Are we singing the dirge for......?

[harimau]

Despite the long holiday weekend associated with Pongal and the distinct reduction in transportation services, I made the effort to transport my butt (and the rest of my body) from Alwarpet to Sri Krishna Gana Sabha for the Pongal Nagaswara Vizha. That the artist who opened the festival was Vyasarpadi Kothandaraman, my favourite Nagaswaram vidwan, was the main incentive and the fact that this was his only concert merely added to my resolve to be there somehow though I would be paying extortion to the auto drivers was a given.

The auditorium had less than 20 persons at 4 pm when the concert was to begin. The large, bearded Swede, Lars Frederiksson, who could be seen at all Nagaswaram concerts was there and was lamenting the poor turnout.

I don't think there is any need to provide a list of songs or a review to the readers who need a nagam to bite them to wake them up from the stupor into which they sink when they hear tup-tup-tup from a vocalist and who wax eloquent about the Nagaswara pedis they detect in vocal music but cannot be bothered to attend a good Nagaswaram concert.

I also went to the inauguration of the Nadaswara Thavilisai Vizha of Brahma Gana Sabha T the Sivagami Pethachi auditorium. Sri B M Sundaram said that the entire 10-day event has been funded for the last ten years by Sri Nalli Kuppuswamy Chettiar. He said that from one or two concerts at major sabhas during the season, Nagaswaram has been relegated to a one-hour "auspicious music" introduction to the season. He lauded Sri Nalli for rescuing Nagaswaram music through this special evnt. He also pointed out how Semmangudi, Ariyakkudi and Maharajapuram moved to Chennai and asked the audience to name one Nagaswara vidwan who moved out of his village for concert opportunities. He said the Nagaswaram and tavil artists, while they did not spurn outstation concerts, were content to play at the local temple and not worry about asking money in Carnatic Music -- which is a separate thread on this forum.

Sri Nalli in his reply said that the Nagaswara Festival was the brainchild of a person from Canada and after the first two years had expressed hs inability to come to Chennai every year to conduct the festival and that is when he, Nalli, picked up the slack. (This gentleman was in the audience and was asked to stand up and identify himself). He said he was happy to provide the funding as he had a soft corner fr Nagaswaram artists. Sri Raja who was the compere said that Sri Balamuralikrishna would always say 'Nalla Chettiar' rather than 'Nalli Chettiar' and how apt that was.

After the speeches, we had a concert bt Sri A K C Natarajan.

A couple of days after, a very small crowd of 40 persons listened to Kodungaiyur Raghuraman. An absolutely flawless performance that blew people away. Parivadini is not webcasting this year's festival so you can't catch it on YouTube.

But then all of you are making haste to congratulate some keyboarder for an AIR grade whereas you couldn't care less that the true source of Carnatic Music (Semmangudi said that he learnt more about CM listening to Nagaswaram concerts) is in decline.

What I want to say is not printable in a "family friendly" website like this so let me flip the bird metaphorically at all of you.

I do hope that the keyboarder will soon do tup-tup-tup on his keyboard so that you can enjoy paroxysms of joy.

[kvchellappa]

Is the write-up on tup tup tup or pee pee pee? Atually, a mimic is greater fun than the original.

[tiruppugazh]

Pee pee and dum dum in a closed auditorium is as misdirected as singing Trinity masterpieces in fishing hamlets. The Nadaswaram is an open air instrument and it is to be played and heard in temples. Have the same artistes in the Hanuman temple next to the Petachi auditorium and see the crowd, floating or otherwise.

[sureshvv]

The sound levels at the Pethachi auditorium were atrociously high last time I ventured there. The same at Nalli Gana Vihar was more reasonable.

[Rsachi]

Guys,
We have no ground at all to complain about anything unless we make the effort to attend a Nagaswaram concert.

I feel a bit depressed to read Harimau's report.

At this rate we should start a Nagaswaram Rescue Mission.

[kvchellappa]

Nithyasree had sung one record with nadaswaram accompaniment. It was interesting. Injikkudi's performance seems to draw more people. Possibly, a tup, tup pee pee, dum dum line-up may be interesting. Tup, Tup may not agree. We may try with 'The Muslim'.

[Nick H]

In another thread, about veena, a fellow member demanded to know how many full-length veena concerts I had sat through recently --- as if to experience more than half an hour was somehow difficult or painful. The answer was quite a few. I cannot say the same for nadaswaram and Thavil. I just don't like it.

Should I feel bad or guilty about that? Maybe, but it won't change my reactions. When it is overamplified, then I fear for what is left of my hearing. Perhaps this is one of the reasons for the apparent unpopularity. I think that Tiruppugazh is spot on: it is for unamplified open air.

Injikkudi, with mridangam, is as far as I can enjoy indoors. And I do, very much.

[appu]

But then all of you are making haste to congratulate some keyboarder for an AIR grade whereas you couldn't care less that the true source of Carnatic Music

I do hope that the keyboarder will soon do tup-tup-tup on his keyboard so that you can enjoy paroxysms of joy.

Harimau,

I am appreciative of everything you say in your post except the above. Any particulr reason dragging this innocent lad into the fray. His father just shared the joy with the community and the rasika forum appreciated it.

[harimau]

Last night turned out to be quite interesting.

After Sri Seshampatti Sivalingam's concert was over, several persons approached the dais to offer their appreciation of the concert and the fine music they had heard. Sri Sivalingam, who watched Lars Frederiksson record the concert on an iPad, requested someone to ask Lars to put up the concert on the Internet. When the request was translated and relayed to Lars, he promised to do so in a few weeks' time as the upload speeds at home in Sweden are much greater than available to him in India.

(The connection between Lars and Sri Sivalingam go quite some long time back. Lars' guru has learnt to play Carnatic Music on the saxophone from Sri Sivalingam.)

About 10 persons hung around discussing the concert. Lars again expressed his sadness at the poor turnout. He said he learnt CM from LP records and asked how nagaswaram music which forms the foundation of CM is being ignored while the masses flock to "concerts of Sanjay Subrahmanyan's and T M Krishna's, not that he doesn't like their music". (That is pretty much an exact quote in that he named those two as examples of crowd-pullers). Lars promised to share his collection of the last decade of Nagaswaram music and put up an organised, indexed version on the Internet. He added that he comes to Chennai for the Season but his soul wants to listen only to Nagaswaram music. He asked why the other musicians who could learn so much from Nagaswaram music were conspicuously absent.

We were literally thrown out of the auditorium by the janitorial staff who started turning off the lights and locking the doors. The group continued its discussion in the parking lot. Finally Lars was driven home by a friend who was playing Karukurichi's music on the car stereo, a fitting end to a fine evening. The rest of us found our way out to catch autos and buses to our homes.

But the question remains: why do we, those of us who pontificate on CM so much in this forum, steadfastly ignore music that is so fantastic that it captures the imagination of a Lars Frederiksson who happened to chance upon it?

There was a time when the future of Nagaswaram music was in doubt. It may not be out of the woods yet but Nagaswaram artists pretty much make their living from wedding concerts and temple performances, though the honoraria for the latter may be meager.

As Dr B M Sundaram said in his speech during the inauguration, these artists are content with their life in their villages and their livelihood, saying, en ammaiappan ellattheyum paatthukkuvan (the Lord will take care of me).

[kvchellappa]

Can taste be legislated? Even for some singers who are good, the audience turnout is poor. Can any one individual be the most authentic barometer of the right classical taste? In the already very thin audience base for CM, can we fight on what people should listen to? Does art develop by a creative impulse of an artist and spontaneous support of the patrons or by some scriptural injunction and religious adherence to it?

[rshankar]

Perfect response, Sri Chellappa....putting down the taste of others is not the way to get them to appreciate something else. When a certain type of music is more 'popular' than other types, I think it is not right to declare that the people who like it have inferior taste. If the whole purpose of music and other Indian art forms is to create rasAnubhava, a very personal and individual feeling, no one should be in a position to judge where and how people seek to experience it. And it certainly doesn't make sense to put down 'popular' artists who really work extremely hard at what they do.
And just because people who wax eloquent about Carnatic music do not attend a nAgasvaram concert doesn't in anyway mean that their passion is any less than others who who do.
I am certainly glad that it has captured the imagination of Lars Frederiksson, but why is he the barometer of good taste?

[VijayR]

But then all of you are making haste to congratulate some keyboarder for an AIR grade whereas you couldn't care less that the true source of Carnatic Music (Semmangudi said that he learnt more about CM listening to Nagaswaram concerts) is in decline.

What I want to say is not printable in a "family friendly" website like this so let me flip the bird metaphorically at all of you.

I do hope that the keyboarder will soon do tup-tup-tup on his keyboard so that you can enjoy paroxysms of joy.

I don't usually respond to such posts, but the above is not cool at all... You used to be sarcastic and funny. These days, you're just outright rude and obnoxious. What on earth happened to you??!!

[hnbhagavan]

Dear Sirs,

The concern expressed by Harimau and Lars regarding poor turn out for Nagaswaram Concerts is genuine and perhaps appealing to fellow Rasikas to try and attend the concerts.In case there is no crowd turn out(I agree it cannot be legislated),great Instrumental music will die as far as concerts are concerned.They will get relegated only to marriage functions.I am also a guilty to this as I have not attended a single nagaswaram concert in the recent past.In fact Bangalore sabhas have stopped featuring Nagaswaram.Earlier days Nagaswaram used to be a part of any major festival.It is to the credit of Chennai Sabhas and sponsors that they are featuring special Nagaswaram concerts.It is time for all rasikas to support this Instrument in concerts.

[anandasangeetham]

nadaswaram recitals are suited only for open air auditorium....these days even in marriages it is mostly used as a noise maker than a musical instrument...to drown any inauspicious words being uttered and heard.......

I have a suggestion....why not have the nadaswaram concerts in temples during the music festival? we have lots of temples with huge space for these....
the vidwan will also be happy to have a sizeable crowd for his concerts (though some may be a floating crowd)...problems in ticketing is there but the finances can be overcome with sponsorships.....another advantage is that the sabhas can hit two birds in one stone.....have their own auditoium free for any other ticketed concert at the same time have the honour and name for promoting nadaswaram recitals......

[rajeshnat]

I did not attend any nadaswaran concert in this pongal series, but in the last few years when I attended in skgs and bgs , the volume was adjusted right and it was not as bad as few wrote- that it is best only in open air. Of course i sat in skgs and bgs in the last 10 rows .

[munirao2001]

When the Sabhas replaced the Durbar and Zamindar's houses chamber performing centers and when the State Governments took over the temple administrations ( due to the mismanagement by the trustees); the music appreciation moved over from villages and towns to cities; the modern cutcheri padhati with total attention on the popular Vocal Vidwans, exceptionally to the instrumental-veena, flute and violin; the decline for the appreciation and support set in and in the present 20th century, total neglect. Vocal and Violin has taken the total domination. The State Governments and the Sabha officialdom have done a great disservice by their lack of concern and patronage. Now temple administration enjoying good revenue only engage the Nagasvaram Vidwans and their accompanying artists. There is also decline in engaging the Nagasvaram Vidwans for the marriage functions also.
Discerning rasikas have to take the responsibility of ushering the change, with urgency. Sabha members should become proactive and demand their concerts to be planned and arranged. Very importantly, the popular artists who have achieved financial well being have to come together and sponsor concerts in the Sabhas, Temples and in the Margazhi music season. Also they can team up with maestros and present concerts. To begin with the discerning rasikas and popular Vidwans genuine support, the change in appreciation will start commencing. Governments-Central and State also creating support systems and their Secretaries acting dutifully and responsibly, it will receive best support. With this kind of support, Nagasvaram Vidwans will enrich the KM and their well being will be ensured.
First let the discerning rasikas take the simple steps of buying up the stocks of Cassettes, MP3's and DVD's of Nagasvaram Vidwans and send the TRP's of Television program featuring Nagasvaram concerts, soaring.

munirao2001

[music1]

You want crowd in the auditorium, overflowing outside of the auditorium, all that is required is:

1. vocal duet by the sisters singling snake and monkey song
2. Solo by a lady singing madu mekkum khanna and dancing to the fullest glory.
3. abhangs and dance...

the 20 in the audience however, would have been the discerning music lovers. I guess that 20 is better than having 2000 in the hall

[arasi]

Harimau had, a few years ago made me make a resolve that I should attend at least one or two vINA concerts every year.Good for me. The same applies to nAdasvaram.

However, for Harimau to drag in the rest of the music fraternity into it as a 'foil' is quite unnecessary (am I thinking of weapons here?).

Harimau aside, when we are insistent on excellence in music--a good thing), we also at times don the garb of taste makers and reject anything which is below our personal norm. In this, we better be careful not to do away with the rest of the music. After all, we are governed by our own taste in music too, and seek the kind of music which appeals to us. Nothing wrong in that.

But to praise something doesn't mean we have to bring down something else to make our point...

[chalanata]

Nadhaswaram does not get the importance it truly deserves. The reasons can be one of the following:
1. The players come from traditional gurukula background without much knowledge of marketing. Chennai requires lot of marketing and the stories which I hear are appalling. These artists do not stand a chance of displaying their talent in the present circumstances.
2. As rightly pointed out by some it is suitable only for open air theaters and that too without mike. In those days by 3 am the sound of kedara kowla will come in the air. It was such a soothing thing in my native town. It will be played in the temple car festival.
3. The knowledge of nadhaswaram vidwans is different. For example different mallaries will be played on different days according to the deity of the day. Mukhari mallari will be played only on the day when Bikshadanar comes.
4. There are no janavasams in marriages now a days extending to the whole of the night. There is a history of TNR playing nata bhairavi aalaaapana from 11 pm to 3 am.
5. This kind of stamina comes from discipline, pranaayama and long years of practice from young years. I doubt whether the same enormity of discipline and hard work are there now.
6. Another peculiarity is people preferring saxophone instead of nadhaswaram. This is only a mind set. I find in Bangalore temples only sax is played. The timbre may be better in sax but it evens out the nuances and makes the swaras flat.
To attack this problem what we should do?
1. Stop first of all our misdirected attacks on a key board boy or on 'vishamakkara kannan'. What is the connection? I do not understand...
2. Take the help of people like Rsachi who has lamented in another thread about the difficulties faced by people taking CM as a profession. We shall conduct weekly nadhaswara concerts in the open air in Marudheeswarar temple and promote the same. At the end of the year in December we shall conduct a nadhaswara kalai vizha for 3 days or 5 days featuring all the prominent and upcoming artists. We can include venu vaani and violin later..
3. Institute a seperate life time achievement award like sangeetha kalanidhi. My regret is Valangaiman Shanmugasundaram who was a very great thavil master was not conferred sangeetha kalaanidhi. These can be rectified by instituting separate awards.
4. Encourage thimiri nayanam which can be played only with extraordinary breath control..

[Rsachi]

5. Get someone like Parivadini or Arkay to arrange Nagaswaram concerts outdoors and we rasikas can chip in with contributions if they livecast it. We can also urge Doordarshan to livecast those programs.

The nagaswaram artistes who played short pieces, one after another, sitting in a huddle at Thiruvaiyyaru just before Pancharatna kritis, really gladdened our hearts.

I don't know if I am right, but I think nagaswaram artistes are perhaps the only ones who have stayed immune to the electronics and "modern" influences. That must be lauded.

[Rsachi]

And
The nagaswaram and tavil artistes got great encouragement in Naad Bhed. Why not take Parivadini's help and arrange a Nagaswaram live contest?

[Nick H]

Please note that Parivadini seems to be in abeyance or hiatus since the end of last year. We hope they will come back --- but what they have done could be done by others too.

[Rsachi]

Sure, Nick!

[Nick H]

I don't know if I am right, but I think nagaswaram artistes are perhaps the only ones who have stayed immune to the electronics and "modern" influences.

I don't know, but I think that reed instruments require a certain amount of wind power before they even make a [musical] sound, and the option of playing quietly (although Injikkudi, at least, can be gentle) is simply not there. Thus, the current tradition, popular with many vocalists, especially young guys, of singing to their toes, or even to their nose, so that a microphone is required to allow us overhear them, just can't happen with the nadaswaram.

[munirao2001]

RSachi Sir,
"modern' influence on the nagasvaram vidwans started with adopting clarinet and saxophone instruments replacing the nagasvaram. When they perform in studios, stage and auditoriums, they do adopt changes creatively and beautifully to make the sound/naada more pleasant and less harsher. Radel has a product for sruthi-electronic. Great Maestro Rajarathinam pillay did innovate and use the shortened version of nagasvaram to achieve better aesthetic experience.

munirao2001

[Rsachi]

Yes sir. I know.
I think AKC Natarajan was very successful.
I meant that the music they play is more or less the same as it was in the past. There is no jazzification.

[vasanthakokilam]

Nadhaswaram does not get the importance it truly deserves. ...
1. Stop first of all our misdirected attacks on a key board boy or on 'vishamakkara kannan'. What is the connection? I do not understand...

Well said, Chalanata. Such things are a major distraction and self-defeating and works counter-purpose to the goal at hand.

Back to this topic, how were Nadhaswara concerts conducted 125-150 years back when CM sponsorships were with the Royalty, Zamindars and Temples?
Were they pretty much connected with some occasion/function/celebration or there were standalone Nadhaswaram concerts then?

[chalanata]

VK,
I'm also interested in knowing. Probably scholars like Sundaram (not Cleveland) can help. I do not know whether he is a member here....

[munirao2001]

We have written manuscripts and other written works recording the history of Peria Melam and Chinna Melam. Chinna Melam was exclusively consisted of Nagasvaram Vidwans and their accompaniments. There were Maha Vidwans, who were honored with Asthana Vidwan. Asthana Vidwan's not only performed in the Temples, marriages and special occasions. The special occasion performances, were stand alone. They did achieve prosperity in Nayak, Pandya and Maratha rulers periods, with royal patronage. Later, in the history, they were mostly getting opportunities in Temples, where they were Asthana Vidwans and marriage and other festival celebrations. When the Sabha came in to existence in the early 19th century and became the prime event management institution at the end of the 19th Century and in the 20th Century, the decline set in and has reached at its worst in the recent past and in the present times. Vocal music became the most dominating culture. Very few extra ordinary maestros only enjoying the popularity, the patronage and honors. When very few special series for exclusively nagasvaram performances were offered, the rasikas not attending in good numbers and appreciating, the good initiatives taken could not achieve success and fulfill the expectations of the Vidwans as well as the event managements. AIR, Door Darshan and SVBC channels are the only mediums offering performing opportunities and some income to the Vidwans. All the Vidwans who are Astana Vidwans of Temples with good financial resources and managements are able to make a living and income supplemented with engagements for the other celebrations-marriages, in particular, help them to meet the other expenses.
Talking and Thinking by the discerning rasikas are not of any help. Individual actions of attending to the performances, buying commercial recordings, engaging the Vidwans for celebrations, hearing the radio concerts and watching the TV programs are required. With this individual actions, popularity gained, rasikas also supporting together with the discerning rasikas, patrons offering dedicated and committed support, Popular Vidwans, collectively creating opportunities and engagements, the revival will commence. Time, is NOW.

munirao2001

[Pratyaksham Bala]

‘Periya Melam’ refers to the traditional Carnatic music ensemble dedicated to playing in Temples and for marriages and other auspicious occasions.
‘Chinna Melam’ troupe specialised in playing for Temple dance, palace dance and other social entertainments.

[varsha]

The nagaswaram artistes who played short pieces, one after another, sitting in a huddle at Thiruvaiyyaru just before Pancharatna kritis, really gladdened our hearts.

The sight of nagaswaram artists walking with their heavy baggage - after concerts - from KGS upto the main road to catch a bus is a tear jerker .
While the cognoscenti drive away in their cars .
There is a discrimination that only the discriminated can feel . One has to look at the audience profile at Sivagami Petachi these days ( I refer to the festival ) . The hall was 70 % full for the duo from Sri Lanka yestyerday ,for what turned out to be an amazing concert. Audience feeling their way through the rows as though they have not been used to this environment . Ordinary men . Keeping beats immaculately . Not one stirred during the thani .

An interesting blast from a distant past .......
http://www.mediafire.com/listen/mu6z3aj ... _-_KPA.mp3
Artist ..
http://www.mediafire.com/watch/t47huzc1 ... eature.wmv

[sureshvv]

http://egayathri.blogspot.in/2014/09/soulful.html

[harimau]

Can taste be legislated?

No, but taste can be cultivated.

That would require effort, motivation, time, etc.

If people can cultivate a taste for CM on guitar, saxophone, mandolin or the keyboard, I fail to see why they can't cultivate a taste foe CM on Nagaswaram, veena or the flute.

What I decry is the public posturing on this forum where people go ecstatic about the Nagaswara pidis they hear in their favourite vocalist's music.

Pray tell me, how can they identify Nagaswara pidis when they don't come to Nagaswaram concerts?

[vasanthakokilam]

What I decry is the public posturing on this forum where people go ecstatic about the Nagaswara pidis....

The following is a nitpick but just to be sure, given the forum is made up of people with vastly different tastes and opinions and many members may even be on your side on the passion for Nahaswaram

"What I decry is the public posturing by some people in this forum where they go ecstatic about the Nagaswara pidis...."

[varsha]

No, but taste can be cultivated.
I tried cultivating . Ended up with a bean stalk .
On climbing found a Pied Piper

http://www.mediafire.com/listen/wkl5m2z ... PA_(9).mp3

Welcome to my Garden.Willing to share more if there is interest.

[sureshvv]

Was at the Pethachi auditorium yesterday. Was deafening sound. Had to leave very quickly with a headache. Wish Nalli would sponsor these at the Kapali temple.