A journey in to Musicscape -5

9/17/2017

From heavens SB’s soul must be smiling happily to see that at least in the last few years, we all get to hear more of unsung Melakartha ragams and a variety unusual janyass (derived) . The apporva (rare) raags of yester years have become common place ones. In 80’s we had Tanjore S.Kalyanaraman and Susarla Sivaraman (not much heard, though he liven in Chennai and belonging to Tyagaraja Sishya parampara), attempting boldly vivaadhi melas and janyas.

Late Shri S.Kalyanarama, in fact had tried all Melakartha raagams with utmost understanding and presented a variety of Krithis from Tyagaraja, Kotteeswara Iyer and Dikshitar. Around the same time, S.Rajam, the elder brother of S.Balachander, who had learned from the great Kotteeswara Iyer himself, the krithis from “Kanda Gaanamrutham”, songs on Skanda in 72 melakartha with brief introduction to each ragam and a little bit of manodharma swaras for keen learners. They are becoming more and more popular these days.

‘Maha’ Vaidyanathar who was conferred the title ‘Maha’ by none other than “Peria Vaidhiyanatha Iyer” of Sivaganga, who was a very celebrated, revered and very senior musician at that time at the age of 14. There is another account of Thamiz Thaatha U.VE.Swaminatha Iyer that he was give by “Thiruvaavaduthurai Adeena Karthar, Melagarm Subhramaniam Desigar, during a Sadas at his place with the consent of all the big musicians of his time. The aforementioned “Peria Vaidhyanatha Iyer’ was one among them.

Looks like ‘Maha’ sang ‘Chakravaagam raagam elaborately and sang Tyagaraja Krithi ‘SuguNamulE” during that occasions. The assembled musicians were not aware of that raagam at that time as a lot of of Melakartha raagams were not in vogue despite the fact both the celebrated Dikshitar and Tyagaraja had composed Krithis covering a variety of them.

SB says, despite the fact Maha had composed a 72 Melaraga malika and the trinity had composed in all the ragam, the musician of his time were not adventurous to even attempt most of them.. He has mentioned, “VakuLAbharaNam, KokilapriyA, Hemavathi, Bhavapriya, Gamanasrma, Dharmavathi, NataBhairavi, Shadvidha maargiNi, SarasAngi” etc.. in that category..

It is hard to believe that complaint as in my 40 years of learning, even from before 70s I have myself listed to all these ragams by Semmangudi, Dr.S.Ramanathan, Voletti, DKJ, and many others.

The fact that these raagams have limited number compositions could probably be the reason for not being popular unlike Kamboji, Kharaharapriya, Thodi, KalyANi, KeeravAN etc..

It is true that Ragas like Naagaanandhini, Navaneetham, Maanavathi, Dhaatuvardhini, Soolini, Chithraambari, kAnthAmaNi, RupAvathi, JankAradhwani, Raghupriya, Kosalam, Saalakam, nAsikAbhooshani..” and the likes were not heard much.. But the ever adventurous, and zealous the new breed are indeed challenge taking and attempting, even elaborate alaapanaas and effortless manodharma in swarakalpanaa..

So, SB Sir, you can be rest assured, that the young generation has not failed your aspirations, despite the commercial trend you see prevalently. I have heard more that a dozen young artists try all the aforementioned ragas with admirable vidwath.

Some of the glorious and illustrious aspects of Maha Vaidhyanatha Iyer’s life is something that we have to quickly see in the next few days along with the intricate pallavis that SB has mentioned. I will request the musical fraternity to take a look @ those PALLAVIs and attempt to sing them as well as construct similar ones. While doing so, I will also be mentioning, how “MAHA” had executed the “nishabdha kreas” of shadaangaas such as “ KURU, PLUTHAM, and KAKAPATHAM, which are quite different from the way how they are done these days…

So, more to come…