Vijay Siva Program Notes

8/9/2019 Vijay Siva Program Notes

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About Sruti

SRUTI- The India Music and Dance Society is a registered 501(c)(3) non-profit

organization based in the Philadelphia area and founded in 1986. Srutis principalmission is to promote and present Indian classical music and dance. In addition Srutialso seeks to educate the Philadelphia community at large about Indian arts. Sruti is avolunteer-run organization. Its leadership comprises of an elected Board of Directors andseveral committees. Sruti publishes an annual magazine Sruti Ranjani and a periodical,Sruti Notes.During the past twenty three years, SRUTI has grown from presenting three to fourconcerts a year to presenting eight to ten concerts a year. All this has been madepossible with recognition and funding from many granting agencies and corporations in

addition to a loyal and appreciative audience. SRUTI has received generous grants fromprivate foundations and public organizations including the Pennsylvania Council on theArts, Dance Advance and Philadelphia Music Project (funded by the Pew CharitableTrusts), Sam Fels Foundation.

www.sruti.org [email protected]


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A note on Carnatic Music- Extracted froman article on Carnatic music by Kiranavali Vidyasankar

Carnatic music is one of the two major systems of classical music in India, the otherbeing Hindustani music. The latter predominantly belongs to the north, east and western

parts of India, while Carnatic music originated in South India. Before they evolved as twodifferent streams of music, India seemed to have only one classical form of music thathad its roots in the sacred hymns called the Veda-s (approx. 5000BC 1000BC). Thecultural, religious, political and regional changes of several hundred centuries caused thedivergence of these systems, the most recent and powerful being the invasion of India bythe Islamic civilization around the 13th century. Whereas the classical music of north Indiapicked up Persian, Arabic and Turkic influences, the music of the more peaceful southernIndia remained relatively unaffected by these developments and evolved independently.Carnatic music remained closely tied to the Hindu Bhakti (devotional) traditions as also to

the folk and classical cultures of the Dravidian people. As a result, the exposition, therelative focus on the various aspects of music, and the repertoire developed in divergentways between the north and the south.Carnatic music is a very dynamic system that takes in desirable aspects from othersystems and adapts them without prejudicing its originality and individuality. For instance,the violin has been successfully adapted from the West, just as a few Ragas have beenincorporated from Hindustani music. Carnatic music takes a three-pronged approachwhere melody, rhythm and lyrics are given equal importance. A noteworthy feature is thatboth classical music forms in India have developed as melodic systems as opposed to

Western classical music, which is based on the principle of harmony.Melody: Melody in Indian music is embodied in the concept of Raga. A Raga can beloosely described as a melodic scale that is embellished with ornamentations (gamaka)that are unique to Carnatic music. Some of the characteristic ornamentations areoscillations between two notes, glides, accents on notes and special kinds of microtonalemphases around particular notes. Several thousands of Ragas are theoreticallypossible but only a few hundred have been named and are in vogue.Rhythm: Carnatic music has been recognized one of the most advanced in terms of

rhythmic sophistication. Not only is there an inherent rhythm (laya) to the various aspectsof music, this is in addition expressed physically through hand gestures (tala). Anotherdimension to the rhythmic aspect is that one can find the common patterns of 4 and 3counts, the relatively uncommon 7 and 5 count patterns, and also the quite rare 9 countpattern. These patterns are used for the external Tala count as well as the inner gait ofthe Tala. Using this broad base, endless arithmetical patterns are created to embellishthe music both melodically and rhythmically.Lyrics: Prosody or lyrics (sahitya) is the other important part of Carnatic music. Most ofthe well-known composers were adept at all the three aspects of music (melody, rhythm

and lyrics). Although the underlying theme of most Carnatic compositions is devotion tovarious Hindu deities, there are also compositions in other themes like philosophy, loveand patriotism. The Carnatic pool has compositions in the four South Indian languages(Telugu, Tamil, Kannada and Malayalam) in addition to Sanskrit. Compositions areborrowed from other Indian languages and adapted as well.One of the striking features of Carnatic music is the beautiful balance it offers in terms ofcompositions and creativity. It is as important to render compositions in a disciplinedmanner as it is to make creative forays into the melodic or rhythmic aspects.


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D.K.Pattammal Memorial Concert

It has almost been a year since the passing of D.K.Pattammal (28 March 1919 16 July2009) - the last of the trinity of women trail blazers whobrought a particular grace and musicianship to Carnatic music

albeit in vastly individual styles. This afternoons program hasbeen planned as a tribute to this remarkable lady who alongwith her brother and disciple D.K.Jayaraman left an enduringlegacy in the sishyas or students who are the standard bearersof this particular style orbani. It is particularly appropriate thatthe threesome of Vijay Siva, R.K.Shriramkumar andJ.Vaidhyanathan are here today. They have been associatedwith D.K.Pattamal and D.K.Jayaraman in many ways. Theyhave also presented concerts together as a team at multiple venues.

Todays presentation on music appreciation is the first in a series of what we hope to seeas a regular feature. Sruti gratefully acknowledges the contribution of KiranavaliVidyasankar in this effort.Synopsis of the presentation by Kiranavali Vidyasankar prior to the concert:

D K Pattammal was a path-breaker among the women musicians of 20th century India.Hailing from a conservative Brahmin family, with the sheer power of her talent and hardwork, she went on to become one of India's foremost Carnatic musicians. Herdeceptively simple style contained the concentrated essence of the highest values of herart. She stirred the hearts of listeners with the emotive power of her voice and thehonesty of her approach. It is almost a year since she left her mortal coil, but thefreshness of her music hasn't faded from the minds and hearts of Carnatic music loversworld over.

As a Carnatic vocalist, instrumentalist (slideinstrument-Chitravina), writer and teacher, Kiranavaliis a very accomplished artiste of her generation. By

age 2, she was hailed as a child prodigy, being ableto identify over 200 ragas (melodic scales),demonstrate the 175 talas (rhythmic cycles) andanswer numerous other technical questionspertaining to Carnatic music. Her father, N.Narasimhan, an outstanding musician and teacher,saw Kiranavali's potential even as a toddler andtrained her in the intricacies of music. Grand-

daughter of the famous Gotuvadyam NarayanaIyengar, Kiranavali also had the unique opportunity oflearning from two other distinguished musicians - herbrother, Chitravina Ravikiran, and the late SangitaKalanidhi T. Brinda.

Kiranavali has performed extensively in India and the US, both as a vocalist and as aninstrumentalist, at noteworthy organizations and festivals like the National Centre forPerforming Arts (Mumbai), India International Centre (New Delhi), The Music Academy(Chennai), Narada Gana Sabha (Chennai), Brahma Gana Sabha (Chennai),


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Shanmukhananda Fine Arts (Mumbai), and the Cleveland Tyagaraja Festival (USA). Shehas also lent her voice for several recordings and television productions. Besidesconcerts in the regular format, she has presented many special thematic concerts. Oneof her most recent achievements, showcasing her creative abilities and solidmusicianship, was a unique Ragam Tanam Pallavi concert featuring 108 Ragas.In addition to her performing commitments, Kiranavali is a highly sought-after teacher,who has trained numerous students at the institutional as well as private levels in India.Today, she continues to add value to the Carnatic music scene in the USA by trainingstudents at various levels in cities such as Philadelphia, Buffalo, Sacramento and so on.Kiranavali has distinguished herself as an eminent writer and editor as well, writingregularly for newspapers, magazines, journals and websites. She served as the Contentand Design Editor for www.carnatica.com between 2000 and 2004.

About D.K. Pattamal from Srut i Ranjani 2009

The following is an excerpt from an article by Rasikan in Sruti Ranjani 2009-..Pattammals music can be characterized by the Tamizh word Azhutham whichroughly translates to depth and strength. Her music was absolutely pure. Theenunciations whether Tamizh, Telugu, Kannada or Sanskrit were distinct with no slurringover words. Her rendering of kritis were deceptively simple.A well known violinist once described his concept of sarva laghu (the phrase impliescertain simplicity) as a way of playing or singing phrases such that one hearing it wouldfeel like saying Oh, it sounds so simple, let me try it; but try as one may, one would findit very difficult to reproduce the nuances. DKPs music has that characteristic.

[Bachs music in Western classical music genre also has that elusive quality.]DKPs music was different from the fast briga based music of GNB/MLV, she did notpossess the captivating voice of MS nor did her music involve the heavy gamaka usagesof a Brinda/Muktha. She developed a serene middle ground which suited her voice well.The music flowed at a leisurely pace with minimal frills.

The following is an excerpt from the article by Vidyasankar Sundaresan in Sruti Ranjani2009-

.As a young girl, Pattammal sang and recorded the patriotic lyrics of SubramaniaBharati and others. Her musical training, which was originally intended only for theoccasional Puja at home and annual Navaratri celebrations became a public treasure inunprecedented ways. While the core of her strength in Carnatic music lay in the difficultKritis of Muthuswami Dikshitar and the rendition of complex Ragam Tanam Pallavis, sheis remembered more popularly for her soulful rendition of Bharatis Shanti nilava vendum.If things had gone differently in her teenage years, and her father had been stubborn insticking to the old ways, her trajectory in life could possibly have been very different. Shewould have probably ended up as one of those old grandmothers one often meets, who

sing beautifully but never at a seasoned professional level. Or perhaps, she would havebecome reasonably well known as a good teacher in her neighborhood. It speaksvolumes to her talent and perseverance that not only did her father allow her to pursuemusic at a very advanced level, but also very traditional men like Ambi Dikshitar(descendant of Muthuswami Dikshitar) and Justice T L Venkatarama Aiyar took herunder their wings, taught her and encouraged her musical performing career at crucial

junctures. Today, it is impossible to talk of Carnatic music in the 20th century withoutgranting a place of primary importance to D K Pattammal..


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ABOUT THE ARTISTSVijay Siva - Vocal: Vijay Siva is one of the foremost vocalists today in Classical Carnatic

Music. A child prodigy, at the age offour, he exhibited a rare intuitive

capacity to identify ragas.Vijay Siva had his initial tutelage inCarnatic music from his mother,Akhila Siva, a vocal musician fromChennai. Vijay Siva later became thedisciple of the legendary vocalist,Sangita Kalanidhi late Shri D. K.Jayaraman. He later receivedguidance from the legendary Sangita

Kalanidhi late Smt. D. K. Pattammal. Vijay Siva is also an accomplished percussionist(mridangam), and received his training from Kumbakonam Shri Rajappa Iyer.Vijay Siva has performed in numerous and famed locations all over India and abroadincluding USA, Canada and Singapore.A recipient of numerous awards and titles, Vijay Siva has received recognition for bothvocal and percussion (mridangam), including awards for devotional music in 1974 andthe coveted "Rajaji Tamboora" in 1981 from Tamil Isai Sangam, Chennai. He was alsoawarded first place in Classical and Light Classical Music Competitions (1984) conductedby AIR. He is the recipient of prestigious titles: "Isai Peroli" (1995) from Karthik Fine Arts,

the Youth Award for Exellence by Maharajapuram Viswanatha Iyer Trust in 1995, andthe first recipient of Kalki Krishnamurthy Award (1996) by Kalki Krishnamurthy MemorialTrust, Chennai. Review in Hindu: http://beta.thehindu.com/arts/music/article66289.ece

R.K.Shriramkumar- Violin: R. K. Shriramkumar is atop-flight Classical Violin artist of India. He belongs tothe Rudrapatnam family of musicians; a family with aglorious musical tradition. He is the grandson of themuch respected Vidvan Shri. R. K. Venkatarama

Shastri.Having had his initial lessons in violin from Vidushi Smt.Savitri Satyamurthy, Shriramkumar was trained by hisgrandfather. He later received guidance from VidvanShri V V Subrahmanyam and also had training in vocalmusic fromSangita Kalanidhi Shri D K Jayaraman.His skills were further honed through the association and learning he gained byaccompnaying the doyens of Carnatic Music like Sangita Kalanidhis Shri Semmangudi

Srinivasa Iyer, Smt M S Subbulakshmi, Smt D K Pattammal, Shri D K Jayaraman, ShriPalghat K V Narayanaswamy, Smt T Brinda and others.Shriramkumar has provided violin accompaniment in several commercial recordings andhas had the blessed opportunity of participating in a very unique recording entitled 'DivineUnison' featuring the great veterans Shri Semmanguid Srinivasa Iyer and Smt M SSubbulakshmi. A recipient of many awards, Shriramkumar has traveled far and wide onconcert tours. He also directed the music for a special television presentation on theSringeri Sharada Peetam and has set to music a few compositions of theAcharyas of the


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Sharada Peetam. Shriramkumar is the first ever instrumentalist to be conferred theprestigious Isai Perol i title (2009).Article in Sruti Magazine by R.K.Shriramkumartitled: A Friend for all Seasons:http://www.columbuscarnaticmusic.org/pdf/vijay_siva.pdf

J.Vaidhyanathan- Mridangam:J. Vaidhyanathan hails from a family ofgreat Musicians. He is the son of legendarymusician Sangita KalanidhiShri.D.K.Jayaraman and nephew ofPadmavibhushan Sangita KalanidhiSmt.D.K.Pattammal. He is the disciple ofSangita Kalanidhi Maestro Dr.T.K.Murthy.He has accompanied great stalwarts likeSangita Kalanidhis Bharat Ratna

Smt.M.S.Subbulakshmi, SemmangudiSrinivasa Iyer, Smt.D.K. Pattammal andSmt. M.L. Vasanthakumari; Lalgudi Sri GJayaraman, Sri S Balachandar and manyother great stalwarts. JV, as he isaffectionately known, has travelled widely inIndia and Abroad. He is the youngestmridangist to get the prestigious

Kalaimaamani award from the Government of Tamilnadu in 2006.


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SRUTI BOARD OF DIRECTORS 2010

Venkat Kilambi, President Ramaa Nathan, Director Resources

Uma Prabhakar, President-elect Sundari Balakrishnan, Director Publications

Ravi Pillutla, Secretary Sudhakar Rao, Director Marketing

Usha Bala, Treasurer Raji Venkatesan, Director

Sunanda Gandham, Director

Documents

Vijay Siva Program Notes