This is my personal story written in 1990. This was again originally written for an American audience. So, beware!
_________________________________________________________________
Most students of the Indian universities aspire and dream about going to USA for higher education and the unique experience of living in another country. I was one such student.
My journey to America started with a trip to the US consulate in Madras for a visa. I had to wait in line from 4 A.M. so that I can be right at the top of the line when the gates open at 8 A.M. But, there were already people waiting there even before I arrived. There was not much room even to sit as the pavement was dirty. When the dawn broke, people would buy a newspaper, read it a bit and spread it on the floor so that their neatly pressed pants would not get soiled. Since then, I have gone there 3 times; but, the excitement mixed with trepidation of my first trip is unique.
After I got my visa to go to a school in Newark, NJ, I did some whirlwind shopping for shirts, everyday things, soaps, shampoos and so forth as I was uncertain of the land I was heading to. I wanted to be self-sufficient as soon as I arrived in USA and did not want to be in a position of wanting for anything. Of course, my mom, sisters and sister-in-law made sure that I had a year's supply of home-made powders and spices which are so essential for Indian cooking.
My father and mother traveled with me from Hyderabad to Bombay, my point of take-off to USA. They said many encouraging words as they fought back their tears. I hugged them, took leave and proceeded to the check-in area. I turned back to take one last look at them and bade them good bye. I did not know then, that it would in fact be my last look of my father that I ever would have. He passed away very young at 57 when I was busy studying for my Master's exams in New Jersey.
Before I landed in NYC's JFK airport, my ever thoughtful father called the son of one of his colleagues and made arrangements for this person to receive me at JFK airport. I was pretty lucky that I at least had some home to go to immediately. Some did not have that luxury. This person, Dr. Suresh, was so nice for a stranger; took me to his neat, little apartment in Roselle Park. He was very friendly and unassuming. As his wife was on vacation in India, he was alone at the time. He showed the bathroom and showed me how the faucets worked. Not that we don't have bathrooms or faucets in India, but the stuff here was pretty different and complex. We do not generally have running hot water in Indian homes, but we would have a heater which we would turn on when we needed it. He made sure that I understood that I needed to stick the edges of the curtain to the wall with some water so that I didn't make the rest of the place wet!
Just as I finished my bath, the phone rang and it was my parents. They were so concerned and I felt so far away from home. In India, parents lend their helping hands to their children unconditionally until their sons get good jobs and their daughters get married. There is also an implicit assumption that children, mostly sons, WILL take care of their parents when they are old and frail.
There were moments when I flinched from the challenges of uncertainty that lay ahead. Uncertainties like, "Where would I be staying? Who would be my room mates? How are the classes here? How will I do in my academic program? etc.," But, then, having come so far away from home, I had little choice than to jump into the fray, headlong!
After eating rice and Brussels sprouts sambar cooked by my friend, we watched some TV. There was a football game going on, on that Sunday and frankly, I could not make out the head or tail of it. I was fighting off my jet lag, just as my friend suggested, by fighting off sleep until late night.
My friend left me in the care of a group of 3 Indian students who were sharing an apartment. All were getting their Master's in Engineering. I stayed with them for a few days while I searched for my own. They were very good to have me with them and feed me though they were total strangers otherwise. When I was leaving, I offered to defray the expenses of my stay. They refused to take even a dollar from me.
One of these guys used to give me a ride to school every day. Though there were buses operating in those parts, I did not yet have the 'know-how' to move around in the creepy streets of downtown Newark. During the initial days of my stay there, I wrote a letter to my parents (Back then, I used to write very frequently!) and wanted to 'post' it on the way to my friend's car. He was walking a little ahead of me. I found a blue thing and that said it was a Mail Box. I just could not figure out how to open it and it seemed tightly sealed from all sides. I was too embarrassed to ask my friend. (You see, I have a professional degree and I should be able to figure these things out!) I did figure that out later!
The way I met my roommates is also an interesting story. I was walking on the campus trying to take care of my business and I bumped into these 2 Indian guys who seemed decent enough to share living space with. We formed a team, scoured the newspapers, called the apartment managers and hurriedly, found an apartment in a downtown area, close to our school, before the classes started.
The squalor and poverty of Newark astounded me at first. I used to think that America was so highly advanced that it did not have room for poverty. I saw quite a few pan-handlers on the streets. Mugging and crime on the streets was common too. Main, was Newark a scary place!
As all educated Indians speak pretty good English, the language was hardly a problem. But, there were some interesting experiences, because some of the terms we normally use had to be translated to American equivalents to make sure that we are understood better in this land. Thus, our language is enriched by absorbing the British (because of our colonial past), Indian and American idioms and expressions. Here are some of the interesting equivalents:
* Petrol *Gasoline (Gas) * Beggar *Panhandler * Post a letter *Mail a letter * How do you do? *How are you doing? * Second-hand * Used * Submit * Turn in
As days went by, we got around well both at school and Newark. I did let a bit of "American" accent "infiltrate" my language!
There is a lot of change in me after my 4 years of stay in USA now. These years have brought in a few changes and some challenges. I also remember some of the prejudices that I had to face as a "foreign" student. Some of the prejudices probably were not meant to be - may be! But, they were more unsaid than said. Some were sort of unhappy with our visits to this "land of promise", probably because these visits have become all too many in recent times. But, then, who is NOT an immigrant in this country?
I did not face any serious problems after that. I bought a used car which increased my opportunities for social activities tremendously. I started enjoying life in America.
I finished my Master's, went to India, got married to a wonderful girl (Who continues to be wonderful!), and came to ASU for starting on my Ph.D. My wife followed me after 2 months. Those were exciting times. After a short stay with a stranger friend, I rented an apartment, bought a new car, (O Yes! I am still making my monthly payments!!) and kept the house all decorated and beaming before my wife arrived.
We do have quite a few American and European friends apart from many Indian friends. We do visit each other's houses and taste some exotic stuff. I have tasted Mexican, Italian, Thai and of course, "American" cuisines. As you know, Chinese cuisine needs no mention because it is everywhere. I don't think I would have had such broad and wide-ranging experiences in any other country.
Coming to America presented me with tremendous opportunities in terms of education and career choice. It widened my horizons and it also enhanced my communication skills, presentation skills, writing skills. Most importantly, I continue to have a good time though I often miss India and things Indian.
-- -Krishnaprasad Kris Kamisetty,CIM Systems Research,Dept. Of IE, ASU e-mail: kamis...@enuxha.eas.asu.edu USmail: ERC 552,CIM Center,ASU,Tempe,AZ 85287-5106
Tuesday, August 5, 2008
Chennai Music Season 2006 - A peek
I think it is my great fortune that I am able to immerse myself in this season of music every year. I think it is also great that my family is able to spare me alone for these few days as they know how crazily I can get lost in this world of music.
When I listen to some of the best that several of my favourite musicians have to offer, almost 14 hours a day, it seems as if I can pick up the threads wherever I left off last season.
Concerts at the Music Academy:
Bombay Jayashree: She has not lost any sheen since last year and has developed an impressive and unique style. It is truly a musical experience. Her concert is as good or better than last year’s. It is a well crafted jewel and her music is calm and not at all blaring. Her technical strengths came out in her dual raga RTP (Mohana and Kalyanavasantha). Her ability to convey the bhava came out in her ‘Mayamma’ (Ahiri) and her Talattu song in Neelambari. Her ‘Hari Tum Haro’ is the next best to MS’s. The way she crafts silences into her music is something I don’t see too often. Her extremely clear enunciation of the sahityam only adds to the positive musical experience. Too many sisters/brothers (Malladi Brothers, Chinmaya Sisters etc.) fill up the space with non-stop sound and is a bit aggressive or loud to my liking.
Neyveli Santanagopalan: This was ‘shockingly’ exceptional. I had such low expectations thinking that his voice is not that great etc. It was like chamber music without any frills and volume. His classicism in Ritigowla(Janani), Sankarabharanam (saroja dala netri) and in several ragas of his RTP (Sahana, Hamir Kalyani etc.) is pristine and touched me and several others. There were several trying to thank him on the stage. I need to check with my guru as to what the raga for RTP was: either Brindavani or Bhageswari. It sounded like Bhageswari to me.
TNSeshagopalan: He gave a lec-dem on Muttiah Bhagavathar’s kritis. I believe the varnam that Sudha sang ‘Mathe’ in Khamas is his. His voice seems to be just the same as it was – a bit higher than his speaking voice and bordering on falsetto and strained. But, I love his elucidations of musical aspects, musical tradition. He is a man of great erudition and wit. Rare Tyagaraja kritis sung by PS Narayanaswami’s students was very good and enjoyable though several of them have not been heard often in the concerts these days. E.g Mati Matiki (Mohana), Etla Manaku (Deva Gandhari) etc. Some of the kritis were from Nowkacharitram and Prahlada Bhakthi Vijayam.
TM Krishna: He seems to be a bit more balanced on the stage than he was last year. He added a lot of balance this year with more mellifluous, slow, thoughtful music compared his usual virile fare. I really enjoyed his concert this year. He sang Saraguna (Kedaragowla) and Neerajakshi (Hindolam) extremely well. Nirajakshi is a super slow one and was extremely enjoyable.
MS Sheela: I went to her concert since she is a disciple of RK Srikantan Sir. She is good and seems to be an expert artiste. But, sometimes, most artistes can offer music in all its precision, but not any kind of unique experience like Bombay Jayashree, Aruna Sayeeram or TM Krishna.
Malladi Brothers: They are good, sharp, but seem to be on the edge in terms of trying to be laser perfect on the talam. Music doesnot have to be such a painful and conscious display of art.
Srikantan: It was as good as expected. The unexpected thing was a great voice and style that his son Ramakanth demonstrated. Several Sangita Kalanidhis were in attendance – TK Govinda Rao, B Rajam Iyer etc.
Narada Gana Sabha:
Sudha Raghunathan: It is an ok concert for the most part. I liked her Kambodhi. Though she strained a bit in trying to outdo herself in the O Rangasayee kriti on account of vaikunta ekadasi tomorrow. I felt she should have chosen a major raga for her RTP in stead of ‘Vandana Dharini’ (no kidding) and it was shallow besides. The way she ended her concert with a pedestrian nama sankeertan was not a great choice.
Malavika Sarukkai: It was more of a dance drama in stead of a regular concert. It was lightly attended. Good thing was it was brief.
Questions: Kannada vs. Natakurinji; Devamritavarshini vs KH Priya; Brindavani vs. Bhageswari; Bhoopalam with G1; Gamakakriya vs poorvikalyani; Malayamarutam vs. Valaji; Devamanohari vs. Suddha Saveri
Musings: I meet interesting people and mamas/mamis. One mama was lamenting that all his children were in the US unlike me. One other mami and I discussed music as if we were long lost friends. She was appreciative that I make the journey just for the music and was emphatic that there was no other way! Another lady wished me all the best in my musical essays. Another lady from Mysore settled in Chennai happened to be a Telugu and we were however mutually joking on the apashruthi of Ms. B Arundati!!
It is interesting also how Tamil is the lingua Franca at the music festival/sabhas. Even my Intel colleague broke into Tamil ‘Nee Intel dane!” when he saw me! I also find general bon homie at the concerts. Very friendly people at the counters and in the audience. A sea of like minded people charged with musical fervor!!
When I listen to some of the best that several of my favourite musicians have to offer, almost 14 hours a day, it seems as if I can pick up the threads wherever I left off last season.
Concerts at the Music Academy:
Bombay Jayashree: She has not lost any sheen since last year and has developed an impressive and unique style. It is truly a musical experience. Her concert is as good or better than last year’s. It is a well crafted jewel and her music is calm and not at all blaring. Her technical strengths came out in her dual raga RTP (Mohana and Kalyanavasantha). Her ability to convey the bhava came out in her ‘Mayamma’ (Ahiri) and her Talattu song in Neelambari. Her ‘Hari Tum Haro’ is the next best to MS’s. The way she crafts silences into her music is something I don’t see too often. Her extremely clear enunciation of the sahityam only adds to the positive musical experience. Too many sisters/brothers (Malladi Brothers, Chinmaya Sisters etc.) fill up the space with non-stop sound and is a bit aggressive or loud to my liking.
Neyveli Santanagopalan: This was ‘shockingly’ exceptional. I had such low expectations thinking that his voice is not that great etc. It was like chamber music without any frills and volume. His classicism in Ritigowla(Janani), Sankarabharanam (saroja dala netri) and in several ragas of his RTP (Sahana, Hamir Kalyani etc.) is pristine and touched me and several others. There were several trying to thank him on the stage. I need to check with my guru as to what the raga for RTP was: either Brindavani or Bhageswari. It sounded like Bhageswari to me.
TNSeshagopalan: He gave a lec-dem on Muttiah Bhagavathar’s kritis. I believe the varnam that Sudha sang ‘Mathe’ in Khamas is his. His voice seems to be just the same as it was – a bit higher than his speaking voice and bordering on falsetto and strained. But, I love his elucidations of musical aspects, musical tradition. He is a man of great erudition and wit. Rare Tyagaraja kritis sung by PS Narayanaswami’s students was very good and enjoyable though several of them have not been heard often in the concerts these days. E.g Mati Matiki (Mohana), Etla Manaku (Deva Gandhari) etc. Some of the kritis were from Nowkacharitram and Prahlada Bhakthi Vijayam.
TM Krishna: He seems to be a bit more balanced on the stage than he was last year. He added a lot of balance this year with more mellifluous, slow, thoughtful music compared his usual virile fare. I really enjoyed his concert this year. He sang Saraguna (Kedaragowla) and Neerajakshi (Hindolam) extremely well. Nirajakshi is a super slow one and was extremely enjoyable.
MS Sheela: I went to her concert since she is a disciple of RK Srikantan Sir. She is good and seems to be an expert artiste. But, sometimes, most artistes can offer music in all its precision, but not any kind of unique experience like Bombay Jayashree, Aruna Sayeeram or TM Krishna.
Malladi Brothers: They are good, sharp, but seem to be on the edge in terms of trying to be laser perfect on the talam. Music doesnot have to be such a painful and conscious display of art.
Srikantan: It was as good as expected. The unexpected thing was a great voice and style that his son Ramakanth demonstrated. Several Sangita Kalanidhis were in attendance – TK Govinda Rao, B Rajam Iyer etc.
Narada Gana Sabha:
Sudha Raghunathan: It is an ok concert for the most part. I liked her Kambodhi. Though she strained a bit in trying to outdo herself in the O Rangasayee kriti on account of vaikunta ekadasi tomorrow. I felt she should have chosen a major raga for her RTP in stead of ‘Vandana Dharini’ (no kidding) and it was shallow besides. The way she ended her concert with a pedestrian nama sankeertan was not a great choice.
Malavika Sarukkai: It was more of a dance drama in stead of a regular concert. It was lightly attended. Good thing was it was brief.
Questions: Kannada vs. Natakurinji; Devamritavarshini vs KH Priya; Brindavani vs. Bhageswari; Bhoopalam with G1; Gamakakriya vs poorvikalyani; Malayamarutam vs. Valaji; Devamanohari vs. Suddha Saveri
Musings: I meet interesting people and mamas/mamis. One mama was lamenting that all his children were in the US unlike me. One other mami and I discussed music as if we were long lost friends. She was appreciative that I make the journey just for the music and was emphatic that there was no other way! Another lady wished me all the best in my musical essays. Another lady from Mysore settled in Chennai happened to be a Telugu and we were however mutually joking on the apashruthi of Ms. B Arundati!!
It is interesting also how Tamil is the lingua Franca at the music festival/sabhas. Even my Intel colleague broke into Tamil ‘Nee Intel dane!” when he saw me! I also find general bon homie at the concerts. Very friendly people at the counters and in the audience. A sea of like minded people charged with musical fervor!!
House Concert by Sri Neyveli Santanagopalan - June 9 2007 - Review
'Parampara' center for Carnatic Music has just put its first step
forward in trying to bring vintage music to the students of the school
and the music lover (rasika) fraternity in the Whitefield area. We
made a grand beginning with Shri Neyveli Santanagopalan's concert ably
supported by HK Venkatram on the violin and Neyveli Narayanan on the
Mridangam. The ensemble was complemented with Shri Prasad on the
Tambura and Shri Sunil on vocal support.
Neyveli Sir opened the concert with a kriti in Mayamalawagowla. The
calm and serenity that he exuded with this kriti continued throughout.
I thought it is fitting in the school content to start with this raga
- easily identifiable by some of the beginner students in the first
row. He then sang Giripai (Sahana) complete with dripping raga bhava.
There was a brisk 'Nenendu Vedakudura' (Karnataka Behag) and Parimala
Ranganatham (Hamid Kalyani) in the first half of the concert. The main
item was in Dhanyasi followed by RTP in Sankarabharanam with swaras in
Ragamalika. He deftly used some of the ragas that were part of the
ragamalika swaras for his Tukkadas (Hamsanandi, Bhageswari etc.)
The ambience was festive and people were expectant. Most of the
audience was made up of the parents and grand parents of the students
of Parampara. It was an incredible feeling sitting a few steps away
from the maestro and without any fan fare of tickets, auditorium and
traffic etc. It was an orderly gathering and a very attentive rasika
community, I must say. There was not a bit of noise and of course, no
getting up to hit the canteen during the Thani Avartanam either.
People took heed of the basic ground rules set out by Mr. Kartik at
the very outset. The concert went on for more than 2:30 hours though
it started on the dot at 5pm.
Neyveli sir was very affectionate and had a nice, encouraging message
for the students. He said that students should not only find out which
raga is being sung but also sing in such a way that others can
recognize what they are singing, in a lighter vein! Audience mingled
with the artists at the end of the concert before they dispersed
humming their favourite string from one of the amazing the note/
sahitya patterns that caught their fancy.
All in all, it was a very worthy effort possible only by the
collective energy and enthusiasm of the core team ably guided by
Savita and Kartik.. We can't wait for the next one to happen in our
midst...
- Prasad
forward in trying to bring vintage music to the students of the school
and the music lover (rasika) fraternity in the Whitefield area. We
made a grand beginning with Shri Neyveli Santanagopalan's concert ably
supported by HK Venkatram on the violin and Neyveli Narayanan on the
Mridangam. The ensemble was complemented with Shri Prasad on the
Tambura and Shri Sunil on vocal support.
Neyveli Sir opened the concert with a kriti in Mayamalawagowla. The
calm and serenity that he exuded with this kriti continued throughout.
I thought it is fitting in the school content to start with this raga
- easily identifiable by some of the beginner students in the first
row. He then sang Giripai (Sahana) complete with dripping raga bhava.
There was a brisk 'Nenendu Vedakudura' (Karnataka Behag) and Parimala
Ranganatham (Hamid Kalyani) in the first half of the concert. The main
item was in Dhanyasi followed by RTP in Sankarabharanam with swaras in
Ragamalika. He deftly used some of the ragas that were part of the
ragamalika swaras for his Tukkadas (Hamsanandi, Bhageswari etc.)
The ambience was festive and people were expectant. Most of the
audience was made up of the parents and grand parents of the students
of Parampara. It was an incredible feeling sitting a few steps away
from the maestro and without any fan fare of tickets, auditorium and
traffic etc. It was an orderly gathering and a very attentive rasika
community, I must say. There was not a bit of noise and of course, no
getting up to hit the canteen during the Thani Avartanam either.
People took heed of the basic ground rules set out by Mr. Kartik at
the very outset. The concert went on for more than 2:30 hours though
it started on the dot at 5pm.
Neyveli sir was very affectionate and had a nice, encouraging message
for the students. He said that students should not only find out which
raga is being sung but also sing in such a way that others can
recognize what they are singing, in a lighter vein! Audience mingled
with the artists at the end of the concert before they dispersed
humming their favourite string from one of the amazing the note/
sahitya patterns that caught their fancy.
All in all, it was a very worthy effort possible only by the
collective energy and enthusiasm of the core team ably guided by
Savita and Kartik.. We can't wait for the next one to happen in our
midst...
- Prasad
Chennai Music Season 2007 - A perspective (in retrospect)
One of the things that I look forward to is the general whiff of Carnatic music in Chennai, when I make a pilgrimage to Chennai every December during the music season and of course, the finest filter coffee! The highlight of every day is the devotional/academic mini program that happens in the Academy at 8 sharp. It is a great way of listening to some beautiful, rare compositions of great composers – mostly very well rendered. The academic programs that follow are extremely satisfying – be it Adyar Lakshmanan’s reminiscences of dance dramas and the dance music, TVG’s presentation of tanam singing by various greats (Dagars, Alathur Brothers, GNB, Madurai Mani, Semmangudi etc.) with audio examples or MSG’s gentle presentation of Carnatic and Hindustani genres or stunning demonstration by Suguna Purushottaman of a pallavi in Simhanandana talam (128 beats) in 3 speeds and so melodious was the singing in Todi! She was smiling all the way too!!
I got to see several legends walking in and appreciating/commenting – Vedavalli, TK Govinda Rao, Rajam Iyer etc. One of the things they have done this year is to pay homage to one of the yester year artists every day and share the musical world of their times. Some of the musicians featured were Tanjavore Sadasiva Rao, Smt Rukmini Devi, Veena Dhanammal, Tiruvelangadu Sundareswara Iyer (aka Susvareshwara Iyer - frequent accompanist to MS amma). I loved the vivid descriptions of those times by musicians who knew them or learnt from them. “It is a fine way to begin a day” as Sangita kalanidhi Palghat Raghu used to comment in his succinct comments every morning.
I ensured that I got to listen to my favourite musicians (sanjay, TM Krishna, Bombay Jayashree, Vijay Siva) who imbue their music with freshness, classicism, deep, sonorous nadam of their voices and their enthusiasm is infectious. I attempted to hazard listening to others too – Hyderabad Brothers, Malladi Brothers, OS Arun. Hyderabad brothers barely made it above the line – their music sounded like right out of the cassettes that they have releases and lacked freshness. OS Arun disappointed big time singing bhajans and making dramatic sounds under the guise of carnatic music while singing Viriboni, Endaro. His top voice singing and melodramatic whispers were annoying. Malladi brothers were not having a good day as the music seemed to lack the depth and voices seemed to be uncoordinated. I expected more, but, what was dished out was a weak brew! Junior artiste Aditya Prakash’s Budham Ashrayami was more endearing than theirs. Mike problems did not aid the brothers either. To tide over this disappointment, I walked over to Academy to catch the last few strains of easy and sweet music of Priya Sisters who were wrapping up their pallavi.
There were several pleasant surprises in junior, upcoming category – Abhishek Raghuram (Palghat Raghu’s grandson), Aditya Prakash – what great voices honed by hours of practice and surprisingly mature music!
A word about violinists, mridangam players – Charulatha Ramanujam (violin), pleasant, balanced playing by Vaidyanathan (Mridangam) and so many young players are there to aid the flow of music into the future.
There are of course some minor irritants. Volume plays havoc in some sabhas while Narada Gana Sabha is too huge for their sound system. Academy’s is the best in terms of all aspects of infrastructure from sound system to the wash rooms. Their canteen is also by far the best in terms of taste, hygiene and ambience.
All in all, 5 days of non-stop music comes to a close like all good things. What plays in my mind is the comment by Dr. Narmada (MSG’s able daughter) during their lec dem at the Academy on one morning – “An ounce of practice is better than tons of listening”. So, that’s what I have resolved to do till the next season!
- Krishnaprasad Kamisetty
I got to see several legends walking in and appreciating/commenting – Vedavalli, TK Govinda Rao, Rajam Iyer etc. One of the things they have done this year is to pay homage to one of the yester year artists every day and share the musical world of their times. Some of the musicians featured were Tanjavore Sadasiva Rao, Smt Rukmini Devi, Veena Dhanammal, Tiruvelangadu Sundareswara Iyer (aka Susvareshwara Iyer - frequent accompanist to MS amma). I loved the vivid descriptions of those times by musicians who knew them or learnt from them. “It is a fine way to begin a day” as Sangita kalanidhi Palghat Raghu used to comment in his succinct comments every morning.
I ensured that I got to listen to my favourite musicians (sanjay, TM Krishna, Bombay Jayashree, Vijay Siva) who imbue their music with freshness, classicism, deep, sonorous nadam of their voices and their enthusiasm is infectious. I attempted to hazard listening to others too – Hyderabad Brothers, Malladi Brothers, OS Arun. Hyderabad brothers barely made it above the line – their music sounded like right out of the cassettes that they have releases and lacked freshness. OS Arun disappointed big time singing bhajans and making dramatic sounds under the guise of carnatic music while singing Viriboni, Endaro. His top voice singing and melodramatic whispers were annoying. Malladi brothers were not having a good day as the music seemed to lack the depth and voices seemed to be uncoordinated. I expected more, but, what was dished out was a weak brew! Junior artiste Aditya Prakash’s Budham Ashrayami was more endearing than theirs. Mike problems did not aid the brothers either. To tide over this disappointment, I walked over to Academy to catch the last few strains of easy and sweet music of Priya Sisters who were wrapping up their pallavi.
There were several pleasant surprises in junior, upcoming category – Abhishek Raghuram (Palghat Raghu’s grandson), Aditya Prakash – what great voices honed by hours of practice and surprisingly mature music!
A word about violinists, mridangam players – Charulatha Ramanujam (violin), pleasant, balanced playing by Vaidyanathan (Mridangam) and so many young players are there to aid the flow of music into the future.
There are of course some minor irritants. Volume plays havoc in some sabhas while Narada Gana Sabha is too huge for their sound system. Academy’s is the best in terms of all aspects of infrastructure from sound system to the wash rooms. Their canteen is also by far the best in terms of taste, hygiene and ambience.
All in all, 5 days of non-stop music comes to a close like all good things. What plays in my mind is the comment by Dr. Narmada (MSG’s able daughter) during their lec dem at the Academy on one morning – “An ounce of practice is better than tons of listening”. So, that’s what I have resolved to do till the next season!
- Krishnaprasad Kamisetty
House Concert by Smt. Bombay Jayashri at Whitefield, Bangalore
Smt. Bombay Jayashri's concert was the 4th in the Parampara series since the inception of Parampara Centre for Music. It was an extraordinary concert where melody and peace reigned supreme and nuances were numerous. The music that was created on the beautiful morning of June 7th continues to ring in my ears still!
Bombay Jayashri tends to open her concerts with a medium tempo krithi on Ganesha or another aspect of the almighty in stead of with a varnam. She began this concert with a melodious Papanasam Sivan's "Karuna Nidhiye" in Bhowli. It was truly a gentle awakening. She followed this up, in contrast, with a rousing Subbaraya Sastri's Begada kriti "Shankari Neeve" with its attractive chitta swaram. A grand Tyagaraja krithi of "Meru samana Dhira" in Mayamalavagowla was laid out in all its grandeur. I was reminded of her amazing Ragam-Tanam-Pallavi in the same raga from the "Azhaga" album.
She sang a beautiful, refreshing Nalinakanti alapana (which frankly kept me guessing for some time till I was reminded of "Manavi Alakincha radate" in the same raga) followed by GNB's "Ni Paadame Gati" with its raga mudra (signature) giving the name away. After this, Jayashri sang "Taamadam Thagadayya" in Mohana Kalyani. Though I have heard this repeated in 4 other concerts of hers, she sings it each time with the same verve and exhilaration. After her kriti "Eppadi Manam" in Huseni (Arunachala Kavi), she reserved the main piece for an expansive alapana, Neraval in her rendition of "Palinchu Kamakshi" (Syama Sastri).
A short, soft and sweet Thani by Shri Vaidyanathan followed the main piece. Smt. Jayashri rendered "Muruganin Maru Peyar Azhagu" (Behag) prefixed by an evocative slokam. This also figures, aptly enough, in her "Azhaga" album, but, the raga and the words of the composition do not ever tire one out. I have first heard MLV sing it (with Sudha Raghunathan as vocal support) in the 1980's in one of her concerts in Keys' High School, Secunderabad. Each rendition has its own charm and Jayashri's is a bit more leisurely. Later, Jayashri sang "Natha Hare" (Ashtapadi in Bhageswari) and ended the concert with a Lalgudi Thillana (Brindavani) which has her own unique stamp of style and brilliance and a traditional mangalam.
Violin by Sri HN Bhaskar was supportive and equally evocative all through.
Audience spontaneously stood up at the end of the concert as if in standing ovation. I could see that several of them were moved and beyond words to express the joy, peace and satisfaction that they experienced.
I am sure that Smt. Bombay Jayashri Ramanath will be back again in our midst in the future.
- Krishnaprasad
Bombay Jayashri tends to open her concerts with a medium tempo krithi on Ganesha or another aspect of the almighty in stead of with a varnam. She began this concert with a melodious Papanasam Sivan's "Karuna Nidhiye" in Bhowli. It was truly a gentle awakening. She followed this up, in contrast, with a rousing Subbaraya Sastri's Begada kriti "Shankari Neeve" with its attractive chitta swaram. A grand Tyagaraja krithi of "Meru samana Dhira" in Mayamalavagowla was laid out in all its grandeur. I was reminded of her amazing Ragam-Tanam-Pallavi in the same raga from the "Azhaga" album.
She sang a beautiful, refreshing Nalinakanti alapana (which frankly kept me guessing for some time till I was reminded of "Manavi Alakincha radate" in the same raga) followed by GNB's "Ni Paadame Gati" with its raga mudra (signature) giving the name away. After this, Jayashri sang "Taamadam Thagadayya" in Mohana Kalyani. Though I have heard this repeated in 4 other concerts of hers, she sings it each time with the same verve and exhilaration. After her kriti "Eppadi Manam" in Huseni (Arunachala Kavi), she reserved the main piece for an expansive alapana, Neraval in her rendition of "Palinchu Kamakshi" (Syama Sastri).
A short, soft and sweet Thani by Shri Vaidyanathan followed the main piece. Smt. Jayashri rendered "Muruganin Maru Peyar Azhagu" (Behag) prefixed by an evocative slokam. This also figures, aptly enough, in her "Azhaga" album, but, the raga and the words of the composition do not ever tire one out. I have first heard MLV sing it (with Sudha Raghunathan as vocal support) in the 1980's in one of her concerts in Keys' High School, Secunderabad. Each rendition has its own charm and Jayashri's is a bit more leisurely. Later, Jayashri sang "Natha Hare" (Ashtapadi in Bhageswari) and ended the concert with a Lalgudi Thillana (Brindavani) which has her own unique stamp of style and brilliance and a traditional mangalam.
Violin by Sri HN Bhaskar was supportive and equally evocative all through.
Audience spontaneously stood up at the end of the concert as if in standing ovation. I could see that several of them were moved and beyond words to express the joy, peace and satisfaction that they experienced.
I am sure that Smt. Bombay Jayashri Ramanath will be back again in our midst in the future.
- Krishnaprasad
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