SRUTI NOTES

SRUTI The India Music & Dance Society A Publication of SRUTI Volume 3, Issue 2 Spring 2000

Board of Directors President From The Editors P. Narayanan

610-526-0615 Dear friends Vice President In addition to the news and happenings in the world of music and dance and the events in our S. Rajagopal own community, this issue of Sruti Notes brings you reports and reviews of two of the three events 610-649-7623 that Sruti has presented this year. The various events of the Thyagaraja Aradhana day are reported in the President’s letter and reviewed by Narayanan and Poornima Narayan. We also Treasurer bring you a review of T. N. Seshagopalan’s concert by Rasikan. We thank all the writers for their C. Nataraj contributions. The issue also includes articles on Rag Mala and Rag Mala Paintings and some 610-519-4994 musical forms of by LC staff.

Recording Secretary In an effort to bring subjects of interest to the Sruti community to the forefront and encourage Sivakumar Gopalnarayanan reader participation, we have revived the Discussion Forum which was introduced last year. We 610-644-3659 request you to send us your opinions on educating children and youth in the classical arts of India (see page 5 for details). Corresponding Secretary Kishore Pochiraju Starting with the next issue of Sruti Notes, contributions to the newsletter from juniors will be 609-520-0977 edited and managed by the juniors themselves. A group of young music and dance enthusiasts, some of whom have already been contributing to Sruti Notes, have eagerly volunteered to under- Members at Large take the task. Samitha Bhargava, Sowmya Menon, Chetan Ramamurthy and Sumanth Swa- Rama Gundurao 215-591-0380 minathan will be the editors of the junior section. Youngsters who would like to contribute arti- cles, quizzes, puzzles and other items of interest may contact them through any of the Library H. Ramakrishna Committee members or by sending an email to . 610-240-0392 The Library Committee is currently working on a plan to bring out a special new millenium

publication in the year 2001, which also happens to be the 15th anniversary of the founding of Sruti. Resource Committee Details will be presented in a later issue.. Ramana Kanumalla (Chairperson) 610-277-8955 Viji Swaminathan Dinakar Subramanian Chairperson 610-630-1878 For the Library Committee Ravi Pattisam (610)837-1026

Library Committee UPCOMING SRUTI PROGRAMS IN 2000 Viji Swaminathan (Chairperson) 215-643-2145 Concert by Srinidhi Narayan Sheik Mahaboob Subhani & Mrs. Kaleeshabi Mahaboob 610-989-3744 June 18, 2000 (See attached flyer for details) Hema Ramamurthy 215-295-1980 Jeya Sankaran Maharajapuram G. Ramachandran — Vocal 610-239-7894 (September 23) M.M. Subramaniam 610-240-0268 M.S. Gopalakrishnan & Narmada – Violin Duo (October 21)

Email [email protected] Priya Sisters – Vocal Please visit our Web Site (November 11) www.sruti.org

1 Reviews From the President’s Desk Sudharhan Padmanabhan in Thyagaraja Aradhana Dear Friends, Vasantha Narayanan SRUTI celebrated Thyagaraja Aradhana with fanfare on April 1, 2000. The day began with Sudharhan Padmanabhan was the featured singer in this year’s Thya- Uthsava-sampradhaya Krithis rendered by children, garaja Aradhana. Sudharshan is a disciple of T. N. Seshagopalan and is followed by the traditional singing of Pancharathna a Doctoral student in Philosophy in the University of South Florida. On Kirthanas. The event was well attended by adults the violin was Sandhya Srinath who is well known to the Sruti Commu- and children who gave individual performances as nity, having accompanied, among other artists, Chithraveena Ravikiran well as other music lovers. People who came, used in Sruti’s concert last year. Sampath Venkataravaradan (“Venkat”) who this opportunity accomplish their favorite goals for has accompanied many of today’s foremost Carnatic musicians was on the day: pay homage to Saint Thyagaraja, listen to the . Their friend Ravindran enthusiastically added some good music by accomplished people from the to the ensemble. commu-nity and the budding child artists, and of course, partake of some good food. A festive mood, Sudharshan began the concert with the Neranammithi in characteristic of the spirit of the day, prevailed Kanada set to Adi thala. This was quickly followed by a krithi on Lord throughout. Ganesha, Giriraja Sutha in raga Bangala. He then proceeded to the Thyagaraja composition Gurulekha in raga Gowrimanohari set to Kanda Sudarsan Padmanabhan, a disciple of Madurai Chapu thala. He showed flashes of inspiration in exploring the raga and T.N. Seshagopalan rendered a concert, Sandhya at times resembled his guru. Having paid tribute to Saint Thyagaraja, Srinath, a disciple of Lalgudi Jayaraman, T. N. Sudharshan invited the audience to reflect on other musical greats as Krishnan, and the late V. Janakiraman, and well. We heard a short rendition of Shyama Sastry’s Brovavamma in Sampath Venkatvaradan, a disciple of Kumba- Manji raga and an elaborate rendition of Papanasa Sivam’s Venkata Ra- konam Rajappa Iyer, ably accompanied Sudarshan. mana in raga Lathangi. He returned to Thyagaraja’s works with Bhale balendu in Reetigowla, Telisirama in and Dasarathe 18 adults and 40 children gave individual per- in Thodi. Despite occasional difficulties with his vocal chords, Sudhar- formances featuring vocal music, veena, saxophone, shan maintained his tempo and concluded the concert with Enna thavam, and mridangam. Hari bolo and Iyal isai.

This year we introduced a few innovations. We The musical quartet that occupied the stage that day appeared to rep- had a musical quiz designed to challenge the musical resent something unique: almost as if the torch was now being carried by knowledge of the audience through questions both a new generation of artists. They are sure to add vitality to Carnatic mu- written and musical. Two teams enthusiastically sic within our shores in the years ahead. The youthful concert was fit- challenged each other with a group of interested ting on a day when we rejoiced at the musical development of our own onlookers, who will no doubt sign up for this event children. next year. We also had a coloring contest for children. This provi-ded them with a welcome diversion from the musical festivities. Thyagaraja Aradhana—Children’s Participation The first two events of the season, the music Poonima Narayan recital by T. N. Seshagopalan on April 29 and dance recital by Alarmel Valli on May 13 were very I attended Sruti's Thyagaraja Aradhana on 4/1/2000. Individual par- successful as judged by strong attendance and ticipation by children commenced after the group presentation of favorable comments received from numerous Pancharathna . I enjoyed this segment of the program very much. I attendees. Please be sure to check SRUTI’s have been attending the Aradhana for quite some time. Every year I have homepage at http://www.sruti.org for information on noticed that the quality of singing and presentation have improved over upcoming events. the previous year. This year was no exception. There were many partici- pants. It was heartening to see each child perform with a lot of enthusi- SRUTI intends to bring out a volume of writings asm. These students of classical music showed a genuine interest in pre- on as a special millenium publication senting their piece. A few of the participants presented kritis like sea- in 2001, to coincide with the 15th anniversary of the soned performers. It was a treat to watch the younger children go up on founding of SRUTI. The Library Committee is stage in colorful outfits and perform without a hint of nervousness. I working on it and details will be made available in congratulate the parents and teachers for encouraging the children and the near future. working with them. I eagerly watch the young performers and listen to their presentation to get some idea of where our classical music could be On behalf of the SRUTI Board of Directors, in the next few years. They give us hope that they will nurture and pre- P. Narayanan serve the tradition of classical music in the years to come. I very much President look forward to attending next year's program.

2 Seshagopalan concert Rasikan Madurai T.N. Seshagopalan (TNS as Earlier, TNS exhibited his virtuosity The short pieces (thukkadas) after he is known) is one of the most popular by elaborating alapana and the Todi that TNS sang included the South Indian musicians of the present swaraprastarams in comparatively minor ever popular Jagadodharana. TNS day. Endowed with a rich voice and : Jaganmohini (sobillu saptaswara suggested that this piece sung in , enormous talent he has been regaling of Thyagaraja) and Kalyana Vasantham was originally used to be sung in enthusiastic audiences for nearly three (Enda mugam of Ambujam Krishna). In Neelambari in which ragam the bhavam decades. He is, as it were, the bridge fact in the Kalyana Vasantham alapana of the song would come out better and between the old guards of the so-called he indulged in thara sthayi sancharams demonstrated it briefly. golden age of Carnatic music, the years hitting the tara sthayi daivatham and even 1930-70, to the growing fresh crop of touching the nishadam. For a change, the Another interesting piece was a younger musicians. TNS is a master of prati madhyamam ragam was Hamir composed by TNS himself in kalpana (innovative) music. If the and not of the too frequently Niroshta. This ragam, a creation of present day musicians seem to indulge in heard Pantuvarali/Poorvi kalyani. TNS’s Harikesanallur Muthiah Bhagavathar, a lot of kanakku (mathematical alapana in this ragam had tinges of omits the madhyamam and panchamam combinations) in their swara prastarams, Hindustani music from which the ragam in both the arohanam and avarohanam the reason could be traced to TNS. is derived. TNS rendered the lyrical (sa, ri, ga, dha, ni; sa, ni, dha, ga, ri). If composition Venkata chaila vihara of you voice the saptaswaras, only for ma SRUTI audience had a taste of the Subbaraya Sastri without neraval or swara and pa you have to bring the lips genius of TNS music on 29 April at his prastaram. Before the lengthy Todi, he together. Muthiah Bhagavathar has concert in Cabrini College. He was sang Ranganayakam, a Dikshitar in composed a kriti in this ragam (Raja accompanied by Jayasankar Balan of Nayaki emphasizing the subtle nishada raja raja) in which for no word or Detroit on the violin and R. prayogams of the ragam. syllable do you have to touch the lips Vaidyanathan from India on the together. TNS has also composed the mridangam. To many people’s disappointment tillana in similar fashion. TNS did not render an RTP. Indeed Todi TNS was in good form. His Todi was the only major piece. Perhaps the The large number of the tukkadas that day was superb in which he large number of ‘chits’ that he received tended to drag the concert towards the rendered Sri Krishnam bhaja manasa, a curbed his enthusiasm. Or may be the end. TNS was obviously trying to masterpiece of Dikshitar. One of the fact that the accompaniments were not please too many of his aficionados. many contributions of Thyagaraja to upto his standard. Indeed neither Carnatic music is the innovation of Jayasankar nor Vaidyanathan rose to the I have previously voiced my sangatis in a kriti whereby musical occasion. I have heard Jayasankar objections to sending chits. For variations of increasing complexity are accompany R. Sundar of Detroit. He is sometime I thought the scourge had added to specific lines. Not many other an adequate violinist, but that is not diminished if not eliminated. The ugly composers have been successful with enough qualification to accompany a habit seems to have risen its head again. incorporating elaborate sangatis in their musician of the caliber of TNS. One of I do wish those interested in hearing compositions. Indeed, among TNS’s strengths is his mastery over particular pieces from a musician would Dikshitar’s kritis only two are well layam and the swaraprastarams full of contact the organizers ahead and have known for sangatis, one of which is Sri kanakku. To do full justice to this aspect their wishes conveyed to the artists who Krishnam and the other is Sri of his music the mridangam player has to can then plan the concert to possibly Subramanyaya namaste in Kambhodi. give very good support, which was include them. [The sangatis in Vatapi (Hamsadwani) lacking in Vaidyanathan. In fact even his were supposed to have been introduced tani avarthanam after the Todi piece was by Maha Vaidyanatha Iyer.] quite pedestrian.

Sruti Concert Recordings

The Library Committee maintains and distributes tapes of Sruti concert recordings to Sruti members and other music lovers. For a list of available tapes and to order, please contact Viji Swaminathan at (215) 643-2145 or e-mail your request to [email protected]

The opinions expressed by the contributors of articles and reviews are published in a spirit of openness of communication and freedom of expression. They do not necessarily reflect the views of Sruti's Board or its members.

3 Some Musical Forms in honour of Lord Muruga in the 19th cen- The Raag-Raagini System of tury. Traditionally, the songs are sung Music in Northern India when a pilgrimage is undertaken to Lord Pada or Padam According to a legend, five ragas Muruga's shrine while carrying the Kavadi emanated from the voices of Shiva as The word “Pada” or “Padam” was (a semi circular wooden structure laden once used to describe any devotional Panchmukha Mahadeva (the five-faced with offerings for the Lord). The language form) and one from Parvathi. These six song. According to some writers, the of the Chindu songs is simple but beauti- sringara sankeertana-s of Annamacharya ragas were , Bhairava, Deepaka, ful. Though folkish in tune and text, Hindola, Megha and Maala Kausha and his descendants as well as the Kavadi Chindu-s are sometimes sung devaranama-s of Purandaradasa were (later Malkauns). According the Rag- towards the close of concerts of classical Raginee system, each of these ragas had termed as padas. Padas or Padams are music. scholarly compositions having three six wives called raginees, each raginee sections: Pallavi, Anupallavi and had 6 sons, each son had a Bharya Charanam. They are usually sung in a (wife), Daasa (servant) and Daasi slower tempo. Padams with an erotic Rāg Māla and Rāg Māla (maid). Each raga was associated with content are said to have been introduced Paintings of India one of the six Rithus or seasons, Vasan- by the compositions of Kshetragna and Mian Tansen, a great authority on music tah, Greeshma, Varshaa, Sharath, He- Sarangapani. Muthu Tandavar of at the court of Akbar, wrote “Rag Mala”, a mantha, and shishira. This system was Seerkazhi, a contemporary of Kshetragna, beautiful book on the various ragas current only an artistic grouping withot any sci- is another well-known composer of at his times, based on the Rag – Ragini entific basis, and soon fell out of favor. padas. system (the system is described below). Professor Vishnu Narayan In recent years, Padam is used to Emperor Akbar, a great connoisseur of Bhatkhande of Maharashtra, reclassi- describe a musical form belonging to music, was fascinated by the writings, and fied the ragas of Hindusthani music dance repertoire. A main concept in the ordered the creation of paintings depicting spread over vast areas under different Padam sahithyam is that of the ‘lover and the ragas, under the guidance of Tansen gharanas or schools of music. He col- beloved’, and themes dealt with in himself. The history, characteristics and lected enormous data and devised the Padams include - yearning in love, hopes, emotional aspects of each raga and raginee Thaata system towards the end of the frustrations and disappointments, anger, are superbly portrayed in these paintings. 19th century. He gave a broad base and jealousy, etc. The themes thus make the Seasons and seasonal ragas of the six cloasiified most of the existing ragas of padams highly suitable for use by a Rithus, and the elements of shringara or his time in Hindusthani music, under 10 dancer who can emote the feelings love are depicted in great detail. These scales or thaatas (Melas). Six of these through abhinaya and body language. original Moghal Rag Mala Miniature are the primordial ones that prevailed in Because of their excellent musical qua- Paintings have been preserved for poster- India and are , Asaaveri, Kaapi, lity, Padams are often sung in concerts, ity. Later, other rulers patronized the art Khamaaj, Bilaaval and Yeman Kalyan. usually in the post-pallavi section. and paintings were also created on To these he added four others which Kavipriya and of poet Kesha- accomodated the bulk of the rags, not Javali vadas. Jayadeva’s Geetha Govinda and The javalis are believed to have their suited for the first six – namely the Srimad Bhagavatam also provided lots Bhairav, Thodee, Poorvee and Maar- origin in Karnataka (Javali is derived of themes, especially in the Kangra Valley from the Kannada word "Javadi" meaning waa. of Himachal Pradesh. lewd poetry). They came into existence Thus Rāg Māla and related paintings The ten thaatas and their Carnatic in the nineteenth century and are quite belong to different schools spread over all equivalents are Bhiaravi- Hanumathodi, popular because of their light, catchy and of North India and Northern Karnataka, as Bhairav – Mayamalavagaula, Asaaveri- appealing tunes. The Javali is a much well as some parts of Telangana in Andhra Nathabhairavi, Kafee- , lighter form of music than a padam. The Pradesh. The chief schools of Raga Minia- Khamaaj- Harikambodhi, Bilaval- themes revolve around human ture Paintings are Mewar, Bundi, Alwar, Dheerashankarabharana, Thodi- relationships and are often very sensuous Jaisalmar, Bikaner, Kishangarh, Marwar Shubhapanthuvarali, Poorvee- and erotic in nature. They are also often and Jodhpur in Rajasthan. The Deccani Kamavardhini, Maarva-, refreshingly humorous, cantankerous or paintings hail from Berur, Bijapur, gol- and Kalyan-Mechakalyani. sad. Composed in colloquial language, conda, Bidar and Ahmadnagar, while the Now, due to the introduction of they are short . Paharhi schools are from the Kangra Val- The bulk of the Javali genre of songs many Avivadi melas of South like Cha- ley and Chamba Valley of Himachal rukeshi, Vachaspathi, Simhen- are composed in Telugu. Notable Pradesh and Garhwal areas of Uttar composers who have contributed to this dramadhyama and , 32 Pradesh. Dr. Ananda Coomaraswamy of have become necessary. musical form include the Tanjavur Sri Lanka, was greatly responsible for brothers quartet-- Chinniah, Ponniah, **** bringing the message of these paintings to Ref: Sangeetha Lalithya Lahari - By S. Sivanandam and Vadivelu, and Patnam the cultured world. These paintings now Subrahmania Iyer. Mukund. adorn famous museums of London, Berlin, Compiled by LC Staff Kavadichindu Paris, Calcutta, Bombay, Hyderabad, Bi- These are devotional folk songs kaner and many other centers. composed chiefly by Annamalai Reddiar 4

Community News In Other News Discussion Forum

New Arrival Padma Awards Congratualations to Raji and The annual ‘Padma’ award ceremony in The method of teaching the classical Dinakar Subramanian on the arrival of which celebrities from all walks of life arts like music and dance in India has their new baby daughter. Mallika are honored by the President of India took undergone many changes over the cen- Dinakar was born on April 12 at the place on March 30, 2000. The list of hon- turies. The practice of Gurukuluvasam Bryn Mawr Hospital, weighing 7 lbs, 14 orees included many from the world of is part of history. Also, gone are the oz. Dinakar is a former President of music and dance. days when a music teacher would visit Sruti and currently a member of the the home of the pupil five days a week Resource Committee. Among those awarded the Padma to teach, for a nominal fee. With in- Vibhushan were the renowned musicians creased demand on the time and purse, Pandit Hariprasad Chaurasia and Pan- education in the classical arts is no dit Jasraj Motiram (earlier recipient of longer within easy reach for many Award Padma Bhushan and Padma Shri), and Santosh Adipudi Vardhana, households. the Odissi exponent Guru Kelucharan currently a Freshman at Upenn and a Mohapatra (earlier recipient of Padma In the United States, interest in Benjamin Franklin Trustee Scholar, has Bhushan). these arts has risen phenomenally in been chosen as the Music Director of recent years and an increasing number their premier Accapella group- Chord on Padma Bhushan was awarded to the of children (and adults) are getting edu- Blues. He is majoring in Biology of Kuchipudi couple Raja and Radha cated in these arts. However, for par- Human Behavior. Santosh is the son of Reddy. ents, teachers, and youngsters born and Rajalakshmi and Vinayavardhana brought up in this country, there are Adipudi, life members of Sruti. Our Shubha Mudgal, the Hindusthani unique challenges to reckon with. congratulations and best wishes to Vocalist, received the Padma Shri. These include lack of exposure of chil- Santosh. dren to Indian languages and the tradi- Of interest to our community is an- tional culture which might provide other honoree, H.Y. Sharada Prasad them with better understanding of the (brother of Dr. H.Y. Rajagopal, a life arts, demand on their time (when they Obituary member of Sruti and a former board are juggling numerous activities along member) who received the Padma with school work), demand on parents’ Our heartfelt sympathies and condo- Bhushan award. Besides time and purse, unavailability of teach- lences to Dr. Ramesh Adiraju and his being the Director of Information to three ers, etc. family on the recent demise of his par- Prime Ministers (most notably to Mrs. These very real challenges give rise ents. His mother, Mrs. Rajeshwari Gandhi), Mr. Sharada Prasad was Vice- to some important questions: Should Krishnamurthy, died on May 8 after a Chairman of the ICCR (Indian Council there be significant changes in the tradi- brief illness, in Hyderabad. Dr. for Cultural Relations) and in charge of tional methods of teaching these arts to Adiraju’s father Mr. A.V.R. Krishna- sponsoring artists to various international the young population U.S.? What are murthy, died on February 15 at the festivals, etc. and of recommending can- the responsibilities of teachers and par- age of 75. He held many important po- didates for various awards. He is a con- ents to make sure that the youngsters do sitions in his career, and retired as the noisseur of Carnatic and Hindusthani mu- not lose interest in learning the arts? Officer on Special Duty to the former sic and various other arts. What can we learn and adopt from the prime minister Mr. P.V. Narasimha methods used by teachers of Western Rao. Mr. Krishnamurthy was very ac- Classical Music and dance? What role tively involved in social services. should cultural organizations like Sruti play in educating them?

Some Recent Publications on Carnatic Music We invite your thoughts and opin- ions on these questions. We are inter- Bhava Raga Tala Modini By Dr. V.V. Srivatsa, Publisher - Guruguhanjali ested in hearing from students, teachers — A collection of articles on Dikshitar and his compositions. and parents on the subject. Please email your input to [email protected] or [email protected], for Purandaradasar Kirtanai - 1 By V. N. Padmini and Jayalakshmi Srinivasan publication in the next issue of Sruti — Compilation of selected compositions of Purandaradasa — swara and sahithya Notes. in Kannada, Tamil and Sanskrit, with meanings in English.

When God is a customer — Edited and translated by A K Ramanujam and Vel- cheru Narayana Rao and published by Oxford University Press. — Mainly a translation of Padams of Annamacharya, Kshetragna and Saranga- pani.

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