EB Instrument

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CONTENTS

INSTRUMENTAL PART 1 A HINDU GROUP PRESENTATION

Introduction – 4

Sangameswara Sastri – 5

Copyright Kasturi and Sons Ltd., 2003. Dhanammal – 7 No part of this document may be republished or distributed without the express written permission of Veena Doreswamy Iyengar – 8 Kasturi and Sons Limited, 859-860 Anna Salai, Veena Balachandar – 10 Chennai - 600002, INDIA.

Chittibabu – 12 Compiled & produced by Emani Sankara Sastry – 13 R. Venkatesan Partho Ray K.P. Sivanandam – 14

Marungapuri Gopalakrishna Iyer – 16

Dwaram Venkataswamy Naidu – 17

Papa Venkatramiah – 18

Kumbakonam Rajamanickam Pillai – 19

Sangita Ratnakara T. Chowdiah – 20

T.N. Krishnan – 21

Lalgudi Jayaraman – 23 All articles ae extracts from articles that have appeared in M.S. Gopalakrishnan – 25 the Hindu over a period of time. M. Chandrasekharan – 26

V. V. Subramaniam – 27 All pictures from The Hindu photo library. T. Rukmini – 29

Kunnakudi R. Vaidyanathan – 30 Design & Graphics K. Bala Partho Ray

3 Introduction

HE sound created by the vibrations of a The need for collecting these interviews and string has long enthralled humanity. Over articles and producing them in the form of a T time, man has managed to use string instru- book has been felt for quite some time now. For, ments to produce sounds that simulate the there is no other way to make available to a sounds of human speech. Thus was born an era reader the nuggets of articles that appeared in of music, in which those who could not modulate print, say, half a century ago. It was this idea their vocal chords to produce a series of sounds that has now resulted in Strings of Musicí, in the desired frequencies, could do so playing Instrumentalists Part-1 . In this collection, one string instruments. would learn of what was said of Veena Dhanam South Indian musicians have been in the van- in 1935 or of Chowdiah in 1967, or what MSG told guard of things, be it in adapting the Western an interviewer in 1995. ● violin to Indian classical systems, or using the very traditional veena. Of late, other Western M. Ramesh instruments such as the mandolin and the guitar have also come to be used in carnatic music, and while the formerís acceptability has been established, that of the latter is on the rise. These string instruments have created their own legends, geniuses such as Lalgudi Jayaraman, Chowdaiah, T N Krishnan, S Balachandar and Emani Sankara Shastri. While they all played carnatic, each artiste had a unique style “ bani” which distinguished them from the rest. The styles then became ëschoolsí for lesser artistes to follow. Again, the lives of these legends exemplify the inevitable triumphs and travails a musician has to go through. What kind of men and women were they? How were their lifestyles? What were their faith and inspiration? What propelled them down the bumpy road towards mastery? These are some of the questions that interest students of music and connoisseurs alike. The Hindu newspaper has been chronicling the developments in the cultural history of the country for over a century. Interviews and articles on music have provided useful insights to the readers, into the depths of the art. Take for instance Veena Doreswamy Iyengar’s method of producing gamakas (“My guru has told me that pulling the strings is only one aspect of ten ways of gamakasóplaying notes separating the fingers is also a way of achieving gamakas”), or what M S Gopalakrishnan has to say about the violinist (“first and foremost, a violinist must be a vocalist, only then can he feel the bhava of the song”)the articles that appeared in The Hindu have imparted to the reader, discernment of a 4 great didactic value.

MONG the top-ranking vainikas of the pre- vidwans of the time. Sometime later he left vious generation, Sangameswara Sastri Khasimkota and became the samasthana vidwan A (1874-1932) (also called Sangama Sastrulu) in Pithapuram. This proved a turning point in his occupies an honoured place. Tumarada was his career. house name. He was a Velanadu Telugu He enjoyed the patronage of the Maharaja of Brahmin. His father was Somayajulu and his Pithapuram right till the end of his life. Not only mother Gunnamma. He was born in did the Maharaja shower upon him Bitivada Agraharam in Sangam Without using honours and emoluments, but hon- Valasa of the Palakonda Taluq of oured suitably the sangita vidwans Bobbili. his right hand who visited his Samasthanam. He left his native place in his fingers, he While at Pithapuram, Sastrulu eighth year to study music under came into contact with his brother-in-law (elder sister’s sometimes Rabindranath Tagore. Tagore was husband, the renowned Nandigana played the so fascinated by his veena play that Venkanna Garu (also called he took him to Calcutta and then to Venkayya Garu) of Bobbili. veena with his Bolpur. He kept him there for some Venkanna Garu was a revered left hand fin- months and derived aesthetic and singer of the time. gers alone; i.e., spiritual exaltation by listening to Sangameswara Sastri spent the the divine music of his veena. first four years in learning vocal utilised the left Tagore later deputed two of his music under Venkanna Garu and hand fingers for musicians to go to Pittapurram and later learnt to play the veena under learn veena under Sangameswara him. Venkanna. Garu was his sole striking and Sastri. Sangameswara Sastri car- Guru. Sangameswara Sastri did not playing music. ried on his daily practice in the learn music from anyone else. Even night from 11 p.m. till about 2 a.m., during his tutelage discerning vid- Sometimes he or 3 a.m. Each night he took up a wans noticed in him the future played on all raga for exposition and continued it prodigy. He practised incessantly. the strings right through the three or four On the completion of his studies hours of practice. Sastri performed under Venkanna Garu, Paravastu simultaneously. the Veyi sadhakam, i.e. playing a Rangacharulu, the renowned schol- thousand times at a stretch the ar of the time, happened to hear Sangameswara. scale in three octaves, in the quickest tempo pos- Sastri play on the veena. He felt thrilled at his sible. If, in the course of this practice, a break or performance. He took him to Visakhapatnam, pause ensued, the practice was done afresh a arranged for him concerts in the Gonevari thousand times, ignoring the number of times Samasthanam and made him the recipient of already practised. Sastrulu insisted on his disci- many honours and costly presents. ples performing the veyi sadhakam, though tire- Subsequently, Sangameswara Sastri obtained some and boring it was at the commencement. the patronage of the Zamindar of Khasimkota. Sangameswara Sastri sometimes produced Along with his patron he used to come to effects on his veena which resembled megha Madras. Once, Sastri extended his stay in gharjana (thunder) and at other times effects Madras for a year and during that period culti- which resembled the sweet strains of the Kokila 5 vated the acquaintance of the leading sangita (musical bird). Without using his right hand fin-

© Kasturi and Sons Ltd. www.thehindu.com; Distributed by: Sulekha.com gers, he sometimes played the veena with his left hand fingers alone; i.e., utilised the left hand fingers for striking and playing music. Sometimes he played on all the strings simultaneously. He was a past master in the technique of Naga bandha svara sampradayam. Sangameswara Sastri held the veena in the urdhva (vertical) posture and played. Two other prominent vainikas who held the veenas in this position and played were Vizianagaram Venkataramana Das and Karaikudy Subbarama Aiyar, the elder brother of Karaikudy Sambasiva Aiyar. Sangameswara Sastri was a good teacher. There was a vitarana (planned method) in his teaching. But on account of the vigour, arduous- ness and exacting character of his lessons, many did not stick to him and come up to his level of eminence. Sangameswara Sastri was also an expert violinist. He played on the drum and nagaswaram also. Whenever he noticed a new technique in the play of another vidwan, he straightway prac- ticed it a number of times and became thorough with it. Nothing was impossible for him. Sangameswara Sastri was a pious and devout man. He was a Lalita Devi Upasaka. On the day of his demise, he became conscious of his approaching end. He felt he was going to survive only for a few hours more. Lying on the bed, he had the veena placed on the chest parallel to his body and played cheerfully till his end. The soul left his body to the sweet strains of his music. ●

P. Sambamurthy Apr. 20, 1952

HE purpose of this article is to invite the these are, not once does she falter, or fumble of attention of all interested in music to a few such mettle is she made. T aspects of Dhanammal’s personality as a It may not be known to many that the talent- musician. Invariably a soloist, Dhanammal plays ed composer of the most popular ‘Javalis’, the and sings all alone with not even a mridangam late Sri Dharmapuri Subbarayar, was a close for accompaniment. Only a sort of drone is kept friend and admirer of Dhanammal. I understand on by the marvellous dexterity of her frail little that the charming lilt in ‘Faraz’ opening with finger that rubs the Pakkasaranis. Barring this, ‘Smarasundara’ was composed in her honour. By she uses no aids for the two meetu fingers. far the most noteworthy feature of Dhanammal’s This accounts for the meagre volume of her Veena is ‘Thanam’. It is here that her genius is veena which is already a very small one. Her seen in all its sublime grandeur. As in ragam, so raga elaboration is very system- also in ‘Thanam’, her atic, following, as it does, an Pakkasaranis keep on gently exalted tradition. The brief sur- vibrating like a faint drone, and vey of familiar ragas such as do not beat regularly as if to keep Thodi and Kalyani are models of time. Syllable glides into syllable perfection. With meticulous and numberless curves and jerks care, she has scanned the raga follow one another in a deliber- system, and has a clear grasp of ate, well-ordered plan, with per- its essentials. Her raga alapana, fect resonance and freedom from though always very brief, jarring metallic clang. Her imag- exhausts the salient features, ination, her supreme mastery Yet, those who have heard her over the instrument, her unerr- for years on end, far from feeling ‘Kalapramanam’ or time ing bored or satiated, marvel at the ineffable sense, and her refined taste and admirable sense charm, variety and freshness of her style. of proportion shine to the greatest advantage in Dhanammal plays more than a thousand this most interesting part of Veena music. Often, songs. The choice and variety of the pieces may this haunts one long after the performance is be seen from the fact that composers who figure over. in her repertoire number over seventy. This True to the age and tradition in which she was must have determined her whole perspective, born and brought up, Dhanammal possesses rare and helped to shape and refine the plan of her traits as a vocalist. Her voice is sweet, clear and ragas, and made them the grand, concrete, living powerful. So admirably does it merge with the pictures that they are. If her rendering of Veena that even an attentive auditor often mis- Thyagaraja’s songs is crisp, sweet and scintillat- takes the instrument for the voice and vice ing, her interpretation of the other two of the versa. Lastly, her pronunciation -- her songs run famous Trinity is gorgeous, superb and ornate. in six languages -- is absolutely flawless. She has And she is justly famous for Kshetragna’s carefully studied the purport of her songs. This padams. enables her to render them with so much feeling, Her laya ‘gnanam’ is the more wonderful in and also accounts for the high level of her gen- view of the slow time measure that she adopts as eral culture. To her, music is no vehicle for sor- a rule. Shyama Sastri’s Swarajati in Bhairavi she did, sensuous enjoyment, but a medium of com- plays in Misra Chapu, Birana Brova in Kalyani munication with the soul.● in Thirsra Eka, and Ninuvina in Poorvakalyani in Misra Eka, while Thyagraja’s Madyamavati piece Alagalella she plays with two even strokes R. Ramanuja Iyengar 7 in lieu of an avartham of Rupaka. Difficult as Sep.20, 1935

Venerable vainika of Mysore

HE royal atmosphere of the Mysore palace blessed with a taste for Carnatic music, listening in which he was brought up in his formative to Ariyakudi only intensified my desire to hear T years has contributed to Veena Doreswamy more and more of it. Many vidwans would sing Iyengar’s regal maturity in life and art as well. before the Maharajah during Dussera and I Very simple in dress but aristocratic in veena heard them. exposition, Doreswamy Iyengar recounted with Were you a disciple of your father through enthusiasm his step-by-step development as a out? first class vainika. “Veena playing runs in our No, no. My father was a disciple of family. My father Venkatesa Iyengar was a Venkatagiriappa of the Mysore court. One day vainika, a member of the Mysore Palace he asked my father, whether I was interested in Vidwans orchestra. Later he learnt flute. So I Carnatic music and veena? My father said that I had intimate association with the reputed was learning veena from him. Venkatagiriappa asthana vidwans.” said, “A son learning from his father will not be Your initiation in veena was at the hands of adequately disciplined. You send him to me. I your father. shall train him.” Thus I became a disciple of Yes, for a few years. He taught me the rudi- Venkatagiriappa for about eight to ten years. ments sarali, alankaram in three kalams, gitas Venkatagiriappa taught me nearly 20 rare and and swarajatis. I used to practise these lessons timehonoured varnams, some kirtanas and one at least two hours a day. or two Pancharatna kirtanas. He would teach As a boy of six, I attended a performance by and watch me as I played. If I committed any Ariyakudi Ramanuja Iyengar accompanied by mistake, I had to repeat the portion at least 15 to Chowdiah on the violin. That was the first 20 times, till I could play perfectly. Unless he 8 cutcheri I listened to with my father. Being was satisfied he would not proceed further. He

© Kasturi and Sons Ltd. www.thehindu.com; Distributed by: Sulekha.com always said, “You must get siddhi in playing.” In My firm opinion is that there is an exaggera- this way he taught me chitta tanam which Veena tion of the veena sound although it reaches Seshanna had specially composed for vainikas to many. I feel the natural tone of the veena is lost understand the method of playing tanam. when the contact mike is used. ● Can you recall any memorable event during your tutelage under your guru? The Mysore Maharaja was very particular SVK that a second line of vainikas, vocalists and oth- Dec. 9, 1994 ers was prepared. So, one day. he asked my guru whether he had given training to young persons to take on his mantle. Then, along with me, Ranganayaki Parthasarathy and Nallar Rajalakshmi were also learning veena. The Maharaja asked my guru to bring his disciples one day to the Palace so that he could hear them. I remember I played for half an hour. The Maharaja heard me and asked my guru, “Who is that boy?” pointing to me. “He is our orchestra veena vidwan Venkatesa Iyengar’s so”. The Maharaja told my guru, “Train this boy well. He is full of promise”. I was pleasantly surprised when the Maharaja gave me Rs.50. As word spread about this incident, many came forward to offer me chances. By about 16 or 17 years, I was a complete vainika, I presented many cutcheris. I want to mention here a significant comment Venkatagiriappa made. As I was getting more offers to perform, my guru called my father and said, ‘Do not expose him too much to the public. Let him practise more and more. He was only against overexposure’, I had to attend to my general education too. I am a graduate of the Mysore University. My father was very particular that I should get a degree, though my guru often advised my father not to push me too much towards a degree. Today, I feel my university degree has bought me great benefits, made me cultured, taught me to behave well with people and my professional fraternity and given me the capacity to analyse and come to the right conclusions. Education is a must, I feel. Could you explain the characteristics of the Mysore bhani of veena play? Veena Seshanna and my guru have told me that pulling the strings is only one aspect of ten ways of gamakas mentioned in the Sastras. Confining the veena to the vocal regimen limits the scope of the instrument. Playing notes separating the fingers is also one way of achieving gamaka and this enhances total excellence of the veena. 9 You don’t use the contact mike.

EENA vidwan, S. Balachander (1927-1990) even to guide him through the initial-stages of was born in a family of musicians in veena playing, he has never for once felt it a V Madras. Balachander from the age of five handicap. In fact, he said, on the other hand - by showed interest in classical music. Starting with the grace of God - gave him the unique opportu- the “kanjira”, he accompanied his elder brother, nity to practise on his own, strive by himself, Mr. S. Rajam, a vocalist, in concerts. and bring credit for himself, for his achieve- He then learnt to play other instruments -- ment of having evolved a new trend, a new style tabla, harmonium, bulbul tara, mridangam, and a new school of veena playing. tharshenai, dilruba, tabla-tarang, and sitar. He Balachander is also credited with the Great was a full-fledged concert artiste in sitar for Achievement of having secured a unique place some time. for veena as a “pucca” concert instrument (on From his age of 15 for nearly three years with even concert vocalists) whereas prior to Balachander served as an artiste in AIR Madras this, veena was treated mainly as an instrument where he performed on all the above-mentioned for ‘chamber concerts’. instruments and almost daily, as a solo artiste, as Balachander is also an authority on Hindustani part of an ensemble or an accompanist. Music and an eminent musicologist whose lec- As soon he realised that Sitar did not provide ture-demonstrations in India and abroad are him the scope to handle the breadth and depth of marked for clarity, lucidity and simplicity. His carnatic music and switched over to veena. monumental work on the 72 melakarta ragas, From that moment it was an endless relation- which he presented in 12 LP records is one of the ship between veena and Balachander the two most significant contributions to musical poster- becoming synonymous with each other. Though ity. Balachander did not have any master or tutor, Balachander and controversies walked in hand

© Kasturi and Sons Ltd. www.thehindu.com; Distributed by: Sulekha.com in hand. He criticised the Music Academy for player having, as a nine year old, defeated the denying instrumentalists a pre-eminent position then Sri Lankan national ches champion. in its concert schedule on par with the vocalists. Dr Balachander has performed concerts, in Ever since he has not performed at the Music USA, USSR, China, Japan, most of the Europan Academy barring during one season. countries and almost all South East Asian coun- After he challenged Dr. Balamuralikrishna’s tries. claim that he had created a few new Ragas. Dr Balachander has four disciples -- Smt. Balachander proved with documentary evidence Gayathri Ramachandran, Sri Veni Madhavan, that the new ragas were actually existing ragas, Kumari Jayanthi Radhakrishna and Smt. which had been given new names. The technical Jayashre Mahesh. committee of Music Academy endorsed The Secretary of the Music Academy, Mr. T.S. Balachander’s assertion. Parthasarathy writes. “I knew Balachander But the last few years of Balachander’s life from his childhood. He began his music career was spent in his battle again “the swati tirunal as a boy prodigy who could play the tabla, sitar myth” (to use his own words). Balachander and other instruments even before he was seven. claimed, again with ample documents that Swati He later switched over to the veena and mas- Tirunal a king of Kerala did not compose the car- tered it without the help of a teacher. He learnt natic kritis attributed to him. Swati’s successors many compositions on his own and could play had “fraudulently” affixed Swati’s name in the ragam, tanam and pallavi effortlessly. He partic- songs composd by his court artistes, he charged. ularly developed Vivadi ragas to a degree of Dr Balachander, who said he was fighting the excellence and produced an album of records of swati battle for the sake of posterity, had also the 72 Melakarta ragas. He was a talented con- filed a writ petition in the Madras High Court ductor of orchestral music and also film music. demanding that the National Book Trust with- The music world has lost a colourful if somewhat draw its official biography on Swati Tirunal controversial personality.” ● written by Dr. Semmangudi Srinivasa Iyer, another leading carnatic musician. Apr. 15, 1990 Dr Balachander was also an excellent chess

ORN in Kakinada, Andhra Pradesh. Mr. He received the Sangeetha Natak Akademi Chittibabu, popularly known as ‘Veena’ Award in 1990. He was conferred B Chittibabu, started learning veena at the “Kalaprapurna” honorary doctorate by the age of five. He gave his full-fledged concert at Andhra University, Visakhapatnam, in 1984. ● the age of 12 and gained recognition as a child prodigy. He was the disciple of the late Mahamohapadhyaya Emani Sankara Sastry. Feb. 11, 1996 Chittibabu had also scored music for a few films. He was a member of the Experts Committee of the Sri Thayagabrahma Mahotsava Sabha, Thiruvaiyaru, and an ‘Asthana Vidwan” of the Sri Kanchi Kamakoti Peetam. Chittibabu had several awards, honours and titles worldwide to his credit. He was the “Asthana Vidwan”, TTD, and the State Artiste of Tamil Nadu from 1981 to 1987.

MANI Sankara Sastry’s meteoric rise to Achyuta Rama Sastry was not interested in this fame in Carnatic music not only proved his son taking up music as a career but he had to E creative genius but also his traditional slowly yield to the grit and determination and family background. The greatness of Sankara hardwork shown by the boy in learning to play Sastry was that he was an artiste with an open the instrument. mind to receive the essence of the other musi- Dr. Keskar, then, Union Minister for cal style of the world. Information and Broadcasting and R.K. Ram He was exposed to Hindustani and western Dayani, Secretary, Information and styles of classical music at a young age and Broadcasting offered Emani a job in All India therefore during the formative years of his Radio. Keskar instructed the authorities to career, these influences blended into a fine attract talent from outside. Emani joined the temper and made him an integrationist among Madras station of All India Radio on December artistes. This could be particularly seen in the 1, 1959 as its music producer. In 1961 he shifted way he composed music on a variety of themes to the national orchestra of Delhi AIR, as a com- on several occasions for All India Radio and poser conductor of its national orchestra. The others. His Vadya Brinda themes are a story by command and mastery he displayed there, themselves. made him soon the chief producer of music and Though he played the traditional ragas like then director of national orchestra. This was his favourite ‘Sankarabharanam’ or ‘Varali’ or another opportunity for him to come out with ‘Kambhoji’, he was always ready to serve new his creative genius in composing new tunes for dishes of musical essence. Belonging to the tra- his Vadya Brinda programmes. dition of vocal-veena artistes, Sankara Sastry Emani Sankara Sastry was an interesting used to sing, at times while playing. He enter- combination of the traditional and the modern. tained the audience with Hindustani medium If it was a serious concert he stuck to classical and also with a couple of western tunes. There tradition and idiom. When it came to presenting was inevitably a ‘Veda Pravachanam’ on the his compositions Over radio he was creative. instrument along with which he sang. ‘Gamakas’ were always his strong point and he Born in 1922, at Draksharamam in East played them with great virtuosity whatever the Godavari district of Andhra Pradesh, Sankara raga. His ‘swara prasthara’ and ‘taanam’ were Sastry showed great promise even at the age of always admirable. three by trying to follow the musical sequences According to Sankara Sastry music is an with perfect laya gnana. He imbibed the skills ocean with endless potentialities. As new forms of not only his father Achyutarama Sastry but are created fresh ones appeared with limitless also that of his grandfather Emani Subbaraya possibilities. It was his endeavour to take the Sastry, who was a great vainika of his days. But ingredients of music and contribute to the hap- what Sankara Sastry did was to enhance the piness of the people through the medium of scope of the instrument. Veena, before him, was music and rhythm. played for a limited gathering. He introduced Emani was also a composer of considerable amplification of sound by using the contact talent. He composed kritis, padams, javalees mike, given to him by a foreigner. Emani was and tillanas and a raagam-taanam-pallavi in versatile in playing the instrument on mandara Todi raga for orchestration was a great attempt and anumandarasthyai strings. He exploited by itself. Emani disciples include reputed the scope of the veena to the maximum in cre- names like Chittibabu, M.Y. Kama Sastry. ● ating sounds - even continuous sounds, resem- bling those from a wind instrument. G. Srihari 13 However, he had to break his studies. Feb 2, 1988

HE music wing of Annamalai University As in vocal music there is akhara practice in (Sangeetha Bhushanam course) was veena. All the alankarams had to be learnt T resounding with vocal music and the strains swara-wise and akharawise. That is very, very of the veena. Ponnaiah Pillai, Sabesa lyer, Tigcr essential. And the alankaras had to be practised Varadachariar and Sattur Krishna lyengar were in all sampoorna ragas -Todi, Sankarabharamam, the veterans in charge of the Carnatic music sec- Karaharapriya and so on. One student would tion teaching the intricacies in the traditional start with say, Todi and when he finished the way to bright students. next would begin with Karaharapriya. There was always a highly charged musical Thus the lessons would go on. So we had com- atmosphere in the college. It was not actually plete control over the instrument in almost all teaching in the formal way. First-year students the ragas, both by way of swarams and would be taught songs when second or third year akharams. students would sit and hear Then the alankaras had to and vice versa. Thus there be played the anulomam and was always an exchange of pratilomam way. That is the musical ideas between pro- first, second and third kalam fessors and students and of an alankara in Dhruva, among the latter’ said K.P. Madhya and the five talas. Sivanandam, son of This way laya grip would be Ponnaiah Pillai, recalling gained. his early years in Some veena players fre- Annamalai University. quently sound the tala How come you became a strings while playing. Why? veena vidwan? It is not tala thanthi, for I used to go round the your information. While music section of the univer- playing the main string of sity freely. Many veenas the veena, one has to pull it were kept there and I would to effect the gamakas. When dabble with them. I used to the string is plucked often, mix with veena and vocal the sruti is likely to be dis- students and thus I learnt turbed. So the three strings both vocal and veena. sounded by the little finger Your father encouraged help the veena artiste to set you in this line? right the sruti alignment of No, no,no. He never knew that I had been play- the main string. The tala strings as they are ing on the college veenas. The rooms in the col- being called are really sruti strings tuned to sa- lege were such that one could sing or play with- pa-sa.The strings have to be gently sounded, not out anyone watching him. frequently or loudly. That was how I learnt the rudiments. And it For how many years were you a teacher in happened. Sabesa lyer used to stroll along the Annamalai University? campus to watch the activities of the students From 1939 to 1948. My father was against my and he saw me engaged in veena play. He went to accepting the job. I took my appointment order my father Ponnaiah Pillai and said that I should and went to receive the blessings of my grand- be trained in veena. Thus my regular veena les- father Pandanallur Meenakshisundararn Pillai. sons started. Do you know how he reacted? “Your father came 14 What was the kind of practice given to you? to nothing by becoming a professor and you

© Kasturi and Sons Ltd. www.thehindu.com; Distributed by: Sulekha.com want to follow his footsteps,” he said. There was a reason for such lack of enthusiasm on the part of my grandparent. It so happened that Mysore Veena Seshanna had come to stay for a month in a house opposite to that of my maternal grandfather Kannuswami Pillai, to study some music manuscripts. He was invited by the Tiruppanandal Adheenam to give a cutcheri and Seshanna was paid Rs 1,000. Reminded of this, my grandfather remarked, “Your father as a teacher earned Rs 75 a month and you are accepting a job for Rs. 50”. I worked as a veena professor on a very meagre salary from 1939 to 1948. The next year, I was chosen professor of the Central College of Carnatic Music (now called the Tamil Nadu Music College), Madras and held the post for two years. After leaving the Central College of Carnatic Music, I was only a freelance veena artiste giving performances and playing on All India Radio. If I remember right, you had been to Sri Lanka too on some assignment. Swami Vipulananda was doing research on ‘Yazh Nool’. In that connection, I had been there and worked in the Swami Vipulananda Sangeetha Natana Kalluri. The book was later released and I was also honoured with the title, Veena Viththakar. I was also honoured by the Music Academy with the Sangeetha Kalanidhi title. ●

Nov. 24, 1994

Melodic violinist

violinist who was a fine representative of he took to the violin on the advice of his guru. He the classical tradition, Marungapuri began to practise seriously on the violin, when A Gopalakrishna Iyer had a unique style of he came under the spell of Ettayapuram fingering and bowing. His rendering of kritis Ramachandra Bhagavathar. Later, had great melodic quality. Even in his seventies, Gopalakrishna lyer migrated to Madras, where he did not lose his control over the instrument. he came under the discipline of Vidwan Tachur Rasikas will remember his fine two-hour recital Singarachariar. when he gave a demonstration in 1955 in the city. Violinist Govindaswami Pillai, who was very Born in Madurai in a musical family, much impressed by Gopalakrishna lyer, request- Gopalakrishna lyer had his initial training under ed him to play along with him. They were a fine his grandfather, Vidwan Gopu lyer. Noticing his violin duo, drawing large audiences. aptitude, his grandfather took him to Karur Gopalakrishna lyer gave several concerts along Venkatarama lyer, a violinist who began to teach with Govindaswami Pillai and earned a name. He him music. After three years of training under later became a solo violinist. ● him in vocal music, he learnt some varnas and kritis and was given an opportunity to sing Mar. 16, 1979 before Swami Vivekananda in Manamadurai, to the violin accompaniment of his guru. Two years after this event, the young musician 16 began to lose the melodic quality of his voice and

WARAM Venkataswamy Naidu (1893-1964) music lovers, was born in November 1893 in eminent violinist, was a brilliant soloist, Bangalore, where his father was a commis- D known for deft handling of even intricate sioned officer in the Army. The family soon ragas and for his gentle and feathery bowing but migrated to Visakhapatnam,ß where Dwaram firm fingering. Although he strictly adhered to had his education. Attracted by the violin from traditional Carnatic style in his rendering he his early years, he had his early training under was responsive to fresh ideas. Music flowed in his eldest brother, Dwaram Venkatakrishnaiah his veins and as a noted musicologist once Naidu. His father too practised on the violin. remarked, “he woke up the dumb instrument He won many laurels for his exquisite han- and produced a feast of melody.” dling of the violin. The Mysore Darbar in 1946 “Dwaram”, as he was familiarly known to decorated him with the title “Sangeetha Ratnakara”. The Andhra University conferred on him the honorary doctorate of “Kalaprapurna” in 1950. He received the President’s award for Carnatic instrumental music in 1953. He was awarded the title of “Padma Sri” in 1957. He was vice-president of the Andhra Pradesh Sangeetha Natak Akademi for three years. Srimathi Rukmani Devi of the Kalakshetra, paying a tribute to Sri Dwaram Venkataswami Naidu says: “He has adorned our country and blessed it with the beauty of his music. At this time of cultural revival, when there is deterioration in taste, one cannot afford to lose such a great artiste. His playing of the violin was exquisite”.●

Nov. 26, 1964

.S. Venkataramiah (1901-1972), endearingly in the vintage tradition. His bowing, strong and known as “Papa”, the violin Vidwan had a bold, and his fingering technique imparted a K distinguished career for over 40 years. He vibrant verve, liveliness and melody to his kir- was 71 when he died. tana interpretations and their neraval and swara Papa Venkatramiah had given over 1,000 solo embellishments. recitals and had accompanied eminent musi- Papa Venkataramiah was outstanding for his cians like Ariyakudi Ramanuja Iyengar and raga essays which were brilliantly structured Palladam Sanjiva Rao, A purist who never sacri- around an integrated idea of the essential fea- ficed tradition, he was the disciple of the late tures. There was a well-introduced beginning, a Malaikkottai Govindaswami Pillai spending over well-developed middle theme and a well- 13 years of gurukualvasa. He was also a student resolved conclusion. In fact, they were so full of of veena Dhanammal. substance that the resourceful musician could Born in Karur, he had initial training in violin draw copiously on the ideas for development. under his father K.N. Srikantiah, who was also a Flute T.R. Mahalingam, for instance, had the renowned player and later under Sangita benefit of Papa Venkatramiah’s sterling support Kalanidhi Chinnaswami Aiyar. He was the in his younger days and was considerably influ- Asthana Vidwan in Travancore and served as enced by him in raga gnana. Apart from Todi, Professor in the Music College, Trivandrum, in Kalyani, Kambhoji and Sankarabaranam, Papa 1963. Venkatramiah will be remembered for the Papa Venkataramiah was conferred with the extraordinary grace and colour of high interpre- title of Sangita Kalanidhi by the Music Academy tation of aesthetic ragas like Begada, Sahana, in 1962 and was honoured by the State Sangita Varali, Harikambhoji, Yadukulakambhoji, Nataka Sangam in 1967. Bhairavi, Manirangu, Devagandhari, NMN writes: Papa Venkatramiah’s death has Sourashtram, etc. deprived the Carnatic music world of yet anoth- Another aspect of classical music in which er stalwart. He was as great a musician as he Papa Venkatramiah’s music was unmatched was was a violinist, with the result his instrumental the thanam. He practised a special jumping art invariably bore the stamp of a matchless dis- technique of bowing learnt from his master tinction. The style was that of his master, Govindaswarni Pillai and his thanams invariably Malaikottai Govindaswami Pillai. So also were came through with a warmth, measured gait and the graces and refinement. Both in form and intensity that rendered the vocalist’s effort content, his music was so singularly aristocratic, anaemic by contrast. ● aesthetically complete and traditionally rich that it became at once the example and envy of May 19, 1972 even the idealist vocalist. Venkataramiah’s approach to his art was a shining example of dedicated passion and sadha- ka. He kept his art unsullied by professional con- siderations and expressed his love for it by prac- tising it to the last days of his life. As a musician who set store by quality, he picked up a kirtana repertoire that was striking- ly high-brow in respect of taste and authentic padanthara. The treasure included quite a col- 18 lection of expressive padhams and javalis learnt

IOLIN maestro Kumbakonam Rajamanickam’s mother Kamalathammal Rajamanickam Pillai was an accompanist passed away before he was three and the V nonpareil. True, he excelled in solo per- responsibility of bringing up the child fell on formance as well. But music circles would his sister Rathinammal, who did a great job in remember him more as a “Dharmapatni”, nurturing his talent. “Sahadharmini” and musician violinist. In His first guru was Kandaswami Pillai, a fact, the great instrumentalist emphasised in nagaswara vidwan, who taught vocal music. It an interview some years ago to Sport & was developed by Tiruvisanallur “Pallavi” Pastime that the role of a violinist is only sub- Narayanaswami Iyer and Pandanallur ordinate to that of the vocalist. Chinnaswami Pillai. About this time occurred On the occasion of the centenary of his an incident which turned Pillai into a violinist. birth, it is a delight to recall some of the sage There was an old violin lying in the heap of sayings in that interview. He said, “It may be unused articles in the house. Rajamanickam that the vocalist holds the public gaze for a took it and produced a few melodic sounds. An time. But that should not impel the violinist to astrologer was consulted who said that the boy try and steal his thunder however much his would become a great stringed instrumental- own capacity might be in succeeding in such ist. an effort”. Pillaival had an excellent reason to Accidentally passing his house, violin veter- play the role of an accompanist to a vocalist. It an Tirukodikaval Krishna Aiyar heard melod- provides a refreshing and useful experience ic sounds of violin. He at once took and augments his music knowledge. Such an Rajamanickam under his care and later observation from a great master reveals the passed him on to one of his sishyas, unmatched humility in him. Tirukodikaval Ramaswamy Iyer, to develop Asked whether there was a difference in his art further. The sishya did not belie vocal and violin practice, he said there was no Krishna Aiyer’s vision. Opportunities come to separate method for the violinist. As for the sincere learners. Namakkal Narasimha number of sangatis the artiste could indulge in Iyengar freely shared his knowledge with the while rendering the kritis, he said, “There is youngster. no hard and fast rule. But only those sangatis Rajamanickam’s first concert was in 1916 which are accepted by tradition and rendered sponsored by the Zamindar of Andipatti. by past masters I play. Kirtanams are my Harikesanallur Muthiah Bhagavatar, the basis. When challenged, the violinist must be Zamindar’s confidant, suggested capable of rendering vocally”. Rajamanickam’s name and he played violin for In an earlier interview, a senior musician Alangudi Natesa Bhagavatar. It was a big suc- had said that a senior violinist should not be cess. averse to playing for junior vocalists and Rajamanickam Pillai seldom spoke, but when I raised this subject with Pillai, he said. when he did he would emphasise the impor- “I have no objection to play for a junior if he tance of sticking to tradition and aiming for feels sincerely that it is an opportunity for him the total success of the concert rather than to learn something from a more experienced strive for personal glorification. Even after a man in the field.” hundred years, Rajamanickam Pillai’s name Rajamanickam was born on August 5, 1898, lives on. He has left behind a host of sishyas to in Kumbakonam. He belonged to the Isai carry on the Rajamanickarn tradition. ● Vellalar community which has produced many K. Sundar Rajan 19 famous dancers and musicians. Nov.20, 1998

ANGITA Ratnakara T. Chowdiah (1895- Presidential Award for Carnatic Music 1967), an eminent violinist and a brilliant (Instrumental) in 1957. He established the Saccompanist, was known for his fascinating “Ayyanar College of Music” in Bangalore for the fingering and bowing techniques. His solo con- promotion of South Indian music. certs too were reputed for clarity and creative Born in Trimkudlu in Mysore on January 1, approach. He popularised the seven stringed 1895, he was a student of Sri Bidaram violin. Sri Chowdiah was the recipient of the Krishnappa, a stalwart among the vocalists and accompanied him on the violin for a long time. He was honoured with the title of “Sangeetha Ratna” by the Maharaja of Mysore in 1940 and was nominated to the Mysore Legislative Council to represent Arts in 1962. The Madras Music Academy conferred on him the title of “Sangita Kalanidhi” in 1957. In a tribute to Sri Chowdiah, Sri Madurai Mani Iyer said: “Sri Chowdiah was one of the senior- most violinists who had made a great name for himself in Carnatic music. He always wished to perfect his art and to this end, he practised even to the last day of his life.” ●

Jan. 21, 1967

T was not an era when any gifted child in Chowdiah did not turn up. I was present at the music was tomtomed as a child prodigy and function. “Here is Krishnan. Let him replace I presented to the public with media blitz. If the Chowdiah,” called Chembai and so I sat with my publicity system as at present had been in vogue violin. It was a thrilling experience, you see, sud- in those days, T.N. Krishnan, the reputed, violin- denly compelled to take on the role of a very ist, should have been acclaimed as a violin wiz- experienced and senior vidwan. ard even as a boy of nine. But perhaps because There is an impression that your violin play he had been gradually, nurtured and made climb full of gamakas is greatly influenced by accom- the ladder of emi- panying Ariyakudi nence, in short steps, Ramanuja Iyengar today he stands head quite often. and shoulders above Yes, to some extent. many violin accompa- But even before I nists. In his sixth year started accompanying his father T. Narayana him I had become Iyer put a violin in his familiar with hand and started les- Ariyakudi bhani, and sons. in fact had learnt What was your prac- many songs. Alleppey tice schedule during K. Parthasarathy those days? Iyengar, Papa as he It started at 4 a.m. was called, was an My father would wake admirer of Ariyakudi me up. Practice start- and the vidwan used to ed immediately from 4 stay in his house. He a.m. to 7 a.m. Then I had learnt many songs had coffee and a break directly under for half-an-hour. Again Ariyakudi. From him I the lessons were continued till 9.30 a.m.till I learnt kirtanas. So, when I accompanied started for my school. During the lunch interval Ariyakudi later I had absolutely no difficulty in between 2 p.m. and 3p.m. had another short following him. practice for half-an-hour. In the evening again How did you become Semmangudi Srinivasa from 4 to 7. My father is a taskmaster and today Iyer’s disciple? I am what I am because of him. In the war years, during evacuation, we shift- You learnt many kirtanas from the vidwans ed from Ernakulam, our native place to who visited your house. Trivandrum, where I was greatly encouraged by Exactly. There was Appadorai Bhagavathar, a Prof.R. Srinivasan. During the Navarathri festi- court musician, Chembai Vaidyanatha val in the Trivandrum palace all the musicians Bhagavathar, Desamangalam Subhramania would gather, Musiri Subramania Iyer. Tanjore Sastri, veena vidwan, Ennaipadain Venkatarama Vaidyanatha Iyer. Boodalur Krishnamurthy Bhagavathar and so on. My father used to pres- Sastrigal, Palghat Mani Iyer, Papa ent me before them and they taught me kirtanas. Venkataramaiah and others. Then Semmangudi There was an upanayanam function at Trichur, Srinivasa Iyer was the Principal of the Swati when Chembai Vaidyanatha Bhagavathar, Tirunal Music Academy. My father asked me 21 accompanied by Mysore Chowdiah, was to sing. once on such an occasion to play before the vid-

© Kasturi and Sons Ltd. www.thehindu.com; Distributed by: Sulekha.com wan group. They decided that I should be guided Semmangudi. by a vocalist. After discussion among them- How much were you getting in those days? selves they decided on Semmangudi, who was Mali, Maharajapurarn Viswanatha Iyer and also based in Trivandrum. almost all senior vidwans gave Rs. 125. I joined It was then that suddenly my father was trans- the Central College of Carnatic Music in 1964 as ferred to Nagercoil. I was studying both at Professor and in 1978 became the Principal from school and under Semmangudi. My father was in 1985-93. I was the Head of the Department of the a dilemma as to what to do with me. University of Delhi. ● Semmangudi suggested I could stay in his house, attend school and also get music training. As the sishyas used to practise Semmangudi would Sep.3, 1994 start singing himself and high musical values were learnt by me on such occasions. He would sing sometimes for two or three hours. Flute Mali liked my play. He had a performance in the RR Sabha Hall. He telegraphed to Semmangudi to send me from Trivandrum to accompany him. I was sent to Madras. In a day or two, Semmangudi too came to Madras for a performance. Mali’s cutcheri was over. For Semmangudi, Mysore Chowdiah and Palani Subramaniya Pillai were scheduled, but Chowdiah failed to turn up. So, I sat with

OR Lalgudi Jayaraman’s widespread vidwat, My father would prepare a time-table of kirtanas the taproots lay in a small unclectrified I should practise everyday from Monday to F room in Lalgudi village, where only two Sunday. Every week, I had to practise according things disturbed the peace and tranquillity of the to the schedule under the vigilant eyes of my place - one the birdcalls at break of dawn and the father. Excluding the vivadi melas I had to play other Sa-Ri-Ga-Ma-Pa-Da-Ni-Sa or the majestic all the melakarta ragas. Bhairavi Viriboni When was your varnam from the first performances strings of Lalgudi’s as a violinist? violin. It was in the “My father would Saptarisheeswara wake me up at 4 a.m. Swami temple, when My mother would I accompanied have already filled Sattur up the mud-lamp Subramaniam. I had (agal) with oil and played quite often in wick. Lighting it I the company of T.K. would just wash my Rangachari, S.V. face, take up my vio- Parthasarathy, lin and start practis- Negerkoil Harihara ing vigorously. If the Iyer and others. My stern sound, “hmm” uncle (Periappa) was came from my father Madurai lying in his bed next Kandaswamy to me it was an indi- Bhagavathar, a vio- cation something linist. My grandfa- was wrong. I would ther Valadi correct myself. The Radhakrishna Iyer practice would go on was also a violinist , till seven, or eight who accompanied and similar sessions only Patnam were held during the Subramania Iyer rest of the day”. and Maha Lalgudi said, Vaidyanatha Iyer. ‘Thyagaraja had set So all their genes his foot in our house have got into your when my great great- musical structure. grand -father Rama Iyer invited the saint to All of them were contemporaries of Madurai LaIgudi on his way from Srirangam. That good Pushpavanam, Vedantha Bhagavathar, fortune I treasure most and that perhaps, Mazhavarayanendal Subbarama Bhagavathar accounts for my sangeetha.” and such giants. Thirukkodikaval Krishna lyer, a What was the kind of practice you were given? contemporary of my grandfather, had come to 23 I had to play all the varisais in each ragam. our house once. Next to our residence there was

© Kasturi and Sons Ltd. www.thehindu.com; Distributed by: Sulekha.com a Perumal Koil. Krishna Iyer went with his vio- Ventakaramaiah and Palghat Mani. In the last lin to sleep in the temple. He got up exactly at minute Papa sent a telegram he was unable to four in the morning and unmindful of the place make the trip, Ariyakudi looked around and or the environment, he started playing the violin, asked, “Is Madurai Kandaswamy Bhagavathar’s a common feature with almost all vidwans of nephew, the young Jayaraman here? Ask him to those days. Coming to think of it, I can say play,” he said. That was my debut with emphatically that the quiet and peaceful village Ariyakudi. My first cutcheri in Madras was at atmosphere was the essential factor that con- the Siva Vishnu Temple in Mambalam. tributed to the purity of Nada. In 1948, I accompanied K.V. Narayanaswamy How were you taught kirtanas? in the December season of the Music Academy Nothing should be put in writing. How can you in the afternoon session (3-30 p.m.) Vidwans had get the gamakas, jarus, kuzhaivus (Mellifluity) heard that a young man from Lalgudi was play- on a paper. Everything has to be stored only in ing well and so G.N.B., Alathur Brothers, memory. Semmagudi Srinivasa Iyer, Chembai and How would your father judge your Chowdiah were all seated before me during that cutcheries? performance. It was really a testing moment for After each cutcheri, I must write down in a me. note book a review of my own play- where I had You have so many disciples. What are their gone wrong, where the exposition was not aes- attitude to learning methods in the light of your thetic, what were the deficiencies and so on. I own experience? must go through my self-criticism and correct The parents are very anxious to put their chil- myself. My father was very particular that I dren on the dais as quickly as possible. They eas- hear the great vidwans like Mazhavarayanendal ily forget the sahityas and other musical Subbarama Bhagavathar, Tiger Varadachariar nuances explained to them. The present day and such people whose music was an ocean. style of living is not conducive to climbing up Where was your first cutcheri with Ariyakudi the ladder the hard way. Tapes seem to be their Ramanuja Iyengar? sustenance. ● It was in the Pudukkottai Thyagaraja festival. From 6 p.m. to 9 p,m. Palladam Sanjeevi Rao Oct. 28, 1994 played the flute. From 9 p.m. Ariyakudi was to sing to the scheduled accompaniment of Papa

HE walls, bricks, windows and doors of M.S. formly. I am particular about this technique. Gopalakrishnan’s ancestral house into which I Vallinam and mellinam should be produced with the T was ushered seemed to have absorbed the Parur use of the full bow and fingering. My father taught style of violin play for seven decades and more. “I different methods of bowing -- thanavil, staccato was born in this house in 1931,” he said with justifi- bowing, playing on one string to the top of the finger able pride. “My father taught me both Carnatic and board and so on. Hindustani styles of music. I owe everything to him. Do you think that by merely listening to Chrysler He would insist on practice from 4 a.m. daily. The or Menuhin one can adopt their style of bowing? sarali varisais, varnams had to be practised in three I had an eight-month course in Musee Musicals, kalams and in one string without changing over to Madras, on Western bowing and fingering tech- the other strings. That was an essential feature on nique. The way of holding the bow, the pressure to which he laid great stress”. be exerted on the strings, production of thick and I was six when the violin course began and in my thin sound. All these play an important part in the tenth year, I was fit for a solo performance. Even tonal excellence of the violin. I have put all these before that I used to play with my father. In 1939, aspects into diligent practice. That, I think, has paid My first cutcheri with him was at the All-Bengal rich dividends. Music Conference in Calcutta. What are your guidelines for Carnatic music? Pandit Omkarnath Thakur was present at the con- First and foremost, a violinist must be a vocalist. cert. He was so impressed with me that he asked me He need not be a master, but must first learn to sing to accompany him the very next day at the confer- the kirtanas. Only then he can feel the bhava of the ence. I had accompanied D.V. Paluskar and Bade song. This will help in playing the song on the violin Ghulam Ali Khan and participated in jugalbandi without padacheda, that is mutilation of the sahitya. with Hariprasad Chaurasia (flute), Amjad Ali Khan My father used to say that while playing a kirtana, (sarod) and V.G. Jog (violin). I was ten when I the artiste must realise that each sangati was a ded- accompanied Sandhyavandanam Srinivasa Rao. I ication to God. No new kirtana should be played in had given a solo performance in the Jagannatha public without achieving perfection by practice at Bhakta Jana Sabha. home. Did you continue to play Hindustani solo even Each up-and-coming musician has his favourite after you gained recognition as a Carnatic Violinist? team of violinists and mridangists. They are well- I was making myself well-equipped in Hindustani rehearsed. The line of old musicians has almost style. After my father’s death, I learnt Hindustani come to an end. The new ones have their own atti- Music from Krishnanand. He taught me the Kirana tudes, approaches and preferences regarding per- Gharana. Abdul Kareem Khan and Bhimsen Joshi forming techniques and the choice of accompanists. were my teachers too. Today, I prefer solo to an accompanying role. At In your playing one can discern a special style of present, the status of a musician depends on his liai- bowing and fingering. son work. I devoted much attention to bowing. I listened to Concert duration has shrunk to two hours against the records of great violinists of the West such as the four-and-a-half to five hours some decades ago. Chrysler whose bowing produces a clear sound. I try Your opinion? to adopt their bowing technique to the extent possi- It was not only the duration that mattered. The ble. But there is one difficulty. In the West, when contents of the performance too counted. Those they play the violin, the bow moves on the strings days, the interaction between a vocalist and a violin- horizontally. Here, we keep the violin in a slant and ist was such to inspire manodharma mutually. I have so the tendency is for the bow to slide downwards. learnt several nuances of Carnatic music from those That aspect has to be borne in mind and the bow great artistes. ● 25 should move at the same place below the bridge uni- Jan. 7, 1995

HOUGH infantile jaundice robbed him of his You are a regular accompanist in the Academy sight when he was just four months old, M. season. How did this come about? T Chandrasekharan, never let the handicap ham- In 1951, I accompanied T. Viswanathan (flute) in per him in the field of music. What he lost physi- the 3 p.m. to 4.30 p.m. slot. I got chances to accom- cally has perhaps, been more than adequately company senior vidwans. At a marriage conducted in pensated by his deep my house, GNB had agreed insight into the nuances to sing and my relatives and beauty of Carnatic suggested I play the violin. I music. went to GNB’s house. He “I was groomed by my was not keen to hear me. mother and mother But protocol demanded that alone,”Chandrasckharan he heard me before the said. How much she sacri- cutcheri. GNB’s guru, ficed for me! She was a top Madurai Subramania Iyer, class violinist herself who was also there. I played and could accompany any musi- they were pleased. In cian. I lost my father when March 1952, I accompanied I was seven and so we left Maharajapuram Kanpur, where my father Viswanatha Iyer at the was employed in a private Kapali temple festival. Soon cotton mill. We came over I was accompanying to Madras when I was eight years old and I cannot Ariyakudi and Chembai, besides Maharajapuram convey in words the efforts my mother took to Viswanathan Iyer and others. make me a fullflcdged vocalist and a violinist. Did you seek help to hone your skills? When was your initiation? Of course. I learnt many pallavis from It was in my seventh year. But before that, as my Viswanathan, one of the Kumbakonam Brothers. In mother used to sing, I had acquired knowledge of 1954, the Music Academy offered padam classes kirtanas although I did not know the lakshana side. conducted by T. Jayamma. I attended the classes In fact, my mother started me on vocal music when for four years and learnt Bhava sangeetham. The I was five. In four years, I was well-equipped to course helped me see a new dimension of music. give a violin concert. I had vocal training too. The Vidyala Narasimhulu Naidu, guru of D.K. combination, I think, expedited my progress. Pattammal, taught me a number of pallavis. He was When was your first performance in Madras? generous in imparting his knowledge. I learnt near- Who was your mother’s guru? ly 15 to 20 pallavis under Vidyala Narasimhulu In 1948, when I was 11. Mother and I performed Naidu. a duet at the Mylapore Thyagaraja Vidwat What is you ideal? Samajarn during the Thyagaraja Utsavam. I must reflect the musician’s bhani. Each sings I learnt to sing a number of kirtanas from differently Balamurali, GNB, Madurai Mani Iyer, Mannargudi Sambasiva Bhagavatar. He came Maharajapuram. I aim at mirroring their style. three days in a week to our house and taught me Once T.N. Rajaratnam Pillai heard my perform- nearly 75 to 80 kirtanas. Meantime, after hearing ance. I played Todi and later Kadanakuthoohalam. me in one of the performances, S. Ramachandra He just held my left palm and said,”This hand that Iyer, who was associated with the Music Academy, played Kadanakuthoohalam so well today is des- suggested that I take part in the competition the tined to play many ragas beautifully”.● Academy held every year. I was diffident, but took 26 part and won a prize. Feb. 24,1995

HE walls in his house display charts explain- In my seventh year under my father. I was ing the ancient texts on Nadavidya - Sangita taught both violin and vocal music because my TYoga. Pranayamam, the mystic syllable Om, father was firmly of the opinion that vocal music the journey of Nada from the mooladhara to must form the basis of any instrumentalist, par- sahasrara and so on. As he talked about his pres- ticularly violinist because as an accompanist, a ent research interest in this field. V.V. violinist must be quite familiar with the sahitya. Subramaniam, the violin vidwan, At 4 a.m. I would be woken up grew passionate and almost and play till 7 a.m. then prepare fanatic in his zeal to understand Ours is a for the school. During lunch the source of Nada. interval another hour of prac- “I have embarked on this quest musical tice. Again in the evening from and also established a research 5 p.m.. My father will first sing, organisation Nada Brahmam to family and then asked me to sing. Translate delve deep into the mysteries to it on the violin. The lessons pro- Nada in the light of ancient trea- nothing but gressed from sangati to sangati. tises.” One thing I must emphasise Before coming to this stage, music here. He would not only sing the you started just as any other vio- sangati but demonstrate how linist. How was the foundation pervaded the each vidwan - Ariyakudi, laid? house at all Semmangudi, Chembai, GNB, First and foremost, ours is a Madurai Iyer would render musical family and nothing but times of the according to the nature of their music pervaded the house at all voice and make me play in the times of the day. We belong to day. styles of all vocalists. Vadakancheri though my father Your father seemed to have came and settled in Madras when bestowed all his care on you to I was one-year old. My father, Vadakancheri gain competence in all respects possible. Veeraraghava Bhagavathar was both a violinist Not only that, he would take me to other violin and vocalist, having undergone training under vidwans and ask me to play before them. T.N. Tirukkalanur Narayanaswamy Iyer, violinist. Krishnan’s father was a very good friend of my My mother too could play violin. My grandfather father. One day, he came to our house and I was learnt music under Parameswara Bhagavathar, a asked to play before him. “I shall take your boy direct disciple of Vadivelu, who adorned the under my care. Send him to me,” he said. My Travancore court. In this way, I can say, I inher- tutelage under him began and lasted for two ited the tradition of Swathi Thirunal and years. Muthuswamy Dikshitar through Vadivelu. My Chembai Vaidyanatha Bhagavather greatly father also learnt under Umayalpuram encouraged me. In fact, he was responsible for Swaminatha Iyer and thus I can say I also inher- my arangetram in the Guruvayoor temple in ited the Thyagaraja line of Sishyaparampara. 1954, when I was ten. I have learnt many things My maternal grandfather Ernakulam Rama from him. His style of singing was quite differ- Bhagavathar was a mridangam artiste. ent from his style of teaching. He would empha- 27 When did you start learning violin? sise gamakas while teaching.

© Kasturi and Sons Ltd. www.thehindu.com; Distributed by: Sulekha.com On many fronts your father exposed you to Yes, I have played for M.S. Subbulakshmi for master the instrument. nearly 12 years. I have always admired her There was one kind of practice I was subject- cutcheri pantha. As far as the bhakti element in ed to. I would be asked to play Sri Raja music, I have been greatly influenced by her. Rajeswari a varnam in Mayarnalavagowla. I Many have been my benefactors. One day, must repeat the varnam in other ragas like Easwaran, the husband of D.K. Pattammal came Chakravakam, Sankarabharanam, to our house and told me, “come to our house Karaharapriya and the like to get a clear under- after your examinations are over”. I did as he standing of the features of each raga. This way wanted. The very next day he asked me to swaragnana too would improve. I had done this accompany DKP and thereafter I had been asked exercise many times. to team up with her. In fact, in 1950 at the Chembai is a great soul. He himself told me. instance of Easwaran I had a chance to play in You go to Musiri. He will initiate you into bhava the Music Academy, From 1959-62 I accompa- sangita. Chembai, every now and then would nied DKP, From 1962, GNB took me to his per- praise the bowing technique of Malaikottai formances. Thus my career my progressing sat- Govindaswami Pillai and held him up for emula- isfactorily. ● tion by me. Chembai also taught me several pallavis. Till the end, I was nurtured with parental affection by Chembai though intermit- Mar. 10, 1995 tently I had guidance form Musiri, Semmangudi, GNB, Madurai Mani and others. This overall equipment has helped you play for any musician with ease.

HE was a little bit undecided as to where to a regular accompanist for Mali. Playing as an start her narration of her career as violinist accompanist to Mali was both a challenge and a S of repute. She thought out the landmarks thrilling experience. I gained many insights into and suddenly as if light dawned on her T. music by hearing Mali quite often. Rukmini spoke. “Even today I get thrilled when I was married in 1962 and came over to I recall the incident.” She stopped for a moment, Madras. Since then my career has been careful- perhaps to have an actionreplay of the situation ly nurtured by my husband, father-inlaw and on the Tunga river bank’ “My father and I were mother-inlaw , who evinced keen interest in going to the Sringeri Ashramam and as we were Carnatic music. walking, from the opposite side the Sringeri From 1963, I came under LaIgudi Jayaraman Acharya was coming towards us. I fell at his and also at the feet of Semmangudi. Lalgudi feet. He blessed me and gave two oranges”. would teach me kritis, tillanas, how much oscil- What she left unsaid was obvious “The asir- lation - asaivu - should be given to swaras. Such vadam of the Sringeri Acharya has guided my nuances I learnt from him. career as a violinist”. One advantage to you is you are a vocalist and “Such was my auspicious beginning. “I started violinist as well. learning both violin and vocal when I was seven Vocal music has certainly helped me in han- under R.R. Kesavamurty, a disciple of Bidaram dling violin. I learn all the kirtanas vocally so Krishnappa and a colleague of Chowdiah who that I can know the sahitya well. This has helped was also learning under that great master. This me in the use of sahitya bowing. study continued for three or four years. He How would you like to evaluate your career? taught me many songs. When I was 12 or 13, I It is satisfactory. I cannot express in words my started accompanying local musicians. My debut gratitude to the several senior vidwans who as a violin accompanist was at Rama Mandir, encouraged me at a time when a woman violinist Bangalore, during the Rama Navami festival”. as an accompanist raised eye-brows. That I con- What do you think was the turning point in sider as my good fortune. ● your career? When I was 15, I was asked to accompany Feb. 3, 1995 Flute Mali in a performance arranged at the Town Hall, Bangalore. It was a benefit recital. Mali was so famous that the hall and the space round about were overflowing with listeners. Mali was at his best on that day and played unin- terruptedly for over four hours. The ragam, tanam and pallavi was in Ranjani. As usual, he started on ragamalika swaras. Alternately, we played swaras in one raga after another and the listeners, were thrilled. Suddenly Mali stopped. There was pin-drop silence in the hall. Mali started speaking. Pointing to me, he said: “This young girl is playing exceedingly well. She has a very bright future” and took his flute and that 29 took me by surprise. Since then I almost became

HOWING an extraordinary felicity of musi- tinction in the world of Carnatic music as a ver- cal expression through his artistry on the satile violinist and an outstanding director of S violin, Kunnakudi R. Vaidyanathan is an music in the realm of the silver screen What expert artiste in his own right, keen on structur- made you to choose this type of a simultaneous ing his recitals in compartments of contents, career? which would separately satisfy different sec- Film music of those days was based on tions of the audience. Carnatic tunes. I met G. Ramanathan at Modern Born in Kunnakudi , in erstwhile Theatres in Salem. When I played the piece, Rarnanathapuram district, in 1935, to ‘Kripayapalaya’ (Charukesi), he exclaimed, “You Kunnakudi play classical music Ramaswamy Sastri so well. Why do you and Meenakshi aspire to enter the Ammal, the boy did not film music world?” show any taste for Instantly, he asked music while his father me to play any film was himself a violinist, song tuned by him. exponent in Ramayana My immediate recital upanyasa, Sanskrit of scholar and a teacher “Manmathaleelayai” in the local patasala in the same raga (Shanmukha gave him immense Vidyasala). satisfaction. I joined “It was indeed a his orchestra. miracle”, says the After some years, I artiste. “That I was ini- joined the troupe of tiated by my father to S.M. Subbaiya Naidu. learn playing on the T.A. Kalyanam of His violin under him unex- Master’s Voice gave pectedly when the reg- me an opportunity to ular violinist (Haridas set some devotional Ramachandrachar) did songs to tune for not turn up for the Soolamangalam karthigai festival cele- Sisters. The piece brated at the local tem- “Tiruparamkunrathil ple. I was then a boy of nine years and within a ni sirithaal” is the first devotional song by me. I short spell of 11 months, I was able to accompa- became a regular accompanist to ny my sisters”. This first public performance of Soolamangalam Sisters in their recitals. In 1969 the boy was praised by Haridas I made my debut as a music director in A.P. Ramachandrachar himself. Nagarajan’s ‘Va Raja Va’. So far I have directed Excerpts from the interview : and composed music for 40 pictures. 30 Attracting the audience with your amazing How did your association and experience with artistry on the violin, you have earned the dis- stalwarts influence your advancement?

© Kasturi and Sons Ltd. www.thehindu.com; Distributed by: Sulekha.com I have the blessings of my father’s close When was your first solo performance? How friend, Ariyakudi Ramanuja Iyengar who asked did you feel about it? me in 1946 to accompany him in his concert at I have been giving solo recitals from 1965. The the temple of Lord Krishna in Karaikudi on the way in which I was able to delight the different day of Vaikunta Ekadasi. The greatness this sections of the audience gave me much satisfac- doyen revealed during this concert was in his tion. It was in 1974 that my urge for innovation having rendered only those ragas and kritis led me to have the maestro, Valayapatti A.R. known to me already. Vidwan Karaikudi Muthu Subramaniam to support me on the thavil. The Iyer played on the mridangam in this concert. I enthusiasm with which this recital was received am an ardent admirer of Mysore T. Chowdaiah by the audience enabled me to have the support who played enrapturingly on his violin with of A.R. Subramaniam in a large number of suc- seven strings. Tiruvalangadu Sundaresa Iyer ceeding concerts. was an inspiring violinist who gave the raga’s Approximation to vocal artistry is the goal of essence in a single line. an ideal Carnatic instrumentalist. I apply the Interested in introducing novelties, I have bowing techniques such as swaravil, sahityavial played as a violin accompanist in a recital of the etc. and gamakas to realise this effect as far as great nagaswaram player and in a recital of the possible.● clarionet maestro, A.K.C.Natarajan. As an accompanist, I have participated in a R. Venkatarathnam large number of recitals given by the great Dec. 05, 1997 vainika, S. Balachander. My association and experience with all these star performers greatly influenced my advancement. My performance objective is to satisfy all sections of an audience.