Value of tradition & legacy

[rajesh_rs]

In matters of innovation, it is a good idea to almost never take advice from old people.

[coolkapali]

Rajesh quick one that..hehe......guess u r right to a large extent....

[Nick H]

Music without feeling is dead music.

Whilst this may seem to be simply a truism, it is not --- there is plenty of such music about in the world. It can easily be found in the more intellectual corners of jazz and western classical. The potential complexity of carnatic music gives it opportunity here too.

Rajesh, a neat generalisation, but sometimes the old people have more life in their veins than the young!

[rajesh_rs]

Rajesh, a neat generalisation, but sometimes the old people have more life in their veins than the young!

I agree that there are a few such older people but chances are that when they were young, they were more lively!

[Nick H]

even more lively!

Yes, I suppose you must be right!

It's almost a bit scary to think how lively they must have been in their youth

[arasi]

Do I hear an echo there, Nick!

[Ramasubramanian M.K]

Hey guys!! Go easy on Neanderthals like myself!! We believe in adding life to years not the other way around! I agree with the essential theme namely Bhava--the moment one resorts to crowd-pleasing techniques,then Bhavam disappears.Nowadays some of the young mridangists obviously egged on by the audience,indulge in so many forays during the interludes between the Pallavi and Anupallavi that the spirit of the composition is lost. The younger vocalists seem to tolerate these intrusions perhaps to show off their catholicity of outlook!! In the olden days the elder vocalists would gently restrain the accompaniments whenever they embark upon their own journeys!!

lastly innovation is not the monopoly of the young! Every generation produces conformists,anarchists(from a musical point of view),iconoclasts--wherever there is merit these exercises are indulged and gain acceptance.Gimmickry does not have staying power if the Rasikas are watchful!!

In the Mid-Seventies,when Palghat mani Iyer was invited by the LS brothers(violin)--there was a concert in the Church within the Columbia University campus(in manhattan,NY) whose acoustics were not designed for CM concerts. They started the varnam and played all the Kalams flawlessly and with great virtuosity no doubt but totally heedless of Mani Iyer's sensibilities--he had trouble listening to his own mridangam amidst the cacophony--Bhavam was sacrificed from the opening item. Mani Iyer was very unhappy and I am told by persons around him that he rued his decision to come to the US to play for the trio.

Vishranthi venum Sangeethakku!!!

[cacm]

In matters of innovation, it is a good idea to almost never take advice from old people.

YOU can call it the rajesh_rs RULE but it is not ALWAYS TRUE! WHAT IS YOUR DEFINITION OF OLD PEOPLE?......At age 75 NASA still wants me on their technical ADVISORY committees which recommend on 30-40 Billoin dollars projects & actually would like me to work full time for them. If you are a U.S.Tax payer you better write Obama right way....Written under the FALSE PREMISE of being funny!.Don't hide under the guise of being young!..VKV

[cacm]

lastly innovation is not the monopoly of the young! Every generation produces conformists,anarchists(from a musical point of view),iconoclasts--wherever there is merit these exercises are indulged and gain acceptance.Gimmickry does not have staying power if the Rasikas are watchful!!(M.K.R.).............THAT'S THE KEY, "WATCHFUL"!

In the Mid-Seventies,when Palghat mani Iyer was invited by the LS brothers(violin)--there was a concert in the Church within the Columbia University campus(in manhattan,NY) whose acoustics were not designed for CM concerts. They started the varnam and played all the Kalams flawlessly and with great virtuosity no doubt but totally heedless of Mani Iyer's sensibilities--he had trouble listening to his own mridangam amidst the cacophony--Bhavam was sacrificed from the opening item. Mani Iyer was very unhappy and I am told by persons around him that he rued his decision to come to the US to play for the trio........

I can attest to what he said because he said it to me in Weslyan & to my brother in Washington D.C. Actually he was given to some swooning spells- Thalai Suttharadu- & it was a very insensitive exhibition of so called artistry. Of course he smashed them with his playing which requires SOME KNOWLEDGE which is usually INVERSELY - tho' not always-look at Mandolin S & Ravi kiran-PROPORTIONAL TO LISTENING& KNOWLEDGE which unfortunately gives the edge to AGE!....VKV

Vishranthi venum Sangeethakku!!!.....THE ULTIMATE TRUISM which PMI propagated & he could say it in less than a sentence....VKV

[Nick H]

I'm sure that LGJ is not the only musician to say that they need several lifetimes to play the music they feel to be possible and have not discovered yet. If innovation was the monopoly of the young, then such people would be condemned, past a certain age, to endlessly repeat themselves, and would surely be begging for release, rather than further lifetimes of creativity!

[munirao2001]

Ramasubramanian MK
With reference to your statement ‘vocalists seem to tolerate these intrusions perhaps to show off their catholicity of outlook!! In the olden days the elder vocalists would gently restrain the accompaniments whenever they embark upon their own journeys!!', I wish to point out that Great Maestro PMI was the trend setter, with firm opinion that adding luster to the vocalist music/performance are through his interpretative playing techniques, not merely supporting the kala pramanam, creatively. His contemporaries, Palani Subramaniam pillai, TKM, and PMI's juniors Ummayalapuram Sivaraman, Vellore Ramabhadran and many other mridangam Great Maestros did not support these techniques. With few exceptions, contemporary musicians dared not to intervene and tolerated those intrusions of PMI!
With rasikas enjoying and supporting, the vocalists and other instrumentalists are gaining mastery in 'kanakku' patterns based music to create the excitement with full co-operation of percussionists. Reflective and contemplative quality of music, have become elusive.
munirao2001

[munirao2001]

vkv43034/nick H
While it is a fact ‘innovation is not the monopoly of the young!’ the naturally creative innovation takes place, maximum in 'youth age'-replete with inquisitiveness/spirit of inquiry-high energy-less conditioned mind-greater need for recognition and reward). The maturity gained in knowledge, its practices and applications with recognized merits (improvisations and innovations) and demand for the best use of the knowledge, happen at 'mature age'(replete with greater conflicts, higher degree of conformism-lesser energy-higher level of conditioned mind-lesser degree of craving for recognition and rewards).

But, rajesh_rs should not fall in to the trap of 'In matters of innovation in the post/reply, it is a good idea to almost never take advice from rajesh_rs'.

munirao2001

[Ramasubramanian M.K]

Dear Munirao: I agree with you on how PMI set the trend in accompaniment which has turned out to be a moster in the hands of the subsequent generation. But PMI was always careful enough that his embellishments do not detract from the spirit of the artist. Wherever he intervened forcefully you can bet he did it just to jolt the audience from any apathy towards the vocalist when he believed the Vocalist---- because of his voice/style--- was not being appreciated by the audience. That's why throughout his playing career he received unanimous praise from Vidwans Senior and junior with none of them "begrudging" the transient attention his "forays" might have engendered!!


In one of his rare public speeches he cautions against mridangists getting excited from the Varnam "get-go" and suggests that they should refrain from what he termed "Aramba Soorathanam"(beginners' recklessness!!)--instead letting the Vocalist adjust to the acoustics,listener response etc BEFORE letting go of complex korvais.
There is a private recording of him accompanying SSI(without violin) where SSI sings Amba Kamakshi(Bhairavi Swarajathi) where PMI plays serenely when SSI sings the swaras and sahithyam but fills the interlude between the Swaras and Sahithyams with different nadai phrases woven into the Mishra Chapu Thala----Kandam,Misram,Sankeernam--the whole thing is a mind-boggling experience and would serve as a "clinic" to any mridangist--seasoned or otherwise as to how to play accompaniment and still display one's virtuosity!!
If I could find it I would love to post it on the forum!!

[ignoramus]

RMK

I am sure that recording would be lovely. But still Munirao poses some intersting points

1. Was PMI not held back by senior artists in his younger days if embarking on own journeys? Or did his style of intrusiveness happen later?
2. Is there currently intrusive playing by percussionts and on the same lines as PMI? Munirao does mention that other peers and slightly younger maestros kept away from this way of playing
3. Did that style embellish the concert?
4. What could have led others not to play the way PMI did, was it because of the fact that contemporary artistes were just tolerant of PMI and hence better to avoid such a style?

[thenpaanan]

RMK

I am sure that recording would be lovely. But still Munirao poses some intersting points

1. Was PMI not held back by senior artists in his younger days if embarking on own journeys? Or did his style of intrusiveness happen later?
2. Is there currently intrusive playing by percussionts and on the same lines as PMI? Munirao does mention that other peers and slightly younger maestros kept away from this way of playing
3. Did that style embellish the concert?
4. What could have led others not to play the way PMI did, was it because of the fact that contemporary artistes were just tolerant of PMI and hence better to avoid such a style?

Add:

5. Did PMI play differently with different vocalists to suit their temperament (rather than his own)?

-Then Paanan

[cacm]

vkv43034/nick H
While it is a fact ‘innovation is not the monopoly of the young!’ the naturally creative innovation takes place, maximum in 'youth age'-replete with inquisitiveness/spirit of inquiry-high energy-less conditioned mind-greater need for recognition and reward). The maturity gained in knowledge, its practices and applications with recognized merits (improvisations and innovations) and demand for the best use of the knowledge, happen at 'mature age'(replete with greater conflicts, higher degree of conformism-lesser energy-higher level of conditioned mind-lesser degree of craving for recognition and rewards).

But, rajesh_rs should not fall in to the trap of 'In matters of innovation in the post/reply, it is a good idea to almost never take advice from rajesh_rs'.
munirao2001

Dear SRI.MUNI rao,
I knew your father Sri. Sandhyavandanam Srinivasa Rao whom KVN RECOMMENDED very highly & I tried UNSUCCESSFULLY to get him to come to the usa; If I am not mistaken he was very alert & sharp in his later years too.... ANYWAYS, I CHALLENGE ANY ONE WHO IS FAIR, NOT PREJUDICED TO GO & MEET SRI.S.Rajam who at AGE 91 & DISCUSS MUSIC& PAINTING WITH HIM. ALSO OBSERVE He STILL PAINTs as well as EVER& TEACHING...
IT IS TOTAL NON-SENSE & IGNORANCE TO MAKE STATEMENTS CONNECTING ABILITY WITH PHYSICAL AGE. MS IN HER EIGHTIES.,MALI & MMI'S LAST CONCERTS PROVE THEY LOST ABSOLUTELY NOTHING!
Its well proven in the case of GREAT ONES they LOSE almost nothing. In the case of Einstein, Chandrasekhar etc it is QUITE WELL KNOWN HOW SHARP TO WITHIN LAST 30 SECONDS BEFORE TYHEY PASSED AWAY.....
Unfortunately brilliance& genius appears to have nothing to do with age.
So lets put this NON-SENSE to rest where it belongs....If you wish to challenge come up with examples. NOT PEOPLE WHO ARE STUPID ALL THEIR LIVES.....vkv

[Ramasubramanian M.K]

Dear Ignoramus(I thought I had a monopoly with my true name in the Guinness Book!!),and MrMuni Rao:

GREAT QUESTIONS!! I WISH I COULD ANSWER THEM TO YOUR SATISFACTION:
Let me take each in order:

1."Was PMI not held back", He was not held back in the sense you may be referring to but according to his own counts and several of his contemporary vocalists,he was "tested".Earlier in his career he was accompanying Naina Pillai(noted for his layam and a mischievous way of putting the Thalam--concealed under his Angavastram)-PMI stopped playing insisting on Naina Pillai showing the thalam atleast once--this "mexican standoff" apparently went for a couple of minutes and finally Pillai relented and PMI resumed his playing and simply blazed his virtuosity much to the delight of Pillai and Dakshinamurthy Pillai(who played the Kanjira-for whom PMI had the highest regard
Another incident in his early life that shows how nonchalant PMI was:

This is from my father's book (Musings on Music and Musicians released in 2003):
I quote verbatim:
PMI's father Sesha Bhagavathar used to accompany him in his early days for cutcheries when he was due to play the Mridangam. On one occasion the singer a somewhat vain vocalist was indulging in continuous bouts of swaras without any technical quality about them and all that the vocalist was concerned was to show off in complete disregard of technical excellence. As this was happening with kriti after Kriti Sesha Bhagavathar became more and more irritated and his face showed it. This was not lost on the young maestro and when they returned home,Mani Iyer himself referred to the matter and said" Appa, I noticed that you were getting upset at the concert today. You were evidently bothered about the swara antics of the singer thinking apparently that it meant a severe strain to me. believe me I was not at all upset by the singer's interminable bouts of swara singing nor did it cause physical strain to me. " And typically Mani Iyer suggested to his father that as he was quite able to take care of himself in any situation,father's attendance was not needed anymore"

My comment--I daresay that none of the followers were subjected to the kind of testing that mani Iyer went thro. Whenever Dakshinamurthy Pilla played the Kanjira,he would sit(because of his Seniority) before Mani Iyer on the dais--it is notable that no matter how much senior the kanjira Vidwan may be today and however young the Mridangam player would be,mridangam person sits in front in the dais today!!. Incidentally in one of his rare speeches(Mani Iyer was averse to interviews and speeches!!) he lauds Dakshinamurthy Pilai not only for his Vidwath but also for his God-fearing nature and how much he learned accompanying him. I am sorry to say that kind of reverence for Seniors is not being displayed today(in my humble opinion).

Lastly to cap off this question,I disagree with the notion that his style was "intrusive" or was designed to attract attention to himself . In his days there was not one Senior Vidwan who would not have given their right arm--so to speak--for PMI to accompany them--If his style was perceived as intrusive and a crowd-stealer they would not have craved. In fact once when my father had arranged MMI's concert in Bombay and for some reason PMI was not available MMI asked my father whether PMI was upset with him!!!!

#2 Is there currently intrusive playing----?

Oh boy!! I do not know where to start!! Suffice it to say--watch how loud they want their mikes volume
raised,watch how many rounds they play in between the Pallavi and anupallavi--irrespective of how narrow an interval that exists in the particular krithi,watch how they "ramp" up the kalam right from the Varnam get-go(There is a LGJ-solo with PMI in the early sixties n krishna Gana Sabha,with LGJ opening the Kambodhi varnam and PMI steps in only after about 30 to 45 seconds and how elegantly he enhances the beauty of the varnam(in one of the swarams in the varnam,when lalgudi plays the "Pa Da Pa Dha Sa Da Sa--
PMI gives a sollu that resembles a horse trotting gently and rhythmically and the beauty of the swaram is enhanced milion times--no distraction no intrusion but height of sensitivity!! need I say more?

#3Did that style embellish that concert?

YOU BET IT DID!!

#4 What could have led others not to follow that style?

I will answer this question in two parts--one about his contemporaries--Palani,TKM,Raghu.

Palani had his own Pudukottai School style(lot of Kanaku variations but not at the expense of sensitivity).Raghu deliberately did not want to be a copy cat and because of his enormous talent(he was a Math BA and he used to tell us that the korvais would be simply buzzing around in his brain) he could take the best of the Thanjavur and pudukottai styles and blend them nicely.TKM--ALTHOUGH TEN YEARS YOUNGER--HAD THE SAME GURU TANJORE VAIDYANATHA IYER and their styles complimented--TKM's superior pattu gnanam helped his sensitivity and he was unique-he could play for MSS with her over 5 kattai sruthi and also play for Musiri wihout losing the nadam or virtuosity. NONE of these could be styled intrusive,

Vellore Ramabhadran,--Ariyakudi named him "Nada Bhadran' for his sedate playing style--he had different philosophies on accompaniment which he has steadfastly adhered to in the last 6 decades playing for four generations of musicians. UVS because of his tremendous virtuosity felt he could unleash his full potential and lately to encourage the younger vocalists I have noticed him taking a dominant role-artist and the audience seem to like it!! So who am I to say otherwise!!!

The next crop--the Raja rao,Bhakthavatsalam et al and many others I cannot recall now--all have fallen into excessive displays--no doubt very talented and fearless

Last #5 Did play different with different vocalists?

I do not think so--DKP,MLV come to mind--PMI did not accompany female artists in his early days-the reason was not Gender discrimination--the 5 kattai sruthi mridangam with its "chedumbal"(resonance) was hard on him and did not want to tire himself--however as the female vocalist sruthi started "sagging" to 3 kattai and below he found it not so tiring--also obligations(DKP /Sambandhi) and MLV(both were in the faculty of Rishi Valley School--JKrishnamurthy's school) were the reasons he accompanied them. Heragain he did not radically alter his style of playing but did his usual "boosts" whenever needed to "uplift" the concert.

DISCLOSURE: I AM AN UNABASHED ADMIRER,SYCOPHANT OF PMI BOTH AS A PERSON AND ARTIST.

MORE ON SOME PERSONAL ANECDOTES LATER PERHAPS IN A SEPARATE POST FOR PMI.

[cacm]

RMK

I am sure that recording would be lovely. But still Munirao poses some intersting points

1. Was PMI not held back by senior artists in his younger days if embarking on own journeys? Or did his style of intrusiveness happen later?
2. Is there currently intrusive playing by percussionts and on the same lines as PMI? Munirao does mention that other peers and slightly younger maestros kept away from this way of playing
3. Did that style embellish the concert?
4. What could have led others not to play the way PMI did, was it because of the fact that contemporary artistes were just tolerant of PMI and hence better to avoid such a style?

Dear Ignoramus,
Sorry you appear to deserve& justify your ID. PMI was never INTRUSIVE; I have heard more than 500 concerts in which he played & ones in my collection( close to a thousand) in which he has played BRILLIANTLY; Always supportive of the main artist; encouraging, co-operating & elevating the concert. YOUR description of " style of intrusiveness" is quite offensive & only shows your ignorance....VKV

[ignoramus]

vkv

at times, ignorance is a good thing I believe because it draws out more detailed comments / explanations. i just wanted to make myself clear on a few things. i think RMK and your posts have made me less ignorant at this rate, i may change my id soon

[ignoramus]

rmk

thanks very much for that detailed post. it clears up a lot of doubts which i had. Since i belong to a later generation, only people like you can speak authoritatively and confirm because of your personal experiences. will look forward to your anecdotes, thanks once again.

[munirao2001]

vkv43034
On innovation, 'youth age' and 'mature age' I have stated do not mean 'physical age'. The nature and qualities of 'youth age' and 'mature age' are given by me, in brief. Don't you remember statements 'young in spirits, defying age' and 'maturity, beyond young age'? I urge you to understand me/my statements correctly and in right perspective.
With regards to contributions with innovation, it is open knowledge that Maximum contributions have come from innovators in the physically young age groups. We always strive for investment in youth and their active participation, not only for continuity but, for higher possibility of creative enrichment.
munirao2001

[munirao2001]

Ramasubramaniyam M.K
You have said it 'I agree with you on how PMI set the trend in accompaniment which has turned out to be a monster in the hands of the subsequent generation'. Nothing more is needed.
Great Maestro PMI was preferred over others for his mridanga nada and mastery over laya, guiding constantly the main performer, besides the mastery on mridangam playing vidwath and techniques. Also all the performers wanted PMI to accompany as a statement of their achieving the class and distinction! Such was his stature. But he was not free from Pride and Prejudices.
Intent, careful and unbiased listening of PMI and his contemporary’s accompaniments will only clarify and confirm the fact.

munirao2001

[Nick H]

A fascinating progression of this thread, both on musical subjects, and on the philosophy of age. Reading with interest

[gmohan]

Vk, you said this about Hairmau

"harimau: Do not make this into a male-female thing or cast dispersions on the IT profession as a whole or question the reasoning ability of our members just because they happen to hold a different point of view than yours. That is very immature."

what do you have to say about VKV calling someone ignorant because he holds a different point of view and CML does VKV deserve a verse or not?

Mohan

[cacm]

Vk, you said this about Hairmau

"harimau: Do not make this into a male-female thing or cast dispersions on the IT profession as a whole or question the reasoning ability of our members just because they happen to hold a different point of view than yours. That is very immature."

what do you have to say about VKV calling someone ignorant because he holds a different point of view and CML does VKV deserve a verse or not?

Mohan

Dear Mohan,
I DON'T care about any one else's opinion of me. BUT I DO CARE about accuracy of statements made about artists I know SOMETHING ABOUT & when I consider it WRONG I will continue to say so.....I welcome discussions that have some BASIS of Knowledge or Truth. VKV

[Ramasubramanian M.K]

Forumites: Let's not veer off the topic with needless personal incivilities-I am very uncomfortable posting my views/experiences if the exchange drifts off.As a forum consisting of young and the old we have a powerful tool with which we can engage the serious issues that CM offers,without questioning our mutual motivations.
There is so much everybody interested in a particular topic has to offer,I believe these should be articulated by forumites who may tend to disagree with others on the subject.Ultimately these discussions should help us enjoy and understand our music better.

Reverting back to the subject of value,tradition and legacy--I would like to pose the question to the younger forumites re: how this is being observed by the crop of musicians whose banners are flying aloft--TMK,Sanjay S,Unni,Ashok Ramani and amongst the ladies--Sudha,Jayashri,Sowmya,Nithyashree and the generation that follows closely on the footsteps of the former group--namely Gurucharan,Suryaprakash,and amongst the ladies Nisha Rajagopal ,Kavita Narasimhan,Amritha Murali and several others.

LEST THE FORUMITES JUMP ON ME FOR OMISSIONS I HASTEN TO ADD THIS CAVEAT "ERRORS AND OMISSIONS EXCEPTED"!!!

[Rasika911]

Kavita Narasimhan,

* Savitha Narasimhan

[Ramasubramanian M.K]

Thanks Rasika911-stand corrected!!!

[munirao2001]

Ramasubramanian M.K and forunites,
You said it "Ultimately these discussions should help us understand and enjoy our music better".
Even though by physical age I do not qualify as 'younger forunites', I am young rasika of KM.
On 'values, tradition and legacy' I have submitted my article 'Karnatic Music, Tradition and Enlightenment', which deals the topics you have mentioned, in detail for publication. As this article runs in to 15 pages, I can not post this. For all those forunites interested, if you can send me your email id, I shall forward the same to you. I will be happy if my article communicates clearly and you find definitions and answers to most of the FAQ's.

I request Admin to share my personal id with forunites, who seek my email id.

munirao2001

[vasanthakokilam]

To send email through the forum: Click on 'munirao2001' to the left of Sri. munirao2001's post and then click on 'Send forum e-mail'.

[thenpaanan]

I have a TK Govinda Rao concert, in Singapore some time in 1998-99. He took up, of all ragas, Abheri as the main item. The piece chosen was one that is sung as a tukkada, Eppadi Paadinaro, (with an elaborate neraval in Karunai Kadal Perugi, Kaadalinaal urugi, kannitamizh sollinal inidunaiye anudinam eppadi padinaro). If any budding musician wants a masterclass in bhava, I encourage you to listen to that concert. He was already old and his voice had lost that rich timbre but I would challenge anyone to say that the concert suffered in any way because of that. By "right" the concert should not have worked. The main item was in a "hindustani" raga, that too a tukkada, sung by a musician who was getting on in years and hence had problems with his shareeram. But TKG produced a spectacular rendition. I am positive if anyone else attempted to do that it would have fallen on its face but TKG pulled it off purely through bhava (as he himself put it, "I can sing like this only because of Ragabhava and Sahityabhava"). To top it off he even gave a short lecture on the importance of Bhava and though it was 10 years ago I remember it like it was yesterday. It was a free concert but the content was priceless.

This leads me to my point: I see something common in all the complaints raised above. What has essentially happened is, in the interest of pleasing crowds, or showing off their technical mastery, artistes and rasikas have forgotten the prime element of music, Bhava. Everything else comes second to bhava. Forget about singing or playing varnams in 40 kaalams to give yourself or the "elite" in the audience an ego trip, sing or play from the heart. There is a reason why TN Krishnan and Lalgudi are legendary while other "technically superior" violinists are just considered "good". Forget about singing ten different ragas in your RTP (sometimes for some artistes this is unintentional ), focus on the raga of choice and do justice to it, and that means exploring the nuances of the raga, from the start of the alapana to the end of the last swaraprastara. If you want to add complex korvais or indulge in laya pyrotechnics by all means go ahead, but the rendition must be based on bhava first, and everything else next.

That is all a real rasika wants. There will always be people willing to listen to that.

TK Govinda Rao is always a treat. I remember listening to his concert in MIT/Boston in the early 90s when he was frail and his troubled voice shook but with the gentleness of an elephant handling its baby he slowly but surely had the audience mesmerized for the three plus hours (and that included a 4-kalai pallavi). Just as a comparison, after some months there was a SKR concert at the same venue with the same accompanists -- SKR was also having trouble with his voice -- but the treatment was totally different! Where TKG gently coaxed his voice, SKR was presenting his aesthetics seemingly unmindful of his voice. SKR was brilliant in his own way but I suspect that the audience will probably remember the TKG concert better. On a different day, SKR may have come out the winner. I remember another TKG concert from childhood -- he started the singing with a slow "teratIyagarAdA', no varnam or ganapati kriti or a throat clearer -- it seemed rather theatrical at first but in the end the effect was stupendous, the very chatty audience settled down into pin drop silence! For a CM musician that is rather a unique talent.

Coming to the main point of your post, it seems that this is a truism in art: one artist is not necessarily better than another, in art some things work out and others don't on a given day and there is no saying why. We can say that bhAvam was lacking or something else but the music is at the root of it just an expressive medium that the artists use according to their own intelligence and experience. In the present day, we have a TMKrishna who is biased towards slow heavy pieces and a Sriram Gangadharan who tries to electrify the audience every time with his brigas. I would prefer the term "rasa" which includes but is not limited to "bhAva". As long as there are different artists who represent all the aspects of rasa we should be satisfied (and I would interpret your plaint as that bhAvam is not well-represented across the spectrum in the current day). I personally wish for more diversity in CM, both in approach as well as in artist background.

-Then Paanan