Sincere, thorough effort

FIVE HUNDRED children filled the stage and the aisles in the packed Madras Music Academy hall, to welcome the new millennium at the hour of its midnight birth. At the appointed moment, M. S. Subbulakshmi's recorded voice sang the first line of the prayer for universal brotherhood, composed by the Paramacharya of Kanchi for her recital at the United Nations Organisation in 1966. This was the cue for the young voices to rise together in joyous celebration. As they ended with the benediction, `May all the people of the world be blessed with prosperity!' the audience was visibly moved and exalted. What a wonderful way to step into a new era! With the hope that humanity will cultivate restraint, generosity and compassion to create a better age for peaceful co- existence! And what better way to do it than through the medium of music, which appeals directly to the spirit!

This single scene was enough to ensure the success of the multi- media event of unparalleled magnitude in South Indian classical music, planned and executed by the Youth Association of Carnatic Music (YACM). This millennium concert began at 9-45 p.m. and ended well after midnight. The three hour show brought a series of surprises ambitiously conceived, starting with the entry of star vocalist Sudha Ragunathan in the new role of compere, which she performed with an unselfconscious elan. Announcing that the show would take the audience through the last hundred years of a classical system that was over two thousand years old, she proceeded to introduce other artistes of the younger generation like Sanjay Subramaniam, S. Sowmya, Ravi Kiran, S. Gayathri, Veenai Jayanthi, Vijay Siva, Bombay Jayashree, Neyveli Santhanagopalan and others who in turn recalled the titans of the past to whom they owed the preservation and promotion of the Carnatic heritage.

Each spoke with feeling, even passion, and was able to vivify the reconstruction of the past and the quick profiles with audio- visual back up from the wings, and on the stage screen. They were aided in creating the required effects by the simple expedient of hanging two reed curtains flanking the centre screen, all of which could be rolled up and down at different times.

The show also paid tribute to the living legends of the Carnatic realm by bringing them on the stage, singly or in unusual tandem. The opening scene centrestaged the 92-year old titan Semmangudi Srinivasa Iyer, amidst thunderous applause, and had him bless the gathering by invoking the spiritual power of music with Tyagaraja's `Nada tanumanisam'. The vocal discords were drowned in a gush of emotion that enveloped the audience, as they reflected that they were privileged to observe one of the all time greats of the Carnatic tradition; a genius who stands for its most conservative values while yet being one of its most original artistes. Pioneer woman vocalist D. K. Pattammal, and K. V. Narayanaswami, the exemplar of the influential Ariyakudi bani, were paired to sing two kritis together. A more unexpected blend was T. N. Seshagopalan and N. Ramani who, accompanied by M. Chandrasekharan and Guruvayur Dorai, rendered a piece specially composed to welcome the new millennium. Their ``Suswagatam'' was an energetic prediction of a thousand years of good music in the future.

Nor was the contribution of pure instrumental music forgotten. Violinists M. S. Gopalakrishnan and V. V. Subramaniam came together with veteran T. K. Murthy just before midnight. Earlier Karaikudi Mani and Vellore Ramabhadran had caused ripples of laughter among listeners with their very sporting singing of a pallavi line which, while being descriptive of Lord Rama, also punned on their own names. They provided well planned, well timed fare. A very special scene had the stage crammed with musicians, and a whole range of instruments from the ubiquitous violin to the forgotten jalatarangam. This splendid visual burst into melody, composed and conducted by trendsetter, Lalgudi Jayaraman. Very aptly, it was a tribute to the vadya vrinda orchestral music of the All India Radio. The institution had been singled out for praise in spreading classical music to every corner of the country, thus creating awareness and interest in the genre even in remote spots. The research of the organisers had been thorough, as evident when other institutions like The Annamalai University, the first academic institution to offer a course in Carnatic music, and the Music Academy, the most coveted stage and award provider for the artistes were described with gratitude. Nor was scholarship neglected. Professor Sambamoorthy, author of the largest number of books on Carnatic music was given due honour. The media support found mention, describing the systematic coverage given by Swadesamitran, TheHindu, the role of music critic Kalki Krishnamurthy, and a comparatively new entrant, the Sruti magazine.

Naturally, the great musicians of the past, vocal and instrumental, men and women, came in for handsome tributes. But a few notable names were omitted, understandable in a vast compilation, though not to be expected in such a sincere, thorough effort.

Just when we thought the programme was going to end on a lighthearted note (actor S. V. Shekher, TV personality Revathi Sankaran and ghatam artiste S. Karthik had regaled the audience with an impromptu skit), the mood was transformed to one more solemn and evocative. It seemed the entire community of young musicians had come together in a magnificent chorus to render a flawless ``Mamava Pattabhirama'' in Manirangu. The curtains were brought down with an auspicious Mallari by a procession of twin nadaswarams and tavils.

One could easily spot the glitches in the show. First of all, the profuse use of English even in our most traditional stronghold. Its minimal and more colloquial usage would have made for greater impact and intimate appeal. We saw the difference when Santhanagopalan spoke in everyday Tamil, which made him the most spontaneous, sincere speaker. The fashion show effect with gaudy sarees could have been avoided. Better timing would have made for a more professional finish. (The striking of the midnight hour was missed by everyone except the vociferous audience!) The worst and almost unforgivable flaw was that the volume was always at high blast, antithetical to the classy, spiritual heritage being lauded.

It was touching that the young artiste-organisers had conceived a show to highlight their seniors and the past maestros, without thought of self promotion. It was easy to see their team spirit, and their genuine love for the masters they had heard only on recordings. When they spoke of Nadaswara Chakravarti Rajaratnam Pillai, Tiger Varadachariar, Mysore Vasudevachar, Ariyakudi Ramanuja Iyengar, Dandapani Desigar, Flute Mali, Veena Balachander, Palghat Mani Iyer and others, their voices were high on emotion, reverence and humility in every syllable. You also saw wonder on their faces when the music of the masters was played on tape. Similarly, their approach to the present day stalwarts was marked by respect and admiration. This made the show a heart warming celebration of the magnificent tradition of Carnatic music as well as the mentor-disciple bonds which charge it with life, power, organic continuity and dynamism. Such an attitude more than anything else, gives hope for the future of Carnatic music.

GOWRI RAMNARAYAN

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