Musical Instruments in Divinity – The Venu, supported by the Ministry of Culture, Govt of India. By, Dr M Lalitha, Senior Violinist, Musician and Fulbright Fellow

Musical Instruments in Divinity – The Venu, supported by the Ministry of Culture, Govt of India.
By,
Dr M Lalitha, Senior Violinist, Musician and Fulbright Fellow,

I am presenting a short gist of my presentation on Venu.

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Flute is one of the oldest musical instruments of India, which is a key-less transverse flute made of bamboo.

The Topics covered were Flute and Divinity where the venu is associated with the Hindu god Krishna who is often depicted playing the instrument.

Little known is that, in Tirumurugatrupadai by Nakkirar there is a reference to Lord Muruga playing the Flute.

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History and Evolution of Flute was dealt with. At least 35,000 years ago, in the depths of the last ice age, archaeologists discovered a bone flute and two fragments of ivory flutes in southwestern Germany.

The earliest written reference to a flute is from a Sumerian -language Cuneiform tablet dated to c. 2600–2700 BCE.

References in Bible are seen. In the Judeo-Christian tradition Jubal is regarded as the inventor of the flute.

Vedic literature refers to various types of musical instruments Venu (flute), Tunav (like a war trumpet Tutaari), Naali (metal flute), Bakur (two piped flute), Karadhuni (conch attached to flute).

The most popular wind instrument during the Sangam period happens to be the Flute. Perumpannarruppatai describes the process of making the flute while in Paripaadal songs nos 6, 7, 10′,11, 12, and 22 mentions dance accompanied by vocal and instrumental music like Yazh, flute and Mulavu.

In Aichiyarkuravai in Silappadhikararn, there is a description of Lord Krishna playing a Cassia or Konrai flute.

Types of Flutes were discussed. References from Slokas were given from Minakshi Pancharatnam, Sri Jaganathastakam. Flute finds mention in the Divyaprabhandam and Panniru Tirumurai.

A note about the Musical gods with Flute in the different global religious traditions like Kokopalli from the Native American cultures in the SW United States, Gods from Yoruba, Roman and Greek traditions were made.

In Sanjusangendo temple in Kyoto, 1164, the main deity of the temple is Sahasrabhuja arya Avalolitesvara or the Thousand Armed Kannon where 1001 statues of Kannon are lined up in rows and in front of all the Kannon statues are 28 statues of the Guardians of the Buddha where one of them has got a beak, and playing the flute.
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Flutes in Global Cultures – Myths/ Stories was part of this presentation where throughout New Guinea and three Central Brazilian cultures, (Mundurucus, Kalapalo, and Kamayura), the flute is endowed with very special powers and meaning. Flutes are sacred to each region and are stored in the men’s homes and females are forbidden to see or play them. Flutes are also blown by the Vanimo people before fights.

Compositions by various composers were dealt with elaborately – Saint Tyagarajas Ganamurthe, Renukadevi in Kannadabangala of Sri Muthuswamy Dikshitar and others.

In Periya Puranam that give the history of 63 nayanmars talks about Anayar a cowherd who played Namasivaya the panchakshara mantra on flute and Lord Shiva descended down to give him Moksha.

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Flutes in Sculptures, Fresco and Flutes in Global music tradition was also dealt with like the Contrabass, Chinese Flutes Dizi, Japaneses Fue, flutes from Madagascar and Eastern Armenia.

Newa Music, or Newar Music, having its roots in Hindu and Buddhist music is the traditional music developed in Nepal by the Newars gives reference to the musical instrument Bansuri which is used there.

A note about the temples of Sri Krishna with flutes were also part of the presentation.

Flutes in temple music – There is a reference that during 1559 AD, Naayinan Azhagan Ayyakutti was employed to play the Flute for the Tri kala puja in the Tirupandri Baaghathu Mahadevan Temple.

Audio and Video clippings was presented and Kritis like Renukadevi in the Raga Kannadabangala of Muthuswamy Dikshitar, Sri Parthasaratina in Suddha Dhanyasi of Sri Muthuswamy Dikshitar etc were sung by Dr M Lalitha and M Nandini.

our concert review and interview for the Hindu

It’s all in the genes
V. BALASUBRAMANIAN

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Sumptous treat: M. Lalitha and M. Nandini. Photo: Ram Keshav

Meet sisters M. Lalitha and M. Nandini, who are on a mission to turn Carnatic music into a global art…

M. Lalitha and M. Nandini were in the midst of rehearsals for their concert when I met them.

Surprised, I asked, “considering your experience in music, do you really need such rigorous practice.” “Irrespective of the stage we play on,

this is a must and till date we have never gone on stage without a good practice session,” the siblings replied spontaneously.

Growing up in a family of internationally–known violinists, it is but natural that the sisters took to violin at a very young age. Their maternal uncles, L.Vaidyanathan, L.Shankar and L.Subramaniam, were the toast of rasikas as the violin trio in Carnatic music during the 1970s.

Ubiquitous on stage during the trio’s concert was their grandfather and guru, V.Lakshminarayana, a violin vidwan of great repute, who watched his sons display their skills.

“It used to be interesting to watch our mother Subbulakshmi Muthuswamy, also a student of our grandfather, join her brothers in concerts. Grandfather, a strict disciplinarian, insisted on daily practice irrespective of concerts. No wonder our uncles grew to be men of stature in music, the world over,” began Lalitha and continued, “I learnt from my mother that my training in violin started when I was about 3. Lessons were first from my grandfather and mother. At times, our uncles would take the classes. ” The case was the same with Nandini, the younger of the two.

Academic route

M. Lalitha has earned her doctorate for her thesis on “a comparative study of violin techniques in Western and South Indian classical music” from the University of Madras. The sisters possess the highest grade in Western violin, both in theory and practical, from Trinity College of Music, London.

Lalitha was awarded the Fulbright Fellowship in Performing Arts that helped her foray into studies on various forms of music at the University of Pittsburg with focus on “Composition writing for Fusion music,” under the able guidance of Professor Akin Euba considered to be the father of Avant Garde music. She has also been visiting University of Iowa for lecture programmes and teaching of Carnatic music under the Fulbright Nehru lecture fellowship.

The Charles Wallace India Trust (CWIT) Fellowship helped Nandini with a Masters in Ethnomusicology from the University of London. Her accomplishments at a very young age look impressive. “I joined the the School of Oriental and African Studies (SOAS), London, where I had the opportunity to collaborate with Middle East and Chinese ensembles. I have the unique privilege of introducing and teaching Carnatic music at SOAS to students from all over the world”. Nandini was also the first educational director and conductor of the United Kingdom Youth Orchestra for Indian Music. She helped in setting up a music college in Mauritius and headed it too for some time being responsible for planning the curriculum and syllabi for Carnatic music.

The sisters learnt the grammar of world and fusion music from their uncles, which they felt has benefited them in collaborative concerts around the globe. It was only during the last season, their uncle, L.Shankar, returned to India to play concerts with his nieces.

L. Shankar trains them on difficult pallavis set in complicated talas, whenever he is in India, and advises them on the latest developments in fusion and world music. “In that way we remain contemporary,” said Lalitha.

“After our forays into various genres of music and music systems, we strongly feel that Carnatic music is the root of all systems of music. Our mission is to take it to every part of the world, share its beauty and make it a global art,” a smiling Nandini pointed out. Her elder sister nodded in agreement. Their father Muthuswamy has been a pillar of support in their musical endeavour. The sisters were featured in a music summit titled, ‘Vithala Vithala,’ organised by SMP Sankirtan at

Narada Gana Sabha over the past week end. Going with the theme, ‘Musical Bliss and Bhakthi Varsha,’ the duo’s careful selections were befitting the occasion.

Nandini presented the pentatonic raga Suddha Dhanyasi. It was on pure Carnatic mode.

The delineation was sans any western-oriented phrasings. Dikshitar’s ‘Sri Parthasarathi’ with swara exchanges was of the same tenor. ‘Raghuvamsudha’ (Kadanakuthoohalam) at a breathtaking speed was blemishless in terms of maintaining the tempo throughout. Lalitha’s alapana of Lalitha Ragam (‘Hiranmayeem’ -Dikshitar) was soul stirring.

Her mannerisms on stage kept reminding one of her late uncle and music director, L.Vaidyanathan. Nandini chose Reetigowlai (‘Guruvayurappanay appan’) for her raga essay It was tranquility, with her unhurried, laidback style. A mention must be made of the way she enhanced its intrinsic beauty with a meaningful approach.

Nandini continued in the same mood for her detailed sketch of Kalyani that followed next. It was a sumptuous treat with creative intuition coming to the fore. Nandini’s poise, in general, reminded one of her uncle, L. Subramaniam. The duo played ‘Pankaja Lochana’ ( Swati Tirunal- Mishra Chapu) bringing out its magnificence. A lively exchange of swaras lead to the tani by Sridharan Shankaran (mridangam), G. Ravichandran (ghatam) and Mayavaram Venkatramani (ganjira and konakkol).
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Uncle’s pearls

“I was getting ready for my University exams and my uncle, L.Vaidyanathan, whom I had requested to teach me, was there at our house punctually on the dot at 5 a.m.in the morning,” said Lalitha. “I wanted Anandabhairavi but he said, ‘I am not in the mood for that raga but let me try.’ Then he taught us for about 45 minutes. The next day he was back and asked us to sit for class. He went on for nearly 90 minutes, teaching us the nuances of that raga. “How come this change?,” I asked him. “Since yesterday, I have been pondering over the beauty of this raga and researched into it and I have come to give you the pearls.” To date, that session remains clearly etched in both of our memories.

http://www.thehindu.com/features/friday-review/music/its-all-in-the-genes/article6036868.ece