Margazhi in Chennai

 It has been more than a week since I have been back from Chennai and I have been meaning to do a detailed review of the fifteen plus concerts I attended. But getting very lazy in my old age.

Beginning with the excellent Vignesh Ishwar concert at Arkay today. When I was there, heard  a lot of buzz about his super crowded Brahma Gana Sabha concert early in the season. But could not catch any of his concerts. Did so today. Thanks to Arkay's live feeds

While I will not bore my few readers with detailed song lists...let me make special mention of the Begada( Shankari Neeve) and the Varali( Maamava Meenakshi).. lovely voice, lovely bhava, lovely swaras, lovely everything..what can I say..specially liked the sort of seamless move from neraval to swaram and back in Varali. And a young violinist called Sivateja Mallajosyula, who I had never heard before. Fully matched Vignesh in his bhava. And in fact, Vignesh himself acknowledged Sivateja at the end. Apparently the great Kanyakumari's student.

Will now do a detailed review of all my concerts. Watch this space.

Rama Varma, MDR and Gowlipantu

 I heard a lecdem By Rama Varma at the Music Academy recently. Not surprisingly on MDR. Easily the very first love of his life. I have to admit that I am not really a MDR fan. And not for lack of trying. Almost twenty years back RV tried to get me enthused about MDR's music. And I tried. But it did not take. I went back and in my brutally honest way informed him that he just sounded drunk. Since I have always felt that there is nothing more hypocritical than pretending to love something in any art form unless it is real for you. What can I say? MDR, like the greatest single malts, is an acquired taste. Though I absolutely loved all the MDR compositions we learnt from him like Gajavadana( Hamsadhwani), Sagarashayana, Manasa( Bowli)  and of course Hariyum Haranum.

But something happened this last week when I listened to Tera tIyaga rAda. Of course, there is this incredibly sonorous baritone which is quite distinctive. But there was something else. It was as if his singing was timeless and not in the way the word is normally used. It was outside of time. He bent time to accommodate his concept of the composition. And as I heard it again and again over the past few days I realised my mind was getting quieter and maybe my breathing was becoming slower. And that brings us to the receptivity of the listener. Ultimately every performance is a one-to-one dialogue between two individuals. What a listener will get depends totally on his mind set, his receptivity, his world view at any point in time. And I sat and thought " I have read and heard so much about banis and the music of a Dhannamal and a Ramnad Krishnan or even a MMI?" So what is it? What is the characteristic of this? What draws aficionados to  MDR? And somehow, the answer that kept coming back to me was that firstly he seemed to encapsulate a total conviction in his world view on what music was. And what was this world view? As I see it firstly everything is there in the composition. There is no need for any extraneous gimmicks, ornamentation etc. There can be incredible beauty in the deceptively simple rendering of a phrase. There is no hurry. Nowhere to go, nothing to get. The singing of a composition is a simple dialogue between you and the composer or the Divine. That is all it has to be. Nothing more. Nothing less. And if one does that authentically for one composition once in your lifetime that is enough. But that is what I got. But I know I have to listen to way more MDR. Also never knew about his Navagraha chittaswarams , which I need to now track down.

But ofcourse this lecdem also raised a query in my mind? What was this prati madhyamam doing here? Wasn't this a janya of 15? So what was going on? And of course I went to Ramya Narsimhan, my go-to on anything musical. And I learnt about many Madhyamas. Ofcourse I knew about sudha madhyama and prati madhyama and the varali madhyama which is almost panchamam. I will eventually upload her demoing the various madhyamams . But to quote her. There are actually four madhyamams: the sudha madhyamam, the tivra sudha madhyamam, the prati madhyamam and the Chyuta Panchama( or Varali) madhyamam in that order. Apparently there is no sudha madhyamam in Gowlipantu. It uses only the tivra sudha and the prati madhyamam. Thyagaraja has used both the tivra sudha and the prati whereas Dikshithar has used only the tivra sudha. Of course that makes me wonder why it is classified under 15 and not 51( Kamavardhini)?

Shri Subrahmanyo Maam Rakshathu

 Easily one of his masterpieces, Thodi, Adi( 2 kalai). Composed sometime in the last 15 years or so of his life. 

We all know the relationship between Lord Subramanya and Dikshithar. It was Chidambaranatha Yogi who had early on told him that Subramanya was his natural guru. Leading to his early visit to Tiruttani, the composition of his very first krithi, Shri Nathaadi in Mayamalavagoula and his second Manasa Guruguha in Ananda Bhairavi and the full set of eight Guru Guha Vibhakthi krithis.  The other six comprising this set are Shri Guruna (paadi), Guruguhaaya( Saama), Guruguhadanyam( Balahamsa), Guruguhasya( Purvi), Guruguha Swamini( Bhanumati) and Shri Guruguha( Udayaravichandrika). As also to his vaggeyakara mudra.

The shore temple of Tiruchendur is one of the biggest for Lord Subramanya and is one of the six main sthalas for this deity( Padai Veedu) and the second abode. The others being Thiruparikundram, Thiruttani, Palani, Swamimalai and Pazhamudircholai. It is believed that Adi Shankara composed his Subramanya Bhujangam here. This 2000 plus years old temple with a tower of over 140 feet is the only Murugan temple on a shore, the others all being in forests or mountainous areas. The anupallavi refers to patra vibhoothi which is a prasadam at Trichendur. 

It  also refers to the destroying of Taraka. That is another great story. Taraka was an asura and he wanted to fight the Gods. He did severe penance and Brahma appeared before him asking him what he wanted. He said make me immortal. Brahma said I cannot do that but you can set a very high bar for your demise. So he asked that he should only be killed by a child of Shivas who was seven years old. At that time after the demise of Shakthi, Shiva was in deep meditation in the Himalayas and Taraka was very confident that Shiva would not marry again or produce a child.

So he was granted that boon and started terrorising the Devas. But already Parvathy had been born and was doing deep tapas to marry Shiva. Now the Gods had to get Shiva to notice Parvathy. And in came Manmatha who was burnt by Shiva and it was these six sparks of fire( netragni) from Shiva's Third eye  which were ultimately deposited in the Ganges because the earth, the mountains etc could not withstand that heat.  And it was those vital elements from Shiva which went into the formation of Kartikeya who killed Taraka when he was seven years old. 

In the charanam there is reference to Shankabhishekadyupachaarah.. Honoured with Shankabhisheka( ie abhisheka with the Shanka or conch). It also references the Shadakshara mantra, which is what Dikshithar was repeating at Tiruttani when he had the vision on the 40th day which offered him the sugarcandy. It also references the nava veera nanda ( nine heroes) surrounding him. This is also referenced in his Kasiramakriya krithi. The nava veeras are the nine sons of Navashakthis and brothers of Subramanya. They are Veera Bahu, Veera Kesari, Veera Soora, Veera Mahendra, Veera Maheshwara, Veera Purandhara, Veera Marthanda, Veeranthaka and Veera Dheera. They assist him in battle

Loking at the musicality and the sahithya, we will see that it is filled with swaraksharas and prasa. Offhand, the anupallavi Bha( p), sa ma( ma), na( n) springs to mind. Both the anupallavi and the charanam are full of antim akshara prasa. In the anupallavi we have devaseno, bodhano, subhacharano and nipuno. In the charanam we have bhaskara, sobhakarah, sivakarah, hata dhira, shadakshara, mandarah, upacharah, divyambarah, guruguhah..the list is endless

Going into individual words

Shri Subramanyo Maam Rakshathu is straight forward.. Shri Subramanya protect me.

Shanmukhavatara Shakthiroopa Shanmukha( Shad + mukha) the six faced who is a manifestation of power

Bhasamana ( Radiant) Valli Devasenao. One who is radiant with Valli and Devasena

Bharatishadi( Bharatisha + adi i.e Brahma and others) Tatva( self)  bodhino. He who expounds about the Self to Brahma and others

Vasavadi ( Vasava is Indra, Vasavadi is Indra and others) Vandita ( adoring) Shubha( sacred) Charano( feet). Whose sacred feet are worshipped by Indra and others

Patra Vibhoothi pradana( gives) nipuno( famous for). Now this patra or leaf is that of the Paneer tree which is believed to have curative properties in Ayurveda, especially in curing diabetes. There are innumerable stories of the power of Trichendur's patra Vibhoothi and their curative properties, including Sage Vishwamitra and Adi Shankara himself.

Shata( Hundred) Kothi( Crores) Bhaskara( Sun) Shobhakarah. He who shines with the effulgence of a hundred crore suns.

Shishta(Good) Shiti(Peacock) Kantha( neck) atmaja( son, born of).. He who is born of the Blue necked one( or Shiva) Shivakarah( auspicious)

Pratapa( Courageous Brave etc) Tarakaadi( Taraka and others) Hata( killed) Dheera( Wise).. the wise , and hero who killed Taraka and others

Prabala( bala is strength , prabala extreme strength) Ganesh anuja( comes after or younger brother) i.e Ganesh's younger brother. Now Shadakshara is the six akshara mantra( Sa ra va na bha va).. know by this 

Shata +ayush( 100 years of life) prada( can give) Bhaktha Mandara.. Gives long life to his devotees.

 Shanka + abhisheka + upacharah worshipped with abhishekam through a conch.

Kshitish( Lords of the earth or Kings) poojitha( worshipped by) Divya + ambarah( sacred attire). Surrounded by the Nava veera Nanda and revered by Guruguha

Let us look at Dikshithar's krithis in Thodi. He has composed eight . Dakshayani Abhayambike, Kamalambike( Navavarna Dhyana krithi), Mahaganapathim Vande, Palayamam Brihadeeshwari, Ramachandraya Namasthe, Shri Krishnam Bhaja, Shri Subramanyo, and Vedaranyeshwara. I have intentionally left out the varnam Rupama Joochi because some accounts say it was composed by Dikshithar for Kamalam's( his disciple) arangetram and the Tanjore quartet became his disciples after attending this arangetram. Other accounts say that this was composed by the Tanjore quartet. Personally I find it a bit strange because there is absolutely no other varnam by Dikshithar. One will also immediately remember the other Thodi krithi on Subramanya, Kartikeya Gaangeya ( by Papanasam Sivan). Also in 2 kalai Adi. Also both start in similar ways at the Gandharam, move up to the Panchamam and come to a prolonged rest at the Shadjam at the arudi point.

Let us look at the krithis on Subramanya. These would be Balasubramanyam( Surutti ) which is sung before the Navavarnas, Dandayuthapaanim( Anandabhairavi), Kumaraswaminam( Asaveri),  Shri Subramanyaya ( Khambhoji), Shri Swaminathaya( Kamas), Senapate Palayamam( Kasiramakriya), Shadanane( Kamas),Subramanyam( Shankarabharanam), Subramanyena( Sudha Dhanyasi), Swaminatha( nata), Swaminathena( Brindavani), Saravanabhava( revagupti), Shri Balasubramanya( Bilahari) in addition to this one. So a total of 14. In addition, we have the eight composed at Tirutani and comprise the Guru Vibhakthi Krithis giving rise to a grand total of 22 on this deity.

Samukhana nilva

 I first wrote about this almost a year back. I had just heard TKG in a Musiri Chamber concert and been blown away. Surprisingly I am not able to find that same recording today. But I heard another version of TKG's Samukhana.  There is something about this composition in TKG's voice which reduces me to tears. It is as if in a few minutes he shows me an alternate reality of Carnatic music. Shorn of everything unnecessary, and reduced to what it must have been in the Trinity's lifetimes.. just an outcome of their adoration of the Divine. Just think. Today's singers all have great voices, great breath control, great stage presence, incredible range, everything.. and still TKG the sheer emotion in this is beyond words.

Kalavati

 Have just finished learning Kalavati Kamalasana yuvathi. And have a lot of queries in my head.

Of course, I am talking about the vivadi Kalavati( in the Dikshithar sampradaya) and not the Chakravaham janya in which Thyagaraja has composed.

First, what should be the exact arohana and avarohana? I am not able to find any other songs or too much info.

One reliable site lists it as SR3G3M1 PD1N1S SN1D1P MG3R3S

TKG is listing it as janya of 31, which is fine. But then he is referring to the Dhaivatam and Nishadam as D2 and N2 which does not even make it vivadi. And I am hearing the vivaadi swaroopa of this raga clearly in every version.. so far heard Ramprasad, Soumya and TMK. Also, is it a sampoorna raga? When TMK is teaching, I am clearly hearing a PD,,S,,...a clear avoidance of Nishadam in ascent.. though there are a number of PDND phases, which is understandable. TKG's notations also clearly eschew the PDNS phrase.. so any kind souls out there who happen to stumble on this post, can please enlighten in the comments section

Guru worship and Carnatic music

 Now this might be a slightly incendiary subject. But the wonderful thing is that so few people read this blog. And they are all mostly very close friends. So I have the freedom to say what I believe without too many worries about repercussions.

My whole education has been based on the Socratic method. We argued endlessly with our professors. They in turn threw out inane postulates wanting to incite the class into serious debate. And that is how we arrived at the truth for ourselves. Never by passively accepting something. But by constantly poking at things to find holes and then accepting it as true for ourselves. A sort of reductio ad absurdum approach at times. And this was what was expected of us. Through our professional careers we spoke our mind fearlessly with bosses and clients who had a lifetime of experience behind them. And we were never considered disrespectful. We did it with bosses that we idolized and clients, we adored, who were the sharpest brains in the industry.

So obviously, I came to Carnatic music not knowing that the culture here is different. And nobody to tell me otherwise. I still remember my first teacher who was such an absolute sweetheart. I was learning the Vasantha varnam and the third charanam of course starts D,,N ,SDN. I could not for the life of me understand why the composer would insist on D,, and not D,,, or D, both of which would have been easier for me. I remember arguing as to how it would make no difference to the musicality. Instead of telling me to jump out of the window, she patiently explained that the elders had composed it like this and that is the way it should be sung.

Thank heavens, I am slightly better now. But it is still very difficult for me to keep quiet when I do not understand something, whether it is in the musicality of a phrase or sahithya or the meaning behind something or even why something is notated a certain way when it is sung a different way. And my mind keeps dwelling on it in the same way as one's tongue at a piece of food caught in a deep set molar.

Many of these things I have learnt to work out on own. But I do think it would be better to open it up . I have immense gratitude for every single person I have learnt from. Teaching is hard. I would be totally incapable of it. Every time I sing, I hear that teacher in my inner ear, see their body language in my mind. They have truly been a vehicle for my discovery of something. And yet, there will be absolutely no outward manifestation of that gratitude carried in the heart. Because otherwise it gets tainted. I am incapable of being sycophantic, of falling at their feet, of praising them in exaggerated ways in front of others. It rings so false. And diminishes the immensity of my experience. But somewhere in so many of the groups I belong to, that seems to be the norm rather than the exception. 

Now let us take Bhakthi. I strongly believe that Bhakthi/adoration is between the individual and the object of his or her devotion . No third person needs to know. Just as an apple when cut and left out becomes brown, so too, Bhakthi worn on the sleeve is tainted over a period of time. And yet Carnatic music is so full of these outward symbols.  Sometimes these outward manifestations of something are themselves an impediment to the true experience of an emotion. We get hooked onto the symbols and forget the living experience of something. 

My adoration of my favourite Trinity composer consists of me cursing him every morning and saying " This really cannot go on, you know. Either I need to stop seeing the beauty in this phrase or I have to be able to execute it the way it has to be. Now you decide." 

So far he is still ignoring me.

Pranavam Sankaran Namboodiri

 I had heard this vocalist before once or twice. But not a great deal. But sometime on Sunday afternoon, I discovered this Manorama Music channel with a series of lessons titled " Learn from the Legend. Pranavam Sankaran Namboodiri". A lot of them were songs that I had learnt. I did not want to revisit. It is hard enough learning the first time. One does not want to relearn. But there were enough new compositions . Almost the minute, I started listening, I got hooked. I can say that since Sunday, that is less than 72 hours back,  I have gone onto Youtube and started listening to this first thing in the morning. Invariably, I am falling asleep with one of the refrains in my head.

Sankaran Namboodiri is an extraordinary singer and teacher. There is also a certain basic goodness that is coming through. His desire to communicate the beauty of the composition and have his students get it is transparently visible. There are also certain pidis of great beauty one can observe in almost all the compositions. 

This is not going to be a long post. Since I need to go back to Pakkala. I am learning almost one song every day. And I need to keep up the momentum. But what can can one say. Immense gratitude to the teacher and also Manorama Music for this wonderful initiative.