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Aradhana In Thiruvaiyaru: Its Origin & Evolution
Issue : 235
Published on : April, 2004



3 Sruti Box

7 News & Notes

19 Special Feature

37 A Series For Youngsters

39 Obituary

43 The Book Shelf

46 The Record Rack

47 Brief Notes

51 Laffamalika

52 Editor's Note

Front Cover: Tyagaraja (Samudri Archives)

Special Feature
Tyagaraja Aradhana In Tiruvaiyaru

The origin and evolution of the aradhana at Tiruvaiyaru, has been the subject of much research, resulting in many versions, thanks to our poor tradition of record keeping. The observance has acquired many dimensions over the years. Its history is chequered. It has not been smooth or solemn always, as the occasion warrants; there have been judicial interventions at times. References, with varying degrees of authenticity, are available only from the early 20th century. It is said that the saintcomposer himself had indicated that his memory would gain wider recognition only from 60 years after his siddhi.

It is interesting to note, that in the kriti, Dayajoochutakidi velara in the raga Ganavaridhi, perhaps among his last kriti-s, Tyagaraja seeks the grace of Daasarathi stating that he has fulfilled the tasks assigned to him by the Lord. (Munu neevaanatichchina panulaasakoni ne manasaaraga nidaanamuga salpinaanu vara Tyaagaraajaapta nanu).

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A Series For Youngsters
Postage Stamps: Windows To Music & Dance

At the outset, let me recapitulate the substance of the introductory article.

A postage stamp is, in a manner of speaking, a cultural ambassador of the country of issue. Philatelists all over the world take the postage stamp as an educational medium. They study it in detail, as a researcher does, to find out the story that it is waiting to tell, so to say. It is the observation and analysis of this kind that differentiate a philatelist from a 'stamp collector'.

The first stamp issued after Independence depicted the Indian National (Tricolour) Flag. It was released on 21 November 1947.

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News & Notes
Chennai - Lalgudi Day At Krishna Gana Sabha

As part of its golden jubilee celebrations, the Sri Krishna Gana Sabha dedicated the 4th of January to violin maestro Lalgudi G. Jayaraman. For 47 years since 1957, Lalgudi Jayaraman has been associated with the Sabha. R. Yagnaraman, its Secretary, therefore, rightly decided that celebrating the Swarna Jayanti of Krishna Gana Sabha would not be complete without honouring its prime patron, musician Lalgudi. The programmes of the day focused for the major part on Lalgudi the composer and tunesmith. The entire day's performances, except for the dance items, were presented by his students. There were panel discussions and felicitations too.

The curtain rose at 8.30 am to a prayer song by Saketaraman, a young disciple of Jayaraman, the song in Begada on Lord Muruga being a composition of Lalgudi. The spotlight now shifted to vocalist S.P. Ramh, violinist Padma Sankar and Ganapatiraman (mridanga). The vocalist began his presentation with a Lalgudi kriti in Bauli dedicated to Devi. This was followed by a composition of Lalgudi Gopala Iyer—the father and guru of Jayaraman—Tunaiyagum engal kula deiva Ganapati in Madhyamavati that paid obeisance to their family deity of Lord Ganapati in Valadi. Then followed several compositions of Lalgudi Jayaraman and the Bhairavi composition of Tyagaraja, Raksha bettare. Owing to a deplorable lack of documentation there are several versions in the singing of Tyagaraja's kriti-s.

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Vilayat Khan

Ustad Vilayat Khan (born: 1928), the sitar maestro, passed away at 23.25 hours on March 13, 2004, at the Jaslok Hospital in Mumbai after a brief illness. He is survived by his widow, Begum Zubeida, sons, Shujaat Khan and Hidayat Khan, and daughters, Yaman and Zilla. He is mourned by his family, and disciples of his gharana (stylistic lineage), along with three, perhaps four, generations of music lovers.

Hailed as an Ustad at the age of 17 at the Vikramaditya Music Conference in 1944, Vilayat Khan breathed his last in his 76th year. By this time, he had performed in every part of the world, made over a hundred commercial recordings, composed music for three feature films, rejected a string of official honours and titles, and become the predominant stylistic model for younger sitarists.

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