The much needed Chennai to Goa direct bus service was launched from the Chennai Mofussil Bus Terminal, recently. Mr.Mario S.Pereira, owner of Paulo Travels and Paulo Holiday Makers, flagged off the Volvo Super Sonic luxury bus, cheered by passengers. The travel time is just less than 18 hours. The Wi-Fi enabled bus provides relaxing comfort on board, good environmental properties and extremely high reliability,

promising t h e passengers a safe a n d secure journey. Recounting his experience as a successful business person, Mario S.Pereira, shares, “Passenger comfort and reaching the destination on time, has been the guiding principle of our business, for the last three generations.” He says, “Currently people have to hop and stop between bus services or manage with a combination of train and bus service to reach Goa, from Chennai. We wanted to give a comfortable and hassle-free journey to passengers coming to Goa, from Chennai.” This ISO certified organization, aims to reduce the travel time to less than 16 hours, in the next couple of months. Priced at Rs. 1250/- per person for Slumber and Rs.1,150/- per person for Seater class, the bus has brief stops at Kanchipuram, Vellore, Krishangiri, Hosur, Bangalore, Hubli, Belgaum, before reaching Goa. Special discounts for senior citizens, students and for bulk bookings are also available. The bus departs from Chennai at 3:00 PM and at 10:30 PM from Bangalore, everyday. Passengers can book their tickets through Paulo Travels offices located in Chennai, Bangalore, Belgaum and Hubli or through their 5000 travel agent network across the country. For bookings from Bangalore, call (080) 22384040 / 22384242 and from Chennai, call (044) 24790477 / 42818373. In addition, dial 0832-6637777 to book through the Integrated Voice Response System (IVRS) service or log on to www.paulotravels.com, for online bookings.

78th issue December 13,2009

Chief minister M Karunanidhi on Friday announced that the city corporation’s newly built flyover on Cenotaph Road-Turnbulls Road will be named after late Congress leader GK Moopanar. His government has also given consent for the installation of a statue of Moopanar on Cenotaph Road near Anna Salai.

A h i g h l e v e l bridge to replace the causeway on Alandur Road and a subway at Jones Road in Saidapet have been named after late D M K f u n c t i o n a r i e s A b r a h a m a n d P a v a l a k a n n a n . T h e projects, aimed at easing the traffic congestion in the busy traffic intersections, have cost the exchequer Rs 37.8 crore. While inaugurating the projects at a function, Karunanidhi recalled his famous midnight arrest by the previous AIADMK government in 2001, on account of alleged irregularities in the construction of nine flyovers during Stalin’s tenure as city mayor. In fact, though those projects

Vol 2 ISSUE 26

Reaches

55000 Households every week

Cenotaph Road flyover inaugurated and named after Moopanar

were initially estimated at Rs 95 crore, they were completed then at a cost of Rs 65 crore, thus saving a huge sum for the exchequer, he said. “We were even afraid of taking up similar f lyover projects in the beginning (of the present tenure). However, keeping

the public interest in mind, these projects were executed to mitigate the sufferings of road-users in the city,” he said. He added that it was only when his party was in power that many flyovers and bridges had been built in the state. Also, the figure was much more than the number of such constructions during the Congress government of late K Kamaraj and during colonial days, he said. Deputy CM MK Stalin said traffic projects worth Rs 90 crore were coming up in various locations in the city. The Perambur flyover and Loco Works bridge would be completed very shortl, he said. He said the first phase of the Adyar Eco-park in an area of 58 acres would be inaugurated by the chief minister in November 2010. Mayor M Subramanian said a recent study by Wilbur Smith Associates had found that the city fared better than other

metros in traffic management. Electricity minister Arcot N Veeraswamy, deputy mayor R Sathyabama were among others who participated.

Fun Sun and Goa in just 18 hours

Vol 2 ISSUE 26 December 13.2009

T h e Ti ruppava i , also spelt as Thiruppavai, is a collection o f t h i r t y paasurams or s t a n z a s written and compiled by Andal. All the pasurams are w r i t t e n i n Tamil praising Lord Tirumal or Vishnu or Perumal. It is cons ide red as prominent part in Divya Prabandha. D i v y a Prabandha is compiled by twelve Alvars o f T a m i l

Vaishnavas.

Thiruppavai is a divine text recited during the Tamil month of Margazhi and the Telugu month of Dhanurmasam. In 2009, Margali masam or Dhanur masam starts on December 17 and ends on January 14, 2010.The thirty pasurams of Thiruppavai explain about the principles of Vaishnava dharma and spiritual importance during Margazhi masam. The stanzas are recited by devotees of Vishnu and Pavai Nombu is observed as Dhanurmasa vratam a vow dedicated to Andal is observed during the month of Margazhi. Vaishnu bhakta, devotees of Lord Vishnu, recite Thiruppavai during the month and special naivedyam is offered on each day of Dhanur masam.

Thiruppavai, is ANDAL's anugraham (blessings) to all devotees. These paasurams are in Tamil (Dravidam) and they lead us gradually to the Lord's lotus feet. The journey starts from "waking up fellow gopikas" for the vratham(Nonbhu), Till waking up of Lord Himself, who is the only one to give us the eternal bliss.

The paasurams are grouped in to SIX sets of five (5x5+5=30), conveying different contexts. They focus on (1) The ways/steps to perform Nonbhu (2) Maidens, who recently fell in love with Lord are awakened (3) Those, who are deeply in love with Krishna born in Gokulam are awakened (4) At Nandhagopan's house, Dhwara Paalakas, Neelai and Kannan are awakened (5) The Maidens prepare Krishna to a state in which He can listen to their appeal (6) Krishnan is ready and the Gopis reveal the purpose of their visit and pray for the boons of eternal kaimkaryam.

Thiruppavai appears to one, in his own level of maturity at different points of time such as -- Thiruppavai is part of Thiru MANTHRAM" ::: Periyalwar revealed the meaning of OM (pranavam) through his PALLANDU prabandham. ANDAL revealed meaning of NAMO NARAYANA. Both father and daughter together revealed astaakshari, "OM NAMO NARAYANA". -- Thiruppavai is equivalent to the Upanishads :

Every day during our daily pooja, tirunakshatrams and on every auspicious occassion, we perform sattrumarai, set of paasurams, the head and essence of which is Pallandu and Thiruppaavai. Veda siras is revered as Upanishad. Gita is known as Gitopanishad. Similarly Thisuppavai is Godapanishad- Andal's anmugraham to Ramanuja .

Bhagavad Ramanuja wrote commentary on Upanishads. Generally such person was rewarded as Bhashyakarar. But Ramanuja did not get the honour for no reason. One day, Andal appeared in his dream and told, he will be bestowed the honour after he completes his commentary on Thiruppavai also. Subsequently Ramanuja succeeded and became Sri Bhashyakaarar and ANDAL his younger sister. --Andal exceeds Sri Devi : Andal is amsam of Sri Devi. Tulasi is the mother. Periyalwar her father. Emperumanar (Ramanuja) Godagrajar. Lord Ranganatha is Her swamy. All of us Her children. All there multiple relations glorify Her more than Periya Piratti Sri Devi.

Alpha Times will feature in the successive issues the significance of Thiruppavai recited in Tami verses for the benefit of readers.

Andal Anugraham

December 13,2009

Sri Sabarigiri Sastha Seva Sangam, West Mambalam will be conducting the seventh edition of the Sri AyappaVilakku Pooja on Sunday Dec.13 at the Sri Ram Samaj's Ayodhya Mandapam, as per the following schedule 5.00 am Ganapathy Homam; 9.00 am Sahasrnama Archanai; 12.00 Mahadeeparadhana followed by annadhanam. In the evening 6.00 pm Thiagarajan Guruswamy and party will render Bhajans followed by a dance drama by Premalaya Natya Niketan students. All are welcome.

Homam at Sri Ram Samaj

At Sathyanarayana Temple

Hanumath Jayanthi will be celebrated at the Sri Sathyanarayana Temple West Mambalam as per the following schedule.

8.00 am Visesha Alangaram and special Thirumanjanam; 5.00 pm to7.00 pm Visesha Vadaimalai Alankaram. Those desirous ofparticipatingin the above festivities may contact the temple officeand remit Rs.250 forThirumanjanam and Rs.300 for Vadaimalai.

At Sri Ram Samaj

Hanumath Jayanthi will be celebrated at the Sri Ram Samaj from 5.30 pm onwards. All are welcome

Hanumath Jayanthi on Dec.16

Sri Iyappa Vilakku Pooja

Sri Parvatha Malai Girivalam Committee is organising a Girivalam at Parvatha Malai, in Thiruvannamalai, on December 16, to commemorate the journey of Sri Maha Periyava to the Malai. Sixty five years ago, in 1944, Periyava circumnavigated the holy hill on December 15 (Margazhi 1). He walked the entire distance from his camp at Kadaladi village.

The girivalam on December 16 will start at 5.30 a.m. from Sri Vishnu Temple at Kadaladi Palayam, following the road route of about 30 km along the villages of Melkodi, Pattiyandhal, etc., and return to Kadaladi. Those who wish to participate may assemble on the night of December 15, at Sankara Matam Vedapatasala, Sannidhi St., Polur.

Arrangements for food etc. will be made by the committee and no money will be collected for the same. Devotees who wish to participate may register their names with the committee. For further details call: Arunachalam Iyer (044 – 27222115) email: skmkanci@md3vsnl.net.in; Mahabaleshwar Bhat (Ph: 04181 222462)

Special girivalam on Dec. 16

A homam to commemorate the forthcoming 'Guru Peyarchi' which takers place on Dec.15 will be conduc ted a t the Sr i Ram Samaj , Wes t Mambalam,Tuesday Dec. 15 morning at 7.00 am. All are welcome.

Stars this weekStars this weekStars this weekFor the week Dec - 13 to 19

Aries[ March 21 to April 20 ]

Prepare for a challenging task about which you have been hesitating. You are in a better position to do it and take the credit.

Taurus[ April 21 to May 20 ]

You are under a misconception that you can do no wrong but your stars warn you to desist from this false notion.

Gemini[ May 21 to June 21 ]

For those born on Wednesday an awaited opportunity would bring happiness. Monday-born could come under weather.

Cancer[ June 22 to July 22 ]

A dignified Moon in the house of luck may boost career-plans. You can take it easy and entrust the hard work to others. Don’t be selfless.

Leo [ July 23 to Aug 22 ]Shun the company of people who are

not what they pose to be. If you trust them blindly, you are in for bad days.

Virgo[ Aug 23 to Sept 22 ]Some hard challenges can be taken on

head-on. You can humble a rival who had let you down in the past. Have faith in yourself.

Libra[Sept 23 to Oct 22 ]Advice of Geminians and Virgoans can

bring luck. But avoid malevolent Cancerians and Leos.

Scorpio[Oct 23 to Nov 22 ]A slow Mars may make spending your

hobby. You may splash money on useless items. Tuesday may be expensive.

Sagittarius[ Nov 23 to Dec 22]Jupiter has turned complex. You may

do well in one project but falter in the other. Remain alert or the initiative may slip from your grasp.

Capricorn[Dec 23 to Jan 20]Saturn represents your capability to

impress others. Nobody can get better of you in this art. Reflect on the past but live in the present.

Aquarius [ Jan 21 to Feb 19 ]A lucky week as financial affairs may

be sorted out according to your wishes. Good time for sale-purchase of stocks and investments.

Pisces [Feb 20 to March 20 ]Domestic activities and needs could

attract you. Don’t participate in useless discussions with visitors. A bad time to solve complicated issues.

December 13,2009

Chennai Sai Sankara Matrimonials functioning at 7 (15/2), 9th Avenue, Ashok Nagar are organizing “Free Swayamvaram" ( parents' meet ) for all Brahmins Friday Dec. 25 at Balaji Kalyana Mandapam, T.Nagar (Behind Agasthiyar Kovil).as per the following schedule

Iyers: 9 AM - 1 PM; Iyengars: 2 PM - 4 PM; Remarriages 4 PM - 6 PM

(For grooms minimum income criteria is Rs.25,000 p.m)

For membership and other details contact Phone No: 24716920 or 9840330531. (Founder – Panchapakesan) or Website: www.ssmatri.com

Free Swayamvaram

With the flyover at Cenotaph Road-Turn Bulls Road junction commissioned at the Turnbulls Road Cenataph Road Junction the police have announced traffic changes which had come in to force on Saturday.

According to a release, all vehicles would be allowed to ply on the new flyover and a two-way system be implemented.

Vehicles from Kotturpuram to Anna Salai could take the flyover. Vehicles from Kotturpuram bound for Saidapet could take a left turn at Turn Bulls Road junction via the service road and proceed on Chamiers Road and take left turn at Nandanam junction. Vehicles coming from Kotturpuram and bound for TTK Road could take a right turn at Turn Bulls Road through the service road and proceed.

Vehicles from Nandanam junction and proceeding towards Adyar could take a right turn at Turn Bulls Road junction, while those from Nandanam to Anna Salai could take left turn at Turn Bulls Road junction. Also vehicles from Nandanam proceeding towards TTK Road could go straight towards Chamiers Road to reach their destination.

Vehicles from the Turn Bulls Road junction bound for Venkatnarayana Road should take Cenotaph Road, Anna Salai, Nandanam to reach their destination. Vehicles from the junction would not be allowed to go straight towards Venkatnarayana Road or take a right turn to Anna Salai.

Traffic changes from Saturday

Southern Railway will run Coimbatore-Chennai Central-Coimbatore weekly superfast specials to clear the rush.

Train No. 0648 Coimbatore-Chennai Central Special will leave Coimbatore at 11.55 p.m. on Tuesdays from December 22 to January 19, 2010, and arrive at Chennai Central at 8.10 a.m. the next day. Train No. 0647 Chennai Central-Coimbatore Special will leave Chennai Central at 10.30 p.m. on Wednesdays from December 23 to January 20, 2010 and arrive at Coimbatore at 6.50 a.m. the next day.

The trains will stop at Tiruppur, Erode, Salem, Jolarpet, Katpadi and Arakkonam. Train No.0648 will stop at Perambur too.

Train No. 0647 will stop at Coimbatore North too. Reservation will begin on December 10, says a Southern Railway release.

Special trains to Coimbatore

SRM Hospital West mambalam willconducting a Free Asthama Health Care Camp on Sunday Dec.13 f r o m 9 . 0 0 a m t o 1 . 0 0 p m a t t h e h o s p i t a l premises.Dr.A.D.Arumugam and Dr. Anupama Murthy will be available for consultations. Spirometry testwill be done free of cost for needy patients.

SRM Hospital " Free Asthma Camp"

A commerce carnival was held at Sri Sitaram Vidyalaya West Mambalam recently . Mr. Bowmick Pradyot , President Rotary Club of Madras South listening to a student who has displayed a project in the carnival.

Commerce Carnival at SSRV

Sloka Competition Prize Winner

Sri Ram Samaj recently conducted an Inter-school Gita Sloka Competition for the students of school in West Mambalam and Ashok Nagar, under the auspices of Killukudi R.Jayarama Iyer Endowment. Many students participated A student of B.S.Mootha Girls Mat.School received a prize from Dr.Sudha Seshaiyan

R. Karthikeyan, 99411 16677

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B. Venkataharish

December 13,2009

A talent hunt was conducted for the tiny tots of K.G. Section of Kalamandir Matriculation Hr. Sec School on Dec. 05 to bring out the inherent talents of the kids . The tiny tots had come out in colourful attires as fruits vegetables and house hold articles and justified their importance which had taken the audience spellbound.

This is an annual feature of the school to tap the budding talents of the students and develop them in the

Talent hunt at Kalamandir

This article attempts to study Sri Shyama Shastry's masterpiece swarajathi beginning with the lyrics, "Kamakshi a n u d i n a m u . " . T h i s composition is set to Misra chapu thalam and has a sedate ka la pramanam or tempo. T h i s s w a r a j a t h i i s considered to be one of the most comprehensive composit ions in the raagam Bhairav i . A

deeper analysis of the swarajathi reveals how it is practically a primer on Bhairavi.

An interesting aspect is the fact that the swarajathi (i.e., the Pallavi) starts in the lower octave. The composer, in the Pallavi, says that the feet of Goddess Kamakshi are his only refuge. Perhaps, the setting of the music in the lower octave is a reflection of his humility and complete surrender to the Goddess! The swarajathi has eight charanams, which are each rendered in swaram-sahityam format. Yet another fantastic aspect is that the first charanam begins in the note, S; each charanam thereafter begins with the next note in sequential order, with the 8th and final charanam beginning with the S in the higher octave.

The first charanam ends with the words "Thalli rakshimchu" meaning "Oh Mother! Protect me". The swarams for these words are P; D; (Thalli) and N, S r (Rakshimchu). The P and D take up a leisurely 4 aksharams each while N takes up 3, S takes up 2 and R takes up 1. Apart from the obvious mathematical progression, this also reveals how effectively Sri Shyama

Sri Shyama Shastry's swarajathi - a primer on Bhairavi

Shastry urges the Goddess, through his music, to protect him at the earliest. That is perhaps why he speeded up the music when it came to the words, "Protect me!". In the second charanam, Sri Shyama Shastry continues his in depth description of the Goddess. He concludes this charanam with the lyrics, "Maayamma", meaning "My mother". The swarams used for this word are "N, G r". This is a powerful Bhairavi prayogam and the gamakams that are given to the N and G help accentuate the utmost devotion of the composer to Goddess Kamakshi who he considered as his mother. The third charanam very beautifully starts in G rendered with gamakams. He describes the Goddess as one whose feet are adored by Padma Bhava (One who is born of the lotus, a reference to Lord Brahma), Hari (Lord Vishnu) and Shambu (Lord Shiva). The composer has expansively explored different shades of the madhyamam in this charanam, from a delicate throbbing gamakam for the words "Padma bhava" (M ; P G R) to a higher gamakam ending in P for the words "Hari" ( G M) and "Shambu nuta" ( P; D M G) In the fourth charanam, the Goddess is describes as "Kalpalathika", a wish yielding creeper. Sri Shastry implores the Goddess to bestow boons upon him without delay ("taamasamu"). There is a very beautiful "jaaru" or curve that links the higher octave S to P when the words "Taamasamu seyaka" (P ; D N S P) are rendered. This is yet another example of an outstanding Bhairavi phrase in this composition which makes it a lesson in this raagam for every aspiring musician. The fifth charanam begins with a commanding swaraksharam (i.e., the syllable or aksharam is the same as the swaram or note). The beginning lyrics, "Paataka mulanu" fall on "P ; D P M G R". The composer asks some rhetoric questions with each question ending sequentially

with the same musical notes thus providing a beautiful cascading effect. "Paavanigadaa?" meaning "Are you not the purest one?" (G; M G R S) and "Moravinadaa ?" meaning "Are you deaf to my entreaties?" ( P M G R S). In the sixth charanam, there is a very unusual link from the S in the Madhyama sthayi (middle octave) to the G in the Taara sthayi (higher octave) for the lyrics "Vedamu" meaning "the vedas" (S, G R). This once again highlights the masterful creativity and genius of Sri Shyama Shastry. The seventh charanam once again abounds in swaraksharams. Some examples are: Nee Pavana (N ; R S R) and Mada Danuja (M P S N D). This charanam is expansive and explores the higher octave with some mesmerizing sancharams such as G ; M G R S which bring out the beauty of Bhairavi in the higher notes. The eight charanam begins with the mudra of the composer when he describes Goddess Kamakshi as "Shyama Krishna Sahodari" (sister of Krishna). It very aptly ends with the raga name. The composer launches into an inspired torrent of names for the Goddess such as Siva Shankari (consort of Siva), Parameshwari (supreme Goddess) and Sri Bhairavi (a fierce aspect of the Goddess). The music for the lyrics "Abhimaanamu leda, Naapai Devi ? (Oh Goddess, don't you have affection for me?) very seamlessly moves from the madhyama sthaayi to the taara sthaayi with the swarams being S N S ,; P M P,; D , N; S, R; G. Our Carnatic music heritage is indeed a treasure trove and the Bhairavi swarajathi, with its moving lyrics with mellifluous and meditative music, is unquestionably a truly invaluable gem.

- Vidya Subramanian - Powered by www.carnaticdarbar.com

Two Automobile Engineering students of the SRM University would be embarking on a mission to circumnavigate the Golden Quadrilateral (GQ) (Chennai-Kolkata-Delhi-Mumbai-Chennai) on a four-wheeler to enter the Limca Book of Records.

The third year students, Tarun Kumar Tripathy and Prateek Darolia, would embark on the mission tomorrow morning from the SRM University Campus at Kattankulathur.

They were expected to complete it in about 72 hours to etch their name in the record books.

Accompanied by Tarun's brother Ashish Tripathy, Director of Electrode Firm Assel, they would be circumnavigating the GQ using a Honda CR V 2.0 gasoline car.

By cruising a speed of about 79 to 82 km per hour, the team of three would drive the car taking turns and cover a distance of 5,949 Kms in 72 to 75 hours, to eclipse the previous record of 75 hours and 32 minutes held by a team of six drivers (looping) who covered the GQ on June six this year. Talking to reporters on the eve of the flagging off the mission, SRM University C h a n c e l l o r T R Pachamuthu claimed this was for the first time

students were undertaking such a mission with the theme 'Be Human - It's about time', to highlight the ill-effects of terrorism, corruption, global warming, pollution and other social issues haunting the country. Mr Pachamuthu said the SRM would bear about 50 per cent of the expenditure as part of University's gesture to promote sport and other activities among the students. Exuding confidence of achieving the feat, the students said they had put together 20,000 hours of driving experience between themselves and had taken all precautions for safe driving.

The assistance of the police and the National Highways Authority of India had been sought for this venture.

SRM Students set to drive into record books

December 13,2009

A Carnatic music concert at Taj Coromandel! The occasion and the audience were unusual. Well, the concert was organized by Club Chola, a Murugappa

Group outfit, for its wealth management clients. The occasion was also special. It marked the first anniversary of the dastardly terror attack on Mumbai, the financial capital of the country. Her concert on the evening of November 26 at Taj Coramendal in Chennai underscored the spirit of nationality. Aruna Sairam sang songs in several languages. The performers and the audience understood the significance of the day. Aruna Sairam communicated a peace message and drove home the unifying spirit of music very well.

Aruna Sairam is the brand ambassador of DBS Chola. The audience comprised a mix of customers, rasikas and a few artistes. Before beginning her concert, she made a brief speech. She recalled how on the same day in Mumbai last year the Taj Hotel was under attack from terrorists. This was an occasion to dedicate the music for those souls who had laid their lives for the country, she said. All stood as a mark of respect to the departed souls.

She began the evening with a Sanskrit invocation song on Smartha Gayathri. She followed it up with Kalyana Rama in Hamsanadam. She then took up Guruji, a Hindi composition of Gorakhnath, a saint belonging to the eleventh century. Aruna’s favourite Abhang item in Marathi was full of expressive lyrics. And,

Aruna Sairam sings unity message at Club Chola Concert

the Vittala namavali in Bimplas was riveting. “Jo Jo Rama” (Ritigaula), a lullaby based on Vatsalya bhava, had a tranquilizing effect. A Bengali song “Dhonnyo

Dhonne” portrayed the glory of India. A Kavadi Chindu in Tamil, which focused on the rural India and farmers, was pleasing to listen. A Malayalam song on Lord Guruvayurappan in raga Dvijavanthi was finely rendered. “Chinnanchiru Kiliye” of Subramania Bharathi, a ragamailika, went well with the audience. She preceded this with a viruttam in ragas Ranjani, Nilambari etc., making the song richer. Her favourite Tillana on Kalinga Nardanam of Sri Krishna based on raga Nattai proved very popular among the audience.

Aruna rendered most of her songs expressively. Her hand gestures and expressive eyes showed her complete involvement. She drew the curtain down in a fitting way. It was a tribute to all those who sacrificed their lives in the dastardly attack on Mumbai the same evening last year. “Bharatha Desa Hitaya”, composed in Sanskrit by Swami Dayananda Saraswathi, was appropriate and set off a poignant mood. Aruna sang this in Desh rag. Her concert that evening was crisp and enjoyable. Aruna Sairam was given percussion support on mridangam by Patri Satish Kumar and on ghatam by Ramani. Embar Kannan gave a good violin support.

Sudha Jagannathan Powered by www.carnaticdarbar.com

Nityashree Mahadevan held the audience captive for over three-and-a-quarter hour at the Sivagami Pettachi Auditorium on December 4, 2009. It was a fine start to the Margazhi music season in Chennai. Nithyashree on this evening was full of energy and looked fresh like a blooming flower even at the end of long concert for Bramha Gana Sabha. She was outstanding in her presentation and took the lead in making the concert a success with her command over raga and rhythm.

She was expressive as she sang Thyagaraja’s “Shashi Vadana” (Chandrajyothi), making the l istening exercise a lot enjoyable. Papanasam Sivan’s “ K u m a r a n T a a l ” (Yadukulakambhoji) was rendered with poise. Nithyashree took up Bindumalini for an elaborate alapana. It was riveting, as she explored the myriad hues of the raga with her voice traversing the top octaves with extreme felicity. She was breath taking at times, as she stayed at the top octave for a while. Nithyashree employed her rich voice with magnanimity during her raga alapana.

Thyagaraja’s “Enta Muddo” was the star item that day. Her voice was expressive. And, the bhavam was all there to see in her face. Hemalatha on the violin played deft strokes and proved an equal match to Nityashree. “Ranganayakam” (Nayaki) of Dikshitar is replete with lots of information on the deity at Srirangam and the temple. Nithyashree, a student of late D.K. Pattammal, gave a brilliant exposition of this kriti. The audience thoroughly relished the rendition.

As she was into Harikesanallur Muthiah Bhagavatar’s “Bhuvaneshwariya” (Mohana Kalyani) in

A classy recital by NityashreeKannada language, power went off briefly. But she continued to sing undisturbed in pitch darkness. This fast-phased kriti was followed by a Madhyamavathy alapana. Her raga alapana was laden with brighas. It was a scintillating exercise. It was a little elongated exercise, though. She took T h y a g a r a j a ’ s “ A d i g i Sukhamu”(Rupakam). She turned it richer by making a neraval on “Nike daya butti brotuvo”, enriching it with swaras. It was a good amalgam of rhythm and melody on the stage, as the percussion artistes Satish Kumar (mridangam) and S. Karthick (ghatam) played tani avarthanam with vigour and h igh involvement . “Summa Summa Varuma Sukham ”(Atana) of Ghanam Krishna Iyer was crisp. Her RTP (ragam tanam pallavi) in

Latangi was the piece de resistance of the evening. She did an absolute justice to the raga alapana. Her pallavi singing was absorbing, as she selected a phrase with raga name embedded in it. The pallavi, “Rajamathangi Maragathangi Swarna Lathangi”, was set to Kanda jathi ada talam in two kalai. As she shifted the pallavi to ragas such as Nattai, Ranjani and Valachi, she drew appreciation from the discerning audience. Nithayshree did it with simplicity but in an aesthetic manner, making the manodharma sangeetham pleasurable to the listeners as well. She drew the concert to a close with a bhajan “Rama Rama”( Sindhubhairavi) and a tillana in Dvijavanti. It was indeed an evening to remember for those who made it to Sivagami Pettachi Auditorium.-

Sudha Jagannathan Powered by www.carnaticdarbar.com

December 13,2009

December 13,2009

It was an inspired performance by T.M.Krishna for Karthik Fine Arts at Narada Gana Sabha on the evening of

December 8, 2009. It was a houseful concert.And, Krishna treated the audience to high quality

music. Papanasam Sivan’s “Ka Va Kanda Va” was rendered with intense bhavam and melody. The Anandhabhairavi alap was done in Dikshitar’s tradition. In this tradition, according to Krishna, Anandabhairavi takes Suddha Daivatham instead of Chatusruthi Daivatham. Krishna went on to render “Kamalamba Samrakshathu,” the first of Kamalamaba navavarana kritis of Dikshitar. As he delivered it excellently in an unhurried way, the audience was transported to an elevation. The rendition in vilambha kalam as prescribed by the Dikshitar sampradaya made the listening of this kriti lot more enjoyable.

Krishna shifted gear and took up the fast-phased “Sarasa Mukhi Bhagyade Sri Chamundeshwari” (Gaudamalhar) of Harikesanallur Muthiah Bhagavathar. He was all pepped up and full of enthusiasm. In the process, he aroused the expectations of the audience. Krishna’s Kamboji alapana was elaborate and laden with brighas. As he was deeply involved in the alap, he almost got himself lost into it.

Krishna was incredible that evening. “Kana Kann Koti Vendum Kapali” of Papanasam Sivan gave a good listening experience. His niraval at “Adikara Nandi Sevai Tanai Kana Kann Koti Vendum” sent the audience into a trance, as he improvised it in a breath-taking way. Semmangudi’s patanthara was all palpable. Krishna gave the Tamil composition a grand treatment. H.K. Venkataraman on the violin measured up to Krishna extremely well.

Poongulam Subramaniam and Ghatam Karthick electrified the hall with their brisk playing for speedy niraval and also during taniavarthanam, which added to the excitement in the auditiorium. “Irakkam Varamal Ponathen” in Behag was lovely. A soft and melodious piece, Krishna brought the essence tellingly in a poignant rendering.

Kr ishna then went on to exper iment “Chinnanchiru Kiliye” of Subramanya Bharathi, as he sang it in ragas such as Chalanata, Hamir Kalyani, Bhupalam et al. This ragamalika composition is usually sung in Kapi as the main raga. Krishna was at his creative best and delightful to listen. His voice was mesmerizing and the audience was overwhelmed by his rendition of this number. After “Ksheera Sagara Shayana Vibho” (Bagyashree), the audience was anxiously guessing what would follow next. Krishna surprised every one and began to sing mangalam, sending laughter all around. Krishna, as usual, was confident personified that evening. He played a captain’s role to perfection, leading all from the front.-

Sudha Jagannathan Powered by www.carnaticdarbar.com

An inspired concert by T.M.Krishna

Sangeetham and BhakthiSangeetham is recognized as an Upavedam or

an ancillary to the Vedas. It is one of the four Upavedas dealing with Music, Dance and other fine arts. The other Upavedas are Aayurveda (the Scince of Medicine and Physiology), Dhanurveda (the science of Archery and Warfare) and Artha Saasthra (Political Economy).

"Samgeetham" means that which is sung well. The origin of Sangitam is linked with Saama Vedam. When Sangitam is used in the worship of God, it is recognized as Naadhopaasana or the offering of worship through Naadham (Sound). Vedam is a Pramaanam recognized as Sabdham in Vaidhika darsanams. Upaasana of Sabdha Brahmam can then be considered as the true Sangitham.Until the ninteen thirties, the use of music and dance (nava sandhi Koutthuvam or prescribed dances with music at the nine chosen sites of the Hindu temple with invocation of appropriate devathAs) was in vogue and Deva Daasis (servants of the Lord) performed them. In Kali Yugam, the importance of Sangitham (Naadhopaasana) is highlighted to secure one's path to Moksham. Naadhopaasana develops the Bhakthi to SrIman Narayana and bringsHim closer to us.

The Importance of Sangitham in SrI Vaishnavam

Sruthi (" the adjustment of the tone to the tune") and Laya (rhythm) are the corner stones of Sangitam. Swamy Naatha Muni set the entire dhivya Prabhandham of the twelve Azhwars to music and ThaaLam (rhythm) and taught it to to his two nephews. Therfore Swamy Natha Muni is saluted as “Nal kaathal adiyavarkku, thaaLam vazhangi, Tamizh MaRayi innisai thantha VaLLal" (The most generous Aachaaryan, who blessed his two dear sishyaas with ThaaLa Vidhya and the beautiful tunes to the dhivya Prabhandhams). Through that evolved the Arayar sevais at the temples of Lord Ranganatha at Srirangam , Thirukkuruhur , Melkote, Srivilliputthur and other dhivya desams.

Nava Rasaas(Sentiments) and the seven Svaraas (scales) of Music

VishNu dharmOttara PurANam sums up the links of nine rasaas, Haasya, Sringaara, Veera, Roudhra, Adhbhutha, Kaarunya, Beebhathsa, Bhayaanaka and Saantha with the seven svaraas of music (Shadjam, Rishabhan, Ghaandhaaram, Madhyamam, Panchamam, Dhaivatham, Nishaadham) this way:

"Nava rasaa: tathra Haasya-srungaarayO: Madhyama-Panchamou Veera-roudhra-adhbhuthEshu Shadja-Panchamou, KaruNO NishAdha-Gaandhaarou Bheebathsa-BhayaanakhayO: Dhaivatham, SaanthE Madhyamam"

The Bhajana system of offering worship to the Supreme Being evoking the different moods of a devotee has been the corner stone of Bhakthi movement throughout Bharata desam during the fifth to the tenth centuries and thereafter.

In recent times, Saints TaLapAkkam Annamacharya, Purandara Daasa of

P u r a n d a r a g h a a d , T h y a g a r a j a o f ThiruvayaaRu, Ootthukkaadu Venkatasubbaiyer and a great many NaadhOpaasakaas have offered their Naama Kusumaanjalis to SrIman NaarAyana .

Steadfast devotion to an Ishta Devata (ananya bhakthi to an Ishta dhaivam) ,celebration of that Dhaivam's Rupa (Form), GuNa (auspicious attributes such as Grace, Dayaa , Kshama , Soulabhyam etc), Svaroopam is a well trodden path by our Sangitha Pithaamahaas. For instance, TaLapaakkam Annamayya focused on Lord Venkatesa of Thirumala, Thyagaraaja had ananya bhakthi to Lord Raamachandra, Ootthukkaadu Mahan and Leela Sukhar enjoyed KrishNa exclusively.

Sangitham and Bhakthi

The moods of Bhaktha are intricately interwoven with various Sanchaari Bhaavaas that engage the mind of the NaadhOpaasaka. Late Dr:V.Raghavan summarized these moods of a Bhakthan engaged in NaadhOpaasana this way:

1. Outhsukya or longing for the union with the Lord. This mood can express itself as the longing for His constant c o m p a n y ( S a n n i d h i Saameepyam), Seeing Him and receiving His merciful glances ( D a r s a n a s o u b h A g y a m ) , Singing about Him (Keertanam), Listenig about His Mahima (SravaNam), conversing with Him (SambhaashaNa) and serving Him (SEvanam and Kaimakryam as a Daasan).

2. Nirvedam (Dejection a n d d e s p o n d e n c y o v e r separation from the Lord and not receiving His Dayaa). Out of this Vipralambha Sringhaaram arose the Paasurams sung by Swamy NammAzhwAr (Paraankusa Naayaki), Thirumangai Azhwaar (Parakaala Naayaki) and Andal's NaacchiyAr Thirumozhi.

3. Athma GarahaNa and Naicyaanusandhaana (Self-depreciation and recounting one ' s sho r t com ings and unfitness as a servant of the Lord).

4. Dhainya and DhainyOkthi (Hear rending and plaintive pleadings for becoming the object of the Lord's Compassion).

5. Amarasha, Rosa RosOkthi (Taking the liberty in despair to express grievance and remonstrate against the Lord's heartlessness to come to their rescue).

6. Vitarka (cogitation and consequent development of doubt about Lord's interest to come to their rescue).

7. Sraddha /Visvaasa (Development of steady Faith in the Lord as the unfailing protector and thanking Him for that RakshaNam in a mood of Mahaa Viswasam, an important angam of SaraNAgathy).

8. Narma (Playful exchanges with the Lord in a mood of close relationship). This can take the form of Sthuthi (Praise), PrArTanaa (Prayer), RoshOkthi (protests in playful anger) and Leela VarNanaa (Playful descriptions of the leelaas of the Lord as a cowherd etc).

9. Sva-yOgya-KaTanaa (Letting the Lord know of the BhakthA's claims and qualifications to stress why the Lord should prioritize His attention).

10. BHakta Sodhana (Trails and tribulations during the spiritual journey).

11. Maanasa SambhOdhana (Exhortations to the BhakthA's mind /Nenju/ Manas to focus on the Lord).

12. Krutaj~nata and MangaLaasAsana (Ezpression of Gratitude over the Lord's anugraham and pronouncing blessing on the Lord in a deep mood of devotion like PeriyAzhwAr in His ThiruppallANDu).

Thus mingle Sangitham and Bhakthi in Bhagavath anubhavam of NaadhOpAsakaas.

In the Navarasa Kannada Krtihi of Saint Thyagaraja (NInnu vinaa--), we witness the dhriti mood (Contentment and hapiness born out of Bhagavath anubhavam) of a great Raama BhakthA: "My ears are full of Raama’s stories. My lips feel blessed in His Naama sankeerthanam, I see Raama in whatever I see, even distasteful things become relishable and I have secured the fruit in Raama".

The PunnagavarALi krithi of Saint ThyagrAja sums up the ideal Sanchaari Bhaavam (mood) of a BhakthA in whom NaadhOpaasana found its home

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December 13,2009

Forty of forty two! This not about how the dashing opener Virender Sehwag scores in the game of cricket. Well, this is all about Chitravina N. Ravikiran, who completes 40 years of service to the cause of Carnatic music in just 42 years. From a child prodigy to an accomplished name, he has traversed a long way in the last four decades. He is a young veteran in this field! On the right side of 40s, Ravikiran is keen to do for Carnatic music what the great Pt. Ravi Shankar did for Hindustani music several decades ago. On December 1, 2009, Ravikiran was feted by his disciples and rasikas alike for his wonderful effort to promote this art form within and without. He shares his thoughts with www.carnaticdarbar.com in this interview.

When you take a peep down memory lane at this point in time, what thought crosses your mind?Ravikiran: The first and foremost thought is that I have a long way to go in several areas... as a musician, composer, guru and as an ambassador of our culture, on the whole. I also firmly believe that God has been incredibly kind on the whole so far, giving me no cause to feel anything other than thankfulness. My gurus - Chitravina Narasimhan, Sangita Kalanidhi T. Brinda and others such as late Gotuvadyam A. Narayana Iyer gave me so much to cherish and nourish. My mother late Choodamani helped me with languages such as Sanskrit, that has surely enriched my life further. It is up to me to consolidate on all these and contribute to the field over the next few years.

How do you look at the future - from your perspective and from the angle of Carnatic music as such?Ravikiran: I think Carnatic music is booming through the world now - lot more high profile organizations and fests are featuring Carnatic concerts now than say some 25 years ago. I believe that our musicians must appreciate this big picture and go all out to project the greatness of our system to global audiences in the language that they can relate to - shruti purity and tonal clarity. If a set of our top artistes can accomplish this over the next 30 to 40 years without compromising on the core Carnatic values and its consummate emotive and intellectual aspects, it can shape the very future of our system and put it on the mainstream map.

As for my own future, I have endeavoured to do for our music what the great Pt. Ravi Shankar did for Hindustani music several decades ago - reach out to global audience and make them appreciate our system for what it is and not for just 'exotic' reasons. While I have been performing for several years both solo as well as collaborative concerts with artistes such as Larry Coryell, Taj Mahal etc, I have - over the last 8 to 10 years - got more active as a composer to do this more effectively. Hence, the concept of Melharmony! (www.ravikiranmusic.com)

What does Carnatic music mean to you?Ravikiran: Everything - passion, profession, personal growth, path to perception through perfection. In short, it is the closest constant in my life. From personal experience through collaborations with artistes from various systems such as western classical, Jazz, Chinese, South American, African etc, I can objectively say that Carnatic music is probably the most complete melodic system in the world (as opposed to Harmonic systems like western classical). Undiluted Carnatic music can be dazzling to divine, if rendered in the right way. Each aspect of it - melody, rhythm, lyrics, improvisational and compositional forms - can take lifetimes to appreciate, leave alone master. I believe that the best way to do this is to keep the mind free of extra baggage and at least 90 per cent occupied with music alone. I am a student - who is forever keen to learn as much as possible in the years to come.

What had been the high and low points of your journey thus far?Ravikiran: I take things as they come, on the whole. My personal high points would definitely be my interactions with legends such as Semmangudi sir, M.S. Subbulakshmi, MLV, DKP, Pt. Ravi Shankar and flute Mali, Ramnad Krishnan (to name a few); as also composers such as Papanasham Sivan, Shuddhananda Bharati, Tanjavur Shankara Iyer and Periyasami Tooran; and philosophers and seers such as Kanchi Paramacharya and J. Krishnamurthy and also great personalities from other areas. As for low points, each time I don't sing or play to my satisfaction, it is a low point in my journey. And, that is too big a list to be placed here!

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Carnatic music is the most complete melodic system

in the world, feels Chitravina Ravikiran