Bengaluru -:- It is all about Music, Dance & the Arts !!!
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Bangalore R. Ramanath
Sep 5, 2014, 11:27:17 AM9/5/14
to
Raghavendra Darshana Kendra
&
Hari Dasa Sahithya Mahithi Kendra Trust
#47, 11th 'A' Cross, 3rd Phase, J. P. Nagar
Phone: +91-80-26583701
6th September 2014 Saturday, Evening 5.30 p.m.
Carnatic Vocal: Vidhushi Smt. Kamala Pranesh
Violin: Vidhwan Sri. Keshav
Mridhanga: Vidhwan Sri. Bangalore R. Ramanath
Arts festival
Bengaluru International Arts Festival celebrates its seventh year, from September 5 to September 21
Aim presents the Bengaluru International Arts Festival (BIAF) 2014. It will celebrate its seventh year in epitomising “Celebration of Harmony through Arts”, from September 5 to 21 in Bangalore.
This year BIAF has collaborated with countries such as Netherlands, Sri Lanka, France, Suriname, Rwanda to perform for Bengaluru audience. Folk groups are flying in from Sri Lanka, Odissa, Gujarat and North East. Bengaluru Metro is one of the prime venues. The programmes planned for the first week of the festival includes the following:
On September 5, at 6.30 pm, there is the Grand Fusion Concert at Chowdiah Memorial Hall, Suma Sudhindra will be on Veena, Edward Ned McGowan on western Flute, violin by N.N.G anesh Kumar , mridangam and konnakol by B.C. Manjunath, tabla and other instruments by Anooru Anantha Krishna Sharma and drums/percussions by Karthik Mani.
On September, at 5 pm, Rafiki presents Vaclav Havel’s Unveiling , directed by Sachin Gurjale. It will be performed at National Gallery of Modern Art, Palace Road. The cast includes Ravindra Vijay, Rency Philip and Sachin Gurjale.
On September 7, at 5 pm, there will be a concert Shehnai by Zamin Hussain Bismillah Khan and party from Varanasi. BIAF will host Essentially Divine, a vocal concert by Saashwathi Prabhu at National Gallery of Modern Art. She will be accompanied by Vijay Ganesh on violin, Sai Giridhar on mridangam, Jagadeesh Kurthkoti on tabla and special effects by Muni Sidhappa. Call 8792950377 or visit www.biaf.co.in
For a fortnight at various venues
Maestro’s begum to settle in Bangalore
RANJANI GOVIND
Ustad Bismillah Khan
Shehnai maestro Bismillah Khan mesmerised the people of Karnataka back in 1977 when he played for the Rajkumar-starrer Sanaadi Appanna .
The State has got lucky again, as Bangalore will soon acquire and display the Ustad’s shehnai — which he often referred to as his ‘Begum’.
The permanent showcase venue of the priceless instrument will be the Centre for Indian Music Experience (IME) at J.P. Nagar. The centre is the first of its kind Music Experiential Museum building that was inaugurated in October, 2013. The late maestro’s trademark cap and the original script of a composition by him will also be in the museum.
Senior veena artiste Suma Sudhindra, Director, Outreach, IME, told The Hindu that it would be part of the 300-piece instrument gallery. An idea of displaying something precious that belonged to five Bharat Ratna winners in music came up. “To start with, we approached the Ustad’s family in Varanasi and they graciously agreed to part with one of his shehnais. His cap and the original script of a composition that he often played in a ragamalika would be formally handed over by the maestro’s son Ustad Zamin Hussain Khan on September 7,” said Ms. Suma.
Vocalist Manasi Prasad, Project Director, IME, said they had already approached Lata Mangeshkar, Pandit Ravi Shankar’s wife Sukanya, Bhimsen Joshi’s family and M.S. Subbulakshmi’s grandson V. Srinivasan with similar requests.
“The shimmering ‘MS Blue’ that the queen of Carnatic music popularised would be the sari that our museum would cherish,” she said. The centre is a 40-crore project of the IME Trust, supported by the Brigade Group and the State government.
Four of eight commemorative stamps feature musical legends from State
RANJANI GOVIND
‘Patronage to art is indicative of the development and evolution of a refined society’
Stamps, First Day covers, and brochures will be available for sale at the Philatelic Bureaux at the Karnataka Postal Circle.— Photo: V. Sreenivasa Murthy
It was a rare event for the Indian Postal Department and the State in particular when a set of eight commemorative stamps featuring great Indian musicians was released on Wednesday.
Of the eight stamps, four features artistes from the State.
The four artistes — Bhimsen Gururaj Joshi, Mallikarjun Bheemarayappa Mansur, Gangubai Hangal and Kumar Gandharva — hail from north Karnataka and are legends in Hindustani music. The other four musicians are sitarists Ravi Shankar and Vilayat Khan, vocalist D.K. Pattammal and sarod player Ali Akar Khan.
The Department of Posts, Karnataka Circle, in association with the Karnataka Sangeetha Nrithya Academy, released the stamps in Bangalore.
M.S. Ramanujan, Chief Postmaster-General, Karnataka Circle, said: “Patronage to art and artistes from the age of kings to the present day is indicative of the development and evolution of a refined society.”
The event had a musical takeoff, with renderings by R.K. Padmanabha, Vinayak Torvi and a jugalbandi by Prakash Hegde (flute) and Sridhar Hegde (santoor). The finale was Gangamma Keshavamurthy’s Gamaka, which described the eight musicians in a ragamalika.
Stamps, First Day covers, and brochures will be available for sale at the Philatelic Bureaux at the Karnataka Postal Circle viz., Bangalore GPO, Mysore HPO, Mangalore HPO and Belgaum HPO.
Nine-day Bangalore International Arts Fest begins tomorrow
The seventh edition of the Bangalore International Arts Festival is back with 21 music and dance shows, a play and a programme on afforestation.
Supported by the Tourism Department, the nine-day fest from Friday will be held in eight venues across the city. Renowned Carnatic vocalist M. Balamurali Krishna, Kathak couple Nirupama and Rajendra, Kuchipudi dancer Shama Krishna, dancers Nandini Mehta and Murali Mohan, santoor exponent Suddhashil Chatterjee and vocalist P. Ramaa will perform during the fest.
Ustad Zamin Hussain, son of Ustad Bismillah Khan, will perform on September 7 at 5 p.m. at NGMA, Palace Road.
“The art fest is always spread across the city to help reach out to people in all corners,” said Suma Sudhindra and Veena Murthy Vijay of AIM, organisers of BIAF.
The fest will also see musicians from Netherlands, France, Rwanda, Sri Lanka and Mauritius. Folk artistes from the interiors of India will feature Kamsale from Karnataka, Manganiyar from Rajasthan, Gotipuva from Orissa.
The inaugural programme at Chowdiah Memorial Hall on Friday at 6.30 p.m. will feature a seven-member collaborative fusion by Suma Sudhindra on veena and Ned McGowan on western flute.
For details, call 8792950377/080-23462242, or write to aim....@gmail.com
The first Sabha of Madras
SRIRAM V.
Pachaiyappa's Hall at NSC Bose Road.
One of the earliest attempt to make Britishers appreciate Carnatic music was initiated by Gayan Samaj.
Had the Madras Jubilee Gayan Samaj been around, it would have been 125 this year, though it began at least four years earlier under a different name. That certainly makes it the mother of all Sabhas that have been documented in the 373 years of Chennai.
The Samaj came into existence at a time when the British were taking an active if short-lived interest in Indian music. Books were being written, some of the early works being ‘Hindu Music’ by Captain N.A. Willard, ‘Musical Modes of the Hindus’ by Sir William Jones, ‘Sangeet’ by Francis Gladwin and ‘Oriental Music’ by W.C. Stafford. The absence of any form of documentation and the native methods of notation proved to be a major deterrent. The educated Indians began to seriously work on reducing Indian music to the Western form of notation often referred to as Staff Notation. It was their view that getting their music written in the Western format would encourage the English to appreciate the art form. Among the earliest such attempts were made by the Poona Gayan Samaj, one of the early organised bodies to sponsor music performances.
The Madras Branch of the Gayan Samaj was inaugurated on August 18, 1883, at the Pachaiyappa’s Hall. It had as its patrons, Sir Charles Turner, Sir T. Madava Row, Justice T. Muthuswami Iyer, Dewan Bahadur Raghunatha Row, Gen. Chamier and Col. H. McLeod. The Maharajas of Mysore, Travancore and Vizianagaram funded its creation and as per the desire of the Maharaja of Vizianagaram. it was named in 1887 as the Madras Jubilee Gayan Samaj in honour of Queen Victoria’s Jubilee. Soon, Prince Arthur, the Duke of Connaught and Sir Frederick Roberts (later Lord Roberts of Kandahar), the commander-in-chief of the Indian Army, signed up as patrons. The initial meetings of the Samaj were held at Madhav Baug, the house of Sir T. Madava Row in Mylapore. With the joining of other worthies such as Mr (later Sir) Pitty Tyagaraya Chetty and Arcot Dhanakoti
Mudaliar, the Samaj’s coffers swelled and it set up two schools dedicated to teaching music to children, one of which was the Maharaja of Vizianagaram’s School for Girls in Mylapore which later became the National Girls School and still later, the Lady Sivaswami Iyer Girls School.
Closely involved in the running of the school and the training of its students were two brothers, Pedda and Chinna Singaracharlu of Tachur. The brothers lived at No. 3, Tambu Naicken Lane, George Town (the building is located off Govindappa Naicken Street and is today a flourishing plastics market). Both of them were good violinists and the elder was employed as the Telugu pandit at Pachaiyappa’s College.
The brothers began organising performances of promising students under the auspices of the Madras Jubilee Gayan Samaj, which was when it became a true sabha. Attendance by some of the leading Sahibs of Madras was a regular feature. The Madras Mail regularly published detailed accounts of the proceedings. On January 22, 1884, a music concert was organised at Lakshmi Baug (present day Kamadhenu Theatre), the residence of V. Bhashyam Iyengar. Sir Frederick Roberts attended the same along with Justice and Mrs. Brandt, Dr. and Mrs. David Duncan, Mr. Oppert and Mr. D.S. White. On December 22, 1885, Lord and Lady Reay (Governor and First Lady of Bombay) attended a programme at the Pachaiyappa’s Hall along with Mr (later Sir and still later Lord) Monstuart Elphinstone Grant Duff and his wife. Justice
T. Muthuswami Iyer read out a paper on Indian music and spoke at length on its features vis-à-vis that of Western music. Grant Duff, who was the Governor of Madras, maintained a diary during his tenure here and the event finds mention in it.
The Samaj also reduced some of its songs to Staff Notation and had the Madras Philharmonic Orchestra render them for Europeans on yet another occasion. In addition, it had Tennyson’s Ode to Queen Victoria translated into Sanskrit, set to music and performed for the benefit of an invited audience.
An active member of the Gayan Samaj was Lieut. (later Captain) C.R. Day who interested himself tremendously in Indian Music and published a book on the subject, the printing of which was funded by the Government. By the second anniversary of the Samaj, its two schools for music had been attached to the Mylapore Native School and Chengalvaraya Naicker School in George Town.
In later years, the Samaj appears to have faded away. How and why it closed is not documented. What is of immense value is a compilation of its proceedings between 1883 and 1888, which was published as a book. It gives us an idea of what the music world was so many years ago.
(The author can be contacted at srir...@gmail.com)
PresentingMysore Vasudevacharya compisitions today at Kalyana Maha Ganapathi Temple, Kalyananagar, near Banaswadi, 630pm onwards... Will be accompanied by
Vid. Charulatha Ramanujam - Violin
Vid. Arjun Kumar - Mridangam
Vid. G. Khanjira Guruprasanna G - Khanjira
Kindly attend
Vid. Charulatha Ramanujam - Violin
Vid. Arjun Kumar - Mridangam
Vid. G. Khanjira Guruprasanna G - Khanjira
Kindly attend
Arts festival
Bengaluru International Arts Festival celebrates its seventh year, from September 5 to September 21
Aim presents the Bengaluru International Arts Festival (BIAF) 2014. It will celebrate its seventh year in epitomising “Celebration of Harmony through Arts”, from September 5 to 21 in Bangalore.
This year BIAF has collaborated with countries such as Netherlands, Sri Lanka, France, Suriname, Rwanda to perform for Bengaluru audience. Folk groups are flying in from Sri Lanka, Odissa, Gujarat and North East. Bengaluru Metro is one of the prime venues. The programmes planned for the first week of the festival includes the following:
On September 5, at 6.30 pm, there is the Grand Fusion Concert at Chowdiah Memorial Hall, Suma Sudhindra will be on Veena, Edward Ned McGowan on western Flute, violin by N.N.G anesh Kumar , mridangam and konnakol by B.C. Manjunath, tabla and other instruments by Anooru Anantha Krishna Sharma and drums/percussions by Karthik Mani.
On September, at 5 pm, Rafiki presents Vaclav Havel’s Unveiling , directed by Sachin Gurjale. It will be performed at National Gallery of Modern Art, Palace Road. The cast includes Ravindra Vijay, Rency Philip and Sachin Gurjale.
On September 7, at 5 pm, there will be a concert Shehnai by Zamin Hussain Bismillah Khan and party from Varanasi. BIAF will host Essentially Divine, a vocal concert by Saashwathi Prabhu at National Gallery of Modern Art. She will be accompanied by Vijay Ganesh on violin, Sai Giridhar on mridangam, Jagadeesh Kurthkoti on tabla and special effects by Muni Sidhappa. Call 8792950377 or visit www.biaf.co.in
For a fortnight at various venues
Maestro’s begum to settle in Bangalore
RANJANI GOVIND
Ustad Bismillah Khan
Shehnai maestro Bismillah Khan mesmerised the people of Karnataka back in 1977 when he played for the Rajkumar-starrer Sanaadi Appanna .
The State has got lucky again, as Bangalore will soon acquire and display the Ustad’s shehnai — which he often referred to as his ‘Begum’.
The permanent showcase venue of the priceless instrument will be the Centre for Indian Music Experience (IME) at J.P. Nagar. The centre is the first of its kind Music Experiential Museum building that was inaugurated in October, 2013. The late maestro’s trademark cap and the original script of a composition by him will also be in the museum.
Senior veena artiste Suma Sudhindra, Director, Outreach, IME, told The Hindu that it would be part of the 300-piece instrument gallery. An idea of displaying something precious that belonged to five Bharat Ratna winners in music came up. “To start with, we approached the Ustad’s family in Varanasi and they graciously agreed to part with one of his shehnais. His cap and the original script of a composition that he often played in a ragamalika would be formally handed over by the maestro’s son Ustad Zamin Hussain Khan on September 7,” said Ms. Suma.
Vocalist Manasi Prasad, Project Director, IME, said they had already approached Lata Mangeshkar, Pandit Ravi Shankar’s wife Sukanya, Bhimsen Joshi’s family and M.S. Subbulakshmi’s grandson V. Srinivasan with similar requests.
“The shimmering ‘MS Blue’ that the queen of Carnatic music popularised would be the sari that our museum would cherish,” she said. The centre is a 40-crore project of the IME Trust, supported by the Brigade Group and the State government.
Four of eight commemorative stamps feature musical legends from State
RANJANI GOVIND
‘Patronage to art is indicative of the development and evolution of a refined society’
Stamps, First Day covers, and brochures will be available for sale at the Philatelic Bureaux at the Karnataka Postal Circle.— Photo: V. Sreenivasa Murthy
It was a rare event for the Indian Postal Department and the State in particular when a set of eight commemorative stamps featuring great Indian musicians was released on Wednesday.
Of the eight stamps, four features artistes from the State.
The four artistes — Bhimsen Gururaj Joshi, Mallikarjun Bheemarayappa Mansur, Gangubai Hangal and Kumar Gandharva — hail from north Karnataka and are legends in Hindustani music. The other four musicians are sitarists Ravi Shankar and Vilayat Khan, vocalist D.K. Pattammal and sarod player Ali Akar Khan.
The Department of Posts, Karnataka Circle, in association with the Karnataka Sangeetha Nrithya Academy, released the stamps in Bangalore.
M.S. Ramanujan, Chief Postmaster-General, Karnataka Circle, said: “Patronage to art and artistes from the age of kings to the present day is indicative of the development and evolution of a refined society.”
The event had a musical takeoff, with renderings by R.K. Padmanabha, Vinayak Torvi and a jugalbandi by Prakash Hegde (flute) and Sridhar Hegde (santoor). The finale was Gangamma Keshavamurthy’s Gamaka, which described the eight musicians in a ragamalika.
Stamps, First Day covers, and brochures will be available for sale at the Philatelic Bureaux at the Karnataka Postal Circle viz., Bangalore GPO, Mysore HPO, Mangalore HPO and Belgaum HPO.
Nine-day Bangalore International Arts Fest begins tomorrow
The seventh edition of the Bangalore International Arts Festival is back with 21 music and dance shows, a play and a programme on afforestation.
Supported by the Tourism Department, the nine-day fest from Friday will be held in eight venues across the city. Renowned Carnatic vocalist M. Balamurali Krishna, Kathak couple Nirupama and Rajendra, Kuchipudi dancer Shama Krishna, dancers Nandini Mehta and Murali Mohan, santoor exponent Suddhashil Chatterjee and vocalist P. Ramaa will perform during the fest.
Ustad Zamin Hussain, son of Ustad Bismillah Khan, will perform on September 7 at 5 p.m. at NGMA, Palace Road.
“The art fest is always spread across the city to help reach out to people in all corners,” said Suma Sudhindra and Veena Murthy Vijay of AIM, organisers of BIAF.
The fest will also see musicians from Netherlands, France, Rwanda, Sri Lanka and Mauritius. Folk artistes from the interiors of India will feature Kamsale from Karnataka, Manganiyar from Rajasthan, Gotipuva from Orissa.
The inaugural programme at Chowdiah Memorial Hall on Friday at 6.30 p.m. will feature a seven-member collaborative fusion by Suma Sudhindra on veena and Ned McGowan on western flute.
For details, call 8792950377/080-23462242, or write to aim....@gmail.com
The first Sabha of Madras
SRIRAM V.
Pachaiyappa's Hall at NSC Bose Road.
One of the earliest attempt to make Britishers appreciate Carnatic music was initiated by Gayan Samaj.
Had the Madras Jubilee Gayan Samaj been around, it would have been 125 this year, though it began at least four years earlier under a different name. That certainly makes it the mother of all Sabhas that have been documented in the 373 years of Chennai.
The Samaj came into existence at a time when the British were taking an active if short-lived interest in Indian music. Books were being written, some of the early works being ‘Hindu Music’ by Captain N.A. Willard, ‘Musical Modes of the Hindus’ by Sir William Jones, ‘Sangeet’ by Francis Gladwin and ‘Oriental Music’ by W.C. Stafford. The absence of any form of documentation and the native methods of notation proved to be a major deterrent. The educated Indians began to seriously work on reducing Indian music to the Western form of notation often referred to as Staff Notation. It was their view that getting their music written in the Western format would encourage the English to appreciate the art form. Among the earliest such attempts were made by the Poona Gayan Samaj, one of the early organised bodies to sponsor music performances.
The Madras Branch of the Gayan Samaj was inaugurated on August 18, 1883, at the Pachaiyappa’s Hall. It had as its patrons, Sir Charles Turner, Sir T. Madava Row, Justice T. Muthuswami Iyer, Dewan Bahadur Raghunatha Row, Gen. Chamier and Col. H. McLeod. The Maharajas of Mysore, Travancore and Vizianagaram funded its creation and as per the desire of the Maharaja of Vizianagaram. it was named in 1887 as the Madras Jubilee Gayan Samaj in honour of Queen Victoria’s Jubilee. Soon, Prince Arthur, the Duke of Connaught and Sir Frederick Roberts (later Lord Roberts of Kandahar), the commander-in-chief of the Indian Army, signed up as patrons. The initial meetings of the Samaj were held at Madhav Baug, the house of Sir T. Madava Row in Mylapore. With the joining of other worthies such as Mr (later Sir) Pitty Tyagaraya Chetty and Arcot Dhanakoti
Mudaliar, the Samaj’s coffers swelled and it set up two schools dedicated to teaching music to children, one of which was the Maharaja of Vizianagaram’s School for Girls in Mylapore which later became the National Girls School and still later, the Lady Sivaswami Iyer Girls School.
Closely involved in the running of the school and the training of its students were two brothers, Pedda and Chinna Singaracharlu of Tachur. The brothers lived at No. 3, Tambu Naicken Lane, George Town (the building is located off Govindappa Naicken Street and is today a flourishing plastics market). Both of them were good violinists and the elder was employed as the Telugu pandit at Pachaiyappa’s College.
The brothers began organising performances of promising students under the auspices of the Madras Jubilee Gayan Samaj, which was when it became a true sabha. Attendance by some of the leading Sahibs of Madras was a regular feature. The Madras Mail regularly published detailed accounts of the proceedings. On January 22, 1884, a music concert was organised at Lakshmi Baug (present day Kamadhenu Theatre), the residence of V. Bhashyam Iyengar. Sir Frederick Roberts attended the same along with Justice and Mrs. Brandt, Dr. and Mrs. David Duncan, Mr. Oppert and Mr. D.S. White. On December 22, 1885, Lord and Lady Reay (Governor and First Lady of Bombay) attended a programme at the Pachaiyappa’s Hall along with Mr (later Sir and still later Lord) Monstuart Elphinstone Grant Duff and his wife. Justice
T. Muthuswami Iyer read out a paper on Indian music and spoke at length on its features vis-à-vis that of Western music. Grant Duff, who was the Governor of Madras, maintained a diary during his tenure here and the event finds mention in it.
The Samaj also reduced some of its songs to Staff Notation and had the Madras Philharmonic Orchestra render them for Europeans on yet another occasion. In addition, it had Tennyson’s Ode to Queen Victoria translated into Sanskrit, set to music and performed for the benefit of an invited audience.
An active member of the Gayan Samaj was Lieut. (later Captain) C.R. Day who interested himself tremendously in Indian Music and published a book on the subject, the printing of which was funded by the Government. By the second anniversary of the Samaj, its two schools for music had been attached to the Mylapore Native School and Chengalvaraya Naicker School in George Town.
In later years, the Samaj appears to have faded away. How and why it closed is not documented. What is of immense value is a compilation of its proceedings between 1883 and 1888, which was published as a book. It gives us an idea of what the music world was so many years ago.
(The author can be contacted at srir...@gmail.com)
PresentingMysore Vasudevacharya compisitions today at Kalyana Maha Ganapathi Temple, Kalyananagar, near Banaswadi, 630pm onwards... Will be accompanied by
Vid. Charulatha Ramanujam - Violin
Vid. Security Check Required | Facebook - Mridangam
Vid. G. Khanjira Guruprasanna G - Khanjira
Kindly attend
Vid. Charulatha Ramanujam - Violin
Vid. Security Check Required | Facebook - Mridangam
Vid. G. Khanjira Guruprasanna G - Khanjira
Kindly attend
Arts festival
Bengaluru International Arts Festival celebrates its seventh year, from September 5 to September 21
Aim presents the Bengaluru International Arts Festival (BIAF) 2014. It will celebrate its seventh year in epitomising “Celebration of Harmony through Arts”, from September 5 to 21 in Bangalore.
This year BIAF has collaborated with countries such as Netherlands, Sri Lanka, France, Suriname, Rwanda to perform for Bengaluru audience. Folk groups are flying in from Sri Lanka, Odissa, Gujarat and North East. Bengaluru Metro is one of the prime venues. The programmes planned for the first week of the festival includes the following:
On September 5, at 6.30 pm, there is the Grand Fusion Concert at Chowdiah Memorial Hall, Suma Sudhindra will be on Veena, Edward Ned McGowan on western Flute, violin by N.N.G anesh Kumar , mridangam and konnakol by B.C. Manjunath, tabla and other instruments by Anooru Anantha Krishna Sharma and drums/percussions by Karthik Mani.
On September, at 5 pm, Rafiki presents Vaclav Havel’s Unveiling , directed by Sachin Gurjale. It will be performed at National Gallery of Modern Art, Palace Road. The cast includes Ravindra Vijay, Rency Philip and Sachin Gurjale.
On September 7, at 5 pm, there will be a concert Shehnai by Zamin Hussain Bismillah Khan and party from Varanasi. BIAF will host Essentially Divine, a vocal concert by Saashwathi Prabhu at National Gallery of Modern Art. She will be accompanied by Vijay Ganesh on violin, Sai Giridhar on mridangam, Jagadeesh Kurthkoti on tabla and special effects by Muni Sidhappa. Call 8792950377 or visit www.biaf.co.in
For a fortnight at various venues
Maestro’s begum to settle in Bangalore
RANJANI GOVIND
Ustad Bismillah Khan
Shehnai maestro Bismillah Khan mesmerised the people of Karnataka back in 1977 when he played for the Rajkumar-starrer Sanaadi Appanna .
The State has got lucky again, as Bangalore will soon acquire and display the Ustad’s shehnai — which he often referred to as his ‘Begum’.
The permanent showcase venue of the priceless instrument will be the Centre for Indian Music Experience (IME) at J.P. Nagar. The centre is the first of its kind Music Experiential Museum building that was inaugurated in October, 2013. The late maestro’s trademark cap and the original script of a composition by him will also be in the museum.
Senior veena artiste Suma Sudhindra, Director, Outreach, IME, told The Hindu that it would be part of the 300-piece instrument gallery. An idea of displaying something precious that belonged to five Bharat Ratna winners in music came up. “To start with, we approached the Ustad’s family in Varanasi and they graciously agreed to part with one of his shehnais. His cap and the original script of a composition that he often played in a ragamalika would be formally handed over by the maestro’s son Ustad Zamin Hussain Khan on September 7,” said Ms. Suma.
Vocalist Manasi Prasad, Project Director, IME, said they had already approached Lata Mangeshkar, Pandit Ravi Shankar’s wife Sukanya, Bhimsen Joshi’s family and M.S. Subbulakshmi’s grandson V. Srinivasan with similar requests.
“The shimmering ‘MS Blue’ that the queen of Carnatic music popularised would be the sari that our museum would cherish,” she said. The centre is a 40-crore project of the IME Trust, supported by the Brigade Group and the State government.
Four of eight commemorative stamps feature musical legends from State
RANJANI GOVIND
‘Patronage to art is indicative of the development and evolution of a refined society’
Stamps, First Day covers, and brochures will be available for sale at the Philatelic Bureaux at the Karnataka Postal Circle.— Photo: V. Sreenivasa Murthy
It was a rare event for the Indian Postal Department and the State in particular when a set of eight commemorative stamps featuring great Indian musicians was released on Wednesday.
Of the eight stamps, four features artistes from the State.
The four artistes — Bhimsen Gururaj Joshi, Mallikarjun Bheemarayappa Mansur, Gangubai Hangal and Kumar Gandharva — hail from north Karnataka and are legends in Hindustani music. The other four musicians are sitarists Ravi Shankar and Vilayat Khan, vocalist D.K. Pattammal and sarod player Ali Akar Khan.
The Department of Posts, Karnataka Circle, in association with the Karnataka Sangeetha Nrithya Academy, released the stamps in Bangalore.
M.S. Ramanujan, Chief Postmaster-General, Karnataka Circle, said: “Patronage to art and artistes from the age of kings to the present day is indicative of the development and evolution of a refined society.”
The event had a musical takeoff, with renderings by R.K. Padmanabha, Vinayak Torvi and a jugalbandi by Prakash Hegde (flute) and Sridhar Hegde (santoor). The finale was Gangamma Keshavamurthy’s Gamaka, which described the eight musicians in a ragamalika.
Stamps, First Day covers, and brochures will be available for sale at the Philatelic Bureaux at the Karnataka Postal Circle viz., Bangalore GPO, Mysore HPO, Mangalore HPO and Belgaum HPO.
Nine-day Bangalore International Arts Fest begins tomorrow
The seventh edition of the Bangalore International Arts Festival is back with 21 music and dance shows, a play and a programme on afforestation.
Supported by the Tourism Department, the nine-day fest from Friday will be held in eight venues across the city. Renowned Carnatic vocalist M. Balamurali Krishna, Kathak couple Nirupama and Rajendra, Kuchipudi dancer Shama Krishna, dancers Nandini Mehta and Murali Mohan, santoor exponent Suddhashil Chatterjee and vocalist P. Ramaa will perform during the fest.
Ustad Zamin Hussain, son of Ustad Bismillah Khan, will perform on September 7 at 5 p.m. at NGMA, Palace Road.
“The art fest is always spread across the city to help reach out to people in all corners,” said Suma Sudhindra and Veena Murthy Vijay of AIM, organisers of BIAF.
The fest will also see musicians from Netherlands, France, Rwanda, Sri Lanka and Mauritius. Folk artistes from the interiors of India will feature Kamsale from Karnataka, Manganiyar from Rajasthan, Gotipuva from Orissa.
The inaugural programme at Chowdiah Memorial Hall on Friday at 6.30 p.m. will feature a seven-member collaborative fusion by Suma Sudhindra on veena and Ned McGowan on western flute.
For details, call 8792950377/080-23462242, or write to aim....@gmail.com
The first Sabha of Madras
SRIRAM V.
Pachaiyappa's Hall at NSC Bose Road.
One of the earliest attempt to make Britishers appreciate Carnatic music was initiated by Gayan Samaj.
Had the Madras Jubilee Gayan Samaj been around, it would have been 125 this year, though it began at least four years earlier under a different name. That certainly makes it the mother of all Sabhas that have been documented in the 373 years of Chennai.
The Samaj came into existence at a time when the British were taking an active if short-lived interest in Indian music. Books were being written, some of the early works being ‘Hindu Music’ by Captain N.A. Willard, ‘Musical Modes of the Hindus’ by Sir William Jones, ‘Sangeet’ by Francis Gladwin and ‘Oriental Music’ by W.C. Stafford. The absence of any form of documentation and the native methods of notation proved to be a major deterrent. The educated Indians began to seriously work on reducing Indian music to the Western form of notation often referred to as Staff Notation. It was their view that getting their music written in the Western format would encourage the English to appreciate the art form. Among the earliest such attempts were made by the Poona Gayan Samaj, one of the early organised bodies to sponsor music performances.
The Madras Branch of the Gayan Samaj was inaugurated on August 18, 1883, at the Pachaiyappa’s Hall. It had as its patrons, Sir Charles Turner, Sir T. Madava Row, Justice T. Muthuswami Iyer, Dewan Bahadur Raghunatha Row, Gen. Chamier and Col. H. McLeod. The Maharajas of Mysore, Travancore and Vizianagaram funded its creation and as per the desire of the Maharaja of Vizianagaram. it was named in 1887 as the Madras Jubilee Gayan Samaj in honour of Queen Victoria’s Jubilee. Soon, Prince Arthur, the Duke of Connaught and Sir Frederick Roberts (later Lord Roberts of Kandahar), the commander-in-chief of the Indian Army, signed up as patrons. The initial meetings of the Samaj were held at Madhav Baug, the house of Sir T. Madava Row in Mylapore. With the joining of other worthies such as Mr (later Sir) Pitty Tyagaraya Chetty and Arcot Dhanakoti
Mudaliar, the Samaj’s coffers swelled and it set up two schools dedicated to teaching music to children, one of which was the Maharaja of Vizianagaram’s School for Girls in Mylapore which later became the National Girls School and still later, the Lady Sivaswami Iyer Girls School.
Closely involved in the running of the school and the training of its students were two brothers, Pedda and Chinna Singaracharlu of Tachur. The brothers lived at No. 3, Tambu Naicken Lane, George Town (the building is located off Govindappa Naicken Street and is today a flourishing plastics market). Both of them were good violinists and the elder was employed as the Telugu pandit at Pachaiyappa’s College.
The brothers began organising performances of promising students under the auspices of the Madras Jubilee Gayan Samaj, which was when it became a true sabha. Attendance by some of the leading Sahibs of Madras was a regular feature. The Madras Mail regularly published detailed accounts of the proceedings. On January 22, 1884, a music concert was organised at Lakshmi Baug (present day Kamadhenu Theatre), the residence of V. Bhashyam Iyengar. Sir Frederick Roberts attended the same along with Justice and Mrs. Brandt, Dr. and Mrs. David Duncan, Mr. Oppert and Mr. D.S. White. On December 22, 1885, Lord and Lady Reay (Governor and First Lady of Bombay) attended a programme at the Pachaiyappa’s Hall along with Mr (later Sir and still later Lord) Monstuart Elphinstone Grant Duff and his wife. Justice
T. Muthuswami Iyer read out a paper on Indian music and spoke at length on its features vis-à-vis that of Western music. Grant Duff, who was the Governor of Madras, maintained a diary during his tenure here and the event finds mention in it.
The Samaj also reduced some of its songs to Staff Notation and had the Madras Philharmonic Orchestra render them for Europeans on yet another occasion. In addition, it had Tennyson’s Ode to Queen Victoria translated into Sanskrit, set to music and performed for the benefit of an invited audience.
An active member of the Gayan Samaj was Lieut. (later Captain) C.R. Day who interested himself tremendously in Indian Music and published a book on the subject, the printing of which was funded by the Government. By the second anniversary of the Samaj, its two schools for music had been attached to the Mylapore Native School and Chengalvaraya Naicker School in George Town.
In later years, the Samaj appears to have faded away. How and why it closed is not documented. What is of immense value is a compilation of its proceedings between 1883 and 1888, which was published as a book. It gives us an idea of what the music world was so many years ago.
(The author can be contacted at srir...@gmail.com)
Thought for Life
- Guruji Viswanath
(Founder Guardian, Manava Seva Kendra, Bengaluru)
Source: 365 Day 100 Year Calendar
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BE, JUST BE -:- BELONG don't Be Long -:- LIFE is SIMPLE, Don't Complicate It -:- PLAY Like a CHILD, PERFORM Like a PROFESSIONAL -:- paNbu (CULTURE) is paNivu (HUMILITY) plus aNbu (LOVE) -:- LIGHT and SOUND are ILLUSION, DARKNESS and SILENCE are TRUTH -:- Build the EDIFICE called LIFE on the unshakable FOUNDATION of SELF-CONFIDENCE -:- The DOOR to HEAVEN is a PIN HOLE, the SOUL fattened
by even the slightest EGO cannot enter it -:- I am a SERVANT in BODY, a FRIEND in MIND, GOD in HEART and the SILENCE beyond all these three -:- From THOUGHT comes DOUBT, QUESTIONS and FEAR, SILENCE is the only TRUE FAITH & the only TRUEST KNOWLEDGE -:- Only the BOND with the AGELESS SELF can give freedom from BONDAGE
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