Sanjay Subrahmanyan presents a fascinating story about carnatic music in a simple way

Sanjay subrahmanyam note on music…Read more…

Friday, 23rd July 2021

 It lurks in every event that Sanjay Subrahmanyan narrates and in every note that he sings, but it has never been explained in detail.

What is the value of the story? Why is Kathakalakshepam, telling famous stories, popular with adults who have heard stories many times? Why do the Conservatory of Music "annual conferences" have so many gatherings - each year that includes at least one musician's centennial celebration - with biographies of saints and little Kathakalakshepams without disguise?

Stories bring the community together; By counting and listening to them, the community celebrates their identity in ways that could not be achieved otherwise. History constitutes the worldview of a community, providing metaphors for truth and beauty, evil and good, destiny and ambition, ambition and struggle, success and failure.

Also Read: How Hindi can help build a bridge to Manipur's language and culture

This is the story provided by Sanjay Subrahmanyan in an ongoing short film series titled On that Note. By extracting notes from the musical fragments you play, you share notes - your memories of musical life. Share music and stories in an informal way that is both relaxing and engaging. The concept is original and the presentation is elegant, which is the credit that Sanjay shared with the writer Bhagavi Mani and his team.

 Its direct value as a story is important and obvious, but its value as a Carnatic music document is equally important because it has entered and been enriched by a talented musician. Sanjay must know this very well, but he uses it very lightly. What is the joy of ethnographers? The socio-cultural history explored in this series is not deliberately projected. It lurks in everything he narrates and every note he sings, but it has never been explained.

Is like your opinion on Begada. "I don't have a favorite raga, but if you look at how many raga I've sung at concerts, Begada will win." Coincidentally, through reminiscences of conversations with his guru Calcutta Krishnamurthy, he spoke about his experience of the Tiger Varadachariar lineage. to Patnam Subramania Iyer, and his deep contact with raga. Chapter

What Do You Mean? Do we have other examples of this? How would it feel to just sing these ragas for a few months? When we define raga as a musical scale with specific characteristics and rules about phrases and notes, does this imply this possibility? This is where this story could stimulate young students, artists, and researchers.

According to Charukesi's notes, it begins with a work in Kannada about the goddess Saraswati that is rarely heard, and then enters a story that reveals another aspect of the world of karnatic music: it is a rich repertoire composed in the four languages ??of south, but in kannada and malayalam. they lag behind in terms of concert performance. As a performer, when the audience comes forward to express their discontent and you don't include "even a song" in their language, how should you react? Should he "feel like a fool" as Sanjay said? Why do listeners need to listen to music in a familiar language? What does this say about the status of Carnatic music as "classical music"? About music as a "universal language"?

Kuntalavarali (Kuntalavarali) recent episode shows other aspects of the Carnatic music world. We have a grandfather of an amateur musician from Carnatic, a well-known critic who offered compliments that may be ambiguous, and an experienced violinist who shared his struggles with innovation while lamenting the pioneers of GNB The continued opposition, everyone is rubbing their shoulders and telling stories. .

 The News Talkie Bureau

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