Chembai Vaidyanatha Bhagavatar
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Belated new year greetings. Yes it is a complete contrast from MDR's style - MDR is meditative, Chembai is vibrant, to each his own. It is from this concert...
Chembai Vaidyanatha Bhagavatar - Vocal
M.S.Gopalakrishnan - Violin
T.V.Gopalakrishnan - Mridangam
01. Vathapi Ganapathim - Hamsadhwani (Muthuswami Dikshita)
02. Entharo Mahanubhavulu - Sri (Tyagaraja)
03. Nidhichala Sukhama - Kalyani (Tyagaraja)
04. Dwaitamu Sukhama - Reethigowla (Tyagaraja)
05. Namoralanu Vini - Arabhi (Tyagaraja)
06. Kaddanuvariki - Thodi (Tyagaraja) + Thani Avarthanam
07. Banturiti - Hamsanadham (Tyagaraja)
08. Manavyala - Nalinakanthi (Tyagaraja)
09. Rara Muraleedhara - Vijayanagari (TG Krishna Iyer)
10. Ragam Tanam Pallavi - Bhairavi, Pallavi "Un Darisanam Kidaikkumo Nataraja Dayanidhe"
11. Karunai Cheivan - Yadukula Kambhoji (Irayimman Thambi)
12. Vava Muruga - Kapi (???) -- Incomplete
Chembai Vaidyanatha Bhagavatar - Vocal
M.S.Gopalakrishnan - Violin
T.V.Gopalakrishnan - Mridangam
01. Vathapi Ganapathim - Hamsadhwani (Muthuswami Dikshita)
02. Entharo Mahanubhavulu - Sri (Tyagaraja)
03. Nidhichala Sukhama - Kalyani (Tyagaraja)
04. Dwaitamu Sukhama - Reethigowla (Tyagaraja)
05. Namoralanu Vini - Arabhi (Tyagaraja)
06. Kaddanuvariki - Thodi (Tyagaraja) + Thani Avarthanam
07. Banturiti - Hamsanadham (Tyagaraja)
08. Manavyala - Nalinakanthi (Tyagaraja)
09. Rara Muraleedhara - Vijayanagari (TG Krishna Iyer)
10. Ragam Tanam Pallavi - Bhairavi, Pallavi "Un Darisanam Kidaikkumo Nataraja Dayanidhe"
11. Karunai Cheivan - Yadukula Kambhoji (Irayimman Thambi)
12. Vava Muruga - Kapi (???) -- Incomplete
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Happy New Year to all.
Indeed, vibrant is an apt description. Is the whole concert available with anybody? Would be nice to make this and some other Chembai concerts available on Sangeethapriya - I am assuming there are more concerts in peoples collections than are on that site...
Chembai and MDR seem to have had different strengths...in most performances, MDR eschews complex svaraprastharas...which is Chembai's forté...brilliant, focussed, and tending to become almost "hypnotic" at times. To draw a cricket comparison, MDR = VVS Laxman, GNB = Sehwag, and Chembai = Tendulkar!
Indeed, vibrant is an apt description. Is the whole concert available with anybody? Would be nice to make this and some other Chembai concerts available on Sangeethapriya - I am assuming there are more concerts in peoples collections than are on that site...
Chembai and MDR seem to have had different strengths...in most performances, MDR eschews complex svaraprastharas...which is Chembai's forté...brilliant, focussed, and tending to become almost "hypnotic" at times. To draw a cricket comparison, MDR = VVS Laxman, GNB = Sehwag, and Chembai = Tendulkar!
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This MDR - Chembai difference is exemplified by their respective renditions of that great Tyagaraja composition - Giripai in Sahana. There are many great renditions by MDR, and they are rightly considered definitive. However, when I first heard Chembai sing it (the 20 min piece with Lalgudi and Mani Iyer) it was surprisingly refreshing and crisp (My apologies for the rather vague and subjective characterizations...it is beginning to sound like a wine description).
I find it astonishing that Giripai has not been widely performed (or am I mistaken?) by other performers. I do recall reading that Mahavaidyanatha Sivan was one of the great exponents of this kriti....so any "deathly" connotations of this last kriti of Tyagaraja leading to people avoiding it must be a recent phenomenon.
I find it astonishing that Giripai has not been widely performed (or am I mistaken?) by other performers. I do recall reading that Mahavaidyanatha Sivan was one of the great exponents of this kriti....so any "deathly" connotations of this last kriti of Tyagaraja leading to people avoiding it must be a recent phenomenon.
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Indeed, from all accounts, Chembai personified the "milk of human kindness"...
In my opinion, one of the least appreciated legacies of Chembai was his influence on his peers. Anybody can influence a protege, but the truly great are those who influence their peers and proteges. Ariyakudi is one such. Chembai, by virtue of "discovering" Mani Iyer, and arguably facilitating the rise of his contemporary Chowdiah to great heights, must be regarded as another such. Even if his official shishya parampara is not as glittering as say Vishwanatha Iyer, if you add Mani Iyer to the list of his students, you see Chembai in a totally different light.
Incidentally, are there recordings available featuring Chembai and Chowdiah?
In my opinion, one of the least appreciated legacies of Chembai was his influence on his peers. Anybody can influence a protege, but the truly great are those who influence their peers and proteges. Ariyakudi is one such. Chembai, by virtue of "discovering" Mani Iyer, and arguably facilitating the rise of his contemporary Chowdiah to great heights, must be regarded as another such. Even if his official shishya parampara is not as glittering as say Vishwanatha Iyer, if you add Mani Iyer to the list of his students, you see Chembai in a totally different light.
Incidentally, are there recordings available featuring Chembai and Chowdiah?
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Another instance ......raviiyer2 wrote: ..................In my opinion, one of the least appreciated legacies of Chembai was his influence on his peers.
Guruvayur Dorai recalls how Chembai made Pazhani Subramania Pillai start teaching him right then and there when he had come over for a few days to Kerala before taking him up as a full-scale student.
http://www.chennaionline.com/specials/M ... durai.aspx
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I trust all in this forum have by now watched the Palghat Raghu documentary
http://www.youtube.com/watch?v=DQ4NiMWAWzc
It is thrilling to glimpse the famous Chembai-Chowdiah-Mani film (2 min 20 seconds into Part 1), albeit briefly..
I wonder if anyone has access to the whole film, which should be preserved for posterity.
I suppose it may be possible to contact the director of the film...?
http://www.youtube.com/watch?v=DQ4NiMWAWzc
It is thrilling to glimpse the famous Chembai-Chowdiah-Mani film (2 min 20 seconds into Part 1), albeit briefly..
I wonder if anyone has access to the whole film, which should be preserved for posterity.
I suppose it may be possible to contact the director of the film...?
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no...no...this is a new documentary. Part 4 shows Raghu receiving the Sangeeta Kalanidhi award, which happened in 2007. And as I recall, the old Chembai DD documentary did not show any movie clips of him - only still pictures. This is most likely a clip from the Chowdiah film "Vani", which has not been publicly seen for decades.
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not a problem...it doesnt matter when it was made - the reason i mentioned this is the fact that there are some video clips of Chembai and GNB in this documentary..
Not too long ago I saw a 6 part documentary series on the Blues, produced by Martin Scorcese, and the remarkable treasure trove of archival footage featured was mind blowing. It has bothered me for a long time that we in India dont have such a well preserved archival stock - so any little bit of film that we do have should be preserved. I wonder whether Films Division has over the years filmed any of our Carnatic musicians of yesteryear...would be lovely to find out.
Not too long ago I saw a 6 part documentary series on the Blues, produced by Martin Scorcese, and the remarkable treasure trove of archival footage featured was mind blowing. It has bothered me for a long time that we in India dont have such a well preserved archival stock - so any little bit of film that we do have should be preserved. I wonder whether Films Division has over the years filmed any of our Carnatic musicians of yesteryear...would be lovely to find out.
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Could some one upload or give the path for the below concert please.....Thanks
Chembai Vaidyanatha Bhagavatar - Vocal
M.S.Gopalakrishnan - Violin
T.V.Gopalakrishnan - Mridangam
01. Vathapi Ganapathim - Hamsadhwani (Muthuswami Dikshita)
02. Entharo Mahanubhavulu - Sri (Tyagaraja)
03. Nidhichala Sukhama - Kalyani (Tyagaraja)
04. Dwaitamu Sukhama - Reethigowla (Tyagaraja)
05. Namoralanu Vini - Arabhi (Tyagaraja)
06. Kaddanuvariki - Thodi (Tyagaraja) + Thani Avarthanam
07. Banturiti - Hamsanadham (Tyagaraja)
08. Manavyala - Nalinakanthi (Tyagaraja)
09. Rara Muraleedhara - Vijayanagari (TG Krishna Iyer)
10. Ragam Tanam Pallavi - Bhairavi, Pallavi "Un Darisanam Kidaikkumo Nataraja Dayanidhe"
11. Karunai Cheivan - Yadukula Kambhoji (Irayimman Thambi)
12. Vava Muruga - Kapi (???) -- Incomplete
Chembai Vaidyanatha Bhagavatar - Vocal
M.S.Gopalakrishnan - Violin
T.V.Gopalakrishnan - Mridangam
01. Vathapi Ganapathim - Hamsadhwani (Muthuswami Dikshita)
02. Entharo Mahanubhavulu - Sri (Tyagaraja)
03. Nidhichala Sukhama - Kalyani (Tyagaraja)
04. Dwaitamu Sukhama - Reethigowla (Tyagaraja)
05. Namoralanu Vini - Arabhi (Tyagaraja)
06. Kaddanuvariki - Thodi (Tyagaraja) + Thani Avarthanam
07. Banturiti - Hamsanadham (Tyagaraja)
08. Manavyala - Nalinakanthi (Tyagaraja)
09. Rara Muraleedhara - Vijayanagari (TG Krishna Iyer)
10. Ragam Tanam Pallavi - Bhairavi, Pallavi "Un Darisanam Kidaikkumo Nataraja Dayanidhe"
11. Karunai Cheivan - Yadukula Kambhoji (Irayimman Thambi)
12. Vava Muruga - Kapi (???) -- Incomplete
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I read a few long articles on Chembai by Shri BVK Shastry and others. I thought the rasikas might enjoy the following article which taken from Prof. Mysore V. Ramarathnam's book "Reminescences of a Musician" released in India and US in 2006-07 as part of Prof. Ramarathnam's 90th birth day celebrations. It is one of a kind articles that reflect Prof. Ramarathnam's memories, associations with the greatest vidwan during his younger days and the influence it had on prof in shaping his own musical career and manodharma.
Chembai Vaidyanatha Bhagavatar (1896-1976)
Chembai was one of the top vocalists of the last century. He had a brilliant career throughout. The Chembai, Chowdiah, Palghat Mani Iyer trio has given nearly 3000 concerts. I came to know Chembai extremely well during my training with guru Chowdiah. Whenever Chembai came to Mysore to sing at the Bidaram Krishnappa’s Rama Mandiram during the Ramotsavam he invariably stayed in my Guru Chowdiah’s house.
Chembai had a vigorous, strong, vibrant, ringing and resonant voice that had a rich metallic timbre. Chembai’s singing always seemed effortless. He was very disciplined and was an ardent follower of tradition. He was very religious, good hearted and friendly. He had a wonderful sense of accurate kala pramana (time measure). His voice blended perfectly with sruti and worked wonders. I had the good fortune to listen to many of his concerts with my master on the violin and Palghat Mani Iyer on the mridangam.
In his concerts he never failed to sing Vatapiganapatim (Hamsadhwani), Raghuvara nannu (Pantuvarali) and Sri BalaSubramanya (Bilahari). When someone asked him why he repeated these compositions he repliedâ€â€Â
Chembai Vaidyanatha Bhagavatar (1896-1976)
Chembai was one of the top vocalists of the last century. He had a brilliant career throughout. The Chembai, Chowdiah, Palghat Mani Iyer trio has given nearly 3000 concerts. I came to know Chembai extremely well during my training with guru Chowdiah. Whenever Chembai came to Mysore to sing at the Bidaram Krishnappa’s Rama Mandiram during the Ramotsavam he invariably stayed in my Guru Chowdiah’s house.
Chembai had a vigorous, strong, vibrant, ringing and resonant voice that had a rich metallic timbre. Chembai’s singing always seemed effortless. He was very disciplined and was an ardent follower of tradition. He was very religious, good hearted and friendly. He had a wonderful sense of accurate kala pramana (time measure). His voice blended perfectly with sruti and worked wonders. I had the good fortune to listen to many of his concerts with my master on the violin and Palghat Mani Iyer on the mridangam.
In his concerts he never failed to sing Vatapiganapatim (Hamsadhwani), Raghuvara nannu (Pantuvarali) and Sri BalaSubramanya (Bilahari). When someone asked him why he repeated these compositions he repliedâ€â€Â
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Chembai was known for his timely jokes. PROBABLY THIS JOKE MAY BE A REPETITION.He was once giving a scintillating performance at Bombay. It was a kshetramala, about the various kshetras and the deities. A rasika stood up and asked him to sing a song about Bombay. He at once started'AADU BOMBAY(PAMBE), VILAIYADU Bombay NADAR MUDI MELIRUKKUM NAGAPAMBE(BOMBAY).
I read this joke in an issue of Bhakti Vikatan or kumudam , I FORGOT ..GOBILALITHA
I read this joke in an issue of Bhakti Vikatan or kumudam , I FORGOT ..GOBILALITHA
Last edited by gobilalitha on 29 Jan 2009, 16:41, edited 1 time in total.
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A concert of Chembai with M.Chandrashekar and TVG at Shimoga, 1972
http://mt.iadvaita.com/songs.php?albumid=48
http://mt.iadvaita.com/songs.php?albumid=48
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As a member who has registered as a new member recently, I am going through the details, uploaded concerts, biography about the legendary artists, interesting interaction with the artists by the Rasikas, jocular moments etc
I am now going through the letters of Rasikas about Sri Chembai Vaidyanatha Bhagavather which runs for 15 pages as of now and I can expect a minimum of 25 letters early.
The popularity of the Artist is reflected in the excellent quality of the music contents and many more attributes like his kind heartedness, encouraging young talents etc.
S.Nageswaran.
I am now going through the letters of Rasikas about Sri Chembai Vaidyanatha Bhagavather which runs for 15 pages as of now and I can expect a minimum of 25 letters early.
The popularity of the Artist is reflected in the excellent quality of the music contents and many more attributes like his kind heartedness, encouraging young talents etc.
S.Nageswaran.
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- Joined: 11 Feb 2009, 08:54
In the early days ( 1950 ), All the artists used to travel by train only. The artists going to Delhi for National Programme in the AIR or for concerts at Delhi would be traveling by the G.T.Express (The only train to Delhi from Madras).The travel time used to be more than two days. Even though the Artists are used take the lunch packets for the two days travel, they used to long for a fresh filter coffee from some South Indian family reroute.
My Aunty (Chitti) MRs.Pattammal Ganapathy is a good Vocalist, Violinist and Flutist staying in Nagpur and her house is very close to the Nagpur Railway station. She is supposed to be the Astana Vidwan of Nagpur and interacting actively with the Music Sabhas in Nagpur.
Being a musician, she used call on the musicians(Parur Sundaram Iyer,MSG,Anantharaman,Flute Ramani, Lalgudi Jayaraman etc) when she visits Madras(Escort Myself).The Artists used to inform my Aunty about their upcoming programme of their trips to Delhi. My aunty will confirm to bring coffee and other hot lunch packets and meet them in the Nagpur Railway Station On their arrival at Nagpur. They will be happy about the filter coffee and hot lunch packs given by my aunt and profusely thank her. Some of the Artists will inform my aunty that they will be breaking their journey from Delhi at Nagpur to go to concerts at Raipur and at nearby places.
The artists will be breaking their journey at Nagpur and my Aunty will take them to their house and give due hospitality and entertain them with her music. She will also request the artists to teach her some popular kirthanas of each artist. Meanwhile the local Sabha secretaries will meet the artists at my Aunt’s house. They will make a request to the artists to give a performance in their Sabha at Nagpur.They will make a request for a reduction in their fees (Being a Sabha with meager funds).My aunty will also put in her request for the reduction of their fees. All the Artists used to accept the reduction of the fees and specifically tell the secretaries of the sabha that they have agreed for the concession only because of my Aunty’s request.
At that period, all the Artists were religious, and prefer to stay at my Aunt’s house because their wants were limited and prefer have a homely atmosphere rather than staying in hotels (may be the limited availability of funds also).
The letter is becoming lengthy and I am yet to narrate interesting introduction of Sri Chembai to my Aunt and subsequent events.
I will continue further in my next posting.
S.Nageswaran.
My Aunty (Chitti) MRs.Pattammal Ganapathy is a good Vocalist, Violinist and Flutist staying in Nagpur and her house is very close to the Nagpur Railway station. She is supposed to be the Astana Vidwan of Nagpur and interacting actively with the Music Sabhas in Nagpur.
Being a musician, she used call on the musicians(Parur Sundaram Iyer,MSG,Anantharaman,Flute Ramani, Lalgudi Jayaraman etc) when she visits Madras(Escort Myself).The Artists used to inform my Aunty about their upcoming programme of their trips to Delhi. My aunty will confirm to bring coffee and other hot lunch packets and meet them in the Nagpur Railway Station On their arrival at Nagpur. They will be happy about the filter coffee and hot lunch packs given by my aunt and profusely thank her. Some of the Artists will inform my aunty that they will be breaking their journey from Delhi at Nagpur to go to concerts at Raipur and at nearby places.
The artists will be breaking their journey at Nagpur and my Aunty will take them to their house and give due hospitality and entertain them with her music. She will also request the artists to teach her some popular kirthanas of each artist. Meanwhile the local Sabha secretaries will meet the artists at my Aunt’s house. They will make a request to the artists to give a performance in their Sabha at Nagpur.They will make a request for a reduction in their fees (Being a Sabha with meager funds).My aunty will also put in her request for the reduction of their fees. All the Artists used to accept the reduction of the fees and specifically tell the secretaries of the sabha that they have agreed for the concession only because of my Aunty’s request.
At that period, all the Artists were religious, and prefer to stay at my Aunt’s house because their wants were limited and prefer have a homely atmosphere rather than staying in hotels (may be the limited availability of funds also).
The letter is becoming lengthy and I am yet to narrate interesting introduction of Sri Chembai to my Aunt and subsequent events.
I will continue further in my next posting.
S.Nageswaran.
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S. Nageswaran,
Welcome to the forum!
Your aunt was indeed a special rasikA in being hospitable to musicians. Our family had several such rasikAs. My aunt in Madurai (a super cook to boot) would send tiffin carriers filled with mouth watering goodies for several musicians who traveled from Chennai to Tirunelveli, Thiruvanantapuram and so on. My uncle and aunt in TVM had hordes of musicians come and stay with them for days on end in their rambling house where they delighted in my aunt's fare of Kerala treats as well.
Some of the musicians, to their dying days would remember their hospitality with happiness while a few of them promptly forgot all the care and appreciation their rasikAs offered them...
Welcome to the forum!
Your aunt was indeed a special rasikA in being hospitable to musicians. Our family had several such rasikAs. My aunt in Madurai (a super cook to boot) would send tiffin carriers filled with mouth watering goodies for several musicians who traveled from Chennai to Tirunelveli, Thiruvanantapuram and so on. My uncle and aunt in TVM had hordes of musicians come and stay with them for days on end in their rambling house where they delighted in my aunt's fare of Kerala treats as well.
Some of the musicians, to their dying days would remember their hospitality with happiness while a few of them promptly forgot all the care and appreciation their rasikAs offered them...
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.All artists planning to visit Delhi for the concerts will send a post card informing my Aunty in advance and convey that they would like to meet my Aunty at the Nagpur Railway station on the scheduled date.
Sri MSG also sent a letter about his travel plans. My Aunty went to the Railway Station and met Sri MSG and gave him a flask full of coffee and hot food packets. Sri MSG was traveling by second class then. Sri MSG informed my Aunty that the main vocalist was traveling in the first class Compartment and wanted to offer the filter coffee since he also likes filter coffee. My Aunty usually take an extra flask full of coffee for the Artists. So Sri MSG and my Aunty went to the first class compartment and offered the coffee to Sri Chambai and Sri MSG introduced my Aunty to Sri Chembai and explaining him that my Aunty always helped the artists with such offerings if the Artist informs her in advance. Sri Chembai enjoyed the coffee and requested my Aunty to bring fresh filter coffee to him also in future and told her that he will also send advance intimation to her in future.
Sri MSG was very happy and also told her that Sri Chembai is one of the topmost Vocalist then and is always happy to help junior accompanists.
From then on Sri Chembai also was getting filter coffee and food packets whenever he goes to Delhi. On one occasion Sri Chembai was to break his journey during his return journey to go to Raichur for a concert. My Aunty invited Sri Chembai to stay in her house and proceed to Raichur the next day. Chembai was very happy and stayed in my Aunt’s house. Next day he performed his regular pooja to the deities kept in my Aunt’s pooja room. Sri Chembai listened to my aunt’s music (Vocal, Violin and flute).Sri Chembai praised my Aunty for her multi talents and the hospitality extended to him. On one occasion after a concert in Delhi and as usual was to proceed to Raichur the next day. Sri L.Subramaiam was to accompany Chembai for the Raichur concert the next day.So Sri L.Subramaniam had to stay in my Aunt’s house along with Chembai.
Suddenly Sri Chembai informed my Aunty that she is also to accompany him in the concert at Raichur.My Aunty expressed her apprehensions in accompanying to such a top most Vocalist. Chembai had reassured my Aunty that she is capable of accompanying him and she had to obey his order.
In the concert Sri L.Subramanyam and my Aunty accompanied Sri Chembai. In one of the songs for the swarams of Sri Chembai, Sri L.Subramanyam and my Aunty replied alternatively. In one swaram singing, Sri L.Subramanyam faltered in his reply’s. Chembai asked my Aunty to reply to his swarams and she was able to reply correctly. Then Sri Chmbai told L.Subramanyam that in spite of his fame in foreign countries and with his regularly accompanying him in concerts, he could not reply correctly but that in spite my Aunt’s inexperience to accompanying him had played correctly. He "told"
Sri MSG also sent a letter about his travel plans. My Aunty went to the Railway Station and met Sri MSG and gave him a flask full of coffee and hot food packets. Sri MSG was traveling by second class then. Sri MSG informed my Aunty that the main vocalist was traveling in the first class Compartment and wanted to offer the filter coffee since he also likes filter coffee. My Aunty usually take an extra flask full of coffee for the Artists. So Sri MSG and my Aunty went to the first class compartment and offered the coffee to Sri Chambai and Sri MSG introduced my Aunty to Sri Chembai and explaining him that my Aunty always helped the artists with such offerings if the Artist informs her in advance. Sri Chembai enjoyed the coffee and requested my Aunty to bring fresh filter coffee to him also in future and told her that he will also send advance intimation to her in future.
Sri MSG was very happy and also told her that Sri Chembai is one of the topmost Vocalist then and is always happy to help junior accompanists.
From then on Sri Chembai also was getting filter coffee and food packets whenever he goes to Delhi. On one occasion Sri Chembai was to break his journey during his return journey to go to Raichur for a concert. My Aunty invited Sri Chembai to stay in her house and proceed to Raichur the next day. Chembai was very happy and stayed in my Aunt’s house. Next day he performed his regular pooja to the deities kept in my Aunt’s pooja room. Sri Chembai listened to my aunt’s music (Vocal, Violin and flute).Sri Chembai praised my Aunty for her multi talents and the hospitality extended to him. On one occasion after a concert in Delhi and as usual was to proceed to Raichur the next day. Sri L.Subramaiam was to accompany Chembai for the Raichur concert the next day.So Sri L.Subramaniam had to stay in my Aunt’s house along with Chembai.
Suddenly Sri Chembai informed my Aunty that she is also to accompany him in the concert at Raichur.My Aunty expressed her apprehensions in accompanying to such a top most Vocalist. Chembai had reassured my Aunty that she is capable of accompanying him and she had to obey his order.
In the concert Sri L.Subramanyam and my Aunty accompanied Sri Chembai. In one of the songs for the swarams of Sri Chembai, Sri L.Subramanyam and my Aunty replied alternatively. In one swaram singing, Sri L.Subramanyam faltered in his reply’s. Chembai asked my Aunty to reply to his swarams and she was able to reply correctly. Then Sri Chmbai told L.Subramanyam that in spite of his fame in foreign countries and with his regularly accompanying him in concerts, he could not reply correctly but that in spite my Aunt’s inexperience to accompanying him had played correctly. He "told"
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Being a fan of Sri Chembai also, I have searched the many uploads of Chembai in all the 15 pages where in Sri srkris and Sri Kaumaaram have given the links.
One of my friend, also a Chembai fan, used to frequently refer to a particular concert at Delhi 20 years ago of Chembai with Sri MSG and TVG. In this concert he sang "Thaye Yasoda ‘.During the extended swaraprastaram he was trying to climax the song in the thara stayi’s highest note. But at that moment he was not able to sing beyond a point (which he reaches the end of the top note easily in the normal circumstances in many other concerts).
Then in his jolly mood Sri Chembai addressed Sri MSG and TVG saying "Male Yerungada"
One of my friend, also a Chembai fan, used to frequently refer to a particular concert at Delhi 20 years ago of Chembai with Sri MSG and TVG. In this concert he sang "Thaye Yasoda ‘.During the extended swaraprastaram he was trying to climax the song in the thara stayi’s highest note. But at that moment he was not able to sing beyond a point (which he reaches the end of the top note easily in the normal circumstances in many other concerts).
Then in his jolly mood Sri Chembai addressed Sri MSG and TVG saying "Male Yerungada"
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Don't mean to be controversial, but we discussed in another thread recently about chembai's use of ( or lack of ) gamakam. The violinist's Saveri sounds much closer to the Saveri I know. Saveri in Chembai's voice sounds great alright, but I wish for a Saveri from him with sharper gamaka dimensions. Does anyone else feel the same way? I am definitely open to looking at it in another way, I am not a big expert on the various aspects of Saveri by any means.
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From the Indian Express:
Memories of a golden era
Sivadas Varma
Published : 01 Jun 2009
IT was the late 1930s. Palace No 4, the official residence of the then Maharaja of Kochi, Rama Varma, was about to witness a historic moment. The concert of Manku Thampuran, a princess of the Kochi royal family, was being broadcast live on All India Radio.
In those days women of the royal family were not allowed to perform in public. But Manku Thampuran, who had learned music from the maestro Chembai Vaidhyanatha Bhagavathar, was allowed the rare opportunity. Manku was singing from her uncle’s official residence.
“As per the order of the King the entire equipment needed for the broadcast was brought from Madras,” recalls Manku Thampuran, the present Valiyamma Thampuran (the seniormost female member of the Kochi royal family), now 96 years old. “I still remember that programme. Palace No 4 was situated next to the north fort gate. Soon after the broadcast AIR also recorded an interview with the King of Kochi in connection with that year’s Atha Chamayam.” It was the time when princesses were not allowed to mingle with ordinary students.
But Manku never allowed these barriers to nip her musical ambitions.
“Chembai once presented a concert at the Oottupura Malika for the Vrischikotsavam.
At my uncle’s request he agreed to stay on at the palace for a while to teach me keertans.
The teaching went on for ten years and I got a sound knowledge of all the major compositions of the musical trinities,” she says.
The Chandravilasam Palace frequently hosted discussions on music and stalwarts like M K Thyagaraja Bhagavathar, Mysore Chowdayya, Palakkad Mani Iyer, Shemmangudi Sreenivasa Iyer and others were regular guests here. Chembai once organised a concert by Manku in the spacious courtyard of the palace accompanied by violin maestro Mysore Chowdayya on the violin and Mani Iyer at the Mridangam. Manku Thampuran rendered her favourite raga, sankarabharanam.
Even after the memorable broadcast of her concert, Manku had to wait for years to present a concert. Occasionally she would get a chance to render selected keertans at the Radha Lakshmi Vilasam College of Music established by one of her uncles.
When the first communist ministry came into existence in Kerala, Manku became the first ever chairperson of the Kerala Sangeetha Nataka Akademi in 1957. In that capacity, she presented a concert at the Madras Music Akademi from where she received a thampura as a reward. Even today she has the thampura, with which she continues to share countless musical memories. Manku Thampuran also participated in the Chembai Sangeetholsavam at the Guruvayoor Sree Krishna Temple.
“The unexpected visit of the nomadic sopanam singer, the late Njaralathu Rama Pothuval, in the early half of the 1990s evoked the memories of my childhood days because he was a disciple of Chembai,” she says.
“Pothuval came to see me, and after offering Ashtapadi at Sree Poornathrayeesha temple, both of us spent hours together recalling the humorous remarks made by Chembai during his music classes.” After getting the invaluable music wealth from Chembai, Pothuval travelled across the state to offer his version of sopana sangeetham before myriad deities, thus attaining salvation. Though most of the live musical experiences Thampuran had with Chembai Vaidhya Natha Bhagavathar and other noted stalwarts in carnatic music are fading from her memory today, Manku is trying to retain some of them with the help of her daughter Sulochana Thampuran and the invaluable Thampura she once won.
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Update: I have a photo of the performance of Manku thampuran with Chowdayya and Mani Iyer dated to the late 30s. I will upload it soon.
Memories of a golden era
Sivadas Varma
Published : 01 Jun 2009
IT was the late 1930s. Palace No 4, the official residence of the then Maharaja of Kochi, Rama Varma, was about to witness a historic moment. The concert of Manku Thampuran, a princess of the Kochi royal family, was being broadcast live on All India Radio.
In those days women of the royal family were not allowed to perform in public. But Manku Thampuran, who had learned music from the maestro Chembai Vaidhyanatha Bhagavathar, was allowed the rare opportunity. Manku was singing from her uncle’s official residence.
“As per the order of the King the entire equipment needed for the broadcast was brought from Madras,” recalls Manku Thampuran, the present Valiyamma Thampuran (the seniormost female member of the Kochi royal family), now 96 years old. “I still remember that programme. Palace No 4 was situated next to the north fort gate. Soon after the broadcast AIR also recorded an interview with the King of Kochi in connection with that year’s Atha Chamayam.” It was the time when princesses were not allowed to mingle with ordinary students.
But Manku never allowed these barriers to nip her musical ambitions.
“Chembai once presented a concert at the Oottupura Malika for the Vrischikotsavam.
At my uncle’s request he agreed to stay on at the palace for a while to teach me keertans.
The teaching went on for ten years and I got a sound knowledge of all the major compositions of the musical trinities,” she says.
The Chandravilasam Palace frequently hosted discussions on music and stalwarts like M K Thyagaraja Bhagavathar, Mysore Chowdayya, Palakkad Mani Iyer, Shemmangudi Sreenivasa Iyer and others were regular guests here. Chembai once organised a concert by Manku in the spacious courtyard of the palace accompanied by violin maestro Mysore Chowdayya on the violin and Mani Iyer at the Mridangam. Manku Thampuran rendered her favourite raga, sankarabharanam.
Even after the memorable broadcast of her concert, Manku had to wait for years to present a concert. Occasionally she would get a chance to render selected keertans at the Radha Lakshmi Vilasam College of Music established by one of her uncles.
When the first communist ministry came into existence in Kerala, Manku became the first ever chairperson of the Kerala Sangeetha Nataka Akademi in 1957. In that capacity, she presented a concert at the Madras Music Akademi from where she received a thampura as a reward. Even today she has the thampura, with which she continues to share countless musical memories. Manku Thampuran also participated in the Chembai Sangeetholsavam at the Guruvayoor Sree Krishna Temple.
“The unexpected visit of the nomadic sopanam singer, the late Njaralathu Rama Pothuval, in the early half of the 1990s evoked the memories of my childhood days because he was a disciple of Chembai,” she says.
“Pothuval came to see me, and after offering Ashtapadi at Sree Poornathrayeesha temple, both of us spent hours together recalling the humorous remarks made by Chembai during his music classes.” After getting the invaluable music wealth from Chembai, Pothuval travelled across the state to offer his version of sopana sangeetham before myriad deities, thus attaining salvation. Though most of the live musical experiences Thampuran had with Chembai Vaidhya Natha Bhagavathar and other noted stalwarts in carnatic music are fading from her memory today, Manku is trying to retain some of them with the help of her daughter Sulochana Thampuran and the invaluable Thampura she once won.
--------------------
Update: I have a photo of the performance of Manku thampuran with Chowdayya and Mani Iyer dated to the late 30s. I will upload it soon.
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A letter sent by a reader of Sruti Magazine and published in the April 2009 edition of the magazine:
MS and Chembai
In the feature on the Nellayappar Temple in Tirunelveli, Sriram V has made a passing reference to Semmangudi’s remark that he had learnt the song Sree Kantimatim from MS. We don’t know MS’s reaction to that remark - probably she must have just smiled!
An incident of a similar kind took place some time in the late 1960’s.It was the Ekadasi Music Festival at Guruvayur.In those days it lasted only for three days. Concerts used to take place under the personal supervision of Chembai, and in his immediate presence.It so happened that MS came to the temple on the second (Ekadasi) day for darsan, quite unaware of the festival, or the Bhagavatar’s presence there. Someone brought the news of MS’s arrival to Chembai. He told the person to convey his request to her that after darsan she may come to the venue. When MS came, he told her that the Lord would have wanted to listen to her music and therefore had brought her to the temple on that day.MS too took it as a divine command,and sang a moving concert soaked in devotion. The precinct of the Lord added to its sublimity.
When Chovvallur Krishnankutty,an ardent admirer of Chembai and a correspondent of Malayala Manorama, met the Bhagavatar next morning at Poomalli Matom where the latter was staying, he asked the correspondent to file a detailed report about MS’s visit and her soulful music. Then he added: "MS is like a gurunatha to me as I have learnt a couple of songs from her. You should write this also."
MS and Chembai
In the feature on the Nellayappar Temple in Tirunelveli, Sriram V has made a passing reference to Semmangudi’s remark that he had learnt the song Sree Kantimatim from MS. We don’t know MS’s reaction to that remark - probably she must have just smiled!
An incident of a similar kind took place some time in the late 1960’s.It was the Ekadasi Music Festival at Guruvayur.In those days it lasted only for three days. Concerts used to take place under the personal supervision of Chembai, and in his immediate presence.It so happened that MS came to the temple on the second (Ekadasi) day for darsan, quite unaware of the festival, or the Bhagavatar’s presence there. Someone brought the news of MS’s arrival to Chembai. He told the person to convey his request to her that after darsan she may come to the venue. When MS came, he told her that the Lord would have wanted to listen to her music and therefore had brought her to the temple on that day.MS too took it as a divine command,and sang a moving concert soaked in devotion. The precinct of the Lord added to its sublimity.
When Chovvallur Krishnankutty,an ardent admirer of Chembai and a correspondent of Malayala Manorama, met the Bhagavatar next morning at Poomalli Matom where the latter was staying, he asked the correspondent to file a detailed report about MS’s visit and her soulful music. Then he added: "MS is like a gurunatha to me as I have learnt a couple of songs from her. You should write this also."
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Sivaprasad, thanks. Is the RS Mani in the picture the same as (Chembai's disciple) "Trivandrum RS Mani", or is it a different RS Mani?
I searched the internet, and it seems SSI also had a disciple called RS Mani. Or did both of them (CVB & SSI) have some common disciples at different times? Confused!
I searched the internet, and it seems SSI also had a disciple called RS Mani. Or did both of them (CVB & SSI) have some common disciples at different times? Confused!
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