Anthara Gandhara (G3) Venkatraghavan - Gayathri Venkataraghavan
Anthara Gandhara (G3) Venkatraghavan
It’s become a rarity to come across a musician who perceives Carnatic music more as an art than as a career, or a pathway to fame. And here was one such musician who gave us a lovely evening filled with pure music and devotion.
Her first song was a famous Pancharatna Krithi composed by Saint Thyagaraja in Ragam Arabhi ‘Sadinchine O Manasa’ set to Adi Thalam. It’s common knowledge that Thyagaraja’s Ishta Devata was Rama and almost all his compositions were revolving around him. This song starts in a playful tone about Lord Krishna where Devaki, Vasudeva and Yashoda are mentioned. There is no excess of adjectives to describe Krishna but he used metaphors & similies instead making it a rich tapestry of words. He refers to Krishna as one who is ever attractive to the Gopikas and as a contrast in the 6th charanam he refers to Rama as Raghuvamsa tilaka, one who is a brother to all women not related to him. The lyrics ‘Samayaniki Thagu Mataladene’ is so endearing where Thyagaraja refers to the Lord as one who changes his speech, behaviour according to the situation being an opportunist. It’s an affectionate mood showcasing intimacy. It has to be acknowledged that the liberty we can take with our Ishta Devata is incomparable. The phrase Ishta Devata indicates you can even customise & choose your type of God. You have songs arguing or blaming God and also songs which pamper and flatter him. The relationship is of utmost intimacy and one without fear. Gayatri did complete justice to bring in all these elements into her recital. For me, it’s a fundamental prerequisite is to not distort the emotion behind the lyrics.
She once again displayed this in the next song ‘Shivaloka Nathanai Kandu’ composed by Gopalakrishna Bharati in Ragam Mayamalavagowla set to Rupakam thalam. This song was also featured in the Tamil film ‘Nandanar’ in the year 1942. In this film, Dhandapani Desikgar who was a trained Carnatic musician played the main role. Those days one needed to be trained in singing and dancing to be cast in good roles. The film was based on a musical drama ‘Nandanar Charitram’ composed by Gopalkrishna Bharati and went on become a big hit. This song became very popular and I remember my uncle singing this at home. Gayatri’s singing not only brought back vivid memories but also the essence of ‘Nandanar Charitram’ to life. It was not only nostalgia but it was nice to hear someone sing so soulfully. She was ably supported by Mysore Srikanth on the violin, Neyveli Skandasubramaniam on mridangam and Alathur Rajaganesh on Khanjira. What requires special mention are the tambura artistes, while one was her student the other was a 83 year old Lakshminarayana Mama. I later learnt that during his younger days, he was a vocalist & a flautist. Touching to see Gayatri treat him in a respectful manner.
She next chose to sing ‘Kalyanarama Raghurama’ in Ragam Hamsanadam set to Adi thalam, a composition of Oothukadu Venkata Kavi. He has brilliantly composed many songs in Sanskrit, Tamil & Marathi. He is known for his compositions on Lord Krishna. If Thyagaraja’s Ishta Devata was Rama, Gopalkrishna Bharati’s was Shiva, Shyama Sastry’s was Bangaru Kamakshi, Oothukadu Venkat Kavi’s was Krishna and many such musicians where Bhakti has been the predominant factor. How else can one explain these incomparable gems in hundreds and thousands of compositions flowing as an ocean right there for us to delve and seek. Thygaraja has composed ‘Sangita Gyanamu Bhakti Vina’ in Ragam Dhanyasi stating the same . Oothukadu Venkata Kavi’s popular ‘Alaipayudhe Krishna’ in Ragam Kaanada is so alluring that it’s used in films, remixes, and even used as titles of films ! In this particular song ‘Kalyanarama Raghurama’ he has extended his Bhakti to Lord Rama.
Then came a beautiful rendering of Muthuswamy Dikshitar’s ‘Kailasnathane’ in Kamboji set to Misra Chaap thalam. This was her ‘Main Piece’ ... a main piece is where an artiste gets to exhibit his or her proficiency and creativity at the same time. The Alaapane for this was low pitched and very good. Personally I find singing in a high pitch is far easier than going very low. She sang the neraval for the line ‘Charusharaschandra Kaladareena’ with extraordinary improvisations. Here, Gayatri elaborated the line without tampering with the bhavam of the sahityam and used all variations to explore this.
Her RTP started in Ragam Surya set in Kandajathi Triputai thalam moving onto Ragamalika swaras in the Ragams Brindavana Saranga and Behaag. The Pallavi was a composition of T.R. Subramaniam which was ‘Saravananai Muruganai Guhanai Ninai Arul Pervai.’ It was dealt very competently & creatively by her.
Her next choice was Bharatiyaar’s ‘Chinnachirukiliye’ which is familiar to almost every Tamilian, whether the person is a musician or not ! It never ceases to strike a chord with the audience of any age or gender. The beauty of the lyrics is appealing and is sung in a Ragamalika. Like many I also know this song but this is first time I heard more stanzas. I never knew these lyrics ‘Solum Mazhalilai Kannamma Thunmbangal Pokki Vitai’ in Ragam Neelambari. Must thank Gayatri to go beyond the normal to help an average rasika like us learn while we enjoy !
I have always thought and sung ending with ‘Yen Uyir
Nindradhandro.’ Subramanya Bharathi who died in very unfortunate circumstances, lives on forever through his songs. Her choice of this song was so appropriate since it was Bharatiyaar’s birthday on the next day which was10th December. It was also the death anniversary of the one & only M.S.Subbalakshmi on the same day and it was a befitting tribute for her to sing ‘Naada Bindu Kaladhi Namo Namo’ in Ragam Chenchurti. Incase anyone is amazed with my general knowledge, I need to confess that she mentioned all this before singing. Though when she announced before she sang a Thiruvachakam ‘Jyoti Chudar’ that it being Annamalai Deepam the next day again on 10th December, I was already aware of this. After all I had spent all morning making dozens of ‘Pori Urandais’ which my children looked at disdainfully and which are still lying in a box untouched !!
Her first song was a famous Pancharatna Krithi composed by Saint Thyagaraja in Ragam Arabhi ‘Sadinchine O Manasa’ set to Adi Thalam. It’s common knowledge that Thyagaraja’s Ishta Devata was Rama and almost all his compositions were revolving around him. This song starts in a playful tone about Lord Krishna where Devaki, Vasudeva and Yashoda are mentioned. There is no excess of adjectives to describe Krishna but he used metaphors & similies instead making it a rich tapestry of words. He refers to Krishna as one who is ever attractive to the Gopikas and as a contrast in the 6th charanam he refers to Rama as Raghuvamsa tilaka, one who is a brother to all women not related to him. The lyrics ‘Samayaniki Thagu Mataladene’ is so endearing where Thyagaraja refers to the Lord as one who changes his speech, behaviour according to the situation being an opportunist. It’s an affectionate mood showcasing intimacy. It has to be acknowledged that the liberty we can take with our Ishta Devata is incomparable. The phrase Ishta Devata indicates you can even customise & choose your type of God. You have songs arguing or blaming God and also songs which pamper and flatter him. The relationship is of utmost intimacy and one without fear. Gayatri did complete justice to bring in all these elements into her recital. For me, it’s a fundamental prerequisite is to not distort the emotion behind the lyrics.
She once again displayed this in the next song ‘Shivaloka Nathanai Kandu’ composed by Gopalakrishna Bharati in Ragam Mayamalavagowla set to Rupakam thalam. This song was also featured in the Tamil film ‘Nandanar’ in the year 1942. In this film, Dhandapani Desikgar who was a trained Carnatic musician played the main role. Those days one needed to be trained in singing and dancing to be cast in good roles. The film was based on a musical drama ‘Nandanar Charitram’ composed by Gopalkrishna Bharati and went on become a big hit. This song became very popular and I remember my uncle singing this at home. Gayatri’s singing not only brought back vivid memories but also the essence of ‘Nandanar Charitram’ to life. It was not only nostalgia but it was nice to hear someone sing so soulfully. She was ably supported by Mysore Srikanth on the violin, Neyveli Skandasubramaniam on mridangam and Alathur Rajaganesh on Khanjira. What requires special mention are the tambura artistes, while one was her student the other was a 83 year old Lakshminarayana Mama. I later learnt that during his younger days, he was a vocalist & a flautist. Touching to see Gayatri treat him in a respectful manner.
She next chose to sing ‘Kalyanarama Raghurama’ in Ragam Hamsanadam set to Adi thalam, a composition of Oothukadu Venkata Kavi. He has brilliantly composed many songs in Sanskrit, Tamil & Marathi. He is known for his compositions on Lord Krishna. If Thyagaraja’s Ishta Devata was Rama, Gopalkrishna Bharati’s was Shiva, Shyama Sastry’s was Bangaru Kamakshi, Oothukadu Venkat Kavi’s was Krishna and many such musicians where Bhakti has been the predominant factor. How else can one explain these incomparable gems in hundreds and thousands of compositions flowing as an ocean right there for us to delve and seek. Thygaraja has composed ‘Sangita Gyanamu Bhakti Vina’ in Ragam Dhanyasi stating the same . Oothukadu Venkata Kavi’s popular ‘Alaipayudhe Krishna’ in Ragam Kaanada is so alluring that it’s used in films, remixes, and even used as titles of films ! In this particular song ‘Kalyanarama Raghurama’ he has extended his Bhakti to Lord Rama.
Then came a beautiful rendering of Muthuswamy Dikshitar’s ‘Kailasnathane’ in Kamboji set to Misra Chaap thalam. This was her ‘Main Piece’ ... a main piece is where an artiste gets to exhibit his or her proficiency and creativity at the same time. The Alaapane for this was low pitched and very good. Personally I find singing in a high pitch is far easier than going very low. She sang the neraval for the line ‘Charusharaschandra Kaladareena’ with extraordinary improvisations. Here, Gayatri elaborated the line without tampering with the bhavam of the sahityam and used all variations to explore this.
Her RTP started in Ragam Surya set in Kandajathi Triputai thalam moving onto Ragamalika swaras in the Ragams Brindavana Saranga and Behaag. The Pallavi was a composition of T.R. Subramaniam which was ‘Saravananai Muruganai Guhanai Ninai Arul Pervai.’ It was dealt very competently & creatively by her.
Her next choice was Bharatiyaar’s ‘Chinnachirukiliye’ which is familiar to almost every Tamilian, whether the person is a musician or not ! It never ceases to strike a chord with the audience of any age or gender. The beauty of the lyrics is appealing and is sung in a Ragamalika. Like many I also know this song but this is first time I heard more stanzas. I never knew these lyrics ‘Solum Mazhalilai Kannamma Thunmbangal Pokki Vitai’ in Ragam Neelambari. Must thank Gayatri to go beyond the normal to help an average rasika like us learn while we enjoy !
I have always thought and sung ending with ‘Yen Uyir
Nindradhandro.’ Subramanya Bharathi who died in very unfortunate circumstances, lives on forever through his songs. Her choice of this song was so appropriate since it was Bharatiyaar’s birthday on the next day which was10th December. It was also the death anniversary of the one & only M.S.Subbalakshmi on the same day and it was a befitting tribute for her to sing ‘Naada Bindu Kaladhi Namo Namo’ in Ragam Chenchurti. Incase anyone is amazed with my general knowledge, I need to confess that she mentioned all this before singing. Though when she announced before she sang a Thiruvachakam ‘Jyoti Chudar’ that it being Annamalai Deepam the next day again on 10th December, I was already aware of this. After all I had spent all morning making dozens of ‘Pori Urandais’ which my children looked at disdainfully and which are still lying in a box untouched !!
About the Author:
Sandhya Shankar belongs to a well respected business family in Chennai. She is a Life Skills & Corporate Trainer by profession. She is an avid reader and a natural writer, who has written several poems and articles. She even presented her poems as a reading at the British council. She has keen interest in all art forms and has explored many different forms of painting like stained glass and Tanjore being among them.
Music being her first passion, she had her formal training under Terakotti Chandrasekharaiah at Bangalore and later briefly under Mrs Champa Kumar. She is a regular visitor of concerts, theatre and other live performances. Her witty reviews have gained a loyal and interactive readership for their sound technical commentary and relevance for every kind of melophile, from the casual-goer to the ragam expert, frequenting Chennai’s rich music scene.
(*The views and opinions expressed herein are those of the author and not necessarily those of Music of Madras.)
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