Suryaprakash's concert held on 6th Nov @ Naradha Gana Sabha

VISHNURAMPRASAD · Post by **VISHNURAMPRASAD** » 12 Nov 2007, 12:50

CONCERT HELD ON 6TH OF NOVEMBER AT NARADA GANA SABHA FOR CARNATICA

Sri Suryaprakash - Vocal
Sri Nagai Sriram - Violin
Sri Srimushnam Raja Rao - Mridangam
Sri E.M.Subramaniam - Ghatam

A short synopsis about Surya's Style of singing.

1. Strong Sruthi Orientation (thanks to the school that he belongs to)
2. Unusual voice - A high pitched voice capable of reminding the old era of musicians.
3. Sensitive to Sahitya(he has learnt sahityas from many sources, thereby has a very sensitive and careful approach to enunciation of sahitya)
4. Enthusiastic Swara singing (like his guru and parama guru, he has a natural comfort zone with respect to swara singing)
5. His Raga Alapanas are original and devoid of patches of sangathis, it is highly mood oriented.
6. Neraval style. Has imbibed the sahitya oriented neraval techniques of Mani Iyer, who never wanted to sing an alapana during neravals. He used to use the neraval phrase and bring the essence of the ragas with subtle swara patterns (asakkals and odhukkals)

Some Pitfalls that one may come across :

1. His unusually high pitched voice is not giving room for singing lot of krithis in the lower octaves (like bhairavi swarajathi). Even MMI had to wait for 2 decades before he started singing krithis and alapana in the lower octaves.
2. His natural flow in swara singing can sometimes remind the rasika of his guru's phrases and may sound repititive. He can ammend this with little more laya (kanakku) orientation.
3. kalapramanam or tempo of singing is varied to his mood and frame of mind. Unlike his mentors, who always have a predetermined and prepared speed for each krithi, this vidwan has a little difficulty in settling down with the speed of krithis.
4. His Neravals can have little more quick cuts and turns like say, Shri. KVN's to make it more interesting.
5. His Mood oriented presentation makes his style flamboyant. He has to firmly establish his style of presenting the concert. Perhaps, it might be because of lack of Freedom due to many short duration concerts that he normally get in the city.

About the concert

Sambo mahadeva,

preceding this with a short sloka (vakrathunda) the vidwan settled down with Pantuvarali and started the krithi with the same flow. The krithi reminded this listener of sri vembu iyer, who used to sing this at home during pooja with great devotion. One could find sincerity in his sahithya pronounciation, the words thava paada bhakthim dehi came out very clear unlike many other versions from various vidwans. Many of them tend to sing paramadayaa kara mrigadhara like a pallavi but splitting them like para madaya... kara mriga dhara etc. etc. This vidwan was very careful with the phrases. The swaras came in a good flow, but he just curbed it short. May be a part of his plan. As a whole the krithi was well recieved.

The accompanists sincerely gave a wholesome effect to this krithi though the volume of the violin and mridangam was little higher than the singer.

Neeve Nannu

What to say about this wonderful durbar krithi on Meenakshi. TVS used to sing this with lots of emotion during his younger days. The vidwan captured all the thematic beauty of the krithi and presented it very well in an unhurried pace.

Manavyaala

His kalapramana to this krithi was influenced by the tempo of the previous krithis. He wanted to give a fast phase Manavyala and succeeded well in giving all the popular shades of this raga. As expected the swaras were neatly rendered and Shri Raja Rao anticipated all the sangathis and responded with great enthusiasm. The present day violinsts are adept in handling this raga and Sriram also filled the bill with his responses in swaras, but somehow he could not manage with the tempo of the singer in his final ensemble of swaras.

Vijayambike

What a wonderful krithi is this! It speaks volume about shri Harikesanallur Muthiah Bhagavathar's bhakthi and sangeetha vidwat. Alas this krithi is not being chosen by many other vidwans, perhaps it must have got drowned in Kuzhalosai ketkudhamma and other Vaali's songs!!!(that is the destiny of good music).

The raga alapana was well structured with a suggestive start. The violinist took time to recognise the raga (as expected!, who else is singing this raga?). The singer developed the raga with his original manodharma and his experiments in thara sthayi were replete with emotion. This listener would urge him to take up this raga more frequently to bring out all the facets of this wonderful raga.

The krithi was rendered in the phase that exactly suited to the mood and sahithya. Perhaps he must have listened to the great Mani Iyer who used to sing this krithi with great devotion to his guru. The sharanam of the krithi explains the various aspects of music (sruthi swara graama moorchaana alankara). The words sangeetha roopini aptly has an end at the thaara shadjamam to give room for eloboration. The vidwan enjoyed singing the phrase with the tricky but simple laya formation Sangeetha roopini (starts as geetha roopini at 1 1/2 maatra from Samam). The violinst at first struggled and Shri Raja Rao came to his rescue by playing the rythmic phrase of Sang..geetha roopini. The singer just eloborated this phrase for a short neraval (perhaps he did not want to trouble the violinst more) and went on singing swaras for geetha roopini and sangeetha roopini. This was a good innovation and a welcoming one, came as an extempore display of his vidwat. He sang the swaras without disturbing the main mood of the composition (while many of the other vidwans try to excersice more on laya without bothering about the mood of the krithi). The swara phrase had Sa dhaa.. sangeetha roopini(sadaa sangeetha roopini), another innovative swara sahithya phrase invented on the spot by the vidwan, was well appreciated by the Mridanga Vidwan.

Next came Sarojadala netri....

What to say about this kriti, a monumental piece of Shri Shyama Sastri. The vidwan built the raga with his own imaginations and had all the suggestive phrases well rendered. I wonder, why this Vidwan is still being treated as a sub-senior (sometimes junior!!??!) musician, after having a service of more than 15 years. The shankarabharanam alapanai was nothing less in comparison to many great vidwans of the present years, and infact it had some nostalgic magical phrases as well... I really dont what he should prove more in music to get a well deserved senior musician status. I should also take this opportunity to give my observations about the way the musicians are treated by the organisers especially with respect to mike adjustments. The next concert was that of Nityashree, and I was pretty sure that the volume of the singer's mike must have been made higher. She already has a high pitched voice but that does'nt matter. When somebody sings on a senior slot, they are given the freedom of having the mike volume controls within their whims. Our Vidwan had to come closer to the mike and sing certain sangathis to make his voice heard to the listeners (after the noise of the violin and mridangam, which had a bit higher volume). I have been continously observing this. This is very sad that the singer does not have the freedom of controlling the volume. I wonder when this partial treatment stops and when these deserving vidwans sing without worrying about the accoustics. The other sad part is the time slot. Suryaprakash after singing a very well rendered krithi had to hurry up without taking up neraval to give time for senior vidwan Rajarao to play his thani Avarthanam along with Ghatam vidwan EMSubramaniam. The swara rendering thus became just a formality and he had to rush up the whole thing to give the 20 mts for Accomp anists. The problem here is when the vidwan is senior and reputed you have to pay this price, but Surya just had 1 hr. & 50 mts. time for the whole concert. Had he got another 30 - 40 mts more, he could have done a great job with Shankarabharanam, as he already rendered a wonderful alapana and was all set for a grand neraval and swaras.

After the thani Avarthanam (a typical raja rao ensemble, with all his regular thisram, misra nadais, almost often heard stuff). However his mohra korvai was quite interesting.

The vidwan surprisingly went on to sing a cameo rtp in the raga revathi...

the beauty here is it was unhurried and he did not show any sign of nervousness of the short time. The violinst's reply was apt and upto the mark. The present day violinists are somehow are good in playing these ragas than the grand old shankarabharanam or kambhoji or thodi or bhairavi,.

The pallavi was Mamava sadaa janani.... Maanenee (swaraakshara).. shri maathangi. The pallavi had all the scope for Anuloma and Prathiloma though the vidwan had to choose between time and this excersise. He better chose the happy go sarvalaghu way of demostrating this pallavi, though I have heard him singing anuloma and prathiloma in his other pallavi renditions. This pallavi was somehow reminding his mentor Shri TVS, who was well known for such cameos. Then came the ragamalika which was again an innovation (out of the main stream, where the singers used to either sing ghana raga panchagam or some stuff like that, or our kanada, hamsanandhi by shri TVS). Starting from Aadhara Shadjam to Upper Shadjam keeping each swara as the base swara, the vidwan explored one raga, each in one avarthana. Starting with Revathi for Shadjam, Shri (rishabham), Behag (gandharam), Hindolam (madhyamam), Mohanam (panchamam), Vachaspathi (dhaivatham) (though theviolinist rather opted to play it as Hemavathi), Shanmukhapriya (nishaadham).

This was a welcoming innovation and he can surely build this on for this season. The singer was very comfortable in the raga switches, but one could expect the violinist to enhance the ragamalika rendering to give a complete effect which was missing that day. The ragas were chosen very aptly for each swara sanchara. The mridanga vidwan came out with a very short thani to make the pallavi a wholesome piece.

The vidwan was allowed upon request to sing one more song and he sang a short virutham in brindavani and followed it up by a very well rendered Rama Mantrava Japiso...

One could find the energy of the singer sprucing up as the concert went on.. his thara sthayi rishabham halt sounded like "sanganaadam" which stunned all the accompanying artists to silence for sometime...... but alas..... he is still considered as a subsenior artist when he is capable of offering a full course musical delight like many senior vidwans for hours together. While many other younger artists whether they deserve or otherwise.. occupy senior slot much early in their career... Only time should answer this mysterious question why!.

As a whole, this writer would like to appreciate the vidwan for such a satisfying concert with all the constraints behind. He needs more encouragement like that of Anjaneya who does not know the power within himself. Suryaprakash can offer many more years of soulful music, let god bless him in the coming years with better timeslots and his deserving seniorship.

The above review is just a personal view from a rasika's point of view and if the review is found to be of bad taste, I sincerely apologise the reader for it and I welcome all suggestions to improve my thinking and writing. Namaskarams.

mahesh3 · Post by **mahesh3** » 12 Nov 2007, 19:55

Sri Vishnuramprasadji,

Thanks for the review. Nice to see you write again after so many days....absolutely agree with you that Suryaprakash is a senior in his musicianship. His rasikas concert earlier this year was also fantastic....hope to hear more from you during the season.

vgvindan · Post by **vgvindan** » 12 Nov 2007, 21:56

Manavyaala

This Thyagaraja kRti is available with Word-by-word meaning at http://thyagaraja.sulekha.com/blog/post ... avam-7.htm

To render this kRti as 'manavyAlakinca' is wrong.

arasi · Post by **arasi** » 13 Nov 2007, 09:52

Vishnuramprasad,
Mahesh3 is right. Your reviews may be rare but they are always refreshing. Apart from the review, your analysis about Suryaprakash's talent is spot on. The curse of the mini concert has been his lot long enough.
I wish the sabhas would start giving him major slots and see for themselves that this highly imaginative singer can sing with abandon without being affected by the strain of hurrying through the format of a concert. At least, as an experiment, the sabhas can give him three hour slots and see what happens. Some young singers of half his talents are given these slots and I wonder what the organizers see in them which they don't recognize in Suryaprakash. Composers look for bhAvam and clarity in a singer. He has both. What's more, he has a love for languages and can express himself very well in the written word too...
I have a feeling nidAnam would naturally set in for the pieces which demand it when he doesn't have to hurry through his repertoire as if he has to catch a train....

Vishnuramprasad,
Seems as though you reviewers are all warming up for the season. Hope the rasikAs have a feast of what you all have to offer...

vijay · Post by **vijay** » 13 Nov 2007, 10:30

Vishnu...excellent insights. Please keep them coming in!

VISHNURAMPRASAD · Post by **VISHNURAMPRASAD** » 13 Nov 2007, 11:31

Dear VGvindan,

Yes i have heard about Manavinaalakincharaa... KJYesudas used to sing that way. I wonder if Manayvaala is "Wrong" by meaning then why many Vidwans are still singing that way. I have 3-4 books of Thyagaraja Krithis and one of them is as old as 1917. The krithi starts with "Manavyala" in that book. To my wonder great musicians like MSS, MVI, MVS, Nedunuri, Neyveli, TRS, have all sung "Manavyaalakincha" and Not Manavinaalakincha. The beauty here is MSS/Nedunuri, are known for their Sahitya clarity. If there is a mistake in the meaning of the word Manavyaala they would not have sung that way.

Hope We get more clarity on why "Mana Vinaalakincha" and not "Manavyaalakincha"

Regards,
Vishnu.

VISHNURAMPRASAD · Post by **VISHNURAMPRASAD** » 13 Nov 2007, 11:36

Dear Arasi Madam, Mahesh and Vijay,

Many thanks for your feedbacks. I feel like attending more concerts and write about them

Namaskarams.

Vishnu

rajeshnat · Post by **rajeshnat** » 13 Nov 2007, 12:20

Vishnu,
Nice to see a review from you after a long sabbattical, I really liked your writing more looking at a big picture of SuryaprakAsh . To me SuryaprakAsh he has got lot of plus points , just trying to add my few cents to some pitfalls that u had mentioned . Please write a lot more with every concert you attend of every artist. Just replying to yours

VISHNURAMPRASAD wrote:Some Pitfalls that one may come across :
1. His unusually high pitched voice is not giving room for singing lot of krithis in the lower octaves (like bhairavi swarajathi). Even MMI had to wait for 2 decades before he started singing krithis and alapana in the lower octaves.

Rajesh Opinion: Bhairavi swarajati requires a continous gamakam more suited to a style of SSI,MMI's style is more chiseled , I am not sure if you have given a right example , but I have heard few rAgas like dhanyAsi where SuryaprakAsh has rendered but certainly his love for higher octave is so high when compared to lower octave. He can work on what you said. To me he is more a high pitch slog over batsman(he needs to get promoted to opening order) and he is not a bowler, may be he is rounding up as an allrounder. I am atleast conditioned not to expect everything from everyone.

VISHNURAMPRASAD wrote:2. His natural flow in swara singing can sometimes remind the rasika of his guru's phrases and may sound repititive. He can ammend this with little more laya (kanakku) orientation.

Rajesh Opinion: His sarvalaghu does have a overlap and I am not sure if it is repetitive or is repetition inevitable. Looks like mmi bAni just conditions in us to think it is repetitive. There are few concerts where I have listened to his KAnaDA where the sarvalaghu patterns are unique, his sarvalaghu in his early hamsadhwani drop is almost everytime unique. But certainly he should not go in for kanakku orientation as you had suggested ,that will be counter productive to sarvalaghu. But I have noticed when he takes a rAgamAliga swaras there is always onspot manOdharmam, as you have mentioned not always the usual kAnaDA ,ranjani. We have to forget both his guru and his parama guru , well I guess that is the only way out. Impossible for me but easy to advice others

VISHNURAMPRASAD wrote:3. kalapramanam or tempo of singing is varied to his mood and frame of mind. Unlike his mentors, who always have a predetermined and prepared speed for each krithi, this vidwan has a little difficulty in settling down with the speed of krithis.

Rajesh Opinion: His speed or kalApramAnam is varied , sometimes if he does not get a good accompanist that particular krithi gets a bit screwed up , but sometimes it is dazzling.

VISHNURAMPRASAD wrote:4. His Neravals can have little more quick cuts and turns like say, Shri. KVN's to make it more interesting.

Rajesh Opinion: I agree with you overwhelmingly here, perhaps only correction is the way you wrote. I thought Shri KVN was taking all cuts very measured (not quick cuts) and stepping up his tempo and range of manOdharmam , kind of slowly and steadily letting out all the tricks out of his neraval bag.That is neraval nArayanaswami , an all time great. Will any musician make it to the league of neraval nArayanaswami, I will keep my fingers crossed. But whereas SuryaprakAsh is more quick in his turns and sometimes creates a feeling that it can be less interesting .At a high level nereval turns needs extraordinary percussion support just as how a pAlakkAd raghu was born for KVN.

VISHNURAMPRASAD wrote:5. His Mood oriented presentation makes his style flamboyant. He has to firmly establish his style of presenting the concert. Perhaps, it might be because of lack of Freedom due to many short duration concerts that he normally get in the city.

Rajesh Opinion :Time is the key as you said .

I would personally add one more pitfall

6. His exuberance has to stay within the limits of the accompanist calibre, especially he has to really understand the accompanist . Sometimes I feel he gets too carried away where the accompanist (especially mridangist) just donot cope up with his speed. I see he is learning more and more here but I think he has to cut short his niagra falls exuberance at times , but best of times it is great . Only God knows what is the best of times ??

vgvindan · Post by **vgvindan** » 13 Nov 2007, 20:27

To my wonder great musicians like MSS, MVI, MVS, Nedunuri, Neyveli, TRS, have all sung "Manavyaalakincha" and Not Manavinaalakincha. The beauty here is MSS/Nedunuri, are known for their Sahitya clarity. If there is a mistake in the meaning of the word Manavyaala they would not have sung that way.

vrp,
Kindly refer to http://www.rasikas.org/forums/viewtopic.php?id=964&p=2 Post #37 wherein I have discussed the kRti 'rAma nannu brOva rAvEmakO', which is sung wrongly by MS. Similarly, I have heard Telugu musicians singing some Thyagaraja Kritis wrongly.

In one of the threads in this forum, the following comments were made by a musician.

i personally feel that first and foremost the emphasis _must_ be the musical and poetic prAsa which should come out faultlessly. the lyrical beauty should come next strictly _within_ the musical framework. i think a keerthana is not the place to enhance the lyrical aspect - we have poetry where the words are after all the _only_ focus.

Music is the language of bhAva. Musicians have to understand that music has to subserve bhAva. Till that happens, filmi ishtyle tailoring of words to tune will continue.

arunk · Post by **arunk** » 13 Nov 2007, 20:37

vgv,

As per Brown dictionary (http://dsal.uchicago.edu/cgi-bin/romadi ... lay=simple - see last entry) "manavi" means appeal/request. So here does the "ni" suffix required as a grammatical construct (i.e when combined with Alakinca) - I am presuming so as that seems to be the logical explanation. I see from other sources, that suffix is used for genitive/possessive case (e.g. see http://en.wikipedia.org/wiki/Telugu_language)? If so, does colloquial/dilect variation allow for it be omitted - particularly in poetry? I ask again only because I would not think musicians like neduniri would sing it that way if it is blatantly wrong.

Pl. clarify.
Arun

bhaktha · Post by **bhaktha** » 13 Nov 2007, 20:44

vgvindan sir,
I have always loved reading your posts and have utmost regard for your opinions and thoughts. But the following is just one thought of mine that' sbeen lingering for long without an answer:
I have heard a leading vidwan (whom I respect very much!!) mention that it is not wrong to split words incorrectly AT TIMES, in order to maintain the prAsam, the talam and the aesthetic beauty of the song. He went on to say that otherwise Thyagaraja Swamy himself would not have allowed the eduppu and edam to be in that particular fashion, if he had so desired that the lyrics should not be split up. For example, in rAma nannu brOva, if one were to spilt the words correctly, one would have to truncate at brOva and the usual host of sangatIs that are sung would all have to be sacrificed. Also, if a musician were to actually split the words correctly, then his/her rendition of the song might sound very odd, as against the conventional renditions (though, this is no way justifies the incorrect splitting of words by others!!).
Now is there a way in which one can maintain the aesthetic beauty of the song (singing it in a similar manner that is considered conventional) and at the same time not compromise on the lyrics? This is an open-ended question and I think we have had many discussions before on the same. But any PRACTICAL SOLUTIONS?
-bhaktha

arunk · Post by **arunk** » 13 Nov 2007, 20:46

So if manasA - manivini Alakinca rAdaTE ... => Oh Mind, wont you listen to my appeal ...
mansA - manavi Alakinca => Oh Mind, wont you listen to (my/the) appeal => where my/that is implied since mind already refers to one's own mind here

PS: I have no clue about grammar, and telugu grammar on top of that! So this is just conjecture. Again, I would be surprised if telugu people themselves would make a blatant error - I would look more carefully to see if this is sanctioned in poetry form.

vgvindan · Post by **vgvindan** » 13 Nov 2007, 21:06

arun,

The wordings are manavi-ni + Alakincu - meaning 'Please listen to my appeal. Here 'ni' is not sandhi. It is declension.

'manavi' (noun)- Tamil equivalent - 'vENDugOL'

We do not say 'vENDugOL ErpAi' - but 'vENDugOLai ErpAi' or 'vENDugOLinai ErpAi'.

Similarly - we do not say 'manavi Alakincu' but 'manavi-ni Alakincu'.

Assuming that it is permissible to say 'manavi Alakincu'. Then it will be joined as 'manavi-n-Alakincu' where 'n' is the sandhi. Alternatively, manaviyAlakincu' - where 'y' is sandhi - I doubt whether 'y' sandhi is permitted in such cases.

It is never joined as 'manav-y-Alakincu'. The vowel 'i' after 'v' - 'vi' should be there before sandhi.

Leaving aside these explanations, I have referred to four books - TK Govinda Rao, Spiritual Heritage of Tyagaraja, Tamil book of TSV/AKG and Telugu book 'Adi Tyagaraja Kirthanams' by KV Srinivasa Iyengar. It is mentioned as 'manavinAlakinca' in all the books. However, in the book of TKG, 'manavyAla' and 'manavAla' as alternatives.

arunk · Post by **arunk** » 13 Nov 2007, 21:18

vgvindan wrote:'manavi' (noun)- Tamil equivalent - 'vENDugOL'

We do not say 'vENDugOL ErpAi' - but 'vENDugOLai ErpAi' or 'vENDugOLinai ErpAi'.

Yes - this is what they meant by genitive/possessive. Although I do think ivENDUgOL ErpAi while as per strict grammar may be wrong, does conveys the meaning to me atleast in the tamil context. But that does not mean it would be sanctioned in literature or poetry!. I have no idea and dont want to claim so. There are many things in colloquial which may be wrong from a literary usage. And of course, there are probably more things that may seem right to me, but would be illegal

Like I said - I am certainly no grammar expert. But there are also things in poetry which forego use grammatical constructs not present in prose or speech I think.

I do defer to all your points just that I was, and would still be very surprised if it is a blatant error and musicians from Andhra would sing it that way. I mean it seems very obvious (that even I, a zero in telugu figured it out). I would still investigate it from a colloquial angle. Note that this does not mean the original is that way - just that it is a morph of the original (as TKG's book was perhaps trying to convey), perhaps a colloquial morph, but still acceptable in communicating the idea

Arun

vgvindan · Post by **vgvindan** » 13 Nov 2007, 21:24

bhakta,
Have you ever heard Sri Lok Nath Sarma render Thyagaraja Kriti 'sundari nI divya rUpa' in Kalyani - as also other kRtis? You will realise how the svara could be 'bent' to accommodate smooth flow of lyrics.

Problems come when we look for sangatis where there are none. In the kriti 'rAma nannu brOva rAvEmakO' - 'rAma nannu brOva' is not a sangati. Who created it? In case of MS, at least she sings as 'vEmakO' after the 'sangati' 'rAma nannu brOva'. But other musicians, who did not understand what this 'vEmakO' means, have changed it as 'prEmatO'. So some schools sing the kRti as 'rAmA nannu brOvarA prEmatO'. Can there be better example of absurdity?

Kindly refer to the kRti 'graha balamEmi' also - in this kRti, musicians have created absurd sangati in the pallavi twisting the whole meaning.

sbala · Post by **sbala** » 13 Nov 2007, 21:49

vgvindan sir,
You are amazing. Maybe, you should give us a small lecdem during one of the upcoming concerts along with recordings of the right and the wrong versions. That might help some of us improve our sahitya appreciation skills.

arunk · Post by **arunk** » 14 Nov 2007, 20:44

vgvindan wrote:Assuming that it is permissible to say 'manavi Alakincu'. Then it will be joined as 'manavi-n-Alakincu' where 'n' is the sandhi.

It is never joined as 'manav-y-Alakincu'. The vowel 'i' after 'v' - 'vi' should be there before sandhi.

Leaving aside these explanations, I have referred to four books - TK Govinda Rao, Spiritual Heritage of Tyagaraja, Tamil book of TSV/AKG and Telugu book 'Adi Tyagaraja Kirthanams' by KV Srinivasa Iyengar. It is mentioned as 'manavinAlakinca' in all the books. However, in the book of TKG, 'manavyAla' and 'manavAla' as alternatives.

Btw, this also agrees with how it is given in 2 of the books I have. One by T.S. Parthasarathy (tamizh), and another one by R.K. Srikantan (english, tamizh, sanskrit). In both it is given as manavinAlakincu - which I think is meant to imply manivi-n-Alakincu (?right?)

My book of KV Srinivasa Iyengar's Adi Tyagaraja Kirthanams is in tamizh (second edition), and it gives manaviyAkimparAdaTE.

Arun

vgvindan · Post by **vgvindan** » 14 Nov 2007, 21:17

arun,
'manavinAlakincu' would be split as 'manavini - Alakincu'; However, assuming, the word is 'manavi' (and not 'manavini'), then, it will be split as 'manavi + Alakincu' with 'n' as sandhi.

arunk · Post by **arunk** » 14 Nov 2007, 21:25

thanks vgv - I think I get the difference now.

Arun

Suji Ram · Post by **Suji Ram** » 15 Nov 2007, 00:10

I have a feeling that "y" is colloquial indeed. I remember this incident with a small kid (telugu speaking) in the neighbourhood. I ask her to recite A for apple, B for Boy...etc and when she came to "Y" she said Yapple!

So cute and so sweet indeed!!

rajeshnat · Post by **rajeshnat** » 15 Nov 2007, 18:18

I am told this concert is released as a vcd by carnaitca. Would be nice atleast to hear the rtp swara rAgamAliga

vgvindan · Post by **vgvindan** » 17 Nov 2007, 09:40

Further to my post (#15).
Those who had the privilege of participating the akhanda bhajana conducted by Pudukkottai (Late) Sri Gopalakrishana Bhagavathar would know what soulful music means. Those 'pure music lovers' would dismiss this as 'bhajan music'.

In Srimad Bhagavatam, Narada tell Suka Brahma that he got the knowledge of music through bhakti. 'bhaktim kim na karOti?'

The 'viDemu sEyavE' rendered by Swami Haridoss Giri is so scintillating that it can be enjoyed only by those who have the mano-bhAva. I am yet to hear any such rendering by CM musicians.

VISHNURAMPRASAD · Post by **VISHNURAMPRASAD** » 19 Nov 2007, 12:59

Dear Vgvindan sir,

Have you come across any recordings of Shri Pudukottai Bhagavathar? I possess a photo of shri bhagavathar gifted by my guru saying that he was a realised soul who knew the hidden meanings of the great compostions of the musical trinity and other maha bhaktas. May be if the kutcheri vidwans sing for themselves (with no audience around) without the intention of practising and presenting to a group of audience, they might have a chance to think over the underlying bhava that each krithi contains.

One great Saint subtly commented that only sincere bhaktas who sing in solitude with devotion as their only motivation can realise the bhaavam of great compositions. There were days when devotees got rid of many obstacles in their life by believing the krithis as the eternal medicine to cure those obstacles. He adds that all the krithis of the Trinity have the same power as that of great hyms like Pathigams / Thevaram / Thirvachakam / Thiru vaai mozhi / Ashotharams / Stotrams.

Shri Vembu Iyer, the parama guru of our Sri Suryaprakash, once adviced my friend to render the great Saveri Krithi "Durusugaa" every day at home to get rid of his heart ailment.

Many Vidwans during their lectures and speeches say that sangeetham is divine and eternal and is beyond senses and devotion is the main goal etc. etc. But it is rare to see such Mahanubhaavas like Shri Pudukottai Bhagavathar, who sang for Swaanubhoothi. (as it appears in the famous Thyagaraja krithi where Iyervaal says it is difficult to explain Rama bhakthi it can only be experienced). No wonder the music of such great souls have the great power of purifying the mind of the listeners, and give them peace of mind. I feel that Pure Music is that one which creates such an experience. Mostly the kucheri vidwans create a sort of thrilling and stirring experience ( a sort of Bhramai or Bramippu) rather than the sublime peaceful experience.

We can rate three genres of Music as well (my own personal opinion, please feel free to hit me out if it is hurting anybody's sentiments)

the Satva Sangeetham - which creates peace of mind and gives a tranquil experience.

the Raajasa Sangeetham - which invokes instant praise for the musical abilities of the artistes, that creates a (bramai) thrill in the minds of the listeners. I feel most of the vidwans fall in this category.

the thaamasa Sangeetham - which hardly creates any experience and just disturbs the people with noise. I leave this category to be better explained by other rasikas.

Namaskarams.

vgvindan · Post by **vgvindan** » 19 Nov 2007, 20:40

vrp,
It is my misfortune that I do not have any recordings of Sri (Late) Gopalakrishna Bhagavathar.

I may add the following to your views -
The musical profession is a blessed profession - Sri Thyagaraja states 'sangIta jnAnamu dhAta vrAyavalerA' (it has to be ordained). The reason is not far to seek. It is the only profession which is both path and end for human consummation. Those belong to every other profession have to make separate effort to reach that state.

What a pity that, having got that opportunity of worshipping the Nada, one should squander it away!
How I wish I had that opportunity now; but 'Suddha maddaLa' Nada cannot be produced from a tin box and that too battered one.