Catch 22....

Conversations with people passionate about music has only increased the awareness about the reality - "music is a truly vast ocean". Even, a lifetime doesn't seem to be enough to know one genre, leave alone, one instrument properly.

To be brutally honest, a single raga (an encapsulating and highly dynamic concept in Indian Classical Music), presents an ocean within this ocean of music. Would a lifetime be enough to know one raga completely.

Yesterday, was one such day, where I was mesmerized into listening to a conversation between two carnatic music enthusiasts. A simple thank you to these two, for their willingness to share with me the delightful intricacies in music.

For latestarters, obviously not child prodigies, how does one go about this gigantic Catch-22 situation?

Mother's Day Special.

The author was treated to a concert, that could be considered a fitting tribute to all mothers at Houston this Sunday. The artistes for the evening were Dr. N Rajam, her daughter Dr. Sangeetha Shankar and her grand-daughters Ragini and Nandini. We were treated to some soulful music from the bowed violins of these artists in the Hindustani style.

The two children were highly enthusiastic and played Rag Jog for us. Having been brought up on a staple food of Indian Classical Music, their performance would have made both the mothers proud. However, they being the guru's too, their recital would have invoked a few constructive criticisms too, for their improvement.

Does being a member of a musical family help. Needless to say, it was really delightful to see the three generations of artistes playing the violin. The stamp of the guru was unmistakable in the shishyas. Dr. N Rajam must be one of the most successful mothers in her own right in the world. Her legendary legacy would continue with her daughters (in contrast to the usual paternal gharana system).

Happy Mother's Day to all the mothers in the world. They are veritably different manifestations of Mother Goddess.

Indianness X - The December Season....

Madras, the metropolitan city of India metamorphoses into a musical and spiritual seat of intense intellectual activity during this December season. A city known to have only three types of climate - hot, hotter and hottest truly comes alive with its now unbeatable and unparalleled musical climate. It is not wrong to say that December sees Madras becoming a Carnatic music stronghold at its best.

Living legends, established contemporaries, budding talent; basically musicians of all kinds - perform, enthrall and inspire an audience on a purely intellectual and musical basis. The rapport that the musicians share with the rasikas is inexplicable. It needs to be that way. The rasika needs to be musically tuned and technically sound to appreciate the concerts better. This might very well drive away the ignorant many from such concerts.

The author finds this beautiful city and musical heritage grappling to come in terms with the harsh reality. It should not lose out on this tradition because of lack of patronage from the rasikas. It is an altogether different issue that the Carnatic form with its strong foothold on the devotional and spiritual aspects of Hinduism, is in a better state; than its counterpart from the north - the Hindustani form.

This question also brings a smile to the author's face. How would this Carnatic fortress respond to Hindustani concerts during its prime season? As usual, I have digressed from the topic of discussion. So, what is the reality?

• Most concerts have limited audience. A rasika is becoming more of a rarity. Such atmospheres are depressing for the musician, the sabha as well as the rasika.
  
• An increasing divide between the musician and the appreciative audience. Classical music is becoming more and more esoteric day by day. It is indeed ironical that a light music function or a rock/pop concert by a world-famous band draws a huge audience willing to pay as well as "appreciate" them.
  
• The Americanization - has its own share of merits and demerits. What can the musicians do if their music finds a greater and much more appreciative audience in the US? The honorariums will be higher (thanks to the supremacy of the USD) and their preference is perfectly justified for music is also their prime vocation.

But then imagine this purely fictional anecdote. A typical scene in a contemporary(?) South Indian household during the December season.

The fledglings have grown wings and flown. The elderly couple continue to live in Madras for sentimental reasons. This is the much awaited Marghazhi season. The couple is highly enthusiastic and is brimming with eager expectations. Let me call them Shri and Shrimathi.

Shri and Shrimathi wake up early every day (say, 4:30 AM). Marghazhi tunes(Tiruppavai's) are playing in the background. The servant maid comes at 5:00 AM and has made the kolam for the day. The milk-man has come and has delivered the day's quota of two aavin milk packets. After having the required dose of pure filter coffee, the couple go out for their daily walk (as recommended by the doctor and their children; few know that the walk is the most anticipated activity of the day for the couple).

The HINDU has arrived by the time they are back. Shri goes through the concerts for the day. Shri jots down a few concerts he is interested in. Shrimathi is not happy that her opinion was not considered. They have a friendly quarrel arguing as to which concert for that day will be the best and worth attending. After having chosen the concert, sabha and the musician who will grace their evening, they spend the rest of the day with coffee, prayers, lunch, siesta, coffee, etc. The unavoidable discussion on the current dismal state of musical affairs comes up.

5:00 PM. Shrimathi dressed in a Kancheevaram pattu saree with appropriate jewellery and a string of jasmine flowers on her hair is ready for the evening. Shri, has one look at her, and blushes and feels all young once again. Both are fortunate to have one another, especially more so when the fledglings are in the US! The couple go on a romantic date to the kacheri. 3-4 hours of bliss. The musician enthralls them with a virtuous display of Ragas, Krithis, Ragam Tanam Pallavi's, thillanas, etc. and the couple is so happy to be musically alive.

A day well spent. Who really cares as to what the world thinks? Retired life, a prime time of their lives, to make up for all those years of hurried life - corporate success, children, financial worries, etc.

..... Such simple pleasures in life make life all the more beautiful, wonderful and worth living for.

Warrior of the Light....

A witness to this event.

Dr. Shankar P. Bhattacharyya, had been invited to play the sarode and provide an introduction to Indian Classical Music, at the St. Thomas Episcopal Church, College Station. This was part of the outreach program of the church towards world religions.The audience was a limited 15 Americans, enthusiastic about spirituality and with a willingness to learn about other religions.

Sarode captivated their hearts and they wanted to know more about the sarode and the Indian Classical Music systems. Naturally, there were a few misconceptions about the religious connotation of music. Music does not have any religion and the universal aspect of music could not be better emphasised than by what happened today.

Dr. B played an early morning raga, Jogiya Kalingra; and a romantic night raga filled with pathos - Kirwani. I am sure that each member of the audience must have connected with the music in a unique and different manner. The effect of sound on human emotions would make a good topic for research.

A step in the right direction. We need to reach out to such people. The onus is on us, we Indians ourselves. India is not all about cows roaming around streets, and people roaming about in elephants. Sadly, this is often the image that people have about India, courtesy the biased news coverages.

PS: References 1 and 2 for the Sarode.

PS2: The title of the post, is a well-known terminology used by Paulo Coelho. This was used to signify the warrior of the light in each one of us.

A Celtic Bonanza...

Event : A Celtic Christmas
Group: The Boys of the Lough
Organizers: MSC-OPAS, TAMU
Date: November 29, 2005
Attendance: Rudder theater, almost full

The Boys of the Lough, gave the audience an aural treat of traditional Celtic music from Shetland, Ireland, Scotland, etc. with added flavours of Scandinavian music too. They further included a few non-religious music pieces. What made it all the more special was the variety of instruments at display (both visual and aural). Some of them were encountered by the author for the first time in his life. The ensemble included Mandolin, Citter, English Concertina, Fiddle, Flute, Whistle, Button Accordian, Melodeon and the Guitar.

Inferences:

1. Instrumental music is truly truly universal, transcending across all possible human barriers. The Hare's lament conveyed melancholy and despair while the Wren Polka No's 1 and 2 conveyed emotions of joy and excitement.

2. Music continues to prove its global appeal. It exists in a myriad of forms, both classical and non-classical. Each region in the world has evolved with some music form or the another. The author must admit that it is difficult to not compare the music forms for their sophestication, appeal and merits.

3. Such evolution from the fundamental notes emphasises the need for a strong fundamental basis for everything that we do in our lives.

All in all, a cherishable experience and a blessing.

Languages....

Why do languages seem to be more of a barrier? Each language has its own repertoire of beautiful works that it does seem highly impossible to appreciate their inherent beauties. To heighten the misery, there are these prejudiced and heavily jaundiced opinions on certain languages.

To add more salt into the wounds, certain works that were meant for ease of comprehension and for the layman; have become esoteric in nature to the people of today. While transliterations do thankfully exist, none of them do justice to the original work of art/ literature.

To name a few, (a not so comprehensive list)

• Thyagaraja Krithis in Telugu - highly philosophical in nature, yet comprehended by a few fortunate souls
• Purandaradasa Keerthanas in Kannada - ironically, simple in content and beautiful in compositions, meant for the layman
• Tirrukural in Tamil - words of wisdom from Tiruvalluvar
• Kabir, Rahim and the vocal compositions of Hindustani classical music in Hindi - profound philosophy in supposedly "simple" language
• Rabindrasangeet in Bengali - the songs of devotion, love, romance, nature, and patriotism
• Pablo Neruda's odes in Spanish - all types of love - both divine and materialistic find sweet mellifluous expressions in his poetry
• Rumi, Hafiz and Khayyam - beautiful poetry in Persian; when the transliterated works are unimaginably beautiful, then what can one say about the originals.
  
• Ghazals, Shers and Shayari's in Urdu
  
• The Gita, Vedas and the Upanishads in Sanksrit
• and so on....
  

What can one do with his/her ignorance of the languages? Doesn't instrumental music sound as the solution?

Music - the road to salvation....

The author was treated to two scintillating Hindustani concerts this weekend. The concerts vindicate the truth that music is the road to salvation. The world couldn't have been any better. Nothing else seemed to matter. It was like a flying dream. There are certain things in the world that cannot be expressed. Expressions of Silence would be the best approach. Nevertheless, I want to write about these concerts and the musical aspects in my own humble way.

Hindustani Classical Music, with its highly romantic concepts of Ragas for the moods and the time of the day, does touch the heart of a person. This post is not meant to denigrate other forms that exist in the world. The emphasis is on the Hindustani form alone. All other forms converge to the road to salvation.

What was special about the two concerts was the universal nature of the recitals. Instrumental Khayals, could be appreciated by a western audience too. Languages often prove to be a barrier for the proper appreciation of music.

Concert #1 A Sitar Recital

A contemporary sitarist, of the Maihar Gharana, Sri. Partha Bose enthralled an audience of around 150 people, with his virtuousity on the sitar. Sri. Gourisankar accompanied him on the tabla. He started off with an elaborate essay of Raga Patadip, an afternoon raga. He ended with a light classical composition on Raga Khammaj.

An interview with Sri. Partha Bose can be found here.

Concert #2 Sarode, Sitar and Jugalbandhi Recitals

Dr. Shankar Bhattacharyya, a disciple of Ustad Ali Akbar Khan Sahib since 1982, treated us to Raga Zila Kafi, a late afternoon raga, a mixture of Raga Kafi and Raga Zila. He followed with a short composition of Raga Tilak Kamod.

Sri. Indrajit Banerjee, a senior disciple of Kartick Kumar, a senior disciple of Pandit Ravi Shankar, played three different Ragas - Desh, Charukeshi, and Piloo.

We were fortunate to witness a Jugalbandhi of Raga Manj Khammaj by these two musicians, that definitely reminded me of the great Jugalbandhi duo Ustad Ali Akbar Khan and Pandit Nikhil Banerjee.

One word that would best describe the performances - sparkling.

***

Words failed me. I was speechless. Silence would be the best way of expressing the aesthetic and emotional impact of the concert. This brings me back to the question of surrender. Is it all right to emotionally surrender to musical compostions? Is it all right to be just musically alive and break down each composition for a detailed analysis of the technical aspects. I feel that it is all right to emotionally surrender to a musical piece within the gambit of the technical aspects. Sounds vague, right? Well, music has been a road to spiritual bliss and emotional contentment. The rasas and the bhaavas of the compositions are for us to discern and appreciate. It is a circular loop. What starts with feelings and moods has to converge back to the same.

***

Isn't it a wonder that music had, has and would continue to hold its own appeal among the people of the world. Life without music, unimaginable and frightening.

Anahata...

Anahata means unstruck sound. Life, the whole of existence, is made of subtle vibrations of sound. There is only music - that music is Anahata, and to experience it is to know what bliss is. That state of elysian and sublime bliss. How would life be if it were to be devoid of sound, music and the assorted mind-boggling variety of exotic and esoteric instruments?

The genius of man.

The genius of innovation.

The genius of creativity.

The spirit of evolution.

The spirit of enlightenment.

The spirit of determination.

It is with a feeling of deep gratitude, reverence and love(yes!) for those evolved souls that I am penning this article down. I bow to them all. They who played with the instruments in their quest to bring out the unstruck sound - Anahata - within themselves to an enjoyable and blissful form. They who constructed the instruments on the basis of instinct, intuition and science. Most things in life do have a scientific basis. But then, has everything been done keeping that basis in mind for the first time?

This is not a comprehensive list. From whatever instruments the author has come across or rather heard, a mention of some with reference to certain genres so as to further hightlight the genius of man. I always have the licence of being a non-musician.

• Carnatic - Voice, Violin, Veena, Flute, Jalatarangam, Saxophone, Guitar, Mandolin, Mridangam, Ghatam, Tanbura, Nadhaswaram, Tavil, etc.
• Hindustani - Santoor, Sarode, Sitar, Voice, Flute, Tabla, Guitar, Veena, Violin, Sarangi, Shehnai, Pakhawaj, etc.
• Jazz - Piano, Voice, Guitar, Saxophone, Trumpet, Cymbals, etc.
• Western Classical - Piano, Stringed (Violin, Viola, Cello, Double Bass), Lute, Harpsichord, Percussion Drums, Flute, Oboe, etc.
• Others - Saz, Balama, Ukulele, Banjo, etc.

PS: Well, being deprived of the faculty of hearing would make life an unstruck sound. At times when I think of such things, I feel totally helpless. It is beyond my circle of influence and control. All that I can do, is to pray and sincerely hope that He/She gives them the much needed confidence, fortitude, determination, courage, etc. to carry on with their lives.

Indianness VI - Carnatic Music....

I bow down in reverence to all the souls who are/were musicians in this demesne of music - Carnatic Sangeetham. I sincerely hope that they overlook the mistakes that might seep in; as this person writes about it. I might have partially written about this elsewhere; but this is the first time, I am writing about it in completeness(?).

Carnatic music - with its strong emphasis on rhythm, melody and feelings - provides the fundamental, essential and harmonic basis for India's rich cultural heritage. Hindustani music, its sister, on the other hand has nevertheless been influenced by West Asia. Essentially South Indian, with compositions predominantly in Telugu, Kannada, Tamil and Sanskrit; this form of music has withstood the test of times and invasions. Despite the absence of unity among the people, this art was nevertheless heavily protected. The Guru-shishya parampara school of thought helped in more ways than one. It is a closed form in the sense that it would be very very difficult for an outsider to truly appreciate it; and most of the technicalities would be considered esoteric. Most compositions were part of the Bhakti movement - which believed in attaining salvation through the path of Bhakti yoga. Hence, they were related to the divine masculine and feminine faces of the Trinity.

Purandaradasa, the Father of Carnatic Music laid the foundation for a systematic approach to the impartment of this musical form. The Trinity of Music developed it based on the Melakartha system with divine mellifluous compositions. It provides no scope for improvisation (barring the alaapanas); infact the musicians do not want to improvise; and the rasikas do not want them to. It would be indeed blasphemous and amount to showing dis-respect to the composer. Each krithi is rendered only in that raaga, so desired by its composer. So many luminaries have helped sustain this form of music. The festive kacheri season sees many concerts during this time by musicians, both young and old; rising and established.

So, is this form limited to the few (sadly, yes) people who know it or appreciate it? I don't know why, but somehow it is the common opinion that this form is limited to Brahmans alone. I am not really sure about the element of truth in this opinion. Would it be difficult for non-Brahmans to appreciate it if they want to? Would it be difficult for people of other religions to appreciate it if they want to? And, do these "differences" exist in this era of nationalization and globalization?

It is our's, India's jewel on her crown. We are responsible for its sustenance and fortunately, we can do so in more ways than one (however small and insignificant).

1. Attending the kacheris. Nothing comes for free. A Rock/Pop concert by a famous star/group attracts people, who have no qualms whatsover in paying hefty amounts as entrance fees. The music is heavily commercialized and contemporary with its own appeal. Do we really understand the elements of music during these concerts? It is most often a time to be among the hep crowd. So, what's wrong in attending a carnatic music kacheri even if one doesn't truly understand its elements? In what way is it less fashionable?

2. The young, new, and rising musicans hold the key for the sustenance of this art form. Support them in every possible way. They need us and our encouragement. Remember that most of them, would have chosen this as a vocation. They are dependent on this for their living. Money shouldn't be a limiting factor for them which could possibly force them to seek alternative vistas. The music form needs them more than the musicians need it.

3. Purchase original CD's/cassettes. That is the least we can do. Say a complete NO to piracy.

4. Our not knowing the languages - Telugu, Kannada, Tamil and Sanskrit, shouldn't deter us from trying out carnatic music with an open mind. When people consider it fashionable to learn French/German/Spanish, what stops them from learning a new language?

5. It is an Indian art form that has amazingly been protected. It is pure, virginal and blissful. We, as the responsible citizens of India, should do our best in ensuring that it remains that way.

Just like a flower has no religion, Music also has no religion. - Amjad Ali Khan

There can be no bigger folly than failing to appreciate what is ours.

6. Encourage children who are learning some form of Carnatic Music. They should know about the glory of this form. They should know that they are among the (fortunate few!) potential stones being polished to become diamonds. I do not imply vulgar glorification. In the present times, young children are more attracted to filmi/contemporary western music. They consider it hep to be among the crowd. I am not saying that they shouldn't be exposed to other forms of music. Too much of anything is madness. What I am really against is their lacking respect for any form.

7. Encourage organizations like SPIC-MACAY and others that help in promoting musical awareness among youth. The youth and children hold the key! They are the ones that need attention, encouragement and guidance.

.... and so on.

Kacheri of a different kind...

Venue : United Methodist Church, College Station, TX, USA (btw, there seem to be so many different types of churches - Lutheran, Methodist, Adventist, etc, etc. - well, never ceases to amuse this ignorant bystander)

Artists: Malladi Brothers; the author listened to them for the first time yesterday. They were simply amazing. Such wonderful mellifluous voices; grasp and command over the compositions (there were quite a few requests from the audience, they obliged each one)!; effortless rendering of the keerthanams - by Annamacharya, Thyagaraja, Ramadas, Shyama Shastry, etc. Organized by SPIC-MACAY, TAMU chapter.

Audience: Around 50; mostly Indians. A few foreigners (hmm.. well the Americans) interested in Indian Classical Music were also present. This number surprised me. For a college town, College Station, would definitely boast of around 2000+ Indians. Are people so busy these days, that they do not get the time to attend a free concert? Or, is it lack of interest, sensibility, passion or whatever. Such young amazing talent needs to be nourished, enriched and nurtured.

Well, I didnt want to write about all this, but then, couldnt help it. What I had wanted to convey, was that the venue was a church. The podium was near the altar. With the Cross, and a glass engraving of Jesus as passive onlookers, the Brothers enthralled the audience with a 2 1/2 hr mellifluous kacheri - renderings of divine Hindu Carnatic compositions. I was really happy with the setting. Well, this author firmly believes in the presence of a unifying omnipotent omniscient ONE in different manifestations. The American experience opens up new frontiers and the author considers himself fortunate to have been among the audience for this event.The kacheris that the author has been to in India were inevitably at Sabha's or temples.

Music has no religion in the same way flowers have no religion.

- Amjad Ali Khan