Gayathri Girish (Thematic) @ Nadasurabhi 20th Oct 2013

[kssr]

Nadasurabhi Cultural Association, (Regd.)
662, 6th Cross, 17th Main , 3rd Block, Koramangala, Bangalore.560 034.
Phone: 25539368. Email:[email protected] Web: http://nadasurabhi.org

Cordially invites you for the Monthly Programme on
Sunday, 20th October 2013 at 4.15 PM

Venue: The Indian Heritage Academy Hall,
Near Police Station, 6th Block,
Koramangala, Bangalore. 560 095.

Special Thematic Concert on
“Lord Shiva in His Varied Forms”

Kalaimamani
Vidushi Gayathri Girish - Vocal
Vidwan B.K.Raghu - Violin
Vidwan H.S.Sudhindra - Mridangam
Vidwan Phanindra Bhaskara - Ghatam
Smt. Gayathri Girish is amongst the leading Carnatic vocalists of today . She has imbibed some of her boundless Manodharma from the training under veteran Padma Bhushan, Sangeetha Kalanidhi Madurai Sri TN Seshagopalan. An A-Grade panel artist of AIR Chennai, Gayathri has given quite a number of interesting and non-routine concerts such as Jugalbandis with Hindustani musicians, vocal performances with Thavil accompaniment, one Raga – one Kriti concerts and numerous thematic concerts on topics like Shanmatam and Nava Vidha Bhakthi. Smt.Gayathri is presently producing and presenting a thematic concert series titled "The myriad forms of Lord Shiva" She has already given seven such concerts, each performance specialising in a particular form of Lord Shiva, like Somaskanda Murthy, Umasahita Murthy and so on. Smt. Gayathri Girish has given performances extensively both in India and abroad including recitals at Cleveland, Singapore, Russia, Colombo, Muscat and London.

Annual Music festival - November 2013: The 20th Annual Music Festival will be held on a grand scale from the 12th to 17th November 2013. Details of the concerts as well as an appeal for donations have been sent to all members and donors. You can also see the details on our website. We request you to donate generously towards the event.
ALL ARE WELCOME

Visit our website http://nadasurabhi.org and http://facebook.com/nadasurabhi

[kssr]

I saw a good review

http://kpjayan.wordpress.com/

[priyaram78]

Thanks for the link. It is a challenge to take up rare kritis and explain them in detail. Gayathri has put in lot of effort, kudos to her.

[kssr]

Review of Gayathri Girish's concert at Nadasurabhi on 20th October 2013

An enjoyable and informative carnatic recital by Gayathri Girish

Listening to Gayathri's concert was not only enjoying the nuances of Carnatic music but also was a gain in acquiring intricate knowledge of the adhvita philosophy, bird's eye view of the various Shiva kshetras, their iconography. Her explanations of the compositions (mostly muthuswami dikshithar's ) gave beautiful insight into the scholarly approach of his incorporating all the details about the particular form of Lord Shiva and how he beautifully incorporates the name of the raga in the composition. A commendable research that she has done .

Coming to the compositions taken up, she started with Sri Maha Ganapathy in gowla(ganapathy at Thiruvarur).-Among the compositions chosen many were lesser heard ones. Next was describing Bikshadana moorthy form of Shiva-Maarakoti koti lavanya in Arabhi. Kalabhairavam Bajeham in Bhiravam depicted the Bhairavamoorthy- a ferocious form. Anugraha moorthy or kalyanasundara moorthy was represented in Sri Parvathi Parameswaram in bowli-vedaranyam kshetram.
Next was brief but complete picture of the raga Poorvikalyani , the song chosen was rare one-Gangadhara tripura, composition of Mysore sadasiva rao..This depicted the
Gangadharamoorthy.

Umamaheswaramoorthy was represented in the song chintaye mahalingamoorthimin the raga Paras (slightly different from what is sung as paras today- according to the
Sampradaya pradarsini.(Thiruvidamaruthur). Next was again another not heard one-Ehi Trijagadisa in saranga a composition of Thyagaraja -. On the pancha nadeesa of thiruvaiyar. melodious and nuances filled Bhairavi alapana followed by the composition - Chinthayamam in rupakam. A good niraval with swarams reminded of her guru in places.(This depicted somsaskandamoorthy at Kanchipuram).

Veera Vasantha on the raga of the same name was taken up next depicting the Thyagesa of Thiruvarur. The main raga of the day was detailed delineation of Sankarabharanam followed by Akshayalingavibho- beautifully sung with good niraval and swarams.( this represented vrishabakshara moorthy in Keevaloor). Pahi Gowrisa in Nadanamakriya , a composition of Venkata vittala dasa and Nagendraharaya-sloka of Adisankara in ragamalika were sung. Lastly an interesting mangalam on Shiva in pantuvarali by muthaiabhagavathar brought the concert to an end.

Mr. Raghu on the violin, Mr Sudheendra on Mridangam and Bhaskar on ghatam gave good support in fitting way to sustain the audience interest the thematic concert.

Review by Dr. Shyam Krishnan

[kssr]

[keerthi]

I very rarely attend concerts, and chose to go to this one, after reading the detailed reviews of GG’s concert series on the various forms of Shiva by Crama and others . Maybe I had built up expectations too much, because I have to be the apaswaram voice in the midst of all this praise.

I have tried to be balanced, and have included all the nice things I found in the concert. My observations are made without rancour, and I hope they will be taken in that spirit.

It is heartening that one would use temple iconography, sthala-purAna, hymnology and architecture to enrich musical performances of songs associated with the shrines. Surely that was the intent of all the poets, saints and musicians who sang at different ksetras. It is commendable that the artiste would collect these details associated with songs and verses sung at specific ksetras. It is also commendable than one would try to explain the lyric, along with its literary, religious and spiritual? import; but if these aren't ones area of expertise, it is really important to vet the material past those who know better.

It is dangerous if wrong explanations and ideas get currency through such well-intentioned programmes.

I have three major ‘thematic’ (conceptual) complaints, particularly since this is part of a research project; and have a few other more subjective nitpicks.

1.Identification of Iconographic forms with songs – Unlike the dhyAnaslOkas found in the Agama and shilpa-shAstra texts , wherein each verse unambiguously describes a specific iconographic form of the deity in question; the songs of the earlier Saiva poets, as well as those of MudduswAmi dIkSitar are directed at the deity of a particular ksEtra, and thus essay the details of sthala-vRkSa, tirtha and the legends and miracles (leelas) associated with the deity. At the same time, these songs refer to certain generic features of the deity. E.g. Siva is described as the destroyer of Kama, kAla and Tripura among others, he is described as gangAdhara and chandrashEkhara, he is described as sAmba/ umAmahEswara and as sOmAskanda.

It is important to make a distinction between the circumstance when a name is used as a generic epithet [in the kirtanam] and when it is used as a technical reference to a very specific iconographic form [in the Agama/shilpa verses].

Hence it is erroneous, if not misleading to say that the pUrvakalyAni song GangAdhara tripurahara is about the gangAdhara-mUrti or the Tripura-samhAra-mUrti. Similarly vAsudevacarya uses names like kEsava, nArAyana, mAdhava etc in his krti cluster, but furnishes no iconographic details that identify the krti with the respective iconographic form.

There are indeed instances of krtis being composed on specific iconographic forms like kalabhairavam on Bhairava; or mArakOTikOTi on bhikSAtanamUrti.

2. It is highly problematic when one chooses to use the so called Sangeeta SampradAya Pradarshini version of certain songs, and leaves out this treatment for other songs, which are very much found in the same tome. This cherry-picking of material is not fair. Especially when the non-SSP version spoils the symmetry of a song.

3. Interpreting the notations of the SSP is a non-trivial task, and entails reading the exhaustive instruction manual furnished in the beginning of the text, as well at the beginning of each rAga by Sub. Diksitar. Many, many people have been misled by their hasty and erroneous interpretations of this text and its notations. This was the case here too, in some instances.


The song list -

a. Srimahaganapatiravatu – Wasn’t sung per pradarshini; sung in M. chApu, while Pradarshini and dhanammal pAtham use the slower tripuTa.

It was claimed that the lyric is survarNa-gharSANa-instead of suvarNAkarSaNa, as is popularly sung. This is not correct, IMO. suvarNa-karSaNa is perfectly legitimate; and that is how subbarAma dIkSitar has it. [This is a reference to the episode of Ganapati testing the purity of sundarar’s gold bricks].

kaRS – the verb in question means not only pull or attract, but also ‘scratch’. There is a measure of gold and silver called the karSa [equal to 16 mASas, a mASa in turn being equal to ten gunjAs or gulaganji/ kundumani seeds].

Swarams were sung in gowla, some good some ordinary. The good one included an excellent srgmrmp phrase, which was platinum.

b. mArakOti-kOti – Arabhi

The pallavi was always sung with 3 Avartas of Jhampa tAlam, vAsuki-valaya ends in the second avarta, while Smt. GG’s version always spilt over the last syllable ya (all forlorn) to a third Avarta. This violates the symmetry of the song.

c. kAlabhairavam – bhairavam

I was delighted to hear this song being announced, since it is one of the most glorious, nuanced songs of diksitar. It was announced as ‘according to pradarshini’ but alas, your pradarshini is so different from mine!

This version had a confused use of suddha dhaivatam and kaisiki niSAdam at the wrong places [the D1 at vam of kAlabhairavam, for instance]

The madhyamakAla passage in the caranam, which has a beautiful bhatiyAr sancara was also unrecognizable [dnrn,,d p in dEvarAja-pujitAbja-caranam].

d. sripArvati-paramEswarau – bauli

Wasn’t sung per SSP; but was converted into a 1 kalai version with the pallavi spanning 4 avartas of Adi instead of 2. This merits more attention. Saying ‘dual case’ for the dual number [dvivacana not dvitIyA vibhakti] is wrong.

This krti deserves a leisurely and taila-dhAra kind of smooth treatment highlighting the languorous jArus especially in the pd/g passages; and the special dnd passages.

e. gangAdhara tripurahara – sadAshiva Rao.

Nice alapana. Crisp presentation. Most regrettable choice for neraval. While Shiva has been called a madman and a beggar, here he became a demon. |SadAshiva vinuta- Ananda|-sambhrama-citta asura|-madaharana! munipOSaNa etc || was the caranam ; and the meaningless passage vinutananda sambhramacittAsura! was chosen for neraval.

This grated on the ear and the central nervous system uniformly.


f. cintayE mahAlingamUrtim – paras

Claimed to be the SSP version. The passage beginning antakAntakam ADhitArakam wasn’t sung in madhyamakAlam. All the m/pG passages were sung as plain g, making it sound strange, while SD’s interpretation of Paras is very similar to tyAgarAja’s and shyAma shastri’s [IMO].


g. Ehi trijagadISa – sAranga – tiruvayyAru - One of the best sAranga varNameTTus, more ancient than the trinity, with an excellent Sanskrit lyric of tyAgarAja. It was sung well, despite having a hamvIru sancara in the caranam.


h. Cintaya mAkanda-mula-kandam - bhairavi

The point that it is wrongly referred to as ‘cintaya mAm’ by many was made. Important point. The other reviewer here seems to have overlooked this.

The Non-SSP version was sung. Pallavi had 7 Avartas, while it should be six, in keeping with the overall symmetry of the song. Interpretation of lyrical passages like bhairavi-prasangam as meaning the episode of kAmakSi embracing the sand linga to rescue it from the flood is unjustified.

The Alapana was good in patches. The slip at uttunga-kamanIya-vRSa-turangam was unfortunate.

i. vIra-vasanta tyAgarAja mAm – vIravasanta

One couldn’t find fault with the way it was sung. Also I don’t know this song well enough to comment. It is interesting that tyAgarAja has used sgrmp in his vIravasanta, while diksitar uses almost the mirror image pmrgs sancAra often.


j. akSayalinga – sankarAbharanam

Association with vrSabhArOhaNamUrti is unjustified. ArUDha-vRSa-vAha is a generic reference to Siva found in many other krtis, including some sung in this concert. The translation of navanIta-hRdaya-vibhAta was faulty.

The non-SSP version was sung. It was embellished with a good, but brief one-stage AlApana. Niraval and swarakalpana were sung competently, with some attempts at tricky kaNakku. The kuraippu didn’t always have eight or four avartas, and sometimes has an odd 5 or 7 avartas [can’t remember which]. Nonetheless pleasant.

k. The stotra – nAgEndrahArAya –

It just happens to be a very pedestrian stotra. She could have easily chosen one of the nice verses on Siva – maulau gangAsasAnkau or mArgAvartita pAduka pashupatEH or dozens of others, or maybe a verse from that rich tEvAram corpus; and elaborated either as a vRttam in rAgamalika.

This nAgEndra-hArAya was in a soppy bhajan mode, and clearly was a favourite of most of the audience, who were swaying like 'nAgEndra-s' to the tune of a magudi.


Overall, the presentation used material with great (musical and scholarly) potential. It just needs a little extra attention and research. The very attempt is praiseworthy.

[kssr]

I want to put things in perspective, as I too happened to be there at the concert. It was an extremely satisfactory concert. It was a very well received programme. The packed audience was deeply involved and stayed on till the end. It gave an understanding of the various dimensions that our music system has to offer besides the stage of just identifying a ragam. The amount of research work that has gone into visiting various kshetrams, compiling information and presenting such a concert was obvious to the listener.

We are equally proud to have a young genius like keerthi amidst us, who seems to be a specialist in every one of the fields that he has listed at the beginning of his post. The correctness or otherwise of his opinion is better left to other specialists (if there is one) to decide.

I felt the interpretation of the gold testing episode, to be quite convincing as it is backed by some sculpture in that kshetram. It is also quite novel. Difficult to decide as to which interpretation is CORRECT, unless I check with Mr.Dikshthar himself, which may take some time

Also, to give a strong opinion as to which charanam an artist is to take for neraval,etc., is unfair to the artist.

There is also no lack of harmony if only a few of the ragas are sung as per SSP and the others in its modern version.

Unfortunately, keerthi does not attend many concerts. But that is good news for the artists. They can breathe easy.

GG is an excellent carnatic musician for the "normal" rasika and I am sure that we will have opportunity to enjoy decades of good music from her.

[pattamaa]

Also, to give a strong opinion as to which charanam an artist is to take for neraval,etc., is unfair to the artist.

It is a practice that meaningful lines which bring up sahitya bhavam and ragha bhavam are choosen for neraval. I think, keerthi's comment on these lines.

2. It is highly problematic when one chooses to use the so called Sangeeta SampradAya Pradarshini version of certain songs, and leaves out this treatment for other songs, which are very much found in the same tome. This cherry-picking of material is not fair. Especially when the non-SSP version spoils the symmetry of a song.

Keerthi - can you please tell us more about why you find issue with few songs in SSP version, and others from non-SSP ?

[Rsachi]

Great discussion. I am a double beneficiary as I did not attend the concert.
My takeaways are-
-Lecdems and concerts are meant for different audiences and formats of interaction.
- GG's effort is commendable. She needs to collaborate with the likes of Keerthi for more scholarly depth.
-SSP is like an unexploded cannon ball from Tipu's battle. Can do much damage at any time.
- the plethora of references in MD krithis rightly belong to a separate forum and discussion where again the likes of Keerthi should take lead and publish guidelines.
- the pointers to pada-chheda, neraval point etc. are very useful.

[annamalai]

Given the theme, I would be more interested - are these krithis enriching my knowledge on the Shiva kshetras and the poetic description of Lord Shiva ? or a moving description of the Lord's utsavam like - Manickam Vaiyram, Navarathnabharanam ... whether SSP or non-SSP , I would be interested if the krithi is rendered well.

[Rsachi]

+1

[pperumal]

Given the theme, I would be more interested - are these krithis enriching my knowledge on the Shiva kshetras and the poetic description of Lord Shiva ? or a moving description of the Lord's utsavam like - Manickam Vaiyram, Navarathnabharanam ... whether SSP or non-SSP , I would be interested if the krithi is rendered well.

Agreed. But it is more like cricket.
As long as you score runs it is fine.
But to watch a ball hitting the boundary with sachin's cover drive Vs sehwag's reverse sweep makes all the difference

PP

[varsha]

I want to put things in perspective, my perspective ..
From the first para to the second para of kssr's post , it looks like moving from defending a position of an organiser / listener to delivering a left handed compliment -to the gate crasher. Heaves a sigh of relief too ...A pity
This site needs to get more balanced in its promoting a modern well balanced temper - And I wont use the term scientific for the reason it may derail the discussion.
This is a section where things are reviewed . And review is an important part of research - with or without peer evaluation .
What is it that kssr wants here .
A deference to someones extra terrestrial capabilities , very much like the motorcyclist who slows down near a temple and bows to the Lord inside . The detailed review claimed no self approbation . It turned the spotlight on the subject matter , rather than the performance - Since the subject bordered on research sensibilities .
And as every good photographer / or systems engineer knows , it is rarely possible to focus on two conflicting points of interests or goals .
One has to be at the cost of blurring the other , even if for a brief moment.

The issue raised by Keerthi is not a bull-in-the-china shop kind of response . I reckon it takes an effort to pen such a review for the sake of a balanced understanding.
CM is intensely complex and it has the charm of unfolding itself to the seeker as he / she progresses.
I say this with all humility to the artist and can quote a magnificent concert of hers at Ramas Cafe-Kancheepuram fifteen years ago . A late afternoon concert . Chennai , with all its sham and drudgery has not yet woken up to this sensitive artist .
Yet I believe that the artist will be the first to engage with the views that are expressed in unbiased mode . KSSR does a disservice to her by saying she is the kind for a normal rasika , which -in his opinion - the pretending youngster was not .
If only I could tell you what the artist thinks of a normal rasika ymwhisle

[arasi]

Just how many different tastes and different levels of understanding exist among us rasikAs! Even without knowing (the sangItha SastrA), one can understand the bhAvam which music and words bring to us (according to the listener's ability, taste and the eagerness shown in hearing music). So, one cannot gauge a rasikA's appreciation of music by any standardized set of guide lines. The music is there for us all, to appreciate from every perspective there is and we all know that!

Keerthi, as many of us know, is truly a scholar, for someone so young. Not only that. His connection with music is a generational thing. From what I gather, music has been such an essential part of existence for his family.
As he says, he does not go to many concerts. Here, he's only interested in conveying what he has come to know--with his studies, research and life's experience with music. As I understand it, his criticism is not personal. Just that he is particular about how a song is supposed to be sung and so on...

This young man surprises us with his depth of knowledge in music every time he has to say something! He gets reticent at times, and I wish he participates more, particularly for the sake of those youngsters who show a lot of interest in pursuing music, by being their guide...