Song of Surrender

Thursday, 19 October 2017

Arvind Parikh

Birthdays & Anniversaries

Arvind Parikh is a Hindustani classical musician and sitar player. Arvind Parikh is having a performing career spanning over six decades. Association with different learned musicians and vocalists helped him in his research work on different rare ragas and compositions. B. R. Deodhar, Latafat Hussain Khan, Amir Khan, Niyaz Ahmad-Faiyaz Ahmad Khan, D. T. Joshi, Radhika Mohan Maitra need special mention here. He has performed in India and abroad. He has been featured at almost all major music festivals in India and Europe, and has had very successful concert tours in several parts of West Asia, Far East and Australia. Parikh is a regular broadcaster on All India Radio. His approach towards music, collection of authentic bandishes (compositions), and approach of teaching were praised. Parikh has numerous students internationally including musicologist Deepak Raja, music director Tushar Bhatia, sitarists Rafat Khan Niyazi, Vinayak Chitter, Ramprapanna Bhattacharya, Abhik Mukherjee, Ganesh Mohan, and more. His daughter Purvi Parikh is also a classical vocalist and learnt music from many greats including her parents. Mrs. Parikh was disciple of Niyaz Ahmad-Faiyaz Ahmad Khan of Kirana Gharana. Parikh has documented most of the precious compositions and ragas. "Sitar Guru","Bandish Parampara" published by Navras records UK are some of the testimonies of his work.

Parikh worked as musicologist, teacher, cultural ambassador, and promoted initiatives aimed at increasing interest in Hindustani classical music n India and abroad. He was vice president of the International Music Council (UNESCO) during 1994-97 and is currently co-ordinator for the Indian sub-continent. He is President of the Indian Musicological Society, chairman of the Western India Chapter of ITC-Sangeet Research Academy. Parikh conceived establishing a forum at which all segments of the music world could meet to discuss issues of common interests. Music forums are established in Mumbai, Chennai, Kolkata and Delhi. He is currently spearheading an association of 12 classical musicians, called All India Musicians’ Group (AIMG) - drawn from the Carnatic and Hindustani traditions (including Zakir Hussain, Hari Prasad Chaurasia, Shivkumar Sharma, Ravi Kiran, Rajan and Sajan Mishra), to create greater support in government, industry and the media for Indian classical music.

Parikh has been awarded the Gaurav Puraskar for the year 1997-98 by the Gujarat State Sangeet Natak Academy. He has also been awarded the National Award by Sangeet Natak Akademi for Instrumental music (sitar) for the year 2003. He is a top grade artist and a regular broadcaster of All India Radio.

Palladam Sanjeeva Rao

18.10.1882 - 11.7.1962
Birthdays & Anniversaries

Sanjeeva Rao was born on 18 October 1882, in Palladam in the Coimbatore district of the then Madras Presidency. He was the youngest of the three sons of Palladam Venko- bachar, an ardent devotee of Anjaneya, who had the reputation of possessing tantric powers that helped him cure severe illnesses. The father depended on donations to maintain himself and his family, but his reputation extended to the adjoining districts of Tiruchi and Salem also. It was this reputation apparently that paved the way for Sanjeeva Rao's career in music.

Flutist Palladam Sanjeeva Rao belonged to the era, if not the race, of giants who dominated Car- natic classical music for about three decades from the nineteen twenties. He was the uncrowned king of the flute-until a prodigy called T.R. Mahalingam came along and revolutionised the Carnatic flute. He did not quite lose his throne to the revolutionary, for he continued to be respected by his peers and supported by the Establishment but he was no longer quite the sovereign he was.

Sanjeeva Rao was a disciple and successor of Sarabha Sastri but, even in the early nineteen thirties, there were not many who had heard the blind bard of the bamboo often enough to confirm that, although Rao had inherited Sastri's flute, he had also acquired his style and his mastery of the instrument at the same level. Writting in Personalities In Present. Day Music, published in 1933, the late E. Krishna Iyer, connoisseur and critic and a force at the Madras Music Academy, could only say: "The echoes of that Orpheus of India (Sarabha Sastri) are said to be discernible in the present in Sanjeeva Rao ". There is no doubt, how- ever, that Sanjeeva Rao had attained enough proficiency to establish himself as a prominent player in the major league.

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Tuesday, 17 October 2017

Bhaskarbuwa Bakhale

17.10.1869 - 8.4.1922
Birthdays & Anniversaries

Bhaskar Raghunath Bakhale  (also known as Bhaskarrao or Bhaskarbua or Bhaskarbuwa) was a Hindustani classical vocalist, a composer, and a teacher.

During 1883–1885, Bakhale performed as a child artist in the stage plays of Kirloskar Natak Mandali where Bhaurao Kolhatkar, Moroba Wagholikar, and Balakoba Natekar earned much fame as singers of folksy and light classical stage songs. After completing his training in classical music, Bakhale returned as a classical vocalist in year 1899 or so.[4] During 1897–1901, he served as a professor of music at a training college in Dharwad. Starting year 1901, he was based in Mumbai and Pune but performed throughout India and Nepal. He was given the honorary title "Deva Gandharva" (God Among Celestial Musicians).[7] His notebook lists dhrupads and dhamars learnt by him but he rarely performed those in public. His typical recital comprised khyal ragas and an assortment of dadratappathumribhajan, songs from Marathi stage plays, and traditional Marathi light classical forms. He also had a successful career as the music director of Kirloskar Natak Mandali and, afterwards, of Gandharva Natak Mandali.[8] Govindrao Tembe benefited from Bakhale's advisement in composing music for the stage play Sangeet Manapman (1911).

Bakhale was one of the first vocalists to receive traditional training from multiple gharana systems.[2] Since the turn of the 17th century, Hindustani classical music had become a stronghold of Muslim musicians and Balakrishnabuwa Ichalkaranjikar (1840–1926) was one of the few Hindu vocalists to earn fame at it in the 19th century.

Monday, 16 October 2017

G Vijayaraghavan

Musicians for Classical Dance

By Anjana Anand

G. Vijayaraghavan is one of those musicians who have not received the recognition their artistry deserves. A mridangam and khanjira artiste, nattuvanar, lyricist and composer all rolled into one, Vijayaraghavan is at home in both the Carnatic music and Bharatanatyam worlds. With over three decades of experience in playing for dance, he has honed his skills as a mridangist par excellence. Today, he is also a sought after composer of jatis and lyrics. His sensitive approach to literature and music can be seen in his unique style of accompaniment in a dance performance.  Asked if he wonders if true recognition has eluded him, G. Vijayaraghavan shrugs with a contented smile and replies,  ‘ The satisfaction I experience everytime I perform is my reward. In the two hours that I am on stage, I am immersed in the creative world of rhythm, music and dance. Can an artiste want anything more?’

Who and what were the major influences in your childhood?

I was exposed to music and literature from a young age. My father played the violin, though not professionally. He was a Sanskrit pundit whose passion was to compose slokas in Sanskrit when he was not in his office. His last work was composing the Ramayana in 80 lines. I hope to publish all his works sometime in the future.

Please tell us about your mridangam training.

From a young age, my fingers were constantly drumming on any surface I could find. I started learning the mridangam at the age of six from Madurai T. Srinivasan. After his transfer to Hyderabad, I came under the guidance of Kumbakonam T.V Balu.  Turaiyur Rajagopla Sarma presided over my arangetram in 1980 at the Sai Baba temple. I accompanied Vijay Siva in my first concert. 

I was very clear in my mind that I wanted to be a mridanga vidwan. I even refused an evening college seat because it meant that I could not perform in concerts. I did work for a short time (1985-87) at the KFI school, teaching mridangam, but I soon realized that I needed the time and freedom to pursue music the way I wanted to. 

When did you enter the Bharatanatyam field?

In 1986, I received a call from Vyjayantimala to play for her performance. I had absolutely no experience in playing for dance, but thanks to her guidance, I learnt the skills needed to adapt to playing for Bharatanatyam.  I had only ten days to train for the performance and we had marathon sessions from morning to night. I played exclusively for Vyjayantimala from 1986 to 1991.

Who were the other dancers who helped you in your initial entry into the field?

Dr. Padma Subrahmanyam was a tremendous influence in my early career. I started playing for her in 1991. My first performance abroad was with her in London. I played extensively for her for a decade. All the nuances and training I received for accompanying a Bharatanataym artiste, I owe to both these doyennes. What really inspired me to enjoy playing for dance was the freedom they gave me to explore my own creativity. I learnt a valuable lesson from both of them. True mentors not only instruct but allow you to express yourself so that the learning becomes internalized and allows you to stand confidently on your own two feet.

What were some of the challenges in the initial phase?

In cutcheris, the mridangist works fully with his own manodharma, responding to the music.  In Bharatanatyam there is an added track that we have to tune in to – the dancer’s feet! Vyjayantimala used to always remind me, “Just as a concert mridangist observes the vocalist’s mouth and plays, a dance mridangist must not take his eyes off the dancer’s feet.  We have to be aware of the music while simultaneously supporting the footwork of the dancer. For this, you need to know the adavu system and the modulation of sound needed for each adavu . In fact, I learnt dance for a short while just to understand this better. I learnt all the basic adavus and hastas.

The importance of silence was something inculcated in me from my mridangam training. My guru always said that you need not play continuously to show your vidwat. At times, letting the listener enjoy the sound of the singer merging with the sruti shows our musical maturity.

I apply this same principle to dance. Sometimes I let the music take over and at other times, I fill in a gap to give the moment the right effect. It all comes with experience.

Many who have worked with you or heard you play often comment that your style of playing the mridangam is very distinct. 

Yes, over the years, I have developed my own system of playing. It is a combination of techniques used in music concerts and while playing for dance.  While it is possible for a mridangist for dance to play for a cutcheri, it is not possible the other way around unless he is accustomed to playing for Bharatanatyam. I have played for many stalwarts like Kittappa Pillai and Seetarama Sarma. Kittappa Pillai’s jatis have their own stamp. The adavus and sollukattus are set in different patterns. Many times, the adavus are in a slower pace than the jatis. Similarly, Sarma Sir’s jatis have their own musical quality and cross rhythms in the adavu patterns. Exposure to all these styles of jathis gave me an understanding of composing for dance.

You have a passion for composing lyrics...

From a young age, I have been drawn to poetry. I am sure that my father’s interest in Sanskrit played a pivotal role. I used to recite the sahasranamam at the temple at a young age. I write in Tamil, Sanskrit and Manipravalam. My father used to guide me when I first started composing. In 1991, I started composing lyrics for dancers and released a book and CD Nritya Gaanaamrutham. I was fortunate to have Dr. Balamuralikrishna tune my compositions for a full margam which I composed later. Other musicians who have tuned my compositions include C.N Thiagarajan, Hariprasad and recently Rajkumar Bharathi. 

Looking back, I think my early exposure to Divya Prabandhams and research in Tiruppugazh influenced my style of writing. In fact, I composed a whole margam based on tiruppugazhs. I feel that the poetic value of the lyrics have to be very high. At the same time, for dance, they must have a dramatic and emotional quality. They must tell a story. When I write lyrics, I do not force the words. I write when the ideas come to me naturally and there is a creative flow.

Composing jatis

I started composing jatis many years ago. In 2013, I was asked to present a lecture/demonstration on ‘Rhythms and Vibrations’ at the Natya Kala Conference convened by Priyadarsini Govind.  I spoke about the technical aspects of composing jatis and presented a variety of jatis I had composed.

I used to play for our family friend, Vidya Bhavani Murthy (a student of K.J Sarasa) in 1988-89. I started composing then but it took years to fine-tune and develop my skills.  Over the years, many dancers have asked me to compose the rhythmic sections for their recordings. I found that I enjoyed composing jatis and continue to do so for many leading artistes.

What are some of the points to keep in mind while composing jatis?

Firstly, we must ensure that there is a proper structure to the jati, and secondly, use sollu kattus of the same ‘family’. The composer must also know the kala pramanam, ragam and mood of the item he is composing for. I do not believe in using the same jatis for multiple varnams. Each composition has its own feel and tempo. I like to try different things while composing. A trikala jati I have composed in one cycle is often performed by Priyadasini Govind.

Today, jati composition has evolved tremendously and many traditionalists frown upon some of these new experiments. Have you faced a similar situation?

I still follow a traditional pattern when composing. Some of the early nattuvunars  were a great influence when I started composing. At the same time, I do not hesitate to experiment when it suits the composition and situation I am composing for. I think when there is clarity about that, an effort to create something new only adds to the flow of creativity in any field.

For example, I have composed a ‘mantra jati’ using the Devi bija aksharas. Similiarly using the syllables Namasivaya. During the Natya Kala Conference, a senior artiste commented that it was not appropriate to use such syllables for jati composition. My reply was that it can be used in productions and not in traditional margam compositions. These days, many jatis are composed using mridangam sollu kattus. I personally feel that this is avoidable. Bharatanatyam has its own traditional sollus which are distinct. I feel it is important to preserve that tradition. These controversies will always arise. The responsibility to carry forward the beauty of tradition is with each artiste.

Who are some of the artistes you have performed with over the years?

I have accompanied Dr. Balamuralikrishna, Kunnakudi R. Vaidyanathan and Lalgudi Jayaraman to mention a few. I have worked with most senior Bharatanatyam artistes. Two memorable jugal bandi performances were those of Sanjukta Panigrahi and Birju Maharaj with  Dr. Padma Subrahmanyam. I was happy to do nattuvangam for a Bharatanatyam performance in cutcheri style curated by Umayalapuram Sivaraman, where he played the mridangam for Priyadarsini Govind. I have been playing for Hema Rajagopalan from Chicago since 1995. Over the years, I have played with the Chicago symphony orchestra and have collaborated with jazz musicians and modern dancers in Chicago.

What other instruments do you play?

I am a ‘B high’grade khanjira artiste at All India Radio. I have also done nattuvangam  for performances.

Some of the awards you have received?

I received the ‘Laya Kala Vipanchee’ award from Dr. Balamuralikrishna and the Dr. Sudharani Ragupathy Endowment from Narada Gana Sabha.


Birthdays & Anniversaries

Sruti is an English language monthly magazine on the performing arts -- Indian music, dance, and theatre -- published from ChennaiIndia.
Sruti was founded in 1983 by Dr. N. Pattabhi Raman, who had returned to India from a career abroad, bringing with him a focus and skill for English writing and editing, as well as willingness to engage in sincere criticism and controversy. The magazine initially had financial difficulties, with Pattabhi Raman desiring to gain subscribers vice take out loans, and minimal support from corporations. The journal floundered somewhat following Pattabhi Raman's death in 2002, but as of 2003 it continued forward under staffers who rose to take over its leadership.[1] The magazine was acquired by the Sanmar Group in 2006, and has grown from strength to strength.[2]
Journalist S. Muthiah in 2011 referred to the publication as the country's leading journal on Indian Classical music and dance.