“An easy to use reference book for concert, music class and and home” [about the first edition] – Indian Express, Chennai, 29 August 1986
“A neat compilation … ragas mainly used on concert platforms … highly useful as a reference book for listeners in concerts and to students for use in the classroom. …” [about the first edition] – The Hindu, Chennai, 23 December 1986
“Students of music, as well as music lovers in general, will find this a very useful reference book. Neatly printed and attractively produced.” – Sruti Magazine, The Indian Classical Music and Dance Magazine, Chennai, January 1994
“Unique Directory of Ragas … For 15 years he [Ludwig Pesch] studied with the late Ramachandra Sastri (1906-1992) … Pesch not only became a performing artiste on the Karnatic flute but had access to his mentor’s research material. He received many scholarships and put them to good use for enlarging the horizon of Karnatic music by research, documentation and publications … His [is an] ingenious and logically consistent scheme for identifying ragas by an alpha-numerical method … almost encyclopedic in its scope … contains 500 north and south Indian ragas … the Hindustani svaras and their Western equivalents have been given and the scales shown in staff notation … The glossary, with all terms and names cross-referred, is an illuminating compilation … which every lover of music should welcome with gratitude.” – T.S. Parthasarathy, Journal of the Music Academy Madras, Vol. LXV, 1994
“No library of books on Indian music would be complete without Ludwig Pesch’s Raga Dhana (published by Natana Kairali) and Illustrated Companion to South Indian Music (Oxford University Press). They are among the most widely consulted books on Indian music in English. Pesch’s writing is highly regarded for its accurate scholarship. At the same time he takes pains to write in a style that does not intimidate the lay reader.” – S.R. Ramakrishna, themusicmagazine.com, Bangalore, July 2003
The art of vocalization of rhythmic patterns (Konnakkol) … and its importance as a memory aid and a teaching requisite have been duly highlighted … easy to comprehend. … useful for familiarisation with the various rhythmic embellishments used in percussion solo … excellent and free from errors.
The guide to pronunciation is easy to follow. The efforts of the authors to make the techniques of South Indian classical percussion more approachable certainly merit appreciation … will kindle the interest of those who want to know more about the nuances of percussion. – THE HINDU (Book Supplement, 17 December 1996)
Madras is one of the most musical cities in the world, where thousands of concerts of South Indian classical music every year. Most Madras musicians begin their training in the nurturing environment of the home. In this series, several top musicians are seen in family settings as they teach their children and students, discuss their views of Karnatak music and its spiritual dimensions, and demonstrate elements of this unique devotional classical tradition.
Volume 1: T.N. Krishnan (violinist)
VOLUME I follows a day in the life of world-famous violinist T.N. Krishnan, beginning in the private space of his home where he teaches his two remarkable children, Viji, age 14, and Sriram, age 8, both now acclaimed violinists. He then delivers an elegant and charming demonstration of Ragam-Tanam-Pallavi, and guides us through his photo album. After interviews with Viji and Sriram, we enter public space to take a drive through the sights of Madras with TNK’s narration. We then arrive at Shastri Hall, where he performs a public concert, with his daughter Viji and the century’s greatest mrdangam drummer, the legendary Palghat Mani Iyer (1915-1981).
Volume IV: South Indian Classical Music House Concert with M. D. RAMANATHAN (vocalist), T.N. Krishnan (violin) and Umayalpuram Sivaraman (mridangam)
Manjapara Devesa Ramanathan (1923-1984), the disciple of “Tiger” Varadachariar, was a gifted vocalist and composer remembered for his uniquely creative, sensitive, and unpredictable style. “MDR” was awarded the Padma Sri by the Government of India in 1974 and the Sangit Natak Akademi Award in 1975.
VOLUME IVManjapara Devesa Ramanathan appears in rare video footage recorded by Fredric Lieberman and Amy Catlin in 1977. He presents with consummate artistry a one-hour concert of carefully selected gems covering a wide range of materials in Telugu and Sanskrit by the greatest classical Karnatak composers.Completing the trio are the esteemed accompanists Padma Bhushan T. N. Krishnan, violin, and Padma Sri Umayalpuram Sivaraman, mridangam.
Amy Catlin-Jairazbhoy’s research, writing, teaching, curatorial activities, and multi-media publications often have an applied focus, aimed at community development of minority traditions, especially in diasporic settings. She served as curator and presented the first concert and lecture tour outside India with a group of African-Indian Sidi performers from Gujarat, in September 2002, traveling with them in England and Wales. Her recent publications include Sidi Sufis: African Indian Mystics of Gujarat(Aspara Media 2002: 79-minute CD), the volume co-edited with Indian Ocean historian Edward Alpers, Sidis and Scholars: Essays on African Indians (New Delhi: Rainbow Publications and New Jersey: Africa World Press, 2003) and the DVD, The Sidi Malunga Project (2004). Funding for her research has come from such agencies as NEA, NEH, the Wenner-Gren Foundation for Anthropological Research, the American Philosophical Society, Fulbright, the Indo-US Subcommission, and the American Institute of Indian Studies.
Her most recent publication is the DVD, Music for a Goddess, a continuing applied ethnomusicology project concerning Dalit (formerly known as Untouchable) Devidasis (women musicians dedicated to the Goddess) of the Deccan (India’s central plateau, where the most severe rural poverty reigns in many regions).
Mridangam maestro Trichy Sankaran – Photo: courtesy The Hindu
The Hindu, 31 Dec. 2011
Tiruvarur to Texas, Carnatic musicians have transcended global cultures, echoing the seven notes to the West. Trichy Sankaran,to be honoured with the Sangita Kalanidhi today, summarises Carnatic music’s history in America in a chat with critic Veejay Sai
While everyone is aware of how Hindustani music became popular in the West, especially America, with maestros like Pandit Ravi Shankar and Ustad Ali Akbar Khan’s early overseas concert tours, how and when was Carnatic music an active part of the American culture? “It was Tanjore Viswanathan, the brother of Bharatanatyam legend Balasaraswati, who went on a Fulbright fellowship in 1958 to study Ethnomusicology at the University of California, Los Angeles. Veena Balachander went in 1962 with Umayalpuram Sivaraman (mridangam) and Vellore Ramabhadran (kanjira, for this tour),” says mridangam maestro Trichy Sankaran. Balachander and flautist Ramani along with the aforementioned percussionists ideated a project called ‘Sangeetam Madras’ and extensively toured North America. By 1963, mridangam vidwan Palghat Raghu travelled as a member of Ravi Shankar’s ensemble. By then a slow process of institutional interest seeped in amongst the American academia. “It was ethnomusicologist Robert Brown of Wesleyan University who showed great interest in bringing Carnatic music to America. He was a student of T. Ranganathan, the other brother (and a senior student of my guru Palani Subramnia Pillai) of Balasaraswati They were invited as artistes in residence at Wesleyan University and that was the first ever such occasion for Carnatic musicians to go there,” adds Sankaran, in fond remembrance of his guru-bhai. Brown’s interest in Indian music grew from strength to strength and he would think up newer methods of spreading it to American music lovers. “Bob, as we called Robert, started an experimental project called ‘Curry Concerts’ which he would organise. These were a combination of a sumptuous Indian dinner followed by a concert and gained popularity in no time. He was one of the few ethnomusicologists who believed that the study of the art is important with its performing element. He put an emphasis on the performing artistes as well,” recollects Sankaran.
Brown later invited several other musicians like K.V. Narayanaswamy (KVN) and Palghat Raghu to Wesleyan. KVN, as an artiste in residency at the university, went on a coast-to-coast concert tour along with Ravi Shankar and Ali Akbar Khan and earned fame at the Hollywood Bowl music festival by 1967. Several vidwans left for American shores to take part in festivals like the Monterey pop festival and Woodstock festival. “Brown went ahead to invite Ramnad Krishnan and Ramnad Raghavan. But Krishnan didn’t stay around for too long as he was very homesick and wanted to return to his family in India. But while in America, he was recorded by a music company with T. Thyagarajan (violin) and T. Ranganathan (mridangam),” says Sankaran, with a chuckle in his voice. “The Western students were also not acquainted with our Indian manners. I had an initial culture shock with students addressing me with a “Hey”, but I slowly got used to it and we taught them Indian manners! Here, we were used to people calling us ‘sir”, “vidwan”, and so on. Ramnad Krishnan was in disbelief when students would walk up to him asking, “Hey Krishna, when is my next lesson man?” and he wasn’t used to being addressed in such a tone!” laughs Sankaran heartily, recollecting how many musicians took the effort to culture Western audiences to guru-shishya traditions. […]
Today, Carnatic musicians rub shoulders with world music greats and collaborate with music practitioners from every other genre. The seductive swaras have showed their triumph once again, reminding how great the power of Indian music is.