ARIYAKUDI-CREATOR, INVENTOR, PRESERVER, "MOOLADHARAM"OF 20TH CENTURY CARNATIC MUSIC

Miscellaneous topics on Carnatic music
arasi
Posts: 16877
Joined: 22 Jun 2006, 09:30

Re: ARIYAKUDI-CREATOR, INVENTOR, PRESERVER, "MOOLADHARAM"OF 20TH CENTURY CARNATIC MUSIC

Post by arasi »

Mahavishnu,
Glad that you--one of our pride (in both senses) of our scientist members spoke :)

Point well taken. Yes, deference taken to a point of exaggeration does not help history at all. Besides, there is the other unsavory trait of mukhaststuti (flattery in one's presence) and being light-hearted in airing criticism about the same person outside his/her earshot--which does not in any way help history at all :)

There was room and time for all that in the past. The new generation of rasikas are, and will change all that I hope, by compiling available facts and interactions with the greats in CM in a meticulous way.

KNV1955
Posts: 354
Joined: 22 Oct 2012, 21:29

Re: ARIYAKUDI-CREATOR, INVENTOR, PRESERVER, "MOOLADHARAM"OF 20TH CENTURY CARNATIC MUSIC

Post by KNV1955 »

I left out the Tillana in Todi of Poochi Srinivasa Iyengar
https://soundcloud.com/usercpblog/09-tillana-todi
Sachi this is from Parvathi Mysore concert





munirao2001
Posts: 1334
Joined: 28 Feb 2009, 11:35

Re: ARIYAKUDI-CREATOR, INVENTOR, PRESERVER, "MOOLADHARAM"OF 20TH CENTURY CARNATIC MUSIC

Post by munirao2001 »

KNV Sir,
To my knowledge you have only missed out "Kanglidyathako Cauveri Rangana Nodade"-M.Chapu-Ranga Vittala/Sri Padaraya composition. ARI had learnt from listening to Saka Rama Rao, Tanjore and When HMV wanted to record and release ARI Dasara padams, ARI had requested SSRao to join him in the selecting the list and also sing for ARI, for his verification on the authenticity of the patantara sudhatvam. KVN Sir also attached same commitment and dedication to the patantara suddhatvam, as you know very well.
On gamakam usage and singing perfection, I beg to differ with you. Karaikkudi School, Dhanammal School, Tanjore Quartet School, Tiger School, qualitatively much superior, which even ARI knew and considered as role models. I shall go into the details in my detailed posting. SSRao facilitating KVN Sir, did speak and highlight the act and process of deconstruction of his Guru,ARI's style and adopted as his style with the quintessential in the Dhanammal and Palghat Anantarama Bhagavatha.

munirao2001

SrinathK
Posts: 2481
Joined: 13 Jan 2013, 16:10

Re: ARIYAKUDI-CREATOR, INVENTOR, PRESERVER, "MOOLADHARAM"OF 20TH CENTURY CARNATIC MUSIC

Post by SrinathK »

@munirao2001, I have a recording of this very composition by ARI.

KNV1955
Posts: 354
Joined: 22 Oct 2012, 21:29

Re: ARIYAKUDI-CREATOR, INVENTOR, PRESERVER, "MOOLADHARAM"OF 20TH CENTURY CARNATIC MUSIC

Post by KNV1955 »

SrinathK wrote:@munirao2001, I have a recording of this very composition by ARI.
Pl post the recording. I have only KVN recordings. Would like to hear his masters rendering :D


KNV1955
Posts: 354
Joined: 22 Oct 2012, 21:29

Re: ARIYAKUDI-CREATOR, INVENTOR, PRESERVER, "MOOLADHARAM"OF 20TH CENTURY CARNATIC MUSIC

Post by KNV1955 »

yenu-dhanyalo-lakumi
https://soundcloud.com/knv-3/03-yenu-dh ... akumi-todi

Admin may like to move all the songs to KVN page


SrinathK
Posts: 2481
Joined: 13 Jan 2013, 16:10

Re: ARIYAKUDI-CREATOR, INVENTOR, PRESERVER, "MOOLADHARAM"OF 20TH CENTURY CARNATIC MUSIC

Post by SrinathK »

@KNV1955, Here you go : https://soundcloud.com/user461654480/ka ... hako-thodi

PS : I noticed the track name was spelled wrongly after uploading, it's KangaLi JAthako. TNK is accompanying on the violin (don't know who is on the mridangam). Cheers!

KNV1955
Posts: 354
Joined: 22 Oct 2012, 21:29

Re: ARIYAKUDI-CREATOR, INVENTOR, PRESERVER, "MOOLADHARAM"OF 20TH CENTURY CARNATIC MUSIC

Post by KNV1955 »

Thanks Srinath. Small & beautiful kriti. I like the verve in his music.

SrinathK
Posts: 2481
Joined: 13 Jan 2013, 16:10

Re: ARIYAKUDI-CREATOR, INVENTOR, PRESERVER, "MOOLADHARAM"OF 20TH CENTURY CARNATIC MUSIC

Post by SrinathK »

@mahavishnu, Sir I really have to agree with what you wrote. @arasi mami, since you mentioned about the younger generation, as far as we Indians are concerned, the statement of the Bhagavad Gita that everyone is ultimately seeking God in all paths seems to hold up quite well and music seems to be a sure fire way of kicking up those subconscious urges of our souls. We are still evolving though in how we handle that feeling. We sometimes revere our favourites so much for their Godly music that they become Gods in our eyes. We end up idolizing a concept image of them and that often leads to exaggeration and suppression of truth. It also leads to a yo-yo where we overly like our favourite musicians while pouring scorn on others (believe me I had one such experience where an old rasika sang peans to the glorious music of yesteryear's "Gods" while condemning every contemporary artist from A-Z in equal measure and I was powerless to stop him). Or how many times I got caught up in the X vs Y issues. There's still a kid in all of us.

Hagiography is past and and many of us have understood and seen the very human side of nearly all geniuses and I prefer to take a balanced perspective where I know both the ups and downs of my favourites. None of this diminishes my respect for the greatness of their art in the least. If you ever get your hands on "Heifetz as I knew him" you can get a true first hand story of possibly the greatest violinist in the history of WCM whose skills on the violin was only matched by the sheer difficulty of his personality that masked a lot of inner pain, as experienced first hand by his long time student, who grew up idolizing him only to understand at the end of the whole experience that as human beings, her idol was really very much human.

Then there's the other side like In case of MS amma, it's that contrast between extraordinary musical skill on the stage and the innocence and simplicity off it. But it all goes to show that our idols are also ultimately people like you and me at the bottom of it. Then there are dark sides to the story too. Just yesterday I was reading some excerpts the book on Balasaraswati and I was horrified at the extreme harshness of the training -- it looks like one could get away with that because the guru was considered the supreme and unquestionable authority -- that won't work today, no sir. On a side note, this reminds me of the horror stories of many cult survivors, but let me not get into that. And speaking of historical figures, as a kid I was taught that the Europeans were great for discovering new lands, only for "My hero" to come crashing down to earth and then going underground when I read further into the history of how they conquered the local populace :( I also regret that I am unable to see the first attempts to reach the South Pole in the same (romanticized) manner again when I read about the poor dogs and the ponies and what extreme hunger and conditions can do to a person -- now I get an idea of how brutal it must have really been.

Ultimately everybody has their own pluses and minuses. This does not detract from the greatness of their artistry to me or the incredible emotional "rasanubhavam" or even a hint of experiencing "naada-brahman" that comes when I hear music at it's best. But I feel that there must be a healthy separation between a human's genius and the rest of that human as a whole -- there is much about the genius of nature and our own bodies that is far removed from our control and there are indeed limits to how far I can call my intelligence as "mine" -- it seems to me that the intutive flood of ideas we get in moments of inspiration are really offered to us and we snatch on to whatever we can grab and work with it. So I prefer taking a picture similar to V. Sriram's book "Carnatic Summer" (and for good reason which was the first book that I read on the biographies of my favourite artistes of yesteryear). None of this is intended to be disrespectful or irreverent in the least -- and you won't find me bad mouthing anyone here. All I want to say is that, in today's world, hagiography / idolatory really isn't a healthy perspective.

(...To be continued :twisted: )

SrinathK
Posts: 2481
Joined: 13 Jan 2013, 16:10

Re: ARIYAKUDI-CREATOR, INVENTOR, PRESERVER, "MOOLADHARAM"OF 20TH CENTURY CARNATIC MUSIC

Post by SrinathK »

Oh yeah, and I would heartily recommend Gopi Krishna's : "Kundalini, the Evolutionary energy in man" as an amazing first hand account of the metaphysical intricacies of phenomena that we sometimes get fleeting glimpses of in the inspirations of geniuses. Here's an excerpt : "...The verses occurred suddenly at odd times in the day or night, preceded by a voluntary pause on my part in the normal process of thinking. This preliminary cessation of mental activity was soon followed by a state of deep absorption, as if I were diving within myself to reach a certain depth where I could catch the vibrations of the message always expressed in poetry. The lines developed from an extremely subtle form, an invisible seed, and instantaneously passed before my mind as fully formed verses, following each other in rapid succession until the whole passage was completed, when I suddenly experienced a desire to withdraw myself from the state of semi-entrancement and return to normality..."

And finally after many such experiences of seeing compositions appearing in many many languages in his mind : "..German was followed by French and Italian. Then came a few verses in Sanskrit followed by Arabic. Surely there could be nothing more convincing than the phenomena I had witnessed during the previous few weeks to bring the idea irresistibly home to me that I was in occasional contact with an inexpressible fount of all knowledge and that but for my inability to understand and transcribe, I could take down poetic pieces in most of the wellknown languages of the earth. I felt wave after wave of conscious electricity pass through me replete with knowledge to which, because of the poor capacity of my brain, I could not have full access. Language fails me when I attempt to describe the experience which off and on has all along since then been the most sublime and the most elevating feature of my existence. On every such occasion I am made to feel as if the observer in me, or speaking more precisely, my lustrous conscious self, is floating, with but an extremely dim idea of the corporeal frame in a vividly bright conscious plane, every fragment of which represents a boundless world of knowledge, embracing the present, past, and future, commanding all the sciences, philosophies, and arts ever known or that will be known in the ages to come, all concentrated and contained in a point existing here and everywhere, now and always, a formless, measureless ocean of wisdom from which, drop by drop, knowledge has filtered and will continue to filter into the human brain. On every visit to the supersensible realm I am so overwhelmed by the mystery and the wonder of it that everything else of this world, everything conceived by us of the next, every fact and incident of my life save this, every momentous event of history, every ambition and desire, and above all even my own existence, life and death, appear to be trite and trivial before the indescribable glory, the unfathomable mystery, and the unimaginable extent of the marvellous ocean of life, of which I am at times permitted to approach the shore...."

"...THE daily dive into the conscious ocean to which I had now unexpectedly found access had a most exhilarating effect on my mind. I was overwhelmed with wonder at the incalculable wealth I had found within myself. The distracting anxiety I had felt and the grave doubts I had entertained about my condition vanished altogether, yielding place to a feeling of inexpressible thankfulness to the divine power, which in spite of my ignorance, constant resistance, many faults, frailties, and mistakes, had wrought with matchless skill a new channel of perception in me, a new and more penetrating sight in order to introduce me to a stupendous existence. In spite of all my efforts, the news of the strange psychic manifestations in me leaked out. My host, friends, and colleagues at the office were struck by my altered behaviour and my constant mood of deep absorption. Even if I had tried, I could not have shaken it off, being myself entirely carried away by the wonder of an occurrence beyond anything
I could have imagined. I certainly could not hide from my close associates a development that had the effect of startling me out of my equilibrium. My host, uneasy at my constant perambulations in a state of deep abstraction, almost to the point of being totally oblivious at times, grew positively alarmed at seeing my lights on at odd hours in the night and finding me awake, writing in a mood of utter preoccupation..."

I get reminded of how GNB would say that his compositions would come to him fully formed (He was a Sri Vidya upasaka too) or why sleeping or silence or meditation can refresh the mind and do wonders for creativity. Or how long term memory works when you can't recall something right away, but after some time your brain retrieves the data for you. Or how PMI missed the Niagra Falls because a korvai had chosen just that moment to make it's way into his awareness. :lol: Or how Ramanujam claimed to have intuitive flashes of whole theorems unfolding before him. A small version of this is something I've experienced repeatedly in many exam papers (and I have often regretted when I didn't listen to my instincts and it turned out to be the right answer). Perhaps this even explains our tendency for hagiography and reverence of our favourite geniuses or why IITM slang has a word phrase called "Gawd level" for genius too amazing to believe. :lol:

Speaking of all this, what in the world am I doing up at 1 a.m spending this much time on a rasikas post? I think we can return to the greatness of ARI's music now... :geek:

THE END

TheListener
Posts: 42
Joined: 03 Feb 2012, 04:52

Re: ARIYAKUDI-CREATOR, INVENTOR, PRESERVER, "MOOLADHARAM"OF 20TH CENTURY CARNATIC MUSIC

Post by TheListener »

cacm wrote:Dear "TheListener", IT IS A MATTER OF AGE & EYESIGHT. I will try to avoid it. ALL THESE ASSUMPTIONS ARE BASED ON WHAT? IS there a document where they are described.I HAVE REQUESTED FOR THE DOCUMENT BEFORE.I can only tell you I am not interested in offending any one or insulting nor am I angry. I do not have the energy to conform to some ettiquette you claim exists. pleas emeil it to me at: [email protected]. In the meanwhile pl ignore my posts & read others .Thanks. VKV
Dear Sri VKV,

Just checked this thread after a while. My intention was not to offend you by any means. I am bemused by some who claim my comment was offensive. I never complained about your content. But just that the caps facing makes it hard to read. That's all. Just like a lot of wonderful music in old tapes with poor audio quality. That doesn't take away anything from the music. I have a few of these and would still listen no matter the audio quality. Just that if the audio quality can be improved, it will make the listening experience a lot better and can reach out well to those who are not yet familiar with the beauty of the music. I don't know what document you are referring to. But never mind, as this is tangential to the thread and it would be disservice to this thread to belabor on it here. This will be my last comment on this matter. Thanks for your posts.

cacm
Posts: 2212
Joined: 08 Apr 2010, 00:07

Re: ARIYAKUDI-CREATOR, INVENTOR, PRESERVER, "MOOLADHARAM"OF 20TH CENTURY CARNATIC MUSIC

Post by cacm »

[quote="TheListener"][quote="cacm"]Dear "TheListener", IT IS A MATTER OF AGE & EYESIGHT. I will try to avoid it. ALL THESE ASSUMPTIONS ARE BASED ON WHAT? IS there a document where they are described.I HAVE REQUESTED FOR THE DOCUMENT BEFORE.I can only tell you I am not interested in offending any one or insulting nor am I angry. I do not have the energy to conform to some ettiquette you claim exists. pleas emeil it to me at: [email protected]. In the meanwhile pl ignore my posts & read others .Thanks.
Dear Sri VKV,
Just checked this thread after a while. My intention was not to offend you by any means. I am bemused by some who claim my comment was offensive. I never complained about your content. But just that the caps facing makes it hard to read. That's all. Just like a lot of wonderful music in old tapes with poor audio quality. That doesn't take away anything from the music. I have a few of these and would still listen no matter the audio quality. Just that if the audio quality can be improved, it will make the listening experience a lot better and can reach out well to those who are not yet familiar with the beauty of the music. I don't know what document you are referring to. But never mind, as this is tangential to the thread and it would be disservice to this thread to belabor on it here. This will be my last comment on this matter. Thanks for your posts.

MY RESPONSE:This will be my last post on this subject. YOU are not the first one. The USUAL objection used to be "ETTIQUETTE"- Internat MANNERS of sorts- guess. I was willing to read & obey it.NO ONE HAS PRODUCED IT YET OR SHOWED ME WHERE TO FIND IT.
My view is : SKIP the whole thing & read others posts; In the first place I am sharing whatever it is I am writing because of Complaints/Requests. VKV

cacm
Posts: 2212
Joined: 08 Apr 2010, 00:07

Re: ARIYAKUDI-CREATOR, INVENTOR, PRESERVER, "MOOLADHARAM"OF 20TH CENTURY CARNATIC MUSIC

Post by cacm »

cacm wrote:
TheListener wrote:
cacm wrote:Dear "TheListener", IT IS A MATTER OF AGE & EYESIGHT. I will try to avoid it. ALL THESE ASSUMPTIONS ARE BASED ON WHAT? IS there a document where they are described.I HAVE REQUESTED FOR THE DOCUMENT BEFORE.I can only tell you I am not interested in offending any one or insulting nor am I angry. I do not have the energy to conform to some ettiquette you claim exists. pleas emeil it to me at: [email protected]. In the meanwhile pl ignore my posts & read others .Thanks.
Dear Sri VKV,
Just checked this thread after a while. My intention was not to offend you by any means. I am bemused by some who claim my comment was offensive. I never complained about your content. But just that the caps facing makes it hard to read. That's all. Just like a lot of wonderful music in old tapes with poor audio quality. That doesn't take away anything from the music. I have a few of these and would still listen no matter the audio quality. Just that if the audio quality can be improved, it will make the listening experience a lot better and can reach out well to those who are not yet familiar with the beauty of the music. I don't know what document you are referring to. But never mind, as this is tangential to the thread and it would be disservice to this thread to belabor on it here. This will be my last comment on this matter. Thanks for your posts.

MY RESPONSE:This will be my last post on this subject. YOU are not the first one. The USUAL objection used to be "ETTIQUETTE"- Internet MANNERS of sorts- guess. I was willing to read & obey it.NO ONE HAS PRODUCED IT YET OR SHOWED ME WHERE TO FIND IT.
My view is : SKIP the whole thing & read others posts; In the first place I am sharing whatever it is I am writing because of Complaints/Requests. VKV
:?:

mahavishnu
Posts: 3341
Joined: 02 Feb 2010, 21:56

Re: ARIYAKUDI-CREATOR, INVENTOR, PRESERVER, "MOOLADHARAM"OF 20TH CENTURY CARNATIC MUSIC

Post by mahavishnu »

Srinath, Thank you for your post. The forum has much to gain from your wisdom and perspective.

I have a few points that I would like to raise for the purposes of historical clarity, following the questions raised by Rajesh earlier.

1) I have a question re: what else was in vogue during ARI's early career. What kind of concerts were people like Vasudevachar (senior to ARI by several years) giving at that time? And Chembai/Musiri (junior by a few)? Did they unilaterally accept that this format was "created" by Ariyakkudi or were they influenced directly by Poochi? When did the other descendants of Patnam and the Walahjapet people adapt this "paddathi"? And what about the people trained through the Dikshitar descendants?

Getting answers to these questions is important not only for their own sake, but can throw some light on the extent of Ramanuja Iyengar's influence on his peers/contemporaries. By the mid-1930s, it appears from the Music academy souvenir books (I saw the whole collection a the Academy library when I was in Madras last year), that the transition to the modern "ARI" format was quite complete.

2) Also, there was a significant amount of resistance to this idea of this kutcheri format at that time. MMA records show that the support for the "ARI" model was not equivocal. Has there been any historical research on how the transition took place?

3) What was ARI's position on tamizh isai? Did he side with the academy (my guess is yes), during the years of schism between the Academy and the Tamizh isai movement. This is a puzzling personal position given how much ARI himself did for tamil vernacular music (Desabhakti padalgal and the tuning of thiruppavai/pasurams). Is it now established by historians that he had issues with Dhandapani Desigar's position on this issue when other contemporaries including Chembai seem to have embraced tamizh isai more readily?

4) For an art form that is approximately 500 years old from the time of Purandara Dasa (not including Pannisai, music of the silappadigaram etc), we seem to be holding on to something that has in vogue since the 1930s as "tradition"? Is this because it appeals with the middle-class culture, sensibilities and tastes that Ramanuja Iyengar understood so well? Again, as I said in my earlier post, I am not taking the "irreverent" position here, but I am just trying to understand how we have managed to rationalize much of this format into its current state of existence.

SrinathK
Posts: 2481
Joined: 13 Jan 2013, 16:10

Re: ARIYAKUDI-CREATOR, INVENTOR, PRESERVER, "MOOLADHARAM"OF 20TH CENTURY CARNATIC MUSIC

Post by SrinathK »

@mahavishnu, Sir, I have to agree with Vkv sir that the changes done to the format of presentation of CM by ARI were required at that time because the social scenario had rapidly changed. As ARI has himself said, he put a lot of thought and planning into his presentation that was also tailor made to his strengths (like the fact he had a large repertoire, so he could adjust his song list even to suit his voice condition), while giving the audience something they could easily lap up and more importantly, could understand. (Till this point, varnams had been the MAIN item in dance repertoire, as they still are).

I have read that the concert planning started before his generation with Poochi Srinivasa Iyengar and Maha Vaidyanatha Iyer starting the trend of singing varnams as the opener, which then usually led to a krithi or 2 followed by the RTP. (It was Vaidyanatha Iyer who tuned Vathapi to it's current tune).

Now it wasn't that this change was free of drawbacks either -- I am sure that vidwans might have moaned the passing of the 5 hour long test match RTPs and many might have moaned the compositional heavy approach. The Dhannamal school did frown down on some of ARI's moves -- but overall, it appears the early part of CM history could be called the dark ages.

It is interesting to see how Rangaramanuja Iyengar expresses his concerns about the trends of his time which he felt would dilute and kill the essence of CM (a complaint that is probably as old as music itself and still doing the rounds :lol: ). It might have also affected the nadaswaram players in a way, for they were known for their HUGE raga alapanas and swaras with the krithi being more of a customary affair at the end, and now the public would have been demanding them too to start conforming to the kutcheri format.

Now regarding ARI's position on Tamizh Isai, V. Sriram's biography has some interesting points. One of the demands of the Tamizh Isai group was that no other language apart from Tamil should be used for music all over Tamilnadu and it was this one extreme position that ARI didn't like. Despite singing a lot of Tamil songs, he had promised his guru to sing a varnam (most of them are Telugu) and one Thyagaraja krithi in every concert, so he didn't agree to an all Tamil concert (and promptly got panned by Kalki as a result). In his MA speech earlier in the thread, he wonders why make a controversy of the language at all (something we would agree today). The book has more of the details. It says that when the controversy died down, ARI accepted to sing at the Tamizh Isai Sangam, but made his sole Thyagaraja krithi as the main number !

And what we say about tradition is very true, whether art or spirituality. We are indeed holding on to a more recent form and some of us are also guilty of panning anyone who tries to explore music even a little different from that. As an example, the date where we celebrate Sankranti is out of line by almost 1750 years thanks to axial precession and right now we should be celebrating it on Dec. 21. Another factor is how much we revere our old heroes and how little we know about music from the "dark ages" before them. A third factor would be our old Indian traditional mentality, one where we simply follow our elders and sometimes forget that tradition is a product of research, innovation and the influence of the time where it originated. A fourth complaint would be the issues that old age can sometimes have with youth :lol:.

There is no irreverence in this -- indeed it would be more apt to say that every great CM musician was innovative in their own way. The rasika drives the evolution of the music in it's own way. This can be both good and bad for the art. On the good side, can you imagine just googling a song and finding it's lyrics on several websites even 15 years ago? But on the other side, there are many musicians who would have done a lot of things had the rasikas' demands also not held them back.

kvchellappa
Posts: 3637
Joined: 04 Aug 2011, 13:54

Re: ARIYAKUDI-CREATOR, INVENTOR, PRESERVER, "MOOLADHARAM"OF 20TH CENTURY CARNATIC MUSIC

Post by kvchellappa »

A minor point I want to make is it is not about the age of tradition or sanctity of tradition, but about its being relevant to the need and audience interest.

munirao2001
Posts: 1334
Joined: 28 Feb 2009, 11:35

Re: ARIYAKUDI-CREATOR, INVENTOR, PRESERVER, "MOOLADHARAM"OF 20TH CENTURY CARNATIC MUSIC

Post by munirao2001 »

KVChellapa Sir,
Tradition is body and works of excellence. Discerning rasikas yearn for excellence and its values. Uninitiated rasikas needs and interest need not be for excellence but popular and also popular with lesser values. Karnataka Sangita sampradaya is based on giving uplifting experience to the rasikas, educationally and uncompromisingly on the values. One of the ideals, being the manoranjakatvam, the experience must also be of enriching but not resorting creation of excitement with the justification of meeting the needs and interest of the rasikas. Truly artist creates the interest and urge first and artist has to bear the prime responsibility for the results.

One of the Greatest of Maestros ARI's great contribution is a perfect balance between scholasticism and manoranjakatvam, with high values of sampradaya and tradition, partaking the pleasure with even uninitiated rasikas.

munirao2001

kvchellappa
Posts: 3637
Joined: 04 Aug 2011, 13:54

Re: ARIYAKUDI-CREATOR, INVENTOR, PRESERVER, "MOOLADHARAM"OF 20TH CENTURY CARNATIC MUSIC

Post by kvchellappa »

I remembered this on reading Srinath K's comments on genius.
V S Ramachandran says in Phantoms in The Brain:
Quote:
Not long ago, when I told a colleague about my interest in creativity, he repeated the well-worn argument that we simply toss the ideas around in our heads, producing a random combination until we hit on aesthetically pleasing ones. So I challenged him to “toss around” some words and ideas by coming up with a single metaphor for “taking things to ridiculous extremes” or “overdoing things”. He scratched his head and after half an hour confessed that he couldn’t think of anything all that original (despite his high verbal IQ, I might add). I pointed out to him that Shakespeare had crammed five such metaphors in a single sentence:
“To gild refined gold, to paint the lily, to throw a perfume on the violet, to smooth the ice, or add another hue unto the rainbow .. is wasteful and ridiculous excess.”
It sounds so simple. But how come Shakespeare thought of it and nobody else?...
Yet you and I would never come up with an equally elegant set of metaphors by simply dredging up and randomly shuffling words in our minds. What’s missing is the creative spark of genius, a trait that remains as mysterious to us now as it did to Wallace. No wonder he felt impelled to invoke divine intervention.
Unquote.
Incidentally, VSR is a lover of CM.

vgovindan
Posts: 1952
Joined: 07 Nov 2010, 20:01

Re: ARIYAKUDI-CREATOR, INVENTOR, PRESERVER, "MOOLADHARAM"OF 20TH CENTURY CARNATIC MUSIC

Post by vgovindan »

A glimpse of creativity -
An article on Kumar Gandharv.
http://www.academia.edu/2486876/Music_a ... _Gandharva
'Sunta hai guru gyani' by Kumar Gandharv -
https://www.youtube.com/watch?v=ordi4e72nVY

harimau
Posts: 1819
Joined: 06 Feb 2007, 21:43

Re: ARIYAKUDI-CREATOR, INVENTOR, PRESERVER, "MOOLADHARAM"OF 20TH CENTURY CARNATIC MUSIC

Post by harimau »

mahavishnu wrote:
4) For an art form that is approximately 500 years old from the time of Purandara Dasa (not including Pannisai, music of the silappadigaram etc), we seem to be holding on to something that has in vogue since the 1930s as "tradition"?
Interestingly, Sri Vaithilingam, an expert on Tevaram and Pann Isai, in last week's episode of Pannisai Vitthagargal -- which airs on Makkal-TV at 7 am on Thursdays and Fridays -- opined that Tevarams could only have been sung as virutthams, unconstrained by any regular tala cycle.

And Purandara Dasa's and Annamacharya's compositions fall into the category of keerthanams rather than the krithi form of composition that is used in concerts.

RaviSri
Posts: 512
Joined: 10 Apr 2011, 11:31

Re: ARIYAKUDI-CREATOR, INVENTOR, PRESERVER, "MOOLADHARAM"OF 20TH CENTURY CARNATIC MUSIC

Post by RaviSri »

Sri Vaithilingam is perhaps correct. U.Ve.Swaminatha Iyer writes (U.Ve.Sa vin urai naDai nUlgaL) that a certain Somasundara Desigar tuned the tEvArams in Carnatic ragas (paNN) setting them to talas also. U.Ve.Sa remarks that this Somasundara Desigar was the disciple of a senior disciple of Muthuswami Dikshitar himself and that he forgets the name of this disciple. I guess this Dikshitar disciple alluded to by U.Ve.Sa must be Shuddha Maddalam Tambiyappan.

vgovindan
Posts: 1952
Joined: 07 Nov 2010, 20:01

Re: ARIYAKUDI-CREATOR, INVENTOR, PRESERVER, "MOOLADHARAM"OF 20TH CENTURY CARNATIC MUSIC

Post by vgovindan »

Even before the present mElakarta scheme came into being, much before the present CM rAga names were ever coined, tEvAram and other tamil treatises were rendered in musical rAgas - as per nomenclature of tamil paNN.
http://www.tamilvu.org/tdb/titles_cont/ ... arasar.htm

It is suggested that the word 'rAga' is derived from Tamil - please refer to -
http://inioru.com/34373/%E0%AE%A4%E0%AE ... %E0%AE%99/

rajeshnat
Posts: 10144
Joined: 03 Feb 2010, 08:04

Re: ARIYAKUDI-CREATOR, INVENTOR, PRESERVER, "MOOLADHARAM"OF 20TH CENTURY CARNATIC MUSIC

Post by rajeshnat »

Ravisri
Now that you are here in this thread. I would like you to add your few cents specifically on the last few posts i and mahavishnu put. At your leisure but please put a long post.

munirao2001
Posts: 1334
Joined: 28 Feb 2009, 11:35

Re: ARIYAKUDI-CREATOR, INVENTOR, PRESERVER, "MOOLADHARAM"OF 20TH CENTURY CARNATIC MUSIC

Post by munirao2001 »

KVChellappa Sir,
Let us understand the nature of 'Creative spark' occurrence. Mind in attention and observation 'sees' and memorizes, multiple visual images or information related to the eye vision, external. Memorized information for immediate use, eye vision and the information for later use, 'inner eye vision'. Mind in creative urge and imagination, information of temporary use and long term use come into play, mostly based on the experience and its sum total knowledge. When inner conscious based information surfaces to the outer conscious, it serves a purpose and gets the identity of a special factor of uncommon and creativity. When temporal memory based information of outer conscious, with sense of urgency, establishes the relationship of special insights, also uncommon gets the identity of creativity of spontaneity. When the temporal memory and deep memory and the knowledge, outer conscious and inner conscious in relationship and inter play, discursive and analytic, result and its outcome, also uncommon, also gets the identity of creativity, with superior values. These three states of mind in creativity, even though are uncommon but are very frequent occurrences and not very rare.
When inherited genetic coded information in very deep memory and with the developed faculty of intuition and intellect, suddenly and surprisingly comes to the inner conscious, the profound experience to be expressed for an identity and giving highest value and recognition, uses divinity. This being the rare of the rarest, creativity, its expression and communication with clarity gets the identity of the 'Genius'.
It is very much established that in general, the brain and mind are put to very limited use and purpose, routine decisions and actions frequently and infrequently. Rarely, in observation, in total attention, in reflection. Rare of the rarest moment (s), mind in silence, without the inner conscious and outer conscious; thought and thinking; its disturbing, intervening, diverting influences; occur. This/these moment(s) are given the identity of self abnegation. Becoming aware and awakened, the insight, the idea, its value in appreciation and significance, are expressed and communicated. With clarity and understanding resulting in decisions and actions for the self and universal gratification and sense of fulfillment. This is the ultimate in creativity. Such creative individual with individual transformation, influencing for the collective transformation, are given the identity and recognition as truly 'Genius'.
In conclusion, while 'creative sparks' are not uncommon, 'creative lightning' are very rare in occurrences.
This phenomena have been communicated in Vedanta, metaphysically, as early as 800 to 850 BC. Physically and Scientifically, we have 'discovered' later and scientific research is still continuing to unravel 'mythical' and 'divine' occurrence and experiences.

munirao2001

munirao2001
Posts: 1334
Joined: 28 Feb 2009, 11:35

Re: ARIYAKUDI-CREATOR, INVENTOR, PRESERVER, "MOOLADHARAM"OF 20TH CENTURY CARNATIC MUSIC

Post by munirao2001 »

Tevaram and Divya prabhandam singing were part of the ritual of worship in the temples. This singing had inherent kaala pramanam, arisen out of karna parampara. When some of the talented singers with the knowledge of both lakshya and lakshana made them 'art' form of presentation and singing, they were singing with raaga bhaavam and set to tala. This was pre existing before the Suddha Maddalam Tambiyappan, setting them to tunes with tala. Suddha Maddalam Tambiyappan and few more isai vellars brought the 'gamakam' in to the singing. 'Gamakam' singing was also prevalent in the regions of Karu Nadu, later known as Karnatic and Karnataka.

munirao2001

RaviSri
Posts: 512
Joined: 10 Apr 2011, 11:31

Re: ARIYAKUDI-CREATOR, INVENTOR, PRESERVER, "MOOLADHARAM"OF 20TH CENTURY CARNATIC MUSIC

Post by RaviSri »

This is not something new. In the 1920s the famous Hindustani musician Abdul Karim Khan used to bring his dog to his concerts. The dog would start howling to the sound of his tambura, in perfect sruti and Khan Saheb would sing. Veen Dhanammal who was present at one such concert of Khan Saheb in Madras remarked at the end, “inimE nAn pADinA inda nAi madiri dAn kulaikka pOrEn. appo dAn sruti shuddhamAyirukkum” (Hereafter when I sing I am going to howl like this dog. Only then it will be in perfect sruti).
At Khan Saheb’s concert in Dhanammal’s house once he brought the dof and it howled throughout in perfect sruti, but without intruding in the music. The entire Dhanammal household was stunned and they convulsed with mirth.

rshankar
Posts: 13754
Joined: 02 Feb 2010, 22:26

Re: ARIYAKUDI-CREATOR, INVENTOR, PRESERVER, "MOOLADHARAM"OF 20TH CENTURY CARNATIC MUSIC

Post by rshankar »

RaviSri wrote:This is not something new. In the 1920s the famous Hindustani musician Abdul Karim Khan used to bring his dog to his concerts. The dog would start howling to the sound of his tambura, in perfect sruti and Khan Saheb would sing. Veen Dhanammal who was present at one such concert of Khan Saheb in Madras remarked at the end, “inimE nAn pADinA inda nAi madiri dAn kulaikka pOrEn. appo dAn sruti shuddhamAyirukkum” (Hereafter when I sing I am going to howl like this dog. Only then it will be in perfect sruti).
At Khan Saheb’s concert in Dhanammal’s house once he brought the dof and it howled throughout in perfect sruti, but without intruding in the music. The entire Dhanammal household was stunned and they convulsed with mirth.
RaviSri - I am going to put a plug in for a recording (publication preferably, or at least a recording) of these precious anecdotes once again - you, MKR, and VKV and others who have these and remain silent really need to put these memories down...too bad there is no 'pensieve' in the real world to transfer these memories.... :)

arasi
Posts: 16877
Joined: 22 Jun 2006, 09:30

Re: ARIYAKUDI-CREATOR, INVENTOR, PRESERVER, "MOOLADHARAM"OF 20TH CENTURY CARNATIC MUSIC

Post by arasi »

RaviSri,
Am I to understand that this post inadvertently got posted in this thread? I see the same in the perfect pitch thread...
about the canine on Youtube.

Good to hear from you, as always...


Ravi,
You too :)

cacm
Posts: 2212
Joined: 08 Apr 2010, 00:07

Re: ARIYAKUDI-CREATOR, INVENTOR, PRESERVER, "MOOLADHARAM"OF 20TH CENTURY CARNATIC MUSIC

Post by cacm »

rshankar wrote:
RaviSri wrote:This is not something new. In the 1920s the famous Hindustani musician Abdul Karim Khan used to bring his dog to his concerts. The dog would start howling to the sound of his tambura, in perfect sruti and Khan Saheb would sing. Veen Dhanammal who was present at one such concert of Khan Saheb in Madras remarked at the end, “inimE nAn pADinA inda nAi madiri dAn kulaikka pOrEn. appo dAn sruti shuddhamAyirukkum” (Hereafter when I sing I am going to howl like this dog. Only then it will be in perfect sruti).
At Khan Saheb’s concert in Dhanammal’s house once he brought the dof and it howled throughout in perfect sruti, but without intruding in the music. The entire Dhanammal household was stunned and they convulsed with mirth.
RaviSri - I am going to put a plug in for a recording (publication preferably, or at least a recording) of these precious anecdotes once again - you, MKR, and VKV and others who have these and remain silent really need to put these memories down...too bad there is no 'pensieve' in the real world to transfer these memories.... :)
MY RESPONSE: Dear R.S.,
I intend using your story about Karim Khan in my ONE SENTENCE INTRODUCTION in Cleveland at MSG SYMPOSIUM
If I just say it without attributing to you (due to lack of time) do you mind? I am planning to say What Yehudi Menuhin, MMI, & Karim khan had said about MSG......NOW ITS FOUR! VKV


SrinathK
Posts: 2481
Joined: 13 Jan 2013, 16:10

Re: ARIYAKUDI-CREATOR, INVENTOR, PRESERVER, "MOOLADHARAM"OF 20TH CENTURY CARNATIC MUSIC

Post by SrinathK »

I am planning to say What Yehudi Menuhin, MMI, & Karim khan had said about MSG......NOW ITS FOUR! VKV
Let's admit it : There was probably no human being in recorded history with the melodic command over the fingerboard that MSG had.

RaviSri
Posts: 512
Joined: 10 Apr 2011, 11:31

Re: ARIYAKUDI-CREATOR, INVENTOR, PRESERVER, "MOOLADHARAM"OF 20TH CENTURY CARNATIC MUSIC

Post by RaviSri »

RaviSri wrote:This is not something new. In the 1920s the famous Hindustani musician Abdul Karim Khan used to bring his dog to his concerts. The dog would start howling to the sound of his tambura, in perfect sruti and Khan Saheb would sing. Veen Dhanammal who was present at one such concert of Khan Saheb in Madras remarked at the end, “inimE nAn pADinA inda nAi madiri dAn kulaikka pOrEn. appo dAn sruti shuddhamAyirukkum” (Hereafter when I sing I am going to howl like this dog. Only then it will be in perfect sruti).
At Khan Saheb’s concert in Dhanammal’s house once he brought the dof and it howled throughout in perfect sruti, but without intruding in the music. The entire Dhanammal household was stunned and they convulsed with mirth.
I am sorry that I posted this inadvretently in this thread. This post is irrelevant here. I have posted it in the relevant thread, which talks about the perfect sruti of a dog.

hnbhagavan
Posts: 1664
Joined: 21 Jun 2008, 22:06

Re: ARIYAKUDI-CREATOR, INVENTOR, PRESERVER, "MOOLADHARAM"OF 20TH CENTURY CARNATIC MUSIC

Post by hnbhagavan »

Please see the website

gaanapriya.in

Click under LIVE

Listen to Sri Alleppey Venkatesan's Lecture demonstration on POOCHI SRINIVASA IYENGAR compositions.

A very informative and many compositions were demonstrated.

RaviSri
Posts: 512
Joined: 10 Apr 2011, 11:31

Re: ARIYAKUDI-CREATOR, INVENTOR, PRESERVER, "MOOLADHARAM"OF 20TH CENTURY CARNATIC MUSIC

Post by RaviSri »

VKV Sir, You need not mention my name. This was told to me by Dhanammal's grandson T.Sankaran who has also mentioned about this incident in his writings on Dhanammal and also in the Doordarshan documentary on Dhanammal. I have neither seen Dhanammal nor Khan Saheb.

drmnarmadha96
Posts: 42
Joined: 15 Feb 2013, 07:22

Re: ARIYAKUDI-CREATOR, INVENTOR, PRESERVER, "MOOLADHARAM"OF 20TH CENTURY CARNATIC MUSIC

Post by drmnarmadha96 »

Namashkar and Greetings from Narmadha.
Dr VKVISWANATHAN has wonderfully highlighted Sri Ariyakudi"s contribution and his evergreen place in the hearts of discerning rasikas,performers ,connoisseurs and teachers of Karnatic Music.
I wish to point out some facts on this subject that came to my mind.
The fraternity of the musical performers look with awe and gratitude to Sri ARIYAKUDI "The father of Karnataka Shuddha Kutcheri paddhathi".
All traditional facts do share a heritage of sentiments and philosophical outlook.
Music is traditional and so is Sri ARIYAKUDI'S Immortal music.
He was a maverick.
Vaishnava Janato ;(became synonymous with Sri Ariyakudi ) (this Bhakthi PIECE from Gujarat)
And the traditional SriSubramanyaya (Kambhoji)
And thiruppavai and Ramanataka kirtanai in the Tamil front.
At a time when memory was used as the internet factor it is noteworthy that Sri Ariyakudi came up with a broad vision of popularising Karnatak music with Janaranjakam.
It is not surprising that Sri Madurai Mani Iyer and MSG Guruji all reflected and echoed the concept of the great Sri ARIYAKUDI.
A giant repertory and command to present any song and his confidence to approach new Eduppu(take off points) in Trinity and other compositions were remarkable.
Sentiments rule powerful and I heard my sires tell me that Ariyakudi was a lucky artist and he had tremendous support from Chettiars who adored his renderings.
I think aloud when I say that music had to reach every person in the audience and then the artist is remembered forever.
Mohana Varnam.
Thiruppavai.
Rama Nataka kirtanai.
These were compositions that could be easily understood.
Equally classics like
Evarimata:for the connoisseur.

I have heard my Guru ji telling me that when vocalists performed in North India they included one or two Bhajans and songs that had lilting tunes .
Vaishnava Janato was a great choice which figured in common occurrence.
Sri Ariyakudi was a performer:composer of musical tunes; a traditionalist linking the past and the present; his concert track records were incomparable.
It is tradition that stands the test of time and people became great following the traditional patterns and that's why we have the Gharana&Guru Sishya Parampara.
Even today traditional jewellery preserved from time immemorial or a precious object used by the ancestor does carry its worth in gold.
When the listener of today wants to understand and taste classicism or traditionalism we look back to quickly point out to Sri Ariyakudi and the greats like him.
Bhakthi:,vinamrata: the quest for new repertory..these remarkable qualities characterized Sri Ariyakudi"s music.
Sri Ariyakudi"s name is immortal through the tradition that his music venerated and totally falling in the line of thought propagated by his Guru and Gurubhakthi.
Karnatak music is a vast ocean understood as a traditional rendition with well laid paddhathi and Patantaras.
Music:Musicians:Composers :listeners :The tangent that links all is this factor called tradition.
It is adherence to tradition in Karnatak music that has and continues to shower stardom on every performer and takes them to dizzy heights of acclaim and popularity.
The very nature of Karnatic Music demands this mental approach to draw the audience and also to convince the audience about the truth of traditional music.
Though some innovations and modifications do happen it has to be fanned by traditional base and then only the performer becomes a true great musician.
As responsible musicians it is the innate duty of every performer to highlight the contribution of such legendary artists.
In all Concerts MSG Guruji with whom I performed for nearly 40 years insisted on including traditional Kritis.
Like Sri Ariakudi
Like Sri Madurai Mani Iyer
Like Sri MDRamanadan
Like Sri Chembai
Like MSG Guruji
Like Smt MS Amma.
It is tradition that generates credibility and the royal path for earning recognition name and fame which stands as an Eternal Truth in all concert platforms yesterday, today and tomorrow.
It is universally acceptable that it is by the consistent inclusion of the traditional kritis and songs the performer gained the acclaimed status.
Sri Ariyakudi is an amazing Traditionalist and a Beacon light for posterity.
I am right now listening to his Evarimata in Kambhoji ,a Tyagaraja Kriti.
Sincere regards,
Narmadha

cacm
Posts: 2212
Joined: 08 Apr 2010, 00:07

Re: ARIYAKUDI-CREATOR, INVENTOR, PRESERVER, "MOOLADHARAM"OF 20TH CENTURY CARNATIC MUSIC

Post by cacm »

I thank DR.Narmadha for her brilliant, lucid yet understandable post which I am sure represents views of many of the Musical Fraternity. Of course as a scholar, researcher as well as in my opinion one who GENUINELY performs at a genuinely BRILLIANT& CREATIVE LEVEL IN BOTH CARNATIC & NORTH INDIAN CLASSICAL MUSIC her views are authoritative. I PARTICULARLY congragulate her for her FORTHRIGHT analysis instead of holding back which is STANDARD PROCEDURE for MOST musicians believing keeping quiet is the best way!
I hope this will inspire other musicians to also join in expressing their views on ARI who in my opinion is the BEACON for where our music has been in twentieth century and encourage exchange of views so all of us can benefit& understand better. I again thank Dr.Narmadha for educating us. VKV

munirao2001
Posts: 1334
Joined: 28 Feb 2009, 11:35

Re: ARIYAKUDI-CREATOR, INVENTOR, PRESERVER, "MOOLADHARAM"OF 20TH CENTURY CARNATIC MUSIC

Post by munirao2001 »

Dr.Narmadha,
Sri VKV has planned to write, sharing his experience as a rasika (one of the great rasika, with proven commitment, action and services). VKV Sir has requested rasikas to share their experience and views, which may help him write a book of great significance in the history of Karnataka Music. It would be best to share experience resulting making more of the less known and unknown aspects rather than on the well known and established aspects of the public knowledge.
Your sharing of insights and observations and also experiences based on the technical aspects, creativity in manodharma sangita-creative tools, the unique contribution of this one of the Greatest Genius and Maestro will be of great value. This rasika and all other rasikas will be looking forward eagerly to your post.

munirao2001

arasi
Posts: 16877
Joined: 22 Jun 2006, 09:30

Re: ARIYAKUDI-CREATOR, INVENTOR, PRESERVER, "MOOLADHARAM"OF 20TH CENTURY CARNATIC MUSIC

Post by arasi »

Absolutely brilliant summation from Narmadha! This is it! Coming from a scholar, for years a practitioner of traditional performance, her family a living proof to the healthy Ari paddhathi of presenting a concert--she, one among us (a rasikA too) has spoken.

I can't think of any way of conveying this better! Three generations of tradition enveloping her, she speaks from experience--and what rich experience it is!

I love the way she very much includes the listener into the format as Ari did while she sings his praise. We come across janaranjakam being spoken of glibly by some, as popular (in the light sense) :(

If art reflects life, this format is true to a well-lived life--a life lived with different rich components which make it a healthy, lively whole. Yes, a vast repertoire and a keen sense of exploration and hard work are the right ingredients. Today's musicians who adhere to it, and the ones who come after them will certainly keep the Ari tradition alive, well into the future...

hnbhagavan
Posts: 1664
Joined: 21 Jun 2008, 22:06

Re: ARIYAKUDI-CREATOR, INVENTOR, PRESERVER, "MOOLADHARAM"OF 20TH CENTURY CARNATIC MUSIC

Post by hnbhagavan »

Dear CACM Sir,

Insight on Poochi Srinivasa Iyengar and ARI by Sri Allepey Venkatesan :
gaanapriya.in
In this Website Click on LIVE

cacm
Posts: 2212
Joined: 08 Apr 2010, 00:07

Re: ARIYAKUDI-CREATOR, INVENTOR, PRESERVER, "MOOLADHARAM"OF 20TH CENTURY CARNATIC MUSIC

Post by cacm »

THANKS! I have known& discussed the subject w//him & read the article also. I AM FULLY TIED UP W/CLEVELAND!...VKV

Rsachi
Posts: 5039
Joined: 31 Aug 2009, 13:54

Re: ARIYAKUDI-CREATOR, INVENTOR, PRESERVER, "MOOLADHARAM"OF 20TH CENTURY CARNATIC MUSIC

Post by Rsachi »

Sir, here is the song sung by KVN at the 60th year celebration of ARI! The audio(video) is on Facebook:

Image

https://video-hkg3-1.xx.fbcdn.net/hvide ... e=555EC73F

KVN clarifies that the third raga is Navroj, of course.

Incidentally, it was the effort of Sri K Srikantiah of Parvathi in Mysore which ensured the presence of the Mysore Maharaja at that 60th year birthday celebration for Ariyakudi, the one and only Ariyakudi!!!!

cacm
Posts: 2212
Joined: 08 Apr 2010, 00:07

Re: ARIYAKUDI-CREATOR, INVENTOR, PRESERVER, "MOOLADHARAM"OF 20TH CENTURY CARNATIC MUSIC

Post by cacm »

It is GREAT to see the MAHARAJA A VERY IMPORTANT PERSONAGE IN OUR MUSIC AS A PATRON AS WELL AS COMPOSER. THIS PIC is one for the ages! Can you write a little about Sri.K.Srikanthiah? He is another person ANYONE connected with Carnatic music should know about. VKV

Rsachi
Posts: 5039
Joined: 31 Aug 2009, 13:54

Re: ARIYAKUDI-CREATOR, INVENTOR, PRESERVER, "MOOLADHARAM"OF 20TH CENTURY CARNATIC MUSIC

Post by Rsachi »

Sir,
I am totally unequal to the task of writing about a great man like Sri K Srikantiah, who has been active in the field of CM for 72-73 years. The better person is the chief of @CPBlog

kvchellappa
Posts: 3637
Joined: 04 Aug 2011, 13:54

Re: ARIYAKUDI-CREATOR, INVENTOR, PRESERVER, "MOOLADHARAM"OF 20TH CENTURY CARNATIC MUSIC

Post by kvchellappa »

Pasupathy has posted in Tamizh section aa article of ARI's album. Here is a near translation of what he has said about the foramt pioneered by ARI:
" Only the cognoscenti used to attend concerts in the period before ARI. The commoners preferred the dramas. We must say that it was Iyengar who set the concert pattern such that even the commoners with no appreciation of the nuances turned to concerts. He started to sing more number of smaller pieces. He reduced the time for pieces that showcased one’s vidwat and increased the time for pieces that would appeal to all. He sang more number of thukkadas towards the close.
Those with lesser knowledge also followed his pattern. Just like Ekalavya for Drona, several disciples developed for him by just tuning in to his music.
If any musician of lesser musical prowess had revolutionized the format, the Pundits would have been up in arms. They would have cried, ‘Heavens have fallen.’ But, their pedantry was of no avail before Iyengar.
If asked who has been in the vanguard of spreading wide knowledge of our great classical music in South India contemporarily, it can be said categorically that it is Iyengar."

Post Reply