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LETTERS TO THE EDITOR

In the light of the position explained by T.M.Krishna, I tender my unreserved apologies to Karaikkudi Mani. I also accept the correction and reprimand administered by both Krishna and V. Suresh. Having done so, may I offer a few explanations with reference to their letters?

I thought that the RTP had been crowded out by the extended percussion avartanam. Several others formed the same impression. It now appears that this was a wrong impression, as the vocalist had already decided to drop the RTP.

An RTP is not obligatory. However, when it is mentioned in the programme one expects it, and is disappointed when it is not sung.

Musicians may well decide to make departures from the printed programme, but a word of explanation to the audience might be useful.

My comments were critical (unjustifiably, as it turns out) but not ‘malicious.’ Karaikkudi Mani is indeed a great mridangam vidwan and I hold him in high regard. I also admire V. Suresh.

Actually I enjoyed their brilliant performance and mine were among the hands that applauded it.

The point at issue was not their standing as percussionists or the quality of their performance, but the length of the avartanam (even if it had nothing to do with the omission of the RTP).

The word ‘irresponsible’ has given offence. I am prepared to withdraw it and substitute some other appropriate expression; what I meant was a lack of a sense of proportion or balance in relation to the concert.

The mridangam (and that includes the other percussion instruments) is one of the glories of Carnatic music, but we tend to make a fetish of this element.

Even a one-hour concert has to set aside 15 minutes for a ‘thani’. A long ‘thani’ must necessarily cut into the time available for the vocal music. There is a ‘trade-off’ involved. Personally, in the particular concert under discussion, I would have preferred 15 minutes less of percussion and correspondingly more of singing, but others may disagree.

I refer to the letter of S. Sowmya (Friday Review, January 11) with regard to my observations on certain phrasings of the ragams Janaranjani and Kedaram while reviewing her concert at the Music Academy.

My views only reflect those of my guru Semmangudi Srinivasa Iyer.

While teaching the intricacies of the ragalakshana of Janaranjani and Poornachandrika, the doyen pointed out that these specific phrasings which have now come under debate.

He explained that these phrasings which are found in certain kritis should be left alone, as the composers have included them under exceptions.

But as they nearly tread on an allied ragam, they should be avoided when handling aspects of manodharma such as alapana, swararasthara, etc.

Similarly, Kedaram as handled by Muthuswamy Dikshitar in ‘Anandanatana Prakasam’ contains certain sancharams which do not bring out the full flavour of the ragam.

Perhaps Kedaram had those sancharams at the time when the composition was created. Or, in the process of the kriti coming down generations, certain deviations took place.

Swati Tirunal’s composition in Kedaram had an original structure and this as such was notated under Semmangudi’s supervision.

His view was that the composition should not be tampered with and liberties should not be taken with Manodharma. I have had the privilege of being with my guru for 47 long years and he has imparted to me the intricacies of many ragams the details of which cannot be explained through these columns.

A senior authority on Raga lakshanams totally corroborated with my view. I can also assure the rasikas that my comments on the ragams are not off the cuff remarks to be called ‘factual errors’ but on the other hand are fully supported by authorities in the field.

More than anything else, remarks and observations are made with a view to enhancing the quality of the concerts of the artists in the future and not aimed at decrying them. The reviews, therefore, should be taken in the right spirit.

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