I was wondering whether we could gather the rasikas forumites of Bangalore to listen to some good archival recordings we have.
We have quite a lot of old recordings converted from spool tapes to mp3.
We also have some rare books, some useful books - on music, both Hindustani and Carnatic.
All these are in our old house at Jayanagar where my parents in law used to live.
We have created a trust for the purpose of preserving and disseminating these treasures. It is called the Veenapani Centre for Arts, located at Jayanagar 3rd block, next to the Radel shop.
We had a few very illuminating lecdems (also on video and audio) by Prof TRS, Dr R Vishweswaran of Mysore, Prof R C Mehta, the late Sri N S Srinivasan (flute), V Krishna (Mridangam-Bangalore Venkatram's son who is the director of Percussive Arts Centre), Sri S Rajam, Dr T S Sathyavati etc. We had a few audio listening sessions, a couple of video sessions etc. However, we found that the attendance for these was extremely poor (in the region of 10-15) and mostly senior citizens, whereas our intention was to target the youngsters so that they benefit from listening to greats like MDR, Mali, etc. So over a period of time the activities have gradually ceased.
It would be nice if we could revive this, and I feel that the forumites at Bangalore would like to listen to these and discuss them.
If any of you are interested, do let me know and we could revive these listening sessions and have some more lec-dems.
Archival music for Bangalore rasikas
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braindrain
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munirao2001
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vs_manjunath
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Radhika-Rajnarayan
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The response is indeed heartening.
Let us make a beginning at the earliest - how about the next Sunday Oct 25th ? Saturday 24th is fine too - let me know your preference. We will go by the majority opinion. The idea is to gather as many people as possible to listen / see these greats.
We prefer morning sessions to avoid the bad traffic on weekend evenings around Jayanagar 3rd and 4th Block. Usually the sessions are from 10 am to 12 noon.
Looking forward to meeting you all!
Let us make a beginning at the earliest - how about the next Sunday Oct 25th ? Saturday 24th is fine too - let me know your preference. We will go by the majority opinion. The idea is to gather as many people as possible to listen / see these greats.
We prefer morning sessions to avoid the bad traffic on weekend evenings around Jayanagar 3rd and 4th Block. Usually the sessions are from 10 am to 12 noon.
Looking forward to meeting you all!
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s_hari
- Posts: 872
- Joined: 20 May 2007, 18:45
24th or 25th morning works well for me. There are concerts to attend on both days evening. There might be less traffic on sunday morning probably, so i vote for 25th.
If you want more participation, please check in sangeethapriya yahoogrous also.
GBL wanted bangalore rasikas to meet few days ago, how soon his wish is getting full filled!!!!!!!
-hari
If you want more participation, please check in sangeethapriya yahoogrous also.
GBL wanted bangalore rasikas to meet few days ago, how soon his wish is getting full filled!!!!!!!
-hari
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laks1972
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vs_manjunath
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25th Sunday morning should be fine. Pl finalise & let us know. Very nice initiative.
[email protected]
[email protected]
Last edited by vs_manjunath on 13 Oct 2009, 14:31, edited 1 time in total.
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Naada Priya
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srinivasrgvn
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Radhika-Rajnarayan
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Great. Sunday, 25th is finalized, then, 10 am sharp.
We can start with some delectable GNB and follow it up with some MDR for contrast! And discuss how we love both of them!
For those unfamiliar with Jayanagar, go to the 4th block shopping complex area, go to the traffic signal near Janata Bazar. This is diagonally across, past the post office. You can see some construction work in the corner.
Or reach ICICI bank in 3rd block from South End / Ashoka Pillar, and go down the road directly opposite the bank, (you may see 'Rajaratnam Jewels' in the corner). It is a short stretch of road, and almost at the end, this is the only residential house with a compound, just after the KSIC Mysore silk showroom.
Of course, those who know the Radel shop - it's adjacent to it.
Looking forward to meeting rasikas!
We can start with some delectable GNB and follow it up with some MDR for contrast! And discuss how we love both of them!
For those unfamiliar with Jayanagar, go to the 4th block shopping complex area, go to the traffic signal near Janata Bazar. This is diagonally across, past the post office. You can see some construction work in the corner.
Or reach ICICI bank in 3rd block from South End / Ashoka Pillar, and go down the road directly opposite the bank, (you may see 'Rajaratnam Jewels' in the corner). It is a short stretch of road, and almost at the end, this is the only residential house with a compound, just after the KSIC Mysore silk showroom.
Of course, those who know the Radel shop - it's adjacent to it.
Looking forward to meeting rasikas!
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rajeshnat
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Wow that is the best combo to start with , hopefully please match up with sweet, kAram and coffee , remember you all should eat/drink in the same kAlapramAnam as the way GNB and MDR sing their rendition =) .Radhika-Rajnarayan wrote:Great. Sunday, 25th is finalized, then, 10 am sharp.
We can start with some delectable GNB and follow it up with some MDR for contrast!
Looking forward to meeting rasikas!
I am sure the host of food/drinks will like MDR kalApramanAM for his bills
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vasanthakokilam
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Radhika-Rajnarayan
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Radhika-Rajnarayan
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Radhika-Rajnarayan
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Dear Bangalore Rasikas,
A gentle reminder about Sunday (25th)'s listening session at 10 am at the Veenapani Centre for Arts.
Please send me email through the forum in case any of you require any directions or other information.
I am eagerly looking forward to meeting the Bangalore Rasikas.
Also looking forward to an enjoyable morning for all of us in the company of 2 Great Masters, and hoping that we will regularly 'meet' other Great Masters and forget our daily woes for a couple of hours!
A gentle reminder about Sunday (25th)'s listening session at 10 am at the Veenapani Centre for Arts.
Please send me email through the forum in case any of you require any directions or other information.
I am eagerly looking forward to meeting the Bangalore Rasikas.
Also looking forward to an enjoyable morning for all of us in the company of 2 Great Masters, and hoping that we will regularly 'meet' other Great Masters and forget our daily woes for a couple of hours!
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s_hari
- Posts: 872
- Joined: 20 May 2007, 18:45
Bilahari - it was an enjoyable and interesting session. GNB's abhogi varnam, followed by MDR's darbar varnam. GNB's varnam was in madhyama kalam, followed by swaras, MDR's rendition was in usual chowka kalam, no 2nd speed. In this rendition, after singing last chitta swara, MDR sings alapana like phrase for one avarthanam, and repeat chitta swaras twice. Then, GNB's todi. The alapana was edited one due to want of time. Apparently, this was part of lengthy RTP. First round of todi was little fast with lot of brigas, while 2nd round was with lot of vishranti. After this, it was MDR's chance to sing todi);- It was a great alapana, developed step by step. It looked like LGJ accompanied GNB, and TNK for MDR. It was nice work done by host, giving a feeling of jugalbandhi between these greats! Attendance was rather thin among audience were keerthi, Smt Shakuntala Narasimhan, Sri. Muni rao, vikram sampath (splendours of royal mysore - fame) and few lay man rasikas like me, Ms. sreedevi, and Mr. Prasanna (I hope i got his name right)., apart from hosts Radikha and Rajnarayan. Hope keerthi can write details on technical stuff. There were many interesting side conversations initiated by Radhika mam, Sri Munirao and Smt Shakuntala. It was as interesting as the renderings of the day.
-hari
-hari
Last edited by s_hari on 25 Oct 2009, 20:48, edited 1 time in total.
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keerthi
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it was wonderful to listen to the carefully compiled selection that Radhika-Rajnarayan had put together. It was kind of bad that there wasnt a sufficient quorum of rasika-s, to justify the effort of organising such a session.
PART I
GNB sang the abhogi varnam in the conventional way, even appending it with 3-4 rounds of short swarakalpana.
When MDR's Darbar varNam was played, what caught my attention was that his speed wasn't really caukam, but he consciously sang the lyric, and wove it all together to impress the meaning upon the listener.
It wasn't cha- a- la - may- ay la- a- a jey e- e- e-etc. there was never a gap after each long vowel, before launching into the next syllable. he somehow emphasised the transit from the long-vowel karvai into the next syllable, which made it a more meaningful experience.
Even when he sang the ettugada swara-s, he invested each note with different jAru-s and modulations and it was like the play of light and shadow.
All these things aside, MDR had something in his singing/treatment that made one sit up and pay attention to the varNam as well.
There was a short discussion regarding the singing of varNam as anything else but starter in a concert, concert format, ariyakudi, iconoclasm etc.
Sri. Munirao commented on the duty of a musician to the rasikas, how a singer's personal music (what he sings for himself/ ishtadevata) should be different from his music in public etc. he had some reminiscences about Dr. Pinakapani taking him to task for forgoing his father's style of singing and imitating some other artiste.
There was discussion about why MDR enunciated in a certain way. was it a carryover from the Tiger? Was it a personal affectation that was popular for its novelty value..? Was he trying to do something else..?
Radhika suggested that he was trying to use his voice like an instrument and that he was (maybe)attempting to infuse some of the vadya/yantra elements into his gatra sangIta
Sri Rao felt it was merely an affectation, that was glorified by rasikas and flourished in the sunshine of their approval.
while discussing Neela MAmi's (gnaanam for rasikas!) concert, sri prasanna commented on how good the Mridangam was (poongulam). This led to talk about how a lot of mridangam sounds wooden nowadays, with the resonant almost metallic sound we heard in the two varnam-s fast disappearing.
PART II
An excerpt from a ThoDi AlApana by GNB was played. this wzas from an RTP, so he started with a shorter pyrotechnic AlApana, where he skateboarded all over the place, sometimes going up precipitous slopes and curves, but always landing on his feet (once, he landed on lalgudi's feet!)
(There were speculations regarding the identity of the violinist, and Lalgudi won the vote)
After that brisk 3-4 minute prelude which had everything, the nagaswara phrasings, dizzying birka-s and flourishes, once the violins played his response; GNB launched into a reposeful swara by swara sopana-style AlApana, which was a revelation.
This second half was almost free of his characteristic birka-s, but clearly demonstrated the nagaswara style of unravelling the AlApana, dwelling on each note, going in colourful circles round it at leisure, before going on to the next stage of AlApana.
There was a discussion about GNB, his music over different time scales, about how Musicians' styles change vis-a-vis their physical limitations, and how an affectation or a limitation can successfully turn into a style - a new genre almost.
Sakuntala Narasimhan pointed out that Kumar Gandharv evolved a new style of singing when he lost a lung, and could only sing short bursts. This style became very popular and was so well received that students and admirers with a healthy, stout pair of lungs would imitate his style of bursts alternating with short silences.
GNB's music has been quite heterogenous over the years, often reflecting his changing physical/mental condition and (probably) approach/attitude towards music.
As MDR's AlApana began, the snacks started to flow in, and while everyone launched into the silent pedA-s with gusto, it was only the intrepid who would try to munch on a crisp nippattu/thattai, without making a distracting Crunch, which would be a blasphemy against the meditative music of MDR (or anyone else!)
This particular Alapa had very few of his characteristic noises, and was a good impressive exposition, with lots of slurs and graces and leena gamakas and jaru-s.
In light of Radhika's observation regarding instrumentalisation of the voice, I observed him sing phrases like N,,D,- N,,,D, N,,,,,,D,, where each successive phrase a kampita on the Ni which was more pronounced than the previous.
I could discern typical gamaka-laden Brinda-like phrases, birka-suffused Nagaswaram phrases, Ahata-pratyAhata endowed veeNa phrases (which is now quite rare in vocal music) and of course, the almost-but-never-apaswaram chromatic MDR phrases(which the Dhrupadiya-s take pride in singing).
There was more discussion about how MDR probably sang only for himself.
The importance of Visranti - a prominent feature of MDR's music, was spoken about. How MDR would let pass a full Two avarta-s with T.N.Krishnan patiently bowing s-p-s on his violin, waiting for the next volley.
Mali used a lot of silence interspersed with his music. Was it a whim..? or was it a deliberate act, to let the music soak in..?
Or was it an inheritance from the Nagaswara tradition, where they paused for breath..?
There were many more things discussed- Concerts turning into devotional music programmes, the woes of radio performances, the possibility of reviving Chamber concerts...
It was a Sunday morning spent fruitfully, and hopefully there will be more such sessions, with better attendance.
PART I
GNB sang the abhogi varnam in the conventional way, even appending it with 3-4 rounds of short swarakalpana.
When MDR's Darbar varNam was played, what caught my attention was that his speed wasn't really caukam, but he consciously sang the lyric, and wove it all together to impress the meaning upon the listener.
It wasn't cha- a- la - may- ay la- a- a jey e- e- e-etc. there was never a gap after each long vowel, before launching into the next syllable. he somehow emphasised the transit from the long-vowel karvai into the next syllable, which made it a more meaningful experience.
Even when he sang the ettugada swara-s, he invested each note with different jAru-s and modulations and it was like the play of light and shadow.
All these things aside, MDR had something in his singing/treatment that made one sit up and pay attention to the varNam as well.
There was a short discussion regarding the singing of varNam as anything else but starter in a concert, concert format, ariyakudi, iconoclasm etc.
Sri. Munirao commented on the duty of a musician to the rasikas, how a singer's personal music (what he sings for himself/ ishtadevata) should be different from his music in public etc. he had some reminiscences about Dr. Pinakapani taking him to task for forgoing his father's style of singing and imitating some other artiste.
There was discussion about why MDR enunciated in a certain way. was it a carryover from the Tiger? Was it a personal affectation that was popular for its novelty value..? Was he trying to do something else..?
Radhika suggested that he was trying to use his voice like an instrument and that he was (maybe)attempting to infuse some of the vadya/yantra elements into his gatra sangIta
Sri Rao felt it was merely an affectation, that was glorified by rasikas and flourished in the sunshine of their approval.
while discussing Neela MAmi's (gnaanam for rasikas!) concert, sri prasanna commented on how good the Mridangam was (poongulam). This led to talk about how a lot of mridangam sounds wooden nowadays, with the resonant almost metallic sound we heard in the two varnam-s fast disappearing.
PART II
An excerpt from a ThoDi AlApana by GNB was played. this wzas from an RTP, so he started with a shorter pyrotechnic AlApana, where he skateboarded all over the place, sometimes going up precipitous slopes and curves, but always landing on his feet (once, he landed on lalgudi's feet!)
(There were speculations regarding the identity of the violinist, and Lalgudi won the vote)
After that brisk 3-4 minute prelude which had everything, the nagaswara phrasings, dizzying birka-s and flourishes, once the violins played his response; GNB launched into a reposeful swara by swara sopana-style AlApana, which was a revelation.
This second half was almost free of his characteristic birka-s, but clearly demonstrated the nagaswara style of unravelling the AlApana, dwelling on each note, going in colourful circles round it at leisure, before going on to the next stage of AlApana.
There was a discussion about GNB, his music over different time scales, about how Musicians' styles change vis-a-vis their physical limitations, and how an affectation or a limitation can successfully turn into a style - a new genre almost.
Sakuntala Narasimhan pointed out that Kumar Gandharv evolved a new style of singing when he lost a lung, and could only sing short bursts. This style became very popular and was so well received that students and admirers with a healthy, stout pair of lungs would imitate his style of bursts alternating with short silences.
GNB's music has been quite heterogenous over the years, often reflecting his changing physical/mental condition and (probably) approach/attitude towards music.
As MDR's AlApana began, the snacks started to flow in, and while everyone launched into the silent pedA-s with gusto, it was only the intrepid who would try to munch on a crisp nippattu/thattai, without making a distracting Crunch, which would be a blasphemy against the meditative music of MDR (or anyone else!)
This particular Alapa had very few of his characteristic noises, and was a good impressive exposition, with lots of slurs and graces and leena gamakas and jaru-s.
In light of Radhika's observation regarding instrumentalisation of the voice, I observed him sing phrases like N,,D,- N,,,D, N,,,,,,D,, where each successive phrase a kampita on the Ni which was more pronounced than the previous.
I could discern typical gamaka-laden Brinda-like phrases, birka-suffused Nagaswaram phrases, Ahata-pratyAhata endowed veeNa phrases (which is now quite rare in vocal music) and of course, the almost-but-never-apaswaram chromatic MDR phrases(which the Dhrupadiya-s take pride in singing).
There was more discussion about how MDR probably sang only for himself.
The importance of Visranti - a prominent feature of MDR's music, was spoken about. How MDR would let pass a full Two avarta-s with T.N.Krishnan patiently bowing s-p-s on his violin, waiting for the next volley.
Mali used a lot of silence interspersed with his music. Was it a whim..? or was it a deliberate act, to let the music soak in..?
Or was it an inheritance from the Nagaswara tradition, where they paused for breath..?
There were many more things discussed- Concerts turning into devotional music programmes, the woes of radio performances, the possibility of reviving Chamber concerts...
It was a Sunday morning spent fruitfully, and hopefully there will be more such sessions, with better attendance.
karni make it , he told me last week that he may make it-
vasanthakokilam
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bilahari
- Posts: 2631
- Joined: 03 Feb 2010, 09:02
I'm up for a Skype meet!
Thanks for the reports, Hari and Keerthi.
Of course, a big thank you to Radhika and Raj Narayan for initiating these sessions.
As for MDR's voice, I am inclined to agree with Radhika that he did view his voice as an instrument. It is purely a gut reaction currently, and I will try to think of concrete examples. This is an interesting question! I cannot think of other artistes who treated/ treat their voice as MDR did, with such immaculately controlled tonal modulations, pitch and volume control, etc. But voice culture and instrumentalization of the voice are different concepts, probably, so I might be confusing things.
Thanks for the reports, Hari and Keerthi.
Of course, a big thank you to Radhika and Raj Narayan for initiating these sessions.
As for MDR's voice, I am inclined to agree with Radhika that he did view his voice as an instrument. It is purely a gut reaction currently, and I will try to think of concrete examples. This is an interesting question! I cannot think of other artistes who treated/ treat their voice as MDR did, with such immaculately controlled tonal modulations, pitch and volume control, etc. But voice culture and instrumentalization of the voice are different concepts, probably, so I might be confusing things.
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Naada Priya
- Posts: 67
- Joined: 29 Sep 2007, 13:11
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Radhika-Rajnarayan
- Posts: 289
- Joined: 27 Jun 2009, 20:18
We missed many of you, and hope more people can make it to the next meet.
Keerthi, I was afraid to interrupt the train of the raga-alapana-thought when MDR sang the Todi - I am glad you too noticed the progressive gamakas in the phrase N,,,D,,, on every repetition, it moved from a completely plain pair of notes without any gamakam - to a slight kampita, to a slightly deeper gamakam and so on.
The skype meet attracts me too. Let me chew on it and work out a way!
No, Sri Coolkarni couldn't make it, and sent his regrets.
Keerthi, I was afraid to interrupt the train of the raga-alapana-thought when MDR sang the Todi - I am glad you too noticed the progressive gamakas in the phrase N,,,D,,, on every repetition, it moved from a completely plain pair of notes without any gamakam - to a slight kampita, to a slightly deeper gamakam and so on.
The skype meet attracts me too. Let me chew on it and work out a way!
No, Sri Coolkarni couldn't make it, and sent his regrets.
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Radhika-Rajnarayan
- Posts: 289
- Joined: 27 Jun 2009, 20:18
Sakuntala was mentioning during the session that she had not heard such a reposeful alapana from GNB.
The way he elaborated on each note - Madhyamam, panchamam, dhaivatam and nishadam - it was almost teasing the listener - making him wait and expect the taara sthayi shadjam - which did not show up till the very last few seconds!!
The vistaaram was amazing. I think, too, that he must have been influenced quite a bit by the Nadaswara vidwans.
The way he elaborated on each note - Madhyamam, panchamam, dhaivatam and nishadam - it was almost teasing the listener - making him wait and expect the taara sthayi shadjam - which did not show up till the very last few seconds!!
The vistaaram was amazing. I think, too, that he must have been influenced quite a bit by the Nadaswara vidwans.
) for hosting the event, and the luminaries for sharing their insights!-
munirao2001
- Posts: 1334
- Joined: 28 Feb 2009, 11:35
To achieve the objective of dissemination of complete details of discussions for the benefit of rasika fellow members and appealing to all the rasikas to offer unstinted support to the organizers of such events, I am making a second report on this thread, even though keerthi has posted the first report, in brief, aptly. Hoping that the rasikas will enjoy reading this report, with many insights on interesting topics discussed.
1.0. Different and contrasting styles of reflective music of GNB and MDR- listening experiences
1.1. GNB, employing his patent birkhas with control and in telling manner as against racy or burst of birkhas, use of swaras, with repose, uncommonly heard.
1.2. MDR-in his inimitable style, with long phrases, pure notes and powerful gamakams.
1.3. Different kalapramanam in madhyamakala varnam singing. MDR employing long twist or glides to swaram or sangathi, typical of his style.
Discussions on the listening experience.
Smt. Shakuntala Narasimhan, in consensus with all the other participants, highlighted the special feature of non-racy and reposeful quality in GNB’s Todi raga alapana, striking as revelation and uncommonly heard. MDR’s minimal use of his irresistible long twists or glides in his Todi alapana.
Smt.Radhika highlighting the pauses-silences between sancharas and use of his voice as instrument, employing veena instrumental technique.
Shri Madhva Muni Rao highlighted the deep admiration and technique of nagaswaram (TNR) and flute (Palladam Sanjiva Rao) adopted successfully by GNB-is vocalization of instrumental technique. He also pointed out that MVI was a pioneer and MMI, Semmengudi and many other vidwans/vidushis resorted to this technique or usage. Thus vocalization of instrumental techniques commenced and became immensely popular with both the performer and listeners. But, in the process Gayaka dharmam has either taken a back seat or suffered. He also shared his knowledge of the incident in GNB’s life, which turned great maestro to focus more on the reposeful music and less of his fast, rapid birkhas rich music. Concurring with Smt.Radhika’s point of MDR using his voice as instrument, he informed that is the reality. Adopting instrumental playing techinique, is different and yet another aspect of vocalization. Gayaka Dharmam-with Nabhi-Hruth-Kanta-Nasadula yandu, is the ideal for vocalists and instrumentalists also kept the goal to produce the tonal volume and texture to match the gayaka padhathi. While confirming to Smt.Radhika that he is great fan of MDR, he highlighted the rejection and dislike of his over dramatization by using vakra prayogas and artificial silences, by himself and many other maestros, as unmusical. He shared the incident in his life, Shri Sripada Pinakapani shocked by his demonstrated love for MDR’s style and admonishing him to eschew this in his practice and music.
2.0. On Nada-Vision and three stages of sadhana, attainment and practice.
For the sake of better understanding and knowledge, I would like to share with rasikas on this vital subject in music, which was not discussed in the meeting.
The three stages advised as preparation to Nada-Vision (Nada sakshatkaram), Sravana or hearing, Manana or reflection and Nidhidhyasana or contemplation. Knowledge acquired through shradha, a faith, in teacher and other maestros, is sravana. But, it is not direct vision or experience. Manana with attempt to form clear ideas by the logical process of inference, analogy etc. is the second stage. Knowledge by hearing or hearsay, understanding is unto a point. But, with reflection on on what is heard, one adds to faith knowledge, which increases faith, but still is not complete. Nidhidhyasana, the third and final stage, is the process by which we give up the self pride (cessation or death of Ego) and mastery and concentrate, totally on real and true. The whole energy of the mind is centred and rests on real, to the exclusion of all else, like prayer. One must dismiss all distracting ideas, disturbing influences and retire within one self. When the awakening takes place, knowledge acquired through sravana and manana, ease to be authoritative.
The highest stage, Nada-Vision is attained when the five senses, mind and intellect are at rest. Total devotion, with dedication, concentration and commitment, is recommended for attaining enlightenment, Nada-Vision/Sakshatkaram and Nadanubhavam. True and powerful and energetic Nadothpathi thus attained, is all permeating and pervasive.
3.0. On deeper classicism gaining popularity
3.1. Shri Raj Narayanan was wondering why MDR’s music is gaining popularity in the present times, but, it was not popular during meastro’s time.
3.2. Muni Rao expressed that maestro’s music with reflective qualities, made higher demands on rasikas listening discipline and amidst rich classicism in abundance and relatively easy to understand, appreciate and enjoy during his time, majority of rasikas, did not prefer his music. It is equally applicable to many other maestros, with similar inclinations. Soaked and saturated with the present times, light classical music, rasikas are yearning for change. Deeper interest and love for heavy classicism is being sought for fulfillment. This is the primary reason; many maestros’ music rich in this quality and values are gaining the popularity. This is the part of the cyclical changes in habits and tastes.
4.0. On conformism and creativity
4.1. Smt.Shakuntala Narasimhan and Smt.Radhika expressed that tradition, being restrictive and demands strict conformism. Practitioners decrying the fresh ideas, new practices and experiences suffer.
4.2. Smt.Shakuntala Narsimhan pointed out that to keep the padantharam, compositions with anya swarams is in practice, unquestioningly.
4.3 Muni Rao explained that the tradition, is inclusive and not exclusive of creativity and true, rich and original ideas absorbed, become part of tradition. Raga alapna, neraval, pallavi, kalpana (not kalpita) swaraprastra in KM tradition, offers total freedon for creativity and its expressions/demonstrations.
4.4 Smt. Felt that instead of springing a surprise, the performer ought to announce his innovative idea, in advance for its receptivity.
5.0. On continuity in quality music and technical superiority and the improvements over the past maestros music/technique
5.1. Smt Radhika, duly seconded by Smt.Shakuntala Narasimhan, opined that with technical improvements and superiority achieved by maestros and offer of continuity in high quality of music should be duly recognized, while singing paeans of past masters music as unsurpassed in quality- Dwaram-Lalgudi-TNK-Bidaram Krishnappa-Mysore Vasudevachar’s music qualities, were briefly discussed.
6.0. On restriction and constraints of performer
Demands and restrictive practices on the performer imposed by broad caster and event managers (sabha presidents and secretaries) leading to the curtailment of creative freedom and discomfort of the performer, were highlighted by Smt Shakuntala Narasimhan and Muni Rao.
7.0. On the bad effects of iconoclasm/idolatry
Muni Rao pointed out the bad effects of iconoclasm/idolatory practices permitting the performer the unfettered liberty to impose their idiosynacracies and its bad effect of preventing ideal performance-disciplined, superior efforts and energy and creativity, at their best.
8.0. On lack of interest and support
Smt Radhika expressed anguish at the lack of interest and support of raikas for classical music programs, other than live concerts - like listening to the achieves of great maestros and learning, lecture demonstrations and exchange of ideas, sharing knowledge /experiences, young students of music and young rasikas, in particular,dsinterest and non participation, demotivating the organizer/sponsor of such events.
Muni Rao opined that with better planning, efforts and actions, better participation and the success of the events can be achieved.
Munirao2001
1.0. Different and contrasting styles of reflective music of GNB and MDR- listening experiences
1.1. GNB, employing his patent birkhas with control and in telling manner as against racy or burst of birkhas, use of swaras, with repose, uncommonly heard.
1.2. MDR-in his inimitable style, with long phrases, pure notes and powerful gamakams.
1.3. Different kalapramanam in madhyamakala varnam singing. MDR employing long twist or glides to swaram or sangathi, typical of his style.
Discussions on the listening experience.
Smt. Shakuntala Narasimhan, in consensus with all the other participants, highlighted the special feature of non-racy and reposeful quality in GNB’s Todi raga alapana, striking as revelation and uncommonly heard. MDR’s minimal use of his irresistible long twists or glides in his Todi alapana.
Smt.Radhika highlighting the pauses-silences between sancharas and use of his voice as instrument, employing veena instrumental technique.
Shri Madhva Muni Rao highlighted the deep admiration and technique of nagaswaram (TNR) and flute (Palladam Sanjiva Rao) adopted successfully by GNB-is vocalization of instrumental technique. He also pointed out that MVI was a pioneer and MMI, Semmengudi and many other vidwans/vidushis resorted to this technique or usage. Thus vocalization of instrumental techniques commenced and became immensely popular with both the performer and listeners. But, in the process Gayaka dharmam has either taken a back seat or suffered. He also shared his knowledge of the incident in GNB’s life, which turned great maestro to focus more on the reposeful music and less of his fast, rapid birkhas rich music. Concurring with Smt.Radhika’s point of MDR using his voice as instrument, he informed that is the reality. Adopting instrumental playing techinique, is different and yet another aspect of vocalization. Gayaka Dharmam-with Nabhi-Hruth-Kanta-Nasadula yandu, is the ideal for vocalists and instrumentalists also kept the goal to produce the tonal volume and texture to match the gayaka padhathi. While confirming to Smt.Radhika that he is great fan of MDR, he highlighted the rejection and dislike of his over dramatization by using vakra prayogas and artificial silences, by himself and many other maestros, as unmusical. He shared the incident in his life, Shri Sripada Pinakapani shocked by his demonstrated love for MDR’s style and admonishing him to eschew this in his practice and music.
2.0. On Nada-Vision and three stages of sadhana, attainment and practice.
For the sake of better understanding and knowledge, I would like to share with rasikas on this vital subject in music, which was not discussed in the meeting.
The three stages advised as preparation to Nada-Vision (Nada sakshatkaram), Sravana or hearing, Manana or reflection and Nidhidhyasana or contemplation. Knowledge acquired through shradha, a faith, in teacher and other maestros, is sravana. But, it is not direct vision or experience. Manana with attempt to form clear ideas by the logical process of inference, analogy etc. is the second stage. Knowledge by hearing or hearsay, understanding is unto a point. But, with reflection on on what is heard, one adds to faith knowledge, which increases faith, but still is not complete. Nidhidhyasana, the third and final stage, is the process by which we give up the self pride (cessation or death of Ego) and mastery and concentrate, totally on real and true. The whole energy of the mind is centred and rests on real, to the exclusion of all else, like prayer. One must dismiss all distracting ideas, disturbing influences and retire within one self. When the awakening takes place, knowledge acquired through sravana and manana, ease to be authoritative.
The highest stage, Nada-Vision is attained when the five senses, mind and intellect are at rest. Total devotion, with dedication, concentration and commitment, is recommended for attaining enlightenment, Nada-Vision/Sakshatkaram and Nadanubhavam. True and powerful and energetic Nadothpathi thus attained, is all permeating and pervasive.
3.0. On deeper classicism gaining popularity
3.1. Shri Raj Narayanan was wondering why MDR’s music is gaining popularity in the present times, but, it was not popular during meastro’s time.
3.2. Muni Rao expressed that maestro’s music with reflective qualities, made higher demands on rasikas listening discipline and amidst rich classicism in abundance and relatively easy to understand, appreciate and enjoy during his time, majority of rasikas, did not prefer his music. It is equally applicable to many other maestros, with similar inclinations. Soaked and saturated with the present times, light classical music, rasikas are yearning for change. Deeper interest and love for heavy classicism is being sought for fulfillment. This is the primary reason; many maestros’ music rich in this quality and values are gaining the popularity. This is the part of the cyclical changes in habits and tastes.
4.0. On conformism and creativity
4.1. Smt.Shakuntala Narasimhan and Smt.Radhika expressed that tradition, being restrictive and demands strict conformism. Practitioners decrying the fresh ideas, new practices and experiences suffer.
4.2. Smt.Shakuntala Narsimhan pointed out that to keep the padantharam, compositions with anya swarams is in practice, unquestioningly.
4.3 Muni Rao explained that the tradition, is inclusive and not exclusive of creativity and true, rich and original ideas absorbed, become part of tradition. Raga alapna, neraval, pallavi, kalpana (not kalpita) swaraprastra in KM tradition, offers total freedon for creativity and its expressions/demonstrations.
4.4 Smt. Felt that instead of springing a surprise, the performer ought to announce his innovative idea, in advance for its receptivity.
5.0. On continuity in quality music and technical superiority and the improvements over the past maestros music/technique
5.1. Smt Radhika, duly seconded by Smt.Shakuntala Narasimhan, opined that with technical improvements and superiority achieved by maestros and offer of continuity in high quality of music should be duly recognized, while singing paeans of past masters music as unsurpassed in quality- Dwaram-Lalgudi-TNK-Bidaram Krishnappa-Mysore Vasudevachar’s music qualities, were briefly discussed.
6.0. On restriction and constraints of performer
Demands and restrictive practices on the performer imposed by broad caster and event managers (sabha presidents and secretaries) leading to the curtailment of creative freedom and discomfort of the performer, were highlighted by Smt Shakuntala Narasimhan and Muni Rao.
7.0. On the bad effects of iconoclasm/idolatry
Muni Rao pointed out the bad effects of iconoclasm/idolatory practices permitting the performer the unfettered liberty to impose their idiosynacracies and its bad effect of preventing ideal performance-disciplined, superior efforts and energy and creativity, at their best.
8.0. On lack of interest and support
Smt Radhika expressed anguish at the lack of interest and support of raikas for classical music programs, other than live concerts - like listening to the achieves of great maestros and learning, lecture demonstrations and exchange of ideas, sharing knowledge /experiences, young students of music and young rasikas, in particular,dsinterest and non participation, demotivating the organizer/sponsor of such events.
Muni Rao opined that with better planning, efforts and actions, better participation and the success of the events can be achieved.
Munirao2001
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skandyhere
- Posts: 28
- Joined: 08 Aug 2007, 05:35
I am absolutely disappointed I missed the lecdem last time. Unfortunately, I saw this thread only today. It is all the more disappointing that what I missed was a subject on my favourite singer, MDR.
I would love to attend such sessions in future, and my presence can be considered for certain. In case you're estimating the audience size, please count me in.
RR : by any chance, would you have recorded the proceedings?
I would love to attend such sessions in future, and my presence can be considered for certain. In case you're estimating the audience size, please count me in.
RR : by any chance, would you have recorded the proceedings?
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srinivasrgvn
- Posts: 1013
- Joined: 30 Nov 2008, 07:46