Informative and interesting sessions
A digital veena presented by Radel Electronics.
THE CONTRIBUTION of Kannada language to classicism in Carnatic music was elaborated by Prof. R. Satyanarayana, musicologist from Karnataka, in the series of lecture-demonstrations conducted by the Music Academy. A complete format of the Carnatic repertoire in Kannada, such as the Gita, Swrajati, Pada Varna in Mukhari, 75 year old kriti of Tipanaadi, author of Hanumathprabhava with a chittaswara, a Javali of Raghunathayya, (Guru of Vasudevacharya), and a tillana were taken up and illustrated (by S. Nandakumara).
R. Vedavalli, made a presentation on the beauty of gamakas in Carnatic music. Sumitra Vasudev, her disciple gave vocal support for the demonstrative part of the presentation. The veteran musician underlined the fact that gamaka is a unique and extraordinary feature of Carnatic music. Citing the term Vali quoted in Sangita Sampradaya Pradarsini, as closer to the term gamaka, Vedavalli mentioned the 10 types of gamakas and pointed out to Ranjakatvam and the gamaka as contributing towards this factor through linking the combination of the swaras.
Both sessions on the morning of December 25, were devoted to Raga Lakshana discussion. The panelists were Prof. T. N. Krishnan, Prof. S. R. Janakiraman, Chingleput Ranganathan, Prof. B. Krishnamurthi and V. Subrahamanyam. The ragas taken up for discussion were, Bhairavi-Manji, Poornachandrika-Janaranjani, Darbar-Nayaki. On the same day a CD titled, Sangita Sagara, by V. Subramanyam was released. Semmangudi Srinivasa Iyer participated.
An informative session on Harikatha was presented by N. Srinivasan, Sanskrit Pandit, Saraswati Mahal Library, Thanjavur, under the Alamelu Ramanarayana Sarma Memorial Endowment. He spoke of Sanskrit nirupanas and highlighted the different musical compositions used in Harikatha expositions. He traced the origin and evolution of Harikatha as an art form during the Maratha rule in Thanjavur and explained the synthesis of the Keerthan mode propagated by Ramchand Moregaonkao Baba (1855) and that of Krishna Bhagavatar who devised 135 stories for narration. Prominent composers of Sanskrit nirupanas like Jagannatha Pandita, Chitrakavi Sivaramakrishna Bhagavatar, Mangudi Saptarishi Bhagavatar, Harikesavanallur Muthiah Bhagavatar, Thanjavur Sundaresa Sarma, Swaminatha Athreya and others were mentioned.
Contemporary themes and forms in Bharatanatayam was the focus of the lecture-demonstration presented by Sujatha Vijayaraghavan. She was supported by Rhadaha (nattuvangam and choreography), Sumitra Nitin (dance), Sunanda Narayanan (vocal), Dhananjayanan (mridangam), and N. Sikhamani (violin).
The presentation highlighted the mode of adaptation of contemporary poetry for Bharatanatyam repertoire. The selection included two kritis, composed and set to music by Sujatha Vijayaraghavan (one on environmental pollution addressed to Lord Neelakanta, and the other, a "Pudukkavithai" on Trees by Vairamuthu), a third number on the demolition of the Babri Masjid and its fall out, and seeking the grace of Lord Rama, while the fourth item dealt with a Tamil translation of a Haiku poem by Japanese poet Matsuo Basho, elaborated with suitable sancharis.
In his lecture, Dr. Krishnamurti Srinivas, renowned neurologist, explained the different illnesses considered as specific occupational risks for performing artistes, and showed illustrations (slide projection). Bangalore K. Venkatram, ghatam artist and Director, Percussive Arts Centre, Bangalore, along with daughter and musician Kalavati Avadhoot gave a lec-dem on the compositions of violin maestro T. Chowdiah (1894-1967).
This year's Sangita Kala Acharya Awardee, Kalpakam Swaminathan, assisted by Ethirajamma, disciple and staff of Kalakshetra, gave a presentation on the musical embellishments in veena technique. After defining the aspect of manodharma in our musical system, Kalpakam Swaminathan illustrated suitably to explain the different modes of playing on the veena with regard to tanam, neraval and kalpanaswaras, using different meettu patterns.
Veena Vidhushi Rajalakshmi Narayanan, winner of this year's Bodhaka (best teacher) Award instituted by G. N. Dandapani, in memory of his guru T. S. Sabesa Iyer, presented compositions of the Trinity with her disciples.
G. Raj Naryan of Bangalore, artist, innovator of electronic instruments gave a demonstration of his innovation, the Sampled Tone Digital veena, which produces a synthesised sound of the veena, using a digital sample of a conventional veena. The speaker explained the features of the instrument and the scope it allows for exploring more creativity in playing. Further, the advantages of such a modern instrument were highlighted.
The contribution of Malayalam language to classicism of Carnatic music was explained by Dr. Omana Kutti, Head of the Department of Music, Kerala University.
Prof. S. R. Janakiraman, renowned musician, musicologist and Principal, Teacher's College of Music of the Music Academy, gave a lecture-demonstration on the study of different treatises on music like Natya Sastra, Dattilam, Sangita Samaya Sara, Sangita Ratnakara, Swaramelakalanidhi, Sangita Sampradaya Pradarsini and some more of the major works. Nookala Chinna Satyanarayana, well-known musician, musicologist and founder of the Viswa Kala Parishad, enlightened listeners on the contribution of Telugu towards classicism in Carnatic music.
This year's T.T.K. awardee, T. K. Kalyanasundaram Pillai of Sri Raja Rajeswari Bharata Natyalaya, Mumbai, traced the dance lineage of Panchapakesa Nattuvanar, to which Kalyanasundaram Pillai belongs. The technique of this dance tradition as handed down through generations of nattuvanars like T. K. Kuppiah Pillai, father of Kalyanasundaram Pillai, his elder son, T. K. Mahalingam Pillai, his son-in-law A. T. Govindaraja Pillai and daughter Karunambal were highlighted.
The recipients of this year's Sangita Kalanidhi title, Sikkil Sisters, V. Kunjumani, V. Neela, presented a lecture demonstration on the glory and unique features of the flute, and its contribution towards the enhancement of the musical values.
Send this article to Friends by