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Indian Express, January 6, 2003

Governor keen on spread of Carnatic Music

If Carnatic Music has to gain wider reach, Sabhas should be set up in mofussil areas, Governor P S Ramamohan Rao said here on Monday.

Presiding over the ‘Sangeetanubhava’ function organized by Carnatica.com, the Governor said although there were hundreds of Sabhas in the city, mofussil areas generally lacked them.

He was also of the view that as two hands were required to clap, both artistes and rasikas were important to make the Music a success.

Industrialist, Nalli Kuppuswamy, felt that every school should have a music teacher so that students with an interest in music would not be denied the opportunity of learning the art.

Individuals as well as private institutions could come forward to help these teachers, insofar as monetary angle goes.  “We will discuss this proposal with the government,” he said.

The Rasika awards were presented to 25 persons. Purusha Rasikas, Vanitha Rasikas, Bala Rasikas and Videsha rasikas (for NRI’s) were the various categories of the awards.

Express News Service

The Hindu, January 10, 2003 - Life section

Talk of the Town

SANGEETHANUBHAVA - CARNATICA'S Cutcheri season programme to entice Carnatic music buffs concluded at Chettinad Vidyashram School. Governor P.S. Ramamohan Rao, giving the example of the two hands that are needed to clap, said concerts were fulfilled only with the participation of both the artiste and the rasika. This was after distributing prizes to the rasikas - Bala Rasikas for Children, Purusha Rasikas for Men, Vanitha Rasikas for Women and Videsha Rasikas for the NRI Category.

There was a tremendous response of 1,000 entries including children less than 10 years of age. Out of the shortlisted 100, 25 won awards. That, on an average, a lay rasika attended a minimum of 30 concerts, was proof of the high level of audience participation.

Specially designed rasika books were issued to more than 3,000 rasikas with details of the concert attended, name of the raga, song, tala and composer. A special column was to find the cinema song nearest to the raga. `Carnatica Sangeetanubhava 2002-03' had arranged 60 concerts including lec-dems. The octogenarian T. Muktha of the Brinda-Muktha School presented a concert that got a standing ovation. Her student and vocalist S. Sowmya assisted her. The valedictory was marked by a vocal recital by K.J. Yesudas, accompanied by Tiruvarur Bhaktavatsalam, Nagai Muralidharan and Thripunithura Radhakrishnan.

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The Hindu, January 10, 2003 - Entertainment Section

WHEN MUSHROOMING new outfits and organisations that bear least relationship to Carnatic music celebrate the December music season, should an establishment like Carnatica devoted to music keep quiet? So Carnatica organised Sangeetanubhava 2002-03, music festival with a difference at Jayamahal Hall. The important difference with the programme schedule lies mainly in the vintage classical of yesteryear. The short film on Nadaswara Chakravarty T N Rajarathnam Pillai was the first day's highlight. The video contained a rather brief profile of TNR with the native background of Tiruvavaduthurai, Thiruthuraipoondi and the ubiquitous temples languishing in penury with their monolith structures in Tanjavur district. The rerecording poured vintage Bhairavi, Kambodi and Kanada from TNR's nadaswaram. A most surprising point came to light about nadaswaram was the difficulty in delivering suddha madhyamam through this powerful instrument. There seemed to have been some factual errors in the film as pointed out by Mr. Sundaram, who had enjoyed personal rapport with TNR. But that can be forgiven. The video is worth-watching.

The Karukurichi Arunachalam part, however, was a big let down. The significant content of this portion was the much-heard ``Singaravelane" from ``Konjum Salangai" and a few snaps of the artiste! Real raw deal! This was followed by a vocal concert by V K Manimaran. Hailing from the illustrious Nadaswara vidwan family, Manimaran tried to capture the attention of the small group of audience with his baritone vocal communication. His expedition of Pantuvarali (``Sambo Mahadeva") and Keeravani (``Ambavani nannu") were impressive but it is high time Maran expanded his repertoire. The kutcheri had a charm in seeing septuagenarian T. K. Murthy joining hands with young Guruprasad on the ghatam with all smiles and sweetness. Durai Balasubramaniam on the violin was adequate.

The panel discussion on the Psyche of the Composer explored the inspiration behind any composer or composition. Dr. Srivatsa felt that it is the happiness, helplessness or demand inspires the composer to write.

T.R. Subramainam said that most of his compositions were inspired by the raga or a request from someone. According to Sriram Parasuram apart from inspiration and motivation, the composer should know the craft of making the art appealing.

Traditionalist to the core

Often, the sheer simplicity and honesty of expression steals the heart. At present, when many seasoned as well as aspiring musicians try to reach a larger circle through vocal ostentation and hyperbole techniques, vocalist Rama Ravi had been given the theme ``Sampradaya Sangeetam" by Carnatica most aptly. Rama is simple, humble and knowledgeable. She might not boast of a magnetic voice. So what? The delivery is straight forward, honest and most important sampradyam is not sacrificed at the altar of popularity.

Her opening varnam in Sowrashtram was an indication of the quality of the concert. The raga expansions of Saveri (``Ramabhana") and Poorvikalyani (``Niinuvina gamari") were done poignantly without any repetitive, giddy or running passages. The swaras attached to ``Brochevarevare" (Sriranjani) and the niraval and swaras in ``Ramabhana" fit into matter of fact type rather than meandering messages.

Nandita Ravi her daughter with a sweet voice complemented Rama in the raga alaapana. The switching over was smooth and seamless. Tanjavur Kumar's percussion was perfect and M.A. Sundaresan was equally sober and short except for a few fast phases in Poorvikalyani alapana.

Chaste music

When Muktha Amma performed for Carnatica she sang in complete gay abandon like a child without any inhibitions. But can age dent her discipline? Certainly not.

Muktha's voice may quiver but the method does not waver from her cultivated musical discipline. It is unethical to review her recital. It is a surprise feat by a senior survivor of a tradition, which has completely devoted its life for chaste music.

The purity of Muktha's music was clearly visible amidst the clouds of age, voice, difficulty in holding the breath, rendering alapana etc. Star singer Sowmya supported Muktha vocally with extreme reverence and compassion. Savithri Satyamoorthy played on the violin by drawing the exact contours Muktha Amma visualised in her mind for Yadukulakambodi, Saranga or Kalyani.

G Swaminathan