Chembai Vaidyanatha Bhagavatar 'Uttama Gayaka'

CHEMBAI VAIDYANATHA BHAGAVATAR 'UTTAMA GAYAKA'

CHEMBAI One of a cluster of villages near Palakkad, in Kerala, where Tamil-sneaking ' yaradesa brahmana1 immigrants— among them musicians-- from the Kavtri rivtr dtlta settled three-to-five centuries ago.

CHEMBAI ACSO tfte ' frenom* by which the most famous concert musician belonging to the immigrant community came to be known. Cf. Ariyakudi, Musiri, Semmangudi, names of villages elsewhere in the South which have come to denote famous musicians belonging to them.

FULL NAME OF MUSICIAN Chembai Vaidyanatha Bhagavatar.

YEAR OF BIRTH 1896.

YEAR OF DEATH 1974.

LENGTH OF CAREER Seventy years, starting in 1904. Perhaps the longest of any famous musician of the Soutft.

FAME Equally enduring and still intact, posthumously.

TITLES Gayana GandTiarva, Sangeeta 5amrat, Sangeeta Kalanidhi, among others-- all richly deserved and highly affrofriate. OTHER HONOURS Vadma Bhushan, bestowed by the President of India; and the Sangeet Natafc. Akademi award. A guru imbued with passion. A geyakara infused with bhakti. A fine human being given to simple living and high thinking. Rightly called Tittama Gayafca.

PART I OF A TWO-PART FEATURE

i Successful Career Scanning Seventy Years From Superkid To Sangeeta Samrat

This profile was written by P.C. those who give greater credence to en- contributed to what he became. JAYARAMANand N. PATTABHIRAMAN. vironmental impact will likely cite the case of Vaidyanatha Bhagavatar as proof It is said that for more than five hembai Vaidyanatha Bhagavatar for their theories. Mendelians attribute centuries the Chembai family had C did not live to be 80 or long enough all traits of a human being to the cumu- been involved in music. Vaidyanatha to sight the full moon a 1000 times to lative effect of genetics and call them Bhagavatar's great-grandfather, 'Gana- qualify for a satabhishekam. Yet his the flowering of eons of evolution. It chakradana' Subbier, was a highly res- career as a concert musician spanned may not be true that all human talents, pected musician. Subbier's son Ananta 70 years. This was unique enough, but and artistic abilities in particular, are Bhagavatar was a talented vocalist and he also held sway over audiences that entirely dependent on chromosomes; violinist. He was a deeply religious man cherished Carnatic music for nearly half but at the same time it is necessary to and led a very respectable life marked this period. He held his place as a popu- recognise that certain talents do run in by self-discipline and dignity. lar and yet respected front-ranker de- families. Certainly there is evidence to spite competing claims advanced for support this in the case of Chembai Ananta Bhagavatar's wife Parvati I the attention of the same constituency Vaidyanatha Bhagavatar. However, the Ammal gave birth to Vaidyanatha of listeners by such stalwarts as Ariyakudi family and social environment in which Bhagavatar in September 1896, and Ramanuja Iyengar, Kanchipuram Naina Bhagavatar was raised as a child also younger brother S ubrahmani am was born Pillai, Maharajapuram Viswanatha Iyer, seem to have shaped his personality a couple of years later. Musiri Subrahmania Iyer and and talent. What his story suggests re- Semmangudi Srinivasa Iyer and bright ally is that both genes and circumstances Chembai was a 'bhagavatar' even at new stars like C.N. Balasubramaniam birth, for the tag of bhagavatar was a and Madurai Mani Iyer, not to mention traditional family title. But Chembai the trinity of female musicians, who lived to more than justify the title as a entered the field later. devotee of Guruvayurappan. Ananta Bhagavatar initiated Chembai Indeed it was a remarkable record. into music when the latter was but But then Vaidyanatha Bhagavatar was three years old. He put the boy through a remarkable musician, someone who rigorous practice in the swara-s, a strong gave himself unstintingly to music just foundation for Chembai's future unerr- like he, in personal life, early on surren- ing swara and sruti purity. Also in- dered to Cod without waiting for the onset of the winter of life to do so. He cluded was intensive 'aakara' practice. was a simple man who did not know When Chembai was five years old, what guile was. He was outspoken and his father thought of his academic edu- his speech had no varnish to make it cation also. But the little village had no smooth and polished, even as his music proper school facilities and could boast was plain and vigorous. His straight- only of a 'tinnai' school, an informal forward, perhaps somewhat rustic per- teaching facility run in one of the houses, sonality appealed to those who came into contact with him even as his on the 'tinnai' or pyol in front. It was straightforward music, conveyed in a there that Vaitha started his school ringing voice always true to pitch, ap- education. pealed to the listeners. Also, remark- Music lessons for Subrahmaniam also ably for a member of the musical frater- were started at this time and the two nity, his personal life was totally brothers began receiving combined les- blemishless. Altogether, violinist Mysore sons from their father. Contrary to T. Chowdiah's description of him as an what usually happens, the boys showed Uttama Gayaka- comparable to the greater inclination for their music Uttama Nayika in dance- was most lessons than for playing games. So keen apt. was their interest and so rigorous their training that, by the time Chembai Not surprisingly, the prenom Chembai was six years old, the boys' voices has come to be a synonym for value- already had the clear marks of training based life and music. Those who sub- and displayed 'life'. The boys were scribe to Mendelian genetics as well as also unique in their lack of inhibition 17 visiting musicians would themselves join the children in singing or as ac- companists, with the result that the practice sessions became mini-concerts as it were. This helped Chembai and his brother to develop self-confidence. The singing ability of the boys slowly became known over a wider radius and Ananta Bhagavatar was pestered with requests to send the boys to perform in public. The requests could not be put off except for a short period. The boys had their arangetram or de- but, a concert of two hours' duration, in 1904 when Chembai was only eight years old. Following the debut, there was a flood of requests for the brothers to sing at various functions. Ananta Bhagavatar cheerfully obliged, prizing the experi- ence that this gave to the boys. Of remuneration, of course, there was little at this stage. Accompanists were some-. times good, sometimes indifferent and some other times just not provided at all. But the boys sang wholeheartedly wherever they went. At first their kutcheri-s contained only kriti-s. Gradu- ally the duo ventured into raga alapana and kalpana swara-s.

The Chembai brothers had their first concert for which they were paid in 1905 at a temple festival in a town Chembai in the 1930's. Drawing inspired by Mali called Ottapalam. A little later, there whenever asked to sing. thus full of music and of talk of music was another noteworthy concert at and musicians. The boys were not, how- Kandalurkoil, again at a temple festi- Ananta Bhagavatar was himself a ever, overawed by the presence of musi- val. Ananta Bhagavatar himself provided musician of some repute. Naturally, the violin accompaniment, while several musical celebrities used to call cal heavyweights and went about their practice as usual. Soon enough they mridanga support was given by well- at his residence. Then there were art- known stage actor Chokkanathapuram attracted the attention of the visiting ists visiting the area for concerts in and Iyah Bhagavatar. around Chembai who made Ananta vidwans who first listened to them ca- Bhagavatar's house their lodging for the sually, then with serious attention and The brothers had become fairly well- duration of the visit. The house was finally in admiration. Sometimes the known by now as good vocalists. But A Chembai - Semmangndi jugalbandi! It never took place but the photo-evidence waa created as a gag neither they nor their father wanted to rest on the laurels already won. Ananta Bhagavatar took the boys with him to his own concert engagements and to attend concerts by some other musi- cians, providing valuable listening op- portunities to the youngsters. He would even send the boys alone to concerts of some musicians to which he had him- self not been invited, so that they would not miss the opportunity. This con- tinual exposure to good music by vari- ous artists helped the young musicians improve their knowledge and their understanding of what concert music involved.

One of the landmarks in the early career of the brothers was their concert at the temple festival in Vaikom, re- nowned for the annual musical feast it provided. At this concert in 1907, the father again provided violin support. This concert turned out to be a remark- able one, bringing to light new qualities in the music of the brothers. As it hap- pened, Chembai thereafter made it a practice to sing at the Vaikom festival every year. Soon after the Vaikom con- cert, Ananta Bhagavatar took the boys to Guruvayur; another important temple town where again they had a successful concert. Guruvayur too became a regu- lar part of the Chembai's concert programme every year. Chembai in the 1940*8. Drawing inspired by Mali he had met the boys and about their improved, much to their father's Thus Vaidyanathan and abilities and requested Pillai to do what delight. Subrahmaniam imbibed from an early he could to help them. Pillai had no age not only the knowledge of music hesitation in agreeing to this. The quality of the musicianship of that their father had but also the tradi- the youngsters was testified to by none tion of a religious life which had marked After about a year's absence, the broth- other than the famous musician Palghat the family for generations. ers returned to Chembai, to a warm Anantharama Bhagavatar who was welcome from their parents. During their present at a concert in Sekharipuram in The brothers had a keen desire to sojourn with Natesa Sastrigal, they had 1911. Particularly complimenting advance their musical competence and not only been singing at various places, Vaidyanatha Bhagavatar's voice, he pre- their career as well. They did not want they had also taken every possible op- dicted a bright future for him. their experience to be confined to Chembai and nearby places alone and portunity of listening to famous musi- cians whenever they performed. And When he was only 16, Chembai took wanted to spread their wings over wider on the role of teacher, in order to help territories. An opportunity for realising there were musical giants reigning in those times, like Namakkal Narasimha out his father. He wanted all his stu- this wish came when Kaliakudi Natesa dents to learn all that they could from Sastrigal, a Harikatha expert who was Iyengar, Kallidaikurichi Vedanta Bhagavatar, Ramanathapuram Srinivasa him. And he was an able teacher, whose visiting Chembai, took the boys with teaching sessions were pleasant and Iyengar, Konerirajapuram Vaidyanatha him on a year-long tour. They had enjoyable. No wonder that his disciples Iyer, Harikesanallur Muthiah chances to display their talents at vari- ultimately numbered a legion. ous places. Their concert in Tiruvarur Bhagavatar, Madurai Pushpavanam, Tirukodikaval Krishna Iyer, Malaikkotai (in Tanjavur district) at a guru pooja But life is not an unbroken chain of Govindaswamy Pillai and Pudukkotai festival at which Natesa Sastrigal gave happy events for anyone. Chembai had a discourse was specially notable, be- Dakshinamurthy Pillai. This learning a turn of misfortune at this time. His cause it was at this concert that the by listening was a valuable facet of the adolescent voice 'broke' and he could boys were heard for the first time by brothers' training. Indeed, when they not sing at all. Chembai in fact thought Pudukkotai Dakshinamurthy Pillai. returned to Chembai, their musical he could never sing again. But instead Natesa Sastrigal told Pillai about how knowledge and ability had significantly of succumbing to a feeling of despair, he turned to learning to play the violin, to offer. To obtain this recognition, man and a patron of the arts and artists something with which he was already effort is needed on his part and appro- named Pethachi Chettiar lived in this familiar, his father being also a bation does not usually come on its town. He used to conduct a festival violinist. Within a short period he attai- own. He has to work and work hard to featuring music concerts by the leading ned considerable proficiency. For about improve his competence and also present musical lights of the day. The arrange- a year he in fact accompanied flute what he has to offer at different places. ments of this music-fest were the re- artist Ananta Bhagavatar, who was his sponsibility of none other than the cel- sister Narayani's husband who was a Chembai understood this reality even ebrated musician and vaggeyakara flutist. He was also bitten by the flute at a young age and acted accordingly. Harikesanallur Muthiah Bhagavatar. bug now and learnt to play it well enough The various landmark incidents in his Chembai wanted to attend this festival to "perform a few concerts on this musical career stand testimony to this. and partake of the feast of music and so instrument! He did get opportunities to perform at he and his brother proceeded to Karur. important festivals and other occasions Once he reached the town, he had an- But fortunately for music, Chembai but these came after considerable effort other wish, that he should sing for this regained his voice, so that he could on his part and thanks to his determi- choice audience, consisting of not only resume his singing career. nation. ordinary rasika-s but also a cross-sec- An artist gets a sense of fulfilment A good illustration of this is avail- tion of leading musicians themselves. when his artistic merit is recognised able in what happened in 1913 in the He met Muthiah Bhagavatar and made and there is a demand for what he has town of Karur, near Tiruchi. A rich his desire known. But the reply was

A Night To Remember n the early thirties, electricity had were sold out and a restive audience in the this note for a few seconds and then I just arrived in the more important jam-packed hall was counting the minutes came gliding down the octave as was towns of India, but the radio was yet for the performance to start. required in the pallavi. And he brought unheard of, concert platforms were the house down. Obviously he had known m ike I ess and music performances were It is one of those performances in how to handle an impatient audience. It not amplified and loud-spoken. No one Tiruvanantapuram, which has gone into is difficult for me to recall now, after missed any of these signs of progress memory's archives and which is now being some 60 years, what else he sang except then as they did not exist! But the vocal- recalled here: a performance by Chembai that, when I was getting out of the hall ist had to sing aloud and at a high pitch Vaidyanatha Bhagavatar. He was a popu- on the arm of my father, the musician to make himself or herself heard over lar singer and he had a terrific team of was on Evarimata in Kambhoji raga. It the length and breadth of a large audito- sidemen that day. The violin was in the was now near midnight and Chembai's rium, usually referred to as 'hall'. This hands of T. Chowdiah, while voice, metal-smooth and clear, cut was quite the fashion of a sangeeta Dakshinamurthy Pillai, originally slated through the still night. natakam or musical drama in which to play the mridanga, had opted to play the usually the 'raja' (hero), invariably a kanjeera. The name of the mridanga artist The patience exercised by the audi- well-known vocalist, appeared on the cannot be recalled now, but be was also ence in spite of the uncomfortable con- scene singing a popular bit, whether it someone of top rank. ditions and the onset of a shower during was quite relevant to the story being which one could hardly bear anything enacted or not. The pedal harmonium The kutchcri was to start around 8.30 was, indeed, commendable by present accompaniment and the mridanga had pm, but the stage curtain was still down day standards. Nor were the artists fas- to be played aloud to be heard at the when the appointed hour came and there tidious. The pitter-patter of rain on a rear-most row, which meant the singer was hardly any sign that a music perfor- thatched roof seemed to offer them just had to sing even louder. This tonal re- mance going to take place. In a few min- another trial of virtuosity against the quirement applied to dialogues too, and utes, this ominous situation was com- prevailing noise. it is not surprising if the over-worked pounded by a minor panic which gripped actor helped himself to some nourish- the restless audience, for someone seemed Some other aspects of this performance ment, 'spiritual' or otherwise, at every to have floated a rumour that one or two of seem worth recalling also. The singer fall of the curtain. This, indeed, added the artists had not reached the town yet and sidemen seemed to be friends and colour to bis performance but the and that the concert was likely to be post- totally relaxed and outgoing, this friend- organisers hoped and prayed that there poned or cancelled. The thatched hall was ship sending its warm glow into the would not be too much colour. full; even the verandahs were full with audience. Memory has retained the people crowding the windows. But, it was amiable gimmicks of Dakshinamurthy the surprise that brought relief. The audi- In those days, a music concert had its Pillai while playing the kanjeera, either ence broke into cheers as the curtain went by way of throwing challenges to the own interesting features. Firstly, the singer up after the long wait. Every artist was in mridanga vidwan or seeming to ask him and the accompanying musicians had to his place and smiling and all was right or the audience: "How do you like that?" arrive most probably from different lo- with world! During the next minute or Appropriate facial gestures, a frown here, cations, when road and rail transport two, the general noise level rose up but, and a quizzical look there; a smile here werestill not highly developed and com- suddenly, Chembai, with a twinkle in his and a grunt there! munication mainly had to be by post. eye, shot off a musical sound into tbe air The late arrival of any one musician of which was the tara shadja beginning note It was a night to remember. the pre-arranged group would cause no of Clialamchi SwatiTirunal's Ata taia varnam end of concern especially when tickets in Sankarabharanam. Chembai held on to R.B. NAYAR disappointing. Muthiah Bhagavatar told him that only leading artists could expect to perform there and a youngster like him might get a chance at some future date if he made good. To Chembai's continued importun- ing, Muthiah Bhagavatar's response was that, at the most, the lad might be given a chance the following year, as all the arrangements for the cur- rent festival had already been com- pleted. Chembai was keenly disap- pointed. But now destiny took a hand. The violin accompanist for a jalatarangam concert failed to arrive. Chembai persuaded the soloist to avail of his own services and she agreed. The concert turned out well and, as was customary, Chembai was handed over his payment for the part he had played. He, however, expressed a wish not to be paid in cash, saying that he had actually wanted only to sing. He explained he was building up a career as a vocalist, though he also knew how to play the violin, and that he Chembai presenting a memento to Madurai Somasundaram at the Shanmukhananda Sabha, would prize a different kind of pay- Bombay ment, that of a chance to sing before such a distinguished audience. Muthiah Bhagavatar and Pethachi Chettiar were persuaded by this rea- soning and promised Chembai the stage for the following day. Needless to say, the performance by Vaidyanatha Bhagavatar was a thump- ing success.

Chembai secured a similar oppor- tunity of significance in 1915. A lead- ing citizen of Ernakulam, named T.A. At a Bharatiya Music & Arts Society function. Speaker is N. Madhav, Mayor of Bombay. Duraiswami Iyer was conducting an Musician is Tiruvizha layasankar annual Tyagaraja festival which at- tracted all the important performers of the day and a throng of listeners. It was considered a privilege to sing Seerkazhi Govindarajan garlanding Chembai. To Chenibai's right is Morsing Pakkirisamy at the festival. Chembai went to Ernakulam and requested Duraiswami Iyer a chance for him also to sing. Duraiswami Iyer agreed. As custom- ary at such festivals, Chembai sang for the limited time allotted to him and was about to get up, when there was a chorus of requests for one more number and he had to oblige!

Very soon Chembai had an oppor- tunity to spread his wings wider, when he received an invitation to sing at a wedding in the family of one Jnanaprakasa Mudaliar in Pondicherry. Until then the brothers had given full-fledged concerts mostly in and around Chembai. True, they had been to several places with Natesa might have learnt music all right but Sabha. Rasika-s who had heard about Sastrigal and sung at his discourses, apparently had not learnt manners as the young vidwan were keenly looking but these mini-concerts were more in he would otherwise not have made this forward to the event and the sale of the nature of interludes, of subsidiary kind of brazen approach. Chembai made tickets was very brisk. As the concert performances. The performance in bold to explain that it was far from his was about to begin, the hall was filled Pondicherry made Chembai known over intention to thrust himself forward to capacity, with a large number listen- a wider area leading later to more con- unceremoniously but that he had been ers who could not gain entrance milling cert opportunities. patiently waiting for days for some re- around outside. There was a demand sponse to his request for an audience. that the doors of the hall should be A testimony to Chembai's determi- Desikar was somewhat mollified and opened. This rose to a clamour as the nation is the manner he got to have an told Chembai to wait at the premises concert started and the organisers had audience with Sreelasree Ambalavana till he returned from the temple. After finally to keep the entrance doors open Desikar, head of the Tiruvavaduturai an hour, he came back and spoke to to mollify the restless crowd of listen- math and a revered spiritual leader. Chembai and this time gathered details ers. The concert, featuring as sidemen Chembai had heard about the leader's about his family and about his musical Govindaswamy Pillai on the violin, interest in music and his discriminat- background and qualifications. Then, Azhagunambi Pillai on the mridanga ing knowledge of music. He wanted to at his suggestion, Chembai rendered in have a chance to sing before him and viruttam form the verse 'Kanduka and Dakshinamurthy Pillai on the proceeded to Tiruvavaduturai with his madakkariyai vasamai nadattalam.' kanjeera, was as usual an impressive brother. But having reached the town, Desikar went on prompting Chembai effort. the lads were disheartened to learn about about the raga-s he should sing and the Chembai's concert career took a fur- the high level of security and about the youngster responded enthusiastically. ther upswing after this concert. He gave formalities that made access to the Greatly impressed by the performance, performances all over the South. This Adheenam difficult. Chembai expressed Desikar ordered that a concert by was the era of giants, with vocalists like his desire to an official of the math. Chembai be held the next day. Chembai's Ariyakudi Ramanuja Iyengar, The brothers were courteously received ardent wish was thus fulfilled. A high- Kanchipuram Naina Pillai and and provided with boarding and lodg- light of the concert was that the mridanga Maharajapuram Viswanatha Iyer con- ing as guests of the math and a promise accompaniment was provided by the sidered the front-rankers. By the time of action. But time passed, five days in great Azhagunambi Pillai. fact, without any news of the requested he reached 30 years of age, Chembai appointment with the Adheenam. The began to be considered one of them. brothers were deeply disappointed and Another significant event in Chembai's were preparing to return home. While career was his concert at the Ramanavami In 1932 Chembai cut his first Subrahmaniam was attending to the festival in Palakkad in 1916. Among gramophone record, for the Columbia packing, Chembai was restlessly walk- those who attended the concert was Gramophone Company and more fol- ing about, rueing the failure of their Pudukkotai Dakshinamurthy Pillai. lowed soon. Once while he was relaxing mission. Suddenly he noticed that he Pillai had listened to Chembai on an with some friends, Dakshinamurthy had reached the entrance to the math. earlier occasion and been impressed. Pillai heard one of Chembai's discs be- He also saw that the guard who was Hearing him again, he was fully con- ing played in a nearby building. He usually stationed there was not then to vinced of his exceptional talent. After listened to it with rapt attention and, be seen. He was excited. He was afraid the festival, Pillai returned to Tiruchi when it was over, remarked to his friends as well but took courage in his hands to meet the famous violin maestro about the versatility of Chembai's gifts. and got past the gate unobserved. After Govindaswamy Pillai and told him of He observed that it was usually the walking here and there, he succeeded in the calibre of Chembai's music. case that a learned musician lacked an locating the quarters of the head of the Dakshinamurthy Pillai was not a man attractive voice, and one with a good math, which was guarded by two armed given to easy praise. That he himself voice, did not know how to sing well sentries. While he was wondering what should speak so highly of Chembai greatly and pleasingly. Some singers could sing impressed Govindaswamy Pillai who to do, Chembai discovered, from the well in concerts but their records were promptly made arrangements for a activities that were going on, that the not impressive. But in the case of kutcheri by Vaidyanatha Bhagavatar in Adheenam was about to proceed to the Chembai, he added, there was an ex-. temple for worship. When the latter Tiruchi. Govindaswamy Pillai himself ceptional combination of qualities- walked out, Chembai too emerged from provided the violin accompaniment while inborn gnana, a fine voice, good dic- where he was hiding and went and stood Dakshinamurthy Pillai played the tion, attractive style, a friendly disposi- in front of Sreelasree Ambalavana mridanga. The concert met Desikar. The latter was taken aback Govindaswamy Pillai's expectations fully tion, the keenness to teach as well as but, fortunately for Chembai, he was in and, thanks to his efforts and the ability, and so on. High praise in- a placid mood and gently asked the Dakshinamurthy Pillai's, Vaidyanatha deed from a person of the discrimina- young man who he was and what he Bhagavatar had the opportunity to sing tion of Dakshinamurthy Pillai. wanted. Chembai told him courageously, at various places, with the two Pillai-s but not without trepidation, about his themselves playing the accompaniment Between 1932 and 1946, Chembai's keen desire for the privilege of singing in most of the concerts. music was captured on several phono- before the Adheenam and obtaining his graph discs. Many of them turned out blessings. Desikar observed that Chembai to be hits and served to extend Chembai's Chembai's first concert in Madras popularity, leading to more concert was in 1918, at the Triplicane Sangeeta opportunities. And Chembai was one artist for whom almost all kutcheri-s were successful. The secret was that he put in the same devotion and effort into every performance.

Those were the days before the ad- vent of the loudspeaker and a singer was entirely dependent on the timbre and reach of his voice for a successful concert. Chembai was uniquely blessed in this respect, for his voice which had great depth, was a special attraction. When he was 30, he was considered to have a voice that had no parallel then. There was one occasion when he had to sing at a wedding 'competing7 with the nagaswara ensemble. He did it success- fully, and held the attention of the au- dience till the end of the performance.

Chembai was married when he was 15 years young. The bride was Meenakshi, daughter of Vasudeva Sastrigal, also a resident of his native village.

In 1927, they became parents of a girl who turned out to be their only child. They named her Parvati. Ten years later, they had her married to Chembai's nephew Narayanan. Although he had gone to college and graduated, Narayanan had studied music as well. Chembai twin and it was not Surprising that, in long recognised Chetobai Vaidyatkatha had taken him under his wings, per- their boyhood days, the two of them Bhagavatar for the dedicated and out- suaded him to take up a career in mu- singing together had elicited compari- standing musician that he was. His sic. When Narayanan became his son- son with Lava and Rusa of the Ramayana. sustained popularity was testimony to in-law, it was arranged that thereafter But with Chembai emerging as the hero, that. This popular recognition found Narayanan would replace brother Subrahmaniam had became a Lakshmana further expression in 1940 when his Subrahmaniam as Chembai's 'second to Vaitha's Rama. Ever faithful and old friend T.D. Narayana Iyer, about to voice.' devoted to his older brother, he had no retire as a senior postal official ar- difficulty with the new arrangement, ranged a function to raise funds for the Subrahmaniam had been Vaidyanatha especially since he felt he needed more War effort and for activities promoting Bhagavatar's shadow right from his time to devote to the management of the welfare of the employees of the childhood days. Although he was about family affairs and property, as well as to postal department. He decided to invite two years younger, he was verily like a the free music school which his brother Chembai to give a performance on the had established in 1923. Chembai with grandchild occasion and to honour the Bhagavatar. Harikesanallur Muthiah Bhagavatar There were other events in 1937. presided over the function, of which Chembai's father Ananta Bhagavatar the highlight was the awarding of the died. Later, Chembai visited Mysore at the invitation of Rrishnarajendra title of Cayana Candharva to Chembai. Wodeyar, its then Maharaja, and gave a The recognition most coveted by command performance there. But he Carnatic musicians, is the invitation declined another invitation that fol- to preside over the annual conference lowed, to serve as an asthana vidwan of of the Music Academy of Madras. The the Mysore Court, since he felt he would title of Sangeeta Ralanidhi goes to the not be able to stay in Mysore as fre- person presiding over the conference. quently and as long as required to dis- Chembai Vaidyanatha Bhagavatar re- charge the duties of a court musician. ceived the invitation and the title in But the royal invitation was an in- 1951. stance of formal recognition from influ- ential quarters. Chembai accepted it graciously though others who belonged to his era, like Of course, the listening public had Ariyakudi Ramanuja Iyengar, Musiri Vaidyanatha Bhagavatar subsequently On Encouraging received the Central Sangeet Natak Akademi award in 1958 in recognition Young Musicians of the distinguished service rendered Vaidyaaatba Bhagavatar included the by him to Carnatic music. The honor- following advice in his presidential ific of Padma Bhushan awarded by the address at the annual conference of President of India came his way in 19 73. the Music Academy of Madras in 19 SI: Vaidyanatha Bhagavatar's busy sched- Ail musicians who have achieved a ule, and the fact many of his concert measure of fame should, whenever engagements were in Madras and other convenient, attend the performances places reached easier from the city, per- of youngsters in their profession. Tbey suaded him to shift his headquarters should sit up-front and give encour- from Chembai to Madras in 1945. Also agement, avoiding gestures which might upset or create apprehension in influencing him in this matter was his the minds of the young performers. desire to compose the music for songs Music flourished in the past only be- written by his long-time friend and sup- cause the oldei musicians had given porter T.G. Krishna Iyer. In the event encouragement to yuuthful perform- Chembai set to tune some 120 songs ers in this manner. written by Krishna Iyer, known gener- which had been the venue of one of his ally as Lalitadasar songs. He also re- earliest concerts. At 78 years of age, he corded some of them and included sev- was ready to exit the world and it seems Subrahmania Iyer, Maharajapuram eral in his concert repertoire. he had a premonition of his end. Viswanatha Iyer and Semmangudi Srinivasa Iyer had been given the Chembai's memory lives in the hearts title before him. That he was not fully Bhagavatar's role as music teacher, of countless rasika-s who have heard happy with the way the establishmen- which had started in Chembai, contin- him. tarians of the Academy ran its affairs ued in Madras with added vigour. He was, however, known. When Musiri accepted students without hesitation Chembai's music and personality may had been selected for the honour, or thinking about money and he always both be considered by many as old- Chembai had been asked to second gave of his best. When a friend once fashioned. They were, but for this very the nomination formally. While fulfill- asked him whether all his students were reason they should serve as sources of ing this responsibility, Chembai let it becoming successful musicians, Chembai guidance to those aspiring to success as be known that he resented what he replied that depended on their good performers today. His music was rooted considered to be the favouritism shown fortune; as far as he was concerned, it in tradition and yet he succeeded in to Musiri by the Academy. He said, was his duty to teach, without worry- creating a large following and remain- the sarcasm in his speech evident, ing about the result. ing at the top for many, many years. that it was but right that the Academy And he did this, moreover, without should honour Musiri- and that it Chembai's disciples ran into hun- lowering his personal dignity and the should honour him not once but dreds. Naturally, not all of them made dignity of his profession. again and again. Vidwan K.S. a name for themselves as musicians. Krishnamurti recalled this incident He once observed: Chembai died on 16 October 1974, recently. very soon after a concert at the temple "Music is a great art, a divine art. Our forefathers looked upon it as a On his 61st birthday dedication to the divine spirit. There- fore it pulsated with a life-force. Nowa- days the art has been commercialised and music of those who get paid the highest is considered the best."

Chembai himself demanded high fees because he believed art should not be sold cheap. But he led a frugal life de- spite his high income, because, as noted before, he was given to simple living and high thinking. He did not hoard his wealth; he supported causes which he considered worthy and, in line with his belief that art should be dedicated to god, he devoted a considerable fortune to underwritingpooja-s at the Guruvayur temple and to restoring and maintain- ing the two temples in his native village. 24 VaUiaBU Vittagt Connections

The following article was written by mances by top musicians in Malabar A.V. Krishna Iyer used to teach P.A.RAMAN, a lifelong friend of Cbembai and in Madras City. Also he knew Chembai Sanskrit and persuaded him Vaidyanatba Bbagavatar and founder of Kathakali songs set to Carnatic music to sing Agrey pasyami, the sloka from the Bharatiya Music and Arts Society of and as well the songs used in Narayaneeyam . It was he who put Bombay. Ottamthullal and Krishnanattam. Thus Chembai on to Karuna cheyvanendu, he had both the motive and the compe- the song on Guruvayurappan in hembai is a quiet village about tence to play the role of a mentor to Malayalam. When Chembai received C 25km from Palakkad town and young Vaitha. (It was Krishna Iyer who offers in 1929-30 from recording com- railway station. It is actually closer to later "discovered" Palakkad Mani who panies, Iyer made the selections of songs Parli railway station which is on the was being groomed as a vocalist by his for him. Some of the compositions ren- Palakkad-Shoranur track some five km father and who helped to launch the dered on 78rpm were: Orumaiyodu after the Bharata river crossing. It is youngster on a career as a mridanga (sloka); ChesinadeUa (Todi); Raghuvara one of a cluster of four villages- vidwan). (Pantuvarali); Sree Rama mantram Ayyappankavu, Ayi lam, Chembai and (sloka); Bala Gopala (Bhairavi); Amba Krishna Iyer visited the village of Meghanamkulam-- which has produced naadu (Todi); Chetulara (Bhairavi); and Chembai from time to time, combining eminent citizens. If Vaidyanatha Rama neeyada (Kharaharapriya). Bhagavatar belonged to Chembai, A.V. them with his visits to his native vil- Krishna Iyer, a leading lawyer, belonged lage. He offered suggestions on what The discs sold fast in India, Burma, to Ayyapankavu, Ayilam is the native the lad and his younger brother Ceylon and other countries where South place of the late A.S. Panchapakesa Ayyar, Subrahmaniam might do to improve Indians lived and Chembai's fame spread ICS, who also adorned the bench of the the attractiveness of their singing. But and royalty income swelled. High Court in Madras. he offered more than mere advice. He took the initiative to recommend I have heard it said that the forbears Chembai for concerts outside the A.S.P. Ayyar of Ayilam- former For- of Vaidyanatha Bhagavatar originally Palakkad area in Malabar, and as well eign Secretary A.P. Venkateswaran is belonged to Bhavani, near Erode, that in Travancore and Cochin, which were one of his sons- became an admirer of Vaidyanatha Bhagavatar's music early they were among the Tamilians who then independently-ruled States. He on. He wrote the Foreword to Chembai had migrated long time ago to Malabar had the collaboration of Pudavaikadai Selvam, the biography of Bhagavatar at the invitation of the Zamorin of Chathappuram C.S. Ramachandra Iyer, written in Tamil by 'Ellarvi' [L.R. Calicut. The Zamorin had promoted a leading silk cloth merchant of Palakkad, the immigration because he had fallen Viswanatha Sarma]. Calling Vaidyanatha in this endeavour. Together, they se- out with the Kerala brahmins. Banning Bhagavatar the Dronacharya of Carnatic cured numerous concert engagements them from his court, he had invited music- he described Ariyakudi Ramanuja for Vaitha (who was accompanied by brahmin scholars from Tamil Nadu to Iyengar as the Bheeshmacharya- Ayyar take their place. And at his instance, his brother) at temple festivals, palace went on to give interesting details about the Raja of Palakkad had offered them functions and weddings of rich brahmin the area to which he and Bhagavatar land and helped to settle them in the and Malayali families. both belonged. He wrote in the surrounding villages. Krishna Iyer's reach extended to Foreword: Madras also. He was married to a niece The first to respond to the Zamorin's of P.R. Sundara Iyer, a leading lawyer "Chembai is one of the 96 agraharams invitation was Uddhanda Dikshitar of who later served as a judge of the Ma- [enclaves] of Palghat Taluk where the Tanjavur, a great Sanskrit scholar and dras High Court before his demise in Tamil Brahmins have settled down.... exponent of all the Vedas, Upanishads 1913. Sundara Iyer's family recom- and puranas. His example prompted mended Chembai for concerts at pri- A.V. Krishna Iyer numerous others- scholars, adminis- vate and public functions. They also trators, vaggeyakara-s and musicians- arranged for Chembai to perform at to follow him. The musicians included weddings in the family. Vaidyanatha Bhagavatar's ancestors. (My father P.K. Ananthanarayana Iyer I have mentioned A.V. Krishna Iyer was a cousin of Justice Sundara Iyer because he played an important role in who lived at Sree Bagh on Luz Church the development of Vaidyanatha Road, the present premises of Bhagavatar's career. When the latter Amrutanjan Limited. My father was was making a mark as a musician in the one of three juniors of Sundara Iyer; local area-- he was very young then- the other two were Alladi Krishnaswamy Krishna Iyer was a busy lawyer based in Iyer and C.V. Ananthakrishna Iyer. I Trissoor. He had studied music under have heard that it was A.V. Krishna Chembai's father and later had the op- Iyer who brought Parur Sundaram Iyer- portunity to deepen his sense of music father of M.S. Copalakrishnan- to appreciation by listening to fine perfor- Madras.) husband's demise.

I myself learnt music from Vaidyanatha Bhagavatar for some time during 1942- 44. I sang along with him and also played the ghata at his concert once or twice. But what S. Satyamurthy said speaking about Sir Mohammad Usman is relevant here. "When I stand before him, I am lost in the background. If I stand behind him, nobody sees me." So lofty was his voice and so crafty his singing that* no disciple of his could grow in stature under his shadow, though he helped numerous boys and girls to learn music.

My late wife and later my daughter (Suseela Raman) also learnt music from him.

Back to the village, where we began. In the nineteen thirties even, the 50 or so houses in the village all had thatched roofs. Then the Parli Tile Works, near the Parli river, was on the verge of closing because of financial difficulties. Vaidyanatha Bhagavatar bought its as- sets and arranged to supply tiles to all the villagers at a nominal price. And he made provisions for deferred payments too. This generous move on his part helped to make the village both lovely and virtually fire-proof. Chembai speaking at a Bharatiya Music & Arts Society function in Bombay. Looking on: V.G. Venkataraman & P.A- Raman Vaidyanatha Bhagavatar also remod- The Rulers of Malabar gave gifts to Ayyar then proceeded to recall an elled the two temples in the village and (them) besides ensuring protection. early concert of Chembai's: Malabar was not in those days noted helped the local panchayat to maintain for music, though it was famous for "I heard Vaidyanatha Bhagavatar first the roads. In 1942 he agreed to make a astrology, sorcery, medicine and litera- at my sister's marriage in Ayilam, in cameo appearance in a Kannada film ture. The Rajas of Malabar, by giving 1906. Ananta Bhagavatar was the mu- produced by his violinist-friend Mysore this patronage, grafted music also to sician, and he made Vaidyanatha T. Chowdiah and render a song in the soil.... Bhagavatar and his brother Shanmukhapriya. He received 5000 Subramaniam, boys aged 10 and 8, sing rupees in payment which he promptly for an hour. They took the audience by used to have a golden kavacha (or cov- "Chembai is one of the four villages storm, and were, at the end of the per- ering) made for the deity at the which form one of the minor groups in formance, paid two rupees by my father Parthasarathy temple. the 96 agraharams. I come from Ayilam who exclaimed, "Fish do not require to (Akhileswarapuram) which is only one be taught to swim!" I have heard him His disciples have since built a mile [1.6km] from Chembai. But while sing at Madras at the height of his mandapam and a shrine where pooja is Chembai is noted for its musicians, power, and I have always been trans- offered mornings and evenings to an Ayilam has only lawyers, no music. A ported to a higher sphere when he sings image of the Bhagavatar. On his birth wealthy Ayilam brahmin had an ambi- Nityakalyani, Satruchhedaika mantram and death anniversaries, his disciples tion to become a musician, and took and other songs." even today gather and sing bhajan-s tuition from Ananta Bhagavatar, the and other songs continuously for revered father of Vaidyanatha Bhagavatar. Chembai was born under the aster- 24 hours. After a year, Ananta Bhagavatar gave ism of Bharani and I believe in his case him up as hopeless. To the pupil's re- the aphorism that one born under Vaidyanatha Bhagavatar was a unique monstrance, "Why do you say that I Bharani will rule the world (dharani) musician with an inimitable style of shall not become proficient in music?" came true, insofar as the Carnatic mu- his own. More, a rarity among musi- Ananta Bhagavatar replied, "You may sic world is concerned. His wife was cians, he was a person of unassailable at the end of Kali Yuga, but certainly also born under the same asterism. She character who believed in simple living not before." passed away within six months of her and high thinking. Last Day Of His Lift TtashBacks Before Trie Farewett

Tbis article was written by lawyer-poet Ramalingaswamy, the composer of P.T. NARENDRA MENON of Ottapalam, Tiruvarutpa, entered a cellar with an witb the cooperation of bis musician-wife instant song on his lips and, following SUKUMARI NARENDRA MENON. his instructions, the disciples sealed it ndal, Swami Haridas, Meera, and with stone and cement. A concourse of A Ramalingaswami in the last cen- people witnessed the event. The Dis- tury passed away with their swan-songs trict Collector, an Englishman, who on their lips. So also the Trinity of rushed to the spot the next day on Carnatic music; not for them the tor- getting reports that a person had been tured struggle for breath, the pathetic entombed alive got the cellar opened, rattle of chakra swasa, they entered the and found nothing inside, except the world beyond with the resonance of fragrance of the champaka flower, which dhaivata, nishada, and shadja in their the swamy's body always carried. This throats. The end of Chcmbai happened at the close of the last cen- Vaidyanatha Bhagavatar's hie conformed tury, and many who witnessed it have to this tradition. recorded it.

Tyagaraja informed his disciples on a One could banish these reports as pushya bahula panchami that an ex- arising from the fanciful imaginations traordinary event would take place that of their followers. One could argue, in day. Later, he told them he would sing the light of reason, that it is not pos- his last kriti. He sang Paramatmudu in sible to compose and sing during the lage on the banks of the Nila river. The last struggle. But why did such myths Vagadeeswari, a raga of infinite tran- sadhakam was just over when Soolapani, acquire significance in our musical lore? quility and sweet pathos, which culmi- a disciple of Chembai and a music- And why, in recounting the last mo- nated in his mahasamadhi: teacher in our town, called on the tele- ments of Chembai, our thoughts are phone. Bhagavatar was in town, he said, drawn to this tradition of musical Oh! Paramatma, you shine gloriously and resting at the house of O.M. samadhi? For an answer, we have to in everything. Vasudevan Namboodiripad (O.M.V.), look into his mental state, demeanour, one of his early disciples. He would and conversation on the day of his death You shine in Hari, Hara, deva-s, hu- come to our residence at 12 noon. which he spent in Ottapalam, our small man beings and in the innumerable Meanwhile, he wanted a car to go to town. worlds. Vengassery, a nearby village.

You shine in the five elements of the Chembai was a constant visitor to sky, fire, air, water and earth, and in Ottapalam during the last 35 years of animals, birds, hills and trees. A translucent morning in the month his life, because O.M.V. had settled of Aswina-16 October, 1974. The winds down there. During every visit, he would You shine in the good as well as the were still bringing in a dwindling mon- stay at least a couple of days in bad. soon, but in between, the dawn was Vasudevan's house. Right from his beginning to get dew-laden. When childhood, he had had a close associa- And lo! you shine in the heart of Sukumari sat down for sadhakam, she tion with the latter's family. The only humble Tyagaraja. could see, through the window, the income of Ananta Bhagavatar, Chembai's palm trees at the end of the field silhou- father, was from teaching music and Muthuswami Dikshitar entered into etted in mist. When she was studying the meagre fee obtained was seldom final samadhi with Meenakshi at what was then known as the Central enough to make both ends meet. meymudam dehi, the Gamakakriya kriti College of Carnatic music in Madras, Chembai, and his younger brother ringing in his ears. But his soul left the Chembai had once explained the mean- Suppamani, had known stark poverty body before the end of the composition. ing of a passage from Kaddanuvariki, in their childhood, but they had be- He was on wing to the unknown the the Tyagaraja kriti in Todi, and pointed come accomplished singers in spite of moment he heard the words, "thou, out the method for practice mentioned it, due to the father's training. When who liberates from the coils". His dis- therein: "Wake up from sleep. Take up they were children, a marriage proposal ciples, however, completed the kriti. the beautiful tambura. With pure mind, had to be finalised for their father's sing suswara in sampradaya style." sister. Ananta Bhagavatar had no where- Equally famous is Syama Sastry's withal. Vasudevan's family, of the Madhyamavati song of farewell, Palinchu Olappamanna Mana, was almost a Kamakshi pavani. Ottapalam is just an overgrown vil- zamindari then, and he approached the Guruvayur had become an obsession ing my nephew and niece. head of the family for a loan of 2000 with him, and devotees there had long rupees. The latter would not oblige, as begun to look upon him as a represen- While being never despondent or he knew that it would never be repaid. tative of the Lord. At every visit, people morose, on that day he seemed to be But he helped in another manner. He used to vie with each other to get his particularly jolly. We felt that some wrote to some 30 chieftains and land- blessings, and that included many who special joy was pulsating in him. He lord families, stating that Bhagavatar's had no knowledge about his musical was very active too. From 12 noon to two boys, who were good singers and prowess. He had developed an uncanny 5.30 in the evening, he was at our would be top-notchers in future, were gift of speaking words which brought residence, now sitting and chatting in in straitened circumstances, and re- solace to people. the drawing room, now walking about quested them to make some payment the house. Sukumari had prepared sev- after listening to them. Ananta Chembai was not only a king of nada, eral items of food, not knowing what he Bhagavatar made a tour of Malabar and but also a king of wit. His humour had would relish. But he had only milk and Cochin with these letters, and ere long an effervescent quality which sent ev- biscuits. He was walking around the obtained the 2000 rupees he needed. erybody he met into peals of laughter. dining table, and loudly counting the He returned to Olappamanna Mana five His puckish wit would well up the items. letters which he had no need to utilize. moment he came across a few people. From that day onwards, Chembai con- "You are not eating anything, then sidered himself as a dependent of the Years ago, he came late for the con- why count them?" Sukumari remon- Mana, and at every opportunity would cert at our wedding and everybody was strated. walk the 15 miles to the Mana from his anxiously waiting. Suddenly we could village. Of course the good food served hear somebody shouting at the gate, in "Your nathoon [sister-in-law] in there also was a big draw. Malayalam: "Aanavarunu, aanavarunu, Madras will ask whether you treated vazhi vittolu"- the elephant is coming, me to vada-payasam. I want to tell her make way. It was none other than you had prepared so many items," he This time he had come to Ottapalam Chembai shouting! replied. to participate in the arangetram of the disciples of his disciple Soolapani, and We could see that he was in good The correspondent of Malayala to give a recital at a small temple be- form when he alighted from the car on Manorama dropped in on hearing about longing to O.M.V., on the banks of the that October day at the gate of our the arrival of Chembai. He was en- river. We sent the car to him and compound. When we hastened to re- tranced by the wit of the aged doyen. waited for his arrival. He had gone to ceive him, he said: He said he was planning to write a long the village, worshipped at the Devi temple article on Chembai. The latter replied: there, and inquired about the welfare of "That nephew and niece you brought an indigent girl to whom he had pro- to me at Madras, those with funny "Don't bother. I do not feel like vided dowry a year earlier. After this, names. Well, I taught them two songs, reading the papers nowadays. You re- he was at our residence by noon. Pavana guru and Jaya jaya sree giri. port only wars, murders, robberies and Come on, tell me which are these kriti- sex. You report nothing but the abuse people hurl at each other. I have other Bhagavatar used to help many girls to s. Kumari, you don't know? Let me see things to think about. If you want, you get married, during the last years of his whether he [Narendra Menon] can can report that Chembai said so." life, by providing dowry, in part, and tell me!" once or twice in full. A month earlier, The correspondent earned a promo- I knew Pavana guru as a Hamsanandi when we were in Madras, he had said: tion for his report captioned, "Malayala composition of Lahtadasar [T.G.Krishna Manorama given the last interview", Iyer], but had not heard the other one. "Do you know how much I earned which appeared on the front page the [It turns out it is also a kriti of Lalitadasar from singing this month? Twenty thou- very next day. sand rupees! Perhaps you think I put it in Sindhubhairavi.] I said that he would in my bank. No. I spent 500 rupees try to identify it on hearing the pallavi. A Cascade Of Reminiscences here in my madhom. Four or five thou- Chembai wagged his finger and laugh- sand, I gave away to get a couple of poor ingly said: We talked during the afternoon and girls married. The entire balance was kept asking him about the many inci- given to Guruvayurappan, [the deity of "Yes, yes, I know you want to make dents in his interesting life. And he the temple in Guruvayur]. I was very me sing standing under this mango tree responded readily. greedy for money once. Now the Lord at your doorstep, so that you can go has taken away that greed from my about bragging about it. Sari, sari [okay, He skipped from one incident to an- heart." okayj, you can have your way." other in quick succession, all recounted in his rustic, colloquial Malayalam, For many years, till he died, Chembai And forthwith he sang the pallavi carrying a sort of telling effect. He used to go to Guruvayur, every time he with gusto standing in the noonday recalled his childhood days, steeped in had earned enough, to conduct the sun. arduous sadhakam, though beset by Udayastamana (dawn to dusk) pooja. penury; the jalasadhakam he tried in (Now the pooja costs 15,000 rupees). "Both the kids sit on my lap while the Nila river as a youth; the few months He had thus conducted more than 40 of learning. The younger one is for ever of schooling, abruptly terminated by such poojas, a record for an individual. patting my potbelly," he added, revert- the father when once he came home covered with slush, after falling off from the back of a bu f falo, while playing with children of other castes; the days he used to walk 10 to 20 miles just to participate in a varam feast where the poor could get fine food. He also re- membered a concert at the Madras Music Academy which exceeded the allotted time, and continued long into the night as a spell-bound audience listened. He talked about the poi- gnant days when he lost his voice, and the agony he underwent; the oc- casions he used to stand before the Lord of Curuvayur with tears in his eyes, asking, "Oh Lord! have you for- saken me to this extent, so that you cannot even bear to hear my voice recite a verse in your praise"; his back-breaking violin practice during those days; the restoration of his voice by the grace of Curuvayurappan Chembai with two Bombay friends (he totally believed it was so); the treatment by Vaidyamadhom Namboodiri and his stay at the Poomulli Mana. He remembered, too, the days when he made a golaka [golden plate) for the Parthasarathy idol at his village temple with the 5000 ru- Chembai with Ravi Shankar pees he demanded and obtained when Mysore T. Chowdiah persuaded him to sing for the Kannada film Ward-, and the gradual surrender to Curuvayurappan as the only refuge.

We asked him abut the truth of the story that he once produced rain by singing the Devamritavarshini raga. He smiled enigmatically and replied: "Once when I sang the raga, it rained heavily even though it was not the rainy season. I do not know how it rained in the height of summer. Music has great power. Did it not rain when Dikshitar sang Amritavarshini? In my case it might have been a mere coincidence, com- parable to the falling of the palm- fruit the moment the crow perched on it," He was repeating the Malayalam proverb, * Kakka irunnathum panampazham veenathum oppam'. "Yes it was possibly a mere fluke, as I am a far cry from Dikshitar. But remember, there is nothing which cannot be wrought with the saptaswara." We asked Chembai about the re- port that he had refused to don the dress presented by the Maharaja of Mysore while singing at the durbar. 29 It was compulsory for the artists to used to look down on Chembai during We were wondering why Chembai spoke wear the achkan presented by the Ma- his younger days because he was a those words regarding work on Sopana haraja, but Chembai had refused to do Chozhiyan. As regards that he quipped: Sangeetam until 1989 when its purport so, and insisted that he would be bare- was made clear. That year Sukumari chested, except for a shawl draped around "In those days, some could not stand got a senior fellowship from the De- the shoulders, as was his practice. In the sight of a Chozhiya Pattar [Bhattar] partment' of Culture of the Govern- the end, he was given special permis- singing. They would get up and leave, ment of India to do some work on Sopana sion to give the recital in his usual the moment I started my concert. Once Sangeetam. I got really peeved about it, and shouted attire. Chembai replied: "Yes, I did not X like a bhagavatar to be dressed up in to them: I also have a kudumi. The Love for all, compassion, a brimming raja part. I was prepared to sing only in only difference is that it is a front-tuft, zest for life, intermittent spells of de- my palassar and angavastram. The court- instead of a back-tuft (pinkudumi)'. tachment- these were the qualities we iers said that I would not be allowed to Those were my full-blooded days. Now noticed in Chembai that day. I have no rancour against anybody." sing. Okay, I said, I will be glad to go He pointed to the little daughter of back without singing the concert. The our maid-servant, and said: matter reached the ears of His High- Regard For Kerala And Its ness. He allowed me to sing in my usual Culture "Ah! the girl has got a face with good attire." lakshana. Kumari! teach her to play the Chembai belonged to the community tambura. If the voice is good teach her He confirmed that he had refused the called 'Paradesa brahmana' in Kerala, to sing also. Let her make a living out of invitation to be an astliana vidwan of whose mother-tongue is even now Tamil. it." the Mysore court, because he could not They speak Tamil at home. Almost all bear to be absent from the Navaratri the vidwans of Carnatic music in Kerala He looked at the garden and said: celebrations at the Parthasarathy temple till recently belonged to this commu- in his village. nity. It was considered by virtually all "Some raga-s are like the jasmine. of them not quite the done thing to sing Fragrant and white. Some are like the We had heard that Chembai had taught Malayalam kriti-s in a concert. Even hibiscus. Red and spectacular. Some music to his disciples on the railway though Muthiah Bhagavatar sought to are like the full-blown lotus. Lovely platform on occasion. When queried popularise some Malayalam kriti-s of and soft. But remember! They will all about it, he said: Swati Tirunal very few sang them in flower only when the heart is full of practice. But Chembai used to sing love." * ^"Y«t*Itoedoae it a few times.. I|,a Malayalam kriti-s right kom his youth. It was as if he was thinking aloud. tiain would be late for two or three He included even Kathakali pada-s in Presently he said: hours, why sit idle? So I used to teach his repertoire. Even though Ulloor the accompanying sishya-s then and Parameswara Iyer, the Mahakavi, had "Two of my disciples, Raman and there. What was the harm if a few loved and devoted his entire life to Kunchu. I have not been able so far to people saw and heard us?" Malayalam, it was unusual for a person get them settled. Look at Kunchu, he like Chembai, who had practically no We were reminded of the incident has five or six children, and is always in formal education, to have loved this when Chembai sang in a bank premises difficulties. As for Raman, who knows language so much. He also loved Sopana in Palakkad. He was there to encash a where he will be the next moment?" Sangeetam, the ancient musical style cheque, when a clerk sitting at the of Kerala. Raman is Rama Poduval, the now counter told him that he was looking well-known expert of Sopana Sangeetam, forward to hearing Chembai directly, When we mentioned Sopana a brilliant, but erratic and absent-minded though he had heard him over the radio Sangeetam, he said: singer. It was after Chembai's death many times. "Then you can hear me that his talents were recognised, and he now itself," said Chembai. He sat down "It is just like our Bharatapuzha [the got the Central Sangeet Natak Akademi on the floor and started to sing, Vatapi Nila river]. Not much, but what is there award. Kunchu is Soolapani, to help Ganapatim. The manager, the clerks, is really great." He went on: whom Chembai had come to Ottapalam and the customers all came running that day. He followed his master into "Have you not heard the Kathakali and clustered around him, bringing the the Great Beyond. business of the bank to a halt for the padam, Madman kanni in Nalacharitam. next half an hour. Bhava in its entirety is found there. Chembai lapsed into deep silence Kumari!" (Chembai always used to call two or three times. During one such Chembai belonged to the Chozhiya Sukumari thus). "You will have to do spell, he said with eyes focussed at brahmin community, whose members some work on Sopana Sangeetam some far distance: were traditionally engaged in officiat- one day." ing for srardha (anniversary) ceremo- "I want to have anayasa maranam nies, and were consequently considered It is the experience of many that (easy death). That is my only remaining to be inferior to them by other brahmins whatever Chembai spoke about, espe- desire. I am sure, Guruvayurappan will in olden times. As was the custom in cially towards the end of his life, used grant me that boon also." the community, Chembai had a to happen. We know at least three couples 'munkudumi', or tuft in the front part who believe that they had a son or At half past five in the evening, of his head. Some orthodox brahmins daughter due to his words of blessing. Chembai left for the residence of O.M.V. 30 Saying we would come to the venue by tial art of Kalaripayattu and in hypno- rendered a sloka: Vandemataiam the time the concert began at 6.30 pm, tism and elephant therapy, in addition Ambikam, the supplication of the child we started accompanying him upto to being a Sanskrit scholar. Chembai, going to the mother's lap. the car. He indicated the floor of the in a buoyant mood, cracked jokes with When the concert ended, O.M.V. asked verandah and said, "Kumari! Sit down all of them. me to speak a few words. Being a poet, here." When she sat down, he placed When we reached the venue, the con- I could speak only lyrically about the both his hands on her head, prayed cert was about to begin, with T.K. recital. When that ended, Chembai an- with eyes closed for a minute and blessed Ramachandran on the violin, Trissoor nounced over the mike, "Oh, the speech her saying: R. Mohan on the mridanga and Alangudi of this chap is also a type of music!" "Oh Lord! Give her all soubhagya." Ramachandran on the ghata. There Then addressing her: "Never forget to was one more violinist on the stage; we When he was helped to get up, he sing during ekadasi at Guruvayur temple. do not remember his name. There were said: "Please take me to the sanctum The Lord there will always be with also about 10 to 15 disciples on the sanctorum." stage, including O.M.V., RamaPoduval you." Chithali Rama Marar and P.K.G. and O.M.V.'s son and young sishya, Nambiar held his hands and led him to Chembai had never before given his Babu from Madras. The audience was the door of the sanctum. He sat down blessings in such a ceremonious fash- small, but most of the listeners were on the floor, shut his eyes, and prayed ion. Not for a moment did we suspect rasika-s. that it was the last blessing. for a few minutes. Then he called out to As the concert proceeded, an admirer the deity in a supplicating tone: Poozhikunnam temple is situated on who had a dairy brought Chembai a the banks of the Nila river, with a song "Krishna! Guruvayurappa! I am 80. glass of milk. He sipped a little, and You have fulfilled all my desires. Why of nature created by the serene flow of asked: the river, the green fields waiting for do you still make me go about with this the pre-winter harvest, and the distant "Is this milk with water added, or body? Why don't you call me [to you] ?" blue hills providing the backdrop. A water with milk added?" small shrine of Krishna is like a gamaka The Final Adieu The audience laughed. in between. The rain of the previous When he got up, after receiving the night had made the narrow pathway The favourite kriti-s of Bhagavatar prasada, and giving dakshina to the slippery, and though it was short, O.M.V. started flowing out. He was in form, priest, Rama Marar said: had arranged a manchal, a country- and it was a first-class concert. He sang palanquin, to carry Chembai. At first Viriboni in Bhairavi, Vatapi Ganapatim "Bhagavatar will live for the full span he refused to get into it. in Hamsadhwani, Pavana guru in of 125 years." Hamsanandi and Rakshamam "I have not travelled in one so far," saranagatam in Nata with his usual Chembai laughed aloud and retorted: said he and asked: "Do you want me to verve and gusto. Then he took up Sree cut a sorry figure at the end of my life." "You don't poke your head in it. All Subrahmanyaya in Kambhoji, and elabo- is settled between me and But then he relented. When he reached rated the raga, to be followed later by a Gu r u vayu rappan." the temple, there was a slight delay in sizzling niraval and swaraprastara. Power helping him to get up from the manchal. mingled with visranti in his alapana. He returned in the manchal itself to The bell-metal voice was practically O.M.V.'s residence. He washed his feet Chembai quipped to P.K.G. Nambiar, intact. The sruti suddham and accu- and face, and sat down for prayers in the Koodiyattam artist, and Chithali racy of tala were there unravaged by old the verandah. After a few minutes, it Rama Marar, the percussion exponent, age. The enunciation of sahitya was as was noticed that his head was sliding to who were on hand to welcome him: usual clear, though he never used arti- one side. Somebody supported him, ficial dentures. The speciality of and slowly eased him down to lie on the "Are you planning to make me lie Chembai, kattiri swara- combination floor. He was perspiring profusely. here for ever? Well, it does not matter of scissored swara-s— also was there. Neelakantan Namboodiripad, who even if that is so. It is time for that sort And above all there was soulful bhava. knows 'marana lakshana' [signs of death] of thing." went near to examine him. He looked He had darshan of the deity at the We heard this last concert with bated only for a few seconds, and called out: temple, and proceeded to the stage where breath, never suspecting the imminent two girls, disciples of Soolapani, were end for a moment. Bhagavatar took up "Everything is over for Bhagavatar." singing. Sitting on the side, he encour- many items not usually sung by him: Centuries ago, Hazrat Amir Khusro aged them, exclaiming 'Besh'. When they Broohi Mukundeti of Sadasiva said: "The music of Hindostan is finished the kriti and prostrated, he Brahmendra was among them. Then, of divine." raised them up and made them sit on course, he sang Karuna cheyvanendu his lap. tamasam by Irayimman Tampi, his As the funeral pyre burnt and died favourite and a virtually indispensable down on the banks of the river the next Last Concert song in all his concerts. Tears rolled day, this passage came back to mind Many had come early to hear the down his cheeks as he sang it, and he and I thought Chembai's music had concert, including Poomulli Neelakan tan raised his hands high above the head once again conveyed the message to all Namboodiripad, an expert in the mar- and joined his palms in prayer. Then he those who love the saptaswara-s. Vidwan With Values And A Sense Of Humour Too

A Man Of Character

The following have been transcreated by youngster was talking about. Chembai play the English Note!" Whereupon, P. ORR from anecdotes recorded in Chembai thought this was a genuine case of puzzle- Chembai said: "That's all! Okay, I will Selvam, the biography of Bhagavatar writ- ment. So he sang the pallavi and conclude my concert in a few minutes ten by ELLARVI [L.R. Viswanatba SarmaJ. anupallavi of the song but now, while and after that you can ask him to play congratulating him, the vidwan said he for you what you want". Summons [1907] could not remember the charanam. He then excused himself. The chorus sang: "No! we want him When Chembai was 11, he and his to play now!" brother first sang at the Sree Krishna A surprise was in store for Chembai temple in Guruvayur on Ekadasi day when, later during the performance, the Chembai spoke again now, quietly (on the 11th day of the lunar cycle). vidwan started singing the song he had but firmly. He explained the tradition When, shortly afterwards, the father said he could not remember fully. Inno- followed in music concerts and said and the sons were coming out of the cent yet, Chembai was worried that the that it was not the done thing for an temple, a couple of policemen met them vidwan was going to stumble when he accompanist to play a piece which the and said they were wanted by the In- reached the charanam. But Chembai main musician had not taken up. spector. Chembai asked what wrong need not have worried. The vidwan they had committed and why they should The angry audience was not molli- sang the charanam all right and this accompany the policemen. The latter fied; if anything, the lecture seemed to time Chembai quickly grasped the words. replied they did not know why. At that have irritated them further. Some said But, he realised too that vidwan had point, Ananta Bhagavatar said there other musicians had heeded similar re- not levelled with him earlier. Then and quests made by them. should be no harm in going with the there he took a vow he would never policemen and finding out what it was refuse to teach anyone what he knew. Chembai said that he could not oblige all about. In the event, the Inspector simply because others had done so. "I welcomed them with respect and speaking Conflict In Chettinad [1936] will now conclude the concert by sing- with affection, told the father: "On ing the mangalam. You can then do Sunday, your boy must sing here!" The The place: Kottaiyur in Chettinad. what you want." concert took place and Chembai re- The occasion: a wedding. Chembai was ceived 115 rupees for it- the highest giving a performance with Mysore T. An angry man shouted Chembai would yet. At his father's suggestion, he ear- Chowdiah (violin), Palakkad Mani Iyer not ever again be invited to perform in marked the money received for con- (mridanga) and Pudukkotai the town. ducting worship at the temple every Dakshinamurthy Pillai (kanjeera) as his The news spread Chembai had year. sidemen. When there was a pause in antagonised the people of Chettinad. the proceedings, a prominent person A Bi ttersweet Experience [ 1923] stood up and said the guests assembled But, when tempers cooled, good sense desired to hear Chowdiah play solo. prevailed. Members of the community Chembai Vaitha and his brother The violinist could not find any reac- soon decided to invite Chembai to sing Subrahmaniam, still in their twenties, tion on Chembai's face. He continued at another function in the town. were glad to have the opportunity of to sing and the sidemen performed with Bhagavatar again performed with the listening to this musician of maturity. him. same set. It had ended well; and all was Captivated by a particular kriti they well. heard him sing, Chembai memorised There was another interruption soon. the pallavi and anupallavi even as he Now there was a chorus demanding a A Matter Of Priorities [1937] listened but the lyric of the charanam solo performance from the Mysorean. did not register well. This was frustrat- Chembai and his cohorts continued to It was the tradition of the Mysore ing but he had no chance to ask the ignore the clamour. In the event, there court to honour prominent artists by performer. was confusion and many of the guests inviting them to give performances in began leaving, while some came near the royal presence and to accept the Some days later, when the vidwan the platform and shouted. title of asthana vidwan. In 1937 Maha- was due to perform again in that area, raja Krishnarajendra Wodeyar extended Chembai called on him before the con- Chembai now stopped singing and, an invitation to Chembai Vaidyanatha cert and, after a while, asked him for with an air of insouciance, asked: "What Bhagavatar to perform. Chembai ac- the text of the charanam. The vidwan is it you want, please?" The common cepted the invitation and gave a perfor- pretended not to know which song the response was: "We want Chowdiah to mance which was hailed as excellent by 33 the king as well as by his courtiers. He had no problem singing; he had him that the deity of the Parthasarathy Next day Wodeyar presented the vidwan recovered his voice fully. He sang many temple in Chembai would help solve with a ponnadai (shawl) and other to- songs and long until he was satisfied the problem if Chettiar would pray to kens of appreciation. Leading court that the Lord had forgiven his lapse. him and, if the problem were solved, musician Muthiah Bhagavatar also Chettiar could show his gratitude to honoured Chembai and a photograph He sang at Kallikkotai the next evening, the Lord in some way. showing the two bhagavatars together without any problem. is still on display at the Mysore palace. Chettiar agreed to abide by the sug- A Blow For Equality [1941] gestion and then saw a smile playing on The maharaja then expressed his wish the lips of Bhagavatar. "What are you to have Chembai enlisted as an asthana Chembai was due to give a perfor- smiling about?", he asked and Chembai vidwan. Chembai was pleased to learn mance at the Singaravelan temple in said that the act of gratitude should not this but responded by saying that he Nagapattinam, as part of the Kanda be like fulfilment of a trade transaction would not be able to discharge the ob- Shashthi festivities. It was past the and that he should in advance decide ligations of a court musician which time when the concert was to start and what offering he would make, in line would require his attendance at the still none had come from the office of with his capacity. In the conversation court frequently and especially during the temple's trustees to fetch him. that followed, he explained he had al- Dussera. The vidwan was already com- Unwilling to wait any longer, he pro- ready provided the temple with a gold ceeded to the temple, accompanied by mitted, since many years before, to per- kavacham [ornamental covering] for the his sidemen. As he reached the temple, form Navaratri pooja privately at home deity and it would be nice if Chettiar he realised there was some galatta or and therefore he was not available for could take a vow to present a namam noisy disturbance going on. When he any public engagements during that (Vaishnavite mark] made of diamonds. inquired about it, he was told that com- Chettiar agreed to do so. holiday period. His sense of priorities mon people had occupied seats reserved was such that he did not wish to break for VIPs in the mandapa where the Subsequently, Chettiar came to the this commitment. Accordingly he ex- concert was to take place; that a repre- village of Chembai, his problem solved, plained his inability to accept the royal sentative of the trustees had more than and made his offering to Lord invitation to serve as the asthana vidwan once asked them to clear out of the Parthasarathy. None could have been of the Mysore court. space but in vain; that the representa- more pleased than Chembai. tive had said the trustees would rather Far from being upset, the maharaja shift the venue of the concert to some On The Razor's Edge [1952] appreciated Chembai's sense of priori- place else than allow their stipulations ties. The courtiers too were struck by to be transgressed; and that this had the character of Vaidyanatha Bhagavatar. One morning when Chembai was precipitated the galatta. standing in the verandah of his house In subsequent years, Chembai gave in Santhome, Madras, lost in thought, performances at the court several times Chembai arrived at the mandapam, a barber carrying his equipment made at the invitation of the maharaja. pacified the crowd and said that, as far his appearance and saluted him. Chembai as he was concerned, all were equal had never seen him before nor had he Power of Faith [1939] before god and music. He also explained the need for a shave. Yet, using sign he attached more importance to per- language, he invited him to sit down Chembai was about to start a perfor- forming in the temple's precincts than and himself sat down to have a shave. mance at the palace in Kallikotai. Sud- to pleasing the organisers by singing denly he discovered that his voice was The barber, an elderly fellow, spoke elsewhere. "I was invited to perform at 'frozen'. He was puzzled since he had volubly as he passed the razor back and the sannidhi (presence] of the deity and no problem of any kind earlier that day. forth on Chembai's face. He let it be that is what I propose to do," he added. The sound of the tambura sruti seemed known that he was not fond of barbering to gain in volume as Chembai pondered Then he proceeded to give the perfor- and that his real vocation was healing the reason. Suddenly, a question arose mance without waiting for the trustees the sick, like it had been the vocation of in his mind. He asked someone seated his forefathers. nearby whether it was 'sukla paksham', and other VIPs. after the new moon. This was the month Bhagavatar did not respond in any A Tribute In Diamond [1942] of Kartika and it was Chembai's prac- manner to any of this talk. The barber tice to offer musical prayers at the Sree Chembai was returning by train to thereupon sought to provoke him by Krishna temple in Guruvayur on the Madras from Karaikudi where he had asking questions. Ekadasi day of the 'sukla paksham' in given a concert. During the journey, he the month of Kartika every year. When Chembai finally blurted out that he got acquainted with a fellow passenger, was unable to speak. It was obvious he a reference to an almanac confirmed a wealthy, middle-aged businessman that it was 'sukla paksham' Ekadasi, had a very bad throat, the way he named Valliappa Chettiar. Noticing that croaked out the words. Chembai explained the matter to the Chettiar was undergoing some kind of host and requested permission and help stress, he openly asked the latter what The barber said he was very sorry to to go to Guruvayur and fulfil his com- was bothering him. Chettiar was taken mitment. The host obliged. Chembai notice the difficulty Chembai was ex- aback by the directness of the query but periencing, especially since he had heard speeded to Guruvayur in a car, offered responded nonetheless by disclosing the his apologies and prayers to Sree Krishna. his golden voice many a time while source of his worry. Chembai then told passing his house. And he asked how long the vidwan had been suffering this, trust him to treat his ailment. Bhagavatar on how he should take it. Chembai paid him two rupees and prom- Chembai stuck out a single finger to Speaking with difficulty, Chembai said ised to pay a total of 20 if the treatment indicate 'one month'. he had been offered a concert engage- proved to be successful. ment a week hence and asked if he The barber asked: "Haven't you been could rely on the barber's treatment The treatment worked, Chembai re- receiving any treatment?" and accept it. gained his voice and the concert he had Chembai conveyed by signs that the "Praise the Lord and accept it," re- accepted was a grand success. treatment had been in vain. plied the man with the razor. And then he left. What had cured him? The medicine? The barber finished his job and re- Faith? A combination of both? What- ceived payment. Then he said he would Next evening, the barber brought the ever, Chembai never saw the barber- bring a herbal medicine if Chembai would medicine and gave instructions to physician again. Mtmorab It Incidents

The following tales true were recounted by "What do I look like?" The boy replied Miracle Rain long-time friend P.A. RAMAN. smartly: "Like a bhagavatar." When Chembai conceded he was one, the boy I was present at the concert given by The Sage & The Singer asked: "Are you going to sing at Chembai at the wedding of the daugh- Vadayattu Kottai? The concert will be ter of Postmaster Viswanatha Iyer of Once Chembai sang in Kanchipuram a roaring one, eh?" Chembai had a hearty Kalpathy which took place in after the Paramacharya, then the pon- laugh and said that possibly Sekharipuram, Palakkad. This was tiff of the Math, had performed the long around the time S.C. Kittappa, K.B. Chandramouleeswara pooja. The sage Curuvayurappan himself had come to bless him. Sundarambal and their drama troupe asked him whether he was not tired. was giving performances in Palakkad Chembai replied: "No, not at all. How and the song Evarani rendered by can anyone be fatigued watching your Sixth Sense Kittappa with terrific impact was on Holiness performing the pooja?" The everybody's lips. Some of the listeners pontiff presented him with a bracelet, a There was an overflowing audience at the wedding concert requested rudraksha necklace, a ponnadai [shawl] for the concert at Vadayattu Kotai. Chembai to sing this song which is in and prasada. Chembai was in fine form. There was the Devamritavarshini raga. Chembai an intermission during which a curious replied that although it was summer thing happened. He took a letter from Like A Bhagavatar and it was as dry as it could be, it would his pocket, waved it at a member of the rain if he sang any song in that raga. We were speeding towards Rollam audience and asked: "You wrote this Probably no one believed it because the [Quilon] when our car got held up at a anonymous letter, didn't you ?" The man listeners persisted with the request. railway crossing. A young boy who was shamefacedly admitted he had done so, Chembai then rendered the song and, tending cattle nearby came up to the whereupon Chembai admonished him miracle of miracles, when he concluded, car and asked Chembai who he was. not to write anonymous letters ever dark clouds appeared in the sky and Always playful, Chembai asked him: again. there was a downpour. Chembai & P.A. Raman Question Of Seniority Chembai and I were travelling by the Mangalore Mail in a posh old-time sec- ond class compartment, from Madras to Palakkad. It was very late at night when the train stopped at Erode. I heard someone knocking on the door and since there was an upper berth vacant, I opened it and there was Ariyakudi Ramanuja Iyengar. We invited him in gladly. He was also going to Palakkad, to sing at the marriage of one of my relatives. Chembai began talking to Ariyakudi and, after a while, asked: "I know you are older ttian me, but which of us is senior in terms of performing experi- ence?" Iyengar admitted Chembai was, for he too remembered that even when he was giving only vocal support to his 35 guru Poochi Srinivasa Iyengar, Chembai be more appropriate to give the honour the day entering and taking their seats. was accompanying the latter on the to Palakkad Rama Bhagavatar, who was Stopping in mid-song momentarily, he violin. The exact words he spoke to senior to him. We took his advice; but recited a Sanskrit sloka of which the Chembai, in broken English, which I were glad Chembai also gave a concert substance of which was that it is rare remember vividly were: "You were fid- later. for four musicians to come together as dling then." All of us laughed. it is for four dogs, and then added he Joker considered himself most fortunate that Footrule four great vidwans had come together A man of serious purpose in life, to attend his concert. It was a time when the Railways used Chembai was yet full of fun. He liked to issue "Travel As You Like" tickets to crack jokes and he would do so Source: P.N. SUNDARESAN costing seven and half rupees which even while he was on the stage for a could be used for three months through- concert. * And this happened at another Acad- out the entire railway network in the emy concert. Chembai saw Musiri South. This happened in a concert in which Subrahmania Iyer and Semmangudi his sidemen were Lalgudi Jayaraman Srinivasa Iyer, their heads covered pos- On or about June 1940, Chembai and Umayalpuram K. Sivaraman. sibly to hide their identities, slinking and I were at the Shoranur railway sta- Chembai was singing Rama ninney, away quietly. He quipped, with that tion platform, waiting to board the the Tyagaraja kriti in Husseini raga. openness for which he was noted: "Oi, Mangalore-Madras Mail. Desamangalam Suddenly he substituted the word Jaya Sangeeta Kalanidhi's! You're welcome Namboodiripad, an advocate of Madras for Seeta, and again Siva for Seeta, at to go. There is no need to cover your and a Member of the then Madras Leg- the end of the pallavi line and the audi- heads!" islative Council, hove into view with ence burst into laughter when they heard members of his family. Desamangalam Jayarama and Seetarama called out. Source: T. SANKARAN is close to Shoranur. Saareeram Sareeram Mistaken Identity Namboodiripad spoke to Chembai: "Bhagavatar, why are you sitting here? Parveen Sultana's first concert in Chembai was singing in the Sree Only the third class compartments will Madras was another occasion for a quip. Ramanavami series of the Asthika Samajam in Madras. This was towards be coming to where you are sitting. The Chembai, who was asked to preside on the end of his career when he sang first class and second class compart- the occasion and "speak a few words", 'topless', that is without wearing a shirt. ments will not come here. You will made just this observation: "I don't have to go still further up." Bhagavatar Sporting, as he was, a tuft, stripes of know much about Hindustani music. vibhooti on his forehead, chest and arms, replied that he was travelling by third But this 1 know: I have a good saareeram class only and he showed him the spe- and a rudraksha necklace, he could be and the lady here has both good saareeram easily mistaken for a kalakshepam ex- cial season ticket. The advocate-admirer and sareeram." The second was a refer- was greatly surprised and asked: "My pert or a religious discourser, especially ence to Parveen's attractive appearance. at the Samajam which was known for dear Bhagavatar, you are a very popular its presentation of religious programmes. musician with several engagements all He would tell a joke at the expense of And he was. over the country and in the sphere of his dear wife too, in the presence of music you are an uncrowned king. Is it others even. Meenakshi was her name A couple of artisans, who had been not below your stature to travel in third but everyone at home called her Ammalu. class?" engaged in construction work nearby, One day he told me, as we were all came into the hall and sat down. At chatting: "Rama Iyer, she is the only that time, the violinist was playing a Chembai replied: "My father and my daughter of Vasudeva Sastrigal, a rich grandfather used to travel by foot and raga alapana. When Chembai started man of my village. My father fixed our singing the composition after the violin give concerts but I have given up the marriage without telling me. When I essay, one of the workers turned to a usual family practice and travel by train. came to know of it, I resisted a little but listener sitting next to him and asked I really feel, though, that I too should my father gave me a slap on my face and what the 'periyavar' (the respected per- go walking to the places where I give made me agree. Anyway, she is beauti- son] on the stage was doing. When the concerts." ful and dutiful! [Turning to his wife) listener explained the obvious, the worker Aren't you, Ammalu?" turned to his mate and said: "It seems Desamangalam Nambudiripad had a he is singing." Then the first worker hearty laugh at the insouciant reply of At The Academy asked the rasika another question: "When the great musician. will he start talking?" When it was * This happened during a Chembai explained to him that Chembai would Deference To Elder concert at the Music Academy of Ma- not be talking as the programme was a dras many years ago. The programme music kutcheri, the man turned to his When the Bharatiya Music and Arts took place in a pandal in the compound mate again and exclaimed: "It is a Society was founded in Bombay in 1953, of the P.S. High School in Mylapore. kutcheri, it seems. Let's go." Promptly I requested Chembai Vaidyanatha they got up and left. Bhagavatar to give the inaugural con- As Bhagavatar was belting out a piece, cert. But Chembai replied that it would he saw four other leading vidwans of Source: P.C. SUBRAMANIAN A Kaxmayoqi

The following article was written by CD. Used the wrong way and could AYYAR. not get out of the rut. She My uncle, the late Sivaramakrishna sought my help. It is next to Iyer, then an Accountant General, was impossible to eliminate habi- fond of entertaining people. Musicians tual musical errors. The morn- liked him very much. He would often ing session was followed by a regale us with interesting anecdotes of sumptuous lunch, after which old masters like Maha Vaidyanatha Iyer, we resumed our battle royal Tir ukkodi kaval Krishna Iyer and Pooch i with Sankarabharanam. I did Srinivasa Iyengar. not know how time flew. I was shocked when the wall-clock Chembai Vaidyanatha Bhagavatar was showed 5-30. I immediately sent word to the organisers his honoured guest more than once. He that I would be late by half an was visiting my uncle once again. His hour and to inform everyone company was like an invigorating breath accordingly. of fresh air. This was some 35 years ago. The Uncle: Please have your wash place: a mansion at 56 Ballygunge Cir- and change. We will enjoy some cular Road, Calcutta. The time: 6 pm. coffee before we leave. My I was in my late twenties then. I called Oldsmobile will not take more on my uncle as I normally did. I was than half an hour to reach us surprised to see him restless since he to the conceit hall. had a jolly disposition. A tactful in- quiry revealed that the Bhagavatar who A little later we marched into had left home in the morning had failed the dining hall, the Bhagavatar to return, though only half an hour was looking fresh and trim. He preferred to ing Chembai, the lady on the dais stopped left for his music performance. The sit on the floor. A few dosas were served, singing. Embarrassment was writ on concert hall in Tollygunge, a crowded and the maestro relished them greatly. her face. She implored him to take her suburb of Calcutta, was over six km Then followed coffee which he sipped place. But he would not listen; he asked away. And Chembai had to have rest slowly. He was completely unruffled her to finish her song. and a change before the performance. though time was running out. He re- Time was running out. Had Bhagavatar minded me of a karmayogi. When Chembai finally took the stage, lost his way? Had he suddenly taken there was terrific applause. The mae- ill? Our minds were in a whirl. We stro shot straight into Pantuvarali. Ex- The coffee over, we drove through cept for the sound of music, there was thought of the numerous music enthu- the crowded streets and reached our siasts patiently waiting at the concert pindrop silence. The famous temple- destination. As our car approached the bell voice filled the hall. For the next hall to listen to the maestro. We thought outer gate, Bhagavatar asked the driver of the predicament of the organisers. two hours, there was a riot of joyful to stop. The haunting melody of the music. Songs in Bhairavi, Kambhoji, Many such thoughts were assailing our unmistakable Mohanam was delightful minds, when Bhagavatar suddenly ap- Saveri and Todi flowed like a river in to the ears. The loudspeakers poured spate. The performance over, the audi- peared. What a relief! The maestro looked out kalpana swara-s in torrents. The somewhat tired, but his chubby face ence dispersed, fully satisfied, with the maestro seemed lost in the music. We music ringing in their ears. That was was wreathed in smiles. After welcom- did not disturb him. We, however, ing Chembai my uncle spoke and a one of the best performances of Chembai guessed that the singer- it was a lady- I had heard. conversation ensued along the follow- must be his disciple. After remaining in ing lines. a trance-like state for a few minutes, The sequence of events later became Bhagavatar signalled the driver to pro- clear to us. On knowing that he would ceed. On reaching the main entrance Uncle: I hope you had a nice day. be late for the performance, Chembai we were received cordially by the had not only taken pains to inform the You must be ready to blast the audi- organisers who were anxiously await- ence with your music! organisers, but also had planned out a ing our arrival. As desired by Chembai, mini-performance by his disciple, pending we all slipped into the hall through a his arrival. By this means, the audience Bhagavatar: I am fine. My concert back entrance. This precaution was not does not worry me. After singing a song was kept occupied. In addition, his dis- very helpful because the majestic figure ciple- no mean singer- had an oppor- or two, I will get into my stride. My of the maestro did not elude the eyes of voice will then become my obedient tunity to display her talent before the many. There was a mild commotion, public. The maestro did not mind spend- servant.... I got stuck the whole day followed by smiles and relief: at last, with a disciple of mine whom a pallavi ing all day on a gruelling task, though the maestro was in their midst and a he was committed to give a performance in Sankarabharanam was eluding. Her musical feast was a certainty. On see- timing had gone haywire. She had prac- the same evening. 37 CHEMBAI VAIDYANATHA BHAGAVATAR UTTAMA GAYAKA'

PART II OF A TWO-PART FEATURE EarCy Musical Training Teatures Of SftciaC Interest

The following article was written by N. the observations made by others of his a child of a single digit age to the con- PATTABHI RAMAN. talent do not offer a basis for making a cert platform and for exercising maxi- clear judgement on whether he was a mum restraint, but in Chembai Vaitha's aidyanatha Bhagavatar was born prodigy or not. But there is no doubt he case, the musician father was either into a family of musicians and as V was a precocious child, a kid with super not too concerned about the probable a child was brought up in an ambience intelligence. counter-productive effects or unable to favourable to the development of musi- stem the tide of requests. He appar- cal instincts. He thus had a "head start", Vaitha was only four or five years old ently did not consider his boys to be to use a term familiar to educationists. when his father got him and his brother meal-tickets, or instruments for mak- Subrahmaniam-- two years younger to It is also evident from the available ing money, but he usually agreed to let him- to practise systematically every- chronicles of his childhood that he was the boys give programmes whenever day. It is said he would practise at any a precocious child with an ear for mu- requests were received. or all times of the day, but methodi- sic. In fact, an elderly relative adept at cally, going through the sarali series astrology had predicted, upon In the beginning, Chembai and his with a mind to the proper kalapramana Vaidyanathan's birth, that he would brother concentrated on presen ti ng only or time divisions. Soon he was guided bring gladness to the world through his kriti-s, without sruti and laya lapses. to practise the singing of akara phrases musical prowess. Then, they began to add raga alapana to also. their presentations-- and then swaraprastara too. Thus it was they Other early signs seemed to under- By the time Vaitha was six years of score this prophesy. It appears that slowly acquired the capacity to present age and his brother four, both had com- concerts. whenever father Ananta Bhagavatar took pleted their first stages of their train- up the tambura and tuned it, the child ing. Vaitha's voice was beginning to Both Vaitha and Subrahmaniam thus would come to him and stay for the acquire a sheen. More notable was the had the opportunity to gain performance duration of the music session. fact that the boys' interest in music experience when they were yet very was reflected even in the games they young, and to accompany their father Child Vaitha was only three years of to his concerts. And of course, disci- age when his father started giving him played. The ambience and the encour- plined practice at home was a daily formal lessons in music. The first les- agement they received at home must feature. son, repeated numerous times, was aimed have had something to do with it. at training Vaitha to sing sa-pa-sa in Soon their learning experience acquired Another element in this pattern of strict alignment with the sruti. Then another dimension. It was their ability, learning experience was the father's followed the swara series. Father was first incipient but later on increasingly, practice of asking questions about what keen to teach and the little lad revealed to acquire understanding of different the sons had observed when they at- he had both the aptitude and the pa- aspects of music by listening in when tended his or other musicians' con- tience to learn. The foundations that musicians visiting their father discussed certs. This was a kind of seminar, if at were to serve Chembai solidly through- music or made music informally. In an elementary level. Sometimes, the lads out his career were thus laid at this course of time, the little eavesdroppers had to demonstrate what they had ob- time. He acquired the ability to sing in served or learnt by listening. This pro- unison with sruti always and to handle began to be called upon to sing for the visitors. cess helped to sharpen their *kelvi the swarasthana-s accurately. Talent gnanam'. such as he displayed at that age would, The talent shown by the youngsters in the present day, have quickly led led to family friends and others requesting The kind of involvement in music observers to certify Chembai as a child their father to let them give concerts of which the brothers had developed was prodigy. sorts outside their home. It is easy to possible because in their case there was resist everything but temptation, a wit not as much emphasis on regular school The term 'prodigy' is used loosely observed once, but Ananta Bhagavatar education as there is today with respect these days to encompass children who managed to hold out for some time to musical aspirants. Their keenness to merely possess outstanding- but not against such requests which natural succeed in the music arena was, more- inexplicable-- talent. The concert was pride in his sons' abilities might easily over, overwhelming-- a keenness that not in vogue when Chembai was a have tempted him to concede. But he was matched by discipline and applica- child and, though one elderly vidwan could not hold out for long. Vaitha tion. named Sivaramakrishna Bhagavatar made his kutcheri debut when he was speculated that Vaitha had some sort of barely eight years of age. On top of all these, there was a sig- divine blessing and accumulated cred- nificant additional component to the its for good deeds from previous births, There may be a case against pushing musical training of the Chembai broth- : ers. This was their year-long experience It is possible that Ananta Bhagavatar of his Harikatha presentation. The ar- as members of the travelling troupe of a and his wife Parvati recalled the rangement was mutually beneficial. For Harikatha exponent. Ramayana episode of Rama and the brothers, it gave the experience of Lakshmana setting off with Viswamitra, singing to vastly different audiences The door to this experience was opened only in this case the initiative came and wide exposure too. It was during when Kaliakudi Natesa Sastry of from the boys. this phase of his training and career, Tiruvarur, a noted exponent of the aft Ananta Bhagavatar's elder son came to of musical discourse, came to Chembai be known popularly as Chembai Vaitha. and Ananta Bhagavatar and his family Vaitha and Subrahmaniam travelled attended all his programmes. Invited to with Natesa Sastry for a full year. In According to his biographer Ellarvi, Bhagavatar's home, Sastrigal had the the beginning of each discourse, they Vaitha and his brother returned to opportunity to listen to the lads sing- would be asked to sing for a little while. Chembai as ripened musicians. This ing. One thing led to another and the Later, Sastrigal hit upon the idea of was in 1910, when Vaitha was all of 14 boys ended up joining Sastrigal's troupe. featuring them in mini-concerts as part years old. The Music Of The Maestro Great Voice, Enduring Appcaf

The following analysis was written by And because his voice had the clarity of His voice was, of course, highly re- CALCUTTA K.S. KRISHNAMURTI and a bronze bell, it could be heard in the sponsible for his sustained popularity. MANIRANGU. farthest reaches of halls and pandals But there was more to his music. even in the mikeless days of the past he music of Chembai Vaidyanatha and over the hustle-bustle, characteris- His singing had a sense of vigour T Bhagavatar was as straightforward tic of temple festivals. which kept his listeners fully alert, but as the man himself. also conveyed a sense of joy which got And his voice had such an easy flow them involved in his music-making. His best asset was his voice which, that he could simply attain and easily Sometimes, he would even impart a despite playing truant a couple of times maintain great speed and velocity in degree of bonhomie to the proceedings, during his career, sustained him till the his singing. He was the king of speed with musical puns and palavers, jocu- end. long before G.N. Balasubramaniam came lar remarks and humorous asides. And on the scene. because he gave ample room for his He was only ,.15 in 1911- when sidemen to shine, and to the percus- Palakkad Rama Bhagavatar, an eminent What was perhaps lacking, to a de- sionists particularly, to ride the rhyth- musician of his time, heard him sing mic waves, he got them also fully in- for the first time. Rama Bhagavatar's gree, in his voice was polish. His voice was like the granite used in building volved in his music-making and this reaction to the experience has been re- too had an impact on the audience. corded. According to Ellarvi, Chembai's the great temples, not the machine- biographer, he said: "I can't praise the polished variety which can be seen in quality of Vaidyanatha Bhagavatar's voice the kitchens of affluent homes today. During the major part of his long enough. I have not heard a voice like But like the stone floors and pillars of a career, Chembai had to sing for four to this before. I have no doubt that, in the temple whose rough surfaces gain a degree five hours, sometimes even longer, in years to come, this voice is going to of smoothness over time, Chembai's each concert. But he did so effortlessly shake up the Carnatic music world." voice gained a mellow quality towards and, moreover, had no problem retain- the end of his career. A long-play re- ing his audience. cording that he has made offers evi- » The voice had several impressive char- dence of this fact, even as the 78rpm acteristics: range, weight, volume, reach, discs he cut in the nineteen thirties and The concert format he followed was clarity and flow. forties, with all the inadequacies of the basically the one which his contempo- technology of those times, give glimpses rary, Ariyakudi Ramanuja Iyengar, had The range of his voice stretched upto of his remarkably powerful voice of his made popular with the lay listeners two octaves easily for the better part of heydays. organised in sabha-s. Of course, he too his career. More notable was the fact started his performances with a varnam, that the strength of his voice was even, sang kriti-s with and without raga without dropping at either end. Chembai's music, as reflected in his alapana, invariably rendered a ragam- singing, was without artifices, devoid tanam-pallavi and offered tukkada-s, His voice had weight too, and this of any sophistry. It might even be said including Tamil songs, sloka-s and suited him perfectly in rendering raga- that it lacked sophistication, polish. It tillana-s in the post-pallavi segment. s like Bilahari, Kalyani, Pantuvarali, was comparable not to a gourmet din- But within this framework, his approach Sankarabharanam and Todi. ner in a metropolitan restaurant but a was different in that he neither relied homely country meal that tastes whole- on brevity nor offered much variety in He could give volume to his singing. some and satisfies the appetite. terms of lakshana features. 44 of sloka-s and viruttam-s, are Arabhi, viruttam-s. On Vyavaharam Bhairavi, Bilahari, Kalyani, Kedaragoula, Chembai was noted for his rendering Kafi, Pantuvarali, Sankarabharanam, Chcm bai did not favour what is called of sloka-s in praise of Guruvayurappan, Surati and Todi. When he rendered kriti- vyavaharam or the introduction of rhyth- from Narayaneeyam, [Agre pasyami, s, there was a limpid quality; it was like mic intricacies. "I don't know any- Venimooley, Manjeeram). thing abut vyavaharam/' he told a critic clear water flowing over small stones. once. "Siutimata, lay a pita, this I know. The flow was natural and unforced. Other favourite items of ragamalika And I believe, while singing, we should he sang in this type were: Sree Rama not deviate from the truth of this The perception that Chembai's rep- mantram and Sayankaley. dictum." ertoire of songs was limited is likely incorrect, for he did seem to have accu- Chembai was at home with songs in He further explained: "The aim of mulated a substantial stock of compo- Sanskrit, Telugu, Tamil and Malayalam. music is to create peace of mi nd. Where sitions as he travelled through time. He enunciated the lyrics clearly but the is the necessity for vyavaharam? The Malayalam accent was quite evident in inner meaning of vyavaharam is the Available recordings offer a glimpse his diction. There is the story about a destruction of peace. Those who have of the variety. He can be heard singing: Kannadiga listener who requested learnt music properly, who havegnana Amba nadu (Todi); Bantureeti Chembai, during a concert, to sing a and a good voice, should sing soulfully. (Hamsanandi); Bhajanaseya (Kedaram); song in Kannada. Chembai is said to When a performer sings with a sense of Brovavamma (Manji); Chesinadella devotion to art and god, the music would have replied: "I just sang two!" (Ippodu (Todi); Ela needaya (Athana); Elavatara than rendennam padineney!). create rasa in the listener. Vyavaharam (Mukhari); Enda vediiko (Saraswathi should be restricted to a gathering of Manohari); Endu cheivan (Yadukula- experts...." The duty of musicians is to He sang kalpana swara-s usually in kambhoji); Ennil kaninda (Husseini); provide fare that pleases the lay madhyamakala (medium speed) but not listener. Evariki (Dhanyasi); 1nda kannanandam seldom in dhurita kala (fast speed) also. (Bilahari); Manasa etulo (Malaya - When he sang them in high speed, a marutam); Nammi vachina (Kalyani); distinct pattern would sometimes emerge. Close listening to the 78 rpm discs, Nijamarmamulami (Umabharanam); For example, instead of singing the swara- LPs and cassette recordings of Chembai's Ninnu jeppaga (Mandari); Ninnu joochi s discretely as pa dha pa ma, ga ri sa ri. vocal music, and recollection of memo- (Saurashtram); Pavana guru (Hamsa- sa ri ga ma pa dha ni sa, he would use ries of live concerts heard over the years, nandi ); Raghuvara (Pantuvarali); Raksha- phrases like: Ma pa dha, pa dha ni, Dha yield the following further observations. mam (Nata); Rama neeyada (Khara- harapriya); Ramachandrena rakshi- ni dha. Pa da pa, Dha ni sa, Ni sa ri Sa. His rendering of Viriboni in Bhairavi, toham (Husseini); Sankaracharyam The gait would be distinct and suggest Sarasijanabha in Kambhoji and (Sankarabharanam); Saraguna palimpa a kind of hopping. Sometimes he would Chalamela in Sankarabharanam reveals (Kedaragoula); Sarasaksha (Pantuvarali); employ what are called kathri swara-s- that he did not sing the varna-s as a Sarasiruha (Nata); Siva Siva Siva or scissored and rolled swara-s. mere obligation but used them to give a yenarada (Pantuvarali); Sree Balasubrah- good start to the performance. His voice A notable feature of his swara-sing- manyaya (Bilahari); Sree Mahaganapati ing was his resort to gati bheda or modal rang out from the beginning and, in (Goula);Sree Subramanyaya (Kambhoji); shifting of tonic. He did this expertly. this sense, he did not need the varnam Syamasundaraya (Dhanyasi); Vadera Chembai used to sing only single pallavi- to warm up. deivamu (Pantuvarali); Vareejadala s. Sometimes he would conclude the His alapana-s were neither too long lochana (Arabhi) and Vatapi Ganapatim pallavi after a short niraval passage and (Hamsadhvani). nor too short; but they were invariably then take up swaraprastara. Sometimes crisp. This was true of his alapana-s for he would also execute trikala or three- ragam-tanam-pallavi as well.,. He was The Tamil songs he sang included: speed variations. When he did so, he anything but mechanical. He would start Idudano tillaisthalam (Ik hag); I mm mum would sing the slow movement for the even the same raga at different places in OTU taram (Yadukulakambhoji); Kanaka- duration of two or three avarta-s ( tala different concerts. He would employ sabhai tinmadanam (Surati); Nadamadi cycle) only and shift to madhyama kala fast phrases in the middle section of the tirinda (Kambhoji); Natharmudimel quickly. alapana, but usually not in the lower (Punnagavarali); Sivalokanathanai In short, madhyama kalaeingingdomi- octave. Almost always he used plain (Mayamalavagoula); Un perumaiyai nated his presentation of ragam-tanam- notes or flat notes which, however, had (Kalyani); Vaa vaa Muruga (Kapi); and pallavi as well as of kriti-s. gamaka intimations. Invariably he con- Yarukku ponnatnbalam (Bhairavi); cluded his raga presentation on the hymns from Tiruppugazh and a few One feature stood out in his singing adhara shadja of either the upper or throughout his life: sruti suddham or lower octaves. Corrections purity of pitch. His pitch was between F to F sharp (4 to 4-1/2 kattai) for many Time and again, he included a special * The caption given to the photograph years; in the last phase of his life, it was featrure in his alapana, namely 'ghanam' on top of page 23 ot Sruti 98 was: C(l kattai). But whatever it was, it was or nasal articulation of the humpita "Chembai with his daughter and son-in- perfect. He had got a lock on sruti even gamaka, with the mouth closed. law". It is wrong. Standing on either as a youngster, through rigorous and side of Chembai arc his disciple T.S. The raga-s which he seemed to have Krishnamurtliy (AIR, now retired) and disciplined sadhana. It never wavered, particularly enjoyed elaborating, either Mrs. Krishnamu rthy. even as he never departed from the through alapana or during the singing straight path he followed in his life. Records <& Cassettes

ound bytes securely locked into the parlance, contained a ragamalika ren- ction of songs for which the lyrics had S grooves of records and the spools dering of an arutpa of Ramalingaswamy. been written by his friend T.G. Krishna and stretches of magnetic tape make it The raga-s used were Kalyani, Dhanyasi, Iyer and he himself had composed the possible for us to listen to the music of Kedaragoula, Kafi and Surati. The disc music. many of the performances of the past. created a sensation. Later he added two long-play records Unlike many musicians, who were Several other recordings which fol- to the discography. born at the turn of the 20th century, lowed all helped to enhance the reputa- Chembai Vaidyanatha Bhagavatar has tion of Chembai as a singing star with In recent times, recording companies left us a large legacy. a superb voice. have been releasing pre-recorded cas- settes containing excerpts from live Among these a kutcheri set- a series In the early nineteen thirties, when concerts. One of the cassettes is an All of discs which, when played in sequence, he was a super star, recording compa- India Radio release of a national constituted a mini-concert with abrid- nies chased him with contracts and programme recorded in 1971. It is dis- ged presentations of alapana, kriti-s, managed to capture and circulate his tributed under the HMV banner. An- etc. music on circular sheets of shellac. other HMV cassette offers songs from The first disc he cut, to use trade In 1946, Chembai recorded a sele- an LP released earlier.

Recordings Of Chembai Vaidyanatha Bhagavatar

(In the collection of V.A.K- Ranga Rao) 78 rpm (10")

Cbalamela (Sankarabharanam) BROADCAST JM 2372 Sree Mahaganapati (Goula) COLUMBIA CEI 17937

Bbajana seyavey (Kedaram) G2437 JM 2373 Sree Balasabramanya (Bilahari) LBE 101 CEI 17938

Nijamarmamulanu BROADCAST JM 2374 Arum ponne (Ragamalika) COLUMBIA CEI 17943 (Umabharanam) Part II LBE 103 CEI 17958 Elavatara (Mukhari) G2438 JM 2375 Stimuli va china (Kalyani) COLUMBIA CEI 17959

Todi (Alapana) BROADCAST JM 2377/1 Part II GE 100 CEI 17960

Todi (Tanam) G2439 JM 2377/3 Un perumayai (Kalyani) COLUMBIA CEI 19477

Oraru Mukhaney (Pallavi) BROADCAST JM 2379 Part II GE 6249 CEI 19478

Pallavi continued G2440 JM 2380 Varijadala (Arabhi) COLUMBIA CEI 19474

Venimuley (Sloka) BROADCAST JM 2442 Pavana guru (Hamsanandi) GE 6280 CEI 19476 Part II G2441 JM 2443 Evariki telisu (Dbanyasi) COLUMBIA CEI 19479

Komnwro vaniki (Khamas) BROADCAST JM 2381 Part II GE 6300 CEI 17480

Tiruppugazh, Mangalam G2442 JM 2382 Sayankaley (Ragamalika) COLUMBIA CEI 19500

Orumaiyodu (Ragamalika) COLUMBIA WEI 2452 Part II GE 6337 CEI 19501

Part II LBE 29 WEI 2453 En nil kaninda COLUMBIA CEI 19498 (Sankarabharanam) ChesinadeUa (Todi) COLUMBIA WEI 2438 Part II GE 6372 CEI 19499 Brovavamma (Manji) LBE 35 WEI 2448 78 rpm (12") Ragbuvara (Pantuvarali) COLUMBIA WEI 2466

part II LBE 40 WEI 2467 Rama neeyada (Kharaharapriya) BROADCAST JMT 178 179 Nadamadi (Kambhoji) COLUMBIA WEI 2439 Part II RT 2410 JMT Yaarukku ponnambalam LBE 47 WEI 2450 Amba nadu (Todi) BROADCAST HT 133 (Bhairavi) Part II RT 4002 HT 134 Sree Rama mantram COLUMBIA WEI 3566 Parasakti mahamayi (Savcri) BROADCAST HT 127 (Ragamalika) liarabara Siva sambho (Kapi) GT 4058 HT 128 Part II LBE 59 ^ E I 3567 Kanakasabhai (Surati) BROADCAST HT 129 Va Va Muruga COLUMBIA WEI 3568 (Hindustani Kafi) Idudano lillaisthalam (Behag) GT 4057 HT 130 Pranavanilai (Mohanam) LBE 64 WEI 2451 Sarasiruha (Nata) BROADCAST .

Ninnujoochi (Saurashtram) LBE 85 WEI 2449 Syamdsundara (Dhanyasi) CASSETTES

The contents of some cassettes commer- Ennil kaninda • Sankarabharanam; cially recorded by Chembai Vaidyanatha Nadamaadi tirinda - Kambhoji; Aarukku Bbagavatar are listed below. Source of ponnambalam - Bhairavi; Pavana guru • LONG-PLAY RECORDS information: inlay cards of cassettes. Hamsanandi; Sree Rama mantram - Ragamalika. HMVS/33ESX 6027 (Stereo): Gambheera AVM Nata, Hamsanadam, Nalinakanli, IHTC03B-8183| Sarasijanabha - Kambhoji Saraswatimanohari, Malayamarutam, IMEI-SR 1089|. Bantu reeti • Hamsanadam; (varnam); Rakshamam -Gambheera Nata; Kliaraharapriya and Narayaneeyam Manavinalakincha - Nalinakanti; Enta Sarasaksha • Pantuvarali; Agreypasyami Sloka. vedukondu - Saraswatimanohari; -Kedaragoula. Samagana - Hamsanandi; Ela needayaradu HMVS/33ESX 6063 (Stereo): Vijayasree, - Athana; Ragam-tanam-pallavi - Bhairavi. INRECO Chakravakam, Hamsanandi, Devagandhari and Vijayanagari. HMV |2771 -C-359|. Raghuvamsa sudha - Kadanakutoohalam; Vadera daivamu • |HTC-8148]. Sree Mahaganapati - Goula; Pantuvarali; Saraguna palimpa Sree Balasubramanyaya - Bilahari; Kedaragoula; Sree Subrahmanyaya Raghuvara - Pantuvarali; Varijadalalochani namastey - Kambhoji; Manasa etulo • • Arabhi; t■ ariki telisunamina - Dhanyasi; Malayamarutam; Vandey mataram.

Sidanzn To The Star

The following article was written by RAM phenomenal talent. He conveyed the tion the fact it secured for him a high ASLESHA. favourable impression he gained to profile stature in Tamil country. Govindaswamy Pillai and the two of hembai Vaidyanatha Bhagavatar's them promptly arranged a concert for Not only the Pillai-s, virtually all the career as a concert musician cov- C Chembai in Tiruchi. It marked the be- other leading violinists and percussion- ered a span of 70 years- three score and ginning of a series of concerts in which ists of the time were glad to play sidemen ten, to use biblical language. It is virtu- for Chembai. ally impossible to identify, let alone the two Pillai's played for- and thus list, all the violinists and percussion- promoted the fortunes of- their 'favourite son'. According T. Sankaran, the Pillai- Since Bhagavatar's concert career ists who accompanied him in his con- spanned seven decades and since he s played this role for Chembai because certs. But a few at least among them sincerely sought to encourage all up- they wanted to put up a rival with deserve to be highlighted. and-coming musicians, a host of others comparable talents to Naina Pillai whom too had the privilege of providing ac- As a matter of form, perhaps the vio- they disdainfully described as "that companiment to him at one time or linist who should be mentioned first is Kanchipuram upstart". It is said his another. his father Ananta Bhagavatar himself. association with the Pillai-s yielded On more occasions than one, in the Chembai a great fortune, not to men- Even a restrictive list of violinists early years of Chembai's career, he Chembai, T.N. Krishnan & Palakkad Mani wielded the bow for his son.

T.A. Krishna Iyer of Ernakulam was another of the early violin accom- panists.

The violinist who, by all rights, should be most prominently highlighted from among Chembai's concert colleagues is Malaikkotai Govindaswamy Pillai. This great maestro did more than enhance the quality and appeal of Chembai's concerts. Along with another giant of his era, Pudukotai Dakshinamurthy Pillai, who was a master of mridanga and kanjeera both, he promoted Vaidyanatha Bhagavatar and was re- sponsible for the meteoric rise to fame that Chembai achieved. It was Dakshinamurthy Pillai who first got an inkling of Vaidyanatha Bhagavatar's In the thirties, Palakkad Mani Iyer was part of a splendiferous team of sidemen who played with Chembai of- ten. Other members of the team were Mysore T. Chowdiah (violin) and Pudukotai Dakshinamurthy Pillai (kanjeera). The music they produced would typically be a riot of colour, full of joy, verve and bounce. Bhagavatar's own enthusiasm could be infectious and this was there for all, including the two percussionists, to experience. At a 1936 concert in Vennaimalai, near Karur in Tiruchi district, Mani Iyer and Dakshinamurthy Pillai had exploited the 'tani' at the end of a ragam-tanam- pallavi for all its worth but when they Chembai, T.K. Ramachandran & T.V. Gopalakrishnan; vocal support: Chembai Narayanan had concluded it, Chembai repeated the who accompanied him must include: the discriminating connoisseurs of pallavi line again twice, prompting the Tripunithura Gopalakrishna Bhagavatar, Madras. He had told the Jagannatha percussionists to follow suit. Tripunithura Krishna Bhagavatar, Bhakta Sabha of Egmore that he would Tiruvanantapuram Gopalakrishna like to have Mani, then all of 13 years Chowdiah has revealed that at one Bhagavatar, T.A. Krishna Iyer, Mysore old, as his mridanga accompanistin his time the friendship between T. Chowdiah, Karur Chinnaswamy Iyer, kutcheri for the Sabha but the response Dakshinamurthy Pillai and Palakkad Kumbakonam Rajamanickam Pillai, had been negative. Nonetheless he Mani Iyer had soured but Chembai had Mayavaram Govindaraja Pillai, Erode brought the youngster along and adroitly maneouvered to bring them Viswanatha Iyer, Palakkad C.R. Mani had him play too in the concert, side by together as sidemen for a concert of his Iyer, T.K. Ramachandran, T.N. side with another mridanga vidwan and paved the way for a reconciliation. Krishnan, Lalgudi G. Jayaraman, M.S. named Sankara Menon. The tremen- Gopalakrishnan, V.V. Subramaniam and dous reception he received that day must V.V. Ravi. have made Mani Iyer think of signing Mani Iyer had taken a prominent up as Chembai's slave for the rest of position at Chembai's side when his life! Dakshinamurthy Pillai's availability Possibly all of them kept in mind, began to diminish. And Palani while displaying their musical wares Subramania Pillai replaced Mani Iyer and technical skills in his presence, Mani Iyer's long association with in a similar manner in similar circum- that Chembai himself was a proficient Vaidyanatha Bhagavatar convinced him stances. player of the instrument and could wield that none could excel the jolly giant the bow with effect-- as he did, on the from Chembai in championing the case spur of the moment, at a flute recital of of young musicians, and that the great Palani Subbudu's father Muthiah Pillai T.R. Mahal in gam at the Thiagaraja gayaka was a model for others in regard had been providing mridanga accompa- Vidwat Samajam in Madras. to how a main musician should con- niment to Vaidyanatha Bhagavatar now Maharajapuram Viswanatha Iyer played duct himself vis-a-vis his sidemen. and then. The son utilised the opportu- the mridanga on the occasion. Chembai's attitude and conduct in this nity given to him to entrench himself regard was most praiseworthy, accord- as one of Chembai's favourite mridanga Chowdiah's association with Chembai ing to Mani Iyer. Explaining this obser- accompanists. And this he did through Vaidyanatha Bhagavatar and his brother vation, he said once: "Sometimes, the excellent displays of his competence- antedated the concert in 1928 in which accompanists' performance would be knowledge, skills and attitude-- and he first played sideman for him. He was middling, but Bhagavatar wouldn't re- nothing else. about the same age as Chembai and was act to this with displeasure. Nor would a co-star in numerous performances of he point a finger at them with a view to According to Subbudu, Chembai told the latter. He knew Chembai intimately getting the listeners to appreciate his him at the beginning of their associa- both as a friend and as a colleague. He predicament. He would as far as pos- tion that he would get him any number likely voiced the assessment of the en- sible encourage the sidemen to do their of engagements but, if the young man tire music community when he described best and also to cover up their handi- agreed not to specify a fee for some Chembai as an 'uttama gayaka'. caps and errors." time, he (Chembai) could secure for him whatever fee he wanted later. He The mridanga vidwans prominently Mani Iyer held Chembai in high re- explained that this pact to which he associated with Vaidyanatha Bhagavatar gard not only for this generous attitude had agreed had worked in his favour in the latter's heydays were Palakkad towards accompanists and his broad- because, as Chembai had explained to Mani Iyer and Palani Subramania Pillai mindedness, but also for his laya gnana. him, a musician must establish himself With Chembai keeping the beat, the first and should not allow money It was Chembai who introduced Mani percussionists could never go wrong, considerations to derail achievement of Iyer, when he was still a young lad, to he asserted. the goal. Chembai The Violinist

hembai had learnt to play the Cviolin. Much after his voice had come back to him, this ability was put tL to unexpected use a couple of times at least.

In 1938, he was in Alangudi, a village in Tanjavur district, for a concert during the annual temple festival, one H of many concerts to be held on the occasion. On the day following the concert, he was chatting with friends, among them Maharajapuram Viswanatha Iyer and another famous musician Kaliakudi Vaidyanatha Iyer. Chembai observed that, rather than whiling away their time, they could listen to some good music. Maharajapuram readily agreed and said that it was a good ^ ^fc'^S opportunity to listen to the Kaliakudi maestro as they would not be staying for his performance scheduled for the latter p part of the festival, but wondered who could be the accompanists. Chembai **^ immediately said that Maharajapuram JJr and he himself could play the roles. So * they did, with Chembai playing the m violin and Viswanatha Iyer the mri - inga. The result was an impromptu concert which became an unforgettable experi- ence for those who had the good fortune to be there. W ' / i

Chembai and Maharajapuram similarly played sidemen to flutist T.R. Mahalingam at a performance i at the Thiagaraja Vidwat Samajam in / Madras. i*&c*

The first Chembai kutcheri in which interludes, during the concert. Umayalpuram Sivaraman, Trissoor Palani Subbudu participated as a sideman Narendran and Trissoor Mohan who was in 1926. Thereafter he played for According to Subbudu, Chembai in- were youngsters when they accompa- Chembai numerous times, until his stinctively knew the role the sidemen nied him. premature demise in 1962. could play in maki ng a concert a success. Therefore, he said once, Chembai cre- From T.S. Vilvadri Iyer and Alangudi It appears Subbudu ran into a diffi- ated opportunities for the percussion- Ramachandran to T.H. Vinayakram, culty with violinist Chowdiah at one ists to display their talent. And Chembai several ghata vidwans too have partici- time. As a southpaw, he had to sit to did this when the concert was going pated in Chembai's concerts. As have the left of the vocalist, but Chowdiah well and the listeners were immersed in many kanjeera vidwans- Dakshina- objected to this-- not once but many it. Moreover, he would keep the beats murthy Pillai and Dakshinamurthy Asari times. Chembai, however, backed of the tala in a way that anticipated and among them- and a few masters of the Subbudu. He told Chowdiah he would supported the performance of the laya morsing like Mannargudi Natesa Pillai realise the correctness of this arrange- vidwans. and N. Pakkiriswamy Pillai. ment one day. His words came true some years later. Numerous other mridanga vidwans There was sure benefit to the violin- were lucky to play sidemen to ists and percussionists when they joined The backing Chembai gave Subbudu Vaidyanatha Bhagavatar. The list in- the galaxy of which the star in the manifested itself in a remarkable man- cludes old time veterans Azhagunambi centre was Chembai Vaidyanatha ner during a 1941 performance in Pillai and Umayalpuram Kothandarama Bhagavatar. The brightness of the con- Bombay. Bhagavatar made room for as Iyer, as well as Vellore Ramabhadran, certs helped to add lustre to their own many as four tani-s, or percussion solo TV. Gopalakrishnah, Guruvayur Dorai, reputation.

Some Pictorial Glimpses This article was written by NARAYANAN PILLAI. hroughout his life, Chembai T Vaidyanatha Bhagavatar displayed a passion for teaching, spurred by his desire that as many as possible should learn the music he knew.

This passion manifested early. His biographer Ellarvi has suggested that, even as a six-year old, he began serving as a guide to Subrahmaniam, his brother who was two-years younger to him. Perhaps this was a bit of hyperbole, but it is recorded as a fact that when he was only 16 years of age- eight years after his debut on the stage- Chembai for- mally took on the role of a music tutor. The emergence of Vaidyanatha Bhagavatar and his brother as impres- sive musicians under the tutelage of their father prompted many parents to send their children to Ananta Bhagavatar for training in music. When the num- ber of students became too large for Chembai with disciples laya & Vijaya him to handle by himself, Ananta Bhagavatar assigned son Vaitha the task of the Cochin royal family and his first to pay him any fee. (Her story appears of tutoring some of them. With his disciple to mount the kutcheri plat- as a separate article below). broad outlook and willingness freely to form, has this to say about Chembai's share his knowledge and experience with noble attitude: Chembai would not only teach any- his students, the father himself served one who cared to learn, but also give as a good model for his son. "Bhagavatar did not pursue his ca- lessons at all times of the day and any- reer as teacher to make money. His aim where he found it possible or conve- was to create a good number of talented nient to do so. There is a tale of his Even if the thought never crossed conducting a class for his disciples trav- Vaitha's mind that he should hoard disciples without expecting any return elling with him while they were waiting his learning like a miser, he made a in kind or cash. Even though he re- for a delayed train at a railway station vow always to share with others what- ceived guru dakshina, he often used to platform. ever he had learnt, after an incident in repeat that it should only be a mere which a well-known musician whom token since he found it distasteful to he had requested for the text of the receive payment for imparting musical Although a leading concert artist, he charanam of a particular kriti tricked education. He often used to extol the never considered it below his dignity to him into believing that he could not virtues of vidya daanam or the gifting teach even newcomers, beginning with remember it. of knowledge." the rudiments of music. The experi- ence of violin vidwan V.V. Subramaniam Over the decades, he taught music or The altruism that guided him in his illustrates this observation. specific songs to numerous persons of role as a guru received praise from many diverse backgrounds and different lev- others too. He did establish and conduct a school els of prior accomplishment, indiffer- to impart music training to boys and ent to their age, sex, caste, background The case of L.R. Lakshmi ol Banga- girls within the framework of the or social status. If someone was sincere lore appears to have been a peculiar giirukula system. This was as early as in wishing to learn from him, he obliged exception in that she believes her ten- in 1923 and in Chembai. It was, of without hesitation. ure as a disciple of Chembai was termi- course, a free school. He erected a building nated by a member of his family on for the school and his brother And he did not teach in order to earn grounds she was being favoured by Subrahmaniam helped him with money. Manku Thampuran, a princess Chembai even though she was not able the teaching. A success, the school Chembai Narayanan (1920-1992)

hembai Narayanan was the son of CVaidyanatha Bhagavatar's sister Narayani Ammal and brother-in-law Ananta Bhagavatar. His father taught music to children when not giving flute recitals.

Narayanan initially studied upto Form VI, which means he completed second- ary school education. He learnt music side by side. It seemed inevitable that, at one ti me or another, he should become a disciple of his illustrious uncle Vaidyanatha Bhagavatar. He did; but the consanguinity had no bearing on the guru-sishya relationship.

Narayanan could fulfil his desire to continue his scholastic studies when his father took up an assignment with the Raja of Kallikkotai. He enrolled himself in a Palakkad college and graduated with a B.Sc. degree.

After that, however, beseemed to have preferred a career in music, or deferred to the wishes of Uncle Vaitha in this matter. Chembai evaluated Narayanan's musical endowments and aptitude favourably and voiced the view that the latter, with additional training under him, would emerge as a successful con- cert musician.

Chembai, wife Meenakshi, daughter Parvali and son-in-law Narayanan In 1937, Narayanan married Vaidyanatha Bhagavatar's only child, while Vaidyanatha Bhagavatar was think- Lucknow, Benaras, Kanpur. daughter Parvati. The parents of the ing of shifting to Madras. bride and the groom, and other senior Ultimately, he decided to pursue a members of the two families, had appar- Narayanan travelled with Chembai near quiet life in Madras, along with ently decided on this marriage soon af- and far to take part in the latter's concerts. Vaidyanatha Bhagavatar. ter Parvati was born in 1927. The experience served him well; he could After his uncle's demise, Narayanan observe his uncle's performances from in- gladly took on the responsibility of con- Right from the beginning, Chcmbai's side the ring, so to speak, and improve his ducting the annual music festival in the brothcrSubrahmaniam had been accom- own competence. In course of time, this village of Chembai. panying him in his concerts, providing helped him to handle solo concert engage- vocal support. Now nephew-turned son- ments successfully. He was invited to give Narayanan passed away in 1992, at in-law took his place. No rancour re- performances in sabha-s and festivals and the age of 72. Narayanan did not have sulted from this change because at weddings and other functions; and all any children. Subrahmaniam apparently wished to stay over India— in Kerala towns, Madras, Ban- in Chembai and look after the properties galore, Mysore, Calcutta, Delhi, Simla, N.P. survived the departure of Bhagavatar sister Kunjikavu Thampuran; O.M. Kadayanallur Venkataraman, violin- from his native village. It is function- Vasudevan Namboodiripad; Maani ist V.V. Subramaniam and T.V. ing even today. Bhagavatar of Coimbatore; Vangeri (Viswaroopam) Gopalakrishnan also Krishnan Namboodiripad; Raman consider him their guru. T.K. Govinda Namboodiripad of Poomulli Mana ; Rao and V.R. Krishnan had their initial Vaidyanatha Bhagavatar trained nu- Parameswaran Namboodiri (Babu); Jaya merous disciples but, according to one and Vijaya, the male twins with femi- training under Chembai. Popular play- of them, they were all dwarfed by his nine-sounding names; R. Subbaraju (guru back singers P. Leelaand T.V. Rathnam own tall stature. of Mandolin U. Srinivas); Bhagavatar's learnt specific songs from him, as did own nephew and son-in-law Chembai K.J. Yesudass who for a few years also A list of his more prominent disciples Narayanan; Guruvayur Ponnammal and provided vocal support to Chembai in includes: Manku Thampuran and her Sukumari Narendra Menon. concerts. An Exemplar

The following article was written by MANKU THAMPURAN, a member of the erstwhile Cochin royal family. She was the first dis- ciple of Chembai and the first Chairperson of the Kerala Sangeeta Nataka Akademy. Later she was madea Fellow of this Akademy along with Chembai. In her mid-seventies now, she lives in Tripunithura. had a very long association with my I respected guru, Chembai Vaidyanatha Bhagavatar. I was his first disciple to give concerts. My father, Muriarass Mana Neelakantan Namboodripad was a great connoisseur of music. He desired me to learn music. I started by learning to sing Kathakali pada-s when I was about seven years of age. My first guru at that age was my own father. Kunhikidavu Thampuran, my uncle Chembai & Manku Thampuran who was also my father's intimate friend, to discover real musical talent in the siderations of caste, creed and commu- was the person who introduced Chembai young. He heard me singing when 1 nity and superiority of men over women. Vaidyanatha Bhagavatar to my father. was yet young and told my father that But he had a liberal attitude and stood In Tripunithura at that time there were I should be taught Carnatic music. In bold in seeking to eliminate such differ- a lot of festivals and functions where a the event, he himself took the respon- ences. Among his numerous disciples, good many distinguished musicians came sibility of teaching me, even though he there were brahmins, kshatriyas, Nairs, to give musical performances. Chembai was a very busy artist then, with en- Menons and harijans and other so-called Vaidyanatha Bhagavatar also used to gagements all over the South. What a depressed classes also. This fact, I come to Tripunithura to participate in fine example, if example is the right presume, is known to all. I knew that these functions and give music word, of a simple and sincere musician his own father disagreed with him on concerts. of his stature he was! his choice of disciples and his liberal Bhagavatar had the unique capacity It was a time when there were con- attitude. (R to L) Chembai, Manku Thampuran, Kunlii Kavu Thampuran & An illustration of this outlook was Chembai's brother Subrahmaniam when Bhagavatar secured for me an opportunity to sing at the Music Acad- emy of Madras in December 1939-- a joy and a stroke of real luck which I can never forget. The courage with which I sang and my adherence to the Carnatic tradition amazed many who listened to that concert. He also recommended me to All India Radio in Madras and I had opportunity to sing for AIR-Madras from 1939. Bhagavatar did not pursue his career as teacher to make money. His aim was to create a good number of talented disciples without expecting any return in kind or cash. Even though he re- ceived guru dakshina, he often used to repeat that it should only be a mere token since he found it distasteful to receive payment for imparting musical education. He often used to extol the virtues of vidya danam or the gifting of knowledge.

In promoting his disciples, he was impartial and unaffected by any kind of I should mention a very special fea- He maintained his friendship to the criticism. His goal was to create more ture about my revered guru. If he estab- last. and more disciples and develop Carnatic lished an affectionate attachment, a music in the country in which he was connection with any person or a family Lastly, let me say with all the empha- born. When the Kerala Sangeeta Nataka of persons, he maintained that inti- sis at my command that I learnt from Akademy was started and I was selected mate relationship throughout his life. Chembai not music aloue; I also learnt as its Chairperson, it was Vaidyanatha He had very close connections with how to pursue a simple and humble Bhagavatar who was the first person to many reputable families of Kerala and life. I appreciated his capacity for mov- congratulate me. I cherished and con- he moved with them as a member of ing with people. He showed me how to tinue to cherish this fact with great each. To name only a few, I may men- be a perfectly practical person in such pride, gratitude and respect. tion the families of Poomulli Mana, matters. He was not only my guru; he Olappamanna Mana, Varikasseri Mana, was also like a father to me, as he was I may mention that I had the privi- Kudalur Mana, Kavalappara House, indeed to all his disciples. lege of singing along with my guru at Manakhampad House, Kannambra the Guruvayur temple many a time. I House and Kollengode Palace. He Chembai's attitude towards life, his had occasion to sing with him also at mingled freely with brahmin as well as way of handling men and matters must the Parthasarathy temple in his home non-brahmin families, with royalty as serve as an object lesson to others, es- village. well as the scions of kshatriya families. pecially musicians. My SpirituaC Guidt

This article was written by Navaratri festival in 1957, the delight- That was not the end. Mahalingam PARAMESWARAN NAMBOODIRI, a dis- ful episode of Bhagavatar and the great virtually challenged Chembai to play ciple of Chembai. It was translated from flutist T.R. Mahalingam taking the the violin, which of course he could the original Malayalam by N. Sundaram. measure of each other. Mahalingam very well indeed. Bhagavatar asked the came to be the disciple of the great entered the house and asked if Chembai violinist T.K. Ramachandran to hand I maestro Chembai Vaidyanatha was there and Chembai, with a straight him his instrument and gave such an face, told him that he was there a little Bhagavatar thanks to the now well- astonishing performance that the audi- while earlier waiting for Mahalingam. known but happily ended mishap that ence was moved to tears. Mahalingam befell him when he contracted a trouble- And Mahalingam then said: "I am reverentially touched Chembai's feet. some throat infection between 1955 Mahalingam/' and Chembai replied with and 1956 and seemingly lost his golden impish delight: "In that case, I am Then he himself played on the flute and voice for ever. Through the interven- Chembai." Everyone broke into hearty had the audience spellbound. This con- tion of my brother the late Poomulli laughter. cert lasted some six hours. Raman Namboodiripad, Bhagavatar was Chembai, Vaidyamadhom Narayanan Namboodiri & Parameswaran Namboodiri examined by Vaidyamadhom Narayanan (at the back) Namboodiri and treated at Raman Namboodiripad's manor in Peringode. I was interested in music and this turn of events gave me the opportunity of becoming Bhagavatar's disciple while I had the task of preparing for him the medicines prescribed by Vaidyamadhom. On the ninth day of treatment, Bhagavatar regained his voice and broad- cast a concert from All India Radio- Kozhikode. Truly, this was a miracle wrought by Lord Guruvayurappan.

Chembai continued to remain at Poomulli Mana as tutor to his host. Poomulli was a place which Vedic schol- ars and experts in purana-s, ayurveda, mimamsa, astrology, yoga and Kalaripayattu as well as doyens of Camatic music all liked to visit. Vidwans would visit the mana especially during Navaratri. Needless to say, Chembai also used to be an important visitor, delighting all with his performances. I recall in particular, during the While teaching Raman Namboodiripad and performed bhajan-s at the Sivananda Many were the musicians that vocal music, Chembai would ask me to Ashram where he was honoured. Bhagavatar encouraged, including the provide mridanga accompaniment. He greatest mridanga vidwan of them all, had even brought with him I should also recall here the great Palghat Mani Iyer, whose talents he Kodunthirapally Mahadeva Iyer to teach kutcheri that Bhagavatar gave under nurtured so lovingly. Yet Chembai was me advanced techniques in mridanga- the auspices of the Bharatiya Music all humility, illustrated by the fact that playing. I provided mridanga accompa- and Arts Society in Bombay, of which he would carry Mani's mridanga for niment to Bhagavatar himself during his close friend P.A. Raman was a lead- him. one of the succeeding Navaratri festi- ing light. This was a notable perfor- vals. M.S. Gopalakrishnan on the vio- mance. It was Chembai's first concert K.J. Yesudass, Veena S. Balachander, lin and Alangudi Ramachandran on the outside Kerala after his recovery from Harikatha expert Balakrishna Sastrigal ghata were the other accompanists. I the severe throat malady. Raman and An jam Madhavan Namboodiri were can never forget that occasion. Namboodiripad provided vocal support all his devoted friends and admirers while I played the mridanga. because of his endearing qualities. I also vividly remember how, as Presi- His kindness did not end with me. dent Radhakrishnan was presenting the Around this time, Bhagavatar wanted My son Babu also became his disciple Sangeet Natak Akademi award to me to stay in Madras and to accompany and earned his first remuneration by Chembai in 1958, the Bhagavatar good- him on his tours. I readily agreed. For singing in his company. naturedly helped the First Citizen to 10 years I had the rare privilege of being slip on the golden bracelet that was his private secretary also. At the It was through Chembai's good of- somewhat tight. The day after the award Tiruvaiyaru festivals he chose me to fices that I joined All India Radio's presentation, I accompanied Bhagavatar play the mridanga for him in preference Trissoor station in 1973, though it was when he gave a performance. Bhagavatar to all others. How overwhelmed I am a wrench for me to leave him for this then proceeded to Hardwar and Rishikesh still, to recall his love for me! Government job. Heaven, So Long It Lasted

The following article was written by L.R. promised to do what he could. the song." When I had completed it, he LAKSHMI of Bangalore who learnt music My lessons started next morning. On said to the sabha secretary: "Why, sir, from Cliembai for a while. she is going to sing with me in the some days he would ask me to sing concert. Print her name also. What do hembai Vaidyanatha Bhagavatar alapana-s and would enjoy it. Some- you say!" C agreed to teach me at the instance times he would ask me to prepare fruit of T P . Gopalachari, father of mridanga juice or write a letter for him. I was thrilled. But the vidwan did not vidwan Vellore Ramabhadran. I had like the idea. "How is that possible?" learnt music during my girlhood but My guru was very considerate to- he asked. "Will the sruti be the same?" my marriage had put an end to my wards me. Sometimes he would be suf- fering from severe pain in his stomach aspirations. Later, when I came to Ma- "Why, you heard her just now- she dras in 1967, I wished to resume my and lying down in bed, but even then he would teach me. was singing in 6-kattai sruti," said my studies. It was then that Gopalachari guru. took me to Vaidyanatha Bhagavatar, I used to listen to all his concerts who was then residing in Santhome. sitting in the front row. If ever I sat I could not have asked for more from away, he would make me sit in front. In my guru. I was in heaven. I offered tamboolam with 10 rupees the middle of the concert he would say: to the Bhagavatar and prostrated at his "It is getting late, and don't go alone by But I could gather that my guru's willingness to teach without expecting feet. bus, I'll take you in the car." any fee was not an attitude favoured by "Ai kutti [lassie] you need not give My financial situation was poor, and some within his immediate family. At all these since Guruvayurappan has given I couldn't pay any fees, but he never least this seemed true in my case, as I me plenty." Saying this he returned the seemed to care, though if I took fruits learnt to my great sorrow when, a few 10-rupee note but accepted the with me, he would accept them. days after the visit of the sabha officials tamboolam. Then he told Gopalachari, recounted earlier, I went to my guru's Aware of my situation, he even helped who had pleaded my case: "I'll teach residence. I was not welcome any longer me to earn some money, by persuading her what I know, but I'll not accept any and the reason given was that he was a neighbour of his to engage me to tutor chakram [coin]." And then he asked me not well. I was in tears but there his children. to sing a song. was little I could do except to keep on crying. I sang something nervously. "Good, One day, Chembai was in one of his you sing well," he said and added: best moods, and asked me to sing, and "What's there to be taught? Mere knowl- himself started singing with me. As we I never believed that my guru had edge from listening will be enough." were singing, two sabha officials ar- turned me away. I found out later, quite rived in a car, with a sangeeta vidwan. accidentally, that he hadn't. When I But Gopalachari insisted that he I stopped singing, but he admonished ran into him, he said: "You'll always should actually teach me, and Chembai me: "Don't stop in the middle! Finish have my blessings." Tuntsmitfi Rtsutt Of The Ernakulam Connection

The following article was written by The Tyagaraja festival in Ernakulam Lalitanagar, a complex of houses NARAYANAN PILLAI. was the first such event at which the he built in Santhome, Madras. Chembai Chembai brothers were exposed to an too settled down there in the mid- hembai Vaidyanatha Bhagavatar array of leading Carnatic musicians and forties. played the role of geyakara or C their performances. They became in- tune-smith for lyrics written by T.G. debted to Duraiswamy Iyer for this Krishna Iyer was a devotee of Devi in Krishna Iyer using the mudra of opportunity, as well as for the chance her manifestation as Lalita. In his re- Lalitadasar. to perform. The brothers had gone to tirement days he composed lyrics, in Sanskrit and Telugu, dedicated to his Krishna Iyer was among the influen- the festival on their own but once there, favourite deity. tial friends Chembai had made in impressed by everything connected with Ernakulam. The association went back the festival, they wished to participate as performers as well. And Duraiswamy However, he had no training in mu- to 1915 when Chembai gave his first sic and hence someone else was needed Iyer gave them a chance. performance, along with his brother, at to set the lyrics to music properly. In the annual Tyagaraja music festival in Duraiswamy Iyer detained the young- the event, Chembai assumed the role of Ernakulam organised by T.A. this 'someone else'. In fact, the deci- Duraiswamy Iyer, a prominent lawyer. sters for a few days after the conclusion of the festival and had them stay with sion to compose the music for Krishna Iyer's lyrics was among the factors that him as his guests. The personal contact Duraiswamy Iyer was musically knowl- made Chembai shift his residence to established at this time ripened into a edgeable too, having received regular Madras. training in the subject. As a connois- friendship based on mutual respect. seur he was highly respected by leading Duraiswamy Iyer's son T.D. Narayana Chembai's work- he would have de- musicians of the time. Iyer and nephew T.G. Krishna Iyer were scribed it as a pleasure-- on Krishna Prof. P. Sambamoorthy & Chembai also deeply inter- Iyer's lyrics resulted in a book called ested in music, al- Sree Lalitadasar Keertanaigal. He him- though their main self began to include select songs from vocations in life were this anthology in his concert repertoire. different. They too Kriti-s with the Lalitadasar mudra became good friends popularised by Chembai include: of the Chembai AkhilanJeswari - Kanada; knnilkarunda brothers. - Sankarabharanam; Evariki telusu - Dhanyasi; Karuua cheyvaiiendu - An upshot of these Yadukulakambhoji; Nikhila pavani; new friendships was I'avana guru - Hamsanandi; Pranava that T.A. Krishna nilayi - Mohanani; Rakshamam Iyer, brother of saranagatam - Nata; Sama gana - Duraiswamy Iyer Hamsanandi; Sree Mudukulapati - who was a violinist, Husseni; Unnaimarava - Hamsanandi; played sideman to Un perumai - Kalyani; and Varijadala - Chembai in numer- Arabhi. ous concerts. Because of the important role played Krishna Iyer's son by Chembai in the composition of the T.K. Ramachandran songs written by Krishna Iyer, he should- also, in later years, if the correct Western tradition would played the violin in be followed-- be given equal credit for many of Chembai's them. The compositions should prop- concerts. His other erly be ascribed therefore to "Krishna son is the flutist T.K. Iyer- Vaidyanatha Iyer" rather than to Radhakrishnan, now Krishna Iyer alone. retired. Sree Mudukulapati (Lalitadasar song) T.G. Krishna is a replica of the song Sree Iyer's career took Raghukulanidhi by Poochi Iyengar. Both him to many places have chitta swara; but in the former, but eventually he Chembai used to sing sahitya for the settled down in chitta swara. Festivals In Chembai & Guruvayur Annual Safutes

here are two Carnatic music festi- Vaidyanatha Bhagavatar in trust, his T vals associated with Chembai own funds and resources mobilised by Vaidyanatha Bhagavatar. him. Narayanan loo died earlier this year. One is the annual 10-day fesiival which has been taking place in the vil- Vaidyanatha Bbagavatar's disciples lage of Chembai in February-March. As Jaya-Vijaya have erected a shrine for early as the second decade of the cen- their guru at the entrance to the village. tury, stalwarts like Ennapadam The Pancharaina kriii-s of Tyagaraja Venkatrama Bhagavatar used to sing are rendered by a chorus of musicians regularly at this festival. All vidwans at the shrine during the festival. and top violinists of the years that fol- Commenting on the live-day festival lowed used to perform. Among them conducted in the last week of February were Kanchipuram Naina Pillai, 1991, P.T. Narendra Menon reported Chembai fesiival. Ycsudass in llie foreground Ariyakudi Ramanuja Iyengar, Maharaja- in Sruti: "During the event, one felt puram Viswanaiha Iyer, Musiri Subrali- that the spirit of Chembai was hover- music lovers and devotees of mania Iyer, Semmangudi Srinivasa Iyer, ing over the village and that he was Curuvayurappan. The Dcwasom gave G.N. Balasubramaniam, Madurai Mani once again sitting on his favourite swing, only a very small grant to help Chembai Iyer, M.S. Subbulakshmi, Flute T.N. opposite to the (Parthasarathy) temple, conduct the festival. Swaminatha Pillai, FIuic T.R. with his eyes riveted on the sanctum When Chembai passed away in 1974, Mabalingamand Mysore T. Chowdiah. sanctorum. the Dewasom assumed the responsibil- Even after he shifted to Madras in The other music festival has been ity for conducting it and decided to the early forties, Vaidyanatha Bhagavatar taking place at the Sree Krishna temple dedicate vastly larger resources for it. would come down to Chembai every in Curuvayur. From the age of 20, The deration of the festival was in- year to conduct the festival. Vaidyanatha Bhagavatar and his dis- creased to four days in 1979. Four years ciples gave free concerts on navami, later, it was increased to 11 days. With When Vaidyanatha Bhagavatar died, dasami and ekadasi days in the waxing some 200 musicians, young and old, bis Madras-based son-in-law Narayanan phase of the moon (sukla paksham) in novices and established artists, vocal- assumed the responsibility for conducting the month of Kartika. The three-day ists and instrumentalists participating every day, the total number taking part the fesiival, with funds left by affair was attended by thousands of in the festival every year exceeds 2000! Chembai al Guruvayur leniplc. Second from L: disciple Hainan Namboodiri All India Radio broadcasts a selection of the late evening concerts.

Significantly, children are allowed to perform too, since Chembai made it a point during his lifetime to encourage youngsters lo learn music. A couple of years ago, 52 youngsters belonging to the age group of 5-20 participated in a mridanga mela. As at the Tyagaraja aradhana festival inTiruvaiyaru,a highlight is the group- singing of Tyagaraja's Pancharatna kriti- s. Over a 100 musicians sing these kriti- s in chorus on the dasami day, while another group sings on the night of ekadasi. Their presentation includes Chembai's favourite songs like Vaiapi (Umapatim (Hamsadhwani), Raksha- mamsarartagaiam (Nata), Pttvanaguru (Hamsanandi), Mamava satin janani jK.inad.i) and Ktiruna cheivaiiemlu tunwsam Krishna (Yadukulakambhoji).

NARAYANAN PILLAI