Blend of lakshana and lakshya
LALITHAA KRISHNAN
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The presentation reflected the training participants had gone through.
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Photo: R. Shivaji Rao
At the function: R. Vedavalli, S,Rajam,and S.A.K.Durga
The workshop conducted by Devaganavali Trust generated an overwhelming response among students of music not only from Chennai but also other cities and the U.S. At the valedictory function, the invocatory sloka was rendered by Sumitra (disciple of Ve
davalli) after which a group of participants presented the first four shuddha madhyama chakras. All participants were awarded certificates.
Born in 1844 in Vaiyacheri, Thanjavur, Maha Vaidayanatha Sivan and his brother Ramaswami Sivan received intensive training under Manambuchavadi Venkatasubramania Iyer, a direct disciple of Tyagaraja. Gifted with a naturally resonant voice encompassing a stunning range of three and a half octaves, Vaidyanathan’s mastery over uncommon ragas even at a tender age and his command over Pallavi craft evoked amazement.
By the age of 12, his fame had spread far and wide, when he sang the raga alapana of Chakravaham followed by Tyagaraja’s ‘Sugunamule’ before a distinguished sadas at the Kalladaikuruchi adhinam, earning the well-deserved title ‘Mahan.’
Royal request
In response to a royal request to sing the 72 mela ragamalika composed in Marathi by court poet Venkata Rao, Vaidyanathan resurrected the piece from an ancient manuscript, a rare feat. However, the deeply spiritual musician was not pleased as the piece reflected nara sthuthi.
Proceeding to Tiruvaiyaru, he composed his own 72 mela ragamalika with Sanskrit sahitya, in the temple precincts, in praise of the presiding deity, Pranatharthiharan. The 72 melas are divided into 12 chakras of six ragas each (Venkatamakhi’s classification) set to Adi tala. The opening lines ‘Pranatharthihara Prabho’ are in Sri raga, imbued with the power to offset the possible deleterious effects of vivadi melas present in the melakartha scheme and they usher in the haunting notes of the first mela raga Kanakangi commencing with the lyric ‘Kanakaangya.’
Each raga that follows has a chittaswara prelude composed by both brothers. These chittaswaras mark the subtle progression from one raga to the next. The piece ends with Rasikapriya, the last mela raga. Considered the longest single composition in Carnatic music, it is a magnum opus that blends lofty standards of lakshana and lakshya. Eminent musicologist and chief guest S.A.K. Durga touched upon these points in her speech. Veteran vidwan S. Rajam added that this monumental work ought to be preserved for posterity. He complimented guru Vedavalli, known for her quest for perfection, as well as the students for their excellent rendition.
Delivering the welcome address, Vedavalli lauded S. Rajam for his portraits of the Trinity, his invaluable service to the cause of classical music, the memorable music features produced by him on All India Radio, his significant contribution to the propagation of melakarta ragas through Koteeswara Iyer kritis.
She also spoke of her long-time association with S.A.K. Durga, drawing attention to the fact that she was an accomplished vocalist, well-versed in both Carnatic and Hindustani systems. The senior musician expressed her gratitude to the late S.V.Krishnan of Naada Inbam and his daughter Jaya for their unfailing support to the activities of the Trust.
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