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A Sketch Of Mysore Sadasiva RAO
Issue : 163
Published on : April, 1998

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Profile - Mysore Sadasiva Rao

Special Feature

Compositions Of Pandit Amarnath


Turning to the recitals, I must say Amarjeet surprised me with the way she sang. She is about 60 years of age, but her sur was all along steady and tuneful, even in the singing of such sargam-s as are intentionally deepened with a touch of gamaka as commonly understood in the North. She rightly opened with a bandish in raga Marwa— I say, rightly, Mahendra Sharma because it was probably her teacher's most favoured raga. Then she presented compositions in Kaushik Ranjani (a melody quite new to me), Pooria Kalyan, Maru Bihag and Sivaranjani. The rhythm of most of these pieces was madhya laya Tritala; and so their structure was manifestly symmetrical. Nowhere could I see that excessive slowness of pace which makes it difficult for the listener to follow the course of rhythm, but which was surely typical of Amir Khan's singing. Patterns of note-names were frequent; and, what is more, they were all along woven in the way of Amarnath. However, Amarjeet's handling of rhythm did not quite match her proficiency in melody. Mahendra Sharma's contribution to the concert was a revelation to me because I did not expect such excellent music from a vocalist who is not quite well-known.

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Main Feature

Main Profile - Mysore Sadasiva Rao


Mysore Sadasiva Rao, a musician who lived in the 19th century, ranks as one among the outstanding vaggeyakara-s of Karnataka. He is supposed to have composed hundreds of songs in diverse raga-s and tala-s, though only a fraction of them have survived. Not only the rest of the songs, even details of Sadasiva Rao's early life are not available. Virtually the only source of information is the book about his life and works published by Sangeeta Kalabhivardhini Sabha, Mysore, in 1954, when Mysore K. Vasudevacharya was its President. In that book, N. Channakeshavaiah, B.K. Padmanabha Rao and H. Yoganarasimham, who were its editors, have given a brief account of the composer's life as could be gathered from various sources. Sadasiva Rao was born in Chittoor in the then Madras Presidency and now in Andhra Pradesh. He belonged to a desastha brahmin family of Maharashtrian origin and his parents were Ganesha Rao and Krishnabai.

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Special Feature

R. Fahimuddin Dagar: Dhrupad Expert


A fellowship is either simply an acknowledgement of an individual's achievements or also a stimulus to him for further work. But it can even have a wider, unconventional relevance. What makes me say so is the recent conferment of the newly instituted Indira Gandhi Memorial Fellowship on R. Fahimuddin Dagar. He is the first musician to win this Fellowship, and its purpose is also perhaps quite singular. The maestro is expected to utilise the facility in recalling and refining even those compositions which do not figure in his routine concerts, and then to get them so recorded—
along with analytical, explanatory' comments— that their structure and individual idiom of singing may become not only available, but intelligible to posterity. In all probability, the comments will be partly my doing— of course under the overall check of the musician's own intuitive judgement; and I surely welcome this opportunity to interpret a portion of what has so far been the closely guarded aesthetic treasure of one of the oldest gharana-s of Hindustani music. All devotees of dhrupad music are

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