Brinda or Vrinda—The orchestra

The subject of orchestra and orchestration of Indian music presents an interesting study, which has of late been receiving attention at the hands of scholars and musicians in India. Orchestras playing folk music are composed with a number of folk musical instruments. The Naiyyandi Melam is an instance of a folk orchestra, consisting of players on Nadasvaram, Ottu, Tavil, Cymbals, Pambai, Kinikittu and Tamukku, and it is used as a lively accompaniment to folk dances like Karagam, Kavadi, and dummy horse show. Here, the orchestra performs standing in a semi-circle, behind the back of the dancer. The concept of orchestra-its evolution In the Vedic literature, are found references to the chanting of the hymns by the chief priest to the accompaniment of the ensemble of two Vinas. Bharata's treatment of the different kinds of musical instruments and their utility in the dramatic representation for the enrichment of the Nataka Rasa, and for demonstrating the musical laws, stands as proof of the considerable progress that instrumental music. This Music had made during the time of Silapadhikaram (2 nd century A.D.) speaks at length about description and playing of the various kinds of instruments, that were prevalent then. We have technical terms (Sangita Ratnakara - Adyar Edn. Ch. VI. P. 231 16-17 p. 72. 339) Such as Gitanuga, Nrttanuga, dvayanuga, suska and brinda [vrinda] signifying the utility of instruments in accompanying vocal and dance music or both, and as performing solo and in chorus as well. The Silapadhikaram (Dr. U.V.Svaminatha Iyer - Arangetrukadai, p. 72) speaks of the concerted playing of all kinds of musical instruments as Palliyam (pala + iyam). 88 888

89 Significance of the terms Orchestra and Kutapa The term Kutapa, primarily used by Bharata in his Natyasastra to denote the Orchestras in vogue in his period. In his opinion, all the musical instruments should be played in the performance of plays, for producing a harmonious effect and also for concealing the faults. is not just orchestra it comprises the singers and the Songstresses also. Kutapa The perfect rendering of songs and efficient playing of the instruments assure the success of the dramatic performances (Natyasastra.- Kasi Edn. XXXII, pp. 426. 424. 457). Bharata refers to three kinds of Kutapas (Natyasastra - Kasi Edn. XXVIII p. 316.3) viz. tata, avanaddha and Natya. From the description of the Kutapas, their composition, and significance on the stage, it is evident, that these were popular kinds of orchestra in vogue during the author's period. Deriving the etymological sense of the word, Kutapa, Abhinavagupta offers two interpretations namely, "kutam abedam pati kutapam & $4 & 194 avid Buud Comm.). 4" (Natyasastra - Baroda Edn. IV. P. 184 According to the first derivation, Kutapa is that which protects and enhances the sound or dhvani (kutam) aspect of the drama. Kutapam is a comprehensive term which includes the four kinds of instruments viz. tata, avanaddha, susira and ghana, suitable positions on the stage and their performance of the items from pratyahara till the asarita, during the Purvaranga ceremony.

90 The presence of a beautiful assembly of a variety of instruments on the stage illumines it. Kum here refers to the rangasthana or the stage. That by which the stage proper is made beautiful and bright is Kutapa. Thus the term Kutapa originally denoted the space in the stage, where musicians and players on various instruments, sat in assembly and performed. Then it came to signify the group of instrumentalists and musicians themselves and their music. Kutapas of Bharata: Tata Kutapa The Kutapa having more stringed instruments in its composition is known as Tata Kutapa or stringed band. In addition to players on the tata Vadyas like Vina and Vipanci, the Kutapa is composed of a chief singer with additional vocalists, who also provide the rhythm on the cymbals and a flute player. tate kutapa vinyaso gayanah saparigrahah vaipanciko vainikasca vamsavadaka eva ca || (Natyasastra - Kasi Edn. XXVIII p. 316.4) The avanaddha Kutapa, the percussion band consists of performers on the rhythmic instruments, mrdanga, panava and dardura. vamsavinapurusasvaranam abhede sati yah ranjana tadraktam ganam It is significant that in a tala kutapa, voices and the wind instrument, flute is included. The oneness of the tones or the blending of the music of Vina and Venu was referred to in Narada Siksa (Narada Siksa with Commentary by Bhatta Sobhakara) as raktam, one of the ten excellences of good music.

91 Since the percussion instruments contribute the rhythmic life to the orchestra, and rhythm being the basis of all melody, these are definitely introduced in the different types of Kutapas, however, in proportion to the number of the other instruments. Bharata has not mentioned about Susira Kutapa as such. Bharata has spoken of tata and avanaddha Kutapas only, as the purpose of the flute tone is realized in the employment of the tones of the Vina itself. But, in a tata Kutapa the flute was introduced to enhance the music of the Vina, by its steady tones. Bharata has the logic to speak and treat of tata and avanaddha Kutapas as representing svara and tala, the two fundamental factors in music. The susira and ghana vadyas are already implied in these two. However Sarangadeva has referred to Vamsika brnda separately. Natya Kutapa For the Natya Kutapa, which is related to dancers, actors and actresses, the number of musicians and players on the stringed, wind and percussion instruments has been specifically referred to. Further, the seating of the musicians of the Natya Kutapa, on the stage is explained in clear terms (Natyasastra - Ed. Manmohan Ghosh-XXXIII p. 187: 221) The Mrdanga player sits facing the stage, to his right is seated the Panava player and to his left sits the player on the Dardura. Before the regular commencement of the play, and the lifting of the curtain, the musical instruments are tuned accurately to perform the trisama - three samans (Natyasastra XXXIII-p. 189: 222-226, Natyasastra - Ed. Manmohan Ghosh-XXXIII p. 187: 221) for propitiating the trimurtis.

92 Treatment of Brinda [vrinda] and its varieties in Sangita Ratnakara: Sarangadeva refers the ensemble of musical instruments as Vrnda, the most appropriate term to denote the Indian orchestra. The topic Brnda finds a unique treatment in the hands of Sarangadeva, who succinctly expounds in twenty slokas (Sangita Ratnakara: - Adyar Edn. Prakirnaka adhyaya. p. 198. 203-223), the Laksana of orchestra, its composition and classification, the types of musical instruments used, their number and performers male as well as female, and finally the salient features of orchestral music. Vrnda is a combination of vocal and instrumental music. "gatravadaksanaghato brndam ityabhidhiyate " When singers and players on instruments perform in-group, it is Brinda. Govinda Diksitar's definition of Brnda is noteworthy in this context (Sangita Sudha - Music Ac. Edn. Prakirnaka adhyaya. Pp. 274, 305). brndam janananda mulakandam | kadambakam vadakagayakanam vidanti brndam || In the opinion of Sarangadeva, when the two Kutapa, tata and avanaddha, provide accompaniment to Natya, the collective performance is again Brnda, the Natya ensemble. According to the strength and size of the orchestra, Sarangadeva classifies Brinda [vrinda] into three varieties as uttama, madhyama and kanista. gana visesattraidham tadetatpunaruttamam | syanmadhyamam caiva tatah kanistam || (Sangita Sudha -pp.274, 306).

93 A study of the descriptions and varieties of Vrindas and Kutapas available in the Ratnakara is of help in classifying them suitably. Sarangadeva has recognized two primary kinds of Brnda namely the vocal ensemble (gayaka- brnda) and the instrumental ensemble (Vadaka-Vrinda or Kutapa-Vrinda). Vocal ensemble The vocal ensemble in which the human voice predominates, is of two kinds namely the gayaka brnda with male singers and Gayani brnda with female singers, each of these again admits of three varieties, Uttama, madhyama and Kanista, taking into consideration the presence of the chief singers and the co-singers constituting the brnda. Instrumental ensembles or Vadaka brndas: The Vadaka brnda is of two kinds, the tata Kutapa Vrinda and avanaddha Kutapa Vrinda. Tata Kutapa vrnda: It is the stringed band that consists of a larger proportion of tata vadyas along with a few good singers and wind instruments, and rhythmic vadyas. The stringed instruments that are utilized in the tata Kutapa are as follows:- Vina, ghosavati, citra, Vipanci, Parivadhini, Vallaki, Kubjika, Jyesta, nakula, osti, Kinnari, jaya, kurmi, pinaki, hastika, satatantri, audumbari, pauna, satkarna, ravanahasta, sarangi, alapini and other varieties. Wind instruments such as flute, pavika, pava, kahala, conch, mukhari and srngavadya are used.

94 Avanaddha Kutapa brnda: It is the percussion band consisting exclusively of the rhythmic instruments of the avanaddha and ghana type. Ghana vadyas are also included in the percussion band as these are capable of adding rakti to the performance. Mrdanga is the primary instrument and the other kinds of instruments used are panava, dardura, mandidakka, dakkuli, pataha, karata, dhakka, dhavasa, ghatasa, hudukka, damaru, runja, kuaukka, kuduva, nissana, trvali, bheri, tumbaki, bombadi, pattavadya, pata, kamra, jhallari, bhana, selluka, jayaghanta, kamsyatala, ghanta and kirikittakam. And a performance by this group of instruments, vadaka, and samcayah is avanaddha Kutapa. That which is popular as tala vadya vrnda of today, having in it mostly the classical tala vadyas, is the avanaddha Kutapa in the developed form. Besides the avanaddha Kutapa brnda, Sarangadeva speaks of mardalika vrnda (Sangita Ratnakara Ch. VIII p. 361. 667), the ensemble of Mrdangas, which consists of two, three or four Mrdangam players. This again is a variety of avanaddha brnda, with a composition of more than two of the same kind of skin-covered instruments, and without the presence of either vocal or any stringed or wind instrument in it. Though Bharata and Sarangadeva have not referred to Susira Kutapa as such, the latter in his chapter on instruments has described what he calls as Vamsika brnda (Sangita Ratnakara Ch. VIII p. 469, 1067).

t 95 Further when an instrument or group of instruments performs independently without accompanying either the vocal or dance performance, then it is called gosti or suska (Sangita Ratnakara Ch. VI p. 261, 17). caturdheti matam vadyam tatra suskam taducyate | yadvina gitanrttabhyam tadgostiyucyate budhaih || Performance by a single person is referred to as 'ekala', of two persons 'yamala' and of more than two, is called brnda (Sangita Ratnakara Ch. III. p. 155. 23) and perhaps in this sense of the term, the vamsika and mardalika Vrindas have been used. The features of Vrinda gana: Sarangadeva expounds the vrinda gunas, the six salient features of orchestral music very briefly. mukhyanuvrttirmilanam talalinanuvartanam mithasrutitanirvahasstristhanavvptisatih | sabdasadrsyamityette prokta brndasya sagunah aha brnda visesam tu kutapam bharato munih || (Sangita Ratnakara Ch.III p.198, 210-211) The brinda gunas are mukhyanuvrtti, milanam, talalayanu vartanam, sabdasadrsyam, sthanavyptisakti and mithasrutitanirvahanam. The author has not explained these gunas, probably because; these were quite familiar in his time.

96 Anuvrtti: Following or accompanying the music of the chief gayakas or chief singers in the orchestral group is the first characteristic feature. Milanam: Performing together in perfect unison and harmony. Talayanuvartanam: Conformity to the laya and tala through out the performance is the guna. It is the rhythm, the unifying factor that enables all the performers in an orchestra to give out a uniform and coordinated performance. Thus, every member of the brnda to achieve milanam should, carefully follow the tala and tempo of the music of the chief singers. Mithasrutitanirvahanam: Mutual cooperation and understanding in the melodic and rhythmic execution of the various participants in a brnda [vrnda] leads finally to synchronous performance and this is the fourth characteristic feature. Any fresh and (apurva) novel, imaginative turn of melodic or rhythmic expression displayed by a performer in the orchestral group has to be mutually accommodated and adjusted. Tristhana vyapti sakti: Ability to extend over a range of three sthayis. The orchestral music must, as a general rule, have a free range of three octaves, mandra, madhya and tara. When rendered collectively and in parts, in different sthayis, the music results in an admirable effect, which is pleasing (trsthanasobhimudhuram). Further, musical instruments have an advantage over the voice in their capacity to produce music in all the three octaves and more. And this quality lends variety and charm to the brnda gana especially.

97 Sabda Sadrsyam: The identity of the music or sounds produced by the voice and instruments is Sabda Sadrsyam. The oneness or Sadrsya of music, is rightly the high light of any group recital. All the five features elaborated above go up to create this most important effect of total identity of the music. uttama gayanasya sabdena vaismayavivarjanam | yatsastam gunam tam nipunam bhananti || (Sangita Sudha - Ch. III. p. 275, 316-317) Thus in brnda gana, the synchronous and uniform delivery, ensured by the following the laya, tala and music of the main singers with mutual co-operation and understanding, results in the sum total effect of Sabda Sadrsyam. Natya Kutapa: Having dealt with the Gayaka vrinda, tata and avanaddha vrinda, with their varieties and the vrinda-gunas, Sarangadeva gives a detailed treatment of Natya Kutapa, the orchestra related to dance. As dance is never independent of music, some kind of musical accompaniment is indispensable in all dance concerts. The Natya Kutapa consisted of great exponents of Bharata-sastra hailing from the different regions of varati, lata, karnata, gauda, andhra, cola, anga, vanga and other provinces, and who were proficient in tandava and lasya.

98 From the description of another kind of dance troupe, which Sarangadeva refers to as sampradaya, it is clear, that it is an orchestra or brnda comprising musicians and players on several kinds of instruments, which provided the regular musical fare in a dance performance. nartanopayoginam vadakagayakanam brndam | sampradaya iti lokarudhya ucyate | (Sangita Ratnakara. VII. p. 373, 1243-1256) The best dance troupe (Sangita Ratnakara -Vol. IV. ch. On Dancing-Trans. By Dr. K. Kunjunni Raja and Radha Burnier, p.188: 1252. 8.), in the opinion of Sarangadeva is the kutila sampradaya consisting of the following sixty-four participants. The leader of the troupe or Mukharin who is an expert, a pratimukharin, the chief assistant, two players each on he percussion instruments, avaja and adhvaja, two players on the tala vadya, karata, thirty-two Mardala players, two cymbal players (taladharas), eight players on cymbals made of bell metal, two performers on Kahala and two flute player with a fine discriminating taste and proficiency in playing a sweet, distinct and full sound and two main singers accompanied by eight other co-singers. The laya shown by the mukharin is to be strictly maintained and the deficiencies in singing are to be covered up by appropriate filling, while the tala should throughout be conformed to accurately.

99 anuvrttirmukharinastallayonyunapuranam | talanuvrttirityete catvarah kutile gunah || (Sangita Ratnakara VII. p. 672: 1252-1259) At the commencement of the performance before the curtain is drawn, the members of the orchestra occupy their respective positions with their instruments well tuned, play in standing posture the vadya prabhandhas or the instrumental compositions like melapaka and gajara. When the playing of Upasama, which is another instrumental piece, follows it the curtain is raised. On entering the stage, with flowers in her hands, the dancer executes the puspanjali nrtta. Then the dancer performs various vigorous compositions like pada, ota, kavita, malapa, avatsaka, rigoni and tuduka played in a definite order by the orchestra. This paddhati is known as Suddha and is referred to as parivadi by the people. Sarangadeva has separately dealt with special compositions under the caption of Vadya Prabandhas, which are intended to be played on the different kinds of instruments in detail. The Sangita mela of the Nayak and Maratha period: The term Sangita Mela denoting the group performance instrumental music, vocal music and dancing, which came into use during the Nayak period (17 th Cent. A.D.).

100 Usaparinaya, a yaksagana written by Vijayaraghava nayaka (1633- 1673) contains a reference to the performance of Sangita mela, using musical instruments such as dande, tambura, svaramandala, vetugajjalu, mukhavina, dakka, chenga, upanga, kinnarivina, tala, pillangrovi (flute), citti talam, sesanadam, Kombu, Ravanahasta, candravalaya and muraja. The performance of Sarva Vadyam in the temple at Cheyyur near Madras is an instance of Sangita mela. Homage is paid to God through the four channels of poetry, vocal music, instrumental music and dance. For some temple rituals the Pancavadyam consisting of the five instruments viz. the Kombu, Suddha Maddalam, Thimila and Illatalam (cymbals) has been enjoined. A careful study of the study of the structure and limitations as well as the advantages of the various instruments, their particular tonal quality, compass, intensity, sound output, and its continuity serves to go a long way in harnessing their resources for group effect and improving the total performance of Indian Orchestras.