As you bend the pages, you in music. Janakiraman’s mastery and its functions are ready for a detailed study on its reflection. His scholarship is then appreciated by Lalguri Jayaraman as it appeared in a Tamil magazine. Tea. A pleasant section of Janakiraman’s novels, Marappasu And Mogamul There are pepards throughout the book. M. The article on Konarajapuram Vaidyanath Iyer by Vaidyanthan (1936) has a strong and healthy dose of humor. The encounter between Konirajapuram Vaidyanath Iyer and Fidel Krishna Iyer is an idea. They make another such unknown and piece book Parivadini Christian Malar (Section 1) read an interesting. The book is a compilation of new and published articles.
Legendary composer M. Balamural Krishna, whose separate approach to each aspect of art is exposed in this volume. , Photo Credit: Hindu Archives
Ann Sangeeta Ninivukal S. By Shivkumar, who has also edited this volume, is a music journey in itself. He is about to remind him of well-known and unheard musicians. M. His piece on Balamural Krishna expands the specific approach of the famous singer for every aspect of his art. It also highlights how his personality was unique as his music. This piece also refers to Veena Gayatri and talks about a station master with a passion for Karnataka music. This piece, in a way, is dedicated to every rasika, who goes out of the way to listen to his favorite artists. It is also that the station master’s face departmental action was created.
Shivkumar has paid a rich tribute to Thiruvayaru Chelm Iyer, which is referred to as a encyclopedia on music and musicians, and Kannan, who, who started the tendency to bring out the concert concert guides during the December season.
Madurai Mani Iyer during a concert. , Photo Credit: Hindu Archives
Specially absorbed writing-ups on the music of the wreath mani Iyer, Violin Mestro Thiruvalangadu (afflicted) threw light on the bond between two legends by S Nilakantan, son of Sundarsa Iyer. Along with this, a small but entertaining fraction of Kothamangalam is coming. Thailana Mohanambal In which the writer brings out the grandeur of Mallari in the company of the great Amptateyer by a group of Nagaswararam artists.
remembering the past
In the 1940s, the memories of Tiger Vardhari of musicians aired on Air Tiruchi highlighted an era that shaped Karnataka music and laid the foundation for the future generation. He talks about Thachur Singaracharyar, Veena Nilakanta Shastigal, Mutthayalapai Tyagarayar, Muthuswamy Thevar, Ghatam Devarajan, Govindrajulu, Nagaswaram artists Parthasarathi and his son Narayanasavamayai, the famous river.
That PS Narayanaswamy translated the original Malayalam biography of Swati Tirunal into Tamil, which is a revelation for me. A brief version of the foreword written by Semmangudi Srinivasa Iyer finds a place in this book.
Sujath Vijayaraghavan has a lively memory of the chamber music programs by visiting Carnetic musicians during his Delhi days.
The book also carries an interesting piece on Mysore Vasudevachar. , Photo Credit: Hindu Archives
Another attractive piece is the memory of Mysore Vasudevachar (from the book) Artists I met Kampay was written in the 1950s of Gowda, who learned music with him under Patam Subramania Iyer in Thiruvayaru.
Parivadini founder Lalitharam has written an absorbed piece on Dilruba artist Angamali Jose. An essay of GK Seshagiri (1939) is like a thesis on theatrical scripture.
Famous writer RK Narayanan was also a music lover. Tamil translation of one of his humorous pieces will leave the readers in partitions about participating in a music concert in a Mekshift Pandal. The depiction with the depiction of Gopulu enhances humor.
There are similar articles on Harikatha Vidhan Saraswati Bai, which reflect the social status of that time. Similarly, Nardar Srinivasa Rao’s article has a great picture of the world of dance in the 1940s.
Review of Kallidikkurichi Ramalinga Iyer’s concert review, which appeared Anand Vikatan In May 1934, appeared in a counter review by Inisai at the same concert Manikodi, Herling a music war. Was. J. RA’s article presents some delightful points titled ‘Rights of a Rasika’. A brief version of the conversation between PT. Vishnu Narayan Bhatkhande, a right over Hindustani music, and an authority on Karnataka music, Subbarama Dixit, it is as interesting as it is.
mutual respect
With Harikesanallur Muthiah Bhagavatar -Palghat Mani Iyer helped two young enthusiasts learn mildam. , Photo Credit: Ganesan V
Tesi instrumentar (S. Shivkumar’s name) has brought out the ability of Mimicry artist Thiruvicanalur Vik Usamsamy Shastrigal, which could have performed a vocal concerts program with the vocalization of the sounds of Miridangam, Ghatam, Kanjira and Concol. Teddy instrument has also written how Harikasanallur Muttiah Bhagwatar and Palghat Mani Iyer helped two young enthusiasts learn mridangam. The book includes tribute by Ku Pa Pa Rajagopalan by Muttiah Bhagwatar, and Pudukotai Manchandia Pillai by Mridajam legend Palani Subramania Pillai. Lata Mangeshkar’s letter to ‘Mithun’ Vasan on the music and performance of KB Sunderambal TopicR shows how the artists praised each other’s work.
KB Sunderambal (Center) in a scene of Gemini Vasan Equivalent, Photo Credit: Hindu Archives
SVV’s article ‘Porumai Illa Kalam’ – an era without patience compare the past with the present. Y. Y. in Manipravalam (Sanskrit Tamil). Two articles of Mahalinga Shastri are definitely worth one reading. SG Kasi Iyer’s tribute to her younger brother SG Kitappa, published in 1968, brings out several aspects of the later music journey. Some tightbits fit well in this collection. One such musician’s Prof. Was with Sambamurti, which is on the violin in Thevaram-Thiruvachgam session by Thumijicivanar SA. Sundara Odhuvar. This was at the wedding of the daughter of Marai Malai Adigal, founder of Tamil linguistic purityism.
The second volume of this 224-page collection will be launched soon.
Published – June 06, 2025 03:49 pm IST
