(as Giriraja and Vishnu), Nagesh(Narada and Indra), Sudhirkumar (Manmatha), Shubha(Jaya), Raghunandan (Taarakasura), Malathi(Girija) I Namrata(Mene) T Anil(Brahma), Mallni (Rati), Tejaswini(Vijaye), Kapati(Nagaraja) T Suresh(Sura) and others carried the produc- tion with their endearing dance styles, Sukanya delights Sukanya Prabhakar’s vocal recital at Sri Devagiri Sangeetha Sabha, was delightful Her main asset is rich, resonant and me- lodious voice which can be har- nessed to produce great music. The exposition of ragas was profound in manodharma exer- cises which had a large variety of sangathees covering the three octaves. The kalpanaswaras were full of charming rhythmic patterns. The krithis f Nee bhakti bhagya sudha^Jayamanoharl), ’Meenalochan’, "Purahara nandana f (Hameer Kalyant), ‘Maatanaaadai mannaru Krishna’(Behag) among others were correctly developed and had all the characteristics of tra- ditional music. Raga, tana and pallavi 'Radha Krishnam bhaja raga dwesham thyaja' in Hindola raga and trishra tnpude was pleasing. Nallna Mohan (violin), Anur Ananthakrishna Sharma (mridanga) and Amrit (khanjira) revealed huge poten- tial and were aptly subdued and competent Commendable Rashmi Rashmi Nagaraj, disciple of Sudha Nagaraj of Aradhana School of Bharatanatya gave a 15 tion Committee, of the activities of the M.A.Jayaramarao wel- School. B.K.Chandramowli corned the gathering, read the citation. Krishnagiri Sathyanarayanarao Katte Muralidhar proposed a vote presented a brief account of thanks. -KATTE. 31 st Music Conference of KGKP The 31 st music conference under the aegis of the Karnataka Gana Kala Parishath was successfully held at Rajaanagana auditorium, Udupi Sri Krishna Temple from 14 th to 18 th March 2001. Noted saxophone maestro Kadri Gopalanath was presented with the title of 'Gana Kala Bhushana 1 by Sri Sri Vishwesha Teertha Swamiji of Sri Pejawar Mutt. During the five-day conference 11 concerts featuring aboutlOO artistes were held. Dr.A.H.Rama Rao who sponsored three major programmes also donated Rs.one lakh to Sri Pejawar Mutt. Prize Winners The following were the prize winners at the Music Conference 2001 : Gana Kala Award (R.15,000 for the best performance donated by r.S.C.Sharma):R.K.Padmanabha. JUNIOR CONCERTS: Best main artiste:Manasi Prasad and Pratima Bellave (Jugalbandhi). Best violinist: R.Dayakara. Best mridangist: M.S.Jayaram. Best Upa Pakkavadya: Ullur Giridhara Udupa. Best Programmes of the Academic Session: H.S.Anasurya Kulakarni • and Dr.R.N.Srilatha. M.R.Sathyanarayana ren- dered the felicitation speech. The programme started with an invocation by K.R.Chaitra. The Chairman of the Recep- Workshop on Annamacharya compositions: Sangeetha Kalanidhi Nedanuri Krishnamurthy will conduct a music workshop on Sri Annamacharya and Bhadrachala Ramadasa krithis from April 23 to 27 between 4 and 6 P.M. at Ananya Cultural Academy. The programme is arranged by Nadopasana Sankeerthana Sangha and Ananya GML Cultural Academy. Details can be had from: Ph.3341594, 3320389 and 6630206. Seasoned dancer-couple honoured Seasoned dancer-couple Sridhar and Anuradha Sridhar were honoured with this year’s ‘Bharath Kalachar’ award. The Sridhars have been prolific performers performing within and outside the country. A committee comprising Dr.Padma Subramanyam, Dhananjayans, Chitra Vishweshwaran, Sudharani Raghupati and T.N.Seshagopalan decided the award. It was presented by Alarmel Valli in the presence of Dr.Semmangudi Srinivasa Iyer and K.J.Yesudas. Ananya Awards The following artistes have been selected for this year's Ananya Awards given by the Ananya GML Cultural Academy led by Dr.R.V.Raghavendra: Ananya Award: S.Seshagiri Rao(violin). Ananya Yuva Puraskara: A.P. Sarvotham (flute), B.R.Raghuram(vioIin), Renukaprasad(mridanga) and ASN Swamy(upa-pakkavadya). These awards will be presented at a function to be held on- May 12 and 13 at Anaya Varshikotsava. 14 songs she sang. What held the end, Nagavalli main- shruti-bedha a techni- the audience spell-bound tained a uniform standarad of cal beauty — tonic shift of was the fact that the tunes liveliness and neat presenta- note, wherein the illusion of were reminiscent of familiar tion. Her ‘Samanamevaru’ Mohana and songs by famous composers (Kharaharapriya), with Shankarabharana was cre- they have heard and en- neraval and swaras had ev- ated with a moorchana dur- joyed. To give just. two in- erybody nodding in sheer ing alapana. She sang a stances, the song ‘Rama enjoyment. ‘Kriupaya palaya’ composition of her father’s Enabarade’ [Bahudari] (Charukeshi) appealed with ‘Yogarajaneyam brought to mind Tyagaraja's its plaintive pleading and me- upasmahe', ‘Kanngalid celebrated kriti ‘ Brova thodical neraval. The yaatyako’ and ‘Emani bharama’.The song, devaranamas ‘Enu madalo mataladitivo’, She also sang ‘Karedalu tanna magana Ranga’(Mohana) and raga, tana and pailavi Ka- Yashode’ reminded one of ‘Kashta pattaru mala vadane Kamaladala the immortal devaranama of ina’(Dwijavanti) went straight nayane’ set to mishra triputa Purandara Dasa into the hearts of the listen- tala. ‘Adisidaieshode, ers. -kusuma rao Jagadoddharana’.The other Lec-dem on Todi by Vidya ‘Laya Bhushana’ Awarded songs were the opening Talented singer M.S.Vidya ‘Karimukhada Ganapathiya’ gave a lecture-demonstra- [Nata], ‘Sari Yaro.Ninage tion on Raga Todi in the ‘Eka Sama Yaro’ [Reetigowla], Raga Sabha’ series for Sri and ‘Narayana Enniro’ Thyagaraja Gana Sabha at [Hamsanandi]. Vani Vidya Kendra. She was With the whole-hearted co- ably assisted by Veena operation of the accompa- Suresha{violin), K.K.Hari nists, R. Rajaiakshmi [violin], narayan(mridanga) and C. Cheiuvaraj [Mrudanga] T.N.Ramesh(ghata). She Sri K.N.Krishnamurthy and M. A. Krishnamurthy succeeded in holding the Uchitha Talavadya [Ghata], Sukanya pleased audience interest for nearly Kalashaale celebrated its her listeners with her three hours, with her words 12 th anniversary along with bhavapoorna sangitha. as well as tunes. Citing Todi the Aradhana mahotsava in Nagavalli’ brilliant singing as one of the oldest known the premises of Sri Nagavalli Nagaraj gave an ragas and pointing out its Anjaneyaswamy Temple, emotionally satisfying vocal universal appeal, Vidya ilius- Mahalakshmipura. Veteran recital in the peaceful envi- trated her talk with bits and mridangist K.Natesh was rons of MES Kalavedi. Her snatches of songs from well felicitated by noted percus- daughter Nagaranjini also known composers. The na- sionistH.P.Ramacharwitha sang with her. Accompanists ture of the swaras occurring title of ‘Laya Bhushana', a were J.K.Sridhar (violin) and in Todi implies a questioning memento, citation and a K.K.Harinarayan(mridanga). tone or mood, said Vidya. purse of Rs. 1001/-. The Right from the opening She demonstrated this by programme was presided Abhogi varna, the inocation singing the relevant portion overby L.S.Shyamasundar to Gajavadana of Thyagaraja’s ‘Dasharathe’ Sharma, Principal of Sri (Hamsadhwani), upto the and ‘Ninnuvina”. Vidya did a Vani Vidya Kendra. Famous devaranamas and tillana in commendable job of doing Gamaka vidwan 13 ■ GUNAGRAH! /APRIL 2001 !■ Praveenkymar and part/ Praveenkumar, Shama Sanjay and Victor George led to a successful outcome of the art proportionately blend- ing the main ingredients and imparting their artistry. Ex- cepting for occasional creep- ing in of unsymmetricai for- mations and placements of the artistes, their movements conformed to rhythm and the expressions were lucid. Vi- sual representation of the composition ‘Ranajani mridu pankaja’ in ragamalika por- trayed the Goddess in Divine forms and the inclusion of tastefully framed nritta sec- tions for the chittaiswaras en- hanced the experience. Demonstration of navarasas in ‘Shiva Navarasa padam’ fortified by their sense of rhythm and synchronisation — both when they were in relays or per- forming in unison, resulted in an incessant inflow of the conceived mood. Indira Shakar(vocal), Sanjay Shantharam(nattuvanga), N.Murthy(flute) and Chandrasekhar(mridanga) were the accompanists. Sandeep Mallik(Kathak) Sandeep Maliik's kathak recital comprised short lec- tures followed by demonstra- tions of the technical opu- lence, as is wont with most of the Kathak performances wherein an average audi- ence is made to assume that kathak in chakradhars and tihais. Whereas he was su- perb and sprightly in all as- pects of footwork set to pre- cise rhythm and chakkars ei- ther in ascending or de- scending rhythm cycles, the deficiency in the abhinaya became apparent when he performed for a bhajan. He was accompanied by Subhasis Bhattacharya (vocal and harmonium), R.Ramadas (sitar) and Bipin Bhattacharya (tabia). — DR.V.NAGARA.J BANGALORE Haridasa Namana At the valedictory evening of ‘Haridasa Namana’ by Hamsadhwani Creations, the packed hall at Bharatiya Vidya Bhavan was treated to a judicious mixture of music and speech. The speeches fitted in between two good music concerts and made a better impact. The first singer of the evening was Vidushi Dr. Sukanya Prabhakar, who sang some devaranamas, tuned by herself and com- posed by Helavanakatte Giriyamma and Harapanahalii Bheemakkaof yore, who are yet to become 12 known widely. After Vidushi M.S. Sheela’s brief resume of the activities of her young organisation in the past year and a half and her plans for the future, the Chief Guest of the evening, K.C. Rama Murthy, of the Govt, of Karnataka spoke a few words of praise and encouragement about Sheela’s enterprise. Next, Aralumailige Parthasarathy took the floor. He swept the audience off their feet, his words pouring out rhythmi- cally and spontaneously. It was an experience like standing under the Parijatha tree in full bloom, after giving it a good shake. This silver-tongued orator, extemporised effortlessly, quoting authoritative sources to prove that Purandara Dasa is indeed the Sangeetha Pithamaha of Karnatic music as much as the Dasa Shrestha of the Haridasa Pantha.The con- cluding concert was pre- sented by veteran Vidwan R.K. Srikantan and party. The whole programme was ably compered by Bharathi Sukanya’s concert Sukanya sang 5 or 6 songs in choice ragas - Nata, Bahudari, Reetigowla, Hamsanandi and Kapi. These rakti- ragas, ably conduced to ex- pressing the bhava of the a Karnataka's only English International Journal on music and dance Associate Editors Printer : Chief Patrons Principal Advisers: Editor General Karnataka Kala Shri Dr. M. Surya Prasad Phone : 2253975 Usha Kamath Ph. 559S8S6 . K, Ramamurthy Rao. Mysore, Ph, 0621-481899 B. L. Manjula, Ph . 5519227, BaJakrishna, Ph : 6679333, S, K. Lakshmmarayana (Babu) Mysore. Ph: 082 I -513414, V. Krishnan, Ph : 3345665 Dr. A H, Ramarao, Ph : 6691175, M, Bharadwaj, Ph; 08182-22051. H,K Ganesh, Ph: 645349. H, Kamalanath, Ph: 6612244, M.V. Rainaohandrasa t Ph: 2876131 B V, K. S as try, Ph: 33426S2 E. R. Sethuram. Ph : 6783116 I p ; a Dr. R. Sathyanarayana, Mysore 0821-529599. T. S. Parthasarathy Chennai, 044-459005 Pandit Seshadri Gavayi Ph: 626371. Guru Maya Rao, Ph: 2283486 Matlur Krishnamurthy, Ph: 3348275 Prof, M, S. Nanjunda Rao Ph; 2261816 Shyamala Bhave, Ph: 3443900 Dr. H.N. 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The o pi non s/views expressed by individual authors in articles published are not necessary those of Gunagrahi. EDITORIAL OFFICE : . "MUNIKOTI" NO, 8, SECOND CROSS, 0PP. SRINIVASA MANDIRAM, BALEPET, BANGALORE - 560 053. Phone : 2253975 e-maiJ:gunagrahi@yahoo»com, drsuryaprasad@joymaiLcom 3 Articles f Photos, Write-ups, reports may also be sent to the following address ; Editor General 446, Jaraganahalli PO. J,P. Nagar, Kanakapura Main Road r Bangalore -560 078. GUNAGRAH3 / ~T"'T 1 I l p ■ i L r la 3 V. Krishnan Page GUNAGRAH1 INDIA The Cultural People A look at the cultural scene in India, An Ustad or Pandit gives a concert and the hall is half empty. A large number goes to a well advertised show and the programme is a wash out! Talented artistes find no avenue to the top. Favouritism, mismanagement and red tape often stifle or shroud brilliance. Artistes piled with paper work, cultural shows cam a din reputation. There is talk of difficulties in getting grants, an insecure feeling amongst artistes, vexing paper work even to get meagre pensions, for, artistes' ignorance and bad public relations are evident, talented artistes are not promoted at the right place at the right time. The solution: evolution of an impresario system, GUNAGRAHI INDIA is a vital link between the artistes and the programme sponsors, government agencies, private companies and sabhas, taking on the bullwork that goes into condi tcTi tag a cultural programme — fixing the venue, gettng the right audience, looking after the artistes, taking care of the minor but vital details like aesthetic stage decor, pleasing background music, good compering, lights, living quarters, costumes and seeing to a million organisational details that neither the artiste nor the agency would be competent to handle. To effectively interact with the artistes and sponsors for the success of every cultural programme, GUNAGRAHI INDIA offers its services whenever called for. GLWAGRAHJ INDIA is a pioneering project hoping to tremendously improve the quality of the cultural programmes and acceptance of impressario by everybody in the cultural field. It will signify the development of maturity and professionalism that the cultural scence lacks at the moment. GUNAG/iAH/ JiVDfA is a professionally managed impressario company with Dr.M.Surya ^rasad, S.K.LakshmincirayanafBabu), K.Ramamurthy Rao, Usha Hamath, Dr.H.N.Shivaprakash ind others as Directors, who have considerable and long standing links with variious catagories of arti^s in India. CONTACT: GUNAGRAHI INDIA “Munikoti”, No.8, Second Cross, Opp,Srinivasa Mandira. Balepet, BANGALORE-560053, Ph; 91 .com 080- and .com With Rest complements from: SM ARTS INTERNATIONAL (Contact for Cultural Cvcnts) Sai Venkatesh (Impressario) and Suparna Venkatesh (Dancer-Guru) “Nrithya Dhama:, No. 480, 3rd “C" Main, 2nd Phase, Manjunathanagar, Bangalore-560 010. Mobile: 98440 89035 Phone: 080-3387978/3409755 Fax: 3327555 E-maii: sai venkatesh@hotmail.com , * I •v- - L - WL. 1 mm i : #■ 1 4 : : ';iv .•> . vs •/ . ; •;/’>' 3feJ| > fiji ? fj , fi? - ? ,-a >« fj fli JJ 3 f)A? i u AH _ — Iry^iTilM Kadri Sopolnath becomes G4M* BHUSHANA f; Mu I Academy Award to Umm 6M XM WSkW r ; I * .,3 1 JHf? '■ '1 c ’^2 I * - i -■ . T , 1 fr Gunagrahi Monthly Journal RNI Regn. No. 69149/98 Rcgn. 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S40 S.S, S^sj B ra^Frtdsl Cm. 9 . 2 s vs sa^atss, 52 ntMbXc Jd^7a. BJ5. ] ,556.42 WlftPlJaBS 12,047 a«3SS53£jId« SBSrtig («2 &» «rl «-w - r,^.« - :wi, d ts 1 J m A'; ssrta ^=d: djU s* 1 So^dd dw^4u diii,.? 1 - ^jsdr ScSfla '.07 an^ijj r ^d?| T s,29fi ddiSodQrt^s^riss ^STAjiCwj S4d330nv 3Jt. .C^d- BobQJT2-7i dcr^ai:, s3ja-acb t d u* rw?ns f i ^dio ess ob sJcTO^d drfrn^/i tj y ^s?dQri ^ atecn yd^di The following artistes have been selected to be honoured on the valedictory day of the 31 st music conference to be held at Udupi’s Rajangana on Marh.18:. VidyabhushanA(vocal): A popular 85, he is training students in Hindusthani performer Vidyabhlishana learnt music music at his Madhava Sangeetha from his father BXNarayana Aithala, Vidyalaya. He has won many awards R.K.Srikanthan and T.V.Gopalakrishnan. and titles. It was TVG who brought him on to the Shimoga Subbanna(Sugama Carnatic stage. Blessed with a melodi- Sangeetha): One of the leading and ous voice, he has been a prolific per- award winning sugama sangeetha former giving concsrts within and out- singer Shimoga Subbanna is a lawyer side the country an d bringing out audio by profession. He has toured extensively cassettes. He has been a magnificent in India and abroad, popularising patron of music. Wf en he was the Head Sugama Sangeetha. A large number of of the Sri Kukke Sibramanya Math, he audio cassettes and varieties of elec- provided a platform for the musicians of tronic media concerts have endeared South India under tie banner of his Sri him to the audience. He has been the Govinda Gana Sabpa. After relinquish- first Kannadiga to win the Golden Lotus ing the Math, he foujided Bhakti Bharathi national award for his playback singing Pratishthana and cc ntinues to patronise in 1 979. He has won many awards and Carnatic music unc er that banner. Be- titles including Rajyotsava and sides countless pe -formances, he has Karnataka Sangeetha Nrithya Academy more than 150 cassettes to his credit. Awards. Prof.G.Madhava Bhat A.Eshwaraiah(art critic): A senior (Hindusthani): Bom into a traditional journalist who is dedicated to one of the family of Gurupura h Mangaiore district, leading Kannada dailies of Karnataka Bhat obtained the ‘Sangeetha ‘Udayavani’, Eshwaraiah is a muiti-fac- Visharada’ degree rom Akhila Bharata eted personality. His contribution to the Gandharva Mahavidyalaya Mandala Kannada literature in the form of short and started propa gating Hindusthani stories, essays etc, has been immense, music by establishing Saraswathi Born at Ananthpura in Kasaragod he Sangeetha Shaale in Bantwala. He has has mastered English literature along been instrumental in propagating with Carnatic music, violin, flute, clarionet Hindusthani music in Udupi and sur- and keyboard. He is also an expert in rounding places. I- is five decades’ of Bharatanatya, Yakshagana, films and service as a vocaiis violinist and tabiaji photography. He has been serving on and as an able teacher has been fruit- various committees of different art and ful. He also servec as the Principal of cultural organisations. A winner of the Manipal Academy of General Edu- Karnataka Press Academy Award, he cation for 25 years. Even at his age of presided over the Yakshagana confer- 15 ence held at Kasargod. L.Sheemachar(morsing): Trained under the reputed mridangist H.Puttacher, Bheemachar took to morsing instrument as per the instructions of his Guru. Making his debut in the year 1952. he has never looked back. He has accompanied almost all the past and present leading musicians. Perhaps for the first time he has designed, played and directed a unique ‘Morsing Tarang’ group performance comprising his son B.Rajasekhar and daughter B.Lakshmi. He has been winner of several honours Udupi Lakshmii Encouraged by his Vishweshateertha £ a 4 math and Krishnara Chennai, Lakshmi mastery over Bl nattuvanga under Mudaliar. He has be graphing dance-drainas and films since 1962. Many talented disciples have perfomed Rangapiavesha under his guidance. His awards and titles include ‘Natya Kalai Maamsni', ‘Nrithya Mayur' and others Statement of Ownership and other particulars about Newspap* 1. Place of Publication: FORM IV {See Rule 8) ■ Balepet, Bangaii 2. Periodicity of its publication: Monthly 3. Printer's Name: Dr.M.Surya Prasa Whether Citizen of India: Yes Address: "Munikoti'’, No. 8, 4. Publisher’s Name: Opp.Srinivasa Me B alepet , Bangalc Dr.M.Surya Prasa Whether Citizen of India: Yes Address: “Munikoti”, No. 8, 5. Editor’s Name: Opp.Srinivasa Ma Balepet , Bangalo Dr.M.Surya Prasa! Whether Citizen of India: Yes Address: : “Munikoti”, No. 8,i Opp. Srinivasa Ma Balepet , Bangafo 6. Name and address of individuals who own the newspaper: Dr.M.Surya Prasa “Munikoti", No. 8, Opp.Srinivasa Ma Balepet , Bangalo 1, Dr.M.Surya Prasad, hereby declare that the particulars given abc best of my knowledge and belief. Bangalore-560 053, (Sd) DR.M.SUR I s ' March 2001 Signature of IN i ; ' i" 1 T 1 T t r ■■■■I GUNAGRAHI I MARCH -2001 ■■■■ 1 i I L [_ — 1 — — i ■ p n s— H about the art. The Ashwathanarayana(flute). Artistes felicitated ragamalika marked by and admi- rable grace. A varna in Kannada ‘Madhavana kare taare’ set to Saveri raga and adi tala, was delineated with aplomb. The nayika who yearns for Madhava was sketched artistically by the dancer. A virahotkhantita nayika came alive in her en- grossed abhinaya in the exposition of a Kanakadasa pada ‘Indu nee kare taare’(Kapi .In the Sri Guru Raghavendra swamy Trust remem- bered its founder K.R.Ashwathanarayana on his death anniversary day at Prasanna in a unique way. Sri Ompuri Swamiji felicitated soned percussionist and a raga, light of this rendition, there was nothing spe- cial to write home about in the presentation of a Javali ‘Swami ninne organiser B.K.Chandramowli and a reputed exponent of H a r i k a t h a N.R.Gnanamurthy. Both of them were presented with a shawl, citation and other paraphernalia. was con- ferred the title of 'Laya Bhushana’ Veena duet A veena duet was presented by Sri * Thyagaraja Sabha and Sri Mookambika Prakash and sup- by H.S.Krishna murthy (mridanga) and of krhtis, style method of their presentation was good. varna, M aha Ganaptim’(Athana), ‘Shobilli Saptaswara’ were decorated with swaras. i ■ (Dinamani) was re- with a Gnanamurthy was pre- sented with the title of ‘Keerthana Bhushana’. Hindola(Manasuloni) well to elaborate it wit and swaras. compere programme and also cital brisk Kadanakutoohala The Trust secretary and tillana.Nivedita received M.V.Ramachandrasa commendable support from her Guru Lalithia Srinivasan (nattuvanga), H.K.Narayana (vocal), S.Chandrasekhar(violin), V. R. Chandrasekhar Chittaranjani was followed by a raga, tana and paliavi in am a Joint Secretary veteran a ragamalika proposed a vote of (mridanga) and thanks veenas did not merge as one with shruti and this was a deterrant to / 12 dancers covered the Sridevi was almost sue- tively was commend- entire stage and had in cessful in the concert able. The big stage of their composition of under review. Though Ravindra Kalakshetra dance some congruent the jatis suffered a bit in was artistically used, movements but peculiar a group rendition the to their respective dance characteristic features of Nivedita's neat forms. this lasya-oriented recital Artistic chalis and dance form were in tact, angikas marked Uday’s Sridevi excelled in the Nupura, a renowned exposition of a Saveri portrayal of ‘Taruni nee school of dance led by pallavi. But one felt that enda’(Shahana) which Guru Lalitha Srinivasan more lively facials could was marked by a refined presented young have made the number gestural language. K.A.Nivedita Devi in a an unforgettable expert- Attractive props compact Bharatanatya ence. Veena was at her and stage decor, mean- recital at Ravindra best in her favourite ingful and well handled Kalakshetra. The stu- Simhanandana nrithya. recorded music, lyrics in dents of Guru Lalitha Dancing to different languages are known for their ar- Simhanandanatala(128 drawn from various duous training and aksharas), she drew the sources like Krishna commitment to their picture of a lion on a Yajurveda, Krishna work Nivedita was no white cloth to be ad- Kamamritha, MeeraBai, exception to this. Anga mired by the packed au- Haridasas, Surdas etc, shuddhi and laya dience. The Kannada to mention a few points, shuddhi was conspicu- version of made the dance feature ous by its presence Bhamakalapamu entitled ‘Kanmani throughout the recital, evoked mixed reactions. Krishna’ a delightful pre- Whether it was mukhija Sridevi’s Mohini sentation. The students or hasta and paada Attam of ‘Natyaantaranga’ led vinyasa, Nivedita’s re- Sridevi Unni and and directed by their fined touch was there in her group of students Guru Shubha them. The opening gave a good account of Dhananjaya moved Shiva stuti, Pushpanjali themselves in the rendi- briskly on the stage and and Ganesha stuti tion of Chollakattu in depicted the story of (Nata) followed by a their Mohini Attam re- Krishna. The music and ragamalika jatiswara cital. Mohini Attam is es- dance direction by (mishra chapu) spoke sentially a solo dance Jahnavi Jayaprakash of the dancer’s confi- performance. But and Shubha respec- dence and conviction 11 just superb and left an indelible mark. She ex- celled in portraying khandita nayika on the basis of ‘Madittavar’ (Saveri). Nrithyollasa 2001 A two day ‘Nrithyollasa 2001’ was held at Ravindra Kalakshetra under the banner of Natyantaranga, a school of dance led by dancer- choreographer Shubha Dhananjaya. On the evening of the first day, Shruti N.Murthy gave short Bharatanatya re- cital. Shruti, trained by Guru Revathi Narasimhan of Natya Niketan. The young dancer displayed her la- tent talent in the por- trayal of Ananda Tandava. Shubha Dhananjaya kept up a neat profile of her dance and impressed the lov- ers of dance with her seasoned artistry. Ably accompanied by Poorna Suresh{nattuvanga), Jahnavi Jayaprakash (vocal), Nagaraj(violin), Srihari(mridanga) , and Pratap(ghata), Shubha began with a Pushpanjali in Nata raga followed by a Ganesha stuti(Vakratunda). The dancer beautifully sketched the attributes of Lord of Obstacles. Shubha had a Navaragamalika varna by K.Dandayudhapani Pillai as the major item of her recital. The varna ‘Swamiye azai todi’ ad- dressed to the Lord Nataraja brought to the fore the dancer’s hold over the tri-aspects of Bharatanatya, nritta, nrithya and abhinaya. Shubha has mastered the Perini nrithya under the expert tutelage of her Guru S.V. Srinivas. The legendary E.Krishnaiyer rejuve- nated this significant form of dance. Madurai Srinivasan, Muttu kumaraswamy Pillai and others have contributed much in popularising it. Like dancing on a brass plate in Kuchipudi natya, in Bharatanatya dance is performed on an earthen pot. Shubha executed challenging jatis dur- ing her Perini nrithya. The laya patterns marked by nadai bedhas and varia- enthralled the audi- ence. Before conclud- ing her solo Bharatanatya recital with a tillana in Amritavarshini raga, she enacted a pining nayika on the basis of nayika got neatly sketched by her. Well rehearsed jugalbandhi Veena Vijay an d Udaykumar Shetty were locked in a jugalbandhi in the opening of their re- cital. A mangalacharan was presented in their re- spective Kuchipudi natya and Odissi dance vocabularies. Both of them pre- sented a well-re- hearsed item with some interesting movements. The 10 \m i i ■i ■ ■ ■ ■ ■ 1 Hff ■ ■ 1 GUNAGRAH1 I MARCH -2001 i ■ m m tm H K H ■E e 1 m m m ■ HH HmfeH! HI H*i H tmm dexterity. He rendered a good number of madhyama kala krithis and settled down for ‘Kanjadalayataakshi’. The chittaiswaras and the following kalpana swaras contributed to the liveliness of the con- cert. - Kattee Shridhars shine The award winning cine-actor Sridhar and his wife Anuradha Sridhar have, without doubt, can/ed a niche for themselves in the field of classical dance. Their performance on the con- cluding day of the Kinkini dance festival at Dr.H.N.Kalakshetra brought to the fore their involvement with the dance form. A dance- drama ‘Mahabraratham’ conceived and choreo- graphed by Sridhar drew a packed house. Though this dance- drama has been pre- sented earlier on some other occasion and stage a few months ago, it was refreshing and the dancers made it a lively affair by their artistic per- formance. The theme of Mahabharatha, one of the eternal epics of the Indian culture, was un- folded in different scenes on the basis of the lyrics provided by a noted scholar Shatavadhani Dr.R.Ganesh. The mu- sic composed by splen- did singer Nagavalli Nagaraj had rich Karnatak values, beauty and effect. The ekaaharya was impres- sive. Usefully and captivatingly accompa- nied by K.R.V.Pulikeshi (nattuvanga), D.S. Srivatsa (vocal), V.R. Chandrasekhar (mridanga), Mahesh (flute) and Prasanna Kumar (morsing), Sridhar and Anuradha began with salutations. The coordination be- tween the dancers and the musical ensemble was total and perfect. The different episodes of Mahabharata demand a sensible saatwikaa bhinaya. Sridhar and Anuradha rose to the occasion in fulfilling this 9 demand. The Navarasas were excel- lently evoked at differ- ent levels and stages. The scenes of Draupadi swayamvara, Arjuna getting the pash upataastra, Geetopadesha et al, came alive in the danc- ers’ neat abhinaya. Impressive Poornima Seasoned danseuse Poornima Ashok, a disciple of Guru Radha Sridhar captivated the audi- ence with her clean lines and hand move- ments. Her dedicated work got reflected in the items rendered. Main- taining the lively tempo of the dance, she sketched vipralabdha, virahotkhantita and khandita nayikas with ease and professional elan. The string of adavus which made up the nritta in the varna ‘Nee inda maya’ (Dhanyasi) were not only attractive but brought out the best of talent of Poornima. Some of the jatis were REVIEWS BANGALORE Sastry’s ‘Birana tributed to Anupama and Purandara held for one I ual mu- and urthies was at Sri varalichchi’. The alapana was studded with simple yet artistic phrases. There was an easy flow of music in tristhayi. The kalpanaswaras spoke Srimali (vocal), R. Karthik(violin), S. Ashok{mridanga), M.L.Rajiv(khanjira) and A.V.Sathya narayana (violin) who had successfully par- Kannyakaparameshwari of Jayalakshmi’s laya ticipated in the 'con Temple premises, Malleswara under the auspices of Nadajyothi Sri Thyagaraja Swamy Bhajana Sabha. Veteran k/ocalist Jayalakshmi Stinivasan acumen. . Raghuram’s harmonium The music festival concluded with the valedictory function presided overby noted cert-type competi- tions’. After the formal function, B.Raghuram established an inti- mate rapport with the audience with his de- supported by parliamentarian lightful harmonium R.Raghuram, S.Sridhar and N.S.Krishraprasad on violin, mridanga and ghata respectively dis- played her unfa ling alle- giance to Karnatak clas- sicism and tradition. She never tried a nything, which was impossible and artificial. And hence, the delineations en- deared themselves to the rasikas and left be- hind an enjoyable im- pression. The nighlight of her recital was the detailed treatment of Kalyani for Shyama H a r n a h a I I i Ramaswamy, He felici- tated veteran musi- cians R.Seetharam (vocal), Jayalakshmi Srinivasan(vocal) and A. V.Vekataramanaih (violin) with ‘Kalajyothi’ awards carrying a cita- tion, a memento, a shawl and fruits. Middle-aged, brilliant violinist and a harmonium player B. Raghuram was pre- sented with ‘Nadajyothi’ puraskar. Prizes were also dis- play. Rewardingly supported by R.Achyuta (violin), N.G.Ravi(mridanga) and M.V.Sampath kumar Sharma (morsing), Raghuram demonstrated his ar- tistic mastery over the instrument by render- ing Hamsadhwani (Vatapi). The nu- ances of the raga and the intricate gamakas found right expres- sion in his play. One could enjoy the sahitya bhaava too. That vouched for his I tarang is now a perform- ing art by itself with few practitioners in India, the biggest market for these being the movies in which a dancer is shown dancing down an entire flight of drums to the notes of the tabla- tarang. In south India we have a mind-boggling array of drums the most prominent being the mridangam used in ev- ery South Indian state and associated with the dance styles of Bharatanatya, Kuchipudi natya and Mohini Attam. While the north Indian dancer in Kathak is apparently satisfied with one per- cussion instrument as accompanist, the sough Indian dancer depends on not only the mridangam but also the ehenda, the maddalam, the edakya, the morsing {or mukhaveena) with more than of these present during a perfor- mance of Mohini Attam, Kathakali, Kuchipudi natya while the Bharatanatya dancer is content with just the mridanga. The relationship be- tween the dancer and the drum is intimate be- yond belief; it is as if an umbilical cord binds the two, one anticipating the other and being there at exactly the same mo- ment in time when the other wants it. A mind- numbling series of point (when two sections of the orchestra play the same note at the same time they are said to be at point) are created when the dancer and the drum interact in dynamic styles like Bharata Natyam or Kathak. While daughters of rich fathers have more than one drum in the orches- tra-the mridanga, the morsing, the ghata-the most interesting aspect that is sometimes lost on the audience is that there is a percussion in- strument that is dancing too. That drum is to be found attached to the feet of the dancer who slaps the earth with her feet in much the same manner as the drummer ... 7 slaps th either makes i ference then. The bal- lerina does not use her feet like the drummer uses his hands.) With the dive 'sity in drums it follows naturally that their playing techniques differ top. Most drums like mridan dholak, the khol, the kanjira ire played with the bar = hands while the ghalam-a pot made of clay mixed with metal - is played with brass rings art iund the fingers which are used to bring out the most amazing sounds i rom the belly of the eartiern pot. (To be contd.) * THE WORLD OF PERCUSSION One of the dif- There is the tabia which drums of India. Its ferences between Indian the Kathak dancer progeny the tabia can Classical Music and its dances to; legend has it be played with greater western counterpart is that the table is actually speed. The technique the importance given to the pakhawaj cut into of the pakhawaj al- percussion in the former two. Used by the lows for the performer style. Percussion is the dhrupad singer and the to keep the drum with backbone of Indian clas- Odissi dancer, the the playing surfaces steal music. 11s impor- pakhawaj has mytho- parallel to the ground tance is best expressed logical roots and is the while the tabia is more in the saying Shruti Mata percussion instrument like drumming on your Laya Pita {the rnicrotone you see on the temple table. This simple dif- is the mother white frescoes and stone carv- ference allows for tempo is the father). ings in caves. The greater speed in play- Prominent among all pakhawaj apparently ing with the result that forms of music and was created because an the tabalchi and the dance which depend on Instrument was needed Kathak dancer are percussion is Kathakali that could recreate the the fastest exponents where percussion is the sound of Indra (the of their respective only musical acsompani- Hindu counterpart of arts, menttothe verpessung Zeus king of Gods) as The tabia is also by the singer while the he moved through the used in an interesting actors go about repre- heavens on his elephant incarnation. The senting the lyrical con- Airavata. baaya (the right tent of the songs. Listen to the handed one) which The first thing a lover pakhawaj by itself or as handles the treble of Indian dance notices it accompanies the notes, is used to cre- when he sees a perfor- singer or dancer and you ate melody by arrang- mance of balbt is that will get the distinct im- ing eight or ten of the ballerina is moving pression of distant thun- these pitched differ* her body to th e melody der or of the majestic ently in a semi-circle while the Indian dancer gait of the elephant as it around the tabalchi moves her Dody to moves in a royal proces- who then uses these thebeaf. The beat which sion. While the to recreate the notes is provided by he drum, pakhawaj produces the that the singer or in- And what a veriety of most satisfying bass strumentalist has drum there is in India! sounds amongs the used. The tabla- 6 DR. A, H, RAMA RAO HEADS PARISHATH A Very well known philanthropist, staunch patron of mu Dr. A. H. Rama Rao has been unanimously elected as President of the prestigious music organisation Karnataka Gana Kala Parishath, an institution in which he has evinced a lot of interest and zeal to work. He has always supported the cause of classi- cal music and dance in his own way. Dr. Rama Rao and his wife Sudha Rao have been syn- onymous with the art and cultural activities. Besides sponsoring music and dance programmes and charities to reiigious and so- cial activities and providing financial help to music institutions, Dr.Rao himself has been organising monthly music concerts for the benefit of the blind inmates of Sri Ramana Maharishi school for blind, Jayanagar under the banner of his Sri Rama Sudha Charitable Trust. The Trust along with the Bangalore Lalithakala Parishath holds annual festivals of dance, drama and music at Dr. Rama Rao has been successfully implementing the literacy drive with his innovative methods. Children are educated and through them their entire family gets educated. This sort of networking in achieving the goal of literacy has been yielding rich dividends. Free clothing, food and shelter is provided to the needy and the campaign has reached even the weakest of the society. His services as the secretary of the pres tigious National Education Society have been remarkable. An ardent follower of Padma Bhushan Dr.H.Narasimhaiah, Dr. Rama Rao is very so- cial and easily accessible. Married to Sudha Rao, herself a good singer and lover of music, he is a happy family man with two Dr. Rama Rao’s services are recognised by one and all. He has been bestowed with the Kannada Rajyolsava award. He has also been a recepient of several awards and tides and honours presented to him by various Maths and organisations. With his visionary leadership the Karnataka Gana Kala Parishath is sure to make great strides in its pursuit of music. Atleast now onwards, under his leadership anp guidance the artistes of Karnataka would get their due at different levels. Congratulating Dr.Rama Rao wholeheartedly on this elevation, GUNAGRAHI gratefully acknowledges his contin- ued support in its sustained progress and development. May his tribe increase! - Karnataka Kala Sri Dr. M.iURYA PRASAD - 5 DnA.H.Rama Rati & Sudha Rao page N.Anatha Padmanabha Rao(Vocal) Ap.8, Nirmala Srinivasan Coimbatore(Vocal). Ap.9 Mambalam Sisters (Vocal). MES Kalavedi, MES college, Malleswara, Mar. 17, 6.30 P.M., Nagavalli Nagaraj(vocal). Sri Devagiri Sangeetha Sabha, Mar.31, Suguna Varadachari(vocal), Ap.1 C.S.Sanjeev(vocal), Ap.29 Fine Arts Trust, Sri Ramamandali, 9 th block, Jayanagar, Maruti Prasad(vocai). Raga Sudhalaya, Sri Ganesha Temple, BEL Colony, Jalahalli, Mar.31. 6.30 P.M., K.Nataraj(vocal). Nadajyothi Thyagarajaswamy Sabha, Sri Kannika Parameshwari Temple, (veena). MYSORE: Gana Bharathi, Kuvempu Nagara, Mar.17, 6 P.M., R.Chandrikaivocal). lore - 560 095: Ap.2, Nikhil Joshi(Guitar). Ap.3, R.Lalitha(Vocal). Ap. 4, K.L.Sheshidhar (flute). Ap.5, Ngarathna(Veiena). Bharathi 4 ana kul Karnataka s only English hit Editor General Karnataka Kala Shri Dr. M. i Surya Prasad Associate Editors Cops Editor : Printer : Chief Patrons : Principal Advisers: Ad mn. Executive : Advisory Council Phone : 2253975 Legal Adviser . Uska Kamath Ph, 5598886. K Ramamurthy Rao. Mysore. Ph. 0821 -481 899 B L. Manjula, Ph . 5519227. Vijaya Ramesh Ph: 6674964 Balakrishna, Ph : 6619m S. K. Lakshin maray ana (Babuj Mysore. Ph: 0821-513414. V. Krishnan. Ph : 3345665 L)s. A.H Ramarao. Ph ; 669 It 75. M Bharadwaj, Ph: 08 1 82-2205 1 . H,K. Ganesh, Ph: 645M9. H. Kiimabnath h Ph: 6612244. M V. Ramachandrasa, Ph: 2876131 B V. K. S as try, Ph: 3342682 E. R. Set hu ram, Ph : 67831 16 Dr. R. Sathyanarayana, Mysore 0821-529599. T. S. 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Sttrva Prasad a V| Tl ^TT ILJ - 1 _L_I 1 l 3, S50l, 3dsdo a o&d: safari ^gnru^ a 7 7 0 © *i ■ ddidr, pfSops pracdto &,e aaF.ao.s^ddd ESedd^dO Stertfsi ®Q»da ifcra^ri karoftaosura uctedl wjaS tasoS ^od^lraU d. ddbo& dOaraOsS, odWdO dcd t*dd$ ssriraatfcto ^ l*i ^itd&dsdosaftd, djsko d&o&dd atf^ aS-Ort adofc a^cd ^sd. s^d^dd wC3 wQ'^7tifcXfi dwSw^C&d; dr.Q&wSrV SO&cS^fc.Ejjdb, ai?oa,fd ^^ssddfk. *•** r-i A V v « dEb^&radasidd dojso^ £ $cci£ sJod uwrtj&wteEind. ^ aos^ ^sfciWj® ass?ija r^Znm d;d^ Srtd d de^rt^O ortd dwacjdjs^sr^fe rt^dd^ oS»S53aFUtfd5b ad uoctastf aafliafasiidet* dsdScaaraft -j «- i T S S Q H fc3 a ttf fi u^sa^d. a^d d^do JissFtia wd^d adtrfcJ bed i^ded dooeonsfi A^djsad aad drt^Ti sso.^ Jf W 63 “ -0 dajaa^debtfS tfcuss&odjaftd. ^djSwarUSd ccbdi w loaded d/ds sLrsd^e. S IT ** -* £d:#F rirerdd rtdessrir xred^^ • zz2.r □ dodd^ d;^v dioroiarte 1 aaa^drt*#€ doggprar sn= dddrsd Ssadossas A dJ 3 &e& odd, wwd?d dpr rsssft ass xft drfrfeSjsodb Sort ftpsdofcsd djs£e& "6 *i ' w t? adn^d djad^ us'^s. ?r&sl®eS3 £3s0- *acjOec3s.A iadr:^d oijasjjde ds^rS 'Sos^cOeod djais^cdd^ ( rtjscad djaZo^rt^rd. sljadded&ft) ddc&i jstf^d tsdssb. wca^ddO dOF&cKb i^rtjsoftded dpc^rd d;3 , dejsodj»d jf^o&rrttf;,, sto&a « -4 1 & © dcd,zra iS, racked £ed: d:bo rfsftru Etocarari € £$,7i$0 wefts $ cd,d _J"S" J Jlifi --i - J M lU-^ d&rSdd&s ^TiiaocS iao&rdcS{i3ss3? ^pc^r)o± dJsrtFddFd. dom dorttfjade tsdocss sro^ dpjr^r ddeS. -^nartdc d!fi rto d;^^ do& ^c jsOc 3 sSdo, eijd S ns A J ” t> Q ^ i^&O^odrddrte 1 ddC^r!^; ^d . Q s ra ds^ dd § ?d.A^ ddort^ dd c ij (4 _e t4 ^ fci « yd^ss ssoirsirrtd ddcvotood d^-sd dod^s^, ^oLa;rtd ddD d^dtDZ^w rJO^U . sod *3 iiOeSdrsasd »csvi3^ ulrod aaoS, djaa^dod,^ d deleft; rs, (3jpO€5?F«S* 642000), (t^jaaa), tiracedr; ssoji, djsc^/szdolQfA ^de d^;o3sd i ed,rt^ ^odp.yc^ s ^4 b dc^d; ol'&caSrto, , ^rs^a. ddr^n^c (dsrf) HR I T I .■ «l w , ■s^dO *n&rtOT^««4 Mh — ^ L> emd!l®codmO?ss5rt^ ^dc&o±j€ eSjacodrid.di arso. « e) £ of the minor but vital details like aesthetic stage decor, pleasing background music, good comparing, lights, living quarters, costumes and seeing to a million organisational details that neither the artiste nor the agency would be competent to handle.To effectively interact with the artistes find sponsors for the success of every cultural programme, GUNAGRAHI INDIA offers its s< irvices whenever called for. GUNAGRAR I INDIA is a pioneering project hoping to tremendously improve the quality of the cultural programmes and acceptance ol impressario by everybody in the cultural field. It will signify the development of maturity and professionalism that the cultural scence lacks at the moment. GUNAGRAH/ INDIA is a professionally managed impressario company with Dr.M.Surya Prasad, S.K . LaksllninarayanafBabu) , K.Ramaimirthy Rao, Usha Kamath, Dr.M.N.Shivaprakash and others as Directors. who have considerable and long standing links with variious catagoi ies of artistes in India; CONTACT: 1 GUNAGRAHI 1MDIA “Munikoti". No.8. Record Cross, Opp. Srinivasa Mandira, Balepet, BANGALORE-560053. Ph: 91-080-2253975. E-rnail:drsuryapr;isad 'joymail.com and gunagrahi@yahoo.com With Best complements from: km ARTS INTCRNRTIONRl (Contact For Cultural €vents) Sai Venkatesh (Impressario) and Supaxna Venkatesh (Dancer-Gum) “Nrithya Dhama:, No.480, 3rd “C" Main, 2nd Phase, Maijunatiianagar, Bangalore-560 010. Mobile: 98440 89035 Phone: 080-3387978/3409755 Fax: 3327555 E-mail: sai venkatesh'S’hotmail.com Gunagrahi Monthly Journ RNI Re gn. No, 69149/98 No. CPMG/KA/BGS -92/2001 a ) o CL O O m With best c ompliments from: j& !&? READY PRI NT No. 2907, 3rd Main Road, Vaniviiasa Mchalla, Mysore - 570 Phone : 516803, 513414 Fax : 0821-516803 Owned, Published , Edited and Printed by Dr, M. Surya Prasad at "Munikoti", Na.8, 2nd Crass . qpp. Srinivasa Mandiram, Balepet, Bangalore - 560 053. Phone: 2253975. ' Editor General : Dr. M. Surya Prasad - t r GUNAGRAHI I JANUARY 2001 1 1 1 J I I I I 1 1 . 1 - G, Nataraj and others. K.C. murthy, director, Dept, of Kannada and Culture presided over the vale- dictory function and honoured K.V. three Srihari(khanjira) were Varied fare Rama the accompanists. Confident Am it Amit A.Nadig gave a confident flute recital in the happy com- Narayana, V.L.Venkata P® n y J-K. Sridhar ramanaiah H.P.Ramanna and N.G.Ravi (mridanga) and Srishyla(ghata) of- fered a rich and varied (mridanga) M A Krishnamur!hy(ghata) . Amit has bagged the Kishora Pratibhe’ award instituted by the Govt.of Karnataka. fare combining wellknown and little Veene Seshgnna krithis The first da^'s con- cert by M.G.Sulochana under the title of ‘Eka Vaggeyakara jSabha’ B h a i r a v i ) , featuring yainika ‘Gnanamosagarada'( Poorvikalyani) , Seshanna’s krithis fell 'Jesidnadella’(Todi) and short of expectations. A Swarajati(Behac ) and a varna(Saveri) was fol- lowed by kri:his in Gamanashrama and Vachaspathi. Th e recital ended with a tiiiana. Basavanagudi Thyagarajam’) was in G.Nataraj(violirj), Anur Kambhoji raga set to mishra triputa tala was known ragas in concert. ‘Vanchitonu’ { K a rn a r a n j a n i ) , with interesting swaras in khanda was Though one felt diffi- in identifying the were some of the krithis rare raga ‘Kantamani’ it was rendered with full bhava. Raga, tana and played by him which had ^“(^bhowma n mots mt\/ * ^ a praiseworthy maturity and melody. Raga, tana and pallavi(‘Apaara Murthy Guru’) was rendered in Kambhoji raga. He com (mridanga) A train! and sang some positions by late Venkateshachar. -KUSUMA RAO — With best wishes — ABHINAVA ARTS CENTRE (R) rig and performing centre for Kathak and Bharatanatya rllo.66, Jain Temple street, W Puram, Bangalore-560 004. Fax/Tel: 6614199, 66134407, 626072. 14 and mesmerize Iyengar Mohan Iyengar explored beau- and Malathi excelled tifully the lyricism of each other in their re- Bharatanatya and inter- spectj ve dance- preted it literally and suitesito the strains of (merize Bharatanatya and inter- This was followed pre,ed i( . Ii, ? ral1 '' and by an excellent ‘poetry- dance’ session, A hiahiv metaphorically too. The Kamayardhini) but the talented and accom- plished dancer-Guru Malathi Iyengar, artistic director of Ranaoli theme is about the plight of a free bird and the song of freedom articu- lated by a bound and caqed bird. Malathi’s drawn by Varma io\ be related to the them Foundation for Art and umps and elevations (to Culture, California, USA, along with K.Murali Mohan and a versatile the strains of Abhogi and were very neat correct. Her Malathi and Murali, Murali and tabiajyPraveen Rao) and Malathi and the painter BKS Varma re- Bhara,ai ] a y a w a «< «™s gated the lovers of a gracefully executed dance with an imagina- ™vement. She never tive programme. How an ,anded t0 r9ma ' n an ‘ interaction between po- ch u °, red ,0 a sma " ar8a etry and dance could be T' e danoln 9- lnstead ' an interesting proposi- She c ° vared a lar 9 er lion was highlighted area of ,loor space on through this programme. ' ne Pra aaa nium stage. An interactive visual po- Young Kathak performer etry and painting expe- mrida^gist (Bhavani Shankar) had a profes- movement. She never it was (an experience to tended to remain an- cherish. rience explored by these artistes fascinated the audience. Though this type of programme was nothing new for the Bangaloreans, the use of English poetry evoked special interest. Dr, Maya Angelou’s fa- mous poem ‘The Caged Bird sings’. Malathi Artistes honoured she covered a larger , A three-day mu- area of floor space on festival was held un- the proscenium stage. der trie aegis of Sri Young Kathak performer Thyadaraja Gana Murali Mohan provided a Sabha and Sri fitting match for Malathi. Modkambika He glided through the Talavadya Sangeetha stage and his Kathak- Kala Shaale at Vani accent was firm and fine, vidya s- with Shringi rasa, Beat Hence, the of Lasya cc category of was the mo tion meant Lasya, Lasy tributed to d ther, Natalia both - the L' terms are < mous with present da asant attires ira as the basic ty is its sole, whole concept mes under the Kaisiki. Kaisiki fe of presenta- or Nataka and angas were at- ance only. Fur- used to contain isya as well as Hence these most synony- Kaisiki. The dance styles Odissi, Moliiniattam and Kuchipudi c early use the mode of presentation akin to Lasya or t le Kaisiki style and many toe mes portrayed are obviously rooted in the r — {Well known a Western instalment achiever from many he has been giving has been training a further. -i — rzmui GUNAGRAHi / JANUARY 2001 n A winner to Paristhath to be A RARE AND BRILLIAN T ACHIEVER Kadri Gopalnath , Kadri Gopalnath, to whom goes the credit of adapting that of Saxophone to Karnatic form and design is an of view. Not only did he master the instrument but also _ concerts on this instrument throughout the world. He number of students to keep his ‘tradition to continue of innumerable awards and titles, Kadri Gopalnath has been se- v over this year’s music conference of the Karnataka Gana Kala held at Udupi from February 7 to 11. He will be conferred the titled of ‘Gana Kala Bh jshana’ at the sadas to be held on Feb.11 GUNAGRAHI takes pleasure in presenting a brief profile on the unparalleled artiste.} om a family of Nagaswara artistes, Kadri Gopalnath had received riagaswara from his father. After +ho cayrtnhnne Dlaved In 4 1 1 _ _ _ Hailing f in mastering it. T.V.Gopalakris initiaitrainingiM i.iyaav.aic i( . anH ctnrtpd the Mvsore Maharaja’s band ensemble, he was attracted towards it and started tne Mysore mcMwiaj under the versatile he training in vocal music that he had under the versatile v , n ramP han dv to him and he started exploring the Saxophone to profusely benefited by TVG'S guidance in researching^ ntr i the possibilities of the instrument. He modified the ihstrument to make it concert -worthy. To lend continuity to the sound and also to tory gamakas witn perfection, he started using small rubber tubes. At the routse^ he nrtton^ne^ switcl iedTover to the concert piatform. Once he did so he became an uncrowned mo larch of Saxophone. Saxophone has also certain successfully and he is fond of * ■ ■ is Though he feels that like all other i limitations, he pas been trying to overcome trying new ragds and krithis on his instrument. as he feels that, this shruti ™ tuned to B flat, Kadri h film ‘Duet’ und have created i suites very well the Karnatak ethos lS also done well by playing for a couple of films. His strains in the r the direction of A.R.Ftahman and a ‘feeling’ in the film Sangamam new experience for him Kadri Gopalnath has evolved his own and rewarding i plans to bring them out in a book form and teach of this Western instrument now adapted to classicism and tradition are the two life-giving [he Karnatak music would not be there, he technique of Saxo- phone play. H^ the intricacies Neves that the Without them his music. He be- of our music 6 GUNAGRAHI / JANUARY 200 ■■■■■■■■ EDITOR Gi nour each other. It is a well known musical instrument fit to suit tl :t that if Saxopr o demands of the ■ L has carved a special niche in the field of Kamatak this instrument to the rasikas world over. It is obvi struggle hard and do lot of research before working ment. The way he brings out the nuances of the remarkable. His vocal-based renditions are endear music. The immaculate hold over laya is another g Besides varieties of programmes, he has in jugalbandhis with noted musicians. Be it a sclc Kadri has come out with a great success. Needless discs and brought out many audio cassettes. The cess is, without doubt, his dedication and devotii artiste Kadri Gopalnath is voluminous on his saxop son he is soft-spoken and very social He is easily In the fitness of things ‘his unparalleled been elected to preside over this yea’ ’'- music con: at Udupi to be bestowed w s the oresitigious tf Bhushana’. It is another glow'ng and significant fe of glory. GUNAGRAH! congratulates him on this x Brihaddeshi festival at Chennai San s is reigningas a rnatak music, the md skilled artiste lusic by exposing js that he had to ut a viable equip- lassicai music is g to the iovers of enjoyed by him. so been featured >r a jugalbandhi, o say, he has cut ecret of his suc- as eld afa asion _ ■ ■ ei ri n ie istry of Tourism and Culture, Govt.of India, Ka!al. V, Nagaraj Ph: 0825 11133 I hibli Dharwar-Jayasree Gur:al KshamaGovu JaRao. B ! abay ’ B , NLgabh ushan , PJ r FOREIGN California :Malathi 6860 & Nacheketa Shanna - . J h Lavanya Dinesh - Ph: 717-575- Wellington - VivekKinra, Ph: 5 San Frans i sco - Mythih Krishn; 408-7252951. .ngalore - i : 5532658 $44663. Ph: 082- 1513517 -Ph: 0836347532. 251-472475 001-650-960-6906 1295 -4-387388. , Ph: 408-7256845, *We welcome ell unsolii sited material but do not take responsibility for tl e same. If these are to be returned postage she uld be included. + Letters are welcome. 9 * All rights reserved printed in whole or in pa t permission of the publish ei * The editors and publ do their best to verify the \ if but do not take responsibil accuracy of the information expressed by individua ; published are not nec Nothing may be /ithout the written sher of Gunagrahi Drmation published ty for the absolute The opinons/views uthors in articles ^ssary those of EDITORIAL OFFl'CE : “MUNIKOTI" NO. 8, SECOND CROSS, 0PP. SRINIVASA MANDIRAM, BALEPET, BANGALORE - 560 053. PH : 2253975 Articles, Photos, WrUe-upi , i eports may also be sent to the following address ; Editor General 446 t Jen ganahaUi EG. JX Nagar, Kanakapun r Main Road, Bangalore - itflt 078. * Monthly Journ RNIRegiu No. 69149/98 Rcgn. No. CPM G/KA/B GS-92/2000 With Best Compliments From : Ranjani Ganeshan {Dancer, Choreographer & Guru) Flat No. 8, Shanthi Apartments, 1/1, Gangadhara Chetty Road, Bangalore Ph." No. 080-5591475 the several awards and titles won by him. He has served the music field as he chief registrar of all Academies during the regime of Mr.Ramakrishna 1 egde. B.V.K.SASTRY: A polymath, E VK Sastry is a repository of ii formation on various bra iches of knowledge in ge leral and music and di nee, in particular. He is ai authority on performing and visual arts of India. Countless articles of the twin art forms t nd several books in English an i Kannada spoke of his deep erudition. Sastry has served on several committees and boards of Govt. and non-Govt, organisations and institutions. He is easily accessible for any guidance and advice on matter pertaining to Performing and Visual Arts, He is one of the founders of Karnataka Gana Kala Parishath through which he could visualise his dream of procuring greater recognition for the artistes of Karnataka. His rote and guidance in the launching of GUNAGRAHI is invaluable and of great significance. He is a direct disciple of Asthana Vidwan Chicka Ramarao, Sastry has been a columnist for Deccan Herald and Prajavani writing under the name of *Murali\ He has won innumerable awards and titles that include Rajyotsava, Karnataka Sangeetha Nrithya and State and Central Laliha Kala Academy awards. He is also a Fellow Emeritus of Govt, of India. He presided over the music conference of the Bangalore Gayana Samaja to be conferred with the title of 'Sangeetha Kalarathna*'. (Cont'd from page 1 )) of Natya Niketan pr rented yet another of her pr ze-disciple Sushma Balu in an mpressive Bharatanatya recital at Ravindra Kalakshetra. Sushma is bless id with a dancerly body anc attractive eyes. Hailing from % reputed family known for its invaluable contribution to the ields of art and culture, Sushma also emerged as a radii nt jewel in the garland of dan :ers. Very usefully su ^ported by Guru Revathi Nz rasimhan (nattuvanga), D.S.Srivatsa (vocal), Madhusudan (violin), H.S.Venugopal (flute), Gurumurthy (mric anga) and Prasanna Kumar (mo r sing), Sushma put her ri jht foot on the stage and in /oked the blessings of Ganesha through a Pushpanjali followed by a Muthuswamy Dikshitars composition in Chakravaka raga Gaja nanay utam ’ . The attributes of Ganesha came alive in her depiction. The Abhogi jatiswara was impressive due to her fine footwork. There was variety in her adavus and the patterns of jatis executed were rhythmically demanding too. The nayika attracted by the strains of Krishna’s flute yearns for His love. She implores Him to come to her remedy her pangs of separation. Sushma aroused the vipralambha shrungara in its totality in the portrayal of a Lalgudi Jayaraman’s Vama set to Charukeshi raga and adilala. The nritta was artistically dealt with. While the nrithya was of a high standard, the dancer's abhinaya had both subtlety and sensitivity. Depiction of Gopalakrishna Bharathi’s ‘Natanam Aadinar’ describing the glory? of Lord Nataraja’s dance at Chidambaram, provided variety to the evening’s recital. This composition in Vasantha highlighted the abhinaya and nritta abilities of Sushma. She was at home in sketching a khandita nayika on the basis of a Kannada pada ‘Saaku ninna sneha’. The dance recital concluded with a Dhanashri tillana and brought to the fore the dancer’s hold over lays. CONCERT-TYPE COMPETITIONS: In connection with its 36th anniversary celebrations.Sri Nadajyothi Thyagarajaswamy Bhajana Sabha JvtaHeswara is holding a concert-type competition for the u pcoming artstistes in the age group of 19-25 at Ananya auditorium on 7-1-2001. Vocalists and instrumentalists in the above agle group may participate in the above competitions. The winners will be presented prizel on 28-1-20001 at the valedictory function of Nadajyoti Utsava. For Details corlact: Ph. 3446839, 3444663, 3362824, 12 her disci pies- Vidya Shimladka and Harini Santhanam in a dance-feature-like recital entitled *Rasollasa\ Sundari is a torchbearer of Dr.Padma Subramanyam’s school of Harini and Vidya jointly took up the kuyil paattu of the ace poet Kavi Suhramanya Bharatiyar for a detailed treatment in the varna- format. A Telugu pada contributions), scripted and directed by talented Gee t ha Ramanujpm moved the audience with its chic and tidy presentation. Dikshitar’s checkered life is a tale of a dance. Depicting the Navarasas highlighted the importance of rasa in dance. The lyrical base for the delineation of each rasa was obtained from various sources and in different languages. Sundari 1 s choreography had the clear imprint of her Guru Dr.Padma, Various karanas and char is were appropriately incorporated into the nritta. The programme began with Pooravanga and Pushpanjali (Nata). Then the dancers switched over to the depiction of Nine rasas in turns and sometimes together. Though Hanoi's ardhamandalis needed perfection, she was at home in the abhinaya. She evoked Adbhuta (wonder), Veera (valour) and Bhayan aka (fear) rasas. Periyaazhvaar's song was used to create the Adbhuta rasa. The wonderful creation and nature was praised in the language of dance by the dancer, Veera (on the basis of a Purandaradasa pada showing the annihilation of Serpent King Haling a by Lord Krishna) and Bhayanaka (Mohini Bhasmasura episode) rasas were given a fine exposition, Vidya brought out the features of Roudra rasa by showing the ru Ira nartana of Lord Shiva. The Kannada translation of a Telugu poem by flautist-composer Dwaraki Krishnaswamy was portrayed in vakyartha abhinaya. The karanas and charts well suited the theme. (Anandabhairavi) describing the heroine taking away whole lot of time in getting dressed to meet the Nayaka(who also returns disappointed after a long wait), was the medium to elicit Hasya rasa. Another Purandaradasa-pada (Andinda naa nera nammideno Krishna', Shubhapantuvarali , portraying the plight of Drowpadi) lent the lyrical support for rendering Karuna rasa. One of the research-items of Dr.Padma of presenting a Dhrnpad in Bharatanatya was the concluding item of the evening's programme. The lyrics were composed to dance by Pudukkottai Vaidyanatha Bhagavatar a five decades ago. It was set to Hamsapoorvi raga. The dancers moved rhythmically covering the stage in attractive patterns and invoked the shantha rasa for a verse drawn from Danda kaar any akopanis hath . The music ensemble comprising Guru Sundari Santhanam (nattuvanga), Bharathi and Shraddha (vocal), B.R.Tulasiram (mridanga) and others rose to the occasion in enriching the recital. Tidy Musical Play Nadajyothi Sri Muthuswamy Dikshitar\ a musical-play (one of Academician Dr.A.H.Rama Rao's invaluable saint-phi R.K.Padnr role of Mi stole the acting anc recorded : Padman^ establishe the audier delight, S spiritually ind musically it is full of impact. The director of the play has d me lot of homework in picking up the events of his life and threading them together to give a wholesome picture of his greatness, Zesty vocalist anabha in the lead thuswamy Dikshitar limelight with his singing. Besides the iinging of the krithis bha's live singing 1 a keen rapport with ice. The stills were a 2 ts and props were d yet elegant. The costumes were eye- A pamphlet ig atleast a brief F the play, names of t et al t could have the effect of the play ter understanding. elusion of a dance s p wherein the tki dances to the >ikshitar ‘Roopamu joochf in Todi raga not only broke the possible monotony but also brought into light the talents of the composer. The singing of Sri Nathadi Guruguho\ a Navagraha krithi ‘Brihaspathe’ and ‘Hiranmnyeem Lakshim 1 (Heena maanavaashryam tyajaami) among others was a class apar traditional catching containii account o the actor! enhanced with a bet The ir sequence Resonant vocal One of the leading Hindustani music sabhas of * Karnataka, Sur Sagar, 9 4- V H-a TTT1 GUNAGRAHI f DECEMBER i 5 mridangist H.q lead it. On the inauguration , a Navagraha Muthuswamy notation an compiled by B .Sudheendra teas ion of die book on the krithis of ikshitar with meanings aradwaj was k is notable released. The for new orientation but suffers from lot of printer’s devils. Veteran M . Vasudevarao mridangist with a tide "3 as honoured itacharya ■57 After the inauguration esteemed elderly vocalist R.K.Srikanthan aided by R. A.Ramakanth (vocal support), Mysore Nagaraj (violin), Sri mush nam Raja Rao (mridanga) and R. A. Raja gopalan (ghata) began with a lively Sri raga v ima. As usual he was in good spirits and enthusiastic abaut serving a rich fare of Kan iatak music to the avid lis eners. The architecture :>f a master builder, a gra id edifice in sculptured sound, immense in proportion yet ornate in structure with a variety of gamakas and palakus, sahitya and swara- patte ns in exquisite design were all perfectly integrated in the maestro’s Hamsadhwan (‘Vande nishamaham’) and Mandari (Thyagaraja’s bhayamuleka , ) damsadhwani sounded fresh a id grand in his singing. The s vara patterns that he wove we re a challenge to die percussio: lists and at the same time created a zestful experience. Mandari, a shadhava-shac hava raga is very rarely ta ten up for a detailed treat nent on the concert-platform. The ace singer brought out the essence of the raga and produced the inherent rasa with his refined d e 1 i n e a t i o n . T h e kalpanaswaras had a thrilling rhythmic lay out. Srikanthan moved the audience with his singing of a majestic Nayaki( 4 Kanukunu sowkhyamu'. Bhavanotsava-2000 Bhavanotsava-2000 inaugurated by V.S.Ramadevi, Governor of Karnataka at Khimcha Auditorium, Bharatiya Vidya Bhavana was held from Nov. 16 to 22. The Bharatiya Vidya Bhavana has been a beehive of art and cultural activities since scholar- writer Mattur Krishnamurthy took the reins as its executive director, H.N.Suresh, the programme director, ably assists him. The missionary zeal and the dynamic direction of Matturji, incidentally who has completed a decade of his taking over charge of executive directorship, has been rewarding and fruit-bearing. It was a good idea of presenting the students of the Bhavan s music (vocal and instrumental) and dance classes. It was something like a graduation ceremony for the students. And it also added variety to the programmes held in connection with the B h a vanotsa va-20 00 . Adept singer Shyamala G.Bhave, an adept singer of different types of music struck the right chord with her vibrant singing. Besides singing ragas created by herself she sang a couple of popular ragas and proved her mettle. A raga that is yet to be named by her had the mixture of ragas Kalavathi and Ahir Bhairav was introduced to the listeners by her and the Meera bhajan that 8 she sang was poignant in appeal, Shyamal Kauns, with two gandharas and two nishadhas was yet another creation in which she sang a Purandaradasa Devaranama *Ranga baaro Panduranga haaro'. Her Maru Behag was purely classical. The Sanskrit shioka and a vilambit bandish was ornamented with alap and nom-toms. 'pade naahi chain turn bin’ in drut teen tal was captivating. A Sant Tukaram Abhang in mishra H ameer Kalyan evoked the devotional feelings. She received an adroit support from Vasanth Kanaka pure! ha rmonhitn) and Vishwanath Nakod(tabla), Noisy The sugama sangeetha recital held on the second day was almost marred by the loudness of background music. Though the singers Nagara Srinivasa Udupa and Archana Udupa sang well and melodiously too a number of Kannada poems by leading poets, the orchestral support comprising guitar, tablas, keyboard and other instruments almost drowned the singing. Srinivasa Udupa sang with due regard to the bhaava of the poems he had selected to sing. Archana, with an impressive background of Indian classical music also did well in maintaining the shruti and lay a. Vidya and Haririi impress Seasoned danseuse and able Guru Sundari Santhanam presented two of mm mM 33 i. * _ . - u , ' ■ \ ■. t&c &e*teza£ j£-D BIG BONANZA OF AW, S It is a momentous occasion to note with t reat pride and satisfaction that six of die veteran artistes of Kam a taka have been tipped for the prestigious Sangeeth Natak Akadeni, New Delhi's annual awards. It is perhaps for the first time that six Karnataka - artistes are being presented with the Central Akademi’s award. The members of the Akademi in general and Praiibha Prahlad, a talented danseuse and a highly influential member of the Executive committee T in particular, deserves to be congratulated and thanked for such a big awards-bonan 2 a. The secretary of the Dept* of Kannada and Culture A.R.Chandrahasa Gupta's contribution is also noteworthy* After a thorough thought and ex nsultations with a couple of leading personalities who matter much, Gupta had strongly presented Karnataka’s stake for these ; iwards with his impressive and impactful recommendations* It is cerjain, that without such efforts and initiative this could not have hapj: ened* May such tribe increase in the interest of the Karnataka artistes and art forms. R.R*Keshavamurtby(violin), H,R.KeshavamurtW;{dance), Pandit Rajiv Taranath (sarod), B.V.K*Sastry(for his overall contribution to music and dance), Prasanna( theatre) and Honna ingaiah (Leather Puppeteer) are the recipients of this year’s SNA A yards. Needless to say, all of them have been the pioneers in their respective fields with remarkable service and contributions, GUNAGRAHI congratulates them for their accomplishments. (dance). Pandit contribution to HAIL GOWRI KUPPUSWAMY Reputed, erudite, prolific writer and author* invaluable book on classical music, Dr.Gowri Kuppu over this year’s music conference held under the JSS Sangeetha Sabha, Mysore, Dr.Gowri alon Hariharan* has given countless lecture-demonstral outside the State of Karnataka under the banner of and conferences. She has been conferred the titl< Vidyanidhi’ at the Sadas held on Dec, 3 at Mysore greets her on this memorable occasion. ss of many an swamy presided auspices of Sri j with her son ions within and various Sabhas \ of Sangeetha Karnataka Kala Sri DR.M. S PRASAD 5 Narthan Acs 'Kala Nadam’, a 1 classical dance, D Kalakshetra: dai Dec. 24: Ramay; Lakshmi fyengar by Nandini Meht Kuchipudi natya b Arudra'200 dance: Dec. 22 an Dec. 23 Ranjani G< Shashindran (Bhai Pad mini Ravi. Dec Praveen Kumar Prabhava ’ by The demy of Dance and Music: wo day cultural festival of ec.24 and 25 at Ravindra ly from 6 P.M. onwards: ma by Malathi Iyengar, md party. Dec. 25, Kathak a and Murali Mohan and y Ravi Mony of Toronto. 3, 4th annual festival of 1 23, ADA Rangamandira; neshan Ramesh and Deepa atanatya). Group dance by 23 Sound ary a Srivatsa and Bharatanatya), "Purusha Dhananjayans. Malleswaranj Sangeetha Sabha, Ananya auditorium, Sri Hanuma Jayanthi Young musicians 1 festivl) 2000, daily at 6 P.M: Dec. 16, Archana K/.Bennur (vocal), Dec.17, V.Varsha (veena), Dec. IS, Savitha Krishnan (vocal), Dec. 19, B.S.Aswini (flute), Dec. 20, Aswini Satish (vocal), Dec.21, A.Asivin (veena), Dec. 22. Ashok Ayyanaar(sitar), Dec. 23, R.Pavan (vocal). Dec. 17 at 5 P.M.: Sarvama ngala (veena). Percussive Arts Centre, Gokhale Institute of Public Affairs. NR Colony. Thyagaraja Gana Sab ha Trust and Mookambika Talavadya Sangeetha Shale, Vani Vidya Kendra, Rajajinagara, Dec. 23, Sulochana Sisters (vocal). Dec. 24, Amith Nadig (flute), Dec. 25, M.Raghavendra (vocal), Dec. 30, at 5,30 P.M. at Gubbi Veeranna Kalakshetra, Tumkur: Sri Raghavendra Sangeetha Sabha, Felicitation to P.Ramaiah. Release of Ananya Calendar 2001 by P.Ramaiah followed by vocal recital by Vasantha Ramanujam. Name this Legendary Artiste? B. 4 PHOTO QUIZ i unaSrShi Karnataka's only English International Journal on tn&sic and dance Editor General Karnataka Kala Shri Dr. M. Surya Prasad Phone : 2253975 Associate Editors : Usha Kainath Ph. 5598886 K. Ramamurthy Rao, Mysore, Ph. 0821-481899 BL. Manj ula, Ph . 5519227. Printer : Baiakrishna, Ph : 6679333, Chief Patrons : S, K. La&shminarayana {Babul Mysore. Ph: 0821-51 341 C V. Krishnan, Ph : 3345665 l)r. A.H Ramarao, Ph : 6691175. M BhaFadwaj, Ph: 08182-22051. H.K Ganesh’ Ph: 645349. j H. Kamalanath, Ph: 66(2244, M,V. Rumachandrasa. Ph: 2876131 Principal Advisers: B, V. K. Sasiry. Ph: 3342682 E. R. Sethumm. Ph : 6783116 Dr. R. Sathyaitarayana. Mysore 0823-529599. T. S. Parthasarathy . Chennai, 044-459005 Pandit Seshadri Gavayi Ph: 626371. Guru Maya Rao, Ph: 2283486 Mattur Krishnamurthy, Ph: 3348275 Prof. M. S. Nanjunda Rao Ph: 2261816 ShyamaJa Bhave, Ph: 3443900 Admn. Executive : Dr. H.N, Shivaprakash. Ph:6672189 Advisory Council Dr. Manjunatha Bhai, Ph: 6647654 Durga. C. Avarthi, Ph: 5298954 T. A, S. Mam, Ph. 3441515 K, fial asubramanyam, Chennai . Ph: 0444992474, Pi. Gowrang Kodikal, Ph: 3316325. H.N, Surcsh, Ph: 3347918 C. Cheiuvaraj, Ph: 3328361 Prof. K.E. Rjadhakrishna, Ph: 3321641 Guru H, R. Keshavamurthy Ph : 3320903. Pt. Parameshwar (leg do, Ph : 3310039, Pi, Vinayaka Torvi, Ph : 3305701, Dr, T S. Vaidyeshwar, Ph : 6650026 Dr. Vasundara Doreswamy, Ph : 0821-542814, Ranjaiti Ganeshan, Ph : 5548147 T. R. Harish Ph . 0S21-5 10407. Guru Padmini Rao, Ph: 6670013. Guru Geetha Data, Ph ; 08 1 8270 ISO Guru Usha Data. Ph : 3492851 Loch an a Ashok Kumar. Ph: 5464488 VoL 3 Issue 7 D Legal Adviser : C S. Nagesh - 9628- ED1T0R1AL OFFICE : . "MUfJfKOTT 1 NO. 8, SECOND CROSS, GPP, SRINIVASA MAHDIRAM, RALEPET, BANGALORE - 560 053. Phone : 2253975 e-maihgunagrahi@yahoo.com, drsuryaprasad@joymaif.com 3 inside Calender of Events From the Editor General Review The Exemplary Personalities 11 Correspondents INLAND ■ Bangalore - N. Atiamhapadmanabharao Ph : 5532658. Kusuma Rao, Ph: 3222593 Katie SaLhyanaFayanarao, y h: 344663. Mysore - K Raghavendra F ao, Ph ; 082 1513517 Dr, V. Nagaraj. Ph: 0825 II 133 Hubli Dharwar -Jayasree Ga tal- Ph; 0836347532. Kshama C ovinda Rao. Bombay -B. Nagabhusharu 5 h: 0251-472475 FOREIGN California : Malathi Iyengar Ph: 818 7 58 6860. Nachekeia S harm a - Ph : ') M -650-960-6906 Lav any a Dinesh - Ph: 7 3 7 576-8295 Wellington - Vivek Kmra T h: 54-4-387388 San Fransisco - Mvihili Krishna, Ph: 408-7256845," 408-72:12951. *We welcome all unsolicited material but do not take responsibility for the same. If these are to be returned postal 5 should be included, * Letters are welcome. * All rights reserved. N }thing may be printed in whole or in part without the written permission of the publisher. * The editors and pu do their best to verify the i but do not take responsil accuracy of the informatic expressed by IndMdun published are not ns Gunagrahi. blrsher of Gunagrahi information published for the absolute n. The opinons/views authors in articles cessary those of Articles, Photos, Write-ups. reports may also he sent to the follow tig address ; Editor General 446, J iragamhalli RO, .L P. Nagar, Kanaka p tra Main Road, Bangalore - 460 078. - i th Karnataka *s only hn. Journal on music anc ADEMY B.V.K. SASTRY aka's only English International Journal on music and dance Vol. 2 Issue 9 February 2000 Karnataka Kala Shri Phone : Associate Editors Copy Editor : Printer Chief Patrons Principal Advisers: 13 Admn. Executive Advisorv Council : P R Executive : Us ha Kain K Ramam Ph 082 H 13 . 1 . Maii| Vi jay a Raj Bn Ink rishn S K I nks Mvsorc. P V K rtshna Dr A H i M. B tiara d H.K Cj iiri c El Kamah M.V Ram E3 V. K. S h R r Seth Dr R. Sal 0821-529' Chennai, ( Seshadri G Maya Rao Matmr Kr Prof. M S S J h: 226 i H Shyamala Dr H.N, S Dr Manju Durga C. T A. S IV K BaJusut Ph: 04449 Ph 52163 C Che I u vi Prof, K E Guru EE R Ph . 3320‘ Ph . 33101 Ph : .3305; Ph : 66501 Ph : 0821- Ph : 5548 Ph : 0821 Rin>. Ph d Data. Ph Data, Ph l.oehana V Nasarai Inside Calender of Events From the Editor General Karnataka Kala Shri Awardees Cover p age Photo : Garta Kala Bhushana M.R Dr. M. Surya Prasad receiving Karnataka Kala Shr« Award from Sant Bhadragiri Achutha Das Culture Minister Rani Satish. Secretary A.R. Chandratas Gupta, Director Y.K. Muddukrishna and Shamala Bhave are also seen Correspondents INLAND : Bangalore Ananthapudmanabharao, Ph : 5552658, Katie Sftthyanarayanarao. Ph: 344663, My sure - K Raghavendra Ran. Pit . 082- I 513517 Dr. V." Nagaraj. Ph: 0825 HI 33 Hub) i Dhiirwiir-j nyas ree G utm 1 -Ph : OS365475 32 Kshama Govimk Rue. Hassan N Kaghu, Ph: 081-7250466. Bombay 13, Nagabhushan. Ph: 0251-472475 V.R. Karnad. Ph: 044- 4308102 FOREIGN. : California :Mdathi Iyengar Ph: 818 788 6860. A Nachekeiu Shariiia - Ph: 001-650-960-6906 La van y a Dinesh - Ph: 717-576^8295 Wellington - Vivek Kinra. Ph: 54 4-587388 San Fransisco - Mythili Krishna. Ph: 408- 7256845, 408-7252951. *We welcome all unsolicited material but do not take responsibility for the same. If these are to oe returned postage should be included. " Letters are welcome. ' All rights reserved, Nothing may be printed In whole or in part without the written permission of the * The editors and publisher of Gunagrahi do their best to verify the information published but do nof take responsibility for the absolute accuracy of the information. The opinons/views expressed by individual authors in articles published are not necessary those of Gunagrahi, Articles i Photos, Write-tips, reports way also he sent la the following address : Editor General 446 , Jaraganahalli RO. ].l\ Nagar Kanaka pur a Main Road, Bangalore - 560 078, r ■ BANGALORE : Bharatiya Vidya Bhavan: At Khimcha auditorium daily at 6 P.M.: Feb. 19 Bharatanatya “Rasa-Gathf by Pul ikes hi and Party. Feb. 26 Shishirotsava 2000. a cultural evening by die students of the Bhavan to mark the second anniversary. March 5 Natarajotsava by Nrithya Kala Parishatb. Every Friday Cultural Evening Programme at Yavanika at 6.30 p.m.: Feb. 18 Bharatanatya by R.Jyothi. Feb. 25 Hindusthani vocal by Ashok Panth, March 3 Bharatanatya by Poornima Ashok. Prasiddha Foundation: Eka Aneka, an all night festival of music and dance on March 4 at Karnataka Chitrakala Parishath; Odissi by Sharon Lowen; Hindusthani vocal by Pandit Vinayak Torvi; Bharatanatya by Pratibha Prahlad' 25 veen ensemble by Suma Sudheendra; Vilasini Natya by Swapna Sundari: Odissi by Sangeeta Das; Karnatak vocal by S. Shankar; Kathak by Kathak Kendra, Bharatanatya by Chetan and Seshadr, and Sitar by Bale Khan. Academy of Music: Chowdaiah Memorial HH Millenium arts festival: at 6*30 p.m,: M ar. 1 Sudha Raghunathan(vocal) Mar. 2 P.Unnikrishnan (vocal) and Mar. 3 Shobhana (Bharatanatya), Sri Rama Lalaithu Kala Mandir and Sri Devagiri Sangeetha Sabha: 11th Spring Music festival at 6 p.m.: Mar, 8 R.K.Srikanthan (vocal) Highlight of the concert: Hemavathi raga. Mar. 9 T.M. Krishna (vocal), highlight: Shyamalangi raga. Mar. 10 Dr. Suma Sudheendra (veena) highlight; Kaikavashi raga. Mar. 11 Malladi Brothers (vocal) Highlight: Nasika Bhushani. Mar. 12 Nithyashree Mahadevan (vocal) highlight; Brindavana Saranga. Mar, 13 T.S.Sathyavathi (vocal) highlight: Anclolika raga. Mar. 14 Laya Raga Sangama by Sukanya Ramgopal at 5,15 p.m. at 6.30 p.m.: Dance by Kalkshiti, directed by Prof . M . R . Kris hna murthy . SRI RAMASUDHA CHARITABLE TRUST: i Feb. 23 at 5 p.m. at Sri Ramana Maharishi Academy for the Blind, J,P.Nagar: M.Chandrasekharan (violin solo), MYSORE: Ganabharathi: Veene Seshanna Bhavana at 6 p.m.: Mar, 12 vocal duet by Ramaprasad and Ra x * ku m a r( M a 1 1 a d i b rothers) , Shiuti Manjari Foundation: Mar. 11 at 6 P.m. at 271, 1 2 jh Main road, Saiaswathpuram, Mysore Vfe na by Puslipa Kashinath SII5MOGA: Sri Guruguha Gana Sabha: 3rd cross, Basavanagudi, Shimoga: Yuva Sac geetotsava: Feb. 29 6 p.m. Goithti gay ana, 7.25 p.m. Rajeswari Nagerldraprakash(vocal) 8.20 p.m. P.S.Si!bhadra(vocal). Mair.l: 6 pm Chitkala and Vat sa!a(vocal duet). 7.25 p.m. Kar ehana V.Mamatha (violin sol ?), 8,20 p.m. H.K.Lakshmi(vocal). Mar. 2 6.31 p.m H. Gayatri(vocal). 7.25 p.m. Mattur Ms ihumumli( violin solo), 8.20 p.m. S.C.Ashwini(vocal), Ma;\3 6,30 p.m. 5. 3. Banuma(vocal), 7.20 p.rru M,E,Nataraj(violin solo). S.20 p.m, Rajani Ramdhani( vocal). Mar. 4 5.30 pm Music Quiz. 7 P.m. Pat masri and Goi> K^ll- .ir $Iji Marcli Uititik SdSinMu.iiih «ii laiii BltiiriiiHPLjiyim I Nt tirii Md.ru pur Ahpdi'Uty >Uf|)piiri TL Ifmwr reyftttl >4 H*4Jll»§ I Hd dU\Ai K.JJir* P=a«l!in k*u c« Juj r.»idiH> ra tL %■: mn. n» : r f. £ iO^oi . ftp V y.-- ,, 15*44 t. ■ I i rIOt'AL ft! i S&j « .T-65, . - 74 ±h , V«3* i KHAjl!RAHC> n^f^A VHm ilZ'&ti. ir*44 -sr i 71 44n5ti ii-iiw 0 ({ia 4 C*ni«i $#*- Owned T /'hMsJhh/. /idi'terf nnrf Printed 6y Dr. M. Surya Prasad at "Muniko P\ No. 8, 2ml Cross, Opp. Srinivasa Mandiram, Batepet, Bangalore - 560 053. Phone; 2253975. Printed at: Sriranga Printers and Binders, No. 242, 7th Cross , I Oth Main , Sii Ramanjaneya Road, Haiiumanthanagar, Bangalore - 560 019 . Phone: 6679JB3 Editor General : On M. Surya Prasad rfarars^k -I’iffT J fe- 1 * 11 dfionnaiah S&alithakala & cade my (&) Headed By Hgrnatahg Ha fa ‘Alalia Guru Smt. Padmini Rao “Extends its hearty greetings una ahi on the occasion of Firsl Yorshikotsovo to r PONNAIAH LALITHAKALA ACADEMY offers to ‘Dance Aspirants (beginners as wed as advance - a systematic & structured chassis in CfassicaC ‘Sharatanatyam in its aesthetic , prestine pure form. For more details contact: Secretary Ponnaiah Lalithakala Academy 429, Middle School 2nd Cross Road, Visvesh Bangalore - 560 004, Ph: 080-6740013 Karnataka' s only English International Journal on music and dance Associate Editors : Copy Editor ; Printer ; Chief Patrons : Editor General Dr. M. $urya Prasad Phona : 2253975 Usha Kiimath Ph 5598886, K Ranuporthy Kao, Mysore. Ph 0821 481899 B L, MarpK Ph . 5519227. Vijaya Enmesh Ph: 6674964 Balakriskna, Ph : 6679333. S. K. Lakshminarayana fBabu) Mysore JPh: 0821-513414, V. Krishlan, Ph : 3345665 Dr. A.H Ramarao, Ph : 6691175. 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Bangalore - 560 078. 1 ■ GUNAGRAHI INDIA The Culture People A look at the cultitral scene in India. V. Kris/inan page An Us tad gives a concert and the hall is half empty! A large audience goes to a well advertised show and the programme is a washout! > Talented artistes find no avenue for self-expression. Mediocre ones hog the limelight. The cream does not always rise to the top. Favouritism , mismanagement and red tape often stifle or shroud brilliance. Artistes arj? plied with paper work, cultural shows earn a dim reputation. There is talk of difficulties in getting grants, an insecure feeling amongst artistes, vexing paper work even to get meagre pensions for artistes ignorance and bad public relations are evident, talented artistes are not promoted at the right place at the right time. The solution! evolution of an impresario system. GUNAGRAHI is a vital link between the artistes at d the programme sponsors, government agencies, private companies and sabhas, taking on the bulhvork that goes into conducting a cultural programme -fixing the venue, getting the right audience, looking after the artiste, taking care of the minor but vital details like aesthetic stage decor, pleasing background music, good compering, lights, artistes, living quarters, costumes and seeing to a million orgainsational details that neither the artiste nor the agency would be competent to handle. To effectively interact with the artistes and sponsors for the success of every cultural programme, GUNAGRAHI India offers its services whenever called for. GUNAGRAHI India is a pioneering project hoping to tremendously improve the quality of the cultural 'programmes and acceptance of the impressario by everybody in the cultural field. It will signify the development of maturity and professionalism that the cultural scene lacks at the moment. GUNAGRAHI India is a professionally managed impressario company with Dr. M. Surya Prasad, S.K. Laxminarayana (Balm), K. Ramamurthy Rao, Usha Kamath and others as Directors, zvho have considerable and long amamurthy Rao, derable and long standing links with various categories of artistes in India. CONTACT: "MUNIKOTT 1 NO. 8, SECOND CROSS, OPP. SRINIVASA MANDIRAM, BALEPET. BANGALORE - 560 053. PH : 91-080-2; 2 VARSHIKOTSAVA /*P - r. C elebrating the Varshikotsava is not just a ritual. It is an occasion to interact with ail the persons concerned and connected with the journal. It is an occasion to look back and look ahead too. It is an occasion to place on records the traumas and triumphs in the sojourn of the journal. It is an occasion to cherish. This is what exactly happening now with the release of the special volume of GUNAGRAHI, on the occasion of the first Varshikotsava* Due to some unforeseen and unavoidable reasons the Varshikotsava could not be celebrated when it was due in the month of June 1999. But better late than never. It is being done — in a symbolic way — now. On this occasion I am very happy to inform you that GUNAGRAHI has been quite successful in making its presence conspicuous. There has been a qualitative and quantitative growth. The increase in its readership and popularity is inspiring. That is why and how a personal computer has already been installed. We have been successful in going on internet and hot mail. New representatives from the unrepresented areas have comeforward to render their services to GUNAGRAHI. It is a happy sign in the positive growth of the journal. GUNAGRAHI has many plans for the good of the musicians and dancers. There is a paucity of funds and I hereby request the lovers of music and dance, artistes and organisations to subscribe to the journal and donate liberally for the further growth of the magazine, GUNAGRAHI is your journal. All constructive suggestions are welcome in its healthier growth. - DR. M. SURYA PRASAD . 3 # almost static- in this essential form, their respective contents and mutual interactions- their respective contents have been even changing in both space and time in this vast subcontinent, However, owing to interna cultural tensions and I have heard or seen in music for slightly less than seventy years into some surmises, conjectures-or even wishful thinking as to what may happen in, or to this art in the next hundred years, I draw courage from the thought that the astrologer or the weatherman does no better. A. Structural changes X. Indian music is serial or homophonic; that is, its notes progress in a series, one at a time. Orchestral or other dispositions such as in Indian Jazz or the Pop involving simultaneous notes are-still-not aimed at harmony or counterpoint; such dispositions lie well within the scope and scan of its naitivity. The native character of Indian music is unlikely to be modified in the foreseeable future. 2, Indian music is, in its totality and plurality, distinguished from all other musical systems by a conceptual quartette viz, raaga, taana, vaadya and prabandha, These have become firmly and deeply rooted in both theory and practice from the earliest known time. In fact, it is difficult, if not impossible, to imagine Indian music without these. Indeed, they may be regarded as the differentiating and definitive bases of its system. While these are stable- 1 think there is too much hype about the millennium. Its * striking distinction is numerical-the occurrence or recurrence of three zeros. Otherwise, it may turn out to be as eventful -or uneventfuTas any other year. It may have a sentimental significance for the followers of the Christ and they have so far played no part or an insignificant part in the origin or evolution of Indian music. Again, the Hindu is somewhat given to attach great importance to antiquity in explaining or justifying his thought or behaviour, though he is often accused of a poor sense of historic time. Such accusation cannot be wholly brushed aside; for the Hindu’s concept of time is metahistorical, tending to the mythological Therefore, he influences, these basal concepts are showing signs of peripheral diffusion, specially in the non-art genres (e.g.ghazal, jazz) of Indian music. Their impact on art music would continue to be minimal in the forseeable future but would render the non-art idioms even more attractive to a larger number of listeners. Art music would probably develop some elasticity, some innovations and some new technique well within its own resources and parameters, with or without some compromise with its traditiona and generate some contemporary relevance in order to keep and increase its audience. It would therefore need to bringforth dedicated, visionary and missionary leadership in composing, performance and teaching and learning, This envisages the building of bridges between tradition and innovation, which are mutually inclusive rather than exclusive. For, after all, tradition is the summation of accepted innovations, while innovation is a mutation in established tradition on the path of evolution. The first quarter of the new century may celebrate the current Pramaathi year as heralding the fifty second century of the first quarter of the current Kaliyuga. And let me hasten to avoid a possible misconstruing the title of this essay. I am neither astrologer nor weatherman-professional or amateur. All I hope to do in ' • :_l_i X would contain the seeds of this trendy the second would witness their germination and sprouting; the third and fourth quarters would enjoy the flowers and fruits. Such seeds lie within the womb of hackneyed, monotonous classical genre of increasing mediocrity, conventionality in performance and inspiration, with decreasing exceptions of brilliance and genius. 3. Our society is now a quick-change artiste, varying its postures very rapidly in its several aspects, with an acceleration never before wltenessed; sociocultural d y n a m i s m , tech no logical advancements, information systems etc, are now rushing at us at an explosive rate, challenging us to keep in tact the inner repose and the graces of life. Globalisation of communication and exposure are shrinking the world to an ever smaller village. As a consequence, preservation of cultural and ethnic identities is becoming ever more difficult. Music is a cultural product of the collective conscious of a human community and it inevitably absorbs these influces and is shaped by it. Computer music and electronic music are no longer odditres or exotic in the Western hemisphere, Indian music is no exception and is not innured to such exposure and aggression. The question therefore confronts us; Does Indian music now possess enough inner resources and strength to use technological progress and cybernetic gifts as instruments for the fulfilment of its ideals and enhance its own vigour and greatness or does it succumb to these pressures? The long history of Indian music has shown time and again its stamina and strength as well as the power to assimilate alien influences and extraneous pressures. experimentais and lie loniy on the fringe of the average listener's awareness. Their taking a central position of such awarenss or the music platform is at the moment or in the foreseeable decades is a far cry. Nevertheless, such experimentation will probably increase in the first and second quarters of the next century* But Indian music is more Likely than not to absorb and assimilate such of the movements as are consistent with its ethos 4. There is however, another side to this question; the possibility of Indian music allowing itself to be absorbed into a characterless, colourless, single global art form is remote, it is true; but there is an insistent cry for Fusion Music— fusion of Karnataka music with Hindusthani music, fustian of Indian music with Western music and so on. Some scattered effort is already visible in this demand . Western music composers are increasingly borrowing brief themes from Indian music (and from other musical systems). Some enthusiasts in India are trying to induct Western musical styles, idioms and forms into Indian music. These are still avantgarde modern cosmetic to ifs face in about the middly of the coming century and reject the totally a n t i l o g i c a I innovations. 5. I have an intriguing expectation-hope, at any rate,-of the future; Indian music is rich in interart affinities such as dancing, painting and sculpture. It also has considerable synaesthetic potential, that is unexpected faculty for intersensary perceptions namely sound as colour and colour as sound. Much research is now being carried out in psychophysiological and neurological laboratories abroad in true synaesthesia and pseudo-synaethesia, extending the experiments to other sensory modalities viz. smell, taste and touch. Such investigations are based on the faculty of the human brain to receive sense data and to organise 5 * them into a single, meaningful experience. Would the next century make it possible for people not only to hear Indian music, but also see it a symphony of colours, smells, tastes and touches through individual, personalised, ascribed equations! In other words, would the fifty second century of the present Kaliyuga develop equations for Indian musical sounds and rhythms in hues, flavours, fragrances and pleasurable, sensuous touches, so buit as to cater to individual preferences and tastes so that the experience pervades and integrates all sensory aesthesis? I feel that in the coming century interart affinition and intersensory integration of aesthetic perceptions would be a distinct possibility and become increasingly articulated. B. lustra -nm si cal elements 1. We may now briefly consider a few elements within the musical system. First, the medium; hopefully, Karnataka music vocalists will realise the importance of systematic voice training instead of depending on chance or freak. Besides bringing greater enjoyment to their own listeners, it would gain tolerance, if the respect and acceptance, and minimise contempt, of Hindusthani music lovers. 2. As long as acoustically efficient auditoria are few and far between dependence on the microphone will grow in live concerts: recorded voice qualities will tend to be 'sweetened” by acoustical gadgetry, to the detriment of natural voice resources and of scientific voice training. 1 hope this last mentioned will be developed tn suit individual needs and requirements as well as particular compositional genres. 3. Many additions will be made to the listening exotic musical instruments in our music with adequate adaptations, not only in orchestral ensembles, light classical and avantgarde idioms but to art music as well, thus enriching the colour, texture, range and possibilities of our music, 4. Borrowals from or exchange with, folk music will continue in art music; it is hoped that urban mimicry of folk music will stop and the genuine folk art will be systematically studied and promoted. There is a need to establish and develop centres for the collection of authentic folk music and folk dance records for archival, research, teaching and comparative musicological studies both regionally pyramiding into an apex body. 5. Scope and range of virtuosity will be enlarged in extant musical instruments with technological innovations and acoustical research in materia], repertoire, performance methods etc. New instruments may be hopefully invented. Most importantly, it is to be fervently hoped that methods of manufacture and repair will be developed to ensure uniformly excellent quality in instruments by discovering all the empirical and technical variables in instrument making and relating them in empirical and theoretical mathematical equations. At present, the tone quality of a musical instrument is largely left to chance and whim. It is important that the instrumental performer is consulted so that his needs and problems may be addressed instead of en mass regimentation in 6. Another important need in this field is the developing of a notational system for each instrument for manual techniques of playing alongwith slow-motion vedeographs for near and distant teaching. The dimembranophones(e.g.the mridanga) may be cited as an example. Each drumhead should be divided into radial sectors and fixed with a numeroditeral symbol. The palm and fingers of each hand are also suitably divided and similarly symbolised. The two then may related to each other in terms of the type and degree of contact as well as the vocalised instrumental sound (sollu paata). Thus each dement of the playing may be synchronised and mapped. A practical difficulty here is the arriving at a consensus among the exponents regarding the correspondence between the instrumental sound and the vocalised syllable; for, different schools have developed their own equations between the two; each individual percussionist builds his own polyvalent equations' — different drumhead sectors and hand sectors are sometimes associated with the same vocalised syllable and 6 WBIffilBBM GUNAGRAHI/DECEMBER1999 ■BBHIBHI vice-versa. It is to be hoped that some thought and effort would be bestowed in the years to follow on this aspect of our music. Excellent work has already been done on the tabla. [ 7. The Gurukula system of music education is almost irretrievably extinct, in spite of some earnest attempts at revival are being made in one or two institutions. The institutionalised system has come to stay. It is necessary that the Latter should eschew the worst and incorporate the best in both. Conceptual infrastructure including Principles and Philosophy, Aims and Objectives, Methods and Teaching Aids, Assessment of Aptitude and Performance, Abnormal Music Learning. Place in General Educational System, In ter- art and Inter-disciplinal Ramifications etc, yet remain to be established in music education in consonance with our cultural traditions and with the modern needs and aspirations. The scope and purpose of music education at various learning strata such as the primary school, high school, preuniversity, university and conservatory should be clearly defined and distinguished. Music education needs to be diversified with break-throughs such as Sociology of Music, Adult Music Education, Informal Music Education, Distant Music Education, Music Composing, Music Criticism etc. etc, All this applies, mutatis mutandis, to musical genres other than classical, also. Much progress may be expected in this area in the coming century. 8. Concert patterns of both Karnataka music and Hindusthani music have evolved into the modern format during the past one hundred years or so* It is now tending to be stale and stiff in repertoire and convention both in the electronic media and platform. This is somewhat due to the deadend which music composing has reached in the classical and other genres. Creativity and originality in composing has become lustreless, reduced to the conventional and conservative. Spontaneity, vigour and inspiration are replaced with straining and groanmg(-almost tenesmus!)* This has naturally influenced platform concerts. Organisations arranging periodic music concerts and available music auditoria have not kept pace in number with the growing population and music performers. Large urban distances, time and money involved tend to dissuade urban music-love, from attending live concerts while the ready and relatively inexpensive canned music and recording and listening equipment have induced him to stay at home and listen to the music of his choice in comfort and leisure, so that he is inclined to feel that loss of rapport with the musician possible in live concert is a small price to pay* This trend is likely to increase in the coming decades. 9. Post-Independence India witnessed a democratisation of music by bringing music listening of a wide variety in style, composer and performer within the common man s reach. Ibis 7 became possible of technological advancements . However, largely due to a sad lack of preparation, vision, planning, policy- formulation, administrative acumen and the art of governance among the political leaders, democracy has dismally failed in the political, sociological and economic aspects of the life of the common man. This is true of the arts also, especially of music. It is true that there was some enthusiam and euphoria in the third quarter of trhe twentieth century; it is equally true that the final quarter also witnessed a disillusionment. Among the reasons for this failure may be mentioned: inability of quality to keep pace with quantitative explosion, inability to guard against proliferation of weeds, inability to keep at bay the politicking musician of inferior music ability who has to survive at the expense of genuine talent and excellence. Governmental myopic policies, including an inability to formulate a clear cultural policy, bureaucratic corruption and favourtism have much to answer for. The new century will hopefully usher in a true democratisation which means equal opportunities and healthy competition for all to achieve excellence and proper recognition and promotion of merit . A century is but a speck in eternity and in the path of human evolution. And the Kaliyuga has still to journey for 4,26,900 solar years. But human life is short and a century is longer than it. How are we going to fare in the new century? — n ■I — - *j s T ^t| — *J«i* ' ■ - > 1 1 l i . \ i nift iii IflpDA lAbliH lHI DEGEMBER1 999 •i- SAHITYA AND NRITHYA ....... - by DR M SURYA PRASAD [Music can exist without dancing but the dance cannot servuive without music. Dancing is really a visualisation of music and even in an absolute dance like the tandava which is performed to rhythmical words, it is more effective when these syllables are sung to musical notes. Therefore, it is obvious that music for dance has to have a) musical value b) rhythmic potential and c) sahitya or literary content which is what is being highlighted in this article). Music and dance are often described as “'two limbs of the same human form/ 1 Some of the musical pieces in Sanskrit classical drama are rich in sahitya and were definitely meant bo be danced especially in the Up a Roopaka forms of Sanskrit literature and the sangeetha nrithya of the medieval period. Several operatic works were written between the 1 3th and the 1 9th centuries, meant obviously for dancing like Jayadeva’s Geeta Govinda, In addition both in northern and southern India, several musical forms meant primarily for dancing were composed like the Bhajan, the Thurnri, the Fada Varna, Padas and Java Lis. Strangely, enough music and dance seem to be the only two arts that have maintained a continuity with the Shastric traditions of yore. The dancer not only weaves abstract patterns of movement to purely melodic patterns set to tala or rhythm but she inierpretes through stylised gestures the literary content of a musical piece set to tala and melody. Abhinaya in Bharatanatya: Bharatanatya which is what is prevalent and popular in Karnataka gives us a true picture of how music and dancing are woven together to form a beautiful pattern of melody, rhythm and literary content or sahitya and interpreted by the dancer through nritta, nrithya and abhinaya or mimetic gesture while variations of the melodic line set to a metrical pattern guide the nritta sequences the sahitya or the words of the musical composition determines the abhinaya of Bharatanatya, like Pada, Geetha, Keertana and the varna. Word, gesture and expression are harmoniously synchronised and rhythmically rendered within the format of the technique to interpret the literary theme of the song. Significance of a Vama: The varna is a good example of a complex musical composition of Kamatik music giving scope to the dancer to combine nritta, nrithya and abhinaya of the highest order. In the interpretation of sahitya by the dancer she or he has the freedom to interpret the meaning of each line in a number of ways without deviating from the actual meaning and mood of the sahitya. Herein lies the skill of the dancer who, starting with the dominant mood or sthayi bhc ava of the song is at liberty to c o off at a tangent to depict var ous transitory or sanchari bhc avaas which occur to her, finally getting so involved with the nuances of the sahitya that she is interpreting, that she finally becomes one with it and atteins a state described as the saa^wika bhaava. Nay a ka-nayika bhaava: The theme of the sahitya used in dance is usually based on the "Nayika- Nayaka” bhc ava, symbolic of a devotee’s yearning for God, or of I he Jeevaatma for union with Parmaatma. The nayika is the lover usually, a woman and the nayaka the Beloved, a man. This concept is known as Shringara bhakti, the most unique contribution to dance. Shr ngara or erotic love leads to bhakti or absolute devotion, although the same lines of sahitya or words are repeated by both the musician and the dan:e both improving within the rag a and sahitya of the song to convey as much of the mood and meaning of the literary content as is possible. The Pada: The pa, da is a musical piece specifically belonging to dance, music and again deals more often than not with shringara and the naiyka- nayaka bhaava, giving the 8 dancer great scope to depict the bhaava in a variety of ways. In the Javali, the bhakti or devotional mood of the song is replaced by a lighter vein of erotic love, human and sometimes downright earthly. The shloka with its devotional sahitya, is performed by the dancer at the conclusion of her recital in a spirit of para- bhakti. Abhinaya in other dances: What has been described above of Bharatanatya is true of the other styles of classical Indian dance, such as Kathabkah, Kuchipudi nafya, Odissi, Manipur i and Kathak. Since Kathakkali is essentially, a dance-drama, die sahitya is highly forma llised and rich in literary content often being extracts from renowned literary compositions is Malay! lam, Sanskrit and also Manipravala(a combination of Sanskrit and Malay alam). The Raas dances of Manipuii are based on the sahitya of Jayadeva's Ashtapadis and now in moder times on l ongs and poems composed by renowned Qriya Poets For abhinaya in Kathak, special musical forms like the bhajans, thumris and dhammarsi were composed and used. Narayanateertha and great operas around which Kuchipudi natya was built up. Similarly, Maharaja Swati Tirunal’s songs are the basis of Mohini Attam. Kannada songs: In Karnataka, sahitya of a very high order has always been used in Bharatanatya performances. Ancient Kannada poets were connoisseurs of dance and music and their compositions can easily be used for dancing . As for the Devaranamas composed by Purandaradasa and Kanakadasa with the sahitya being full of the descriptions of Vishnu and ten incarnations, no Bharatanatya recital, not only in Karnataka but anywhere in world, is complete without including one or more of them. The Javalis composed by the great composers of the erstwhile Mysore Royal Court especially for the renowned Asthana Vidushi like the late Jett! Tayamma and Dr.K.Venkatalakshamma are very popular with contemporary dancers who have also begun to use ".he poems of the great modern poets like Kuvempu, D. V.Gundappa(DVG) and others and the lyrical operas composed by PUTINA (Dr.Pu.Ti. Narasimha char) in their rectials with great success. Need of the hour: What is however, very much needed is vamas in Kannada, Could the great musicians and composers of Karnataka give this matter a serious thought and do the needful? The vamas of the Tanjore Quartet are a case in point of how the complex piece of musical composition with comparatively simple and elegant sahitya can inspire a dancer to rise to the heights of creativity. What we need today are more more which can be set to music and which can be interpreted by the dancer through abhinaya. The bliss: It is said that the “word set to music, danced through sculpturesque poses which seeks to evoke a particular state of Being provides to the performer and the spectator a heightened experience, appropriately called “Brahmananda Sahodara." In short, just there can be no dancing without music, there can be so significant abhinaya without sahitya of a high order. .KESHAVAMURTHY (Veteran violinist) ’ragati Mansion”, flat No. 301, 2nd floor, Margosa Road, oad, Malleswara, Bangalore- 560 003. Ph, 3462554. ******** UNDARI SANTHANAM (Dancer- Guru) 61 , 25th Main, 24th Cross, Banashankari I! Stage, Bangalore-560070. R. Site No.43 t “ 3rd main No.l CHANGE OF ADDRESS: 1 GUHAGRAHI/0ECEMBER1999 .... KATHAK - NATWARI NRITYA By MAYA RAO n K athak the very term is derived from the art of the story tellers Kathakas or Kathakars. It is said Kathak Kaheje so Kathak Kahave," But through the centuries the style itself came to be known as Kathak. In present times, the term Kathak conjures up visions of a dancer displaying virtuosity in spinning and footwork or Chakkar and Tatkar respectively. Kathak has acquired this character of contrasts because of the various stages of evolution it has passed having had patronage from different sources. As said before Kathak had its beginnings in the temples of Rajasthan and Uttar Pradesh where the Kathaks interspersed their narration of the stories from our epics with dance and song. With the devastations of temples in the l Oth and 14th centuries by the Muslim invaders the dance form of the Kathakas underwent a period of silence for some centuries till it was revived in the courts of the Mughals where it gained a secular colour with the aura of the Royal Courts. From the devotional it became an entertaining art. Similarly Kathak received an impetus from the rulers of Rajasthan. As the themes for dance contained the Rad ha -Krishna or Shiva- Pa rvati episodes, the dancers stifled the story-element making way for decorative gestures, stances and lyrical movements, speed and virtuosity also became the mainstay of the dance form, thereby emp hasing the technical aspect. The tukdas or rhythmic patterns of the Ras period were given sophistication with complicated rhythm variations and a dazzling display of spins and footwork. Thus the form acquired a fragmentary character till patrons like Nawab Wajia Aii Shah of Ohdh (Ayodhya) found the need of reinstating the st element of the orig Ras Leela into Katf He composed a danci theme calling it Raha Ras) taking the main chief court Dancer ai helped with the techn this, Thakur Prass Bindadin and Kalka the style of Kathak w -drama woven on the Ras (the Persiansynonym for role of Krishna in it. His d mentor Thakur Prasad que of dance. Inspired by |d’s nephews, Maharaj Prasad further enriched th the story-element in it. contributed to the revi while Kalka Prasad sequences. Kalka Maharaj, Lachu N Maharaj have invigor contributions and the have popularised die ;al of the spiritual content, nriched die pure dance Prasad s sons Achhan aharaj and Shambhu kted Kathak through their While the style c in Lucknow empha expressive aspects o flourished in Rajasth* the vigorous aspects rhythmic patterns, of the Rajasthan ct Pandit Sunder Prasa H the early twentieth ce with disciples outside Thus came the Lucknow Gharana in Gharana in Rajastha While I was cc history of Kathak, l ; Mrharaj to enlighft Kathak and the era recognised as a CIa;|s style. He smiled sayii the dustry papers Libraries to find the he said, "my forefa oih :>ry nal ak. form f Kathak which flourished sised the graceful and dance. The style which n brought to prominence spiced with complicated ongst the many dancers urts, Pandit Jailal and dominated the scene in htury and shared their an Rajasthan too. wo Gharanas, known as Jttar Pradesh and Jaipur on sked my Gum Shambhu n me on the origin of in which it came to be ical or cultivated dance g "why do you get lost in historical records in ^gin of Kathak?" "Listen", hers saw the vision of tf 10 GUNAGRAHI/DECEMBER1999 RASAKA, and HALLISAKA mentioned in the ancient texts like Natya Shastra as well as medieval works. javoured to translate expression, that is we, the descendants te the beauty of that Krishna dancing and end that in movement and Natwari or Kathak. And, are still trying to inlerprc vision!" There are basic similarities between Has Lila and Kathak in Abhinaya and Nritya which The height of imagi lation with which the wonderment of the divine dancer is w T oven and passed on in an oral trad tion from generation to generation, I know, vill get stifled if we analyzed the dance : tyle to fit info a chronological order or his ory. Hence, historical records of pinpointing th s evolution of Kathak in distinctive periods or *ras have evaded us. While referring to the Kat lak dancers and their tradition, Dr. Anand Goor larswamy the reputed scholar has eulogised the art of Maharaj Bindadin, the celebrated Kathak Guru in these words: (Gaits) Ka vitas (Poems recited in rhythm) and rhythmic patterns woven around the syllables TA THEI THE! TAT* Even in the poetry of Surdas and Ashtachap poets we find terms of Kathak used. When Kathak travelled from the temple to the Royal Court patronised by Mughal rulers like Akbar, Jehangir and Muhammad Shah Rangila, a series of new features were added to Kathak to suit the new environs. Nevertheless there were emperors like Jehangir who allowed the best of the old traditions to continue. The Sangeet Darpana, gives descriptions of dance sequences seen at the court of Jehangir, The Pushpanjali bears striking 1 have never seen nor Qo i nope to see, better acting {Abhinaya)! than I saw once in Lucknow, when an Old man, poet and dancer, and a teacher of many many dancers, sang a herd-girls (Gopi's) compl aint to the mother of Krishna. This famous dancer whose name is Rindadin is a devout B ahmin, Bui such an action song as this did r ot belong to him, or though is oemg, even the particular words ace and its Old vision Coming back to tn while w p e have reference; early times, with me Ra may an a, Mahabharat* actual style of presentatic texts than the Puranas a in the Northern and No India but do not specify 1 th It is only from the ri its influence in 15ih anc that we find reference t< mode of dance with the RAdha Krishna legend s find traces of Kathak evolution of Ras Lila, 16th Centuries A.D. Kathak as a distinct ten in Ras Leela. We while studying the 'hich has links with MYSORE: Gana Bharathi: Veene Seshanna Bhavan a, Kuvempu Nagar: Dec. 10 Nrithya Aradhana by Nupura Kalavidaru. Dec. 12 Hindusthani vocal by Sushma Kashyap. Dec, 13 L.Ramaseshu (Karnatak vocal), Dec. 20 to 24 Dr.Devendrappa Centenary celebrations, Dec, 25 to 27 Natyacharya M.Vishnudas Memorial Dance programme. BANGALORE: Maileswaram Sangeetha Sabha: Gokhale Insitstute of Public Affairs, Malleswara: Dec. 5 Pandit Sohanlal Memorial Endowment dance Programme: J.Apoorva (Bharatanatya). Dec, 11 V.Kalavathi (Karnatak vocal). Dec. 12 Veena Venkata subbaiah birth centenary concert: M.R.Shashikanth (veena). Dec. 26 to 2-1-2000 Sri Hanum jayanthi young artistes music festival series jointly with Ananya Cultural Academy. Pasha Dec. 1 7 Dec. 24 Panj aje Dec, 31 Tagore Every Friday Cultural Evening Programmes: Yavanika. Dec. 10 Syed Saliauddin (Bharanatya). Saraswathi (Karnatak vocal). Suryanarayana ana), Anulekha (Bharatanatya), Bharatiya Vidya Bhavan: Dec. 10 S.Snehashri (Bharatanaty). Dec. 14 Bhakti Sangeeth H,K,Narayana. Dec, 21 Anita Shivaraman (Bharatanatya). BHAVANOTSAVA 99: Dec. 22 Inauguration. Dance- drama ^Vikramorshiya" at 6 P.M.by Abhinaya Bharathi directed by Dr.S.R.Leela. Dec. 23 a dance feature Kalpana by Padmini Ravi, Dec. 2 4 5 pm Pt.Raghupati Hegde (Hindusthani music)). At 6.30 p.m. Haridasa Nadanjali; a musical opera directed by Mysore V.Subramanya. Dec. 25 Cultural evening by the students of Bhavan "s School of visual and performing arts. De,26 Veena duet by R.K. Suryanarayana and Naudita. Dec, 27 5 pm Kai natak vocal duet by N.R.Sharada and N.R. Harini. 6.3 ) p.m. Hindusthani vocal by Sangeetha Katti, Dec. 2 8 Yu\ akavi sammelana. Dec. 2 9 6.30 p.m. sitar recital by Pt. Gaurav Mazumdar. 8th January 2000 6 p.m. “Gdissi nritiya sandhya ' by Khama Rac , Jan, 14 to 16 Yuvath sangeetotsav-A Sankranthi muric festival, Naiajyothi Sri Thyagarajaswamy Bh; gana Sabha: Sri Vasavi Kailyaka Parameshwari Terhple, Maileswaram 8th crops: 6.30 p.m, Latha Ane nth(Kamafak vocal). Sri Guruvayurappan Bhiijan Samaj Trust: 2nd yea: Sharadotsav{4- 12*1 999 to 12-12-99) at Odakkathur Mum. Dec, 5 Padma Artists predents ^Sanchari" directed by Tanjani Ganeshan. 6.45 p.rr. Kirans(Bha ). Dec, 6 Bharatanatya by |ka Academy followed by ana Nagesh, Dec. 7 Duet [/eena Nair and Dhanya Bharatanjali by yakala Mandiram. due Ras by Nai Nrilh With Best Compliments from: - Guru Radha Sridhar VENKATESHA NATYA MANDIR | 'Prabha', 114/3, Gavipuram Main Road, Bangalc Ph: 602161 Res 609930 Off R) re-560 019. 12 FROM RBROJIiD * By Nachiketa Shar na California, L SA Pt , Prabhakar Kare car entertains Prabhakar Karekar gav Hindusthani ciassi performance at the Bhah residence in Cuperti California on Nov. 6. concert started an excuse fifteen minutes late and u on at length till 12.40 A.I^ singer of fine calibre, Rare displayed his prowess as as his fettle in the class realm, a territory to whicl has migrated from his ear stint of primarily natyac rao no, fhe ibiy ent l. A kar veil i he lest feet music. He started with the beautiful evening melody Maru Behag. This raga deserves a thorough expounding and unmitigated discovery so r j to ensure that the potential of the raga is fully realised. Much to one's disappointment, Karekar denied us this pleasure. It seemed as though he was so resolute in dishing out an alap with unchecked speed and tans with superswift execution that he conspicuously skipped meting out that soft, sweet core of gradual delineation with a meditative nyaas, an essentiality that can lot fail to soothe the performer and audience alike. Let no mistake by made, his seventy minute Maru Behag was eminently entertaining. One wished he had rendered all the justice to it. He sang a lovely “Shubha dina ayo” in vilambit ektal and the lovelier '“Man lagyo na f: in drut teen tal both of which are compositions of the unmistakable PtRamashreya “Ramarang" Jha. It was a treat witness the joyful play of tan, tal and drut bandish, a game in which the tabla of Subhash Kamat and the harmonium of Aravind Thatte played superably executed innings. Karekar sang Hameerfor a madhyalaya and drut bandish. An exquisite Nirguni bhajan by Dharmadas could have been better. Madhukauns featured in the post-interval session too were not upto the desired level and impact. But rag Sohni evoked a great deal of enthusiasm. He infused his brant of infectious energy with this raga. The Kumar Gandharva bandish “Rang na daro Shyamaji ” was beautified with tans coupled with energetic boltans. His singing of Kaushi Basanth(a combination of Basanth and Malkauns; “Ritu basanth ayi rf') and raga Pahadi(“Jamuna kinare mere gaon T ) were passable. A Tappa in mishra Kafi “O miya jaane vaale” was the best piece of the evening. Gum S.N. J/othi Pattabhi SADHANA SANGAMATRUST, K.H.B. Colony, Basaveshwaranagar, Bangalore - 560 079. Telephone: 080-330 37 48 “Laya Taranga"— an ensemble of Percussions, It is a team of young, ambitious and talented percussionists making headway in the Karnatak music field. Their first musical production ‘Punamava" has seen the light of day* It contains on side A: "Mahaganapatim” (nata), "'Reverie (Hemavathi) and "‘Monsoon Muses" (Amrita Varshini), The high pitched, bright and cheerful piping notes of i — the flute make for a very refreshing beginning and give the cassette a rollicking start. The rich and varied ornamentations by the instrumentalists surrounding the phrase “Maha kavya natakadi priyam” are good. The plaintive strains of Hemavathi are charming and pleasant. The tana reverberates with vibrant rhythmic patterns* Raga Amritavarshini celebrating the lifejgiving rain is just fine. The sou ndeffects of rain drops in the background add a novel tou :h. Side B comprises ‘‘Soul of .ayataranga 11 which can rou ^hly be translated as Tani av£ rtana in musical jargon anc “Punamava” consisting of high!' stylised "Bhagyada Jak shmi baaramma. Anur An* nthakrishna Sharma and Na^endra Udupa have done exc dlent job of the rani set in adi rala creating an impression of good rhythmic coo r dination t synchronisation, harmony and overall unity. The ir youthful enthusiasm is cat< hing. The Purandaradasa kril li although couched in ultr i- modern, somewhat filmy costume, makes a fitting mangala stutL The artistes Ra ip i s Prasanna, Udupa, Kiran, Madhu and Arun deserve to be congratulated for :heir maiden innings, — I whole Sale Dealers Commission & Genera! Agency (Bangalore) 43, J.C. Road, Bangaiore - 560 0G2. Grams: 'AGENCY', Phone: 2222331-2-3, Res: 6718822 Dr, A,H. Rama Rao 81 Sudha Rao page QUIZ OF FINE ARTS.... 15 1 * What is Ekadhaatu Divyanama keertana? 2. Give an example for the above. 3. What is its speciality? 4. What is Dwidhaatu Divynama Keertana? 5. Give an example for the above. 6. How is it sung? 7. Who is a Eka mudraakaara? 8. Give an example. 9. What is the speciality of Eka mudraakaara? 10. Give an example. LUTION TO QUIZ OF FINE ARTS.... 14 1 . I he second section of the main part of the body of the raga alapana. 2. The saneh ras herein are prinicipally confined to he mandra sthayi with occasional fliynts info the other octaves. 3. The sancharas revea; tlie individuality , creative talents and imaginative skill of the 7. 8. 9. 10 performer. A raga with two of the sapta s waras deleted . An audhava raga. A second set of five ghana ragas. Kedara, Narayanagowla, Reetigowla, Saranganata and Bhowli. Nata, Gowla, ArabhkSri and VaralL The third note of the scale in European music, Gandhara. - MANI. PHOTO QUIZ tk i | NAME THIS ARTISTE VISIT la n D [Pw@ SfiREE HOUSE for a mide range o Sarees * Opposite V.V. Puram, West Gate, R.V. - 560 004. Phone 15 * 5 2 sfatfrrii? dak ria& aads aiaia^ cvw^eea aa^a d-i KTCWfl mtoeSjaf^Erm ^CK5a E£ C%f(DO BDwnvro xnaoro KRsawDrcuo ffosra wCTDaftiJjaere, roa|, b 8 odk 5 , w 3 o is^i pJ^OCD S5g 7 iog. c dji r ni Jsi a Sdjs da 03 ti iif3 d: So7l/3C$ oso&ra V re Co. DS. do. geSJF^d esi^rsd; doSUoss 5, uS F 08^ ^sj w^^cv eoro^^a docU ^ a ei U *dr&®ey tjraftcdi? iloriuscEri 5^ sb jj ocjj P55^ s^awn S-ddioSosn*' S^SSOfi S> J f5la33S!033 f azf. ilS 0& *i 3> d C C ?y £' od !3QZlC l3S tj£33 H dcstodb*bu.sdbr&o 5 its *4 &) gads*?* s&OKd *J ^!dcrt sas&i 81 3.&1 rt 0 n=) d Cd?*a £> od ■JQ v-F * 3 j. W £•' *•■/ tJ tJ £cdrs rf^d re I. Uoitoosoi ef|&ra rb-dbts re uOr dc^dJs^d cdd^Ogo C35ud dcrUado saodd fal dWaScs* 1 djsrta j.p. diO^O*' dons* SoSrtjseii rkd 3> 3o«> Sea w =J v 1 .......5353 Sadiff3aC3B*‘ dsjdeSab ^e^oaSa&jri ssioaw;a' &a, io^, r oXw &T d JiF ^3 u 3 c 3 ddirt^sded (ssftri^SOJ sdiij? SreSdSAddd i3K03did03d ^narUod dedriOrteddi h, aedd nr d?s w U3dOft, feUtfrfF i> £ mrfeMLaesi a^dc 51 gema* &tss3$d t^jscoa^s de^ok dtfnso sbUjSiorso siiaotosa^e^ B dtfjT50 tj-i/" . C. i-jw s wj id SfcUOfc tied UdOfe ■i "i £ sSoert^sdo^, Sj&dtf cJ ^dn^d w^rr^d arauee? Q d^rcao &W. &. odotod , ^ * ssdd dSJ? ot^ ssdioodd 4 cj ^jscSrb o^dsdod tStfrrao 00^ ^jfdid mrtwijseil usjjtfmts* to af ij^rtd M CrJ d^rrao ilCS*' U3S?J r d3& 1 ® id 3d tpfdbc^s^ 3dcns ^ a «j ^ H toeda^ ecSo jcJjyrciS^ trart, t»n ddo^dd). ^o ad doiJjdjdf ssscs? cs^^db igc&ifl 5 3 it tajSagjtjOtptS &>5BUatort* S35lir 16 GUNAGRAHI/DECEMBER1 999 _ Perfect Note with Pt. D.B. Harindra by Sfiruti iVonatiaty It % F or veteran mu Pandit Harindra, recognition accomplished musiciai teacher of high calibre only a coincidence of cl tances. It has nothing to do with MMr 1 publicity, he MftjjL t r j. says. Infact, : t h i s 1 Wj multifaceted | % ^ j personality fc shuns publicity and does not KfSISH 1 £ -fy, .& f. believe in commercial W^r ising his art. W Having! given more I than 6 “ decades to the art of i Pandit Harindra sees mi an inseparable partner and feels that the gr< achievement in life for I for music to happen to He attributes his m genius mostly to his Pandit Shankara Sada Joshi, under whom he tr from 1942 onward* several years. He found S.S, Joshi to be very i mined, a rare quality t< ina gum in those days. H encouraged by his gu listen to a variety of musi and imbibe their qualities. Thus, this inhi quality, is what Pi Harindra possesses even i He sees himself as a le and ventures into findin< % possibilities to present < s loan D . B . \s an l and is to cums For him it is a non-stop venture. He was also guided by the great Pandit Shankar Dixit Janthalli of Hubli, Pt. Narayan Roa of Hyderabad and Pt. Ramarao V. Naik Hr* : : •. ••• - ' & * / ft f. 1USIC, sic as :>f life atest ■ um is lim. [iiijsical Guru shiva ained for :>pen- : find e was ru to Gains ;jood rited rner new rag. Ft. Harindra with Smftii Nanavatfiy during 1948 and 1958, Pandit Harindra’s life has been a creative one. In the field of music, you name it and he has done it all. From being a regular performer at AIR (for 30 years) and prestigious music platforms to being an active musicologist, having presented papers and conducting iec-dems at improtant conferences. He has also contributed innumerable articles and reviews for various dailys and magazines. His landmarks are his outstanding contributions to music literature namely his article in Bharatiya Kaladarshan' (pubiised by Sangeeta Nritya Academy, 1963), his extension lecture on Hindustani music published by Bangalore University and his paper on The role of Kannada in Hindustani music-tommorrow' at World Kannada Meet, Mysore in 1985. As an examiner, he has been invited several times by the State Government and Gandharva Mahavidyalaya of Mumbai, He also served as a member of Audition Board of Akashwani- Bangalore during 1992- 1995, Pandit Harindra’s views are very distinct and convincing. He has a way with words and one brings back knowledge after having spoken to him. He has a lot to say about music from his experience and it is due to such veteran's wisdom that our music have been surviving. As the days zero down to the coming of the next millenium, it is but essential to re-think and re-discuss the significant aspects of our Indian music in the century that shall soon Excerpts from an interview for GUNAGRAHI: Q,*. Sir, I would like to start by asking your views on the controversy involving the Gharanas and their A... This has become a prestige issue for a few and it is gradually diminishing in its real sense. Meaning that those very much in want of the symbol, seek to retain the name of Gharana, This is because Gharana doesn't seek to evolve into something new. Infact, the concept of Gharana tries to limit one's capabilities. For this very reason, persons with talent want to develop an enriched music and are trying to maintain growth in music, which is very much in wanting. For a beginner, it is for sometime necessary to adapt oneself to a Gharana for the sake of discipline. But thereafter, one has to maintain an open mindedness towards the oustanding features of other Gharanas and in turn try to develop an individuality that one is gifted with So I conclude that the concept of gharana as such should not make a singer, a fanatic. At ih end of the day, one has to accpet the truth that there are as many Gharanas as there are individuals in the Field of music. Q,,, So you are open to the fact that one should imbibe qualities from other Gharanas. But some people onsider this as mixing of various Gharanas., A.,, There is nothing such existing as mixing of Gharanas, because the finer points in each Gharana need not be overlooked and if it is upto the keener sense of a developing artiste to adopt anything good in music. So there is nothing like mixing gharanas. One is just taking what is good, that is all. Q... What place does the theory aspect of music hold in an artiste's career? A..* Theory of music, 1 would say is to some extent an important aspect of training. It is based on the nature of a rag and useful for performing ability and proer analysis of a rag. It helps us to learn about the rag’s limitations as well as what greater possibilities there are. Theoritical knowledge makes us see reason behind what we do in music, But this does not mean that an artiste should become too involved in the theory aspect because this would only hinder his search for new discoveries. That attitude that there is nothing beyond what has already been done should not be encouraged, Q.*. Could you elaborate a little on the time theory that we follow in Hindustani music? A... The time theory has been there for centuries. The time concept for a raga, is based on the congenety of the existing season and also difference in the effects of different parts of the day and night. So it is nothing as such being imposed on a singer. Because of the unsuitable condition for the concerts being forced upon both the artistes and organisers, the only choice left to a musician is to try for the proximity of time suited to each item or rag, he presents. Thus as far as possible, the Rag should be sung according to time. As I always say that : 'Raga, Rasa, Samaya' should be borne in mind. It is only when a rag sung at the right time that the Rasa flows so naturally. Rasa has got to be there in a rag. What is the right method to present Jod rags? A... See the rule of thumb in pres* i has ti notes are b as trc i This musk both conv- takei can\ how Doinj quesi other' natur Q • r • shot cone-: shou iting Jod rags is that one > find out those common between two rags that dng blended which I call nstiional notes or points, helps us discover the al phrases common to ags. Once one becomes rsant with these phrases are relevant to each rag for blending, then one jry naturally change over one to another as and one wishes to do so, l this the two rags in on move parallel to each The method is to know ! common notes and s between two rags for 1, smooth and struggle- ndition to Jod rags, c cording to you, what d the duration of a rt be, today? Also, what J the concert pattern be a A* a crc This make for pi depe aecro depe : shou fhere has to be marked Ltion between singing to Ivd and to an audience, naturally helps one to a wise selection of items psentation. The duration nds upon the type of ers and could be decided dingly. Generally it also Lds on the venue which d actually help the ers to stay full time of mdert, till the end. Now- it is evident from the lour of the listeners that annot put up with long ■on concets exceeding purs. What are the significant les that you find have place over the years in lid of music? pe have reason to be V that appreciation of tal music has gradually 18 increased amongst the youngsters. But ther i are some disappointing f< ctors that I would like t « IB ■ ■ -p I ■"■■■■ V V V V P B! ^ » ■ -a a ■ a in India. All payments be kindly and mail It to: EDITOR GENERAL, GUNAGRAHI, 8, second cross, Opp.Srinivasa Mandira, Baiepet, Bt ngalore-560053, India. Ph. 2253975. PLEAS E RENEW YOUR MEMBERSHIP 19 pr- if icier, t in many arts, and a discreet enthusiast. In t res ted avidly in the intellectual pastimes, he soon became a scholar of considerable eminence in many Padmanabhiah. He had his lessons from the great Sheshanna also, whom he knew very intimately And at the instance of the then ruler of Mysore, Chamaraj Wadiyar* he went to Tiruvadi and had his training under Patnam Subrahmanya Iyer for nearly six years. He returned to Mysore and was appointed court musician. An eminent authority in the science of music Vasudevacharya was also an excellent vocalist. He used to accompany Bidaram Krishnappa. Madhyamakala singing is his speciality. Besides his attainment in rendering music, he is a composer of no mean merit, Many beautiful and popular songs stand to his credit. During his long life he has been blessed with the friendship of many a great soul; Veena Sheshanna, Bhakshi Subbanna, Bidaram Krishnappa, Tiger Varadachari* Muttaiah Bhagavatar, Ramanatha as a lecturer in Telugu. Scholar in Sanskrit, Telugu and Prakrit, master of on e of the most elegant literary stryles* perhaps the profoundest among musicologists, musician of an excellent order, Sarma has contributed much to Mysore's culture. K. V ASUDEVACHAR Y A "You are my gift to Mysore" so said Patnam Subrahmanya Iyer, one of the most luminous stars in the firmament of South Indian music, when Vasudevacharya took his leave after years of tutelage. He was the last in the train of giants; he belongs to the vigorous tradition that is branches of knowledge* As a ki: g, lie answered the description of the Platonic pliilosopher-ruler'; at home* he was usually referred to as a 'feajarsKi'a saint king, A man of unimpeachable integrity of character* he was a striking contrast to the bulk of princely sp scimens in India, A1 eetionate, sympathetic, understanding and wise, he Wi:s naturally loved by the p* >p!e of Mysore as a father. D.ring his days Mysore's cm ture reached its climax; the st<: te oroaressed on all fronts. others. His music bears the stamp of influence from three immortal personalities in the field of South Indian music. ! Patnam Subrahmanya Iyer, ' Mahavaidyanatha Iyer and rr Timkkodikaval Krishna Iyer, He worked also as the now, alas, fading ostensibly. principal of Kalakshetra at Born in Mysore, his early enthusiasm was for music but circumstances forced him to join the Sanskrit College at Mysore, where he acquired proficiency in the sacred language. But alongside continued his study in music under one Subbaraya, a neighbour and later under the famous Mysore eiacoumgea oy personal at I so t ion many musicians and ai :ists, such as K* V isu(levacharya t V, D: reswami Iyengar, K. Vinkatappa and others. Hi ns elf a scholar, his court termed with learned men of eminence in all the fields of or ental study, A clever ad ninistrator, he was shrewd in selecting the most proper WODEYAR The recent history of Mysore would be meaningless without a reference to the illustrious Krishnaraja Wodeyar IV, the late Maharajah. Educated on the best of lines, the Maharaja was 22 officers for the vat ions departments and was personally supervising the day- to-day affairs of the government at the top eveL His was a deeply pious soul and there was inleed something of a saint £ bout him* Few rulers in Ind a or elsewhere have done so much good to their people . The name of this Maharaja will ever be fresh in the menory of Mvsoreans* influential religious South India, withdrawn and i ; centres in he was intent on being a sage whose mere presence has a salutory effect on those present around, he was a great scholar as his commentary on Vivekachadamani and his numerous lectures and discourses evidence. SRI CHANDRASE BHARATI Sringeri is one of th< * four monastic pontificates set upby Sankaracharya in the Eight century A.D. Thirty fouilh in the line of succession of these >1 pontiffs, was the most eminent of contemporary saints, Sri Chandrashekara Bharati Swami (1892-1954). Even as the head of an extremely Not so well known in his poetic talent; he has composed over thirty lovely poems in Sanskrit which breathe an air of spiritual heights; in them is seen the surety of a scholar ,the delicacy of sentiments and fineness of taste. ■ GUNAGRAHI'' EC I A TING ■■ ■?* y - ■•w ’JrA\ 1 1 ' ' ^ Dr. Gangubfct Hangal Pt. Ajoy Chakraborthy 23 With Aesl Wishes With Best Compliments From Abhinava Arts Centre (R) A training and performing centre for Kathak and Bharathanatyam No.66, Jain Temple Street, V.V. Puram, Bangalore - 560 004. Fax/T el: 661 41 99. 661 34407. 6260; JMD.4 JPOJI SRI CHHA6.1IUJA SIVAJW0 MAMJM ,U«]i4 I Head. I No. 88, 10th Cross, Malleswaram, Bangalcrs - 560 003. Ph: 3446839, 3 444663, 3362824 With Best Compliments Prom: WITTE BEST WISHES FROM 3P M. Bharadwaj The Popular Cycle & Motor Co., Wholesale and Retail Dealers in Cycles and Cycle Accessories No.31, S.N. Market, SHIMOGA-577201. Ph: 22556, 22051 Res VidwAN H„S. NAqARAj CuRiiquIiA Cana SaMa SRI GURUEU tifl 5ANGEET-HA MAtiAV IBYAU AYA, No. 53/1, Opp. Basavanao jidi 3rd Cross, SHIMOGA-577201. Ph: 71544 r 4 GUNAGDAHI iT % M'l i : I on first Varshikotsava from Guta iathi ngat cuni A 6 I X p I? * — g Rangoli Fo u n da i ion for A rl & Cii i i nr i? 14748 Morrison Street Sherman Oaks California 91403 U.S.A. Tel: 8 IK 788 6860 Fax: 818 990 9279 Monthly Journal RNI Kegn. No. 69149/98 Regf i. /Vo. KRNU- 586 # ‘ 0H'iierf, PrfMjAetf, Edited flJfctf Printed fry /Jr, M. Su^a Pr/rs/rd at "Munikoti", No.8, 2m! Cross. Opp . Srinivasa Man diram, Balepet, Bangalore-560 05.1 Ph; 2253075, Printed by Kulak risk mi at Sreeranga Printers and Binders, No. 242, 7th Cross, iOth Main , Sri Ran anjaneya Road. Hanunmnthanagar, Bangalore - 560 019 Phone : 6679333 Editor General : Dr. M \ Stay a Prasad Vol, 3 Issue No. 1 Price : Rs. 10/ Karnataka l s only English international Journal on music and dance GUNAGRAHI CEUFBflA^S FIRST VAKSH|KQT£AVfc Stungtiito J0jrm«ii 9l J/us.n aniJ i»$i ytffu. « f . fr ?‘ Varsfciktt&ava or L-ur«1.'jy Ml' Jccyfllfter WS at SO A M. imA . fre ,c:rl auspws t lie Honri.il on ■n ivana SHm&fca at the Saimia auddortum ijr^j 4 K Chamasnekar, Hoft'talB Mio.ftLtN' 'of Stela lor Inta-mtahon jnd Publicity. Gnrt of ri ;1, naliLk 1 li thf! f JOCIili U^LJTlEr Ol GWUJIfflhJ pllbllSllWl QCCWOH fcijftgi.'tflia Katarali^. Sr, ft Sj kaiHEin V-'iJl *Jiusldr: Kangedha Kn.iiaranjhna Prof S K, RawJClnwIja hSO i.iL’.d Sr H. Krona Satiatt will br.- Chi£l Tim Spuc-rvl uoiu 1^ devoted Lo abides on Karn&ti-r: and Sndusmm music 'srid diir-ca. Spit Move ttaei Prof. H.K. ft»rrwichar*cli* Rao. Pt Rua. Sathiyaimfiiyana. &* PS- Farihssralhy. 5:i UP | fyti'irifd jrid snir L.'.l ■ ntirnanalhar, are amomj ir.c: cr>".t'iL=iitiVf..iH 0 vontrK* wu iwnNen its other f*guttr 1 whines also. . L- - 4 I-: h£-l Iv .:yft|icE MI S0irih3-a and Srk A. ft Charn*abasa f ►upta or, 1 . . 1AB ■in, mwah pybiifi-.ftd mgnfc! v m - miiah. J'l^s to iwus T-s let encourag* rr.jB,L and danoT oxHSts in general an specially from 1 Karate. Will, a nel«;>rk ol from ... . I M.I ninna i sc ondu nls from -.loft UK m 31 ay& i-i , HINDU, Monday ^January 3, 2000 5 ..Snryii Prasad and our meeting -.here is ar incredible interlude of 15 - Let me explain, 3 was looking for a* ■•sic writer; ( turned to rnv friend, Mr K Judina nab ha, who, in rh esc years has ■ obscurity to stardom: he Was nmienrt Dr. Sutya Prasad. You him as The Hindu music ethic Vv'h".' : m ■ ' = 1 ": ■ ■ . H 1 -::m\ h: ^Kii ••• ii u-. [ ike The ])(it-i ■ sft -l work -sun shed: ul id: 'Lev i kiis luI\ ;n it if-i- WPi' niu.M, ],dti ami tile d, nicer. [Prasad wu* sore that :h e nvin atts did not have a lotirna! to achievements and aspirations s (he arrival of Gitriagruhi. [it you heat ils readership is on ts P( : is one of n s assets; mo't that Gumgmki i s now 1 Internet and hoi mail; that dm to a global presence ■ n With Best complements from: Ranjani Ganeshan (Dancer, choreographer and Guru) POWWAMBALIH Flat No. 8, Shanthi Apartments, No. 1/1 , Gangadhara Chetty Road, Bangalore-560 042 Ph.No. 080-5591 475 fi FI Cl Karnataka s only English International Journal on music and dance Editor General Karnataka Kala Shri Dr M. Surya Prasad Vol* 3 Issue 1 June 2000 Associate Editors : Copy Ed it 01 - Printer : Chief Patrons Principal Advisers: Ad run Executive Advisory Council Phone : 2253975 Uska K a math Ph, 5598886, K. Ramamimhy Rao. Mysore, Ph 0823-4SIS99 B 1 Manjufa. Ph . .^519227. Vi | ay a R a mesh Ph: 6 6749 6 A Eatakrishna, Ph : 6679333* S. K. Lakshminarayana (BabuJ Mysore Ph: 0821-513414. V krishcan, Ph : 3345665 Dr. A.H. Ramarao, Ph : 6691 1 75 M Bharadwaj, Ph: 08182-22051. H.K. Ganesh, Ph: 645349, H. Kamalanath, Ph: 6612244. M . V Ram ac hand rasa, Ph: 287613] B V. K. Sastry, Ph: 3342682 E. R. Seihuram. Ph : 6783116 Dr. R. Sathyanarayana, Mysore 0821 -529599. T. S. Parthasarathy Chennai, 044-459005 Pandit Seshadri Gavayi Ph: 62637E Guru Maya Rao t Ph: 2283486 Mattur fCrishnaniimhy, Ph: 3348275 Prof. M S. Nanjunda Rao Ph: 2261816 Shyamala G. Bhave. Ph: 3443900 Dr H.N. Shivaprakash, Ph;6672189 Dr. Manjunatha lihat, Ph: 6647654 Duiga. C. Avars hi, Ph: 5298954 T A. S. Mam, Ph: 3441515 K Balasubramanyam. Chennai, Ph: 0444992474, PL. Go wrung Kodikal, Ph: 3316325. H.N, Saresh. Ph: 3347918 C* Chelnvaraj, Ph: 3328361 Prof. K.Ei. Radhaknshna, Ph: 3321643 Gum H. R, Keshavarminhy Ph 3320903. Pt Parameshwar llegde, Ph : 3310039 Pt. Vi nay aka Tprvi, Ph ; 3305701. Dr. T S. Vaidyeshwar, Ph : 6650026 Dr. Vasundara Doreswamy, Ph 0821 542814. Ranjarn Ganeshan, Ph : 5548147 T. R Harish Ph : 0821 -5 10407. Guru Padmjm Rao Ph: 6670013, Guru Geeiha Datar, Ph : 0818270180 Guru Usha Datar, Ph : 3492851 Lochana Ashok Kumar. Ph: 5464488 C. S. Nagesh - 9628-804898 Legal Adviser : E0ITDR1AL OFFICE : ■'MUNIKOTT M0 r 8, SECOND CROSS, OPP, SRINIVASA MANDIRAM, BALEPET, BANGALORE - S60 053, PH : 2253975 Justice Nittur Srinivasa Rao realeasmg the Special Issue of Gunagrahi on the 1st Varshikotsava 1 999 Inside Calender of Events From the Editor General Nrithya and Yoga The Future of Indian Arts Cassette Review What Ails Karnatak Music Review Quiz of Fine Arts Women inTli From Abroad ja's Compositions 2 3 4 6 7 9 10 12 15 16 17 20 24 Correspondents INLAND : Bangalore - Ananthapadinanabharao, Ph : 5532658. Katte Sathyanaruyanarao, Ph: 344663, Kusuma Rao. Ph: 3222593 Mysore - K Raghavendru Rao, Ph : 082- 15 J 35 17 Dr. V. Nagaraj. Ph: 082511133 Hubli Dharwar-Jay&sree Guttal-Ph; 0836347532. Kshama Govimja Rao. Bombay-B, Nagabhushan, Ph: 0251-472475 FOREIGN iC&lifornia :Malathi Iyengar Ph: 818 788 6860. &l Nachekela 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 permission of the publisher. * The editors and publisher of Gunagrahi do their best to verify the information published but do not take responsibility for the absolute accuracy of the informa- tion. The Gpinons/views expressed by individual au- thors in articles published are not necessary those of Gunagrahi, Articles, Photos, Write-ups, reports may also be sent to the following address ; Editor General 446, Jaraganahalli PQ r J+P* Nagar Kanakapura Main Hoad , Bangalore - 560 078, * Dr. A.H. Rama Rao & Sudha Rao Page BANGALORE: Dr.A.H. Ramarao-Sudha R.Rao Charitable Trust and Bangalore Lalithakala Parishath: Dr. H,N. Kalalcsheira, Vaishakbotsaua: June 19 t 6.30 P.M. Veena Vaib/ia^n by Dr. Suma Sudheendra. June 20, 6.30 P.M* Rathnamala Prakash ( Sngatna Sangeetha), June 21 Vidyobbushona (vocal), June 22 Lakshapati Rajana Kathe (drama). June 23 Panchali Shapatham (dance drama by Urmila Satya n ara yana) Karnataka Haridasa Sci- entific Research Centre* Vijaya Ranga Hall , Vijayonagar Market: V ij n a n a Vaijayanthb2000: June 30, 6.30 P.M*: Tabassum lstam(Hindusthani vocal), 7.15 P.M. Deepa Nataraj (Karnatak vocal). July 1, 6.30 P.M. Prakash Kumar Chakravarthy (flute). 7.15 P.M. N.Rohini (Bharatanatya). July 2. 6*30 P.M. ( 'Kala Sangam” variety programme ; directed by Subray a Bhat * Sri Thyagaraja Gana Sabha and Sri Mookambika Talavadya Sangeetha Kalashaale: Van* Vrdya Kendra, Rajajinagar II stage : June 16, 4 P.M.Jayalakshmi Srinivasan (vocal). Bangalore Gay ana Samaja, June 18, 4.15 P*M. T'S.Rama (vocal). June 25, Trichur V. Ramacbandran (vocal). Ananya: June 15,6.30 P.M* G.Rajanarayan(Venu) and Radhika Rajanarayan (Veena). Malleswaram Sangeetha Sabha , Gokhale Institute of Public Affairs, Malleswara ; June 18, 4.15 P.M. Shubh a shree Ramachandran(vocal). June 25C.B. Ramanarayan (vo- ca l). BTM Cultural Academy , Sri Ramana Maharishi Acad- emy for the Blind: June 24, 5, 30 P.M * Padmavathy Ananthagopalan and R.Jayanthi (Veena duet). Natya Samarpana: Dr.Ambedkar Halt, Millers Road , June 17, 6.15 P.M Rangapravesha by Kumari Vrinda, a disciple of Nirupama Rajendra of Abhmaca Arts Centre. MYSORE. Gana Bharathi* Veene Sesbanna Bhavana : June 25, 6 P.M . Hamsint N. (vo- cal)* Avadhoota Datta Peetham t Datta Nagar : 58th birthday celebrations of ' Sri Ganapatbi Sachchidananda S w a m i ji ; filth June to ISfb): June 18, Presentation of Awards. 6 P.M. Music for meditation and healing by Sri Sicamiji. PALLAVOTHSAVA-2000 (16th to 20th Sept) Vasundhara Performing Arts Centre, No.l, West Cross Ashoka Road. Mysore-570 001, will be conducting the 15th National level classical dance and music festival for the IP * r Lm 4i I to titfc A | d to J v. .4 _ jjg Mi J your between the age group of 15—30 from 16 to 20th Sept., at Jaganmohana Palace auditorium, Mysore. Interested artistes may apply to Dr.Vasundhara Doreswainy at the •v above address with their bio-data and three photos on or before 5th July 2000, The selected artistes would be provided with local hospitality and a respectable honorarium as fixed by the Centre. 2 'pvam £dctoi TWO YEAR YOUNG "GUNAGRAHT It is thrilling to note that “GUNAGRAHI” is two years okl now. The uery launching of the journal was a significant one. The aims and objectives with which it was launched have been fulfilled to a maximum extent , The focus laid on Karnataka artistes and art forms , in particular f has yeilded rich dividends. The beneficiaries have gracefully acknowledged the role played by “GUNGRAHI” in their success . Now, it is a happy thing to place on records that the journal could overcome some unavoidable and unforeseen hurdles in Its publication. Thanks to Mr.V.Krishnan , Genera/ Manager, 777 , it can boast of its own well equipped PC. He has been an inspiring force. The popidar p ft i fa n th ropist~co uple and Trustess of Sri Ramasudha Charitable Trust Dr.A.H.Rama Rao and his wife Smt.Sudha Rao have been gracious enough in sponsoring the issues of u GUNAGRAHI My dear friend Mr.S.K.Lakshminarayana(Babu) of * Mysore has al ways been an inspiring spirit behind me , He has been helping the journal in budding up its corpus fund. Now that another feather is being added in the form of launching of a trust called “GUNAGRAHI INDIA", tf GUNAGRAHI " pledges to fulfil the ambitions of the artistes, organisers , rasikas and connoisseurs of classical music and dance in the most befitting manner . It will act as a bridge and communicator between the artistes and other agencies , You, tfte artistes, tfte readers, the sponsors, the Governement agencies , the organisers and the lovers of music and dance are the backbone of this journal . You can get the things done, as wished by you, th rough this powerful forum . Your cooperation, support and guidance is always honoured by us. Peel free to write to us and/or interact with us, GUNAGRAHI rT is available on the net . The address is: gunagrahi© yahoo, com and dr suryaprasad© joymail.com. -Karnataka Kala Sri DIEM. SURYA PRASAD . 3 SPECIAL ISSUE") f»[ f#1 c =; ■ /A disturbed mind cannot accomplish varied Sat uifc emotions, so effectively. 77ie human nature, the world's attitudes to life , its desires and ambitions , attachments and aversions are the ingredients of the satvikaabhinaya . Directors of " Sadhana Sangama ” Dancer-Guru JYOTHIand her Yoga-expert husband PA TTABH/ RAM exp/a In and i/fi/strate] The entire universe is a harmonious manifestation of energy — -the ever ex ap and mg Supreme consciousness. Each and every act in this universe is nothing but a rhythmic dancing phenomenon of that Supreme consciousness , Man is verily the Supreme creation and the expression of that energy and dynamism* The very purpose of his living is, to experience that rhythmic joy and express that BLISS in its totality. Since the dawn of humanity, man has been exploring the very purpose, the message and the meaning of life. He, considering himself a laboratory, has been conducting various experiments to unveil the curtain of mystery between him and the very source of his existence. In this spiritual explorative passage of Indian history, many Rishis, the great seers and scientists by themselves, arrived at one understanding that Man is SAT-CH/T-ANAIVDA he.. Absolute Reality, Absolute Consciousness and Absolute Bliss. They have proclaimed this very truth with prestine clarity in our ancient scriptures* The Taittareeya Upanishad declares, Man is T 'Roso Vai Saha: Rasam Hi Evahi Labdhva A nan dee Bhauafi”, he*, “You are happiness itself: one who returns to this true abode of His shall always be happy*" In fact, this Rasa can be interpreted as 11 Ramate samyak roopena” T experiencing the joy of that whole. In this explorative journey, such great truth- seekers like Bharat a Muni and Maharshi Patanjali codified the philosophy and practices in the hours of their inspired and intuitive heights, in the form of texts. Natya Shastra of Bharata Muni and Patanjali Maharishi's Patanjali Yogadarshana, both convey the same truth in two different perspectives and parlance. Our ancients have attributed a pin ad e positions of sanctity to Natya as the “Panchama Veda", i*e*, the fifth veda the sacred scripture: and Lord Nataraja being the presiding deity of dance, speaks volumes about the spiritual dimension of Natya. Indeed, Natya is a path of worship and a state of accomplishment in spiritual truth. Thus, Ananda or its other facet Shanta is the base of al life: and the life-activities springing from this source of Bliss shall always be holistic, Because, it is untainted, spontaneous, creative and has the very fragrance of human existence, untouched by man's thoughts and deeds. Hence, it is sacred too. The bedrock or u Stl ayf'of Navarasas in Naty i is Shanta — the nineth rasa while in Yoga, it is Ananda or supreme joy* When the Ashtarasas get dissclved in the last Shanta rasa, an individual realises the state of Bliss— ”Saf-Ch It- Ananda" the untainted joy* The sublime goal of Natya and Yoga is to attain this state* Man is what the Mind i$— ,T Manah yeuen Manushyaanciaam " , when the mind is filled w r ith impurities, Le., Pancha Kleshaas, as envisaged by Maharshi Patanjali viz, Avidya — Ignorance, the fertile ground on which, Asmita — Ego, emerges as the false image of oneself, in interactions with other three Kleshaas or afflictions called Dwesha — the aversion, Raga — the attachment and Abhinivesha — fear of death, insecurity, loveliness, anxiety and so on* Due to these impurities in the individual self, all ac tions and responses with the external world result in frustrations and dejections* Henc e, Patanjali defines Yoga as follows: "Crfta vritti nirodah* — the complete stoppage of all functional 4 SPECIAL ISSUE ■— w modulations springing from the store house cal ed Citta or mind. When the self frees from all such impurities, becomes transparent and pure, the true personality emerges. This is what Patanjali means by saying “Tado drustuhu swarupe Avastaanam". Then, in that pure being state, all expressions shall be filled with joy, shining w th cosmic intelligence. Bharatha Muni's parlance of Natya is also advocated on similar lines. He says “Safnaahita Manastvaath, Manah samaadhaanaa cira satva nishpattlredhpate ” i.e, t only when the individual self stays in a serene state of being, the satvik emotions are aroused, which is the real essence of Chaturvidha Abhinaya. A disturbed mind cannot accomplish varied Satvik emotions, so effectively. The human nature, the world’s attitudes to life, its desires and ambitions, attachments and aversions are the ingredients of the satvikaabhinaya, Bharata says, “ Yopam svabhaave, lokaspa , sukha- dukha samanuitah spomgaabh inapa pete natpam ithi abhideepate ” which means the human joys and sorrows, agony and death, successes and failures^- such mental afflictions imitated □IDGUNAGRAHI / JUNE 2000 □ on stage i,e. , —is itself Natya, When an individual enacts these emotions of ordinary life, they are into an aesthetic The ultimate goal of Natya and Yoga sadhana is to purify these five sheaths of human existence and integrate the body-mind-soul to accomplish a harmonious r experience. Such emotions do not bind the personality but played and enacted. Then only, Patanjali’s “Tcicla Drushtuhu swarupe Avasthaanam” takes place in an individual in which the sense of “I” i s annihilated completely. A better understanding of thse paths of Sadhana— both Nrithya and Yoga can be had from the “Panchakosha Viveka” model of Taittareeya Upanishad, M The human personality is made up of five sheaths of existence: (1) Annamaya Kosha — the physical body, (2) Praanamaya Kosha— the vital body, (3) Manonmaya Kosha— -the astral sheath, (4) Vijnaanamaya Kosha— the intellect and (5) Anandamaya Kosha— the state of bliss. holistic personality. Natya achieves this goal of self-purification and self- realisation through the Chaturvidha Abhinaya — - Aangika, Vaachika, Aahaarya and Satvika. The same is accomplished in Yoga by way of "Asthaanga Yogaanga” practice— (1) Yama, (2) Niyama (3)Aasana, (4) Praanayaama, (5) Pratyaahara, (6) Dhaarana, (7)Dhyaana and (8) SamaadhL Both the paths of Sadhana reach the individual self towards that ‘ Light" and remove the dark veil of Ignorance, releasing the clutches of mental afflictions and accomplish Self- realisation. Paths may appear different. "Eko sat vipraaha bahudaha vadante”. Witfi (Best camp (emeu is from: Vidwan H.S.Nagaraj L Curuguha Gana Sabha Sri Garuguha Sangeetha Mahavidyalaya, 'No. 53/1, Opp. Sri Sai Nandira, 3rd cross, Basavan aqu di,S'}{l ! MOQ5i-577 201. Bk.71544. J I. .T*+ asfi: = = zr SPECIAL ISSUE nininiG guhagrahi / june 2000 □ net SPECIAL ISSUE DID ““ — — mr " □ FUTURE OF INDIAN CLASSICAL AliTS Music and dance have always ennobled and enriched human life and particularly so in our country, where in the words of Bharatha they have “enlightened the Man through entertainment.” Ancient Indian aesthetics have placed a distinct empha- sis on the artiste being the sub- jective experiencer expressing himself in a highly detached and objective fashion. He meditates upon his experience and is able to give form to the formless. Thus the role of art is multiple — it is a means of self-expression, a record of the experiences of the artiste, a form of communication satis- fying man's need to be part of a group, a way of searching for and understanding the vir- tues of life. To go back a little in time to the third quarter of the last century when a great ren- aissance of our performing arts took place, heralded by some of our great intellectu- als who inspired by patriotic fervour, made successful at- tempts to bring back our dance, drama and music not back to the temple which had hitherto been the focal points of our culture — but to the thea- tre which was based on West- ern models. Dance thus ceased to be a temple and palace art and became a theatre art meant for the entertainment of the many as opposed to the select- few. Inevitably both dance and music ceased to be the mo- nopoly of temple and court dancers and became arts which could be practised by artistes and dancers from all strata of society. Another important fac- tor to be considered here, is the replacement of the per- sonal patronage of the Maha- rajas by the impersonal one of Government dispersed through its various academies and departments. Naturally there have been a number of changes in the format and obej dives of classical arts rang- ing from the good to the ab- surd. These changes are to be seen both in the methodology of techniques and presentation and like all changes some are for the better and some for the worse. There has also been a change in the mental attitudes of the artiste. He or she has become highly subjective, no longer believing in the objec- tivity of presentation or at- tempts to project spiritedly with the result that the art forms have become intensely personalised expression of the artiste. What is the future of classical dance in our country going to be? This is very hard to visualise in view of the al- most hourly changes that are taking place in the various fields of knowledge, particu- larly in those of science and technology. One trend which is obvi- ous is that dancing is becom- ing a group effort and group performances and dance-dra- mas are becoming popular with a plethora of characters participating and with as many dancers performing as the stage can hold and with combined choreographic pres- entations of a number of Gu- rus being presented, Tliis may lead to permanent troupes being maintained by the Gov- ernment in future. Another trend is the -1, realisation that apart from depicting myths and legends centred around Gods and God- desses dancing could be used to express contemporary life and its problems. Here, one must digress and point out that a thought should be given to the total alienation that has oc cured between classical art forms appreciated by urbanites and rural art forms that are appeciated by the vil- lager and which however are slowly being replaced by cin- ema music and dance. As a consequence of the above trends, musical and dance styles are becoming hy- bridised and totally mixed up. Will this lead to the creation of common or national style of dancing similar to the Bharat anatya prevailed in the country before the tenth cen- tury A.D? Will it become a “World Style”? However, being an incurable optimist, one feels that art has a way of its own— the wc y of life and has got to grow along with the civiliza- tion o : its time and not inde- pendently, lam confident that the strong roots of our culture and the versatility of the In- dian artistic genius will pro- duce suitable art, which will more than adequately satisfy the needs of all times. - Dr, M. SP, 6 budding vidwans and blooming vidushis The present day musical scene gives an encouraging picture of Kamatak classical music. In any Gana Sabha, a time-slot is reserved to promote young talent. There are many youngsters eager to leam music these days. School and college going students make time to fit in a little music with their busy study-schedule. This is a very heart-warming trend and deserves all encouragement. Because music not only cuts across communities and language barriers but across generations too! Today’s youngsters are earnest in their approach. In the racy, competitive world that we live these days, performance and results are considered far more important than mere pursuit of knowledge for the sake of knowledge. It is not Art for Art’s sake any longer; it is Art for the sake of name, fame and new, crisp currency notes. The young ones are so eager to peiform(gtve concerts, nothing less) that the actual learning takes secondary placefif not a back seat). Those days when the shishva learnt m the Gurukula Vasa spent years in perfecting fundamentals, before venturing into the concert- arena are over. Toe ay, the shishya goes to a Guru as much to leam as to perform as early as possible. He receives training in the concert-craft, learns a few krithis and is ready to mount the stage. The parents/guardians are equally eager and interested in seeing that their wards get an early chance to perform. And they spare no efforts in this direction . Ofcourse, youth is the best time of one’s life and it is also the best time to leam. We are young only once and the capacity to learn is at its best in youth.And it j s charming to see very young musicians sitting like stalwarts and performing. I have myself attended many concerts by upcoming artistes and their dedication and involvement is to be seen to be believed. business is a two way process. As the young artistes perform, ■ they als leam to give and take. Ihey become mature and appreciate the fact that is is the combined effort of the main performer and the co-artistes that makes a concert(however mini or maxi) successful. Just like in sports and games, a competitive spirit is a healthy trend. They also learn from their mistakes. There is thus enough scope for improved performance in future. rooming stage- -- By Kusuma Rao freight in the early years is a great step towards achieving success. One cannot sit at home and leam to become bold. Speaking, singing or playing j n public can be learnt only outside the four walls of the house. Only then, is there a chance for the budding vidwans and blooming vidushis to build up confidence which is a vital necessity to any performer. A big advantage that these early blossoms in classical music have is they are considered definitely a little higher in the social scale than their classmates who while away their spare time watching TV. This knowledge that they are making the best use of their time helps also in boosting their self-image. In any group of boys and girls, a talented one who can sing or play is at an advantage over the others who cannot . Such a person is enviable. This social image should help the budding geniuses to develop into better human beings and citizens of the world in the lono run. The invasion of TV The invasion of TV into our lives and the way it has been eating into the roots of our culture is alarming. Imagine a world with no classical music, no steady * fm\ [ill SPECIAL issue” £•] 5T® 103 E * ™ — *»■ -— — — — — — □ tonic notes of the SA PA SA swaras, our ever-soothing devaranamas but a world with much shooting and destruction, bang bang booming guns, artificial TV talks and deafening noise? What would life be like? We would all go mad! While no one underestimates the importance of instant communication, of having the world's happenings at our ■ip « — — — — m,. ,*g,, “ 3 □oo SPE CIAL ISSUE _ □ - - u youngsters earn name, fame and money eventually. This is something I have noticed — that many youngsters, although they become qualified in a professional course, prefer to practise music than, say medicine. Music at the best of times, all other things being equal, is not a very lucrative business. In order to make a livelihood, they have io pursue ^ f'ampr — as a doctor, dentist. doing whatever we do well, following Ihe rules of the road, helping the elderly cross the road, lending a hand at house- hold chore— there are hundreds of things. Let the West learn from us our good and great things, such as our music, culture etc. ■i 1 have a few suggestions for the budding vidwans and Learn to understand the meaning and context (story or finger-tips, it should not become a monster that threatens t consume our very existence. The mindless tele- viewing of sex and voilences bodes no good to anybody, least of all youngsters. On the contrary, it excites the younger generation to take to unwanted things. There should be a limit to the the amount of exposure of TV "culture the youngsters are allowed, so that they have time- precious time — to do other useful things in life- such as learn music. Music has the power to soothe, heal, comfort and bring joy to those who come into contact with it— be it a singer, player or a IHstener. It also helps the engineer, software- constukani or whatever, but they like to keep music alongside so that it gives them something to hold on to, like a friend's hand in the dark. As it does them good and makes them feel good, parallel pursuit of music is the prevalent trend. Let the youngsters learn to separate the good from bad in their learning process. There are many laudable things they can emulate from their sisters and brothers in the West. Let them learn qualities like punctuality, neatness and tidiness in personal things, good manners, cleanliness, doing one’s ivork by oneself, legend) of the songs they sing— as songs come in all languages. It helps them put more feeling into their music. Try to enunciate the words properly in the correct way without corrupting the meaning Give attention to hrasv-deergha swaras, alpa- maa praanaas. Pay particular attention to shruti, Practise with shruti box “on" for a while , "off" for a while and repeat it. Avoid making faces while singing. Twisting and contorting features are ugly and unnecessary. The effort should be invisible. To achieve this, practise daily before a good mirror, so that you can see yourself. 8 p LUL±J{ SPECIAL ISSUE J— -r- — -*■ ■ |C GUNAGRAHI / JUNE 2000 Cfl □ ~ — — IT’ > j # j [# [ SPECIAL iSSUE ) r»| pj] CASSETTE REVIEW: PA t ■ , i r*i i (fn — i - J I CJI r W MffW jmmm ■ * Iriinn in | p* i ifOu . . ntiruMi li/ ■ * a i Hf FT rH.9W,jl iJriK X . * r i-¥ PAm I ’ 5 if *s *1 Hft I I mil Lay a Vinyasa: percussion ensemble: PAC audio: Percussive Arts Centre, 18th cross, 2nd block, Jayanagar, Bangalore-56 0 01 1 . Price: Rs*40/-* This is a rare cassette of percussion ensemble comprising besides the conventional Karnatak percussive instruments like mridanga, khanjari. ghata, morsing, konagolu, the Hindusfhani percussions Pakhwaj, open air instrument dolu and rhythm Pad are also used to highlight the infrequent eleven counts time gait and khanda chapu. The artistes featured in this cassette under the direction of Bangalore K.Venkataram are A. V.Anand(mridanga), H.P. Ramachar(khanjari), R. A* Raj a go pa lan (g ha ta) , H*S.Sudheendra(mridanga), B. Rajasekhar (morsing), B,C T Manjunath(konagolu) 3 Anur Ananthakrishna Sharma(dolu) and BlS.Arun B exposition is marked by artistic permutation and combinations of the tala. The ensemble seemed to have worked out a well thought plan and the best in their respective roles. The moharas, the teermanas et al, including sarvalaghu patterns are not enjoyable but also make up for a solid compositon of the tala* The time sense is immaculate. There is darity in the play of instruments. Side B has the delineation of khanda chapu{2+3). In this rhythmic exercise too, the artistes show their mettle* The patterns woven into the tala are enticing. There are artistic pauses which add to the variety. The teermana is worked out with lot of details incorporated into it* Lot of care has been taken in making it a lively affair. A short and sweet appraoach has been fetching* As a result of which the entire rendition does not sound boring or dry* The separations between the instruments lend variety to the presentations. Vachanamrita — part 1 Digital N 001, Sri Datta Sangeetha Vidyalaya, 92, I Floor, 8th cross, Wilson Gardens, Bangalore-560 027, Price Rs_35/-. Side "Mande maasit (Chennabasavanna) maasideare” (Basavanna), ti P ft rn Pf bajjaneyaagi (Akkamahadevi), “Gali h a d a d a 1 1 i ” (Ambigarachowdaia h), “Mruduvachanave" (Basavanna) and “Kariyanittade olle” (Devaradaasimayya) * This is a collection of vachanas by different Shiva sharanas. The select 11- i : mr warn — ■ ^.Srn 1 f - ri W - ? 1 vachanas (six on Side A and five on Side B) are set to music and sung by Pandit V*M*Nagaraj, a singer of merit and also the principal of Sri Datta Sangeetha Vidyalaya. The above vachanas are tuned in Bihag, Poorvi, Gorakh Kalyan, Madhuvanthi, Bageshri, Vaman Kalyani in madhyama shruti, Yaman, Khamach, Bhatiyar and Bhoopali ragas respectively* All these Hindusthani ragas suit well to the mood the respective led by the A team of skilful singers y V.M.Nagaraj had done mely well in presenting vachanas. The other Kumar(rhythm Pad). A: “Kulavendu horaduva'f singers Archana Udupa, Side A of the cassette by Siddharama), “Amrita Nanditha and Anasuyadevi features the delineation of Sagara” (Allamaprabhu), have done justice to their mi shra triputa tala(! 1 counts) “Guru charanava" assignment* The clarity of text comprising one laghu(seven (Shanmukha Shivayogi), with which the compositions aksharas) and two “Aasage sattidu” are sung needs a pat* Likewise dhrutas(each two aksharas}, (Allamaprabhu), “He the mood of the ragas is aptly The prominent konagolu at the nimmadaana” kept in tact and sing very outset is attractive. Fhe (Devaradaasimayya) and melodiously. - DR.M.SJA 11 9 SPECIAL ISSUE ]• • C — 3 &+ jm □ICGUMAGRAHI / JUNE □ □ SPECIAL ISSUE =■ 3 □ — 1 "W* WHAT AILS KARNATAK MUSIC TODAY An unusual and disturbing situation has become all pervasive at public performances of music — the universal preponderance of ‘oft-repeated* songs combined with dilution of classicism. This unhealthy state of affairs tends to make all music listening safe and unadventerous since established ideals of accepted masters are conveniently forgotten. Filling our hails with familar sounds induces a sense of security in our audiences. Over and over again, the same limited number of bona fide guaranteed master pieces are on display. By inference therefore, it is mainly these works that are worth our notice. At this rate, sooner or later our masterpieces are certain to dry up. The final irony is that the people who are persuaded to concern themselves only with the best in music are the vary same ones who would have most difficulty in recognising a real masterpiece when they hear one. It is both exhilarating and depressing to think of this scenario, exhilarating to think that great masses of people are put in contact daily with them and have the possibility of truly making sustenance from them, and depressing to watch these same classics used to snuff out all liveliness. Reverence to modern (contemporary) music has been turned into a form of discrimination against the music of the past masters. The public is now frightened of investing in any music that is not contemporary. The simple truth is that our concert hails have been turned into musical museums — auditory museums of a most limited kind. Our musical era is sick in that respect. Our Invalid” artistes exist on the fringe of musical society and our listeners are impoverished through a relentless repetition of the same works signed by a handful of sanctified names. As a simple example, by fixing his eyes on details, the contemporary artiste has become more and more incapable of appreciating these details taking into consideration its organic relation with the musical whole. This is the reason why the performers today are worse than those of, say, 50 years ago. Current performance is like a measuring rod, like a barometer, which indicates the spirit of the age. The quality of the performance usually determines the quality of the audience and vice versa. Today the audience is supplied with the music it deserves and not what it should have. In this sense, the performer is not to be blamed. As for rhythm, harmony, instrumentation and execution of details, the demand made upon the performer today will be more exacting than it was in the past. Witness the completely ignorant way in which classical masterpieces are performed today. There is also utter 10 confusion amongst the public as far as the problem is concerned. People simply do not know what to look for. They talk about the strict adherence to Sampradaya, yet listen in silence or actually applaud when the most incredible liberties are taken with it. The spiritual problem with which the great masterpieces are in fact concerned, have long since been relegated to oblivion. Today’s artiste lives in a cocoon. He has brainwashed the recent generation of music lovers and persuaded him not to think beyond a point. He does not allow the listener to fallback upon his own gift, his own analysis, judgment and imagination. The artiste does not question the listener — were you absorbed in the music? He is oblivious to the truth that a master work awaken;; in us reactions of spiritual order that are already in us waiting to be aroused. A concert is not a sermon: it is a performance — a reincarnation of a series of ideas implicit in the work of art. A healthy musical curiosity and broad musical experience sharpen the critical faculty of even the most talented amateur. An artiste is no longer simply a craftsman. He is a musical thinker, a creator of values, values which are primarily aesthetic, hence the deepest human importance. To participate in a concert presumes a m , _ r»“ “ r SPECIAL ISSUE c ~ minimum professionalism. DlDlC GUNAGRAHI / JUNE 2000OIQ of Everything connected purely with problems of technique and virtuosity is largely a matter of training. However, a tendency to practise excessively and to determine every little detail in advance will result in the art being deprived more cmd more rude awakening* Although a desire for communication may not be in the forefront of their minds, they should, however, be modest enough to realise that every move towards logic and coherence in performing is in fact a move towards communication. This is relevant in its meaning to the contemporary composer also* of its essence and of its soul. Anybody who thinks it is possible to impart and develop the technique of a singer or an instrumental player in the absence of close and constant association with the art itself, in the face of which technique can only be a means, is very much mistaken, It is, however, a fact that technique exercises a hypnotic influence nowadays* How many artistes have questioned how successfully they are communicating with an audience? Ore who cannot calculate in advance the effect of his piece on the listening public is in for some What is the difference between tasteless exhilaration and an experience that is deeply moving. It is only a slim margin. If the expectations from the artiste are not much and if we were charitable minded. We laugh, if not charitably inclined. We denounce it. We want to rise up and call it a public lie. Facing a large and heterogeneous crowd. It is the performer who is deeply moved and without a shadow of embarrassment appeals to what is warmest, who really communicates with the audience and wins the loudest applause. Nothing is as boring as merely well rehearsed concert in the sense that nothing can be expected to happen beyond what is studiously prepared in advance. In a situation like this, the artiste is performing a duty than a piece. Unless the music stirs the executant. It is unlikely to move an audience. Effortless singing or playing is one of the major joys of the music listening. It indicates a measure of mental confidence and a degree of physical assurance in the handling of the voice or the instalment. Eventually the finest artiste cannot be easily pigeonholes. The reason we remain so alive to their qualities is just because, in each case we are forced to balance and adjust subtle gradations of the interpretative power. Every new artiste is a problem-child, a composite of virtues and defects that challenge the keenness and mind of the listener. With Best complements from: Sill ARTS INTERNATIONAL (Contact For Cultural Events) Sai Venkatesh (Impressario) and Supama Venkatesh (Dancer-Guru) “Nrithya Dhama:, No.480 p 3rd “C” Main, 2nd Phase, Manjunathanagar, Bangalore-560 010, Mobile: 98440 89035 Phone: 080-3387978/3409755 Fax: 3327555 E-maii: sai venkatesh@hotmail.com 11 ISSUE ISSUE W BB BANGALORE BUZZ Excellent Nandini- Murali Young Kathak-duo Nandini K. Mehta and K.Murali Mohan were in their artistic elements when they performed together at ADA Rangamandira. They heralded the opening of their school of dance with their lively performance. To enrich their duet the orchestral ensemble comprising Sangeetha Kulakarni(vocal), Farveen D .Rao(tabla), Yogesh (harmonium) and Srinivas (si tar) contributed well. The recital began with a Nataraja stuti. Set to Bhairagi Bhairav (equivalent to Revathi of Carnatic music) and Puriya, the composition was explored exquisitely. There was cohesion in their movements. Though one felt that Nandini and Murali were a bit self- conscious, in the narration part, they gave a creditable account of themselves. The technical exposition of the jhap ta! (10 beats) in the form of uthans, thats, aamads, tihais et al T was admirable. The duo covered the stage in artistic designs. Nandini and Murali's abhinaya talents came to the fore in the rendition of “Rasa barase’ and a bhajan respectively. More expressive facials could have lent the number a special glow. The concluding Malkauns tarana was befitting. Snehashri delights Young S.Snehashri's Bharatanatya under the EFCEP series at Yavanika did credit to her Guru B.Bhanumathi. Her recital took off with the Poorvaanga vidhi. This was rendered in strict conformation with the Mysore Style of Bharatanatya and according to the tradition of Mysore Palace. Dikshitar’s Gowla krithi “Sri Mahaganapathe ravatumaam" set to mishra chapu tala and the shabda were notable for her abhinaya. Though at the outset, she seemed a bit shaky, her deline- ation of the Bhairavi varna “Velanai vara cholladr by K.Dandayudhapani Pillai ad- dressed to Lord Subramanya was notable for sparkling, evocative teermanas and intel- ligent abhinaya. The attributes of a swaadheenapatita nayika were highlighted by her through her artistic abhinaya. Well built, fair, lissom, Snehashree has all the exter- nals required for a dancer by its first codifier, Bharatamuni. She now has to learn to give to dance, in full, all that she has within her. The varna w T as neat and expressive. All the post-varna items “Jagadodharana" by Purandaradasa, a javali de- picting a mugdha nayika and the concluding Valachi tillana by Dwaraki Krishnaswamy came out in an impressive way. Guru B. Bhanumathi Jahnavi Jayaprakash (vocal), Narasimhamurthy (flute) and Narayanaswamy (mridanga) lent good support. T a ala vaad yotsava- 2000 The five-day (May 27 to 31) 19th Taalavaadyotsava- 2000 under the auspices of the Percussive Arts Centre at Shivaratrishwara Kendra, JSS Campus, Jayanagar VIII block began in a traditional manner. The "Palani Subramanya Pillai Award 1 ’ donated by Dr.A.H, Rama Rao cind Sudba Rao was presented to veteran mridangist P.G.Lakshminarayana of Mysore. This was followed by an erudite harmonium solo recital by Pal la da m Venkataramana Rao. Accompanied ably by Mysore V.Prashanth (violin), P.G.Lakshminarayana (mridanga) and G.S.Ramanujam(ghata) the veteran could highlight the niceties of Carnatic music on the keyed instrument. 12 SPECIAL ISSUE Palladam held the show together with his expertise and vast experience. His imagination was fecund. He was able to translate his musical vision into reality. The impressive recital had two landmarks in it. The exposition of PcK>rvikakraii](Givirt\n>3sagarada) and Mohana (Bhavanuta) were pleasing to the ears. Arunachalappa remembered: The legendary harmonium placer late Arunachalappa brought glory to Karnataka with his impeccable artistry. His birth centenary year was celebrated in a befitting manner by the Centre. A book on his life and achievement penned by B.M.Sundaram was released by N.Ramachadran of Indian Fine Arts Society, Madras, Singer-scholar Dr.Radha Venkatachalam of Delhi gave an illuminating lecture- demonstration of raga, tana and pallavi under the direction of veteran vocalist ProfT-R.Subramanyam, The rendition of RTF in Madhyamavathi in two-kalai trishratripude at 21/4 edduppu with trishra and tnkala was a class by itself. The ragamalika comprising Hemavathi, Saramathi and Roopavathi rages with ragamudra incorporated into it was captivating. The pallavi line “Paalimchu madhuvati Shivayuvathi Madhyamavathi’" in strotovahayati was dealt with all the interesting technicalities. Young percussionist Anur Ananthakrishna Sharma was presented the 'H.Puttachar memorial award ’(donated by khanjira vidwan H.P. Rama char}. "Vadya Vaibhava”, an instrumental ensemble comprising V.K. Ramanfflute), Pushpa Kashinath(veena), Anur Ananthakrishna Sharma (mridanga), D.Srinivasfl 2- stringed guitar), B.S. Venugopalraju (tabla) and Arunkumarfrhythm pad) enthralled the audience with its well-rehearsed performance. Directed by AAK Sharma, various possibilities in exploring the varieties of the given rhythm, created a delightful experience. A varna in Sri raga(Saami ninne), “Vatapi Ganapatim bhaje 1 (Hamsadhwani) and a short alapana of the raga by the venu and veena artistes, the krithis was cirsply presented. The sahitya portions “Veeta raginam ' and “Anaadi Guruguha" were catchy. An orchestral composition by AAK Sharma in a scrumptious Saraswathi raga enabled the instrumentalists to negotiate the laya in admirable way. "Raghuvamsha sudhaambudhichandra” ( K a d a n a k u t o o h a 1 a ) , Amritavarshini (another orchestral composition) and a raga, tana and pallavi in Shanmukhapriya left an indelible mark in the minds of the lovers of music. Karnatak music on To vocalist Anasuya Kulkarni goes the credit of adapting an Indonesian bamboo instrument called Angklung to Karnatak music. Backed by Susharao(violin), B.N.Ramesh(mridanga) and S, Prasha nthfkh a njira), Anasuya gave a good account of herself in rendering “Vatapi", raga Nagaswara vali(Gamdagai nana) , Jingla (Anathudanugani) and Amritavarshini{Sudhamayi) among others. Radiant Ramamani Ramamani T one of the the best vocalists of Karnataka, proved that the sincerity of approach is the keyword of success for any musician. Ramamani 's rich and resilient voice had an easy tri-sthayi range. The choice of items was good and it showed that the singer was a seasoned performer. A varna in Reetigowla and "Gajananayutam” in Chakravaka, kept up the even tempo of the recital, Kanakangi for "Sri Kanakambaradhari", a composition by Bellari Seshagiriachar and Kedara for a rarely heard Dikshitar-krithi “Anandanatana prakasham” were moving. GNB’s “Ninnupo gadatarama ” , "Kara mayintidaka”(Asaveri) , Andolika (Ragasudharasa) and Todi for “Daachukovalena’" with the trikala negotiation were neat. Ramamani received a commendable 13 support from Duet with a difference Vibrant vocal B, U .Ganeshprasad (violin), M.T.Rajakesari (mridanga) and R.A.Rajagopalan (ghata). Violinist-brothers Violinist-brothers Mysore M.Nagaraj and Mysore Dr.M. Manjunath excelled each other in the elaboration of Ranjani and Todi(raga, tana and pallavi in khanda tripude and khanda nadai). The melody was intact* Their manodharma was in tandem. There was professional elan in the rendition* Everything was wellplanned and well executed* The concert was enriched by A.V.Anand (mridanga) and M. A. Krishnamurthy(ghata). Earlier, Kalavathi Avadhoot and H.Geetha sang to the accompaniment of the ensemble of the Percussive Arts Centre consisting of V. Krishna and H.S.Sudhindra (mridangas), R.Sathyakumar{ghata), A.V.Kashinath(dolu), B.S. Arun Kumar(rhythmpad) and A n u r They rendered raga, tana and pallavi l Amba nannu brovave at vegame vachchi' in Janaranjini(l/2 edduppu) tagging it with a chain of ragas suffixed with Ranjini like Shiva ranj ini, Sriranjini and Sumaneshararijini. On the concluding day, the Pa i ghat Mani Iyer Award was conferred on the veteran mridaftgist Ella Venkatesharao* The curtain came down with a vibrant vocal recital by Trichur V. Ramachandran. Supported by S.Seshagiri Rao (violin), Ella Venkatesharao (mridanga) Rama chandra n enthralled the rasikas with his short and rich recital* Nata (Swaminatha paripa layamam) and Poorvikalyanl (Meenakshi me mu darn: Dikshitar with neraval and swaras), Hindola (Samacanalole) and Kambhoji (Evarimata) stood out for his seasoned artistry and concert- craft. ONTRIBUTION FORM I would like to receive GUNAGRAHI every month on a regular basis. Please include my name in your mailing list. My contribution of Rs.35Q/- (Rupees three hundred and fifty only) (US $50, fifty dollars only) for 3 years by DD/Cheque* No........* is enclosed herewith, (3 years) INDIA RS-350/- OVER3EAS US $50 *P!ease add Rs.15/- only for outstation cheques in India. All payments :>e kindly drawn in favour of GUNAGRAHf, BANGALORE and be mailed to : EDITOR GENERAL, GUNAGRAHI, “Munikoti 1 ', No.8, second cross, Opp.Srinivasa Mandira, Balepet, BAN GALORE-560 053. India, Ph, 91-080-2253975. E-mail: gunagrahi@yahoo.com and drsuryaprasad@joymaif.com PLEASE RENEW YOUR MEMBERSHIP 14 SPECIAL ISSUE □ Dgunagrahi / June 2000 □■□|n ■«*¥ r-m *“* — M ° -Ml tmm mmm HIT SPECIAL ISSUeT) □ c •s* **?*■ nn- 1. What is Natya Dhanna? 2. Under what heading can it be studied? 3. What is Natya Dharini? 4. Loka Dharmi is __ 5. What is Nattuva Talam? 6. How is it used? 7* What is Natya Veda? 8. Gandharva Veda is 9 . What do you know about Malavi raga? 10. Mention the famous krithi in this raga. SO LUTIONS: 1 . The code of ethics to be observed during the performances of Natya. 2* It can be studied under four heads: (1) The Dharma pertaining to the Dancer, (2) The Dhanna pertaining to the accompanying singers and instrumentalists. (3) The Dharma pertaining to the organisers, and (4> The Dharma pertaining to the audience. 3. Coventional representation of an object. 4. Realistic representation of the same, 5. The metallic cymbals used by the nattuvanars or conductors of dances. 6, Of the pair of cymbals, one is of bronze and the other is of steel. The bronze disc is struck against the steel disc held in the left palm. 7, The Art of Dance. In order to establish the greatness of the art, it is elevated to the status of Veda. 8, Music, 9, It is a janya raga from the 28th mela Harikambhoji. ft has sa ri ga ma pa ni ma da ni sa — sa ni da ma pa ma ga ma ri sa. Compositions begin on ga and dha. 10, Neoarunehinaanu, PHOTO QUIZ This is a rare photo of the last performance by the noted dancer-couple of Karnataka. - I * Identify them: 15 RESPONSIBILITIES OF PERFORMING ARTISTES - by DR.M.BALAMURALIKRISHNA [They would be working for the cause of music if they take proper interest in the upcoming musicians and constantly emphasise the need for strenuous practise and to develop a commitment to excellence observes the genius-vocalist .] India's greatest asset is the deep veneration with which we hold our heroes who conquered not by the sword but by the spirit of love and goodness* Of these, our composers of music and performing artistes stand supreme. It is a matter of great pride and glory that unlike other arts which have suffered neglect and deterioration, music has progressively developed to enlighten and bless mankind. It is the responsibility of the present generation of musicians to keep up this great legacy and preserve it in its finest form. In this task, one may face a lot of hurdles, the foremost of these being one’s owindividual needs and attitude. Pre-requisite An important pre- requisite for good music is that it should be pleasing to the ear* This does not mean that purity of the art should be sacrified for the sake of popularity* However, it should be remembered that no presentation will be considered worthy if it is bereft of power, beauty and effect, Quality does not mean mere following of tradition. These aspects should be properly inculcated in the younger generation by the performing artistes* At the same time, they should not rest content by saying that the rising stars have better knowledge than those of the previous generation but lack the quality of involvement of devotion. On the other hand, they would he working for the cause of music if they take proper interest in the upcoming musicians and constantly emphasise the need for strenuous practise and to develop a commitment to excellence* It is also often said that to avoid a beaten path and show something new, some musicians present new compositions* Such criticisms are often biased as it can be seen that many such compositions have become very popular with music lovers who demand presentaton of these new generation composition in music concerts. It is therefore important to see whether the compositions presented makes a passionate appeal to the emotions. The performing artistes of today should see to it that the new compositions shold conform to the standards of emotional appeals. Significant Style: Style is an important aspect of music, It is the responsibility of the musician to see that the presentation is made in an attractive manner. The criterion should be quality 16 of the music not the duration of the concert. The artiste by experience builds a rapport with the audience which in the long run makes his concert appeal to all men at ai times* There is a growing tendency to learn music by certain mechanical means. Musical knowledge to be imparted correctly, however, requires personal attention. The deterioration in the quality is the non-availability of teachers who can really devote time and energy to promote their disciples. The blame for this rests not with the musicians but with the society’s lack of appreciation of their problems. Basically, there is no acceptable forum tht can take care of their economic conditions and living standards. Only if an artiste has al the comforts to practise his art, can give his best. Broadcasting music over the Radio and Television and introduction of music in films do help in music reching out to a wider audience and this helps a larger number of population appreciating the essence of music, A word of caution can only be stated that the music propagated through these means should be of good quality and its aesthetic value shouic not be compromised for cheap popularity or as a means of commercial exploitation. Thus, in all the areas enumerated above the role of performing artistes cannot be underestimated. p ' Mm, *\ #1 f SPECIA1 c *2 E _ ■ SPECIAL ISSUE ,‘ ■ — ; □ C DGUNAGRAHI/ JUNE 3 -S5 = ~ = □ □□□ S3 ~ =EE : - : t SPECIAL ISSUE - - - : s-.-E- ■= 3 WOMEN IN YHYAGARAJA’S COMPOSITIONS The bard of Tiruvaiyaru and the most popular of the classical Karnatak Trinity, Thyagraja had probably to suffer the agony of witnessing ignominious indiscretions that day to be forced to come out with his most vehement censure in Menu Juchi mo$a bokave (Sarasangi raga)t "Oh Mind! do not get deluded by illusory physical appearncesof women. If you her demise, of Kamalambal and father of his only child, Mahalakshmambal could never think of or stoop to castigate all women but encompasses only those guily of perversions and ignoble conduct. The warning applies to the voluptuous and the prostitute as well as to men of fickleminds.Thyagaraja reveals his mind, though not in * m m w by N.Rajagopalan expression to his dismay at their incapacity to seek Divine comparing such men to milk-cans that cannot appreciate the taste of milk. Thyagaraja should have been young when he (orpid Meeualla gunadosha memi fKapi) wherein while warning against to shift responsibility for one’s own (fn portraying human foibles and failures, he vaces the dire necessity of focussing on the deep maladies that all society with a will to reform it as a true devotee of the foremost “Symbol of Dharmic Conduct”, Sri Rama. This is discernible in his well-meaning allusions to the frailties of men and women and his own. He spares himself not, one could see his anger, despair and sympathy in varying degrees in songs like Emit jesite neml(Todi). could only see through their glamorous exterior, you would see nothing but an amalgam of filth, blood etc, with an alluring cloak on. They carry on their amorous adventures with their eyes which, like sharp weapons, pierce through men’s hearts and with their breasts, which like monds, present a resting place for heads 11 . The poet was sure to have been piqued by some despicable amorous Leelas of a reckless profligate to indent on words alien to his life of a spiritual crusader. Even the name of the raga is an indication of the content and message of the song. The spouse of Parvati and later, on such biting terms, in other songs as well to retrieve, reform and reclaim minds with marked proclivity for sex that waver as in; Manasa Sri f?amuni dayaleka (Mararanjini) wherein he queries whether the mind had got distracted by other women. ' Manasu niipa shaktileka bote(Abhogi)”, where he poses the ticklish issue of the efficacy of performing Soma Yagna even as his Dharmapatni(wife) indulges in illicit amours with her paramour and Enter muddo? Enta sogaso (Bindumalini), in which he chides pseudo-devotees who stand enslaved by vicious women ensnared by their captivating looks and gives faults, he queries how a goldsmith could be held culpable for deficiency in purity when the gold given to him is not of the required carat. Then he pens a challenging query- quite a startling one but atrociously correct — if one s daughter is not able to stand labour pains, why wrongly blame the son-in-law for it? (of course, the prevailing conditions then would have justified the shfting of the blame: but still?) Surely, this song should have been composed before he begot his only child — and that, a daughter! Missionary Sains have a mission to advise, warn and reform 4 17 community to free it from the clutches of vile emotions, suicidal passions and immoral digressions, Ewen as the Bard performs this task he wonders in his Tappf brotiki (Todi) whether it is possible at all in this Kali Yuga to escape from getting drowned in the treacherous pond of sensualities. One hundred and fifty years have since gone and one could appreciate his rare vision better now. Doordarshan is sufficient proof. it is relevant here to recall how the noble spouse of Sri Tuiasidas thought it fit to reprimand her husband in terms as sharp as thos of Thyagaraja: Such is your in/atimtion for this body of a female constituted of phlegm T bones and blood! Hadst thou but offered half the love to the Lord , thou wouldst have ascended the very Vaikunta. Did not such a realisation descend on Cardinal Wolsey, though too late to save his life from execution by the fickle King of England? Again, but for the virtuous Devadasi Mohanangi, where was the guaranteee that Kshetrajna would have reached the pristine heights he did? Thyagaraja’s respect for good women finds ample expression in several songs like En ta nine Vnrnintunu (Mukhari) . Love poet That Thy agar aj a was harsh on women is a surmise, a nebulous thought generated by his impregnable image as moralist and stern saint- scholar. But his magnificent opera Nowka Charitramu negates such assumption and proves that he is no dry-to-dust moraliser but is equally an eminent “love and romance poet" who could bring out the finest nuances and fragrant graces of Shringara. There is rejuvenating , amaranthine freshness in conception, conjuring description and flamboyant narration full of romantic tete-a-tete and niceties.) The verdant opera finds its micro echo in Subramanya Bharathi’s titillating song “Sindhu nadiyinmisai nilavinile'\ a song that brings to eternal focus the precious cultural integration of pre-partition India fostered through centuries by men of vision). That “The soul should find rest in no fleshy thought, nor earthly affection’ (Walet Hilton), but should be wedded to ethereal truths and codes of enlightened conduct is the prime theme of the opera Sri Thyagaraja, As the rasika ploughs through absorbing episodes in the opera— Why plough? The gopis have no heart to tear themselves apart from Sri Krishna even as the plough has no independent role once separated from mother earth — he is tempted to draw even the extant pictures of Thyagaraja depicting him as a rugged Bhagavata sans exposure to captivating finesse ~ 2 ~ ~ ~ " ~ 3 ~ SPECIAL ISSUE of Shringara \ The remarkable dramatic presentation connotes the transition from olympian objectivity to metaphysical truth after an encounter and ordeal with the treachery of human passions and vagaries. The Gopis of Brindavan kidnap(it is so) the divine child of gorgeous beauty and resplendent charm, Sri Krishna and proceed on a boisterous, amorous boat excursion on river Yamuna to satisfy their emotional egoistic urges. The Gopis became victims of successive dominant passions and phantasmal allurements engendered first by one affection and then by another excited and exposed to diverse urges. With feigned innocence, Krishna submits himself to all their guileless but stupid urges and girlish pranks. Nay, he encouraes and eggs them run riot with passionate advances, indulgences and overtures. Having ailowed them on their path of perdition adequately long, Krishna applies the brake. The boat is caught in a storm and developes leak endangering the lives of alL The distraught Gopis are made to part even with their clothes in a bid to plug holes in the boat; all in vain. Brought to senses they seek at last divine succour which is readily forthcoming. The soul of the Gopis is saved. (The boat is the earthy body, the Yamuna symbo.ises the swaying world of emotions and the storm nothir/g but individual or 18 SPECIAL ISSUE \m\\m collective whims* fancies and w desires). in this brief action- packed episode, Thyagaraja is meticulous in highlighting the baffling thrusts and turns, Bhavas and Rasa of fast- changing passions and situations with immaculate fitness and impeccable mastery* The titillating moods and Leelas of the Gopis are exquisitely narrated with immense zest. In the action- packed ‘Super Shringara opeara, to quote surrender of spirit(Atma Nivedana) is total and when Krishna is saved, the Gopis too! (The chosen rag a is Sowrashtra as Krishna's abode Dwaraka is in Sowrashtra). The reference to Nowka Chant ram u here is to highlight the fact that in this beautiful opera, Thyagaraja has not a harsh word for Gopis since by no means they could be aligned with the earthy, fleshy coquettes. Though he comes down heavily with shrieks and sparks of poetry against conclusion or even a premise that he had avesion to the genre* He has given vent to such views in respect of men of poor character too, in law too, an occasional act does not constitute or betray guilt unless it is backed by a guilty mind — a eta m non fac it re it m nisi mens sit real That the great compoer had the greatest sympathy and solicitude willing to extend all indulgences to good women is a pp a re nt from N owka Charitram u. T.S.Parthasarathy , the vaggeyakara 'walks on razor's edge to avoid all indiscreet digressions into sensuous references like a master. In this opera, Thyagarja is seen sailing along with illustrious masters of romanticism, Kshetrajna, Jayadeva and Kalidasa. And he brings out the subtle lessons of spiritual surrender, goal and salvation and the underlying spiritual passion of Gopis by making them cry and pray fervently in “All Kallolamayenamma' (Sowrashtra) thus: Whatever be our fate, Krishna should be saved. We offer our bodies, pray, ensure that Krishna is taken to the shore,’ The parasites, he extends his warm poetic umbrella and paternal indulgences to the distract ladies of Brindavan whose fault or fraility lay in lack of awareness of the inherent spiritual content of their passionate urges for Sri Krishna. The poet is seen at his best in songs like Toitoyancie PremaycmuchufBhairavi) and Yenumo Nocitimo (Putmagavarali) in dealing with romantic delicacies. The Bard's dictum is to be viewed against the best traditions of Bharath. The incidental fact that he had once been harsh on women of depravity does not ipso facto lead to a A final peep. The indulgence shown by Thyagaraja lies in the secret that he involuntarily joins the team of Gopis and is in the thick of their songs, dances and pranks since he is himself a Gopi at heart seeking the Ultimate. With such transformation in his self, is there cause or occasion to ■ criticise? For a while, he clearly takes leave of the serence supreme moralist, Sri Rama and seeks refuge with the amiable, accommodative new patron, Sri Krishna. He turns a Gopi to enjoy and drink deep the joy and fruits of the boating spree, {Courtesy; "Yet Another Garland") r Congratulations Prof O.Sorvotham Kamath, a noted disciple of Gurus Prof.U.S.Krishna Rao and late Chandrabhaga Devi, hod his advanced training in abhinaya from Dr.K. Venkatalakshamma. He had performed his Rongapraveslia in 1978, He is aiso trained under Dr.Kanak Rele, Besides imparting training in B haratanatya, Kamath, has choreographed many dance presentations for Doordarshan and pubitc performances. He combines in himself a melodious singer, a keen researcher and an expert nattuvangist. A multi-faceted scholar, Sarvotham Kamath has recently taken charge as the Head of the Dance Department of the Dept, of Performing Arts of Bangalore University. Wishing him all success, 'GUNAGRAHT congratulates him on his elevation. s T[#r[T special issue C .— ■ . — %■ '——— -II *; Saturday, IS March 2000 was a momentous day, for on this day was witnessed the beginning of an organiza- tion which had long been dis- cussed and planned - an or- ganization called Madhuranjini. Madhuranjini, with its obvious literal mean- ing of “that which pleasures the heart with honey-sweet ec- stasy,” is also the melodious name of a Hindustani raga, an association which seemed most appropriate. Madhuranjini will aim to bring to the Bay Area audience, at least initially, an opportunity to experience art in its sub- lime fonn, devoid of polemic, scorn, dubious facade, and swagger. The Debut: The debut of Madhuranjini took off at our house in Sunnyvale with a per- formance by my adult students of the AH Akbar College of Music, where I teach at the Fremont extension* The stu- dents did fed that they would not be able to do “well’ 1 but after they saw virtue in per- forming live with tabla in front of a formidable number of people, it dawned on them how important it is to go forth and give it their all. Satish Tare, a newcomer to the Bay Area, was designated to play the tabla* Tare himself is a connoisseur of classical music and was joyous to come to die practice sessions. All students worked very hard. I started the program with a small thanksgiving to Pt.Basavraj Rajguru, whose framed picture we had placed for everyone to see and which was beautifully adorned by a lovely. Ikebana flower arrange- ment Poonam had made. An agarbatti was lit and it was announced that all this would not even remotely have been possible without the man him- self. Gargi Panchangam then started off with the superb Saraswati vandana 'Jay a Jaya he Bhagavati Surabharati" in raga Basant. She sang for about five minutes with Satish Tare on the tabla. After Gargi came Poonam Sharma* Poonam sang raga Nand: “AjahUn nahln Aye” in jhaptal and a tarana in teental. Vandana Vidwans then sang Yaman KalyAan “Matavari hUn Aja main,” a composition by Dinkar “Dinrang” Kaikini. She was VERY afraid to sing prior to Saturday, that she sang itself is testimony to her confidence* Pramod Korwar sang next. He sang patdeep: “Madhura dhwani Aja suni" and “Jhanana jhanana baajata payala.” After Pramod came Janak Pathak* Janak was de- termined to sing Bihag on Sat- urday as well and he did: “Lata uljhe sulajhaja balama and the tarana*! played the har- monium for all of them, ad- mittedly with sub-st a ndard ac- companying levels. It was im- portant though because my presence not only emboldened 20 By Nachiketa Sharma the students but also com- forted 1 hem that the perform- ance was no nuclear test of any kind. The second program: Saturday, 29 April 2000 witnessed the second Madhuranjini program, this time of my junior students, whose enthusiasm, interest and hard work is very admi- rable. The atmosphere in all these children's houses is that of constant encouragement and the push to practice to become ever so better. This is living testimony that the role parents play in the nurturing of a chi ld’s interest in classical music is paramount. The pro- gram began with a Rhagavad Gita shloka by eleven year old Tripti Rhattacharya. It was fol- lowed by a bilAval “Murali bakayt bans tin” by nine year old Miliir Sathe, Nine year old Push ka raj Da tar sang next, he presented the beautiful dhrupad-style composition “Ko udara jaga Mayi” in raga Yaman* Kiran Kanekal, age □ B Bl SPECIAL ISSCJ fPg] nine, came on next find sang m .■ gm. C GUNAGRAHI / JUNE 2000 □ "Mala kara phire, manava anata phire in raga Bhairav, an exquisite composition by the one and only Ft. Ramashreya “Ramraig” Jha* Die composition highlights the futility of routine chores in the worship of the x41mighty with- out dedication of the mind to Him. Kiran followed it with Ganapati Gajanana deva +t in raga Yaman, again a superb composition by “Ramrang.” After Kiran came nine year old Tarun Galagali who sang L Bolo Rama nama" and Ganapati Gajanana Deva, 77 both in raga Yaman. The former composition is one of the great Vishnu Digambar Paluskar. Tripti Bhattacharya ended the concert with “ko udara jaga mayC in raga Yaman and the solemn “Mana hi mana soche nanda rAni” in raga BihAg, a composition by “Ramrang/ 1 In this composition "Ramrang 7 ' describes the thoughts of Yashoda who won- ders at her own fortune of be- ing the mother of the Lord Himself, Madhuranjini is yet in its infancy but in due course we wish and hope it will be an organization worthy enough of paying tribute to some of the greatest artists who have made life for us richer by many magnitudes. , tytanyoU , L J tun da lUm RAMAYANA on J u ly 15 & 16, 2 000 Rangolt Foundation presents the ever popular epic story of India Ramayana', at two venues; Saturday, July 15, 00 at 7:00 P.M at the Los Angeles Theatre Center, 514 S. Spring St, Los Angeles, Sunday, July 16,00 at 6:00 P.M, at the Madrid Theatre, 21622 Sherman Way, Canoga Park. Artistic director, Malathi Iyengar collaborates with an exceptionally talented team of musicians and dancers from India and United States to present 'Ramayana featuring classical and folk dance styles, Ramayana 1 was originally set to rhyming couplets in the language Sanskrit’ over 2500 years ago, and was written by the sage-poet Valmiki, This music and dance feature is based on carefully selected verses from Sage Valmiki's "Srimad Ramayana 1 ♦ The music composition is by D. S. Sri vathsa . The concert relates the message of Ramayana' (powerful story of good over evil) as an instrument to share the precious traditions of India with our audiences, 'Ramayana' tells the story of the courageous and heroic prince Rama', and his beautiful princess s Sita\ The performance will depict their adventures during their fourteen-year exile, the kidnapping of ‘Sita\ and finally, the Great War waged to fecover her from the clutches of the evil demon king 'RavanaL Lead dancers include Unnikrishnan, Praveen Kumar, Ronald Burton, M, S, Murthy, Murali Mohan, Lakshmi Iyengar, Malathi Iyengar, Shy a mala Moorty, Emma Scioii, & Kavita ThirumalaL(The dancers are disciples of well-known teachers from India and United States; Dhananjayans, Guru Narmada. Narasimhachari & Vasanth a lakshmi, Dharamshi Shah & Kumudini Lakhia, Ramya Ramnarayan, & Malathi Iyengar). Orchestra includes Malathi Iyengar Nattuvanga, Mysore N. Srinath - Vocal, Neela Ramanujam - Vocal, Kalaiarasan - Violin & Jayaram - Flute. Lighting is by Suresh Iyengar. Genera! Admission is $ 12 and $10 for Students, Seniors, DRC and Art Card Members. Los Angeles Theatre Center Box Office phone number is 213 485 1681 and Madrid Theatre Box Office phone number is 818 347 9938. For event information, please call 818 380 0858 or 818 788 6860. Our Web Site address is www .ranq ol i ,org & we can also be reached by E Mail; msiyen gar @ ra ngol i . o r g . This project is supported in part by a grant from the City of Los Angeles Cultural Affairs Dept and Brody Arts Fund, California Community Foundation. Both LATC and Madrid Theatres are a facility of the City of Los Angeles, Cultural Affairs Dept. A dance theatre featuring musicians and dancers from India and USA 21 The concert relates the message of ‘Ramayana’ (powerful story of good over evil) as an instrument to share the precious traditions of India with our audiences, Ramayana tells the story of the courageous and heroic prince Rama 1 , and his beautiful princess Sita\ The performance will depict their adventures during their fourteen-year exile, the kidnapping of Sita', and finally, the Great War waged to recover her from the" clutches of the evil demon king ‘Havana', 'Ramayana was originally set to rhyming couplets in the language ‘Sanskrit' over 2500 years ago, and was written by the sage-poet ‘Valmiki'. Since the demon who ruled Lanka. To help the gods, Vishnu made his appearance in the world as Rama at the end of Treta Yuga’ or the second age. The epic focus is on 'Rama , seventh incarnation of god ‘Vishnu^ and the unchanging values, messages and moral lessons that are represented in ‘Ramayana \ Sage Valmiki describes the poetic journey of the central figure, Rama as human, superhuman, and finally divine. In rich and expressive language, Valmiki narrates the legend of Rama, the Ikshvaku prince, who embodies the ideals by which a man, warrior, and a king must live. c ii Artistic Direction - Malathi Iyengar Music Flute-K S. Jayaram. Dancers ; Ronald Burton, La ks h m i Iyengar , Malathi Iyengar , Proveen Kumar , K* Mu rah Mohan , S/iycrmcria Moorty, Sathyjanarayana Murthy t Emma Scioli, Kavita Thirumalai, & T» B. L/nnikrishnan, then, the story has been told, Composition - D. S. Saturday, July 15, retold and interpreted several Sriuothsa 2000. 7:00 P,M: Los times by visual and performing artists. ‘Ramayana' is divided into seven 1 Ka n da s T (cantos) or sections and contains 24,000 verses. This music and dance feature is based on selected sill okas' or hymns from sage Valmikfs great epic Sri mad Ramayana \ The gods in the heavens lived in great terror of Havana, Poetry - Sage Valmiki's l Srimad Ramayana 'Lighting - Suresh Iyengar. Orchestra: Malathi Iyengar - IVatfuuanga, Mysore N, Srinath - Vocal , Nee/a Ramanujam - Vocal Mridanga - Janrad/ian Rao, Violin - R. Kalaiarasan, Angeles Theatre Center, 514 South Spring St, Los Angeles , Box Office - 213 485 1681. Sunday, Jufy 16, 2000 . 6:00 P.M: Madrid Theatre * 21622 Sherman IVay, Canoga Park , Box Office - 818 347 9938. With Best Wishes from: Nadajyothi Sri Thyagarajaswamy Bhajana Sabha(RegcL) No. 88, 10th cross, Malleswaram, Bangalore-560 003. PH. 3446839, 3444663, 3362824 22 □ OGUfJAGRAHI / JUNE SPECIAL ISSUE — ^ L _ mm „■■ -m- 9. H UU MB ■■ MM ■«* = 3 □ V, Krishnan Page GUNAGRAHI INDIA The Cultural People A look at the cultural scene in India. An Ustad or Pandit gives a concert and the hall is half empty. A large number goes to a well advertised show and the programme is a wash out! Talented artistes find no avenue to the top, Favouritism, mismanagement and red tape often stifle or shroud brilliance. Artistes piled with paper work, cultural shows earn a din reputation. There is talk of difficulties in getting grants, an insecure feeling amongst artistes, vexing paper work even to get meagre pensions, for, artistes' ignorance and bad public relaltions are evident, talented artistes are not promoted at the right place at the right time. The solution: evolution of an impresario system. GUNAGRAHI INDIA is a vital link between the artistes and the programme sponsors, government agencies, private companies and sabhas, taking on the bullwork that goes into conducting a cultural programme— fixing the venue, gettng the right audience, looking after the artistes, taking care of the minor but vital details like aesthetic stage decor, pleasing background music, good compering, lights, living quarters, costumes and seeing to a million organisational details that neither the artiste nor the agency would be competent to handle. To effectively interact with the artistes and sponsors for the success of every cultural programme, GLJJVAGfiAHJ INDIA offers its services whenever called for. GUNAGRAHI INDIA is a pioneering project hoping to tremendously improve the quality of the cultural programmes and acceptance of impressario by everybody in the cultural field. It will signify the development of maturity and professionalism that the cultural scence lacks at the moment. GUNAGRAHI INDIA is a professionally' managed impressario company with Dr.M.Surya Prasad, S.K.Lakshminarayana(Babu), K.Ramamurthy Rao, Usha Kamath, DnH.N.Shivaprakash and others as Directors, who have considerable and long standing links with variious catagories of artistes in India. CONTACT: GUNAGRAHI INDIA "Munikoti”, No.8, Second Cross, Opp.Srinivasa Mandira, Baiepet, BANGALORE-560053. Ph: 91-080-2253975. E-mail:drsuryaprasad@joymaiLcom and gunagrahi@yahoo.com r n — With best wishes T.D.Rajendra and Nirupama Rajsndra * (Dancers-choreographers and teachers) ABHINAVA ARTS CENTRE (R) A training and performing centre for Kathak and Bharatanatya No. 66, Jain Temple street, W Puram, Bangaiore-560 004, Fax/Tel: 6614199, 66134407, 626072. J 24 CUNAQgfiHt &n QSbecond OPdrshikotsava from Rangoli K'uuodaltem for 4 Art II Culture 1474# Murri^on S'tn-et Kbfnnqji Oiiki California ^1403 UJ5LA. Tel; »1» 7HK WM) b;ix: SIM "727SJ i r h unagr^hi . Monthly Journal RNJ Regn. No. 69149/98 Keen. No. CPMG/KA/liGS-92/2000 Owned. Published, Edited and Printed by Or. M. Surya Prasad at ' Munikvti \ No. 8, 2nd Cross , Opp. Srinivasa Mandirani , Halepet, Bangalore - 560 053. Phone: 2253975. Printed m: Siiranga Printers and Kinders, No. 242, 7th Cross, i Oth Main. Sri Raman jinieya Road, Hanumanthauagar, Hangido re - 560 019. Phone: 6679333 Editor General ; Dr ; M, Bury a Prasad EBB I D Karnataka's only English International Journal on music and dance Editor General Karnataka Kala Shri Dr. M. Surya Prasad Phone : 2253975 Vol. 3 Issue 6 November 2000 Associate Editors Principal Advisers Admn. Executive: Advisory Council Legal Adviser: Usha Kamath Ph. 559888$, K. Ramamurthy Rao. Mysore Ph .082 MSI R99 B. L. Manjula, Ph , 55 1 9227. Vi jay a Ramesh Ph : 6674964 Balakrishna, Ph : 6679333. $. K. Lakshminarayana (Bahu) M y sore, Ph : 082 1 - 5 1 34 1 4. V. Krishnan. Ph ; 3345665 Dr. A ll Ramarao, Ph : 669 1 175. M. Bharadwaj, Plr. 08 f 82 2205 L H.K. Gancsh, Ph: 645349, H. Kainalauaih, Ph: 6612244. M.V. Rainachandrasa, Ph: 2876 1 3 3 B* V. K. Sastry, Ph: 3342682 E. R. Sethurain, Ph : 6783 1 16 Dr. R. Sathv an a ray an a, Mysore 082 J *529599. T. S Pan.hasaraihy Chennai, 044459005 Pandit Seshadri Gavavi Ph : 6263 7 1 Guru Maya Ran, Ph: 2283486 MauurKrishnamurthy, Ph: 3348275 Prof. M. S. Nanjimda Rao Ph: 2261816 Shyarnala Bhave, Ph: 3413900 Dr H N. Shivaprakash, Ph:6672 ! 89 Dr. Manjunatha Bhat, Ph : 6647654 Durga, C. Avarthi, Ph: 5298954 T A-S.Mani.Ph: 3441515 K. Balasubramanyain, Chennai. Ph; 0441992474, Pt. Gowning KodikaL Ph; 3316325. 1 1 N Suiosh. Ph: 33479 1 8 C. Chduvaraj, Ph: 3328361 Prof. K.E. Radhakrishna, Ph: 3321641 Gum H. R Keshavamarthy Ph : 3320903. Pt. Pammeshwar Hegde, Ph : 3310039. Pi , ViitayakaTorvi, Ph : 330570 1 . Dr. T. S. Vai dyes h war. Ph ; 6650026 Dr, Vasundara Dorns wmny. Ph ; 0821-5428 14. Ranjani Ganeshan, Ph: 5548 147 T.R.Harish Ph : 082 1 -5 1 0407. Guru Padmini Rao, Ph: 667001 3. Guru Geetha Data, Ph : 08 1 8270180 Guru Usha Data, Ph : 349285 1 i o eh ana Ashok Kumar. Ph: 5464488 C. S. Nagesh - 9628-804898 EDITORIAL OFFICE : "MUNIKOTI 11 NO. 8, SECOND CROSS, OPP. SRINIVASA MAN DIR AM, BALEPET, BANGALORE - 560 053, PH : 2253975 Inside From the Editor General Interview wifa Dr. Semmangud: Review Calender of Events & Photo Quiz 14 Correspondents INLAND : Bangalore - N. Anunthapdrnanabharao. Ph : 5532658. Kusuma Rao, Pti 3222593 Katie Sathytmat iryanaiao, Ph: 344663, Mysore - K Raghavcndra Rao, Ph : 082- 3 51 35 17 Di .,V Nagaraj. Pn: 082511 133 Huhli I )ha rwar- 3 say as ree GuUal-Ph; 0836347532. K sham a Govinda Rao. Bombay- B, Nagabhushan. Ph: 0251-472475 FOREIGN : California :M;dalhi Iyengar Ph: 81 K 7 KM 6860. & NaeheWta Shanna • Ph: 00 1 -650-960-6906 Lavanyt Dinesh - Ph: 717-576-8295 Wellington - Vivck Kinra, Ph: 54-4-387388. San Frans isco - My thill Krishna. Ph: 408-7256845, 408-7252951, I A/Ve welcome alt unsolicited material but do not take responsibility for the same, if these are to be returned postage shouid be included. * Letters are welcome. * All rights reserved. Nothing may be printed in whole or in part without the written permission of the publisher. * The editors and publisher of Gunagrahi but do not take responsibility for the absolute accuracy of the information. The opinons/views expressed by individual authors in articles published are not necessary those of Gunagrahi Articles, Photos, Write*up$, reports may also be sent to the following address ; Editor General 446 , jaraganahalli P.Q. J.P Na§ar, Kanakapara Main Road. Bangalore - 560 078. 2 “> uf r r s TTH i fr-i | — " \ \ r . i *i 1 A ! . . ^ : — - : m t&e £dlt&% ^enrnai THE RAJYOTSAVA AWARDS - 2000 Come November, the mad rush of the Karnataka Rajyotsava Award seekers becomes unbound and unwieldy. Unsolicited applications for the award this time crossed 4000 mark. The Government, as usual, this time also seemed to have no parameters in deciding the number of awards and also the qualifying awardees. The first round of meetings with Minister of Kannada and Culture and the presidents of all the Academies could not be fruitful. A cabinet sub-committee which was formed under the chairmanship of a senior minister also could not finalise the list. The final decision was left to the discretion of the Chief Minister. The earlier exercises which started almost a month ago seemed to be futile The Chief Minister took his own time and could finalise the list in which hardly a few recommendations of the previous two committees were honoured. It was also intriguing to note that the words of the Presidents of the Academies were never * taken into account at all* The fact that one of the Presidents openly came out with his displeasure and disagreement with the list of the awardees is a pointer to the developments. It would always be good to have the merit as the one and only criteria in giving away such prestigious awards as Rajyotsava Award. The recommendations and influences of any sort should be deemed as a disqualification for the award. The sanctity and the value of the award should not be let loose by adopting unscientific methods in the selection of the awardees. The result of the ‘last minute announcement” of the award was also evident in its own way. It is hightime something logical is done in this regard 1 ■ CONGRATULATIONS TO MYSORE M.NAGARAJ Young and seasoned violinist Mysore M.Nagaraj became the 13th ‘Gana Kala Sri” when he received that title from Prof, B.K* Chandrasekhar, Minister of Information and Publicity at the sadas of the 13th Young musicians conference of the Karnataka Gana Kala Parishath at Sri Shankar a Math. Shankarapura, Bangalore* It was another feather in his cap which is full of varied honours and titles. The 37-year old Nagaraj deserves this honour for his rich talents and expertise par excellence. GUNAGRAHI felicitates him on this occasion and wishes him all success in the years to come. - Karnataka Kala Sri DR.M.SURYA PRASAD. 3 n (3lnl£r&t££n * “It is difficult to find great artistes in the years to come” {An evergreen , high-spirited and jouia/ 92-pear old Padma Vibhushana Dr.Semmanagudi Srinivasa Iyer, the veteran vocalist speaks to Dr.M.Surya Prasad at Bangalore when he was in the city to attend the 32nd music conference of the Bangalore Guyana Samaja .} • Will you please tell us about your first performance? It was at Kumbakonam in 1926, After the concet by Maharajapuram Viswanatha Iyer' in which my brother Narayanaswamy Iyer (violin) and Azhaghanambi Pillai (mridanga) had participated with myself providing the tambura support, Azaghanambi Pillai requested the seniors that I be allowed to sing in a festival conducted by him at the local Nageswaraswami temple. As per his wish I sang there. It started raining, and the ten or fifteen people in the audience couldn’t go out even if they wanted to, (Laughs). • ft is said that you had some initial voice problems? If so, how could you overcome them? * Yes, I certainly had lot of problems and even thought of giving up music altogether, l was performing in a concert in Mannar gudi. After half an hour or so, no sound came out of my mouth, only air, I got scared ; nd lost my courage and after seeking the help of Shri Mannar gudi Rajagopala Pillai, somehow, 1 could complete the concert. I was further confused when the organizers came to pay me And of course I refused it. I had a thorough i heck up of my throat and I had my septum corrected, my tonsils removed to set right my voice problem. I am happy that I could sing and continue to sing to this day at 92, • Js there any importance of 1 banis ' m classical music? m In the past music was taught and learnt directly from a guru (gurumukha) under Gurukula system for a fairly long period of .time as a result of which the disciples used to unconsciously imbibe even their guru's mannerisms. The absence of ‘bani’ today is because one learns from different teachers and even tapes. However, even today you do have distinct 'banis' ! ke the Lalgudi barn, the Maharajapuram bani and so on* • The present day singers are young. talented and intelligent. What is your reaction? That is a good augury for classical Kamatak music, I personally feel that one has to treat music as e worship(archanai). A krithi has to be sung over and over again with reverenc and due regard to bhava and rasa. I am happy to see the youngsters sing very well nowadays. But I am afraid I would just have to close my eyes, when they keep the notation in front of them. • Will you please tell us about the Lakshya and Lakshana? ■ Lakshana is grammar and theory. And the Lakshya is aesthetics and practical. I strongly feel that both of them are of great importance to om music. Any language used with correct grammar wi!l always be good to hear. So is our Sainpradaya music. If the rules and regulations are not followed it will be like a street singer. Tiere are different lakshana granthas dealing with different aspects of classical music. However, I feel the necessity of one comprehensive grantha that covers and presets every asyject clearly which is yet to be found. • We find proliferation of artistes , titles, sabhas e£ al. Do you have anything to say about this phenomenon? It is very difficult to answer this. It is true that there is c proliferation of every sort, I feel the sanctity of awards, titles and honours is getting diluted. In the days to come it will be like an oasis to find great artistes like Tiger Varadachar or Poochi Srinivasa Iyengar and SO on. % 4 <■ * - j L — ■ I — — |:-W* •«!'. ■ fc- * BANGALORE BCI Vibrant Veena R.K.Prakash's implicit faith in the loudness of exposition got exposed. In his solo veena recital at Sri Shankara Math in connection with Sri Sharaca Sharannavarathri Cultural Programmes - 2000 the sound level often crossed the threshold of musical tolerance* Sancharas and swaras hovered around the terrain beyond the tara stha /i shadja and was voluminous in the mandra sthayi. His eternal quest seemed to scale decibol heights and Prakash displayed great involvement in this genre of cutcheri technique, 1 was happy to see the musician turning his creative skill to contemplative inwardness on several occasions during the concern manodharma was appreciatively profuse but I felt that melody should have taken the front ; eat. He extended the version of the raga Hamsadhwani in the form of swaras and followed it up with snatches of Vedamantra and a couple of shlokas* Appropriate to the occasion, he presented varieties of songs on Devi by Muthuswamy Dikshitar, Sri Jayachamaraja Wodeyar, Subba Sastry and others. A short alapana in Arabhi was a good introduction to the krithi on Saraswathi “Sri Saraswathll “Brahamaanda valaye" in Maand by the former Maharaja of Mysore Sri Jayachamaraja Wodeyar, Reetigowla (Janani ninnu vina), Valachi (Jalandhara), Chittaranjani {Nada tanumanisham) and Behag tillana were rendered in a telling manner, M. Vasudeva Rao (mridanga) and Dayananda Mohite (ghata) provided the right percussive support. Impressive vocal Padma suitably Gurudath by R.Raghuram (violin) and Ashok (mridanga) was dedicated and sang with a sincerity of purpose. Rendering of rare krithis by Dikshitar, Chicka Rama Rao, Veena Padmanabhatah and others was impressive, Padma started with a Ganesha stuti in Nata aganapatim manasa smarami) with a brief alapana of the raga. She impressed the listeners by singing Shlokas by Jagadguru Sri Shankaracharya in Arabhi as a prelude to late flautist Narasinga Rao : s “Sri Sharade rakashamani” . The chittaiswara sung with the composition had lot of rhythmic value, Muthaiah Bhagavatar’s Sumanapriya song Sri Sha ravanab ho wm +1 sung in madhyama kala was further beautifed by chittaiswaras. Vasantha (Vande ham), Bhairavi {Baaramma Sharadamba) and Kadana Kutoohala were treated in detail Padma : s rich manodharma and classical commitment was rewarding. Maha Vaidhyanatha Iyer s Ekaadasha ragamalika krithi and the ragas Dhanyasi, Behag, Kedara, Mohana, Bhairavi, Todi, Khamach, Shahana, Sumli and others in the chain of the ragamalika demonstrted the sound awareness of the melodic structure of each of the raga i * Yuva Sangeetotsav The Devanandan Ubhayakar Yuva Sangeetotsav under the guidance of veteran Hindusthani vocalist Lalitha Ubhayakar held for two days at the Guru Nanak Bhavan yeilded rich results and the young musicians who gave a account of themselves. The Karnataka Governor V.S.Ramadevi inaugurated the festival. Inclusion of one Carnatic recital amongst Hindusthani recitals was a laudable gesture indeed. Fine Kalyani Young N.Rajakamal stuck the right i Dagar family relived the ho an, 1 tradition of Dhrupad. He sent the audience into raptures wth his elongated version of K+aervani on his Rudra Veena. Tlie tier by tier detailing of the raga was marked by classicism. His alap gave the r£ sikas a peep into the varied d: me ns ions Darbari Kaanada with some Hindusthani touches here and there for a Meera bhajan was the concluding item of Rajakamal 7 s recital* Here is an artiste to watch. chords on his flute and impressed the rasikas with his neat technique and artistry. Very happily accompanined by * B.K.Raghu, V. Nanjundamurthy and Bhardwaj R.Sathavalli on violin t mridanga and morsing respectively, Rajakamal began his recital with Mayamalavagowla raga. Though a simple-looking raga, it has an attractive feature for itself. The swara frequencies are pleasing to the ears. The flautist raised lot of promise and his rendition of the raga followed by a Swati Tirunal s krithi “Deva Deva >T consolidated his claims for higher recognition. The kalpanaswaras were neatly woven into a perfect rhythm. [ was settling down for some other not-much-exposed raga, For a while, l was disappointed to hear the overtures of Kalyani emanating from Rajakamal’ s flute. Thankfully, my disappointment did not last long. For, he gave the raga its full, Kalyani was delineated in all its glory and there were some interesting phrases in his play which vouched for his refined and well directed manodharma. I was totally happy to hear a Thyagaraja- krithi *‘Vasudeva efri vedalina’\ One of the finest krithis in Kalyani, this is rarely heard on the concert- platforms. Rajakamal deserves full marks for his artistic and aesthetic treatment. The tani- avartana lent an useful opportunity for the accompanists to demonstrate their talents and hold over the rhythm and their instruments. A brief alanana in s Malhar Vocalist Meeia Pandit ventured into the demanding realms of Sur Malhar in her vocal recital. This mousami or seasonal raga is said to have been composed by blind saint- poet Surdas. It is a very >■ popular and pleasing raga. The mixture of two ragas Madhumad Sarang and Maliiar makes up for this raga. Meeta shone forth in its delineation with tradition and technique blended to the right quantity. Her layakari and ragadari were equally sound, the neat phrases coming through with deceptive ease. Tricky saragams and tans laced the composition enticingly. The intensity of the raga was pleasantly relieved by a lilting thappa. Tilak Kamod and a bhajan in Desh was well composed, bathed in an unceasing shower of phrases* The arrival at the sam by the raga Keervani, while the jor and jliala served as additions to the joyous mood. The melodious tinkle of the irstrument combined with slides of fingers to produce aesthetic graces in badhat was p ayed out to the right degree, Baha ‘uddin came out in flying colours in sketching another attractive raga Megh. In the rills of notes that swept past the listeners in waves and in which here and there one heard those little techniques that unlock the emotional substance out of every chord. The final cadences were achieved w T ith superb nonchalance that was a pleasure to the ears. Sanajy Agle(tabla) worked out the most off-beat digressions, at all levels of speed and from any point in the rhythm cycle. Each artiste seemed to be sizing up the other and trying to catch the other off-guard in what turned out to be a thrilling musical duel. Creditable Account was an orgiastic experience. The expositions were the craftsmanship at its best. Ravindra Katoti (harmonium) and Prafulla J.Athalye (tabla) excelled in sangath, that is, accompanying as the singer sings, rather than echo her last phrase during a pause. Prafulla thrummed a capable and weighty teka on the tabla. Satish Bhat, a disciple of Ft. Ganapathi Bhat, gave a creditable account of himself in the drafting Brindavan Saranga. His voice was youthfully fresh and packed with both kinetic and potential energy that made his presentation likable. The raga came fhrillingly to fruition Baha “ud din Mohiuddin r, a scion of the famous * nuances and no wonder Loka Udayaraj Karpur made the best of it. The grand shone forth krithi by Muthuswamy accompaniments Dikshitar "Bala Gopala 11 was _ _ _ m _ _ through a full length rendii ion and bandish, the latter nibaddha part showcasing his gamaks. He surprised rr c by singing Bheempalas around 12 noon. Satish commendably support Ravindra Katotifharmo and Prafull(tabla). Female flautls all the manodharma- ■ ornamentations. Her vocal- based rendition yielded rich dividends. She received a fine support from Veen a Suresh (violin), B.K.Chandramowli (mridanga) and K . N . Kr ishnam ur th v( ghata) . was in an eye-riiung Bharatanatya duet by Maithry and Manasa at ADA Rangamandira Kannada compositions were exposed to the audience and it was proved that they are good for presentation through dance. These young dancer bestowed One of the seasoned female flautists of Karnataka, Loka V. Shankar modulated her flute well which never played truant and p lease Ji the audiences at the same vc Her lungpower commendable and the were never unsure. The tonal had the benefit of being trained by a seasoned Guru B.Bhanumathi. The presentation of a Jatiswara in Hamsanandi was a successful one. The varied and sometimes complex j at is were translated into dance language by the young dancers. 1 wished they had perfected their ardhamandalis and charis. Ofcourse, the mukhijas will gain profundity in the course of time as they gain experience. The varna in Khamach by Dwaraki Krishnaswamy has the theme of Rukmini sending her sakhi to Krishna to fetch him. The attributes of a proudha were beautifully underlined by the dancer-duo in their abhinaya. In the concluding session of the recital, the rendition of a Padmacharn krithi on Goddess Saraswathi (Kaiyani), a Purandaradasa pada nue. A dugalbandhi recital was featuring two stringed lips instruments - violin and guitar, deserved full marks. iy a T.S.Krishnamurthy on violin gas is already a noted name in the the field of Carnatic music, with Likewise, Prakash Sontakke ur’s has been working hard in laid popularising his Hindusthani her guitar recitals. Both of them A/as seemed to have had good ted round rehearsals and hence mra the result was in the positive. _ ury But it also seemed to be lop- the sided as Krishnamurthy took i of the major share of the was programme. However, his solo rendition of "Vatapi” and »wati Begade (for Thyagaraja' s ' : N ee rithi veiagu”) was an audio treat, tbha Prakash Sontakkes Shyam ther Kalyan on guitar was citaL wonderful. His innovative and approach in the rendition of the raga on this Western instrument was laudable. He could draft the raga with a neat palette. Prakash and Krishna - t muvthy did full justice the combined rendition of ars Abhogi, Peelu (a Meera ^ Bhajan “Payo ri”) and 1 Sindhubhairavi {‘Tamboori meelidava"). V. Krishna and Muthaiah Bhagava “Siddhi Vinayakam” an a firm foundation fo* recital, “Ganamoorthe* crisp. She pa Dharmavathi with bn passages leaving a sa' taste in the mind o listeners. The rendith "Bhajana seyaraada 1 ’ itself proof of proper planning and musical steadiness. Tirunal's Behag-I “Smarajanaka sh charita ,? was an pleasurable item of the r The shruti-aligned gamaka- oriented play ai approach were st classical. Bhairavi camfe out alive in the very first prayoga, dear and precise. Tills is the grammar prescribes a raga must establis identity in the opening and the audience shoul be kept guessing. It is a lendino itself to a pie: he T.V.Karigiriachar won applause of the lovers of dance. Guru B.Bhanumathi (nattuvanga), D.S.Srivatsa (vocal), C.Madhusudhan (violin) t Mahesh (flute), G.Gurumurthv fmridanoa) and 7 t for Patnam Subraman “Paridaana michcit impressive, He demoj his rhythmic-prowess kalpanaswaras. The highlight recital was the deline Keeravanh The rat ■ painted with a clean br lines. The composition raya.was done in a co style. GNB : s krith charanambujamani nammiti tT with neraval Shashanka’' and swar some fine musical val Artistic Datshav By one of coincidences that poir phenomenon of a cc consciousness expt itself in physical) culturally similar man blind students of Na trained under the guidance of talented Ashok Kumar focusse* part of their ai technique and talents Dashavataras of th< Vishnu in their recital ADA Rangamandir; programme aptly ‘\Antar-darshana'\ b into light their inborn gifts. Strung on the and conceptual threr Tamil compos description of ih incarnations, the prese gave ample elbowrc each dancer to showc dance-abilities. Their mentor Kumar too joined then rendition. Needless to gave a commei disposition. with vivid brush stro — ___ — 9 X 1 NOVEMBER 2000 GU NAG RAW Kama taka and most effective too. Accompanied appropriately by T.S.Krishnamurthy (violin). C.Gheluvaraj (mridanga) and N.Amrit (khanjira), Nagavalli’s natural ebullience and impetuosity and her resonant voice and utterance stormed % ahead unhindered as usual, t ier manodhanna was at its peak. The rendition of ^Devadideva" and ^Kolanooduta'" with swara for sahitya was an audio-delight. The birkadaden Behag with faster phrases was a class by itself. The maneuvering of ati tara madhyama had an easy leash and a lot of celerity and nip. The handling of the two nishadhas and madhyamas was another landmark of her recital. “Pahi Krishna Vasudeva" was ornamented with kalpanaswaras. The rhythmical tautness and designs lent appeal to her swaras. Likewise an Ugabhoga ("Eragi bhajipeno ) and a pad by Purandaradasa "Endappikonde naanendu muddaaduve” had the literal fondling of notes and words. The swaras reinforced Nagavalii’s technical mastery. The delineation of Shanmukhapriya for a rarely heard Thyagaraja krithi “Maanamuto nannu brova” with neraval and swaravinyasa was die highlight of her recital in which she gave out all of her expertise and excellence. The atitara sancharas were neatly explored without causing any boredom. She kept up the lively tempo of the recital and sang with uniform of spirit and dynamism 32nd Gayana Samaja Conference The 32nd music conference of the Bangalore Gayana Samaja held last week concluded with the conferment of the title of 'Sartgeetha Kalarathna ' to the conference president veteran vocalist Seethalakshmi Venkaieshan, N.L.Cheluva raju T T.Sharada, Rasa van gudi .G.Nataraj, M.R. Krishna murthy T M.Venkatagiriyappa, Hosahalli Keshavamurthy and others were honoured as the ‘ Artistes of the Year”. The grand old vocalist Dr.Semmanagudi R.Srinivasa Iyer was felicitated with a title of “Gayana Sarvabhowma 1 *. The music programmes started with a vibrant vocal by Madurai T.N. Seshagopalan. Notwithstanding a couple of swarasthaanas, he rose above his usual standards, which were high enough. His voice, his form, his mood were all fit Darbar (“Mundu venaka" of Thyagaraja) was breathtaking. Poorvi Kalyani was the first raga taken up for a detailed treatment. Muthuswamy Dikshitar's popular krithi “Meenakshi me mudam dehi” with a neat perch on the tara sthayts had immense musical charm. The swaras were typical of T.N. Seshagopalan. A rare Thyagaraja krithi in Devagandhari raga. "Seethavara sangeeta gnanamu” in vilambakala provided a rich experience Another notable point of his vocal recital was the vocal support extended by his son TNS Krishnan. He faithfully maintained the tradition, with the same style* the same patten mathenr The h e was the Both t excelled reach listene moduia contrc 1 The shr in a nat Having shadj a formed Krishiu reward broug! il of the sinqinc “Ninne adorr e ‘Kama ayataa follow* swaras, suppoi more | Vellon l of vocalism and atical calculations, blight of the concert elaboration of Todi. e father and son in carrying out to the hearts of the s. The vocal ions, birkas, breath t al were captivating, uti-bedha that figured jral flow was thrilling, rishabha as adhara t TNS guided the ion m . supper tana disappi in continued it in a ing exposition. He out the entire essence raga in his artisth . Shyama Sastry s nera nammi nanu“ d with neraval ai shi kanjadala shi Meenakshi” d by a cascade of V.V. Ravi’s violin t could have been rofound. Veterans » Ramabhadran ga) and H.P.Ramachar ra) lent a classic . Absence of a raga, md pallavi was a intment. S seethalakshmi Impresses T presi d Venkal music dl beauty succes: auste-< Seeth a] sange< direct c The re atatala She c;a rasikas krithi e conference nt Seethalakshmi eshan energised her exposition to yield the >f classicism. She was ful in following the : path of classicism, lakshmi exercised her itha gnana in the n of melodic precision cital started with the vama in Bhairavi raga. ight I he attention of the by singing a quaint on Ganesha. ,4 Sri J was a pointer to the c lassical progression of the concert. The Gowlipanthu (Tera teeyagarada) and Mayamalavagowla (Deva Deva) suites were dignified. Shubhapantuva r a I i (Ennatu:Thyagarajc ) and Kambhoji (O Rangashayi) upheld the virtues of the vocalist's conservative approach to cutcheri Eirt and proved how truly classicism thrives on it. She was ably assisted by Kavitha Saralaya and Triveni Venkalaram (vocal). M.A.Krishnaswamy (violin), P,G,Lakshmin; ir ayan a (mridanga) and Ramesh (morsing) enriched the recital with their active partk pation Professions] Touch Rajakumar Bharathi, gifted with a good and melodious voice his main strength lies in the sensitivity with which he elaborates the raga in fine detail. He gave a brilliant vocal recital on the fourth day of the 32 nd music conference of Bangalore Muthaiah Rhagava tar's famous Mohana Kalyani krithi “Siddhi VinayakanV’ and compositions in Vasantha and Hamsanada drew the interest of the audience. A composition in Tamil by Subramanya Bharathi in Hamsanada was beautified by neraval and swaras, ’Anathudanuganu" in Jinela raga appended with chittaiswaras kept up a lively tempo of tiie recital. Though his exposition of Shankarabharana brimmed with his musical technique, aesthetics of the raga required much more subtlety and sensitivity. His mandra and atimandra sthayi sancharas and their counterparts in the higher registers needed more of melodic precision which covers the Karnatak swarasthana, gamaka and shruti values. But still, he never escaped into easy entertainment routes. The grandeur of “Swara raga sudharasa” was neatly Mysore M.Nagaraj (violin) accompanied the vocalist with rare sensitivity. Mannargudi Eshwaran (mridanga* and Bangalore K.Venkataram (ghata) s accompaniment was weighty . Competent Malladi Brothers Malladi Brothers sang a competent and dignified concert. Their show of musical skill was enjoyable. The concert in which Nalina Mohan (violin), H.S.Sudhindra (mridanga) and Latha Ramachar (khanjan) also took active and artistic part, began with the Sri raga varna (Karur Dakshinamurthy), Mysore Vasudevachar T s Kambhoji krithi , “Lambodarama valambe' went strong on the Carnatic path. The vivid quality continued to be maintained in Thyagarajas “Tulasamma” and Shyama Sastrys “Nannubrova Ealitha” (Lalitha), The T.R.Srinath, pri not only a profes concert but „serv< testimonials as an flautist at work The individuality and smoc of his rendition of N; Vasantha krithis exhi Devamanohari (Ev leisurely Yadukula K; (Echcharikaga rara) an (Nee pogada) were c and robust and were with classical fervour Varali ivalric It was in the den Shahana exposition foi tana and pallavi sessi Srinath s feel brough interpretation a center intensity. It was good sang and demonstra pallavi line in two k tala. The ragamalike embellishments coir Hameer Kalyani nnding a raga, m that to the t plative swam prising and elded to :oncert. equally Dr. A.H. Rama Rao & Sudha Rao Page dali 1 3 th mainfbetween 4th block, Jayanagar, D.Subbaramaiab Fine Arts Trust: 8th Ragasree Sammelanotsava from 1-12-2000 to 3-12-2000: Dr.H.N.Kalakshetra; Dec.l 5.30 P.M* inauguration by A.R.Chandrashasa Gupta. 6.15 P.M. Jugalbandhi by Shyamala G « Bhave and Naganiani Srinath. Dec. 2: 9.30 A.M. : Demonstration on Techniques employed in playing flute' by G.Rajanarayan. 10.30 A.M. Compositions of H.Yoganarasimham by Dr.Padma Murthy. 5 P.M.Harishankar (electric guitar). 6.15 P.M* R.K.Padmanabha and D.V.Nagaraja(vocal). Dec. 3: l Sri Rama Namana’ by Jambu Kannan* 11 A.M. Goshti Gaana. 4.15 P.M. Chaitanya kumar (flute). 5.30 P.M. Honouring of V.Deshikachar with “Gandharva Vidyahidhi” title by K.C. Rama Murthy. 6.15 P.M.Rajalakshmi Tirunarayanan(veena). Malleswaram Sangeetha Sabha, Gokhale Institute of Public Affairs, Malleswara; Nov. 19, 4.15 P.M.: B.Saraswathi and V. Krishna veni (vocal duet). Percussive Arts Centre, Gokhale Institute of Public Affairs, Narasimharaja Colony, Nov. 15 Nagaranjini(vocal) fo! owed by S.Vinay (vocal). YOUTH FORUM: Amrutur Janaki Ammal Memorial Competitions for percussion instruments open for mridanga, ghata, khanjari, morsing and dolu* They will be held in three groups, junior, senior and vidwafh. For further details contact PAC: 6563079 or H.S.Sudhindra, Convenor at 6633623, Date and venue; Nov. 18 nt 2 P.M. at Sri 35th and 36th cross} Ph. 6346740. O: competitions on Nov Seva Mandali, Jayar auspices with Hams ad cross, 1st main. Competitions are opt i and percussion held for the age group of 1 for 25-35 years). Foi 6563075 oi Creations:3325302 . Tarangini Arts Fci Institute of Music * workshop on The ^ 1 9 at Sri Pattabhirama agar under the joij^ iwani Creations, 5, 3 Maruti Extension, for vocal, instrumental n two groups(group 1 5-24 years and group 2 details contact: PAC: Hamsadhwani 3326901. Ananya , in da ti on and Indian and Arts; Two day rt of Performance' by l(Nov.18 and 19) at >361 906, 5454488. ital by Vishalakshi P.M, M.E.S.Kaiavedi: Lecture demonstration Ananya. Contact: ; Nov. 18, Vocal rec Nityanandan at 6.30 Nov. 18 at 6.30 P.M : on compositions of Sr < by R.K.Srikanthan z Malleswara. Hamsac Banashankari Fine P main road, 2nd Banashankari 2nd Narnana ” (compos it ioi Sukanya Prabhakar t MES Auditoriumm, hwani Creations and rts Society, 723, 1st phase, 7th block, stage: “Haridasa Bangalore Gayana 5 P.M.: Naganiani na Mohan (violin), ja) and M.Dayananda Name this Instrument? IB- IMI kW ■ujLi . i.Ak + , jgjsfef i ■ » ■■'r : s £ T 1 m ■Ti £ t -l kockedo sstpsJR rrch t*3a 4J3fc& ass&sfiM 33 * c& 1 a u — c (J p 5,ida 'SC la ia dd?rd£5: da dc-da' 1 £ou d f £± wdcCSri 55dredsria^rfa. w^Cwi kdd d «.«s dE:rad s&wjaetf *ddt *&&, -s-: atfo&O stesrc kcda^ddtf, audosjssd, WJ -* i^-3 £/3ffS Hi nUSSSFS 53G33FtS EJ33li?tw wJs:&ri s e3??J8'tf3bt3 SiW3-IJS WSStf'C^ EjJssS wssiOEEJeS c : soars V , ®3q&s3c 5 ^i: j 4 =3d St33 a $r&COj3 6 Uu rte Dedb tW tfw. 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'y mV:* REfiDY PRINT No. 2907, 3rd Main Road, Vanivilasa Mohafla, Mysore - 570 002 Phone : 516803, 513414 Fax : 0821-516803 Owned, Published, Edited and Printed by Dr. M. Surya Prasad at 'Munikoti”, No.8, 2nd Cross, Opp. Srinivasa Mandiram, Balepet, Bangalore - 560 05.1 Phone: 2253975 Editor General : Dr. M. Surya Prasad + 75 years of Sangeetha Sev a Sangeetha Bheeshma Pitamaha Karnataka 's only English International Journal on music and dance Associate Editors Copy Editor Printer . t 'hid Patrons Principal Advisers: Editor General Karnataka Kala Shri Dr. M. Surya Prasad Phone : 2253975 Usha Kamath Ph. 55988 86 K. Ramamurthy Rao. Mysore, Ph. mi i -48 1 m B.L, Manjula, Ph .5519227, Vijaya Ramesh Ph: 6674964 Balakrishna, Ph : 6679333. S. K Lakshminarayana (BabuJ Mysore. Ph: 0821-513414. V. Krishnan, Ph : 3345665 Dr. A H Ramarao, Ph : 6691 J 75. M . Bharad waj. Ph: 08 1 82-22051. I I K. Ganesh,Ph: 645349. H. Katnalanath, Ph: 6612244, M.V. Raniachandrasa, Ph: 287613 1 B. 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Ph: 544-387388, San Ff ansi sco- Myt|iSi Knshna, Ph: 408-7256845, 408-7252951* "We welcome all unsolicited material but do not take response lility for the same, if these are to be returned postage should be included. * Letters are Welcome. * All rights printed in whole permission of th f served. Nothing may be 1 in part without the written ublisher. and publisher of Gunagrahi ify the information published but do not take idsponsibitity for the absolute accuracy of the iniprmatton, The opinons/views * The editors do their best to ve expressed by in published are f ividual authors in articles iot necessary those of Articles, Photos, Write-ups, reports may also he sent to (fit following address : Editor General 446 , JaraganahuUi P.O. J. P Nagar f Bor More - 560 078 . nakapura Main Road. “J -!IH- . GU MAG RAH I / NOVEMBER : ... ; THE RAJYOTSAVA AWARDS - 2000 Come November, the mad rush of the Karnataka Rajyotsava Award seekers becomes unbound and unwieldy. Unsolicited applications for the award this time crossed 4000 mark. The Government, as usual, this time also seemed to have no parameters in deciding the number of awards and also the qualifying awardees. The first round of meetings with Minister of Kannada and Culture and the presidents of alt the Academies could not be fruitful. A cabinet sub-committee which M was formed under the chairmanship of a senior minister also could not finalise the list. The final decision was left to the discretion of the Chief Minister. The earlier exercises which started almost a month ago seemed to be futile The Chief Minister took his own time and could finalise the list in which hardly a few recommendations of the previous two committees were honoured. It was also intriguing to note that the words of the Presidents of the Academies were never taken into account at all. The fact that one of the Presidents openly came out with his displeasure and disagreement with the list of the awardees is a pointer to the developments. It would always be good to have the merit as the one and only criteria in giving away such prestigious awards as Rajyotsava Award. The recommendations and influences of any sort should be deemed as a disqualification for the award. The sanctity and the value of the award should not be let loose by adopting unscientific methods in the selection of the awardees. The result of the "last minute announcement of the award was also evident in its own way. It is hightime something logical is done in this regard! CGNGRATt/LATJONS TO MYSORE M.NAGARAJ Young and seasoned violinist Mysore M.Nagaraj became the 13th "Gana Kala Sri' 1 when he received that title from Prof, B.K, Chandrasekhar, Minister of Information and Publicity at the sadas of the 13th Young musicians' conference of the Karnataka Gan a Kala Parishath at Sri Shankara Math, Shankarapura, Bangalore, ft was another feather in his cap which is full of varied honours and titles. The 3 7 -year old Nagaraj deserves this honour for his rich talents and expertise par excellence. GUNAGRAHI felicitates him on this occasion and wishes him all success in the years to come. - Karnataka Kafa Sri DR.M.SURYA PRASAD. i ■ * (3 Interfetefa “It is difficult to find great artistes in the years to come” {An evergreen, high-spirited and jovial 92-pear old Padma Vibhushana Dr.Semmanagudi Srinivasa Iyer, the veteran vocalist speaks to Dr.M.Suryo Prasad at Bangalore when he ujos in the city to attend the 32nd music conference of the Bangalore Gayana Samaja.} ■*r • Hilt you please tell us about your first even tapes. However, even today you do have performance? distinct banis’ • ke the Lalgudi bani, the It was at Kurnbakonani in 1926. After Maharajapuram \nni and soon. the concet by Maharajapuram Viswanatha Iyer' # The present iay singers are young . in which my brother Narayanaswamy Iyer talented and intelligent . What is your (violin) and Adiaghanambi Pillai (mridanga) had reaction? participated with myself providing the tambura support, Azaghanambi Pillai requested the That is a good augury for classical seniors that I be allowed to sing in a festival Kamatak music. I personally feel that one has conducted by him at the local Nayeswaraswami t0 treat mu ®ic as a worship(archanai). A krithi temple. As per his wish I sang there. It started ^ as to sim 9 * and over again with raining, and the ten or fifteen people in the reverenc and due egard to bhava and rasa* I audience couldn't go out even if they wanted ani happy to see the youngsters sing very well to. (Laughs). nowadays. But I am afraid I would just have to close my eyes, when they keep the notation #/£ is said that you had some initial voice j n f ron ^ 0 f them, problems? If so T how could you overcome them? • Wilt you please tell us about the Lakshya and Lakshana? Yes, I certainly had lot of problems and even thought of giving up music altogether, I Lakshana is grammar and theory. And was performing in a concert in MannargudL hie Lakshya is aesthetics and practical. 1 After half an hour or so, no sound came out strongly feel that both of them are of great of my mouth, only air. I got scared : nd lost importance to our music. Any language used my courage and after seeking the help of Shri with correct gramtnar will always be good to Mannargudi Rajagopala Pillai, somehow, I hear. So is our Sanhpradaya music. If the rules could complete the concert. 1 was further an ^ regulations an not followed it will be like confused when the organizers came to pay a street singer. There are different lakshana me. And of course I refused it. I had a thorough granthas dealing with different aspects of < hrck up of my throat and I bad my septum classical music. However, 1 feel the necessity corrected, my tonsils removed to set right my ° ne comprehensive grantha that covers and voice problem. I am happy that I could sing presets every aspe ;t clearly which is yet to be and continue to sing to this day at 92. found. # Is there any importance of 1 banis * in # We find proliferation of artistes T f/f/cs* classical music? sabhas et aL Do rou have anything to say about this phenoi lenan? In the past music was taught and leamt directly from a guru (gurumukha) under I- is vei Y ^ii icult to answer this, It is Gurukuia system for a fairly long period of true that there is a proliferation of every sort, dime as a result of which the disciples used to 1 f ee ^ the sanctity ol awards, titles and honours unconsciously imbibe even their guru's * s Setting diluted. In the days to come it will mannerisms. The absence of ‘bani’ today is like an oasis to f nd great artistes like Tiger because one learns from different teachers and Varadachar or Poc chi Srinivasa Iyengar and so on. 4 rakashamarrf, The chittaiswara sung with the composition had lot of rhythmic value. Muthaiah Bhag avatar's Sumanapriya song "Sri S hara van a bho wn i ' 1 sung in mad hy atria kala was further beautifed by chittaiswaras . Vasantha {Vand e ham), Bhairavi form of swaras and followed it up with snatches of Vedamantra and a couple of shlokas. Appropriate to the occasion, he presented varieties of songs on Devi by Muthuswamy Dikshitar, Sri Jayachamaraja Wodeyar, Subba Sastry and others, A short alapana in Arabhi was a good introduction to the krithi on Saraswathi Li Sri Saraswathi”. V+ Brahamaanda valaye' in Maand by the former Maharaja of Mysore Sri JayachEimaraja Wodeyar, Reetigowla (Janani ninnu vina) T Valachi (Jalandhara), Chittaranjani (Nada tanumanisham) and Behag tillana were rendered in a telling manner, M. Vasudeva Rao (mridanga) and Dayananda Mohite (ghata) provided the right percussive Vibrant Veena R.K.Prakash's impli:it faith in the loudness of exposition got exposed, In h.s solo veena recital at £ ri Shankara Math in connection with Sri Shara ia Sharannavarathri Cultural Programmes - 2000 tie sound level often crossed tie threshold of musical tolerance. Sancharas a id swaras hovered around tie terrain beyond the tara sfh* yi shadja and was voluminous in the mandra sthayi. His eterr a! quest seemed to scale decibel heights and Praka >h displayed great involvement in this genre of cutcheri technique, I was haonv to see the musicia Kadana Kutoohala were treated in detail, Padma s rich manodharma and classical commitment was rewarding. Maha Vaidhyanatha Iyer's Ekaadasha ragamalika krithi and the ragas DhanyasE Behag, Kedara, Mohana. Bhairavi, TodL Khamach, Shahana, Suruti and others in the chain of the ragamalika demonstrted the sound awareness of the melodic structure of each of the raoa The fourteenth Devanandan Ubhayakar Yuva Sangeetotsav under the guidance of veteran Hindusthani vocalist Lalitha Ubhayakar held for two days at the Guru Nanak Bhavan yeilded rich results and the young musicians who performed gave a delightful account of themselves. The Karnataka Governor V.S.Ramadevi inaugurated die festival. Inclusion of one Carnatic recital amongst Hindusthani recitals was a laudable gesture indeed. n turning r is creative skill to contemplative inwardness on several occasions during the concert. Abundanct inst rumen ; 1 1 virtuosity pervaded his vee ia play. A Bhakshi Vee ia Subbannas varna was followed by the evergreen Muthuswamy Dikshitar kri hi in Hamsadhwani "Vatapi Ganapatim bhaje' . his interpretation encompass ?d all aspects of the raga. Tie instrumentalist s manodharma was appreciatively profuse bu ! felt that melody should ha ye taken the front teat. He extended the version of tie ratja Hamsadhwani in the Padma Gurudath suitably supported by R.Raghuram (violin) and Ashok (mridanga) was dedicated and sang with a sincerity of purpose. Rendering of rare krithis by Dikshitar, Chicka Rama Rao, Veena Padmanabhaiah and others was impressive* Padma started with a Ganesha stuti in Nata (Mahaganapatim manasa smarami) with a brief alapana of the raga. She impressed the listeners by singing Shlokas by Jagadguru Sri Shankara chary a in Arabhi as a prelude to late flautist Narasinga Rao’s “Sri Sharade Young flautist N.Rajakamal stuck the right \ * 1 jn 'er is by ad ■as by Tl) through a full length rendii and bandish, the lat nibaddha part showcasing gamaks. He surprised me singing Bheempalas arot 1 2 noon. Satish v commendabJy supported Ravindra Katoti(harmonii and Prafull(tabla). Female flautist One of the season 3d female flautists of Kamata ka, Loka V. Shankar modula ;ed her flute well which ne.er played truant and pleased ne audiences at the same ven Her lung po-wer J commendable and the 1 were never unsure. The fa modulations fetched man nuance of the ra< concerned. She occupied the earlier part of her recital w th Muthaiah Bhagavata l ‘Siddhi Vinayakam” and ! a firm foundation for ! recital. “Ganamoorthe"’ \ crisp. She pacHed Dharmavathi with bravura as ps val nuance ra4 as er as „ .ihi shunha nd passages reaving a saypjry taste in the mind of he listeners. The rendition of “Bhajana seyaraada was itself proof of proper plann ing and musical steadiness. S\j f ati Tirunal s Behag-krHhi 11 S m a raj anaka shut h a charita" was another pleasurable item of the red .ah The shruti-aligned End gamaka -oriented play and er approach were strictly classical. Bhairavi came alive in the very first prayo dear and precise. This is w the grammar prescribes, t aat a raga must establish ts identity in the opening bars and the audience should rot be kept guessing. It is a riga lending itself to a plethora of irs nuances and no wonder Loka made the best of it. The grand krithi by Muthuswamy Dikshitar 'Bala Gopala’ was expounded in ail its glory with all the manodharma- ornamentations. Her vocal- based rendition yielded rich dividends. She received a fine support from Veena Suresh (violin), B.K.Chandramowli (mridanga) and K . N . Krishna murthy (gha ta) . Successful Jugal'bandhi A Jugalbandhi recital featuring two stringed instruments - violin and guitar, deserved full marks. T.S.Krishnamurthy on violin is already a noted name in the field of Carnatic music. Likewise, Prakash Sonfakke has been working hard in popularising his Hindustani guitar recitals. Both of them seemed to have had good round rehearsals and hence the result was in the positive. But it also seemed to be lop- sided as Krishna murthy took the major share of the programme. However, his solo rendition of “Vatapi" and Begade (for Thyagarajas "Nee velagu’’) was an audio treat. Prakash Sontakke's Shyam Kalyan on guitar was wonderful. His innovative approach in the rendition of the raga on this Western instrument was laudable. He could draft the raga with a neat palette, Prakash and Krishna murthy did full justice the combined rendition of Abhogi, Peelu (a Meera Bhajan £ Payo r i ” ) and Sindhubhairavi (“Tamboori meetidava"). V. Krishna and Udayaraj Karpurkar on tabla shone forth in their w accomp ani ments. 'h M&ithry-Manasa-duet In an eye-filling Bharatanatya duet by Maithry and Manas a at ADA Rangamandira Kannada compositions were exposed to the audience and it was proved that they are good for presentation through dance. These young dancer bestowed with ail the dancerly qualities had the benefit of being trained by a seasoned Guru B.Bhanumathi, The presentation of a Jatiswara in Hamsanandi was a successful one. The varied and sometimes complex jatis were translated into dance language by the young dancers. 1 wished they had perfected their ardhamandalis and charis. Ofcourse. the mukhijas will gain profundity? in the course of time as they gain experience. The varna in Khamach by Dwaraki Krishnaswamy has the theme of Rukmini sending her sakhi to Krishna to fetch him. The attributes of a proudha were beautifully underlined by the dancer-duo in their ahhinaya. In the concluding session of the recital, the rendition of a Padmacharn krithi on Goddess Saraswathi (Kaiyani), a Purandaradasa pada (ragamalika), a T. V.Kariqiriachar oada on won applause of the lovers of dance. Guru B.Bhanumathi (nattuvanga), D.S.Srivatsa (vocal), C.Madhusudhan (violin), Mahesh (flute), G.Gurumurthv (mridanna) and Ramasubramanya on vocal Phanimala won half the battle. His singing was melodious, soulful and technically perfect. The modulation of voice and stressing of the bhava while singing inspired the dancer to emote the numbers with ease. The other members of the orchestra K.Brinda { accomp anying nattuvana r) , C, Madhusudhan (violin), H.S.Venugopai (flute) and V , R . Chandrasekhar D , V . Prasanna kumar( mors i ng) enriched the Bharatanatya duet with their seasoned play bha/as in right proportion. The concluding tillana in Desi the dancer reached the acrre of her talents. The jatis studded on to the tillana were ' choreographed in such a mat ner as to put on test the abil ties of nritta-abiiilies of the danger. It was gratifying to note out her It is always a delightful experience to watch the young dancers evincing lot of interest in the classical dance and performing the same on the stage with sincerity and dedication. One such experience was created at Yavanika when Naishadham Phanimaja and her classmates trained by a quite unassuming dancer-Guru Neela Jayaram performed under the aegis of Nrithya Sanjeevini. Rightly too, the guests of the evening literary critic Hariharapriya and talented poet-bureaucrat KaTa.Chickanna lauded the efforts of Phanimala in putting rnishra chapu). The swaras up the show r in a well-planned appended to the composition manner. The compere of the provided stuff for the dancer programme Naishadham to execute nritta. She Ashwathanarayana Sastry did continued to regale the a good job by providing the rasikas with her expertise in useful finks between the nritta by rendering a jatiswara artistes, audience and the in Hams anandi (roopaka tala), guests. The traits of Lord Nataraja were beautifully sketched with the lyrical support drawing from a popular Gopalakrishna Rharathi- composition “Natanam aadinar hT (Vasantha, khanda mathy a tala) . In the presentation of a Kanakadasa pada 'Yadavaraaya brindavanadokL (in a chain of ragas comprising Basantba Bahar, Sindhubhairavi etc), both the dancer and the vocalist excelled. Krishna's leelas in Brindavana as explained by the Haridasa, that Phanimala gave best of talents negotiating them disposition. The post interval on featured the students uru Neela Jayaram in ties of items and dance are not only seasoned in their role- but also can raise to the demands of the new situations. Phanimala began with Pushpanjali and Ganapathi stuti based on a Purandaradasa nada vai Veteran vocalist N.Ananthapadmanabha Rao, bro ight back the memories of the style and specialties of the pas generation in his vocal rec tal held at the Gokhale In* itute of Public Affairs, N.lLColony. Young and expert vial nist Balu Raghuram who has come from England on a holiday accompanied him on the violin and added spice to the concert. K.Ravishankar on mri fang a and L.Bheemachar on morsing contributed their artbtv to the success of the A.P.Rao's closed-mouth sine ing, tlie rhythmic-patterns in ihe swaravistara and the eni nciation of the Sahitya consolidated my observation. On a couple of occasions his sine ing in the tara sthayi served as a reminder to the above fact. He spread over the recital with a f ile selection of items. ,: Baro Kr i hnayya” was stately. The sketching of Bilahari in detail Short but agile and with fluidity of limb movements Phanimala was a bit shaky at the outset. But she regained her confidence rendered the items without any airs. Though one washed she had perfected her ardhamandalis- the basic posture of Bharatanatya - Phanimala s nritta, nrtihya and abhinaya were notable. The mukhijas were also meaningful. Ably accompanied by another new entrant to the field of Bharatanatya musical orchestra Naishadham I far Pat nan 1 Subraman "Paridaana michcit He demoi intelligently applied colour. The item also benefited from the very balanced and beautiful way in which it was choreographed by Ash ok. It was imbued with a subtle sense of timing, moving from one segment to the other within the familiar ambit but yet timed just so as to banish the sense of ennui. Equally compelling both in terms of the choreography and the exposition of it, was the excellent tuning of the ragas and their rendition by the well- grounded singer D.S.Srivatsa. Impresario cum lighting expert Sai Venkatesh did a remarkable job and literally Utsava. The rag a elaboration galvanized the proceedings on using economy and restraint, the stage with his meaningful colour and gaiety had warmth and artistic lighting. The of artistic and aesthetic detail creation of silhouettes at the and solid substance. I really end of each avatar a in general marveled at the speed and and the depiction of Viraata accuracy of her birka-laden Roopa left an indelible and mercurial aroha-avaroha impression on the minds of sangathees. There was the rasikas. emotional freedom and „ j. L , * warmth in her singing. Her e visua y e utterance appeared instantly dancers Boose Gowda to h[ ^ one>s heart Taraka RamuLu (his hand „ .. ^ j i , From the generous volume movements and placing ... _ . ^ and a rustling, papery quake needed correction and in her voice . it appeared that perfection), Sh.vaswamy, ^ 1Jjng force behind it Satish and Gumprasad along js al at the optimum . lt is with the other dancers jike cmissfon at Ml capadty Roopadarshini, Bhargav, and frQm a (arge hose An(j since Sowmya, proved their mettle the affluent consists of and stunned the viewers with . . ■ , . . . , glowing warm emotion, who their admirable dance. The ^ ho]d hjs Qwn inst its covering of the stage, freezes. m ; h sweep? execution of group-patterns et al , caught my special One had to pay a silent attention. The recorded music compliment to her planning was w T ell handled and pleasing the recital, "The word- to the ears too. dominant musical krilhis _ , rendered by her were a Earlier, a group of seven , . ( " . , , T . ji veritable feast indeed. It was dancers holding three candles , . , . . , proved that she is the most (one each on the head and £ . H , 1T . , , L resourceful among the two shoulders) performed the . j. r , ,■ , ( “Deepa Nrithya" with elegance. Mathematical aspects of geometry marked the skilful choreography of the ragamalika composition. It was a visual delight to watch the dancers forming circles, triangles and diagonals. Nimble Nagavalli Nagaraj Even the tar a and atitara-sthayi sancharas stood on the fine edge of the shrub when seasoned singer Nagavalli Nagaraj sang at Sri Venugopalakrishnaswamy Temple, Malles war a XI cross. jaiyer s r was itrated in the impressive his rhythmic-prowess kalpanaswaras. The highlight recital was the delinec Keeravani. The rac ■u painted with a clean bn lines. The composition rag a was done in a co style. GNB’ s krithi charananibujamanu nammiti” with neraval Shashanka' 1 and swar, some fine musical vali of his lion of a was i sh and i of the :ybook "Nee nera \t '"Sri had t5y one or coincidences that poin phenomenon of a co consciousness expi itself in physical! culturally similar man blind students of Na trained under tht guidance of talented Ash ok Kumar focusses part of their a] technique and talents Dasha vataras of th Vishnu in their recital ADA Rangamandir programme aptly “Antar-darshaiia", l into light their inborn gifts. Strung on the and conceptual thre; Tamil compos description of t Ti incarnations, the pres* gave ample el b own each dancer to show* dance-abilities. able dancer 1 major istry , m the 2 Lord The titled i ought artistic e ten ntation fom to use his Their mentor Kumar too joined the rendition. Needless tc gave a disposition Each avatara c with vivid brush stro comme 1 ’lir l GUNAGRAHI / NOVEMBER 2000 r iT— & ' J IP ii HI M — |PH4“ Karnataka and most effective too. Accompanied appropriately by T. S.Krishnamurthy (violin), C.Cheluvaraj (mridanga) and N.Amrit (khanjira), Nagavallis natural ebullience and impetuosity and her resonant voice and utterance stormed ahead unhindered as usual. Her manodharma was at its peak. The rendition of • “Devadideva" . and "Kolanooduta" with swara for saliitya was an audio-delight, The birka-laden Behag with faster phrases was a class by itself. The maneuvering of ati tara mad hy am a had an easy leash and a lot of celerity and nip. The handling of the two ntshadhas and madhyamas was another landmark of her recital. "Pahi Krishna Vasudeva' 1 was ornamented with kalpanaswaras. The rhythmical tautness and designs lent appeal to her swaras, Likewise an Ugabhoga (“Eragi bhajipeno") and a pad by Purandaradasa “Endappikonde naanendu rrmddaaduve” had the literal fondling of notes and words. The swaras reinforced Nagavallfs technical mastery. The delineation of Shanmukhapriya for a rarely heard Thyagaraja krithi “Maanamuto nannu brova” with neraval and swaravinyasa was the highlight of her recital in which she gave out aJl of her expertise and excellence. The atitara sane haras were neatly explored without causing any boredom. She kept up the lively tempo of the recital and sang with uniform of spirit and dynamism 32nd Gayana Samaja Conference The 32nd music conference of the Bangalore Gayana Samaja held last week concluded with the ■ conferment of the title of “Sangeetha Kalarathna” to the conference president veteran vocalist Seethalakshmi Venkateshan. N.L.Cheluva raju T T.Sharada, Basavangudi G. Nat a raj, MR. Krishna murthy, M.Venkatagiriyappa, Hosahalli Kesha vamurthy and others were honoured as the Artistes of the Year . ■ The grand old vocalist Dr.Semmanagudi R, Srinivasa Iyer was felicitated with a title of “Gayana Sarvabhowma” , The music programmes started with a vibrant vocal by Madurai T.N. Seshagopalan, Notwithstanding a couple of swarasthaanas, he rose above his usual standards, which were high enough. His voice, his form, his mood were all fit Darbar (“Mundu venaka” of Thyagaraja) was breathtaking. Poorvi Katyani was the first raga taken up for a detailed treatment. Muthuswamy Dikshitaris popular krithi "Meenakshi me mudam dehr with a neat perch on the tara sthayis had immense musical charm. The swaras were typical of T.N, Seshagopalan. A rare Thyagaraja krithi in Devagandhari raga. “Seethavara sangeeta gnanamu” in viJambakala provided a rich experience Another notable point of his vocal recital was the vocal support extended by his son TNS Krishnan, He faithfully maintained the tradition, with the same style, the same in a na patten of vocalism and mathematical calculations. The highlight of the concert was tfo elaboration of Todi. Both lhe father and son excelled in carrying out to reach the hearts of the listeners. The vocal modulations, birkas, breath control et al were captivating. The si mti-bedha that figured aural flow was thrilling, rishabha as adhara TNS guided the formation of Kalyani* Rrishnim continued it in a ing exposition. He out the entire essence raga in his artist it singing, Shyama Sas try's nera nammi nanu" d with neraval ai Kamakshi kanjadala ayata.Jkshi Meenakshi" follow fd by a cascade of V.V.RavLs violin t cou Id h ave been rofound. Veterans Vellore Ramabhadran (mridanga) and H.P.Rainachar (khanj ra) lent a classic stippci'f. Absence of a raga, reward b rough of the “Ninne adornc swaras . suppa more tana disappd nd pallavi was a intment. S eethalakshmi Impresses The conference president Seethalakshmi Eshan energised her exposition to yield the hf classicism. She was Venkat musical beauty austerE Seethal sangee successful in following the path of classicism, kkshmi exercised her tha guana in the directioh of melodic precision The recital started with the at at ala 1 ?ama in Bhairavi raga. She can qht the attention of the rasikas by singing a quaint krithi on Ganesha. “ good on his violin and lent the main artiste a lively support. C.Cheluvaraj (mridanga) and Mahaganapathr in was a pointer to the c progression of the c The Gowlipanthu teeyagarada) Mayamalavagowla Deva) suites were di; Shubhapantuv a .bhogi 1 issical cncert. (Tera and (Deva jnified. £i r a 1 i ) and underlined by the vocalist. Rajakuinar Bharathi surprised every one in the auditorium with his raga, tana and pallavi in Shanmukhapriya. One could not decipher the tala in which the pallavi was sung. The twenty five aksharas of the tala were dealt with in a strange calculation. The little finger had one akshara followed by three, five, seven and nine aksharas in ring, middle, the fourth fingers and thumb respectively. 1+ would have been better had the vocalist announced the details of the tala which was dealt with by him. Mysore M.Nagaraj (violin) accompanied the vocalist with rare sensitivity. Mannargudi Eshwaran discharged their roles effectively with enormous expertise. Kambhoji (O Rang upheld the virtues vocalists conse approach to cut chert proved how truly ck thrives on it. She w assisted by Kaviiha £ and Triveni Venk (vocal). M.A.Krishm (violin), P.G.Lakshmin (mridanga) and F of the vative :i rt and ssicism is ably ■ raiaya i taram swamy ray an a l. mesh Rajakumar Bharathi, gifted with a good and melodious voice his main strength lies in the sensitivity with which he elaborates the raga in fine detail He gave a brilliant vocal recital on the fourth day of the 32nd music conference of Bangalore Gayana Samaja. Muthaiah Bhagavatars famous Mohana Kalyani krithi “Siddhi Vinayakam T and compositions in Vasantha and Hamsanada drew the interest of the audience. A composition in Tamil by Sub ram any a Bharathi in Hamsanada was beautified by neraval and swaras. "Anathudanuganu” in Jing'.a raga appended with chittaiswaras kept up a lively tempo of the recital. Though his exposition of Shankarabharana brimmed with his musical technique, aesthetics of the raga required much more subtlety and sensitivity. His mandra and atimandra sthayi sancharas and their counterparts in the higher registers needed more of melodic precision which covers the Karnatak swarasthana, gamaka and shruti values. But still, he never escaped into easy entertainment routes. The grandeur of Ll Swara raga sudharasa" was neatly with their active parti Professional T pat ion T.R.Srinathf presented not only a professional concert but served his testimonials as an adept flautist at work The striking individuality and smot th ease of his rendition of Naca and Vasantha krithis exhi arated* Devamanohari (Everani), leisurely Yadukula Kcimbhoji (Echcharikaga rara) an d Varali (Nee pogada) were chivalric and robust and were played with classical fervour K.Venkataram (ghata)b accompaniment was weighty Competent Malladi Brothers Malladi Brothers sang a competent and dignified concert. Their show of musical skill was enjoyable. The concert in which Nalina Mohan (violin), H.S.Sudhindra (mridanga) and Latha Ramachar (khanjari) also took active and artistic part, began with the Sri raga varna (Karur Dakshinamurthy), Mysore Vasudevachar's Kambhoji krithi “Lambodarama valambe” went strong on the Carnatic path* The vivid quality continued to be maintained in Thyagaraja’s “Tulasamma" and Shyama Sastrys "Nannubrova l.alitha 1 ' (Lalithah The It was in the demanding Shah an a exposition for s raga, tana and pallavi session that Srinath s feel brough : to the interpretation a contei i pi alive intensity. It was good i hat he sang and demonstrated the pallavi line in two k ilai adi tala. The ragamalikc swara embellishments comprising Hameer Kalyani and Sindhubhairavi ragas £ tided to the rich appeal of the concert, S.Seshagiri Rao was equally ■ audience applauded these merlorious and blemishless renditions. Nagavalli delights Vocalist Nagavalli Nagaraj and violinist Dr.Jyotsna Srikanih who took the stage on the sixth day of the conference not only matched each other in dress but also in musical expression and expertise. Nagavalli is a noted singer for her vocal modulations, rich and wide- ranging voice, swara-shuddhi, glittering gamakas and command over laya. The warmly expressive singing brings to her interpretations a contemplative quality. nammiti neeve gati Neerajadalanayana Hare Krishna” in khanda jhampe and khanda nadai regaled the audience. The traditional trikala, nadai bedha etc was done with effortless ease. Adding magnificence to it was the ragamalikct swaravinyasa in which Kapi, Behag, Sindhubhiiiravi and Dwijavanti ragas got highlighted. The musical images shone with her probing manodharmas brightness of colours and dramatic flair which prevented the work from echoing as a sort of cheap naturalism. Dr, Jyotsna added charm to the concert. musica settle< stands expos ch) had appreciable values and artistry. He nerav Bhair, Shy an evarai wirn ps impresi articuk pallavi i kalai \ all 11 rhythi imagi geom t down to serve a rd audio feast. His tions in Lathangi Ihamula: with alapana, it and swaras) and vi {for a delightful Sastry krithi “Sari ima"| sounded sweet rtinent sangathees and ;ive grip in the musical tion. A raga, tana and n Bilahari raga and two landa triputa tala was a telling manner with e traditional and lie flourishes. His iswaras abounded in stive musical tries in trishra and j Neigavalli started her recital with a ragamalika (comprising Nata, Arabhi, Gowla, Sri, Kedara and other ragas) varna. The singing of Muthuswamy DikshitarVs ‘Karikulamukha ” in Saveri was moving. The rasikas were treated to a fine Maand (Brahmandavakiye), Deva manohari (Mysore Vasudeva char s “Patukavademira’’; with chittaiswaras and swaravinyasa) and Karnataka Behiig (Hari nenendu), Varali (raga, sahitya and sivaravinyasa for “Etijanma* by Thyagaraja; including tara and atitara sancharas) and Mohana (for a raga, tana and pallavP were resounding with all bold and brisk passages in all their dramatic lyricism, yet devoid of mere external effect’. The pallavi exercise was done with an orchestral power and sweep that brought to mind the titans of Karnatak music. The Pallavi line “Ninne Anur Anathakrishna Sharrna (mridanga) and M.A.Krishnamurthy (ghata) were in their elements in imparting a taut rhythmic support. Nagavalli seemed to enjoy the creation of demanding laya patterns which had an incessant flow? in the recital. Unnlkrishnan The penultimate concert of the music conference featured young and seasoned singer P.Unnikrishnan. The young singer displayed an elfin tone, touch, a spontaneous good sense of suswara and tala, in short every virtue with the gravity of musical thought and conception and a feeling for the homogeneity of design and effect. He regaled the rasikas with a varmi in Saranga raga. A Ponnaiah Pillai krithi in Mayamatavagowla and "Sarasamukhjaswamy other gati patterns. The swaras Jin a chain of tagas like VasanLha, Athana and Suruti further beautified the entire presentation. Embar Krishnan (violin) and VjPraveen (mridanga) contributed their talent and artistry to the compactness and integrity of the concert. B.S.P Jmshottam(khanjari), now settled in Chennai proved to be a strong collaborator. Vivacious TVS The curtain of the conference roiled down with a vivacious vocal recital by veteran vocalist T. V.Shankara narayanan. Despite a heavy rain oc aside the auditorium he impressed the audience by singing l sincerely. He was in his usu< 1 form and style. V< santha (Seethamma maayanuna), Athana (Sakala graha hala neene), Kalyani (Namb kettavariilavo), Kambhoji (Marakatavalli) had the original stEimp of TVS style of singing. The two Puranc aradasa compositions 12 were well received by the audience both fro|n the point of mat it and dhatu that they contained and the manner in which TVS hanc ed them. Those sarvalaghij patterns, pematical it alive the i of the Cff his best Kapi in kaarvais, mat designs et al, brouT grand approac vocalist. He gave in the delineation the form of raga ai^d tana. He sang the paliavi ‘Sri Rama Jayarama Jayaj Shringara Rama” tripude and roun ■ agamalika swaraprastara* [the lay a patterns woven by f im had all ya Rama n khanda id off the Commendable duet That Academy awardee Guru Revathi Narasimhan of Natya Niketana is a prolific and successful teacher and also a choreographer was once again proved when two of her wards. Sandhya Prabhakar and Divya Prabhakar gave a commendable account in Bharatanatya performance held at Dr , H . N . Kal aks hetra . Sandhya is a practicing lawyer and her acquaintance the embellishment! d y a n a n , charvalu ■SP anacheri be Shankaranari T.K.V, Raman (violin), Chenc Harikumar (mridc G.S. Ramanuja ni (ghat a) enriched the recitaU with their appropriate sup port , that may of Doaraianatya was complete and exhaustive. Justice K.Sridhar Rao of Karnataka High Court and Prof.K.E.Radhakrishna of Seshadripurain College blessed the dance recital. The Prabhakar- Sisters began their recital Todayam Y oung and in Nata raga and adi tala. The Mohana Kalyani krithi “Siddhi Vinayakam” was used to draw the attributes of Lord Vinayaka. The chittai s war as appended to it were converted into nritta by the dancer. The alarippu in sankeerna chapu accounted for a brisk and brilliant nritta. In the portrayal of a devaranama *Jagan mohanane Krishna” in ragamalika, the sisters enacted Vamanaavatara, child Krishna s pranks and other popular episodes. Papanasham Shvan s Nartakuranji varna (Swamy Naanendun) was the major item of their recital. Sandhya and Divya sketched the yearning of the devotee to have the darshan of the Lord established an intimate rapport with the audience. Guru Revathi Narasimhan ' 's nattuvanga was inspiring. Mysore Nagaraj felicitated masoned violinist Mysore M.Nagaraj .who presided over the young musicians" t0 ^ ^hringeri Shankara Math, Shankarapura under the auspices of the Karnataka Gana Kula Parishath, was conferred the title of “Gana Kala Sri” at the sa , s Whc - a there was a dearth of young and talented violinists and when one was seriously concern d about the potential violin players who could earn; on rhe tradition of this genre, the advent of a child prodigy Mysore M.Nagaraj was a welcome event in the field of Carnatic music. f To say that I > agaraj, a son and disciple of veteran violinist Mysore M.Mahadevappa had music in his bleed would not be a cliche. With his unfathomable manodharma and vast talents very soon tc reached great heights and carved a niche for himself as an outstanding violinist. Since his debut performance in 1971, he never looked back. Nagaraj ge itiy unfolds the notes of the raga giving vent to his rich musical imagination. The tonal quality t I the violin is supreme. It has a mobility of expression, which one associates with good mstrum ntal music. While accompanying an artiste and/or in his solo performances he p.ays with rare sensitivity. The bhava and laya shuddhi that encompasses his instrumental technique has bee i remarkable. At present ha is working as a staff artiste of Akashwani, Mysore. He is recognised as A rop grade artiste His electronic media performances have been rewarding. Besides accompanying all | he leading musicians of the country, he has countless concerts within and outside the count r* to his credit. Innumerable prizes, awards and titles including the Karnataka State Rajyotsavai award vouch for his inherent talents. He has traveled all over the world giving concerts. !| D.Subbaramaiah Fine Arts Trust: 8th Pattabhirama Seva Mandali 13th main(between Ragasrec Sammdanotsuva from 1-1 2-2000 35th and 36th cross), 4t't block, Jayanagar, to 3-12-2000: Dr.H.N.Kalakshetra; Dec. 1 Ph. 6346740. On the spot pallavi 5.30 P.M. inauguration by A.R.Chandrashasa competitions on Nov. 19 at Sri Pattabhirama Gupta. 6.15 P.M. Jugalbandhi by Shyamala Seva Mandali, Jayanagnr under the joij^j G. Bhave and Nagamani Svinath _ Dec.2: 9.30 auspices with l lamsadhwani Creations, 5, 3 A.M.: Demonstration on 'Techniques cross, 1st main, Maruti Extension, employed in playing flute’ by G.Rajanarayan. Competitions are open for vocal, instrumental 10.30 A.M. Compositions of and percussion heid in two groupsfgroup 1 H . Yoganarasimham by Dr.Padma Murthy. 5 for the age group of 15-24 years and group 2 P.M.Harishankar (electric guitar). 6.15 P.M. for 25-35 years). For details contact: PAC: R.K.Padmanabha and D.V.Nagaraja(vocal). 6563075 or Hamsadhwani Dec.3: “Sri Rama Namana’ by Jambu Kannan. Creations:3325302, 3326901. Ananya , 11 A M. Goshti Gaana. 4.15 P.M. Chaitanya Tarangini Arts Foundation and Indian kumar (flute). 5.30 P.M. Honouring of Institute of Music and Arts: Two day V.Deshikachar with “Gandharva Vidyanidhi" workshop on ‘The Art of Performance’ by title by K.C. Rama Murthy. 6.15 T.V.Gopalakrishnan(Nov.l8 and 19) at P.M.Rajalakshmi nrunarayanan(veena)* Ananya* IT- 1 C t Malleswaram Sangeetha Sabha, Gokhale Nov. IS, Vocal recital by Vishalakshi Institute of Public Affairs, MaUeswara: Nov* 19, Nityanandan at 6.30 P.M* M,E.5.Kalavedi: 4.15 P.M*: B.Saraswathi and V.Krishnaveni Nov* 18 at 6.30 P*M*: Lecture demonstration (vocal duet). Percussive Arts Centre, on compositions of Sri Jayachamaraja Wodeyar Gokhale Institute of Public Affairs, by R.K.Srikanthan at MES Auditoriumm, Narasimharaja Colony, Nov* 15 MaUeswara. Hamsadhwani Creations and Nagaranjinifvocal) followed by S. Vi nay{ vocal)* Banashankari Fine Arts Society, 723, 1st YOUTH FORUM: Amrutur Janaki Ammal main road, 2nd phase, 7th block, Memorial Competitions for percussion Banashankari 2nd stage: Handasa instruments open for mridanga, ghata, Namana ” (compositions by Kanakadasa) by khanjari, morsing and dolu. They will be held Sukanya Prabhakar. Bangalore Gayana in three groups, junior, senior and vidwath* Samaja: Nov* 26 at E P.M.: Nagamani For further details contact PAC: 6563079 or Srinath(vocaI) T Naiina Mohan (violin)* H.S.Sudhindra* Convenor at 6633623. Date V.S.Rajagopal(mridanga) and M.Dayananda and venue: Nov. 18 at 2 P.M. at Sri Mohite(ghata), 6ajs^«0QoceS 3 assort «^OL} 4fiDd3 &&£&$$ fadrasari ^ daELocd cdSe <2. so ’•britfEft eto** 3s BsiOdsO Jjffsro Lod:^ *i£ stoj&u* uddi *® a K> «raa3-c(]t©Ctt«5rt* sfc& saqWfteb : wSs3 asiofcsSS BtpriO : u«,t5 <,2$ti Oa^raeci xf* 50 ^J9S atoSj^rBcoSjjft’rt sftocsjstfs “si: Us* jtyssr 3;* 5,032,2ft eraser *3K. “7 3gj63 sweater sSts»«j S3» 73 aa^Qraua&it# rte: ^cS; F3cdds acodbi sdqjsjud; r 1, . 0 ; « v cJ ”5 uj®. 5 ^ 5.49 40 - ^jaSr rart^a SbU a 6 ' deddd q! H. ’■ i J ^ * * N "jJ, m 2,55,76^ S^j&dr ^235 L^iFrt'v'rt ^CJX^F d Pd?gffS 7l dJS. 271.42 91,621 djb r^ F^C2 II ^ 9 v u4 257.07 d : ;d=i ^ddrC dja. 532.37 rt^ d3^q.d-^ i,67j40 22^^-rt^r! s . 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