Sri Rama Lalitha Kala Mandira (R) (Distinguished Service to Carnatic Music since 1955)

Lalitha Kala Tarangini Quarterly Music Magazine

Volume 2017, Issue 2 June 2017

GV Neela, Chief Founder, SRLKM (1935-2017) Vishaka Hari Honoured

The title “Sangeetha Vedantha Dhureena” was presented to Harikatha Choodamani Vishaka Hari in the divine presence of “H H Sri Sri Yadugiri Yathiraja Narayana Ramanuja Jeeyar” on 29th April, 2017.

The title carries a purse of Rs. One Lakh, a silver medal and a citation. This award is instituted in memory of the founder Shri. G Vedantha Iyengar who started the institution 62 years ago.

Vishaka Hari receiving the ‘Sangeetha Vedantha Dhureena award’ L to R - Hon. Secretary GV Krishnaprasad, Vishaka Hari, Swamiji, Sri. HR Yathiraj, Vice President Dr.Yogananda M.R, President Sri. DR Srikantaiah 1.4.2017

Message

We are happy that Sri Rama Lalitha Kala Mandira (R) is bringing out a Special Issue of the Magazine "Lalitha Kala Tarangini" on completing three years of its useful existence.

Sri Rama Lalitha Kala Mandira, Bengaluru, has been doing yeoman service in the field of Karnatak and Hindustani music for more than six decades. It has carved itself a niche in the art circles of the Garden City. It has been hosting Annual Music Conferences where artistes of high calibre render their melodious presentations. As part of informing the people at large about the activities going on in the Kalamandira, "Lalitha Kala Tarangini" Quarterly is being brought out during the last three years. The issues of the magazine are impressive by their content and presentation. It is difficult to bring out magazines __ that too exclusively meant for music and culture __ these days. One should appreciate the commitment of the people behind this exercise, in producing the same at regular intervals.

We wish the new issue of "Lalitha Kala Tarangini" meant to commemorate its third year will have scholarly articles and will be a useful piece of compendium for musicians and music lovers.

Shubham Bhooyath.

Jagadguru Sri Shivarathri Deshikendra Mahaswamiji June 2017 laden music and they were compared with the male duo Alathur Brothers. Excellent article on them makes an With a heavy heart I have to announce the sad demise interesting reading. of Vid. GV Neela, Chief Founder, SRLKM. She reached the heavenly abode on Saturday, 3rd June 2017. She was 81. We have covered three generations of music from the stable of senior vidwan Shri. HV Krishnamurthy. This art- She was one of the pillars of Sri Rama Lalitha Kala icle is sure to bring nostalgic memories of a bygone era of Mandira and toiled hard to develop the institution to music in Bangalore to many old timers. what it is today. She, along with her sisters and brother MS Sheela epitomises how well a sincere disciple can realised Shri. Vedanta Iyengar’s vision to propagate and inherit a great tradition and parampara of a versatile popularise Karnatak music. Shri. Vedanta Iyengar who Guru. The current day practitioners will benefit by reading was a an educationalist and recipient of Public Service and understanding her rigorous tenure with Vid. RK Shrik- Medal from the then Maharaja of Mysore, Jayachama- antan. raja Wadiyar, will be very pleased with the way Vid. GV KSFA, a consortium of ten music Sabhas of Bangalore Neela has contributed to the progress of the institution. pulled off one of the outstanding Carnatic Music event The focus and dedication of Vid. GV Neela is seen to be ‘Purandara Darshana’. A three day festival in memory of the Sangita Pitamaha that included over 400 artistes believed. She taught music to hundreds of students till performing for 3 days and with over a thousand people her last. Life meant only music to her. Her contribution to attending on each day. It may not be an understatement Karnataka and music in specific will be a monumental to say that an event of this kind on Purandaradasa was effort and will be unparalleled. Team SRLKM will really never conducted to this scale. KSFA plans to continue the miss her. We pray God to rest her soul in peace. festival year after year from now on. While we dedicate this edition to our founder Vid. GV Anand S Neela, we have covered some of the Jambavan’s of music in this edition. Contributors - Sachi R Sachidananda, C Ramakrishnan, Rajashree Yogananda, CP Chikkanna, Sangeetha Kala S Ramanathan has been called a rare phenomenon in our Acharya Neela Ramgopal, Ashwin Anand, Prof.V Aravinda music by many. He was synonymous with classism and Hebbar, Shubha Srikanth, Sindhu Gopinath, Anita Ma- even today’s practitioners refer to him to achieve technical habaleshwara, Uma Ramamurthy, Anagha Yoganand. perfection. He was a composer, vaggeyakara and a per- former par excellence. His Lec-demo sessions became Photo Courtesy - Paniraj, The Hindu archives, Personal extremely popular even with layman and drew large gath- collections of MS Sheela, Personal collection of Radha, ering. An excellent article on Saintly S Ramanathan is a Personal collection of HK Venkatram, Geetha Bennett must read. Website. Radha and Jayalakshmi form a versatile link in the chain Visit us online @ www.srlkmandira.org and share of GNB Parampara. They set a new style with their briga your feedback @ [email protected]

Sri Rama Lalitha Kala Mandira (SRLKM) founded by Shri. All Rights Reserved- All articles, photographs and material G Vedanta Iyengar in the year 1955 is rendering yeomen appearing in this magazine whether in whole or part is service in the field of music. In addition to music classes, copyright of Sri Rama Lalitha Kala Mandira exclusively. No music concerts are held all through the year. The significant part of this magazine should be reproduced or stored in festivals are Sankaranti and Spring music festivals. any form without prior consent. While Rama Lalitha Kala Mandira also takes pride in conducting music awareness Mandira takes all the care to verify the correctness of program, music workshops, Lecture demonstrations etc. information, it is quite possible that there could be an oc- Entry to all program conducted by the Mandira is free as casional inaccuracy in our publication. the aim of the institution is to enable everyone to listen to the best of the music and to propagate Karnatak Classical Magazine Committee Music. SRLKM is a Trustee of Karnataka Fine Arts Council Editor - Anand S (Regd.) which is a consortium of 10 sabhas in Bangalore. Senior Associates: Neela Ramgopal, KS Kalidas, Dr. Mysore “Lalitha Kala Tarangini" publication is fostered by Sri Rama M Manjunath, Rajashree Yogananda, Deepa Ganesh and Lalitha Kala Mandira, disseminates knowledge in the area Sudha Prakash. of Karnatak Classical Music and bring to light talent and Printed and published by GV Krishna Prasad on behalf of excellence in this area. We believe this is just another step Sri Rama Lalitha Kala Mandira, CA No. 28, 9th Main Road, towards preserving and promoting this great Indian fine Near Banashankari II Stage Post office, Banashankari II art. Stage, Bangalore 560070, Karnataka, India.

Lalitha Kala Tarangini - Jun 2017 2 Content 29 Eulogy, GV Neela 30 Purandara Darshana 05 Music Academy Awards 31 Prof. HV Krishnamurthy Sangita Prampara 06 Vid. MS Sheela - Exceptional music from a 38 Dorakuna ituvanti- raga, bhava, sahitya, sangita honeyed voice 41 Geetha Ramanand at SRLKM 15 Musiri’s house - Here flows pristine music quietly 42 Neela aunty, as I saw her… 18 Neela Aunty Tributes by Rajashree Yogananda 44 A Tribute to my Teacher - Vid. GV Neela 20 Dulcet Voiced duo Radha Jayalakshmi 45 !" #ೕ%ರವ() *+ ನಮನ 27 Evolution of Kanjira 47 An evening of enthralment

Lalitha Kala Tarangini - Inbox

Lalgudi bhani freely flowed from her violin and she was a To the Editor, delight for a main artiste to accompany. Being a disciple of Vidwan RR Keshavamurthy and later Lalgudi, she ac- Sir, companied who is who in music in those years. Having I am very pleased that you have brought out a special spent my years with Mali very closely, I must say her issue of ‘Lalitha Kala Tarangini’ on Karnataka’s pride accompaniment for Mali was extraordinary. She accom- Vidushi T Rukmini. I went back several decades relishing panied several doyens of music like Mali, DKP, DKJ, TRS my association with her during our festivals in Mysore. Chembai, Nayathankara Vasudevan, Rajkumar Bharati, U She has performed for over 25 years at 8th Cross, Gane- Srinivas, Namagiripetai Krishnan etc. in our festivals. Her sha festival for SPVGMC Trust and it was always a plea- solo concerts with Vidwan Guruvayur Dorai is still etched sure having her in Mysore. in my memory.

Lalitha Kala Tarangini - Jun 2017 3 Once there was trouble in the state and Bangalore- Mysore highway was blocked but she managed to reach Mysore with great difficulty for our silver jubilee festival. This just shows the commitment she had for this great art. It was unfortunate that she lost her mother during one of our festival and we had to make arrangements to drop her off to Bangalore. It is a pity that Govt. of Karnataka and Govt. of India have not recognised her to the extent that she con- tributed to our music. It is a great injustice but I hope she will get her due soon. I wish her and her family good health. Our Upcoming Programmes CR Himamshu Secretary, SPVGMC Trust 06 August, Sunday, 5.30 pm, SRLKM auditori- 8th Cross, V.V.Mohalla, Mysore-570 002 um Music concert by Sriranjani Santhanagopalan (Vocal), To the Editor, Vittal Rangan (Violin), Vijay Natesan (Mridangam), Sir, Omkar Rao (Ghata) I thoroughly enjoyed reading LKT, March 17 issue which contains contributions from Eminent people in the field 23 August, Wednesday, 4.30 pm, The Bangalore of Carnatic Music. Considerable amount of home work Gayana Samaja auditorium Anagha Yoganand vocal concert followed by “Lalitha has been done in compiling minutest details of the Artists Kala Suma” award presentation to 68 artistes from Covered in the issue. Bangalore in presence of His Holiness Sri Sri Yadugiri Yes, we have been listening to great artists of last three Yathiraja Narayana Ramanuja Jeeyar. The honours will generations, as we ourselves were young lads accompa- be presented by Shri NS Krishna Murthy, Former Sta- tion Director of All India Radio, Bangalore. nying our parents for concerts those day. To read them in your issue is undoubtedly a very pleasant task. 03 September, Sunday, 05.30 pm, SRLKM audi- While every article is excellent in their presentation and torium content, I am overwhelmed by articles on Smt.T Rukmini, Music concert by Aditya Narayanan (Vocal), BK Raghu which is extraordinarily good, having been attending her (Violin), Akshay Anand (Mridangam) concerts as young boy in Bangalore and later in Bombay, 08 October, Sunday, 05.30 pm, SRLKM audito- she did extremely well accompanying eminent vocalists rium and she was too good playing for Mali right from early Music concert by Brinda Manickavasagam (Vocal), days. It was a pleasure meeting her few years back when Vittal Rangan (Violin), Trichy A Aravind (Mridangam) she was honoured in Bangalore and Chennai. Sir our generation is extremely lucky in listening to good 11 November, Saturday, 05.30 pm, SRLKM Music in all three cities namely Bangalore, Chennai and auditorium Mumbai not to leave behind Calcutta from great Mae- Music concert by Aishwarya Vidya Raghunathan (Vocal), stros. What is great is we have a quarterly Magazine like Nalina Mohan (Violin), Anoor Ananthakrishna Sharma (Mridangam), Sukanya Ramgopal (Ghata) Lalitha Kala Tarangini coming out regularly with excellent content and professional quality presentation. 03 December, Saturday, 05.30 pm, SRLKM I congratulate your Editorial team for many such issues. I auditorium laud the positive untiring efforts of Sri GV Krishna Prasad, Music concert by Bellary Raghavendra (Vocal), Mathur rain or shine he is there on time to make great success of Sreenidhi (Violin), Tumkur B Ravishankar (Mridangam), Sharat Kaushik (Ghatam) everything he takes up. Sir I also enjoyed reading other Articles as well, especially Watch out for our Sankranti (31 Dec to 07 Jan) and on Mysore Sri.Mahadevappa and we are proud of him. Spring Festival (4 Feb to 11 Feb) programmes in the forthcoming edition. Wishing all the best. C.K.Srinivasan, Mumbai

Lalitha Kala Tarangini - Jun 2017 4 The Madras Music Academy Awards

Executive committee of the Madras Music Academy has unanimously selected Chitraveena maestro N Ravikiran for the title of “Sangita Kalanidhi”. He will be presiding over the 90th annual conference of the Music Academy in December 2017. He will be conferred the title “Sangita Kalanidhi” at the sadas on 1st Jan 2017.

The Executive committee of the Madras Music Academy will also be conferring the following awards during the Sadas.

“Sangitha Kala Acharya Award” V Kamalakar Rao (Mridangist) Radha Namboodiri (Vocal) “TTK Award” Sukanya Ramgopal (Ghatam) Othuvar Muthu Kandasamy Desikar Musicologist Award TS Sathyavathi “Papa Venkataramiah Award” for violin Thirvallur Parthasarathy “Natya Kala Acharya Award” Lakshmi Viswanathan

Team SRLKM Congratulates N Ravikiran and all the artistes selected for the awards. We believe the selection of N Ravikiran is an outstanding decision by the Academy and it is richly deserved by Ravikiranji

Lalitha Kala Tarangini - Jun 2017 5 Vid. MS Sheela - Exceptional music from a honeyed voice

Sachi R Sachidananda

This June morning, the air is fresh and cool from Sheela is also a composer, teacher, organiser overnight showers. Cuckoos are singing, and and Executive Director of Hamsadhwani Cre- our garden is blooming with Jasmine and Parija- ations. ta. I start listening to a recording of Sringeri I am privileged to interview Vid. Sheela for Sarada Suprabhata. It has been rendered in a Lalitha Kala Tarangini. As I start doing my ground robust, clear, and melodious female voice, set to work, I am struck by a consistent pattern of wonderful Carnatic ragas. The words are re- opinion among audiences and critics about her splendent in adoration; the musician is intoning music. Reputed critics shower unstinting praise the words with beauty and reverence. I am for her melody, mastery, and measured delivery. transported. Let me illustrate with a few examples: The singer is Sangeetha Kala Rathna, “She has a fluent voice, and exploits it subtly, Ganakalashree Vid. MS Sheela, who is well sensitively, to suggest niceties. She indulges in no recognised as one of the front-ranking vocalists fancy filigree work and no gimmicks. Every in Carnatic music for several years now. Vid. move is loaded with music.” Sheela is a TOP rank artiste of AIR and Door- darshan. She is the first female artiste to get “The first thing that strikes you about Banga- TOP Rank in Carnatic music from Karnataka. lore MS Sheela is her honeyed tone. The second She is also a TOP Rank artiste in Light music. It is that she uses this exceptional instrument to is very rare to find an artiste holding proficien- fine effect in every aspect of her singing, cy in both forms of music. Based in Bangalore, whether it’s a raga essay, kriti rendering or, she continues to perform in all major festivals swara singing.” These words were written in a across India, and in many other countries. Vid. review by the well-known Vidwan Calcutta KS

With mother Vid. MN Rathna

Lalitha Kala Tarangini - Jun 2017 6 Krishnamurthi, after one of her December Sea- she took the stage in her mother’s concerts and son concerts in Chennai, in 1996. started playing the Tambura. The famous critic with a gifted turn of phrase, Learning classical arts from one’s own mother Sri. Subbudu, waxed eloquent in his review of is less than optimal due to the easy-going her concert in the Madras Season in 1994: closeness that comes from the filial bond. Therefore Vid. Sheela’s mother took a major “MS SHEELA’s vocal concert at the Mylapore Fine step. Arts Club was outstanding. Her music is of the MLV type- daredevil and adventurous. There is no musical When the girl entered High School during ‘60s, phrasings on earth that she cannot negotiate with she approached the legendary musician, ease, and what a range, what melody!... Padmabhushan, Sangeetha Kalanidhi Dr. RK Srikantan (of Tyagaraja Parampara). When she Sri. Subbudu’s review has been reproduced in its requested him to teach Sheela, he expressed entirety in an accompanying box. surprise. He said there was no need for it as Early Years and Training Vid. Rathna herself was an accomplished musi- Vid. Sheela’s first guru, mentor, and biggest sup- cian and the girl could very well be taught at port, was her mother, Late Smt. M N Rathna, an home. But she persisted, saying that she wanted ‘A’ grade artiste of AIR. her daughter to get a solid, lasting, grounding in classical music, know what excellence is, and do Vid. Sheela remembers that as a young girl she even better than her, and therefore he should was able to repeat whatever her mother sang. kindly accept the student. Srikantan Sir happily She wanted even to share the stage with her! agreed. But the mother used to say, “Not yet. Wait… you need to perfect what you sing”. The girl The initial days were very hard. Srikantan Sir couldn’t understand her, but felt happy when was in his prime; his “school” was a very rigor-

Subbudu’s review in the Indian Express, Madras, Dec. 1994

MS SHEELA’s vocal concert at the Mylapore Fine Ritigowla is one of the rare and unique ragas of Arts Club was outstanding. Her music is of the the South with no counterparts in any system of MLV type- daredevil and adventurous. There is no music in the world. It has to be very carefully musical phrasings on earth that she cannot nego- rendered as even the slightest slip in reaching the tiate with ease, and what a range, what melody! In nishaadam straight from madhyamam would a jiffy she can run up and down three octaves and land the musician in Sriranjani. It has also a a half and return safely to the launching pad. typical south Indian flavour which no alien mu- sician can muster or master. Every one of her alapana or kriti was marked by highest professionalism. Her handling of Sheela gave a most scintillating delineation of Shankarabharanam swept the audience off their the raga in the alapana. feet. I am certain even a nadaswaram vidwan cannot reproduce some of her bravura passages. The kriti “Matangi” was rendered neatly and And those triple note phrasings. Oh God! Sheela, when it came to swaraprasthara – well, you have are you a computer? It is just enough to say that it guessed right – she was the master of all she sur- was of the superlative variety. veyed. Dikshitar’s composition “Akshaya linga vibho” Sheela was ably assisted by Durai Swaminathan was sung with great aplomb bringing out the on the violin and Murugabhupathy on the mri- structural beauty of the composition. dangam and Adambakkam Shanker on the ghatam.

Lalitha Kala Tarangini - Jun 2017 7 ous one known for open throated singing. His taught was to be learnt and presented perfectly voice was robust, his temper fiery, and he want- in the next class. Otherwise, she would face his ed absolute perfection always. wrath, something fierce. No student today would be able to deal with it. Sheela was daunted, but mother comforted her, saying, “First you listen very attentively, and Just a few years ago, Vid. Sheela reminded him gather precisely whatever he says and wants. about his bouts of anger and how tough it used Don’t engage in any other banter, stick to music to be on her as a youngster. He brushed it off and music alone. Your only goal is to learn the smilingly, saying, “yes, my anger, scolding, lesson, lesson precisely and render it back to his total insights, all of that you were able to absorb. That satisfaction. If you face difficulties, or have ques- is why it has worked out so well. It isn’t every- tions, bring them home to me. I will sort it out. I body’s cup of tea”. have put you in a great gurukula, don’t worry.” At the same time, if the girl rendered the lesson Many factors helped. Vid. Sheela’s house in Ku- well, she would be rewarded with a smiling nod mara Park was only ten minutes walk away from Sir. It was also a blessing that her mother from Srikantan Sir’s residence in Seshadripuram. would help her revise the lesson, and overcome He was at that time very busy with his position any difficulty. at AIR and his concert-related travels. But the Vid. Srikantan’s focus had to be matched by the girl was an eager student and was always ready learner’s unwavering attention. Nothing would for the class and would go at whatever time he be glossed over. His expression used to be per- would fix, 6:30 or 7:30 in the mornings. Some- fect and clear in his notation. It used to capture times the classes had to be put off due to un- precisely the sangathi and nuance he wanted. expected engagements. But he always took one- to-one classes and focussed totally on the Vid. Sheela recalls how their sessions were al- teaching during those sessions. ways about music, nothing else. He would give insights into the raga lakshana captured by the Vid. Srikantan had a very versatile voice, and composer, the musical subtleties, and how to could sing in any pitch, even the girl’s high pitch- deliver the song. G Sharp. He would insist that whatever was

With her guru Vid. RK Srikantan

Lalitha Kala Tarangini - Jun 2017 8 Listening to other masters and absorbing their swaras. Kala pramana should also flow naturally, high points was also a part of young Sheela’s from the song structure and one’s ability. Speed learning process. She used to attend concerts cannot be an end in itself.” with her mother. Understanding the musicians’ It is pertinent to mention how Vid. Sheela em- ideas and presentation styles would not mean bodies all these values. Reviewing one of her copying, ever. Vid. Sheela says, “My music had to concerts at the Madras Music Academy, a well- be my own. Of course if you could discern in known critic stated: A general character of pro- my music Srikantan Sir’s style, that’s but natural, priety pervaded the vocal concert of MS Sheela. as I belong to his Parampara!” Whatever one might look for in a concert per- Vid. Sheela used regularly visit Vid. Srikantan, formance- value in melody, richness of manod- until his passing a couple of years ago. This con- harma, aptness of selections – were there. He tinued long after she returned in 1989 from her went on to say how her Begada rendition shone stay in Abu Dhabi, well into the period when he in 3 octaves and the kriti that followed, a rare was in his nineties. Vid. Sheela fondly recalls one of Swathi Thirunal, ‘Vande Deva Deva, tava those sessions to have been very rewarding, as padambhoja yugalam’ was presented in perfect they covered many topics in music. Vid. Sheela articulation. He also noted that Dikshitar’s emphasises that there is never an end to one’s Bowli kriti ‘Sri Parvati Parameshwaram’ was learning, and that her guru was such a store- rendered with all the solemnity it merited. house of insights and experiences. Vid. Sheela herself is an accomplished tunesmith Vid. Sheela gives a 3-word mantra: “Kalike, and her many popular albums are ample testi- Kelme, and Abhayasa.” Kalike means good learn- mony. ing from a solid paathaantara. Kelme is active listening to the masters, to understand their All India Radio ideas and manodharmas. One can vastly benefit Vid. Sheela has had a rich and long association from this. Abhyasa is rigorous, dedicated, and with All India Radio. For many decades, AIR was focussed practice, with clearly defined goals. the first and foremost medium of exposure for any talented artiste to make her mark. She first Quoting her guru, she says, “The krithi presen- acted as a child artiste in the radio plays such as tation has to go like a royal chariot. The song Krishna Lila, Nachiketa, and Bekkina Kannu. Af- has to unfold step-by-step, bringing out the mu- ter radio plays, she soon started singing on AIR. sical beauty of the raga and the composer’s Winning AIR competitions gave her a direct grand conception. That firm foundation naturally entry. Akashavani (AIR) always gave Vid. Sheela leads to proper niraval elaboration, and kalpana many opportunities, not discriminating against

Lalitha Kala Tarangini - Jun 2017 9 her young age. She sang in musical features, per- singing, Sri SYK went outside, and pulled the formed along with stalwarts, gave National Pro- straggling rasikas inside, saying, “hey, come in- grammes, and sang in Geethaaradhana, Suprab- side, listen to this young talent from Bangalore hata, Vachana, Dasasahitya, Sugama Sangeetha, who sings so well.” and Sangeetha Rupaka- so many different kinds That concert made an impression on everyone. of programmes. Next day, Sri. SYK hosted lunch for Vid. Sheela There were also prestigious concerts before and her team. He asked her to record under his invited audiences, around Yugadi and Indepen- direction for HMV the Lalitha Sahasranama and dence Day. Vid. Sheela has performed in several Sringeri Sarada Suprabhata. (That is the one I of them. Also, Vid. Sheela has rendered yeoman listened to this morning, and referred to in the service by singing, for the AIR archives, Veene beginning!) Seshanna compositions, Mysore Sadashiva Rao The LP of Vid. Sheela’s rendition of the Lalitha compositions, and a few of Muthiah Bhagavatar’s Sahasranama, in combination with Shyamala Sri Chamundeshwari Ashtottara krithis and Dandakam sung by the legendary Vid. DK Pat- Shivasthottara krithis. tammal, was released under the HMV/Saregama Sri Muthiah Bhagavatar was in the court of Nal- label. It became hugely successful. Even today vadi Krishnaraja Wodeyar, the Mysore King, in the recordings are available for purchase. Vid. early 20th century. The king asked him to take Sheela says that she found this experience very up and compose 108 kritis on Goddess fulfilling. Chamundeshwari, following the archana ashtot- She remembers one concert in Calcutta, when tarashata namavali. the Sringeri Jagadguru HH Abhinava Vidyatirtha All these special programmes had participation Swamiji was visiting during Ramanavami. She had from several artistes and came out very well. been featured in the concert series. She went Vid. Geetha Ramanand was in-charge and pro- to the Swamiji to seek his blessings before the duced them. concert. He asked her to render a Raga-Tana- Pallavi in Shankarabharanam. The concert went Similarly, Vid. S Krishnamurthy commissioned off very well. The Jagadguru was very knowl- Vid. Sheela and Vid. RA Ramamani to render a edgeable about music and appreciated her per- few compositions of Sri Jayachamaraja Wodeyar, formance. Vid. Sheela remembers with great from Sri Vidya Darpana. Vid. Sheela has also ren- emotion that she was privileged to get his kind dered many works of Sri. Pu Ti Na, in operas appreciation and blessings. such as Megha Sandesha, Kisa Gothami. Vid. Sheela’s concerts all these years have been Performing Career noted by all for a high consistency of success. Vid. Sheela’s very first concert was when she Characteristically, Vid. Sheela says, “I attribute it was nine-years old, at the Balepete Laldas Dev- to God’s grace and teamwork. Of course, I do asthana, in the Thyagaraja Aradhane conducted not expect that every concert of mine should by Vid. Arunachalappa. Her slot came late in the receive only generous praise. I read every re- night. There was a good response, and soon, view and take feedback as an opportunity for many concerts started coming her way. improvement and development. In fact every Vid. Sheela performed in Chennai for the first artiste will make mentally his/her own review time in mid-70s. She remembers one concert after every concert. ” for a well-known Sabha (it was also called the There is an interesting tribute, penned in his 50-50 Club) where Sri. SY Krishnaswami, ICS, characteristic flowery style, by the legendary was seated right in the front. Since she was rel- playback singer Sri. PB Sreenivos when he at- atively unknown to Chennai rasikas, many in the tended Vid. Sheela’s performance in 2000, at the audience had drifted to the Bajji/Coffee stall Bharatiya Vidya Bhavan, Chennai, during the De- outside the hall. But soon after she began

Lalitha Kala Tarangini - Jun 2017 10 With Vid. M Chandrasekaran and V Murali, President, The Music Academy, Chennai cember Season. He recalled their duets sung in shamma, who have supported her in her US the mythological film, “Subhadra Kalyana”. He concert tours. describes Vid. Sheela, in that tribute, as a honey- The ticklish topic of being “an artiste from Kar- voiced songstress and says how every listener is nataka” is briefly dealt with. Vid. Sheela states easily enthralled by her enchanting and authen- that if any artiste learns music and lives in Kar- tic rendering, and how connoisseurs sit glued to nataka, he or she would have to work 3 times their seats and listen to her soulful music with harder and longer and strive a lot more than rapt attention. artistes from outside Karnataka, for the same Vid. Sheela has been visiting the USA for con- success and popularity. She feels blessed to have cert tours almost every year since mid ‘90s. She achieved this, and attributes it to her solid mu- remembers with some amusement her 1996 sical training, the vast repertoire she has built concert at CMANA, a New Jersey-based organ- up in so many genres and languages, and the isation. The CMANA functionaries showed generous blessing of her gurus. some concern when they heard that she was It was a very happy experience for Vid. Sheela from Bangalore, not Chennai. But the same to receive the Best Senior Vocalist award from people showed a sense of relief when she the Madras Music Academy in 1997. That same added that her Guru was Vid. RK Srikantan! Af- year, Vid. RK Srikantan was bestowed the title of ter the concert, they emailed their very happy Sangeetha Kalanidhi. reaction to the concert, along with a copy of the concert recording, to her husband. I ask Vid. Sheela about her first performance at the Madras Music Academy. She says that her The concert tour extended to Nada Tarangini first Academy concert was in mid-70s. She was based in Washington. And then Bhairavi, Cleve- totally unnerved, seeing Vid. Semmangudi, Vid. land festival, and so on. There has been no look- Balamurali, and many other senior vidwans and ing back. vidushis, including her guru Srikantan Sir. Vid. Sheela mentions how Mrs. Usha Char and After many of her concerts, Vid. Srikantan Mr.Char of Karnataka, settled in Washington, would say, with a smile to Vid. Sheela the next have supported her a lot. She also mentions day, “It seems you sang so well yesterday, tell me Dr.Ashok Madhav and her aunt Smt.Venkatalak- all about it!” He was happy that his prime disci-

Lalitha Kala Tarangini - Jun 2017 11 Receiving the Chowdaiah Award instituted by Academy of Music from Mallikharjuna Kharge ple was carrying on his Parampara the right Vid. Sheela did two summer school teaching way. assignments in Bharatiya Vidya Bhavan, London. She also went to Singapore to adjudge their Vid. Sheela moved to Abu Dhabi in 1982, after National Competition. Vid. Sheela has undertak- her marriage. Her husband took up an engi- en concert tours to Australia, New Zealand, neer’s job at an Oil company. Her guru was Middle East, and many other countries. dismayed, and said, “Will you go away, after all this learning and success? I had such expecta- Quite early in her performing career, Vid. Sheela tions…” She replied, with a confidence that I made an impression on the cognoscenti. In the find surprising, that she would surely come Sixties, she received all six prizes one year in back, without any doubt, as these were only the Gayana Samaja annual competition. When temporary life moves. She was determined to this subject comes up during the interview, I return to her music and her roots here. mention to Vid. Sheela how I had heard that Sri. VT Srinivasan was highly impressed by her initial In fact, when she came back after 7 years, there performances and had predicted a bright future were anxieties. In those days, there was no In- for her. ternet, Skype, music uploads and virtual ways of keeping in touch. She was wondering how audi- How did her mother react to that level of suc- ences would receive her after such a long break. cess? Was it not true that Vid. Rathna also had a But Vid. Sheela was happily welcomed back and successful performing career when her daugh- her performing career resumed with the same ter started performing? Very much so. But then old momentum. Vid. Rathna made a major decision and took her own career down a notch or two. Vid. Sheela’s two daughters learnt music, but chose Engineering/MBA courses and are mar- I discuss voice culture with Vid. Sheela. She says ried and happily settled down in Bangalore now. that voice and voice culture are crucial in Car- Her husband and family have been a big natic music. Everyone has to choose their most strength to her; they are all big music lovers. comfortable pitch, for ease of singing and sus- She says she could not be where she is today tainability. It should not be influenced by anyone without their constant encouragement and else’s pitch. If there are kinks in one’s voice at support. Her children coped during their grow- the chosen pitch, one has to work assiduously ing years with her travels, recording sessions, to sort them out. and so many long overseas tours, without com- plaint.

Lalitha Kala Tarangini - Jun 2017 12 Vid. Sheela started initially with a very high sabhas, The Karnataka Fine Arts Council. When pitch, and worked hard on her voice and finally she was told that there would be only one Top settled at G Sharp (5.5). She was comfortable Prize, combining Vocal and Instrumental, she performing in AIR with others, even along with suggested that there should have been two First male voices because of her range. Prizes, separately for Vocal and Instrumental, as both have different aspects to be evaluated. She mentions how a fine voice is only God’s gift, but to harness it requires great effort, method, Vid. Sheela recalls that there were many very and a disciplined life-style. Vid. Sheela’s mother good performances, and the team of judges used to make her practise for hours every went through a very methodical evaluation ma- morning, all the vocal exercises in different trix. There was also the audience poll duly con- speeds and sthayis. Later, Vid. Srikantan trained sidered for weightage. her to be able to sing any type of song, in any Vid. Sheela feels that the Kalavanta idea is good speed, with ease. He repeatedly instructed her and it has been going on well since 2014. Such a to be careful during travels, and that she should large-scale competition requires cooperation not eat anything and everything. from many quarters and it is a credit to Kala- He also used to advise his protégé how to plan vanta. She also feels that Kalavanta could feature the concert, based on the occasion, if it was a a greater number of deserving youngsters from thematic concert, or a part of a conference, or Karnataka. a special event. Vid. Sheela assiduously used to Vid. Sheela is happy that there are many talent- ask for feedback from her mother and Guru ed youngsters coming up, and they are perform- after every concert. Once she was established, ing in DD Chandana, SVBC, and so on. Nowa- they used to laugh off such questions. days, there are many such avenues for getting Kalavanta exposure. In olden days, one had to depend Vid. Sheela was invited in 2014 to be a judge in solely on recording companies. Vid. Sheela’s LPs the first edition of the music contest named released by HMV of the Lalitha Sahasranama Kalavanta conducted by a consortium of music and Sri Sarada Suprabhata have received appre-

Receiving the Sangeetha Kalan Ratna award at The Bangalore Gayana Samaja

Lalitha Kala Tarangini - Jun 2017 13 ciation from a large number of listeners over “ASTHANA VIDUSHI” of Sri Krishna kalakshetra, time and even today ardent followers of music Isckon, Bangalore in 2011. call her acknowledging the same. “ASTHANA VIDUSHI” of Shankarmutt, Avani Towards the concluding moments of the inter- Bangalore. view, we again talk about family. She says, “My Karnataka State Sangeetha Nrithya Academy (of husband is a staunch devotee of Sri Raghaven- Karnataka Govt.) has given a Special Honourary dra Swamy. I agree very much with his words: award “RAJYA RATHNA” for the year 2008, Re- We always remember God when we are facing ceived from Chief Minister of Karnataka. troubles. It is more important that we remem- ber the Lord and express our gratitude when During the Annual Music festival of Karnataka things go well for us.” Ganakala Parishat for the year 2000, Sheela has been adjudged as Best Musician of the Confer- When Karnataka Sangeetha Nritya Academy ence and has been awarded “ANANYA started awarding the Karnataka Ratna award, in PURASKAR”, an award instituted by Ananya. the very first year, Vid. Sheela was chosen for the award. The function was in Mysore and Vid. Madras Music Academy, during 1997, adjudged Sheela recalls that it was indeed a blessing that Sheela as an “Outstanding Senior Female Vocalist”, she received the award from Vid. Srikantan’s Karnataka State Film Chambers has given an own gracious hands. award to Sheela as, “Best Female Playback Singer” Some Honours and Titles bestowed on Vid. for the year 1997-98. Received from Chief Min- MS Sheela ister of Karnataka. Gaanakalashree, GaanaVaaridhi, Sangeetha Sha- Sheela received the title “Ganakalashree” from rade, Sumadhura Sangeetha Dhruvatare, Karnataka Ganakala Parishat in 1993. Sangeetha Sudha Saraswathi, Guru Gaurava- Kaarini, Sangeetha-Raga Amrithavarshini, Karnataka state government has honoured Sangeetha Gana kalanidhi, Sangeetha Sahyadri Sheela by giving “Rajyotsava Award”, in 1993 Re- Shikharini, Sangeetha Saraswathi, Sangeetha ceived from Chief Minister of Karnataka. Vaagdevi, Kalaa Tapasvi, Pranavashri, Kalaab- “ASTHANA VIDUSHI’ - Dakshinamnaya Sri Shara- hushana, Gaandharva Vamsha Nidhi, Gaana- da Peetham, Sringeri, “Aryabhata Prashasthi”, Chetana, etc. “Parimala Prashasthi”, Bangalore Nagarathnamma Awards and Recognitions Prashasthi, Saangeethya Aasthana Award, The Bangalore Gayana Samaja selected Vid. Pranavashree Award, Rangashree Prashasti. Sheela as President of 47th Music conference Hamsadhwani Creations and conferred the title “SANGEETHA KALAA Vid. Sheela runs, along with her husband, HAM- RATHNA – 2015”. SADHWANI creations, an organisation actively Veena Seshanna Memorial Trust honoured promoting classical arts. They have released a Sheela with “Swaramurthy VN Rao National number of albums and present ‘HAMSAD- Award”, 2015. HWANI PURASKAR’ every year to senior artistes. Indiranagar Sabha Bangalore honoured with “Purandhara Prashsthi” a National Award, - 2015. Academy of Music, Bangalore, Prestigious “Chowdiah National Award”, 2013. Sri KalaSudha Telugu Association has conferred her the title “Sangeetha Sudha Saraswathi” in 2012. received from the Chief Minister of Tamil Nadu.

Lalitha Kala Tarangini - Jun 2017 14 Musiri’s house - Here flows pristine music quietly

C Ramakrishnan, Chennai

Chennai is undoubtedly the Mecca of Carnatic present venue of the concert used to be Musiri Music and Mylapore is the cradle of Carnatic Subramania Iyer’s car shed and adjoins the music in Chennai. The prestigious sabhas of house where Musiri lived which is presently Chennai like The Music Academy, Narada Gana occupied by Mr. Thyagarajan’s daughter. The Sabha, Brahma Gana Sabha, Mylapore Fine Arts house is situated in Oliver Road, in an inside Club, Ragasudha Hall, Bharatiya Vidya Bhavan lane- not visible from the main road and the etc. are all operating in the Mylapore- Alwarpet road had been renamed as Musiri Subramania belt. Amidst the hustle bustle of all these sabhas, Iyer Road, thanks to the pioneering efforts of the house of Sangeeta Kalanidhi Musiri Subra- Semmangudi Sreenivasa Iyer. mania Iyer stands unique by providing serene Mr.Thyagarajan is an industrialist and music runs chamber music concerts once in a month by in the family blood. His spouse Mrs Rajeswari top musicians as well as artistes of promise. Ac- Thyagarajan is also deeply involved in music. tually the venue where the concert is held is After Musiri’s demise, the family was fully in- constructed by Mr. Thyagarajan, who is the volved in their work and for some time, away grand son of the brother of Shri Musiri Subra- from music. The house was constructed by mania Iyer. Musiri did not have children and he Thyagarajan in 1984. They were close aides of considered the entire family protégés as his Mr. SV Krishnan of Ragasudha and were part of own and nurtured them with love and care and his chamber concerts. It was their indulgence in ensured that they all settled well in life. The

Sangita Kala Acharya Neela Ramgopal performing with Mysore Srikanth and Dr. Ashok Kalidas performing at Musiri house

Lalitha Kala Tarangini - Jun 2017 15 Youngsters from Bangalore Heramba, Hemantha (Flute duet), Apoorva Krishna (Violin), Akshay Anand (Mridangam) along with Sunil Kumar (Kanjari) performing at Musiri house attending the chamber concerts that triggered which is handled by Chandrasekharan and Sid- them to start chamber concerts in the house of harth and the listening pleasure is doubled Musiri and bring back pristine music in the hal- when the audio is excellent and is managed by lowed premises. The concert is held in the cen- people who know music, which is not always tral hall of the house which is of perfect size for the case in many sabhas. holding chamber music. The hall is immaculately The chamber concerts commenced from the maintained with many curios/antiques/lamps year 1994. The inaugural concert was given by tastefully adoring the walls and corners. The old Raji Gopalakrishnan and S.V.Krishnan provided world charm coupled with the intimate setting, the necessary guidance to begin with. There was makes it an ideal venue to make music and ex- no looking back from there and monthly con- perience it at its highest level. The entire family certs are held without break. Initially post cards pitches in to get the home ready for each were sent to prominent music lovers about the recital a couple of days before each recital by concerts and now e mail is sent as per the mail- rearranging the furniture and making ample ing list besides advertisement in the Hindu daily. space for the visitors to sit and savour the mu- The venue has seen many out of the world sic that is offered with sincerity and reverence. concert experiences. The family can really take About sixty people can squat on the floor and pride in organising some of the best concerts in twenty people can sit on the chairs. Many a Chennai. In 1994, Semmangudi enthralled the time the hall is fully occupied and people sit in listeners and the next year MS Subbalakshmi the adjoining rooms also and enjoy the concert gave an unforgettable concert experience with peacefully. Normally the concert starts at 4 P.M. Rama Rama Gunaseema as the main song as her on a Sunday except in summer when it starts at homage to Guru Musiri who taught her this 6.00 P.M. The concert generally extends up to 3 song. Next year it was the turn of DK Pattam- hours. Along with the Thyagarajans, Mr. Chan- mal. Other musicians who were featured here drasekharan, brother in law and his son Sid- are TK Govinda Rao, Bombay Sisters, TN Se- dharth are coordinating the entire show. The shagoplan, TN Krishnan, Mani Krishnaswamy, venue has acquired state of art audio system

Lalitha Kala Tarangini - Jun 2017 16 Suguna Purushothaman, Suguna Varadachary …. The list is pretty long. The year 1998-99 was Musiri Centenary year which was celebrated with two concerts a month- one by a vidwan/ vidushi from the Musiri lineage and the other concert by another senior vidwan. The concert of KV Narayanaswamy in this series is still fresh in the memory of those who were fortunate to listen to that concert. His Tiruvadi saranam, Varugalamo are unforgettable. It was in this venue that three prominent disciples of Musiri- Mani Krishnaswamy, Suguna Purushothaman and SGBS Trust Gokulashtami Suguna Varadachary shared the stage for the Programmes first time to present their homage to Guru Musiri. The combination received the patronage 29th Jul, Sat 6 p.m. - Sri P. Unnikrishnan, Sri V.V.Ravi, Sri Arjun Ganesh, Smt. Sukanya Ramgopal of music aficionados and soon the trio present- 30th Jul, Sun. 5.30 p.m. - Smt. Shanmughapriya & Kum. ed concerts in many sabhas. The ambience of Haripriya (Priya Sisters), Sri M.A. Krishnaswamy, Sri B. Sivara- the venue, the warmth of the hosts, do inspire man, Sri Purushottam the artistes to include one or two Musiri 31st Jul, Mon. 6.00 p.m. - Sri S. Saketharaman, Nagan Sri R. favourites in their concerts. When Shri Thya- Sriram, Neyveli Sri Narayan, Sri D. Sunaad Anoor garajan came to know about the music of 1st Aug, Tue 6.00 p.m. - Sikkil Sri C. Gurucharan, Sri V. Sanjeev, Vidushi Parassala Ponnammal, he went to the Sri S. Sumesh Narayan, Sri R. Bharadwaj Sathavalli. doyen’s residence in Trivandrum and invited her 2nd Aug, Wed 6.00 p.m. - Kum. Kanyakumari, Dr. Nishanth Chandran, Srimushnam Sri V. Rajarao, Sri U.N. Giridhar Udu- for a concert in the Musiri house. Ponnammal pa. gave a three hours astounding performance on 3rd Aug, Thu 6.00 p.m. - Kum. Sriranjani Santhanagopalan, a Sunday morning to packed house and it was a Smt. H.M. Smitha, Sri J. Vaidyanatha, Sri H. Sivaramakrishnan. feast to those who were fortunate to attend 4th Aug, Fri 6.00 p.m. - Sri T.M. Krishna, Sri Sriram Kumar, the same. Nagaswaram concerts by Injikudi Sri K.V. Prasad, Sri Chandrasekhar Sarma Subramaniam, Kasim-Babu, Vyasarpadi Kodan- 5th Aug, Sat 6.00 p.m. - Sri Bharat Sundar, Sri M.R. Gopinath, daraman etc also were featured in the open Neyveli Sri Skanda Subramanyam, Sri S. Srishyla terrace of the building. The VV Subramaniam- 6th Aug, Sun 6.00 p.m. - Sri N. Ravikiran (Chitravina), Kum. TV Gopalakrishnan combo concert held recent- Akkarai Subbalakshmi, Sri Arjun Kumar, Sri Ranganath Chakravarthy ly was a highly acclaimed event. The organisers 7th Aug, Mon 5.30 p.m. - Sri Sriram Prasad & Sri Ravikumar also give platform to many up and coming musi- (Malladi Brothers), Sri B.U. Ganesh Prasad, Mannargudi Sri A. cians. The flute duet concert of young Heramba Eashwaran, Sri G. Guruprasanna. and Hemantha from Bangalore was an instant 8th Aug, Tue 5.30 p.m. - Sri Vidyabhushana, Sri M.S.Govin- hit among the rasikas. daswamy, Sri B.S. Prashanth, Sri S. Srishyla 9th Aug, Wed 5.30 p.m. - Smt. Nityashree, Smt. Charulatha Since the last two years, the concerts are web- Ramanujam, Sri Manoj Siva, Sri A.S.N. Swamy cast live for the benefit of overseas rasikas and 10th Aug, Thu. 5.30 p.m. - Sri Srikrishna Mohan & Sri those who cannot be physically present due to Ramkumar Mohan (Trichur bros.) Sri Ajith Kumar, Trichur Sri age related constraints and are permanently R. Mohan, Kovai Sri Suresh archived in the you tube. 11th Aug, Fri. 5.30 p.m. - Sri Ramakrishnan Murthy, Sri H.K. Venkataram, Sri Arun prakash, Sri Anirudh V. Athreya 12th Aug, Sat 5.30 p.m. - Sri Pandit, M. Venkatesh Kumar, Sri Ravindra Katoti, Sri Ravindra Yavagal 13th Aug, Sun. 5.30 p.m. - Smt. Sudha Raghunathan, Embar S. Kannan, Palladam Sri Ravi, Sri V. Suresh 18th Aug, Fri. 6.00 p.m. - Sri O.S. Arun, Sri B. Ananthakrishnan, Poongulam Sri Subramaniam, Sri Praveen (Tabla)

Lalitha Kala Tarangini - Jun 2017 17 Neela Aunty

Rajashree Yogananda

There is always this feeling that I will be getting Music was their life, and that is what one got to a call from Neela aunty anytime with a genteel hear when anyone entered their house whatev- rebuke for not having called her these past few er time of the day. They were either taking mu- days. sic classes to their students or listening to the radio.Their father had made everyone in the Smt.GV Rangamayakamma and Smt. GV Neela family learn music; be it Vocal, Veena, Violin, were my music teachers, and that is how I slow- Harmonium or Mridangam and together they ly got acquainted with them. There used to be could give a kutcheri and made a very fine team. many times when they would reminiscence My husband, who is their nephew, always felt about their father Sri G Vedanta Iyengar and that their place was his second home and all question him as to why they were not made to the summer vacations were spent at their place. pursue their education as they were sure to Though he was young, they used to take him have fared well. Their father would reply that he along with them for their kutcheris and would had given them the education that was suited to make him play on the tamboora and influenced help not only in this world but also in the world him a great deal for his love of music. to come. Over the years, they realised the wis- dom of their father and would say music has I have observed that Neela aunty was always made them what they are today. SRLKM was particular about the way things were kept their child and they nurtured it with utmost around the house and especially her clothes. As care. uncle Krishnaprasad recalls, even the hand nap- kin used by her would be folded neat without a Though Neela aunty learnt violin from other crease. teachers, for Neela, her elder sister Ran- ganayakamma was her guru too. Their father Aunty was a great story teller and she had a could not afford to pay the tuition fees for both knack of conveying the most mundane in a way of them and her sister saw to it that Neela which would keep us riveted till the end. SR- could imbibe what was taught to her and the LKM made it possible for both the aunts as well bonding between the sisters grew. Both were as our uncle to have close interaction with very beautiful. Neela was tall and Rangu aunty most of the greats of classical music and Neela would always complain that things were kept aunty would share those treasure house of ex- out of her reach! They were so close that it was periences which helped us to get a peek into difficult for us to talk without mentioning the their lives which we would be bereft of other- other and so it was always RanguNeela aunty. wise. Sometimes aunty would talk about the days Theirs has always been a close knit family and when with the passing away of their father, the the bonding and affection between brother GV onus of running the family fell on their young Krishnaprasad and sisters was genuine. When shoulders and together they toiled and took on Smt.Ranganayakamma was confined to bed for a the financial burden and steadied it with uncon- long time, they both tended to her with care ditional love to their younger sister and brother. and devotion. Even then, she made sure that she They saw to it that their younger sister Dr. GV took music classes as they had an cathartic ef- Vijayalakshmi went to the medical college and fect on her. Losing both Ranganayakamma and fulfilled her ambition of being a doctor. their sister Dr. Vijayalakshmi in a very short

Lalitha Kala Tarangini - Jun 2017 18 Vidushis Ranjani and Gayathri always have had special affection for SRLKM, Smt Neela and Sri GV Krishnaprasad. They have made it a point to call them regularly and talk just like any family member. They also shared their experiences after their kutcheri trips abroad. Both payed a visit to SRLKM after Smt.Neela’s demise to express their condolences and spent quite some time talking to GV Krish- naprasad, Hon.Sec. span of time was a big blow and Neela aunty daughter, who was also her student, very apt and Krishnaprasad uncle channelised their grief songs to sing whenever we visited any temple and went about to set up an award “ Raga Laya or for the invocations to Mandira’s music festi- Prabha” given to promising youngsters from vals. Aunty would never be satisfied until she Karnataka in their memory. Infact, to celebrate rendered it perfect. She wanted all the children 65 years of SRLKM, Neela aunty had proposed in the family to carry on the music legacy and the plan of honouring 65 senior musicians. Plans become good performers along with their aca- were afoot to go about it from their own per- demics. sonal funds and now in her memory Krish- Of late, aunty would express anxiety about her naprasad uncle is all set to fulfil her wishes. dwindling health and prayed that she be spared There are many moments spent with aunty all the suffering. Many a times, she would have which I cherish very much. Together, we would tete a tete with my husband about life and spiri- enjoy listening to monthly concerts at SRLKM tuality. She was the matriarch and both shared a hall and the Sankranthi and Spring music festi- very strong bonding. In the end, she got her vals or just spending time with them is some- prayers answered and left all of us bewildered thing we have always liked doing. We would al- and shell shocked by the suddenness of her ways celebrate all the festivals with aunty and demise. uncle and it was joyful on those occasions, es- Though she is no longer in our midst , the love pecially Gokulashtami. Now, her absence will be and affection and her genuine interest in our felt very much. well being as well as that of her students linger Aunty and uncle had a long standing desire to on and the best way to honour and pay the visit Srirangam temple. By His Grace we were tribute would be to continue her legacy for- blessed to have the darshan of Ranganathar ward with all sincerity. All I can say is that aunty very early in the morning when the temple enriched SRLKM and Mandira will forever be doors opened with the elephant trumpeting grateful for that. and paying its obeisance to the Lord. Neela aun- We would always tell her that we were just a ty would always remember it and I can say that phone call away and with a heavy heart know it was one wonderful trip we all had together. that it is one call too far away. Aunty would make sure that she taught my

Lalitha Kala Tarangini - Jun 2017 19 Dulcet Voiced duo Radha Jayalakshmi

CP Chikkanna

In carnatic Music, G.N. Balasubramanyam was a etc. besides Varnas. They have been published modern in a field strongly dominated by tradi- under the name “ganabhaskara mani malai”. He tion. By his birka laden speedy ragalapanas, was a BA Honours graduate, who chose music songs, niravlas and kalpana swaras, he stormed as his main avocation, defying his father’s ambi- the carnatic music world like a colossus. He was tion of pursuing a law degree for a lucrative hailed as a prince of carnatic music who gave it career as an advocate. He was the Chief Pro- a new depth and dimension, a revolutionary in ducer of music in the Madras Station of All India multiple spheres as a film hero opposite MS Radio and later served as the principal of Subbulakshmi, a performer par excellence, an Swathi Tirunal College of Music in Trivandrum outstanding teacher and a composer of merit. and died in his 55th year in 1965 while in ser- Whenever any composer approached Ramanuja vice. His disciples and grand disciples followed Iyengar to present his songs in concert to pop- in his footsteps and made a lot of name and ularise them, he directed him to GNB. He never fame in carnatic music. One such name is Radha sang his own compositions in concerts and his Jayalakshmi, the dulcet voiced duo who domi- disciples popularised them. Some of his compo- nated the music arena for over 4 decades with sitions are: “Neepaadame gathi” in the raga Nali- distinction between 1950’s and 1990’s. nakanthi, “Baarama e Balunibrova” in the raga The duo hailed from a family of music lovers. Hamsanadam, “Ranjani Niranjani” in Raga Ranjani They are maternal cousins. Jayalakshmi is the

Lalitha Kala Tarangini - Jun 2017 20 eldest and daughter of Late Rangachari, a prac- companiment in their maiden concert at Banga- tising advocate in Madras, where as Radha’s fa- lore according to Late TB Narasimhachar, the ther Late Doraiswamy Iyengar was a wealthy then secretary of the Sabha. That particular zamindar and an officer in Southern Railways. concert resulted in a number of concert oppor- The duo received their basic lessons from Jay- tunities to the duo from all over south India. alakshmi’s mother R.Pattammal an accom- There are lot of similarities between Alathoor plished Veena player who was a niece of Veena brothers and Radha Jayalakshmi. Unlike Shiva- Ranagaswamy Iyengar of yesteryears. Her Veena subramanya Iyer, Jayalakshmi was blessed with a recitals were broadcast from AIR. Later they powerful and sweet voice which traversed all were trained by TR Balasubramanyam the prin- the three octaves with ease and grace. Unlike cipal disciple of GN Balasubramanyam, until his Srinivasa Iyer, Radha”s voice too was a bit husky death in the early 1950. Later GNB honed their and both the voices blended musically creating skill and guided them and laid a solid foundation great aural pleasure in their duets. The broth- for their highly accomplished music career. He ers’s recitals were mainly laya oriented where affectionately referred to them as my as the sister’s duets were a combination of laya “pethis” (grand daughters). GNB advised his and melody creating an immediate impact on disciples to adopt nathaswara type of raagala- listeners. Unlike the brothers, these cousins also pana and to reveal the identity of the raga in attained the kutcheri tempo in the beginning of the beginning to the listeners. He insisted upon the concert and maintained it throughout the them to develop their own style, originality, ad- session. After the death of Shivasubramanya Iyer equate planning, practising to perfection and in 1965, they were in the fore front of singing in present to make listening to their concerts an tandem in the highest echelons of carnatic mu- enjoyable experience. sic. The main advantage of any vocal duet is that The sisters received advance training in pallavis one assists the other and each performer will from famed Pallavi exponent Vidyala have adequate rest in concert. Narasimhalu Naidu of Chittoor(From whom I first heard their vocal duet under the aegis of Pallavi Chandrappa learnt the art of rendering Seshadripuram Ramotsava Samithi in the year Avadhana Pallavis). Naidu was blessed with a 1961 when I was studying in Seshadripuram huge physique, sporting a big moustache and six high school. On that day, I was deeply impressed foot tall with vibhuthi striped forehead resem- by the speedy rendering of Veena type of bled a wrestler. His pallavi classes in Madras sparkling tanam by Jayalakshmi which was be- evoked laughter and an enriching experience queathed from her mother that drew repeated recalled the duo. At the instance of GNB, the applause from the vast gathering and from then sisters learnt a couple of Hindustani Bhajans onwards I began to listen to carnatic music in from Ustad Bade Gulam Alikhan during his visit festivals, sabhas and radio. In 1968, Indian Ex- to Madras on concert engagements. Thus after press group of publications started Kannada equipping with the entire concert formats the Prabha and invited write-ups and articles from duo made a sensational debut in 1948 under prospective writers for the Sunday’s magazine the aegis of Malleshwaram Sangitha Sabha , Ban- edition which stimulated me to present a pro- galore when the field was dominated and ruled file of them who were highly popular. This blos- by such masterly performers like Ramanuja somed into cordial relationship between us Iyengar, Alathoor Brothers, Maduari Mani Iyer, when I was approached by my friends and or- Chambai Vydyanatha Bhagavathar, GNB, Sem- ganisers for arranging their music concerts in mangudi Srinivasa Iyer, MS Subbulakshmi, Pat- various places in Karnataka which were always tammal, KB Sundarambal and ML Vasanatha Ku- a grand success. Until my involvement with mari, besides Flute Maali, Dwaram Vekataswamy them on concert matters, they were particular Naidu, Mysore Chowdaiah etc. Noted Violinist and choosy, insisting on their own team of ac- MS Gopalakrishnan provided them violin ac- companists from Madras. It was on my request

Lalitha Kala Tarangini - Jun 2017 21 File photo with MS Gopalakrishnan on Violin and Palghat Mani Iyer on Mridangam they agreed to have local prominent accompa- ings it is 5-1/2), which according to them was by nists S Seshagiri Rao and MS Govindaswamy on the grace of God. Third, is their breezy style and the violin, ML Veerabadraiah and Praveen, TAS speedy rendering of ragaalapanas, kritis, neravals Mani, AV Anand etc. on the mridangam. It is me and kalpana swaras, emulating GNB. Lastly, their who introduced teenaged ghatam player clear-cut pronunciation of lyrics, irrespective of Sukhanya to Bangloreans in their vocal duet in the language of the song. When I sought the 1978 Sri Ramanavami festival that resulted in secret behind this, they said, it is their knowl- Kanjeera player HP Ramachar withdrawing from edge of Sanskrit which helped them to master the concert in protest as he was not consulted the compositions of Muthuswamy Dikshithar for accommodating an upcoming girl sharing the and others. The correct lyrics of the song is dais with him in the concert! Sukhanya made taken down in Sanskrit (which is so vast in the best use of the opportunity and scored bril- lyrics, hymns and poetry that it require several liantly. Senior left hand mrudanga vidwan Kutta- generations to study and understand), learn the lam Vishwantha Iyer enthused and encouraged meaning of the lyrics from scholars and ac- her for a lively thani avartanam that won her quaint ourselves with the technical and rhetori- adulations from the audience. Pleased by her cal beauties, master the correct pronunciation performance, the organisers blessed her with a to embellish in concerts with appropriate bhava bonus! It is an irony that the very same Ra- conveying the message to the listeners in its machar was after the organisers to promote his original tuning set by the composer. daughter Latha’s Kanjeera accompaniment and Their concerts were always well planned and later became the director of sthree thala tarang, marked by their usual high potential and com- an ensemble of women percussionists in which petence. In the earlier part of their career, there Sukhanya was the main performer on the was more prominence to manodharma ghatam ! sangeetha as the concert session was generally Four important factors are mainly responsible 4 hours with ragam, tanam and pallavi being a for the success of Radha Jayalakshmi. First is must. The post pallavi session consisted of their good look, attiring with expensive Kanjee- ragamalika shlokas, Devarnamas, audiences’s varam pure zeri sarees/ornamentation which requests, tillanas and javalis. The main reason was the main attraction for the women folk that they are so well known for their highly who always gathered in large numbers for their enjoyable raga delineation is that they mentally recitals. Second is their sweet and melodious carried phrases from several compositions they voice with the pitch G(5) and in some record- plan to present in their duet which is a unique

Lalitha Kala Tarangini - Jun 2017 22 source of raga material. Another high point of Kalpathi Ramanathan(contemporary of Palghat their duet is the presentation of apoorva ragas Mani Iyer), MN Kandaswamy, Palghat Kunjumani, and rare kritis. Their long time violinist Prof. MS Guruvayur Dorai, Tanjore Upendran, Karaikudi Anantaraman was full of praise for the detailed Mani etc., beside a number of players on elaboration of rare ragas like Nalinakanthi, ghatam,kanjeera and morsing. Bindhumalini, Bhavapriya, Suryakantam etc. by In their long career, the duo has cut a number Jayalakshmi, while Radha excelled in exploration of Gramaphone records and large number of of rakthi ragas like Begade, Natakuranji, Arabhi Cassette tapes. “Vinyaka” in Hamsadhwani of and Shudda Saveri etc. These ragas attained an Veena Kuppier was the first gramophone accurate form in their duets and remain deep in record and Muthuswamy Dikshithar’s “Vallab- the memory of listeners. According to mridan- hanayakasya”, Tyagaraja’s “Neevenakuladhanamu”, gam maestro Guruvayur Dorai, they never dis- in the raga Begade, “Dharini Telusukonti” in Shud- cussed/disclosed complicated/tough pallavis da Saveri etc. were part of early recordings fol- with their accompanists and gave them lot of lowed by over one dozen LP discs for HMV. brain work! Their only grouse is that they were They were among the five top leading perform- denied solo turns (Thani avartana) in right time. ers of the company. Their L.P.Record of Puran- Answering my query with regard to the quali- dardasa’s songs is a unique gift to Kannada ties of a good concert, they maintained that speaking audience. Each composition was pre- every performance should be treated with ut- ceded by a matching Ugabhoga and carried lis- most respect and devotion without taking the teners to ecstasy. I arranged the release of this audience for granted who are the real judges. L.P in 1977 which was a hit and their popularity First the performers should be swaanubhavis in Karnataka reached its peak! On that occa- (self relishing). The concert should be educative sion, in a specially prepared write-up published and entertaining one and cover all the sections in Kannada Prabha (translated from English), of the audience. The performers should be high- they have discussed in detail how Purandan- ly alert to the audience’s expectations and build radasa had preached Bhakthi and Sanmarga as up an adequate bank of various compositions in the solutions to various problems human beings different languages by different composers. encounter in their daily lives, as a propagator of There should be a sense of proportion in shud- nava vidha bhakthi by quoting different exam- dha and prati madhyama ragas and kritis in dif- ples of his compositions that was emulated lat- ferent thalas.. The stage should be very close to er by Saint Tyagaraja, the existence of only 32 the audience so that we can study and derive asampoorna mela ragas during his time, choos- inspiration from their reactions. In this connec- ing the raga Maya malava Gowla to start the tion they mentioned Sree Rama Mandira Audi- music lessons for beginners and that he was a torium, Malleshwaram, Bangalore in the olden contemporary of Kanakadasa and Tallapakam days as an ideal hall with the stage facing the Annamacharya etc. They considered Karnataka sanctum sanctorum and also the stage specially and especially Bangalore as their second home erected in the thatched pandal at the Se- and said that it gives them immense pleasure to shadripuram high school premises. perform to the knowledgeable audience in this state. In the peak of their career, their populari- Coming to the role of accompanists, they said, ty was so intense that a transport operator in the success of any concert largely depends Erode district of Tamil Nadu had named his ve- upon the co-operation of large hearted accom- hicles after them that resulted in the duo re- panists. We had the support of well known ac- ceiving compliments/inquiries about this new companists in various disciplines to whom we venture from their friends and close acquain- owe a lot. They are: Violinists MS Anantaraman tances, they recounted with a hearty laugh and his younger brother MS Gopalakrishnan, M when I pointed out the name Jayalakshmi paint- Chandrashekaran, Alagiri Swamy, T Rukmini, Dwaram Managatayaru etc., senior mridangists:

Lalitha Kala Tarangini - Jun 2017 23 Vid. Radha and Vid. Jayalakshmi are seen receiving the Sangeet Natak Academy Award for 1981 from the Chairperson of the Academy, Smt. Kamaladevi Chattopadhyay ed on one of the passing vehicles during our prelude to the song “Pillangovia cheluvakrish- journey to Kollur in South Canara. nana”, he got a short sketch of raga Kaapi played on the flute by Dindigul SP Natarajan They were invited to give exclusive rendering of that gave a special effect to the song. When they Kanakadasa’s compositions by the Bangalore presented this in a live broadcast from Madras station of AIR in 1965 to mark his 500th birth AIR, the doyenne MS Subbulakshmi and flutist anniversary celebration and also that of Puran- N Ramani congratulated them over phone and dardasa in 1985. sought the lyrics of the song which they gladly Besides possessing a treasury of songs, they obliged, they recounted. were always busy learning/ practicing new com- When I sought their advice to upcoming musi- positions. During one of our meetings, they re- cians and students, they said one should involve quested me for some songs on Saint Raghaven- 100 percent and be firm in their practice to dra. I collected few keertanas from Harikatha perfection what is taught by their Guru. (Noted exponent TK Venugopaladas and Raja Gurura- film actor Late Uday Kumar told me that young jachar (Composer of Tunga Teera Virajam), Radha Jayalakshmi’s early morning practice ses- tuned and rendered by A Subba Rao in his con- sion at 4 am was his alarm to get ready for cert and handed them over the tape which they shooting schedule when he was their neighbour presented in concerts in the same tuning. They in Tirumala Pillai Street in T.Nagar). They must expressed their deep gratitude to Veena mae- attend concerts of senior musicians, grasp and stro Mysore Doraiswamy Iyengar for directing absorb as much as they can, the highlights of the their rendering of Purandardasa’s compositions concert and adopt the plus points in their daily for the early morning Geetharadhana broadcast practice. They should develop their imaginative and other Kannada light songs when he was the skill to sing raga alapana by learning as many chief producer of music in AIR, Bangalore. As a compositions as possible in a single raga since it

Lalitha Kala Tarangini - Jun 2017 24 is not possible to project the entire raga swa- them performing anga pradakshina, the concert roopa in a single composition. They should not stage was shifted outside the temple precincts, aim at instantaneous success over night as mu- where a number of temporary stalls resembling sic is a penance and God’s grace. They wished a village shandy were erected. Performing there all the best to aspiring musicians and said that was highly embarrassing and as good as a mar- they have no time even to think of training stu- ket Kutcheri! The temple officials expressed dents on account of their busy concert sched- their helplessness to shift the dais to the plat- ule beside private/AIR recordings and concert form in front of the Pontiff’s abode, overlooking related journeys. When I drew their attention the sanctum sanctorum. Two hours before the to some upcoming vocal duo claiming as their concert, rain and gale created chaos resulting in disciples, they showed me their news paper shifting the stage as suggested. The duo at- advertisement denying it. This reminds me of a tributed this to the Saint, whom they prayed to Madras AIR Violinist hailing from Andhra save them from the embarrassment. A sea of Pradesh prefixing his name with Lalgudi after a devotes were treated to a feast of soul stirring brief stint with the maestro creating controver- melodious devotional songs by them. sy which died down after the prefix was re- In their long career they were highly sensitive moved. Besides all over India, they have exten- and never tolerated an iota of adverse com- sively performed in Colombo and Jaffna in Sri ments. Once I arranged their duet under the Lanka, London, USA, and participated in numer- aegis of Tarangini Lalitha Kala Sangha, Shimoga. ous National Programmes of Music, Radio In his confirmatory letter, the secretary had Sangeetha Sammelan concerts, AIR achieves and mentioned that the audience were disappointed in Rashtrapati Bhavan before the then president by them last time. This had upset them and al- Dr. Radhakrishnan. most brought the concert to cancellation. They Although they were born and brought up in sent me a copy of the letter and their reply. I Tamil Nadu, Tamil being their mother tongue, pacified them that the secretary’s letter lacks rendered numerous Tamil songs in their long diplomacy and does not reflect the opinion/re- career and in films, cutting a long playing record gards of the citizens of Shimoga and to take it of famed Tamil composer Paspanasham Shivan’s as friendly. An office bearer during his visit to songs, one is at a loss to understand why they Madras met them and resolved the issue. In that were not invited the Tamil Isai Sangam the sole concert, Jayalakshmi presented an explosive premier major organisation in Chennai champi- Kambodhi ragaalapana in all its majesty reaching oning the cause of protecting/promoting Tamil the thara sthaayi shadja followed by Dikshithar’s Isai movement. However the DMK Party’s cul- “Sri Subramanyaya Namaste” in all its grandeur tural wing honoured them by conferring its an- with neraval and swara prasthara in their au- nual award along with thespian drama/film actor thentic style that consumed 75 minutes ac- Shivaji Ganesan for their contribution toTamil knowledged by audience’s long applause that culture. appeared as if it is their reply to the secretary’s letter. There after they were regularly invited Radha and Jayalakshmi were the recipients of during Sri Rama Navami and Vinayaka festival. numerous awards and rewards in their distin- The same year, I was delighted by the spacious guished career. Some of them are: Kalaimaamani exploration of Shanakarabarana bringing out the from the Tamil Nadu State Govt., Central San- quintessence of the raga in ample measure cov- githa Natak Akademi award, TTK award by the ering its entire contour followed by the song Madras Music Academy besides special Temple “Muddu Kumarayyane” of Ramaswamy Shivan in honour by HH Sushameendra Swamiji of Sri Chatusra Rupaka thala in the famed Shan- Raghavendra mutt, Mantralaya etc. Their vocal mukananda auditorium in Mumbai during Diwali duet was arranged during the Purvaradhana Sangeethotsav. Likewise the audience have en- festival in the early 1990’s. Due to heavy inflow joyed their presentation of Tyagaraja’s utsava of devotees forming long queue and some of

Lalitha Kala Tarangini - Jun 2017 25 Sampradhaya kritis and various other songs in career, they remained humble with humility and different categories. their hospitality and courteous treatment of visitors were of the highest order. Jayalakshmi From mid 1950’s to 1960, they have rendered passed away in May 2014 bringing to an end a many songs for films, most of them by Jayalak- glorious chapter in the history of carnatic mu- shmi (solo and duet with A.M.Raja, TM Soundara sic. Rajan and PB Srinivas) in the name of Radha Jayalakshmi including many Kannada films like Kacha Devayani, Rana Dheera Kanterava, Bhu- dana, Sankalpa etc. It is in the film Bhudhana produced and directed by veteran GV Iyer in Sangeet Natak Akademi 1960’s, Jayalakshmi has sung Purandaradasa’s Awards 2016 song “Bhagyada Lakshmi Baramma”, for which the music was scored by GK Venkatesh which SRLKM congratulates the following artistes for being became a hit and found a place as an important selected for the prestigious “Sangeet Natak Akademi Kannada canticle in music concerts including in honours” in the Carnatic Music Category. Sangeet that of the doyen Pandit Bhimsen Joshi. Natak Akademi represents India's National Academy of Music, Dance & Drama and is also the highest From 1986 onwards their career started recognition given to Indian practicing artistes. The downward trend due to Radha’s voice gradually awards will be presented by the president of India in losing its timbre and the entire concert respon- Delhi. sibility fell on Jayalakshmi who retained her voice for a long time, that resulted in changing The awards carry a purse of Ũ3 Lakhs for Fellow, Ũ1 the concert pattern by presenting either a lakh for Academy award along with a tamrapatra and viruttam or a hymn/ugabhoga in the chosen an angavastram. The Yuva Puraskar carries a purse of raga in the beginning, reducing the length of Ũ 25,000. ragavisthara and duration of concerts to 150 1) R Vedavalli, Sangeet Natak Akademi Fellow minutes. Secondly they were reluctant to the (Akademi Ratna) demand for sponsoring their own music con- certs in December music festival in Madras for 2) Pappu Venugopal Rao for (Contribution/Scholar- an award/title as a pre condition by the Sabhas ship to performing arts) and organisations (purchasing). They asserted: 3) Sangita Kala Acharya Neela Ramgopal (Vocal) We would rather prefer to donate either to an orphanage or to any other charitable/social or- 4) K Omanakutty (Vocal) ganisation for helping those in distress and like 5) Mysore Manjunath (Violin) to see smile on their faces instead of complying with this demand when our conversation 6) J Vaidyanathan (Mridangam) turned to sponsoring concerts. They retired 7) Ashwin Anand - Ustad Bismillah Khan Yuva from active concerts due to age from 2000 on- Puraskar Award for Veena wards and preferred to stay aloof from music field and were almost untraceable after chang- 8) Krishna Mohan and Ramkumar Mohan (Trichur ing their Saidapet residence in Madras. During Brothers) Ustad Bismillah Khan Yuva Puraskar Award for Vocal my long acquaintance of over 40 years, they were highly dignified on and off the stage and 9) Sai Giridhar - Ustad Bismillah Khan Yuva Puraskar never spoke ill of others. It was Jayalakshmi with Award for Mridangam fluent English who always attended and officiat- 10) B Shree Sundar Kumar - Ustad Bismillah Khan ed in their professional matters as Radha Jay- Yuva Puraskar Award for Kanjira alakshmi. She was on the panel of senior musi- cians to elevate performers to “A” Top grade by All India Radio/Doordarshan. Throughout their

Lalitha Kala Tarangini - Jun 2017 26 Evolution of Kanjira

CP Chikkanna (Translated from ‘Dhruva Nakshatrangal written by Lalitha Ram)

In the court of King Ramachandra Thondaiman “Ayyaa, I do not have the intention of compet- of Pudukkottai, palace vidwans Nannumiya and ing with any tavil player of any nadaswaram par- Chotumiya were singing and playing dholak ty. I am deeply interested in learning the art themselves. Their voice perfectly synchronised after listening to numerous concerts both in with the shruti of Dholak. While concluding the the palace and outside. Please do not disappoint song, they played a lightening mukhthyam. A me” begged Manpundiya Pillai. After long pause, lantern employee as a token of appreciation Maariappa Pillai advised the disciple not to re- exclaimed “Ahaa”. Every one turned towards sign the palace job and come to him after the him. Someone said “Look, here is a lantern Vid- working hours to learn. By virtue of his exper- wan!” sending a roar of laughter. The king or- tise in playing the tape in the palace, his quick dered for the continuation of the concert. grasping and deep interest in laya matters, Man- pundiya Pillai acquired high degree of proficien- When everyone was busy listening to the con- cy in playing tavil and became an expert cert, the lantern man by name Manpundiya Pillai layakarar. The Guru Maariappa Pillai having been went into deep thinking whether the son of a satisfied with his disciple’s progress suggested lantern employee was not eligible to learn mu- him to resign his job in the palace and practice sic? Does music belong to a particular on the one handed instrument Tape what all he parampara/hereditary? Is there no relationship learnt from him and his own improvised laya between me and music? Are the concerts in patterns to play in concerts by suitably modify- palace alone is music? Every year, during Holi ing that instrument as there were only mridan- festival we are witnessing dramas and lavanis on gam and ghatam, percussive instruments in the streets which we are all rejoicing.Are these those days, since no nagaswara group would be not music? For the past four years, am I not willing to admit the new entrant. playing Tape (A folk instrument) during the Holi festival? Be it in the palace court or on the Manpundiya Pillai could not understand the street, is laya not the same? After the palace head and tail of this suggestion. He took this concert was over, one of the palace employees advice seriously and began to think as to how taunted the lantern man Manpundiya Pillai to to alter and adopt his instrument to vocal con- resign his job and try to become a musician, if certs. He tried various types of wood for the he could. This came as a heavenly advice to outer body, different combinations of skin un- Manpundiya Pillai. He straight away went to like in mridangam and also reduced the size of noted Tavildar, Pudukkottai Maariappa Pillai and the Tape. Finally, the skin of wild lizard(uda) met prostrated before him and told about his deep the skin requirement. When a little bit of water interest in learning music and requested to ac- was sprinkled on the leather, the quality of tim- cept him as his disciple under Gurukula vasa. In bre increased and was pleasing to the ears. Un- turn Maariappa Pillai told Manpundi about the like the usage of metallic powder for the right difficulty the student has to face in the future hand side of the mridangam called ”valanthalai”, after learning, since no nadaswaram Player Manpundia Pillai fixed metallic coins to his new- would accept an outsider as his tavil accompa- ly designed instrument. While playing some nist, whatever be his calibre and skill, mathemat- shollus, due to vibration, the coins produced ics, knowledge of laya etc. Playing tavil in con- melodic sound to the satisfaction of the inven- certs was considered inferior in those days. tor. He named this instrument “Kanjeera”. He

Lalitha Kala Tarangini - Jun 2017 27 showed this instrument to his guru Maariappa tradition commented one listener who missed Pillai who was immensely happy and told his the thala’s accuracy. Many among the audience disciple that this is what he expected and supported him. Narayanaswamiappa continued blessed him. with his thala accurately and signalled them to stop commenting. Absolute silence prevailed in On the kanjeera, Manpundia Pillai practiced response as the audience had great respect to- speedy farhan, various nadais, mohara and kor- wards him. The tani avartanam continued. In vais, new ideas that came to his imagination in a each avartanas new ideas emerged from the style of his own. Those who heard his Kanjeera kanjeera. After some time, lightening sholkattus play compared his invention to saint Tyagaraja followed. After playing several nadais and nicely who revealed the beauty of Ragas, while Pillai woven korvais, Pillai completed the tani avar- revealed the vast ocean of laya. At that time, tanam. Untill then it was Narayanaswamiappa Tanjore Naryanaswamiappa was the leading laya alone who was assisting on the thala. exponent. If only I could get his approval, I can play it in vocal recitals thought Pillai and went “If this is the type of Kanjeera play in one hand, to Tanjore and after introducing himself showed there is no need for the mridangam. What an him his instrument. Narayanaswamiappa asked imagination!” Commented Narayanaswamiappa Pillai to stay in his house for the night and play while addressing the gathering. What all he the next day (Friday) during the evening bhajan. played today is within the tradition. As we have Pillai occupied a seat in a corner on the stage in not heard this type of play previously, it is but the bhajan. After aligning the mrudangam to the natural to feel so. Thambi, hereafter I will rec- thambura shruthi, Narayanaswamiappa started ommend you to all the leading Vidvans I know. playing. Pillai started thinking whether his in- Let your artistry shine in all those concerts”. strument without any shruthi alignment to be He honoured Pillai and gave him a warm send played on only one hand could match the mri- off. There after Pillai came to Kumbakonam and dangam which is played on both the hands and met another doyen laya maestro Shivakolandu tested it by tapping it close to his ears. He Nayanar who arranged a concert in Thiru- closed his eyes, prayed to Lord Muruga to bless palanam Panchapakesha Shastri Mutt the follow- him in his test and gave a “dheem” stroke on his ing day. There also Pillai earned the respect and instrument. honours of the Samsathanam and emerged highly successful in his new instrument. Every one was surprised by this Dhimkaaram. Narayanaswamiappa asked Pillai to play with Amongst his disciples, Pudukkottai Dakshina- him for the keertanas. Pillai followed the mri- murthi Pillai, Pudukkottai Ramaiah Pillai, dangist’s nadai like a shadow in a soft manner. Tiruchendur Ramaiah Pillai, Ramanathapuram Narayanaswamiappa told Pillai to freely play to Chitsabai Shervai (father of CS Murugabhupa- his imagination without any hesitation. On that thy), Sattur Pandiya Thevar, dramatist Swamy day what all Pillai played, be it the mohras, kor- Shankaradas were prominent. After attaining vais, nadais and teermanams, his embellishment high degree of success in the music field, Pillai of the songs, the audience had never heard attained sanyasam at the age of 62 and was them before! Moved by the sholkattus of Pillai, known as Murugananda Swami. He installed the mrudangist remarked ”Thambi, I feel there “vel” the weapon of Lord Muruga in his house is no need for the song before your instrument! and lead a simple life. He was born on 14th De- Is there provision for playing the thani"? During cember 1859 and on 17th January 1922, he at- his turn Pillai played all that korvais in the main tained Samadhi listening to his disciples’ Thirup- song and changed the chatusra nadai which pugazh. consists of 4 matras to one akshara. The person assisting on the tala was confused and started grumbling. The ‘takadimi takadimi’ nadai was converted into ‘Takita Takita'. This is opposed to

Lalitha Kala Tarangini - Jun 2017 28 Eulogy, GV Neela

Sangeetha Kala Acharya Neela Ramgopal

My dear friend Smt Neela, was born into a fami- parting training in music and preparing students ly of music lovers. She learnt carnatic music to take up music examinations. It is interesting from great gurus and spread the music to a to note that some of today’s famous musicians number of students. She had dedicated her full are from this Kala Mandira only. life to the service of music. When we first met The music festivals and concerts arranged by in her flat in Tata Silk Farm she was teaching her this Kala Mandira is something both the artist students music. The remarkable thing was and the rasikas look forward to. Every year, she whenever I went to see her, she was always arranged concerts of senior musicians and hon- teaching someone or the other. oured them with a grand title ‘Sangita Vedantha Neela used to accompany her late sister Ran- Dhureena’ to salute their life long achievements ganaykamma on violin, and they made a nice in the field of music, these concerts always pair on stage. It was her father late Sri G Vedan- drew packed houses. Apart from this, Smt Neela tha Iyengar’s dream to establish an institution also used to encourage young upcoming talents for carnatic music and to have a suitable space by giving them opportunities to perform and to arrange music concerts. He established Sri giving them awards. Rama Lalitha Kala Mandira in 1955. After his Personally, I have lost a genuine friend, who was demise, the GV siblings Sri Krishna Prasad, Smt sincere, soft spoken, always talked of home and Neela and Smt Ranganayakamma worked tire- was dedicated and focused on her music. I pray lessly to pursue their father’s dream and today to God, that her soul attains Moksha. Om Shan- the sabha stands tall in the music scenario of ti! Bangalore. Over the years, they continued im-

Lalitha Kala Tarangini - Jun 2017 29 Purandara Darshana

Editor

‘Purandara Darshana’ Inauguration From L to R : Shri. Raghavan (Naadasurabhi), Anantharamaiah (BTM Cultural Academy), Dr. Raghavendra (Ananya), Shri. Satish (Vishesha Fine Arts), Shri. Krishnaprasad (Sri Rama Lalitha Kala Mandira), RR Ravishankar (Sama Gana Sabha), Dr. Deepti Navaratna (Indira Gandhi National Centre for the Arts, GoI, MRV Prasad (The Bangalore Gayana Samaja)

Karnataka Fine Arts Council (KFAC), a confed- Rudrapatnam Brothers, Nagaraj Rao Havaldar, eration of ten organisations promoting classical Vani Satish, Sangeetha Katti, Neyveli San- music concluded a three day festival on Puran- thanagopalan, RK Padmanabha, Neela Ramgopal, daradasa called “Purandara Darshana” at Sri D Balakrishna, Suma Sudhindhindra, Sreekan- Karanji Anjaneya Swamy Temple, Basavanagudi, tam Nagendra Sastry, MA Meera, HK Bengaluru. The festival featured 42 concerts Narasimhamurthy, Bellary Raghavendra, Sukanya with over 100 eminent artistes performing and Prabhakar, Vidyabhushana, Kaivalya Kumar, Ban- it is possibly worlds highest congregation of galore S Shankar, Jayaeertha Mevundi and people to celebrate Purandaradasa Aradana. The Kathak dancers Nirupama, Rajendra and B effort has the potential to set a new identity to Bhanumathi. Bangalore in line with the Saint Thyagaraja On 09 July, Sunday Karnataka Gana Kala Aradana at Thiruvaiyaru as this will be a recur- Parishat presented a goshti gana covering the ring event. nine gems of Purandaradasa lead by RK Pad- The festival featured MS Sheela, Vinayak Torvi, TS manabha that was telecast live on DD. Satyavathi, Venkatesh Kumar, Kalavathy Avadoot, The response to the concerts were outstanding Pravin Godkhindi, DV Nagaraj, A Kanyakumari, with over thousand people attending every day MG Venkataraghavan, Geetha Bhat, HS Venu- with even the afternoon sessions being houseful gopal, Nagavalli Nagaraj, Parameshwar Hegde, shows. RS Ramakanth, Aralumallige Parthasarathy,

Lalitha Kala Tarangini - Jun 2017 30 Prof. HV Krishnamurthy Sangita Param- para

Ashwin Anand, Senior student of Vijaya College of Music

zest and made us all believe that the sky was the limit! The great soul who founded and ran this sacred temple of music as its Principal (fondly known to us as Meshtru) was the great musician, Guru, musicologist, visionary thinker and leader, Sangi- ta Kalaratna Professor H V Krishnamurthy. He has left behind a proud legacy of music, both with his family and his disciples. His illustrious son and leading violinist, H K Venkatram is now carrying on the mantle of running the great in- stitution with the same spirit and vision. Waiting in the wings and making rapid strides as an up- coming vocalist is his prodigiously talented grand-daughter Bhargavi Venkatram. Having been closely associated with this great gurukula for nearly 30 years, firstly as a student of Meshtru for over 25 years and as a junior partner to Sri Venkatram in several concerts, I will try to highlight as succinctly as possible, the contributions, ideals and achievements of one of the great and unique musical paramparas of Karnataka that continues to serve Carnatic mu- sic selflessly to this day. As I entered the hallowed precincts of Vijaya Sangita Kalarathna Prof H V Krishnamurthy College of Music (VCM) each day, to a kid keen – a brief biography to take in every bit of music in the air – it was Prof H V Krishnamurthy was born in 1926 to a like visiting Disneyland! Meshtru always sat in family steeped in musical tradition that had sev- the central hall, his attire as impeccable as ever, eral musicians, the most famous among them his eyes sparkling with excitement as he tried being his maternal uncle, Sri LS Narayaswami to unravel the mysteries of music to every stu- Bhagavathar (a disciple of Kanchipuram Sri dent that crossed the threshold. That was pret- Naina Pillai) who was well versed in violin and ty much his only expectation from us – to cross vocal and Sri LS Seshagiri Rao, a percussionist the threshold and enter the premises. The and violinist of repute. magic of VCM took care of everything else. To the young and old, to the budding artiste and to An inborn inclination and passion towards mu- the casual dilettante, he taught with the same sic resulted in Sri HV Krishnamurthy making rapid strides in the field of music. He performed

Lalitha Kala Tarangini - Jun 2017 31 HV Krishnamurthy, A.Veerabhadraiah, Anoor S. Ramakrishna with Palghat Mani Iyer and Bangalore K Venkatram on stage for the first time in 1943 at the N R the prodigious talent to fruition. Many who Colony Rama Mandira, Bangalore, along with his came under his tutelage have gone on to estab- Gurus. From then on, he performed consistent- lish themselves in the field of Carnatic Music – ly with his Gurus and other famous artistes, be it vocalists, violinists, flutists or vainikas. Sev- both from Karnataka and elsewhere. eral of them had no previous background in music. Although he was known to the music An innovative performer – Violin trio fraternity as a renowned violinist, Prof HVK was Sri HVK teamed up with Ganakala Bhushana A an expert vainika as well. Veerabhadraiah and Sri Anoor S Ramakrishna to form the famous Violin Trio. The trio was the He laid special emphasis on the adherence to first of its nature in Carnatic music and music sampradaya sangeetha and enabled students to lovers across the state and outside lapped it up. gain a deeper understanding of the finer aspects They were regularly accompanied by percussion of Karnatic music. Apart from equipping his stalwarts like Vidwan Palghat Mani Iyer, Vidwan students with a treasure trove of kritis – hun- Palghat Raghu, Vidwan Umayalapuram Sivaraman dreds of which he painstakingly notated by hand and others. over the years, he specialised in teaching the nuances of manodharma sangeetha. An academician par excellence and zoology Building a dynamic and vibrant music institu- professor tion With a Master’s degree in Zoology and a Bach- The Vijaya College of Music was founded in elor’s degree in education, Sri HVK pursued his 1953 by Sri LS Narayanawamy Bhagavathar. professional career with passion and great suc- When Prof HVK took over as the Principal, he cess. He taught as a Professor of Zoology at the Bangalore Medical College and later as a Princi- HV Krishnamurthy with his Guru LS Narayanasamy pal of the Kolar Medical College. He had an Bhagavathar equal passion for medicine as he did for music. He was a voracious reader and would often quote famous texts, give parallels from various other domains whilst teaching music. He had a tremendous inclination towards English Litera- ture and would quote Shakespeare many a time during the class! A visionary Guru Meshtru had tremendous zeal for teaching and devoted almost all his time towards teaching. He had a keen eye for identifying and nurturing individual talent, giving it direction and bringing

Lalitha Kala Tarangini - Jun 2017 32 mayana. With select shlokas tuned to music by his Guru Sri LS Narayaswamy Bhagavathar, Prof HVK supplemented them with preluding swarams and orchestrated the musical opera with the students of the college performing along with lead vocalists such as Sangita Kalanidhi RK Srikantan, Vidwan RK Padmanabha, and others. The musical production was re- leased as an audio cassette as well. HV Krishnamurthy with HK Venkatram, HK Raghavendra and HK Ganesh He coordinated many such group programs that expanded its activities and took a novel, holistic gave ample concert experience and the right approach towards imparting musical education exposure to future concert artists. which was truly trendsetting at the time. Apart He turned into a playwright of sorts when he from the one-to-one classes, a number of other conceptualised and staged a play on activities supplemented the student’s learning Muthuswami Dikshithar. This play commanded experience. packed audiences and is being performed even During concert days, the main hall and the today by Ganakala Bhushana Sri R K Padmanab- smaller rooms of the music college that were ha, one of Sri HVK’s leading disciples. used for teaching, magically transformed into Some reminisces of his father/Guru by Sri one large concert hall with stage, mics and speakers and every possible vantage point avail- HK Venkatram (His son) able for an eager rasika. Lecture demonstra- On his teaching - “He had a knack of teaching tions, thematic concerts, monthly concerts from the most subtle and complex aspects with stalwarts and budding artistes, weekly Bhajans, brevity. He would beautifully demonstrate the yearly celebrations of Muthuswamy Dikshitar subtle differences of latangi vs kalyani showing Day, Thyagaraja Aradhana and Purandara Dasa the salient points of the raga bhava. He taught Punya Dina, Ganesh Chaturthi, Shivarathri – the us aspects of pakkavadya dharma. He was never list was endless! All events would have some- one to impose his methods. He gave ample op- thing for everyone – the upcoming students, portunity and space to the student to infer and their parents, the ardent rasikas, the connois- imbibe various aspects of music organically”. seurs and for the established musicians. On his tremendous multi-tasking ability - A musicologist of repute “Whilst he was Principal of Kolar Medical Col- Meshtru studied the theoretical aspects of music lege, a typical day would start with early morn- deeply. He gave several lecture-demonstrations ing music lessons, followed by a rather arduous at the music college, decoding difficult theoreti- bus or train journey to Kolar. He would spend cal aspects with simple practical examples. his commute perusing musical texts such as the Once, to demonstrate the concept of 22 Sangita Sampradaya Pradarshini. After a long day’s shrutis, he de-fretted a Veena and made it into a work, he would return to Bangalore and re- temporary gottuvadyam to illustrate the con- sume his music lessons and violin trio practice cept! He also authored several papers. Some of until late in the night! This schedule was repeat- these include “The Fiddle – its origin and place in ed day in and day out. His energy was almost music concerts”, “Ragas in Carnatic and Hindustani limitless!” styles of music”, and “Vocal chords and voice cul- On his expectations set towards his children - ture”. “He was never one to pressurise his children A multi-faceted creative genius into performing. He emphasised on providing a Prof HVK orchestrated many musical works. holistic education for us all – be it academic or One such was a musical feature on Srimad Ra- musical and let us choose our individual paths

Lalitha Kala Tarangini - Jun 2017 33 HK Venkatram accompanying Semmangudi Srinivasa Iyer supported by Palai Ramachandran. UK Sivaraman on Mridangam and HP Ramachar on Kanjira in life. His passion for music was purely out of The second son of Prof HVK, Venkatram is the joy it brought him and he instilled the same known for his deep understanding of nuances of quality in his children and in his students”. Carnatic Music and adherence to classicism. His playing is characterised by depth, knowledge, On his singular vision for imparting music sincerity and maturity. knowledge - “His main objective was to make Carnatic music accessible to everyone. Vijaya He works as the Senior Director of the Client College of Music was not an institution that Computing Group at Intel Corporation. With focused only on training the most gifted musi- experience spanning 25+ years, he is credited to cians and moulding them into professionals, have built a world class System Engineering Re- which it accomplished amply anyway. When I search and Development team at Intel Corpo- once travelled across the US for a concert tour ration, India. that spanned at least 10 different states, I was As an engineer and violinist par excellence, staggered when a rasika from each of the con- Venkatram has the unique distinction of pursu- cert venues came up to me and mentioned that ing two careers in parallel and reaching great he/she had learnt under HVK Meshtru! I felt im- heights in both! mensely proud and humbled by how many lives he had touched across the world as a Guru.” A stellar career in music Venkatram has travelled extensively and has HK Venkatram – the prodigious violinist and given solo and accompaniment performances at engineer prestigious sabhas in the country and abroad The adage “chip off the old block” is rather for close to four decades. He has performed clichéd. However, it cannot be truer than in the several violin duet concerts with his elder case of Vidwan H K Venkatram. A proud inheri- brother Sri HK Ragahvendra. His instrumental tor of the great lineage of Sangita Kalaratna performances have been accompanied by stal- Prof H V Krishnamurthy, Sri Venkatram has fol- warts like Palghat Raghu, Umayalpuram Sivara- lowed his great father-Guru’s footsteps. His man, TK Moorthy, Vellore Ramabhadran, achievements in a stellar career in music span- Karaikudi Mani and others. He has accompanied ning over four decades, have been and continue many top-ranking musicians including Sriyuths to be a source of inspiration to aspiring musi- Semmangudi Srinivasa Iyer, Dr. M Balamuralikr- cians. ishna, Dr. RK Srikanthan, KV Narayanaswamy,

Lalitha Kala Tarangini - Jun 2017 34 Bhargavi Venkatram with her mother Triveni and aunt Kavita (Popularly called Saralya Sisters)

DK Pattammal, Dr M L Vasanthakumari, Kadri Music, career – a tough balancing act! Gopalnath, Dr N Ramani, TN Seshagopalan, TV Sankaranarayanan, Mandolin U. Srinivas, Sanjay Those of us trying to pursue dual careers are Subrahmanayam, TM Krishna and others. Venka- constantly waging a battle within ourselves – it tram has also performed several jugalbandi con- is the engineer vs the musician, the pressures of certs with leading Hindustani musicians includ- busy corporate careers vs the passion for mu- ing Pandit Vishwamohan Bhat, Pandit Hariprasad sic. It is a path fraught with challenges. A con- Chaurasia, Ustad Murad Ali Khan and others. cert in the evening cannot be an excuse for slacking off from a day’s work. An all-day techni- He has won several "Best Violinist" awards in cal seminar cannot be an excuse for coming up the Annual Conference of the prestigious short at the evening’s concert. An overnight Madras Music Academy including the "Parur journey from a concert venue cannot excuse Sundaram Iyer Award for Senior Violinist”. Oth- one from being less attentive on a Monday er honours include Ganakala Shree, morning at work. A jet-lagged return from a Gaanavaridhi, Satyashree and Asthana Vidwan of week long official tour to the US and straight Sri Kanchi Kamokoti Peetam, Kanchipuram. back to the concert hall from the airport? Well, it’s all in a day’s work for Venkatram! Venkatram also conceptualised the Violin-Venu- Veena trio and teamed up with fellow students How Vidwan Venkatram has overcome these of Shri HVK – G Ravikiran (flute) and myself obstacles and excelled in all fronts is a lesson in (Veena) that has been a successful partnership discipline, hard work, perseverance and passion. going strong for over 12 years. A large part of it is surely inherited from his illustrious father – who seemed to have the To us, his junior fellow-artistes, he has been a same limitless energy and drive in whatever he great mentor, friend and encourager. For those did. He acknowledges the huge support that his of us who grew up at the Vijaya College of Mu- family, in particular his wife Vidushi Smt Triveni sic, the presence of a great Guru not- Venkatram has provided in this remarkable withstanding, we didn’t have to look far for a journey, much like how his mother, Smt Sarala role model that we all wanted to emulate! Krishnamurthy stood as a beacon of strength to Sri HV Krishnamurthy! It is remarkable that

Lalitha Kala Tarangini - Jun 2017 35 lineage is associated not only with music, but commitments at work and busy concert sched- holds true to various other facets of life as well! ules, Venkatram finds time to train scores of students on the violin. An innovator - conjunction of technology and music As the current Principal of VCM, he has a clear It is difficult to separate Venkatram the engineer vision of carrying forward the musical college from the musician. As a youngster, he reminisces to greater heights. He has executed quite a few his college days - “I had an equal passion for novel activities at the music college already, with electronics as I did for music. During my spare the support of his wife Vidushi Triveni, sister-in- time, I would hook up my own electronic de- law Vidushi Kavitha Saralaya and other senior signs. This same passion has driven me at the staff and students. work place as well for the past 25+ years”. Few Venkatram is passionate about popularising the people know that he designed an electronic Carnatic Music Art form using creative meth- tambura prototype in the early 90s! ods. He believes in making it fun and simple for His involvement in Information Technology has rasikas to understand and students to learn. helped Venkatram to make the best use of Apart from using technology to achieve those those technologies in the field of Carnatic Mu- objectives, he has started an initiative of the sic. In 1999, Venkatram released a multimedia concept of ‘Concert with a Difference’ at Vijaya CD on Tyagaraja's Ghana Raga Pancharatnam College of Music. He has included adding an during the Tyagaraja Festival held in Cleveland, introductory 30 min lecdem session to every USA. The CD featured multimedia presentation concert given by the artiste of the day. This he on Life and Times of Saint Tyagaraja as well as says, would immensely help the students and audio tracks of the Panchratna kritis with music rasikas. As an example, a programme was con- notation and translation. ducted with the first segment devoted to how students should practice and perfect gamakams To this end, he had converted one of the rooms while singing geethams. This was then followed in the music college into what one would call in by a regular concert where many of the rele- Silicon Valley as a “garage” - an engineering vant aspects were demonstrated. startup that made a new product from the bot- tom-up. With the help of a few engineers who Kumari Bhargavi Venkatram – prodigiously were students of the music college, he devel- talented oped a highly attractive multimedia CD that Pursuit of excellence seems to be norm in the was way ahead of its time in concept! Remem- HVK family. The past few years has seen the rise bering those days, he says “It was tough work. I of young talented vocalist, Bhargavi, the daugh- would be up until 3 am to finish the work on ter of Sri HK Venkatram and Smt Triveni Venka- the CD and leave for the office at 7am and do tram. Bhargavi has pretty much had music flow- my regular office work. But it was a new idea ing through her from the mother’s womb. At that I was determined to take to completion”. the tender age of two, she could identify several He also draws a staggering parallel to what his ragas and had a perfect sense of Swaragnana. own father had done a decade previously – Initially trained in vocal by her parents and aunt, where he had used transparency slides on the Bhargavi is currently under the tutelage of projector to present aspects of music to a cap- renowned vocalist Vidwan Sri TM Krishna of tivated audience at the Vijaya College of Music! Chennai. At the helm of VCM It is no surprise therefore, that Bhargavi has After the passing of Prof HV Krishnamurthy, performed at various prestigious events. She has who steered the institution through a momen- won several prizes in many national, inter tous half-a-century and more, the mantle has school, inter collegiate and state level Music passed on to Sri HK Venkatram. Despite his competitions including the First prize –– All

Lalitha Kala Tarangini - Jun 2017 36 Bhargavi Venkatram accompanied by HK Venkatram and Arun Prakash India Radio National Level Competition, Kisho- intricate aspects on raga based music from my ra Pratibhe award from the Department of father, have played a pivotal role in my musical Kannada and Culture, Pratibhakankshi award journey”. from the Shri Rama Seva Mandali, and many On the influence of her grandfather Sri HVK - others. Bhargavi is a graded artiste (B) at All “What will inspire me forever is his eternal India Radio. thirst for learning. He was a lifelong student of Bhargavi also shows a keen interest in Bharath- music which is something I will strive to be as natyam, dance and is the disciple of Smt and Sri well”. Anuradha Sridhar for the past 10 years. She has completed the Junior Dance exam with Distinc- Venkatram says, of Bhargavi’s musical talent – tion. “Bhargavi showed innate talent in music from a very young age. However, we as parents did not Staying true to the tag of ‘multi-taskers’ in the want to pressurise her into taking up music. We family, Bhargavi has also excelled in her academ- let her choose her path on her own”. He fully ic pursuits and is currently pursuing her Engi- understands the pressures and expectations neering in Computer Science from a reputed that come with being a budding artiste from a college in Bangalore. reputed musical family. The words of Meshtru Despite the pull of the family tradition, Bhargavi seem to echo when he says, “I have no expecta- has done well to forge her own path. tions except that she learns music the correct way, practices with sincerity and dedication. On choosing vocal over violin and her Guru - Opportunities and success will naturally follow “When I was 6 years old, it so happened that I hard-work and passion”, is his advice. got an opportunity to listen to Shri T M Krishna perform in Singapore and I was immediately Passion, hard work and success are indeed the drawn towards his music. I instinctively re- hallmarks of this great musical lineage of Vidwan quested him to teach me. He advised me to HV Krishnamurthy. Long may it continue and learn the basics and get back to him. I began my flourish! This quote from Henry Wadsworth tutelage under him when I was in the 9th stan- Longfellow seems to ring true indeed – “The dard” heights by great men reached and kept were not attained by sudden flight, but they, while their com- On the influence and support of her family - panions slept, were toiling upward in the night”. “The firm grounding I have received by learning numerous krithis from my mother and aunt, and

Lalitha Kala Tarangini - Jun 2017 37 Dorakuna ituvanti - raga, bhava, sahitya, sangita

Prof. V Aravinda Hebbar, Udupi

and could spend time with children, students and the like-minded people for any length of time. A brief biography of Dr. Ramanathan Birth: April 8th, 1917 at Tirukoilur (Velavanur) Parents: Subramania Shastri & Pattammal Initial tutelage: At age 7 from Tirukoilur Ramudu Bhagavatar & Manalurpettai Subramania Dikshi- tar Gurus: Tanjavur Ponniah Pillai, Tiruvaiyar Sabhesa Iyer, Sattur Krishna Iyengar, Madurai Subramania Iyer, Tiger Varadachariar Advanced Learning: Valadi Krishna Iyer, De- vakottai Narayana Iyengar for Veena Education: Sangita Bhooshanam from Annamalai University; Ph.D. (Ethnomusicology) from Wes- leyan University, Middletown, Connecticut, USA for his dissertation work on Silappadikaram (1972). Way back in 1980s I remember to have listened to ‘Dorakuna Ituvantiseva’ of Saint Tyagaraja with Noted scholar, researcher and teacher. Author all serenity at Music Academy, Madras to a of several papers, treatises and monographs. house full concert. It was from a saint–looking Associated with B Rajam Iyer in the Tamil pro- bearded ‘Bhishma Pitamaha’ with his character- duction of Sangita Sampradaya Pradarshini. istic paraphrases, cut short by his shorter Dean, Visiting Professor, Principal and Research pieces of breaths! No acrobatics. No somer- Director in various Institutions saults in the raga elaboration. Neat, tidy, and Proficient vainika, vocalist, researcher, teacher heart touching. So much absorbing at the ner- and learner aval point that ‘Rama Brahma Tanayudou’ became a patent for the singer. Everyone became sub- Concerts and music marked by bhava, deep lime with his absolute Music , only to exclaim at understanding of sahitya. Emphasis on classicism his music as - “Dorakuna Ituvanti raaga, bhaava, and chastity of original music and lyrics. saahitya, and sangeetha”. He was Dr S Ra- Titles: Sangita Kalanidhi (1985), Isai Perarignar manathan, an extremely simple and a scholarly (1981), Sangita Kala Sagara(1987), Swati ‘Maharshi’ from Annamalai. He became known Tilakam(1984) and so on. to many at his fifties-sixties! He had no time to present himself before the audience as he was Sishya Parampara: S Sowmya, P Unnikrishnan, totally absorbed into his own world of learning, Savitri Satyamurthy, Geetha Ramanathan Ben- teaching, researching on music. He was childlike nett, Seetha Narayanan, Vasumathi Nagarajan,

Lalitha Kala Tarangini - Jun 2017 38 Sukanya Raghunathan (Veena), Banumathy Raghuraman, Singapore (Veena/vocal), Vidya A junior slot had been given in Music Academy Hariharan (Veena and vocal), Vanathy Raghura- in 1951 for young and upcoming musicians. man, Latha Radhakrishnan (violin and vocal), Maharajapuram Santhanam, DKJ, Nedunuri Padma Gadiyar (Veena), Thyagarajan/Raju, were given this slot then. In 1954, RK Srikan- Sucharithra, Lavanya, and Kalpana (Pavithra) etc. tan, SR Janakiraman were given the Junior slot (at 2.30pm). After 1958 a Sub-Senior slot was Passed away on March 19th, 1988 at Chennai created at 3.30 p.m., where S. Ramanathan, Ramanathan had his training though in a Univer- MD Ramanathan, and Voletti were given the sity [Annamalai University], he had an affection- chance. ate folds of stalwarts like Tiruvaiyar Sabhesh Iyer, Tiger Varadachariar, Tanjavur Ponnaiah Pillai, Sattur Krishna Iyengar and a host of others in a His research on the use of 22 srutis in Karnatic ‘Gurukula’ system of teaching. Tiger music devising a ‘Sruti Veena’ with 23 strings Varadachariar used to take him along with him (made by the instrument maker Ramanathan of to Mysore and other places always. Ramanathan Tiruchi) was very unique and opened vistas on accumulated a vast repertoire of songs and ra- the subtleties of some ragas and kritis. The re- gas from gurus and self study. After a long ca- searches on Kudumiyamalai inscription, won reer as professor of Musicology at The Central him much praise. He has done a vast survey and College of Carnatic Music in Madras, he went Research on the folk songs of Tamil Nadu like to Wesleyan University, USA (1964). Dr. Ra- Kavadi Chindu. Other than many papers, books manathan returned to India and became the and monographs, Dr SR has worked with B. Professor at the Music College in Madras . In Rajam Iyer to translate the Magnum Opus - the 1970s he moved to Madurai to serve at the ‘Sangeeta Sampradaya Pradarshini’ of Subbara- Sadguru Sangeetha Samajam. Later he also ma Dikshitar to Tamil. His teachings, discourses served as the Director of Research at Tamil Isai and renderings had a telling effect on any lay Sangam. listener and the connoisseur alike, highly con- vincing for a ready approval. His lec-dems on ‘A Dr. SR spent his younger days more in foreign Day with Tyagaraja’ were House-Full phe- countries- such as US, Malaysia and Taiwan. At nomenon. He has given many chamber concerts the Wesleyan University he did his doctoral while in the US and was also given the unique thesis and along with Prof Jagannathachari did opportunity to perform on World Human research on music on Silappadikkaram, the clas- Rights Day at the United Nations in New York sic work of the Sangam age. He was awarded a in 1964. Doctorate for this work, a rare example of a diploma holder qualifying for a PhD! Ramanathan’s scholarship was admired and ad- mitted by all. Everybody respected him for his encyclopaedic knowledge and memory. He would delve into the deepest fathoms of Ragas and excavate their most natural colour from them. His teachings on students like S. Sowmya and Unnikrishnan made a tremendous impact not only on themselves but also on their audi- ence listeners. The softness, the execution of subtle and pure form of gamakas without an overpowered ‘hatha yoga’ exercises, well em- bellished bhava- laden sahitya phrases, an end- less flow of sarva laghu patterns of swara kalpana in an appropriate kalapramana, were the high lights from their Guru.

Lalitha Kala Tarangini - Jun 2017 39 "Dr S. Ramanathan was a musician and musicol- ogist, a walking encyclopaedia of information on I remember Dr. S Ramanathan’s visit to Udupi Carnatic Music. He had served as the last court MGM College in 1977/79. He sang Bhairavi, of appeal on all theoretical doubts for years, Mukhari and Maanji in that concert. He had a attracting young and old with his clear and riv- serious panel discussion with the Yakshagana eting demonstrations.” - The Hindu, wrote. stalwarts like Dr. Shivarama Karanth, Ku. Shi. His penchant to learn more and more made Haridasa Bhatta, Neelavara Ramakrishnayya, him more like a thirsty student. He never be- and others. He had expressed his joy, for having came a professional. Perhaps this made him to preserved some rare tala ( ti tti ttai) and raga come to the forefront of the concert platform forms such as ghanta, deshakshi, jujahuli, very late in his life. It was Palghat T S Mani Iyer dhvalaara, mechali, etc. in Yakshagana. (Those who introduced him on to the stage in his audio-video clippings are available in MGM fifties!. College). Once he had an offer for a concert from the Government of India for a National Cultural fused to take any medicine; “but I am prepared Festival. The official secretary asked for the ex- to take another form of medicine-music”, he pected remuneration from Dr. SR. It was quite said. During such moments, when his daughter unexpected to Dr SR. He said, he had not asked Geetha Bennett was playing Veena in front of for any remuneration from anybody so far. The him 'Ika naina na,' in ragam “Pushpalathika," answer was quite unexpected to the secretary!. without knowing the composer’s name, in that He thought the ‘fellow’ would be an unfit for semi-conscious condition, he would whisper, in the situation. SR did not get the concert!. In a very feeble voice “Tirupati Narayanaswamy.”! spite of an urgent need of money due to pover- Before going to coma he had asked his daughter ty in his family, he had not asked for any money. Geetha Bennett to sing Dikshitar’s Navaavarana This made him ‘unfit’ to the situation. Ra- kriti in Sahana (of sarva rogahara chakra) ‘Ka- manathan remained silent for this commercial malaambikayaam’. His soul left his body after world. He remained ‘unfit’ all through his life listening to his own composition ‘Aadum arase’ time to respond to such ‘money bargains.’ He in ragam Suruti sung by another daughter, Dr. did not become popular; perhaps he had no Vanathy Raghuraman. "As she continued singing, time to worry for it also!. He firmly believed at one point of time gently he opened his eyes that Serene music could not compete with and asked his daughter to sing nishaada correct- popular music, where its potentiality was unlim- ly! He went in to a deep sleep and never got up. ited. He was 71 complete when he died in 1988. Though people respected him as a venerable Sangeeta Kalanidhi Dr S Ramanathan’s Birth soul, less that they urged for his concerts. He Centenary celebration Committee organised an was more revered as a pedagogue than a per- event at Chennai "Vani Mahal on 8th April 2017 former. It is really regrettable to note that ex- to mark his birth centenary. Geetha Bennett, cept for some free lance writings from very few vainika and vocalist and daughter of Dr. S Ra- people like Geetha Bennett, no single exclusive manathan was on a mission and published on Biography is available on him by any authors. YouTube at least 100 of the songs rendered by Except for about half a dozen of good old snaps, her father. Considering the fact that Geetha is a not anything much of his photos are also avail- cancer survivor since past 22 years, this is a able. Perhaps all the nine planets (Nava grahas) stupendous task as her tribute to her affection- had a different ‘favour’ towards him making him ate father and Guru. During the event Sowmya to remain mostly unknown to the public as a and Unnikrishna his disciples gave a nostalgic ‘fragrant jasmine of the forest’. He got suc- concert that contained their Guru’s teachings. cumbed to cancer of lungs at his end. He re-

Lalitha Kala Tarangini - Jun 2017 40 Geetha Ramanand at SRLKM

Shubha Srikanth, disciple of Geetha Ramanand

Swarabhushini Vid. Geetha Ramanand a Veena elaborate alaapana and followed it by ‘eti jan- exponent belonging to Mysore Veena school mamidi’, with commendable neraval and gave a concert on 2nd April. She was ably sup- swarakalpana. ‘Lalithambe shrimathe’, a melodi- ported by Vid. Adamya Ramanand and Vid. G ous composition of veene Venkatagiriappa, in Omkar Rao on Mrudanga and Ghata respective- the raga Bhuvana Gaandhaari was presented ly. Her disciple Kum. Surabhi Gopal accompa- before going on to the main piece Raga, Taana nied her on second Veena. and Pallavi in Kambhoji. After the detailed alaa- pana, she played raagamaalika taana in which Vidhushi Geetha Ramananand commenced her ragas Bhowli, Kalyani and Hindola were pre- recital with a very popular ata taala varna ‘veeri- sented beautifully along with Kambhoji. The boni’ in raaga Bhairavi. It was followed by a pallavi was set to vilamba Adi thala and starts Haridasa composition ‘Nammamma Sharade' in after six counts. lyric was ‘Hare Rama Govinda Mohana which was a welcome change in the Mukunda Muraare’ which included thrikaala. The concert platforms. The Next krithi was ‘Bhajana pallavi presentation was followed by a brilliant seyave o manasa’, in raga Kedara, composed by and impressive Tani avartana, presented by Anai Ayya brothers. She impressed the audience Vid.Adamya and Vid.Omkar Rao. Kumari Surabhi by playing a rare raga Megha Ranjini. The rare Gopal supported very well and shared the hon- kriti of Muttu Swami Deekshitar ‘Venkateshwara ours. Yadava Bhupathim ashrayeham’ was presented with lilting swaraprastara. Kriti ‘sri Rajarajesh- The concert concluded with a tillana of Veena wari’ in raga Prabhupriya composed by Veena Sheshanna in the raaaga Jinjhuti and a couple of Venkatagiriyappa was played next. It was a Dasara Padas. The concert was a treat for the pleasant surprise when she took raga Varaali for audience who thoroughly enjoyed it.

Lalitha Kala Tarangini - Jun 2017 41 Neela aunty, as I saw her…

Sindhu Gopinath, student of SRLKM and GV Neela

I wish I had been closer to Neela aunty in the together.” I often got the vibe that, between us, last few years, visited her often, and most of all she was the teen! learnt music from her. But looking back, I have Another reason I feel so is because she was innumerable memories of her from the seven- very happy to teach young children. I wondered teen years I learnt from her, Vocal and Veena. I as to how someone who had been teaching for wish to make this article a very personal one, in more than fifty years, could be enthusiastic the sense, I shall discuss about Neela aunty as a about teaching Sarale Varase. But she surely was. teacher, and, as a person I was fortunate to in- She would often mention about a new student teract with for almost twenty years. who surprised her, and her plans to harness the Neela aunty, as a teacher... talent of that student to the fullest. Actually, this Every session with Neela aunty included much is a trait common to all the teachers of Sri more than the lesson in progress. Right from Rama Lalitha Kala Mandira. They believe in the first class, she made it clear that attitude teaching the basics thoroughly, and they also and posture are important in music; she insisted believe in encouraging young artists to make that a student must sit erect while singing, sing their mark. Everyone who knows the institution with an open voice, come prepared to every shall definitely agree with me on this point. single class, and, she made sure that I imple- Neela aunty always looked very presentable. mented all these points every time I practised. Whether it was at eight in the morning, or nine She insisted that the set of audience one sings in the night, there no difference in the way she to should make little or no difference in the looked. I liked this quality about her; dressing practice. The songs being sung may vary, but the neatly is a reflection of the enthusiasm within. diligence remains the same; be it a practice ses- sion or a performance. She said that I had to be She loved and respected her family members, very serious at practice, even if I was singing to and for sure, her teachers. She would often my grandmother. mention her dad, and his relentless effort in getting his children to learn music; his idea be- Her relationship with a student extended be- hind including the word ‘Lalitha’ in the name of yond the class. Neela aunty and I spoke over the institution: As a student, one must aim at phone last month. We talked about my four overall empowerment, that is, one has to accu- month old son, and my life in general. I know mulate knowledge and try to be skilled at all how genuinely happy she felt knowing that I am fine arts ( ). Similarly, Neela aunty doing well. She asked me to share photographs ಲ/ತ ಕ2ಗ4 of my son at the earliest. I wish she had seen recollected and cherished some important qual- him too. ities about her mother. She mentioned that her mother was a kind lady who ensured that no Neela aunty, as a person... one who came to their house left with an emp- Neela aunty was always young. Always energetic ty stomach. and enthusiastic to learn a new song. I remem- She recollected several qualities about her sib- ber her giving me the notes of a new song that lings, and especially when it came to Ranganaya- she wished to learn and saying, “Sindhu, could ki aunty, she had a special bonding with her. She you make a fair copy of this song, let us learn it used to say that it is not easy for two equally talented artists to sail along harmoniously for

Lalitha Kala Tarangini - Jun 2017 42 long, but that it fortunately happened with Ran- too important for me to lose. I cannot really gu aunty and her. substantiate how, but, my liking for her grew She truly appreciated Rangu aunty’s effort and stronger when I moved away. (moved to Cali- sacrifices, and her determination in propelling fornia, to join my husband after marriage and the institution forward. The two of them loved set on a whole new voyage!) each other’s company. I had some wonderful I called her over phone soon after the move, opportunities when the two of them taught me and with a lot of skepticism about how she together. Those sessions were amazing; I could would receive my question, I asked her, “Aunty, see how they celebrated their similarities and do you think I can teach music?” She immedi- appreciated the differences. ately answered, “Why not? Go ahead! Start at Neela aunty adored Krishna Prasad uncle. the earliest.” I was very happy to hear that from When you saw the two of them during their her. Because her confidence in me means a lot daily routine, this feeling was not obvious to me. though. Because I think he was the one person I have been teaching for three years now, and I she took total liberty with. The breakfast he have to say that I developed the deepest adora- served would go back at least thrice, for cor- tion for her when I started teaching. Since then rections! And, he would make the corrections there have been moments, a lot of them, when I patiently and with absolutely no change in his felt strongly to say a thank you or a sorry to temperament. But when she recollected any- her. The feeling was so overwhelming that I thing about him in his absence, she had the called her each time I felt so, however ended up nicest things to say. She often said that their having just a normal conversation. Now that she family, and in turn, she, was gifted to have a per- is no more, I really wish I had mentioned those son like Krishna Prasad uncle amongst them. sorry’s and thank you’s! She respected her guru, and mentioned how his policies helped them shape their career and Sangita Vedantha Dhureena for become good teachers themselves. As I mention Vishaka Hari this, I happen to remember another fact. Neela aunty was brilliant and had the flair for music, Sri Rama Lalitha Kala Mandira hosted a pro- even as a child. She told us how most of her gramme to commemorate the millennium year of initial learning was by simply listening to the Saint Sri Ramanujacharya. On this occasion, classes Rangu aunty took from her teacher. It Smt.Vishaka Hari was conferred with the award was amazing to hear that. ‘Sangita Vedantha Dhureena’. The award carries a citation, a silver medal and a purse of rupees one Neela aunty and I lakh. The programme was held at Kuvempu I think I can write much more about her. But it Kalakshetra Auditorium on Saturday, April 29th is somehow very painful to continue. Though 2017. there are thousands of people, family members, friends, students, people who know her well, or just had her acquaintance, I believe I had a beau- tiful and unique relationship with her. She is the person I saw the most, after my close family. I was there at the institution, every Tuesday and Thursday, (even the class days remained the same for all those years!) for seventeen years in a row, for my vocal and Veena lessons, both of which she taught herself. I believe I know not just her traits as a teacher, but her nuances as a person. This makes me say that she was simply

Lalitha Kala Tarangini - Jun 2017 43 A Tribute to my Teacher - Vid. GV Neela

Anita Mahabaleshwara, Senior student of SRLKM and GV Neela

ಅ6ಗತ7 !8ೕಃ :ನಂ <=>?7ೕ @ತರಂA Bೕ | person with whom she came into contact) en- quired about my health, family etc., participating || @C7ಂ DತEಲ7#ಧಯಃ HIJ ಮಮ KೖವತM in all my joys with her blessings and affection. (The teachers who distribute knowledge among For the past 3 years since I was very busy at my the student after getting it from their gurus and personal life I could not continue the music who are store houses of love and knowledge lessons. But we kept in touch by phone or I are indeed like God to me) would visit her regularly. The last time I met her was the Monday few days before she passed Smt. GV Neela was a great musician and music away. We finished our usual conversation after teacher par excellence. I was very fortunate to which she took music lessons for 2 young girls have been under her tutelage for about 18 in her usual organised systematic manner, cor- years learning Veena from her at SRLK Mandira. recting them and encouraging them. It was get- She along with her elder sister Vidushi Smt. ting late and left after the class came to a close Ranganayakamma and brother Vidwan Sri GV never for once imagining that I would not have Krishna Prasad established this great institution the fortune of meeting her again the next time I totally dedicated to the service of music in the visited SRLKM. year 1955, as per the guidelines laid down by their father and educationist Sri G. Vedanta I truly miss her presence in my life, her music Iyengar. It was due to her that I had the oppor- classes, her love and affection, her smile and our tunity of not only listening to great music but conversations together. I am grateful to the also getting to personally meet/see the great almighty that she was my teacher, enriching my artist of Karnatak music at such close quarters, life every way as is rightly said. when they came to pay their respect to her. ನ !8ೕರ6ಕo ತತNಂ ನ !8ೕರ6ಕo ತಪಃ | But beyond being a great musician and dedicat- ನ !8ೕರ6ಕo :ನಂ ತPQ H> !ರRೕ ನಮಃ || ed teacher, she was a wonderful human being for whom I have developed such love and affec- tion that I could not imagine she would pass out of my life, so quickly and silently. She always greeted me with a smile (or for the matter any

Obituary

GV Varadarajan (93) Rtd., Senior Assistant Director of Public Instruction passed away peacefully on 10 July 2017. He leaves behind his wife, four daugh- ters and grand children. GV Varadarajan is the brother of Shri. GV Krishna Prasad, Hon. Secretary of Sri Rama Lalitha Kala Mandira.

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GªÀiÁªÀÄÆwð

Entry to all the concerts of SRLKM is FREE. We do welcome music patrons to come forward and extend financial contributions/sponsorships voluntarily and liberally, so that all music lovers can utilise the valuable opportunity to enjoy classical music. These donations carry exemption as per 80G of IT Act, 1961.

Lalitha Kala Tarangini - Jun 2017 46 An evening of enthralment

Anagha Yoganand

Sri Rama Lalita kala Mandira organised a con- swarams followed that mesmerised the audi- cert of Vidushi Padmavati Saranathan on the ance. This was succeeded by a brisk rendition of 25th of June. This gifted artist was accompanied ‘Nenarunchinanu’ (Malavi). by extremely gifted musicians Vid. Charulatha A composition very close to Vid. GV Neela’s Ramanujam on Violin, and Vid. HS Sudhindra on heart, ‘O Rangashayi’ in Kamboji was the main the mridangam and Vid. Sukhanya Ramgopal on piece. The raga alapana which preceded the the ghatam. The concert was a tribute to Vid. composition, along with credits to the violinist GV Neela, Chief Founder, SRLKM’s who at- too, certainly left the audience spellbound. The tained the lord’s feet recently. neraval and swaraprasthara were equally well The evening began with a hymn from the last rendered. The tani that followed added to the verse of the Vishnu sahasranama, ‘Kaayena supreme feeling of the audience. After this, a Vaacha’, a shloka of complete surrender to lord short Ragam-Tanam-Pallavi was presented. The Narayana. This was sung in Saveri and was fol- Pallavi, ’Sagara Samana Nada Vihara Tyagaraja lowed by the tana varnam ‘Sarasuda’ where the Palaya Sada’ was in praise of saint Tyagaraja, charanam was embellished with swaram. Dikshi- composed by vidushi Padmavathi herself. It was tars ‘Ganapathe Mahamathe’ in Kalyani followed set in three raga - Vasanta, Bhairavi and Vasanta this that included a quick nerval and kalpana Bhairavi, set to Tishra Triputa tala in Mishra swaram. Saint Tyagaraja’s, ’callere rama’ in raga Nadai. The pallavi was beautifully constructed Ahiri was then rendered next. After an expan- and the ragams Anandabhairavi, Bhoga Vasantam, sive raga alapana of ‘Simhendramadhyama’, Salaga Bhairavi, Kalyana Vasantam and Sindhub- which was expertly dealt by both the vocalist hairavi were incorporated in the kalpana and the violinist, ‘natajana paripalakana’ was pre- Swaras. The concert concluded with a Meera sented. The neraval was sung at ‘sruti moralida Bhajan ‘hey govinda hey gopala’. leda’ for which an engaging volley of kalpana

Lalitha Kala Tarangini - Jun 2017 47 Lalitha Kala Suma

Sri Rama Lalitha Kala mandira is honouring artistes with the title “LALITHA KALA SUMA” who have made valuable contribution to the society in propagating Karnatak music. The honours are in memo- ry of chief founders Karnataka Kalashree GV Ranganayakamma, Vid.GV Neela and Chief Patron Dr.GV Vijayalakshmi. The 68 artistes to be honoured are as below.

Vocal 28. M.T. Selvanarayana 49. S.A. Shashidhar 1. N. Ananthapadmanabha Rao 29. Seetha Ramachandra 50. T.R. Srinath 2. Bhagyalakshmi Ramanna 30. Shantha Narasimhan 3. Geetha Satyamurthy 31. Swarna Shankar Violin 4. Geetha Murthy 32. Tirumale Srinivas 51. C.N. Chandrashekar 5. G.R. Jaya 33. Uma Gopalaswamy 52. M.S. Govinda Swamy 6. G.A. Kumaraswamy 34. Usha Kesari 7. Kanakaswamy 35. T.S. Vasundhara 53. Lalgudi Rajalakshmi 8. M.A. Meera 36. Dr. K. Varadarangan 54. B. Raghuram 9. M.A. Mythili 55. S. Sheshagiri Rao 10. Dr. S.V. Meenakshi Ravi Veena 56. D. Surya Prabha 11. Malathi Singlachar 37. Bhagyalakshmi Chan- 57. J.K. Sridhar 12. D.V. Nagarajan drashekaran 58. C.S. Usha 13. B.S. Narayana Iyengar 38. D. Balakrishna 14. Neela Narahari 39. Geetha Ramanan Mridanga 15. Padma Gurudutt 40. Revathi Murthy 59. Arjun 16. Padma Srinivasan 41. Sudha Vadiraj 60. B. Dhruvaraj 17. Dr. Padma Murthy 42. M.R. Shashikanth 61. M.T. Rajakesari 18. Rupa Shridhar 43. Jaya Iyengar 62. N.G. Ravi 19. R.S. Ramakantha 44. L. Leela 63. R. Sathyakumar 20. T.S. Ramaa 45. Y.G. Parimala 64. B.R. Sridhar 21. P. Ramaa 65. Ullur Nagendra Udupa 22. Radhika Krishnaswamy Gotu Vadya 66. N. Vasudev 23. Shaila Subramanyam 46. Usha Ramamurthy 67. M. Vasudeva Rao 24. Seetha Sathyanarayana 25. T. Sharada Flute Ghata 26. Dr. T. Shachidevi 47. Dwarki Krishnaswamy 68. Dayananda Mohite 27. D. Shashikala 48. M.K. Pranesh

SRLKM 2018 Awards

Sri Rama Lalitha Kala Mandira has announced ‘Raaga Laya Prabha’ award will be conferred the awards for 2018. These awards are in mem- on BK Raghu (Violin) in memory of Dr.GV Vi- ory of the founding members of the institute. jayalakshmi, Akshay Anand (Mridangam) in Vocalists Ranjani and Gayathri will be conferred memory of Vid.GV Neela and Aditi B. Prahalad with the title ‘Sangeetha Vedantha Dhureena’ (Vocal) in memory of Karnataka Kalashree GV on the concluding day of the Spring Festival Ranganayakamma. which is 11 February 2017. ‘Raaga Laya Prabha’ title carries a purse of Rs. The title carries a purse of Rs. One Lakh, a sil- Twenty Five Thousand and a citation. This ver medal and a citation. This award is instituted awards will be conferred on the young artistes in memory of the founder Shri. G Vedantha during founders day celebration in May 2018. Iyengar who started the institution 62 years ago.

Lalitha Kala Tarangini - Jun 2017 48 Raaga Laya Prabha Award

Sri Rama Lalitha Kala Mandira awarded “Raaga Laya Prabha” to Madhu Kashyap (Vocal) and Amith A. Nadig (Flute), two upcoming youngsters from Bangalore on 13th May 2017.

This award is to commemorate the memory of the Founder-Director, Karnataka Kalashree GV Ranganayakamma and her Sister, Founder-patron and Veena artiste Dr. GV Vijayalakshmi. The award carries a cash prize of Rs. Twenty Five Thousand and a citation.

The award function was followed by a concert of Sangitha Kalanidhi A. Kan- yakumari supported by Vittal Rangan, K.V. Prasad (Mridanga), Bangalore N Amrith (Khanjira) in front of a capacity crowd.

L to R - Dr. Yoganand, Hon. Secretary Shri. GV Krishnaprasad, Madhu Kashyap, Vid. A Kanyakumari, Amit A Nadig, President Shri. DR Srikantaiah, Vice President Shri. HR Yathiraj

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We request your gracious presence for the Programme in memory of its chief founders Karnataka Kalashree GV Ranganayakamma and Vidushi GV Neela and their sister & chief patron Dr. GV Vijayalakshmi where six- ty eight artistes from Bengaluru will be honoured with the title

“LALITHA KALA SUMA”

With a purse of rupees Ten Thousand On Wednesday, August 23rd, 2017 at The Bangalore Gayana Samaja Auditorium

Sri DV Gundappa in his poem ”Vana Suma” mentions that there are many flow- ers in the forest which blossom and give out sweet fragrance without any expec- tations, but find joy in the work they are ordained to do. SRLKM humbly wants to recognise these “lalitha Kala Sumas” and honour them.

The function will be graced by His Holiness Sri Sri Yadugiri Yathiraja Narayana Ramanuja Jeeyar of Yathiraja Mutt

The honours will be presented by Shri NS Krishna Murthy Former Station Director of All India Radio, Bangalore.

4.30 pm - “Nadanjali” Musical tribute in memory of Smt.GV Neela by Kum. Anagha Yoganand, great grand daughter of SRLKM founder Late G Vedantha Iyengar and also a se- nior disciple of Late GV Neela. She will be accompanied by Shankar Rajan on Vi- olin and Phanindra Bhaskara on Mridangam.

5.30 pm - Presentation of honours 68 artistes from Bangalore will be felicitated with the title “Lalitha Kala Suma”.