R.Visweswaran - Veena - 24th June 2016 Bharatiya Vidya Bhavan

[keerthi]

Prof. Ra Visweswaran – Veena [+occasional vocal]
Adamya Ramananda – Mridangam
Guruprasanna – Khanjari
H.R.Rajashekhar – Morsing

24th June 2016
Bharatiya Vidya Bhavan
Workshop on the Veena – Organised by SVN Academy and BVB

01 shrI sarasvati namostu te - Arabhi – Rupaka – DikSitar [OS]
02 Uddhata-ripu-jana – Sriranga Prabandha – Bauli – C.Eka – Venkatamakhin[?]
03 BrocevArevaru rA – KhamAj – Adi – VasudevAcArya
04 shrI nArada NAda-sarasIruha-bhRnga – KAnaDA – rupakam – tyAgaraja - [ANS]
05 shive shrI-tripurasundari – Kambhoji – M. chApu – R. Visweswaran [ATNST]
06 vaiSNava-jana to – HindustAnI KhamAj – Narasi Mehta
07 MangaLam – callare rAmacandruni pai – Ahiri – tyAgarAja

[keerthi]

This was the inaugural concert, to be followed by a 2 day workshop on veeNA-vAdana-tattva. Vainikas such as D.Balakrishna and senior ViduSi Smt. Neela Ramgopal were in attendance. The ISRO chairman delivered a longish speech that meandered from allied raga-s to Bharata’s classification of instruments and how ‘everything was already there in our culture’.

01 Arabesques in Arabhi

The concert began around 7.00pm, with shrI-sarasvati. In Prof V’s version, the second half of the pallavi – ‘srIpati gaurIpati etc’ was in sama- kAla, and the pallavi itself was embellished with unheard sangati-s. The pace was just right and he played the ciTTaswaram as well. There were a few rounds of swarakalpanA, including all the important sancAra-s. Even when he played phrases like rm-rmp-rmpd, it didn’t leak in traces of other rAga-s.

It took some time setting the volume balance for the three percussionists and the veena.

02 Venkatamakhin’s heirloom

Prof R.V is the champion of this composition and sings/plays it beautifully. He gave a brief introduction to the prabandha, as discussed in the catur-daNDi-prakAshikA, and highlighted the rgpdns phrase, as well as the graham svara passage. The short outline of bauLi reflected its stature as a Ghana-rAga and was saturated with new ideas and sancAra-s.

I have my own ideas about how this can’t be the composition of the same venkaTamakhin who wrote the catur-daNDi-prakAshikA, but this isn’t the place to discuss it.


03 BrocevArevaru rA – KhamAj – Adi – VasudevAcArya

Given that this is the 150th year anniversary of Mysore VAsudevAcarya, RV played the most popular composition of the vAggeyakAra, highlighting the sAhitya in his playing.


04 The buzz of the kAnaDA bee

RV discussed the phrase nAda-sarasIruha-bhrnga used in this song – Narada is described as the bee hovering over the lotus of nAda. Also the phrase from yAjnavalkya that tyAgarAja paraphrases in this song – veda-janita-vara-vInA-vAdana-tattvajna.

The AlApana was superlative – a sonorous , sinewy kAnada, not the cloying clichéd stuff usually heard. He developed in a non-linear style, mixing phrases in different speeds to saturate the auditorium with the rAga-svarUpa. A lizard was heard in the pin-drop silence that prevailed, and it seemed to be clucking appreciation on behalf of the audience who were so spell-bound that they even forgot to make the customary noises.

The alapana was full of fresh and delectable phrases – emphasizing a certain Mysore variant of kAnada which favours the s\p/n\mp along with the snpm phrase commonly heard. By developing phrases such as sppmdn, sppmddnsn,,; he gave a fleeting AvirbhAva of cencukAmbhoji in the Alapa.

The acoustic experience in any auditorium with RV on stage several metres away can never compare to sitting across him in his drawing room, receiving the vibrations from his veena right into your solar plexus; the fine inflections of his vAdana were often dampened in this hall. Nonetheless when he played the pallavi line with nAda-sarasiruha-bhrnga, you could heard the jhenkAra of the bhrnga in his sphurita-s.

The neraval line had many innovations – the lesser innovation choosing pallavi for neraval – uncommon but not unheard of. The second greater innovation was choosing one Avarta of rUpaka tAla – the line SrInArada for elaboration. He must have played at least 128 Avarta-s of the tAla, with variation on that one phrase alone – ShrI-nArada. We have heard and seen strings of one-Avarta svara-kalpana before, but this was in another plane of sophistication.

[keerthi]

05 The Kaisiki riti in Kambhoji

RV introduced the kriti before the Alapana, discussing the lyrics. Big Alapana in Kambhoji. After developing a few graceful but innocuous phrases, he launched a deadly missile – the long kaisiki niSAda – a most trick and elsuvie sancAra for kAmbhoji – only seen in the difficult compositions srI-valmika-linga and kAsi-visvesvara; it was absolutely electrifying to hear it in his Alapana.

He launched into a tAnam at a pace much below the usual madhyamakAla, flowing into lalath, nAtakuranji, mArubihAg, bairAgi = revati and back to KAmbhoji before getting into the krti.

RV is one of the most natural and accomplished vAggeyakAra-s of our times, and has strictly followed in the footsteps of the trinity in both lyric and melody. The krti was engaging, with a 2 akSara atita eDuppu, and madhyalaya sAhitya in every unit. He sang snatches of the pallavi and anupallavi in a voice that quavered in equal measure with bhava and gamaka-s.

Adamya , Guruprasanna and Rajashekhar played a well-proportioned tani Avartanam, that matched the length of the concert. I got an impression that they chose an eDuppu different from the song’s while doings the initial rounds, but could be mistaken. Rajasekhar tried an innovation wherein he vocalized some solkaTTu-s simultaneously while playing them on his morsing - this was very good. He had another innovation throughout the concert, where he inhaled/exhaled? through the instrument - and I didn’t like it, it sounded like someone with a runny nose drawing in snot.

After the vote-of-thanks and bouquet-handing ritual, he played a most memorable vaiSNava jana to – with all the most delicate flourishes, and announced a mangala saying – “The next song is the mangalam, if there are any questions about the mangalam, Please ask them in the academic session tomorrow, rather, I insist that there should be a question about it.” He then launched into a poised, touching callare rAmacandruni pai in Ahiri.

Every composition was so well-crafted, with the right tempo – every piece sounded like the ‘main piece’ while you were listening to it.

A concert that will stay with me for a long long time. Congratulations to the organizers for conceiving such a workshop, and thanks to the Professor for an inspired concert.

[braindrain]

Awesome and thank you for this.

[Rsachi]

Any sympathies for a lesser mortal who couldn't be there? Any recording to share?
Thank you in advance, Keerthi!

[keerthi]

Sachi,

Naveen, a student of Neela Ramgopal and now an [ardent camp-follower] antevAsin student of Prof RV, recorded the proceedings. You may try contacting him.

Some of these tracks may be available from TVG's folders in Sangeethapriya, but the experience of a radio concert and that of a live concert are of course worlds apart.

TMT has narrated an anecdote about GNB's first concert at TanjavUr, where he sang an elaborate fiery AndolikA. TMT said how he was elated and dumbstruck all at once, and got such a complex, he didn't handle the tambura to sing for a couple of months. I think S.Rajam has mentioned somewhere about the epiphany he had after seeing the cave murals at Ajanta, and he was so stirred, that he didn't put brush to paper for several days.

I have a similar experience, listening to Prof Visweswaran - I was educated in the unexplored possibilities of the rAga universe, and at the same time became painfully aware of how rudimentary, neanderthal and simple my own progress in understanding and experiencing of music has been. It is unsettling.

[Rsachi]

Keerthi,
I don't have to tell you how Arjuna was overwhelmed and disoriented after witnessing Vishwarupa. From Edwin Arnold's Song Celestial :


I feel the human capacity for wonderment and Adbhuta rasa is also a divine gift. And such moments are vouchsafed only to a few.
I have told you how at school in 1967-68, I have heard a one hour Rama neesamanamevaru of Prof RV on the veena after a close friend of mine had just become his disciple (after playing in Chitti Babu style for a few years to much acclaim). That KHP and that musical experience ranks at the very top for me.
I shall surely reach out to seek the recording. That you again, Keerthi!

[Sivaramakrishnan]

keerthi,
An excellent, much awaited review of a concert which I have been waiting for long (even as a non-attendee!). Vidwans of Prof RV's stature are rare and his concerts are enlightening. I had the opportunity of attending his concert in the famous Anjaneya temple at Nanganallur, Chennai several years ago and that was indeed a great experience. He rendered a composition of his in Saraswathi raga so appropriate to the divine instrument with lot of background information. Dhenuka(Teliyaleru) was another authentic presentation wherein the opening single meettu for the raga traversed the entire aarohana and more (gmpdns-rrgm-rrgrs). A lilting prayoga.
He also explained the speciality of the upward facing Vyaali of his Veena.
May be a year back a national program (radio) was heard. Chennaiites (am one) must get more of his music.

[pvs]

Thanks for this review of Prof. R.V.'s extraordinary music. I was fortunate to be exposed to his genius (a much bandied term these days) via a video recording (http://shabda.co.in/?q=node/65). The few seconds he demonstrates the multiple facets of Begada are just one of a kind! (around 37th minute) I've revisited the video many many times!!

[narayan]

keerthi, thanks for the review.

pvs, thanks for the pointer to this video. Enjoyed it very much indeed. Can I ask two questions?

One, what is the reference to the arrow speeding to its target with reference to Begada (or Begade as the Prof called it)? Which song is that?

Two, can anyone point me to anything at all regarding this Malavasri? Any raga renderings whether in ghana mode or rakti mode or any other?

[varsha]

Any raga renderings whether in ghana mode or rakti mode or any other?

https://archive.org/details/EvarunnAruB ... shnamurthy

https://archive.org/details/EvarunnAruB ... iJayaraman

[pvs]

Narayan,
I am not able to place this "speeding arrow" in any kriti context; I believe it is just an expression to bring out the mood those initial Begada phrases capture (twang of the bowstring? => valour?).

[Rsachi]

Folks, the expression he uses is, "call upon Begade to describe a speeding arrow on its way to its target". It is his poetic description of the veera rasa in Begade. It is not mentioned in the context of any composition, in my opinion.

[varsha]

a speeding arrow on its way to its target

two arrows speeding in formation-nookala - lalgudi
http://www.mediafire.com/download/b05p3 ... ookala.mp3

[narayan]

Any raga renderings whether in ghana mode or rakti mode or any other?

https://archive.org/details/EvarunnAruB ... shnamurthy
https://archive.org/details/EvarunnAruB ... iJayaraman

varsha,
Thanks for these links to Malavasri. As mentioned elsewhere, you deserve at least a badge of honour. Incidentally, are these links at archive.org meant to be non-searchable? The text font before any long vowel seems to be messed up and the artistes names are sometimes there, sometimes not. What gives?

keerthi and others,
Any further pointers to Prof RV are most welcome, as he is indeed a remarkable musician.

Thank you.

[varsha]

Thanks for these links to Malavasri. As mentioned elsewhere, you deserve at least a badge of honour.

thanks

Incidentally, are these links at archive.org meant to be non-searchable?

No .Searchable
for ease keep dropping in here
https://archive.org/details/@rasayana&tab=uploads

The text font before any long vowel seems to be messed up and the artistes names are sometimes there, sometimes not. What gives?

that is archive.orgs contribution.Have corrected it for these two tracks.Will slowly do for the rest.thanks for pointing it out

[varsha]

Any further pointers to Prof RV are most welcome, as he is indeed a remarkable musician.

The day I had a fleeting glimpse of what Musical bliss is all about.
Ignore the sound of the wind and birds on trees lining Wilson Gardens

https://archive.org/details/KshINamaiTi ... Viseswaran

My humble praNams to RV

[rajeshnat]

Can anyone point me to anything at all regarding this Malavasri? Any raga renderings whether in ghana mode or rakti mode or any other?

narayan
Apart from the malavshri alapana that Varsha shared (nedanuri and LGJ), there is also a malavashri raga alapana that suryaprakash sang - suresh vv mentioned that here? Once I heard the Lalgudi siblings also play the malavashri alapana in skgs.

[Rsachi]

Varsha,
What a feast of Mukhari. I am listening using VLC Mobile with large hall eq setting and Music Equaliser set up in Custom Mode. I can feel the Mukhari intimately!

Thank you, sir.

[Sreeni Rajarao]

Post #15 narayan wrote:
keerthi and others,
Any further pointers to Prof RV are most welcome, as he is indeed a remarkable musician.

Because of variations in how his name is spelled, it is not easy to index posts related to Professor!

I want to cross link this thread with the thread under Vidwans and Vidushis where there was a good discussion about Professor and his music:
http://www.rasikas.org/forums/viewtopic ... isweswaran

I will also copy the link for "that" mukhari on the other thread.

Sreeni

[narayan]

Thanks, Sreeni Rajarao. I also tried searching, but missed locating the earlier thread. Even with all the internet resources, I wish one gets an opportunity to encounter such personalities in person.

[Rsachi]

Narayan, Prof RV was interviewed last year on DD Chandana in a phone-in programme. His measured answers, his deep roots of a thinking musician, a self-made vainika, his attitude of a composer, were all on display. I don't record and archive such programmes, alas!

[narayan]

keerthi had requested the earlier thread to be called "Visweshwaran" as that is how he spells it, but in this one, he has skipped the h. No matter.

I have a soft corner for musicians who are also composers and interested in theory (separately, I mean). For all the traditional wealth that we have (I am myself a Diksitar-o-phile and a Kannadagoula lover - so am willing to pay due homage to the grand past), this music is a living tradition and I like it when current day musicians have their go at adding to the corpus. This includes M.Balamuralikrishna, GNB, Tanjavur Sankara Iyer, Spencer Venugopal, V.V.Srivatsa, Lalgudi Jayaraman and several others. I even include those who set songs to good music, such as Nedunuri Krishnamurthy and others. I look forward to nex-gen musicians keeping the pot simmering! RK Sreeram Kumar is already formalizing good pallavis and I am sure others will make their mark.

[keerthi]

keerthi had requested the earlier thread to be called "Visweshwaran" as that is how he spells it, but in this one, he has skipped the h

I can't remember what motivated me to say that, but as it turns out I was wrong. Sreeni's spelling is the right one - that is how RV's own publications give it. If possible we should change the relevant thread names to R.Visweswaran. I don't know, however if this will better enable google search results, since people who are looking for him are anyway likely to use all possible variations of the spelling.

I wish one gets an opportunity to encounter such personalities in person.

You should most certainly meet him. If you live in India or re visiting anytime you should go to Mysore and spend some time basking in the moonlight of his music, knowledge and geniality. Contact me off the forum if you need help getting in touch with him. Particularly since you mention DikSitar-phile and love for KannaDagauLa - he is master at both.

From your list of contemporary composers, R.Venugopal and R.Visweswaran, have both given us excellent new lakSya contributions of KannaDagauLa. Who knows your visit may elicit n hour long exposition of KannaDagauLa.

[varsha]

https://archive.org/details/GAnarasOttu ... iSwarajati

yet another beauty

[grajesh10]

Prof. Ra Visweswaran – Veena [+occasional vocal]
Adamya Ramananda – Mridangam
Guruprasanna – Khanjari
H.R.Rajashekhar – Morsing

24th June 2016
Bharatiya Vidya Bhavan

02 Uddhata-ripu-jana – Sriranga Prabandha – Bauli – C.Eka – Venkatamakhin[?]

I just heard this Bauli masterpiece lastw eek in sangeethapriya.org and was excited to see a video on YT 2 days ago. I have heard it at least 10 times in teh past 2 days.
Can anyone send a link if any singer hs sung this composition - Uddhata ripujana viddhat tapana......