Here is a very nice article written in Kannada, by Dr M.S Nataraja
http://thatskannada.oneindia.in/column/ ... ngini.html
Bhairavi Kempegowda is considered as one of the four most important disciples of Pattanm Subramanya Iyer, along with Maisooru Vasudevacharaya, Tiger Varadachar and Ramnad Srinivasa Iyengar.
I hope I will find time to translate this article into English for the benefit of rasikas who can not read Kannada.
-Ramakriya
Bhairavi Kempegowda
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Ramnath Iyer
- Posts: 72
- Joined: 19 Nov 2007, 13:33
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ramakriya
- Posts: 1876
- Joined: 04 Feb 2010, 02:05
YesRamnath Iyer wrote:Ramakriya,
waiting eagerly to read the english translation.
Bhairavi Kempagowda was named as such for his prowess in Bhairavi ?
No. Kempegowda Road, circle, and anything else you find in Bengalooru are named after mAgaDi Kempegowda, who built the new town of bengaLuru in 16th century.Ramnath Iyer wrote:Also, is the Kempagowda circle in Bangalore named after him ?
Ramnath
Bhiravi Kempegowda passed away in 1936 or so.
-Ramakriya
-
Rsachi
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- Joined: 31 Aug 2009, 13:54
Re: Bhairavi Kempegowda
a beautiful article written by Mr. BMN Murthy and forwarded to me by Dr. Alakananda of Toronto:
BHAIRAVI KEMPEGOWDA [1857-1937]
--A less known gifted musician whose talent was recognized by Swami Vivekananda.
Patnam Subrahmanya Iyer [1845-1902] was a doyen in Carnatic music at the close of the 19th century who composed nearly 100 compositions some of which are popular even today and sung by many leading Carnatic musicians. He was a great composer in the traditions of saint-poet Sri Tyagaraja and is well remembered for his most popular composition ‘Raghuvamsha Sudha’ in Raga ‘Kadana Kutuhala’ and Adi Tala
Patnam had trained many musicians of which four disciples are recognized as the foremost. They are Mysore Vasudevacharya of Kalakshtra fame, Tiger Varadachariar, Ramnad Srinivasa Iyengar and Bhairavi Kempegowda. While the first three became popular whose compositions are sung by top Carnatic musicians even today, very few have even heard the name of the fourth one-Bhairavi Kempegowda. Bhairavi Kempegowda was one rare musician who never sought name. fame, glory, popularity, material gains or recognition. He sang for the sake of finding divinity in music and sang with devotion and dedication. .
Bhairavi Kempegowda’s parents originally hailed from Srirangapatnam in the erstwhile princely state of Mysore. . His grandfather worked for a British company and father was engaged in business. However they shifted to Coimbatore sometime in the 1850s and Kempegowda was born in Coimbatore in 1857. His father earned well in his business and became rich. In spite of having been born in an affluent family, Kempegowda developed austere habits right from childhood and was fond of music. His father, however, did not encourage his son to go in for music but wanted him to take up business which Kempegowda disliked. One day, much against his father’s wish, Kempegowda at a comparatively young age left for Tiruvayur in Tanjore district [the birth place of saint poet Sri Tyagaraja] to learn music. In those days, Tiruvayur was a well known place for learning music under reputed Carnatic musicians. He went in search of Patnam Subrahmanya Iyer, well known musician of those days to become his disciple and learn music.
Patnam was a devout orthodox Brahmin and Kempegowda was aware of the fact that he is not likely to be accepted as a disciple since he was a Vokkaliga, a lower caste. So, he sought employment as a servant in Patnam’s house in order to be near to the guru always. His remuneration for cleaning the house, washing the utensils, taking care of the cows and such odd household jobs was free food. However, Kempegowda’s intense desire to learn music at any cost under a great master was such that it made him oblivious to all such difficulties. He used every opportunity to intensely listen to the music lessons taught by the guru to his regular students. Patnam had also carefully watched the earnestness of Kempegowda to learn music and his devotion to it. The Guru soon became impressed by Kempegowda’s earnestness, simplicity, hard work and slowly began training Gowda in the various trends of music. In course of time, Patnam was amazed at the wonderful capacity of the youth to learn and absorb even the finer and more difficult trends of music.
Once Patnam Subrahmanya Iyer was singing in a concert held in his house and the programme went on late at night. Iyer’s wife asked Kempegowda to remind his guru about the dinner. Gowda was the only person who had easy and ready access to the guru at all times. He waited for some time for the violin interlude to start and hurriedly approached the master and humbly requested Subrahmanya Iyer to have his dinner, adding that he would keep the audience engaged in music during his short absence. This made the master furious who asked Kempegowda to take the stage and sing before his very presence. Gowda hesitated for a minute but later mustering all courage and praying to Devi Saraswathi started singing the Bhairavi Raga from where the guru had left. Everyone in the audience as also Subrahmanya Iyer was spellbound by his beautiful voice, style and rendering of the Raga Bhairavi. Iyer himself became speechless with wonder and when the concert was over, he wrapped Kempegowda’s shoulders with his golden-bordered shawl which was a gift to him by the Maharaja of Travancore.The guru expressed his deep appreciation by saying “ You have made the Bhairavi Raga immortal” Thereafter Kempegowda became popular as ‘Bhairavi Kempegowda’. After some more years of training, Kempegowda bid farewell to the guru with profusion of tears in his eyes and returned to Coimbatore.
A few months later, Kempegowda got married to a very good looking girl but unfortunately his wife died shortly after the marriage. This was a great shock to him which made him realize about the futility of the mundane life where the pleasures are purely transitory. Overtaken by grief and distress, he left Coimbatore and wandered around as a singing minstrel. Attracted by his personality, voice and scholarship in music, many nautch girls and singers proposed marriage but he spurned all offers. He poured his soul’s anguish through singing and became totally averse to the mundane life. He even rejected the offer of the post of court singer in the Mysore Palace. In course of time, he took to drinking. One day the Maharaja of Mysore, Sri Chamaraja Wodeyar was going to the temple on the Chamundi Hills. On his way he heard a beautiful voice and was enraptured by the rendering of an excellent piece of music. The Maharaja made enquiries about the singer and found out that he was the famous Bhairavi Kempegowda.about whom Patnam Subrahmanya Iyer was all appreciation. The Maharaja invited Kempegowda to sing in his Durbar where Kempegowda gave a memorable performance
Even though Kempegowda never sought publicity for himself, recognition of his musical talent came in the form of Swami Vivekananda who himself was an accomplished singer. It is not known to many that Swamiji had an excellent voice and he had a flair for music right from his childhood. His father Vishwanatha Datta had created a cultural ambience at home and nurtured his son’s musical talent. Swamiji was trained in vocal music under reputed masters like Beni Gupta, Ahmed Khan, Ujir Khan and others. As a youth Swamiji had learnt to play pakhawaj and tabla and music was his forte. Music almost became his second nature and was a source of inspiration to him. It is also said that he compiled a treaty on music entitled ‘Sangeetha Kalpatharu’. Giving his own impression on how a song should be sung, Swamiji says elsewhere “The idea underlying the song must arouse the feeling of the singer, the words should articulate strictly and proper attention should be given to tune and timing. The song that does not awaken a corresponding idea in the mind of the singer is not music at all”.
Just before he left for Chicago to attend the World Parliament of Religions in September 1893, Swami Vivekananda toured the entire country. During his wandering days in the South, he visited the erstwhile princely State of Mysore between 9th Nov 1892 and 24th Nov 1892. He was the guest of Sri K.Seshadri Iyer, the then Dewan of Mysore and stayed as a State Guest. During his stay, he was invited several times by the Maharaja who sought Swamiji’s advice on some State matters. One evening Swamiji was entertained to a music performance by Bhairavi Kempegowda. Kempegowda was at his best in the Bhairavi Raga and Swamiji and the entire audience present in the Durbar Hall became enthralled and was mesmerized by Kempegowda’s divine music. After the performance, Swamiji approached Kempegowda and blessed him, saying that Kempegowda deserved to be honoured as a court musician. Taking the cue, the Maharaja requested Gowda to take up the post.. But, Gowda humbly declined the offer and left. However, later, after much persuasion by the famous musician Mysore Vasudevacharya [of Kalakshtera fame], another court musician, who also was a student of Patnam Iyer like Kempegowda, Gowda agreed to live near the Palace and sing in the evening in the palace once in a way at the Maharaja’s request.
One evening the singer arrived at the Palace Durbar totally drunk. This gave an opportunity to his detractors in the Court to vilify him before all. The Maharaja was also displeased with the uncouth behaviour of Gowda. However, having been used to enjoy his divine music, the Maharaja did not give him up altogether. Sometime in 1895, the Maharaja and his entourage visited Calcutta and Kempegowda was requested to accompany the royal party. Unfortunately, the Maharaja passed away in Calcutta due to serious illness and this was great shock to Kempegowda. Though the Maharani and the Dewan requested Kempegowda to accompany them back to Mysore, he declined the invitation and left for the Himalayas, practically penniless.
In 1897, while wandering in and around the Himalayas, Kempegowda heard about the laurels that Swami Vivekananda had brought to India after his glorious speech at Chicago and that he was touring all over India inspiring the nation. He at once rushed to Calcutta and met him at Alambazar. Swamiji was happy to see Gowda and asked him to sing.. When the song ended, Swamiji was choked with emotions and wanted to honour Gowda. As a wandering mendicant, he had nothing to offer. However, he removed his ochre shirt [gerua] and offered it to him. Gowda prostrated before Swamiji’s feet with tears and prayed Swamiji requesting him to induct him to Sanyasa. Swamiji, however, assured Gowda that he would attain the goal of human life by serving Mother Saraswathi even without undertaking formal Sanyasa.
Sometime later, Bhairavi Kempegowda returned to Bangalore and stayed in the vicinity of Bangalore, singing alone with a beautiful voice till he passed away in 1937.
With Best Wishes
B.M.N.Murthy, Saturday 28th July 2012
BHAIRAVI KEMPEGOWDA [1857-1937]
--A less known gifted musician whose talent was recognized by Swami Vivekananda.
Patnam Subrahmanya Iyer [1845-1902] was a doyen in Carnatic music at the close of the 19th century who composed nearly 100 compositions some of which are popular even today and sung by many leading Carnatic musicians. He was a great composer in the traditions of saint-poet Sri Tyagaraja and is well remembered for his most popular composition ‘Raghuvamsha Sudha’ in Raga ‘Kadana Kutuhala’ and Adi Tala
Patnam had trained many musicians of which four disciples are recognized as the foremost. They are Mysore Vasudevacharya of Kalakshtra fame, Tiger Varadachariar, Ramnad Srinivasa Iyengar and Bhairavi Kempegowda. While the first three became popular whose compositions are sung by top Carnatic musicians even today, very few have even heard the name of the fourth one-Bhairavi Kempegowda. Bhairavi Kempegowda was one rare musician who never sought name. fame, glory, popularity, material gains or recognition. He sang for the sake of finding divinity in music and sang with devotion and dedication. .
Bhairavi Kempegowda’s parents originally hailed from Srirangapatnam in the erstwhile princely state of Mysore. . His grandfather worked for a British company and father was engaged in business. However they shifted to Coimbatore sometime in the 1850s and Kempegowda was born in Coimbatore in 1857. His father earned well in his business and became rich. In spite of having been born in an affluent family, Kempegowda developed austere habits right from childhood and was fond of music. His father, however, did not encourage his son to go in for music but wanted him to take up business which Kempegowda disliked. One day, much against his father’s wish, Kempegowda at a comparatively young age left for Tiruvayur in Tanjore district [the birth place of saint poet Sri Tyagaraja] to learn music. In those days, Tiruvayur was a well known place for learning music under reputed Carnatic musicians. He went in search of Patnam Subrahmanya Iyer, well known musician of those days to become his disciple and learn music.
Patnam was a devout orthodox Brahmin and Kempegowda was aware of the fact that he is not likely to be accepted as a disciple since he was a Vokkaliga, a lower caste. So, he sought employment as a servant in Patnam’s house in order to be near to the guru always. His remuneration for cleaning the house, washing the utensils, taking care of the cows and such odd household jobs was free food. However, Kempegowda’s intense desire to learn music at any cost under a great master was such that it made him oblivious to all such difficulties. He used every opportunity to intensely listen to the music lessons taught by the guru to his regular students. Patnam had also carefully watched the earnestness of Kempegowda to learn music and his devotion to it. The Guru soon became impressed by Kempegowda’s earnestness, simplicity, hard work and slowly began training Gowda in the various trends of music. In course of time, Patnam was amazed at the wonderful capacity of the youth to learn and absorb even the finer and more difficult trends of music.
Once Patnam Subrahmanya Iyer was singing in a concert held in his house and the programme went on late at night. Iyer’s wife asked Kempegowda to remind his guru about the dinner. Gowda was the only person who had easy and ready access to the guru at all times. He waited for some time for the violin interlude to start and hurriedly approached the master and humbly requested Subrahmanya Iyer to have his dinner, adding that he would keep the audience engaged in music during his short absence. This made the master furious who asked Kempegowda to take the stage and sing before his very presence. Gowda hesitated for a minute but later mustering all courage and praying to Devi Saraswathi started singing the Bhairavi Raga from where the guru had left. Everyone in the audience as also Subrahmanya Iyer was spellbound by his beautiful voice, style and rendering of the Raga Bhairavi. Iyer himself became speechless with wonder and when the concert was over, he wrapped Kempegowda’s shoulders with his golden-bordered shawl which was a gift to him by the Maharaja of Travancore.The guru expressed his deep appreciation by saying “ You have made the Bhairavi Raga immortal” Thereafter Kempegowda became popular as ‘Bhairavi Kempegowda’. After some more years of training, Kempegowda bid farewell to the guru with profusion of tears in his eyes and returned to Coimbatore.
A few months later, Kempegowda got married to a very good looking girl but unfortunately his wife died shortly after the marriage. This was a great shock to him which made him realize about the futility of the mundane life where the pleasures are purely transitory. Overtaken by grief and distress, he left Coimbatore and wandered around as a singing minstrel. Attracted by his personality, voice and scholarship in music, many nautch girls and singers proposed marriage but he spurned all offers. He poured his soul’s anguish through singing and became totally averse to the mundane life. He even rejected the offer of the post of court singer in the Mysore Palace. In course of time, he took to drinking. One day the Maharaja of Mysore, Sri Chamaraja Wodeyar was going to the temple on the Chamundi Hills. On his way he heard a beautiful voice and was enraptured by the rendering of an excellent piece of music. The Maharaja made enquiries about the singer and found out that he was the famous Bhairavi Kempegowda.about whom Patnam Subrahmanya Iyer was all appreciation. The Maharaja invited Kempegowda to sing in his Durbar where Kempegowda gave a memorable performance
Even though Kempegowda never sought publicity for himself, recognition of his musical talent came in the form of Swami Vivekananda who himself was an accomplished singer. It is not known to many that Swamiji had an excellent voice and he had a flair for music right from his childhood. His father Vishwanatha Datta had created a cultural ambience at home and nurtured his son’s musical talent. Swamiji was trained in vocal music under reputed masters like Beni Gupta, Ahmed Khan, Ujir Khan and others. As a youth Swamiji had learnt to play pakhawaj and tabla and music was his forte. Music almost became his second nature and was a source of inspiration to him. It is also said that he compiled a treaty on music entitled ‘Sangeetha Kalpatharu’. Giving his own impression on how a song should be sung, Swamiji says elsewhere “The idea underlying the song must arouse the feeling of the singer, the words should articulate strictly and proper attention should be given to tune and timing. The song that does not awaken a corresponding idea in the mind of the singer is not music at all”.
Just before he left for Chicago to attend the World Parliament of Religions in September 1893, Swami Vivekananda toured the entire country. During his wandering days in the South, he visited the erstwhile princely State of Mysore between 9th Nov 1892 and 24th Nov 1892. He was the guest of Sri K.Seshadri Iyer, the then Dewan of Mysore and stayed as a State Guest. During his stay, he was invited several times by the Maharaja who sought Swamiji’s advice on some State matters. One evening Swamiji was entertained to a music performance by Bhairavi Kempegowda. Kempegowda was at his best in the Bhairavi Raga and Swamiji and the entire audience present in the Durbar Hall became enthralled and was mesmerized by Kempegowda’s divine music. After the performance, Swamiji approached Kempegowda and blessed him, saying that Kempegowda deserved to be honoured as a court musician. Taking the cue, the Maharaja requested Gowda to take up the post.. But, Gowda humbly declined the offer and left. However, later, after much persuasion by the famous musician Mysore Vasudevacharya [of Kalakshtera fame], another court musician, who also was a student of Patnam Iyer like Kempegowda, Gowda agreed to live near the Palace and sing in the evening in the palace once in a way at the Maharaja’s request.
One evening the singer arrived at the Palace Durbar totally drunk. This gave an opportunity to his detractors in the Court to vilify him before all. The Maharaja was also displeased with the uncouth behaviour of Gowda. However, having been used to enjoy his divine music, the Maharaja did not give him up altogether. Sometime in 1895, the Maharaja and his entourage visited Calcutta and Kempegowda was requested to accompany the royal party. Unfortunately, the Maharaja passed away in Calcutta due to serious illness and this was great shock to Kempegowda. Though the Maharani and the Dewan requested Kempegowda to accompany them back to Mysore, he declined the invitation and left for the Himalayas, practically penniless.
In 1897, while wandering in and around the Himalayas, Kempegowda heard about the laurels that Swami Vivekananda had brought to India after his glorious speech at Chicago and that he was touring all over India inspiring the nation. He at once rushed to Calcutta and met him at Alambazar. Swamiji was happy to see Gowda and asked him to sing.. When the song ended, Swamiji was choked with emotions and wanted to honour Gowda. As a wandering mendicant, he had nothing to offer. However, he removed his ochre shirt [gerua] and offered it to him. Gowda prostrated before Swamiji’s feet with tears and prayed Swamiji requesting him to induct him to Sanyasa. Swamiji, however, assured Gowda that he would attain the goal of human life by serving Mother Saraswathi even without undertaking formal Sanyasa.
Sometime later, Bhairavi Kempegowda returned to Bangalore and stayed in the vicinity of Bangalore, singing alone with a beautiful voice till he passed away in 1937.
With Best Wishes
B.M.N.Murthy, Saturday 28th July 2012