Vol 2 ISSUE 26 78th issue December 13,2009

Cenotaph Road flyover inaugurated

and named after Moopanar
Chief minister M the public interest in mind, these
Karunanidhi on Friday projects were executed to mitigate
announced that the city the sufferings of road-users in the
corporation’s newly built city,” he said. He added that it was
flyover on Cenotaph Road- only when his party was in power that
Turnbulls Road will be many flyovers and bridges had been
named after late Congress built in the state. Also, the figure was
leader GK Moopanar. His much more than the number of such
government has also given constructions during the Congress
consent for the installation government of late K Kamaraj and
of a statue of Moopanar on during colonial days, he said.
Cenotaph Road near Anna Deputy CM MK Stalin said traffic
Salai. projects worth Rs 90 crore were
A high level coming up in various locations in the
bridge to replace the city. The Perambur flyover and Loco
causeway on Alandur Works bridge would be completed
Road and a subway at very shortl, he said. He said the
Jones Road in Saidapet first phase of the Adyar Eco-park in an
have been named after late area of 58 acres would be
DMK functionaries inaugurated by the chief minister in
A b r a h a m a n d November 2010. Mayor M
Pavalakannan. The Subramanian said a recent study by
projects, aimed at easing Wilbur Smith Associates had found
the traffic congestion in the that the city fared better than other
busy traffic intersections, were initially estimated at Rs 95 crore, they were metros in traffic management. Electricity minister Arcot N
have cost the exchequer Rs 37.8 crore. While completed then at a cost of Rs 65 crore, thus saving a Veeraswamy, deputy mayor R Sathyabama were among
inaugurating the projects at a function, Karunanidhi huge sum for the exchequer, he said. “We were even others who participated.
recalled his famous midnight arrest by the previous afraid of taking up similar
AIADMK government in 2001, on account of alleged flyover projects in the
irregularities in the construction of nine flyovers during beginning (of the present
Stalin’s tenure as city mayor. In fact, though those projects tenure). However, keeping

Fun Sun and Goa in just 18 hours

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
Reaches t h e
passenge
rs a safe

55000 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
Households our business, for the last three generations.” He says, “Currently
every week 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.

Vol 2 ISSUE 26 December 13.2009
Andal Anugraham
T h e
Ti r u p p a v a i ,
also spelt as
Thiruppavai,
is a collection
of thirty
paasurams or
s t a n z a s
written and
compiled by
Andal. All the
pasurams are
written in
Tamil praising
Lord Tirumal
or Vishnu or
Perumal. It is
considered
as prominent
part in Divya
Pra b a n d h a .
D i v y a
Prabandha is
compiled by
twelve Alvars
o f Ta 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.
Homam at Sri Ram Samaj
A homam to commemorate the forthcoming 'Guru
Peyarchi' which takers place on Dec.15 will be
conducted at the Sri Ram Samaj, West
Mambalam,Tuesday Dec. 15 morning at 7.00 am. All are
welcome.
Hanumath Jayanthi on Dec.16
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
Sri Iyappa Vilakku Pooja
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.
Special girivalam on Dec. 16
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)
December 13,2009
Stars this week
For 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

Free Swayamvaram Traffic changes

Chennai Sai Sankara Matrimonials functioning
at 7 (15/2), 9th Avenue, Ashok Nagar are organizing “Free
from Saturday
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
Special trains to Coimbatore
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.
SRM Hospital
" Free Asthma Camp"
SRM Hospital West mambalam willconducting a
Free Asthama Health Care Camp on Sunday Dec.13
from 9.00am to1.00 pm at the hospital
premises.Dr.A.D.Arumugam and Dr. Anupama Murthy
will be available for consultations. Spirometry testwill be
done free of cost for needy patients.
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.

Commerce Carnival at SSRV

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.

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
 December 13,2009

SRM Students set to Talent hunt at Kalamandir

drive into record books
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.
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. B. Venkataharish
Talking to reporters on the A talent hunt was conducted for the tiny tots of
eve of the flagging off the K.G. Section of Kalamandir Matriculation Hr. Sec School on R. Karthikeyan, 99411 16677
mission, SRM University Dec. 05 to bring out the inherent talents of the kids . The
Chancellor T R tiny tots had come out in colourful attires as fruits
Pachamuthu claimed this vegetables and house hold articles and justified their 4269 7393
was for the first time importance which had taken the audience spellbound.
students were undertaking such a mission This is an annual feature of the school to tap the
with the theme 'Be Human - It's about time', budding talents of the students and develop them in the
to highlight the ill-effects of terrorism, Contact us at
corruption, global warming, pollution and
other social issues haunting the country. First Floor, Sai Abhirami
Mr Pachamuthu said the SRM would bear 72/30, Brindavan Street,
about 50 per cent of the expenditure as part West Mambalam,
of University's gesture to promote sport and Chennai 600 033
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.

Accompanied by Tarun's brother Ashish The assistance of the police and the
Tripathy, Director of Electrode Firm Assel, National Highways Authority of India had
they would be circumnavigating the GQ been sought for this venture.
using a Honda CR V 2.0 gasoline car. adverse
consequences

Sri Shyama Shastry's swarajathi - a primer on Bhairavi

This article attempts
to study Sri Shyama
Shastry's masterpiece
swarajathi beginning with
the lyrics, "Kamakshi
anudinamu.". This
composition is set to
Misra chapu thalam and
has a sedate kala
pramanam or tempo.
This swarajathi is
considered to be one of
the most comprehensive
compositions in the
raagam Bhairavi. 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
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
 December 13,2009
Aruna Sairam sings unity message
at Club Chola Concert
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,
A classy recital by Nityashree
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 listening 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
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
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Kannada 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
Thyagaraja’s “Adigi
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
high 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
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December 13,2009
 December 13,2009
An inspired concert
by T.M.Krishna
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.
Krishna then went on to experiment
“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
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Sangeetham and Bhakthi Sangitham and Bhakthi
The moods of Bhaktha are intricately interwoven with various
Sangeetham is recognized as an Upavedam or Sanchaari Bhaavaas that engage the mind of the
an ancillary to the Vedas. It is one of the four Upavedas NaadhOpaasaka. Late Dr:V.Raghavan summarized these
dealing with Music, Dance and other fine arts. The other moods of a Bhakthan engaged in NaadhOpaasana this way:
Upavedas are Aayurveda (the Scince of Medicine and
Physiology), Dhanurveda (the science of Archery and
Warfare) and Artha Saasthra (Political Economy). 1. Outhsukya or longing for the union with the Lord.
This mood can express itself as
"Samgeetham" means the longing for His constant
that which is sung well. The origin company (Sannidhi
of Sangitam is linked with Saama Saameepyam), Seeing Him and
Vedam. When Sangitam is used receiving His merciful glances
in the worship of God, it is (Darsana soubhAgyam),
recognized as Naadhopaasana Singing about Him (Keertanam),
or the offering of worship through Listenig about His Mahima
Naadham (Sound). Vedam is a (SravaNam), conversing with
Pramaanam recognized as Him (SambhaashaNa) and
Sabdham in Vaidhika darsanams. serving Him (SEvanam and
Upaasana of Sabdha Brahmam Kaimakryam as a Daasan).
can then be considered as the
true Sangitham.Until the ninteen
thirties, the use of music and 2. Nirvedam (Dejection
dance (nava sandhi Koutthuvam and despondency over
or prescribed dances with music separation from the Lord and not
at the nine chosen sites of the receiving His Dayaa). Out of this
Vipralambha Sringhaaram arose
Hindu temple with invocation of
appropriate devathAs) was in the Paasurams sung by Swamy
NammAzhwAr (Paraankusa
vogue and Deva Daasis (servants
of the Lord) performed them. In Naayaki), Thirumangai Azhwaar
Kali Yugam, the importance of (Parakaala Naayaki) and Andal's
Sangitham (Naadhopaasana) is NaacchiyAr Thirumozhi.
highlighted to secure one's path to
Moksham. Naadhopaasana 3. Athma GarahaNa
develops the Bhakthi to SrIman and Naicyaanusandhaana (Self-
Narayana and bringsHim closer depreciation and recounting
to us. one's shortcomings and
unfitness as a servant of the
Lord).
The Importance of Sangitham
in SrI Vaishnavam
Sruthi (" the adjustment of the tone to the tune") 4. Dhainya and DhainyOkthi (Hear rending and
and Laya (rhythm) are the corner stones of Sangitam. plaintive pleadings for becoming the object of the Lord's
Swamy Naatha Muni set the entire dhivya Prabhandham Compassion).
of the twelve Azhwars to music and ThaaLam (rhythm)
and taught it to to his two nephews. Therfore Swamy 5. Amarasha, Rosa RosOkthi (Taking the liberty in
Natha Muni is saluted as “Nal kaathal adiyavarkku, despair to express grievance and remonstrate against the
thaaLam vazhangi, Tamizh MaRayi innisai thantha Lord's heartlessness to come to their rescue).
VaLLal" (The most generous Aachaaryan, who blessed
his two dear sishyaas with ThaaLa Vidhya and the 6. Vitarka (cogitation and consequent development
beautiful tunes to the dhivya Prabhandhams). Through of doubt about Lord's interest to come to their rescue).
that evolved the Arayar sevais at the temples of Lord
Ranganatha at Srirangam , Thirukkuruhur , Melkote, 7. Sraddha /Visvaasa (Development of steady Faith
Srivilliputthur and other dhivya desams.
in the Lord as the unfailing protector and thanking Him for that
RakshaNam in a mood of Mahaa Viswasam, an important
Nava Rasaas(Sentiments) and the seven Svaraas angam of SaraNAgathy).
(scales) of Music
8. Narma (Playful exchanges with the Lord in a
VishNu dharmOttara PurANam sums up the mood of close relationship). This can take the form of Sthuthi
links of nine rasaas, Haasya, Sringaara, Veera, (Praise), PrArTanaa (Prayer), RoshOkthi (protests in playful
Roudhra, Adhbhutha, Kaarunya, Beebhathsa, anger) and Leela VarNanaa (Playful descriptions of the
Bhayaanaka and Saantha with the seven svaraas of leelaas of the Lord as a cowherd etc).
music (Shadjam, Rishabhan, Ghaandhaaram,
Madhyamam, Panchamam, Dhaivatham, Nishaadham) 9. Sva-yOgya-KaTanaa (Letting the Lord know of
this way: the BhakthA's claims and qualifications to stress why the
"Nava rasaa: tathra Haasya-srungaarayO: Lord should prioritize His attention).
Madhyama-Panchamou Veera-roudhra-adhbhuthEshu
Shadja-Panchamou, KaruNO NishAdha-Gaandhaarou
Bheebathsa-BhayaanakhayO: Dhaivatham, SaanthE 10. BHakta Sodhana (Trails and tribulations during
Madhyamam" the spiritual journey).
The Bhajana system of offering worship to the
Supreme Being evoking the different moods of a devotee 11. Maanasa SambhOdhana (Exhortations to the
has been the corner stone of Bhakthi movement BhakthA's mind /Nenju/ Manas to focus on the Lord).
throughout Bharata desam during the fifth to the tenth
centuries and thereafter. 12. Krutaj~nata and MangaLaasAsana (Ezpression
In recent times, Saints TaLapAkkam of Gratitude over the Lord's anugraham and pronouncing
Annamacharya, Purandara Daasa of blessing on the Lord in a deep mood of devotion like
PeriyAzhwAr in His ThiruppallANDu).
Purandaraghaad, Thyagaraja of
ThiruvayaaRu, Ootthukkaadu Venkatasubbaiyer and a Thus mingle Sangitham and Bhakthi in Bhagavath
great many NaadhOpaasakaas have offered their anubhavam of NaadhOpAsakaas.
Naama Kusumaanjalis to SrIman NaarAyana .
In the Navarasa Kannada Krtihi of Saint Thyagaraja
Steadfast devotion to an Ishta Devata (ananya bhakthi to (NInnu vinaa--), we witness the dhriti mood (Contentment
an Ishta dhaivam) ,celebration of that Dhaivam's Rupa and hapiness born out of Bhagavath anubhavam) of a great
(Form), GuNa (auspicious attributes such as Grace, Raama BhakthA: "My ears are full of Raama’s stories. My lips
Dayaa , Kshama , Soulabhyam etc), Svaroopam is a well feel blessed in His Naama sankeerthanam, I see Raama in
trodden path by our Sangitha Pithaamahaas. For whatever I see, even distasteful things become relishable
instance, TaLapaakkam Annamayya focused on Lord and I have secured the fruit in Raama".
Venkatesa of Thirumala, Thyagaraaja had ananya
bhakthi to Lord Raamachandra, Ootthukkaadu Mahan The PunnagavarALi krithi of Saint ThyagrAja sums
and Leela Sukhar enjoyed KrishNa exclusively. up the ideal Sanchaari Bhaavam (mood) of a BhakthA in
whom NaadhOpaasana found its home
 December 13,2009

Carnatic music is the most

complete melodic system
in the world,
feels Chitravina Ravikiran

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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