Chennai music season 2016 – final missive

December 29, 2016 was the last day of the season for me and for my wife. We were returning to Singapore on December 30. We had packed the day with programmes to attend. It ended up as a day of attending lecture-demonstrations rather than performances. Overall, no complaints about the programmes but about the venues, yes.

First, thanks to light traffic, we reached Sri Parthasarathy Swami Sabha earlier than we thought. So, we caught more than half of Dr. Radha Baskar’s lec.-dem. On Thiagarajar compositions. She was assisted by two good and young singers. Dr. Baskar was an accomplished speaker.

From my notes, I find three interesting things to mention here:

(1) On ‘Sankatis’ – note the difference between ‘Ada Modi Galade’ vs. Marukelara, O! Raghava. Her singer Sangita did a good job of differentiating the Sankatis in both the kritis.

(2) Entharo Mahanubhavulu – begins in the little finger (not that I know the significance)

(3) Saint Thiagaraja composed one Notu Swara based Kriti – just to show that he was capable of doing so, too.

She kept saying that one should not belittle Shri. Thiagaraja Swamigal by calling him a saint?!! She wanted to say that he had a very good aesthetic and artistic sense and that he had not renounced those as saints do. One gets the point. But, to say that one should not belittle him by calling him a saint is a bit ludicrous. ‘Sainthood’ is not a demotion. It is an exalted state. One should prepare the script carefully to avoid such bizarre statements.

Next, in the same venue, was the topic, ‘Vainava Abhimana Sthalangal’, jointly presented by Dr. Sudha Seshaiyan and Ms. Vasundhara Rajagopal. Last season (December 2015), the singer, Vasundara Rajagopal had offered a great programme ‘Nava Vidha Ramanayanam’ with Sri Srinidhi Swamigal. It was a memorable programme.

Dr. Sudha Seshaiyan is very knowledgeable, thorough and accomplished. Her diction and delivery are flawless. But, she lacked a bit of life. The programme was about Vaishnava Temples not sung by the Azhwaars. The duo took us through Bhadrachalam, Udupi, Guruvayoor, Mannargudi, Puri and Pandaripuram.

Most of us know of only the Sri Udupi Krishnan Temple. Well, I was referring to myself. Dr. Seshaiyan told us about the Sri Chandramowliswarar Temple and the Sri Anantheshwarar Temple there.

About Mannargudi, she mentioned that the temple had an area of 36 acres of which 23 acres was the area of the Temple tank! The Temple has 16 towers, 18 Gopurams, 7 Praharams and 24 Sannidhis.

Then, we had the choice of attending Shertalai Shri. Ranganatha Sharma at the same venue at 4 and Sri. Ramakrishnan Murthy at the Music Academy at 6:45. These were the two musicians who impressed me in the 2016 season and it would have been an apt finish to the season for me. But, we chose to attend the three-hour long lecture-demonstration by Shri. R.K. Shriramkumar on those who inspired saint Thiagaraja. 2017 is the 250th year of his birth.

Shriramkumar had done meticulous research. He was assisted by three good singers – Amrita Murali, Nisha Rajagopal and K. Gayatri (was there a fourth one?) and Arun Prakash on the Mrdangam.

I may not have taken down notes meticulously. But, this is what I have. The songs that accompanied the commentary are in brackets:

  • St. Thiagarja considered sage Narada as his Guru. (Shri Narada- Kanada – Rupaka Talam)
  • His second influence was sage Valmiki (Maa Janaki – Khamboji)
  • His third inspiration was Bodhana who translated/re-composed Bhagavatam in Telugu. A copy is available in the Sourashtra Library in Madurai.
  • His inspiration came from Tulsi Das Ramayana (Giripai – Sahana)
  • Influence of Sri Purandaradasa on Thiagaraja (esp. for Nindastuti)
  • Influence of Bhadrachala Ramadas was substantial. He praises Ramadas in several compositions.
  • The influence of Sri Narayana Theerthar (the author of the Sanskrit opera, ‘Krishna Leela Tharangini’) was evident in the two operas that Saint Thiagaraja composed – Prahalada Bhakti Vijayam and Nauka Charitam.
  • Next, Shriramkumar mentioned Sri. Upanishad Brahman also known as Sri Ramachandreswara Saraswati. He was a close associate of Sri. Thiagaraja’s father.
  • I do not know if Shriramkumar said that he was the inspiration for Saint Thiagaraja to compose Divyanama Sankeertanams for congregational singing. But, it is there in my notes!
  • RKS mentioned that ‘Rama-ashtapati’ of Upanishad Brahman was set to tune by Sri. Muthuswami Dikshitar but that the tune was lost.

I found this on the web:

One of the oldest Mutts in TamilNadu is the Upanishad Brahman Mutt in Kanchipuram, near the Sri Kailasanathar temple. The Mutt derives its name from Upanishad Brahmayogin or Upanishad Brahmendral or Sri Ramachandrandra Saraswathi. He is called by the name of Upanishad Brahmayogin since he wrote commentaries on all the 108 upanishads of Hinduism in deference to the wishes of his father. The commentaries are now preserved in the Chennai Adayar Manuscripts Library. He had written close to 45,000 granthas and two other books covering various aspects of Advaita Vedanta and Bhakti.

(Ref: http://www.columbuslost.com/temples/Upanishad-Brahmendra-Mutt-and-Maha-Samadhi-Temple-in-Kanchipuram/info).

Incidentally, just as Columbus discovered the land of America, I discovered the site, ‘Columbuslost.com’. Check it out!

  • Kshetraiya Padams influenced many Sankatis in O’ Rangasayee and Pakkala Nilapadi.
  • Naada Thanum Anisham is the essence of the Mangala Shloka in Sangeeta Ratnakara.

By 8:30 PM, it had commenced at 5:30 PM, the programme had not ended. We had to leave. RKS has done tremendous work for this programme. His hard work and sincerity were amply evident. With some editing, it would be a good programme to repeat.

Back in Singapore, I listened to V. Sriram’s lecture on Saint Thiagaraja given in May 2016. Naturally, it had many common elements with RKS’ programme. It is available in Charsur.

After listening to that lecture, one could not help thinking that any other country would have nourished and cherished Tanjore city as the cultural capital of Southern India. It would and should have been made the destination city for cultural connoisseurs from all over the world. V. Sriram spends a few minutes on the Tippu Sultan invasion and the havoc and harm it wrought on the Tanjore region, including on art and culture.

Something has to be said about the NGS Mini hall. It is one of the most unsuitable halls for performance. It has only one door to enter and exit.

Our Rasikas are mostly impatient. They keep moving constantly. There is no stillness. Music is for stillness, mostly. The doors make noise. Chatting is going on in the corridor. When the door opens, the chatting drowns out the performance. The air-conditioning is either too cold, when it is on, and it feels too warm, when it is turned off, because there is no natural ventilation. The audio system is too loud if one sits in the front and if one stays back, then these swinging doors and conversations mar the experience.

The experience in most concert halls is more or less similar. There is no satisfying musical experience. From the manner in which the tickets are sold (or, not sold) and Rasikas checked in to the audio systems to the toilet facilities to temperature control in the halls, etc., there is a lot of scope for improvement. I am being polite here.

There is no concept of enhancing the Rasikas’ experience. Despite this, if we are able to glimpse divinity here and there, it speaks to the innate energy and divinity of the art and some of the artists who have imbibed the spirit of the art. The Sabhas can take no credit for it.

But, all that being said, for us, Chennai and its music season remain the biggest draw in December. We cannot conceive of being in any other place at that time of the year. After 12 concerts and 10 lecture-demonstrations, we are still hungry and insatiate. God willing, we will be back for more next year.

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