KALA SAMVADA

Concerts and other events related to CM.
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munirao2001
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#1 KALA SAMVADA

Post by munirao2001 » 09 Jun 2018, 15:17

Sri Nageshwaran and myself are pleased to notify program of
'KALA SAMVAADA' with Dr.Lokanatha Sarma,
time 10 Hrs to 12 Hrs,
Sunday (tomorrow), 10th, June, 2018,
Venue: Apartment No:1171, 17th floor, Sobha Tulip, JP Nagar 6th Phase, 24th Main, Bengaluru560078 ( Sri Nageshwaran's Bengaluru residence).

After opening statements of Dr.L.Sarma, it will be interaction meeting in the form of Q & A. As one of the senior practitioner-performer, erudite scholar & speaker, in the parampara of Chittoor School, Dr.L.Sarma needs no further introduction to the forumites.
Sri Nageshwaran and myself cordially invite Bengaluru forumites to attend the meeting and actively participate in Q & A. Contact details: Nageshwaran-9840626385 OR Muni Rao - 9845336203.

Muni Rao
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CRama
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#2 Re: KALA SAMVADA

Post by CRama » 09 Jun 2018, 16:42

Thanks for organising the session. It will definitely be much enriching. Wishing the session all success. Hope Bangalore forumites will make use of the opportunity.
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rajeshnat
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#3 Re: KALA SAMVADA

Post by rajeshnat » 09 Jun 2018, 16:43

very best wishes - a great vidwan is meeting in a great rasikas house.
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Sachi_R
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#4 Re: KALA SAMVADA

Post by Sachi_R » 10 Jun 2018, 19:44

Image
From 10 am till 1pm we enjoyed the hospitality of Sri Nageswaran, his son Sri Karthik and family. Sri Tadepalli Lokanatha Sarma sang with a robust voice and a firm conviction his renditions of time honoured Thyagaraja kritis with his own Bhava and insight, very different from the norm of speedy, laya dominated kutcheri versions. At my request he sang Nagumomu, raga Shahana and even a Swati kriti Deva Deva, a far cry from what we have heard before. Interesting discussions and lunch followed.
Sri Muni Rao moderated the proceedings.
Naresh Keerthi, KP Jayan, Chandrashekhar, Sempagodu Vighnaraja added much value to the deliberations. Sundar Natarajan and I represented the lay rasikas.
Other ragas and songs sung were Vasudevayani, Bhavanuta, Raga Mayamalavagowla, Begada, Saveri, Shubhapantuvarali, Gowlipantu,... Sri Sarma sang two compositions of his father.
The popular "Nanati Bratuku" was sung in Revati (Nedunuri), Mukhari (BMK) and Shubhapantuvarali (Tadepalli).


More details and some recordings may follow courtesy Sri. Nageswaran.

A wet and windy day was well spent with masala chai, music and bhava.

Thanks to Sri Muni Rao and Sri Nageswaran.
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rshankar
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#5 Re: KALA SAMVADA

Post by rshankar » 10 Jun 2018, 20:07

Sachi! Thank you for the report and the vibrant photograph.
1) Can we get names to go with the faces?
2) Were the procedings recorded?
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Sachi_R
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#6 Re: KALA SAMVADA

Post by Sachi_R » 10 Jun 2018, 20:16

Front row:
Mrs Gayatri Jayan, Sundar, Mrs. Sarma, Dr. Sarma, Mr. Nageswaran, Karthik Nageswaran.
Back row:
Naresh Keerthi, Chandrasekharan, Jayan, Vighnaraja, Muni Rao, Mrs. Savitri Nageswaran
Camera: Sachi

Yes, audio recorded.
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rajeshnat
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#7 Kalasamvada- Tadepalli lokanadha [email protected] house on June 10th 2018

Post by rajeshnat » 11 Jun 2018, 06:43

Super Sachi, great work. By any chance is Chandrasekaran and Sundar natarajan part of our forum . With Naresh Keerthi to challenge the lakshanam side and Samphagodu vighnaraja to challenge the lakshya side it must have been a tough challenge for vidwan tadepalli Lokanadha sharma . IIRC,My very first concert of his in a live concert (referred now the forum way back in 2008,)was a subhapantuvarali main,he sang nanati bhrathuku (AC krithi) in subhapantuvarali . SRJ mama who sat in front of me was weeping to hear that nanati in shubhapantuvarali. i cannot forget that . TLS has also sang this now . Also 2 or 3 years back I came to know in besant nagar where the MC introduced that TLS has also sang a whole night or day of concerts in 1991 as a prayer for Iraq kuwait war for stoppage of that war. Great show Sachi and others in bangaore.As usual to say the least nageswaran sir and his extended family truly rocks.

Mods
Change the title from kala samveda to kalaamveda - tadepalli lokanadha [email protected] house on June 10th 2018 so that this post gets tagged in google
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Sachi_R
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#8 Re: KALA SAMVADA

Post by Sachi_R » 11 Jun 2018, 07:47

Rajesh,
👍

Everyone was very respectful and there was less debate. The core theme was how Sri Tadepalli was given a free licence by his guru Sri Chittoor Subrahmanya Pillai to develop and present his own individual style based on his saareera and understanding of the "vaaggeyakaara hrudaya".
Sri. Sarma places paramount importance on a grand, leisurely style of singing eschewing sweaty speed. He wants to savour and adorn each phrase of the Saint's composition to extract maximum bhaava true to the composer's core sentiment.

The result was astounding. His bhavanuta in Mohana was like a ballet in comparison to the Bollywood style of others.

Of course everyone felt that mainstream musicians could incorporate in places this type of authentic raaga- and bhaava- centric music but in the interest of "Concert success", some via media approach was also necessary.
The points made (by Keerthi and Vighnaraja) was that 1) every artiste would do his/her own manodharma-led improvisation to capture the composer's bhava, 2) norms set by so.many artistes create a listener expectation and one can't do something totally different all the time. 3) in Sri Sarma's style of singing, the accompanists could be in a quandary.

Sri. Sarma granted that freedom to others saying this was "his way".

He has started an initiative called "Naadayogaanubhavam". He says listeners have a duty to know and experience the true depths of Carnatic music which in his opinion is very different from what is the current run of "popular" CM.

His voice is very powerful and explores mandara sthaayi very well.

Quite possibly everyone named is on this forum.

Here is another photo 😀
Image


kalaa samvaada
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Sachi_R
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#9 Re: KALA SAMVADA

Post by Sachi_R » 11 Jun 2018, 15:18

Here is a recording of a recent AIR FM concert of Dr Tadepalli Lokanatha Sarma:
http://www.sangeethamshare.org/tvg/UPLO ... ha_Sharma/
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CRama
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#10 Re: KALA SAMVADA

Post by CRama » 11 Jun 2018, 16:05

I am sure it would have been a really blessed day for all the participants- a congregation of great musicans and music lovers. Only Nageswaran Sir can pull off such an event- with the coordination of Sachi and Muni Rao. Kudos to all of you. Chennai forumites will remain satisfied with the audio tracks that will be uploaded in the forum. Thanks RSachi for the excellent snaps.
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munirao2001
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#11 Re: KALA SAMVADA

Post by munirao2001 » 11 Jun 2018, 19:20

KALA SAMVAADA-OF DR.T.LOKANATHA SHARMA AND RASIKAS
Dr.T.Lokanatha Sharma presented his concept of Pure Reason in Karnatic Music, named as ‘Naadaanubhavam’. Pranava Naada of OM kaara resulting in Sapta Svaras, is very embodiment of ‘Naada Tanum Anisam’. Karnatic Music aims the class of purity to enable and empower the saadhaka, practitioner of this great art form to attain elusive, ‘Divine Bliss’. Pure Consciousness of Self, strengthened with Pure Perception and Pure knowledge can only result in the realization, not any other.
Karnatic Music demands equality of raaga, melody; saahithya, lyrical; laya, time and space in bhaavams, aesthetics. Perfection of all the seven svaras, it’s extended five svaras, and it’s expanded further four svaras, totaling to sixteen svaras can only cause, effect and affect the Naada, permeating the Self and Selves of rasikas minds in Naadaanubhavam. Unity of physical and metaphysical, psychological being, is yoga, unity of purpose. Naada and Yoga give the ‘yogyata’ for Naadayogaanubhavam, pure bliss.
Dr.T.Lokanatha Sharma’s centrality is saahithya and its message, purpose in the composition. Raaga and laya, kaalapramana has to work with saahithya akshara, arranging the svara, raga sanchari and kaalapramana. Ideal is in both the artists and rasikas experiencing wholesome and enriching experience. Performing artists should not compromise the high values and the rasikas should demand quality and its delivery to offer their patronage and support. This is the path for the true promotion, propagation, growth and development of art forms, Karnatic Music in particular.
He wanted to remove the misconception that plain and pure note renditions are not part of Karnatic Music presentation. To create one kind of experience, with ease and comfort by even lay rasikas listening to the pure notes based movements. His value system decries excessive use of kampita gamakas , overdose of turita kala composition handling and svara prastara with vyavaharams as the focus and extra attention, a sure means for creating instant gratification by applause, aided by the willing accompanying artists.
In the musical dialogue with Sri Sachi, he gave very satisfactory replies and demonstrations (which engaged a maximum time). To the pointed questions seeking his opinion and alternate views from Sri Naresh Keerti on artistic liberties resulting in nonconformance to the lakshya and lakshana aspects and Sri Sampagodu Vighnaraja on rakti and mukti ideals freedom and choice for performing artists, was not satisfactorily answered by the maestro. A very frequently talked about misunderstanding on the sruti imperfection perceived by Hindustani music practitioners and rasikas and quoting the statement of Pandit Kala Ramnath was also not answered by the maestro, giving the impression that he did not disagree with the statement.
Moderating the discussions I did intervene and shared the details within the permissible limits.
The audio link when it is posted, you can have direct experience of the proceedings beyond the brief reports by Sri RSachi Sir and myself. Both of us did not take any notes to report to you much more in detail of the proceedings.
I am pleased to convey that maestro Dr.TLS also enjoyed the samvaada in good spirits.
I am appealing to fellow forumites to take similar initiative to build on Kala Samvada, which will benefit both the rasikas and practitioners-students.
Muni Rao
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Sachi_R
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#12 Re: KALA SAMVADA

Post by Sachi_R » 11 Jun 2018, 20:06

I thank Sri. Muni Rao for initiating this dialogue.

Over time I have come to believe that all such gatherings are a form of worship.
As Sri Krishna says in the Bhagavadgita 10.11:

mac-cittā mad-gata-prāṇā
bodhayantaḥ parasparam
kathayantaś ca māṁ nityaṁ
tuṣyanti ca ramanti ca

The thoughts of My pure devotees dwell in Me, their lives are fully devoted to My service, and they derive great satisfaction and bliss from always enlightening one another and conversing about Me.
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shankarank
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#14 Re: KALA SAMVADA

Post by shankarank » 20 Jun 2018, 10:49

05 and 06 - are same clips.

I heard all of them entirely. It seems in any tradition, there is a public message to the world in general. And sometimes somebody shares some contextual inner message, subtly to their band of followers.

I am quoting from this presentation.

https://youtu.be/RaN5bYPWtX8?t=3134

Dr Sarma's plea, I believe applies to the inner band of followers and contextually valid within that when it comes to the integrity and bhava of the sAhitya. A larger message is brought out in the sanctity of nAda and how it ought to be worshiped.

A lot of performing musicians may be deficient in sAhitya. Yet we are attracted to them. Their sAdhana speaks in some form. But I believe given the compendium of work of all of them, an appreciation of laya along with svara is essential to gain the knowledge of the strengths of each musician. This may be a common attribute of most longtime and learned rasikas.

But I have observed that it does not come easy for quite a few , who are already into it. I have seen even learned rasikas not taking to MDR's music, due to the timber of his bass voice and his way of expressing sAhitya. That is a big loss for a rasika who is close yet rendered afar.

When I disseminated Dr. Sarma's Arkay convention lecture , recently on the same topic, via the WhatsApp group to all teachers in the Dallas area, there was a reaction from a son of a prominent vaiNika who lives here ( names withheld ) : that linguists will complain all the time about all this, but when it comes to music they fall behind.

He was already categorizing using the Anthropological framework. Linguistics itself has been a colonial enterprise for the colonizer to understand the natives, compile a grammar and dictionary.

In categorizing somebody like Dr. Sarma as a linguist for his emphasis on sAhitya, the pejorative in the terms,: "linguistics", "lyrics" is brought out sub consciously.

The word "language" and "lyrics" seem to have very limited sense in them, the way they are used.

The term sAhitya cannot be separated from music , with later being viewed as an "art" faculty. And it is not just due to the fact that "sahitya" sounds pleasing when "set" to music as the notion goes. One has to view "sAhitya" itself as music, looking at the stress of the letters as musical, then relative differential stress when combined to form words , the balance of the soft and hard, then the dhIrga hrasva of the vowels forming the meter, then prAsa etc. - all of which is music in the first place , before we see meaning into it.

In the words of kAlidAsa, vAk is sacred, it is beauty, and hence I conclude it is music before I adduce artha into it. So there is a lot to worry about before we experience the bhAva of a sAhitya via the artha.

And a rasika has to buy into the sacredness of all of this, whether they understand the meaning or not, by which token, they will almost know the right pronunciation as well.

This is not to make "mantras" out of sAhitya and put them on par with the vEdic tradition, but what is wrong in viewing the former as a continuum of that tradition, that imbibes some of the values of the latter, for the benefit of the cause of "music"?? And I know that will be viewed as brahminizing a sub-altern art form. In response I would say, the art form has been rather church-ified with most institutions acting like one , which is what is being mistaken for brahminism in music.

A rasika has upAsana to do with the sAhitya cherishing every bit of it. That will be beneficial in that , it drives them to encourage their progeny to learn it , even if they did not become musicians. This is how we have got what we have got. That is irrespective of everything that is wrong in the way the art form is practiced. If this is challenged, we are in danger zone of losing the tradition.

I think we should leave musicians to do their bit themselves , as they have got a lot to handle.
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Sachi_R
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#15 Re: KALA SAMVADA

Post by Sachi_R » 20 Jun 2018, 11:16

A rasika has upAsana to do with the sAhitya cherishing every bit of it. That will be beneficial in that , it drives them to encourage their progeny to learn it , even if they did not become musicians. This is how we have got what we have got. That is irrespective of everything that is wrong in the way the art form is practiced. If this is challenged, we are in danger zone of losing the tradition.
Dear Shankarank,
I am a fat man with fat fingers and hence it is almost impossible for me to pinch myself. But I did try it just now. Because you have written something profound here 😀👍🙏

I had occasion to be in the holy presence of Swami Bhoomananda Tirtha at Narayanashrama near Thrissur very recently. They sing beautiful shlokas in sonorous chants every morning. At the end of it Swamiji said,
The greatest truths are revealed in poetry. They should be imbibed by singing the poetry. That is the ultimate anubhava and उपासना using our faculties.

I also second what you have said. If we can approach each type of music and musician's performance with an open mind and a humble sensibility to receive, we may maximise the रसानुभव!
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kvchellappa
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#16 Re: KALA SAMVADA

Post by kvchellappa » 20 Jun 2018, 13:59

I understood you for once, Mr. Shankarank, (not fully, but got the line of thought and its laya) and enjoyed it.
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