<% mode="newsinside"%> Welcome to KutcheriBuzz.com <% call masthead("newsinside") %> <% call LeftColumn(mode) %>
Interviews
 

Madurai T. N. Seshagopalan, the versatile musician started his career in music at the age of seven, in 1955. For over 50 years, he has been on the stage in various 'avatars' - a vocalist, a veena player, keyboard artiste (he calls the instrument - Swara Raga Pradarshini) and a Harikatha exponent. His love for Tamizh and the music in the ancient classics are explicit in his concert presentations. Seshagopalan, an expert in Pallavi rendition, presents many kritis in Tamizh and hymns from ancient literary collections in Tamizh. In an interview with Revathi R. of KutcheriBuzz, Seshagopalan talked passionately about his continuous efforts in archiving the music of 'Divya Prabandham'.

ABOUT DIVYA PRABANDHAM'Divya Prabandham' meaning 'divine compilation', is the collective works of the hymns of Vaishnavaite saints - the twelve Alwars believed to have lived between 5th and 8th centuries. Saint Nathamuni who lived in the 10th century, retrieved and compiled the works of all the Alwars.These are now treasured as part of Tamil classical literature. Considered by Vaishnavaites as Tamil Veda, this literary work is a reference to the grammar of Tamil poetry, having every form of poetics and prosody available in Tamil.

There are many Tamizh classical hymns. Why have you chosen 'Divya Prabandham' for archiving the music?
We hear a few verses of 'Divya Prabandham' being recited in temples and in many homes as part of their daily pooja. But I believe they were originally set to music. In one pasuram (verse) it is said that 'paavin innisai paadi thirivene' (I will sing your glory, Lord). Though the pattern of these verses is in Iyarpa or Viruttam, they have music in them.

Do you intend to bring back the music in all the 4000 verses of Divya Prabandham?
Though I very much wish to do this, my humble effort at this stage is to preserve at least a few of the verses with music set to them. Say about 800 verses and in about 20 to 30 ragas, which will be sung by the future generation in the concerts.

Is this a pioneering effort?
We have heard a recording of a set of verses by B. V. Raman and B. V. Lakshmanan! Though all the hymns are believed to have been sung with music, there is no definite tradition with explanation or notations. So, these are restricted to religious occasions or read with a literary interest. Yes, there is a piece sung by the brothers Raman and Lakshmanan from the pasurams of Kulasekhara Alwar. The music is set in light ragas and in an attempt to popularise the verses. But there are not many such recordings available.

What in particular, about Divya Prabandham attracted you?
The captivating themes, poetic ecstasy, the richness of the language and much more. . . In fact, the one by Kulasekhara Alwar (mentioned above) is of rare literary value, in which the Alwar has sung a lullaby to Lord Rama. Even in Valmiki Ramayana and Kamba Ramayana, the story after the birth of Rama is taken straight to vidyabhyasa (education) and such poetic expressions of enjoying the Lord, as a child is something, each one has to experience. Thyagaraja swamy has composed 'laali' with similar theme later.

For the Saivaite literary work, like Thevaram, there is a definite tradition of rendering them by the Oduvars. But, unlike Thevaram, Divya Prabandham is sung or recited during the domestic functions and auspicious occasions by the Vaishnavaites, even at home.

Is the interest in Divya Prabandham because you are a Vaishnavaite?
May be it is natural as I have been exposed to this literature from my childhood. But I have presented Thiruvachakam, Thiru Arutpa, Thiruppugazh, Kambha Ramayanam and Bharathi's songs in my concerts. I have even presented Kannadasan's religious songs in my concert at Tamizh Isai Sangam in 2001. So, wherever I see music and richness of language, I like to take them up to present in my concerts.

How long have you been working on this project?
The name 'project' makes it to mean 'a time consuming process'. I have been doing this voluntarily and I have given exclusive performances of Divya Prabandhams in the past also. A few to mention - A full Divya Prabandham concert at 3rd Classical Tamil Winter School organized by Ecole francaise d'Extreme-Orient, Pondicherry Centre in February 2005 and a concert titled 'Mudal Moonru Alwargal' in January 2006 at Tamizh Isai Sangam, Chennai. I have also presented a concert 'Thiruppavai Gana Manjari' with songs by Andal, the only women poet among the twelve alwars.

Have you received any assistance for this effort of archiving the music of Divya Prabandham?
The estimated cost of the actual work involved in recording and producing the audio cassettes works out to Rs. 40 lakhs. I have sent the proposal for grants to Central and State Govt. and Sangeet Natak Akademi. And I am yet to receive any response. The cost can be shared by various organisations and well wishers - say 'Mudal Moonru Alwar' in a set of 3 cassettes, 'Thondar Thirumalai' in a set of 5 - 6 cassettes, Kulasekharappadi in a set of 3 cassettes and so on. This way, many interested people can participate in this effort.

What next, after Divya Prabandham?
My interest in Alwar Pasurams has helped me in my Harikatha performances. The research I have done on Divya Prabandham music, makes my presentations informative. A Harikatha in Kamba Ramayanam is the next. This will be during Rama Navami festival (April 5 to 9) for Hamsadhwani in Chennai.

You can reach Seshagopalan at - 35, Rukmini Street, West Mambalam, Chennai-34. Ph: 044-24891819, email: tnseshagopalan@yahoo.com

Do you have comments to make or experiences to share after reading this feature? Email us at editor@kutcheribuzz.com

<% call RightCol(mode) %>
<% call BottomNav() %>