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Volume 2019, Issue 2 June 2019 Volume 2019, Issue 4 December 2019

Special Edition on Veena Dhanammal Prof. GS Ramanujan honoured

Prof. GS Ramanujan, senior Mridangam and Ghatam exponent from Mysore was conferred the title “Swaralayashrunga” from Suswaralaya College of Music, Bangalore during their 20th Anniversary function on 01 November 2019 at Pathi Sabhangana, NR Colony, Bangalore. Prof. GS Ramanujan is the grandson of our founder Late Sri G Vedanta Iyengar. Senior Mridangist Srimushnam Raja Rao did the honours in the presence of the packed audience.

Left to Right - Kalavathy Avadhooth (who was also honoured), Prof. GS Ramanujan, Vid. Srimushnam Raja Rao, Vid. M Vasudeva Rao, Senior Mridangist of Karnataka and Shri. Subramanya Jois, Sr. Advocate. December 2019 SRLKM in association with AIR, Bangalore is embarking on a unique program that will deal with why does a specific kriti Shri. R Rangaramanuja Iyengar, respected musicologist and a liked by rasikas? What is special about it? How has the kriti teacher says “To HER, Music is no vehicle for solid, sensuous evolved over time and the way it is presented today, Are enjoyment, but a medium of communication with the soul”. there kritis that are deeply rooted to a specific bhani/style or The person is none other than “Veena Dhanammal” (1867– an individual artist? The unique program will include a talk 1938) who is the foundation on which our current Karnatic as well as rendering. It is quite possible something like this is Music stands today. Veena in front of her name signifying her being attempted for the first time. This is planned to be exceptional ability with the instrument and the school (bh- aired soon in the year 2020. ani) in her name is a manifestation of the pioneering work Violin Vidwan TT Srinivasan son of Late Violin Vidwan TS she did. She is synonymous with tradition, repertoire, aesthet- Tatachar shares a very interesting life sketch of Sangita ics, and everything that is our music today. The current Kalanidhi Rallapalli Ananthakrishna Sharma a doyen from edition of Lalitha Kala Tarangini is dedicated to this legend Karnataka. This is a must read for the youngsters. who is an exceptional representation from the Golden Age of Karnatic music. A lot has been written about Veena Lalitha Kala Tarangini has purposefully served its cause for Dhanammal by experts like Shri. R Rangaramanuja Iyengar, the last 7 years and entering into 2020 which will be our etc. but we at SRLKM consider that our effort is not com- 25th edition. We have covered doyens of music from plete unless such a pioneer is presented in Lalitha Kala Karnataka and other states apart from technical articles. Tarangini. We keep hearing from knowledgeable readers who consider the magazine worth preserving for posterity. We plan to Sri Rama Lalitha Kala Mandira has charted out a 26 days bring out a special edition for our silver jubilee edition. (26 concerts) festival to celebrate 65th years of our service to music. Top ranking musicians and also established musi- I wish our readers a very happy new year 2020. cians knocking at the doors to fame will be performing. Anand S Details of the same is available in the centre spread sheet. It is quite possible that a music festival of this magnitude is Contributors - CP Chikkanna, Vidwan KS Kalidas, Rajani happening in Bangalore for the first time. As always SRLKM Arjun Shankar, Vidwan TT Srinivasan, Ravi and Sridhar, Ra- is expecting the rasikas to attend in large numbers and jashree Yogananda, Anagha Yoganand. make it a grand success. Photo Courtesy - Paniraj, The Hindu archives, Personal Kalaimamani G Harishankar, the wizard on the Kanjira who collection of TT Srinivasan, Personal Collections of Ravi and made his Kanjira do all the talking is a giant whose remem- Sridhar, Personal collections of Late RK Srikantan and their brance day is celebrated by his admirers across the country family, Personal collections of GV Krishnaprasad, Collections in February. Current day Kanjira artistes are indebted to him from Nadasurabhi Cultural Association, The Madras Music for revolutionising the instrument and he is somebody who Academy achieves. gave Kanjira a special place in our music. As a mark of our respect and tribute, we have included a special article on Visit us online @ www.srlkmandira.org and share your Harishankar ji by a senior mridangam Vidwan KS Kalidas. feedback at [email protected]

Sri Rama Lalitha Kala Mandira (SRLKM) founded by Shri. All Rights Reserved- All articles, photographs and material G Vedanta Iyengar in the year 1955 is rendering yeomen appearing in this magazine whether in whole or part is service in the field of music. In addition to music classes, copyright of Sri Rama Lalitha Kala Mandira exclusively. No music concerts are held all through the year. The significant part of this magazine should be reproduced or stored in festivals are Sankranti and Spring music festivals. Mandira any form without prior consent. While Rama Lalitha Kala also takes pride in conducting music awareness program, Mandira takes all the care to verify the correctness of music workshops, Lecture demonstrations etc. Entry to all information, it is quite possible that there could be an oc- program conducted by the Mandira is free as the aim of casional inaccuracy in our publication. the institution is to enable everyone to listen to the best of Magazine Committee the music and to propagate Karnatic Classical Music. Editor - Anand S “Lalitha Kala Tarangini" publication is fostered by Sri Rama Senior Associates: Neela Ramgopal, KS Kalidas, Dr. Mysore Lalitha Kala Mandira, disseminates knowledge in the area M Manjunath, Rajashree Yogananda, and Dr. Rama V of Karnatak Classical Music and bring to light talent and Bennur. excellence in this area. We believe this is just another step towards preserving and promoting this great Indian fine Printed and published by GV Krishna Prasad on behalf of art. Sri Rama Lalitha Kala Mandira, CA No. 28, 9th Main Road, Near Banashankari II Stage Post office, Banashankari II Stage, Bangalore 560070, Karnataka, India.

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Lalitha Kala Tarangini - Sep 2019 2 ತಮ »jAiÀÄgÀÄ £ÉngÖÀĪÀ "PÀ¯Á" ¸À¹AiÀÄ£ÀÄß ¤µ×É ºÁUÀÆ C©ªÀiÁ£À¢AzÀ ¤ÃªÉ®ègÀÆ ºÉªÀÄägÀªÁV ¨É¼É¹¢ÝÃj. vÀvÀàjuÁªÀÄ »jAiÀÄ ªÀÄvÀÄÛ PÀ¯Á«zÀgÀÄUÀ½UÉ £ÉgÀ¼ÁV G¥ÀAiÀÄÄPÀÛªÁV ¥ÉÇæÃvÁìºÀzÁAiÀÄPÀªÁV ¸ÉÃªÉ ¸À°è¸ÀÄwÛgÀĪÀÅzÀÄ §ºÀ¼À ±ÁèWÀ¤ÃAiÀĪÁVgÀÄvÀÛzÉ. zÉêÀVj ²æà ªÉAPÀmÉñÀégÀ zÉêÀ¸ÁÜ£ÀzÀ°è £ÀqÉAiÀÄĪÀ ²æà vÁåUÀgÁdgÀ ªÀÄvÀÄÛ ²æà ¥ÀÅgÀAzÀgÀzÁ¸ÀgÀ DgÁzsÀ£Á ªÀĺÉÆÃvÀìªÀPÉÌ ¥Àæw ªÀµÀðªÀÇ vÀ«ÄäAzÀ zÉÆgÀPÀÄwÛgÀĪÀ ¸ÀºÀPÁgÀªÀÅ ¥Àæ±ÀA¸ÁºÀð. vÀªÉÄä®ègÀ C£ÀĨsÀªÀ ºÁUÀÆ D¸ÀQÛ PÀ¯Á¸ÉêÉAiÀÄ£ÀÄß C£ÀªÀgÀvÀ £ÀqÉzÀÄ ¸ÀA¸ÉÜAiÀÄ QÃwð ªÀÈ¢Þ¸ÀÄwÛgÀ¯ÉAzÀÄ ¨sÀUÀªÀAvÀ£À°è ¥Áæyð¸ÀÄvÉÛãÉ. vÀªÀÄä «±Áé¹ Our Upcoming n.J¸ï. zÀvÁÛvÉæÃAiÀÄ Programmes 05 - 25 The Bangalore Gayana Samaja To the Editor, January 2020 Music Festival Concerts at Bengaluru 5.30 pm Gayana Samaja I just finished reading the 2 part article on Dikshi- tar and Divya Desams by Smt. Rajani Shankar. Ex- 26 January Varapada Sree Venkateshwara Temple 2020 (Devagiri Temple), Banashankari II cellent and well researched. Please convey my ap- 10.30 am Stage, Bangalore preciation to the author. The magazine is well pro- Sri Thyagaraja & Sri Purandaradasa day duced, elegant and aesthetic. celebrations in association with Devagiri Sri Venkateshwara Trust at Devagiri Sri Regards, Venkateshwara Temple, BSK II Stage.

Ravi Narayanan 22 February The Bangalore Gayana Samaja Tiruvannamalai 2020 Dushyanth Sridhar - Musical discourse (Disciple of T Muktha) 5.30 pm Sub: Prahlada Bhakti Vijayam Supported by: Anahita and Apoorva (Vocal) Vaibhav Ramani (Violin) Akshay Anand (Mridangam)

23 February The Bangalore Gayana Samaja 2020 Sanjay Subrahmanian (Vocal) Sunday S Varadarajan (Violin) 5.30 pm Neyveli B Venkatesh (Mridangam) N Guruprasad (Ghatam) B Rajasekar (Morsing)

01 March SRLKM Auditorium 2020 Centenary Celebrations of Vidwan Sri Sunday Vidwan AV Krishnamachar (Padmacharan) 5.30 pm in association with Vidwan S Shankar and his team.

14 and 15 SRLKM Auditorium Dhrupad maestro Ramakant Gundecha, younger March Pallavi Darbar Competition brother of the Gundecha brothers duo passed 2020 (For more details, away on 08 November 2019. He suffered a Full Day visit http://www.srlkmandira.org heart attack while waiting for a train to reach 25 March SRLKM Auditorium Pune. Team SRLKM passes on condolences to the 2020 SR Maruthi Prasad and Party bereaved family. Wednesday

Lalitha Kala Tarangini - Sep 2019 3 ಾದ ನವೕತ

Lalitha Kala Tarangini - Dec 2019 4 Navaratri at SRLKM

S Anand, Editor

Under the able direction of Sangita Kala Over a period of two and half hours, the team Acharya Neela Ramgopal, a Special Musical En- presented five composers in five languages that semble was organised by SRLKM to celebrate included Keerthanas, Devaranamas and Abhang. Navaratri on 06th October (Durgashtami) at JSS School auditorium, Banashankari II Stage. The List: 1) parashakti jananee, Hamsanandhi, Aadi Tala, Pa- Who is who of young musicians of Bangalore panasam Sivan were assembled and they gave a harmonious 2) dehi tava pada, Aadi Tala, Sahana, Saint Thyagara- concert. “AMMA Mother, the Supreme God- ja dess” was the concept against which the kritis 3) shri matrubhutam, Misra Chapu, Kannada, were selected and rendered. Senior Vainika Muthuswami Dikshitar Geetha Ramanand graced the occasion as chief 4) mayamma yanine, Aadi Tala, Ahiri, Shyama Shastri guest. 5) nanu brovamani cheppu, Misra Chapu, Kalyani, It is not often that so many youngsters are Badrachala Ramadasu brought together and guided to perform syn- 6) Thonru nigazhndadanaittu, Bhairavi, Aadi Tala, chronously as though they have learnt from one (Tisra gati), Subramania Bharati single Guru. The participants included VOCAL - 7) maganendadisidalu yashode, Aadi Tala, Ragamali- ka, Purandaradasaru Sriram Shastry, Dileep Simha, Vivek Sadashivam, 8) Abhang, Santa Eka Nathar, Eka Tala Mahesh Narayan, YG Srilatha, Anagha Yoganand 9) manikkam katti, Aadi Tala (Tisra gati) Ragamalika, Anjali Sriram, Usha Jois, VEENA - Rakshitha Periyalwar thirumozi (Divya Prabandham) Ramesh, FLUTE - G Ravikiran, VIOLIN - 10) Nottu swara, Sankarabarana, Aadi Tala, Achyutha Rao, Vaibhav Ramani, Pooja Sridhar, Muthuswami Dikshitar Mridangam - Nikshith Puttur, GHATA - N 11) Tillana, Aadi Tala, Maand, Lalgudi Jayaraman Phanindra, KANJIRA - Sunad Anoor, COM- MENTARY - Sumana Kukke and Ranjani Prog. YouTube Link: https://youtu.be/gcZJdY-lOq4 Ramaprasad.

Lalitha Kala Tarangini - Dec 2019 5 G Harishankar, the Kanjira wizard

Vidwan KS Kalidas, Chennai (Republished from article ‘Kalaimamani G Harishankar …the peerless Phenomenon of Kanjira)

school in Andhra Pradesh. Thus Harishankar had two streams of influence. The Pudukkottai and Thanjavur School. Hari, as he was affectionately called by all his colleagues was brilliant right from the beginning, It was the late MLV who discovered him first and played the role of his mentor. Under her benign patronage he flowered. MLV used to smilingly encourage his tani with mridanga vid- wans such as Thanjavur Krishnamurthy Rao, Mannargudi Eswaran, Tiruvarur Bhaktavatsalam and later with the great Palghat Mani Iyer him- self. Hari’s handling of the one sided instrument with limited tonal qualities had to be experi- enced to be believed. His speed over the in- strument, without sacrificing clarity even to the tiniest extent took one's breath way. Top mri- dangam artists were extra alert when Hari was playing the Kanjira in a concert with them. This Palani M Subramania Pillai was the last great in spite of the fact that Hari never tried to steal Mridangam and Kanjira vidwan, although he ac- the limelight or tried to show-off. If the mridan- corded priority to the former. He passed away gam artist played a round of 3 minutes in a tani in 1962 and since then the great tradition of the avartanam, Hari restricted his response to only Kanjira which was first put on the concert stage 2 minutes, but within this period, created as by the legendary Manpoondia Pillai of good or better impression on the audience. Pudukkottai suffered a decline. Great artist like Pt. Ravishankar had such a high opinion of Hari that he gave many opportunities Harishankar had his initial training under Ra- to him to share the stage with tabla maestros manathapuram Shri. CS Murugaboopathy a great like Ustad Zakir Hussain. In each such pro- mridangam Vidwan belonging to Pudukkottai gramme, Hari held his own. Similarly he was in School. On another side also, Harishankar can hot demand for special laya ensembles with top be said to be a descendant of the Pudukkottai mridangam and other artists and his participa- school as his father (who never became a con- tion made the programmes gain in stature and cert artist) studied under one Ramaiah Pillai, a prestige. direct disciple of Manpoondia Pillai. Later Haris- hankar spent a few years with Palghat Mani Iyer, Hari used to visit Manpoondia Pillai's shrine in the most eminent vidwan of the Thanjavur Pudukkottai each year without fail on the day of school, when he was teaching in the Rishi Valley Gurupooja which falls a day ahead of the Thya-

Lalitha Kala Tarangini - Dec 2019 6 garaja Aradhana at Tiruvaiyaru. For the Kum- gifted disciples such as N Amrit of Bangalore, babhishekam of the temple in 1996, he donated even others such as BS Purushothaman of a handsome sum of Rs. 10,000. He also encour- Chennai have derived inspiration from him. That aged many of his disciples to attend the gu- today there are at least a dozen very compe- rupooja at Pudukkottai. In fact barely two tent young Kanjira artists is in a great measure weeks before he expired, he was present at the is due to the stature given to the instrument by Gurupooja, although physically very weak. He Harishankar. had health problems during a major part of his I had a very warm personal relationship with concert career but his artistry never suffered Hari and have been fortunate to have played a because of it. few concerts with him. It is said that God takes Hari has been solely responsible for the rejuve- away those closest to him at a very young age nation of Kanjira in Tamil Nadu and apart from and it certainly is true of Hari.

Saxophone wizard and one who introduced Saxophone into Carnatic music Kadri Gopalnath left for his heavenly abode on Friday, October 11. 2019. He was originally a Nagaswaram Vidwan but caught the passion for Saxophone after listen- ing to a concert of Saxophone played by Mysore Palace band set when he was only 15 years. The Saxophone was played by Lakshmi Narasimhaiah from whom Kadri learnt the techniques of Saxophone for 5 years. Later It was TV Gopalakr- ishnan who moulded him to become one of the top performing artiste in the country. None other than Semmangudi Srinivasa Iyer has hailed Kadri and called him Carnatic Music Genius. He has collaborated with world renowned Jazz artistes and western composers and cut multiple albums. He traveled all round the globe and presented concerts that includes Royal Albert Hall in London. Kadri Gopalnath was presented with the Sangeet Natak Akademi Award for Carnatic Music by the President Dr. APJ Abdul Kalam. Among many other awards, he was awarded “Karnataka Kalashree” by Karnataka Sangeeta Nritya Academy, Padma Sri by Govt. of India, Tamil Nadu State Award ‘Kalaimamani’ and ‘Samagana Mathanga National Award’ from Bharatiya Samagana Sabha, Bangalore. As a mark of respect to the doyen, we at SRLKM pass on our condolences to the bereaved family. We remember humbly a great performance he gave for SRLKM way back in 2008 along with A Kanyakumari to the accompaniment of Patri Satish Kumar on Mridangam, N Amrith on Kanjira and Rajashekar on Morsing.

Lalitha Kala Tarangini - Dec 2019 7 HH Jayachamarajendra Wadiyar Centenary year Program

Anagha Yoganand, Bangalore ja. He is also said to have not employed the use of chaapu talas in his compositions and is known for the usage of uncommon and innova- tive ragas for each of his compositions. The List (All Kritis are Jayachamarajendra Wadiyar composi- tion except the varna) 1) Srima Chamundeshwari, Hamsanandhi, Aadi Tala, Veena Venkatagiriyappa (depicting great- ness of the king) 2) Gam Ganapate namaste, Tishra Triputa, Dur- vanki Raga 3) Vandeham sada sharada, Hamsanatani (Mayamalavagowla janya) with Kalpana swaras 4) Hatakeshvaram bhajeham, Hatakambari, Ru- paka 5) Sri Ranganatha pahimam, Kalyanavasantha, Misra Jampe, 6) Kamalambike, Naata, Khanda Jampe, Jay- A concert was organised at SRLKM to cele- achamarajendra Wadiyar (Like Saint Thyagaraja brate the centenary year of HH Sri Jayachama- pancharatna, this kris incorporates multiple rajendra Wadiyar, Maharaja of Mysore. Dr. charanams but on a smaller scale). Sukanya Prabhakar was accompanied by HK 7) Sri Rajarajeshwari, Lalitha with Raga, Neraval Narasimha Murthy (Violin), GS Ramanujan and Kalpana swara followed by Tani (Mridangam) and VS Ramesh (Morsing) gave a Avarthanam. This kriti incorporates a few of the scintillating concert. lyrical intricacies that are seen in the navavar- na compositions of Muttuswami Dikshitar Dr. Sukanya Prabhakar gave a captivating intro- 8) Shiva Shiva Shiva bho, Nadanamakriya, Misra duction on Jayachamarajendra Wadiyar covering Jampe his rich heritage and contributions. During the 9) Kayo Shri Gowri, Palace anthem course, she explained the compositional beauty of his works, drawing parallels with the trinity of Carnatic music - with respect to the lyrics being similar to Sri Muthuswami Dikshitar since both of them were Sri Vidya upasakas, the rhythm and tala of his compositions to Sri Shyama Shastri, the musical structure and framework of his compositions to Saint Tyagara-

Lalitha Kala Tarangini - Dec 2019 8 Veena Dhanammal - Saraswati Incarnate

Ravi and Sridhar, Tiruvannamalai (Disciples of T Muktha, grand-daughter of Dhanammal)

It was 1937. It was a Friday evening. There were revered her as Saraswati Herself. In her times, about thirty rasikas in that small hall. Amongst she was held in high esteem by great com- them were three youngsters who had only re- posers, by great musicians, by the music loving cently begun visiting that house a couple of cognoscenti. Many were the stalwart musicians years earlier. It was not a concert they were who sat at her feet in order to imbibe at least a going to attend. It was, the youngsters and the bit of her vast repertoire. She had many disci- others knew, the weekly meditation, the weekly ples, including her four formidable daughters worship, the weekly sangeetha upasana, that was and her four equally illustrious grand-daughters going to happen. who carried her legacy admirably through the 20th century. But, she won no titles or awards, The old lady, by then almost totally blind, was nor cared for them. She was content with pur- seated across from her sparse audience that suing her music as an offering to the Muse. included her four daughters and 13 grandchil- What exactly was the reason for Veena dren. Her Veena was placed on her lap by one Dhanammal being considered the Queen Bee of of her daughters. She began playing. There was Carnatic music even now, more than 80 years pin drop silence. For, not even a whisper was after she passed away? What was the reason for tolerated by the highly moody woman. As she a particular style of music being christened as went on to play and simultaneously sing, the the Dhanammal bhani? Let us find out. rasikas gathered not just gaped in wonder. Rather, by the time she came to the main piece HER ANCESTRY of her recital, she had taken her listeners on a Dhanam’s ancestors can be traced to the 18th journey through the secret depths of Nada century, at the earliest. After the Nayak rule had Brahman. The rasikas had lost themselves within faded away giving way to Maratha rule in Than- their own souls. She asked one of the young- javur, we are able to lay our eyes on Pappammal, sters, “Raja, c’mon, tell me what you want. It is a dancer at Maharaja Sarabhoji’s (1776-1832) Sahana isn’t it?” and she played and sang a sloka court. Pappammal’s daughter Rukmani was also in that sublime raga. As she finished her a dancer at Sarabhoji’s and his son Sivaji’s Nadopasana, one youngster whispered to an- (1832-1855) court. It is of Rukmani’s daughter other one, “C’mon, say something. Something Kamakshi that we get a few more details and special in appreciation. Something that others from whom a glorious chapter in the history of may not have told her before”. The youngster Carnatic music begins. told the 70 year old lady, “Amma, you are God- dess Saraswati incarnate. In fact, you have noth- KAMAKSHI (BORN 1827) ing to learn from Saraswati. Maybe she has Kamakshi too was a dancer at Sivaji’s court. something to learn from you” Besides learning Sadir or Chinna Melam as it was called then, from her mother Rukmani, That was the ultimate tribute man could pay to Kamakshi learnt the technicalities and nuances her, to Veena Dhanammal. People who knew her, of dance from Bharatam Ganapati Sastri, an un- who heard her sing and play on the Veena, cle of the famous composer Patnam Subra-

Lalitha Kala Tarangini - Dec 2019 9 Standing from left: Jayammal, T Sundararajan (son of Rajalakshmi), T Sankaran (son of Lakshmiratnam), Kamakshi. Sitting from left: Rajalakshmi, DHANAMMAL, Lakshmiratnam. Standing between Rajalakshmi and Dhanammal is the child T Brinda. standing between Dhanammal and Lakshmiratnam is T Vijayakrishnan (elder brother of Brinda-Muktha). Photo taken - 1918. manya Iyer. Besides, Kamakshi had the great by their grandmother Kamakshi as well as by fortune of studying music under Subbaraya Sas- mother Sundara. In addition, Dhanam and Rupa- tri, the son of one of the mighty Trinity of Car- vati were sent to Sathanur Panchanada Iyer who natic music, Shyama Sastri. She also learnt from was an expert in Muthuswami Dikshitar kritis. the composers the Anayya brothers. Panchanada Iyer had learnt Dikshitar composi- tions from Shuddha Maddhalam Thambiyappan With the death of Shivaji, the patronage for who was one of the senior most disciples of music and dance declined in Thanjavur court. Dikshitar himself. Dhanam thus had the oppor- The period of terminal decline of the perform- tunity of learning Dikshitar kritis in their pris- ing arts in Thanjavur had begun. Hundreds of tine pure form without any dilution. During this Devadasis and their families had to migrate to period, Dhanam’s classmates who learnt simul- greener pastures in search of livelihood. Many taneously from Panchanada Iyer were Tirup- of them chose the then emerging music centre pamburam Natarajasundaram Pillai, who was to of Madras. Kamakshi and her family relocated to later shine as one of the foremost Nagaswaram Madras and began living there in the George exponents and Tirukkodikaval Krishna Iyer, the Town area like many others of their ilk. great violinist and maternal uncle of Semman- In Madras, she found patronage for her art, be- gudi Srinivasa Iyer. Dhanam learnt around 200 sides support from the famous Buchi Babu fami- compositions of Dikshitar. She was already im- ly of the city. In course of time Kamakshi had a bibing the great compositions of Shyama Sastri son Appakannu and a daughter whom she and his son Subbaraya Sastri from her mother named Sundara. The latter was born in the year Sundara and grandmother Kamakshi as also 1847. Sundara also learnt from Subbaraya Sastri Anayya kritis from both of them. and later from his son Annasami Sastri, apart There is a thrilling story regarding a composi- from her own mother. tion of Subbaraya Sastri. His son Annasami Sas- DHANAMMAL’S TUTELAGE tri taught his father’s Todi masterpiece, “Nannu In course of time Sundara gave birth to two Brochutaku” to Sundara. In the Pallavi, there oc- daughters, Dhanam and Rupavati. Dhanammal curs the line, “mayamma kamakshamma….” In was born in May 1868. Both were taught music later years, Annasami Sastri would ask Sundara

Lalitha Kala Tarangini - Dec 2019 10 to sing this song repeatedly. And when Sundara blind, would somehow know, when Dhanam sang those lines beautifully, Annasami Sastri arrived at Buchi Babu’s residence that she had would respond emotionally, “Yes, yes, your come and would exclaim, “Ochinda Aggipetta?, mother is that Kamakshamma”, referring to meaning ‘have you come’. Such was the bond Sundara’s mother as also to Goddess Kamakshi, between the teacher and his brilliant disciple. so sublime would be Sundara’s rendition. When Dhanam was in her twenties, in the Subbaraya Sastri and Annasami Sastri, whilst 1890s, she came into contact with Tiruvottiyur singing Shyama Sastri’s compositions as well as Thyagayyar, the son of Veena Kuppayyar who those of Subbaraya Sastri himself would simul- was a direct disciple of Thyagaraja. She learnt a taneously sing the chitteswara and its corre- lot of Thyagaraja kritis from Thyagayyar. Thus it sponding sahitya in kritis where these occur. was that Dhanam could claim complete authen- That is, while Subbaraya Sastri sang the swaras, ticity for her versions of the kritis of the Trinity. Annasami Sastri would sing the corresponding Having learnt from gurus who traced their im- sahitya in the Anupallavi of the song and vice mediate lineage to the mighty Trinity them- versa in the Charanam. Annasami Sastri recom- selves, and having learnt the soulful padams of mended this particular aspect of singing to Ka- Kshetrajna, along with her knowledge of and makshi and her daughter Sundara who carried proficiency on the Veena, Dhanam’s music ac- forward the tradition. In later years and quired a rare sheen, a rare sublimity. decades, Dhanam and her sister Rupavati and Dhanam’s daughters and grand-daughters would HER MUSIC continue to sing the chitteswara-sahitya pas- The compositions of the Carnatic music Trinity sages simultaneously. Jodi singing was a tradition are considered to be the ultimate authority in in Dhanam’s family. raga music as well as in the beauty of their Some time in her, Dhanam’s, teens mother Sun- sahitya. Dhanam, with her vast, erudite and deep dara decided that Dhanam should learn the learning, combined the voice and the Veena to Veena. A teacher by name Azagiyasingarayya was bring forth the true beauties and depths found and Dhanam learnt the Veena from him imbedded in the ragas and compositions. Her for a few years. In course of time she attained voice complemented her Veena and vice versa. wholesome proficiency in the instrument. Her She did not sing or play niraval or swaras. She knowledge of the Veena helped Dhanam to ex- confined herself to playing alapanas and kritis. plore the sublime depths of the compositions of Testimonies of the prominent rasikas of those the Trinity and Subbaraya Sastri. Her singing too times tell us that her singing of kritis and acquired a transcendent depth that was not to padams were themselves wholesome and ethe- be heard from others in those days. real and that they did not require the props of neraval expansion or kalpana swaras. In about It was at Buchi Babu’s home in Mylapore that five minutes of alapana Dhanam could plumb Dhanam met the blind musician Balakrishna the very depths of any raga. Her renditions Das, aka Baldas. He was staying at Buchi Babu’s were marked by brevity, rather than expansive- house for a few years. He was an authority on ness, by sweetness rather than technical clever- Kshetrajna’s padams. Dhanam learnt hundreds ness, by the sublimity of gamakas rather than of padams from Baldas. He would eagerly await rapid fire brigas. The compositions of the Trinity Dhanam’s arrival, so fond of her was he. She and those other great masters that she had would grasp the nuances of his teaching in no internalised within the inner recesses of her time, mostly even as he taught a line the first soul played out perfectly in her voice and in- time. Baldas referred to Dhanam as ‘Aggipetta’, strument. Soolamangalam Vaidyanatha Bhaga- meaning matchbox. The allusion was to vathar, the foremost Harikatha exponent has Dhanam’s lightning grasp of any musical phrase, this to say about Dhanammal in his book on a even very tough ones. Baldas, though he was few musicians, in which Dhanammal is the only

Lalitha Kala Tarangini - Dec 2019 11 woman musician featured: “She sings only the Dhanam took particular delight in singing some sahitya, but I have never experienced this quality rare kritis of Thyagaraja like ‘Mummoorthulu’ and of music from any other vidwan, even though ‘E Papamu’ in Atana, ‘Maragata Manivarna’ in Var- they indulge in lengthy alapanas, niraval and ali, ‘Buddhi Radu’ in Sankarabharanam etc. swaras.” It was Muthuswami Dikshitar that Dhanam felt Being closely, ancestrally tagged to Shyama Sas- most at home with. Probably because he also tri and to his son Subbaraya Sastri, Dhanam was was a vainika/vocalist like her as he has revealed at her subliminal best in singing/playing their in his Bhariavi masterpiece ‘Balagopala’ (vainika compositions. Thus, a rare ‘Parvati Ninnu’ in Kal- gAyaka guruguha). Also, her connection with gada or a ‘Neelayadakshi’ in Paras of the father Dikshitar was much closer too, what with her would resonate as deeply as ‘Marivere Gati’ or a guru Sathanur Panchanada Iyer being just once ‘Pahisri Girirajasute’, both in Ananda Bhairavi. The removed from being his direct disciple. The myriad sanagtis of ‘Ninne Namminanu’ in Todi great composer’s majestic sweeps and glides, his would find their ultimate satisfaction in being exquisite jaru and vali gamakas captivated her. enunciated by her. Dhanam and her descen- ‘Balagopala’ was her favourite. So were ‘Akshay- dants can unhesitatingly be credited with bring- alinga Vibho’ and ‘Dakshinamurte’ in Sankarabha- ing into circulation the exquisite compositions ranam, ‘Meenakshi Memudam’ in Gamakakriya, of the son, Subbaraya Sastri. Subbaraya was the the Navagraha kritis and much, much more. only human in history to have learnt from all Dhanam took particular delight in singing and the three members of the Trinity. Early on in his playing Dikshitar’s Vegavauhini masterpiece life, Shyama Sastri had sent his son to Tiruvai- ‘Veenapustaka Dharinim’. It was she and her de- yaru in order to imbibe the works of that great scendants who were known and identified with Rama bhakta. When Muthuswami Dikshitar this sublime work of Dikshitar. No wonder that, came to Thanjavur in order to teach the Quar- not just her family members but great rasikas tette, it was on the same street, Mela Veedhi, too revered Dhanam herself as Saraswati where Shyama Sastri lived, that he lived for four Veenapustaka Dharini. Many Dikshitar composi- years. Thus it was that Subbaraya Sastri learnt tions in vogue today owe their popularity to from Dikshitar too. Subbaraya Sastri had dis- their propagation by Dhanam. These include tilled into his 15 compositions the essence of all ‘Chetasri’ in Dwijavanti, ‘Sri Matrubhutam’ in the three of them. Who else was competent Kannada, ‘Mamava Pattabhirama’ in Manirangu, enough to bring out the chiselled beauty of the ‘Mamava Meenakshi’ in Varali, ‘Hastivadanaya’ in kritis of the one who had had the grace of the Navaroj, not to speak of the Navagraha kritis. three mighty Avatara Purushas? Wasn’t Dhanam Not that Dhanam ignored other composers. the grand-daughter of Subbaraya Sastri’s She sang the kritis of Anayya who had taught favourite disciple Kamakshi? ‘Ema Ninne’ in her grandmother Kamakshi, she sang Gopalakr- Mukhari, ‘Ninnu Sevinchina’ in Yadukulakambhoji, ishna Bharati compositions like ‘Enneramum’ in ‘Venkatasaila Vihara’ in Hamir Kalyani, ‘Nannu Devagandhari, ‘Vazhi Maraithirukkude’ in Brochutaku’ in Todi and ‘Janani Ninuvina’ in Reeti- Natakurinji, ‘Satre Vilagi Irum Pillai’ in Purvikalyani, gaula, were a few of Subbaraya Sastri’s kritis that ‘Varugalamo’ in Manji etc. These compositions Dhanam brought to the music world. This was were to be made world famous by Dhanam’s admirably carried on by her descendants too. grand-daughter T Balasaraswati in the decades The works of Thyagaraja which Dhanam had to come through her ethereal abhinaya. learnt from Tiruvottiyur Thyagayyar acquired a Dhanam’s name was synonymous with padams. new dimension when Dhanam sang and played She sang the padams in a much slower pace them. Apart from kritis like ‘Rama Nee than was the vogue then. Most of the padams, Samanamevaru’ in Karaharapriya, ‘Tanayuni Brova’ especially those of Kshetrajna were set in Tripu- in Bhairavi, ‘Manasu Swadheenamaina’ in ta tala. She thus ensured that the raga in which Sankarabharanam, and ‘Sukhi Evaro’ in Kanada,

Lalitha Kala Tarangini - Dec 2019 12 the padam was set revealed itself in full splen- recital with a Sanskrit sloka like ‘Agre Kritva’ or dour. All the contours of a particular raga were the Navarasa sloka extolling Lord Rama. This explored to the maximum by Dhanam. The spe- would be followed by Dikshitar’s Manirangu cial gamakas of a particular raga found their classic ‘Mamava Pattabhirama’. The rasikas would, rightful place in her padam renditions. Not that at the end of it all, realise that they had been in these were absent in her singing or playing of the presence of something really great, some- those ragas in the kritis of the Trinity. But, the thing truly profound, something that elevated deliberate slow pace in which she sang/played their soul, their very being. Not for nothing that the padams ensured that not even a tiny, yet even those who were elder to her called her beautiful nuance of the raga was lost. Though and referred to her affectionately and respect- she sang padams in the major ragas like Kalyani, fully as Dhanammal. Sankarabharanam, Kambhoji, Todi, Bhairavi, Be- gada etc., Dhanam explored the huge potential HER NAVARATRI DURBAR that ragas like Mukhari, Mohanam, Surati, Pantu- Navaratri, which is celebrated throughout India varali, Atana, Sahana, etc. had to offer. Why, even as a festival of worship to the Mother Goddess Nadanamakriya and Punnagavarali, which have held a special place in Dhanammal’s life. She was limited potential, took on myriad proportions in virtually a Queen in those nine days. All those her hands. The padam genre was what the nine days, she would have a small pandal of fra- cognoscenti considered as the cream of grant flowers put up in her upstairs hall at her Dhanam’s music. Dhanam also sang and played a home. In the evening at around 6 p.m., she lot of Tamil padams composed by Ghanam would dress up in a simple but tasteful saree. Krishna Iyer and Vaideeswarankoil Subbaramay- She would apply attar to her fingers as also to yar. As with Gopalakrishna Bharati’s composi- the strings of her Veena. With the choicest tions, Kshetrajna’s as well as the Tamil padams agarbathies emitting fragrant smoke, the whole would be danced to international acclaim by hall would resemble a Raja’s durbar. Dhanammal Balasaraswati, while the padams acquired addi- would sit under the bower and softly stroking tional sheen at the hands of Bala’s mother the strings of her Veena, she would begin her Jayammal, who was Dhanam’s third daughter worship of the Goddess. In the last ten years of and at the hands of Dhanam’s other two grand- her life Dhanammal had completely lost her daughters T Brinda and T Muktha who were vision. Yet, she knew who all had graced her vocalists and who never ended their concerts durbar. Most of them were her lifelong admirers without a couple of padams and javalis. who knew that they were witness to a phe- nomenon like no other in the art world in that Javalis, are like padams, expressions of madhura part of the 20th century. bhakti, nevertheless, a little more explicit in their sentiments, in their expressions of lascivi- Dhanammal tolerated no disturbance while she ous attachment to the lover. In keeping with the was engaged in her sangeetha nivedana. Not underlying ethos of the sahitya, the music that even a mild cough could escape any listener’s embodies the javalis is somewhat light, sparkling mouth. None was allowed to even keep talam. and in madhyama kala in its manner of con- This strict discipline and the resultant admoni- struction. These javalis offer a perfect foil to the tion by her, were the code to be broken by heavy padams and serve to act as fitting finales anyone, were taken in the right spirit by her in a concert. Dhanam had the great fortune of rasikas. Once, the scholar-musician Jalatarangam having many javalis of Dharmapuri Subaarayar Ramanayya Chetty who was one of Dhanam- composed at her home itself. On this, a little mal’s benefactors, was so taken up by her play- later. ing of a song that he inadvertently began keep- ing the beat to her hearing. Dhanammal Dhanam’s sloka renditions were also eagerly stopped playing. Ramanayya Chetty begged for- looked forward to by her rasikas. She almost giveness, saying, “Dhanam I am the culprit. I am always at her Friday sessions concluded her sorry.” Quick came the admonition, “I am an old

Lalitha Kala Tarangini - Dec 2019 13 lady, the vadyam is Veena. If even the knowl- and played the varnam to perfection. If today edgeable scratch like a bandicoot, what am I to Tiruvottiyur Thyagayyar’s varnams are popular do”? Another day, towards the end of and in league with those of his father Veena Dhanammal’s life. Keertanacharya CR Srinivasa Kuppayyar, it is in no small measure due to the Iyengar quietly got up after Dhanammal had strenuous efforts put by Dhanammal in shaping sung a javali. He had his 8 p.m. tram, which was and polishing them. Thyagayyar, as noted earlier, the last one, to catch in order to return to his also taught Dhanammal a number of Thyagaraja home at Mylapore. Just then Dhanammal began kritis which he had learnt from his father who the sloka ‘Agre Kritva’. C.R., extremely fond of was a direct disciple of the great composer this sloka, sat down. In the process, his betel himself. leaves packet dropped to the ground. It was just Dharmapuri Subbarayar is now famous for his a soft sound to others, but to the old lady’s ex- javalis. But how many people know that many of tremely sensitive ears it was a big thud. “Sorry his javalis were composed at Dhanammal’s Dhanam”, said C.R. “Ah, it is Keerthanacharya, home and were shaped and polished by the isn’t it? It must be late for your last tram. Why great lady herself? Subbarayar would stay for don’t you leave?” admonished Dhanammal. Such months together in Madras and would visit was the extreme sensitivity that Dhanammal Dhanammal frequently. Invariably on these visits, possessed and also demanded of her listeners. he would compose a javali and Dhanammal HER INTERACTION WITH COMPOSERS would play and sing them and make them fit for In her time, Dhanammal had the opportunity of rendition. Subbarayar dedicated two of his coming into contact with many composers. javalis to Dhanammal herself. ‘Smarasundaranguni Among the most important of them was Pat- Sariyevvare’ in Paras is in direct praise of nam Subramanya Iyer. He had settled in Madras Dhanammal. A poignant story lies behind his in order to teach the Salem sisters. That was Chenchurutti javali, ‘Sakhi Prana’. why the prefix ‘Patnam’, (meaning city, which Subbarayar had to go to his home town once was how Madras was referred to), to his name. for an important personal work. He promised Patnam became friends with Dhanammal and Dhanammal that he would return soon. But he began teaching her eldest daughter Rajalakshmi. got delayed by almost 6 months. Meanwhile This was how many compositions of Patnam Dhanammal’s own house on Nattu Pillayar Koil entered the repertoire of the Dhanammal fami- street in Georgetown came up for auction to ly. In later years her grand-daughters T Brinda pay off her debts because she was a spendthrift and T Muktha would popularise many of Pat- and was not in the habit of saving for a rainy nam’s compositions. day. Dhanammal and her daughters had to take Tiruvottiyur Thyagayyar was another composer shelter with different patrons. That was when who befriended Dhanammal. In later years, as she stayed in Jalatarangam Ramanayya Chetty’s he was aging, Thyagayyar would lean on a heavy home. Dharmapuri Subbarayar, when he re- stick and walk the distance from his Muthialpet turned, came to know of the happenings and house in George town to Dhanam’s home on felt extreme remorse. He met Dhanammal at Ramakrishnan street in the same area. After a Ramanayya Chetty’s house. The reunion was game of dice with her eldest daughter Rajalak- poignant. Having undergone the pangs of parti- shmi, he would implore Dhanammal. “Dhanam tion of ancestral property himself recently on look. I have composed this varnam in Sahana his trip to Dharmapuri, he had no means of (or Surati or Yadukulakambhoji…). The laya as- helping her. Subbarayar told Dhanammal, pects have been taken care of by Kandappa (a “Dhanam, I have nothing to give you. But I am Natyacharya, and descendant of the Tanjore presenting you this gem”. But it is a rough gem Quartette, later to become Balasaraswati’s and it is you who have to polish it.” So saying, guru). You polish the varnam and make it fit for Subbarayar then and there composed the javali rendition.” Thus it was that Dhanammal sang ‘Sakhi Prana’ in Chenchurutti and dedicated it to

Lalitha Kala Tarangini - Dec 2019 14 her. The javali speaks of the promise the lover others at one time or the other learnt from makes to his beloved, saying that he will return Dhanammal in order to enrich their repertoire. to her soon, but since he is not able to for rea- sons beyond his control, he feels remorse and HER HINDUSTANI CONNECTION pours out his feelings to her. This javali is, un- Dhanammal was very fond of Hindustani music. usually for that genre, a work of pathos and the Early on in her life, Dhanammal’s name had raga acts as a perfect foil to that sentiment. spread far and wide among the cognoscenti of When T Brinda and T Muktha and T Bal- this country as she had sung and played at vari- asaraswati, Dhanammal’s three grand-daughters ous Raja Durbars including Mysore, Travancore, sang this javali, it would be invested with a rare Vizianagaram, Baroda, etc. The koel of Calcutta, sublimity. as Gauhar Jaan was known had heard about Dhanammal and when she visited Madras some- HER DISCIPLES time in 1920, she called on her. Gauhar Jaan Dhanammal did not have a large number of dis- instantly took a liking to Dhanammal’s music ciples. She taught her four daughters as well as and became her rasika. Dhanammal in turn, was her four grand-daughters. Apart from these, she much captivated by Gauhar Jaan’s voice and the taught Veena to a few ladies. Madurai Shan- effortless ease with which she could traverse all mukavadivu, mother of MS Subbulakshmi was the three octaves. Dhanammal threw an expen- one of those who learnt from her. ML Vasan- sive party for Gauhar Jaan at the Harrisons, thakumari’s mother Madras Lalithangi learnt which later became the Connemara hotel. The vocal music from Dhanammal. Another 5 or 6 party reportedly cost Dhanammal the then ladies learnt the Veena, among whom was Savitri whopping sum of Rs.1000/. This was in 1920. At Rajan, daughter of the famous Madras physician Gauhar Jaan’s request, Dhanammal taught her Dr. Seethapathi. Savitri Rajan was not a profes- Thyagaraja’s Surati kriti ‘Bhajana Parula’. sional Vainika but she was much respected in The great Hindustani music maestro and the music circles and she was instrumental in founder of the famous Kirana gharana Abdul starting the Carnatic music archive centre, Karim Khan had heard about Dhanammal and Sampradaya in Madras in the 1980s. Two impor- when he visited Madras, made his acquaintance tant personalities who learned Veena from with her and listened to her music with awed Dhanammal were the Maharani Regent of Tra- admiration. Dhanammal too loved Khan’s music. vancore Sethu Parvati Bayi and a Congress par- Once Dhanammal played and sang for the then ty leader and freedom fighter Rukmini Laksh- sitar maestro Nawab Ali Khan who had come mipathi, later to become the Tamil Nadu health to Madras on a visit. After listening to minister in K Kamaraj’s cabinet. Dhanammal, he gifted her a sum of Rs. 116. There were however, many vidwans who came Dhanammal promptly sent for Abdul Karim to learn from Dhanammal. Among the earliest Khan who was then staying in the Triplicane was Bidaram Krishnappa of Mysore. He learnt a area in Madras, asked him to sing, which he few kritis from her. Ariyakkudi Ramanuja Iyengar happily did until the wee hours of the morning. learnt a lot of pieces from Dhanammal. It is said At the end of Khan’s singing, Dhanammal gifted that Ariyakkudi’s fast paced, briga oriented mu- the Rs. 116 to Khan. She also taught Abdul sic gave way to a more sedate madhyamakala, Karim Khan Thyagaraja’s Surati kriti ‘Bhajana gamaka oriented music after his tutelage with Parula’ and ‘Rama Nee Samanamevaru’ in Kara- Dhanammal. Maharajapuram Viswanatha Iyer, harapriya. Musiri Subramania Iyer, Alathur Venkatesa Iyer (father of one of the Alathur brothers, Sivasub- HER LIFESTYLE ramanya Iyer), Parur Sundaram Iyer (father of Dhanammal never believed in talking about mu- violinists MS Anantharaman and MS Gopalakr- sic. When someone told her that at the newly ishnan), Kanchipuram Naina Pillai, Chitoor Sub- established Music Academy, they were conduct- ramanya Pillai, Coimbatore Thayee and many ing lecture demonstrations and speaking, she

Lalitha Kala Tarangini - Dec 2019 15 humorously remarked, “Oh, they are talking Narayanaswamy Appa replied, “Who else but music is it?” Similarly, she believed and set store our Dhanam?” A highly pleased Sastri is be- only by rote learning, in the traditional guru- lieved to have plunged into Bhairavi as never sishya method. She shunned and never approved before and played an evocative ‘Koluvaiyunnade’, of notations, not even writing down of the Thyagaraja’s masterpiece. Dhanammal’s second sahitya. Once when a great musician wanted to daughter Lakshmiratnam who was just 10 years learn from her, he began writing down the nota- old then would often recollect the incident in tion after she taught him the first line of a song. later years whenever she heard a Bhairavi. “Swamy what are you doing”, she asked him. Once, Dhanammal was visiting Tiruvananthapu- “Notating the song”, replied the musician. “Keep ram. She was put up at the Vainika, Kalyanakr- that aside. Is that paper going to sing or that ishna Bhagavathar’s house. After settling pencil going to sing?” If it is you who are going Dhanammal in her room the Bhagavathar took to sing, then concentrate on what I am teach- leave of her in order to visit the Padmanab- ing”. The lesson went home, and all went well haswamy temple for his daily darshan. Hardly after that. Her descendants, her daughters and had he stepped out of his home than he heard grand-daughters too maintained those strict the strains of the Veena emerging from standards. Dhanammal’s room. The Bhagavathar stopped Dhanammal lived life to the fullest. Her tastes in there, not able to proceed further. After food and her tamboola were epicurean. She Dhanammal finished playing a kriti, the Bhaga- loved to taste a handful of ghee before her vathar entered his house. Dhanammal, with sur- rasam. She herself would personally choose her prise enquired of him as to how he could re- betel leaves and the aromatic spices that went turn so soon after his temple worship. The Bha- with it. Jarda had to come from Lucknow. Veena gavathar replied, “I needn’t go to the temple. I artists usually used oil for the strings, but finished my worship of the Lord here.” Dhanammal used attar to smoothen her fingers Once, Dhanammal while visiting Srivilliputhur as well as her Veena strings. She was a lavish went to the famous temple of Andal there. For- entertainer too. She didn’t bother about getting herself in the divine atmosphere, she whether she had money for the morrow. The went on playing an elaborate Madhyamavati. The family had to put up with her quirks. But, in turn time for the noon worship was now passing by. they were the inheritors of a glorious tradition The Jeer of the temple and other worshippers that went back at least 2 centuries before her. were standing in the sanctum. Dhanammal fin- CERTAIN INCIDENTS ished her Madhyamavati and realised that she Sarabha Sastri was one of the earliest known had delayed the noon service to the Goddess. flautists in this country. Though he lived only for She apologised profusely. The Jeer told her, 32 years, from 1870 to 1902, he had become “Why, it doesn’t matter. You have performed the famous for his bhava laden playing. He was to- noon worship yourself with your divine music. tally blind too. Once, in 1898, Dhanammal and What more is necessary?” her daughters, when they visited Thanjavur, AK Ramachandra Iyer was a prominent busi- went to the residence of Narayanaswamy Appa, nessman of Madras. He was also the founder of recognised as the Godfather of the mridangam. the Rasika Ranjani Sabha in the city. He also The reason? Sarabha Sastri was to play there. owned the Midland theatre on General Patter’s Whilst Sastri paused for a few minutes after road. AKR once, in the 1930s organised a grand playing three or four kritis, a voice butted in, “A Nagaswara festival at the Midland theatre. All brief exposition of Bhairavi please. Long since the great Nagaswaram vidvans were to perform ‘Koluvaiyunnade’ was heard.” The quick tem- at that festival. These included the Tiru- pered Sarabhi Sastri, who could not see who veezhimizhalai brothers, the Tiruppamburam had had the audacity to ask him to play this or brothers, Kuzhikkarai Pichayappa, Sembon- that, asked in a challenging tone, “Who is that?”.

Lalitha Kala Tarangini - Dec 2019 16 Veena Dhanammal with Musicians and Music Patrons (Picture taken 1911) - From collection of Shri. BM Sundaram, courtesy of Josepha Cormack Viswanathan Front Row from left : Unknown, Pazhamaneri Swaminatha Iyer, Unknown, Budalur Middle Row seated on chair from left : Munuswamy Naidu, Tiruppayanam Panchapakesha Sastri, Thanjavur Nagaraja Bhagavathar, Konerirajapuram Vaidyanatha Iyer, Tirukodikaval Krishna Iyer, Harikesanallur Muthiah Bhagavathar, Fiddle Govindaswamy Pillai, Tacchur Chinna Singaracharyulu Back Row from left : Unknown Tavil Vidwan, Unknown, Veena Dhanammal, Kumbakonam Azhaganambi Pillai narkoil brothers, Veerusami Pillai and the great asked him to play and herself strummed the TN Rajaratnam Pillai himself. On the day Ra- tambura for TNR. TNR began playing a raga. jaratnam was to perform, Dhanammal wanting Dhanammal asked him, “Thambi (younger to attend his concert found that there was no brother), what ragam is this?” “Amma, this is one to take her to the venue. She herself came Vachaspati”, replied the Nagaswaram genius. out of her house, engaged a rickshaw and went “Oh, is that so, I know nothing about such ragas. to General Patter’s road. TNR’s fame had spread Can you play some raga like Bhairavi or Kamb- far and wide by then, as a result of which, huge hoji that I can also understand?” asked the mis- crowds spilled on to GP road that leads to chievous Dhanammal. TNR gave his all on that Mount Road. Dhanammal had to alight from her day to the Kambhoji that he played for her. Till rickshaw a little distance away and walk the rest his end TNR would keep mentioning this inci- of the distance to Midland theatre. She was al- dent to his friends and admirers, saying that, most totally blind then. Feeling her way through with ‘his Amma’, meaning Dhanammal, none the vast crowd, Dhanammal somehow made it could get away with singing or playing non-seri- inside the theatre. Espying her standing at a dis- ous stuff. tance, TNR arranged for her to be brought and Malaikottai Govindasamy Pillai, the violin mae- seated in the front row. On that day, it is said, stro who lived in Trichy was one of the TNR didn’t play for the masses but for staunchest admirers of Dhanammal. She also Dhanammal. Such was the regard Dhanammal had high regard for him and used to say of him, had for TNR who was more than 30 years her “One can sing, play any instrument. But it is very junior. TNR, of course, worshipped Dhanammal. difficult to be a knowledgeable and a true rasika. It was 1938. About ten days before she passed In rasikatva, there is none who can surpass our away, TNR visited Dhanammal at her home. She Malaikottai Thambi”.

Lalitha Kala Tarangini - Dec 2019 17 Sitting left to right : T Brinda (grand-daughter), Kamakshi (fourth daughter), Rajalakshmi (eldest daughter), DHANAM- MAL, Lakshmiratnam (second daughter), Jayammal (third daughter), T Muktha (grand-daughter) Standing between Rajalakshmi and Jayammal is Dattadri, son of Sundararajan. Standing behind from Left : Kodandaraman (Brinda-Muktha’s younger brother), Srinivasan (Balasaraswati’s elder broth- er), Sundararajan (Rajalakshmi’s son and Dhanammal’s eldest grandson), Meenakshi Sundararajan, T Balasaraswati, T Abhiramasundari, T Sankaran (son of Lakshmiratnam, writer, AIR official), T Vijayakrishnan (Brinda-Muktha’s elder brother and AIR official) Standing back row : Govardhan (Brinda-Muktha’s younger brother), Sivaraman (Sundararajan’s son), Varadan (Bal- asaraswati’s younger brother). Squatting: from left: T.Viswanathan, Bhagyalakshmi (Sundararajan’s daughter), T.Ranganathan, Kalpakambal (Sundarara- jan’s daughter), Vasudevan (Sundararajan’s son). Photo taken in 1936 at the Saraswati Stores compound, opposite the then non-existent LIC building on Mount Road Madras. Photographer was G.Kumaravel who later set up G.K.Vale photo studio opposite to this venue and next to the LIC building.

It was the beginning of 1931. The Malaikottai pleasantries and expression of her condolences maestro was already ill. His favourite disciple she asked Papa what had brought him to her Papa Venkataramiah was attending to his needs. home. Papa replied that he wanted to learn Pillai was also teaching Papa whenever he could. from her. “Absolutely no objection. I’ll teach One day it was the raga Gaula. Both guru and you. We shall begin now itself. But first, learn to student tuned their instruments. Pillai began play a bit of Gaula,” said Dhanammal. Papa was playing a few bars of Gaula on his violin. After a dumbfounded. A few days later, Dhanammal minute he stopped and told a stunned Papa, asked Papa whether he had learnt ‘Venkatasaila “How can I play Gaula properly? Go to Vihara’ and offered to teach him that song. Again Dhanammal.” Another day, it was to be Sub- a dumbfounded Papa could only wonder at the baraya Sastri’s Hamir Kalyani masterpiece, ethereal connection between Dhanammal and ‘Venkatasaila Vihara’. After playing the first line of his guru the maestro of Malaikottai. the Pallavi Pillai told Papa, “Hands off this great Tiger Varadachariar became an admirer and kriti of Subbaraya Sastri. It is Dhanammal’s friend of Dhanammal just about three years property”. Months later, Pillai breathed his last. before she died. Their admiration and affection Once the obsequies were over, Papa went to was mutual. Dhanammal invited Tiger to give a Madras, to Dhanammal’s home. After mutual

Lalitha Kala Tarangini - Dec 2019 18 concert at her grandson T Sankaran’s marriage sented it to us.” That was in essence the most in 1937. That night Tiger was to entrain for Chi- apt description of Dhanammal’s music. dambaram. He was to take charge as Principal Almost a year before Dhanammal passed away of the Music College of Annamalai University happened the incident which is described in the the next day. Though his voice was coarse that beginning of this article. The then young TT Kr- day, Tiger’s music was at its best. After the con- ishnamachari said to his friend SY Krish- cert, he complained to the host, “Dhanammal, naswamy, later to become a top ranking ICS why did you ask me to sing, look at my voice officer after an exquisite musical offering by today.” “Kalkandu”, said Dhanammal, referring Dhanammal. “C’mon, say something. Something to his music as sugar candy and gave Tiger a special in appreciation. Something that others silver bowl full of that delicacy. may not have told her before”. SYK told the 70 Tiruppamburam Natarajasundaram Pillai who year old lady, “Amma, you are Goddess had studied Dikshitar kritis with Sathanur Pan- Saraswati incarnate. In fact, you have nothing to chanada Iyer along with Dhanammal came to learn from Saraswati. Maybe she has something Madras in 1936 in order to get his book ‘Dik- to learn from you”. shitar Keerthanai Prakaashikai’ published. One For the last six months of her life, Dhanammal day he came to Dhanammal’s house asking, stayed with her third daughter Jayammal, moth- “Dhanam, do you remember me?” They were er of T Balasaraswati at their Egmore home. It meeting after more than 30 years. Nevertheless, was there that Dhanammal passed away on 15th Dhanammal immediately recognised him. In the October 1938. Hours before she left the world, course of the conversation Natarajasundaram she told her daughters and grand-daughters Pillai asked Dhanammal whether she remem- who had gathered around her, “I have no at- bered what they had learnt from ‘our Sathanur tachment towards anything. I don’t regret that I Ayya’ and whether she would sing with him one am going to die. I only regret that I will be leav- of the kritis that they had learnt from their ing my Veena behind.” The woman whose name guru. Yes, replied Dhanammal. Both the doyens was prefixed by the name of the instrument she sang together a kriti and found even to their played and worshipped for more than five amazement that over all those years, none of decades left behind her Veena, never to be them had changed even one swaram or even played by anyone else. The Veena is now pre- anuswaram. It was perfect, as their guru, their served at Dhanammal’s grand-daughter T Bal- ‘Sathanur Ayya’ had taught them. That was her asaraswati’s home in Madras. hallmark, never changing, adding or deleting from what she had learnt from impeccable She was a mere musician, but she left behind a sources. The hallmark that she bequeathed to horde of descendants who would carry her her descendants, a quality Brinda, Muktha and legacy forward, her daughters, grand-daughters Balasaraswati too pursued throughout their and grandsons. Her four daughters Rajalakshmi, lives. Lakshmiratnam, Jayamma and Kamakshi were themselves well known vocalists of their time. SY Krishnaswamy, who later became a top rank- Jayammal, besides singing for her famous daugh- ing ICS officer was an avid rasika of Dhanammal ter T Balasaraswati’s dance, was also adept at as well as of Tiger Varadachariar. SYK has de- playing the dolak. Kamakshi was a violinist too. scribed the music of both his favourites in his Kamakshi’s two daughters T Brinda and T Muk- book, ‘Musings of a Mediocre Man’. He says, tha had their gurukulavasam with Kanchipuram “Tiger’s music resembled a rose garden where Naina Pillai. They also studied under their the rows of fragrant roses extended upto the grandmother Dhanammal and aunt Lakshmirat- horizon. Such was his unbounded imagination, nam. They were leading vocalists of the 20th his manodharma. Dhanammal plucked all those century, performing for more than 60 years. roses and made a perfume from them and pre- Their sister Abhiramasundari studied the violin

Lalitha Kala Tarangini - Dec 2019 19 under Papa Venkataramaiah and accompanied come famous for its strictest adherence to tra- her sisters’ vocal music for more than 25 years ditional values in music, a bhani that would be- besides playing for many other musicians. come famous for the extensive repertoire of Jayammal’s daughter T Balasaraswati went on to great music that it holds in its bosom. A bhani become a world famous Bharatanatyam dancer, that would test the calibre of the most intelli- besides being an accomplished singer herself. gent and the most gifted of musicians, a bhani Her younger brother T Ranganathan learnt the that gave its fortunate rasikas not just enjoy- mridangam from Palani Subramania Pillai and ment but a subliminal experience to cherish and has accompanied many stalwart musicians, be- hold close to their heart. sides his sister’s dance and his cousins’ vocal (M Ravindra Narayanan and P Sridharan are devo- music. Another younger brother of Bala, T tees of Bhagavan Sri Ramana Maharshi. Midway in Viswanathan learnt the flute from Tirupambu- their lives they gave up their professional lives, set- ram Swaminatha Pillai and besides accompany- tled down in Tiruvannamalai and began serving Sri ing his sister’s dance performances, was a lead- Ramanasramam. They are disciples of Smt. T Muk- ing flute player. He also was the head of the tha, the illustrious grand-daughter of Veena ethno-music department at Wesleyan University, Dhanammal and learnt music from her for ten USA for many years. T Brinda’s daughter Veg- years. They have written articles for ‘Sruti’ magazine avauhini is also an accomplished vocalist and as also for the now defunct website sangeetham.- teacher. All these descendants of Dhanammal com. They have also written articles for Sri Ra- taught innumerable disciples throughout their manasramam’s magazine ‘The Mountain Path’. life and help spread the Dhanammal bhani far and wide. They can be contacted at: [email protected]. Yes, Dhanammal left behind a bhani that would Follow them at Ravi Sridhar https://www.facebook.- be known by her name, a bhani that would be- com/profile.php?id=100007746821510 )

Pallavi Sammela the competition) not exceeding 30 minutes to [email protected] (by post, in person or In yet another attempt to serve the field of email). The organisation is not responsible for karnatak music, SRLKM is conducting a Pallavi any delay or loss of forms by post, email or Sammela (Competition) on 14 and 15 March courier. 2020. The shortlisted candidates will be informed of The important features of the competition are the selection. explained below with a set of rules and regula- tions. Candidates desirous of competing should Date: Saturday 14-3-2020 & Sunday 15-3-2020 register their names by filling the enclosed ap- Time: Session-(1) 9:30 am to 12:30 pm plication form, which can be down loaded from LUNCH:01:00 to 1:30 our website www. srlkmandira.org. Session-(2) 1:30 pm to 4:30 pm Venue: Sri Rama Lalitha Kala Mandira Candidates will be short listed for selection. 9th Main Road, Banashankari 2nd Stage, Near Candidates have to send a CD (only mp3 for- Banashankari 2nd Stage Post Office, Bangalore - mat - for screening purpose) on which the se- 560070, Mobile: 77609-07939 lection is based. One RTP is to be rendered The last date for submitting the application (vocal) with tambura support only. An audio form is 20-1-2020 recording of yours along with the duly filled application has to be sent by singing one Ragam, The entire contest may be Web cast. Tanam and Pallavi (one of the three choices for Prizes will be awarded on 07-5-2020 at Gayana Samaja, Bangalore, at 5:30pm.

Lalitha Kala Tarangini - Dec 2019 20 Veena Dhanammal - Family Tree

Ravi and Sridhar, Tiruvannamalai (Disciples of T Muktha, grand-daughter of Dhanammal)

Pappammal (1776-1832) (Dancer)

Rukmani (Dancer)

Kamakshi Born - 1827 (Dancer)

Appakannu Sundara (Violinist) Born - 1847 (Vocalist)

DHANAMMAL (1868-1938)

Rajalakshmi Lakshmiratnam Jayammal Kamakshi (1886-1961) (1888-1940) (1891-1967) (1892-1954)

1) T Sundararajan - 1) T Sankaran 1) T Balasaraswati 1) T Brinda (1912- (Violinist and a (1906-2001) - (1918-1984) - 1996) - Vocalist composer) AIR official Dancer and Vo- 2) T Muktha calist (1914-2007) - 2) T Ranganathan Vocalist (1924-1987) - 3) T Abhiramasun- Mridangist dari 3) T Viswanathan (1919-1974) - (1926-2002) - Violinist Flute

Lalitha Kala Tarangini - Dec 2019 21 Sri Rama Lalitha Kala Mandira (Regd.) Recipient of Karnataka Sangeetha Nritya Academy award for 2015-16 (Karnataka Kalashree) 9th Main, Banashankari II Stage, Bangalore - 560070. eMail - [email protected], Website: www.srlkmandira.org, Hon. Secretary - (M) 7760907939 65th Year Karnatak Classical Music Concerts

ESTD. 1955 Festival dedicated to Late Smt. GV Ranganayakamma and Late Smt. GV Neela, Chief Founders, SRLKM Venue : The Bangalore Gayana Samaja, Time : 05.45 - 09.00 pm., ALL ARE WELCOME.

11-01-2020, Saturday 23-01-2020, Thursday 05-01-2020, Sunday 17-01-2020, Friday Amritha Venkatesh ( Vocal), L Heramba & Hemantha (Flute Duet), Bombay Jayashri (Vocal), HN Bhaskar Laya Lavanya Ramakrishnan ( Violin), BS Prashanth BK Raghu (Violin), Akshay Anand (Violin), Patri Satishkumar - Mridangam (Mridangam), Bhagyalakshmi M Krishna Concept and direction by Anoor (Mridangam), Sukanya Ramgopal BS Purushotham (Kanjira) (Morsing) Anantha Krishna Sharma (Ghatam)

06-01-2020, Monday 12-01-2020, Sunday 18-01-2020, Saturday 24-01-2020, Friday S Shankar (Vocal), HN Bhaskar (Violin), Mysore M Nagaraj and Dr. Manjunath Ranjani & Gayathri (Vocal Duet), (Purandaradasa Jayanthi) Dr. Yella Venkateshwara Rao, (Violin Duet), Dr. Umayalpuram K Charumathi Raghuraman (Violin), Delhi Sudha Raghunathan (Vocal), Embar (Mridangam), Ranganatha Chakravarthy Sivaraman (Mridangam), UN Giridhar Sairam (Mridangam), Chandrasekara Kannan (Violin), Patri Satish Kumar (Ghatam) Udupa (Ghatam) Sharma (Ghatam) (Mridangam), R Raman (Morsing)

19-01-2020, Sunday Malladi Brothers (Shreeramprasad and Ravi Kumar) will be conferred with the 25-01-2020, Saturday 07-01-2020, Tuesday 13-01-2020, Monday title “Sangeetha Vedanta Dhurina” instituted in the name of founder G N Vijaya Siva (Vocal) Aishwarya Vidya Raghunath (Vocal), RK Sriranjani Santhanagopalan (Vocal), B Vedanta Iyengar with a cash award of RK Shriramkumar (Violin) Shriramkumar (Violin), K Arun Prakash Ananthakrishnan - Violin, Patri Rs. One Lakh each, a Silver medal and a N Manoj Siva (Mridangam) (Mridangam) Satishkumar - Mridangam citation, followed by their concert with S Krishna (Ghatam) Embar Kannan (Violin) Dr. Trichy Sankaran (Mridangam) KV Gopalakrishnan (Kanjira)

08-01-2020, Wednesday 22-02-2020, Saturday RK Padmanabha and Pandith Nagaraj 20-01-2020, Monday Dushyanth Sridhar - Musical discourse Rao Hawaldar (Jugalbandhi), 14-01-2020, Tuesday D Balakrishna and V Vamshidhar (Veena Sub: Prahlada Bhakti Vijayam Omkarnath Hawaldar( Vocal Support), K Bharath Sundar (Vocal), Charulatha and Flute), Bangalore V Praveen CN Chandrashekar (Violin), C Ramanujam (Violin), Arjun Kumar Supported by: (Mridangam), Raghavendra Prakash Cheluvaraju (Mridangam), Sameer (Mridangam), GS Ramanujam (Ghatam) Anahita and Apoorva (Vocal) (Ghatam) Hawaldar (Harmonium), Kedarnath Vaibhav Ramani (Violin) Hawaldar - Tabla Akshay Anand (Mridangam)

09-01-2020, Thursday 15-01-2020, Wednesday 23-02-2020, Sunday 21-01-2020, Tuesday Dr. Shertalai KN Ranganatha Sharma (Sadguru Thyagaraja Jayanthi) Sanjay Subrahmanian (Vocal), S Dr. TS Sathyavathi (Vocal), HM Smitha (Vocal), HK Venkatram (Violin), Tumkur Varadarajan (Violin), Neyveli B Abhishek Raghuram ( Vocal), Vittal (Violin), KU Jayachandra Rao Ravishankar (Mridangam), Bharadwaj Venkatesh (Mridangam), N Guruprasad Ramamurthy (Violin), NC Bharadwaj (Mridangam), ASN Swamy (Kanjira) Sathavalli (Morsing) (Mridangam), Guruprasanna (Kanjira) (Ghatam), B Rajasekar (Morsing)

10-01-2020, Friday 16-01-2020, Thursday 22-01-2020, Wednesday 14 and 15-03-2020 Dr. Suma Sudhindra (Veena), Kalpana Ramakrishnan Murthy (Vocal), Vittal Sikkil Gurucharan (Vocal), Mathur R Saturday and Sunday Pallavi Venkat (Violin), BC Manjunath Rangan (Violin), KU Jayachandra Rao Srinidhi (Violin), HS Sudhindra (Mridangam), SN Narayanamurthy (Mridangam), UN Giridhar Udupa (Mridangam), Phaneendra Bhaskar Pallavi Sammela (Two full day event) at Sammela (Ghatam) (Ghatam) (Ghatam) SRLKM Auditorium Himamshu reminiscences Kadri

S Anand, Editor, Bangalore

Prasad, M Chandrasekaran, A Kanyakumari etc. Even Akkarai Subhalakshmi was experimented along with him in our festival. It was a ritual for him to come and perform for SPVGMC Trust every year and he would in advance, consult me and plan a ‘Pallavi’ for the concert’. ‘I will never forget an extraordinary concert he gave for us with the accompaniment of M Chandrasekaran on Violin and Thiruvarur Bak- thavathsalam on Mridangam. The Bairavi swara- jathi he presented will be with me all my life. M Chandrasekaran was so inspired that he stopped playing at one point and gave rich trib- utes to Kadri. I have preserved a recording of the same still and enjoy every now and then. He has probably performed over 35 concerts for SPVGMC Trust and all the concerts were houseful. He earned a lot of friends and rasikas “It was 1974 or 75 when the music world didn’t during his time. In all this, Kadri never bothered known much about Kadri Gopalanath and he about remuneration for his concert and accept- gave an excellent concert for the SPVGMC ed whatever we offered him.’ says Himamshu. Trust at Mysore” said CR Himamshu. ‘He per- ‘One fine day Ronu Majumdar called me and formed to the accompaniment of Mysore Man- said he wanted to perform along with Kadri as junath on violin who was a small boy then and desired by Kadri and said he had no other con- Tumkur Bhadrachar (father of Tumkur Ravis- ditions. The concert was a grand success. Sub- hankar) on the mridangam. It was after this that sequently, I developed excellent relations with Kadri joined up with TV Gopalakrishnan and Ronu Majumdar and he has been continuously rose to great heights. TV Gopalakrishnan gave performing for us with various artistes like him an excellent coaching and encouraged him Mysore Manjunath, Chitraveena Ravikiran etc. profusely by having him perform in front of My last concert of Kadri was when he gave an masters at that time. My association with Kadri excellent concert along with A Kanyakumari span over four decades and our relationship and Vijay Natesan on mridangam during a func- remained same over the period he was trans- tion when Govt. of Karnataka unveiled a statue formed from an unknown musician to a world of Ramakrishna Paramahamsa in Mysore’ said class artiste’ added Himamshu. Himamshu who was heartbroken at the sad ‘Probably it is only in SPVGMC Trust that we demise of Kadri. have had him play with the top ranking accom- He concludes, ‘I went to Mangalore and paid my paniments be it Umayalpuram Sivaraman, TV respects. He will be forever etched in my mem- Gopalakrishnan, Thiruvarur Bhaktavatsalam, KV ory. I pray for his soul to rest in peace’.

Lalitha Kala Tarangini - Dec 2019 24 Gayathri Venkataraghavan at SRLKM

Anagha Yoganand, Bangalore

On 22nd September, Smt. Vid. Gayathri Venka- 7) Sarojadala netri, Sankarabharanam, Aadi Tala, traghavan presented a concert in the Mandira Shyama Sastri premise. This concert was a tribute to the mu- 8) Tani Avarthanam sic legend Dr. MS Subbulakshmi. She was ac- 9) Hemavathi Ragam, Thanam, Pallavi (Khanda companied by Vid. HM Smitha on the violin, Vid. Jampai, Khanda Nadai) - ninne nammiti neeve Dr K Ashok on the mridangam and Vid. Gu- gati neeraja nayana hare krishna ruprasanna on the Khanjari. 10) Bare panduranga, Abhang, Santh Tukaram 11) Naneke badavanu, Behag, Khanda Chapu, Pu- The List: randaradasa 1) Mate malayadvaja, Kamas, Aadi Tala, Muthaiah 12) Jagadoddarana, Kapi, Aadi Tala, Purandaradasa Bhagavathar 13) Rama bhaja rama bhaja, Hindolam, Khanda 2) Shri mahaganapathi, Gowla, Misra Chapu, Chapu, Gurunanak Shabad Muthuswamy Dikshitar 14) Katrinile varum geetham (From the movie 3) Kshira sagara sayana, Mayamalavagowla, ‘Meera’) Chaturasra Dhruva, Jayachamarajendra Wadi- 15) Mangalam yar 4) Parama purusa nirupamana, Shanmukhapriya, It was an extraordinary evening and the audi- Aadi Tala, Annammacharya ence were fully soaked in memory of MS Amma. 5) Narayana ninna namada, Sudda Dhanyasi, It was a fitting tribute to a legend by Gayathri Khanda Chapu, Purandaradasa Venkataraghavan. 6) Sobillu saptaswara, Jaganmohini, Rupaka Tala, Saint Thyagaraja

Lalitha Kala Tarangini - Dec 2019 25

Eminent Guru nonagenarian RK Srikantan

CP Chikkanna, Bangalore

The importance of a teacher in shaping the fu- disciple Mysore Doreswamy Iyengar and RK ture and destiny of a student have been repeat- Srikantan etc. from Karnataka rendered invalu- edly stressed by various Carnatic music com- able service in training many disciples as top posers. "Guruvina gulaama naaguvatanaka" of ranking performers. Saint Purandaradasa, "Gurulekha etuvanti" by Hailing from Rudrapatna in Hassan district of Thyagaraja", "Srinaathaadi Guruguho jayathi" and Karnataka, RK Srikantan received his early "Maanasa Guruguha rupam" by Muthuswamy training from his father Krishna Shastry and Dikshithar could be quoted extensively as ex- elder brother RK Venkatarama Shastry, noted amples. Many stalwarts of Carnatic music like violinist and prominent disciple of T Chowdiah Tiger Varadachariar, Musiri Subramania Iyer, and was an arts graduate of Mysore University. Maharajapuram Viswanatha Iyer, Semmangudi He joined AIR soon after its inauguration at Srinivasa Iyer, GN Balasubramaniam, etc ex- Mysore as staff artist and later settled down in celled as eminent teachers apart from being top Bangalore after AIR was shifted along with his ranking performers of the past. The late illustrious colleagues Veena Doreswamy Iyengar, Bidaram Krishnappa, his prime disciple Mysore MS Selvapullai Iyengar, Veena Venkata Subba Rao T Chowdaiah, Veena Venkatagiriyappa and his etc.

RK Srikantan with his son RS Ramakantha (Photo courtesy The Hindu)

Lalitha Kala Tarangini - Dec 2019 26 RK Srikantan performing with Lalgudi Jayaraman on Violin and Vellore Ramabadran on Mridangam on 26 October 1978

His services at Bangalore Studio of All India his music classes as an observer and grasp as Radio are invaluable. He was the main teacher much as possible from his teachings. He taught in music lesson over the Radio classes "Gaana me for over two years, the theory of Carnatic Vihara" and set hundreds of compositions of music like the basic seven swaras, their classifi- different composers to music including numer- cation, Ragalakshanas of major ragas, their de- ous songs of Purandaradasa and many Hari- rivatives, suladi saptha talas, their various dasas. He excelled in the presentation of Kan- branches and nadais, important events, the life nada compositions with clear cut diction, full of and contributions of great maestros of the past. bhava embellishing the lyrics with his own style. He recommended me to read music books au- Songs like "Karuniso Ranga", "Raagi Thandhira thored by Prof. Sambamurthy and spiritual her- Bhikshake", etc. became highly popular and re- itage of Thyagaraja etc. These classes were free ceived universal acclaim. of any charges as I was not earning anything at that time. Even after I was employed, he refused Ever since I developed the hobby of listening to any fees and expressed his happiness that all Carnatic music, I was very eager to learn the that he taught me helped an ordinary listener basics and improve my knowledge to relish mu- to appreciate and moulded me as a profile sic more seriously and was searching for a good writer and reviewing music concerts in major source. When I expressed this desire with my English and Kannada news papers. great friend, noted Mridangam maestro Guru- vayur Dorai, he directed me to approach RK I wanted to reciprocate this gesture of Srikan- Srikantan and that he would strongly recom- tan in a befitting manner and was waiting for an mend me to him. In the late 1960's, I very hesi- opportunity. I discussed this with my friend and tatingly with lot of fear, met him in his house the music critic late V Bhaskar who was review- and formally introduced myself. He told me ing for Deccan Herald in the pseudo name that nothing prevented me from approaching "Ravi". We along with great patron late Shri. V him directly instead of being recommended by Krishnan, the founder of Sri Parthasarathy our friend Guruvayur Dorai and inquired the Gaana Sabha and Saraswathi Gaana Sabha area of my interest and the topics I wanted to chalked out a grand event to felicitate RK learn. As I was in my early twenties, he suggest- Srikantan in a befitting and memorable manner. ed that my voice may not be suitable to learn I approached each and every student of Srikan- the vocal exercises and permitted me to attend tan for their support who were very happy to

Lalitha Kala Tarangini - Dec 2019 27 Shri. BN Garudachar felicitating RK Srikantan (26th October 1978) help the function in numerous ways. A few lady tions of these Haridasas are universally students opted out from our function for their adorable and appreciated for their message. Any own reasons and abstained at the function. They one promoting and propagating these songs/ arranged a separate function later it was learnt compositions should he hailed and appreciated. to honour their guru. We invited doyen Sem- No composer has made a “will" about who mangudi Srinivasa Iyer to felicitate RK Srikantan, should promote and propagate his composi- Justice ES Venkataramiah as the chief guest, Vio- tions. In fact many songs of Saint Thyagaraja lin maestro Lalgudi Jayaraman, Mridangam vid- were published and propagated by musicians wan Vellore Ramabhadran, Veena vidwan M from Tamil Nadu. Such statements are uncalled Cheluvaraya swamy (father of late Veena C for and do not deserve replies he averred. Krishna Murthy) as guest speakers. Two special Answering my queries with regard to the need write-ups in leading Kannada magazines of that of new compositions and their place in the mu- period Prajamatha and Sudha published special sic sphere when there is an ocean of unex- articles on RK Srikantan, one authored by me plored compositions of musical Trinity, Swathi and the other written by HS Krishna Swamy Thirunal, besides many Haridasas and others, Iyengar (HSK) of Mysore highlighting the con- Srikantan felt that this trend should be wel- tributions of RK Srikantan. comed as music is a river in flow and not a In my write-up for Prajamatha, we discussed stagnated pond. The creativity of these com- various issues concerning music. The late music posers should he appreciated and they provide critic BVK Shastry had expressed his resent- a change in the monotony to make listening an ment over non Kannada musicians hailing from enjoyable experience to listeners. Tamil Nadu choosing the compositions of Kan- When I drew his attention to the feeling that nada composers Purandaradasa and Kanakadasa vast commercialisation of Carnatic music is for commercial recordings when there were so loosing its importance and public patronage, he many stalwarts in this state who were ignored quipped "tell me which is not commercial?”. We by the recording company (HMV) in the leading musicians are professionals and are depending Kannada daily Prajavani. RK Srikantan dismissed upon it for our livelihood. Is it ever possible for this resentment and added that the composi-

Lalitha Kala Tarangini - Dec 2019 28 RK Srikantan was decorated with a 50 Grams gold chain by Lalgudi Jayaraman sponsored by his disciples as a token of gratitude

patched up both. Subsequently Shastry met GNB at Madras and personally apologised for his writing. Just three days before the function, Semmangudi Vidwan Lalgudi Jayaraman honouring RK Srikantan (26th Srinivasa Iyer conveyed to us his indisposition October 1978) and regret to felicitate RK Srikantan on Doc- tor's advice to rest. The previous day of the any musicians to perform accepting only the function, Justice ES Venkataramiah suffered a travel expenses? We too have a family and they heart attack and was hospitalised and as a con- are dependent on us. The concert opportunities venor, I was in great embarrassment to fix-up are not frequent and we are compelled to teach the chief guest and dignitaries as a substitute at to make both ends meet. Only a very few the nick of the moment. Veena Vidvan the late celebrity musicians are well off and not all mu- RK Suryanarayana took me to his friend and the sicians. A musician has to apply for monthly then police commissioner late BN Garudachar pension before the government pledging his who was a great connoisseur of music who honour and self respect visiting the concerned readily accepted to felicitate RK Srikantan. On officials umpteen number of times for this pit- the day of the function, noted Harikatha Vidwan tance. the late Gururajulu Naidu who was passing by When I sought his reaction to the importance the Institute of Engineers auditorium, after see- of music reviews in news papers, he said such ing the banner graced the occasion and added reviews are aimed at self promotion of the re- colour to the event by his speech packed with viewers and no longer helps budding musicians humour sending roar of laughter in the largely in any manner. Now a days these reviews are in attended function. the form of a summary/list of songs and ragas In my welcome address, I listed out the contri- with full usage of adjectives to win the goodwill butions of Srikantan to Carnatic music as a of the concerned performers. He recounted an teacher, as a tunesmith setting music to several interesting anecdote about a review of GNB's songs, as a performer of repute and requested recital at Mysore by BVK Shastry in Deccan the gathering to adopt and pass a resolution Herald that upset GNB a lot and almost requesting both the State and Central Govern- brought the friendship between the two to an ment to confer suitable honours which has end. In his concert, due to vagaries of monsoon eluded RK Srikantan all these days who never weather, GNB’s pitch (shruthi) was affected. This went after them or sought recommendation for was the main comment of Shastry's review and honours. In his reply, Lalgudi Jayaraman eulo- reached GNB who was at that time music pro- gised the service of Rudrapatnam musicians ducer of Madras Station of All India Radio. including that of RK Venkatarama Shastry, and After his customary Sri Ramanavami concert at his younger brothers and promised to take up Bidaram Krishnappa Hall at Mysore, GNB ex- our request for national recognition to RK pressed his displeasure to his friend and host Srikantan with the concerned authorities. Shri. Puttu Rao about this adverse comment Replying to the felicitations, RK Srikantan tra- and in turn Shri. Puttu Rao spoke to Shastry and versed at length the strict traditional way of his

Lalitha Kala Tarangini - Dec 2019 29 father imparting not only music but also disci- honorary professor by numerous universities in plined life, rigorous practice to perfection the United States etc. subjects of studies, respecting our ancient arts As he aged more and more, his music also and tradition. He recalled with gratitude the ripened like a delicious mango and his concerts encouragement and blessings of Mysore T were in great demand everywhere. Due to Chowdaiah. He was deeply disappointed that physical discomfort, he used to be seated on a fate denied him the opportunity of performing chair and performed with youthful exuberance. to his violin accompaniment. Once, after his Fortune favoured him rather belatedly. Age nev- Radio concert at Bangalore AIR, Chowdaiah er affected his enthusiasm or interest in music invited Srikantan to perform in a festival con- even at the ripe age of 90 years, he never cert arranged by the sons of flute Palladam sought retirement and was giving concerts as- Sanjeeva Rao in connection with Purandaradasa sisted by son RS Ramakantha to the astonish- Aradhana at Coimbatore to his violin accompa- ment of all which is a great record to this day! niment. One week before that concert, Chow- At that age, he never lost memory, practice and daiah passed away. teaching. In his long innings, he has trained The same year, RK Srikantan was conferred the countless number of students who are all well coveted Central Sangeet Natak Akademi award placed in music field and society. RK Srikantan by the President of India followed by Karnataka passed away after leading a purposeful life of 96 State award. From then onwards, he was rained years and the legacy left behind by him is being with numerous awards like T Chowdaiah na- continued by his son RS Ramakantha. tional award, Karnataka Government's "Asthana Vidvan" with Rs. 5 lakhs cash, Sangeetha kalanidhi by the Madras Music Academy, visiting

Special edition of Lalitha Kala Tarangini on ‘HH Jayachamarajendra Wadiyar’ was released by Bombay Jayashree Ramnath during the SPVGMC Trust Ganesha Festival at VV Mohalla, Mysore. Left to Right - CR Himamshu, Secretary SPVGMC Trust, GV Krishnaprasad, Hon. Secretary Sri Rama Lalitha Kala Mandira, Bombay Jayashree Ramnath, Shri. KV Murthy, Patron SPVGMC Trust, M Jagannath Shenoi, President SPVGMC Trust.

Lalitha Kala Tarangini - Dec 2019 30 Thevaaram

Rajani Arjun Shankar, Chennai

Thevaaram – An Introduction ardent devotee, visiting many temples, perform- Thevaaram is the collective name given to the ing Seva by cleaning and weeding in those tem- devotional compositions of the three Saivaite ples and composing wonderful verses. saints Thirugnanasambandar, Tirunaavukkarasar Sundarar was, before his earthly sojourn, a resi- and Sundaramurti (in short, known as Sam- dent of Kailasa. A momentary lapse there re- bandhar, Appar and Sundarar). The first two quired him to spend a lifetime on earth. As lived in the Seventh Century CE and the third, promised to him, Shiva came to his wedding, in the Eighth. They feature among the sixty- proved with a document that had his grandfa- three Naayanmars, who are well-known as the ther’s signature, that Sundarar was his slave. The devotees of Shiva collectively worshipped in bewildered “slave” followed his master, who temples. walked and disappeared into the sanctum of The Composers Tiruvennainallur temple. Sundarar, elated and The stories of these three saints are very popu- touched, started composing verses in His praise. lar and charming. Sambandhar, as a young child Shiva later gave him the privilege of being His of three, accompanied his father to the temple friend, and hence in his verses we find the kind tank and when the latter disappeared momen- of liberty a friend can take. tarily in the waters, the child was in tears. Shiva Some general features and Parvati who reside in the temple, appeared Thevaaram verses are in the form of Pathikams before him. Parvati fed him her milk and in an (decads) of ten verses each. In Sambandhar’s instant he was endowed with supreme knowl- Pathikams, we find an eleventh verse which is in edge and poetry. When the father arose from the form of a Phalashruti. It contains his Mudra the waters and asked him who gave him milk, encompassing his name, the name of his birth- the child, pointing to the Vimana of the Lord, place, the place where this work was composed sang the first verse of the Thevaaram “thODu- and the benefits accruing to those who recite daiya seviyan”, as a reply to his father. “Is it not or sing it. Sundarar also places a Mudra with Him, who rides a bull, wears a pure crescent one of his many names and titles, and pro- moon and smears Himself with ash, who has nounces the benefits of singing the verses. Ap- stolen my heart?” The father realised that he par does not have a Mudra, although his decads was witnessing a miracle. can be identified by the fact that he always Appar, although born in a Saivite family, became refers to Ravana lifting the Kailasa mountain in a Jain monk of great renown. His sister, a saintly the last verse. lady herself, prayed to Shiva that her brother be All three composers have travelled to many brought back to the fold. To grant her prayer, temples and composed on the Lord in those Shiva gave him a disease which resulted in un- temples. There are about 275 such places. While bearable abdominal pain. Thinking he may die, he they are almost fully in South India, there are came to visit his sister, who gave him the marks two of them in Sri Lanka, and four of them are of a Saivite and took him to the Thiruvathigai Himalayan shrines. The South India’s temples Shiva temple. There, he composed verses on encompass Gokarnam, Srisailam and Kalahasti. It Shiva and his affliction vanished. He became an is believed that the saint-poets did not physical-

Lalitha Kala Tarangini - Dec 2019 31 ly travel to the far-flung ones, and saw them Thevaaram’s place in the Carnatic Music with their Divya-drshti (divine vision.) platform About two or three centuries after their time, Thevaaram was always meant to be sung. The the Chola kings created grants for Thevaaram Pathikams are assigned Panns just as Kritis of to be sung ritualistically in many temples, as an Carnatic Music composers are given Ragas. A integral part of the worship. The singers are Pann is equivalent to a Raga. Every Pann corre- called Odhuvars and they undergo many years sponds to a modern day Raga. There are some of training to learn several hundred verses from sections of Thevaaram that do not have Panns the Thevaaram, in the appropriate melodic form. and instead have a Yappu (poetic metre). These Like many other social traditions, this system are indeed traditionally sung in certain Panns, too had its upheavals in the last few centuries, but they do lend themselves to be sung in a but many of the major temples still have Odhu- variety of newer Ragas. vars among their staff and one can hear the The composers of Thevaaram are widely vener- sonorous singing of the inspired verses during ated and it is no surprise that many Carnatic the day, especially during the evening Pujas. musicians have taken verses from it, and ren- Thevaaram in the larger philosophical dered it on stage. The legendary singer and context composer Maha Vaidyanatha Sivan was devoted to Thevaaram and singing it was a part of his Thevaaram verses embrace the tenets of the daily Puja. It is said that people used to throng Vedas. The Lord is described in them variously the street just to hear him sing these verses. as the embodiment of the Vedas, the teacher of Vedas and one delighting in listening to the In more recent times, Sri Madurai Mani Iyer Vedas, Sama Veda in particular. The purpose of often used to sing the verse “vEyuRu tOLi pan- the birth of Sambandhar is described as “vEda gan”, by Sambandhar, a benediction that pro- neRi thazhaittOnga, migu saivatthurai viLanga” claims that the nine planets shall cause only (Such that the way of the Vedas would flourish good to the devotees. Appar’s “vAnanai”, a lovely and (within that,) the worship of Shiva in par- praise of the Lord of Tiruvannamalai, has been ticular would prosper). The first two of the popularly sung in Keeravani by Sri KV Thevaaram composers also had a missionary Narayanaswamy and others. Two verses in the role in re-establishing Saivism by stemming the decad have been arranged as Pallavi, Anupallavi growth of Buddhism and Jainism which were and Charanam. Smt MS Subbulakshmi also has widespread then. We find evidence of such a rendered many verses such as Appar’s “soRRu- position in their verses and also in the accounts Nai vEdiyan” in Gandharapanchamam Pann of their lives. (Kedara Gaula) and Sundarar’s “azhukku mei koNDu” in Takkesi Pann (Kambhoji) and Sam- Saiva Siddhanta is the philosophy that proclaims bandhar’s “siRaiyArum maDakkiLiyE”, which is Shiva as supreme. Thevaaram is therefore an sung in the Pazhantakkaragam Pann (Suddha integral part of Saiva Siddhanta. Saiva Siddhanta Saveri). The last mentioned song is in the Nayaki Maths play a large role in beautiful publications Bhava where a young girl talks to her pet par- of the Thevaaram and in running Paathashaalas, rot, beseeching it to say the names of Shiva. This where young children are trained in Thevaaram and other verses have also been used in dance singing and can go on to become Odhuvars. programmes by eminent dancers. Many followers of Advaita, who accept various forms of God as supreme, also give a lot of Sri MM Dandapani Desikar requires special prominence to Thevaaram and include its mention here, as a person who straddled the singing and reading in their worship. worlds of Carnatic Music and Thevaaram with ease. His renderings of Thevaaram are remem- bered for their authenticity and Bhava. During his tenure at the Annamalai University, he has

Lalitha Kala Tarangini - Dec 2019 32 brought out books with the notations of The- • The noble qualities of His devotees, how vaaram as well as Divyaprabandham. Dr S Ra- they gather to adore Him and the many ben- manathan has done research and given lecture- efits they get demonstrations on Thevaaram. • The music and dance that fill the temples, Among the Carnatic musicians and rasikas, with details of the various instruments being opinion is divided as to whether it is important played to stick to the Panns (and their equivalent Ra- The natural beauty surrounding the temples gas) when rendering Thevaaram on the Carnatic • with elaborate descriptions of flora and fau- stage, or whether it is allowed and even neces- na, the trees and forests that fill the towns, sary to use a wider range of Ragas. the clouds that gather above these trees, the The contents of Thevaaram: birds and animals that inhabit these wooded We find the following themes very often in the areas, the rivers that flank the temple towns verses and the riches they bring • Shiva always being in the company of Parvati Going over the long list of specific plants, trees and Her grace and beauty and birds named in them would be an interest- ing exercise. • The form of Shiva – the various flowers (Konrai, Datura etc.) and leaves (Vilva, Vanni Some useful links to read the verses and listen etc.) and other adornments (the moon, ser- to them sung pents, skin and ash) found in His vast matted http://thevaaram.org/ locks and body https://shaivam.org/audio-gallery/ • Shiva’s heroic deeds like the Tripuravijaya, (Rajani is a Sanskrit teacher based in Chennai, with Gajasamhara and His dances a deep interest in Carnatic Music, particularly in the Kritis of Muthuswami Dikshitar. She can be reached at [email protected])

Shri. GV Krishnaprasad, Secretary Sri Rama Lalitha Kala Mandira was honoured by SPVGMC Trust Mysore on 10 Sep- tember 2019. Left to Right - CR Himamshu, Secretary SPVGMC Trust, Bombay Jayashree Ramnath, GV Krishnaprasad, Secretary, Sri Rama Lalitha Kala Mandira, Shri. KV Murthy, Patron SPVGMC Trust, standing behind Shri. GV Krishnaprasad is Shri. M Jagannath Shenoi, President SPVGMC

Lalitha Kala Tarangini - Dec 2019 33 Veena Dhanammal

Senior Mridangam Vidwan KS Kalidas as told to Madhuri Kaushik, Vocalist and disciple of Vidhushis Ranjani and Gayathri

From time to time, we have in various fields admirers and Vidwans such as Ariyakkudi, Musiri epoch makers who offer the public new insight and Semmangudi. Semmangudi has famously said in their respective fields. In the case of carnatic that what Dhanammal played on the Veena was music composers, Purandaradasa, Tyagaraja, Dik- MUSIC whereas what he and his fraternity did shithar and Syama Shastry and among musicians, were mere KUTCHERIs. Veena Dhanammal can be characterised as There are many events and anecdotes about epoch makers. This is not to say that composers Dhanammal that I have gathered from T and musicians did not exist before or during Sankaran and T Viswanathan (her grandsons), their time, but the trend and direction es- MN Kandasamy (Palani Subramania Pillai’s se- poused by these personages was unique and nior disciple) and Pudukottai Ranganayaki Am- special. mal (a lady mridangam artist and disciple of Till the advent of the Trinity and for some Pudukottai Dakshinamurthy Pillai). I shall share a decades thereafter, music was the exclusive few. property of a community in each of the south- Not only the entire family of Dhanammal but ern provinces and indeed the whole of India. It many upcoming musicians used to stay for a is said that for thousands of years, the kings considerable length of time with the rich busi- used to send their heirs to the leaders of this nessman (and great connoisseur) Jalatharangam community to learn many art forms, aesthetics Ramanaiah Chettiar who was also a good friend and ethics. of the great Kancheepuram Naina Pillai. Infact Coming to Thanjavur, Veena Dhanammal holds a his house came to be known as Chetty Chatti- special place in laying foundations of what has ram. Ramanaiah Chettiar was a treasure trove come to become the soul and ethos of Carnatic of Tyagaraja kruthis, many of which even Naina music. Thanjavur had various cultural impacts Pillai and Dhanammal learnt from him. such as Tamil, Telugu and Marathi, and Dhanam- Dhanammal’s grand daughter Balasaraswati mal was able to integrate into her music all the learnt Bharatanatyam from Kandappa Nattuva- best aspects of these cultures. None questioned nar who, besides dance, was a great laya vidwan, her wisdom or her musical interpretation of and mridangam maestro Palani Subramania Pillai kruthis, javalis, padams, etc. who was a teenager then would share many ideas with him. Once Sri Palani played a Dhanammal came into the field when music vinyasam in Misra Jhampai talam with various was patronised only by princes of principalities, combinations of 5s and Dhanammal was hearing rich landlords and businessmen, but lived to see it from another room. When Kandappa Nat- the birth of sabhas when the general public tuvanar who had gone away on some personal could assemble and listen to music for a small work returned, Dhanammal told him “Kandappa, subscription. She herself did not participate in innikku namma Pazhani ‘anna’ vaasichade nee the sabha concerts but did perform in chamber miss pannitte; ponadhu pochu. Inime kadaikad- concerts in her home as well as in her patrons’ hu” meaning, “Kandappa, you have missed the and a few darbars. A weekly concert in her playing of pazhani ‘anna’; that playing is gone, you house was attended by her intimate circle of

Lalitha Kala Tarangini - Dec 2019 34 can never get it back”. She used to call the get into a reverie about Dhanammal while teenager Pazhani, ‘anna’ or elder brother in jest. teaching his disciple (Papa) KS Venkataramaiah. She also seems to have said “kaiye pakkanumna An admirer and patron of Dhanammal was Ramdas Raovai paaru; vaasippa kekkanumna Dharmapuri Subbarayar, the master of javalis. It Subramaniathai kelu”- If you want to see the is said that the javalis ‘Smara Sundaranguni’ in dexterity of hands, look at (Thanjavur) Ramadas Paras and ‘Sakhi Prana’ in Senchurutti were Rao; If you want to see the vidwat hear composed in praise of her. (Pazhani) Subramaniam. Dhanammal was not enthused about discussion Dhanam sent her talented granddaughters and analysis of music in theoretical terms. She is Brinda and Muktha to Naina Pillai for their mu- reported to have sarcastically told a musician sical training. While Brinda learnt directly from “innikku Academyil sangeetham patri pesa po- the master, Muktha, who always accompanied ralam, poi kelu”- “They are going to TALK about her learnt by osmosis, through her elder sister. music in the Music Academy. Go and Listen”. While dhanammal bani was known for shruthi Some twenty records of Dhanammal playing and laya purity, she did not lavish too much at- Veena are available but the limited time (3 min- tention on the latter; it was therefore some- utes) and the primitive recording do not reveal thing of an irony that she sent Brinda and Muk- the greatness of the person or her vidwath. tha to the laya wizard Naina Pillai. Dhanammal’s favourites among musicians were TN Rajarathinam Pillai, Pudukottai Thambi (Dakshinamurthy Pillai) and Malaikkottai Thambi (Govindaswamy Pillai). Incidentally Govin- daswamy Pillai’s disciple Papa KS Venkataramaiah taught violin to Abhiramasundari, sister of Brin- da and Muktha and Pazhani Subramania Pillai taught T Ranganathan, their cousin, mridangam. Musician, musicologist and biographer, Ranga Ramanuja Iyengar literally worshipped Dhanammal, whom he described as an avatar of Saraswati Devi. In fact, he had her image in- stalled in his house. Similar is the case with Malaikkottai Govindaswamy Pillai who would

Tambura artist Sripada Rao passed away on 07 November 2019. He breathed his last after sup- porting a concert of Vinay Sharva at Chowdiah hall. He served music for over six decades and was one of the most committed artist. His in- volvement was so profound that he would sing along with the main artist involuntarily. He was recognised by SRLKM with the title “Lalitha Kala Suma” in 2018. He will be missed by the musi- cians and the rasikas of Karnataka. We convey our sincere condolence to the bereaved family.

Lalitha Kala Tarangini - Dec 2019 35 Life of Rallapalli Ananthakrishna Sharma

Original article written by Violin Vidwan TT Srinivasan son of Violin Vidwan. TS Tatachar (Late), Bangalore (Translation credit Rajashree Yoganand)

Also, If there is equanimity in life on various topics, subjects, goals or targets and tolerance to various religions that is culture. A person might know many languages, may have read many books and know literature and fine arts. Yet, if he is ignorant of culture, he cannot be called a culturally enriched person. Hence cul- ture is that which always looks at upliftment of people and always thinks of what is good for the society. Rallapalli Ananthakrishna Sharma is an example of how a person can contribute to the society, enriching it culturally as well as through his im- mense scholarly knowledge. Rallapalli Ananthakrishna Sharma was born in Rallapalli which is in Andhra Pradesh’s Ananth- pur district on 23rd January 1893. Karna- madakala Krishnamacharya was his father. He was a very scholarly person having mastery over Sanskrit and Telugu languages. His mother was Alamelu Mangamma. His father was his first teacher. His mother had a large repertoire of There are many mahatmas in India who have songs in Sanskrit, Tamil, Kannada and Telugu. She lived their life as a penance and have con- was also his first music teacher. tributed culturally, spiritually and given moral Childhood and Education values to the society. These great people might Rallapalli was a very desolate village with no not be in our midst, but they have shown us the facilities to even have a school. Schooling hap- light and gifted us a rich legacy to lead a life pened in his house along with his brothers and with elevated thoughts and actions. sisters with his father being the teacher. Krish- If there exists - in our food, thoughts, moral namacharya was a great scholar in Sanskrit and standards, likes, dislikes, sense of clothing and Telugu. Under his father’s guidance Sharma blos- many more aspects that make up life - some- somed. His father had taught him Champu Ra- thing special, distinct and disciplined while hav- mayana before he was eight years. By the time ing its own beauty, then that is called culture. he was twelve years, he knew Ramayana San- Culture is not just education or knowledge. graha, Kalidasa’s Raghuvamsha, Champu

Lalitha Kala Tarangini - Dec 2019 36 bharatha, Vishwagunadarsha and other books in tiated into Samashrayana mahamantropadesha. Sanskrit literature and many works of literature Swamiji became his second guru. He was stand- in Telugu. Ananthakrishna Sharma had deep ap- ing on the portals of knowledge which was now preciation for his father for being an outstand- open to him. Swamiji was very proud of his ing teacher. According to him, his father had pupil who was intelligent and very quick at perfected the art of teaching which could easily grasping. He was taught literature every after- be understood and learnt by the pupils and did noon. Swamiji would explain Sanskrit dramas not discriminate in giving away his knowledge. and touch upon the high points in them. This went on for 6 years. Swamiji’s eyesight was be- His Second Guru coming dim by this time and he took the help In order to see that his son received higher of his pupil to finish the book “Alankara mani- education, his father brought him to Mysore. haramu”. This work helped him a lot in the un- Anantha Krishna Sharma was about thirteen derstanding of the book as well as with the in- years and the year was 1905. Mysore was the sight needed in understanding literature in gen- capital of Karnataka in those days. It was the eral. seat for literature, music and other fine arts under the rule of the Kings of Mysore. Krish- Third Guru namacharya left his son at a relative’s place and Rama Shastry was a scholar from Chamaraja returned to Rallapalli. Very soon he was turned Nagar. Swamiji and he were literary friends and out of the house and Ananthakrishna Sharma together the two titanic scholars would discuss was on the streets without any money and not various topics which was a sight to behold and knowing anyone else in Mysore. Dejected and experience. Ananthakrishna Sharma was very with a heavy heart, he started walking with impressed by the literary genius of Rama Shas- nowhere to go. He was also determined not to try and nurtured an ambition to study under return to his native place before fulfilling his him. He was fortunate enough and got the wish of acquiring knowledge. He met an old chance to study Shakuntala, Uttara Rama Char- lady on the road who took pity on him and re- itre, Anargha Raghava, Mudra Rakshasa and solved to help him although she herself was in a Bana’s Kadambari under him. very poor financial condition. She said “do not According to Sharma, Rama Shastry’s rendition worry my child, please come with me let us see of Sanskrit prose and poetry was one of a kind what the will of God is”. She took him to without any parallel. He had mastered the art of Parakala mutt Swamiji where she was employed explaining and delivering the meaning very ef- to do menial jobs and made sure that he was fectively. Sharma has vivid memories of the given both food and a place to stay. serene calm and composed environment which Brahmatantra Swatantra Parakala Mutt is a cen- would prevail when he had to teach. turies old famous mutt of the Sri Vaishnava community. The head of the mutt at that time Last guru of Sharma was Sri Krishna Brahmatantra Swatantra Sharma could not continue studying Telugu lit- Parakala Maha Desikan who was the 31st Yati of erature under his father due to change of place. the mutt. He was an erudite scholar and had At this time, Cattamanchi Ramalinga Reddy also many scholarly literature writings on various known as CR Reddy took the responsibility of topics. He was also an expert orator who could encouraging and reviving Telugu literature. explain the innermost meanings in literary Hence he became Sharma’s fourth and last guru. works. Reddy was also the teacher at Maharaja College in Mysore. The proximity to CR Reddy opened Ananthakrishna Sharma was very fortunate to many vistas to Sharma. They used to regularly have found shelter under such a holy person. meet and spend time to discuss Telugu Litera- Swamiji not only accepted him as his disciple ture and poetry. Sharma feels eternally grateful but also gave him Vaishnava Diksha and was ini-

Lalitha Kala Tarangini - Dec 2019 37 Shri. Rallapalli Ananthakrishna Sharma being honoured at The Madras Music Academy in the year 1974 when he presided over the annual conference and awarded the title ‘Sangeetha Kalanidhi’ to CR Reddy for influencing him immensely in Once during the birthday celebration of Ma- Telugu literature. haraja Nalvadi Krishnaraja Wadiyar in the year 1909, as was the custom, there was a felicitation In search of a guru in music function held by the King to honour Rajaguru Ananthakrishna Sharma got introduced to liter- (swamiji of Parakala mutt) and in return would ature from his father, but it was his mother receive words of blessings or benediction from from whom he got introduced to music lessons. the guru. Swamiji was received and seated at Hence, his parents became his first gurus. Music the Amba Vilasa Thotti. During the paada puja to and literature are like two sides of the same the guru there used to be the customary play- coin. In the same way, his parents were like his ing of the veena. It was Bidaram Krishnappa eyes - one eye for literature and the other eye who was playing on the veena. Sharma was for music. His mother taught him and his sister standing next his guru holding the chamara and Yadugiri many songs in Sanskrit, Kannada, Telugu was spell bound by his music. He decided to and Tamil. They used to sing these everyday in approach him for his music lessons. He was six- the evening at the Anjaneya Temple near their teen years of age by then. place. After coming to Mysore, though he was able to pursue literature due to the help of He first started to learn from Krishnappa’s guru Parakala Mutt Swamiji, his music took a back Mysore Karigiri Rayaru till varna and later on seat for some time. It was at this time that was taught by Bidaram Krishnappa till his death Mysore was becoming the seat for classical mu- in 1931. sic. Mysore had musical geniuses like Veene She- Bidaram Krishnappa shanna, Veene Subbanna, Bidaram Krishnappa, Bidaram Krishnappa was born in a village called Mysore Vasudevacharya and Chikka Rama Ra- ‘Nandavalike’ in south Karnataka. His parents yaru. Sharma would regularly attend all the con- were Smt. Saraswathi Bai and Vishwanathayya. certs but was hesitant to approach anyone to His father was a theatre artist. The then Ma- learn. haraja of Mysore Mummadi Krishnaraja Wadiyar liked his plays very much and invited him to

Lalitha Kala Tarangini - Dec 2019 38 Mysore. He was made to stay in a guest house shakthi and more intelligence than me. You called ‘bidara’. Hence Krishnappa got the name should cross the threshold of what has been Bidaram Krishnappa. Due to ill health, his father taught by me. You must sing to satisfy your soul found it difficult to run the family and there was or atma trupti.” financial constraints. Krishnappa was a devotee He had the sublime satisfaction of building the of Anjaneya and he started singing dasara pada Sri Rama Mandira with the money he earned in front of the Kote Anjaneya temple which was and completed his life’s journey. in the palace premises. The devotees would give him some money as a token of their apprecia- Rallapalli once asked his guru to teach him the tion. He gave his mother all the money he keertana ‘Dhyaname’ which his guru had sung in earned this way. As Krishnappa had a rich voice, front of the king during the durbar. His guru he was put under the guidance of Karur Ra- willingly taught him the kriti. Later when Shar- maswamy to learn classical music. Later, he un- ma tried to sing kriti, it was not possible for him derwent training under Giribhatta Thimayya, to sing the kriti the same way as his guru sang. Karigiri Rao, and veene Sheshanna. Impressed by He questioned his guru the reason for this, to his melodious voice, both Chamaraja Wadiyar which his guru laughed and said “ swara laya and Krishnaraja Wadiyar gave him the title shuddhi cannot be obtained in a day. You should ‘Gaana Visharada’ and in 1908 honoured him by sing it every day. Your singing depends on your gifting gold coins. Bidaram Krishnappa used all sadhana”. Rallapalli Ananthakrishna Sharma says of this money to build the Sri Rama Mandira that the keertana was understood by his mind and was responsible to popularise Carnatic mu- but he could not put forth the same vocally. sic. He had many disciples and made sure that That kind of perfection could only be got if one they were well taught. T Chowdaiah, Bengaluru did sadhana like his guru. Nagarathnamma, Rallapalli Ananthakrishna While he was learning under his guru Sharma Sharma were his famous disciples. His disciple had the opportunity to interact with Vainika Nagarathnamma was responsible for building shikamani Sheshanna. Both of them were Saint Thyagaraja Swami Samadhi in Thiruvaiyaru. friends with a lot of affection towards each Rallapalli Ananthakrishna Sharma held his guru other. Hence it was easy for Krishnappa’s disci- in very high esteem and his reflections about his ples to approach Veene Sheshanna. Sharma was guru stems from this utmost respect for him. so much in awe of Sheshanna’s talent and his According to him the sadhana or penance done personality that he accepted him as his by his guru to reach perfection in naada and maanasika guru. Both Krishnappa and Sheshanna kaala which are the basis of music is immense. considered Sharma to be a highly educated He could easily sing in three octaves with scholar and both had high regards for him. gamaka shuddha, clear pronunciation, singing What Ananthakrishna Sharma has to say about with understanding the meaning of the kriti and literature and music is like a beacon to the stu- his mastery over raga and taala. He never dents of literature and music. “To expand the thought music was for pleasure. He never literary knowledge it is very important to read looked down or humiliated his co-artists. He more and more books. For music it is impor- never competed with anyone nor could anyone tant to listen as much as possible without which win a competition with him. one will not be able to expand the horizon of Only an outstanding guru could tell his pupils this learning. In the region of Mysore, Veene “you do not have to imitate me while singing. I Sheshanna and Mysore Vasudevacharya are the can teach you keertanas, the theories of singing front runners for their outstanding scholarly and the do’s and don’ts about singing. However, music. I can even say that Sheshanna comes first. each individual is different with respect to his I have been fortunate to listen to both their voice and manodharma. By God’s grace you may kutcheris a number of times and gained from it. be bestowed with a better voice, better kalpana Veene Sheshanna can be called a ‘naada yogi’.

Lalitha Kala Tarangini - Dec 2019 39 Shri. Rallapalli Ananthakrishna Sharma supporting his daughter Smt. Harini Srinivasan at the The Madras Music Academy in the year 1974 in one of the academic sessions

Veena is his lifeline. It is the personification of money or success. There was something regal Goddess Saraswathi for him. He never consid- about him. ered it as an instrument that he had mastered. Many a scholar in literature and music would According to him we play the Veena depending come to him to have their doubts clarified. He on the sadhana and the time we have invested believed that music was divine and hence he in it, but will not be able to play to the full po- had no intentions to gain financially from singing tential of what Veena truly deserves. He kept it. He always shared his repertoire of keertanas repeating it many times. Veene Sheshanna did when someone needed it or was humble not need anyone to tell him to play on the enough to ask if he did not know a particular Veena. One could consider themself blessed if keertana or varna. Once he heard a beggar they could hear and enjoy his playing. He would singing Thyagaraja Swamy’s kriti ‘naadasudha be so engrossed playing the veena shedding rasambilanu’. This kriti was not familiar at that tears of joy listening to the naada from his point of time and he did not know it. He invited veena. the beggar inside with a lot of respect and Sharma continued to be in touch with the mutt made him sing the kriti and learnt it by writing even while he was learning music. He was into it down. The next day, he went over to Muthiah shastra abhyasa and saahitya abhyasa. For him Bhagavathar’s place and sang it beautifully for music and literature were means to express his him. Bhagavathar was so much taken in by the inner-self. kriti that he taught the kriti to all his pupils. Personality of Rallapalli Ananthakrishna To Sharma knowledge was something that had Sharma to be gained by not wasting even a second. Just Rallapalli Ananthakrishna Sharma had a pleasant like the granary that gets filled by putting grain demeanour, a reflection of having lead a mean- by grain so was it in the case of knowledge to ingful life. He was a Sri Vaishnava and was always him. immaculately dressed. He held himself in great He would always have a word of encourage- dignity. It was not just in music and literature ment to young artistes and listen to them as but throughout his life he strode the ‘Raja mar- well as that of great musicians. (Sharma’s whole- ga’, never succumbing to any kind of desires, some personality can be pictured when one

Lalitha Kala Tarangini - Dec 2019 40 reads his Abhinandana Grantha “Anantha and invited him to accept the offer. He served Ragam”). as a Telugu Pandit in the college till 1949 i.e. for 37 years. Though he spoke Telugu, he was familiar with Andhra, Karnataka and Tamil regions. He had a Music as a profession special affinity towards Karnataka and to It is said of Ananthakrishna Sharma that he was Mysore Mallige (jasmine), Mysore betel leaf, famous as a literary giant in Andhra Pradesh Rasapuri and Badami mangoes, Nanjanagud where as for Kannadigas he was well known as Rasabale (banana) and Mysore agarbathis. He a musician. He was a savya sachi for having ex- was full of praise for Kannadigas for their hospi- traordinary knowledge and skills both in music tality and felt that everyone could learn from and literature. It is interesting how attuned them. Sharma was to music in his life. Sharma could He was a Savyasachi both in the field of music not make name as a performing musician and literature. though he was well versed in all aspects of it. His singing had been limited to only a few Occupation artistes and connoisseurs of music who had Rallapalli Ananthakrishna Sharma was like a cul- heard him and his reputation as a singer was tural ambassador from Andhra Pradesh in Kar- readily acknowledged by them. There can be nataka. He was a scholar who had studied ex- two main reasons for this. First, the word of haustively in Sanskrit, Telugu and music. Hence it honour he had given to his guru Bidaram Krish- was difficult to differentiate his vritthi (occupa- nappa. Before accepting him as his pupil Krish- tion) and pravrutthi (vocation). It can be said nappa had laid down the condition that he that music and literature was the above said would not use music for financial gains or make both. First in literature, he served as a Telugu a career out of it. It looks like the guru felt that scholar, second his music and third the research for Sharma, being a highly talented and prolific work that he undertook for Tirupati’s Sri scholar, it would not be right for him to com- Venkateshwara Oriental Research Institute. A pete with students who only had music to look- brief about all the three is given below. forward to as their career. He upheld his prom- ise to his guru till the very end. Telugu scholar Rallapalli Anantha Krishna Sharma had received Once Sharma visited the house of Muthiah Bha- very good education in Sanskrit and Telugu from gavathar wherein Bhagavathar said “you will be his father. With his mastery and immense singing in the palace during the sabha session of knowledge of Telugu literature, he used to give Maharaja. I have spoken to the king and he has scholarly lectures on ancient poets of Telugu accepted my request. When can I arrange your and their works, about the Rajadharma of Vi- kutcheri?” but, Sharma declined the offer and jayanagara kings and the society at that period said “ I am indebted to you for your affection. I of time, on many plays and about music as an am sorry, I will not be able to sing”. Sharma art. He had published several articles which never gave the reason to Bhagavathar for he did were a reflection of his mastery on the subject, not want to make public his promise to his analysing the matter with aesthetic impressions. guru. Years later, he had confided the same only He could recite Tikkanna Somayaji’s Mahab- to his eldest daughter. haratha very well. He got acquainted with the The second reason, during the first world war principal of Maharaja College CR Reddy who time he had contracted influenza and suffered was very appreciative of his scholarly prowess. from it for a long time. It had also affected his He offered him the job of a Telugu teacher in throat. He later regained his voice after years of the college. When Sharma declined the offer medication, but he never went back on the saying that he did not have a degree, Reddy promise made to his guru. Many knew his out- replied saying that he was giving him the degree standing singing prowess. They would visit

Lalitha Kala Tarangini - Dec 2019 41 Sharma at his place only to listen and enjoy his macharya. He was once again requested and singing. They would make him sing their was responsible for bringing out nineteenth and favourite raga or kriti. Vice Chancellor NS Sub- twentieth volumes of Annamacharya kritis in barayaru had a soft corner for Kshetragna’s 1965 though he had retired by then. Later, pada. It was said that no one could sing Sharma’s help was once again sought by Gowri Kshetragna Pada so sweetly and with feeling as Peddi Rama Subba Sharma while publishing the Ananthakrishna Sharma. His involvement while twenty second volume in 1975. singing Jayadeva’s Ashtapadi or Kanakadasa or Purandaradasa keertana was total. Awards For his selfless service towards literature, for Sharma was also proficient in playing the flute his reviews, for poetry, for his writings on music, and violin. His aim in life was to serve music and as a vaggeyakara, Sharma was recipient of many would only sing for self satisfaction and not as a many prestigious awards and titles. It was natur- means to make money. His daily routine in- al that he was awarded the title “Sangita volved reading books, going over the keertanas Kalanidhi” the highest honour in music by The and teaching his pupils for many hours. Madras Music Academy in 1974. Sri Venkateshwara Oriental Research Rallapalli Ananthakrishna Sharma led a very dis- Institute, Tirupathi ciplined life and dedicated his life in service of Rallapalli Ananthakrishna Sharma retired after music and literature. His passing away was very serving 37 years as a Telugu Pandit in Mysore sublime given that the management of Tirupathi Maharaja College. He was invited by the Tiru- Devasthanam had come to Bangalore to felici- pati temple to head the Sanskrit department of tate him and offer the prasadam of the Lord in Oriental Research Institute. recognition of his outstanding service to the temple. With his love for literature and music , Sharma was given the task to bring to light and publish Sharma left for his heavenly abode a few hours Annamacharya kritis which had been etched in after receiving the honour and prasadam from copper plates and preserved in the Temple the temple. store house. He brought out the ninth (1952), Sharma would always view that in order for the tenth (1952) and the eleventh volume (1955) country to become strong and grow in stature for publication. He also notated the swaras for and to live with ethics, all negativity must be 108 keertanas of Annamacharya and published removed. The way we speak, walk, think must two volumes of it. This made it easier to sing have the influence of any skilled craft. Then the Annamacharya kritis. He made sure, to the ex- whole life will be harmonious. That is the sign of tent possible that he did not deviate from the culture and the means to worship Goddess original ragas given to the kritis by Anna- Saraswathi.

Team SRLKM congratulates Vidwan Anoor Ananthakrishna Sharma on being appointed chairman of the Karnataka Sangeetha Nrutya Academy. The appointment will be a boon for the art form and artistes of Karnataka. I am sure with the talent and knowledge he has, he will take our cultural heritage to a new peak. We wish him the very best in his new endeav- our. - The Editor

Lalitha Kala Tarangini - Dec 2019 42 Karnataka Sangeetha Mathematics Workshop

Meera Sundar, Chennai

The World Kon- We then moved on to ‘Tha Dhi Gi Na Thom’ nakkol Academy expansion by applying 4-3-2-1 kaarvais to all led by Vidwan So- variations of tha dhi gi na thom (5, 6, 7, 8, 9 and mashekar Jois or- 10). Once we got the thathakara, we immedi- ganised a unique ately translated these into Swara patterns. Here, workshop on 17th November - Karnataka Shivu sir insisted that we maintain the aesthetic Sangeetha Mathematics by Vidwan Anoor Anan- of the chosen raga and choose the swaras ac- thakrishna Sharma (affectionately known as cordingly. We sang swara endings in ragas like Shivu Sir in the music circle). This workshop, Kalyani, Pantuvarali, Kharaharapriya and in all meant for melodic artistes, sold out very quick- common talas. Soon, thrishra, thrishra mel kaala, ly and was over capacity. This is no surprise chaturasra + thrishra also were calculated and since Shivu sir, apart from being a Mridanga sung with ease. Shivu sir made the mathematics maestro, is also an accomplished singer and so simple to understand, and this continued composer. He is one of those rare artistes with even when we learnt more complex topics. the amazing ability and vision to translate laya Samam to eduppu calculation for korvai: We ideas into aesthetic raga expressions. The work- moved to calculations for korvai or muktaya. shop peppered with humour and anecdotes will Here again, big and daunting numbers were remain etched in our memories. made very simple to approach. We learnt some Exercises for grip on Laya and ‘Tha Dhi Gi Na formulae to quickly calculate a muktaya pattern Thom’ expansion : Shivu sir started the session for any given eduppu (take-off point). Patterns with several exercises to get a firm grip on Laya. with kaarve and muktayas with multiple nadais

Lalitha Kala Tarangini - Dec 2019 43 were also taught. We also took up challenging be rendered in a flow. He also answered ques- eduppus like ‘Manasuna’ (Pakkala nilabadi). tions on Thani avarthana and having a mutual understanding between artistes. He stressed on Layam patterns in Neraval: This was a highlight the importance of regular sadhana and always of the workshop. ‘Sama gaana vinodhini’ from approaching calculations with raaga bhaava in Saroja Dala nethri was the chosen line for ner- mind. aval. Shivu sir sang so many mathematical varia- tions on alternating words and he brought them For all of us melodic artistes, this workshop was all together towards the end. It was a double a boon. From his decades of experience, Shivu delight for us; to listen to the master sing glori- sir gave us a crystallised version of Karnataka ous neraval and also have an understanding of Sangeetha Mathematics. We all look forward to his thought process. applying these amazing ideas in our daily prac- tice and concert performances. Koraippu and Poruttham: Shivu sir concluded with the topics of koraippu and poruttham. He mentioned that these topics require some pre- meditation and a lot of practice before they can

Sangita Kala Acharya Neela Ramgopal was conferred the title “Sangeeta Vidyanidhi” in presence of revered Suttur Seer Sri. Shivarathri Deshikendra Swamiji and Solale’s Sri Vyasaraja Mutt Seer Sri 1008 Sri. Vidyashreesha Theertha Sripadaru by the JSS Sangeetha Sabha during their 26th Music Conference on 06 December 2019. CT Ravi, Minister for Kannada and Culture, Government of Karnataka, Mysore GN Naga- mani Srinath and KV Murthy, President, JSS Sangeetha Sabha were present during the function,

Lalitha Kala Tarangini - Dec 2019 44 Kalavathy Avadhooth honoured

Kalavathy Avadhooth, senior vocalist from Bangalore was conferred the title “Swaralayarathna” from Suswaralaya College of Music, Bangalore during their 20th Anniversary function on 01 November 2019 at Pathi Sabhangana, NR Colony, Bangalore. Senior vocalist Padma Gurudutt did the honours in the presence of the packed audience.

Left to Right - Padma Gurudutt, Kalavathy Avadhooth, Prof. GS Ramanujan (who was also honoured), and Srimushnam Raja Rao 07 May, 2020 Raga Laya Prabha Award Function Thursday, 5.30 pm Venue: The Bangalore Gayana Samaja The award function will be held in the presence of Sri Sri Sri Yathiraja Narayana Ramanuja Jeeyar and Dr. TS Sathyavathy will be the Chief Guest. Raga Laya Prabha Award will be presented to Smt. Anjali Sriram, Dr. SV Sahana, Heramba and He- mantha, Apoorva Krishna and A Rajesh. The Award function will be followed by the Veena Concert by Dr. SV Sahana accompanied on Mridanga by A Rajesh and Anoor Sunad on Khanjira.

08 May, 2020 Friday, 5.30 pm Venue: The Bangalore Gayana Samaja Kunnakudi M Balamurali Krishna (Vocal), HK Venkatram (Violin), KU Jayachandra Rao (Mridanga), Prof. GS Ramanujan (Ghatam)

09 May, 2020 Saturday, 5.30 to 7.00 pm Venue: The Bangalore Gayana Samaja Anagha Yoganand (Vocal), Achyutha Rao (Violin), BS Prashanth (Mridanga), BS Raghunandan (Ghatam) 7.30 to 8.45 pm Vishnu Venkatesh (Mandolin), Arjun Dinkar (Violin), Nikshith Puttur (Mridangam), NS Krishna Prasad (Ghatam).

10 May, 2020 Sangeetha Vedantha Dhurina Award Function Sunday, 5.30 pm at The Bangalore Gayana Samaja Sangeetha Kala Rathna Vid. Sri AV Anand will be conferred with the title, "Sangeetha Vedantha Dhurina" instituted in the name of visionary founder, G. Vedantha Iyengar with a cash award of Rs.1,00,000, a Silver Medal and a Citation. The Award function will be followed by a music concert by OS Thyagarajan (Vocal), HK Narasimha Murthy (Violin), AV Anand (Mridanga), N Amruth (Khanjira)

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