Spiritual love of Akka Mahadevi highlighted

SUNADAM group of Suguna Purushottaman rendered the compositions of Sri Narayana Tirtha at the commencement of the Music Academy session on December 26. Akka Mahadevi as a saint singer of the Veera Saiva cult was described as one of the earliest and brightest stars among the saint singers, who composed vachanas or compositions addressing the Supreme in nayikaa-nayaka bhava. Various vachanas centering round the deep devotion of Akka Mahadevi towards her Ishta Devata, Channa Mallikaarjuna Swami (``Kalavalada'', ``Holeyuva'', ``Kaamisi kalipisi,'' ``Chilipili'') and her intense love for the Lord in its different stages were illustrated, bringing out the composer's outburst of spiritual love.

V. V. Srivatsa, musiocologist, mentioned the unique status of the vachanas and said that this pertains to one school of thought; further he brought to notice the vachana ``Kalla Bheda'' (Gowri Manohari) sung by Mallikaarjun Mansur. While some of the earlier vachanas contained eight lines (shatpadi), Akka Mahadevi has composed vachanas in Tripadi (three lines).R. Vedavalli referred to the vachanas of Basavanna, as having ideas of general outlook towards life, and added that Akka Mahadevi could be described as the Andal of Karnataka. A comparative study of these two divine women composers, as also an analysis of the vachanas of other composers, were suggested by her.

The second presentation was made by V. Subramaniam, musician, on the concept of Bhakti as seen through the compositions of Saint Tyagaraja and Swati Tirunal. The speaker was assisted by Smt. Meenakshi Ganesh (vocal). An analysis of the nine modes of devotion expressed through different compositions by Sri Tyagaraja and a specific set of nine compositions by Swati Tirunal were taken up.

Hindustani Bhajans were rendered by Naad Pravah group headed by Padmasini and led by Chinmaye on December 27. Mridangam vidwan T. V. Gopalakrishnan presented his paper on the All-Pervasive Laya (rhythm) in Carnatic music. The unperceivable nature of laya, its manifestation through Tala structure, its four fold paths of swara, laya, pada (carrier of swara and laya) and avadhana (expanding artistes capacity), the innate rhythmical movement enhancing the delineation (Arabhi, Sankarabharanam) of a raga, the vilamba laya ragas (Devagandari, Varali, Manji), vilamba and madhyama (Anandabhairavi, Kapi), Durita (Kadanakuthuhalam, Gambhira Nattai, Bhushavali) were all discussed. The different talams, the kaarvai-oriented raga phrases, the kalapramana (tempo of kritis, Brahma Layam (the undercurrent) in neraval singing were described.

Excerpts from the concerts of maestros of yesteryears (Flute Mali, M. D. Ramanathan, Chembai Vaidyanathan Bhagavatar) were played. Chengalpattu Ranganathan recited konnakkol as an example for speed maintenance, while making his observations. R. Vedavalli concluded the session by mentioning the three speeds in Carnatic system and the mode of speed, increased from the eduppu of the first speed to the second, to explain that system and the need for sustaining the tempo from the beginning of the composition.Anita Ratnam's presentation of a dance lec-dem focussed on traditional ideas in innovative format. Anita explained the features of combining traditional theatre and dance through solo and group presentations. She said that dancing and acting were one and the same. Dance expands in a dimension through rhythmical movement in space. She mentioned that classical art forms flourish in minimalism with fixed format and expansion within the traditional framework. While discussing the need, scope and awareness of innovative works, Anita pointed out to the power of silence, suggestion, the impact of Sanskrit chants, story telling which provide the necessary atmosphere for new creations. Anita with her troupe of dancers presented scenes from her productions - ``Gajaanana'', ``daughters of the Ocean'' and ``Sri Andal'', to illustrate the ideas.

Nirmala Ramachandran, Bharatanatyam exponent, Mrs. Y. G. Parthasarathy and R. Vedavalli complimented Anita Ratnam for her work.Devaganavali group of Vidushi R. Vedavalli, led by Chitra Vasudevan, rendered the Sanskrit compositions of Saint Tyagaraja at the morning conference sessions on December 28.

Violinist M. Chandrasekaran, assisted by Sumitra Rangaswami, gave vocal rendition of certain lesser known compositions of composers other than the Trinity which included ``Gaja Vadana Samodita'' (todi) of Kumara Eddendra, ``Venkatasaila Vihara'' (Hamirkalyani) of Sri Subbaraya Sastri, ``Sumasayaka'' (Karnataka Kapi), Pada varnam of Sri Swati Tirunal, ``Ganaamudha Paanam'' (Jyotiswaroopini) of Koteeswara Iyer.

Dr. S. R. Janakiraman, in the second session presented an analysis of the suddha vikruta theory of the past and the present. At the outset, the speaker traced the definition of Suddha Vikrua Swaras given by different theoreticians; the Shadja Grama based on the Saptaswaras, the emergence of the Suddha Swara principle and that of the unknown Vikruta swaras, their evolution, according to the ancient theories, the current theory, and the new thought of how only the swaras of the Shadja Grama were deemed as Suddha swaras (those in the Kanakangi scale) and that all the others are to be regarded as Vikruta, could be developed; treatises from that of Sarangadeva to Sangita Ratnakara were dealt with in this analysis.

``Sri Kalikambal Suprabhatam'' composed by Sri T. V. Anantaramaseshan, rendered by Sarada Devi Bhajan Mandali and led by Rajalakshmi Vaidyanathan marked the beginning of the morning session on December 29.

Vidya Sankar, Veena Vidushi, member, Advisory committee, gave a lec-dem on fretting of the veena based on scientific principles. She explained the basic structure of the instrument and the arrangement of the frets and the different strings used for different modes of usage. The sruti values, the position and placement of the frets, the details of vibration of a string, and three ragas having Suddha Rishabha and Suddha Daivata, were discussed and suitably illustrated. Taking the Rishaba sthana (stance) alone, the speaker dealt at length with the handling of the different oscillations, the positions of the Trisruti and Chatussruti Rishaba and the resultant effect of such technique as ``retippadu'' (doubling) for more prominence.

The Advisory committee members, who complimented the speaker, recalled the research and service of Dr. C. S. Iyer, musician and musiocologist and father of Vidya Sankar.

Speciality of varnam

``Varnam is a compact unique composition in Carnatic music that remains a perennial source for all musical intricacies and hence can be aptly described as the `mother' of manodharama said Vidushi R. Vedavalli during her lec-dem on this subject. She was assisted by her disciple Sumitra Vasudev. Vedavalli, at the outset, stressed the importance of the early solid training required in vocal music which forms the necessary basis for further lessons. The speaker said that varnam encompasses all aspects of music - ragam, tanam, neraval, kalpanaswaras - all of which form the manodharma (free style) in singing. She explained in detail, taking each aspect and their intricacies as found in the format of the varnam, the presence of voice training, the akaara, ekaara singing, the sanacharas, the special prayogas, the helpful hits from varnam that can be used while singing the ragam, tanam, pallavi, the mental visualisation of any sangati and the method of tanam-singing were all explained with suitable illustrations. Vedavalli further pointed to the phrases of swara segments leading to a korvai that establishes the lakshana and roopa of the raga. The odukkal feature of neraval singing was also highlighted.

The lecture which was under the endowment of Dr. M. G. Varadarajan in memory of Smt. Brinda Varadarajan, musician and musicologist, was complimented by B. Rajam Iyer, who referred to the Bhairavi - Viriboni varnam mentioned as the standard by Sangita Sampradya Pradarshini. Chengalpattu Ranganathan, and Dr. S.A.K. Durga made their observations. B. M. Sundaram pointed to Chidambaram Vaidyanatha Pillai, composer of 126 varnams and referred to a comment by this composer, a giant in the Pallavi rendition, as having said that it is the glorious nature of the Ethukkadai swara sections in varnam which have been the main source of his own rhythmical creations.

On the 30th Mukundamala and Garuda Dandakam of Sri Vedanta Desika were rendered by Skandapriya Group. Under Sri Ramnarayana Sarma Endowment for Post Trinity composers, Komunduri Seshadri, musician and musicologist gave lec-dem on lesser-known composers of Andhra Pradesh. The speaker gave an account of 17 composers and demonstrated excerpts from several of their compositions.The following presentation of Vidwan Bombay S. Ramachandran, stressed the importance of notation in the learning process of Carnatic music. Notation helps in identifying a particular bani, improves the knowledge of swaras and handling techniques. The speaker further added that notation is most essential for preservation for posterity and it remains a strong backup material in the learning or teaching process of music. Ramachandran sang some of the notated versions of certain rare kritis ``Maha Ganapathe'' - Nata Narayani, ``Kripa Juchutaku'' - Chaya Tarangini, ``Chidambara Natarajam'' - Kedaram, ``Palayamam'' - Kanada) from his compilation. Chengalpattu Ranganathan, S. R. Janakiraman, Dr. Jayasitalakshmi and R. Vedavalli gave their observations.

NANDINI RAMANI

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