It is high time that the organizers re-look into the facilities available in the auditoriums, though most of the rasikas are concerned only about the concerts and nothing else.

Can some agency conduct a survey on the auditoriums based on the following parameters and benchmark them for the benefit of the users?

- Acoustics from artist perspective
- Acoustics from rasika perspective
- Lighting on stage
- Lighting inside the auditorium (many times lights are switched off during dance programs! Is it a must?)
- Air-conditioning comfort
- Seating comfort
- Parking facility
- Availability of Volunteers / Guides
- Safety features (fire extinguishers, fire exit, etc)
- Rest room hygiene
- Physically challenged-friendliness
- Aesthetics and stage décor
- Canteen facility

- Filed by C. Sundararaman, Chennai

Feadback on ‘Is the season pushing the seniors?

I am somewhat flummoxed with your piece titled ‘Is the season pushing the seniors?’ published in the KB Daily.

The photo of Lalgudi Jayaraman and GJR Krishnan is of my book release function - it was cropped by your staff.

It seems that only these two personalities are involved in some presentation - it is not so.

Lalgudi Jayaraman came so kindly to my invitation and because it was in memory of GNB, whom he has always held in high regard.

He did not make a speech but he watched the docu film made by me with tears as did many members of the audience.

We are honoured that a living legend like Lalgudi Jayaraman graced the function simply because he was convinced that it was a sincere effort and we were not capitalising on his presence in anyway.

Durga Krishna

I am a music lover who lives in USA and visit Chennai in December to enjoy the music season every year. The article “Is the Season Pushing Seniors” opens with the question should T.V. Sankaranarayan accept so many concerts though he is recovering from recent illness.

TVS was in the USA recently on a concert tour performing at least 3 concerts every week. He gave a wonderful 31/2 hour concert in Boston where I live. I also attended his concert at the Narada Gana Sabha two days ago where he gave a very good concert though the length of the concert was some what shorter than the usual 2 1/2 hours.

Your article also mentions Dr. N. Ramani. He travels to USA to take part in the Cleveland Thyagaraja Aradhana each year and gives a few concerts in other cities too. His concert at the Narada Gana Sabha on a recent morning did not give any indication that he was under pressure to perform.

Kalpakam Swaminathan and R. K. Srikantan both of whom are in their eighties still travel, perform and give great concerts. These are a few examples to prove that age has nothing to do with their ability to perform and spread the art that they love so much.

Now, about the remark on Lalgudi G. Jayaraman making public appearances. What is wrong with it? Seeing these legends on stage in person will inspire many young audiences and witnessing the appreciative reaction of the audience could prove to be more therapeutic than any other traditional treatment.If one should perform or make public appearance should be the personal choice of that individual and their families, not a matter for public discussion.

Another point to remember - it is organizations who seek these artists not the other way around..

Conditions at sabha not good

The conditions inside the Narada Gana Sabha are getting to be ridiculous. There is no proper control of central air-conditioning which results in extreme cold in certain seating areas.

Addionally they have put barriers preventing patrons from crossing over to the front rows. For people who paid Rs.3000.00 in rows G.H and I, it is impossible for the women to go to the wash room as they are blocked by the barriers both in front and rear.

I have addressed these issues with the organization with no avail.

Hema Nair

I am a native of Kerala but I have been living in Chennai for the past 35 years. I am an ardent fan of Neyveli Santhana Gopalan.

I attend all his kutcheris wherevr he sings.

The strength, the expression and the correct diction in his rendition is everything that I like. In fact he is a family friend of ours.

I go for other kutcheris also but only in the evening. Mornings are for official work

S. Y. Singh, USA

I have been visiting Chennai during the December season since 1999. I am a retired person from Kansas City USA. I stay in New Woodlands hotel the entire 40 - 50days.

My wife is employed, so she comes by December 28th.

I am from Hyderabad. I like Hindustani also. After the season here I will go to Kolkata. I can speak a little Tamil and but can understand it very well.

Prabha Ganapathy

I am a native of Kerala but lived in Bombay till my husband retired from service.

I have been attending December season kutcheris from 2004. Almost everyday we attend kutcheris - we leave home at noon.

I like to listen to Aruna Sairam, Sowmya and Bombay Jayashri with special interest. Bombay Jayashri is related to me distantly.

Padmini Hari Chennai

I work as a lecturer in a local college. After college hours, I attend all the kutcheris.

I have a membership in Mylapore Fine Arts Club.

My husband is in a software company and works long hours so he cannot accompany me. My father, who is working for SBI, Bombay, takes one month’s leave exclusively for December Season. Together we enjoy the music.

I am a disciple of Dr. S. Sundar.

M. S. Mani Kodambakkam

I started attending December season kutcheris from 1985. While I was in service I was at Secunderabad so it was only after retirement that I could devote my time to concerts.

My wife and I travel by auto, at times even by call taxi to get to the halls. Sometimes, our close friend Hariharan takes us in his car. Hariharan is an artist and paints portraits and pictures.

From 5 - 9 in the evening everyday without fail we enjoy the music in sabhas and we mostly choose free kutcheris. We go for ticketed concerts once in a way.

G. L. Meenakshi Adyar

I am a member of Kartik Fine Arts. I also attend ticketed kutcheris at NGS.

For the past 14 years I have been living in Adyar and visit all the sabhas in Mylapore and Thiruvanmiyur.

I used to do the rounds with my husband till 2007 now he is no more.

During the December season I skip marriage receptions or religious functions and devote most of my time only to kutcheris.

I was working for a private firm as financial consultant. My daughter-in-law, who has a doctorate in music, takes care of my household.

I always carry my laptop with me just in case

I have to attend to urgent communication.

C. S. Viswanathan

Those days T.R. Mahalingam (Flutist) used to come late to kutcheris.

On one such occasion T.N. Krishnan and Mayavaram Rajam took the dais.
That day the concert turned out to be superb and marvellous.

Once D.Vimala and D.Lalitha (elder sisters of Vani Jayaram) took part in the music competition. Palghat Mani sitting in the audience said ‘sabhash’ when Vimala performed. No wonder she got the first prize that day (in the late 50s). GNB was so simple that he used to ring up and tell his rasikas about his schedule. He used to be very friendly.

MSG could bring in almost the same notes of vocalist on his violin.

Lakshmi Venkataraman

My father was a contractor and so he was entrusted with the work of putting up the pandal for The Music Academy fest during the season.

There were only a few sabhas. Evening kutcheris used start at 9 pm and go on even past midnight. In R.R. Sabha, one Mr.Sundararajan would announce that buses were waiting outside to take the rasikas home after a kutcheri. Those days, even Thiruvanmiyur was considered to be a distant place.

The Music Academy had lectures in the morning session in those days too. They would be elaborate. Competitions also took place in another place. My uncle used to announce the names of the participants. Stalwarts like KSN, Musiri, Palghat Mani would be the judges.

GNB had lots of female fans. When he gestured with his hands during a concert, the diamond ring he used to wear would glitter.

S. M. Venkataraman & Annapoorna Venkataraman

When I was young, Kutcheris were performed in a hall in Triplicane Thirumalachari Road, ( I forgot the name), Hindu High School and Triplicane Pillaiyar Koil.

R.R.Sabha of Mylapore was also not very far. The kutcheris were for a minimum 3 hours. The tickets were affordable.

People showed great interest and the audience were committed. The artistes, even the stalwarts were very simple.

Once Manakkal Rangarajan performed sitting on ‘mann tharai’ (on the sands).

On another occasion I recall Madurai Mani’s kutchery in Hindu High School. I remember to have enjoyed it standing throughout.

In present day, there is no time for artistes even to warm up. When I was in Calcutta I was the President of South India Cultural Club for 3 years. There we arranged kutcheris for 3 hours.

T. S. Chandra

In those days there was only a ‘pandal’ in the place where now The Music Academy premises is located. People call it ‘Pandal Kutcheri’ That was a glorious period. ‘Veenai’ Balachandar used to appeal to the audience not to record the concerts with cheap gadgets like tape recorder.

I have attended Madurai Mani’s kutchery for a ticket of Rs.2/- in 1957.

There used to be 2 kutcheries, 5 pm to 8 pm and then from 8pm -11pm. The ticket for both kutcheris together was Rs.7/-. First was Madurai Mani’s and the second Semmangudi’s. I purchased for the second. I was told at the ticket counter I could have come for the earlier one also with the same ticket. That day Semmangudi sang ‘Maarubalga’ when Gemini Vasan entered. Lucky man; he lived next door!

My friend Sethuraman, the then secretary Perambur Sangitha Sabha used to say that there is a divinity in the entire premises.

Now I live in CIT Colony, pretty close to the Academy and I feel I am lucky. Like Vasan!

Mangala Srinivasan Chennai

MLV’s music had a tranquillity which elevated me from my depression (due to the demise of my husband) and infused fresh life in me. I am grateful to that till date. This made me start MLV Rasigar Mandram in 1991.

MLV’s RTP used to be for 90 minutes.Sowmya and Raji Gopalakrishnan were in the 1.00pm slot many years ago - I was then working for FCI.

On some pretext I used to come out during lunch time from my Haddows Road office, attend their concerts at The Music Academy and get back to office. That is the kind of passion I have for good music.

I would be in Chennai at any cost during the December season. We three, my brother, my daughter and I exchange our tickets for three sabhas that we have and take turns to go for the concerts.

Radha Krishnan Kodambakkam

In those days, the accompanying artistes were respected and adored equally with the main musicians.

The concerts used to be for 3 hours.

Memories of 1969

I remember the 1969 ‘season’ when I was at Madurai and came to Chennai for a short visit to attend a training programme for teachers.

I was able to attend five recitals. Sabhas were limited in number. R. R. Sabha, Mylapore Fine Arts and The Music Academy attracted me.

Semmangudi Srinivasa Iyer, Flutist Mali and Madurai Mani Iyer programmes were attended in large numbers. Rasikas were disciplined and they did not leave the hall during Thani Aavartanams.

Rickshawallah rides!

For this wet music season, senior citizens require autos, Call Taxis or their own cars.

Those were the days when rickshawallahs ruled the Madras roads.

After a kutcheri, to sit in a ‘top open’ rickshaw and hum the ragas you had just heard from the silken voiced MLV or the golden voice of a Santhanam was heavenly.

The rickshaw man never disturbed your musings.

Ahalya T. Nagar

The era of MLV, MS, DKP followed by Balamuralikrishna was the golden period.

The auditoriums used to be full, sometimes even overflowing.

Rasikas used to be very attentive and stay till the programme got over.

The music those stalwarts rendered had divinity. The audience felt the heavenly feeling within themselves.

S. V. Raghavan Besant Nagar

In those days there were only 2 Sabhas, R.R. Sabha and The Music Academy.

In north Madras Tamil Isai Sangam used to conduct a music festival. The Academy used to conduct kutcheris in P. S. High School, Mylapore, sometimes even in R. R. Sabha.

In Mylapore one family would have even 5 life membership cards of the Academy. People had no other entertainment than classical music. No kutcheri would be for less than 3 hours.

There would be two main ragas but there would not be any bhajans the way they are added today.

We knew only two child prodigies, one Ravikiran and the other Veenai Gayathri. Nowadays many third generation kids are going on stage!

Prema Srinivasan Mylapore

I was staying at Ranipet 50 years ago. I used to come to Madras during the December season and stay with my sister at Mylapore. My brother-in-law used to drop and pick me from P. S. High School where Music Academy used to conduct the kutcheris.

Those rasikas with genuine interest were let in free at that time. For MLV’s kutcheri alone I used to buy a ticket. When I was 25, I came to Madras and settled in Mylapore. Now, I am a regular at sabhas in the season: it gives me peace.

Vijay Siva sang great Thodi alapana that DKJ did in 1997 at same venue

In 1977, I attended D. K. Jayaraman's concert at the Astika Samajam hall in Venus Colony. DKJ sang a glorious Sree Subrahmanyohm in thodi accompanied by Lalgudi and Vellore Ramabhadran.

Tonight (Dec.16), at the same venue I heard Vijay Siva perform a great Thodi alapana and sang the same Dikshitar masterpiece with R K Shriramkumar and Trichy Sankaran as accompanists. Even though I would say this was Déjà vu, it felt more like janma sapalyam.

Has anyone had a similar experience where they are reminded of a special moment of a great kriti rendered by a stalwart many years ago at the same venue?

<< Rasikas are welcome to email anecdotes and memories that make music histories. E-mail to - editor@kutcheribuzz.com >>

Aruna's innovative RTP

In the 'Houseful' concert of Aruna Sairam held in Narada Gana Sabha on Dec.20, Aruna as usual was in good form, pleasing the 'rasikas'!

But this rasika felt that what stood out was the pleasing 'innovation' she did in her RTP.

Instead of the customary 'swaras' in different ragas, she sang the aptÊlines of popular kritis in praise of Lord Shiva, most of them from 'Nandan Charithram'.

The introductory lines of the Pallavi were 'Kanakkann Koti Vendum - Vinnura Gopuram'. This was a pleasing effort!

Junior Chowdiah

We had some great coffee at Music Academy (the real coffee costs only Rs.10 and you get a good measure served in large tumblers) but my reference is to the Kapi raga alapana by violinist Mysore Srikanth, who accompanied T V Sankaranarayan.

It was pure, scintillating, aesthetic,and delightful.

I see a junior Chowdiah in him

Trichur Brothers have a heart!

The evening concert by Trichur Brothers at Bharatiya Vidya Bhavan on 27 Dec (Kartik Fine Arts) was marked by the brisk pace their fans are familiar with.

A well chiselled Sankarabharanam varnam 'Chalamela' was followed by 'Gajavadana' in Sriranjani.

Dikshitar's Navagraha kirthana 'Sooryamurthe' , which was appropriate for the day, was a refreshing contrast with its slow tempo with plenty of depth, so typical of the composer. It was back to rapid fire in the next number 'Samajavara' in Sudhasaveri. Dikshitar's 'Anandamritakarshini' was preceded by an elaborate rendering of 'Amritavarshini' ragam and was marked by an extensive swara pattern in their characteristic style.

Adding spice to the concert were the last two pieces, 'Kandu kandu' (Ragamalika- Malayalam devotional) and a Purandara dasa Javali.

A word about the humane touch displayed by the artistes.The hall was packed to capacity and a number of senior citizens were seen standing behind.

The artistes requested the youngsters occupying the chairs to occupy the stage near them, thus allowing the elders to relax!

MDR Remembered

In the present day music scenario, even with a avalanche of concerts in the city, you do not much think about M D Ramanathan, the towering music personality, who served Kalakshetra. The reason being his was a unique bani nobody could easily follow. He also did not have many students who could take up his style. Then again he never played to the gallery.

In this context, a recent performance under the auspices of Brahma Gana Saba was a revelation. P. P. Ramakrishnan who was a devout student of MDR gave a stellar concert accompanied by Eswar on violin and the veteran Vellore Ramabadran on mridangam, all the while making one remember MDR.

He started the concert with a slow paced Thodi Varnam Era Napai, setting up an MDR tempo. But it was the main piece Janani Natajana palini in sankaraparanam and the Vignaraja in Sriranjini that really projected the weight and sweetness of MDR's creativity in compositions. While the Sankarabaranam piece was a typical kriti suitable for elaborate treatment, the Sriranjini piece was a sweet and simple lyrical beauty aptly composed in this raga. One wonders why such kritis have not been popularized through cutcheris.

MDR was also known as one of the earlier musicians who daringly started some kritis in Anupallavi. Starting Mokshamu galada in Saramati from the anupallvi Sakshatkara ni sadbhakti was a pattern set by MDR which quite a few are following even now, as the text and context are perfectly suitable for the kriti to start from Anupallavi. Ramakrishnan followed suit and the effect was fully realized. The concert was just for an hour and half and with the time constraint there was a brief Tani from the veteran Ramabadran and significant violin support from Eswar. On the whole it was a concert to remember MDR and cherish his unique bani.

Gen Next

It was youth to the fore at the concert on the second day at the Narada Gana Sabha.Veteran musicians, Malladi Brothers were teamed with young accompanists who did themselves proud.

Patri Sathish Kumar on the mridangam, Giridhar Udupa on the ghatam and Embar Kannan, seasoned no doubt, but young allright, brought a freshness to a stage that has seen mostly veterans with maybe a stray youngster as an accompanist.

Both Kumar and Udupa looked every bit one of Gen Next as far as hair styles went, but they brought that punch into their playing and seemed to enjoy it completely.

Even as both of them played their thani with aplomb, Kumar capped it all by tossing up his ghatam not once or twice but more than half a dozeN times! The audience certainly wowed them.

Srinidhi Chidambaram's recital was a tribute to Chennai. Perhaps hers was the lone voice that echoed the sentiments of the poet who wailed for the lost Cooum!

Rasikas' Reports

These are some random thoughts on a few of the several recitals I attended.

MFAC: T M Krishna delivered a concert of the highest standard exhibiting expertise and mastery. His explanation about differentiation between Poorvikayani and the very closely allied another raga was useful. The Kapinarayani was a class apart.

However the concert appeared to be fully overloaded with many swarams. In middle of last century maestros who gave shape to kutchery format were famous for balanced parts of swarams, alapana and kriti.

MFAC: Bombay Jayashri's rendering of Naattai and Bilahari were very good. Major raga Karaharapriya was superb. This listener has heard MS sing Sankara-bharanam (Sarojathalanetri) in The Music Academy decades ago; it echoed today because of the melody's richness.

The Music Academy: Dr.R Vedavalli was excellent in her lec-dem- she pointed out how a single akshara or gamaka asaivu makes a quantum transfomation in the ragas. Example - Sreeraga and Madyamavati, Aarabi and Devagandhari, Bhaouli and Bhoopalam and others. - Reported by Krishnaswami K.R.

Shobhana's Bharatanatyam recital held at the Narada Gana Sabha, was a pleasing departure from the regular 'fare' - Shobhana gave a new dimension to Jayadeva's 'Ashtapathi' by adopting it to her programme, creating a pleasing effect!

The young orchestra with Radha Bhadri and Revathi Kumar, in the lead, did an excellent job with the support of their colleagues.

'Dasavatharam' , taken as the first item, with Shobhana's effective abhinaya and nimble footwork was indeed brilliant and drew enthusiastic applause from the audience! In double quick time Shobhana changed her costume for the next item, also from the 'Ashtapathi'. - Reported by Rajeswari Srinivasan

Hi-Fi and hijinks

Should musicians set up their own hi fi speaker systems at a concert?

It's a yes-and-no answer it seems, judging by the turn of events at T M Krishna's recital on Friday A concert scheduled for 4.30 p.m.began 15 minutes late - something that has hardly happened in Narada Gana Sabha.

There was a glitch in the sound system and even though the curtains went up promptly the concert did not start.

Technicians got to work. No announcement was made to explain the delay.

With Yesudas' recital, it followed the same pattern of his as huge speakers were set up on both sides of the stage.

The music was amplified at times to an unnecessary high volume. Yesudas is blessed with a powerful voice and one wonders if that much amplification is really needed.

At Aruna Sairam's concert on Sunday, for the first time one noticed speakers positioned at vantage points on the sides of the auditorium. Aruna's voice is also powerful and the volume being turned on so high made for a bad experience.

A speaker was kept next to the 'M' row and loud protests from some rasikas forced the organisers to take stock and decrease the volume.

Aruna Sairam was gracious enough to explain that it sometimes becomes impossible to balance the sound before the concert as there is hardly a break between concerts.

Visakha Hari: good as concert artiste?

For ardent fans of Visakha Hari as a Harikatha exponent, her exercise as a vocalist on 11 Dec at the NGS auditorium under the auspices of Kartik Fine Arts fell short of expectations.

The selection of songs was thematic according to the short introduction she gave at the beginning of each composition.

Accordingly, 'Perumal' as the deity dominated the proceedings with appropriate numbers such as 'Sarasuda' varnam in Saveri, Ambujam Krishna's 'Guruvayoorappan' in Reethigowla and Thyagaraja's 'Rajuvedale' in Thodi. Blessed with a powerful voice which easily traversed the higher octaves, she was able to bring out the sahitya in each composition with clarity. Unfortunately, the accompanists competed with one another to drown her voice, instead of trying to follow her sangathis faithfully.

During the initial varnam, for example, the vocalist appeared to accompany the violinist and not the other way! Later, during the 'Thanam' in RTP, it was not clear whether the violinist was playing 'Thanam' or 'Swaram'', especially with the strident accompaniment of the mridangist who seemed to have got carried away. One felt that 'bhava' was missing since the artiste could not break away from the shackles of her 'Harikatha' expertise in presenting what was meant to be a purely musical concert.