Nritya
Parva, the now annual festival of Sattriya dance, organised jointly by the
Sangeet Natak Akademi, New Delhi, and the Directorate of Cultural Affairs,
Assam, was held during the period 15 - 17th November 2004 at Pragjyoti, the
newly opened ITA Centre for Performing Arts, in Guwahati.
Ever since Sangeet
Natak Akademi, under the then Chairmanship of Bhupen Hazarika, gave its "stamp"
on Sattriya dance as a major dance form of the country in the year 2000, the
area of this particular genre has been infused with a huge sense of vitality and
energy. Of course a "stamp" per se on any art form, or tradition, is redundant
and unnecessary, for artistic traditions have their own logic, life, beauty and
reality. On the other hand, since this "stamp" has come accompanied by systems
that support further study of the genre, there is a welcome dynamism in the
field of research here, research that is not restricted to theory, but is being
translated into the arena of actual performances. The Akademi's dance festivals
around the country these days now routinely showcase the best Sattriya
performers. This exposure to national audiences, as well as to performances of
other dance styles, has had a very positive impact on all aspects of Sattriya
performances. Under the "Sattriya Project" of the Akademi, all kinds of
activities in the fields of performances, research, and tutelage are taking
place now.
This "stamp",
accompanied by support, therefore has unquestionably been a good thing for
Sattriya dance. Since this is a living, vital tradition, even now inextricably
bound with ritual and performed with devotion in the namghar-s and satra-s, its
contemporary journey to the proscenium stage cannot but be an exciting one. The
process of bringing it to secular audiences is also a quest for the "essence" of
the form, and a study of its aesthetics. What constitutes "Sattriya-ness", what
mudra-s, what kind of abhinaya, for instance, what forms of dress and make-up
convey instantly the personality of the genre? Since stage performances are time
bound, this involves also editing out many things which are part of the form in
the sacred sphere. As Jayant Kastuar said at the start of this year's festival,
the quest is now on for ways of making the spirituality of the artist on stage
merge with, learn, and take from the spirituality of the tradition.
Sattriya, perhaps more
than any other dance form of India with the arguable exception of Manipuri, is
drenched in bhakti. At its living, pulsating, core, forming its very raison
d'etre in fact, is devotion, passionate and pure. It is a devotion that,
flame-like, soars up to the heavens, requiring no medium between the devotee and
the divine. Radha is unnecessary in this genre to show the devotee's fervour.
It is this total surrender to the Divine that gives the form its effulgent
beauty, and imbues the movements and abhinaya of the very best exponents with
the lambent splendour that cannot fail to move even the most jaded audiences.
The question, then, is
what kind of dance, sanctified by the Sattriya tradition, and practised in at
least some of the scores of satra-s that dot the length and breadth of the
State, can best convey this core of devotion on stage, during a performance.
Technical questions about the kind of training to be imparted to students,
about, for example, the exact measurements between knees, or feet, during a
particular stance, or the arc-like movements of the torso when the dancer is in
motion-- these are matters that need to be, and are, thrashed out between
vidwans, guru-s, satradhikar-s, scholars and performers at frequent intervals.
In this, the SNA has acted as a facilitator, getting together many of the best
brains and performers annually.
Indeed, the beneficial
effects of this kind of support are definitely being seen. Now that Sattriya
dancers are busy at national and international forums, and Sattriya dance is now
being viewed as a viable option for performers, there are at present many
schools imparting training in this field. Conversely, it has become much more
essential to codify teaching methods, so that in all this welter of teaching
institutions, the "anything goes" attitude does not become entrenched.
It goes without saying
that the work involved in an effort of this kind is huge. From format to
technique, from training to costume, there are many areas that need intensive
discussion, debate and codification. The form also needs, perhaps, to be saved
from experts, however well meaning, from outside. Recently, for example, one of
them was heard giving expression to the opinion that in the land of Ma Kamakhya,
exaltation of the Female Deity should be included in the repertoire of the
Sattriya dance. This shows astonishing ignorance of the fact that Sattriya is a
purely Vaishnavite tradition. To be a Vaishnavite is not, necessarily, to be
anti-woman. True, there is a strong element of patriarchy in the tradition, but
that is, and should be, beyond the scope of the work going on in the field of
Sattriya dance, as opposed to the fields of Sattriya philosophy, practice and
ritual. True also, that the Mother Principle is a strong element in the
Hinduism extant in Assam. But what needs to be understood here is that it is
from a different tradition. To incorporate that into Sattriya will be making a
hodgepodge of the whole affair. Feminism is fine, and no doubt we are all for
it, but it is not always relevant.
Indeed, this kind of
careless, off-the-cuff remark shows, also, an amazing insensitivity to the
historical imperatives that lead to the formation of the Sattriya devotional
tradition in the first place, the excesses of Sakti worship being one of them.
This is not to say
that female figures should not be included in the repertoire of the dance. They
definitely should be, and often are. The point here is that all reform should
come from within, though unquestionably inputs from outside are also vitally
necessary as well. But only if they are relevant.
The three sessions in this year's Nritya Parva incorporated
discussions (with demonstrations) on topics of vital importance. They
were "Angika (body movements) in Sattriya Dance", "Music in Sattriya
Dance", and "Abhinaya in Sattriya Dance". Renowned guru-s and
satradhikar-s spoke on such topics on the 64 "Matiya Khora" (floor
exercises) that are taught, and how codification is still going on in
this field in the different satra-s. Among the many speakers who gave
riveting lec-dems were Satradhikar Sree Sree Narayan Chandra Goswami,
Jatin Goswami, Ghanakanta Bora, Borbayan, Jagannath Mahanta, Pradip
Jyoti Mahanta, Kesavananda Deb Goswami, Prabhat Sarma, Jitendra Nath
Pradhani, Anil Saikia, Ananda Mohan Bhagawati, Manik Bora, Borbayan,
Gautam Sarma, and so on. While Sharodi Saikia was the festival co-ordinator,
Mallika Kandali, Anil Saikia and Karuna Bora competently moderated the
three sessions. The evenings showcased a melange of performances by top
notch artists and group
Several very interesting aspects came up during the discussions, not
least of which was Prabhat Sarma's. This renowned guru and exponent told
the assembled gathering about the instruments used by the Mahapurush
during musical or dance performances, and how, among them, two-- the
sarenda and kali are practically extinct. He has, however, been
successful in recreating the former, and hopes to present performances
on it at the next Parva. This, obviously, is the kind of dedication and
commitment that is needed. And the good thing is that people like him
are around to give guidance.
Though all three sessions threw up all kinds of very interesting
material, the second session on Music in Sattriya Dance was perhaps
especially noteworthy. For though it is universally acknowledged that
music is always an inextricable part of dance, in the Sattriya Dance
tradition, not too much inputs have been given yet. The complex tala
cycles and the raga-s of the Borgeet-s definitely need to be studied as
exhaustively as is the dance. True, the songs, so many of which are the
compositions of the two Mahapurusha-s themselves, stand very tall on
their own. But when they are used to accompany dance on the stage, they,
too, need inputs in the form of contemporary thought and debate.
Also of great relevance was Dr. Pradip Jyoti Mahanta's observation
that for Mahapurush Sankaradeva, art was a medium that he used to
communicate his spiritual vision to the masses. But the important thing
is that the artistic and aesthetic quotient in all his many works
remains inviolate.
Perhaps the theme of this year's Nritya Parva was summed up in those
words: how to keep both spirituality and aesthe-tics intact during dance
performances on the proscenium stage, before contemporary, varied
audiences.
If the legacy of the Agra gharana titan Ustad
Faiyyaz Khan is receding from the musical culture, it is largely
because Sharafat Hussain Khan came too late and departed too early.
Over four decades separated his arrival from the heyday of his
foster father and Guru, Faiyyaz Khan (1886-1950). In this
interregnum, audience profiles had changed radically, and the
absence of a truly great performer from the Agra tradition had
surrendered the stage to rival styles. Sharafat modernised Agra
vocalism, and acquired a cult-like following, independently of the
Faiyyaz Khan nostalgia. He succumbed to cancer at the age of 55.
Before his untimely exit, he secured his place in the history of
20th century vocalism as the last of the Agra greats.
Sharafat rose meteorically after his adoption by
Faiyyaz Khan at the age of eight. He made a stunning debut in Bombay
at the age of nine, cut his first 78 rpm disc at twelve, and in the
same year, topped the prestigious Baroda State Music Competition.
Starting from the age of about 35, he enjoyed a continuous run of
success until he could perform no more. He was made an Honorary
Fellow of the Uttar Pradesh Sangeet Natak Akademi, and decorated
with the Padma Shri by the President of India. In 1985, the apex
Sangeet Natak Akademi held a special ceremony in the hospital to
honour him shortly before he breathed his last...
If you want to know more about Sharafat Hussain
Khan's
Impeccable pedigree and explosive talent
Stylistic perspectives
In historical context read all about it in
hard copy of Sruti 245
Sources and acknowledgments
The author is grateful for
inputs from Purnima Sen (Sharafat Hussain's principal disciple),
Prof. R.C. Mehta and Prof. Rohit Desai (both authorities on the
Agra gharana), and Bharat Jani, (Sharafat admirer and archivist).
The historical information is drawn from a commemorative volume
published in 1987 by Purnima Sen. Sharafat's concert recordings were
made available for study by Bharat Jani, and the vocalist's son,
Shaukat Hussain. The analysis also draws upon notes written by the
author for India Archive Music Ltd. New York.
The association of the Dikshitar-s with the
royalty of Ettayapuram began, as has been said earlier, with the
entry of Balaswami Dikshitar into the Samasthanam. Ettayapuram shot
to prominence in the music world mainly because of its association
with the Dikshitar-s as also due to the fact that it was the
birthplace of the poet Subrahmania Bharati. The rajas of Ettayapuram
were patrons of art and learning and Subbarama Dikshitar in his book
gives reasonably detailed accounts of their musical inclinations as
well as their social welfare and religious activities.
Venkateswara Ettappa Maharaja....
Jagadveera Ramakumara Ettappa
Maharaja....
Jagadveera Rama Venkateswara
Ettappa Maharaja....
Muthuswami Ettappa Maharaja....
Raja Jagadveera Ramakumara Ettappa
Maharaja....
Raja Jagadveera Rama Venkateswara
Ettappa Maharaja....
Contents of the Pradarsini
The original Telugu edition, dated 1904, of the
Sangeeta Sampradaya Pradarsini has three prefaces. The first one is
in English by Rao Bahadur C. Nagojee Rau; the second in Tamil by R.
Srinivasa Iyengar, Tamil Pandit, Rajah's High School, Ettayapuram;
and the third in Tamil by Subbarama Dikshitar. In addition to these,
there is another write-up in Telugu called the Peethika or
introduction. It is written by one Kasivasi Ettayapuram Natesa Pada
Hridaya. He traces the steps that led to the publication of the
Pradarsini and also gives the contents of the book. There are also
four verses in a page titled Slaghapadyamu (poems of praise). They
are in different metres and composed by one T.S. Murugesudu, Telugu
Pandit, Trisirapuram (Tiruchirapalli). The verses are in praise of
the rulers, the book and its author. This is followed by an
erratum....
The table of contents for both the volumes is
given in the first volume and is listed under twelve headings. They
are:
[1] An 'Index' ....
[2] 'Vaggeyakara Charitramu'
(biographies of composers)....
[3] 'Sangeeta Lakshana Pracheena
Paddhati' (the science of traditional music)....
[4] 'Sangeeta Lakshana Sangrahamu' (a
concise brief on the theory of music)....
[5] Exhaustive tabular statement of
Raga-s, Raganga, Upanga and Bhashanga with their moorchana-s....
[6] 'Gamaka samjna niyama vidhana
vivaranamu' (elaboration of the rules of gamaka signs)....
[7] 'Tala kala pramana samjna niyama
vidhana vivaranamu' (elaboration of the rules of the signs of tala kala
pramana)....
[8] Methods to identify mistakes.
Contains notes on likely pitfalls while playing the veena or singing....
[9] and [10] 'Sangeeta Sampradaya
Pradarsini'. This is the main body of the book....
[11] Anubandham - A. This section has
16 ragamalika-s listed in alphabetical order....
[12] Anubandham - B. This has 55
compositions....
* A typical page in the Pradarsini
Gamaka-s and other Notation signs
Subbarama Dikshitar's compositions
Other works of Subbarama Dikshitar
Besides the mammoth Sangeeta Sampradaya
Pradarsini, Subbarama Dikshitar was the author of a few other books
as well. They are:
Prathama Abhyasa Pustakamu
Mahabharata
Valli Bharatam
Samskrita Andhra Dravida Keertanamulu
Post-Subbarama Dikshitar
It was Musiri Subramania Iyer who first broached
the idea of re-printing the book in Tamil script. Amongst the
earliest proposals before the central Sangeet Natak Akademi was one
for re-printing the Sangeeta Sampradaya Pradarsini and it was one of
the first schemes to be approved by the Publication Committee of the
central Akademi. A grant-in-aid was provided by the Sangeet Natak
Akademi and the work was undertaken by Dr. V. Raghavan on behalf of
the Madras Music Academy. The work was compiled in five parts. T.L.
Venkatarama Iyer helped out in providing clarifications with respect
to Dikshitars' kriti-s. On the musical side the help of Mudicondan
Venkatarama Iyer was taken. Dr. S. Ramanathan wrote out the Tamil
script of the lakshana portions and B. Rajam Iyer of the lakshya
portions. The sanchari portions were copied out by S. Jayalakshmi.
The first came out in 1961 the second in 1963, the third in 1968 and
the fourth in 1977. Unfortunately before the completion of the work
V. Raghavan passed away in April 1979. The fifth volume was
published by T.S. Parthasarathy in his capacity as Secretary of the
Music Academy. While the five volumes contain all the compositions
of the original, they do not contain the translation of the
Vaggeyakara Charitramu as also of the theoretical portions of music
discussed by Dikshitar under various heads.
Credits
All the translations of biographies, finding place in this article, have been taken from T.S. Parthasarathy's Tamil translation of the original. Details regarding the contents of the Pradarsini have been taken from the Tamil translation of the preface given by Srinivasa Iyengar in the original text, the M.A. thesis by P. Padmavathi in the Madras University titled 'A Study of the
Chapters dealing with the Biography and Theory of Music in the Sangeeta Sampradaya Pradarsini of Subbarama Dikshitar', and the Ph.D. thesis by Uma Gopalaswamy on the subject. Musicologist T.S. Parthasarathy also translated the contents page of the original for me. Prof. M. Narasimhachary summarised the contents of Subbarama Dikshitar's Prathama Abhyasa Pustakamu.
J Anjani
Ambegaokar
with the National Endowment for the Arts award 2004, alongwith 12 artists from
10 states in the U.S.A., for "their artistic excellence and contribution to
cultural heritage;" 30 September - 1 October 2004 at Washington D.C.
Died
L
Sethalapathi Balasubramaniam, Carnatic vocalist; disciple of S.S. Mani
Bhagavatar and Papanasam Sivan; expert in viruttam-s and bhajana singing; 11
October 2004 in Chennai.
L
Mannargudi Sambasiva Bhagavatar (92), Carnatic musician, Harikatha exponent
and composer and teacher; served as lecturer in Harikatha at the Tamil Nadu
Government College of Music; as Inspector of Music and Dance Schools for the
Tamil Nadu Eyal Isai Nataka Manram; as Chairman and Executive Trustee of Sri
Thiagaraja Sangeetha Vidwath Samajam, Chennai; recipient of many awards
including Kalaimamani from the Tamil Nadu government; TTK Award from the Music
Academy, Chennai; 6 December 2004 in Chennai. .
News Photos
Veteran
Carnatic vocalist D.K. Pattammal was conferred the title of Sangeeta Samragni at
the Seventeenth Yuva Utsav (theme "Guru Vandana") organised by Bharat Kalachar
in September - October 2004 in Chennai. The living legend is flanked by husband
R. Iswaran and Mrs. YGP (Chairperson, Bharat Kalachar).
Violin
maestro Lalgudi G. Jayaraman was honoured with the Veena Seshanna Memorial
Award; and veteran musician Prof. V. Ramarathnam with the Swaramurthy V.N. Rao
Memorial Award; by Swaramurthy V.N. Rao Memorial Trust, Bangalore. The awards
comprising respectively a purse of 25,000 rupees and 10,000 rupees, alongwith a
citation and a bust of Veena Seshanna, were presented by the Governor of
Karnataka T.N. Chaturvedi on 3 October 2004 in Bangalore.
Those who walk down N.S.C. Bose Road and still manage to look up at the
buildings, at considerable personal peril, would have no doubt been impressed by
the Pachaiyappa's Hall, modelled as it is on the Athenian Temple of Theseus with
a frontage comprising Doric columns. Today the building is almost entirely
hidden by shops, but in its time it must have been a striking landmark....
The Hall appears to have been put to use as a venue for music performances
from its inception. The Madras Jubilee Gayana Samaj in particular used it as a
venue for their own performances. The Madras Gayana Samaj, begun in 1883 as a
branch of the celebrated Gayan Samaj of Poona, was inaugurated at the
Pachaiyappa's Hall on 18th August,
Further programmes of a similar nature continued to be held at the Hall till
the year 1887.
With the construction of other buildings such as the YMCA Hall (1900) and the
Gokhale Hall (1916) in the vicinity, Pachaiyappa's Hall was not put to use for
music performances. Today a part of the building is used by a club while the
rest of it has been taken over by the hawkers of the area. Music has been
replaced by the raucous cries of the hawkers as they peddle their wares.
Articles on Musical Heritage sponsored by Bharatiya
Sangeetha Vaibhavam
GREAT MASTERS OF
CARNATIC MUSIC (1930 - 1965). By Indira Menon. English. [Indialog Publications;
O - 22, Lajpat Nagar II, New Delhi 110024. Pp. 307. Rs. 295].-LALITA RAMAKRISHNA
This is a book of biographical
sketches with a difference. It is not a prosaic enumeration of events and
dates, but a narration that is factually exact and at the same time with
absorbing snatches of real life incidents. The book describes the lives of
thirteen illustrious musical geniuses who monopolised the music scene during
the three decades between the thirties and sixties of the twentieth century--
Ariyakudi, Maharajapuram, Musiri, Chembai, Semmangudi, MS, MLV, DKP,
Brinda-Muktha, Madurai Mani, GNB, KVN, and MDR. In the author's words these
artists "came to be known by their place names... others were just known by
their initials- so great was the affection that the public bore them."
Relating events from the lives of
these musicians who lived in the recent past (two of those chronicled are
happily with us today) is a daunting task and one has to tread gently so as not
to give offence to their families and rasika-s. Menon has achieved this with
considerable skill. Her narration is spiced with personal details and in areas
and events where the account is unflattering she has bolstered her comments with
quotations from established scholars and references from The Hindu, the
Express and Sruti reviews.
She recounts K.V. Narayanaswamy's
weak sense of laya that was developed and strengthened by Palakkad Mani and
describes how KVN ran away from his guru to Wardha since Ariyakudi was sparse
in his praise and encouragement. The footnote in the first chapter records that
Poochi Srinivasa Iyengar, Ariyakudi's guru, composed a Todi kriti Satatamu
brovumayya chakravartini for the coronation of King George V.
Thorough field research based on
interviews with family and disciples brings up a great many interesting
comments, conversations and incidents that makes the reader visualise these
legendary figures. The book has done an expert job of giving us glimpses of
their daily lives without any offence to their privacy. We get glimpses of
interesting and less known events in their lives. For e.g. MDR was nicknamed 'Manushya
Drohi' by his fellow students in Victoria College since his early morning
sadhana disturbed their sleep. And Chembai asked MDR's father to stop torturing
his son who had no music in him. This chapter continues with a glowing
account of the inspiring quality of MDR's music that was later appreciated by
the cognoscenti. Semmangudi's comment after hearing him sing Paripalaya in
Reetigaula: "Ramanathan doesn't sing for you or me, he sings for himself as an
offering to God." For music lovers in India and abroad and especially for the
young up and coming musician, the book endows these great vidwans and vidushi-s
with flesh and blood so that they are no more just a name or an initial but real
people struggling with their own unique problems in their lives and careers.
Some of the photographs in the book
are different from the usual stereotypes. The author has acquired these less
known photos from close acquaintances of the maestros. Photos of MLV teaching
students at the Rishi Valley School, GNB receiving the President's award, and
Veena Dhanam who is the lone female singer in a group of twelve bhagavatar-s
add spice to the narration.
Indira Menon has traced the
underlying trends in concert music. In the Introduction, she has given a bird's
eye view of musical history from the 13th AD onwards. After Tanjavur ceased to
be a seat of music in the early 20th century. Madras became the hub of sabha-s
and rasika-s. The Music Academy Experts' group recognised that the five-hour
kutcheri with "full bench" percussion was not viable in the changed social set
up and Ariyakudi rose to the occasion by bringing in a changed shortened
concert form. The book focuses on this scene and makes it the start of an era of
concert music.
Menon's style is elegant and her
writing shows the discipline acquired while doing academic research in the
university. She traces the manner in which certain trends in music were
started. Dwelling on KVN, she notes that "he gently steered Carnatic music back
from the fast lane to its middle of the road beginnings. Whatever had been
temporarily lost after GNB unleashed his briga filled music was partially
restored after the 1960s by him and his contemporary M.D. Ramanathan." KVN felt
that present-day singers lack artistic restraint: "Kalpana is a mischievous
monkey. It has to be controlled or it will run amok" is a perceptive comment
from a seasoned artist that is recorded in the book.
About fifty pages at the end of the
book is a collection of essays and speeches by these great masters giving their
perception of the contemporary music scene. This book is a valuable addition
to one's music library.
Introduction Mohanam - morsing tarang
Morsing with mridanga - Adi
Morsing Fusion - Misra Chapu
Musicians:
L. Bhimachar, B. Rajashekar & B. Bhagyalakshmi - all morsing; B. Druvaraj -
mridanga.
This imaginatively produced CD makes a convincing statement
regarding the musical potential of the tiny instrument morsing referred to by
different names, the English one being Jew's harp. The high level of competence
of the artists is another positive factor. The talent is "all in the family".
Rajashekar is a familiar figure as the stock accompanist for Kadri Gopalnath.
The youngest, Bhagyalakshmi, may be the only female morsing player active in the
concert circuit.
Individual credits are not possible except for the mridanga.
The Introduction itself is interesting and informative. The
scope for making sruti adjustments has been indicated; this is done by loading
and removing of wax at the plucking end. The possibility of musical percussion
is well demonstrated in the 'tarang' in Mohanam raga. The lingering vibrations
add to the delight. Morsing with mridanga in Adi tala, has variety and is
gripping.
ANNAM
GURU SAMARPANAM. Carnatic Vocal. By Rajeswari Satish. [rajeswari_satish@hotmail.com.
Price not mentioned].
Carnatic vocalist Rajeswari Satish is a disciple of M.A.
Venugopal and Palakkad C.S. Krishna Iyer.
The artist has presented a selection of seven different
songs, covering different composers and a good variety of tala-s. The programme
is off to a good start with a sprightly composition of C.S. Krishna Iyer. This
is followed by Parvatikumaram in Natakurinji, a composition of Muthuswami
Dikshitar with a small but charming jati sequence. Pantuvarali has been
elaborated with pertinent sangati-s. The violinist's solo version sounds more
assertive. This is followed by a very beautiful composition of Mysore
Vasudevachar-- Sankari ninne. Niraval on the line-- "Pankajakshi needu mahima"
is expressive and rounded off with melkala swara-s. Guruleka in Gaurimanohari is
followed by the beautiful Swati Tirunal composition in Saveri-- Anjaneya. There
is a tani avartanam at the end of the song. Aarabhimanam, a ragamalika and a
devarnama in raga Bagesree bring the album to a close
Rajeswari is endowed with a sweet voice capable of
expressiveness, but comes across in a rather weak manner. At times, the sruti
seems a little shaky because of this. More emphatic and open-mouthed singing
will make her music more assertive. The accompanists have performed well. The
entire team resides in the U.S.A.
MERU
CDs RECEIVED
GANA PRABHAVAM. Compositions of Ashok Madhav. By Sikkil C. Guru Charan. Rs. 125.
SADGURU SREE GNANANANDA GIRI
SWAMIGAL GURU PUGAZH - Vatrada Suvai. Vols. 1 & 2. Devotional. By R.
Abhiramasundari. Composed by Lalitha Ramanujachari. [Sri Gnanananda Niketan,
Thapovanam 605 756. Also available in audio cassettes. Chennai contact: V.
Parameswaran. Ph.: 2825 7991 & 2828 4869].
NATYA DWANI - the resonance of
Dance. Varnams Jathis - a practical aid. Vol. 1 to 3. Presented by Priyadarsini
Govind. Swathi's Sanskriti Series. [SWATHI Soft Solutions. Rs. 300 each]. *
Available as DVD and Audio CD -
BHARATANATYAM VARNAM - The Sum & Substance.
Theory, Demonstration & Recital by Priyadarsini Govind. [Swathi's Sanskriti
Series. Rs. 1250].
CASSETTES RECEIVED
VEENA RECITAL. By Vasantha
Saravanan.
DEVOTIONAL SONGS. Composed and
Tuned by Vasantha Saravanan. [T.S. Saravanan. Ph.: 2499 5296.
WHISTLING RAGAS. By T.S. Niveditha.
DAC 1001. [Dhvani Audio. Rs. 40].
GAANAMRUTHAM.
Compositions of Mangalam Ganapathi. By Mambalam Sisters (R. Vijayalakshmi & R. Chithra. Vols. 1
to 5. MG 001. [Smt. Mangalam Ganapathi Music Trust, New # 243 Peters Road,
Gopalapuram, Chennai 600 086. Ph.: 2835 0033 & 2435 6949. Rs. 50 each].
sruti.com
Veteran
Carnatic vocalist D.K. Pattammal was conferred the title of Sangeeta Samragni at
the Seventeenth Yuva Utsav (theme "Guru Vandana") organised by Bharat Kalachar
in September - October 2004 in Chennai. The living legend is flanked by husband
R. Iswaran and Mrs. YGP (Chairperson, Bharat Kalachar). 
Violin
maestro Lalgudi G. Jayaraman was honoured with the Veena Seshanna Memorial
Award; and veteran musician Prof. V. Ramarathnam with the Swaramurthy V.N. Rao
Memorial Award; by Swaramurthy V.N. Rao Memorial Trust, Bangalore. The awards
comprising respectively a purse of 25,000 rupees and 10,000 rupees, alongwith a
citation and a bust of Veena Seshanna, were presented by the Governor of
Karnataka T.N. Chaturvedi on 3 October 2004 in Bangalore. 