LAlqudi NAMA

TNE LAlqudi STORY

f A diCTiONARy Of SyNONyMS EMbRACl'Nq I SOUTH hdiAN PLACE-NAMES ANd PERSONAUTJES WERE TO bE WRITTEN, THE plACE'NAME of LAlqudi ANd THE pERSON'NAME of JAVARAMAN WOuld SUREly bE bRAClCETEd TOGETHER. I N THE WORld of Music, LAlqudi MEANS JAVARAMAN THE violiNisi, EVEN Though THE PLACE-NAME is usEd AS A PRE fix Also by his sisTERS, his SON ANd his dAuqhTER, NOT TO MENTJON A RENOWNEd odHUVAR bEARJNq THE NAME Of SWAMINATHAN. ANd THE MERE MEN- TJON Of THE NAME of JAVARAMAN THE violiNJST iMMEdiATEly bRJNqS TO ThE lips THE plACE-NAME of LAlqudi. AT ONE lEVEl, THE liNkAqE bETWEEN THE plACE- NAME ANd THE pERSON'NAME is buT A REliC of fAMily hisTORy, A REMJNCIER of THE TACT THAT AT ONE TJME jAyARAMAN's fAMily livEc) !N LAlqudi. AT ANOTHER, THE UNIC HAS dEEp EMOTJONAI Sl'qNl'fiCANCE fOR THE v i o l l N MAESTRO. FOR, JAVARAMAN FEEIS, his LAlqudi ANTECEdENTS CON- NECT MM TO SAdquRU TyAqARAJA hiwsElf, JNAS- MUCH AS his qREAT-qRANdfATHER LAlqudi RAMA lyER WAS A dl'RECT dJSCiplE Of THE SAJNT- coMposER, ANd TyAqARAJA vishtd LAlqudi, OffEREd pRAyER AT THE Vl'lUqE SHRJNE ThERE ANd COMDOSEd HVE soNqs iN pRAiSE of THE dErry ANd his CONSORT. So, THE Ulqudi NAMA MUST bsqiN WITH A NOTE ON LAlqudi iTSElf ANd TEll THE STORy of RAMA lyER ANd OTHER MUSJCJANS o f ThE fAMily bEfORE chRONidl'Nq JAyARAMAN's OWN \\h ANd ACHIEVEMENTS.

PART ONE of A TWO-PART FEATURE ChRONiclER : N. PATTABHI RAMAN LALCUDI FAMILY TREE

TYAGARAJA (1767-1847)

Direct Disciple LALGUDI RAMA IYER VOCALIST

SAPTARISHI IYER VALADI RADHAKRISHNA IYER GURUSWAMY IYER SRIKANTA IYER VOCALIST GHAT AM VIDWAN

(1849-1908)

MADURAI KANDASAMY BHAGAVATAR LALGUDI V. R. GOPALA IYER VIOLINIST VIOLINIST

(1890-1939) (1900-1979)

1 1 SRIMATHI BRAHMANANDAM LALGUDI G. JAYARAMAN VIOLINIST VIOLINIST (b. 17 Sept 1930) (b. 5 May 1941)

PADMAVATHY RAJALAKSHMI ANANTHAGOPALAN RADHAKRISHNAN VEENA ARTIST VIOLINIST

(b. 30Jul. 1935) (b. 5 Nov. 1939)

LALGUDI G. J. R. KRISHNAN J. VIJAYALAKSHMI JAYANTHI RADHAKRISHNAN VIOLINIST VIOLINIST VEENA ARTIST

(b. 15 Apr. I960) (b. 16 Apr. 1966) (b. 19 Jan. 1970)

ANURADHA SRIDHAR SRIRAM BRAHMANANDAM VIOLINIST MRIDANGAM ARTIST

(b. 17 Nov. 1963) (b. 21 Aug. 1966) LAlqudi

ome 180 years ago, when a forefather of violinist Jaya- Rama Iyer. S raman made his appearance in the annals of Carnatic Let me tell you [Lakshmi Ammal had recollected) why Tyagaraja- classical music, Lalgudi was a small village. Located on the swami can* to Lalgudi. He came because of the earnest entreaties of banks of the Kollidam river—a tributary of the Kaveri— your great-grandfather. He was in fact a guest in our house. it shared the attributes of the river delta : lush green farms, Tyagaraja was inspired by his visit to the temple to a placid life, and a sense of belonging to a great religious compose five songs, two of them completely in Sanskrit, all and cultural tradition. of them in weighty raga-s. tea pahimam (Kalyani/Roopaka) Its earlier name was Tapasteerthapura in Sanskrit and and Deva Sritapasteertha (Madhyamavati/Triputa) seek Tirutavatturai in Tamil. As the abode of Lord Siva as the protection of the presiding deity. The other three— Saplarisheeswara and his consort Mahita-Pravriddha or halite Sri Pravriddha (Bhairavi/Adi); Mahita Pravriddha Pravriddha Sreemati, it was a place of pilgrimage. The late (Kambhoji/Chapu); and Gati neevani (Todi/Adi) — are Dr. V. Raghavan found a chronicle of the place which had addressed to Pravriddha Sreemati. a reference to Vyasa and Indra worshipping Siva at Lal- Some refer to these kriti-s collectively as the Lalgudi gudi. Tyagaraja himself has attested that people called the Pancharatna. place Bhooloka Kailasa, or Kailasa on earth, even as they referred to nearby Srirangam as Bhooloka Vaikuntham. Rama Iyer must have been thrilled that his guru not only responded to his invitation but that he felt inspired to com- Lalgudi was one of the kshetra-s visited by Tyagaraja ; pose songs on the deities in the shadow of whose grace the presumably he did so some 150 years ago. It was, accord- family lived. Some of that thrill is yet felt by Lalgudi Jaya- ing to chronicles available on the saint-bard's life, among raman. the two southernmost sacred places visited by Tyagaraja, the other being Srirangam. In one of his earlier essays on Comment by Jayaraman Tyagaraja (in The Spiritual Heritage of Tyagaraja), Dr. V. These kriti-s have since become part of our heritage, reminding us Raghavan said : "It is not known what took Tyagaraja to of the saint's visit to our house and of the fact that our musical source the village of Lalgudi ...." In a later monograph {Tyaga- lies at the feet of Tyagaraja. This good fortune has inspired in me a raja, published in 1983 by the Sahitya Akademi) he sug- sense of devotion and responsibility. gested that Rama Iyer of Lalgudi, one of the disciples of CHRONICLE RESUMED Tyagaraja, might have been responsible for the bard's visit to the village. Earlier to Tyagaraja, Saivite saints had offered worship at the Lalgudi temple and sung hymns in praise of its deity. More than a plausibility, it is a fact, according to the Chola and Pandya inscriptions also attest to the age and recollection of Lakshmi Ammal, the daughter-in-law of eminence of the temple.

MusicAl PRECJECESSORS I N THE FAMily

Rama Iyer, The First Musician of his disciples "a corpus of his compositions, according to : ama Iyer's father and forefathers belonged to Lalgudi. the student's voice quality and musical equipment." He R Rama Iyer's father Srinivasa Iyer, also known as Chit- has noted further: "It is to these pupils, primarily to the tappakutty Iyer in family circles, was not a trained musi- representatives of the three branches of his sishya-param- cian but his interest in the subject was deep enough to para of Umayalpuram, Tillaisthanam and Walajapet, start- encourage his son Rama who revealed talent in it. He took ing with Sundara Bhagavatar and Krishna Bhagavatar, his son to Kakarla Tyagaraja Brahmam in Tiruvaiyaru, Rama Iyengar and Venkataramana Bhagavatar respec- some miles up the river Kaveri but on the opposite bank, tively, that we owe the propagation of the songs of the since Tyagaraja, though he had detractors, had achieved a saint." reputation not only as a composer and musician but also as Although his name was subsequently listed among a man given to the pursuit of the spiritual ideal. He was Tyagaraja's disciples by Walajapet Ramaswamy Bhagavatar overjoyed when Tyagaraja agreed to take Rama as a disci- in his Tyagabrahmopanishad, Rama Iyer apparently did ple. not belong to these three branches. But, when he eventually returned to Lalgudi after living in the shadow of his guru Lalgudi Rama Iyer (1807-1867) spent several years "at for several years, he became famous quickly for the music the feet of the saint," absorbing both the music and the and the values of life he had absorbed from the master. spirit of devotion that guided his guru's life. And the respect in which he was held increased when his According to Dr. Raghavan. Tyagaraja imparted lo each guru visited Lalgudi as a pilgrim. Iyer but the inscription along with my grandmother's descriptions of him helped me make a positive identification. I experienced a heady thrill. But before I could obtain a copy of the portrait, I had to undergo great difficulties. [INTERPOLATION] On how to obtain a photograph of your ancestor's por- trait at the Mysore Palace Let me tell you, diligent researcher, how it is done. It is not that easy as you may imagine. You take a camera in hand and try to photograph the portrait A policeman on guard duty will snatch your equipment away roughly, say- ing you are not allowed to take a picture of anything in the museum without obtaining prior permission. On inquiring hither and thither, you would be told you need permission from the curator, or from 'the sircar', or from the Maharaja himself. When you seek such permission, you would be asked a million-trillion questions and also asked to submit, in quadruplicate, proof that the personality whose portrait you wish to have a copy of is indeed that of your great- grandfather. You will be frustrated Don't despair. Go to a friend who holds a key post in the Government Explain to him the Catch-22 situation you are in. He will smile and promise to do what he can. In the end, he will lubricate the machinery as needed and obtain for you the photograph Lalg-di Rama Iyer in Mysore durbar dress you covet This is how you go about it when you embark on What Lakshmi Ammal told Jayaraman research-kisearch.

Soon after this memorable visit, my father-in-law was invited by CHRONICLE RESUMED: the then Maharaja of Mysore, Mummudi Krishnaraja Wodeyar, to join his court as an asthana vidwan. Responding to it, he migrated to The portrait of Lalgudi Rama Iyer, aka Pallavi Rama Mysore. There he won plaudits. He won fame especially for perform- Iyer — a copy of which now adorns a wall in Jayaraman's ing on one occasion the near-miraculous feat of rendering a difficult home in Madras—shows a man of ample proportions with 4-kalaJ pallavi with a lemon poised on Us head throughout a sensitive refinement of expression. He is in the costume of Comment by Jayaraman an asthana vidwan of Mysore. He wears a turban, a pair of ear-studs, a laced upper-cloth, a double-string of gold- We don't know why Rama Iyer did it. Perhaps he wanted to show capped rudraksha beads round his neck, and a large disc of that il is possible to project manodharma elaborately without resort- kumkum on his forehead. This was the man who gave rise ing to anga chesta-s, that is, twists and contortions of the body. to four generations of gifted exponents of the violin, though CHRONICLE RESUMED: he himself was a vocalist. After this display the vidwan from Lalgudi came to be A closer look at the reproduced portrait shows his great- known as Pallavi Rama Iyer and an impressed Maharaja grandson G.J.R. Krishnan bears a remarkable resemblance bestowed many gifts on him, including a shawl and a toda to him. made of gold. The toda remained with the family for many years ; its value as a historical memento and an heirloom The First Violinist In The Family unappreciated, it was let go of the family's possession wo of Rama Iyer's four sons took to music : one was decades ago. T Radhakrishna Iyer who became a violinist and the other Guruswamy Iyer whose forte was the playing of the Jayaraman had never seen his great-grandfather. He ghatam. knew about the latter's prowess only through his grand- mother Lakshmi Animal's vivid tales. He felt impelled to The former, born in 1849, came to be known as Valadi find proofs. He began to research the family's past. Radhakrishna Iyer. (The family had moved to a more spa- Disclosure by Jayaraman cious house in nearby Valadi and hence the change in the place-name prefix). By the time he grew up, the violin had I wanted to find proof of my great-grandfather's service at the been assimilated into the Indian musical tradition. He him- Mysore court. I felt the stacks of portraits of the personalities of the self had gained a reputation as a master of the instrument court maintained in the Mysore Jaganmohan Palace Chitrashala might yield a clue. Comment by Jayaraman After taking the necessary permission, I started scanning the The practice of having violin accompaniment to vocal musk had portraits one by one. Fortunately each had a name inscribed in begun even during Tyagaraja's time. In fact, I have beard of a singing Kannada. Suddenly my heart began to race because one picture had session in the composer's home which included violin accompani- the name of Lalgudi Ramaiyya inscribed on it. I had never seen Rama ment. CHRONICLE RESUMED: good knowledge of it. She played an important role in maintaining the family's musical tradition. It is from her I obtained an insight into this It is not known who taught Radhakrishna Iyer to play tradition. the violin, but opportunity to perform on the stage came to him early as his father who taught him music was not In Ramanathapuram, it seems my grandfather would play his best at nights, sitting in the dark. Grandmother Lakshmi, a pious and reluctant to have him as his sideman. charitable woman, would not send away hungry anyone who came seeking food. This disposition led to a discovery. One night, when Radhakrishna Iyer returned to Lalgudi after his father's grandfather was engrossed in playing the violin, grandmother stepped death in 1867 and lived there for a while. Then he moved out the front door to give alms to a beggar. When she turned to go to Ramanathapuram where he was appointed as a court back in, she was surprised to see a man sitting quietly on the pyol. musician by Kottaiswamy Tevar, the then Sethupati and Her inquiry elicited the one-word answer " Asaloor", meaning that he was from another place, a stranger. Those were trusting times and she one among a line of enlightened rulers who gave enthusias- gave no further thought to the matter. But the next day the identity of tic patronage to the arts and artists, particularly musicians. the stranger became known unexpectedly when the Sethupati told Lakshmi Ammal's recollection, as told to Jayaraman Radhakrishna Iyer at the court : "This is not fair, Gubeel ! You don't play here in my presence as well as you do in your home in solitude !" The Sethupati and he [ your grandfather] were on the best of terms, marked by genuine friendship and mutual respect. Thatha was called 'Gubeel' by the ruler, playfully. How this name came about is an [INTERPOLATION] interesting story. The Sethupati would steal behind Thatha and tickle his sides. Taken unawares, Thatha would shriek and jump high. This Documents & letters attesting to Radhakrishna Iyer's would make the Sethupati to tickle Thatha even more, leading to merit as a violinist more shrieks ! This kind of response earned him the nickname, of Gubeel and in time it became a prefix to his name. Let me show you some of the many documents and letters preserved by Jayaraman which reveal the regard in which Comment by Jayaraman Radhakrishna Iyer was held as a musician and violinist My grandmother Lakshmi, wife of Thatha Radhakrishna Iyer, was a remarkable lady. She belonged to a family renowned for Tamil Here is a testimonial, in the form of a letter dated 15 scholarship and she herself wrote Tamil lyrics which she sang in sim- September 1888 written by the Raja of Ramnad (Rama- ple tunes of her own. She was not a trained musician but she had a nathapuram) to a fellow connoisseur. Note the quaint style Radhakrishna Iyer as well as the "Contents. It reads: My dear Sastriar A vergaL I was simply charmed with the exquisite Musical per- formance of Mr. V. R. Radhakrishna Aiyar. I have really not met his equal up to date, and I am sure that you will quite endorse my opinion of this R. Radhakrishna Aiyar. He is very unassuming besides being religious. I have especially requested him to come back in a fortnight and he has pro- mised to do so, but I am afraid he shall have to secure the permission of his aged mother who naturally feels separa- tion. As he is very well-behaved, I like him and wish to have his agreeable company for some time. Hope you are well lam My dear Sastriar, Yours very truly, P. KOTTAISWAMY TEVAR Here is an undated testimonial signed by one E. L. Thornton, Assistant Collector ofRamnad district : "Radhakrishnan (Gubil), Fiddle-Guru, began teaching me the violin in July 1897. He is an exceedingly able musi- cian, and took much trouble in teaching me, so that I made considerable progress in a short time. He is also a wonder- ful performer on the veena." You did not know, did you, before now, that Radhakrishna Kandaswaroy Bhagavatar Iyer was adept at playing the veena too ? Well, he could do more, in fact For there is another letter dated 8 April 1903 nayakanur, Neikarapatti, Palayampatti and Sivaganga. written by Sub-Judge N. Sarvothama Rao of Tanjavur in Kandasamy moved to Madurai, so he could better utilise which he praises Radhakrishna Iyer's ability to sing as wellthese contacts. And utilise them he did successfully, soon as play on the veena and the violin. establishing himself as an artist in demand and earning the appellation of Bhagavatar. CHRONICLE RESUMED: Lalgudi Jayaraman has in his collection many letters At the end of his service as asthana vidwan of Rama- which attest to the esteem in which Kandasamy Bhagavatar nathapuram, Radhakrishna Iyer returned to Valadi. By this was held and the solicitude which was shown to him by his time, the original house and property in Lalgudi had per- patrons — sabhas had not yet displaced the zemindars and haps been sold. Valadi was a tiny village consisting of princes. about 100 houses in the agraharam. Though old and retired, Radhakrishna Iyer still taught students from the One of these patrons, the Zemindar of Palayampatti, village and outside. One of them was Valadi Krishna Iyer brought from abroad for the Bhagavatar a first class violin who later gained recognition as a musician and teacher of of fine quality. This violin is now in the possession of merit and came to be known as a granary ofkeertana-s. Jayaraman, as also a violin of unknown origin used by Among his disciples was S. Ramanathan who carved a Radhakrishna Iyer. niche for himself as a musician, teacher and scholar. Ala- Disclosure by Lalgudi Jayaraman thur Srinivasa Iyer married his daughter. The letters written by Kandasamy Bhagavatar's zemindar patrons Radhakrishna Iyer and Lakshmi Ammal had two sons to him reveal that they cared for artists' physical and mental well- and both pursued music as a profession, thus strengthening being. Some of the letters in my possession were written by a zemin- what had by now become a family tradition. dar from hotels in foreign countries, like England for instance. In these letters, he voices his appreciation of Kandasamy Bhagavatar\ Kandasamy Bhagavatar superb violin-playing, counsels him to take care of his health at all times and instructs him to 'obey his mother' in all things. He inquires andasamy, who had been named Ramanathan at birth, about practice sessions and performances and about the receipt of his K was barely 18 years old when his father died and, salary. It was this zemindar who brought my uncle a violin from since his younger brother was only eight years old, the abroad. responsibility for the family fell on him. Fortunately, he Among the papers I have in my custody is a testimonial written by was not a novice in the music profession ; trained as a one Sydney Roberts, ICS, who was then the acting District & Ses- violinist, he had played in some concerts even when sions Judge of Ramnad : Radhakrishna Iyer was alive. He had built up contacts with "V. R. Kandasamy Iyer . . . is the son of my dear father's tutor influential patrons, like the zemindars or rulers of Bodi- V. R. Radhakrishna Iyer, who was long in the Samasthanam and had a reputation that he was the finest violin player of his day in Southern covertly in the groves and woods in and around the village. India. His son V. R. Kandasamy Iyer is my tutor through the years. For 10 years he continued his pastime thus, managing to His Knowledge, Efficiency and the sweet-mellow of playing on his keep it a secret, learning to answer the query where he had instrument are really remarkable. He is now in my service for well over two years and during that period he has shown great satisfaction been with a cryptic "Out". and regularity and punctuality. I like him, for he is quite unlike other This rhythm of the youngster's life got disrupted, how- musicians and his conduct & behaviour are Excellent." ever, when he fell victim to a severe illness — possibly a case of jaundice — which did not respond to conventional CHRONICLE RESUMED: treatment. He was reduced virtually to a skeleton. Kandasamy Bhagavatar seemed to have pursued a two- Help came from an unexpected direction. Brother track career, giving solo performances as well as serving as Kandasamy was devoted to a siddha, by name of Gnana- a sideman. Among the vocal stalwarts he accompanied bhodananda Satguru, who was credited with miraculous were Mazhavarayanendal Subbarama Bhagavatar, Kallidai- powers. The swami heard about Gopalan's illness and sent kurichi Vedanta Bhagavatar, Harikesanallur Muthiah for him. When Gopalan was brought to him, he looked at Bhagavatar, Madurai Pushpavanam, Ariyakudi Ramanuja the lad earnestly and smiled lovingly. The story goes that Iyengar, Maharajapuram Viswanatha Iyer and Musiri Gopalan immediately began feeling a surge of strength Subrahmania Iyer. He also accompanied the flute maestro within him and that in half an hour's time he felt com- Palladam Sanjeeva Rao in many concerts. Although he did pletely cured. not achieve widespread fame comparable to violin greats of the time like Tirukodikaval Krishna Iyer and Malaikottai The encounter with the swami brought another trans- Govindaswamy Pillai, he had a career successful enough to formation too. Young Gopalan felt a desire to renounce maintain himself and his wife in Madurai and his mother worldly life and go with the swami. Following the path of Lakshmi Ammal and younger brother Santhanagopalan in this desire, he followed the swami to an unknown destina- comfort in Valadi. Though much in demand, he never even tion, forsaking his school studies, forgetting his interest in thought of building a house for himself or increasing his music and ignoring the strong ties to his mother, his brother rate. "For him a life marked by dignity, respectability and and three sisters. The family's attempt to trace him proved nadopasana was sufficient," avers nephew Jayaraman. fruitless. The family's sorrow at Gopalan's disappearance came to be mixed in time with regret that it had squelched his interest in music. This regret arose because Kandasamy and his wife could not produce any children and the possibility had V-. now arisen that the family's musical tradition might die out with Kandasamy. [INTERPOLATION] The role of faith in fateful circumstances I will now tell you about the role of faith in fateful cir- cumstances, such as the disappearance of Santhanagopa- lan. When a child runs away, or is taken away, the parent, especially the mother, feels great despair naturally. She prays to her favourite deities, to all the gods accredited with

wawrti — WWMI * manifest powers of protection, and promises to express her gratitude in one manner or another if divine intervention Madurai Kandasamy Bhagavatar died in 1939, even would restore the lost child to the family's bosom. Some- before he had reached the half-century mark in life's times she chases after figures in distance, believing she has innings. sighted her child She follows every clue and feels drained when she finds it leads nowhere. Despite her faith, she des- Santhanagopalan, aka Gopala Iyer pairs at the absence of positive news or feels desperate at recurring thoughts that something might have overtaken the anthanagopalan, second son of Valadi Radhakrishna hapless child. And when anyone, an astrologer or palm- Iyer, early displayed a keen interest in music. But, S reader especially, predicts a favourable end to the episode, when his father died, the family apparently felt that it was she clutches at the prediction and allows her optimism to enough if one of the two boys, in this case the older Kan- assuage her grief. dasamy, pursued music as a profession. The hope was that, after completing his school education, he would enter CHRONICLE RESUMED: Government service. In the matter of Gopalan's disappearance an astrologer This decision, it turned out, did not suit the youngster. explained that it was lucky the lad had run away because Outwardly he played along but privately he pursued his his life would have been in jeopardy had he stayed on and interest in music with a degree of passion. He fashioned for led a family life. Lakshmi Ammal began to 'believe that her himself a crude flute from a bamboo tube and played it son was fated to disappear, albeit temporarily, during the period of the malefic influences indicated by the stars in the heaven and the stripes in his hands. She prayed regularly for Gopalan's safe return and fed curd rice to mendicants at the temple in the belief that this act would somehow sustain her dear boy's life wherever he was. It was seven years before Lakshmi Ammal's prayers were rewarded. Ramaswamy, a Valadi resident, went to Kallidaikurichi, in the Tirunelveli district, to celebrate Deepavali with his wife's family. At dawn, he was brushing his teeth on the banks of the Tamraparani river when he saw a young man standing in what seemed to be an ashram on the other side of the river. He realized that it was his childhood playmate and Lakshmi Ammal's son Santhanagopalan. He called out to the young man, addressing him by his name, and shouted that his mother was feeling tormented by his dis- appearance. Maybe Gopalan could not hear Ramaswamy's shouted words or maybe he did not care because he had travelled a long distance spiritually with his guru. In any case, he did not respond. Ramaswamy conveyed the bitter-sweet tidings to Lakshmi Ammal upon his return to Valadi and she [INTERPOLATION] promptly went to Kallidaikurichi. She first told Swami On making dolls Gnanabhodananda that he had no right to separate her son from her, and then implored him to release Gopalan so that Let me tell you how to make a doll You don't need to he may perpetuate the family's musical tradition. The buy any supplies for you will find all you need in the sewing swami recognised the validity of her appeal and ordered basket of your mother or sister. Collect bits and pieces of Gopalan to return to his family, adding : "My blessings cloth, coloured preferably. Cut and trim the pieces with a will go with you !" pair of scissors so that, when arranged flat as in a jig-saw puzzle, they take the shape you wish the doll to have. Stitch Santhanagopalan obeyed his master, although reluctant them together with the needle and the thread which can be to leave, and returned home with his mother. He was then 28. Seizing the moment, Lakshmi Ammal had him married Gopala Iyer soon — to a 14-year old girl named Savitri who belonged to a nearby village. Gopala Iyer, as Santhanagopalan came to be known, revealed multifaceted abilities as he resumed life in Valadi. He did not seem to need formal instruction in anything, least of all music. But the few lessons he received from his brother whenever the latter visited Valadi and from neigh- bour Valadi Krishna Iyer did help in enhancing his musical perceptions and skills. Comment by Jayaraman Father was brilliant. Though his schooling had been interrupted, the discipline of the sanyasa marga had honed his native intelligence to the sharpness of a razor's edge. God's grace and the swami's bless- ings -combined to give him an unusually quick and retentive grasp. He could play — and well — almost any instrument that he came across : the violin, the flute, the veena, the gottuvadyam, the mridangam, even the si tar and the swarabat. Yet, till the end, he remained like a 'kudathu vilakku', a lamp hidden in a pot. I think he wanted it that way. Cer- tainly he made no push to gain recognition.

Not only in music, but in other matters too father's skill was evi- dent. No one could beat him in any game, especially chess. He was very fond of chess and would finish a game in just a few moves because he could anticipate the opponent's moves accurately. It was the same story with cards. In playing carroms, he would pocket all nine coins with a single stroke. It was frustrating for anyone who played against him —and for him too to win so easily. He had keen interest in many other subjects — like doll-making in which too he excelled. found in the sewing basket Make another piece, similar to the first, shaped to match it Sew the two pieces together and, as you do, stuff the inside with small bits of scrap cloth or cotton. Fix buttons for eyes. Attach flaps to serve as ears. Now you have a doll in your hand If it looks good, be proud Otherwise realise you are no good at doll-making.

CHRONICLE RESUMED: Gopala Iyer did give music performances, but he pre- ferred teaching. So long as the family lived in Valadi and Lalgudi—a switch back to the native place was made at one time — he conducted a music school at which girls from the village learned music from him. Of course, he taught his son Jayaraman and his daughters and, in later years, his grandson Krishnan as well. He expected his stu- dents and wards to be as well-organised and disciplined as he himself was. He was indeed a stern disciplinarian and a task-master. Besides teaching, Gopala Iyer composed kriti-s in Sanskrit and Tamil. He composed not only in common raga-s but in rare ones like Bhuvana Mohini, Gandharva Manohari. Hamsa Kambhoji, Megharanjani, Niranjani, Sharadabha- ranam, Sindhukriya, Suddha Tarangini, Uttari and Velavati. He also wrote devotional lyrics on Muruga, his favourite deity. The different kinds of viruttam-s, venba-s and Btodenls of Gopala Iyer's School andadi-s he composed underscored his versatile technical competence.

Additional comment by Jayaraman other token of recognition, I would hand it over to him and do a shastanga namaskaram [ prostrate myself before him J. I must admit that, for a long time, I did not recognise father's uni- que talents because I saw him only as a stern and authoritarian figure CHRONICLE RESUMED : making excessive demands on us youngsters. But in my thinking, I Gopala Iyer passed away in 1979 in Madras. He had came to perceive his greatness and this perception made me feel a deep sense of gratitude to God for giving me such a father, and an relocated himself and his family in the city in 1946 so as to equally deep sense of gratitude to father himself for shaping me up as give Jayaraman the access to wider opportunities which a musician and a person. After that, whenever I got an award or came with residence in a metropolitan area.

LAlqudi C. JAYARAMAN

algudi G. Jayaraman is the only son of Gopala Iyer. cence it lost its sweep and became less flexible. Before this L He was born on 17 September 1930. happened, I had sung before the public in Valadi, Lalgudi, Tiruchi, Madurai and some other places. But soon I also Gopala Iyer taught music to all his children : violin to realised that the violin was to be my means of pursuing a Jayaraman, Rajalakshmi and Srimathi; and veena to career in music." Padmavati. He did not expect the girls to take to music as a career ; the latter shared this perspective at that time. In later years too, Jayaraman occasionally gave vocal From the beginning, it was expected that Jayaraman recitals. He could play the flute too — and did so occasio- would enter the music profession. At first, Gopala Iyer nally. But it is the violin that has been his professional visualised a singing career for his son, perhaps motivated prop. The early vocal training was not treated as a waste ; by the fact that Carnatic music, which sets store by the in fact it was considered by both father and son as essential sahitya a great deal, had reached its heights in vocal music. for a career as a violinist. According to Jayaraman : "A He had started to instruct Jayaraman in violin-playing only proper grounding in vocal music is an indispensable pre- as a second skill, but later gave violin the primary attention requisite. This is not my own theory but practical wisdom because he felt that Jayaraman, who was a weak and in our family." skinny boy lacking in stamina, was perhaps physically unsuited to be a vocalist Neither Gopala Iyer nor Jayaraman possibly foresaw the extent of the latter's success as a professional musician, The switch turned out to be right. "I had a flexible even though the son exhibited great aptitude for music even voice," Jayaraman recalled later, "but during my adoles- as a child. While only two years old, he could, for example, repeat any song or render a swara korvai he had heard. He Jayaraman's remembrance (continued) developed an ability to recall anything after hearing it only My father would wake me up at four-thirty in the morning. Lalgudi once. had no electricity then. In the special room set aside for music prac- tice, my mother would have placed an 'anal' — an earl hem oil lamp — Jayaraman 's remembrance with a trimmed wick soaking in oil and a box of matches. I would light the lamp, offer a prayer and then pick up my violin and begin to V id wans who visited our home used to enjoy this talent I exhibited. practise. Coffee, bath, breakfast — all these would come only later. I remember one occasion when Subbarama Iyer, the elder of the Father, still lying in bed, would be listening and monitoring my play- Karaikudi Veena Brothers, came home for lunch at Periappa's house. ing as I went through many kinds of exercises. Exercises like viraladi Before taking a siesta, he called me over and began to sing phrase (fingering) and the playing of gamaka-s, briga-s, curves and glides in after phrase. I had to sing each one back, converted into swara-s of different speeds. course. It was a game. But there is nothing singular or surprising about this kind of feat when a child grows up in a musically charged Ours was the last house in the agraharam [brahmin enclave), situ- atmosphere. Fish swim naturally soon after they are hatched, don't ated away from the noisy areas. The railway station was almost two they? kilometres away and there were neither cars plying nor planes flying overhead to disturb the quiet of the dawn. Such an atmosphere is perhaps beyond the imagination of today's city dweller. In the peace CHRONICLE RESUMED : that reigned, terrific concentration was possible. In the semi darkness, the starry centre of the oil lamp seemed to lend a spiritual touch to the In Jayaraman's recollection of his early years in Lalgudi, atmosphere. two strands of experience stand out: his musical training I would end the practice session when the morning milk arrived and the joy of communing with nature. and other familiar sounds signalled the beginning of another day. [INTERPOLATION] Direct learning was only a part of the learning process.

Dawn in Lalgudi Instruction and guidance from Kandasamy Bhagavatar was available only for a brief period, since the uncle passed Let me tell you about dawn on a typical day in Lalgudi away when Jayaraman was barely nine years old. Birds would awaken from their (dreamless ?) sleep and (Grandma Lakshmi Ammal too died soon after). But it begin to sing one by one. The locals would be able to recog- was the uncle who provided the first formal lessons, when nise the different birds by their calls, like the silky black Jayaraman was on a visit to Madurai. He helped the lad to bharadwaja pakshi or drongo by its trill Of course, even a learn varnam-s in Bilahari. Hamsadhvani and Sankara- city-slicker would identify the crow by its caw ! bharanam. Jayaraman benefitted also by listening to his Then there would begin the sounds made by humans: uncle teaching others. Furthermore, his visits exposed him the noise made by the milk vendor and his animals and the to well-known vidwans visiting Kandasamy Bhagavatar — sound of water being sprinkled and the ground being swept like Mazhavarayanendal Subbarama Bhagavatar, Kallidai- in front of the doorsteps; the cries of the curd-seller and kurichi Vedanta Bhagavatar, Harikesanallur Muthiah the vegetable vendor; and the voices of women singing on Bhagavatar, Sesha Bhagavatar, Madurai Ponnuswamy Pil- their way to the river. And later there would be the sounds lai (nagaswaram), Pudukottai Dakshjnamurthy Pillai (mri- of a cart being pulled by animals or men dangam and kanjeera), the Karaikudi Brothers (veena), Tirunelveli Gomatiya Pillai (mridangam), Malaikottai Govindaswamy Pillai (violin) and Tirupamburam Swami- natha Pillai (flute). They would visit to discuss arrange- ments for performances, but the business part of the talks would account for only part of the duration of the visits which might stretch to three or four days. They would talk about music and musicians and play card games. And they would sing or play their instruments with an enthusiasm and a sense of freedom not observed in public programmes.

Jayaraman's remembrance I was fascinated by Dakshinamurthy Pillai"s mannerisms — he would make funny half-jumps and stretch his neck as he played the kanjeera. I also saw T. R. Mahalingam, a mere boy in 1935, playing rhythms on a silver pela [vessel] containing sandal paste. Then he played the flute accompanied by Periappa on the violin. I was hyp- notized. CHRONICLE RESUMED: Jayaraman was. however, too young consciously to enjoy and derive benefit from these salon sessions at his uncle's house. Microsounds, mini sounds, many sounds — all only serving The primary source of music instruction and guidance to underscore the quiet of the rural area . . . the kind of for Jayaraman was, of course, his father who expected quiet which, believe me, upsets the typical sound-soaked from him iron discipline and steely perseverance. He had urban dweller on a visit to the village and keeps him awake the opportunity to imbibe music, at first unconsciously and all night! later consciously, also by listening to father play the violin, mostly in temples at festival times. Jayaraman 's remembrance (continued) Tirukodikaval Krishna Iyer and Malaikottai Govinda- For me, life in Lalgudi had a special appeal because of the sense of intimacy with nature. Plantain trees grew thickly, sugarcane lined the swamy Pillai, great violin stalwarts of the times, were good fields with vertical crowns on purple stalks. 'Ahathi keerai' (spinach) friends of the family. In fact the former journeyed to con- trees encircled by betel creepers put out fresh leaves and the two dole with the family when Radhakrishna Iyer passed away. shades of green would gladden the eye. Gopala Iyer had the opportunity to observe the fingering I would take long walks, drinking in all the lovely sights. Or some- techniques of both Iyer and Pillai who were in a sense times wade through streams or sit on the edge of pools, feet wading in pioneers in solo-playing. In Krishna Iyer's playing, a single and out. All this provided physical relaxation and also gave me a finger was used to slide on the string throughout — a tech- sense of freedom . . . . What a pity this kind of rustic beauty and nique which required demonic practice. In Govindaswamy simplicity has been beyond the experience of students living in urban areas — why, even of my own son and daughter ! Pillai's technique, different fingers were used for sounding the different notes. CHRONICLE RESUMED : Gopala Iyer had studied also the violin-playing of mas- Jayaraman's musical training and development was ters of the next generation, like Dwaram Venkataswamy aided by instruction provided by both father and uncle and Naidu, Mysore T. Chowdiah, Papa Venkataramiah and by the opportunities he had for listening and observation. Kumbakonam Rajamanickam Pillai. He transmitted the knowledge he obtained, by listening Valadi in procession in an open car, decked in silks and to and observing all such stalwarts, eagerly to his son bejewelled As the people of the community ooh 'd and ah 'd, Jayaraman who, in {urn, later pursued the same process of the lad himself slipped into sleep. observation and, by the adaptation and assimilation of what he considered best, fashioned a unique bani for him- CHRONICLE RESUMED: self. The year 1942 was a milestone in Jayaraman's life for, After his debut, Jayaraman started helping his father in during that year, he had both his arangetram or stage debut teaching beginners at the Sarada Sangeeta Vidya Sala, the as a violin artist, and his upanayanam or sacred thread school the latter conducted. Many of the students were ceremony. girls, and one of them, a middle-aged matron called on Jayaraman a few years ago. Jayaraman recognised her He made his stage debut in front of the deity at the Lal- quickly and the visitor told him : "My relatives tried to gudi temple. It was a rather informal event and only family dissuade me from visiting you, saying you are too impor- and close friends attended. The pre-teen lad was neither tant a person to have time for me. I am going to tell them nervous nor shy since he had been playing before much the that you have not changed." same audience in his home on Friday evenings. After his debut, Jayaraman also had the opportunity to The upanayanam was more an occasion of fun even acquire concert experience by accompanying the different though the religious aspect was important. He enjoyed the vocalists who visited his father and sang in the Friday even- festivities and the importance given to him. ing gatherings. He learned to play raga alapana and swara prastara. He acquired further kutcheri experience by partici- [INTERPOLATION] pating in many small temple festivals in Lalgudi, and nearby places. (He travelled by two-wheelers, drawn by Thread ceremony of brahmin lad in Valadi bullocks !) In the early forties, the sacred thread ceremony of a Apart from playing, listening also helped him along on brahmin lad was an important occasion, especially in the the path to maturity. He would go often to concerts held at villages and small towns. The function was not perfunctory the hundred-pillared hall in Tiruchi. He would reach the and the festivities spanned four days. Relatives and friends town at three o'clock in the afternoon by a passenger train turned out in large numbers. Beyond the rituals, there were boarded at Lalgudi, buy himself a half ticket and seat him- rounds of tiffin and meals and much fun to be had One self in front of the dais. After the concert, he would spend source of such fun was dressing up the 'vadu', as the boy the night at a relative's home and return to Lalgudi in the being threaded was called, and parading him around In forenoon. He would be as much in a rush to reach home as this case, Jayaraman had a luxurious kudumi — long hair he was in getting to the concert hall earlier, because it was falling down behind, while the front of the head was his practice to try and play on the violin the melodies shaved The ladies of the house oiled and plaited the hair which had most impressed him the previous evening. He and decorated the same with masses of flowers. Picking would make similar attempts, usually successful, after jasmine floating in hundreds in a vessel of water, 'they listening to radio concerts. There was a radio maintained placed them on Jayaraman's hair until each of the buds by the municipality for public listening. found a place in the coiffure. At night he was taken around Comment by Jayaraman

I am lucky that I am an eka santa grahi. I have the ability to remember what I listen to only once. My mind 'recorded' the music of others like a tape. More, my imagination went to work on it so that each sangati was multiplied manyfold. Thus listening to others was inspiration to me, a fire to stimulate my creativity. CHRONICLE RESUMED : Gopala Iyer withdrew Jayaraman from the local school so that the lad could have the freedom and flexibility to enhance his musical knowledge and skills by performing in and attending concerts. His painstaking learning efforts and his performances as a sideman earned for Jayaraman the approval and appro- bation of senior artists and the appreciation of listeners. His reputation grew steadily, if slowly, but now and then, there would be an occasion or a concert which contributed to a spurt in the process. One such was a concert at a festival conducted at Karupatti Chatram, in Madurai. Decisions on who would accompany whom were made on the spot and [INTERPOLATION] The art of accompaniment It is natural for an accompanist, whether a violinist or a percussionist, to wish to exhibit his skills on the stage. Especially eager is the new beaver on the stage and it is with difficulty he has to learn how to exercise restraint and how to complement the main performer. Some rules of thumb are widely recognised (even if frequently flouted). The accompanist must never overshadow the main artist either by playing too long or by over-projecting his talent If the main artist's raga alapana lasts 10 minutes, the violinist must content himself with six minutes of play when his turn for solo presentation of the raga comes. The violinist must confine himself to the voice range of the main artist and adhere to the tempo set by the latter. If the main performer offers kalpanaswara spanning two avarta-s or cycles, the violinist should do the same. The violinist has also to pro- vide the swara scaffolding for the architecture being deve- Mother Savitri Ammal loped by the main artist. In addition he must supply the adhara sruti — the basic pitch or the tonic — at all times it so happened Jayaraman was selected to accompany and fill gaps to project a sense of continuity. Mazhavarayanendal Subbarama Bhagavatar, a great musi- cian. If this was not honour — and challenge — enough, the Jayaraman's admission role of mridangam accompanist was given to Ramanatha- puram C. S. Murugabhoopathi, son of the famous mri- The do's and don'ts that apply to the accompanist's role can be danga vidwan Chitsabai Servai and no slouch himself. The learnt with the help of a guru and with one's own experience. When I alacrity of Jayaraman who knew how to count his bless- began performing, I knew something about the presentation of raga-s and swara-s, but not much about accompanying the main artist. I ings was further sharpened when the venerable vocalist told acquired knowledge and experience in degrees. I must admit that it him : "I am an old man. Please don't leave me in the was difficult to hold back my own creative instincts. I had to do well lurch." Jayaraman did not. He accompanied the older and yet not so well that I would get more applause than the main musician without trying to outdo. him and, in fact, played performer. in such a fashion that Bhagavatar's music was enhanced. To his embarrassment, he became the object of vociferous CHRONICLE RESUMED : appreciation. His youth and performance impressed every- one including the vocalist. Was it possible, as this admission implies, that the lad from Lalgudi was beginning to have an exaggerated opi- The word of mouth publicity he received acquired added nion of himself? The thought apparently did occur to value by the fact he was identified in various reports as the Gopala Iyer that the praise being showered on his son late Kandasamy Bhagavatar's nephew. Thus it was that, at might inflate his ego and breed arrogance. Therefore, the Tyagaraja festival in Devakottai one year, where Jaya- whenever a visitor would start praising Jayaraman's raman had performed for the flutist Palladam Sanjeeva talents, he would dismiss his son, asking him to take care of Rao as a sideman, Ariyakudi Ramanuja Iyengar, forced to one chore or another. He did not want his son's head find a replacement for an indisposed Papa Venkataramiah, turned by the praise. told the organisers : "Fix up that nephew of Kandasamy Bhagavatar, that boy with the kudumi [tuft] and the Gopala Iyer also gave his son a "weapon" with which to kadukkan [ear studs]." protect himself from the perils of praise : the weapon of self-evaluation, of self-criticism. He insisted that Jaya- raman write up, in diary fashion, reviews of his various Jayaraman's recollection of the event performances. He also taught him how to use the reviews to discover weaknesses and strengths, and specific slips. It was an unexpected and unforgettable experience for me to have had the opportunity to play for two giants in one evening. I was Prompted and persuaded by his father, Jayaraman made thrilled to be smilingly welcomed on to the stage by my hero Palghat it a habit of keeping notes on his performances. Initially, Mani Iyer, who was the mridangam accompanist for lyengarval's concert. Many vidwans were present and everyone overwhelmed me Gopala Iyer checked these notes but, once he was satisfied with warm praise . . . . that his son was meticulous and sincere, he stopped looking over the shoulder. I must say that I had no stage fear whatsoever and was full of enthusiasm. The vidwans helped me learn the art of accompaniment Comment by Jayaraman by suggesting improvements, asking for supportive playing in one or another passage or octave. I found it exhilarating to play on the stage, I am happy and proud that I have this habit of maintaining accurate to repeat certain phrases, to bring in certain contrasts or complemen- records of the date, time and place of every concert and of how I tary ideas. played in it. There were occasions when I had to admit that I had committed a mistake or could have handled a passage better. Self- Being a nadopasaka, he too became oblivious to the surroundings. criticism was thus a tool for improving attitude as well as skill . . . . The experience made me feel that I was enveloped by an oceanic tidal My father has taught me how to remain ever humble and eager to wave of musk. Or, to put it another way, it was as if an expert horti- improve, learning from all possible sources. culturist led me by hand through a paradise of a garden in full bloom and said : "This is the promised land. It could be yours if you I have mentioned earlier that my father was a strict disciplinarian. wanted." As Appa saw it, even a slight slackening of rules would result in fai- lure in fulfilling responsibilities. His own responsibility, as he saw it, was to pass on his musical wealth. His love of perfection made him CHRONICLE RESUMED : adopt very severe punitive measures. He would scold me, beat me, oblivious to the fact that I was a child, his own son. Sometimes I used The 1940's saw many musicians based in villages and to think of running away from it all. But later I realised that it was the mofussil towns gravitate towards Madras, which had by rod of discipline he wielded that shaped me. then emerged as the mecca of Carnatic music, with its pres- tigious sabhas and the Music Academy. Gopala Iyer CHRONICLE RESUMED: decided that it would help Jayaraman's career if he too relocated in Madras. And so, in 1946, the family moved to The habit of self-evaluation which he had cultivated Madras and found a place to stay in the Saidapet area. helped Jayaraman immeasurably in emerging as an out- standing accompanist quite early in his career. Of course, The third largest in India then, Madras was a unique the fact that he had familiarized himself with the styles of city, in that it was primarily a collection of villages. It was various premier artists by listening to their performances in cosmopolitan and yet traditional in character. These char- concerts and on the radio helped him in this respect. His acteristics persist even today. tape-recorder-like-memory and the practice he had deve- loped of trying to reproduce on the violin what he had Yet, for a country boy, the city posed new challenges heard at a performance, had together prepared him well to even as it opened up new opportunities. His appearance— respond, as a sideman, to the unique features of each major a thin youngster sporting a kudumi, wearing a necklace of performer. The vidwans marvelled at this capacity. It seems rudraksha beads and diamond ear-studs, his forehead that when Madurai Mani Iyer first had Jayaraman playing striped with ashes—made him look unsophisticated. But if the violin for him, he voiced astonishment that the violin anyone organising a concert was put oft by this appear- had blended so quickly and well with his singing. ance, vidwans knowledgeable about his musical abilities made sure that the lad did not suffer. Once they became Comment by Jayaraman acquainted with Jayaraman's qualities as a violin accom- panist, stars like G. N. Balasubramaniam, Alathur Brothers I claim this ability [to Mend], to complement any style effortlessly, and Palani Subramania Pillai became his boosters. as ray unique contribution to the art of violin accompaniment. This was a period when the front-rankers among the CHRONICLE RESUMED: violinists were stalwarts like Rajamanickam Pillai, Dwa- Jayaraman's ability to provide effective violin accom- ram Venkataswamy Naidu, Mysore Chowdiah, Tiruvalan- paniment for seasoned artists, and even to hold his own gadu Sundaresa Iyer, Papa Venkataramiah and Mayava- among them, generated an increasing number of engage- ram Govindaraja Pillai. But a new generation of violinists ments. Somewhere around this time, his father thought that was coming into view, consisting of T. N. Krishnan, Lal- the youngster might benefit by taking the Sangeeta Bhoo- gudi Jayaraman and M. S. Gopalakrishnan among others. shanam course introduced at the Annamalai University in Jayaraman was quick in establishing himself as a fine all- Chidambaram. Eminent musicians like Sabesa Iyer, Pon- rounder more than merely competent in playing the raga niah Pillai and Tiger Varadachariar were teaching there. He alapana, executing niraval, improvising swara combina- wrote to a friend asking him to secure and send details of tions, and rendering kriti-s and pallavi-s. Trained in vocal the course. As Jayaraman was taking the letter to the post- music, playing in the vocal style, acquainted well with box, he dropped it and it fell into a puddle of rain. Gopala numerous compositions and possessing sharp laya gnana Iyer was furious but decided that what happened was a and skills in its application, he gained a reputation for signal for him to give up the idea. being able to handle the trickiest of situations. His role as Jayaraman's remembrance of a visit with Tiger sideman to Alathur Brothers, the specialists in lava-oriented singing, and to GNB helped him move on to the fast track. When I called on Tiger Varadachariar, the lionized musicians' musician of those times, he was old, very old. He asked me : "Will With no reason to be unduly modest about his success in you play a little for me; ambi ?" [Ambi, a Tamil word, means 'young this period, Jayaraman remarked later : "Among this new Mow'! generation, my style was revolutionary ; it stood out for its I played Tyagaraja's Koluvaiyunnade. Tiger asked me to do some novelty and uniqueness." niraval. Choosing the Bhairavi-soaked phrase 'manasu ranjilla', I played as well as I could. But I guess I had not reached the level of The country yokel had done exceedingly well for himself maturity adequately to explore the scope of the passage, or to extract its essence. After a point. Tiger signalled for me to stop and then said : in the big city. It was but natural that he would shed his "Niraval should flow like taila-dhara [a stream of oil ]." He then went innocence in the process—and his kudumi which was on to demonstrate his point. Enchanted, we all lost track of time. symbolic of it. [INTERPOLATION] CHRONICLE RESUMED :

Hair today, gone tomorrow Jayaraman was not yet 30 when he decided that, while Let me tell you about the shedding of his kudumi by yet continuing his career as a sideman, he would claim Jayaraman. One reason for it was the difficulty in maintain-space on the centrestage also. This he accomplished by ing the thick tresses, especially when he was travelling. giving his first 'solo' recital in a temple festival in Madras While other musicians could have an afternoon siesta or in 1958, followed by a solo in the T. Nagar Arts Academy outing, he would be spending his time washing, drying, oil-in Madras early in 1959. ing, or combing his hair. Grandfather Radhakrishna Iyer, uncle Kandasamy Bhagavatar and father Gopala Iyer had all given solo reci- His kudumi and other appurtenances won the approval tals, though none of them had entered the hall of fame as of senior musicians and the older among the listeners. This violin soloists in Carnatic music. Jayaraman was following had been his experience in the mofussil where his appear- ance earned for him the reputation of being an 'orthodox, god-fearing good boy'. But in Madras, the same appear-

Lalgudi with kudumi (tuft) ance tended to mark him as a country bumpkin. This was the other reason for wanting to shed the tuft Tuft is gone, bul studs stay If Jayaraman had any hesitation in switching "from kudumi to crop"— the hair style resulting from cropping family tradition but his case was to be different. one's hair simply became known as 'crop'—GNB helped remove it He told the lad: "There is nothing to it I have [INTERPOLATION] done it." Violin soloists in Carnatic music The Prince Charming of Carnatic music had himself done it! Jayaraman followed his advice and made a beeline Let me tell you about the violinists inscribed as solo per- to a hair-cutting saloon, which is how a barber shop is formers in the annals of Carnatic classical music until known in these parts. about this time. Perhaps Baluswamy Dikshitar (1786-1858), brother of Muthuswami Dikshitar, and his contemporary Vadivelu Nattuvanar (1810-1847), both pioneers in adapt- Lead me from the country to the city ; ing the violin-playing to Carnatic music, did play solo, but Lead me from kudumi to crop ; authentic information is not available on whether they did Lead me from the shadows to limelight. so or where or to what extent. As far as is known, the first Urn, that's it Carnatic violinist to play solo was Tirukodikaval Krishna Iyer (1857-1913). Others who presented solo performancesrevealed. The latter, for example, had a second fiddle assist- include Malaikottai Govindaswamy Pillai (1879-1931); ing him but the second Fiddle had been just that, its role Pudukottai Narayanaswami Iyer, a contemporary of comparable to the voice oT a disciple in a vocal concert. Govindaswamy Pillai; Seerkazhi Narayana Swami Pillai, The second fiddle or the second voice stayed very much in a contemporary of Veena Dhanammal; Dwaram Venkata-the background. swamy Naidu (1893-1964); Mysore T. Chowdiah Jayaraman had a different conception of a solo. It called (1894-1967) ; Harinagabhushanam Pantulu (1889-1959); for two violins playing in tandem, in perfect unison, follow- Kumbakonam Rajamanickam Pillai (1898-1970); and ing in the same pathantara and yet playing different roles, Papa K. Venkataramiah (1901-1972). both conplementary and contrasting. It called, too, for combining the bhava of the vocal style with the virtuosity CHRONICLE RESUMED : of the instrumental approach. In order to translate his conception into a performance Krishna Iyer and Govindaswamy Pillai had become on the stage, Jayaraman initially enlisted the co-operation legends. Among those who came after them, only Naidu of his sister Srimathi. She had been trained by him as well and Chowdiah had made a mark as soloists. as by her father and had practised together with her brother When Venkataswamy Naidu had taken to playing solo often, and so close were sister and brother musically that exclusively, he had done so because he found the role of a she could anticipate every move of Jayaraman and match sideman too restrictive. He agreed readily with the observa- him phrase for phrase, sangati for sangati. tion of Keertanacharya C. R. Srinivasa Iyengar, a veteran He also made some modifications in the concert pattern critic of those times, that "Mr. Naidu should be a solo- to enable the second violin to play the role he envisaged. player ; he is too high to be an accompanist." Further- After playing some raga-s, he would move on to the kriti-s more, Naidu found that as a sideman he had to be a sacri- straight Srimathi would elaborate certain other raga-s by ficial lamb as well. Some years before he gave up providing herself. While playing kriti-s, they would play in unison, accompaniment to others, he explained : "If I play better, but sometimes in different octaves. In swara prastara, they the main artist is displeased. If I do not, then the audience would not only offer a musical dialogue but also create is displeased." beautiful patterns by playing across each other. Jayaraman was in agreement with Naidu regarding the In later years, others took the place of Srimathi in Jaya- difficulties faced by a violin accompanist. He had indeed raman's solo concerts. Only in a small percentage of his experienced harrassment at the hands of some vocalists solos did he play alone. green with envy. But he had a positive reason for taking up solo-playing : he wished to explore and reveal the great His conception introduced a new dimension to 'solo' scope the violin offered for the expression of Carnatic violin concerts, though the practice of playing in tandem, music. emulated later by some other Carnatic violinists of repute, raised the question whether the term 'solo' had lost its meaning. Jayaraman felt the credit for establishing the worthiness of the violin as a solo instrument in Carnatic classical [INTERPOLATION] music really belonged to Naidu Garu, although others had played solo before him. But at the same time, he fell that When a solo is not a solo the violin had greater scope than even Naidu Garu had Let me tell you why, in many cases, a solo is not a solo Jayaraman & Srimathi with Mani Iyer and another mridangam player at Krishna GanaSabha any longer. Solo means any performance by one person, aspect of the concert carefully and never ever experimented with or without accompaniment. When a singer or an on the stage. instrumentalist has a disciple sitting behind and assisting By and large, the changes and innovations he introduced him, the solo status seems unaffected, especially if the were well-received by the listening public. In effect, his second voice or second instrumentalist is not provided with solo performances enhanced his prestige and appeal as a a separate microphone. But when a second person — or two musician. or three other persons—perform along with the 'one per- son ' identified as the soloist and do so virtually as partners, Comment by Jayaraman not as accompanists, how can the performance be called a Beginning a career as a soloist was a turning point in my life. It is solo yet ? Is there no difference between a bicycle and a what brought me special honour in the world of musk .... tandem bicycle with two riders, like the one you might have seen in a circus ? My concerts offer a new fusion of sahitya bhava. sangeeta bhava and laya-chamatkara. There was justification behind every change I Circus. Ah, yes ! That's what a Carnatic music concert introduced, a thinking brain behind each innovation. often becomes when, billed as a solo, it has many voices producing a cacophony. No ? CHRONICLE RESUMED:

CHRONICLE RESUMED : Jayaraman continued to play the role of *» sideman even after he had established himself as a front-ranking soloist. But, of course, Jayaraman brought to his solo pro- He did so because of his belief that vocal music is the grammes much more besides a tandem performer. 'king' of Carnatic music. Many of the great singers whom he had accompanied were gone and he now played for Now he could give full rein to his musical genius and their successors, although he felt "the level of the main- inventiveness. And he did. stream was falling." He even went out of the way to offer • He brought a new dimension to raga alapana, much his services as a sideman to up-and-coming vocalists—like as his hero and model G. N. Balasubramaniam had done Madurai T. N. Seshagopalan, Trichur V. Ramachandran, earlier in vocal music. He rendered raga-s in a systematic T. V. Sankaranarayanan and later Neyyatinkara Vasudevan manner, one idea or phrase leading to the next, building up and O. S. Thyagarajan. the image of the raga brush-stroke by brush-stroke, as it When he eventually laid down his sideman's fiddle and were. bow — this was m 1986 — he had the unique distinction of • He introduced to the concert repertoire raga-s which having provided violin accompaniment to some six musical had not been very popular or in vogue earlier and by dint generations of artists. of his own imagination and skill, invested them with a per- Jayaraman is continuing in the field as a soloist, but it sonality that gained for them wide appeal. Example : will be a fair assessment that, over the last seven or eight Bindumalini, Charukesi, Kalyanavasantam, Rasali. He con- years, his ability to project his musical ideas in his violin- tinually expanded the song repertoire also, adding to the list play has somewhat diminished. Such a decline due to age his own varnam-s and tillana-s. has to be expected in the career of any musician. • He preferred kriti-s which offered maximum potential In retrospect, it would be accurate to say that Lalgudi for projecting raga bhava, since the violin, or any other Jayaraman reached full maturity as a violinist when he was instrument of melody, mute by definition, could not be in his mid-thirties and that the next IS years constituted expected to bring out a song's artha bhava — or meaning. the peak period of his career as a violinist and a musician. He honed his playing technique to accent or enunciate the In many fields of creative activity, the best period of a per- words of the lyrics as best as possible on an instrument. son ends when he or she crosses the age of 30. Lalgudi's • He introduced laya subtleties into the swara prastara, career shows that this is not usually so in the field of music. yet making sure that melody was not smothered by mathe- A good musician gains interpretative depth with the years. matics. He used the device of poruttam unabashedly but imaginatively to embellish the improvisations. Comment by Lalgudi Our musk goes beyond the emotional and the intellectual too and • He excelled in rendering the item known as ragam- reaches into the realms of the spirit. And here ripeness is all. There tanam-pallavi. He composed pallavi-s which could help may be physical deterioration as the years roll by but the mind gains him highlight the tonal effects of the violin and also the power of gnana which remains outside the reach of the youth. rhythmic patterns. He explained : "In pallavi-s, we take a [There are of course musicians who merely get old but do not streamlined melodic pattern and fit into it numerous ripen]. rhythmic structures which go beyond the usual sarva laghu. CHRONICLE RESUMED : Such laya forms are attractive in themselves even though the words are not voiced ; but the pallavi-s I compose do Even while cruising on the highway of his career as a have words." sideman and soloist, Jayaraman made excursions along Jayaraman introduced innovations but remained within two byways. the penumbra of classical tradition. He planned every One of the byways opened up a new vista, namely programme carefully and spent time on practice. The con- cert, which took place at the University Centenary Hall, was a great success. The large audience was wildly enthu- siastic. Since this first-ever jugalbandi, Jayaraman has taken part in a number of North-South encounters, playing opposite such leading Hindustani musicians as Amjad Ali Khan (sarod) and Hariprasad Chaurasia (flute). Comment by Jayaraman The jugalbandi must not become open war ! Co-operation, as well as a competitive spirit, is necessary. The musicians must be equals in merit and talent. There must be mutual respect and understanding between them.

Novelty is the main reason for the success of the jugalbandi. Too many such recitals will kill public interest.

Uayaraman-Ramani-Venkalraman trio performing before Kane hi Paramacharya, 1971 CHRONICLE RESUMED : Jayaraman's triumphs as a violinist were not confined to music by a violin-venu-veena trio. The trio consisted of his native land. In 1965 he took part in the Edinburgh Lalgudi Jayaraman (violin), N. Ramani (flute) and Festival in the UK, masterminded by Yehudi Menuhin, the R. Venkataraman (veena). Percussion support was pro- well-known Western violinist. vided by different artists at different times. Jayaraman's remembrance There was an interesting background to the formation of the trio. At first, Jayaraman turned down requests to play Palghat Mani Iyer came home with a letter from Menuhin request- the violin in Ramani's solo concerts. Reason : problems in ing my participation in the Edinburgh Music Festival. Mani Iyer's visit itself was a surprise ; the news he brought was a stunner. Until aligning the pitches of the violin and the flute. But when then I had seen an aeroplane only zooming across the skies. I had Ramani lowered the pitch of his instrument, Jayaraman never ever dreamt of boarding a plane, let alone of travelling to readily joined him as sideman. After a few concerts in a foreign land. My heart raced . . . but everything was in Appa's which they played together, Jayaraman got a new idea : control. I had been brought up to obey him implicitly. Being an orthodox person, would he permit me to cross 'the Mack waters', I the presentation of a nada-vadya kutcheri on the model of wondered. Appa's words to Mani Iyer annulled my apprehension and tala-vadya kutcheries already in vogue, using melody opened up a new world for me. He said : "If you are going, I will instruments instead of percussion instruments. He identified send my son." So began a month's tour of the U.K., with performan- the violin, the flute and the veena as the instruments which, ces in Liverpool, Birmingham, Nottingham and London, besides Edinburgh. played in the middle, the higher and the lower registers respec- tively, could offer a great variety of tonal combinations. He CHRONICLE RESUMED : considered the inclusion of the nagaswaram but decided it would not be advisable. Menuhin had arranged for the presentation of Western music (represented by himself). East African music, Hindus- The VVV combination became an instant success and tani music (represented by Ravi Shankar and Alia Rakha) requests for concerts poured in. But practical difficulties in and Carnatic music (provided by K. V. Narayanaswamy, organising programmes involving artists, each busy with his With violin maestro Menuhin own concert career, led to a quick end of the experiment. Also contributing to the disbandment, reportedly, were differences that arose between the artists. Two LPs recorded by the trio remain to give an idea of the successful but short-lived venture. The second of the byways also opened up a new vista : jugalbandi concerts involving Hindustani and Carnatic musicians. Sitarist Vilayat Khan and Lalgudi Jayaraman accompanied by Samta Prasad (tabla) and Tiruchi Sanka- ran (mridangam) were the artists featured in the first ever North-South musical encounter, which was presented in Madras in 1971 under the auspices of the Balasubramania Sangeeta Sabha. Vilayat Khan was in the city for a pro- gramme at Sri Krishna Gana Sabha, which Jayaraman had helped arrange after listening to a concert by the ustad in New Delhi. It was he who sprang the idea on Jayaraman.

Before the jugalbandi, the two main artists planned the Lalgudi Jayaraman and Palghat Mani Iyer). All four the seventh invitation he had received since his 1971 visit. musics were performed on the same stage in a single even- He had to refuse all the earlier invitations since he could not ing. afford to be away for long. During this second visit of a month's duration, his audience included a number of Ameri- The tour gave an opportunity for Jayaraman to get per- cans as well. Taking a detour to Toronto, he gave a lecture- sonally acquainted with Menuhin. He visited the latter at demonstration at the York University, assisted by Tiruchi his home, and, at the maestro's request, played the violin Sankaran who was his percussionist during the tour. and answered questions about Carnatic music and the vio- lin. Jayaraman went again to the US in 1985 and the USSR in 1986 to perform under the auspices of the Festival of A month after Jayaraman's return to India, a parcel India in these countries. These visits gave him great satis- arrived from the UK via Air India. It contained a violin of faction since he felt he had managed to get his music across Italian make, a gift from Menuhin who had made arrange- to foreigners. His last trip overseas was to the UK in 1988. ments for himself to pay whatever import duty was levied by Indian Customs. His career as a performing artist has earned Jayaraman many awards, apart from hundreds of favourable notices in Jayaraman had opportunities to meet Menuhin again the press. He was the first to receive the Sangeeta Chooda- and the two have remained friends over the years, their mani title awarded by Sri Krishna Gana Sabha in Madras. involvement in music and their specialisation in violin - playing providing the bonding element. Other titles or awards received by him include Padma Shri which was presented to him by the President of India ; the In 1971 Jayaraman carried his violin to the USA. At the Sangeet Natak Akademi award for 1978 ; and the title of request of the organiser to bring along a flute or veena Isai Perarignar which was given to him by the Tamil Isai San- artist also with him, he took flutist N. Ramani along. He gam of Madras in 1984. He is known to have turned down and Ramani together gave 28 performances ; the listeners an invitation to preside over the annual conference of the were mostly resident South Indians. Music Academy of Madras which would have yielded him the coveted title of Sangeeta Kalanidhi. In July 1972, he went on a concert tour of Malaysia and Singapore. There are a number of records and cassettes which also A visit to the USSR in August 1972 was as part of a beai testimony to his musicianship and his talents as a per- cultural delegation. It offered Jayaraman a different kind of Being garlanded by MGR experience. The people of the host country knew virtually nothing about Indian music. The huge Moscow auditorium where he played held 3000 persons. Prior to the concert he was warned that he would be well advised to trim his 45- minute concert to a 15-minute performance. Jayaraman was confused by this advice but he demurred. In the event, he went about as planned and played Enta nerchina (Suddha Dhanyasi) and then a ragam-tanam-pallavi in Kalyani. He received a standing ovation and had to take a bow six times. The performance was an unforgettable triumph for Jayaraman and it set the pace for subsequent programmes, during the two-month tour, in other European countries of what was then called the Eastern bloc. Wherever he played, he was showered with flowers and thronged by new admirers. In 1979 he went again on a concert tour of South-East Asian countries. In 1980, Jayaraman gave performances in France, Ger- many and Belgium after a tape of a broadcast he had made for All India Radio was adjudged the best by the Inter- national Music Council and the Asia-Pacific Music Ros- trum. Other concert tours abroad materialised over the years. He played in the Festival of India series in the UK in 1982. One of his programmes was a jugalbandi with Amjad Ali Khan and it was a great hit. He followed up with concerts in West Germany and Italy. In 1983, Jayaraman went again to the US. in response to pose as successfully as they perform. Artists-turned-composers usually have no compunction in imposing their creations on their listeners. Maybe they should be called imposing composers ? No, that could be misleading. Let us call them composers-who-impose, or call their songs impositions. Of course there are musicians-turned-composers whose songs are really good and catch on. But there are only a handful of them. This has always been so. Then there are those who can or do write lyrics only, and leave the task of setting them to tune to others. They should not really be called composers; they are only lyri- cists and if their songs are tuned by others, the fact should be clearly identified, by hyphenating the names of the lyri- cist and the tune smith.

CHRONICLE RESUMED:

Jayaraman's varnam-s and tillana-s have become popu- lar with Bharatanatyam dancers as well as other concert artists. Like Tanjavur Sankara Iyer and M. Balamurali- krishna, he is a highly respected composer today.

Receiving Padmashri Presidential award fro* V. V. CM, 1972 formef. This chronicle must reveal one other aspect of Lalgudi Jayaraman's career, namely his achievements as a com- poser. He was drawn into this by his persistent desire to expand his repertoire. He was not satisfied with learning and presenting the compositions of others. He wanted to present something more, something of his own creation. So he started to compose, but with his own needs in view. He believed it necessary to keep introducing new elements in his concerts, so that the listeners would not get jaded. He therefore decided to compose varnam-s and tillana-s, items which would create an impact at the beginning or the end of the concerts. It was natural for him to prefer these genres also because varnam-s and tillana-s emphasize rhythmic and melodic patterns rather than words — which suited him as an instrumentalist.

[INTERPOLATION]

On Composers Let me dwell briefly on the interesting fact that there are basically two kinds of vaggeyakara-s or those who write the lyrics as well as set them to music One kind consists of those who are primarily composers If they sing or perform on an instrument, that is only a secondary preoccupation. The other kind consists of those who are primarily per- forming artists but who also respond to the itch to create songs of their own or who mistakenly believe they can com- DOWN TME UNE

Jayaraman, Gopala Iyer & Knshnan in fronl of portraits of Rama Iyer tc Radhakrishna Iyer

algudi Jayaraman and his sisters have ensured that the father's teaching and coaching, though they benefrtted from L line of musicians which started with Pallavi Rama Iyer grandfather Gopala Iyer's guidance also. With their cousins continues. who have entered the music field, they can be expected to continue the family tradition which started when an ances- Jayaraman and his wife Rajalakshmi have a son and a tor called Chittappakutty Iyer took his son Raman across daughter, namely G. J. R. Krishnan and J. Vijayalakshmi. the Kaveri river to Tiruvaiyaru and entrusted him to a Both are talented violinists and both are products of their musician-composer named Tyagaraja. o 35 EXCERPTS FROM THE SRUTI INTERVIEW ON DEVElopiNq A NEW SiylE

You say that you have evolved a unique and individual style No. Mentioning my achievements or contributions dtvs not of violin-playing. Can you explain this further ? amount to running down others. How can I decry their These new techniques I introduced brought about a revolu- achievements when it is precisely those which form the tion in the art of playing the violin ; or you may call it a basis of my growth ? They laid the foundation and erected the ground floor. I built another floor upon that solid con- renaissance. The main feature of this novelNstyle is that ihe same response is evoked through the violin as through struction. Once a Singapore rasika asked me : "You play vocal music. The changes in fingering and bowing tech- so well. What about your father ?" I thought the question niques shifted the accent to bring out all the subtleties and absurd. Each generation has to carry on, building on what intricacies of singing. has been constructed by the earlier one. Among past masters, I was stunned by Chowdiah and Dwaram. In regard to the The second most important feature is that the art of future, I expect a greater development of the violin from accompanying the vocalist reached a new peak. Before my the youngsters of today. To say the best belonged to the time, most ^violinists had a fixed style of their own and past is a sure road to degeneration. followed it at all times, with the result that their playing could complement only certain vocalists. For example What was the response of the senior violinists to your innova- Papa Venkataramiah was a perfect foil for Ariyakudi but tions ? not for GNB. But with my new style, I could play for Why, all of them were generous in their appreciation. anyone and everyone. I could support Madurai Mani's Chowdiah remarked : "All of us must stop playing now sarvalaghu sukham and discrete alapana, GNB's effortless that this boy has appeared." At my marriage he said : "He briga-laden sparklers, or Alathur's laya fire works. Listeners was born Raman ; he took up the bow and became themselves began to notice the birth of a new tradition of Kothandaraman ; with his marriage he has become violin accompaniment. Kalyanaraman ; since he triumphs everywhere we can call Can you tell us more about the re-slyling of the bowing and him Jayaraman." Dwaram Vcnkataswamy Naidu said : "If Angering techniques ? I practise for two years continuously I too can start playing in the Jayaraman manner." Rajamanickam Pillai openly In my style you cannot distinguish between deflected and' praised my presence of mind in supportive play. As for straight movements in bowing. The same richness of tone, Govindaraja Pillai, he would make it a point to give me a the same continuity is maintained in both. Also one will word of encouragement after every radio concert. Papa not realize that the bow is moving overjthe different strings Venkataramiah appreciated the dignity with which I in turn because of the evenness of sound produced. Jumps pursued my profession. Tiruvalangadu Sundaresa Iyer was and breaks are completely avoided. And changes in finger- ever my well-wisher. All this shows the generosity and ing are so imperceptible as to go unnoticed. I always fol- magnanimity of my seniors in the field. lowed the vocal method closely. Who inspired you to create this new style ? Did all this praise ever go to your head . .. and make you feel arrogant ? My father, who had assimilated the good aspects of all the great violin vidwans he had heard, drew my attention to Arrogance has no place in my life. My father's training has the special qualities of each, singing to illustrate better their seen to that. nuances. I know of Malaikottai Govindaswamy Pillai and Also, regardless of praise given, I am the sort of person who Tirukkodikaval Krishna Iyer only through him. My father is not easily satisfied with my achievement. My eyes are set had a research-oriented brain which didn't want to follow on a star not easily reached. Besides I am quite self critical. the beaten path. Therefore he would always warn against I see my flaws all the time. Even minor faults frustrate me, blind imitation or tasteless amalgamation. "Create some- and when I was younger, they would even make me weep thing original," he would say, "a new technique without all night. Sometimes I have even asked myself: " Why the flaws of other styles which retains only the best." was I ever born ?" Worry and sleeplessness would induce Did your father himself fashion these new techniques that you fever. At such times my father used to encourage me. But employ ? after starting to give solo recitals I gained greater confi- dence and learnt to accept failures that arise out of taking No. I did that myself through trial and error, through cease- risks. A certain amount of egoistic self-awareness is needed less effort. But he inspired me and showed me the right to present new creations. But even here I realise that what I direction to take. present on stage is but 30 per cent of what I can realize By terming your style unique, are you not denigrating the fully at home in hours of practice. This knowledge is suffi- other violinists who were on the scene much before you ? • cient to check arrogance. □

LAlqudi C. MyARAMAN COMPOSER & TEACNER

Ulqudi C. JAVARAMAN—AN ARTJST TURNEd COMpOSER, WJTh populAR VARNA'S ANd TJIIANAS TO his CREdiT. A TRANSMITTER o f A QREAT TRAdJTJON, TRAJNER o f hlS OWN SON ANd dAUqhTER ANCl OThER yOUNQSTERS. PART Thuce Of A SPECJAI FEATURE ARTJCIES ON Ulqudi JAVARAMAN AS A COMPOSER HAVE dRAWN libERAlly fROM, buT NOT ARE bASEd ExcLusivEly ON, THE ANAlysis ANd CONCLUSIONS of THE SRUTJ FouNdATioN STudy GROup.

A PuRposEful COMPOSER

The following article was written by Dr. N. in his own solo and tandem violin con- mould and it is easy to compose one RAMAS'ATIIAN. certs must be borne in view in assessing especially in Adi tala. But to compose he main purpose of Lalgudi their merits. In fact, these may be a good vamam is a different matter. Jayaraman in undertaking the considered as the first ever corpus of Lalgudi's vama-s strictly conform to T v compositions of tana varna-s and til- compositions in Camatic music in- the formal' requirements of this class lana-s seems to have been to enlarge and tended particularly for the violin and of compositions. The pallavi and improve the repertoire of songs avail- generally for instruments. anupallavi are each of two-avarta du- able for playing in his concerts. His rea- ration. Some vama-s (e.g., Nali- Some of the tillana-s have entered the soning seems to have been as follows: nakanti, Valaji) have four-avarta repertoire of vocalists as well. But if muktayi swara-s, while some have two- * The violin, like all instruments, is more have not, despite their inherent avarta ones. The charanam with its appeal, it is because of some con- mute and it cannot articulate the lyrics ettugada pallavi, the largely spaced straints created by their instrumental of a song as only a vocalist can. Hence first round of ettugada swara-s, the orientation and by some features of the a violinist rendering a series of krili-s in mixture of short and long in the second a concert would likely enjoy a less sus- syllablization in the jati-s. In these respects, M. Balamuralikrishna, an- round, the sequence of short duration tained appreciation from the audience swara-s in the third round, and finally than a vocalist singing the same songs other contemporary musician-com- poser, has perhaps scored better. the last round which incorporates all nicely. It is necessary to introduce the above features— all follow the fa- fresh elements into a violin concert. Lalgudi always understood that the miliar pattern. * One way of enhancing the attraction pada vama-s and the lone jatiswaram * The first swara in the first swara would be to add new kriti-s in appealing he composed are to be vocalised. passage immediately after the char- raga-s which are not in vogue yet. Aside from the couple of tillana-s he composed for fellow musicians, like ana sahitya should be the same as the * Another would be to compose new Voleti Venkateswarlu and Nedunuri first note in the charanam, as in Nin- vama-s and tillana-s which would help Krishnamurthy, these are the only ones nukori (Mohanam), Evari bodhana project the virtuosity and artistry of the which he perhaps did not conceive of in (Abhogi) or Sarasuda (Saveri). Of violinist. If the selection of appealing terms only of his violin repertoire. course, there are exceptions to the rule raga-s and the introduction of laya intri- as in the Todi and Kalyani Adi tala cacies without sacrificing melody Varna-s vama-s. But Lalgudi has made no would serve the purpose, so much the deviation. better. Lalgudi's tana vama-s fall into two groups: those in heavy raga-s like * The second swara passage after Asaveri, Devagandhari and Kannada These, in fact, have been the ele- the charanam should have a rhythmic and those in relatively light raga-s like pattern with emphasis on every quar- ments of conscious direction which Charukesi, Garudadhwani, Nalinakanti ter-avarta, as in Ninnukori. Lalgudi's have been found in his approach. and Valaji. All the varna-s are in Adi Valaji vamam goes like this: tala. The fact that he composed the tana Dpgpsgp Dspgdpn, Dpg vama-s and tillana-s primarily for use The vamam form has a fairly rigid s g s n D n s g p d n 21 Saveri, Abhogi, Nayaki, and navaraga- LALGUDI JAYARAMAN'S KRITI-S malika. In the first two, there is a swara or two of upward movement Kandan seyalanro Herat! Adi (tisra) before a downward shift occurs. The Yinakayunnadeva Dharmavati Adi Nayaki and navaragamalika pieces have ascending movements of a rela- Ten Madura! vaazh Hamsaroopini Adi tively large amplitude. In Lalgudi's Kumaara guruguham Shaumukhapriya Adi Nalinakanti vamam, there is a unique combination: it begins on a short note Nee dayal seyyavidil Begada Adi and moves quickly in an upward direc- tion.

The emphasis is on every quarter- He has shown a preference also for In fact, there are a few Lalgudi avarta. In the Mandari vamam the the use of poruttam, an embellishment vama-s (e.g., Bouli, Charukesi and second swara passage is : in which the last solfa notes of a swara Garudadhwani) in which the ettugada passage take on the characteristic of pallavi— the charanam line which Pn P m g r Gm Gr s n P n S r gm, swarakshara because they are identical occurs as a refrain- also starts on a R g M p n m to the syllables used in the text. An short note. This too is unusual. * The third swara passage after the example is the fourth avarta of the last These aspects of Lalgudi's vama-s charanam normally should consist of round of ettugada swara-s (in the char- and similar aspects of Balamurali's single solfa notes as in the well-known anam section) in the varnam in Nali- vama-s suggest that the vamam Begada, Hamsadhvani, Saveri and Todi nakanti: format is continuing to evolve. varna-s. Lalgudi has adopted this rule to the letter. An illustration is available n m g r s n p (7) n , r (3) s , , (3) n g r Apart from these general observa- in the third swara passage in the Nali- s n p m (7) tions, some comments may be made on nakanti varnam: p , s (3) n , , (3) n s n p m g r (7) m , individual vama-s. ,(3)/>,,(3) npnmpn-mnpn-rmpn-rn p Kannada In Kannada raga, gand- mp-rpmnp r n g r m g f n Lalgudi seems to have employed hara and dhaivata are strong notes. In kanakku or mathematical matrices only this varnam, the first part p m g r - g r n p m g r - r n p m g r- in the varna-s in lighter raga-s. He has (poorvanga) centres around gandhara npmgr-np m g r - n p m g r judiciously avoided them in varna-s in while in the latter half (uttaranga) the The variations in the solfa notes n-p- raga-s like Devagandhari and Kannada. emphasis is on dhaivata. All the three m-g-r are a real treat to the rasika but sections in the first half, namely, the Despite the fact that Lalgudi has absolute tight-rope walking for the per- pallavi, the anupallavi, and the former. mostly stayed within the rules, the be- muktayi swara, start on ga, while the ginning portions of one or two varna-s ettugada pallavi and all the swara-s In vama-s generally, both the do not strike the listener as a typical commence on dha. muktayi and ettuguda swara-s project varnam at first. An example is the the semblance of a kanakku but in real- Nalinakanti vamam. This is true also of Sama Normally in the pallavi and ity they do not contain any numeric some of the vama-s of another contem- anupallavi, each avarta is composed pattern. Examples are the second half porary composer, namely Manga- in such a way that, at the end, one may of the last avarta of the muktayi swara in lampalli Balamuralikrishna. His com- return to the beginning or go to the Manambuchavadi Vcnkatasubba Iyer's positions in Todi and Amritavarshini do next one. In this vamam, the two Jalajaksha in Hamsadhvani and not, in their beginnings, j.ve one the avartana-s of the pallavi go as one Kothavasal Venkatarama Iyer's Sara- impression of being vama-s. It is block, that is, after the first avarta suda in Saveri : rather difficult to explain why this is so, melodically it is not possible to come but an attempt can be made. back to the first and one has necessar- Jalajaksha g f , s n p (6) r s , n (4) ily to go to the second. pg , r s r (6) * Normally, a vamam begins on a long note or swara, two matra-s or more Devagandhari Raga-s like Deva- Sarasuda g r , s n d (6) rsn dp m (6) in duration. This is not the case in Kaly- gandhari, Ahiri and Asaveri are rather g r s d (4) ani raga varnam Vanajakshi which difficult to put into the vamam mould. begins on s S s, but since the melody The main reason for this seems to be Normally the pattern should have is stationary on the initial sa, the im- that a vamam consists of meaningful text as well as solfa syllables. And in been 6-6-6, but in the above examples pression of a long note is yet projected. raga-s like those mentioned, it is not it is 6-4-6 and 6-6-4. In his varna-s This does not happen in Lalgudi's Nali- very easy to translate the phrases into Lalgudi has used the rhythmic pat- nakanti vamam. terns, but preferred the alankara s r g m syllables and fit them into a known as gopuchcha yati, wherein * Another feature observed is that, in rhythmic setting within a tala frame- phrases of regularly diminishing most standard vama-s, the initial work. Before composing the vamam lengths occur, to that of repeating a movement of the swara-s is downward. in Devagandhari, Lalgudi appears to phrase three times (known as 'tihai' There arc exceptions to this convention have put in quite a bit of effort in in Hindustani music). too, like the well-known vama-s in studying the various facets of the raga The following article was written by vama-s, three pada vama-s and 29 til- the then Carnatic music stalwarts like SULOCHANA PATTABHI RAMAN. She lana-s (see accompanying charts). Ariyakudi Ramanuja Iyengar, has been a long-time student of Lalgudl Alathur Brothers, G.N. Balas- Jayaraman's music and his compositions. His first composition was a tillana in ubramaniam and Madurai Mani Iyer. the raga Vasanta. He composed it Poochi Srinivasa Iyengar" s Paras algudi Jayaraman has so far com- more than three decades ago. At that and Poo mac hand rika tillana-s and L posed five kriti-s, 13 tana time he was frequently accompanying Ponniah Pillai's tillana in Sankar- and its characteristics. The main Tillana-s choice of the words and the meaning. swara-s in the raga are ri and dha and The same however cannot be said for Like the vama-s, the tillana-s too have he has given them the utmost impor- the choice of the meaningless syl- a standard mould. And the tillana-s of tance. He has started the pallavi on ri lables in other parts of the song. Lalgudi Jayaraman and Balamu- and the anupallavi on dha. They sound very pedestrian. On the ralikrishna have a large dose of kan- whole the tillana-s appear admirably naku and poruttam, a feature practically Because the raga is made up of char- suited for instruments. Many of the absent in tillana-s composed in the past. acteristic phrases that do not give room phrases seem to require great effort in The earlier tillana-s seem to have been for free up and down scalar movements, singing and sound quite laboured. composed mainly for dance and perhaps composing the third round of ettugada for this reason they were not endowed Two of Lalgudi's tillana-s have un- swara-s poses a problem. Lalgudi has with musical weight; the contemporary usual tala features, like the use of conceived this round by juxtaposing creations reveal a lot of intellectual Misra Chapu in the Revati piece and phrases which consist of short notes effort put into them. Nonetheless tisra nadai in the Behag composition. only, as follows: many dancers are making use of the Both the vama-s and tillana-s of tillana-s of Lalgudi and Balamu- s nd - ndpmp -m g r - s r g -s r s Lalgudi reflect a great deal of study nd-nsr-mg r - ndpmp d-r ralikrishna. and musical planning. Each composi- snd-nsr-gmgr-mgr-mpd- Most of Lalgudi's tillana-s have a tion gives a lot of food for thought nsnd-snd-nsr-mpd-nsr very tight and crisp melodic structure. and serves as an admirable model The music is well thought-out with for intellectual appreciation and un- In the swara-s, he has avoided any kanakku and poruttam giving very ef- derstanding. His tillana-s cannot be kind of kanakku. In fact the final round fective passages for returning from the dismissed as light pieces. ends with just a small phrase, s-r-g-s-r, anupallavi to the pallavi and from the which is more telling than any kind of charanam to the pallavi. Cadences in All the compositions also have ex- kanakku would have been. the charanam in many of the tillana-s tremely great pedagogic value. They However, two places in the varnam have many variations, a feature in help in the understanding of the raga- sound a bit odd, especially at first-lis- which Lalgudi seems to revel. The s, especially the raga-s of Hindus- tening. Sindhubhairavi tillana, for instance, has tani origin, for there are hardly any a number of beautiful variations in the contemporary compositions which The ettugada pallavi has a jam de- final charanam portion while, in the bring out the various facets of a raga in scent from ni to ri- s,d n,\ r— which Rageshri tillana, the last portion is con- one song as well as Lalgudi's creations does not seem to blend naturally with structed out of just four swara-s g, m, r do. The kanakku underlying the com- the raga. and n — to which Lalgudi has given var- positions would be of immense help to The second avarta of the muktayi ied forms in different registers. learners. The students need not prac- swara has a poruttam which merges tice dry jati exercises for improving The meaningful text in the charanam their tala and kalapramana control. with the eduppu— r, r, gm, gr— and it has a high standard with respect to the runs thus : These vama-s and tillana-s should aid them in getting a command over these f, f, gm, gf, - n d p m Orchestral Compositions two aspects. These compositions could very well be made a part of the d, d, ns, nd, sndpmgrs Lalgudi Jayaraman has also composed middle-level training syllabus in music five orchestral pieces for AlR's Vadya (r, r, gm, g - eduppu) colleges. D de, ... vi ... Vrinda. They are in the raga-s Pri- yadarsini, Nagaswaravali, Kannada, Perhaps, from the raga point of view, Ainritavahini and Mohana Kalyaui. They have b«>en p e r f o r m e d by t h e the middle phrase should have been d, Vadya Vrinda, with Jayaraman him- d, dn, d p, especially since the steps are self conducting. in the descending direction. abharanam were very popular items musical waves of a particular raga could mvest the phrase with an arrest- during the post-pallavi sessions of before composing a piece in it. This has ing rhythmic configuration, as follows: music concerts. Ariyakudi used to helped him to bring out the splendour 1. gpdsnPm ( 5 + 3 =8 ) sing the Paras and Poornachandrika til- and the nuances of each raga he has grgSn(3 +3=6) lana-s in almost every concert while taken up. The first phrase of his til- GNB sang them often too. The lana in Mohana Kalyani is a striking dSr(l +3=4) Alathur Brothers' favourite was Veena example of this. The phrase gpdsn or Seshanna's Chenchurutti tillana. The PmgrgSndSrG, with an ateeta 2.gpd'snP(5 +2=7) rasika-s received these offerings with eduppu or take-off point, kept ringing mgrg§(4 + 2=6) great enthusiasm. Impressed by all in his mind- the reason being that the ndSr(2 + 3=5) this, Lalgudi composed the tillana in entire gamut or swaroopa of the raga is Vasanta and sang it to GNB who voiced fully reflected in it. Without any serious This is also true of the opening line his whole-hearted approval of it. thought on his part about mathematical of the Kanada tillana, with its appealing permutations and combinations, he symmetrical beauty: The Vasanta tillana was the first flirtatious attempt. The deeper ro- mance came later. It sprang from Jayaraman's innate creative urge, his LALGUDI JAYARAMAN'S TILLANA-S desire to supplement and complement the existing repertoire of compositions with items which would add a special Raaa Tala Language Innraiseof sparkle to his violin concerts, and his Vasanta Tisra Roopakam Telugu Muruga wish, born of his deep involvement Darbari Kanada Tamil with the laya aspects of the Cam a tic Adi Muruga music system, to combine the rhythmic Bageshri Adi Tamil Muruga splendours of the system with the me- Desh Adi Tamil lodic beauty of the raga-s. Muruga Hameer Kalyani Adi Telugu Muruga The partiality he has shown for com- Behag Adi (tisra) Tamil Muruga posing varna-s and tillana-s has plau- sible explanations. First, the Carnatic Anandabhairari Adi (tisra) Telugu Venkateswara music repertoire already consists of Kail Adi (tisra) Tamil Muruga hundreds and thousands of kriti-s com- posed by the Trimurti of Tiruvarur and TBspt Adi Tamil Muruga the other vaggeyakara-s preceding Dwyawanti Adi Sanskrit Krishna them or following them. Second, the lyric is less important in varna-s and Pahadi Misra Chapu Sanskrit Sira tillana-s, a feature that not only suited Kanada Adi Tamil Krishna the violin, but also favoured the intro- duction of laya intricacies. In the Kuntalavarali Adi Tamil Muruga event, these intricacies found expres- Brindavana Saranga Adi Tamil Krishna sion in the swara matrices in the varna- Kadanakutoohalam Adi Tamil s and in the rhythmic syllables em- Krishna ployed in the tillana-s. And, as indi- Mohana Kalyani Adi Sanskrit Muruga cated earlier, he must have felt that varna-s and tillana-s of his own concep- Yamuna Kalyani Misra Chapn Tamil Krishna tion would help secure the attention of Sindhubhairavi Adi Tamil Muruga the audience. He possibly reasoned to himself that playing a lilting varnam in Chenchuritti Adi (tisra) Tamil Parrati a raga like Bahudari, Kannada, Nali- Bheemplas Adi Tamil Muruga nakanti or Valaji would evoke a more favourable response from all sections Ragesbri Adi Telugu Nataraja of the audience than playing a kriti of Revati Misra Chapu Tamil Muruga his own, considering that the latter Misra Chapu would likely get lost in the plethora of Vaasanti Tamil Muruga kriti-s crowding the kutcheri platform. Madhuvanti Adi Tamil Krishna In Indian classical music, which is Khamas Adi Tamil Muruga raga music, the primary interest of a Misra Srraranjani Adi Tamil Muruga vaggeyakara- one who both writes the sahitya and composes the music for it- Mand Adi Tamil Kamakshi is in the raga. In any case, this is usu- Hamsanandi Adi Tamil Krishna ally so in the case of Lalgudi Jayar- aman. He attunes himself to the nrs-Pnmnp-Gmrsrp- aman could not refuse the requests of The lyrics in his songs reflect both n'rsPQ +2 = 5) senior dancers which resulted in the dignity and sophistication. This is par- three danceable compositions in Neel- ticularly notable in the pada varna-s. nmnpG (4 +2 = 6) ambari, Charukesi and m r s r p (5) Shanmukhapriya. They vie with one In the past the lyrics of pada varna- s were rather crude and sometimes The opening phrases of these tillana-s another in regard to mellifluous musi- cal content and lilting rhythm. they even bordered on vulgarity but make one visualize a long plait with a today, when Bharatanatyam has be- lovely "kunjalam' (tassle) at the end. If Laigudi has taken a similar tack in come such a popular art-form and so a phrase is attractive and has an endur- regard to the choice of raga-s for his many enthusiastic young girls have ing appeal to the audience, it may be tillana-s also. Most of them are in light taken to it, it is necessary to conceive construed it has an inner beauty in raga-s of Hindustani origin or flavour, the lyrics with more care and attention. addition to the intellectual quality re- like Bageshri, Behag,Bheemplas, Laigudi has amply succeeded in this flected in its lay a lattice-work. Hameer Kalyani, Dwijawanti, Kail, effort. Mand, Misra Sivaranjani, Revati, This leads to the observation that, in Laigudi has also taken infinite care his tillana-s, Laigudi has not sacrificed Sindhubhairavi, Tilang and Yamuna Kalyani. about the importance and beauty of melody at the altar of laya. This applies prosody in all his compositions. In the to the jati-s as well. The jeeva of The inspiration for the tillana in Vaas- Charukesi pada varnam, the second the raga comes through resplendently anti came to Laigudi while airborne. swara-sahitya passage after the char- in every tillana and also in every varnam He was listening through the head- anam is a lovely illustration. Empha- composed by him. phones to a ghazal in the raga and it sising the stress on quarter avarta-s, he has blended the sahitya colourfully to Lalgudi's compositions carry the appealed to him so much that he was suit the sol fa notes, as follows: stamp of originality and do not remind motivated enough to compose a tillana in the listener of the compositions of oth- it. Mdpmgrg Mnpdmpg ers. The lyrics are soft, without any Vennai unnum vaya oliyum ma harsh or rough-sounding words. The The choice of such raga-s for til- rhythmic patterns and endings are lana-s have elicited a positive response Mrg m n dp MRgSrg delicately interwoven with melody and among fellow artists as well as listen- ya kal va num nee ya kanni yar nee the swara and jati korvai-s suggest an ers. Voleti Venkateswarlu and MgmsndpM p'rsndp Nedunuri Krishnamurthy were enthused embroidery with a purposeful pattern ya kadhir nigar thoo ya un manam and not a mere string of dry notes or enough by his approach to request syllables. Laigudi to compose tillana-s in Pahadi ka and Rageshri respectively. And three M p d n s r g Laigudi has composed his varna-s in leading dancers obviously impressed ya an be lam poi raga-s which have not been used for by Lalgudi's ability to compose varna-s this genre before, like Andolika, Asav- in off-beat raga-s, prevailed upon him M g r s ndp eri, Bahudari, Devagandhari, Kan- to create pada varna-s— resulting in ya aga mu ru ga ve nada, Mohana Kalyani and Nali- three compositions of this type so far. nakanti. The intent is obvious: it is to Swarakshara poruttam-s are found avoid overworked raga-s. He has Listener reactions have been posi- in abundance in Lalgudi's composi- composed his varna-s in raga-s suitable tive too. While audiences eagerly tions- as for instance in the Behag and for concert openers, and tillana-s in await the tillana in Lalgudi's own con- Khamas tillana-s. In the charanam of raga-s with which it would be right to certs, requests for a Laigudi tillana in the Behag tillana, there are as many as conclude a programme. But in both the concerts of other artists have be- 17 swarakshara poruttam-s. These cases he has chosen uncommon raga-s. come quite common also. T.R. Subrah- and other aspects of Lalgudi's compo- maniam (vocal) and U. Srinivas (man- sitions illustrate the sense of aesthetics Raga-s like Neelambari and Deva- dolin) have reported they have been that pervades the music of this auteur. gandhari were not earlier considered requested to render two Laigudi tillana- suitable for varna-s. Laigudi found a s in a single concert! Not only South In sum, it would not be an exaggera- challenge in this belief, and went on to Indians, but North Indians and even tion to say that Laigudi has created his compose tana varna-s in them. If the foreigners have been attracted to own niche among contemporary com- proof of the pudding is in the eating, he Lalgudi's tillana-s. posers and that his compositions re- has certainly succeeded. Actually it flect different lovely hues of aes- was at the instance of certain senior Laigudi Jayaraman's compositions thetic consciousness which will help vidwans who respected his capabilities are mostly in praise of Muruga, the them truly to stand the test of time. that he composed the Devagandhari family deity, but some are in praise of varnam. This varnam is however yet to Devi, Venkateswara and Krishna. The come into vogue among vocalists be- lyrics are in Tamil or Telugu for the cause some of its passages are difficult varna-s and Tamil, Telugu or Sanskrit to handle. for the tillana-s.

Although not particularly familiar Bhakti rather than sringara is the pre- with composing a pada vamam, Jayar- dominant bhava in Lalgudi's vama-s. A LONCJONER'S Look AT LAlqudi

The following rtport was written by Dr. It is like a lens focussed to a point in To illustrate the magnitude and the JOHN R. MARR, after Lalgudi G. Jayar- order to expand wide open. Carnatic implication of feelings, Lalgudi gave aman (who was accompanied on the visit by music has many restrictions and rigidity two incidents. son Krishnan, daughter VyayalakshmL but a lot of freedom once the frame is mridanga vldwan VeUore Ramabhadranentered into. The notes provide the The raja of Pandya wanted to per- and kanjeera vldwan V. Nagarajan) vehicle of expression but they stay form the supreme ablutions to the conducted a workshop on Indian musk empty unless feelings are poured into Lord. He is told in his dreams that he and violin-playing at the Bharatiya Vidya has to put off his plans because the Bhavan in London In 1988. them and get expressed after under- standing the spirit and thoughts which Lord was accepting an identical wor- ship in the next city the very same day hanks to the UK Kendra of the brought the composition into being. he intended to hold his.Intrigued as to Bharatiya Vidya Bhavan, it was There comes the exercise of harnessing T who else could be able to afford a possible for me to see and listen to the the elusive dimension less entities- grand worship on a likewise scale, much-lauded Lalgudi trio, in the pres- thought and feelings, together with the melody— which should provide the and unknown to him at that, the king ence of Lata Mangeshkar, with none sets forth to find out for himself. other than Vellore Ramabhadran on mood, (both products of the right half of the brain) to the precision of the rhythm There he finds under a tree a poor the mridanga and V. Nagarajan on the sadhu thinking and visualising a kanjeera. But it was the work-exercise which draws on the logic left of the brain, where the calculations can be 'temple' he would build dedicated to classes and informal meetings that the Lord, and intending a grand v ablu- provided this window into them, to view worked out. Carnatic music thus has the singular distinction of achieving the tion' to Him. A case of the power of them off stage, relaxed, and so easily dedication. The second was where approachable. Doubtless, the aura of use of the entire treasure which the human body is endowed with. Logic Sahadeva asserts to Lord Krishna that excellence we see when they move in and imagination, stamina and endur- cutting Draupadi's tresses, breaking superb accord during their professional ance, and a cunning coordination of all Arj una's Gandeeva bow and finally renderings was never absent. But the the senses are drawn upon to bring out tying up Krishna himself would de- remarkable aspect was the extent of un- eventually the rendering of a composi- cisively stop a very destructive war. reservedness shown while handling the tion. Listeners cannot help but be Krishna admits to the first two being classes and talking to people infor- touched by it when this happens. possible. Then he challenges mally. What they knew they gave so wholeheartedly. We, the learners Sahadeva to tie Him up and takes the picked up, each to his/her limitations. Lalgudi, the composer, is superb in form of Viswaroopa. Sahadeva sits poetry. His own violin cannot bring down in deep meditation and captures the Lord in his heart. To a master like Lalgudi, the out the sensitive lyrics in all their baseline is excellence, and the classes beauty; a talented, sensitive singer has Lalgudi quoted these instances to were revelations as to how he himself to step in. The words and notes are so illustrate the importance of concentra- must have achieved it. It was a pleas- naturally gelled in his lyrics. Combin- tion, dedication and devotion when ure to hear him speak about the thoughts ing his divine gift of music and the rendering music compositions. He and philosophy which provided the muse, Lalgudi has created very fine himself amply proved it by rendering a pieces of vama-s and tillan .-s that are backdrop to his compositions. Wide is few of his own compositions. a sheer joy to listen to! He will not his repertoire of fables taken from many publish his compositions for fear of sources of mythology, history and lit- Cautioning against excesses in the them being mis-rendered, mishandled presentation of Carnatic music, erature. It was clear that he went deep and generally abused. In one way this into the spirit of a song. Lalgudi pointed out that gamaka to view is valid, but in another there is an swara is like manipulating a fruit to a inevitability that not all singers can pos- Lalgudi emphasised the importance state of ripeness that is just right to sibly sing the way he sees his composi- and role of music and explained how his render eating it a pleasure. If the fruit tions. A good orchestra can bring out compositions emerge. Our own body is less ripe it is still sour, and allowed his tillana-s and vama-s in all their enshrines the spirit of music. The flow- to ripen too much would set it to rot. glory, and a versatile singer can con- ing blood is the melody— the continuity; So should a swara be handled, with tribute so much to reveal the beauty of and the pulse, the rhythm. In our hearts subtlety: it should be plain at places his lyrics. True, a certain abuse is reposes the Abstract, and throughout and with just the right gamaka where likely, but the composer would have to reigns the Supreme. Rendering a com- needed. Movements should be crisp, allow for that, because there will be position is an experience of capturing brisk or slow and bend in an arc to set many more who would be able to sing a thought pattern, photographing an the mood. Failure in this could mean a and dance his compositions on a stage abstract, which is then framed in mel- total ruin of the very spirit of the com- that is now worldwide. Lalgudi would ody and rhythm. The power of thought position. As illustrations, he explained be doing a signal service to music by is developed into vision and used to the texts and thoughts on quite a few publishing his works. reach beyond the senses and the mind. of his compositions— a varnam in This article, written by SVJATHA greater importance and all the swara dancer's prowess in nritta and abhi- VUAYARAGHAVAN, who served on thepassages have lyrics also. In both cases naya is brought out in this major Sruti Foundation's Study Group on the the mood of a raga is established. That piece. music of Lalgudi Jayaraman, examines In this mood is evoked through a range of detail the pada varnam In Neelambaii A pada vamam calls for a multi-di- gaits must have inspired the masters of composed by Lalgudl Jayaraman. mensional skill on the part of the com- the past to adapt it for the purpose of poser. Not only should he have exper- arnatic music uses the term var- Bharatanatyam. nam to denote a genre which has tise in projecting raga bhava, but he C should also be a master of laya intri- an exquisitely crafted form to bring out The Tanjavur Quartet, their contem- cacies and a poet with a fine sensitive the range and beauty of a rag a. All the poraries and successors have com- mind and felicitous diction. Above all possible combinations of phrases, in all posed several pada varna-s in Tamil, he should be familiar with the dance the octaves, in all applicable gaits and Telugu, and other languages, specifi- idiom, the varieties of movements and speeds, are explored exhaustively in cally for dance. Sringara or romantic mimetic exposition. the varnam, the aesthetics effectively love is the content of these pieces, with camouflaging the grammar. It is in- a few exceptions. deed a happy marriage of lakshya and In recent times, apart from natyacharya-s like K.N. Dan- lakshana. As a form that places equal empha- dayudhapani Pillai, several musicians Tana varna-s, with music predomi- sis on raga bhava and laya virtuosity, like Papanasam Si van, Thi- nant and sparsely worded, came into the pada varnam has come to enjoy the ruveezhimizhalai Kalayanasundaram being first. These were followed by the prime status in a Bharatanatyam recital Pillai, Lalgud* G. Jayaraman, M. pada varna-s, where the lyrics have over the last two centuries. The Balamuralikrishna and T.V. Gopala-

Charukesi, which he taught in the it, nurturing it, chiselling it to perfec- learned composer-soloist has clearly class; tillana-s he had composed for tion and only after he is satisfied does involved a major trek of deep study, well-known dancers in raga Mand on it emerge to the externally audible stage thinking, understanding, suffering Kamakshi, in Dwijavanti which excited for others to hear. and experience. It was vital to him that a little boy in Delhi to imagine Yasoda the beginners learnt the correct way and Krishna, another which pictured a Music can have facets. Some of of handling the bow and shifting of jumping fawn, and one of the most which, of transitory value, might im- their left hand and fingers- as vital as touching lyrics on Skanda in raga Re- press for the moment but will not give foundations are before multi-storey vat i. He himself is an excellent singer pleasure if repeated— 'bhramippu' in structures are raised on them. N but he called his daughter Vijayala- Tamil. But the aspect of rasippu'— that Equally tireless was he in getting the kshmi to join him in demonstrating which has inherent depth—is the one nuances of Abhogi right in the varnam the nuances of the renderings. Fi- that is worth noting and which estab- he taught the more advanced students, nally, he topped it up by singing his lishes a permanence in value. To and the attention to minute details with composition in Shanmukhapriya on illustrate this he selected the enchant- which he taught the vocal music stu- Tirupati Srinivasa. Lalgudi described ment and agelessness of the sunrise. dents was a revelation in the technique how he decided not to use the first or The one who sees it would go through of singing and a memorable experi- second person, in this song. Instead he the changing phases- of youth, middle ence. It is obvious how dedicated a adopted the third person in extolling the and old ages. But the sunrise is age- teacher he is, and his own children are magnitude of the Lord's compassion less. The seer changes and the seen proof of what he is able to help and prowess— as Parthasarathy, as stays unchanged— ever new, every Rama, as Yasoda's Krishna and as the morn. achieve. What are the ingredients of consort of Padmavati. good violin-playing or good singing? Patience, perseverance, dogged de- He showed how notes and movements Listening to Lalgudi discussing the termination, faithful emulation, ex- are gelled in his compositions. He background to his compositions, traordinary memory, intelligent ap- starts a series with a phrase and he watching him conduct the classes for proach, sensitivity, industry, devotion, ends with the same phrase. These are raw and absolute beginners, for a little reverence, concentration, and of more advanced students and then for his hallmarks. He uses no pseudonym course an intuitive feeling to music- the more professional singers gave encouched to mark his compositions. simple! Let us pour all these into our amazing glimpses of qualities that A series of consonants, and comple- practice. We can also be as great as make an individual into an extraor- menting movements are his stamp. Lalgudi! □ He mulls over a composition, hold- dinary personality. His evolution from ing it deep within, turning it, savouring a talented violinist to a profoundly krishnan have composed pada varna-s vamam, requires a chauka kala (slow) of Muruga) is significant. For the for Bharatanatyam, chiefly in Tamil and pace. A medium-paced composition Murugan at Senthil is the supreme com- a few in Telugu. would normally lose its weight and taut- mander of the divine armed forces, the ness if it were to be sung at a slower devasenapati who has come down to Lalgudi Jayaraman had begun by pace. But the Neelambari vamam lends vanquish Soorapadman and his asura composing tana varna-s. His three itself to both paces without sounding hordes. Most interestingly, the Muru- pada vama-s came later at the request of loose and laboured. As a matter of fact, gan of Senthil happens to be unwed, dancers. It is another instance to prove the slower pace intensifies the emo- the most eligible bachelor. how the interaction between various disciplines of art can fructify innova- tions. LALGUDI JAYARAMAN'S TANA VARNA-S Muthuswami Dikshitar, one of the (All in Adi tala) Trinity of Carnatic music, is reported to have composed the pada varnam Raea Language In praise of Roopamu joochi in Todi raga, on Lord Valaji Telugu Muruga Tyagaraja of Tiruvarur, at the request Garudadbvani Telugu Muruga of the temple dancer Kamalam. Nalinakanti Telugu Muruga By reason of their musical, rhythmic Mandari Telugu Muruga and lyrical content, the pada varna-s Andolika Telugu Muruga composed by Lalgudi Jayaraman hold a Amritavarshini Tamil Sakti unique place in contemporary Bhara- tanatyam repertoire. Instead of choos- Sama Tamil Sakti ing familiar and ghana raga-s such as Bouli Tamil Sakti Todi, Sankarabharanam or Kambhoji, Bahudari Telugii Muruga he has utilised Neelambari, Asaveri Telugu Muruga Charukesi and Shanmukhapriya. As Kannada Telugu Muruga with his tillana-s, his fertile imagination Mohana Kalyani Tamil Ganesa has looked for fresh pastures in previ- ously unutilised raga-s. And all the Devagandhar Tamil Saraswati three pada varna-s reveal also Lalgudi's penchant for and mastery of laya. LALGUDI JAYARAMAN'S PADA VARNA-S The Neelambari varnam, Senthil (All in Tamil and Adi tala) mevum deva deva Sivabala in Tamil, is Composition Raga In praise of the first of the three. What he had Innum en manam Charukesi Krishna composed originally in Neelambari Senthil mevum Neelambari Muruga was a tana varnam in Telugu, Nada swaroopini Devi kripa jesi addressed to Devar munivar tozhum Shanmukhapriya Venkateswara the goddess of learning Saraswati. In this composition, the raga acquired a sprightliness and sharpness not known tional impact of its lyrics. The sthalapurana— the myths and earlier. It was a daring innovation on legends associated with the deity and Secondly the Tamil lyrics do not his part to play it for an opener. But the temple- is captured in the open- sound as though they were contrived his instincts paid off and the item won ing line, establishing the background to fit the original lyrics in Telugu, instant acclaim. and bio-data of the handsome young though Jayaraman has not changed so warrior, on whom dotes the nayika. Subsequently when Dr.J.R. Sank- much as a single note of the original Chintai irangi ennai ala va Velava-- aran, a friend, requested Jayaraman for vamamettu or framework of swara-s. (Have pity on me and come to be my a pada varnam for his dancer-daughter A raga which is associated with Lord and Master), entreats this love- Rajashree, what the maestro did was to vatsalya (affection) strikes a different lorn maiden. transform his tana vamam in Neelam- note here. The reigning mood is a bari into a pada vamam. Retaining the combination of bhakti and sringara. The word N irangi' almost becomes a musical framework, he wrote new There is a sense of awe, almost a pun, verbally and musically. In its lyrics for it in Tamil, addressed to his respectful expectancy, as though to a su- normal spelling, the word means * have favourite deity Muruga (Subrahmania). perior. Indeed the lover here is none pity'. Change of one letter while Thus was bom Senthil mevum. less than xdeva deva' the lord of the retaining the pronunciation would ren- v deva-s or Siva bala, the son of Parames- der the meaning as descend'. This This was a twofold achievement, with wara himself. lends an added dimension to the song reference to the pace and the lyrics. A by creating an image of the benevolent tana varnam has a madhyama kala The choice of Senthil, a synonym for Lord descending to meet his beloved. (medium) tempo whereas a pada var- Tiruchendur which is one of the six The musical notes for the two words nam, which is also known as a chauka 'padai veedu-s' (army headquarters 'chintai irangi' glide, for their part, from the shadja of the higher octave musical notes on their own sound the about directly confronting her lover. to the panchama to suggest the descent. question, even without the aid of the lyrics. The kakali nishada in the words The muktayi swara concluding the Rhetorical questions follow: Enda x ycn inda' (why this) adds force to the poo:vanga (first half) of the vamam velayum unnai anri veror ennam un- question. sparkles with the virtuosity of a master dow/ Endan ullatn nee ariyayo? Yen craftsman. For instance, the shadja inda maayaml— (Is there ever any A peculiarity to be observed is that and the panchama which have no inher- thought other than that of you? Don't the sambodana (address), which usu- ent raga bhava and are common to all you know my mind? Why then this ally occurs in the anupallavi of a pada raga-s, here seem to exude the fla- pretense?) These sentiments, common varnam, is shifted to the pallavi. Also, vour of Neelambari. The phrase p S to most pada varna-s, give ample true to the modem spirit, the device of s, P P S in the second line intones scope to vipralamba sringara. What the sakhi, the messenger of love, is Neelambari all through, since the is unique about these lines is that the dropped. The maiden has no inhibitions entire passage is soaked in the most characteristic phrases of the raga. The kaisiki nishada in the phrase 'Oru kanamenum' (at least for a second) Varna-s, Yes; Tillana-s, No emphasises the plaintive helplessness of the maiden. The composer uses this The following article was written by they are commenced. All of them were note in the vamam wherever the lyric V.A.K. RANGA RAO. composed at the specific request of evokes this image. algudi Jayaraman has been com- dancers. Consciously, Jayaraman would have made it accessible to The swara phrases, in their step by posing music for some 30 years L the human voice. Equally intention- step ascent go hand in hand with the but it is within the last decade that his emotions prompting the mounting ally, he would have made the lyrics compositions have made an impact on questions, as follows: suitable for all the dance-twined fili- the dance stage. grees and elaborations. Sa pa ma ga Ma His varna-s in Neelambari, Idu lagumo? I know many dancers, including my (Docs it become of you) Charukesi, Shanmukhapriya and guru-sodari S. Kanaka (once of Ma- Dcvagandhari arc far superior to dras, then of Delhi and now of Bom- Sa ni pa ma ga Ma his tillana-s in Tilang, Madhuvanti bay), who are fond of Jayaraman's Dharmam tano? and Rageshri. AH his varna-s can be tillana-s. Why don't these dancers, (Is it right?) judged against the best of tradi- who can even dance to a news Sa Sa ni pa ma ga ma ri ga ri Pa Ma tional pada varna-s, like Sakhiye in broadcast extempore, go to him, Varaadirundida varmam eno? Anandabhairavi, Manavi in Sankar- specify a Carnatic raga, a deity abharanam, Papanasam Sivan's (Why this grudge which makes you steeped in South Indian tradition, and keep away?) varna-s and not found wanting. His ask him to compose? tillana-s are no comparison to the es- The imagery of the moon is usu- tablished ones at all. This evaluation For example, a tillana in Saraswati ally utilised in vipralamba sringara to is only on the grid of Bharatanatyam. Manohari, dedicated to Saraswati suggest an increase in the pangs of with the following statement in the separation. The traditional concept is The three tillana-s I have heard/ ,v sahitya: Vishnu has given his chest that moonlight causes the skin to bum seen in Bharatanatyam are all in Hin- to Lakshmi; Siva, half his body to Par- with longing. In this vamam, the im- dustani raga-s. All were composed to vati; but Brahma, his tongue-tip for agery is used to denote the opposite. showcase his virtuosity with the vio- you to reside. That is why he was able Oru kanamenum marandariya lin. Some of them have passages to create the fifth veda of dance which lvvilam pedai magizha which are awkward to sing, for in- sustains us and unites us. Bless us to stance the staccato phrases after the shine in it, O Saraswati!" Muzhumatimukhama- sahitya in the Tilang tillana. Some tikurunagaiyodu have curlicues that are overly Hin- Or why not one in Ramapriya in Karunai pozhiya va dustani for comfortable Bhara- praise of Hanuman, one of the earli- Arule taruga va tanatyam, e.g., the tail-end torn la est preceptors of Bharata's art? Or in Tirumal maruga va deem in the Madhuvanti piece. None Saranga, in praise of Siva, who has a has been designed to accomodate the saranga (deer) for ornament? Or in (To please this poor girl who has not human voice, a basic necessity to Navarasa Kannada, praising Bharata been able to forget you for a single make a tillana dance-worthy. And for making an art-form of the nine moment, come with a gentle smile on not one has been created at the re- mental states? Or in Shadvidha- your fullmoon- like- face. quest of a dancer (to the best of my margini about Muruga's miraculous Come to shower compassion! knowledge and belie f)- birth? Or in Jaganmohini about Krishna's flute? Come to grant your divine grace! On the other hand, his vama-s are O thou nephew of Vishnu, do come!) in raga-s that have no Northern The possibilities are varied, further Lights. Chaste glow of Camaticism enlarged by the imagination of a musi- The moon is an object of happiness, envelopes the audience the moment cian of Jayaraman's stature. an image that recurs in the other two pada varna-s of the composer. The attribute Tirumal maruga' behold your beauty)- there is an least after this, do come)- the maiden (Vishnu's nephew) is a deft poetic sug- audible sigh in the word 'azhagai' due is all subjugation all at once. It is to be gestion. Siva being the destroyer of to the elongated madhyama note. noted that the plaintive kaisiki nishada Kama (Cupid), the maiden would per- appears again in this phrase. haps like to remind Subrahmania that The swara phrases of the second line The third line of the charanam is: he is the nephew of Vishnu who, in his have a quaint construction. Although Aavalodu unai naadi engum thedi- Krishna avatar, won the distinction of the panchama repeatedly occurs on nen, manam vaadinen being the Divine Lover, the darling of beat, the whole line creates an audio- thegopi-s. She would prefer him to be illusion of having an off-beat rhythm, (Eagerly I looked for you every- Tirumal Maruga rather than Siva Bala. a favourite feature for the dancer, who where, and suffered in my heart) would call it 'usi' in Bharatanatyam The refrain of the charanam- Va va, parlance. The phrases have a downward move- adumayil meedu va, Azhaga Muruga ment in the scale. But the line sud- nee (Come, o come on your dancing Questions pile one upon the other, in- denly soars upward in the concluding peacock! O thou handsome, O creasingly strident, in the lyrics. phrase: Muruga)— has a lively, swinging gait Thuyar odidave va of the peacock which is happy and En mural keytilayo? proud to have the privilege of bearing (Come to chase away my sorrow) (Have you not heard my plaint?) the Lord. The line offers for the signifying the buoyancy of the ex- Vara manam Mayo? dancer a perfect framework to exe- pectant spirit. cute intricate cross patterns in laya. (Have you no wish to come?) Sevi pugavilayo? The curves and glides and curlicues In the first line of the charanam- Un in the final line of the charanam are (Do you turn a deaf ear to me?) vadivazhagaikana en mun nee va wrought so exquisitely as to bring out (Please come before me so that I may In the last phrase— Iniyagilum va (At the weight of emotion behind each

Sharing Of An Inheritance

ore than a score of per- (Madras); Vittal Rammoorthy, the first prize for vocal music of Jayaraman for some 10 M sons, both from within violin (Madras); S.P. Ramh in the most recent competition years. He has been providing the country and without, have (Madras); K.K. Ravi, violin conducted by All India Radio. violin accompaniment to sen- received or been receiving mu- (Madras); Vyayalakshmi ior vocalists for some time Violinist Poornachander, sic instruction from Lalgudi Sarathy (USA); N. Shashidhar now. Jayaraman. The following list (USA); Murali Srinivasan who styled himself for some- So has Vittal Ramamurthv excludes family members who (USA); S.Srinivasan (Madras); time as Lalgudi Poornachan- of Shimoga who has been a stu- have done so. Stanley (USA). der but dropped the prefix at the insistence of his guru, often dent of Jayaraman's over the Of these, Jayasree has al- accompanies M. Balamu- last three years, after receiv- Akhila Balasubramanian ready received recognition as ralikrishna. ing training earlier from T. (UAE); Shrikant Chari, vecna an up-and-coming concert art- Rukmani and others. In 1986, (USA); Thomas David (UK); ist. Among other Lalgudi- he was adjudged the best vio- A.G. Gnanasundaram (Madu- trained young violinists whose lin accompanist in the junior ra!); S. Jayasree (Bombay); S.P. Ramh, grandson of talents are winning them in- concerts organized by Sri PA.L. Ledder (USA); veena vidwan G.N. Dandapani creasing recognition, K.K. Krishna Gana Sabha. Senior Subhasri Man! (Madras); who was initially trained by S. Ravi, son of Calcutta K.S. vocalists for whom he has V.Narayanan (Trivandrum); Rajam, has also begun to make Krishnamurthy, is the sen- been sideman include D.K. Poornachandar, violin (Ma- a mark. He has been Lalgudi's iormost. He was a sishya, in Jayaraman, Nedunuri Krish- dras); Pakala Ramdas, violin student for two years. He won the true gurukulam tradition, namurthy and R.K. Srikan- tan. Ramamurthv Ramdas Ravi Pakala Ramdas, of Tiru- pati, also belongs to this small group. A music teacher at Kalakshetra, he was a protege of Rukmini Devi when she was alive. He has been receiv- ing instruction from Lalgudi Jayaraman for about five years. A.G. Gnanasundaram lives in Madurai but this has not prevented him from being a disciple of Lalgudi's, which he has been for six years now. word. The maiden goes through a benevolence), 'parivu' (compassion) The choice of the final link work gamut of feelings- nostalgia, unhappi- and 'uravu' (kinship). 'tunai' (companion) is most apt in that, ness, annoyance, supplication and total combined with the opening line of the Throughout the varnam, thesringara surrender to the lover. refrain, it becomes 'tunai-va' (hus- of the casual variety, depicting band, soul mate). Sa sa da pa ma ga ri ga Ma loveplay, and the imagery that usually Siridum ninaiviliaya goes with it, is absent. It therefore It is perhaps not a memory lapse on (Don't you remember even a wee becomes possible also to interpret it the part of the composer that here he bit?) entirely from the plane of bhakti alone. chooses to address Muruga enshrined at Tiruttani, one of the six padai- This is one of the several beautiful The maiden closes her appeal by ad- veedu-s. Having already referred to phrases where the music and the word dressing her lord as follows: Senthil Muruga as the nephew of the express more than one emotion. romantic Vishnu, the composer seems Tanigai valarum am maniyt to be drawing attention now to the Summing up her plea, the maiden fi- My darling romance Muruga had near Tiruttani nally asks for 'parama dayai' (divine My soul-mate (Come) with Valli.

a India, there may be only a Rojalakshml Radhakrishnan I couple of parallels to the Jayaranun's second sister, musical legacy of the Lalgudi she had the unique opportu- family of five generations of nity to learn violin-playing ini- musicians (with members of tially from her father, and the sixth also beginning to later from her distinguished make a name for them- brother who helped her culti- selves): that of the Veena vate interpretive ability and Dhanammal family in Car- grace. A truly cooperative ac- natic music and that of the companying artist, she has ac- Dagar family in Hindustani companied leading musicians music. and instrumentalists in con- anmauno i m I certs all over India, and has Part of the Lalgudi story has and to whose profound knowl- also played in tandem with Padmavathy been told- from Lalgudi edge of music the instrument her brother and sisters. She made no difference. Starting has given concerts in Sin- decade, after she had imbibed to give concerts at an early the fundamentals from her fa- age, she soon began perform- ther. For several years she '-ML*; \' -"^H ing all over India and in Sin- teamed up with Jayaraman in gapore and Malaysia. She most of his concerts, and these also worked in the Singapore recitals became legendary. I Indian Fine Arts Society as a Later she played solo or in tan- - I teacher for seven years. Back dem with her daughter Anu- I J ^ home in India, she has estab- radha. She has performed in lished a music school— the many foreign countries, includ- Sadguru Sangeeta Vidyalaya- ing the length and breadth of o in Madras which has turned the United States. Her style, as out a large number of talented is for that nutter that of the rest of the family, is rooted in pure Jayaraman students. On a recent visit to its Rajalakshmi the United Kingdom for the ar- classicism, within which with angetram of a student, she her rich imagination she nukes Rama Iyer, one of the direct gapore and Malaysia, and has gave performances in many excursions into a world of me- disciples of Tyagaraja, down played for All India Radio cities. She has written books lodic beauty. A critic once de- to Lalgudi Jayaraman (Srud since 1965. She is now a staff on music, and performs on scribed one of her concerts 72). Now, the rest artist with AIR-Bangalore. radio and tv. An uncompro- thus: "It was a concert with Padmavalhy Anan- mising traditionalist, she Srimalhl Brahmanandam character, exquisitely refined, ihagopalan Jayaranun's im- considers protecting, pre- Jayaranun's last sister and the undeviatingly traditional, and mediate younger sister, she is serving and promoting the best-known member of the of unflagging interest and the 'odd man' out in a family pure values of Carnatk music family with the exception of pleasure." It was a good gen- of violinists, being a veena art- her aim and mission in life. In Jayaraman himself and her eral description of her musical ist. She got her musical train- this she is one with the late S. nephew GJ.R. Krishnan, she offerings. ing from her father Lalgudi Balachander, whom she con- had the rare privilege of being Gopala Iyer, whose coaching siders her inspiration and taught violin-playing by her GJ.R. Krishnan like his fa- was rigorous and meticulous, ideal. maestro-brother for nearly a ther and aunts before him, this purity, impeccable bowing, lish literature, and is working companied her mother In melodic beauty and perfect for a master's degree in music many concerts. She is mar- rhythm. from the Gandharva Mahav- ried to Ram Kumar, an ac- idyalaya of the Delhi Univer- complished mridanga-player For a young man of 30, sity. and son of Palghat Raghu. Krishnan has won many laurels, She is a regular performer on including that of the Best Vio- Jayanthi Rudhakrishnan All India Radio and, like all the linist from the Mask Academy, younger generation of the fam- Madras, the Jaycees Award for Daughter of Rajalakshmi and niece of Jayaraman, she is the ily, is a graduate— in com- excellence in his chosen disci- merce. pline, and the Yuva Kala second member of the family Bharati award given by Bharat who discarded what might be Anuradha Srldhar Sri- Kalachar in Madras. He is also called the family instrument, mathi's elder daughter, she among the better educated art- the violin. In doing so she was trained by her mother ists in the Carnatic music field: followed in the footsteps of her and made her first appear- be holds a master's degree in aunt Padmavathy, the first ance on Doordarshan at the commerce and a diploma in cost rebel in the family, who recog- age of eight. Over the years, and works accountancy. nised her innate talent and she received many awards for started training her in veena- violin-playing and vocal mu- Vvayalakshmi /. Vyayalakshmi The only playing. Jayanthi soon blos- sic. Sponsored by the Indian only son of Jayaraman started daughter of Jayaraman, she somed and started winning Council for Cultural Rela- learning to play the violin from started playing the violin at the awards such as the Best In- tions, she visited the UK to Gopala Iyer, at the age of five. age of six, under the direct strumentalist's Prize from the present demonstrations. She Later his father became his coaching of her father. She Youth Association for Classical has performed in the USA as guru. He appeared on the gave her first performance at Music, the first prize in veena well, and has made innumer- concert stage in 1973 when he Sri Krishna Gana Sabha, Ma- in the annual competition con- able radio and tv appear- was 13, providing support to dras, at the age of 13, and won ducted by All India Radio and ances. She is married to his father's playing. With many years of experience as a performer behind him, he is today among the leading vio- linists in Carnatic music For a number of years, he accom- panied senior vocalists and pro- vided support to his father's playing, both in India and abroad (including in Festivals of India in the USA and the USSR), but later he began play- ing as an equal partner with his father and as senior to his sister, Vyayalakshmi, in tan- dem concerts. A couple of years ago he ceased to play the role of violin accompanist to Anuradha Jayanthi other musicians. the best junior instrumentalist the S. Balachander Award for Sridhar Murthy, who works prize for the year. She hah Ragam-tanam-paUavL from for the Digital Electronic Cor- Krishnan's playing has all come a long way since then, the Indian Fine Arts Society. poration in San Francisco. the Lalgudi hallmarks— re- having played all over the She is part of VyayalakshmPs spect for tradition, pristine country and abroad, support- violin-venu-veena ensemble. Shriram The Brahmanan- Knshiuui big both her father and her Like her aunt and guru, she dams' son, he is the true mav- brother in their recitals. She shares a reverence for S. erick of them all, having has revived the violin-venu- Balachander, with whom she chosen to play the mridanga. veena ensemble concept to had the rare chance of playing After his early training, he which her innovative father a few times. She recently ac- studied with Kumbakonam had first given concrete shape companied her aunt to the UK Rajappa Iyer, a direct dis- in the seventies. Requiring and played with her at all her ciple of the fabled Ala- perfect understanding and co- concerts. She has a bachelor's ganambi Pillai It is a strong ordination between the partici- degree in English literature and tradition that Shriram has pating artists, the new en- is working towards her mas- inherited and, playing since semble, in which she is the ter's. the age of 12, he has won a leader, Sikkil Mala Chan- number of awards. He is a drasekhar plays the flute and Usha Ram JayanthPs sister, graduate in physics. It is in- Jayanthi Radkrishnan plays the she was taught violin-playing teresting how genes skip one veena, has become popular. by her mother and by her fa- or two generations and then She is now emerging as a vocal mous uncle. She was a quick come to rest strongly in one artist of promise also, and learner and won several prizes member- Shriram's great sings regularly for the radio. in many competitions. En- uncle, Guruswamy Iyer, was a Also college educated, she has a dowed with all the family aes- noted ghata vidwaa. post-graduate degree in Eng- thetic traits, she has since ae- S. KRISHNAN COVER STORY

FROM THE SRUTI ARCHIVES The Lalgudi legacy (Part I of a profile of Lalgudi G. Jayaraman) Gowri Ramnarayan

An unpublished article written in 1985.

algudi G. Jayaraman’s journey through the world of Carnatic music began in 1942, the year of his Lfirst public performance. Since then his passage has been that of a “bearded meteor trailing light”. In a series of conversations 25 years ago, Jayaraman told Gowri Ramnarayan, then Assistant Editor, Sruti, that any self portrait of his on a new canvas would have to be ‘pentimento’ – revealing traces and outlines of other images and figures, of scenes from the past, of the forceful currents moulding his personality and shaping his destiny. He compared such reminiscence to a perusal of an old picture album, flipping through shifting phases of technique and creativity. “In retrospect I fully realise to what extent my originality and quest for perfection have given violin playing a new orientation and increased the instrument’s scope. I see clearly the extent of my growth, the changes affecting it, and the dynamic development of a new methodology.” musicians. Jayaraman’s ancestors put out their musical roots in the golden age of Tyagaraja, Muthuswami Dikshitar Sruti is happy to reproduce the original draft written by and Syama Sastry who fertilised the world of Carnatic Gowri Ramnarayan in 1985 – slightly edited – on the music with their genius. occasion of the maestro’s 80th birthday on 17th September 2010. The process began at Lalgudi, then a lush green village in the farming belt of Tamil Nadu, a region of temples and ™™™ pilgrimage, watered by the Kaveri. Even his critics agree that Lalgudi G. Jayaraman Two hundred years ago, Lalgudi (or Tapasteerthapuram) is a member of the majestic triumvirate of master was a sheltered and devout community. Life revolved violinists, with contemporaries T.N. Krishnan and around the centrally situated temple where Lord Siva M.S. Gopalakrishnan. They will concede that this magician reigned as Saptarisheeswara, with his consort Pravriddha of string and bow forged striking innovations and renewed Srimati. Rich with literary fame as well as puranic glory, the bases of tradition. His imaginative essays were always the temple inspired the Saivite saints to sing Tevaram-s anchored within the definitive ramparts of tradition. He and Tiruppugazh-s. Chola and Pandya inscriptions are has influenced the musicians of his own and succeeding found in its hoary precincts. generations, within and outside his own school. Jayaraman’s great grandfather Srinivasa Iyer lived in a house This then is a story of arduous struggle, devoted practice, adjacent to the temple, on the western Madavilaaga street keen research and tireless experimentation. When of the agraharam. His sangeeta gnanam was an adjunct Jayaraman spoke about his life in music, pride gleamed of his Siva bhakti. Though not a trained musician himself, through the mists of nostalgia. He did not disclaim his he had enough love for the art to encourage his musically own merit or effort, but did attribute his success to God’s talented son Rama Iyer. A strong incentive to do so was grace (deva anugraha), and laid all personal achievements the presence of Sri Tyagaraja at Tiruvaiyaru, situated on at the feet of his ancestors. the opposite bank of the Kaveri. It was a rare privilege The grand heritage spans three generations of esteemed to send son Raman across the river “to sit at the feet of

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the saint.” Srinivasa Iyer was overjoyed when Tyagaraja elaborating a difficult four- agreed to take Raman as his disciple. He was convinced kalai pallavi with niraval- that from the venerable guru, his son would learn not swara and trikala features, merely sangeeta, but dharma. For music was not regarded with a lemon poised on his as a performance art, but a means towards a higher end. head throughout! Suitably Didn’t Tyagaraja himself exemplify this ideal? impressed, the Maharaja lavished gifts upon the Raman’s gurukulavasa lasted many years. He lived in vidwan – a shawl, a golden the ‘shadow of the guru’ absorbing resplendent music, toda and the title Pallavi and with it the concept ‘sangeeta gnanamu bhaktivina Rama Iyer among them. sanmargamulu galade manasa’. When in due course he returned to Lalgudi, with Tyagaraja’s asirvada, how could Several people reacted it be for anything but a life of worship and prayer through adversely to this episode. A the practice of music? woman musician said that Rama Iyer such demonstration would This singleminded sadhana expanded into special destroy bhava. Another said that it would kill spontaneity celebrations during the Ramanavami and Gokulashtami of expression. Yet another declared that music had no festivals in which the entire village participated with use for gimmickry. “We don’t know why Rama Iyer did fervour. As Raman sang Karuna jaladhe Dasarathe, with it,” Jayaraman muses. “Perhaps he wanted to demonstrate his heart full of bhakti for both the saintly composer that elaborate manodharma was possible without physical and compassionate God, the listeners “saw” both Rama twists and contortions (anga cheshta).” and Tyagaraja. Stories were told of how they believed themselves to be in the presence of divinity. Rama Iyer’s The toda that Rama Iyer won from the Maharaja music and devotion began to get talked about. remained an heirloom for many years, but the family did not realise the importance of preserving such a memento. Imagine Raman’s ecstasy when, in the course of his The Lalgudi house that hosted Tyagaraja is also no longer pilgrimage, Tyagaraja himself came to Lalgudi as his a family possession. Jayaraman mourns the lapse. “In our guest! How overwhelmed the sishya must have been when country, we remain largely impervious to the greatness in the guru acceded to his request and stayed long enough in our midst. Hardly ten people attended the funeral of the his house to compose five kriti-s on the temple deities of poet Subrahmania Bharati. While Tyagaraja was alive, Lalgudi. These were: Easa paahimam -Kalyani, Lalite I am sure many people looked upon his austere lifestyle Sri - Bhairavi, Mahita Pravriddha – Kambhoji, Gati neevani – Todi, and Devasri Tapasteertha puranivasa – with amusement, even condescension. Today there are Madhyamavati. The third and fifth of these are in Sanskrit, Bharati vizha-s and Tyagaraja aradhana-s everywhere. the others in Telugu. Together they express the surrender Hypocrisy and deceit thrive even in the world of classical of the devotee, imploring providence to save him from music. If people take the trouble to separate wheat from worldly snares. What more could the sishya desire? chaff, they can control adulteration, maintain quality. We need to cultivate true discernment. In our frenetic lives, Jayaraman says, “The Lalgudi pancharatna of Tyagaraja where is the time for such reflective effort? Thousands have since become part of our parampara, reminding us of of people toiled for 22 years to build the Taj Mahal. the saint’s visit to our home and of the fact that our musical Today we cannot take 22 minutes off from our daily source lies at the feet of Tyagaraja. This has been our great routine to enjoy its beauty.” good fortune. It inspires me with a sense of devotion, dutifulness and delight”. He mentions with some pride Jayaraman did succeed in unearthing a valuable treasure. that Lalgudi Rama Iyer’s name was listed among those He had heard of his great grandfather Rama Iyer’s of the disciples of Tyagaraja in Walajapet Ramaswami accomplishments through his grandmother’s vivid Bhagavatar’s Sri Tyaga Brahmopanishad. accounts. She told him that the family had sojourned in Mysore during Rama Iyer’s lifetime. Her tales of the past Soon afterwards, Mummadi Krishnaraja Wodiyar, the were not the idle boast of an old woman but meant to Maharaja of Mysore, nominated Rama Iyer as an asthana serve as a stimulus to direct the young towards a worthy vidwan in his court. Obeying the royal summons, the goal. musician migrated to Mysore. He won plaudits there, especially when he performed the near miraculous feat of Looking for concrete proof of those grandmother’s tales,

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Jayaraman began an intensive search into the past. In due father’s death in 1867, course, he felt the need to examine the portraits at the Radhakrishnan returned Mysore Jaganmohan Palace. Eagerly hoping to gain fresh to Lalgudi for a short evidence, he took permission to scan the portraits one spell, before shifting by one. Fortunately each had a name inscribed on it in to Ramanathapuram, Kannada. Suddenly his heart began to race. One of the where he was appointed pictures had ‘Lalgudi Ramaiyya’ printed at the bottom. a musician laureate at Jayaraman had never seen Rama Iyer. The inscription, the Sethupati’s court. along with his grandmother’s description of his ancestor’s Lakshmi, his wife, a appearance, helped in its identification. “I experienced a remarkable lady, played heady thrill, I was floating in the air.” This euphoria was an important role in short-lived. A menacing policeman grabbed his camera the family’s musical even as he tried to photograph his find. development. Though not a trained musician, she Radhakrishna Iyer Then began what he describes as the “labours of knew music well enough to involve herself in her husband’s Bhageeratha”. Jayaraman came up against a solid wall of work. bureaucratic procedure. He was asked to obtain permission from the Maharaja, from the government, from the curator With her ingrained sense of responsibility, she set herself and so on. He persevered through a three-month period the task of preserving and perpetuating the family’s treasure, of formidable correspondence, an explosion of queries and passing it on from generation to generation. Belonging to officialese. Proof of great-grandfatherhood was demanded a family famed for its Tamil scholarship, she wrote many but could not be supplied. Finally, a friend holding a key Tamil lyrics. Setting them to simple tunes of her own, she post at Mysore lubricated the transaction and obtained sang them continually in the midst of her busy household the coveted photograph for Jayaraman. It has since then schedule. Jayaraman’s love and respect for Lakshmi Patti been enlarged, framed and hung in a place of honour at are evident when he explains, “Patti was a force to reckon Jayaraman’s home. with. It was from her that I gleaned an insight into the family’s past. In particular, she would tell me of the close The portrait shows a man of ample proportions ties of friendship and mutual respect between her husband with a sensitive face and refined expression. He wears and the vidwans of his time, and of his special bonding kadukkan-s in his ears, a bordered angavastram on the with the Sethupati, his patron.” shoulder, a double string of gold-capped rudraksha-s round his neck. Kumkumam marks his forehead, an elaborately Those were times of gentlemanly grace and rare courtesy zaried turban circles his head, perhaps a special mark of when a musician however poor, was considered an equal honour conferred upon this prosperous looking musician. of kings. A photograph in Jayaraman’s collection has great This was the man, who, himself a vocalist, gave rise to four musicians including Radhakrishna Iyer seated on the same generations of gifted violin exponents. level on either side of the Sethupati. “Sethupati often stole behind Thatha and tickled his sides. Taken unawares, According to Jayaraman, the practice of the violin Thatha would jump up with a piercing shriek. This made accompanying vocal music came into vogue during the Sethupati tease him even more and call him “Gubeel”, Tyagaraja’s time. He mentions the report of a singing a nickname that stuck to Thatha like an honorific.” session with violin accompaniment in the composer’s home. Starting with Baluswami Dikshitar and Vadivelu, Jayaraman never saw this celebrated family forerunner the eager experiments of many hands and minds made of the violin tradition but is fully aware of the thread rapid progress in adapting the Western instrument to that runs through the generations. His eyes take on a Carnatic music. It was assimilated into the Indian musical dreamy look when he recalls the days in the beneficent tradition with surprising ease. More and more musicians Ramanathapuram shade. The raja was a mellow rasika and began to master it. One of them, Rama Iyer’s third son his court was a magnet to artists. They gathered around Radhakrishnan, established himself as a well known him as waterbirds cluster around a lake. The Sethupati violinist of his time. was a princely dispenser of favours. Vidwans were housed comfortably and palace officials took care of the daily needs Radhakrishnan, whose life span was a mere 58, debuted of the artists and their families. Each festival was marked early in life as his father’s accompanist. After his by its unique seasonal flavours. Navaratri and Deepavali

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brought, quite literally, cartloads of gifts – new clothes The last days of Radhakrishna Iyer were spent in the for the entire family, dolls, firecrackers and provisions tiny village of Valadi. It consisted of a single street with for lavish feasts. Oil and sikhakai were provided for the ten to fifteen homes lining either side. He enjoyed the gangasnanam or ritual bath. Sankaranti meant bundles tranquil beauty of this village tucked away in unworldly of tender turmeric and sugarcane deposited on the tinnai remoteness. Perhaps this was the time when the family (pyol). Nor were the family happenings of the vidwans property at Lalgudi was sold. The old violinist still found overlooked. Childbirth, cradling ceremonies, birthdays time to teach students from and outside Valadi. One and anniversaries meant special gifts from the royal patron, of them was Valadi Krishna Iyer who made a name for while weddings saw a tambaalam (plate) overflowing with himself. He was the guru of musician and musicologist gold and silver, silks and jewels. Professor S. Ramanathan. In Ramanathapuram, Radhakrishna Iyer lived as an Radhakrishna Iyer died in 1908, leaving his two sons honoured guest, giving mostly solo recitals for his patron’s behind to bear the torch. The family’s material and pleasure, or accompanying the luminaries who visited musical responsibility fell on the elder son, Kandaswami, the State – like Maha Vaidyanatha Iyer and Patnam then eighteen years old. He had some experience in giving Subramania Iyer. Says Jayaraman, “Those were halcyon performances with his father, and contacts with patrons days when people sought perfection with total absorption from the outer world, such as the zamindars of Sivagangai, Palayampatti, Bodinayakanur and Neikkarapatti. Music in the quest. They had excellent health, enjoyed peaceful lovers commended young Kandaswami’s skill. days and nights, undisturbed by the soul killing distractions we face now, major factors strengthening effort. Today, Kandaswami reasoned that patronage would be more we live in the midst of terrible technological pollution. accessible at some busy musical centre and made Madurai It affects the body, mind and spirit. It saps our energy. his permanent home. Soon to be known as Kandaswami ‘Kavalai’ (worry) has become a ‘valai’ (snare) to trap us. It Bhagavatar, he started receiving invitations to perform stifles the full-fledged growth of creative power, leads to a in many towns, villages and music loving zamindari miscarriage, a misleading of young talent. Making music samasthana-s around Madurai. In Kandaswami’s time, is not always a pleasure for the artist. Today he is forced sabha-s had not become controlling factors in a musician’s to pay more attention to his economic struggle than his life. Zamindars and mirasdars supported artists generously, artistic growth.” lavishing gifts and accolades upon their favourites. What a difference from the old carefree days! “Thatha Jayaraman has preserved many old documents and letters didn’t need even an oil lamp for his practice. He played his that give us glimpses of an amazingly different age in the past. The correspondence between Kandaswami Bhagavatar best at night, sitting in darkness, lost in a world of his own, and his patrons reveals how attentive and solicitous the a many-splendoured world of sounds.” zamindar connoisseurs were, and how they cared for the Lakshmi Patti was a kind and pious woman. No one who artist’s individual needs, both physical and mental. These came seeking alms left empty handed. Her husband shared letters, some of them written from hotels in England or her sentiments fully. It was not uncommon for them to European countries, express the zamindar’s admiration for offer their whole dinner to some nocturnal mendicant Kandaswami’s superb violin playing, and counsel him to knocking at the door. One night, when the vidwan was take care of his health at all times. There are enquiries about playing the violin, the wife went out to feed a beggar and practice and performance, and about the regular arrival of was surprised to see a man sitting quietly on the tinnai. aid and pension. Jaunting in the continent, the zamindar finds time to advise his vidwan on the Coromandel coast, “Who are you?” she asked. “Obey your mother in all things”! “Asaloor” (stranger or alien), was his monosyllabic reply. Later the same zamindar writes to inform the vidwan, “I have bought a first class violin for you.” He assures the It was typical of those times that she gave no further vidwan that there is no need to worry about its quality thought to the incident. either, as the purchase was made after consulting a proper, The next day revealed the “asalooran’s” identity. As he expert guide! Jayaraman is still the proud possessor of that entered the court Radhakrishna Iyer was startled by the violin, along with grandfather Radhakrishnan’s instrument, Sethupati’s question, “What is this, Gubeel? You don’t play though the history and circumstances of how the latter here in my presence as you do in your home in solitude!” came into the family remain unknown.

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A testimonial written around this time by the (acting) district and sessions judge of Ramanathapuram, Sydney Roberts, ICS, discloses that Kandaswami was patronised by the Palayampatti zamindar among others, and was held in high esteem by many British officials who had heard him play, not once but often. Correspondence also reveals that Kandaswami’s violin support was much in demand among established musicians such as Mazhavarayanendal Subbarama Bhagavatar, Palladam Sanjeeva Rao, Kallidaikurichi Vedanta Bhagavatar, Ariyakudi Ramanuja Iyengar, Musiri Subramania Iyer and Maharajapuram Viswanatha Iyer. Kandaswami not only gained respect and fame but was able to support his family at Valadi, where his mother continued to live with her second son Santhanagopalan. Discussing the nature and conditions of the concerts of those times, Jayaraman expressed his belief that in those “mikeless” days, voice culture must have received great attention, not neglected as it is today. Vocalists (and their accompanists) tuned themselves to a higher pitch than they generally do now. Listeners must have been more Gopala Iyer disciplined and a greater silence must have prevailed to enable the entire audience to hear the performance. The and the violin – whenever his brother visited Valadi – greatest blessing, Jayaraman notes, was the absence of fuelled the fire in the lad. At last Gopalan could bear it no some of the triumphs of our technocratic age, adjuncts of more. He fashioned an easy-to-hide (if rude) flute with the modern world such as trains, aircraft and motorised a bamboo stick and started wandering in the wilderness vehicles. (Jayaraman’s conversations with Sruti were long bordering the river. No one had taught him to play the before the communication revolution of today). In such ‘pullankuzhal’ (flute). But does a bird have to be taught an ambience of outer and inner quietude, sonic vibrations to fly? A fish to swim? The groves and the woods echoed were clearly taped on the mental spool. The purity of that to the aptly named Gopalan’s flute, the willowy bamboos sound can only be a dream now. and field-ripened grain stalks swayed to his swara-s. The rippling river and the carolling birds heard this music Gopala Iyer, Jayaraman’s father perhaps, but it was hidden to the human inhabitants of the village. Ten years passed. Gopalan continued to hold One person thus saturated with the sounds of music his secret riverside rendezvous with the bamboo reed. was young Santhanagopalan to whom the pursuit of the family tradition was more or less out of bounds by Playing a wind instrument cannot be undertaken as a decree. Born in 1900, he was a school going eight-year- random indulgence without proper training in the method old when his father died. Family elders decided that one and techniques of breathing and blowing. The hours musician in the family was enough. Perhaps they felt that of practice need to be controlled and fixed by the guru. a more prosperous future awaited Gopalan if he took up Playing a flute for numberless hours everyday without a government job. Unfortunately they stayed blind and these safeguards resulted in Gopalan falling ill. After deaf to the boy’s natural predilection. Their attempts to a seemingly incurable attack of jaundice, the boy was fix a square peg into a round hole could not but end in reduced to skeletal emaciation. Mother Lakshmi Ammal failure, even disaster. Raga-s raced in the boy’s blood, was heartbroken. tala-s throbbed in his brain. He could not find an outlet An unexpected ray dispelled the darkness. It took the form for these mounting pressures within home. He was of a summons to Madurai Kandaswami Bhagavatar, issued puzzled. Melodies flooded in his heart. Why were they on behalf of Sri Gnana Bodhananda Satguru – a siddha not allowed a legitimate channel? sage to whom he paid regular homage. The swami who The daily music of the nagaswaram at the village temple, was credited with miraculous powers heard of Gopalan’s

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not merely sorrow for the loss of a son but a deeper despair springing from the fear that the family might die out, its musical tradition evaporate into nothingness. Kandaswami the first born had no offspring. Lakshmi Ammal shuddered at the thought. In her attempt to safeguard the continuation of the parampara she took to feeding mendicants at the temple in the hope that the life giving sustenance might somehow reach her own Santhanagopalan. An astrologer’s prediction consoled her: Gopalan would die if he led a family life during that period. Lakshmi concluded that the period of dislocation was divinely ordained to save her son’s life. Providence or accident placed a Valadi man, Ramaswami, on the banks of the Tamraparani at Kallidaikurichi, where he was celebrating Deepavali with his wife’s family. It was dawn and Ramaswami was brushing his teeth with tender banyan roots. Suddenly he saw a man standing on the opposite bank in ashram-like surroundings. It was his childhood playmate Gopalan. Excited, Ramaswami called out to him. “Your mother is tormented by your thoughtless disappearance while here you are, blithe and carefree,” he shouted angrily. Lalgudi’s parents - Savitri Ammal and Gopala Iyer But the words fell on deaf ears. Gopalan had come a long way in the last seven years. He had discovered new powers ailment and sent for him. The boy arrived. The swami within. In a flood of unstoppable, exuberant rhetoric, he looked earnestly at his face and smiled lovingly. Gopalan began to answer questions addressed to the satguru, who felt a renewal of strength at once. In half an hour he felt had to order him to keep quiet. Not only speech but completely cured. What relief! But the cure came at a poetry flowed from his lips – without apparent conscious price. Gopalan felt a deep, inexplicable urge to renounce effort and so fast that the lyrics could be written down the world. only later. It was well known that the Swami’s teachings were “When Ramaswami returned to Valadi with the good manifested through symbolic acts. Lore has it that at times tidings, my patti was overjoyed”, says Jayaraman describing he would rub a coin against his skin and toss it aside. Hey that singular event. “But she was also filled with wrath as presto! The copper coin was transformed into gold, pure, she blamed the Swami for taking away what had been hers. shining! But the swami would warn, “Don’t you touch it! My grandmother was a formidable woman, with some It is death.” very unusual attributes. One was the power to foretell Gopalan was used to keeping his own counsel and therefore events, which led to the villagers seeking her for advice. spoke to no one of his yearning to get away. He felt the They believed her to wield some benign power.” Swami’s magnetism tear him away from worldly interests. Lakshmi Ammal journeyed to Kallidaikurichi. Even His studies forgotten, his music forgotten, forgotten before her appearance at the ashram, the satguru felt her too the precious ties of blood binding him to mother, presence as a scorching force. Her anger flamed into brother and three sisters, Gopalan followed the swami words. “Gopalan is my son,” she told the Swami, “You have out of Madurai to an unknown destination. One night, absolutely no right to separate us.” Next came a softened he washed his hands after dinner, and, leaving the ‘sombu’ imploration. “Our family must not die out, our music (brass vessel) on the doorstep, disappeared. Attempts to must not be destroyed. Please, please release Gopalan and trace his whereabouts were of no avail. let our sangeeta vamsam endure!” Gnana Bodhananda Period of grief Satguru recognised the justice of her claim. He ordered Gopalan to return to his family duties with encouraging Seven years passed – years of dreadful grief for the family, words. “My blessings will go with you,” he assured him.

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Though it was a tearing of limbs for him, Santhanagopalan in choosing to set Poovilurai vedan bhuyamser vaani in the returned to a grihastha’s life at the command of his guru at aptly named raga Saradabharanam (Sarswati’s ornament), the age of 28. But his subsequent behaviour was touched with the additional appropriateness of its being the janya of by snowy asceticism. He played his role with a detachment the mela Vagadheeswari (deity of speech). The challenging till the very end. Soon he was married to a fourteen year- Gandharvamanohari (a janya of Charukesi with a spare old. Her acquaintance with music began only with her srmps for arohana) bears his address to Pravriddha Srimati, entry into Gopalan’s life. the goddess enshrined in the temple at Lalgudi. Gopala Iyer composed many lyrics on Muruga, his ishta devata, as Jayaraman who had been pouring family history in a steady also a range of viruttam-s such as ‘aruseer’, ‘ezhuseer’, and stream, paused, took a drink of water and said, “I can go ‘enseer’ venba-s and antaadi-s. The content is marked by on about father. He was brilliant. True, his schooling was ardour and simplicity. interrupted, but the discipline of sanyasa marga honed his native intelligence to a razor’s edge. God’s grace and the Jayaraman admitted ruefully that for a long time he had swami’s blessings united to give him an unusually quick not recognised his father’s singular gifts, because he saw and retentive grasp. Not for him the arduous struggle to him only as a stern symbol of authority, whose unsparing learn. He seemed rather to be revising what he already knew. He could play well almost any instrument that he Young Jayaraman came across – the flute, veena, gottuvadyam (his deerhorn kattai is a prized possession in the Lalgudi home today), mridanga, swaragat, even the sitar. Many disciples came to learn vocal music, the violin, and other instruments from him. He could fashion flutes and make veena-s at home! Till the end, he remained the perfect example of a ‘kudatthu vilakku’ (a lamp within the jar). He probably wanted it that way, certainly made no push to gain recognition.” Not only in music but in other matters too, father’s skill was evident. He had a wide range of interests. One of them was doll-making, in which he was excellent. No one could beat him in games, especially chess, of which he was very fond. He would finish a chess game in just three moves because he could calculate the opponent’s moves accurately. It was the same story with cards. In carrom, a single stroke from him would lash nine coins into the pocket. It was frustrating for anyone who played against him. They always lost. And equally so for Gopalan who found the process all too predictable. A write-up on the Lalgudi maestros in Dinamani Sudar in June 1980 paid a tribute to Gopala Iyer’s ability as a composer of kriti- s in both Sanskrit and Tamil. He composed not only in common raga-s but in several apoorva raga-s such Niranjani, Megharanjani, Velaavali, Hamsakambhoji, Sindhukriya, Bhuvanamohini and Uttari. His wit is evident

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demands he sometimes found irksome. “But in my not perform as much as Kandaswami Bhagavatar, but he thirties, understanding of his greatness dawned upon me accompanied the greats of his day, like Papanasam Sivan. and with it a deep sense of gratitude to God for giving This was usually at festivals organised by Kandaswami at me such a father, and to Father for having shaped me Madurai. He more often played in the temple precincts painstakingly. Whenever I receive an award, I hand it at utsava time. Neither brother was really interested over to him with a sashtanga namaskaram, for he is the in wealth or material gain. Though much in demand, real recipient of the honour. I am only his representative.” Kandaswami never even thought of building a house Jayaraman’s voice softened with love, he bowed his head for himself or hiking his professional fee. For him a life and remained still. marked by dignity, respectability and nadopasana was sufficient. With his sanyasasrama sojourn, Gopalan was Though Gopala Iyer needed no direct instruction in a stranger to acquisitiveness. Living in the village, he was music, he did acquire finesse and polish from the few wholly engaged in maintaining his family. He taught lessons he received from his brother and Valadi Krishna many of his students free. He drilled his own children too Iyer, a neigbour and former student of Radhakrishna – first born Padmavati was taught the veena, the next three Iyer. Jayaraman discloses, “I provided violin support to (Rajalakshmi, Srimati and Jayaraman) the violin. Father at a few of his vocal concerts. And believe it or not, I also gave vocal recitals accompanied by my father Teaching the girls to play concert instruments was unusual on the violin. Yes, I was taught singing first because no in those times. But Gopala Iyer did not plan anything one can master an instrument straightaway through so revolutionary as public performances for the girls. It assiduous application alone. A proper grounding in vocal was all to be confined within the four walls of the home. music is indispensable. This is not my own theory but The girls themselves concurred with this view at that time. the practice of my family. And we believe that every Only Jayaraman was expected to take up the ‘paramparai vocalist should know something at least of handling an tozhil’. instrument, to enrich his manodharma, and indeed to plan At first Gopala Iyer visualised a singing career for his son, his concerts well.” motivated perhaps by the fact that Carnatic music had Gopala Iyer expected steely perseverance and iron discipline evolved to reach its peak in vocal music. Violin was taught from his only son upon whom the entire family placed its as an additional skill. He soon realised that the weak and hopes. And it seemed well placed too as the child exhibited skinny boy lacked the stamina to perform the four-hour remarkable musical aptitude; at two, the toddler could sing concerts of those times. However, there was no slackening little songs and render anything that was sung in swara of regularity or strictness in the training. Jayaraman loved korvai-s. The vidwans who visited their home enjoyed this to sing. “The resonance of the tambura would inspire me precocious talent. “I remember one occasion when the to practise for hours. I had a flexible voice, but during elder of the Karaikudi Brothers, Subbarama Iyer, came for adolescence my voice lost this effortless sweep. Before this lunch at Periappa’s house. He began to sing phrase after happened I had sung before the public at Valadi, Tiruchi, phrase. I sang each one back, converting the phrases into Lalgudi and Madurai,” he says in a voice coloured by some swara-s, of course! My son Krishnan displayed the same regret. But neither father nor son could have foreseen the skill as a boy, and oh yes, he too entertained my colleagues. future. How could they know that Jayaraman would be But there is nothing singular or surprising about these a trendsetter not only as a sideman, but as a soloist and feats. They are natural blooms in fertile musical soil. Do composer? we find it amazing when fish swim as soon as they are Solo violin performances were uncommon when born? Sangeeta gnana manifests itself early in homes with Jayaraman entered the scene, though his own grandfather, a musical atmosphere and a legacy of generations. It is uncle and father had given such solo recitals. They had only today that prodigious fanfare accompanies the display seen the reign of two puissant monarchs. One of them, of such natural endowments.” the legendary Tirukkodikaval Krishna Iyer, was a close Public lessons family friend, so close that he came to remote Valadi to condole the death of Radhakrishna Iyer. In those days, Jayaraman imbibed a great deal of music, at first musicians formed a close knit family circle and confined unconsciously, and later consciously, from early exposure their competitive spirit to the stage. Professional jealousy to his violinist kinsmen – Appa and Periappa. Their public did not blind them into forgetting one another’s individual recitals were lessons in “musicianship”. Gopala Iyer did and artistic worth.

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In Jayaraman’s recollections of boyhood, two strands intertwine – the process of musical training, and his joyful communion with nature. “My father woke me up at 4.30 am. Lalgudi boasted no electric connection. There was a special room set aside for practice where an ahal – an earthern oil lamp – with trimmed wick and match box was kept ready for me. I lit the ahal and began the day with a predawn namaskaram. Then I picked up my violin and began sadhakam. Coffee, breakfast, bath – all that came later. Father would be lying in bed with his ears open. He would listen to me going through many kinds of exercises (viraladi briga, gamaka, curves and glides in different speeds) for over three hours. “Ours was the last house in the agrahara, situated in noise-free solitude. The railway station was a mile away, neither cars nor planes despoiled the silence of dawn. Such an atmosphere is perhaps beyond the imagination of With his violin today’s urban city dweller. Terrific concentration was The other titan among bowmen was Malaikottai possible in that nourishing ambience of peace. Practice Govindaswamy Pillai, again a family friend, held in was neither boring nor tiring. In the dark room, the high esteem by Kandaswami Bhagavatar. Both these ahal’s starry centre of light cast a spiritual glow. It was ‘chakravarti-s’ were pioneers in establishing the violin as sheer bliss to immerse myself into the flood tides of a solo concert instrument. Gopala Iyer was familiar with sound. As I played, slowly, one by one, the birds began the styles and techniques of the two stalwarts. Though to sing. I could recognise the different birds by their calls. they were equals, the Tirukkodikaval bani was the more The silky black bharadwaja pakshi (drongo) trills in my difficult. In it, a single finger was used to slide on the memory still!” string throughout. This technique could be adopted only The arrival of the morning milk was the signal to end after ‘asura sadhakam’ or demonic practice. Gopala Iyer practice. The boy heard other familiar sounds – the clang described Krishna Iyer’s fingers as racehorses – the epitome of the water kudam, of water sprinkled and swept in of power and grace. Govindaswamy Pillai’s fingering the frontyard, old women singing on their way to their technique was to use different fingers for sounding the morning dip in the Kaveri, the calls of the curd seller different notes. and the vegetable vendor, all announcing that another Famous for their unalloyed euphony were the violin day had begun. He recalled with some amusement that maestros of the next generation – Mysore Chowdiah, everything, vegetables, milk, curds, was bought through Dwaram Venkataswamy Naidu, Papa Venkataramiah and barter. Accounts were maintained through dots the Rajamanickam Pillai among them. Gopala Iyer heard vendors made each day on the outer wall. They could not them all with due discrimination. He skilfully assimilated count more than ten, which was done with fingers. the best aspects of their techniques without losing his A general innocence and simplicity prevailed. Our wants individuality or deviating from his own tradition. This were few, desires fewer. “We worked long hours, there were enriched stream flowed into Jayaraman whom he taught plenty of chores to be performed, plenty of guests to care with care, insisting on a proper understanding and for. But we enjoyed superb health. No adulteration, no enunciation of sahitya. That alone could quicken the tension, no distraction. Nothing to drain stamina.” As the life in the vibrations of the violin. Exulting in the sishya young boy walked along the billowing green fields, criss- parampara of Tyagaraja, how could the Lalgudi musicians crossed with streams, flanked by groves, he felt a soul- overlook the crucial power of sahitya? That is why even reviving exhilaration that danced in the music he made. though they were not vocalists but instrumentalists, they He was young, carefree, secure, happy. never forgot their responsibility in preserving the values of the sahitya. (To be continued)

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FROM THE SRUTI ARCHIVES The Lalgudi legacy (Part II of a profile of Lalgudi G. Jayaraman) Gowri Ramnarayan

An unpublished article written in 1985.

Sometimes plantain shrubs grew thickly as far as the eye could see, at others sugarcane crops lined the fields with “vernal crowns on purple stalks. At times ahathikeerai trees put out fresh leaves encircled by betel creepers, their two different greens gladdened the heart”. The boy took long walks in rapture. He waded through murmuring brooks or sat dangling his feet in the gurgling pools. All this provided physical relaxation and mental freedom. Life began and ended within the single street for the village dweller. Outings meant such walks or attending temple rituals at the end of the street. At the most a travel to neighbouring villages or nearby temple towns. The great world wagged busily past with its political storms and social upheavals all of which hardly touched the villager, content in his narrow native habitat. This cocooned life was invaluable for a vidyarthi’s concentration. Physical circumstances might have cabined and confined him. But nothing cramped his mind. He was exploring vast regions of sound and technique. His spirit was imbibing great also Valadi Krishna Iyer took part. Jayaraman himself draughts of freedom. Jayaraman bemoans the lack of such provided the violin accompaniment. What he remembers a gestation or incubation period in the life of today’s youth, most are the of flowers the ladies of the house had strung for his own children. on his hair. Jayaraman sported a luxuriant kudumi – well We now move on to 1942 with its two significant events. oiled and plaited on the occasion. He sees the scene – a It was the year of Jayaraman’s violin arangetram, the year vessel of water with hundreds of jasmines floating on it. of his initiation into adulthood through upanayanam, The hair dressing began at two o’clock in the afternoon both serious in intent though conducted with an easy and went on until each of those blossoms found a place in informality. The former took place in Saptarisheeswara the coiffure! He also remembers being taken in procession Swami’s presence at the Lalgudi temple in the form of by car – through the streets of Lalgudi. This was late in the a violin-duet played by father and son. There was no night but the boy was specially decked out in silk, jewels fanfaronade, only family and close friends attended. The and flower strands. The cool breeze lulled him to sleep. boy felt no special shyness as he had been used to playing Another person figures in his early life besides his father. every Friday evening in his home before much the same This was Periappa Kandaswami. The childless uncle audience. “In fact, the only time I felt self conscious was absolutely adored the boy and considered him his son. He when I first played with a mike in front of me. To adjust would bring loads of gifts each time he came to Valadi. to the overwhelming novelty of hearing an echo of what Jayaraman was especially proud of the newly introduced I played (amplified at that) was very difficult at first.” He celluloid toys! The children’s eyes would pop out, does not remember anything memorable connected to his their mouths water on looking at the delicious arangetram. bakshanam-s Periappa brought. Kandaswami found it It is different with his poonal ceremony. He enjoyed the increasingly difficult to part from his nephew after these festivities and the importance given him. The rituals visits and so began his practice of taking the boy with were spread over four days during which concerts were him to Madurai. (Jayaraman was studying at the tinnai held each evening. Artists from neighbouring centres as pallikoodam with its flexible rules of attendance).

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Madurai was a city of marvels for the it with reverence taught him more about boy. He loved studying with his doting the sanctity of sangeeta than any direct Periappa. He gained experience in another advice. direction too. Kandaswami Bhagavatar At this point we want to know if the name was a popular violinist who attracted the Jayaraman was a random choice. great vidwans of the time to his house. Among them were Muthiah Bhagavatar, “I was born on 17th September 1930 Dakshinamurthi Pillai, Govindaswamy during Kataka rasi and Punarvasu Pillai, Nagaswaram Ponnuswami Pillai, nakshatram, which as you know is Tiruppamburam Swaminatha Pillai, the Rama’s star. “Rama” was an automatic Karaikudi Brothers, Tirunelveli Gomatiya choice especially since it was also my great Pillai (mridanga), Sesha Bhagavatar, grandfather’s name. it was considered Mazhavarayanendal Subbarama appropriate to the veins outlining the sign Bhagavatar and Vedanta Bhagavatar. of the namam on my forehead. My paati Even when they came to talk business Kandaswami Bhagavatar picked me up as soon as I was born and they were not businesslike, their arrival being a signal for examined me in sunlight. Satisfied, she laid me before warm hospitality. They would spend three or four days the family gods, predicting a triumphant future for the – discuss terms, have long chats about men, matters and newborn infant – a future of fame and wealth honestly music, play innumerable games of cards. At times they earned! She added the prefix “Jaya” to indicate that. would begin to sing or play their instruments with a gusto unknown to concert platforms. Jayaraman tells us Training and preparation ruefully that he was too young to enjoy these occasions Jayaraman’s early life was a period of intensive training consciously. “I was fascinated by Dakshinamurthi Pillai’s and careful preparation for such a future. Soon he mannerisms – his funny half jumps and stretchings completely switched over to violin playing and practised of the neck as he played the khanjira. I also saw for hours. Practice was exhilarating, challenging, a test of T.R. Mahalingam, a mere boy in 1935, playing with a prowess. The habit was so ingrained from childhood that silver pela containing sandalwood paste. Then he played if he missed practice for a single day he felt distraught, on the flute accompanied by Periappa’s violin. It was as though he had sinned! Thus a foundation was laid to hypnotic enchantment. last a lifetime. “I tried to do the same for my children, Jayaraman did receive his first formal lessons from but there was some slackening of discipline. Neither was Kandaswami Bhagavatar during his visits to Madurai. I as stern a disciplinarian as my father, nor had my city He began with vocal music – varnam-s in Bilahari, bred children the kind of stamina to withstand the rigours Sankarabharanam and Hamsadhwani. He had plenty of such training. They had to endure the tremendous of students from all ranks – zamindars among them. I burden of schoolwork and homework from which I was listened avidly while he taught others – a great learning free. Yet it is surprising that in the midst of a frantic experience in itself. Actually, in a family urbanised life, they have imbibed as Lakshmi Paati like ours which lives and breathes music, much music as they have! Numberless there is no need for formal instruction. images and distractions dart with If at all the children are taught, it is a lightning speed across the modern child’s mere formality like the cutting of a ribbon mind. His memory is over-strained. at an inaugural ceremony. The work is Indeed I give my heartfelt appreciation already done, the ribbon-cutting is only to anyone who proves an artist in this an announcement of the fact. Direct generation”. Jayaraman attributes the fall instruction or siksha is only a part of in the general standard to the difficulties learning. The other is ceaseless, assiduous of tension-ridden existence and believes practice or abhyasa. that the only way to check the fall is to recast the educational system to include the Jayaraman was taught to care for the performing arts as part of the curriculum. violin as if it were a precious human child. Ancient Greek philosophy placed equal Even in this, watching the adults handle emphasis on music and gymnastics as

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the proper adjuncts to academic training. These were to enough to let the son do it on his own. Gopala Iyer did facilitate full mental and physical growth and to equilibrate not want this habit to dampen enthusiasm or breed an the two. If the Pythagoreans thought of music as the inferiority complex. It was to improve his art and attitude soothing discoverer of inner and outer harmony, Aristotle towards that art all round. Jayaraman says, “Even today I believed in its efficacy to strengthen men through a am not satisfied with my achievement. I am a stranger catharsis of the festering excess of debilitating emotions. to pride. My father’s training keeps me ever humble Unfortunately, though modern psychologists use music and eager to improve, learning from all possible sources”. and the arts for therapy, the need for a widespread But he agrees that it does not come at once, not even education in the arts among the masses is an idea that easily. “When I began performing, I knew something has not caught on. about the presentation of raga and swara, but not as much about accompanying the main vocalist, which Jayaraman’s childhood and adolescence were steeped knowledge came in degrees with increased experience. in music. At twelve, he was helping his father to teach My habit of objective self-criticism offered immeasurable beginners, many of whom were girls, now mothers and help here.” At first he was eager to exhibit his own grandmothers. One such mami did visit him recently. cleverness, delighting in adroit swara showers in razzle “I recognised her at once as Papa who used to plait my dazzle. He learnt restraint with difficulty. kudumi and grimace to distract my attention while dotting my forehead with chaandu. She crowed with Pakkavadya dharma pride. ‘My relatives tried to dissuade me from visiting The major rule for the accompanist, ofpakkavadya dharma, you saying you are too important a person to have time is never to overshadow the main singer in duration or for me. I will tell them that you have not changed,’ displays of skill. If the raga alapana lasts ten minutes, she said.” the violinist is to content himself with six minutes. The In the years of Jayaraman’s ascent to fame, Gopala Iyer violinist is to confine himself to the range of the singer even was afraid that excessive adulation might breed arrogance if it is limited. The speed of the vocalist is to be imitated in his son. Whenever a visitor uttered open words of likewise. If kalpana swara spans two avartana-s the praise, the father abruptly declared, “Jayarama, go in” or, violin must do the same. The violinist has also to give “Write those pending letters now.” “Appa believed that different backdrops, support and scaffolding for the the real enemy was not without but within the psyche. vocal architecture. In addition, he has to supply the The arch destroyer is the ego, which sprouts arrogance. adhara sruti at all times and fill the gaps judiciously to This in turn gives rise to laziness. External dangers maintain continuity for the listener. All these rules like jealousy or envy could be conquered easily. But it is can be learnt with the help of a guru and with your extremely difficult to control the cancerous growth of own experience. Aids of modern day learning such as pride and sloth once they are allowed in.” cassettes, tapes and gramophone records were little known. Jayaraman confesses that controlling the “Father also believed in aiming high, in excellence for burgeoning creative energy was tough when he was its own sake. The pathway to such excellence was young. “I had to do well and yet not so well as to get vigilant self-criticism — in itself a weapon against more applause than the main performer. However, all ego-inflation.” the vocalists with whom I have played have invariably encouraged me.” Gopala Iyer insisted on Jayaraman’s maintaining a diary to record dispassionately his own performance each These opportunities came after the family had shifted to time. This helped him to discover where and why slips Lalgudi soon after Kandaswami Bhagavatar’s untimely occurred, where weak points emerged and how to convert death at the age of 49 in 1939. A month later Lakshmi Paati them into strength. Jayaraman remembers two occasions too passed away mourning her son. After his arangetram when his honesty made him admit that he could have at the Lalgudi temple, Jayaraman kept gaining concert shortened some phrases and avoided certain mistakes, practice by accompanying all the different musicians which he duly entered in his diary. His methodical and who visited his home and sang in their Friday evening systematic habit of documenting events can be seen in gathering. He learnt the art of playing raga alapana and his accurately maintained records of both time and place swaraprastara supportively. He also participated in many of every performance. Such critiques were initially small temple utsava-s organised at Lalgudi and near about, checked by his father who soon became satisfied such as Srirangam, Poovalur and Manakkal. Travelling to

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Lalgudi Jayaraman with Ariyakudi Ramanuja Iyengar and Palani Subramania Pillai these places on bullock carts had its own charm. They were famous the artist, the greater our excitement.” The concert adventures. over, Jayaraman spent the night at a relative’s home, then took the early morning train back to Lalgudi. Once home Jayaraman also tells us of his reactions as a rasika. “In he would seek his violin and try to reproduce the ringing those days, concerts were held but seldom and only in a few melodies of the previous evening. The whole concert places. One such was the Tiruchi Nootrukkal Mandapam, indelibly embedded in his memory would issue through where I have heard a good many concert. Going there was fingers and bow. “I am lucky that I am an ekasantagrahi: a great undertaking. I would take the afternoon passenger to hear once is to remember forever. Perhaps this is the train at Lalgudi, reach Tiruchi around 3 pm. wait around gift of my father’s disciplined life. It is a pity that my till the evening, then go to Nootrukkal Mandapam, buy children do not have an equal retentive capacity. My an eight-anna ticket and rush to the very front. There we mind recorded the music of others like a tape but my would wait with bated breath for the vidwans. The more imagination went to work on it so that each sangati was

With G.N. Balasubramaniam and Palghat Raghu

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With Alathur Brothers and Umayalpuram Sivaraman multiplied tenfold. Listening to others was an inspiration, travelled often, people hesitated to give them their a fire to stimulate my creativity. I had no thoughts except daughters in marriage, unless they were men of character, those concerning music.” with good financial prospects. As long as the rajas patronised them, they lived in comfort. But later, political Describing the status and life of musicians in those and social changes affected the status of musicians to a times, Jayaraman said that most of them were honoured certain extent. Life was hard. by members of society, the friends of aristocrats, patronised by rajas and zamindars. Unfortunately some Times have changed again. For the talented and the spoilt their own names and their profession through hard working. there is gain in status and in wealth. But giving in to bad habits, even lax morals. with the secularisation of music the vidwan has become the rasika’s equal. He may be respected, even admired, but Musicians could not earn much money, and since they he is no longer a demigod. Rasika-s hand out their own

With K.V. Narayanaswamy and Palghat Mani Iyer

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With Madurai Mani Iyer and Vellore Ramabhadran requests, advice, criticism and suggestions with an easy appreciation. His youth and attainments impressed camaraderie unknown in the past. everyone including the vocalist. Going places Word was passed round of a budding violinist capable of holding his own even with seasoned artists. He Soon his native intelligence and painstaking effort began to get invitations to perform everywhere. The lifted Jayaraman to heights of popularity among senior Devakotta Tyagaraja utsava needs special mention as it artists and rasika-s. He was identified with pleasure gave him a splendid break. Jayaraman had gone to play as Kandaswami Bhagavatar’s nephew even in the “bit the violin for Palladam Sanjeeva Rao in the first concert notices” of those times. Publicity then was mostly of the evening. The second was Ariyakudi Ramanuja by word of mouth. The ascent was slow; one step at a Iyengar’s. With his violin accompanist Papa indisposed, time; each performance counted; any other sort of Ariyakudi told the organisers, “Get Kandaswami conscious self-projection was looked down upon. When Bhagavatar’s nephew, the boy with the kudumi and the T.R. Mahalingam’s father printed advertisements kadukkan”. proclaiming his son’s performing skill as a challenge to all musicians, describing Mali as gandharvabalan About this unexpected, unforgettable experience of (son of a god), Kaliyuga Krishnavataram (reincarnation playing for two giants in one evening, Jayaraman says: of Sri Krishna), people laughed at the propaganda. “First of all there was the thrill of being welcomed by my hero Palghat Mani Iyer on to the stage with a smile. He In the days of his youth when vidwans gathered to too accompanied Iyengar. Many vidwans were present. perform at festivals, each concert group was chosen From Sathur Rangachari onward everyone overwhelmed and proclaimed at the last minute. At one such festival me with warm praise. – the Tyagaraja utsava conducted at Kampatti Chatram – the fifteen year-old Jayaraman was teamed (upon “In those days I was a stranger to strain or stage fear. a Sitarama Iyer’s recommendation) with the Youth, brahmacharya and love of vidya combined venerable Mazhavarayanendal Subbarama Bhagavatar, to increase my enthusiasm threefold. The vidwans and C.S. Murugabhoopati completed the team. With themselves helped me to learn the art of supportive child-like innocence and modesty, the ripe old vocalist playing, suggesting improvements, asking for support told Jayaraman before the concert began: “I am an old in this or that at particular times. Playing on the stage man. Please don’t leave me in the lurch.” Awed by his was an exhilarating game — repeating certain phrases, good fortune Jayaraman gave of his best — and was bringing in contrasts, introducing complementary motifs. dismayed to find himself the target of vociferous It was heavenly.”

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According to Jayaraman, he found nothing new or jambhavan asked the young boy, “Will you play a little for strange among the styles of singing prevalent during that me Ambi?” period, because he was familiar with the differences and “I played Tyagaraja’s Koluvai yunnade. After that, unique features of all the eminent musicians of his time Tiger asked me to do some niraval. Choosing that through the radio. (His home did not possess a wireless Bhairavi-soaked phrase “manasu ranjilla”, I played as well but he listened from a neighbour’s home, gleaning all as I could. But I had not reached a level of maturity to details of concert timings from the newspapers). After the adequately explore the scope and extract the essence of the concert, he invariably tried to imitate the vidwans featured theme. After a point, Tiger stopped me, saying, “Niraval and improvise in the manner he had heard that day. should flow like tailadhara (a stream of oil). He began to His photographic memory preserved all the intricacies sing. Enchanted, we lost all count of time. Vidwans and and moves intact. So what seemed an effortless rasika-s clustered around him, sitting or standing around complementing of any style (however difficult or Tiger’s tinnai throne. The nadopasaka that he was, Tiger original) on the stage was actually the result of deliberate too lost track all of human needs, of the limits of space experiment and practice. The vidwans themselves and time. It was an oceanic tidal wave of music that marvelled at his capacity. When Jayaraman first played soared and sprayed and crashed around me that day. It with Madurai Mani Iyer, the vocalist expressed open was as if he took me by the hand, led me to a paradise- astonishment at the perfect blend the violinist achieved like garden in full bloom and said, “Child, go and play. with his singing. “I claim this ability as my speciality and This is your promised land.” Jayaraman’s voice turns husky my unique contribution to the architectonics of violin with emotion. After a pause he expresses regret that the accompaniment.” younger generation of violinists can never experience such Questioned about his ‘quarrel’ with Mani Iyer at a later moments of sheer glory. stage, Jayaraman clarified that it was not a personal misunderstanding. It arose at Mani Iyer’s insistence that New look, new city the violin should not be provided a separate mike. “This After a tea break, we look at old photographs and I took to be an insult to the violin’s status as a concert question Jayaraman about the reason for changing his instrument. But later Mani Iyer retracted and I began to earlier kudumi coiffure into an anglicised crop. While play with him again.” others had their afternoon siesta, Jayaraman would be Jayaraman shares another memorable incident with us either washing and drying his hair or oiling it and – his meeting Tiger Varadachariar, the lionised musicians’ unravelling knots. “I was the first in our family to get my hair musician of the time. Tiger was old, very old, but the cropped. My kudumi and my regular sandhyavandanam music he carried in his heart was young. The sangeeta presented a picture of a ‘nalla paiyyan” — God fearing,

With Papanasam Sivan and Mani Iyer

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Jayaraman began to find them soon. He became acquainted with fellow artists, both senior and junior. An impressed T.R. Balasubramaniam whom he accompanied declared, “You must play for my Anna”. Jayaraman naturally understood “Anna” to signify T.R. Balu’s own brother. Imagine his excitement at being taken to the charismatic G.N. Balasubramaniam. This was the start of a wonderful team that gained terrific With Semmangudi Srinivasa Iyer and Trichy Sankaran recognition everywhere for many years. Jayaraman acknowledges his debt to GNB’s support played a orthodox, modest, in short a good boy. This was an instant considerable part in shaping his career. He also mentions passport to favour among the senior artists and older Palani Subramania Pillai as a staunch champion of rasika-s. I had to remove the kudumi for the sake of the Jayaraman cause when the violinist became the convenience. Another reason was that the kudumi with object of unfair discrimination and prejudice. Jayaraman its country bumpkin look was a disadvantage to an artist of the middle fifties had an insipid and unglamorous who had to make his way in the Madras world.” Amused personality – he was thin, a country yokel, a madisanji at his memories, Jayaraman mentions that GNB advised with his rudraksha, kadukkan, kudumi and vibhooti him to change his hairstyle to suit the times. “There is appurtenances. Such an appearance was not an asset on the nothing to it, I have gone through it myself,” were GNB’s stage. As against this, when Chowdiah or Rajamanickam words which instilled confidence in Jayaraman to make Pillai ascended the dais, they commanded instant adulation. the move. When people spoke against Jayaraman’s inclusion in a concert At one time, Gopala Iyer thought his son would benefit by team, Palani exploded. “Don’t you dare run him down! the Sangeeta Bhushanam course offered at the Annamalai Such prejudice is sinful. Can you name another who has University, where eminent musicians taught. He wrote played so well at such a young age?” a letter to a friend asking for details of the course. The It was an era of great violin virtuosos. Rajamanickam letter got damaged as it fell in the rain-soaked street as Pillai, Chowdiah, Tiruvalangadu Sunderasa Iyer, Papa Jayaraman was going to post it. Though furious about Venkatrama Iyer, Dwaram Venkatswamy Naidu and what he considered gross negligence on his son’s part, Govindaraja Pillai were among the leaders. On the Gopala Iyer decided that the accident was a sign to give radio, you could hear violinists like Sethuramiah and up the venture. Jayaraman digresses into a discussion of his R.K. Venkatarama Sastry, but there was room for the next father’s extreme disciplinary measures. “When he scolded generation of artists. With quiet confidence, Jayaraman me or beat me, he did not think of me as a child, nor states: “Among this new generation, my style stood out even as his own child. His love of perfection made him with its revolutionary novelty and uniqueness. No one adopt very severe punitive measures. Sometimes I used aimed at such flawless all round perfection in the playing of to dream of running away from it all. But now I realise raga, niraval, kalpana swara and kriti. It must be admitted that it was the rod of discipline that moulded me into a too that in those days the violinist often neglected to train musician. As Appa saw it, even a slight slackening of himself in the laya aspects. He had both his hands engaged the rigid rules spelt failure in fulfilling his responsibility and so depended on another’s support to maintain the tala. of passing on his inheritance to the next generation. When a new kriti was taken up, he was not always sure of Jayaraman adds that stagnation of this kind of wealth the eduppu during niraval or swara singing. The violinist is tantamount to its destruction, while channelising it also did not bother to learn the kriti-s correctly, words as would reveal its inexhaustible fecundity. If our children well as the musical setting, because he felt what he provided are imperfect channels, then we must pass it on through was only accompaniment.” Trained in vocal music, playing able sishya-s. the violin in the vocal style, and possessing needle-sharp Coming to Madras in 1956 in search of better opportunities, laya gnana, Jayaraman stood out as an artist who could

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handle tricky tala situations. His undeniable all round Jayaraman had reached his zenith as an accompanying ability made artists and rasika-s hail him enthusiastically. violinist when he decided to give solo performances on Those who criticised him at first as the perpetrator of the the violin. “I occupied the central position on the stage as nagaswara bani soon gave up because they were neither the main artist for the first time in December 1958 at the clear about this coined nomenclature nor even whether it T. Nagar Arts Academy. I was full of apprehension. Could was a disparaging description. Excellence combined with I satisfy the packed hall through instrumental music alone intelligence could not be lightly dismissed. “This boy is for three and a half hours?” adept at rhythmic designs when he plays with the Alathur We can understand his anxiety because violin solos were not brothers. He scatters briga-s along with GNB. He holds common at the time. His own grandfather Radhakrishna Iyer his own with Mudicondan and Ariyakudi”. So ran the had played solo often at the Sethupati court. But his thoughts of musicians and rasika-s, who finally came audience must have been limited. Tirukodikaval Krishna round to accept Lalgudi Jayaraman’s new bani. Iyer, Malaikottai Govindaswamy Pillai and Periappa Mellow music Kandaswami Bhagavatar had given solo concerts, but not too frequently. Chowdiah had performed alone on the Jayaraman accepts that his style can be judged better in radio and in a few places in Mysore. retrospect. He is ready to make a revaluation in the light of years of experience and knowledge. “Tastes change. This Going solo truism holds good not only for the rasika but even more for the artist himself. In a review of my career graph, I see Jayaraman had played violin duos with his father the influence of my own changing tastes. At sixteen, I had in his early years but not often or as the main exuberance, an obstinate desire to attempt the impossible. show of the evening. Their violin duos had always been part I wanted to prove myself, to impress people. The next phase of other programmes during temple festivals. True, made love of embellishments mostly unnecessary. Now I Dwaram Venkataswamy Naidu had established the have reached a stage where all these have disappeared in practice of giving solo concerts, and in fact his own an autumnal Fall. This is the time of ripened sweetness considerable efforts in this direction had met with great after the insipid and sour stages of growth. You may say appreciation. But there were tremendous differences that the early style had structural intricacy, while lacking between Jayaraman’s approach and format and those of depth of meaning. The later period is one of simplicity others before or during his time. welded to maturity. My evolving thoughts and attitudes “Beginning a soloist career was a turning point in my life. have coloured my music. Now that I don’t have to prove It is that which brought me special honour in the world anything to anyone, I have settled for svanubhooti”. Not of music”. The two arts – that of the accompanist and magnificence but mellowness melts the music lover, the soloist – are quite different, though related. They Jayaraman says. demand different skills. To have excelled in both is an Yet there is the belief that the most creative period in an achievement. Venkataswamy Naidu once said that the artist’s life flowers in the first thirty summers of his life. As accompanist’s job was a nuisance. “If you play well the one who crossed this border long ago, Jayaraman feels this vocalist resents it; if you don’t, the audience finds fault. view is only partially applicable to the Carnatic musician. Therefore I began to play solo.” While Jayaraman agrees The older musician may at times sigh — as George that he has been harassed by the jealousy of some vocalists, Bernard Shaw did — “What a pity youth is wasted on he avers that the main reason why he started solo concerts the young,” but his music gains in interpretative depth was the desire to explore and reveal the great scope the with the years. “Our music goes beyond the emotional violin offered for the expression of Carnatic music. Even and the intellectual to the realms of the spirit. And here though he felt some trepidation, the idea of the violin ripeness is all. There may be a physical deterioration but concert posed him an exhilarating challenge of new the mind gains power, a grandeur that is unknown to the worlds to conquer. What Jayaraman presented that day impulses and vigours of youth”. It is equally possible for (and has since then) was a sharply honed, freshly shaped age to slide into an automatic mechanical rut. To prevent style that came to be nominated the Lalgudi bani. (This that, the musician must make conscious efforts towards was different from the Lalgudi bani of supportive play improvement. He needs a faithful mirror that “minimises where the intention was to imitate the vocalist’s style). the good things and magnifies the flaws” to keep him ever In his violin solos, Lalgudi showed an original creativity watchful. presented through a carefully prepared format. This raised

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As always, father Gopala Iyer was a source of encouragement. But it was sister Srimati who made the venture an unqualified success. The shaping of a new format and technique could not have been presented with the “Lalgudi” finish or finesse if an outsider had been the helper. Jayaraman took advantage of the presence of his highly talented sister, trained by her own father. Brother and sister had often practised together. They were very close in mind and spirit. At every step of the way, Srimati was able to participate in bringing about changes. She was able to match every aspect of her brother’s art – in technical virtuosity, as well as imaginative mood creation; she could match sangati for With Srimati sangati, anticipate his every move. Her excellent support and original talent earned her as much appreciation as her great expectancy among listeners. And Jayaraman kept brother. „ it that way by discovering new techniques and means of gripping audience interest. (To be continued)

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FROM THE SRUTI ARCHIVES

The Lalgudi legacy (Third and concluding part of the Lalgudi profile) Gowri Ramnarayan

An unpublished article written in 1985.

The vocal bani on the violin “Sahitya which is the lifeblood of our music cannot be presented through instrumental music and this is a drawback. Therefore instrumental music, however good, seems to lack variety. To enjoy it, a keener mental attention is needed.” Jayaraman had been fascinated by Dwaram Venkataswamy Naidu’s violin solos, which were highly popular then. “But there has been further development, a tremendous improvement since that time. The old style had few gamaka graces, relying more on suddha swara-s. There was perfection in technique, but the methods, though correct, were more Western than Indian. Though others had preceded him in giving violin solos, the credit of establishing the concert-worthiness of the violin solo goes to Naidugaru, as far as I know”. Jayaraman however implies that the same Naidugaru followed the vocal paddhati instead of creating a pattern suited to an instrument alone as Jayaraman has done. Even in his solos, the violinist often played in exactly the same manner the vocalist sang. In a duo, the violin offered the same kind of support as in a vocal concert. But Jayaraman cultivated a style in which the two violins played in perfect unison, sounding as one, following the same pathantara and yet played different roles – both complementary and contrastive. They coupled the bhava of the voice with the virtuosity of a sophisticated stringed instrument. Patterns of stringing swara-s had fallen into a groove in Experience brought insights to discover new tacks to instrumental music, with the unexpected seeming never increase the tuning pleasure. These became the Lalgudi to occur. But in Jayaraman’s and Srimati’s bowing, the bani, now part of a tradition followed by many direct and swara-s formed into unusual arabesques and intellectual indirect disciples. calculations were submerged into imaginative lines. The swara shapes he formulated in hitherto unattempted Jayaraman talks about these yukti-s – products of continual designs never failed to slide into the correct tala spot at thinking. Recognising that in a recital of two violins, there their terminal point. can be no tonal variety as when violin succeeds voice, “I moved on to the kriti straight, after playing some raga-s.” Are such combinations more easily performed on The second violin got chances to elaborate certain other instruments? Jayaraman retorts, “Singing or playing them raga-s by itself. While playing kriti-s, sometimes two is easy. Getting new ideas to express is difficult. As far different notes were simultaneously synchronised by the as I know, GNB pioneered such novel patterns. I have different violins. This practice brought a touch of piquancy developed my style on those lines.” Such new graphic to the perfect unison of the two violins which sounded patterns are to be heard in his Najeevadhara (Bilahari) as one. Kalpana swaraprastara was not left untouched. and Sogasuga (Sreeranjani), in which swara-s are played

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for three different phrases alternately on two or three a great variety of tala-s in his pallavi-s. This gift has been violins. Lalgudi tries to play without repetition of melodic singled out for praise, especially as violinists had not been combinations. known for layagnana, and a great many of them neglected this aspect. Jayaraman also introduced fresh ways of tackling that grand pivot of the Carnatic music concert – the ragam- Jayaraman proved that the fixed forms of the kriti-s could tanam-pallavi. He commands vigilance in the listener also be made to generate new appeal. His is a formidable during his pallavi elaboration – which is surprising when repertoire in which the compositions of many composers we consider the pallavi’s special use of sahitya syllables old and new are maintained in their correct forms. He – each becoming a print for weaving ornate designs. follows a painstaking methodology in the learning and Jayaraman realised that the usual ‘vaaipattu pallavi-s’ practising of kriti-s. First he studies the meaning of could be ineffectual on the violin and began to compose the lyric. He ponders the words and their sounds to suitable ones in which the tonal effects of the violin could derive answers to questions about the composer’s mood, highlight the rhythmic forms in an elegant manner. “In intention and the given situation. Next he scrutinises the pallavi-s, we take a streamlined melodic pattern and fit ragalakshana aspects – the ascent and descent of notes, numerous rhythmic structures with exciting pauses and their nature; oscillating notes and plain; vadi and samvadi; syncopated glides (which go beyond the usual sarvalaghu). jeeva swara-s; special prayoga-s or anya swara-s, if any. Such laya forms are attractive in themselves, even if Next he speculates on the arrangement of sangati-s words are not uttered. Of course, the pallavi-s I compose – whether they occur in appropriate order in appropriate do have words, which I sometimes speak out before places; whether they embellish the sahitya or mar it or even I start playing.” Jayaraman adds the rider that he always give rise to contrary sentiments. He surveys the general sugarcoats kanakku with melody and his evocative melodic structure for the same purpose. “I don’t accept renditions of such rhythm-based pieces have been much anything merely because it is old or traditional. It has to lauded. satisfy my aesthetic sense, my sense of what is fitting. If I find any discordance or incongruity, I make modifications People generally associate the ragamalika pallavi with and practise it many times to clearly accent the words. Such Jayaraman. He was not the innovator of such pallavi-s, methods were not followed in the past. When I modulated but he did popularise them through playing them and varied the tone to give shape to sahitya, people were frequently and ringing changes in presentation. The two willing to stay for over four hours to listen to a violin solo. violins string each raga alternately, the second violin with There was no leaving midway. Day by day crowds increased the same finesse and precision as the main instrument for and my solo concerts gained in ‘mausu’ or popularity.” the same duration. Ghana raga-s, apoorva raga-s, were all taken up for full scope treatment. Jayaraman enjoyed One reason for this was that people never knew what to taking up those raga-s not commonly used for elaborate expect or even what would come next in Jayaraman’s solo. treatment such as Varali, Keeravani, Hemavati, Charukesi, Till the last tukkada, Jayaraman kept the audience guessing. Sahana and Natakurinji. “I have even attempted Janaranjani “I have handled all kinds of tala-s and nadai-s, I have as the main raga in a pallavi that included Maharanjani, played with great mridangists like Palani Subramania Pillai, Mararanjani, Ranjani and Sreeranjani. Tanjavur Sankara Palakkad Mani Iyer, and Palakkad Raghu. A few special Iyer later composed a song with the same raga string.” concerts featuring two violins and two mridanga-s were Jayaraman says that he himself had heard only one declared unforgettable.” Jayaraman describes his concerts ragamalika pallavi by Ariyakudi, Sankarabharananai as offering a new fusion of sahitya bhava, sangita bhava and azhaitodi vaadi Kalyani, durbarukku, before making it laya chamatkara, all manifested through an instrument. his own. A similar pallavi composed by Jayaraman has This generation of music lovers live in the midst of a Shanmukhapriya, Sama and Anandabhairavi occurring raga boom. New raga-s are ‘invented’ or ‘discovered’, old in the same pallavi line, which Jayaraman, Krishnan and raga-s recovered, strange raga-s made familiar, and Vijayalakshmi elaborate by turns. forgotten raga-s revived. “I don’t claim all the credit Inborn layagnana for this introduction and propagation of unknown or forgotten raga-s. I am merely one among many who have Jayaraman believes that his inborn layagnana is a gift of tried different melodies.” Jayaraman hastens to add that the gods (is he not the great grandson of Pallavi Rama he never experimented with such new pieces on the stage. Iyer?) and family genes, which has enabled him to present “I want to avoid flops and fiascos. Half baked stuff should

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not be presented to the paying listener. Only the polished happy mood of elation. Another reason was that the four and the perfect should be so placed. This rule of mine is words of the first line had short vowel sounds, which in a one of the reasons for the success my solo concerts enjoy.” slower rendition, got incorrectly elongated. A faster tempo was not uncommon in Mysore and I adopted it. The Jayaraman is adept at establishing a close rapport with the adjustment brought out the Bhairavi lights into the open.” listeners almost instantaneously. He gauges their taste and Here Jayaraman adumbrates the typical attitude of die-hard bent of mind quickly. His ready intelligence plays for them conservatives to whom “the older a thing is, the greater its rather than to them. That is why on certain occasions there value”. They are nervous of, even antipathetic to change of is a slow succession of Carnatic suddha raga-s like Varali, any sort. Such people did oppose Jayaraman’s changes of Begada, Kambhoji and Neelambari. On others Kanada, established modes of singing. “Age or the passage of time Kapi, Tilang and Sindhubhairavi flash past. He is careful to does not make wrong right,” says Jayaraman with some avoid discordant or lacklustre combinations of raga-s in his programmes, for he believes that only contrasting colours heat. A shortcut need not be shunned just because we have can heighten impact. Radio concerts offered an avenue been travelling through circuitous routes for two hundred for exploring audience reaction. They offered chances to years: Why refuse to save time and energy? introduce new raga-s or kriti-s (the announcement of their Perpetuating the Tyagaraja parampara names was possible). After each radio concert, Jayaraman became the target of voluminous mail from many centres. What has Jayaraman done to perpetuate the glory Letters from Andhra, Kerala and Karnataka were not of his Tyagaraja parampara? “I have introduced many unusual after a Madras relay. When he next went to these new kriti-s of Tyagaraja with their lyrical and melodic centres, written requests for the newly introduced pieces values intact to be used by others. I have also popularised would be sent to the stage by listeners. And did he oblige the Lalgudi pancharatna-s composed by him. I consider them? Of course, comes the reply. “The artist’s source of this my duty. I play these ratna-s in my concerts, teach inspiration and strength is the rasika.” them to my sishya-s and have also published them with meaning and notation with Periyaval’s anugraha”. A look Jayaraman advocates the view that ‘adattal’ (abrasive of wondrous rapture appears when Jayaraman talks of his loudness) is inimical to classical music. A gripping punch revered guru. He narrates tales illustrating the Jagadguru’s is necessary, strength is necessary, but they should not greatness. Jayaraman taught the Lalgudi pancharatna-s to be interpreted as achievable through gimmickry or the artists in Andhra, Bangalore and Madras. He organised earsplitting blare. The adattal style is incongruous for a function at Sri Krishna Gana Sabha, where these five raga alapana and for kriti-s requiring soft mellifluousness. kriti-s were sung. Sometimes this staccato roughness gave rise to the opposite meaning. This is what happened to Aparadhamula By and large, the changes and innovations wrought by in popular usage. The raga Rasali itself sounds like an Jayaraman were well received, seldom criticised. “There imploration. The purport is a devotee’s begging the lord to was justification behind every change,” claims Jayaraman, forgive his sins. The manner of singing it (kripa jooduno) “a thinking brain behind each innovation. They could not however seemed like the issuing of an ultimatum to God: be objected to.” Forgive-me-or-else! Jayaraman softened the rendering to Next he turns to repertoire, a vast subject. Jayaraman bring out the mood suggested by the raga and the lyric. explains that many violinists did not bother to learn a large Likewise the song Nada loludai was sung in a fast, “pungent” number of kriti-s – nor even correct the errors in the ones tempo. The speed which caused the accenting of the wrong they knew. They would fill solos with a string of kriti-s and syllables distorted the meaning and destroyed the mood. not go deep into the laya aspects as mentioned. Most of Nor did the raga Kalyanavasantam seem suited to such them would leave complex pallavi-s untouched. Jayaraman treatment. The lyric deals with the sublime bliss induced was different. Having learnt vocal music first, he knew his by an immersion in primal sound or nada. With this in raga and tala accurately. He never ceased learning new mind, Jayaraman corrected and changed the presentation items by different composers. Musical experimentation of the raga and the tempo of kriti rendition. This was with enlarged his vision. Yet he was not satisfied. He wanted to Entamuddo (Bindumalini). These furnish examples of present something more, something original, something Jayaraman’s research and its results in practice. of his own. The answer was to create new numbers. There Has he, conversely, accelerated a kriti to a faster tempo? too, Jayaraman went off the beaten track of kriti-s and “Yes, this was done with Rakshabettare to indicate the decided to create varna-s and tillana-s – pieces played at

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the beginning and at the end of a concert. Both items Neela mayil meedu nee nidam vaa laid stress on rhythmic and melodic patterns rather Velava, unai maravaa varam taa than words as in kriti-s, which would be easily depicted through the violin strings. This furnishes a good example. In the Revati tillana, the contours of the grief inducing raga are exploited to the full Varnam-s and tillana-s in the melodic phrasing of “kaattirunden” (a curving glide to indicate the length of waiting) and “eno maranden” Varnam-s and tillana-s have this in common. They seem (drawn out to indicate the pain of separation). The special attractive, but the attraction comes through a disguised properties of the raga are pressed into service to point complexity of symmetrical structures of rhythm. They the situation to invoke the sentiment. So also in the are aesthetic structures of laya presented through raga Sivaranjani tillana, where the first two lines of the sahitya and sollukattu. “My varnam-s,” he guarantees, “are taller and swara carol joy, the next two sigh in sorrow. Sruti than the old ones in every way, having greater aesthetic bhedam effectually brings out this contrast. “I have been as appeal and beauty of embellishments. One reason selective as Sabari in choosing words, rhythm and music.” for their appeal is their being set in raga-s like Valaji, Amritavarshini, Nalinakanti, Garudadhwani, Bahudari, The result is that his tillana-s are effective when sung, Mandavi, and Asaveri – raga-s popular today. Not only played on instruments or when used in dance. Seeing the outline but the depth and scope of these raga-s are this dancer Kamala Lakshman requested Jayaraman to brought out. The melody is so moulded as to highlight the compose a pada varnam for her with sringara as the main meaning of the sahitya where it occurs. You can say the rasa. Thus a varnam in Neelambari was born. Kamala same about my tillana-s”. Generally sahitya is a negligible asked him to compose one more, this time on Lord factor in tillana-s, but Lalgudi has paid special attention Krishna, as the theme offers endless scope for sanchari to lyrical value. His tillana-s are mostly prayerful appeals bhava. Jayaraman obliged this time in Charukesi, with to lord Subramania. Since sollukkattu is the breath of Kuzhaloothum azhaga Kanna in Tamil. Jayaraman sings the tillana, Jayaraman has tried to achieve rhythmic parts of the varnam for us, explaining the care he lavished beauty through apt rhyming. upon correct construction. “I don’t release my compositions unless I am fully satisfied with their mould.” Most of Kola Valli kunjari kanavaa the time his creations are the expression of spontaneity. Bala Muruga devadi devaa Sometimes premeditation is involved, as in his desire to

With sister Srimati, Palani Subramania Pillai and Trichy Sankaran at Sri Krishna Gana Sabha (1961)

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With son Krishnan and daughter Vijayalakshmi compose a tillana in Yamunakalyani. (Eight months after given a solo programme. I never give a solo concert this interview, he did play this tillana with an entranced instead of a scheduled but cancelled vocal concert, even involvement amidst a hushed and wondering audience). at a prestigious gathering. Once I accept an offer, I never “I polish each phrase to brand newness. If well presented, cancel the programme for the sake of greater financial these tillana-s will remain ever fresh.” gain elsewhere.” During all this time, sister Srimati had been his right hand. But Jayaraman never tires of thinking or talking about the But came a time when family commitments of husband glorious golden period of his life which was the time of and two children prevented her from undertaking tours his close association with the four towering figures of the outside Madras. Jayaraman had to find a substitute and music world. All four are now no more. Each had unique creative originality of a different kind, the source of their who better to fill the role than his own son Krishnan aged mighty magic. With each, Jayaraman played innumerable ten? So began an intensive training period for the boy. concerts. In turn he was hailed as their ideal match. A year later (1978), father and son played together. “Correct pairing and equal capacity among the members With this, Jayaraman perhaps set up a record as one who of a concert team are reasons for success. Thus when I played with his father, sister, son (and later daughter played with the Alathur Brothers I forgot my comparative Vijayalakshmi and disciple Akhila Natarajan). juniority in the excitement generated by participating in Have these youngsters lived up to his expectations? “To great musical creation. They used to encourage me heartily a certain extent, yes. But their environment has not been to match their motifs – grand and difficult as they were. totally conducive to complete concentration as in my case. It was the same with GN Sir who wrote that no other If they continue with sincerity and dedication, they should violinist need be sought when Lalgudi was available. reach my level soon”. But he is quick to accept that they ‘Jayaraman and I are inseparable’, he said. He was about enjoy certain advantages too. They have been brought up twenty years older than me but he always treated me as an in Madras, exposed to more and greater varieties of good equal. He discussed his plans for the concert with me and classical music. Their father is himself an established top encouraged me to shine with him. I consider this a great class violinist. honour. Ariyakudi was another with whom I had excellent concert rapport.” Today seventy five per cent of his recitals are solo performances. He adheres to three rules in accepting Three generations solo engagements. “I myself never demand that I be “I have played memorable concerts with Madurai Mani

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Iyer too. His raga alapana was divided into three parts, Whenever I hear of a good vocalist, I go out of my way to prefaced by a raga prelude or outline. The first spanned help. Whether I play for him or hear him on the radio or the lower octave up to the lower panchama, the second TV, I give advice to help improvement if the youngster is worked towards the upper shadja, the third travelled open to suggestions. higher towards gandhara and madhyama as the case may Years ago, Jayaraman received a letter about a young be. I had to play after each part. If I stopped, he would vocalist of promise. He was to sing at a festival in nod his head – a sign to go on with it. He enjoyed it and Coimbatore during the afternoon session on the day of delighted in the applause I received. Such magnanimity Jayaraman’s evening recital. Jayaraman went early to listen is rare.” to the youngster. Impressed, he complimented him. He Jayaraman asserts that these opportunities were not also told him, “If you are willing to improve with practice, handed out of sympathy, but came through recognition I will play for you”. The unknown singer was dumbstruck of his work, his capacity to heighten the glory of the main by the senior vidwan’s offer. Not stopping with words, performer through excellent shadowing. His fillers gave Lalgudi organised a concert for the boy at Sri Krishna Gana Sabha with himself on the violin to draw crowds. a fillip to the whole recital. “I used to compete with them “He did not fulfil expectations on that day; perhaps he in all aspects of raga and laya. My photographic memory was awed by the seniors playing pakkavadyam. But was an invaluable aid – a memory that had recorded and I got him to perform again the next year. This time he absorbed music from childhood.” received an exuberant response. Today he is at the top. Lalgudi Jayaraman has played with three generations of He is blessed not only with a vibrant voice but intelligence musicians who can be divided into eight groups according and skill in handling all aspects of classical music. Today to their levels of seniority: I feel happy that I encouraged a deserving case and helped it shine forth.” ™ Mazhavarayanendal Subbarama Bhagavatar who belonged to his grandfather’s generation; before if not The young artist was none other than the crowd-pulling with Tiger Varadachariar. T.N. Seshagopalan. “Even now I am ready to help any deserving youngster that comes to my notice. I don’t ™ Palladam Sanjeeva Rao, Maharajapuram Viswanatha expect perfection but only promise. I was not born Iyer, Ariyakudi Ramanuja Iyengar, Musiri Subramania Iyer, perfect. Perfection comes only with practice and repeated Chittoor Subramania Pillai and Semmangudi Srinivasa performance experience”. Iyer among senior musicians. Violin-veena-venu ™ GNB, Madurai Mani Iyer and the Alathur Brothers, from the next group. Jayaraman mentions another he has helped in a different manner. This was Ramani the flautist whom he had ™ After this came T.K. Rangachari, Sathur Subramaniam, refused to accompany earlier because of problems in Mayavaram Rajan, Tanjavur Lakshminarayana Bhagavatar pitch alignment between flute and violin. When Ramani and Kalyanakrishna Bhagavatar. agreed to change his pitch to one suitable for the violin, ™ K.V. Narayanaswamy and T.M. Thiagarajan. Lalgudi did accompany him. A few concerts of flute and violin generated an idea in Jayaraman’s mind. Why not ™ Nedunuri Krishnamurti, Maharajapuram Santhanam organise a nada-vadya-kutcheri on the lines of tala-vadya- and M.D. Ramanathan are prominent members of the kutcheri! Only, instead of the mridanga, khanjira, ghatam sixth group. and konnakol, sruti vadya-s would be featured. After ™ Trichur V. Ramachandran, T.V. Sankaranarayanan and some thought, Jayaraman discarded the nagaswaram with Madurai T.N. Seshagopalan. its overpowering individuality as unusable. He instead combined the violin, the veena and the flute, believing that ™ O.S. Thyagarajan, a representative of the next generation three instruments could together present a terrific variety whom Jayaraman accompanied many times. of tonal combination. Lalgudi, Ramani and Venkataraman came together as a trio. Lalgudi continued to play the accompanist’s role even after establishing himself as a senior solo artist because he These violin-veena-venu concerts were runaway successes. believes that vocal music is the “king” of Carnatic music. Here was an innovation that nourished tradition, pleasing “Unfortunately the level of this mainstream is falling. the layman without offending the purists. The team had to

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Lalgudi, Ramani and Pichumani (violin-venu-veena) playing in the presence of the Paramacharya at Suruttappalli be disbanded soon because of the difficulties of organising Jayaraman later performed jugalbandi-s with others such programmes involving so many busy artists and the time as sarodist Amjad Ali Khan (with whom he released an needed for planning and combined practice. Two long LP) and flautist Hariprasad Chaurasia. “Both must be playing gramophone records do preserve the efforts of equals in merit and talent. There must be mutual respect Jayaraman, Ramani and Venkatraman in this direction. and understanding. The jugalbandi must not become an 75 concert offers had to be turned down. Jayaraman hopes open war! Cooperation is essential,” said Jayaraman. to revive the nadavadya concerts at a future date – perhaps Some of the more popular discs of Lalgudi are those with with other musicians – stepping into new directions, Palghat Mani Iyer and Palani Subramania Pillai. An LP demonstrating the kind of orchestral harmony compatible featuring Jayaraman and Srimati in a violin duet became a with our melodic system of music. Meanwhile lack of time and the need to train many artists Jugalbandi with Amjad Ali Khan for such a purpose are the problems to be surmounted. Other experiments Some time after the VVV venture, Lalgudi went off the beaten track again. His keen interest in all good music took him to hear Ustad Vilayat Khan’s sitar recital while at Delhi. “Vilayat Khan’s music conquered my heart. There was the fluidity of the instrument as well as the total involvement of the artist with his theme!” A year later, the Bala Subramania Sangita Sabha organised a jugalbandi featuring the sitar (Vilayat Khan) and the violin (Lalgudi), the tabla (Shanta Prasad) and the mridanga (Trichy Sankaran).

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A memorable mikeless concert A violin solo presented by Lalgudi Jayaraman in 1983 in Chennai at the Rani Seethai Hall, was one of the most memorable concerts I have heard. It had many distinctions to its credit.

It was a farewell function for Dr. Thomas, who was the Director of the Alliance Francaise at Chennai. Both Dr. Thomas and Mrs. Nhung Thomas, were ardent connoisseurs of Carnatic music. Closely known to both the parties, I was actively involved in the programme as facilitator and organiser.

In the Western musical tradition, from which the violin has been adapted, it occupies the pride of place as the ‘King of Instruments’. The soloist stands and holds the violin on his shoulders and wields the bow in full range. There is an air of majesty about it. The practice in India has been different, to suit the ‘gamaka’ requirements of our system.

As we planned a mikeless concert in deference to the wishes of the couple and as a special tribute on the occasion, we had a rehearsal earlier, to check the acoustics of the hall, with Jayaraman playing from different positions on the stage. We then decided to place the platform, not in the usual central position, but in the front portion of the stage closer to the edge, near the orchestra pit. It worked out exceedingly well. The desired effect was achieved to full satisfaction.

The hall was packed with an elite audience, which was treated to a sumptuous feast of violin music. Ramani, Lalgudi and Manna Srinivasan MANNA SRINIVASAN must for every music collection. The bestseller however is suddha aspects. They begin to respect the artist and want to the one in which he has played his own tillana-s with an listen to him again. A love of music is developed through orchestral background. frequent exposure. I have known people who asked for the price of music by the kilogram turn into pillars of support “North Indians, foreigners, dancers, students, youngsters for Carnatic music – not only rasika-s but devotees of the all of them like this instrument ensemble with its varieties art, some who heard my violin concerts were stimulated of rhythm. One reason for these – my out-of-the-common enough to begin learning the instrument, yes, even outside attempts is the need to attract youngsters. The giving Madras”. of the old and the traditional – however imaginatively presented – may not interest youth at first. The pull of For one so broadminded in his outlook, Jayaraman presents variety and novelty must be judiciously exerted at times.” a strange streak of chauvinism in his refusal to accompany In this context, Jayaraman mentioned a concert he once women vocalists. He confesses that it is difficult for him gave at the Max Muller Bhavan, where he played only the to overcome early training, which restricted him to male raga Todi for three hours – in the form of a varnam, kriti, company. Yet he is willing to do it if it can be done without raga alapana, pallavi, javali and tillana. And people wanted a fall in the quality of music. “No, no, a fall does not imply him to repeat such a recital featuring just one raga per that women are inferior musicians. Perhaps the ladies evening. Among them were many youngsters of whom were not always trained to highlight originality. But today Jayaraman says, “Once they hear classical music presented women are more efficient, show greater concentration and in a manner they like – they may move on to Carnatic dedication in music as in other fields. They have cultivated

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a research-oriented approach and are self-assured on the “I don’t think our people will understand your music. The stage. They are the equals of men in imagination and scheduled 45 minutes may be too much for them. Reduce intelligence.” Jayaraman claims that the violin loses its it to half an hour to avoid a fiasco. Poor Jayaraman did sweet richness of tone when tuned to a woman’s vocal not know how to tackle her. “Please wait,” “let us see,” and pitch. “In the lower reaches, it sounds harsh or colourless. “come after the concert” were phrases he uttered to signify In the higher reaches, it seems to wail. A violinist cannot polite refusal. After this harrowing prologue, the concert give his best when hampered thus”. began with Enta nerchina (Suddha Dhanyasi). After that Jayaraman played the second and last item – a ragam- Foreign tours tanam-pallavi in Kalyani. There was a standing ovation Mani Iyer is a name that triggers some cherished memories and Lalgudi had to take his bow six times. Lalgudi also – it is connected to his first foreign tour. The master played at the embassy for the Moscow Indians who could bowman’s enthusiasm overflows in his description of this not get seats for the show. event. “In 1965, Palghat Mani Iyer came home with a Lalgudi’s trips to the United States of America require letter from Yehudi Menuhin requesting my participation special mention. The first was in 1971 at the invitation of at the Edinburgh Music Festival. If Mani Iyer’s visit was Dr. V.R. Viswanathan who had just started an East West a surprise, the news he brought was a stunner! Until then exchange organisation. “My accepting the invitation at I had seen aircraft only zooming in the distant skies. I never even dreamt of boarding a plane. My heart raced… Festival of India in Russia (1986) but everything was in Appa’s control. He was not only my father but my guru to be implicitly obeyed. Would such a strict man allow me to cross the ocean? Appa’s words to Mani Iyer opened up a new world. “If you are going I will send my son”. And so began a one-month tour of Edinburgh, Liverpool, Birmingham, Nottingham and London. The pageant of a prestigious foreign festival unrolled before the wondering eyes of the musicians from Madras. Menuhin had organised a “four-directional” display of world music, comprising East African music, Western music played by Menuhin himself, Ravi Shankar’s sitar and Carnatic music by KVN, Lalgudi and Palghat Mani Iyer. All four were performed on the same stage in one evening within successively allotted time limits. Menuhin introduced each. His special remarks were reserved for Jayaraman. He told the Western audience of “a familiar instrument playing unfamiliar music,” calling their attention to the difference in the violin’s position and the loosely held wrists which manipulated glissandos and vibratos, the glides, curves and oscillations peculiar to the Carnatic system. These programmes were held in other cities too. Jayaraman also visited Menuhin’s home, where he played and answered the maestro’s questions about raga-s and tala-s. Another significant tour was of the Soviet Union in 1971 as part of an Indian cultural delegation. It was a challenge to reach out to a Russian audience that knew next to nothing about Indian music. The concert was held in a huge Moscow auditorium with 3000 seats all booked. The Russian secretary of the organisers warned Lalgudi.

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once without any enquiry into the financial remuneration surprised him and he talks of it to this day”. Twenty eight concerts were fixed. Jayaraman was asked to bring the flute or the veena and so he took N. Ramani with him. Indian listeners were thrilled and Westerners too were drawn to his music. Upon his return to India, Lalgudi received the title Sangeeta Choodamani from the Federation of Sabha- s at the Music Academy. Another honour was in store for Jayaraman. The International Music Council of Paris and The Asian Pacific Rostrum collected the recorded tapes of top ranking artists from 17 Asian countries from different radio stations. There were 77 entries in all for best musician. Seven judges (all foreigners) at Baghdad gave the largest With wife Rajalakshmi number of votes to the man from Lalgudi. In connection with this a traditional violin festival was held in Germany, on the nature, origin and place of the violin in Carnatic France and Belgium featuring four violinists from Egypt, music, its potential and special qualities in comparison Yugoslavia, Ireland and India. Jayaraman played with with other instruments. He has also spoken about the mridanga support. specific methods of attracting the young to classical music, the steps to be taken by parents, artistes, cultural Jayaraman was next sent to the second session of the 1982 organisations and the government. He has explained the Festival of India held in London by the Indian Government, melodic and rhythmic aspects of music before a university where, according to Jayaraman, his jugalbandi with Ustad audience abroad. Amjad Ali Khan was the greatest hit of the season. After concerts in Germany and Italy in 1983, many rasika-s Jayaraman counts the time spent with his family precious. from the U.S.A. invited him to come over – the seventh “I am lucky in my life partner Rajalakshmi. She takes care call in twelve years. The violinist had refused all invitations of all the practical problems of housekeeping so that I am because he couldn’t afford to leave the home field for able to pursue music with a trouble free mind. My happy two or three months. But this time the Carnatic Music house is half the reason for my success.” Rajalakshmi has a Association of North America (CMANA) organised a keen interest in music, but confines her own singing to the one-month tour. During this tour Jayaraman played to pooja room. She has been a constant source of strength audiences which included a great many Americans and and support as her husband’s rasika. gave a lecture demonstration at the Yorke University in Toronto with Trichy Sankaran. Jayaraman loves congenial company. Talking to friends about music, reading books and magazines and discussing Simple pleasures their contents, teaching or composing music unravelling riddles, these are some of his pastimes. “The morning walk His travels and experiences have not made Jayaraman is a must for me. I am conscious of healthcare through right blase. He finds joy in simple things. He can crack jokes at food and exercise. Musicians of the past have not always himself as at others. His ready wit lightens the mood when cared to cultivate physical fitness and stamina which alone the going gets heavy. In the long dialogues with Sruti, the can stimulate the mind to creative heights. soft well-modulated voice revealed eloquence. He can support his ideas with colourful illustrations, sandwich Jayaraman has thought constructively, positively and yet them between anecdotes. His graphic descriptions paint realistically about the last period of an artist’s life when the scene before our eyes. He can parry ticklish questions his art wanes. The crowds dwindle and he gets fewer with crisp repartee or a graceful smile. He is sure of the and fewer concert offers. The artist must be prepared ground he stands on, aware of his powers. to face this truth. He can avoid despairing self pity if he has cultivated wide interests outside the world of music. In the lecture demonstrations he has given in many cities That is the secret of serenity. he has impressed with his clarity of presentation and depth of thought. He has spoken on various aspects of Carnatic Despite his extremely busy life, Jayaraman has found music, on the art of appreciation, on raga-s and tala-s, the time to teach his children to play the violin and

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have fun with them too. Sometimes the family goes tender, sensitive. Now I treat praise and blame in an equal to Nandi Hills in Bangalore where they relax in each light. My mental outlook is ruled by this: “Don’t take other’s company, go for walks, play games, pick flowers success to your head or failure to your heart.” There is a surge and of course practise the violin. Jayaraman is as in his voice when he says, “I am grateful to circumstances concerned about his son Krishnan and daughter Viji that placed me in the midst of veteran musicians from carrying on the family tradition to fresh pastures of whom I learnt a lot. But these I improved upon, to greater heights. This aim has made him spend formulate my own style. My significant contribution considerable energy in training them who came to him for through my individual style as accompanist and soloist, instruction. as composer and artiste, has been the establishment “I have come up in the midst of controversy and criticism; of this truth, that melody is the life of our music and of course there have been moments of glory as when rhythm can only be subservient to it. Already you Chowdiah told me that my Athana infused new life see everywhere the influence of this trend – adattal into him and made him forget his 250-mile drive to the has decreased. Chilli powder does add to flavour and kutcheri. Dwarm Venkataswamy Naidu once held my taste. But can it become the staple food? Both artist hands and declared ‘Deeni violin cheitulu’ (These hands and enjoyer have realised this.” „ were made for the violin)”. (The author, a former assistant editor of Sruti, is a deputy editor in “Slights did have the power to hurt me when I was young, The Hindu) Lalgudi Days Sadhana Rao seven-decade musical journey intensely lived by a musician would evoke a plethora of stories Aand anecdotes about the artist and his craft. At

four score, violinist Lalgudi Jayaraman braving the odds SHA PRITEESH of senescence and fragility of health sits in an easy chair, his mind a storehouse of reminiscences and recollections. Ensconced in his study, flanked by his son and daughter (both violinists), surrounded by memorabilia and keepsakes of his long innings in music, the violinist shares the story of his journey. Humility and reserve texture the opening conversation. A mention of a tillana composed by him wipes away the reserve. In full swirl and swing, he speaks about his commitment to this short, crisp, rhythmic form generally performed at the end of a concert and widely used in dance. He nods at the suggestion that the tillana came to Carnatic tradition from Hindustani’s tarana which Ameer Khusro is said to have invented. His eyes sparkle with delight. Followed weeks of generous hospitality and impromptu music soirees. Music has a way of opening some unlikely doors. I get to see the Lalgudi aura, an aura of a musician who found his juste milieu, the golden mean of his musical and life’s graph. hands, when he glides his bow over the strings whether in To the music world, Lalgudi Jayaraman has given a a sanft pace or schnell pace or holds his fingers to sustain a specific music expression and style that is referred to as note, he creates such patterns of sounds that it does appear the ‘Lalgudi bani’ – a proportion of melody and rhythm the violin and its fine grained maplewood have burst into that come closest to reproducing the effect of vocal music song. In his composer’s hands, he elicits a multidimensional from a violin: he makes the violin sing. In his musician’s musical score from an instrument that is essentially

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mother tongue, Lalgudi said, “It is in hindsight and with the onset of age I may feel the hardship of traversing from an accompanist to a soloist, but at that time I had

PRITEESH SHA PRITEESH no fear and was ready to walk anywhere with my music. By 27, I began composing.” His childhood was marked by an austerity that did not skimp on two things: food and music. In his village, Lalgudi, with power scarce and the radio a luxury, the 14-year-old Jayaraman would run two kilometres from his home to the village square where the municipal speakers beamed out live concert music from the radio. He had memorised the broadcast time-table so that he would not miss the latest Chennai concerts. Whilst other young boys played, he would listen to whole concerts. Then he would sprint home and on his violin reproduce the nuances of the music he had heard. Four years later at his very first concert with the great Madurai Mani Krishnan garlanding his guru-father at the Lalgudi 80 celebrations Iyer, the singer was completely taken aback by the preparedness of his teenaged accompanist. An astonished two-dimensional and the smallest member of the string Mani Iyer said, “You played as if you have been playing family (the shortest strings produce the highest sound) – with me for years!” a score that in its rendering and resonance fills up auditoria and draws in listeners. In Carnatic music concerts, it is a fairly common practice for the lead artist, to take sudden twists and turns without “His violin-playing and compositional logic have given warning. These are challenges flung at the accompanying an intense texture to Indian classical music particularly artist and as delightful as it is for the audience, it can be the Carnatic tradition,” says Dr. Karaikudi Subramanian, a terrifying, white-knuckle sport for the accompanist. an ethnomusicologist and old friend of the maestro. Even as a young man, Lalgudi would coolly pick up “My father’s work has the ability to draw the rasika’s these quicksilver gauntlets tossed out by the vocalists. attention within a few minutes,” says Vijayalakshmi his The original repartee of his violin would make concerts daughter. “He draws you to music, makes you feel it, engaging and vibrant. Audiences developed a taste for befriend it, understand it and in that way we are able to these musical debates as the lines between the main and continue the Lalgudi tradition,” adds son G.J.R Krishnan. accompanying artist got blurred. The violinist slowly took In an age of visual imagery and popular music, the Lalgudis’ centrestage and audiences began to pour in for solos on the classicism has found its way to endure and peeps out from violin. On stage he had the demeanour of a sure general ubiquitous music portals. Mobile phones have caller tunes marshalling his troops into perfection. Off stage he has the with the maestro’s vani. Albums of Lalgudi kriti-s are persona of a gentleman who invites you to love music. carried around in I-pods. In his performances, audiences His body of works has come to serve as a guide to raga-s, share seats and the aisles lack toe space. as he has a simple yet profound way of distilling a raga. Disarmingly, Lalgudi brushes away references to the He has the soul of a vaggeyakara. The Lalgudi power of his music. However he avers to the power of varnam-s and tillana-s have passed through the sieve music, “Sangeetam is mukhyam, to life as is breathing… of time, some going strong forty years after they were and my instrument is at best a medium to convey my first heard. By composing in Neelambari and musical ideas”. Devagandhari, he disproved a belief that such raga-s would be unsuitable for varnam-s. (His popular By early adolescence Lalgudi had got willingly entwined varnam-s are those set to raga-s Valaji, Bahudari, into the pull of commitment and rigour that classical music Charukesi). Dancers gravitate towards Lalgudi’s tillana- demands. Along with his violin and musical ideas he made s as he manages to balance the exactitude of rhythm a home in Madras where vocal music held paramount with the curlicues of melody. The soundscapes have a firm sway. Eyes mellow with reflection and reverting to his base in the principles of eurhythmics yet have a feather-

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weight lightness to showcase the fluidity of a dancer’s craft. Lalgudi selects video recordings of his offspring and their recent concert and cajoles us to watch. The mellow eyes SHA PRITEESH of a father concentrate on the screen and a guru’s hand keeps talam and follow the concert. We get a rare treat as Vijayalakshmi and Krishnan give a demonstration, chamber music style, chosing raga Bhairavi, with their father joining in even as a singer. The din of T. Nagar, where they live, does not diminish the flow of music. As the Bhairavi flows, we get the feeling that the Lalgudi trio have added emotion to the grammar and doused logic with melody, which makes their music so esoterically different. As an artist Lalgudi was closely connected to sound, pitch, tones, notes and raga-s subliminally. He had lived with the violin for so many years, and understood the type of violin strings, their tension, the degree of pressure to be exerted on the bow, the bowing speed, how the vibrations Vijayalakshmi with her guru are transmitted via the violin bridge, soundpost and brass “Neighbours and family constituted the first audience as bar. It was this intimate knowledge of music and the my husband sang and played his violin. Our house was a instrument that he has been able to convey to his students coffee house where you got music too.” It is evident from in a lucid decantable form. “Learning lessons started very the rapport amongst them that the family has lived early for us as we were whisked off to isolated hamlets together, through public and intimate moments of deep in the southern mountains,” recalls Krishnan. For music, as well as the pleasures and vicissitudes of a hours they had to practice from sunrise to sunset, the book musician’s life. Krishnan says, “Important celebratory ends of their day. moments for us were when father won the National Krishnan decided not to be an accompanying artist, to fly award for music he composed for the film Sringaram solo, at age forty, ten years ago. His energies are spent on (2006) and after the Edinburgh festival, when Yehudi continuing the Lalgudi tradition and developing his own Menuhin’s appreciation followed in the form of the gift signatures on the violin and giving concerts with his sister. of a violin of Italian origin.” He is open to jugalbandi-s, as they are an open platform Both Krishnan and Vijayalakshmi consciously chose to for exploring different genres of music. Vijayalakshmi, a be within the fold of music and particularly chose to be couple of years younger to her brother, still plays as an violinists. Given their musical history, it has been a tough accompanist but is most comfortable playing with her call. Carrying forth the praxis of their father’s music sibling. “My brother is as tough a concert partner as was my tradition – adapting the tradition to form a habitude father, but there is a huge comfort zone as all gender bias that they can call their own – constantly judged within against a lady violinist are mitigated.” Hearing them play a the circumference of their father’s genius, has had its fair composition of Muthuswami Dikshitar in raga Hindolam share of baggage to carry and contend with. With giving each other space, neither trying to outshine the charming candour they say they see less of a father and other, explains their strength as concert mates. Both are more of a guru. immensely interested in the pure sounds of chamber music and want to explore the genre. In a recent chamber music Krishnan and Vijayalakshmi were bequeathed music as concert they gave in Amsterdam, they realised how well their inheritance. Celebrating the four score milestone their style of music lends itself to chamber music. of their father and guru, they have encapsulated their learnings from their deep and vast tradition, in a compact As the lady of the house serves coffee, Vijayalakshmi says, disc, with their own signatures and embellishments. The “My mother’s coffee-brewing steps match the precision violin continues to sing. and perfection of my father’s tillana.” Mrs. Jayaraman, (The author is an independent writer and researcher based in quite clearly the supporting pillar to the three violinists, Chennai. She writes on travel, music and literature. She can be recalls their first rented home in Teynampet, Madras. reached at [email protected])

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ANALYSIS OF MUSIC OF LALGUDI JAYARAMAN UNIQUE PROGRAMME, FIRST OF ITS KIND 'T1 heSruti Foundation 'spro- N. Balas- Lalgudi? violinist himself; Sulochana ■*■ gramme offering an illus- ubrama- Pattabhi Raman, a respected trated analysis of the music of niam, Sem- In the musician-teacher; Sruti staf- Lalgudi G. Jayaraman as a mangudi event.thepro- fers P. C. Jayaraman, T. S. violinist and a composer has Srinivasa gramme drew Vedaghi and Sujatha Vijayar- been hailed as the first of its Iyer and the praise as much aghavan; and Sruti Publisher kind and a path-breaker. family of for its me- P. N. Sundaresan, whose spe- V e e n a thodical ap- cial responsibility was to track A systematic study of this Dhanam- proach, de- down recordings of Lalgudi kind based on a scientific ap- mal. When, tachment and Jayaraman and select and proach had never been under- in this con- neutrality, as present for analysis a collec- taken in Carnatic music—or text, R. Shriram Chairman Thyagarajan for its contri- tion representative of the even Indian music—before. Thyagara- garlanding Lalgudi (MANI/RAMAN) bution to an maestro's long career. The programme was held on jan, Chairman of the Shriram understanding of the features 16 September at the Sadguru Group requested the Founda- of Lalgudi's music. In carrying out the study, Gnanananda Hall of the Nar- tion's help in marking Lalgudi the Group followed a method- ada Gana Sabha in Madras. Jayaraman's birthday in a The programme was based ology devised by Pattabhi meaningful on a deep and Raman who has many years of The historic event as well as manner, analytical experience in research and the study preceding it was the idea of study of the analysis: listened, collectively sponsored by the Shriram starting the subject, car- and individually, to tapes of Group Companies of Madras study with ried out over a numerous concerts in which as a tribute to Lalgudi Jayar- Jayar- period of Lalgudi had performed in one aman in connection with his aman's mu- three months, capacity or another; identified 61st birthday. sic was by a Study and discussed the features of born, he Group con- N. Pattabhi Raman, Manag- added. Lalgudi's music; and reached ing Trustee of the Sruti Foun- vened by the agreement on what should be dation, explained that he had Pattabhi Sruti Founda- highlighted in the public pres- been exploring, with those Raman dis- tion. The entation. concerned with institutional- closed that Study Group ised training in classical music, some per- consisted of N. Pattabhi The public presentation of the need for developing learn- sons had the analysis was preceded by a ing resources of the analytical asked: Why Raman (as leader); vid- brief 15-minute function dur- kind and in this connection, Lalgudi? ing which Lalgudi Jayaraman the Foundation had had under He said wansS. Rajam and R. K. and his wife Rajalakshmi were consideration a project aimed that, be- Krishnan. demonstrating greeted and garlanded by the at making analytical studies of sides explaining the circum- Venkatarama Sastry; Dr. N. Chairman of the Shriram the music of great maestros, stances in which the study was Ramanathan, Reader in the Group Companies, represen- beginning with that of Ari- initiated, his answer was a Department of Music of the tatives of various sabhas, and yakudi Ramanuja Iyengar, G. counter-question: Why not University of Madras and a individual rasika-s. Ramanathan. Vedagiri, Sastry (MANI/RAMAN) Sulochana. Rajam, Pattabhi Raman (MANI/RAMAN) The presentation fell statements on the component Study Groupnoted. There was broadly into two parts: a six- elements of Lalgudi's music- no doubt, it said, that Lalgudi hour analysis using taped ex- presenting dispassionate evi- Jayaraman had taken the vio- cerpts; and a further 90-min- dence, as it were, before add- lin farther along the road of utes ' analysis focussing on ing them all up to reveal the development than any other Jayaraman's dance composi- strengths and weaknesses of and that, although not a pio- tions, complemented by dance Lalgudi's music. neer himself, hehad built a fine demonstrations. This two- and ma n y-splen dou red edifice part presentation was fol- This approach was as much on topof the foundation laid by lowed by a Question & Answer admired by Lalgudi Jayar- others. He was not merely a aman himself-the maestro session in which Lalgudi Jayar- top class violinist but also a top was present at the programme Sujatha aman responded to questions class musician, the Study posed by members of the audi- throughout the day—as by the large audience which was pres- Group explained. dem violinist for more than 30 ence; and a series of four half- years. It identified the Lalgudi hour music performances ent. Starting with some 400 Lalgudi Jayaraman had persons in the morning, the bani as one of the other ingre- which featured the composi- given innumerable so-called dients of his success and went tions of Lalgudi Jayaraman audience grew to fill the hall 'solo' concerts but the Study early in the afternoon. on to describe the important and his father, the late Lalgudi Group wondered whether all characteristics of this bani as Gopala Iyer. those in which Jayaraman had follows: A lively quiz conducted another violinist playing in early on only served toempha- tandem could be termed as The use of the violin to The first part initially fo- sise the low-keyed and imper- solo. The dictionary definition project music as sung. cussed on the music of Jayar- sonal manner of the Study Group's analysis of the music of Jayaraman as a violinist and as a composer of concert var- nam-s, kriti-s and tillana-s for concerts. The quiz was aimed at demonstrating the difficulty of identifying the vocalist Lalgudi had accompanied, on the basis of excerpts from the violinist's alapana responses. The Study Group later re- vealed that the quiz was con- ducted to underscore its find- ing regarding Lalgudi as an accompanist. While listening to performances in which Lalgudi was a sideman, the Lalgudi in the front row (MANl/RAMAN) impression was gained that the TRS speaking before Q & A session (MANI/RAMAN) aman as an accompanist in violinist was playing in exactly of a solo is a performance by An intellectual or thought- vocal concerts and as a main the same style as the main art- one individual, with or without ful approach to music. ist, but this wasnot correct, the artist. After an initial half hour accompaniment. It had been Fidelity to grammar and Group said. It explained, suggested that this was a West- devoted to an examination of adherence to aesthetics. the violin techniques devel- however, that Lalgudi suc- ern concept and should not be oped by Lalgudi Jayaraman— ceeded in complementing the applied toCarnaticmusic. The Structured alapana-s. an exercise which was ably main artist's approach, style Study Group said that if the assisted by G. J. R.Krishnan- and mood and thus helped concept should not be applied, Fidelity to sahitya arising the Study Group presented its enhance the impact of the per- the term solo also might be from a knowledge of lyrics and findings. Pattabhi Raman, Dr. formance. It added that he was discarded. ability to singthe songs compe- N. Ramanathan andS. Rajam perhaps the first violinist to tently. appreciate the importance of a However, acknowledging served as the principal spokes- Respect for sahitya bhava men, while P. C. Jayaraman sideman not disturbing the Jayaraman's lead role even in mood and tempo of the main tandem performances, the and use of sangati-s bearing a played, on cue, excerpts of dsitinct stamp. taped music serving to illus- artist. Study Group suggested that trate their observations. Fol- perhaps Lalgudi needed four Buildingin of laya intricacies hands to give expression to his lowing a prepared script- Another major observation P. C. Jayaraman musical ideas and concepts there were no freewheeling of the Study Group was the and this is why he had been remarks by any member-they success Lalgudi Jayaraman using an extra pair of hands as drew attention to different had achieved in making the second violin in his 'solo' con- elements of the ethos, ap- violin, a mute instrument, to ioli certs. proach and style of Jayaraman articulate the words of the lyr- as a violinist. If the search for ics. Even if he was not the first The Study Group drew at- truth is often compared to the to do so, he had made a major tention to Lalgudi Jayar- peeling of an onion layer by contribution in this area, ap- aman'ssense of discrimination layer, the Study Group's ap- plying his musical perceptions and intelligence in developing proach was the opposite. Its and the techniques he had the kutcheri pattern which had 6 members made objective evolved by trial and error, the sustained him as a solo or tan- in swaraprastara and, in gen­ varnam-s and 28 tillana-s as kshepam by the veteran Bala- trained by Sulochana Pattabhi eral, the use of Iaya without well as five kriti-s-had to be krishna Sastri, while the other Raman; Bombay S. Jayashri sacrificing melody. compressed into a relatively members of the Study Group (vocal); S. F. Ramh (vocal); short time. The main point had been low-keyed and mat­ and G. J. R. Krishnan & J. Use of the feature called made was that Jayaraman had ter-of-fact, giving their pres­ Vijayalakshmi (double vio­ poruttam. composed most of the pieces entation the aspect of an lin). The choral group sang Special attention to ragam- for use in his own concerts and upanyasam. This was a com­ three tillana-s composed by tanam-pallavi. built into them embellish­ ment from a member of the Lalgudi, while the others ren­ ments and laya intricacies audience. dered compositions of Jayar­ Interpretation of lyrics in which would help bring out aman as well as those of the the lighter pieces aimed at the potentiality of the violin The rest of the memorable late Lalgudi Gopala Iyer. creating a mind-picture of the more than other compositions all-day programme was as in­ Jayaraman's own disciple Vit- meaning. did. teresting as the analytical tal Ramamurthy provided parts. Following a brief com­ violin accompaniment for the Some other aspects popu­ Sujatha Vijayaraghavan of ment by Prof. T.R. choral group and for Jayasri larly linked with the Lalgudi the Study Group next took Subramanyam of the Univer­ and Ramh, who are also bani should not really be con­ Lalgudi Jayaraman's dance sity of Delhi who commended Lalgudi's disciples. R. Ra- sidered as among its basic ele­ compositions for discussion. the Sruti Foundation for the mesh was the mrindagam ac­ ments, the Study Group said. She explained and offered unusual programme it had companist in all the four con­ Among them: a general ten­ deep insights into a produced and said Lalgudi's certs. dency to give volume at the jatiswaram, three pada var­ music was worthy of such a beginning of various pas­ nam-s and a tillana. She was study as had been produced, The programme came to a sages; and the tendency to assisted by six dancers trained Jayaraman answered a num­ exaggerate the oscillations or close some 12 hours and 15 by Rhadha in demonstrating ber of questions consum­ minutes after it had started. If gamaka-s, specially when the excerpts she had chosen mately. In response to one turning a phrase. These were it was a day that the family of for illustration. She also of­ question on the state and fate Lalgudi G. Jayaraman would mere mannerisms, the Study fered a dance visualisation of of Carnatic classical music Group explained. cherish, it was also a day dur­ Lalgudi's handling of Subrah- which was suffering from de­ ing which hundreds of rasika-s mania Bharati's Teerada vil- clining listener patronage, he In its concluding observa­ listened keenly and quietly to ayattu pillai, in which he had said this was a matter where what was really an academic tions on Lalgudi the violinist, succeeded in picturing many he wished all parties con­ programme on music. Too, the Study Group again reiter­ scenes vividly. Her analysis cerned—musicians, acade­ when the members of the Sruti ated that he was as great a too was very well received and mies, sabhas, rasika-s and Foundation Study Group musician as he was a violinist many in the audience could be business patrons-would join could feel their efforts had and that he should not be heard remarking that she had together and fashion and im­ borne fruit. All round, the compared with other violinists enabled them to understand plement a programme to re­ satisfaction would have been only. the lyrics and music of the var­ vive the fortunes of kutcheri greater if young musicians had nam-s for the first time. music. taken the trouble to attend the The Study Group's analysis Sujatha was exuberant and of Lalgudi Jayaraman's com­ novel programme in large her presentation was more in numbers. positions for the concert the nature of a katha kala- The evening performances stage-which comprised 13 were given by a choral group SRUTI STAFF

NRITYA PARINATHA IN BANGALORE FOCUS ON THE VARNAM he rendering of varnam, In organizing this year's that only some raga-s are ide­ About a dozen participants Tthe centre-piece of a Nritya Parinatha, Vishwakala ally suited for varnam-s. in the festival judged to be Bharatanatya recital, was the had the collaboration of the outstanding are likely to be focus of the Nritya Parinatha Karnataka Government's The standard exhibited by included in a group which will festival held 3-17 August in Department of Kannada & the participants was mixed, as be given intensive advanced Bangalore. Culture, as it did last year too. might be expected. While gen­ training by special teachers erally it was good, in a few under a scheme of the Depart­ The festival is one of two— The festival drew partici­ cases there was an obvious the other is Nritya Navaratri- ment of Kannada & Culture pants from various parts of need to lay more stress on nri­ and the South Zone Cultural conducted every year over Karnataka. It presented tya, angasuddha and abhi- the last 15 years by Vish- Centre. Some of them may dances in other styles also, naya instead of on costumes, also be included in a new proj­ wakala, a Bangalore-based like Kuchipudi and Kathak, makeup and orchestral music. cultural organisation. The ect of Vishwakala called besides Bharatanatyam. The latter at times hampered Bharat Kala Darshan. This festivals and other activities the young performers. of the organization are aimed The young dancers and project is being launched to at the propagation of the cul­ facilitate the presentation of their teachers exhibited a the essence of Karnataka's ar­ tural traditions of Karnataka Among the participating keen sense of competition in tistic traditions, in the form of and the encouragement of presenting their items. Of the dancers, Lakshmi young and talented artists in music, dance and theatre, in varnam-s presented, those in Gopalaswamy, Jayanthi, classical as well as folk styles in the fields of music, dance and Natakurinji, Dhanyasi, An- Rekha Srikantan, Roopa Ra- theatre by providing them important States in India and andabhairavi, Charukesi and jagopal, Deepali Ramdas, finally in New Delhi. with adequate training facili­ Dharmavati stood out. They Sujatha Krishnan and Karuna ties as well as suitable arenas were of course, in different Vasudev impressed more than A SPECIAL for displaying their talents. tala-s. The parade suggested the others. CORRESPONDENT 7 NEWS & NOTES

Special Award for Lalgudi From the Music Academy

iolin maestro Lalgudi G. Jayaraman was honoured Vwith the Special Lifetime Achievement Award by the Music Academy on 9th March in Chennai. It was a grand event with VIPs gracing the occasion both on stage and in the audience, in a hall bursting at the seams. The celebrations commenced on an auspicious note with mangala isai by Mambalam M.K.S. Siva who included Lalgudi’s tillana in his nagaswara presentation. The menu was long and varied. From the invocation by Bombay Jayashri, to an interesting multimedia presentation on Lalgudi Jayaraman, the event was peppered with so many speeches and felicitations that Lalgudi Jayaraman receiving the citation from Gopalkrishna Gandhi as N. Murali looks on the last offering — an episode from the famous dance-drama Jaya Jaya galaxy of speakers from the three- Gandhi. For the Chennai audience Devi (music composed by Lalgudi pronged world of sangeetam — accustomed to long winded speeches Jayaraman/ dance choreography by T.N. Seshagopalan, M. Chandra- of mutual admiration, it came as a Rhadha) was staged well past the sekharan, R.K. Srikantan, breath of fresh air. It was erudite, scheduled time. B.M. Sundaram, Chitra Visweswaran, thought provoking, laced with ready and Karaikkudi Mani felicitated wit and humour. Nevertheless, it was a special function Lalgudi the man, his music, his Felicitating Lalgudi he said, “You, in which not only was the awardee creativity, and his genius. Their sir, have done the violin proud. very special, but the one-time award, speeches celebrated their association Holding it in a way the West the chief guest and the occasion too and artistic collaborations with him. were special — the Music Academy would call ‘upside down’, you have taken the violin to the zenith of organised it in connection with its Accepting the award, Lalgudi Jayaraman traced his relationship musical integrity, intelligence and 80th anniversary. As its President with the Academy over the last intention. Your music cannot, will N. Murali said, the Academy was 60 years, since he made his debut not, satiate, for it has been raised honouring a legend and a colossus there as a teenager in the 1940s. from its seven-stringed sadhana by for his monumental contribution In a speech read out by his son the bow of devotion, which to Carnatic music, and in doing G.J.R. Krishnan, he advised young informed your ancestor Tyagaraja so was “seeking to erase a mistake musicians not to view music who worshipped One who also held and aberration”. He was of course as a means to livelihood or riches, another kind of bow”. referring to the non-conferment of but as an act of penance and Reminiscing about the first time the Sangita Kalanidhi on the devotion. The measure of our devotion he heard Lalgudi perform in a hall maestro. to music would determine our in Tanjavur 40 years ago, Gandhi reward, he said. West Bengal Governor Gopalkrishna contrasted the rich atmosphere of that Gandhi presented the citation The highlight of the evening was concert to the technical “fuss”, ringing and scroll to the violin vidwan. A an excellent speech by Gopal cell phones and commercialism of

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concerts in current times. Young to be the preserve of academies; but “To be distinct, yet not elitist; to musicians would do well to look up ought it to become so productified be rare, but not exclusive; to be to legends like Lalgudi Jayaraman as to become a ‘cash and carry’ fastidious, but not fetishist; to for their reference points for affair? Let us acknowledge that innovate, but without gimmickry; professional success, rather than to there is something called musical to conserve without mummifying the idols of commercial music, he intelligence, musical intention and is to be classical,” he said in an said. He appealed to younger artists musical integrity — which, all three, eloquent speech that mixed Tamil to bear in mind that they carry a go to make classical music classical. and English and drew repeated heritage to be conserved rather It is only then that a classical than a skill to be turned into a musician can conserve and enrich, applause. At the end of it Gandhi commodity. Expressing his anxiety continue and contribute, protect received a standing ovation. he said, “Classical music ought not and renew.” S. JANAKI SNA’s Kathak fest in Jaipur

Kathak Mahotsav was organised in Jaipur in March by Kathak Kendra, a Aconstituent of the Sangeet Natak Akademi, New Delhi, in association with the Jaipur Kathak Kendra. SNA Secretary Jayant Kastuar (senior disciple of renowned Kathak exponent the late Durga Lal) had chosen an interesting array of performers for the festival. The mahotsav featured some brilliant artists (both men and women), who deserve wider recognition and for whom SNA provided the right forum through this mega event. The Akademi Ratna Sadasya (Fellow Jayant Kastuar, Governor S.K. Singh, Renuka Mathur and Kiran Bhatnagar at the inauguration of SNA) award was presented to come. Kiran Bhatnagar, Director, his father Nanhu Misra and later Prof. Mukund Lath, eminent scholar Kathak Kendra, New Delhi, and of Birju Maharaj), Krishna Mohan in the field of performing arts, at Renuka Mathur, Kathak Kendra, Misra (son and disciple of the a private function as he could not Jaipur, also spoke on the occasion. illustrious Shambhu Maharaj) from attend the award ceremony at New Delhi, and Rajkumar Javada of Delhi in February. The festival featured an interesting Jaipur (son of another doyen Kanhaiya blend of young, middle and senior Lal), gave memorable performances. The Governor of Rajasthan, dancers representing the different Not exposed much to audiences, S.K. Singh inaugurated the five-day gharana-s, including the Lucknow, their performances radiated an Kathak festival at Ravindra Manch. Jaipur, Banaras gharana-s and the old-world charm, with authentic In his welcome speech, Jayant Raigarh sampradaya. It showcased prayoga-s of their chosen tradition. Kastuar conveyed to the Governor, the different levels of maturity and a message from Dr. Ram Niwas expertise of the dancers in their In Krishna Mohan Misra, one could Mirdha, Chairman, SNA, assuring chosen technique. Some stalwarts see the typical resemblance of his support to the Jaipur Kathak Kendra like Shashi Sankhla of Jaipur, Arjun father Shambhu Maharaj’s mastery. in all its endeavours in the years to Misra from Lucknow (disciple of His nritta pieces were brilliant,

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