Section Synopsis (September 2005)

NEWS & NOTES

37TH CONFEST OF BANGALORE GAYANA SAMAJA -SULOCHANA SARALAYA

The 37th annual music conference cum festival of the Bangalore Gayana Samaja was conducted from 12th to 19th June at its auditorium in Bangalore. The conference, which is usually held in October, was advanced to coincide with the centenary celebrations of the Samaja. The honour of presiding over the deliberations of the conference in the centenary year was bestowed on the versatile musician Madurai T.N. Seshagopalan. The unanimous selection based on merit, proved that Gayana Samaja entertained no regional barriers. 

The Samaja's plan is to present 100 concerts during the centenary year. It has already conducted centenary concerts at Shivamogga, Mysore, Udupi, Sringeri and has plans to present concerts in major cities of the country, with the co-operation of outstation music sabha-s. 

The Swamiji of Suttur Mutt, delivering the inaugural address, lauded the efforts of the office bearers of the Samaja in encouraging and presenting local young talent along with the stalwarts during the centenary year. He said Gayana Samaja had created history by its uninterrupted service to classical music, through performances for the last one hundred years. He quoted Tyagaraja's compositions to emphasise the need to offer 'bhakti-predominant classical music', as it develops concentration and involvement. He opined that classical music should be infused with bhava and bhakti instead of becoming a mechanical exercise to show off one's virtuosity.

Central minister M.V. Rajasekharan, who presided over the inaugural function said that music enhances the lustre of a cultured human society. He recalled the services of M.S. Subbulakshmi who not only popularised Carnatic classical music in Western countries but also helped many social causes through her benefit concerts including the building fund of Bangalore Gayana Samaja. He stressed the importance of Music therapy, which could help develop mental stability as well as provide motivation in the present day stress-filled society. 

Presenting his keynote address, Madurai T.N. Seshagopalan said music was the language of human emotions and the goal of classical music was to perceive the spiritual destination. He  paid respects to his guru Ramanathapuram Sankarasivam and his paramaguru Harikesanallur Muthiah Bhagavatar and thanked the President and office bearers of Gayana Samaja for bestowing the honour of presiding over the Music Conference during the centenary year. 

The morning experts session, which is the core of a music conference, was held everyday from the 13th to the 18th of June. The theme of the experts session was 'Vainika Gayaka Dharma' and the subjects for the morning sessions were chosen keeping in mind theory pertaining to practical application. The keynote address was presented by the president of the conference, Madurai Seshagopalan, who opened his speech with the statement "our sangeeta is music to the heart, brain and finally to the soul", quoted Tyagaraja's "Sangeeta gnana bhakti vina" to prove his point that, music was the easiest way to attain salvation, when rendered with bhakti. He pointed out that, though there were many lakshana grantha-s or books, it was Tyagaraja who demonstrated the practical application of the lakshana-s through his bejewelled compositions. He was of the opinion that every vocalist should learn to play the veena in order to get a firm grip of the right gamaka-s, which is the hallmark of Carnatic music. He also said that musicians should strive to understand the sahitya, the grammar of classical music, be knowledgeable and present concerts without overlooking the codification and the discipline of Carnatic classical music. In Carnatic music, raga-s are identified by the proper gamaka-s and the first person to practically demonstrate gamaka-s was the 7th century saint Tirugnana Sambandar who used to sing with a stringed instrument called yazh. He concluded his speech with the statement that veena should be like vocal and vocal should be like veena playing, with utmost importance to sruti, laya, swara and gamaka. 

Vidwan T.K. Murthy presented the second lecture of the inaugural day. Murthy, who has played for Gayana Samaja for more than six decades, called upon mridangists to learn vocal music, as  it helps them to enhance the impact of each kriti, by playing according to the speed, bhava and metre of the compositions. Speaking about how his guru taught him the technique of composing mohara-s, he demonstrated through his disciple a few of the Ashtottara Sata Tala-s like Jaya Mangala with 32 matra-s, Bhinna Chaturmukha with 16 matra-s, Lakshmeesa tala with 25 matra-s, the melatala of Kanakangi with 15 akshara-s and Misra jati Triputa tala of 11 akshara-s. Recalling the encouragement given to both dance and music in the Ramanathapuram palace, he demonstrated the Melaprapti jati, followed by Todayamangalam (used in dance). The demonstration drew a large number of young mridangists of Bangalore, who benefited by the practical demonstration of the technique of creating mohara-s according to the matra-s of the tala. 

Tanam in veena was demonstrated by Rajalakshmi Tirunarayan while Neela Ramgopal threw light on tillana then and now on the second day of the morning sessions. 

The 15th of June witnessed a lecdem on "Manodharma in Experimental Form" by Dr. R.N. Srilatha and compositions for Harikatha by Bhadragiri Achuta Dasa. 

The highlight of the morning session on the 16th was an elaborate talk on the splendour of raga Bhairavi demonstrated through many compositions vidwan by R.K. Srikantan, assisted by a disciple. Vidwan N. Ramani spoke on the gayaki style of flute playing. 

Friday the 17th, witnessed an immaculate demonstration of gayaki style of violin-playing by H.K. Venkatram, who recalled that gamaka-s in violin play evolved only during the beginning of the last century as the instrument is of Western origin. He emphasised the importance of variations in volume, correct usage of the bow and an in-depth knowledge of the sahitya to produce the gayaki style. He pointed out that in the solo technique more emphasis is laid on notes and melody. He was of the opinion that hard practice and involvement were necessary to infuse life into the compositions and produce gayaki style of violin playing. His demonstration through Kanuguna saukhyamu (Nayaki), the usage of long bow and continuity in raga delineation, and different bows used in a single phrase during tanam proved his point of how violin could be used to produce 'gayaki' style of music. T.N. Seshagopalan said that it was Tirukodikaval Krishna Iyer who was responsible for evolving the gayaki style of violin playing. 

Seshagopalan, speaking about 'Ragamalika pallavi', in the absence of Dr. T.S. Satyavathy, pointed out that though Sangeeta Ratnakara mentions pallavi singing, it came into practical application only about two centuries ago. He observed that pallavi denotes padam, layam and vinyasa and should bring out the nadatma roopa of the raga chosen for delineation. He was of the opinion that the names of the raga-s used in the ragamalika pallavi should be interwoven intelligently in the sahitya. Seshagopalan's creativity along with musical and mathematical symmetry was at its best in his presentation of his own two-raga pallavi in Bhairavi and Sindhubhairavi. 

The concluding session on the 18th of June witnessed a demonstration of the Mysore bani of veena playing by D. Balakrishna while Mysore V. Subramanya spoke about the same subject. 

The curtain came down on the morning experts' session with T.N. Seshagopalan's speech about Muthiah Bhagavatar's contribution to Carnatic music. The well attended morning experts session provided food for thought, introspection and practical application while the ticketed evening concerts provided entertainment to the music lovers. Madurai T.N. Seshagopalan presented the inaugural concert accompanied by Mysore Manjunath, T.K. Murthy and B.S. Purushothaman. E. Gayathri (veena), Rudrapatnam Brothers, K. Omanakutty, N. Ramani, M.S. Sheela, Hyderabad Brothers (all vocal), M.S. Gopalakrishnan and Narmadha (violin duet) were the other artists featured in the evening concerts. Ragam-tanam-pallavi occupied the pride of place in most of the concerts. 

Seshagopalan was presented the title of Sangeeta Kalaratna on the morning of 19th June by S.M. Krishna, Governor of Maharashtra, who had inaugurated the centenary year celebration concerts last July. He was felicitated on the occasion, for his support and patronage to the cause of classical music by Sree Viswesa Teertha Swamiji of the Udupi Pejawar Mutt. 

S.M. Krishna said that listening to the stalwarts during the Mysore Dassara festival had kindled a liking for Carnatic music in him. 

Dr. V.V. Srivatsa, speaking on behalf of the seven awardees, said adherence to and maintaining tradition was dharma. Quoting Krishna Yajur Veda which states "Learned people have to be revered everyday," he said, "the Bangalore Gayana Samaja deserved accolades for honouring people who have put in service in the different facets of performing arts, year after year. He called the Samaja a "dharmishta organisation" with no regional barriers and Carnatic music, the best example for secularism. 

Seshagopalan said, he felt highly blessed to be conferred the title by the Udupi Pejavar Swamiji who represents Lord Krishna, the greatest flautist of the Universe

MAIN FEATURE

The following is the last part of M.A. BHAGEERATHI's article on Prof. Sambamoorthy and deals with his Dictionary of South Indian Music and Musicians. Excerpts:

Prof. Sambamoorthy was the first person to publish a dictionary of  South Indian Music. He himself explains, in his preface to Vol. I of the Dictionary, what led him to produce it. 

"For Western music, there are such standard works as Grove's Dictionary of Music and Musicians, The Oxford Companion to Music, the Macmillan Encyclopaedia of Music and Musicians and Rienmann's Lexicon. No such ambitious work has so far been attempted for  Indian music either in English or in the Indian languages. The author is glad that the publication  of Vol. I of this Dictionary of South Indian Music and Musicians synchronises with the completion of twenty-five years of his career as an author of music books."

Sambamoorthy's Dictionaries

Sambamoorthy's  Dictionary of South Indian Music and Musicians is in three volumes. The first volume is from letter A to letter F. The second volume is from letter G to letter K. The third  volume is from letter L to letter N. In volume one there are 2136 entries, in volume two there are 1941 and in volume three there are 1384. 

The maximum number of entries in the Dictionary relate to the term 'Raga'....

here is a general complaint that Sambamoorthy has not mentioned any references in the Dictionary. Actually, in the Prefaces to all the three volumes of the dictionary, he has listed his references in alphabetical order....

He says that he has explained only the musical meaning of the terms listed in his Dictionary. Giving the word 'Aditya' as an example he says that the musical meaning of the word alone is given and not the meaning Sun. He has strictly followed the Christian Era while giving dates....

Though Prof. Sambamoorthy calls his book a dictionary, he has written long articles as explanation for some words more in the manner of an encyclopaedia....

All the three volumes were published by The Indian Music Publishing House, No. 4, Bunder  Street (Top floor), G.T. Madras - 1, India....

A lexicographical work exclusively about South Indian music was attempted for the first time by Sambamoorthy. He was thus a pioneer in musical lexicography, as far as South Indian music is concerned. This is a milestone in the history of South Indian music.

SPOT LIGHT

(Excerpts...)

The Kovur temple is a very tiny one. It has a seven storeyed gopuram that was planned in 1947 (Tyagaraja's death centenary) and finally commissioned in 1961 and executed by 1971. This gopuram is the southern and only entrance to the temple. Prior to the building of this gopuram, there was a 'mottai' gopuram here in true Pallava tradition....

BACK OF BOOK

Postage Stamps: Windows To Music &Dance

Stamps On Saints And Poets - Part 9

Tukaram - S. SANKARANARAYANAN

Stamp on Tukaram  

The Department of Posts issued a stamp on Tukaram on 10 August 2002. It is in the denomination of Rs. 4, colour orange, with perf. of 13.5 and printed on Matt Chromo paper by photo offset process by Calcutta Security Printers Ltd. A First Day cover was also released..

Life of Tukaram  

Tukaram is considered the saint-poet of the masses of Maharashtra. 

The year of his birth remains a matter of dispute among scholars: it could be 1598 or 1608. He was born in Dehu, near Pune, in a poor, low-caste family of petty traders. His parents were Bolhoba and Kanakai. 

His early life was full of misery and privation. He had little or no education. His parents died when he was young. His wife died in a famine, and taking a second wife brought no joy in his life. He lost his children too. He was a failure in his trade and was reduced to penury. He became a recluse and wandered from place to place. Totally devastated, he turned to his family deity, Lord Vithoba, for succour and relief; and the relief did come.

 According to a legend he had a vision of Sant Namdeo, and it marked a turning point in his life. He spent the rest of his life composing abhang-s on Lord Vithoba and singing them in and around Dehu.

.He was a prolific composer, and his keertana-s attracted a large number of devotees. His popularity and poetic genius also aroused the jealousy and wrath of the priestly class. They could not tolerate a low-caste, unlettered nobody composing songs in praise of God, and that too not in Sanskrit but in Marathi! According to a legend, they even threw away his Gatha (gaathaa), the manuscript containing about 3000 keertana-s, into the river Indrayani; but they surfaced undamaged after thirteen days! For the masses that was a further proof of the fact that he was a man of God.

The end of his life was dramatic as befitting a true devotee of God-- Tukaram just vanished in 1650. His followers believe that Lord took him away to heaven bodily. There is no samadhi for him, but there is a temple in Dehu to which Varkaris go on pilgrimage every year in the month of Phalguna.

Tukaram's abhang-s have been translated into many languages, including English and French.   

Tukaram's hymns are noted for simplicity of language and directness of appeal. They are a fusion of mysticism and devotion. For these reasons his abhang-s occupy an exalted position among the keertana-s of the saint-poets of Maharashtra. 

Scholar T.S. Parthasarathy says that a film in Marathi was made on the life of Tukaram in which Vishnu Pant Pagnis acted as Tukaram. He adds that he and vidwan S. Rajam saw the film and that S. Rajam learnt and sang all the songs of the film in a couple of days!

[A film on Tukaram was produced in Tamil also with Musiri Subramania Iyer playing the lead role --Editor].

The following succinct observation of Acharya Vinoba Bhave superbly describes Tukaram and his hymns: 

"Tukaram was not a scholar. He must have repeated thousand times the sayings and songs of Jnanadeva, Namdeva, Eknath and Kabir. He confessed that he was illiterate, amongst scholars. Yet his words have a power which is unprecedented in Marathi. It attracts and touches the heart of a common man. Tukaram's poems are like flowing Ganga, it purifies everyone, (and) it is easily accessible. For advising children, the mother has not to have training in linguistics. The same is true of Tukaram." (From Prabhakar Machwe's article on Tukaram in the book Devotional Poets and Mystics, Part II, Publications Division. The material for this article is also largely drawn from it.).

A few popular abhang-s of Tukaram are given below: 

lMaran majhe maran gele
lSukh pahata javapade
lNahi santapan milte hati
lNabhomaya jale
lAmhi jato amuchya ganva
lMukti pang nahin
lPavitra tem kul
lGyaniyancha raja guru maharao
lAata kothe dhaave mann