| RSS Feed
| Email me when a reply is posted
Responses:
- Full Thread
-
Confluence of streams of music
The Theerthapada Sangeethotsavam concluded with concerts by Carnatic vocalists.
http://www.hindu.com/fr/2009/05/08/stories/2009050850890300.htm
-
Online edition of India's National Newspaper
Friday, May 22, 2009
Google
Friday Review Bangalore
Published on Fridays
Features: Magazine | Literary Review | Life | Metro Plus | Open Page | Education Plus | Book Review | Business | SciTech | NXg | Friday Review | Cinema Plus | Young World | Property Plus | Quest |
Friday Review Bangalore Chennai and Tamil Nadu Delhi Hyderabad Thiruvananthapuram
Printer Friendly Page Send this Article to a Friend
Mixed bag
Mukund’s flute recital captured the inherent emotions of a raga. The sarod-veena presentation was not academic
MUSIC MAGIC To the joy of rasikas
Uttar-Dakshin was a joint venture by Shri Lalithakala Academy Foundation and Bidaram Krishnappa Ramamandira in Mysore. Vivek Naware’s sarod and Geetha Ramanand’s veena was featured; it was not a jugalbandi though.
With two instruments from two different streams of music, an academic approach would have achieved interesting results. Vivek Naware started with Hamsadhwani – elaborated the raga followed by a bandish. The badath could have been gradually progressive, before reaching the climax. This observation applied to Puryakalyan too. Rajendra Nakod (tabala) accompanied him.
As most of the movements were set to either medium or fast pace, one felt inadequate attention given to vilambit expatiations. Added to this, dominating layakaaris overshadowed the expressions of the lead artiste.
Geetha Ramanand’s consistent and composed approach imparted melody to “Raghunayaka” (Hamsadhvani- Thyagaraja). Likewise, pleasing alapana and appropriate swarakalpana embellished “Gangadhara Tripurahara” (Purvikalyani - Mysore Sadashivarayaru). H.L. Shivashankaraswamy (mridanga) accompanied her.
Ample scope, remained unexplored with respect to both Hindustani and Carnatic styles: introductory stages of the alapana (akshipthika – avachar - chalan), development in the various sthayis (raagavardhini – raagvisthar - sthaayi and so on) and others. The percussionists in a way thrived on their excellence, but in many instances their outstretched enthusiasm dulled the expressions of the main artistes.
Last, but not the least, the punctual rasika is always put through an ordeal of waiting for the concerts to start.
* * *
L.V. Mukund proved himself to be an artiste of high calibre and potential, much of which manifested admirably, commanding warm appreciations. Shrithimanjari Pratishtana, Mysore, had organised his flute concert; Veena Suresh (violin) and H.L. Shivashankaraswamy (mridanga) remarkably complemented Mukund.
Simplicity in presenting the compositions and an unassuming style projected the musical aspects to a degree which ultimately carried the audience to a state of pleasant repose.
As the general layout of the concert was set to a desirable slow-to-medium pace, and as all unnecessary tricky sancharas were kept at bay, every number shone in the spirit the composer had visualised it. A systematic approach to ragalapana for Simhendramadhyama (“Nathajana” - Thyagaraja) and Shankarabharana (“Endukupeddala” - Thyagaraja) gave a clear indication as to the importance given to their inherent moods, which later extended into the respective lyrical sections.
He realised the expectations by melodically translating the texts breathing into them the necessary animating musical elements. Even the “Bhogindrashayinam” (Kunthalavarali - Swathi Tirunal) was not an exception to this pleasing and aesthetic approach. Apt and timely pauses with appropriate nilugades while developing the sangathis played a significant role: so also the swaraprastharas comprising mood-enhancing patterns.
“Vinayaka” (Hamsadhvani - E.V. Ramakrishna Bhagavathar/Veena Kuppayya), “Therathiyakarada” (Goulipanthu - Thyagaraja), “Venkatachala Nilayam” (Sindhu Bhairavi-Purandaradasa) and “Bhaavayami Gopalabalam” (Yamunakalyani-Annamacharya) were other presentations.
http://www.hindu.com/fr/2009/05/22/stories/2009052251000300.htm
-
Mellifluous notes
The Harmonium Habba, yet again, reinforced the great potential of the harmonium as a solo instrument
http://www.hindu.com/fr/2009/05/29/stories/2009052950900300.htm
Lucid individuality
Vasudha Keshav’s firm grounding and traditional orientation were well-established through the concert
http://www.hindu.com/fr/2009/05/29/stories/2009052950910300.htm
A musical synergy
Balachandra Nakod's performance was energetic
http://www.hindu.com/fr/2009/05/29/stories/2009052950920300.htm
-
Pattammal, truly a class apart
GOWRI RAMNARAYAN
The rasikas felt a profound sense of awe in linking DKP’s frail figure to her pioneering achievements. A tribute to the music legend, who passed away on July 16.
Photo: Hindu Archives
Musician nonpareil: D.K. Pattammal.
The end of an era. How else do you describe the passing away of Damal Krishnaswamy Pattammal (1919-2009)? Has her death not restored power and poignancy to a well worn cliché?
Musicians and scholars, artists of every genre, and music lovers of three generations, rushed to pay their last respects to the grand old lady of Carnatic music. Each felt a profound sense of awe in linking the frail figure to her singularly pioneering achievements. The television cameras and soundbyte searches seemed wholly alien to the austere spirit that permeated her life and art.
Her journey is widely known and well recorded. No girl of her generation, born in an orthodox Dikshitar family, could hope to pursue singing, even as a hobby. Rasikas though they were, her parents had neither musicianship nor financial means to develop her talent. But they supported her in overcoming the mounting hurdles.
Patta’s love of music was inflamed when she heard the stalwarts of Carnatic music in hometown Kanchipuram at temples, weddings and at the Tyagaraja festival organised by titan Naina Pillai. Pillai’s laya mastery made him a legend in his time, and Patta’s manasiga guru. She never admitted that Naina Pillai terrified his full bench of accompanists. Rather, she would announce proudly, “He was a lion. Naturally he towered over everyone!”
Stories are told of how she and her three brothers jotted down kritis with notation during live concerts, practised and perfected them at home. Even in those days of little publicity, Patta’s gifts were recognised early in life. Her live singing in a school drama brought an offer from the Columbia Recording Company and drew the ire of family elders: Who will marry a girl who sings in public? The criticism continued through the process of learning from sources as disparate as the unknown Telugu musician who volunteered to teach little Patta, and Ambi Dikshitar, scion of the Muthuswami Dikshitar parampara. All her life, DKP was to accumulate her vast multilingual repertoire from teachers such as Tiruppugazh expert Appadurai Acharyar, pallavi specialist Narasimhalu Naidu, composers Kotiswara Iyer, Periyasami Thooran and Papanasam Sivan.
She never mentioned T.L.Venkatrama Iyer, from whom she imbibed an imposing heritage of Dikshitar’s compositions, without shedding tears, especially when she recalled how he refused to die until Pattammal rushed to receive his blessings as the recipient of the Sangita Kalanidhi award from the Madras Music Academy.
“God’s grace made me a musician,” she said invariably, pulling the pallav closer across the shoulder. Never once did she claim that her own will and razor-sharp intelligence triumphed over the hurdles.
Incredible support
Irascible husband R. Iswaran suffered neither fools nor foolishness. He protected his wife from both, leaving her free to hone her art. Pattammal had the incredible good luck to have her own brothers as accompanists at different stages, and watching Jayaraman develop into a Sangita Kalanidhi himself. She also had the rare distinction of performing on stage, accompanied vocally by daughter-in-law Lalitha, granddaughters Gayathri and Nithyashree, great granddaughter Lavanya, and on the mridangam by son Sivakumar.
Long-term violin accompanist T. Rukmini never found the least trace of the superficial in DKP. “Whether khanda nadai in tisra Triputa, or misra nadai in Adi talam, every part of the pallavi was shaped with finesse, precision, commanding total silence, often with seniors seated upfront Semmangudi, Musiri, MS, Dr.S.Ramanathan. After that masterly exposition she would launch ‘Petra Tai Thanai’ and melt into tears. I too found myself crying. Suddenly I saw every eye in the hall was moist.”
As DKP’s sole male accompanist besides her brothers, Vijay Siva (disciple of both DKJ and DKP) was astonished by her energy. “She was not conscious of the mike, but her voice sounded as electrifying as if amplified on a bass speaker. At age 82 she was able to bring off ‘Dharma samvardhini’ (Madhyamavati) with a sense of fullness and depth.” Siva found her evolving everyday, investing old songs with freshness. He explains, “While she made adjustments in the old patanthara to improve and correct, there were authentic reasons for her refusal to change some sangatis. For example, she made me retain what I thought was an alien phrase in a Mukhari kriti from her 1958 recording. I later discovered that the prayoga was perfect Mukhari when hyphenated by a pause."
Everyone knows that Pattammal’s mastery of laya established her as ‘Pallavi Pattamal,’ on a par with male performers. The sentimental had no place in her oeuvre, not even in patriotic songs or folk tailpieces. Says Neyveli Santhanagopalan, “Her tukkadas had the same gravity as a ‘Minalochana Brova.’ Listen to her Syamaladandakam. Each ragam has a regal gait. Like the veena, DKP’s music sounds divine, not because of her obvious technical perfection, but from her visranti, nidaanam and disciplined faith.”
Her accompanists found Pattammal an affable travel companion, ready to enjoy jokes, but talking always about music. “Naina’s Bhairavi was pure essence,” she would say, or, “Rajaratnam Pillai made you wonder if his music came from heaven.”
Pattammal’s own music had that impact on the young. After a DKP recital at the Music Academy, the adolescent T.M. Krishna came running down from the balcony. “I was crying. I became aware then that music is more than mere excitement.”
Bombay Jayashree is amazed by the equanimity with which the senior musician faced everything in life: remaining graceful, contented, with a lifelong commitment to her ideals. “Listening to DKP is to feel secure, knowing we are not alone. Seeing how successful she was as wife, mother, homemaker and musician, we felt we could do it too.”
Jayashree is inspired by the chiselled perfection of DKP’s music in compositions both resplendent and plain. To her, as to many others, DKP’s pathantara is the definitive source of reference in sangitam and sahityam.
Gayathri Venkataraghavan says, “She makes a complex sangati sound simple because so much thought has gone into it. It is subtle. The most important lesson for us is the absence of unwanted improvisation.”
Bearing the stamp of tradition as it did, DKP was also able to delight the masses at national conferences, Congress rallies, memorial services for leaders like Mahatma Gandhi. Many of her film songs (from yesteryear ‘Naam Iruvar’ to present day ‘Hey Ram’) became hits.
Vocalist Lakshmi Rangarajan, walking into DKP’s house on a condolence visit, was moved but not surprised, when she found an autorickshaw driver waiting in his vehicle, visibly captivated by DKP’s voice on the radio. No, not a film song, but an immaculate rendering of ‘Kamakshi,’ Muthuswami Dikshitar’s Bilahari gem!
http://www.hindu.com/fr/2009/07/24/stories/2009072450680300.htm
-
Saying it rhythmically
Mridangam maestro D.K. Murthy was felicitated for his 75 years service to Carnatic music.
http://www.hindu.com/fr/2009/07/24/stories/2009072451340400.htm
Where musical ideas are exchanged
Svanubhava 2009, opening on August 4, will be much more than a Carnatic music festival.
http://www.hindu.com/fr/2009/07/24/stories/2009072451440600.htm
-
Emphatic statements
Rippling sangatis in Semmangudi style was a highlight of Palai Ramachandran’s concert.
http://www.hindu.com/fr/2009/07/24/stories/2009072451190200.htm
Rare Tyagaraja kritis chosen
Senior vidwans Rangarajan and Ravindran proved worthy disciples of their guru A. Sundaresan.
http://www.hindu.com/fr/2009/07/24/stories/2009072451290400.htm
Ragas in all their grandeur
Ragam Sisters’ concert for Indian Fine Arts Society showed their predilection to choose kritis of Syama Sastri to best effect.
http://www.hindu.com/fr/2009/07/24/stories/2009072451450600.htm
-
The piano that MS played
Pianist Anil Srinivasan writes about discovering the instrument on which the legendary musician played many a times…
If you listen very carefully, there is so much melody wafting in the breeze. Especially if it happens to be one that was made immortal by a shy lady in a black-and-white film that I once saw years ago. Sometimes, when I sit alone by the piano, my fingers automatically find the notes and begin playing the song, one tantalising note after another, and I find her presence by my side, singing along. Hers is one of the most melodious voices we have ever heard, and in the quiet that follows, I often find that the restless wandering of my mind has finally found a pause. The worries that infested the day have literally packed up their tents and sailed along with the breeze.
Such is the power of the legendary M.S. Subbulakshmi, and such is the sheer beauty of the song ‘Katrinile Varum Geetham.’ A few weeks ago, I was taken to the instrument room at Kalakshetra by its director and my friend, Leela Samson. As the doors were thrown open, I was arrested by the sight of a beautiful baby grand piano. It looked lonely, but when opened and played on, I felt it come alive and smile, the frayed strings and damaged felt notwithstanding. It was an original Steinweg, a brand that later modernised itself and acquired a more anglicised name of ‘Steinway.’ I am not sure what love at first sight is. If it meant a certain powerful electric shudder when first coming across someone or something that evokes instant recognition and innate desire, I probably know what that means now.
An arduous task
The instrument chooses the musician, and never the other way around. The power to create music is a privilege that the instrument chooses to bestow. This is an arduous task, especially given this particular instrument’s journey across time and distance. I try to think of its birth nearly 150 years ago in East Germany, and the travails and stories it probably tries to share, sitting quietly in that sun-kissed alcove near the window. The vibrations it has captured, the hands that have played on it and the sensibilities of its various owners before it came to rest in the music room of MS amma’s home at Kalki Gardens in far-away Madras and its part in the creation of such immortal classics as ‘Hari Tum Haro’ (Composer:Meera; Raga: Darbari Kanada). Even as her dear ones tell me about her sitting at that piano and playing a few chords to accompany her singing, I find the vision vivid and somehow, my eyes turn moist. This is not an ordinary instrument. It is both a part and the whole of a living continuity, a repository of some of the greatest stories of Indian classical music and musicians, and a great pioneer by itself.
After all, it is one of the first instruments that have crossed into our shores in its original, pristine state. Long before ‘monsoon conditioned pianos and the more ubiquitious digital pianos and keyboards’ became the fashion. To be able to take part in its restoration, aided by the fantastic workmen at Musee Musicals and guided by the ever-reassuring vision of Leela akka, has been a benediction in itself. I feel like I finally belong, and I feel that I have been inexorably tied to a certain part of musical history.
As I look ahead to the concert on July 24 at Kalakshetra to celebrate MS and her piano, I feel nervous and exhilarated. It is a milestone in my life. And that languorous melody is still playing softly in the breeze, and I can sense a beautiful smile on that divine face, looking benignly on. I am home and I am about to play her piano.
http://www.hindu.com/fr/2009/07/24/stories/2009072451460700.htm
-
Rich imagination and vision
Jayanthi Kumaresh’s veena recital needed a more exhaustive exploration, Swarnalatha Nagaraj’s concert had features rarely seen in kutcheris
http://www.hindu.com/fr/2009/07/24/stories/2009072450910300.htm
Sound training
R. Raghuram’s uncompromising commitment to classicism was augmented by a robust and pliable voice
http://www.hindu.com/fr/2009/07/24/stories/2009072450900300.htm
-
Winsome threesome
The recital by M.S. Gopalakrishnan (violin) assisted by his daughter Narmada and son Suresh took the rasikas on a pilgrimage to Tiruvaiyaru
http://www.hindu.com/fr/2009/09/04/stories/2009090451030200.htm
-
Soorya Music & Dance Festival - 2009:
http://www.hindu.com/fr/2009/10/16/stories/2009101650830300.htm
| RSS Feed
| Email me when a reply is posted
Want to post a response?
(Hello Guest, you need to
Login
to post a response. Are you a New User?
Register
first.)
Back
to Indian Classical Music forum