Bharatiya Samskriti Darshana – 11

The program Bharatiya Samskriti Darshana – 11 a Series of lecture demonstrations on the Origin and Development of Indian Culture through ages was conducted on Saturday, 2nd May 2015 at the center premises. It was a very unique and informative program by the veteran Gamaki Vidushi Gangamma Keshavamurthy who was accompanied by Vidushi Sunanda Gururaj for vyaakhyana.

The topic for the day was Raama dhaaanya charitre of Saint Kanakadasa a work on class struggle highlighting the conflict between the strong and weaker castes and the rich and poor class. The story unfolds with an argument between two food grains- Rice representing the rich and Ragi symbolizing the economically weaker section. The two grains appeal before Lord Rama and plead for justice. Kanakadasa, in a very creative manner sends a powerful social message as an attempt to reform society.

The topic for the day was Raama dhaaanya charitre of Saint Kanakadasa a work on class struggle highlighting the conflict between the strong and weaker castes and the rich and poor class. The story unfolds with an argument between two food grains- Rice representing the rich and Ragi symbolizing the economically weaker section. The two grains appeal before Lord Rama and plead for justice. Kanakadasa, in a very creative manner sends a powerful social message as an attempt to reform society.

It was well conducted by Karnataka
Kalashree vidushi Gangamma Keshavamurthy, the chairperson of Karnataka Sangeeta
Nritya Academy who is an expert in Gamaka with fluency in both Vaachana
(singing) and Vyaakhyana (narration). She selected few poems and sang them in
pure classical style, which were tuned by her.

The raga was very carefully incorporated
so as to have a effective bhaava. It was a perfect blend of the sahitya, raga,
rasa and bhaava. With her rich and sonorous voice, Gangamma touched the hearts
of the listeners present there. With a credit of performing around 1,000 Gamaka
concerts her dream is to propagate Gamaka in schools, colleges and every home
in Karnataka which she will definitely achieve. Many are the honors and awards
bestowed upon her and many more are yet to come.

Vidushi Sunanda Gururaj who accompanied Gangamma on Vyaakhyana, is a great scholar in Kannada and a good orator. Her narration to every poem was excellent and the duo mesmerized the audience with their scholarship. Students, Artists of different fields and connoisseurs were present. Harikatha vidwan Lakshmandas Velankar, Nritya Guru B K Vasantalakshmi, musician Dr Uma Gopalaswamy were some of the experts attended.

Bharatiya Samskriti Darshana 9

Bharatiya Samskriti Darshana – 9 a Series of lecture
demonstrations on the Origin and Development of Indian Culture through ages-

The ninth program in the series was a
lecture demonstration on - Unknown Compositions and Composers of
Karnatak Music with Special Reference to Tallapaka Composers of 15th -16th CE

This scholarly demonstration was
presented by Dr Veturi Anandamurthy a Telugu Scholar,
Researcher, Author and Music Archaeologist accompanied by Vidushi Yoga
 on vocal on Saturday, 22nd November 2014 at 4 PM in the
premises of Vanamala Center for Art and Culture.

Dr.Veturi Ananda Murthy whose
doctoral research was on the life and works of Annamayya has dedicated himself
in bringing to light many unknown and rare compositions of Tallapaka poets,
Bhadrachala Ramadasa and many more. Prof. Murthy served as the Head of Telugu
Department, Osmania University Hyderabad.

One of his most enduring achievements has been deciphering the TIRUMALA MUSIC
INSCRIPTION of Tallapaka Annamacharya which dates back to 15th Century. Through
his efforts it is now established that this stone parchment is the first
historical evidence of lyrics with notated music. Bhasha Samman National Award,
Sri Krishnadevaraya Puraskaram, Sri Ramanavami Pratibha Puraskaram are a few
among the many awards he has received.

The lec dem was attended by Scholars, researchers and noted personalities. Yoga Keertana presented few less known compositions of Tallapakam composers. The lecture by Dr Veturi opened up a new vista about the less known Tallapakam composers which made everyone attended to participate in the interaction session.

Bharatiya Samskriti Darshana 7

Birds of India by Sri Vijay Cavale
Vanamala Center for Art and Culture had organized a wonderful Audio Visual
program on Birds of India by an ace photographer Sri Vijay Cavale on 31st May

Cavale’s program was unique in two
ways. He first presented plenty of beautiful birds, which are surprisingly
found in and around our houses. His slide show was accompanied by the call of
the birds, which is not only rare but also difficult to record. But Vijay being
an expert in birds and also photography, was able to capture wonderful pictures
of birds along with their voices.

Apart from birds around house hold,
he presented some exotic birds in remote corners of India.

His slides on human exploitation of
birds in China were heart rending. It showed how humans snatch food from birds
by tying a band around its neck to prevent them swallowing the fish.

The show was concluded with a
wonderful clipping of Monarch Butterfly’s migration, for thousands of miles.
The amazing feature of these butterflies is that the fourth generation of
butterflies return to the point of origin.

Vijay Cavale’s presentation was not only interesting but also educative. The enormous work done by him shows his perseverance, enthusiasm and great interest in nature photography.

Bharatiya Samskriti Darshana 6 - Ranga Geethegalu

The programme for March 2014 at
Vanamala Centre for Art and Culture was a special one- “Rangageete” by Vidwan
Paramashivan. It was quite amazing that even at the ripe age of 84, he stood up
and sang for the entire duration of the programme- that is nearly three hours!
Another point to be noted was that he sang all the rangageetes from memory,
without having to refer to the lyrics at any time- he said he knows 1200 of
them by rote! Describing rangageete as “Panchamrutha”- a blend of Carnatic,
Hindustani, Marathi, Folk and Western genres of music, he commenced his lecture
demonstration with a brief narrative of his life and experiences.

Male singers used to sing at a very high pitch, thus enabling the blending of emotions (bhaava milana) with female singers. Rangageetes in those days were mostly based on ragas in Carnatic music- not just the popular and easy ones, but tough, proficiency-level ragas such as Devagandhari and Athana. Every aspiring rangageete artist had to commence his career by learning and performing “koti haaDu”, which was rife with naDe bheda and challenging grahas (place of commencement of the song with respect to the rhythmic cycle).

The veteran then embarked on a medley
of skillfully and soulfully rendered rangageetes, demonstrating the vast
variety of music in this genre. Some of the rangageetes performed were Baa siri
lOla (Kalyani raga, Adi tALa, Akroora says this to Krishna), Enna siriyE
(Abhogi, Adi, KaNNappa nATaka- this used to be sung by the yesteryear film
stalwart Dr. Rajkumar), Ninnolu dayAnvite yaaramma (another song sung by Dr.
Raj addressed to “mother” in the nATaka “SAhukAra”). One of the rangageetes he
presented, Raamanentha cheluvane ammayya in the raga tODi, was almost like a
pallavi (one of the crowning glories of Carnatic music with rhythmic
intricacies and creativity) with changing grahas of kaaleduppu and
mukkaaleduppu! He also demonstrated a few songs tuned along the lines of
Carnatic compositions- kritis, javalis, padams. Later, he demonstrated
rangageetes based on Hindustani compositions, Abhangs, folk tunes and western
Vid. Paramashivan was ably accompanied by Vid. Srinivas on the harmonium and
Pandit. Narendra on the tabla. A very soul-satisfying performance and one that
everyone would look forward to witnessing again! Vid. Paramashivan has brought
out a book containing nearly 2500 rangageetes and a CD containing his rendition
of 1200 of these. The book and CD are available with the stalwart.

Bharatiya Samskriti Darshana 5 - Navagraha Kritis of Sri Muthuswami Dikshithar Sowmya Sanak Kumar Athreya and Sanak Kumar Athreya

Sowmya Sanak Kumar is one of the founding trustees of Svarakshema Foundation (Regd) and is conducting Research on Music Therapy. Sowmya being a science graduate did her Masters in Micro biology and later went on to pursue her Masters in Music with a distinction from Jain University. She learnt music from Vidwan Sri N Subramanya Sharma, Vidushi Sharada Subramanyam and Vidushi Madhavi Rajagopalan. Sowmya is currently pursuing her Ph.D on Alternate Medicine using Music Therapy.

Sanak Kumar Athreya is the managing trustee of
Svarakshema Foundation and is also conducting research on Music Therapy. A
software engineer by profession, he has previously worked with multinational
companies such as HP, Accenture and ITC Infotech. Presently, Sanak is learning
Mridangam from Vid. Anoor Ananthakrishna Sharma and is a freelance journalist
having authored over 800 articles in various magazines and daily especially on
music. He has completed his Teacher Training Certificate course (YIC) at SVYASA
and has presented papers at prestigious seminars. 
The duo has presented papers on Music therapy, Yogasanas and Bija mantras.

Excerpts from the Lecture The works of Sri Muthuswami
Dikshithar deserve a lot of intense analysis and insight to be appreciated.
This need is furthered while dealing with the group Kritis. Dikshithar
interweaves many streams of knowledge- Vedic, Scientific, Artistic, Historical,
Esoteric, and importantly Musical, making each Kriti an unfathomable enigma.
The NavaGraha Kritis are a set of nine Kritis saluting the nine Planet-Gods
that form a fine example to the above-stated.

Sri. Sanak Kumar Athreya and Smt.
Sowmya Sanak lit-started the fine Saturday evening, with the invocation Kriti
to Lord Shanaishchara – “Divakara Tanujam” in Raga Yadukula Khamboji. The
introduction to the topic began with a discussion on the expression “Kala
Chakra Bedha Chitra Bhanum” used in the Divakara Tanujam kriti. The profundity,
complexity, and scope for extraordinary range of artistic interpretations were
unwrapped and presented to the audience.

The talk continued with a sequential
portrayal of each Kriti starting from “Surya Murthe” and finishing with
“MahaSuram”. The highlights included varying perspectives, ranging from Modern
Science to Vedas, Vedanta/Upanishads, Vedangas like Niruktam, Jyotisham,
Chandas, Kavyashastram, Sangeetha Shastram, Aagamas and Puranas. The analysis
was made based on both the musical and literary aspects. Occasionally, even
subjects as diverse as Music Therapy, Yoga, and History were referred to.

The couple rendered certain
interesting aspects of the Kritis, like possible reasons for selection of
specific name and salutation for each Graha, justification on the choice of a
particular Raga/Tala and the aesthetic appropriateness of some Vishesha
Prayogas and Svaraksharas. Enlisting the rhetorical beauties like Praasas,
Yatis and Alankaraas incorporated in the Kritis, on many slides, the
presentation was an unmistakable proof to Dikshithar’s command on Kavya
Shastra. The lecture also brought to light the similarities and differences
across the VaaraGraha Kritis (Sun to Saturn) and the ChayaGraha kritis (Rahu
and Ketu) due to the existing controversy of authorship.

The evening concluded with Vid. Meera Rajaram Pranesh’s reiteration and the duo’s acceptance that it requires the divine blessings of Sri Muthuswami Dikshithar himself to be able to foray into unravelling the splendour of the NavaGraha Kritis.

Bharatiya Samskriti Darshana 4 – Evolution of Theatre Madhuvanti Mandyam

Prof. Dr. Sudheendra Sharma is a renowned theatre artist
and has served as a faculty of Drama as well as the Head of the Dept. of
Performing Arts, Bangalore University. He has also served as a Member and
Chairman, Board of Studies; Board of Examiners at several Universities. He is the
Founder Editor of Kalaaswaada- a monthly journal with articles focusing on
Performing Arts. Dr. Sharma has directed many Dramas, acted in serials like
Mukta, Maha parva and many more on small screen; delivered lectures in India
and Abroad.


Dr. Sudheendra Sharma, presented a lecture on Evolution of Theatre in Vanamala’s September programme. The session was immensely informative and thought-provoking. Starting from the Greek theatre which is the oldest evident structure, Dr. Sharma traced the growth and development of theatre through the ages. Dr. Sharma mentioned that Greece, Egypt, China and India are the four civilizations with the longest history of theatre.

Indian theatre has its roots in
Bharata’s Natyashastra and is also influenced by Greek theatre. Though there
are many differences in the way plays are performed in different civilizations,
the bottom-line is the same- a conflict between good and evil, with good
ultimately triumphing over evil. It was interesting to note the extent of
influence of Greek theatre on Indian theatre today.

The words “comedy”, “tragedy” and the concept of chorus were born in Greece. Explaining the meaning of each of these words in detail and why a comedy referred to something happy and a tragedy referred to something sad, Dr. Sharma also expounded the structure of a play according to Aristotle, the Greek philosopher. The lecture went on to cover Indian theatre in detail and explored the acoustics of many theatre performance venues. Dr. Sharma mentioned some interesting and fascinating facts about theatres in India, Japan, Greece and other places in the world. The lecture was followed by a very long interaction session and left the audience thirsty for more sessions by this great artist and speaker!

Bharatiya Samskriti Darshana 3 – Ganapathi Darshana : The Philosophical aspects of Lord Ganapathi through Music Vidwan Rahul Ravindran

Vidwan Rahul Ravindran, is a Graduate
in Business Management and Masters in Karnatak Music. He is also a Handwriting
Analysis expert and a Certified Advanced Pranic Healer. Rahul has presented
many vocal concerts in Karnatak Music and Jugalbandi concerts with Hindustani
Musicians. Rahul is a Visiting faculty at Vasavi Vidyaniketan for Personality
and Memory Development techniques and Karnatak Music Trainer at Shankar
Mahadevan Academy 
Excerpts from the lecture
Vidwan Rahul Ravindran, presented a lecture-demonstration on Philosophical
Principles of Lord Ganapati with reference to the compositions of Sri
Muttuswami Dikshitar during Vanamala Center for Art and Culture’s July

This session was refreshing and
opened out new vistas for the minds of the listeners to explore. With Ganesha
Chaturthi round the corner, this lecture was aptly timed. Rahul spoke about the
different parts of the iconography of Lord Ganesha and explained the
philosophical meaning behind each.

Sri Muttuswami Dikshitar, one among the Trinity of music, has composed a number of kritis on Lord Ganesha and has used different descriptives in each of his kritis. He has also referred to many kshetras in his compositions. Why does Ganesha have a trunk? Why is His colour red? Why does He have a modaka, akshamaala in his hands? Why is the rat his vehicle? Why is he “Ekadanta”, or the single-tusked one? These questions and many others were answered in this lecture by Rahul through the compositions of Dikshitar. The importance of understanding what we say and what we recite was stressed upon, and the import of this reached the audience in an effective manner. Why Dikshitar has used certain adjectives for Ganesha in certain compositions and not any other was an interesting facet dealt with by Rahul. Overall, it was a very interesting lecture and enlightened the audience about how one can obtain a deep understanding of something as common as India’s favourite God- Lord Ganesha!

Bharatiya Samskruthi Darshana 2 – Road to Mount Kailash & Manasa Sarovar A Travelogue by Dr. A Pranesh

Dr. A Pranesh is a
practicing general physician by profession. Post serving as a Medical Officer
in National Aerospace Laboratories for over 2 decades, he presently practices
on his own in Bangalore.

Dr. Praneshs’ hobby
includes wildlife photography and has travelled to most of the National Parks
in the country. As an amateur wildlife photographer he has contributed his
pictures to various magazines as well as calendars and also won several
photo-contests at a National Level.

He is also an
ardent traveller and has visited a number of destinations that include
pilgrimage, tourist hot-spots as well as exotic locations. Apart from these
activities, he pursues a study of philosophy as well as spirituality on
personal interest.

Excerpts from the Lecture
Dr. A Pranesh gave a presentation on The Road to Kailash and Manas sarovar- A
Travelogue, during the May program of Vanamala Center for Art and Culture. The
presentation was all about a two week trip, to the abode of Shiva- Kailash from
Katmandu, Nepal. The lecture included pictures of Mount Everest, Gowrishankara
Peak, the Himalayan Ranges, Manasa Sarovar, Mount Kailash and Mukthinath.

With a brief history of Manasa Sarovar and Mount Kailash with their philosophical importance, Pranesh spoke in detail, on how to go about planning for trip, logistics, costs as well as the acclimatization and physical endurance needed. He also gave the trekking guidelines for Parikrama or circumbulation around Mount Kailash. The sceneries photographed by Pranesh were captivating and the lecture was very informative and indeed a virtual journey of Kailash and Manasa Sarovar.

Bharatiya Samskruti Darshana 1 – Music in Temple Architecture Dr. Choodamani Nandagopal

Dr. Choodamani Nandagopal is an
ardent Researcher proficient in Art History as well as a Dance Exponent.
Currently she is the Dean, Faculty of Humanities and Social Sciences, Jain
University, Bangalore. Being an author of many books, her innumerable research
papers have been published in National as well as International journals. She
is a recipient of Nehru Fellowship from Victoria Albert Museum; the UNESCO
fellowship; An International Research Fellow UNSW, Australia. She has also
extended her services at many National and International Universities, Museums,
Research Institutes, Art Galleries including the Chitrakala Parishath, Indira
Gandhi National Center for Arts and others.

Excerpts from the lecture
Dr. Choodamani Nandagopal, gave a presentation about Music and Temple Architecture
during the March program of Vanamala. Known for her research skills, Dr.
Choodamani’s lecture was enlightening to senior and budding researchers alike.
Indian texts, though centuries old, are relevant even to this day. Music had
always been studied along with theatre and dance and until Matanga’s
Brihaddeshi, music was dealt with in only a few chapters of treatises, the rest
being dedicated to theatre and art.

A number of Sanskrit treatises- some well-known and some little known- were introduced to the audience, along with works in other languages which deal with music and musical instruments. The lecture also dealt with inscriptions in temple architecture related to music. The word “Sangeeta”, when used in inscriptions, refers to Geeta, Vadya and Nritya. Rituals in temples included Angabhoga and Rangabhoga. The latter comprised of worship through dance and music. Orchestras were existent even in the olden days and evidence of this is seen in sculptures. A number of slides containing pictures of sculptures depicting musical instruments in different temples were shown to the audience. In the process, the development of these instruments to their current form was also traced. This lecture was laden with information and knowledge and had the audience wishing for more!

ನೆನಪುಗಳು - ಕಮಲಾ ಬಾಲಾಜಿ

ಟೆಲಿವಿಶನ್ ಮಾಧ್ಯಮಗಳ ಗಲಾಟೆ ಇಲ್ಲದೇ ಇದ್ದ ಕಾಲ . ಆಕಾಶವಾಣಿಯಲ್ಲಿ ಮೂಡಿಬರುತ್ತಿದ್ದ ಸಂಗೀತವನ್ನು ಕೇಳಬಹುದಾಗಿತ್ತು. ಅದು ಬಿಟ್ಟರೇ ರಾಮನವಮಿ ಮತ್ತು ಸಂಗೀತ ಸಭೆಗಳಲ್ಲಿ ನಡೆಯುತ್ತಿದ್ದ ಕಚೇರಿಗಳನ್ನು ಕೇಳಲು ಜನರು ಕಾಯುತ್ತಿದ್ದರು. ಆಗಿನ ಸಂಗೀತ ದಿಗ್ಗಜರುಗಳಾದ ಚೆಂಬೈ ಭಾಗವತರ್, ಅರಿಯಾಕುಡಿ ರಾಮಾನುಜ ಅಯ್ಯಂಗಾರ್, ಶೆಮ್ಮಂಗುಡಿ ಶ್ರೀನಿವಾಸ ಅಯ್ಯರ್, ಜಿ ಏನ್ ಬಾಲಸುಬ್ರಮಣ್ಯಂ, ಮಧುರೈ ಮಣಿ ಅಯ್ಯರ್, ಎಂ ಎಸ್ ಸುಬ್ಬಲಕ್ಷ್ಮಿ,ಪಟ್ಟಮ್ಮಾಳ್, ಎಂ ಎಲ್ ವಸಂತಕುಮಾರಿ, ಟಿ ಆರ್ ಮಹಾಲಿಂಗಂ …. ಹೀಗೆ ದೊಡ್ಡ ದೊಡ್ಡ ವಿದ್ವಾಂಸರುಗಳ ಕಚೇರಿಯನ್ನು ಕೇಳುವ ಸದವಕಾಶ ನನ್ನದಾಗಿತ್ತು.

ಚೆಂಬೈ ಯವರ ಶಾರೀರ ಘಂಟಾ ನಾದದಂತಿರುತ್ತಿತ್ತು. ಮೈಕೇ ಬೇಡವಾಗಿತ್ತು. ಜಿ ಏನ್ ಬಿ ಯವರ ಕಲ್ಯಾಣಿ ರಾಗ; ಮಧುರೈ ಮಣಿ ಯವರ ಸ್ವರ ವಿನ್ಯಾಸ; ಅರಿಯಾಕುಡಿ ಯವರ ಕಾಂಭೋಜಿ ರಾಗದ ಶ್ರೀ ಸುಬ್ರಮಣ್ಯಾಯ ನಮಸ್ತೆ; ಎಂ ಎಸ್ ಎಸ್ ರವರ ಶಂಕರಾಭಾರಣ ರಾಗದ ಆಲಾಪನೆ ; ಪಟ್ಟಮ್ಮಾಳ್ ರವರ ಮಣಿರಂಗು ರಾಗದ ಮಾಮವ ಪಟ್ಟಾಭಿರಾಮ …….. ಮುಂತಾದುವು ಇನ್ನೂ ಕಿವಿಯಲ್ಲಿ ಮೊಳಗುತ್ತಿದೆ. ಅವರ ಸಂಗೀತವನ್ನು ಕೇಳಿದ ನಾವೇ ಧನ್ಯರು!

ಒಮ್ಮೆ ರಾಮನವಮಿಯ ಸಂಗೀತೋತ್ಸವ ಸಂದರ್ಭ! ಶೇಷಾದ್ರಿಪುರಂ ಶಾಲೆಯ ಆವರಣದಲ್ಲಿ ಎಂ ಡಿ ರಾಮನಾಥನ್ ರವರ ಗಾಯನ ಕಚೇರಿ. ಸಂಗೀತ ಕೇಳುವುದಕ್ಕೆ ಬಂದಿರುವವರು ಕೆಲವರಾದರೆ, ಮಾದುವೆ ಮುಂಜಿಗಳ ಇತ್ಯರ್ಥ …, ಗಂಡು ಹೆಣ್ಣುಗಳ ಜಾತಕಗಳ ವಿನಿಮಯ, ಬರೇ ಮಾತಾಡಲು ಬಂದಿರುವವರು ಇನ್ನೂ ಕೆಲವರು…… ಜನ ಸಂಗೀತ ಕೇಳುವುದರ ಜೊತೆಗೆ ಸ್ವಕಾರ್ಯದಲ್ಲಿ ಮುಳುಗುತ್ತಿದ್ದರು. ಎಂ ಡಿ ಆರ್ ಸಾರಮತಿ ರಾಗದ ತ್ಯಾಗರಾಜರ ಕೃತಿ ಮೋಕ್ಷಮುಗಲದಾ ಪ್ರಾರಂಭಿಸಬೇಕು ಜನರ ಗದ್ದಲ ಜಾಸ್ತಿಯಾಯಿತು. ಹಾಗೇ ಹೀಗೇ ನೋಡಿದರು. ಸದ್ದಡಗಲಿಲ್ಲ. ರಾಮನಾಥನ್ ಪಲ್ಲವಿಯಿಂದ ಪ್ರಾರಂಭಿಸದೇ, ಜೋರಾಗಿ ತಾರಾ ಸ್ಥಾಯಿಯಲ್ಲಿ ಅನುಪಲ್ಲವಿ “ಸಾಕ್ಷಾತ್ಕಾರ” ದಿಂದ ಪ್ರಾರಂಭಿಸಿದರು. ಕೂಡಲೇ ಗಲಾಟೆ ಸ್ಥಗಿತವಾಯಿತು. ಜನ ನಿಶಬ್ಧರಾಗಿ ಸಂಗೀತದತ್ತ ಗಮನ ಹರಿಸಿದರು. ಎಂ ಡಿ ಆರ್ ರವರು ಸಂಪ್ರದಾಯಸ್ಥರಾಗಿದ್ದರೂ ಕೂಡ ಸಮಯೋಚಿತವಾಗಿ ಹಾಡಿದ ರೀತಿ ನಮ್ಮನ್ನ ಮಂತ್ರಮುಗ್ದರನ್ನಾಗಿಸಿತು.

ಮತ್ತೊಂದು ದಿನ ಬೇರೊಂದು ಸಭೆಯಲ್ಲಿ ಎಂ ಡಿ ಆರ್ ರವರದ್ದೇ ಕಚೇರಿ. ಸ್ವಾರಸ್ಯವಾಗಿ ಒಂದು ರಾಗದ ಆಲಾಪನೆ ಮಾಡಿ ಕೃತಿಯನ್ನು ಆಗತಾನೇ ಪ್ರಾರಂಭಿಸಬೇಕು. ಅಷ್ಟರಲ್ಲಿ ಮೈಸೂರಿನ ವೈಣಿಕರು ದೊರೈಸ್ವಾಮಿ ಅಯ್ಯಂಗಾರ್ ರವರು ಆ ಸಭೆಗೆ ಆಗಮಿಸಿದರು. ಎಂ ಡಿ ಆರ್, ಅಯ್ಯಂಗಾರ್ಯರಿಗೆ ಕೈಮುಗಿದು, ಶ್ರೀ ರಾಗದ ತ್ಯಾಗರಾಜರ ಪಂಚರತ್ನ ಕೃತಿ ಎಂದರೋ ಮಹಾನುಭಾವುಲು ಹಾಡಲು ಪ್ರಾರಂಭಿಸಿದರು. ಅಲ್ಲಿದ್ದ ರಸಿಕರು ಒಬ್ಬರ ಮುಖ ಒಬ್ಬರು ನೋಡುವುದನ್ನು ಕಂಡು ಒಂದು ಸಣ್ಣ ನಗೆಯೊಂದಿಗೆ ಹಾಡನ್ನು ಮುಂದುವರೆಸಿದರು .