MALLADI BROTHERS SENIORS (CARNATIC VOCALISTS)
A couple weeks ago, the guest house in Kuthira Malika premises was reverberating with music with the accompaniment of Thampura. Malladi brothers (seniors), Suri Babu and Narayana Sarma were practicing for their performance that was to follow, at the Navarathri madapam. It was a pleasant surprise to see them with thampura-as today’s concerts sans this essential instrument.
We brought it all the way from Hyderabad. The electronic gadget produces monotonous sound and becomes unbearable after some time. We prefer Thampura and it would take 40 minutes to tune it.
We hail from the family of musicians. Their father Malladi Ramamurthi, was a musician and an exponent. The brothers had advanced training from Voletti Venkiteswaralu a disciple of Sripatha Pinakapani.
We learnt nearly 400 kirtanas, from voletti. We could learn from him when he conducted music lessons for AIR.
Perfect notation, padantharam, and sruthi soaked music are the salient features, of Pinakpani School. He was deeply inspired by many great maestros and has been taken good qualities from their renditions which were ingrained in Raga alapana and niraval. They said.
In their opinion Swati Tirunal’s compositions are perfectly tuned. Singing at the Navarathri Mandapam, is a strange experience-really an invocation to the Goddess. The ambience is just perfect, for the concert.
The repertoire of these brothers, is vast. They have set tunes for the compositions of Annamacharya, Narayana Thirtha Sadasiva BRAHMENDRA AND Bhadrachala Ramadas.
RANJINI & GAYATHIRI -(CARNATIC VOCALISTS)
Ranjini & Gayathri
Excerpts from the interview:
“Our father N Balasubramanium former UNICEF official from Harippad, plays violin. Our mother Meenakshi is a vocalist. Thus we had the opportunity to learn both. We were further trained by SANGEETHA BHOOSHANAM, T S KRISHNASWAMI. He organized our debut concert at the Shanmughnanda Hall. Ranjini was 13 and I 10” said Gayathri.
The sisters then started accompanying great stalwarts like Balamuralikrishna and D K Pattammal.
Our family shifted to Chennai. We had our advanced training form P S Narayanaswami the primary disciple of Semmangudi.
“We had our debut vocal concert at Mylapore. It was at a time when we had good reputation as violinists. Pessimists opined that if the concert flopped it would adversely affect our future. But our master was confident” remembers Ranjini.
The sisters had perfect understanding although their approach to the rendition of ragam and manodharmam are different.
“Each of us has our own style” said Gayathri and added “ Ranijini’s music is sober deep and profound.” “Hers is more flamboyant” retorted Gayathri.
As we had spent our grooming years in Mumbai we had the opportunity to hear Hindustani music.
Initially when we performed vocal concerts, our attention automatically went to the violinists. We could not resist but looking at the bow movements.
The sisters have performed at USA, South Africa, Europe, Malaysia and Singapore.
GORA SARBADIKARI-(RABINDRA SANGEETH)
Four decades ago, Gora Sarbadikari, decided to settle in Germany. On the eve of his departure, he visited Santhinikethan-the Abode of Peace, which changed the course of his life. Much against the protest of his family members he joined Santhinikethan. He served the institution as the tutor of Rabindra Sangeeth for four decades. Prof Gora was in the city to perform Rabindra Sangeeth and Rabindra nritya, organized by Swati Tirunal Sangeetha Sabha. (I E DATED, 04-09-04)
This is the debut performance of the Santhinikethan troupe in Kerala.
For the uninitiated, Tagore-poet, novelist, playwright, philosopher, actor, composer, painter and educationist has left his imperishable mark in the history of Indian dance.
In 1901, Gurudev the preceptor founded Santhinikethan. There he experimented to his new educational methods. The curriculum included general academic subjects, and great stress was laid on arts. Tagore’s play Geethinatyam, was novel in that, the dialogues were in blank verses often set to music. The words were arranged to suit the ragas that would best relate the mood. In 1926, he brought Nabakumar, an exponent in Manipuri to Santhinikethan. NATIR Puja, Chitrnagada, Shyama, Chandalika are the best known plays of Tagore.
Tagore devised the choreography, for most of his dance dramas. He found that the Manipuri technique would not do justice to his plays. He brought gurus from Kerala to teach Kathakali. He devised new dance techniques by incorporating Manipuri, Kathakali and folk dance forms. It was severely criticized. But it really paved the way to the rehabilitation of Manipuri dance which till then had never been seen outside Manipur.
“Rabindra sangeeth is the third form of classical music in India. Tagore had penned and composed nearly 3000 songs with notations” informed Prof. GORA.
The show began with RITURANGA. OUT OF THE SIX SEASONS, Hemantha and Varsha were performed. It was followed by Jogathujudae udarassoor, from Gitanjali, Tagore’s teenage work, Padhavali deals with separation and reunion of Radha and Krishna written in Brij bholi.
“Tagore’s adoration for Jayadeva and his work Git Govind, is the best contribution to Sanskrit by a Bengali. It is a high point of Vaishnavism. The divine love of Radha and Krishna is expressed at its most intense form.”
“Tagore’s family conservative Brahmins disapproved of it. But Tagore was deeply impressed and he insisted that “srutha kamala kuja…” should be rendered before Padhavali” informed GORA.
Rabindra nrutya is brightly hued, soft, willowy and feminine to the point of feebleness. It is free from voluptuousness and sensuality. It has considerable grace and refinement. Love, wrath, chivalry, joy all human emotions find their place in this play.
It was under CHCHATIMTALA (EZHILAM PAALA) that Maharshi Debendranath Tagore meditated. On December 23 every year (ANNUAL DAY OF SANTHINIKETHAN), “PARI POORNAM AANANDAM” IS RENDERED AT THIS SPOT.
PROFESSOR GORA with his troupe has widely traveled all over the world performing RABINDRA SANGEETH AND RABINDRA NRUTHY
MALA CHANDRASEKHAR- FLAUTIST
FOR Mala, music is in the family. She is the daughter of famed flautists Sikkil sisters-Neela and Kunjumani. She is wedded to Chandrasekharan son of Radha who used to accompany the legendary musician MS.
“I feel the rich tradition is well maintained here, in Kerala. In Chennai, you have to do plenty of PRO work and lobbying” she said.
My mother Neela, and aunt Kunjumani, are the first women flautists in India. My mother taught me initially. I was not at all serious. But at the academic levels there existed healthy competition and it urged me to master this” she explained.
What is the sikkil style?
“We give more importance to verse and melody. We will not employ any gimmicks, including very fast movements of the fingers. Th ehead movements and the thuthukara prayogams, will be prominent. A flow towards upper octave never stops, and there will be a reverse flow.”
Regarding improvisation, she said: it should be like a pyramid with broad base and strong foundation. It should be an offhand creation and spontaneous. Ragalapana can be either one minute or one hour. In the former only the jeevaswaras are exposed quickly. In the latter, the raga is unfolded carefully. It demands highest degree of training and control.
The sikkil sisters focus more on the lakshana of the ragas to expose its various facets, ranjaka prayogas, vishesah sancharas and sanchara karma.
“Flute is an instrument with fixed sruthi. The artists very often change the instrument to render higher and lower pitches. But we don’t.
Why?
The sruthi of human voice is fixed and varies from person to person. Do a vocalist ever keep a by stander to render the sruthi which he cannot? Mine is a three katta flute. I can go up to gandaram in the mantrasthayi-said Mala and added “There is a tendency to sideline flute and veena.”
Mala had the oppportuinty to render for Our Hon. President APJ Abdul Kalam. He asked me render “Kurai ondrum illai.”
She was conferred the prestigious Mali Award instituted by the Madras Music Academy in 1991.
The contributions offered by my mother and aunt to the world of classical music are stupendous. But they are yet to receive due any recognition from the government. But they have no qualms. They say music is for Nadopasana.
T N KRISHNAN-( ACE VIOLINIST)
Padmabhushan Trupunithura Narayanan Krishnan needs no introduction. This violin maestro is conferred with the Kendra Sangeetha Nataka Academy Fellowship. This musician known for his simplicity is happy but not excited.
:D
In an interview, the artist narrates his association with Thiruvananthapuram, his style, and how teaching helped to improve his performance.
For Krishnan music is inherent. He represents the sixth generation of musicians in the family. Born in 1928 to A Narayana Iyer, and Ammini Ammal, this child prodigy made his debut concert at the age of eight! “By Gods grace, I am busy till today” he said.
“My father gave me a violin when I was three. In those days violin was slowly gaining popularity. My father wanted me master this instrument” he reminisced.
“I was taught the music lessons. Parallel to that my father asked me to repeat on violin what others sang. Initially I was asked to perform in temples. It was on one such occasion, I met Alappuzha Parthasarathy Iyengar, a renowned musician. He introduced me to Semmangudi Sreenivasa Iyer. Here began my long association with Thiruvananthapuram” he said.
It was a period of revival of carnatic music in Travancore. Late Chithira Tirunal and his mother Amma Maharani took steps to propagate the compositions of Maharaja Swati Thirunal. Thus Swati Thirunal Music Academy was established and Seemangudi was made the Asthana Vidwan of Travancore.
“My father was transferred to Nagercoil. I stayed with Semmangudi at Thycaud and had my schooling at SMV and Model High School” he slipped suddenly into those golden days of music.
“In 1942, the flute wizard Mali, (T R Mahalingam), performed at the VJT Hall, and I had the fortune to accompany him. That was a turning point in my life. He was impressed and asked me accompany him in his future concerts. That is how I reached Chennai” he explained.
His command over the instrument made him the most sought accompanist. At my younger age I could accompany the legends like Ariyakkudi, Musiri, Alathur brothers, Chembai and Maharajapuram Viswanatha Iyer.
“I was the beneficiary. My repertoire widened” he said.
TN Krishnan performs solo recitals as well. What difference do you notice?
“While accompanying I have to maintain maximum restraint. Never try to over do things. You must know the doses to be administered. Your performance should not mask that of the main artiste.” That was the cue for the aspiring ones.
TN K is known for his gentle touches through which he could convey the mood of the composition. It is unique and inimitable. How did you achieve this?
This was not achieved overnight. You need perseverance. Try and test to excel every time, by perfecting the traditional format. Even after 70 years of stage experiences, I still feel that there is more to explore, in ragas like Thodi and Sankarabharanam. I love teaching. I am seized with the ecstasy of delight, when I teach. I find more scope for learning. Also I wanted to share what I have learnt with others. Till then I will be restless.” He said.
TNK is an excellent flautist. Once he was accompanied by the doyen of Carnatic music DR. Balamurali Krishna on mrudangam and TVG (known vocalist cum mrudangist) on violin!!
His sister T N Rajam is the renowned violinist in the Hindustani style of music. I owe much to my wife Kamala. “Without her support I would not have achieved anything” he concluded. :)
TNK was awarded the Swati Puraskaram in 2002.
GHATOM S KARTHICK (GHATAM ARTISTE)
INTERVIEW: GHATOM .S. KARTHICK -637 WORDS
It happened 27 years ago on the day of Swargavathil ekadesi. Vikku Vinayakram, heard a knock at the gate. The Ghatam maestro wondered and peeped out. Who could be that at this hour? He saw the faint images of small boy holding the fingers of his father. The father said: "this is my son Karthick. I want you to accept him as his disciple. We could not tolerate his pranks. He plays by proxy on all available utensils."
"That was how I became the disciple of Vikku" said Ghatam Karthick, who at his zenith of his carrier was in the city recently, to perform at the on going Swati Festival-2007. He accompanied Sanjay Subramanium on the inaugural day and Prince Rama Varma on the second day.
Excerpts from the interview:
He is a native of Thiruvananthapuram. Padma his mother is a former student of Swati Tirunal Music Academy and a pupil of GNB. "Thus I had flair for music. My father was an ardent listener. It was my grand father, who inspired me and the option regarding future carrier was left to me. I did my Post Graduation is Sanskrit, took my M.Phil and awaiting the result of PhD. My thesis was based on "musical instruments in Sanskrit literature." Knowledge in Sanskrit is indeed a blessing for it helps him in composing songs replete with alliterations and swaraksharams.
Karthick always keeps an open mind. "I listen to Semmangudi as well as Michael Jackson. I am one among the team of BGM lead by A R Rehman, Elayaraja, Vidyasagar and Harris Jayaraj. As far as I am concerned, there is no classification of music like the Indian and West. We have only good and bad music."
Karthick has a strange fascination for composing music. One day he composed a song in Sankrit in the tune of "Kaadal Rojavae..." praising Goddess Saraswati. That became instant hit. Similarly he composed a tillana while giving vent to his feelings when his father passed away. When a TV channel invited him for a laya vinyasam, his friends persuaded him to play his own composition. That too became a hit. That was how "heartbeats" came into being. It ensemble team consists of besides Ghatom, Kanjira, mrudangam, mandolin, konnakkol (vocal percussion), violin and morsing. Our team released a CD "Thakathimi thakajunu." It was well received. We completed a full circuit in the USA, Canada, Europe, Australia, and New Zealand" HE SAID.
Karthick is a positive thinker and believes in perseverance. "We had songs praising Gods pleading for mercy. Suddenly it occurred me “why not compose songs that triggers the need for self-confidence, positive thinking and perseverance instead?" Thus came out wonderful pieces in Tamil.
You are singing well. Little training would make you an accomplished singer. Any idea of pursuing in that line?
“No” he said emphatically. “I am very clear. I am well aware of my limitations capabilities and efficiencies besides of what I should not venture into” he said and added “Also while accompanying one should know when to play and when not to play. I have accompanied Namasangeerthanams, and bhajans, which taught me how to accompany and also the sense of restrain.”
We know that ragas can create bhava and that is very specific. Similarly Karthick had tried creating rhythms, in tune with moods.
What is your opinion on the exodus of audience while thani avarthanam is progressing? Karthick retorted thus:
“That is very bad. Let me ask a question. When the main artiste render raga alapana, will it be nice and wise on the part of the tala vadya artistes-to move out of the stage for a cup of coffee or a puff?”
Today Karthick name has almost synonymous with Ghatam. He is capable of taking this little clay pot stellar heights.
sangeetha sivakumar-sub standard performance
Day five: - Accompanists acted as savior on the fifth day of the Swathi Sangeetholsavam-2007. Sangeetha Sivakumar gave a sub standard performance. Audience gathered to hear Sangeetha’s (wife of T M Krishna) concert with great expectations. But everything boiled down in no time. Attukal Balu, on violin, dr. g babu on mrudangam and adichanaluur anilkumar on ghatam performed very well.
The concert began with “Sarasijanabha...” In the 2007 festival, so far none had rendered Varnam. So when it wafted down, the audience was delighted. But it failed to appeal the listeners. It was followed by Deva deva kalayimithae..in Mayamalavagaula and Palayamam ayibho in Kamaz. The latter was rendered at a higher pace as if chasing the last bus. “Paripalayamam-Sree Padmanabha mooooooorarae….”was a test doze to check our patience. Exodus of listeners began at this juncture.
After Narasimha mamava bhagavan.., Sumasayaka in Kapi Bhogeendra sayanam in kundalavarali..was an elaborate rendition of Kalyani. Pankaja lochana…
It is very evident that within a short period she had tried to learn these compositions for the festival.
“Sanggetha” paerila mattum eruntha pothathu.. paadupavarin manaivi endra pathavi—(reflected glory) erunthalum pothathu…Uzhaithu paadavendum purinchutha?
lec-dem on two swati padams
That was an excellent demonstration by Kalamandalm Kshemavathi, the exponent of Mohiniyattam, in connection with Swati Sangeetholsavam at the Department of Music.
By just demonstrating two padams by Maharaja Swati Tirunal Kalamandalam Kshemavathi proved once again that her performance was unparalleled for its expression of emotion. She portrayed the mood gently but effectively the diverse feelings of a lady. She represented the love in separation, the rising moon, the breeze, the cuckoo, the hum of the bees, the consequences of having subjected to Cupid’s arrows..Wah!
It left the audience awe struck when we realizes the potential of the composer in knowing the science of dance and its aesthetics.
Kshemavathi chose Damisamajendra gamini in thodi. Here the nayika addresses the sakhi and expresses her pangs of separation. She confides her sakhi the mental anguish and how she pines for reunion with the Lord. Her improvisation on each line revealed her fertile imagination.
Poonthen neer mozhi sakhi njan viraham…She asks her sakhi “when can I expect my nayaka? My lover Sree PADMANABHAN IS a mild person by nature. I want to smear him with sandal paste.. I want to adorn him with garlands of jasmine..I wants to sing for HIM... but..where is he?”
Maharaja Swati Tirunal has composed nearly 67 padams, meant for Abhinaya.
Kaladharan in his talk analyzed the legacy of Kerala in terms of vocal music. Does Kerala have a true vocal tradition was the question posed by him? No body knew when sopana sangeetham which has become a relic now, emerged. He opined that there existed a strong resistance from Kerala Brahmins. They suppressed all the emotions from influencing sopana sangeetham. That is the reason why it lacked emotions. Even Bhakti Movement had no impact in Kerala. But it flourished in Tamilnadu.
According to him Talavadya ensemble is the legacy of Kerala. In vocal tradition the expressions of cultural nuances are visible. Today Mohiniyattam, is essentially linked to carnatic classical tradition. The vocal music of Kerala achieved an identity only when it was employed in the applied form of music. It was Mundaya Ramakrishnan Bhagavathar and Venkitakrishnan Bhagavathar who systematized slokams and dandakams. They never forget to retain Kerala ragas like puraneru.
Dr. R P Raja also enlightened the audience on the musical heritage of Kerala.
THAMARAIAKKUDI RAJASEKHARAN-(MORSING ARTISTE)
THAMARAIKKUDI RAJASEKHARAN: (MORSING ARTISTE)
Is morsing one of the upatahala vaadyas on the verge of extinction?
According to Thamaraikudi Rajasekharan one of the senior artiste “It is on the path of revival.”
My father Thamaraikkudi Raghavan Pillai was an ottam thullal and kakkarissi natakam artiste. He learnt mrudangam, and vocal music from Puthoor Raghavadas, Manakkala Gopalan, and Pattazhi Tyagarajan. After completing his course from Swati Tirunal Music Academy he happened to meet T P Venkitachalam Iyer a popular morsing artiste of yester generation.
“He is the one who trained me. Being a mrudangam artiste I could learn it easily” he said. He beautifully palys the four inch long instrument by holding its edges between his teeth and plucking the protruding metal piece with the index finger of the right hand.
“It is difficult adjust the sruthi. But by applying the a little bee wax, it can be achieved” he revealed. This is the cheapest but riskiest instrument. It costs just Rs. 100/. The chance of getting the tongue in between the sharp edges while controlling breath is the hazard, he explained.
He has accompanied popular tala vadya vidwans like T K Murthi, Mavelikkara Velukkutti Nair, Mavelikkara Krishnankutti Nair and Guruvayoor Dorai. He has accompanied Sasang and U Srenivas.
“Foreigners watch me perform the morsing with awe, recalled Rajasekharan. Its position is after mrudangam, ghatam and ganjira. A few mrudangam artistes behave indifferently when the morsing gets applause. Many even had the audacity to remove the mike while thaniavarthanam was progressing. The ego is unbearable” he remarked.
What happened then?
“I performed unmindfully and received more lingering applause.”
He had participated in a fusion concert of rhythm at Paris.
Rajasekharan has been teaching music at Kodiyathoor PTM High School for the past 25 years.
RAVI KIRAN- (CHITRA VEENA)
Child prodigies are rare in music but even rarer is the instance of a child prodigy developing into a consummate musician. Ravi Kiran is one such musician whose efforts to popularize chitraveena (also known as Gottuvadyam) to unimaginable heights exploring all its possibilities is worth mentioning.
THE instrument to the layman the gottuvadyam appears as a strange hybrid, between the veena the sarod and sitar. This instrument has been sidelined so far has more takers these days. Chithraveena Ravikiran as he is popularly was born on February 12, 1967 as the grandson of Narayana Iyengar one of the pioneering exponents of Carnatic music on Gottuvadyam. When he was three months his father saw him responding to music. At the age of 2 ½, Ravikiran could identify many ragas. At five he gave his first vocal concert.
His father Narasimhan himself a musician was instrumental in channeling the talent in the right direction. He started teaching his son music at a very early age and the intricacies of gottuvadyam later.
This instrument has references in Natyasastra. It is fretless. This fretless nature of the vadyam and gliding nature of the gottu, help to produce a rich melodious and continues flow of sound in close approximation to the human voice.
The playing strings are contacted through intervening object of mechanism. Slider as it is known is glided over the strings it is provided with sympathetic strings with facilities for the accurate adjustment of the sruthi. Normally the slide is made up on black wood or buffalo horn. Ravikiran uses Teflon. Wood for the bowl and the dandi is taken from the same tree to ensure uniform responsiveness over the whole compass of the instrument. As the strings are not pulled aside like veena for grace notes, the strings are kept in full tension.
“There is a general belief that, it is tough to master has prevented many from learning this instrument. There is an upward trend today” feels Ravikiran. There have been very few exponents of this rare instrument namely-Sakharama Rao who devised this, Narayana Iyerngar, and Budalar Krishnamurthi sastri.
They represent two different schools. I have imbibed the best them. I have composed nearly 500 songs and has developed new scales like kesavapriya, mohini, sivamohini, and snehapriya.
How do you practice?
“I accompany the recorded music of Ariyakkudi, GNB, Alathur Brothers, MDR and Semmangudi. He played this instrument for 24 hours continuously in 1985. Sruthi suddam, swara suddam, sahitya suddam, raga chaya, kalapramanam, padanthara suddam, and manodharmam are the essential qualities that a musician should adhere to. He should primarily be a good listener” he concluded.
prof. manohar keskar-(tabla artiste)
LECTURER’S TRYST WITH TABLA: _
Thak dhin dhin thak thaa dhin dhin…..The reverberation of the Tabla beats ascended to a crescendo and gradually faded. A momentary pause, and continued.
Tread along the narrow alley behind Parthas, pleasant beats of Tabla beats greet yours ears, as Prof. Manohar Keskar, dexterous fingers against the black surface of Tabla in swift rhythm.
For the Thiruvananthapuram audience his name may ring a bell for he has accompanied many Hindustani musicians on Tabla.
Parents of this lecturer turned tabla-palyer Narasimha Gopala Keskar and Prabhavati, were trained musicians. Their songs were recorded way back in the 1930s by the HMV. “My father was a police prosecutor. He initiated into music, when I was a boy. I had accompanied my sister on Tabla many times but never took it seriously said Keskar. He joined Chetana College of Commerce at Babdra as an English Lecturer. Later I left for Tanzania. I was a part of a circle of Indian musicians. Circumstances forced us to settle in this city, where my wife Gayathiri had her roots.
The family earned a living by teaching English, and we reserved the week ends for music. The couples are currently engaged in translating Thirukkural in Marathi.
“In fact Devarajan master, popular composer (FILM MUSIC), INVITED ME. I WORKED with him for a brief period” he said. So far he has trained 300 students. He is in charge of Kerala and Tamil NADU branches of “AKIL BHARATIYA GANDARVA VIDYALAYA” established by Vishnu Digambar Puluskar in 1901 at Lahore.
They conduct seven years course in music and dance and have 900 branches all over India.
“When I came to this place very few people could appreciate Hindustani music. Now we have more opportunities to listen to Hindustani music. Many approach us to learn this” informed Keskar the founder of Tanzen Sur Sangam. Regarding the instrument, he said-“we have no expert Tabla makers here. The thickness of choru composition of the powder and its method of application is different from mrudnagam and it is a trade secret.”
Keskar bestowed the popularity of tabla it enjoys today to Alla Rakka. With Pandit Ravi Sankar they have taken the world by storm.
Hinduatani music should be accompanied by Tabla. It is tremendously adapted to join any instrument adapted to join any instrument enhancing the beauty of the orchestra even in the west” said Keskar who has accompanied luminaries like Neela Bhagavath, Alka Dev Marulkar, and Pandit Vinayak Torvi.
Keskar’s beats are uninhibited, flexible, and would suit even to contemporary jazz. It is so individualistic, and different that the beats thak, dhin, dhin, thak, tha dhin dhin..keep ringing in our mind even after hours of hearing him.
mavelikkara velukkutti nair-(Mrudangam artiste)
The music lovers in the city got a golden opportunity recently to listen to the vocal concert of Mavelikkara Velukkutti Nnair-ace mrudangist. Be it vocal or mrudangam he clothes the swaras in his own way. Velukkuti Nair was accompanied by Umayalpuram Sivaraman on mrudangam. His crystal enunciation of the sahitya, unpredictable swara combination which flowed with impressive ease and Umayalpuram’s rhythm mesmerized the audience.
Born into a family of musicians Velukkutti Nair does not remember when it all started. My father Muthukulam s kumarapillai was a mrudangam player.
At the age of nine, I could accompany musicians, with perfection, though I was unaware of the technicalities-he says.
I started learning vocal music under Kannanmangalam Velu Panicker. At 11, I accompanied Mavelikkara Veeramani Iyer-a great musician of that time and that was my arangetram-remembers Velukkutti NAIR.
He had the opportunity to accompany Sebastian kunjukunju Bhagavathar, Vakkam Vasudevan and Malabar Gopalakrishnan. He had his advanced training in mrudangam from none other than Palakkad Mani Iyer.
“Mani Iyer insisted to remove the mike while performing thani avarthanam” remembers Velukkutti Nair. “But with Yehudi Menuhin, he had performed with mike” he quickly added.
Today organizers are keen to bring top artistes for the show. But they are not at all bothered to provide the best sound system. Hence the essential and distinct features of music like delicacy, subtlety, the fine waves and trills were badly affected-he said.
“Once I had the opportunity to accompany Alathur Brothers and that was the turning point in my life” he said and continued, “Semmangudi Srenivasa Iyer was then the Principal of Swati Tirunal music Academy. He appointed me as the head of the department. He encouraged me a lot.” He has accompanied all great masters like Chemabi Vaidyanatha IYER, Semmangudi, GNB, KS Narayanaswami, KVN, MLV, DR. Balmuralikrishna and Yesudas.
The knowledge of vocal music is a must for any instrumentalist. But very few performs both. I think it is better to stick on to one and excel.
He has a list of disciples like Parassala Ravi Trivandrum Surendran, T V Vasan, B Harikumar and R. vaidyanathan. “The blessings of my guru, the recognition, and the encouragement given by the music made me what I am today” he said with gratitude. He has received many awards and accolades, including the Kerala SANGEETHA Nataka Academy.
MAHA VAIDYANATHA IYER -VOCALIST
MAHA VAIDYANATHA IYER
(1844 TO 1893)
Born in 1844 at Vaiyacheri near Thanjavoor, he had his training in music under Anayya and Manambuchavadi Venkita subramania Iyer, a disciple of Tyagaraja.
Panchanada Iyer his father once happened to sing in the street of Thiruvaiyar. Tyagaraja happened to hear him. He blessed him by saying that his tow sons bring laurels.
Maha Vaidyanatha Iyer (MVI) and Ramaswami Sivan were born to him.
Qualities of MVI’S VOICE:_
Rich in harmonics, wide compass in three and half octaves (compass of veena), the ability to sing all the six degrees of speed, and hence his music was called Gandhrva ganam.
Voice Care: it is said that he seldom talked. He adhered to a restricted diet and abhorred all pungent varieties. On the days of oil bath he did not sang.
Royal felicitation: The Maharaja of Pudukkottai, invited the brothers. He was impressed by their rich voice. He had them seated in the royal carriage and had them in procession.
The title: The title of MAHA was conferred in 1856 at the age of 12 by Subramania Desikar.
SCHOLAR: - He was well versed in Tamil and Sanksrit. He was a great composer and Karikatha performer.
Concert: He was asked to sing Vatapi Ganapathim thrice in a concert. H eonce expounded a pallavi in SIMHANANDANA TALA-the longest of the 108 talas.
The 72 mela raga malika the pride of carnatic music, and the longest composition ranking along with Ramaswami Deekshithar’s master piece, the 108 raga tala malika was composed by him. This composition is his magnum opus.
This is a little bit of information I have gathered. Dear readers, please add on whatever info you have on this great singer.
Thanjavoor Krishna Bhagavathar-(katha kalakshepam)
Thanjavur Krishna Bhagavathar:_
(1847 to 1903)
Harikatha:-
Born in 1847, Krishnan had acquired proficiency in palying violin, swarbat and mrudangam. He had his advanced training in music from Tillaisthanam Rama Iyengar one of the disciples of Tyagaraja.
His Kalshepa was replete with bhava and rasa. The audience felt that the incidents happened live before them. He even incorporated dance in his performance. The cymbals and the ankle bells mingled with his golden voice provided great enjoyment. He performed regularly at Ayyaval ulsavam ay Thiruvisanalloor. He learned Nandanar charitham from its author Gopala krishana Bharathi and staged kalakshepam on it. “The story has assumed a special charm in your hands. You have given a fresh breath to my humble work” said Gopalakrishna Bharathi a true encomium indeed.
TIRUKKODIKKAVI KRISHNA IYER
TIRUKKODIKKAVIL KRISHNA IYER:-
(1857-1913)
Born in the village Marattuturai in Thanjavoor, his ancestors were greatly acquainted with music.
His father Kuppuswamy Bhagavathar was an excellent harikatha performer. Krishnan had his initial lessons in music from his father, then under Kottavasa venkitaramam Iyer. His father took him to Panchanada Iyer for violin lessons.
HE PRACTICED THE SARALI AND VARNAS EVERY DAY, BESIDES THE SWARA EXCERCISES IN FOUR STAHYIS. He had accompanied Mahavaidyanatha iyer, Pattinam subramanya iyer and Sarabha sastrigal.
He was at his best in solo. Once he played alapana and pallavi in Saveri for four hours. His fingers reproduced all the thoughts that generated with in.
An anecdote:
Kishna iyer was accompanying sarabha sastri. In the course of kalyani raga alapana prati madhayma (f sharp) was taken as the amsa swara. They performed with enthusiasm. Sastri remarked thus, “The region of prati madhyama is entirely yours” He had to exert himself to level the torrential music of the accompanist.
GEETHA KRISHNAMURTHI VEENA ARTISTE
She is the first performing artiste from the family. Geetha Krishna murthy lecturer at Ethiraj College Chennai and wife of the chief election commissioner Krishanmurthi, gave a three hour long veena concert at the chembai trust.
Chitti babu veena maestro was our family friend. I learnt veena out of his compulsion only said Geetha. He taught right from the basics, and she had her debut concert in 1987.
“My husband deeply interested in classical music. He encourages me a lot. I practice two hours at dawn and four in the evening. I am not a purist to the core who zealously guards the precious tradition. We are exposed to different schools and hence there is merging of styles. I do respect tradition and at the same I am open to new innovations” she said. Like her mentor she is capable of producing long unbroken melodic phrases. Her rendition of Sankarabharanam was marked by strong gamakas, that brought out the essence of the raga, without compromising on melody. Javeli in Bharavi and the lilting tillana in Dhansree were distinctly melodious.
Geetha is now undergoing training under Nedunury Krishnamurthy, and D Seshachary. She has made some modifications in the instrument. “The six inch long tuning knobs which were susceptible to any weather change always create problems. So I have replaced them with tiny screws to ensure precise tuning” she said. (DECEMBER 2004 INDIAN EXPRESS)
thamaraikudi rajasekharan
THAMARAIKKUDI RAJASEKHARAN: (MORSING ARTISTE)
Is morsing one of the upatahala vaadyas on the verge of extinction?
According to Thamaraikudi Rajasekharan one of the senior artiste “It is on the path of revival.”
My father Thamaraikkudi Raghavan Pillai was an ottam thullal and kakkarissi natakam artiste. He learnt mrudangam, and vocal music from Puthoor Raghavadas, Manakkala Gopalan, and Pattazhi Tyagarajan. After completing his course from Swati Tirunal Music Academy he happened to meet T P Venkitachalam Iyer a popular morsing artiste of yester generation.
“He is the one who trained me. Being a mrudangam artiste I could learn it easily” he said. He beautifully palys the four inch long instrument by holding its edges between his teeth and plucking the protruding metal piece with the index finger of the right hand.
“It is difficult adjust the sruthi. But by applying the a little bee wax, it can be achieved” he revealed. This is the cheapest but riskiest instrument. It costs just Rs. 100/. The chance of getting the tongue in between the sharp edges while controlling breath is the hazard, he explained.
He has accompanied popular tala vadya vidwans like T K Murthi, Mavelikkara Velukkutti Nair, Mavelikkara Krishnankutti Nair and Guruvayoor Dorai. He has accompanied Sasang and U Srenivas.
“Foreigners watch me perform the morsing with awe, recalled Rajasekharan. Its position is after mrudangam, ghatam and ganjira. A few mrudangam artistes behave indifferently when the morsing gets applause. Many even had the audacity to remove the mike while thaniavarthanam was progressing. The ego is unbearable” he remarked.
What happened then?
“I performed unmindfully and received more lingering applause.”
He had participated in a fusion concert of rhythm at Paris.
Rajasekharan has been teaching music at Kodiyathoor PTM High School for the past 25 years.
neelakanta sivan sangeetha aaradhana
32 NEELAKANTA SIVAN SANGEETHA AARADHANA
MUSIC CONCERTS BETWEEN 6-8-07 AND 12-08-07
AT SRI NEELAKANTAN SIVAN SANGEETHA SABHA
KARAMANA THIRUVANANTHAPURAM
INAUGURATION-PADMASREE NALLI KUPPUSWAMI CHETTY
6-8-07-O S THYAGARAJAN-VOCAL/ T K V RAMANUJA CHARYALU-VIOLIN/
SRIMUSHANAM V RAJA RAO-MRUDANGAM/UDUPI SREEDHAR-GHATAM
7TH AUG (5-6.30) POORNAPRANGA RAO VOCAL
SAMPATH VILOIN/UDUPI BALAKRISHNAN MRUDANGAM/NEYYATTINKARA ARAVINDAKSHAN MORSING/
6.45 KUMARI KANYAKUMARI VIOLIN
SHERTHALAI ANANTHAKRISHNAN MRUDANGAM/ ADICHANALLUR ANILKUMAR GHATAM/
8TH AUG-
5 TO 6.30 ARYANADU RAJU VOCAL
KADANADU V K HARIDAS VIOLIN
MANGADU JAGADEENDRAN MRUDANGAM
ATTINGAL MADHU GHATAM
6.45 GEETHA KRISHNAMURTHI VEENA
TIRUPATHY SUDHAKAR MRUDANGAM
P L SUDHEER GHATAM
9TH AUG
ARUNA RENGANATHAN VOCAL
VRINDA VARMA VIOLIN
TVM SUNDARESWARAN MRUDANGAM
GOWRISAPATTAM SASI MORSING
6.45PM-PALAI C K RAMACHANDRAN VOCAL
K VENKITACHALAM VIOLIN
TVM SURENDRAM MRUDANGAM
TVM KARTHIKEYAN GHATAM
10 AUG
SANGEETHA ARCHANA DISCIPLES OF PARCATHIPURAM PADMANABHA IYER
6.45 PERUMPAVUR SANKARAN NAMPOOTHIRI VOCAL
EASWARA VARMA VIOLIN
VAIKOM VENUGOPAL MRUDANGAM
KOTTAYAM UNNIKRISHNAN GHATAM
NEYYATINKKARA KRISHNAN GHATAM
11 AUG
TVM SUDARSANAN POTTI VOCAL
UDUPI BALASUBRAMANIAM VIOLIN
R V PRASAD MRUDANGAM
TVM GOPALA KRISHNAN MORSING
6.45 DR K OMANAKUTTI VOCAL
VAIKOM PADMA KRISHNAN VILOIN
VAIPIN SATHEESH MRUDANGAM
ANCHAL KRISHNA IYER GHATAM
12 AUG
LECTURE DEMO PAMMAL HARIHARAN-2 TO 5 PM
6.45 T V SANKARANARAYAN-VOCAL
M D SUNDARESWARAN VIOLIN
CHNAGANASSERY HARIKUMAR MRUDNAGAM
TRIPUNITHURA RADHAKRISHNAN GHATAM