YATRA TO SRI PARTHASARATHY TEMPLE

Last month, on March 27th, a warm early-summer day, the students of Veenavadhini and their families, led by Sri Jeyaraaj and Smt Jaysri, gathered at 7am in the temple of Sri Parthasarathi Swamy, in Tiruvallikeni(which has become Triplicane in the British rule) , Chennai. Our intent was to sing the Kriti on this lord composed by Sri Muthuswamy Dikshitar, at the shrine, continuing the Dikshitar Yatra.

Sri Parthasarathi Swamy, also known as Sri VenkataKrishnan, is unique in many ways. He is surrounded by a huge family and not only the goddess Sri Rukmini but his son Pradyumna, his grandson Aniruddha and brothers Balarama and Satyaki share the Sanctum with him. In effect, the shrine is rather packed. He is unique in two other ways too – sporting a moustache in keeping with his role in the Mahabharata war as charioteer(Sarathy) to Arjuna(Partha). For the same reason, he holds only a conch and no Chakram – he had vowed to not use any weapon during the war. Near the
main shrine are the ones of Sri Rama and Sri Ranganatha.

This lord has been glorified in the Suddha Dhanyasi kriti of Dikshitar “Sri Paarthasaarathinaa paalitosmyaham” and this is the piece we had the privilege of singing in the main Sannidhi . Since this temple is an important one on the tourist circuit, it is generally very crowded. Despite reaching there early in the morning, there was a waiting time for the Darshan and we had only standing room during our musical offering. Yet, it was a gratifying experience.

The name of the goddess (Thayar) is Sri Vedavalli and she was born in lily flower in the lily pond (alli-keni) near the temple. At her Sannidhi we sat down and sang “Hariyuvati” in Hemavathi. Upon the request of the Bhattar, who was evidently enjoying the music, we also sang “Hiranmayim” in Lalita. After this, we visited all the shrines in the temple – Varadaraja, Narasimha, Andal and concluded our Yatra. Like all other previous times that we have been on Veenavaadhini‘s Pilgrimage with Dikshitar, this too felt like a blessing, and it was a privilege to sing in the sanctum sanctorum of Lord Parthasarathy.

Report by Rajani Arjun Shankar.

A SATISFYING EXPERIENCE

Veenavaadhini recently hosted a fabulous chamber concert by Veena Vidwan Sri P Vasanth Kumar, accompanied by Sri Umayalpuram Mali on the mridangam. The first word that came to mind after listening to that concert was “soukhyam”, for lack of an appropriate word in the English language that could perhaps convey the same meaning. A spellbound audience was treated with two-and-a-half hours of very high quality carnatic classical music.

Beginning with a varnam in raga Hindolam composed by the great GNB, Vasanth Kumar went on to present Gajavadana Paliso of Vittala Dasa, preceded by a brief but chaste Begada raga alapana. This was followed by a Sourashtram ragam assay which gave proof of the sincerity with which the vidwan approaches his music. Suryamurthe created an atmosphere of serenity. Umayalpuram Mali’s accompaniment here was particularly noteworthy for his soft beats. Atana alapana came next with all its classical phrases as a prelude to Sakalagraha Balanine of Purandaradasa.

The detailed exposition of Kharaharapriya was madi sangeetham at its best, eschewing the Salakabhairavi pidis. The popular Samanam Evaru was played with both expertise and gnanam, where the sangatis flowed perfectly, neraval was executed with adherence to sahitya, and the swara appendages were played with enough mathematical calculations.

The main item of the concert was a very enjoyable Ragam Thanam Pallavi in the raga Hamsadhwani. The ragam delineation was elaborate, step by step grafting of a classically structured alapana, presenting an expansive picture of the raga. The thanam was methodically played. The way in which the Pallavi was executed and the ragamalika swaras in ragas Hamsanadam and Hamsanandi (carrying the prefix “Hamsa”) was demonstrative of the artist’s musical intelligence.

Umayalpuram Mali’s thani not only exhibited his laya vidwath, it carried all the ingredients of the traditional structure of a thani avarthanam.

Even the post main items were steeped in classical fervor, and included Dikshitar kritis like Sri Varalakshmi (Sri ragam) . All in all, the concert reiterated the fact that vidwath and depth of understanding of classicism per se, which comes with years of learning and listening experience is an essential prerequisite to make it a satisfying musical experience for both the connoisseur and the layman.

PILGRIMAGE TO CHENNAI NAVAGRAHA TEMPLES

Continuing Veenavaadhini's intent of visiting temples and singing Dikshitar's Kritis in the shrines where he composed them, we were pondering where we could sing the Navagraha Kritis. These were composed by the great composer to help people like his disciple Thambiappan overcome the malevolent influences of the planets, and were not composed in particular Kshetras. In fact, the only exception is the Angaraka Kriti, where Vaidyanatha Kshetram is mentioned.

So when we heard of the tours conducted by Sowbhagya Travels, which covers the Navagraha Sthalams around Chennai, it seemed a good thing to take up this trip and also sing the Kritis in those Sthalams. The day picked for this was Sunday, November 28, 2010.

We started very early in the morning, at 5.45am. Here is a brief account of each place visited, in the order of visiting. Naturally, this had to be as per geographical convenience and not in the order of the Grahas.

Given that, as a rule, temples of Vishnu do not have shrines for Navagrahas, it is only natural that every single temple we visited for the Yatra was a temple of Shiva. In every temple,we visited the shrines of Swamy(Shiva) and Ambal(Parvati) and then proceeded to the shrine of the particular Graha to sing. In four places( Budha, Guru, Shukra and Rahu) there weren't separate shrines for the Graha and we sang the Kriti in the main shrine itself.

1. Agasteeshwarar Koil, Pozhichalur ( Shanaishchara)
A beautiful , serene temple, with a Gaja-prishta Vimana ( the wall around the main shrine is not rectangular, but rounded like the backside of an elephant - we saw this structure in many places that day), this temple had a separate idol of Shanaishchara, next to the Navagrahas. We sat facing him and sang "Divaakara tanujam".

2. Somanatheshwarar Koil, Somangalam ( Chandra)

This place was apparently earlier "Chola-mangalam" and the entire temple is idyllic and lovely. The icon of Chandra is one of breathtaking beauty - tall and handsome with a gentle smile. Here is sat in the open, ouside Chandra's shrine and sang "Chandram Bhaja Maanasa".

3. Nageshwarar temple, Kunrathur ( Rahu)

Built by the saint Sekkizhar, this grand old temple is modelled on the Thiru-Nageshwaram temple near Kumbakonam, the deity of which is Sekkizhar's "Ishta Devata". This town being his birthplace, Sekkizhar's has a separate shrine etc. We sat in the main shrine and sang "Smaraamyaham Sadaa Raahum" here.

4. Sundareshwara temple , Kovur (Budha)

Graced by the visit of Saint Thyagaraja, this small and gracious temple, we were told, has a Maha-vilva tree ( where each stalk has nine, not three leaflets). The saint has composed Kovur Pancharatnam here and his arrival in a palanquin is depicted on the main Gopuram. We sat in the main shrine and sang "Budham Ashrayaami" here.

5. Vaidyeswarar temple, Poonamallee (Angaaraka)

A busy temple on the Chennai templegoers' circuit, this temple has a small shrine for Angaaraka just outside the Swamy Sannidhi. In fact it is only the feet of Angaaraka, under a small stone Palmyra tree ( his shrine is under a real Palmyra in Vaideeswaran Koil). So we sat right opposite that to sing "Angaarakam Ashrayaamyaham".

6. Velleeshwarar temple, Mangadu ( Shukra)

Close to the famous Kamakshi temple, this temple is quiet with a lot of greenery. Here too we saw a Mahavilva tree. We sat in the main shrine to sing "Shri Shukra Bhagavantam".

7. Agasteeshwarar temple, Kolapakkam (Surya)

This small village, now part of Chennai, houses a beautiful temple that is very neat and has a impressive little Nandavanam. That day being "Kalabhairava Ashtami", there was a Laksharchana going on and many people were present. There is a nice shrine for Surya, topped by a grand sudhai (limestone& mortar) idol of the Sun God in his chariot with its seven horses. Just the right setting to sing "Suryamurte Namostute"!

8. Neelakanteshwarar temple, Gerumbakkam( Ketu)

This small non-descript temple has a shrine for Ketu , and also a bas relief carving of a snake in the ceiling of the main shrine. We sat near the shrine and sang "Mahaasuram".

9. Ramanatheshwarar temple, Porur (Guru)

The last stop of the day turned out to be a very memorable and unique one. This newly, brightly renovated temple was teeming with devotees and here too, the "Kalabhairava Laksharchanai" was going on. On hearing our request to be allowed to sing, the members of the Bhakta Jana Sabha happily gave us the stage with mikes etc and asked us to sing for at least 15 minutes and more if possible! So this became an impromptu mini-concert, and we sang "Shri Mahaaganapati-ravatu maam", "Ekaamranaatham" and of course "Brhaspate Taaraapate", concluding with "Valli-Devasena-pate" ( composed by Brahmasri Ananthakrishna Iyer). We were overwhelmed by the affection and plaudits we received after this and left the temple after having cups of hot sweet Paayasam, our hearts full with joy and gratitude.

PS: The tour also included three more temples which are en route - The Kamakshiamman temple in Mangadu and the Murugan and Mookambikai temples in Kunrathur.

Report by Rajani Arjun Shankar.

EVENTS OVER THE PAST FEW MONTHS

A hectic quarter of the year began with Guru Purnima Celebrations featuring two veena chamber concerts, one a duet by students Jayash and Manash Ramanathan of Tampa, Florida. They impressed the audience with their brisk rendition of Bilahari varnam in two speeds, an adroitly played Pantuvarali (Sarasaksha), and a moving Desh tillana of the legend Shri Lalgudi Jayaraman. The second concert was that of Santosh Jayaraman, a student of Sri Guruguha Gana Vidyalaya, Kolkata, now also training at Veenavaadhini. His playing displayed ample musical maturity, the highlight being his ragam assay of Karaharapriya and the ragamalika ragam preface to Teerada Vilayattu Pillai.

On September 5th, we had Sri Adoor Sudarshan from Kerala give a wonderful chamber concert. He was accompanied by Sri VV Ravi on the violin and Sri Ramkumar on the mridangam. To quote rasika Venkitesh, who also co-sponsored the programme, "This is easily the best live concert of the recent past which I heard. The singing soaked with vidwat, bhava and kanakku. Detailed Kharahapriya and neraval and swarams with kanakku was the best. Followed by Kalyani raga vistaram with sruthi bedam. Varnam in mohanam, and Sobillu was there in the beginning and was nice. Ravi's kalyani alapana was nice too. Kharaharapriya and Kalyani sruthibedam touched my heart. Tanam , followed by pallavi in kalyani was the next item. Four krithis with detailed raga and neraval and swaras, remarkable concert." Ramkumar was outstanding on the mridangam.

Veenavaadhini also organised Navarathri Special Programme wherein all the students rendered mini vocal and veena recitals. It being the 2nd Day of Navarathri, Kamalambam Bhajare was vocally rendered by Smt Jaysri with Sri Jeyaraaj accompanying her on the Veena. Students also gave concerts in local events conducted elsewhere in the city. Kum Meenakshi gave vocal concerts at the Navarathri Utsavams at TVS Sriperumbudur Balaganapathy Temple, Siddhi Buddhi Temple in RA Puram, and Saibaba Temple, Mylapore. Kum Veena Venkatramani played veena at RA Puram Siddhi Buddhi Vinayakar Temple. Kum Aishwarya gave a 2-hour vocal concert at the Navarathri Celebrations at Vallishwarar Temple in Mylapore.

The month of November began with Meenakshi's Pradosham Veena Concert at the famous Kapaleeshwarar Temple in Mylapore on November 3rd. On Deepavali Day, a Musical Tribute to Nadajyoti Muthuswamy Dikshitar was paid by group singing of his Aradhana Kritis, led by Smt Jaysri and Sri Jeyaraaj. Our thanks to Smt Latha Parameshwaran and Sri Raj Prameshwaran for the excellent arrangements at their place for the Deepavali Sangitanjali.

WORKSHOP ON NAVAGRAHA KRITIS

Veenavaadhini recently conducted a workshop on Navagraha Kritis of Muthuswamy Dikshitar. It was a nine-day workshop wherein the following kritis were taught.


1. Surya Murte - Saurashtra - Chatusra Jati Dhruva
2. Chandram Bhaja - Asaveri - Chatusra Matya
3. Angarakam - Surati - Rupakam
4. Budham Ashrayami - Natakuranji - Misra Jampa
5. Brihaspathe - Atana - Tisra Triputa
6. Sri Sukra Bhagavantham - Paraju- Khanda Jati Ata
7. Divakara Thanujam - Yadukula Kambhoji - Chatusra Eka
8. Smaramyaham - Ramamanohari - Rupakam
9. Mahasuram - Chamaram - Rupakam

All the students received booklets containing the notation for all the kritis as well as word-by-word meanings (translation provided by Smt Rajani Arjun Shankar)

Local newspaper Mylapore Times carried a report. Click Here for the link.

SRI VARALAKSHMI NAMASTUBHYAM

A nice article by Sri Balaveenai Balakrishnan.

TRIBUTE TO TRINITY

Veenavaadhini recently presented two veena chamber concerts as part of Tribute To Trinity series.

Concert #1: Kum HR Meenakshi - Veena (Student of Veenavaadhini), Sri Sajeev - Mridangam. Click here to listen to this concert.

Concert #2: Sri L Ramakrishnan - Veena, Sri Ramkumar - Mridangam


It was Meenakshi's maiden veena performance and she was blessed to have Kalpakam Mami witness it. Our pranams to Mami and it was wonderful to have her grace the event. Thanks to Ramakrishnan for bringing her, and for playing a wonderful concert. Sajeev and Ramkumar gave excellent support.

Meenakshi played with sensitivity and presented all the songs and the manodharma aspects neatly, with emphasis on bhava. Her songlist is as follows:

1. vanajAksha - Mandari Varnam
2. brovavamma - Neelambari - Syama Sastri
3. saileshwaram - Sumadyuti – Muthuswamy Dikshitar
4. thavadAsoham - Punnagavarali - Tyagarajaswamy

L. Ramakrishnan, disciple of Smt Kalpakam Swaminathan, presented a very classical concert.

Given below is a review of L Ramakrishnan's concert penned by rasika S. Sivaramakrishnan.

List of kriti-s
1) sarasUDa (varnam) – sAvEri – Adi – kothavAsal venkaTrAma iyer
2) shvEta gaNapatim – rAgacUDAmaNi – tisra tripuTa – muthusvAmi dIkSitar
3) sarasvati namOstutE – sarasvati – rUpakam – g.n. bAlasubramaNiam
4) bhavanuta – mOhanam – Adi – tyAgarAja
5) hiraNmayIm – lalitA – rUpakam – muthusvAmi dIkSitar
6) sarOja daLa nEtrI – shankarAbharaNam – Adi – shyAma sAstri
7) sarasamu – kApi – Adi – rAmanAthapuram srInivAsa iyengAr
8 ) patiki hArati rE – suraTi – Adi – tyAgarAja


It is but a fact that only those with a high degree of commitment to classical music would retain their passion for Veena. L Ramakrishnan (presently a disciple of Smt Kalpagam Swaminathan who graced the occasion) fitted the bill perfect when he gave a quality chamber concert at Veenavaadhini. Trinity's compositions was the main theme.

As a person who has been at the 'playing side' as well as the 'receiving side' in Veena recitals, I can very well appreciate the 'travails' of a Vainika. Perfect Sruti alignment of the instrument and ensuring an aesthetic acoustics are indeed obvious challenges the artist has to tackle before he begins the concert.

Another hidden challenge (known only to the player) is 'calibrating himself' to the 'melam status' of the Veena wherein subtle adjustments need to be made throughout the playing to overcome any micro-tone differences in the swarasthaana-s. Perhaps this is one important reason why many vainika-s try the electronic veena-s. Ramakrishnan used the traditional Veena and tackled the challenges quite well.

But by the time he settled down, the varnam was over (The varnam is a casualty even in vocal concerts and is invariably a mike-test item!).

Svetaganapatim in Ragachudamani was perhaps being heard for the first time by most in the audience including me. (But whether the scale is a choodamani of a raga seems to be debatable). LR rendered this samashticharana piece commendably well. Saraswati served the twin purpose of addressing the Veena goddess as well as remembering the composer whose centenary is being observed this year.

Bhavanuta came as refreshing piece in a contrasting scale. Lalita was thoughtfully placed before Sankarabharanam. Aalaapana with taana in Ghanaraaga panchakam was presented briefly. A few additional taana avartanams in the main raga could have been attempted by LR.

The outstanding thing about LR's rendering of saraojadalanetri was the Niraval segment. In Veena kutcheri-s listeners may not be often able to distinguish between Niraval and swaraprastaara. Ramakrishnan's grasp of the underlying features and fingering techniques stood out. Swaraprastaara with a neat korvai completed the kriti.

The concluding items in Kaapi and Surati were sober and communicative.

Ramakrishnan's Kaalapramaana was very good. A collar-mike could perhaps help the vainika to take the vocal rendering to the audience better.

Ramkumar, the young mridangist played enthusiastically.