SANCARA-Parur Tradition & Its legacy Dr.M.Narmadha Lec.Demo

[balasubramani]

Sancara Trust Parur Tradition & Its legacy to Various Genres of Indian Classical & Popular Music-
Dr.M.Narmadha- Practical Demonstration in violin with explanations with Mridangam and Tabla
Date and Venue: Raagasudha hall Mylapore Feb 08 2014.

Dear All
There were many take-aways for a music lover from the lecture demo of Dr.M.Narmadha.
She covered many key aspects of Parur Baani when it comes to playing violin in both forms of music Hindustani and Carnatic.

She focused on highlighting the aspects of how her grandafather Parur Sundaram Iyer and her father M.S.Gopalakrishnan coined the Parur Bani. The importance of prayogams in the raaga to exemplify the mood was beautifully articulated by giving the naatai raaga example with two composition pallavis ethaya gathi and ninne bhajana. She stressed the importance of mood of the song with the raga prayoga in this aspect.

The chief guest, N.V.Subramaniam had mentioned about the difference of western violin playing and carnatic violin playing. Narmadha took it as a key aspect by handpicking the example of kathanakuthoohalam raghuvamsasudha and sarasarasamare song where there is a high emphasis on speed and straight notes. She also highlighted how the parur baani prayogams beautified the song. The phrases which touch the Sa Pa Sa in the higher octaves and single string adds to be beauty of the song. She quoted how her grandfather had created those sangathis.

The second half of the lecture demo focused on a gamaka intensive Kalyaani(south)/Yaman.
(north). Yaman raaga was rendered by her in vilambhit kaal. She highlited phrases which are very specific to parur style while raaga rendering. Narmadha sang how in hindusthani training was given and how MSG Guruji would ask her to play slow pace for an hour. She demonstrated the north indian style of singing with three notes in this case Ma Dha Ni for the Yaman and how that can be expanded with umpteen number of possibilities.
It was a wonderful thing to know that so many minute aspects were covered in the Parur style with utmost perfection and precision and it was beautifully presented by Dr.Narmadha.
The lecture demonstration was rich with content and one could easily make out why parur baani is universal and as it covers all aspects of music.

[sivachandran]

Performance of students of Sancara
Good show was put up by the disciples of Dr.M.Narmadha on the occasion of the Parur legacy & tradition function hosted by
Sancara.

Dr.M.Narmadha's daughterJailaxmi rendered prayer song Nadathanumanisham to mark the start of the event.
Marugelera and Durmargachara were brilliantly presented in the violin duet by Biju and Raghu. Jayanthashree and Ranjini
regarded as complex raagas in violin and rendering them without compromising on the Parur touches and phrases was good thing to note. It was followed by Surya rendering the Sobillu sapthawara song . Varadharajan and his son Bharath performed the manasayetulo song in the raga malayamarutham in the traditional parur style. Bharath gave clear depiction of the sangathis in the manasayetulo krithi. Each of the song name was clearly announced by the students.

[mallikakrishnaswamy]

It was a wonderful experience to be part of the Sancara function, and listen to Dr.M.Narmadha. Hindusthani aspects, carnatic aspects, western violin aspects, above all what is it that make Parur Baani was presented by her in the two hour musical voyage at Raagasudha hall. I made an attempt to note the very important points to be followed be a musician while rendering a song or playing a krithi in violin which was illustrated by Narmadha madam.

Straight notes, swara sthanams and gamakams in carnatic form and gamakams in hindusthani form of singing and playing violin. She depicted them in raghuvamsudha (straight notes), sarasarasamare, yaman (hindusthani gamakam), kalyani (karnatic gamakam).

Uniqueness of parur style which attempts to be almost similar to vocal rendering by playing the notes in single string was demonstrated with utmost perfection by Narmadha and it reflected her years of practise when she touched alll octaves in the violin with ease.

I have seen her playing with her father in so many violin duets, and each time whilst rendering an anupallavi Narmadha madam would play some filler notes during the avarthana. Dr.Narmadha explained how her grandather sundaramiyerji created those sangathis by making combinations of janta swaras, straight notes, gamakas, lower octave janta swaras.
The importance of varisais could be figured out and it becomes a pleasant experience when it is presented at the right time with the right notes. Narmadha also demonstrated why it is necessary to play the gamakams in single note rather then switching to the panchamam string in violin.

Parur tradition is unique and universal as it had imbibed all music forms. She demonstrated this aspect by playing shehnai notes, sithar notes, western notes, gamakams and akaarams.

Aamir kalyani was played giving emphasis to the typical MSG phrases ma pa da pa sa and usage of sa pa sa in four sings by Narmadha which made it very evident that this raga like kumudakriya, nalinakanthi are properties of Parur style.

Hearing the Tharaaana in sindhubariavi, which is a trademark in all MSG concerts, by Narmadha brought back the MSG in Dr.Narmadha. The virtuosity of violin playing which was put forward by MSG in his concerts and adhoc challenges that her father would present her by asking her play swarams in 3rd kalam as a surprise was alsmo mentioned by her in a lighter note. The years of practice and perfection attained in Hindustani and carnatic styles by treating them as her each eye was very evident in the lecture demo.

Thanks to madam for presenting a very informative demonstration on parur style.

[jananinarayanan]

I would like to add one more point here.
Dr.M.Narmadha's mastery over the instrument and the technical inputs on carnatic and hindusthani styles is amazing. For a music student it is a must follow aspect to complete the raaga rendering in a very relaxed delayed manner without an abrupt end to the rendering, This was beautifully explained in her presentation. Such tips are very useful.

[bilahari]

I am midway through this program on YouTube and Dr. Narmada's teaching points about the Parur bani and her effortless demonstrations are thrilling! Her point about the tonal perfection needed in everything that one plays is so, so important and one of the greatest challenges in contemporary CM violin with many practitioners using a mere fraction of their bow or slipping the bow up and down liberally with scant regard to fundamental tone production. Oh, and the fingering dexterity Parur magicians have in reproducing gamaka and brigha alike!

[cacm]

I FEEL the combination of Parivadini-DR.M.Narmadha- N.V.Subramanian(Saraswathi) is the PERFECT STORM that has occurred in recent times to honor the memory of a GENUINE LEGEND like M.S.G. who will go down in Musical history as one of the greatest creative geniuses we were FORTUNATE to hear in PERSON & INTERACT WITH (in some lucky instances like me).
As others will discuss this ASTOUNDING PRESENTATION in detail let me just express my admiration for Dr.Narmadha's BRILLIANCE &TALENTS here. I am writing a longer segment in the PARIVADINI (General Discussions) section where their coverage is described on a daily basis as I FEEL the implications are in my mind somewhat profound. VKV :-BD :ymapplause:

[Rsachi]

Dear VKV,
I watched the YT video after the programme. In fact during the programme Sri Nageswaran called me from Chennai to switch on the Parivadini channel as the programme was unfolding beautifully.
I agree wit your sentiments, I also wrote this:
http://www.rasikas.org/forums/viewtopic. ... 17#p257517

In fact another programme and topic very different but something worth watching is this one:
http://www.rasikas.org/forums/viewtopic.php?f=13&t=22957
Kindly see it and give us your comments in THAT thread.
Thanks
Sachi R

[radhasuryanarayanan]

my two cents... here is a collated picture of the event.


URL location http://collage.com/v/3215454?

regards
R

[hnbhagavan]

Dear friends,

Visit sancara.in and listen to MSG tribute concert of Dr. Narmada.It is a real treat to music lovers.

[rajeshnat]

Jayanthashree and Ranjini regarded as complex raagas in violin and rendering them without compromising on the Parur touches and phrases was good thing to note.

sivachandran or anyone else,
Can you elaborate on how ranjani/jayanthashree are complex ragas in violin please?

[saverilover]

Thank you so much, hnbhagavan, this is a real treat to the mind and soul alike. One of those few violists who are great as accompanists as well as solo performers! I have not had the fortune of hearing MSG live, but Smt. Narmada makes up for it all for me!