|
Entertainment
Informative sessions with experts
Umayalpuram Sivaraman, president of the Conference,
receiving `Guru Guha Vani', audio cassette, from the
Music Academy president, Mr. T. T. Vasu. Mr C. V. Narasimhan, chairman of the Conference committee, and Mr. S. Sankaranarayanan, product manager, Saregama Ltd., look on.
WITH THE president of the Conference, Umayalpuram K. Sivaraman in the Chair, the fourth day's session commenced with the devotional rendering of songs by various composers on Goddess Durga, by Subhasruti Group of Dr. Mathangi Ramakrishnan.
The first lecture presentation was given by M. A. Bhageerathi, lecturer, Music Department of Queen Marys' College on Musical Prabandhas. The speaker at first dealt with the origin and characteristics of the Prabandhas, which belong to the Nibaddha Gana variety, having the classification of Dhaatu and Anga. The four types of Dhaatu (Udgraaham, Melapakam, Dhruvam and Abhogam) were explained in detail. The features of the Angas (Swaram, Prutha, Pada, Tenaka, Pata) were also described. The different varieties of Prabandhas (Medhini, Anandini, Deepani, Paavani and Taraavali) which are also known by the other names, Sruti, Neethi, Senai, Kavitha, Champu. Uttama and Adhama Prabandhas, ragas used in Prabandhas, their tala structures and the different textual references were all explained. Sriranga Prabandham and Uma Tilaka Prabandham were illustrated.
Tributes were paid to violinist Papa Sri. K. S. Venkatramiah whose centenary is being observed this year. Mr. T.T. Vasu, President of the Music Academy, Mr. C.V. Narasimhan, Chairman of the Conference Committee, veteran violinist, T. N. Krishnan and Mr. Umayalpuram Sivaraman, paid homage. This was followed by a musical tribute by T. N. Krishnan in the main hall.
The fifth day's session began with Stuti Manjari by Nadamuni Bhajaan Sangh of H. Ramakrishnan - comprising compositions of Kumaramangalam Srinivasaraghavan.
Under the Chellammal Natarajan Endowment instituted by Dr. M.G. Varadarajan, Smt. Madhavi Rajagopal, musician and musicologist from Bangalore, gave a lecture-demonstration on the compositions of Kumara Ettendra (Jagadveera Ramkumara Eddappa Maharaja of Ettayapuram). The kritis are set mostly in Madhyama kala and reveal a strong influence of Sri Muthuswami Dikshitar. The speaker compared KarunandaChatura in Nilambari to Amba Neelayatakshi of Dikshitar and concluded with Sivanandarajayogaprakasa in Raga Surati.
Moods in Padam
Lakshmi Viswanathan, Bharatanatyam artiste, presented a lecture-demonstration on the importance of the ragas and moods in Padam compositions in dance repertoire. The speaker mentioned that the tempo and the raga of the Padam enhance the mood and spirit and create the right ambience. Based on this view, the speaker described the varied sentiments expressed in the Padams and the scope that it offers for wide interpretations. Suitable illustrations were demonstrated.
The session on December 20 commenced with devotional singing of Purandaradasa's compositions by B. Ramamurthi Rao and his group. Ramayana in Performing Arts of South East Asia with focus on a comparative analysis of The Thai, Cambodian and Indonesian Traditions was presented by Sangita Isvaran, Research Scholar, ASIA Fellow's program and Bharatanatyam artiste in the first part of the session. Sangita spoke about the extent to which the Ramayana has mingled with the lives of the people in different parts of South-East Asia. The speaker mentioned the different forms of performing traditions of the Ramayana story, prevalent in the above places and made an analysis of the dance movements, characters and the mode of communication, while drawing a parallel and contrast of these with the system of the Natya Sastra.
In the second part of the session, Mr. Fabrizio Cassol, well known musician and saxophone player and close collaborator of the conference President, spoke on the specialities and adaptability of the nuances of Carnatic music with the focus on the aspects of its melody and rhythm, for Jazz and fusion concerts of the West. Mr. Fabrizio dealt with certain Ragas (Kanakangi, Nasikabhushani, Ratnangi) with reference to their main notes and explained the different approaches in improvising based on their scale and producing the required sangatis to incorporate into fusion music.
On December 21, the session commenced with the rendering of Jayadeva's Ashtapadi songs rendered by Surmangal group. Following this Sangita Kala Acharya Awardee Kumbakonam K. Rajappa Iyer, spoke on the importance of the Mridangam as the main among the tala instruments. He dealt with the different components required for making the instrument. He described the specialities of great stalwarts like Tekka (Jhatka Vandi Babu Rao), Pharan mixed with Chapu (Rangu Iyengar) - demonstrated by K. R. Ganesh, Azhaga Nambi Pillai (exact representation of the singing pattern), Pudukkottai Dakshinamurthy Pillai (unique status in Kanjira and Mridangam), Umayalpuram Kothandarama Iyer (speciality in Sollu), Palani Subramania Pillai (Gumki) and Palghat Mani Iyer (exponent of improvised Tani). In an innovative step, B. Rajam Iyer, in the second session of the morning, spoke on 22 srutis in Raga Bhairavi. The speaker referred to the Sangita Sampradaya Pradarsini of Subbarama Dikshitar, who has made a mention that all the 22 srutis can be found in passages of Raga Bhairavi. The speaker explained textual definitions of usage in the intricate aspects of this Raga and illustrated the different sancharas of Bhairavi through certain prominent kritis. The session was interactive with observations from P. Vasanthakumar and Sanjay Subramaniam (query regarding Prati Madhyama as given in Sangita Sampradaya Pradarshini). The session on December 22 opened with a devotional rendering titled Sri Ramadootam Sirasa Namami by Gita Nivedana Trust.
Prof. S.R. Janakiraman, senior musician, musicologist and member, Advisory Committee, presented the first lec-dem of the morning. His topic was ``Suitability of the different types of Rhythms and Talas for Musical Compositions." The speaker gave textual references to the terms Tala and Laya, as part of the eight aspects of music. He further said Sabda and Chandas are inseparable. Even Slokas and Viruttams have a certain underlying laya. He mentioned different types of Chandas (Sardoola, Anushtubh). An ideal music is one that has melodical rhythm and rhythmical melody, the speaker said. The speaker explained certain talas with examples (Chitra Tara and Chitra Tama).
Cassette released
At this point of the Conference session, the Music Academy in collaboration with Saregama Ltd., released an Audio Cassette titled Guru Guha Vani, containing the compositions of Sri Muthuswami Dikshitar sung by Smt. M. S. Subbulakshmi, compiled from its archival collection. Mr. T. T. Vasu presided and released the cassette and the first copy was received by Mr. C. V. Narasimhan, Chairman of the Conference Committee. A copy of the cassette was presented to Mr. Umayalpuram Sivaraman.
As part of the next presentation, Dr.Prameela Gurumurthy, from the Music Department, Madras University, spoke about the musical references in Tiruvisai Paa and Tiruppalaandu of the ninth Tirumurai, under the Nachimuthu Gounder Rukmini Ammal Trust instituted by Dr. N. Mahalingam. The speaker explained the order of twelve Tirumurai (collection of Saivite songs) songs and the order of their ritualisitc rendering. Prameela mentioned an ancient song reference which quotes the names of the nine composers of Tirumurai. Further, she mentioned the holy places where the songs were sung and demonstrated some of them. Songs on Thillai (Panchamappann - 21 Padigams), Tiruvidaikkazhi (abundant with Nayika - Nayaka Bhava) and compositions of Tirumaligai Tevar, Kandaradittar, Paranthaka Chozhar and Karuvur Tevar (Gandhara Pann) were quoted. The musical instruments (Yazh, Parai, Dundubhi, Kinnaram, Muzhavam, Veena and Silambu) and musical references ( Aalathi) referred in the above compositions were highlighted. Sunaadam Group of Suguna Purushottaman commenced the morning's proceedings on December 23 by rendering Pasuram songs. Under M. Ganesa Iyer Centenary Endowment, Valayapettai R. Krishnan, gave a lecture-demonstration on the references of the Mahabharatam in the Tiruppugazh compositions. T.V. Sundaravalli accompanied him for musical rendering. The speaker mentioned the references for the word Tiruppugazh in different ancient texts and said that Sri Arunagirinathar composed Tiruppugazh in 14th Century. The number of Tiruppugazh songs available are 1329. Various Tiruppugazh songs depicting episodes from Mahabharatam and special references along with the in built Chandam structures focussed as found, were explained with musical rendering. In her presentation Vidya Shankar, senior musician and musicologist, focussed on the Tala Anubhava in the compositions of Trinity. The introductory part of this lecture dealt with the aspects of laya in Tala, leading to the culmination of Bhava, Raga and Tala in compositions. The speaker further dealt with certain compositions of the Trinity and analysed the concept of Tala in them. Suitable examples to explain the above point were demonstrated. Focus on the kritis of Syama Sastri (Mayamma), the harmonious blend of syllabic and melodic structures in them and the mode of seven beats made easy by the composer, and those of Sri Muthuswami Dikshitar (diction, majesty in swara and sahitya, prasa and anuprasa usage, methodical proportion of nuances in tala and the in between Madhya nadai before shifting from Madhya kala to Dhruta kala) - e.g. Paalayamam Bruhadeeswara were explained. While speaking of the kritis of Sri Tyagaraja, the speaker highlighted their vast scope, constant under current of Sarva Laghu, spontaneity, simplicity, lofty philosophical ideas and the identity of Aarohana and Avarohana right at the start.
NANDINI RAMANI
Send this article to Friends by
E-Mail
Entertainment
|
