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Chembai Vaidyanatha Bhagavatar

Carnatic Musicians
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thenpaanan
Posts: 446
Joined: 04 Feb 2010, 19:45

Re: Chembai Vaidyanatha Bhagavatar

Post by thenpaanan » 23 Oct 2014, 01:45

rajeshnat wrote:What a lovely photograph- any photograph with chembai has so much positivity. I always think the "golden era for microphones" is this one , two kondai mikes one for vocalist with atleast 1 to 1 1/2 feet seperation , the mike has to be at that distance so that mrudangam sound is also picked up, that distance also ensures that the vocalist has to really sing not murmur. The violin has a mike at a distance . Mrudangam has no mikes ,nowadays with an extra mike even for left it just creates too much of imbalance . These kondai mikes have an arc of receptivitiy.

Instead of one sound engineer having 100 knobs and musicians making all kinds of cacophonical adjustment like reduce sharpness - increase bass etc- all of that is taken care with this simple setup of just only two kondai mikes. We only need commonsense with minimalism of two mikes and no sophistication with extra miks

There are photos of MMI-LGJ with a nearly similiar setup which is permenantly etched in my memory- now with Chembai-MSG the mike is nearly the same distance- it is just WOW . Hope some forward looking sabhas who read this forum like mudhra, nadasurabhi and few others take a cue from this and arrange this ideal "2 kondai golden era mike concerts" again.
Interesting thought. I always wondered if it would be possible to have just one mic hung up in the air somewhere in front of the stage to capture the ambient sound. Having individual mics robs the audience of the true sound of the artists. I would love to hear a mic-less concert by accomplished artists just to feel that natural sound. Sanjay S gave such a concert I believe.

Rajeshnat, Do you know if the choice in that era of two mics rather than three was dictated by some technical constraints or was an actual design choice? I have been in a situation (in the days when mics were a precious item) where we could not spare an extra mic or needed the third mic for some other purpose (e.g. it was needed for the tambura as the main artist could not hear it) but the mridangist refused to without a mic! He felt that we did not respect the mridangam enough.

-Thenpaanan

bombal
Posts: 103
Joined: 21 Sep 2014, 22:54

Re: Chembai Vaidyanatha Bhagavatar

Post by bombal » 04 Dec 2014, 10:37

One who by comparison to his own self, looks at happiness and distress everywhere in the same manner, is a parama yogi. .. (side notes Mahavidwan Chembai bhagavathar was a very great example as mentioned by Mahavidwan Sri Palghat Mani Iyer)

"athmoupamyena sarvathra samam pashyathi yo (a)rjuna sukam vaa yadhi va dhukkam sa yogi paramo mathah."

Bible also propagates "do unto others as thou wilt be done" - we should do to others the way we want them to do to us..

..kanchi maha periyavaa.

:namaste:

satyabalu
Posts: 905
Joined: 28 Mar 2010, 11:07

Re: Chembai Vaidyanatha Bhagavatar

Post by satyabalu » 12 Dec 2014, 16:43

Madras Heritage and Carnatic Music
Articles on Chennai, its heritage, history and culture

Chembai and the Music Academy

When Chembai got the Kalanidhi
In a few days from now, T.V. Gopalakrishnan will be formally elected as the Music Academy’s Sangita Kalanidhi designate for the year 2014, in a quaint ritual that requires a Sangita Kalanidhi awardee to propose his name and another to second it, on the day of the inauguration. It is a throwback to the early days when the president of the Conference was elected from the floor of the house.

The general consensus is that at 82, TVG has had to wait for sometime to receive the highest accolade in Carnatic music. If TVG’s guru Chembai Vaidyanatha Bhagavatar had been around, he would have agreed. In his time, Chembai too had to wait for the award to come his way.

Chembai, born in 1895, was probably younger only to Ariyakkudi Ramanuja Iyengar when it came to the leading performers of his generation. In terms of seniority on the concert platform, he was probably ‘older,’ for his career had begun in 1904 when he was nine while Ramanuja Iyengar’s debut was only in 1913 at 23. In fact, Chembai would often jocularly remind Ariyakkudi that while he was still providing vocal support to his guru Ramanathapuram Poochi Srinivasa Iyengar, he, Chembai, had already given vocal concerts and had then taken to the violin in order to tide over the adolescent period when the voice breaks.

By the early 1920s, Ariyakkudi was the acknowledged monarch of Carnatic music and remained so for years to come. So, when in 1938 he was invited to preside over the Academy’s annual conference (at that time the Sangita Kalanidhi title had not been established), everyone including Chembai applauded the decision.

Chembai, perhaps, expected that the honour would be his next, for after all he was the senior-most in age after Ramanuja Iyengar. He was, therefore, upset, when in the following year Musiri Subramania Iyer was invited to preside over the Conference. Chembai held his peace for his disciple Princess Manku Thampuran was singing at the inaugural concert. But when he was asked to felicitate Musiri on his elevation, he could not control himself. Striding to the microphone, he wished the latter well and complimented the Academy on its choice. He then said that he hoped that the Academy would invite Musiri to preside the following year too and every year thereafter! He then broke off all connections with the Academy for five years, during which time the honour went to others.

He made his peace with the Academy in 1945 and returned to perform, but the honour of presiding over the Conference, which had become synonymous with the Sangita Kalanidhi from January 1, 1943, was not to be his till 1951. During the intervening years, it went to juniors such as Semmangudi and Kumbakonam Rajamanikkam Pillai. That it rankled became evident when at a concert of his, Musiri Subramania Iyer and Semmangudi Srinivasa Iyer both got up in the middle and left, covering their faces with shawls. Having spotted them, he bellowed into the mike that the two Sangita Kalanidhis need not hide their faces and were free to come and go as they pleased. Nevertheless, when the title was conferred on him, he accepted it with good grace. But he would always question the remuneration the Academy gave the artists.

During the 1950s and ’60s, when the Academy struggled financially, because it was building an auditorium, Chembai willingly sang for low fees. By then he had begun diverting all his concert earnings to the Guruvayurappan Temple. He demanded and got high remuneration for all his performances, every paisa of which went to the temple.

By 1962 the Academy’s auditorium was completed and by 1969, thanks to the efforts of industrialists and well wishers, its loans were also almost repaid. On realising this, Chembai insisted on a hike in his fee. He felt that he and fellow artists had sacrificed enough over the years for the Academy. In his case, it was Guruvayurappan who was to be the beneficiary.

But the Academy would not give in. Its committee felt that it still had several commitments to fulfil. Chembai’s response was that he would wait till it had become fully solvent and be able to pay his market rates. Till then, he said, he was better off not singing for it. His last performance at the Academy was in 1970, after which he did not sing there. But that he harboured no ill will towards the institution was clear in the way he readily consented to preside over the Sadas on January 1, 1973 and confer the Sangita Kalanidhi on Prof P. Sambamoorthy."This is a forward from a post .

shankarank
Posts: 1145
Joined: 15 Jun 2009, 07:16

Re: Chembai Vaidyanatha Bhagavatar

Post by shankarank » 10 Sep 2015, 10:20

Just happened to stumble on this one:

https://www.youtube.com/watch?v=j-8eA7Fl4q4

Aditto
Posts: 306
Joined: 20 May 2008, 20:31
Location: Hyderabad

Re: Chembai Vaidyanatha Bhagavatar

Post by Aditto » 29 Dec 2015, 09:55

Can some one post any song of Chembai in Reetigowla & Hindolam, preferably an elaborate one :) I have Chembai's varnam in Reetigowla.

sivachinta1965
Posts: 188
Joined: 13 Dec 2007, 11:32

Re: Chembai Vaidyanatha Bhagavatar

Post by sivachinta1965 » 14 Jan 2017, 13:23

Image

Pratyaksham Bala
Posts: 3025
Joined: 21 May 2010, 16:57

Re: Chembai Vaidyanatha Bhagavatar

Post by Pratyaksham Bala » 14 Jan 2017, 16:23

Chembai Vaidyanatha Bhagavathar
Poomully Navarathri Kacheri 1967
https://www.youtube.com/watch?v=m5-0i7xIyck&t=0s

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