Latangi (pronounced latāngi, Sanskrit: लतांगि, Telugu: లతాంగి, Kannada: ಲತಾಂಗೀ, Tamil: லதாங்கி) is a rāgam in Carnatic music (musical scale of South Indian classical music). It is the 63rd Melakarta rāgam in the 72 melakarta rāgam system of Carnatic music. It is called Geetapriya or Gitapriya in Muthuswami Dikshitar school of Carnatic music.^[1][2]

Structure and Lakshana[link]

Latangi scale with shadjam at C

It is the 3rd rāgam in the 11th chakra Rudra. The mnemonic name is Rudra-Go. The mnemonic phrase is sa ri gu mi pa dha nu.^[1] Its ārohaṇa-avarohaṇa structure (ascending and descending scale) is as follows (see swaras in Carnatic music for details on below notation and terms):

• ārohaṇa: S R2 G3 M2 P D1 N3 S
• avarohaṇa: S N3 D1 P M2 G3 R2 S

(the notes used in this scale are chathusruthi rishabham, antara gandharam, prati madhyamam, shuddha dhaivatham, kakali nishadham)

As it is a melakarta rāgam, by definition it is a sampoorna rāgam (has all seven notes in ascending and descending scale). It is the prati madhyamam equivalent of Sarasangi, which is the 27th melakarta.

[edit] Janya rāgams

Latangi has a few minor janya rāgams (derived scales) associated with it. See List of janya rāgams for full list of rāgams associated with Latangi.

Compositions[link]

Here are a few common compositions sung in concerts, set to Latangi.

• Diname sudhinamu by Thyagaraja
• Marivere and Aparadamulan by Patnam Subramania Iyer
• Tamralochani Latangi by Dr. M. Balamuralikrishna
• Pirava varam tharum by Papanasam Sivan
• Venkataramana by Papanasam Sivan

Related rāgams[link]

This section covers the theoretical and scientific aspect of this rāgam.

Latangi's notes when shifted using Graha bhedam, yields 2 other melakarta rāgams, namely, Sooryakantam and Senavati. Graha bhedam is the step taken in keeping the relative note frequencies same, while shifting the shadjam to the next note in the rāgam. For further details and an illustration refer Graha bhedam on Sooryakantam.

References[link]

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Nikhil Ranjan Banerjee (Hindi: निखिल रंजन बैनर्जी) (14 October 1931 – 27 January 1986) was a Hindustani classical sitarist of the Maihar Gharana.

Early life and background[link]

Nikhil Banerjee was born on October 14, 1931 in Kolkata into a Brahmin family. His father, Jitendranath Banerjee, was an amateur sitarist and Banerjee was fascinated by his father's playing. Although he wanted to try his hand at an instrument as early as the age of four, he was discouraged by his father and grandfather. At the age of five, however, they relented and he acquired a small sitar, initially learning under his father. Banerjee grew into a child prodigy. He won an All-India sitar competition and became the youngest musician employed by All India Radio at the age of nine. Jitendranath approached Mushtaq Ali Khan to take Nikhil as a disciple, but only learned from this master for a few short weeks. Instead Birendra Kishore Roy Chowdhury, the zamindar of Gouripur in present-day Bangladesh, became responsible for much of his early training.

Around 1946 Nikhil Banerjee met the great khyal singer Amir Khan through the master's teaching of Nikhil Banerjee's sister, and his enthusiasm for his music was reinforced by hearing him in concert a couple of years later.^[1] Amir Khan continued to have a significant influence on Banerjee's musical development.

The Maihar Years[link]

In 1947 Banerjee met Ustad Allauddin Khan, who was to become his main guru along with his son, Ali Akbar Khan. Both were sarod players. Banerjee went to Allauddin Khan's concerts and was desperate to have him as his teacher. Allauddin Khan did not want to take on more students, but changed his mind after listening to one of Banerjee's radio broadcasts. Allauddin Khan was Banerjee's main teacher, after he left Maihar he also learned from Ali Akbar Khan, the son of Allaudin Khan, for many years.^[2]

The discipline under Ustad Allauddin Khan was legendary. For years, Nikhil's practice would start at four in the morning and, with few breaks, continue to eleven o'clock at night^[3]. Among others, Ustad Allauddin Khan also taught his son Ali Akbar Khan, grandson Aashish Khan, and nephew Bahadur Khan on the sarod; Ravi Shankar on the sitar; his daughter, Annapurna Devi, on the surbahar; Pannalal Ghosh on the flute; and Vasant Rai the sarod.

Ustad Allauddin Khan was passing on not only playing technique but the musical knowledge and approach of the Maihar gharana (school); yet there was a definite trend in his teaching to infuse the sitar and sarod with the been-baj aesthetic of the Rudra veena, surbahar and sursringar – long, elaborate alap (unaccompanied improvisation) built on intricate meend work (bending of the note). He was also well known for adjusting his teaching to his particular students' strengths and weaknesses. Consequently, under his teaching, Shankar and Banerjee developed different sitar styles.^[2]

Performing career[link]

After Maihar, Banerjee embarked on a concert career that was to take him to all corners of the world and last right up to his death. All through his life he kept taking lessons from Ustad Allauddin Khan and his children, Ustad Ali Akbar and Smt. Annapurna Devi. Perhaps reflecting his early upbringing, he always remained a humble musician, and was content with much less limelight than a player of his stature could have vied for. Even so, in 1968, he was decorated with the Padma Shri, and in 1974 received the prestigious Sangeet Natak Akademi Award.

Nikhil Banerjee frequently toured Europe and the USA, with prominent tabla players including Swapan Chaudhuri and Anindo Chatterjee.

Although he was often resident at the Ali Akbar College of Music in California he taught few pupils on a one-to-one basis, for his stated reason that he did not feel he had adequate time to devote to his students, as he was still learning and performing. He hoped that developing a proper disciple relationship with students would become possible later in his life, but, sadly, his early demise meant it did not happen. Nevertheless, a number of prominent sitarists have been influenced by his teaching and distinctive style.

Banerjee recorded only a handful of recordings during his lifetime but a series of live performance recordings continue to be released posthumously making sure that his musical legacy is preserved for posterity. He did not always enjoy recording within the confines of the studio, though his early studio recordings with EMI India such as Lalit, Purya Kalyan and Malkauns are now considered to be classic renditions of these ragas. The posthumous live albums, many of which were brought out around the turn of the 21st Century by Raga Records in New York, and Chhandadhara of Germany, are widely considered to be the finest documents of his playing. Many of his unpublished concert recordings are available which are testimony to his musical thought.

Nikhil Banerjee was in failing health through the 80s, having survived three heart attacks. On January 27, 1986, on the birthday of his younger daughter, at the relatively young age of 54, Nikhil Banerjee died of a fourth heart attack. At the time of his death, he was a faculty member at the Ali Akbar College of Music in Calcutta. He was posthumously awarded the Padma Bhushan title by the Government of India in the same year as his death.

He is survived by his wife Roma and two daughters. His younger daughter Debdutta/Arya is a model and actress in Kolkata.

Inspiration and Critical acclaim[link]

For Banerjee, music-making was a spiritual rather than a worldly path:

"Indian music is based on spiritualism; that is the first word, you must keep it in your mind. Many people misunderstand and think it's got something to do with religion – no, absolutely no! Nothing to do with religion, but spiritualism – Indian music was practiced and learned to know the Supreme Truth. Mirabai, Thyagaraja from the South, Haridas Swami, Baiju – all these great composers and musicians were wandering saints; they never came into society, nor performed in society."^[4]

Nikhil Banerjee is revered for his mastery in both melodic and rhythmic aspects of Indian music. His unique style of sitar playing is considered to have completeness, emotion and depth. His interpretation of ragas was usually traditional, although he is credited with creating at least two new ragas.

Today, he is commonly regarded as one of the greatest sitarists of the 20th century and is often spoken of as being on a level with the other two masters Ravi Shankar and Vilayat Khan.

Partial discography[link]

The following is a summary of some recent CD issues. A more comprehensive discography can be found in the external links.

• Afternoon Ragas (1970)
• Live: Misra Kafi (1982)
• The Hundred-Minute Raga: Purabi Kalyan (live) (1982)
• Immortal Sitar of Pandit Nikhil Banerjee, Ragas: Purabi Kalyan, Zila-Kafi, Kirwa (1986)
• Lyrical Sitar (1991)
• Live at De Kosmos: Amsterdam 1972 (1995)
• The KPFA Tapes: Berkeley 1968 (1995)
• Rag Hemant (1995)
• Le Sitar Du Pandit (1996)
• Raga Patdeep (1996)
• Live in Amsterdam 1984 (1997)
• Genius of Pandit Nikhil (live) (1998)
• Berkeley 1968 (1998)
• Live Concert, Vol. 2: India's Maestro of Melody (1999)
• Pandit Nikhil Banerjee (live) (1999)
• Total Absorption (2000)
• Banerjee Live in Munich 1980 (2000)
• Morning Ragas: Bombay Complete Concert 1965 (live) (2000)
• Musician's Musician (2001)
• India's Maestro of Melody: Live Concert, Vol. 5 (2002)
• Alltime Classic, Vol. 1: Raag Bageshree (live) (2004)

Notes[link]

Further reading[link]

• Swapan Bandyopadhyay: "The Strings Broke Long Ago", Ananda Publishers, Kolkata

External links[link]

• Nikhil Banerjee at Allmusic
• http://www.raga.com/interviews/207int1.html
• http://www.dpcsitar.com
• Nikhil Banerjee discography – Regularly updated with details of all published recordings from 78s to CDs and DVDs

Sanjay Subrahmanyan (born January 21, 1968) is a Carnatic music singer from India. He performed in many concerts in India and overseas and has won many awards for his excellence. He believes that listening takes a musician closer to perfection.He is very simple and very open. He is a strong cricket fan.^[1]

Early life and background[link]

Sanjay Subrahmanyan was born in Chennai, Tamil Nadu, India. He began learning music at the age of seven. Initial training was under V. Lakshminarayana on the violin as well as in vocal music. He later switched to vocal music and was trained by Rukmini Rajagopalan for a period of almost eight years. His skills were further sharpened under Calcutta K.S Krishnamurthy and the training under him led to innovations and blending of tradition and modernity. Sanjay continues to learn from Nadaswaram maestro Semponarkoil SRD Vaidyanathan.

Career[link]

Sanjay teaches music as well, and has many successful students such as Prashanth Viswanathan, Swarna Rethas, Sandeep Narayan, and Prasanna Venkatraman in the contemporary music field.

Sanjay Subrahmanyan has been the subject of documentary film Aaraar aasaippadaar by filmmaker Prasanna Ramaswamy. It opened to rave reviews in November 2006 in Chennai.

He has performed with excellence and has enthralled the music loving audiences in Chennai as well as in Mumbai, Calcutta, Bangalore, Delhi and other places all over India. He has toured Malaysia, Singapore, Indonesia, Australia, US, Canada, UK, Switzerland and Oman.

Awards & titles[link]

• He received the title "Vani-kala-sudhakara" from Tyaga Brahma Gana Sabha in 2010.
• Sanjay received the prestigious Kalaimamani award from the Tamil Nadu Government for the year 2006.
• He is an `A Top' Grade artiste of All India Radio, Madras
• He is the recipient of the Outstanding Junior Musician award from the Annual Conference of the Madras Music Academy.
• He received the Spirit of Youth Award for Outstanding Performance from Krishna Gana Sabha under its talent promotion scheme.
• He won first prize in the AIR competition held in 1985.
• For the period 1987-1988, Sanjay was the recipient of the Maharajapuram Vishwanatha Iyer Trust Scholarship for advanced musical training.
• He received the Yuva Kala Bharathi title from Bharat Kalachar, Chennai in 1991.
• He received the "Isai Peroli" title from Karthik Fine arts, Chennai in December 2000.
• Sanskriti Award from the Sanskriti Prathishthan for performing art in 1997.
• Sangeetha Kalasarathy title from Sri Parthasarathy Swami Sabha, Chennai in December 2006.
• Indira Sivasailam Endowment Medal from the Indira Sivasailam Foundation and Music Academy, Chennai on Oct 6th 2011.
• Sanjay is a Chartered Accountant and a rank-holding Cost Accountant.

Discography[link]

References[link]

External links[link]

• Interview: Sanjay Subrahmanyan speaks to The Times of India
• Sanjay Subrahmanyan's Blog

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Nisha P. Rajagopal (Tamil: நிஷா ராஜகோபாலன்) (born 22 October 1980), is a Carnatic musician. Her mother, Vasundhara Rajagopal, is an established disciple of Gopala Iyer, a descendant of Koteeswara Iyer, the prominent composer.^[1] Nisha commenced her training in vocal music from her mother, and later received training from T. R. Subramaniam, Calcutta Krishnamoorthy, Suguna Varadachary, and P. S. Narayanswamy.^[2][3]

Notes[link]

External links[link]

• Official Website

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Jagadguru Chandrasekharendra Saraswati Swamigal (Tamil: சந்திரசேகரேந்திர சரஸ்வதி சுவாமிகள்) (May 20, 1894 – January 8, 1994) or the Sage of Kanchi was the 68th Jagadguru in the Kanchi Kamakoti Peetam. He is usually referred to as Paramacharya or Mahaswami or Maha Periyavaal.

Early life[link]

Maha Periyavaal was born on 20 May 1894, under Anuradha star according to the Hindu calendar, into a Kannadiga Smartha Hoysala Karnataka Brahmin family in Viluppuram, South Arcot District, Tamil Nadu as Swaminatha. He was the second son of Subramanya Sastri, a District Education Officer. The child was named Swaminatha, after the family deity, Lord Swaminatha of Swamimalai, near Kumbakonam. Swaminatha began his early education at the Arcot American Mission High School at Tindivanam, where his father was working. He was an exceptional student and excelled in several subjects.^{[citation needed]} In 1905, his parents performed his Upanayanam, a Vedic ceremony which qualifies a Brahmin boy to begin his Vedic studies under an accomplished teacher.^{[citation needed]}

Incidents leading to Sainthood[link]

During the childhood of the Acharya, his father consulted an astrologer who, upon studying the boy's horoscope, is said to have been so stunned that he prostrated himself before the boy exclaiming that "One day the whole world will fall at his feet".In 1906, the 66th Acharya of Sri Kanchi Kamakoti Peetham performed the annual Chaturmasyam (a forty-day annual ritual performed by Hindu ascetics while remaining in one place), in a village near Tindivanam in Tamil Nadu. This was Swaminathan’s first exposure to the Math and its Acharya. Later, Swaminathan accompanied his father whenever he visited the Math where the Acharya was deeply impressed by the young boy.

In the first week of February 1907, the Kanchi Kamakoti Math had informed Subramanya Sastrigal that Swaminathan's first cousin (son of his mother's sister) was to be installed as the 67th Peetathipathi. The presiding Acharya was then suffering from smallpox and had the premonition that he might not live long. He had, therefore, administered upadesa to his disciple Lakshminathan before he died. Sastrigal being away in Trichinopoly on duty arranged for the departure of Swaminathan with his mother to Kanchipuram. The boy and his mother started for Kalavai (where Lakshminathan was camping) to console his aunt who, while also being a widow, had just given up her only son to be an ascetic. They traveled by train to Kanchipuram and halted at the Sankara Math. By then, Lakshminathan had fallen ill:

I had a bath at the Kumara Koshta Tirtha. A carriage of the Math had come there from Kalavai with the people to buy articles for the Maha Puja on the tenth day of the passing of the previous 66th Acharya. One of them, a hereditary maistry (mason) of the Math, asked me to accompany him. A separate cart was engaged for the rest of the family to follow me. During the journey the maistry hinted to me that I might not return home and that the rest of my life might be spent in the Math itself. At first I thought that my elder cousin having become the Head of the Math, it was his wish that I should live with him. But the maistry gradually clarified matters as the cart rolled on. The acharya had fever which developed into delirium and that was why I was being separated from the family to be taken to Kalavai... I was stunned by this unexpected turn of events. I lay in a kneeling posture in the cart, shocked as I was, repeating "Rama... Rama," the only prayer I knew. My mother and other children came some time later only to find that instead of her mission of consoling her sister, she herself was placed in the state of having to be consoled

—T.M.P. Mahadevan, The Sage of Kanchi

^{[citation needed]}

The 67th Acharya also died, after reigning for a brief seven days as the head of the Math. Swaminathan was immediately installed as the 68th head of the Kanchi Kamakoti Peetam on February 13, 1907, the second day of the Tamil month of Masi, Prabhava year. He was given Sanyasa Asramam at the early age of 13 and was named Chandrasekharendra Saraswati. On May 9, 1907 his "Pattabishekam" as the 68th Peetathipathi of Kanchi Kamakoti Peetam was performed at the Kumbakonam Math. Devotees including Shivaji Maharaja of Tanjavur, government officials and pundits participated in the event.

Even though there was not enough property in the mutt to be administered, the court considering the benefit of the mutt, ordered the mutt to be administered under the “Guardian and Wards Act”. Sri C.H.Venkataramana Iyer, an illustrious personality from Kolinjivadi (Colinjivadi) village near Coimbatore was appointed as guardian by the court. The administration of the mutt was under guardianship from 1911 to May,1915. On the day of Sankara Jayanthi in the year 1915, Swamigal took over the administration of the mutt on the completion of his 21 st year. The administration of the mutt was taken over in name, but the actual work was taken care of by an agent, one Sri Pasupathi Iyer. He was an able administrator who volunteered to do the job without compensation and hailed from Thirupathiripuliyur. Sri Swamigal does not sign any document, instead Sri Mukham stamp is placed on documents.[1]

Mahaswami had vedic studies at Kumbakonam Mutt oppostie the mahamaham tank. In 1915, Sri Anantharama Srouthigal was his prathama adhyayana tutor. As a little girl, his granddaughter Nagam used to carry milk in a pot to the pontiff next door. She said the acharya was sharp in memory and divinely blessed with prediction. Avidly she recalled how the acharya directed her father Narayana Iyer (S/o Anantharama Srouthigal) to vacate the place and go to his house next door. Narayana came home and died within minutes. Thus was his spiritual darshan. When her family visited the Kanchi Mutt in 1991, the aged acharya blessed the family members and enquired if they were Nagam's children. It is understood that the house was later donated to Mutt by the family.[2]

Maha Periyavaal spent several years in the study of the scriptures and dharma shastras and acquainted himself with his role as the Head of the Math. He soon gained the reverence and respect of the devotees and people around him. To millions of devotees he was simply "Periyavar"—the revered one or Maha-Periyavar or Periya-Periyavar. "Periyavar" in Tamil means a great person, and conveys endearment, reverence, and devotion. "Mahaswami" and "Paramacharya" are his other well-known appellations.^{[citation needed]}

Maha Periyavaal was the head of the Mutt for eighty-seven years. During this period, the Sri Kanchi Kamakoti Peetam acquired new strength as an institution that propagated Śankara's teachings. The devotion, fervour, and intensity with which the Paramacharya practiced what Śankara had taught are considered to be unparalleled by his devotees.^{[citation needed]} Throughout his life, the focus of his concern and activities was rejuvenating Veda adhyayana, the Dharma Sasthras, and the age-old tradition, which had suffered decline. "Veda rakshanam" was his very life breath, and he referred to this in most of his talks.

Remaining active throughout his life, the sage of Kanchi twice undertook pilgrimages on foot from Rameshwaram in the far south of the Indian peninsula to Benares in the North.

Providing support through Veda Patashalas (schools teaching Vedic lore) through the Veda Rakshana Nidhi which he founded and honouring Vedic scholars, he reinvigorated Vedic studies in India. He organised regular sadhas ('conferences') which included discussions on arts and culture—these led to a renewed interest in Vedic religion, Dharma sasthras, and the Sanskrit language. His long tenure as Pitadhipathi is considered by many to have been the Golden Era of the Kanchi Kamakoti Peetham.^{[citation needed]} He attained Mukti (died) on January 8, 1994 at the age of 100 and was succeeded by Jayendra Saraswati Swamigal.

Spiritual leadership[link]

Periyava stressed the importance of a Guru in one's life. He repeatedly preached about the importance of following the Dharmic path. His various discourses are available in a volume of books called 'Deivathin Kural' (Voice of the Divine) which have been compiled by R. Ganapathi, a devotee of Periyava, and published by vaanathi publications. These books are available both in Tamil and English. A condensed form of these books is also available in English. These are available in any branch of the Kanchi math. He was a pure Gnani - (Sanskrit - he knew every thing happening in the world). He had proved this several times. So many devotee's mentioning this in there experience accounts for this. His advice to Paul Brunton is a classic example. He treated all religions equally and with respect. He guided the devotees by spiritual means.

Periyava and the Indian Freedom Movement[link]

Though Periyavaa did not get directly into politics, he was interested in the happenings. At Nellichery in Palakkad (Present Day Kerala), Rajaji and Mahatma Gandhi met the Acharya in a cow shed. It was a practice in the mutt to wear silk clothes. But Acharya was the first one to do away with them and shifted to Khadi robes at Rameshwaram. He requested his devotees to do away with foreign/ non natural clothes some time earlier at Trichy. The day India became free, he gave the Maithreem Bhajata song, which was later to be sung at the UN by M S Subbulakshmi. He gave a speech on the significance of the flag and the Dharma chakra in it on that day.^[1]

Devotees[link]

Periyava's charm invited the rich and the poor, the old and the young alike to be his devotees. Some of his famous devotees include, their highness the King and Queen of Nepal, the Queen Mother of Greece, the Dalai Lama, M. S. Subbulakshmi, Subramanian Swamy, Indira Gandhi, R. Venkatraman and Atal Bihari Vajpayee among others. To the Acharya, the VIPs and the common man were one and the same. There were thousands of personal experiences to lakhs of his devotees, who still revere him, and pray to him as a messenger of the Supreme or an ultimate Guru.

After the defeat of Congress in 1972 election under the symbol of 'Cow & calf', Indira Gandhi came on a tour to pay respects to the Acharya. Acharya who was in meditation at backyard, asked the assistant to offer a wooden plank for her to sit on the floor at backyard. After she spoke to him, the Paramacharya lifted his hands and blessed her. Later Indira adopted his blessing palm as the symbol for Congress (I).

See also[link]

• Kanchi Kamakoti Peetham

References[link]

Sources[link]

• A search in Secret India—Paul Brunton
• Sri Kanchi Mahaswamy Charitram

External links[link]

• Official website of Kanchi Kamakoti peetham
• A web site dedicated to The Sage of Kanchi
• Sri Mahaswamy Charitram[3]
• English translation of Sri Kanchi Mahaswami's discourses at [4] under following titles:
  • Amrita-Moksha
  • Isvara-Bhakti
  • Music-Peace
  • Ananda-Bliss
  • Jnaanaambika
  • Sharanam
  • Brahmam
• http://hinduonline.co/VideoGallery.html
• http://hinduonline.co/Books/BooksOnline.html
• http://www.youtube.com/watch?v=wTLwFZIBGF0 - A Rare Video of Paramacharya Swamiji's discourse