Sampradaya Presents Samvada - III

[rithvikraja]

Sampradaya Presents

‘Samvada - A Conversation’

Smt. Kalpagam Swaminathan
In Conversation with
Smt. Suguna Varadachari

at Kasthuri Srinivasan Hall (Music Academy)
TTK Road, Chennai 14
On 23rd October 2009 at 6.30 pm

Questions for Smt. Kalpagam Swaminathan can be
emailed in advance to [email protected]?website www.sampradaya.org

Our next Samvada is scheduled on
27th November, 2009
at Raga Sudha Hall, Luz

[munirao2001]

rithvikraja
Thanks for the post.

I have sent the question to the vetern Smt.Kalpagam Swaminathan for the Samvada.

" As one of the prominent and direct desciple of Sangita Kalanidhi T.L.Venkatrama Iyer, learning the Mudduswami Dikshita compositions and uncompromisingly adhering to the pata, in appreciation and total reverance to the Vaggeyakara hridayam, what is your opinion and advice on the liberties taken and being taken by the Great Maestros/Maestros/Vidwans/Vidushis in changing the pata and kalapramanam, suitable to their voice or style, resulting in the loss of high and unique values in the compositions of Mudduswami Dikshita and Thyagarajization of the compositions and immediate actions to be taken for preserving the pata integrity to the posterity ?".

I strongly feel this critical issue to be discussed and the vetern's opinion and advice will be of immense value. Please confirm acceptance and inclusion of this question in the samvada on Oct,23rd,2009.

Unfortunately, I am not in a position to attend the samvada.

I hope this question will be accepted and posed to the vetern.

munirao2001

[vidya]

I strongly feel this critical issue to be discussed and the veteran's opinion and advice will be of immense value.
I hope this question will be accepted and posed to the vetern.

munirao2001

Munirao,
An interesting question, no doubt.. But I can't help making 'some' vAdAs on this one!

What exactly is the point in asking a musician about 60+ years late when the change has already been effected by those (and venerated vidwans and their shishya paramparas at that!) that preceded her?

I'd say the octagenerian can do nothing to answer this question other than saying it is 'regrettable'. All she has been doing is actually teaching those meagre few who actually bother to learn from her pathanthara and sing them. Bottom line : People converse, people record, people archive but still keep doing what they want to do and singing their own interpretations and tape-antharas!

[sureshvv]

But are you tacitly agreeing with the premise of this question?

[uday_shankar]

interpretations and tape-antharas!

vidya
Never mix the silly with the sublime! For a 100 fools shall rise up to carry forward the torch of the silly while the sublime is left behind an orphan, alas...

And so...the pedantry of padantaras has been consumed by the tapestry of tape-antharas perhaps ?

[rithvikraja]

Dear munirao2001

We shall make sure this question is passed on to Kalpagam mami and if possible, ill try and post her answer here.

regards

Rithvik

[munirao2001]

Vidya
I am aware of all the issues you have pointed out. All the stake holders in CM have now recognized this vetern, who was languishing for this attention and recognition for well over 60 years. With her status now, her opinions and advices will be well received. This subject was never taken up earlier, because no body wanted to enter in to a controversy and prefered to avoid, in public.
For your question'Why Now', I say it is required Now, before it is too late. If we miss, we will never get insights and advices for corrective actions. The treasure will be lost for ever. She is one of the very few leading authority on Mudduswami Dikshita, who has experienced the trend and can educate and advice for preserving the grandeur in the compositions for posterity.
Please eagerly look forward to the opinion and advice of this stalwart, if at all this question is taken up, of course!

While majority of the practitioners might continue, as you have pointed out in the bottom line, even if few are awakened, take serious efforts and succeed on the goal and objective of this question/dire need, all the CM lovers do not looose, but win and have the opportunity to enjoy the pure and pristine compositions and music of this Great Vaggeyakara.

munirao2001

[munirao2001]

rithvikraja
Extremely happy for your confirmation of acceptance of this question to be posed to Smt. Kalpagam mami. I will also be keenly looking forward to receive her answer and advice from you.
Please also convey my pranams to Mami.

munirao2001

[vainika]

Some questions on my wishlist, some more micro than others...

ON TEACHING
Does she think there should be any change in the way CM should be taught to beginners, particularly in veena? At what stage should a teacher introduce gamakas? at sarali stage? svarajatis? varnams? somewhere in between?

Some memorable experiences in teaching...

ON SONG SPEED

Determining the appropriate speed of songs - how does one do this if only notation is available? Some compositions such as angArakam and shri vEnkatagirIsam in suruTi seem to have both fast and and slow versions in currency, as does puraharanandana. How does one know what's the "right" pace?

ON RAGA LAKSHANAS (DEMOS, IF POSSIBLE)

a. Differences in how sAma is handled, between tyAgarAja and muttuswami dikshitar
b. Why does vEgavAhini differ so much between vINA pustakaDhAriNi and gajAnanayutam (the latter more like chakravAkam)
c. How does Shatshruti Rshabha differ between ArOhaNa and avarOhaNa in the way it is handled?
d. Which changes has she observed in rAgas over the 80+ years that she has been making music? Am curious to have her answer this in relation to bEgaDa and bhairavI, but others as well...

[rithvikraja]

Dear munirao2001, i'll definitely put forth this question tomorrow (technically today) and get you the answers by tomorrow night.

Vainika, those are some very (and many) interesting questions put forth. I shall try and squeeze in as many as possible and get you the answers.

Hope to see most of you there tomorrow.

Regards

Rithvik Raja

[arvindt]

Hope this event is going to be recorded and/or a transcript made available somewhere or
posted here!

[vidya]

Sureshvv, Not just tacitly..
Munirao,
I do hope so. Sampradaya is one of the few organizations who over the decades have organized workshops where younger musicians learn these compositions from senior musicians. My initial post was not w.r. to your question but mostly a reaction to how the 'kutcheri-centric universe' operates where there is just no place for an exquisite gauri or an elaborate kAshIvishvEshvara in their uncompromising form + as learnt from a master musician.

[munirao2001]

rithvik raja,
I am keenly awaiting to get the details from you, at the earliest, on the question and answer.

munirao2001

[Rasika911]

You're doing a great job rithvikraja

[srinivasrgvn]

-

[munirao2001]

srinivasrgvn
Did my question, as per the post 2 was posed to the Maestro? If yes, can you post the contents of her reply. As rithivikraja has not kept up his promise, I am seeking your help.

Thanks

munirao2001

[srinivasrgvn]

-

[vainika]

Her take is that it is ok to improvise as per one's manOdharma and shAriram while retaining the basic structure of the kRti, but not to alter the structure of the composition. As an example of the latter, she played chintaya mAkandamUlakandam in bhairavI to demonstrate how it has it been altered beyond recognition.

[vidya]

she played chintaya mAkandamUlakandam in bhairavI to demonstrate how it has it been altered beyond recognition.

Here is one of her earlier response(s) to 'structural alterations question' and a small sample clip of her playing cintayamA (home recording in 1994 by Srini P . ( May be her version in 1994 should sound flatter and 'different' than the one in 2009 and so on going by contemporary theories )

http://www.sendspace.com/file/l6r6wr

Here is the version of annapUrne that Srinivasrgvn refers to:

http://www.sendspace.com/file/50lb3v

Vainika,

Was your raga lakshana question asked.?I'd sure be interested to know the answer to that one.

[munirao2001]

srinvasrgvn/Vainika/Vidya
Thanks for the reply and I hope the performers/teachers/students and rasikas take the vetern's advice and strive for pata integrity. They can reserve their improvizations in Neraval and Kalpana swarams, which demands the full exhibition of the performer's manodharma sangita gnanam.
I am glad to know that the subject received serious attention.
This is equally applicable to all the vaggeyakaras compositions too.
munirao2001

[Rasika911]

You're doing a great job rithvikraja

I take this back!

[rithvikraja]

Dear All,

Sorry for the very late response. I have been traveling a bit and haven't found the time to post replies.

@ arvindt - Yes the recording will be available for the public to go and listen to at Sampradaya, which is currently situated at Kalakshetra, Thiruvanmiyur

@ vidya - That is indeed what Sampradya is doing. Actually, on the same lines, there was a workshop conducted in the alst 2 weeks by SRJ Sir for Sampradaya, the topic being Ekaika Raga Krtis of Muddusvami Dikshitar

@ munirao2001 - Extremely sorry for the delayed response. Your question was indeed asked to Kalpagam Mami and she did answer them too.
Adding to the responses already given, she also said that the oral tradition is such that the changes happen over time and also demonstrated how Bantureethikolu had a Shatsruthi Daivatham which has disappeared today and demonstrated the same.
She also said that these liberties taken by musicians in changing the pata etc has resulted in the complete amalgamation of styles of composers and she said that is probably the reason why there are so many versions of the same krtis
she also said that it would be better if the improvisation aspect of Carnatic Music is reserved for Ragam, Neraval, Svaram etc...

@Vainika - 1. She feels that the current way of teaching Vina to beginners taht is followed by her gives a lot of scope for the student to gradually understand the nuances of our music.
She even said a beginner would not be given a vina for the first 4-5 months and that all the practise and classes would take place wrt hand movements, hand placements etc.
2. She also said that the gamakas should be introduced at a very cautious and slow speed to beginners so that their understanding of the gamaka system doesn't become haywire.
She said it is more apt to teach a student of vIna more scalar varnas in ragas like kathanakuthukalam, hamsadhwani etc where gamakas are limited and then slowly move on to heavier raga varnas like thodi shankarabaranam etc.

@ Rasika911 - Thank You!

@ Srinivasargvn - Please find the details of the next Samvada in the General Discussions homepage.

Hope to see you all during our Next Samvada

Rithvik

[munirao2001]

Rithvik,
Thanks for the one shot report and replies to all, who were keenly waiting for the Mami's thoughtful responses and advices.
"She also said that these liberties taken by musicians in changing the pata etc has resulted in the complete amalgamation of styles of composers and she said that is probably the reason why there are so many versions of the same kritis
She also said that it would be better if the improvisation aspect of Carnatic Music is reserved for Ragam, Neraval, and Svaram etc..."
I hope all those musicians who have heard or read about this answer commit themselves to learn and stick to the Vaggeyakaras original pata, uncompromisingly and swear to respect and pay homage to the vaggeyakara hridayam in composing these immortal songs. Musician’s character of understanding, appreciating, enjoying and partaking with rasikas his own realized values in the compositions, with the flame of the original creator burning in them, every time they perform, is truly creativity! Rasikas also should resist those musicians who take liberties with pata to suit their styles, demonstrably to correct these unfortunate deep rooted trends in KM.
It is the need of the hour to make a repository of original pata of all vaggeyakaras with active support and participation by the musicians and musicologists, either from the existing recordings or recording afresh. This is my cherished desire and objective in posing this question and if it results in achieving the objective, I will be immensely happy.

munirao2001

[msakella]

Rithvik - I am a teacher both in Vocal & Violin but mainly Violin. Even in respect of the instrument Violin ‘a beginner would not be given a vina for the first 4-5 months and that all the practise and classes would take place wrt hand movements, hand placements etc.,’ as told by Smt. Kalpakam is very true. In the first 4 or 5 months the aspirant must be taught up to Gamaka-less-Gitas along with the intricate rhythmical exercises.

But, in respect of teaching Varnas with limited Gamakas I differ, as, for Violin-aspirants, I have experimented and found some helpful-bowless-exercises after which I have successfully taught the Gamaka-laden Varnas in the Ragas Natakuranji, Kambhoji and Darbar followed by Shankarabharana, Kalyani, Begada etc. As per my experience, no Gamakas should be taught up to Gitas and after making the aspirant practice the bowless-exercises regularly along with Metronome, if these Varnas are taught properly, he is picking up very quickly and efficiently.

I am very thankful to you for taking up this rare kind of discussions, particularly, in respect of teaching our Classical music efficiently to our kids and also for posting those details in these columns. amsharma

[srikant1987]

If I understood the lecdem right, Vidushi Kalpakam Swaminathan teaches gamakas either just before gItams or just after them. But before varNams, I think she does a few swarajatis (with gamakas), and she begins varNams with limited gamakas (rather than no gamakas) - like kadana kutuhalam - first.

Introducing gamakas early-on at least in a limited sense is a good practice imho, after seeing the vidushi's gamaka-less and gamaka-laden versions of shankarabharanam varnam.

[msakella]

Veena is only a solo-instrument and even though Violin is also a solo-instrument, in our Karnataka music arena mostly this instrument is used for accompanying purpose only. More over, while even an ordinary Veena-player can produce correct notes if he simply puts his fingers on the respective frets even a professional Violin-player must always remain very alert to produce the correct-notes. As a Violin-student, having no poper teacher from the first day of learning I had undergone all the bitter experiences till date. With all these experiences, ultimately, I have formulated very interesting, surprising and funny bowless-exercises in playing Violin along with all the general exercises. Among all these exercises one exercise is of playing Varna of 30 kinds to get control over the instrument.

While it is very easy to play the plain-notes and very difficult to play all kinds of Gamakas on Veena, it is quite opposite in respect of Violin becoming very difficult to play even the plain-notes but very easy to play all kinds of Gamakas if properly trained. While there is no problem at all in producing plain-notes in Veena-play the Violinist struggles very hard even to produce the plain-note. This small difference makes all the difference right from the first day of learning. Taking into all these problems into consideration unless proper care is not taken in repsect of both plain-notes and Gamaka-notes the Violinist cannot become a successful and reliable accompanist leave alone as a Soloist.

That’s why I take every care in shaping a Violinst and teach only 7 Nos. of Gamaka-less-gitas followed by one Svarapallavi and enter into Gamaka field with several exercises without bow and with bow. I have come across many Violin students to whom their teachers taught Varnas in Mohana, Hamsadhvani, Vasanta and Shankarabharana with lesser Gamakas or Gamaka-less and they have become perfect impotents in Violin play producing all sorts of sounds in their Violin-play. That’s why I always teach Varnas in the Ragas Natakuranji, Kambhoji, Darbar, Shankarabharana, Kalyani, Begada, Todi, Saveri, Bhairavi (Ata) and one Svarajati in Bhairavi without deviating the seriatim by which I can make my Violin student ably and successfully handle the very important 3 notes, Sadharana-gandhar, Shuddha-madhyama and Kaishiki-nishada and become an able accompanist. There is a perfect logic behind this teaching which I cannot write all the details here in these columns. But, by following this well-planned technique the aspirant himself proceeds further with learning Kritis on his own in my guidance. amsharma

[srikant1987]

While it is very easy to play the plain-notes and very difficult to play all kinds of Gamakas on Veena, it is quite opposite in respect of Violin becoming very difficult to play even the plain-notes but very easy to play all kinds of Gamakas if properly trained.

Very true!

[PUNARVASU]

Write-up in The Hindu dt.13th Nov. 2009.
Date:13/11/2009 URL: http://www.thehindu.com/thehindu/fr/200 ... 420700.htm

[munirao2001]

Punarvasu
Thanks for the link on the report. But the report does not cover all the aspects of Samvada. Report by Smt.Sudha Jagannathan in carnaticdurbar.com is better
munirao2001

[munirao2001]

amsharma/msakella garu,
You have opined that 'While it is very easy to play the plain-notes and very difficult to play all kinds of Gamakas on Veena, it is quite opposite in respect of Violin becoming very difficult to play even the plain-notes but very easy to play all kinds of Gamakas if properly trained'. Why then many Great Maestros/Maestros, with mastery over playing techniques, playing violin with pre dominantly plain notes based high quality music, failed/fail to play gamakas rich music?
munirao2001

[msakella]

Dear brother-member, munirao2001, In your post you have used two kinds of words, 1.plain-notes- based-high-quality-music and 2. gamakas-rich-music. Plain-notes-based music, if it is concordant, it will certainly be of high quality and any person on the globe can enjoy those pure notes. But in respect of ‘gamakas-rich-music’ while we are able to relish their gamakas our Hindusthani-musicians are not able to relish our Gamakas and any non-Indian can relish neither. This is the fate of our rich Gamakas.

By the by, I do not understand in which way you can come to the conclusion that the Violinists playing Violin with predominantly plain-notes-based-high-quality-music have mastery over all the Violin-playing-techniques. Having sense of music and having played the instrument over years any Violinist can very easily play the ‘plain-notes-based-high-quality-music’ and that does’nt mean that he has mastery over all the violin-playing-techniques. amsharma

[munirao2001]

msakella/amsharma garu
Unique quality in KM in comparison to other forms of Classical Music is Gamakas. The rasikas understanding and appreciation of plain and pure notes based music is due to two factors-1) Power of plain and pure sound/nada 2) Easy for comprehension. KM with primacy for gamaka rich music with 'asaivus' enriching the musical content also has rich content of plain notes based musical contents. The gamaka richness enhances the reflective and contemplative qualities in KM - meeting the goals of Manas Sudhi and Chitta Sudhi, the ultimate. The plain notes based music capacity is for excitement, vigor/speed and pleasing qualities in KM-meeting the goals of Deha Sudhi and Karna Sudhi. Rasikas who look for reflective and contemplative qualities, with better knowledge of KM, become addicted to KM. Lack of appreciation is due to either prejudices or lack of their efforts for the basic knowledge of KM.

My question to you was a reaction to your statement that gamaka playing is easy/can be learnt easily in violin but, plain notes playing is not easy. I am also of the opinion that to attain anu swaram perfection in gamaka is tapasya, while plain note playing is like pooja/prayer. It is undeniable fact is that Great Maestros/Maestros with mastery achieved in plain notes playing techniques, could not succeed in achieving success/mastery in playing gamaka rich playing techniques- not only restricted to Violin, but Veena also.

munirao2001

[isramesh]

Sri Munirao ji, when you refer to great maestros who achieved mastery in plain notes but could not achieve in gamakas in violin and veena - could you please elaborate more on this with examples? This may not be relevant for this thread but has the potential to open up a much larger discussion.

[msakella]

Dear brother-member, munirao2001, Even though the seven notes are universal the different oscillations are of Indian only but not universal. Having born in this kind of environment our Indians can only enjoy all these oscillations but not all other non-Indians. More over, even in our Indians, while Northern Indians cannot at all relish our South Indian music many of our South Indians can very well relish Hindusthani music. While many of our south-indian-musicians are not only able to relish the Hindusthani-music but also even sing one or two tukkadas of their music in the end of our concerts northern-indian-musicians not only hate our music but also never include any of our items in their concerts. More over, the entire cine-music is much nearer to Hindusthani-music only but not to our Karnataka-music at all. But, in my case, I have been used to get Manas Suddhi and Chitta Sudhi while listening to Shri MSG’s Hindusthani-music only.

In 1980, when I have travelled in US for 3 months on a concert-tour along with my Guruji Shri Nedunuri Krishna Murthy and Shri V.Kamalakara Rao (Mridangam), at one place, while travelling after a concert around mid-night, we have listened to an instrumental-music from Radio and Mr. Kamalakar and myself could not control ourselves shedding tears uncontrollably. Neither of Karnataka or Hinduthani can stand before that music and I have never heard that kind of music in my life-time by which I cannot agree with your statement ‘the plain notes based music capacity is for excitement’.

Thank you for agreeing with me ‘It is an undeniable fact that Great Maestros/Maestros with mastery achieved in plain notes playing techniques, could not succeed in achieving success/mastery in playing gamaka rich playing techniques- not only restricted to Violin, but Veena also’. amsharma

[munirao2001]

Dear brother member msakella/amsharma garu,
1) Core strength and distinct quality in KM is 'gamaka' richness. Bereft of this strength and quality, it becomes genre of all other forms of Classical Music.
2) Undoubtedly dasa vidha gamakas of KM is not present in other genre of Classical Music. But Oscillations are present in Western Classical Music and few other systems also.
3) With opportunities to listen, adequate exposure and learn the basics, non-Indians also enjoy KM, rich in gamakas. Ever growing non-Indian rasikas and students stand testimony.
4) While KM permits, some times even successfully assimilates good aspects of other forms of music, within the set grammar and set rules and established practices, and HM does not permit. Many types of gamakas are 'besur' to HM and its practitioners. Micro tonal embellishments become 'mishra' melodies in HM. KM practitioners ignoring voice culture, bad production of nada or melody with distortions-non-akaram and breach of strict sruthi adherences, doing away with ati vilamba/vilamba kala pramanams, excessive 'kanakku' orientations, lesser focus on melody are the unmusical qualities driving away the HM practitioners and rasikas from KM. The problem is not with the Science but, Art of KM. With strength of science in KM, musicians of KM have demonstrated capacity to sing compositions of any other genre. With influence of HM devotional music in the devotional music of KM, right from the Karnataka Pitamaha, Sri Purandara Dasa times, KM musicians and rasikas are naturally and easily able to enjoy the devotional music of HM.
5) With regards to the Cine music-Light music, the South Indian Film music in the beginning was strictly confined to KM and devotional music of HM only. The popularity of Hindi film music and western music in South India, lead to the compositions of straight notes-plain notes, aided and abetted by the different quality in lyrics also. BM in film music, employing a large orchestra consisting of many more musicians and musical instruments and genre, is better suited to plain and straight notes compositions.
6) With tuning and training to listen and get pleasure out of easy or less complicated compositions or melodies, easy appreciation of plain and straight notes music happens, naturally. You are not the exception, admittedly. I am happy to know that you have better and best experiences of listening while you listen to MSG's Hindustani music. HM practitioners honestly do not approve MSG's HM or any other KM violinist’s forays in to HM.
7) I strongly and vehemently register my protest and unhappiness over your statement ' Neither of Karnataka or Hindustani can stand before that music and I have never heard that kind of music in my life-time', while feeling happy about the total satisfaction on hearing such elevating music you derived. Check your statement with your Guru Great Maestro Shri Nedunuri Garu and be guided. Very tenor of your statement exhibits the 'excitement', which my statement makes.
8) While thanking, do not miss the point that 'it is gamaka playing calls for superior skill, practice and interest, which was/is elusive to even Great/Maestros of violin and veena'.
munirao2001

[msakella]

Dear brother-member, munirao2001, None of us did experience of ‘brahmananda’. But, we all use this word frequemtly even without any experience and sages tell the person who truly experiences this will certainly run away from all the people to penernnially remain in that state. In the same manner, that is the first and last experience to me to listen to such high level music. As you did never listen to such music you can speak any thing you like. I can’t help.
Of course, I agree to disagree with many of your points which could better be discussed in person, if possible.

When once I have discussed about the longer range of Gamaka of our Sadharana-gandhara, Shuddha-madhyama and Kaishiki-nishada Sangeeta Kalanidhi, Padma Vibhooshan Dr. Shripada Pinakapani expressed that this longer range of these notes, in particular, is an intrusion or inclusion in the recent past. But, this is ‘sampradaya’ now.

Sangeeta Kalanidhi Shri Nedunuri Krishnamurthy is my reverred Guru. In that incident at US which I have previously narrated he was the third person along with us travelling in that car after his concert but, when we, Mr. Kamalakar and myself, were shedding tears uncontrollably responding to that great music, he, even without any response at all, asked the driver, our host, to put off the Radio immediately to stop such great music and succeeded. But funnily you are writing ‘Check your statement with your Guru Great Maestro Shri Nedunuri Garu and be guided’. Very well indeed!!!

You wrote ‘HM practitioners honestly do not approve MSG's HM or any other KM violinist’s forays in to HM.’ On one hand, while the Karnataka musicians allege Shri MSG’s music against the so called ‘sampradaya’, on the other hand, even the Hindusthani musicians also allege the same. Then what kind of music he has been producing is the un-answered question. However, funnily, neither of them can produce even the 1000th of his pure note or powerful music. Now, I remember one comment said to have been made by Sangeeta Kalanidhi, Padma Vibhooshan Dr. Mangalampalli Balamuralikrishna at the end of one of his concerts ‘If I sing in Shruti people tell I am singing Hindusthani and if I sing with ‘bhaava’ they tell I am singing ‘Light-music’, then in which way shall I sing?’

We both have come a long way and as our discussion is irrelavant in this thread I shall stop here. amsharma

[munirao2001]

Dear brother-member msakella/amsharma garu
1) Our discussion is also in the nature of Samvada and is not irrelevant.
2) I agree with you that personal exchange and listening experience is any day better. I am keenly looking for the personal meeting.

For unites
Due to brother-member msakella preferring to stop, I wanted post my replies for his post no 36 for the interest of all of you.

1) Upanishads-Brihadaranyakopanishad and Chandogya Upanishad-clearly state that with Brahma/Nada Vision, the sadhaka attains realization of inner self, divinity and unity with universal self, cessation of Ego, ushering utter peace, love, compassion and dedicates himself for the upliftment of all the other living beings -partaking Brahmananda. Only few-Aranyakas go away to forest to continue the Tapasya, in solitude. In KM you will find both the types of Sadhakas.

2) My protest and unhappiness was over his statement ' Neither of Karnataka or Hindustani can stand before that music' and not for his statement 'I have never heard that kind of music in my life-time'.

3) About the opinion of doyen Shri Sripada pinakini Garu, longer range of gamakas becoming addition to the Sampradaya, in the recent past, what is the problem? Sampradaya, enriched with the new experience and knowledge, naturally and ideally.

4) With Shradha and Bhakthi, Sishya should seek answer from his revered Guru about any doubts/conflicts in his mind over any experience. Guru will/must share his knowledge/opinion/decision/truth for the clarity and satisfaction of the sishya. Veteran and Guru Nedunuri Garu would have helped the sishya.

5) Sangita Kalanidhi MSG is not questioned on his Sampradaya music, but aberration of his 'Style'

6) Great Genius and Great Maestro DR.BMK garu is well known for his 'chamatkaram' and fun filled sallies/posers. The uncompromising traditionalists, purists, strictly adhering to the tradition feel disappointed with his 'Style' of singing 'in shruti plain and straight notes based music in Hindustani padhati and sing with 'bhava' exaggerated or in excess, akin to 'Light -music', with the goal of pleasing and continuity in his popularity. His immense sadhakam, achievements and knowledge not serving the higher cause and getting unutilized in public concerts. To those doubting Thomases about DR.BMK's Classicism quality in his music wealth of knowledge, achievement, I recommend listening to his renditions of Dasa compositions and Ramadasu compositions. The challenge of success and popularity achievement have compelled or propelled the Genius to take a deliberate and conscious decision for the sake of his own'Style' establishment. He is very much aware of his own strengths and weaknesses. Only, we the rasikas should know, leaving aside 'iconoclasm' or 'idolatory'. Verily these are preventing Geniuses to aim and partake the highest ideals of classicism in their music and strict adherence to the Tradition and its glory.
munirao2001

[Rasika911]

tension release

[munirao2001]

isramesh
I am sorry for the delayed reply to your request.
In open forum like this, it’s better to avoid the Names. The Names for emphasis or for better understanding is useful, no doubt, but it is correct to restrict to Oral communication/discussions only.

1) For best understanding and appreciation, the Andhra Bani and Mysore Bani of earlier generation in comparison with Tanjavur Bani are-AB and MB predominantly straight notes and plain notes and more emphasis on laya mastery, TB predominantly gamaka rich, deep, reflective and contemplative qualities, judicious use of laya mastery. Presently, the Bani are mixed, with few exceptions. Just like Gharana mix up in HM.

2) Listen to the Great Maestros/Maestros belonging to all the three regions-Bani-Vocal, Violin and Veena. You can understand and appreciate, with ease.

3) Listen to Compositions of Trinity and other great vaggeyakaras- with plain and straight notes and gamaka rich. You can experience and become knowledgeable, with clarity. Few suggested compositions are:
1) Kalyani - 'Sundari Nee Divya Rupamu' 'Etavunara Nilakada Neeku' and 'Nidhi Chala Sukhama', 'Amma Ravamma Tulasamma' of Thyagaraja; 'Kamalam Bhajarere', 'Bhaja rere Manasa' of Mudduswami Dikshita and Kshetragna padam etc.
2) Todi - 'Koti Nadulu Dhanushkotilo Nundaga', 'Kaddanu variki', 'Emijesitenemi' of Thyagaraja, 'Kamalambam Bhajarere', 'Dakhayani Abhayambike' of Mudduswami Dikshita, 'Kanne Neevu cheyu upakaramu' of Kshetragna, 'Sri Krishnam Bhaja Manasa' of Swati Tirunal etc
3) Sankarabharanam - 'Manasu Swadhina mai','Enduku Peddala' of Thyagaraja, 'Akshaya linga Vibho' ' Dakshina Moorthe' 'Sundareswaraya Namasthe' of Mudduswami Dikshita, 'Evvade Vadu' of Kshetragna etc
4) Kambhodi- 'Ma Janaki Jatha Pattaga' 'Evvari Mata' 'Mari Mari Ninne' of Thyagaraja, 'Sri Subrahmanyaya Namasthe' 'O Ranga Sayee' etc
The difference in quality of music between richness in Plain Notes-Straight notes based music and Gamaka full music of both the compositions and music of the Great Maestros/Maestros adhering to the chosen Bani and Style, will be easily discernible.

munirao2001

[Rasika911]

2) Todi - 'Sri Krishnam Bhaja Manasa' of Swati Tirunal etc

Last time i checked this was a composition of Mutthuswamy Dikshitar

[Rasika911]

1) Kalyani - 'Bhaja rere Manasa' of Mudduswami Dikshita

Do you mean Bhajare Re Chita ?

[munirao2001]

Rasika911

On your Tension release-Dear brother-member msakella/amsharma garu and my self were only sharing our experiences/knowledge, in earnestness. It was not agitated or animated discussion, capable of creating tension.
It is 'Bhajare Re Chitta' and I am sorry for the mistakes and thank you for the reply.

munirao2001