Sampradaya - Steadfast yet ever changing
Jignyasa’s ’Sampradaya – Steadfast yet ever changing’ is an effort to look into the rich singing tradition of Carnatic Classical music that has flowed down to us through generations. In the course of the flow, the factors influencing and affecting it have been many. A study of these would help in understanding today’s music scenario better, and lead to newer horizons for musicians to innovate and at the same time learn from the experiences of yesteryear masters.
On Oct 15th 2012, we would present our first event under ’Sampradaya – Steadfast yet ever changing’ on the legendary scholar-musician Sangita Kalanidhi Mudicondan Sri Venkatarama Iyer, and the very dynamic Sangita Kalanidhi Madurai Sri Srirangam Iyengar. The main highlights of this event will be a talk by Sangita Kala Acharya Vidvan Sri B Krishnamoorthy, a disciple of Mudicondan Venkatarama Iyer and a specialist in singing and composing pallavi-s, which was his guru’s forte. There will also be a lecture-concert by Sangita Kalanidhi Smt R Vedavalli, a disciple of both Mudicondan Vekatarama Iyer and Madurai Srirangam Iyengar, and herself a legendary scholar-musician in the field of Carnatic music.
Event date:
Monday, October 15, 2012 - 6:15pm to 8:30pm
Location:
Ragasudha Hall, 85/2 Luz Avenue, Mylapore, Chennai
Jignyasa - Centre for Studies in Sangitam and Samskritam
Jignyasa literally means quest for knowledge, and also signifies the motto of this organization. This is a Registered public Charitable Trust founded on 2nd September 2011 by a group of passionate and dedicated musicians and music researchers to promote study and research in the fields of music and Samskritam.
Sampradaya - by Jignyasa Trust
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thanjavooran
- Posts: 3038
- Joined: 03 Feb 2010, 04:44
Re: Sampradaya - by Jignyasa Trust
The function started at 18 15 hrs.
Concert clips were played at appropriate places.
Prof TRS and Cleveland sundaram were present
Invocation song by Sumithra Vasudev a Sanskrit verse composed for this special occasion in Nattai
Welcoming speech by ? in which he mentioned that this organization is mainly focusing on Sampradaya and style, Sangitham and Sanskrit.
Padmaja and Santhana Gopalan are patrons
The various branches/ activities of this organization are Gnana Deepika for understanding Raga, Gnana Samuchchaya and prakashika besides the main aim to analyze the flow of sampradayam Carnatic Music
Today being the 115th Birth day of Mudicondan the function has a special significance. This depicts the 3 generation of Music tradition
Sumithra Vasudev lighted the Kuthu vilakku
Ashwin Anand presented a Power point slide show.
The slide show was with full details of Madurai Srirangam Iyengar and Mudicondan.
Madurai Srirangam Iyengar
Inidially Begada niraval and swara of MSI was played . [ It should be Kathri swaraprastharam. ]
He was born as 3rd son to Sriman Ramaswami Iyengar on 5th July 1904
His debut performance was at his 13th year at Srirangam with his brother Srinivasa Iyengar.
Bidaram Krishnappa was present during the Arangetram.
Namakkal Narasimha iyengar an expert in Kedaragowla raga was his prime Guru
Narayani ragam was played.
He performed with Konerirajapuram VaidhyanathaIyer and Dakshinamoorthy pillai on Kanjira at Mayavaram Kasi viswanatha temple.
Raga Pantuvarali was played
Had training from Poochi Iyengar too.
1969 got his SK from MA
An expert in handling rare raga
He had patanthiram from Thillaisthanam school of St T's disciple lineage around 100 songs
He was a traditionalist who sang kritis in their original tunes. Eg Nagumomu with sudhdha dhaivatham
He stayed at Madurai, Thiruvarur and finally at Mannarkudi
A treasure trove in authentic Patantharam
He performed with his brother Srinivasa Iyengar over 30 yrs and after his demise he refused to sing
After much persuasion he started giving solo performance.
Mudicondan Venkatarama Iyer
A clip of Atana was played.
Oct 15 th is his Birthday
His Materanal grandfather was Tholukku Swaminatha Iyer
Initial guru was Vedaranyam Swaminatha iyer.
Advanced training from Konerirajapuram Vaidhyanatha Iyer.
he learnt Miruthangam, Ghatam and Kanjira which made him a perfect Laya Vidwan
His first concert in chennai was at Mylapore Sangeetha Sabha during 1919
Niraval of Balakanaka maya was played
At his 50th year in 1948 he came to Chennai and settled here
His knowledge in Tamil, Telugu, Sanskrit and English was enormous.
In 1953 he sang Kambodhi in Simma nandha Thalam
1956 Shatkala Pallavi
1971 Kambodhi RTP in Simma Nandhana Thalam
RTP in Sahana was played
Lec Dem on life of and music of Maha Vaidhyanatha Sivam was well applauded by everybody
His article in a magazine about the Horoscope of St T are all documented and available for study
Dr Raghavan was instrumental in bringing him from Mudicondan to Chennai
He was a Musician's musician and Vidwan's Vidwan
Srikrishna in Hindustani raga was played
SSI once mentioned that Mudicondan was the only Vidwan and all others were Musicians.
SSI's tribute ended with a clipping of Thillana in Kanada
Sankita Kala Acharya Shri B. Krishnamoorthy
He began with a slokam in Thodi
Along with R Vedavalli he had spent more time in Mudicondan village as a student of MV Iyer
1950 he joined Music college where Musiri, Brunda amma, Tk Rangachary were teachers.
1956 April BK joined MA
Mudicondan was practicing Ayurvedha also
In his singing the raga there will be continuation.
Continuity in delineation of the raga is a must which Mudicondan was to insist on this aspect
MV used to mention that sangeetham should not produce sound like a shaking pot with a stone inside
He had learnt rare pallavis from Umayalpuram Swaminatha iyer
Music should not athi chowkkam or athi thuritham
A memento was presented to B Krishnamoorthy.
SK R. Vedavalli
While sharing her experience from the two stalwarts M S Iyengar and Mudicondan she mentioned that
She was under the tutelage of the both like [ Partial ] Gurukulam
The musical debate during the Vidwans conversation itself used to be interesting.
Even listening to it will enhance one's musical knowledge
He was not having any formal school education and infact can't read and write.
In her childhood days she was living in the same street where MSI lived [ Mannarkudi ]and daily she used to meet him while driving his bullock cart himself.
RV used to listen to yesteryear Vidwans Viz Musiri, MSS old Gramaphone records when she was 6 yrs
All the families in that street were related to each other and all used to visit her house.
One day MSI entered her house asking for the girl who used to sing in shriek voice
Thus she was introduced to him and since then she became his favorite student
Her gurukulam started at her 6th year and he used to show affection and even help her in cleaning / brushing her teeth
She was under his tutelage for 4 years and she had learnt a lot from him and his teaching pattern was different.
She left Mannarkudi and came to Chennai in her 10th year
He did not know eve how to sign. In those time this was not considered as important.
The present day change is enormous and music alone is not enough
There was a huge age difference between his elder brother Sinivasa Iyengar and MS Iyengar
After his brothers demise he did not want sing on stage and avoiding concerts.
He had close association with Konerirajipuram and Umaiyalpuram
He was doing Srardham for his late Guru Namakkal Narsimha Iyengar till his life in a most befitting manner with 10 Rithviks
Regarding Mudicondan Avl,
She joined Music Academy during 1951 as a student of music college
M asked who her Guru was and he was very much pleased on hearing about MS Iyengar
1952 onwards Mudicondan was her Guru and after a break of few years in the middlestarted learning Music continuously since 1957 with Mudicondan as her Guru
His advice would be Sruthi is important and not calculations [ kanakku]
He was against to the pattern of Korvai and used to mention that Mirudhanga Vidwans job need not be touched . He was allergic to Korvai.
Every single work he will do with utmost care viz., preparing betel nut and leaf for chewing.
She had accompanied him many times to a particular shop in the town where a special variety of tobacco will be available.
He will prepare the tobacco very meticulously for his use.
He was an expert in preparing Shyavanaprash an Ayurvedic lehiyam.
She used to assist him for preparing it and her hands will become black with the native herbs
He was a close associate of Pazhani and Thiruvenkadu [ nadaswaram ] and she was present during their discussions on music which used to be quite interesting
His method of teaching was different and every detail should be repeated twice [ like Gandharam ]
One need not concentrate much on Thalam lest will be addicted to it. One should learn perfectly how to put thalam for a Mirudhanga Vidwan for his pattern
She learnt Simma nandhana Thala pallavi after promising him that she will not sing it anywhere.
Yaro ivar Yaro in saveri was played
MSI was convinced to accept the offer of SK at MSS's house when he was quite reluctant to accept it. SSI and MSS finally made him to accept it.
He did not know how much sanmanam to receive for the concerts
He used to question why a vocal Vidwan should use the violin sangathi
One should learn from a vocalist only for a vocal training
He can play violin and kanjira too
She learnt Chakravakam kriti of Gopala krishna Bharathi 'Arivudaiyor panindhu
He used to sing Niraval giving mellinam / vallinam at appropriate places
RV sang the Atana pallavi 'Rara Devathi deva'
He used to teach the dos and don't s to be folowed in a concert.
Once a particular Ghata Vidwan was interrupting his concert and he felt very embarassed and in turn he sang the remaining concert concentrating on Raga and Kizh kalam niraval only w/o swaraprastharam.
A Shanmukapriya clipping was played
Though in a concert this was quite pleasant and nice he was not fully satisfied on this performance.
That was his caliber
As regards to singing of Bhyravi simply the dhaivatham should be shown just touch and slide to nishadam. This was his style.
RV said that she could not completely share her experience for want of time
The Lec came to an end by 20 30 hrs.
Finally vote of thanks by Sumithra Vasudev
My observation
The function was well organised and conducted. As usual the hall was 3/4th full and mostly by senior citizens. There were two different timings mentioned for the function. 18 00 hrs and 18 15 hrs . BK and RV were present by 17 45 hrs and Cleveland came by 18 hrs. He left immediately after RV's Lec Dem and so all the Mylaporeans. It was empty during Thanks giving. My repeated request why can not such educative programmes be arranged in the morning session ? power point presentation was by Aswin Anand assisted by Swathi Ravichandran. As the slides contain more interesting details, if possible can be uploaded in this thread. Some important details could have been omitted, hence Corrections are most welcome.
Kudos to the team of JIGNYASA Centre for Studies in Sangeetam and Samskritam
Thanjavooran
16 10 2012
Concert clips were played at appropriate places.
Prof TRS and Cleveland sundaram were present
Invocation song by Sumithra Vasudev a Sanskrit verse composed for this special occasion in Nattai
Welcoming speech by ? in which he mentioned that this organization is mainly focusing on Sampradaya and style, Sangitham and Sanskrit.
Padmaja and Santhana Gopalan are patrons
The various branches/ activities of this organization are Gnana Deepika for understanding Raga, Gnana Samuchchaya and prakashika besides the main aim to analyze the flow of sampradayam Carnatic Music
Today being the 115th Birth day of Mudicondan the function has a special significance. This depicts the 3 generation of Music tradition
Sumithra Vasudev lighted the Kuthu vilakku
Ashwin Anand presented a Power point slide show.
The slide show was with full details of Madurai Srirangam Iyengar and Mudicondan.
Madurai Srirangam Iyengar
Inidially Begada niraval and swara of MSI was played . [ It should be Kathri swaraprastharam. ]
He was born as 3rd son to Sriman Ramaswami Iyengar on 5th July 1904
His debut performance was at his 13th year at Srirangam with his brother Srinivasa Iyengar.
Bidaram Krishnappa was present during the Arangetram.
Namakkal Narasimha iyengar an expert in Kedaragowla raga was his prime Guru
Narayani ragam was played.
He performed with Konerirajapuram VaidhyanathaIyer and Dakshinamoorthy pillai on Kanjira at Mayavaram Kasi viswanatha temple.
Raga Pantuvarali was played
Had training from Poochi Iyengar too.
1969 got his SK from MA
An expert in handling rare raga
He had patanthiram from Thillaisthanam school of St T's disciple lineage around 100 songs
He was a traditionalist who sang kritis in their original tunes. Eg Nagumomu with sudhdha dhaivatham
He stayed at Madurai, Thiruvarur and finally at Mannarkudi
A treasure trove in authentic Patantharam
He performed with his brother Srinivasa Iyengar over 30 yrs and after his demise he refused to sing
After much persuasion he started giving solo performance.
Mudicondan Venkatarama Iyer
A clip of Atana was played.
Oct 15 th is his Birthday
His Materanal grandfather was Tholukku Swaminatha Iyer
Initial guru was Vedaranyam Swaminatha iyer.
Advanced training from Konerirajapuram Vaidhyanatha Iyer.
he learnt Miruthangam, Ghatam and Kanjira which made him a perfect Laya Vidwan
His first concert in chennai was at Mylapore Sangeetha Sabha during 1919
Niraval of Balakanaka maya was played
At his 50th year in 1948 he came to Chennai and settled here
His knowledge in Tamil, Telugu, Sanskrit and English was enormous.
In 1953 he sang Kambodhi in Simma nandha Thalam
1956 Shatkala Pallavi
1971 Kambodhi RTP in Simma Nandhana Thalam
RTP in Sahana was played
Lec Dem on life of and music of Maha Vaidhyanatha Sivam was well applauded by everybody
His article in a magazine about the Horoscope of St T are all documented and available for study
Dr Raghavan was instrumental in bringing him from Mudicondan to Chennai
He was a Musician's musician and Vidwan's Vidwan
Srikrishna in Hindustani raga was played
SSI once mentioned that Mudicondan was the only Vidwan and all others were Musicians.
SSI's tribute ended with a clipping of Thillana in Kanada
Sankita Kala Acharya Shri B. Krishnamoorthy
He began with a slokam in Thodi
Along with R Vedavalli he had spent more time in Mudicondan village as a student of MV Iyer
1950 he joined Music college where Musiri, Brunda amma, Tk Rangachary were teachers.
1956 April BK joined MA
Mudicondan was practicing Ayurvedha also
In his singing the raga there will be continuation.
Continuity in delineation of the raga is a must which Mudicondan was to insist on this aspect
MV used to mention that sangeetham should not produce sound like a shaking pot with a stone inside
He had learnt rare pallavis from Umayalpuram Swaminatha iyer
Music should not athi chowkkam or athi thuritham
A memento was presented to B Krishnamoorthy.
SK R. Vedavalli
While sharing her experience from the two stalwarts M S Iyengar and Mudicondan she mentioned that
She was under the tutelage of the both like [ Partial ] Gurukulam
The musical debate during the Vidwans conversation itself used to be interesting.
Even listening to it will enhance one's musical knowledge
He was not having any formal school education and infact can't read and write.
In her childhood days she was living in the same street where MSI lived [ Mannarkudi ]and daily she used to meet him while driving his bullock cart himself.
RV used to listen to yesteryear Vidwans Viz Musiri, MSS old Gramaphone records when she was 6 yrs
All the families in that street were related to each other and all used to visit her house.
One day MSI entered her house asking for the girl who used to sing in shriek voice
Thus she was introduced to him and since then she became his favorite student
Her gurukulam started at her 6th year and he used to show affection and even help her in cleaning / brushing her teeth
She was under his tutelage for 4 years and she had learnt a lot from him and his teaching pattern was different.
She left Mannarkudi and came to Chennai in her 10th year
He did not know eve how to sign. In those time this was not considered as important.
The present day change is enormous and music alone is not enough
There was a huge age difference between his elder brother Sinivasa Iyengar and MS Iyengar
After his brothers demise he did not want sing on stage and avoiding concerts.
He had close association with Konerirajipuram and Umaiyalpuram
He was doing Srardham for his late Guru Namakkal Narsimha Iyengar till his life in a most befitting manner with 10 Rithviks
Regarding Mudicondan Avl,
She joined Music Academy during 1951 as a student of music college
M asked who her Guru was and he was very much pleased on hearing about MS Iyengar
1952 onwards Mudicondan was her Guru and after a break of few years in the middlestarted learning Music continuously since 1957 with Mudicondan as her Guru
His advice would be Sruthi is important and not calculations [ kanakku]
He was against to the pattern of Korvai and used to mention that Mirudhanga Vidwans job need not be touched . He was allergic to Korvai.
Every single work he will do with utmost care viz., preparing betel nut and leaf for chewing.
She had accompanied him many times to a particular shop in the town where a special variety of tobacco will be available.
He will prepare the tobacco very meticulously for his use.
He was an expert in preparing Shyavanaprash an Ayurvedic lehiyam.
She used to assist him for preparing it and her hands will become black with the native herbs
He was a close associate of Pazhani and Thiruvenkadu [ nadaswaram ] and she was present during their discussions on music which used to be quite interesting
His method of teaching was different and every detail should be repeated twice [ like Gandharam ]
One need not concentrate much on Thalam lest will be addicted to it. One should learn perfectly how to put thalam for a Mirudhanga Vidwan for his pattern
She learnt Simma nandhana Thala pallavi after promising him that she will not sing it anywhere.
Yaro ivar Yaro in saveri was played
MSI was convinced to accept the offer of SK at MSS's house when he was quite reluctant to accept it. SSI and MSS finally made him to accept it.
He did not know how much sanmanam to receive for the concerts
He used to question why a vocal Vidwan should use the violin sangathi
One should learn from a vocalist only for a vocal training
He can play violin and kanjira too
She learnt Chakravakam kriti of Gopala krishna Bharathi 'Arivudaiyor panindhu
He used to sing Niraval giving mellinam / vallinam at appropriate places
RV sang the Atana pallavi 'Rara Devathi deva'
He used to teach the dos and don't s to be folowed in a concert.
Once a particular Ghata Vidwan was interrupting his concert and he felt very embarassed and in turn he sang the remaining concert concentrating on Raga and Kizh kalam niraval only w/o swaraprastharam.
A Shanmukapriya clipping was played
Though in a concert this was quite pleasant and nice he was not fully satisfied on this performance.
That was his caliber
As regards to singing of Bhyravi simply the dhaivatham should be shown just touch and slide to nishadam. This was his style.
RV said that she could not completely share her experience for want of time
The Lec came to an end by 20 30 hrs.
Finally vote of thanks by Sumithra Vasudev
My observation
The function was well organised and conducted. As usual the hall was 3/4th full and mostly by senior citizens. There were two different timings mentioned for the function. 18 00 hrs and 18 15 hrs . BK and RV were present by 17 45 hrs and Cleveland came by 18 hrs. He left immediately after RV's Lec Dem and so all the Mylaporeans. It was empty during Thanks giving. My repeated request why can not such educative programmes be arranged in the morning session ? power point presentation was by Aswin Anand assisted by Swathi Ravichandran. As the slides contain more interesting details, if possible can be uploaded in this thread. Some important details could have been omitted, hence Corrections are most welcome.
Kudos to the team of JIGNYASA Centre for Studies in Sangeetam and Samskritam
Thanjavooran
16 10 2012
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arasi
- Posts: 16873
- Joined: 22 Jun 2006, 09:30
Re: Sampradaya - by Jignyasa Trust
Thanjavooran,
A mighty effort on your part in bringing all the details of this occasion. Bless you!
Great musicians speaking about their gurus and third generation's participation.
Yes, hope some of the pictures are shared here with rasikAs.
A mighty effort on your part in bringing all the details of this occasion. Bless you!
Great musicians speaking about their gurus and third generation's participation.
Yes, hope some of the pictures are shared here with rasikAs.
-
CRama
- Posts: 2939
- Joined: 18 Nov 2009, 16:58
Re: Sampradaya - by Jignyasa Trust
Thank you Thanjavooran for your meticulous report. I have read many such reports posted by you and you are doing a great job for the benefit of rasikas who could not attend such functions. Your report brought to me the greatness of MSI and MVI. Thanks to you.
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thanjavooran
- Posts: 3038
- Joined: 03 Feb 2010, 04:44
Re: Sampradaya - by Jignyasa Trust
Arasiji Avl,
Many thanx for your kind words. Really seek your blessings. Anecdotes shared by Stalwarts are really interesting.
CRama Avl,
ThanQ very much for your compliments.
With wishes,
Thanjavooran
18 10 2012
Many thanx for your kind words. Really seek your blessings. Anecdotes shared by Stalwarts are really interesting.
CRama Avl,
ThanQ very much for your compliments.
With wishes,
Thanjavooran
18 10 2012
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ashwin_anand
- Posts: 22
- Joined: 17 Jan 2008, 11:07
Re: Sampradaya - by Jignyasa Trust
Dear thanjavooran,
Many thanks for your detailed and comprehensive report. It was a great experience for us presenting this feature on the stalwart musicians who were Gurus of our Guru Smt R Vedavalli.
Just a small correction: In the clipping of Sri Mudicondan Venkatarama Iyer, you have mentioned "Srikrishna in Hindustani raga was played". It is actually "Krishnananda Mukunda" a composition of Sri Muthuswamy Dikshitar in Gowli Panthu which is rendered in the authentic shuddha madhyama patantharam.
We will post photos and reports and hopefully some clippings from the Oct 15th event on our website: http://jignyasatrust.org/.
To other rasikas, musicians, connoisseurs: we will keep the website updated and also announce any relevant updates on rasikas.org and other forums.
Best regards,
Ashwin Anand
Vainika and disciple of Smt R Vedavalli
Many thanks for your detailed and comprehensive report. It was a great experience for us presenting this feature on the stalwart musicians who were Gurus of our Guru Smt R Vedavalli.
Just a small correction: In the clipping of Sri Mudicondan Venkatarama Iyer, you have mentioned "Srikrishna in Hindustani raga was played". It is actually "Krishnananda Mukunda" a composition of Sri Muthuswamy Dikshitar in Gowli Panthu which is rendered in the authentic shuddha madhyama patantharam.
We will post photos and reports and hopefully some clippings from the Oct 15th event on our website: http://jignyasatrust.org/.
To other rasikas, musicians, connoisseurs: we will keep the website updated and also announce any relevant updates on rasikas.org and other forums.
Best regards,
Ashwin Anand
Vainika and disciple of Smt R Vedavalli