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The
sangeetham.com site carried an item on how the Music Academy plans to be low-profile this year. It is heartening to see that there also appears to be a return to professionalism in the Academy. The first indication was the prompt release of the souvenir which usually makes its appearance only when the festival is half-way through.
Last year we had reported on the plethora of spelling mistakes, errors and other such avoidable gaffes which made the souvenir a pathetic production. This year there are mercifully a lot less, but there are some classic errors in rAga names that could have been avoided.
Some examples:
RagamaLika (in Tamizh with the use of the hard L instead of the soft l) in many pages and page 6 in particular.
Ananda Bhai Ravi on page 19 (quite an Islamic gem that one)
Tiyagarajar and Tyagarajar (in Tamizh) on the same page (9)
DharmAvati instead of Dharmavati (in Tamizh) on page 10
RagamALikaika instead of rAgamAlika (in Tamizh) on page 12
Shankara Bharanam on page 13
Arunachala Nadam on page 14
Tarunam Edamma on page 18
Evari MATTA (in Tamizh) on page 23- This song alone is attributed to Tyagaraja
Swamy.
hEmAvati instead of hEmavati (in Tamizh) on page 28
ShaNmukhapriyAya instead of ShaNmukhapriya (in Tamizh on page 36)
Jganmohini on page 41
nIvEda nEgAna instead of nIvADa nEgAna (in Tamizh on page 47)
Nagaswaravli on page 50
Other gems are no doubt hidden elsewhere. But Madya Mavati needs to be highlighted on a page which has no number (it should be page 53). As the poet Gray said "Full many a gem of the purest ray serene the dark unfathomed caves of the ocean bear."
The articles that accompany the schedule include an interpretation of kanugONTi nI by M K Chubby Raj, a tribute to Gottuvadyam Narayana Iyengar (Dr V V Srivatsa) and Rukmini Devi Arundale (taken from Lakshmi Viswanathan’s article in 'The Hindu') and a brief one by T S Parthasarathy on Royal Patrons of Music.
There are also profiles of the awardees of the year.
Sriram.V
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