The ARTery Presents
bhAvAnubhUti – an evening of music & dance with rare Kshetragna padams
6.30 pm, Friday, Aug. 5th 2016 at Bharatiya Vidya Bhavan, Mylapore, Chennai.
Music : Dr. S. Sowmya
Choreography & Abhinayam : Divya Devaguptapu
Vocal : K. Gayatri
Violin : L. Ramakrishnan
Flute : M. Rajeev
Mridangam : Kalaimamani J. Vaidyanathan
Nattuvangam : Jayashree Ramanathan
Concept & Research : Dr. Kanakam Devaguptapu
Lighting Design : B. Charles
Stage Design : Savita Narasimhan
Painting of Kshetrayya : Keshav Venkataraghavan
Special contributions : Dr. Pappu Venugopala Rao, Bharat Sundar
bhAva anubhUti literally means an experience of emotions. Designed to be an evening steeped in classicism through poetry, music and dance, it features the celebrated Shringara padams of Kshetragna! Some rare compositions of this celebrated 17th century poet have been selected for presentation, with music set in the immortal Dhanammal bANi by Vidushi Dr. S. Sowmya.
Divya Devaguptapu, disciple of the Dhananjayans, known for her strict classical approach has choreographed these exquisite padams. She will enact them along with a music ensemble led by noted vocalist K. Gayatri, disciple of Suguna Purushothaman and acknowledged for her classical approach and laya prowess. The music team consists of well-known faces from Chennai's Carnatic music circuit including violinist L. Ramakrishnan and Mridanga vidwan J. Vaidyanathan. M. Rajeev, a young well known violinist wears his lesser-known cap as a flautist for the first time! Nattuvangam will be by the experienced artist Jayashree Ramanathan.
Genesis: The project was born out of the passion of Dr. Kanakam Devaguptapu, researcher and educationist, for unearthing and preserving rare literary gems in their pristine form. She, along with daughter Divya identified a few lesser known padams of Kshetragna. The most popular versions of Kshetragna padams in the concert circuit are those sung in the celebrated style of the Vina Dhanamal family, especially by the legendary sisters Brinda & Mukta. Keen that these padams be set in that mould, they approached Dr. Sowmya, a direct disciple of T. Mukta and the leading contemporary torchbearer of the style.
Special features: Topping off the carefully selected padams will be a mangalam in praise of Kshetragna, composed by veteran scholar Dr. Pappu Venugopala Rao and set to music by Dr. Sowmya. Young musician Bharat Sundar has contributed some unique chittaswarams and solkattus. The performance stage will be dominated by a painting of Muvvagopala & Kshetragna by noted artist-cartoonist Keshav!
ALL ARE WELCOME!
There will be a live webcast for non-Chennai rasikas at http://www.theartery.in
Bhavanubhuti - rare padams of Kshetragna -Aug 5th
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the_ARTery
- Posts: 96
- Joined: 04 Dec 2011, 18:16
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the_ARTery
- Posts: 96
- Joined: 04 Dec 2011, 18:16
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rshankar
- Posts: 13754
- Joined: 02 Feb 2010, 22:26
Re: Bhavanubhuti - rare padams of Kshetragna -Aug 5th
Best wishes!!
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Rsachi
- Posts: 5039
- Joined: 31 Aug 2009, 13:54
Re: Bhavanubhuti - rare padams of Kshetragna -Aug 5th
Great initiative, I am reminded of the beautiful "Ramanatakam" by ARTery. Best wishes!
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the_ARTery
- Posts: 96
- Joined: 04 Dec 2011, 18:16
Re: Bhavanubhuti - rare padams of Kshetragna -Aug 5th
A gentle reminder! Today Aug 5th 6.30pm at Bharatiya Vidya Bhavan, Mylapore! Livecast for non-Chennai rasikas at www.theartery.in
Why is this program unique?
bhAva anubhUti literally means an experience of emotions and an evening steeped in classicism. We present a unique music and dance ensemble featuring some of the finest artistic minds. For the first time ever Vidushi Dr. S Sowmya has set the music on which this entire project is based, bringing in her unique musical lineage as a disciple of Sangita Kalanidhi Dr. S. Ramanathan and Sangita Kala Acharya Smt T Mukta. The padams that form the core of this evening’s program were researched by Dr. Kanakam Devaguptapu, educationist and Telugu scholar. Smt. Divya Devaguptapu, senior disciple of The Dhananjayans, known for her strict classical lineage, mature choreography and a young exponent of abhinaya, has choreographed the padams. Leading the musical ensemble is Smt. K Gayatri, disciple of Vidushi Smt. Suguna Purushottaman. Gayatri is known for her adherence to classical pAThAntaram and is acknowledged for her prowess in laya. She has worked intensely with Dr. Sowmya on thisproje ct to absorb and assimilate the nuances of emotive padam singing.
On the Violin is L Ramakrishnan, disciple of Vidushi Sangita Kalanidhi Designate A Kanyakumari. He was invited to be a part of this ensemble because of his special affinity for padams and the Brinda-Mukta style. M Rajeev, also a disciple of Vidushi A. Kanyakumari, is well known as a violinist. Today he performs as a Flautist, a lesser known side of his! Senior vidwan J Vaidyanathan, disciple of Sangita Kalanidhi Dr. T K Murthy, brings in his vast experience and sensitive percussion. On the Nattuvangam is Smt. Jayashree Ramanathan, also a senior disciple of the Dhananjayans.
A few special contributions – Renowned scholar Dr. Pappu Venugopala Rao for composing the Mangalam in praise of Kshetragna. Vocalist K Bharat Sundar for his svara korvais and musical inputs in some compositions. Sri. Keshav for the magnificent mural of Kshetragna and Muvvagopala, B Charles for the Lighting Design and Savitha Narasimhan for the aesthetic stage design. Today’s performance is a result of an artistic interaction, spirit and a shared intense passion for a deeply classical genre, to present a meaningful evening of music an dance.
ALL ARE WELCOME!
Why is this program unique?
bhAva anubhUti literally means an experience of emotions and an evening steeped in classicism. We present a unique music and dance ensemble featuring some of the finest artistic minds. For the first time ever Vidushi Dr. S Sowmya has set the music on which this entire project is based, bringing in her unique musical lineage as a disciple of Sangita Kalanidhi Dr. S. Ramanathan and Sangita Kala Acharya Smt T Mukta. The padams that form the core of this evening’s program were researched by Dr. Kanakam Devaguptapu, educationist and Telugu scholar. Smt. Divya Devaguptapu, senior disciple of The Dhananjayans, known for her strict classical lineage, mature choreography and a young exponent of abhinaya, has choreographed the padams. Leading the musical ensemble is Smt. K Gayatri, disciple of Vidushi Smt. Suguna Purushottaman. Gayatri is known for her adherence to classical pAThAntaram and is acknowledged for her prowess in laya. She has worked intensely with Dr. Sowmya on thisproje ct to absorb and assimilate the nuances of emotive padam singing.
On the Violin is L Ramakrishnan, disciple of Vidushi Sangita Kalanidhi Designate A Kanyakumari. He was invited to be a part of this ensemble because of his special affinity for padams and the Brinda-Mukta style. M Rajeev, also a disciple of Vidushi A. Kanyakumari, is well known as a violinist. Today he performs as a Flautist, a lesser known side of his! Senior vidwan J Vaidyanathan, disciple of Sangita Kalanidhi Dr. T K Murthy, brings in his vast experience and sensitive percussion. On the Nattuvangam is Smt. Jayashree Ramanathan, also a senior disciple of the Dhananjayans.
A few special contributions – Renowned scholar Dr. Pappu Venugopala Rao for composing the Mangalam in praise of Kshetragna. Vocalist K Bharat Sundar for his svara korvais and musical inputs in some compositions. Sri. Keshav for the magnificent mural of Kshetragna and Muvvagopala, B Charles for the Lighting Design and Savitha Narasimhan for the aesthetic stage design. Today’s performance is a result of an artistic interaction, spirit and a shared intense passion for a deeply classical genre, to present a meaningful evening of music an dance.
ALL ARE WELCOME!
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kvchellappa
- Posts: 3637
- Joined: 04 Aug 2011, 13:54
Re: Bhavanubhuti - rare padams of Kshetragna -Aug 5th
It is amazing how much work has gone behind what is offered free. The contribution by these artists for the art has to be archived for appreciation by posterity, which is likely to be lost sight of in the din that takes centre stage and robs credit for solid work being done quietly.
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thanjavooran
- Posts: 3058
- Joined: 03 Feb 2010, 04:44
Re: Bhavanubhuti - rare padams of Kshetragna -Aug 5th
A great initiative. Best wishess for the success of the function.
Thanjavooran
05 08 2016
Thanjavooran
05 08 2016
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arasi
- Posts: 16877
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Re: Bhavanubhuti - rare padams of Kshetragna -Aug 5th
Can't wait to read about this program from rasikas who were there...
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kvchellappa
- Posts: 3637
- Joined: 04 Aug 2011, 13:54
Re: Bhavanubhuti - rare padams of Kshetragna -Aug 5th
You can watch it on the web if the hour is not unearthly (9AM?). Possibly, it will be archived.
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the_ARTery
- Posts: 96
- Joined: 04 Dec 2011, 18:16
Re: Bhavanubhuti - rare padams of Kshetragna -Aug 5th
Notes on the poetry & music of padams to be performed tonight...
1. maguva tana kElikA
Ragam: Mohanam, Talam: Tisra Rupaka
Swarakorvai: Bharat Sundar
This bhakti laden padam portrays an event in Kshetragna’s life where he stayed away for the night in the temple of Varadaraja of Kanchi. After witnessing the ekAnta sEva (sending the divine consort into the bridal chamber with the Lord), he rested against one of the pillars in the temple. At dawn, Kshetragna had a vision of the divine consort Perundevi walking out of the bridal chamber and this inspired lyric was created. With deep devotion he sang thus, “There, the spouse divine emerges out, awakening amorous Varada of Kanchi and announcing day-break! With untwined garland of roses dropped from her braided hair, an intertwined necklace, with a haze of sleep hanging over her half closed eyes and a pair of entangled feet causing a faltering gait… She emerges. With exhaustion of fulfilled union, resting herself on shoulders of her maids on either side, she awakens the Supreme Soul Muvvagopala at day-break!”
The swara korvai specially composed for this piece by K Bharat Sundar, sets the soundscape over which the background of the padam is choreographed. Some interesting nadai changes have been incorporated to depict the various stages of the divine union.
2. yEmo teliyadO yEtuvalE unnAdo?
Ragam: Saveri, Talam: Misra Chapu
In this padam, Lord, Muvvagopala is away on a journey and the nAyika talks to her sakhi expressing her concern over his well being. A swIIya-proshitabhartrka nAyika (one deeply committed to her husband who is currently away on a journey) - she talks to her friend with deep concern: “I wonder how he is doing? I don’t know. Oh friend, do you think there is anyone who could bring me news of his well being? He is so loving and emotionally dependent on me. He never knew how to even sleep by himself and would spend the entire night on my bosom with me caressing him. I wonder which other woman can care for him the way I did? Alas, I am destined to be alone tonight!”
Musically, the raga Saveri as handled by the Dhanammal bAni is very unique and different. This approach has been incorporated into this padam.
3. aluka tIrEna?
Ragam: Saaranga, Taalam: Misra Chapu
sakhi parihAsam – the friend’s mirthful chatter is the situation in this padam. The heroine, a swIya-prouDha nayika. An interesting situation is portrayed here, one perhaps that all lovers experience – a pointless quarrel! The confidant meets her friend who has fought with Muvvagopala and hopes all is well again between them and urges her to drop her anger and petty difference. She inquires, “Has your mutual anger abated, at least today? Have you and Muvvagopala spoken to each other with love, my dear? I see your Lord sighing there and here you, tell me the truth has your anguish disappeared at least today? Drop your pride and make up!”
The interesting point to note about the music in this piece is the tempo in which the padam has been set. It is rare to hear sAranga in an intermediate tempo, however, the Dhanammal bAni does so. Here the padam has been set in an intermediate tempo in keeping with the bAni as well as to suit the mood of the lyric.
4. bottugattina vaanintikI pOyI vattunA
Ragam: Bhairavi, Taalam: Adi
Original Music Score: Dr. S. Sowmya
In this padam a parakIya-proUdha nAyika, is deeply in love with her paramour Muvvagopala, despite being wedded to another man. After spending a month at her parental home town with several rendezvous with her lover, it has now come time for her to leave to her husband’s town. Overcome with sorrow at the thought of parting with her lover and unsure of a future meeting occurring with him, she says, “How long can I stay in my parental home as a married woman, is it appropriate? Unfortunately, being in the in-laws home is the rule laid down for a married woman. I can be back in a month’s time for my sisters wedding or perhaps you can come visit my town as well? However, please do not forget our love in the meanwhile… I take your ring as a token of our love. I have to leave now to the home of my wedded husband, pray let me go….!”
This padam is an original music score as set by Dr. Sowmya. Her inspiration behind the musicality of this piece is the manodharmam as sung by Brinda-Mukta. Deeply inspired and keen to incorporate those phrases she as adapted the manodharmam of the bAni into a composition.
5. chakanayya yEmi
Ragam: Sourashtram Taalam: Tisra Triputa
Oh charming Lord! What services of worship shall I arrange for you?– says the nAyika.
This padam is interpreted two ways - One of a swIya-dhIra nayika, a faithful heroine who is fully aware of the wayward nature of her husband, yet behaves ignorant. She talks sarcastically, mocking him by saying, “Should I give you harathi to remove the curses of evil eyes? Should I arrange a bed of flowers so you can sleep in comfort? For cool perfume filled breeze, shall I fan you? Tell me oh Lord, what services shall I arrange to please you?” The padam can also be interpreted in the direct literary sense where a swIya-divya nayika(devoted wife) offers all comforts and charms of love to her charming Divine Lord Muvvagopala. A purely devotional lyric, presenting all activities as part of worship to a Deity. This padam is a fine example of Kshetragna’s poetic genius. It is also one of the few padams that explicitly states the true intent of Kshetragna as a composer – his unwavering devotion toward Lord Muvvagopala.
Since this is a part devotional lyric, the kaalapramanam has been set in one-kalai Triputa to suit the lyric. The sangatis used also are in line with the dual import of the lyric. Also generally given the limited scope of the ragam some prAchIna prayOgams (archaic phrases) of the ragam have been incorporated.
6. Tillana-Mangalam
Ragam – Madhyamavathi, Taalam – Rupakam
Lyrics: Dr. Pappu Venugopala Rao
Music Composition: Dr. S Sowmya
bhAvAnubhUti will conclude with a one of a kind Tillana-Mangalam in praise of Kshetragna – a tribute to the composer’s genius in musicality, natyam, shrigaram and most importantly – bhAvam. Musically, the lyrics of the mangalam are interwoven with sollukattu specially composed for this evening. The mangalam is a nivAli – tribute to Kshetragna, describing his padams as enchanting as the fragrance of flowers. A beautiful coming together of bhAvam - of rAga, tAla, bhakti and shringaram….!
1. maguva tana kElikA
Ragam: Mohanam, Talam: Tisra Rupaka
Swarakorvai: Bharat Sundar
This bhakti laden padam portrays an event in Kshetragna’s life where he stayed away for the night in the temple of Varadaraja of Kanchi. After witnessing the ekAnta sEva (sending the divine consort into the bridal chamber with the Lord), he rested against one of the pillars in the temple. At dawn, Kshetragna had a vision of the divine consort Perundevi walking out of the bridal chamber and this inspired lyric was created. With deep devotion he sang thus, “There, the spouse divine emerges out, awakening amorous Varada of Kanchi and announcing day-break! With untwined garland of roses dropped from her braided hair, an intertwined necklace, with a haze of sleep hanging over her half closed eyes and a pair of entangled feet causing a faltering gait… She emerges. With exhaustion of fulfilled union, resting herself on shoulders of her maids on either side, she awakens the Supreme Soul Muvvagopala at day-break!”
The swara korvai specially composed for this piece by K Bharat Sundar, sets the soundscape over which the background of the padam is choreographed. Some interesting nadai changes have been incorporated to depict the various stages of the divine union.
2. yEmo teliyadO yEtuvalE unnAdo?
Ragam: Saveri, Talam: Misra Chapu
In this padam, Lord, Muvvagopala is away on a journey and the nAyika talks to her sakhi expressing her concern over his well being. A swIIya-proshitabhartrka nAyika (one deeply committed to her husband who is currently away on a journey) - she talks to her friend with deep concern: “I wonder how he is doing? I don’t know. Oh friend, do you think there is anyone who could bring me news of his well being? He is so loving and emotionally dependent on me. He never knew how to even sleep by himself and would spend the entire night on my bosom with me caressing him. I wonder which other woman can care for him the way I did? Alas, I am destined to be alone tonight!”
Musically, the raga Saveri as handled by the Dhanammal bAni is very unique and different. This approach has been incorporated into this padam.
3. aluka tIrEna?
Ragam: Saaranga, Taalam: Misra Chapu
sakhi parihAsam – the friend’s mirthful chatter is the situation in this padam. The heroine, a swIya-prouDha nayika. An interesting situation is portrayed here, one perhaps that all lovers experience – a pointless quarrel! The confidant meets her friend who has fought with Muvvagopala and hopes all is well again between them and urges her to drop her anger and petty difference. She inquires, “Has your mutual anger abated, at least today? Have you and Muvvagopala spoken to each other with love, my dear? I see your Lord sighing there and here you, tell me the truth has your anguish disappeared at least today? Drop your pride and make up!”
The interesting point to note about the music in this piece is the tempo in which the padam has been set. It is rare to hear sAranga in an intermediate tempo, however, the Dhanammal bAni does so. Here the padam has been set in an intermediate tempo in keeping with the bAni as well as to suit the mood of the lyric.
4. bottugattina vaanintikI pOyI vattunA
Ragam: Bhairavi, Taalam: Adi
Original Music Score: Dr. S. Sowmya
In this padam a parakIya-proUdha nAyika, is deeply in love with her paramour Muvvagopala, despite being wedded to another man. After spending a month at her parental home town with several rendezvous with her lover, it has now come time for her to leave to her husband’s town. Overcome with sorrow at the thought of parting with her lover and unsure of a future meeting occurring with him, she says, “How long can I stay in my parental home as a married woman, is it appropriate? Unfortunately, being in the in-laws home is the rule laid down for a married woman. I can be back in a month’s time for my sisters wedding or perhaps you can come visit my town as well? However, please do not forget our love in the meanwhile… I take your ring as a token of our love. I have to leave now to the home of my wedded husband, pray let me go….!”
This padam is an original music score as set by Dr. Sowmya. Her inspiration behind the musicality of this piece is the manodharmam as sung by Brinda-Mukta. Deeply inspired and keen to incorporate those phrases she as adapted the manodharmam of the bAni into a composition.
5. chakanayya yEmi
Ragam: Sourashtram Taalam: Tisra Triputa
Oh charming Lord! What services of worship shall I arrange for you?– says the nAyika.
This padam is interpreted two ways - One of a swIya-dhIra nayika, a faithful heroine who is fully aware of the wayward nature of her husband, yet behaves ignorant. She talks sarcastically, mocking him by saying, “Should I give you harathi to remove the curses of evil eyes? Should I arrange a bed of flowers so you can sleep in comfort? For cool perfume filled breeze, shall I fan you? Tell me oh Lord, what services shall I arrange to please you?” The padam can also be interpreted in the direct literary sense where a swIya-divya nayika(devoted wife) offers all comforts and charms of love to her charming Divine Lord Muvvagopala. A purely devotional lyric, presenting all activities as part of worship to a Deity. This padam is a fine example of Kshetragna’s poetic genius. It is also one of the few padams that explicitly states the true intent of Kshetragna as a composer – his unwavering devotion toward Lord Muvvagopala.
Since this is a part devotional lyric, the kaalapramanam has been set in one-kalai Triputa to suit the lyric. The sangatis used also are in line with the dual import of the lyric. Also generally given the limited scope of the ragam some prAchIna prayOgams (archaic phrases) of the ragam have been incorporated.
6. Tillana-Mangalam
Ragam – Madhyamavathi, Taalam – Rupakam
Lyrics: Dr. Pappu Venugopala Rao
Music Composition: Dr. S Sowmya
bhAvAnubhUti will conclude with a one of a kind Tillana-Mangalam in praise of Kshetragna – a tribute to the composer’s genius in musicality, natyam, shrigaram and most importantly – bhAvam. Musically, the lyrics of the mangalam are interwoven with sollukattu specially composed for this evening. The mangalam is a nivAli – tribute to Kshetragna, describing his padams as enchanting as the fragrance of flowers. A beautiful coming together of bhAvam - of rAga, tAla, bhakti and shringaram….!
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keerthi
- Posts: 1309
- Joined: 12 Oct 2008, 14:10
Re: Bhavanubhuti - rare padams of Kshetragna -Aug 5th
The padams Emo teliyadu [aka Saveri bhAmaro] and boTTu gaTTina were already part of Balasarasvati's [also Viswa's] repertoire, though I am not certain if she inherited them from Dhanammal or Kandappa Pillai. Similarly, maguva tana kelikA was very popular in Andhra and Karnataka, and there is already a famous(?) varNameTTu for it in the jhampa tAla setup.
Best wishes for the programme.
Best wishes for the programme.
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rshankar
- Posts: 13754
- Joined: 02 Feb 2010, 22:26
Re: Bhavanubhuti - rare padams of Kshetragna -Aug 5th
I do hope it was archived - the streaming was so interrupted that it wasn't even a stream - more like a trickle now and then! 
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sureshvv
- Posts: 5542
- Joined: 05 Jul 2007, 18:17
Re: Bhavanubhuti - rare padams of Kshetragna -Aug 5th
Amazing program. Lot of novelty & creativity and still solid carnatic music. Had never witnessed dance to alapana or tanam & it was a wonderful experience - left me wondering about what was spontaneous & what was rehearsed. K. Gayathri was superb as were L.Ramakrishnan & JV on mrdangam. Mrdangam nadam was mesmerizing all the way.
Don't miss it when it is featured again.
Don't miss it when it is featured again.
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the_ARTery
- Posts: 96
- Joined: 04 Dec 2011, 18:16
Re: Bhavanubhuti - rare padams of Kshetragna -Aug 5th
Thanks for the great response to the program and apologies to some overseas viewers who seem to have encountered problems with the webcast. The full video has been restored on the website now, pls do tune in to www.theartery.in and enjoy the program once again!
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vilomachapu
- Posts: 81
- Joined: 06 Jan 2016, 17:20
Re: Bhavanubhuti - rare padams of Kshetragna -Aug 5th
What is unique and different about the handling of Saveri in the Dhanammal bANi?Musically, the raga Saveri as handled by the Dhanammal bAni is very unique and different. This approach has been incorporated into this padam
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sureshvv
- Posts: 5542
- Joined: 05 Jul 2007, 18:17
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the_ARTery
- Posts: 96
- Joined: 04 Dec 2011, 18:16
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vanajan
- Posts: 60
- Joined: 01 Jan 2019, 21:13
Re: Bhavanubhuti - rare padams of Kshetragna -Aug 5th
Unfortunately, I didn't get a chance to view/listen to the program fully (just listened to the first few minutes) last week. I don't see it on the website anymore, the direct YT link https://www.youtube.com/watch?v=1PqmZFH6TRU is defunct. Is it possible to restore the link?the_ARTery wrote:Thanks for the great response to the program and apologies to some overseas viewers who seem to have encountered problems with the webcast. The full video has been restored on the website now, pls do tune in to www.theartery.in and enjoy the program once again!
Thanks,
Vanaja