music at emory concert series - Arts at Emory

music at emory
concert series
schwartz center for performing arts
Bhavana Raghunandan
artist affiliate, emory world music program
director, emory south indian
classical music ensemble
Ramesh Panchagnula, violin
santosh chandRu, mRidangam
aRavind naRayan, ghatam
fRiday, maRch 1, 2013, 8:00 P.m.
emerson concert hall
schwartz center for performing arts
celebrating ten years h 2003–2013

1. varnam
program
Ragam: saveri (15th mela janyam)
talam: adi
composer: Kotthavaasal Venkatrama iyer
Pallavi: sarasudaa ninne Kori chaalaa marulu Konnadira
O ardent lover! She is extremely tormented because of her longing for you
anupallavi: girini Velayu sree Venkateshaa Karunincha ide samayamu
O venkatesa! You, who dwell on the pinnacle of the hills, please heed that
now is the time to show compassion.
charanam: daanipai nenaruna eevela
Please show affection on the poor being this very instant.
2. ganapathe mahamathe
Ragam: Kalyani
talam: roopakam
composer: muttuswami dikshitar
Pallavi: ganapate mahamate, gowri kumara mam pahi
O revered Ganapathi, son of Parvathi please protect me
anupallavi: animadyastaiswarya prada guruguha pujita vara
charanam: soma suryagni netra ,sadasivananda putra vamadevadi
vaktra, varija gambhira gatra m-Kaala himadrija sudhamoda hiranmaya
pithastitha pamara pandita nuta vara pankajasanadi nuta
3. chittam irangada denayya
Ragam: sahana
talam: misra chapu
composer: papanasan sivan
Pallavi: cittam irangadenayya sendil velayya nin cittam
irangadenayya siriyenidam aru mamukha siridenum nin
Oh wielder of the mighty spear (vElayyA), resident of tiruccendUr (sendil)!
Why is your (nin) heart (cittam) not melting (irangAdEnayyA) even a bit
(siridEnum) at the plight of this insignificant (siriyEniDam), lowly devotee of
yours, Oh lord with six (Aru) mighty (mA) faces
anupallavi: bhaktark-kirangum dina bandhu enrunnai nambi paghal
iravum panindu pddi bhajikkum enpal nin
Why is your (nin) heart (cittam) not melting (irangAdEnayyA) even a bit
(siridEnum) at the plight of this insignificant (siriyEniDam), lowly devotee
of yours, Oh lord with six (Aru) mighty (mA) faces (mukhA)? For, have I
not always believed (nambi) in you (unnai) as (enru) the friend/companion
(bandhu) of the destitute (dIna) who is very compassionate (irangum) towards
his (nin) devotees (bhaktarukku)?
2

charanam: talaiyil malai vizhndalum tanga sanmukhan undenrulagam
ariya undan tiruvadi adaindene malaiyo en vinai undan karunaittuli irundal
vaiyam viyakka ramadasan tannai raksikka nin
I have attained (aDaindEnE) the refuge of your (undan) divine (tiru) feet (aDi)
with the assurance that even if a huge mountain (malai) fell (vizhundAlum) on
top of my head (talaiyil), you, the six-faced one (SaNmukhan), will be there
(uNDu enru) to protect me, who worships (paNindu) and sings (pADi) your
praises (bhajikkum) day (pagal) and night (iravum), by bearing the weight
(tAnga) of my cross, to the acknowledgment (ariya) of the whole world
(ulagam). Even if my cross (vinai) is as huge as a mountain, the universe
(vaiyyam) will be amazed (viyakka) by how (irundAl) a tiny bit (tuLi) of your
(undan) compassion (karuNai) will destroy it, as you protect me (tanai),
rAmadAsan! (So, why is your (nin) heart (cittam) not melting (irangAdEnayyA)
even a bit (siridEnum) at the plight of this insignificant (siriyEniDam), lowly
devotee of yours, Oh lord with six (Aru) mighty (mA) faces (mukhA)
4. Baagaayanayya
Ragam: chandrajyothi
talam: deshaadi
composer: tyagaraja
language: telugu
Pallavi: bagayanayya ni maya lento; brahmakaina koniyada tarama
(bagaya)
Your little miraculous tricks are so amazing, no one, not even Brahma, can
understand and describe and praise them adequately.
anupallavi: ee garadamunu yonarincucunu ne gadanucu balkutayu
(bagaya)
After creating all the maaya (illusion), you then claim you had nothing to do
with them!
charanam: alanadu kauravula nanaca mana yalari dosamanu naruni
juci, papa phalamu niku danaku ledani cakkaga palanamu seya leda?
tyagarajanuta
Once upon a time, when you asked Arjuna, a human, to destroy the
Kauravas, he agonized saying it would be a sin. You, NaaraayaNaa assured
him that the effects of that destruction would not be a sin that would
adversely affect him, and you gave him salvation.
5. marivere dikkevaraiya
Ragam: shanmukhapriya
talam: adi
composer: patnam subramanya iyer
language:
3

Pallavi: marivere dikkevarayya rama maati maatikini telupavalena
besides you, who will save me, Rama, how many times need I tell you?
anupallavi : daridaapu leni naa jaali terci dayacesi broce dora neevu kaada
Aren’t you the one who, being near me, rids me of my troubles, and, with
your grace, protects me
charanam: ninnu caala nammi unnavaadanucu nee chittamunake telisi
undagaa sannutaanga shree venkatesha neevu nannu brovakayunduta
nyayama
You with your great mind, don’t you know those who place implicit trust in
you You, who are praised by all as the great Lord Venkateshwara, is it just
that you do not come to save me?
6. tirupathi venkataramana
talam: aadi
composer: purandara dasa
language: Kannada
Pallavi: tirupati venkataramana ninagyatake baradu karuna
Oh! Venkatesha why don’t you show mercy!
anupallavi: nambide ninnaya carana paripalisa beko karuna
I have believed in you, please bless me and protect me.
charanam 1: alagiriyindalli banda svami anjanagiriyali ninda kolalu
dhvaniyudo canda namma kundalaraya mukunda
Oh! the one who has come from Alagiri and stood on the Anjanadri hills, the
music from your flute is so beautiful Oh! Mukunda
charanam 2: mudala giriyali ninda muddu venkatapati balavanta idilla
ninage shrikanta irelu lokakananta
Oh! the one standing on the Moodala hills you are stronger than any other
god. There is no one comparable to you in this whole world Oh! Sreekantha.
charanam 3: papa vinashini snana hari padodakave pana kopa tapagala
nidhana namma purandara vittalana dhyana
The one who removes all sins just by having a bath in Papavinashini falls,
which is born at your feet, Your thought itself removes our anger and pride
Oh! Purandara Vittala
7. smarane sukamu
Ragam: Janaranajani
talam: deshaadi
composer: tyagaraja
language: telugu
Pallavi: smarane sukhamu rama nama narudai butti nanduku nama
For having been born as a human being, remembrance of name of Lord Sri
Rama only is the true comfort.
4

anupallavi: vara rajayoga nistulau varikanand mandatattu
In the same manner as bliss accrues to those who remain firmly established in
the blessed Raja Yoga, for having been born as a human being, remembrance
of the name of Lord Sri Rama only is the true comfort
charanam: rama nama shravanamu valla nama rupame hrdayamu nindi
prema butta seyaga leda niskama tyagaraju seyu nama
Isn’t it that because of listening to the name of Sri Rama, the very form of
the name, having filled the heart, enabled to generate pure love towards the
Lord? Therefore, for having been born as a human being, remembrance of
the name of Lord Sri Rama, without desires, as done by this Tyagaraja, is the
true comfort.
8. Ragam-tanam-Pallavi:
ragam thanam pallavi is a form of singing in carnatic music that allows the
musicians to improvise to a great extent. it is one of the most complete aspects
of classical music, demonstrating the entire gamut of talents and the depth of
knowledge of the musician. “ragam” in the context refers to ragaalapana—the
first component. in this form of pure melodic improvisation, the musician starts
with a refrain to create the mood of raga and lays a foundation for composition
to follow. thanam is one of the most important forms of improvisation, and
it is integral to ragam thanam pallavi. it is the second component of this
composite form of improvisation. originally developed for the Veena, it consists
of expanding the raga with syllables like tha, nam, thom, aa, nom, and na.
thanam is a rhythmic version of the raga alaapana. although tanam is often
rendered without percussion support, the element of rhythm is more obvious
in this type of improvisation. the pallavi is usually a one-line composition set to
a single cycle of tala. the tala could range from the simple to the complex, and
there may also be different gatis being employed.
pallavi has two portions to it. the first half of pallavi is an ascending piece
of notes and the first half of the pallavi should always end at the strike of the
beginning of the second half of the talam cycle, called the ardhi. between
the first half of the pallavi and the second half of the pallavi, there will be a
brief pause called as the Vishranthi, and then the second portion of the pallavi
starts. executing niraval for a pallavi is unique, as, unlike in a krithi, the artist is
not allowed to change the locations of each syllable in the sahithyam, as this
lessens the innate beauty of the pallavi. the basic style in pallavi rendition is to
sing the pallavi in different speeds or nadai. in most cases the pallavi is set to
chathushtra nadai meaning each beat carries four units. the singer will then
sing the pallavi in three different speeds, once with each beat carrying one
unit, then two units, and then four units per beat. once this is completed,
they would sing the pallavi in a different nadai called tisra nadai, meaning
each beat now carries three units. once these aspects are covered, the singer
explores in the Kalpanaswara phase, and they would start exploring different
ragas during the Kalpanaswara.
5

venkata shaila vihaara vegame Brovaraara
oh the one who dwells on the Venkata mountains please come soon to bless
me
9. entha maathramuna
Ragam: raagamaalikaa
talam: mishra caapu
composer: annamacharya
language: telugu
Pallavi (Ragam: Brindaavani) enta maatramuna evvaru talacina anta
maatrame neevoo anta raantaramu| lencee cooda pindante nippadi
ennaatloo
Oh Venkatapati, your presence and grace depend upon how well a person
thinks about you. When I observe sincerely, it is just like the size and quality
of a pancake depending on the batter.
anupallavi (same raagam) koluturumimu vyshnavuloo koorimito
vishnudanee palukuturoomimu vedaantulu parabrahma vanusu talaturumimu
shaivuloo takina bhaktulanoo shivudanusoo alaripokatuturu kaapaaliku
laadibhyravundanusoo
The Vaishnavas worship you with reverence as Vishnu. The Vedic philosophers
tell that you are the Supreme Conscience. The Saivas believe that you are Siva
and the Kapalikas praise you as Adibhairava.
charanam (Ragam: mayamalavagowla) sarinennuturu
shaakteyuloo shaktiroopu neevanusu, dari- shanamulamimu naalaavidulanu
talapula kolatula bajinturoo sirulu mamane alpa buddhi tala- cina vaariki
alpamba vuduvoo garimala mimune ganamani tala- cina ganabuddhulaku
ganudavoo nee valana korate ledumari neeru korati taamaravoo aa- vala
bhaageerati tari bhaavula aajalame oorina yetloo shree venkatapati nee
vyde danu cekoni vunna daivamani eevalane nee sharana nedunu itiye
paratatvamunaaku itiye paratatvamunaaku itiye paratatvamunaaku,
The Sakteyas consider you as the manifestation of the supreme power Shakti.
People chant your praise in a number of ways. Ignorant people assume that
you are insignificant. The wise recognise your infinite greatness. You are
like the vast water pool to spread the lotus flowers. It is only the water of
Bhagiradhi river that seeps into the wells by her side. Oh Sri Venkatapati, you
are our protector. I surrender at your feet. It is transcendental bliss for me.
10. tillana
Ragam: poorvi rupaka
talam: adi
composer: t. Vaidyanatha bhagavatar
Pallavi: ni ri ni ri ga ma ga ri sa ni ri ga ma dha ma ga ri ma ga ri sa ni
ri ga ma dha ma dha ni ni ma dha dha ga ma dha ma ga ri sa ni anupallavi:
6

ni ri ga ma dha ma dha dha sa ma dha sa ni ri ni dha ma dha sa ni ga ri ni ri
ni dha ni dha ma dha dha ri ri ri ni dha ma dha ma ga ri sa nadhru tanitom
tomdhru tanitom udara nadara tani tani udarana dani tom (3 times)
dhitlam kitatakatom dhitlam kitatakatom dhilam kitatakatom (3 times)
charanam: nisada risabha gandhara madhyama shadja
pancamoddhatanutata svarita prajaya pranavakara nitya niramaya nirmala
nigamanta pratibhava nirupama niravadhi sukhada girisha niradha niranjani
nirguna brahmatri nadhru tanitom tomdhru tanitom
Bhavana raghunandan
bhavana raghunandan is an accomplished carnatic musician and bharta
natyam dancer. she has a master’s degree in carnatic music from the university
of madras. bhavana has performed many duet concerts through the years in
india with lakshmi Varun and solo voice concerts througout the united states.
bhavana began her studies with her mother, padmamalini raghunandan,
and continued her musical journey with Koviladi mahwaprasad and anoor
ananthakrishna sharma, and she is now under the guidance of renowned
musican chitraveena ravikiran. bhavana is a graded artist of all india radio
and is titled “ramanuja paaduka sevaka” for her contribution in the field
of carnatic music from his holiness sri ramanuja acharyar of mudaliandan
ashram. bhavana holds a guiness record for participating in the lakshagala
sankeertanaarchana, which was considered the largest choir group. bhavana
was trained in bharata natyam under malini ravikshankar and anuradha
Vikranth.
bhavana is cofounder of Kalavardhini india, an institution of fine arts in
india. she provides vocal support to bharta natyam and Kuchipudi programs
and arangetrams. bhavana’s main objectives are to learn, train, and contribute
to the beautiful world of carnatic music and dance by giving vocal concerts
and bharatanatyam programs. she also plays violin and veena.
bhavana has given guest lectures at emory, she serves as its artist affiliate
teaching carnatic music, and she is the director of the emory south indian
classical music ensemble. bhavana teaches vocal music and bharta natyam at
Kalaivani and also instructs music lessons over skype.
ramesh panchagnula, violin
ramesh panchagnula is a disciple of renowned vocalist and violinist Vidwan
late sri neti srirama sarma garu of hyderabad, who is a direct disciple of
the legendary sri parupalli ramakrishnayya pantulu of Vijayawada. ramesh has
been trained in the carnatic classical style of music for more than fifteen years.
after moving to the united states, he continued learning from shivkumar
Kalyanaraman at rensselaer polytechnic institute (rpi) in troy, new york.
7

amesh has accompanied several visiting artists in the united states, and he
has also given solo violin concerts in india. he was an auditioned violinist at the
all india radio, hyderabad, and was a regular live performer in the instrumental
carnatic music concert series. he has accompanied several Kuchipudi dance
ballets by smt. sasikala penumarthi and smt. revathi Komanduri. he also
performed lead melody in thala vaadya kutcheris (percussion ensembles)
conducted by guru sri. t. s. nandakumar. ramesh has been an invited
performing artist with the emory south indian classical music ensemble for the
past several years and also directed the ensemble for two years.
ramesh has a master’s degree in electrical engineering from rpi. he works
as senior video engineer for arris group inc. in atlanta.
santosh chandru, mridangam
one of the foremost disciples of guru sri t. s. nandakumar, santosh chandru
has been playing the mridangam since age eleven. he has been accompanying
various leading artists in the fields of both dance and music for many years, and
he is a graded artist of the all india radio.
santosh has been a part of numerous thaala Vaadya Katcheris (rhythm
ensembles) along with his guru, including performances at the prestigious
cleveland thyagaraja aradhana festival. he has also been a part of lecture
demonstrations by his guru at various universities in the united states. he is a
regular accompanist for padma bhushan dr. K. J. yesudas during his classical
concerts in the united states. he has accompanied various other prominent
artists such as mahanadhi shobana, sankaran namboothiri, and flute V. K.
raman to name a few. santosh has also accompanied senior disciples of artists
such as palghat sri K. V. narayanaswamy, prof t. r. subramaniam, and sri
neyveli santhanagopalan. he has had the opportunity to work with leading
artists such as tiruvarur bhaktavatsalam, embar Kannan, flute g. s. rajan, and
b. u. ganesh prasad, among others.
santosh has provided able mridangam support for many classical dance
forms like bharatanatyam, Kuchipudi, and mohiniattam. he has been part
of dance ballets such as ramayana, shiva shakti, and dashavatharam, and
special dance projects such as panchabhootam in atlanta and festival of india
at carnegie hall, new york.
santosh has been an invited performing artist for many of emory’s world
music ensembles. he teaches mridangam in atlanta and has nurtured many
students, some of whom have started accompanying for concerts.
academically, santosh has double master’s degrees in chemical engineering
and environmental engineering, and he works for an environmental consulting
group in atlanta.
8

aravind narayan, ghatam
arvind narayan is a first-year student at the georgia institute of technology
studying mechanical engineering and discrete mathematics. he has been
learning mridangam since he was eight years old. arvind started under subra
Vishwanathan. he later took lessons from guruswamy. he currently studies
with santosh chandru, with whom he has been for five years.
arvind is a regular performer at several local concerts and events. he has
accompanied artists at multiple venues, including the 2009 fetna program,
the camaga composer’s day program, and the nashville aradhana. in the
2011 cleveland aradhana, arvind performed in a tala Vadyam (percussion
ensemble) along with santosh and santosh’s guru t. s. nandakumar.
arvind is also part of a fusion music group at georgia tech called pb&J. the
group blends music from indian classical, bollywood, and western styles, and
they have performed at the 2012 diwali dinner event, as well as at the 2013
international harmony event. pb&J will also hold its own concert in april.
arvind hopes to continue playing mridangam through college and in the
future. he would like to teach when he is older to spread his art.
arts at emory box office/audience information
404.727.5050 • arts.emory.edu
in consideRation foR otheR members of the audience, please turn off all pagers and phones.
photographs and recordings may not be made during a performance without advance permission.
the cough dRoPs in the lobby are courtesy of margery and robert mcKay.
usheRs aRe memBeRs of music at emory Volunteers and alpha phi omega, a national service and
social fraternity. call 404.727.6640 for information about ushering.
fRequently uPdated event and program information available online at arts.emory.edu.
facebook.com/emoryarts
twitter.com/emoryarts
9