Music — different perspectives - The Hindu
www.thehindu.com/todays-paper/tp.../tp.../music.../article656800.ece
 |
| GANGA RAMACHANDRAN-LEC DEM AT THE MADRAS MUSIC ACADEMY |
The discussions of December 23 were dedicated to Sathur Subramaniam about whom Prof. S.R. Janakiraman spoke briefly. There were two lecture demonstrations during the day and the first one was by Ganga Ramachandran on ‘Contribution of Ennappadam Venkatarama Bhagavatar (1880-1961) - rare ragas.’
Rare ragas
Ganga Ramachandran started her presentation with a brief biographical sketch of Ennappadam Venkatarama Bhagavatar, who composed about 146 kritis of which about 108 are on Krishna with his mudra Venkataramana. He also composed nirupana songs for Harikathas without any mudra. He was honoured by The Music Academy in 1959 with a Certificate of Merit. She spoke of eight rare ragas and talas employed by him and listed them; Sumukhi, Raasabouli, Muralinadam, Vrndavanakutuhalam, Prakasini, Sreedhari, Priyadarsini and Rasavarali and also mentioned some talas like Nuti, Preethi and Devaranjanam.
Chitraveena N. Ravikiran presented a lecture demonstration on ‘Oothukkadu Venkata Kavi,’ whom he described as one of the most brilliant composers. He started his presentation with questions about his existence and whether he wrote all the compositions attributed to him. He listed the kshetra kritis composed by him on different pilgrim centres to substantiate his style and lyrical structure. He said that a sannidhi, a memorial, exists at Oothukkadu. His composition on ‘Guru Ennapunyam’ in Ritigowla establishes a human guru to him while the Suratti composition reiterates the guru factor. Oothukkadu’s mention of Purandara Dasa and Tulsidas establish his time as after 1623.
Ravikiran brought to the attention of the audience the article of TV Subbarao in 1956 Journal of The Music academy in support of Oothukkadu. He was one composer who wrote about Radha, he said. He also talked of his Sanskrit compositions and Navavarana Kritis to establish his mastery over the languages. Ravikiran talked of a secondary signature in some of his compositions.
The second lecture demonstration was by Sriram Parasuram on ‘Hindustani ragas and their adaptation into Karnatic Music.’ He chose five pairs of ragas, Begada (Bihagada), Ramkali (Ramakali), Dvijavanti (Jayjayvanti), Bilahari (Bilaval) and the Kanada family ragas. He emphasised the process of transformation was complete in some cases as in the case of Begada. He drew the attention of the audience to how the two nishadas are hallmark of Begada and how they are employed in terms of gamaka. He gave examples of many compositions and demonstrated some shifting from one style to the other with great facility and ease.
Sangita Kala Nidhi Nedunuri Krishnamurthi, assisted by disciples, the Malladi Brothers gave a lecture demonstration on ‘ Annamacharya’s compositions and the music he composed for them.’ Dr.Pappu gave a brief introduction of Annamacharya and his compositions.
No comments:
Post a Comment