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Home , Ali Akbar Khan, Allauddin Khan, Balasaraswati, Gangubai Hangal, Guruvayur Dorai, Hariprasad Chaurasia

Issue no. 14 January-February-March 1985 INDIAN MUSIC NEWSLETTER A quarterly information paper for lovers of Indian music in the West.

THE MUSIC OF SOUTH

In Indian music today there are two main schools, Hindustani, or North Indian music, and Carnatic, or South Indian music. Though similar in concept - both melodic and governed by the strict rules of and tala - they are nonetheless entirely different forms of musical ex- pression. There was a time when a single system prevailed throughout India, but as early as the 12th century a division had already begun. Successive waves of Mus- lim invaders during the Middle Ages profoundly inf1uenced Indian life and culture in the North, whereas the South remained relatively untouched, and was left: in peace to continue its cultural development. belongs to the four Dravidian states of ; , , Andhra Pradesh and . On the map the dividing line is roughly from Goa on the west coast through Hyderabad to Vijayawada on the east. The traveller through South India today is confronted with a world diHerent The saraswati vina. Tirugakarnam Ramachandra lyer in so many aspects from the North, in which resembles that of the West; it ern western music. peoples, languages, landscapes, food and divides the octave into twelve semitones of The South is very rich in superb concert cultural attitudes. With their own kind of approximately equal length. However, if violinists and f1autists, notably Lalgudi refinement characteristic of the Dravidian we compare the Indian tones with those of Jayaraman and M.S. Gopalkrishnan (vio- mentality, it is not surprising that musi- the Western tempered scale, we find that lin), and T.R. Mahalingam and N. cally the South developed its own style. In there are minute - but audible - Ramani (f1ute). But instrumentally, apart its present form Carnatic, or South Indian microtonal pitch diHerences, slightly abo- from the nagaswaram (a double-reeded music is five centuries old and still ve or below the corresponding Western longer version of the of North flourishing, its centre in modern times tone, refining the melodic structure. India), and the rarely-heard gottuvadyam being the city of Madras on the east coast Through this sophisticated melodic struc- (the slide vina), the South has far fewer of Tamil Nadu. ture (raga) and its relation to the cyclic concert solo instruments than one would Carnatic music is understandably less rhythmic structure (tala) a vast range of imagine for such a rich system of music. It known in the Western world than its musical possibilities is explored, uplifting is primarily a vocal art form. Carnatic northern counterpart. Few of its great and inspiring both performer and listener. music involves a more complex use of exponents have ever found their way Though basing its format on composed percussion than the North; the Southern westwards. Apart from the Wesleyan music, the Carnatic system uses improvi- concert drum, the , is often University in the U.S.A., which provides a sation extensively, in the forms known as accompanied by the ghatam (clay pot), the permanent teaching centre, facilities for alapana, ragam, thanam and pallavi. It is kanjira (tambourine), and the morsing Westerners to study Carnatic music out- perhaps in these forms, in all the sheer (jews' harp). side India are few and far between. Few bravado and spirit of adventure which are Though the distant origins of Indian also are the outsiders who have ever inherent in them, that the vVestern ear can music go back to Vedic times, the first mastered the art. By far the greater first begin to grasp what an amazing world major consolidation of form in Carnatic number of concerts given in the West are is contained within the realms of South music came about through the poet-saint by North Indian musicians. With Hindu- Indian music. Purandaradasa (1486-1564), in the time of stani music becoming undoubtedly more When Indian music first made its mark the great Vijayanagar empire, a golden listened to and appreciated in South in the West in the sixties, it was mainly age in South Indian history. Purandara- India, the reverse cannot be said to be through the and of North India. dasa has come to be known as the father of true. An indigenous art form, with its Carnatic music has had exposure in the Carnatic music, so systematising and intense use of gamaka (bending or slurring West but it still remains little known. It is refining it that it has remained basically of tones), Carnatic music presents a real perhaps best represented in the Western unaltered until the present day. A prolific challenge to the uninitiated ear, and only world through the saraswati vina. Some of composer, scholar, bhakti and aesthete, he time will tell if its true worth will ever be its great players, like S. Balachander, developed a form known as the kritti, a fully recognised, even among the growing Emmani Shankar Shastri and V. Dorais- composition, entirely metered in struc- number of Westerners who are able to wami Iyengar, have been heard in ture, into which is woven the essence of appreciate the delicacies of oriental and and the U.S.A., and two great Carnatic raga and tala, a form with ofi:en profound exotic music. violinists, L. Shankar and L. Subrama- lyrics but which remains predominantly Carnatic music, in common with the niam, are currently experimenting with musical. It was a progression out of the Hindustani system, uses a tonal system incorporating their techniques into mod- simpler, already existing, more devotional 2

their compositions. M.S. Subbulakshmi, M.L. Vasanta Ku- Outstanding among them was Tyaga- mari, D.K. Pattamal, and Radha and raja. Descended from Telugu Brahmins Jayalakshmi, who sing as a vocal duet, or from Andhra Pradesh, trained early in life jodippattu, like the of North in Sanskrit, astrology and vina playing, he India. Well-known male vocalists include developed into a man of yogic vision and Semmangudi Srinivasa Iyer, Maharaja- musical excellence. His krittis are full of puram Santanam, C.N. Balasubrama- rich rhythms, exquisite language and niam, S. Ramanathan, Balamurali Krish- symbolic meaning. 700 of them exist na and the late M.D. Ramanathan. today, in 260 diflerent . His texts, though mostly devotional, range from the The Concert highest yogic ideals to matters of govern- A Carnatic concert is generally three ment and social welfare. Like Puranda- hours long, without a break. To the radasa, he lived only by singing and soloist's right sits the mridangam player, begging and spurned the patronage of and to his left the violinist. Behind, the royalty. indispensible tamboura provides the dro- Muttuswami Dikshitar's music is noted ne, often played by a student who will for its manliness and power. Inf1uenced by provide vocal support during the compo- the ancient Hindustani style of singing sed sections of the concert. Also in the known as dhrupad during a six-year stay background will sit any additional per- in Benares, his compositions are slow-mo- cussionists to make up the ensemble of up ving. He wrote only in Sanskrit, resurrec- to seven musicians. A recital begins with a varnanl, similar '(yagaraja ted old ragas and his music is heavily ornamented. It has been described as to an etude, a warming-up composition, kirtana form which placed more emphasis 'ethereal architecture'. He is considered to entertaining in its own right, and close to on lyrical content than musical sophistica- be the great"master of raga and his work the basic structure of the krittis that will tion. His other major contribution was to the most challenging for the Carnatic follow but less complex. A kritti, a rondo- initiate the methodical study of Carnatic musician. like form, has as its basic element the music, beginning with the practice of Shyama Shastri wrote 300 krittis, of pallavi, anupallavi and charanam, melodic scales, exercises, simple songs (gitas), more which about 30 are popular today. His patterns within the mould of raga set to complex songs (varnam) and finally krittis. pieces, written in Sanskrit and Telugu, are literary texts. Each of these sections of the This method is used exclusively in the noted for their rhythmic beauty. kritti explores diferent areas of pitch teaching of Carnatic music today. Through the inspired contribution of register, with other types of variation set Purandaradasa's life was a remarkable these three saints from Tiruvayur, the between these forms. The whole piece journey. A certain miraculous incident in golden age ofCarnatic music had arrived. gains complexity through the repetition of his domestic affairs convinced him ab- It has been carried into the 20th Century phrases at diflerent speeds. Unlike Hin- solutely of the errors of his avaricious way through a long list of great musicians of dustani music, which uses a gradual of life as a wealthy trader. So profoundly old, names like Musiri Subrahmanya Iyer, building-up of tempo, increase of speed in did this incident affect him that he gave up Ariyakudi Ramanuja Iyengar, Carnatic music is always a doubling of his worldly life and went on to live the life Vaidyanatha Bhagavathar, Patnam Su- tempo (or tripling,quadrupling and so on). of a renunciate, as a disciple ofthe greatest bramanya Iyer, Dhanamal, etc. Within a kritti are passages where the yogi of that time, Vyasaraya. Puranda- Today the list is equally impressive, musician can improvise melodic varia- radasa became one of the immortal names including great female vocalists such as tions, but keeping to the text (niraval), in the history of South Indian music. A hundred years after Purandaradasa, in the mid-17th century, Venkatamikhi established a system whereby the immen- sely complex language of raga could be classified. This system is based on 72 melakarta (parent) ragas, consisting of all the possible seven-tone scales in regular ascent and descent. From these, five or six- tone scales are derived, known as janya ragas. In North India, this kind of classification was virtually ignored until this century. The three poet-saints Tyagaraja (1759- 1847), Muttuswami Dikshitar (1775-1835) and Shyama Shastri (1763-1827), created the next wave of development in Carnatic music. By the 18th century, after the fall of the Vijayanagar empire, the major centre for Carnatic music moved further south, to Tanjore in Tamil Nadu, and Travancore in Kerala. In the mid -1700's, in the village of Tiruvayur, near Tanjore, these three men were born within a few years and streets from each other. They were to enrich Carnatic music to such an extent that a modern concert programme, be it A typical South Indian ensemble. In the centre a flute player (N. Ramani), with to his right the mridangam, to his vocal or instrumental, relies largely on left the accompanying violinist and at the back a tamboura player. 3

another where just the swaras or notes are allowed. improvised upon (swara kalpana). Three other types of composition used As a concert progresses through the occasionally on the concert platform are performing of a succession of krittis, the the tevaram, padam, and devaranama. A artist will precede them with alapana tevaram is an ancient form of Hindu (a lap) of varying length. The piece de temple music, an ofIering to a particular resistance of the recital is the ragall1- deity as a kind of complex musical puja thanall1-pallavi, which is performed to- (worship). A padam is an intense simply- wards the end. It is an entirely improvised worded song expressing, for example, the form, except for the theme introduced at suf1erings of love, expectations of happi- the beginning of the metered third section ness, eroticism, satire etc. Other kinds of of the improvisation, the pallavi. Alapana padam give names of auspicious places, is developed fully, with the violin repea- names of herbs and trees. Kshetra yya was ting as closely as possible the phrases of the the great composer and father of this form. singer, about a second or so behind, A devaranama is a simple devotional tracking the voice, as it were. Then the song, outpourings of the devotee in violinist takes his solo for about as long as moments of intense religious experience, the vocalist, contrasting with the Hindu- usually containing lofty ideas pertaining stani stde vvhel'e the vocalist alone is to the messages of the U panishads. responsible for his alap, and where no Instrull1ents place is given for solos by accompanying musIcIans. The major solo instruments used in In thanall1, the second sequence of Carnatic music are the vina, violin and The gottuvadyam. Eude/uT Krishnamurti Shastri the ragam-thanam-pallavi, a rhythmic venu (f1ute). pulsation is established, similar to the nom- The saraswati vina has seven metal and fifth in descending order, and its three tom alap and jor of Hindustani music. strings, four for creating melody and drone strings to the tonic, fifth and octave. Thanam is the forte of the vina, with its fingered over its 22 frets, and three The fifth is lowered to the fourth for three 'sruti' strings plucked with the little positioned off the side of the bridge and certain ragas. Unlike the rudra vina, it is finger to accentuate the continuum of stroked with the little finger, acting as a unfortunately not used much on the bass rhythm. At first, the pulse of thanam is drone, like on the rudra vina of North strings, with the exception of the great self- broken by non-rhythmic phrases or flour- India. But unlike the rudra vina the taught vina player S. Balachander, who is ishes of ragam (alapana), but gradmilly instrument is wooden, the gourd a holl- unique in exploiting the potential of this the tanam, by doubling in speed, becomes owed-out block of jackwood or rosewood, instrument in the lower register. Other consistent, still without reference to metre. a five-eighths-spherical resonating cham- well-known great vainikas (master vina With the introduction of the pallavi, ber, usually topped with a rosewood plate. players) of our time include V. Doraiswa- one line of composed melody, enters the The vina gives a deep, rich and sweet mi I yengar, Emmani Shankar Shastri, mridangam. What follows is a highly sound. Frets are lengths of round brass set R.K. Suryanarayana, R.K. Narayana- technical rhythmic exercise where talas of into a bed of a mixture of wax and swamy and Chitti Babu. unusual length and complexity are often lampblack. The left end of the instrument The vina's slide counterpart, the got- used, and where the point of principal is a carved dragon's head turned under, tuvadyall1, a sadly neglected instrument rhythmic weight is not on the first beat, providing a small horizontal surface on today, resembles the vichitra vina of North but the half-way point in the tala cycle. which the vina player places ghee (clari- India. It is designed and tuned the same as After introducing the theme, improvisa- fied butter) to facilitate an easier sliding the vina but is without frets. A rounded tion begins through a maze of melodic and over the frets of his instrument. In more block of wood is used to stop. the tautly- rhythmic variables, notably swara kal- ancient times the vina was used to set strings and two melody strings are pana, where solfege syllables (names of accompany vocalists, but by the mid-19th usually plucked simultaneously an octave notes) are woven into parts of the cycle and century the violin replaced it and the vina apart. Like the saraswati vina, two metal sung at different levels of speed. A climax is is now a solo instrument. Its four melody plectrums on the first and second fingers reached and after returning to and strings are tuned to the tonic, fifth, octave are used to pluck the strings in a repeating the opening pallavi, the mri- downward motion. dangam gives a solo, known as tani The South Indian f1ute, the venu, is a avartall1. All melody disappears and the transverse treble instrument, much small- ,vocalist or the- vina player will keep tala er than the northern f1ute, the . It visibly by slapping the thigh or clapping has eight holes and a range of two-and-a- and waving the hand. In the case where half octaves. The top three holes are the mridangam is accompanied by the stopped by the left-hand fingers, the next ghatam, kanjira or morsing, each tries in four with the right hand and the lowest turn to outdo the one before him in hole is left open at all times. Gamakas, or rhythmic intricacy, epitomising the fasci- graces, are effected by rolling the fingers nation for rhythm and metre that is so across the holes and by rolling the prominent in Carnatic music. instrument on the lower lip. It is a A recital closes with either a tillana or a virtuoso's instrument, and among its great javali, both light classical forms and exponents today are T.R. Mahalingam, about five minutes long. A till ana is N. Ramani, K.S. Gopalkrishna and T. principally a dance form, lively and Vishwanathan. attractive, whose rhythmic passages cor- The nagaswarall1, or nadhaswaram, respond to the footwork patterns of the is similar to the northern shehnai, but Bharat Natyam dancer. Ajavali is a light much longer. It is a loud, double-reeded, love song often with erotic overtones, the eight-holed instrument almost trumpet- only form in Carnatic music where phrases like in sound. It has twelve holes drilled or tones foreign to the given raga are The nagaswaram. Sheik Chinna Mou/ana into its barrel. Seven are fingered, one is 4

left open and the rest filled with wax to manganese and cooked rice is stuck onto day of the great poet-saint, and the ten- adjust the pitch. The outstandng concert the right head of the drum. The rhythmic day Sabha (festival) in Madras. artist on this instrument is Sheikh Chinna elaborations of the mridangam are inter- In olden times the great patrons of the Maulana. It is played with the ottu, a nal arrangements of time-patterns within arts were the maharajas, in the South double-reeded drone instrument that re- a cycle with a complex distribution of notably of Mysore, Tanjore and Travan- places the tamboura. A circular breathing beats and criss-cross syncopated rhythms. core. Some of the maharajahs were also technique, using the cheek cavity as an air But that sense of 'arriving' at sam, a great composers. Today All-India Radio chamber, creates and sustains the drone. characteristic of Hindustani music, is not oilers a humble living to its large staff of The drum that accompanies the naga- there with mridangam playing. studio musicians. All the modern musi- swaram, the tavil, short and barrel- The mridangam is played with a variety cians mentioned here have recorded long- shaped, is played vigorously with a stick on of left and right-hand techniques in playing records, and Carnatic music is its left head and by the hand, wrist and rhythmic patterns of five, six, seven or well represented in recorded form. fingers on its right head. eight beats, or computations or divisions Indian music is by its nature an emotive The principal drum to accompany the thereof. There are seven main tal as in art form, eliciting an aesthetic response Carnatic musician is the DlridangaDl. Carnatic music, with five varieties of each from the listener. It is given the status of Unlike the , that reinforces the simple tala. Outstanding artists on this instru- Adhyatma Vidya, a pathway to self-realisa- beats of the tala in Hindustani music, the ment are Umayalapuram, K. Sivaraman, tion through a state of mind known as mridangam provides a cross-rhythmical Dorai, T.V. Gopalkrishnan, nadapasana, or contemplation on sound. accompaniment in one of seven basic tal as. T. Upend ran and the late Palghat Mani Playing on the inner psyche, it provokes It is a single-piece drum hollowed out ofa Iyer. compound sentiments, with the subtly block of jackwood, redwood or mango; its Another widely used percussion instru- difierent modes of raga and tala stimula- two layered leather playing ends, secured ment in South India is the ghataDl, a ting the inner world of moods and deeper by leather braces, are tuned an octave specially-made, large-bellied clay pot emotions. The responsive listener is known apart, to the tonic of the soloist. Small which the player strikes with his hands, as a rasika, that is, someone who has latent cylindrical pieces of wood between the wrists, all ten fingers and fingernails. The impressions offeeling that may be aroused. braces and the body of the drum render general efiect is a fast and scintillating He must have the capacity to transcend the pitch of the instrument adjustable. crackling. The player can achieve changes ordinary emotion and experience the Like the tabla, a mixture of iron filings or of pitch by moving the narrow open deeper sensation of poetic sentiment (rasa). mouth of the pot away from and against Nine rasas are generally spoken of-love, his bare stomach. Sometimes he throws humour, pathos or compassion, anger or the pot up into the air, catching it in time wrath, courage or heroism, fear, disgust or with the music. loathing, wonder and peace. To them can To form a percussion ensemble, the be added joy, pity, mystery, repentance, mridangam and ghat am can be accom- patience, devotion, tenderness, loneliness, panied by the kanjira, a simple circular patriotism and detachment from the wooden frame over which is stretched wild crowd. lizard skin on one side. Pieces of metal, or South may never coins, are inserted into the wooden frame, reach out into the outside world to the similar to the tambourine. The Dlorsing, same degree that Hindustani music has. the jew's harp, completes the trio of Nonetheless, it is a profound offering to the auxiliary percussion instruments. world of fine art. Struggling to maintain In recent years, instruments like the itself in a rapidly changing atmosphere saxophone, clarinet, mandolin and cello where ancient traditions and values are have been introduced into Carnatic mu- being sacrificed in the race to modernise, sic. The harmonium is nowhere to be seen Carnatic music is among the precious gifts on the concert platform in South India. that India has to ofter humanity in these The two great yearly musical events in vicarious times. Carnatic music are the Tyagaraja Festival M.S. Subbulakshmi, the famous vocalist in Tiruvayur to commemorate the birth- Peter Bendrey

CASSETTE REVIEW: fully recorded three-hour recital is a truly everywhere on this recording are superb, 'The Lost Saraswati' professional product well worthy of its as indeed are the alapanas that precede his South Indian vina by R. Visvesvaran name, 'The Lost Saraswati'. Compared next two pieces in ragas Saramati and Stereo 180 min. Produced by Saraswati with other recordings of this instrument Ranjani, both krittis composed by Tyaga- Project, 1984 currently available, this one is in a class by raja. After these we hear his interpretation itself One is left to wonder why R. of Dikshitar's composition Navaratnavi- Visvesvaran has never been recorded las, with the morsing accentuating the The Saraswati Project has been formed before. As a child prodigy, he gave his first brisk sound of the mridangam, creating to provide the discerning listener with public concert at nine years of age, as a beautifully fluid rhythmic patterns. Next, high-quality recordings of Indian musi- vocalist, taking to the vina a few years the listener is treated to a detailed alapana cians in concert. In contrast to the time later. As a vina player, vocalist, composer in raga Mohana, leading us into another limit imposed by the long-playing record, and musicologist, R. Visvesvaran is un- kritti by Tyagaraja. Here the virtuosity of and the bland atmosphere of the recording doubtedly one of the leading figures in R. Visvesvaran is displayed in his hand- studio, the project aims to capture the full Carnatic music today. ling of improvisations within the composi- three-hour concert format, as performed From the opening varnam in raga tion at quadruple speed. The ragam- before a small, select audience. Sahana, by Tyagaraja, it is obvious that thanam-pallavi that follows in raga Todi, The first ollering trom the Saraswati Visvesvaran is the master of his craft. He and subsequently a raga-malika (a piece Project is a recital given by the great follows this with his own composition in where several ragas are played in succes- saraswati vina virtuoso R. Visvesvaran. raga Hamsadhvani, exquisitely rendered, sion), is an astonishing piece of creativity Available on two metal or chromium 90- at times blending his voice with his vina in and dexterity. After a full alapana in Todi, minute Dolby (B) cassettes, this beauti- the pallavi. His swara kalpanas here and (continued on back page) 5

Khan. Without this he felt that classical music was lacking life. With his fabulous musical background and skill he was able to find inspiration in music by expressing natural phenomena in musical notes. In an article he was reported to have said (B.R. Deodhar, 1949): 'All the objects in this world are full of beauty and I strive to give expression in musical form to every- thing that attracts my attention. When I am sitting by the bank ofa river or on open ground on an evening I see the birds flying in the sky. Their flight, the perfect freedom with which they move hither and thither, their capers, their quick upward dartings and leisurely returns to the trees - how I like all this. I begin to think up ways of expressing all these actions faithfully in music. I flash a tan up to the pancham of the upper octave and descend spiralling my voice round, back to the tonic Sa.' Anonther time he was observed singing ascending and descending tanas to the leaping-up and dashing-down of the waves from the sea on Bombay's Marine Drive. With this emotional and 'impressionis- tic' approach to music, it was no wonder that he excelled in the light classical form. He also sang lyrics and folk songs. He composed many under the pen-name 'Sabrang', which means 'full of all colours'. The thumri offered Bade Gulam Ali the opportunity to fully explore the scope of his voice and his musical imagination. It is for his thumris that he is most remembered today. In 1961, Bade Gulam Ali Khan suffered a paralytic stroke. Although his tongue was affected, the devoted musician con- Bade Gulam Ali Khan shortly before his death. tinued to sing until his death in 1968. The OLD MASTERS OF INDIAN while others had to warm up their voices in most popular classical artist during his MUSIC - IV alap. However, he was criticised both for lifetime, he is the most imitated one after the stress on intricate patterns and his lack his death, comparable only to the great Bade Gularn Ali Khan of systematic development within the Amir Khan ofIndore. His best disciple, his (1902-1968) ragas. But he felt that careful delineation son Munawar Ali Khan, is respected as was the subject of alap and dhrupad; he one of the best vocalists of the present Bade Gulam Ali Khan was born in 1902 in preferred the fanciful aspects of khayal. generation, although only his music, not Lahore (now Pakistan). His father, Ali With his numerous performances he his voice, echoes his incomparable father. Bux, WqS a musician, but as a boy Bade won the hearts of many music lovers all Gulam Ali was taught by his uncle, the over India. He had a charismatic persona- Bade Gulam Ali Khan has been frequently famous musician Kale Khan ofPatiala, for lity and a thorough understanding of the recorded during his lifetime. There are six ten years. After his guru's death, he mood of his audience, so that he always different records of his available on the HMV continued practising and studying with his sang the right pieces at the right moment. EMI Label (the Gramophone Company of father and also with Ashiq Ali and Sindhi It is said that he established his India). Khan, well-known musicians of their day. reputation in Calcutta, a major cultural Classical In this way the young musician com- centre, in a matter of days. At a 'music Ragas Gujri Todi, Desi Todi, Bhimpalas, bined an inborn talent with a thorough conference' that lasted several days an Kamod, Pahadi, Kedar, Jaijaiwanti, Darbari, training under great masters and with unknown fat man expressed his wish to Adana, and Paraj: endless practice. This resulted in possibly perform. After insisting, he was scheduled HMV MOAE 5004. the most perfect voice there has ever been for a performance at a time when most Ragas Gunkali and Malkauns: in Indian music; three octaves of smooth people would be going out for lunch HMV EALP 1258. and beautiful tones in perfect tune. To this anyway. The audience was uninterested Ragas and Kaushi Dhani: he added a humble approach to music as and making a noise. But with the first note HMV EALP 1265. something truly divine, as well as a very of Bade Gulam Ali Khan the atmosphere Ragas Suddha Sarang, Megh Malhar and sensitive and emotional approach to the changed and the audience was entranced Thumri Pahadi: classical tradition. by his singing for hours. Those who had HMV EALP 1364. Bade Gulam Ali Khan's entire life missed his performance demanded to hear Light classical consisted of continuous practice, since he him the next day, and lost their interest in Thumri - Featuring Aaye ne balaam: was totally devoted to music. This is why the other artists. HMV MOAE 5005. he could start a performance with a fast The emotional appeal of music was the Great Master, great music: composition withve:;y fast improvisations, most important aspect for Bade Gulam Ali HMV EALP 1516. REVIEW (continued from page 4) ragaJhinjoti, written by Vina Seshanna, a INDIAN MUSIC court vina vidwan of the Maharaja of Visvesvaran plays a long thanam, first in Mysore, Visvesvaran's home town. The NEWSLETTER Todi, then in raga-malika form, in ragas concert concludes with a short composi- Editors: Huib Schippers, Jane Harvey Jaijaiwanti, Varali, Kannada, Marwa, tion of Purandaradasa. Post Box 10088, Amsterdam, Holland Bhairagi, Bhairav, Ahiri and Madyama- With this recording, it becomes obvious vati. His thanam technique is his own, that the delicate acoustics of Indian SUBSCRIPTIONS creating long sustained sequences of po- stringed instruments demand an expertise werful and moving sound, bringing out in recording technique. The South Indian Hi1. 15,- (or international equiva- the full richness of his beautiful instru- vina does not respond well to the poor lent) per year. Send by Internatio- ment, which is somewhat larger than the amplification and recording systems curr- nal Postal Money Order, U.S. normal saraswati vina. Though whole ently used in India, and its popularity as a Bank cheque, cash in registered letter sides of long-playing records have been concert instrument has suffered conse- or pay to Postgiro acc. no. 5265123 devoted to the thanam form, notably by S. quently. The Saraswati Project, created made out to Indian Music Newsletter, Balachander and R.K. Suryanarayana, recently by Norman Sjoman, a Canadian Amsterdam. Visvesvaran's thanam is a tour-de-force sanskritist, deserves full credit for the aptly second to none. His Pallavi is equally named 'Lost Saraswati', a valuable addi- BACK ISSUES impressive, building in speed and com- tion to the world of recorded ethnic music. Back issues of the Newsletter can be plexity to a climax, with vina, drum and Hopefully, more of the hidden talent that ordered by sending f 2,50 per issue for morsing finally in unison and at speed. lies behind the mainstream of Indian nos. 3-7 (four pages), and f 3,- for The last half-hour of the recital contains music today will be exposed and recorded issues 8-13. For way of payment see five pieces. The first three, short and by the Saraswati Project. above. sedate, are compositions by Vyasaraya, Jayadeva and Subramanya Shastri. Vis- Peter Bendrey A NOTE TO OUR DUTCH vesvaran then plays a delightful tillana in READERS Vorige maand is het boekje Mnziek The Saraswati project recording of \'isves\'aran can be ordered by mail Ji'om: Saraswati nit India voor de lnisteraar uit- Project, Leif Karlsson, Mard\'agen 14, S-644 00 Torshalla, Sweden. They are also gekomen. In dit 42-pagina tellende available at Au Bout du Monde record shop, Singel313, Amsterdam, tel. 020-251397, boekje zet Newsletter-redacteur Huib and during concerts in the Mozes en Aaronkerk in Amsterdam. Schippers op heldere wijze de basis- begrippen van de Indiase muziek uiteen, waarbij het vergroten van het Prices: luisterplezier voor muziekliefhebbers Set of 2 metal 90 min. cassettes 3 hrs US$39,- Hfl 125,- 300SKR voorop staat. Verder bevat het een Set of 2 chromium 90 min. cassettes 3 hI'S US$34,- HIl 110,- 250SKR sec tie over boeken en platen en een Pan I, 1 metal 90 min. cassette 90 min. US$19,50 HIl 62,50 150SKR woordenlijst van de meest voorko- Part 2, 1 metal 90 min. cassette 90 min. US$19,50 Hfl 62,50 150SKR mende Indiase termen. U kunt het Part I, 1 chromium 90 min. cassette 90 min. USSI7,- HIl 55,- 125SKR fraai uitgevoerde boekje bestellen Part 2, 1 chromium 90 min. cassette 90 min. USSI7,- HIl 55,- 125SKR door I' 9,- (f 7,50 + verzendkosten) over te maken op giro 5265123 t.n.v. Finally, there is the possibility of ordering a standard qual it y cassette with only pan of the Stichting Tritantri, Amsterdam. Het concert of \ 'isves\'aran: IS ook verkrijgbaar bij de betere boekhandels 111 Amsterdam en 1 x 60 min. cassette, selections 60 min. USSI2.- Hf1 35,- 100SKR Utrecht.

INTERNATIONAL DIARY Shiv KnItlar SharItla - santur before. We will give more extensive Wednesday 6 March, Cologne information in the next Newsletter.

Holland INDIAN MUSIC WEEKENDS As usual, the winter season has little to As yet no concerts have been planned for offer in terms of concerts of Indian music. Holland until around 13 April, the Indian To be held at Dartington College orArts in Devon, England. There is a festival in Cologne (Koln), with Festival Weekend in the Mozes and three top artists, who need no further Aaronkerk, Amsterdam, to celebrate the 18-20 January, to include Indian music/ dance concert on 19 January. introduction. In April the season will start birthday of . in most other countries. However, do 26-28 April, to include Indian music/ check local sources for house concerts and France dance concert on 28 April. possible other concerts that have escaped On the 7th and 8th of April 1985 then' . ill The Indian Music Weekends provide a our attention. be a '24-honr raga concert' in Par .. [he variety of learning and playing oppor- artists participating in this giant concert tunities for beginners to advanced students Germany will be Fahimuddin Dagar (dhrupad of Indian music and dance. These are in Ravi Shankar - sitar singing), Gopal Krishna (vichitra vina), the form of workshops, instrumental (sitar, Sunday 3 March, Stuttgart Usman Khan (sitar), Hariprasad Chaura- tabla), dance and vocal classes as well as Tuesday 5 March, Cologne (part of festival sia (flute), Zia Mohiuddin Dagar (rudra lectures and film run by professional with and Shiv vina), (khayal singing), Indian musicians and musicologists. A Kumar Sharma) V.G. (violin), Ranidhir Roy (esraj), detailed programme is available on re- Thursday 7 lv/arch, Hamburg Shiv Kumar Sharma (santur) and Sabri quest from The Secretary, Music Depart- Saturday 8 lv/arch, Berlin Khan (sarangi). As you see, there will be ment, Dartington College of Arts, Totnes, Hariprasad Chanrasia - f1ute artists and even instruments which have' Devon, England. Tel: Totnes 862224 ExL Monday 4 March, Cologne rarely, if ever, been heard in the West 38. Issue no. 15 April-May-June 1985 INDIAN MUSIC NEWSLETTER A quarterly information paper for lovers of Indian music in the West.

learned from him for one or two years. Then Then there was one of his students, Deven- INTERVIEW WITH one day I heard a flautist called Bho- dra Murdeshwar; he used to play in the HARIPRASAD CHAURASIA lanath, from Benares. He joined All India same style. I started by listening to such Radio in and I got a chance to masters as -sahib, Ravi by Ira Landgarten hear his flute. I was so overwhelmed that I Shankar, , , Where and when were you born? Amir Khan. I started my own way of play- ing. I was born in in the city of Allahabad, which is a holy place where So you were influenced by vocalists and three rivers meet together - the Ganga, string players as well as flautists? J amuna and Saraswati. This is a popular place called Triveni Sangam. I was born Yes, and others. At first I started with in July 1938. I was not born into a musi- the same size flute as but cal family. I'm sorry to say my father was my playing is very different from others, a wrestler, and he was very far from music. because I started learning from guru-ma He was not interested in his children be- Annapurna Shankar, the genius daughter of coming musicians; rather he wanted his the late Allauddin Khan. I met her when I was in Orissa, but at first she said, 'No, I children to become wrestlers and follow cannot teach you'. She just refused me! 'I his profession. It's a family tradition in will not teach anybody; if you want to learn, India, like musicians' families. When I used you can learn from Ravi Shankar'. Because to whistle he would slap me! 'Why should a Ravi Shankar was her husband. She is a wrestler's child whistle?' he would ask. very private person. And she is very far How did you become involved in music? from this world; she doesn't mix with any- Well, from childhood I had an interest thought: "I must change to playing the one, she's got her own thinking, her own in music, but I used to hide from my father flute". I got a flute and I went to him and imagination. She is a very kind, very nice la- when I was playing or singing, or do it very asked him to teach me. So I started learning dy; I have never met such a lady in my life, softly. When I was about 12 years old I flute from him, and continued with him and I'm grateful that she accepted me af- started learning vocal music. for four or five years. Then I got a chance terwards. But it took me three years to be to work with , , a accepted. I was really grateful when I started Did you have much exposure to classical job very far from my birthplace. That was learning from her and I still am. music in your youth? in 1956. I used to play in children's pro- Do you still see her periodically? Does she grammes for All India Radio (AIR). Yes I did, because in Allahabad there perform at all? Practise? used to be a great music festival called Pra- Did you become a stage performer at that yag Sangit Samhiti, so I would listen. As a point? Yes, yes. She doesn't perform but she child I would go there. When my father always practises; every day she is practising slept, I went. My mother died when I was No not then. I only performed in small but she will not perform - God knows the six, so there was nobody except my father. houses and on All India Radio. reason, and I don't want to know since she I was very keen to learn classical music. What happened after you got the job with is my teacher. She plays the , which is bigger than the sitar; it's like a eel- Who do you remember from those days; All India Radio? ·10 compared to a viola, and it's a very diffi- did you hear any of the greats? When I started the job, I played as a cult instrument. Whomever I have met, There were many musicians who didn't regular artist and I used to compose music great musicians who have heard Annapur- become famous; singers and i.nstrumenta- for AIR. My father then became a little bit when she used to play about 15 years lists. There was Pradip Kumar Chatterjee, interested because I was earning money! ago - nobody can forget her music. You one of the vocalists, who lived just a few Then he said, 'Okay, it's fine, go ahead!' cannot imagine that kind of playing, and minutes' walk from my house. And there He ha