BSV's Annual Series 2013 - Sep 14 , 15 - Do come !

[sbopparaju]

Bharatiya Sangeetha Vaibhavam celebrates 10 years!

Venue: Srinivasa Sastri Hall, Mylapore, Chennai

Program on 14th September 2013 (Saturday)
4:00 PM: Concert by Sampagodu S. Vighnaraja (Vocal), S.Varadarajan (Violin), Patri Satish Kumar (Mridangam), Anirudh Athreya (Kanjira)

6:30 PM: Smt. SEETHA RAJAN (Vocal), Embar S.Kannan (Violin), J.Vaidhyanathan (Mridangam)

Program on 15th September 2013 (Sunday)


10:00 AM: Lecture-Demonstration by Dr. S.Sowmya

4:30 PM: Presentation of MS Memorial Annual Award to Smt. Seetha Rajan
Guests of Honor: Shri. P.S.Narayanaswamy, Shri Y.Prabhu, Prince Shri Rama Varma, Spencer Shri R.Venugopal, Shri R.Ganesan, Dr. Padma Sugavanam


6.30 PM onwards: Concert by Kumaresh & Vaibhav Ramani (Violin), Patri Satish Kumar (Mridangam) and Trichy Krishna (Ghatam)

ALL ARE CORDIALLY WELCOME - DO COME !

[CRama]

Nice line up of progs. Thanks for organising the event. All the best to the event. It is gratifying to note that Smt Seetha Rajan is chosen for the MS Memorial award. She richly deserves the award. I somehow felt that she has not got the due recognition in the present day crowd.

[cacm]

Nice line up of progs. Thanks for organising the event. All the best to the event. It is gratifying to note that Smt Seetha Rajan is chosen for the MS Memorial award. She richly deserves the award. I somehow felt that she has not got the due recognition in the present day crowd.

I am very curious how YOU define "the present day crowd". In my annual trips to Chennai I find mostly persons of numerically higher chronological age to be the predominant age group and the saintly SB himself has given many explanations& lectures as to why "younger folks" do not show up for carnatic music concerts. Of course his repertoire was very vast as you know about not just this but practically any subject discussed in this forum. Like Einstein he was OBSESSED about SPACE & TIME; For example he has calculated on stage in between songs
how S.T. could not have composed all the songs he is credited with based on SIMPLE Algebraic addition of Newtonian time it would take!.....I REALLY
enjoy your writings as I find them highly educative as well as quite authentic & knowledgeable. PL continue to write freely your opinions& views....Regs, VKV :ymapplause:

[CRama]

VKV Sir, Thanks for your encouraging words.
Crowd- I meant the crowd of singers. In the present day trend, I find many a time ,very young musicians get lot of popularity and oho reviews which help them to ascend the top very quickly. May be even disproportionate to their talent. At the same time some senior musicians did not or could not reach that level of popularity and recognition. Of course, the knowledgeable among the music rasikas appreciate their music and value a lot. I can quote many names who fall in this category. But I dont want to open up a pandora's box again. Just now one has subsided.

[cacm]

Dear CRama,
MAYBE we can ARBITRARILY have a cut off date like say 1975 or M.Santhanam & Discuss only those before that date. I feel thanks to various means& reasons the musicians after the date are well represented at least though as you have pointed out MRS.Seetha Rajan who is SO GOOD, PURE MUSIC and EXCELLENT are practically unknown to many..YOU have incisive things to say & MKR is not only an expert he writes well too!(I am proud I "taught" him (supposedly Physics) at Presidency College). There are others who will contribute too. We can AVOID the Gossip part & just talk music may be. For Example we can start with T.K.Rangachary & go on to so many who deserved BETTER..VKV

[cacm]

Dear CRama,
MAYBE we can ARBITRARILY have a cut off date like say 1975 or M.Santhanam & Discuss only those before that date. I feel thanks to various means& reasons the musicians after the date are well represented at least though as you have pointed out MRS.Seetha Rajan who is SO GOOD, PURE MUSIC and EXCELLENT are practically unknown to many..YOU have incisive things to say & MKR is not only an expert he writes well too!(I am proud I "taught" him (supposedly Physics) at Presidency College). There are others who will contribute too. We can AVOID the Gossip part & just talk music may be. For Example we can start with T.K.Rangachary & go on to so many who deserved BETTER..VKV

[cacm]

Dear CRama,
MAYBE we can ARBITRARILY have a cut off date like say 1975 or M.Santhanam & Discuss only those before that date. I feel thanks to various means& reasons the musicians after the date are well represented at least though as you have pointed out MRS.Seetha Rajan who is SO GOOD, PURE MUSIC and EXCELLENT are practically unknown to many..YOU have incisive things to say & MKR is not only an expert he writes well too!(I am proud I "taught" him (supposedly Physics) at Presidency College). There are others who will contribute too. We can AVOID the Gossip part & just talk music may be. For Example we can start with T.K.Rangachary & go on to so many who deserved BETTER..VKV

[cacm]

moderator: please delete post#6. thanks, VKV

[pattamaa]

Good idea VKV... we can discuss about pure music - likes of TKR, Ramnad Krishnan etc, with cut-off upto 1975.. Only thing, it should not get subjective...let's enjoy only good music of past recordings, and good review of those music....

[satyabalu]

Diversity in Ragas with same name"
15.09.2013 10 AM by Dr.S.Sowmya supported by Embar S.Kannan.
K Arunprakash.

* She dwelt on Divergence in Ragas handled by Trinity .
1 *KALAVATHI -"Kalavathi Kamalasana uvathi"-MD.31 Melakartha- Yagapriya in MD sampradaya.-Vivadi Mela.
The whiteness was described in the kriti in a no. of ways-cara Jyotsna...Swetha pankajasana...Kashmira Vihara( where Adi Sankara installed it as Sanskrit Vidya peeta.)
* She sang both kritis of Thiagaraja in this Raga-janya of Cakravaham There was a row of exchange of swaras with Embar.
Okapari in fast tempo.There was a row of exchange of swaras with Embar. &Ennadu jhothino in 2 kalai.Cakaravakam is predominant in this kriti she said this kriti was Flute Mali favourite.
* She gave a sketch of Hindusthani version of Kalvathi resembling "Valaji"

2.SARASWATHI MANOHARI-
*Entha vedukondu -Thiagaraja janya of HariKamboji. As for allied Ragas it is allied to Ravichandrika (makelara) koniyadina(Kokilapriya)

* Saraswathi Manohari-MD.(29) She drew attention to suchitha swarakshram indicated in words like
laHari (Sa RI)...

Next she moved on to Manohari.
Parithapamu (22) said to be the last kriti of Thiagaraja.
More to come after I edit my notings & with what best I could recollect.

[sureshvv]

Next she moved on to Manjari.

The raga was (Kamala) Manohari.

[RaviSri]

Paritapamu is not Kamala Manohari, just Manohari. Dikshitar's kanjadaLAyatAkShi and shankaram abhirAmi are also called Manohari in SSP but now it is being referred to as Kamala Manohari. Thyagaraja has composed 'nI muddhu mOmu jUpavE' in Kamala Manohari resembling Dikshitar's above mentioned two songs.

[sureshvv]

Yes. Manohari was featured as one of the ragas that has been used with the same name but different structures. Sowmya did not mention ni muddhu momu jupave.

[satyabalu]

*contd.,
*Then she moved on to "Manohari"
*As per MD 's convention it is aJanya of 33 Gangeya Bhooshani .It could be equally related as janya of either 27 Sarasangi or 15 Mayamalava Gowlai due to varja of "RI" .But according to convention of establishing as a Janya to Melakartha earlier in number this is considered as janya of 15.
* Ganjadalayadakshi-Raga is Manohari as the word Kamala(Manohari) does not figure in other compositions like "Sankara Abirami Manoharam"
*Parithapamu-Thiagarajar(22)
Allied ragas-
Devakriya(22)-Sa RI Ma Ni da Ni prayogam .
There is vakrathvam Sa da ma pa ma ri sa -in the avarohanam.
Natimatamarachitivo of Thiagaraja starting with cathusruthi Deivatham
Suddha Saveri (28) - Sri Gurugugha Tarayama Sumam saravana bhava(SA RI Ma Pa dha Sa)"MD.
(29) Dharni Telusu konti-(T)
Ekambresa Nayike(MD)
* She also explained similarities in Ravichandrika(Makelara),Kokilapriya (Koniyadina).....Mention about Gurjari....
*Other than regular ragas ie rare ragas have to be understood on the arohana and avarohana krama to have an idea ..as."Pakad" in HM.
*"The classification between types of Music between CM &HM after 13th Century?
* She concluded saying all these are only to kindle the thought .conclusions to be left to be arrived at Institutions &vidwat sabhas.&sadas.
* There was a good interaction with audience .Some one can comment about it as the same was not audible to me.
* It is also nice to see senior musicians also participated in discussions.
* I expressed that Raga "Rama Manohari " differently handled by Thiagaraja (Sita Manohara) & Dikshidhar (Mathangi Sri Raja Rajeshwari)
* Students &disciples were present in good numbers ..
* She has covered all the facets of Lec-Dem ( time was too short) explaining in lucid style to suit varied types of rasikas .Reference to Sangraha Chootamani,SSP(Sangeetha Sampradhaya Pradharshini..Pann.Thevaram....) tracing the history of Ragas/ kritis.She said Trinities eventhough (Sama kalathavargal) contemporaries have handled the Raga or Ragas bearing the same name in a different way.The presentation was wholesome and it was left to us to absorb whatever aspects We are interested in or We can assimilate .
*It will be worthwhile a few more write up could cover aspects I had missed out.The idea is that correct and wholesome message should reach the intended readers as a recap for those who had attended such rare events (such events are very rare ) and enthuse others to attend such programmes in future.Kudos to organisers for an enjoyable weekend festival with good time management (say minimal time for introduction of guests.... )
To be vetted& edited.

[CRama]

Thank you Sathyabalu for your write up. I had to miss this as I was out of station. Through your report we got to know insights about ragas having similar names but different structure. I know, Sowmya is very good in such demonstrations as I have heard many of her demos in the past. Thanks to the organisers.

[sureshvv]

Among the fun/controversial parts of the presentation was when she opined that the composition "Ekambresa Nayike" attributed to Dikshitar appeared to be a cut-paste job of lyrical phrases extracted from other MD compositions. She went on to sing each lyrical phrase extracted from its original composition and by the end had the audience chuckling and chortling. She added that the raga name "Karnataka Suddha Saveri" itself did not find any mention in any of the treatises adding to its dubious origins. Other scholars in the audience did not find this amusing or agreeable and went on to provide some evidence of its authenticity.

[satyabalu]

I am reminded of what I heard of Sri.S.Rajam telling on misattribution of "Sarasi ruha nayane-Amrutavarshini " to Thiagaraja "Ithu Thaiagaraja Kriti Illenu solluva .....Nanna iruku pad rein sollitharen..."......
It was nice to see scholars in the audience who interacted well.Also students &disciples in good numbers.
I had expected more coverage by way of write up of this event in press as well as in this forum.,more so I was not fully satisfied with my own write up on a not so familiar domain (to me) .....as to coverage &content.Any takers? In that way I will have an occasion to feel that with my otherwise prompt report the Music lovers are not inadequately informed about the proceedings of the Event.In the larger interest Sowmya may also pitch in to clarify aspects of possible omissions &commissions in my Report!