Thanks Meena and Chembai. There seems to be authoritative date.
If we knew the exact year and nakshatram (bharani) and we knew his month of birth then we could work out the date of birth through a 1894/95/96 panchangam.
There are some online panchangams but most of these only date back to 1900 or later.
Chembai Vaidyanatha Bhagavatar
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kaumaaram
- Posts: 380
- Joined: 14 Oct 2005, 17:38
Kiran/Srkris,Kaumaaram,
Please edit your post, remove the rapidshare link, and instead give a link to the rasikapriya web page which contains this rapidshare download.
Sangeethapriya has not hosted this concert as yet. I have removed the links and have instated my own personal rapidshare folder through which the concert could be obtained.
Kaumaaram
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kaumaaram
- Posts: 380
- Joined: 14 Oct 2005, 17:38
One more concert has been uploaded in my folder:
http://rapidshare.de/users/59AOVL
Password: Violin
Kaumaaram
http://rapidshare.de/users/59AOVL
Password: Violin
Kaumaaram
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srkris
- Site Admin
- Posts: 3497
- Joined: 02 Feb 2010, 03:34
A few years back, in a Temple near my house, T.M.Soundararajan (yesteryear tamil playback singer) was talking about classical music then and now.
He mentioned that he could not forget the concerts of people like Madurai Mani Iyer and Chembai which he had attended. Chembai had wanted him to leave the film industry altogether and "graduate" to classical music concerts, and offered to teach TMS if he left film singing. TMS had replied that his bread and butter was in the film industry and was not sure he could eke out an existence among the reigning classical giants of that time. [;)]
He mentioned that he could not forget the concerts of people like Madurai Mani Iyer and Chembai which he had attended. Chembai had wanted him to leave the film industry altogether and "graduate" to classical music concerts, and offered to teach TMS if he left film singing. TMS had replied that his bread and butter was in the film industry and was not sure he could eke out an existence among the reigning classical giants of that time. [;)]
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kaumaaram
- Posts: 380
- Joined: 14 Oct 2005, 17:38
TMS is a Class A artist of AIR. Graduating to this level itself in those days required lot of talents. [Even today MS Viswanathan can sing for only half-an-hour concerts of AIR. He is yet to climb the 1 hr and above programmes of AIR]. I have listened to a lot of his AIR programs (Arangisai) on FM. The sabhas did not call him for any concert except the Tamil Isai Sangam during the annual music festival. He had a bias towards rendering only Thyagayya krithis or Tamil Krithis alone. If Chembai had spotted him, then it is clear that TMS had good talents that required enhancement and honing up which possibly, Chembai alone could bring out in an individual.
If TMS is dubbed as a semi-classical artist, then the popular view that Sudha Raghunathan, KJY, Unnikrishnan, Bombay Jayashree, to name a few, render only semi-classical stuff must also be endorsed and accepted.
Kaumaaram
If TMS is dubbed as a semi-classical artist, then the popular view that Sudha Raghunathan, KJY, Unnikrishnan, Bombay Jayashree, to name a few, render only semi-classical stuff must also be endorsed and accepted.
Kaumaaram
Last edited by kaumaaram on 08 Aug 2006, 17:34, edited 1 time in total.
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srkris
- Site Admin
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Radhakrishnan
- Posts: 287
- Joined: 16 Jan 2006, 10:09
Very interesting tribute by Palakkad Mani Iyer in ‘Palakkad Malayalam’!
http://www.geocities.com/~maniiyer/audio/audio.htm
http://www.geocities.com/~maniiyer/audio/audio.htm
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kaumaaram
- Posts: 380
- Joined: 14 Oct 2005, 17:38
A message from rasikapriya-dot-net yahoo group:
Quote:
Hello,
I recently listened to Chembai's rendition of Sankaracharyam in
shankarabaranam composed by Sri Subbarama Sastri. I have read
Paramacharya's discussion with Ariyakudi that in this song the
'paramAdvaita sthApana leelam' should be sung by stressing the Advaita
and not by stretching it.by making it paramAAAA dvaita. You can see
Chembai religiously following the way Paramacharya saying.
Swami Iyer
Unquote
Quote:
Hello,
I recently listened to Chembai's rendition of Sankaracharyam in
shankarabaranam composed by Sri Subbarama Sastri. I have read
Paramacharya's discussion with Ariyakudi that in this song the
'paramAdvaita sthApana leelam' should be sung by stressing the Advaita
and not by stretching it.by making it paramAAAA dvaita. You can see
Chembai religiously following the way Paramacharya saying.
Swami Iyer
Unquote
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srkris
- Site Admin
- Posts: 3497
- Joined: 02 Feb 2010, 03:34
Sometimes Chembai could be hilarious even in admonishing people. This anecdote is about one such incident when Chembai was well into his late 70s in an evening at the Kandhar Kottam temple in George Town (Madras), where he was accompanied for a 4-5 hours marathon concert by a mridangist (who used to play for him often, and who could easily get puffed up with ego).
The audience had not yet dispersed. The mridangist appeared tired.
Chembai said to the mridangist "Naan inga onna vara chonnadu mridangam vaasikarthukkey alla, enna konjam thooki vidu da appane" (I did not call you here for playing mridangam at all, please lend me a hand and help me get up").
The audience had not yet dispersed. The mridangist appeared tired.
Chembai said to the mridangist "Naan inga onna vara chonnadu mridangam vaasikarthukkey alla, enna konjam thooki vidu da appane" (I did not call you here for playing mridangam at all, please lend me a hand and help me get up").
-
kaumaaram
- Posts: 380
- Joined: 14 Oct 2005, 17:38
If you want crystal clear pronunciation of BMK, you must listen to his rendition of Navavarana Krithis of MD and Sivananda Lahari.srkris wrote:I personally always hear him singing it as parama-dvaita.It depends on the listener's ear too. No offence but I dont usually credit Chembai with amazing sahitya, maybe BMK fits that bill better than most others.
But Chembai's pronounciation is anyway clear and can be heard well. He has attempted to ensure that the sahitya did not give a different meaning. Please listen to his Viruthams and Slokams.
Kaumaaram
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srkris
- Site Admin
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- Joined: 02 Feb 2010, 03:34
Coolkarniji, thanks for this upload...
Throwing some background on this tribute.. it was recorded in 1977 at a condolence meeting for Chembai at Olappamanna Mana, a feudal household of Nambudiris that promoted fine arts, vedic learning, folk and martial arts, religion etc in Kerala for a long time. It was at one of the temples belonging to this family that Chembai had performed his first concert along with his brother Subramanian in 1904. More about this place at http://www.olappamannamana.com/
Chembai was a favourite of many such aristocratic nambudiri families who would invite him to perform at all important religious festivals, and he used to spend his time with them whenever he visited nearby towns etc. He in turn used to arrange for concerts of other leading performers from Madras such as Mali, Alathur Brothers, Chowdiah, Semmangudi among others. Such concerts in informal settings used to have a sort of excitement and camaraderie which is hard to find in formal sabha settings, and the immediate and direct reviews of those music concerts used to be frank and biting. There is a story of how when young Mali was first invited, he had challenged Chembai to a musical duel, which Chembai had accepted and they both performed together from an afternoon till the next sunrise, at the end of which Mali had to swallow some pride in acknowledging Chembai's stature, while at the same time, proving to Chembai and all those present about his own prowess on the flute.
Another Nambudiri household that immediately comes to mind is Poomulli mana (http://www.ayurvedamana.com/index.htm), experts in Ayurveda, whom also Chembai was close to. The nambudiri who had cured Chembai of his well known throat ailment, Vaidyamadham Narayanan Namboodiri, was related to the Poomulli family. Chembai served the role of mentor to some of these Nambudiris as far as carnatic classical music was concerned, such as O.M.Vasudevan Nambudiripad, Poomuli Narayanan Nambudiripad, Poomuli Parameshwaran Nambudiripad etc.
Chembai at Poomuli Mana with Vaidyamadhom Narayanan & Parameshwaran.
In this tribute speech, Palghat Mani Iyer, usually a man of few words; goes on for a full 15-20 minutes giving a sparkling word picture of his thoughts on Chembai.
The speech is in Palghat Tamil (liberal doses of Malayalam mixed with Tamil) so not everyone here may understand it well. So here is a translation.
>> "There is something to greive about and something to cheer about on this occasion. The grief is because this mahavidwan... with such a voice perfectly attuned to sruti at all times... is now no more with us, and we cannot hear his singing anymore. On the bright side however, is the fact that here was a great man who has lived with us for many years, was born for music and it was music till his final breath."
>> Someone sometime back asked me to write an article on Ariyakudi Mahavidwan Ramanuja Iyengar. Not commenting about his vidwat, but about the sincerety, I wrote this "Ramanuja Iyengar has sung as long as he was able to talk". But in the case of our Bhagavatar, he sang as long as he could breathe. This is what I remember about Bhagavatar - it was music till his last breath. No one else that I know has had this rare privilege.
>> I always refer to Vaidyanatha Bhagavatar as aNNA (elder brother). I am using the term "Bhagavatar" here, but even now I feel squeamish using referring to him by name, because I have so much respect for him. Has he not taken me to all places and introduced me to everyone? Everyone knows about that!
>> The bhagavatar is now no more. So what do we do about it? What should be our duty? We should analyse how he conducted himself in life, what were his virtues, what was the speciality in his music, why has he sung so long even with people of other castes, etc. We should find the reasons and the future generations should come up in that way. We should do whatever is necessary to make this happen, shouldn't we?
>> I'll speak briefly about his music. His music was not acquired by learning. I have some authority to say this, since I can claim no one else has listened to the Bhagavatar as much as I have. So much I have listened and played for him. So I have the authority and courage to say that Bhagavatar's music was not from his learning. He was gifted with music similar to how Kalidasa was gifted with knowledge by goddess Sarasvati. He did not have to do gurukulavasa. I also did not have to do gurukulavasa. All our disciples have done gurukulavasa, but we have not. Everyone else have done gurukulavasa. Ever since he was about 10, he had started professional singing, so where is gurukulavasa possible?
>> There are 3 approaches to music. The first type, is where the singer has inherited musical knowledge seemingly from his past life. Our Bhagavatar did not have to go after it. music came to him naturally. What I mean is not that it came without his interest, but that listening any song just once was enough for him to imbibe all the musical aspects. So, people who dont have a musical inheritance dont usually come up in this field, but these days a lot of people have come up, and that is what makes it bliss for the world of music. In those days it was not like this. Only those who had an innate knowledge of music could rise up. Our Bhagavatar had this link to music from his past life. That is why even at the age of ten, he could take to the stage and perform like he did.
>> What was his speciality? It was his voice. In those days there were no mikes. If the musician had a good voice, he would sing, else he had to make do with showing his musical knowledge by playing the fiddle, the great veena, or the flute. Only those who have a good voice have the right to sing. The bhagavatar's voice... when he picked and held his sruti, it was as if everyone had swooned to the mohanastra. His voice therefore had its own life.
>> Swara shuddha and laya shuddha were his strength - Sruti and Laya, they are the mother and father of music. These two were supreme in Bhagavatar's music. Apaswara could never find its place with him, apatala neither, so how could he not be a singer? It was Sarasvati's grace, so nothing could prevent his ascendance in music. Whatever he did could only be right and proper. Another important thing was that, until the audience had all settled properly, he would hold on to the sruti. To that extent his voice adhered to sruti and swara shuddha. So much for his voice and its merits.
>> Another thing which I have to mention was his heart. I was in Pazhayannur, the year was 1926 or 1927, I dont remember too well, when the Music academy was established. Subramania Bhagavatar, Chembai's younger brother had come home, carrying a letter written by Chembai asking him to bring me to Madras to play in a concert. He had wanted us to reach there fast. I reached Madras and soon played for him in a concert. The whole concert was great, he had sung brilliantly, and the concert concluded well. He then asked me to play in two more concerts, that of Bidaram Krishnappa and Gottuvadyam Narayana Iyengar. I conveyed my assent and asked him to let the organisers know. Bhagavatar called the organizers and said "It is I who has brought Mani here. So it doesnt matter what you pay him for this concert, but when he accompanies the others, you have to pay him the same amount that you pay to other established mridangists. Then I played for both concerts, and he got me my promised pay. Why am I telling this? He had that special corner in his heart for me... I am not able to express it properly in words due to my insufficiency in the language.
>> Yet another surprising thing about Bhagavatar, is even when he had so many people around him, he could easily connect to all of them. This is very significant. In a concert, seated as he was on stage, he could identify almost everyone present, and he knew what they would say about the performance later. Having such memory is very significant. He did not need any reminders. Once he had observed his audience from the stage, he could confidently reel out the names and details of almost everyone he had met before.
>> He also had the innate ability to say the right things at the right time. Let me recount this by means of an anecdote: There is a town called Vennamala near Karur where Bhagavatar had a concert. Chowdiah on the fiddle, I was the mridangist and the mahavidwan from Pudukottai, Dakshinamurthy Pillai, was to play the kanjira. After the varnam, many kirtanas with and without alapanas, he took up a pallavi in kamboji raga "Thillai Eesane Nataraja". I took it at samam. After the pallavi and swaras, I was allowed to take up a thani avartana. Myself and Dakshninamurthy Pillai took turns of a few minutes each, as was the norm, and the thani started thus. This is not the time to speak about Pillai, but his great courage and the sound that his kanjira used to produce was something stupendous. I have not had that opportunity to play with Pillai very often, but many times it was with Chembai, the accompanists being Papa, Chowdiah, Rajamanikkam Pillai etc. So when we were playing in turns, suddenly in one particular turn, he would hold on for some five minutes, building up a great complexity in the tala and working up a crescendo before beckoning at the bhagavatar to take up the pallavi line. Bhagavatar had to oblige since Pillai was a senior and that was to be the end of the thaniavartana. Everyone was looking. Had it been someone else, they would say "alright that is the end of the thani avarthana, let this kid not play further". One also had to have the expertise to accept this kind of a big challenge. In these turns, whenever I played well, his appreciation used to come in the form of "bale bale". In this concert similarly, in a particular turn, Dakshinamurthy Pillai took up one particular turn and built it up with gusto, introducing lot of farans, playing all intricacies and continuing up to a big theermanam and at the end of which beckoned to the bhagavatar saying "Pallavi". What could I do? I started my turn again at the exact moment when the bhagavatar started the pallavi. Having taken it up, I too went all the way. The bhagavatar would be as much happy if I play well as when he had heard Dakshinamurthy Pillai play so. But I was a child, Pillai was a great giant. Everyone would have thought "what can this kid do now?" I was not bothered about that. I had a lot of enthusiasm to play well and win everyone's appreciation. So instead of playing for 5 minutes, I played longer for about 10 minutes, with all farans full of verve and ended it with a big theermanam, looked at the bhagavatar at the end saying "Pallavi". Bhagavatar took up the pallavi and at the same time Pillai started yet another turn. Being such a big vidwan, he was not prepared to give up like that. So he played another turn ending it with the exclamation "Pallavi". Then I took another turn at the same time and this clash went on with us repeating after our turns "Pallavi", "Pallavi"... and so on about 10 times. The Bhagavatar would take up the pallavi each time. How could he resume when neither of us wanted to give up? Sensing our adamancy, at the end of one such turn this is what he said: "Both of you play as long as you want. My pallavi is Thillai Eesane Nataraja. It is god's name which I am uttering so many times. So you play as long as you want...". When he said this, the tension was diffused, and the audienced applauded greatly, asking for an encore of the pallavi. The Bhagavatar took up the pallavi again and both of us played together. It was a splendid performance, an outstanding one. Our performance was thundering, resembling a huge storm with thunder. I have heard many such concerts of Bhagavatar.
>> All of us present here has interacted with Bhagavatar, some more and some less. People like Olappamanna Nambudiripad and others, we have moved with Bhagavatar so much that he has developed a special affinity for us... so much so that if I am around, he wont even consider any other person to play with him. He liked me so much.
>> About his countenance, I have something important to tell. In all my experience, I have never seen Bhagavatar sad or morose at any point of time. Have any of you seen him so - like worrying about something, or thinking about hurdles. Bhagavatar was never like that, he was full of joy and laughter at all times. Has anyone noticed this? Have any of you who have been with him for long observed this? It is not something ordinary to be calm and smiling at all times - only great yogis with an attitude full of mental courage, steadfastness, and godliness can be like that. It is not possible for ordinary men to be like that. Such was the mahavidwan. It was not that he could not get angry, yes he would get very angry or frustrated sometimes, but he took care not to let it get the better of him.
>> What else can we do to remember him apart from meeting on his memorial days? We should hold good Navaratri concerts, and talk about him and how he lived a good life, the specialities of his music etc, and organize many good concerts. Thyagaraja Swami has said "Music is a way to salvation". It's not merely my opinion. According to Thyagaraja Swami "The easiest way to salvation is this music, so attain moksha through nAda vidyA". That is what Bhagavatar has attained.
>> Finally my request to all of you, those who know Bhagavatar, is that we should always, with the grace of Thyagabrahmam, go on the path of righteousness, do the good things, sing good music, hear good things, and always do everything that is good. Our hearts should be full of all that is good. Praying Thyagabrahmam to let us be so, I hereby end my short talk.
>> (Claps from the audience)
>> One last thing... I offer my deepest heartfelt homage to Chembai Vaidyanatha Bhagavatar here.
Throwing some background on this tribute.. it was recorded in 1977 at a condolence meeting for Chembai at Olappamanna Mana, a feudal household of Nambudiris that promoted fine arts, vedic learning, folk and martial arts, religion etc in Kerala for a long time. It was at one of the temples belonging to this family that Chembai had performed his first concert along with his brother Subramanian in 1904. More about this place at http://www.olappamannamana.com/
Chembai was a favourite of many such aristocratic nambudiri families who would invite him to perform at all important religious festivals, and he used to spend his time with them whenever he visited nearby towns etc. He in turn used to arrange for concerts of other leading performers from Madras such as Mali, Alathur Brothers, Chowdiah, Semmangudi among others. Such concerts in informal settings used to have a sort of excitement and camaraderie which is hard to find in formal sabha settings, and the immediate and direct reviews of those music concerts used to be frank and biting. There is a story of how when young Mali was first invited, he had challenged Chembai to a musical duel, which Chembai had accepted and they both performed together from an afternoon till the next sunrise, at the end of which Mali had to swallow some pride in acknowledging Chembai's stature, while at the same time, proving to Chembai and all those present about his own prowess on the flute.
Another Nambudiri household that immediately comes to mind is Poomulli mana (http://www.ayurvedamana.com/index.htm), experts in Ayurveda, whom also Chembai was close to. The nambudiri who had cured Chembai of his well known throat ailment, Vaidyamadham Narayanan Namboodiri, was related to the Poomulli family. Chembai served the role of mentor to some of these Nambudiris as far as carnatic classical music was concerned, such as O.M.Vasudevan Nambudiripad, Poomuli Narayanan Nambudiripad, Poomuli Parameshwaran Nambudiripad etc.
Chembai at Poomuli Mana with Vaidyamadhom Narayanan & Parameshwaran.
In this tribute speech, Palghat Mani Iyer, usually a man of few words; goes on for a full 15-20 minutes giving a sparkling word picture of his thoughts on Chembai.
The speech is in Palghat Tamil (liberal doses of Malayalam mixed with Tamil) so not everyone here may understand it well. So here is a translation.
>> "There is something to greive about and something to cheer about on this occasion. The grief is because this mahavidwan... with such a voice perfectly attuned to sruti at all times... is now no more with us, and we cannot hear his singing anymore. On the bright side however, is the fact that here was a great man who has lived with us for many years, was born for music and it was music till his final breath."
>> Someone sometime back asked me to write an article on Ariyakudi Mahavidwan Ramanuja Iyengar. Not commenting about his vidwat, but about the sincerety, I wrote this "Ramanuja Iyengar has sung as long as he was able to talk". But in the case of our Bhagavatar, he sang as long as he could breathe. This is what I remember about Bhagavatar - it was music till his last breath. No one else that I know has had this rare privilege.
>> I always refer to Vaidyanatha Bhagavatar as aNNA (elder brother). I am using the term "Bhagavatar" here, but even now I feel squeamish using referring to him by name, because I have so much respect for him. Has he not taken me to all places and introduced me to everyone? Everyone knows about that!
>> The bhagavatar is now no more. So what do we do about it? What should be our duty? We should analyse how he conducted himself in life, what were his virtues, what was the speciality in his music, why has he sung so long even with people of other castes, etc. We should find the reasons and the future generations should come up in that way. We should do whatever is necessary to make this happen, shouldn't we?
>> I'll speak briefly about his music. His music was not acquired by learning. I have some authority to say this, since I can claim no one else has listened to the Bhagavatar as much as I have. So much I have listened and played for him. So I have the authority and courage to say that Bhagavatar's music was not from his learning. He was gifted with music similar to how Kalidasa was gifted with knowledge by goddess Sarasvati. He did not have to do gurukulavasa. I also did not have to do gurukulavasa. All our disciples have done gurukulavasa, but we have not. Everyone else have done gurukulavasa. Ever since he was about 10, he had started professional singing, so where is gurukulavasa possible?
>> There are 3 approaches to music. The first type, is where the singer has inherited musical knowledge seemingly from his past life. Our Bhagavatar did not have to go after it. music came to him naturally. What I mean is not that it came without his interest, but that listening any song just once was enough for him to imbibe all the musical aspects. So, people who dont have a musical inheritance dont usually come up in this field, but these days a lot of people have come up, and that is what makes it bliss for the world of music. In those days it was not like this. Only those who had an innate knowledge of music could rise up. Our Bhagavatar had this link to music from his past life. That is why even at the age of ten, he could take to the stage and perform like he did.
>> What was his speciality? It was his voice. In those days there were no mikes. If the musician had a good voice, he would sing, else he had to make do with showing his musical knowledge by playing the fiddle, the great veena, or the flute. Only those who have a good voice have the right to sing. The bhagavatar's voice... when he picked and held his sruti, it was as if everyone had swooned to the mohanastra. His voice therefore had its own life.
>> Swara shuddha and laya shuddha were his strength - Sruti and Laya, they are the mother and father of music. These two were supreme in Bhagavatar's music. Apaswara could never find its place with him, apatala neither, so how could he not be a singer? It was Sarasvati's grace, so nothing could prevent his ascendance in music. Whatever he did could only be right and proper. Another important thing was that, until the audience had all settled properly, he would hold on to the sruti. To that extent his voice adhered to sruti and swara shuddha. So much for his voice and its merits.
>> Another thing which I have to mention was his heart. I was in Pazhayannur, the year was 1926 or 1927, I dont remember too well, when the Music academy was established. Subramania Bhagavatar, Chembai's younger brother had come home, carrying a letter written by Chembai asking him to bring me to Madras to play in a concert. He had wanted us to reach there fast. I reached Madras and soon played for him in a concert. The whole concert was great, he had sung brilliantly, and the concert concluded well. He then asked me to play in two more concerts, that of Bidaram Krishnappa and Gottuvadyam Narayana Iyengar. I conveyed my assent and asked him to let the organisers know. Bhagavatar called the organizers and said "It is I who has brought Mani here. So it doesnt matter what you pay him for this concert, but when he accompanies the others, you have to pay him the same amount that you pay to other established mridangists. Then I played for both concerts, and he got me my promised pay. Why am I telling this? He had that special corner in his heart for me... I am not able to express it properly in words due to my insufficiency in the language.
>> Yet another surprising thing about Bhagavatar, is even when he had so many people around him, he could easily connect to all of them. This is very significant. In a concert, seated as he was on stage, he could identify almost everyone present, and he knew what they would say about the performance later. Having such memory is very significant. He did not need any reminders. Once he had observed his audience from the stage, he could confidently reel out the names and details of almost everyone he had met before.
>> He also had the innate ability to say the right things at the right time. Let me recount this by means of an anecdote: There is a town called Vennamala near Karur where Bhagavatar had a concert. Chowdiah on the fiddle, I was the mridangist and the mahavidwan from Pudukottai, Dakshinamurthy Pillai, was to play the kanjira. After the varnam, many kirtanas with and without alapanas, he took up a pallavi in kamboji raga "Thillai Eesane Nataraja". I took it at samam. After the pallavi and swaras, I was allowed to take up a thani avartana. Myself and Dakshninamurthy Pillai took turns of a few minutes each, as was the norm, and the thani started thus. This is not the time to speak about Pillai, but his great courage and the sound that his kanjira used to produce was something stupendous. I have not had that opportunity to play with Pillai very often, but many times it was with Chembai, the accompanists being Papa, Chowdiah, Rajamanikkam Pillai etc. So when we were playing in turns, suddenly in one particular turn, he would hold on for some five minutes, building up a great complexity in the tala and working up a crescendo before beckoning at the bhagavatar to take up the pallavi line. Bhagavatar had to oblige since Pillai was a senior and that was to be the end of the thaniavartana. Everyone was looking. Had it been someone else, they would say "alright that is the end of the thani avarthana, let this kid not play further". One also had to have the expertise to accept this kind of a big challenge. In these turns, whenever I played well, his appreciation used to come in the form of "bale bale". In this concert similarly, in a particular turn, Dakshinamurthy Pillai took up one particular turn and built it up with gusto, introducing lot of farans, playing all intricacies and continuing up to a big theermanam and at the end of which beckoned to the bhagavatar saying "Pallavi". What could I do? I started my turn again at the exact moment when the bhagavatar started the pallavi. Having taken it up, I too went all the way. The bhagavatar would be as much happy if I play well as when he had heard Dakshinamurthy Pillai play so. But I was a child, Pillai was a great giant. Everyone would have thought "what can this kid do now?" I was not bothered about that. I had a lot of enthusiasm to play well and win everyone's appreciation. So instead of playing for 5 minutes, I played longer for about 10 minutes, with all farans full of verve and ended it with a big theermanam, looked at the bhagavatar at the end saying "Pallavi". Bhagavatar took up the pallavi and at the same time Pillai started yet another turn. Being such a big vidwan, he was not prepared to give up like that. So he played another turn ending it with the exclamation "Pallavi". Then I took another turn at the same time and this clash went on with us repeating after our turns "Pallavi", "Pallavi"... and so on about 10 times. The Bhagavatar would take up the pallavi each time. How could he resume when neither of us wanted to give up? Sensing our adamancy, at the end of one such turn this is what he said: "Both of you play as long as you want. My pallavi is Thillai Eesane Nataraja. It is god's name which I am uttering so many times. So you play as long as you want...". When he said this, the tension was diffused, and the audienced applauded greatly, asking for an encore of the pallavi. The Bhagavatar took up the pallavi again and both of us played together. It was a splendid performance, an outstanding one. Our performance was thundering, resembling a huge storm with thunder. I have heard many such concerts of Bhagavatar.
>> All of us present here has interacted with Bhagavatar, some more and some less. People like Olappamanna Nambudiripad and others, we have moved with Bhagavatar so much that he has developed a special affinity for us... so much so that if I am around, he wont even consider any other person to play with him. He liked me so much.
>> About his countenance, I have something important to tell. In all my experience, I have never seen Bhagavatar sad or morose at any point of time. Have any of you seen him so - like worrying about something, or thinking about hurdles. Bhagavatar was never like that, he was full of joy and laughter at all times. Has anyone noticed this? Have any of you who have been with him for long observed this? It is not something ordinary to be calm and smiling at all times - only great yogis with an attitude full of mental courage, steadfastness, and godliness can be like that. It is not possible for ordinary men to be like that. Such was the mahavidwan. It was not that he could not get angry, yes he would get very angry or frustrated sometimes, but he took care not to let it get the better of him.
>> What else can we do to remember him apart from meeting on his memorial days? We should hold good Navaratri concerts, and talk about him and how he lived a good life, the specialities of his music etc, and organize many good concerts. Thyagaraja Swami has said "Music is a way to salvation". It's not merely my opinion. According to Thyagaraja Swami "The easiest way to salvation is this music, so attain moksha through nAda vidyA". That is what Bhagavatar has attained.
>> Finally my request to all of you, those who know Bhagavatar, is that we should always, with the grace of Thyagabrahmam, go on the path of righteousness, do the good things, sing good music, hear good things, and always do everything that is good. Our hearts should be full of all that is good. Praying Thyagabrahmam to let us be so, I hereby end my short talk.
>> (Claps from the audience)
>> One last thing... I offer my deepest heartfelt homage to Chembai Vaidyanatha Bhagavatar here.
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srkris
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Viriboni Varnam (Bhairavi), rendered with a lot of gambheera
http://www.rogepost.com/dn/efuk/viriboni.m4a
http://www.rogepost.com/dn/efuk/viriboni.m4a
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srkris
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The Hindu - dated September 2, 1956: Chembai felicitated
The Shastiabdapurthy of Sri Chembai Vaidyanatha Bagavathar was celebrated at Chembai, 12 miles from Palghat, on August 27. A meeting was held under the auspices of the Shastiabdapurthy Celebration Committee, Mr. Musiri Subramania Aiyar, Principal, College of Carnatic Music, Madras, presiding. An address in Sanskrit, a large silver image of the Lord of Guruvayur and two silver lamps were presented to Sri Vaidyanatha Bagavathar on behalf of the Committee. There was a music concert in which Smt. D.K. Pattammal, Ariyakudi Ramanuja Iyengar, G.N. Balasubramanian, Chowdiah, Palghat Mani and others took part.
http://www.hindu.com/2006/09/02/stories ... 740902.htm
The Shastiabdapurthy of Sri Chembai Vaidyanatha Bagavathar was celebrated at Chembai, 12 miles from Palghat, on August 27. A meeting was held under the auspices of the Shastiabdapurthy Celebration Committee, Mr. Musiri Subramania Aiyar, Principal, College of Carnatic Music, Madras, presiding. An address in Sanskrit, a large silver image of the Lord of Guruvayur and two silver lamps were presented to Sri Vaidyanatha Bagavathar on behalf of the Committee. There was a music concert in which Smt. D.K. Pattammal, Ariyakudi Ramanuja Iyengar, G.N. Balasubramanian, Chowdiah, Palghat Mani and others took part.
http://www.hindu.com/2006/09/02/stories ... 740902.htm
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srkris
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An article I pulled out of usenet, makes interesting reading:
The world of Karnatik music is celebrating this year the birth centenary of Chembai Vaidyanatha Bhagavatar one of the greatest vocalists of the century.
Sangeetha Kalarathna B.V.K. Sastry musicologist of national repute who had close association with Chembai had interviewed the great master on several occasions apart from listening to a large number of his concerts. In this interview he had with him about three decades ago Sri. Sastry had been able to elicit the views of the maestro on various aspects of music and this has been an invaluable documentation.
Added to this is Sri. Sastrys superb presentation of Chembai - the Man and his Music - which takes us to the haunting memories of the inimitable voice and music par excellence of Chembai.
During one of the early conferences of the Madras Music Academy. The late Pandit Vishnu Digambar who was a frequent participant accosted young Chembai Vaidyanatha Bhagavatar and asked him "You are an exponent of Karnatak Music a system great in history, rich in heritage and tradition and above all possessing a large following. Do you feel that today it has all those elements that contribute to a full enjoyment of its beauty or if the contrary what features do you consider are necessary to create absolute happiness?" "What is wanted is a good sense of sruti and undoubtedly good voices" replied the enthusiastic Chembai "Wanted with perhaps one exception" Vishnu Digambar is reported to have replied with a smile.
Evidently the exception meant was Chembai Vaidyanatha Bhagavatar himself for the Bhagavatar had already been a reputed singer on the scene for nearly two decades. His was a rich vibrant voice with a ringing tone which dispensed with any necessity for amplifiers. It had wafted his name from a far corner of Kerala and drawn him to other parts of the land where Karnatak music was cultivated in all its fullness. Renowned as he was as a singer with a golden voice his concerts were always packed with music-lovers who could regale and comfort themselves with that pure nada and its supreme enjoyment. His joviality, which removed any element of tension from the atmosphere, lent all the more lustre to his recitals, which were enjoyable to connoisseur and common man alike. His rich tone lending depth and steadiness to all he treated, Chembai's musical appeal was direct and immersed in its rich flow, an audience would not bother about subtleties or intricacies of technique. The effect of this splendid tone blending beautifully with the sruti was as heartening as it was haunting.
How did Chembai come to develop his rich, reverberating voice? "It has all come by the grace of God," he will say, raising his hands to the heavens. Chambai is a deeply religious man. His very lineaments bespeak his religiosity and devotion. The plump, dignified features topped with a luxuriant tuft of hair and the chubby face adorned with sandal-paste give him the looks of a Vedic scholar, apart from adding serenity to his figure. But despite this overall dignity, the cheerful bulk of Chembai on the platform often reminds one of a "Laughing Buddha". He does not seem to have any such fatigue and constraint while singing as are seen in the contortions and mannerisms of many other musicians. His singing is effortless and cool, though warm in its rich hues, and the modes seem to emerge in luxuriant coils of tone.
"I never bother about my voice at any time," said Chembai when I questioned how he came to develop this rich timbre and what course of exercises led to it. "It has come all by the grace of God. I need not have taken to any rigorous exercise or painful discipline to develop my voice and music, because it was already there for me and I had only to develop the earnestness and seriousness of purpose to cultivate it." This was no boast, either because music is something that runs in the veins of Chembai. He hails of a family whose musical traditions have run uninterruptedly for nearly two hundred years. One of his ancestors, Ghanacchakratna Subbier was a famous musician and his grandfather, Vaidyanatha Bhagavathar, was not only an exponent of repute but also courted such eminent maestros as Palghat Anantarama Bhagavatar amongst his disciples. "By the grace of God I had no necessity arduously to tread the way from one guru to another and face the many pains and tribulations of a traditional garukulavasam. Music was there ready for me at my home," said Chembai.
"I should recall those times with happiness," he continued reflectively. We were living in an agraharam. (Chembai is one of the several agraharams around Palghat where Brahmin pandits and scholars settled long since to pursue their avocations). Its atmosphere was laden with the dignified chanting of Vedic hymns and with devotional music. In our family, music was cultivated and imparted as a part of Vedic education, along with other subjects. Disciples lived either close by or actually with their gurus, learning the Vedas and the Upavedas.
"My forbears did not aspire for material success in the pursuit of their avocations. I do not mean that none of them earned honors or recognition. They went at the request of patrons or princes to sing and present the noble aspects of music. But they did not aspire to seek employment or choose a gilded existence as an appendage to any princely court. In fact, once, after conferring upon him very costly presents, the Maharaja of Travancore also sent a posse of bodyguards with my illustrious ancestor, Ghanachakratana Subbier, to see that the presents reached home safely and were not given away to any person bemoaning his luck and begging for help on the return journey as so often happened. They pursued music as a part of their religious ceremonies such as upanayanans and marriages than a means for mere material gains or entertainment."
Needless to say, Chembai Vaidyanatha Bhagavatar has inherited the characteristics of a family which has promoted Vedic culture for generations and maintained the corresponding sadachara or religious temper of behaviour. Possibly, the deep austere resounding of the Vedic chants in his ears from infancy inspired many of the qualities contributing to his rich tonal culture, while the discipline of sadachala has brought its strength and energy to his singing. Consequently he is not a prey to many of the weaknesses to which men of music are subject and which tell upon their faculties and fritter away their energies. And this has certainly contributed to the vitality of his voice, which has not diminished even at his age. The effects of this, if any, are evident only in occasional wobbly accentuations.
Benign Aristocrat
By his demeanor and deportment Chembai strikes one rather as a patrician of the musical world. He is generally very cheerful, it is true, but by nature he is composed and dignified and does not encourage levity of conversation. His remarks are forthright and may sometimes seem as blunt as the appeal of his music is direct. Of course he is very courageous and is known for his sympathy for up-and-coming artistes, especially accompanists. He is always assiduous in encouraging the more talented among them.
For all the smiles and good grace that he spreads around him, Chembai does not seem to relish interference with the course of his music. He may respond occassionally to requests from his fans for their pieces. But more often he chooses to ignore them and light-heartedly passes the matter off if it is pressed. Thus Chembai makes the impression of an aristocrat who is benign and kindly, supremely happy in his rich inheritance and graciously to extend its blessings and message to others as something preordained for them.
Like his nature, Chembai's music seems to be forthright in its appeal. His rich tone with its all-pervasive metallic ring seems to chime the features like a temple bells the timbre of his voice lending a lustre and colour which give depth and dimension to his music. In the absence of subtle ornamentation, the effects of this may often strike one as monolithic. And despite the strict lines of tradition which it follows, his music seems to exude a slightly different flavour by contrast with the current fashion - that bearing the heavy imprint of the Tanjore school. Nevertheless, his music seems very orthodox in its directness and dignity.
This fact is obvious to any one who has heard even some of his gramaphone records, to say nothing of those who have heard him in person. Apart from the rich tone, the abiding feature of these recordings seems to be the modulation and the rendering of the songs selected through fast rolls. His music strikes one, overall as energetic and developed with great ease and facility, characteristics which can be sumptuously savoured in his concerts, not withstanding an occasional dulled edge to his voice.
Rare Performances
Possibly as a concession to his age, Chembai's public performances are widely spaced. Further, though almost all the hallmarks of his recitals remain present, these perhaps no longer display the full magnitude of musical appeal. To understand this, records may be a help. But people who heard him even in the late nineteen-forties will recall his captivating aspects with relish. That deep solid tone seeming to illuminate each modal figure in his singing, and the joy of the pure nada when he held on to single notes such as shadja or panchanma are something not easily forgettable. Indeed, some of the common folk who had no pretensions to knowledge of the science of music were as thrilled as connoisseurs and would exclaim often that Chembais music was highly invigorating in effect.
Generally, Chembai commences his recitals with the classic varnam Viriboni, which he always renders in two speeds, strictly in accordance with custom, following it up with other numbers. Whether these are in medium or slow pace is immaterial, because he treats either with equal facility. Be it the elaboration of a raga or the swara the dominant feature of his music is the conspicuous rhythmic alignment of its elements. They seem to be propelled by a surging rhythm. The abundant fast rolls in which he revels, particularly in the swaraprastara possess more rhythmic patterning than modal curves. Chembai is a reputed master of tala and laya and this aspect he carries through endless variations, all the time enjoying himself and conveying his joy to the audience in the process.
Special Partiality
Slowly meandering, Chembai seems to be at his height in the pallavi. and particularly in the tanam. Indeed, when I asked him which part of his music appealed to him most, Chembai readily answered layavinyasam and especially tanam. Leisurely unfolding the raga through his characteristic free-flowing figures, Chembai saunters through the course, sparking off many patterns and permutations en route and all the while displaying an infectious joy. The tanam is of course preceded by a spacious alapana. But among the many modes Chembai appears particularly partial to Bhairavi, treating this in ampler measure than other ragas.
The Bhagavatar first saw the day in 1896 at Chembai. He may not have been born with the proverbial silver spoon in his mouth. Nevertheless his was a more or less sheltered life from infancy. Hailing from a reputed family of musicians, he had unlimited opportunities to grasp and cultivate his art. and it was also not difficult for him to find an opening in the field. His debut took place along with his younger brother, Subramanyam, or Subramani Bhagavatar, as he was familiarly called, during 1905, at a place called Vadakamannamalai. in Kerala, at a religious function. The fame of his rich voice and resonant style preceding him, Chembai was quickly drawn to the various centres where Karnatak music was abundantly patronised. His first break, in a substantial sense came in Madras in 1918, and it need not be added that with his richly expressive and pervasive tone Chembai beeame a hit in a very short time and became the despair of many well-known musicians and even of established maestros whose voice was not their forte. And this was no mean achievement, considering that he became popular in a field graced by such eminent stalwarts as Naina Pillai, Pushpavanam, Konerirajaram Vaidyanatha Iyer, Bidaram Krishnappa and others of their stature.
Despite his spectacular successes on the concert platform, Chembai Vaidyanatha Bhagavatar has been constantly benevolent and sympathetic towards his accompanists, whatever their status in the musical hierarchy, and he has sincerely tried to launch worthy members upon successful careers - the most notable instanee in this connection being that of Palghat Mani Iyer.
Launching a Virtuoso
It was during one of his recitals in Madras, in 1925, that Chembai informed the authorities of the Jagannatha Bhakta Sabha that he would look after the arrangements for the mridangam for the day, and they were perhaps happy to be, for once, relieved of this responsibility. However they can hardly have been prepared for the Bhagavatar's choice. He had fixed upon a boy just turned thirteen, named Mani. Of course they had once or twice heard of this young player from Palghat, but somehow they could not accommodate themselves to the idea that such a mere lad as this should support so eminent a singer as the Bhagavatar, particularly known for his control over laya. They remonstrated with the latter, requesting him to put off his experiment to another time, and suggesting that they should engage one of the topmost accompanists, whom he was accustomed to, to ensure the success of the day. But Chembai was adamant to the point of insisting on cancelling the engagement if they interfered with his arrangements. Finally, the authorities agreed, with some apprehension, but they thoughtfully provided another mridangam player too, as a stand-by. However they were swept off their feet by the masterly playing of this boy and Mani was rocketed to fame in no time.
Though the function of an accompanist, said Chembai, to me, is more or less that of an adjunct to the main artiste and a buttress to him, the success of the programme, overall is a collective effort. Each participant contributes his share to the enjoyment and inciden tally enjoys the general effect. Consequently, I do not like to monopolize all the limelight. I must also allow the accompanist's faculties full play, apart from often provoking him to unexpected flights. This was in answer to my enquiries about his constant sympathy for the accompanist. But a general earnestness to promote goodwill and harmony among artistes is a characteristic of Chembai's. It was significantly displayed in his efforts to effect reconciliation between two feuding giants of the Karnatak music world - Palghat Mani Iyer and Pudukottah Dakshinamurthy Pillai. This was a tough task, of course, but the enormous prestige Chembai enjoyed made them set aside their feud to accompany him at a concert.
And after that historical concert, at which neither yielded a point to the other, and reached the crescendo of his form, a sincere and close friendship developed between the two. The combination of Chembai with Chowdiah (who had also joined him in 1922), Palghat Mani Iyer and Dakshinamoorthy Pillai seemed to be ideal and was one set at a very high premium and commanding always a packed house.
All-lndia Tour
Some time after launching Mani lyer at Madras, Chembai undertook an all-lndia tour, taking the young man with him. Besides impressing the audiences of the North, he was himself impressed by the music of some of the eminent Hindustani vocalists. I say we should respect the Hindustani system, which has the same history and tradition as ours. I admire their sense of sruti and pure swarajnana. But that should not mean that we should implicitly copy whatever they do. Some of the best time I spent was enjoying the deep-toned and full throated music of such stalwarts as Pandit Vishnu Digambar, Faiyaz Khan, Omkarnath Thakur, Roshanara Begum and others, said Chembai.
Placidly settled on a cot, when I met him during 1963, Chembai was the same serene and Buddha-like figure who has been familiar to lovers of music for decades. Discussing the prospects of Karnatak music I casually asked him whether he was happy about its current course. No, said the Bhagavatar sharply, I have neither belief in, nor illusions about the present trends and values in music, which seem to be highly commercialised. The teacher has no time to instill a sense of devotion in the student and the latter has neither time nor inclination to attain any perfection. Consequently, the music of today sounds particularly anaemic to us, especially to such of us as had the facility to hear such maestros as Ramanathapuram Srinivasa Iyengar, Pushpavanam, Palghat Anantarama Bhagavatar, Mysore Bidaram Krishnappa and others who sang with full voice and gave dignity and depth to our music. Truly, we have come very far from the times when music touched the spirit and soul of man, instead of merely grazing the senses as at present.
Past Perspectives
"Time was," continued Chembai with an abstracted air. "when the musician, without any hurry or flurry, had the opportunity to develop his mood and give full play to the expressive powers that is his manodharma and the audience was not gripped with the craze for mere number of songs. Remember, I speak of times even before the advent of Tyagaraja, about which I have heard from my elders. During those days a concert of classical music commenced with the tanam in the five ghana ragas of Nata, Gaula, Arabhi, Sri and Varali. After a leisurely elaboration, of these modes, which warmed up the atmosphere and set the mood of both the audience and the artiste, the musician would next present a song each of Bhadrachala Ramadas and Purandaradasa, with occasionally an ashtapadi from the Geeta Govinda. Then he would follow up with the extensive alapana of a raga and an equally spacious tanam and pallavi. Each of these served as a theme for the creative ideas of the musician to blossom in all their proliferation. In those days they had the energy, the voice and above all the composure and spirit of devotion to undertake such noble work."
"Then you said that the present voiec culture and quality are deeply dissatisfying?" I asked.
''Undoubtedly'' said Chembai with some heat. "Musicians have also become too lazy to cultivate the full power of their voices. Even if they intend to cultivate it, where can theyfind the right accompaniments? For decades, now, almost all musical instruments have been manufactured to suit a low sruti. The inebriating effects of the microphone has gone too far.
"No, it is no use discussing this sordid subject," continued the Bhagavatar. "Though I am not very happy about the present trend. I nurture a hope that in the midst of all this chaff there may be some solid grain, too, amongst earnest students of music. It is for them I must say that the mere aspiration to beeome a successful musician in a katcheri is not enough One has earnestly to strive for this and earn it. Remember, it entirely rests with the musician to enliven and control an audience. For this, his knowledge of sruti nada and laya must be sound.
"In the light of my experience, I would say that four factors contribute to develop a musical personality. The first is the inborn intuition of the musician; the second, his sound knowledge and firm control of sruti swara raga and laya. Third comes those aspects of science and aesthetics he acquires after hard work, through a good Guru and also by listening to sound and inspiring music. The fourth and most important factor is the capacity to evolve an individual style of expression suited to the aspirant's voice, aptitude and ideas distilled through the variegated experience behind him. I am, of course, speaking about the ideal musician and it is, admittedly, hard to find such an earnest, persevering and knowledgeable musician in every aspect."
Vistas of Hope
"That means you are hopeful of a better prospect for Karnatak music with all the natural qualities and power of the voice restored to their former glory?" I suggested.
Raising his head slowly from the devotional work, Narayaniyam. which he had been reading, Chembai Vaidyanatlla Bhagavatar fixed me with a look and said, "I cannot say that. I am not a prophet. I can only repeat the words of the Lord from the Gita:
Pavithranaya Sadhunam, Vinashaya cha dushkrutam.
Dharma samsthapanarthaya, sambhavami yuge yuge.
Scanned from an article in Gayana Samrajya, Monthly Bulletin of the Bangalore Gayana Samaja, Vol XIV, No. 8, April 1996
The world of Karnatik music is celebrating this year the birth centenary of Chembai Vaidyanatha Bhagavatar one of the greatest vocalists of the century.
Sangeetha Kalarathna B.V.K. Sastry musicologist of national repute who had close association with Chembai had interviewed the great master on several occasions apart from listening to a large number of his concerts. In this interview he had with him about three decades ago Sri. Sastry had been able to elicit the views of the maestro on various aspects of music and this has been an invaluable documentation.
Added to this is Sri. Sastrys superb presentation of Chembai - the Man and his Music - which takes us to the haunting memories of the inimitable voice and music par excellence of Chembai.
During one of the early conferences of the Madras Music Academy. The late Pandit Vishnu Digambar who was a frequent participant accosted young Chembai Vaidyanatha Bhagavatar and asked him "You are an exponent of Karnatak Music a system great in history, rich in heritage and tradition and above all possessing a large following. Do you feel that today it has all those elements that contribute to a full enjoyment of its beauty or if the contrary what features do you consider are necessary to create absolute happiness?" "What is wanted is a good sense of sruti and undoubtedly good voices" replied the enthusiastic Chembai "Wanted with perhaps one exception" Vishnu Digambar is reported to have replied with a smile.
Evidently the exception meant was Chembai Vaidyanatha Bhagavatar himself for the Bhagavatar had already been a reputed singer on the scene for nearly two decades. His was a rich vibrant voice with a ringing tone which dispensed with any necessity for amplifiers. It had wafted his name from a far corner of Kerala and drawn him to other parts of the land where Karnatak music was cultivated in all its fullness. Renowned as he was as a singer with a golden voice his concerts were always packed with music-lovers who could regale and comfort themselves with that pure nada and its supreme enjoyment. His joviality, which removed any element of tension from the atmosphere, lent all the more lustre to his recitals, which were enjoyable to connoisseur and common man alike. His rich tone lending depth and steadiness to all he treated, Chembai's musical appeal was direct and immersed in its rich flow, an audience would not bother about subtleties or intricacies of technique. The effect of this splendid tone blending beautifully with the sruti was as heartening as it was haunting.
How did Chembai come to develop his rich, reverberating voice? "It has all come by the grace of God," he will say, raising his hands to the heavens. Chambai is a deeply religious man. His very lineaments bespeak his religiosity and devotion. The plump, dignified features topped with a luxuriant tuft of hair and the chubby face adorned with sandal-paste give him the looks of a Vedic scholar, apart from adding serenity to his figure. But despite this overall dignity, the cheerful bulk of Chembai on the platform often reminds one of a "Laughing Buddha". He does not seem to have any such fatigue and constraint while singing as are seen in the contortions and mannerisms of many other musicians. His singing is effortless and cool, though warm in its rich hues, and the modes seem to emerge in luxuriant coils of tone.
"I never bother about my voice at any time," said Chembai when I questioned how he came to develop this rich timbre and what course of exercises led to it. "It has come all by the grace of God. I need not have taken to any rigorous exercise or painful discipline to develop my voice and music, because it was already there for me and I had only to develop the earnestness and seriousness of purpose to cultivate it." This was no boast, either because music is something that runs in the veins of Chembai. He hails of a family whose musical traditions have run uninterruptedly for nearly two hundred years. One of his ancestors, Ghanacchakratna Subbier was a famous musician and his grandfather, Vaidyanatha Bhagavathar, was not only an exponent of repute but also courted such eminent maestros as Palghat Anantarama Bhagavatar amongst his disciples. "By the grace of God I had no necessity arduously to tread the way from one guru to another and face the many pains and tribulations of a traditional garukulavasam. Music was there ready for me at my home," said Chembai.
"I should recall those times with happiness," he continued reflectively. We were living in an agraharam. (Chembai is one of the several agraharams around Palghat where Brahmin pandits and scholars settled long since to pursue their avocations). Its atmosphere was laden with the dignified chanting of Vedic hymns and with devotional music. In our family, music was cultivated and imparted as a part of Vedic education, along with other subjects. Disciples lived either close by or actually with their gurus, learning the Vedas and the Upavedas.
"My forbears did not aspire for material success in the pursuit of their avocations. I do not mean that none of them earned honors or recognition. They went at the request of patrons or princes to sing and present the noble aspects of music. But they did not aspire to seek employment or choose a gilded existence as an appendage to any princely court. In fact, once, after conferring upon him very costly presents, the Maharaja of Travancore also sent a posse of bodyguards with my illustrious ancestor, Ghanachakratana Subbier, to see that the presents reached home safely and were not given away to any person bemoaning his luck and begging for help on the return journey as so often happened. They pursued music as a part of their religious ceremonies such as upanayanans and marriages than a means for mere material gains or entertainment."
Needless to say, Chembai Vaidyanatha Bhagavatar has inherited the characteristics of a family which has promoted Vedic culture for generations and maintained the corresponding sadachara or religious temper of behaviour. Possibly, the deep austere resounding of the Vedic chants in his ears from infancy inspired many of the qualities contributing to his rich tonal culture, while the discipline of sadachala has brought its strength and energy to his singing. Consequently he is not a prey to many of the weaknesses to which men of music are subject and which tell upon their faculties and fritter away their energies. And this has certainly contributed to the vitality of his voice, which has not diminished even at his age. The effects of this, if any, are evident only in occasional wobbly accentuations.
Benign Aristocrat
By his demeanor and deportment Chembai strikes one rather as a patrician of the musical world. He is generally very cheerful, it is true, but by nature he is composed and dignified and does not encourage levity of conversation. His remarks are forthright and may sometimes seem as blunt as the appeal of his music is direct. Of course he is very courageous and is known for his sympathy for up-and-coming artistes, especially accompanists. He is always assiduous in encouraging the more talented among them.
For all the smiles and good grace that he spreads around him, Chembai does not seem to relish interference with the course of his music. He may respond occassionally to requests from his fans for their pieces. But more often he chooses to ignore them and light-heartedly passes the matter off if it is pressed. Thus Chembai makes the impression of an aristocrat who is benign and kindly, supremely happy in his rich inheritance and graciously to extend its blessings and message to others as something preordained for them.
Like his nature, Chembai's music seems to be forthright in its appeal. His rich tone with its all-pervasive metallic ring seems to chime the features like a temple bells the timbre of his voice lending a lustre and colour which give depth and dimension to his music. In the absence of subtle ornamentation, the effects of this may often strike one as monolithic. And despite the strict lines of tradition which it follows, his music seems to exude a slightly different flavour by contrast with the current fashion - that bearing the heavy imprint of the Tanjore school. Nevertheless, his music seems very orthodox in its directness and dignity.
This fact is obvious to any one who has heard even some of his gramaphone records, to say nothing of those who have heard him in person. Apart from the rich tone, the abiding feature of these recordings seems to be the modulation and the rendering of the songs selected through fast rolls. His music strikes one, overall as energetic and developed with great ease and facility, characteristics which can be sumptuously savoured in his concerts, not withstanding an occasional dulled edge to his voice.
Rare Performances
Possibly as a concession to his age, Chembai's public performances are widely spaced. Further, though almost all the hallmarks of his recitals remain present, these perhaps no longer display the full magnitude of musical appeal. To understand this, records may be a help. But people who heard him even in the late nineteen-forties will recall his captivating aspects with relish. That deep solid tone seeming to illuminate each modal figure in his singing, and the joy of the pure nada when he held on to single notes such as shadja or panchanma are something not easily forgettable. Indeed, some of the common folk who had no pretensions to knowledge of the science of music were as thrilled as connoisseurs and would exclaim often that Chembais music was highly invigorating in effect.
Generally, Chembai commences his recitals with the classic varnam Viriboni, which he always renders in two speeds, strictly in accordance with custom, following it up with other numbers. Whether these are in medium or slow pace is immaterial, because he treats either with equal facility. Be it the elaboration of a raga or the swara the dominant feature of his music is the conspicuous rhythmic alignment of its elements. They seem to be propelled by a surging rhythm. The abundant fast rolls in which he revels, particularly in the swaraprastara possess more rhythmic patterning than modal curves. Chembai is a reputed master of tala and laya and this aspect he carries through endless variations, all the time enjoying himself and conveying his joy to the audience in the process.
Special Partiality
Slowly meandering, Chembai seems to be at his height in the pallavi. and particularly in the tanam. Indeed, when I asked him which part of his music appealed to him most, Chembai readily answered layavinyasam and especially tanam. Leisurely unfolding the raga through his characteristic free-flowing figures, Chembai saunters through the course, sparking off many patterns and permutations en route and all the while displaying an infectious joy. The tanam is of course preceded by a spacious alapana. But among the many modes Chembai appears particularly partial to Bhairavi, treating this in ampler measure than other ragas.
The Bhagavatar first saw the day in 1896 at Chembai. He may not have been born with the proverbial silver spoon in his mouth. Nevertheless his was a more or less sheltered life from infancy. Hailing from a reputed family of musicians, he had unlimited opportunities to grasp and cultivate his art. and it was also not difficult for him to find an opening in the field. His debut took place along with his younger brother, Subramanyam, or Subramani Bhagavatar, as he was familiarly called, during 1905, at a place called Vadakamannamalai. in Kerala, at a religious function. The fame of his rich voice and resonant style preceding him, Chembai was quickly drawn to the various centres where Karnatak music was abundantly patronised. His first break, in a substantial sense came in Madras in 1918, and it need not be added that with his richly expressive and pervasive tone Chembai beeame a hit in a very short time and became the despair of many well-known musicians and even of established maestros whose voice was not their forte. And this was no mean achievement, considering that he became popular in a field graced by such eminent stalwarts as Naina Pillai, Pushpavanam, Konerirajaram Vaidyanatha Iyer, Bidaram Krishnappa and others of their stature.
Despite his spectacular successes on the concert platform, Chembai Vaidyanatha Bhagavatar has been constantly benevolent and sympathetic towards his accompanists, whatever their status in the musical hierarchy, and he has sincerely tried to launch worthy members upon successful careers - the most notable instanee in this connection being that of Palghat Mani Iyer.
Launching a Virtuoso
It was during one of his recitals in Madras, in 1925, that Chembai informed the authorities of the Jagannatha Bhakta Sabha that he would look after the arrangements for the mridangam for the day, and they were perhaps happy to be, for once, relieved of this responsibility. However they can hardly have been prepared for the Bhagavatar's choice. He had fixed upon a boy just turned thirteen, named Mani. Of course they had once or twice heard of this young player from Palghat, but somehow they could not accommodate themselves to the idea that such a mere lad as this should support so eminent a singer as the Bhagavatar, particularly known for his control over laya. They remonstrated with the latter, requesting him to put off his experiment to another time, and suggesting that they should engage one of the topmost accompanists, whom he was accustomed to, to ensure the success of the day. But Chembai was adamant to the point of insisting on cancelling the engagement if they interfered with his arrangements. Finally, the authorities agreed, with some apprehension, but they thoughtfully provided another mridangam player too, as a stand-by. However they were swept off their feet by the masterly playing of this boy and Mani was rocketed to fame in no time.
Though the function of an accompanist, said Chembai, to me, is more or less that of an adjunct to the main artiste and a buttress to him, the success of the programme, overall is a collective effort. Each participant contributes his share to the enjoyment and inciden tally enjoys the general effect. Consequently, I do not like to monopolize all the limelight. I must also allow the accompanist's faculties full play, apart from often provoking him to unexpected flights. This was in answer to my enquiries about his constant sympathy for the accompanist. But a general earnestness to promote goodwill and harmony among artistes is a characteristic of Chembai's. It was significantly displayed in his efforts to effect reconciliation between two feuding giants of the Karnatak music world - Palghat Mani Iyer and Pudukottah Dakshinamurthy Pillai. This was a tough task, of course, but the enormous prestige Chembai enjoyed made them set aside their feud to accompany him at a concert.
And after that historical concert, at which neither yielded a point to the other, and reached the crescendo of his form, a sincere and close friendship developed between the two. The combination of Chembai with Chowdiah (who had also joined him in 1922), Palghat Mani Iyer and Dakshinamoorthy Pillai seemed to be ideal and was one set at a very high premium and commanding always a packed house.
All-lndia Tour
Some time after launching Mani lyer at Madras, Chembai undertook an all-lndia tour, taking the young man with him. Besides impressing the audiences of the North, he was himself impressed by the music of some of the eminent Hindustani vocalists. I say we should respect the Hindustani system, which has the same history and tradition as ours. I admire their sense of sruti and pure swarajnana. But that should not mean that we should implicitly copy whatever they do. Some of the best time I spent was enjoying the deep-toned and full throated music of such stalwarts as Pandit Vishnu Digambar, Faiyaz Khan, Omkarnath Thakur, Roshanara Begum and others, said Chembai.
Placidly settled on a cot, when I met him during 1963, Chembai was the same serene and Buddha-like figure who has been familiar to lovers of music for decades. Discussing the prospects of Karnatak music I casually asked him whether he was happy about its current course. No, said the Bhagavatar sharply, I have neither belief in, nor illusions about the present trends and values in music, which seem to be highly commercialised. The teacher has no time to instill a sense of devotion in the student and the latter has neither time nor inclination to attain any perfection. Consequently, the music of today sounds particularly anaemic to us, especially to such of us as had the facility to hear such maestros as Ramanathapuram Srinivasa Iyengar, Pushpavanam, Palghat Anantarama Bhagavatar, Mysore Bidaram Krishnappa and others who sang with full voice and gave dignity and depth to our music. Truly, we have come very far from the times when music touched the spirit and soul of man, instead of merely grazing the senses as at present.
Past Perspectives
"Time was," continued Chembai with an abstracted air. "when the musician, without any hurry or flurry, had the opportunity to develop his mood and give full play to the expressive powers that is his manodharma and the audience was not gripped with the craze for mere number of songs. Remember, I speak of times even before the advent of Tyagaraja, about which I have heard from my elders. During those days a concert of classical music commenced with the tanam in the five ghana ragas of Nata, Gaula, Arabhi, Sri and Varali. After a leisurely elaboration, of these modes, which warmed up the atmosphere and set the mood of both the audience and the artiste, the musician would next present a song each of Bhadrachala Ramadas and Purandaradasa, with occasionally an ashtapadi from the Geeta Govinda. Then he would follow up with the extensive alapana of a raga and an equally spacious tanam and pallavi. Each of these served as a theme for the creative ideas of the musician to blossom in all their proliferation. In those days they had the energy, the voice and above all the composure and spirit of devotion to undertake such noble work."
"Then you said that the present voiec culture and quality are deeply dissatisfying?" I asked.
''Undoubtedly'' said Chembai with some heat. "Musicians have also become too lazy to cultivate the full power of their voices. Even if they intend to cultivate it, where can theyfind the right accompaniments? For decades, now, almost all musical instruments have been manufactured to suit a low sruti. The inebriating effects of the microphone has gone too far.
"No, it is no use discussing this sordid subject," continued the Bhagavatar. "Though I am not very happy about the present trend. I nurture a hope that in the midst of all this chaff there may be some solid grain, too, amongst earnest students of music. It is for them I must say that the mere aspiration to beeome a successful musician in a katcheri is not enough One has earnestly to strive for this and earn it. Remember, it entirely rests with the musician to enliven and control an audience. For this, his knowledge of sruti nada and laya must be sound.
"In the light of my experience, I would say that four factors contribute to develop a musical personality. The first is the inborn intuition of the musician; the second, his sound knowledge and firm control of sruti swara raga and laya. Third comes those aspects of science and aesthetics he acquires after hard work, through a good Guru and also by listening to sound and inspiring music. The fourth and most important factor is the capacity to evolve an individual style of expression suited to the aspirant's voice, aptitude and ideas distilled through the variegated experience behind him. I am, of course, speaking about the ideal musician and it is, admittedly, hard to find such an earnest, persevering and knowledgeable musician in every aspect."
Vistas of Hope
"That means you are hopeful of a better prospect for Karnatak music with all the natural qualities and power of the voice restored to their former glory?" I suggested.
Raising his head slowly from the devotional work, Narayaniyam. which he had been reading, Chembai Vaidyanatlla Bhagavatar fixed me with a look and said, "I cannot say that. I am not a prophet. I can only repeat the words of the Lord from the Gita:
Pavithranaya Sadhunam, Vinashaya cha dushkrutam.
Dharma samsthapanarthaya, sambhavami yuge yuge.
Scanned from an article in Gayana Samrajya, Monthly Bulletin of the Bangalore Gayana Samaja, Vol XIV, No. 8, April 1996
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vasanthakokilam
- Posts: 10956
- Joined: 03 Feb 2010, 00:01
Thanks srkris. A fascinating article indeed. B.V.K. Sastry attempts at an analysis of Chembai's music in the above two paragraphs. I read that quite a few times and still I can not get a full grasp of it. Can anyone expand on this with some additional knowledge of Chembai's music when compared to others of his period. Specifically, I am not sure if he says that Chembai's music lacks ornamentation ( gamaka ) or the opposite. And also he seems to say things that are contradictory, "rich tone.. metallic ring... " in one place and then towards the end "occasional dulled edge to his voice".Like his nature, Chembai's music seems to be forthright in its appeal. His rich tone with its all-pervasive metallic ring seems to chime the features like a temple bells the timbre of his voice lending a lustre and colour which give depth and dimension to his music. In the absence of subtle ornamentation, the effects of this may often strike one as monolithic. And despite the strict lines of tradition which it follows, his music seems to exude a slightly different flavour by contrast with the current fashion - that bearing the heavy imprint of the Tanjore school. Nevertheless, his music seems very orthodox in its directness and dignity.
This fact is obvious to any one who has heard even some of his gramaphone records, to say nothing of those who have heard him in person. Apart from the rich tone, the abiding feature of these recordings seems to be the modulation and the rendering of the songs selected through fast rolls. His music strikes one, overall as energetic and developed with great ease and facility, characteristics which can be sumptuously savoured in his concerts, not withstanding an occasional dulled edge to his voice.
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srkris
- Site Admin
- Posts: 3497
- Joined: 02 Feb 2010, 03:34
VK, good observation. I read something similar in another article, from which I quote below:
And yet another extract from a different article:When Chembai says that his music is not bhava sangeet (as told to V.V. Subramaniam), it should not be taken to mean that it is a prosaic exercise in scalar movement (as indeed many may tend to think) but that his musical content, musical ideas and musical bhava do not align themselves with the gross matter of sensuous experience nor are evocative of such ego-driven, self-directed states of mind. The kind of incandescence of mind mentioned earlier, reached after all the passions and conflicts are fired out and consumed, is what endows his music with the bhava that is close to the concept of santa as the ultimate rasa in Indian poetics.
IMHO, Chembai's singing appears very similar to the music of the Veena. I have never been particularly strong with language, much less with music, so that's as much as I can get to. Simply put, Chembai's music was not laden with gamakas, say when compared to his other illustrious peers. Not that it seemed to matter to him. Balamuralikrishna said once in an interview broadcast on TV "Chembai's music had all ingredients, nothing in excess, nothing falling short either""If architecture could be described as frozen music, then the best analogy of Chembai’s style would be a column of the Doric order, solid and beautiful in its simplicity. Just as it would be ridiculous to say that the Doric order had something missing, namely, the fluted columns and floral decoration of the Corinthian order, so would it be ridiculous to say that Chembai’s music lacked the glides, graces or emotional fervor of, say, Musiri’s music.”
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kaumaaram
- Posts: 380
- Joined: 14 Oct 2005, 17:38
Extract from a mail received from Mr Gnanaprakash:
Subsect of kerala iyers to which Chembai swami belong
The group of Brahmins who reside mainly in the villages of Kodunthirapally, Chembai, Nellayi, Padur and Vengassery is Chozhiyans. People say that they originated from Chozha Desa but the fact is that they are a sub group of Brahmins called Sholiyars who claim that 'The Great Chanakya' of Chandra Gupta's court was one of them. They were generally temple priests by profession. They also are supposed to have officiated as priests in functions of non-Brahmins. These Brahmins have tuft in front of the head similar to the Namboothiris or the Chidambaram Deekshithars. There is a proverb among Kerala Iyers that "Chozhiyan Kudumi Chumma Aadathu" meaning a Chozhiyan does not do anything without purpose.
I found a photograph of chembai swami's family in which his ancestors have tuft in front of head like that of namboothiri brahmins in a book about chembai's life in malayalam brought out by guruvayur devasam.
Subsect of kerala iyers to which Chembai swami belong
The group of Brahmins who reside mainly in the villages of Kodunthirapally, Chembai, Nellayi, Padur and Vengassery is Chozhiyans. People say that they originated from Chozha Desa but the fact is that they are a sub group of Brahmins called Sholiyars who claim that 'The Great Chanakya' of Chandra Gupta's court was one of them. They were generally temple priests by profession. They also are supposed to have officiated as priests in functions of non-Brahmins. These Brahmins have tuft in front of the head similar to the Namboothiris or the Chidambaram Deekshithars. There is a proverb among Kerala Iyers that "Chozhiyan Kudumi Chumma Aadathu" meaning a Chozhiyan does not do anything without purpose.
I found a photograph of chembai swami's family in which his ancestors have tuft in front of head like that of namboothiri brahmins in a book about chembai's life in malayalam brought out by guruvayur devasam.
Last edited by kaumaaram on 07 Sep 2006, 16:03, edited 1 time in total.
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Raja Chandra
- Posts: 362
- Joined: 16 Oct 2005, 12:39
Her is a very faded copy of a letter written by Chembai to Vainika Venkatagiriappa.
Last edited by Raja Chandra on 10 Sep 2006, 01:51, edited 1 time in total.
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Raja Chandra
- Posts: 362
- Joined: 16 Oct 2005, 12:39
No sir , i cannot make out what is written either ! This and other pic i posted in JCRW thread are from a 1980 book on Vainika Venkatagiriappa written by his student Vid. R.N.Doreswamy. It just says it is a letter of apparecaition. Actual size of the pic was much smaller.
PS:
As per Dr.V.Doreswamy Iyengar's book very fascinating book " vIneya neraLalli- In the shadow of veena", this happenned at Mysore. Once at Bidaram krishnappa's Ramamandir, Sri.Venkatagiriyappa was performing and had taken along his young protege Dr.VDR also. Sri.Chembai and Sri. Chowdiah were seated in the front seat to listen to the performance. After the end of the concert, both Sri Chembai and Sri. Chowdiah congratulated profusely Sri. Venkatagiriappa as next only to Sheshanna. Sri. Chemabi expressed great future for the young artist also. Later he wrote the above letter to Sri. Venkatagiriappa.
PS:
As per Dr.V.Doreswamy Iyengar's book very fascinating book " vIneya neraLalli- In the shadow of veena", this happenned at Mysore. Once at Bidaram krishnappa's Ramamandir, Sri.Venkatagiriyappa was performing and had taken along his young protege Dr.VDR also. Sri.Chembai and Sri. Chowdiah were seated in the front seat to listen to the performance. After the end of the concert, both Sri Chembai and Sri. Chowdiah congratulated profusely Sri. Venkatagiriappa as next only to Sheshanna. Sri. Chemabi expressed great future for the young artist also. Later he wrote the above letter to Sri. Venkatagiriappa.
Last edited by Raja Chandra on 01 Dec 2006, 22:53, edited 1 time in total.
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vasanthakokilam
- Posts: 10956
- Joined: 03 Feb 2010, 00:01
I tried various things with an image editor and none of them produced anything that helped read the words better. The rosetta stone is 'venkadagiriyappa' in the invocation/greeting line. May be someone with a keener eye can pattern match and figure it out. I can make out a word here and a word there.
Like
the third line ( not including the greeting ) seems to contain 'veena has been' and then what looks like 'considerably varying',
fourth line ending may be 'higher satisfaction'
fifth line 'and pleasure that I...'
seventh line 'appreciation of this performance. I have heard',
eighth line second word 'vasantha'(?)
the ninth line beginning seems to be 'Vidwan Seshanna',
17th line is 'vidwan .......I....congratulate you"
18th line is most probably 'from the bottom of my heart for being'
19th line first word may be 'fortunate'
21st line middle 'greatest'
Like
the third line ( not including the greeting ) seems to contain 'veena has been' and then what looks like 'considerably varying',
fourth line ending may be 'higher satisfaction'
fifth line 'and pleasure that I...'
seventh line 'appreciation of this performance. I have heard',
eighth line second word 'vasantha'(?)
the ninth line beginning seems to be 'Vidwan Seshanna',
17th line is 'vidwan .......I....congratulate you"
18th line is most probably 'from the bottom of my heart for being'
19th line first word may be 'fortunate'
21st line middle 'greatest'
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drshrikaanth
- Posts: 4066
- Joined: 26 Mar 2005, 17:01
What I could make of the letter. One thing is clear- a very high-flown english.
_____________________
Thanks(?) venkatagiriyappa
After listening to your programme at the
Rama(?) mandira(?) the other day(?)----- brought home that
the veena has been continually/constantly ringing/varying in my
ears---------- high------------
and pleasure(?) that I am unable to contain
myself without giving expression to my deep
appreciation of the programme. I have
-------- vasantha(?)/vainika vibhushana----effortlessly/effectively(?)---
vidwan subbanna but have never before
felt such voluntary(?) - I had/did --- when I heard--
your performance for the first time
day. Such proper handling of carnatic
music(?) on the veena is- sure to delight
all music lovers--- about-- great(?) brought(?) through/thought(?)
maharaja of mysore is really lucky for
having/honouring you ------among his----
vidwans. I must offer/also congratulations/congratulate you
From the bottom of my heart for being
fortunate enough to obtain the favour(?) of
of his highness the maharaja who---
veritably the very greatest lover-
and galaxy(?) of carnatic --------
--
------
_____________________
Thanks(?) venkatagiriyappa
After listening to your programme at the
Rama(?) mandira(?) the other day(?)----- brought home that
the veena has been continually/constantly ringing/varying in my
ears---------- high------------
and pleasure(?) that I am unable to contain
myself without giving expression to my deep
appreciation of the programme. I have
-------- vasantha(?)/vainika vibhushana----effortlessly/effectively(?)---
vidwan subbanna but have never before
felt such voluntary(?) - I had/did --- when I heard--
your performance for the first time
day. Such proper handling of carnatic
music(?) on the veena is- sure to delight
all music lovers--- about-- great(?) brought(?) through/thought(?)
maharaja of mysore is really lucky for
having/honouring you ------among his----
vidwans. I must offer/also congratulations/congratulate you
From the bottom of my heart for being
fortunate enough to obtain the favour(?) of
of his highness the maharaja who---
veritably the very greatest lover-
and galaxy(?) of carnatic --------
--
------
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srkris
- Site Admin
- Posts: 3497
- Joined: 02 Feb 2010, 03:34
Dear Mr Venkatagiriappa,
I was listening to your performance at the
Rama Mandiram the other day...
... the veena has been considerably...
... producing such a high contribution...
... splendour that I was...
-
appreciation of that performance...
-
-
Vidwan Subbanna but have never before
felt such a .... as I did when I listened to
your performance...
I was listening to your performance at the
Rama Mandiram the other day...
... the veena has been considerably...
... producing such a high contribution...
... splendour that I was...
-
appreciation of that performance...
-
-
Vidwan Subbanna but have never before
felt such a .... as I did when I listened to
your performance...
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drshrikaanth
- Posts: 4066
- Joined: 26 Mar 2005, 17:01
Right. Here is the letter, almost complete, save one word. What I had posted earlier is pretty accurate:) Today I obtained the book from which Raja Chandra had posted the scanned letter. Very tiny image but clearer than the scanned picture. The date is not clear
__________________________________________________________
C.A. Vaidyanatha Bhagavathar
Carnatic vocalist
Dear Mr.Venkatagiriyappa
After listening to your performance at
Rama Mandir the other day, the sweet tone of
the veena has been constantly ringing in my
ears and producing such a high exhilaration
and pleasure that I am unable to contain
myself without giving expression to my deep
appreciation of the performance. I have heard
several Vainika Vidwans including even
Veena Subbanna but have never before
felt such ecstasy as I did when I heard
your performance for the first time that
day. Such pure rendering of Carnatic
music on the Veena is sure to delight
all music lovers and I feel that His Highness
the Maharaja of Mysore is really lucky in
having you as one among his Asthana
Vidwans. I must also congratulate you
from the bottom of my heart for being
fortunate enough to have the patronage
of His Highness the Maharaja who un-
-doubtedly is the greatest lover, exponent
and patron of Carnatic music in ---
India.
These are not mere words of
__________________________________________________________
C.A. Vaidyanatha Bhagavathar
Carnatic vocalist
Dear Mr.Venkatagiriyappa
After listening to your performance at
Rama Mandir the other day, the sweet tone of
the veena has been constantly ringing in my
ears and producing such a high exhilaration
and pleasure that I am unable to contain
myself without giving expression to my deep
appreciation of the performance. I have heard
several Vainika Vidwans including even
Veena Subbanna but have never before
felt such ecstasy as I did when I heard
your performance for the first time that
day. Such pure rendering of Carnatic
music on the Veena is sure to delight
all music lovers and I feel that His Highness
the Maharaja of Mysore is really lucky in
having you as one among his Asthana
Vidwans. I must also congratulate you
from the bottom of my heart for being
fortunate enough to have the patronage
of His Highness the Maharaja who un-
-doubtedly is the greatest lover, exponent
and patron of Carnatic music in ---
India.
These are not mere words of
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rshankar
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arasi
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- Joined: 22 Jun 2006, 09:30
Now we see the rasika side of him--a generous one at that. This letter strengthens the impression we get about his generosity towards accompanists and disciples and fellow artists.
Music as a spiritual expression was foremost in him, one can guess. The shAntham aspect of his music as mentioned by the critic points to the tranquility he felt while he sang and when he listened to vidwAns like Venkatagiriyappa. That is why his music did not flaunt frills.
Is it possible that he dictated the letter in tamizh or malayalam and someone wrote it in English? In the audio of his speech at Parveen's concert which Coolji posted, did he not say, I am not good at giving speeches and also, I do not know that much english and even my thamizh is not as good?
I am sure he knew enough but was happy just singing!
Music as a spiritual expression was foremost in him, one can guess. The shAntham aspect of his music as mentioned by the critic points to the tranquility he felt while he sang and when he listened to vidwAns like Venkatagiriyappa. That is why his music did not flaunt frills.
Is it possible that he dictated the letter in tamizh or malayalam and someone wrote it in English? In the audio of his speech at Parveen's concert which Coolji posted, did he not say, I am not good at giving speeches and also, I do not know that much english and even my thamizh is not as good?
I am sure he knew enough but was happy just singing!
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Radhakrishnan
- Posts: 287
- Joined: 16 Jan 2006, 10:09
MSG recalls a concert at Poomully mana.‘aNekKu bhAgavathar romba pramAdamA pAdinAr.Namboodiri gold coin koduthAr.Udane avar soNAr ‘Gopalakrishnanum kodu;avan naNA vAsichAn! ‘arasi wrote:about his generosity towards accompanists and disciples and fellow artists.
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srkris
- Site Admin
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- Joined: 02 Feb 2010, 03:34
Radhakrishnan, thanks for the anecdote. DRS, thanks for the decryption. I'd be very surprised if he wrote or dictated this letter (in English) himself.
In one of his concerts in Madras (on Vijayadasami day, 1972?), the person announcing the names of artists stops after reading the name of the ghata artist (Alangudi Ramachandran) and proceeds to welcome everyone. Chembai cuts him short to introduce the other artists "Vadivelu on Dholak, and C.R.Sundaram on Kanjira" before allowing him to speak further.
Towards the end of the same concert, someone from the audience asks him whether the audience could also sing "pavamAna" (mangalam) along with the vidvAns. Chembai replies "engalodu kacherikku nAnga padarom, avAlodu kacherikku avA pAdikkattume" (we sing for our concert, and we will allow them to sing in their concert).
In one of his concerts in Madras (on Vijayadasami day, 1972?), the person announcing the names of artists stops after reading the name of the ghata artist (Alangudi Ramachandran) and proceeds to welcome everyone. Chembai cuts him short to introduce the other artists "Vadivelu on Dholak, and C.R.Sundaram on Kanjira" before allowing him to speak further.
Towards the end of the same concert, someone from the audience asks him whether the audience could also sing "pavamAna" (mangalam) along with the vidvAns. Chembai replies "engalodu kacherikku nAnga padarom, avAlodu kacherikku avA pAdikkattume" (we sing for our concert, and we will allow them to sing in their concert).
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srkris
- Site Admin
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The famed music critic P.V.Subramanian (a.k.a Subbudu) writes in one of his articles that Palghat Mani Iyer refused to perform during the Madras music season in one of the years at the Music Academy when he learnt that Chembai had not been invited to perform there that year. This was sometime in the 1960s.
Some news: Chembai Music Festival (organised by Chembai Memorial Trust) in Trivandrum gets to a solemn start - http://tinyurl.com/fawex
Some news: Chembai Music Festival (organised by Chembai Memorial Trust) in Trivandrum gets to a solemn start - http://tinyurl.com/fawex
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srkris
- Site Admin
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One more review on the ongoing Chembai Festival - http://www.hindu.com/fr/2006/09/22/stor ... 700300.htm
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vasanthakokilam
- Posts: 10956
- Joined: 03 Feb 2010, 00:01
Chembai's brief letter to the AIR..
http://www.hindu.com/2003/08/29/stories ... 770901.htm
"dated August 29, 1953: Chembai's Suggestion to AIR
Noted Carnatic singer Chembai Vaidyanatha Bhagavatar said in a letter to the Editor: "I heard from two of my disciples who had their audition recently before a panel of All India Radio. They were asked to sing in the ragas Kanada and Sahana respectively. They were able to render these without difficulty. However, my suggestion to AIR is that an artist coming for audition should be allowed his or her own choice of raga, and asked to render alapana, keerthanam and swaram in it. The panel must judge the artist's ability in his or her own choice of raga. As ragas are innumerable, every artist(e) may not be able to render well a particular raga indicated by the panel."
http://www.hindu.com/2003/08/29/stories ... 770901.htm
"dated August 29, 1953: Chembai's Suggestion to AIR
Noted Carnatic singer Chembai Vaidyanatha Bhagavatar said in a letter to the Editor: "I heard from two of my disciples who had their audition recently before a panel of All India Radio. They were asked to sing in the ragas Kanada and Sahana respectively. They were able to render these without difficulty. However, my suggestion to AIR is that an artist coming for audition should be allowed his or her own choice of raga, and asked to render alapana, keerthanam and swaram in it. The panel must judge the artist's ability in his or her own choice of raga. As ragas are innumerable, every artist(e) may not be able to render well a particular raga indicated by the panel."
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kaapi
- Posts: 146
- Joined: 05 Jun 2005, 14:32
I have heard another incident similar in flavour involving Chembai.
Till the year he presided over the annual conference of MA, the system followed in the competition was that one of the judges would chose a raga and the participant had to elaborate it, sing a kirtana in that raga, do a nereval and then sing swaras. But Chembai wanted to change the format and said that as the President of the session this was the only thing he wanted. He said the judges can ask for a particular raga and then ask the competitors to sing a raga of their choice and then average out both to arrive at the final score. This was accepted and this formula was used for along time in MA (possibly still in use).
Till the year he presided over the annual conference of MA, the system followed in the competition was that one of the judges would chose a raga and the participant had to elaborate it, sing a kirtana in that raga, do a nereval and then sing swaras. But Chembai wanted to change the format and said that as the President of the session this was the only thing he wanted. He said the judges can ask for a particular raga and then ask the competitors to sing a raga of their choice and then average out both to arrive at the final score. This was accepted and this formula was used for along time in MA (possibly still in use).
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hsuvarna
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Can somepne please furnish information on music academy's competetion details? for what age, when usually, how to participate etc. Also, how the young musicians are encouraged by the academy? How tickets are obtained for the annual functions in december? Do they sell cds/cassettes of past academy concerts?