ANUBHAV FESTIVAL- MUDHRA- 4 JAN-8 JAN 2017

[CRama]

Mudhra has proved over the years that it is not just another sabha to provide music concerts aimed at getting maximum gate collection. They have always aimed at moulding a knowledgeable rasika community, educating the rasikas of the various nuances of our rich music so that their rasikatva will be enhanced. Their Music Appreciations programmes, Laya Samudra which was featured in Podhigai TV, and the on going Sangeeta Sourabha programmes are their initiatives in this direction. Today the challenge we face is the diminishing number of listeners for CM concerts except for a few stars. It is deeply paining when we see most of the chairs empty in many concerts during the season. This Anubhav Festival titled VADYA AUBHAVAM is another sincere and well drafted and conducted initiative and as a participant I have immensely benefitted from the various lec dems. That prompted me to make this post.

When we talk about audience indifference, instrumental music is all the more at the receiving end. Most of the concerts draw very little audience. One reason could be the ignorance of the important nuances behind playing the instrument. With this objective, Mudhra has conceived this programme and arranged lec dems by experts on various instruments daily from 6.30 to 9 P.M. Dr. Sriram Parasuram and Dr.Radha Bhaskar were the Chair persons.The details of the programmes are given below.

4/1/17- Dr. Jayanthi Kumaresh- Veena
5/1/17-Dr. Sriram Parasuram-Violin
6/1/17-Tiruvarur Vaidyanathan-Mridangam
G.Abhilash-Vocal support
7/1/17- Tanjavur R,Govindarajan-Tavil and
Vyasarpadi Kodandaraman-Nagaswaram
8/1/17-10.00A.M to 2.00P.M
Palakkad Sreeram-Flute
B.S Purushothaman-Ganjira
Dr.S.Karthik- Ghatam
N.Sundar-Morsing
B.Sivaraman-Mridangam support
Madurai Sivaganesh-Vocal support
Anayampatti Venkatasubramaniam-Violin support

The following aspects were covered in the lec dems
• Evolution of the instrument
• Making of the instrument- Films wherever available
• Types of the instrument
• Legendary players of the instrument
• Various styles of playing
• Nuances of playing-Swarasthanam, Sruti,
• Aesthetics of the particular instrument
• Method of accompanying for kriti, neraval, swarams
• Playing for different genres
• Demonstration by playing
• Challenges for the players

The programme was inaugurated by Sri. S.R.Janakiraman. One important point told by all the speakers. As an accompanist, our role should be clearly understood. Our aim should be to embellish the concert and not to show our superiority or expertise. BSP told that The Ganjira vidwan normally plays for the violinist. So he should understand the mind of not only vocalist, but also the violinist and play suitably. When to join in the song, when to remain silent, what should be the volume level at various times, these are very crucial things which one should understand and perform with sensitivity.

All the resource persons, being experts in their respective field, communicated the above points admirably and clearly for the lay man to understand. There was a question answer session at the end. The Chair persons sat through the full session, consolidated and gave their concluding remarks many times with some value addition. Today, 8/1/17, it was over by 2 PM and all were treated with good lunch appropriate for Vaikunta Ekadasi day, I am very happy to say that there was very good attendance on all the days- which included many musicians. This much attendance is not seen in many music concerts.

Thanks to the Experts, Mudhra and their Sponsors. These programmes will be webcast in Paalam tv soon. Don’t miss to watch them.

[kvchellappa]

A good cause, a good organiser and a good report.
Happy that the 'pakka' aspect of pakkavadyam has been stressed.

[CRama]

I did not take any notes during the programme. Now certain points come to my memory.

Jayanthi Kumaresh. Once as a young girl, she was playing a concert along with Dr. S.Balachandar. Before starting the concert, SB asked her what shall we play. JK replied we will play Navaragamalika varnam. SB started with alapana of nine ragams, tanam in all the ragams, varnam in two speeds, kalpana swarams in nine ragams for pada saroja. The entire concert there was only one piece- this varnam.

SB made so many indigenous changes to his veena. It was so heavy that only he can carry it. He will not permit anybody else to carry his veena.

Tanjavur Govindarajan. The tavil is a laya vadyam. We cannot tune it to any particular sruti. But we play it with all instruments like violin, mandolin, saxophone, Chitraveena etc. It has got inate capacity to blend with any sruti. It depends on the aesthetic sense and intelligence of the player to play along with any instrument.

Vyasarpadi Kodandaraman (To my question). The Nadaswara Vidwan will adapt himself to play suitably in the open air temple festivals, marriage halls with intermittent stops, sabhas in the company of Mridangam, Ghatam. There will not be any restriction on his manodharmam.

Mallaris are in different talams, nadais. But only in Gambheera nata.

Dr.S.Karthik. Ghatam cannot be tuned to any particular sruti. So they will have many ghatams hich are tuned to various srutis. They will talk with the main vidwan and take the suitable ghatam.

While playing in ensembles, some times they use contact mike also for ghatam.

B.S.Purushothaman- He studied Mridangam for 15 years. Later on switched to Ganjira.

[CRama]

Vidwan Srimushnam Raja Rao attended on Saturday.

[sureshvv]

B.S.Purushothaman- He studied Mridangam for 15 years. Later on switched to Ghatam.

You meant kanjira.

[CRama]

Yes. Now corrected.