ANOTHER GARLAND
(Biographical Dictionary of
Carnatic Composers & Musicians)
(Book II)
By
N. RAJAGOPALAN, I.A.S. (Rtd.)
(with an article by Dr. (Prof.) B. Ramamurthi)
1992
CARNATIC CLASSICALS
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'In 1990 N. Rajagopalan created history by publishing the first volt
' A Garland ' ... it is a thesaurus containing the critical accounts of over '
artistes. It surpassed all the earlier works of a similar nature by
comprehensiveness, analytical approach and musical insight... Another GarL
will be ' Another Bonanza J to the music world and it is now its duty to salute
for his dedication and perseverance. '
— T.S. Parthasars
Music Academy, Mac
' Precious golden volume, richest treasure, an object of delicious
pleasure that breathes history, delves into the labyrinths of
music... It whets one's appetite for the Book II.1
— Dr. Sakuntala Rajenc
Editor, ' Shanmuki
—-—«-' — •; Very happy Another Garland will come out very soon.
* '.... *r v< •>/',. f£'*?W • '*'&. . ....
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€ arty congratulations and felicitations.
— Prof. T.N. Krishnan,
Vice Chairman,
Sancjit Natak Akademy, De
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AN OTH E RTXBtARL AvMCL
FOREWORD
A galaxy of composers, musicians, musicologists and hymnodists have
played a vital and impressive part in the evolution and development of the
science and art of our Carnatic music - from Bharata, Narada and Illango to Ravi
Kiran, U. Srinivas and Shashank. Magnificent artistes like Maha Vaidyanatha
Ayyar, Tanjore Quartette, Arunachala Kavirayar, Gopala Krishna Bharati,
Uthukadu Venkatasubba Ayyar, Papanasam Sivan, Vina Balachander,
S.G. Kittappa and K.B. Sundarambal and the happily present vidwans like
Semmangudi Dr, Srinivasa Ayyar, Dr, M.S. Subbulakshmi, Smt. O.K. Pattammal,
Dr. Balamurali Krishna, Shri, Lalgudi Jayaraman and Prof. T.N. Krishnan have
all played a highly distinguished part.
Shri. N. Rajagopalan has the credit of bringing out the first-ever gargantuan
Biographical Dictionary of Carnatic Composers and Musicians in English titled
1 A Garland ' in 1990 presenting exhaustive accounts of the lives of over seven
hundred artistes. I find that it has been very well received and excellently
reviewed by competent authorities. The author is following it up with his second
book titled appropriately as ' Another Garland ' containing over 350 lives. The
two ' Garlands ' thus cover well over a thousand lives, a formidable number
indeed!
The author, in his Preface, recalls the memorable words of Ben Johnson -
' For, where his person liv'd scarce one just age,
And that, 'midst envy and parts; then fell by rage;
His dream too dying.
But in books ...
To all future time, not only doth restore
His life, but makes that he can die no more.'
The truth of the statement could not be better illustrated than by a
Biographical Dictionary giving succinct accounts of the noble side of the lives of
the devotees of Nada Yoga and Nadopasana. The articles in Part I of the Book
and the notes in Part III present a wealth of information. Chronological table,
definitions and index make it a complete source, book of reference, a ready
reckoner and a book of treasure. I congratulate the author for the immense
labour and expense he has put in and for presenting this treasure for the
reference of musicians, music-lovers, teachers, students and researchers. I am
happy to commend this Another Garland to the musical fraternity.
Madras -1 . M. GOPALAKRISHNAN
April 28, 1992, Chairman and Managing Director,
Indian Bank.
4 ANOTHER GARLAND
VOICE OF DIVINITY
MUSIC: A SPIRITUAL AID
(H.H. Sri ChandrasekharendraSaraswati, Paramacharyal, Kanchi Kamakoti
Sankaracharya Mutt, Kanchipuram has given expression to the following golden
observations in his lectures, some of which are brought out by Vanathi
Padippagam in the admirable and soulful book Veivathin Kural'ln tamil.)
L Appar, the Saivite canonized saint, has compared Divine Presence to -
Flawless Veena rendition Flush of autumn bloom and
Exhilarant evening full moon Lotus-studded pond with bees humming around.
Rejuvenating southerly breeze
The point here is the pre-eminent position given by Appar to good veena
play. The Paramacharyal reminds us all of the spiritual message and benefits of
chaste music rendition. Appar's hymn reads:
' Magll veenaiyum, ma/a/ madhiyamum
Veesu thendralum veengila venilum
Moosu vandaraip poigaiyum pondradfie
Eesan Endai Enayadi nizhafe.'
\\. Sage Yagnavalkya, who gave Dharma Sastra, says that 'A/ac/opasana1
through blemishless veena play ensuring purity of sruti and accuracy of
laya leads the devotee along the sure path of Salvation even without
Dhyana, ^ Tapas and
Yoga, Poojah.
Veena Vadana Thathvagnah grutijathi vigaratah I
Thalakagnascha aprayatnena mokshamarge sa gacchati. ' 1 1
\\\. In his "Soundarya Laharf, Adi Sankaracharya describes how the musical
scales - Sadja gramam, Madhyama gramam and Gandhara gramam —
have their origin in the neck of the Goddess. (Sloka 'Gale rekha, thisre...*)
iv. The Goddess of Learning, Devi Saraswati is the source of veena play. Poet
Kalidasa, in his lNavaratnamala\ brings to notice that Goddess Parasakti
too plays on veena and gets lost in the seven swaras - thus becoming the
Symbol of Tranquility and Gracious Heart;
1 Sarigamapadani rafam tarn
Veena sankranta kanta hasfanfam. '
'Santam mrudula swantam
Kungabharafanfam namami sivakanfam. '
The soul of the devotee who prays with chaste music is blessed by the
Goddess. The individual soul merges-in the Universal Soul, the Paramatma.
ANOTHER GARLAND
PREFACE
1 COMMENCED the yagna of bringing out the first-ever, gargantuan
Biographical Dictionary of Carnatic Composers, Vocalists, Instrumentalists,
Musicologists and Hymnodists in the month of Margasirsha (Dhanus), extolled
as the chosen month of God, December 1987. The first book titled 'A Garland'
was graciously released by H.H. the Sankaracharya of Kanchi-Kamakoti
Peetam, Sri Jayendra Saraswati Swamigal, as a Bharatiya Vidya Bhavan
publication on June 19, 1990, the first copy being received by Sri Haridhos Giri
Swamigal, perhaps the lone crusading Bhagavata Maha Purusha now. It covers
the lives of over seven hundred artistes both of the illustrious past and the
memorable present. It has been acclaimed as a definitive source book of
reference, a monumental dictionary, a ready-reckoner and an unparalleled
treasure. Excerpts of the reviews find a place in Part III F of this book. Since the
first book could not naturally cover the galaxy in entirety, this second book titled
'Another Garland is presented (to be followed by 'Yet Another Garland' in due
course since quite a number of artistes do not find time to give details ).
Classical Carnatic music is but the continuance of ancient Indian music as
it was prior to the advent of Persian influence and the attendant evolution of the
Hindustani style. The tamil areas in the South had from pre-historic times a
well-developed, scientific, distinct sytle known as Pann. The Indian (later called
the 'Carnatic' from the days of the work Manasollasa) and the Tamil Pann had
coalesced invisibly during the middle ages and presently the South has the
Carnatic music and the North has the Hindustani music - of course, both
raga-based with common and distinct features. The Garland Series brings to
focus the illustrious lives of artistes expounding the Carnatic style.
Classical music in India has fundamentally been the handmaid of spiritual
savants and apostles for self-realisation and propagation of spiritual message.
Though for some music may be professional, it has continued to be subordinated
to the primary, ambrosial objective of spiritual enlightenment and advancement.
'Our ancients realised (the power of music) almost at the very dawn of our
history... soon found that the Gods were more easily gratified by the singing of
the poetic hymns called Riks and they produced the Sama Veda... Bharata
says that Brahma extracted the art and science of music from Sama Veda.
(Dr. V. Raghavan). If classical music is Nada Upasana for the yogi in musician,
it is solace and soulful joy (brahmananda) both to the initiated and the lay.
Fortunately education or training is no pre-requisite to surrender one's soul to
melody. Aapaaya Nayanar's enchanting life (page 274 in A Garland) is an apt
and ideal illustration and consummation of the magic lure and ennobling spell
of melody.
ANOTHER GARLAND
Till the demise of the Second World War, the average Indian was basically
wedded to spiritual endeavours to the neglect of materialistic pursuits and profit.
The marriage of Man and Art was complete and harmonious and music
flourished in a salubrious climate. The classical prospered with the folk music
side by side both being patronised by royalty, landed aristocracy and temples.
All the air, the aroma of music held benevolent sway. In fact, music was prasada
to one and all, high and low, copiously distributed irrespective of caste, creed or
race as music was free for all like air and water. Temples reverberated with vocal
and instrumental music daily. Dramas, concerts and dances were in the open
dishing out classical music in plenty and continuously to reach every man at his
home and street ! Whether it be Ekadashi or Sivaratri, Rama Navami or Krishna
Jayanti, marriage or funeral, success or defeat, music was made with foresight
sine qua non. No nation or art can sustain itself nor can it flourish with dwarfs
with a mere one or two of tall stature. Galaxy of giants appeared on the scene
from time to time to rejuvenate the art and reorient the science - Vide the
chronological table in Part IV. National genius presented successive waves of
illustrious breeds of composers, musicians and musicologists who kept the
musical fire and flame bright. The endeavour and vocation constituted a multi-
dimensional effort to inculcate spiritual values, enlighten people, spread art and
culture and incidentally provide occupation and entertainment nearer home. In
fact the scheme of founding temples had the same profound socio-economic-
cultural bias in India. That was the underlying concept of Village Swaraj pure
and simple. Temples were the fulcra around which the lives of the people
revolved. The environment was so sublime and all-pervasive that even a fanatic
Aurangazeb could hardly find any means of avoiding and averting music and
could not find the royal writ, place or the means to bury it. That was the prime
reason for the monstrous intensity of his rage. There were fields of hereditary
specialisation and implied division of labour as in the cases of hymnodists
(odhuvars), nagaswara artistes and dancers. It is significant that renowned
composers and musicians came up like the sixty-three Saivite Apostles
(Nayanmars) from among the different strata of society since music was
intrinsically a communal asset all along and free for all. That was Bharath,
the Dharmabhoomi, the Mokshabhoomi wherein people from Nandanar to
Narada flourished.
The reducing tempo of services and festivals at temples during the last four
decades, the invasion and onslaught of mike-based cheap music, the migration
of artistes to crowded urban centres and concentration of all musical endeavours
in a few metropolitan centres robbed and deprived the millions in the vast
slumbering rural tracts of all exposure to classical music leaving them musical
agnostics. The shifting of music from temples and dramas from street corners
and river beds to sabhas and chambers stifled the growth of classical music.
Classical music can flourish in its native charm, grandeur and glory only in an
atmosphere of wprantfand not in the polluted, dusty turmoil of noisy towns and
cities. The latter can hope to nourish it for a while but not nurse it
ANOTHER GARLAND
through. As it is with grains and primary products, the city can consume but
not hope to create music. Classical music based on improvisation has no future
unless the imbalance is remedied and the rural reorientation is soon
accomplished. George Ade said with rustic humour —
1 In the city, a funeral is just an interruption of traffic;
but in the country, it is a form of entertainment . '
Even so, rural India certainly provides the appropriate environment and
atmosphere needed and the psychological and emotional, mental ar>d moral
influences for inculcating and imbibing music. The ultimate marketing may be in
urban and rural centres but training and apprenticeship should be
rural-oriented.
To subserve this, corporate aids and scholarships are to be canalised to
restore to rural areas their legitimate share of music schools, concerts, fairs and
festivals. Temples should play their part as before and youth associations should
distribute their services and concerts among rural centres. Urban monopoly,
urban-oriented artistes with one leg in music and another in jobs and casuals
can never sustain the soul of the art for long. The tragedy of sickness overtaking
the ambrosial, divine classical art has tp be averted.
As stated above, rulers and landed aristocracy vied with each other in their
patronage of composers and musicians and the cyclical patronage of royal
courts at Vijayanagar, Tanjore, Trivandrum, Pudukottai, Mysore, Ettayapuram,
etc., is worthy of being written in letters of gold. Temples provided the basic
stamina at grass roots to nagaswara artistes and hymnodists in general and
other musicians at festivals. These lent name, fame and stature to the artistes
without doubt. It is also an undeniable fact that most of the artistes lived
strangers to material affluence. They forgot their pangs of poverty and pain of
hunger in yogic pursuits in the realm of melody. As beautifully observed by
M.S.Golwalker :
'India opted for the wealth of perfection, virtues and sublimity of the soul, which is real
and abiding; and no wonder great heroes and monarchs have worshipped the dust of
the feet of half-naked sanyasins who rose above selfish interests in the cause of
humanity.'
The prime beneficiary, the Indian Society had the vision and nobility to glorify
Eminence entrenched in Indigence and raised to immortality the dichotomy of nebulous
earthly existence and weighty contributions in art, science and literature and their
coparcenary. The torch-bearers of Classical music took pride in such a paradoxical
existence ; and unselfish nadopasana took music not only to the temple prakaras and
bhajan mandals quantitatively but also to the pinnacle of excellence and public
acknowledgment as if in a quid pro quo. The position is not much different even now.
A few musicians may, perhaps, revel in comparative prosperity; quite a number stand
stopped at the portals of affluence while a vast majority have little access to it.
ANOTHER GARLAND
It is a tragic fact of life that luck, opportunity and patronage bless but a
chosen few. Taking public life for comparison, Satyamurti, connoisseur,
office-bearer of the Music Academy, Madras and the most remarkable
parliamentarian was not destined to become a Chief Minister as hoped for.
Sardar Patel shaped Independent India but was not chosen for conferment of
Bharat Ratna till at last he was found fit forty-five years later by a minority
government for posthumous honour! Lai Bahadur Sastri ascended the gadi but
the cruel hand of Death sniffed out his 'life at the time of his glory on alien soil.
How many V.I. Ps. visit his samadhi ? ThatSimizhi Sundaram Ayyar, Mudicondan
Venkatarama Ayyar and a host of others were side-lined is well-known. The
Garlands shall accord them a true berth since, in the words of Ben Johnson, -
" For, where his person liv'd scarce one just age,
And that, 'midst envy and parts; then fell by rage;
His deeds too dying.
But in books ...
To all future time, not only doth restore
His life, but makes that he can die no more."
Rulers and Aristocracy were not necessarily the standard-bearers of culture.
In India, it was the saint, sage and the artiste, who 'rose above the mundane
temptations of pelf and power' and dedi<5ated their all to art, culture and society,
that were the torch-bearers. The 'gurukulavasa} scheme was born out of this
lofty inspiring climate, It prospered here from before the days of the Ramayana
and the Mahabharata till it was strangulated in the recent past and with it went
the unique blend of the sire-son. relationship with the boon of the teacher-student
nexus. At Kurukshetra, when Arjuna directed the first five arrows to the feet of
Bhishma, the charioteer felt amused but the wise Bhishma exclaimed, 'My
beloved Arjuna is prostrating before me with all his five pranas seeking my
blessings*. Arjuna entertained the same respect to his preceptor Drona.
Fortunately we have amidst us some elder musicians who had tasted the rigours
and fruits of the now defunct system and it has been my earnest endeavour to
bring their lives to record. The difficulty lies in getting the details since, in the
words of Sir C.P. Ramaswami Ayyar, The self-imposed anonymity and
self-effacement of Indian Art is one of the standing miracles of all times'.
Some top musicians introduced novelties in presenting concerts during the
Music Festival 1991-92 with orchestra as we have had brief spells of
Rajarathinam with tambur and mridangam, Sarabha with tavil (of course,
unavoidably), Kunnakudi Vaidyanathan and Mandolin Srinivas with tavil. A
Bangalore artiste is reported to be giving Classical Carnatic music concerts to
the beat of jazz percussion and jazz band ! Of course, it may be argued that
one worships the Lord Siva and not the cordon of demons (boothaganas),
prostrates before the deity and not the palanquin-bearers and pays obeisance
to the guru-saint and not those who fan him ; and likewise the principal artiste
and his contribution alone should count, But the quality and the strength of
ANOTHER GARLAND
accompanists do contribute much to the wealth of the music rendered, to the
success or otherwise of the concert in bringing out the soul of music to elevate,
ennoble and enlighten the audience. The despicable reed survives the storm
as it sways with it but the mighty oak falls as it stands rigidly.' Classicism has a
science, tradition and an image with consequential constraints and need to
safeguard its purity and integrity. Orchestra may entertain but Classical
music enlightens and elevates. How far the infiltration of orchestra could be
countenanced is to be analysed to guard against the mighty oak falling down.
Crude experiments may be injurious because of imitation and profit. A patient
was emotionally shattered driven by the illusion of the nearby banyan tree
crashing down on ,his head. To disabuse his mind, the tree was stealthily
removed when he was under anaesthesia. Startled to see it absent on waking
up, the poor man screemed, 'Lo ! you had fallen on my head and crushed it P
and died of shock. Let not noisy orchestra annihilate the mild and soft classical
breed based on improvisation.
I solicit a reference to my preface to the first book (reproduced next). A
glossary, chronological table of artistes, bibliography, definitions and an index
to biographies in both the books find place in Part IV to assist musicians,
music-lovers, students and researchers.
Part III-F carries an addenda and corrigenda to '/A Garland updating the
details which may be read as part of the first book. They will be incorporated
in the revised edition of Book I.
The period 1990-1992 has witnessed many renowned musicians bidding
adieu to the stage of Classical Carnatic music. Dr. Semmangudi Srinivasa
Ayyar, the senior-most Sangita Kalanidhi and veteran hailed as the 'Bhishma',
announced his retirement in April 1992 after sixty-six eventful, record-breaking
performing career. He commenced his career in 1926, one year earlier to the
advent of the Music Academy, Madras and perhaps he is the first great artiste
who has announced his retirement! Where is the question of retirement in
politics and music? His announcement is without doubt historic! (I have a
particular interest in this as he happens to be the 'son-in-law of my village', if
the expression is permissible.) May the sage-counsel of the maestro continue
to be available as his retirement is only as a performing artiste.
O.K. Jayaraman, a Sangita Kalanidhi, the soft prince among prominent
musicians died unfortunately in January 1991 -just seventeen days after he
was crowned at the Music Academy leaving scores of disciples and a vast
assembly of admirers, 'whose pang is bitter, oft-times bitter, when they recollect
his loss'. Dr. M.L. Vasanthakumari, another Sangita Kalanidhi and one of the
performing Lady-Trinity, left on October 31 , 1 990 to be one of God's chorus celebrities
and present Dasanjali for a change, leaving a large concourse of admiring and
passionate disciples and well-meaning rasikas in India and abroad.
10 ANOTHER GARLAND
11 Fled is that music; do I wake or sleep ? " - (John Keats).
The cup of sorrow probably was not yet full ! Tragedy struck in the most
heinous and lethal fashion killing Maharajapurarn Santhanam, the reigning
supremo among Carnatic vocalists in a road accident on June 24, 1992. The
first Sangita Kalanidhi to be killed so, and the second vocalist after John Higgins,
Santhanam held undisputed sway and leadership presenting enchanting
lakshya-lakshana music to the delight of millions. Sure he would have been at
the helm for the remaining part of this century and perhaps the first decade of
the next The supreme artiste demonstrated that Classical Carnatic music did
attract gate-crashing crowds and, more particularly, the youth.
11 He is gone, who seem'd so great — Gone;
but nothing can bereave him of the fame he made his own. "
Veena colossus, S. Balachander was the tallest of instrumentalists and he
too passed away suddenly. Many others have left too leaving a void which time
and nature alone should heal. The loss of all these veterans is too much to Art.
' They wear a truer crown
Than any wreath that man can weave them.
And in the vast bosom of Bharath leave them.
God had accepted these eminent Nadopasakas
To share the stage raised there for Mahanubhavas. '
( After Lord Tennyson )
Now, I DEDICATE this labour of love 'Another Garland ' to propagate the
fragrant lives and achievements of Carnatic composers and musicians, to carve
for myself a niche in the hearts of the Wise and the Learned and in pursuit of
my own fulfilment'.
MADRAS. — (With respects to Sarngadeva,
April 13,1992. author of Sangita Hatnakara.)
N. RAJAGOPALAN
11 No man but a blockhead ever wrote except for money." — Samuel Johnson.
I am what I am !
' It is certainly unwise to pay too much attention to incidents which the credulous relate with eager
satisfaction and the more scrupuluous or witty enquirer considers only as topics of ridicule/
— Samuel Johnson.
ANOTHER GARLAND It
PREFACE TO
A GARLAND (BOOK I)
(Reproduced)
Prof. K.R. Srinivasa Ayyangar wrote:
1 Indian Culture over the last ten thousand years has tried to preserve an impressive
continuity of its own, whether it be the bullock-cart, the Gayafr/or the spirit of the Yagna ! '
With due respect to the learned Professor, Carnatsc Music can be added to
it, since it is but the continuation of Indian Music as it was prior to the advent of
Hindustani Music. Composers, musicians - vocalists and instrumentalists -
musicologists, etc., come and go in a never-ending chain. The votaries have
been increasing fast in numbers. Fortune, recognition and publicity crown the
lives of some but many a musical genius is born to blush unseen and waste his
fragrance in the desert air of neglect, lack of opportunity and perhaps Destiny.
Time, with a complexity of pulls and pressures on it, takes notice of a few.
Fortune and recognition confer their benign smile with spartan frugality on fewer
still. Even if some are recognised, how many of them are remembered? Gems
of men with noble and immortal contributions have faded into the realms
of anonymity with the passage of time. Yehudi Menuhin said,
1 All artistes are some gigantic Tennysonian band of light brigadiers
for ever doing and dying without questioning their fate,'
Institutions and lovers of the Art have, therefore, a duty to record alike-
1 the short and simple annals' of the less fortunate artistes and
' the boast of heraldry and the pomp of power' of the fortunate few.
There are books on the theory of music. There are biographies of some
individual composers and musicians. There are a few collections of more than
one or two biographies. Revered Subbarama Dikshitar did bring out brief facts
of seventy-seven lives in 1904. Abraham Pandithar in 1917 and later
Prof. P. Sambamurti recorded some facts likewise. The venerable
Dr. U.Ve. Swaminatha Ayyar thought of bringing out a collection on the lives of
eminent musicians but his noble life was a fight against the clock and the
calendar. His weighty contribution attracted the notice of the Lord and he was
withdrawn to be by His side before he could take up the work. The 'Who's Who'
of musicians has but a limited coverage, scope and content.* Thus there is no
compilation of biographies in english giving details of past and present
composers, musicians and musicologists for universal reference and circulation.
Hymnodists were hitherto a neglected tribe, Hence I took up the arduous task
of collecting and collating the biographies of all from libraries, newspapers,
* Note : Dr. V.S. Sampathkumaracharya has recorded some lives in his Kannada book Karnataka
Paribhashika Sabda Kosa.
12 ANOTHER GARLAND
magazines and books and by contacting artistes in person and by post. I
visited places like Tiruvarur, Anandatandavapuram, Marudanallur,
Govindapuram, Varanasi, Kanchipuram and Tirupati but could not extend my
visits further owing to constraints of finance. My work, analogous to that of a
pearl-diver who gathers the oysters and not make them, has gone on like that
of a dedicated ant prior to the onset of the monsoon. Mine has not been the
role of a critic. I have also not the ear to listen to or the inclination to gather
demeaning details. ('Human stories are always welcome to the prurient
palate/)* Focus thus is on the man, the God's creation and not on the
creations of man though they figure conspicuously. Parentage and training,
trials and tribulations, achievements and attainments, honours and titles,
anecdotes and landmarks have been brought in as fully as is possible with
sincerity backed by the opinions and views of renowned authorities and
scholars to ensure conceptual fidelity.
I may pardonably mention that this work enjoys the merit and distinction of
being —
L the first of its kind in english with as many as seven hundred biographies-big
and small, past and present; (Someone had said that the trouble with history
" is that none lives beyond a page or two. Here are scores of artistes covering
many more pages in spite of the constraints of space, number and finance.)
ii. the first of its kind to bring within its scope the hymnodists (Oduvars) who
have sustained the spiritual atmosphere through music in the far-flung
temples as part of their daily duties: and
iii. the first of its kind to take Carnatic Music as a whole without geographical or
linguistic barriers, restraints and limitations.
In my view this work comes out at the most apposite time when Classical
Carnatic music is set to conquer untilled soils in other continents where advance
guards have already established contacts, connections and outposts. Hinduism
had done it; Buddhism has done it later spectacularly; Gandhian philosophy had
done it recently and attracted intelligentsia all over the world. Now classical
Carnatic music is set to succeed.
SOUTH INDIA has the unique distinction of having set its heart and soul on
Art and Culture. Is there any parallel to the hundreds of temples, sculptures and
other cultural landmarks and activities seen in the entire stretch of Bharath south
r Note ; Samuel Johnson is stated to have 'maintained that if a man is to write a panegyric, he may
keep vices out of sight ; but if he professes to write a Life, he must represent it really as it Was,
(stating that) it would produce an instructive caution to avoid drinking when it was seen that
even the learning and genius of P. could be debased by it'. But later, according to Boswell,
he had modified his stand on the question whether a man's vices should be mentioned ; for
instance , whether it should be mentioned that A. and P. drank too freely ; 'for people will
probably more easily indulge in drinking from knowing this ; so that more ill may be done by
the example than good by telling the whole truth1. I have followed the second stand though
the first has its merits and attractions.
ANOTHER GARLAND 13
of the river Godavari ? Likewise, it has nurtured Carnatic music in the cradle of
devotion with the fond care of a nurse, the loving passion of a mother, the
far-sighted vision of a father and the wisdom of a guru, The fertile soil of the river
systems, more particularly of the Cauvery, which led to a lot of leisure to the
intellectual to follow his pursuits, innate genius of the people, robust cultural
antiquity, congenial atmosphere for growth and the legacy of vibrant traditions
helped the flowering and perfection of the Art and the Science of Carnatic music.
Music was made sine qua non for auspicious functions and festivals -
religious, social, cultural and even political. Temples and Mutts were the
bastions and nerve-centres for the sustenance of musicians and propagation of
music. Royalty was assigned the duty to provide patronage while cultured
families took patronage of musicians as status symbols. For instance, do the
cultural suzerainty and the magnitude of patronage extended by the Rulers of
Tanjore bear any comparison to the extent of their geographical suzerainty ? An
enlightened society enabled musicians command the respect of the ruler and
the ruled.
SIR THOMAS BEECHAM said,
' This is the only country (U.K.) in the world where musicians are not expected to live. Qf
course," composers and musicians have always starved and, as this is a sentimental
country, we think the tradition should be continued. '
It is common knowledge that the remark has had its greatest relevance to
India. But Indian genius made a subtle distinction in the conferment of its
approbation. Deliberate intent wove glory around the art and the contributions
of the artiste and rarely on the life of the artiste himself. The composer or the
musician received rich dividends of praise and respect but rarely it touched the
fringe of his economic well-being. The resultant indigence among artistes
was the rule and fact of life. Nay, indigence was cultivated, practised and
respected in India! It was eulogised as promoting the well-being of Art and
through Art, the attainment of Truth and Excellence and thus the Ultimate.
It was the genius and marvel of the Indian that by giving the spiritual capsule
and cover to the normal fact of life, he adroitly took away the sting of economic
distress. Abject poverty was the basic warranty of the artiste's absolute devotion
and contribution to Art, Religion and Society. This basic ideal found its
wavelengths in the concepts of Daridra-Narayana, Renunciation, etc. Rulers and
the public respected such a status. The artiste took delight, not in his economic
affluence or material prosperity, but in his artistic affluence and eminence raised
on the sure basement of poverty. A Drona begged for a cpw to provide milk for
his child though his magnificent archery would have driven herds of cattle to his
home like a marauding Tartar or a Mongol. The Tallapakkam stalwarts,
Purandara Dasa and the Trinity could have struck mines of gold but chose, by
14 ANOTHER GARLAND
deliberate intent and conviction, to practise the concept outlined in the song
'Nidhi chala sukhama\ The Saint of Tiruvisanallur, an intellectual seer, cried to
the Lord not to curse him with wealth I
Thus, in this atmosphere, the artiste gave his all. to Art - not as a mercenary
but as a cultured devotee. The world understood his sacrifice even as it did the
Heroes of Thermopylae and the Salt Satyagraha, stood before him and paid
obeisance not only to the Artiste and his Art but also to his Indigence! That
was the underlying basic difference between India and other countries though
Johnson too had said, If misery be the effect of virtue, it ought to be reverenced'.
Again it is this philosophy and way of life that Mahatma Gandhi, Vinobhaji and
Sri Chandrasekharendra Saraswati, the Senior Sankaracharya of Kanchipuram
(Paramacharyal) understood, assimilated, practised and exalted. The Indian
Genius prescribed 'Sacrifice first, Service next5. The slogan in agronomy is,
'wffere rat is fat, man is lean'. In the field of Art, it was viewed that 'where artiste
is lean, art is fat - with wealth and health', Art did prosper to dizzy heights in an
environment of grinding poverty. It was almost universal before and continues
to be so in respect of a large number of artistes. Fortune has favoured but the
few brave, as the saying goes,
I have said that people 'paid obeisance not only to the Artiste and his Art but
also to his Indigence'. Dr. S. Radhakrishnan's observations are relevant in this
context;
' How did the people of Ajanta caves work ? They worked with the spirit of dedication;
they were pilgrims of the infinite; they were people who had no concern for life and light...
If anything can be regarded as permanent in this world those paintings will be. So also
at Ellora; so also what you find in Mahabalipuram. Did they all work for money? Did they
work for recognition? ... They wrote because they could not help writing; they painted
because they could hot help painting; they sculptured because there was no alternative
to that It was a necessity imposed on them; it was spiritual necessity. Here you find a
tradition; here you have had many great writers, you have had many musicians, many
good dancers, singers, etc.
From the time of the ancient Indus Valley civilization down to Gandhi and
Ramakrishna, you have one spirit, one kind of discipline which they exalted. "
— (Search for Truth)
Great men of the past believed in 'Nishkamyakarma1 - service without
expectation and ego. Who had built the countless temples, dug the tanks,
constructed the choultries we have inherited, and struggle even to maintain
them? Vinobhaji thundered 'who gave air or the water?1 The prima donna of
Varnams, 'Viribonf continues to thrill but not much is known of its author. In fact,
even his name is spelt differently. Recently, Semmangudi Dr, R. Srinivasa Ayyar
said that the word 'Semmangudi' (the name of his village) confers on him a
greater title and honour than all the doctorates, etc. Even so, when Adipayya
ANOTHER GARLAND 15
was known to be the composer of the jewel 'Viriboni\ what other facts were
needed, people had thought. Values are changing, The Nation has a sacred duty
to remember them all, recount their services and 'relate their artistic tales'.
Conditions have improved a lot but still hundreds languish The musical tradition
that its aim is not mere entertainment, but a way of enlightenment and of
achieving Godhood through praise of the Lord in His language still lingers.
Now about the scheme of this work. Adoption of chronological order has been
found to be difficult while alphabetical arrangement takes Purandara Dasa, the
Trinity, etc., to the back pages as if in vindication of their ideals ! There are
discrepancies in the dates and years of birth or death or lack of information of
many due to adoption of local almanacs and other causes. (Beethoven is
credited with maintaining against all evidence that he was born two years later.)
The most delicate part of lexicographical pursuits is to determine who is alive
and who has crossed the bar', said N. Slonimsky. Recording of deaths is avoided
where it could not be verified.
An incident recorded by Leslie Ayre may be mentioned here:
11 Mascagni was staying at Hotel 'M' and outside an organ grinder used to play the
intermezzo from the opera. But he always played it too fast. As he could stand it no
longer, he told him to play it slowly. Next day, Mascagni saw the man with the placard:
1 PEPPING, PUPIL OF MASCAGNI ' ! "
But because of our heritage, gurukulavasa and scholarships in recent years,
some musicians have enjoyed a galaxy of preceptors!
As far as is possible, popular spelling names of places, etc., like Ramnad,
Tanjore, Ayyar, etc., has been followed. Vina/Veena, sangeeth/sangit, etc., are
used as per practice relevant. 'Disc recordings' include cassettes, etc.,
Appetizers and pabulum are incorporated.
IN CONCLUSION, I wish to confess that while taking up this arduous,
awe-inspiring but fascinating work of vast proportions and baffling variety, I was
conscious of the fact that I was treading on hallowed grounds. Only the fact that
such a tribute deservedly due to the musical fraternity all along has not been
made and the repeated words of cheer impelled me to take up this task
resolutely. The 'Garland' is sure to be very informative to musicians,
music-lovers, students and researchers and be a welcome reference book on
Carnatic music at schools, colleges, universities and public libraries. This is a
reference book which deserves to adorn all libraries in India and abroad. This
pioneering thesaurus, The 'Garland' is unique in numbers, quality and range of
coverage.
16 ANOTHER GARLAND
ACKNOWLEDGMENTS
In a work such as this Garland series, sources are scattered, multitudinous and
overlapping not to speak of contradictions. In this pearl-fishing, the net was cast wide
and deep to collect the valuable oysters through requests in news-papers, individual
letters and by personal contacts. Quite much of valuable information was collected from
books and journals.
I offer my humble obeisance to H.H. the Paramacharyal Sri Chandrasekharendra
Saraswati Swamigal, to H.H, the Sankaracharya of Kanchi Kamakoti Mutt Sri Jayendra
Saraswati Swamigal and to H.H. Sri Vijayendra Saraswati Swamigal of Kanchipuram. A
fresh Srimukham of H.H. Sri Sankaracharya adorns this volume.
I owe a debt of gratitude to —
a. the vast galaxy of composers, vocalists, instrumentalists, musicologists and
hymnodists, who have held aloft the sacred banner of Classical Carnatic
music through centuries facing undauntedly the coercive, repressive
measures of invading unmusical hordes, chill penury and vicissitudes, like
Patience sitting in monument smiling at grief, in their relentless mission to
sustain the most ancient of musical systems still extant today;
b. the numerous music-lovers and musicians and magazines like Shanmukha
and Sangeetham (USA) who gave a word of cheer and encouragement
whispering, 'Several talked about such a work, but only you have done
if in tune with what Barnard M. Baruch said, "Millions said that the
apple fell; but Newton was the one to ask why'; and
c. the numerous authors, institutions, publishers and artistes who are the
sources.
I record my deep debt of gratitude to —
i, 'Srutfand 'Shanmukha', magazines dedicated to the promotion of excellence
and preservation of valued traditions in music and dance presenting valuable
information on the lives of artistes;
The 'Hindu', 'Indian Express', and other newspapers and journals; and
. Reputed institutions like the Music Academy, Kalakshetra and Sampradaya;
My thanks are specially due to —
a. Sri M. Gopalakrishnan, Chairman and Managing Director, Indian Bank for
providing a lucid foreword ;
b. The Indian Bank, Madras for graciously co-sponsoring this publication ;
c. Sarvasri T.V. Srinivasan, I.A.S. (Retd.) a long-time colleague of mine and a
perpetual source of inspiration and H.K. Narasimhaswami, Superintending
Epigraphist (Rtd.) Archaeological Survey of India ;
d. Sri S. Rajam, a prince of culture, for his drawings and pictures in this book ;
e. Brigadier B. Ramamurthi for his highly enlightening article ( in Chapter X-B) ;
f. Sri. K. S. Venkatraman of M/s.. Chengacherial Printers & Publishers, Madras-29.
g. My thanks are due to TIrumalai * Tirupati Devasthanams for the financial aid
granted for furthering the project and printing this book.
ANOTHER GARLAND 17
This pioneering work
'ANOTHER GARLAND'
(Biographical Dictionary of
Carnatic Composers and Musicians* Book II)
is
DEDICATED
to
my loving mother, Lakshmi alias Chellammal
my saintly father, Naganatha Sastrigal,
my Gurus
Sri Papanasam Sivan
Sri Subbarama Bhagavatar
Sri. P.R. Sundar Rajan
and
rny patron Deities
Sri ParvathavardhinF-Sameta
Sri Ramanathaswami of Rameswaram,
Sri PiJrna Pushkalambika sameta
Sri Hari-Hara-Puthraswami, Mandhai and
Sri Alarmelumangal sameta
Sri Venkateswaraswami, Tirupati.
* * *
18 ANOTHER GARLAND
LIST OF ILLUSTRATIONS
i. The Sankaracharyas of Kanchi-Kamakoti Math,. Kanchipuram.
H. The Heart of Carnatic Music - The course of the river
Cauvery indicating select musical nurseries and cradles.
ifi. The fragrant quartette -
Sri Tyagaraja, Fragrant Gold.
Sri Muthuswami Dikshitar, Architect of Ragaform.
Sri Syama Sastri, the Talaprastara maestro.
Sri Gopalakrishna Bharati, Father of
Tamil Music Renaissance.
iv a. Jagatguru Sri Jayendra Saraswati Swamigal releasing
'A Garland ', the first copy being received by Sri Haridos Giri
Swamigal on June 19, 1990 at Kanchipuram. Sri Vijayendra
Sarawati Swamigal is all smiles.
b. The author is speaking at the function releasing A Garland.
v. Krishna Bhajana Mandiram- Anniversary Celebrations- Photo
showing a galaxy of musicians and Mandhai Krishna Ayyar.
vi, Commemorative Stamps issued by the Government of India .
vii. Musical Contest on yazh as described in Jeevaga Chintamani
— Panels from the sculpture of Chola period in the temple of
Ponsai, Tanjore District.
viii. Madras Brothers (Vocalist S. Rajam and
Dr. Veena S. Balachander).
be. Ravi Kiran, the child prodigy giving a concert at the Music
Academy at the age of 2-3. Unmatched achievement !
x. K.B. Sundarambal, the vibrant musician with matinee idols
Dr.M.G. Ramachandran, former Chief Minister and
Dr. Selvi Jayalalitha, present Chief Minister of Tamil Nadu.
xi. "Let Us Skip Tiruvaiyaru" - The Celestials arrive at Tiruvaiyaru.
xil. A Garland of Maestros : The design shows from top left to top right :
Maha Vaidyanatha Ayyar, Patnam Subramania Ayyar, Poochi
Srinivasa Ayyangar, Umayalpuram Narayana Ayyar (ghatam),
Tanjore Krishna Bhagavatar (harikatha), Coimbatore Raghava
Ayyar, Lalgudi Radhakrishna Ayyar (Violinist), Tanjore
Narayanaswami Appa (mridangam), Patnam Subramania Ayyar
and Maha Vaidyanatha Ayyar -a\( celebrities.
xiii. Melakarta Chart with the Katapayadi Formula. - Back outer
cover.
ANOTHER GARLAND 19
Table of
CONTENTS
Page
SRIMUKHAM OF H.H. SRI JAYENDRASARASWATi SWAMIGAL,
SANKARACHARYA OF KANCHI-KAMAKOTI MUTT 2
FOREWORD ... 3
VOICE OF DIVINITY ... 4
PREFACE ... 5
PREFACE to 'A GARLAND1 ( First Book ) reproduced. 1 1
ACKNOWLEDGMENTS ... 16
DEDICATION ... 17
LIST OF ILLUSTRATIONS ... 18
TABLE OF CONTENTS ... 19
PARTI
Chapter
I Tamil Isai ... 23
II Raga- An Intellectual Property? ... 30
III Women in Melody ... 33
IV Trends and Trends ... 39
V Jealousy - The Arch Destroyer ... 44
VI Nadopasana is Transcendental Bliss ... 49
VII Contests and Challenges - II ... 52
Vtll Purandara Dasa Challenged . ... 62
IX Classical Extravaganza ... 68
X A: Climactic Dazzle ... 71
B; Man's Admiration for the Surpreme
- By Prof. (Dr.) B. Ramamurthi. ... 72
XI Cradles of Music - II ... 74
XII Soul of Eminence is Immortal. ... 77
XIII LetusskipTiruvaiyaru-AFarce. ... 78
20 ANOTHER GARLAND
PART II
Page
Biographical Sketches of Carnatic Composers, .. 85
Vocalists,
Instrumentalists,
Musicologists, etc.
(Combined Alphabetical Indices for Book I and Book II are given in Part IV.)
PART HI
A. Great Events, Memorable Performances and Unique Records. 346
B. Deeds, Thoughts and Sayings ... 368
C. Aphorisms and Epigrams ... 383
D. Interesting Notes and Incidents ... 395
E. Musicians and Music ,., 430
F. Addenda and Corrigenda to A Garland (Book I) ... 447
PART IV
f A. Glossary ... 474
B. Bibliography ... 433
C. Chronological Table of Composers, Musicians, Etc.,
(Book I and Book II consolidated.) ... 489
D. Index to Individual Biographies in Part II
(Book I and Book II Consolidated) ... 505
'No, madam; of all noises music is the least disagreeable/
22 ANOTHER GARLAND
"THE HEART OF CARNATIC MUSIC"
The Bard of Tiruvaiyaru hails it as Rajarajeswari. The people of the delta
worship it as their honoured mother or beloved daughter. From pre-historic times
it has generated a vibrant civilisation and sustained a glorious culture that was
soulful and a soul that was cultured. It has nurtured and cradled art, architecture,
music, dance and everyone of the sixty-four arts in a measure that is the envy
of the combined glory of Greece, Rome and Egypt. It is the River Cauvery, the
Pride of the South. The map shows the river from Mettur Dam to its end at
Poompuhar and the delta. The numbers on the map indicate the approximate
situation of the musical centres shown against each below:
1 . Tirupoonturuti, Tiruvaiyaru
2. Budalur
3. Vaiyacheri, Titte, Soolamangalam, Ayyampettai
4. Mangudi, Melattur, Uthukadu
5. Valangaiman, Marudhanallur, Visalur
6. Kabistalam, Umayalpuram, Swamimalai
7. Tirucherai, Kodavasal, Semmangudi, Injikudi, Paruthikudi
8. Konerirajapuram, Tiruvizhimalalai, Tiruppamburam, Achuthamangalam
9. Maruthuvakudi, Tiruvidaimarudur, Tirubhuvanam, Govindapuram,
Kuttalarn, Tiruvaduthurai
10. Tirupanandal, Tirukodikaval, Tiruvisanallur, Pandanallur, Marathurai
11. Komal, Gudalur, Mandhai, Kothavasal, Keeranur
12. Vaideeswarankoil, Anandatandavapuram, Tiruvenkadu, Sembanarkoil
13. Nachiarkoil
14. Tirumarugal, Tiruchengattangudi, Nagore
15. Udayarpalayam, T. Pazhuvur
• A f\ fc I/-X-T- -1-/-N /"\/-V
ANOTHER GARLAND
PART 1
The KRITI and the CURE
Jagadguru Sri Chandrasekhara Bharati visited Vidyaranyapura Agrahara on the
western banks of river Tunga and entered the temple of Sri Sadasiva. Subramanya Sastri
was living in a house within the temple compound and was performing puja. He was a
violin master as well. He was for a long time suffering from stomach pain. His Holiness
looked at him compassionately and advised him to play Amba Natho Vinnappamu, a kriti
of Pallavi Gopala Iyer, daily at Brahma Muhurta for a cure. Subramanya Sastri faithfully
followed the command of the Jagadguru and shortly got completely cured.
— Tattvatoka XV - 3
ANOTHER GARLAND 23
I
TAMIL ISAI
THE WORD 'Karnafa/cam' refers not only to some undefined parts of
Peninsular India but also to what is traditional and ancient. 'Carnatic' is
presumably a derivative of it. Carnatic Music is taken as the Indian music legated
to posterity by ancients like Bharata, Sarngadeva, ef a/, as invasions and
external influences happened to mould in North India a modified style now
broadly classified as Hindustani music. Carnatic and Hindustani styles do retain
the common heritage of being raga-based. In the tamil areas of the South, 'Pann'
or Tamil Isai has had a hoary antiquity. The Qilappadhikaram, one of the
ambrosial tamii epics (2nd - 3rd century A.D), revolves around music and dance.
Madhavi, the heroine and Kovalan, the hero excel each other in music. Dance
and music unite them as none else had been since their union isolates Kannagi,
the just-wedded wife from her spouse for ever - yes, for ever. Though they come
together at the end, it is only for tragic fate to intervene and cut asunder eternally
the husband from the wife. If Music and Dance had united Madhavi and Kovalan,
it is the same twin that leads to their parting of ways ending the spell of palmy
days. Both are specialists in playing on the instrument 'yazh' which was then
pre-eminently popular. 'Jeevaga Chintamani ' of Tirutakka Devar (9th century)
portrays heroine Gandarvadattai as declaring that she would marry only the man
who scores over her in playing on yazh! The passion -the domineering love of
music is thus highlighted. Jeevagan accepts, the challenge. His attempts to get
at a yazh which enjoys immaculacy reveal his immense knowledge of
musicology and expertise in the art of manufacture of the instrument itself. He
discards many instruments - each for specific defects like the wood being soft,
decayed, damaged (wounded) or struck earlier by thunderbolt; and finally
selects one. He is not satisfied with it either! He has to remove streaks of
unwanted nerves. That reveals the absolute mastery of the art and science by
Tirutakka Devar and the artistes of his period too — a thousand years back.
Sekkizhar was a saintly poet to whom language and religion are eternally
indebted. Aanaaya Nayanar is ene of the Saivite Apostles described by him in
his 'Per/a Puranam' written during 1139-1140 A.D. If Gandarvadattai and
Jeevagan excelled in. yazh, Nayanar's forte was in flute which has exercised a
magic spell in India unparalleled in the history of musical instruments, Nayanar
was a cow-boy unlettered and innocent. His flute-play was so divinely melodic
that man, animal and the woods lost their animation and, true to the Advaita
philosophy, lost themselves in the melody that emanated from the bamboo pipe
holes - Vide page 274, A Garland. Tamil music was not a mere product of the
fertile imagination of poets. As scripts are apt to be lost, Pallava Mahendra
Varman (590 - 630 A.D) did not take chances. His Kudumiamalai rock
inscriptions near Pudukottai are in elegant pallava grantha characters with one
24 ANOTHER GARLAND
line in tamii, The queen of Kulottunga Chola (12th century) did not stop with
mastering music but proudly assumed the name of 'Ezhisai Vallabhf - Mistress
of the Seven Notes ! Music pervaded the Palace, the habitations, the grazing
fields and the rock. It was the staple of Tamilian life indeed ! This is an undisputed
and undeniable fact.
Dr. Mu. Arunachalam, who taught Saiva Siddhantaatihe Benares University,
has garnered clinching evidence to re-establish that music in tamil areas,- then
called Pann, was in a very advanced state of perfection as an art and a science.
He opines that it is contrary to truth to contrast Tamil Isai - Pann as distinct from
Carnatic music, that music has always played a dominant role in tamilian culture,
and that Bharata, author of the most ancient treatise Natya Sastra, was himself
a tamilian, who migrated to the North to spread tamil music and brought out the
Sanskrit version Natya Sastra to further his objectives! In his works
Dr, Arunachalam stakes the claim that the several works in Sanskrit on music
owe their birth and inspiration only to tamil music and concludes
i. that there was then no scientific music literature in the whole of India
except in Tamil Nadu,
ii. that all the music which then existed was only tamil music; and
iii. that there was no other music.
Many scholars may think that this is non-sequitur, and not a mere faux pas but
reductio ad absurdum. But exaggeration is the essence of propagation of truth
and its publicity!
Dr. N, Mahalingam clarifies how luxuriant tamil music metamorphosed into
Carnatic music. Someswara Bhooloka Malla Varman (1116-1127 A.D) of the
Western Chalukyas who authored the prominent thesaurus 'Manasa Ullasa'
called the music of the South - of the tamils included - as 'Karnataka
Sangeetham1 and the term has turned immortal. 'Karnataka' is made mention
of by Kallinadha and Govinda Dikshitar.
Confining this discussion to the issue how pann music with such a glorious
past came to suffer total eclipse that even its name came to be lost in obscurity
and disuse, we have to turn to another Tamil Savant, T Lakshmana Pillai of
Trivandrum, a composer of eminence in tamil, scholar and musicologist. What
he says is, in fact, applicable to all languages and musical systems. He says:
1 It is a patent fact that, although we have ever so many compositions in tamil set to music, yet
musical compositions as such, i.e., the compositions of lyrics calculated to embody the highest
rhythmic expression of pure beauty in sound, has been a rarity in tamil. This has been an
achievement by masters of Carnatic music in the telugu language. Not that tamil, which is so rich,
sweet, tender and soul-stirring, has been found to be inappropriate. Far from it. The experiment
has simply never been tried.' _ "Songs" - September 1 933
ANOTHER GARLAND 25
Pillai's enormous passion and love of undoubted purity for tamil do not cloud
his analysis and he strikes at the truth behind the apparent tragedy of tamil
yielding its primacy to telugu in the field of musical compositions during the last
three centuries, His conclusion is accurate and correct. It is not denied that
Muthu Thandavar (16th century), Marimutha Pillai and Arunachala Kavirayar
(18th century) did bring out classical songs in tamil but they had a limited range
and style. And demand outstripped the supply. To make this fundamental
difference more clear, mention may be made of the distinction between Sahitya
Kavitvam where Sahitya (text) claims primary attention as in the case of the
songs of Annamacharya and Sangita Kavitvam where music assumes
dominance. It is the difference between kriti and kirtana. R.A. Jayantha refers
to this in 'Composers' thus:
1 That Annamacharya knew all the musical modes and forms of his times is obvious from
his works. But he conceived his pada, as did the earlier devotional singers, primarily as
devotional poetry. Music was mainly an aid to render them effectively.
The kritis of Tyagaraja and others, on the contrary, are conceived generally as musical
compositions; and their poetry, however impressive, is mainly a verbal scaffold for
raising a musical structure. Musical thought, rather than poetic thought, seems to
determine their structure pattern. '
The same point is stressed by R. Rangaramanuja Ayyangar when he says:
' As a vehicle for musical expression, tamil is not inferior to telugu, Sanskrit, kannada or
malayalam. But most of the tamil compositions are hybrid products. The words of a
tamil scholar innocent of music have been grafted on the music of a singer practically
illiterate. '
— 'Musings of a Musician'.
The fundamental point for notice is that verses are not songs and, even if
set to tunes, rarely could be melodic enjoying the graces of pure music which
could stand the test of time. Some non-musicians like the Kadigai Pulavars,
Arunachala Kavirayar, Periaswami Thooran and Ambhujam Krishna wisely
availed of the services of musicians even while composing and perhaps were
able to imbibe the melodic needs and graces required and induct and inject them
in their compositions.
Of course, in the last century and the present, a galaxy of tamil composers
appeared like Kavi Kunjara Bharati, Gopala Krishna Bharati, Vedanayakam
Pillai, Ghanam Krishnier, Uthukadu Venkatasubba Ayyar, Ramaswami Sivan,
Tanjore Quartette, Nilakanta Sivan, Annamalai Reddiar, Subramania Bharati
and Papanasam Sivan. The impact made till the middle of this century was not,
however, impressive since the musical market was already the monopoly of
telugu composers, telugu songs and musicians fully oriented in them. Audience
might not have fully appreciated the sahitya but felt drawn by the lure of the
captivating tunes of masters. The Carnatic Trinity (1 762-1 847) who hailed from
Tiruvarur and composers immediately before and after them had presented
26 ANOTHER GARLAND
exquisite, bhava-Iaden, rasa-oriented, melody-based matchless songs in plenty.
Where there was a drought before, there came cyclonic floods. The Cauvery
and other rivers saw flood-waters to the brim; rivulets, canals and channels all
flowed with the fragrant waters of such compositions. The reservoir of telugu
songs did not also get depleted but got replenished repeatedly. There were
periods of political vacuity and occasional economic droughts but telugu songs
occasionally spiced with Sanskrit and tamil songs presented a picture of
affluence, prosperity and satisfaction. There was indeed a glut of telugu songs.
The preference to the telugu songs was never on grounds of language ; and to
state so, is unfair. The telugu compositions readily answered a felt need,
satisfied the pangs of heart and soul and met the cry^of artistic desire. In
Thevararn, there was no scope for improvisation. It was more or less equivalent
of the Gregorian chant -the Church music of the West', writes Dr.S.Ramanathan,
an authority on tamil music. Surely few could resort to verses and set them to
tunes as they could not answer the melodic demands of a musically-oriented
community where music is a must for everything - worship, festival, function,
birth or death. It would be the difference between a Beethoven and a Macaulay
prose or a Miltonic poem being set to tune. While the demand for songs
increased multifold, the market was full of immortal tamil literature but few tamil
songs. Folk songs and Thevaram could offer no melodic pieces for full-scale
concerts. Kambar, Villiputturar, Ottakoothar electrified the field of literature but
had no time to enter the field of melody. The emphasis of the times was on
poetry and not on lyrics. Here is a specimen of the alternatives that confronted
Lord Byron :
* !'ve half a mind to tumble down to prose:
But verse Is more in fashion. '
T Lakshmana Pillai has to be understood, accepted and conceded. The
telugu songs were presented on a platter for students to learn quickly and
musicians to sing without ado. As the landholder travelling in his cart sees his
car coming, he gets down and boards it. It is not aversion to the former but a
preference to the latter vis-a-vis travel comfort and conditions. He comes back
and summons his cart to go to his field since the car is ill-suited for it. It was so
with musicians and music-lovers. No partiality; no aversion. How can one have
aversion to a language rich in its history and literature and is the mother tongue ?
Fully cooked dishes in crisp and spiced telugu came to be available in plenty
and the craze to compose in telugu was also the phenomenon of the times.
Acharya Kripalani told Frank Antony in Parliament that english would be
spoken by Indian children even if it is forgotten in England and he even mimicked
how our children called 'mummy5. Tamil had invaded Indonesia centuries back.
Telugu compositions came to invade musical forums here. Tamil compositions
of the few masters held the field with select musicians but could not command
primacy. It was pure invisible market mechanism with no non-musical overtones.
ANOTHER GARLAND 27
colours as the melody-market expanded. The expansion is attributable to the
supply of the rich telugu fare. When the reservoir is full and replenishment is
good, outflow is naturally copious.
Sanskrit could be said to be above the common man's reach; but telugu
suffered no such inhibition. The telugu of the Trinity and others of the South is
not the puritan language of scholars of Upper Andhra but of the people in Tamil
Nadu speaking tamil or tamiiised telugu. Besides there is a substantial telugu -
speaking segment in Tamil Nadu. When Eminence composed songs in telugu,
other celebrities followed impelled by a desire to join the rank of immortals and
not out of any felt or spelt antagonism to tamil. (What one sees now in respect
of english is similar. English medium schools enjoy a gala field and time.)
Bhava-based telugu songs full of melodic content and scope for nuances
available in hundreds stole the show and monopolised concerts as musicians
are rarely composers, choreographers or tune-setters. They are retailers mostly,
their tour de force being melodic presentation. Telugu, termed the Italian of the
East, praised by Bharati himself as 'Sundara' (sweet), enjoying soft-flow with
tenderness of tone monopolised classical concerts in the South. 'We did sing in
tamil though there were not many good compositions. Tamil songs were then
few', says Dr.Semmangudi Srinivasa Ayyar. Other musicians too had availed of
tamil songs, while a few had ignored them, which was an error in approach and
judgment. An erroneous belief identifying classicism with telugu songs had also
gained ground earlier resulting in some established artistes refraining from
singing the available tamil songs. The position from the view-point of tamil as a
language was rather strange viewed against its pre-eminence in literature and
history.
Musicians not conversant with telugu committed mistakes in pronunciation
erroneously conveying the sahitya-bhava in varying degrees which came up for
criticism and gave an edge to the demand for tamil songs. Subramania Bharati
wrote:
"Several musicians do not know that the Soul of Music lies only in the Navarasas.. . they
eliminate the life of music and project only the bare body - the corpse of music ! Most
of the vidwans do not know the meaning. They murder or swallow letters and words. A
person who does not know the meaning cannot bring out the rasas (emotions)."
K.V. Srinivasa Ayyangar, the senior among the Tiger Trio and a musicologist
of repute, in his 'Tyagarajah Hrudayam' referred 'to the murder of sahitya out of
sheer ignorance of the language' and to the consequential absence of bhava
and rasa. To the knowledgeable, this is unpardonable, (if someone sings the
matchless Freedom Struggle song 'Acchamilla? in 'Sahana\ the raga of
compassion and pity, even Pandey of the First War of Independence,
Vanchinathan of Ashe Murder case and Tiruppur Kumaran who all willingly
sacrified their lives for the country would have been enfeebled and turned
28 ANOTHER GARLAND
and to understand what is presented, the audience has to know the Language.
So there was considerable vocal insistence not only for tamil songs but for tamil
songs alone. Synchronising with this, the output of telugu songs also diminished
during the present century and there was meagre replenishment to the
repertory. Songs of sublimity such as those of Papanasam Sivan or Uthukadu
Venkatasubba Ayyar in tamil and those of the Trinity in telugu or Sanskrit are
not composed everyday.
The plea for tamil songs coincided with the Tamil Resurgence Movement.
Rajah Sir Annamalai Chettiar of Chettinad was the principal inspiration behind
the Movement for Tamil Isai. 1929 saw him founding the Meenakshi College of
Music at Chidambaram and 1932 its affiliation to the Annamalai University, also
founded by him. The First Tamil Isai Conference held at Annamalai Nagar in
August 1941 evoked considerable response and enthusiasm and was held
amidst much fanfare with the University to back it. The Conference resolved that
songs sung at concerts should be entirely in tamil. This stand drew a barrage
of criticism and came up for an equally vehement support. Justice
T.L Venkatarama Ayyar said that while perceptible changes had occurred in
recent decades, over-enthusiasm in the cause of tamil songs was not correct
since most of the available repertory in tamil lacked the aesthetic and technical
perfection found in the compositions of the Trinity. He said:
1 In the field of music pure and simple, the language of the. piece is necessarily of
secondary importance. Music has a language all of its own and transcended the
language of the composition, The excellence of a song could be judged only by the
manipulation of the swaras themselves within the confines of the raga and not merely
by the words or the language used, '
T.T. Krishnamachari opined that restricting a concert to tamil songs alone
would severely deter any advancement whatsoever in music and that it would
be linguistic vandalism to fit in or dub words of one language to famous
compositions in another language. The pro-changers found in Tiger K.
Varadachariar a strong supporter and he clarified meaningfully:
' The object of the Tamil Isai Movement is not to oust songs in other languages but to
give tamil audiences the best appreciation of tamil music. This is a movement towards
the enrichment of tamil; but it also involves the enrichment of music. '
Tiger was a liberal known for his robust views. The movement enlisted the
support of eminent musicians and composers like Suddhananda Bharati,
Ariyakudi Ramanuja Ayyangar, Musiri Subramania Ayyar, Madurai Mani Ayyar,
Chittoor Subramania Pillai, Papanasam Sivan and K.B. Sundarambal to preside
over the Annual Tamil Isai Conferences. The Music Festivals simultaneously
held feature songs in tami! alone and there have been occasionally full-scale
concerts only with the compositions of Uthukadu Venkatasubba Ayyar and tuned
verses from Kamba Rarnayanam. It is worth a mention that several celebrated
musicians like G.N. Baiasubramaniam, Musiri Subramania Ayyar and Madurai
ANOTHER GARLAND 29
ii Ayyar had always a passion for songs in tamil and have delighted the
ience with sparkling songs indicating that neither the langugage nor the
tic was deficient or at fault and that it was only that the genius of the tamil
not been directed to bring out adequate musical compositions in the
turies past.
Tamil songs of eminent composers are now available and have taken their
tful place well patronised and appreciated. Language is no barrier now.
re is a happy blend, co - existence and co - parcenary of songs in tamil and
\r languages. Numerous publications in tamil have helped this development.
Tamil Isai Movement is to be congratulated for taking Pann research and it
be hoped that the demand of musicians to make the inimitable Thevararn
other spiritual hymns concert- worthy would receive due attention so that
e immortal treasures find wider exposure through concerts. Of course, the
i is tortuous and the result unknown.
Unimpeachable Evidence
Mention has been made of the tamil epic Jeevaga Chintamani wherein the contest
een Gandarvadattai and Jeevagan has been mentioned. Dr. M. Rajamanikkanar
re for Historical Research, Tiruchirapalli has brought to light a sculpture in the
le of Nalthunai Ishwara in Ponsai village, Mayiladuthurai area. The panel is in two
>s. One half portrays a male artiste seated with a yazh supported on his right thigh,
ght hand being placed over the strings and the left hand at the tail-end. The other
}f the panel presents a beautiful woman with a yazh resting on her thigh with the
and on the strings and the right hand at its tail-end. The photo of the sculpture is
i in this book. It shows other figures - either friends or accompanists. Dr.
kovan, Director of the Centre, unequivocally avers that the panel represents the
\ of the contest between Gandarvadattai and Jeevagan. His version is fully
>table. The fact that the scene finds mention in literature and a place in sculpture
that it may be based on some real event of the times.
* * *
THE REASON
eorge V frequented the opera La Boheme. Thomas Beecham asked :
*Is this opera your favourite?'
'Yes/
Td be most interested to know why/
"Because it's much the shortest ! '
( So, lesser the length, greater the interest ! )
30 ANOTHER GARLAND
II
RAGA - AN INTELLECTUAL PROPERTY?
Two stalwarts of the musical world visualise a comprehensive project wprthy
of the ancient art to arrest the apparent deterioration in audience-attendance at
concerts and to invigorate the presentation of classical music at rural centres
which now stand starved of good music consequent on the accelerated migration
of musicians to Madras and the decelerated conduct of temple festivals and
fairs.
On an auspicious day, the two veterans enter the chambers of the popular
Chairman and Managing Director of a Lead Bank. The Chairman, a connoisseur
of music, is delighted to see the Bhishma and the Yuthishtira of Carnatic music
together and receives them with his accustomed warmth. The two musical
colossuses with round faces brimming with self - assurance explain in brief their
project and indicate how it depends on the outlay of considerable funds, The
broad smile that pervaded the rectangular face'of the Bank Chief slowly yields
to visible strains of serious thinking - the anxiety to support a good project
seeking to dominate and prevail over banking norms and vice versa.
Security? The Senior undertakes to pledge his right to sing in raga
Kharaharapriya and the Junior his right to sing in raga Mohanam or Bilahari or
both, There is no mention of personal or other security. Puzzled by the strange
offer to pledge individual right to sing in specific ragas, the Chief seeks
clarification. The applicants point out how Todi Sitararna Ayyar got a loan
pledging his rights to sing in raga Todi and how Sankarabharanam Narasier
gotfunds by mortgaging his rights to sing in Sankarabharanam as security, hov/
they had proved that the plighted word of a true artiste is the best of securities
and how they did not resort to their favourite fours de force till they were
redeemed. They adduce further proof by, describing how the great Maha
Vaidyanatha Ayyar himself had called the song 'Giripaf (Sahana) as the
property of Bikshandarkoil Subbarayar and how Tyagaraja relinquished his
right to compose in raga Anandabhairavi at the instance of Tirubhuvanam
Swaminatha Ayyar as exercises in Property rights in ragas'. The Bank Chief
could not reconcile himself to the validity of these averments vis-a-vis the
Banking Law. True to the dictum that not only things are done well but are seen
to be done so, he requisitions the services of the Law Officer of the Bank. The
legal luminary starts giving an elaborate unmusical alapana on the legality of
the request as if intent on tearing to shreds any remote possibility of the musical
project going on steam with Bank funds got on the basis of the cited mortgages.
To the misfortune of the musical luminaries, he is seen to be an avatar of a
musicologist ex-officio.
ANOTHER GARLAND 31
The Law Officer clarifies that Indian 'raga' has no fixed shape, notation or
set mode of rendition, that within the broad portals of the arohana and the
avarohana, the musician improvises and innovates like the serene flights of
Garuda (eagle) based on his training, expertise and talents and such exposition
varies with each concert like shapes assumed by passing clouds or their
shadows. A genuine classical artiste does not / cannot conform to any set
pattern or style in toto. He illustrates his point with the known fact how the same
raga adopted for different songs composed by the same person, liberates
various shades of the raga swaroopa or shape without any element of repetition
or duplication of graces, gamakas and brikas or modes of presentation. Raga
rendition thus does not lend itself to be 'patented5 or 'copyrighted' as everyting
is fresh, alterable, original and obvious everytime. No artiste can claim to have
'created', 'designed' or 'patented' a raga to qualify for copyright! If a brika
resembles T.N. Rajarathinam's Tod/, the musician is not accused of 'infringe-
ment'. Even if one repeats in totality S.G. Kittappa songs, he is not guilty of piracy
or infringement since no vested right is interfered with. Even the so-called
invention of ragas is nothing but bringing to light the inherent permutations and
combinations in the schemes of Venkatamakhin or Govindachariar, Though
Indian Copyrights are valid in countries which are members of the Bern
Convention, the absence of basis for copyright in India does not enable exercise
of any right elsewhere too. It is an admitted fact that raga rendition enjoys neither
the absolute precision nor the fixed originality which writings, photographs,
labels and specific compositions can lay claim to. As a claim to copyright fails,
the element of property rights is simply nullius juris- unenforceable in law.
The artistes leave the legal luminary in his 'charanam' and revert to their
'pallavi' to lay stress again on the cited cases of the two musicians and insist
that their present request could not be viewed differently. The Law Officer
marshals his knowledge of traditions in music and avers that music programmes,
programme content, values of appreciation and norms for patronage have
undergone radical changes in the course of the present century, that decades
back, concerts hovered around specifics like a pallavi or a particular raga, that
specialisation in one or more of such specifics was then the prime asset of
musicians and the expectation of the audience and that is the reason why we
hear of Pallavi Sesha Ayyar, Pallavi Gopala Ayyar, etc., on the one hand and
Todi Sitarama Ayyar, Begada Subramania Ayyar, etc. on the other. Sans their
pallavi, the former might not have flourished and sans their specialisation in the
individual ragas, the latter category might have forfeited their claim to glory. The
position is different now and without the specific ragas now offered as security,
the two vidwans could go through hundreds of concerts in India and abroad
without any loss of prestige, position or popularity. Thus the specific assets which
the earlier vidwans could create and hold have ceased to command similar
relevance now.
32 ANOTHER GARLAND
The Legal Expert further mentions that even in U.K., the earlier 'Musical
(Summary Proceedings) Copyright Act 1920' has ceased to be in force but that
the following definitions therein which extended copyright protection to 'sounds
recorded which were original products of skill and labour' may have significant
relevance to understand issues.
'Sound recordings' is defined as 'the aggregate of sounds embodied in and
capable of being reproduced by means of a record of any description, other than
a sound track associated with a film1 and 'Record' is defined as 'a disc, tape,
etc/
For copyright, there should be precision and invariability with originality,
which Indian raga rendition does not take credit for based as it is on spot
improvisation. There were Dramatic and Musical Performances Protection Acts
enacted from time to time in United Kingdom to protect what had been created.
Even the Copyright, Designs and Patents Act, 1988 would not cover musical
works unless and until they are created. Rights could accrue on the creation
and existence of something in this context but not before its advent or birth.
CHAIRMAN: 'Could you put the structure of the legal position in brief?1
Law Officer: Yes Sir. Long back, musicians specialised either in ragam,
tanam and pallavi or in select ragas they became famous for. In result, they
were Invested' with the credit for the specialisation and in due course the credit
came to be treated as a 'deemed asset'. While it was in truth an intellectual
asset, it did not amount to 'property' in legal terms. Sans the specialisation, the
musician had no market for his music. Thus in common parlance, the 'deemed'
intellectual expertise came to be treated as 'property'. There was, of course, no
means of enforcing a mortage in the event of non-redemption. ^
But now musicians are generalists owing to changes in concert patterns and
public tastes. One could carry on for decades without redeeming the mortgaged
raga. While Narasier or Sitarama Ayyar could not hope to flourish in the
present day, our senior vidwans would have to specialise considerably if
they were to give concerts in those conditions. Hence the 'mortgage of
ragas' indulged in yester decades is not available to the distinguished vidwans
before you/
CHAIRMAN: Thank you.'
The Chairman feels relieved of his burden by the lucid exposition of his Law
Officer and is, in fact, surprised at the vast compass and depth of his knowledge
and smiles with relief as if bidding good-bye. The cruel alapana on the legality
of property rights in raga rendition floors the musicians and their spirits dip to
anumandara even as the lift carrying them touches the basement.
ANOTHER GARLAND 33
III
WOMEN IN MELODY
'Music is the highest art and, to those who understand, is the highest
worship', declared Swami Vivekananda. Purandara Dasa fully understood it;
and had thoughtfully followed the 'Sthula Arundhati Nyaya* in taking the
students of music step by step. The method is named after the venerable lady
and not after her exalted spiritual spouse Vasishta ! A rare and rich tribute to
Womanhood indeed ! Quite a large number of ragas are named after women.
The presiding deities of Learning and Fortune are Goddesses. Vivekananda
extols womanhood and in the same breath bemoans their lot thus:
11 Thou are the Goddess of Fortune. Thou are the supreme Goddess... The goddess who
resides in all beings as Power. ' The Gods are pleased where women are held in
esteem ', says the old Manu.
Why is it that our country is the weakest and the most backward of all countries ?
Because Shakti is held in dishonour. Without the grace of Shakti nothing is to be
accomplished... To me, Mother's grace is a hundred times more valuable than Father's...
fie on him who has no devotion for the Mother.... If an Indian woman in Indian dress
preaches the religion which fell from the lips of the Rishis of India, it will inundate the
Western world. Will there be no women in the 'and of Maitreyi, Khana, Lilavati, Savitri
and Ubhayabharati?" *
MUSICIANS
How far and in what measure did Bharat respond to the call of the Swamiji?
Confining the theme immediately to the realm of music, and more presently to
Classical Carnatic music, it is seen that just a few musicians from the fair sector
had lent grace and image to the ambrosial art allotted to women by the great
tamil poet Sekkizhar when he says, Arambayar Sangita OIL It is relevant to
make mention of some:
Bangalore Nagarathinam Ammal: A devoted lady whose life, wealth and
time were laid at the altar of classical music and who immortalised her life by
taking the initiative to construct the Samadhi of Sri Tyagaraja. There were
disciples galore but it was left to the eternal fame of this lady-musician to achieve
it! (WdePartll.)
Coimbatore Thayee: Though she did not enjoy a majestic (gambhira) voice,
her tone and rendition were soothing and aesthetically satisfying. Her four-hour
* Note : The contrast in approach of the Swamiji from India and of Samuel Johnson of the West is
striking. Boswell told him that he had been that morning to a meeting of the Quakers, where
he heard a woman preach.
Johnson : " 'Sir, a woman preaching is like a dog walking on his hind legs. It is not done well ; but
you are surprised to find it done at all."1 (Boswell)
34 ANOTHER GARLAND
concerts would start with four kalais and with pallavi would come two kalais and
there would be a happy blend of javalis, tamil songs, etc. Kivalur Ramachandra
Ayyar and Veenai Dhanammal were among her gurus. She had given discs.
Enjoyed an extensive repertoire. Tiruvotriyur Tyagayyar was her patron,
Tiruvidaimarudur Bhavani: That she took to music at the advanced age of
twenty^five did not deter her climbing the peak. High- pitched voice, fast-moving
rendition, bewildering birkas and 'a/raram' marked her concerts covering kritis
in different languages and tillana. Enjoyed a ringing voice. Srivanjiam Ganapati
Ayyar was her guru.
Enadi Sisters: Lakshminarayani and Rangiammal: Disciples of Patnam
Subramania Ayyar, they were speed merchants in melody and a popular duo.
(VWePartll)
Dhanakoti Sisters: Dhartakoti Animal and Kamakshi Ammal: They
belonged to the Syama Sastri disciple-line. Kamakshi Ammal was Kanchipuram
Naina Pillai's mother and in a way T. Mukta's guru. The sisters had powerful,
resonant voice and their concerts were gripping and popular. Puducheri
Rangaswami Ayyar gave them advanced training in the intricacies and nuances
of rendition at concerts, They were adepts in pallavi rendition - a rare feat for
musicians of the fair sex. They enjoyed an immense repertoire. (Vide page 49
of A Garland.)
Madras Peria Pappammal and Radha Ammal: They were daughters of
Salem Meenakshi and were giving concerts in numbers.
Tiruvarur Rajayee: The chosen child of Melody, Rajayee was a child
prodigy. A melody queen, she was the delight of the cognoscenti and the lay.
She came, conquered and disappeared when she was just five and twenty.
(Vide Part II.)
Bangalore Thayee: She was a musician of chaste techniques and
aesthetics. 'I listened to a recital by her in 1923, She began with Veena
Kuppier'stanavarnain Begada. I was quite familiar with it. But the lady's version
was a revelation. It was brilliant and arresting. It brought instant tears to my
eyes.'(R.R. Ayyangar)
Mudicondan Venkatararna Ayyar, T. Sankaran and 'Dhanyan' give absorbing
account of these lady-artistes. Besides these, there were Tiruvidaimarudur
Pankajam, Veenai Dhanammal, Dhanam Sisters, Tirunelveli Rangamma and
Shanmughavadivu. Veenai Dhanammal was a colossus; Shanmugavadivu was
popular and K.B, Sundarambal was a star in dramas and had not taken to
concerts yet then.
Classical music was not the monopoly of concert musicians alone since it
reigned supreme on dramatic stages too. Ladies had not taken to the stage in
those distant decades in numbers and feminine roles too were the monopoly of
ANOTHER GARLAND 35
male actors only. This author himself has taken the role of heroine. If women's
contribution to Classical Carnatic music was meagre from vocalists and actors,
it was not much different otherwise too. Though flute is one of the oldest
instruments known to Indians, according to Flautist H. Ramachandra Sastri 'only
in the twenties of this century did women like Valadi Rukmini and Mayavaram
Silk Papa take to flute'.
As regards percussion, it is said that long back, there was a woman during
the Maratha rule. Says T. Sankaran;
1 The first woman to play on mridangam I knew of was Tirugokarnarn Ranganayaki
Ammal, daughter of Sivarama Nattuvanar. The earliest violinists I have heard of were
M.S. Subbulakshmi's grandmother, and Kanchipuram Naina Pillars grandmother
Visalakshi Ammal. Veena was an accepted ladies' instrument but in reality was
dominated only by males. '
He too confirms that the first woman flautist was Valadi Rukmini. It is
surprising to find that the foremost flautist of all times and the Prince of Sringara
rasa had not chosen to impart training in flute-play even to his divine consorts
Rukmini and Radha! The earliest to sing pallavi was Palani Anjugathammal,
mother of Palani Subramania Pillai. The first woman musician who asserted her
equality with men in the dexterous handling of laya and swara through pallavi is
only Sangita Kalanidhi O.K. Pattammal. There was a musical joke on this in fact.
The patron host enquired whether the lady-musician knew 'pallavi'.
Promptly the artiste's mother cut in with obvious pride, 'why pallavi alone,
she knows anupallavi and charanam too'.
But it is seen that they were all closely attached to their native soil and dicf
not cross the Carnatic frontiers. Melody has attracted in recent decades vast
numbers of votaries from women and several of them have made their advent
on foreign soil too. A few have caught the imagination of the West with their
captivating melody like Dr. M.S. Subbulakshmi, Dr.M.L Vasantakumari and
Sangita Kalanidhi O.K. Pattammal. Dr. M.S. Subbulakshmi was easily India's
first internationally known singer making her debut at all the Western great
centres and she has endeared herself to thousands of music-lovers the world
over. Dr. M.L Vasantakumari did likewise. Many others too have taken Carnatic
music across the seas with merit. But the overall effort is spasmodic and the
effect inadequate. The impact of their visits and the momentum created are yet
to attain the measure of Inundation' or conquest as visualised by Vivekananda
almost a century back.
COMPOSERS
While the advent of performing women artistes is presently on the arohana,
no such development is visible in the allied art of composition. In the past too,
it was negligible confined to a few like Tallapakkam Thimmakka, Rangajamma,
36 - ANOTHER GARLAND
mistress of Rajah Vijaya Raghava Nayak (1 637-1 673) who wrote 'Mannaru Dasa
Vilasarri, a yakshagana enacted in the court, Ramachandramba who wrote
'Raghunathabhyudayam', Kuttikunju Thangacchi, D. Pattammal, Andavan
Pichai and Ambujam Krishna justifying the dictum of Sir Thomas Beecham:
1 There are no women composers;
never have been and
possibly never will be. '
Why is this barrenness and drought ? Indian womanhood was not incapable
of attaining scholarship. Gargi -participated in the deliberations of Janaka's
Council of the Learned. Maitreyi, wife of Sage Yajnavalkya was a philosopher.
Sarasavani was the arbiter for the disputation between Adi Sankara and
Mandanamisra. Avvaiyar's image is transcendental and contribution
magnificent. But they figure as isolated planets in the otherwise starless sky.
INFRA DIGNITATEM ?
Tyagaraja and Muthuswami Dikshitar had each two spouses who lived in an
Ocean of Melody, Composition and Scholarship. Had they not accepted the
world as it came to them and adopted the glory and eminence of their Lords as
their own presumably asserting their faith in the concept of Ardhanarishwaral
The success of their spouses was theirs and they died gloriously and
contentedly before, and figuratively on the lap of, their spouses. Did not King
Janaka tell Rama, This is my daughter Sita who shall follow you like your own
shadow and help you in your acts and shall consider you as her own self ' -
"/yam Sita ..."? What a glorious sacrifice it was sans ego \ Self effacement in
entirety !!. The good Samaritan S. Vedanayakam Pillai married five women one
after another and what was their contribution? Nil. Pillai is eloquent in praising
family women in his Kula Stri. They had all illumined his home and left name
and fame to him. Nagaswara maestro T.N. Rajarathinam kept parity with him
and married five; and from dawn to dusk, why whole nights even, they should
have been suckled and lullabied to sleep with delightful melody from the magical
instrument of Pillai. Perhaps the junior-most alone had touched the instrument,
There was some consolation from the home of Kanchipuram Naina Pillai. While
his first wife Kuttiyamma fell in line with the customary practice, the second,
Kuppamma learnt music from Mannargudi Pakkiria Pillai and along with her
sister Ramatilakam, a disciple of her husband, gave concerts. Odeon Company
had recorded her music too. They were professionals.
The homes of the stalwarts of Carnatic music had been flooded with the visits
of the cultured cream of composers, performing artistes, musicologists and
scholars, stay of scores of disciples learning under gurukulavasa and with
demonstrations and discussions humming with intellectual activity of the noblest
ANOTHER GARLAND 37
grade. If one avers, 'Woman, thy name is Music', not a whisper of protest shall
be heard. It is a natural fact. If Sarabha Sastri couid recite without tuitions
Vedas taught by a priest to his pupils on the pial of the opposite house In toto,
how could women have remained free from claiming similar assimilated
knowledge and expertise? If sons could claim and inherit musical legacy, why
did not daughters, sisters and wives? Heritability of immovable property had
been confined to males by deliberate intent but there was no such overt inhibition
or bar extending to intellectual property viz., the different branches of music. No
home was complete without women singing lullabies in excelsis and no marriage
or function was complete without women singing ingenue (as unsophisticated
persons) . What was then the inhibition that had prevented women flowering forth
as top musicians and composers?
'Men are nervous of remarkable women', said J.M, Barrier. Male chauvinism
was the culprit that made it infra dignitatem for women to compete and master.
This phenomenon is not peculiar to India as the following anecdote from Boswell
should confirm.
I At breakfast, Dr. Johnson received a letter which seemed to agitate him very much ; he
exclaimed,
II One of the most dreadful things that has happened in my time ... Mr. Thrale has lost his
only son! . . . This is a total extinction to their family, as much as if they were sold into
captivity."
Upon my mentioning that Mr. Thrale had daughters,
11 Daughters! ", said Johnson warmly, "he'll no more value his daughters than . . . " '
Unconscious self- interest and jealousy had dictated that women shall be
kept away from a field where they were sure to excel; and, in result, art and
science had lost possible weighty contributions of the most laudable nature from
a moiety of the nation. O.K. Pattammal claims that music is the property and
preserve of women. But it was not reflected in practice. The care and corpus of
the alleged right stand unclaimed still .
Women do exercise influence at homes and elsewhere. Even Vivekananda
wrote so a century back - of course, from America:
1 1 must first go and buy some clothing.
That is what the ladies advise me to do ! '
Nobel Laureate Sir C.V. Raman as a budding scientist of nineteen, during
his Presidency College days at Madras, fell in love with Lokasundari and married
her as a bride of thirteen. In her theosophist brother's house, she sang and
played on the veena 'Rama nee samana mevaru' (Kharaharapriya) . (Which
Rama she had in mind is not clear!) Raman refused the dowry offered and proved
that he was non pare/7 ! An accomplished veena player, she was a great force
38 ANOTHER GARLAND
influencing his whole life but chose to remain as his shadow.
(C.M. Ramachandra). Even in the home of that most enlightened Indian Scientist
where there was copious love, the Indian lady had found her advent on this
planet satisfying to see her Lord receive the coveted Nobel Prize and remain
his alter ego with her veena.
Convention, custom, injunctions of religion and the impact of classic
examples from the epics had inculcated a deep sense of devotion in women to
their spouses and homes and they took pride in playing the role of
grihalakshmi(s) (Queens of the Homes) to shape the destinies of the male folk
and children and share their homely joys and glories playing a secondary,
supplementary and ancillary role in all non-domestic fields including music, Man
exalted the melody of woman but had not thought it fit to invest her with a
knowledge of theory and allow her to become and blossom into composers and
concert-worthy musicians. It was assumed to be infra dig to the status of the
family. If there was art in the icon and idol of goddesses in temples and caves,
there was beauty and innate music in the goddesses at homes. The one in the
temple and its replica at home were idolised but none had composed and few
were allowed to sing in public! One contributory factor was that training and
performance were essentially rural-based till the fifties of this century and
women commanded only restricted facilities for travel and stay. The scope for
musical advent in rural environment in yester decades was thus little. Religion
conferred status on woman in enjoining on her presence at ceremonies. Custom
glorified her status and image but that did not extend to males permitting or
ladies taking to present concerts and composing!!! That resulted in a drought of
lady-artistes and a complete famine of lady-composers. The sun, of course,
peeped through the winter clouds occasionally only to be shadowed out and
swallowed by denser clouds. It was all peep-bo (hiding and appearing)! Not
Sambho, the all pervasive.
The ruddy edge of the tropical sun at dawn would seem to prophesy an
inundation of bright sunshine. In what measure and depth, only the Oracle could
say. May we look forward to weighty contributions from woman-composers!
" What have i done to keep in mind
My debt to her and womankind?
4 Men triumph over women still,
Men trample women's rights at will,
And Man's lust roves the world untamed.
O grave, shut lest I be shamed.
— (C.LM. - John Masefield)
ANOTHER GARLAND 39
IV
AND
Let Experts
'What will the future of Classical Carnatic music be', is an oft-repeated issue.
If the number of performing artistes and apprentices is the criterion, there is no
need for any apprehension, But there is a persistent and visible fall in
audience-attendance at concerts. There has been a marked shift in styles,
concert-content and quality of specialisation. Musicology is said to be
commanding fewer voteries while pallavi, ragamalika and such other specialised
items have practically disappeared. There is a persistent feeling that standards
have fallen and full-time nadopasakas among the up-coming generations are
not many. It is, therefore, suggested that the issue be brought to focus in the
context of international trends and views. The diverse trends in regard to music
are briefly touched upon here. The ambit of this brief exercise is limited but it
should enable and lead to an in-depth, comprehensive analysis. The most
self-assuring view is that of T.S. Parthasarathy of the Music Academy, Madras;
1 Indian music is on the march, sensitive to all the winds that blow in world music and
responding to new influences. It represents the peak to which an Oriental System of
Music, with melody as its base, could reach and yet be receptive to ideas and capable
of growth. This priceless heritage of India deserves to be preserved for the uplift of the
level of consciousness of its human society. '
(JMAMIX/89)
HERITAGE IN DANGER
What T.S. Parthasarathy has said would seem to be the cry of a robust heart,
an ardent cry of desire, since many artistes allegedly pursue video meliora
proboque, defer/bra sequor(\ see and approve the better course, but pursue the
worse) ! Here is a general opinion of a very competent and sympathetic
authority:
1 What does sadden me, however, is the way, in which, with unseemly haste, every tribe
promptly abandons its own idiom, most people their characteristic music style and
language to play admittedly great Western works.... thus destroying their ancient
irreplaceable gift of improvisation... 'More than ever it is, therefore, important to maintain
a very high level of creative, musical education. '
— Yehudi Menuhin - ' Great Masterp of the Violin ' by Boris Schwartz,
While Yehudi Menuhin bemoans the abject surrender to West, Paul Brunton
draws attention with vehemence and sorrow to the multi-sided damage that is
being caused :
40 ANOTHER GARLAND
1 These artists, who are truly dedicated and occasionally truly inspired, will not be found
in the contemporary mass movement of those who mistake their bizarre subconscious
nonsense... Let these new art forms take their place for those who are attuned to them:
let these forms coexist with the older ones. But let not the Good, the True and the
Beautiful in the past be thrown aside and trampled on by intolerant innovation... Much
Modem Art and poetry, music and literature is derived from sources that have nothing
to do with genuine art. Neuroses, psychoses, imbalances and decadence itself are often
its roots. '
Having given expression to his findings, fears and fulminatsons with
conviction and clarity, eloquence and emphasis, Paul Brunton underscores the
secret and significance of true art :
1 What is the final cal! of true art ? Not to the work which expresses it but to the spirit
which inspires it, the divine source of which it reminds us... The classical arts of several
oriental countries served a double purpose for their better practitioners. They were
professional means of earning a living and also part of a spiritual path. '
PROMISCUITY
While Yehudi Menuhin regrets the loss of soul (and he has been a true
admirer of Indian classicism), Paul Brunton refers to modernism, neo-classicism
and the resuJtant promiscuity. The French Musicologist and Philosopher,
Prof. Alain Daniclou lays bare the general trend stating :
' The present promiscuity in culture tends to create hybrid low standard by-products. We
have today a sort of universal pie-music, universal pie-painting, universal
pie-architecture.., these belong to no culture. '
The loss of link and continuity with the basic culture and hybridisation
demoralise, demolish and destroy oriental arts much more imminently because
of the abject surrender to the onslaught of Western or other influences. A
nebulous situation arises with Western, pseudo-modern, neo-classical systems
vying with each other and in the effort destroying the spirit and soul of the
ancient art. Prof. Dragotin Cretro of Yugoslavia dissects the underlying
contradictions and hidden dangers thus ;
1 The connection between music and religion in Indian Culture differs from that in
the West. In India, secular music too was closely connected with religion and even
nowadays the religious element is there. Since India and the West have developed two
different social systems and two different cultures, their music too is of necessity
different... Any adjustment in the sense of mutual equation between the two types of
music is actually undesirable and might even be harmful. The problem of
hybridisation does not exist in Western music, or at least not in the same sense as
it does in the threatened non-Western types of music. This is a further reason why India
should do all she can to preserve such a priceless heritage as her old classical music/
Cretro draws pointed attention to the fact that it would be the Indian art which
would commit hara-kiri. Self-reverence,. self-control and self-respect should
ANOTHER GARLAND 41
dictate that the weil-meaning advice is not ignored in the interest of the hearth
and future of Indian music, the oldest of musical systems still vibrant.
1 Let many a flower bloom ', ' Difference is the sine qua non of the times ',
1 End stagnation, introduce variations ' and such slogans are easily circulated
as a mark of progressiveness, which is in danger of drifting into adventurism.
Differences - What do they signify and connote? Yehudi Menuhin too said so but
what he means is different and it is to insure the health of Indian music as will
be seen from his clear elucidation :
' We Sove each other not only for what we have In common but for the differences between
us also... The very basic between man and woman depends on this difference., so it is
with all differences... We must concentrate on the importance of the differences between
us. They bring us colour; they bring us variety... It is important for India to preserve the
variety... One listens to Western music for entertainment. The Indian approach is one
of depth and continuity in time. In listening to and understanding music, there are two
basic approaches - one of intellectual analysis and the other of empathetic or
sympathetic transference of our perceiving personality into the other sphere.'
(Emphasis supplied)
The difference is supplied by Carnatic v. Hindustani, by the subtle variations
in voice, tempo, style, improvisation, varieties of compositions, ragas, talas, etc.
In the name of importing, introducing differences, the structural basis ought not
to be undermined and demolished. Pie-music (kichadi or avial type^ which
harangues and inflicts itself on the audience may provide momentary thrill to
some but the ever-lasting benefit, cultural elevation and legacy will be sacrificed.
Differences constitute the soul and essence of Indian music but they have to be
within the portals of the system. Ludwig Pesch who had done much to study this
during his training at Kalakshetra says :
' Music always transcends national, verbal, mental and philosophical limitations which
account for its universal appeal beyond cultures... (But) comparison requires common
features or parameters of which few are shared between Classical Carnatic music and
genuine Classical Western music.'
What Peggy Glanville-Rics, an avant-garde composer, says is highly relevent:
1 1 threw out harmony... I began to realise that ! had developed a musical organism very
similar to the patterns of antiquity; a melody rhythm structure, a variable model raga and
a multi-coloured rhythm element of greatly enhanced freedom. '
MELODIC ORNAMENTATION
Transmitted orally through centuries, Indian music is, in essence, (in spite
of all notations, codification and patterning of styles of rendition) improvised,
innovative, gamaka and ornamentation-based unlike the Western counterpart,
which was also once partly oral and traditional as seen from what Douglas
42 ANOTHER GARLAND
H, Leedy of Oregon states :
1 It is known from various writers that good performers (of the West) added extempore
embellishment to their vocal and instrumental line..,, even in earlier periods performer
improvisation was an important, indeed indispensable, part of the musical style... any
well trained sixteenth century musician would improvise on the spot. '
Can a pianist of today vary the ornamentation of Beethoven sonata movement
from that which is printed?
' The idea! answer must be "Yes"; but the practical answer seems to be "No1",
affirms Leedy. Notation has dried up the springs and driven out the seeds of
improvisation!
The cause for the basic exclusiveness and differences is mentioned by
H.I. Koeilr Cutter very succinctly thus :
Two fundamentally differing sets of human genii and attributes of consciousness created
two different musical traditions as complementary factors. We must learn to understand
the world as a whole. '
There is a conscious effort towards this in the West. Says Narayana Menon:
1 Many young composers in Europe and America are being attracted by the music of
India. The subtlety of our melodic line, the complexity of our rhythms, the spontaneity
of our music-making were to them like a breath of fresh air. '
Vivekananda too said so about Indian philosophy and spiritual endeavour a
century back. While the 'balance of trade1 in the export of Indian Classicism and
import of everything else is not favourable to the Indian system, it should be
mentioned that classical musicians continue to spread the art of India. For
instance Ustad Ali Akbar Khan says ;
1 Indian music is like a river that has come down to us through time bringing nurture to
man's soul... I started classes at California and Europe. I have had six thousand students
across the world... My attitude and methods create an ashram-like atmosphere; there
is a thread ceremony for initiating a newcomer into disciplehood... '
No wonder Khan has been given a grant of Rupees ten crores for his efforts
(Vide Part III). With all the homilies, a sincere admirer of the Indian Classical
music may be inspired by the sincere and honest assertiveness of Amir
Khushrau seven centuries back:
* The musical system originated in India. And Indian music, the fire that burns heart
and soul, is superior to the music of any other country. Foreigners, even after a
stay of thirty or forty years in India, cannot play a single Indian tune correctly. '
-In 'NuhSiphi*
ANOTHER GARLAND 43
This opinion is shared by many authorities. But apart from the truncated
courses of Universities and other institutions, correspondence courses and
classes on phone too flourish ! The Spirit of Indian music is caged in cassettes,
notations, phone and other commercial auxiliaries. Should Yehudi Menuhin
have to warn again that India is abandoning its own idiom, its own irreplaceable
gift of improvisation and its high level of creative music?
Prof. S.R. Janakiraman on perusing the above has this observation to
make :
1 A rare privilege and intellectual pleasure providing at the same time food for thought It
would certainly enable anyone to get a glimpse of the highly elevated mental plane of
a good many sane thinkers on the subject spread throughout the world of music. A
few sayings or statements are worthy of being engraved on metal lest they should
perish by the frolic of time such as :
11 What does sadden me, however, is the way in which with unseemly haste every tribe
promptly abandons its own idiom... destroying their ancient irreplaceable gift... important
to maintain a very high level of creative musical education." -Yehudi Menuhin.
The counter of Paul Brunton subscribed to the above thought too deserves mention as
one from a judicious thinker. But there too Brunton does not fail to observe, "... let not
the Good, the True and the Beautiful in the past be thrown aside and trampled on by
intolerant innovation". Differences are the essence of Indian music but they have to be
within the portals of the system. Ludwig Pesch gives expression to a great truth when
he says, " Music always transcends national, verbal, mental and philosophical limitations
which account for the universal appeal beyond cultures ". Peggy Glanviile's quotation
should not be missed by any inquiring mind engaged in a comparative appreciation of
the subtleties of harmony and melody. '
I have placed before the discerning public the opinions of reputed
authorities. Trends have no chartered course. Amidst the bewildering,
aggressive pulls and counter-pulls, classicism is but a hapless leaf caught in the
whirlpools of gushing waters in a river running down a steep gradient during a
cyclone. None has any control over its destiny. Vempatti Chinna Satyam, the
celebrated dancer, is reported to have expressed the view that classical arts are
like water in a temple tank which needs continuous inflow of fresh water to serve
its purpose. There ought to be no rigidity for tradition's sake. There is need for
replenishment and revitalisation - an evolutionary process - to provide fresh
vigour. But whether it needs to be regulated inflows into the Classical Reservoir
or unregulated and uncontrolled flood waters which may even breach its bunds
and empty the Reservoir of its classical waters is the issue. It offers no simple
solution and is a rich field for intensive thought and research by reputed scholars,
sober musicians and acknowledged musicologists. Result-oriented, effective
action is certainly a crying need.
44 ANOTHER GARLAND
V
JEALOUSY
The Arch Destroyer
Far from our madding crowds, Swami Vivekananda wrote from Chicago on
January 29, 1 894; /•
"Three things are necessary to make every man great, every nation great:
i. Conviction of the powers of goodness:
il. Absence of jealousy and suspicion: and
Hi. Helping all who are trying to be and do good.
Why should the Hindu nation with all its wonderful intelligence have gone to pieces ?
I would answer you,
'JEALOUSY'.
Never were there people more wretchedly jealous of one another, more envious of one
another's fame and name.. , Three men cannot act in concert together for five minutes. ..
When will they learn not to be jealous !"
In subsequent letters, he regrets that jealousy is the bane of our national
character and on March 19, 1894 confesses:
1 We can get rid of everything, but not of that cursed jealousy.. That is a national sin with
us... burning -at heart at the greatness of others. "Mine alone is the greatness, none else
should rise to it. "
THE WORLD OF MELODY
That national sin not only pervades, but is more pronounced and intense in
the world of artistes where merit and status are judged on varied factors of which
glamour and the assertive character of ' Mine alone is the greatness ' are not
the least. It costs little; and it nurtures itself. The most favourite pastime is to
nurse jealousy at other artistes' expertise, wisdom, voice, merit, status and,
above all, luck. We have seen in {A Garlancf how the Father of Tamil Music
Renaissance, Gopala Krishna Bharati suffered from the taunts and canards of
the jealous and how Dwaram Venkataswami Naidu, the violin maestro had to
face canards mothered by jealousy. The good samaritan-composer,
S. Vedanayakam Pillai lost his job of translator in Tiruchirapalli Court having
been falsely charged with loss of records secreted by colleagues in a box.
Prof. P, Sambamurti mentions that when young Syama Sastri of the Trinity
recited mantras musically in appropriate ragas at Sri Kamakshi Devi temple,
Tanjore, a pleased devotee presented him with a costly shawl. A highly-elated
Sastri ran to his first guru- uncle and prostrated before him paying obeisance.
Jealousy touched the uncle to the quick. He flared up, tore Sastri 's notes on
musical lessons and threw them away, Of course, Sastri rose to the peak. History
ANOTHER GARLAND 45
chose to tear off the pages relating to the jealous uncle. K. V. Srinivasa Ayyangar
(Tiger's brother) says that the main profession of many musicians is to find fault
in others. A devout Dasi composed lullaby songs on Ramanuja who had Initiated'
her and was singing them melodiously. Govinda (later Acharyar Embar) who was
passing by felt attracted and stood in the street enchanted by and absorbed in
the music and the song - the Visishtadvaitin turning literally into an Advaitin for
a moment, his heart and soul merging with soulful music. Even before he could
reach Ramanuja, the tale that he spent much time in front of the Dasi's house
had reached the master Ramanuja ! That is the world !
Note : That is the world! Yes. Here is an account of the great Oliver Goldsmith. 'The jealousy and
envy, which, though possessed of many most amiable qualities, he frankly avowed, broke
out violently... "We must be angry that a man has such a superabundance of an odious
quality, that he cannot keep it within his own breast, but it boils over", stated Samuel
Johnson adding that one should be angry with such a man ! - Boswell.
JEALOUSY AND GITA
Musical titans were able to marshal and bring to practice scriptural
injunctions. Has not the Lord (Sri Krishna) restricted revelation of the greatest
secret, the most profound knowledge to free oneself from the sorrows of life only
to those who do not cavil or carp ? (Chapter IX- 1 of Gita). Does He not call
Arjuna Anasuya ?
WHOiSANASUYA?
Asuya comprises belittling the merits of others, finding fault with their virtues,
reviling them and attributing false blame to them. He who is entirely free of asuya
is anasuya. In Chapter XVIII-67, the Lord lays down the rule that the secret
gospel of the Gita should never be imparted to one who cavils or finds fault with
HIM (Abhyasuyathi).
Atrismriti 34 states :
1 He who does not distract from the merits of those possessing merits, praises even those
of scanty worth and does not take delight in the faults of others is said to possess the
virtues of Anasuya. '
(Na gunan gunino hanti sthouti mandagunanapi
Nanyadosheshu ramate sanasuya prakirtitah.)
Jealousy germinates slander. Some ignore it like Ben Johnson, who said:
' Thy praise or dispraise is to me alike;
as one doth not stroke me, nor the other strike.1
46 ANOTHER GARLAND
, And a century back, Swami Vivekananda warned Kali:
1 Take not even the slightest notice of what puerile creatures say against you.
Indifference indifference, indifference,
Keep up the deepest mental poise.'
Stoicism befits the great and the yogi who could say that sticks and stones
might break his bones but words would never hurt him. But what of the iesser
mortals? Jealousy is said to be second nature to many an artiste. There is cure
for illness but perhaps none for jealousy. Spiritual dedication to truth in thought,
speech and deed is the only step.
1 Let us wipe off first that mark which Nature always puts on the forehead of a slave - the
stain of jealousy. Be ready to lend a hand to every worker of good. Send a good thought
for every being in the three worlds !'
Swami Vivekananda gave to the members of Alambazar Math ' Ten
Commandments on Management ' of which one stipulates:
' Tale-bearing, caballing, or reporting scandals about others
should be altogether eschewed.'
Gossips and factions, jealousies and heart-burning continue to haunt and
tarnish lives of musicians. They have more than one association. Opportunities
are reportedly cornered by an oligarchy in the fraternity. Genuine love and
dedication to good causes rarely assert themselves before demoralisation
becomes chronic unless the 'haves1 give the lead.
Jealousy is at once intriguing and enchanting. It is self-nourishing and makes
no demands. It accepts no defeat and failure only fuels. Rare virtues! Bidaram
Krishnappa, who was forging ahead day by day, became the victim of
treacherous practices resorted to by the jealous. They did not hesitate even to
poison him ! Promising his mother Saraswati Bai never to eat or drink outside
his house, he did not accept even a glass of milk. Jealousy and suspicion
touched its peak soon. Vasudevacharya recounts the incident of Krishnappa
offering a glass of milk to him in that vitiated atmosphere :
" 1 am not feeling hungry, '
1 Well Acharya, I can quite imagine the doubt at the back of your mind. I shall take half of
it first Ten minutes later, if you are convinced of my integrity, you writ drink it, 1 suppose.1
Both of us were in tears.
1 Acharya, Do not trust the tale-carriers, if you can possibly tear open my heart, you may
find out what regard 1 have for you ! '
After that no misunderstanding was possible. Our hearts beat as one."
ANOTHER GARLAND 47
Jealousy, mother of crimes, had vitiated the atmosphere so much that the
above incident had strangely occurred actually following a friendly dispute
between Vina Seshanna and Bidaram Krishnappa as to who should garland
Acharya and in the end the senior and guru Seshanna garlanded first and
Krishnappa garlanded next! This provides a contrast in overt and covert feelings
and dealings engineered by jealousy and suspicion.
A contrast can be gleaned from an old letter of M.B. Srinivasan to Veena
Maestro Balachander (in the album of the latter):
" I was thrilled to read your letter, doubly because an 'angel of music' has come forward
to give the 'devil' its due. It is very rare for even an ordinary musician to recognise talent
in another musician. Such an outburst of appreciation from you only proves that you are
not only a great musician but you have also a very broad heart and you are a genuine
human being. "
— Srutiee.
DOES ART BANISH JEALOUSY?
It does where love transcends base emotions. Magnificent art can annihilate
germs of jealousy even in an enemy, Semmangudi Narayanaswami Ayyar and
Maharajapuram Viswanatha Ayyar were not on talking terms. Narayanaswami
Ayyar was at the concert of the latter at Tiruvaiyaru. It was exhilarating music.
Overcome by emotion and forgetting personal estrangement, Narayanaswami
walked to the vocalist and shedding tears embraced him and said,
1 What great music. Your Todl was a veritable Mohanastram (Cupid's arrow)!
How you sang and how delightfully S! '
Narayanaswami Ayyar walked back wiping his tears of exultation to resume
and to be again an enemy ! (Source: Semmangudi Dr. Srinivasa Ayyar) . He was
a true artiste and his capacious heart accepted Art enforcing a truce for the
duration of the concert; Art reigned supreme.
The historic contest at Trivandrum in the presence of Maharajah Ayilyam
Tirunal went to three sessions; the Maharajah ultimately honoured both the
contestants, Maha Vaidyanatha Ayyar and Trivandrum Raghava Ayyar (vide
page LIX of A Garland). Contest over, the senior Trivandrum maestro not only
praised young Vaidyanatha and said, 'Who can sing like you ?' but expressed
his desire to. assimilate some of his brika styles in raga Bhairavi I True Art can
banish base emotions and even ego!
Not only that. Maharajah Ayilyam Tirunal laid aside royal prestige and status
and sang before Vaidyanatha to secure his approbation; and expressed his
admiration and respect to young Maha saying -
48 ANOTHER GARLAND
'If I am reborn, I wish to be reborn with you as brother'.
Here Art reigned and Royalty allowed itself to be ruled ! What a refinement in
humility engendered by Art! He did not say, 1 wish to be reborn like you* but
yields primacy to the artiste !!
* Earth has not anything to show more ennobling;
Dull would he be of soul who could pass by
Incidents so touching in their majesty. '
— After William Wordsworth.
Poet Gray comes to mind for his epigram The path of glory leads but to the
grave'. Once, jealousy had hijacked a musician to the glory and throne too!
Vembattur Picchu Ayyar was a delight as a musician and his knowledge of tamil
was profound. Bhaskara Sethupati, Rajah of Ramnad admired and patronised
him. Naturally jealousy has a just cause to play mischief, On an important
occasion, when all the chairs in the Court were occupied, one of the jealous sent
word to Picchu Ayyar. Promptly he arrived, saw his own seat occupied, surveyed
the situation in a split second, walked up and sat with the Rajah on the broad
royal seat ! To the stunned courtiers, he announced:
1 1 was called; my seat too had been occupied when I came. I concluded
that the Rajah should have called me only to share his august seat. '
A smiling Sethupati declared:
1 Till now, only the Maharajah knew what you are;
now the Arasaravai (Court) also knows what you are! '
— Source: Eilarvi.
* *
T.S. Parthasarathy, the eminent musicologist, perusing the above, has
minuted :
* Many eyebrows may be raised at this chapter but there is no gainsaying the fact
that mutual envy among musicians pollutes the atmosphere. Rajagopalan has
recounted a few incidents in which musicians got reconciled after an initial
display of jealousy. Professional jealousy has gone to the extent of a father cutting
off the thumb of his son who excelled him in veena play (vide page 401, A Garland).
There is more bonhomie of sorts these days among musicians but there is stiil
room for their pondering over Rajagopalan's comments on the problem of
"jealousy1*. '
ANOTHER GARLAND 49
VI
NADOPASANA IS TRANSCENDENTAL BLISS
3 hfadopasanaya D'eva Brahma Vishnu I
Bhavantyupasita minan yesmadefiTtadatmak'ah II
(Devoted practice of music, worshipping Nada (Absolute Sound) as the
Parabrahman is indeed tantamount to worshipping the supreme deities Brahma,
Vi$hnu and Maheswara, since they are the very embodiment of Nada.)
— Sangita Ratnakara (JMAM).
T-zhisaiyai, Isaippayariai, Innamudhai, Ennudaiya Thidzhariai* .
(St. Sundarar describes God as the Swaroopa of the Seven Swaras and as the
benefit of music...) Saint Ramalinga Swamigal affirms the same seeing in music
the acme of Divine Presence.
Swami Dayananda Saraswati* recalled the same on April 1, 1991 at the
Maharajapuram Viswanatha Ayyar Trust function at Madras thus:
1 Elegant manodharma brings out the sou! of music at concerts. Solemn tranquility reigns.
The enraptured audience loses its individual and collective instincts and identities.
Ego-centric thoughts disappear. Sparingly, an involuntary 'aha' or an 'oho* is whispered.
More often, the collective will of the audience lacks the energy to muster strength even
to air its appreciation. Drenched in captivating melody, the audience stays hypnotised,
drowned in the ocean of classical music surrendering heart and soul so deep that it
manages to mutter just a tsou', 'tsou1, Heart-beats synchronise with the tala. Minds
strike total rapport with bhava and rasa and there is total identity and integration of minds,
hearts and souls.
That spell marks the universal identity of the audience with 'Nada'; it is 'Nadopasana* in
essence. It is transcendental bliss - losing oneself and getting dissolved in chaste,
divine music. It is Nada loludai Brahmananda'(Kalyana Vasantam). That is the over-
whelming message of classical music pure and simple which neither neo-classical nor
light music can hope to bestow. '
To those who desire corroboration or confirmation from Western authorities,
of this Advaitic 'A/adopasana' as means to attain Transcendental Bliss or see
Divine Light, here they are as inscribed by Paul Brunton:
' Who can respond to the genius of Bach's Saint Mathew Passion
unless some awakening of spirituality is in him ? '
1 Bach - the final chorus from St. Mathew Passion,
Beethoven's last piano trio ( Archduke), and
Note: * A word abojsit the Swamiji's golden heart. His laughter is contagious. It should seem he had
been in a Kumour for jocularity and merriment; and upon such occasions I never knew a man
laugh more remarkable in any circumstance in his manner.' - (Boswell)
50 ANOTHER GARLAND
The slow movement from Mozart's G. Major Viol in Concerto, K.21 6 -
, These three are spiritually inspired musical works. '
' Walter Allen says he got, at the age of fifty, the mystic experience of
timelessness, saw the Divine Light in Vision and felt one with God
while listening rapt in Beethoven's Seventh Symphony. '
Brahms himself said,
1 When I reach my best level during the task of composition,
I feel a higher power working through me.1
Paul-Brunton provides his seal of finality when he declares:
Handel's Messiah is as inspired a piece of music as any ever written. It is a
communication from Heaven to earth, from the Gods to man, Handel sat for three days
motionless. Then out of this physical and inner stillness there came to him the
tremendously inspired, triumphantly majestic strains of the Messiah.'
These firm indications should set at rest vacillating souls in believing that of
all arts, 'music is not only the loftiest and that its mysterious power speaks a
language which is universally acknowledged, but it is motivated to express
glimpses which Shelly called -
'VISITATIONS OF THE DIVINITY IN MEN'.
Visitations of Divinity? Here is a specimen proof. Ludwig Van Beethoven
(1770 - 1827) told a violinist who complained that a passage of his was
unplayable,
' When I composed that, I was conscious of being inspired by God Almighty.
Do you think I can consider your puny little fiddle when He speaks to me ? '
DECADENCE :
The above leads to the issue whether such music is normally made available
and whether such compositions continue to fill the Reservoir of Lofty Melody.
The answer is generally believed to be 'No1. Robin Daniels wrote in his
Conversations with Neville Cardus':
'Music, the rich man's pleasure and the poor man's food
must be related to the smells and the tastes of life1.
Musicians point to the ordinary man's level of participation and appreciation;
and this 'ordinary man1 would seem to be at the receiving end not only for
politicians but for musicians too! The smells and the tastes' would seem to be
deteriorating and demoralising progressively. It is the common view that
present-day compositions are poor in conception, content, message and musical
appeal. Neville Cardus said:
ANOTHER GARLAND 51
1 The strange thing is that it is the oldest music which sounds the youngest today
You know the air is fresh very early in the morning. When there is dew on the grass and
everything smells new and clean. The oldest music is like that. '
Martin Pacey has very poor opinion of the present and says;
' The emotional and spiritual aridity, the absence of vitality and warmth
is the worst aspect of contemporary compositions. '
Of course, it may be the condition in the West. Let Lata Mangeshkar speak
for Indian conditions in this sphere;
'Believe me when I say that there is no demand from the audience abroad for me to sing
any of the present-day tunes. I enjoy sieging yester year composers. And my enjoyment
is doubled when I divine that this is what my audience too want... Today's composers
concentrate on anything but their work... (they) fail to create tunes really worthwhile.'
The position is not different either in the sphere of Carnatic music.
1 The quest for depth is just not there. Superfluous entertainment is today's menu. It
is a pity that instead of delving deeper, we are concentrating on the frills which are
evanescent and offer nothing more than a short-lived thrill. '
This is the view of top violinist M.S. Gopalakrishnan who hails from a musical
family and who has a rich experience of Indian and Western conditions. The cry
and need of the hour then is obviously to reorient our conceptions, attitudes,
aspirations and programmes to restore Wacfopasana' to its pristine glory and
resuscitate our rich legacy and giory by actively involving the 'ordinary man1 in
cities and villages as classical music has fast been withdrawing itself into an
oligarchic shell which indeed is a curse!
SOFTWARE PIRACY
There is an 'Indian Federation Against Software Theft" (INFAST) to combat piracy.
Tiger Varadachariar used to cut jokes that Vasudevacharya and M,D. Ramanathan had
stolen his talents and knowledge. Madurai Mani Ayyar's style is beautifully brought to
focus by T.V. Sankaranarayanan. Likewise the styles of G.N.B., etc. are projected by
many. 'Touch Todi raga, there is an element of T.N. Rajarathinam's style; touch
Nilambari, hah! there is the touch of S.G. Kittappa; Mukhari or Anandabhairavft
Musiri's style is on the fringe. These are treated not as piracy but as merit, attainment
and a gift! Art confers that liberty!! The Lord has sanctioned it:
" Whatever a great man does,
that other men also do' (imitate);
Whatever he sets up as the standard,
that the world follows."
ANOTHER GARLAND
VII
CONTESTS AND CHALLENGES II
Historic contests between Classical Musicians of Eminence.
Chapter X of 'A Garland provides an account of important contests and
challenges in the annals of Carnatic music. Since such contests have a close
and interesting bearing and revelation on men, matters and condit.ons in the
past, a few more are brought to view here.
AA
Maha Vaidyanatha Ayyar & Kalyanakrishna Bhagavatar
Maharajah Ayilyam Tirunal was not only a patron and connoisseur but was
a musician of repute himself. In tune with the proverbial 'approval from the mouth
of Sage Vasishta1, he wanted to have his musical attainments and talents
screened by Maha Vaidyanatha Ayyar during his visit. The Maharajah sang
elaborating 'Usenf raga for forty-five minutes. Captivated by the brilliance and
maturity of the rendition, Ayyar observed:
'Thank God. He has made you a king. Were it not so,
we might not have had an occasion to touch the drone'
This cultured ruler wanted to enjoy a vocal-veena 'friendly' contest between
Ayyar, famous for his vibrant gamaka-laden voice and his Court artiste Veena
Kalyanakrishna Bhagavatar, who enjoyed immense expertise by virtue of
rigorous training. Expertise and mastery were a gift to Ayyar but an acquisition
to Bhagavatar, famous for his 'origai' gamakas. His veena play resembled vocal
rendition. The vocal-veena contest commenced very well. Taking up Todi raga,
Ayyar flashed through and shot up from Mandhra sthayi Shadja to Atitara sthayi
Shadja like a fired jet and called halt after a hurricane rendition. Bhagavatar
lacked the fire of that tempo and the lure of the conjuring voice. His heart sank;
and sank as only that of a senior, eminent, noble artiste was capable of. His
reputation too was at stake. The understanding musician-ruler (even as saint
Sambandar consoled Tiruneelakantar when the latter was not able to reproduce
on yazh his vocal rendition) stepped in to soothe Bhagavatar's feelings saying
that Ayyar's music was vocal and veena was not designed to play so fast by
changing from mandra to panchama and then to sarani strings. Ayyar also
comforted him saying that it was only 'an exhibition match' and that he had all
respect for his mature rendition and knowledge. Bhagavatar came to his
elements and played on. Was it the forerunner to modern jugalbandis?
ANOTHER GARLAND 53
BB
Peria Vaithi's Challenge
Peria Vaithi and Chinna Vaithi were an acknowledged prominent duo when
Maha Vaidyanatha Ayyar appeared on the horizon and made his triumphal entry.
The brothers hailed from Radhamangalam and were Court musicians at
Sivaganga. Peria Vaithi once wenttoTravancoreto exhibit his musical expertise
and solve his economic plight. As was the custom at Travancore for all artistes,
he got accommodation and food adequately. As he could not get an audience,
he lost his mental poise and started singing in 'Bhoopalam* at midnight in
desperation to contain and annihilate mental agony and prepare to return home.
The classical rendition of the dawn raga in the still hours of the midnight
fascinated the musically-sensitive ears of Ayilyam Tirunal Maharajah. Enquiries
revealed that as the artiste had become an addict to 'drinking', he was not 'listed'
for audience. The ruler condoned the fault and heard him that day. Exhilarant
music full of bhava cascaded from the emotionally aggrieved Peria Vaithi who
enjoyed a resonant powerful voice which could negotiate 31/2 octaves in three
tempos. Dramatically he stopped and requested permission to take 'the drink1.
The Ruler and the Court were stunned by the insulting indecorous behaviour.-
The Ruler's benevolent heart, however, condoned it and permitted the
unseemly act too! The artiste violated the sanctity of the Court and Royal
presence but what followed was thrilling rendition - a quid pro quo, a
prayaschittal
Suddenly he stopped again and challenged all and everyone to sing like him.
The ruler magnanimously persuaded him to resume. The interludes only helped
to whip up the classical nerves and verves of Vaithi's music. And when it ended,
the misbehaviour and atrocious acts were graciously forgotten. Ayilyam Tirunal
not only exhibited his munificence in gifts but revealed his royal stoic
magnanimity telling Vaithi that the palace gates were open to him again!
( Source: VS, Gomatisankara Ayyar in 'Isaikalai Vallunarkal')
cc
Maha v. Venu
Bobbili Kesavayya, Kundrakudi Krishna Ayyar and Venugopala Dasa Naidu
belonged to a category of musicians who combined capability and fame with
aggressive egocentricity. Venugopala Dasa assumed striking titles like 'Sura
Veera, Veerasura, Kantamani' indicating arresting rendition and expertise in
swara, raga, tanam and pallavi. The title 'Kantamani1 was earned by passing a
test at Sivaganga successfully. He kept an elaborate retinue, an arresting
paraphernalia. Very popular and a crowd-puller, he travelled in a two
54 ANOTHER GARLAND
horse-drawn phaeton. Admirers fuelled his craze for fame and animosity against
excellence in others. Shatkalapidi Photo Masilamani and friends collected
Rs.two thousand (a century and half ago; money-value is relevant) as stake and
Maha Vaidyanatha Ayyar was challenged. Venue was Fiddle Ramayya's house
near Snuff Shanmugham's house at Madras. Venugopala had sharpened his
specialisation in major ragas to knock out Ayyar. But Fiddle Venkoba Rao
sensing it tactically forced Ayyar, by leading rendition, to take up
'Narayanagoula*. Venugopala was floored and Photo Masilamani had to declare
Ayyar victor. It is stated that Ayyar's brother, Ramaswami Sivan whispered to
his brother in 'Pandava Basha} clear only to them both, thus:
'Kapibhakshappis Kama apagesuthis
YantHb ehayan ashahithp vandhatabhaayiha
Konvasha vasha yanttio nooh ankisan
Hitho Kisaimishoopaz
Konvashavashathassahiru chipaz.'
V.S, Gomatisankara Ayyar says that this meant :
1 lake Adi Tala, anaghata eduppu.
Sambho Siva Sankara Vibho, etc. '
The mutual admiration, respect and love between the Ayyar brothers are
proverbial. Venu's carefully drawn up and elaborately arranged-for scheme
crumbled and collapsed like a house of cards and the prize-presentation was
made with Venu disappearing from the scene ! (Such absence is misconduct
perhaps only in tennis ! Here is a parallel from sports, The legendary Indian
wrestler Gama took on Stanislaus Zbyszko, the Polish reigning world champion
on December 12, 1910. Gama looked ordinary in the presence of the tall,
impressive Pole. Gama was dominant but two hours 40 minutes' play ended in
a draw. At the appointed time on the next day, the Pole was nowhere to be
seen. Gama was declared the Champion and the world learnt to acknowledge
his invincibility. Later, on January 28, 1920, Gama prostrated Zbyszko in just
21 seconds at Patiala!)
DD
Pallavi Subbiah Bhagavatar v. Tirumalai Ayyangar
Subbiah Bhagavatar hailed from Vasudevanallur near Sankarankoil and had
training under Maha Vaidyanatha Ayyar for seven years. Very competent in
giving concerts rich in neraval and an expert in pallavi rendition and swara, he
was very popular and was supported by zamindars. Gomatisankara Ayyar is his
son. Bhagavatar stopped giving concerts at the age of thirty-five and spent his
time in training disciples. An expert laya vidwan, once he demonstrated before
the Karaikudi Veena Brothers Sankarabharana elaborately for a hundred and
ANOTHER GARLAND 55
fifty minutes with his '/ca/pa/ia' (improvised) taia comprising Eka taia in the first
part with 16 matras, Jampai in the second with ten matras, Rupaka in the third
with twelve and Chapu in the fourth with fourteen totalling fifty-two for an
avartha. To the astounded Brothers, he stated that it could be called 'Brahma'
taia. He enjoyed a ringing tone and a captivating style.
Tirumalai Ayyangar of Anmarai Nadu near Srivilliputtur was a disciple of
Poochi Srinivasa Ayyangar. Had a mellifluous voice, was held in esteem and
was very popular in the South for his eminence in raga, tana and pallavi
exposition.
People of the area developed a passion to see the two distinguished men of
the area together in a concert displaying their skill in a 'friendly contest' and
arranged for it. Tirumalai started with his composition 'Aazh Kadalin' in Todi with
Misra Triputa taia. Bhagavatar wondered why he chose that taia as it might not
be conducive to full- scale pallavi. The sahitya (text) also was word-intensive.
However he responded. Tirunelveli Syamala Bhagavatar was on violin and
Tirunelveli Gomati was on mridangam. The contest was continued on the second
day. Bhagavatar started with Bhairavi Thvijam-Kanda Chappu Misra Chapu
combination on sahitya 'Koodara Girilolan*. Tirumalai got confused in his
rendition due to the devilrous combination of five and seven taia aksharas
alternating. He regretted the indulgence he had taken on the first day and
apologised to Bhagavatar for his avoidable innovations >
EE
Mysore Kuppiah v. The Jeafous Ensemble
Mysore Kuppiah and Appaiah, ancestors of Seshannaand Subbanna, could
not get admittance to the Tanjore Court and stooped to secure it. They enrolled
themselves as pupils under Chinnavelu and Periavelu, Court musicians. After
sometime, when the ruler saw them with the teachers and enquired, they
revealed their identity and intent. The ruler retained them both with him. Four
senior musicians, enraged at this, composed a varna in Ata taia each composing
one avarta. Kuppiah got scent of it and got the varna secretly notated in full.
Unaware of this, the quartette challenged Kuppiah Brothers when the ruler
summoned a special durbar to honour Kuppiah. They pleaded that the Brothers
were cheats and that their depth of learning should be tested. They played the
varna thrice and pompously demanded of Kuppiah to play the same varna in
trikala. Kuppiah took his vina, started with the trikala as the basic kala and played
at treble that tempo too. He played on till midnight too. Mysore Vasudevacharya
says that the ruler performed kanakabhisheka, presented him with a silver veena
inlaid with pearls and granted Kabisthalam as Jagir!
56 ANOTHER GARLAND
A brief war of wits with a swarakshara pallavi ensued. Overwhelmed .by the
gesture of the ruler, Kuppiah composed instantaneously a paliavi in Mohana
raga 'Paga icchara Sariga* meaning Is it right that the ruler should present a
zari turban of honour?' The connoisseur-artist in the ruler countered it in soft
notes, lSada Paga icchane\ meaning that it was only an ordinary turban. The
notes pa, ga, sa, ri, ga, sa, da, pa and ga are all brought in. (Swarakshara edhir
pallavi is related in Mohanam Krishnier's life too, A Swarasthana Varnam of
Muthuswami Dikshitar finds place in part III - E.)
FF
Rising sun saves the honour of court
Sivaratri was celebrated with a music festival at the palace with the fasting
Maharajah Krishnaraja Wodeyar presiding over it. Pallavi used to be the tool of
contest. A senior visiting vidwan first sang a pallavi. The Court vidwans could
not meet the challenge and their response was hesitant, The Maharajah gave
expressssion to his anguish and pain stating that the competition had brought
disgrace to Mysore instead of prestige, entertainment and enlightenment.
Chikkarama rose up and said that his son Seshanna would give a proper
response. The precocious boy gave a scintillating pallavi remarkably well and
took everybody by surprise.
Wodeyar took him on his lap and said, 'Guard this precious jewel. I am sure
he will earn our State ever-lasting fame. But you should not have exposed him
today like this1. To ward off evil-eye, Vasudevachar mentions that the ruler
himself arranged for idugavy and presented him with a necklace and shawl.
Seshanna rose to the top and was a powerful musician in the Mysore Court.
Note:
The ruler's advice 'Guard this precious jewel1 brings to mind an incident in
Subramania Bharati's life. During his visit to Madras, Gandhiji was having a
discussion with Rajaji and others. Bharati rushed in like a dart straight and
asked:
'Mr. Gandhi, can you come up for a meeting?'
A startled Gandhiji stared at Rajaji, politely declined on ground of want of
time; and when Bharati had left, as brusquely as he entered, told Rajaji -
Take care of this gem'.
Quite strangely, the revolutionary gem of Ettayapuram lived for just 38
years and the musical gem of princely Mysore for double that - 76 long
years!
ANOTHER GARLAND 57
GG
Bidaram Krishnappa v. The Malignant
Bidaram Krishnappa was riding at the crest of his glory. At Bangalore he was
deservedly honoured. There was immediate jealous reaction and heart-burning.
An assembly of vidwans and public was convened at Mysore which included a
well-known South Indian musician according to Mysore Vasudevachar whof
recounts the incident. Bidaram's guru Seshanna spoke:
'Krishnappa, it appears that the people at Bangalore have proclaimed you a Mahavidwan.
It is left only to vidwans like us to confer such a distinction. You are required to sing
before us now in this distinguished assembly and earn the distinction.'
The South-Indian vidwan (name not mentioned by Acharya) sang a six
aksharakala pallavi he had practised for six long months and challenged
Krishnappa to sing a few avartanas of nerava! and swaras. Burning with rage,
Krishnappa told his guru,
'Guruji, all that I have is due to your kind blessings. I shall obey your command and accept
' the challenge, but on condition that immediately I do it, I shall frame a pallavi here and
now and this vidwan should respond1.
With that Damocles' sword of 'edhir pallavi ' promised, he went through the
pallavi with merit and distinction and asked, 'Now, what about my challenge?'
Seshanna embraced his disciple and said with emotion:
'Krishnappa, really you are a Gana Kesari (Lion in Music ). I made you sing
only to prove your worth to those who were talking behind your back'.
This should have drawn the curtain on the challenge. Deep-rooted jealousy
lacks capacity to wind up but fuels endless encounters. The jealous vidwan took
advantage of the conferment of the title 'Gayakasikhamani1 on Krishnappa
sometime later by the Head of Tiruvidaimarudur Mutt and issued a notice of
challenge from his address - No. 136, Mint Street, Madras under date June, 7
1905 with copies to the Mysore Maharaja and the Mutt Head too. Promptly on
June 12, 1905 Krishnappa replied to him that knowledge is immeasurable, that
titles are not won after undergoing tests at vidwat sadas or sabhas, that Mysore
people were at a loss to recognise the notice-giver even as a vidwan as he
himself had been present at the concert at Tiruvidaimarudur and had not chosen
to raise any objection then and that it was regrettable that he had not taken a
lesson from the earlier encounter. Presumably, the jealous energy and fire had
evaporated on receipt of the retort. There was no response.
58 ANOTHER GARLAND
HH
Friendly Challenges
A
As a contrast, it is but proper and legitimate to record a few friendly
challenges. There was a Sangita Sammelan at Tanjore. Narayanaswami
Nayakar was a scholar, connoisseur and patron of musicians. There assembled
at his house the cream of visiting musicians of the day like Maha Vaidyanatha
Ayyar, Tirukkodikaval Krishna Ayyar, Veena Seshanna, Ghananrs Raghaviah,
Sarabha Sastri and Srivilliputtur Muthiah Bhagavatar. Anxious to enjoy their
competitive music, Nayakar displayed a diamond ring to be presented to the
'best musician of the day'. Probably selecting the 'Man of the Match5 in cricket
derived inspiration from such episodes!
Vaidyanatha Ayyar started the rendition and others followed. But who was
to get the prize and who was to decide it? Nayakar left it to the vidwans as he
did not desire to lose the feast by acting as a judge. Better to enjoy as a rasika
than sweat as an actor! There were some tense moments of suspense. Finally
Muthiah Bhagavatar stumped and foreclosed the issue declaring that the hero
of the day was Seshanna. Maha Vaidyanatha Ayyar seconded it. Seshanna
accepted it modestly saying, 1 accept this as a blessing from elders'. The titans
of Tamil Nadu elected the budding artiste from Karnataka! Art has no barriers!!
Art integrates.
B
Once the Maharajah of Travancore wanted to hear his palace vidwan Veena
Kalyanakrishna Bhagavatar and Vina Seshanna at one sitting. Bhagavatar
played first for two hours and then Seshanna responded. As it happened at the
contest of Maha Vaidyanatha - Haripad Raghava Ayyar contest, the ruler
presented them with similar honours. But the learned Bhagavatar rose up and
said:
' May I confess that Sharada Devi has blessed Seshanna with all that is sweet in veena
and she was left only with the remnant to b!ess me with ! I have never before heard such
an exquisite performance and i doubt whether I would hear another such again.'
Jealousy is a stranger at assemblages where nobility and pure devotion to
art compete! Has not Bhagavatar crowned himself with glory by the noble
sentiments he gave expression to?
ANOTHER GARLAND 59
II
Sana's wife v. Eelam Belle
Males have monopolised the listed contests so far. Here is one from the
'Tiruvilayadal Puranani to 'fill up seats reserved for women'. Let this be a
women's ©vent as such a contest does not appear to have been held elsewhere.
The belle amie of Rajaraja Pandian of Madurai was burning (quite naturally)
with a desire to put to disgrace Banabhadrafs wife, a scholarly poetess. Carried
away by the coquetry of his lady (presumably a pretty woman-deaux yeux),
Pandian requisitioned a competent lady-musician from Eelam, Sri Lanka. At the
contest, Sana's wife excelled but the King's decision followed the nod of his
lady-love. The loyal courtiers religiously nodded 'yes' to what the puppet Pandian
said. The second contest went the way the first did. Sana's wife was aghast and
challenged the ruler to hold the third and final contest at the temple. Once within
the temple, native wisdom, spiritual freedom and severance from lust restored
sanity. Once sanity had asserted itself, the decision rightly went in favour of
Banabhadra's wife. Generosity dictated honouring both since Pandian was
promoter and accomplice to the drama.
The anecdote however reveals -
i. Antiquity of musical contests;
ii. Impartiality within the precincts of a holy place:
(surely the courtiers should have continued to nod Yes, Your Majesty'); and
iii. Distinction of women in music.
In fact, on the first day, the Eelam artiste shoots many questions on
musicology revealing the depth of her immense knowledge in theory too, (One
should thank Pandian for not awarding the contest to the Eelam belle on the plea
of having won two games to one !)
u
Music Unites and Estranges too
The last one is from a Purana. Now follows one from the fascinating tamil
epic the marvellous Qilappadikaram of Illango, which is a mixed event where
two lovers are caught up in the cobwebs or quagmire of unintended antagonism
in trying to outplay each other.
Venue: Poompuhar Sea-shore. Time : I ndra Festival.
After taking part in the festival, Kovalan and his sweet-heart Madhavi, a
damsel of bewitching, ravishing beauty and danseuse, repair to a shady place
nearby. Madhavi takes the yazh, runs her nimble fingers on the kodu, the dandi,
60 ANOTHER GARLAND
checks up the tone and looks up with her native coquetry to know her lover's
pleasure and preference, Kovalan missing the hint takes over the yazh and with
it the hidden hand of Fate and plays to 'please' her and incidentally to seal their
separation. 'His tonic "Kura/"was the open note of the yazh. Madhavi mistakes
the fifth "////" as the fundamental suggesting a discordant note ! Jealousy leads
to ire and confrontation takes over control. She takes back the yazh with a shade
of vilely smile but to hit back; and plays. 'Her voice followed the humming guts
like the shadow that trails closely along as the eagle flies aloft. Her troubled mind
decoyed her into an unmelodic scale.' Burning with intense jealousy and torn by
baseless suspicion, for the first time Kovalan's mind travels far and dwells on
his forelorn chaste wife whom he discarded and deserted unceremoniously at
the very hour the wedding bells sounded. The finest epic proceeds with Kovalan,
now in utter penury, leaving with his devout wife to Madurai to meet the Grecian
tragic fate. The innocent man is falsely charged with theft and is given capital
punishment AH because of music ! A head for a false note?
KK
Nannu Miya v. Pallavi Somu Ayyar
The above incidents revolve around vocalists and instrumentalists. The
series is brought to a close with the challenge of a percussionist extended to a
pallavi supremo. Nannu Miya and Chotu Miya were Samasthanam artistes of
the erstwhile Pudukottai State. Nannu was a gifted player on dolak and his
'Pararf displays were fascinating. Spurred by his attainments, he challenged
musicians to match his accompaniment and score over him. Some sulked; some
sneaked away; some advised him that Pallavi Somu Ayyar was his peer. To
establish his mettle, Nannu repaired to Talajnayar near Tiruthuraipoondi and
hurled his challenge. Though taken unawares, the pallavi expert accepted it. He
composed a special pallavi for the contest in raga Saveri thus:
'Gin-rani palukuna Nandi mridangamaina.1
(It is not possible to produce the sound effect GRRR even
if the mridangam used happens to be that of Nandikeswara.)
Traversing a classic alapana, Ayyar commenced the pallavi exposition. The
deliberate sarcastic sahitya (text) which gets repeated endlessly held out a
psychological unnerving portent for the percussionist even as Maharaja Sallian's
derisive, scathing comparisons with Arjuna had on the indomitable Kama on the
battle field of Kurukshetra in Mahabharata. The GRRR sound could not be aptly
brought out on dolak. Nannu licked the dust. (Pallavi is a challenge to
percussionists even normally since the pallavi vidwan holds the commanding
rein and dictates the trends and is rarely dictated to. When two discordant
»/M ilrl
ANOTHER GARLAND 61
Differences did crop up at a concert and they never shared a dais thereafter. It
was parting of the ways. Pallavi is now following the path taken by gurukulavasa
and quite soon might qualify for an elegy!)
Note: Dr, R. Kalaikovan writes that there is a very beautiful and rare sculpture of a music
competition between a male artiste and a female artiste relating to the Sangam Age at
the temple of Nalthunai Ishwarar in Ponsai village. The sculpture is of pre-Rajaraja Chola
period. Vide notes under the chapter Tamil Isai'.
*****
DESTINY
The proverb runs,
'Destiny leads the willing;
but drags the unwilling/
The biographical notes on Harikesanallur Muthiah Bhagavatar, Mysore
T. Chowdiah, Dr, U.Ve. Swaminatha Ayyar and others reveal how true the proverb is.
Raja Ravi Varma, the prince among Indian artists, was a candidate for consort to the
royal princess. Maharajah Ayilyam Tirunal, the enlightened Ruler of Travancore,
rejected his case *as he was a shade too dark'.
Raja Ravi Varma used to reminisce in later days how good the decision was and
how destiny had helped him in that. He rose to be the uncrowned king in the field of
art. He was not a 'Rajah* in the true sense but was called so from the beginning, how
and why none knows! His drawing of Saraswati and Lakshmi revolutionised the
innermost corners of India, in effect next only to those of Ramayana and Mahabharata.
Had he painted Saraswati with a violin, imagine what would have been the effect!
ADMINISTRATION and MELODY
Govinda Dikshitar, Achyutappa Nayak and some others are well known for their
administrative calibre and eminence in the field of music. Ajit Kumar Panja, Union
Minister sang while inaugurating the Tiruvaiyaru Aradhana and Bangarappa, Karnataka
Chief Minister sang at the Panchakshari Gandag. Jayalalitha, Tamil Nadu Chief
Minister, an accomplished artiste, could have sung likewise with merit and acclaim
while inaugurating the Festival of the Music Academy, Madras 1991-1992 but chose to
give a scholarly speech pregnant with thoughts. Vide extracts elsewhere.
62 ANOTHER GARLAND
VIII
PURANDARA DASA CHALLENGED
'If gold could be found with fragrance, it is Tyagaraja, Kshetragna, Purandara
Dasa and Jeyadeva', remarked the eminent scholar Dr.V. Raghavan. Tyagaraja
immortalised Purandara in his Prahalada Bhakti Vijayam. Purandara stands
'unapproached as the supreme leader of the science no less than the art of
music'. Four centuries have passed and yet he remains the Sangita Pitamaha.
None could unseat him from that pedestal.
He has given expression in his 'Vasudeva Natnavalf to an achievement of
his:
'I shall briefly describe, by the grace of Vyasaraya,
the Namavali of Vasudeva:
Thus altogether four lakhs and seventy-five thousand kritis has
Purandara Vithala Vyasa Muni caused to be sung.'
He gives a break-up of the categories of songs leading to the total leaving twenty
thousand to be accounted for probably as miscellaneous songs like a sincere,
conscientious accountant This claim had been accepted all along and none had
challenged it till a reviewer of my A Garland remarked thus:
' The author's love of music and respect of musicians infuses the entire book. While this
is unexceptionable and surely makes for interesting reading, it does mean that a legend
is quoted without an attempt to look at its credibility. Purandaradasa is credited with
composing 475000 songs... '
The issue raised is quite pertinent The critic obviously should disbelieve the
Purandara claim as he calls it a legend.
CREDIBILITY, CAPABILITY & CAPACITY:
It was Uttiramerur; 1961 was the year. O.V. Alagesan brought a devout poet
to the temple. The poet went on pouring out extempore compositions on God
for hours and astoundingly repeated them too for a check up ( even as Tyagaraja
did on his return from his pilgrimage to ensure authenticity). I was present ( at
Uttiramemr, not Tiruvaiyaru). I was reminded of Mozart's words, 'My whole soul
is on fire'. The poet and his ilk are on fire, inspired and in a trance not infrequently
and this cannot be fully understood by mundane man. What is improbable to the
ordinary is child's play to the inspired genius.
Gavaskar, Hadlee, Bradman, Pele, Navratilova and Borg have shown
ANOTHER GARLAND 63
achievements absolutely beyond the capacity and comprehension of the
multitude. Sergei Bubka soars to 6.12 meters in pole vault effortlessly. The
United States of America and Allies destroyed thousands of men in the short
span of three days losing just a score of men themselves in the Gulf War.
Hiroshima achieved what scores of earthquakes had not. Miracles do happen.
Whatever Purandara uttered was music. Praise of the Lord was his singular
occupation when he moved out of his home on his life - mission for four decades
with his, devout wife and sons who played the role Vinayaka did for Vyasa on
pilgrimage. The learned Justice T.L. Venkataramayyar writes:
' Purandaradasa states ( the learned Judge does not use the word "claims") that he had
composed 4.75 lakh songs. This by itself an astonishment, becomes all the gteater when
the quality of the songs is examined ... simple language, homely sayings and proverbs...1
AUTHORITY TO QUESTION:
Can the author of a biographical dictionary indulge in the luxury of attempting
to verify such an issue and do justice? Ramakrishna Paramahamsa remarked:
' A salt doll went to the sea to measure its depth.
The minute it plunged into the sea, it was dissolved.'
'What is the use of asking how many palm trees are there or
how much toddy is in the shop
when one cannot take more than a cup?'
When dozens of authorities had mentioned Dasa's claim all along without
casting a shadow of doubt, could one in a biographical dictionary choose to cast
doubts on the claim and take up original research? If this is taken, what about
Tyagaraja's recitation of Ram Nam ninty-six crore times and Saint Tirugnana
Sambandar singing 'Todudaiya Sevian' at the age of three? Ravi Kiran,
Shashank and many others are credited with precocious talents; Can they all be
challenged ? Can each such issue be put to strict screening in a dictionary or
can they be thrown out as incredible., improbable and impossible? One would
be guilty of over-simplification to say lyes> °r 'no' or even to give an oracular
finding. An old folly could be cited as an instance of such an approach:
Advocate : 'Have you stopped beating your wife?'
(Witness falters, flounders, objects and tries to clarify.)
Advocate again: 'I don't want your stories. Say yes or no.'
It is incorrigible to insist on so since both are shorn of truth but this is done. The
book A Garland seeks to escape from this tragic practice of over-simplification.
THE NORM:
' It is the truthfulness and the information of the so-called authority that are in question;
and this question the historian has to answer for himself, on his own authority. Even if
64 ANOTHER GARLAND
he accepts what his authorities tell him, therefore, he accepts it not on their authority
but on his own; not because they say it, but because it satisfies his criterion of historical
truth.1
And the contra is also held out :
1 The historian, however long and faithfully he works, can never say that his work is done
once for all. '
- R.G. Collingwoor in 'The Idea of History '.
The norm demands a firm, unequivocal statement from the biographer and
the historian, it is true. The historian takes into account a variety of factors such
as -
Commonsense, Credibility, Probability, Capacity, Capability,
Feasibility, Evidence, Space, Period, Time, Status and Integrity
of the source and Image of the actor in question.
POSITIVE APPROACH:
Purandara claims it and the song is extant. His claim has been repeated and
sustained during the last four centuries. The poet is hailed as a saint. His
syllabus has not been altered nor sought to be altered still. His image is supreme,
He is called 'Pitha Maha' and an avtar of Narada. Concert halls and dances and
bhajans resound with his songs hailed by Vyasa as 'Purandaropanishad1.
Institutions are named after him and festivals are celebrated in his honour.
Further;
'In most cases, the authentic picture of many celebrated and venerable figures gets into
a maze of myths and anecdotes. But these, as handed down by tradition, are NOT to
be ignored but understood, for they represent the IMAGE that these great artists had
created in the minds of the people and the VALUE that the people saw in their lives and
contributions.'
— Dr, V. Raghavan
(Emphasis sfipplied)
So, one can ill-afford to side-line his claim. To ignore it is to demolish the
image so fervently created and nursed through centuries; and set at naught the
immense faith and value musicians and music-lovers attach to Dasa and the
inspiration they draw from his compositions. If one were to disbelieve his specific
claim, can he still be called a Saint ? That is the crux of the issue. It does not
stop at that. The credibility of many - big and great - shall also be in jeopardy.
Vyasaraya said,
If ever there was a Dasa, it is Purandara Dasa'.
Should not such statements too be discarded? Sambandar, Appar and
ANOTHER GARLAND 65
Sundarar are credited with singing 49000, 38000, 1 6000 padikams but only 383,
312 and 100 are now available. Considering their total devotion, scholarship,
poetical talents, can anyone still say that they could not have sung more than
what are now available? Likewise Arunagirinathar is credited with singing
sixteen thousand but only 1360 are available. Their devotion was so complete,
their capability (asukavi) was so superhuman, that they are seen to be human
Amazons coming down the Niagara Falls on the Atlantic Ocean; and their only
mission and occupation were to spread spirituality. The man who has seen only
the Silver Cascade is apt to deny that Niagara Falls comes down heavily from
a height of over forty-five meters (Angel Waterfalls, Venezuela has a height of
1000 metres,) It is subjective.
I consulted Senior Musicologist Prof. S.R. Janakiraman and he waslgood
enough to remark after profound thinking: ^
11 In music, it is a peculiar phenomenon that more than one composer of a particular stock
has adopted the same vaggeyakara mudra. In the Dikshitar family, except Ramaswamy
Dikshitar, the rest including Subbarama Dikshitar, why even the eldest of the Tanjore
Quartette, Ponniah Pillai, had adopted 'Guruguha' as their mudra. A great number of
spurious compositions under the stamp of Guruguha have also flooded the music world.
Similarly it is possible that several Karnataka Composers had their signature as
Purandara or Purandara Vittala. Such being the case, could not 'Purandara Dasa' just
have represented the entire Dasakuta who have sung in praise of Vasudeva in such
large numbers? Father, son and grandson, these three contributed the Tallapaka
compositions and all had Venkatesa as the synonym. Their songs number 32000 out
of which only 12000 could be unearthed on copper plates - solid and imperishable
evidence. So long as there has been no Bhagavata sampradaya or a Geya sampradaya,
the songs being transmitted from mouth to mouth, it looks immaterial and is of no avail
to ponder over the possibility or otherwise of a mammoth number of songs composed
by anyone single composer. '
He has further made the following thought-provoking observations:
' Excepting for a reference, almost casual so it looks, by Subbarama Dikshitar, there is
no documentary evidence to show that Purandara Dasa was the acclaimed primordial
teacher of music who drafted an unquestionably uniform syllabus never possible in
music. It is only an anumana pramana as one of the dozen musicologists of Karnataka
has himself admitted such a tact. When even in the case of the kritis of Tyagaraja for
the most part, not so much in the case of Dikshitar, there has been an unwarranted
diversification of patantara -version of rendition between one school and another, why
even between one musician and another, how are we to vouchsafe the authenticity,
credibility, capability and capacity, and above all, being the most important one - human,
physical possibility of the mortal composer with all due devotion to the divine minstrels
commissioned on the earth. With all their divine calibre, they were also only human
beings and proved themselves mortal though subsequently immortal by means of what
they have left behind to have composed in such thousands?
With due respect to the learned Professor, I think that Purandara Dasa
cannot in this instant case betaken as representing a family or clan of composers
as his song is unequivocally personal. A copy of the song is annexed. It is the
66 ANOTHER GARLAND
personal claim of Purandara ! There is no case to orate ' Dasa was an
honourable saint ; but I do not believe his song '.
In fine, one has to bow with respect and admiration to the greatest of Dasas
for his incredibly large, prodigious output, for his immortal contributions and for
his saintliness. And with determination and dedication, may a search for the
missing songs be instituted !
Search ? Search for his songs after four centuries and three decades ? Will
it not be a wild goose chase - running after a mirage ? No, it need not be.
Annamacharya's songs were found hidden in Tirupati temple. Tamil hymns were
found secreted in the temple vaults at Chidambaram and salvaged in parts,
'Chaturdandi Prakasikai' of Venkatamakhin was secreted for over a century
during troublous times. Dr. U.Ve, Swaminatha Ayyar was able to bring back to
life scores of ancient tamil literature like Qilappadikaram after centuries,
Marvellous pieces of sculpture have been recovered from the safe, vast bosorn
of earth. The author himself has taken possession as an official of treasure
troves of icons of bewitching beauty and matchless workmanship at
Pattiswaram, etc. Ancient, pre-historic township remnants are being unearthed
at Poompuhar, Mohenjadaro, Harappa and many other sites. So there is every
chance of unearthing a sizeable number of Purandara Dasa's output of kritis if
not the whole of them.
May institutions and mirsic-Iovers get interested and take the challenge !
*****
RETORT
Venue: Madras Music Academy. Year: 1933.
E. Krishna Ayyar: What Nayana, it appears you are frightening
your accompanists!
Kanchipuram Nayana Pillai, Then, shall I allow them to frighten me?
Vocal Maestro :
— T. Sankaran.
Note: Konerirajapuram Vaidyanatha Ayyar had senior laya specialists Manpoondia
Pillai on the hitherto unknown kanjira and Dakshinamoorti Pillai on mridangam with
Malaikottai Govindaswami Pillai on violin - all stalwarts. T. Sankaran says that this
was sneered at as * Magistrate Court'. This yielded to 'Full Benches' of Nayana Pillai,
Chembai Vaidyanatha Bhagavatar, Chittoor Subramania Pillai, Madurai Somu, Sirkazhi
Govindarajan and now Mandolin Srinivas and Kunnakudi Vaidyanathan.
ANOTHER GARLAND 67
KANNADASONG
dc&aod
'
,
c±>3ort>tfo
V
68 ANOTHER GARLAND
IX
CLASSICAL EXTRAVAGANZA
Till the forties of the twentieth century, Classical Carnatic music reigned and
ruled and enjoyed undisputed dominance in dramas and films - puranic,
historical and sociaL Chaste Carnatic music flowed copiously from musician-
actors and actor-musicians. Some of them have left a legacy which should be
the pride of any culture or country. Resonant, captivating voice which traversed
two octaves and over was sine qua nonfor acting in the mikeless, music-crazy
era. Many of the films had thirty, forty and fifty songs in lilting, titillating pure
classical tunes, Significantly dramatic troupes styled themselves 'sabhas',
Cinema was a rich field for propounding alluring classical tunes and good lyrics
of eminent composers like Subramania Bharati, Papanasarn Sivan and
Kannadasan. Madurai G.S. Mani, a Classical Carnatic musician recently held
several rounds of concerts with songs from films alone to the delight and
admiration of the audience to demonstrate how chaste classicism had held total
sway. It was a revelation. Musicians of the stature of Papanasam Sivan,
Maharajapuram Viswanatha Ayyar, Musiri Subramania Ayyar, G.N.
Balasubramaniam, Dandapani Desikhar, M.S. Subbulakshmi and K.B. Sunda-
rambal enriched film music in a measure that classicism could not perhaps Hrave
presented anything better at concerts.
In the field of dramas, the oldest known troupe was the Bharata Bhushana
Sangita Sabha. Sangita Kalanidhi Harikesanallur Muthiah Bhagavatar wrote and
directed 'Vikrama Stri Sahasam1 with Brahmadesam Krishna Sastrigal and
other musicians in lead roles. Bhagavatar could not resist naming the heroine
as 'Kanakangi' after the first Mela. Nawab Govinda Rao was the first modern
dramatist. Legendary Sankaradas Swamigal was in the Kalyanaramier Troupe.
Balamani Ammal Company (nothing to do with the Indian Companies Act) was
a gold rush - a madding crowd's sensible destination. Railway trains running
from Tiruchirapalli and Mayiladuthurai to Kumbakonam came to be called
Balamani Specials1! ( As a boy I have heard my mother musing the popular tune
'Pattanathil Vandalodi Balamani' - Has Balamani come to town?) Madurambika
Sangita Nataka Sabha and the much celebrated Cuhniah Company (Krishna
Vinodha Sabha) dished out finest classicals to unprecedented crowds that
fanatically thronged the gates daily. I had seen as a boy the Company's
'Bhagawad Gita' at Kumbakonam running to crowded houses in 1 932. Cunniah
celebrated the staging of the 1008th show. of 'Pattabhishekam'! It was a
wonderful record then since population was just a third of the present and
facilities were few. S.G. Chellappa's composition and entry song 'Dasaratha
Raja Kumara'( Hindustan Kapi) was a glamorous hit which swayed, thrilled and
enthralled thousands. Wizard S.G. Kittappa was a living legend - vide 1A
Garland '. With Harmonist S.G. Kasi Ayyar, they constituted the 'Sengottai Trio'.
ANOTHER GARLAND 69
Musicians and music lovers idolised Kittappafor his classical idealism, robust
innovative conception, matchless brikasand above all his all-conquering, divine
voice which enchanted and captivated. Doordarshan profits even today on his
few songs which are still extant for the benefit and solace of the listener. The
magnificence of the musical excellence could be gauged from the fact that the
last of his dramas for Cunniah Company in 1 923 was witnessed by a galaxy of
musicians like Vocal maestro Konerirajapuram Vaidyanatha Ayyar, Nagaswara
wizard T.N. Rajarathinam, Harikatha celebrity C. Saraswati Bai, Flute Tiruppam-
buram Swaminatha Pillai, Violin stalwart Malaikottai Govindaswami Pillai, etc.
It had all the grace of a sadas of the Music Academy ! Musicians flocked; public
went delirious.
There was a host of others like C.W Pantulu, Manamohana Arangaswami
Naidu, S.V. Subbiah Bhagavatar, K.S. Devudu Ayyar (harmonist), Khader
Batcha (harmonist) and Maharajapuram Krishnamurti, The precious jewel who
set standards in lakshya music, K.B. Sundarambal was there. Hers was music
that was traditional, orthodox in content, coverage and delivery. If only
musicians like S.G. Kittappa and K.B. Sundarambal possessed with such
transcendental voice and style exist today, it would sound the death-knell
to promiscuous neo-classicism and rudderless light music. No doubt about
it. The language would seem to have attained enhanced prestige by the
winsome clarity of pronunciation she commanded! She started with
Shanmuganandha Sabha of P.S. Velu Nair, in one of whose dramas I had acted
as a eleven-year old maid at the Waltax Theatre, Madras in 1935-36. Nott
Annaji Rao (purvashrama father of Swami Haridhos Giri) and P.S. Velammal
were in it in lead roles. Madurai Original Boys, Nawab Rajamanickam troupe
and T.K. Shanmugam Brothers were all legendary.
And it should be noted that dramas were not confined to urban centres as
now. Every village and every festival had dramas and there was a rich fare of
classical music. That was the reason why classicism prospered then. It was an
instrument of education and propagation of dharma, morals and nationalism too!
Patriot Bhagat Singh was hanged by the British for the only treason of being a
patriot ! Those were pre-independence days. 'Let the sound of those he wrought
for and the feet of those he fought for, echo round his bones for evermore !'
Gandhi Bhagavatar (Kumbakonam Rajarama Bhagavatar) composed that day
the super-hit song that stirred up dormant patriotism in the far-flung areas -
' Qirai Vayil Thanil Azhudal ! Bharatamata //"
(Mother India wept at the gates of the prison.)
— Raga; Mand
The same evening, the sterling silver-toned K.B. Sundarambal gave
melodious life to it and sang the piece on the stage with such pathos and thrilling
feeling that she had to be honoured with arrest by the British. (People now
70 ANOTHER GARLAND
canvass for formal arrest warrants for record. It was then an entry to hell.) The
song came to be sung by rustics in nooks and corners of Tamil Nadu.
Golden-voiced K.S. Chellappa Ayyar famous for the entry - song 'Jay a Jaya
Gokulabala (Bhairavi) with honeyed brikas and swaras and the talented male
in lady's role, K.S. Anantanarayana Ayyar were dramatist-duos. Similar was the
situation in Karnataka and Andhra Pradesh, where too dramas were very
popular. It is surprising to note that Bidaram Krishnappa, Veena Shamanna,
Subbanna, Honnappa Bhagavatar, Veeraraghava Ayyangar and several top
musicians were all dramatists! And Classical Carnatic music was the raging
medium for the musical extravaganza. And the elite and the rustic enjoyed it
fully.
The entire edifice got shattered. The divine wedding or coparcenary between
drama/film and classical music began to fade out in the fifties and is now part of
history. The principal culprit was the mike which demolished voice-culture and
the abettor was a famine of stage-musicians of the calibre of Kittappa and
Sundarambal. Aggressive vendors of commercialised light music made it
appear that light music alone stood for stage and films and for entertainment.
Classical Music is the casualty in consequence.
*****
STRANGE BED FELLOWS!
6The most successful and prominent musicological output getting concentrated on the
interpretation of the Sanskrit Sastras has prevented the youthful discipline of twentieth
century, Indian Musicology, from attaining a holistic character...Systematisation of living
traditions has remained unfulfilled... musicians and musicologists remain strange
bedfellows, with -
musicians scoffing at musicologists as irrelevant scholars and
musicologists looking down at musicians as ill-informed, perspectionless, visionless,
uneducated lot.*
— Anant Vaidyanathan.
Thefe is a visible decline in the number of musicologists of eminence.
Voco-musicologists like Mudicondan Venkatarama Ayyar and S.R. Janakiraman and
scholarly musicologists like Dr. V. Raghavan and T.S. Parthasarathy are not many
among rising generations.
* * * • -
BASIC CHANGE
Music was a full-time vocation till a few years back with few exceptions. Now many
of the young musicians are in full-time jobs and are part-time musicians. Music may be
a stepping stone for promotion, Social and economic affluence and corporate patronage. ,
Do they block the scarce opportunities available for full-timers and thus render their
vocation insecure?
ANOTHER GARLAND 71
X
A
Climactic Dazzle
Sage or layman, man, woman or child, everyone stands awed by and thrilled
at the sight of mountains and never feels a surfeit of gazing at them, Gods take
their abodes at the heights of mountains - Parameshwar on snow-clad Kailas,
Venkateshwara at Tirupati and Kartikeya at Palani and people flock to them in
preference to temples on plains. Raja Raja Chola wanted the Linga at Sri
Brhadiswara temple, Tanjore to be very tall when he constructed the historic
temple. Waterfalls are an eternal delight; greater the height, immense and
complete is the delight. The Lord assumes Vishwarupato instil and convey the
truth of His Omnipotence. Edmund Hillary and Tenzing Norgay of Mount Everest
conquest ( at! tara sthayi) are familiar names even to school children but not
Jacques Coustau or C.S. Thompson who delved deep into the depths of oceans
( anu mandara sthayi). Vedic chants reach the crescendo to bring devotion to
pointed attention and provide a sense of fulfilment.
'Tarakanama Tyagarajanutha* in Ksheerasagara (Devagandhari), Jagadod-
dharana and such other tara sthayi rendition exult and captivate the listener
much more than madhya sthayi. As the musician develops the alapana step by
step on the arohana, the audience sits up and eagerly waits to see whether and
how he scales the peak and gets ready to applaud. Once the peak is reached,
exhilaration envelops the listener and a sense of attainment descends on the
musician. There is alround pleasure. B.S. Rajah Ayyangar, S.G. Kittappa,
K.B. Sundarambal, T.R. Mahalingam and such other singers (Homa birds as
described by Ramakrishna Paramahamsa) were hot favourites of thousands of
listeners for decades and their songs still bring back nostalgic memories.
What is the magic or lure of the tara sthayi ?
Padma Bhushan Prof. T.N. Krishnan opines:
It is not only because of tara sthayi] but also because of the high sruti in
which the musicians mentioned used to sing. This enabled the maestros to
communicate and to have a permanent impact over their audiences with their
deep music. Vocal or instrumental, sruti or pitch must be high while practising
or performing.' Brigadier B. Ramamurthi has a different explanation to this
phenomenon, the climactic dazzle or experience of bliss or ananda and it follows.
72 ANOTHER GARLAND
B
Man's admiration for the Supreme
(By Prof. (Dr). B. Ramamurthi, M.S., F.R.C.S.(E), F.l.c.S.(HON),
F.A.C.S., F.A.M.S., FA.Sc., F.N.A., Neurosurgeon & President,
National Board of Examinations., New Delhi.)
What is this feeling of joy and grandeur that arises in us when listening to
certain pieces of music, a feeling of getting elevated beyond ourselves for a few
moments when enthralled by the magical notes? To/can unmadayan, shrutheer
mukulayan - vijayatey vamsee ninadah sisoh". "Is there an explanation or is it a
moment of bliss, where our mundane self momentarily embraces Cosmic Joy?"
During evolution many basic qualities have been ingrained in the humans
like feeding, reproduction, sex and the necessary emotions and these were
superimposed with memory, intelligence and self awareness which differentiate
us from the animals. Apart from these there are certain qualities that are
apparent in us but for which there is no adequate explanation in the evolutionary
process, e.g. self sacrifice, altruism, etc. Among these is the quality of
admiration for something that is better than the ordinary, a peculiar combination
of the feelings of joy, awe and grandeur that is aroused in the very depths of our
being by certain experiences, thoughts and visions.
The sense of grandeur evoked when looking at great mountains, the awe
inspired by the gathering clouds of a storm, the beauty evoked in witnessing a
glorious sunset and a feeling of enormity and magnificence when contemplating
the vastness of the sky and the innumerable universes that lie beyond our vision
- these are a few examples. The attempt at visualising the Paramatma as
described in the Upanishads leaves us with a sense of wonder and inadequacy.
11 Yatho vacho nivartanthey apprapya manasa $aha." These inherent and inbuilt
feelings of joy and grandeur are kindled, when listening to certain types of music,
in all humans, from the aborigines to the civilised, in the Occident and in the
orient, in the illiterate and in the highly educated and in sinners and in saints.
This is the feeling aroused in us when we hear our expert musicians render
certain pieces of wonderful music. This feeling does not depend on one's
knowledge of music, but arises in the depths of our being by the very act
of listening to the magnificent notes. It can only be surmised that this feeling
arises somewhere deep within our soul, perhaps as a fleeting reminder of our
great heritage, of our intimate connection with the Supreme Being, who is
inherent in all our souls. For a few moments we feel within ourselves the Bliss
that is shining within us, the effulgence of the Supreme Spirit activating our
existence. Covered by ignorance and by ever disturbing thoughts and emotions,
this supreme joy which is our birthright is denied to us ordinarily, but during
certain moments of our life, as when listening to the magical notes of inspired
ANOTHER GARLAND 73
music, our inner being rises above all its bondages and manifests to ourselves
for a moment in the feeling of supreme joy, ANANDA. No wonder our ancients
taught us that one of the easier ways to achieve Bliss or Ananda is through
Nadopasana. If listeners could be so elevated, we can imagine the joy that the
musician must be experiencing when rendering these blissful notes.
ROAST THE PERCUSSIONIST ?
Venue : Kanchipuram Naina Pillai's house.
Occasion : Lunch to musicians and friends.
Konnakol Mannargudi Pakkiria Pillai, Pudukottai Dakshinamurti Pillai and Dolak
Kumbakonam Venu Chettiar sat by the side of Naina Pillai, who asked his wife to
4pour'(not merely serve) ghee to Chettiar. Innocent Chettiar was puzzled and looked at
the Pudukkotai percussion maestro, who clarified :
* Don't you understand ? The lion asks its equipollent.
More ghee to us now is only to roast us this evening ! *
(Source: B.M. Sundaram)
Naina Pillai was known for his terrifying pallavi and laya-oriented aggressive music.
Naturally the percussionists were ever alert and ill at ease at his concerts for fear of being
'roasted* to the gaze of the audience. Accompanists dreaded to share the stage.
* * *
ROAST THE AUDIENCE
Laya connotes tension. Many could not swallow or tolerate it. Veteran
parliamentarian S. Satyamurti and pioneer bharatanatya specialist E. Krishnayyar were
' among its critics. Both were freedom fighters and were with the Music Academy, Madras
in fact. Naina Pillai cared little for views against his laya and pallavi. *On the other hand,
he increased inversely proportional pallavis a fortiori ' If anyone caused disturbance or
asked for any particular piece, he would admonish them significantly by singing -
Mariyadagadayya (It is not an act of respectability) ,
Budhi raadu (True wisdom will not dawn...) ,
Seetavara Sangeeta Gnaanamu (One must be blessed with
daata vmayavalena knowledge of music).
When someone asked for a piece of Arunachala Kavirayar, Kanchi Dhanakoti Ammal
obliged him by singing the piece -
'Yaarada Kurange' (Who are you, Oh! Monkey ?) '
(Source: B.M. Sundaram)
A memorable public recognition and honour to the rasika indeed !
74 ANOTHER GARLAND
XI
CRADLES OF MUSIC-II
PUDUKOTTAI :
'A Garland ' contains an account of the contribution made by Pudukottai to
music and the large number of musicians who adorned the Court
There is a tradition that Tyagaraja visited the State and at the instance of his
guru Sonti Venkataramanayya sang Jyoti Swarupini raga causing a wick kept
for the purpose to burn and that Syama Sastri had also visited the State. (Manual
of Pudukottai State, 1940 Volume II.) How far this tradition is true to fact is not
known but it may be noted that Pudukottai is just sixty kilometres from Tanjore.
Vide map. The District Gazetteer (1983) adds:
1 Pudukottai has for several centuries been a seat of music and dance. A number of rulers
of the Tondaiman Dynasty were connoisseurs of fine arts. Vijaya Raghunatha Raya
Tondaiman was himself an accomplished musician and composer. Pudukottai had the
unique privilege of being blessed with the benign presence of Sri Sadasiva
Brahmendral. In Sangita Sampradaya Pradarsini (1 904) , we find the names of a number
of musicians honoured by the Pudukottai Court.. The musical tradition can be traced to
the seventh century A. D. when the famous inscriptions at Kudumiamalai were incised. . . '
Tirumayam too had inscriptions of value. One of the rulers, Ramachandra
Tondaiman was a prolific composer and his kuravanji was enacted at Viralimaiai.
The sculpture of Vinadhara Dakshinamurti at Tirumayam shows the Lord holding
the vina obliquely and playing with his right hand and plucking the strings with
the left. The bowl is on the left and the yali is on the right side. It is mentioned
that Tiruvenkadayyar took cue probably from this, played so and came to be
called 'Savya Sac/7/1 (Arjuna). The eminent bhagavatha Gopala Krishna
Bhagavatar, Tirugokarnam Kanakambhujam (harikatha) and T.S. Ranganayaki
(mridangist) hailed from Pudukottai. Pahimam Brihannayike, the swarajati, is
attributed to Swati Tirunal though Dr. V. Raghavan doubts the authenticity of this
version. Viralimaiai Kuravanji (c.1750 A.D.) was being staged annually.
Karaikudi Veena Brothers were from Pudukottai.
GOLKONDA:
The word 'Konda ' means in telugu 'a hill' but in tamil 'bring'. Actually the
place brought in good compositions from two great savants. Bhadrachala
Ramadasa made the devotional outpourings of an incarcerated soul while he
underwent incarceration at Golkonda. Kshetragna was with the ruler of Tanjore.
The ruler of Golkonda invaded Tanjore with success and Kshetragna strangely
ANOTHER GARLAND 75
walked into the camp of the invader - voluntarily or in captivity - and was taken
to Golkonda. One thousand pieces were composed by him there though only a
small number is available now.
MELATTUR
Known for its rich fertility, vast carpet of paddy fields intersected by small
and big channels and groves and situated in the bosom of the Cauvery Delta,
Melattur is one of the chosen centres of the Goddess of Art with several satellite
villages around it. If Kuchipudi caught the imagination of Andhra, Melattur has
carved out its place in Tamil Nadu with its Bhagavata Mela. Tsoukam
Veerabhadrayya, guru to Ramaswami Dikshitar and Venkatarama Sastri, who
authored Prahalada Charitram and other dance-dramas in teiugu hailed from
Melattur. Once a year, the Mela (festival) is held and dance-dramas are enacted
by hereditary artistes with music and abhinaya. They are 'neither of the folk type
nor the modern, glamorised ordinary dramas. Nor can it be said to have been
evolved from folk plays. It is a revival of the ancient Natya tradition', says the
master-architect of the resurgence of bharata natya, E. Krishna Ayyar.
Bhagavata Mela at Melattur is one of the recognised art-festivals of India. ( Vide
map.)
TIRUPPAMBURAM:
A sacred place near the author's village (Vide map), Tiruppamburam has
been a nursery of nagaswara artistes, an eminent flautist and dramatists.
Adisesha, the deity after whom the village must have derived its name, 'is
worshipped here and has been praised by eminent tamil saints. There was one
Ayyan Pillai followed by his successors Sesha Pillai (odhuvar and sarindha),
Kulandaivel Pillai (odhuvar and vainika), Swaminatha Pillai, a disciple of
Koorainadu Nagaswaram Ramaswami and the famous Tiruppamburam
Brothers Natarajasundaram and Sivasubramaniam (nagaswaraim). The elder
published the kritis of Muthuswami Dikshitar as 'Dikshitar Kirtanai Prakasikai ',
following Subburama Dikshitar (1904) as a tribute to the great composer. His
son was the famous flautist and composer Sangita Kalanidhi T.N. Swaminatha
Pillai. The latter's sons taught nagaswaram at the Annamalai University
and Swamimalai and Palani Music Schools. His son Dr. Shanmughasun-
daram, a fine musician is currently Principal, Tamil Nadu Music Training
Centre, Madras. Pakkiriswami of the village was a dramatist whose team would
pour out melodious songs effortlessly. The beauty is that his artistes would play
the role of Krishna and Radha at night and the next morning would be seen doing
some agricultural work - the change being as smooth as the transition of the
night into day. That is a tribute to their artistic sagacity, acumen and versatility.
It is claimed that Avvan Pillai was the son of Amirriakavi Knnnmh Piilai a
76 ANOTHER GARLAND
of the celebrated Muthu Thandavar. Thandavar's Sirkali is just sixty kilometres
from Thiruppamburam.
VIZ1ANAGARAM:
Karvetinagar, Venkatagiri, Nuzvid, Challapalli, Vizianagaram and Bobbin
have been great centres of promotion and sustenance of music, art and
patronage. Maharaja Ananda Gajapatigaru is stated to have enabled Tachur
Singaracharyulu to travel extensively and acquire material for bringing out and
popularising six graded books on music. Veena with Venkataramana Das
Pantulu and harikatha (musical discourse) with Adibhatla Narayana Das brought
fame and glory to the place. Das was the first Principal of Maharajah's College
of Music, Vizianagaram and was succeeded by Dwaram Venkataswami Naidu
in 1936. Prof. P. Sambamurti states that Vizianagaram carved for itself an
honoured place on the musical map of India largely due to the patronage of
Maharaja Ananda Gajapati and the advent of illustrious musicians like -
Gururayacharyulu, Duruvasulu SuryanarayanaSastrulu, Venkataramana Das,
Adibhatla Narayana Das and Kala Prapurna Dwaram Venkataswamy Naidu.
CAVEAT COMPOSERS:
Compositions starting with the letter *NA' destroys wealth :
with the letter *HA* destroys fame ; and
with the letter *MA* destroys everything.
This warning in Sangita Darpan may be assessed in the context of songs like -
Nadachi Nadachi (Kharaharapriya)
Han Yanuvani (Todi) and
Makelara Vicharamu (Ravichandrika). Let it 'destroy everything*, what do I care ?
TRANSITIONAL PHASE :
Classical Carnatic music is in the process of transition from uncompromising
tradition-based classicism to an undefined compromising classicism with a multitude
of software professional vendors catering to professional and amateur purchasers and
audience in the hands of a plethora of urban-oriented commercial and non -commercial
vested interests whose interest in the promotion of classicism may be perhaps marginal.
— M.N.R.
ANOTHER GARLAND
77
XII
SOUL OF EMINENCE IS IMMORTAL
The Inimitable Bharatis
1 Of thousands of men some rare soul strives to realize Me:
Of those striving Yogis, again, some rare one knows Me in reality. '
(VI I -3 Bhagavad Gita)
1881 was the year of discarding his earthly frame. 1 882 was the year of his birth. No
fears; there is no mistake in the years! The Bharati of Narimanam left and the Bharati of
Ettayapuram arrived. Subramania Bharati drew profound inspiration from the songs of
Gopala Krishna Bharati. Cultural, emotional and artistic instincts and ideals of both were
in essence identical and their revolutionary endeavours ran on even keel. While spiritual
uplift and crusade against untouchability predominate in the songs of Gopala Krishna,
social uplift and crusade for political independence are the dominant features of
Subramania. If Nandanar was the chosen instrument for the projection of his ideals for
one, Tilak, Lajpat Rai, Panchali, etc., were the instruments of the other. Both were
strangers to material affluence. Both were supreme masters in tamil and music. Even
if Tamil Nadu sidelines them and their contributions, history shall assign them golden
pages.
Dr. M.V. Jayarama Ayyar of Venkatesha Education Society, Bangalore has drawn
some beautiful parallel identities in the songs of the two Bharatis which substantiate
how Subramania had extensively taken the lead given by and drawn inspiration from his
elder (Anandathandavapuram Gopala Krishna Bharati Souvenir). Here are they;
Of Gopala Krishna Bharati
Eppo tolaiyuminda thunbam
Madu tinnum pulaya
Unakku Margazhi thirunalo?
Gnayamtano neersollum:
QyNandanare, Namma jadhikkadukkumo ?
Namenna seyvom pulayare; Indha
bhoomiyilillada pudumaiyai Random
Andaikkadimai nanallave
Tillaiveliyile kalandu
kondalavar tirumbiyum ...
Of Subramania Bharati
Endru thaniyuminda sudandira dagam..
Thondu seyyumadimai;
Unakku sudandira ninaivoda?
Oy, Tilakare nam jadhikkadukkumo?
Seyvadu sariyo sollum.
Namenna seyvom thunaivare; Indha
bhoomiyilillada pudumaiyai kandom
Anniyartamakkadimai allave
Vira sudandiram vendi nindrar
pinnar, verondru...'
These clearly establish the fact that the ingenuous flame disappeared on the day of
Maha Sivaratri in 1881 only to reappear in 1882 not only to prove that soul is immortal
but also to declare unequivocally that the elder was the legator, trail-blazer and the
younger the legatee.
78 ANOTHER GARLAND
XIII
"LET US SKIP TIRUVAIYARU''
(A Farce)
* Janaki, could you recollect having seen this magnificent landscape ?'
'No, dear Lord, it was long back and I was then in captivity and in deep
distress. How could I ever think of the landscape then? You have thoughtfully
brought me here now, I am glad that your visit to this cultured Chola Desa had
blessed the people with rivers running to their brim after a long time.... Much has
changed too since my last journey to the South with scores of enchanting
temples of immense* size, rare architectural beauty and sculptural elegance
springing up like chess pieces on a vast carpet of green paddy fields intersected
by serpentine rivers and roads like improvised, innovative delineation of ragas
and swaras. Noble edifices, ancient culture, appearance of a galaxy of sages,
saints, rulers and artistes of eminence, what a beautiful land of aggregated
charm and splendour is this!! No wonder music and dance found their genial
home here. '
(Sita and Rama pass through Chidambaram, Mayiladuthurai, Aduthurai,
Kumbakonam and Tiruvidaimarudur, Mannargudi and reach Tanjore, There is
hesitation. Pushpak viman slows down and hovers over Tanjore.)
You seem to be turning back? Is not Panchanada Kshetram (Tiruvaiyaru) in
our itinerary? You look agitated too!'
[ Sita draws near.]
1 would like to skip Tiruvaiyaru, Sita. Once we step into Tiruvaiyaru,
Tyagaraja would block our movement and I am scared of him too!!1
Tyagaraja! How does he come into the picture? It was you who granted him
salvation a century and a half back/
'Oh! I understand. The mother in you clouds your vision and renders you
blind to realities. Can't you recollect his harassing me with never-ending pleas,
pathetic and pressing entreaties, nagging questions, petty insinuations and
intolerant jealousies! His passion for his kshetra and this river Cauvery and his
surrender to Nadopasana would surely drive him mad once he knows that we
were to be at Tiruvaiyaru. He will relinquish his place in Heaven or take a holiday
from Salvation itself and wait at the bridge on the outskirts of Tiruvaiyaru. . . . You
may like to see him again. But I shudder even to think of Tyagaraja. Please try
to forget the place. We have many places to see yet... If you like, we could visit
Tiruvarur.'
ANOTHER GARLAND 79
'How could you say so of that prime devotee of yours. Very unfair, dear. We
should be glad if he steals sometime from Heaven to be with us '
'Maithili, you have no idea of the nagging harassment I had suffered, his
cutting sarcasm, his biting insinuations and his colossal capacity and obsession
with his own urge. Even if Tyagaraja is not there, Tyagaraja-ism is sufficient
to unnerve me.'
(Wipes the surging sweat with Site's scented handkerchief apparently
in a tactical manoeuvre to rope her in to his view.)
'See, Sita; You know that I had given him darshans and often talked to him.
Why, he has himself acknowledged them in many songs like -
Bhavanuta - Mohanam, wherein he refers to my visit to
his house;
Pa/i/ Rama Rama Yanuchu - Kharaharapriya, in which he avers that I gave him
darshan and spoke to him endearingly.
Kanugontini - Bilahari, in which he records having found me: and
Giripai Nelakonna - Sahana, wherein he categorically notes that he had
been promised of Salvation by me.
Do not be under the impression that it was all casual 'seeing' and the like.
He concedes in Enta Bhagyamu - Saranga of i% being close to him, speaking
to him with affection and dispelling all his sorrows. Paluku Kandachakkeranu -
Navarasa Kannada is the relevant record of my discussing with him the merits
of the dance and music of - not Tanjore courtezans but of - celestial women and
dancing girls and that our discussions were fruitful and sweet. He concedes, in
his Rama Rama Ramachandra - Ghanta, Chinna nade A/a ( Kalanidhi ) and
Emani Vegintune - Huseni , that he had nothing to aspire for and that I had taken
him by the hand, embraced him and cheered him up. With the population
galloping towards 5000 millions and attendant work, I forget when I had taken
your hand, Sita. But I am sure I had taken his out of sheer love of him and
sympathy for his saintliness, musicianship and supreme vaggeyakara
eminence. But when I seek to look to others, lo! what happens? He raises a
hue and cry like a naughty orphan, a nagging second wife, a domineering nayika
(virahotkanthita, vipralabda, proshitabhartrika or a viyoga), or a hungry ailing
person. He accuses me of deserting him though he is fully aware of his special
relationship with me.
He cries, weeps, objects, challenges, accuses and teases. I am harassed,
Sita. Pity me, dear. My father would not have suffered so at the hands of my
step-mother from Kekaya. ..You smile when I feel embittered. He keeps
incessant pressure on me nibbling away my time and energy as in -
80 ANOTHER GARLAND
Enta Papinaiti - Gowlipantu-. Says, he cannot bear separation from me!
Chentane Sada - Kuntalavarali: Insists on being with me always.
Do you see the threat to your own companionship?
Lali Lalayya - Kedaragowla: Warns me that he would not part with me.
Is it Satyagraha or Duragraha, Sita?
Ni Vadane Gana - Saranga: ' I can't bear your separation even for a minute1,
says he.
Am I to desist from ail my duties? What happens to my confidential work
if we were to co-exist like a kangaroo and its cub?
You smile; only he who wears the shoe feels the pinch. My parents and
brothers would never give me a whisper of any difficulty. Of course, you were
harsh when I started for the forest at the bidding of my step-mother. That was
probably what it should have been to fulfil my avatar mission. But Tyagaraja
teases me saying that I am not compassionate (Ramabhirama Ramaniya Nama
- Darbar). He goes further and demands that I should swear to him, Sita
(Andundakane - Pantuvarali )\ Wants me to be talking to him alone endlessly
as if I begot him late in my life after much penance and pilgrimage (Palukavemi
A/a Daivama - Purnachandrika). Kings and princes wait on me and talk to me
with respect. But see how "TVagaraja stoops to taunt and tease me taking
advantage of my solicitude:
'Not an act of respectability1 - Mariyada Gadayya - Bhairavam
'Have you no self-respect' - Manama Leda? - Hamir Kalyani
You have no love for the poor' - Nidasanudasu - Hamir Kalyani
He accuses me of blatant duplicity in Chala Kallaladu ( Arabhf) and Atta
Balukudu(Atana). Please note that he raises his voice in Atana. He does not
allow me to rest. He blows hot and cold. Actually I see deliberate, planned
duplicity in his conduct; otherwise how could that charge arise in his song?'
'Dear, the architecture of this Brhadeeswara temple is unique ...'
'Sita, stop that. I have seen it a dozen times. I feel that you want me to ignore
the pinpricks and look beyond at the alleged innate goodness of the bard. Well,
that is what I too wanted. But see, he might go to the civil court alleging that 1
was not fair to him and that he had suffered in consequence (Rama Ninu
Namminanu - Mohanam). It is not an isolated insinuation. He is creating a case
for action for tort in Chelimini Jalajakshu - Yadukula Kambhojithat owing to my
ANOTHER GARLAND 81
absence, his health has gone down and he has become weak in body and that
he is suffering from agony and fatigue in Bhavanuta - Mohanam. To build up
evidence; he records that I had hidden myself (Endudaginado - Todi), as if I was
jumping bail seeking to escape from the clutches of law. This is sheer
impertinence. It suffocates and oppresses me, Sita.'
' Dear, Tyagaraja only expresses his anguish and gives free vent to his robust
but oppressive love of you and as a poet it could be that he takes liberties to
exaggerate. So...'
I You know him not. You are carried away by his platitudinous, sugar-coated
songs. Let me be frank with you now. (In muffled tone.) He is even jealous of
you, Sita. He pries into our privacy. Unwittingly he has recorded in La// Yugave
- Nilambari that he was adoring me when you were giving me betel and nut for
chewing! Does he stop there? He takes liberties with this son of Dasarathaf this
King of Ayodhya and directs, 'Come hand in hand with Janaki1 (Sri Rama Rama
- Gopikavasantam). He would have invited us to a waltz had he not been
elevated to the Heaven!'
[ Sita seeks to say something. But her Lord allows her not]
II Patience Sita. I have not finished. Tyagaraja actually wants to be a second
Sita to lullaby me to sleep -
i
La// Laliyani - Harikambhoji and
Uyyala - Nilambari
He directs me to ' Drink this milk' as if there is no milk at Ayodhya or in
Vaikuntha (Aragimpave - Tod/)! He lacks capability to check himself and stop.
He wants to supplant you, Sita! He wants to wean me from you by sedulously
suggesting -
— to 'accept rose-water bath' - Koluvamare Gada - Todi,
— to 'accept the comfortable bed1 - Ramabhirama - Darbart
— to 'take my bed on this couch ' - Sri Rama Rama - Gopikavasantam]
— to ' accept this pansupari ' • ' - Vidamu Seyave - Kharaharapriya ;
— that he 'would decorate me himself -Chetulara - Kharaharapriya ;
.— that he 'would dress and decorate me himself * t
- Rara Sita - Hindola Vasantam"
1 It is all the outburst of love of filtered purity, my Lord.1
82 ANOTHER GARLAND
'Well, see how he filters! Your enigmatic smile intrigues me! Why not wait
for the climax? Tyagaraja betrays himself in his Rara Sita that he would not only
dress me but would invite me to... Shameful. I am ashamed to mention that.'
'If he invites you to dine or for something else, why not go and give him the
pleasure?'
'Keep quiet. It's not anything of that sort. He solicits me 'Give me a kiss; I
shall hug you to my bosom'. This is wretched nonsense.1
'Allow him to do so once. He would go away. What is there for you to lose,
my Lord?.'
«
'So you suggest that I should have my 'oka patnf qualification rewritten and
have anothej as Tyaga-Sita by my side.1
'Dear, you took to task Jabali Rishi when he spoke in his love of you and his
desire to keep you at Ayodhya. Now when Tyagaraja says some simple things,
you get annoyed.1
You are not fair to me, Sita. I may run mad.... Yes, mad.'
* No dear, if he wants a kiss, why not give it. None will mistake your action.
As a child, you played your first and last mischief with that Manthara and you
reaped the consequences. But misbehaviour is not in your element. Tyagaraja
has himself given you a Certificate of Good Behaviour with the women of
Ayodhya when they were charmed with your radiant face and approached you.
(Natha Brovave-Bhairavi). Please spend sometime at Tiruvaiyaru. The world is
now marching towards 5000 million souls as you said. I too would like to do
some social work to wipe the tears of the poor!
'Now I get at the secret of your support. Vote-catching? Social work? Turned
political? Or you are captivated and lured by his deceptive saintly approach,
enchanting music and multi-dimensional praise of you! Well, you may not care;
but what of others. Tyagaraja is jealous of everyone else:
— of innocent Sabari (Entani Ne - Mukhari) , ^
— of devoted Garuda (Vinatasuta - Huseni) and
— of my matchless brother, Lakshman (Mitri Bhagyame • Kharaharapriya),
Am I to discard them all and be by the side of your ward, allow him to dress and
decorate me, take milk and pan supari from his hands and give him a kiss as
and when he desires? Are you mad, Sita? Nan Oru Vilayattu Bommaya (Am I a
mere plaything) as Papansam Sivan has sung?
[ His face reflects deep distress and frustration.]
ANOTHER GARLAND 83
By allowing him to do all this, do you think I could hope to silence him. He will
pester me with questions galore. What an array of never-ending questions he
releases? He has the make-up to be the best prosecuting advocate in a country
criminal court that was ever produced. Just think of a few songs like -
Rama Ninu Namminanu - Mohanam and Inta tamasamite - Saveri.
This Yuga will not be sufficient to answer his queries. Well, no use of trying to
satisfy you when you refuse to appreciate my distress. I shall stay at Tanjore,
see Tiruvaiyaru and return. Tyagaraja-ism will confront you there; and you are
sure to return as Parvati did after trying to attend the yaga of Daksha, her father.1
'Once, I parted with you and I learnt a bitter lesson. Either we go together or
we drop Tiruvaiyaru. When you talk so well of his capacity for questioning, why
not atleast confer a title on him now that every young artiste carries a cartload
of titles and the poor bard has none.1
'Sita, I really wonder at your capacity to bear insults. He audaciously
questions you, 'Do* you sing with love; do you prostrate with your body before
Rama* (Pakkala Nilabadi-Kharaharapriya). You don't take it amiss! I shall refer
the issue of conferring a title posthumously on him to a Committee to examine,
as is the practice now, and suggest. Now I could give him a post-graduate
degree - "M.I. " - Master of Interrogation!1
1 Sita, I would like not only to drop Tiruvaiyaru trip but feel like distancing
myself from Kharaharapriya raga itself. Tyagaraja invokes it too much for his
insinuating indulgences! And he succeeds!! '
(Tired of arguing and anxious not to miss the chance of enjoying the
splendiferous natural beauty, both relapse into silence for a while. The Pushpak
viman strays a little beyond Tanjore towards Tiruvaiyaru.)
'Sita', asks a startled Rama, 'did you sing?'
'No, you did not ask me to.... You were thoughtful...'
'I hear that song Etavuna Nerchitivo (Yadukula Kombhoji) meaning -
"Why are you going about enacting the drama?
Have your devotees been inviting you
to stage this drama of yours?"
That is the golden voice of Tyagaraja and it is his song. He beckons us. Hurry
up; he will take me to task if we tarry further. If Tyagaraja is not there,
Tyagaraja-ism will do so.... See the beauty of the place. His description in
84 ANOTHER GARLAND
Muripemu Galige Gada - Mukhari as a charming and excellent place in all the
world is no exaggeration! Tyagaraja envisages Lakshman to be with us too. Let
us summon him too.,. Oh, Lakshman is here!'
You accused Tyagaraja a little while ago and bestowed on him the
unsolicited degree 'M.L' Now, you will appreciate that it is a poor recompense
for his conferring on you the degree 'M.D.' (Master of Dramaturgy). If you had
not terminated your play, Tyagaraja~i$m would have surely conferred a
doctorate on you.1
(The groves, temples and the river Cauvery
reverberate with their laughter and ours too.)
THE DANGER ?
'Where are you starting, grandpa ?*
i 'For Classical Carnatic music concert at,.. *
*You are doing disservice to the ancient art, grandpa/
'How ?'
*With your attendance, the average age of the audience will come down, grandpa !* *
N^
Note : There are committees galore for everything. Will it be too much to set up one more High
Level Committee to go into the issue of attracting youth and people from all strata of the
community ?
* ( Grandpa would be the youngest in the audience ! )
SARTORIAL THREAT !
'Chembai Vaidyanatha Bhagavatar gave his concert in 1966 with dhoti, jibba and
angavastram (upper cloth);" with dhoti and jibba alone in 1967; with dhoti and upper
cloth alone in 1968 and in 1969 with the dhoti alone. I feel nervous and apprehensive
of attending his concert in 1970 !' — Subbudu.
(Bhagavatar was a Sangita Kalanidhi who was at home not only in music with his
inimitable tone but also with changes- in his sartprial selections. -Of course, he was no
avadhuta.)
'Notation is to improvisation as the portrait to the living model. '
— Ferrucio Busoni.
ANOTHER GARLAND
PART II
KALIDASA'S MUSICAL SENSE
'She tries to explore the aveqarika in the gandhara grama so that she could unite
with her husband ; but her tears trickle down her cheeks on the strings of the veena.
Consequently, the strings do not produce the desired murcchanas for the right effect/
— Treatise on Ancient Hindu Music by
Aruna Bhattacharya (K.P. Bagchi & Co.)
C/)
p-v
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ANOTHER GARLAND 85
ABHINAVAGUPTACHARYA - MUSICOLOGIST:
Dr, R.S. Nagar observes:
' There were probably many commentaries on Natya Sastra', but Abhinavabharatils the
most renowned and erudite one. It is the only key to open the vast treasures of Natya
Sastra. '
Abhinavaguptacharya wrote the work Natyavedavriti or Abhinavabharati. It
is said that he hailed from Kashmir and belonged to the Sphota School of
Kashmir. His period is not mentioned.
ALATHUR BROTHERS - VOCAL DUO:
Srinivasa Ayyar: (January 21, 1912 - 1980)
Sivasubramania Ayyar : (1 91 6 - June 28, 1 965)
Alathur Brothers came together in training and throughout their musical
career were the most prominent and popular duo till death snatched away
Sivasubramania Ayyar. They were not consanguineous brothers. Srinivasa, son
of Angara! Sankara Srowtigal and Lakshmi Ammal and born at Ariyalur came
from a tamil family while Sivasubramania, son of Vidwan Venkateswara Ayyar
and Lakshmi Ammal was a telugu. But both started their training in music under
Venkateswara Ayyar and there ensued an enduring musical coparcenary
fostered by common training and cemented by a spiritual bondage sans jealousy.
Of course, there did occur differences once when the Music Academy, Madras
decided to confer the prestigious title of 'Sangita Kalanidhi', Srinivasa wanted
the other to receive first being the son of his guru and an equal partner, his'own
age being secondary, while Sivasubramania would not accept it saying that
seniority in age alone counted. Finally it was resolved to cast lots before the
photo of the Guru and the title went to Sivasubramania Ayyar in 1 964; and
Srinivasa Ayyar got it in 1965. (The title is yet to be given jointly as is done in
the case of Nobel Prize,) Sivasubramania was seven and Srinivasa was eleven
when they started their training under the father of the former and they were
compared to the companionship of Krishna and Kuchela while at school by
Srinivasa Ayyar himself though he did not specify who was Krishna and who was
Kuchela. Srinivasa Ayyar was a scholar in Sanskrit, was Secretary to the
Tyagabrahma Mahotsava Sabha, Tiruvaiyaru and was the son-in-law of Valadi
Krishna Ayyar, an eminent musician and teacher.
86 ANOTHER GARLAND
Pudukottai Dakshinamurti Pillai was their close friend, philosopher and guide
and the Karaikudi Veena Brothers were their patrons. Sivasubramania Ayyar
played on veena and kanjira for sometime and was intimately associated with
the percussion maestros, Palghat Mani Ayyar and Palani Subramania Pillai.
Alathur Brothers were the fourth generation disciples of Sri Tyagaraja through
Manambuchavadi Venkatasubba Ayyar. The two musicians had thus imbibed the
best of music and laya through inheritance, training and association.
The Duo made their debut in 1 928 at the Tyagaraja Festival, Tiruvaiyaru and
then gave a performance during the Guru Pooja in the famous Dakshinamoorthi
Temple, Tiruvarur in 1928 and soon shot into fame and popularity. Were noted
for their true traditional values and specialisation in laya and pallavi. They
synchronised well, had attractive voice-blend and enjoyed a wide repertoire.
Apart from the honours from the Music Academy, the Travancore Court
appointed them as Asthana Vidwans. The fact that the brothers were both
honoured by the Academy separately shows the high level of expertise and
talents they enjoyed both individually and collectively. Sangita Nataka Academy
Award was presented to Srinivasa Ayyar in 1 968. Alathur Brothers had no peers
among duos in expertise, elegance, fame and stature.
ALLAM KOTESWARA RAO - GOTTUVADYAM VIDWAN: (b. May 14, 1933)
The unfretted gottuvadyam, also called Vichitra Veena, is such a demanding
instrument calling for expertise and dedication that just a few have mastered it
in the annals of Carnatic music after Tiruvidaimarudur Sakharama Rao and
Budalur Krishnamurti Sastri. Allam Koteswara Rao is one of the very few vidwans
now who are proficient in it. Born in a family of musicians in Andhra Pradesh, he
was initiated in music by his elder brother and Pemmaraju LakshmipatL He learnt
playing on gottuvadyam under Saride Subbarao, a renowned violin artiste till
1950, when he started giving performances on All India Radio, Vijayawada. He
enriched his expertise by undergoing further training under A, Narayana Ayyar
at Madras. Was Staff Artiste, All India Radio for 24 years till 1986. Has been
giving performances in sabhas, All India Radio and Doordarshan.
AMBHUJAM KRISHNA - LYRICIST: (d. October 20, 1989)
Ambhujam Krishna, a Home Science Graduate of Delhi University came into
the renowned TVS family of Madurai-Madras on her marriage with the distin-
guished industrialist T.S. Krishna. Daughter of Madurai Ranga Ayyangar, she
had her training in music under Karaikudi Ganesan and Madurai Ganesa
Bhagavatar. A staunch devotee of God and an ardent lover of arts, she took to
ANOTHER GARLAND 87
composing in Sanskrit, telugu, tamil, hindi and manipravalam (macaronic). The
compositions are noted for fragrance of imagination, chaste language, clarity
of thought and spontaneity. Her lyrics are brought out in four volumes of
'Geethamala\ Her colossal output was not the result of planned exercise but
were outpourings of a genius blessed with a mind that was sharp and an
imagination that liaised with the best and the noble.
As she was not a musician, she availed of the services of a host of musical
and dance stalwarts to set her six hundred songs to tune like:
Aadinaaye Kanna T.N. Seshagopalan
Nee Poi Azhaithu Vaadi | v v Sadagopan
Kudhittodi Varaai Guhane / a
Rajunaite Brothuvemo Dr. S. Ramanathan
Krishna Leela Maduryam Madurai N. Krishnan
Radha Madhavam j K R Kedaranathan
Aadum Paadanai J
Invocation song addressed
to Mukkuruni Pillaiyar, Madurai Dr. Semmangudi Srinivasier
En Azhaganai Azhaithu Vaarai Sakhi Anantalakshmi Sadagopan.
Her songs are adopted for music and dance concerts. The composer had
thoughtfully utilised different musicians of repute to ensure that sahitya-bhava
carries sangita-bhava.
ANANDA DASA - COMPOSER: (c. 1650)
Ananda Dasa was born atCheekala Paravi on the banks of theTungabhadra
and was initiated by Sreesa Dasa. He wrote the 'Kirtana Gite* a compendium on
Bhagavad Gita in kannada with the signature of Kamalesu Vittala. He was
honoured by the Maratha King Chatrapathi Shivaji.
R. ANANTAKRISHNA SARMA - MUSICIAN-TEACHER: (b. JAN. 23, 1893)
Versatile as a vocalist, violinist and vainika, R. Anantakrishna Sarma was a
life-long teacher and a scholar in telugu. A collection of his literary essays and
speeches and 108 songs of Annamacharya set to music by him with notation
were published in 1 954, He has published 'Ganakala', rendered into telugu forty
padas of Purandaradasa and translated Jayappa's 'Nritta Ratnavalf into telugu
for the Andhra Pradesh Sangeet Natak Academy.
Service: Teacher in telugu, Maharajah's College, Mysore for 38 years
Reader in Music, S.V. Oriental Institute, Tirupati
Vice President, Andhra Pradesh Sangeet Academy.
88 ANOTHER GARLAND
The musician-teacher has been honoured by various institutions :
Gana Kala Prapurna By Andhra Music Conference
Gana Kala Sindhu - By Music Conference, Mysore
Sangita Kaia Ratna By Music Conference, Bangalore
Certificate of Merit Music Academy, Madras 1 958.
Fellowship By the Sangit Natak Akademy, New Delhi.
D.Lit (honoris causa) By Sri Venkateswara University, Tirupati
Sangita Kalanidhi By Music Academy, Madras-1 974
Asthana Vtdwan Mysore Palace.
The highly distinguished scholar-musician was the son of Rallapalle Krish-
namacharya and Alamelu Ammal, Studied alankara and vyakarana in
Maharajah's College for Sanskrit, Mysore and Parakala Math. Inheriting musical
knowledge from his father, he had his training in music under —
Kari Giri Ray an,
Chocka Rama Rao and
Bidaram Krishnappa.
V. ANANTARAMA AYYAR - VOCALIST: (b. Dec. 14, 1914.)
Was born at Nagapattinam
of T. Veeraswami Ayyar.
Musical training under Plate Venkatarama Ayyar of Nagapattinam and
Jagadeesa Ayyar of Talagnayar.
Passed the higher vocal music teacher's training and served as music
teacher in N.D. High School, Nagapattinam during 1965-1974. Has been singing
at the Tiruvaiyaru Aradhana, etc., for over twenty years. Since 1 986 is in charge
of the Tyagaraja Kendra, Tiruvarur. Conducts pictorial exhibition of the Trinity
and has published books like —
Tiruchinnamalai
Tamil Marai Isai Malar
Sri Desika Prabhanda Isai Malar
Bhakta Tyagaraja Musical drama, etc. -
He plays on veena also. The Music Academy, Madras has granted a special
pension to him for his services spanning over half a century.
ANOTHER GARLAND 89
H.S. ANASUYA KULKARNI - VOCALIST & INSTRUMENTALIST; (20th Cent)
Anasuya Kulkarni is said to be proficient in Carnatic as well as Indonesian
music in its different styles and schools having had the opportunity to learn it
during her parents' sojourn there where Indian cultural associations in the past
had been pronounced. She plays Carnatic music on Anklung, a bamboo instru-
ment of Bali Isles and has demonstrated it at the Music Academy, Madras and
elsewhere. (It is not known whether it resembles the Gettu Vadyam of
Avadayarkoil Harihara Bhagavatar.)
Anasuya had her training in Carnatic music under the distinguished
R.R. Keshavamurthy and T Chowdiah.
ANDAVAN PICHAI ( ANDAVANANDA MATAJI) - COMPOSER:
(Septr. 6, 1 899 - Nov. 1 9, 1 990)
'Ullam Urugudaiya, Muruga' popularised by T.M. Soundararajan is a crisp
soulful song favourite with people of all ages and heard at temple festivals and
celebrations. The tune is captivating and the sahitya is full of religious fervour,
emotional bhava and devotional rasa. Several such pieces have been so sung
by popular musicians like O.K. Pattammal, the late renowned vocalist
Maharajapuram Santhanam and the (late) Tirovarur Namasivayam. Diverse
forms of compositions like andadis, pathikams, sathakams, namavalis, kirtanas,
etc. have been brought out by her. The author of all these was Maragathavalli,
daughter of TV. Narayana Sastri, Vakil, High Court and wife of M.G. Narasimha
Sastri, also an advocate.
Maragathavalli is credited with God-vision at the tender age often which set
her on the path of devotion. Mother of four sons and two daughters,
Maragathavalli reached the sacred Rishikesh in 1953 and Swami Sivananda
initiated her into the order of sanyasis on March 3, 1 954 with the name of
Andavananda Mataji, popularly known as Andavan Pichai. Of course she con-
tinued to remain in the family - so near the family and so far detached from it .
She is a lofty example of how family life is no hindrance to spiritual elevation as
pointed out by Tiruvalluvar.
Her songs are popularised by the Andavan Pichai Mandali. About fifty songs
with notation have been published in 'Kirtanamala* and her biography has been
brought out by the Divine Life Society. Several other books on her songs have
been published too. Andavan Pichai's songs glitter with alliteration and metre,
rhythm and melody. Maragavathavalli had attended no school and that makes
90 ANOTHER GARLAND
her passion for Godliness and choosing the vehicle of devotional songs to attain
the Ultimate more remarkable. Her songs are in tamil, telugu and sankskrit.
ARIVANAR - MUSICOLOGIST : (Last Tamil Sangham Period)
Hailed from Cettrur in Pandia kingdom or Tirucherai near Kumbakonam.
Authored the works Pannvarrohai, Ayntogai and Panchamarabhu. The last one
deals with music, musical instruments and dance extensively. The work has
been republished by V.R. Deivasikhamani Gounder, Erode.
KARUKUR4CHI ARUNACHALAM - NAGASWARA MAESTRO: (1921-1964)
A disciple of Kalakad Ramanarayana Bhagavatar, a senior vidwan,
Arunachalam had further training in nagaswaram under the wizard
T. N. Rajarathinam Pillai. Known for his melodious rendition, he was highly
popular and was one of the most sought-after nagaswara artistes. He imbibed
the vocal and instrumental styles and genius of his gurus. His nagaswaram play
was captivating and exhilarating. As a boy he was making garlands of flowers
for livelihood. After training, he presented garlands of ragas, incidentally being
gazetted now in this book 'Another Garland1 , a hat trick of garlands! At the height
of his popularity, he expired, eight years after his preceptor Rajarathinam died.
Born of Balavesam and Chellammal at Karukurichi in Tirunelveli district, he
had initial training under his father and made his debut in his eleventh year and
enjoyed a meteoric rise. His rendition in the disc of the film song \Singara Velane
Deva* is a masterpiece. It is said that the cine field colossus Sivaji Ganesan
requisitioned this gramaphone record to the Bombay Airport to satisfy his craving
to hear it again before his departure to the West! The song set a new trend of
vocomagaswara ensemble.
*
Arunachalam was honoured posthumously by the Tamil Nadu Eyal Isai
Nataka Mandram. He died prematurely at the prime of his professionah career -
a great loss to the Art. His rendition laid emphais on soothing melody, public
appeal and captivating delivery.
HARMONIUM A. ARUNACHALAPPA - HARMONIST: (1899 - Feb. 2, 1966)
Bhajan or drama, enters harmonium; if it is a classical concert, touch it not.
From Tagore to the ordinary musician, harmonium was an anathema. It was
banned from All India Radio and some institutions too. The reason is the
ANOTHER GARLAND 91
instrument's inability to provide graces like continuity, curves and gamakas
(modulations) which are sine qua non. Hemambikadas Subramania Dikshitar
was a towering exception as he was able to coax the instrument as only he could.
He had, as it appeared, a secret deal with it !
A. Arunachalappa of Karnataka was another who was famous for mastery
and inventiveness in playing on harmonium and also violin. Hailing from a
weaver's family and orphaned early in life, he fought his way through. Quite
strangely he had his initial training from his football team-mate Narayanaswami
and later Violin Puttappa coached him. As Dikshitar lent grace to the concerts
of Flautist Palladam Sanjiva Rao, Arunachalappa gave solidity and warmth to
the vocalist with a soaring voice, B.S. Raja Ayyangar. 'Jagadodharana' the 78
rpm record is an evidence of it. Honnappa Bhagavatar is a disciple of
Arunachalappa.
Pandit Madan Mohan Malaviya declined permission to a harmonist providing
accompaniment to B.S. Raja Ayyangar. Later he relented and in fact honoured
the harmonist with a gold medal. He declared, 1 had a gold medal for Ayyangar.
After hearing Arunachalappa, I had to leave the concert for a short while to get
another for him'. Likewise Krishnaraja Wodeyar of Mysore forgot his intense
dislike of the instrument when he heard this artiste.
KIVALUR KUCHELA
A ragamuffin Kuchela unkempt, unwashed, entered Violin maestro Malaikottai
Govindaswami Pillai's house and demanded , * Where is that fellow Govindaswami ?'
The 'intruding fellow' was provoking by word and deed and was found to be a hard
nut to be wafted away. Papa Venkataramayya, then an apprentice under Pillai, girded
up his loins to throw the insolent old mendicant out like a marshal in legislature. As he
neared the old man, Pillai fortunately entered. On seeing the Kuchela, he fell at his feet
full of humility and respect !
Who was that 'fellow* ?
T, Sankaran records that it was none other than Pillai's mentor, KivalurGavai
Ramachandra Ayyar who was nonchalantly humming Devagandhari raga probably
asking the Lord of Malaikottai ( Rockfort), as Tyagaraja did of Rama, *if Sugriva could
be protected for his beautiful neck 'Su—griva9, why not he help him (Kivalur Kuchela)
for his melodious musical voice.'
Whether He gave succour otherwise or not, the Lord of Malaikottai did save him
from physical assault !
92 ANOTHER GARLAND
GURU'S SOLICITUDE
i. Tiruvarur Kamalam, hereditary danseuse, T^agaraja temple, Tiruvarur was to make
her debut - arangetram. Her guru Mutiiuswami Dikshitar of the Trinity, departing
from his practice of composing only in Sanskrit, composed for her debut the pada
varnam 'Rupamu Juchi'(Todi)wdthedaru 'NiSatiDeivamu'(Sriranjani) in praise
of the Lord. Tiger Varadachariar composed telugu sahitya for the mukhtayi swaras
and the swaras in the charana of the pada varnam with the skill of a bora varnakara.
The compositions show Dikshitar ys proficiency in Bharata Sastra and his command
over telugu.
— (T.S. Parthasarathy)
Note:
It was Kamalam who offered her riches to relieve her guru's financial straits. Of course,
Dikshitar would not accept it. It may be mentioned that Dikshitar called his disciples, the
Tanjore Quartette, endearingly as 'Bharata Sreshtas' and one of them Ponnayya Pillai composed
the 'NavaRatnaMala '(nine kritis) in his praise as an expression of gratitude. Aprominent critic,
known for his racy comments, decried Dikshitar for taking a danseuse as a disciple. Dikshitar
noticed her art and dedication while the critic strained his energies to see the flesh and
bones in her. Probably the film song * Aattatthai parthidamai Aalai, Aalai parkirar ' (without
watching the dance, stares at the person! - at the person!) applies to the genre! That is the
difference. This is highlighted in the lives of Buddha and Sankara.
ii. Chengalvaraya Sastri of Cheyyur gave a new *sa bda ' for each and every performance
of his disciple Cheyyur Sarada lending 'value-added* attraction to her popular
recitals.
iii. When one of his disciples could not play on violin well in spite of all efforts, Mysore
Chowdiah, provoked to the extreme, gave him enough money and asked him to leave.
The disheartened pupil had left for the railway station on his way home. Chowdiah
brooded over the boy's disappointment and his bhava - laden heart melted. He
speeded to the station in his car and brought him back!
iv. Naina Pillai understood the distress of Chittoor Subramania Pillai's mother. Without
telling his disciple, he went on sending rupees ninety every month to enable his prime
disciple to continue his apprenticeship. Naina Pillai had dozens of disciples and
would not take a pie as fee.
These show the basis for and the truth behind the tamil saying that "he who gave
vidya - learning - with solicitude (day a) - is a father*.
ANOTHER GARLAND 93
B
Dr. S. BALACHANDER - A MAGNIFICENT CLASSICIST: (January 18, 1927
-April 13, 1990)
Here is his self-assessment true to fact:
1 A veena virtuoso of international fame whose unparalleled genius of the veena
elevates the sou! and to whom the veena is verily almost a part of his body. '
Karaikudi Sambasiva Ayyar called him 'Simham' (Lion). A resume of his
career, which S. Krishnan suspects as having been written by the Veena Maestro
himself, provides the perfect epitaph to his glamorous life:
1 An uncompromising traditionalist and classicist, Balachander considers protecting,
preserving and promoting the pure values of Indian Classical music his sole aim and
mission in his life. '
Veena Balachander was the most colourful personality among Classical
Carnatic artistes, an enlightened interpreter of Indian music and a multi-dimen-
sional personality of vast parts, deep penetration and quick conception with few
peers. He was -
percussionist, string artiste, mock dancer, singer, poet,
man of letters, humourist, album collector, cine actor, playback singer,
music composer, director, photographer, chess player, art addict and above all
a firm believer in the sacredness of music.
The man knows exactly what he wanted and also what he was doing... His
mind functioned on the basis of a pure inner logic... He never swerved from his
bhakti towards God and towards Music/ (S. Krishnan). Balachander himself had
recorded:
1 MUSIC IS A SACRAMENT TO ME AND
MY MUSIC IS TOTALLY DEDICATED TO GOD.'
Balachander evolved his own style of playirig veena which was close to vocal
rendition described as gayaki style.
He strode like a colossus among musicians, music - lovers and others and
he was an agnostic to criticism. An expert publicist, he never stooped to gain
personal ends. That marks him out of the rest, He consciously placed himself
on an elevated pedestal. That never prevented him from appreciating the good
in others. Masculine assertiveness was part of his innate self and he departed
at the pinnacle of his artistic expression, musical wisdom and technical wizardry.
94 ANOTHER GARLAND
Was a master of manipulation of the veena in vicranti or breath-taking speed
with intensive and unusual gamakas of absolute virtuosity. His varied life is a
lesson to apprentices in dedication to and mastery in art. Whatever he touched
was gold absolute, He dwarfed others by the unique personality and image he
acquired. Veena was a humble instrument at his hands and his will prevailed
always or was executed.
Grandson of Rao Saheb Vaidyanatha Ayyar, author of popular works on
Audit, Accounts and Book-keeping and son of V. Sundaram Ayyar and Parvati
alias Chellarnmal, Balachander was born at Madras in a home which pulsated,
buzzed and buzzled with music and musicians. Father, an advocate who forsook
law, was a connoisseur and patron of music. Brother S. Rajam (b. 1919) has
been a brilliant exponent of classical music. Two sisters - Jayalakshmi and
Saraswati were good singers, Instead of litigants, musicians thronged his house
and in this congenial environment of melody, young Balachander grew thirsting
for acquisition of musicianship and advent. He wrote:
11 Not having had a 'Guru1 and (by the bountiful grace of God) being entirely self-taught,
I wish to acknowledge that the music of certain sangeetha vidwans had tremendously
inspired and influenced me... "
His musical personality grew like the wild Tulasi' plant (sacred basil) in the
classical music garden of cultured Mylapore with its magnificent temple, attrac-
tive tank, broad Mada Streets and cultured habitation with his 'Nadu Street' at
the centre. The temple tower beckoned him to rise up to its height and the tank
laid bare the depths of knowledge he could make his own. The broad streets
drew his mind to the message of Tyagaraja in 'Chakkani Rajamarga\ Musical
precocity was evident when he began playing on kanjira providing accompani-
ment to top artistes of the day. Started playing on harmonium, bulbul tara, tar
shenai, dilruba, mridangam and tabla.
S. Rajam (18) and Balachander (10) gave duet concerts all over India and
Sri Lanka under the name 'Prabhat Prodigy Stars' and 'South Indian Prodigies1.
Like Lav and Kuslav, the two fair, beautiful and talented boys were the rage of
the day and cynosure of all eyes. When Shantaram, the eminent film director,
presented him with a tabla, Balachander was a percussionist already. But when
Krishna Bai presented him with an old sitar on January 16, 1938 at Karachi, it
acted as a catalyser taking him to a different mould from percussion to string,
rhythm to melody and accompanist to soloist. At eighteen, he switched over to
veena and there ensued a durable, spiritual association. He was a yogi who had
scaled the magnificent heights of sadhana on veena. He had great respect for
Karaikudi Sambasiva Ayyar. Quite soon, he evolved and reached the zenith of
his own - the Balachander style, He could not stoop to play for the gallery, It
looked as if he was a divine messenger deputed to lay down norms for play and
ANOTHER GARLAND 95
concerts and a code of conduct for artistes. His was pure classical play bringing
out the exhilarating panorama and depth of raga swaroopas on veena. Like
Ekalavya and Sarabha Sastri, he assimilated the best and built his own musical
edifices thereon. Environment, observation and assimilation (without regular
tuitions) probably qualified him for unique experimentation and adventure in
quest of the unexplored frontiers of melody and classical virtuosity. He averred :
" I have no 'guru1 but God and
my music-making is an act of piety. "
' The music of some tremendously inspired and influenced me ever since
childhood and, therefore, in everlasting esteem, the following homage is the
expression :
" In spite of the passing of years,
In spite of living in an era new,
Their music is still in my ears
As they are the best I ever knew." '
One of the six stanzas in praise of Tiger Varadachariar reads:
11 He who commanded the respect of one and all
Was a giant in size but a soft child at heart.
While many other musicians might rise or fall
His glory, for eternity, will ever remain apart."
One of the six about T.N. Rajarathinam reads:
11 With his flight of creative imagination so stunning,
With his great genius solidly stumped in every note,
With his lofty ideas of improvisation ever running,
He won all other musicians' unanimous vote ! "
And this from the four on Tiruvalangadu Sundaresa Iyer:
11 There was a unique Violinist whose title was 'Suswaram1.
His playing was perfect, his phrases pretty and precise.
He had a placid style so nice to derive inspiration from
Whose speciality was rendering Ragas, pure and concise. "
There are six stanzas on Maharajapuram Viswanatha Iyer. One reads :
11 Discarding monotony, he never sang the same way twice -
Every moment fresh, every note scent-sprinkled and fragrant.
His sonorous sweet music could even melt iron, not just ice.
He was endowed with a voice, $o rich and so very vibrant. "
There are but three stanzas devoted to Chembai Vaidyanatha Bhagavatar
96 ANOTHER GARLAND
whom he admired greatly as a person but for whose music he - elsewhere
noted - did not have great regard. One stanza:
" His frank heart, bigger than his body, was as pure as his ringing voice
(While a few others have tactfully cashed-in, on all kinds of noise).
For impeccable character, honesty and nobility, he was the first ctioice
Who, at other's fame and success, did surely exult and rejoice."
There have been precocious children but many a budding flower tends to fade
out and disappear. But perennial, fresh and fresher showers descended on this
intellectual. Whatever he touched was grand, bold and unique.
Many noted with awe and astonishment or admiration, and some with dismay
and disapproval, his inexplicable addiction to coax, extract or squeeze out wha
he visualised from the veena forgetting the presence of the audience as if he
was alone with his veena. He used to enter into an amorous soliloquy with i
absorbed in musical perceptions and explorations impelled by a sense of tota
surrender to artistic instincts and innovative, creative endeavours, His^ acute
passion to seek and lay bare the depths and heights of musical excellence anc
possibilities and portray the unlimited vistas of ragas was phenomenal,
1 It is something like an organic thing which develops not only in their brains, but in thei
hearts, their nerves and their viscera, something that their creative instinct evolves ou
of the experiences of their soul and body and atlast it becomes so oppressive that the
must rid themselves of it. '
This observation of Somerset Maugham fits Balachander admirably. He
submitted himself to the pangs of delivery and the audience had to suffer then
too since none else was willing to expose them to such noble perceptions in the
classical field. The birth-pangs one could see in his tenacious efforts to coax i
particular brika or curve or continuity out of the veena he loved and took to tasl
like an angry teacher, hard-headed parent on a turbulent child.
Made his debut at the 'Model, Hall', Mylapore as a vainika with Tiruvalangadi
Sundaresa Ayyar and Ramnad Eswaran on violin and mridangarn respectively
There was no occasion for the glittering artiste to look back till the Lord beckonet
him at Bhilai. The software genius was swallowed by the Steel town. His concer
orientation was to provide the audience what he thought they needed or shoul<
be given. His approach was that of a father, teacher, doctor and law-giver -a
in one and one can easily trace the inspiration for the dictum expounded by hin
and extracted below to his staunch belief that 'music was a sacrement to hin
and his music was totally dedicated to God'. Advaitic philosophy hails man a:
but a phenomenon of God subject to realisation of the fact. His jealous interes
in the rasika could easily be understood in this context. There is a spiritus
element in it It was not their entertainment he bothered about but he was inten
ANOTHER GARLAND 97
1 The rasika's love for music has no commercial angle, whereas, we musicians are paid
to perform for them ! To us, it is certainly a commercial proposition, a commercial
commitment !! Hence from where we sit, they are purer at heart !!! As a musician, your
responsibility is to see that, although it is a commercial arrangement, you do not make
your art commercial !!!! '
(Sruti- August 1989)
According to Balachander, his inaugural veena concert was on November 6,
1943. His first and last veena duet was on September 24, 1 944. It was with Prof.
K.S. Narayanaswami Ayyar. 'I wished to enjoy full freedom as a soloist and not
get tagged along to another and make every rendering of ours repetitive,
monotonous and set-patterned.' He was Artiste, All India Radio for about two
and half years during 1 942-44. Balachander gave a series of concerts with raga
alapanas and tanams from July 9, 1967 'sans songs, sans kritis, sans neraval,
sans fa/a, sans ga/atta, sans amali - tumali, sans sensationalism, no rest and
no intermission' and proved that ragas alone could keep the audience fully
engrossed. That was the Soul of Indian Music.'
Disc recordings:
Balachander was a remarkable recording artiste from 1 962 and emerged as
'the Carnatic Classical musician with the longest list (25) of L.R records'. A
musical Gavaskar or Kapil Dev or Pele! On his twelve-record series of 72
melakarta ragas, he claimed with evident pride, 'My immortal legacy to musical
posterity. A veritable musical treasure1.
Concert Tours:
1962 witnessed Balachander leading a team comprising flautist Ramani and
percussionists Sivaraman and Ramabhadran calling it 'Sangeetha Madras1. The
coast to coast concert tour of USA was an instant success, Then followed tours
of France, USSR, Poland, Hungary, China, Malaysia, Singapore, Japan, South
Korea, Sweden and Mauritius.
Films:
He had a dynamic and brilliant career as actor, music composer, music
director, producer and director. At the acme of his success, he left the cine
field - a loss to the screen world, to which he had brought a fresh look
with striking results.
98 ANOTHER GARLAND
Titles & Honours:
Quite a large number like —
Vainika Swayambu Kala Sikhamani
Raga Brahmam Veena Yogi
Nada Brahmam Nada Yogi
Veena Praveena Veena Varaprasadi
Vainika Kalanidhi Abhinava Narada
Sangeet Natak Akademy Award in 1 977.
D. Lit. by World Academy of Arts & Culture, Tirupati.
Regrettably the Music Academy, Madras had not looked beyond his unique
attitudes and independence in approach to men and matters and confer on him
its prestigious title 'Sangita Kalanidhi' even as independent India treated Sardar
Vallabhai Patel, Undoubtedly Balachander's musicianship was colossal. Of
course, his music was for the elite who sought after classical finesse and
explorations as Maharajapuram Viswanatha Ayyar and Mani Ayyar were wont
to do. It was not the Music Academy alone that was at fault. Even the Presiden-
tial honours did not reach him! There was a positive unmusical approach in his
case. It can be remedied. Why not confer the title posthumously as it was done
to Patel.
Crusades:
The life-history of S. Balachander without his crusades is Hamlet without the
Prince. The crusades shed much light on his indomitable satyagrahic character ;
and the tenacity with which he pursued his incursions resembled those of the
heroes of Thermopylae and Nakkiran and Kattabhomman. That they an-
tagonised musical hierarchy, establishments and patrons did not weigh with him;
bigger the risk, more intense was his lone battle and unrelenting his approach.
A veritable Hampden indeed!
One was to prove that Swati Tirunal as a composer was a myth. He felt that
Semmangudi Dr. Srinivasa Ayyar had been irresponsible in extolling the virtues
of the erstwhile Travancore ruler in his biography of Swati Tirunal and he termed
the unlimited tributes and claims made on behalf of the ruler as 'Swati Hoax'. In
his 'An Open Letter dated August 16, 1985' on 'He wrote a Book and Kindled
the Genie5 - immaculately documented and printed, he extends his challenge.
In pursuit of his conscience, conviction and devotion to Art and Truth, he had
spent unlimited energy and personal funds that were scarce. Unfortunately his
contentions were met by curses and noise and not by reasonable rebuttal that
ANOTHER GARLAND . 99
1 Those who spoke well of Swati Tirunal stood to benefit;
those who did not even think of him would reap no consequence; and
you know what happens when someone speaks ill of him ' -
an allusion to Balachander's death (Vide Sruti Vol. 68). With his accustomed
foresight, Balachander had averred that because of the disputation, he might
not be conferred with the title of 'Sangita Kalanidhi' and that he might be
excluded from playing in the Music Academy Festival ! He declared that he had
faith in God, that he was left with just a few years and that none could debar him
from stating the truth. He thought that the elevation of Swati Tirunal to the stature
of the Carnatic Musical Trinity was the 'biggest musical fraud of the century5 and
objected to placing Swati Tirunal's photo on par with the portraits of the Trinity.
He felt that the Music Academy had abdicated its moral duty and responsibility.
Balachander died leaving the case to the decision of posterity. There is a tragic
element in this. Even in his ashes cries the tragic issue.
The other crusade related to Dr. M. Balamurali Krishna vis-a-vis his claim at
the Music Academy, Madras that he had created new ragas. Balachander
protested pointing out 'the lie in the claim., quoting books and references'.
Dr. Semmangudi Srinivasa Ayyar concurred with his views. Dr. V. Raghavan, the
learned Secretary of the Academy admitted that he had overlooked facts. After
deliberations, the Experts Advisory Committee of the Academy negated in effect
Balamurali Krishna's claim. (Sruti).
The multi-faceted vainika had left eight albums with over a thousand pages
of 19.75" x 14.5" containing a mine of information on his life of turbulent grace.
Grandeur impregranted with celestial fire is eternally impatient and searches for
greener fields for achievement. 'One does not fall into Love; One rises to it', said
Tim Piggot Smith. Even so, Balachander rose to love music and his impres-
sionable life was a model of passionate dedication to art; he stayed at the dizzy
heights he chose and reached while yet a boy. He is a classic example of
emotional integration and total identity with true art. He died on the eve of the
Tamil New Year Day. (Pramoduta).
That Tamil New Year eve brought gloom
To ardent lovers of Music and Arts
When thy ardent, unquenchable fires
And radiant vigour were sniffed out.
O Strong Soul, by what shore
Tarriest thou now? Sure that force,
Has not been left in vain.
In the resounding melody-house, vast
And virtuous is practised that strength
Zealous, beneficent, firm !
— (After Mathew Arnold)
100 . ANOTHER GARLAND
P. BALAKRISHNAN - VIOLINIST & PEDAGOGUE: (b. August 10, 1914)
P. Balakrishnan had his musical training under Tanjore K, Ponniah Pillai, a
descendant of the famous Tanjore Quartette. He had a distinguished career as
Principal, Sri Venkateshwara College of Music £ Dance, Tirupati
Professor, Vice Principal and
Principal - in - charge, Central College of Carnatic Music, Madras.
Balakrishnan has done research in instrumental music.
Disc Recordings:
* * *
T.R. BALAMANI - VOCALIST; (b.December 31, 1937)
Place of birth Parakulam, Kerala.
Parents T,S. Ramanatha Iyer & Pachainayaki Ammal.
Musical training under Tirupunithura Narayana Bhagavatar
Passed Sangeetha Vidwan course at the
Central College of Carnatic Music, Madras.
Debut 1 948 at Tirupunithura
Post held Faculty member, Bharatiya Fine Arts Society
Music School, Bombay for a decade till 1 975.
She has given concerts in Bombay, Kerala and Andhra Pradesh and on the
All India Radio and has set to tune compositions in many languages. Has been
training many disciples. 'A studied solidity, firm laya command and technical
and aesthetical improvisation mark her style combining an innate rapport with
musical science and art', writes Dr. Sulochana Rajendran in Shanmukha.
Dikshitar recommended !
Veena Balachander played the catalytic role in getting the postal stamp issued to commemorate
the birth centenary of Muthuswami Dikshitar. He wrote to Justice V.R. Krishna Ayyar and the
latter interceded with the Central Minister and got it approved. Innocent Dikshi tar's case too
has to seek recommendations!
(Source: SrutL)
Note: As the Collector of the district, the author sponsored a commemoration stamp to honour the
sanctified memory of Vallalar of Vadalur, Sri Ramalinga Swamigal. Being an official, he did
not go to enlist outside help. Result?
9 Man will do the rational thing ' but, more often, after the grace of doing it in time is lost. This
is so in all good cases and all good causes. It is perhaps a curse!
ANOTHER GARLAND 101
Dr. M. BALAMURAL! KRISHNA - A MULTI-DIMENSIONAL MAESTRO:
(b July 6, 1930)
1 Sruti ? No tambur is necessary for me ! '
1 Laya ? No beats are needed either ! '
1 Ask not for this music or that; I have them not:
Baiamurali music have I, Sit down, trim thy mind ; and lend thy ears. '
That is Dr. Baiamurali Krishna, a multi-dimensional genius who has left no
segment of the finest of fine arts untouched. His contribution to Classical
Carnatic music, light music and screen spread over half a century has been
immense, substantial and unique. Dynamism with creativity, avante garde
without overt emphasis - and all within the ample portals of the vast mansion of
classicism and its hoary traditions - mark his rendition. Romantic brilliance and
aesthetic appeal combine to present and provide warmth and the listener gets
dissolved in cascading lakshya-based melody and scintillating rendition. His
tonal artifices and effortless delivery bhava-Iaden and peppered with subtleties
confer such solace and satisfaction that one is tempted to invoke the Atharva
Veda(XCII) hymn:
'Sing. Sing ye forth your songs of praise/
The scintillating vicranti has the effect of musical therapy, which
Dr, B. Ramamurthi, the celebrated neuro surgeon has elaborated in this author's
book 'A Garland; Dr. Baiamurali has thus a legitimate claim to the doctorate
though it came to him honoris causa. Soothing melody is his forte. The artistic
web he weaves out in his inimitable style leaves the audience spell-bound. His
pronunciation of the sahitya is as matchless as that of K.B. Sundarambal in tamii.
Nightingale is celebrated for its forays in melody only at nights but Balamurali's
suffers no such inhibition. Notwithstanding his sobre years, the youthful vigour
of his music substantiates his name 'Bala' or vice versa.
Born at Sankaraguptam in Andhra Pradesh,
of Pattabhiramiah, a Sanskrit pandit and
Suryakantam, a veena artiste,
He learnt music without much of guru-sishya pattern save a brief spell of six
months with Parupalli Ramakrishniah Pantulu. A child prodigy, his expertise is
the fruit of native wisdom and 'swayam krishi'. It blossomed like the self-grown
flower plant at a hill station blessed with varied hues and invested with
fascinating fragrance assimilating the dictum of Wordsworth that self— reverence
and self-knowledge lead life to sovereign power.
Baiamurali Krishna made his debut at Vijayawada at the Aradhana of his
guru's guru Susarla Dakshinamoorthy Sastri in 1938. The boy was given just
thirty minutes to sing but he stole five times that since the thrilled audience was
1 02 ANOTHER GARLAND
incapable of cutting itself away from the cascading sweet virgin melody. By the
age of nine, he was an adept on viola, violin, mridangam and kanjira. His first
radio concert was in 1939. As a violinist he had accompanied stalwarts like
Ariyakudi, Chembai, Maharajapuram,GNBandParupalli. A pioneer of the morn
broadcasts 'Bhakti Manjari', he was a constant top ranker with All India Radio
and Doordarshan as artiste, producer, conductor and participant in classical
and quasi-classical programmes. Has given jugalbandis and solo vocals without
accompanists. Reminiscent of old masters, he would give the audience intervals
at concerts !
In the realm of films, he took the appropriate role of Narada in Bala Prahlada
but his contribution and image in film-music are solid as playback singer,
composer, conductor and director in telugu, kannada and malayalam pictures.
Composition :
An original musician, Balamurali Krishna is an outstanding composer of
about 300 kritis, varnams, tillanas, etc,, from his fourteenth year. Several of his
pieces are popular. On the inspiration of Swami Vimalananda of Kuttalam Mutt,
he composed and later perfected seventy-two songs in seventy-two melakarta
ragas in Sanskrit and telugu and has published them. 'Murali' is his mudra. Has
created new ragas and talas. (Chancing upon a particular claim in the souvenir
of the Music Academy, Madras, Veena Balachander protested quoting books
and authorities and it is said that the objection was once upheld. The permuta-
tions and combinations in the raga schemes are so insurmountable, that isolated
errors are inherent in the limitless scheme). The popular Doctor is a serious
promoter of his compositions unlike Patnam Subramania Ayyar and
G.N. Balasubramaniam.
Concert Tours abroad:
His style and melody are in heavy demand in the fertile alien soils. His tours
include:
U.S.A. Canada France
Italy Singapore U.S.S.R.
Malaysia and Sri Lanka
Posts held:
Artiste, All India Radio, Vijayawada 1 952
Music Producer 1 954
Principal, Music Colleges, Vijayawada and Hyderabad.
Adviser, Bharath Cultural Integration Committee
ANOTHER GARLAND 1 03
President, Madras Telugu Academy,
State Musician, Tamil Nadu and Andhra Pradesh
President, Andhra Pradesh Sangeeta Academy, etc.
Publication:
1 Janaka Raga Kriti Manjari ' .
Disc recordings:
A colossal number, 'Raganga Ravali' cassettes cover his melaraga compositions.
Titles & Honours:
Among the bagfuls, the following call for mention:
Presidential Medal 1 953
Padma Sri by President 1 971
Award by Sangeet Natak Akademy, Delhi 1 975
Sangita Kalanidhi by the Music Academy, Madras 1 975
Sur Singar by Sangeeth Peeth, Bombay
Doctorate (Honoris Causa) by Andhra University
National Award for Best Music Director 1 975
Karnataka Award for Best Music Director 1 976
National Award for Best Male playback singer 1 987
Kasturi Rajaram Award
Honorary Citizenship, Vijayawada
Padma Vibhushan by President of India
Sangita Kala Nipuna by Mylapore Fine Arts Society 1 987
Award by Dinanath Smruti Pratishtan 1 991
Sangita Kala Sikhamani by Indian Fine Arts Society 1 991
Gayaka Ratnam by Sri Swati Tlrunal Sangeetha
Sabha 1 992
Saptagiri Sangita Vidwanmani by Tyagaraja Trust, Tirupati 1 992
His career has been a never-ending round of victories. A genius with
glittering success. The buoyancy of his music is infectious and in truth, he is a
Master of Melody. A penetrating experimenter of depth and easy delivery, he
floods his concerts with the finer nuances of music and gliding melody with
ever-fresh, invigorating phrases which expose the listener to the dazzling
panorama of lakshya - lakshana music.
PAPANASAM BALASARASWATI - VIOLINIST: (b. 1928)
Place of birth : Tittacheri near Nannilam.
Father : SubramaniaAyyar
Musical training under : Needamangalarn Krishnamurti Bhagavatar of
Uthukadu family and
Kumbakonam Rajamanickam Pillai, a famous violinist
ANOTHER GARLAND
In her thirteenth year, Baiasaraswati made her debut and has been providing
accompaniment to musicians.
She has composed tamil kritis on Swamy Gnanananda Swamigai of
Tirukoilur and on Soundarya LaharL She is described as a good violinist
T. BALASARASWATI - ABHINAYA MAESTRO: (May 13, 1918 - Feb.9, 1984)
' She was like a fabulous flower. Her abhinaya floated in the music. Her expressions were
arresting and soul-satisfying. Her hands were poetic like creepers. Dignity, suggestive
restraint and synchronisation of melody, rhythm, expression, all were mastered.'
— Yamini Krishnamurti.
T. Baiasaraswati had the immense wealth of legacy of musical and artistic
talents being the grand daughter of the legendary Veena Dhanamma! and
daughter of Jayammal and Govindarajuiu. Had her training under Kandappa
Pillai, Chinnayya Naidu and Vedantam Lakshminarasimha Sastri. Graceful in
personality, endowed with a musical voice and blessed with a body that was
specially moulded for abhinaya to bring out the 'eloquent bhavas and rasas of
diverse emotions and compositions, Baiasaraswati was on the stage in her teens
and was the cynosure of the cognoscenti \ recollect that at the All India Congress
Exhibition held at Royapettah in 1935 or so, S. Satyamurti gave glowing tributes
to her talents and she was then just seventeen. She was very cultured. She
would sing well while dancing. ' The bhava or the attitude of Sringara was for
Bala the soul of bharata natya.1 Musician-Artist S. Rajam said that Bala should
be included in this book as she was a good musician too.
Here are some excerpts of some of her learned dissertations:
' Sringara stands supreme in the range of emotions. No other emotion is capable of
reflecting the mystic union of the human with the divine. '
' The feet keeping to time, hands expressing gesture, the eye following the hands with
expression, the ear listening to the dance master's music and the dancer's own singing
- by harmonising these five elements, the mind achieves concentration and attains cianty
in the richness of participation. The inner feeling of the dancer is the sixth sense which
harnesses these five mental and physical elements to create the experience and
enjoyment of Beauty. It is the spark which gives the dancer her sense of spiritual
freedom. The spectator, who is absorbed in intently watching this, has his mind freed of
distractions and feels a great sense of clarity. In their shared involvement, the dancer
and the spectator are both released from the- burden of worldly life and experience the
divine joy of the Art with a sense of total freedom.1
There could not be a better classic elucidation. Ancestral artistic affluence,
innate talents combined in Baiasaraswati to command wide popularity, respect
and image. Her orchestra included Jayammal and Lakshmiratnammal, besides
ANOTHER GARLAND 1 05
Choristers Narasimhalu Naidu and Gnanasundaram, Mridangam Ranganathan
and Kuppuswami Mudaliar, Flute T. Viswanathan (now a Sangita Kalanidhi) and
Clarinet Radhakrishna Naidu.
Concert Tours : Japan 1961
USA 1962
UK 1963
Europe and USA 1 965
She had conducted a Summer School in San Francisco;
has choreographed Sarabhendra Bhupala KuravanjS ;
and was Director, School of Dance, Music Academy,
Madras.
Publication : Bharatanatyam
Honours & Titles : Sangeet Natak Akademy Award 1 955
Padma Bhushan 1 957
Padma Vibhushan
Hony. Doctoral degree by Rabhindra
Bharati University 1 964
Sangita Kalanidhi by Music Academy, Madras 1973
Hony. Degree of Desikothama (D. Lit.)
by Viswa Bharati, Shantiniketan 1 978
The Oscar Award-holder the late lamented Bharat Ratna Satyajit Ray had
brought out a documentary titled 'BALA', a rare tribute indeed.
The rigour of the discipline of dance is annulled by the joy of its Beauty/
What an epigrammatist she was !
K. BALASUBRAMANIAN - VIOLINIST: (b. 1951)
A post-graduate in mathematics, Balasubramanian had his training in music
with his father K.A. Kasi Bhagavatar and M.Chandrasekharan, the prominent
violinist. He had taken part in several music competitions held by the Music
Academy and the Krishna Gana Sabha, Madras and got awards. Accompanies
senior artistes with competency and is a Staff Artiste with the All India Radio,
Coimbatore.
Concert tour : U.S.A.
MADURAI M. BALASUBRAMANIAM - VOCALIST: (b. July 21, 1931)
Place of birth : Dindigul (famous for its lock industry !)
Parents ; L Meenakshisundaram Iyer and Anandavalli Ammal.
1 06 ANOTHER GARLAND
General qualification & B.A., B.T. Teacher, P.S. High School (North), Madras -
Occupation. : since retired.
Training in music : Nagaswara Vidwan Ramachandra Reddiar - five years.
Dr. M. Balamurali Krishna - 20 years from 1 963.
Debut : At Nagpur for Nagpur Fine Arts on February 24, 1 968.
Title : Ganakaladhara from SDSB Samaj, Arani.
Has been giving performances for the All India Radio, Sabhas and Doordar-
shan (Pamalai and Isai Arangam programmes). Born in a family of musicians
and musical discoursers, Madurai Balasubramaniam has a special inclination
for rare ragas and compositions and in his presentation of songs, he lays clear
emphasis on the meaning of the sahitya, i.e. the sahitya bhava.
TIRUVARUR S. BALASUBRAMANIAM - VOCALIST-VIOLINIST: (b. 1925)
Born at Tiruvarur, sanctified by the birth of the Carnatic Trinity, in a musical
family, S. Balasubramaniam had his initial training both in vocal and in violin
under his father-violinist, S, Subba Ayyar, He had further intensive training
under distinguished masters, viz.,
Madurai Brothers (Srinivasa Ayyangar and Srirangam Ayyangar) for about 5 years,
Srirangam Ayyangar - advanced studies,
Madurai Mani Ayyar - special compositions and
Kumbakonam Rajamanickam Pillai - on violin expertise.
Balasubramian has been giving vocal concerts on the All India Radio and
elsewhere and has also served as Professor in Violin at the Kalakshetra during
1990-1992. He has been training many disciples.
BASAVANNA - COMPOSER; (b- 1125. A.D.)
Son of Madarasa and Madulambika and nephew of Baladeva, Prime Minister
to King Vijjala of the Kalyani Chalukyas, Vrishabheshwara, as Basavanna was
initially called, had his studies under Jathaveda Muni and grew up fast in wisdom
and original thinking. Born in a brahmin family of some influence at
Basavanabagewadi in Bijapur district, he chose to become a Koodalsangama
devotee and promoted Veera Saiva cult with vigour. He too became a minister
under Vijjala but left it to pursue his religious inclinations and propagate Bakthi
and Achara. His compositions known as "Basava Vachanas' are couched in
easy, facile language and enjoy in kannada the importance given to Vemanna
V/ac/?a/?ainteIugu and Tirukkural \ntam\\. His signature was 'Koodala Sangama
Deva' and he is also called as Bhakti Bhandari and Jagat jyothi.
ANOTHER GARLAND 1 07
The late Mallikarjun Mansur is reputed to have adapted vachanas for his
classical music concerts and made them popular. His concerts would bring in
at least one of them.
BELLARY BROTHERS - VOCALISTS:
VENKATESH (b. 1933)
SESHAGiRI (b. 1935)
Father Raghavendrachar hailed from a family of Pauranikas - discoursers
on ancient spiritual lore, Narasimhachar, the eldest son learnt music from his
father and, in his turn, taught the youngsters Venkatesh and Seshagiri.
Raghavendrachar was a musician with pedagogic talents and was Music
Teacher, Queen Mary's College, Madras and was later President,
Rayalaseema Music Examination Board.
Venkatesh and Seshagiri were fourteen and twelve when they made their
debut and have been giving concerts on the All India Radio and at other places.
They are noted for their innovative raga elaboration and traditional expertise.
Seshagiri later joined the Bangalore University as Professor.
BHARATHA - PATRIARCH OF INDIAN MUSIC: (c. 400 B.C. - 200 A.D.)
Indian Music and Dance have a hoary antiquity with an unending chain of
musicologists and musicians drawing inspiration initially from Sama Veda. It is
relevant to mention that there seems to have been another musicologist of
eminence bearing the same name in ancient Tamil Nadu, which has had an
equally ancient musical system from pre-historic times. When Indian music
slowly came under the influence of the Persian from the eleventh century, Indian
musical system came to be confined to South India. Though both the North
and the South have still the same raga-oriented music, North has the Hindustani
style and the South has the Carnatic style. ('Carnatic' is a word which means
ancient or peninsular India.) Successive musicologists have not only codified
prevailing theory and practice but have injected improvements, precision and
clarity. Ravages of time and distance, successive invasions by unmusical
hordes and wanton criminal destruction and looting of art, architecture, sculpture
and sacred and irreplaceable works have gone on from the 11th to the 19th
century resulting in the loss of precious treasures of ageless worth. In their
anxiety to save sacred gifts from the marauding tribes, several works were
secreted in the labyrinthine bosom of gardens, temples and maths and ultimately
lost track of and lost Fortunately India had developed the proud asset of oral
1 08 ANOTHER GARLAND
transmission of scriptures, etc., and the unique system had helped in preserving
the extant works. This was aided by another, the unique system of gurukuiavasa
and the few surviving isolated manuscripts had been preserved by knowledge-
able men,
Bharata Sastra (named after its author) or the Natya Sastra is the earliest
such treasure that is available. Thirty-six chapters, six thousand couplets in
Sanskrit and a few passages in prose present matchless evidence of the highly
developed art then. Chapters 28 to 33 are on music and the rest are on dance.
1648 slokas deal with music, tala, etc., as applied to drama. He has taken the
plots for dramas from Rig Veda, music from Sama Veda, acting from Yajur Veda
and aesthetics from Atharva Veda. It is evident that drama with music had
flourished in the Vedic period. Bharata has arranged 22 shrutis on the basis of
the five basic minutae tones terming them as '/arts' or 'adharas'oi the 22 shrutis.
R. Rangaramanuja Ayyangar observes;
1 Bharata was a fountain of knowledge, a rare genius who became a legendary figure
with a hundred sons to propagate Natya Sastra. In the light of a popular belief that the
work was a synthesis of several contributors, the author's name being only a mnemonic
for Bhava, Raga and Tala... Written 2500 years ago, it is the document of supreme
educative value. The overall picture of music in Natya Sastra has apparently not much
in common with Carnatic Music of the present day,,. It was left to Sarngadeva to
resuscitate it after eighteen centuries, '
Note: Mention of the hundred sons should presumably mean only a
hundred disciples since Indian scriptures extol good disciples as sons of the
guru. It would seem that Bharata would not have challenged
Dhritarashtra's title and eminence in the matter of the number of children!
FLS. Nagar pointedly brings to notice that Natya Sastra was not available to
modern scholars until it was discovered by Fitz Edward Hall, an American
Indologist in 1865 and thus saved the great work from oblivion, H.H. Wilson,
unable to secure the Natya Sastra, deplored earlier that the work, so honoured
and so frequently, had been lost for ever. That has been the bane of vandalism
of man and time.
Some later writers have made reference to Adi Bharata or Vrddhabharata.
Abhinavagupta is said to have discarded the idea of composite authorship
stating that the whole work was the work of one and only author. S.K. Dey has,
however, opined that the work was completed or recast at some later date in
accordance with the views of Nandikeswara. M.R. Kavi had remarked that-
Bharata's work had undergone much variations and Abhinavabharati itself
mentions that there were two recensions of the Natya Sastra. In view of the fact
that it is the oldest known work of considerable repute and authority, it is possible
that minor interpolations had crept in as in the case of many other works and
compositions. But, as Prof. R. Sathyanarayan& says,
ANOTHER GARLAND 1 09
1 In view of the reference to Bharata reverentially as a Muni and as Bhagavan by such
eminent authorities as Matanga, Sarngadeva, Simha Bhupala and Kallinadha, doubts
about the integrity of the work do not appear to be valid. Literary evidence and unity in
planning and presentation suggest only a single authorship'.
Bharata is known to tradition as Sutrakara.
TIRUVIDAIMARUDUR BHAVAN1 - VOCALIST; (20th Century - 1 half.)
Bhavani took to music at the late age of twenty-five but rose up to the top
soon. High-pitched voice, fast-moving rendition, enormous capability for load-
ing her rendition with birkas and 'akaram' marked her concerts and she would
cover songs in different languages and revel in tillana. Her ringing voice was
her forte. She is credited with introducing kannada javalis at concerts in India .
PALLAVI BHIMACHAR - VOCALIST: (19th Century II Half)
A contemporary of Maha Vaidyanatha Ayyar, Pallavi Bhimachar was a
disciple of Andananallur Subbier. His son and disciple Srinivasa Rao specialised
in singing Dasar Padas and was famous for it. Soolamangalam Vaidyanatha
Bhagavatar writes that Bhimachar excelled in his rendition of pallavis and that
he was very popular. Bhimachar hailed from Tiruchirappalli district.
R BHUVANASWAMAYYA - VIOLINIST : (b.1918)
Son of K.Y. Pillayya, a tabla vidwan, Bhuvanaswamayya had his training in
music under Pudukottai Subramania Ayyar, Chintlapalli Venkata Rao and his
son Ramachandra Rao. Illness at the age of sixteen forced him to take to violin.
Had his training under the senior violinist R.R. Keshavamurty and his first
concert was at the Rama Mandira started by Bidaram Krishnappa at Mysore.
Bhuvanaswamayya has provided accompaniment to distinguished vocalists like
Chembai Vaidyanatha Bhagavatar and Alathur Brothers and the violinist maestro
T. Chowdiah. He has been appearing on the All India Radio since his twenty-
second year. Known for his rich, innovative play and pleasing sound, he has
helped many good and great causes. He was always interested in keeping his
receptive musical inclinations open to listen and assimilate the best in others.
Concert tours : Singapore and Malaysia.
110 ANOTHER GARLAND
T. BRINDA - VOCALIST & VAINIKA: (b. November 5, 1912)
Grand daughter of the legendary vainika, Dhanammal and daughter of
Kamaikshi Ammal, Brinda was bred in the evergreen nursery of vibrant clas-
sicism in Carnatic music. Imbibed the Dhanam tradition of melody from
Dhanammal herself and her daughters. She is the eloquent inheritor of its grace
and charm. This view finds support from the fact that the institution
'Sampradaya' arranged for a six months' special training course at Madras on
Dhanam Classical tradition to be handled by T. Brinda and T. Viswanathan, a
scion of the same nursery. She had absorbed enough music at home to elaborate
ragas when at the age of nine she entered on gurukulavasa under Kanchipuram
Naina Pillai. Mukta, her younger sister accompanied. But 'actually Brinda learnt
directly from the maestro and Mukta kept the sruti (harmonium)'. Mukta says:
f
Grandmother Dhanammai was none too pleased at our being sent to Naina Pillai as if
no music was available at home. Further Dhanammal's music was like honeyfall, soft
and sweet and she wanted our music to be soft and feminine. She disliked women
indulging in swara fireworks and feared that it would happen if we learnt music under
Pillai. '
Brinda made her debut with Mukta as support at the Tyagaraja Festival,
Kanchipuram which was celebrated annually by Naina Pillai. Though Mukta did
not undergo the rigorous training, she had assimilated enough by constantly
hearing the master and his ward (Brinda) and the Brinda-Mukta combine was
a prominent duo for four decades, till Brinda's daughter and vocalist,
Vegavauhini joined to sing with Brinda. Thus Brinda has over seventy years'
solid credit as a performing artiste of merit. She enjoys a vast repertoire of kritis,
padas and javalis and several claim to have studied under her though some of
the claims might not conform to fact, it is said.
For exquisite rendition of padams, Brinda has a name and for the Music
Academy, Madras, she brought out a publication of javalis in 1 965 but she feels
that several performing artistes do not adhere to the proper paddhati. Semman-
gudi Dr. Srinivasa Ayyar states that when Ariyakudi Ramanuja Ayyangarand he
heard Brinda once, the former said,
' When women sing padams, it is mellifluous ;
See, how beautifully Brinda has handled them ! '
Ayyar could not stop with the joy of hearing. At the suggestion of the
Maharani of Travancore, he learnt in three days three javalis and three padams
from Brinda! (Three is Ayyar's lucky number perhaps!) Here is another tribute
from another veteran, R. Vedavalli who states that her guru Mudicondan
Venkatarama Ayyar used to tell his disciples,
' See, how Brinda keeps her voice sweet inspite of advancing age.
You should take a lesson from her. '
ANOTHER GARLAND 1 1 1
These tributes to Brinda's musical expertise and acumen find reflection in
the titles and honours conferred on her.
Titles & Honours : Sangit Natak Akademy Award -1965
Sangita Kalanidhi from Music Academy, Madras -1977
Sanglta Sikhamani from Indian Fine Arts Society,
Madras
Swaralaya Pushkaram by Pushkaram 1 992
Posts held : Professor, Central College of Camatic Music, Madras
1951-70
Visiting Professor, University of Washington, Seattle,
USA -Two terms
Visiting Professor, California University, U.S.A. -
Two months.
Brinda has given concerts in U.S.A. and she was not interested in giving
discs. She has been training many in Veena also.
GRATITUDE!
The concert was on.
* I wonder why the vocalist exhibits his teeth so often ! *
6 Gratitude! Concert sponsored by a Tooth Brush company. '
* * it
CAVEAT TOSCANINI
Rehearsal was on. The second violinist inadvertently grazed the string next to the one
he intended to play. It was almost inaudible. But Toscanini, the conductor stopped the
orchestra, pointed his baton at the culprit and cried out sharply —
* One string will be quite enough, if you please/
(Sruti suddham, apaswarain, sruti bhedam rarely escape the keen ear of stalwarts.)
* * *
FAULT LAY ELSEWHERE
American composer George Gershwin died. A sentimental admirer wrote an elegy
and rendered the piece before Oscar Levant for his approbation. How was it given?
* I think it would have been better if you were dead and
Gershwin had written the elegy ! '.
114 ANOTHER GARLAND
R. CHANDRASEKHARIAH - VOCALIST: (b. June 4, 1915)
'Mysore Brothers1 are prominent torch-bearers of Carnatic music and
Chandrasekhariah is the eldest. Father B. Ramaiah was a vidwan; and mother,
Vidushi Varalakshmi was his guru. She was a vainika and vocalist, in grateful
memory of her, Chandrasekhariah and his brother founded in 1945 'Sri
Varalakshmi Academies of Fine Arts', Mysore providing facilities for trainjng in
music. Born at Mysore he had training under Pallavi Ramalingayya also and
has been giving numerous concerts as one of Mysore Brothers ever since he
made his debut in 1929 at the Mysore Jain Hostel. Was giving concerts on the
All India Radio during 1 937 to 1 965. An expert in pallavi singing, he had taught
music through the Academies to thousands of pupils including foreigners.
Prof. Visweswaran, his brother, is referred to at page 438 of 'A Garland '.
Another brother is Dr. R, Sathyanarayana, a musicologist.
Chandrasekhariah is also a reputed composer of about three hundred kritis,
tillanas, etc., in kannada, telugu and Sanskrit besides the 'One hundred and eight
Mahamarga Tala Pallavi' He sang and demonstrated it himself at Madras, etc.
Dr. Sampathkumaracharya describes him as one of the foremost of vag-
geyakaras and musicians. His compositions are brought out in seven samputas,
the first four having been released.
Chandrasekhariah was / is naturally connected with various organisations
such as:
The Central Sangeet Natak Akademy
State Sangeetha Natak Academy
Government of Kamataka Advisory Board on Music, Drama & Dance
Chairman, Music Vidwat Examinations.
Titles and Honours :
It is a hefty list, the eminent composer-artiste having graced many conferen-
ces, etc. More important among them are :
Natya Sastra Kovida All India Natya Kala Conference 1 957
Asthana Vidwan Mysore State 1 973
Gana Vidya Vachaspati Brahma Tantra Parakala Maha Samsthanam 1 974
Sangeetha Choodamanl Kanchana Vidwat Sabha 1 974
Sangeetha Ratnakara H. H. Sankaracharya, Sringeri 1 974
Sangeetha Saraswati Avani Sringeri Sankaracharya 1 975
Sangeetha Sudhakara Akhila Karnataka Musicians' Sanmana Samithi 1 98O
Gana Ratnakara Sri Vasudevacharya Sangeetha Sammelana 1 981
Sangeetha Kala Thilaka State Academy Award 1 982
Samvit Sangeeth Kalasekhara H.H. Sankaracharya Kashi Dakshinamurti Peeta 1983
__ Sangeetha Kala Nidhi Sangeetha Nrtya Parishat of Karnataka 1 985
Kala Bhooshana 1 6th Conference of Tyagaraja Ganasabha,
Bangalore. 1 987
Award Karnataka Nrtya Academy 1 991 -92
Concert Tours:
U.K., Europe. (Concerts and discourses on Indian Music and Culture,)
ANOTHER GARLAND 115
P.T. CHELLADURAI S.J. - MUSICOLOGIST (b. August 16, 1935)
Place of birth ; A Sivagangai
Parents : V. Ignatius & Thomai Ponnamal
Academic M.A., B.T. and D.Lit from Diandra University (Italy)
Qualifications :
Musical Training ; Diploma in Indian Music, University of Madras (1 969-71)
Sangita Vidwan Diploma, Tamil Nadu Government
Music College (1974-76)
Cheiladurai is a disciple of Tiruppamburam S. Shanmughasundaram, Prin-
cipal, Government Music Training Centre, Madras. A Catholic priest of the
Society of Jesus, he made his debut at St. Bede's Auditorium, Madras on June
11, 1971 in the presence of Prof. P. Sambamurti. He is Assistant Professor of
Musicology and Musical Pedagogy in the Tamil Nadu Government Music Train-
ing Centre, Madras since 1984. Earlier he was part-time Principal, Evening
Music Course of the same institution during 1982-84 and Research Scholar in
Music under the Tamil Nadu Government during 1983-84.
Cheiladurai has authored two good and very useful books:
i. Tennaga Isai Eyal for the benefit of teachers and students of music,
ii. The Splendour of South Indian Music for the benefit of University students.
The first book has received a State Award.
He has the credit of bringing out three cassettes presenting Christian bhajans
and keerthanas in 1980-81 all set in classical tunes. He conducts a Summer
School of Carnatic Music since 1 974.
CHELLAPILLAI IYENGAR - VOCALIST: (b. 1915)
Father : Mantri Sampathkumarachariar of Melukottai.
Musical training : Started his training with his father in his ninth year.
Then from his fifteenth year, underwent training with the
famous Namakkal Narasimha Ayyangar's disciple
Ramaswami Ayyangar at Tanjore and then with Bidaram
Krishnappa. Finally he took the Sangita Bhushanam
diploma from the Annamalai University in 1934.
Chellapillai lyengar was not only a good vocalist but was also a good teacher.
Has been contributing articles on music. He popularised the singing of the
Navavarna kritis during the Navarathiri at Mysore and the practice acquired
permanence under instructions of the Maharajah. During 1 942-75, the vocalist
was working with the Akashvani as artiste. T.N. Seshagopalan is said to be his
son-in-law.
116 ANOTHER GARLAND
N. CHENNAKESAVIAH - VOCALIST & MUSICOLOGIST: (Novr.7, 1895 -
Feby.12,1984)
'His singing is ever reverberating in my ears. An able teacher in theory and
practice of music', said Varadachariar, of N. Chennakesaviah, son and disciple
of Natanahalli Kesaviah, a musician.
Chennakesaviah underwent training later with Mysore K.Vasudevacharya
and made his debut in 1924. He was a school teacher but this profession only
helped in shaping his destiny in music on firm lines. He had given concerts on
the All India Radio and at important places in India. He was Samasthana
Vidwan, Mysore during 1944-1 957, when the Palace discontinued the system of
patronage as a measure of economy. Chennakesaviah was Member of the All
India Radio Audition Board, Board of Examiners and the Experts Committee of
the Music Academy, Madras.
Compositions & Publications:
He has composed many songs and has published seventeen of them with
notation. Has published many articles and books on Raga Alapana Paddhati
and Tana Mattu Pallavi and on the compositions of Mysore Sadashiva Rao. He
was a regular contributor to the Journal of the Music Academy, Madras.
Titles & Honours:
Mysore State Sangeetha Nataka Academy Award 1 968
Mysore State Rajyotsava Award 1 971
KARUR CHINNASWAMI AYYAR - VIOLIN MAESTRO: (c.1900/1966)
Karur has inherited a distinguished musical legacy. The eminent composer
Kavi Mathrubhutayya, author of the opera 'Parijathapaharana Nataka' started a
distinguished line of violinists, Chinnaswami Ayyar, a grandson on the maternal
side inherited a musical legacy on his father's side too. Father Narasayya was
a violin vidwan. Chinnaswami Ayyar learnt violin from his brother Chinna
Devudu Ayyar of the Karur Quartette. A staunch sampradaya vidwan, he had
accompanied top artistes. Two Sangita Kalanidhis ( his son and renowned
violinist Papa Venkataramiah and Musiri Subramania Ayyar) were among his
disciples.
The Music Academy, Madras conferred on him the title of 'Sangita Kalanidhi'
in 1 950. Sangeet Natak Akademy Award was conferred in 1 966.
ANOTHER GARLAND 117
DAS SWAMIGAL @ MATADHIPATI: MRfDANGIST: (c. 1845-1925)
The play of Das Swamigal resembled the style of Narayanaswami Appa.
Supremely independent and rough, he treated Man and Money alike - perhaps
a virtue by itself. Prone to paraphernalia in harmony with his character, he would
play with such subtlety and mischievous digressions and perplexing permuta-
tions that his accompaniment was taken to mean 'Caveat Musician'. When he
is not that usual self, his play was remarkably good. When he once accom-
panied Poochi Srinivasa Ayyangar, his play was deeply appreciated by Pan-
dithurai Thevar of Ramnad and he was presented with a diamond ring.
DATTILA - MUSICOLOGIST: (c. 200 B-C. - 200 A.D.)
Dattila is said to be a dimunitive of Devadatta, In his work Vattilam', he
mentions Narada, Kohala and Visakhila as his preceptors. (Dattila is named as
a son of Bharata, it is said, in Natya S&stra.) The exact period of Dattila is not
known. Dattilam has been translated into hindi by Kalinda published from
Hathras. There is another titled Dattilam - A Compendium of Ancient Indian
Music' by Emmie Te Nijenhuis of Netherlands. Mukund Lath has again brought
out the work with full commentaries in 1978-lmpex India, New Delhi. A small
work in aphoristic form called Ragasagaram specifically deals with Gandharva
Vedasaram, i.e., the area of ancient music called 'Gandharva1 a sacred form
stated to be born of Sama. While Natya Sastra treats Gandharva as one of the
forms, Dattilam is an independent treatise on it alone. An expert in the science
of tala, Dattila is widely quoted. Prof. R. Satyanarayana states that Dattilam is
only a condensation and that the original should have been very elaborate.
CHIKKA DEVARAJA WODEYAR - COMPOSER: (1673-1704)
A contemporary of King Shahaji of Tanjore, Devaraja Wodeyar of Mysore
was a veena artiste. He brought out the tenets of Sri Vaishnava faith in his
kannada saptapadi 'Gitagopala' on the model of the ashtapadi 'Gita Govinda'
with 82 kannada songs and one in telugu. Kamboji was his favourite raga with
27 songs. He was hailed as 'Aparimita' and as 'Navakoti Narayana'.
118 ANOTHER GARLAND
DHANAKOTI SISTERS : DHANAKOTI AMMAL
KAMAKSHIAMMAL
They belonged to Syama Sastri disciple-line. Kamakshi Ammal was
Kanchipuram Naina Pillai's mother and T. Mukta's guru in a way. The sisters had
powerful resonant voice and their concerts were gripping and popular. Puducheri
Rangaswami Ayyar gave them advanced training in the intricaies and nuances
of rendition at concerts. They were adepts in pallavi rendition - a rare feat for
musicians of the fair sex. They enjoyed an immense repertoire.
B. DEVENDRAPPAH - VOCALIST & JALATARANGAM ARTISTE:
(b. JuneS, 1899)
Place of birth : Nyamathi in Karnataka
Parents : B,S. Ramaiah & Thulasamma
Musical training under : B.S. Ramaiah, Bidaram Krishnappa, Seshanna,
Subbanna & T. Narayana lyengar — a galaxy of eminent
vocalists and vainikas.
Posts held : ; Chairman, Standing Committee, Mysore Sangeet Natak
Academy.
Member, Board of Studies in Music, Mysore University ,
Court Musician, Mysore.
Publications ; Purandaradasa Kriti Darpana
Kanakadasa Kirtana Sudambhudi.
Concert tour : China
Honours ; Sangeet Natak Akademy Award.
Publications : Songs of Purandaradasa and Kanakadasa.
A noted vocalist and a prominent jalatarangam artiste of Karnataka,
Devendrappa was versatile with violin, sitar, dilruba and tabla.
M.R. DORAISWAMY - FLAUTIST: (b. April 25, 1922)
Born at Chickmagalur, of Ramachandra Ayyar, Doraiswamy enhanced his
musical instincts by constant exposure to classical music in gramaphone records
and later with training under Narasinga Rao, before joining the Central College
of Carnatic Music, Madras in 1938. He got his diploma with rank. Made his
debut in 1938 itself. Has been giving a large number of concerts. In 1962, he
joined the Ayyianar College, Bangalore as music teacher and became its Vice-
Principal. Doraiswamy's expert knowledge and technical perfection helped in
his concerts being satisfying and crisp with sruti and laya alignment.
Concert Tour : U.S.S.R.
ANOTHER GARLAND It 9
SALEM DORESWAMI AYYANGAR - VOCALIST: (July 1890 - Dec.20, 1952)
Salem Doreswami Ayyangar was the favourite disdiple of Ramnad (Poochi)
Srinivasa Ayyangar. When Mysore Vasudevacharya visited the home of the
guru, Doreswami Ayyangar was sitting by the side of his guru tuning the
tamboora, the other disciples listening to the guru singing the Begada varnam
'Marachitlundedi Meragadura'. When the guru turned to his prime disciple, the
latter went in and brought a heapful of idlies and a pot of ghee. The guru was
a glutton both in food and in music. Vasudevacharya was surprised to see
Srinivasa Ayyangar gulping down twenty-five idlies fully drenched and soaked
in ghee and a potful of coffee to be followed up by pupils! Once at midnight
Doreswami was missing from his room and after intensive search, the guru found
him near a pond practising at that nocturnal hour full-throated his song in raga
Purvikalyani 'Paramapavana Rama'. A shiver went down his spine as he had
reprimanded Doreswami earlier that day for not practising the kirtana satisfac-
torily. When he touched Dore, he was not even conscious of the touch,
immersed as he was in his Purvikalyani in that calm and serene atmosphere
when solemn stillness ruled. Doreswami opened his eyes only when water was
sprinkled on his face. The guru hugged him fondly and from that day, he made
Doreswami take his bed by his side! Poochi was fond of his disciples doing
gurukulavasa.
Parents : Gopala Ayyangar and Seshammal (Patnam Srinivasa
Ayyangar, his grandfather was an educationist.)
Was born at : Abhinavam in Salem district.
Leaving his home at the age of nine, he had a brief training under Sarabha
Sastri. As his health was then failing Sarabha recommended him to Poochi
Srinivasa Ayyangar when he had completed the Ata tala Kalyani varnam.
Doreswami Ayyangar covered the distance from Kumbakonam to
Ramanathapuram on foot and Poochi Srinivasa Ayyangar was glad to take him
as a disciple. Bhaskara Sethupati of Ramnad sanctioned a monthly stipend of
Rs.fifty for the purpose. From 1 901 to 1 919, Doreswami Ayyangar had, perhaps,
the longest tenure of gurukulavasa, doing the domestic chores for his guru and
following him to his concerts too. In 1921 on the Vijaya Dasami day, he made
his debut before Bhaskara Sethupati with top accompanists Tirukkodikaval
Krishna Ayyar on violin, Azhaganambi Pillai on mridangam and Mamundia Pillai
on kanjira. He shifted to Madras and then to Salem. Was giving quite a large
number of concerts. Krishnarajendra Wodeyar was captivated by his rendition
and offered him the post of asthana vidwan which Ayyangar did not accept. He
was hailed as an 'Uthama Gayaka1.
In 1926, Sri Purandaradasa MahotsavaSabha, Coimbatore conferred on him
the title of 'Gana Sikhamani', when he gave a delectable concert with Mysore
1 20 ANOTHER GARLAND
Chowdiah and Palghat Mani as accompanists. He was on the Experts Commit-
tee of the Music Academy, Madras and his views were appreciated.
Among his disciples, his son Salem Chellam Ayyangar is now a performing
vidwan and is in the Kalakshetra College of Fine Arts, Madras.
Disc recordings.
ENGLISH NOTES
In the early part of this century, there was a craze for english notes. Palladam
Sanjeeva Rao handled them quite often as flute was eminently suited for english notes.
Madurai Mani-Ayyar's style of rendition of english notes had a special aesthetic quality
and so he consistently included them in his concerts.
MELODY IS FEMININE !
* God is partial to woman in giving them a lovely voice/
-T. Sankaran.
4 Even braying should be done by female asses, not by the male/
— Tirumalai Naidu.
* * *
DILUTING THE SOUL IN MELODY
Gottuvadyam Narayana Ayyangar died while singing the song ' Mokshamu Galada '
at the All India Radio, Bangalore.
Veena C Krishnamurty died while he was teaching.
Flautist P. Sabhesan died while performing at the Tyagaraja Aradhana at Pune. He
hailed from Kumbakonam.
Many such souls had diluted their earthly coils in melody.
ANOTHER GARLAND 121
SISTERS (LAKSHMI NARAYANI & RANGIAMMAL): VOCALISTS:
(20th century)
idi Sisters and Dhanakoti Sisters monopolised concerts by woman-duos
is century. Disciples of Patnam Subramania Ayyar, Enadi Sisters com-
/ell and sang in perfect unison. Were speed merchants noted for their
ilate sweet voice and enchanting rendition. Eminent vidwans had praise
r music and T.Sahkaran writes:
1 When they sang, Ninnujuchi dhanyudaiti in madhyamakala, Tirukkodikaval Krishna
Ayyar and Poochi Srinivasa Ayyangar were charmed. Ayyar admitted, "When we sing
the piece, it becomes a drag. But look how perfectly these ladies have handled it". The
sisters were however misers in hoarding their fabulous repertoire. They would put their
tambura away the moment they heard of visitors. But their madhyamakala singing was
so spotless that my mother Lakshmiratnammal tried very hard to learn a few from them.
They did begin to teach her a song in Behag. After two lines the lesson ceased with
"Come, next Sunday". But that Sunday never came. They died penniless.1
lanyan ' also says that the Enadi Sisters were 'notorious for keeping
Ives and their music away from rasikas'. Of course, one could have no
>n to their keeping 'themselves' away from rasikas. It was unfortunate
tragedy that while their repertoire was fabulous and their music was
they should have died penniless! Evidently they had deprived themsel-
ocently of well-wishers and sane advice being of possessive nature.
THE BASIC REASON
usicians conversant with the more complex tonal structures and form of Carnatic
an digest the less complex tonal structure of Hindustani music. That is why that
ninent Carnatic musicians have achieved eminence as performers in Hindustani
10 Hindustani musician has emerged as Carnatic musician of any worth... It speaks
5 for the openness of mind and sense of curiosity of the Carnatic music tradition
thuswami Dikshitar not only seriously learnt Hindustani music but also composed
ustani ragas... Presentation of these in routine Carnatic style and carnaticisation
ragas of their beauty...Greater incidence of gamakas is the basic hurdle...
ani system is by and large pitch-oriented, while Carnatic music is raga-bhava
_ Prof. R. Visveswaran - Sruti.
122 ANOTHER GARLAND
SOURCES OF INSPIRATION : THE BHISHMA* SPEAKS
a. Gottuvadyam Sakharama Rao and Veena Dhanammal did not take mridangam and
yet shone as collossuses.
|y. Madpii Subramania Ayyar sang swaras to the phrase rupamu pratapamu
(Ninnuvina Sukhamuganu - Todi) with hundreds ofporuthams. I cannot forget them.
He did not think of swaras as he sang.
clt jjruvisanallur Narayanaswami sang a lot of swaras (and not too many kritis) that
made hearts throb with joy.
d. Govindaswami Pillai rained sarvalaghu swaras.
e. Naina Pillai sang kritis so perfectly that one would never feel satiated with hearing
them.
L Konerirajapuram Vaidyanatha Ayyar would give form to the raga before embellishing
it with astonishing brikas.
g. Maharajapuram Viswanatha Ayyar sang with feeling. None can match his speed in
brikas, not even violin. There were no straight ascents and descents but coils within
coils,
h* Raga alapanas increased in scope and duration after the arrival of
G.N. Balasubramaniam.
i. Pushpavanam and Maharajapuram Viswanatha Ayyar began singing Hindustani
songs at their concerts. Of course, Muthuswami Dikshitar was the earliest to
undergo training in it and compose many songs availing of the good shades in
Hindustani ragas.
j. Tiger Varadachariar's music was soaked in life.
k. Musiri Subramania Ayyar's singing had great depth. It was bhava sangita. I have
seen people sobbing during his concerts when he sang Tiruvadi Charanam. His
voice had the unique quality of being clear.
1. In the songs of Papanasam Sivan, music and meaning marvellously blended and are
melted perfectly.
As Nedunuri Krishnamurti referred to, the good features and styles of maestros may
be kept in view and imbibed by apprentices.
*(Bhislima refers to Dr. Semmangudi Srinivasa Ayyar.)
ANOTHER GARLAND 1 23
MUKKAI GANAPATI BHAGAVATAR - VOCALIST:
(20fh Cenfyry Beginning)
Ganapathy Bhagavatar was born at Mukkai near Palghat - a meeting place
of three rivers of which one is the invisible i.e. Antarvauhini like the celebrated
Saraswati at Prayag and at Mukkudal near Kanchipuram. A prominent vidwan,
he was very popular in the area.
SRI GANAPATHI SACCHIDANANDA SWAMIGAL- COMPOSER-MUSICIAN:
(b. May 26, 1942)
Place of birth : Mekedatu village in Kanakapura district, Karnataka.
Parents : Veda Brahma Narasimha Sastri & Jayalakshmi Mata.
His Holiness Sri Ganapathi Sacchidananda Swamigal, the Founder- Presi-
dent of Sri Ganapathi Sacchidananda Avadootha Peetham, Mysore is a siddha
purusha with spiritual attainments. Swamigal is a tireless crusader for spiritual
revival inculcating spiritual values, humanism, equanimity of mind and relief of
suffering in particular. He has set afoot many social projects and musical
therapy is one among them.
The Swamiji started his life in the Postal Department in a village near
Nanjangud town and was of a spiritual berit of mind since childhood. A net-work
of 1 60 ashrams in the East and the West and an impressive centre at Mysore
with a studio to aid, spread the message and teachings of the Swamiji now.
Swamigal had no formal training in music but took to veena, sitar and some
other intruments. Music is a hereditary virtue, an asset inherited from the
ancestor Vedamurthi Jalappa Sastri who was an ashtavadhani and a master
musician. Mastery of Sanskrit lore in the family gave sustenance to the musical
heritage, A study of the lives of great musicians and composers of the past
clearly reveals that music and Sanskrit were inseparable twins and that one
aided the progress and prosperity of the other. Swamigal has taken to mass
healing being a yogi with music as his instrument He has been touring round
the world conducting and propagating spiritual music to achieve the twin objec-
tives of meditation and healing. Music has always been treated as the fourth
Vpaveda1, the other three being Dhanurveda, Ayurveda and Artha Sastra. Says
the Swamiji:
124 ANOTHER GARLAND
' I use devotional music as a means of spiritual energy transmission. Some Higher Force
takes care of my process once I decide to heal through music, There is pure energy in
melody with pure notes (swara suddhi). Spiritual power and brilliance help me, I
composed thousands of kirtans in many languages. Indian music is soulful. Ragas
originate from Nature. I do not claim I heal. Lord heals. I am only His instrument. '
Concerts abroad :
Musical Healing concerts were given at Zurich, Munich, Dusseldorf (West Germany),
Luisiana, Slippery Rock (USA),
Hoois Beaufort, Antwerp and Hague in Europe.
Swamiji has given such concerts at Madras, Hyderabad and other cities also.
Compositions & Books:
Guru Gita, Bhajan Yogamu, Bhajan Kaveri, Bhajan Mala and quite a number
of other books.
Disc recordings :
Bhajans, Concerts and other items in compact discs, cassettes and video
cassettes.
Honours & Titles:
Some are-
i. Member, Metropolitan City Council of Baton Rogue, USA
ii. 'State of Louisiana' Approbation.
/
Swamiji uses an electronic Holland synthesiser for presenting vibrant sounds
interspersed with shades of jazz. His concert provides an enthralling,* but
relaxed soothing melody conferring mental peace to the listeners.
P.V. GAMES A AYYAR - VOCALIST: (b.(c.) 1921)
Pozhakudi Ganesa Ayyar enjoys an immense repertoire of songs and has
been coaching a large tribe of talented students in classical music. A Sangita
Bhushanam, he has been honoured with the titles of Pavaimani, Tharangamani
and Swara Sahitya Mani. During his studies for taking the diploma Sangita
Bhushanam at the Annamalai University, renowned musicians like Tiger
Varadachariar, Sabhesa Ayyar and Ponniah Filial were his teachers.
ANOTHER GARLAND 1 25
ANAYAMPATTI S. GANESAN - JALATARANGAM ARTISTE:
(b. May 22, 1932)
While writing on Jalatarangam Subba Ayyar, it was mentioned in Book I that
Anayampatti is to jaiatarangam what Melattur is to bhagavatha mela or Palghat
to mridangam. Anayampatti S. Ganesan comes in a distinguished line of
artistes. Son of Subba Ayyar, he was born at Anayampatti. He had appren-
ticeship in -
Vocal music under : his father, A. V. Narayana Ayyar, uncle and violin vidwan
and Chembai Vaidyanatha Bhagavatar.
Violin under : " Anayampatti S. Dandapani and
Chembai Vaidyanatha Bhagavatar.
Jalatarangam : 'Swayam Krishi' - Ancestral legacy, self motivation and
practice.
Bidding goodbye to general education with higher elementary school, he
made his debut at the age of fourteen during the Thai Poosam Festival as
vocalist, in his twentieth year as violinist and as a Jalatarangam artiste in his
fifty-second year at Anayampatti itself. Ganesan is attached to the All India
Radio, Pondicherry since 1975.
Concert tour : Provided violin support to his brother and guru, late
S. Dandapani in France (1982),
Publication : 'Isai Tamil' with notation (Lyrics by Nadathur Nambi of All
India Radio, Pondicherry.)
Cassette ; One
Titles : Ganakala Bhushana from Pondicherry admirers.
Isai Kadal by Karaikudi Tamil Isai Sangham.
Taranga Vadya Dhureena from Karnataka.
A highly difficult art with limited public patronage, Ganesan is upholding a
traditional family heritage in Jalatarangam.
GAYATRI CHANDRASEKAR - VOCALIST: (b. June 28, 1948)
Daughter of Dr. S. Krishnamurthy and Rukmani, Gayatri was born at Mysore.
Her grandfather Sankaranarayana Iyer was a well-known composer and
musicologist. A Bachelor of Science with a Diploma in Advertising, Gayatri had
her musical training under Kallidaikurichi M.Ramalinga Bhagavatar (brother of
Vedanta Bhagavatar), Nellai Mani, a violinist' and Tirunelveli Meenakshisundara
126 ANOTHER GARLAND
Bhagavatar. She was associated with the prominent magazine on Music and
Dance 'Sruti' during 1983- 1 988 and is now News Correspondent, Doordarshan,
Bangalore. Made her debut in 1 957 at the Tyagaraja Utsavam, Tirunelveli and
has been giving concerts on the All India Radio and elsewhere.
GIRIRAJA KAVI - COMPOSER & VOCALIST: (17th century)
Giriraja Kavi was the ilustrious composer of sringara padas and excellent
yakshagana plays in honour of his patrons Raja Shahaji II (1684-1712) and Raja
Sambhaji I (1712 - 1728) of Tanjore. Histelugu compositions numbering about
two hundred are preserved in the Saraswati Mahal Library, Tanjore.
After scrutinising the family pedigrees given by Giriraja Kavi's brother
Kavigiri alias Venkatagiri in his 'Rukmangada Charitra' and Abhinayadarpana'
and the Wallajahpet manuscripts, Dr. S. Seetha states that Giriraja Kavi was
different from Giriraja Brahman, grandfather of Tyagarajah and author of
yakshaganas and kirtanas who adorned the Court of Tulajah (1 763 -1 789) and
that it is dificult to ascribe some songs to either one of the individual composers.
Apart from the confusion in the identification of the paternal grandfather of
Tyagarajah, there was probably confusion in respect of his maternal grandfather,
Vina Kalahastayya also. He is different from Vina Kalahastayya who was
honoured in 1771 by Raja Tulajah.
Giriraja Kavi had invented new ragas like —
Sarabharaja Chandrika
Sarabha Lalita
Sarabha Kalpam
Sarabha Nalina and
Suranidhi, 'the melodic individuality of which is not known'.
His musical plays in telugu are —
Sarvanga Sundari Vilasam Rajamohana Kuravanji
Rajakanya Parinayam Vadajayamu and
Lilavati Kalyanam.
These are stated to be in manuscript still. Soma Kavi, Vasudeva Kavi, Rama
Bharati and Pattabhiramayya were among his contemporaries in the Court of
Shahaji.
(Note; The description given at page 64 of 'A Garland' stands modified.)
ANOTHER GARLAND 1 27
Prof. GOMATI VISHWANATHAN - VOCALIST & MUSICOLOGIST: (b.1922)
Prof. Gomati Vishwanathan inherited much from her musically talented
mother, a violinist and disciple of Tirukkodikaval Krishna Ayyar, her grandmother,
aunt and grandaunt. Initiated at the age of seven by her mother, she had
specialised training with -
Mannargudi Swaminatha Ayyar
Maharajapuram Viswanatha Ayyar
Mudicondan Venkatarama Ayyar and
T.K. Jayarama Ayyar -^ - all celebrities.
The benevolent Justice T.L Venkatarama Ayyar gave her insight into
Muthuswami Dikshitar's kritis. On the academic side, she got her M. Lit. in music
from the Madras University on her thesis The Music of the Nritya - Natakas of
South India', having made an in-depth study of the diverse types of dance
-dramas.
Gomati Vishwanathan has been giving concerts for nearly five decades on
the All India Radio, Doordarshan and for prestigious institutions. Has a vast
and unique repertoire of the compositions of practically all eminent great clas-
sical composers in telugu, Sanskrit, tamil, etc. She is a traditionalist. A
musicologist of vast erudition, varied specialisation and dedication, she is in
constant demand for lecture-demonstrations, guidance in research and expert
opinion. Sangeet Natak Akademy, Central Institute of Education, All India Radio,
Music Academy and Universities have requisitioned her services and her lecture
- demonstrations cover as varied subjects as 'Isai Tamizh' and 'Unpublished
kritis of Merattur Venkatarama Sastry' and 'Historical Evolution of Karnatak
Music' and Temple Music1.
Has authored numerous articles. Was associated with the committees on
music of the Delhi University, AIR Audition Committee. Was Adviser to the
University Grants Commission, Sangit Natak Akademy and Central Board of
Secondary Education, etc. She is on the Experts Committee of the Madras
Music Academy.
Prof. Gomati Vishwanathan was Reader-Head of the Karnatak Music Depart-
ment of the Faculty of Music and Fine Arts, Delhi University and is now Visiting
Professor, Queen Mary's College, Madras and Madras University.
KUMBAKONAM GOPALA AYYAR - VOCALIST: (c. 1 91 0)
Gopala Ayyar had-all the plus points - a melodious voice, flawless
expertise and fine rendition but lacked luck. He had to toil as an
128 ANOTHER GARLAND
ordinary accountant in a brass vessel shop and supplement the income
by acting as voice support to harikatha artistes.
Lacklustre life did not, however, prevent Gopala Ayyar from entertaining a
fond desire to sing with Tirukodikaval Krishna Ayyar, a colossus, on violin. The
absurdity of entertaining such a desire deterred neither him from expressing it
to his friend and patron Balakrishna Udayar nor the latter from sympathising with
him. Udayar brought Krishna Ayyar for 'a concert' without revealing the name
of the vocalist to the last. To his consternation and dismay, the celebrated
all-time maestro Krishna Ayyar saw Gopala taking his seat at the centre of the
concert stage rather than behind some other vocalist to lend voice-support.
Overcoming his aversion and anger, he played with a fallen heart He was
surprised to find Gopala singing very well and finally recommended a fair fee for
him too. If Viswamitra extracted acknowledgement from the mouth of Vasishta
that he was a Brahma Rishi, Gopala too had his day of glory to have the maestro
as his violin accompaniment and secure his nod in appreciation. (ELLARVi)
LALGUD1 V.R. GOPALA AYYAR - VIOLINIST: (1900 - 1979)
There is an amorous marriage of the Lalgudi family with violin. Lalgudi
Radhakrishna Ayyar, a prominent violinist of his days, trained his two sons,
Madurai Kandaswami Bhagavatar and V.R, Gopala Ayyar as violinists. It is well
known that the tradition is kept up with added flavour by Gopala Ayyar's children
and grand children who have made the word 'Lalgudi1 a family attribute denoting
charm and exhuberant violin play. Gopala Ayyar was a competent violinist whose
rendition cascaded fast. He was a composer of elegance. Lalgudi Jayaraman
reminisces that he owes his all to his eminent father and regrets that his father's
retiring disposition and lack of opportunities robbed him of the recognition that
was his due.
GOPALARATNAM - VOCALIST; (20th Century)
The family of Gopalaratnam hailed from Srirangam but she was born at
Pushpagiri near Vijayanagar and had her tutelage with Vainika Joga Rao. Later
she took a diploma in 1 956 in music. A very good artiste with a melodious voice
and talents, Gopalaratnam has been giving concerts on the All India Radio and
at important institutions like the Music Academy, Madras and Ram Mandira,
Mysore. She was singing for the Bhakti Ranjani programmes of the All India
Radio. A multi-faceted artiste, she is well-versed in the exposition of yak-
shagana, kuchipudi, Melattur Mela, folk music, javali, etc., items.
Title ; Madhura Gayak
,* * *
ANOTHER GARLAND 1 29
TIRUVIZHIMALALAI BROTHERS - NAGASWARAM DUO ;
S. GOVINDARAJA PILLAI (b. Nov. 7, 1919
S. DAKSHINAMURTHI PILLAI August 9, 1923)
Born at Tiruvizhimalalai, of Subramania Pillai and Sethu Ammal, both were
initially trained for vocal music by their paternal uncle and later had training in
nagaswaram under their father and uncle Natarajasundaram. Are prominent
artistes and popular. Were asthana vidwans of Dharmapuram and
Tiruvaduthurai Mutts and have given a large number of recitals on the All India
Radio and elsewhere. Tiruvizhimalalai has a beautiful temple and the nagaswara
artistes are usually accredited to it. Vide pages 191-2 of A Garland tor details
on Tiruvizhimalalai Brothers (Sr.)
Titles & Honours :
Nagaswara Rathnam .
Kalaimamani from Tamil Nadu Eyal Isai Nataka Mandram in 1979.
Concert tour :
Sri Lanka.
T.K. GOVINDA RAO - VOCALIST & PEDAGOGUE : (b. April 21 , 1 929)
Born at Tirupoonthura in Kerala, of Kamalam and Krishna Rao, a mdisician,
Govinda Rao had his first lessons in music under his cousin, Mani Bhagavatar.
He was in the first batch of students at the Central College of Music, Madras,
then under Principal Musiri Subramania Ayyar. Simultaneously Rao was taking
lessons from Chembai Vaidyanatha Bhagavatar thus deriving the benefit of the
scholarship and musical eminence of two sangita kalanidhis of different styles.
Rao is a staunch upholder of kalapramana backed by tonal felicity and his
concerts are satisfying.
After his training, Govinda Rao has been giving concerts extensively in India
and abroad. He was Lecturer for sometime at the Central College of Carnatic
Music, Madras and later became Producer, All India Radio, Madras. He was
shifted to Delhi and retired in January, 1990 as Chief Producer. He has set to
tune slokas also.
Books & Publications :
Varnamanjari comprising 27 vamas
Kshetra Kirtanas of Tyagaraja on Tirupati, Kanchipuram and Tiruvaiyaru fully notated
along with S. Rajam.
130 ANOTHER GARLAND
Disc recordings :
Concert tours abroad :
USA, Canada, Singapore, Malaysia, Sri Lanka and Mangolia.
Govinda Rao is an admirer of the ancient system of gurukulavasa which
instils emotional integration between the teacher and the taught and provides
immense scope for creativeness, the bedrock of Indian music. Here is an
anecdote cited by Rao :
'A boy was sent to Muthuswami Dikshitar for training in music. Several
months later, the father was pained to hear that lessons had not been started
for his son and so to ascertain the position, he made a visit to Dikshitar. When
he politely enquired the Bard of Tiruvarur, that intellectual Kshetragna sum-
moned the boy and asked him to sing! The perplexed boy started with diffidence
and ended with a fine rendition to the amazement of the father and satisfaction
of his guru!'
Govinda Rao states that it was gurukulavasa in essence, knowledge ac-
quired and assimilated by hearing, by becoming one with the guru and realising
in himself a second version of his guru quite in accord with the Adwaita
philosophy. (This anecdote finds support in the case of Mysore Vasudevacharya,
who has penned that Patnam Subramanya Ayyar rarely taught him but that he
accompanied him to all his concerts seeking clarification only on his doubts.)
Rao further points out that Carnatic music is kriti-oriented providing sahitya
bhava and rasa in addition to drawing out the various possibilities and potential
of raga bhava. The great vaggeyakaras have practically covered all the pos-
sibilities for elaboration and creativity, which is the bedrock of Indian music. He
mentions that Annamalai University in earlier decades provided a quasi
gurukulavasa as the gurus and pupils lived together affording enough scope for
mutual exchanges outside the classrooms too,
Honours & Titles : . _
Sangita Sastra Ratnakara by Sri Mouna Swamigal, Madras 1 968.
Gana Kala Tilakam by Sri Rama Seva Mandali, Malleswaram 1 972.
Gana Nadakanal by Nadakanal, Madras 1 985.
Sangita Choodamani by Sri Krishna Gana Sabha, Madras 1 988.
V. GOVINDASWAMI ffAICKER - VIOLINIST: (b. Septr. 24, 1915)
Bom at Cuddalore
of Venu Naickerand Anandammal.
Leamt Violin under Rathinaswami Pillai and VHIivakkam Narasimhachariar
ANOTHER GARLAND 131
In his 15th year, he toured Burma and gave solos earning much praise and
popularity. Had accompanied most of the prominent vidwans and has been
honoured with titles like
Tantri Nadamani Isai Aruvi and
Kalaimamani
Concert tour: Sri Lanka, Burma
Note: Villivakkam was once spelt as Villivalkam to exhibit the Madrasi's partiality for King's
English. Another specimen of it was the fact that Hampden Bridge on Mylapore -
Triplicane border was pronounced as Amden Bridge; the word Amden was translated
into tamil as Ambattan (meaning barber) and retranslated into english as Barber's
Bridge. It was the terminus for the old electric trams and was a prominent landmark.
PROF. GOWRI KUPPUSWAMl - VOCALIST-MUSICOLOGIST : (b. 1935)
A prominent pedagogue, Gowri Kuppuswami has authored numerous ar-
ticles of importance and books like -
Teaching of Music and
Pallaki Seva Prabhandam.
Dr. M. Hariharan who had taken his Ph.D. at the Mysore University has
co-authored several of the contributions of the Professor. They had jointly
carried out several projects and brought out many publications. Had jointly
visited USA and Canada.
Prof. Gowri Kuppuswami had her training in music under K.S. Krishnaswami
Ayyar, K.V. Venkatarama Ayyar, T.R. Balasubramanian, R.K. Srikantan, M.L.
Vasantakumari and S. Kalyanaraman. She made her appearance on the All
India Radio in 1950 and gave her first concert in 1952 at the Mysore Gana Kala
Mandira. Has a sweet voice and acquired immense knowledge and expertise.
In 1967, she was appointed as Reader, Mysore College of Music and later
became Professor and Head of Department of Music, University of Mysore.
Concert tours : * USSR, Yugoslavia and Bulgaria with the Bharatanatya
Troupe in 1 970. USA and Canada in 1 981 .
NOSTENOAM1!
'This is not the way Bade Khan Saheb used to begin*,
protested a rasika in the audience at Pune.
'I am no stenographer to Bade Miyan', retorted Mallikarjun Mansur and showed the contrast
between Bade Miyan's rendition and his own. — M. Madan Mohan
The artiste has thus demonstrated his knowledge and his individuality!
t32 ANOTHER GARLAND
ARIYAKUDPS SEVEN
Ariyakudi Ramanuja Ayyangar, doyen of Carnatic vocalists for three decades -
i. Always carried a sheet of paper and a pencil tucked in
at his waist to jot down ideas and points; - Secretarial ;
ii. Was meticulous in writing up his daily accounts; - Accounts and Audit;
iii. Was parsimonious to a degree when his purse
was involved; * - Financial Control ;
iv. Was never parsimonious in conversation or
encouraging others; * - Public Relations;
v. Very strict in keeping up appointments; - Administration
vL Always took good advice wheresoever it came from — Receptivity; and
r
vii. Was well known for 'pinching*. Once he got a gun
from an admirer but never shot any. - One of the 64 Arts ?
— Source: S. Raj am in 'Sruti'.
(Note: A word about the village of Ariyakudi. Once an asukavi visited the village. None cared
for him. He became angry and so started singing ex tempore a song which would bring eternal
perdition to the villagers. Frightened at his Durvasa type of rage, villagers prayed to be
pardoned. The asukavi modified his song already begun to the effect that the village shall remain
where it was. It did not prosper much until recently.)
PAY IN SAME COIN
In Mylapore Nadu Street, where Balachander-Rajam Brothers prospered in their
teens, Kanchipuram Naina Pillai gave a concert. Mridangam Ramdas and Trichy
Panchami on kanjira played softly in deference to the vocal maestro. The audience began
to deride the percussionists. An annoyed Naina Pillai stopped singing and asked the two
accompanists, *A short tani (percussion solo). Come on, show your merit*. The two
percussionists were accomplished artistes.
There ensued a breezy play in rhythm and dazzling fingering. The crowd clapped
repeatedly. Pillai, before resuming, said:
'They laughed at you before* Now you laugh at them.'
— T. Sankaran.
ANOTHER GARLAND 133
H
P. H ARIHARA AYYAR - VEENA ARTISTE : (b. December 1 0, 1 932)
Place of birth : Trivandrum
Parents : Trivandrum Veena Parameswara Bhagavatar £
Seethalakshmi Ammai
Musical Heritage : Suchindram Veena Padmanabha Bhagavatar,
grandfather.
Father an illustrious veena vidwan - W. Somerset
Maugham listened to him and recorded, 'Wonderful and
beautiful experience . . . lovely melodies . . A great
musician.'
Great grandfather Sthanu Bhagavatar & granduncle
Sankaranarayana were good musicians.
Brother & Guru, P. Padmanabhan, M.Sc., a vocalist &
vainika.
Musical Training
Born in a musical family, training started at the age of seven and
continued under grandfather till 1949, father till 1965 and later with
brother P. Padmanabhan. Harihara Ayyar had thus a qualified
gurukulavasa. Veena rendition has been a family virtue.
Academic Qualification A Maths Graduate & now an employee in the Life
& Occupation : Insurance Corporation.
A.I.R. artiste since 1958
Debut : December 1 948 at V. J.T. Hall, Trivandrum
forYM.C.A.
Harihara Ayyar has been giving concerts on the All India Radio, sabhas, etc.
An expert in the design and construction of veena, the vidwan has been carrying
on the style and message of his distinguished ancestors wth a keen eye on the
purity of rendition.
He recalls the incident in about 1885 in which Suchindram Padmanabha
Bhagavatar was asked to play for five minutes before Sri Rama Ayyangar,
Dewan of Travancore as the latter had to attend some functions urgently.
Amazed at the time given, the vainika started setting the tune simultaneously,
Rama Ayyangar forgotthis functions and sat for two hours and then said :
1 Dear Bhagavatar, you had tied me to your Kalyani alapana and made me forget the
other kalyanams (marriage functions). Your Kalyani is worth more than all the other
nine ! '
134 ANOTHER GARLAND
August 1 966. Harihara Ayyar's concert was on. A 'rasika' requested him for
'RTA' i.e. ragam, tanam and anupallavi - not the usual 'RTP'. Ayyar obliged him
with raga and tanam in Kamboji followed by neraval and swaras beginning at
the anupallavi of the kritis 'Ma Janakl*. The rasika felt pleased. Ayyar recalls
an incident when his father started playing 'Koniyadedu ' in Kokiladhwani. When
a gentleman requested for raga Mayuradhwani, others in the audience shouted
him down stating that cuckoo should prevail over the peacock in music.
HARIPALA - MUSICOLOGIST : (e. 1170 A.D.)
Son of Samantasfmha (also called Bhima Deva) Haripala was the ruler of
Gujarat with his capital at Abhinavapura (Anhilawad) belonging to the
Chalukyas. He bore the title of Vichara Chaturmukha' and has authored the
work 'Sangita Sudhakara' in five sections dealing with angabhinaya, tala, musi-
cal instruments, requisites of natya, gita and gita prabhandas. His work is one
of the main links in the chain of works on music.
' Its importance lies in its support of Nandikeswara and his system. As the work is earlier
to Sangita Ratnakara, it helps us to trace the evolution of music and dance.'
— Gowri Kuppuswami & M. Hariharan
HEMALATHA MANI - VAINIKA : (b. April 11, 1953)
Daughter of K. Narayanaswarny, Hemalatha Mam" is a graduate in Arts and
Law. She underwent training under C. Chitti Babu, the veena maestro and also
took the Sangita Vidwan diploma at the Govt. Music College, Madras in 1975.
With scholarship from Government, she continued her specialised training with
Chitti Babu in Veena. Made her debut at the Tyagaraja Aradhana, Tiruvaiyaru
in 1968. Has been giving concerts at various forums.
Title : Paintamizh Isai Pannbu Mani by Saraswati
Sangeetha Sabha, Cuddalore
Concert tours : Hongkong, Bangkok and Baltimore (USA)
Hemalatha Mani is a composer too. Her recitals are satisfying.
* * *
C. HONNAPPA BHAGAVATAR - MUSICIAN & FILM STAR : (Jany 14, 1915
Octr 1,1992)
*?
Place of birth : Choudasandra Village, Bangalore district,
Parents ; Chicka Lingappa (Gamaki) - Kallamma.
ANOTHER GARLAND 135
As a boy, Honnappa Bhagavatar took part in yakshagana, bhajans and
dramas and learnt harmonium and tabla play. He had training under Samban-
damurthy Bhagavatar, Mysore Arunachalappa, etc., and shaped into a classical
musician. Actually he was giving concerts. But his own interests and future lay
in films and dramas and so entered Sri Gubbi Veeranna's famous dramatic
troupe and was taking lead roles. Probably his first picture was 'Ambikapathi'.
States that 'it was a mile-stone in his glamorous film career1.
Bhagavatar had acted in a number of tamil films, viz.,
Krishna Kumar Sati Sukhanya
Devakanya Bhakta Kalathi
Prabhavati Raja Rajeswari
Kundalakesi Arundati
Valmiki Burma Rani, etc.
He acted in the kannada film 'Subhadra' and produced his own film 'Bhakta
Kumbara'. Has acted in many other kannada films. He acted as Kalidasa and
Basaveswara in Mahakavi Kalidasa and Jagajyoti, both of which got the National
Awards in 1955 and 1959. He was running his own drama company called 'Uma
Maheswara Sangeetha Nataka Mandali'.
Honours & titles :
Best Actor in Kannada Films By Madras Cine Fans Association.
Natyacharya By Sri Jagadguru Vageesa Panditharadhya.
Ganabhinaya Chandra By Sri Raghavendra Swamiji.
Award for Karnataka
Sastreeya Sangeetha By Karnataka State Sangeetha
Nataka Academy.
Gayaka Sikhamani By Karnataka Gana Kala Parishat
Gana Kala Gandharva By Samsthana Vidwans
Award By Sangeet Natak Akademy, Delhi in 1 990.
Has been giving concerts on the All India Radio and was a member of the
Karnataka State Films Advisory Board and Chairman of the Board of Music
Examinations. Was President of the Karnataka Gana Kala Parishat. Bhagavatar
was more a cine star than a vocalist.
Honnappa Bhagavatar has composed about 300 kritis and his compositions
have been brought out in the book 'Omkara Nadasudha* published by Kannada
Sahitya Parishat in 1983.
1 36 ANOTHER GARLAND
HYDERABAD BROTHERS : D. SESHACHARY : (20th Cent.)
D. RAGHAVACHARY :
Duos have embellished Classical Carnatic music from the days of Lava and
Kusa, the advantages being not far to seek, The measure of success of the
duos hinges upon the degree of exploitation of the varied advantages in tone
(individual and joint), reach and range of the individual artistes, felicity and
expertise in segmental rendition - raga alapana, kriti, swara, etc, (V7dethe
Chapter on 'Woman in Melody' in Part I. Radha and Jayalakmi, Bombay Sisters,
etc. have been highly successful as duos.) Alathur Brothers, Manakkal Brothers,
Pozhakudi Brothers, Bellary Brothers, Raman - Lakshmanan Brothers, Ganesh
- Kumaresh (violinists), etc., have established varying degrees of success in
Carnatic music. Hyderabad Brothers are the latest who have established a very
close rapport with the music lovers and carved out a niche for themselves quite
soon after their advent.
The Brothers enjoy a cultivated voice. Their rendition is entirely traditional
in concept, projection and coverage. They enjoy total alignment to sruti, plan
their concert menu with professional skill and sing with measured precision. The
high sense of faith in the classical content is kept up invariably at successive
concerts. 'With strong voices, their rendition is marked with thrust, energy and
mastery over art with aesthetic awareness. Seshachari's strength and vigour in
alapana is matched by the softness of RaghavachanY It would appear that they
have adopted the concert pattern of Ariyakudi Ramanuja Ayyangarwith success.
Quite a professional approach with efficiency.
TWO IN ONE
i. Can two players play on a single musical instrument ? Yes.
Keeranur Govindaswami Pillai, a zealous nagaswara player, wished to do
something unique. So he took his brother-in-law Muthuswami Pillai and
both played a kriti (song) on a single pipe - one went on blowing the pipe
and the other fingered it! — (ELLARVI)
ii. Daughter of Devakottai Narayana Ayyangar, Vedavalli Srinivasan, Lec-
turer, Music College, Madras paired two handicapped students to play on
a single veena. One girl used her left hand on the frets while the other
provided the meetu (tuning). Veena maestro S. Balachander was the
Chief Guest at the demonstration.
ANOTHER GARLAND 137
ILLANGO - POET-MUSICOLOGIST : (Second Century A.D.)
Mother got the throne for him. But he treated it as evil and the right secured
for him as monstrous sin opposed to all canons of dharma. Not only did he reject
it but underwent penance till the rightful claimant came back after fourteen years
of exile. That was Bharata in Epic Ramayana. But the scion of the Chera
Dynasty of the West Coast, Illango scorned even the suggestion that he was the
most suitable to ascend the throne. Thus far, his life was a replica of Bharata.
To avoid any future possibility or suspicion, he took to renunciation. That was
so like Bhishma of the epic Mahabharata. This Prince of Magnificence brought
out the finest fragrant gold of tamil works - the epic called *Qilappatikaram\
woven around an anklet. It is a beautiful story of virgin chastity, unmatched
music and dance, love and remorse, wrongs and morals and ultimate tragedy
of the noblest type with a king dying the minute he realises his folly in condemn-
ing to death an innocent person and with a city reduced to ashes for miscarriage
of justice! Mahakavi Subramania Bharati thundered that 'we would destroy the
world if an individual is left without food.1 Kannagi, the heroine (an Angel of
Chastity) destroys the City of Madurai when her innocent husband, a mortal is
wrongly charged with theft and is beheaded. An innocent shall not be punished
even if it be that several criminals are let off, says the unwritten codes of modern
world. Nearly two thousand years back, the king dies (not killed like Charles I,
or a Louis or a Czar) and the city is reduced to ashes because an innocent soul
was wrongly punished. That was the glory of India that was ! Let us recollect
the episodes of Manu Neeti Cholan and other Pillars of Dharma and Morality.
One could then appreciate why Bharati was vehement in asserting, 'You are the
son of Bharat; Forget it not' As Paul Brunton said, the Nation should not discard
the good and great things it has inherited.
Illango portrays and weaves out a captivating story to bring home his
message. Kovalan, a rich merchant marries Kannagi. The reception includes
the dance performance of Madhavi, a danseuse of rare charm. A victim of
bewitchery, Kovalan follows Madhavi instantly and life is enchanting to them
both. Time fleets to them though not to the discarded spouse left a virgin. They
join the Indra Festival celebrated on the seashore. Seeds of suspicion and
embitterrnent are sown. Just as he left Kannagi on the day of marriage, Kovalan
leaves Madhavi at the Festival and returns to the waiting wedded wife full of
remorse. Chill penury necessitates the couple to leave for Madurai to sell one
of her anklets of matchless beauty to 'start' their married life ! (They had never
started that before and never did later too !)
1 38 ANOTHER GARLAND
At Madurai the kind hostess Madhuri, in whose charge Kannags is left, sees
bad omens even as Calpurnia saw in Shakespeare's Caesar - fourteen cen-
turies later !. Kovalan gets cheated by a goldsmith; a just king passes the unjust
illegal sentence of death for Kovaian's alleged crime of theft and Kovalan is
beheaded. The Fire of Dharma, of Righteousness is kindled in the heart of
innocent Kannagi and her wrath reduces the city to ashes, after the good king
dies when he is confronted with unimpeachable evidence that Kovalan was
innocent of any crime. A soul shattering tragedy. Law is supreme !
Illango brings out the whole panorama of music and dance fo account in the
course of the epic drama through Madhavi's art and later through Madhuri's
'Kuravai Koothu '. Even the seven women who take part in the koothu are named
after the seven notes -kural, thutham, kaikilai, uzhai, ill or eli, vilari andtharam!
Qilappatikaram has been the eternal inspiration of the people of the South and
Kannagi is worshipped as the Goddess of Chastity. There is a temple too for
her near the state boundary.
There are two commentaries on the work - one by Arumpadaurai Asiriyar
and the other by Adiyarkkunallar. Dr. S. Ramanathan has done original
research into the musical aspects dealt with in it. The work has three
cantos, thirty chapters and 5200 lines.
'It is the product of a master mind, a rernarkabe literary classic ... It is
astonishing how Illango incorporates Bharata's Natya Sastra bodily into his own
work so that it fitted into the core of Tamil Culture. The graft is accomplished
with consummate genius and foresightedness. . . '
— R. Rangaramanuja Ayyangar.
It is extraordinary that the work of the second century in the South accords
with the work of Bharata in the North. Qilappatikaram is 'a real treasure-house
of source material for a correct understanding of the music of South India'.
— TS.Parthasarathy.
INDIRA SRINIVASAN - VOCALIST : (b. May 30, 1938)
Qualification Graduated in Music from the Kalakshetra and the
Central College of Music, Madras (1 957)
MBA & Doctorate in Music at California University, USA
Indira Srinivasan has other qualifications too and had been a teacher while
young. Conversant with many languages, she presented the thesis Influence
of South Indian Music in Algerian Music and a Comparative Study of Music of
India, Algeria and the West' for her doctorate. She has been giving and
organising concerts, bhajans, etc., and imparting tuitions. She has given
ANOTHER GARLAND 139
demonstrations and presented essays. Has composed songs in tamil and
snglish.
As president of the institution 'Omkaranadam', she arranges programmes
herself taking prominent part in them including a cultural tour of Thailand and
Singapore.. A multi-faceted lady, she is equipped in painting and drawing. To
quote Swami Ranganathananda of Ramakrishna Mission, 'Combining in herself
a good academic education, musical talents and capacity for painting and
drawing and writing books, she has used all these to further the cause of national
integration'.
HIS FIRST CONCERN
The musician read that the Duke of Edinburgh admonished Argentinian students who
threw eggs at him saying:
* Do not throw any more;
I have only a limited supply of suits. '
He relished the subtle humour and put it to use at his concert that evening:
* Enough, enough.
Halt that rhythmic applause
after every alapana, kriti and swara
lest your hands should ache !
I take note of your gestures ! ! '
A FRIEND IN DEED
1936. Teynampet Congress grounds, Madras. Golden Jubilee Celebrations.
Semmangudi-Rajamanickam-Dakshinamoorti concert started. Dakshinamoorti Pillai
strangely kept two mridangams as is seen in folk dances one over the other and played
on both like an inspired genius. Labyrinths of laya intricacies were laid bare and
fingering and sound variations cascaded throughout and he was the cynosure of all eyes.
Concert over, his euphoric expression was:
" *A* class. If a man is in difficulty,
how can I refrain from giving a hand to help him ? "
Srinivasa Ayyar and Rajamanickam Pillai understood only then the reason for the
inspired breezy percussion gala. Ayyar had just then come back after an operation for
ENT and had been warned against exertion! Unsolicited help is the best of help indeed.
140 ANOTHER GARLAND
CORPORATE PATRONAGE
Eight decades back, Mahakavi Subrahmania Bharati in his scholarly treatise '
Vishayam* advised musicians to look to the public for patronage as the days of rajas and
zamindars were numbered. When feudal patronage crumbled, survival of arts and artists
became a big question mark. Government patronage was halting and inadequate.
Fortunately Corporate patronage stepped in to help music, painting, sculpture and
architecture. SAIL, Air India, Tata, Larsen and Toubro, FTC, VST, CEAT, Sarabhais,
Lalbhais, ESSO, HMV, etc., participated. Sangeet Sammelan now Sangeet Research
Academy, Birla Academy of Art and Culture, Calcutta and the National Centre of
Performing Arts, Bombay with endowments from Tatas and Mafatlal took to promoting
classical music. In recent years, companies - big and small - sponsor specific
programmes and concerts though not concerts on Doordarshan. In this, commercial
advantages, publicity gains, building up their own image and the clout enjoyed by
individual artists with individual commercial units play a significant p&rt. * Often
performances are doled out by some companies more as a bonus from personal friendship
than any laudable concern for art. * A prominent nationalised bank, a general insurance
company and one or two companies are stated to maintain some balance in choosing the
beneficiaries. But for sponsorship, art will suffer.
Artistes have always faced difficulties. Samuel Johnson waited on Dr. Radcliff,
Master of his old College, who received him coldly. (Thank God, India is hot.) Johnson
at least expected that the master would order for a copy of his 'Dictionary9; but the
master did not even choose to talk on the subject, says BoswelL
" There lives a man who lives by the revenues of literature and
will not move a finger to support it ! *
— Samuel Johnson
Sponsorship might not cost even as touch as a single corporate official's benami tour
and yet, only a few think of it!
ELDERS
Public life in Madras badly needs the august presence, ripe wisdom and sage
counsel of
Vayo Vriddhas,
Jnana Vriddasand
£ila Vriddhas. — Dr. V. Raghavan.
Madras had these in abundance during the first half of the 20th century. An impressive
galaxy of greats in the political, cultural , religious, art and every other walk of life lent
grace. 1850 - 1950 was a golden era without doubt in Indian history.
ANOTHER GARLAND 1 41
JAGANNATHA DASA - COMPOSER : ( 1726 - 1809)
Last of the Dasas of Karnataka, Jagannatha Dasa composed suladis and
ugabhogas. His magnum opus 'Harikathamritha Sara ' is reported to be a mine
of information with theological truths. Signature : Jagannatha Vittala.
Dr. MANCHELLA JAGANNATHA RAO . VAINIKA : (Jany. 21, 1921 -
July 30, 1985)
Learnt music and veena Adiraju Narasimhamurti, R. Padmanabha Ayyar and
under : his wife, Sitalakshmi Ammal.
Debut : 1 938 started playing for All India Radio
Posts held 1 948 Staff Artiste, All India Radio and retired as
Producer. Later he was Emeritus Producer.
Rao was a scholar of merit and a vainika "of the Andhra style, distinguished
by the variety of 'meettus1 used, the elaborate right hand technique and high
speed passages."
He has done deep research in the padas of Kshetragna and the compositions
of Bhadrachala Ramadas, opera music and choral music. He had headed the
Tirupati Devasthanam school to propagate Annamacharya kirtanas.
Publications : Eighteen books including Kshetragna Padams,
Adhumika Sangeetham and
Bhadrachala Ramadas Kirtanalu
Honours and Titles : Kalapravina by Andhra Pradesh Sangita Natak
Akademy 1 980
Honorary Doctorate by Sri Venkateswara University 1 981
Kala Prapurna by the Andhra University 1 985
JANAKI ACHUTHAN - MRIDANGIST : (20th Cent)
Janaki Achuthan was an assistant commercial tax officer prior to her volun-
tary retirement. In the male dominated art of playing mridangam, she inherited
the taste from K. Sankara Menon of Trichur, a renowned player who had
accompanied the maestros of his days. Janaki learnt the art from her father and
then from Vadakancherry Lakshminarayana Iyer, Muharsing R. Elumalai, the
142 ANOTHER GARLAND
all-time wizard T.S. Mani Ayyar and Dr. T.K. Murti. Her sisters are musicians.
She has accompanied prominent artistes and is a graded artiste of AH India
Radio and Doordarshan,
Had won the All India Radio Music Competition Award and the Indian Fine
Arts Society Award in 1985.
Prof. S.R. JANAKIRAMAN - MUSICOLOGIST and VOCALIST ;
(b. July 12, 1928.)
11 Sing, Sing Ye forth your songs of praise,
Ye Prjyamedhas, sing your songs ". - Atharva Veda XCIl-5,
Janakiraman, S.R. was the distinguished Head of the Department of
Musicology, S.V. College of Music and Dance, Tirupati for twenty-eight long
years and is now Research Officer, Music Academy, Madras. Earlier he was
with the Besant Theosophical College, Madanapalle during 1955-60. A relent-
less seeker of the underlying basic principles, idealogies and truths in the allied
but conflicting fields of lakshana and lakshya of Carnatic music, seeking its parts
as forming an organic whole, S.R.J,, as he is well known in music circles, is one
of the few competent authorities on music and musicology who can keep the lay
and the professional spellbound for hours with masterly, sometimes devastating,
exposition and thought-provoking elucidation. His assessments are well
balanced and original. At the Bharatiya Vidya Bhavan on August 8, 1990, he
observed :
'Music is an inexact science; can change from time to time : its rules are
ever - changing. Music appreciation 4- Tradition + Change constitute the health
and swaroopa of music at a given time. Consistent with tradition and conven-
tions, innovation is vital but it should not lose its firm moorings in Carnatic
classicism.5
Janakiraman is not only a master of musicology but is a vocalist of high
calibre. As a teacher, he has handled all classes at Sri Venkateswara University
and the M.A. class of Sri Padmavati Women's University - both at Tirupati. Side
by side, he has been giving concerts on the All India Radio and sabhas in the
country. He has presented numerous papers and lecture-cum-demonstrations
at different universities and institutions. A forceful yet refined speaker com-
manding a rich vocabulary, he has a vast repertoire of sources and authorities
to sustain and substantiate sans peuret sans reproche (fearless and faultless).
His forceful speeches would seem to draw inspiration from Lord Keynes'
epigram:
ANOTHER GARLAND 143
1 Words ought to be a little wild because they represent
the assault of thought upon the unthinking ! '
Other posts held : Member, Experts' Advisory Committee, Music Academy,
Madras since 1 978.
Dean, Faculty of Fine Arts, Nagarjuna University -5 years
Chairman & Member of Examining Boards of different
Universities.
Member, Board of Studies since 1 962
Visiting Professor of Musicology, Govt. College of Music,
Madras, Kalakshetra & Annamalai University.
Senior Professor, Music Academy Teachers' College
1989-1990.
Research Officer, Music Academy, Madras.
Titles & Honours : Honoured by the Andhra Pradesh Sangeeth Natak
Academy in 1 968 and 1 976.
Madras Music Academy Awards in 1 977, 1 983 & 1 988.
T.T.K. Memorial Award
Certificate of Merit from Music Academy, Madras.
Sangita Kala Jyoti from Suswara, Madras
Jnana Saraswati Peeth Award, 1 990.
Maharajapuram Viswanatha Ayyar Award 1 991 .
Apart from the numerous papers presented by him on art forms, methodol-
ogy, systems, aesthetics and various other aspects of music and musicology, he
is the author of 'Sangeetha Sastra Saramu* (two volumes) in telugu published
in 1986 - 89. Evolution and history of raga lakshanas, important concepts
presented in various works from Natya Sastra to Sangraha Chudamani have
been correlated and explained. The two volumes cover the entire gamut of the
theory and practice of Carnatic music.' (TSP)
Disc recordings :
Janakiraman has given a general elaboration of the history and technical
aspects of Varna with representative specimen in a video cassette titled 'On
Varnam Through Ages' comprising four tana varnas in Ata tala, three pada
varnas, etc. He explains that Varna is God's gift to world's musical thought
peculiar to Carnatic music alone evolved early in the 1 8th century. The video
documentation would seem to be the first of its kind for Carnatic music.
Born of Dr. Rangaswamy Iyer and LR. Gowri Ammal, his education and
musical training covered :
144 ANOTHER GARLAND
B.A. from Sri Venkateswara University, Tirupati
Sangeetha Siromani from Madras University
Sangeetha Vidwan from the Govt. College of Carnatic Music, Madras
(with distinction)
Diploma from Kalakshetra 1 945-49.
Had his vocal training under stalwarts like Alathur Venkatesa Ayyar, Sathur
Krishna Ayyangar, Tiger Varadachariar and Budalur Krishnamurti Sastry and
studied musicology under P.K. Rajagopala Ayyar and Prof. P. Sambamurty.
Prof. Janakiraman is a senior and honoured musician and musicologist
whose expert opinions are highly valued. A'serious research - oriented thinker,
he is original in his constant endeavours to reach and lay open the hidden values
and secrets of classical music. The musicologist-vocalist-pedagogue should
naturally come up for the top honours of the Music Academy in the near future.
JANAKI SUBRAMANIAM - VOCALIST (b. December 2, 1930)
The dichotomy of the musical career of Janaki Subramaniam is greed, an
insatiate longing to learn everything in music from everyone of merit and
acceptance of Tyagaraja's 'Nidhi Chala Sukhama' dictum. Starting with her
mother Lakshammal while yet a child, Janaki Subramaniam has had her training
under Nemam Krishnamurty Bhagavatar, Manakkal Mani, Varadarajan and
Apathsahayam Iyer, K. Lalitha, K.J. Nathan, Madhava Rao, Bangalore
Nagarathinamma, Vaidyanatha Bhagavathar, Maharajapuram Viswanatha
Ayyar, S.G. Krishnan and N.S. Ramachandran. Has she stopped? No. She, at
the age of sixty, is a disciple of M.A. Narasimhachar and Mathur Shankaramurty.
Not enough to quench her thirst, she learnt North Indian music from an equally
impressive galaxy including Ustad Hafeez Ahmed Khan, etc. She is, besides,
a graduate in arts and in music too. This is one aspect of her career.
Endowed with a sweet voice, Janaki Subramaniam renders the kritis, etc.
with understanding and feeling and her handling of sahitya is clear. She is one
of the artistes who have proved that the concept 'Nidhi Chala Sukhame* by
dedicating her music to philanthropy of various good causes from the Prime
Minister's Relief Fund to the Kanchi Kamakoti Sri Sankara Mutt and
Kanchipuram Sri Kamakshi Amman temple services. 'Serve God and His
people through Melody' has been the keynote of her life throughout. That is
the other aspect.
Daughter of Prof. S. Ganapati Subramaniam of Presidency College, Madras
and Lakshammal, brother's daughter of G.A. Natesan, Editor of the renowned
anrl HQI inht<ar_ in_lau/ of Hr k' Rarniah thA
ANOTHER GARLAND 145
her mother, her sisters too were well trained in music. Made her
maiden performance at the age of seven at the Tyagaraja Samadhi,
Tiruvaiyaru in the presence of the famed Bangalore Nagarathinamma fol-
lowed by concerts at the Mambalam Siva Vishnu Temple and the Fine Arts
Society, Madras. Hundreds of others ensued on the All India Radio and at
various centres in India and abroad. While young, she had sung at the prayer
meetings of Mahatma Gandhi. One photo of 1 951 shows her amidst stalwarts
like Bangalore Nagarathinamma, Madurai Mani Ayyar, T.K. Jayarama Ayyar
and Rajamanickam Pillai. Quite a proud image without doubt. Her acquain-
tance with twelve languages enables lavish contacts in life. Had performed
before the top political leaders of India. Has founded the Karnataka Kala
Mandali and Bharati Mandram for bharatanatyam.
Honours & Titles : Award from the Sangeet Natak Academy, Bihar 1 966.
Bhakti Sangeetha Rathna by Shivananda Cultural
Association, New Delhi 1 970.
Honoured by Citizens Council, Rotary, Lions, etc.,
besides Awards from Music Academy and other
institutions.
Concert tours abroad : W. Germany, U.K., U.S.A., Switzerland (both Carnatic
music and Shamegazal).
Cassettes : Quite a large number of devotional and spiritual items.
Geneva -based Chitra Subramaniam, the investigative journalist who hit the
headlines in 1989-1990, is her daughter.
R. S. JAYALAKSHMI - VEENA ARTISTE: (b. July 8, 1950)
Parents : R. Subramaniam & Janaki Subramaniam.
Musical training under : V. Raghavan, G, Lakshmanan and R. Pitchumani under
a Government of India scholarship.
Qualifications : Bachelor of Arts in Indian Music, Teacher's Training Course.
Post held : Veena Assistant, University of Madras - 1 5 years.
Jayalakshmi has been giving performances on the All India Radio, Sabhas,
etc. and is one of the good performers.
*****
Adventure & Perfection
'Adventure and Perfection are the twin essentials for
musical effervescence. Adventure, of course, carries the risk of failure.
But Perfection insures against it and wards off failure.'
— G.N. Balasubramaniain : (Source: Dr. M.L. Vasantakumari)
1 46 ANOTHER GARLAND
LALGUDI G. JAYARAMAN - VIOLIN MAESTRO: ( b. Sept 17, 1930 )
Born of Gopala Ayyar and Savitri Ammal at Lalgudi, Jayaraman, popularly
known as 'Lalgudi', has the unique distinction of being in the direct lineage of
Rama Ayyar, a direct disciple of Tyagarajah. Rural environment, profound
musical heritage and well-directed training under his father and his paternal
uncle, Kandaswami Bhagavatar of Madurai gave young Jayaraman immense
potential and scope for imbibing confidence and expertise to flower forth into a
magnificent violinist of the day. If Ghanam Krishna Ayyar would run to the
peaceful Kabistalam and Ariyakudi Ramanuja Ayyangar to unfrequented haunts;
to have uninhibited practice with none but^God and one's own soul to witness,
the then quiet Lalgudi provided Jayaraman with the captivating environment
and unpolluted vigranti, a sine qua non for imbibing and assimilating soulful
classical music. Rightly Jayaraman considers that the stress-prone urban
climate of the present day is not conducive to intensive practice. He, his
forefathers and great men like the maestros of Tirukodikaval, Tiruvaiyaru,
Tiruppunthuruti, Maharajapuram and Mudicondan were fortunate in having the
benefit of the exhilarating calm and pristine peace for intensive practice. He had
also the benefit of assimilating the diverse styles of stalwarts while young. At
home he took his diploma in vocal and graduated in violin under his father.
Lalgudi Jayaraman's self-evident musical skill had perfected itself when he
made his debut at the Perambur Sangeetha Sabha, Madras in 1 947. Next year
he made his advent at the Music Academy, Madras. In the meantime he had
played for Madurai Mani Ayyar, who had earlier heard his violin-play on the radio
and told T.S. Parthasarathy, This young vidwan has a great future in the musical
world1. G.N. Balasubramaniam, who heard him at the Music Academy,
straightaway booked him for a concert on February 10,1947. Then ensued
hundreds of concerts till 1986 when his switch-over to solos became complete
and total. There was no musical worthy to whom he had not provided
accompaniment from Mazhavarayanendal Subbarama Bhagavatar, a giant
among the old stalwarts to O.S. Tyagarajan of the present and few
percussionists are there who had not played with or for him. An eka sanda grahi,
his innate genius drew musical wisdom and inspiration while young from varied
sources like Madurai Mani Ayyar, G.N. Balasubramaniam, Alathur Brothers,
Mudicondan Venkatarama Ayyar and Palani Subramania Pillai. The challenging
allocations with Flute Mali and Veena Balachander enabled him to find exacting
rhythm and excellence at the best. Experience helped him to evolve a unique
style, all his own; and he started giving solos with his sister, Srimathi
Brahmanandam from 1958 and continue with his son G.J.R. Krishnan since
1973 and his daughter J. Vijayalakshmi since 1979.
Lalgudi evolved a unique presentation of the three V s - Violin, Veena and
Venu (flute) and was one of the earliest to present jugalbandis with Ustad Vilayat
Khan, Pandit Chaurasia and Amjad Ali Khan highlighting the complementary
ANOTHER GARLAND 1 47
character of the raga-based twins, the Carnatic and the Hindustani systems.
His musicianship is massive and his felicitous play vibrant, fresh, captivating
and innovative. The tone is caressing, confident and soothing, He draws out
beautiful phrases - at once sensitive and deep - all within the portals of true
sampradaya. He has no faith in gimmicks. As Gowri Ramnarayan says, 'he has
shown very effectively that one can set new trends and innovate to the delight
of changing audiences the world over while retaining the essential traditionally
of Carnatic classicism'.
His views are robust and constructive. Says that classical music is like rare
ayurvedic herbs to be cautiously nurtured and carefully protected, that learning
vocal music is vital before taking to instruments to equip and enlighten oneself
with sruti and swara perfection, sahitya suddham and gamaka variations and
that a calm and peaceful atmosphere conduces concentrated practice and
development of artistic excellence. Lalgudi echoes Bekara Rama Amatya and
Mudicondan Venkatarama Ayyar when he avers that 'Music should not belittle
Melody'. He is against the boisterous thumping variety of rendition like Veena
Dhanammal as it fails to bring out the benign soul and tranquilizing charm of the
classical. Accompanying stalwarts provides a challenge to the violinist but he
has taken to solos totally as the entire panorama is before him to explore and
project; and his image too admits only that.
Compositions:
A talented composer, his varnams, tillanas and pada \%rnams became
instantly popular. His Dwijavanti and Mohana Kalyani tillanas are masterpieces.
He sees the beauty of the lyrics with a loving heart and presents them with such
colourful artistry and melodic identity that the compositions come out with
immaculate clarity highlighting the bhava in full glow. The compositions are
very popular both with musicians and dancers. Here they are:
Jatiswaram ; Rasikapriya — Adi
Varnams : Sixteen including-
DevarMunivar Shanmugapriya - Adi
Innam En Manam Charukesi - Adi
SendilMevum Neelambari - Adi
Tillanas : Behag, Hamir Kalyani, Maduvanti, Revati, Tilang, etc ragas-
29 Nos.
Kritis 5 and
Orchestral pieces 5.
'His varnams and tillanas serve as admirable models for intellectual
appreciation and understanding. Have great pedagogic value.' (Sulochana
Pattabhiraman).
148 ANOTHER GARLAND
Disc recordings: Quite a large number .
Publications:
'Lalgudi Pancha Ratna Kritis'ol Tyagaraja with notation (1971).
Honours & Titles:
Nadha Vidya Thilaka By Lalgudi Music Lovers' Association. 1 963
Nadha Vidya Ratnakara By East West Exchange Inc. New York. 1 971
Vadhya Sangeeta Kala Ratna By Bharati Society, New York 1 971
Sangeetha Choodamani By Federation of Music Sabhas, Madras. 1 971
Padma Sri By the President of India 1 972
Sangeet Natak Akademy Award 1 978
State Vidwan, Tamil Nadu By the Government of Tamil Nadu 1 979
Kalaimamani By Tamil Nadu Eyal Isai Nataka Mandram 1 979
Asthana Vidwan Urumalai Tlrupati Devasthanams 1 979
Nadha Vendhan By Sangeethalaya, Kuala Lumpur 1 979
Bharata Sangeeta Ratna By Sri Parthasarathi Gana Sabha,
Bangalore 1 980
National-level Award By Chowdiah Memorial 1 982
Saptagiri Sangita Vidwan Mani By Tyagaraja Trust, Tirupati 1 988
Sangita Kalasagara By Visakha Music Academy 1 991 .
Lalgudi Jayaraman is a Member of the Experts Committee of the Madras
Music Academy and is the Convenor-Trustee, Kanchi-Kamakoti Peeta
Karnataka Sangeetha Seva Trust. The presentation of an Italian violin by Yehudi
Menuhin captivated by the vibrant excellence of his violin-play deserves special
mention.
March 8, 1992 was a landmark in the sparkling life of Jayaraman when he
gave his first, a scintillating vocal concert before a crowded house apparently
'to express himself with a greater degree of fulfilment and in a search for a larger
identity. Surprisingly the concert revealed a voice full of depth and flexibility, a
double-reed tone producing^ an invigorating blend of soaring lifts, elegant
moods and emphatic thrusts' (KSM). (It was no casual stunt as those of a Sunil
Gavaskar jocularly mimicking the bowling of Abdul Khader or of a Javed Mianded
monkeying the style of Kiran More.) The vidwan was at the real best confident
of his style born of the rich legacy compounded by his own proud experiences
of four decades and a half.
Concert tours:
U.SA, U.K. (Edinborough Music Festival 1965 & Festival of India 1982),
Europe, Canada, Middle East, Malaysia, Indonesia, Singapore, Phillipines, etc.
ANOTHER GARLAND 149
Disciples:
Quite a number including his sister, son and daughter. The maestro regrets
that many a competent trainee switches over to giving concerts before reaching
the acme of perfection.
A thoroughly inspired violinist, vocalist and teacher, 'Lalgudi' combines the
affluence of an intellectual with effulgent mastery and radiant command of the
art, sure competence and exuberent style and enjoys wide popularity and
respect. A genius, he is a creative artiste; his soullf ul rendition impregnates the
mind with ecstatic fulfilment satisfying Paul Brunton's norm:
' What is the final call of true art ?
Not to the work which expresses it ;
But to the spirit which inspires it,
The divine source of which it reminds us. '
Art is best when it liberates, motivates and transports the listener to
ever-fresh realms of mysteriously sweet exhilaration exposed to inspired
flashes. Jayaraman has that art. He is the guiding spirit behind the annual
celebrations of the Festival of the Trinity at Tiruvarur.
THIRUVIZHA JAYASANKAR - THE FIRST GRADUATE (b. 1937)
NAG AS WAR A VI D WAN:
Thiruvizha* means Festival and when the birth-place of Jayasankar in
Allepey district of Kerala is itself called so, naturally music has to be an innate
urge and qualification. His father and guru, Tiruvizha Raghava Panicker had
won many awards and honours. Jayasankar's musical training quite strangely
kept pace with his scholastic studies. In 1962, he became the first graduate
nagaswara vidwan with Music and Philosophy as his subjects. He got his
'Ganabhooshanam' (Vocal) diploma from Tirupunithura R.L.V. Music Academy
and 'Ganapraveena' from Sri Swati Tirunal Sangeetha College, Trivandrum in
1963.
He made his debut accompanying the famous nagaswara maestro,
Ambalapuzha Sankaranarayana Panicker at Kayamkulam in 1 952 and got a gold
medal from the maestro. 1956 saw him winning the All India Radio contest
medal, His desire not to sacrifice his college course deprived him of the benefit
of availing the Central Government Scholarship for advanced training in 1958.
Tiruvizha Jayasankar is a Staff Artiste with the All India Radio since 1965
and has given concerts all over India and at all the principal sabhas, All India
Radio, television, etc. In legal parlance, a vested interest is created if
uninterrupted user continues for twelve years and over. Jayasankar is a regular
150 ANOTHER GARLAND
performer for twelve years at the famous temples of Lord Muruga at Palani and
Tiruchendur. Does he not acquire a right to perform annually before the Celestial
Lord of Beauty and Benediction? Likewise, the Tamil Isai Annual Music Festival
commences with his concert only since 1974.
Drawing inspiration from the Master of Melody T.N. Rajarathinam, he
availed of violin and mridangam in lieu of tavil at Madras in 1970 as
accompaniment.
Honours and Titles:
Sunadhabhushana by Chembai Vaidyanatha Bhagavatar
at Madras , 1970.
Award by Kerala Sangeetha Nataka Academy 1 982.
Nagaswara Praveena by the Fine Arts Society, Ernakulam 1 982
Nagaswara Isaimani, -i
Nadaswara Isai Arasu j by Mohanur Kanthamalai Murugan Koil
Nagaswara Ratna by the Calicut Marar Kshema Sabha,
Kalaimamani by Tamil Nadu Eyal Isai Nataka Mandram 1 992.
Concert tours:
Paris - Festival of India in 1985
Berlin, Leipzig, Dresden, etc.
Disc recordings :
Quite a number including two with vocal support by S. Janaki and Sundararaj'an with
Valayapatti Subramaniam on tavil
Films :
1 Bhaja Govindam ' with Yesudas as vocalist and
' Bala Parikshai ' with T.M. Soundara Rajan and P. Suseela as vocalists
1 Swara Raga Sudha ' with his participation has been brought out in
four languages.
Jayasankar has inherited a rich legacy of musical talents and is one of the
most popular nagaswara artistes in good demand.
ANOTHER GARLAND 151
K
KADRI GOPALNATH - SAXOPHONIST : (20th Cent.)
Stated to be the only saxophonist in Carnatic music, Gopalnath hails from a
nagaswara family of Mangalore. Known for his lyrical music on saxophone, his
proficiency enabled him to participate in the Jazz India Music Festival and the
International Music Festival in Czechoslovakia. Has been giving concerts on
the All India Radio, Doordarshan, etc.
KALIDAS N. NILAKANTA AYYAR - PEDAGOGUE : (b.Novr.16, 1903)
A distinguished teacher who has embellished many teaching assignments
in Madras, Kalidas Nilakanta Ayyar belongs " to the Manambuchavadi
Venkatasubbier line of Tyagaraja's disciples. Had his studies in music under his
father Narayanaswami Ayyar and joined the Kalakshetra, Madras as teacher.
He has notated several of Ramaswamy Sivan's songs adding chitta swaras.
Was Teacher-Principal, Music Academy College and Professor of Music at the
University of Madras.
P. KALINGA RAO - COMPOSER & VOCALIST; (b.1915)
Place of birth: Pandiswara near Kundapur in Karnataka
Name of father: Puttayya
A musician with a fine personality, he joined while young the dramatic troupe
of Ranganatha Bhatta and donned lead roles and was famous for playing lady
characters. Simultaneously he learnt Carnatic and Hindustani music and was
giving concerts. Kalinga Rao went over to Madras and joined the Hindi Prachar
Sabha and was composing songs for dramas introducing Western styles too.
He was a popular radio artiste.
KALLADAR - TAMIL MUSICOLOGIST : (8th or 11th century A.D.)
Kafladam was his native village as well as the name of his work in tamil.
Kalladam katravarodu malladadhe (Don't enter into argument with one who has
mastered Kalladam) is a proverb. He is brought into this book for his very
succinct summary of "Musicians' faults" and The Ten Beauties of Music' in his
work Agapporul Nool.
152 ANOTHER GARLAND
Faults of Musicians:
11 Vayirukuzhi vangi, azhumugam kattadhu
Nagi, kakuli, vedikural, veliai
PegakkizhiQai, orupuram ottal
Nettuyirppu eridhal, erindhu nindru erattal
Osai ezhidhal, kazhinokku ennap
Peqaru kuravum aagodum matri. "
(Contracting the belly, weeping facial expression,
slipping from one tanam to another, roaring like a ghost,
bland singing devoid of 'mathrai, tanam, etc/,
adopting a hard bass tone, sidelining the soul of musical rendition,
slipping from one pan/7 to another, tone resembling crow's,
bristling multiplicity of tones,
casual approach or laziness,
uncontrolled voice, opening mouth uncouthly,
absence of concentration and trembling of tuft
SUCH FAULTS ARE TO BE AVOIDED.)
Note:
The last of the faults has not much currency now as tufts are a vanishing
factor.
Ten Beauties of Music :
" Vandin thariyum kanja naadhamum
eral van nifaiyum kazhai elal vizhvadhum
Aruvi ogaiyum muzhavin muzhakkamum
Valampuri gathamum verukinpunarchiyum
Innum endrigaiyappap palliya vidhiyodu
Mandharam madhiyam tharam eval moondrum
Thullal Thoongal thellithin melidhal
Koodiya ghanam anbodu parava. "
(Humming of the beetle,
resonant sound of bronze instruments,
fish-picker's swiftness and mode,
the fall of the bamboo leaf
— gamaka ornamentation in avarohana -
sound of the rivulet, spring channel
- voice modulation -,
sound of large percussive instruments,
- contrasting rendition -,
sound of valampuri conch,
passionate calls of the male cat in heat
- aggressive grip and emphasis — ,
ANOTHER GARLAND 1 53
adopting good raga, sahitya and methods
covering lower, middle and upper octaves,
fleeting incursions, contrasting with
slow delineations in the three octaves,
soft fine-tuning, mellifluous tone,
let music with these attributes flourish !
How will it then be?
It will be like a rain of honey on a hillock of sugar1- (garukkarai kundrir then
mazhai nandrena), says Kalladar.
Prof. S. KALPAKAM - VIOLINIST: (b. September 21, 1917)
Prof. S. Kalpakam, M.A., B.G.L, was Professsor in Music for about twenty
years in S.P.W. College, Tirupati and was on the Board of Studies in Music, Sri
Venkateswara University. She has been providing violin accompaniment to
prominent musicians and giving solo recitals. Has set to tune compositions of
Annamacharya in the original ragas indicated in the copper plates on which
12,000 songs of the Bard are inscribed and which are in the possession of
Tirumalai Tirupati Devasthanams now. A disciple of Dwaram Venkataswami
Naidu, Kalpakam learnt vocal music also and is active enough to give recitals.
KALPAKAM SWAMINATHAN - VAINIKA AND VOCALIST: (b. July 20, 1922)
Parents : Seetharaman and Abhayambal
Place of birth ; Chetalapatti , Tanjore district
Kalpakam Swaminathan had her musical training initially under her mother
and later music with veena under Anantakrishna Ayyar, T.L. VenkataramaAyyar,
Budalur Krishnarnoorti Sastri and Musiri Subramania Ayyar. Her training in
music has thus been under highly competent stalwarts. Started giving radio
concerts from the age of twelve. An authority in Dikshitar kritis, she is a staunch
devotee of traditional music and methods.
Has been Professor in Veena, Government College of Carnatic Music,
Madras (now a training centre). Has served in several selection committees.
She is one of the respected members of the musical fraternity.
m
Titles and Honours : Kalairnamani from Tamil Nadu Eyal Isai Nataka
Mandram in 1980.
Certificate of Merit from the Music Academy in 1 989.
Disc recordings.
1 54 ANOTHER G ARLAN D
M.A. KALYANAKRISHNA BHAGAVATAR - VAINIKA& PEDAGOGUE:
(1913-1979)
Place of birth : Manjappara in Palghat.
Name of father & guru : M.K. Anantarama Bhagavatar,
VeenaVidwan of Travancore Palace.
Academic Qualification : Intermediate (Collegiate)
Posts held : Music Professor at the Swati Tirunal Academy,
Trivandrum from its inception to 1 944.
Professor of Music, Central College of Carnatic Music,
Madras- 1949-1967
Principal, Sri Ramanathan College of Music, Ceylon -
1967-1969
Visiting Professor, Wesleyan University, U.S.A.
Honours & Titles : Kerala Sangeeth Nataka Mandram Award, 1 962
Asthana Vidwan, Travancore Palace.
Concert tours : Ceylon and USA.
Disc recordings :
LPR from his performance in 1973 at the United Nations with his daughter Lakshmi
Ranganathan,
Kalyanakrishna Bhagavatar hailed from a family of veena vidwans and was
a sixth generation artiste. Grandfather Kalyanakrishna Bhagavatar (1 847 - 1 891 )
was famous for his original style of veena play, which came to be hailed as the
Travancore style and his great grandfather Venkitadri Bhagavatar (1 81 4 - 1 884)
was a Court musician during Swati Tirunal's reign, M.A. Kalyanakrishna
Bhagavatar was a prominent and popular veena vidwan, equally felicitous in
giving vocal concerts. He had given a large number of concerts on the All India
Radio and elsewhere. The disciples of the life-long veena teacher included
Maharani Kartigai Tirunal, daughter Lakshmi Ranganathan and Rajeswari
Menon, a performing artiste. P. Hariharan says, 'He sang whatever he could
play on veena and played on veena whatever he could sing'. He was a favourite
with all from his young days and was called by the pet name of 'Krishna Mani'.
TIRUVALAPUTHUR T.A. KALIYAMURTY - TAVIL ARTISTE:
(b.June 6, 1947)
Place of birth Tiruvalaputhur
Parents : V. Arunachalam Pillai - Rajamani AmmaL
Musical heritage : Vaithilingam*Pillai, grandfather was mridangist. His
brother Pasupathia Pillai was a tavil stalwart of his
times.
Musical training : Under maternal uncle N.Kadirvel Pillai - Three years
Under Pasupathia Pillai, great grandfather at -
Tiruvalaputhur,
ANOTHER GARLAND 155
Kaliamurthy is a distinguished artiste in tavil providing 'special' tavil
accompaniment ('Special' in percussion circles denotes selection-grade status
and seniority) to the nagaswaram maestros of Tiruvenkadu, Tiruvizhimalalai,
Namagiripettai, etc. and to Madurai Brothers and Clarinet A.K.C. Natarajan.
Has coached about thirty tavil trainees. Has participated in music festivals. He
was a judge in the Local Audition Committee of All India Radio.
Concert tours ; Sri Lanka, U.S.A., Canada
Titles :
Layagnana Tavil Arasu by Sri Venkateswara Bhakta Sabha, Madras, 1968
Sunatha Tavil Isai Chakravarti
Janaranja Tavil Isai Chakravarti
Din Dama Kalanipuna Makuda Ratna
Bala Bhishveswara by Vidwans of Karnataka State.
Kalaimamani by Tamil Nadu Eyal Isai Nataka Mandram in 1981 .
Laya Selvam by Muthamizh Peravai in 1983.
KALYANI GANESAN - VEENA VIDVAMSINI : (b. Novr. 16, 1949)
A graduate in music of the Madras University, Kalyani Ganesan had her
further training at the Government Music College, Madras and got the Sangita
Vidwan diploma in 1967 and did her advanced training also there. Balambal
and M.A. Kalyanakrishna Bhagavathar were her tutors in veena. She is giving
concerts on the All India Radio, etc., and is a lecturer in veena at the Government
Music Training Centre, Madras.
Concert tours : Canada.
* * *
KALYANI SHARMA - VOCALIST - VEENA ARTISTE: (b. April 25, 1936)
Place of birth : Trivandrum
Parents : K.V. Iyer and V. Janaki
Qualifications : Gana Bhooshana in Veena from the Swati Tirunal Music
College, Trivandrum.
Vidwan (Advanced Course) in Vocal Music from same
college.
Kalyani Sharma had the benefit of training when Dr, Semmangudi Srinivasa
Ayyar and K.S. Narayanaswami were at the College. She had training under
Brinda and Mukta in padams and javalis.
Posts held : Junior Professor, Swati Technical Music College,
Trivandrum
Promoted as Professor but resigned.
Teacher in Music, Bharatiya Music School,
Bombay— 1964-1970
156 ANOTHER GARLAND
Teacher & now Head of Veena Section,
Shanmukhananda Sabha Music School, Bombay
from 1971.
•»
Kalyani Sharma has been giving concerts since 1S57 in sabhas and fo
India Radio. Has a good repertoire and imaginative rendition. Has won pri;
Enjoys a sweet voice.
Concert tours : U.S.A. and Singapore.
KAMAKOTI SASTRI - COMPOSER: (19th Centi
A prominent composer of Karnataka in Sanskrit and telugu, Kamakoti S<
had brought out many songs that are now in constant usage like -
Nirupamana in Madyamavati
Hamapati in Bhairaviand
Devadhi Deva in Todi
KAMALA VIS WANATH AN - VEENA VIDVAMSINI : (b. May 5, 1£
* Kamala Viswanathan studied music with P. Balakrishnan, Musiri Subram<
Ayyar, and M.A. Kalyanakrishna Bhagavathar at the Government Music Coll
and got Vidwan' title in veena and vocal. A performing artiste on the All Ir
Radio and elsewhere. Had won prizes in the sixties.
KANCHANA VENKATASUBRAMANYAM - VOCALIST: (b.19
Place of birth : Kalpati
Parents : Venkataramana Ayyar, Dharmadhikari of Sringeri Ms
and Anandalakshmi Ammal.
Kanchana is a village gifted to Venkataramana Ayyar by the Srin
Acharya. The Vainika mother taught him music and Venkatasubraman;
learnt further under Chitrakodi Narayana Sastri, Chembai Vaidyam
Bhagavatar and G.N. Balasubramaniam. Made his debut at the fam
Mookambika temple and has been giving numerous concerts with emir
accompanists. He established the Lakshmi Narayana Sangita Sabhs
gurukula institution which trains numerous disciples. He enjoys a plea
voice, good style of rendition and innovative capabilities. His son Subburati
is a violin vidwan.
ANOTHER GARLAND 157
K.V. KANTHAMANI - VEENA VIDVAMSINI : (b. January 14, 1923)
Born at : Siruvathur In South Arcot district,
of : Flute vidwan Venkataramayyar & Saradamba.
Had her training : in vocal with her father and
in veena with Pondicherry H. Ramakrishna Bhagavatar
and Veena Varadayya of Cuddalore.
She had gurukulavasa training for five years with Karaikudi Sambasiva
Ayyar. Made her debut at Tirupadiripuliyur and has given a large number of
concerts in Tamil Nadu and Andhra Pradesh and on the All India Radio. At Jaffna
she got the title of 'Yazhisai Vallar' and has been a teacher in veena in different
institutions.
KARAIKUDIYAR K.R. CHANDRAMOULI - MRIDANGIST :
(b.October 25, 1925)
Karaikudiyar, meaning one who hails from Karaikudi, actually should have
been 'Pallathurar' since Chandramouli was born at nearby Pallathur, of
Rarnachandra Ayyar and Balambal and is related to the Karaikudi Veena
Brothers. Had his training under Karaikudi Natesa Ayyar and Karaikudi
Kalaimamani Muthu Ayyar. Chandramouli claims that the gurukulavasa helped
him immensely to flower into a prominent percussionist. Made his debut at the
age of sixteen providing accompaniment to harikatha exponent Rarnachandra
Bhagavatar along with his guru at Kottaiyur. Has been working as Professor
and Head of the Department of Mridangam, Shanmukhananda Sangeetha
Sabha, Bombay for the last seventeen years.
Concert tours : Malaysia, Singapore, Indonesia* Thailand, Australia.
K.R. Chandramouli suggests that some senior mridangam artistes could
jointly frame and publish a uniform regular basic syllabus for students
undergoing training in the various paddhati(s).
Path to Erudition
Joe Louis', the magnificent boxer said:
* Everyone wants to go to Heaven;
But few wants to die! '
Even so, some capable, promising juniors do not seem to stay on to complete
their apprenticeship as they could not withstand the lure of publicity, income and
media praise. Lacking expertise and depth, these flowers fade out before attaining
full bloom.
158 ANOTHER GARLAND
KEERANUR BROTHERS - NAGASWARAM DUO:
A. Sivasubramaniani alias Chinnafhambi Plllai: (Jan. 1897 - Mar. 9, 1942)
B. Kannappa Piliai (June 27, 1891 - July 13, 1944)
A B
Native Place : Keeranur, Nannilam taluk, Sirupuliyur. Belonged to
Tanjore district Pandanallur, a nursery of
dancers.
Parentage : Pallavi Govinda Nainakarar & Kandaswaml Piliai and
Sundarammal. (Father was Marimuthu Ammal
Asthana Vidwan, Chunambedu
Zamin)
Musical training Father Govinda Nainakarar, Keeranur Muthu
under : Kanchi Nama Piliai, Nainakarar and
Keeranur Muthu Nainakarar. Mannargudi Chinna
Pakkiri.
Both had thus common training under Keeranur Muthu Nainakarar but were
giving recitals separately. Later they combined and under the name 'Keeranur
Brothers' made their debut at the marriage of Tiruvidaimarudur P.S. Veeruswami
Piliai, who too rose to the top soon after.
The brothers were a popular duo and were in good demand, Had played at
the memorable All India Music Conference, 1927 held along with the All India
Congress Committee session at Madras. Both were individually capable
vidwans. Chinnathambi had given vocal concerts also and provided tavil
accompaniment to others. T.N. Rajarathinam brought out a special
commemoration volume to condole Chinnathambi's death. Vedaranyam
Vedamurthi and several others were Chinnathambi's disciples.
The eminent nagaswaram duo had constant periods of estrangement; Sruti
layam and Sruti bhedam had co-existed by turns! Artistes who fare well as duo
fare ill individually when they fall asunder similar to doubles players in sport
events.
Title :
' Sabha Ranjitha Bhooshanam ' in 1937.
Disc recordings.
ANOTHER GARLAND 1 59
I. KESI - FLAUTIST: (b. April 20, 1921)
Hails from : Palamaneri, Tanjore dt
N. Kesi learnt vocal music under Jalra Gopala Ayyar, when Flute Mahalingam
Mali) was learning flute under the same guru. She felt attracted to the flute
endition of Mali. However, she had to shift her musical training from Jalra
aopala Ayyar at Nagapattinam to Palamaneri Swaminatha Ayyar at Tanjore.
Jwaminatha Ayyar was a Sangita Kalanidhi and a prominent vidwan. Finally
»he became a disciple of Mali himself in 1943 at Madras, circumstances
avouring it with the transfer of her husband to the City. Earlier too, she had
seen giving flute concerts and with the intensive training under and imbibing the
style of Mali, she began giving concerts in sabhas and elsewhere in large
lumbers. Mali had so much confidence in her that at the Tambaram Sangeetha
3abha in 1957 he announced that he was not giving the concert and that Kesi
/vould play instead with the accompanists M.S. Gopalakrishnan and Ramnad
Eswaran on violin and mridangam respectively! She had played with her guru
Mali in about twenty concerts and they were a challenging task well executed
by her.
A torch-bearer of Mali style, she is one of the popular flautists who brings
out the fragrant shades of melody with control over laya. She is training a large
number of disciples. Was Visiting Professor for two months in the Government
College of Carnatic Music and is on the Audition Committee of the All India Radio,
Madras.
Disc recordings.
Concert tours :
Sri Lanka in 1960, Europe in 1964.
Kesi is one of the select prominent, lady flautists and perhaps the only one
who has been giving concerts for five decades. One of her disciples G.Sridhar
gave a twenty-four hours recital at the Madhava Perumal Koil, Madras, on
September?, 1991.
VELUR KESAVADASA - COMPOSER ( Died 1948 )
Son of Venkatasubba Dasa, Kesavadasa was a famous composer in
kannada. Karnataka Bhakta Vijaya, Sri Haridasa Sahitya and Sri
Raghuvamsa Vijaya are all his creations.
160 ANOTHER GARLAND
R.R. KESHAVAMURTY - VIOLIN MAESTRO: (b.1916)
Musical heritage : Father Ramaswamayya was a vocalist:
Grandfather Nagappa was a a kanjira player.
Another grandfather Venkataramayya was a composer.
Musical training under : Chicka Rama Rao and Bidaram Krishnappa.
Keshavamurthy attained mastery in violin play while still young and was a
constant accompanist to reputed musicians. In 1930 he was with the melody -
king B.S. Raja Ayyangar and went round with him for concerts. A popular soloist,
he has given a large number of concerts on the radio, television and sabhas in
addition to many lecture - demonstrations which are a delight to rnusic-lovers,
He has been training many disciples.
M. Surya Prasad records in the 'Hindu ' that the 76-year old maestro even
today has a rare and youthful vigour and verve in playing on a seven-stringed
violin and after T. Chowdiah and Ratnagiri Subba Sastry, it is he who has held
the baton intact. His exposition is rich in the composite eloquence of bhava,
raga and tala.
Honours & Titles: Karnataka Sangeetha Nritya Academy Award 1 980.
T. Chowdiah Memorial (State Level) Award 1 982.
Sangita Vidyasagara, etc.
Sangeetha Kalaratna from the Bangalore Gayana
Samaja 1991.
Rudrapatnam in Hasan district is a cradle of musicians and Keshavamurthy
is one of its distinguished sons. He has published as many as eighteen books
in kannada on sangita.
Disc recordings number six.
Tlruppalll Ezhucchi:
One can be shaken out of slumber if really asleep but not when he feigns to be so.
Perhaps the Lord of the Universe has the merit of falling under the latter category.
Otherwise why should so many saints sing Tiruppalli Ezhucchi' to wake Him up?
Sage Viswamitra
Vishnu Siddhar
Thondaradipodi Azhwar and
Manickavachakar have done the exercise.
Andal approached the devotees in a bid to wake them up in her Tiruppavai*.
ANOTHER GARLAND 1 61
<IRUPANANDA VARIAR, TIRUMURUGA - SPIRITUAL CRUSADER:
(b. 1900)
Age does not wither the infinite charm gi his musical discourses nor slacken
the tempo of his crusades for spreading spiritual and moral precepts and
message around the tamil-knowing world. He has the unique distinction of
drawing the largest crowds consistently for nearly seven decades. One could
witness him bubbling with wit and humour like a child, jostling around cities and
villages in different parts of the world like a youth and pouring out ancient wisdom
drawn from the sacred lore of India filtered in the context of modern political,
social and cultural happenings like an aged seer. He exhibits his firm faith and
eternal hope in the future of Bharath like the saints of old. His cutting, yet
delicious puns in spiritual capsules bringing to ridicule self-righteous and pseudo
political and social leaders are winsome. His memory is astonishingly fresh.
His command of tamil is total and of Sanskrit much. His knowledge of the theory
of music is rich. Though he lost the feminine grace of his voice long back, still
at the age of eighty-six, he gives the outline and lead to his accompanists to
elaborate. He is a master of discoursers commanding absolute respect from all
sections of the public and popularity from every segment .of the community. His
contribution in the field of discourses is colossal. Above all, he had placed his
art and his power at the service of the Lord and his favourite saints
Arunagirinathar and Vadalur Ramalinga Swamigal. The number of renovation
of temples and other good causes espoused by him is impressive. Physically
he is tall and massive with a liberal annointment of sacred ash (vibhuti). The
massive exterior encases a good, affable, gracious and benevolent soul.
He is Tirumuruga Kirupananda Variar, son of Mallaya Das Bhagavatar, a
musical discourser and Kanakavalli Ammal. He had a very rigorous, full-time
training in tamil, tamil hymns and music under his father and was not allowed to
play. (Without doubt, he would have equally become a very good athlete but for
this ban while young.) At the age of twelve, he could command ten thousand
hymns and songs. He followed his father giving voice-support. Learnt
Tiruppugazh from Madurai Sami Ayyar and got 'diksha' as was the practice in
Veera Saiva families from Siddhanta Sarabham Palani Esana Sivachariar
Swamigal, He studied veena under a local teacher for a while and later under
Tenmatam Srinivasachariar to whom Variar has the greatest respect. He would
pay obeisance to him twice - at the beginning and at the end of his daily tuitions.
1 Kirupananda, why do you perform namaskars twice?1
' Swamigale, people take coffee dozens of times. Can I not pay obeisance at least twice
to my respected Guru ? ', was the innocent reply.
This is, in essence, his approach still. The teacher loved him and he revered
the guru. As he was to take leave after his training, he had little money to give
as guru-dakshina and his father sent him just two dhotis to be presented. The
1 62 ANOTHER GARLAND
lad was sad. Availability of resources did not match his inclinations. Just then,
he got a good offer to perform some musical discourses and with Rs. forty got
from them, he purchased a three-sovereign chain and a dollar and with the usual
auspicious betel, etc., he was able to substantially satisfy his ambition to make
a good present to his veena guru. When the guru died, he helped his family too.
Once his father took him to Veena Seshanna and got a veena from him.
It is noteworthy to mention that he has not started any sect while that is very
easy for him with his immense knowledge, wide popularity and vast following.
He reflects the immense wisdom of Hindu religion, seers and scriptures and as
a musician, he is a traditionalist. The following anecdote indicates the firm faith
reposed particularly by women in his discourses:
Municipal Vice-Chairman Shanmugham Pillai jocularly found fault with him
once for giving wrong advice to women. How ?
1 You have spoilt the outlook and conduct of my wife ! She heard your discourse
yesterday evening. This morning at 5 am., she poured chill water on my legs while I
was asleep and when questioned on her madness, she avers that you had advised
women to follow Anasuya's devotion to her spouse-saint! I do not know how many
other women had woken up so early and poured cold water on the legs of their sleeping
husbands and decorated them with flowers ! '
Concert tours:
Many countries in different continents.
Titles & Honours :
These have little meaning to a soul like Variar. Some are given here :
Tlruppugazh Jyoti \
Pravachana Samrat / BV Swami Sivananda Saraswati,
Rishikesh.
Arulmozhi Arasu
Saraswati Katakshamrutham
Shatmatanabhuta
Isai Perarignar
Kaiaimamani
Amudhamozhikondal
Tiruppani Chakravarti &
Tiruppani Sarabham
Sorpozhivu Vallal
By Head of Sri Tirugnana Sambandar Mutt,
Madurai.
By Sri Paramacharyal, Senior Sankaracharya,
Kanchipuram,
By the Jeer, Ahobhila Mutt,
By Tamil Isai Mandram, Madras.
By Tamil Nadu Eyal Isai Nataka Mandram.
By Adheenakartar, Dharmapuram Mutt.
By Bhavani Tirumurai Kazhagam.
By Velur Shanmugha Adiyar Sangham.
ANOTHER GARLAND 1 63
Variar has not escaped from the pressures of well-meaning admirers to
appear in cinemas. Thunaivan5, Tiruvarul' and 'Deivam' have the distinction of
his appearance.
He is economic in his personal life and spends his large earnings for the
good of his kith and kin and the numerous public causes he espouses. Eminent
Editor, Kalki Krishnamurti wrote full four decades back :
1 How an individual like Variar could accomplish individually the entire construction of
Satya Gnana Sabha at Vadalur passes comprehension. When one sees the multi -sided
activities of Variar, he has perforce to conclude that -
"Variar is not an individual at all ;
He is a mighty Institution himself." '
Variar is going strong rich with the spoils of time, unrolling the ample pages
of his deep erudition and refined knowledge, scattering plenty amidst
tamil-speaking crowds. In his own words, 'whether the sun rises or not, there
is invariably a daily lecture of his'. What is the secret of his ready wit, ample
knowledge and envious memory ? ' Brahmacharya ' (celibacy), is his answer!
Maha Vaidyanatha Ayyar too observed celibacy to uphold his service to music,-
(celibacy is used in the sense of refraining from sexual indulgence.)
Richard, the Coeurde Lion was at home, it is said, on his horseback. Variar,
undoubtedly a giant among musical discoursers, is at home only in the midst of
vast crowds sharing his profound preponderant spiritual wisdom with them. For
over sixty-seven years, he has been on his peripatetic rounds and is indeed a
KSHETRAGNA. The number of his lectures should find an entry in the Guinness
Book of Records.
KOHALA - MUSICOLOGIST :
To Kohala several works are ascribed such as -
Kohalamata Kohaliya Kohala Rahasya
Tala Lakshana • Abhinaya Sastra Sangita Meru
Dattila Kohaliyam
Kohala is one of the ancient authorities but his period could not be fixed with
certainty. Prof. R. Satyanarayana says:
'Bharata promises that the rest of the science of dramaturgy would be
revealed by Kohala. Kalinatha extracts from Sangita Meru ascribed to Kohala,
Matanga and others too extract from his works.' Such bristling factors confound
efforts to fix the period of the eminent author, it is said.
f 64 ANOTHER GARLAND
UMAYALPURAM N. KOTH ANDARAMA AYYAR * (Oct 27, 1 889-c. 1 975)
MRIDANGAM & GHATAM ARTISTE:
Son of Ghatam Narayana Ayyar, Kothandarama Ayyar learnt ghatam and
mridangam under his father and had his training in music under Veena
Vaidyanatha Ayyar. One of the prominent percussionists of his day, he was
noted for his excellent fingering, rhythm and tonal development on the mud pot
(ghatam). He developed a new and basic 'sollut called 'tharikattu' with new
fingering and a variety of effects on the pot with remarkable tempo and clarity
of sound. In the course of his play, he used to throw the pot up to provide a
different sound to the delight of the audience. He had accompanied most of the
top artistes and was one of the few who improved the image of ghatam artistes.
Umayalpuram K. Narayanaswamy is carrying on the percussive legacy of the
family. (Page 112 of 'A Garland 'modified.)
Concert Tours : Singapore, U.K. and Germany
MEESU KRISHNA AYYAR - COMPOSER: (1872 -1940)
Krishna Ayyar hailed from Ramanathapuram and is the composer of kritis
like
- Sri Rukmani Manirangu raga and
Karunavasa Abhogi raga
Alathur Venkatesa Ayyar has notated his songs.
MYLATTUR KRISHNA AYYAR - MRIDANGIST: (c. 1868 - 1922)
Krishna Ayyar had his initial training under Aiappuzha Annadorai Bhagav^tar
and then left Mylattur for Tanjore at the age of twenty or twenty-two, as Tanjore
had then a galaxy of percussionists. He joined the celebrated Tanjore Krishna
Bhagavatar's team of accompanists which included the vocal - support
musicians Tanjore Panchapakesa Bhagavatar and Marudappa pillai. Later he
entered the concert stage accompanying all top musicians. His play was noted
for 'Nadha suddham, Kalapramana suddham, adjustability and anticipation'. His
exhilarative play for pallavis, which were then most prominent, was very good.
VEENA KRISHNA AYYA - VOCALIST; VAINIKA :
Krishna Ayya is said to belong to the celebrated Adippayya family of
musicians and composers. An expert in tala, Ayya excelled in his permutations
ANOTHER GARLAND 1 65
and combinations providing blistering variations and ultimate synchronisation.
He was known for his Saptataleswaram. Mummadi Krishna Raja Wodeyar made
him his Asthana vidwan.
H.V. KRISHNAMURTI - VIOLINIST: (b,1928)
Had his initial training with his father and mridangam vidwan, Venkataramiah.
Musical legacy spurred him on to take advanced training under the renowned
T. Chowdiah along with Alagiriswamy, who is now a prominent performing
violinist. Joined the Corporation High School, Bangalore in 1949. Was
Professor in a Music College. H.V. Krishnamurti along with Veerabhadriah and
Anoor Ramakrishna has been giving trio-violin concerts and had distinguished
mridangists like Palghat Mani Ayyar and Umayalpuram Sivaraman as
accompanists. He is both a good soloist and an accompanist.
K.N. KRISHNAMURTY - PERCUSSIONIST: (b. 1926)
Born at Koilamma near Palghat, K.N. Krishnamurty had his musical training
under his father Narayana Ayyar first and then under Palghat Kunjumani and
Palghat Mani Ayyar. Is a prominent mridangam and ghatam vidwan. Was
employed in Firestone Tyres.
Concert Tours : Singapore, Malaysia and Europe.
K.S. KRISHNAMOORTI - COMPOSER. (b. May 19, 1914).
Krishnamoorti was born at Kumbakonam and is a prolific writer and his works
include:
Andaman Kaithi - drama 1 944
Isai Inbam - songs 1 945
Kalaivanan - drama 1 946
Amudha Tamilisai - songs 1 980
'Andaman Kaithi1 won the prize of the Tamil Nadu Government. Has received
the Sangita Natak Academy Award for his drama works. His songs had been
handled by eminent musicians. His songs were set to tune by Guruvayur
Kalaimamani Ponnammal. Melakaveri A.R. Kannan had assisted them in
swara-tala adornments to the songs. Krishnamoorti had been honoured with the
title of 'Kalaimamani1 by the Tamil Nadu Eyal Isai Nataka Mandram. The songs
are devotional with the beauty of yati prasa'
1 66 ANOTHER GARLAND
C. KRISHNAMURTY - VAINIKA : ( b. 1934 - July 16, 1992 )
C. Krishnamurty hails from a well-known family of veena , artistes.
Cheluvarayaswamy, his father and guru was a veena artiste, musicologist and
a disciple of V. Venkatagiriappa. Krishnamurty too had his gurukulayasam under
Venkatagiriappa till he became the seniormost disciple of Dr. Doreswamy
lyengar. He has been giving concerts on the All India Radio, Television and
elsewhere both on national programmes and regional items. He has been
training a number of disciples both Indian and foreign. He is on the staff of All
India Radio for the last eighteen years,
Concert Tours : Festival of India, USSR, 1987
Festival of India, Germany in Pancha Veena' concert
Titles :
Apart from recognition with the Shanmugavadivu Award in 1980 from the
Music Academy, Madras and an honour from the Sankaracharya of Sringeri, he
received the State-Level Chowdiah Memorial Award, 1992 from the Academy
of Music, Bangalore.
NEEDAMANGALAM KR1SHNAMOORTY BHAGAVATAR -
KRISHNAGANAM MAESTRO : (1921 - Octr. 1, 1982)
Uthukadu is one of God's creations where melody ruled in all its radiant
beauty. Uthukadu Venkatasubba Ayyar (1700-1765) is one of the immortals
among musical composers in tamil and Sanskrit whose songs on Lord Krishna
stand unmatched for beauty, fragrance of conception and felicity of expression.
Pieces like Taye Yasoda (Todi), Palvadiyum (Natakurinji) and Alai Payude
(Kanada) continue to thrill thousands. Divine ecstasy popular appeal, deep
emotions and easy-paced tamil diction coupled with apt raga swaroopas
created by him enthral the elite and the lay alike. Krishnamoorty Bhagavatar
was a descendant in the sixth generation of the brother of Venkatasubba Ayyar,
who was a celibate.
Bhagavatar kept alive the Uthukadu tradition of divine melody and 'Krishna
consciousness1 for several decades. Blessed with a melodic, mellifluous voice,
conjuring presentation, elegant yet simple exposition and direct and innocent
appeal to the finer and nobler sentiments of the audience distinguished his
musical discourses. The Sage of Kanchi, the Paramacharyal advised him,
initially a vocalist, to take to discourses and Bhagavatar became the prime
mouthpiece of Uthukadu compositions. He resurrected them all and brought
them to current use. His inspiring discourses were soulful but Fortune did not
smile on him. He did not opt for the usual audience - response expediencies.
ANOTHER GARLAND 1 67
He was stoic, conservative and would not take even a violin. He carried on solo
with conviction but it cost him dearly and the art too had lost much. Had he taken
some accompanists, he would have surely dwarfed others but he was destined
to be a victim of his own decision. The world too did not help him much.
Son of Gopala Ayyar and Janaki Ammal, he was born at Sembavali in
Papanasam taluk, Thanjavur district/He stayed at Needamangalam and came
to be called 'Needamangalam Bhagavatar'. If celestial Krishna was the eighth
child to his parents, this Needamangalam Krishna too was the eight child to his
parents. Probably this too had its subtle impact on him apart from the legacy of
the family and his musical leanings and longings in promoting him as the
effective instrument to popularise the Krishna Gana songs of his illustrious
ancestor. It is significant that he was named after the Lord of the Bhagawad
Gita.
He made his late debut at Nungambakkam in Madras in his thirtieth year yvith
Krishna Ganam songs. Authentic presentation with enchanting melodic content
featured his musical discourses and he came to be described as a re-birth of
the illustrious Uthukadu Composer. The Straits Times, Singapore (February 2,
1 982) wrote:
" What a shame that men with half his age
cannot sing with such sustenance, half as well! "
Writes 'Kinnari' in 'Shanmuka' (July 1991) :
' Krishnamoorty Bhagavatar's performing finesse is to be experienced to be believed.
He was an artiste, an aesthete and a performer with perception and punch... His voice
has the twinkling radiance and vigour, its resilience and refinement inferior to no concert
veteran. His percussive ingenuity would match any of the star-performers,'
Bhagavatar has notated most of the songs of Venkatasubba Ayyar and
forty-two songs have been published with notation and seventy-nine without
under the titles: .
Krishna Ganam,
Navavarana kirtanas and
Rasa Ganam.
Financial constraint deters the publication of the remaining treasure left to
posterity by Venkatasubba Ayyar. Presently Bhagavatar's daughter, V. Alamelu
and his sons-in-law, Pandurangan and Sethuraman are propagating the
Uthukadu compositions. Anyone interested in the publication of the remaining
songs of Uthukadu can approach Bhagavatar's wife K. Rajammal. The songs
provide tantalizing themes full of bhava and divine melody for Bharata Natya. It
will indeed be a tribute to the stupendous vidwat of Bhagavatar too. Bhagavatar
has given one L.P. and had visited Singapore.
168 ANOTHER GARLAND
The Pararnacharyal of Kanchi had honoured Bhagavatar with the title of
Krishna Bhaktamani'. Maharajapuram Viswanatha Ayyar Trust honoured him
posthumously. Madurai T.N. Seshagopalan gave a public concert at the Tamil
IsaJ Sangham, Madras with Uthukadu songs alone drawing inspiration and
guidance from V. Alamelu.
T.R. KRISHNAMURTY - VOCALIST: (b.1918)
Born at Kollegal, of Ramamurthy who was in the State service and was a
musician too, T.R. Krishnamurty had his training in music under Bhairavi Kempe
Gowda, Violin Narayanaswamappa and T. Chowdiah. Has a pleasing .and
responding voice and is a traditionalist. He has been giving concerts in sabhas
and on the All India Radio. Has been training many disciples like H.R. Sitarama
Sastri.
MYSORE KRISHNA AYYANGAR - VOCAL & MUSICAL DISCQURSER:
(20th Cent.)
Son of Srinivasa Ayyangar, Krishna Ayyangar had his training under Krishna
Rao, Chikka Rama Rao, Mysore Vasudevacharya and Bidaram Krishnappa -
distinguished vocalists. For five decades Krishna Ayyangar has been giving
vocal concerts and harikatha discourses. He established Sri Krishna Gayana
Sabha. A popular vidwan known for his traditional presentation.
Publications : Dikshita kritis - Navavarana and Navagraha kritis.
Tyagaraja Hrudaya.
Titles : Harikatha Visarada
Kirtana Bhushana, etc.
LALGUDI GJ.R. KRISHNAN - VIOLINIST: (b.April 15, 1960)
The Lalgudi Family is one of the few in Carnatic music which takes genuine
pride as inheritors of a precious legacy and continuous dedication for
generations to the classical art. The paterfamilias Rama Ayyar was a devoted
disciple of Tyagarajah. Krishnan and Vijayalakshmi, son and daughter of
Lalgudi Jayaraman, Violin maestro, are duo violinists who combine delightfully
rendering melody more melodious, The magnitude of their intensive training,
dedication and exquisite musical expression come to instant notice when they
commence their concerts. The 'Lalgudi perfume' quite carefully filtered and
invigorated by their stalwart father, and passed on to Krishnan, spreads its
fragrance and the duo play to aesthetic perfection. Krishnan practically had all
the gifts of gurukulavasa at home from birth and the father - aunt violin concerts
ANOTHER GARLAND 1 69
had come to stay since 1958 even before he was conceived.
Krishnan got an early start in his training at the tender age of five with his
grandfather Lalgudi Gopala Ayyar and continued it with his father. Made his
debut in 1973 providing violin support to his father. He is giving solo recitals,
jugalbandhis and violin duets with his father or his sister. His style like his
father's js the gayaka style closest to vocal rendition. His raga delineations are
crisp and absorbing. Kriti rendition exhibits musical vigour and grace.
Impeccable bowing and careful planning feature his concerts. Has been giving
quite a large number of concerts in India and abroad.
Concert tours:
With father Jayaraman: Singapore, Malaysia, Hong Kong, Italy, West Germany,
U.K., U.S.A., USSR and Middle East. (Sister Vijayalakshmi joined in some.)
With sister Vijayalakshmi alone; USA,
Honours and titles:
Best violinist Award by Music Academy, Madras 1 986.
Yuva Kala Bharati by Bharat Kalachar 1 987.
A Post-graduate in Commerce and a Cost & Works Accountant, Krishnan is
an Executive Officer in an Investments Company and is a co-promoter of the
vibrant organisation TYME' (Talented Youth for Musical Excellence). The author
has a particular reason to thank Krishnan. He was delightfully surprised to
receive a letter from Dr. Uma Roy, President, The Carnatic Music Association of
North America Inc. mentioning inter alia:
1 1 was presented with your book A Garland by Lalgudi G.J.R. Krish-
nan and Lalgudi Vijayalakshmi... congratulate you on compiling an
immense amount of material which is bound to be useful... seek your
permission to use material from your book...'
CMANA has indeed shown much interest in the book and the credit goes
naturally to Krishnan-Vijayalakshmi who thoughtfully took the book on the eve
of their departure and presented it to the President of a vibrant association in
the states.
MADURAI N. KRISHNAN - VOCALIST: (b. 1928)
Place of birth : Madurai
Parentage : Narayana Ayyangar and Padmasini
Musical heritage : Father is a musical discourser and scholar in Sanskrit
and tamil.
170 ANOTHER GARLAND
Elder brother, Srinivasa Ayyangar is a violinist.
Madurai Krishna Ayyangar, percussionist (b.1927), who
studied under Jalatarangam Babu Ayyangar is a cousin*
Madurai Srinivasa Ayyangar, another cousin, is a
violinist
Musical training : Preliminary training under father and elder brother.
Training in the Tamil Isai School at Karaikudi
Sangita Vidwan Diploma from the Government Music
College, Madras.
To crown the multi-sided heritage, musical environment and training, he
entered on gurukulavasa under the celebrated Ariyakudi Ramanuja Ayyangar
which lasted till the death of the guru on 23.01 .1 967. Eighteen years' of training
is something remarkable. The earth (guru) was not inclined to sever its
connection with the tree (pupil) and the tree believed that such severance was
no freedom to it! (Tagore's epigram). Madurai Krishnan made his debut at
Tirupati in 1950 and has since given hundreds of concerts all over India on the
Radio, Doordarshan and elsewhere. The traditional training and background and
the long association with a great master have endowed his music with a distinct
stamp. Krishnan enjoys a rich voice. He recollects with pride the incident when
he was called upon by Ramanuja Ayyangar to take the concert when the latter
got suddenly indisposed. With stalwarts T.N. Krishnan on violin and Palghat
Mani Ayyar on mridangam, young Krishnan stole the honours of the day.
He has given swara notation to the songs of Tiruppavai, some pasurams of
Nalayira Divya Prabandham, besides songs of Bharati and Ambhujam Krishna.
His earlier training at a Tamil Isai School should have helped him in this. Has
composed padams, varnams, tillanas and jatiswarams which are adopted by
bharatanatyam artistes. He is the Director of Sree Bharathalaya, Madras with
which the celebrated artist Sudharani Raghupati is connected. Has produced
musical plays like 'Krishna Leela' and 'Mathuriyam'. His mature musicianship
now follows Natya Sastra concept of music being an aid to natya.
Titles & Honours : Gana Nidhi from Vaishnava Association - 1 979,
Madura Kala Praveen from Satguru
Sangeetha Samajam - 1981,
Honoured by the Tamil Nadu Eyal Isai
Nataka Mandram - 1 992.
SangeetNatakAkademy Award - 1988.
Padma Sri by President of India - 1 992.
NAMAGIRIPETTAI KRISHNAN - NAGASWARAMAESTRO:(b. April 2, 1924)
One of the renowned nagaswara vidwaos of the present enjoying wide
popularity, large practice and immense prestige, Namagiripettai Krishnan is the
son and disciple of Kathan. He underwent further training with Ganesan of
ANOTHER GARLAND 1 71
Aruppukottai from the age of fourteen and cherishes sweet memories of his
apprenticeship, The teacher would give lessons only in fits and starts and would
stop abruptly too. His mother's name is Kunjammal; one of his brothers is a
percussionist (tavil) while another, Murugan is his co-player.
Krishnan during his visits abroad for concerts had an interesting experience
too. At Paris, the host, who presented him with a costly shawl at a reception,
came to him after the function and requested for its return stating that he had
been using the shawl for very many such functions -social, cultural and political.
Puzzled and intrigued at the hypocritical farce and un-lndian practice, he silently
returned it ! Perhaps alluding to occasional experiments by some artistes with
mridangam, he says that nagaswaram and tavil are inseparable twins like Siva-
Sakti unity. He knows to play on violin too. He is the accredited vidwan to the
Tirumalai Tirupati Devasthanams. He has played on nagaswaram for many
films.
Honours & Titles:
Sangeet Natak Akademy Award. 1 981
'Isai Perarasu' by Tamilisai Sangham 1983-84
Saptagiri Sangita Vidwanmani by Tyagaraja Trust, Tirupati 1 992
Has been honoured with many other titles like 'Inkuzhal Isai Arasu',
'Nagaswara Isai Mannar', 'Perunguzhal Pulavar Mani' and a Doctorate (one of
the three nagaswara vidwans who enjoy this honour now).
* * *
PATHAMADA! S. KRISHNAN - MUSICIAN : (20th Century)
A distant relative of Subramanya Bharati and Ettayapuram Ramachandra
Bhagavatar, guru to Pushpavanam, Krishnan carries the honorifics
Sangitaramya Kokilam and Sangita Sahitya Vidwan. He brought out a book
containing Bharati's songs titled 'Bharatiyar Padalgal' In tamil.
* * * * *
Farewell
Tyagaraja heard the song 'Paramatmudu ' (Vagadeeswari) before attaining eternity,
while Muthuswami Dikshitar discarded his mortal coil as he was hearing 'Meenalochani
Pasamochani ' - Meenakshi (Gamakakriya). Many illustrious musicians left in peace
diluting their earthly existence in divine songs of their liking. Sangameswara Sastri died
playing Ananda Bhairavi on veena. James H. Cousins wrote to Rukmini Devi Arundale
that Tiger Varadachariar wanted to be sung to as his end was nearing. He was engulfed
in bhajan till the flames engulfed his mortal remains.
172 ANOTHER GARLAND
PROF. T.N. KRISHNAN - VIOLIN VIRTUOSO: (b.October 16, 192i
' Now loudly let the viol sound;
The lute send out its voice with might. ' — (XCII. Atharva Veda)
There is vibrant, emotional warmth, technical precision and perfection in h
delightful melodic rendition. The serenity and tonal virtuosity are soothing ar
endearing. Evocative improvisation and nuances, tantalizing subtlety with clarii
providing absorbing interest in the listener mark his concerts. His impeccabl
smooth bowing blends severe classicism with depth and fluency with polisf
SVK once noted, 'his notes glisten with Carnatic lustre and every phrase inth
alapana stands dipped with Carnatic sweetness. The use of the full bo\
produces deep-toned music enriched with gamakas with resultant grandeu
and grace'. Above all, there is his dignified presence on the stage free fron
any tinge of mannerism, exuding confidence, cultured decorum and robus
refinement, a personification of perfected knowledge. This is Prof. T.N. Krishnan,
formerly Principal, Central College of Carnatic Music, Madras and now Head
of the Department of Carnatic Music, University of Delhi.
Born at Parur as the eldest son of Narayana Ayyar and Narayani Ammal,
T.N. Krishnan had his initial training in music under his father and later with
K. Parthasarathi Ayyangar and Dr. Semmangudi Srinivasa Ayyar, to whom alone
the distinguished professor provided accompaniment long after he switched
over to solos as a mark of his respect. Krishnan drew inspiration from the play
of the renowned violinist of yester years, Papa Venkataramaiah in 'shaping his
aesthetically rich and pregnantly gamaka-laden style'. His innate genius
expressed itself very early and he commenced giving accompaniment from the
age often. He became popular quite soon and an incident could be quoted in
this connection. Guru Srinivasa Ayyar was giving his concert at the Hindu High
School, Triplicane in the forties probably for the Parthasarathy Swami Sabha.
Exhilarating rendition by tender-aged Krishnan thrilled the audience and
evoked frequent applause. The vocalist guru intervened to say that while
appreciation would do good, lavish presents of the same might mar the career
of his young ward as he was then at an impressionable stage of development.
The admiring audience understood and checked its emotional propensity. It may
be mentioned that in those days applause was EARNED and reserved only for
the very best rendition and that the present practice of applauding every phrase
and every time as in tennis courts had not invaded the concert halls.
he:
Prof. Krishnan has robust views on current trends in the music world. Says
' I look forward to anything innovative in music, because variety is the need of the
day... Listeners welcome change. It is a challenge and only enriches traditional music
when new areas are explored and styles tried out. In fact I play Western pieces in my
concerts sometimes... Thinking should not stagnate. '
ANOTHER GARLAND 1 73
It should not be thought that the Professor has given a carte blanche to
practitioners. He, actually, insists on conscious efforts at innovative exploration
in full knowledge of what one seeks after and how. Here is the rider to his
observations which by themselves would be termed revolutionary in
conservative circles:
' There is only one thing, however, which is that the young should also be sufficiently
educated about the traditions they inherit and the conventions they break, '
Prof. T.N. Krishnan has made his enlightening clarification at the Talavadyotsav
'92 at Bangalore in the presence of a large number of artistes;
" Musicians should get away from the habit of singing a large number of compositions
mechanically, but using the songs as the bases, seek to project the image of their ragas.
I am adopting this approach in my solo recitals and probably due to it, they attract North
Indian listeners in large numbers to my concerts. "
In the context of the need for some reorientation to revitalise Carnatic music
to* involve greater audience receptivity and Prof. Krishnan's learned
observations, the following statement of Georges Enesco, Yehudi Menuhin's
master, may be found interesting:
'Virtuosos ! Poor devils ! They are just like convicts (condemned to hard labour), martyrs...
some times saints... '
(It should be noted that Yehudi Menuhin had great regard to Enesco and
said, 'Everything I do carries his imprint'.)
In Indian music, T.N. Krishnan refers to jugalbandi among areas where new
techniques can be tried. He says:
1 1 have played with Pandit Ramnarayan sarangi, Ustad Amjad Ali Khan sarod, Pandit
Hari Prasad Chaurasia flute, Debu Chaudhury sitar and my own sister Rajam who plays
Hindustani music on violin. In the Camatic tradition I have played with Doreswami
Ayyangar veena. I have enjoyed these..particularly with the sitar and sarod.. .There is
a better synthesis between the plucked instrument and the bowed ones perhaps
because of the variety it bffers. '
He has a note of caution to artistes performing in jugalbandis that it is
important that each should keep to his style and not cross territories in which
case it could be disastrous. 1 am not against jugalbandis. People like it. Of
course, due concentration and effort to bring out the salient features should be
there/
Honours & Titles:
Tenali Sangeetha Sabha Vayuleena Ratna 1 950
Music Academy, Madras Sangita Kalanidhi 1 980
President of I ndia Padma Sri
1 74 ANOTHER GARLAND
Sangit Natak Akademy, Delhi Award 1 974
Karur Sangeetha Sabha Honours
Ganapathy Sacchitananda Sabha,
Bangalore Violin Ratna
Tantri Vilas
Sankaracharya of Kanchi Mutt Honours 1 980
Mylapore Fine Arts Sangita Kala Nipuna
The Academy of Music, Bangalore Chowdiah Memorial National Level
Award 1 983
TTD Devasthanams. Asthana Vidwan 1 977
Kalasagaram, Secunderabad Kalasagara 1991
President of India Padma Bhushan 1 992
Sunada Tantri Vinodaka Srimad Andavan Swamigal 1 992
Saptagiri Sangita Vidwananmani Tyagaraja Trust, Tirupati 1 992
Concert Tours:
United States of America (8 times)
United Kingdom
Australia to preside over the Asian Music Symposium sponsored by the Australian
Society for Indian Music, Sydney - 1979.
USSR, Singapore, Malaysia, Sri Lanka, etc.
Posts Held:
Professor of Violin, Tamil Nadu Government Music College - 1 964- 1 978.
Principal, Tamil Nadu Govt Music College, Madras - 1978-1985.
Head of Carnatic Music Section, Faculty of Music and Fine Arts,
Delhi University - 1 986 onwards,
Vice Chairman, Sangeet Natak Akademy, Delhi - 1 992 onwards
T.N. Krishnan has occupied several other important assignments such as -
Chairman, Audition Board, Sri Lankan Broadcasting Corporation
(deputed by AIR, New Delhi).
Member, Board of Examiners of some Universities.
Member, Experts Committee, Music Academy, Madras.
Executive Board Member, Sangeet Natak Akademy, Delhi (two terms)
Visiting Professor, Centre for World Music, Berkeley, USA.
Disc Recordings: Quite a number.
A child prodigy T.N. Krishnan hails from a musical family. Apart from his
father-guru, his grandfather Appadurai Bhagavatar of Tiruppunithura was a
musician. His sister Dr. N. Rajam, an eminent violinist and SNA award winner,
is the Head of Department and Dean, Faculty of Arts, Benares University.
Daughter Viji Krishnan and son Sriram often accompany their father on violin in
his solos. He had the opportunity to provide accompaniment while quite young
to eminent stalwarts of the day like Ariyakudi Ramanuja Ayyangar and Chembai
Vaidyanatha Bhagavatar and was on the All India Radio at the age of ten.
ANOTHER GARLAND 1 75
There was an element of drama in the Music Academy conferring the
prestigious title of 'Sangita Kalanidhi' on him in 1980. For the first time, some
members of the Experts Committee, which was then in charge of choosing the
candidate, are stated to have gone around collecting signatures for another
artiste. Suddenly a concerted pincer movement was set in motion and
Prof. T.N. Krishnan carried the day in the ballot and was selected. It was
perhaps the solitary occasion when the ballot settled the issue!
Prof. Krishnan enjoys a reputation for virtuosity and thrilling classical
rendition. An Award rightly describes that 'in his hands, the instrument exudes
a sweet tonal quality which imparts an indefinable charm to his playing. His
performance style is closely modelled on vocal music*. The nadha that he
produces from violin is suswara incarnate. While felicitating T.N. Krishnan,
C.V. Narasimhan mentioned on 13 ,07.1992 that the celebrated violinist had
provided accompaniment to his vocal concerts and humourously added that
they were cases of the tail wagging the dog. He said:
' What moves you and touches your heart is Suswaram ; and Krishnan is an
embodiment of Suswaram. When he touches the shadja, it is ambrosial suswaram.'
Prof. Krishnan is presently Vice-Chairman, Sangeet Natak Akademy, Delhi
and it is hoped that he could find time to give the benefit of his rich, varied
and weighty experience to guide the affairs of that premier institution.
BIDARAM KRISHNAPPA - VOCAL MAESTRO: (1866 - 1931)
An account of the life of Bidaram Krishnappa, one of the finest of musicians
who adorned the musical horizon in Karnataka, finds place at pages 131-132 of
A Garland. Additional details are furnished hereunder.
Distress while young:
Young Krishnappa came home crying for food. Drowpati of Mahabharata
had by chance left a particle of food in the vessel for Krishna to stifle Sage
Durvasa's hunger and prevent a catastrophe. But poor Saraswati's lot did not
enjoy even that much of blessedness and her Krishnappa was no Krishna either
to invoke divine powers! She shed copious tears of grief. The lad ran to the
nearby Anjaneya temple and dozed off singing Devaranamas on an empty
stomach. Dr. Nanjundiah who chanced to see him gave him a rupee. The boy
would go over there and earn a Ijjtle by singing daily.
Fortune dawned when sahukar Thimmayya heard him and was impressed
by his music and personality. He was struck by the pathetic lot of Krishnappa,
took him to Karur Ramaswamy, a musician and told him :
we ANOTHER GARLAND
'Well, you must teach this boy musia Pray accept this hundred rupees now. Rxupthe
nearest auspicious day and commence the tuitions. Let it be my responsibility to see
that your efforts do not go without a reward. '
It was a magnificent gesture which placed him on the sure path to ultimate
glory. Krishnappa never forgot his distress later and devoted three-fourths of
his time to teach his disciples passionately. 'Let them not suffer that ordeal that
had been my fate before', he believed. Probably that was the reason why he
was harsh to Chowdiah having found in him a worthy violin wizard-in-
the-making.
Elephantine bluff:
An interesting incident involves both Krishnappa who has done real acting
and Mysore Vasudevacharya. The circus elephant walks on two legs and when
the circus-master turns his back, the mammal resumes to walk on all fours to
the amusement of the gazers. Krishnappa and Vasudevacharya had to enact a
like drama to throw dust in the eyes of their patron Maharajah of Mysore to cover
up their ignorance! It was float festival on Chamundi Hills. The ruler asked them
to sing the Dikshitar kirtana 'MaHishasuramardini' (Narayani). Here is the
account of what transpired in Vasudeva's words:
1 Neither of us knew the kirtana. Dodda Venkataramaniah, violinist knew the trend of the
pailavi alone and sang it for us. Oh! that was enough! When the float moved away
from the bank where His Highness was seated, we mugged up the pailavi otthe kirtana
As the float neared him, we started singing kalpana swaras to the pailavi - one avarta
each. When the float drifted away from him, we kept quiet! God spared us! '
How effective was the succour of God?
1 Next day, His Highness called us both and said, "You sang the pailavi of the kirtana
excellently. But we should like to hear the full song as well. Please learn it fully and
sing day after tomorrow! " His Highness smiled knowledgeably and our pale faces
managed to put on an artificial smile !.
The man:
His recital in the temple at T.Narasipur did not gather momentum. He was
visibly uncomfortable. An old admirer fathomed the reason for the lack of warmth
in his singing and held out a pinch of snuff in the most professional manner.
Krishnappa's face brightened. Immediately self-respect and concert decorum
intervened and asserted to annihilate the temptation and Krishnappa said,
'Kindly excuse me, Sir. I have given up snuff'.
And it was not a statement of the occasion. To live up to the averment, he
snuffed it out of his life! That was the man and his tenacious character. (But that
did not lead to fluctuations in the snuff-market! Semmangudi Srinivasa Ayyar,
the vocal maestro stepped in to use snuff to clear his nasal obstructions!)
ANOTHER GARLAND 1 77
Unrealised wish:
Krishnappa cherished a wish to go abroad to exhibit his expertise and the
charm of Carnatic Music. Astrologers assured him of splendid chances. He died
on July 29, 1931 with his unrealised wish cremated with him! A most colourful
personality, Krishnappa strode through the streets for a copper while young as
a child of poverty and neglect but lived to be a Caesar, a colossus among
musicians and admirers.
N.S. KRISHNASWAMY AYYANGAR - VOCALIST: (b January 31, 1914)
A distinguished disciple of Kanchipuram Naina Pillai and Tiger
Varadachariar, Krishnaswamy Ayyangar learnt raga alapana, etc., by following
Naina Pillai to his concerts. He was voice - support at many of his guru's
performances. Asampradaya vidwan, he used to present at each of his concerts
at least one new song and a rare raga. Was on the teaching staff of Kalakshetra.
A respected senior vidwan, he is known for presenting traditional aesthetics of
ragas and his raga alapanas are rich and comprehensive.
MAHARANA KUMBHA (KUMBHAKARNA) - MUSICOLOGIST: (1433 - 1468)
An illustrious ruler of Mewar, Maharana Kumbha ascended the throne on the
assassination of his father Mokal. He belonged to one of the foremost
celebrated royal families of Rajasthan and is a historic figure in the annals of
Rajasthan. Tilhabhatta was his preceptor. A Saivite, he was very tolerant. He
has authored quite a number of works like
Rasikha Pr/ya, a commentary on Gita Govinda,
Rasaratnakosa,
Sangitakrama Dipika, and
Sangita Mimamsa or Sangita Raja.
The work Sangita Raja is perfect in its exposition and elucidation of intricate
musical problems and is remarkable for its wealth of details and illustration, says
Dr. Prem Lata Sharma who has edited the work for the Benares Hindu University
(published in 1 963). The work is mutilated in parts and, as usual with such great
works, some credit an unknown Kalasena with its authorship. The great cultured
scholar-king had sifted traditional materials critically and has intelligently utilised
them. His style is expository and disputatious. The conception of the plan of
the work is original and grand. His theories and concepts are traditional/
Sangita Raja is an encyclopaedic work on the science of music, dance, musical
instruments, theory of rasa, etc. in five khandas containing 16000
178 ANOTHER GARLAND
sloka-measures. It is a matter for regret that the remarkable work was in th<
dark robbing it of its merit and use for five centuries.
It is said that the name 'Kumbhakama' carried no wrong attributes with it ii
the past Maharana Kumbha enjoyed titles like Chapguru, Todarmal am
Abhinava Battacharya.
S.R. KUPPUSWAMY - MUSICOLOGIST: (b. September 27, 1914
Place of birth ; Ayyampettai near Tanjore
Parents : Ranganatha Ayyangar & Ranganayaki.
General Qualification : Graduate of the Madras University
Musical Training and Learnt Carnatic music under Eddu Ramudu Bhagavatar,
qualification : a direct disciple of Tyagarajah.
Learnt Hindustani music from S.N. Bhattacharya of the
Benares University.
Master of Music degree from U.S.A.
Sangeethacharya degree from All India Vidwat
Sammelan, Aligarh University in 1951.
Posts held : Lecturer in Music at the Arts College, Sri Ramakrishna
Vidyalaya, Perianaickenpalayam.
Research Student in Music, Madras University.
Examiner for Music Examinations held by the AH India
Vidwat Sammelan.
Member, Local Audition and Advisory Committees,
All India Radio, Coimbatore.
Journals edited:
Karnataka Sangeetham, a monthly music journal and Tamilisai, a monthly journal.
S.R. Kuppuswami was very active in the music world and his activities were
multi-sided. He had conducted research studies on the importance of music in
an!?r.ltamif and sanskrit "texture and had participated in vocal programmes
and talks on music. Has composed songs in Sanskrit with swara notation. The
two journals he edited were popular.
Publications:
A Short Survey of Music of North and South India (1947) and
Noodhana Tamil Sahityangal. S.R. Kupppuswami hopes his script on
Music in the days of Kalidasa1 will soon be published.
Title: Karnataka Sangeetha Mani by the Meikandar Kazhagam, Coimbatore.
ANOTHER GARLAND 1 79
ADYAR K. LAKSHMANAN - MULT! - FACETED ARTISTE:
(b. December 16, 1933)
Adyar Lakshmanan is a fine specimen of ' Sangeetha ' of Natya Sastra
connotation in combining vocal music with mridangam and bharata natyam -
each with true merit and knowledgeable grace. Kalakshetra moulded him to
flower into a complete and comprehensive artiste who gives vocal concerts,
takes part in dance-dramas, trains quite a number in bharata natyam, etc. He
is a vocalist, dance artiste, mridangist and nattuvangam all in one. He has taken
a major part in the famous dance-dramas of Kalakshetra along with the
celebrated Dr. Rukmini Devi, its founder and under her direction. Apart from
providing nattuvangam to his own patron-tutor Rukmini Devi, he has provided
nattuvangam practically to the entire galaxy of dancers who adorn the stage.
Place of birth : Kuppam (Andhra Pradesh)
Parents : N. Krishnaraja Rao & Godhavati Bai
Qualification : Matriculation
Higher Grade Exam in Carnatic Music of the
T,N. Directorate of Technical Education.
Diploma in Bharata Natyam & Mridangam
from Kalakshetra in 1954.
Post-graduate Diploma in Nattuvangam
from Kalakshetra in 1 964.
Teachers for vocal : Visweswaraiyah of Tiptur,
music The galaxy of musicians who were at Kalakshetra like
the Tiger, Mudicondan, Budalur and Vasudevachar.
Training in : Rukmini Devi Arundale, Saradamba Ammal, etc.
Bharatanatyam
Training in : Vittal Ayyar & Karaikudi Muthu Ayyar.
Mridangam
He had intensive training in nattuvangam and kathakali and rich experience
even while he remained with Kalakshetra. Was teacher for music, bharata
natyam and mridangam in it and Chief Instructor, Natyalaya, Madras. Presently
he is Director of 'Bharata Choodamani' founded in 1969 by him which throbs
with the fragrance of the graceful art.
Concert tours :
USSR, Europe, USA, Australia, Sri Lanka,
Singapore, Malaysia, Pakistan, Guyana.
Africa is the one continent he is yet to grace.
t go ANOTHER GARLAND
Honours & Titles :
UNESCO Mandram Award for nattuvangam & brilliant compositions 1 97O.
Kalaimamani by IN. Eyal Isai Nataka Mandram 1 981 .
Padma Sri by the President of India 1 989.
Sangeet Natak Akademi Award 1991.
(besides other titles)
T. LAKSHMANA PILLA! - MUSICOLOGIST/COMPOSER; (May 3, 1 864 -
July 23, 1950
The Man:
Known for his high integrity and honesty, modesty and methodicity
T. Lakshmana Pillai was a bridge between malayalam and tamil, east and west
A graduate in arts, he was religious; was a thinker and humanist,
Dr. S. Venkatasubramonia Ayyar mentions that Lakshmana Pillai was a
sensitive poet and a serious moralist, that he was a stickler for tradition and a
musicologist of merit, Was a strict vegetarian and was a respected figure in
Kerala and Tamil Nadu. His house buzzed with the visits of eminent men and
women like Rabhindranath Tagore, Sarojini Naidu and Maha Vaidyanatha Ayyar
His ancestors hailed from Tiruchendur.
Place of birth : Trivandrum
Parents ' Thlraviam Pillai and Valliammal (Balaramavalli)
Musical training ; pappu Pillai (a Nair who commanded an impressive
under vo'ce and who was a terror to other musicians for his
aggressive rendition), Velu Pillai and Picchu Bhagavatar.
Sathu Bhagavatar was an inspiration to him.
Occupation :
Service and 'Nadopasana' ran concurrently in his life. Was in the Travancore
U 1 Waf ! Maj°r TreasurV Offi^r last. If he accounted for
°r mUS''CianS and comP°^s, ragas and swaras
t0 mUSI'C' he had his Peer ^ Vedanayakarn
office uhmPi/ ^anayakam Pi"ai had a tumultuous career in
S T "ke the de'taic river runnin9 to its b""m, smooth,
UnCha"en9ed Both were scholars in tamil and eminent
The Musician:
to do«i!!£? ^ T" When his Voice failed in 1 91 5, he had
in M. Seshagiri SaS^too 3nH eXHP'°ratlon and expression. He had his mentor
Sastry told Nm ^ and Pa>d heed to his advi^ to avoid excessive trills.
ANOTHER GARLAND 181
1 Ravais (trills) should find a place in songs only as a diamond in a necklace. Diamonds
should be used sparingly for artistic effect and they should be set off by gems of other
colours to relieve monotony of too many diamonds. '
The Composer:
The sincerity and integrity of Lakshmana Pillai will be seen in his writings.
He shares his rich experience when he writes :
' I wanted to compose a song in Todi but all my new ideas seemed to resemble one or
the other of Tyagaraja's who seemed to have exhausted all the potentialities of the raga !
I gave up the attempt in despair. Later, after six months, a strain occurred all of a
sudden of Todi without Panchama.,,'
His 202 songs 'possess rich imagination, new thoughts and lofty ideas'
— (Dr. U.Ve. Swaminatha Ayyar). He composed songs in chaste tamil on
ethical, devotional and philosophical themes, mostly in rakti ragas and
demonstrated that tamil as a language is as good as any other for lyrics. He
was the first to compose in raga 'Amarasena Priya1 - a janya of Nitimati (60th
mela), reportedly named after the philosopher Emerson. All his songs with
notation and essays have been published. Swara notation was done by him,
his daughter and disciples. His daughter Lakshmi Narayanan Nair, Professor
of Music, Women's College, Trivandrum, Gayanapatu Kirthanapatu C. Saraswati
Bai, Ranganatha Ayyar, N.C. Vasantakokilam and Padmanabha Ayyangarwere
among his distinguished disciples. Veteran M.S. Ramaswamy Ayyar called him
' Tamil Tyagaraja '.
A musicologist of eminence, he published in 1918 a volume of essays on a
variety of subjects. His rich, analytic, imaginative mind identified the finer
characteristics of ragas thus:
Todi : Represent the majesty of a stately king parading his
Bhairavi pomp, glory and his lofty passions - a grand and sub-
lime spectacle.
Keeravani
Vasanta
Mohanarn
Poorvikalyani
Huseni
Nagaswarali
Begada
Nadanamakriya
Neelambari
Kambhoji tender devotion with prayers and tears.
Project the serene and subdued life of a sage in a lonely
forest contemplating the universe.
Suggest a coy maiden hiding her lover as a rose does
its blooming petals beneath its bower of green.
Fascinating for its sadness, like a maiden estranged
from her lover.
Argues, resents and remonstrates.
Calm, thoughtful like a philosopher.
Submissive and imploring, melting into streams of
1 82 ANOTHER GARLAND
'Each raga comes and goes with its store of smiles and tears, passion or
pathos, its noble and lofty impulses and leaves its mark on the susceptible mind.1
Honours & Titles :
Tamil Kavi Arasu by Annamalai University.
Sangita Kala Sikhamani by admirers.
Member, Travancore Legislative Assembly.
Lakshmana Pillai's writings bring to focus the musical heritage of the South,
more particularly of Travancore, and the lives of many great men who would
have been forgotten but for him. He was a musicologist and composer of
eminence. T.L Venkatarama Ayyar identifies him as a pioneer composer of
tamil songs fulfilling the requirements of classicism and the demands of
concerts.
1 We have keerthanas of the classical type by Papanasam Sivan and Kotiswara Iyer; but
the compositions of Pillai date back to 1893 long before the present renaissance in
classical tamil music and Pillai can well claim to the first in the field. ' — (T.LV.)
Lakshrnana Pillai was a gentleman to his fingertips, a tamil scholar, poet,
composer, essayist and a pioneer in various fields. His sane views on Tamil Isai
(extracted in Part I) are commendable.
P.S. LAKSHMI - GOTTUVADYAM ARTISTE (b.November 29,1925)
Place of birth : Tirupati
Parents : Chivukula Subramanyam - Subbaratnamma
Training in music : Under Balakrishnaiah, violinist
Debut in : 1 947 - Prize-winner for violin recital at the Music
Academy, M.S. Gopalakrishnan being the other prize-
winner then.
As a violinist, she has been accompanying artistes on the All India Radio and
at sabhas. Since 1949, she switched over to gottuvadyam, convinced of its
appeal when she heard Mannargudi Savitri Ammal on the instrument. She has
been giving gottuvadyam performances since then.
Lakshmi celebrates the 'monthly Panchami' festival for Tyagaraja. At the
Annamacharya festivals at Tirupati, she has been giving vocal concerts with her
sister, C, Indramani. Thus P.S. Lakshmi enjoys the unique distinction of being
a vocalist, violinist and a gottuvadyam artiste.
ANOTHER GARLAND 1 83
PALANI S. LAKSHMINARASIMHA IYER - NAGASWARA ARTISTE:
(b.: c.1940)
Place of birth : Sikkil, a pilgrim centre.
Parents : N.Srinivasa Sastrigal & Kamakshi Ammal.
On his mother's side, Lakshminarasimha Iyer is a scion of the family of the
celebrated Uthukadu Venkatasubba Ayyar and quite fittingly had his musical
training during 1950-58 with his uncle Needamangalam Krishnamoorty
Bhagavatar who popularised the songs of his ancestor. Lakshminarasimha
learnt both vocal and flute. His musical appetite longed for something unique.
During 1960-66, he had training in nagaswaram with Kivaiur N.Q. Ganesa Pillai.
On completion of his training, he found it difficult to play on nagaswaram with
his guru in the alluvial Cauvery delta owing to social antipathy to a brahmin
playing on nagaswaram - quite an unheard of event. Kurinji may flower;
Mahamakham and Maha Mela may be celebrated - all once in twelve years. But
a brahmin to play on nagaswaram is an event of a century ! So Iyer had to shift
to the more congenial hilly tract of Palani since the presiding deity there, Lord
Dandayuthapani raised little objection to a brahmin playing on nagaswaram
since He himself has settled there as a recluse embittered at the loss of a fruit
in a battle of wits with his intellectual elder, Lord Ganesha !
Iyer had been giving concerts having made his debut at the Krishna Gana
Sabha, T. Nagar followed by three hundred concerts at different centres and
sabhas all over India. He has been a music teacher at the Ghatam Krishnayyar
Music School, A. Kalayamputhur, Palani for the last two and a half decades. A
traditionalist, he has come up for praise by critics and music lovers.
Honours & Titles : Swami Haridhos Giri appointed him as the Asthana
Vidwan of Sri Gnananandha Swamigal Mutt in 1 974.
Nagaswara Surabhi by Sri Nagaswarali Sabha on
25.11,1982.
Nagaswara Jyothi by Swami Haridhos Giri on
31.12.1982.
Honoured by the Kanchi Kamakoti and Sringeri
Sankaracharyas.
Concert tours : Malaysia and Singapore in 1 984.
Disc recordings :
VAIRAMANGALAM LAKSHWIINARAYANAN - VOCALIST: (b.Octr. 13, 1928)
Bom : at Vairamangalam.
Studied upto : S.S.LC. at Madras and Tanjore.
1 84 ANOTHER GARLAND
Musically inclined, he took part in school competitions in music and drama
with credit. In 1948, he joined as a disciple with the late Kalaimamani
T.K. Rangachari and was with him as his voice- support for long. Made his debut
at Tanjore at the celebrated Bangaru Kamakshi Amman temple with which
Syama Sastri of the Trinity was connected. Lakshminarayanan has received
awards from the Music Academy in 1 973 and 1 981 and has been giving concerts
since 1 955 on the All India Radio and at sabhas.
He is also a lecturer (part-time) in Kalakshetra and is noted for his crisp
presentation and satisfying voice.
Concert tour : USA and Canada 1 987.
LAKSHMIRATNAMMAL - VOCALIST: (c.l 888 - July 29, 1 940)
Daughter of Veenai Dhanammal and younger of the Dhanam Sisters, (the
elder being Rajalakshmi), Lakshmiratnammal was a specialist in padams and
javalis. Since the house of Dhanam was the favourite haunt of musicians for
long, Lakshmiratnammal had her training not only under her illustrious mother
but also under Tiger Varadachariar, Puliyodarai Krishnamachariar, Mysore
Krishna Ayyangar, Pattabhiramiah and Dharmapuri Subbarayar, the last of
whom was a great admirer of Dhanammal. Learnt Hindustani music from the
celebrated Khan Saheb Abdul Karim Khan. She sang for Mylapore Gowri
Ammal's bharata natyam also. She was carried away by the floods in the
Cauvery during the Aradhana at Tiruvaiyaru in 1 937 but thanks to two musicians,
she was saved. She took part in all the festivals and commanded respect from
the public and musicians.
LUDWIG PESCH - FLAUTIST: (b.1955)
123 years after Johann Wolfgang von Goethe left, Ludwig Pesch was born
at Bruchael in the then West Germany probably to give a reorientation to
East-West Musical Synthesis. He has an irrepressible will to succeed in
endeavours on unbeaten paths. He is no idle adulator but is an action- oriented
pioneer in the field of music and culture.
His 'Raga Dhana* or Practical Guide to Karnatic Ragas (1 986) is a compact
compilation of the raga lakshanas of 31 6 Carnatic ragas to trace mela and janya
ragas using a number system for enlightenment on the arohana and avarohana,
This pocket guide is informative to all.
Pesch was a co-sponsor of ' Sarnpradaya ', a thriving, throbbing centre at
Madras for music traditions of South India. The centre, started in 1986,
ANOTHER GARLAND 1 85
compiles, records, documents and propagates musical traditions which are
personality-oriented. It is open to the public for reading and hearing recorded
songs, interviews, etc., which are all very valuable. It also propagates chamber
music without amplification. The project is unique and is well conceived for the
promotion of chaste classical music and preservation of the rendition of great
masters.
Yet another landmark at Madras owes its existence to Pesch. It is the
'Sittarangam', the Small Theatre Madras (1987). Artistically designed, it is
simple, traditional and inspired by temple halls and descriptions in Natya Sastra.
It is described as a 'hermitage of monastic simplicity and beauty', This
mini-theatre was got up by Pesch with the technical support of his friend,
Dehghan.
A guide, an institution and a mini theatre are solid achievements but they do
not exhaust his advent. He has become a competent and complete classical
Carnatic flautist who has drawn praise from the media and the public, His
rendition is chaste and captivating and brings out the bhava and rasa of the
sahitya (text). He has given quite a number of concerts in India and abroad
drawing copious encomia. If Jon Higgins, the vocalist came from the States,
Pesch, the flautist has come from Germany. Pesch is a disciple of veteran
H, Rarnachandra Sastri of Kalakshetra, Madras where he got a First Class
Diploma and did his post-graduate studies. Earlier he had his studies in Western
music at Freiburg Musikhochschule and University. In 1981 he made his debut
as support flautist to guru H. Ramachandra Sastri and soon started giving
independent performances too. It is a tribute to the intense dedication and
robust culture of Pesch who came to India as a stranger with nothing but love
of Indian music, a passion to master it and a will to make an impressive grade
too. He was not content to be a mere ' also-ran '. Young Pesch has done
extensive photographic documentation of traditional South Indian music in its
cultural contexts availing of the assistance of ICCR, DAAD (German Academic
Exchange Service) and International Lalit Kala Foundation, Santa Barbara,
USA. He is an active cultural ambassador who has emotionally integrated
himself to the pristine glories and traditions of South Indian music and is now a
golden link with the West.
LOKA NARAYANA SASTRI - MUSICIAN:
A disciple of Wallajahpet Venkataramana Bhagavatar, Narayana Sastri is
credited with the pioneering publication of Tyagaraja's operas.
1 86 ANOTHER GARLAND
M
MADURA KAV1 BHARATi - (died 1806)
Son" of Ganapati Subbayyar, Madura Kavi Bharati hailed from Perungarai in
Ramnad District, a bee-hive of eminent composers in tamil like Kavi Kunjara
Bharati and Kotiswara Ayyar who composed the 72 melakarta raga songs.
Madura Kavi had inspired Kunjara Bharati in his poetical pursuits. His puissant
genius was recognised by the Raja of Ramnad and the title 'Madura Kavi'
(Honeyed Poet) conferred by him.
C.WL MADURANATH - FLAUTIST: (20th Century)
Maduranath is one of the performing flautists of Karnataka in traditional
style. He had the good fortune of learning under the celebrated TR.Mahalingam
(Mali) and pursues his style of rendition. Hails from Tumkur, a prominent town
in Karnataka. Leading artistes have provided accompaniment to Maduranath.
He runs a music school at Bangalore specifically to train flautists.
Concert tour: Europe
T.R. MAHALINGAM (alias MALI) - FLUTE PRODIGY: (Novr.6, 1926 -
May 31, 1986)
It is the privilege and sagacity of a chosen few to conjure up grand classical
visions of supreme sublimity presenting beauteous graces and portraying
graceful beauty. They open up magnificent vistas of art, enchant the
congnoscenti and the lay. The spell outlasts their periods of glory and fame.
Sarabha, the flautist, Maharajapuram Viswanatha Ayyar and Pushpavanam, the
vocalists, T.N. Rajarathinam, the nagaswara player and S.G. Kittappa, the
dramatist are specimens of this legendary galaxy. To this aristocracy of art
belongs T.R. Mahalingam, popularly called Mali. When Sarabha left after two
and thirty years in 1904, there was a vacuum with Palladam Sanjiva Rao and
others holding charge. It was left to Talagnayar in Tanjore district to present
after the lapse of two decades a flute prodigy who staged a quick and massive
presence, plundered the hearts of music-lovers and looted all praise! His
debut was immediate in 1933 at the age of seven at the Tyagaraja Festival,
Mylapore. Like the eastern sun which shoots out sans twilight on the Marina,
there was no period of apprenticeship or vegetating. The lad came with his
magician's play on the bamboo flute and was crowned king!
ANOTHER GARLAND 1 87
His exhilarating flute-play dwarfed the mature, sedate play of Palladam
Sanjiva Rao, who, incidentally, did not evince interest earlier in taking the boy
as his ward. There is no account of Mali following the footprints of Ekalavya but
like Uthukadu Venkatasubba Ayyar, he was his own master - with the difference
that Mali could not emulate the Uthukadu pattern of sublime private life!
Music-lovers thronged Mali's concerts. An eka santha grahi, he saw the
contours of raga shapes on the horizon and developed his play pouring out
enchanting, titillating alapanas and swaras with the support of his tender lungs. -
His melody blitzkrieged the music world and the audience sat soaked in
transcendental melody, chaste and warm, mind and body tuned to the vibrant
but soulful music. Like Veena Balachander, Mali 'is credited with evolving a style
close to vocal rendition that took care of the sahitya and the bhava conveyed
therein. Says his renowned disciple and flautist Dr. N. Ramani:
1 The secret of his success was his adopting a special technique of cross-fingering of a
compound(character and his superb command and grip over laya. His music was akin
to the royal style, a departure from that of his predecessors., .his nimble fingers caressed
the curves, flashed out the glories of swara prastara in striking succession. His
technique was remarkable resulting in a rich tonal quality. '
Mali's rendition enraptured the audience and he was a legend as a teenager.
Verily a divine messenger in Carnatic music, he knew its boundless dimensions.'
Son of Ramaswami Ayyar, Mali was born at Tiruvidaimarudur and learnt
vocal music from Jalra Gopala Ayyar along with his elder brother Gouthaman.
He switched over to flute soon. His ascent to the top centre stage was so quick
and dynamic that there was difficulty in finding accompaniment as juniors felt
dazed while seniors were ill at ease to be sidemen to a boy! Quite soon,
reluctance of seniors gave place to a rush to participate in his concerts!
Mali - Palghat Mani were the select top pair like Miller - Lindwall or
Prasanna - Chandrasekhar in cricket and S.G. Kittappa and K.B. Sundarambal
in drama. There was perfect identity of approach, anticipation and understanding
between the two colossuses in presenting, rhythm supported melody, vibrant
music each prodding and complementing the other. The identity did not rest with
partnership on the concert stage and forming a grand alliance. Both were
prodigies; both shot into fame like the Caesar's veni, vidi, vici; and both left this j
planet in the month of May! It is perplexing that unpredictable Mali and stoic
Mani could forge an enduring partnership. They were poles apart in personal
traits and yet they understood and appreciated the artistic merits of each other
well.
Mahalingam left a rich crop of disciples in Dr. N. Ramani, Dr. Prapancham
Seetharam, T.S. Sankaran, N. Kesi, Dindigul Natarajan, N.S. Srinivasan,
K.S. Narayanan and L Sundaram.
1 88 ANOTHER GARLAND
Mali was a good violinist too and had provided accompaniment to stalwarts
and given solos. Veterans had given violin support to him too. It was a challenge
to keep time to his devilrous play sometimes. It is said that AT. Kannan
committed an error once and Amjad Ali Khan had to request Kishan Maharaj to
keep the beats so that Mali could resume the concert, Dwaram Venkataswami
Naidu and Papa Venkataramayya, senior violinists were on cordial terms with
him.
Mali married Ellen Dryer of USA in 1974 and returned to India last in 1985,
The magnificent grandeur and clarity he commanded in music did not find a
sympathetic chord in his personal life, His punctuality was notorious. Kavignar
Kannadasan, a tamil poet of eminence used to say humourously, 'Emmadamayinum
sammadam; aanaal ennudaiya madam taamadam' (whatever be the religion, it is
the same to me; but my religion is lack of punctuality)! Mali was a staunch
devotee of the latter half of the dictum. When violin maestro Lalgudi Jayaraman
queried, 'You are cancelling engagements so often; if you do not like any, why
should you accept the offer at all?1, Mali enlightened him saying, 'How can i
cancel if I do not accept one?' and laughed away little conscious of the damage
to his image. Probably the fact that he was at the peak of glory while still so
young had upset the even tenor of his life and injected a massive dose of lack
of equilibrium, restlessness or discontent or distrust with himself. When as a
boy of ten, he found himself 'blessed with a tone, shaped into musical phrases,
risings and fullings by fingers directed by genius already mature', how could he
hold on for five long, long decades? He could rarely 'add to, or develop the
perfectly presented flute attributes! Mali probably faced the problem of the ...
tyranny of tone, a fulfilled unchanging flute language' coming in the way of his
musical expression and personal life. A spiritual outlook would have solved it.
Probably Mali did not invoke it. ( Vide Page 309 of A Garland.)
One has heard of Maha Vaidyanatha Ayyar declining to sing 'Giripai* stating
that it had become the property of Bikshandarkoil Subbarayar and of
Harikesanallur Muthiah Bhagavatar withdrawing his recording of 'Evarani' when
he heard S,G. Kittappa's rendition of that song. Mali joined this noble tribe when
he asked All India Radio not to broadcast some of his discs on the plea of lack
of standards ! A lofty deed in truth.
Disc recordings.
Concert tours :
UK, ITALY, FRANCE, USA.
Titles :
PadmaSri (1965),
Venugana Alankara,
Madurakala Praveena.
ANOTHER GARLAND 189
indescribable softness and exhilarating melody with crisp adherence to tala
and identity with sruti were the hallmark of his flute-play. Probably the world of
art lost much by his imponderable life.
TIRUVIDAIMARUDUR MAHAIINGAM PILLA! - PERCUSSIONIST:
(20th Century)
Parents ; Subramania Filial & Pattammal
Place of birth : Tiruvidaimarudur
Learnt Tavil under Tiruvalaputhur Pasupathiah Pillai and has given
accompaniment to several reputed nagaswara vidwans including
P.S. Veeruswami Pillai. He was honoured by the Tamil Nadu Eyal Isai Nataka
Mandram.
RAJAH MAHENDRA VARMAN I - MUSICOLOGIST: (590 - 630A.D.)
Mahendra Varman, the Pallava Ruler of Kanchipuram, figures in the life of
Apostle Appar for persecuting him and later finding himself converted to Saivism
by the same Appar. He was an expert in tamil music and was responsible for
the Kudumiamalai inscriptions in Pudukottai district. The main inscription
mentions the tamil pannsShadjaGramam, MadyaGramam, Gandaram, Kaisika
Madyannam, Panchamam and Sadarikam. Gramam is a group of tunes. Four
types of panns and the manner of singing them are furnished.
Dr. Mu. Arunachalam states that the classification of four types had
disappeared long ago, that the notes would seem to be both for singing and
playing on the yazh, The inscriptions occupy an area of 1 3' by 1 4' arranged in
seven sections with sub sections each comprising fifteen sets of four swaras.
Full swara notation for many grama forms which were then in currency are given.
One cannot but wonder at the vast musical knowledge of the ruler and his great
concern to perpetuate the same following the rock edicts of Asoka.
R. Sathyanarayana of Mysore Brothers, in his 'Kudumiamalai Inscriptions on
Music', states that the inscriptions are in pallava grantha script containing all the
headings and the colophon in samskrithi with a line in tamil at the end. The term
'Sankirna Jati ' occurring in the inscriptions is stated to be an honorific of the
king in recognition of his expertise. 'It contains quadruple groupings of musical
notes pertaining to the seven archaic suddha grama ragas... a precious evidence
of musical practices in ancient India.' Authorities cited include Bharata,
Matanga, Narada and Sarngadeva and contains musical data from puranas.
The inscriptions are stated to have given rise to different views and
interpretations.
190 ANOTHER GARLAND
A similar inscription at nearby Thtrumayam in Pudukottai district has suffered
damage badly.
MANGALAM : VEENA ARTISTE: (b. March 3, 1937)
Place of birth : Sivaganga (now a district headquarters. Whether
Papanasam Si van's 'Sivaganga Nagaranivasini' relates
to this place is not clear.)
Parentage : S.V. Subramanya Ayyar & Lakshmi Bai, a disciple of
Pallaswami Raju and daughter of Flautist Kothandarama
Ayyar.
Musical training : Initially with mother; later under Visalakshi, Rishi Valley
School.
Debut : At the Shashtiabthapoorti of C. Ramaswami Ayyar.
Mangalam Muthuswami has been giving veena concerts in India and abroad
and on the AH India Radio, including a series of recitals for the benefit of refugees
from Bangladesh. Gives vocal concerts too and her play on veena 'exudes firm
grasp, depth and clarity'.
Concert tours : Singapore, Australia, Middle East.
Award received ; Surmani Award of Sursagar Samsad.
Posts held :
Faculty Member, Baratiya College of Music and Fine Arts, Bombay (1978 - 1 986)
Faculty Member, Sri Shanmukhananda Fine Arts & Sangeetha Sabha (Since 1986)
Examiner, Vocal Classical Diploma Course, Bombay University (three years)
KARAIKUDI R. MANI - MRIDANGAM MAESTRO: (b.September 11,1945)
Mani was bom at Karaikudi, of Ramanatha Ayyar who taught mathematics
and vocal music at the High school. It was not a strange combination of subjects
for a pedagogue but the traits and attitudes of the father were inherited by Mani,
who was subjected to a rigorous programme of multi-pronged training in vocal
music for an hour, mridangam for an hour and school lessons for an hour to
qualify for his morning cup of coffee from the exacting, knowledgeable parents !
As a boy his interest in music was immense and dedicated. He had his training
in percussion for varying periods under -
Karaikudi Rangu lyengar who was running a mridangam school
at Karaikudi,
ANOTHER GARLAND 1 91
T.R. Harihara Sarma, who runs a school at Madras and
K.M. Vaidyanathan, the ghatam artiste.
Having made his debut at the age often, Mani had been providing percussive
support at concerts, harikathas and bhajans. He became a devotee of Tanjore
Vatdyanatha Ayyar's style and won the President's Gold Medal in the AH India
Radio Music Competition 1962 and later a Merit -Scholarship for advanced
training. Karaikudi Mani is now a top artiste providing thrilling percussion to top
musicians. Calm, collected, he gives compact, wsil-planned display of rhythmic
excellence, innovative variations and subtlety. He provides constructive support
to the principal musician and does not believe in loud displays. He has pleasing
p!ays rich artistry, virtuous styles, clarity and appealing rhythm.
He is the Founder-Director of the 'Sruthilaya' percussion ensemble which
seeks to present scholarly, intellectual rhythmic play in traditional styles. The
ensemble has toured USSR, France, Italy, Belgium and U.K. Sruthilaya is
available only for concerts abroad and for recordings. His organising ability is
further reflected in his Tala Vichitra ensemble and the founding of ' Sruthilaya
Seva Trust 5. Training is provided to capable students.
'Helodyssey* of musical orchestration of cultures inaugurated at Madras in
^December 1991 is another venture of Karaikudi Mani comprising forty artistes
of South Indian, North Indian and Western instruments with voices.
The unique character of Mani is his not accepting titles! And he reigns along
with other giants of the art showing how such titles have .little impact on
percussive advents and popularity and the true image of a talented artiste.
Disc recordings :
* * *
- PERCUSSIONIST: (bJune 21 ,1895)
Parents : Sankaranarayana Ayyar alias Sri Sangappa Swamigal
and Lakshmi Ammal.
Percussion training : Mamundia Pillai, a percussion maestro and
under Paiani Muthiah Pillai.
Mani Ayyar made his debut in 1 920 and had accompanied prominent artistes
on ghatam. The Music Academy, Madras honoured him with a Certificate of Merit
in 1962.
S.S. MANI BHAGAVATAR - VOCALIST: (died 1987)
Panangudi Mani Bhagavatar underwent bona fide gurukulavasa under
Papanasam Sivan during the thirties and inherited the rich legacy of the
192 ANOTHER GARLAND
illustrious composer. (The author had the good fortune of sitting at the feet of
Sivan when Mani was a very senior disciple of his.) Mani later served as Locturer
in the Kalakshetra, Madras but died prematurely. Unfortunately details are
wanting in respect of his life.
K.S. MANJUNATHAN - GHATAM ARTISTE : (Deer. 27 1921 - April 23,1 989)
Manjunathan of Bangalorfe was a prominent ghatam vidwan who haxi been
giving able and distinguished support at concerts. He had training with S rin i vasa
Ayyar and LS. Seshagiri Rao. He had been the recipient of honours including
the Rajyotsava Award and the title of 'Karnataka Kala Thilakam' from the
Karnataka State Nritya Academy. His ghatam accompaniment finds a record in
disc recordings also.
An All India Radio Artiste, Manjunatha was a renowned and popular artiste,
* * *
MARIAPPASWAMI - COMPOSER-MUSICIAN: (1 9O3- )
Mariappaswami was giving concerts from his twentieth year and weis a
popular figure. He had composed three hundred songs on religious and
philosophical themes. Has written songs for films also.
Concert tours: Sri Lanka & Malaysia.
* * *
MATANGA MUNI - MUSICOLOGIST: (7-8th century)
The period to which Matanga belongs is not clear. The name finds mention
in the Ramayana, Mahabharata, Matanga Lila and Raghuvamsa. Whether the
musicologist of great merit and reputation is one of these puranic celebrities or
different is not known. 'Brhaddesi'ls the work of Matanga. Sambasiva Sastri
who had edited the book for the Trivandrum Sanskrit Series says that nothing is
known of the date of the work or its author. As the work refers to Bharata, Kohala,
pattila, etc. , it should relate to a later period than they. Nanyadeva (1 097- 11 33) ,
in his 'Saraswati Hridayalankara' , written as a commentary on Natya Sastra,
pays obeisance to Matanga thus:
'How could people of lesser intelligence succeed in swimming across the Ocean of
Melodies when such exponents of music like Matanga had failed to cross. '
Matanga views that no classical melody can be composed of four notes or
less. He is reputed to have bpen an expert in musical instruments. Gowri
Kuppuswamy - M. Hariharan mention that Matanga would seem to have graced
the Court of Harsha (607-647 A.D). Matanga is the first musicologist to use the
ANOTHER GARLAND 1 93
word raga in ragakadarnbaka, ragatalamalika or ragamalika ( navaratnamalika
or nakshatramalika, pakshamalika or chaturdasamalika ). If Matanga is the
father of desi prabandhas the prabandhas were the forerunners of all later
musical compositions.' (Dr. S. Seetha)
'Matanga undoubtedly excels all others in lucidity, erudition and details.'
KIVALUR MEENAKSHISUNDARAM PILLAI - MUSICIAN: (died 1971)
A musician of amiable manners, Meenakshisundaram Pillai brought out the
book 'Tyagaraja Kirthanai Porul Vilakkam'to explain the content and significance
of the songs of the Bard of Tiruvaiyaru.
NEEDAMANGALAM MEENAKSHISUNDARAM PILLAi -
PERCUSSION WIZARD: (1894 - February 11, 1949)
Meenakshisundaram Pillai was a legend in the field of percussion. He was
widely known and much respected. A genius, his fingers did magical feats, and
the tavil he handled revealed exhilarative potential in rhythm and his art bordered
on riotous devilry. He was able to bring out stunning and surprising subtleties
in laya. His sensitivity to Art extended to his personal belongings like polishing
off his betel box almost every minute and provide an attractive cloth cover even
to his (betel) nut-cutter! The genius was a diabetic and while asleep dissolved
himself with eternity keeping up his rhythm with nature. He was good at playing
kanjira. Had great (mutual) respect for Pudukottai Dakshinamoorti Pillai. At a
concert, Dakshinamoorti Pillai playing mridangam forced him to sit on level with
him. Meenakshisundaram felt that it was an insult to the dignity of the
Pudukkottai maestro to sit so and stopped playing on kanjira itself! The tone of
his play was strong and impeccable and his solos permutational and captivating.
What was his public image? Here are two old incidents given long ago by
S.R. Kuppuswami, Editor, Carnata Sangeetham :
"Needamangalam was playing wonderfully but his figure was not visible to
those standing beyond the close ring. One resikha in the surging crowd was
anxious to know who it was, captivated by the play, and enquired. Casually I
said that 'it was some new hand'. The rasikha observed:
1 Whatever it be, it cannot be like Meenakshisundaram ! This player has to toil hard much
more and his hands should speak the language much more (to bring out the fire of Pillai's
play)!'
Another time. At Tiruvaiyaru, a local tavil artiste was playing. Someone
enquired and I replied just for fun 'Meenakshisundaram'. Prompt was the
1 94 ANOTHER GARLAND
reaction.
1 Aha, What a grand pSay ? What a fingering ?
A lion is always a Lion! '
Meenakshisundaram was the word for dynamic excellence. He drew crowds
wherever he went. A grandmaster in percussion, he was affable and genial and
he played with ease but with snexhaustive energy. A creative artiste, few could
match his innovative artifices and combinations, sound permutations and laya
intricacies. N.R. Bhuvarahan says:
The syllables that now murmered and now rumbled and thundered from his tavil were
thriling with sweetness and strength, melody and rhythm.'
Wizard Panchami, who died young as genius perhaps has to, once told Pillai,
1 cannot produce your rhythm and melody.' A rare tribute by another titan.
Pillai's disciples inluded -
N.T.M. Shanmugha Vadivel, son, Nachiarkoil Raghava Pillai, son-sn- law,
Mayavaram Govindaraja Pillai and Pandanalfur Ratnam Pillai.
Disc recordings : He had accompanied Sembanarkoil Ramaswami Pillai.
Title : 'Abhinava Nandiswarar1
Kanchipuram Naina Pillai told Dakshinamurti Pillai that 'mere profes-
sionalism is not a guarantee of intelligent listening' and picked out one from the
crowd at Sri Kapaliswarar temple who kept the beat with precision and perfection
even during the three-speed tempo pallavi. When he made a request for the
'perfect' listener to come, he found to his surprise that it was Meenakshi-
sundaram Pillai and in choking voice declared:
1 How lucky I am. Today I have been greatly honoured. Here is an insurmountable
performer who is equally a true listener. '
— (B.M. Sundaram)
Meenakshisundaram Pillai had his gurukulavasa with Needamangalam
Govinda Tavilkarar and Nagapattinam Venugopala Pillai. Made his debut as
second to Mannargudi Narayanaswami Nagaswarakarar in his twelfth year.
Quite strangely, he died in the midst of a huge gathering of well-wishers, relatives
and admirers who had gathered for the marriage of his son. A good singer, he
kept a very accurate diary and used only pure khadi.
BAN THE FLUTE ?
Yes. The prayer is made by the love-lorn lady to Senni Ilavalavan, the Chola
ruler 'with the flower garland on'. Why? The melody that spreads from the flute of
the cowherd irritates and embitters her in her soliloquy ! 'He may be a good ruler.
What if ? He is not silencing the flute*, she laments !
— 'Muttollayiram* - Cited by Mee.Pa. Somu in Kalki D.M. 19§6.
ANOTHER GARLAND 1 95
- VIOLINIST/VOCALIST: (b.October 30,1965)
Daughter and disciple of Radha Narayanan, Meera Narayanan had further
aining under Prof. T.N. Krishnan with a Government of India scholarship. She
as been giving violin accompaniment from the age of nine and gives solo
oncerts also. She is a vocalist having undergone training under
).K. Jayaraman. A graduate, she has received awards from institutions and
abhas.
She made a unique marathon violin recital for 26 hours non-stop at
in Ratnagirsswaraswami temple, Besant Nagar, Madras in October 1 986 setting
i record then. Of course, this has since been surpassed by Violinist
L Kanyakumari in 1 988 with a record performance of 29 hours.
Title: Naanisai Vallabhi from Baktha Mandali, Ratnagiriswaraswami temple
on September 4, 1982.
* * *
- VOCALIST: (b.Sept.149 1938)
Parents : V.R. Viramani & Revathi Viramani
A graduate in music of Madras University, Meera Seshadri learnt music and
iancing from her mother, a good singer and dancer. She had her training in
Sarnatic Classical music under the musical twins, B.V. Raman and
3.V. Lakshmanan and in Hindustani Classical music under LR. Kelkar, a
Jisciple of Vinayak Rao Patwardhan. She learnt padams and javalis from
F. Jayammal.
Meera Seshadri had been performing for over twenty-five years on the AH
India Radio and elsewhere. Has been giving vocal support to bharatanatyam,
kuchspudi and odissi dancers. She taught Carnatic vocal at Triveni Kala
Sangham to many including foreign students.
Concert tours: • U.K. and African countries.
T. MUKTH A - VOCALIST : (b A 91 4)
Muktha hails from a musical family of stalwarts with Veena Dhanammal at
its head. Daughter of Kamakshi, the last of the four daughters of that renowned
vainika, Muktha had her preliminary lessons from her mother and then
accompanied her elder sister T. Brinda for training under the celebrated Naina
Pillai of Kanchipuram when they were seven and nine years old respectively.
While Brinda had her tuitions directly under the maestro, Muktha had the
1 96 ANOTHER GARLAND
benefit of listening to his lessons and concerts. The training lasted for six years,
The sisters had started giving concerts even while undergoing training. For
nearly six decades they had given concerts together - an impressive record.
The long partnership came to an end only a decade back when Vegavauhini,
named after the janya raga of Chakravakam, started accompanying her mother,
Brinda as voice support.
Disciples : R. Vedavalli, Nirmaia Sundararajan and Nirmala
Parthasarathi (veena).
Honours : Sang ita Nataka Akademy Award 1 972.
Certificate of Merit from Music Academy, Madras 1984.
Kanchi Kamakoti Peetha Sangeeta Seva Trust honours
1991.
Semmangudi Dr. Srinivasa Ayyar Trust and Maharajapuram Viswanatha
Ayyar Trust have also honoured her.
Concert tour : USA 1990.
* * *
MUMMADI CHIKKA BHUPALA - MUSICOLOGIST: (c. 1600/1760)
A ruler hailing from Bijjavara - Madhugiri in Tumkur district and a feudatory
of Vijayanagar Kings, Mummadi Chikka Bhupala is stated to be a contemporary
of Venkatamakhin, author of Chaturdandi Prakasika. He has authored the work
Abhinava Bharatasara Sangraha, a treatise on musical theory. 'A merited
compilation, it gives a systematic synthesis of the cultural history of South India
in general terms and the musical history in particular. Has drawn inspiration
from Sangita Ratnakara and other authorities like Dattila, Kohala, Matanga,
Rama Maty a, Sangita Sara and Sakala Maha Sangraha. The work has been
republished by Sri Varalakshmi Academies of Fine Arts, Mysore with Prof.
R. Sathyanarayana as Editor.
DENKAN1KOTTAI R. MUNIRATNAM - PERCUSSIONIST: (b. March 2, 1940)
Born of Ramiah and Seethamma,
at Denkanikotta, Dharmapuri district
Learnt tavil under his distinguished maternal uncle, Venkataramanappaand
has been a distinguished tavil artiste who had accompanied not only
nagaswaram vidwans like Karukurichi Arunachalam and Namagiripettai
Krishnan but also Flautist TR. Mahalingam, Sitar maestro Pandit Ravishanker
and the Shenai maestro Bismillah Khan. It is an unique record and achievement
indeed and speaks volumes about the wide spectrum of variations, percussive
tonal adjustments and styles he is able to develop. Had won the acclaim of
ANOTHER GARLAND 1 97
artistes and music-lovers. Has been a member of the Karnataka State Sangita
Nataka Academy and has won many honours including 'Kalaimamani' from the
Tamil Nadu Eyal Isai Nataka Mandram in 1979.
Concert tours : U.K., France, Germany, Singapore, Malaysia
and Sri Lanka.
C.S. MURUGABHUPATHY- MRIDANGAM ARTISTE: (b. February 16,1914)
Father and guru : Chitsabhai Servai of Ramanathapuram
Brother and guru : Sankara Sivam of Ramanathapuram
Murugabhupathy had training under his grandfather too. The first important
concert for him (almost debut) was at Tiruchendur when he played for Chembai
Vaidyanatha Bhagavatar as the nominated percussionist failed to turn up. The
maestro had to take the young boy but as usual with him brought out of him the
best play to the satisfaction of all. Murugabhupathy is ever grateful to him. He
has been providing accompaniment to top musicians and was a favourite of
flautist T.R. Mahalingam. Rich with age, he is in good style still. At the concert
at Shanmukhananda Sabha, Bombay, as the drone was not sruti-aligned,
Madurai Mani Ayyar relied on the sruti of his mridangam, states Murugabhupathy
with pride.
Posts held:
Visiting Principal, Tamil Isai Sangham Music School, Madurai
Member, Advisory Committee, Government Music College, Madras.
Member, Fine Arts Faculty, Annamalai University, Chidambaram,
Member, Experts Committee, Music Academy, Madras.
Member, All India Radio Panel for Music.
Titles & Honours :
Sivaganga Palace Asthana Vidwan 1 949
Kalaimarnani by Tamil Nadu Eyal Isai Nataka Mandram 1 969
Merit Certificate from the Music Academy, Madras 1 973
Padma Sri from President of India 1 973
Madhura Kala Praveena by Sadguru Sangita Samajam, Madurai 1 974
Sangit Natak Akademy Award 1 975
Sur Sagar Award - Bombay 1 976
State Artiste, Tamil Nadu Government 1 979
Isai Perarignar by Tamil Isai Sangham, Madras 1 979
Palghat Mani Ayyar Award 1 985
Sangita Kala Nipuna by Fine Arts Club, Madras 1 991
Concert tours: Sri Lanka 1948 and 1951
1 98 ANOTHER GARLAND
- BHAGAVATA: (b. 1918)
Place of birth : Coimbatore
Parents ; C.G, Sundaram Ayyar & AiameSu Annma!
Musical background ; Grandfather Ariyur Gopalakrishna Bhagavatar was a
bhajan specialist. Uncle Radhakrishna Bhagavatar was
a musical discourses
Balasubramaniam, now known as Pithukuli Murugadas, had studied uptothe
eighth standard. M urugadas is the name assumed by him and Pithukuii, meaning
a madcap, was an acquisition subsequent to an unintended episode with a
sanyasi, who called him 'Pithukuli'. yurygadas left his parental house on a
-pftgrtnrage with nothing but his ardent desire for spiritual pursuits. In 1938 he
joined the Anandashramam at Tanjankadu near Mangalore. His subsequent
peregrinations in his familiar dress comprising a four-cubit dhoti, jibba and a
cloth-cover on his head, al! in khadt, took him to different places. He had
undergone 'imprisonment for participating in a struggle for a public cause in
Mysore.
Murugadas has an appealing voice and mode of rendition. His inseparable
harmonium serves him well and with a tinge of the bhajan styles of Maharashtra
and other places, his music has a strong mass base. With his knowledge of
different languages, he is able to bring out the bhava-rasa of the different
compositions. He has given thousands of bhajan concerts at most of the places
of India, All India Radio and television. He plays on harmonium while singing.
He is one of the few bhajan artistes out of a large tribe who continue devotional
work.
Concert Tours: South Africa, Sri Lanka, Europe, UK, Singapore,
Mauritius.
Disc Recordings:
Publications: Devi pugazh & Guhanjaii containing his own
compositions.
Honours & Titles: Sangita Samrat by Sri Sivananda Saraswati of Rishikesh
Kalaimamani by the Tamil Nadu Eyal Isai Nataka
Mandram.
Devi Saroja, his wife and her sisters are disciples of his.
VARAHUR MUTHUSWAM1 AYYAR - VIOLINIST: (b. Septr. 1902)
Place of birth : Kandamangalam, Tanjore district.
Parents : Sami Bhagavatar & Janaki Ammal
Musical training under : His father and under Sangita Kalanidhi Chinnaswarny
Ayyar.
ANOTHER GARLAND 1
Post held : Assistant Professor, Central College of Carnatic Music,
Madras.
Honours : Certifiate of Merit from the Music Academy, Madras in
1962
Muthuswamy Ayyar was giving violin accompaniment at concerts.
"CHATURDANDI PRAKASIKA"
' The Dikshltar family adhered to the sampradaya of Venkatamakhin. The
success was only partial. Present day musicians praise the system but few
persons would have glanced inside the book... If the Chaturdan di Prakasika
had been published a century earlier, the course of the present music would
have been entirely different'
— Dr. T.S. Ramakrishnan.
"Venkatamakhin (c. 1635/1660), second son of Govinda Dikshitar of Tanjore
authored me. Description of seventy-two scales, their corresponding raganga ragas and
upaganga and bhashanga janya ragas are given. Lakshana and lakshya gitas, tanas and
prabhandas are provided to illustrate the karta ragas.
In 1646, the Nawab of Golkonda invaded and the Nayak ruler of Tanjore had to flee.
In 1673, he was killed in a battle and there was consequent political anarchy in the
Tanjore area. To ensure my safety, like Panna Dai, the loyal nurse secreting Udai Singh,
the infant son of Rana Sangha of Chitor in Rajasthan, I was taken into secret custody
by-
Venkata Vaidyanatha Dikshitar of Tiruvidaimarudur and
Govinda Dikshita, both descendants of Venkatamakhin and
the Sankaracharya of the Kanchi Komakoti Peetam at Kumbakonam.
When I was under such anonymity, there was a development which affected much
my future though not my life which was safe inside an incubator! Govindacharya of
Kakavattaram brought out his 'Sangita Sastra Samkshepa* or 'Sangita Chudamani9
inspired by Akhalanka and published it with the help of the Tanjore Palace. Seventy -two
melakarta ragas were named in accordance with the 'Kangipriya* nomenclature.
Raganga ragas of Venkatamakhin and their janyas came to be treated janyas of the
melakarta ragas. This received wide currency in the Tanjore belt and Tyagaraja is stated
to have had a copy of it and used it in his compositions. Lavani Venkata Rao composed
the 'Bahattara Melakarta Malika9 in accordance with it and published it. Chandragiri
Rangacharlu composed three hundred lakshana gitas - one for each of the ragas
enumerated by Govindacharya. Tachur Singaracharyulu Brothers fully publicised the
Akalanka tradition without acknowledgement towards the close of the last century or
the beginning of the present.
200 ANOTHER GARLAND
I would have remained still-bora or left in the forgotten incubator but fo
Ramaswami Dikshitar (1735-1817) receiving me from Muddu Venkata Vaidyanath
Dikshitar during the chance meeting at Manali. Muthuswami Dikshitar (1776-1835) am
later Subbarama Dikshitar (1839-1906) tried their best to repair the wrong features tha
had crept into the system during my 'affectionate incarceration".
The Akhalanka - Govindacharya system known as the Kanakangi-RatnangiSysien
had taken roots and is predominantly in use now.
THE ODYSSIAN
*Maharajapuram Viswanatha Ayyar represented the Odyssian type devoting greatei
time to raga elaboration. He used to venture boldly in the realm of fancy in developing
a raga revealing fresh vistas of beauty to the delight of all and give new dimensions.'
MUSICAL BIG-BEN
Vaiitfka's Merit
'Invariably a soloist, Dhanammal plays and sings all alone with not even a
mridangam for accompaniment. Only a sort of drone is kept on by the marvellous
dexterity of her frail little finger that rubs the Pakkasaranis, a feature that stands in
marked contrast to the loud, regular, intruding ding-dong of all other vainikas that
resembles the chiming of Big-Ben in London/
— R. Rangaramanuja Ayyangar.
DONKEY GAME !
Bidaram Krishnappa, Actor Lakshmipati Sastri, Kundoor Srikantiah, Tabla
Surpandit and Mysore Vasudevacharya used to play a game of cards called KattheAta
(Donkey game) . Fortunately the loser need not ride a donkey in the streets but should
put on a uniform, hold up a rifle and give a military salute to the winner. Krishnappa
lost the game and was about to take on the costume when a real sepoy entered and said
that the Maharajah called him. Helplessly, the vocalist put on the uniform and holding
a rifle gave the salute - all the time looking at the sepoy with a sense of embarrassment
and shame. The sepoy enjoyed the maestro saluting him! A strange play.
ANOTHER GARLAND 201
N
MYSORE M. NAGARAJ - VIOLINIST: (b.1930)
Eldest son of S. Mahadevappa, a violinist, Nagaraj was musically talented
even as a boy and made his appearance on the stage at the age of eleven. Sine*
then his rise to artistic heights has been phenomenal. Has a charming style and
is giving accompaniment to prominent artistes and giving solo concerts also. A
popular violinist, he is Staff Artiste of the All India Radio, Mysore.
Concert Tours: U.S.A., Canada.
NAGARAJA BHAGAVATAR - MUSICAL DISCOURSER: (20th Century)
Disciple of Govindaraja Bhagavatar, Nagaraja Bhagavatar was noted for
sruti suddham, lively exposition and polished handling of themes for harikathas.
He followed the style of Tanjore Krishna Bhagavatar. He was popular in Tanjore
district.
* * *
V. NAGARAJAN - KANJIRA ARTISTE: (b. July 30, 1930)
Son of the famous violin vidwan of yester decades Sangeetha Kalanidhi
Papa K.S. Venkataramiah, V. Nagarajan had his training under two celebrated
percussionists, viz., Tanjore Vaidyanatha Ayyar and Palghat Mam Ayyar, the
later being the first percussioninst to be honoured with the title of Sangita
Kalanidhi. Nagarajan made his debut in 1950 at Tiruchirappalli accompanying
Alathur Brothers. Since then he has given percussive support to all artistes of
repute. Kanjira was prominent a decade or two back. Now ghatam has usurped
its place since the number of ghatam artistes te on the arohana and kanjira
artistes are on avarohana.
He joined the Faculty of the Wesleyan University as a Visiting Professor in
1967 and taught at Berkely, California in 1974. He has trained a number of
American Fulbright scholars.
Honour : Asthana Vidwan, Sri Sankaracharya Mutt, Kanchipuram
Disc recordings :
Concert tours : Sri Lanka, Malaysia, Singapore, USA, UK, USSR,
Canada, etc.
202 ANOTHER GARLAND
K. RAO - FLAUTIST; (b.190
A nephew and disciple of the celebrated flautist Pailadam Sanjeeva Rs
Nagaraja Rao was a popular flautist. His rendition sweet, melodious ai
traditional. He stayed at Mysore. He invitations from abroad but did r
choose to go.
* it *
'R. RAO - FLAUTIST: (July 1883 :
Bom : at NachiarkosI near Kumbakonam,
of Ramanatha Rao, landlord and violinist.
General education : Matriculation at Pudukottai.
Training in music ; Preliminary lessons in flute from Kannuswami Rao,
brother of Swaragat Chittuswami Rao.
Nagaraja Rao did not take to his scholastic studies kindly and came upf
admonition from his uncle and guardian, R. Ramachandra Rao. Was faced wi
the dilemma of abandoning music or deserting his uncie. Owing to his stubbo
leanings to music, he left his uncle and took up tuitions to maintain himself. Lat
became the village munsif of Nachiarkoil noted for its brassware, temple ar
cultural background. In 1902, the flute maestro Sarabha Sastri tested him at
found him well advanced in his art. However, Nagaraja Rao was not destine
to have training under him as Sarabha soon lost health and later died in 190
This led Nagaraja Rao to the eminent vocalist, Umayalpuram SwaminathaAyy
and he had training under him for two years.
Rao was noted for his raga alapanas, fast rendition and modulated ton
felicity. A kindly, soft artiste, he had helped many young artistes to come up,
* * *
NAGASWAM1 BHAGAVATAR - VOCALIST: (1894 - 1952)
A Well known vocalist. A sourashtra, he was based in Madurai. H
specialised in the songs of Tyagarajah and Wallajahpet Venkataramar
Bhagavatar. Nagaswami Bhagavatar founded Sri Sadguru Sangita Samajar
Madurai in 1911, which is a flourishing premier institution.
BANGALORE NAGARATHINAMMAL - THYAGASEVA SAKTHA:
(Now, 3S 1878 - May 19, 195;
The great lady of Bangalore belonged to the fragrant period which saw
galaxy of illustrious women musicians like Veena Dhanammal, Sale
Meenakshi, Enadhi Lakshmi Narayani Sisters, Coimbatore Thayee, Bangaloi
ANOTHER GARLAND 203
Thayee, Tiruvarur Rajayee and Kolar Nagarathinam. The trio MSSS DKP, MLV
joined them later. But Bangalore Nagarathinammal was altogether of a
different type in that she was able to look beyond herself and music rendition
and focus her attention on the source of such resplendent music. Her
sublimated soul envisioned the Cauvery and its music - soaked cultured
not only at Tiruvasyaru but at the distant Mercara where lies its source. Others
came, sang and left. But her genius perceived something greater, enduring
substantial. She enjoys the unique distinction of having surrendered her all to
the service of the Great Bard of Tiruvaiyaru, Tyagarajah. With single-minded
devotion and dedication, she sold her properties, pooled her income and
the support of all to commence the construction of the Samadhi of Tyagaralah
on the bank of the Cauvery on October 27, 1921 and perform the
Kumbhabishekam on January 7, 1925. She started the annual celebrations
(aradhana) on a firm and grand scale. The samadhi lands were donated by Sri
Mannapa Saheb and Sri Rajaram Mannaji Surve. And she spent her last years
there giving lessons on Tyagarajah songs at the Tyaga Brahma Nilayam', a
dedicated construction work in which the eminent cine actor, Chittoor
V. Nagayya played the principal role. Quite fittingly, her samadhi is located
near the samadhi of the Bard. Another wish fulfilled.
Nagarathinammal was an amalgam of sterling character, obsessive and
noble dedication to good causes held dear to her heart and of dharmic conduct
which combined in itself the essence of the Ramayana service - oriented
characters Sabhari, Lakshmana, Vibhishana and Hanuman and the
achievements on a mini scale of a Rajaraja Chola. Devoted to her gurus, she
performed guru poojahs annually and also Hanumat Jayanti. She was chosen
specifically to sing a Sanskrit invocation at the All India Sanatana Dharma
Conference in 1929. She gave a large number of concerts and the bulk of the
proceeds went for the construction of the Tyagarajah Samadhi and the Mysore
Choultry at Tiruvaiyaru for the benefit of Kannadigas.
Born at Mysore, of Vakil Subba Rao and Puttulakshmi, she learnt Sanskrit
and music under Giripatta Thimmayyah and violin from her uncle Venkitasami
Appa of Bangalore. Had further training in violin under Munuswamy Appa, a
disciple of Wallajahpet Krishnaswami Bhagavatar. Her desire for knowledge
was so intense that she learnt bharatanatyam under Bangalore Kittanna and
abhinaya from Madras Tiruvenkatachariar. Her over-all vidwat was polished off
by Bidaram Krishnappa. Puttulakshmi was discarded first by Subba Rao and
later by Thimmayyah also. But she bore her travails and tribulations and
brought up her daughter with an iron will. There is some resemblance in the
teen-age sufferings of Nagarathinammal and K.B. Sundarambal but in the
ultimate analysis, the former is supreme in enduring attainments. While
Sundarambal hoarded material wealth, Nagarathinammal too did hoard but in
the more enduring spiritual sphere. With multi-sided accomplishments,
Nagarathinam made her debut significantly at Veena Seshanna's house in her
204 ANOTHER GARLAND
fifteenth year. Palaces and institutions availed of her immense training an
talents both in India and in Sri Lanka. It is said that she gave 1 235 engagemenl
between 1905 and 1934, which is equivalent to ten times that now.
She enjoyed a 'gambhira' voice. Her infatuation with the songs and life <
Tyagarajah was so intense and sublime that she executed a will on January
1 949 setting apart her assets to construct the Samadhi and to run a gurukula
Tiruvaiyaru to propagate the Bard's songs. There was Yaga, Yoga, Thyagaar
Bhoga with nadopasana in her life of suffering and achievement
Her only daughter died. Her attempt to adopt a girl failed. Her suffering
while young and these failures tended only to harden her admiration 1
Tyagarajah, the Prince of Renunciation, and her resolve to accomplish ai
achieve what all others had ignored.
Her intense love of his songs was matched only by her passion 1
Devaranamas and to demonstrate that Purandara songs could also be su
likewise in such an elaborate and scholarly manner, she got up a concert
Bidaram Krishnappa at Madras to be covered only by Devaranamas. Mysc
Vasudevacharya says, 'Ragalapana, Swarakalpana, neraval, everything w
there as in a traditional concert. The audience felt delighted. They realised
the first time that the Kannadigas also have their own individualistic heritage
On her music, Vasudevacharya says:
' Her style of singing was religiously classical. She had accurate layagnana Her v<
combined the melodic sweetness of a female voice with the dignity of a male voice.
she had a sound knowledge of bharatanatya, her singing had an emotional app
Yadukulakambhoji was her favourite. She was never afraid of any challenge from
musician. '
She rarely handled the kritis of Dikshitar as she felt that she would not be a
to do justice to them because of her inadequate knowledge of sansl
Tyagarajah and Purandara had won her heart so fully that it had no space
others !
Here is an assessment of her personality and life by Vasudevacharya:
' A queen among dancers and singers, she was an apostle of modesty,
pride of the Kannada Land, she was a selfless soul and had the boor
beauty, learning and wealth In equal proportions.. .her respectful demea
in the presence of senior vidwans attracted me. She stood as though c
to offer worship, never even looked up.. .spoke little.. .a divine charm hallc
her beauty '.
Publications:
Her publications include:
ANOTHER GARLAND 205
Madhyapanam in telugu,
Sri Tyagaraja Ashtothra Namavali in Sanskrit and
Panchee Karana Bowdheeka in tamil.
Jagarathinammal reprinted the telugu classic 'Radhika Swayamvaram' of
Auddu Palani, a courtesan of the 18th century. Police seized all the copies
aking objection to its high eroticism. Only in 1947 the ban was lifted. There
afresh edition in 1952.
Titles and Honours:
L March 6, 1949 - Tyaga Seva Saktha by President of India.
II. Vldya Sundari by Puranam Suryanarayana Thirthar
iii. 1932 -Gana Kala Visaradha by Kaviraja Krishnamurti Sastri.
vJagarathinammal needs no better honour than the appreciation and gratitude
3f the thousands who gather annually at Tiruvaiyaru for the Aradhana. ' Earn,
Conserve, Distribute', this is my life-mission, declared the Founder of the
^nnamalai University. The application of the principle to the life of
Nagarathinammal reveals that she belongs to the galaxy of eminent women of
India. Literally she got dissolved in every respect in nadopasana !
Once, a marriage in a Komutti Chettiar's house was on when the bride's
ninety-five year old grandmother was in a critical condition. Nagarathinammal
giving the concert for the marriage took up towards the end the sloka:-
'Prana Prayana Samaye' ( The time of soul's journey.)
The song and the sentiment coincided with the real life-event on the
occasion! (T. Sankaran)
KOLAR NAGARATNAMMA - VOCALIST: (20th Century)
In yester decades, women's contribution to and role in concert music were
limited. Of the few who were prominent, Kolar Nagaratnamma was one. Her
mother Nanjundasani was a dancer and her brother Puttuswamiayya was a
violinist. While her name is mentioned prominently, details are not known.
DOLAK NANNU NIIYA - PERCUSSIONIST: (19th Century - II Half)
He was a muslim artiste from Pudukottai famed for his thrilling play on the
percussive instrument dolak rarely used at concerts. It is a tribute to his
astounding expressive play that he had accompanied such stalwarts as Patnam
Subramania Ayyar. Soolamangalam Vaidyanatha Bhagavatar pays tributes to
206 ANOTHER GARLAND
his innovative exposition and single-minded efforts to make every concert a
success irrespective of the grade of the principal artiste. He used a jingle in his
right finger to present exhilarating tinkling sounds. His percussive presentation
was of such excellence that even Tanjore Narayanaswami Appa felt envious of
his 'pare/is' (a method of play). Vaidyanatha Bhagavatar says that the
embellishment 'deka' started with him, that he was a terror to other
percussionists and that even Gandharvas would be enchanted by his
eclecticism. Chote Miya gave him company as vocalist when he was not
accompanying celebrities. Vide chapter on 'Contests and Challenges' in Part I
too for Nannu's adventures.
NARADA - MUSICOLOGIST: (1st Century A.D.)
The work 'Naradiyasiksha* "has found a permanent place in the history of
musicology. It deals with swara and chanda of vedic mantras in 230 slokas
narrating both the vedic and the laukika swaras and gives a comprehensive view
of ancient Hindu music." Narada refers to the importance of swaras, the seven
swarast three gramas, twenty-one murcchanas and forty-nine tanas constituting
the swara mandal. He cites Tumburu, Vasishtha and Biswavasu as authorities.
Both vocal and instrumental music are mentioned. Definitions are given. Swami
Prajnananda mentions that microtones were perfected by Narada and he has
called 'diptha, ayata, karuna, mridhu and madhya' as 'shruthis'.
A number of treatises are ascribed to Narada. There have been a number
of Naradas like Narada of the ninth century who authored Makaranda meaning
musical pollens, in which forty-two ragas are mentioned. For the first time, the
terms Purusha - Stri ragas are cited.
These Naradas are different from the puranic musical sage and
trouble-shooter (vide page XLIX of A Garland) .
M,A. NARASIMHACHAR - THE COMPLETE MUSICIAN:
(b. August 12, 1919)
' MAN. represents the Karnatak tradition in its purest form and is a veritable respositor
of classical tradition. Affable, soft- spoken, he is ready with answers to all problems and
is an authority. ' — (E.R.Sethuram).
Place of birth : Mysore
Parents : MA Krishnaswamy lyengar & Rajamma.
Initiated in music by his mother, Narasimhachar joined the then prestigious
Music College of the Annamalai University, studied under the stalwarts Tiger
Varadachariar, Ponniah Pillai, a descendant of the Tanjore Quartette family,
ANOTHER GARLAND 207
Sathur Krishna Ayyangar and T.K. Rangachariar and got the 'Sangeetha
Bhushana' title in 1 940, being the first Mysorean to get it. He learnt veena from
K.S. Narayanaswamy; and obtained a student certificate from the Trinity
College of Music, London in Western music too in 1939. He is blessed with a
very good voice.
Started 'Ganakala Mandira1 in 1942 atJMysore later shifted to Bangalore in
1 972. Simultaneously Narasimhachar started his performing career in 1 942 and
made his entry into the musical circles at Madras in 1 945 at the elitist Jagannatha
Bhakta Sabha, Madras. Ever since he had given innumerable concerts at
sabhas, for Doordarshan and on the All India Radio, Jammu and Kashmir in the
north toTrivandrum in the south. He popularised the rare compositions of Veena
Kuppiah, Wallajahpet Venkataramana Bhagavatar and Anaiayya besides many
musical operas. He has chaired many conferences and seminars. The senior
musician has enjoyed a very good concert demand. His knowledge of many
languages and the science and art of music enables a versatility rarely enjoyed
by many artistes. His vast repertoire provides scope for presentation of papers
on varied technical issues and aspects of great value to the music world.
Publications : Veena Seshanna — •
Tirukkodikaval Krishna Ayyar
Tiger Varadachariar
Theory of Music
^ all in Kannada.
Posts held : Lecturer, Maharani's College, Mysore
Lecturer, College of Dance, Drama, Music and Fine
Arts, Manasa Gangotri, Mysore.
Head of the Department of Music, Acharya Parasala
College, Bangalore.
Examiner in Music & Musicology, Kalakshetra and
Universities.
Special Lecturer to Post-graduate students at the
Bangalore University.
Guru for the third batch of students 1 988-89 in gurukula
teaching for the South Zone Cultural Centre, Tanjore.
Honours ; Sangeetha Jyoti by Swami Shivananda of Rishikesh
Ganakala Bhushana by Karnataka Ganakala Parishat,
Bangalore in 1 987.
Honour by Maharajapuram Viswanatha Ayyar Trust in
1990.
Concert tour : Sri Lanka
Among his disciples, Lakshmi and Saraswati, his sisters and
M.A. Meera and M.A. Mythili, his daughters give concerts.
208 ANOTHER GARLAND
V.V. NARASIMHACHAR - MUSICOLOGIST: ( b. June 8, 1898)
Narasimhachar had his musical training under D. Subramanya Garu, a
disciple of Tachur Singaracharyulu. He had made a detailed study of Sanskrit
works on music. Was connected with the Madras Music Academy since its
inception and had contributed much to the high-level deliberations of the Experts
Committee of the Academy. He organised the Saraswati Gana Sabha, Kakinada
and published a book on 22 srutis, talas, pallavi and biographies. He brought
out the telugu version of Divya Prabhandam and the book 'Evolution of Carnatic
Music'.
He was honoured by the Telugu Basha Samiti and by the Music Academy,
Madras with a Certificate of Merit in 1973.
N. NARASIMHAN - VOCALIST & CHITRA VEENA PLAYER:
(b. July 15, 1943)
Son of the legendary gottuvadyam maestro K.S. Narayana lyengar and
Jayalakshmi, Narasimhan is a vocalist and chitra veena artiste presently working
in the Vadya Vrinda ensemble of the All India Radio, Madras. Narasimhan is a
silent professional, unostentatious but a devoted artiste who delights in
preparing, moulding child prodigies, his son Ravi Kiran being the earliest in 1 969,
(Vide his biography elsewhere in this book.) Sashikiran, Kiranavali and
Sudarshan (Ganesh) are among his special products.
Central Sangeet Natak Academy awarded Senior Fellowship to him in
1970.
M. NARAYANASWAM1 AYYAR - MRIDANGIST: (b. Septr. 30, 1919)
Place of birth : Kumbakonam
Parentage : Muthuswami Ayyar (Mridangist) & Seethalakshmi
Ammal
Father was a disciple of the renowned Azhaganambi PiHai and Flute maestro
Sarabha Sastri was -his sister's husband. The musical background enabled
young Narayanaswami to aspire for a place in the field of music and his father
chose percussion as his field of specialisation because of his own expertise in
it. Narayanaswami had his training in mridangam successively with his father,
Umayalpuram Kothandarama Ayyar. Azhaganambi Pillai, Rangu Ayyangar and
Rangaswami Ayyangar. The varied training under celebrated percussionists
equipped him with deep insight into the finer nuances of percussion. In 1936 he
made his debut at Kumbakonam with Veppathur Balasubramania Ayyar,
ANOTHER GARLAND 209
Vocalist, Vedaranyam Krishnamurti on violin and Ayyaru Pillai on kanjira. 'With
diffidence I started with my body profusely perspiring but slowly picked up with
encouragement and it ended well.' The elders had strangely withheld the fact of
his making the debut till he was asked to take his seat with the mridangam!
Narayanaswami Ayyar recalls the demonstration of Per/a Morahs' of 35
talas, etc., at the Music Academy on December 23, 1963 at the instance of
Mudicondan Venkatarama Ayyar. He has been the recipient of many gold and
silver medals and the titles of —
Mridanga Jyoti from Adyar Arogya Ashram and
Laya Marthanda Mridanga Jyoti from the Manipal Sabha, Udipi in 1981.
Narayanaswami Ayyar has been conducting Tygaraja Aradhanafor the last
forty-five years with the picture of the Saint-Composer handed over to him by
his sister and wife of Sarabha. Earlier he was Secretary to the 'Chinna Katchi'
(Small Party) presided over by Sanjiva Rao which conducted the Aradhanafor
a long time separately; the 'Peria Katchi' (Bigger Party) had Azhaganambi Pillai
as Secretary. Ayyar has accompanied most of the tall stalwarts of Carnatic
music.
TIRUVISANALLUR NARAYANASWAMI AYYAR - VOCALIST:
(20th Century early part)
A prominent vidwan well-versed in theory, Narayanaswami Ayyar was a
respected vocalist. Unfortunately his voice did not match and respond to his
immense musical acumen like Ettayapuram Ramachandra Ayyar and
Papanasam Sivan. His high position would be clear from the fact that he gave
the concert with Tirukodikaval Krishna Ayyar on violin and Palani Krishnier on
ghatam for the 'seemantam' of the illustrious flautist Sarabha Sastri at
Kumbakonam. Soolamangajam Vaidyanatha Bhagavatar has high respect for
him.
L.S. NARAYANASWAMY BHAGAVATAR - VIOLINIST: (1908 -1970)
Father : Lakkavalli (Chickmagalur) Chamanna.
Learnt music under : Krishnappa, an accompanist to Chintlapalli
Venkataraya.
General Education : S.S.LC.
Bhagavatar went over to Madras and had his advanced music training with
Pallavi Narasimha Ayyangar and at Kanchipuram with Naina Pillai. In 1938, he
started giving concerts and was providing accompaniment to important
21 0 ANOTHER GARLAND
musicians. He was a violinist of immense capabilities, style and knowledge.
'Apara Pandithya* is the word used by Dr. Sampathkumaracharya in respect of
him. H.V. Krishnamurti is one on whom he bestowed not only his vidwat but also
his daughter. There are similar cases where the guru takes one of his intelligent
disciples as a son-in-law. He had tuned the songs of D.V.Gundappa and has
composed songs taking select passages from the Ramayana. In 1953, he
started the Vijaya Music College at Bangalore.
AJC.C. NATARAJAN - CLARIONET ARTISTE: (b. May 30, 1931)
Place of birth : Tiruchirapalli
Parentage : A.K.Chinnakrishnan, clarionet artiste and Rukmani
Ammal.
Learnt music from : Alathur Venkatesa Ayyar of the celebrated
Alathur Brothers.
Nagaswaram from : Illuppur Natesa Pillai and
Clarionet from : A.K. Chinnakrishnan (father)
Natarajan made his debut in 1946, became a staff artiste with the All India
Radio, Calicut for six months in 1 949 and later at New Delhi during 1 950-52. He
resigned his job to avail of the heavy demand for his performances nearer home.
The first concert worthy of memory was at the then famous Jagannatha Bhakta
Sabha, Madras and soon his prestige rose high. With his training in nagaswaram
and clarionet and music from a celebrated vidwan, he was the one artiste who
was competent to give classical exposition on the nonpliable clarionet with
capability and merit. As is well known, few had prospered as clarionet vidwans
save perhaps Abbayi and one or two others. Natarajan is able to develop and
project continuity and bring out shades of raga swaroopas and swaras with
maximum felicity possible on the instrument. He is very popular and his
concerts are well attended.
Titles and Honours:
Quite at the start of his career in 1 952, he was placed on top of the highest peak of
the clarionet Himalayas by the Nagaswara maestro T.N. Rajarathinam Piilai by con-
ferring on him the title of 'Clarionet Everest1 at Nagapattinam.
Clarionet Samrat by Sivananda Saraswati, Rishikesh 1 958
Presentation of Gold Clarionet at Kannika Parameshwari Temple,
Tiruchirapalli, which he presented to the Defence Fund 1 958
Clarionet Chakravarti by the Maharaja of Mysore 1 969
Isai Perarignar by Tamil Isai Sangham, Madras 1 988
Madura Kala Praveena by Sadguru Sangeetha Samajam, Madurai 1989
Sangita Sagara by Visakha Music Academy, Visakhapattinam 1 990
Asthana Vidwan, Dharmapuram, Tiruvaduthurai and Kanchi Kamakoti Maths.
Honoured by the Maharajapuram Viswanatha Ayyar Trust 1 991
ANOTHER GARLAND 211
A.K.C. Natarajan is an eloquent exponent of Carnatic music on clarionet
after clarionet Abbayi, with few competitors for over four decades.
TIRUPPAMBURAM NATARAJASUNDARAM PILLAI -
NAGASWARAM ARTISTE: (Deer. 1 5, 1 869 - d. - )
Natarajasundaram Pillai hailed from a family of nagaswara artistes and
hymnodists tracing their ancestry to Sesha Pillai of Kalyanasholapuram, a
sarndha player and hymnodist. His son Kulandaivel Pillai was a veena player
and his son Swaminatha Pillai (1840 - ) was a disciple of Koorainadu
Ramaswami Pillai and was taken to Tiruvizhimalalai by the Mutt-head of
TiruvaduthuraL Natarajasundaram Pillai, his son along with his brother Siva-
subramania Pillai had his training under Umayalpuram Doraiswami Ayyar and
Sathanur Panchanadha Ayyar, two prominent musicians of the day. The advent
and practice of duo nagaswaram play are attributed to Sivasubramaniam.
Hitherto, it was totally raga alapana, pallavi and ragamalika rendition by
nagaswaram artistes. If raga was developed to pristine heights, credit goes to
them, They would start at 8 or 9 or 10 p.m. and end only with the dawn.
Enchanting rendition based on melody and vicranti would flow in the still hours
of the night for the music-lover and the Gods to regale themselves with. Mostly
the nagaswara artistes stood standing or walking pouring out ' the nectar of
Nada, which is the basis of all Vedas, Puranas, Agamas and Sastras ' ( Nada
Sudharasambilanu - Arabhi raga of Tyagarajah ). The Tiruppamburam
Brothers, for the first time, introduced quite a number of Dikshitar kritis in their
play. Thus they were trail-blazers.
Poochi Srinivasa Ayyangar, Sarabha Sastri, Ramnad Rajah and
Chunambedu Zamindar were special patrons and admirers. Swamioatha Pillai,
the eminent flautist and Somasundaram, nagaswara teacher, were his sons. The
brothers were known for perfect sruti, total alignment and captivating rendition.
KUMBAKONAM NATESA DIKSHITAR- MUSICAL DISCOURSE ARTISTE:
(19th Century II Half)
A pioneer in forming a musically-talented dramatic troupe on the lines of the
marathi stage, himself composing fine nirupanams (explanatory songs) in
different languages, Natesa Dikshitar was a fine composer. His father Tyagaraja
Dikshitar was also a fine composer. Natesa Dikshitar was a court physician. H®
started the 'Jagan Mohana Chit Vilasa Sabha' for presenting concerts and
dramas and got round a galaxy of talented artistes li-ke
ANOTHER GARLAND
Raja-part Koneri Rao (for hero's role)
Stri-part Kalyanarama Ayyar (for heroine's role) and
Rakshasa-part Ramaswami Ayyar (for villain or demon roles).
Dikshitar was a popular vidwan of merit and Sarabha Sastri, the erninen
once gave violin support for his concert at the residence 01
Soolamangalam Vaidyanatha Bhagavatar.
* * *
P.I. NATESA PILLAI - PERCUSSIONIST: (fc>. 1 899)
Parents : Ayyaswami Pillai and Lakshmi Ammai
Training in
Nagaswaram under : Kuppuswaml Piilai.
He had accompanied eminent nagaswara vidwans and was honoured with
a gold medal by Musiri Subramania Ayyar and the title of 'Kalaimamani1 in 1973
by the Tamil Nadu Sangeetha Nataka Sangham, Madras.
SRIMAN NATHAMUNI - CHOREOGRAPHER: (c. 823 A.D.)
Acolossal work of eternal benediction to devotees was achieved by Sriman
Nathamuni by collecting four thousand verses called 'Divya Prabandh&rn * and
setting them to music. A native of Kattumannarkoil near Chidambaram, he
happened to hear some hymns once and captivated by them, went round to the
birth places of Nammalwar, etc., and collected them. T.S. Parthasarathy says
that Nathamuni did for Divya Prabandham what Nambiandar Nambi rendered
for Thevaram. Dr. U.Ve. Swaminatha Ayyar belongs to this tribe of dedicated
souls of wisdom - human honeybees indeed. They collected because they
could not desist from doing so and they wanted the world to be better duly
benefited by their labour. They were the messengers of the Infinite.
* * *
T.R. NAVANEETHAM - FLAUTIST: (b. October. 16, 1 922)
Daughter of Rajamanickathammal, a 'sadir' artiste, Navaneetham was born
m ' a P'ace known for its musical excellence near
dance and music from her m°ther and flute from
- ade her debut as a flautist at the te"der age of eight,
SIXty years °f concerts and is sti" 9<>lng strong. S he
StOCk and repert°ire ^ takin9 9uida"ce fro" celebrities
Ayyar' Kumbakonam Nagaraja Rao ' and
ANOTHER GARLAND 213
Titles & Honours:
Kuzha! Isai Arasi by Kumbakonam Rajamanickam Pillai.
Kalaimamani by the Tamil Nadu Eyal Isai Nataka Mandram in 1 969.
Honoured by Ramani Academy of Flute 1 990.
Award from Muthamizh Peravai 1 992.
* * *
LALGUDI NEELAMEGHAM PILLAI - VIOLINIST: (20th Cent)
Popularly named as 'Needumoorti' after Pallavi Gopala Ayyar's Nattakurinji
song Needumoorti, which he used to play invariably in his solos, Neelamegham
Pillai was the stock violin accompanist for several years to Bangalore Thayee.
He was staff artiste, All India Radio upto 1942.
NUAGUNA YOGI - COMPOSER: (c. 1560)
Nothing about his period, parentage, training, etc., is known definitely. It is
said that he switched over from administrative work to become a Siva Yogi of
the Veera Saiva Cult. He was a scholar and a musicologist-composer who had
written many works including Viveka Chintamani on Sangita Sastra dealing with
srirti, swara, alankara, grama, jati and instrumental music. His compositions are
in Sanskrit and kannada under the signature 'Shambulinga'; and he is also called
'Nijaguna Aradhya'.
NORI NAGABHUSHANAM PANTULU - VOCALIST/VIOLINIST ;
(July 12, 1905 -April 1984)
Nori Nagabhushanam Pantulu was born at Nandur in Andhra Pradesh, of
Viswanatha Sastri in a family of musicians. Learnt vocal and violin under his
father and later with Masulipatnam Hari Nagabhushanam for sometime. He
completed the study of Sanskrit, sahitya and vedas and made his debut as a
musician in his tenth year. Was teacher in the then district board schools. He
was giving a large number of performances and earning honours. A devotee of
Tyagarajah, he conducted special festivals from 1930 to 1942 at Bapatla. He
was Principal of the Government Music College, Secunderabad during
1952-1962, Was member of the Experts Committee of the Music Academy,
Madras and of the Sangita Natak Academy, Andhra Pradesh.
Has composed varnas and swarajatis. The Madras Music Academy
honoured him in 1972 with a Certificate of Merit.
21 4 ANOTHER GARLAND
THE HAUNTING SONG: POETESS' SELF-RESPECT
Hugh and Colleen Gantzer writing on the charm of Orcha near Gwalior narrate
the tale (or what?) they were told:
*Rai Praveen was a courtesan, poetess and singer. The Mughal Emperor wanted
her for his harem. She penned and sent a poem saying, "Crows, dogs and scavengers
sup on food left over by others. Of what breed are you, My Lord". Confronted by the
poem, the Emperor rescinded his order... Sometimes, you can hear her singing still
from yonder mansion of hers.'
The fundamental human instinct crying for self-respect finds beautiful
expression in this. The ferocity of the metaphorical categorisation had clearly
impelled total disarming of the Moghul Emperor's initial overtures.
LITIGATION
Music is essentially a soft art in spite of ragas like Atana, shouting songsters and
thumping percussionists. Still occasions had arisen sometimes:
a. Mayuram Munsif Court: Disciple sued Koorainadu Natesa Pillai for
discrimination among students in teaching. Suit failed. Vide A Garland.
b. Bidaram Krishnappa v. Madras Artiste: Fortunately it stopped with notices.
c. Arumugha Navalar v. Ramalinga Swamigal: Suit failed.
d. K. B. Sundarambal Charities: Legal notices and reply were given. Result not
known. The artiste had created an endowment of all her properties through a
registered deed and a registered will. Unfortunately the issue had not been properly
prosecuted.
e. There were one or two concerning living artistes which are not mentioned here.
Fortunately they would seem to have been settled smoothly.
ANOTHER GARLAND 21 5
Dr. PADMA MURTHY - VOCALIST & MUSICOLOGIST: (20th Cent.)
Father : T.S. Rajagopala Ayyangar.
Academic B.Sc. (Mysore), MA (Kanpur), M.Phil & Doctorate from
Qualifications : Bangalore University.
Musical training Mysore Vasudevachar, T. Chowdiah, Puttuswamiah,
under : Chelva Pillai lyengar, H.S. Krishnamurty,
R.R, Keshavamurti,
Sangita Sastra with Rallapalli Anantakrishna Sarma.
Sangita Vidwan Diploma from the Mysore Music College.
Padma Murthy has had extensive training under renowned musicians and
has been giving concerts for over three decades, taking part in seminars and
conferences on music and musicology and contributing articles. Has been
Professor and Head of the Department of Music, University of Bangalore. Has
published the work 'Sangita Lakshana Sangraha'.
SUCHINDRAM PADMANABHA BHAGAVATAR - VEENA VIDWAN :
(April 26, 1863 - Novr.18, 1949)
Place of birth : Trivandrum.
Parents : Suchindram Sthanu Bhagavatar, an adept in singing
Ashtapadi & Lakshmi, also musically talented.
Veena training under : Eldest brother, Veenai Sarrkaranarayana alias Aiyah
Bhagavatar (1 846-1 888) .
He had gufdance from Palghat Parameswara
Bhagavatar and Kalyana Krishna Bhagavatar.
Posts held : Veena Player at Mahadheva Temple, Vaikom.
Music Teacher, Government Girls High Schools.
Debut : At the Trivandrum Navarathri Mandapam in 1 876.
Padmanabha Bhagavatar was an expert in playing ragam, tanam and pallavi
and was noted for the elaboration of Kalyani, Surutti, etc. ragas. A distinguished
veena player, he was tutor at the Palace. The eminent tamil composer,
T. Lakshmana Pillai was among his disciples.
PADMA NARAYANASWAMY - VOCALIST: (b.1 942)
Padma Narayanaswamy had her training in the erstwhile Government Music
College, Madras and got her Sangeetha Vidwan Diploma in 1 964 and had further
21 6 ANOTHER GARLAND
intensive training with a Government of India Cultural Scholarship under the
distinguished Vocalist Musiri Subramania Ayyar. Married in 1965
K.V. Narayanaswami one of the present top vocalists who was then with the
Government Music College and was her guru too therein.
She has been giving concerts on the radio and in sabhas and lends vocal
support to her reputed husband in his concerts. In 1974-75, had a teaching
assignment at the American Society for Eastern Arts, Berkeley, California, had
participated in the Berlin Music Festival, 1977 and had given concerts in the
USA, Europe and Canada. In 1984-85, she accompanied K.V. Narayanaswami
to teach and perform at San Diego State University.
PADMA VARADAN - VEENA ARTISTE: (20th Cent)
Daughter of R. Rangaramanuja Ayyangar, the renowned musicologist,
vainika, teacher, and disciple and admirer of Veena Dhanammal, Padma
Varadan had the benefit of an immense musical environment and the wisdom of
her father while young. In her ninth year, she started giving concerts on the All
India Radio. Since then, she has given quite a number of concerts first with her
distinguished father and later separately. Her veena play is soft and soothing
(which her father used to favour much), satisfying, musically elevating and
bhava-based. The legacy she inherited has not only been made proper use of
but Padma Varadan has taken genuine efforts to enhance the merit of the same.
Concert tours: Sri Lanka, Singapore, USA and Europe.
* * *
TANJORE PAKKIRI PILLAI - MRIDANGAM ARTISTE: (1869-1922)
Two families of Tanjore had distinguished themselves, viz., the family of the
Tanjore Quartette and that of Govindaswamy Nattuvanar. To the latter belonged
Pakkiri Pillai, son of Ammalu Ammal. In days of yore, nattuvanars were all
conversant with play on mridangam also. Pakkiri Pillai had his training under
Kuppuswami Nattuvanar, made his debut at a musical discourse of Patti Krishna
Bhagavatar and had been accompanying all harikatha exponents. Patnam
Subramania Ayyar drew him out to one of his concerts and therefrom Pillai had
provided accompaniment to all the top vocalists of his day.
B.M. Sundaram states that Narayana Appa appreciated the play of Pakkiri
Pillai and said that it would resemble fragrant rosewater spray - soft and
satisfying. Krishna Bhagavatar called him 'Sunadha Bhoopati'. A peculiar
characteristic of Pillai was that he would be seen always with his umbrella
whether it be a concert or elsewhere - the Chamberlain of Tanjore!
ANOTHER GARLAND 21 7
AMMAPETTAI PAKKIR1AH PILLAI - PERCUSSIONIST: (1874-1920)
Parents : - Gurumurti Nayanakarar and Naadi Ammal
Place of birth: Deepambalpuram, Tanjore District.
Musical Training with: Tirukkarugavur Sivagurunatha Pillai, Tavil, Tiruppam-
buram nagaswaram Nataraja Pillai and Srivanjiam
Govinda Tavilkarar.
He was permanent accompanist on tavil for nagaswaram Mannargudi
Chinna Pakkiriah Pillai. Enjoyed a pleasing personality and displayed
remarkable imaginative skill in dexterous rhythmic manipulations. Thanjavur
Upendran, a popular mridanga vidwan was his grandson.
B.M. Sundaram states that the present practice of a senior joining the team
as 'Special Tavil' was not in vogue in early times. Lt used to be said -
For Nagaswaram, Mannargudi Pakkiri;
For Tavil, Ammapettai Pakkiri and
For Konnakol, there is Mannargudi Pakkiri. (a different artiste).
Each had distinguished himself in his respective field aftd all were household
names.
An incident is cited to highlight the sense of dignity and self-respect of
Ammapettai Pakkiriah Pillai. Pleased with the brilliant nagaswaram play of
Mannargudi Pakkiriah Pillai and the vibrant tavil of Ammapettai Pakkiriah Pillai,
the trustee of Sri Kandaswami Temple, Madras brought two golden 'thodas'. The
nagaswaram artiste having received one already on his right hand, held out the
left hand too and the trustee out of delicasy gave him the second too. Enraged
at the slight, Tavil Pakkiriah Pillai walked out of the place never to play together.
Later they played together but without a shade of whisper between themselves.
11 Music forgot the insult;
Profession ignored the slight; but
Self- respect held 'its' head high! "
HARIDWARAMANGALAM A.K. PALANIVEL - PERCUSSIONIST:
(b. April 10, 1948)
Born at Haridwaramangalam, of Kumaravel Pillai and Sethukannammal,
Palanivel had his training in tavil play under his father and Kalaimamani
Tirucherai Muthukumaraswami Pillai. A vibrant player on tavil, he is a popular
vidwan and has trained many. A front-line artiste, he has been honoured with
many titles like:
Tavil Isai Tilakam,
Tavil Isai Kurisil,
21 8 ANOTHER GARLAND
Laya Vadya Kaianidhi and
Kalairnamani from Tamil Nadu Eyai Isai Nataka Mandram in 1980.
Concert tours: U.S.A., Canada and Sri Lanka.
ILUPPUR PANCHAMI - TAVIL WIZARD & VOCALIST: (August 4, 1905 -
March.22, 1935)
Panchami was a versatile wizard in vocal music, tavil and kanjira. Besides
he was a composer too. He had high musical connections like lluppur
Ponnuswami, his violinist uncle, Natesa Pillai, nagaswara brother, etc. By the
age of six, he revealed ample signs of high promise and a glorious future. Had
his training with Malaikottai Venkatachala Tavilkarar and Lalgudi Angappan,
He was a constant accompanist to Perambalur Angappan, a very prominent
nagaswara vidwan. While he showed his talents at the tender age of six at
Bikshandarkoil, he made his debut at the Malaikottai temple, Tiruchirapalli atthe
age of nine. Restless impatience to reveal his multi-faceted genius led him to
different walks of musical life as indicated below:
Started career with his brother, Natesa Pillai as Tavil player.
Was with Madurai Ponnuswami Pillai in 1919 and with the Todi Wizard,
T.N. Rajarathinam Pillai during 1924-27.
Turned a vocalist conscious of and impelled by his melliflous voice in 1 927
Resumed tavil and kanjira play in 1929.
As a kanjira vidwan, he had accompanied prominent musicians like
Dr. Semmangudj Srinivasa Ayyar. Tavil Panchami was a household name for
sheer brilliance, dexterous finger-play, bristling laya expertise and innovative
presentation. He was religious and wore only hand-spun khadi. There was
everything that was good and great with him except a sudden twist in his career.
B.M. Sundaram states that he inherited addiction to drink during his brief
tenure with T.N. Rajarathinam Pillai. Both were genuises- one in melody and
the other in laya. Twenty-six year old Melody passed on its pet weakness to
nineteen-year old Percussion! Percussion had to wind up its stay on earth in a
decade, though Melody managed to last for three decades more. Could it be
that the acquired habit hastened Panchami's untimely death? The glamorous
player died at the prime of his career and Art lost much, Death due to alcoholism
is Suicide and a Tragedy and here Art hastened the tragedy by imbibing the
suicidal practice. Drink is fire to sulphureous Art! (Vide "Boom, Booze, Doom"
at page 444 of 'A Garland")
While his popularity and place in the annals of Carnatic music are inscribed
as a tavil vidwan, that he was an excellent vocalist with a mellifluous and speedy
ANOTHER GARLAND 21 9
brika voice, that the erudite musician had composed the chittaswaras now
appended to Palukavemi (Poornachandrika), Niravadisukhada (Ravichandrika),
Sobhillu Saptaswara (Jaganmohini) and Mariyadagadura (Sankarabharanam)
and that Kanchipuram Naina Pillai selected him for giving vocal concert on the
occasion of the marriage of his daughter are not commonly known! Such facts
elevate Panchami in the estimation of admirers and he was a genius.
* * *
TARANGAMBADI RANCH ANADA AYYAR - COMPOSER: (1824 - 1874)
A disciple of Syama Sastri and scholar, Panchanada Ayyar was a prominent
composer. A devotee of Lord Vighneswara he adopted the signature 'Danti
Mukha Janani' and 'Panchanada'.
The following are among his compositions;
Arabhimana Ragamalika in 1 6 ragas
Birana Brova Yide Kalyani
Sarasijanetra Kalakada (1 3)
Palimpavamma Mukhari
PAPA CHUDAMANI alias SITALAKSHMI: VOCALIST: (1936 - 1978)
Father Choodamani Sastri
Guru Ambi Subramania Bhagavatar.
Debut Bangalore Town Hall in her eleventh year.
Papa Choodamani had given concerts on the All India Radio and elsewhere.
Had a melodious voice and a good sweep of the upper octave.
Title: Gana Visaradhe by the Mysore Maharaja in 1 965.
* * *
PARSVADEVA - MUSICOLOGIST: (c. 1250 A.D.)
After Sarngadeva, author of Sangita Ratnakara, Parsvadeva is a prominent
authority and it would appear that he was a near- contemporary of Sarngadeva.
While Sarngadeva does not quote him, Simha Bhoopala refers to him, says
Dr. V.S. Sampathkumaracharya of Mysore. Dr. V. Raghavan has stated that the
musicologist would have lived between 11 65 and 1 330 A.D.
Parsvadeva has authored the work Sangita Samayasara which deals with
raganga, bhashanga, upanga classification of ragas and the lakshanas of
forty-three popular ragas of the period. Seventy-five slokas deal with ragas and
the author styles himself as an 'Ocean of Music'.
220 ANOTHER GARLAND
TIRUVALAPUTHUR PASUPATHIA PILLAI - TAVIL ARTISTE:
(1 879 -Octr. 1958)
Son of bharata natya artiste Amman! Ammal, Pasupathia Pillai had his
training under Achalpuram Dharmalinga Tavilkarar (father of the eminent
Chidambaram Vaidyanatha Pillai) and the eminent Ammachatram Kannuswami
Pillai - (Vide page 106 and 396 -A Garland). Pasupathia Pillai was very popular
and was one of the top tavilkars but was incapacited at the peak of his fortunes,
blood oozing out from his fingers if he struck or played! He was forced to be a
teacher and among his disciples were Nachiarkoil Raghava Pillai and
Tiruvalaputhur Kaliamurti.
M.P. PERIASWAMI @ Pe.THOORAN - COMPOSER : (Septr. 26, 1908 -)
Place of birth : Modakurichi / Manjakattuvalasu in Coimbatore district.
Parentage : Palanivelappa Gounder and Paavaathal.
A born teacher, patriot and a composer of merit, Periaswami Thooran is a
respected figure. He was greatly influenced and inspired by Mahakavi
Subramania BharatL He declined to sit for his examination for Bachelor of Arts
shocked by the execution of the immortal Bhagat Singh, a prince among patriots
by the British. (Vide the life of K.B. Sundarambal for a like reaction.) Thooran
qualified later passing B.A., LT, A voracious writer, he composed over six
hundred songs on national, spiritual and moral issues. He wrote 'a poem a day'
for several years after his daily poojahs. His song 'Adu Ratte' was a clarion
patriotic call which was widely in current use during the Freedom Struggle. He
became popular and the melody queen N.C. Vasantakokilam included this piece
in her concerts invariably. (It is unfortunate that the sublime atmosphere that
prevailed during the Freedom Movement is a mirage now. One has just to
recollect Subramania Bharati's Thanneer Vitto Valartom and other songs.) A
precocious chifd and later a man with noble ideals, Thooran is an acknowledged
poet and composer. Analogous to Tyagarajah's 'Santhamulekha, Soukyamu
ledhu', Thooran's 'Santhamillamal sukham undo? (Nattakurinji) stresses that
there is no joy without patience and no contentment amidst worries. Deep
philosophical truths lay hidden in his simple devotional songs. Musical
aesthetics and bhavafind abundant evidence in his compositions.
With profound poetic talents, he had to seek like Arunachala Kavirayar
outside help to set his songs to tune as he was not a musician. He availed of
the services of Sivaramakrishna Ayyar as guru and choreographer.
(Sivaramakrishnan was bom in 1913 at Mavelikara in Kerala and had joined Sri
Ramakrishna Vidyalaya as music teacher in 1937.) Thooran had also availed
of the services of senior musicians like K.V. Narayanaswamy, T.M. Theagarajan,
T.K. Govinda Rao and T.V. Sankaranarayanan to set his songs to music.
ANOTHER GARLAND 221
Eminent musicians like Tiger Varadachariar, Musiri Subramania Ayyar and
Semmangudi Srinivasa Ayyar had spoken highly of his compositions. His songs
have been brought out in five volumes titled 'Isai Man/ Manjari'. Annamalai
University, Alliance Company, Tamil Isai Sangham and Tamil Writers' Association
have brought out his works. His publications include 'Thooran Stories' (1 962),
'Nalla Nalla Pattu ' (1965) Vail of the Wild 'and 'Bharati ' for children.
His claim to fame rests on his memorable contributions to tamil. He was
Chief Editor, Tamil Encyclopaedia during 1 948-1 978 and the encyclopaedia went
into ten huge volumes. The credit for bringing out the first-ever Children's
Encyclopaedia in tamil in ten volumes also goes to him. His life was one of
fulfilment and enduring contribution of intellectual excellence. The moral code
of conduct he set for himself was -high. When T.S. Avinashilingam Chettiar
granted him a salary of Rs.thirty, he took only Rs.fifteen per mensem. This
reminds one of the former Prime Minister Lai Bahadur Sastri, Gottuvadyam
Sakharama Rao and Violin Sundaresa Ayyar of Tiruvalangadu and men of such
unstained galactic stream.
Posts held:
Teacher in Gobichettipalayam - 4 years.
Warden & Teacher, Sri Ramakrishna Vidyalaya, Perianaickenpalayam - 1 5 years.
Chief Editor, Tamil Encyclopaedia - 1 948 - 1 978.
Chief Editor, Tamil Kalai Kalanjiam, a prestigious journal.
Honours arid Titles:
Padma Bhushan by President of India 1 968
Isai Perarignar by Tamil Isai Sangham 1 972
Kalaimamani by T.N. Eyal Isai Nataka Mandram 1 970
Annamalai Chettiar Award by MAC Charities 1 978
Thooran's multi-sided interests covered the deliberations and activities of -
The All India Radio,
Tamil Nadu Eyal Isai Nataka Mandram.,
Tamil Isai Sangham ,
Central College of Carnatic Music,
Tamil Kalluri, etc.
R. PICHUMANI - VAINIKA: (b. May 18, 1920)
Born in a family of musicians, R. Pichumani had training in vocal music under
Jalra Gopala Ayyar at the age of ten and later veena with Tiruchi Kuppanna. At
the age of fifteen he won the prize for Carnatic Vocal at the National College.
Became a 'Sangeetha Bhooshanam' of the Annamalai University under the
222 ANOTHER GARLAND
stalwarts Tiger Varadachariar, K.S. Narayanaswami Ayyar and V.S. Gornati
Sankara Ayyar. 'On the foundations of the intensive training received there, he
built for himself a distinct Classical Carnatic aesthetics enduring the pressures
thrust on him by the materially rich and gorgeous world of cine-music in which
he had to serve for a number of years during his early years.5 (R.V.)
For nearly five decades, Pichumani has been a dedicated sampradaya
vainika having given over 1500 concerts on the radio, doordarshan, sabhas, etc.
He is a respected vidwan known for unruffled rendition at once satisfying and
soothing.
Posts held :
Secretary, Tiruvaiyaru Tyaga Brahmotsava Sabha (1 980)
Selection Committee Member and Chief Examiner for Vidwan courses in
State Music Colleges.
Faculty Member and Board Member for Practical Examinations,
Annamalai University.
Honours & titles:
Shanmughavadivu Award (twice) from the Music Academy, Madras.
Kalaimamani &
Gold medal by the Tamil Nadu Eyai Isai Nataka Mandram 1 970-71 .
Sangeetha Ratnam by Bharatha Natya Academy 1 959.
Veena Nada Mani by H,H. Sankaracharya of Kanchi 1 982.
Veena Praveena by Santhome Arts Academy.
Award by Sangeet Natak Akademy , Delhi 1 989
Sangita Kaia Nipuna by Mylapore Rne Arts 1 991 .
(Veenai Vithagar, Veenai Isai Vithagar & Nadakanal are the other titles.)
R. Pichumani has composed swarajatis, varnam, javalis and a tillana and
has invented the raga, Vasantha Kaisiki. Has trained many disciples including
his sons, R Viswanathan of the All India Radio and R Chandrasekharan, a
professional veena player.
Disc recordings:
* * *
K. PONNIAH PILLAI - COMPOSER-PEDAGOGUE: (1888 - June 30, 1945)
A family of eminent musicians, dance masters, composers and teachers of
Tanjore with its high watermark in the illustrious Tanjore Quartette has given
successive waves of artistes. The present generation includes K.P. Kittappa
Pillai and K.P. Sivanandam Pillai. Their father, Ponniah Pillai was born at
Pandanallur, of Kannuswami Pillai, a dance master then at Baroda. He had his
training in —
ANOTHER GARLAND 223
Music, dance and ; with PandanaSlur Meenakshisundaram Pillai - 15 years;
mridangam
Tamil, telugu, etc. : under competent instructors and
Advanced music : under Paighat Anantarama Ayyar and
Tiruvotriyur Tyagayyar.
Ron nsah Pillai had learnt mridangam under T.R. Vaidyanatha Ayyar also. After
training, he joined his father, who had then returned from Baroda to Tanjore, in
teaching music and dance. Tanjore Vaidyanatha Ayyar, the percussion stalwart
was among the disciples.
Ponniah Pillai was Lecturer, Music College of the Annamalai University
taking both vocal and mridangam classes. The University had then a number
of distinguished musicians and Pillars teaching acumen attracted considerable
appreciation. K.S. Narayanaswamy, Veena Vidwan states that 'we would attend
his mridangam classes whenever we did not have our own1. It indicates the
genial attitude and the teaching acumen of the master. Was Member, Madras
Music Academy Experts Committee and the Syndicate of the Madras University.
He had presided over numerous conferences.
Compositions : Jatiswarams, Tana Varnas, Kirtanas & Tillanas.
Tour ; Sri Lanka where he held summer classes.
Publications : Isal Eyal
Seyalmurai Isai Nool
Tanjore Peruvudayan Perisai
(containing the songs of his ancestors),
His songs were published in the University publication titled 'Rajah
Annamalai Karuvoolam* in 1949 by his sons. He was closely involved in the
Tamil Isai Movement and had presided over the Tamil Isai Conference in 1941.
The Music Academy conferred on him the title of 'Sangita Kalanidhi' in 1 933.
Ponniah Pillai composed the initial ten 'adavus' with 120 subdivisions for
bharatanatya, besides framing the model programme for dance concerts with
alarippu, jatiswaram, sabdam, pada varnam, swarajati, padam, ragamalika,
sloka and tillana.
The most interesting fact about his family is that many of them were experts
in the triple field of music,dance,and composition. Ancestry is traced to
Gangaimuthu of Sankaranarkoil, who with his brother Ramalingam, was in the
service of Maharajah Thulajah of Tanjore. The genealogy passes through
Subbarayan, Sivanandam of the Quartette, Sabapathi and Kannuswams to
Ponniah Pillai. The great lakshana vidwan who was a distinguished teacher and
composer was a good mridangam player too.
224 ANOTHER GARLAND
pyf^DAS-KAVlTmLA- MUSICOLOGIST: (C.151O - 1576)
Vittala is the author of the quartet of works:
Shadraga Chandrodayam ,
Nattana Nirnayam ,
Ragamala and
Ragamanjari.
The' first work gives details of his biography. He was born at a plaoo called
Sathanur near a hill known as Saivagangamalai, of Vittalarya and Nagamba in
about 1510 A. D. Probably he derived his name after the name of the local deity,
Vittalarayaswami or Vittala Gopalaswamy. He was a scholar in Sanskrit and
kannada and well- versed in dance and music. The odd factor in his \\fe is that
he did not shine in that abode of art and culture, Vijayanagar but had to m igrate
to Anandavalli, capital of Khandesh ruled by Burhan Khan for patronage,
Shadraga Chandrodayam is dedicated to this patron. Then he was at Gwalior
with Rajah Mansingh Tomwar and at Delhi patronised by Mana Sim ha and
Madhava Sirnha, who are referred to by Vittala in his Raganirnayam. At Delhi
he was patronised by Emperor Akbar, to whom Narthana Nirnayam was
dedicated, The work Ragamala was completed on July 30, 1576. He has
described and praised sixty-six ragas in slokas. T.S. Parthasarathy
' Perhaps he is the only theoretician who was well-versed in both the systems - Raga
Ragini and Mela systems. He was able to secure a respectable place at Ahmednagar,
Gwalior and Delhi. '
Why his native kingdom failed to provide him with a congenial berth is left to
conjectures.
PURNACHANDRA - VOCALIST/VIOLINIST/MUSICAL DISCOURSER:
(to. 1943)
Bom at Hyderabad, Purnachandra had knowledge of telugu from his* father
and kannada from his mother. Learnt the themes and art of musical disseourse
from his mother. Learnt music from Tirumalachariar and Balasubramania
Bhagavatar. Was noted for his musical discourses. Was employed in Central
Government.
Honours & Titles :
Nataka Bhushanam, Gayaka Ratna Sudha Nidhi,
Bala Bhagavata, besides medals.
ANOTHER GARLAND 225
MADURAI PUSHPAVANAM - VOCALIST -
1 A handsome stripling with a curious coiffure that subsequently became
the fashion among his fans, clad in spotless white muslin with loose
sleeves flying about, with eyes closed and the music! What an intoxicat-
ing voice, responding readily, with incredible ease and grace, to the
surging crescendo of ravishing, sophisticated music conjured up from a
highly imaginative mind! And how the audience rocked and swayed as
if in a trance1,
observes R. Rangaramanuja Ayyangar of Pushpavanam of Madurai, a disciple
of one of the renowned teachers of yester years, Ettayapuram Ramachandra
Bhagavatar. The teacher prayed for a disciple who would blend his unmatched
expertise with a divine voice and Pushpavanam was the answer and gift to him.
Pushpavanam was a musical discovery, a treasure-trove. The
Slower-garden', which the name of the vocalist actually means, was a veritable
garden of raga, tana, pallavi, kriti and swara and he was a master of concerts
with few to challenge; but unfortunately, he passed away too soon leaving an
undying name and fame. His daughter, Rajam was a vocalist and Sangita
Kalanidhi Madurai Mani Ayyar was his nephew,
In a tribute, Dr. Srinivasa Ayyar says that Pushpavanam 's music was ' as
attractive as his personality... effortless... His voice was his forte and audience
listened with pin-drop silence'. He writes in the Journal of the Music Academy
that Pushpavanam developed raga alapana leisurely, that his wonderful voice
was noted for power and sinuous beauty and that it was difficult to see or talk to
him. Pushpavanam would go away the minute the concert was over. As I write
this sentence on September 5, 1 991 , a news item in the 'Hindu ' reveals:
'Most of the top tennis players don't hang out. They go, they play and they
leave. Everybody has his own entourage and keeps to themselves! - (Gigi
Fernandez)
' We don't talk. Just say " W. I just walk by and they walk by me. That is the whole
contact we have, ' — Monica Seles.
(No wonder it is so. Tennis brings staggering prize money in astronomical
figures even for defeats! )
Soolamangalam Vaidyanatha Bhagavatar, the celebrated musical discourser
wrote long back in 'Kalki ':
1 Pushpavanam's voice was a gift of Heaven. No accompanist is required to render
his concert memorable.
Musicians1 remuneration at that time went up only because of his stringent
226 ANOTHER GARLAND
attitude. He stipulated and got what he wanted. Sometimes, the host-organiser
would pay double the stipulated sum captivated by the scintillating music of the
artiste. Was a little conceited. Once all the great musicians had come for a
function but he did not come as his stipulation had not been confirmed. Only on
receipt of a telegram, he chose to come. And finally, he got a double of that
amount, the host surrendering to the magical wizardry of his matchless melody!'
PUTTARAJA - MULTI-SIDED INSTRUMENTALIST: (b.1914)
Place of birth : Deogiri in Haveri taluk, Karnataka.
Parents ; Revayya and Siddamma
A distinguished instrumentalist and composer, Puttaraja Gavai was born
blind and is a disciple of Chandrasekhara of Venkatapura Hiray Mata who was
a disciple of the celebrated Panchakshari Gavai. In fact the Gadag Punyashrama
is stated to have been started by Panchakshari Gavai and Puttaraja Gavai,
Probably both had played a great and noble role in the life of that institution,
Learnt violin from Raghavendracharya. Puttaraja is a genius who can also
handle harmonium, sarangi, dilruba, sitar, tabla, etc. He belongs to the select
band of great musicians who were or are blind but had found no inhibition on
that account in achieving expertise and high image in the field of music. (Vide
'A Garland' on blind bards.)
Puttaraja has brought out many works and dramas like -
Sivasarana Chinnayya,
Sevati Matsara,
Nallur.Nambiyakka,
Stri Jivana,
Akkamma Devi Purana (in Shatpadi metre).
40»
Kannada was his medium but his Guru Gita is in Sanskrit and Basava Purana
is in hindi. Had many disciples.
Honours & Titles : State Sangita Academy Award 1 962
Ubhaya Vadhana Kanthirava
Ubhaya Qayanacharya
Sangita Sahitya Ratna, etc.
M. PUTTASWAMAYYA - PERCUSSIONIST: (20th Century)
Father and guru : Mare Gowda
Further musical
training under : Rangachar, Ananta Sastri & Bidaram Krishnappa
ANOTHER GARLAND
Mridangam training
under : Muthuswamy Devar of Mysore.
Place of birth : Tagadur village, Narsipur taluk.
Started with tabla and took to mridangam later. Made his debut playing
his guru Bidaram Krishnappa in his fifteenth year and has been having v\
practice. Puttaswamayya is one of Karnataka's elder mridangists.
Honours & Titles:
Sangita Ratna By Maharaja Chamaraja Wodeyar
Gana Kala Sindhu By Mysore Sangita Sammelan
Gana Kala Ratna By Mysore Gana Kala Parishad
Sangeet Natak Akademy Award 1 962
Puttaswamayya was the President of Mysore Kalabhivairdmi Sabha an<
started the Kanakadasa Vidyarthi Nilaya, Nanjangud.
T. PUTTASWAMAYYA - VOCALIST: (b.19
Parentage : Tirumukkudal Agastya Gowd & Sundaramma.
(A brother of T. Chowdiah, the renowned violinist.)
Musical Preceptor : Bidaram Krishnappa for six years.
Debut : At Sri Ram Temple, Nanjangud with brother T. Chov
on violin and Mysore Muthuswamy Devar on mridar
A traditionalist, Puttaswamayya was noted for his raga exposition and p*
elaboration. Has trained many disciples. Puttaswamayya was Profess<
Music, University of Bangalore.
Honours & Titles:
Honoured by Nalwadi Krishnaraja Wodeyar, Mysore 1 938
Gana Vidya Varidhi by Mysore Sabha 1 969
Gana Kala Ratna by Kala Parishad, Bangalore
Sangit Natak Akademy Award. 1 971
Disc recordings:
IT IS GURUKULAVASA
'Example is the school of mankind arid they will learn at no other.'
— Edmund B
* * *
228 ANOTHER GARLAND
LEAF AS A MUSICAL INSTRUMENT
i. The tamil adage says, 'Vallavanukku pullum ayudham' (Even a grass blade is a
mighty weapon to the strong). Nikfail Mohanto presents exquisite music with a leaf
covering alapana and songs producing the sound of a shenoi. (Doordarshan
October 23? 1990)
ii. Tulasiram Bhimrao Sutar of Lanjwad, Bidar, Karnataka gives thirty-minute
programmes with a fresh leaf.
MULTIFACETS OF MUSIC:
Music is a fine art to the art-lover for entertainment and enlightenment;
a profession and means of livelihood to the musician;
an accoustic phenomenon and a science on sound for the
musicologist; but it is
Nada Yoga or Nadopasana, the worship ofNada Brahman and
the easiest way to salvation for saints and philosophers from
Yajnavalkya to Tyagaraja.
— T.S. Parthasarathy.
ii. 6Jhere is a wrong belief that Carnatic music is Brahmin-oriented music. Actually it
owes as much to non-Brahmins as to Brahmins. According to Manu, a Brahmin can
only teach music but not take it up as a profession. ' *
"Most vidwans and vidushis fail to build over the great compositions their own.
These compositions which are the backbone and glory of Carnatic music have
become more a hindrance than a help to their creativity/
'It is time v/e had second thoughts on the Ariyakudi paddhati followed in recitals. I
personally think it has done incalculable damage to Carnatic music... Unfortunately
it has put the system into a strait-jacket and spelt disaster to the musicians' creativity.
He is now compelled to pack a dozen items into a recital... He has lost his freedom
when freedom is the essence of our music/
— RGKin Indian Express
Note: Such canards were spread by imperialist stooges and vested interests even regarding
independence movement, satyagraha and Indian National Congress then.
ANOTHER GARLAND 229
R
VALADS RADHAKRISHNA AYYAR - VIOLINIST: (1849 - 1908)
Son and disciple of Rama Ayyar of Lalgudi, Radhakrishna Ayyar was a
popular figure who enjoyed a large circle of admirers including the Rajah of
Ramnad where he was asthana vidwan. He brought up his sons, Madurai
Kandaswami Bhagavatar (1 890 - 1 939) and V.R. Gopala Ayyar (1 900 - 1 979) as
violinists. (While the former settled at Vaigai-fed Pandyan Madurai, the latter
chose to remain at his ancestral, Cauvery-fed Chola village of Lalgudi.) He was
a flautist too and ran a music school at Lalgudi. Inspired by a Swamiji, he took
to asceticism and set up an ashram at picturesque Kallidaikurichi on the banks
of Tambraparni praised by Muthuswami Dikshitar in his song Sri Kantimatim
(Desi Simharava raga)> as Suddha Tamraparni. An anguished mother went, got
his release and brought him back to family life, In an old photo, Lalgudi
Radhakrishna Ayyar shares the stage with his violin on play along with Maha
Vaidyanatha Ayyar, Patnam Subramania Ayyar and Poochi Srinivasa Ayyangar
(all vocalists), Tanjore Narayanaswami Appa with his mridangam and
Umayalpuram Narayanaier with his ghatam. That shows his rank.
T.K. RADHAKRISHNAN - FLAUTIST; (b. July 14, 1919)
Father T.G. Krishna Ayyar was the author of 'Lalitha Dasar Kirthanas' and
mother was Annapurani Ammal. Bom in a musical family, Radhakrishnan had
his training in flute with the famous Palladam Sanjeeva Rao and theory under
his grandfather T.A. Krishna Bhagavatar. For his concerts, Radhakrishnan had
been accompanied by eminent violinists like T. Chowdiah, Rajamanickam Pillai,
Govindaraja Pillai and Pappa Venkataramiah. The flautist was honoured with
the title of 'Kalaimamani' by the Tamil Nadu Eyal Isai Nataka Mandram in 1978.
RADHA VISWANATHAN - VOCALIST: (b. Deer 15,1934)
Flower and fragrance, word and its meaning and several such combinations
are noticed for harmonious, homogenious blending of two in one. It is so with
Radha Viswanathan, the Yamuna which merges and dissolves its musical
talents in the melodic Ganges of Prof. M.S. SubbuIakshmL The tendril revolves
around the stem but retains its identity. In Radha's case, it is Jeevathma joining
the Paramathma - two voices in total absolute blend rendering melody more
melodious. At Dhanushkodi or Kanyakumari, the Bay of Bengal meets the Indian
230 ANOTHER GARLAND
composite whole. The dissolved sugar can be separated but the dissolved
rendition of Radha "does not lend itself to this process. That is its intrinsic merit!
Daughter of Sadasivam, she could not have wished for a better exposure to art
and music. Music made her home its favourite prime abode and so Radha had
minimum need for formal training in the usual sense of the term. Do fisher boys
attend swimming classes?
T.R. Balasubramaniam gave her some lessons while Ramnad Krishnan and
Mayavaram Krishna Ayyar taught her a little. Step-mother M.S. Subbulakshmi
and Radha jointly learnt padas from T. Brinda and kritis from Semmangudi
Dr. Srsnivasa Ayyar. The school of Musiri Subramania Ayyar lent some training.
The step mother's influence was so affluent that Radha was quite soon an
accomplished vocalist More than for her solo concerts, Radha is known much
as the voice-support of M.S. Subbulakshmi. The mutual affection and love and
the unique exposure of Radha from childhood to the music of M.S.S. so shaped
the music of the two that it came to be the glory of Classical Carnatic music. To
the accustomed eye, MSS without Radha looked like Saraswati without veena.
Radha learnt bharata natyam also from Vazhuvur Ramiah Pillai and the
'arangetram' was in 1945.
Radha had her stint srt-films while young as —
six year old Bharata in M.S.S.' "Sakuntala" and as
baby Meera in M.S.S. musical extravaganza "Meera11.
Radha fell ill seriously and had a miraculous recovery, Here is a description
by Gowri Ramnarayan in 'Sruti' on a benefit performance of M.S.S. on March,
12, 1983:
Half way through the recital the unexpected happens. The curtain drops - in the midst
of a Classical Carnatic Music programme? When it rises, there was Radha/
It was her first appearance after her illness and there was universal welcome to
her coming back to the concert stage. A world of sympathy was with her aiding
her recovery.
Dr. V. RAGHAVAN - EMINENT MUSICOLOGIST: (1908 - 1979)
A giant among musicological sanskritists, Dr. V. Raghavan's contributions in
the twin fields of Sanskrit and Carnatic music are substantial and immense.
His writings cover a wide spectra and the output is not only classic but
authoritative. He edited the Journal of the Music Academy from 1 935 to 1 979,
the souvenirs of the Academy Annual Conferences from 1943 to 1978 and the
Music Academy series of songs in notation, etc, The bibliography of his
published works cover;
ANOTHER GARLAND 231
Books and Monographs 15
Articles on Sangita 38
Articles on Trinity 25
Articles on Non-Trinity Composers 28
Articles on musical instruments 21
Articles on music, dance and fine arts 57
An aasu kavi (spontaneous composer), his original compositions include
Sri Ramanatha Suprabhatam, Meenakshi Suprabhatam, sabdas and kirtanas.
The Suprabhatams are noted for poetic, vedantic and devotional excellence and
he wrote an entire kavya on Muthuswami Dikshitar for which Sri Sankaracharya
of Kanchi awarded the title of 'Kavi Kokila1. The other title conferred on him was
} Sakala Kala Kalapa'. His analysis of the life of Tyagaraja in 'The Heritage of
Tyagaraja'ls classic and could scarcely be excelled in its reach and depth.
I had the privilege of instituting the recitation of Sri Ramanatha Suprabhatam
at the famous symbol of emotional and spiritual integration of India, Sri
Ramanathaswami temple, Rameswaram in 1966 and he was very much
pleased at that and 'He' too should have approved His first servant's (the
author's) action.
Dr. Raghavan was a Founder-Member of the Music Academy and played a
great distinguished role in its development and in the deliberations of the Experts
Committee.
PALGHAT R. RAGHU - MRIDANGAM MAESTRO: (b.Jany 9, 1928)
\
Kerala enjoys the privilege with Burma (Myanmar) of producing quality teak
and the Keralite percussion maestro, Palghat Raghu was born at Burma. One
of the top mridangam artistes, Raghu has developed a distinct style of his own
full of technical excellence, effortless fingering and innovative vibrancy and
display. He claims that his training initially under Tinniam Venkatarama Ayyar
and later under the percussion wizard Palghat Mani endowed him with the rich
artistic heritage left behind by Tanjore Vaidyanatha Ayyar. Raghu is a respected
mridangist acknowledged for his vibrant dexterity and artistic brilliance. He is a
Graduate in Mathematics. Mathematics and music have close consanguinity
from ancient times.
His concert tours abroad include -
U.K. in 1960 at the invitation of Yehudi Menuhin to participate in the Bath Festival;
U.K. in 1963 to perform at the Edinburgh International Festival;
U.S.A. in 1965 as Visiting Professor, Wesleyan University when he gave several
concerts with Pandit Ravi Shankar and Ustad Alia Rakha - a combination of
mridangam and tabla for sitar;
232 ANOTHER GARLAND
U.S.A., Australia, Singapore and Europe either for teaching or for concerts
Honours and Titles:
Sangeetha Choodamani by Sri Krishna Gana Sabha, Madras
Fellowship of Sangeet Nataka Academy, Kerala 1 98O
PaSghat Mani Ayyar Award
Sangeet Natak Akademy Award
Padma Sri by the President of India
Mridanga Chakravarti by Cleveland Association
Kalaimamani by Tamil Nadu Eyal Isai Nataka Mandram
B.S. RAJA AYYANGAR - VOCALIST: (190o - 198O)
Sweet melody, pleasing invigorating voice with a tinge of the feminine gnaoe
and felicity in rendition, smooth and captivating tempo, measured brikas a.nd
lakshya predominance qualified the singing of B.S. Raja Ayyangar. His voice
traversed the upper octave with elegant ease and timbre. His dlso
lJagadoddharana'was the rage of the thirties and even the hurrying feet paused
for a few moments to catch a glimpse of the captivating music. If S.G. Kittappa
electrified the dramatic stage in Tamil Nadu, Raja Ayyangar did the like of it on
the concert stage. ' Ksheerasagara' (Devagandhari) was another favourite of
his.
80171 at : Banavar village in Arisikere district in Karnataka
Initial training he had with his maternal uncle and then joined the dramatic
company of Varadachari of Mysore and learnt music from Harmonist Cham a
Rao. Popularity crowned him soon and recognition was quick to reach him He
had a round of advanced training under K.V. Srinivasa Ayyangar of the Tiger
Brothers. Made his debut at Egmore, (Was it at the Jagannatha Bakta Sabha?)
He had the distinction of singing at the Akhil Bharath Sangeet Sammelan
Madras in 1927 which was a landmark in the annals of Indian Music. For three
decades he held his high stature and won many laurels having made his entry
at the Travancore Palace in 1924, at the Mysore Palace in 1928, the Music
Academy in 1932, and distant Karachi in 1 936.
Honours and Titles:
Many medals
State Sangeet Natak Academy Award 1 967
Karnataka Gana Kala Parishat - Gana Kala Bhooshana in 1 970
Gana Kala Nidhi and other titles.
He has donned the role of Narada in the film 'Satya Harischandra'.
Disc recordings.
* * *
ANOTHER GARLAND " 233
V. RAJKUMAR BHARATI - VIOLINIST: (b. June 24, 1958)
Parents : RS.V Subramanian and Lalitha Bharati
General Qualification : B:E. (Electronics & Communication)
Musical training under: Initially his mother,
Valliyur Gurumurthy - 12 years
Dr. Balamurali Krishna - 2 years
T.V. Gopalakrishnan during the last ten years -
both Carnatic classical and Hindustani classical.
Debut : 1 974 for a marriage
1 976 Indian Fine Arts Society, Madras.
Rajkumar Bharati is a popular artiste who commands a rich, vibrant voice
and graceful rendition. He brings out a rich crop of gamakas and embellishments
in his rendition. Has given about seven hundred concerts on the All India Radio,
Doordarshan and sabhas. Has been accompanied by distinguished violinists
and percussionists. He expresses his gratitude to T.V. Gopalakrishnan, his guru,
for the immense interest taken by him in his progress.
Concert tours: USA, UK, Singapore and Malaysia.
Honours: Asthana Vidwan, Shri Datta Peetam, Mysore.
Disc recordings: (Devotional and light classical).
Rajkumar Bharati is the great grandson of the immortal National Poet,
Subramanya Bharati and like his illustrious ancestor, he quit his job, not for
politics (since India is independent and there is no struggle for its libertion), but
to devote his time and energy to promote the welfare and culture of mankind.
Prof. RAJALAKSHMI NARAYANAN - VEENA ARTISTE: (b.Aug.31 , 1 928)
Master of Arts in Indian Music with special diploma in music, Rajalakshmi
Narayanan has been giving veena and vocal concerts on the All India Radio and
elsewhere and demonstrations at seminars. A number of students from America
have been specially trained by her in veena. She is Professor in Veena at the
Government Carnatic Music Training Centre, Madras.
* *
RAJALAKSHMI RAGHAVAN - VEENA ARTISTE: (b. February 25, 1942)
World War II was on. The Japanese were advancing towards India. Just
within a week or two, Madras was to be bombed. Thousands of families had
evacuated Madras for rural centres. Tanjore was then humming with
local people and the fresh arrivals. Rajalakshmi Raghavan was then
born at Tanjore. Mother had been trained by Veena Seshanna of
234 ANOTHER GARLAND
Mysore. Her sisters are all well trained and two of them were giving
concerts.
Rajalakshmi joined the Central College of Carnatic Music in 1961- 62 and
had her veena-main under the renowned Devakottas A. Narayana Ayyangar.
She got the diploma securing the first rank. Had taken the Teachers' Training
Certificate.
Was veena teacher at the Tiruvaiyaru Government Music College
(1 965-1 980) and is Lecturer in Veena at the Government Music College, Madura!
since 1980. She has given numerous concerts on the All India Radio, sabhas,
etc. and has been celebrating Tyagaraja Aradhana on a lavish scale at Madurai.
RAJALAKSHMI THIRUNARAYANAN - VOCALIST: (20th Cent)
Rajalakshmi Thirunarayanan hails from a family of musicians of Mysore.
Had taken the Master's Degree in Music in 1967 from the Mysore University.
She is a Lecturer in the Bangalore University, Had undergone training with
V. Venkatagsri, Lalgudi Jayaraman and Prof. R.N. Doreswamy, having started
her training at the early age of seven. She has been giving concerts for
Doordarshan, All India Radio and others. Has authored the book 'Music
Theory', a text for the Senior Grade Music Examination in Karnataka.
TIRUVARUR (KUNJU) RAJAGOPALA AYYAR - MRIDANGAM ARTISTE:
(1900 -Deer. 27, 1971)
Place of birth : Kurumbal near Tiruvarur
Name of father : Swaminatha Ayyar.
Percussion training : Ghatam under Talagnayar Gopaia Ayyar &
Kodimangalam Narayanaswami Ayyar
Mridangam under Tiruvarur Kuppanna Rao
Rajagopala Ayyar started with ghatam and moved over to mridangam. Had
worked as teacher for mridangam at the Kalakshetra and at the Music Trinity
Sabha, Tiruvarur. He was doing 'Nadopasana* playing on mridangam in a Radha
Kalyana Mahotsavam when he died in harness as the 'haratf was being shown.
Tiruvarur Nagarajan, his son, plays mridangam and kanjira.
R.A. RAJAGOPALAN - PERCUSSIONIST: (b.December 20, 1952)
Place of birth : Bangalore
Parents : Father R.A. Krishnamacharya, Retired Professor,
Sanskrit College, Bangalore and a Harikatha Vidwan
ANOTHER GARLAND 235
and mother RARajalakshmi.
Training : Training in mridangam under T.A.S. Mani, Karnataka
College of Percussion, Bangalore and subsequently in
ghatam.
Rajagopalan made his debut in 1968 at Bangalore and has been providing
accompaniment to leading vidwans mainly in ghatam. Now he is Staff Artiste,
All India Radio, Bangalore.
Concert tours:
With Taia Taranginf of T.A.S. Mani and with his sister-vocalist,
R.A. Ramamani.
Disc recordings*
* * *
S. RAJAM - MUSICIAN & ARTIST: (b.Feforuary 10, 1919)
The Musician:
1984 February - Ettayapuram - Muthuswami Dikshitar Aradhana. It is well
known that Dikshitar in his Anandamrutha Karshini in raga Amruthavarshini
appealed to Arnruteswari for instant rains (Varshaya, Varshaya) and brought
copious rains to the rain-fed but rain-starved, black-cotton, flat terrain in and
around Ettayapuram during his last journey. February is the beginning of
summer when the Aradhana Festival is held. S. Rajam sang the Dikshitar song
with devotion at 10 a.m. and was taken to Tirunelveli by the Collector for lunch.
When he returned at about 4 p.m., lo! the pandal was not there and Ettayapuram
stood soaked in torrential rains. The pandal had been blown off during the
cyclonic rains at noon. Rajam merely invoked the grace of Dikshitar but the
Rain-God took it as an invocation from Dikshitar himself and true to the spirit of
the song came down to the delight of farmers and the dismay of organisers and
music-lovers!
Rajam's Raga Lakshana columns in magazine 'Sruti' is a distinct piece of
comprehensive elucidation of individual ragas.
The Actor:
'Sita Kalyanam1 was perhaps the third talkie in Tamil. Rajam (1 4) was the
Prince Charming who took sister Jayalakshmi (12) as spouse in the film. The
brother-sister team as Rama and Sita brought forth virulent criticism from
orthodoxy: but at many places people went crazy and honoured the boy and the
girl with coco and camphor offerings as if the Lord Himself had come down with
his divine consort. Rajam - Jayaiakshmi were either too young to understand
the protests or sang -
"Oh Ramachandra ! Why should we feel any concern , when you hold in
your hands the leading strings of all the dolls in the drama you conduct?"
( Makelara Vicharamu- Ravichandrika)
236 ANOTHER GARLAND
His second sister acted as Urmila. Advocate - Father Sundaram Ayyar was
Janaka - probably fed up being a father at home! Veena Balachander, the child
prodigy, performed on the kanjira in the Court of the great Ravana!
G.K. Seshagiri Ayyar, music enthusiast was Ravana,
The Artiste
Rajarn's mother was the inspiration. Surgical supremo Dr. Rangachari's
scholarship enabled Rajam to undergo the full course at the School of Arts,
Madras. If Ravi Varma planted the figures of Goddesses Lakshmi and Saraswati
in the minds of millions of Indians in the farthest corners of the globe, Rajam
achieved a like success in the micro field of Carnatic music with his inimitable
drawings of the Carnatic Trinity, if Musiri Subramania Ayyar, Madurai Man!
Ayyar, T.N. Rajarathinam, S.G. Kittappa and K.B. Sundarambal had patented
their memorable styles of rendition, Rajam has patented his portraits of the
Trinity. On the integrity of his drawings, he says;
'I got a photo of the picture of Tyagaraja available with the Tanjore Palace in
1940, took a copy of the picture of Dikshitar from Veena Sundaram Ayyar of the
line of disciples of Dikshitar and a copy of the picture of Sastri from his
descendants. I took into account their individual characteristics and life-styles
as reflected in their kritis and clarified to me by U.Rama Rao, TV. Subba Rao,
K. Chandrasekharan and T.L Venkatarama Ayyar. I made some changes to
answer to the genuine expectations of music- lovers and knowledgeable experts
consistent with the genius of the great composers and provided them with a
tambur or a veena. The drawings have stood the test of time.' Rajam is virtually
Brahma II indeed ! Vide page 220 'A Garland' for other details.
NACHIARKOIL N.K. RAJAM PILLAI - NAGASWARAM ARTISTE:
(b. July 15,1927)
Bom at : Nachiarkoil near Kumbakonam
of : Kanniah Pillai and Chellammal.
Training : under his father along with his brother Duraikannu.
Post held : Nagaswara Master at the Rajah's College of Music,
Tiruvaiyaru.
He has appeared in the film 'Raja Bhakti' playing nagaswaram and has
given discs. Shaik Chinna Moulana is his disciple.
Titles & Honours: : Narada Gana
Isaimani
Kalaimamani from the Tamil Nadu Eyal Isai Nataka
Mandram in 1 979,
Concert tour : Sri Lanka
ANOTHER GARLAND 237
Note: Month and year of birth are given as March 1 917 in 'Who's Who'.
* * *
D.S. RAJAPPA - MRIDANGIST: (b. April 29, 1924)
Place of birth : Sudiyur near Paramakudi.
Parents : Dorairaj & Lilli Ranjithammal.
Claims heredity from the historic chieftains Peria Marudu and Chmna
Marudu of Sivagangai Seemai. Has been taking part in dramatic troupes like
Chitra Thevar's Boys' Dramatic Company. As his voice failed, he took to training
in mridangam under the famous Kalaimamani C.S. Sankarasivam. After seven
years' apprenticeship, he has been providing accompaniment at concerts and
dramas. Is Asthana vidwan with Tirunelveli Madalaya. Was Secretary, Tamil
Nadu Nataka Sangham.
Titles ; Kalaimamani from Tamil Nadu Eyal Isai Nataka
Mandram (1974-75)
Sukhanadhalayamani from Karnataka Isai Sangh (1984)
D.S. Rajappa has been providing accompaniment and solo too for the All
India Radio.
3. RAJARAM - PERCUSSIONIST & PEDAGOGUE: (b.January 30, 1925)
A grandson of the celebrated Mysore Vasudevacharya, Rajaram is Principal
>f the prestigious College of Fine Arts, Kalakshetra founded by Rukmini Devi
Krundale since 1 984. Rajaram started his career as Staff Artiste in the All India
Radio for mridangam and jalatarangam and went up the ladder to become the
)irector of Programmes ( Music) and Senior Station Director. Retired in 1983
is Station Director, AIR, Hyderabad.
He learnt music under his grandfather and mridangam under Vidwan Mysore
). Seshappa. He takes special classes on the compositions of his grandfather
3 students. He had assisted Vasudevacharya in composing music for the
lamayana Dance- Drama choreographed and produced by Rukmini Devi. He
las himself composed music for the four dance-dramas produced by
lalakshetra;
Choodamani Pradanam,
Bakta Jayadeva,
Maha Pattabhishekarn and
Kama Sabatham.
The family trait of composing naturally has been inherited by him. A hundred
ritis in Sanskrit and telugu have been got up by him. It is a feature of his life
238 ANOTHER GARLAND
that he enjoys the good fortune of being born in an environment of music and
live a life of elegance amidst sweet melody first with the All India Radio and now
at the Kalakshetra! No wonder he is a soft- spoken gentleman - artiste.
TIRUVARUR RAJAYEE - PRODIGY VOCALIST: (c.1900 - 1925)
-.Many a flower is born to blush unseen, said Poet Gray. But he forgot the
flowers which blush tantalizingly but vanish the next morn as the veil of the night
is lifted. A tragedy - a Shakespearian tragedy it is. She was danseuse,
jalatarangam player and vocalist. She was just eight years old and her dance
was so enthralling and bewitching that the Rajah of Ramnad did
kanakabhishekam to that prodigy! (Kanakabhishekam - symbolic shower of
golden leaves is a rare event reserved for the most deserving alone.) In her
ninth year, she left off dance and concentrated on music and like the delightful
tropical sun, she was at the top and it was all glorious sunlight and no twilight.
Stalwarts Simizhi Sundaram Ayyar and Subbier were her gurus and she had
advanced training under Mudicondan Venkatarama Ayyar. The latter had such
solicitude and appreciation for his ward's musical acumen and expositive
wisdom that he himself provided kanjira support at one of her concerts in those
days of male chauvinism! Her image, popularity and music were so spectacular
and the demand for her concerts was so heavy, that normally there would be
her vocal concert on the first day and her jalatarangam concert on the
succeeding day usually. She was of a dignified type of musician and sang in
four kalais in brika-laden and soul-charged voice. Her mesmerising artistic life
lasted just a decade and a half and she died when she was at the apogee of her
glory; and when she died, M.S. Subbulakshmi was just nine years and there was
none to ascend the 'gadi' rendered vacant. The voice that could elevate the
audience to climactic raptures came to be silenced so abruptly.
T. Sankaran confirms the popularity and the gargantuan image of Rajayee
thus:
11 The tiny Tiruvarur Rajayee scored everything because of her sweet
tone (kokilagana?). She was a soft-voiced crony. But in popularity, we
may call her the 'M.S.1 of her times. At the age of eight or nine, she was
the recipient of Kanakabhishekam! Later N.C. Vasantakokilam shot
into fame with her dulcet voice and cinema background. "
Venkatarama Ayyar and Dhanyan have all spoken of her in superlative
terms. It is unfortunate that the jewel and gem was lost while so tender. Art !
How immense is thy composure to bear such tragedies and how verdant virility
is thine that you bring forth successive crops of genius.
ANOTHER GARLAND 239
LALGUDI RAMA AYYAR - VIOLINIST; (1807-1867)
The fertility of the soil, the interminable expanse of evergreen fields and
gardens forming as it were a green carpet of immense dimensions, the divine
calm that pervades and the location of the village close to the mother of a rich
civilisation, River Cauvery enabled the innate genius of the people to pursue
spiritual and artistic ways of life. Far from the madding crowds, their sober
wishes never strayed. J. R.D.Tata once said,
'When f went into business in 1925, there was no corruption for the simple reason
that there was nobody to corrupt and there was nobody to ask.'
Even so, the village of Sri Tapastirthapura, also called Bhairavi Vana, shed its
radiant rays of culture and revelled in noble pursuits and artistic advents.
Lalgudi, its present name, was probably derived from the red tower of the temple.
tn tune with its puranic heritage, the deity in the temple is called Saptarishiswara.
Lalgudi Rama Ayyar, son of Srinivasa Ayyar exhibited musical potential and
was sent for a ten-year gurukulavasa in the Swayambu - that which came on
its own - University of the most popular of the Trinity, Tyagaraja at Tiruvaiyaru.
On completion, he was doing bhajans at Lalgudi since the fundamental goal of
music then was devotional. When Tyagarajah was at Srirangam, Rama Ayyar
invited him to his place, a Siva kshetra. The sage-composer, as he did in respect
of another disciple, Tiruvottiyur Veena Kuppa Ayyar, responded and was with
Rama Ayyar at Lalgudi for some days. Inspired by the darshan of the Lord and
enthralled by the beauty of the temple and the serene environment, Tyagaraja
gave vent to his feelings in five songs now called the 'Lalgudi Pancharatnam'.
Later Rama Ayyar went to Mysore on the invitation of Mummadi Krishna Raja
Wodeyar, the celebrated patron of arts and artistes. He became Asthana Vidwan
and earned the honorific 'Pallavi Rama Ayyar'. Valadi Radhakrishna Ayyar and
Guruswami Ayyar, his sons were musicians.
The good musician's first son Guruswami Ayyar was a good vocalist and
ghatam artiste, the second son was Radhakrishnayyar and the third,
Rangaswami was a pupil of AudanurSubbayya of Srirangam, a vocalist, violinist
-and swarabat player besides being a composer of varnarns and kritis, according
to T.C.A. Chinna Singaracharyulu.
CHIKKA RAMA RAO - VOCALIST: (1 892 - 1 946)
Place of birth : Kurudi (Shimoga)
Name of father : Subba Rac, a Police Offcial.
Musical training under ; Sangeetha Vidya Kanteerava Karigiri Rao and
Bakshi Subbanna.
240 ANOTHER GARLAND
Karigiri Rao had many students bearing the same name of Rama Rao and
so he called this disciple 'Chikka' and it stuck to his name to the last. Rama Rao
enjoyed a sweet voice and was an asset to his guru, Bakshi Subbanna, who
told Veena Seshanna -
1 Seshanna you may think that you are great because of your nimble fingers dancing on
the frets of the veena. Please note that I am a grade higher than you as ! have the
sweet voice of Chikka in addition.'
Ettayapuram Ramachandra Bhagavatar too should have thought so when
Pushpavanam joined as a pupil. Even as a boy, Rama Rao had a heavy
repertoire of devarnamas. The sweet voice evoked sympathetic response from
the Dawager Maharani who got him appointed as a Court Vidwan and he was
later placed in the Palace Orchestra. Got tuitions in Western music and
jalatarangam. Eminent artistes like Poochi Srinivasa Ayyangar and Pudukottai
Dakshinamoorti Pillai had high praise for his music. Patnam Subramania Ayyar
too had taught him kritis. Apart from his matchless voice, Rao was a laya
expert too.
Disciples : A. Subba Rao, Arakere Narayana Rao, B.V.K. Sastri,
Compositions : swarajatis, varnams and kritis.
Titles & Honours : Sangita Ratna - Maharajah of Mysore in 1938.
Gayanacharya - Sri Rama Bhajan Sabha, Malleswaram.
His keen insight as a teacher is reflected in the following anecdote:
A. Subba Rao was practising the Saramati piece Mokshamu Galada. He
was elaborating the phrase Vina Vadhana Loludow. Rama Rao remarked
'Bhale' twice and the pupil enquired whether his rendition was defective. Said
Rama Rao, You have failed to produce the Veena Vadhana quality in your
voice. Devote time to voice culture'. Such was his implicit faith not only in the
quality of the rendition but his insistence to bring out the ethos of the text,
MYLATTUR S. RAMACHANDRAN - MRIDANGIST: (b.1925)
Mridangam was no stranger to his family. Grandfather Krishna Ayyar and
father Sami Ayyar - both of Mylattur - were mridanga vidwans. At the age of
nine, Mylattur Ramachandran, who had his training under his father, had played
for Palladam Sanjeeva Rao, the renowned flautist at the Tyagaraja Aradhana,
Tiruvaiyaru. In 1940, he accompanied Chembai Vaidyanatha Bhagavatar on the
AH India Radio in his first programme on the air. For over five decades he has
been giving accompaniment to most of the prominent musicians. Ramachandran
has a special word of gratitude for Chembai and Chowdiah for the interest taken
by them in his case. He had accompanied Chowdiah for many of his disc
ANOTHER GARLAND 241
recordings. Has participated in National Programmes and Sangeeth
Sammelans many times.
He served as Staff Artiste in All India Radio during 1 965-1 985 at Pondicherry
and for sometime earlier at Delhi too.
Title ; ' Mridanga Medai ' by Chembai Vaidyanatha Bhagavatar.
Publication : ' Mridanga Pada Murai '.
Mylattur is near Palghat. Ramachandran's father-guru Sami Ayyar was
teacher in mridangam in the Annamalai University and was a 'Kalaimamani'
title-holder. S. Ramachandran regrets that the title is yet to be given to him.
Tamil Nadu Eyal Isai Nataka Mandram may consider.
CHINTLAPALLI RAMACHANDRA RAO - VOCALIST: (b. 1916)
Ramachandra Rao's father, Sangita Ratna Venkata Rao (1 875-1 969) was a
famous musician. Ramachandra Rao was born at Honasannahalli in
Gowribidanur taluk of Kolar district. He had his training in music under his uncle
Vidwan Venkatachala Ayya, Bhaskara Rao and Venkata Dasappa. He
underwent a course in music at the Annamalai University. He enhanced his
musical talents by having special training with Karur Ramaswamy, Pakka
Hanumantachar, Pallavi Seshayya and Hangel Chidambara Ayyar. Rao has
been giving concerts from his boyhood. Dr. Sampathkumaracharya hails him
as a Maha Vidwan, popular and famous and says that people would sit
enchanted at his concerts. Has been honoured by Mysore and other Courts.
Enjoyed a pleasing 'uttama' sareeram (voice); an expert in rendition of pallavi.
Noted for clarity of rendition.
Title and Honours : Sangita Ratna by Mysore Palace
Mysore State Sangita Academy Award
B. RAMADASAPPA - NAG AS WARA ARTISTE: (20th Cent)
Son and disciple of Chikka Munuswamiappa, a nagaswara vidwan,
Ramadasappa made his debut at the age of ten accompanying his father and
soon rose in stature to the top. The Academy of Music, Bangalore, while
conferring the State Level Chowdiah Memorial Award on him stated:
1 His fidelity in the rendition of popular compositions in the Carnatic genre has won him
admirers... a competent concert artiste. He has figured in the programmes of every
sabha in the State.. .his nagaswara heralds the inauguration of many a music festival.1
Honours & Titles: Gana Kalanidhi and Asthana Vidwan, by
H.H.Sankaracharya, Sringeri Mutt.
242 ANOTHER GARLAND
Nagaswara Mani from H.H. the Sankaracharya
of the Kanchi Mutt
Rajyotsava Award, 1990.
Chowdlah Memorial (State Level) Award 1 992.
For his nagaswara concerts, he has been using violin and mridangarn for
accompaniment presumably drawing inspiration from T.N.Rajarathinam. ,
TANJORE RAMADOSS RAO - MRIDANGAM ARTISTE: (b. April 2, 1889 -)
Son of Subba Rao and Lakshmi Bai, Ramadoss Rao learnt mridangarn under
Tanjore Balu Rao. Initially he was playing for musical discourses and later for
all artistes. Was Professor of Mridangam, College of Music, Annamalai
University. The Music Academy, Madras honoured him with a Certificate of Merit
in 1959. Rao enjoyed a wide practice in concerts.
Once Kanchipuram Naina Pillai with Konnakol Mannargudi Pakkiria Pillai
.attended a festival at Mannargudi where Tirupazhanam Panchapakesa Sastri
was giving a musical discourse. Naina Pillai was delighted to hear the
mridangam play of Ramadoss Rao and wanted to engage Rao for his concerts.
Rao felt diffident and unnoticed left for Tanjore. One year later, Naina Pillai and
Pudukottai Dakshinamurti Pillai went over to Tanjore and presseld him to play
for Naina Pillai's concerts, which he reluctantly accepted. Dakshinamurti Pillai
later described that combination thus :
' Taunting swaras from the masculine voice of Naina to the sweet accompaniment of
Rao's mridangam which always sprinkles rose water!'
Rao got into the regiment, the full bench, the magistrate's court as Pillai's
concerts were variously called. B.M. Sundaram states that for sixty-three Pillai's
concerts, Ramadoss Rao had provided mridangam accompaniment, A 'Kapil
Dev' achievement indeed for those distant times when opportunity was scarce.
(Number 63, incidentally, represents the strength of Saivite Apostles
(Nayanmars) .
Dr. T.S. RAMAKRISHNAN - VAINIKA/MUSICOLOGIST: (b.August 1902)
The Journals of the Music Academy bear extensive proof of the vast
erudition, meaningful research and sustained pursuit and efforts in the cause
of Classical music of Dr. T.S. Ramakrishnan, son of Srinivasamurti. He had his
training in vocal and veena under his father. His remote ancestors are stated
to have lived in Mysore and Poona and secured the surname of 'Sarasval'. Has
served in Sri Lanka and in the Corporation of Madras till 1975.
ANOTHER GARLAND 243
From some of the papers read by him at the Academy, it is seen that the
eminent Mazhavarayanendal Subbarama Bhagavatar had kept a notebook
containing a record of 72 melas and 1 758 janya ragas with the arohana and the
avarohana of each, besides 30 varnas (19 of them rare) and 16 tamil padas of
Mazhavai Chidambara Bharati and that 'Sangita Kaumudi" of Tiruvaiyaru
Subramania Ayyar too contains a similar list of janya ragas. T.S. Ramakrishnan
has pointed out that Nathamuni Pandithar's 'Sangita Swara Prastara Sagaram'
contains 2014 janya ragas and pleaded for an inventory of all the janya ragas
giving the melas, etc. Some janya ragas come under more than one mela raga.
There are already a few such digests as desired by him. Vide Part III. The
proposal is worth attention.
* * *
GAYAKA SARVABHOUMA PARUPALLI RAMAKRISHNAYYA PANTULU -
VOCALIST MAESTRO: (December 15, 1883 -)
' A brilliant singer, a creative artiste of high degree and a person with an extensive and
varied repertoire. A lakshana lakshya vidwan. Unassuming, good natured, he has set
a noble example of an ideal musician.'
— Prof. P. Sambamurty (1949).
Manambuchavadi Venkatasubba Ayyar, a cousin and disciple of Tyagaraja
trained a galaxy of disciples including the 'Five Gems'. Susarla Dakshinamurti
Sastri of Pedakallepalli, one of the disciples returned to Andhra Pradesh and
Parupalli Ramakrishnayya was his distinguished disciple.
Ramakrishnayya was born at Srikakulam, of Seshachalam Pantulu and
Mangamrna in a family of erudition with devotional background. In accordance
with tradition, Seshachalam renounced the world and assumed the name
Pradyumnananda Saraswati. In 1896, Ramakrishnayya was sent to
Pedakallepalli to learn accountancy and management of Thana affairs. Music
lured his attention and in 1 898 he started his musical lessons. He overshadowed
his co-pupils who were many. In 1902 he took up the post of village karnam
(accountant) of Telugurayanipalem. In 1906, his deputy collector (superior in
office and appointing authority), Baktavatsalam Naidu became his disciple in
music - to pay his respects as a disciple while learning and extract them back
as official boss! After sometime, Ramakrishnayya returned to his guru and
blossomed into an expert in veena and violin.
He made constant visits to the cultural centres of the South and by
observation and contacts, imbibed the features and styles of stalwarts like
Ramanathapuram Srinivasa Ayyangar, Konerirajapuram Vaidyanatha Ayyar,
Pushpavanam and Palghat Anantarama Bhagavatar. His contacts with musical
discoursers Mangudi Chidambara Bhagavatar and Panchapakesa Bhagavatar
and instrumentalists like Tirukodikaval Krishna Avvar and rt
244 ANOTHER GARLAND
Attended the All India Music Conference at Baroda in 1 91 6 and came back with
flying colours. Made his entry into Madras at Gokhale Hall with Chowdiah,
Azhaganambi Pillai and Madras Velayudham Pillai as accompanists in the
presence of the elite of Madras on November 27, 1921. Prof. D.V. Krishnaiah
says;
1 This was the climax of the test of the country to crown this leader of music movement
with the highest glory that fell to the lot of any artiste in this forsaken land of carping
critics. '
Ramakrishnayya was riding the crest of success since then and the All India
Music Conference, Madras in 1927 honoured him. He was in the midst of all
high musical activity. He was Chairman of the Reception Committee of the
Fourth Gayaka Mahasabha. The Andhra Research University, Vizianagaram
gave him the title of 'Bharati Tirthopadhyaya'. The Andhra Saraswat Parishad
declared him 'Gayaka Sarvabhouma' in 1931 thus making him the uncrowned
king of the world of classical music.
Pantulu was on the Experts Committee of the Music Academy, Madras and
the Tyagabrahma Mahotsava Sabha of Tiruvaiyaru and was Examiner, Andhra
University,
Ramakrishnayya enjoyed a grand personality, a bold and melodious voice
and his rendition was appealing and captivating. His guru-poojas were music
festivals, grand in conception and cultured in execution and the public
responded well to his wishes by the construction of a music hall, starting a music
school and consecration of a Tyagarajah idol. Andhra had, perhaps, the first
taste of a Maha Vidwan in him and basked in the salubrious sunshine of
Pantulu's musical eminence,
VALLALAR RAMALINGA SWAMIGAL - SAINT COMPOSER :
(October 5,1823 - January 30, 1874)
An Apostle of Universal Religion of Peace, Truth and Morality (Samarasa
Suddha Satya Sanmarga), a mystic and siddha purusha, the Angel of Grace,
Compassion and Solicitude made his last journey from the mundane world in
the most unique manner quite in accord with his life and mission. Hiranya
obtained various boons to avoid death and ultimately all was in vain, Ramaiinga
Swamigal, popularly known as 'Vallalar', is the beacon who demonstrated to
the world how deathlessness is feasible. His body was consigned neither to the
earth nor to flames. His individual soul (Jeevatma) merged and dissolved itself
in the Universal Soul, the Paramatma. To set the happening on firm record and
free from doubts, two European officers of the Government verified the total
absence of any mortal remains in the cottage wherefrom he commenced his
ANOTHER GARLAND 245
celestial journey! He entered the Eternal Abode of Light and merged in the Light
Divine (Arut Perum Jothi). The Flame kindled at Vadalur burns perpetually for
the salvation of Humanity. (Such a light is said to burn at Shirdi of Sai Baba
also. Vailalar's departure is reminiscent of Manickavachakar's at Chidambaram
close to Vadalur itself.) The immortality of Vallalar is strictly in conformity with
the scriptures.
I Na cha punaravarthathe
Na cha punaravarthathe. '
(He does not return;
he does not return.) — SRUTI.
II Mam upetya tu Kaunteya
Punarjanma na vidyate . "
(Attaining Me, there is no rebirth.) — GITA Vlil-16.
' Gacchanty apunara vrittim
Jnananirdhuhtakalmashah. '
(Their sins being completely shaken off by
Wisdom, they go whence there is no return.) - — GITA V-1 7.
Ramaiinga Swamigal was no abstract, austere yogi who buried himself in
snow-clad mountains or heavily wooded forests. He was an organiser non
pare/7. He established the Samarasa Veda Sanmarga Sangham in 1865. The
Abode of Siddhi (Immortality) and the Jyoti are for public good and open to all.
The second is the Satya Veda Dharmasala, a free kitchen open to the public to
quench their biological hunger with a view to prepare them for spiritual hunger
and mission, spiritual enquiry (Vichara) and reach the Eternal Abode, even as
Upanishad Brahman did at Kanchipuram and declared its avowed purpose in
clear terms - Vide 'A Garland'. The kitchen was started in 1 867. Siddhi Valagam
(1870) and Satya Jnana Sabha (1872) are the other two founded by him. The
range and objectives of the institutions started by Vallalar reveal his depth of
vision and the missionary zeal which marked his organising endeavours.
Born at Marudur near Chidambaram, of Ramayya Pillai and Chinna
Arnmayar, he went early to Ponneri and then to Muthialpet (Madras) and grew
up under the care of his eldest brother, Sabhapathy. He lived at Karunguzhi
(1858-1867), Vadalur (1867-1870) and Mettukuppam thereafter. Tirugnana
Sambandar was his Jnana Guru by adoption and Tiruvachakam, his bible. He
was a devotee of Lord Muruga. Having realised God Vision at the very tender
age of nine, Vallalar was intoxicated with spiritual and moral ideals and goals
and imbuad with a missionary zeal. A specimen of his unbounded compassion,
love and solicitude and the panorama of his vision is here:
1 Every time I saw crops withering, I withered top; as often
As I saw hungry destitute beggers, Ptoo fainted with hunger;
246 ANOTHER GARLAND
And the defeat of the meritorious
Has made me wilt in pain.
My life must cease when my com passion dies.'
Eight years after the Siddhi of Valialar, Subramania Bharati was to be born
to declare again that the crow and the sparrow belonged to his caste and the
sea and the mountain constituted his crowd! Vallalar's crusade (1865 - 1874)
for spiritual and moral force was in another sphere carried on during the same
period by Gopala Krishna Bharati with his 'Nandanar' (1861), a revolutionary,
epoc-making tamil opera in the cause of removal of untouchability and sociaJ
degradation. The beauty and grace in the lives of these great men lie in that
they followed and practised what they preached and suffered for their ideals.
If the Soul of India shines bright still and commands respect in the Comity
of Nations, it is only because such venerable souls had trod this land, had chosen
this land for their brief tenancies. What is Bharath without its sages, poets, etc?
No wonder Subramania Bharati thundered to emphasise this truth and warn his
countrymen -
'You are a son of Bharath;
Erase that thought not ! '
Prof. K.R. Srinivasa Ayyangar beautifully sums up the life of Valialar thus:
" Ramalinga and Gandhiji are surely among the supreme benefactors of humanity -
Vallalars - angels and ministers of grace... Like Ramakrishna Paramahamsa in Bengal,
like Dayananda Saraswati in Western India, Ramalinga Swami in Tamil Nadu was also
a prophet of the dawn of Renascent India... They were the potent power-houses of
resurgence.. He saw that the mystic vision of 'Arut Perum Jyotl, was allied to th©
complementary power of 'Than! Perum Karunai' (Unique Sovereign Compassion). "
Vallalar's songs are called ThiruArutpa (Golden Book of Grace), They we re
published first in 1867 itself. The spiritual grace of Valialar was supported by
Ills organisational and managerial wisdom, efficiency and capability. That is the
beauty, the unique flavour of his life and his mission. Arumugha Navalar and
others were opposed to his ideals and there was litigation. In the Court, when
Adigalar entered, the plaintiff Navalar stood up to show his respect and the
Judge remarked how such respect and reverence could go together with the
contentions in the suit plaint. The suit failed, Six books with six thousand songs
appeared . Sri Ooran Adigal of Vadalur has done yeoman service to publicise
the works of Adigalar. (The author had the blessings of Adigalar to participate
in one of the annual festival-based conferences at Vadalur and also propose, as
District Collector, the issue of a Commemoration stamp by the Government of
India.) The entire literary output of Valialar has been published in three volumes
toy the Ramalingar Pani Mandram with the munificence of the philanthropic
industrialist Dr. N. Mahalingam, who heads it. T.S. Parthasarathy wrote in the
ANOTHER GARLAND 247
' Arutpa is a shining monument of Valiaiar's religious devotion, spiritual insight and
poetical skill, uttered out of pure imagination, yet fully satisfying the rules of prosody.
Realising that poetry set to music had a greater appeal, the Swami himself wrote musical
compositions like kirtanas, chindus and kummis in popular ragas. During the early
decades of this century, eminent singers like Tiruchendur Shannhughavadivu recorded
verses from Thiru Arutpa on gramaphone discs. Later renowned stage actors like
S.G. Kittappa and KB. Sundarambal sang them in their dramas to great effect Tiruvadi
Pugazhcchi was set to music by T.M. Theagarajan and recorded as a cassette by Dr.
M, Prarneela. '
Vallalar's Publications : Ozhivilodukkam 1851
Thondamandala Sadakam 1 855
Chinmaya Dipikai 1 857
Vallalar's Journal ; Sanmarga Viveka Vruddi.
Works authored : Manumuraikanda Vachakam
Jeeva Karunya Ozhukkam
Thiru Arutpa
Prime tenets preached by Vallalar :
God is one.
Animal Sacrifice is not in conformity with religion.
Meat-eating should be avoided.
Race and Caste distinctions should not exist
Religious rites are not necessary.
Poor should be helped; Compassion is of prime relevance,
RamalingaSwamigal was a preacher, thinker, poet, composer, author, editor,
publisher, journalist, jnani, doctor, social reformer, organiser and saint all in one.
Worshipped as a Saint, he lived for the religious, spiritual, social and moral
resurgence of the people. A great yogi of immense humanism and vision, he
has left a deep impression in the conduct and character of the people of Tamil
Nadu who follow his tenets. All efforts should be made to take the message and
songs of Swamigal to the youth of the country.
R.A. RAMAMANI - VOCALIST; (20th Cent.)
!t is to the credit of Ramamani that classical Carnatic music had been
introduced to the beat of jazz percussion and jazz band. (Many may have no
idea of its effect and impact -adverse or otherwise and proximate and ultimate
- on classicism.) She had her musical training under S. Ramachandra Rao,
Seshagiri Achar and Anoor Ramakrishnan and had taken her Master's Degree
in Classical music from the Bangalore University, ^he performs Avadhana
Pallavi - maintaining two tala measures simultaneously. Is Lecturer, Karnatic
College of Percussion, Bangalore and has participated in international festivals
in Europe, Canada, etc.
248 ANOTHER GARLAND
G. RAMAMURTI BHAGAVATAR - MUSICAL DISCOURSER:
(b. Deer. 4, 1933)
Born atTanjore, of S.K. Gopala Bhagavatar and Alarmeimangai, Ramamurti
Bhagavathar belongs to the Krishna Bhagavatar line of musical discourse
artistes. Had his training under the distinguished Harikatha Praveena
Annaswami Bhagavatar. Has been training many through an institution called
'Aranert Siruvar Kuzhu'.
Titles & Honours : Harikatha Bhushanam
Harikatha Siromani
Harikatha Kalabhushan
Kalaimamani from Tamil Nadu
Eyal Isai Nataka Mandram in 1980.
HULLAHALLI RAMANNA - VOCALIST & VIOLINIST: (1854 - 1918)
In 1876, Ramanna became a teacher in a primary school. He was proficient
and competent on violin. He was blessed with a good voice too. Besides his
mastery in music, he was a good literatteur in Sanskrit and kannada. He was a
violinist and a musical discourser and had been applauded by Maharajah
Chamaraja Wodeyar who was a connoisseur non pare/7. Ramanna had
composed devaranamas and songs in hundreds in rare and popular ragas under
the signature Trinapureesa', etc. Was a good painter also.
Among his disciples were his son Venkataramiah, musical discourser,
Venkatasubba Panditha, violinist and Kumara Avadhya, vocalist, One of his
javalis is set in marching tune inviting the lover (Nayaka) to come near.
B.V.K. Sastri and Chennakesaviah pay tributes to Ramanna's musical expertise.
Hullahalli is near Nanjangud in Karnataka.
M.S. RAMAYYA - PERCUSSIONIST: (b. May 1922)
Ramayya came out of a garden of artistes, father Subbanna and grandfather
Anantappa being tabla players and brothers M.S. Subramaniarn and
Chinnaswamy being violinists. He underwent training -
in tabla : under his father
in mridangam : under Muthuswami Devar and Ventatesha Devar,
besides advanced under Puttachar and Srinivasalu Naidu ;
training
in tabla for Hindustani under Jan Saheb and
music ;
in vocal music : under B. Devendrappah.
His multi-sided training both in vocal and in percussion enabled him to play
ANOTHER GARLAND 249
a prominent part in Karnataka and few prominent musicians are there for whom
he has not provided accompaniment. 'His vocal trainng combined with his
orientation in laya made him a complete and competent laya exponent with soft
and deft strokes.'
Was Staff Artiste, All India Radio.
Honours and titles:
Karnataka Kala Tilaka
Mridanga Kala Shiromani
Sangita Kala Ratna by Gayana Samaja, Bangalore (1991)
M. RAMASUBRAMANIA SARMA - MUSICAL DISCOURSER:
(b. July 19,1926)
Son of Muthu Bhagavatar and Balambal and born at Tanjore, he had his
training under his father. Had given extensive musical discourses in India and
abroad and his discourse on the 'Four Prime Tamil Saints' is in discs also.
Titles & Honours: Navarasa Vak Amirdha Bhushanam
Kalaimamani from Tamil Nadu Eyal Isai Nataka
Mandram in 1979.
Concert tours: Sri Lanka and South Africa.
COIMBATORE N. RAMASWAMI - MRIDANGIST: (b. 1920)
Parents : Natesa Pillai and Mangammal
Born in a musical family, he had his training in tavil under the maestro
Needamangalam Meenakshisundaram Pillai and took to mridangam later
adopting the style of Palani Subramania Pillai. Has given accompaniment to
prominent musicians and has been honoured with the titles Thannumai
Pulavar' and 'Kalaimamani' by the Tondaimandalam Adheenam and the Tamil
Nadu Sangeetha Nataka Sangham respectively.
* * *
KJ3. RAMASWAMY - VOCALIST : (b.August 7, 1 948)
Place of birth : Shimoga in Karnataka
Parents : Kuskoor Gurumurti Sastri and Nagamma
Ramaswamy's grandfather Kuskoor Krishna Avadhani was devoted to
bhajans and father Gurumurti Sastri had musical training with Vidwan Rama Jois
of Shimoga. Ramaswamy had his preliminaries in music with his father and
higher studies with Vidwan V. Srinivasan of Kerala. Made his debut in 1964 at
Shimoga. Passed the Proficiency Examination in 1975. He has been giving
concerts on the Doordarshan, All India Radio and outside and is the only 'A'
a50 ANOTHER GARLAND
grade vocalist of the AH India Radio, Bhadravati.
K.G. Ramaswamy, a B.Com, is an Internal Auditor in Viswesvarayya Iron and
Steel Ltd., Bhadravati. He was awarded the 'Best Musician1 distinction fc»y the
Bangalore Gayana Samaja, Bangalore in 1 985.
* * *
RANGANAYAKI AYYANGAR - VOCALIST & PEDAGOGUE:
(b. Decr.28, 1927)
Place of birth : Tirunelveli district (though she halls from Madura! district)
Name of father : Post-master Ayyangar - the popular name having stuok
to him.
Ranganayaki Ayyangar had the precious blessings of gurukuia with
Namakkal Sesha Ayyanger during 1947-1955 and with Mudicond^an
Venkatarama Ayyar till 1 960. Securing a solid foundation in music under th & two
stalwarts over a period of fourteen years, she was giving concerts during
1947-1967 subsequently in different spells over All India Radio and outride,
besides overseas concerts in USA, Holland and Japan. Research and teaohing
later claimed her attention so fully that she could find little scope for conoorts.
Musicology is her forte, teaching is her second field of specialisation, her rich
training and a two-decade long performing career enabling her to make her
grade. Her academic background has equally been solid :
1965: University of Hawaii Honolulu - MA (Ethnomusicolocjy)
1 972: University of Pennsylvania - M. A, (Musicology)
1980: University of Pennsylvania - Ph.D. (Musicology)
To pursue her chosen fields of expertise and specialisation, she had the
benefit of —
1 957-60: Government Scholarship in Carnatic music.
1 962-64: East-West Grant for Cultural Exchange, University of Hawaii.
1 967-68: Fellowship, University of Pennsylvania.
1 968-70: Teaching Fellowship with same University.
1 970-71 : Penfield Research Scholarship & Travel Grant of the same University.
1 971 -72: Dissertation Year Fellowship - Same University.
Ranganayaki Ayyangar has been participating in Conferences, Seminars
and Colloquia presenting lecdems, etc., on such diverse subjects and fora
Somanatha's Rudra Vina - Music Academy, Madras.
Musicology & its implications - Benares University,
Music in Higher Education - M.S. University of Baroda.
Performing Arts of India -SIBMAS, Barcelona.
Standardization of Technical
Terminology in Hindustani
Music - Benares University.
Ornamentations - Wesleyan University.
Alwars and Music - M.S. University, Baroda.
ANOTHER GARLAND 251
History of Oral Tradition in
Camatic music - ICTM Colloquium.
Music & Multimedia - Case
Studies - UNESCO Workshop, New Delhi.
Posts held:
Lecturer / Teaching Fellow /
Visiting Professor;
College of Fine Arts, Mysore/
Pennsylvania University /
University of Illinois / Swarthmore and
Dartmouth Colleges.
Reader / Head of Department -\
of Musicology and Professor - / Benares Hindu University.
Presently, Ranganayaki Ayyangar is Director of the research-oriented
institution 'Sampradaya' and is a Member, Standing Committee, Indira Gandhi
National Centre for Arts, New Delhi.
R. RANGARAMANUJA AYYANGAR - VAINIKA & MUSICOLOGIST:
(February 2, 1901 - May 20, 1980)
Place of birth ; Serangulam, Mannargudi, Tanjore district.
Parents : Raghunathaswami Ayyangar and Janaki Ammal
Graduated from : Findlay College, Mannargudi ( in Arts and Teaching).
Rangaramanuja Ayyangar was a multi-faceted genius, teacher, vainika,
vocalist, author, promoter of music and researcher. He could play on violin,
kanjira and jalatarang. A pioneer evangelist dedicated to the resuscitation of
values in art, more particularly in Carnatic music to which he was passionately
devoted from beginning to his end, Ayyangar's multi-sided activities included
propagation, publicity and giving lecturers in and outside India on a vast scale.
He was a sincere admirer of Veena Dhanammal and when she stood deserted
in her old age by kith and kin, he was steadfast in his attachment to her and her
art. He was one of the key figures in running the Jagannatha Baktha Sabha,
Madras which presented classical concerts in the thirties to the cognoscenti. A
firm believer in Sampradaya (Traditional) music, he had close contacts with the
stalwarts ^ of raga and laya. He was one of the few who was intimately
knowledgeable afaput percussionists of the day - which actually saw the finest
ensemble of mridangists, tavilkars, kanjira, ghatam and konnakol artistes in a
measure not witnessed earlier or later. A musicologist par excellence, Ayyangar
had authored many books and was the first -
to publish the largest number of the songs of Purandara Dasa,
to publish an elaborate scheme of clear scientific notation to express gamakas and
subtle nuances;
to carry classical repdition on veena to the Far East, Sri Lanka and the United States
ANOTHER GARLAND
and
to publish a very large number of songs well edited,
Publications:
His varied publications reveal his vast learning and keen dedication to th
fine art and the books are in addition to his numerous learned lectures an
instructive demonstrations in universities and elsewhere.
Keertanamalai 1934
Kritimanimalai covering an impressive number of 1470 1 947 / 1 957
' compositions of the Trinity besides padams, javalis, etc,
An encyclopaedic anthology of songs garnered from various sources,
Gita Govindam 1959
Pallavi Tradition (contains 25 paliavis)
History of South Indian (Carnatic) Music 1 972
(Contains valuable information on the systems, its stalwart votaries, etc,)
Sangita Ratnakara of Sarngadeva,
Musings of a Musician
One may guage his intense passion for the music of the golden age - tto
period of the closing years of the 1 9th and the early decades of the 20th centun
from his various observations such as -
" ...the handful of talented musicians who crossed into the 20th century were confronts
by a new situation,.. The advent of careensm and comrnercial-mindedness threw the ok
genertion of musicians into confusion and disarray. Traditional training involving year?
of hard work and rigorous discipline became superfluous. The old veterans droppec
one by one unable to do anything to transmit their knowledge and experience, Thus
the links with an expansive glorious past snapped, ,, With swelling numbers and com-
petition, disinterested pursuit of art has scotched by the struggle for survival, "
He had taught for thirty-seven years at the M.Ct. Muthiah Chettiar Hi'
School, Purasawakkam, Madras till 1959 and had a brief spell as proof-reader
in the 'Hindu' Madras. Music had a magic lure for him from the beginning;
Rajagopala Dikshitar's lay (lakshya) music, Mannargudi Chinna Pakkiri's
nagaswara play and Simizhi Sundaram Ayyar's virgin classicism inspired him,
Dhanammal during 1926-38 was an ail-absorbing enlightening force which
shaped him into a crusader for classicism, pure and noble, He was simple and
broad-minded and was a nationalist. His teaching methods were unique in
approach and effect.
SAKKOTTAI RANGU AYYANGAB - MRIDANGAM ARTISTE:
(b. March 21,1893-)
Son of Krishna Ayyangar, Rangu Ayyangar was born in a family of Sanskrit
and music experts and at the age of thirteen started his training under
Jagannatha Bhagavatar of Kumbakonam and Rangaswami Ayyangar of
Puducheri, He had accompanied top artistes and was popular for his smooth
ANOTHER GARLAND 253
play on mridangam. The Music Academy, Madras awarded a Certificate of Merit
to him in 1958.
RAVI KIRAN - GOTTUVADYAM (CHITRA VEENA) PRODIGY:
(b. February 12, 1967)
Classical Carnatic music was the staple of the family, Grandfather
Narayana Ayyangar of Mysore was a renowned gottuvadyam player. Father
Narasimhan is an artiste too. No wonder the combined, cumulative musical
expertise and wisdom have expressed themselves in Ravi Kiran, acclaimed as
a rebirth of his grandfather. Music has gone very deep into Ravi Kiran right from
childhood. His raga alapana, kriti rendition and swara essays are deep,
expositive and soulful. There is a steady and confident flow of classical melody
at his concerts born of sure approach, certain grasp, planned thoughts and
robust innovative application. The unruffled stately manner in which he
proceeds is a tribute to his mastery and mature musicianship. One could see
him conversing with his chitra veena even as Madura! Mani would do with the
tambura and Balachander with his veena. One could notice a contemplative
philosophic look in his face when he performs indicating mature and total
dedication to the finer nuances and graces of music. His rendition is along the
'Raja marga' of meditative classicism and never treads the bylanes of
neoclassicism. His raga essays are thoughtful and elaborate and kriti rendition
and swara explorations crisp.
His advent and graduation in the musical world is as old as his second year.
He took the world by storm by exhibiting his precocious phenomenon with his
ability to identify and demonstrate more than 325 ragas and 175 talas besides
standing up to a quiz session on the theory of Carnatic music. Here is an
authentic account from the Journal of the Music Academy (XLI) ;
"Child Music Prodigy"
'Ravikiran, 2Va years old, appeared before the members of the Experts'
Commitee of the Music Academy. A very large gathering of people had
thronged to witness... The child could recognise 72 melakartas, their 1 2 chakras,
anaka and janya ragas, different kinds of ragas - sampurna, shadava, etc.,
Drakriti and vikriti swaras, the ten kinds of gamakas, talas and their jatis . . .
different parts of composition... '
He was put to a test also and the child came out with flying honours. What was
:he result?
The Music Academy proposed to give a monthly stipend of Rs. Fifty for three
fears for the proper upbringing of the child... The child would attend the coming
conferences of the Academy... '
So, the child sat with other Experts aged fifty, sixty and seventy!! And sat
>4 ANOTHER GARLAND
uly accredited!!! It is a historic event in the annals of Carnatic music and the
ccreditation had been done by the highest reputed body competent to do it. It
ould appear that the grace of Saint Gnanasambandar had descended on the
hsld! The Press found itself landed in a drought of expletives and adjectives.
raise poured in from all directions. Here are some :
" If you don't believe in God, look at Ravi Kiran." — Pandit Ravishankar ( 1 969 - 70)
11 With mikes a!! around him and his hands full of biscuits ... all the time playing , the
child gave out correct answers.' — The Journal of the Music Academy 1 969 - 70
11 His recital, sans violin, sans percussion, stood aloft like a beacon for the storm - battered
music world." — Indian Express.
" To listen to his music is an education in Carnatic Classificism." — The Hindu.
Pandit Ravishankar's remark of 1969-70 was the echo of what was said at
erlin on April 12, 1929 by the great mathematical physicist famous for the
heory of Relativity. Yehudi Menuhin was thirteen. At the concert, his violin -
lay was remarkable. The sounds were as pure as gold, inspired by an angelic
aturalness of phrasing and musicality and without a trace of childishness/
hen Albert Einstein remarked :
"Now I know that there is a God in Heaven."
he only difference was that Menuhin was then about 13 while Ravi Kiran was
Dunger by ten years.
The progress thenceforth was equally impressive. He gave his first vocal
Dncert at Bangalore while yet a boy of five. Next year, he gave his first
erformance on gottuvadyam at the Brahma Gana Sabha. Pleased at the
rtistry, maturity and technical elegance displayed by Kiran, Semmangudi Dr.
rinivasa Ayyar presented the plectrum used once by his guru, Sakharama Rao,
ho, incidentally, was preceptor to Kiran's grandfather too. In 1 980 the Music
cademy selected him as the best Junior and in 1981, it awarded him the
hanmughavadivu Memorial Prize. His concert career could be taken as
jgularly commenced from the age of twelve, when the All India Radio accepted
im as an artiste and placed him in the very next year itself in 'A Grade. He
as on television in 1 980. His dedication and application to art were so intense
lat he could think of scholastic education only at the age of nine by which time,
e was a recognised artiste in the music world. He switched over to
ottuvadyam when his vocal expression was fairly advanced.
Ravi Kiran is one of the top, senior artistes now and perhaps the best
uthority to handle chitraveena. He has not the inclination to stoop to play to
allery or deviate from the golden mean of pure classicism. His rendition enjoys
le majesty which one sees in Muthuswami Dikshitar's kritis. In his approach
> his music, he is in the distinguished company of the late Veena Balachander,
ho had once said :
ANOJHER GARLAND
255
"The rasika's love for music has no commercial angle, whereas, we (musicians) are
being paid to perform for them!! To us, it is certainly a commercial proposition, a
commercial commitment!!! Hence, from where we sit, they are purer at heart!!! . , .
As a musician, your responsibility is to see that, although it is a commercial
arrangement, YOU DO NOT MAKE YOUR ART COMMERCIAL!!! "
It is noteworthy that young Ravi Kiran is a staunch believer of this dictum
and has never swerved from it. His ideal is fully projected in his statement
" I seek to expand the horizon of their knowledge and deepen their
understanding by giving explanation and lecdem. "
How many artistes could lay claim to this? A Commerce Graduate and sports
enthusiast, Ravi Kiran has founded the International Foundation for Carnatic
Music to cater to the needs of students, etc., in furtherance of this objective.
Gottuvadyam is a rare musical instrument and only a few have been able to
master it and attain renown and fame; and so it is meritorious that Ravi Kiran
distinguished himself while so young as the most authentic exponent on that
instrument.
1 The faultless vision of classicism, his pure and intense gaze of gnanam... phrasing
the ragas with pregnant silences between statements created each raga beautifully
and evoked its powerful tranquility, demonstrating authentic aiapana tradition. '
— (The HindU)
'NMN'calied him a 'Safigeetha Gnani.' The 'Gnani' is a picture of decorum,
dignity and poise on the dais - exuding self-reverence, self-knowledge and
self-control. In July 1985, Ravi Kiran demonstrated his determination, skill and
expertise with a non-stop twenty-four hour play on Chitraveena and the unique
feature of this exercise was that it was done sans food, water and even
movement from his seat It was a feat of endurance, total surrender to music,
yogic musical expression and nadha yoga.
Titles and Honours :
1973 Arul Isai Selvam -
1 980 Nada Sudharnava
1 985 Sangeeth Samrat -
1 985 Kalaimamani -
1 986 Madura Nada Mannar -
1991 Sanskrit! Award -
By Tamil Nadu Nalvazhi Nilayam
By Murali Ravali
By Wisdom International
By Tamil Nadu Eyal Isai Nataka Mandram
By Arul Neri Mandram
By Sanskriti Pratishtan of India.
Concert Tours :
Festival of India in France 1 985
Rang - Raag Fest, U.K. 1 986
International Musical Festival of Radio France 1 987
Festival of India in Switzerland 1 987
Raag - Mala Festival, USA 1 988
Festival of India, Germany 1 991 - 1 992
Concerts in France, Germany, Holland, U.K., USA, Canada etc.,
256 ANOTHER GARLAND
The photo taken on the occasion of Ravi Kiran's advent at the Music
Academy at the age of two graces this 'Garland ', Admirers may be glad to be
reminded of a like reaction in the life of another great man in a different walk of
life. Samuel Johnson was not quite three years old; he was at the Cathedral
perched upon his father's shoulders listening and gaping at the much celebrated
preacher, Dr. S. When asked how such an infant could possibly be thought of
being brought to a crowded church, father Michael Johnson answered :
' It is impossible to keep him at home; for young as he is, he has caught the public
spirit and zeal for Dr. S. and would have stayed for ever in the Church satisfied with
beholding him ! '
Ravi Kiran is a knowledgeable instrumentalist of such sweetness of tone,
temperament and deportment that it is hard to imagine him sounding anything
but benignly classical.
MISCHIEF
Wit, Wisdom and Mischief are collaterals. It is well known that flautist wizard
Sarabha Sastri had a disciple in Sanjeeva Rao. Actually there was another, Ramu of
Tiruvisanallur who later flowered as the famous mimicry specialist and Asthana Vidwan
Vikatakavi Ramaswami Sastrigal.
Ramu was witty, wise and mischievous. Rama of Ramayana too was so. Did he not
antagonise Manthara, the hunchback? Sarabha was about to enter his house after a visit.
Ramu, who was tuning the tambura for Sanjeeva *s flute practice, stopped tuning it but
mimicked deliberately bringing an element of wrong sruti. The maestro was shocked
and shouted.,
* Sanjeeva, where is the sruti, you.../
Innocent Sanjeeva did not know what had happened. He was shocked, apologised
and pointed to the culprit Ramu. The learned Sarabha could not see the mischievous joy
in the face of young Ramu as he was not blessed with eye-sight. Suppose he had it,
would he have enjoyed it or shown the gate to Ramu?
The art of musical mimicry has practically lost its popularity after the lifetime of
Ramaswami Sastrigal.
ANOTHER GARLAND 257
PROF. V.V. SADAGOPAN ~ PEDAGOGUE/VOCALIST : (b. Jany 29, 1915)
Prof. Sadagopan was a distinguished musician-teacher who had contributed
much to the science and art of music. He held highly practical and enlightened
views and made a subtle distinction between Music in Education and Education
in Music and supported the view that Lakshya (aesthetic perception) should
precede and prevail over Lakshna (intellectual abstraction). Here is a beautiful
bunch of similies from him :
' Nada is the calm Sea of Quiet Joy
on which the student voyages.
The boat is his voice and it should not be leaky.
Sruti is the rudder; Laya, the paddle.
Raga Bhava is the sail; and imagination, the wind.1
He had his musical tutelage with Namakkal Sesha Ayyangar and Ramanuja
Ayyangar. Was Professor, Delhi University (Faculty of Music). He founded the
Tyaga Bharati' School. Was on the Experts Committee of the Music Academy,
Madras and had contributed much to its deliberations. Viravanallur Vedantam
Sadagopan represented Indian Music in the Centenary Celebrations of the
Moscow Conservatoire, 1966. He was Founder - Director, Delhi Sangeeta
Samaj. Was a regular contributor of articles and was Editor of the journal
Indian Music published by it. Spirals and Circles compiled from notes and
lectures of Sadagopan was released by the Music Education Mission. The book
presents a master plan for teaching, singing and hearing of music. 'Has an
evangelic zeal for "Music for Human Relations through integrative Music
Education". He believes individual, social and global harmony can be fostered
through this. A musician of high calibre.'
— Indian Music Journal.
Concert Tour : Europe.
Disc recordings.
Sadagopan has composed songs under the signature 'Seshadasan' and
has set to tunes many songs of Ambhujam Krishna and others.
MYSORE SADASIVA RAO - EMINENT COMPOSER: (19th Century)
A disciple of the illustrious Wallajah Venkataramana Bhagavatar, who was a
direct disciple of Tyagarajah, Sadasiva Rao is the distinguished musician who
trained the famous Veena Subbanna and Veena Seshanna of Mysore. A
runaway boy at twelve and a Collector's Office clerk later, he became Asthana
25,8 ANOTHER GARLAND
Vidwan at the Mysore Durbar a recognition of his erudite musical scholarship
Of course, he might not have accepted the post but for a quirk of fate! £? ^dasivs
Rao was affluent and was passionately devoted to Atithi satkara - fee* ding as
many guests as possible daily at his house. Feeding guests was a custom'tha
was part of Hindu dharma till recently. He never wavered in his great rnissior
even when generosity and charity had reduced his status from a princely lifetc
abject penury. (This may remind one of a tamil king of 'Purananuru' d^ys, whc
was lavish in his charity. He was overthrown by another ruler and thrown intc
prison. Chanty did not help him to win the war but provided him with ar
occasion to become immortal in the golden pages of poetry. A poet ignorant o
his pathetic lot, went to meet him and at the prison eulogised his noble trait
regretting the king's present condition and his own harsh fate. The penniless
prisoner gave him a letter addressed to his wife. The forlorn lady, on sowing th<
later, felt miserable having nothing to present to the poet as counselled by he
spouse. Finally she tied up a turmeric as her mangalasutra and presented th<
only article of value she had viz., the mangalasutra (thali) itself made of gold t<
uphold the unsullied dharmic dignity of her spouse! In the life* o^ Ac
Sankaracharya, the lady had nothing left to present to the yogi and presents th<
only thing left in her house, an emblic myrabolan.) Sadasiva was a faithfi
follower of the scriptural injunctions on charity. He had perforce to aocept thi
post of Court Vidwan on Rs. Thirty per mensem in the context of his straitenei
circumstances. He died at the age of eighty full of merit and glory.
Sadasiva Rao was born at Chittoor and went over to Mysore when he wa
thirty years old. He had an imposing personality, dignified and grand. Was i
mahratta and a devotee of Lord Narasimha. Mysore Vasudevachar reoounts
very significant incident. Rao was giving a concert for Ramotsavam to a packe
hall. Someone requested him to sing his kirtana Na.r^^imhud
(Kamalamanohari). Rao explained that he used to sing that song only in hi
pooja room observing a fast. The admirer persisted with folded hands innocer
of his qualms. 'Believing /ana seva is also a form of Janardana Sev&9 £3 adasiv
Rao went through pallavi and anupallavi and when he was singing the sahity
Sanakadulu Vismayimpa, the framed picture of Narasimha hung up on the wa
suddenly fell down, the glass breaking into pieces! The great man was In tear
and the audience felt sad and distressed.
He has composed delightful kirtanas full of bhava and bhakti lik
Paramadbhutamaina (Kham@s) on Srirangam Ranganatha, Sri Partfa &sarat-h
{Bhairavi) on the Lord at Triplicane, Kanugoni (Kalyani) on Sri Karnaksti
Kanchipuram. His disciple Subbanna kept complete account of his tanaivarnai
padavarnas, kirtanas, tillanas and swarajatis. Vasudevacharya descri Ibes Rao
style as Narikelapaka with a difficult outer structure but with sweet, nourishin
inner content and calls him Gandharvamsha Sambhoota. He ha.d adopte
several signatures including 'Sadasiva Bhagyadheya'. His songs are full <
ANOTHER GARLAND 259
SADHURAM SWAM1GAL - INSPIRED COMPOSER: (b. February 3, 1937)
1 Sethuraman sings the praise of Siva as the four great Nayanmars did; he pours out his
soul in praise of Vishnu as the twelve great Alwars did; he goes into ecstasies over
Muruga as Saint Arunagirinathar did; he sings the glory of Ambikai (Goddess) as*
Abhirami Bhattar did; and he celebrates in his poems the lives and greatness of
contemporary saints as Sekkizhar did in the 1 2th century A.D: of the famous sixty-three
saints. I shall not be surprised if he sings of the Buddha and Christ, Zoraster and
Mohammed, Confucius and Tao also. '
/
— O.V. Alagesan, former Minister, Government of India and
an ardent admirer of Swamigal.
Sethuraman is now Sadhuram Swamigal after renunciation. He is an
Arutkavi, a gifted composer of songs and verses. He does not consciously
compose; the sahitya, the lyric or the songs roll out cascading as if the Amazon
rushes through the 167 feet Niagara Falls! He stands in trance; no conscious
effort, no manner of thinking or perceivable mental exercise. Honeyed songs
and poems pour out of his lips pregnant with excellence of concept, richness of
rhythm and easy-paced rhyme. The author of this book was himself a witness
to one such exercise of his about three decades back when Swamigal had not
taken to renunciation. It was unbelievable. It was at Uthiramerur famous for its
Chola inscriptions on Panchayat Raj and O.V. Alagesan brought him to the
temple there. Alagesan records that those who doubted about the divine
rendition of the Tamil Big Four Apostles and of Arunagirinathar would get
enlightened when they see Swamigal's flowing extempore composition and
rendition and states that there is no such person of his eminence now in Tamil
Nadu. The compositions are in chaste tamil conforming to the rules of grammar
and prosody. 'His whole being melts into music everytime he composes.'
S.V. Sethuraman though born at Madras belongs to Nadakudi near Nannilam
on the banks of the River Mudicondan near Srivanjiam. Son of S. Venkataswami
Ayyar and Dharmambal Ammal, he passed his SSLC and was in service in the
Sub Registry Offices at Tiruporur and Madras, Prithvi Insurance Company and
Life Insurance Corporation of India, Madras. Was of a religious bent of mind
even while young and had strange premonitions and experiences. For instance,
on January 20, 1952, a ripe old man approached him at Tiruporur, handed over
to him a 108-line kummi song, took him to his Chintadripet (Madras) residence
and disappeared! That was the beginning of his spiritual pursuits and he began
to spin out delicious songs full of devotional flavour, artistic grace and
conceptual beauty. The incident of 20th January was a mystic experience pure
and simple which confirmed the path and purpose of his mission. The 108-line
piece was Thiru Murugan Hara Harao HarakkummL He had earlier initiation in
Tirupugazh by Sri Vallimalai Sachitananda Swamigal.
Official life hindered not his spiritual mission but was not in tune with his
innate instincts and his efflorescence in the destined path. He took to
260 ANOTHER GARLAND
renunciation on February 15, 1969 and Sethuraman became Sadhuram
Swamigal. His compositions called Arutpugazh number twenty-thousand
progressively increasing in number and variety. Arul Isas Mani, Tirupugazh
Nallisai Selvar, Su.Ve. Subramaniam, his purvashrama brother assists him in
recording his outpourings even as Purandara's sons helped their illustrious
father.
Swamigal made his debut in 1951 with a musical discourse at Madras and
extempore rendition commenced in 1953 at Nadakudi. He has been giving
musica! discourses and lectures. Has toured throughout India and has founded
many institutions to further his laudable objectives..
His publications are numerous -and varied including a prose work Katturai
kadambam.
Disc recordings : Tirupugazh in two cassettes
Sri Reddiapatti Swamigal's Arutpadalgal, etc. in eight
cassettes.
Titles:
Arulkavi, Aasukavi,
Madhurakavi, Chitrakavi,
Vistharakavi, Chathurakavi Rajan.
His fiftieth birthday was celebrated in 1987 with great enthusiasm. The
Golden Jubilee Souvenir released on the occasion contains some of his
compositions. Presently he is based in the Pongi Madalayam, Nangainallur,
Madras. Musicians may avail of his songs and bring them to current use.
RAJAH SAHAJI II - MUSICOLOGIST & COMPOSER: (Ruled during
1684-1712)
'Sahaji Raja, the Abhinavabhoja of Tanjore was the second and the most
illustrious of the Mahratta rulers of Tanjore. Rightly does he occupy the most
honoured place in the galaxy of royal musicologists, royal composers and royal
patrons', remarks Dr. S. Seetha lately of the Madras University. While a very
large number of works are attributed to him, the music of only one, Sankara
Palliseva Prabhanda, a geya nataka is available. His Tyagesa Pada(s) in
Sanskrit, mahratti and telugu testify to his eminence, scholarship and mastery
in language and music, His Saptasagara Suladi Prabandha Ula Daru in mahratti
is a ragatalamalika with diverse musical forms revealing his high intellectual
attainments and musicianship. Sahaji Ragalakshana (in manuscript) is his
contribution as a musicologist. Tyagesa1 and Tyaga' are his signatures
signifying his devotion to the Presiding Deity of Tiruvarur,
ANOTHER GARLAND* 261
Son of Ekoji I and Dipambika, Sahaji had probably Appa Sastri alias Sri
Parabrahmananda Yogi as his spiritual preceptor.
SAKUNTALA NARASIMHAN - MUSICIAN - JOURNALIST : (b. 1940)
If there are a few lady-musicians who are not only proficient in diverse
musical styles but are prominent in other fields as well, undoubtedly Sakuntala
Narasimhan is one among them. She was born at Kanchipuram, of G.S. Raman
and Sugandha in a musical family. Her grandmother was a disciple of the
renowned Naina Pillai and Puducheri Rangaswami Ayyangar and her mother
was quite felicitous in vocal and on veena and in Carnatic and Hindustani music.
Sakuntala naturally inherited the legacy of the family - which seems to run in the
female line and enlarged her musical training and knowledge with a Sangita
Vidwan diploma from the Central College of Carnatic Music with distinction.
Ustad Hafeez Ahmed Khan was her preceptor in Hindustani music.
Made her debut at the age of ten at Delhi in a duet with her mother. During
the last two decades she seems to be running against the clock and the calender
in giving lecture- demonstrations and concerts in India and abroad and pursuing
her hefty journalistic endeavours. Her lectures in musicology are relished by
the lay and the cognoscenti and she has bagged many gold medals for her
concerts and lectures on musicology.
Sakuntala Narasimhan taught Musicology at the Bombay University and has
been examiner for the same since 1 977-78. A post-graduate in economics and
an award-winning journalist, she is fully equipped to make analytic probes into
the immense panorama of Music of India. Was guest faculty at SNDT and
Bombay University. Musical legacy and training, felicity in different languages
and journalistic pursuits gave her the ideal field to project her talents
successfully. Sakuntala Narasimhan is well known as a full-time journalist and
later Assistant Editor, Femina and Columnist on women's issues and consumer
affairs for Deccan Herald since 1984. Got the outstanding Woman Journalist
Award for 1984 and Runner-up Woman Journalist and Eve's Weekly Awards
1984 and 1986. Her published articles number a gigantic 950 till now! Was
Vice-President, Consumer Guidance Society of India, 1989 and 1990.
Concert tours: Japan, Singapore, France, USA, Kenya.
Publications: Invitation to Indian Music (and four other books on other
topics.)
Disc recordings: CBS release 1 989
Honours & Titles:
To her acquisition of gold medals and awards, she has added the titles of
'Sangita Ratna' in 1953 and 'Sur ManP in 1974.
262 ANOTHER GARLAND
MYLATTUR V. SAMI AYYAR - MR1DANGIST: (20th Century)
Sami Ayyar had his training in percussion under his uncle Mylattur Krishna
Ayyar and in 1 938 entered the Annamalai University as Lecturer in Mridangam.
Has authored the book 'Mridanga Paada Mural' released by the University.
* * *
SAMI BHAGAVATAR - DEVOTIONAL MUSIC ARTISTE:
Son of Vengu Bhagavatar, the bhajan specialist, Sami Bhagavatar was so
much dedicated to devotional music that he would go to Madras during the
Dhanurmasa to do bhajan along the main streets of Mylapore, since it was then
the loveliest place on earth which exuded charm, calm, spiritual and musical
environment and was the sanctuary and haven of bhagavatas, musicians and
music-lovers. (And all that is lost now with the main streets around the tank and
the temple being studded with hundreds of vendors and petty shops. Music
would be the last art to peep in anywhere near or flourish. If music dried up on
the streets, the beautiful tank has not seen a spoonful of water for half a decade
and over! All the water inlets stand blocked.)
Bhagavatar enjoyed a pleasing voice, an immense repertoire of Tyagaraja's
songs and laid stress on the bhava and rasa of each song. He attracted massive
crowds.
* * *
TANJORE SANKARA AYYAR - VOCALIST-COMPOSER: (b.Jany.14 1924),
A talented composer in apoorva ragas and a scholar - expert in the
presentation of the nuances and finer aspects of tamil songs, Sankara Ayyar is
a senior vocalist 'He is one of our seldom heard vocalists whose music is shorn
of shallow smartness and precocity and who is a repository of the purest
tradition', states K.S. Mahadevan. His compositions come up for constant
rendition.
Born at Toga Malai in Tiruchirapalli district, of Venkatesa Ayyar and
Kuppalammal, he had his training in music under his musician - grandfather,
Krishna Ayyar for ten years. Later he joined the Ramanathan College of Musis
of the Annamalai University and got the 'Sangeetha Bhushanam' diploma. At
the College, he had the benefit of training under stalwarts like Tiger
Varadachariar and Sathur Krishna Ayyangar. Made his debut at the
Ramakrishna Home, Madras in 1937, when C.Saraswati Bai could not take up
the harikatha concert listed for the day. In Carnatic music, it has been found
that juniors who substituted for senior artistes had shot up to the top like
Ariyakudi Ramanuja Ayyangar, G.N. Balasubramaniam and Rajamanickam
Pillai. Was Principal, Tamil Isai College, Devakottai and Professor, College of
Carnatic Music, Madras and Shanmukhananda Sabha Music School, Bombay.
ANOTHER GARLAND
His compositions are in Sanskrit, telugu and tamil and comprise varnam, pada
ksrtan, javali, etc. Several of these are now handled by musicians and dance
(Desh) was his first which incribed his name in the list
memorable composers. Gitavadya Natana (Natakapriya), Manasarair
and Balakhshna Paadame Thunai (Vishnupriya) are other popu
among his forty compositions.
Titles and Honours:
Certificate of Merit from the Music Academy (1 986)
Title of 'NadakanaT from Bharath Kaiachar.
Kalaimamani from T.N.Eyal Isai Nataka Mandram (1992)
Sankara Ayyar is a sampradaya vidwan who believes in the Carnatic B
being followed in essence and spirit. His lecture- demonstrations are instruct!
"He is a veritable walking encyclopaedia."
* * *
T.T. SANKARA AYYAR - VIOLINIST: (b. 19
Son of Tanjore Duraiswami Ayyar, Sankara Ayyar had his violin train
initially under his father and then under Trichy Violin Venugopala Pillai. Me
his at Tanjore and had provided accompaniment to prominent artis
including the Women Vocal Trinity, MSS, MLV and DKP. Has been awarded •
Kalaimamani' by Tamil Nadu Eyal Isai Nataka Mandram in 1976.
M. R. SANKARAMOORTY - VOCALIST: (b. 1922)
Place of birth: Madulakura in Hassan district.
Sankaramurty had his initial training with Rama Bhatta, a bhagavata, leg
telugu at Nandalur (A. P.) and in his thirteenth year underwent training in rau
with Rama Josier and then Chembai Vaidyanatha Ayyar and R
Keshavamurthy. His hunger for music was so intense that he learnt Hindust
Bhatkhande at Bombay. His musical training would seem to hi
him around different states. Returning to Bangalore, he enlarged
and knowledge of the art with further training under Belakuv
Ayyangar and Sathur Krishna Ayyangar.
giving concerts as duo with G.L Ganesa Sastri. Has been giv
on the All India Radio and elsewhere. Established the Guruk
Nilaya, Bangalore.
Publications:
forty numbers on music in kannada including Pancharatna klrtai
and Sangita Sudha (at prices within the reach of all).
264 ANOTHER GARLAND
T.S. SANKARAN - FLAUTIST: (b.October 28, 1932)
Place of birth Sathanur in Tanjore district
Note: There are various places named Sathanur including one in South Arcot
district where there is an irrigation reservoir and another near Saivagangamalai
where Pundarika Vittala was born.
Parents : IN. Sambasivam, flautist and IS. Alarmelu Ammal.
Sankaran had his training in music under his father, a prominent flautist
attached to the Tiruvaduthurai Mutt and Court Vidwan, Mysore. Later he had
his gurukulavasa under the renowned T.R: Mahalingam (Mali) and continued
with him to the last so devotedly that Mahalingam called him 'Ekalavya' and
treated him as his brother. Sankaran has been giving concerts on the All India
Radio, Doordarshan, sabhas, etc., and in India and abroad having made his
debut at the tender age of nine at Avudayarkoil where St. Manickavachakar has
built a magnificent temple for the invisible Linga. He follows the vocal style of
rendition like Mali. Has choreographed some Tirupugazh songs in accordance
with the old Santha Thalam mode. Sankaran 's rendition is soft and soothing.
His concerts are 'aesthetically planned and fascinatingly rendered'.
Was Staff Artiste, All India Radio, Delhi for five years.
Concert tours abroad : USA, Canada, UK and France.
Honours & Titles : Kalaimamani by Tamil Nadu lyal Isai Nataka Mandram
in 1986.
Nadakkanal by Nadakkanal (Bharat Kalachar), Madras
in 1988.
* * *
SUCHINDRAM SANKARANARAYANA BHAGAVATAR @ ( 1846-1888)
AYYAH BHAGAVATAR - VAINIKA :
A prominent veena vidwan of Trivandrum, Sankaranarayana Bhagavatar
was the elder brother of Suchindram Padmanabha Bhagavatar. Had his training
under Sathu Bhagavatar, a palace musician. T. Lakshmana Pillai of Travancore
pays rich tributes to Sankaranarayana Bhagavatar, his guru.
* * *
K. SANKARANARAYANA PANICKER - NAGASWARAM ARTISTE:
(b. Jany. 9, 1911)
Place of birth : Ambalapuzha, Kerala
Panicker had his training in nagaswaram with P.S. Veeruswami Pillai of
Tiruvidaimarudur, who is seen to have had K. Gopalakrishna Panicker
(b. Novr. 11 1914), K. Gopalakrishna Panicker (b. 1919) and K. Chellappa
Panicker (b. 1924), the latter two being called the Haripad Brothers also, as his
disciples from Kerala. Pillai had thus helped in inducting the high standard of
ANOTHER GARLAND 265
nagaswara rendition in Kerala. Panicker had ample scope to hear the different
styles of other maestros of the Tanjore Delta.
Tiruvizha Jayasankar, a popular nagaswaram vidwan, is among the
disciples of Sankaranarayana Panicker.
Disc recordings:
Concert tour: Sri Lanka.
* * *
C.S. SANKARA SIVAM - VOCO PERCUSSIONIST : (b June 28, 1908)
A respected artiste and teacher who had shaped the musical aspirations and
destinies of many in the twin fields of vocal music and mridangam. His disciples
include his son, C.S. Murugabhupathy, Ramnad Eswaran and Raghavan in
mridangam, and Ramnad Krishnan and T.N. Seshagopalan in vocal music.
Sankara Sivam is in the direct line of the disciples of Tyagaraja through
Manambuchavadi Venkatasubba Ayyar, T.S. Sabhesa Ayyar, Sivasamban and
Harikesanallur Muthiah Bhagavatar with whom he had his musical training for a
full decade. He was versatile on violin, veena and jalatarangam and was a
prominent vidwan in South Tamil Nadu. Sankara Sivam was Principal, Madurai
Sri Sadguru Samajam, Member, Music Academy Experts' Committee and had
been on AIR Audition Board and Madurai University Syllabus Committee.
Parents : Chitsabhai Servai, Ramnad and Pappammal.
Titles & Honours : Madura Kala Pravina from Sadguru Sabha, Madurai
Kalaimamani from Tamil Nadu Eyal Isai Nataka Mandram
Samasthana Vidwan, Ramnad 1 945
Honoured by Mummurthi Vizha Committee,
Tiruvarur 1 991
Concert tour : Sri Lanka.
B.V.K. SASTRY - MUSICOLOGIST: . (b.1916)
Place of birth : Nanjangud, Karnataka
Musical training under : Chikka Rama Rao, Asthana Vidwan, Mysore Palace.
A multi-faceted person, Sastry got a diploma in painting like Madras
S. Rajam. He enhanced his knowledge and talents in music by contacts with
professionals. He is conversant with different other arts like bommalattam
(puppet-play), dancing, etc. Learnt Hindustani music too. Sastri has been
contributing numerous articles on music, dance, etc., for over thirty years to the
Illustrated Weekly of India, Economic Times, etc. He was in the Treasury
Department of the State Government. His articles have clarity and depth.
Sastry is connected with many institutions like:
Lalit Kala Academy, Sangeet Natak Akademy,
266 ANOTHER G ARLAN D
Karnataka State Sangeet Natak Academy,
Bharatiya Musicological Sangeetha Sadas,
All India Radio Audition Board and research bodies.
Honours & Titles:
Akashwani Annual Award
Sangeet Natak Akademy Senior Cultural Fellowship.
Certificate of Merit from the Music Academy, Madras.
Gana Kala Bhushana from Bangalore Gayana Samajam.
Honours from the Karnataka Nritya Academy, 1 987-88.
Dr. R. SATYANARAYANA - MUSICOLOGIST: (b.
Third of the distinguished Mysore Brothers and son of Ramalinga Ayya and
Varalakshmi Amma, Satyanarayana learnt music from his mother and his elder
brother R. Ghandrasekhariah. He took his M.Sc. from the Mysore University
and became Professor of Chemistry, Sarada Vilas College. Got his D.Lit. He
has been giving lectures on music in and outside India and has authored many
articles and books. 'Kudumiamalai Inscriptions on Music' one of his works was
published by the Varalakshmi Academies of Fine Arts, Mysore, jointly
established by him and his elder brother. He is a Member of many associations
like the American Ethnomusicological Society.
SAVITRI RAJAN - MUSICOLOGIST: (1908 - May 6,
Daughter of Dr. Seethapathi Ayyar and a disciple of Tiger Varadachariar and
Veenai Dhanammal, Savitri Rajan chose to refrain from giving concerts but was
giving lecture-demonstrations. Has published 'Sobillu Saptaswara\ a music
primer in colloborationwith Michael and brought out the documentary The Flying
Bird',. A cassette recording based on her publication titled 'The Splenderous
Seven Notes' has also been released. Nadopasana was her passionate
mission.
L.R record: 'Homage to my Guru Veena Dhanam' - a veena recital.
if * *
RAJA SERFOJI (SARABHOJI) II - ROYAL COMPOSER & PATRON:
(Reigned 1798 -1832)
Adopted son of Raja Tulajaji (1764-1787), Serfoji ascended the gadi at the
age of nine to be promptly deposed by Amar singh. He got back the throne in
1799 but it was the physical possession of the gadf sans power. Neither he
reigned in reality nor did he rule. He had to meekly surrender the principality
ANOTHER GARLAND • 267
for a pension and a life of robust leisure! He played to the tune set by the British
and constructed the monument 'Manora' on the sea - coast near Sethubhava-
chatram to celebrate the success of the British over Napoleon at Waterloo in
1 81 4! But the political non-entity was a prince among cultured elites. The fine
distinction between rulers like Rajah Serfoji and Swati Tirunal Maharajah and
others elsewhere in their conduct subsequent to the loss of power has to be kept
in view. While Serfoji, etc., turned to art, architecture, sculpture, music,
literature, etc., several ex-rulers enjoyed the fruits of pension without responsi-
bility. While the former patronised artistes, constructed libraries, etc., the others
amassed varieties in zenanas ! It is to the pristine glory of the fprmer that their
sober, native wishes never learnt to stray! From the view point of culture, the
loss of power was indeed a blessing. Probably like Napolean, he too should
have thought that 'the throne is but a piece of wood covered with velvet'; but
unlike him, inscribed his name in the eternal pages of cultural history!
Serfoji's claim to distinction primarily lies in making the Saraswati Mahal
Library a storehouse of knowledge and research. The library, of course, was
there before, called the 'Saraswati Bhandaram' but it is to his magnificent vision
and foresight, its elevation and glory are indebted. The library houses 30000
Sanskrit, 2500 telugu, 5000 marathi, 2000 tamil and 500 in other languages
books of varied importance. Manuscripts acquired by him were attested by him
which indicates his love of books etc. Keenly devoted to medicine and science,
he instituted the Dhanwantri Mahal, gathered eminent physicians and compiled
highly valuable prescriptions for ills and diseases in eighteen volumes.
An ardent devotee of music and patron of musicians and composers, his
period saw the Carnatic Trinity, Tanjore Quartette, Kottaiyur Sivakolundu
Desikhar of Sarabhendra Kuravanji and Abhirami Bhattar of Abhirami Anthadi.
His Western orientation drew him towards Western music and he started the
famous Tanjore Palace Band. Nava Vidya Kalanidhi was started to give training
in oriental learning. Shorn of political power and administration, his interests
and talents were 'amazingly varied and the varied subjects found an abundant
place in his capable and capacious intellect'. He had 360 musicians attached
to his court. He was himself a very good writer and composer. His compositions
included —
Radhakrishna Vilasa, Ganesa Lilarnava,
Mohini Mahesa Parinaya, Devendra Kuravanji Nataka,
Ganga Visveswara Parinayam, Ganesa Vijayam,
Kiratarjuna Nimpana and Tristalli Tirtha Yatra Lavani and dance pieces in marathi,
His nirupanas present a single theme with different dance pieces. 'He seems
to be the first composer of recent times to introduce the ekartha - single theme
concept in dance compositions, the features of which would seem to be the,
precursors of most of the compositions of the compact series later delineated i
268 ' ANOTHER GARLAND
by the Tanjore Quartette'. Each nirupana has Jaya Jaya, Sharanu, Alaru, Sollu,
Sabda, Varna, Pada, Swarajati, Abhinaya pada, Tillana, Jakkini, Geeta,
Prabandha, Triputa, Shlokavarna, Kauta and Mangala, (Suchetha Chapekar).
The galaxy who adorned his court included:
Sonti Venkatararnanayya
Tanjore Quartette
Ghanam Krishna Ayyar
Anai - Ayya (Viriboni)
Venkatasubba Ayyar
Vedanayakam Piliai and
Paidala Gurumurti Sastri
It would appear that each one of the 360 musicians had his turn on a particular
day for special concert at the palace.
Thus Serfoji has been immortalised by the grace of Goddess Saraswati
though disowned by Goddess Parvati having been sustained with pomp and
glory by Goddess Lakshmi!
VEENA! SESHA AYYAR - VAINIKA & COMPOSER; (fo.September 21, 1921)
Place of birth : Madurai
Parents : S. Ramakrishna Ayyar, a connoisseur of music and
R. Subbulakshmi, a classical singer
General Qualification ; B.Sc. (Maths), B.Sc.(Eng), RLE., F.I.P. E.,
Chartered Engineer.
Post held : Chief Engineer in the Defence Services (since retired).
Training in music Trivandrum Krishna Bhagavatar and
under : M.A. Kalyanakrishna Bhagavatar - both eminent
vainikas.
Debut : Chamber Concert before G.N. Balasubramaniam and
his guru in 1941.
Tours : Lecture-Demonstrations in Minnepolis, USA in 1986.
A gentleman of profound grace and robust culture, Sesha Ayyar is multi-
faceted. His late wife and a daughter on veena and another daughter with
bharatanatyam presented an ideal home humming with art and music and Sesha
Ayyar presided over it for long and continues to maintain that atmosphere now
with disciples. He is a composer of merit and elegance in tamil, telugu and
Sanskrit. His first publication titled 'Nritya Geetanjali' - Part I containing
jatiswarams, padams, pada varnams, javalis and tillanas was released
appropriately by Nritya Choodamani Kamala Lakshman on January 16, 1990,
Several of his compositions have been successfully performed by artistes of
merit already. His songs have won high approbation from danseuses, art-lovers
ANOTHER GARLAND 269
and critics of standing like T.S. Parthasarathy and K.S. Mahadevan.
Swamimalai Rajarethinam, one of the foremost authorities on bharatanatya,
spoke eloquently on the fine and delectable concepts, sublime sentiments,
emotive situations and artistic contrivances in the songs enabling dancers to
bring out their artistic genius, emotional instincts to full focus. Sesha Ayyar
takes the interest and trouble to guide the artistes in the finer intricacies, the
underlying bhava and rasa and the varied scope for portrayal.
'Nritya Geetanjali' Part II containing pushpanjali, alarippu, kauvuthams,
padams, etc., in seven languages is due for release shortly. The innovative
compositions excel in prosodic finesse brimming with emotional themes, poetic
and dramatic appeal and thrilling potential for succinct portrayals by artistes.
Ayyar has indented and drawn on his expertise in the rhythm of veenato present
measured rhythm and studied melody in complementary roles while presenting
his dance pieces to the world of bharatanatya. Thoughtful conception, selection
of apt episodes from epics and spiritual treatises, appropriate ragas^and graces
embellish his compositions. The skill of an engineer in the musician - composer
ensures precision, consummate artistry and performance audit - a case of
'Dance-Music Engineering1.
V.P. Dhananjayan of Bharata Kalanjali feels that 'it is a dire necessity to
induct new streams of lyrics and music to dance as practitioners are increasing
day by day and in that context too, Ayyar's compositions are most welcome'.
There are not many composers of eminence of songs for bharatanatya today
and Sesha Ayyar's efforts and contribution demand special approbation. Plato
insisted on a knowledge of music and mathematics for admission to his school.
Sesha Ayyar is an apt and ideal candidate Plato would have been glad to take
in - not as a mere student but as a tutor !
Veena Sesha Ayyar is choreographer, photographer, portrait painter and a
musicologist which help him to visualise from different angles, moods, bhavas
and other finer aspects which enter into the theme of his songs. Ayyar is a
restless soul soaked in fragrant art.
KOMANDURI SESHADRI - VIOLINIST: (b. Jany. 31 , 1949 )
An off-spring of a hereditary musical family, Komanduri Seshadri, son of
Ananthacharyulu and Kanakammal was born at Guntur. He is a Lecturer in
Violin, G.V.R. Music College, Vijayawada for the last sixteen years. Has been
giving concerts for over two decades in vocal, violin and viola on the All India
Radio and elsewhere.
Academic Qualification : Bachelor of Commerce.
Training and Initial training under father, a vainika and paternal uncle
qualification in music : Thirumalacharyulu, also a vainika.
270 ANOTHER GARLAND
Diploma in Violin and vocal, Andhra University
1969-1970
Master's Degree in Music from Mysore University 1973.
Advanced training under M. Chandrasekharan,
the prominent violinist
K. Seshadri has been giving lecture-demonstrations in different languages
and has established a record for twenty-four hour non-stop singing of
Tyagabrahma kritis in 1988. His sons K.A.S. Rajan and K.V. Krishna, both in
their teens, are his disciples and have been giving voco-violin concerts.
S. SESHAGIRI RAO - VIOLINIST: (b. 1944)
Father : S.V. Subba Rao
Seshagiri Rao had his training with his father and enlarged the scope of his
violin play and skill by constantly hearing prominent violinists. Rao was an
artiste with All India Radio and is a competent accompanist.
DEDICATION WITHDRAWN
"Ludwig van Beethoven had planned to dedicate his Third Symphony, one of the
towering landmarks of Western Music, to Nepoleon, but struck the dedication from the
title page of the manuscript when he heard that Nepoleon had crowned himself
emperor."
Beethoven used his art to express his revolutionary spirit in a way that no previous
artist has done. Has any one done so later?
When Nepoleon bombarded Vienna in 1809, Beethoven had to protect his ears with
pillows to protect his already damaged hearing.
* * *
LOUSY REVIEW
"I have read your lousy review of Margaret's concert. I've come to the conclution
that you are an 'eight ulcer man on four ulcer pay*... Some day I hope to see you.
When that happens, you'll need a new nose, a lot of beef-steak for black eyes and
perhaps a supporter below."
— President Harry S. Truman - in response to Washington Post critic Pant Hume's
review of a concert by Margaret Truman, Time 18 . 12 . 1950. (Encyclopaedia of
Music -Alan Blackwood - Wardlock Ltd., London.)
ANOTHER GARLAND 271
VEEN A SESHANNA - VEENA MAESTRO: (1850 - 1926)
I What Bradman was to cricket," Seshanna was to veena. Veena and Seshanna were
synonymous. He was a nadayogi who lived like a colossus in the field of veena. '
— K. Srikantiah
II His music flowed like sweet honey. Seshanna did hot believe in depth or intensity. He
played on the veena and with it. His regal mien and the joy he diffused all around him
by his own ecstasy was nothing if not contagious. His nimble fingers flew up and down
the octave, weaving figures of three's and four'? like a dummy horse drum and came
to a stop with a bang, striking the four strings together. "
— (R. Rangaramanuja Ayyangar)
Karnataka has always had a fancy for veena and patronage of Mysore
Royalty to vainikas has been proverbial. The golden age of cultural renaissance
in Mysore reached its peak, according to Prof. R.N. Doreswami, during the
reigns of -
Mummadi Krishnaraja Wodeyar 1 794 - 1 868
Chamaraja Wodeyar 1 863 - 1 894
Nalvadi Krishnaraja Wodeyar 1 884 - 1 940 and
Jayachamaraja Wodeyar 1 91 9 - 1 974.
Broadly speaking according to the learned Professor, three styles were in
vogue, viz., Tanjore, Mysore and Andhra - with the following characteristics:
Tanjore Style:
Bass tonal quality as a result of using thick guage strings and tuning to a low
key (sruti); vilamba laya with long curves produced by deflecting the strings.
Masculine in quality with more accent on vocal-based rendering.
Mysore style:
Sweet tonal quality with sharpness and clarity comparable to female voice.
Thinner guage strings tuned to a higher key; fingering and plucking harmonious
and melodious by using the tripanchaka gamaka on all the three strings,
Madhya laya mostly and also druta laya. Tana had a special place.
Andhra Style:
Resembled the Tanjore style but it has become a combination of the other
two.
M.J. Srinivasa Ayyangar opines that vocalization of veena is the main
characteristic of the Mysore style. Perhaps 'all said and done, it is only one style
— veena style'.
272 ANOTHER GARLAND
Veena Seshanna was the foremost of veena artistes of Karnataka and hailec
from a long line of vainikas. Son of Veena Bakshi Chikkaramappa, a vainita
and asthana vidwan, Seshanna had his training in veena and vocal with his
father. A prodigy, he played a complex pallavi at the age of ten in the presence
of the Maharaja and vidwans on a Shivaratri day and came to royal notice, Was
an acknowledged player in his twenties. His 'meetu' - plucking of the string
was mature, his imaginative rendering attractive and his tala immaculate. Wher
he lost his father at the age of sixteen, Seshanna continued his training witt
Dodda Seshanna in veena and vocal with the renowned Mysore Sadasiva Rao
As umpires do in cricket to count the balls bowled, his sister would keep tamariru
seeds to count the number of times he practised avarthas and his rigorou:
practice was comparable to those of Tirukodikaval Krishna Ayyar and Dwaran
Venkataswami Naidu - violinists, Venkataramana Das and Sangameswar;
Sastri - vainikas and Konerirajapuram Vaidyanatha Ayyar, the vocalisl
Seshanna was an adept in playing on violin, sitar, swarabat, organ, piano, am
jaltarang also and would give flill-scale concerts on them. He masterei
Hindustani and Western music and so would give varied concerts. He enjoye
others' music and rewarded them too.
He was the kingpin, centre of attraction in all musical endeavours i
Karnataka, was asthana vidwan, Mysore and was honoured by the Gaekwad c
Baroda with a palanquin! His ve$na play was pleasing; played rapid passage
of flageolet notes. He introduced the use of different fingers to produce note
in ascending and descending series. 'He was playing not so much on the string
of the veena as on the heart-string^ of the audience'. It was all due to his innat
genius and the hard discipline to which he and his co-disciple Subbanna ha
been subjected to by his well-meaning sister Venkamma. After all, he was nc
born with a silver spoon in his moutyi like Bakshi Subbanna, another maestn
Seshanna used to reminisce,
There was a time when I used tp roam about in the streets of Mysore carryir
the veena on my shoulders locking for homes where festoons were exhibit*
outside for chance invitation to play on veena. I have also given many concer
for as low a fee as Rs. five. ' — K, Sri kantia
If Venkamma at home insisted on macro practice, guru Dodda Seshanr
was a match for her in insisting on a very high degree of proficiency ar
specialisation by practice. His nod of appreciation or satisfaction would n
come easily. To borrow the words of Nedunurt Krishnamurti, he 'taught mus
and not songs'. Once, Seshanna did rigorous practice of tanas but the gun
nod was not forthcoming even after four days! The disciple murmured.
( Who is there? Get me my veena', thundered the guru,
' Sit down Seshanna; let me play for you. You may find out for yourself whether yc
practice is enough.'
ANOTHER GARLAND 273
The boy having listened with tears rolling down his cheeks, stood up and in choked voice
with his upper cloth tied round his waist confessed -
1 Sir, I had the conceit to think that nobody else practised as hard as I did. Pray, forgive
me,'
Dodda Seshanna softened and said:
' Look, my dear Seshanna! If I was hard on you, it was only because I was interested in
your progress. I used to practice each tana a hundred times. Only he who practised
the hard way acquires this art.'
Seshanna was a devoted disciple; he practised and achieved profound skill,
expertise and proficiency. Vasudevacharya says that the audience sat
spellbound when Seshanna played. Seshanna had also given violin
accompaniment to Vasudevacharya, his disciple and had played jalatarangam
at the royal court. The multi-faceted genius placed Mysore on the musical map
of India and his name is cherished to this day. Mysore was a beehive of high
musical activity during his days. And his tall stature and fame did not dislodge
his liberal piety and spiritual attributes. His lofty approach to veena was clearly
spiritual. He said:
' A good veena recital should witness more tonal quality and be soft and
soothing - madhuram veenamnltam panchama subhagascha kokllalapaha.
Extraneous sound from frets and strings should never jar the ear.1
Sankarabharana, Kalyani, Khamas, Begada and Kedaragoula were favourite
ragas with him. His layajnana was very sharp and precise; would play scores
of avartas without counting by hand. His fame spread far and wide.
Like the Gaekwad of Baroda, the Rajah of Ramnad honoured him by asking
him to give a week-long concert. The rulers of Gwalior, Indore, Bhopal,
Pudukottai and Gadwal showered gifts and honours on him. King George V
(then Prince of Wales) was so charmed that he took back with him a portrait of
Seshanna; and Mahatma Gandhi heard him play for long hours! There was in
his rendition spiritual message and appeal to the soul decidedly! E.R. Sethuram
of Mysore writes that it was said that he got more than forty todas, innumerable
necklaces, hundreds of diamond rings, etc. (There was no Income-tax or Wealth
Tax !) As if his name could not be weighed against all these and the fame he
commands still, Ganabharati, Mysore has erected a fine auditorium dedicated
to him and brought out a souvenir in 1991. There are stalwart disciples of
Seshanna in Prof. R.N. Doreswamy, V. Doreswamy lyengar and M.J. Srinivasa
lyengar besides the late Vasudevachar to carry on his message.
He was a composer too. His compositions comprise eleven swarajatis, nine
varnas, sixteen kritis and seventeen tillanas. Five are in kannada and the rest
are in telugu. They are rich in raga bhava and scope for gamakas and he has
availed of rare tajas and rare ragas in ragamalikas. His signature is 'Sesha'.
274 ANOTHER GARLAND
Veena Venkataramana Das was a cousin of his in the third degree. Weil-versed
in astrology, he is credited with forecasting the date of his death, July 25, 1926.
Seshanna enjoyed an imposing personality and would look like a sage on
the stage. Veena was his breath. In line with the description of the Lord by
Tyagaraja 'Oka mata, oka banamu, oka pathni vruthude', Seshanna's one world
was veena, his arrow of unfailing direction was his handling the instrument and
in short, his wedding with veena was sublime and total.
The advent, eminence and popularity of Seshanna gave a marked tilt in
favour of vainikas in Karnataka which enjoys a rich crop of veena artistes still.
D. SESHAPPA - PERCUSSIONIST: (b.1907)
Place of birth : Mysore
Father & Guru : Khande Dasappa
Seshappa has had wide practice and was Asthana Vidwan, Mysore Court,
He presided over the Karnataka Gana Kala Parishat Conference in 1991 and
was conferred with the title of 'Gana Kala Bhooshana'. He pleaded with
musicians at the conference to have konnakol, kanjira or ghatam as additional
accompaniment as these are languishing for want of adequate patronage and
with the organisers to disburse the remuneration to the side accompanists direct
and not channelise it through the chief artiste since in many cases the quota of
water released from the reservoir does not reach the fields to the benefit of which
it is let out! Part or the whole of it gets impounded illicitly en route \ (It is criminal
misappropriation he referred to.)
Seshappa exhibited percussive talents even in his sixth year. As mridangam
was becoming popular in Karnataka in the thirties, he switched over from tabla
to mridangam. Has accompanied prominent musicians and was State Examiner
for Examinations. A talented artiste.
TANJORE SETHURAMA RAO - MRIDANGIST: (c.1850 - 1920)
A famous mridangist in Kerala, Sethurama Rao had given accompaniment
to distinguished musicians like Coimbatore Raghava Ayyar and Parameswara
Bhagavatar. He was getting financial aid from Travancore Government. His play
had lesser 'meettus'and more of 'purattals'and was known for loud projections.
Would not take on solo (tani) ! Probably he was unique in this sphere. The reason
for the surrender of a privilege is not known.
ANOTHER GARLAND 275
S. SHANKAR - VOCALIST: (20th Cent)
A popular vocalist, Shankar has been giving concerts for over two decades.
He learnt music with Vallabham Kalyanasundaram and had been graded 'A' with
AH India Radio. He is an Auditor in the office of the Accountant-General.
KARANTHAI R. SHANMUGAM PILLAI - PERCUSSIONIST:
(b. July 17, 1915)
Son of Rathinam Pillai, Shanmugam Pillai had his training in tavil under
Tiruvalaputhur Pasupathi Tavilkarar and later under Needamangalam
Meenakshisundaram Pillai. Was accompanist to stalwart nagaswara artistes like
P.S. Veeruswami Pillai and Tiruvizhimalalai Brothers. Has received appreciation
from a wide circle of admirers and the title of 'Kalaimamani'from the Tamil Nadu
Eyal Isai Nataka Mandram in 1974
TIRUPPAMBURAM Dr.S. SHANMUGHASUNDARAM -
VOCALIST/PEDAGOGUE: (b.Septr.15, 1937)
Rich voice, chaste pronunciation, aesthetic presentation and passionate
faith in Tamil Isai qualify the successful life of S. Shanmughasuhdaram, who
hails from a hereditary family of instrumental musicians and a village noted for
its role in the field of drama and music. Tiruppamburam in Tanjore district is just
two kilometers from the author's village and is surrounded by musical cradles
like Mudicondan, Keeranur, Tiruvizhimalalai and Kothavasal.
Parents : N. Somasundaram & Pattammal (Sangita Kalanidhi
T.N. Swaminatha Pillai was his paternal uncle.)
Musical Training : First under his father.
Sangeetha Vidwan diploma from the Government Music
College, Madras.
Isai Mani Course at the Tamil Isai Kalloori, Madras.
Attended a course at the Sangeetha Vadyalaya of
Prof.R Sambamurti.
Teacher's Training Certificate.
Doctorate
Posts held :
Inspector of Music Schools under T.N. Eyal Isai Nataka Mandram.
Lecturer, Government Music College, Madras.
Professor/Principal, Government Music College, Madurai
Principal, Government Music College (now Training Centre), Madras since 1988.
Member, University Music Boards.
276 ANOTHER GARLAND
Disc recordings:
Publications :
Tamil !sai Nunukkam
Keertanai lyal.
Honours & Titles :
Kalaimamani, Isai Kalai Selvar,
Perumbana Nambi, Tamil Isai Mavendar,
Isaimamani, Sangita Sagaram.
Shanmughasundaram conducted a music school named 'Saraswati
Carnataka Music School' and a music sabha called 'Swara Ragalaya'. He takes
creditable role in spreading Tamil Isai and starting Irai Isai Pani Mandram and
Tamil Isai Valarchi Mandram. Has been taking part in seminars and presenting
concerts in addition to his collegiate responsibilities. Enjoys pleasant receptivity,
An enjoyable voice and a good repertoire of tamil songs are his forte.
VALANGIMAN SHANMUGHASUNDARAM PILLAI - TAVIL VIDWAN:
(b.ApriI2, 1914)
Born at Valangiman (from which hailed the eminent V.S.Srinivasa Sastri), of
Arumugham Pillai, Shanmughasundaram Pillai had his training under his father,
and his brother and later under the renowned Nachiarkoil Raghava Pillai. He
was a leading vidwan for five decades and a popular one.
He is a Vice President of the Tyagabrahma Mahotsava Sabha. Has visited
Sri Lanka. The Music Academy, Madras honoured him in 1 977 with a Certificate
of Merit and the Sangeet Natak Akademy, Delhi conferred on him the Akademy
Award in 1985.
SHANTA NARASIMHAN - VEENA ARTISTE : (b.September 22, 1938)
Born at Bangalore, of Janardhana lyengar, a prominent veena vidwan and
a disciple of Veena Venkatagiriappa of Mysore, Shanta Narasimhan had her
initial training with her father. She had training in vocal music under R. Shankara
Murthy and R.K. Srikantan. Made her debut in 1960 at Sri Ramapuram Rama
Mandiram, Bangalore during the Ramotsava. She is giving a large number of
concerts on the All India Radio and elsewhere.
Concert tours : U.K. USA and Canada.
ANOTHER GARLAND 277
SHASHANK - PRECOCIOUS FLAUTIST: (b.October 14, 1978)
Place of birth : Rudrapatnam, Karnataka - a nursery of musicians.
Parents : M.N.Subramanyam & A.A.Hemalata.
Musical training under : Preliminary training under father, a disciple of Dindigul
S.RNatarajan.
R.KSrikantan for three years
K.V.,Narayanaswamy for 3 V£ years.
Thirteen-year old Shashank is now a student in the VII I standard and already
he is a well-known flautist. Made his debut at Adelaide, Australia on September
30, 1 990 (in a hurry not to wait for the dawn in the Indian subcontinent four hours
later!) and in India at the Sastri Hall on December 20, 1990 for Sruti Laya Seva
of Karaikudi Mani. It is said that when Flute Mali heard six-year old Shashank
play the flute, he advised that Shashank should be given training in vocal music
allowing him to develop his own style in flute and his advice probably had its
striking results. The boy's self-evident musical talents in the garden and care of
a musically-trained father soon began to assert and he became a sensation
when he entered the concert stage in 1990.
The most prolific of all Western composers, Wolfgang Amadeus Mozart was
noted for his legendary speed of composition and at six, his piano play was a
feat.' Many child prodigies have adorned the Indian panorama like the glittering
Flute Mali (T.R. Mahalingam), Veena Seshanna, S.G. Kittappa, Tiruvarur
Rajayee, Veena Gayatri, Ravi Kiran and Mandolin Srinivas. Shashank has
joined this prestigious club now. He is reputed to have identified ragas and their
place in the Melakarta chart at the incredible age of three! This is so much like
Ravi Kiran, the reigning chitra veena player. His vocal training was helped by
scholarships. His instrinsic merit was taken note of when he was provided with
a berth by the Music Academy, Madras at an important slot during its annual
festival. The progress of Shashank is to be watched. He plays with confidence
and the melody of his flute is sweet.
Concert tours : Australia, Singapore and Malaysia 1990
Disc recordings : ICD and one cassette.
' With punches of alluring tone and subtlety, he distils perfectly classical forms out of the
notes of ragas, He is maturing incredibly fast', writes K.S. Mahadevan (I.E.)
1 His concert had such a timeless serenity, enchantment and rich content as to make him
a dazzling but not an extravagant genius', writes another.
278 ANOTHER GARLAND
SHYAMALA VENKATESWARAN - VOCALIST: (b.Feb.14, 1947)
Place of birth : Madras
Parents : Sangeetha Vidwan V. Rama Ayyar, a disciple of
Melakaveri A. Ramamurty Ayyar & Mukthambal.
Musical training : Under her father, besides
Pallavi singing and kritis from A.R. Kannan and
Kritis from S. Balasubramaniam.
Qualification &
Occupation : S.S.L.C. Employed in the All India Radio as staff artiste.
Debut : At Chenna Malleswarar Temple, Madras on
• August 15, 1957.
Shyamala Venkateswaran has been giving concerts at the Music Academy,
sabhas and other institutions in India. Her concerts are well received.
*,'
Concert tours : Mauritius 1986
Cassette recordings : with Sulochana Pattabiraman. One individually.
She has won prizes for proficiency from the Tamil Isai Sangam, Indian Fine
Arts Society and Sadguru Samajam, Purasawakkam. She is 'A' grade artiste
with All India Radio.
SIMHA BHUPALA II - POET-COMPOSER/MUSICOLOGIST: (1330-1390)
Simha Bhupala was a ruler of the Rayacharla ( Racherla ) Dynasty with his
capital at Raja$ala or Racherla.
Ancestors : Daacaya Nayaka - Pocamamba
Parents : Anapola or Ananta - Annamamba
He has authored l Kuvalayavali\ a drama in Sanskrit and
'Rasarnavasudhakara* composed in 1375 A.D. The latter work has seven
chapters explaining sruti, swara, tana murchanas, compositions, talas,
instruments and nartana. An excellent treatise in Sanskrit on dramaturgy, he
follows Bharata's Natya sastra. T. Venkatacharya says that there was a
suggestion that the work had been actually written by Visweswara, author of
'Camatkara Chandrika' and fathered on his patron, Simha Bhupala but that it is
not correct. V. V. Narasimhacharya says that the author had noticed the changes
that have set in music since the days of Sarngadeva. Catura Kallinadha's
commentary on Sangita Ratnakara titled 'Kalanidhi' came half a century later.
Bhupala called himself 'Sahitya Kala Abhijna' and was called 'Sarvajna'.
ANOTHER GARLAND 279
GHANAM SINNAYYA - COMPOSER: (18th Century)
Sinnayya was son of Venkataraghava Advani and Tiruvangalamma,
born at Chettipatnam in North Arcot district,
brother of Sesha Yejwa,
disciple of Varada Desika,
a scholar in Sanskrit and telugu,
an eminent musician and
a profound composer,
He was minister to Vijayaranga Chockanatha Naik, Madurai (1 701 - 1732). It is
significant to note that he was the earliest ghana vidwan to be followed by Bobbili
Kesavayya, Krishna Ayyar, Paidala Gurumurti Sastri and Gururayacharyulu.
Sinnayya has authored 'Sasana Vijayam' full of sringara rasa. 'Ramanuja
Charitram' is a prabhandam of his and the popular song Siva diksha paru
ralanura' (Kurinji) is his immortal piece in wide currency.
Titles & Honours : Bhooloka Narada
Sarasa Vidya Visarada
Kavi Gramani and
Gayaka Ratna.
His signature was 'Mannaruranga'. (There was another of the same name,
called Tsoukam Sinnayya, a tamil vidwan of the period of Sarabhoji II and
Shivaji II.)
* * *
KOTTAIYUR SIVAKOZHUNDU DESIKHAR - COMPOSER :
(19th Century I half)
Nativity : Kottaiyur in Tanjore district
Father : Dandapani Desikhar.
Sivakozhundu Desikhar was Asthana Vidwan in the Court of the celebrated
Sarabhoji Raja II (1798 - 1832). He composed the 'Sarabhendra Bhupala
Kuravanji' comprising 39 kirtanas besides others. His Kottaiyur Ula is not
traceable. Ponniah Pillai of the celebrated Tanjore Quartette set to music
Desikhar's Kuravanji and it was enacted first at the temple of Sri Brihadeeswara,
Tanjore by the Tanjore Quartette.
* * if
CITRAKAVI SIVARAMA BHAGAVATAR - MUSICAL DISCOURSER &
COMPOSER: (1869 - April 10, 1951)
Parents : Mahadeva Rao and Parvati.
Learnt music under his father and tamil from Shanmugham Pillai and
Ayyaswami Ayyar. A mahratta by birth, he learnt telugu and tamil and evinced
!80 ANOTHER GARLAND
ceen interest in musical discourses. Composed songs and nirupanams for
musical discourses and they have been adopted by many artistes. For the
>enefit of Tanjore Abraham Pandithar of 'Kamamrutha Sagara Thirattu', he
composed nirupanams with stories from the Bible and for the Tiruvaduthurai
^utt, he composed nirupanams on Kumaragurupara Swamigal. Though the
amous Lavani Venkata Rao trained him in lavani, Bhagavatar's heart was set
>n musical discourse only.
A teacher in music and mahrathi at the Mahratta School, Tanjore, he was a
rue patriot and composed national songs in Sanskrit, english, telugu, tamil, and
cannada. The manuscripts are reportedly with B.M. Sundaram. Banni Bai and
Danduranga Rao were his disciples. He was honoured in 1916 at a special
invention called for the purpose.
"IRUVAIYARU SIVARAMAKRISHNA AYYAR - VIOLINIST:
(20th Century 1 half)
Son of Subbarama Bhagavatar, a disciple of Tyagaraja, Sivaramakrishna
ar has the distinction of adding "many of the chitta swaras to Tyagaraja's
jrtans". He is described as non pare/7 in swara gnana. He specialised in
.uthentic rendition of the kirtans ensuring syllabic purity. Blind artiste Tiruvadi
:rishna Ayyar was among his disciples. Soolamangalam Vaidyanatha
Shagavatar pays glowing tributes to the expertise of Sivaramakrishna Ayyar.
» SIVAVADIVELU PILLAI -HYMNODJST MRIDANGIST: (b.Jufy 2, 1916)
Place of birth : Pulivalam near Tlruvarur.
Parents P. Pavadai Filial & Sundarambal.
Training in mridangam Ramadas Rao, Lecturer in Mridangam, Annamalai
University.
In Pann Isai Tiruppamburam Sivasubramania Pillai,
Mailam Vajravel Mudaliar &
M.M. Dandapani Desikhar.
Musical service ; Secretary, Muthu Thandavar Vizha, Chidambaram.
Suddha Sanfnarga Sangham, Mayiladuthurai.
Sivavadivelu Pillai was a freedom fighter and a 'Sangeetha Bhushanam' of
nnamalai University. He has been honoured with the title of 'Mridanga Nadha
ani' by Kovai Isai Mandram. He has been doing service in temples as a
^mnodist and is well spoken of.
ANOTHER GARLAND 281
RAJAH BHOOLOKA MALLA SOMESWARA - MUSICOLOGIST :
(1116-1138 A.D)
Someswara was the son of Vikramaditya of the Western Chalukya Dynasty
with capital at Kalyani. An authority on music, he wrote the thesaurus
'Manasollasa' or Abhilashitartha Chintamani in 1130 A.D. for enlightening and
teaching the world. He refers to music conferences.
' The efforts of Someswara paved the way for
Sarngadeva, etc., to compose such encyclopaedic works. '
— Gowri Kuppuswami & M.Hariharan.
Manasollasa contains 8022 verses including chapters on Gitam (537 slokas)
Vadyam (411 slokas), Nrityam (457 slokas) and musical discourse (27 slokas).
The encyclopaedic work is a book of reference. The term 'Carnatic music' is
traced to this work for its origin.
S. SOWMYA - VOCALIST: (b. 1 968)
She is studying at the I IT, Madras on a scholarship and she had held a
cultural talent scholarship for eight years. Scholarships and prizes, she has been
awarded most of them. Has a sweet voice, imaginative musical rendition. Her
concerts ' reveal finished quality in preparation and performance skill in handling
gamakas ', It is Sowmya, an upcoming artiste popular with the audience. She is
a disciple of the late Dr. S. Ramanathan. She had given voice support to him
and to T. Muktha.
V. SRIKANTA AYYAR - VEENA ARTISTE & PEDAGOGUE: (b.1920)
Born at : Nanjangud in Karnataka.
of : Venkatanarayana Ayyarand Ranganayaki Ammal.
Musical training under : Maternal grandfather Veena Seshanna
Posts held : Lecturer in Veena, Bangalore University.
Artiste, Akashvani.
Born in a musical family, he had the benefit of his elder brother Narayana
Ayyar being a vainika. Srikanta Ayyar is a talented artiste; his meetu is soft and
soothing and swara exposition elegant. Had played together with
R.K. Venkatarama Sastri as duo.
>82 ANOTHER GARLAND
K. SRINIVASA AYYANGAR - VEENA ARTISTE: (1919 - 1979)
An offspring of a musical family, Srinivasa Ayyangar initially took to flute
under H.V. Venkataramayya but discontinued. After his Intermediate
Examination, he passed Law at Bombay and became a Vakil in 1940. His
musical inclinations were intact and kept in cold storage. They melted when
hiis talented wife came forth to teach and train her spouse in veena. This led the
couple to give joint concerts in veena like Sivanandham (a descendant of the
Fanjore Quartette) and his wife.
Srinivasa Ayyangar was a critic and author of articles in the magazines
Gayana Ganga and Thai Nadu (kannada) under the pen-name 'Raja Sri'
combining the first syllables of the names of his wife Rajalakshmi and his own.
He served the Bangalore Gayana Samaj for twenty-two years, founded the
<alyani Gana Nilayam and organised festivals to celebrate Tyagaraja and
:>urandara jayantis. Was Member, State Sangit Nataka Academy too. Has
written the biographies of musicians and translated the Akademy publication on
Muthuswamy Dikshitar. Had given numerous concerts.
Titles:
Veenavadana Vimarsana,
Vainika Praveena,
Sangita Vimarsana Praveena.
* * * * *
REALM OF MELODY
The two books, A Garland and Another Garland together cover over —
a thousand artistes,
ten thousand accompanists, sub-artistes, patrons, etc.
a latkh of dependents and
a million music - lovers and admirers.
* * *
TRIBUTE TO SARNGADEVA:
'Deva appears to have been a practical musician as well as a great scholar and an
legant poet; for the whole book (Sangita Ratnakard) consists of masterly couplets in
ie melodious metre called Arya... This book alone would enable me to compose a
realise on the Music of India.
— Sir William Jones, Founder-President, Asiatic Socitety, Calcutta.
ANOTHER GARLAND 283
M. J. SRINIVASA AYYANGAR - VEENA ARTISTE: (b.1 924)
A genuine flower with distilled fragrance and a gem of purest ray serene born
to blush unseen is Veena maestro Mysore Janardhana Ayyangar Srinivasa
Ayyangar popularly known as MJS, writes G.T. Narayana Rao of Ganabharathi,
Mysore, Father Janardhana Ayyangar (1 885 - 1 962) was a vainika and a disciple,
of Chikka Subbaraya. He was not able to pursue the professional line since his
landed interests would not release him from their clutches. Srinivasa Ayyangar
was initiated to vocal but as his voice cracked at the age of eight, he took to
veena and in 1939 came under the care of Veena Venkatagiriappa at Mysore.
Srinivasa Ayyangar states that his guru ' was an institution, a great vainika, a
generous host and a professional guru in the palace '. (Vide 'A Garland' "for an
account of Venkatagiriappa.)
Srinivasa Ayyangar alludes to the manner of training he had thus :
' There was no question of our guru instructing anyone of us individually, By constantly
attending to him, watching him playing veena, imbibing the technique and spirit and later
feverishly practising them at home until I was anywhere near the periphery of the
master's vast empire... '
Renowned artistes like Prof. R.N. Doreswamy, V. Doreswamy and
V. Desikachar were some of the trainees with him. MJS was influenced by the
styles of vocal maestros Ariyakudi, GNB and Alathur in shaping his style to be
as close as possible to vocal rendition clearly delineating the course of the
sahitya, Among his disciples figure A.S. Padma, M.K. Saraswati and
M.K. Jayasri Prasad.
KANCHIPURAM P.B, SRINIVASACHARIAR - MUSICIAN: (20th Century)
A Graduate in Arts of the Madras University, Srinivasachariar was a teacher
in the National Brahma Gnana College, Adyar and was devoted to the
propagation of Classical music. He published the book 'Sangita Sarvartha
Chintamanf containing fifteen varnas and kirtanas of eminent composers,
* * *
NERUR SRINIVASACHARIAR - MUSICIAN - COMPOSER: (1890 -1950)
Nerur is the place sanctified by the immortality of Sadasiva Brahmendral;
and Srinivasachariar hailed from that village. A disciple of Namakkal Narasimha
Ayyangar, he was a vocalist-cum-violinist. He has composed in tamil (and some
in Sanskrit and telugu) gitams, swarajatis, varnams, kritis, padams, tillanas and
javalis. Perhaps he was the first to compose in tamil Pancharatnas, Navaratri
Kirtanas, Navagraha Kirtanas and songs on ' Nature '. His songs have been
praised by distinguished men,
284 ANOTHER GARLAND
Some of his compositions were published in 1 943 under the title ' Sri Ranga
Gana Sudhadayam' with an introduction by the eminent musicologist
T.V. Subba Rao. Srinivasachariar has also set to tune slokas of the revered
Sri Vedanta Desikha in 'Sankalpa Suryodayam', etc. Keertanacharya
C.R. Srinivasa lyengar wrote on 27th December, 1931, 'in point of range and
depih, he occupies the very first place... Verily a large bid for recognition and
appreciation'. He taught music at the Lady Wellingdon Training College,
Madras. Mysore Palace vidwans Sharma Brothers were among his disciples.
TEREZHANDUR T.V. SRINIVASACHARl - VOCALIST: (b. January 14,1914)
Parentage : Venkatachariar & Shenbagavalii.
Education & Training : Trichy National College High School - General studies
in Music Got Sangeetha Bhushanam diploma from the
Annamalai University in 1933, with Sabhesa Ayyar and
Ponniah Filial being his distinguished professors.
Posts held
Music Teacher, Sri Ramakrishna High School, T. Nagar. (1 938-1 942)
Headmaster, Tamilisai School, Devakottai (1 942-1 947)
Teacher in Music, Oriental Sanskrit School, West Mambalam, Madras.
Titles & Honours :
Tamil Veda Gana Sikhamani with Gold Medal by V.V. Srinivasa Ayyangar
at Devakottai
Honoured by Rajah Sir Annamalai Chettiar
Sangita Ratnakara by Mysore Parakala Mutt Jeer
Isaikadal by Karaikudi Tamilisai Sangham in 1990.
Honoured by the Maharajapuram Viswanatha Ayyar Trust in 1991 .
A born teacher with a rich repertoire of songs in tamil, Srinivasachari has set
tunes to Kamba Ramayana verses, etc. and has given a concert of those songs
alone before a distinguished gathering comprising Rajendra Prasad, Rajaji,
Kalki and T.K.Chidambaranatha Mudaliar. He is the guiding spirit behind the
activities of Sri Sat Guru Samajam, Purasawakkam, Sai Samaj, Mylapore,
Terezhandur Veda Sabha and Sri Ramanjaneya Temple Committee, Tambararn
Sanatorium, The great occasion in his life was the opportunity to give a concert
with Pudukottai Narayanaswami on violin, Karaikudi Muthu Ayyar on mridangam
and Devakottai Sundararaja Ayyangar on kanjira for the Sashtiabthapoorti of the
great maestro, Mazhavarayanendal Subbarama Bhagavatar.
ANOTHER GARLAND 285
TIRUMALAI SRIN1VASACHARIAR - VOCALIST: (b.1920)
Place of birth : Gowribidanur in Kolar district.
Father : Srinivasachariar
Tirumalai revealed musical instincts in abundance even as a boy and learnt
much by hearing gramaphone records. Joined the Sanskrit College, Bangalore.
Had his musical lessons at the LN. Narayanaswamy Gurukula for twelve years.
When he started on his professional concerts, he was taken as the Asthana
Vidwan by the Gadwal Court in 1946. Later he joined in 1953 Chowdiah's
Ayyanar College, Bangalore. He was also with the institution Vijaya Sangeetha
of Narayanaswamy Bhagavatar
R.K. SRINIVASAMURTY - VAINIKA: (20th Cent)
Started with vocal music but switched over to veena, the special favourite of
many Karnataka musicians. Srinivasamurty had his training under his father R.K.
Keshavamurty and brother R.K. Suryanarayanan.
Title: Bharata Vainika Ratna by Parthasarathy Gana Sabha.
Prof. R. SRINIVASAN - MUSICOLOGIST: (Septr. 21, 1887 - May 2, 1975)
Born at musical Lalgudi amidst its melody-soaked fields, groves and
gardens, Prof. R. Srinivasan had a distinguished academic career:
- MA having taken the first rank in the University both in B.A. and in MA ;
- had worked as Assistant Professor for a short period even while studying; and
- was Professor, Head of Department of Mathematics during 1 925- 1 937 and
- Principal, Science College, Tnvandrum during "1937-38 and 1941-42.
Son of Ramanujam who was attached to the famous Srirangam shrine and
Valambal, Srinivasan was not a mere Professor in Mathematics but was a
multi-faceted man of learning and culture, actor, playwright, story-teller, poet and
musician. While his teaching career spanned 1910-1942, music was his
permanent and favourite field of expertise and endeavours. He gave harikathas,
organised festivals and conferences and took a prominent part in founding the
Swati Tirunal Academy and Sabha at Trivandrum.
He had contributed many articles on music, had composed the plays
1 Meerabai ' and ' Susheela ' and authored the work ' Facets of Indian Culture '.
Srinivasan's varied interests are reflected in the posts he had held —
286 ANOTHER GARLAND
First Scout Commissioner, Travancore State
Honorary Director, Travancore Radio Station
Chairman / Member of Committees of South Indian Universities on Mathematics and
Fine Arts.
Member, Central Advisory Committee for Music
Adviser to the Government of Ceylon on programmes for Radio Ceylon
Member, Experts Committee of the Music Academy, Madras /Trivandrum and
was connected with Kalakshetra, Madras.
A theosophist, he was the fulcrum and focus of musical activities at
Trivandrum. His primary interest centred round the three 'M's - Music,
Mathematics and Mysticism. Plato insisted on a knowledge of mathematics and
music for admission to his school; Prof. Srinivasan is an instance of Plato's type
; of scholar.
T.R. SRINIVASAN - MRIDANGIST: (b.1928)
Parents: D. Rangachariar and Kaiaimamani Tanjore Andalammal,
a bharata natyam artiste.
T.R. Srinivasan had his training under Kuttalam S. Sivavadivel Pillai from the
age of twelve under gurukulavasa. In 1945, he made his debut at Tanjore as
accompanist to his sisters Lakshmi and Gowri. Had further advanced training
under Palani Subrarnania Pillai. He has provided accompaniment to senior
vidwans like Chittoor Subramania Pillai, T.-R. Mahalingam, Madurai Mani Ayyar
and Madurai Sonrtu. Has provided percussion accompaniment to prominent
danseuses. Was appointed as Lecturer in the Government Music College in
1 972. He had demonstrated special features in percussion. Was honoured with
the title of ' Kaiaimamani ' by the Tamil Nadu Eyal Isai Nataka Mandram
(1984). Has trained quite a large number of disciples.
A. SRINIVASARAGHAVAN * VOCALIST: (b. 1929)
A. Srinivasaraghavan is a Bachelor of Commerce who had his initial training
in music with Kumbakonam Souri Ayyangar, a disciple of Maha Vaidyanatha
Ayyar. When he joined the Annamalai University, he had music with mathematics
(Plato formula )and physics for Part III. He became an ardent disciple of
G.N. Balasubramaniam later and was with him till G.N.B. left for Trivandrum to
join Sri Swati Tirunal Academy of Music. Srinivasaraghavan has been giving
concerts at important sabhas in India. His first concert at the Music Academy
was in 1961 and in that year got the TV. Subba Rao Memorial Prize for junior
vocalists. He mentions that he had given a concert before the former President,
Dr. S. Radhakrishnan at the Rashtrapathi Bhavan. He enjoys a free style.
ANOTHER GARLAND 287
SRIPADARAYA - COMPOSER: (13th Century)
One of the senior Haridasas of Karnataka and perhaps the foremost among
them, Sripadaraya had left compositions which are in chaste and lucid language
for easy assimilation by the lay public. It is stated that only some of his padas
have been retrieved. ' Raghupati ' is his signature. Narahari Tirtha who started
the Dasakoota line of devotees was his disciple. Sripadaraya is one of the senior
Haridasas of Karnataka, and perhaps the foremost among them.
Sripadaraya's period is also mentioned around 1500 A.D.
* * *
SRIRAM PARASURAM - VIOLINIST : (b.1965)
Perhaps the 'Parasuram Quintet' is unique in presenting a family ensemble
comprising —
Parvati Parasuram, the mother and vocalist and her children
Sriram on violin,
Vishwanath on mridangam,
Narayan on ghatam and
Meenakshi as vocal.
A Bachelor of Engineering (Mechanical) and an M.B.A., Sriram is also a
Master of Music- Violin Performance of the School of Music, University of Akron,
Ohio. He is now pursuing Ethnomusicology at the Wesleyan University. The finer
and noteworthy aspect of his career is that Sriram with his professional
qualifications has taken to music as a profession contrary to the prevailing
practice, where music is ancillary or incidental to one's profession. While doing
a statutory stint at Citibank for his MBA, he took the conscious decision -
1 It just was not what I wanted to spend my time on. In any case I would have to quit a
bank job within the first few years, To study music at the academic level was my own
conscious and personal decision. I wanted a new dimension to my art . '
Training :
Violin under Ramakrishna Sarma
Vocal and Violin under K.S. Narayanaswamy and V, Vaidyanatha Bhagavatar.
Hindustani music under Pandit C.R. Vyas.
Having made his debut at the age of eight, Sriram has so far given over eight
hundred solo recitals in In'dia and abroad worthy of a Bradman and Dennis
Compton in cricket He has been providing accompaniment to distinguished
musicians also. He enjoys the distinction of 'A' grade both in Carnatic and
Hindustani systems with All India Radio. His recitals have been extensively
covered by the media and commended for soothing tuneful music and for the
rhwthm and h«autv of his olav. His vocal training has given him the
288 ANOTHER GARLAND
The academic exposure at Akron is claimed to have taught him a new way
of movement in handling the violin and analytical finesse. Dr, Sulochana
Rajendran, Editor, ' Shanmukha ' writes:
I His play was reposeful Carnatic music, a composite melodic essay, each of the phases
like aiapana, kriti and kalpanaswaras filling in its lot with a subtlety, a freshness OT
approach and of articulation. '
Awards :
President of India Gold Medal. 1 981
1 Young Musician ' title from Music Academy, Madras. 1 983
1 Surrnani ' by Sur-Singar Samsad, Bombay.
Ustad Amir Khan Memorial Award by Kala Sangam, Calcutta.
Album recordings:
* * *
MADURAI SRIRANGAM AYYANGAR (of MADURAI BROS.) - VOCALIST:
(1904 -)
One of the erstwhile senior vidwans in the traditional style, Srirangam
Ayyangar was an accomplished master in rare ragas and pallavi, The former
Chief Justice of Madras, M. Anantanarayanan wrote:
II His mastery of sruti, laya and swara had a depth, an assurance and a rich and vibrant
voice which were compelling... It was impossible not to be deeply impressed; ™usic£*
imagination of that quality is rare... A mere grammar of music does not sutnce TO
distinguish Durbar and Nayaki. To my delight, the vidwan sang the little known Di/roar
kriti 'Endundi Vedalithivo ' with swara prastara and immediately sang pallavi in NayaKi.
The contours were utterly different. '
Note : The confusion or the subtle distinction between Durbar and Nayaki has been
availed of by Tyagarajah in the song Endundi Vedalithivo as he avers, ' I am at a loss
to guess even your nativity and whence you have come '. Just as the listener wants 10
know whether it is Durbaror A/ayafr/the musician is handling, Tyagaraja too asks, Pray,
let me know it at least now1. The aptness of the raga for a song which raises many
doubts is to be noted."
Born in 1904 at Madurai as the third son of Rangaswami Ayyangar and
Lakshmi Ammal, Srirangam Ayyangar underwent regular gurukulavasa under
the renowned musician Namakkal Pallavi Narasimha Ayyangar. Made his debut
at the age of fourteen at the Srirangam temple. Had a three-decade long
successful career giving concerts with his brother Srinivasa Ayyangar as
'Madurai Brothers'. The Shatkala Pallavi he rendered at Kalakshetra with Mani
Ayyar is recorded as a ' remarkable feat '.(NRB). On the demise of his brother
he gave up concerts and was giving tuitions only. R. Vedavalli, who had her
training under him at Mannargudi, pays a rich tribute to him and says, — He
would come in a self-driven single bullock-cart... he took me as a disciple.
Certainly he did it not for money. He was a great man... When I think of him I
experience spiritual exhilaration. He would not like lessons to be reduced to
writing. All was oral.'
ANOTHER GARLAND 289
Honours and titles:
Tamil Nadu Sangita Nataka Sangham Award
Central Sangit Natak Akademy Award , 1 966.
Sangita Kalanidhi by Music Academy, Madras in 1 969.
K. SRIVATSA - MRIDANGIST: (b.August 18, 1948)
Parents
Training in
mridangam
General qualification
Debut
Post held
Disc recordings
R. Krishnan & Saraswati
Under Palani Subramania Pillai and PA Venkataraman
(1960-1972)
S.S.LC.
Accompanied Sangita Kalanidhi Alathur Srinivasa Ayyar
on 22 09 1966 at Tiruchirapalli.
A.I.R. Staff Artiste since 1984.
Accompanied M. Chandrasekharan and
B. Rajam Ayyar on kanjeera.
Has been providing competent accompaniment to prominent artistes.
* * *
BAKSHI SUBBANNA - FRAGRANT VEENA VIDWAN: (1855 - 1938)
Subbanna, a contemporary of Seshanna, adorned the Mysore Durbar galaxy
of musicians. 'He was a more substantial and serious-minded exponent of the
veena. But he was an introvert lacking in push and enterprise, though he enjoyed
the respect and esteem of the better-informed', wrote R. Rangaramanuja
Ayyangar.
Mysore Vasudevacharya writes that Subbanna's generosity was
extravagant, (The account of his liberal extravagance and inability to say 'No'
leaves one to thank God that Subbanna was fortunately born a male!) He was
born rich and lived like a benevolent, cultured prince.
' AGandharva elegant in taste and always cheerful. He was quite frugal in eating while
luxurious dishes were all reserved for his guests! Smartly dressed, he was extremely
fond of flowers and scents. When he moved out, his approach would be announced a
furlong ahead by the fragrance wafted across by breeze ! '
Gopalakrishna Bharati would leave his remuneration with his patrons as
deposits and, though wretchedly poor himself, used to issue cheques on
palmyrah leaves to those in need to take such deposits from the patron-banks.
Even so, when Subbanna was in his last days in distress, he would give a note
to take his own stipend from the Durbar Bakshi ! Surely he was a modern Kama !
How ? Here Vasudevacharya confirms:
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' Even when his fortune dwindled away and life became hard, Subbanna continued
to be generous. One of his dependents had been promised financial assistance for
a marriage in his house. Subbanna had none left with him. He called his wife
Namagiriyamma to hand over the gold belt (oddiyanam) she was wearing. The
gracious wife swiftly complied with it. '
If Kama parted with his life-saving breast plate, Subbanna couple parted with
the gold belt that was left with them! The ambrosial aspect of this episode lies
in that the honourable couple were made for each other and their lives exemplify
the concept of Ardhanarishwara each half finding rhythm in the other. And when
Vasudevacharya dedicated his kirtana Rarajeevalochana Rama (Mohanam) to
Subbanna who brought him up, the noble Kannadiga gave vent to a gospel truth:
1 Acharya! It is my misfortune that I am listening to this kirtana when my hands are empty.
It is good in a way, I should say. If creative art is to blossom forth into a lovely flower,
may be, the artist should go hungry. '
" This man is freed from servile bands
Of hope to rise or fear to fall;
Lord of himself, though not of lands;
And having nothing, yet hath all. " - Sir Henry Wotton.
Chamaraja Wodeyar, the ruler of Mysore used to take Mysore
Vasudevacharya and Subbanna to his camps. Once the two vidwans were
allotted a small, inconvenient tent by officials and their protests went unheeded,
Taking it as a challenge, Vasudeva gave a thick coat of sandal paste on
Subbanna's forehead and covering themselves with shawls both met the ruler
pretending to be ill. To the royal query, Vasudeva replied that damp conditions
in the tent had led to their illness and 'caused concern not so much for
themselves but for their musical instruments !' Immediate royal concern and
solicitude for their health were revealed in their being provided with fresh tent,
cots and other comforts. Once in the Nilgiris, Subbanna fell very sick. The
Maharaja himself took up the nursing and persuaded Subbanna to take porridge
saying, Subbu, You must not starve like this. You must drink this. It acts like a
JSinn8-?0" 2 thetstarved stomach...' Subbanna took it, but suddenly vomited
spffling it on the ruler himself. Gently wiping it off, Chamaraja said, 'Call me if
iIIn Hk/he P°rridge'' Royal concern was so affectionately
? *6*^d transcendental- Chamaraja reminds us the ancient
, r 9JeSt °n the r°yal couch *nd entering on deep slumber.
Wnde ed urtH^ H*^"9 fV*01 S'eepin9 fans him lest "is sleepshould.be
hindered. Such deeds elevate human thoughts and actions without doubt!
- Surasena", remarked Prof.
Bidaram Krishnappa acted as
ANOTHER GARLAND 291
Dushtabuddhi and fisherman. Unique and sublime indeed was the cultural
atmosphere at Mysore then. 'Only after the Maharaja was fully satisfied during
rehearsal, a drama was allowed to be enacted before the public.'
(Source: K. Vasudevacharya.)
MOOGURU SUBBANNA - VOCALIST: (19th century)
Mooguru is the village in T. Narasapur taluk where Subbanna, a
contemporary of Mysore Sadasiva Rao was born. His voice was gruff and harsh
initially but with determination, yogabhyasa and sadhaka, his voice attained
acceptability... Clearly, he was a kannada counterpart of Konerirajapuram
Vaidyanatha Ayyar in this respect. Veena Shamanna and Andalanoor Subbiah
were his gurus - the latter being credited with the preparation of written notation
for Kshetragna padas. Subbanna was giving a large number of concerts,
composed swarajatis, varnas and kirtanas. Mysore Vasudevacharya writes that
Subbanna had done a lasting service to music and that even renowned Veena
Seshanna and Subbarayaru had gone to Subbanna for learning his
compositions and for discussions. Subbarayaru called him, a Mahavidwan and
an Ajatashatru. Subbanna made it a point to go to the famous sahitya vidwan,
Garalapuri Sastry of Sosale for getting the correct significance of sahitya.
Subbanna sang with rasabhava and his music had 'a divine appeal'. His
unfailing humility and deep devotion to music were famous. He was affectionate
to children calling them Devaru and Siva, He always kept two tamburas tuned
up fifteen minutes in advance for concerts like Bikshandarkoil Subbarayar. He
was particular about the audience maintaining silence at concerts like
Gottuvadyam Sakharama Rao. Poverty did not wither his amiability or shake his
faith in Nadopasana since Tyagaraja has said that Sankara, Narayana and
Brahma had attained their distinctive glory only through \i.(Nadopasanache -
Begada raga.)
SRIVAN JIAM SUBBARAMA AYYAR - VOCALIST: (20th Century)
A musician dedicated to Nadopasana, Subbarama Ayyar found his musical
expertise and talents useful to pursue his spiritual endeavours, A strange
incident confirmed his conviction and resolve to direct his music to devotion. He
used to take his ablutions in the adjacent river Mudicondan at pre - dawn daily,
as usual with all villagers till a decade back and wash his clothes by thrashing
them on the granite slab kept for the purpose, again as is usual in villages. One
day, he thought that he got a command with the word 'Thiruppu' (turn), as he
was waking up. He could not understand it. After his ablutions, haunted by the
word 'Thiruppu', quite by a flash of thought and impulse, he turned the granite
292 ANOTHER GARLAND
he and others had used for years. Lo ! it was the idol of Lord Vinayaka Himself;
and Ayyar and others had thrashed on His back so long and stood over it for
years! Overcome by remorse over the sacrilege, he constructed a temple for it
and it is now the Therku Veedhi Pillayar ' in the village. Ayyar had been
honoured by many for his chaste music. And Vinayaka had ignored the violent
deeds as innocent and childish!
He composed kirtans, padams and varriams and his sons Subbarayar,
Mangaleswaran and Ganapati were all musicians. The last was guru to
Tiruvidaimarudur Bhavani, then a famous lady artiste. Mangaleswaran's
descendants were Vaidyanatha Ayyar, pioneering author of 'Book-Keeping and
Accounts' text book, V. Sundaram Ayyar of Mylapore and Rajam - Balachander
Brothers.
* * *
D. SUBBARAMAYYA - MUSICOLOGIST: (b.1 90*)
Place of birth
Father
Preceptor in music
Debut
Post held
Institution founded
Honour conferred
Patagonahalli, Tumkur district
Danappa
Puttappa, violinist-uncle.
Thirteenth year
Lecturer at Ram Mandira, Mysore. (Institution founded by
Bidaram Krishnappa) 1940
College of Carnatic Music, Bangalore in 1 937
Sangeet Natak Academy ( Karnataka) Award 1 963,
An erudite scholar noted for his absorbing and enlightened lectures.
A. SUBBA RAO - VOCALIST: (b.1923)
Place of birth : Mysore.
Parents : Anantarama Rao and Saradamma.
Musical training Bidaram Krishnappa, Lakshmidas Rao,
under : Chikka Rama Rao.
Qualification : Intermediate (Collegiate)
Institutions founded or associated with:
Gana Kala Bharati - founded by him.
Gana Kala Parishat - General Secretary.
State Sangit Natak Academy - President.
Member, Bangalore University Senate.
Titles & Honours :
Gana Sudhakara By the Pontif of Sosula Math
Gana Kala Tilaka in 1972
Gana Kala Bhushana in 1980
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The Government of Karnataka honoured A. Subba Rao in 1 981 . His style of
rendition is traditional and pleasing. Is endowed with a melodious voice. He has
played a prominent part in musical endeavours in Karnataka.
B. SUBBA RAO - MUSICOLOGIST: (1894 - 1975)
Place of birth : Basavapatnam, Hassan district
B. Subba Rao started his training in music in his sixth year under his brother
and brother-in-law. At Nagpur, where he entered service later as an assistant in
the Agricultural Department, he not only enhanced his vidwat in Carnatic music
but learnt Hindustani music. Was a Member of the Karnataka State Sangit Natak
Academy.
Subba Rao was giving numerous lectures and presenting articles on music.
'Raga Nidhi', a valuable contribution of his, has been published in four volumes
by the Music Academy, Madras. He invented the instrument 'Chitravati' which
could be played as a veena or as a gottuvadyam.
Title: Uthama Gayana Visaradha by the Ruler of Mysore.
RATNAGIRI SUBBA SASTR! - VIOLINIST: (b. 1909)
Place of birth: Ratnagiri in Tumkur district.
Father: NageswaraSastri, violinist.
Subba Sastri had his lessons under his father and attended the Sanskrit
Patasala, Mysore in 1927. In 1930 he switched over to the use of the
seven-stringed violin under the guidance of Vennai Raja Rao. He was a
teacher from 1939 at the Mahila Seva Sanga High School, Bangalore. As an
accompanist, he brought forth his rich talents and satisfying presentation.
SUBBURAYASWAMI - KILI KANNI ORIGINATOR:
A trend-setter, Subburayaswami belonged to Ambasamudram on the bank
of River Tambaraparni (extolled by Muthuswami Dikshitar in his Sri
Kanthimathim in raga Desi Simharava as 'suddha Tambraparni tatasthitam' -
Sri Kanthimathi who has taken up her abode on the bank of Tambraparni river
with its crystal clear waters). Was a head constable. He has composed 108
couplets called kill kanni addressed as songs of love from a lovelorn damsel.
The songs were popular.
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SUBHANKARA - MUSICOLOGIST: (15th Century)
Grandson of Narayana and son of Kavi Chakravarti Sridhara and Subhadra,
Subhankara had four sons bynames Devakinandana, Rajasekhara, Susenaand
Damodara. It is surmised that the first two and the second two sons might have
been by different wives. Subhankara has authored 'Sangita Damodara1 besides
another called MuktavalL He quotes Sangita Ratnakara and Sangita Chudamani
and his work is quoted by others as an authority. The work Sangita Damodara
contains five chapters dealing with music, dance, and drama. The work has been
published by the Sanskrit College, Calcutta in 1960 with Gourinatha Sastri and
another as editors. It is said that the work had not been well arranged by the
author. It is a collection from ancient works cited by him. 'His attempt to explain
music and dramaturgy as originating from Krishna is novel as others had
attributed them only to Lord Shiva.' This may be due to his hailing from Bengal
where Vaishnava influence predominated. Quite a lot of information is given like:
Bhavas giving rise to enduring rasas number 9
to fleeting rasas number 33 and
to ennobling rasas number 8
Moods of lovers 1 2
Sakhis 3
Go-betweens 12
Nayakas 4 etc.
TIRUVENKADU Dr. SUBRAMANIA PILLAI - NAGASWARA MAESTRO:
(June 26, 1906-)
1934 at Chidambaram, the scene of Cosmic Dance. The deity was being
taken in procession along the streets. The nagaswara vidwan went on giving
thrilling rendition from 10 p.m. till dawn. S.' Ramanathan states:
1 Started with mallari in Nattai. Then a very elaborate alapana of Kiravani followed by
thanam and pallavi which lasted for four hours. The pallavi included a ragamalika. Then
camekritis,.. '
It was Subramania Pillai who was noted for his sweet rendition and was a
popular vidwan. He had his training under Tiruvenkadu Samithurai Pillai. He is
credited to be the first nagaswara vidwan to be conferred with a doctorate by
the Tamil University - to be followed by Sheikh Chinna Moulana and
Namagiripettai Krishnan. His period saw a galaxy of nagaswara stalwarts hailing
from Tiruvaduthurai, Tiruvizhimalalai, Tiruvidaimarudur, etc.
Disc recordings :
Concert tour: Sri Lanka and Malaysia.
ANOTHER GARLAND 295
A. SUBRAMANIAM - VEENA ARTISTE: (b. Deer. 4, 1913)
Place of birth : Harikesanallur, Tirunelveli dt.
Parents : Violinist AppaAyyar and Valliammal.
Musical training Father Appa Ayyar
under : Prof. Gomati Sankara Ayyar of Annamalai University &
Harikesanallur Gayakasikhamani
L, Muthiah Bhagavatar.
Subramaniam has provided veena for background orchestral music with
his brother Gottuvadyam A. Narayana Ayyar for the films 'Chintamani', etc. Was
veena teacher at the Delhi Carnataka Sangita Sabha and Lecturer in Veena
during 1964-1974 at the Benares Hindu University.
Publications:
a. Geetha Prabhanda Malai
b. Apoorva kirtanas of Patnam Subramania Ayyar (1961) and
c. 72 Melakartas of Maha Vaidyanatha Ayyar (1 964)
He had indexed two thousand kirtanas of many composers for Tamil Nadu
Eyal Isai Nataka Mandram.
VALAYAPATTl A.R. SUBRAMANIAM - PERCUSSION MAESTRO: (b.1940)
11 Who among these will beat the drum ?
How, if he beat it, will he beat ?
— cxxxii Atharva Veda.
Initially started training under his father Arumugham Pillai in nagaswaram
and then switched over to tavil under his brother Palanivel. Making his debut at
the age of sixteen, A.R. Subramaniam reached the top by 1964 with his
exceptional talents. His remarkable fingering techniques and patterns and his
ability to bring out intricate variations and subtle nuances in rhythm soon made
him out as a laya maestro among the tavil vidwans of the last quarter of this
century. He added new dimensions to tavil play by providing accompaniment to
the solos of Kunnakudi Vaidyanathan, violinist and Mandolin Srinivas. Drawing
inspiration from the all-time prodigy Palghat Mani Ayyar, Subramaniam is a
creative collaborator in interpreting music through rhythm in tavil. He has had
3442 concerts upto 1 990 - which is by any standard a colossal figure - a veritable
Kapil Dev in percussion! He provides rhythm unruffled and his style of rendition
is different from that of Needamangalam Meenakshisundaram and others of his
style. Subramaniann's forte is pleasing sound and not strength and vibrancy.
He is like the Krishnans in tennis and not the dynamos Courier or Ivanisevic.
296 ANOTHER GARLAND
Titles & Honours:
Kalaimamani from the Tamil Nadu Eyal Isai Nataka Mandram
State Artiste, Tamil Nadu Government
Sangita Natak Akademy Award
Isai Perarignar from the Tamil Isai Sangham, Madras 1 990,
being the first tavildar to receive the honour.
Concert tours : Europe, USA in 1 985
Disc recordings:
' A.R. Subramaniam opines that double nagaswaram play had probably
started during the days of Tiruppamburam Brothers and Tiruvizhimalalai
Brothers about fifty to seventy years back (it should be older still)with the
percussion genius Needamangalam Meenakshisundaram Pillai and Nachiarkoil
Raghava Pillai presenting their exhilarating, competitive rendition. Jackwood
from dry areas like Pudukottai, Panruti and Jaffna provide the best quality wood
for tavil according to Subramaniam. He arranged for an experimental
combination of bharata natyam with nagaswaram and tavil for music and rhythm
calling it 'Nadamum Natyamurn'and presented it recently.
M.S. SUBRAMANIAM - PERCUSSIONIST: (b January 19, 1935)
Place of birth : Mayiladuthurai.
Training in Tavil under grandfather Tlllaiyadi A. Srinivasa Pillai,
Percussion under : Kuttalam Ramiah Pillai, Koorainadu P. Palanivel Pillai.
Mridangam under : Kuttalam Sivavadivel Pillai and
Ramnad Murugabhoopati Pillai.
Kanjeera under : Pudukottai Swaminatha Pillai.
Debut : At the age of nine.
Has provided tavil to most of the eminent nagaswara artistes. Has
accompanied on mridangam and kanjeera Madurai Somu (Somasundaram
Pillai), T.M. Theagarajan, etc. Has been teacher in mridangam at the
Government Music College (now Training Centre), Madras.
Concert tour : Europe 1964.
* * *
T.R. SUBRAMANYAM - VOCALIST & PEDAGOGUE : (b.Sept.20, 1929)
Here is an account of T.R. Subramanyam by B.V.K, Sastry:
' He is a musician with a difference... He is one of the few musicians who received
training in colleges and proved their mettle on the concert stage... He evaluates art
from different angles... While he is popular with the cognocenti as an imaginative
and innovative artiste, purists feel that he is unconventional if not unorthodox... In
ANOTHER GARLAND 297
one of the conferences in Bangalore years back, an idea was being tossed about - what
would be the audience reaction if a conceit is presented in the reverse? This implied
instead of starting the concert with the customary varnam, salutation to Ganapati, etc.,
to start from the concluding Mangalam working way back to varnam. Finally to obviate
a sort of shock to the purists, T.R.S. started with a penultimate item - javali. '
Son of Rajagopala Ayyar and Alamelu, T.R. Subramanyam was born at
Tiruvidaimarudur, noted for its great temple and cultural environments.
Bodhendra-Ayyaval meets used to take place here. Sakharama Rao,
gottuvadyam maestro and RS. Veeruswami Pillai, nagaswaram perfectionist
were here. Semmangudi Dr. Srinivasa Ayyar, Veena Narayana Ayyangar and
Gottuvadyam Narayana Ayyangar had their training here. The soil and waters of
Tiruvidaimarudur are saturated with music. Rajagopala Ayyar was a sincere
promoter of Madurai Mani Ayyar and C.S. Krishna Ayyar. As concerts then were
not many, ' I had to listen to each and everyone lest my father should beat me ! ' ,
says T.R.S. He had his general education at Mayuram, Tirunelveli and
Vijayawada.and is an M.A.(Lit).
Musical training with :
Sivarama Ayyar of Mayuram, A.D. Rajagopala Ayyar of Tirunelveli,
Gavai Sitarama Bhagavatar and D.S. Mani Bhagavatar of Perungulam.
He had his diploma from the Central College of Carnatic Music, Madras. On
his training with the masters at the Central College, T.R.S. has many interesting
episodes and opinions to give. Here are some;
1 Many of the teachers and students did not then have general education and he was
thus very much in demand to write even leave letters.. Pallavi rendition in those days
was taken as one that landed the artiste on the moon. In those days, the Government
went to the artistes,. .Swaminatha Pillai of Tiruppamburam complained against me and
frustrated, I left for Trivandrum but was brought back by Semmangudi Srinivasa Ayyar... I
complained to the Principal on the inadequate teaching and non- completion of the
syllabus, Musiri agreed to postpone the examination. Pallavi training was below
mark.. .What I could do easily, the teachers then took a much longer time... I had no
gurukulavasa and it has its advantages and disadvantages. '
' As there was dearth of artistes , the All India Radio was then hunting for musicians. My
father took me to the AIR station and there he was humming, as I was having my audition.
AIR forced him too to sing! We both sang! That was the paradox of the day ! '
TRS holds fast to certain ideas and values, as for instance :
There is now more search for applause.1
'Music is but one more source of occupation.'
'I am prepared to go anywhere if it is remunerative/
Youth seeks songs and not deep learning in music.'
1 went on storing music, though I was a salesman earlier.5
298 ANOTHER GARLAND
'Many are interested in projecting themselves rather than their learning.'
They rarely understand that music is a subject of sounds and not of words.'
'Deterioration is clear when third rate people shout Pancharatna kritis at
Tiruvaiyaru.1
1 His distinctive style of singing and his distinctive ideas on music have both
earned for him and his disciples the sobriquet of " Delhi Gharana11 of Carnatic
music/ — Sruti.
T.R. Subramanyam has composed varnas, etc.
Honours & Titles:
Mahamahopadhyaya by the Akil Bharatiya Gandharva Mahavidyalaya Mandal.
Sangita Kalanidhi by the Kannada Koota, New York.
Sanglta Choodamani.
Posts held :
Lecturer, Central College of Carnatic Music, Madras.
Reader, Delhi University for about 26 years.
Hony Director, Gandharva Maha Vidyalaya, New Delhi.
Prior to taking up the posts, he had been with prominent companies like
Binnys and Estrella. This exposure to industrial and commercial bodies might
have exercised its own influence on his distinct approach to men and matters.
There was a queer development during November-December 1991 in his
career. His disciple Radha Venkatachalam is said to have submitted a thesis
captioned 'Epoch Makers of the Recent Past in the field of Carnatic Music' to
the Gandharva Maha Vidyalaya containing copious 'comments sourced - if
indirectly - to TRS... to slander numerous personalities connected with music1.
The magazine 'Sruti'ln its issue no.86 brought out in extenso extracts taking
objection to a prominent musician and musicologist playing such a regrettable
part in the condemnable episode. It would appear that the Federation of Sabhas,
Madras objected to the role of T.R. Subramanyam. Consequently his concerts
scheduled for December 1991 at Madras did not take off though he was present
in his usual sartorial perfection. In fact the first announcement was made by
him! The music festival then current gave wide currency to the development.
Subramaniam affirmed that he had the best of regards to most of the musicians
derided in the thesis but that did not carry much weight;
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SUNDARAJA (PARVAT! SRIN1VASAN) - COMPOSER:
(Deer. 24, 1924 - Septr. 1989)
By chance, the author stepped into Bharatiya Vidya Bhavan, Madras with
the genial musician ,S. Rajam and it proved to be a pleasant, satisfying
experience to hear the top T.V. Sankaranarayanan singing the compositions in
chaste Sanskrit and tamil of Sundaraja (Parvati Srinivasan) to the delight of the
audience. The compositions were simple in diction, elegant in their thematic
perception and appeal and measured in sahitya like those of Papanasam Sivan
to provide the musician ample scope to bring out the soul of the song and the
raga and the beauty and message of the sahitya. The notation has been
embellished by Jayalakshmi Sundararajan, Nila Srinivasan, Charumati
Ramachandran and V. Subramanian. The name ' Sundaraja' is a pious tribute
to the father of the composer, Parvati Srinivasan.
Father: N. Sundaram Ayyar of Ottapalem, Advocate, freedom
fighter and Bhoodan donor. He was one of the earnest,
dedicated followers of Vinobhaji and he donated his
entire landed assets of 47 acres !
General Qualification: B.A., B.Ed.,
Musical Training under: Desamangalam Subramanya Bhagavatar and
MA Kalyanakrishna Bhagavatar.
Publications: 'Gananjali' containing 52 songs fully notated.
A good veena player and a good writer, Sundaraja had a flair for social work
and the trust started to honour her memory carries on the noble task.
SIMIZHI SUNDARAM AYYAR - ATRAGIC CASE OF GENIUS IGNORED:
(1884 -October 1927)
' Simizhi Sundaram Ayyar is one of the eminent vidwans whom Fame failed to honour/
— Mudicondan Venkatarama Ayyar.
' An extraordinary genius of superb talents and scholarship. His very breath was music.
With an alert mind and restless energy, he gathered the treasures of the Golden Age.
He was a veritable encyclopaedia in rhythm and melody. His resource was amazing.
His repertoire was colossal. His knowledge of tradition was profound. An ekasan-
dagrahi, he was a typical votary of Carnatic music, dedicated, versatile, immersed in
Nadopasana, indifferent to praise and blame, rooted in vairagya. His keen insight in sruti
values that determined the individuality and melodic structure and swaras enabled him
to visualise them as concrete bodies.'
— R. Rangaramanuja Ayyangar.
Sundaram Ayyar had a flair for research. Dame Luck turned not its attention
on him but went after ' hidebound cranks with closed minds and cramped vision '.
The repository of the Legacy of the Golden Age commanded respect and esteem
among the knowledgeable but history could not make up its mind to give him the
300 ANOTHER GARLAND
appropriate recognition, If there was one most deserving during his period for
Meritorious Recognition and Popularity, it was he. Yet he was praised but the
world forgot to act further; he was a colossus in melody and wisdom but was
left in the dust !
If Manambuchavadi Venkatasubba Ayyar had the credit of moulding the
'Pancha Ratnas' (five gems of eminent musicians), Simizhi had his
disciple-gems in Mudicondan Venkatarama Ayyar, Tiruvarur Rajayee,
Mayavaram Rajam, Flautist Rajarama Ayyar, Mayavaram Govindaraja Filial and
Harmonist S.S. Mani, Veena Balachander, Rangaramanuja Ayyangar and
Papanasam Sivan were among the many who were inspired by him and it was
he who gave the honorific Tamil Tyagaraja5 to Papanasam Sivan, Was a tireless
worker in productive endeavours and he never wasted time. Sundaram Ayyar
had a grand personality. In contrast to his sober, calm, humble later years, he
was called 'scorpion' while young. He was born in an ocean of melody. Brother
K.V. Rajarama Ayyar was a flautist and another brother K.V. Venugopala Ayyar
was a violinist. Times were not propitious then lest the brothers should have
presented the world with the best of ensembles The fault lay in Simizhi being
an idealist; and idealism rarely enjoys rights to claim prosperity; and there was
no local Krishna to befriend this Kuchela of Simizhi even belatedly. An expert
in swaras, his rendition was classic. Sundaram Ayyar had his training under two
stalwarts, viz., Ettayapuram Ramachandra Bhagavatar (who fathered the
musical gifts of Marungapuri Gopala Krishna Ayyar, Melody-king Pushpavanam,
the famous Dhanakoti Sisters, Puducheri Rangaswamy Ayyar and
Sivasubramania Ayyar) and the eminent Ramaswami Sivan at Tiruvaiyaru
during 1894-95. At the age of twelve, he made his debut at Sengalipuram near
Kumbakonam officiating for B.A. Varadachariar who could not arrive. He took
Mudicondan Venkatarama Ayyar voluntarily for training attracted by his
musicianship and encouraged him. There is, indeed, an air of irony in their lives
that both were idealists, experts, 'colossuses of learning and highly respected
but were not helped to prosper materially!
B..M. SUNDARAM - MUSICOLOGIST: (b.October 10, 1935)
Son of the magnificent tavil vidwan, Needamangalam Meenakshishundaram
Pillai, B.M. Sundaram is a musicologist. His legacy is vast in the art with deep
and profound knowledge of men and matters. His articles are detailed and full
on anecdotal information. His 'Monograph on Kancheeepuram Naina Pillai1
bears ample evidence of this. He has availed of the immense potential of
Saraswati Mahal Library, Tanjore. His works are 'Comparative Study of Karnatak
and Hindustani Systems of Music' and a compendium of over 3,000 raga-scales
titled 'PalaiAzhi'. He has some more researched works to bring out, it is said.
He is on the Staff of All India Radio, Pondicherry as Music Composer.
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MANNARGUD! SAMBASIVA BHAGAVATAR - HARIKATHA MAESTRO :
(b. 1912)
The lad of thirteen studying at the Ramakrishna Mission Home, Mylapore,
then a temple of spiritual culture, snubbed by the teacher for claiming to have
composed the-crisp poem 'Sunflower', speaking through his tears, challenged
the teacher to put him to test. 'Fountain' was the title given and there was a spot
composition to the admiration of the teacher and the amazement of the
students. That was his maiden feat in composition. He has since composed
over 200 kritis, varnams, etc., besides hundreds of nirupanams for musical
discourses. An asukavi, he could compose on any subject ex tempore. He
passed out and took to music successively under Ettayapuram Rajagopala
Bhagavatar, son of the distinguished Ramachandra Bhagavatar, Dasavadyam
Salem Veeraraghava Bhagavatar and Maharajapuram Viswanatha Ayyar. He
has imbibed much of the Maharajapuram style and is full of praise of the
magnificent art of Ayyar. He was in the first batch of students at the Annamalai
University Music College but left it after a few months. He is Mannargudi
Sambasiva Bhagavatar, the harikatha maestro and Secretary cum Executive
Trustee, Sri Tyagaraja Sangeeta Vidwat Samajam, Mylapore to which he is
passionately devoted over the decades.
How was it that he took to musical discourse? He was not equipped for it.
When the discourser stipulated for a day did not turn up at the Samajam, as
Secretary he stepped in and gave a classical exposition which revealed his
hidden talents, vast knowledge and immense capability. Instant offers to render
similar exposition naturally forced him to specialise. His composing acumen is
his tour de force to successfully pilot thematic musical discourses. 'Any subject'
is good for him and he had covered over two hundred themes. Immense
musicianship, vast repertoire of songs and free style of exposition added to his
profound interest in delving deep into the reputed works of masters and
highlight their bhava, rasa and message soon crowned him with success and
popularity. 'Sambasiva' is his signature. Eminent violinists and percussionists
have provided accompaniment to him. Sambasiva became a 'Bhagavatar',
when Musiri Subramania Ayyar, prime exponent of bhava - rasa, hailed him as
a bhava-rasa-katharatnakara.
Place of birth
Parents
Debut
Titles & Honours
Mannargudi
Rajam Ayyar & Minakshi Ammal
1 933 at the Perambur Sabha, Madras.
Harikatha Kalakshepa Jyoti by Swami Sivananda Saraswati, Rishikesh
Kalaimamani by the Tamil Nadu Eyal Isai Nataka Mandram
Sangeet Sahitya Joyti, Samgeeta Ratnam, Harikatha Sironmani, Nadakanal and
Katharatnakara are among the titles he has been honoured with.
Post held : Harikatha Tutor, Government College of Carnatic Music, Madras.
Disciples : M. Chandrasekharan, Jaya Krishnan, Vocalist K.V. Krishnan and the late
melody-queen N.C. Vasantakokilam .
302 ANOTHER GARLAND
K.B. SUNDARAMBAL - MELODY QUEEN: (c.1907 - Septr. 24, 1980)
The lass was born poor in a very humble family but was rich in musical
acumen and expression. The village of Kodumudi on the banks of the
rejuvenating River Cauvery stole the distinction of cradling her on birth. Chill
penury faced the child on birth and soon it found that it had to earn not only its
bread but also her mother's. Penury did not fortunately stifle her noble rage and
the lass went about trading her folk songs in delectable tunes for a few paise.
Sympathetic people were not averse to part with a small coin in a quid pro quo
for listening to the little girl's melody. But how long could this be done and
continued ?
Balambal, her mother took her daughter to the nearby town Karur, a nursery
of Classical Carnatic music and found in R.S. Krishnaswamy Ayyar, Deputy
Superintendent of Police, a sympathetic, music - loving officer. With
understandable solicitude, he introduced the girl to the celebrated dramatist,
P.S. Velu Nair, one of the reigning dramatists, in 1 91 7. That was the first turning
point in the life of K.B. Sundarambal, the ten-year old girl. Velu Nair could not
be said to be extending any favour in taking the girl to his dramatic troupe since
the girl's golden voice was an asset sufficient to lure a sizeable crowd. Her voice
traversed the three octaves effortlessly without faltering. The rustic timbre was
crisp, sure and steady. The strength and volume of the pitch were such that the
hall would echo back from its corners in those days of mikeless dramas to
packed houses. She took her rehearsals well and dished out melodious Carnatic
tunes to the delight of the thronging crowds. And she was indeed non pare/7 in
her majestic, magnificent melody. Hers was lakshya sangita at its best Her
musical talents grew with experience, exposure and age. It should be noted that
she sang unconscious of and oblivious to theoretical stipulations for a long time.
Cinderella was rescued by a fairy godmother and then a Prince took notice
of her. For this musical rustic girl, the Prince Charming was none other than the
top star-dramatist, S.G. Kittappa. In the poem 'Milkmaid', when the boy queries
'What is your fortune?', the girl answers, 'My face is my fortune'. The asset of
the girl of Kodumudi was neither the beauty of Cinderella nor her face as in the
case of the milkmaid. Her forte was her thrilling, captivating, enchanting,
exhilarating, soulful voice. S.G. Kittappa with his keen ear for melody was
passing by. He could not but pause to hear the arresting voice. It was love at
first hearing and he was no Dushyant to forget this Sakuntala. It was a marriage
of hearts, of melody, of the nobler elements of air and fire free from the base
elements of earth and water. Brahmin Kittappa married the streat-singer. This
Marriage of Melodies in 1927 was the second turning point in her life. It was
indeed a landmark in the annals of tamil stage, Of course it was the Age of
Melody. But a combination of SGK - KBS could easily turn the wind and conquer
the world any day and today too.
ANOTHER GARLAND 303
Chaste melody rich in mysteriously thrilling tone, brimming with bhava and
rasa flowed from the two and people went crazy. All the air was filled by the
magical names of the two. 1927-1933 was the Golden Era of Tamil Drama and
Carnatic Music. The two Angels of Melody plundered the hearts of the
cognoscenti and looted the emotions of the lay and the six years saw on the
stage soulful music of a style never heard of before or thereafter. The
impressionable era and the musical gala feast were too grand, glorious and
extravagant to last for long. Kittappa died prematurely in 1 933. A stunned and
bereaved world of music, drama and culture in anguish could find none to fill the
void. Sundarambal's grief too was understandable. It was Kittappa who raised
her from a lovyly street - singer to a respected dramatist, elevated her personal
and social status and took her to his bosom. Ingratitude was not in her element.
Twenty year old Cinderella found her twenty-one year old Prince. Was it only to
lose him at twenty-six? Excruciating void.
She was entering on the third stage of her impressionable life. She rose
above the stature of many of her jlk. She was born humble but she proved her
greatness and incomparable faith in her Religion and Indian Culture. (When a
famous American President died, there were suggestions that his popular
spouse should refrain from remarriage but remain as the exalted Senior Lady of
the Nation. But they went unheeded.) Young Sundarambal donned the white
saree and marked her forehead with the sacred ash (vibhuti) in compliance with
tradition. If her music was traditional, how could her way of life and faith be
different ? She, in her appearance, gave the image of Woman Saints of the
country. She lived a life of graceful rectitude giving concerts thereafter which
were a delight. People-admired her before but respected her now because flesh
was flushed out of her life.
There were two films for which, it would appear, she was born with grace
and spiritual charm. The first picture was Nandanar, the vibrant product of the
great tamil revolutionary composer, Gopala Krishna Bharati. She played the
lead-role and the role of the landlord was taken by Maharajapuram Viswanatha
Ayyar, the wizard of Carnatic music. It was a thundering success. The only
poignant point was that Bharati who wove the great, first - ever socio-spiritual
tamil opera a century earlier and Kittappa who ignored conventions and
distinctions and gracefully grasped the hand of Sundarambal in wedlock were
not there. The two hearts that would have cherished the success most had
stopped to throb in 1881 and 1933! Sundarambal created history by receiving
Rs.one lakh for the film - a sum unheard of then. Avvayar is the most fragrant
flower of Tamil Poets of Wisdom. But people had not seen her; she was
pre-historic. Sundarambal took the role of Avvayar in the film. It was a roaring
success again.
Her expression and pronunciation of the sahitya (text of song) were crystal
clear, facile, lucid and chaste exuding bhava and rasa. A devotee of Muruga,
304 ANOTHER GARLAND
she was admired and respected. The tamil proverb says, 'Kuppayil kidantalum
kundumani niram maradu' (The color of the Indian liquorice would not change
even if it be in the dust). Sundarambal's life is a sparkling proof and specimen
of that aphorism. There was grace, merit, culture and above all the image of
perfect Indian womanhood. The Government recognised the truth and message
of her life and in 1 958, made her a Member of the Legislative Council - perhaps
the only way to express the appreciation of the people as a whole. In 1 964, the
Tamil Isai Sangham conferred on her the title of Tamil Isai Perarignar.
Nallathangal was her first drama at Karur. It was to Karur that Sundarambal's
mother went first like a 'Nallathangal' in distress. Valli Tirumanam5 was the first
drama at Colombo with S.Q.K. as Muruga and K.B.S. as Valli. It was all ex
tempore dialogues and songs and not the rehearsed routine as now. They
excelled each other. It did not end in jealousy as in Poet Illango's
Kovalan-Madhavi; their melodies were Heaven's gift for each other, When
Kittappa died, she learnt Swara Gnana (expertise in swaras) and ascended the
concert stage vowing that without Kittappa, the drama stage was a burning ghat
to her. That an urchin girl could rise up to such sublime levels is a tribute to her
innate heart born of sheer love and gratitude. It is said that she bore him four
children but none survived, probably believing that her music was the best
legacy to outlast her life !
Her films included ;
Nandanar Avvayar
Manimekhalai Tiruvilayadai
Karaikai Ammaiyar Poompuhar
Kandan Karunai Thunaivan
Her immortal songs included:
Gnanappazhathai pizhindu - Ragamallka
Thanitthjrundu vazhum - Todi
Venniranindhadhenna - Shanmukhapriya
A 'Homa' bird as described by Swami Ramakrishna Paramahamsa, her voice
soared in the upper octaves effortlessly and felt at home and rarely faltered
because of fatigue. Her lakshya-based concerts lasted for five hours and over.
Concert tours ; Sri Lanka, Malaysia. -
To invoke God for rains, Rishivandiyam in South Arcot was the venue for a
concert of KBS. 'I shall sing till rains descend', she said while starting. Four and
a half hours passed. Copious rains came ! Undeterred, she went on with her
songs on Muruga. The drought-stricken people sat entranced in the downpour
of rain and melody.
ANOTHER GARLAND 305
KBS, had, by document No. 6880 of 1975, created a trust of her properties
for charitable and religious purposes, She had later executed a will by which she
had confirmed it and bequeathed all her properties to the said trust. It is said
that the specific trust created by her had not been given effect to. This is
for the Government to probe. This will is an expression of a sacred wish!
* * *
MALAVALLI SUNDARAMMA - VOCALIST: (20th Century)
Daughter of Subbanna and a child prodigy, Sundaramma had her lessons
under her father and Vasudevachariar. Her speedy assimilation of the art
enabled her to render even pallavi at the tender age of ten. In her fifteenth year,
she "had given her concert before the .Maharaja of Mysore. Had sung for dramas
also. Enjoyed a melodious voice.
Abhinaya Saradhe, a title and an award from the Music Academy, Madras in
1962 were among the recognition she got.
* * *
P.R. SUNDAR RAJ AN - VOCALIST: (b. 1917)
Parents : RS. Ramachandra Ayyar & Kunjammal
Place of birth : Pudukkottai.
Sundar Rajan had his musical training under the junior of the Trichy Brothers,
T.R. Swaminatha Ayyar, who is perhaps the senior most performing musician
today. Later he learnt under Bangalore Prof. Ramachandra Ayyar who taught
Mathematics at Vijaya College and music at home like Prof. R. Srinivasan. Made
his debut at the Sadguru Sangeetha Sabha, Tiruchirapalli during the Tyagaraja
Aradhana. Sundar Rajan was giving concerts on the All India Radio, Mysore,
Bangalore and Tiruchirapalli and has been coaching a large number of disciples
including the author of this book.
He has a very rich repertoire of Dikshitar kritis and is one of the few now who
could boast of two hundred such kritis and over. Has evolved five pallavi(s) with
notation and script. An amiable musician, he is said to be an expert in vyvahara
swaram.
A. SUNDARESAN - VOCALIST: (b.1932)
Parents : Appaswamy Ayyar, a Sanskrit pandit, & Nagarathinammal.
Sundaresan had a fine sense of music even while young and it attracted the
notice of Vidwan TV. Krishnamurti who took him as a disciple. 1 942-1 945 were
306 ANOTHER GARLAND
the years of his training. He enriched much of his musical stock by hearing
celebrated vocalists like Maharajapuram Viswanatha Ayyar, Ariyakudi
Ramanuja Ayyangar and Madurai Mani Ayyar, passed the Praveen course of
the Egmore Dramatic Society Sangita Vidyasala. He derived deep inspiration
from Ramnad Krishnan and imbibed Veena Dhanammal style which he is said
to have refined to suit his own genius and aspirations. He started giving
concerts. His rendition is noted for sruti integrity and innovative swaras.
M.A. SUNDARESWARAN - VIOLINIST: (b.December 28, 1959}
Violin would seem to have been introduced in Carnatic music for certain
musical families to adopt or appropriate it as their own. The Parur family is one
among them. Parur ^undaram Ayyar and his renowned sons, Anantaraman and
Gopalakrishnan have distinguished themselves and M.A. Sundareswaran and
his brother M.A. Krishnaswamy, sons of M.S. Anantaraman have inherited the
rich family legacy. Sundareswaran has had the benefit of having training under
his grandfather, father and uncle and is proficient in both the Hindustani and
Carnatic styles. The father and his two sons have been giving trio - violin
concerts and Sundareswaran is among the prominent violin artistes now,
Besides he is ' A ' Grade artiste with the All India Radio.
Disc recordings : Audio and Video cassettes as soloist and accompanist.
Concerttours : USSR, U.K., Australia and Singapore.
Title : Nada Oli Ratnam by the Dandayudhapani Bharata
Natya Kalaiagam, Madras in 1989 - besides awards
from Music Academy, Indian Fine Arts, etc.
R.K. SURYANARAYANA - VEENA ARTISTE; (b. July 19,1926)
Parents : R.S. Kesavamurti, Asthana vidwan, Mysore and
Venkatalakshmi Ammal.
Suryanarayana hails from a musical family of musical Rudrapatnam and had
his training with his father. Performed at the age of seven before the Maharajah
of Mysore. His 23-stringed veena is a family heirloom treasured for three
centuries. The extra strings produce orchestral sounds when the basic strings
ANOTHER GARLAND 307
Titles and Honours:
Kala Poorna
Malayamarutha
Veena Chakravarti
Bharata Vainika Rathna
Nadha Jyothi
Kaiaimamani from the Tamil Nadu Eyal Isai Nataka Mandrarn in 1978.
PAZHAMANERI SWAMINATHA AYYAR - ViO-VOCALIST:
(1870- December 1942)
Gayaka Siromani Vidwan Swaminatha Ayyar was born in Pazhamaneri in
Tanjore district, of Ramaswamy Ayyar in a family of vaidikas, scholars and
musicians amidst the chosen environs of Nature with rich "paddy fields, ample
groves, rivers and channels intersecting roads and villages in the upper reaches
of the Cauvery Delta. His birth coincided with the advent of many a stalwart like
Annamalai Reddiar, Mysore Vasudevachariar, Veena Venkataramana Das,
Bidaram Krishnappa, Poochi Srinivasa Ayyangar, Veena Dhanammal,
Tirupazhanam PanchapakesaSastri, SarabhaSastri, etc. Studied Vedas under
his father Ramaswami Ayyar. He was the most successful of the disciples of
Maha Vaidyanatha Ayyar. In his pallavi and swara singing, people saw glimpses
of the Great Vidwan, his guru. He was the only musician to give vocal concerts,
himself playing simultaneously the violin which he held up without resting it on
his leg. His forte was the rendering of the padas of Kshetragna of which he had
a considerable repertoire.
Swaminatha Ayyar was also a capable teacher. He was honoured by the
Music Academy with the title of ' Sangita Kalanidhi ' in 1931. Pazhamaneri
Swamigal, an Adwaitic Saint was his brother. Was a pioneer in publishing
modern works with notation. Ayyar studied Sanskrit works on music and
published ' Ragabhodini 'early this century. He was on the Experts Committee
of the Music Academy.
* * *
TRICKY SWAMINATHA AYYAR - VOCALIST: (b.1910)
Perhaps the seniormost practising vocalist, Trichy Swaminatha Ayyar and
his brothers. Ramachandra Ayyar were giving concerts as Trichy Brothers from
1926. Grandsons of Orapalli Ayya Bhagavatar and sons of Fiddle Subramania
Ayyar, the duo were popular. Swaminatha Ayyar learnt music - both vocal and
violin - from his father and special compositions from Tillaisthanam Panju
Bhagavatar. Made his debut in 1926 at the Tiruvisanallur Ayyaval Jayanthi
Celebrations. A versatile musician and a pallavi exponent, he has given many
jugalbandi performances with Hindustani musicians and sings remarkably well
in his eighties now.
308 ANOTHER GARLAND
Has composed tamil and Sanskrit pieces. Was Principal, Sri Shanmukha-
nanda Sabha Music School and Kalasadan, Bombay.
Honours and Titles:
Sangeetha Ratna from Narada Gana Sabha, Madras
Certificate of Merit from Music Academy, Madras.
UMAYALPURAM SWAMINATHA AYYAR - VOCALIST SUPREMO: (1867 -)
Umayalpuram has been one of the most fertile nurseries of classical
Carnatic music - vocai, instrumental and percussive. Swaminatha Ayyar was a
stalwart among them. Pupil of the famous Umayalpuram Krishna Bhagavatar
and Sundara Bhagavatar, direct disciples of Tyagaraja, Swaminatha had learnt
music earlier by closely watching his elder brother sing; later learnt under the
Vainika Tiruvalangadu Tyagaraja Dikshitar and then under Kekkarai Muthu
Ayyar, To crown it all, he underwent a four-year gurukulavasa under Maha
Vaidyanatha Ayyar when T.S. Sabhesa Ayyar and Pazhamaneri Swaminatha
Ayyar were also under training. Quite fittingly all the three became Sangita
Kalanidhis (title conferred by the Music Academy, Madras).
On his gurukulavasa, Swaminatha Ayyar says :
11 In course of time, Maha Vaidyanatha Ayyar came to like me. I used to accompany him
to his concerts. Only occasionally he would give tuitions. But I would follow raga
improvisation, swara combinations, techniques of pallavi rendition, etc., very closely,
assimilate them and get doubts clarified by him. I had enquired him on the 22 srutis and
he stated, " We have only 1 2 srutis. But in raga sancharas, in conformity with the bhava
and the modulations of swaras, twenty- two srutis would automatically present themsel-
ves. But we could not specify their places. "
Maha Vaidyanatha Ayyar had himself honoured his pupil with a tambura and
a shawl! He presented him a book in manuscript got from a vidwan of Pudukottai
who got it in turn from Tirunelveli giving the arohana-avarohana of 72 melakartas
and of over a thousand janya ragas and raga lakshana gitams of over three
hundred ragas. The guru-pupil relationship between the two is a succinct story
and example of the form and secret of the success of gurukulavasa, an institution
of unparalleled success now lost for ever. Mysore Vasudevachariar gives a like
experience with his guru, Patnam Subramania Ayyar! The pupil is adopted into
the home of the guru and becomes a mini version of the guru in art and science.
The guru gave his all and the pupil took his guru as his god. It was not a
syllabus-bound mechanical training but bhava-bhakti-jnana-dhana-oriented life
which held sway from before the days of Vyasa-Suka down to the middle of the
twentieth century in the fields of languages and arts. (For an epitaph on it please
refer 'A Garland1.}
ANOTHER GARLAND 309
Ayyar was honoured by H.H. the Sankaracharya of Kanchi with the title of
'Nadanubhavasarajnana' and was patronised by Tiruvaduthurai Mutt. His
disciples are many including Maharajapuram Viswanatha Ayyar and
Semmangudi Srinivasa Ayyar.
* * *
Dr.U.Ve. SWAMINATHA AYYAR - BIOGRAPHER & MUSICOLOGIST;
(19 02 1855 - 28 04 1942)
1 Dr. U.Ve. Swaminatha Ayyar and Subbarama Dikshitar were both orthodox brahmins
who belonged to the old school and ways of living; but few modern scholars can compete
with them for their modernity, integrity and prodigious industry. 1
— T.S. Parthasarathy.
It is with a sense of veneration, admiration and amazement that I take my
pen to write this brief biographical note on the greatest and foremost research
scholar in tamil and an eminent biographer and musicologist. 'Swaminatha Ayyar
competed with the bee and surpassed it in industry. ' The Tamil World is eternally
indebted to him for unearthing many a golden work which were decaying
unhonoured and unrecognised and languishing unnoticed, unwept and unsung
in the neglected labyrinths of far-flung villages. To Ayyar the renaissance and
regeneration of tamil classics owe their glorious beginnings. His uncanny mind
was able to trace and lay hands on hidden classics on palmyrah leaves in nooks
and corners. His deep penetrative intellect diciphered and collated differing,
discrepant scripts with the immense energy and enthusiasm of an explorer,
epigraphist, linguist and crusader all in one. The super computerised efficiency
of the crusading explorer brought back to focus and life work after work to the
amazement and joy of tamil people and scholars.
Swaminatha Ayyar combined in himself broad vision with an incisive intellect,
deep penetration with detective analysis, an untiring mind for details with
immaculate power for codification. He was an excellent biographer, authentic
historian, alluring short story writer, a linguist nonpareil and a giant intellectually
and physically. A wholesome product of the pristine culture of India, he was
simple, affable, communicative and large-hearted, His statue adorns the campus
of the Presidency College on the Marina in Madras. Opposite to his, stands most
significently the statue of Kannagi, the finest Symbol of Chastity and of
Goddess Shakti, the noblest creation of the tamil poet, Illango, in his
Qilapathikaram pointing to the statue of Ayyar as if declaring -
* There sits the noble son of the tamil world who is an inspiration and
trail-blazer to future generations! Revere him! '
A library is run in the campus of Kalakshetra, Madras. His disciples were
many including his son Kalyanasundaram Ayyar, M.V. Ramanujachariar,
Chockalinga Tambiran and Ki. Va. Jagannathan. The library houses 21 69 cadjan
leaf manuscripts and 1 8000 printed books.
31 0 ANOTHER GARLAND
Son of Venkatasubba Ayyar and Saraswati Ammal, he was born at
Uthamadanapuram in Tanjore district. At the age of seven, he went to
Tirukundram in Udayarpalayam taluk and one day heard the song Teeyinil
moozhginar (Kanada) in Nandanar Charitram drama enacted there. It was the
drama on Harischandra, the Prince of Truth, in the case of Mohandas
Karamchand Gandhi and Nandanar, the Apostle of Devotion, in the case of
Swaminatha that acted as a catalytic agent. He was humming the songs the next
day. The violinist-father was delighted to see his aptitude for music and started
the preliminary lessons. Swaminathan had special lessons under -
Venkatanarayana Ayyar, his grandfather: 1 jn sanskm apd musj an(j
Narayana Ayyar and Swaminatha Ayyar: •»
Ariyalur Sadagopa Ayyangar, Kunnarn Kasturi 1 .
Ayyangar and Senganam Vridhachala Reddiar f
On August 1 6, 1 868, the thirteen year old Swaminathan married. In his case,
it was not only not a case of ' vivaham vidya nacanam ' (marriage blocks
knowledge), but the plant learnt to flower with greater charm and colour with the
tendril twining around and nourishing it.
From April 1 870 to February 1 , 1 876, he studied under the great tarn i I savant
Vidwan Meenakshisundaram Pillai and on the demise of that scholar, came
under the direct tutelage of Sri Subramania Desikhar of Tiruvaduthurai Mutt.
There ensued an era of unique and fruitful search and research on an unheard
of scale and publication of tamil classics. Later Swaminatha Ayyar was Lecturer
in Tamil, Government College, Kumbakonam, where he won the profound
esteem of colleagues, students and the public. When he was giving tuitions to
Salem Ramaswamy Mudaliar, District Munsif , he got exposure to the hidden
treasures of ancient tamil works. Surely the scholar should have cried 'Eureka'.
He should have shouted so not once but many more times since Destiny had to
lay faith in this good son to retrieve one after another of unknown, hidden tamil
classics as none else would do it. To decry eminence, there is a legion. The
great series of publications started with 'Jeevaka Chintamani' in 1887. The list
of works published is long and strident and the manuscripts he left are equally
large. 1861 saw Nandanar Charitram the first socio-spiritual tamil opera. In
1 885, the Indian National Congress had its beginnings at Madras with its unique
and un-paralleled history and influence. Indian and Tamil Renaissance was in
full swing. U.Ve. Saa. was one of the ambrosial flowers who shaped music,
language, biography, research, etc.
While yet a boy, in 1871 his violinist-father took him to Gopala Krishna
Bharati for training in music. When it was mentioned that he was taking tuitions
in tamil from Vidwan Meenakshisundaram Pillai, Bharati exclaimed,
' Meenakshisundaranar is an enemy of music ' and that he would not permit it.
Secretly the music tuitions started; but the Tamil savant once espied the boy
humming his musical lessons and found out the truth. True to what Bharati had
ANOTHER GARLAND ' 311
said, ' Tamil or Music - not both ', he ruled. Musical training was the casualty
as Ayyar loved tamil more and Destiny played its role too. The chosen field of
his advent and mission in life was unmistakably tamil. TAMIL WORLD IS STILL
TO THROW UP AN EQUAL!
Legacy and aptitude for music did not however get lost in the waters of River
Kudamurutti, or the River Cauvery which flow nearby. His innate genius
asserted itself and he collected great many details of musicians and composers.
Some have appeared in print and incomplete manuscript notes are extant. As
I mentioned in 'A Garland' thai the venerable Doctor thought of bringing out a
collection on the lives of musicians but his crowded life was a fight against the
clock and the calender. His weighty contributions attracted the notice of the Lord
and he was withdrawn to be by His side - but only after he had completed the
memorable publication of the lives of Gopala Krishna Bharati, Maha Vaidyanatha
Ayyar and Ghanam Krishna Ayyar. They are excellent biographies noted for
factual integrity, beauty and clarity. All the great maestros were great lovers of
tamil zoo. 'Dr Ayyar has written a series of delightful vignettes besides his own
biography which he left incomplete on his demise as 800 pages had brought it
up only to 1900 with forty-two impressionable years left uncovered. 'His
account of meeting Sankarabharanam Narasa Ayyar, etc., gives a strident and
startling account of men and matters, social values and economic conditions.
His works are characterized by Intricacy of detailing, virtuosity of workmanship
and overall coherence1.
Titles and honours have no relevance to such Men of Destiny. Here are
some:
Mahamahopadhyaya Government of India 1 906.
Dravida Vidya Bhushanam Bharatha Dharma Mandal 1 91 7.
Dakshinadya Kalanidhi Sri Sankaracharya of Kanchi Kamakoti Mutt 1925.
Doctorate University of Madras 1 932,
Official posts held :
Lecturer in Tamil, Government College, Kumbakonam; February 1 6, 1 880 - 1 903.
Lecturer, Presidency College, Madras 1 903 - 1 91 9.
Principal, Sri Meenakshi Tamil College, Chidambaram 1 924 - 1 927.
True greatness is ever humble; water in full pot spills not. Swaminatha
Ayyar was a teacher of teachers and a pioneer research-scholar of vast parts,
deep penetration and captivating expression. His diction is of Gandhian
simplicity, at once charming and dazzling. The panorama of his activity was
gigantic. His vivid memory was a challenge to the computer. The eminence of
the man has not been receiving the recognition that is his due in the last few
decades, it is felt. His monumental work and immortal contribution are apt to
escape the notice of the younger generation. The fiftieth year of his demise was
celebrated by well - meaning admirers like G. K. Moopanar at Kumbakonam near
31 2 ANOTHER GARLAND
Uthamadanapuram on 28-04-1 992, I could not resist the temptation to linger on
a little more on his historic life - a watershed in the history of tamil and music,
What was the condition of tamil classics prior to 1 887?
11 Great poets had heard of Sangam literature but knew not what they were. Kovalan,
Kannagi and Madhavi were mere names in folk tales and ballads and none knew that
they were characters in the classic 'Cilappadhikaram'. They knew not the difference
5etween 'Agananooru 'and 'Purananooru 'nor were they aware of the religion to which
the classic ' Manimekhalai ' related ! "
Thanks to the life-long labours and service of the Doctor, even boys in
elementary schools know it all now, That is the imperishable magnificence of
his work and the magnititude of his monumental contribution. The tamil savant
Thiru. Vi. Ka. sums up thus:
1 U. Ve. Sa's birth was Tamil; his growth was Tamil, His life was Tamil. He had his whole
being in Tamil. He became Tamil. And he was Tamil/
The mighty Rajaji, never known for his liberal praises, calls Ayyar ' Tamil
Vyasa'. Reverentially called Tamil Thatha' (GOM), Doctor U. Ve.Sa. combined
in himself the pioneering energies of a Kalhan in historic perception, a
Venkatamakhin in codification, a Vyasa in story-writing, a Subbarama Dikshitar
in presenting a thesaurus and a Dickens in gracious flowing style. National
Poet Mahakavi Subrahmania Bharati adored him as ' Kumbha Muni ' of eternal
fame.
Publications:
By Ayyar :
Tamil Sangham Compilations Tamil Kavyas
Sthala puranams Grammar Prabhandas &
a host of other items.
By the library:
Sangham Literature and a large number of other items.
KUDANTHAI SWAMINATHA SASTRIGAL - COMPOSER/TEACHER:
(20th Century)
Swaminatha Sastrigal had his musical training and inspiration from Veena
Varadayya, Tiruvaiyaru Ramamurti Ayyar, Umayalpuram Swaminatha Ayyar,
Vedaranyam Pallavi Ramachandra Ayyar, Kallidaikurichi Sundaram Ayyar and
Tiger Varadachariar - an array of stalwarts. Was Music Teacher, Tirutturaipundi
Government High School and is now running the Tyaga Brahma Sangita
Vidyalaya for training students, Has composed two hundred songs with the
signature ' Varadadasan '. Has published 'Gana Sudha ' in 1978.
ANOTHER GARLAND 313
S. THATHACHARIAR - VIOLINIST: (b.1917)
Son of Srinivasachariar, Thathacharsar stopped his collegiate studies with
Intermediate and took to music. Had his training with Veena Krishnamachariar
of Arya Gana Vidyasala and later in 1 938 under Rallapalli Anantakrishna Sarma.
He started giving concerts on the All I ndia Radio in 1 938 and soon was appointed
as Staff Artiste. Later he went over to Akash Vani, Mysore in 1942 and then to
Bangalore and retired. Much of his musical activity was for the All India Radio.
COIMBATORE THAYEE - VOCALIST : (1872 - 1917)
*
Palani Kunjaram, daughter of musician Vengathammal became Coimbatore
Thayee later, the word of affection prevailing over the designated name. She
learnt dance under Subbaraya Nattuvanar and music under Karur Ramachary,
Mysore Kempa Gowda, Kivalur Ramachandra Ayyar as well as Tiruvisanallur
Narayanaswami Ayya. For professional causes, she shifted to the more
prosperous Madras and enjoyed a large number of concerts in Andhra Pradesh,
Karnataka and Tamil Nadu. Though she did not enjoy a majestic (gambhira)
voice, her tone and rendition were soothing and satisfying. Her four-hour
concerts would start with four kalais and with pallavi would come to two kalais
and there would a happy blend of javalis, tamil songs etc. Enjoyed an immense
repertoire. Laiitangi (M.LV's mother) was among her disciples. Tiruvotriyur
Tyagayyar was her patron.
Disc recordings:
* * *
THAYUMANAVAR - DEVOTIONAL POET (1705 - 1742)
The restless life found itself in tune only with nobler elements and propagated
basic principles of morality to enlighten the public. Having experienced Bliss, he
exhorted the people to follow the basic tenets of Godliness. God has neither
caste nor family, neither birth nor death. His works 'Anandakalippu' and
'Parapara Kanni* bring out the essence of true spiritualism.
Thayumanavar was born at the scriptural jungle called Vedaranyam, of
Kediliappa Pillai and Gajavalli. An enlightened man and enterprising
agriculturist, his father was taken by the Chieftain atTiruchirapalli, Muthu Vijaya
Reghunatha Chockalinga Nayak for Palace Administration. Thayumanavar who
had undergone studies in tamil, telugu and Sanskrit, stepped into his father's
31 4 ANOTHER GARLAND
post on the latter's demise. When the Chieftain died his lady is stated to have
felt drawn by the attractive features of Thayumanavar. Well-versed in philosophy
and thirsting for God-realisation, Thayumanavar realised that the palace was
ill-suited for his life's mission and left. He was on pilgrimage, married and lost
his wife when she begot a child. His songs are popular.
THENMATTAM BROTHERS:
NARASIMHACHARIAR - VIOLINIST:
VARADACHARIAR - VIOLINIST & VAINIKA: (d. 1952)
Thenmatam Brothers were tutors to quite a large number of lady artistes and
both were sahitya kartas also composing kirtans, swarajatis and gitas. Their
compositions were published in a book titled Sangitananda Ratnakara. About
fifty pieces do not seem to have been published yet. The violinists were religious
and were popular in Andhra Pradesh. Narasimhachariar had translated
Ramayana also into telugu. The Journal of the Music Academy, Madras makes
special mention of their musical capabilities. Chinna Singaracharyulu wrote in
1905 that the Brothers were good violinists.
K.C. THIAGARAJAN - MUSICIAN: (b. Decr.15, 1913)
Thiagarajan was born at Krishnapuram in Pattukottai taluk, of
K.C. Chidambara Ayyar, atamil vidwan and Chellammal. He had his training in
music under Veedividangan Pillai of Tiruvarur and Tanjore Krishnamoorti
Nayudu. Was Music Producer, All India Radio during 1939 - 1971. Thiagarajan
was vocalist and instrumentalist who could play on violin, gottuvadyam and
jaiatarangam. He has been giving concerts and taking earnest interest in the
deliberations of the Experts Committee of the Music Academy, Madras. Has
contributed articles. He became Principal, Teachers' College run by the
Academy in 1971 .The versatile artiste-pedagogue was honoured with a
Certificate of Merit by the Academy in 1 977.
TANJORE THUKKARAM - MRIDANGAM MAESTRO: (c.1 860/1 900)
A good man and a good percussionist, Thukkaram had provided percussion
support to top vocalists like Maha Vaidyanatha Ayyar, Patnam Subramania Ayyar
and Todi Sundara Rao. Was famous for 'meetu, gumki and purattal', fingering
and contrived sound variations. He accepted concerts without distinction for all.
nf V/itt£*l a Hm/ntao rvf Panrli ironnon rvf PanHoriru ir Thi iL'L'orcjm olen
ANOTHER GARLAND 315
mridangam. The finer aspect of it is that the gumkaram would be raised both
when his hand goes to and from on the thoppi; perhaps few could do it.
Sulamangalam Vaidyanatha Bhagavatar pays glowing tributes to the intricacies
of his play. If during a concert, the instrument develops sruti bheda, he would
not stop to rectify as most do but would go on giving accompaniment with the
thoppi Valantaram till the song is over. This is a practice worth emulation atleast
when the principal artiste is gathering momentum. (Tirukkodikaval Krishna Ayyar
and one or two others are credited with playing on a single string on such
occasions without stopping to rectify their violin.) Thukkaram came to be called
Thoppi Thukkaram'. Bhagavatar records that Dakshinamurty Pillai, Azhaga
nambi Pillai and other stalwarts drew inspiration from Thukkaram. 'Only in the
concerts of Maha Vaidyanatha Ayyar and Sarabha Sastri, his -play could not
dominate on the principal artiste. All others would get dwarfed.' (Bhagavatar).
Bhagavatar 5s description of Thukkaram vis-a-vis ordinary musicians reminds the
author of Fred Allen's sarcasm —
1 The lion and the calf may lie together;
But the calf would not get much sleep.1
THULASEEVANAM - COMPOSER: (b. 1940)
Ramachandran Nair, I.A.S. is an eminent lyricist and Thulaseevanam is his
pseudonym. He is a scholar in malayalam and Sanskrit and started composing
songs in 1 971 . A disciple of Sri Paramabhattaraka Sri Vidyarthi Raja Swamigal,
his lyrics are profoundly devotional. He has drawn inspiration from the
compositions of Swati Tirunal Maharajah, Narayana Tirtha and Jayadeva and
'his Gitaganga is perennial1 - Thulaseevana Sangita Parishat propagates his
compositions.
TIRUVOTR1YUR TYAGAYYAR - COMPOS ER/TALAMALIKA SPECIALIST:
(1845-1917)
Son of Vina Kuppayyar, the eminent disciple of Tyagaraja, Tiruvotriyur
Tyagayyar had his training under Fiddle Ponnuswami (and perhaps his father).
A delectable composer of tana varnas, ragamalikas and kritis, he was a
specialist in talamalika compositions with different sections in different talas
particularly in pallavis. 'His compositions are replete with raga bhava - sangatis
reflecting the diverse facets of the raga - presenting its melodic personality... He
was the first composer in the annals of Carnatic music to have composed
Ashtotra group kritis and only Harikesanallur Muthiah Bhagavatar had later
emulated him.' (Dr. S. Seetha) He had used Adita\a for 102 kritis, Rupaka for
five and Triputa for one, but 108 ragas without repeating any. His compositions
are full of technical and rhetorical flourishes.
316 ANOTHER GARLAND
His varnams include:
Inthamodi in Saranga raga
Karunimpa idi in Sahana raga
Chalamela in Durbar raga
Saraguna in Madyamavati raga
SarnLDayajuda in Kedaragoula raga
Published two works -
'Pallavi Swarakalpavalli ' (1 900) and
'Sankirtana Ratnavali '(1 907).
The first Contains the compositions of his father and his own.
STAGE MANAGEMENT
The concert was on before a packed audience. Suddenly the head of a goose fell on
the stage. The manager promptly advanced to the front and with the usual courtesies
announced:
6 Gentlemen, if anyone among you has lost his head please do not be uneasy. I
shall restore it at the conclusion of the concert. '
— Edmund Fuller.
Absolutely professional.
UNBEATEN YET
Gurukulavasa yielded to training schools and colleges or tuitions under chosen
musical masters. Some had/have full or part-time courses. Correspondence courses with
cassettes and notes arrived. Now there are musical lessons on phone! Still modern
methods of leaching lag behind the old. 'Manasitdia gumkulavasa' (preceptors of
inspiration) was a brilliant concept which had helped many to rise to dizzy heights like :
Uthukadu Venkatasubba Ayyar had Lord Krishna,
Papanasam Sivan had Konerirajapuram Vaidyanatha Ayyar;
G.N. Balasubramaniam had Ariyakudi Ramanuja Ayyangar.
Vinjamuri Varadaraja Ayyangar had Tiger Varadachariar and
Ariyakudi Ramanuja Ayyangar.
Ekalavya of the epics adopted the unwilling preceptor Drona himself and outshone
his chosen student Arjuna. Dedication, determination won him the skill.
Here is a view of Mannargudi Sambasiva Bhagavatar of the Tyagabrahma Sabha,
Madras on correspondence courses:
* A home science student added up everything but forgot to ignite the stove since it was not in the
ANOTHER GARLAND 31?
u
A. V. UNNIKRISHNAN - FLAUTIST: (b.September 10, 1935)
Place of birth : Pilicode in Kasargod district.
Parents : T. Unnikrishnan - Thirumumpa. Father had his own
kathakali troupe. His children are all trained in music or
in bharatanatyam.
Training in music : Gurukulavasam under T.K.Radhakrishnan for ten years
from 1 956.
Unnikrishnan started giving concerts on the Ail India Radio in 1964. From
1970 to 1989, he had been travelling abroad as accompanist to bharatanatyam
dancers and incidentally giving concerts too. Had given concerts for television
networks in USA, Canada and USSR. Has toured Japan, China, Pakistan,
South Africa, Europe, Malaysia and Singapore, besides others. The tours were
either privately sponsored or arranged by the ICCR.
Title: Sangeethajna
Unnikrishnan has faith in music as a successful profession notwithstanding
competition and favouritism.
P. UNNIKRISHNAN - VOCALIST: (b.July 9,1966)
Parents : K. Radhakrishnan & Harini Radhakrishnan
Musical training under : V.L. Seshadri,
Dr. S. Ramanathan and
Savitri Satyamurti.
Special coaching under: T.Brinda with scholarship.
General qualification : B.Com., D.P.A.
'Kesari Kuteeram' building at Royapettah was a familiar sight for long. Music
Academy is stated to have functioned in it as a fledgling. Grandson of its owner,
Dr. K.N. Kesari, Unnikrishnan made his debut at Palghat in 1980 for the Fine Arts
Society. Has a pleasing, resonant voice, natural talents, felicity, flexibility and
imagination. A cricketeer, Unnikrishnan is a popular artiste who brings to play
in concerts a variety of strokes well-planned and executed to ensure
comprehensive audience receptivity and appeal - a formula now resorted to by
rising artistes with differing shades of success. Shanmukha records, 'For one
so young, the maturity in perception and presentation is something rare to come
across'.
318 ANOTHER GARLAND
USHA RAJAGOPALAN - VIOLINIST: (20th Cent)
Musical training under: A.S. Ananthagopalan & Padmavati Anantagopalan,
Having had her training from her sixth year, Usha Rajagopalan made her
debut at the age of twelve and has been having quite a large number of concerts
providing accompaniment to distinguished musicians. A Graduate in
Commerce, Usha Rajagopalan is a Staff Artiste with the All India Radio, Has
won awards from the Music Academy, Madras, etc. A complete violinist.
Concert tours: Middle East and Singapore.
THE HST & THE HIT BACK
Mridangam maestro Tanjore Vaidyanatha Ayyar's house. An informal select
gathering. On request, the celebrated Mazhavai Subbarama Bhagavatar took up raga
Malavi for elaboration and pallavi. Exquisite was the rendition. He adopted a rare tala
by name Lakshmeesa. T.K. Murti who provided the mridangam support and who was
then an apprentice under Vaidyanatha Ayyar faltered and stumbled in identifying the tala.
A hurt guru hit him for lack of understanding.
Vaidyanatha Ayyar was not only guru to Murti but his foster father. Murti hit back.
How ? With a heartwarming solo (tani avartd) in that tala.
— B.M. Sundaram in 'Sruti'
Vide page 478 of A Garland for musicians who were not spared of the rod.
RAGAMUDRA
The Pandit was stressing the peculiarity of Muthuswami Dikshitar inscribing the
ragamudra in each song so that the raga swaroopas could stand fixed unalterably but that
Tyagaraja did not adopt that mode of composition.
Tygaraja Rasika (?) : He too has done it in Chani Todi Teve.
The song is in Harikambhoji and the word 'Todi' does not refer to the raga.. The line
actually means :
'Oh maid of my mind ! Go and bring quick my Lord.'
— R. Vedavalli on 05-07-1992.
ANOTHER GARLAND 31 9
V
VADIRAJA - DEVOTIONAL POET: (c.1480 - 1600)
Called Bhuvara, born at Huvvinakere in South Kanara, of Devaramabhatta
and Gowri, Vadiraja came to be called so in recognition of his dialectical talents.
The famed ruler Krishna Deva Raya called him Prasangabharana Tirtha. While
young, he came under the grace of Swami Vagisa of Swadi Mutt. Puranas speak
of the discord between young Vigneswara and his younger brother Kartikeya all
over a fruit, in which the intellectual elder deprived the younger of the fruit in
spite of his whirlwind marathon. The fruit thus came to be called the Fruit of
Wisdom (Jnanapazham). Issac Newton was attracted by the fall of an apple.
Even Adam and Eve could not resist their tasting the forbidden fruit
notwithstanding the prohibition! But young Vadiraja alone remained passive, a
monument of self-knowledge and self-control when Guru Vagisa asked his
disciples to help themselves with fruits heaped before them. (Vadiraja probably
took the cue from the Vigneswara episode but excelled Him by not taking any.
Did not Maitreyi tell her husband Yajnavalkya that she did not want the material
wealth he offered her but sought for the imperishable? When Yajnavalkya
brought a scene of Mithila in flames, did not the disciple-ruler Janaka alone sit
unconcerned saying, If Mithila goes, I have no concern5 to illustrate detachment!
Their reaction is similar, it will be seen.)
When questioned, he gave his reply in an 'ugabhoga' context. His first
composition prior to renunciation was that he desired devotion to his guru, the
grace of God and renunciation. He succeeded his guru and was benefited by
the teachings of Vyasaraya of Vijayanagar.
Prolific in his writings in Sanskrit and kannada, he composed thousands of
kirtanas and devaranamas under the signature 'Hayavadana'. His songs are
sung at the Mutts. For the benefit of Tulu speaking people, he composed
devaranamas in that language too. Wrote Rukminisa Vijaya, a literary
mahakavya.
He lived in Swadi village and entered Brindaban samadi alive. Illustrious
saints of Hinduism have dismantled their earthly coils so.
KONERIRAJAPURAM VAIDYANATHA AYYAR - VOCAL MAESTRO:
(1878-1921)
Konerirajapuram Vaidyanatha Ayyar was not only an eminent musician but
is the summum bonum of many a proverb like 'where there is a will there is a
320 ANOTHER GARLAND
way' and 'verbum sapient! sat' (a word enough for a wise man) A Garland details
how he rose up to the top taming his gruff voice. He might have remained an
inglorious voice-support but for the taunting words of Panchapakesa Sastri.
His period was still within the bullock-cart age and he was passing through
Pudupatti (now in Pudukottai district) in a cart (single or double, bullocks with or
without horns, it is not stated). His breezy, alapana-oriented, durita-kala mind
was ill at ease with the tsouka-kala slow movement of the vehicle with its deaf
driver. How long could a stalwart vocalist remain mute? He asked a pedestrian
about the distance and there was no response. Ayyar soliloquised, 'So, you are
also deaf!' The cart was just a furlong further off when a peon stopped the cart
and led them to a magistrate! Innocent Ayyar could not fathom the reason and
politely revealed who he was. As if shocked by electricity, the magistrate was
all respect, recollected the Vidwan's concerts with Palani Krishnier, etc., and
apologised. The pedestrian was the magistrate himself and had felt insulted for
having been questioned like a commoner on the road and dubbed as deaf. The
incident is mentioned here to indicate the fame and renown the maestro had
enjoyed. If King Udayanan soothed the mad elephant with his play on yazh,
Vaidyanatha Ayyar conquered the musical world with his chastised and tamed
voice! Rahmat Khan, a North Indian maestro once said:
"He has his music in his throat;
We have it on our thighs.'
Strangely, Ayyar had it in both as he was a trail-blazer in laya-fortified music
too.
Parents : Narayana Ayyar & Sitalakshmi.
Marriage : At the age of twelve.
Extended musical Nagaswararn Palanivelu, Marudhanaliur Kulandaiswami
training with ; and Chinna Kulandaiswami
Melattur Sundara Bhagavatar and
Venkatarama Bhagavatar.
Disciples : Mudicondan Venkatarama Ayyar
Budalur Krishnamurti Sastrigal,
Coimbatore Viswanathan, etc.
Vaidyanatha Ayyar was a vadama (sub-sect) but was the chosen hero of
vadyama people. He evinced special solicitude for his pupils, purchased the
same cloth as he wore, encouraged them to sing at concerts and got gifts for
them. A liberal, he was noble in his outlook in days of asserted primacy of
vocalists ws-a- vis accompanists. He would even wait for the accompanists to
arrive and receive them with cordiality taking his role to be just a primus inter
pares. No wonder that his image was high and Papanasam Sivan chose him as
ANOTHER GARLAND 321
Suiamangalam Vaidyanatha Bhagavatar recalls Ayyar's rendition
elaborating the phrase 'nigama cirorttamu'm 'Sogasuga mridanga talamu' (Sri
Ranjani) alone for an hour and half at Sri Ayyaval Utsav, Tiruvisanallur bringing
out his innovative, intuitive skills with riotous brikas and graces. He mentions
that the Melody-King Pushpavanam sat spell-bound.
yAYURAM VEENAl VAIDYAN ATH A AYYAR - VEENA ARTISTE: (c.1880)
Alakshana vidwan known for his celebrated rendition of kritis, Vaidyanatha
Ayyar was a close friend of the illustrious composer of the revolutionary
socio-religious opera in tamil Nandanar. He freely used Bharati's songs which
were popular at his concerts. Suiamangalam Vaidyanatha Bhagavatar states
that the Veena artiste and Tirukodikaval Krishna Ayyar would play in perfect
unison delightfully, that he would present veena duet with Tiruvalangadu
Tyagaraja Dikshitar, that he would sing while playing on veena and that his son
Veena Sabhesan too was an accomplished player on veena. T.C.A. Chinna
Singaracharyulu wrote in 1905:
'Mayuram Vaidyanatha Ayyar is a good lutanist, an able pallavi singer, a
good vocalist and an able master of gesticulations. It is difficult to see in future
another of his ability His son plays on lute delightfully and has extraordinary
skill in swaras.'
J. VAIDYANATHAN - MRIDANGIST: (b.April 22, 1965)
Son of Sangita Kalanidhi O.K. Jayaraman, Vaidyanathan had his training
under Palghat Mani Ayyar and his son T.R. Rajamani, Palghat Kunjumani,
Dindigul Ramamurti and Tanjore Ramadoss. Had specialised training under
Dr. T.K. Murthy. He had pursued his training with scholarships from the
Government of India. Has been having good practice and 'his play of chapu
sequences turn well and pharns (fast patterns) have excellent clarity5.
Concert tours: U.S.A. , USSR.
Title; Yuva Kala Bharati by Bharat Kalachar 1 991 .
O.S. VAIDYANATHAN (ARUN) - VOCALIST: (20th cent.)
Born in a musical family, O.S. Vaidyanathan popularly known as Arun sings
with a natural flair. Has an impressive tone, range and balance of voice. Had
his initial training under his father, Sangeetha Bhushanam O.V.Subramaniam
and then completed Visharad Purna', an integrated course in music at the
Gandharva Mahavidyalaya, Delhi. He stood first in the diploma course
322 ANOTHER GARLAND
'Sangeetha Shiromani' of the Delhi University.
'Oh Yes' has been giving concerts on All India Radio, Doordarshan, sabhas,
etc. Arun's musical talents are extensive and varied. He has been presenting
choral compositions like his own 'Rain' (Misra Kapiand Pantuvarali*) and pieces
of well-know n composers like Balamurali Krishna and Lalgudi Jayaraman.
•
Concert tours:
Europe, Middle East, USSR, Australia,
China, Hong Kong, Fiji, North Korea,
U.K., Mauritius and Afghanistan.
America and Africa probably are waiting to hear his impressive music!
* * *
VAIYAPURI DEVAR - MRI DANG 1ST: (b.1916)
Father : Kandaswami Devar, Chidambaram
Vaiyapuri Devar migrated to Mysore and had been accompanying prominent
musicians. The Maharajah of Mysore honoured him in 1962 and he is the
recipient of the title 'Mridanga Nada Praveena' from the Tirumalai Tirupati
Devasthanams. Venkatesa Devar was his guru.
TIGER VARADACHARIAR - VOCALIST/PEDAGOGUE:
(1876~Jany31,195Q)
'A Garland' carries at pages 399-400 the biography of Tiger Varadachariar,
one of the finest of musical souls of Carnatic music. The magnificence of his
musical scholarship and the panorama of his multi-dimensional life cry for some
more details being recorded.
y Mysore Vasudevacharya recorded of Varadachariar:
1 The most celebrated master of bhava-bharita sangeetham, enjoyed profound scholar-
ship, child-like innocence, purity of heart and simple and elegant manners.'
Veena Balachander wrote six stanzas on Tiger and one is extracted below:
1 He who commanded the respect of one and all
Was a giant in size but a soft child at heart.
While many other musicians might rise or fall,
His glory, for eternity, will ever remain apart.'
In the photo at page LXX of 'A Garland ', the Tiger is seated at the centre in
the first row. It was taken during the annual celebrations of Sri Krishna Bhajana
Mandiram run by Mandhai Saa. Krishna Ayyar, the author's uncle. It shows the
- ANOTHER GARLAND 323
stature of Varadaehariar among musicians. S.Y.Krishnaswami paid his tribute to
the maestro in 'Swatantra' thus:
1 His approach was romantic. Unending search for newer and yet newer forms for
variations was his forte - not the chiselled patterns of set beauty.'
The observations are all true to facts. He did not enjoy a beautiful personality;
his voice was not melodious. But his vidwat was colossal and his rank among
musicians was that of Abu Ben Adam. His presence added charm and dignity to
the assembly. Yet he was not - never - rich and he bore with smile the grinds of
poverty till Rukmini Devi of Kalakshetra stepped in to patronise him and his end
is described by James H. Cousins in a letter to Rukmini Devi thus:
' At 2 p.m., he fell ill and told his attendant that he had his "Celestial Call". He asked
him to be sung to. ..There was bhajan till the flames ungulfed the mortal remains
of the Gayaka Vyagra (Musical Tiger).'
The carnivorous feline quadruped is noted for its ferocity and rapacity. The
musical tiger was a gentleman non pare/7 of Cardinal Newman's description full
of grace, warmth, solicitude and musical eminence. The innate joviality of his
throbbing human heart was infectious. The utter nobility of the genial soul rarely
betrayed the pangs of economic hardships. Elsewhere mention has been made
of the surprise of the Tamil savant Meenakshisundaram Pillai when he had the
luxury of being served with a spoonful of ghee in a frugal vegetarian fare in a
mutt They are the immortals whom the golden pages of history rich with the
aroma of their legacy could ill-afford to omit as they constitute the foundation
and the corner-stone, the flower and fragrance of Indian culture and civilisation.
It is difficult to spot out such a genial man full of musicianship and human
grandeur among the present.
1940 Tiruvaiyaru Aradhana Festival. Tiger and his disciples from Annamalai
- University stayed in a room and officials occupied the opposite room. Tiger slept
in the corridor, his 'snoring surpassing recognised sruti and gamaka variations'.
A Parsi Engineer, while passing him, remarked to his friend:
I Is this the fellow you call Tiger?
He makes all sorts of funny noise !
A voice responded:
II Yes, yes. This fellow is the Tiger.
He can improvise many more noises too!"
The Parsi had not heard of musicians speaking english and before he could
collect himself, Tiger had started ex tempore on a scintillating elaboration in raga
Begada to his further discomfiture.
324 ANOTHER GARLAND
Gandhi cap was the universal fashion of those days being a symbol of
patriotism and Tiger had a natural fascination for it. Jocularly he would say,
'Before you are capped by others, better do it yourself5. But the cap ill-suited his
figure and gave a grotesque shape reminding friends and admirers of the
Panchatantra story of the cap merchant and the monkeys. But Tiger was not
willing to improve his personality at the cost of the cap. Ultimately when
Vasudevachar came and Tiger wanted him to sing a particular song, the Mysore
Veteran agreed subject to an unspecified gift. Tiger agreed to it little suspecting
that Vasudeva would snatch away his cap in a quid pro quo for that single song.
'Even an elephant is apt to take a false step', runs the proverb. There is no
such pithy saying vis a vis the Tiger. He was singing Birana Valalichi (Kalyani)
of Syama Sastri. The percussionist had to align the sruti of his mridangam.
When Tiger restarted, he inadvertently had jumped to Birana Brova ite. Startled,
he whispered to his disciple, Vasu, the train stands derailed'. He stopped it
there at once, says T. Sankaran.
The musical Kamadenu bore a misleading sobriquet and dished out soulful
music, spread musical knowledge and extended exuberant conviviality. He was
a great man and a great musician. In fact all the three brothers - Tiger, Veenai
Krishnamachariar and Srinivasa Ayyangar were all filtered eminent men of
culture and music.
Dr. VINJAMURI VARADARAJA IYENGAR - VOCALIST/MUSICOLOGIST:
(July 1 5, 1 91 5 - August 1 6, 1 991 )
Music wooed Patriotism and both echoed in unison in the family. Large was
the family and total was its participation in the Independence Movement
including jail terms. Musicians frequented their home which bubbled with musical
activity like the houses of O.K. Pattammal, S. Rajam-S. Balachander and
T. Lakshmana Pillai. Advocate V. Srinivasachari was a flautist; V. Ananthachary
took to veena and played Bhagavad Gita to Gandhiji at the Wardha Ashram
daily. Some took to violin. Vinjamuri Varadaraja lyengar, the last of the thirteen
children of V. Bhuvanachariar and Kanakavalli was a vocalist. He was born at
Guntur.
Varadaraja lyengar, a Bachelor of Arts of the Andhra University, had his initial
training in music during 1920-1933 under Shankara Sastri, a disciple of
Tiruvottiyur Tyagayyar, a stalwart musician-composer and grand-disciple of
Tyagaraja. lyengar had his advanced training from Tiger Varadachariar from
1934 and moved with him to Chidambaram after taking a diploma in music from
the Madras University. Like G.N.B., he had Ariyakudi Ramanuja Ayyangar as
ANOTHER GARLAND 325
Made his debut at the age of seven at Guntur before the celebrated Veena
Seshanna. Known for his delectable swara exposition and tana, he had also
imbibed the innovative fresh approach of the guru, the Tiger. Well-versed in
many languages, his sahitya pronunciation exuded clarity. A firm believer in
classical traditions, he was widely respected. Had given performances all over
India and abroad, at palaces and in sabhas. In rendition of songs and alapana
in rag^ Tod/1/ he was in the distinguished company of Todi Sitaramayyar, Todi
Kotiswara Ayyar and Todi T.N. Rajarathinam. His guru Shankara Sastri has
extolled his talents and expertise in special poems composed by him. When
Pushpavanam did not arrive Ariyakudi steppech'n to give the concert to shine
forth for decades as the top musician. Likewise G.N. Balasubramaniam acted
as stepney and rose to the top. When Ariyakudi could not give the concert, he
himself asked Varadaraja lyengar in 1935 at the Rasika Ranjani Sabha to take
his place, with Rajamanickam Pillai on violin and Pudukkottai Dakshinamurti
Pillai on mridangam. That was the measure of his confidence in the musicianship
of Varadaraja lyengar. For one of his concerts, Chowdiah did not arrive.
Varadaraja lyengar took Flute Maestro T.R. Mahalingam to play on violin with
Palani Subbudu to assist on mridangam. It was a concert by titans. Known for
his weighty classicism and traditional approach, he was popular. His repertoire
was vast. Stalwart violinists and percusfsionists have provided accompaniment
to him. His respect for his preceptors was so high that he withdrew his recordings
of O! Jagadamba (Anandabhairavi) and Sri Subramanyaya (Kambhoji) in
deference to the views of Tiger. Dr. Vinjamuri Varadaraja lyengar Memorial
Society, Hyderabad now seeks to propagate the ideals of lyengar.
Posts held:
\
Founder-Principal of the College of Carnatic Music, Hyderabad 1 952-1953
Producer of Music, All India Radio, Hyderabad 1 956-1964
First General Secretary, Sri Tyagaraja Sangeetha Vidwat Samajam, Mylapore,
Madras 1 946 onwards.
He was connected in various capacities with Tyagaraja Samajam, Nellore,
Ganakala Parishat, Rajahmundry, Tyagaraja Brahmotsava Sabha, Tiruvaiyaru,
State Sangita Nataka Academy and a host of others. He introduced on the All
India Radio programmes like Bhaktiranjani, Sangita Sikshana, Vadya Brinda,
etc.
Concert tours abroad : Malaysia, Singapore, Sri Lanka and U.S.A. (thrice)
Compositions ; Tana varnas, kritis, tillanas and a javali. Has given lec-
tures and demonstrations as a musicologist
Disc recordings ; Gave two initially. As his mentor, the 'Tiger' was against
discs, he cancelled the recordings and desisted in
deference to his opinion
Honours and Titles:
Gold Medal From Music Academy, Madras 1 936
326 ANOTHER GARLAND
Gana Vidya Visarada 1 938
Gayakaratna 1 941
Gana Kalanidhi 1950
Gayaka Sarvabhouma 1 956
Sangita Jyoti 1 961
Horsy Doctorate From Columbia University 1 964
Gana Kaia Prapurna From A. P. Sangeet Academy 1 971
Gana Lahari 1 981
Sangita Ratnakara - 1 982
Gana Vidya Parangatha From H.H. Pushpagiri Swamy
The multi-faceted artiste had to withdraw from giving concerts when his voice
was affected by an accident in 1 962. He had trained many and was an authority
in pallavi singing. Adevout soul, a day prior to his demise, he called his grandson
and disciple to sing specially for him 'Sri Raghukula Mandu' (Hamsadwani) as if
he felt a call from the Infinite!
VEEN A VARADAYYA - VEENA ARTISTE: (1 877 - 1 952)
Place of birth : Cheyyaru, Madurantakam taluk.
Parentage : Veena Raghavayya - Father
Veena Vij'aya Varadayya - Grandfather.
Vijaya Varadayya had composed (preliminary) practice songs and swara
methods. Veena Ramanujayya and Veena Ethirajayya were ancestors.
Varadayya, after the demise of his father in 1 888 or so, went over to the pilgrim
centre Thiruvadigai and acquired musical skill and knowledge by associating
himself with Chidambaram Krishna Ayyar, Tacchur Singaracharyulu and
Coimbatore Raghavayya - all celebrities. He learnt Sanskrit and telugu and took
interest in Dikshitar kritis. He established contacts with religious and political .
leaders. Composed the varnam Imthichekka Tanamu (Ananda Bhairavi - Adi)
when requested to do so on the spot at Gadwal (Hyderabad).
He was quite appropriately the first veena teacher in the Music College of
the Annamalai University. His disciples include his sons R.V. Raghavan and
Prof. R.V. Krishnan and Cuddalore Srinivasa Ayyangar.
Varadayya had composed about twenty varnams and fifty kritis under the
signature 'Adhikapura Vasa' after the name of the presiding deity of Tiruvadigai.
His father Vijaya Varadayya's compositions include the Sapta Tala Alankaradhi
Swara Sahityam 'Hah Charanamula'. Included in Balar Isai Malar of the Music
Academy. The artistes are descendants of Bobbili Kesavayya and have been
popular artistes.
ANOTHER GARLAND 327
VARAHAPPA DIKSHIT PANDIT - MUSICIAN : (1795 - 1869)
Father & Guru : Rarnaswamayya, Vina Vidwan & Tanjore Court official.
post held : Commander-in-Chief of the Tanjore Native Regiment
under Sarabhoji II and Shivaji II
Was associated with the Library and was in charge of
Arts.
He learnt vina and piano, mastered english, Western music and violin play
too Varahappa was called 'Darbar Pakshi1. There is a choultry in his name to
feed children and travellers on the northern bank of River Vadavar at Tanjore.
Dr. S. Seetha says that eminent vainikas like Tsallagali Viraraghavayya,
Tsallagali Gopalayya and Dasavadyam Krishnayya belonged to his family. His
disciples included Sri Ramayya Dikshit, Parameswara Bhagavatar, Lakshmana
Gosayee and Parameshwara Gosayee. The hands that wielded the gun
handled books and musical instruments also and Pandit was
Commander-in-Chief for the regulars and the artistes too!
* * *
M.V. VARAHASWAMi - GOTTUVADYAM ARTISTE: (b.1 920)
Fatner ; Mysore Srinivasa Varadachariar.
Varahaswami started on his musical training in his fifteenth year and made
his debut in 1957 at Bangalore. He was a very prominent gottuvadyam vidwan
in Karnataka like Budalur Krishnamurti Sastri in Tamil Nadu. Was having wide
practice. He taught gottuvadyam through the All India Radio too in 1 942 !
* * *
MYSORE VASUDEVACHARYA - THE COMPLETE MUSICIAN:
(May 28, 1865 -May 17, 1961)
'A Garland' carries at pages 403-404 biographical particulars of
Vasudevacharya. Great men sometimes indulge in absurdities probably in
moments they discard the shackles of constraint and decorum driven by an
oppressive feeling of having to submit to life-long self-discipline. It is a passing
backlash or phase from maturity to immaturity, from adult to childhood. In the
biography of Bidaram Krishnappa, mention has been made of the failure of
Krishnappa and Vasudevacharya to admit before their patron Maharajah of
Mysore of their ignorance of the song 'Mahishasuramardini' (Narayani) and how
the shrewd ruler exposed it with grace. After his scintillating concert at
Coimbatore, in a strange quirk of mischief, Seshanna told the audience that
Vasudeva was a great vidwan who sang admirably. Failing to catch the joke
behind the remark, Vasudevacharya started singing and brought copious ridicule
on his head and was forced to wind up too. That was a watershed in his life.
328 ANOTHER GARLAND
1 1 hung down my head in shame. Seshanna was bubbling with laughter. ! felt hot, and
angry. I decided to switch over from sangeetha to sahitya to establish myself as a
sahitya vidwan at least Extempore I composed a Sanskrit verse and recited it. Some
spoke words of encouragement. The host honoured me. Seshanna stared at me! 'It
did not stop at that. Later arguments and counter-arguments developed between us on
meeting my travel expenses. Under a sacred aswatha tree on roadside, we quarrelled
and a crowd gathered. '
What happened is narrated by Vasudeva thus;
11 Finally an elderly person settled it that Seshanna was to bear the charges one way.
The earlier ridicule hurt me deeply. I requested Seshanna to accept me as a disciple.
1 You and music are poles apart.
You are fond of eating. Eat nicely and feel contented. '
Finally he yielded subject to a bet. Seshanna was travelling in the second
class and I by the third. At each stop, I should go to him, learn a few avartana
of 'Chalamelara' Sankarabharana - Ata tala varna and go back to my carriage
to memorise. At Bangalore Station I sang the whole piece without blemish.
Seshanna broke down.
'Acharya, I apologise to you. Forgive me. I had the conceit to think that I
alone could master a varna in a day. Believe me honestly, when my days are
over, my place shall be yours!11
Mischief, ridicule and quarrel gave place to ecstatic affability between (Adi)
Sesha and Vasudeva!
Vasudevacharya's description of his gurukulavasa with Patnam Subramania
Ayyar is highly revealing. Here it is :
1 The guru had two sishyas, Parameswariah and Kempegowda. My share of the duties
was to wash Guruji's and his wife's clothes in the river, to wash the copper pots and
store drinking water in them, to wash the pooja utensils, to make the bed for guruji and
press his feet till he fell asleep. By nature I was lazy but became used to the chores.
Occasionally I had to go with Kempegowda to take cattle for grazing. Guruji had not
commenced teaching me though some months had gone by. I was to get up and
provide tambura sruti for his sadhaka, to listen attentively when he taught Parames-
wariah, to be with Guruji when he was composing and go with him for concerts.'
One day, Guruji said, Vasu, don't think I am not aware of your desire to learn. Do not
feel that you have spent all your time in vain. The benefit of careful and constant listening
can hardly be exaggerated.'
Thus satisfying Vasu of his intentions, he clarified:
'I have now taken you round the corridors of the temple (of music). All that
remains to be done is to take you to the sanctum sanctorum and show you the
moola vigraha. That I will do tomorrow!' (That was gurukulavasa!)
ANOTH ER G ARLAN D 329
It was a rain of nector on a hillock of sugar to young Vasu! Here is a parallel
from Yehudi Menuhin giving an account of .his violin master Georges Enesco:
11 A lesson was an inspiration, not a stage reached in the course of instruction.
It was the making of music. What I received from him was the note transformed
into vital message, the phrase given shape and meaning, the structure of music
made vivid."
NEYYATINKARA VASUDEVAN - VOCALIST; (20th Century)
Born at Neyyatinkara near Travancore, Vasudevan obtained the diplomas
'Ganabhushanam' and 'Sangita Vidwan' from Swati Tirunal Music Academy and
has been honoured with the President's and other medals. In 1 970, he took up
specialised training under Ramnad Krishnan.
During 1964-1974, he was Assistant Professor, RLV Music Academy,
Tirupunithura and joined the All India Radio as Staff Artiste in 1974. Has been
giving performances in sabhas and elsewhere.
R. VEDAVALLI - VOCALIST & PEDAGOGUE: (b.November 9, 1935)
The vocalist-pedagogue R. Vedavalli is a picture of guru-bhakti and she
struggles to get at many more superlatives to describe the merits, expertise and
eminence of her gurus, Sangita Kalanidhis Srirangam Ayyangar of Madura
Brothers and Mudicondan Venkatarama Ayyar. She claims that she was highly
fortunate in getting these stalwarts as her masters. On the demise of brother
Srinivasa Ayyangar, Srirangam Ayyangar gave up concerts and settled at
Mannargudi to give tuitions only. 'He would come in his self-driven single bullock
cart. On hearing me sing during his tuitions in a nearby house, he took me as a
disciple. Certainly he did it not for money. He was a great man and he took a
liking for me, then aged seven years only and for my voice. He went to the extent
of purchasing a harmonium for me and started his lessons on an auspicious day.
When I think of him, I feel spiritual exhilaration. He would not like the lessons to
be reduced to writing. All was oral.' This is her account of the first stage (upto
varnam) of her training.
As her father Ramaswamy Ayyangar was transferred to Madras, she took
her tuitions for a short while under one Naganatha Ayyar. Then commenced
during 1 949-50 an enduring glorious study under Sangita Kalanidhi Mudicondan
Venkatarama Ayyar, who just then went over to Madras to join as the Vice
Principal of the Music College run by the Music Academy. Vedavalli joined the
one year diploma course. She used to go to VenKatarama Ayyar's residence also
regularly for training. She continued it with a scholarship she got. From 9 a.m.
330 ANOTHER GARLAND
to 8 p.m., she would be with him, follow him to concerts and even assist him in
classes. It was gurukulavasa in content and effect. He would present her with
knotty problems along with lessons and instructions like
Viralil ponal, Rural pogum. '
(If you concentrate on beats, melody will be lost)
'Sangeetham first; sahitya next.'
(Melody first, lyrics next)
Kathiri chedi kattai thattuvadu pol
nirkakkoodadhu.'
(Like the development of stumps in brinjal plant,
stagnation should not develop in music.)
'Follow my advice and not my practice.'
Both her gurus were laya experts and pallavi specialists. Venkatarama
Ayyar was an Ocean of Musical Wisdom ', says she.
Vedavalli was born at Rajamannargudi. With her rich training, she joined the
teaching staff of the Music College of the Music Academy in 1968 vice
Jayamma. After thirteen years, she joined the Central College of Carnatic
Music, Madras and continues.
Among her disciples, she mentions Ramani. AIRVainika, Abhiramasundari
and Catherine, a dedicated and successful French student. She was Preceptor
under the Government of India Scheme for Scholarships. She states that
alankaram in upper octave and swarajati were not taught in yester decades and
that gamakas were imbibed by following the guru. A successful teacher with
mature scholarship, Vedavalli combines dignified rendition with emotive music,
Honours and Titles:
Certificate of Merit & T.T.K. Award from the Music Academy, Madras.
Sangita Choodamani from Sri Krishna Gana Sabha (1 985)
Gana Kala Bharati from Narada Gana Sabha, Karur (1 992)
M.L VEERABHADRIAH - PERCUSSIONIST/PEDAGOGUE:
(191 4 -April 16,1989)
A distinguished percussionist, he was Lecturer for Mridangam in Bangalore
University. He was honoured with the Karnataka Sangeeta Nritya Academy
Award and the title of Gana Kala Bhushan by the Karnataka Gana Parishat.
ANOTHER GARLAND 331
K. VEERAMANI - DEVOTIONAL MUSIC ARTISTE: (August 13, 1936 - 1990)
Born at / Madras,
of M.K. Krishnakunjaram Ayyar and Bhagirati Ammal.
Veeramani hailed from a highly distinguished family of eminent tamil
scholar-composers like Kavikunjara Bharati and Kotiswara Ayyar (both
covered in SA Garland}. Had his musical training under uncle Nagamani,
Chernbai Vaidyanatha Bhagavatar, Sirkazhi Sadasivam Pillai, Madurai
G.S.Mani, etc. For devotional songs, he was the most sought-after musician
and enjoyed dedication and expertise. The large number of his disc recordings,
with prominent lady-artistes and without, are very popular. Has been a playback
singer for films. Raji and Krishna, his sons continue the tradition.
Titles and Honours:
Gandharva Gana Jothi by Srila Sri Santhananda Swamigal.
Arulisai Mamani by Navasakti Vinayakar Trust, Mylapore
Sabari Thenisai Mamani by lyyappa Bhakta Sabha, Salem-ldaipadi.
Karumari Gana Thendral by Madras Prabath Cultural Academy
Kaiaimamani by Tamil Nadu Eyal isai Nataka Mandram in 1982.
PANDA(NAI)NALLUR VEERASAMi - NAGASWARAM ARTISTE:
(20th Century Early part)
Veerasami was at Kumbakonam and was known for his honeyed melody and
delectable rendition. Sulamangalam Vaidyanatha Bhagavatar wrote in Ka//olong
back that dead wood would spring back to life if Veerasami played, that he was
able to bring enchanting melody and that he was very popular. Srivanjiam
Govindan provided percussion support on tavil to him,
Pandanallur has presented many renowned dancers and dance-masters.
T.S. VEMBU AYYAR - VOCALIST: (b. April 21, 1916)
Place of birth : Tiruvalangadu, Tanjore district. The village has a good
musical past
Parents ; Sankaranarayana Vajpeyar & Nagalakshmi Ammal.
Musical training under : Tiruvalangadu Sundaresa Ayyar, an eminent violinist
Umayalpuram Swaminatha Ayyar, a Sangita Kalanidhi.
Turaiyur Rajagopala Sarma and
Madurai Mani Ayyar, a Sangita Kalanidhi
(1939 onwards).
Debut : April 1 945 at Mayavaram with his guru Sundaresa Ayyar
on violin and Kuttalam Sivavadivel Pillai on mridangam.
332 ANOTHER GARLAND
From 1940 to 1969, he was providing voice support to his guru and relative,
Madurai Mani Ayyar and later was giving concerts on the All India Radio and
sabhas. Since 1986, he has stopped giving concerts. T.V. Sankaranarayanan,
the popular vocalist now, is his son. Vembu Ayyar is literally a link between Mani
Ayyar, the colossus and Sankaranarayanan, the maestro-in-the-making.
VENRIMALAI KAVIRAYAR - COMPOSER: (1624 - 1682)
Kavirayar had composed the Tiruchendur Sthala Puranam in 899 verses.
When Vadamalaiyappa Pillayan, a chief under Tirumalai Nayakar recovered the
icon of Muruga from the sea, Venrirnalai Kavirayar composed a song in raga
Madhyamavati starting with the lines, 'Eppodhu Devareer Ezhundaruliyadhu...'
giving the date of restoration as 1654 A.D. (When the idol of Rama was lost,
Tyagaraja is reputed to have sung the piece Nenendu Vetukutura -
Harikambhoji, meaning O! Hari, where can I search for you? Tyagaraja's is
before the recovery of the idol while Kavirayar's relates to post-recovery.)
KOLANKA VENKATARAJU - MRIDANGA ARTISTE: (b. 1908)
Born in a family of musicians, Venkataraju had his training in percussion
under his father Pedda Ramaswamy and Kakinada Muramalla Gopalaswamy.
His grandfather Venkayee was also a mridangist. Started accompanying
Dwaram Venkataswamy Naidu and taught mridangam at the Music College,
Vizianagaram for eleven years. He was on the Audition Board, All India Radio.
Honours and Titles:
Award From Andhra Pradesh Sangita Nataka Academy
Certificate of Merit From the Music Academy, Madras in 1 975
Award From the Sangit Natak Akademy, Delhi in 1 979
Sapthagiri Sangita
Vidwan Mani From the Tyagaraja Trust, Tirupati in 1 992.
KUNDRAKUDI VENKATARAMA AYYAR - VOCALIST: (19th Century)
'Majestic gamaka-laden voice with perfect sruti and laya' marked the
rendition of Kundrakudi Venkatarama Ayyar who came of a musical family. Lived
at Sivaganga, Had his musical training under his father, Subba Ayyar. He had
choreographed many songs including those of Vedanayagam Pillai, the
well-known tamil poet- scholar-Munsif. Ayyar's rendition is praised in lavish
terms by Kaviyogi Suddhananda Bharati. His daughter, Balambal was in the All
India Radio, Madras. Sangita Nataka Sabha had honoured him.
ANOTHER GARLAND 333
TINNIYAM VENKATARAMA AYYAR - MRIDANGIST & VOCALIST: (1900 -)
Was born at Tinniyam village, Tiruchirapalli district, of Vaidyanatha Sastrigal.
Had his training in mridangam and vocal under Tinniyam Sethurama Ayyar.
Venkatarama Ayyar had special training under Tiruvaiyaru Subramania Ayyar in
laya intricacies. Made his debut in 1912 and has accompanied all prominent
musicians. Ayyar earned the unique distinction of being both a vocalist and a
mridangist (now TV. Gopalakrishnan enjoys the privilege) and was honoured
with a Certificate of Merit in 1959 by the Music Academy. He had shaped the
destinies of many young aspirants. Was a very accomplished, competent artiste.
Commended respect for his deft fingering, purity of rhythm and tonal creations.
His demonstration of Panchagati Mora on mridangam before the Experts
Committee was very much appreciated.
Publications:
The Art of Playing Mridangam
Pallavi Ratnamala.
* * *
ENNAPADAM VENKATARAMA BHAGAVATAR - VOCALIST & MUSICAL
DISCOURSER: (February 21, 1880 -)
Place of birth : Ennapadam in Cochin State.
Parents : Padmanabha Ayyar & Sitalakshmi Ammal in a family
devoted to the twins music and Sanskrit
Musical training : Under his elder brother Ratna giriswara Bhagavatar
from his eleventh year and Noorani Parameswara
Bhagavatar (Ayya).
The brothers were giving concerts as duo and after the demise of the elder,
Venkatarama Bhagavatar was giving solo and musical discourses also.
Bhagavatar attended the All India Music Conference at Baroda in 1912 with
Veenai Krishnamachariar and others. In earlier years, he had acted as second
to musical discoursers.
He was giving quite a large number of concerts and was honoured by
Kollengode, Cochin, Travancore and Mysore Samasthanams. Was honoured
by the Music Academy in 1959 with a Certificate of Merit. Has composed a
ragamalika in 108 ragas.
334 ANOTHER GARLAND
MELATTUR VENKATARAMANA SASTRi - NATAKA MELA MAESTRO:
(19th Century I half)
Melattur near Tanjore is a fine specimen of a cultured village which has
mothered titans like Tsoukam Virabhadrayya, guru to the renowned Ramaswami
Dikshitar Creativity adopted this place for prosperity in the twin arts of music
and dance. The extensive flat terrain with lushy surroundings, interwoven and
intersected by bunds big and small symbolic of gamaka modulations - pathways
and cart-tracks - long and short denoting extensive raga delineations - lend
beauty and charm. The green paddy fields in diverse geometric shapes illustrate
the variety of compositions like kritis, javalis, tillanas, etc; the serpentine
channels ought to have inspired swara prastaras; and the majestic river abutting
the village on the north bringing in the rejuvenating waters from the
Tanjore-Tiruvaiyaru Belt should signify the great traditions and the boundaries
indicated by Lakshana sangeetha.
Sevappa Nayak, Viceroy of Vijayanagar at Tanjore, set up an independent
principality thus founding the Nayak Dynasty in 1572. He was succeeded by
Acchyutappa and then by Reghunatha (1600 - c.1634), a liberal patron of arts
and literature. He granted Melattur as inam to 501 brahmins with the specific
intention of promoting art. That led to the birth of the distinct art of Nataka Mela
which is celebrated annually there. It is neither a drama nor bharatanatya, nor
musical concert nor discourse. It is a combination of all well-balanced by
hereditary artistes and enacted.
If Bhama Kalapam is the sheet anchor of Kuchipudi, 'Prahlada Char/tram'
is the prize-play of Nataka Mela of Melattur. This and nine others like Rukmini
Kalyanam, Harischandra, etc., were composed by Venkataramana Sastri. The
dance drama he introduced based on puranic themes combined the grace and
aesthetics of bhava, raga and tala, the three essentials of sangeetha. Sastri was
playwright, choreographer, trainer, director and manager of the group which
performed. His plays were all in telugu and Sanskrit. Markandeya Charitram,
Dhruva Charitram and Sita Kalyanam are among the natakas Venkataramana
Sastri composed.
Subbarama Dikshitar in his Sangita Sampradaya Pradarsini says that Sastri
was eminent in composing in kaisiki riti, the most graceful of the styles of
composing. Dr. V. Raghavan says that the sampradaya of I/sen/ swarajati goes
back ultimately to Sastri and that the particular line of creativity was important
for yakshagana. In the natakas, rakti ragas have been mostly used. It is seen
that Sastri was attracted by and laid stress on youth, the creative period as is
seen from his selection of Prahlada, Markandeya, Dhruva, Sita and Rukmini for
his themes. After all he was moulding the youth of the area for dramatis
personae and no wonder, he felt in tune with the 'Spirit of Youth - the Eternal
Youth of Music and Dance'. The Mela is held during the Narasimha Jayanti at
ANOTHER GARLAND 335
Melattur and very occasionally at Saliyamangalam, Uthukadu, Nallur and
Thepperumanallur. Uthukadu gave its Venkatasubba Ayyar of Krishna Gana
fame and the last village gave a 'Sivan', the symbol of charity who fed millions
of hungry people. Saliyamangalam did not follow the dance-dramas of Sastri but
those of Bharatam Panchanatha who lived there and wrote his plays in telugu.
Dance-drama has had a hoary antiquity in the Cauvery Delta. Set in
Pat/yan?(verse) in various metres with descriptive passages, narrative links,
dialogues and songs, the dramas present the characters dancing and gesturing
to bring out the emotions and meaning. They are enacted in the open in the
street near the temple. The audience occupy house-steps, pials and the open.
( I had done it in 1 961 .)The happy wedding of story with narration, music, dance
and exposition was the delight of the area though in recent decades, the interest
is less due to the presence of more sophisticated modern avenues for
entertainment. The organisers have made minor improvements to suit the
challenge of the times. Probably ladies ktoo are likely to be enlisted to play
female roles. It is to the credit of Sastri that his nataka melas are still held in
spite of the aggressive counter-pulls facing them.
Venkataramana Sastri was the son of Gopala Krishna Raya and a disciple
of Lakshmanarya. A great composer, vocalist, sarangi player, actor(lady role)
and a contemporary of Tyagaraja, Sastri is one of the luminaries of the Golden
Age of Carnatic music.
SONTI VENKATARAMANIAH - EMINENT VOCALIST: (18th century)
Sonti Venkatasubbiah was an eminent vocalist and composer who adorned
the court at Tanjore with distinction and fame. His son Venkataramaniah was
equally a distinguished vidwan and was guru to Tyagaraja. Mysore
Vasudevacharya records a narration of Vina Subbanna that on hearing the
arrival of Sonti Venkataramaniah , the Mysore Palace Vidwan and Counsellor
Venkatasubbiah, son of Kuppiah received him at the door and requested him to
sing Dwijavanti raga. Visitor Venkataramaniah picked up his tambura suddenly
and walked out to come back a year later and give a thrilling rendition in
Dwijawanti. The captivated Venkatasubbiah ran to the palace and fetched
Mummadi Krishnaraja Wodeyarthe ruler to hear the fascinating rendition, which
he thought was for royalty and gods to hear. The generous king retained
Venkataramaniah, made him a Court artiste on an honorarium of sixty Varahas
and maintained him in comfort. He honoured him further with
kanakabhishekam. It is said that Venkataramaniah's wife performed sati when
her husband died and sponsor Venkatasubbiah who lived a life of affluence
made generous gifts on the occasion of the last rites to Venkataramaniah
couple in token of his great respect.
336 ANOJHER GARLAND
Vasudevacharya further records that during the reign of Krishnaraja
Wodeyar IV, the ragalakshana of raga Atana came up for discussion. On the
issue whether Antaragandara was permissible, Vina Seshanna explained that
he had been taught a lakshana geetha in Atana composed by Venkataramaniah
in praise of Venkatasubbiah in which antaragandhara had been used and
demonstrated it by singing the geetha.
It is unfortunate that fuller details of such stalwarts are not available.
V.K. VENKATARAMANUJAM - VIOLINIST/VOCALIST: (b.1931)
Son of V.K. Krishna Ayyangar, Venkataramanujam belongs to a musical
family. Had his training under his father and then under Thenmatam
Varadachariar, T. Krishnaswamidas and Veena Krishnamachariar. Made his
debut in his thirteenth year and appeared for the All India Radio in 1950. Had
played duo with T.K. Jayarama Ayyar, an eminent violinist. Was Reader in Violin
at the University of Benares and there he started a gurukula,
Publication : Tyagaraja (in hindi)
Sangita Man! Mala
Honours : By the Madras Music Academy in 1 984,
Venkataramanujam is noted for the pleasing aesthetic rich tone of his violin
play. Has tuned Tulsidas compositions and has composed songs.
T, VENKATA RAO - VEENA ARTISTE: (b. 1 905)
Grandson of the Asthana Vidwan of Mysore, Karigiri Rao and son of
Narasinga Rao, Venkata Rao learnt veena from his grandfather and has
travelled extensively. His lectures on the science and art of veena play are
weighty and he has composed gitas, varnas, kritis, etc.
LAVANI VENKATA RAO - COMPOSER: (19th century middle)
Author of the famous Bahattara Mela Ragamalika in marathi, Venkata Rao
was a fine composer and musician. Asthana vidwan in the court of Shivaji II of
Tanjore, his magnum opus was set to music by Maha Vaidyanatha Ayyar, who
later composed one in Sanskrit to free himself from the cult of 'narastutf (praise
of man). The Melaragamalika uses 72 mela names from Kanakangi to
Rasikapriya.. Vaidyanatha Ayyar has introduced chittaswaras to each section.
Lavani, the word, is described as a variety of folk songs in marathi. Many
sonas in tamil too have been comoosed in like stvle in criso eatchv tunes.
ANOTHER GARLAND 337
UTHUKADUVENKATASUBBAAYYAR- COMPOSER & DIVINE:
1A Garland' presents the biography of this eminent composer of Krishna
Gana songs and the Navavarana kritis. When the Bard of Uthukadu
Venkatasubba Ayyar died, Syama Sastri was a child of three years and the other
two of the Trinity were yet to be born. Since Venkatasubba Ayyar occupies an
unique place in the line of divine minstrels and composers in tamil and Sanskrit,
a few more facts are presented here.
While his love of Krishna was total and without a parallel, his bhakti for
Muruga too is seen to be non pare/7 since he throws open his own sublime heart
to Him to provide a warm, human, affectionate abode - the seventh. Having
done so, he extols Muruga as 'Or Ezhu Padai Veedu Kanda' - a lustrous
imagination. Having surrendered his heart to Muruga and his soul to Krishna,
Ayyar lived a sublimated life of a lofty recluse. 'Rhythmic excellence and
soul-filling music of his has all the elements of bharata natya like alarippu,
sabdas, jatiswaram, varnam, javali, tillana-jatis and varnamettus and have
therefore become the favourite of dancers', say Alamelu and Seetharaman,
scions of the Uthukadu family. Rudrapatnam N.Tyagarajan mentions that the
Uthukadu maestro wrote Rudra Sabdam, Nandana Geeta, Rajagopala
Nityotsavam, Kalinga Nartana Prabhavam and Sri Krishna Ganam with a part
in kriti form known as Raasa padam. No signature has been adopted for his
compositions which are all his dedication to his favourite gods, The Oothukadu
Venkatakavi Academy, Madras 600 004 constituted in 1988 proposes to
propagate his works. The rose faded out long back but its fragrance has crossed
the frontiers of his native land 225 years after his lifetime. That is a tribute to his
amaranthine songs, their beauty and vitality.
Son of Vadula Ramachandra and Kamala Narayani, Ayyar was born in the
month of Aipasi (Saptami-Makham star) (October - November) at Mannargudl
He had learnt elementary music from Pooranur Natesa Bhagavatar alias Raja
Bhagavatar and could find none to teach him further and ultimately found his
'manasikha' guru in the Lord Himself.
' Privilege of a classmate went to Kuchela;
Fortune smiled on Kalingan to provide the dancing pad;
Vijayan was favoured for the Bhagawad Gita discourse;
Sankeertan is reserved for me to hear', he claims.
Needamangalam Krishnamoorti Bhagavatar gets the full credit for the
propagation and providing notation for the Uthukadu songs. He says that Ayyar
was blessed with God vision when singing -
Puna/ Peru Vellat Tamizh - an agavarpa
Idu Oru Thiramamo - in Begad a and
Kayambu Vannane N ilium - in M an i rang.
338 ANOTHER, GARLAND
Ayyar has 'followed the kriti pattern of the earlier composers (Purandara
Dasa and his elder contemporary Annamacharya) and the kannigal pattern
(number of stanzas sung to the same tune) of the Divya Prabandham of the
earlier Alwars and sollukattus and sahityas for them are in abundance in his
compositions'. — (Prof. K.R. Rajagopalan)
Once the Tanjore Court was discussing the merits of raga
Varunapriya' (24th mela)which is credited with bringing rains. It is said
that it should be sung under the jujube (ilandai) tree or at the north-west
corridor of a temple or a place south of a vanni tree. Venkatasubba Ayyar
was requested to prove the efficacy of the raga, 'Mega Rajumam' is the
preliminary raga to attract white clouds. When Mela Ranjani raga is
sung, the clouds turn black. Rains start and continue as long as the
musician sings 'Varunapriya' and the audience stays put enjoying the
downpour of melody-inducted rains and rain-soaked melody. Ayyar
proved it and the ruler was thrilled. Venkatasubba Ayyar was a Tyagaraja
in life who had sacrificed everything and what could the ruler present him
with? Venkatasubba was placed in a palanquin and was taken round the
temple with the ruler presenting his broad shoulders to bear it on one side!
Krishnamoorti Bhagavatar avers that this unique honour had been
extended only to Swami Vivekananda by the Rajah of Jaipur (and the
Rajah of Ramanathapuram by drawing the chariot) and a saint honoured
likewise by the Rajah of Benares using a palanquin.
Venkatasubba Ayyar went upto the Narmada River with two of his disciples
- Pozhagudi Jagannathan and Annavasal Nilakanta Makhi and embraced
immortality. Thirty-seven out of his 289 songs have been published with notation
and seventy-nine without. His idol is kept in the Uthukadu temple. What is now
required is, perhaps, a regular annual aradhana.', opines Prof. K.R. Rajagopalan
in Shanmukha.
The poet, musician and mystic was a life-long celibate. R.Rangaramanuja
Ayyangar records that the songs were all preserved in huge bundles of palm
leaves lodged in earthern pots and passed on for seven generations among his
brothers' families and brought to light only at the dawn of this century. Ayyar is
a fragrant link between Purandara Dasa and Kshetragna and the Carnatic Trinity,
S. VENKATASUBB1AH - VIOLINIST: (20th Cent)
Son of Sampige Ramayya and Gundamma, Venkatasubbiah learnt violin
under Samanna, made his debut in his eighteenth year and had accompanied
distinguished top vocalists like Tiger Varadachariar and Vasudevachariar. He is
reputed to be highly talented in rendition of kritis and elaboration of ragas,
ANOTHER GARLAND 339
KAVI VENKATASURI SWAMIGAL - COMPOSER: (1817 - 1889)
Hailed from Ayyampettai in Tanjore district. A scholar in Sanskrit, telugu,
marathi and sourashtra and well-versed in music, he was honoured by Shivaji
Maharaja of Tanjore with the title of Venkata Suri'. A staunch disciple of
Wallajahpet Venkataramana Bhagavatar, prime disciple of Tyagaraja, he has
authored many works such as —
i". A Sanskrit translation of Nauka Charitram. His disciple Salem Puttah
Azhagarayyar has translated it into sourashtra.
ii. Sourashtra Ramayana following Arunachala Kavirayar's Rama Natakam.
This earned him the honorific of 'Sourashtra Kavi Chakravarti'
Prof. Sambamurti says, 'His charming and racy style, his poetic gifts and
imagery and his capacity for vivid and colourful portrayal of incidents are
all patent in this work'.
Mysore Sadashiva Rao, Sathur Fiddle Kuppuswami Ayyar, Chittoor Kanjira
Radhakrishnayyan and his brother Jalra Ramayyar and Rayavelur Pallavi
Ellayya (an artist whose pictures are reportedly available) were among his
co-pupils in the Wallajahpet line. He preserved for posterity the dates of birth of
his guru and of Tyagarajah on a cadjan leaf which helped in determining their
periods correctly.-
* * *
YELLA VENKATESWARA RAO - MRIDANGIST: (20th Century)
Son of Yella Ramanathan, Venkateswara Rao had his training under Yella
Somanna and made his debut at the age of seven. He has provided percussive
accompaniment to prominent Hindustani and Carnatic artistes. He is Member,
Syllabus Committee, Andhra Pradesh State Technical Education Board and
Chief Examiner for Diploma and Certificate candidates. He has been coaching
a large number of students.
He has set up a world record of non-stop mridangam play for 26.5 hours.
Got the 'Hoso Bunka' Award from Indonesian authorities for his 'Siva
Thandavam1 and a National Award for his 'Nava Mridanga1 concert in pallavi set
in various patterns.
CHILAKALAPUDI VENKATESWARA SARMA - MUSICIAN: (1895 )
Was born at Srikakulam and qualified himself in Sanskrit and telugu getting
'Ubhayabasha Praveena' of Andhra University. Venkateswara Sarma worked
as telugu pandit for thirty years. Adiscipleof Parupalli Ramakrishnayya Pantulu,
Sarma was giving concerts since the second decade of this century.
340 ANOTHER GARLAND
Venkateswara Sarma has been a Member, Central Music Audition Board, All
India Radio and Examiner in Music for A.P. Government and Andhra University.
Was Head of Gurukula, Vijayawada started by Andhra Pradesh Nataka
Academy. Has translated standard Sanskrit treatises into telugu.
In appreciation of his services, the Music Academy, Madras honoured him
with a Certificate of Merit in 1 962.
VIBHULANANDHA SWAMIGAL - MUSICOLOGIST: (March 26, 1892 - 1949)
Was born : at Karerumuthur of Mattakalappu, Ceylon,
; of Sami Thambiar and Mannammai.
Qualifications : B.Sc, (London)
Diploma from the Government Engineering College
Pandithar of Madurai Tamil Sangham.
Posts held : Teacher, St Michael College, Mattakalappu.
Lecturer, StPatric College.
Prof & Head of Department of Tamil, Ceylon University
and then Annamalai University (1931-33)
Prior to his initiation and joining the Rarnakrishna Mission in 1924, he was
known as Mayilvahanar. He started the Arya-Dravida Basha Development
Sangham, translated many works including Tagore's Gitanjali, edited the
prominent journal Prabhutha Bharata during 1939-42 and authored 'Matanga
Choodamani' on dramatic tamil and Yazh Nod, a research work of considerable
merit.
The ancient Tamils in the South had been sedulously cultivating musical art
and yazh was the most prominent instrument though it came to be lost in
mediaeval period. Swami Vibhulananda reconstructed Sruthi Veenato explain
the old twenty-two srutis.
VIDYARANYA - MUSICOLOGIST AND FOUNDER, VIJAYANAGAR EMPIRE.
(1320-1380)
Sri ChandrasekharendraSaraswati Swamigal of Kanchipuram has made the
following illuminating allusion to the prestigious achievements of Advaitic Jnanis
even after their attaining 'siddhi in athmanubhuti':
' Janaka of Brahadaranyaka and Janaka, Sita's father have been
distinguished rulers even after siddhi. Adi Sankara, the foremost of
advaitis, had not only made extensive tours of Bharath in the short
span of his life but had won many an intellectual battle, besides
writing bhkshyas, grantas, etc., and establishing mutts, temples, etc.
ANOTHER GARLAND 341
Later Vidyaranya who held sway over one of Sankara's mutts founded
' and set the Vijayanagar empire on the road to prosperity. Samartha
Ramadas was the guide and philosopher to Maharajah Shivaji in found-
ing and developing the Mahratta Empire. Founding the Nayak Dynasty
at Tanjore and acting as Prime Minister to the first three rulers of the
dynasty was the achievement of the confirmed advait Govinda Dik-
shitar.'
His Holiness was citing these examples to show that advaitic jnanis were no
bone-dry rustic recluses but had been great administrators too.
Vidyaranya was the patron-saint and founder of the Vijayanagar Empire and
was minister and teacher to the rulers Harihara and Bukka I. He belonged to
the Sringeri Mutt traditions. His exalted eminence is portrayed in a plaque
showing him as teacher to the said ruler in the Sankara Mutt at Rameswaram.
Had authored many works like 'Panchadasi' and 'Anubhutiprakasam' bringing
out the essence of Upanishads. With his brother Sayanachariar, he has written
commentaries on Vedas also.
His contribution to Carnatic music was equally conspicuous. His work
'Sangita Sara' was a source of inspiration to later writers. 'Sangita Sudha* of
Rfeghunatha Nayak specifically acknowledged that it was written after
consulting 'Sangita Sara'. The word Vidyaranya' means 'Jungle of Knowledge'
and his work means The Essence of Music'. It dealt with fifty ragas then in
vogue. Its Mela classification was much older than that of 'Swaramela
Kalanidhi'. Fifteen melas are reputed to have been referred to in connection
with janaka and janya ragas. Unfortunately the original work either lies
embedded in the unreached labyrinths of past scholars now in the hands of
unintelligent owners or had been lost.
VIDYASHANKAR - VAINIKA& PEDAGOGUE: (b. Deer. 28, 1919)
Daughter of C.S. Ayyar, author, musicologist and violinist well known for his
scientific approach to the art of music and niece of Sir C.V. Raman, Vidya
Shankar is —
a graduate in Arts and Teaching and
a disciple in veena and vocal music of T.S. Sabhesa Ayyar, Madras
Sabhapati Ayyar, SyamaSastri (grandson of the Trinity-fame composer)
and T.L Venkatarama Ayyar.
She made her debut in 1 935 at Bombay. She is noted for the traditional style,
purity of rendition and lucidity of exposition. She has been giving veena concerts
over the All India Radio and elsewhere. She has evolved effective methods for
342 ANOTHER GARLAND
Academy, Madras, which had awarded the Veena Shanmughavadivu Prize
her in 1973.
Publications:
The Compositions of Syama Sastri and his Descendants (with gamaka notations).
Biography of Syama Sastri (NBTI)
The Art and Science of Carnatic Music.
Vidya Shankar had the unique distinction of being trained by a dire
descendant of Syama Sastri and naturally is the principal interpreter of Sast
Her immrndr mudicianship and expertise are in constant demand f
lecture-demonstratios, workshops and lectures. She has helped the emine
Dr. V. Raghavan in his research work for two years and has been impartir
training in veena, vocal and Sanskrit for over four decades with merit and cred
In his foreword to her book The Art and Science of Carnatic Musi
T,S. Parthasarathy has observed:
1 Vidya Shankar, eminent vina artiste and musicologist, has an original approach tot!
problem of srutis and has contributed some original thoughts... has contributed sor?
original thoughts (on) the complex problem of srutis.'
Occupation & assignments:
Kalakshetra, Madras : Taught music, mathematics and Sanskrit - Two years.
Vidya Mandir : Taught mathematics and Sanskrit - Two years
Central College of
Carnatic Music,
Madras : Taught musicology and music, -Two years.
Totally devoted to the art and science of Carnatic music, Vidya Shankar is i
respected artiste in the musical sphere.
VIJAYA DASA - COMPOSER: (1687 - 1 763
'So sublime is the spiritual content,
So elegant and graceful is the expression,
that among the Haridasas, Purandara Dasa and Vijaya Dasa
stand prominent as the most distinguished kirthanakaras',
wrote M,V. Krishna Rao, Vijaya Dasa's suladis on diverse themes are
famous. He was born at Chikalaparuvi in Raichur district, and as it should be;
in a poor family.
ANOTHER GARLAND 343
B.S. VUAYARAGHAVAN - VOCALIST: (20th Century)
Vijayaraghavan hails from a musical family based in Shirnoga in Karnataka.
Grandfather Ramiah was a Palace musician and dancer. Father Seshappa was
a musician and the late Devendrappa was his uncle. Vijayaraghavan is Reader
in Vocal Music in the University College of Fine Arts, Mysore.
* * *
N. VIJAY SIVA - VOCALIST: (b. March 29, 1 967)
Vijay Siva, son of Narayana Siva and Akhila Siva and disciple of Sangita
Kalanidhi D.K, Jayaraman, is a prominent rising star in the firmament of
Classical Carnatic Music. A graduate from the Vivekananda College, Madras,
he had his early lessons in music from his mother, a qualified vocal musician
from Carnatic Music College, Madras. Siva is an 'A' grade vocalist with All India
Radio. Is a mridangist too having undergone his apprenticeship under
Kumbakonam Rajappa Ayyar and Srirangarajapuram Jayaraman. Learnt
devotional hymns in tamil from Somasundaram, a disciple of Dhandapani
Desikhar. Made his debut in 1974 at a sabha in Pallavaram.
Siva has a high-pitched voice with a fondness for the upper octave and has
a keen robust approach to concerts. Has been giving a large number of concerts
on the All India Radio, sabhas, etc., and enjoys popularity. Besides, he is a stage
and television actor. An active artiste, he is the Founder-Secretary of YACM
(Youth Association for Classical Music) for the promotion of young musicians
and was connected with Spic-Macay, another association with similar ideals and
projections.
Bharat Kalachar, Madras conferred the title of Yuva Kala Bharathi on him in
1988. Siva has won numerous prizes besides getting the Government of India
Cultural Scholarship for Vocal Music from 1979 to 1987.
Has given cassette recordings.
To quote the words of his guru D.K. Jayaraman, 'Siva started identifying ragas
at the age of seven and started his training under me (DKJ) at ten. At thirteen
he began with ragas and started giving concerts at sixteen. Now he is himself
a teacher/
LALGUDI J. VUAYALAKSHMI - VIOLINIST: (b. April 16, 1966)
Daughter and disciple of Violin Maestro Lalgudi Jayaraman, Vijayalakshmi
commenced her lessons early and had the benefit of listening since childhood
to her brother GJ.R. Krishnan and several disciples having their lessons under
344 . ANOTHER GARLAND
her father. It was thus a gurukulavasa for her to listen, imbibe, practise and
graduate. Made her debut in 1 979 and has accompanied both her father and her
brother Krishnan as duo or trio, She has been giving vocal concerts too on the
All India Radio. Musical legacy, parental training and immense exposure and
practical experience by playing with her father and / or brother have invested
her with a flair for confident alluring play to present satisfying classical music.
A post-graduate in English Literature, she has interest in sketching and
painting. As is the father, so is the daughter. Vijayalakshmi too has commenced
giving vocal concerts at sabhas.
Concert tours ; Trio trips: USSR, UK, Malaysia,
Singapore and Indonesia.
Duo with brother GJ.R. Krishnan: USA.
GHATAM VILVADRI AYYAR - GHATAM ARTISTE: (1901 - No More)
Born in a family of experts in percussion and kathakali, of Tiruvilvamalai
Subramania Ayyar, Vilvadri Ayyar had his training under his brother Palakudali
Parameswara Ayyar. A renowned chanda player, he initially played for the
dramas staged by his brother and for harikathas providing mridangam support.
In 1936, he switched over from mridangam to ghatam and became a virtual
upavadya accompanist for long at all concerts. His play was exhilarating and
popular. The Music Academy honoured him with a Certificate of Merit in 1 966.
ERODE VISWANATHA AYYAR - VIOLINIST: (1906 - No more)
Viswanatha Ayyar specialised in pallavi, swaram and neraval. His violin play
was soothing and satisfying and the tone he developed was pleasing to hear.
Had his training in vocal under his father, Nochur Ramaswami Bhagavatar and
violin under Mayavaram Subba Ayyar and Marungapuri Gopala Krishna Ayyar.
His father was a disciple of Trivandrum Parameswara Bhagavatar and
Talagnayar Somu Bhagavatar. Viswanatha Ayyar was born at Nochur near
Palghat and made his debut in 1924.
The Music Academy, Madras honoured him with a Certificate of Merit in 1 966.
ANOTHER GARLAND 345
T.G. V1SWAN ATH A BHAGAVATAR — VOCALIST: (Died 1 985)
Father and Guru : Gopalakrishna Bhagavatar, a violinist.
Had further training under Palghat Anantarama Bhagavatar. After training,
he became instructor in music in a school for the members of the Cochin royal
family. Later he was Professor of Music, Kerala Varma College, Trichur. After
retirement he ran a music school at the pilgrim centre of Guruvayur. Was giving
concerts on All India Radio and at sabhas. For the first time, he introduced
kathakali songs and sopana sangita in concerts. Again for the first time, he
recorded a selection of kathakali padas for H.M.V. in 1942. T.V. Gopalakrishnan,
Ramani and Vasan are his sons.
VITTAL RAMAMURTHY - VIOLINIST; (20th Century)
Place of birth : Nidle - Dharmasthala
Parents : K. Subbaraya Hebbar and S. Krishnaveni.
Training in music under : Hosahalli K. Venkatram, Shimoga
T. Rukmini, Violinist.
Lalgudi G. Jayaraman.
General qualification & B.Com. Working as accountant in a financial concern,
post held :
Debut : At Sringeri Sharadamba Temple
Ramamurthy has been giving accompaniment to a large number of artistes
in sabhas, Radio and Doordarshan. His violin play is sweet and tone attractive.
ROBUST APPROACH
Dr. N. Ramanathan : Dikshitar brought in shades of Hindustani music. Was Carnatic
music inadequate?
Sandhyavandanam Srinivasa Rao : It is not inadequacy of Carnatic music but
Dikshitar found, with his intensive training in Hindustani music, that Carnatic music gets
enriched by adding shades of the styles of its consanguineous sister and that the ragas
thereby bestow greater pleasure while not compromising on their own integrity. While his
composition indicates strict adherence to tradition, it is seen that he had a revolutionary
instinct in drawing on english tunes and band notes too.
COMMEMORATIVE STAMPS TO HONOUR CARNATIC MAESTROS
(TRIBUTES BY THE INDIAN POSTS & TELEGRAPHS DEPARTMENT)
ANOTHER GARLAND
PART HI
CHECKS and BALANCES
*Bhakti as expressed in Muthuswami Dikshitar's songs is controlled by jnana ;
Emotion is subdued and not demonstrative. *
— TL Venkatarama Ayyar in MAM Souvenir 1956
346 ANOTHER GARLAND
A
GREAT EVENTS, MEMORABLE INCIDENTS AND UNIQUE RECORDS.
TIRUKURAL:
The Tamil Veda 'Tirukural' , set to music by Mayuram T.R. Viswanatha Sastri,
was sung first by vocalist S. Rajam on the All India Radio as other vidwans were
disinclined to take the trouble of rehearsing and singing them. Later a two - year
serial broadcast of the songs with M.M. Dandapani Desikhar and
RA. Perianayaki took place.
INDEX OF SONGS AND RAGAS:
i. Prof. Gowri Kuppuswami and M. Hariharan have indexed, in their book ' Index
of Songs in South Indian Music ' , 1 001 4 songs of South India with details of
raga, tala, language and author with cross indices. 200 composers, 400
ragas, 1 0 talas and seven languages are covered.
ii. Dr. M.N. Dhandapani and D. Pattammal, in their 'Raga Pravaham', have
indexed the arohana and the avarohana with other details of 5000 ragas
melakarta - wise.
iii. B.M. Sundaram has brought out, in his ' PalaiAzhi ', a compendium of over
3000 raga scales.
iv. Violin maestro T.K. Jayarama Ayyar prepared a conspectus but died before
publishing it
v. Ludwig Pesch has brought out a beautiful pocket guide - Vide Part II for
details in his biography.
vi. Maha Vaidyanatha Ayyar presented td Umayalpuram Swaminatha Ayyar a
manuscript giving the arohana - avarohana of the 72 melakartas and of over
1000 janya ragas, raga lakshana gitams of over three hundred ragas, etc.
Perhaps it is available with the descendants !
vii. Mazhavarayanendal Subbarama Bhagavatar kept a note-book detailing the
72 melas and 1 758 janya ragas with the arohana and the avarohana of each,
besides thirty varnas (1 9 of them rare) and sixteen tamil padas of Mazhavai
Chidambara Bharati. Sangita Kaumudi of Tiruvaiyaru Subramania Ayyar and
Sangita Swara Prastara Sagaram of Nathamuni Pandithar are also stated to
contain inventories of raaas. etc.
ANOTHER GARLAND
All these could be digested.
* * *
UNIQUE COLLECTIONS:
i. V.A.K. Ranga Rao, Madras, a well-known critic and expert in Arts,
collected 2500 numbers of 78 rpm gramaphone records of vocal
instrumental Carnatic songs relating to 1904 - 1974. The collectic
remarkable for its unique variety, size and coverage. A colossal effort a
monumental achievement. Does it qualify for an entry in the Guinness I
of Records?
ii. Sampradaya, Madras has built up an archive of taped music of veteran
the benefit of music-lovers to hear and enjoy besides doing research.
iii. S. Rajagopalan, 16 Postal Colony IV Street, Madras 33 has garnen
unique collection of 65 cassettes featuring Palghat Mani, the percus
wizard. Individual artistes have now their own collections. Some have it r
Yesudas, for instance. 'After 31 years of singing career, I think I I
committed a great mistake in not collecting my songs then and th
Yesudas has all the facilities with a separate set - up, the Tarangini. Ve
Balachander too had minuted that ' only midway during my veena caree
it dawn on me that I should collect and preserve '.
* * *
A WATERSHED:
The Madras (1927) Session of the All India Congress Committee adoptee
historic declaration of complete independence as the goal of India (and achu
it two decades later). The All India Music Conference held concurrently dec
to found the Music Academy at Madras to promote classical music, The Acad
was inaugurated in the autumn of 1928 by Sir C.P. Ramaswami Ayyar
Dr. U. Rama Rao as its Founder-President. Its advent was historic. Dr. R
Rao was succeeded by K.V. Krishnaswamy Ayyar, T.L. Venkatarama A>
T.S. Rajam, K.R. Sundaram Ayyar and the present President T.T. Vasu.
* * *
FIRST BOOK:
1 Chembai Selvam ' authored by Ellarvi is probably the first full sketch boo
a performing artiste. '
— Dr. V. Ragha
* * *
TRUTH VINDICATED:
" Why, some may ask me, all this preference for India ? But what praise
348 ANOTHER GARLAND
there be for what has already been so highly praised...! know that in this land lie
the wisdom and the ideas beyond dispute. AH branches of philosophy are.found
here. They Can speak all the languages of the world. "
Amir Khushro of the thirteenth century records so in his 'Nuh Sipihr'. His
paternal ancestors were Turks and his mother was of Indian origin. His love of
India exudes profundity
* * *
A STRANGE MUSICIAN:
'A Garland' carries a life-sketch of Sakharama Rao of Tiruvidaimarudur. He
was perhaps the lone musician then handling the rare instrument gottuvadyam;
used only hand-woven cloth made out of yarn spun by himself. Surely he takes
his rank with Mahatma Gandhi and Vinobha Bhave ! He found facility and time to
play badminton too in his day and in that rural village of refined culture and
cultured refinement . He accepted concerts only when his purse was empty !
* * *
GORMANDIZER:
Ramnad (Poochi) Srinivasa Ayyangar, a gracious guru, top-ranking vocalist
and a composer of sparkling pieces, enjoyed another reputation too. Mysore
Vasudevacharya records:
' Doreswami Ayyangar, the disciple, went in and returned with a huge plate loaded with
idlies and a big vessel filled with ghee. He placed before his guru a silver plate on
which he heaped about twenty-five idlies and literally poured ghee over them. Before
I could recover from my shock, Poochi had polished off the idlies! He then poured
down his throat hot coffee not from a cup but from a small pot! There was an expression
of satisfaction on his face. The breakfast had been as gigantic as his sadhaka!'
The guru had his glut; what about the disciples ? Were they starving idle
witnesses to the exhibition of gluttony? No. That was the beauty and glory of
gurukulavasa. Acharya records:
1 When the students also had their share of the idlies, Begada varnam was resumed'
(from the point at which idlies had called halt),
The tamil saying is ' If there is no food for the ear, it shall be given for the belly1,
Gurukulavasa (and Poochi) took care of both.
* * ' *
THE CURTAIN FELL:
Palaces and Courts of rulers and chieftains were epicentres promoting arts.
Long before independence, Poet Subrahmania Bharati warned that these pillars
of patronage would crumble soon. Here is a specimen of how his warning came
true:
ANOTHER GARLAND 349
1 The Mysore Palace terminates with effect from May 1, 1959 the services of Mysore
Palace Vidwans, viz.,
K. Vasudevachar S.N. Mariappa
Chintlapalli Venkata Rao V. Doreswami lyengar
T. Chowdiah R.S. Subramaniam and
N. Chennakesaviah D. Seshappa.'
— A Palace Order.
* The artistes were the flowers of fragrance in the Palace Garden of Carnatic
Music but the abolition of (royal) privy purses rendered retrenchments inevitable.
UNIQUE HONOURS:
i. Sonti Venkataramanayya (Guru to Tyagaraja) and Pallavi Doraiswamy Ayyar
were recipients of 'Gajarohaham* - elephant riding while Ramaswami Sivan
and Maha Vaidyanatha Ayyar were brought in procession on the royal chariot
by the ruler of Pudukottai.
ii. Govinda Dikshitar and Vidyaranya have shared the throne (ardha simhasana)
during the minority of the rulers.
iii. Violinist Rajamanickam Pillai got an elephant as gift for his concert while
Violinist Vadivelu of the Tanjore Quartette was presented with an ivory violin
by the Travancore ruler.
iv. Nagaswaram Vaidyanatha Pillai of Chidambaram got a gold nagaswaram
from the Vanamamalai Jeer while Kunnakudi Vaidyanathan, violin maestro
got a gold violin (200 gms.) from Chief Minister Jayalalitha on March 31 , 1 992.
v. The Rajah of Tanjore presented Mysore Kuppiah with a silver veena inlaid
with pearls besides ajaghir.
vi. The Rajah of Tanjore installed Uthukadu Venkatasubba Ayyar in a palanquin
and took him in procession presenting his own shoulders to bear it on one
side !
Note : Vide pages 484 - 485 of A Garland for 'Gold in Music'. Our Olympic
Squad might have returned without gold, silver or bronze. But our musicians
were not lacking.
PIONEERS:
i, 'Sangita Satsampradaya Dipika' was the first full-fledged journal totally
dedicated to music like Sruti, Shanmukha and Sangeetham (USA).
350 ANOTHER GARLAND
of a rupee) per page run by A.M. Chinnaswamy Mudaliar of Madras
Secretariat and printed by his brother Ayyaswami Mudaiiar at Ave Maria
Press, Pudupet, Madras. First issue was in July, 1892. Carnatic music theory
and songs with notation were featured. It was a labour of love for Mudaliar, a
crusader.
iii. KA/. Srinivasa Ayyangar of the Tiger Brothers brought out a scholarly
magazine on the above lines which however died of starvation later,
Strange that journals on music too starve like many of the musicians!
72 MELAKARTA RAGA COMPOSERS:
Muthuswami Dikshitar D. Pattammal,
Maha Vaidyanatha Ayyar, Dr. Balamuraii Krishna
Koteeswara Ayyar
* * *
HUMAN BRIDGES:
In the West, Maxim Gorky is described as 'the living bridge between classical
and modern literature'. Here are some who have played like roles:
Bharatis of Narimanam and Between classical tamil and collo-
Ettayapuram : quial tamil for compositions in
classical Carnatic music.
Uthukadu Venkatasubbier Between Classical tamil literature
Arunachala Kavirayar and classical musical
Nilakanta Sivan compositions in tamil.
Ghanam Krishnaier
Gopala Krishna Bharati
Koteeswara Ayyar
Papanasam Sivan
Periaswami Thooran
Patnam Subramania Ayyar Between specialised concerts in
Ariyakudi Ramanuja Ayyangar. Carnatic music and kriti-dominated
present day concerts.
Bala Murali Krishna Between traditional styles of
Kunnakudi Vaidyanathan rendition and innovative styles.
* * *
FEE:
Gopala Krishna Bharati took Rs. sixty for each of his harikatha concerts and
gave it fully for charity. Madurai Pushpavanam, Vocal Wizard charged high rates
and was strict about it. Some of the present stalwarts take hefty sums which were
beyond the horizons of imagination or dream of a 'Maha' or a Patnam1 or
Maharajapuram Viswanatha Ayyar. Dr. M.L. Vasanthakumari has said, 1 had
never asked for an abnormal fee for my concerts. That attitude I owe to my strict
ANOTHER GARLAND 351
father'. Maha Vaidyanatha Ayyar never bartered for remuneration. In fact, he
was against tickets. Tiruvalangadu Sundaresa Ayyar would not take more than
the small agreed sum ! So, never had he an occasion to show his teeth, feign a
smile and say, 'Oh! It's kind of you.1
TITANS' MEDLEY:
Indian National Congress, 1920. Cultural Programme. Eminent C.R. Srinivasa
Ayyangar got veteran Naina Pillai for the 6 p.m. - 8 p.m. slot. At Ayyangar's
request, Pillai continued. But Pandit Paluskar ascended the stage at the
appointed time and started singing 'Raghupati Raghava Rajaram' as he had
been allotted the stage from 8 p.m. Pillai had to vacate the stage with his sidemen
to the embarrassment of all.
Ayyangar apologised to Pillai for his mistake. Had Pillai not vacated, it would
have been the antithesis of the current jugalbandis or a replica of some
legislatures with two and more holding the fort.
ALL-INDIA MUSIC CONFERENCES:
1912 at Tanjore convened by Abraham Pandithar, author of 'Karnamritha
Sagaram'.
1916 at Baroda presided over by the Maharajah Gaekwad of Baroda.
1916 at Tanjore convened by Abraham Pandithar.
1918 at Delhi presided over by the Nawab of Rampur, who was also a
good musician.
1 91 9 at Benares presided over by the Maharajah of Benares.
1925 at Lucknow presided over by Sir William Sinclair, U.P. Governor.
1 927 at Madras which led to the formation of Music Academy.
LEAD KINDLY LIGHT :
The book Prachina Ganam (Traditional Music) was reviewed by
M.S. Ramaswami Ayyar in the journal Viveka Chudamani' which was popular
then. The review, reproduced in Oriental Music by AM. Chinnaswami Mudaliar in
May 1893 ( a century back), answers questions relevant for ever:
i. Why traditional music was losing its hold ?
Because music was put to bad use and musicians were generally
associated with bad conduct. Public began to dislike them.
ii. What was the remedy ?
The one man who had given respect and image to Classical Carnatic
352 ANOTHER GARLAND
music was Maha Vaidyanatha Ayyar. He had seen the heights and
depths of the great art. 'Let us follow his path .'
VANDALISM:
Vandalism of time and man was the prime reason for the loss of great works.
There is a negative aspect to good intentions too. In their anxiety to ensure that
a work did not fall into incompetent hands, it was secreted. In due course, it was
taken as inalienable. Exclusive possession prevailed over public use and
publicity. 'Neither have I any use for it, nor will I give it to others' came to be the
short-sighted code. Thus valuable works came to be lost in the personal archives
of many homes, Here is the evidence of it,
Subbarama Dikshitar, author of Sangita Sampradaya Pradarsini in his letter
to the Hindu in July 1 894 (reproduced in Oriental Music) made this appeal :
' As my ancestors have been direct pupils of Venkatamakhin and his grandsons, their
works have directly come down to us. Sri Sankaracharya of Kanchi Kamakoti Math,
Kumbakonam has favoured me with copies. For checking and comparing, rf anyone
has old copies of ChaturDandi Prakasika, it may kindly be made available to me.1
Then he recounts very tellingly his experience on this appeal thus:
1 One gentleman of Kumbakonam had an old cadjan leaf copy of it He would not give it
but wanted to tear it to shreds and throw them into the holy waters of Cauvery, Only
after his death, through the efforts of Sri Sankaracharya, I got it.1.
Was it an isolated case ? No, says Dikshitar himself:
'Let me tell you that he was not the only man who wanted to do the like.*
One can appreciate and understand what an amount of patient, tiresome,
hard and frustrating labour had been put in by Dikshitar and later by Dr. U.Ve,
Swaminatha Ayyar (for tamil works)! A century has passed, A massive search for
old works may reveal startling results. H.H. Sri Jayendra Saraswati Swamigal of
Kanchi has adverted to this. Why not one of the institutions of repute issue a call
for old manuscripts and unpublished works before they fall a prey to white ants?
HIS HEART BLED:
"Thrice he assay 'd, and thrice, in spite of scorn
Tears such as angels weep, burst forth "
Milton, Paradise Lost
The steel frame, the mighty casket that enveloped a noble heart which
rebelled against slavery, subordination, injustice and ignorance was but a house
of butter that melted the minute it saw suffering, poverty and innocence (totally
oblivious to and unconscious of being itself a victim of these). In his song on
Kannammathe mighty poet, Subrahmania Bharati opens out his heart:
ANOTHER GARLAND 353
'UnKannilNeerVazhindal
En Nenjil Udhiram Kotfcudhadi.
(If a tear trickles down thy eye,
My heart bleeds. (Says, torrential cascading of blood.)
He knew of no barriers - geographical, race, caste or creed. The passing away
of a great soul brought him to tears and he felt honestly that the world - not he or
the kith and kin of the deceased alone - stood bereaved.
i. October 2, 1906 - Oh! What a day and month! The peerless artist with the
perfumed brush who brought the splendour and grandeur of the Hindu
Pantheon to millions of Indian homes, Raja Ravi Varma (he was not a king or
prince in the usual sense) died. The threnody of Bharati includes:
Beauty He created
in the flower, the azure sky,
and in the woman's face
so that the far-famed Ravi Varma
can take it with his great vision ,
his fancies and his wisdom.
Hast thou to Heaven gone
to compare thy handwork
direct with the originals?
But ill will those damsels ***
compare with your creations!"
* If Bharati threatens with cascading flow of tears, Dikshitar brings in torrential rains
with his Varshaya, Varshaya'! and when S. Rajam sings that song there, a cyclone
descends!! Is it Ettayapuram culture?
(*** Celestial nymphs Rambha, Urvasi, etc.)
ii. Same year, the author of 'Sangita Sampradaya Pradarsini', Subbarama
Dikshitar died. Bharati who respected him for his erudition, nobility and
wisdom bemoaned:
1 Philanthropy died with Kama
Poetry went with Kamban
Chivalry disappeared with Arjuna
Music ceased with Dikshitar! '
iii. Great minds react likewise. When Tansen died in 1 589 A.D., Akbar and Abul
Fazl recorded :
1 Tansen's death is the death of the ragas of our music.
For centuries there was none like him
in the sweetness and skill of the art of music. '
— Akbar (Akbar Nama)
1 The like of Tansen was not bom for several centuries in the past/
— Abul Fazl ~(Ain-i'Akbari)
354 ANOTHER GARLAND
iv. The revered Apostle of Universal Love, Ramalinga Swamigal expressed his
unbounded compassion thus :
1 Every time I saw crops withering, I withered too ; as often
As I saw hungry destitute beggers, I too fainted with hunger :
And the defeat of the meritorious
Has made me wilt in pain.
My life must cease when my compassion dies. '
A wag finds nothing exceptional in this since many a politician often gives vent
to such feelings ! Bharatis and Ramalinganars lived as true specimens of what
they preached. That is the difference. It is the wisdom of crocodiles that shed
tears, when they would devour.' (Francis Bacon, Essays.)
HOW MANY NARADAS ?
The divine minstrel, repository of musical excellence, sage Narada was a
constant character in earlier films as they were mainly on epic and puranic
episodes, The actor taking the role of Narada had to enjoy looks and musical
profundity like:
First male vocalist: G. N. Balasubramaniam in Bhama Vijayam.
First female vocalist: M.S. Subbulakshmi in Savitri.
Balamurali Krishna in Bhakta Prahlada.
N.C. Vasantakokilam in Valmiki & Krishna Vijayam.
T. Suryakumari in Krishna Prema,
PA Perianayaki in Rukmangadhan.
B.S. Raja Ayyangar in Satya Harischandra
Nagercoil K. Mahadevan in Rambaiyin Kadal, Bhookailas, etc,
Mahadevan came to be the 'Narada with a long tenure covering many films '.
(A list of musicians who distinguished themselves in cine field is given at
page 477 of A Garland)
TYAGARAJA IN PRINT:
In 1847, the Bard of Tiruvaiyaru attained samadhi. Promptly in 1859, twenty
of his songs were included in 'Sangita Sarvartha Sara Sangrahamu' in telugu by
Tirunagari Vina Ramanujayya followed by -
510 songs by Tillatstanam Narasimha Bhagavatar in 1908 in telugu ;
409 songs by Kanchi -Maha Vidwan Ramananda Yogi in 1910 in telugu ;
225 songs 'with notation and annotation ensuring purity and expurgating
spurious texts' by K.V. Srinivasa Ayyangar in 1 922 :
ANOTHER GARLAND 355
With commentary by Kalluri Veerabhadra Sastri in Tyagaraja Kirtanalu in
1948;
With classification of songs by Bhamidipati Kameswara Rao alias Hasya
Brahma in Tyagaraja Atmavjcharam ;
550 songs with abstracts of meaning in english by C. Ramanujachariar in his
Spiritual Heritage of Tyagaraja in 1 938 ;
161 Songs with blank verse translation by William J. Jackson in his 'Life and
Lyrics' in 1991 ; and
by E.N. Purushottaman in Tyagaraja Vaibhavam in 1992.
-T.S. Parthasarathy.
* * *
A COMEDY OF ERROR:
The vocalist is elated at getting a concert at Delhi after years. His house
throbs with pleasant excitement and activity. The pot of happiness is full when his
son arrives from Bombay unexpectedly as the senior vidwan is about to leave.
The dutiful son too is elated to learn that after all fortune has smiled on his
talented father and with understandable curiosity takes out the Delhi letter from
the packed box. Lo!
Disillusionment is too sudden, pathetic and excruciating. It is the old letter
received years back and that was for the last concert the vidwan has had. The
vidwan did not see the date of the old letter that had fallen from an old diary!
To portray the pathetic condition of artistes, this drama was enacted under the
direction of the author on February 25, 1 966 in the presence of Brahmananda
Reddi, the then Chief Minister of Andhra Pradesh and a host of dignitaries by the
students of the Devasthanam Girls' High School, Rameswaram (of which the
author was the Correspondent). It was a delight! The presentation was so crisp
and artistic that Brahmananda Reddi was in total exhilaration (brahmananda!)
and would not leave, in spite of the repeated promptings of the State Minister till
the national anthem was sung ! !
* * *
VIO-VOCALIST:
SANGITA KALANIDHI PAZHAMANERI SWAMINATHA AYYAR was the only
musician to give vocal concerts himself playing violin. (Veena Dhanammal used
to sing while playing simultaneously on the veena. Some vainikas sing a few
phrases of sahitya.) Perhaps Lalgudi Jayaraman may choose to be the second to
give voco-violin concert and TV. Gopalakrishnan a voco - percussion concert.
They are competant artistes without doubt.
356 ANOTHER GARLAND
CREATORS
When Kucheia returned from Dwaraka, he could not recognise his own wife
who appeared before him as a Bhooshitai. Even so here are a few
cases:
L Kalakshetra, Madras. Dr. Rukmini Arundale, Karaikudi Sambasiva Ayyarand
many other stalwarts were present. Maharajapuram Viswanatha Ayyar took
up the popular song 'Bmchevarevarura' (Khamas) building 'the edifice with
breezy and flashy touches of vivacious and scintillating patterns unfolding the
aesthetic beauty of the composition and the artistic appeal of the raga bhava
and lakshana'. Composer Vasudevacharya thrilled to ecstasy confessed;
1 My composition like a poor girl was given away in marriage years back. When I heard
the piece today, I could not believe that it was my girl greeting her poor father after
decades as a SarvaSankara Bhushitai (Sady decked with glittering jewellery of aesthetic
grandeur and artistic excellence). I could not identify my own girt on her transformation
for a moment ! '
-M.D, Ramanathanto M. Sundaresan; 'Shanmukha'.
The transformation was as much due to the jeweller Viswanatha as to the
goldsmith Vasudeva. The hidden beauty of the lyric and the ample scope it
provides for nuances were explored to ecstatic heights.
i!. Likewise Gopala Krishna Bharati sat spellbound right through the musical
discourse on Wandanar', his creation, by the brilliant exponent of the art
Tanjore Krishna Bhagavatar sponsored by District Munsif Vedanayagam Filial
of Mayuram, Thrilled by its sntellectuai flights, spiritual message and sobering
social content, he confessed:
'i wonder whether Wancfanar'was ever composed by me!'
Here again the credit goes both to the composer and the discourses
These are the 'Weddings of Talent'.
* * *
AQUILINE PATRONAGE - DIVINE MESSENGER:
In Nagumomu ganaleni (Abheri), Tyagaraja queries:
1 Have your attendants forgotten their duty ?
Does not Garuda obey your orders and act promptly ? or
Does he say that the Earth is too far for him from Vaikuntam ? '
Tyagaraja had need to complain. But his bhakta, Nagarathinammal felt no
such need! Nor had she any occasion to doubt the efficiency of the Lord's mount
Garuda! Daily at 5 p.m., the Garuda came to her house at Madras punctually and
took the food given by her - a replica of Tirukazhukundram temple practice! This
ANOTHER GARLAND
is certified to by Mudicondan Ayyar in the Journal of the M
Academy, 1968.
Service, it is said, to an Apostle has more efficacy than service to the Ion
was Nagarathinam who built the satnadhi of Tyagaraja at Tiruvaiyaru anc
Qaruda's visit is significant.' -
1 Taking refuge in Me, they also, may be of a
sinful birth, attain the Supreme Goal, '
— Glta IX -
Was it this message Garuda gave her daily? How apt is the 'Gitopades,
the case of Nagarathinam ?
HEAVENS WEPT?
1 was greatly excited. Azhaganambi Pillai's son agreed to play mridanc
Tirukodikava! Venkatararrtayya was the violinist. Apart from the three of us, tl
was none at Sri Nageswara Temple, Kumbakonam that night. It was pitchc
To make matters worse, it started raining heavily! The temple priest (prob
moved by sympathy) brought an earthen pot to provide ghatam! '
This is the humorous description by Dr. Semmangudi Srinivasa Ayyar o
debut in 1926. He used to say often that favourable stars always guided his
The same stars probably had then reserved his first concert exclusively for !
Nageswara and his Satellites to have a monopoly of the concert to enjoy!
The veteran announced his retirement from concerts at the Music Acad*
Madras in 1992 after sixty-six years' of intensive professional practice. This
find an entry in the Guinness Book of Records.
FAIR SEX:
Flute
Violin
Pallavl rendition
GRAMAPHONE DISC:
Valadi Rukmini and Mayavaram Silk Papa.
Visa!akshi Ammal, grandmother of Naina Filial.
Palani Anjugathammal, mother of Palani Subramania Pilla
Plate Venkatarama Ayyar acquired the peculiar prefix as he was the
Gamatic vocalist to cut a disc.
* * *
NAINA'S DETESTATION:
Kanchipuram Naina Pillai detested titles and did not agree to the conferme
the title 'Pallavi ChemmaP by Chidambaram Vaidyanatha Pillai and other admi
358 ' ANOTHER GARLAND
He detested monetary help even when he was fighting for dear life.
He hated interference, disturbance and requests at his concerts.
He abhorred giving discs even when a heavy amount was arranged for it as
he disliked sacred music being exposed at odd places to all and sundry. This
dislike or abhorrence was mainly due to music then being fundamentally treated
as nadopasana.. Tiger Varadachariar, Vinjamuri Varadaraja Ayyangar and many
others refrained from giving discs only on this score. Sacred hymns, songs and
mantras are to be heard only when 'man is pure and mentally tuned and ready to
take it !
He detested concerts sans pallavi and one of his concerts for S.G. Kittappa
went up to six hours
His second addiction (the first was to music) was to chewing. He was
punctual and punctilious in keeping his appointments - a contrast to
T.R. Mahalingam. That 'punctuality is the politeness of a prince' is well said. In
recognition of the immensity of his services to music, the street he lived in at
Kanchipuram is named 'Naina Pillai Street'.
* * *
NOTORIETY:
The name of Nero (37-68 A.D.) of Rome was synonymous with tyranny and
brutality and that shamefaced virtue earned him a prominent place in history.
Even so, there was a mridangam artiste, a ruffian, who was feared
Kanchipuram Naina Pillai arrived for Tiruvaiyaru festival with Violinist Malaikottai
Govindaswami Pillai. The mridangist pleaded with them to allow him to provide
percussion and they were nervous to say 'no'. Konnakol Pakkiria Pillai and
Kanjira Pudukkottai Dakshinarnurti Pillai tried to salvage the percussive part at
the concert. The mridangist, battling with irrelevant play, assuming that the two
were side-lining him. shouted at them;
' Oh ! You have both pushed me aside. Alright !
I will play solo now.. .come on...tala please.1
Lo! It was a command. He entered on playing solo nonchalantly. Completing
it he demanded of Naina Pillai to catch up with the first line of the song as is the
practice. Pillai had no other go except to do so. Thunderous applauses ensued
quite strangely and he shouted:
' Did both of you notice it? Keep this in your mind.
Your men are few, whereas mine are plenty. *
\AIOO fr\ ni\/d a rv\r»r**ar* o+ Toni/^ro Tha
ANOTHER GARLAND 359
playing for Simhanandanatala, Ratnaswami hastened to finish the pallavi. The
mridangisf told the audience that his long-felt desire to play solo in that tala
had to be fulfilled but got out of the platform. 'He started to
circumambulate it uttering something incoherently. Now and then he
shouted towards Ratnaswami, " carefully...hm...perfect tempo". Finally he
decreed to him, "Get up! You have come from Karachi to show us
Simhanandana tala as if we do not know that! Beware, no more such
business." There was pandemonium all around.
B.M. Sundaram who narrates the incidents has withheld the name of the
hero-mridangist. Ruffians do hold society to ransom. They get hero-worship too.
The incidents were unique in the annals of Carnatic music..
* * *
MARATHON VIOLIN RECITAL:
Venue : Sri Padmanabhaswami Temple, Adyar, Madras.
Duration of recital : 3 a.m. on December 1 9, 1 988
to 8.1 Oa.m. on December 20, 1988 = 29 hours.
The record was established by A. Kanyakumari, the popular violinist and
promoter of Vadyalahari' on Vaikunta Ekadesi, the favourite day of Lord Vishnu.
She played 140 songs with raga alapana and swaras. The earlier record set by
Meera Narayanan on October 30, 1955 of 26 hours of recital at Sri
Ratnagiriswaraswamy temple gets relegated to the second place. So, Lord
Padmanabha's devotee holds the record now.
ALL ABOUT BUTTER:
Eminent scholar Ki.Va. Jagannathan used 'to dilate on a beautiful pun
pregnant with humour. At a lunch in Sri Lanka curd was served to him by the
friendly host.
' Maanangetta Thayir! ' (Curd that had lost virtue), said he.
The host was shocked and puzzled. Virtue for curd?
1 This curd is without aadai (cream).
Aadaiponal maanangettadu thane!
If aadai (dress) is lost, is not virtue lost ? ', clarified Ki.Va. Ja.
Aadai m tamil means both cream and dress. The host felt relieved.
Butter has figured in the lives of many even after Lord Krishna. Viswanatha
Ayyar had pain in the stomach, Pudukottai Dakshinamurti Pillai went out and
returned with a ball of fresh butter to be taken by the vocal maestro. That was the
measure of his solicitude. Butter is an Ayurvedic antidote for pain due to heat in
the body, a malady not cognised by Allopathy.
360 ANOTHER GARLAND
Uthukadu Venkatasubba Ayyar, the magnificent composer, was a recluse.
The Trustee of the Nidamangalam temple arranged for his food once a day, One
day, the trustee was so enchanted and captivated by Ayyar's melody (a
community asset) that the trustee-instinct in him asserted itseif and the milk of
solicitude gathered in him but he could find no way of helping a reciuse who is
God-conscious. In summer', said the Bard, 'practising tanarn heats the body. An
ounce of butter on such occasions would help my pursuits.' Promptly the trustee
ordained that the cart-driver shall wait always with a bail of butter at the cottage
door to be handed over whenever required, 'But keep another handful ready. Let
the temple cows be blessed/ The of itself In such
deeds,
PERCUSSIONIST:
Be it vocal or instrumental, the percussionist endeavours to bring laurels to
the principal and share the credit. Ever alert in body and mind, he watches,
studies, analyses the expertise, trend and attitude of the principal every minute
and exercises himself to anticipate what the principal would bring in next to mould
and synchronise his rhythmic support without discordance. He does not wish to
be caught offhand and bowled. Even as the mind of the bharatanatyam artiste
stands concentrated and rivetted to the content, bhava and rasa of the song and
the supporting rhythm of the percussionist, the mind of the mridangist stands
rivetted to the principal musician, be it kriti or swara. Greater the yogic
concentration and degree of success of anticipatory support and response, taller
Is the standing of the percussionist, The percussionist continues to weigh the
talents of the principal throughout the concert but the challenge from some of the
principals is rather feeble. Few battles of wits are witnessed now.
* * *
THUNDEROUS CLAP - TO WHOM?
1920. Tyagaraja Aradhana at Tiruvaiyaru. Kanchipuram Naina Piltai was
singing with his usual 'Full Bench' of accompanists. (Several giants of old did not
know to end their concerts. Their delight was immeasurable if the day did not
dawn. Four, five and six hours were nothing to them.) Ariyakudi ought to have
been given the stage after two hours of Pillai's concert. And Piilai did not seem to
be in a hurry to surrender the stage.
Telegraph Mani, a gadfly who was a terror to those who thwarted discipline,
seized the tambura from Villiambakkam Narasirnhan, disciple of Piilai and walked
away. There was a thunderous clap. R. Rangaramanuja Ayyangar queries, 'Was
it for the coup d'etat, or Pillai's recital that came to a grinding halt or for Ariyakudi
who began with Janaki Ramana T
ANOTHER GARLAND 361
LAUDABLE MUSHROOMS:
Fred ASlen defined a Committee as* a group of people who individually can do
nothing but as a group decide that nothing can be dene.1
But in one of the most sacred tasks, successive committees have proved that
collectively too it would decide nothing !
i. 1947 was the Centenary year of Tyagaraja. Six years ahead, work was
started and funds were collected to publish a memorial edition of the Bard's
compositions. The editorial committee never met. One dedicated sou! ran
from post to the pillar for years and brought out a last-minute publication
thanks to K. Srinivasan of the 'Hindu9 and of Kalki.
ii. 1 951 . The Aradhana Committee elected a body of eleven musicians to bring
out a new publication. It was still-born.
iii. 1952. A Society for the Preservation of Carnatic Music was inaugurated at
Madras and it evaporated in the eloquency of the speeches made!
(Source : R.R.A.)
Classical Arts survive notwithstanding pious resolutions and casual action.
TEN CRORES TO A CLASSICAL MUSICIAN?
John D. & Catherine T. Mac Arthur Foundation of America has conferred a
$ 3,750,000 (about Rs. ten crores) Fellowship on Ustad Aii Akbar Khan. The
sarod maestro is the first Indian musician to be so honoured. He teaches at San
Rafael, California and is reputed to have trained about six thousand students
there in vocal and instrumental music. - Sangeetham, U.S. A
Carnatic musicians congratulate the cousin-musician on the fabulous honour!
Can his schemes and methods be studied ?
BHAVA and TEARS:
In his Entani ne (Mukhari), Tyagaraja wonders how he could describe the rare
fortune and merit that Sabari had while scores of great spouses of sages had
them not! Nedunuri Krishnamurti reminisces how K.R. Sundaram Ayyar,
President, Music Academy, Madras shed tears of joy when he sang the song long
back true to the bhava of the song and the passionate pathos of the raga in depth
at his concert in the Academy. (Sruti)
362 ANOTHER GARLAND
The musician has assimilated the best of the styles of eminent artistes of the
past and while handling Mukhari, surely he should have taken a leaf from the style
of Musiri Subramania Ayyar. C.V.Narasimhan has recalled, 'How many of us
were moved to tears when Ayyar sang Chinta dirchuta kentha rnodira. '
(Vide A Garland page 332)
* * *
GESTURE:
Recognition by a senior stalwart at a concert is the ideal encouragement to a
rising artiste. Nedunuri Krishnamurti (20) was giving a concert at Krishna- Gana
Sabha, with Lalgudi Jayaraman on violin. 'I gave an elaborate and elegant
treatment of Kapi. Lalgudi Jayaraman did not choose to take his turn and wanted
me to continue. When I asked him, he said, "You had exhausted the raga". My
joy knew no bounds on receiving such a compliment from a very great vidwan,1
D.K, Jayaraman shortly before his death complimented in liberal terms Balaji, his
disciple at the Music Academy during his concert and added that it was his good
fortune to get such promising pupils. Such words are of immense worth. For
instance, Dame Oliver taught Samuel Johnson to read. As he was going to
Oxford later, she came to take leave of him with a present of ginger - bread in the
simplicity of her kindness and complimented him that he was the best scholar
she ever had. Long after he was great, Johnson delighted in mentioning
this early compliment in his life " adding, with a smile, that 'this was as high
a proof of his merit as he could conceive.."
Boswell has a different appreciation :
1 Distant praise, from whatever quarters, is not so delightful as that of a wife whom a man
loves and esteems. Her approbation may be said " to come 'home to his bosom' and
being so near, its effect is most sensible and permanent1
Here, probably no recorded evidence exists. One has to leave the issue to
the artistes !
THE DIFFERENCE:
'Music has certainly changed - the weighty music of fifty years ago has now
given place to styles that are lacking in depth and substance. After hearing a
concert in those days, one was so stirred up and moved that one could not get
sleep easily. Nowadays, one sees people falling asleep even during the concert,1
— 'Thyagu 'of Dinamaniln DhwanL
Good sleep conduces health! Musical Therapy!! Eligibility to a doctorate is
the issue to be considered!
ANOTHER GARLAND 363
MAHA VAIDYAN ATH A AYYAR:
The second item at his concerts was always the tarn i I song 'Ekkalathilum
Maravene' (Nattakurinji). His accompanists always sat behind him and not on
sides.
-T. Sankaran.
Sulamangalam Vaidyanatha Bhagavatar gives his assessment of
Vaidyanatha Ayyar thus:
"Noble ideals. Joint family with his brothers and partition only after his life
leaving his income to be shared by them. His voice traversed three octaves.
Captivating voice. Dazzling personality. Never touched money. Cordiality,
conviviality. Respect to women. Siva bhakti. Respect to elders. Deep
knowledge."
(The author pays his obeisance to that great artiste.)
THE RASIKA :
i. The concert of Bidaram Krishnappa was on at the residence of Vina
Seshanna with the crowd overflowing into the street.
1 The artiste having completed ' Todi 'after an elaborate alapana, etc., was about to
commence his next item. The prominent rasika sitting just in front of the musician
requested Krishnappa to sing in raga ' Todi ' \ Krishnappa who knows the celebrity well
said, 'Yes Sir, with pleasure when celebrities like you condescend to listen ! ' He gave
a free alapana and song in a totally different raga and stopped. The honourable
gentleman praising the artiste said:
" I have never before listened to such a wonderful rendition. I do not think that I will ever
have the good fortune to listen to such a masterly exposition of the raga again ! "
It was only after this incident that sabhas started printing hand-bills of the
programmes with full details of the songs, ragas, etc.'
- Mysore Vasudevacharya in his 'Nenepugalu'(Reco\\ect\or\s).
Was not the celebrity-rasika correct since he could never have had the
opportunity to hear ' Todi 'so sung ?
ii. Nagaswara wizard T.N. Rajarathinam was playing. A prominent person
approached him to play a song in a particular language. TNR turned back, gave
a feigned blow (feint) to the drone-player (othu) and shouted.,
Did I not ask you to bring the pipe in that language also ?'
364 ANOTHER GARLAND
HEAVENLY CONSPIRACY ?
A heavenly conspiracy snatched away Maharajapuram Santhanam suddenly
from our midst under tragic circumstances, says K.S. Mahadevan. The vocal
maestro sought the safe hours of the pre-dawn for travel from Kumbakonam to
Madras. Alexer, the driver states that the brakes did not function and there was a
crash. Music lost one of its precious jewels. Thank God, neither Rarnachandran
nor Srinivasan, his sons had accompanied; Santana Deep/Tea and Santana
Manjari (two ragas), the two sons, who have to carry the torch are fortunately
safe. Why and how could the brakes fail just at that moment on a good road after
dawn is a mystery - a part of the conspiracy.
1 Maharajapuram Santhanam was the highest paid vocalist ; he accepted only
a select few concerts. His music was a grand alchemy of melody, method and
mathematics. A Master of Communication, he took note of the pulse of the
audience and enjoyed the best of rapport. ' — Subbudu.
' His later day popularity and charisma were phenomenal. His style
contained the essence of other styles. His cultured voice could conjure up an
unending variety of musical effects. A golden mean. ' — T.S. Parthasarathy.
'He could marry text with texture ; sang in his melodic voice with
imagination, workmanship and sleek presentation and made listerners
partake of music's majesty. ' — K.S. Mahadevan
Aside:
The day after K,S. Mahadevan's report of ' Heavenly Conspiracy ' appeared in the
press, I met him at the Sabha Hamsadhwani.
" Mahadevan, have you reported to the police on the alleged conspiracy ? "
" What is there to be reported ? What conspiracy ? "
" Under Section 44 of the Criminal Procedure Code, you ought to have reported your
knowledge of the conspiracy which had resulted in the deaths of the maestro and
others ! "
" Oh ! I see, the beautiful passage is from Milton ! "
When the news of the accident reached the public, -
"the sound that broke from the crowd, such a groan as I never heard before and desire
I may never hear again" (borrowing the description of the fateful occurrence on 30th
January, 1649 concerning Charles I).
* * *
GARLAND OF VIOLENT WEAPONS :
Dr. U.Ve. Swaminatha Ayyar has recorded that Ghanarn Padma Singh sang
with 64 ( probably one for each of the 64 arts !) knives hanging around his neck.
That violent appearance and weapons are no threat to melody is substantiated by
ANOTHER GARLAND 365
two other cases cited by T.C.A. Chinna Singaracharyulu in his book Gayaka
Siddhanjanam. Tirukundram Ghanam Krishnayya, a composer of tamil kritis and
padams used to sing with swords tied around him while Merattur Ganapati Sastri,
uncle of the eminent Patnarn Subramania Ayyar and a specialist in rhythm and
dancing, would sing with swords hanging on him without shaking his head. It is
to be noted that the two authorities who have mentioned the cases are men of
high repute.
TORT & RETORT:
»
Music Academy, Madras. Then the sessions were held behind the Ripon
Buildings near Central Station. Ariyakudi Ramanuja Ayyangar listed for the
concert did not arrive. Violinist Papa Venkatararniah and Mridangist Pudukottai
Dakshinamoorti Pillai, the two stalwarts were present. A search revealed that
'Jagaddodarana' disc fame Bangalore B.S. Raja Ayyangar was present and he
took the dais. As Pillai set right the tune of the mridangam to start, Ayyangar said,
'Sruti is not correct.1
'Oom. Sruti is not correct only there', was the quick retort of Pillai. Stung to
the quick, Ayyangar felt upset and unsettled and the concert could not settle down
to a fine tune and sruti! — (Source : Mannargudi Sambasiva Bhagavatar.)
FEW INSTRUMENTALISTS ARE COMPOSERS !
Muthuswami Dikshitar was a vainika. Lalgudi Jayaraman is a violinist.
Tanjore Quartette were instrumentalists too. There may be a few other
instrumentalists who have composed varnams, kritis, tillanas, etc. But the
majority have refrained from such exercise. The great master-violinist Yehudi
Menuhin had recorded :
'All the great Italian violinists preceding and including Paganini, from Corelli
and Vivaldi . . . were composers.'
Why more instrumentalists were / are generally disinclined to take up
composing songs in Carnatic fold needs to be analysed.
ARAGAFORANIGHT?
Only one raga 'Usenf is handled for the whole night during the Festival of
Nataraja at Chidambaram. (Sruti)
366 ANOTHER GARLAND
WIZARD'S PASSION:
Maharajapuram Viswanatha Ayyar would not miss the aradhana (Memorial
services) of Tyagaraja at Tiruvaiyaru. His love of the Bard was such that he
purchased the old house of the Bard in 1 968 and lived in it for over a year till
illness necessitated his leaving for Madras. He died on April 4, 1970.
Viswanatha Ayyar was never a greedy man and he would give concerts for the
love of music and of friends. Absolutely convival, pregnant with humour and
robust thoughts, he kept stern discipline among his accompanists, who were kept
at bay always. Rarely they could take privileges with him and rarely they were
allowed to outshine him. Once Pushpavanam did not come and Viswanatha
Ayyar, then young, was asked to step in by Harikatha Panchapakesa Sastri.
Govindaraja Pillai on violin, Dakshinamoorti Pillai on mridangam secured for
Pushpavanam were retained for him though a junior. Pakkiria Pillai, konnakol
player, did not like to accompany a junior but was made to take his seat. He was
not inclined even to smile at him. Warned about this, Viswanatha Ayyar put forth
several swara korvais in atidurita kala that Pakkiria Pillai found it difficult to
project them, since it was beyond his capability as a konnakol accompanist. Then
only, he turned to the junior vocalist and forced out a smile as if to admit, 'so, you
are not such a junior as I took you to be'. His music was so totally innovative,
intuitive that it was beyond the reach of any disciple to master and so, he
had few disciples following him ritually. Once he forgot to sing the charanam
part of a song. Son and voice-support Santhanam egged him oh to sing it.
' Keep quiet ( Summa Iruda), all know the charanam toell,
There is no need to sing it for them !s'
He left it at that. Looks like a Mulla Nasruddin story! A cavalier pure in spirit
and action. Admirers loved such antics because of his inherent worth.
* * *
MARATHON RAGA RENDITION:
Tirukodikaval Krishna Ayyar elaborated Saver/ raga alone for full four hours
with alapana and pallavi at Kakinada, records Prof. P. Sambamurti.
* * *
PEERS:
' The Tanjore Quartette deserve to be honoured as much as the Trinity of
Carnatic Music. Their stature as composers is by no means inferior to that of
others who have been canonised. Their contribution enlarged the dimensions of
our music considerably. '
— R. Rangaramanuja Ayyangar.
ANOTHER GARLAND 367
POLAGAM SIVAN: SECOND TIME A KUCHELA! :
A picture of humility with a lavish veil on his profound wisdom, musicality,
powers of composition and devotion, Papanasam Sivan was one of the eminent
Sivan(s) of the South who were/eputed vaggeyakaras. Maha Vaidyanatha Sivan,
Ramaswami Sivan and Neelakanta Sivan were the other distinguished Sivan(s).
He was such a simple and good man that after the conferment of the prestigious
title ' Sangita Kalanidhi ' by the Music Academy, Madras, he was left severely
alone without anybody attending on him till someone took the trouble of taking
him home ! He had at a stage signed contracts for not less than seventy-two
pictures involving monetary returns of sumptuous sums. Said Rangaramanuja
Ayyangar in 1972:
' He had tasted the sweets of adversity and had realised the benefits of plain living and
high thinking. He had now been sucked into a world where he felt entirely out of tune.
Ere long, wealth began to cloy... The Lord and his angels pulled him out of the morass
and he became the old Bhakta again. He spent all his earnings on renovating the
temple and tank at Polagam (his native place) and became Kuchela again. '
MANGALAVADYAM:
Nagaswaram was introduced by Nada Nayanar in the thirteenth century, It
took for its companion the tavil, well-matched in majesty of sound and power.
— R. Rangaramanuja Ayyangar.
APPA'S GENIUS:
' Pudukottai Anna (Mamundia Pillai) is the greatest figure in this century. He
and I were listening to Narayanaswami Appa's mridangam for Sarabha Sastriar's
flute. The recital over, we all stood up. But Pillai sat like one in a trance. When I
pulled him up, he rose and knocked his head against a window. Obviously he was
so absorbed in Appa's mridangam that he mistook the window for the doorway !
Such was Appa's genius!!!
— Pudukottai Dakshinamurti Pillai.
Note: Manpoondia (Mamundia) Pillai was a legend and that legend lost himself in Appa's play!
[ Scriptures mention that Parameswara was the highest while some extol Vishnu as the
Adimoorti. Sometimes, they mention that both Prameswara and Vishnu are functional
top deities and that there is 'Ishwar ' who is the supermost and the God Incarnate.]
Thus Pillai was great and Appa was great. Greatness is one and supreme and the
above episode only establishes the truth.
368
ANOTHER GARLAND
DEEDS, THOUGHTS & SAYINGS
THE GREAT MUSICAL CONTEST:
The chapter on 'Contests and Challenges' in 'A Garland' details the finest
musical combat promoted and presided over by Maharajah Ayilyam Tlrunal. The
two musicians are described by T. Lakshmana Pillai as two prowling lions, Roman
gladiators, musical foundations and musical rockets. Here is his assessment of
the two artistes:-
Maha Vaidyanatha Ayyar
Master of many ragas yet unknown in
Travancore. Gifted with a voice
unrivalled in clearness and sweetness
with capacity for rapid performance.
His method was nayam (persuasively
soft). His voice lured the audience.
A well-laid out garden. Afresh water
lagoon. Mellifluous and dazzling.
Raghava Ayyar
Could not boast of such merits but
had originality, manly vigour and
resourcefulness. His voice though
somewhat gruff was strong and
seemed to suit the boldness and
majesty of his style.
His method was ghanam (gravity).
His voice extracted admiration. A
tower of strength. A mighty river.
Imposing and sublime.
An eye-witness to the combat, Mridangam Sethurama Rao of Tanjore
remarked that Raghava's music contained a little admixture of Desiya style
compared to the pure Carnatic classicism of Vaidyanatha.
(T.V. Subba Row in JMAM 11-2)
* * *
POSTHUMOUS AWARDS:
If the inveterate Sardar Patel, the Prime Architect of Independent India could
suffer recognition only in 1 991 for the award of 'Bharat Ratna' after many a lesser
dignitary had been honoured, why not Mudicondan Venkatarama Ayyar, the most
eligible musician be conferred with a Doctorate and Veena Balachander, the most
eligible vainika, with the title of Sangeetha Kalanicjhi. Universities and the Music
Academy may consider with understanding.
METHOD FOR ETERNITY:
" The song would be born as long as a certain understanding of the universe
was there. That such an understanding existed and would continue to exist was
the concern of the musician-thinkers of early India. In what they wrote, they
chose to remind posterity not of their own experience in song, but of the method
ANOTHER GARLAND 369
whereby the experience could be had by each person. Song is an act of rising
above both life and death ! "
- Gopal Sharman.
* * *
FOUNTAIN OF WISDOM CLARIFIES:
Jagadguru Sri Chandrasekharendra Saraswati, Senior Sankaracharya of
Kanchipuram gave this exposition to Ariyakudi Ramanuja Ayyangar in 1961
during his camp at Devakottai as reported in "Ka/Wand 'Sangeetham' :
L Padacchedam:
Many musicians, who concentrate more on music than on the meaning,
distort the meaning and message of songs. The correct meaning of the line
'Guruguhaayaagnana dhvanta savitre' in 'Sri Subramanyaya namasthe'
(Kambhoji) can be got only by breaking up the line as 'Guruguhaaya agnana
dhvanta savitre' which means, 'Obeisance to Guruguha, the sun who dispels
the darkness of ignorance'. Some sing this line lengthening the
Guruguhaayaa' giving the impression that it is a separate word and the rest
of the line sounds like 'gnana dhvanta savitre' which gives the distorted
meaning 'the sun dispelling the darkness of wisdom1 !
Similarly, in 'Sankaracharyam' (Sankarabharanam), there is a line
'Paramaadvaita sthapana leelam', meaning 'He who founded the profound
philosophy of "Advaita" as an act of play'. But some who either do not
understand or care, elongate the word 'Paramaa' and sing the second word
to sound as if Vvaita' is established as an act of play; and thus convert the
Advaita Acharya into a Dvaita Acharya'. ( Vide part III D on this subject.)
ii. Origin of some ragas: Kambhoji :
Many know that Kambhojam is Cambodia and that Indian culture has taken
roots there. Researchers like Sambamurti deny that India borrowed the raga
from Cambodia. Kalidasa in his Raghuvamsa mentions another Kambhojam
adjoining Himalayas beyond the river Sindhu. Perhaps Kambhoji was
evolved from a raga peculiar to this region in the Hindukush !
Many ragas may have assumed the names of regions from which they
originated. When ragas are refined by the people of particular regions, they
acquire the names of those regions. Kedaram refers to the Himalayan region
Kedarnath; Gowla to the country 'Godda1 or Bengal...1
In this conncection, it may be stated that the kritis of Dikshitar too would seem
to lend credence to the geographical origin of some ragas as in —
a. Sourashtram - Gokarneswara Pahi kriti - 'worshipped by the kings of
Sourashtra, etc..1
370 ANOTHER GARLAND
b. Mayamalavagoula - Neelothpalambikayaha - 'outstanding in the regions of
Mayapuri, Malavam, Goula.'
c. Kannada Goula - Neelothpalambikaya - 'who saves the people of Kannada and
Goula.'
PARALLELS :
i. ' Sruti follows swara just as the fish swims in water and the bird flies over the
sky.5
— ' Naradisiksha '
ii, Intuitive, imaginative, chaste alapana (exposition and delineation of raga) is
compared to the delightful, fanciful flights of the kite and the faithful shadow
that follows it.
THE BAN and PLATO :
Plato (on Legislation); ' Egyptians were restricted by their laws to fixed
melodies and were not free to alter. Our (Greek) legislators are to be praised that
they do not venture into this field. ' He records further:
' This must be the work of a God or of some divine person '.
How true it is vis-a-vis Indian thought and music! The freedom that Indian
music has enjoyed lends great credit to our law - givers and merit to our musical
seers.
MUSIC MARS OR MENDS:
1 Exquisite art and degrading corruption were
contemporary in Greece as well as in Rome. '
— Dr. Smiles.
' Morality depends on the artist, not on the art. '
— Rev. Haveis.
1 Take King Dilipa, the very first king and Agnivarna, the very last
king in Kalidasa's Raghuvamsa. Both were music-lovers. Independent
of music, Dilipa was highly disciplined in morality. His musical
knowledge served to steady him in the path of morality. But Agnivarna
who neglected to cultivate morality fell into obscene ways that he
ANOTHER GARLAND 371
11 Not always music shows the man; we find
Who sings kindness is not therefore kind ! "
— (Tagore).
I contend that while it is possible for a person of strong character like
Dilipa to derive benefit from music, it is next to impossible for a person
versed only in music like Agnivarna to derive any benefit from morality.'
— M.S. Ramaswami Ayyar.
Note: Vide ' Boom, £?ooze,Doom' at page 444 of A Garland.
ULTIMATE RESPONSIBILITY:
"Tolstoy, in his ascetic recoil against his own handiwork, called art 'a beautiful
lie'. Well, it often is so. But it is often quite not so. It can arouse devilish or divine
feelings. It can lead men to that higher beauty which Keats saw is one with truth.
Whenever its influence is bad, it is the artiste who is to be blamed, not art."
— Paul Brunton.
"The rasikas' love for music has no commercial angle, whereas we
(musicians) are being PAID to perform FOR THEM! To us, it is certainly a
commercial proposition, a commercial commitment! Hence, from where we sit,
they are purer at heart! As a musician your responsibility is to see that, although
it is a commercial arrangement, YOU DO NOT MAKE your art COMMERCIAL!"
— Veena Maestro S. Balachander.
(Emphasis supplied).
' The golden Age comes to men only when they have,
if only for a moment, forgotten gold. ' — G.K. Chesterton.
MUSICAL HAMPDEN!
The prowess of Tansen is legendary. No musician except he was allowed to
practise his art in Agra publicly. The ban on others, or rather the relaxation in his
favour alone, was to satisfy the fanatic orthodoxy of the Court. Birju Bavare (Baiju
Bavara), a co-student of Tansen under Swami Haridas, challenged the decree by
singing in the streets and was promptly arrested. He challenged Tansen's alleged
invincibility and was given a chance to keep his head by proving his stand.
Birju met Tansen In a contest of musicianship fearing nothing from the artiste
who had compromised his integrity, diluted his inspiration, a nearness to the soil
and climate from which music grew in favour of well-being and the security of the
Court. It proved to be a stiff contest. In the end, Tansen had to admit that there
i^om -from hie nnnnnent. A little humility, perhaps.'
372 ANOTHER GARLAND
Note: Swami Haridas is normally reputed to be Tansen's guru. Abui Fazi of Akbarnamah
mentions that Tansen had learnt from Adil Shah ! Perhaps another guru!)
VINOBHA BHAVE ON BHARATI:
1 This thought that man is the supreme organism, 1 got from (Subrahmania)
Bharathiar... He felt a seYise of kinship with the whole universe, not only human
beings and animals, not only living beings but inanimate objects also', said
Vinobha Bhave. Vinobhaji repeated Bharathiar's song in tamil alluded by him,
meaning:
11 The crow and the sparrow are of our tribe ;
The sea and the hills constitute our crowd. "
— Dr.M. Aram in 'Essays on Bharati'.
There is, thus, no cause for wonder though Shakespeare marvelled 'Is it not
strange that sheeps' guts should bale out souls out of man's bodies ! '.
* * *
KESAVAYYA'S WIMBLEDON AND WATERLOO:
'Kesavayya's pompous attitude, preposterous titles, his majestic tambura
bedecked with flag, the sight of the cartloads of tamburas and other costly
presents surrendered by the several defeated musicians, the pile of jayaprada
patras, i.e., documents signed and delivered by defeated musicians
acknowledging their defeat, all these and more made the (palace) vidwans
despair of success ...'
(Kesavayya went to Tanjore, the Musical Wimbledon, to complete his Grand
Slam but met his Waterloo. Vide A Garland.)
A few days later, Kesavayya met Syama Sastri on the street. He gnashed his
teeth and said angrily, "You have been responsible for the loss of all my
reputation.." Sastri calmly replied, * This is all of your own making '.
— P. Sambamoorty in 'Great Composers1
Note: Tambaram T Ekambaram, Madras has evolved a method to synchronise the two tafas
handled by Sastri and Kesavayya i.e., Sarabhanandana (79) and Simhanandana (128)
talas with all the beats continuously.
VILLAGE TEACHER: THE GLORY HE WAS:
When a political leader pays a visit to his or her old nurse or teacher, it is
flashed as news. But not so when others do it?
A humble telugu teacher had given tuitions to Sangita Kalanidhi
ANOTHER GARLAND 373
D.K. Pattammal in her teens at Kanchipuram. That was ancient story but true.
Decades passed. Pattammal had long back stepped into her heydays. One day
a man stood at her door-steps looking a picture of humility. When the senior
musician enquired, he revealed that it was her old teacher and said that having
come to Madras, he wished to meet his old student just to express his happiness.
Pattammal's efforts to make him feel at home were in vain. The old poor
teacher was ill at ease before Pattammal whose affability is proverbial. Finally
thinking that her father might not have remunerated him adequately, she gave him
Rs.Two hundred with ' tamboolam '. The old teacher's face brightened. With
visible pleasure he took it but handed the entire plate back to the musician saying,
' Pattamma, I have been watching all along your success. I was too poor to make a
presentation to you during your wedding. Kindly purchase a Kanchipuram silk saree
for you out of this money as my gift ! '
And he left richer, a picture of contentment !
That was iradia's glory!!
the glory that was or is?
This reminds me of an incident in January 1 948 (the month of the martyrdom
of Gandhiji) at Tiruvallur. Padmanabha Ayyar, Deputy Director of Survey was
known to be an officer of aggressive honesty. Menon, the Circle Officer gave him
with deep respect just two apples on behalf of the trainees while taking leave of
the camp. After the usual enquiries Ayyar said,
1 Menon, You have your children at Madras. Please give these two apples
to them with my love '.
That was Ayyar's unsullied reputation on the eve of his retirement. He was
not guilty of taking even those two fruits!! Now the search is on to locate such
men of gold!! Gold is scarce even in Kolar Mines!
* * *
NIDHI CHALA SUKHAMA?
The answer of Tyagaraja and other seers of India is known. A sympathetic
cord vibrated in Baruch Spinoza, a great Jew, philosopher and a contemporary of
Ahobala and Venkatamakhin. In his 'On the Improvement of the Intellect
(1660 AD), he states:
1 1 could see the many advantages acquired from honours and riches... But the more one
possesses, the more the pleasure is increased and the more one is encouraged to
increase them; whereas if at any time our hope is frustrated, there arises in us the
deepest pain. Fame has also this drawback. But the love towards a thing which is
eternal and infinite alone feeds the mind with a pleasure secured from all pain. '
Here is a passage from Vivekanandafs letter dated October 2, 1893:
• i cnmptimps wish for a life of million million aaes to serve Him
374 ANOTHER GARLAND
Bhatruharfs Vairagya Sataka, viz., 'We live on alms; and sleep on Mother
Earth: What use have we of the Wealthy?', finds an echo in a Chinese song
quoted by T.H. Chin in Kalakshetra (VII-2):
' By sunrise, I begin to toil;
Go to rest at sunset;
Drink by singing a song;
Eat by plouging the soil.
What is the use for me to have imperial power?'
Poverty has not soured the Indian. It has chastened him with a spirit of
acceptance, which is very different from resignation. There is no despair. On the
contrary, he has learnt to feel and create beauty in the most adverse conditions,
to make his own entertainment and music, to join in dance. Cultural enjoyment
has been a great factor in Indian life
- Indira Gandhi in Eternal India (B.I. Publications) 1980.
The performance ... of Mozart made moisture come to the eyes because
of the sheer happiness of the music and the incredible accuracy and bloom of
the playing. To hear this music played to perfection was to escape from
the material burden of the world for a while. We could feel for a blissful
moment that felicity is the only reality, the Thing-in-ltself. When Mozart is in
this heavenly mood it is as though he were saying to us, "A star danced and
under it I was born." Yet when the work was composed, Mozart was a
harassed mortal man afflicted with responsibilities and griefs which would send
the average man of "Big Business", or the average politician, staggering into
the nearest nursing home. The creative spirit in genius seems to owe
nothing to the support of the flesh ...'
- Sir Neville Cardus in Music
COMPOSITIONS v. LUCK:
South India has a great legacy of preserving and presenting a panorama of
enduring and enchanting architectural, sculptural and other art works - rather
such a surfeit of them that the intrinsic merit and monumental glory of many get
ignored. Gems of purest ray serene in abundance even after the Great Loot of
Treasures survive. The Indian starved to create and legate such treasures,
Several old magnificent temples stand ignored but small temples are built and no
efforts are made to renovate the fine monumental temples of old. Even so,
numerous compositions of anonymous composers lay untouched by any!
Dr. S. Seetha has recorded;
"There are manuscripts in the Saraswati Mahal Library, Tanjore of padas and kirtanas in
Telugu, Sanskrit and Marathi like 'Venkatesa Padamulu' (99 songs), 'Samskritha
Kirthanas' (147 songs) and Vanchinatha Kirthanam' (49 songs), the authorship of
ANOTHER GARLAND
Some works lack proximate luck and response but enjoy ulitimate popular
A remarkable case is the work 'The World as Will and /dea' (1 81 8) by philosopl
Shoepenhauer. Sixteen years after publication, he was told that the great parl
the edition had been sold as waste paper! In 1851 he received ten copies of
most readable work 'Byproducts and Leavings' as his remuneration! Good woi
too have to wait for auspicious stars to claim like Ben Johnson:
11 Thank God !
It will be look'd for book
When some but, see
Thy title 'Epigrams' and nam'd of me."
ORIENTAL EMOTIONS:
There may be an element of over-reaction or excess in what an Indian do<
feels or thinks. Pure melody with unrestricted freedom for ornamentath
innovation and improvisation, in short, raga-based music - is thus a corollary o-
Exhibition of oriental joy or sorrow is notorious for their near-riotous nature, Ev
the Prince among the wise ascetics Swami Vivekananda could not overcome
See the Himalayan magnitude and magnanimity of his gratitude expressed
one of his letters - stated to be an adoption of a passage in the Siva Mahirr
Stotram:
' If the Indian Ocean were an inkstand, the highest mountain of the Himala^
the pen, the earth the scroll and time itself the writer, still it will not expre
my gratitude to you. '
Verily it is the Viswaroopa of Gratitude! What did Nehru will? He wanted
ashes to be broadcast on hills, dales and plains! On Raga - Emotion nexus, Go
Sharman refers to exaggerated claims;
' A long list of ragas is provided with various emotions credited against them somew
in the fashion of a bank ledger... If this potion were to work in the way it is meant to,
musician would have to contend with a hall -full of wailing and sobbing spectator
he were to burst into tears himself halfway...) '
* * *
THE EQUALS:
The bad musician tortures, no doubt. The good one too tortures ! The gn
Hindi Poet Tulsidas in his benediction to the translation of the Ramayana said
1 1 bow down to both the wicked and the holy.
Alas, for me they are both equally torturers.
to tnrtiirft mft as soon as thev contact with me.
ANOTHER GARLAND
Does it not apply to the good musician too when he suddenly springs a
Drise with his Wee nama rupamulaku nithyajaya mangalam* (Sourashtram)?
TSMARTED:
The visiting poet, with supreme confidence, sang his composition expecting
approbation and acclaim. The Court-poet, not known much for poetic calibre
(evidently a political appointment!), stepped in the minute the visiting poet had
concluded and declared that the song was not original and asked his prime
pupil to render 'what he had already been taught'. The boy repeated the
poet's version verbatim to the amazement of all. Not content with it, the
court-poet called upon the second disciple to render it; and lo! he did it too!
The visiting poet was struck with fright and felt that it was indeed an assembly
hosts! And he left. The story says that the first boy was an eka santha grahi
the second a dwi santha grahi, i.e., those who could repeat on hearing a text
e and twice respectively. Scheming Court - poets equip themselves with
i tools to keep themselves in position.
Likewise when Paranjoti Munivar took his Tiruvilayadal Puranam' to the
learned men of Veppathur to get 'catrukkavi' (introduction), he was asked to
come the next day. The elite sat through the night, wrote another themselves
on the lines of Paranjoti's and when the Munivar went over there the next day,
warned him that his composition was not original!
Such stories are circulated either to highlight the cerebral brilliance of some
or the hazards and impediments faced by a true genius. It is stated that
Tiruvilayadal Kirtanas were composed almost simultaneously but
independently by Mazhavarayanendal Subrahmania Bharati and Tirunayam
Krishna Bharati. How they fared in this context is worthwhile a probe.
iA v. SWARA:
Raga gnana is different from Swara gnana. The first is evolved by constant
ling while the second is developed by one's own instinct, intuition and efforts,
having swara gnana need not necessarily have raga gnana.'
— Nedunuri Krishnamurti
HITAR MOMORIAL
"he Dikshitar memorial mandap at Ettayapuram was constructed in
5 renovated and rebuilt in 1988 bv Sundaram Pillai of
ANOTHER GARLAND
Palayamkottai. Dikshitar Jayanthi is celebrated annually.
* * *
VALUE & VALUES:
i. The golden bond and fragrant nexus between the nagaswara coloss
T.N. Rajarathinam and Raga Darbar are well-known. It was God's chosen hour
rest and recreation — the still, soulful midnight. The maestro was at the peak
sweet fascinating melody. The congregation in the street -yes, it was a process!
— stood in captivated trance and forgot to breathe!
"SABHASH",
chipped in a rustic voice startling the congregation of statues and the maest
Rajarathinam looked around in amazement. The ill-clad lamp-carrier with 1
sleepless dozing gas-light on his innocent, uncombed head lowered his he
feeling guilty of impropriety. The maestro in the midst of his Durbar (Court ! - w
he not holding total sway over the crowd around?) confided:
' I value that appreciation of the mandai-vilakku (lamp- carrier) much more tt
any Presidential Award. '
True, one came from a full, feeling innocent heart while the other out
conscious procedure. (Samuel Johnson used to recollect with genuine pleasi
the praise of his first lady-tutor stating that it was 'as high a proof of his merit
he could conceive'.)
ii. Your Sri Ramayana Darshanam is priced too high5, complained the youth
You have gladly parted with Rs.1 20 for a pair of shoes to cover your feet; I
you are not prepared to part with Rs.50 for something to be carried on yc
head5, replied K.V. Puttappa, Jnanapith Award Kannada Poet.
iii. Rusi Modi, Chairman, TISCO told his men (before 1992):
'I have completed fifty years of service. ..If I had my life to live over again
would change many things but not my life with Tata Steel.'
That was the summit of human involvement and dedication. Surely mam
stalwart musician had echoed like-thoughts vis-a-vis music.
iv. The divine minstrel Narada's travails in achieving perfection in music f
mention at page xLix of A Garland. Says Gopal Sharman:
'Hie *arni^itir>n hoc n<a\/<ar hA«an m Ipctfinned. It JS the Value Of eruditJOH tC
378 ANOTHER GARLAND
v. Make-believe ? 'A genuine artiste is never worldly wise. He lives in the world
of euphoria generated by public adoration and forgets to invest wisely for a
future day. He realises his mistake when it is too late, He has to put on a
brave face., exude a make-believe enthusiasm...' — H.K. Yoganarasimha
MULTI-FACETED:
Maharajah Chamaraja Wodeyar was a prince among musicians and a
musician among princes.
S. Rajam is an artiste among artists and an artist among artistes -(RRA)
Dr. S. Pinakapani is a Sangita Kalanidhi among practising doctors and a
doctor of medicine among Sangita Kalanidhis.
T.L. Venkatarama Ayyar was a Supreme Court Judge among, musicians and
a competent musician among Judges of the Supreme Court.
Vallalar Ramalinga Swamigal, Govinda Dikshitar, Veena Balachander and
several others were such multi-faceted celebrities who should have made a
success of anyone of half a dozen careers.
* * *
PROFESSION & PRACTICE:
Rarely the two meet. Palghat Mani Ayyar, the percussion maestro, was a
lifelong adversary of the mike and his letter paper carried the warning Invite me
only for mikeless concerts'. It was not like statutory warnings such as "smoking
is injurious to health" in glittering advertisements on cigarettes but he meant it.
His Tenth Anniversary was celebrated at Delhi by Swaralaya with all 'technical
wizardry demonstration, two monstrous speakers connected to an electronic
amplification device, etc.' Rightly 'Narada' wrote that 'a big name from the past is
useful to brand the concert series but it would take some imagination to conjure
up a link between such spectacles and the maestro in whose name such perfidies
are perpetrated '.
CHIEF MINISTER'S SPARKLERS:
The Tamil Nadu Chief Minister, Jayalalitha, a talented artiste, gave a brilliant
speech at the Madras Music Academy on December 1 8,1 991 . Excerpts below:
'Our musical savants, connoisseurs and rasikas who have contributed to the
maintenance of the highest standards of musical excellence had drawn the
attention of the whole world to the fact that Indian music and dance forms
ANOTHER GARLAND 379
represent the highest hall-mark of its culture and civilization and are rooted in the
understanding of the power and glory of divinity and its manifestation.'
The properties of Indian music are spiritual and encompass religion,
philosophy, logic, science, commonsense and sensory impressions. It spanned
the entire gamut of organic sensation, sense perception, perceptual conception,
reasoning, judgment and spiritual realisation. '
The great contribution of Indian music is the conceptualisation of raga...the
vital force in the design and execution of the classical form ... ragas were the
creation of divine inspiration of the innermost being of the great Indian spiritual
leaders.1
The pinnacle of development of tamil music was achieved during the time of
the Nayanmars and the Alwars. The thevaram hymns could be said to constitute
the first regular musical compositions set in definite raga and tala.'
DIETETIC MUSICOLOGY:
i. Musicians fall under two categories, viz,
a. those who find music in diet and
b. those who find diet in music.
Mahavidwan Minakshisundaram Pillai of Tiruvidaimarudur, after a frugal
vegetarian meal at the local Saivite Mutt, confided to young U.Ve. Swaminatha
Ayyar, They served me ghee'!
A single spoonful ghee was then worth such a startling revelation in whispers
by the tamil savant !
ii. Pazhamaneri Swaminatha Ayyar, a stalwart among musicians, was having
his dinner after a concert and payasya (sweet pudding) was served spreading
aroma alround. Ayyar took a handful of it (not being the custom to use
spoons) but suddently lapsed into sobs and tears. None could fathom the
cause. Recovering himself, still with the pudding in hand, he reminisced,
tears keeping pace with his thoughts:
1 My thoughts went back to my guru Maha Vaidyanatha Ayyar who had never tasted any
of these rich dishes. He abjured all these to preserve the purity of his voice.'
Patnam Subramania Ayyar told his disciple Mysore Vasudevacharya that
'Maha' was starving himself. Vasudevacharya avers:
1 Vaidyanatha Ayyar was afraid that the tiny flame of mangalaratiwas sufficient to cause
-x* — *u« +« u-;«« « ,*«IHI Wo cti irir tn a strict diet of rice
380 ANOTHER GARLAND
What a sacrifice? Yet Maha did not live to complete his fiftieth year!
iii. Patnam Subramania Ayyar had told Vasudeva, 'Why on earth should men
learn music if one has to starve like Maha?' 'Subramania Ayyar would eat
well. I fully endorse his theory. I have been a faithful follower of his
take-it-easy life.' Veena Seshanna too had once complimented Vasudeva of
his partiality for eating.
Patnam lived for fifty-seven and Vasudevacharya lived for ninety- six years!
iv. Subramania Bharati was not known to be a glutton and want was not a reason
for it. He was in such a hurry that his sparkling advent lasted just for
thirty-eight years.
v. Tyagaraja was a renunciate and Muthuswami Dikshitar was a kshetragna
leading a frugal life. The former had aversion even for curds, butter and milk.
Both could have commanded luxury. Food played little role in their lives.
Dikshitar was just fifty-nine when Ettayapuram bade him a tearful farewell
while the Rama Bhakta lived for eighty years.
vi. Poochi Srinivasa Ayyangar was a glutton who swallowed idlies in dozens,
ghee in cups and coffee in jugs. He was only fifty-two when he died.
vii. As against these and similar cases which offer no guide— lines, 'the Vedic
benedictions indicate:
"Jeevema saradassatam (Live for 1 00 sarad-seasons), "Satamanam bhavati
Sataayuh" (Let it be hundred, hundred years' age) point out that our ancients
considered 100 years as the maximum limit of man's age... Tradition mentions
" Sahasra masa Jeevi " (1000 months old person) and "Sahasra Poorna
Chandra Darsana" (witnessing 1000 full -moons).' — (S.D.Thirumala Rao).
Ayurveda has guidelines to develop and sustain a melodious voice and enjoy
longevity. What exactly is the rhythm between diet and life-span of a musician?
What exactly is the concept behind 'mens sana in corpora sano ' ? What exactly
would be the ideal food for a musician to enjoy a fairly long life span ? Is there to
be any distinction in food requirements between a vocalist, an instrumentalist
(nagaswara artiste or flautist) and a percussionist! Prima facie a case exists for
an analysis.
MAY I HAVE THE KNOWLEDGE?
'0 Lord, please give me the unflinching will, the will that holds against ail odds,
an unflinching will to change. May I also have the knowledge to know what I can
and cannot change, knowledge that helps me to accept what I cannot change.
ANOTHER GARLAND 381
Once I know something cannot be changed, I can accept it. And once I know I can
change, \ can do what has to be done. May I have this knowledge?1
— Swami Dayananda Saraswati
Note : Musicians may adopt this prayer.
MELODIOUS, NOT SOULFUL:
1 have been trying to study the handling of the violin by Western savants to
see whether a part of it can be imported into South Indian music. But I must
confess that my attempts so far in that direction have not been an unqualified
success. For whenever I tried to introduce some innovation during my practice
hours, I found that the music lost its distinctive Carnatic stamp. Such music might
be melodious to the ear but it has no appeal to the soul.'
— Dwaram Venkataswamy Naidu, Violin maestro in 1941 .
(Vide Chapter IV in Part I on Trends & Trends'.)
* * *
THE CONTRASTS :
i. Subramania Bharati of Ettayapuram could not restrain his emotions at the
sight of tears. He confessed :
' Un kannil neer vazhindal, en nenjil udhiram kottudhadi.'
Knowing what Bharati stood for, fought for and suffered, one can appreciate
Samuel Johnson saying,
1 The notion of liberty amuses the people of England and helps to keep off the taedium
vitae (loss of interest in life). When a butcher tells you that his heart bleeds for his
country, he has, in fact, no uneasy feeling.' v
ii. How Cardinal Wolsey of England and Mangal Pandey of the First War of
Indian Independence (mischievously called the Sepoy Mutiny) faced the
gallows nonchalantly is well known. Here is a contrast of the last words of two
other great men from the pages of history :
' Et tu, Brute ? ' - The plaintive query of Julius Caesar.
1 He Ram ' - Thus Mahatma Gandhiji surrendered his soul and body
to the Lord.
Even the Golden Deer Maricha chose to utter the name of the Lord only as his life
ended. It is on record that many musicians breathed their last singing or being sung
to in praise of the Lord. Do they not portray the respective civilization and culture
they represented ?
382 ANOTHER GARLAND
WOE:
Samuel Johnson at Pembroke College in 1754. The master received him
coldly. Johnson at least expected that the master would order for a copy of his
Dictionary but the master did not even choose to talk on the subject. Johnson
said to me, -
11 There lives a man who lives by the revenues of literature and
will not move a finger to support it. " — Boswell
Worthy men had thus been treated very many times and worthy causes
ignored. Boswell was to Johnson what Mahadev Desai was to Gandhiji,
Umayalpuram Brothers were to Tyagaraja and Purandara's sons were to the
Sangita Pitamaha.
THE PAINFUL VOID
Telegrams and congratulations from famous persons were read out at the
70th birthday dinner of Sir Thomas Beecham amidst immense applause. Sir
Thomas Beecham asked, with a pained expression on his face,
"Nothing from Mozart ?"
— Sir Neville Cardus in 'Music',
SRINGARA
The young musician used to bring a beautiful flask to his concerts. He would
be frequently sipping from the cup and seen fully animated and rejuvenated, His
dear spouse could not fathom the reason for his taking it empty and bringing it
back unused. It was intriguing. That day, it happened to be the concert at the
Ladies' Club and she was prominently seated in the auditorium. She could see
him taking rhythmic sips from the empty cup. Driven by an acute feeling of
anguish and solicitude, she procured coffee, took it to him and whispered :
'My heart aches to see you sipping that empty cup.
I feel like crying. Here is coffee, dear. Please...1
' Radha dear, you know I don't take coffee at all. This flask is now part of the musician's
paraphernalia. It serves me most elegantly. When I sip this reddish cup I feel I am
kissing your rosy lips, dear. How can this pale liquid provide or compensate that
exhilaration.'
The viyoga mind becomes samyoga indeed !
ANOTHER GARLAND 383
APHORISMS, EPIGRAMS, ETC.
LEAD KINDLY LIGHT: GOLDEN GUIDELINES:
1 Music is a kind of inarticulate, unfathomable speech which leads us to the
edge of the Infinite and lets us for " moment's gaze into that V
— Carlyle.
The relationship between Sound and Sense (Sound and Word)
is a holy one and is similar to that of Parvati and Parameswara.1
(Vakarthaviva ... Paratneswarau.*)
— Kalidasa's ' Ragtu/vafnsa*.
'A great musician must always use emotion as substance out of which
beautiful forms are created. A great musician should have poise for without it his
work perishes,'
'We praise the composer for his genius in creating a foundation along with a
superstructure of melodies. But we expect for the player his own skill in the
creation of varieties of melodic flourish and ornamentations/
— Rabhindranath Tagore.
'Music students are among the least politicised in the world.'
— John McCabe in Musical Times.
(Thank God ! May the devotees of melody keep it up.)
'Believe me, I shall be composing love-songs again - addressed not to A or B
but to Music.'
— Brahms
* * *
SUSTAINED PRACTICE:
1 1 practise faithfully everyday.
If I miss it one day, I notice it,
If I miss it on two days, critics notice it.
If I miss it on three days, audience notice it.1
— Paderewski.
In 'A Garland' the dedicated intensive daily practice of stalwarts like Konerirajapuram
Vaidyanatha Ayyar, Tlrukkodikaval Krishna Ayyar, Dwaram Venkataswami Naidu, Sir
Yehudi Menuhin, etc, is dealt with in extenso.
384 ANOTHER GARLAND
TERMINOLOGICAL EXACTITUDE:
B. Mathews:
1 In the case of the first man to use an anecdote, it is orginality ;
In the case of the second, there is plagiarism ;
With the third, it is lack of originality ; and
With the fourth, it is drawing from common stock. '
N.M. Butler: ' Yes; and in the case of the fifth, it is research. '
— From Edmund Fuller's Anecdotes
* * *
MUSIC MANDATORY:
Plato insisted on a knowledge of music and mathematics for admission into
his school. Pythagoras insisted that a pupil should know geometry and music.
' Music gives a soul to the universe,
wings to the mind,
flight to the imagination,
a charm to sadness and
gaiety and life to everything.
It is the essence of order; leads to all that is Good, Just and Beautiful, '
— Plato.
Note: 1. The combination of mathematics and music and its utility may be canvassed
in depth.
2. The Government of Tamil Nadu is in favour of prescribing music as a
compulsory subject, it is reported.
* * *
REASON FOR MYSTERY:
The lives of many stalwarts of Art, Music and Culture are shrouded in mystery.
The exact period ofjhe revered Sadasiva Brahmendral and Arungirinathar, the
year of birth of Tansen and Gopalakrishna Bharati, the place of birth of Jayadeva
and Kshetragna, to mention a few, are unresolved issues. Taking the pregnant
life of Arungirinathar, his parentage is given variously as Subbarama
Dikshitar-Kamalambal, Rajanadha Kavi-Abhiramanayaki, as son of the sister of
Govinda Dikshitar, etc. All are robustious surmises. His period is given differently
as 1 375 — 1 450, 1 400 —1 490, born in 1 571 , etc. The caste in which he was born
is either brahmin, rudra kanigaiyar, vell^lar or none of these.
The reason presumably lies in the Hindu faith in the ideal laid down in
scriptures and the Gita (Chap.lll) (to perform action without attachment1.
Personality cult was unknown; all credit was dedicated to the God.
ANOTHER GARLAND 385
CAVEAT BIOGRAPHERS:
Some are truly blessed with training under many masters and some are truly
fortunate to claim direct or indirect line of discipleship from Tyagaraja or such
other great master. Vivekananda mentions a case (to the contra) :
' ...You know the boy wjpo had his head shaven... He calls himself a disciple of
Ramakrishna Paramahamsa. He had never ever-met Shri Ramakrishna in his life and
yet a disciple! What impudence ! ' Without an unbroken chain of discipleship —
Guruparampara — nothing can be done... the power that is transmitted from the guru
to the disciple, and from him t§his disciples, and so on... '
TRUE ART:
( What is the final call of true art ?
Not to the work which expresses it
but to the spirit which inspires it
the divine source of which it reminds us.'
— Paul Brunton.
Time is fleeting, memory is short. The creative genius of today may not be there
tomorrow. Posterity needs to be told that 'Such a genius had lived and lived so*. These
books are titled 'Garlands' not only because these are garlands of biographies but
because 'Maa/a'or 'Garland' brings about auspiciousness, prosperity and splendour:
"Naam athava Sobham athava Lakshmim Latiti Maala."
ASTRONOMICAL PROJECTIONS:
' Venkatamakhin has said that his Melakarta Scheme is mainly to indicate
possibilities,.. He never thought that all could be handled as ragas. An
intellectual scale need not necessarily conform to aesthetic standards. Music in
India was evolved independently of such schemes.
There are books giving the arohana and the avarohana of thousands of ragas.
With five notes, 34776 ragas and with more notes 126936 (ghost) ragas are
feasible, All mere speculation. No aesthetic feasibility. '
— Prof. R. Srinivasan.
THE TIMELESS AND THE INTERLUDE:
' Indian music has no absolute pitch. For each occasion of singing, a drone
furnishes a frame, a sustained tonal centre, The tonic heard continuously before,
throughout and after the conclusion of the singing expresses the TIMELESS, the
eternal background of things. The singing itself is an INTERLUDE. '
— Krishna Chaitanya,
386 ANOTHER GARLAND
MOZART:
Lad : Could you enlighten me how to write a symphony?
Mozart ; You 're very young, man. Why not begin with ballads?
Lad : You composed them when you were just ten years old?
Mozart : Yes, I did. But I did n't ask ' How ? '.
*
* * *
POWER DESERTS : : ART WEDS:
It is common belief that Wealth and Wisdom rarely co-exist. Is not monogamy
the ideal before Man? Probably it is a reflection of that ideal that Wealth and
Wisdom keep apart normally. Maharajah Swati Tirunal of Trivandrum (1813 -
1846), probably was constantly soliloquizing 'Naan Oru Vilayattu Bommayya'
(Am I a mere plaything?). Though the tamil song of Papanasam Sivan was not
actually there to be sung by the ruler, yet the idea was very much agitating his
fertile mind having been relieved of every vestige of royal power by the scheming
British and its local stooges. Likewise Rajah Serfoji of Tanjore (1798-1832) had
to surrender his principality for a pension. Both enjoyed the titles they held but
did not rule, though Swati Tirunal continued to reign.
Divorced of power, their innate genius and artistic instincts asserted in a
measure rarely witnessed elsewhere. They became supreme patrons of art,
architecture, sculpture and literature. They are crowned immortals in their
destined fields and their names stand inscribed in letters of gold in the eternal
pages of the Cultural History of Bharath.
Serfoji placed the Saraswati Mahal Library, Tanjore - described by S.Gopal as
'a product of the synthesis of three different cultures' - on the cultural map. It is
a mine of accumulated and recorded knowledge in various faculties and the
scholar- Raj ah has autographed the books he painstakingly secured.
Compare their glory with the fate of a fallen Western ruler. In his 'Ode to
Napoleon Bonaparte', Lord Byron has this:
1 Ill-minded man ! Why scourge thy kind
Thine only gift hath been the grave,-
To those that worshipped thee;
Nor till thy fall could mortals guess
Ambition's less than littleness ! "
ANOTHER GARLAND 387
the respective rulers and signifies what a nation with a spiritual and cultural base
could confer even on a fallen ruler! That was the inherent resilient strength of
Bharat !
SUBTLE DISTINCTION:
' Today we teach only songs;
we do not teach music.'
— Nedunuri Krishnamurti on 18 12 1991.
' Music is an art.
It is not to be taught as a craft.'
— Prof. V.V. Sadagopan
In this context, the name 'Carnatic Music Training Centre' in lieu of
'Carnatic Music College', Madras seems inappropriate. The College had an
impressionable past but has unfortunately been downgraded in 1990 into a
vocational training centre. It was established in August 1949 with Central and
State Government funds. Prof. P. Sambamurty was placed in charge of the
Advisory Committee to start the College at Rahmed Bagh, Santhome.
Subsequently it was shifted to Bridge House, Adyar. Sangita Kalanidhi Musiri
Subramania Ayyar was the distinguished first Principal. The institution was shifted
to Brodi Castle (now called Thendral). The strength reached eight hundred soon.
Sandhyavandanam Srinivasa Rao, Sangita Kalanidhi T.N. Krishnan and Dr.
Bhanumati Ramakrishna were successive Principals. Dr. Shanmughasundaram
is its present Principal. The downgrading of the institution is not in the best
interests of the Art and the students. Government of Tamil Nadu may reconsider
* * *
NIGHTINGALE:
The work 'Sooktimala' gives an interesting epigram :
11 To Nightingale :
What are the characteristics of the nightingale which are nursed by crows and
which have black feathers (with defects). But for the presence of its melodious
voice, it will be disdained as inferior even to the crow."
Is it a piece of ' Nindastuti (simulated criticism )?
SOURCES ;
True to the Rig Vedic hymn, 'Ah ne badraha kruthavo yanthu vishwathaha'
(Let noble thoughts come to us from every side), great composers have drawn
inspiration from diverse, noble sources.
388 ANOTHER GARLAND
DEATH IS BLIND:
The cruelty of Death's vagaries robs the solace of man breathing his last in
congenial environment amidst his kith and kin when it overtakes him in strange
places like:
G.N. Balasubramaniam at Trivandrum
Tiger Varadachariar at Trivandrum
Veena Balachander at Bhilai.
John Higgins (in an accident).
Maharajapuram V. Santhanam (in a tragic road accident).
IMPROVISATION - GENESIS & CULMINATION OF EMOTIONS:
1 An unthinking compliance with convention is what Indian music has no place
for. Nor is it satisfied with minimal thought, minor shuffling of emphasis in set
musical arrangements. Here the arrangement is the arrangement of silence, or
rather an arrangement of emotion - bhava. After the musician has collected his
thoughts, he picks up a raga...Now he must explore the emotion he has chosen,
its nuances, making the notes of the raga an instrument of drama as it were... The
music assumes an improvisatory character from here on. He now proceeds to a
delectation of pure experience, not emotion any longer but its distillation into an
abstract purity; the genesis as well as culmination of all emotion. '
— Gopal Sharman
NOISE - DISTURBING NOISE:
Unsolicited noice from the neighbour's television or radio or loud talks or a
blaring loudspeaker maddens, damages the psychological and physical health of
many people. Noisy light music with its imposing array of players and blaring
instruments tend to upset many. Thumping percussionists spoil the melodic,
soothing effect of a concert. In such cases, it is only the source or origin that
needs to be controlled as no amount of effort at the receiving end could contain
the disturbance and bestow satisfactory benefits
1 Human response to sound is more logarithmic than linear; to halve the loudness of
sound a person hears, the energy of the generated noise must be reduced by a factor
of 10. This is made doubly difficult because only a fraction of the operational power of
noise source is converted into sound — and reducing something that is already small
is a problem. '
- Frank Fahy, University of Southampton in 'New Scientist1.
ANOTHER GARLAND
ART : PAN : NATION:
"Only out of a beautiful heart or mind can a work of true beauty be prodi
A country without culture, without music, painting, poetry, drama and liter*
is a country without a soul.
Art may be the mere embellishment of a drab human existence ; or it
become a veritable approach to divine existence,11
— Paul Brur
11 The Indian Tradition is probably the only living tradition that worships S<
and Music - Sabda and Nadha - and the personification of this Sabda Brahmz
Nadha Upasana is the Indian God of Dance, namely Siva-Nataraja. "
— Dr, Shankar Dayal Sharma, President of !r
* Tyagaraja's songs refer to every aspect of the art, musical concepts, pra
of music and music as a yoga and a ssddhi, as a path and a realisation. '
1 Without poetry, music, dance and drama, there is no zest in living. Wit
Jhis zest, life is a drab. If I had my way, I would make dance, music and gra<
behaviour (not outward but of the soul) cumpulsory subjects. *
— Dr. K.M. Munshi(1
1 The compositions of Muthuswamy Dikshitar are mostly in the majestic
tempo bringing out the essence of the ragas. Why ? Basically his experts
veena ought to have exercised its profound influence. Secondly, he should si
have been won over by the serene environment and atmosphere and by
santhi that prevailed and enveloped the very large Tiruvarur temple ol
Tyagarajaswami and Kamalalayam, the vast tank adjacent to it. He should \
visited the temple many times a day for worship and meditation and freque
the tank for his ablutions, etc. Considerable part of his time ought to have
been spent in the temple with its vast prakaras (15 acres; 23316 sq. ft.) anc
tank with its vast expanse of water (18 acres, 22367 sq.ft.). Fifteen dec*
back, these should have been the abodes of santiand vicranii. One has to sp
a day there at least now to assimilate this point. It will aid in bringing down b
pressure too. Erudite scholarship, scholarly father and brothers at he
religious bent of mind and total surrender to bhakti could find, in the environr
of the temple and the tank, no better tempo than the tsouka kala. This becar
way of life aided and confirmed by his pedestrian travels trekking through
tracts.'
— M.f
WHY MELODY?
AC ram-a+i^ mi icir \A/S»Q tak«an as a nrimarv aid for devotion (Nadopasa
390 ANOTHER GARLAND
Melody and not Harmony could liaise with and lead to the Ultimate.
* * *
ENDEAVOUR & REALISATION:
' Indian Art is not concerned with the conscious striving after Beauty as a thing
worthy to be sought after for its own sake; its main endeavour is always directed
towards the realisation of an area reaching through the limits to the Infinite. '
— E.B. Havel!.
* * *
SOUND & COLOUR IN MUSIC:
1 Can one imagine anything in the art which would surpass the visible
rendering of sound, which would enable the eyes to partake of all the pleasures
which music gives to the ears ? '
— Prof. Louis Bertrand Castel (c. 1720)
* * *
DEFINITE & INDEFINITE:
' Music is the most abstract of all arts.... the feeling distilled in sound assumes
a time-form which is definite, but a meaning which is undefinable and yet which
grips our mind with a sense of absolute truth. '
— Rabhindranath Tagore.
* * *
THE PARADOX:
i. None of the arts was born from their grammar. Grammar came along after Art
was born and had developed to high levels of skill and awareness. We are
fortunate that no one concocts a grammar and then gets an art to conform to
it. Once grammar is born, corroborated and practised, it becomes a reality far
greater than the art which it is the grammar of. The grammar becomes the
preservative in which the art lives. Every generation gets an opportunity to
re-fertilise the grammar.
— Raghava R. Menon
ii. Nobel Prize Winner Dr. S. Chandrasekhar is puzzled by the dichotomy:
:ist is his first;
1 '
'Truth & Beauty'
1 It is often the case that the most important discovery of a scientist is his first; and in
contrast, the deepest creation of an artiste is actually often his last. '
Note; This offers true scope for research.
ANOTHER GARLAND 391
THE VITAL DIFFERENCE:
Comparisons are iniquitous but they indicate relative values and standards,
Here is a story recounted by B.C.Deva;
Swami Haridas, the greatest singer of his time, was a recluse and hermit
indifferent to laurels. Emperor Akbar longed to hear him but the Swami, like
Tyagaraja, was out of bounds to the writ and pressures of sovereign powers.
Finally Tansen suggested a ruse. Akbar went with Tansen as his tambura-bearer
and listened with rapt wonder to the heavenly music of Haridas. Akbar enquired
of Tansen ,
1 How is that with all your greatness, your music is so poor compared to the Swamiji's ? '
The polite answer of Tansen was:
' What else can it be ? For I sing to the Emperor of this land, but he sings to the Emperor
of the Creation ! '
The naked truth and the audacity of the reply are matched only by poet
Kambar's reply to the Chola king:
' You may be respected within the frontiers of thy kingdom;
but the poet is respected wherever he goes. '
* * *
CLASSICALITY:
11 It means the primacy of raga bhava.... unfolding of the raga swaroopa...
Hitting the ball out of the ground may be the acme of skill in cricket but in tennis
the ball must land within the court every time. If one innovates in tennis by hitting
the ball out of the ground, it ceases to be tennis.' (P,K. Doraiswami). None can
excel this succinct statement.
Even so, classical Carnatic music has its well-spelt-out theory, .known
traditions and conventions, like the British Parliamentary System, which together
lay the royal road (rajamarga) to classicism.
* * *
DIVINE INSTRUMENT:
I When through music, the world comes into my vision,
I see Him; I know Him/
I 1 have sung many songs for Thee Oh ! Lord
but ask for no return. '
1 Thou hast sung many songs for me
Thou cans't not help but remember. '
— Rabhindranath Tagore ( 1 861 - 1 941 )
392 ANOTHER GARLAND
THEORY NO SUBSTITUTE FOR KNOWLEDGE:
A jackass with strong musical intents one night sauntered into a cucumber
field and enjoyed himself to his heart's content together with a jackaL. making a
fine though rather ill-timed dinner, He decided to make a song of it and asked the
jackal what raga he would like.
' Is it necessary ? Couldn't you do without it ? (disguising his alarm).
People with coughs don't steal and as for your voice... '
The jackass took the reply to be higly uncomplimentary and got off promptly
to theorise:
' Listen, there are seven swaras, three scales, twenty-two srutis... knowing all these, I can
sing melodiously. '
' Very well, have it your way. I am at the gate keeping an eye open for the farmer and
his son, '
Our musician was too slow to take the Jackal's hint and started. The farmer
rushed in and expressed his somewhat unkind appreciation with a stick.
— Story from 'Panchatanira' cited by Gopal Sharman.
RAGA SUGGESTS AND HINTS:
Abhinava Gupta, who wrote a commentary on Anandavardhana's Vhwani'
theory stated that in all art forms, suggestion is more powerful than statement, It
is of particular relevance to raga alapana as raga only suggests and hints at
various emotions.
— Lalita Ramakrishna in 'Raga & Rasa' in Shanmukha 1 0/90
SOLITARY PRAYER:
' If I go to Heaven, which f very much doubt, ! shall ask of God one favour. And
that is to send Shakespeare down to earth and make him sit for Madras University
Examination in Shakespeare just for the fun of seeing him fail. '
— Malcolm Muggeridge.
A certain tribute to the standards that prevailed then. Likewise, if
Venkatamakhin or Subbarama Dikshitar had been asked to sit for a paper on
'iakshanas' (theory) at the Music Academy in the second quarter of this century,
the fun of seeing them fail would positively have been provided !
ANOTHER GARLAND 393
RUMOUR OF DEATH:
* A hoax was played on very respectable musicians like Sernmangudi Srsnivasa
Ayyar and Musiri Subramania Ayyar that Papanasam Sivan was dead - Vide 'A
Garland 'page 497. (Telephone aids such subterfuges as seen from oft-recurring
hoax-threats to flights which are religiously and enthusiastically publicised too
inducing mischief-mongers with a fifteen paise postcard or a rupee coin to make
a phone call to enjoy such jokes.) Here is a beautiful epigram of Ben Johnson
(penned prior to Alexander Graham Bell, Thomas Watson, etc, perfected the
telephone):
Ben Johnson to King James:
' Upon the happy false rumour of his death on March 20, 1607:
11 That we thy loss might know;
And thou our love,
Great Heaven did well
To give ill fame free wing ! "
Rajah Bhartruhari did it to highlight human frailties and distortions. Like King
James, Papanasam Sivan lived long, blessed by the hoax since the soft, great
vaggeyakara could die only when the Celestial cail was due.
* * *
JOHNSONIAN ERROR :
1 Music is the only sensual pleasure without vice. '
1 Thy body is all vice ; thy mind all virtue. '
— Samuel Johnson.
Vide 'Boom, Booze, Doom1 at page 444 of A Garland. Magnificent lives with
phenomenal fame, popularity and prospects invited doom on themselves. Could
the body act independent of the mind? Vice on virtue, does it not originate in the
mind ? If the mind is the principal player, does not the body play only a supportive
role as voice support or second fiddle or percussive support ? Johnson seems
to err.
* * *
VIOLIN :
1 The violin was the passport, purse and the path to the summit of society. '
— Yehudi Menuhin.
Menuhin was referring to the past. In the world of Carnatic music, veena had
occupied a similar place.
394 ANOTHER GARLAND
SHAW ON TEACHER :
' He who can, does. %
He who cannot, teaches.'
— George Bernard Shaw.
* * *
SALVAGE ALL COMPOSITIONS :
Semmangudi Srinivasa Ayyar suggested in 1938 in Ananda Vikatan imposing
a ban on repeating any kirtan for at least five years to salvage ignored, neglected,
forgotten compositions of merit.
— Vatsala Bhaskaran in Shanmukha4/9Q
Fifty-four long years have passed, The suggestion of the maestro has gone
the way of the sermons of Presidents and Prime Ministers made daily. Cannot
the Federation of Sabhas make a trial for a season or a year before the
suggestion celebrates its Sashtiapthapoorti !
* * *
KIRTAN AND KRITI :
Tyagaraja has himself demonstrated the subtle difference between kriti and
kirtan in two songs with identical pallavi - Koluvaiyunnade (Bhairavi) and
Koluvaiyunnade (Devagandhari). One enables ample scope for vowel extension
to bring in sangatis which provide for creativity and ornamentation and focus on
the soul of Carnatic music. Tyagaraja was not only a brilliant vaggeyakara but a
lakshanakara of immense merit who illustrated the hard facts of theory through
his delectable songs providing examples. He claims the privilege of Sangita
Sastra Gnani in the song 'Sangita Sastra Gnanamu' (Salagabhairavi). Music
impregnated with a good text like the Ramayana full of rasas confers Sarupya,
affection, devotion, good attachments, Lord's grace, glory and wealth!
— Dr. S.A.K. Durga (June 28, 1992)
* * *
INSPIRED SONGS:
Celestial music inspires and there is identity of interest among great masters
in bringing to focus noble concepts and thoughts . T.S. Parthasarathy gives some
specimen songs of Tyagaraja :
Nada tanum (ChittaranjaniJ"
Nadopasana (Begada)
Sangita Ratnakara, etc.
Sobhillu (Jagantnohini)__
Telisi Rama (Purnachandrika) Upeya Nama Viveka of Upanishad Brahman Yogi
Nadachi Nadachi (Kharaharapriya) Khelati Mama Hridaye of Sadasiva Brahmendral.
Fundamental truths are eternal.
ANOTHER GARLAND 395
INCIDENTS, INTERESTING NOTES
THE SCHOLARLY REASONS:
The great Mangudi musician of yester decades was an eminent scholar in
Sanskrit lore. Past his prime, he gave a concert obliging the large number of his
sincere admirers. It was a sad, harrowing experience and a dismal dis-
appointment to all of them. But the aged vidwan did not take it to heart.
Admirer S: Sir, how is It that you have lost track of even the sahitya ?
Vidwan : ' RunShu bhanda rupSha
Pasu patni Sudhalaya I
Runa KshayS" Kshayarn yanti
Ka tatra parivedanah ' II
(Family members and assets gather together at different times as a result of the karma
of previous births. When the debt is discharged, each individual departs. This is our
Sastra. I learnt sahitya and it was with me. The time has come for it to go. It has left.
Neither sahitya nor I am responsible !)
Admirer R : Vidwanji, let it be so. How you could lose the beauty of your raga
rendition too ?
Vidwan : ' Idham kSshtam idham kSshtam
Nadhi theere samagamah I
SamyQ^gancha viyogancha
Ka tatra parivedhanah ' II
(On either side of the river, there was a log. Let them represent the sahitya and the raga.
When the river flowed to its brim, both joined the stream and sailed along enjoying each
other's company. The river branched off into two after some distance. Each log entered
one of the branches as if bidding good bye to each other. How can we cry over it ?
Admirer T: Sorry to mention, Sir, that sahitya and raga might have deserted you
because of age. But the talas are elementary. Even that was faulty today?
Vidwan : ' Eka Vrukshe Samarootah
Nana pakshi Samagamah I
Dhoora Dhooreshu Deseshu
Ka tatra parivedhanah 1 1
(That is understandable, friend. The tree in the forest is full of fruits. Birds from diverse
places frequent it. Hunger satisfied, they fly back to their respective homes. They were
together and enjoyed company and food for a brief while, you see. Sahitya left like the
bereavement of a family member. Raga left next like the log in the river without much
ado. Why tala should remain alone ? Like the bird it too deserted the tree and the
forest ! I am the tree, lone and alone. No need to worry. )
396 ANOTHER GARLAND
His spiritual erstwhile nadopasana stood him emotionally in good stead.
Admirers were soaked in tears and ' shed some pious drops '.
ASTROLOGICAL INTERPRETATION
I got the horoscope of a top-level artiste and gave it to the Astrological Bureau
as the horoscope of ' Mr, X ' for processing. The report given by the Centre is
given below:
II Bom in Rishabha lagnam. Birth No. is 9. Fate No. is 2. Lagnadhipan
Sukran, who is also kala-karakan, is in Baghyasthana. Chandran is in Katakam
having the sapthama aspects of Sukran and Suryan.. Rahu is in Vagsthana,
receiving the sapthama aspects of Budha and Kethu, and also getting the special
aspect of Kumbha Guru.
An artist by birth, with full of shiva-shakthi kripa. He is a pundit with natural
inclination to do research and discover unknown mystical connections present in
cosmic structure; capable of reaching unreachable depths and experiencing
Atmananda.
Sukra getting the aspect of Sani also. This should have made him at once a
disciplinarian and adventurer. Intellectual impatience, bordering sometimes on
arrogance, should have made him not-a-very-sought-after person in his earlier
part of life. Only those, who can conquer their own initial inhibitions, would have
been able to get the immense benefits of his association.
From the point of view of others, he should have suffered a lot in the first three
decades of his life. Totally and recklessly brushing aside the importance of the
things mundane, he would have lived in his own world of creation. When others
could not understand or appreciate this attitude and found it difficult to get along
with him, they would have tasted his impatience and sometimes even anger. As
life moved on, the same persons would have become very intimate towards him,
This individual's success story commences with the beginning of Sukra Dasa
on 26-7-1961. Thereafter, he would never have looked back. The ascending
trend would have also made him more and more likeable. The nicety, polish and
gloss would have enriched not only his external behaviour but also the deeper
recesses of his mind.
When his inner experiences of the ineffable divine bliss emerged as artistic
nutnurinas. the rasikas would have become mental slaves and addicts. Vrischika
ANOTHER GARLAND 397
The Lord of his Birth No. and also Lagnam, Angaraka happens to be in
Vrayasthana in his horoscope, without any subha drishti. The colourful fireworks
of this artist is quite likely to come to a sudden end, "
1 5-09-92. Kudanthai Sa. Venkataraman
Chengacherial Astrological Centre,
MADRAS-92.
Confidential Note; As mentioned earlier, the name of the artiste was withheld from
the Astrological Centre. Now it is shared with the artiste's admirers. The horo-
scope is that of Veena Dr. S. Balachander whose life finds place in Part II. Admirers
may assess the significance of the predictions.
MUDRA (Signature):
This is not the monopoly of musical composers alone. Hoysala sculpture has
the unique feature of individual sculptural works bearing the signatures of
individual creators! In Somnathpur seven signatures are stated to have been
found around the walls from the basement. Mudras are classified under :
Kshetra (shrine) Linga (Deity - Pancha Linga, etc.)
Bhakti (Devotion) Vamsa and Rasa.
Raja (Pallavi Gopalayyar's Acharya (Paidala Gurumurti Sastri
Todi-Kanakangi) on his guru)
IGNORANCE IS BLISS:
11 Where ignorance is bliss,
Tis folly to be wise. " — Grey.
The rendition is very pleasing. Mix-up of shades of other ragas does not
involve the lay lover of melody sans science. Critic Subbudu once wrote;
' Pushpalathika is an enchanting and haunting raga... has many next-of-kin hovering
around it It has a chameleon-like character, now sounding like Sreeragam, now
Madhyamavati and now Manlrangu... I am not ashamed to admit that I mistook the
alapana at the initial stages for Manlrangu and only later 1 could identify it as Push-
palathika. '
Whether this is a veiled attack or an innocent statement is not known. Whether
the rendition is in Darbar or Nayaki, Bhairavi or /Wan/7, Kedaragaula or
Narayanagaula, Bilahah or Desakshi, Varali or Vijayasri, Ahiri or Vakulabharana
does not matter to the lay so long as it pleases the ears. As Tanjore
T.R. Kalyanasundaram says, ' the grace of a raga is not lost if owing to mistaken
interpretation of the listener, it is construed as Pratapa Varali and not Nata
Narayani '. Someone however whispers that while rose is no less fragrant if called
nthefr name, it would not then cost that much ! That, of couse, is true.
398 ANOTHER GARLAND
Ignorance is Bliss; all glory to it. Knowledge kills that easily available Bliss. It
makes mountain of a molehill, Sans knowledge, the ear, tongue and nose hold
undisputed sway, For instance, at Tonga there was a royal feast. The gracious
queen was helping herself to chunks of a particular dish — a special delicacy.
P.C. Alexander, Secretary to the Guest of Honour Indira Gandhi, records:
' When she said that it was octopus, my appetite disappeared totally on knowing it. I
could not bring myself to eat any fish or meat at that feast after that ! '
The erstwhile castle of satisfaction built on the base of his ignorance was
smashed to pieces by that ray of knowledge!! Even so, the connoisseur looks to
unpolluted classical stuff making it more and more difficult to the uninitiated. The
gulf widens! Scientific music is for a restricted oligarchy, the cognoscenti.
How knowledge changed the attitude of the good, pious ruler of the Palghat is
relevant and interesting. He fell in love with a huntress. His wise minister got him
confess the cause of his forlorn condition. He assured the ruler of satisfaction
subject to his not talking to the huntress and not seeking a light at the meet ! The
ruler met her at a chosen mandap that night and had satisfaction. Alas, the ruler
realised suddenly that he had sinned and refused to perform his regal duty. Only
when the minister revealed that the lady of the mandap was none but his own
queen, he felt relieved. He resumed his duties but only after doing penance for
having entertained sinful thoughts — Palghat Purana.
DISCARDS TRIUMPHED:
i. Koneri Vaidyanatha Ayyar was vocal support to Harikatha maestro
Tirupazhanam Panchapakesa Sastri. His voice was then gruff, lacked
pliability and could not translate his rich mental formulations. With cutting
sarcasm, Sastri told him that his (Ayyar's ) voice was too good for musical
discourse and that he could seek his fortunes as a vocalist. Konerirajapuram
has a beautiful Nataraja icon. Even as the Lord danced to win, Vaidyanatha
vowed that either he became a matchless vocalist or his arteries would burst
in his efforts to tame the intractable voice. And with tenacious will-power he
tamed and seasoned his turbulent voice. He dwarfed stalwarts and shot to the
top as a vocalist.
ii. When Mysore Vasudevacharya was ridiculed, . he resolved to attain
proficiency and secure recognition from Vina Seshanna himself. He
requested him to accept him as a disciple.
' You and music are poles apart. Why should you bother about music ?
Eat nicelv and feel contented. '
ANOTHER GARLAND 399
' You will not be able to learn music. '
' If I do ? '
' If you do not ? '
' I shall discard my sacred thread. '
They were travelling by a train in second and third classes respectively. The
test was that Seshanna would teach Ata tala varna in Sankarabharanam
'Chalamelara' whenever the train stopped between Coimbatore and Bangalore,
that he would not repeat the varna and at Bangalore Vasudeva should render it
fully! At each stop, Vasudeva would go, hear, come back and memorise when
the train was on the move. Bangalore Cantonment saw the guru shedding tears
of joy and hug his disciple and say:
1 Acharya! I committed a great blunder. I apologize to you. Forgive me.
When my days are over, my place will surely be yours. '
Seshanna was in ecstacy and young Vasu soon blossomed into a stalwart
musician, composer and teacher.
iii. T.R. Mahalingam could not get training from Flautist Sanjiva Rao. When Mali
played , Rao shouted in contempt, ' Is it flute play? ' The Head of the Music
College, Chidambaram too denied him a seat. Mali's precocity asserted
itself and quite soon he became a legend.
iv. Pachimirium Adiappaier of ( Viriboni ' fame hounded out young Gopala
shouting, ' Away with you; not even Lord Venkatesa can blow a whiff of music
into you '. Gopala willed to get his master's blessing and toiled hard. Later,
one day, he sat at the doorstep of his master's house and $ang away all he
had. The guru's lady was surprised and told Adiappier on his return. He
summoned Gopala and asked him to sing, " Out carne Vanajakshi, a tana
varna in Kalyani... came Kanakangi, another tana varna in Todi. Adiappier
was in transports. He found his equal. 'Dear Gopal, I called upon
Vankateswara when I cold-shouldered you. I see, you have His blessings in
abundance. Go to Tirupati, sing His praises and write your name in letters
of gold on the tablet of time/ "
— R. Rangaramanuja Ayyangar.
That was pallavi Gopala Ayyar ! And he got his doctorate from his eminent
guru himself.
400 ANOTHER GARLAND
AUDIENCE DISCIPLINE:
i. Gottuvadyam Sakharama Rao insisted on complete disciplined silence. If
anyone dared to speak, he would take his gottuvadyam, walk away. and
would not accept his fee... I cannot think of anyone extracting such iron
discipline. He was paid Rs.35 out which he would give Rs.ten to his brother.
There would be no mathematica! struggle in his concert. No mridangam too.
His concert would be reposeful and sweet.
— Dr. Semmangudi Srinivasa Ayyar in 'Kalakshetra'
ii. The Madras sabha leaning towards chamber music concerts, 'Nadopasana'
distributed a small yellow chit carrying a plea-
' Kindly avoid leaving the hall while the Tha'ni Avarthanam* is on or
while a song is being rendered or during mangalam. '
* ( Percussion Solo)
The request reflects what everybody entertains sometime or other and looked
forward to its strict enforcement except in his individual case perhaps. An interval
is desirable but how to marshal back the audience! Closing the gates would
convert it into a concentration camp. Of course, the musician too has to cooperate
and ought not to drive the listener to jump discipline by escaping through the
window regardless of physical injury!
MUSICAL FAREWELL:
Nagaswara prodigy T.N. Rajarathinam Pillai died. The cortege covered the
distance from Adyar to All India Radio on the Marina. Pillai's recorded music was
all got and played all through the route. A rare tribute without a parallel!
BATHROOM MUSIC:
National Institute of Community Development, Hyderabad; 1971. The Dean
gave a tea to the sixteen participants at his residence. He asked the author (of
the Garland Series) to sing. The author explained, 'mine is of bathroom variety'
and sought to be excused, Promptly the Dean requisitioned a bucket of water,
soap, towel, etc,, to provide the accoustics!
ALL WRONG :
ANOTHER GARLAND 401
Konerirajapuram Vaidyanatha Ayyar did not belong to Konerirajapuram but to
Marathurai.
Papanasam Sivan did not belong to Papanasam but to Poiagam.
Karaikudi Veena Brothers did not belong to Karaikudi but to Tirugokarnam.
ROYAL PLOY:
Murnmadi Krishnaraja Wodeyar, Ruler of Mysore had deep and scholarly
interest in epics and discourses. Subramanyachar earned his goodwill with his
delectable discourses. One day the discourse in the palace was delayed as the
ruler was preoccupied. It was a long wait. 'My father stretched himself on the
floor and slipped into deep sleep gently snoring. The ruler got the bundle of books
brought by my father removed stealthily and then had him woken up. Without
any visible sign of embarrassment, father resumed the discourse with his usual
elegance least affected by the disappearance of the books. Royal admiration was
total and my father was appointed as Asthana Vidwan.1
— Mysore K. Vasudevacharya in 'Memoirs'
INSULT, INJURY & INDEMNITY :
1 Before I attained three years, I lost my father. My mother was in despair. My
grandfather took me to the Dewan-Administrator Rangacharlu. He dismissed us
both summarily saying that the State had no resources to maintain beggars! The
second audience resulted only in the Dewan's outburst and my grandfather hitting
back that the Dewan's treatment was a poor recompense for all the reverence and
regard the Maharajah had to my father. Some time later, Rangacharlu came to
our house personally and not only apologised for the rude treatment but granted
Rs.four and a half per month for my education as stipend!
- K. Vasudevacharya in 'Memoirs'.
Dewan Rangacharlu had shown his character and capacity to repair a wrong;
better late than never.
STREET SINGERS:
i. The Ruler of Mysore, Krishnaraja Wodeyar was a connoisseur and patron of
music and had the galaxy to regale him with the best. One day, the
penetrating tune of a beggar woman in the street enthralled him so much that
he requested Vasudevacharya to get the notation for it and render it! Poor
Vasudevacharya ran round the streets and ultimately located her in the slum
near Rani Choultry. He parted with his costly upper cloth, got the song
402 ANOTHER GARLAND
notated, hurried back and demonstrated the tune. The pleased ruler knowing
that he had bartered away his upper cloth for the song presented him with a
costly shawl.
— K. Vasudevacharya in 'Memoirs'.
Probably that was Vasudevacharya 's maiden attempt at notation and his only
indulgence in light music! There is the further fact that the beggar turned out
to be his guru even as tribal Sabari was host to Prince Rama at a lunch !
ii. Several beggars do have a captivating voice and enchanting free-lance
rendition all unconsciously scattered for a small coin ! ( Would not Wardha
Scheme envisaged by Gandhiji and Rajaji spot out native talents in these and
shape them up under the scheme TRYSEM ?) Malaikottai Govindaswami
Filial once found exhilarant music in a beggar and appreciated the hidden
raga 'Sindhu Bairavi*. He exchanged satisfaction for rupee one (then) and a
silk saree! Was the beggar aware of her potential? Many a flower is born to
waste its fragrance! Musical acumen is no warranty or passport to eminence.
Dame luck should be there too! How many K.B. Sundarambal(s) waste their
talents in streets, bus-stands and trains! S.G. Kittappa is a scarce resource !!
SOPHISTICATION NOT ENOUGH:
The apparently more sophisticated western flute is unable to produce the
nuances which the bamboo flute effortlessly brings out, says Dr. N. Ramani, the
top-ranking flautist.
MATANGA'S LOVE OF FOLK MUSIC:
India has a very rich tradition of folk music. While the elite have always
sought to maintain the distinction between the Margi (classical) and the Deshi
(folk) music, it is very significant that Matanga of the eighth century called his
great work on music -
" BRIHADDESHI "
— Krishna Chaitanya,
NAGASWARAM: PAST & PRESENT:
'Seven or eight pairs of nagaswara vidwans would play for daily temple
processions and during the main gopura-vasaf aradhana, all would play
ANOTHER GARLAND 403
together. At such moments, even atheists would feel overwhelmed by bhakti.
Mallari (Nattai) and only ghana ragas (Todi, Sankarabharanam, Kharaharapriya,
etc.), pallavi and one or two Tiruppugazh would constitute the programme for the
whole night. Raga elaboration was the main and no kritis. Kritis were started by
Tiruppamburam Brothers, Madurai Ponnusami and Tiruvizhimalalai Brothers.'
— Dr. Semmangudi Srinivasa Ayyar.
Note : The nagaswara artistes cited played the role for nagaswara what
Ariyakudi did for concerts.
* * *
KAN JIRA HAD ITS DAY:
Kanjira is a secondary percussion accompaniment only. But in the
programmes of 1915, kanjira with Manpoondia Pillai as the artiste had figured
below violin and above mridangam!
When teenage Palghat Man! faced for the first time Dakshinamurti Pillai on
kanjira being given the pride of place on the concert stage, he revolted and cried
that the instrument should decide the place and rank and not the seniority of
individual artistes. He won!
Now ghatam has emerged as the popular second-level accompaniment (upa
vadya) at concerts - probably for want of enough kanjira artistes.
GOTTUVADHYAM:
The instrument was called 'Jha Vari' according to 'Kumara Tantra\ says
Avudayarkoil Harihara Bhagavatar. His father Sitarama Bhagavatar had
accompanied Maha Vaidyanatha Ayyar on gottuvadyam and he too had-done so.
Ravi Kiran calls it Chitra Veena.
MRIDANGAVEENAI:
Audanoor P. Haridas, M.A. B.Sc., Dip (Indian Music), a disciple of Mangudi
Dorairaja Bhagavatar has developed a mridanga veenai to be operated with
bamboo sticks; can be played by both mridangists and violinists.
HARMONIUM :
Rabhindranath Tagore, Jawaharlal Nehru, Mahakavi Subramania Bharati and
404 ANOTHER GARLAND
many Carnatic musicians hated, as the soul of Indian music with its gamakas,
glides and continuity could not be reproduced on it. It was hounded out of the All
India Radio also in 1939 but was allowed to return in 1 971 - after thirty-two years
of exile. Brother of C.V. Raman, C.S. Ayyar described singing with harmonium as
'being married to a woman afflicted to tuberculosis'. Strangely Hemambikadas
Perur Subramania Dikshitar was non pare/7 in playing on harmonium.
K.S. Devudu Ayyar, S.G. Kasi Ayyar, A. Arunachalappa, Urayur Khader Batcha
and K.T. Nataraja Pillai were masters on harmonium providing exquisite voice and
instrumental support on the dramatic stage with classical songs. Maiaikottai
Govindaswami Pil!ai, Jalatarangam Ramaniah, actress P.S. Ratna Bai and
T.A. Sambamurti Asariar were harmonists too.
MRIDANGAM:
Swati went to a lake to fetch water. There was a sudden downpour and rain
drops spluttered on lotus leaves which presented a green carpet on the lake. Rain
drops trickling on the leaves produced a pleasing rhythm with an ebb and flow of
the pitch to the sensitive ears of Swati (which cannot be appreciated by most now
suffering noise-pollution). Inspired by it, with his creative instinct and with the
help of Vishwakarma, he fashioned the mridangam with a body of 'mrith' (clay).
The mridangam thus made its appearance. Bharata traced his knowledge of
percussive instruments to Swati and Narada.
Till the turn of the century mridangam was much smaller with larger drum
heads. The change is attributed to the Pudukottai maestro, Dakshinamurti Pillai
by TV. Gopalakrishnan.
Tanjore bani (style) laid stress on sahitya (text of song) and Pudukottai on
solkattus.' B.M. Sundaram mentions that mridangam and maddalam are different
and that mridangam, though older, came into music concerts only when public
recitals came into vogue.
TYAGARAJA CHARGE-SHEETED!
' The song in raga Sarasangi "Menu Juchi Mosa" is cast in a language totally
unworthy of a composer of avowed saintliness. There are at least a dozen of his
compositions which are in similar worldly language. '
The controversy was carried on in 'Sruti'. The cited song is to the following
effect:
' Oh mind! Do not get deluded by the illusory personal appearance of women. If you
ANOTHER GARLAND 405
pierce with their breasts which like mounds provide the resting place for heads. '
An issue for deep consideration! Saints and poets refer in such contexts to
the enticing, voluptuous breed and not to the entire fair sex as such. Tyagaraja
has only clarified what the Lord has said:
1 The turbulent senses, O Son of Kunti, do violently carry away
the mind of a wise-man, though he be striving (to control them). '
— Bhagawad Gita - 11-60.
HIS LIMITATIONS:
11 What Oscar Wilde said of Swinburn could well apply to Veena Baiachander
- 'He has his limitations, the chief of which, curiously enough, (is) the lack of any
sense of limit.' "
— S. Krishnan.
SANGITA SIROMANI : (1 529 A.D.)
Sultan of Kara (about sixty kilometers from Allahabad), a vassal of the Sultan
of Janupur garnered a large number of books, started a library on music and
convened a conference of the best scholars. Entrusted with the task of preparing
a work on music, the scholars brought out the work 'Sangita Siromani'to which
the Sultan is stated to have added his views.
— R. Rangaramanuja Ayyangar.
Note: This happened just three years after the first Battle of Panipat. It is seen that
cultural activity had been carried on notwithstanding the historic political
upheaval which is a tribute to the Spirit of Bharath!
ALL ABOUT BETALS:
i. Chewing betels with arecanut and chunnam has been a favourite pastime of
the rich and the poor in India. The trio constitute the symbol of
auspiciousness and is vital at functions. It clears the throat; and so, is a
favourite with musicians. Handling this trinity is a seductive art specialised in
by professionals. They would seem to represent bhava, raga and tala
(rhythm). When tobacco enters, it is like the miscellany (tukkada) which gives
the kick !
ii. Syama Sastri of the Carnatic Trinity was fond of chewing. Once the mouthful
paste spilt on his preceptor Adippiah. When Sastri felt shaken, Adippiah set
him at rest saying that he took it as a benediction of Goddess Kamakshi, at
406 ANOTHER GARLAND
whose temple Sastri was a priest.
iii. Mysore Vasudevacharya was undergoing training under Patnam Subramania
Ayyar at Tiruvaiyaru. Violin maestro Tirukodikaval Krishna Ayyar visited
Tiruvaiyaru and was doing his customary practice in the pre-dawn hours.
Vasudeva sat under the window outside the house and was enjoying the
masterly Kambhoji ragalapana and pallavi. He was drinking deep the joyous
stream of sweet melody emanating from inside. When at last Krishna Ayyar
was seen coming towards the window, young Vasu was afraid to stir out
fearing detection.
11 Ayyar spat out the pan he had been chewing all along right on my head. Ayyar saw me
only after the mischief had been done. ( Who would have imagined that Vasu was
hiding under the outer window in his anxiety to hear music at such an early hour!) He
came out profusely apologizing,
1 Oh, What a sin have I committed. You must kindly forgive me. '
' Far from it, Sir. I take it as the very blessing of Sarada Devi (Goddess of Learning) . This
is indeed the reward of my good deeds in earlier births ! "
The highly embarrassed maestro took Vasu inside and after a wash drenched
him with exquisite pallavi all over again - a gala special for him!
— (Vasudevacharya).
iv. Veena Dhanammal while rendering a Sanskrit sloka took a mouthful of betels.
The patriot-parliamentarian-connoisseur of music, S. Satyamurti felt
concerned about the consequential rendition. To his amazement, there
flowed chaste, clear verse 'Agrekruthva' from the betel-stoked mouth of
Dhanammal. Satyamurti then conceded that it was but proper for her to stuff
her mouth with betels! — Source: T Sankaran.
HABITS CHANGE:
Actors and musicians rarely touched a drink while on the stage; and the mike
had not made its advent then. Then pepper and sugarcandy were favoured by
vocalists. Now the flask of coffee is part of the scanty equipment of even the
juniormost vocalist aided with the mike. Accompanists to the right, left and back
and the audience in front enjoy the rhythmical intake of coffee for the health of the
concert.
This brings to mind an incident reported in 'A Garland ':
11 Semmangudi Dr. Srinivasa Ayyar asked his long-time friend and admirer,
Sri Udayar,
ANOTHER GARLAND 407
' You have been listening to my concerts for decades. What have
you done for me ? '
1 1 have been listening to your music for decades, What have you
done to me ? '
So saying, Udayar snatched away Ayyar's angavastram (upper cloth) and walked
away ! "
Assuming that Ayyar is a thirty-year old musician now, the angavastram
would not be there but only the flask! What will be Udayar's reaction ?
AESTHE TICISM, CONNOISSEURSHIP OR PAROCHIALISM ?
Love of the Cauvery and Tiruvaiyaru was only second to love of his Ishta
Devata, Sri Rama. Tyagaraja's Sari Vedalina (Asaveri) is a portrayal of the then
majestic river in its full flow, Muripemu Galige Gade (Mukhari) is a challenge to
the Prince of Ayodhya whether He could ever think of saying 'no' to the query -
'Oh Rama! Are you not happy that you have secured a charming and
beautiful place known as the Panchanada Kshetra beautiful in all this world on the
bank of the Cauvery over which blows the incomparable zephyr... palatial and
beautiful buildings... divine trees with sweet-smelling flowers... melody of
cuckoos...'
The Saint feels pleased that his Rama is well accommodated on the bank of
the river which he loves and at the place blessed by Nature bountifully. How
serene and heavenly Tiruvaiyaru should have been fifteen decades back!
BLESSINGS OF HEREDITY
None teaches a fisher-boy to swim. Even so, heredity places the progeny in
the path, tradition, virtue and genius of the family and the birth of a prodigy is not
a freak occurrence but almost the rule.
a. The Sembanarkoil nagaswara family: Pallavi Vaidyanathan (c. 1895) left
behind the renowned Ramasamy, who left a crop of four (SRG,SRD,SRVand
SRK) each of whom left off-shoots in SRGR, SRGS, SRDM, SRDV, SRVD
and SRKK. And the focus goes on enlarging.
408 ANOTHER GARLAND
b. The family of the Tanjore Quartette: Starting from Gangaimuthu Nattuvanar
(1 7th Cent.}, the family has presented successive waves of highly competent
composers, musicians, dancers, etc. K.P. Sivanandam and K.P. Kittappa
represent the family now.
c. Lalgudi, Maharajapuram, Karaikudi, Rudrapatnam, Dwaram, Dhanammal
and many other families are eloquent examples of how heredity creates and
sustains the finest dynasties of artistes. Mauryas, Guptas, Cholas and the
Mughals on the political side and eminent sculptors, etc. present finest
reasons to support the case for sustaining Art in artistes' families.
Note: It is however strange but true that stalwarts like Tyagaraja, Muthuswami Dikshitar,
Maha Vaidyanatha Ayyar, Ariyakudi, Chembai, Musiri or Semmangudi have not
left any of their progeny in the musical field. Of course, the basic causes differ,
Worth a research.
LEGENDARY GREAT
The Acharya advises the low-born to move out of his way. The latter enquires
to which side he should move since he finds God on all sides. The Acharya
realises the fundamental truth in his averment and respects him. Kanakadasa's
life (Vide 'A Garland page 104) carries a like incident.
Guru Vyasa gave bananas to each of his disciples to be taken unobserved .
All but one returned relishing the taste of the ripe pulpy fruits. Kanakadasa, the
1 excepted, returned with the banana in hand saying ~
1 Wherever I went, I found God's eyes on me;
I could not take the banana, GurujL '
One of the great Dasas, his songs deal with morality, truth, non-casteism and
dharma.
THE DISTINCTION:
' Be careful, the city abounds with bad girls who will lure you with sweet
words, songs and dances. '
' I shall be very careful, Father. Don't worry. '
The train from the far South started moving. The young prodigy's fertile
mind stirred up by the tempo of the train gathering speed presented a
doubt. He shouted to his father:
ANOTHER GARLAND 409
1 Father, If any girl promises she would not touch my purse and solicits...1
The loving father, full of solicitude, shouted back:
1 Wire to me. I too will come. '
The first advice denotes Sampradaya (traditional) and the second avanf
garde!
* * *
HANDEL: (1685-1759)
i. The birth place of Saint-composer Jayadeva is in dispute - claimed by two
different places. Sadasiva Brahmendral is reputed to have had his immortality
at different places of Bharath. Here is a case from the West laying anxious
claim to a connection which was not there.
A tablet in Whitchurch Parish Church declares that Handel was organist
having composed the oratorio of 'Esther' on its organ. Handel was never
organist there and never composed oratorios on organ. (Pelican - Lives of
Great Composers.)
ii. Handel, then a physical, mental and financial wreck, in his characteristic way
of acting during periods of misfortune promoted a 'Society for the Support of
Decayed Musicians', which flowered into the Royal Society of Musicians. (It
is suffering that reveals the ingenuous flame in man and provides the hidden
genius with opportunities to sparkle.)
* * *
STRATEGEM ?
There is an amusing or rather a disconcerting account of the way in which
local pandits disputed the value and authenticity of "Nowka Charitram" of
Tyagaraja and argued that the story had no basis in puranic lore. It is said that
Venkataramana Bhagavatar, the prime disciple of Tyagaraja, produced a
palm-leaf manuscript in Sanskrit which satisfied the pandits! It was learnt only
later that actually the palm leaf manuscript was the creation of Bhagavatar himself
who composed verses and resorted to the strategem'to enhance the reputation
of his master ! '
- C.R Ramaswami Ayyar.
Note: The birth-date of Tyagaraja is settled only on the basis of a cadjarHeaf left by
Venkata Suri. He might not have had any such need to concoct one!
* * *
ODD or CRUDE:
i. It was night. Muthiah Bhagavatar arrived and Oorkadu Zamindar received
41 0 ANOTHER GARLAND
him. Suddenly the artiste fell at the feet of the Zamindar. Struck by the
strange conduct, the Zamindar checked up and found his cartman donning
Bhagavatar's clothes and Bhagavatar the cartman's! Bhagavatar explained
that it was just a successful masquerade! (Presumably this should have been
enacted when he was young)
— Source: 'Yengay, Anna Yengay'.
\l Flute Mali was engaged by Tambaram Sangita Sabha in 1957 with
M.S.Gopalakrishnan, violinist and Ramnad Eswaran, mridangist as
accompanists. At the eleventh hour Mali came to the mike and announced
that he would not play as he was not in a mood to do so and that his disciple
Kesi would give the concert.
— Source: N. Kesi.
iii. Veena Seshanna's four-hour concert at Coimbatore was a delight and he
was honoured with double the promised fee. Seshanna introduced
Vasudevachar saying, 'He is a great vocal musician. He sings admirably'.
The great vidwan's introduction led to pressing requests to sing. Failing to
catch up the joke behind Seshanna's encomium, Vasudeva started singing in
his own then crude style Okamata Okabanamu (Harikambhoji). Even as he
opened his mouth to sing, a ripple of laughter ran through the assembly.
Someone nearby with a sarcastic grin asked him to wind up. Vasudeva hung
his head down in shame and looked at Seshanna, who covering his face with
handkerchief was bubbling with uncontrollable laughter!
— Source: S. Krishnamoorty, grandson.
HOW IS HE BENEFITED?
Wolgang Amadeus Mozart (January 27, 1756 - December 5, 1791), the
seventh swara (nishada) of his parents Leopold - Anna Maria Mozart, is among
the select immortals of the World of Music both as a performing artiste and a
composer. At five he composed, at seven he wrote violin sonatas and at eight
symphony. He improvised instantaneously even as Papanasam Sivan composed
and sang Naan Oru Vilayaattu Bommaiya? Mozart was master of the Mass and
the Opera. His life was miserable and he gpt in tune with it a pauper's grave, not
identified till date, at the tender age of thirty-five. He dedicated his genius to
posterity but suffered misery, sorrow and disappointment since, in the words of Sir
ANOTHER GARLAND 411
World is not so ungrateful as is projected. The only fault lies in that it waits for
the maestro to suffer and die to make up its mind to recognise him. The world is
now mad after Mozart's creations. In 1990, i.e., two centuries later, his
manuscripts - neither signed nor dated - written in 1784-85 fetched £ 800,000
at the Sotheby (London) sales! Mozart!
You are indeed rich! Croelty cannot be harsher !!
Only the sufferer knows what suffering implies. Michael Heydn another great
composer was unable to complete the work of six duos; his salary was withheld
and he was in distress. Without a whisper or a word, Mozart, who was on a visit,
brought the duets written out in a fair copy with only the name of Michael Haydn
and got it delivered relieving Haydn of his distress. The help was a secret till
Mozart entered his pauper's grave !
It is interesting to mention that the original manuscript of Schumann Piano
Concerto (with traces of Clara's hand in the autograph score) fetched a fabuluous
£ 880000 at Sotheby auctions. (Bernard Levin).
MEMORIALS:
T. Chowdiah Memorial Hall in the shape of a violin at Bangalore.
Mysore Vasudevacharya Bhavana, Mysore,
Veena Seshanna Bhavana, Mysore - Gana Bharati.
Musiri Subramania Ayyar Road, Madras.
Papanasam Sivan Street, Madras.
Naina Pillai Road. Kanchipuram .
Swati Tirunai Music Academy, Trivandrum,
Chembai Vaidyanatha Bhagavatar Academy.
Subramania Bharati Memorial at Ettayapuram.
Muthuswami Dikshitar Memorial, Ettayapuram.
Classical Carnatic Trinity Birth Homes, Tiruvarur.
Govinda Dikshitar - lyen Street at Kumbakonam and statue at Pattiswaram.
Sri Sadasiva Brahmendral Memorial, Nerur and statue at Tlrugokarnam.
Tiruvisanallur Sri Sridhara Ayyaval Home, Tiruvisanallur.
Sri Bcdhendra Swamigal Samadhi and Memorial, Govindapuram, Aduthurai.
Sri Sadguru Swamigal Memorial, Marudhanallur, Kumbakonam.
Sri Tyagaraja Swamigal Samadhi, Tiruvaiyaru.
41 2 ANOTHER GARLAND
Sri Ramalinga Swamigal's Abode of Siddhi, Vadalur.
Sri Upanishad Brahmam Ashram, Agastyeswaram.
* * *
MINI GURUKULAVASA:
Gurukulavasa is dead; but is alive in the homes of some artistes such as -
T.N. Krishnan - Viji Krishnan Natarajan -Sriram.
Maharajapuram Santhanam — S. Ramachandran — S.Srinivasan.
Lalgudi Jayaraman - G.J.R. Krishnan - Vijayalakshmi.
Flautist Dr. Ramani - Atul Kumar — R. Tyagarajan
Shaikh Chinna Moulana and grandsons.
T.H. Vinaykaram - his son.
Generally nagaswara families.
SATSAN^H INSPIRES:
i. Papanasam Sivan with the privilege of an inspired poet-devotee quipped
'Nan Oru Vilayattu Bommaiya' (Am I a mere plaything ? ) composed and
sung on the Mada Street, Mylapore at the spur of the moment That was
vaggeyakara par excellence*. Good atmosphere, environment, spiritually
dedicated admirers around (sat sangh) kindle sparks of inspiration without
ado. (If the Trinity were born near Kotwal chavadi, Madras now, how could
they bring forth their spiritual ardour, poetic genius and intellectual fervour to
play amidst the earthy din and dust ? )
ii. Here is another occurrence. Devakottai Tyagabrahma Festival. Pudukottai
Gopalakrishna Bhagavatar was on his rounds through the main streets doing
bhajan. Tiger Varadachariar and Mazhavarayanendal Subbarama
Bhagavatar heard of it and joined him, Together they created a temple of
music on the road and made the occasion memorable with kritis, kirtans,
neraval and swaras - a rich vocal concert on the road. A veritable public treat
by titans! It was sat sangh that made a heaven of the place.
WHY PALLAVI AT CONCERTS?
1 A good pallavi demands pre-planning with sidemen... The sollu should be right;
talakattu should be appropriate. One false beat deprives the beauty of pallavi. Then
why sing pallavi just for its sake ? '
Many may not believe that it was D.K. Jayaraman who told Sruti (No.78) so.
So concert is reduced to just an avial of sorts without the serious exercise of a
ANOTHER GARLAND 413
pallavi, the acme of musical expertise and excellence. Artistes never had
rehearsals of pallavi before concerts; and how could there be rehearsals where
it is an exercise in vibrant creativity, intuition and innovation? Patnam
Subramania Ayyar or Ariyakudi Ramanuja Ayyangar, reputed to be the authors of
the concert pattern now in vogue, would not have envisaged canoeing in shallow
ponds which is the concomitant of the 'one false beat' apprehension'.
Now judge it in the context of the high standards of music and musical
appreciation in the days of the tamil epic 'Manirnekhalai'. Prince Udayakumaran
enquires of Ettikumaran the reason for his sadness. Replies Etti:
11 My Lord, I saw the beautiful damsel Manirnekhalai walking to the flower garden dressed
as a nun. I felt sad; the sadness resulted in my fingers slipping on the yazh producing
a false note. It has made me sadder. "
Etti was not a professional musician but was just a merchant! Yet he is so
agitated over a single false note!
Can it be assumed that the Sangita Kalanidhi (DKJ) had been erroneously
reported (even as some political statements are dealt with)?
HOW THE WIND BLOWS:
The concert programmes of some prominent sabhas in Madras for 1990-91
and 1991-92 Festival Season present the following broad indications so far as
they pertain to top artistes:
i. Vocalists dominate. Lesser the number of concerts, greater is the measure
of dominance - 57% to 81% in 90-91 and 68% in 91-92.
ii. Larger the number of concerts, wider is the variety with instrumentalists
availing of the additional opportunities. Violin, flute, veena and gottuvadyam
take concerts in a descending order approximately with 10, 8 and lesser per
centages.
iii. The one-man artiste dominated mandolin takes the first rank, no series being
complete without it! Surely the tamit proverb 'Ondavandapidari, oorpidariyai
virattiydham' (the refugee-ghost drove out the resident-ghost) applies to it and
veena has suffered grievously in the blitz. To resurrect the golden past of
veena -
1 Dakshinamurty, the incarnation of Lord Siva, Matangi, Saraswati, Narada and
Hanuman were the first who played veena, which has been there from Vedic times.
The major schools of veena - Thanjavur, Mysore, Travancore and Andhra- innovated
new techniques and methods in plucking and rendering kritis. There is wonderful
response for learning veena among Russians. Veena has inherent quality, sweet
414 ANOTHER GARLAND
melody but the contact mike should be done away with. '
— V. Rajagopalan.
1 Veena is ideally suited to produce the subtle microtones, a characteristic of Camatic
music. Veena and vocal sounds are so complementary to each other that a gayaka
with a knowledge of veena is always more impressive.1
— Dr. V. Doreswami iyengar.
' He who knows the secret of veena music is an expert in srutis and their varieties,
understands tala also; and reaches the path of salvation without exertion.1
— Yagnavalkya Smriti
1 Veena has more karvai, more gathram, mere depth and volume. '
— Veena Balachander.
RIDDLE
Amir Khusro (1253 - 1325) was a true patriot, artiste and poet. A scorching
sun and his parched throat during one of his journeys spot out four maidens
drawing water from a well, Khusro makes a request for water. The girls knowing
his identity demand of him with their wonted youthful affront a poem on such
disparate items as ksheer (sweetened rice), charka (spinning wheel), dhol
(drum) and kuttha (dog) - each of them proposing one. Genial Khusro pleads for
water first, poem next. If maiden's husband is above par, maiden's imaginative
flights are domineering and they insist on ' Poem first; water next '. What can he
do before loving pranks of innocent kids ? He surrenders. Since his thirst is
acute, he gives a succinct poem —
1 With great difficulty was sweetened rice prepared
by burning the spinning wheel;
a dog came and ate it up.
Now you sit and play a drum !
Water, give me water dear. ! '
FIRST ROW:
Concert starts but the vocalist's face does not exhibit enthusiasm and his eyes
scan for something.
Violinist : Lost anything or not well?
Vocalist : The first row: yes, those habituals who invariably applaud each
phrase generously, Strangely they are not there and my voice
falters!
BACK ROW :
Vocalist elaborates: 'Endaro Mahanubhavulu... Enda ro... Enda... row,,.
ANOTHER GARLAND 415
Shouts from rear : 'Back row! Back row!5
('Endaro becomes 'Enda' (which) and Yo' becomes Vow'. Phonetic puns.)
— Cartoon in SrutL
FOREIGNERS AND 8ND1AN ART
Eminent musicologist T.V. Subba Rao said that the saying 'East is East and
West is West and never the twain shall meet' is perhaps most applicable to music.
It is an issue which calls for a penetrating, unbiased research. John Higgins,
Ludwig Pesch and others learnt Carnatic Classical music with admirable fervour
and a will to succeed. There are scores who have taken to Indian dances. When
non- Indians sing or dance, do they bring out the inherent bhava and rasa of the
songs and tunes and do they invest their rendition or dance with character and
integrity? Here are some considered views;
1 Foreigners learning Indian dances can achieve technical proficiency. Only when they
can imbibe or at least understand the Indian way of life, can they bring bhav, ras and
depth to their performance. I am not saying they don't dance well. But, why do we
forgive them so much just because they look so nice when they are dressed up? We
Ye a colour-conscious people. Why do we feel obliged just because it is a foreigner
who had learnt our art form? They're doing it because they want it.'
— Kiran Sehgal in £7". 04 02 1991 .
1 The musical system originated in India. And Indian music, the fire that burns heart and
soul, is superior to the music of any other country. Foreigners even after a stay of thirty
to forty years in India cannot play a single Indian tune correctly. '
— Amir Khusrau in ' Nuh Siphir ' - The Nine Skies.
1 Raja Ravi Varma, the pioneering Indian genius in the art of oil painting, requested the
Maharajah and his Consort to give a sitting. This they did with pleasure. And the result
was highly flattering to both... the portraits painted by an European Master paled visibly
before the work of their own protege. The foreigner could only transcribe their like-
nesses whereas the Indian could invest them with character too. '
— 'Raja Ravi Varma' - Kerala Government Monograph.
Research in depth is indicated.
TIRUPUGAZH BANNED?
Believe it or not, yes. Before the First World War. In his Foreword to the 'Life
ofVallimalaiTirupugazhSwamigal', H.H. B.V. Narasimha Swamigal writes under
41 6 ANOTHER GARLAND
date February 28, 1 951 :
'About forty years ago... I heard first of police seizing Tirupugazh
copies... (thinking) that these songs had a highly sensuous and often
libidinous tendencies... too.'
— Quoted at page 6 of 'Thava Chelvargal Varalaru ' by R. Kalyanasundaram,
Another composition met with a similar fate! Bangalore Nagarathinammal
reprinted the telugu classic 'Radhika Swayamvaram' of Muddupalani (18th
century). Taking note of its eroticism, police seized all the copies. Only with the
advent of popular government taking powers in 1947, the ban was lifted and in
1 952, it was reprinted.
MUSICAL THERAPY:
Sobbing comely ' Doctor, of late my hus does everything in fits and
young lady : starts. Has no worries and yet he acts so... Am
anxious.,.
Psychiatrist : Does he do everything in fits and starts ?
Lady (smiling Yes, it is so. Everything in fact Starts but stops...
through tears) : Resumes only to stop for varying
durations.. .Strangely...
Psychiatrist : How long is he so?
Lady : Ever since he joined that light music orchestra last
month.
Psychiatrist ; Oh! Then no worry. It's just a hangover of his recent
orchestral practices. When he returns home, you ask
him to play Najivadara (Bilahan) or Daririt Telusukonti
(Suddha Saveri) or Nagumomu (Abheri). The
continuity will chase away the hangover. Report after i
a fortnight.
Report she did not. Musical therapy was a marital success too.
There has been considerable research on different aspects of musical
therapy. Please see Chapters II and VIII of 'A Garland'. It is recorded that
Rampur Nawab Ali Khan was cured of paralysis by playing Jujawanti raga for
three years and Jehangir used four tambur§ in his bedroom to induce sleep.
Haridas Swami is reported to have cured some ailment of Akbar's queen with
music. Ibn Sena, an Arabic writer is stated to have dealt with musical therapy in
detail. Sri Ganapati Sacchitananda Swami, Dutta Peetham, Mysore has been
doing much research. Therapy is decided for each individual case. He says
that other musicians too can cure 'but only if brahmacharya, ekagrata,
ashta siddhis, mastery of voqa besides knowledge are attained'.
ANOTHER GARLAND 41 7
Dr. S.M. Chennabasavanna, NIMHANS observes that the nature of cure, duration
and extent have to be defined; then only can one say how effective the cure is.
Prof. S.K. Ramachandra Rao opines that for those having an aptitude for music,
it may help, as not all will enjoy music.
It is stated that Nordoff-Robbins Music Therapy Centre, London uses music
therapy to unlock minds and bodies of handicapped children based on the work
and teachings of Dr. Paul Nordoff and Dr. Clive Bobbins to draw the handicapped
or emotionally disturbed into a shared musical experience in pursuit of
therapeutic goals. 'Nearly all can be helped by music therapy, although it is not a
cure/ Musicians of professional standards with practical training in therapeutics
attend to this. Late Benjamin Britten, Yehudi Menuhin and a host of prominent
musicians support the work.
The annals of music abound with episodes of man, animal, bird, nay, even the
nature getting enchanted and charmed by music. Here is a specific case from the
pen of Sir William Jones, Founder-President of the Asiatic Society, Calcutta
written in 1784:
' I have been assured by a credible eyewitness that two Mid antelopes used often to
come from their woods to the place where a more savage beast, Slrajuddullah enter-
tained himself with concerts and that they listened to the strains with an appearance of
pleasure, till the monster, in whose soul there was musick, shot one of them to display
his archery.'
Note : J.A. Freude had rightly said, ' Wild animals never kill for sport. Man is
the only one to whom the torture and death of the fellow creatures is amusing in
itself. ' Samuel Butler, however, humourously compliments man stating, 'Man is
the only animal that can remain on friendly terms with the victims he intends to eat
until he eats them ! ' There is enough material to state that music has influence
on animals.
MUSICIANS & PUBLIC OFFICES:
T. Lakshmana Pillai was Member, Legislative Council,
Trivandrum.
T. Chowdiah, Mysore * was Member, Legislative Council,
Karnataka(1952).
Tiruvizhimalalai Subramania Pillai was Member, Mayiladuturai Municipal
Council and District Board, Tanjore.
K.B. Sundarambal was Member, Legislative Council, Madras.
Bidaram Krishnappa was Municipal Councillor.
41 8 ANOTHER GARLAND
SHORTEST PALLAVIS:
Gama, the celebrated Indian wrestler (1880-1960) floored Stanislaus
Zybszko, a former world champion in 21 seconds on January 28, 1920 at Patiala
and sat on the chest of the mammoth, prostrate Pole as one sees Krishna on
Kamsa in pictures. Boxer Mike Tyson of peculiar fame knocked out Michael
Spinks in just 91 seconds in 1 988.
Carnatic musicians have sought to outsmart them in pallavi rendition! The
shortest was by Semmangudi Dr. Srinivasa Ayyar at the Music Academy, Madras
during the 1 939-40 Festival. It was for just 45 seconds! He holds the record still
and may hold it ad infinitum as pallavi stands ostracised now. Having conceded
the 'gold' to the Bhishma of Carnatic music, who has an uninterrupted record of
concerts from 1 926 to 1992 (66 years), Musiri Subramania Ayyar lifted the 'silver5
with a pallavi rendition of two minutes!
These two pallavis are reported to have been recorded by Kalki in Ananda
Vikatan. (Sruti No.6) A Garland gives at page 475 a list of pallavi specialists of
yester years. They are sure to collapse of cardiac arrest if they hear of these as
1 even in ashes live their wonted Fires '.
PERCUSSIVE ELOQUENCE:
' Now a split-second pause,
Now a false start,
Now a rogue flourish,
Now a sustained fusillade with an Uncertain beginning and uncertain end;
Now an unexpected change of gati, a tisram, a khandam, a misram,
Now a chatusram in khandam; Now this ...Now that... '
-KR Ramakrishnan in Sruti 35
Who could that percussionist be?
' That number one was without a second;
To praise whom there is a drought of adjectives;
He was wizard, maestro, stalwart, genius - all in one.
He planted Palghat on the musical map of India and
Carried the title 'Sangita Kalanidhi' for a percussionist first.'
SELF PRAISE ?
The Indian mastered several languages, assimilated diverse cultures like a
blotting paper and absorbed fragments of alien architecture and arts and made
them his own. He has achieved on foreign soil what he had not done on native
soil like a transplanted crop. N.A. Palkhiwallah said on November 7, 1990:
ANOTHER GARLAND
' The Indian instinct is innate in Indian genes.
He can buy from a Jew and sell to a Scot and yet make a profit '
Does the balance of trade in music confirm it? Does performance justify si
self-praise ?
WIFE-BEATER ?
'A critic once described Balachander as one wedded to veena t
unfortunately, a wife-beater! But even the worst critic of Baiachander would ad
that the occasional, apparent harshness of his technique was the result no
hatred as in the case of wife-beaters but his total devotion to, identification v
and involvement in the instrument. The response of the instrument to his tos
amply proved that the wife found his caresses more than adequate compensal
for his apparent harshness!
— P.K. Doraiswar
PADACCHEDAM (SPLITTING OF WORDS):
To adhere to rhythm or for easy rendition, musicians split up words in sah
(lyrics) as in -
Entara... nithana (Harikambhoji)
Sivudanoma.. dhavudano (Devamrutavarshini)
Dantuni kainave. . . dhantuni (Sama)
Paramesa Vasishtapara...cara Narada, (instead of
Paramesa Vasishta Paracara Narada). (Lalii
Mangudi vidwan was a musicologist and linguist too. He was scrupul
about theoretical injunctions and would never stoop to split up words even wl
they do not affect the meaning. But he prospered not! ( The cine song says 1
one left off the difficult job of a cook to become a musician.) Mangudi tradition*
switched over to priesthood as many of the past musicians came out of par
families and the change-over was easy. Sangeet-Sanskrit coparcenary wa
significant factor of the past. It was his first job presiding over a wedding in a
man's house. He was chanting the aseervadam (benediction or epithalamiu
Instead of the usual -
'Omsan... thissan.. thissan... thih',
420 ANOTHER GARLAND
Vm Santih.,. Santih... Santih' .'
Lo! What happened ? The newly-wed girl broke away from the warmth of her
just-wedded spouse, ran down the staircase to the utter bewilderment of all. With
visible annoyance and ingenuous shame, she protested in whispers to the priest,
1 Why, uncle, did you call me ? Just now I went with him.
And you call me so loudly and now, see, everyone stares at me ! '
Sensitive Santi (that was her name) broke into copious tears. In the meanwhile
the perplexed Jack had also come down tumbling after his Jill. Instead of the
benedictory Santih (Cantih - peace), there was flutter and tension. The priest
sighed and soliloquised:
'Padacchedam! You drove me out of music ;
Now you are driving me from priesthood too ! '
Utter economic distress drove him to shout with vehemence at the next
wedding :
'Ornsa/?... thissan... thissan.., thih '.
Bridal couple enjoyed their new-found warmth and drank deep the
exhilaration of 'thissan' benediction. People were happy. Gods too were perhaps
pleased as the couple are now happy. All understand only neo-classical 'thissan1
language. (Vide Part III-B too on this subject.)
THE ORIGINAL STUFF:
The artiste started singing. Local pervert Mangudi Mundan was frequently
tossing taunts to the disconcert and wrath of the musician:
1 Ah, that brika is from Madura! Mani. '...
' Sabash, how he copies AViyakudi ! '...
' Fine, tsou, tsou, sure that is GNB. "...
The musician lost patience and shouted, * You get out '. Mangudi Mundan
was all appreciation and smile and said,
* At long last, that is sure your original ! ' And he left.
Note: Mangudi Mundan's exercise brings to mind Fred Allen's joke —
' He is a good boy. Everything he steals, he brings home to his mother ! '
In music, the artiste is not found fault with for imitating the styles of others but
ANOTHER GARLAND 421
actually it is complimentary to him ! That the Art has licensed ! It is all for the
pleasure of the audience.
SACRIFICIAL GOAT:
Vasudevacharya was taking leave of Patnam Subramania Ayyar after
gurukulavasa. The guru made some nostalgic references:
' One thing about your Mysore State is terrible! They squeezed my huge body into a long
black coat, tied an upper cloth tightly round my waist, placed a pot-Jike heavy turban
on my head and drove me like a helpless sacrificial goat and they ordered me to sing!
Vasu, even now, I perspire when I think of it ! '
FUNNIEST CHAP!
It is a funny world and the funniest chap you ever saw is He - the Beloved
Infinite! Fun, is it not? Brotherhood, or playmatehood - a school of romping
children let out to play in the playground of the world! Whom to praise, whom to
blame, it is all His play. They want explanation, but how can you explain Him ?
He is brainless, nor has He any reason. He is fooling us with little brains and
reason..'
— Swami Vivekananda (July 6, 1896)
Tyagaraja addresses Rama as father, mother, friend, etc. in several songs.
Sitamma Mayamma (Lalitha) is a special song in which he becomes one among
Rama's family. Vivekananda's description of 'romping children5 finds place in
Nayeda Vanchana (Nabhomani) where Tyagaraja portrays himself as a boy
harassed by others in the street/ Rama Ninuvina (Sankarabharanam)and Rama
Nipai (Kedara) are songs in this vein.
CURSE OF 'AHIRI':
1 Sing raga Ahiriand lose your dinner ' is an oft-repeated saying. The flautist
of the Cauvery Delta was not prepared to swallow what was not supported by
Bharata, Matanga or Somanatha. Determined to prove the absurdity of the
saying at the next concert at Terizhandur, he carried a packet of chosen
delicacies. (He chose Terizhandur as he was an admirer of Poet Kambar who
hailed from that place and as he wanted the saying to be erased from human
memory even as the temple car - Ter- was lost in that place.) Taking cue from
the Mahabharata episode of Arjuna secreting his weapons at the top of a tree, he
tied up his food packet at the top of a bamboo tree which was found bent in the
422 ANOTHER GARLAND
morning. He made extensive exposition in raga Ahiri at the concert and rushed
back to the bamboo tree with a Caesar's pride and exultation.
Lo! To his consternation he found that the bamboo had straightened (in the
heat of the sun) like a flagstaff and the packet was seen safe and sure at the top
of it. How can he scale a slim bamboo having just then elaborately and
successfully scaled the ati tara sthayi of Ahiri raga. There were as many and more
thorns on the bamboo than the gamakas he released at the concert ! So ' the
Curse of Ahiri ' is real, he lamented on an empty belly at last. It is said that Ahiri
raga was being sung at some temples during the ardhajama (final night services)
only to get over possible effects of the curse !
DARPANA!
Aged mother : Your disciple is doing ' tarpana ' today since the morning. Is it to
music or to your guruship ?
Musician : Not tarpana, mother. It is Darpana - a musical treatise.
Note : This reminds the author of the disastrous cricket tour for the
World Cup 1992. An aged lady queried :
' Commentary mentions a Sastri frequently.
What has a Sastri * to do there ? '
Grandson settled it thus:
1 Grandma, we are losing everything everywhere.
The Indi'an team has wisely taken a (Ravi) Sastri to perform tarpanas on the spot after
each match ! '
* [Sastri = Priest]
HONOUR WITH A DIFFERENCE:
Nagaswara artiste Namagiripettai Krishnan was honoured with a very costly
shawl at Paris by an admirer. Function over, the admirer requested for its return
saying that it was very costly and that he had been using it for all visiting
dignitaries in the fields of politics, art, etc.
Krishnan silently returned it richer by the knowledge gained. Admirer got the
credit; the artiste got the honour; and all at no cost! A new chapter in
musiconomics
(Source:. Kumudam)
ANOTHER GARLAND 423
'VENI, VIDI, VIC1':
Many have achieved this on their debut like:
Apostle Sambandar. Veena Seshanna
Sarabha Sastri, Flautist M.S. Subbulakshrni, Vocalist
Pushpavanam, Vocalist. Ravi Kiran, Chitra Veena artiste.
T.N. Rajarathinam, Nagaswara artiste. Mandolin Srinivas.
T.R. Mahalingam @ Mafi, Flautist, Maha Vaidyanatha Ayyar, Vocalist.
Palghat Mani, Mridangist Shashank, Flautist
G.N. Balasubramaniam, Vocalist. Tiruvarur Rajayee, Vocalist
D1KSHITAR INSPIRED BYSHAHAJI?
The group songs of Dikshitar on Sri Neelothpalamba are all in ragas ending
with Goula, i.e., Narayanagoula, Ritigoula, Kannadagoula, Kedaragoula, Goula,
Malavagoula, Purvagoula and Chayagoula. Shahaji had used all these except
Gouia in his Sapthasagara Sooladi Prabhanda Leela.
— P.S. Srinivasan in 'Shanmukha' 10/90.
Dr. M.S. SUBBULAKSHMt:
' Smt Subbulakshrni, gifted with a voice that was a rare amaigam of the
melodious and the meditative, created the spell by natural charm. Her mastery
over the medium held the purity and depth of feeling of the original composer, the
lilt and poignancy of the primal invoker and the power of transforming a private
experience into collective illumination. She is not a mere Queen of Songs. She
is the most enchanting raga breezing across this world. She is Sangeetha
Saras wati. '
— Citation for 'Konarak'
1 Smt. Subbulakshmi's range in music is encyclopaedic and her repertoire
catholic. The healing power of music is evident in her performance. '
— S.S. Barnala.
' 1 commend Subbulakshrni to the people of the North. I want my living words
to go to the uttermost corners of the world so that people may realise how one
great woman artiste in India has been able to move the hearts of millions by her
songs. '
— Sarojini Naidu appearing in the film * Meera ' introduced her thus.
424 ANOTHER GARLAND
WEST AND EAST: (POST PLUS BELLE!) :
A. Wallajahpet Venkataramana Bhagavatar (1781-1874) walked daily from
Ayyampet to Tlruvaiyaru with his basket of ' tulsi ' (sacred basil) for his guru
Tyagarajah's poojahs and his own enlightenment. Even so, Johann
Sebastian Bach (1685-1750) walked thirty miles from Liinberg to Hamburg
almost daily at the age of fifteen to hear Organist Bohm, - He was a
self-instructor, self-helper and hard worker. His income depended on
special fees for wedding, funerals, etc. When the year was mild and fewer
people died, he was in distress. So too were men of his tribe. If Indian
musicians rarely touched affluence in the past, it was so in the West too.
Bach was buried without a memorial! Only after 1 44 years, his coffin was
discovered and reinterred in the Church. Mozart (1756-1 791) was laid to rest,
where none knew and none followed to the grave!
G.F. Handel (1685-1759), as an infant,yearned for a keyboard but his father,
a barber-surgeon forbade it. Having risen himself far above his beginning, he
looked forward to a further elevation. To become a musician was deemed
to be a fall to a lower depth than a copper-healer. Musicians like Bach
and Haydn were counted only as dependent, poorly paid vassals who could
be treated with coolness. It was the custom of the day in Europe that the
incoming organist should take the post with the retiring man's daughter.
(POST PLUS BELLE!)
B. Muthuswamy Dikshitar left none as son or daughter while Tyagaraja's
grandson died prematurely without issues. Maha Vaidyanatha Ayyar
surrendered his marital pleasures at the altar of Nadayoga. Uthukadu Bard
was a recluse. The list is long. Their geniuses thus ended in cul de sac.
Great families had disappeared like rivers in the Sahara. [Bach, Handel and
Purcell were near-contemporaries of Shahaji, Uthukadu Bard, Arunachala
Kavi and Thulajaji while Beethoven, Heydn and Mozart ware
near-contemporaries of the Carnatic Trinity.] The family of Bach was the
most affluent in numbers:
1 Hail to the Bachs, surely the grandest of all musical tribes. It goes back to
about 1560; the last expired in 1871 . Bach was the eighth. It is curious that
of his 20 children, only one took the lineage past 1818 and most surprising of
all, not one of the four children of the last productive, '
— Pelican 'Lives of Great Composers' 1935.
ANOTHER GARLAND 425
PUBLICITY STUNT !
'At a Delhi concert, Balamurali Krishna said that he would not sing if there
were critics in the auditorium and I went out with pleasure ! Years later in 1975,
Balamurali conferred the title of Vimarsaka Sudhamava' on me and explained
that people might think that there was no love lost between us, that it was not the
truth and that the show of strain was only to provide fuel to publicity !'
— Subbudu in Kalki D.M. 1986.
1 Any publicity is good publicity. Do something terrible and then make
amends. '
* * *
SEEKERS OF KNOWLEDGE !
'After the first concert I gave at Odessa, one and all asked me specifically
what fingering I had used in such and such a passage . . . engulfed by a gigantic
crowd of students, ex-students and professors - rather than by the heterogenous
audience.'
— Yehudi Menuhin
How the practice obtains in India is relevant! Menuhin mentions that the
relation between the instrument and the instrumentalist should be that between
Don Quixote and his inseparable steed.
THE DOUBT & THE REVELATION :
Berlin: April 12, 1929. Thirteen-year old Yehudi Menuhin appears to play the
challenging concerts of Bach, Beethoven and Brahms. He hands over the violin
to the concert master for tuning. 'A ripple of surprise runs through the audience.
So, he cannot even tune the violin by himself ! ... The first vigorous notes of Bach
dispel all doubts. The sounds are as pure as gold, inspired by an angelic
naturalness of phrasing and musicality and without a trace of childishness/
' Now I know that there is a God in Heaven ', said Albert Einstein after the
concert.
426 ANOTHER GARLAND
TRIBUTE OVERDUE :
Boswell recorded, 'Covent Garden, the very place where I was fortunate
enough to be introduced to the illustrious subject of this work ( Samuel Johnson)
deserves to be particularly marked. I never pass by it without feeling reverence
and regret/
Gopala Krishna Bharati, author of the immortal opera Nandanar and trail -
blazer to Mahatma Gandhiji and Subramania Bharati spent his entire time on the
pials of some houses as a bachelor dedicating his life to musical compositions in
tamil and the Lord. The author approached the Government (as it was
constituted before and now) to provide a plaque on the pial of the house at
Mayuram near Sri Mayuranathaswami Temple. It may cost much less than Rs.
1 0OO/-. The author could do it himself but that will not be public recognition of that
venerable crusader. ( He has provided a copy of the photo of the house and a
full copy of his life from A Garland with his letters.) 111 years had passed. It is
not too late.
Hundred and eighty-one year old Bharati seems to smile at the author
as if to say, ' They will not do it. Forget it all ' !
* * *
CONTRACTION OF NAMES :
Contracting names is an art in certain parts of the country like Tanjore district.
Thus Srinivasan becomes Seenu, Narayanaswamy gets axed to Nanu,
Padmanabhan is reduced to Paddhu and Ramachandran to Ramu. The art takes
other forms too by indenting on physical appearance, native village, etc. Eminent
musicians are thus called Koneri Vaitha, Mudicondan Venkatta, etc. Boswell
records that Samuel Johnson had a similar way and called Boswell as Bozzy,
Sheridan as Sherry. Thus he had called Goldsmith Goldy but Goldy did not take
to it kindly and, displeased that such a liberty should be taken with his name, said:
' I have often desired him not to call me Goldy. '
* * *
CRITICS :
1 had another dream the other day about music critics. They were small and
rodent-like with padlocked ears, as if they had slipped out of a painting by Goya'
— Igor Stravinsky.
ANOTHER GARLAND 427
TV critic is a man who knows the way but can't drive the car.'
— Kenneth Tynan
Insects sting, not from malice but because they want to live. It is the same
with critics - they desire our blood, not our pain.'
— RW. Nietzche.
Note : Please see page 453 of A Garland too. It may be safely asserted that
critics in the field of Carnatic music are as constructive and good as the music and
the musicians they deal in and with.
* * *
'BHAVA* IN THE WEST :
'Can't you read ? The score demands con amore (vibrant enthusiasm) and
what are you doing? You are playing it like married men ! '
— A rebuke from Arture Toscanni
MUSICIAN, a NEOSATANIST ?
Greek Orthodox Church leaders have declared the U.S. pop music idol,
Michael Johnson, as a neosatanist at the Fourth Pan - Orthodox Conference at
Kalavrita (Sanskrit origin?) on the Peleponnese. They declared that Jackson was
a product of devil and an incarnation of evil apparently for calling himself an
"ambassador of light '!
(The ' Hindu ' 8/92)
Has Indian music world produced any such instance ?
* * *
HO(S)TEL?
If temples were the nerve-centres for propagation of music, several hotels too
had provided congenial background and hospitality for the constant gatherings of
musicians in the first half of this century. If musicians wanted peaceful
discussions, get-together, etc., they flocked to these hotels without any need to
touch their purses :
Mylapore - Sastri Hotel (M.S. Krishna Ayyar, proprietor, wrote many books
and articles including one on Tyagaraja and sponsored hundreds of concerts and
bhajans.)
Triplicane - Coimbatore Krishnaier Hotel
Tanjore - Gopaiaswamy Ayyar's Ananda Lodge.
Trichy - Perur Narayana Ayyar Hotel. (He was a mridangist)
428 ANOTHER GARLAND
S owcarpet - Ayy aswam i Ayy ar Hotel
Trichy - Mridangam Rajagopala Ayyar's Saravana Bhavan.
And many more.
NOTHING SURPASSES MUSIC:
' Japa koti gunam dhyanam;
Dhyana koti guno laya;
Laya koti gunam ganam;
Ganath paratharam nahi. '
(Meditation equals recitation of the Lord's name a crore times.
Lay am equals a crore dhyanam.
Pure sublime music is equivalent to layam ten million times.
But, lo, nothing can surpass the greatness of music.
— Sanskrit verse (translation by RR.)
VIOLIN —A PEEP INTO ITS PAST:
' The violin faces us with a problem ... It can be said that at a given date it was not there
at all; and shortly afterwards, it is found full-fledged in active life, '
— Gerald R. Hayes in Musical Instruments.
1 The origin of violin is uncertain. No one can claim to have invented it. Suddenly it is
present. In 1529-30 the Italian artist Gaudenzio Ferrari painted an angel playing on
violin. '
' The violin was the passport, purse and the path to the summit of society. '
— Yehudi Menuhin.
1 Our scriptures and pictures have extolled veena. If violin was known in ancient times,
how would it have been dealt with and how would it have fared vis^a-vis veena in
scriptures and pictures ? '
— MNR.
(Vide pages Lx and 58 in A Garland.)
MIKE:
1 Our shop is fully air-conditioned ', advertises the jeweller proudly and gullible
clients swallow the pill. None asks, 'A.C. ? For whom and at whose cost ? J
ANOTHER GARLAND 429
In yester decades, handbills and advertisements prominently announced
'Mike arrangements made '. Veena Balachander has written that it would appear
that the sponsors had sworn to that. With the mike went the robust voice of
vocalists which traversed the three octaves ! None sought for it, It was imposed.
A FORGOTTEN CONCEPT — ART NOT FOR SALE ?
i. This is from the pen of Sangita Kalanidhi K. Vasudevacharya of Mysore in his
'Memoirs':
*I happened once to listen to a performance of the famous Maha Vaidyanatha Ayyar
arranged in a rich zamindar's house at Tiruvaiyaru. It started with the song 'Chintaya
ma Kandamulaskandam (Bhairavi). The audience sat spellbound. The zamindar
anxious to hear a particular song gave a chit with due respect indicating the song to
Ayyar 's brother Ramaswamy Sivan. Glancing through the chit, Sivan went red with
rage and ordered his brother to pack up; and to the consternation of the zamindar and
the audience, walked off saying that they were not there to cater for money and
satisfy desires and that the artiste had the liberty and right to sing what he thought best
and could not be bamboozled with money ! *
ii. T. Sankaran recounts a similar episode. A rich vidwan came to discuss some *laya'
issues with Konnakol Pakkiria Pillai of Mannargudi and placed some gold before the
percussion wizard as he opened his talks. Instant was Pillai's reaction stung to the
quick by the mercenary approach of the visitor. He said:
4 What do I know that is not already known to you. Don't waste your treasure. Take
it with you and leave me. '
iii. C. Cunniah, drama tycoon, planned to stage 'Rama Pattabhishekam* for the 1008th
time and requested Naina Pillai to sing a song or two on the occasion but without
swaras. The remuneration was Rs. 1000 (now about Rs. one lakh). The Achilles who
steadfastly adhered to his principles declined stating that to sing a song without swara
would never be 'Ramarpana' and that he could not relax his stand for the lure of
money! An Andhra zamindar offered him Rs. two thousand (now Rs. TWo lakhs) for
a concert but without his usual 'Full Bench'. He could have only mridangam and
violin as per his choice. *I am not mad after money; nor a slave of that. Any proposal
not in conformity with my own principles face rejection.' And it was rejected.
iv. Concert over, the landlord gave the 'tamboolam* with Rs. seventy-five to Violinist
Tiruvalangadu Sundaresa Ayyar. He took Rs.35 and returned the balance! That was
in 1938. No wonder he was held in high esteem (Ellarvi). Veena Balachander has
penned a panegyric verse on his eminence.
430 ANOTHER GARLAND
AND
SWARASTANA VARNAM :
Ramaswami Dikshitar's Swarastana Pada Varnam in Todi using only the
seven letters sa, n, ga, ma, pa, dha, ni is reported to be the only composition
of the type in Carnatic music.
Raga: Todi Talam : Adi
Pallavi : __ _ __
Sarigani dam" pamarini ni pada
Samagamamaga niganinisa.
I Anupallavi :_ _ _
Garimamadari padari sadari
GamapadanTdaniga nidani pasagani.
II Caranam :
Marimari ganisaga nipani dagadani
Maniganiga nimmanigada
MarTnTpathama maniga marlniga
Manali Venkatakrsnendra natonu.
Dr. P.P. Narayanaswami, 'Sangeetham'
& Muthuswami Dikshitar KeerthanaigaL
* * *
PRABANDHA :
Prabandha is a musical composition governed by rules on raga, tala, metre,
vrtta, six angas (swara, biruda, pada, tenaka, pata and tala) and four dhatus. If
prabhandha be the forerunner to musical compositions of later days, Matanga
is the father of desi prabandhas. Matanga is the first musicologist to use the
word raga in Ragakadambaka or Ragamalika.
- (Dr. S. Seetha)
* * *
NAYAK :
The honorific 'Nayak' was the highest title a musician could in yester eras
aspire for and it was awarded (for intrinsic ability and positive achievements)
collectively by musicians after satisfying themselves of the true merits and
ANOTHER GARLAND 431
attainments of the awardee. B.S. Sitholey, quoted by Gowri Kuppuswamy and
M. Hariharan, states that India has had only eight nayaks, viz.,
Baiju Nayak Rajah Mansingh of Gwalior
Gopal Nayak Bakshu Nayak of Gujarat
Bhagavan Nayak Husain Sharqu of Jaunpur and
Jargu Nayak Baz Bharat of Malwa.
Presumably the title was confined to the North.
* * *
CATEGORIES :
A. 'O ARJUNA, four types of devotees worship Me, viz.,
the seeker after worldly possessions^ wealth,
the afflicted, the dissatisfied,
the seeker of (systematised ) knowledge and
the wise - the man of wisdom'.
— (Bhagavad Gita -VII - 16)
The classification applies to Nadopasakas (musical artistes) too. Eg,
i The Afflicted : Arunagirinathar, Marimutha Pillai, Muthu
Thandavar, Ramaswams Dikshitar.
ii Seekers of knowledge : Rajah Reghunatha Naik
Rajah Thulajaji
Swati Tirunal
Dr, U.Ve. Swaminatha Ayyar
T.L. Venkatarama Ayyar
Harikesanallur Muthiah Bhagavatar.
iii Men of Wisdom : Purandara Dasa
Annamacharya
The Carnatic Musical Trinity
Bhagavatha Mahapurushas. — Quintuplets,
In the Gita, the Lord declares, 1 am extremely dear to the Jnani, the Man
of Wisdom' - No wonder. May their tribe increase !
iv Seekers of worldly possessions are naturally many.
B, Abhinaya comprises Angika (Movements and gestures)
Vachika (Speech and dialogue)
Aharya (Make up and costumes) and
Sattvika (aesthetic experience).
432 ANOTHER GARLAND
Musicians may likewise be classified too (the names given are only
representative):
i. Prone to movements and gestures : Angika:
Tiger Varadachariar Neyveli Santhanagopalan
Semmangudi Dr.Srinivasa Ayyar Kunnakudi Vaidyanathan
T.K.Govinda Rao
ii. Known for their sartorial elegance : Aharya:
Harikesanallur Muthiah Bhagavatar T.R. Subramaniam
Ariyakudi Ramanuja Ayyangar Balamurali Krishna
T. Chowdiah Mandolin Srinivas
Maharajapuram Viswanatha Ayyar G.N. Balasubramaniam
iii. Who visibly enjoy their own rendition : Sattvika :
Madurai Mani Ayyar
Veena S. Balachander
Ravikiran
iv. Who wear a stoic expression at concerts :
Palghat Mani Ayyar
Dr. Ramani, flautist
v. Who fill up gaps due to voice constraints by gestures :
Maharajapuram Viswanatha Ayyar
D.K. Jayaraman
vi. Who feel at home and delight in upper octave (Homa Birds) :
S.G. Kittappa, KB. Sundarambal
Musiri Subramania Ayyar, T.R. Mahalingam
T.V. Sankaranarayanan.
vii. Who are distinguishable by their distinct expressive decorum :
Mahakavi Subramania Bharati T.L. Venkatarama Ayyar
Yesudas The Lady Vocal Trinity (MSS, MLV, DKP).
DEFECTS :
Venerable Subbarama Dikshitar, in his Sangita Sampradaya Pradarsini
deals In extenso with Sangita Lakshana Prachina Paddhati and recounts as
many as twenty-four defects found in vocalists:
i. Sandashta : One who while singing appears like biting /clenching
his teeth.
ii. Utkrsta : One who sings in a harsh, loud voice.
Udgushta is one who salivates or sweats profusely,
ANOTHER GARLAND
433
iii. Bhita
iv. Sanklta
v. Kampita
vi. Vikala
VII.
viii.
ix.
- x.
xi.
xii.
XVII.
xviii.
xix.
xx.
xxi.
XXJI.
xxiii.
Vitaia
Karabha
Udyudta
Jhompaka
Nimilaka
Virasa
xiii. Apasvara
xiv. Avyakta
xv. Sthanabhrasta
xvl. Avyavasthita
Misraka
Anavadhana
Anunaasika
Sutkari
Karali
Tumbaki
Kaki
xxiv. Prasari
BASICS
One who sings with fear or timidity.
One who sings rapidly and with uncertainty or diffidence.
One who sings shaking his body.
One who sings with notes swerving from their
sthanas or rattles.
One who sings out of tala .
One who sings in a tone resembling that of a camel.
One who sings shaking the cheeks like a
goat (cheek shake).
One who sings in a manner that the veins
protrude out in the neck.
One who sings closing his eyes. Many come under this.
One who sings without relishing the taste and
rnood of the raga and tune. Why does he sing at all ?
One who sings out of sruti and out of swarasthana.
One who sings altering and concealing the
real voice. Not a few indulge in this.
One who sings without paying heed to the
positions of the three octaves.
One who sings deviating from the respective
svarasthanas and that too shamelessly.
One who sings making a medley of raga.
One who sings deviating from the gamaka sthanas.
One who sings with a nasal sound. Many.
One who sings with the sound 'ooz'. Nocturnal locomotives !
One who sings terribly gaping the mouth or
screwing up his visage.
One who sings bulging the cheek like a gourd.
One who sings with a dry, rough and harsh voice
like that of a crow.
One who sings with mannerisms such as
awkward shakes of the hands and other limbs
without musical expressions,
(TSP & PKR in JMAM)
In his penetrating article titled 'Sang/fa Vishayam', National poet Subramania
Bharati gives the following suggestions. What he said eight decades back hotds
relevance even today.
a. Musicians must bring new compositions to light
b. Music must be melodious and not percussive and accent must be on music rather than on
tala.
c. Women musicians should be encouraged as they possess natural talents, sweet voice and
aptitude.
434 ANOTHER GARLAND
d. Harmonium is an impediment to the growth of classical music.
e. Tambura should be the only drone. Vina is the most suitable instrument for women to
practise.
f. Musicians should sing with full-throated abandon and not in a falsetto voice. (TSP)
TIPS! TIPS!!
(a) Vainika-teacher M.A. Kalyanakrishna Bhagavatar outlines the
sampradaya practice for vainikas thus:
i. Present more gamakas in the avarohana.
ii. Avoid too many meettus while developing a raga but ensure karvai,
Hi. Ensure meettus accord with sahitya aksharas.
iv. Employ soft meettus for continuity.
v. Have Intensive practice to bring out on the strings the potential characteristics of human
voice.
(The concerts of Balachander were an open lesson to emphasise the
dedication, devotion, toil and perseverance required if veena concert is to be
classic and classical.)
(b) Nagaswara maestro, P.S.Veeruswami Pillai gave these tips for trainees
in nagaswaram :-
i. Start initially in mandra madhyama as shadja and take swaravalis in Malavagowla.
ii. Shift the tonic note later to madhya shadja.
iii. Beginners to play as many as ten (10) avartas of arohana and avarohana in one breath,
iv. Hold the left little finger flexibly lest it should hamper and hinder other fingers' free play.
"I learnt much " :
The eminent, cultured nagaswara maestro cites how the memorable
performances of two great vidwans were highly instructive. Here are they:
A. Ambal village near Mudicondan - Festival in progress, The deities were
being taken in procession. Mannargudi Chinna Pakkiri Pillai was on nagas-
waram with Ammapettai Pakkiria Pillai on tavil. It looked that they were
made for each other, being wizards in melody and rhythm respectively.
Chinna Pakkiri started with Begada raga after the brief Mallariat 10 p.m.
The clock struck two but the nagaswara artiste was known to have ousted
the hegemony and discipline of Time long back. He did not know that for
four hours he was keeping melodic intimacy with Begada and the crowd
did not know that they too had been standing for over 240 soothing,
soul-nourishing minutes. Chinna Pakkiri quietly started on his pallavi and
. o m Ho rr<ii inrl^rl r\fi hie r£^r\AW\r\r\ \AAith \/£ar<ali
ANOTHER GARLAND 435
conscious of the fact that ' Sankara, Narayana and Brahma attained their
distinctive glory through Nadopa$ana~(Nadopasanache~- Begada raga) .'
B. Madurai Ponnuswami Piliai started with two kirtanas at 7 p.m. and took up
Sri raga at 8 p.m. It was 4 a.m. Yes, the procession of the wedded couple
was just turning the corner oblivious of the lapse of eight long hours. It was
all soulful pin-drop silence. The new-weds forgot their earthly pin-pricks
and the crowd had lost its animation. 'Hearing that I (not the author, but
P.S.V. Piliai) had been following all along, he took leave of Sri raga for a
brief while, sent for me and whispered,
' So, you have come all the way to hear this old man's music ! '
The break prompted him to take up Kedaragoula and then Sindubhairavi
as ragamalika and wind up. What a celestial benediction his rendition was!
Go rykulavasa on the streets ! That was the way people became immortals;
it was mostly hearing; As I wrote this, I met Mannargudi Sambasiva Bhagavatar,
the prime spirit behind the Tyagaraja Sangita Vidwat Sabha, Madras 4. He
remarked:
' My guru, Maharajapuram Viswanatha Ayyar held no classes. Suddenly,
even at the dead of night, he would sing and I would hear. He would give concerts
and I would hear. He would discuss with other maestros and I would hear. Rarely
he would give tuitions in the sense it is now understood. His method of teaching
was " Imbibe the best by hearing" . '
Elsewhere are given similar remarks of Mysore Vasudevacharya and others.
(c) Vilayat Khan in 'Filigree in Sound ' (Gopal Sharman) provides some
guidelines:
j. Never approach a concert with troubled thoughts.
ii. Do not get into quarrels and disputes, put all personal fears and resentment out of your
mind,
iii. Be well rested with no trace of weariness about you. Still your mind, retreat into a calm and
quiet place.
iv. Be washed and clean before you approach music,
v. Tune your instrument and take accompanists' permission to begin
vi. Face your audience with neither too much eagerness nor disdain,
vii. Acknowledge your gratitude to your accompanists,
viii. Close your eyes: wait for a moment NOW BEGIN.
(d) Vilayat Khan's tips may be taken in the light of the vade mecum of
Tyagaraja to musicians in Kaddanu Variki (Todi):
436 ANOTHER GARLAND
"Cast off your sleep: get up very early in the morning and practise.
Culture your voice well in the still early hours of the morning.
Take a beautiful tambura for your sruti.
Let your mind be PURE; intone the swaras correctly and well and
Stick to SAMPRADAYA".
(e) Dr. M.LVasantakumari says;
Practising many compositions of the Trinity in any one raga gives us the
required musicianship to improvise alapana and kalpanaswaras in that raga.
For instance, one should learn thirty or forty in Todito acquire a total profile of
the raga.'
Note; One hour concerts can be ragawise !
NO ROUTINE CLASSES:
Mysore Vasudevachar had spoken of Patnam Subramania Ayyar not taking
up classes for long for valid reasons. T.K. Govinda Rao speaks of Dikshitar not
giving lessons for long but of the pupil imbibing much and singing true to theory.
G.N. Balasubramaniam 'was a moody teacher. Sometimes he would not
teach or sing at all. We would wait and return. He was against routine classes.'
— (Dr. M.L Vasantakumari).
APPRENTICESHIP :
Doctors, lawyers, etc. have apprenticeship. Even so, after passing
examinations, students of music should undergo a sort of gurukulavasa to
imbibe more practical, better and surer methods.
— (Dr. M.L. Vasantakumari).
RE-INTRODUCE:
Gurukulavasa had the merit of the teacher elevating himself to be worthy of
the high avocation and the pupil attuning to absorb the best with all devotion to
his guru. Here is the prayer of the teacher to Indra;
' May I be the receptacle of such learning as assures immortality: to acquire such
knowledge may my body be alert and active; may my tongue always utter sweet words;
may I with my ears !isten abundantly to the highest truth...'
ANOTHER GARLAND 437
' May the Lord protect us both, the teacher and the taught; may He nourish us; may we
work effectively in close unison. May our study be of the highest glory and lustre; may
hatred be eliminated from us and may we be the most loving among the teachers and
the taught. Om santis ~ sanf/s = santih. '
Taittiriyopanishad - Translation by Sivaramamurts C.
Should such noble prayers and sentiments be ignored?
CANNOT THE SCHOOLS REVIVE THESE PRAYERS!
I. TRAINING AND APPRENTICESHIP :
a), i. A musical atmosphere at home invisibly trains and moulds the mind and
inculcates receptivity, aptitude and ambition to imitate and excel. But such
an environment is not a sine qua nan.
ii. Institutions now handle thirty to forty pupils per class. Ten to twelve should
be the limit. Admission should be screened.
iii. Graduate and post-graduate courses in music with two or three years are
inadequate for students to imbibe raga swaroopas (shapes) at all.
iv. The teacher has a major role to play. Mudicondan Venkatarama Ayyar
would go step by step, pose problems for solution, administer lakshya
sangeeth with lakshana ingredients. 'Follow my advice, not my practice',
he would warn. 'Study how Brinda and Mukhta sustain their voice inspite
of age', he would advise.
— R.Vedavalli-Sarnpradaya.
b) . i. Melody should not be sacrificed; excessive voice pressure and extra tempo
with an eye on applause are to be avoided. Bhava and rasa should not
run parallel to each other. Class room teaching could not bring out the
finesse of gurukulavasa.
ii. Job opportunities should be created. Scholarships should be given to
enable great masters to take in four or five apprentices to leave them as
their musical heirs. I want to help such a conservatory.
— Lalgudi G. Jayaraman - 'Sampradaya.'
c). i. Lack of timely recognition leads to frustration and demoralisation in the
student. Ambition and concentration are vital to rise up to be a master.
Jiichiro Date, Olympic Gold Medallist from Japan, said, 'For preparation I
literally lived in the gym. Nothing else was important; nothing also
mattered1. Relevant cases have been cited in A Garland for guidance of
pupils.
ii. 'World No.1 in tennis, Courier is the hardest working guy, I have seen.
When other people finish their matches and go home, he goes back and
practises for an hour', says Pete Sampras, the talented top player.
438 ANOTHER GARLAND
iii. Students and apprentices should compulsorily attend a specific number of
public concerts and present notes thereon. They should carry specif re
marks at the final examination. If students could not now attend others*
concerts, who is going to attend theirs later ?
d). TRI-PLEX:
11 The Musicians are perplexed for he was a master even for musicians;
The Grammarians are perplexed for his nuances defy the music-scripts;
The Rasikas are perplexed for a single kriti could be the rendition for the evening; And
easy pleasure, not deep delight, is our obsession".
— M. Anantanarayanan, former Chief Justice, High Court, Madras.
HARIKATHA (MUSICAL DISCOURSE):
I. THERE IS NOTHING in this world the undisciplined man abhors as advice
as he looks upon it as an affront treating him like a child or an idiot. So
the insult-looking advice is made agreeable by clothing it in wit, proverb,
poetry or music following the rule which finds reflection in Alexander-
Pope's dictum:
* Men must be taught, as If you taught them not;
And things unknown, proposed as things forgot. '
Just as bitter pills are sugar-coated, in religious preaching bitter pieces of
advice are music-coated transmitting the advice through a story. Kalak-
shepam is thus double-coated with music and story.
ii. Bhagavatars often stoop to lavish praises on those who do not deserve
them too.
Clever James II once asked a preacher how he could praise princes when
they did not deserve it. The ingenious preacher replied:
' By praising them for what they are not,
they are virtually taught as what they ought to be.'
In contrast to this English preacher, Italian Carracciolo, confronted by
His Holiness the Pope and his Cardinals, courageously exclaimed in a vein of
irony (Nindastuti):
'Fie on St. Peter! Fie on St. Paul! Fie on them both who having it in their
power to live as voluptuously as the Pope and his Cardinals, foolishly
chose rather to mortify their lives with fasts, watchings and labours!
— 'Kalakshepam'by M.S. Ramaswami Ayyar (1932)
The following couplet of Pope in his Epistle to Arbuthnot sums up the entire
technique:
ANOTHER GARLAND 439
11 Damn with faint praise, assent with leer,
And without sneering, teach the rest to sneer. "
iii. Musical discoursers adopt both the methods as occasion demands. The
exposition of the moral, philosophical and devotional episodes from epics,
etc., in a stirring emotional manner through sweet, poetical and emotional
compositions combining entertainment with enlightenment is called
Nirupana. '
iv. Story-telling is immemorial, But musical harikatha had its beginnings only
some decades back and are called —
Kirtan in marathi, Kathakathak in hindi,
Gagariyapurana in gujarati, Harikatha in telugu,
Isai sorpozhivu in tamil and Katha prasangam in malayaiam.
INSPIRATION ? IMAGINATION :
" Whence and how do they come, I do not know and I have nothing to do
with it... Once I have a theme, another melody comes linking itself with the first
one... Then my whole soul is on fire with inspiration. It does not come to me
successively with its various parts worked out in detail as they will be later on;
but it is in its entirety that my imagination lets me hear it "
— Wolfgang Amadeus Mozart
(2701 1756-05121791)
1 My imagination lets me hear it ', says Mozart And what is ' imagination ' ?
Here is what the ancient, medievalist and the modernist have thought it to be:
1 The mind hath over the body that commandment which the Lord hath over
a bondman; but reason hath over the imagination that commandment which a
magistrate hath over a free citizen who may come also to rule in his turn. '
— Aristotle.
Wordsworth identified imagination with 'reason in her most exalted mood'.
' The lunatic, the lover and the poet *
Are of imagination all compact.
The forms of things unknown, the poet's pen
Turns them. to shape, and gives the airy nothing
A local habitation and name. '
— Shakespeare in Mid Summer Night's Dream.
* (Note: We take the word ' poet ' to include 'the musician and the
composer' too and it fits in admirably.)
440 ANOTHER GARLAND
' Imagination is a myth rich in possible interpretations. }
— M.W. Bundy in Theory of Imagination.
' Music creates order out of chaos;
for rhythm imposes unanimity among the divergent;
melody imposes continuity upon the disjointed and
harmony imposes compatibility upon the incongruous. '
— Sir Yehudi Menuhin.
MANGALAM AND MADHYAMAVATI:
'Madhyamavati at the close of the concert, drama, bhajan is reputed to
neutralise evil effects. It beseeches God to shower Hitam - cordiality, Priyam -
love and Subham - welfare and is the most preferred of the four auspicious
ragas, Surati, Sourashtram and Vasanta being the other three indicated in
Dasavatara Ragamalika of Dikshitar/
— Shanmukha, Bombay,
ORCHESTRAL ANTIQUITY :
Brinda = Group
Gayaka Brinda = Choir.
Brinda Gana = Collective Music.
Vadya Brinda = Instrumentalist ensemble.
Nritya Brinda = Ensemble of dancers.
There is reference to vina ganagin in Vedas. In his, Tiruppalli Ezhuchi,
Manickavachakar mentions 'Veenaiyar orupal...Yazhinar orupai' (vainikas on
one side and yazh players on the other). Sahaji Maharajah refers to Sangita
Mela in Singarampu Pallaki (Sankarabharana). Kutapa (Orchestra) is referred
to in Natya Sastra of Bharata and Sangita Raja of Kumbhakarna. Sangita
Ratnakara of Sarngadeva deals with Vrinda Lakshana.
Kutapas provided melodic accompaniment to dramas, etc. While Western
orchestra extends to seven octaves, the compass rarely exceeds four in India.
Anything like an orchestra playing harmonica! music in four parts could not have
existed in India. Wind and stringed instruments producing consolidated volume
is of recent origin. Melodic orchestration only is possible if raga system is to be
preserved,
— Prof. P. Sambamurti,
Note : Please see remarks in the Preface to this book. Sangita Kalanidhi
Maharajapuram Santhanam, in collaboration with M.S.
Viswanathan, gave a concert with an orchestra of about twenty
artistes. Vide details given elsewhere.
ANOTHER GARLAND 441
BHODENDRA SWAM! Kl JAl!
'I worship Srimad Bhodendra, greatest of yogis and of guides, who is the
embodiment of the entire kingdom of Bhagavan Nama.'
— Sridhara Venkatesa Ayyaval.
'I worship the prominent Saint, the preceptor of the world. By merely thinking
of him, Devotion to the Lord's name is inspired.'
— Sadguru Swamigai, Marudhanallur.
Tike Sri Sankara who propagated Advaita, like Sri Ramanuja for
Visishtadwaita and Sri Madhwa for Dwaita, Bhodendra firmly determined the
position of Namasiddhanta as a powerful concept.'
— H.H.Sri Chandrasekharendra Swamigai, 68th Pontiff, Kanchi-Kamakoti Mutt.
"I bow to the Preceptor Sri Venkatesa, an incarnation of Siva!"
— Bhodendra.
— B. Natarajan in Sri Krishna Leela TaranginL
Tamil Poet Kambar gives an interesting description of Prince Bharata paying
respects to Guha even as the latter paid obeisance to him. Each perceived the
intrinsic spiritual fire and flarne in the other and not the rank and culture. Even
so, Bhodendra had spoken of Sridhara. Such noble sentiments of each other
should guide people in avoiding jealousy or saying something in the presence
of the other and the opposite in his absence. Oscar Wilde said, There are lots
of people who say I have never done anything wrong... Of course, they only say
them behind my back.1 There was a controversy sometime back that judges
should be addressed only as * Judges '. A Senior Advocate pertinently advised
agitating members of the bar not to address the Judge as ' Your Lordship' in his
chamber and as * Mr. Judge ' in the Court !
CHITTASWARAS:
Derived from chitta meaning in telugu kaipita or readily arranged. Chitta
swaras follow anupallavi or charanam. Such swaras have been added to some
kritis of an earlier generation like -
Kavl Matrubhutayya : Nimadi Challaga - Anandabhairavi
Tyagaraja : Eevasudha nivanti - Sahana
Patnam Subramania Ayyar : Raghuvamsa - Kadanakutukalam
Poochi Srinlvasa Ayyangar : Sri Raghukula - Huseni
' The confirmed view was that Tyagaraja did not compose any chittaswaras
but they were added later. Purandaradasa, Margadarsi Sesha Ayyangar,
Bhadrachalam Ramadasa do not appear to have composed chitta swaras.
442
ANOTHER GARLAND
Dikshitar and Syama Sastri have decorated their songs with chitta swaras, swara
sahityas, madhyama kala sahityas, solkattu swaras, etc. '
— T.S. Parthasarathy,
CHECK UP and DO IT:
It would be permissible to commence a song from anupallavi only where the
meaning and content are cogent. To do so for better effect alone is incorrect.
— Prof. S.R. Janakiraman.
YAMAKA: (RHETORICAL BEAUTY):
Compositions get a face-lift with ornamentation and the two languages -
Sanskrit and tamil - provide rich scope for this.
In Tyagaraja's Telisi Rama (Purnachandrika) —
'Rama' means a lady as well as the Absolute Being;
'Aja1 means a goat as well as the Creator.
In Dikshitar's Kamalambam Bhajare (Kalyani) —
'Kamalambam'ln pallavi refers to Devi Parvati,
'Kamalavani' in anupallavi refers to Lakshmi,
'Kamalapura' in anupallavi refers to Tiruvarur and
'Kamalavadanam' means lotus-faced.
PADA & JAVALI:
Pada
Are on Sringara - Divine or
Dignified Love (Madhura Bhakti)
Padanayaka is dignified.
Texts have both an apparent
and an inner philosophical
content.
Compositions scholarly.
Prof. P. SambamurtL
Javali
Are on Sringara - But of erotic,
mundane, sensuous love.
Generally he may not be so.
Philosophical content is
normally foreign to it.
Colloquial.
Note : In javalis, chitta swaras are normally avoided. Karur Sivaramayya
composed macaronic javali with english and tamil - 'Oh my
lovely'. . . (Khdraharapriya).
Kshetrangna's padas bring in diverse types of nayikas as shown by former
Chief Justice P.V. Rajamannar;
a) i. Sviya
- the lawfully married wife.
ANOTHER GARLAND 443
Parakiya - an unmarried girl or a married woman.
Samanya - one free of ties like a courtesan.
b. i. Mugdha - one who is new to sexual experience, shy.
ii. Madhya - one who is not new to such experience but still not forward enough,
iii. Proudha - one who is an adept in love-making.
c. i. Swadinapatika - one to whom the husband is fully dedicated.
ii. Vasakasajjika - One waiting fully dressed and adorned to receive her lover,
iii. Virahotkanthita - one eagerly and nervously anxious on account of her lover not
turning up at the expected time.
iv. Vipralabdha - one disappointed 'in not finding her lover at the appointed place,
v. Khandita - one who scolds her lover for spending the night with another woman,
vi. Kalahatarita - one who has quarrels with her lover, sends him away and then
repents.
vii. Prbsitabhartrika - one who is pining for her lover who has gone abroad,
viii. Abhisarika - one who goes herself to meet her lover.
d. i. Samyoga - one who is with her lover; and
ii. Viyoga - one who is alone and longs for her lover.
The underlying bhavand ras in the song depend upon the category of the
nayika. The musician and more particularly the dancer endeavours to portray
and project the same.
FEATHERED JAVALI?
'Bird* colloquially refers to an young woman too and the canary bird seems
to be aware of it. But it is the nayaka and not the nayika who resorts to javalis !
The male canary sings such intricate songs to attract mates and deter
competing males that a large renion on its brain, called the higher vocal centre,
is devoted to composing songs! The female canary, which neither composes
nor sings (quite peculiarly), has a smaller version of the same distinctive cluster
of neurons just to recognise the tunes. Dr. Eliot A. Brenowitz of the University
of Washington in Seattle (US) has said that the songs produce in the female
what are called copulation solicitation displays. How is the male canary to know
its reaction ? If the male is the composer, singer and nattuvangam, the female
is the dancer - bharata natya, kuchipudi or odissL
1 The female raises her head and tail, arches her back, holds her wings out to the sides
and vibrates them. It is a good indication of a female bird's willingness to mate..Jt is
really critical for a female bind to be able to mate selectively with males of her own
species! '
(This corresponds to our peacock dance ! So there is hidden danger in
it!) Woman suffragists elsewhere ought to be glad to know the freedom the female
canary enjoys. Whether it selects on the basis of the relative musical appeal of
individual males or whether the javali is used only to register the inter $e claims
is probably yet to be probed.
444 ANOTHER GARLAND
DEAD END:
1 Musicians don't retire.
They stop when there is no more music in them. '
— Lewis Addison Arminstead,
The truth of the aphorism could be gleaned from the lives of many musicians.
MUSICOLOGIST:
1 A Musicologist is a man who can read music but can't hear it. '
— Sir Thomas Beecham (1 879 - 1 961 )
In the Carnatic field, scores of musicologists were not only theoreticians but
were eminent performing musicians and gurus as well.
COMPOSER:
' A good composer does not imitate; he steals.'
' 1 do not write modern music.
I only write good music. '
— Igor Stravinsky.
Igor finds echo in Dr. Balamurali Krishna, who said, ' Ask not for this or that
music; I have only Balamurali music'.
PERCUSSION SOLOS:
What Sir Thomas Beecham said of orchestra applies to some of the
percussion solos —
' Many in the audience knew when it started and when it ended.
This public does not give a damn what goes on in between. '
COMPOSER INSPIRED:
Ludwig Van Beethoven (1770 - 1827) told a violinist who complained that a
passage of his was unplayable:
1 When I composed that I was conscious of being inspired by God
Almighty. Do you think I can consider your puny little fiddle when He
speaks to me ? '
Muthuswamy Dikshitar (1 776 - 1 835) was an intellectual and a divine. Many
feel that his compositions are difficult. They are described as ripe coconuts
whose pulp can be taken only after one breaks the shell. Beethoven had replied
ANOTHER GARLAND 445
to such complaints on behalf of his Indian contemporary !
THE PATH TO GLORY - THE FIRST TITLE:
I My appeal to the Youth: Do not feel contented with what you have
achieved but try to accomplish the impossible. Try to reach out and grasp that
which is eluding you. Let your endeavour be earnest and your urge pure and
insatiable!'
I 1 felt convinced that my own limitations should not impede the potential of
the veena. I had to rise up, elevate myself to meet its demands. '
1 1 had to prove that I was destined to create a style of my own .... which is
the continuity of the vocal experience and vocal effect,.. Hectic practice and
playing turned from a challenge to a penance... which attitude and application
almost earned my first title orally conferred.... not given in the form of
printed-citation. The title was Asura Sadakam. '
— Veena S. Balachander
in his Presidential address at the
South Indian Music Conference,
Madras in December 1983.
SAPTASWARA or ASHTAWARA ?
' Workship the beautiful Goddesses presiding over the Seven Swaras', says
Tyagaraja in Sobhillu Saptaswara (Jaganmohini). ,
Each sthayi has, in effect, eight and does not command complete,
comprehensive identity otherwise. Perhaps it may be taken as borrowing a
shadjairom the upper or the lower octave. The ceiling of each floor is the base
for the upper floor and it works likewise downwards too, When there is no ceiling
it is topless and when there is no floor, the structure is incomplete and none can
float always under the ceiling. Rendition does not stop at nishada or the rishaba
to ensure adherence to the seven-swara formula. Why should any sthayi borrow
a shadja from the upper or the lower sthayi working upwards or lower down ad
infinitum? Is there any sacrilege in allowing the credit of the full eight to a sthayi?
SELECT ISSUES:
1. Students of music in government or private schools should be made to
attend compuisorily at least one concert per month and present notes
which should all be analysed in the classes.
2. It is opined that the syllabus for most of the courses Js not sufficient to
446 ANOTHER GARLAND
make a complete musician. A syllabus committee should be formed to go
into the question in detail and present proposals for modification. The
Music Academy, Madras may take up this usefully.
3. Rural areas are badly neglected by institutions and patrons. Governmental
bodies like the Directorate of Art and Culture, Madras and the South Zone
Cultural Centre, Thanjavuf should concentrate only in rural areas and not
waste their energies in the City.
4. Music Colleges should, and private institutions should be encouraged to,
hold concerts once a month to which the public should be invited.
5. Youth Associations should be enabled to hold some of their concerts in
places other than the City availing the services of local institutions and
sabhas.
6. Rural talent should be located and youth should be enabled to join the
training institutions for music.
7. Live nagaswara should be made sine quo non at public functions and
there should be a government ban on switching on blaring promiscuous
music which is imposed by unmusical private agents for payment to create
noise, disturbing noise catering to none at public functions.
MERIT :
%
The musician's skill lies in his ability to bring out the raga's effect anytime
of the day. When Neelambari is sung in the afternoon, the musician should
produce the effect of nighttime. Bilaharior Bhoopalam rendered at any time of
the day should create the mood of briskness... When 1 sang Amrithavarshini, it
had rained... - T.N. Seshagopalan
(Vide details on S. Rajam regarding rains after a rendition in Amrithavarshini.)
GOODWILL AMBASSADOR :
Yehudi Menuhin was born of Russian parents, in the United States, is
naturalised as a British citizen, is an honorary citizen of Switzerland and is
an admirer of Indian musical traditions. The UNESCO has named him its
'Goodwill Ambassador' for his exceptional contribution in the fields of
creativity, artistic education, peace and solidarity among nations !
ANOTHER GARLAND 447
The Biographical Dictionary of Carnatic Composers and Musicians (Book I)
titled 'A Garland' was released on June 19, 1990 by H.H. Sri Jayendra
Saraswati Swamigal, Sankaracharya of Kanchipuram, the first copy being
received bylSri Haridhos Giri Swamigal. Time is fleeting and many additions
and a few corrections have been found necessary to it. Though normally stlich
an effort is NOT made, it is hereby sought to update the information contained
therein in the interest of the Art and the Artistes, Researchers and Students.
When the book is reprinted these will be duly incorporated in it.
Excerpts of the reviews of 'A Garland1 are given below which justify the
massive efforts taken.
"A GARLAND"
(A Biographical Dictionary of Carnatic Composers and Musicians)
BOOK I
By N. Rajagopalan, I.A.S.(Rtd.)
Pages : LXXIV + 540
"The book is a gargantuan project, undertaken by a single writer and the first
of its kind in English with as many as 720 biographies of composers, musicians,
musicologists and odhuvars, written by the author himself with an enviable
freshness of language, judgment and discerning sense of humour. One cannot
but admire the prodigious effort.. The first part... make an admirable prelude.
The biographies in Part II show a fine sense of proportion on the part of the
author... cross references will be found extremely useful by students, teachers
and researchers. The work thus becomes a definitive source book of
reference for everyone... The author has spared no pains to make the book a
'ready reckoner'... mammoth effort....11
W&ekend '.
448 ANOTHER GARLAND
"...a creditable achievement. There is a wealth of information which should
be interesting and useful... The author's love of music and respect for musicians
infuses the entire book... Rajagopalan is to be complimented for bringing out a
very interesting and useful publication, filling a long standing gap."
— PCJ in 'Sruti' 75/76
"...magnificent effort... this garland will be ever-lasting with its undying
brilliance... an unparalleled treasure... the world of art is deeply indebted to the
author... students and lovers of music abroad will find it highly helpful... if kept
in music teaching institutions, the students will derive much knowledge., should
find place in all libraries...'
— ' Neelam ' in ' Dlnamalar '
11 We share with Shri. T.S. Parthasarathy his ' amazement ' at your one — man
effort in bringing out the monumental dictionary... there is no other publication
which gives so much information about so many glittering gems of the world of
Carnatic music..."
— Shri S. Ramakrishnan, Exe. Director, Bharatiya Vidya%Bhavan, Bombay.
"...Treasure house of information, anecdotes and commentaries,,. Now
'Sangeetham' will benefit from the GARLAND'S fragrance."
— Dr. Uma Roy, Editor, * Sangeetham ', CMANA, U.S.A.
'...is a laudable attempt.. .an easy-to-refer volume... a most useful addition to
the corpus of literature on Indian classical music. ..The volume is a feat of love
and laborious toil... The biographical details and sketches are engrossing... N.R.
has done a great service to the spiritual tradition by including the odhuvars in
his work... Interesting anecdotes enliven...1
— Prof. V. Rajaraman in ' Bhavan's Journal ' No. 38/6
'Precious golden volume', 'richest treasure', an 'object of delicious pleasure '
that breathes history, delves into the labyrinths of music, musicians, composers
and hymnodists... this is the first of its kind with a dimension of an
encyclopaedia... a one-man 'sadhana'... giving you on a platter a whole volume
of material otherwise scattered and hidden so far, sifted or sorted, well-compiled,
tabulated with a thematic perception, with a musical impulse, ...work of an
intellectual deeply dedicated to music, one that is a 'monument' of high thinking
and lucid expression.. The course of 'A Garland flows like a grand classical
Karnatak concert... The author's manodharma soars high in every musical
minutae... originality of approach, the stupendous knowledge, memory and
information visualise everything in a new perspective. A fresh approach - an
unbiassed examination and sound judgment -all in a stream of fluent language.
What more do you need to enthral you? It is a piece of excellent literature in
itself, where even the ' fillers 'fill your heart... undoubtedly a ready-reckoner, for
one and all, a researcher's treasure trove and a piece of musical literature worth
450
ANOTHER GARLAND
ADDENDA & CORRIGENDA TO 'A GARLAND'
Page Line
x
xxii
33
7
9
19
xxiv 11
XXVI
20
30
For: ' are solicited '
For: ' Sangita Kalanidhi Tiger '
For: l Venerable Tiger '
For: Tiger'
Read: ' is solicited '
Read: ' Justice '
Read: ' the venerable Judge '
Read: ' Judge '
Insert the following as a separate para below the words The
Finale' and above the words "It is here...".
Dr. ML Balamurali Krishna, who sees no danger of tradition being
gobbled up by the threat and advance of the spirit of avant garde,
said at the Music Academy, Madras on the First January, 1 989:
"Tradition in music should not be a 'touch-me-not' or viewed as an art piece in
a museum. There is no need to talk about the upkeep of its purity for any
common musician should have known the fundamentals of tradition and purity
without which one could not achieve the ability to perform or get any recognition.
Traditions had never posed obstruction to new additions to any art form. As
newer innovations would not fade out the purity of any art form, doyens should
pursue innovations and add new dimensions to art forms. However the
fundamentals of traditions and the purity of art should always be kept up."
The Doctor, 'whose career has been a never-ending round of
victories in the multi-lingual Kurukshetra star war of music' has to
take notice of the predicament of hundreds of artistes who are not
sure of the boundaries of purity of traditional art and who have to
wage a perpetual struggle for existence and subsistence too.
Literally they are on the horns of a dilemma! The Doctor's views
may sound like the apex court judicial pronouncements on
'Fundamental Rights v. Directive Principles of State Policy'
intelligible in full measure only to a musical Nariman or
Palkhiwallah !
For: 'Kodapati Yazh' Read: 'Kodapati (Goshtavati) Yazh
Insert below (i) as a fresh item:
(j) Homer is credited with curing Ulysses; David cured a Greek
king of mental illness and Fairnelli cured George III with the aid
of music.
xxviii 17 For: 'Needhi'
24. Insert as item (v) below line 23:
Read: Neeti1
ANOTHER GARLAND
451
xxix 26
XXXI
v. Tiruvarur's musical associations go back to the times of Saint
Sundaramutii Nayanar (ninth century). When the Trinity were ali
born at this chosen place, Tsruvarur was already the cultural
headquarters of central Tamil Nadu and the rulers of Tanjore were
devotees of Lord Tyagaraja of Tiruvarur,
Add at the end as item (xvii)
xvii. Their first songs were all in Sanskrit:
Sastri - Janan Natajano (Saveri)
Tyagaraja - Namo Namo Raghavaya. (Desiya Todi)
Dikshitar - Sri Nathadi Guruguho Jaya (Mayamalavagaula)
After line 4, insert as new items below item 'n'
o. Dikshitar was the least personal in his compositions - the first
person singular being generally devoted to all devotees.
Sastri is a little more personal The ' I1 in Tyagaraja means
just himself. (Dr. D.N. Visweswariah, U.S.A.)
p. The influence of Hindustani music on Dikshitar was
pronounced and that of Western music marginal The other
two were free from such influences.
q. ( Dikshitar is the only composer who has written in all the
seven basic talas of Carnatic music, Sastri delights in
rhythmical beauties and was tala prastara. Tyagaraja is the
foremost tone-poet with infinite imaginative variety and
melody. '
r. Dikshitar was a strict adhererit to and the torch-bearer of the
Venkatamakhi School and followed the raga nomenclature
(Kanakambari, etc.) given in 'Raga Lakshanas' stated to be
the work of Muddu Venkatamakhi or Venkata Vaidyanatha
Dikshitar. Tyagaraja was a follower of the School of
Govindacharya, author of 'Sangraha Chudamani' using the
nomenclature 'Kanakangi, etc1. Sastri too followed the same
school
s. Tyagaraja gave atleast two performances as recorded. The
first was in the house of Sonti Venkataramanayya, when he
sang Janakiramana (Suddhaseemantini) and Dorukuna
(Bilahari) with elaborate niraval at the phrase 'Kamita
phaladayakiyou'. The second was at Tanjore before Sonti
Venkatasubbiah and other musicians. There is no record of
Dikshitar concerts while Sastri had given during the two
contests.
452 ANOTHER GARLAND
xxxix 15 Add : Swami Sivananda, Somasundara Bharati and Umeru
Pulavar were also connected with Ettayapuram.
xLix 2 For; 'Tiger' Read: 'Judge'
Lix 28 For: Panchadeesa Read: Panchanadeesa
Lxxiii 2 For. Azhaganambi Read: Dakshinamoorti
4 8 For: (ci re 1813-1846) Read: (c.1770-1854)
5 1-2 For: Akhaiananda Read: Achalananda
23 Insert below line 22:
Vadya Ratna by Narada Gana Sabha.
Last line For: "Singa Kutti Read: 'Singa Kutti '
6 9 For: (b.Feby. 10, 1921) f?ead:(Feby .10, 1921-Jany. 26, 1991)
7 6 Add : Their compositions are easy-flowing and rich in musical
structure, yadugai and monai.
8 1 For: (c.1 830-1 870) Read: (c.1 800-1 870)
11 11 For: Talapaka Read: Tallapaka
13 8 Add: Son of Chennavu Reddi and Ovu Ammal, he studied tamil
under Ramaswami Pulavar of Seithur Zamin and
Dr. U.Ve. Swaminatha Ayyar then at Tiruvaduthurai,
14 19 For. Krishna Read: 'Krishna
17 8 Add: Kavirayar's Rama Natakam contains 197 darus, 60
(two-line) dwipadas and one thodayam with 268 verses. He has
followed Kamba Ramayanam and used forty-one ragas.
Asaveri (15), Katyani (13), Saveri (20), Todi (14), Mohanam (18),
Madyamavati (16), Sankarabharanam (13) and Bhairavi (10)
contribute mainly.
13 For: Swami Malai Read: Swamimalai
15 For: the delign of Read: the delight of
3rd from bottom: For: Paarkalaam: Read: Palakaalum
2nd from bottom: For: tales, Read: talas
19 4th from bottom: For: less concerts; Read: less for concerts
21 10 Insert below line 9: Kalaimamani from Tamil Nadu Eyal Isai
Nataka Mandram in 1 991 .
21 13 Add: Balakrishna Ayyar was son of Violin Samayya and had his
training under the c elebrated Tanjore Krishna Bhagavatar. The
ANOTHER GARLAND 453
22 1 0- Insert below line 9;
11 - Certificate of Merit - Madras Music Academy - 1 980
1 2 Sangeetha Kala Nipuna - Mylapore Fine Arts Club - 1 992
Award - Sangit Natak Akademy, Delhi - 1 992
23 6th from bottom: For: Parallal; Read: Parallel
24 20 For: Chandrahasita, Read: Chandrahasila
36 For: Aara Kimba Ve Read: Aragimpave
26 34 Add: T.S.Parthasarathy observes that the Ta/c/ca' raga incident
relates to Govinda Dikshitar, grandson of Venkatamakhin and not
Sonti Venkatasubbiah.
41 Add: and Tiruvengadam Pillai of Kanchipuram.
For 'murdas' Read: 'mudras'
27 2 Add : besides Chitrakavi Sivararna Bhagavatar of Tanjore .
1 0 Add: Music Academy, Madras has awarded her a Certificate of Merit
in 1 975 besides a State Academy Award she got earlier.
8th from bottom: For. Yahudi Read: Yehudi
28 5 For mastro Read: maestro
22 - Insert below line 21 :
23 1 991 Maharajapuram Viswanatha Ayyar Award.
He is Secretary, Tyagaraja Mahotsava Sabha.
29 28 For: Wherever it is done.
Read: Wherever it is done by singing —
Bhodendra Jagatamgurumasraye - Devagandhari
Bhajare Manasa Bhodendra - Behag
Sri Guru Bhodendram Manasa - Suruti
Satamani Pranutimaruchu - Todi
Bhodendra Gurum Bhaj'eham - Kanada
30 11 - Insert below line 1 0 as lines 11-13:
1 3 Sangeeta Chakravarti by Calcutta Fine Arts - 1 990
Sangeetha Choodamani by Sri Krishna Gana Sabha - 1991
Kalaimamani by T.N.E.I. Nataka Mandram - 1992
33 13th from bottom: For: Viswanatnan Read: Viswanathan
34 11 He published the Rare Kritis of Poochi Srinivasa Ayyangar and
has composed eight varnas and kritis himself besides inventing
the raga 'Dwitheeya Kuntala \
36 6 For: name Read: names
12 For: adopt Read: adapt
38 31 For: Subhara Read: Subhadra
454 ANOTHER GARLAND
39 41 - Insert below line 40:
43 Sangeetha Choodamani-Sri Krishna Gana Sabha - 1990
Award from Sangeet Natak Akademy - 1 990
Award LV.R. -1991
42 Add at the end: As a teen ager, he had acted in films.
42 26 For: known Chowdiah Read: known. Chowdiah
49 9th from bottom: For: to take up to Read: to take to
51 30 For. he heard Read: he heard of
52 Add at the end: Kalaimamani by Tamil Nadu Eyal Isai Nataka
Mandram 1990
54 9 Enter: as fresh para below iine 8:
Born at Gaddavalli near Hassan, Doreswamy Ayyangar, a child
prodigy, took to flute and joined the Palace Vidwans' Orchestra at
first. Only later he switched over to veena to rise up to be the
doyen of artistes in Karnataka. (The Palace then maintained the
Western Band, the Indian Band and the Vidwans' Orchestra.) He
is technically superb and classical. His tanams are fascinating.
54 25 For: comprisig Read: comprising
57 1 1 Insert below line 1 0:
Title: Isai Kalai Chelvar by Ramalingar Pani Mandram - 1992
58 8 For: tantalising Read: tantalizing
59 1 2 For; (b.1 91 3) Read: (1913- March 26, 1 985)
60 6 from bottom: For: on the face to Read: on the face of '
70 1 For: later Read: earlier
72 42- For: Sri Rama Sita Alankara Swaroopa
43 Read: Sri Ramya Chitta Alankara Swaroopa
74 12 Insert below line 11 as line 12:
Title: Kalaimamani by Tamil Nadu Eyal Isai Nataka Mandram in
1992
5th from bottom: For: varyig Read: varying
75 29 Delete the word: "etc."
30- Insert below line 29:
32 Sangeet Natak Akademy Award - 1 990
K.P. Rao Memorial Palghat Mani Ayyar Award - 1991
Mridanga Kala Sikhamani - 1991
ANOTHER GARLAND 455
76 3 Add: Naik is credited with the rare feat of igniting lamps by singing
in raga Dipak before royalty. Whether it is accepted or not, it lends
added grace to his eminence and image. Venkatamakhin hails
him as an authority on Sruti.
77 3 For carried Read: carried out
25 For; Krishna Bhagavatar Read: Krishnaswami Bhagavatar.
87 29 Forrclutured Read: cultured
90 Last line: For: Abdul Khader Read: Ghulam Khader
92 12 For: Eneffable Head: Ineffable
95 4 Insert below line 3: Under Jayadeva;
'By injecting the tenderness and mellifluence of the popular
musical lyric into the strong frame of Sanskrit poetry, Jayadeva
made the last attempt at the resurrection of neo-classical
literature in Sanskrit.'
— Dr Sukumar Sen.
4 Enter against the name: (b. Septr.4, 1 932)
1 8 - Insert below line 1 7:
Sangita Kaia Sikhamani Indian Fine Arts Society, Madras 1 990
Sangita Sagaram Cultural Centre for Performing Arts, Madras. 1 990
26 Sangeetha Kaia Jyothi Suswara
Palkaiai Selvi International Music Trust, Madras 1992
The artiste is the Founder-Director of the Cultural Centre and it is
but proper that the honour is conferred on her too! Daughter of
R. Subramania Mudaliar and Neelambal, she has availed of the
government scheme TRYSEM to give training in music with
stipendiary benefits.
95 29 For: (August 1 5, 1 937)
Read: (August 15, 1937 - January 17, 1991)
97 1 For: (b. 1928) Read: (July 22, 1928 - Jan 25, 1991)
98 4 Below line 3 insert
Sangita Kalanidhi Music Academy, Madras - 1 991
8-
1 0 Substitute the following:
D.K. Jayaraman was a lovable person and soft spoken. I wrote
early in 1990, ' He may come up for special honours as he
completes his fifty years of non-stop programmes at the Academy
- perhaps a record for a brother-sister too '. Quite fittingly, he was
honoured by the Academy but most tragically he died in harness
456 ANOTHER GARLAND
as a Kalanidhi twenty -four days later — an unfortunate record.
His guru-sister and a Sangita Kalanidhi, O.K. Pattammal writes:
' 1 would describe him as camphor; just as it blazes in a second, Jayaraman
could assimilate anything instantaneously. He was my first and foremost
disciple and my accompanist till 1977. We had to make some sruti
adjustments to perform together. I am afraid his habit of stretching his neck
and looking upwards while singing was developed to accommodate my
pitch of five-five and a half kattais '.
101 7 For. (c. 1446-1465) Read; (c. 1400-1465)
101 27 Add: Music Academy, Madras awarded him a Certificate of
Merit in 1973,
28 Sangit Natak Akademy Award came in 1 992,
102 1 For. Nephew, Read: grand nephew
1 03 19 Add: Was given the title of Kalaimamani by the Tamil Nadu
Eyal Isai Nataka Mandram.
104 1 For. (16th century) Read: (1508-1606)
105 8 Add at the end: Received the Maharajapuram Viswanatha
Ayyar Award in 1 991 .
17 For. 'Madras'. Read: Madras, which awarded a
Certificate of Merit to him in 1985.
106 24-
25 For. Thirurnarugal Natesan's memorable play on nagaswaram
Read: Nagaswaram Dasari's memorable play
107 13 For. Kakinada.
Read: Kakinada, besides Kalaimamani from Tamil Nadu Eyal Isai
Nataka Mandram in 1992.
14 Add: She created a record for non-stop violin recitals by
performing for 29 hours at Madras on December 19-20, 1.988.
Tristhayee Sangamam is another innovative ensemble of hers.
110 13 For rentinue Read: retinue
111 5 For he attained Read: he would have attained
21 For. Ganalola Read: Janaki Raman a
112 6- Shift lines 19-23 as lines 6-10
1 0 below the words * Concerts tour : Sri Lanka1
1 8 Delete the heading entry in toto
113 5 For Gananamudham Read: Ganamudham
35 Insert below line 34:
Certificate of Merit by Music Academy, Madras 1 974.
ANOTHER GARLAND 457
123 21 Add: Sulamangalam Vaidyanatha Bhagavatar has given
glowing tributes to the musicianship of the Brothers. They
used to so expatiate on the meaning and implications of
each of the songs of their guru after rendition and on his
eminence that the audience would melt into tears, he says.
1 25 20 For. Prahlada Bakti Vijaya of Tyagaraja , Read: Prahlada
Charita Kirtanas of Melattur Venkatarama Sastri
126 End Add: Honours & Titles:
Sangita Natak Akademy Award 1 986
Sangita Kalanidhi title from Music Academy, Madras 1 992
Disc recordings.
129 10 Add : Vide Another Garland
130 26 Add: Presently he is Member, Board of Studies in Music and
Dance, Bharatidasan University and Member, Tamil Nadu Eyal,
Isai, Nataka Mandram.
132 Insert as a fresh para below line 20:
Bidaram Krishnappa was giving a concert at the residence of Vina
Seshanna before the elite of the City. As he was concluding raga
Tod/, a prominent citizen sitting in front made a strange request
to sing in Todi raga exhibiting his blissful ignorance. 'Yes Sir, with
pleasure when persons like you condescend to listen ' , said
Krishnappa with humility as he knew the celebrity and sang
altogether in a different raga. The honourable gentleman highly
pleased with the obliging rendition averred,
1 I have never before heard Todi so captivating. I do not think I
will ever have the good fortune of listening to such masterly
rendering of the raga thus again. ' - (K. Vasudevacharya).
The gentleman was true in fact !
22 Krishnappa's birth year is also given as 1869.
136 17 For. Achyutha Raghava Read: Achyutha Vijayaraghava
21 For. avalantial Read: torrential
1 38 14 Add: Kulasekhara Perumal is identified with Swati Tirunal by
T.S. Parthasarathy.
140 12 Correct sambadu as Sambadu
33 T. Chinna Singaracharyulu wrote in 1905. Tiruvattur
Krishnasamayya, first son of Veena Kuppayyar, had a melodious
voice and would play on violin and flute. If he had lived till now, he
would have eclipsed his father; but died young. The second son,
458 ANOTHER GARLAND
Ramaswamayya too was a good vocalist. ' Surely a great family
of towering artistes of multi-disciplinary capabilities !
145 28 For have witnessed Read: has witnessed
154 37 Insert below line 36: U.K., Germany — 1992..
1 55 10 Insert below line 9 as line 1 0, etc.
Certificate of Merit — Music Academy, Madras 1 990
T.T.K, Endowment Award 1 990
Kalaimamani - TN Eyal Isai Nataka Mandram 1 992
Add: She is Visiting Professor, Sri Padmavati Mahila University,
Tirupati.
33 For. (18th Century) Read: (1712-1787)
156 9 Add: Several of his compositions are not traceable. His works
include 'Atone// Natakam ' on Lord Ayyanar of his village
Tillaividangan.
31 Add: Son of Rangaraya, Mathrubhuthayya called himself
Sringara Rasajnah, Rasika Kavi and Sarasa Sahitya
Madhura Vagjari.
He commanded a flowing, elegant style and was honoured
with the title of ' Mukku Timmanarya Muddu Palaku '.
1 58 32 Insert below line 31 as line 32:
'Musician of the Year' Award - Maharajapuram Viswanatha
Ayyar Trust 1 991 .
Madurakala Praveena by Sri Sathguru Sangeetha Samajam
Madurai - 1 992.
1 63 16 For; Bajarere Siddha Read: Bhajarere Chitta
173 8 For: Niti Chala Sukhama Read: Nfdhi Chala Sukhama
182 16 For: Vipanchi' Read: 'Vipanchi'
184 18- Insert below line 17:
1 9 Sangeetacharya by Sadguru Gnananandha Sangeet Sammelan
in 1992
Gnana Peeth Award & Sangeeta Kalajyoti by Suswaram in 1992
Last Enter. Concert tour: Germany, U.K. 1992.
187 35 For. nonchallantly Read: nonchalantly
1 89 43- Insert below line 42 as lines 43 - 44:
44 1991 Saptagiri Sangeeta Vidwan Mani by T.T.D. Devasthanams.
1 992 Maharajapuram Viswanatha Ayyar Trust Award.
ANOTHER GARLAND 459
191 7 For : 'research. Read : Son of Gangadhara and Parvati and
disciple of Sivarama Tirtha, Narayana Tirtha married Rukmini.
The eminent Siddhendra Yogi was his disciple.
192 25 Insert below line 24 as line 25 : Thevara Tamizhisai Tendral -
By Tirugnana Sambandhar Isai Vizha 1991
For: (1900 - 1953), Read: (1888 - Octr. 10, 1940)
31 Add: He had his training in music under Kivalur Ramachandra
Ayyar.
204 28 Add: He is a Fellow of the Sangeet Natak Akademy, Delhi.
207 1 4 Insert as line 1 4 as a separate para:
Title: Vaggeya Ratna by NGS -AIMA.
207 28 Add: Her musical tutors include V.C. Vaidyanathan, a disciple of
Ariyakudi Ramanuja Ayyangar, N.S. Krishnawami
Ayyangar, a disciple of Naina Pillai, Kanchipuram
Kamakshi Ammal and P. Sambamurti. Learnt Tirupugazh
from Velur Appadurai Achariar and padams from
Rajalakshmi Ammal, daughter of Dhanammal.
37 Insert above the titles already given:
Gana Saraswati 1 944
Presidential Award 1 962
41- Delete the word ' and '
42 Delete the words ' besides others '
43- Insert at the end :
47 Hafiz Ali Khan Award 1 989
Government of India Fellowship 1 990-1 991
Distinguished Service Order by Rotary Club, Madras 1 991
Gayaka Ratnam by S.S.T Sangita Sabha 1 992
Fellowship by Sangit Natak Akademy . 1 992
210 29- Insert below line 28:
30 Title : Kalaimamani by Tamil Nadu Eyal Isai Nataka
Mandram 1990.
Muthamizh Peravai Award 1 992.
21 1 End Pundarika Vittala: Vide Book II.
212 30 For. Poona,
Read: Poona (according to Dr. V.V. Srivatsava, Purandaralaya
near Araga and Tirthahalli in Karnataka),
21 3 15 For. Purandara Dasa, " Read: Purandara Vittala
460 ANOTHER GARLAND
21 4 Vide Another Garland on Pushpavanam.
215 26 For. avalantial Read: torrential
21 8 23- Amend and add: __
24- Sri Parijathaharana Prabandham
25 Sri Valmika Charitram
Sri Rukmini Krishna Vivaha Yakshagana
in telugu.
Sringara Savitri
Achyutendrabhyutham and Gajendra Moksham
31 Add: Dr. &. Seetha mentions that lavish patronage of arts
marked his reign which was graced by:
Chemakura Venkataraju, author of 'Vijaya Vilasa'
Krishnaadvari, author of ' Naishada Parijatam '
Raja Chudamani Dikshitar, author of ' Ananda Raghava Nataka '
Yagnanarayana Dikshitar and Madhuravani, who were honoured
with kanakabhishekam.
Raghunatha had been extolled with such honorifics as
Sarasa Sahitya Kala Bhoja,
Prabhanda Parameswara,
Bharata Vidya Durendra and Abhinava Bhoja.
219 16 For. (b. Aug. 23, 1913) Read: (Aug. 23, 1913 - May 6, 1990)
221 1 8 Add : He received the Sangeet Natak Akademy Award and the
Certificate of Merit from the Music Academy, Madras in 1991 .
223 31 For. whould f?ead; would
224 1 7 Add: A good organiser, he i$ a vocalist too.
225 22 Insert as a fresh para below line 21 :
Concert tours: Malaysia and Japan
23 For: Sambasiva Read: Subbarama
226 1 5 Below the line 1 4, enter as line 1 5:
Award by Sangeet Natak Akademy, 1991 .
228 22 For: ( b. Novr. 18, 1906 ), Read: ( Novr. 18, 1906 -
Octr. 21, 1992)
229 22 For. Sethulara Read: Chetulara
231 26 For. (b. circ. 1 91 5) Read: (b. June 1 , 1 91 5)
27 Insert below line 26, as line 27, etc:
Ramachandran had his training under his father initially and later
under Pithambara Desai, Asthana Vidwan of Venkatagiri and
Kumbakonam Rangu Ayyangar. Having made his debut at the age
of seven, he blossomed into an artiste of great merit and was
ANOTHER GARLAND 461
known for his arachapu - delectable strokes. Had accompanied
most of the performing stalwarts in the third and fourth decades
of this century.
232 1 7 Correct: 1 986, as: 1 986 and 1 992.
26 Enter below line 25:
Tyagaraja Aradhana Festival, Sangita Ratnakara 1 992
Cleveland
Last line: Amend '1986.' as - 1986, Palani Subramania Pillai
Award by Ninth Talavadya Mahotsav, Bangalore 1990
and the title 'Laya Kala Nipuna1.
233 37 For. appraised Read: apprised
234 15-23 Delete: the existing script and insert.
The tradition that Kabirdas was initiated by Ramadasa is
discounted by Gowri Kuppuswami and M. Hariharan since Kabir
lived between 1 440 and 1 51 8. Dasa's preceptor was Reghunatha
Bhattarcharya.
235 23 For. (b. 1 932) Read: (1 932 - Jany. 7, 1 990)
35 For: (b. Octr. 10, 1910), Read: ( Octr. 10, 1910 -
Novr. 09, 1992)
236 1 7- Insert below line 1 6 as lines 17-18:
1 8 Certificate of Merit by Music Academy, Madras - 1 989
Kalaimamani by Tamil Nadu Eyal Isai Nataka Mandram - 1990
237 4 For. professor, Read: Professor and later Principal
240 19 For. USA. Read: USA, UK, Europe, Singapore, Malaysia.
10- Substitute:
12 Honours & Titles :
Kalaimamani By Tamil Nadu Eyai Isai Nataka Mandram
Saptagiri Sangita Vidvan Man! By Tirumalai Tirupati Davasthanarns
Government Artiste By Tamil Nadu Government 1981
Award By Sangit Natak Akademy, Delhi 1985
Doctorate By the University of Arizona, USA.
Kala Praveena By Satguru Sangeetha Samajam, Madurai. -
Sangeetha Choodamani By Federation of City Sabhas
Venu Gana Ratna By Vani Vilasa Sabha, Kumbakonam
Vadya Kala Sangita Ratna By Bharati Society, New York
Venu Vadya Bhooshana By East- West Exchange, New York.
21 Against Ramaniah Chettiar:
For (b. 1 887 - ) Read: (1 887 - 1 961 )
249 34 Enter below line 33: Disc recordings (HMV)
250 16 For 17th Read: 19th
462 ANOTHER GARLAND
251 End Add: Title: Sangeethacharya by Satguru Gnananandha Sangeet
Sammelan 1991.
252 21 Insert below line 20: She was Lecturer, Music College of the
Music Academy, Madras and has been honoured with the title
of Kalaimamani by the TNEIN Mandram in 1974,
253 1 5- Substitute the following for the existing entries:
26 Ami Isai Selvan - By Tamil Nadu Nalvazhi Nilayam 1973
Nada Sudharnava By Murali Ravali 1980
Sangeeth Samrat By Wisdom International 1985
Kalaimamani By Tamil Nadu Eyal, Isai
Nataka Mandram 1 985
Madhura Naada
Mannar By Ami Neri Mandram 1986
Sanskriti Award By Sanskriti Pratishthan of
India 1991
Ravi Kiran is a 'top-rank' artiste of All India Radio
and Doordarshan.
28 For. meriteorious Read: meritorious.
36 For. USA Read:
Festival of India in France, Switzerland and Germany.
Autumn Festival, Paris, International Music Festival of
Radio France.
Raag-Mala Festival, Seattle, USA.
Rang-Raag Festival, London, besides concerts in
USA, Canada, Holland, Germany, France,
UK, Switzerland, etc.
Vide Another Garland for fuller details.
257 *24 For. to become of Read: to become
259 17 Add: Except that he hailed from Muvvanallur in Mannargudi
taluk, very little is known of his life. He displayed
'commendable knowledge of the emotional content of
ragas and his padas are in mellifluous telugu'.
'Rajagopala' is his signature and his padas include:
Emataladina - Yedukulakambhoji
Dariyecu Chumadi - Sankarabharanam
Iddarilo - Kamboji
Padakintipovalena - Mohanam
260 35 For. Niti Chala Read: Nidhi Chala
ANOTHER GARLAND 463
262 7 For. Sesha Sastrigal. Read:
Sesha Sastrigal and Abhirami. Born dumb, Venkatarama gained
his power of speech with the blessings of Sridhara Ayyavaf , Nama
Sankeerthanam was his crusading objective. Marudhanallur
became a bee-hive of bhakti and bhajan.
264 1 For. (b. 1901 -) Read: (Feby. 14, 1901 - Octr. 23, 1973)
26 Insert below line 25: Title: Gita Vadya Vinodha
265 29 Insert below line 26 as a fresh para:
In the case of Tiger Varadachariar, it was his cap which was a
constant irritation to one and all as it gave a grotesque appearance
to his already poor personality. Here Sambhayya chose to grow
moustache which was a deliberate affront being, a replica in shape
and appearance of the Maharaja's to the annoyance of the ruler
and his courtiers. As a strategem, he was persuaded to perform
a yaga which enjoined on him to remove the moustache (and its
disturbing presence).
268 Add at the end of the page: Gandarva Gana Mani by
H.H. Sankaracharya of Kanchi (1 991)
269 5 Insert below line 4 :
Sancjeet Natak Akademy Award - 1 990.
25 Add: Born at Poovalur in Tiruchirapalli district, Sankaran has
found wide appreciation of his style as evidenced by the
conferment of the titles -
Talakalai Arasu in 1 980
Laya Sikhamani in 1 981
Tala Vadya Prakasa in 1983 by the Carnatic Music
Associations of North America.
Palghat Mani Award in 1990 by the 9th Talavadya
Utsav, Bangalore.
He has taken part in the North-South (musical and not the N-S
Economic parleys) jugalbandhis. Has brought out the book
1 Art of Drumming - South Indian Mridangam ' for the guidance
of Westeners.
271 12 For. ' 1988' insert 1988 and U.S.A. 1991,
1 4 Add: The title of 'Yuva Kala Bharati' was conferred on him by
Bharat Kalachar in 1991.
15 For (b. 1928), Read: (May 20, 1928- June 24,1992)
464 ANOTHER GARLAND
273 6 Enter below line 5:
Ustad Alikhan Award by U.HA Khan Memorial Society 1991 .
Isai Perarignar by Tamil Isai Sangham 1 991 ,
T. Chowdiah National Award by the Academy of Music,
Bangalore 1993.
9 Insert below line :
USA, UK, Mid-East 1990, Malaysia, Canada
16 Add:
In Maharajapuram Santhanam, Lakshya and Lakshana
Sangeetha blended and coalesced in a measure and style that
could be projected only by the Maharajapuram Clan. He was one
of the few whose music would rejuvenate the mind and thoughts
long after the concert was over. His ringing, melodious voice cast
a strange magic spell. That pristine Carnatic music could attract
the largest of crowds and that consistently too was proved by him.
There was enchanting melody, soulful rendition, elegant
entertainment and noble enlightenment in his concerts. Voice
modulation, soothing brikas, captivating alapanas and
consummate artistry highlighted the bhava and rasa of the fine
compositions of masters he handled. The last performance at
Manjakudi at the school run by the Swami Dayananda Educational
Society signified his noble urges to further the cause he had
espoused long back by the founding of the Maharajapuram
Viswanatha Ayyar Trust in the name of his illustrious father, a
wizard of unparalleled musical sense. The finest specimen of a
Classical Vocalist, the leading light of performing artistes and one
of the finest flowers that shed fragrance and lustre has been
removed at the height of his glory and fame in tragic
circumstances.
"Sambho ! Swayambho !!. ", how many times he had called! May
He bless his worthy sons to continue the musical yagna kindled
by Viswanatha Ayyar and kept up by Santhanam.
277 1 For. eka chanda Read: eka sanda
280 1 2 After line 1 1 insert :
Sangita Samskrita Vidyaratna - Kasi Pandit Sabha 1 936
Harikatha Prasanga Marga Darsini - The Indian Fine Arts
Society, Madras 1936.
ANOTHER GARLAND 465
285 Last Add: His full scale concert with compositions of Uthukadu
line : Venkatasubba Ayyar alone in December 1990 displayed
impeccable style and clarity.
286 2 Add: His good personality commended itself for taking the lead
role of Maha Vishnu in R.S. Manohar's tele serial
'Narakasuran' in 1991.
287 5 Add: 'Another Garland for fuller details.
288 20 Insert below line 1 9 :
Rajarathinam Award by Muthamizh Peravai - 1 992.
289 1 0 Insert as a fresh para below line 9:
Sethuramiah had given a large number of solo concerts. Was on
the Experts Committee of the Music Academy, Madras. Had
worked as Secretary, Tyagaraja Sangeeta Vidwat Samajam,
Madras.
Concert Tours : Sri Lanka.
Honours & Titles :
Tantree Nada Visarada by H.H. Sankaracharya of Kanchi.
Gana Ratna from the Bhuvaneshwari Peetam
Sapta Tantree from the Santhome Arts Academy, Madras.
Kalaimamani from the Government of Tamil Nadu.
Add:
1 1 had the rare opportunity of performing a concert with Sri Chowdiah and
Venkatarama Sastri in a documentary taken by Director K. Subramaniam depicting
musical features. But the picture like Chowdiah fs several compositions is yet to see
the light of the day.' - V. Sethuramiah.
297 29 .For. started my Read: started his
301 43- For: and Padma Sri in 1988,
44 Read: Padma Sri in 1988 and
Sangit Natak Akademy, Delhi Award in 1 992.
306 8th from bottom: For: guishing Read gushing
307 27 Insert below line 26 as line 27:
Palani Subbudu Award by Percussive Arts Centre,
Bangalore in 1992.
309 5 Insert below line 4:
Barcelona (World of Music - Arts & Dance ) 1 992
Canada, U.K., Japan 1992.
1 3 Add below line 1 2 as line 1 3 etc.
Sri Kanchi Kamakoti Sankaracharya - Asthana Vid wan
466 ANOTHER GARLAND
Kartik Fine Arts - Isai Peroli 1 990
Tamil Nadu Eyai Isai Nataka Mandram - Kalaimamani 1 991
T. Chowdiah, National Level Award by Academy of Music, Bangalore. 1 991
31 4 43- Insert below line 42 as lines 43 and 44:
44 1 989 Gayaka Ratnam - Sri Swati Tirunal Sangita Sabha
1 992 T. Chowdiah National Level Award - Academy of Music,
Bangalore .
The Bhishma of Carnatic music announced his retirement from
concerts in January 1 992 after a glorious, unparalleled performing
career of sixty-six years (1 926-1 992)
318 17 Below line 16 insert as line 17:
D.Lit. (Hon. Causa) by Krishna Deva Raya University, Anantapur.
31 9 1 Correct the dates as: (Aug. 27, 1 883 - July 25, 1 943)
1 1 Insert as a fresh para:
Father of Embar Vijayaraghavachariar, Srirangachariar was
posthumously honoured by the Music Academy, Madras in 1979.
321 8 For too Read: and 1 881 - 1 958 too.)
321 5 Add: Vide Book 'Another Garland too.
325 12 For. (d. September 1958) Read: (1891 - September 1958)
18 Add: Born in a family of jagirdars, he learnt music under
Arantangi Vaidyanatha Ayyar of Tyagaraja disciple line.
Practised both on vina and violin, Had done valuable
research in the compositions of Purandara Dasa,
Kshetragna and Tyagaraja and published many articles.
He presided over the Music Section of the All-India
Oriental Conference at Tirupati in 1940 and was Founder-
Editor of the Journal of the Music Academy for
twenty- eight years.
328 1 6 For. (c. 1 770 - 1 846) Read: (c. 1 770-1 854)
330 26 Insert in column 2, the words 'Madras University 1937.'
Insert below line 36 (Titles)':
Indira Gandhi Award for National Integration 1 989
Gayaka Ratnam - By Swati Tirunal Sangeetha Sabha 1 990
Konarak Samman Award - By Orissa State Cultural Council 1991
Telugu Academy Award (Madras) 1 991
Paul Harris Fellowship Award 1992
Sapta Swara Sudha Tarangini - By Sri Andavan Swamigal 1 992.
331 37 For. (20th Century) Read: (Octr. 8, 1885 - Feby. 6, 1960)
For. Violinist Read: Violinist - Musicologist
ANOTHER GARLAND 467
333 Last line: Add:
He played the lead role in the musical extravaganza film
Thukkaram' in tamil.
344 22 For: the words '(20th century)' Read : (1896 - March 23, 1981)
344 Last para: Substitute the following:
Son of Perur Sundararn Ayyar, Dikshitar was both a soloist and
an accompanist. He could produce the subtlest gamakas and
graces on the stoic uncompromising harmonium with his magic
dexterity. Though blind in the last few decades of his life, his
mastery and manodharma remained unimpared. AH stalwart
violinists and percussionists had accompanied him and that
reveals his stature! He was honoured with the titles of
Hemambikadas, Sarva Bhouma (at Tiruvaiyaru), Harmonium
Chakravarti and Kalaimamani (by Tamil Nadu Eyal Isai Nataka
Mandram in 1966), Has given disc records. His was the period
when harmonium ruled and reigned.
348 Insert below the last line:
Son of Arunachala Sastri and Gomati Arnrnai, Sundararn received
the Maharajapuram Viswanatha Ayyar Award in 1 991 and the title
' Sangeetha Mani ' from Sadguru Sangeetha Sammelan in 1-992.
Made his debut in 1951 at Calcutta accompanying
N.C. Vasantakokilam for Andhra Cyclone Relief.
348 26 For (b. 1 929 ) Read: (b. Octr.1 3, 1 948 )
350 16 Insert (1884-1927)
20 Vide ' Another Garland ' for details.
At the end of the page add:
'Ayyar was a disciple of Semmangudi Narayanaswami Ayyar.
Veena Balachander pays his tribute to this kindly vidwan thus:
"There was a unique violinist whose title was l Suswaram '
His playing was perfect, his phrases pretty an precise.
He had a placid style so nice to derive inspiration from
Whose speciality was rendering ragas, pure and concise. "
355 7 Insert the word 'Dr.* before Swarna Venkatesa Dikshitar.
10 Insert below line 9:
Was born at Chidambaram,
of Vaidyalinga Dikshitar and Ganga Bhagirathi Ammal;
Learnt Vedic literature Mahamahopadyaya Dandapaniswami Dikshitar,
under : Chellappa Dikshitar & Somasekhara Dikshitar;
468 ANOTHER GARLAND
1 7 Insert below line 1 6:
Titles & Honours:
Sahitya Bhushanam by Ayodhya Samskrita Samiti (1 952)
Kalaimamani by Tamil Nadu Eyal Isai Nataka Mandram (1 973)
Fellowship by Sangeeta Nataka Akademy (1 986)
Doctorate by Trichy Sanskrit University (1 987)
363 1 0 Add:
Sastri adopted the difficult Sarabhanandana tala (79
aksharakalas) to counter Simhanandana tala (128 aksharakalas)
handled by Kesavayya. Prof. P. Sambarnurti alludes to a
charming parallel:
' There is an appropriateness in Sastri scoring a victory with Sarabhanandana over
Simhanandana. After God Nrusimha slew Hiranya and sucked rakshasa blood, He
became furious. The Devas quaked with fear. Paramasiva took the form of Sarabha
(Bird, Animal and Human blended into one) and relieved Nrusimhsa of the rakshasa
blood to restore tranquility. '
•'One can become spiritual, detached and even enlightened
without depriving oneself of those enrichments of mind and heart
which Culture can bring', said Paul Brunton. Sage Tiruvalluvar
has given guidelines two thousand years ago to ensure this. If
King Janaka proved the truth of this as a king, Syama Sastri did
it as an eminent composer to prove that the noble life of a
house-holder equally conduces a sincers soul to realise spiritual
enlightenment.
371 16 Add: He composed padas, yakshaganas and the dramas
'Sivakamasundari Parinaya* in telugu and 'Raja Ranjana Vidya
Vilasa Nataka' in Sanskrit.
373 35 For issuless .
Read: issueless. TAG. Singaracharyulu wrote in 1905 that
Panchapikesayya, a grandson of Tyagaraja and disciple of
Manambuchavadi Venkatasubba. Ayyar, was a good
songster but died at the age of twenty-two and that 'he
would have been a master of art, if he had lived longer ' .
Probably the grandson had enjoyed a plurality of names -
one out of affection and the other as per namakarana.
1 6 For. Naradagana Lola - Atana raga
Read: Varanarada - Vijayasri raga
379 18 For. (18th century) Read: (c. 1751 AD)
ANOTHER GARLAND 469
380 26 Insert below line 25 as a separate para:
'Brahmam was a bibliophile and his Mutt has a good collection of
manuscripts1. Muktopanishad Commentary was completed by
him on December 17, 1751 which indicates his period clearly.
26 Insert on the right side: (1934 - July 25, 1991)
36 Insert below line 35:
Kalaimamani by Tamil Nadu Eya! Isai Nataka Mandram
State Artiste, Tamil Nadu.
381 27 For. 'weedings' Read: 'weddings',
393 1 For. Chembal Read: Chembai.
394 15 Has attended the Festivals of India in the USA, Austria,
Czechoslovakia and Yugoslavia. Vaidyanathan was honoured
with the Palghat Mani Ayyar Award in 1 992 by the Percussive Arts
Centre, Bangalore and the titles of 'Laya Vidya Dhurandara ' and
1 Sunada Layamani '.
395 39- Below line 38 insert:
42 Made Chairmen, Tamilnadu Eyal Isai Nataka Mandram and
Government of Tamil Nadu Raga Research Centre.
T. Chowdiah Memorial National Award - Academy of Music, Bangalore 1 992.
Violin Isai Kalanidhi by Federation of Sabhas, Madras with a
gold violin (25 sovereigns) 1992.
397 3 Add: A few of his songs were given by Singaracharyulu in his
'Gayakalochanam* like - Nanda Govinda Murare (Saveri) and
Chaitrotsavame Divya Vaibhavam (Sahana).
402 1 For. (b. July 3, 1928), Read: (July 3, 1928 - October 31 , 1990)
403 Insert at the end of the page:
The book ' Vasudeva Keerthana Manjarf by Mathur Sankararnurti
contains his compositions with notation. Vasudevachar had
authored two books in kannada, viz., 'Nanu Kanda Kalavidaru1
(The Artistes I have seen) and 'Nenapugalu' (Memoirs).
405 31 For. Punchapakesa Sastri Read: Panchapakesa Sastri.
21 Add: Pillai's 'Samaya Sanmarga Kirtanas' are thoughtful
compilations for a secular state being songs common to all
religions underscoring spiritual and moral codes. It is believed
that Saint Ramalinga Swamigal released them. (Different dates
are given about his birth.)
470 ANOTHER GARLAND
404 33 For. (Oct.20, 1 826 - July 1 989) ,
Read: (Octr.20, 1 826 - July 31 , 1 889)
406 25 For. Reader in Music f?aad: Head of the Department of Music
408 18 For. (1901 - ), Read: (1901 - April 20, 1973)
411 6 For. Danappachariar Read: Tanappacharya
412 42 For. Hare Nipidakantaka Read: Are Nibida Kantaka
41 3 23 Insert below line 22:
The Music Academy, Madras awarded in 1965 a Certificate
of Merit.
415 8 FonSIRKAZHI Read: SIMIZHI
418 31 T.S. Parthasarathy writes that Bhagavatar's output of musical
compositions cast in different moulds and patterns is prolific and
variegated, 150 of them traced and seventy published by the
Jayanti Committee, Ayyampettai. His signature is 'Sri
Ramachandra Vankataramana'. Has followed Tyagaraja's word-
building replete with assonance and prosodical beauties'. His
jayanti was celebrated at Ayyampettai.
420 36 Add: Music Academy, Madras awarded him a Certificate of Merit.
426 31 For: having been Read: have been
36 For. koottuthadi'. Read: kottuthadi'.
427 3rd from bottom For. Tirtha, Dikshitar /tead'Tirtha, Tyagaraja
12 For: the word 'and', insert a comma
1 4 Below line 1 3 insert :
Kalaimamani by Tamil Nadu Eyal Isas Nataka Mandram -1992.
429 last: Enter at the end:
T. Chowdiah State-level Award by the Academy of Music - 1992.
430 25 He learnt music under Chidambaram Sundaram Pillai.
32 After line 31, Add:
Vijayaraghavachariar was the recipient of various other titles and
honours also like:
Fellowship of Sangita Nataka Academy
Keertana Kulasekhara from Sri Sankaracharya of Kanchi Kamakoti Math
Thyaga Mani by Mannargudi Rasikas
Katha Rasa Vada by Devakottai Rasikas
Geetha Katha Praveena by Patiathur Rasikas
Sangita Sahitya Ratna by Pallathur Rasikas
Asthana Vidwan of the Dharmapuram Mutt
Kalaimamani by the Tamil Nadu Eyal Isai Nataka Mandram
Sangita Kala Sikhamani by Indian Fine Arts Society.
ANOTHER GARLAND 471
Vijayaraghavachariar was an amiable person and had helped
good causes with his discourses.
430 1 5 For: (b. November 24, 1 909),
Read: (Novr. 24, 1909 - June 2, 1991)
431 1 For; (b. 191 9), Read: (b. June 13, 1918)
1 2 Insert below line 1 1 :
Kalaimamani from Tamil Nadu Eyal Isai Nataka Mandram (1980)
432 8 Add: His sublime sahitya with artistic finish carries other
' signatures like Achyutha Varada, Mudandisa and
Unnadhapuraisa.
433 1 3» Delete the word 'and' insert a comma.
14 For. Festival: Read: Festival, Vadya Ratna by Narada Gana
Sabha, honours from Sadguru Gnanananda Sangeet Sammelan,
1 991 and Certificate of Merit by Madras Music Academy.
437 5 For: by the Read: with the
7 Add : Has been named a National Heritage Fellow for 1 992 by
the U.S. National Endowment for Arts.
23 For: (Tod/) Read: (Khamas)
438 Add: at the end: The names of his parents are differently given
as Ramacharya and Sita Bai also. He had as many as twenty-
four disciples including Purandaradasa whom he initiated with
Dasa Diksha. Hari Dasa Cult reached its zenith during his period
and Purandara praises him in glorious terms. Vyasa was also
called Qandrikagarya. He composed padas, suladis, vrittanamas
and kirtanas and one of the vrittanamas summarise the Bhagawad
Gita succinctly. The great scholar and composer was Rajaguru
to the illustrious kings of the Vijayanagar Empire and had shared
the throne like Govinda Dikshitar of Tanjore (ardhasimhasana).
439 3- Insert below line 30:
32 'For the Sake of Honour' Award of the Rotary Club, Madras
for 1990-91 for furthering National integration.
Lata Mangeshkar Award by M.P. Government 1 992.
33 Sangeetak Natak Akademy, Delhi Award 1992.
443 22 For: (b. June 20,1911) Read: (June 20, 1911 - Deer. 12, 1990)
443 Add at the end: With his analytical ear and keen intellect, he
prepared notation for a thousand kritis for All India Radio and
composed Vadya Vrindha pieces and choral music. Allam
Koteeswara Rao and A. Durga Prasad are among his disciples.
472 ANOTHER GARLAND
444 8 For. Vadarangan Read: Vadarangam
449 30 Insert as item (viii)
viii. S. Vedanayagam Piiiai availed of the services of Kundrakudi
Venkatramier to set his songs to tune.
451 38 For: veena). Read: veenain July 1985 at Sri Ananta-
padmanabhaswamy Temple, Adyar,
Madras covering 137 songs in which five
ragas were used thrice and twenty-four
ragas twice, besides three ragamalikas.
451 Last Add: This record was broken on December 19-20,1988 by
line; A. Kanyakumari at Sri Anantapadmanabhaswamy temple, Adyar,
Madras with a performance of 29 hours non-stop
452 27 For: player Read: player on
455 39 For. Vaitheeswarankoil Read: Anandathandavapuram.
469 5 For. 425000 Read: 475000
469 17 For : Balaganakamaya Read: Namo Namo Raghavaya
(Desiya Tocfi)
478 18 For. Natesan Read: Natesan and Tirukkodikaval Krishna Ayyar.
479 26 Insert below line 25:
viii. Sonti Venkataramaniah by Mummadi Krishnaraja
Wodeyar, Mysore,
ix, Tiruvarur Rajayee by Rajah of Ramnad.
x. Yagna Narayana Dikshitar
xi. Maduravani
by Rajah Raghunatha
Naik.
480 1 5 Enter below line 1 4;
iv. Vina Seshanna played violin to Mysore Vasudevacharya,
v. Sangita Kalanidhi Mudicondan Venkatarama Ayyar had
given kanjira support to Tiruvarur Rajayee, his disciple.
It was indeed a brave gesture as male chauvinism was
dead against it
vi. The flute maestro Sarabha Sastri gave violin support to
Kumbakonam Natesa Dikshitar's vocal concert at the
residence of Soolamangalam Vaidyanatha Bhagavatar
and to Tirunaithanam Narasimha Bhagavatar at
Solaiappan Street, Kumbakonam.
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481 22- For. me Read him.
500 6 Add: 'Singing bereft of alankaras will be colourless as night
without moon, river without water, creeper without flowers and
lady without ornaments.' - Natya Sasfra,
534 For Soundaralli N.G. Read: Soundaravalli, N.C.
PARADISE ON EARTH
"If we were to look over the whole world to find out the country most richly
endowed with all the wealth, power and beauty that nature can bestow - in some
parts a very paradise on earth - 1 should point to India."
"If I were asked under what sky the human mind has most fully developed some
of its choicest gifts, has most deeply pondered over the greatest problems of life,
and has found solutions of some of them which well deserve the attention even of
those who have studied Plato and Kant - I should point to India. And if I were to
ask myself from what literature, we in Europe.... may draw the corrective which is
most wanted in order to make our inner life more perfect, more comprehensive, more
universal, in fact more truly humane a life, not only this life, but a transfigured and
eternal life - again I should point to India,"
— Prof. Max Muller in his lectures at Cambridge in 1882.
India was the motherland of our race, and Sanskrit the mother of Europe's
languages; she was the mother of our philosophy; mother, through the Arabs, of
much of our mathematics; mother, through the Buddha, of the ideals embodied in
Christianity; mother, through the village community, of self government and
democracy. Mother India is in many ways, the mother of us all."
— Will Durant.
^(Vocalist S. Rajam and Dr. Veena S. Balachander).
- Panels from the sculpture of Chola period in the temple of
Ponsai, Tanjore District.
Ravi Kiran. the child prodigy giving a concert at the Music
Academy at the age of 2-3. Unmatched achievement !
K.B. Sundarambal, the vibrant musician with matinee idols
Dr.M.G. Ramachandran, former Chief Minister and
Dr. SeM Jayalalitha, present Chief Minister of Tamil Nadu.
"Let Us Skip Uruvaiyaru" - The Celestials arrive at Tiruvaiyaru.
W^«»l»^.-a!
(Biographical Dictionary
of Carnatic
Composers & Musicians)
By
CARNATIC CLASSICALS, Madras -600020 India
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PART IV
THE ASCENT
'The Indian civilization had reached the summit of human thought/
— Ralph Waldo Emerson.
Where are we now ?
474
ANOTHER GARLAND
A
GLOSSARY
Alapana
Alankara
Anupallavi
Arohana
Avarohana
Ban!
Bhajan
Extempore, creative, innovative, inventive delineation and
improvisation of a raga to bring out its innate grace and
grandeur. It is the soul of Indian music.
Ornament, embellishment. An artistic combination of notes for
developing a raga; also swara exercises for beginners.
Second section of a varna, padam, kriti, javali, etc. A musical
composition of the above description normally has three sec-
tions, viz.,
pallavi - the initial section,
anupallavi - the second or intermediate section and
charanam - the third and final section.
Ascending order of notes - Sa, Ri, Ga, Ma, Pa, Dha, ML
Descending order of notes - Ni, Dha, Pa, Ma, Ga, Ri, Sa.
NOTE: The incidence of the different notes in their different shades
in the arohana and the avarohana, their relative order, etc.,
vary according to the individual janaka, janya, vakra, varja,
etc, ragas. The incidence and the order settle the scope and
other characteristics of a raga.
Style, way, marga, method; where the 'style' of rendition of a
musician sets a particular method, grace, unique feature, etc,,
it is called his 'bani'.
Singing devotional songs in chorus or otherwise. It is normally
done during poojahs, festive occasions, etc. Bhajan styles
vary from region to region.
The longest recorded bhajan is the Akhand Ram Dhun
started by Acharya Prem Bhikuji at Jamnagar on July 31,
1964 which was continued till 1988 by devotees and per-
haps later too. (GBR).
Bhajan is normally congregational singing of devotional
songs couched in simple language (sahitya) set to brisk,
invigorating pace (laya) and catchy, captivating tunes to con-
ANOTHER GARLAND
475
vey the endeavour of the heart and its anxiety to attain
spiritual salvation and the Ultimate and to portray the expres-
sive urge of the Jeevatma (soul) to reach and merge in the
Paramatma. Bhajan transports the devout to ecstatic frenzy,
frenzied ecstasy and divine inspiration.
Bhava Charanam Soul of expression of music. The essence of a raga.
Dhatu The music in a composition which gives it life.
Durita kala Fast tempo.
Gamaka An essential ingredient of soulful, satisfying music. Includes
voice modulations, graces, vibrations, embellishments and
curves which leave a pleasant -experience on the listener.
Musical movements aesthetically rendered and employed
judiciously. Gamaka variations resemble the wave action and
wave durations and lengths in oceans and lakes.
"Music without gamaka is like a moonless night, a river
without water, a creeper without flowers or a lady
without ornaments* says Paikurki Somanatha Kavi (14th
century). He mentions 22 gamakas in his kavya, 'Pan-
ditharadhya Charitra.'
Ghana ragas The traditional five ragas called 'ghana' ragas are Nata,
Gaula, Arabi, Sri Raga and Varali, the individuality of which is
brought out in madhyama kala or tana
Kedaram, Narayanagaula, Ritigaula, Saranganata and Bauli
are bunched as another group of ghana ragas.
The term 'ghana' is also taken as meaning vast scope in the
ragas for improvisation.
Gita A simple melodic composition of raga without divisions and
without intricacies used for beginners.
Grama-s Basic Scales of ancient times.
Janaka raga A sampurna, principal, primary, fundamental, root or karta
raga consisting of all the seven notes and listed in the
Melakartha Scheme of seventy-two of Venkatamakhin or of
Govindacharya. Has krama, sampurna ascending and des-
cending notes of the same kind.
Janya raga A derivative, off-spring raga - each janya raga being traced to
a janaka raga. Classified under varja, upanga, bashanga and
swarantara. Some janya ragas are traced to more than one
476
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melakarta.
Jatiswaram Swara Pallavi. Similar in musical structure to swarajati but
without sahityarn or text, words.
Javali Songs of erotic nature which are captivating, catchy,
Vide Part HI E.
Jeevatma Soul. The concept of jeevatma seeking the services of a
mediator/messenger for its merger in the Paramatma - God is
given a personality in kavyas, natakas and musical composi-
tions. ' (T.S.B. Sastrigal)
Kala Speed, tempo - Durita or fast, madhyama or medium, vilam-
bita or slow tempos.
Konugol or Practical art of reciting the jatis, talas by mouth without any
Konnakol instrument by using the syllables used in mridangam adding
appropriate sounds for variety. A rare art. (Supplies the role of
a 'upa~vadhya\)
Kriti/Kirtan A composition or song in the normal pattern with a pallavi, one
or more charanams and with or without anupallavi. Kirtan is
normally a devotional piece where text is more important than
music. In Kriti, music is more important. In a sense, Kirtan is
for bhakti rasa and Kriti is for gana rasa.
Rhythm, tempo.
Gita in which the text enumerates or illustrates the raga
lakshanas - conveying the basis and framework of a raga,
Also called ghanam. A branch of creative music. In this style
of raga development, the music is measured, though not into
so many clear-cut avartas.'
improvisation - creative, extempore, spontaneous musical
delineation covering raga alapana, kalpana swara, pallavi,
neraval and tana, bringing out technical and imaginative skill
and expertise as well as originality. Manodharma is the soul,
the jeeva, the sine qua non of Carnatic music. Manodharma
excludes prosaic repetition, notation-based music.
Margadarsi Trail-blazer, pioneer, forerunner who shows the path, marga
in composition, singing, etc., to others to follow. Eg. Adip-
payya is called l Tana Varna Margadarsi'.
Matra A unit of time measure in tala.
Matu Sahitya, text of a song. May comprise words or swara syll-
Laya
Lakshana gita
Madhyamakala
or Tana
Manodharma
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477
Mudra
Murchanas
Nadai
Nadham
Nadopasana
Neraval
Nirupana
Pada
Prabandha
Pallavi
ables or both. Jatiswaram has no matu.
Signature of individual composer.
The new scales obtained by shifting the keynote ( sadja ) in a
scale.
Rhythmic mode.
Musical sound. Minute understanding of sounds in creation or
otherwise which conveys a sensation, feeling, emotion, etc.
1 Nada Yoga leads to salvation. Lose yourself in A/ada, which is associated
with variations of ragas. The person that does not float in the ocean of
Sangitajnana is a burden to the earth! One must be blessed with that gift
to became a jivanmukta. ' - Tyagaraja.
Dedication to Music.
'Attain the highest bliss by losing yourself in Nada. The Trinity, alf the gods
and great sages had followed the path. To realise the nature of Nada is
itself bliss and salvation. The true devotee who has knowledge of ragas
becomes a Mukta forthwith.' -Tyagaraja.
' Saraswati, the Goddess of Wisdom delights in music emanating from the
flute and the veena.' - Muthuswami Dikshitar.
Phrasing, developing, expounding the text with raga sub-
tleties, variations, tempos to bring out the hidden beauty of
raga and demonstrate the musical expertise of the musician.
It is traced by R. Vedavalli to Rupaka Alapthi of Sangeetha
Ratnakara and to Ragalath pattalath of Qilappadikaram.
Exposition of the moral, philosophical and devotional
episodes from epics, etc., in a stirring emotional manner
through sweet, poetical and suggestive compositions combin-
ing entertainment with enlightenment.
Scholarly composition - devotional or sringara as those of
Purandara Dasa, Muthu Thandavar, Kshetragna and
Ghanam Krishna Ayyar. Vide Part III E too.
Popular musical composition. (They had four sections -
Udgraha, Melapaka, Dhruva and Abhoga. Jayadeva ash-
tapadis are of dhruva dhatu. 'Dhruva prabandhas copied in
other languages came to be known as Dhrupad' -
Dr. (Mrs.) V. Chandomkar.)
The first section of kriti or kirtan. Vide anupallavi. Pallavi
nrmnnHharma sanaita is different Pallavi sinqinq is
478 ANOTHER GARLAND
special exposition and delineation of 'pada, laya vinyasa'. It is
the test of the originality and ability of the singer. The limit is
sky-high. VWe Part II I too.
Pa = Pada or words,
La = Laya or rhythm,
Vi = Vinyasa or exposition.
Raga 'Ranjayatee iti Ragah'. That which gives delight is raga. The
term is stated to have been first used by Matanga in "Brihad-
desi\ Melody mould, type or entity. Melodious arrangment of
musical notes to express a definite mood, emotion with a
distinct individuallity reproducing a feeling or indicating a
mood due to the individualistic notes and gamakas. Though
not unrelated to sahitya, raga is the soul of music being a
combination of notes of different pitches producing varied,
pleasing, expected effect on the listener. Raga in Carnatic
music is gamaka-based; has 'swroopa' lent by the ascending-
descending notes, traditional application and time-honoured
usages.
'A raga is that kind of composition which is adorned with musical notes in
some peculiarly stationary or ascending, or descending or moving values
which have the effect of colouring the hearts of men.' — B.C. Deva,
A coherent combination of notes possessing latent power of
producing aesthetic emotion, producing aesthetic sentiment.
Raga is the root of classical Carnatic music. Raga charac-
teristics according to Sanskrit works: Thirteen (Trayodasa);
Graha The note on which the raga commences.
Amsa The note which reveals the melodic entity of the
raga-swroopa-the jiva swara, *
Nyasa The note on which the raga is concluded.
Mandra The lowest and the highest notes beyond which the
& Tara raga elaboration need not go.
Alpatva The note that is used rarely in raga.
Bahutva The note that is used frequently in raga.
Apanyasa
Vinyasa
The ending notes of intermediate phrases in the
course of raga alapana.
Sanyasa
Shadava Application of six notes.
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479
tegamalika
laga Tala Malika
Sahitya
Sangati
Sringara
Audava Application of five notes.
Antara The introduction of a note not belonging to
Marga a raga - (anya swara). - (Prof. P. Sambamurti)
Govinda Dikshitar gives the following 'angas' of a raga:
i) Akshiptika
ii) Ragavardhini
iii) Vidari
iv) Sthayi
v) Vartani
First part of a raga (ayattam)
Taking off (eduppu)
Eduppu Muktayi
Melodic phase
Creation of tanas around varied notes of the
raga.
The note on which raga ends. Muktayi.
3ruti
vi) Nyasa
Now there is scope for looking into ragas from other aspects.
Feelings, emotions are of nine kinds being -
Sringara (romance), Hasya (humour), Karuna (pathos),
Vira (heroism), Bhayanaka (fear), Rowdra (anger),
Bibhatsa (disgust), Adbhuta (surprise), Santa (patience).
Bhakti (devotion), Vatsalya (solicitude), Qoka (sadness)
and Ananda (happiness) are also of this category with
aesthetic content or emotional appeal.
A composition, wherein each section bears a distinct raga or
tune, the tala being constant - e.g. ragamalika kirtan or varna.
A composition where each section bears not only a distinct
raga but also a distinct tala. i.e. different raga and tala for
each section.
Matu, the composition or the text.
Step of embellishment The artistic device is attributed to
Tyagaraja. Chakkani Raja has as many as forty-two musical
step by step progress to the climax. Other songs have similar
sangatis.
Romanticism, love on an elevated plane. Vide Part lll-E.
'As different from sensuousness, Sringara is enlivening and ennobling.
Devotional and music literature are replete with sahityas where the nayaki-
nayaka bhava is the base on which the whole edifice of love had been
constructed shorn of any semblance of eroticism. Kuttala Kuravanji is one
such pre-eminent piece. ' — Swamimalai Rajarethinam.
The lowest audible sound or keynote, a microtone, Sruti
provides the basic musical plane on which the pitch of the
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Sthayi
Swara
Swarajati
Sampradaya
Tala
Tana
Tillana
musician and the entire musical exercise are built up. Where
sruti is violated, music loses its equilibrium, sweetness and
satisfying effect. Sruti violation is akin to derailment; it jolts
and disturbs.
Melodic phase. Range fixed for swaras - Seven swaras from
Sa. to Nl Five levels:-
Anumandara -
Mandara
Madhya -
Tara-
Atitara -
Musical note
octave below mandra sthayi:
Sa Ri Ga Ma
lower octave:
Ni Dha Pa
Middle octave
higher octave:
Sa Ri Ga Ma
Octave above tara sthayi:
Sa Ri Ga Ma
Composition with pallavi, anupallavi and charanam in dif-
ferent dhatus producing pleasing melody. Similar to jatis-
waram, which has, however, no sahitya or text.
Tradition of music, handed down through centuries of ex-
perience, research and knowledge conditioned by factors like
time, region, standards of appreciation among rasikas and
the capacity of artistes.'
Time-cycle containing one or more sub-time measures.
Rhythm or summation of units of time. There are 128 talas.
Tala is rhythmic arrangment of beats in a cyclic manner, Each cycle is
complete in itself and is repetitive. The cycle is divided into sections which
may or may not be equal. It is formed by the addition of time units in a
defined manner. There are many styles according to their emphasis or
rhythm, extent of ornamentation, lyrical qualities, etc.'
— B. Chaitanya Deva.
A rapid succession of notes to elaborate or expound a musi-
cal idea.
A composition with jatis, brisk and interspersed with swaras,
etc.
ANOTHER GARLAND
481
Tsouka kaia
(Chowka kala)
Vaggeyakara
Elongated time-measure or tempo. Scope for 'akaram is
provided'.
Composer or author of song.
'A composer has to be a poet, musician and grammarian -
all in one.1
'A vaggeyakara is expected to be a person of rare attainment;
a good composer, that is. For he should not be a mere song
writer or music-maker. The good composition, apart from
anything else, has to have the basic quality of expansion and
elaboration. Hence a vageyakara has to possess -
- a thorough grounding in linguistic grammar,
- mastery over the lexicon,
- a command of prosody,
- a profound knowledge of the rasa theory,
- an insight into the sixty-four arts.
- a fine voice,
- an immense control over raga, tala and laya,
- intimacy with traditional and contemporary trends and
- a capacity to render gamakas in all octaves.
This is a tall order!! Hence it is that composers who are genius
are understandably rare,1
Composition with minimum words providing scope to bring
out raga bhava or lakshana Tana varnas are sung or played
at the commencement of concerts to give it a crisp start and
create and generate a concert tempo. They are practised by
students to acquire and assimilate the raga bhava and struc-
ture. Pada varnas are for dancers.
Language portion is normally limited to pallavi in tana varnarn
while it covers the whole piece in tsouka varnam.
Vidwan (Musician) Categories are five:
Sikshakara A seasoned singer or a teacher with systematic training -
sincere, earnest and efficient.
Anukara A bani-based musician - one who fashions his music on the
model of another.
Rasika One whose music is the essence of sweetness or one who is
absorbed in his own music.
Ranjaka One who captivates the hearts of listeners or who builds up
rapport with listeners.
Varnam
482 ANOTHER GARLAND
Bhavuka A creative genius who springs surprises and appeals even to
an indifferent listener.
Yogi One who has achieved total control over his faculties in his
endeavour to attain the Ultimate by penance, self-denial,
abstinence and prayer.
The yogi is thought to be superior to the ascetics and even superior to men-of-
knowledge (mere scholars); he is also superior to men-of- action; therefore (you
strive to) be a yogi, Arj una. . ' (Bhagawad-Geeta. VI-46)
— Swami Chinmayananda.
PLANT HAS NO MUSIC
Man has a rather sophisticated brain and a central nervous system. Plants do not have
them and so have no central processing unit to enable intelligent behaviour. They cannot
respond to music. It is said, *One may love a plant but in assuming that it reciprocates, is
only transferring his feelings or mirroring his mind. Struck by the parallel to the electrical
signal transmission that occurs in the nervous system of animals, Sir J.C. Bose had
possibly remarked, more in a spirit of poetic licence than scientific rigour, that plants also
"feel". Such pronouncements from eminent men tend to become legendary/
- D. Bakasubramaniam, CCMB, Hyderabad.
So, J.C. Bose was but a fellow-traveller of Subrahmania Bharati who ruled that man
belongs to the same tribe as the crow and the sparrow - a gesture of poetic solicitude,
product of a vibrant mind and a bounteous heart (mens sana in corpore sand),
The latest instance of exploding plant sensitivity myth in fiction is "The Doomsday
Conspiracy" of Sidney Sheldon wherein a Professor after two weeks of experiments says,
The flowers exposed to rock music were dead ;
The group with no music was growing normally ; and
The ones that heard the sitar musk had turned into
beautiful blooms with steins and flowers
reaching towards the source of the sound.'
Mentioning this derisive comment, C.V. Gopalakrishnan writes that there is no
reason to write off the prospects of scientists returning to Bose's monistic universalism.
ANOTHER GARLAND
483
B
1 . Abhinavaguptacharya
2. Arivanar
3. Aruna Bhattacharya
4. Arunachalam, Dr. M,
5.
~do-
6. Balachander, Veena Dr. S.
7. Banni Bai, C.
8. Boris Schwarz
9. Basham,A.L
1 0. Catura Damodara Panditha
11. Cheiladurai, Dr. RT
12. Chinmaya Seva Trust,
Delhi
1 3. Chinnaswami Mudaliar,
AM
Abhinavabharati - Editor Dr. R.S. Nagar -
Parimai Publications, Delhi. (1981)
Panchamarabhu - Published by V.R.
Deivasikhamani Gounder, Ezhumathur, Erode.
(1975)
ATreatise on Ancient Hindu Music. (KP. Bagchi
& Co., Calcutta.) (1978)
Karnataka Sangeetham - Tamil Isai Adhi
Mummurthigal. (1 985)
Musical Tradition of Tamil Nadu - (International
Society for the Investigation of Ancient
Civilizations). (1989)
An Open Letter dated 16.08.1985 on 'He wrote
a book and killed the Genie1.
Nagarathinam Ammayarin Suya Saridai.
Great Masters of the Violin - Robert Hale, (1984)
A Cultural History of India - Clarendon Press,
London. (1975)
Sangita Darpana - Editor K. Vasudeva Sastri
(Sangita Mahal, Tanjore) . (1 952)
Thennaga Isai lyal - (Vaigarai Padippagam,
Madras). (1990)
Saint Poets.
(1988)
Oriental Music (A monthly journal). (July 1 982)
14. ChinnaSingaracharyulu,
rn A
Gayaka Siddhanjanam.
(1905)
484
15. Dattila
16. Dhandapani, Dr. M.N.
& Pattammal, D.
17. Blarvi
18. GomatiSankaraAyyar,
V.S.
19. Gopat Sharman
20. Gopala Krishna Bharati
Souvenir
21 . Gopalakrishna Bhagavatar
22. Government of Tamil Nadu
23. Govindacharya
24. Gowri Kuppuswamy &
Hariharan, M
ANOTHER GARLAND
25.
26.
-Do-
-Do-
27. The 'Hindu'
28. Indian Express1
29. Jayalakshmi, Dr. Salem S.
30. Kalki
31. XalkP
Dattilam - Editor Mukund Lath - (Impex India,
New Delhi). (1978)
'Raga Pravaham'.
(1984)
Engey, Anna Engey - (Amudha Nilayam,
Madras-14),, (1958)
fsai Kalai VallunargaL
(1970)
Filigree in Sound (Form & Content in Indian
Music) - (Vikas Publications, Delhi). (1970)
(Anandathandavapuram Bharati Trust). (1990)
Srimat Bhajanamrutam
Pudukkottai.)
(G. Sanjeevi,
(1950)
District Gazetteer of Pudukkottai.
Sangraha Chudamani - Editor Pandit
Subramania Sastri (Adyar Library & Research
Centre, Madras.) (1 933 )
Glimpses of Indian Music (Sundeep
Prakashan, Delhi).
Index of Songs in South Indian Music -
(B.R. Publishing Corporation, Delhi-2.) (1981)
Royal Patronage of Indian Music (Sundeep
Prakashan, Delhi) . (1 981)
Daily Newspaper, Madras.
Daily Newspaper, Madras.
Tamilisai llakkana Marabhu - (Cultural Centre
for Performing Arts, Madras.) (1 988)
Sangita Yogam - (Tamizh Pannai, Madras-14)
(1947)
Tamil Weekly, Madras.
32. Kaiakshetra
33. Krishna Chaitanya
34. Krishnaiah, Dr, D,V.
35. Krishnamurti, K.S.
36. Kuppuswami, S.R.
37. Mummadi Chikka Bhupala
38. Lalgudi Jayaraman's
50th Solo
39. Music Academy, Madras.
40. Maharana Kumbha
41 . Matanga Muni
42. Narada
43. Natarajan, B.
44. Parthasarathy, T.S.
45. Pelican Books
46. Paul Brunton
47. Periaswami Thooran, M.P.
48. Prajnananda, Swami
ANOTHER GARLAND 485
Journals - Kaiakshetra, Madras.
A Profile of Indian Culture - (Clarion Books).
(1982)
Gayaka Sarvabhouma, As I know. (1 949)
AmudhaThamizh - (Muthamizh Pannai). (1970)
'Carnataka Sangeetham1 Journals.
Abhinava Bharata Sara Sangraha - Editor
R. Sathyanarayana - Sri Varalakshmi
Academies of Fine Arts, Mysore, (1960)
A souvenir titled 'On Our Heart Strings'. (1 986)
Journals & Souvenir.
Sangita Raja - Editor Dr. (Kum) Premalata
Sharma - (Benares Hindu University) . (1 963)
Brhaddesi - Editor Sambasiva Sastri - (Tri-
vandrum Government Sankrit Series.) (1 903)
A Prelude to Naradiyasiksha.
Sri Krishna Lila Tarangini of Narayana Tirtha
(Vol.11) - (Mudgala Trust.) (1990)
The Musical Heritage of Sri Muthuswami
Dikshitar - (Indian Musicological Society,
Baroda.) (1991)
Johann Sebastian Bach — Lives of Great
Composers. (1947)
The Notebooks of Paul Brunton Vol.9 -
(P.B. Philosophic Foundation, New York.)
Isai Mani Manjari.
(1943)
49.
Do-
A Historical Study of Indian Music -
(Anandadhara Prakashan, Calcutta). (1 965)
A History of Indian Music - (Ramakrishna
Vedantha Math, Calcutta) . (1 963)
486
ANOTHER GARLAND
50. Prajnananda, Swami
51 . Rajagopalan, N.
52. Ramanathan, Dr, S.
53, Ramaratnam, T. and
Sampathkumaracharya
Dr. V.S.
55. Rangaramanuja
Ayyangar, R.
56. Do-
57. Do-
58. Sakuntala Narasimhan
59. Sambamurty, Prof. P.
60. Sami Ayyar, Mylattur V.
61 . Sangeeta Natak Akademy
62. Sankaran,T.
63. Saraswati Bai, C.
64. Sathyanarayana, R.
(Mysore Bros.)
65. Seetha, Dr. S.
Music, the Form, Function & Value - (M.M.
Publishers Ltd.) (1979)
A Garland - (Bharatiya Vidya Bhavan,
Bombay-400007). • (1990)
Cilappathikarathu Isai Tamizh
Ezhutthalarga! Cooperative
Madras-5.)
Karnataka
University.
Sangeetha Sudha
54. Ramaswami Ayyar, M, S. Kalakshepam.
- (Tamizh
Sangham,
(1981)
Mysore
(1967)
(1932)
The History of South Indian (Carnatic) Music.
(1972)
Sangita Ratnakaram, A Study - (Wilco
Publishing House, Bombay- 23.) (1 978)
Musings of a Musician - Wilco Publishing
House - Bombay-23. (1 967)
Invitation to Indian Music - (Arnold
Heinemann.) (1985)
Great Composers, A Dictionary of South Indian
Music and Musicians - (The Indian Music
Publishing House, Madras). (1971)
Mrudanga Paada Murai - * (Annamalai
University). (1946)
Journals and Silver Jubilee Souvenir. (1 951)
Isai Medaigal - (Tamil Isai Sangam, Madras.)
(1962)
Commemoration Volume.
(1939)
Kudumiamalai Inscriptions on Music - Sri
Varalakshmi Academies of Fine Arts, Mysore.).
(1957)
Tanjore as a Seat of Music - (University of
Madras). (1981)
ANOTHER GARLAND
487
66. Sethuraman, K.R.
67. Simha Bhupala !l
68. South Zone Cultural
Centre, Bangalore
69. Srinivasan, Prof. R.
70. 'Sruti'
71. Subba Rao, T.V.
72. Subramaniam, Puthaneri,
Ra.
73. Subhankara
74. Sundaram Ayyar,
Kallidaikurichi A.
75. Sundaram, B.M.
76. Sri Thyagarajaswami
Mahotsava Sabha,
Bangalore.
77. Tamil Nadu Eyal Isai
Nataka Mandram
78. Vaidyanatha Bhagavathar,
Sulamangalam
79. Vasudevacharya, K.
Sri Tyagaraja Venkataramana Charitam - (All
India Publications, Madurai) . (1 965)
Rasarnavasudhakara - Editor: I Venkatacharya
- (Adyar Library & Research Centre,
Madras-20,) (1979)
Dakshini.
(1986)
Facets of Indian Culture - (Bharatiya Vidya
Bhavan, Bombay.) (1 980)
Journal on Indian Music and Dance.
Studies in Indian Music - (Asia Publishing
House, Bombay.) (1962)
Paattum Koothum - (Madras University.) (1 977)
Sangita Damodara - Editor : Gourinatha
Sastrigal & Another - (Sanskrit College,
Calcutta.) (1960)
Sri Vaggeyakara Charitram - (All India
Publications, Madurai.) (1965)
Kanchipuram Naina Piilai - A Monograph -
(Percussion Arts Centre, Bangalore 11 .) (1990)
Centenary Commemoration Volume, (1 968)
Kalaimamani Award Souvenirs.
Karnataka Sangita Vidwangal (Kalki), Madras.
'Nenapugalu' (Memoirs) - (Publishers
K. Chidambaram, Mysore).
80. Do-
'Nanu Kanda Kalavidaru' (The Musical
Maestros I saw).
488 ANOTHER GARLAND
81 . Vidya Shankar The Art and Science of Carnatic Music - (The
Music Academy, Madras.) (1 983)
82. VtpuIanandaAdiga! Yazh Nool.
83. Vivekananda, Swami Letters - (Advita Ashram, Calcutta.) (1 981 )
84. Vivekananda Kendra Music India. (1984)
Patrika
85. Not known Mahabharata Choodamani - Dr.
U.Ve. Swamsnatha Ayyar Library, Madras - 20,
(1955)
ABSOLUTE INTEGRITY
'Toscanini's concert has been a musical experience of the rarest and
finest kind ... a revelation of the wonder and nobility of music and
genius . . . It is profane almost to speak of Toscanini's Brahms, of
ToscaninPs Wagner, and so forth. He does not give us anybody's Brahms
or anybody's Wagner, bet Brahms's Brahms and Wagner's Wagner . . .
never stands between us and the music, never plays tricks with it . . .*
*•— Sir Neville Cardus
In Carnatic music parlance, the same idea is stressed when it is said
that the bhava and rasa of the composition and the composer should be
brought to full focus by the singer. Certainly bharatanatya enforces the
norm. It could not be said of all musicians. The syllabus should
provide for inculcating this vital need. This is an issue for deep
consideration.
ANOTHER GARLAND
489
CHRONOLOGICAL TABLE OF COMPOSERS & MUSICIANS DEALT WITH IN
'A GARLAND* & 'ANOTHER GARLAND'
Note : Only the artistes for whom the periods have been mentioned against
their names in part II are generally shown herein.
Bharata
DattiSa
Narada (Siksha)
liiango
Rajah Mahendra Varman
Matanga Muni
Kalladar
Sriman Nathamuni
Achalananda Dasa
Rajah Sorneswara Malta
Basavanna
Haripala
Parsvadeva
Jayadeva
Narahari Tirtha
Sarngadeva
Sripadaraya
Gopala Naik
Vidyaranya
Simha Bhupala II
Kallinadha
Annamacharya, Tallapaka
Guru Basava
Maharana Khumba (Kumbhakarna)
Vyasaraja
St. Arunagirinathar
Vadiraja
Purandaradasa
Subhankara
Kanakadasa
Pundarika Vittala
Somanatha
Rama Matya
Nijaguna yogi
Sadasiva Brahmendral
Swami Narayana Tirtha
Catura Damodara Panditha
Thathachariar @ Miyandanchin
c. 400 B.C. -200A.D.
C.200B.C-200A.D.
1st Century A. D.
2nd Century A. D.
590 -630 A. D.
7th - 8th Century
8th- 11th Century,
c. 823 A.D.
9th Century,
c. 1116-1138
1125-
c. 1170 (orc.1310)
c. 1250
12th Century
13th Century
13th Century
13th Century
13th /14th Century
1320-1380
1330-1390
1400-1465
1408-1503
c. 1430
1433-1468
1447-1539
c. 1450
c. 1480-1600
1484 - 1564
15th Century
1508-1606
1510-1576
c. 1550-1609
c. 1550
c. 1560
c. 1560-1762
1580- 1680
16th Century
16th Century
490
ANOTHER GARLAND
Muthu Thandavar
Govinda Dikshitar
Rajah Reghunatha Naik
Mummadi Chikka Bhupala
Sadguru Sri Bodendra Swamigal
Bhadrachala Ramadasa
Vendrimalai Kavirayar
Sri Sridhara Venkatesa Arya
Venkatamakhin
Ananda Dasa
Ahobala
Chikka Devaraja Wodeyar
Karvetinagar Sarangapani
Govindasamayya & Koovanasamayya
Maharajah Shahaji II of Tanjore
Vijaya Dasa
Uthukadu Venkatasubbayyar (Krishna Gana)
Govinda Matya *
Kshetragna
Margadarsi Sesha Ayyangar
Giriraja Kavi
16th Century.
16th /17th Century,
c. 1600- 1630
1600- 1760
1610- 1692
1622- 1680
1624- 1682
1630- 1730
c. 1635- 1660
1650-
c. 1650
1673- 1704
1680- 1750
c. 1680-1710
1684- 1712
1687- 1763
1700- 1765
17th Century
Thayumanavar 1 705 - 1 742
Arunachala Kavirayar 1711 - 1778
Marimutha Pillai 1 71 2 - 1 787
Jagannadha Dasa 1726 - 1809
Rajah Thulajaji of Tanjore c, 1728 - 1736
Munipalli Subramania Kavi 1730 - 1780
Ramaswami Dikshitar 1735 - 1817
Ramapurathu Warriar c. 1750
Toomu Narasimha Dasa 1750 - 1820
Upanishad Brahman Yogin c. 1751
Syama Sastri (of Trinity), Sri 1762 - 1827
Ghanam Bobbili Kesavayya 1763
Tyagaraja (of Trinity), Sri 1 767 - 1 847
Subbukutti Ayya c. 1770 - 1854
Muthuswami Dikshitar (of Trinity), Sri 1776 - 1835
Vinayaka Sastriar 1 776 - 1 864
Sri Sadguru Swamigal, Marudanallur 1777-1817
Chinnaswami Dikshitar 1778 - 1823
Wallajahpet Venkataramana Bhagavatar 1 781 - 1874
Pallavi Doraiswami Ayyar 1 782 - 1 81 6
Irayi Amman Tampi 1 782 - 1 856
Baluswami Dikshitar 1786 - 1859
Pallavi Gopala Ayyar 1 790 -
Ghanam Krishna Ayyar 1 790 - 1 854
ANOTHER GARLAND
491
Varahappa Dikshit Pandit 1 795 - 1 869
Raja Serfoji II (Sarabhoji ) 1798 - 1832
Shatkala Govinda Marar 1 790 - 1 854
Vina Kuppayyar 1 798 - 1 904
Ananta Padmanabha Goswami @ Meruswami 1800 - 1870
Appukutti Nattuvan c. 1800
AtanaAppayya c. 1800
Todi Sitaramayyar c. 1800
Pallavi Sivaramier c. 1800
Periatirukundram Subbarama Ayyar c. 1800
Mohanam Varadaraja Ayyar c. 1800
Edamanal Lingappa Naidu c. 1800 - 1871
Veena Anantayya & Veena Kuppayya *
Pacchimiriyam Adippayya
Sri Chandrasekharendra SarasWati
Akalanka Givindacharya
Gurumurthi Sastri, Paidala
Kasinatha
Kavi Mathrubhutayya
Bhooloka Gandarva Narayanaswami Ayyar
Papanasam Mudaliar
Ghanam Sinnayya
Tirubhuvanam Swaminatha Ayyar 18th century
Senthil Velannavi
Kudirai Vaidyanatha Ayyar
Vaikunta Sastrigal
Irumbukadalai Venkatarama Ayyar
Sonti Venkatasubba Ayyar
Vijayagopala
Tsoukam Veerabhadrayya
Sonti Venkataramanayya
Madura Kavi Bharati
Tanjore Quartette (Ponniah, Vadivelu. etc,)
Subbaraya Sastri
Venkatadri Swami Jeer
Lalgudi Rama Ayyar
Krishnamurti Sastri
Chengalvaraya Sastri
Kavi Kunjara Bharati
Gopala Krishna Bharati
Swati Tirunal Maharajah
Kannayya Bhagavatar
Noorani Parameswara Bhagavatar
Kundrakudi Krishna Ayyar
Kulasekhara Perumal
c. 1801
-1856
1803
- 1862
1806
- 1876
1807
- 1867
1810
-
1810
- 1910
1810
- 1896
1811
- 1881
1813
- 1846
c. 1813
- 1846
1815
- 1892
1816
- 1889
- 1820
492
ANOTHER GARLAND
Kavi Venkatasuri Swamigal 1817-1 889
Kuttikunju Thankachi 1 820 - 1 908
Vallalar Ramalinga Swamigal 1823 - 1874
Tarangambadi Panchanada Ayyar 1 824 - 1 874
Wallajahpet Krishnaswami Bhagavatar 1824 -
Kanjira Radhakrishna Ayyar c. 1825
Vedanayakam Pillai 1826 - 1889
Trivandram Raghava Ayyar 1 826 -
S. Annaswami Sastri 1 827 - 1 900
Sivarama Chiramal 1 827 - 1 897
Chinnuswami Dasar 1 828 - 1 881
Kanchipuram Rangachariar
Duritakala Krishnaier *
Kanjira Krishnamachariar c. 1830
Andemi Sivarama Bhagavatar — >
Pallavi Narasimha Ayyangar « 1832 - 1924
Tanjore Sarndha Veeraswami Naidu c. 1833
Tachur Singaracharyulu Brothers 1834 - 1916
Ramaswami Sivan 1 839 - 1 897
Subbarama Dikshitar 1839 - 1906
Nilakanta Sivan 1 839 - 1 900
Tirunelveli Krishnaswami Ayyar 1840 - 1900
Tanjore Krishna Bhagavatar 1841 - 1903
Pallavi Sesha Ayyar 1 842 - 1 909
Maha Vaidyanatha Ayyar 1 844 - 1 893
Tiruvotriyur Tyagayyar 1845-1917
Patnam Subramania Ayyar 1 845 - 1 902
Umayalpuram Ananta Bharati 1845 - 1905
Das Swamigal @ Madathipathi c. 1845 - 1925
Suchindram Sankaranarayana Bhagavatar 1846 - 1888
Ettayapuram Ramachandra Bhagavatar 1846 - 1915
Valadi Radhakrishna Ayyar 1 849 - 1 908
Kundrakudi Venkatarama Ayyar c. 1850
Achyuthadasa c. 1850
Urayur Muthuswamy c. 1850
Veena Seshanna c. 1850 - 1926
Tanjore Sethurama Rao c. 1850 - 1920
Dolak Nannu Mia Saheb c. 1850
Tirunelveli Vengu Bhagavatar 1854
Hullahalli Ramanna 1854 - 1918
Dr. U.Ve. S warn inatha Ayyar 1855 - 1942
Bakshi Subbanna 1855 - 1938
Swarabat Kannuswami Rao 1855 - 1936
Tirukodikaval Krishna Ayyar 1 857 - 1 91 3
Konnakol Pakkiriah Pillai 1857 - 1937
Abraham Pandithar 1859 - 1919
Vanamamalai Brothers 1859 - 1915
Bangalore Acchanna c. 1860
Vaideeswarankoil Subbarama Ayyar c. 1860
ANOTHER GARLAND
493
Kattu Suranna c. 1860
Appaswami Ayyar c. 1860
Maharajah Ayilyam Tirunal c. 1860 - 1880
Tanjore Thukaram c. 1860 - 1900
Karur Quartette 1 860 - 1 967
TP. Kodandarama Ayyar 1861 - 1934
Tirupanandal Pattabhiramiah c. 1863
Azhaganambi Pillai 1 863 - 1 926
Suchindram Padmanabha Bhagavatar 1863 - 1949
Adibhatla Narayana Das 1864 - 1945
T. Lakshmana Pillai 1864 - 1950
Manathattai Doraiswami Ayyar 1865 - 1926
Annamalai Reddiar 1865 - 1890
Mysore Vasudevachar 1 865 - 1 961
Veena Venkataramana Das 1866 - 1948
Bidaram Krishnappa 1 866 - 1 931
Pandit Subramania Sastri * 1 867 - 1 941
Palghat Anantarama Bhagavatar 1 867 - 1 9 1 9
Ramnad (Poochi) Srinivasa Ayyangar 1867 - 1919
Attoor Krishna Pisharody 1 867 - 1 964
Umayalpuram Swaminatha Ayyar 1 867 -
Mylattur Krishna Ayyar ; c. 1868 - 1922
Veena Dhanammal 1 868 - 1 938
KG. Kesava Pillai 1868-1930
Tirupazhanam Panchapakesa Sastri 1868 - 1924
Ammachatram Kannuswami Pillai 1869 - 1923
Citrakavi Sivarama Bhagavatar 1869 - 1951
Tanjore Pakkiri Pillai * 1869 - 1922
Tiruppamburam Natarajasundaram Pillai 1869 -
Tanjore Rama Rao 1870 -
Kotiswara Ayyar 1 870 - 1 936
Pazhamaneri Swaminatha Ayyar 1 870 - 1 942
Coimbatore Thayee 1872-1917
Meesu Krishna Ayyar 1 872 - 1 940
Sarabha Sastri 1 872 - 1 904
T.S. Sabhesa Ayyar 1 872 - 1 948
Tumarada Sangameswara Sastri 1873 - 1932
Ammapettai Pakkiriah Pillai 1 874 - 1 920
Adoni Hanumanta Bhattar c. 1875
Illupur Veeraswami Nattuvan c. 1875
Annadhana Sastriar 1 875
Pudukottai Dakshinamurti Pillai 1875 - 1937
Palani Krishna Ayyar 1 876 - 1 908
Tiger Varadachariar 1 876 - 1 950
Veena Varadayya 1 877 - 1 952
Harikesanallur Muthiah Bhagavatar 1 877 - 1 945
Bangalore Nagarathinammal 1 878 - 1 952
1878- 1949
494
ANOTHER GARLAND
Tiruvaiaputhur Pasupathiah Pillai 1879 - 1958
M.K.M. Ponnuswami Pillai 1879 - 1929
Malaikottai Govindaswami Pillai 1879 - 1931
Kallidaikurichi Vedantam Bhagavatar 1879
Veena Vaidyanatha Ayyar, Mayuram c. 1880
Kothavasal Venkatarama Ayyar c. 1880
Ennapadam Venkatarama Bhagavatar 1880
Mayuram Veenai Vaidyanatha Ayyar c. 1 880
Mangudi Chidambara Bhagavathar 1880 - 1938
Sembanarkoil Ramaswami Pillai 1880 - 1920
Anayampatti Subba Ayyar 1881 - 1961
Kalakad N. Subbiah Bhagavatar 1881 - 1955
Mahakavi Subramania Bharati 1882 - 1921
Raja Jagadiswara Venkateswara Ettappan 1 882
T, K, Sesha Ayyangar 1 882
Palladam Sanjeeva Rao 1882
Chidambaram Srirangachariar 1883 - 1943
Karaikudi Veena Subbararna Ayyar 1 883 - 1936
Marungapuri Gopalakrishna Ayyar 1883 - 1968
Parupalli Ramakrishnayya Pantulu 1883
R. Nagaraja Rao 1883
Simizhi Sundaram Ayyar 1884 - 1927
Hari Nagabhushanam 1884 - 1959
Madurai Pushpavanam 1885 - 1917
C. Subramania Ayyar (C.S. Ayyar) 1885 - 1960
P, Veeriah Chowdry 1886
Prof. R. Srinivasan 1887 - 1975
Ramaniah Chettiar 1 887 - 1 961
Mysore Venkatagiriappa 1 887 - 1 952
Madirimangalam Natesa Ayyar 1888 - 1940
K. Ponniah Pillai 1888 - 1945
Karaikudi Veena Sambasiva Ayyar 1 888 - 1 958
Lakshmiratnammal 1888 - 1940
Madras Balakrishna Ayyar 1 888
Mazhavarayanendal Subbarama Bhagavatar 1888 - 1951
Trivandrum Parameswara Bhagavatar 1888 - 1965
Trivandrum Narayana Bhagavatar 1888 - 1941
Palghat Rama Bhagavatar 1888 - 1957
Tanjore Ramadas Rao 1889
Umayalpuram N. Kodandarama Ayyar 1889 - c. 1975
P.M. Angappa Pillai 1889
Naina Pillai of Kanchipuram 1889 - 1934
Semmangudi Narayanaswami Ayyar 1889 - 1944
Shanmughavadivu ' 1889
Musiri Subramania Ayyar 1 889 - 1 975
Nerur Srinivasachariar 1890 - 1950
Salem Doraiswamy Ayyangar 1890 - 1952
Papanasam Sivan 1890 - 1973
Panchakshari Gavai 1890
ANOTHER GARLAND
495
Ariyakudi Ramanuja Ayyangar
Umayalpuram Narayana Ayyar
Kannappa Piliai of Keeranur Bros
Parur Sundaram Ayyar
T.V. Subba Rao
Vibhulananda Swamigal
Chikka Rama Rao
Chittoor Subramania Bhattar
Sakkottai Rangu Ayyangar
T.L. Venkatrama Ayyar
Cheranmahadevi Subramania Sastri
Dwaram Venkataswamy Naidu
Valadi Krishna Ayyar
Mayavaram Viswanatha Sastri
Tanjore Narayanaswami Appa
Seithur Sundaresa Bhattar
R. Ananatakrishna Sarma
Needamangalam Meenakshisundaram Piliai
Budalur Krishnamurti Sastrigal
Palghat Subba Ayyar
C. Saraswathi Bai
B. Subba Rao
Tanjore Vaidyanatha Ayyar
T. K. Jayarama Ayyar
Nagaswami Bhagavatar
Ghatam Mani Ayyar
T. Chowdiah
Tiruvizhimalalai Subramania Piliai
N. Chennakesaviah
Chilakalapudi Venkateswara Sarma
Chembai Vaidyanatha Bhagavathar
Maharajapuram Viswanatha Ayyar
M. Ramalinga Bhagavathar
Harmonium Subramania Dikshitar
Keeranur Chinnathambi Piliai
Mudicondan C. Venkatarama Ayyar
Yoga Narasimhan
E. Krishna Ayyar
T.N. Rajarathinam Piliai
Kumbakonam Rajamanickam Piliai
Chittoor Subramania Piliai
V.V. Narasimhachariar
Tiruppamburam Swaminatha Piilai
B. Devendrappa
Vidyala Narasimhalu Naidu
Annaswami Sastri
Desamangalam Subramania Ayyar
P.I. Natesa Piliai
Harmonium Arunachalappa
1890
c. 1890
1891
1891
1891
1892
1892
1893
1893
1893
1893
1893
1893
1893
c. 1893
1893
1893
1894
1894
1894
1894
1894
1894
1894
1894
1895
1895
1895
1895
1895
1896
1896
1896
1896
1897
1897
1897
1897
1898
1898
1898
1898
1898
1899
1899
1899
1899
1899
1899
- 1967
- 1944
- 1974
- 1958
- 1949
- 1946
1964
1950
1958
- 1949
- 1975
- 1952
- 1967
- 1984
- 1970
- 1981
- 1942
- 1975
- 1971
- 1968
- 1956
- 1970
- 1961
1947
1966
496
ANOTHER GARLAND
Andavan Pichai 1899 - 1990
A.M. Chinnaswami Mudaliar c. 1900
Mangudi R. Dorairaja Ayyar 1900 - 1980
Pudukottai Narayanaswami Ayyar c. 1900
Muthialpet Ponnuswami Pillai c. 1900
Woraiyur Ramaswami Pillai c. 1900
Patrayani Sitarama Sastri 1 900 - 1 957
Lalgudi V.R. Gopala Ayyar 1900-1979
B.S. Raja Ayyangar 1900 - 1980
Dharmapuri Subbarayar c. 1900
Tlruvarur (Kunju) Rajagopalayyar 1900 - 1971
Tmniam Venkatarama Ayyar 1 900
Karur Chinnaswami Ayyar c. 1900 - 1966
Tiruvarur Raj'ayee 1 900 - 1 925
Tiruvizhimalalai Natarajasundaram Pillai 1900
Other Artistes of 19th Century :
Adimurti Ayyar
Ambhayiram
Anantachariar
Ath,manadha Bhagavatar
Ayyaswami
Pallavi Bhimachar
Mazhaval Chidambara Bharati
Dakshinamurti Sastri
Girisa Ayyar, Visalur
Govinda Sivan,
Guruyacharyulu
Kadigai Pulavars
Tsallagalli Krishna Ayyar
Umayalpuram Sundara Bhagavatar
Lavani Venkata Rao
Photo Masilamani Mudaliar
Kumbakonam Natesa Dikshitar
Veenai Perumalayya
Ramudu Bhagavatar
Mysore Sadasiva Rao
Pudukottai Seshachala Bhagavatar
Mooguru Subbanna
Bikshandarkoil Subbarayar
Kottayur Sivakozhundu Desikhar
Chinna Vaithi
Veena Varahappa Ayyar
Kothavasal Venkatarama Ayyar
Melattur Venkatramana Sastri
Akhilswamy
Anai & Ayya Brothers
Annachi Ayyar
Ayya Bhagavatar
Brahmananda Parades!
Polagam Chidambara Ayyar
Nagaswaram Dasari
Duraiswami Ayyar @ Panchanada Ayyar
Keeranur Govinda Pillai
Sabhapathi Sivan
Jagannatha Bhatgoswamy
Kamakoti Sastri
Umayalpuram Krishna Bhagavatar
Kshirabdi Sastri
Pudqkottai Manpoondia Pillai
Dolak Nannu Miya
Parur Pappu Pillai
Ramanujachariar
Muvanallur Sabhapattayya
Tlruvidaimarudur Sakharama Rao
Jhenjahmrutham Subba Ayyar
Kilikanni Subburayaswami
Shermadevi Sundaram Ayyar
Peria Vaithi
Dwaram Venkatakrishniah
Pandanallur Veeraswami
Kundrakudi Venkatarama Ayyar
Manambuchavadi Venkatasubba Ayyar
ANOTHER GARLAND
497
R. Rangaramanuja Ayyangar
Papa Venkataramiah
M. Cheluvarayaswami
Karaikudi Muthu Ayyar
Prof. P. Sambamurti Ayyar
P.S. Veeruswami Pillai
Ghatam Viivadri Ayyar
Dr. T.S. Ramakrishnan
T.N.C. Venkatanarayanacharyulu
Varahur Muthuswamy Ayyar
Titte Krishna Ayyangar
Injikudi Picchaikannu Pillai
Mariappaswami
Kalidas N. Nilakanta Ayyar
Rukmini Devi Arundale
Maruthuvakudi S. Rajagopala Ayyar
Madurai Srirangam Ayyangar
D. Subbaramayya
T. Venkata Rao
Devakkottai Narayana Ayyangar
Illuppur Panchami
Nori Nagabhushanam Pantulu
Thuraiyur Rajagopala Sarma
Palladam K. Nagaraja Rao
S.G. Kittappa
T.N. Ramaswami Sastri
K.S. Narayana Ayyangar
H. Ramachandra Sastri
M. Kanakasabhai Pillai
Dr. Thiruvenkadu Subramaniam Pillai
Erode Viswanatha Ayyar
Chidambaram S. Radhakrishna Pillai
Kirupananda Variar, Tirumuruga
V.S. Gomatisankara Ayyar
Achalpuram K. Kasinatha Desikhar
D. Seshappa
K.B. Sundarambal
Savitri Rajan
M.M. Dandapani Desikhar
Tiruchaikadu T. Sambandam Pillai
Kolanka Venkataraju
Dr. V. Raghavan
Dr. P. Periaswami (Thooran)
C.S. Sankara Sivam
Semmangudi Dr. R. Srinivasa Ayyar
LS. Narayanaswamy Bhagavatar
Ratnagiri Subba Sastri
T.S. Krishnaswamy
Palani Subramania Pillai
1901 -
1901 -
1901 -
1901
1901 -
1901 -
1901
1902
1902
1902
1902
1903-
1903
1903
1904-
1904
1904
1904
1905
1905-
1905-
1905-
1905-
1905
1906-
1906-
1906-
1906-
1906
1906
1906
1906
1906
1907
1907
1907
1907-
1908-
1908
1908
1908
1908
1908
1908
1908
1908
1909
1909
1909
1980
1972
1988
1973
1973
1975
1986
1987
1935
1984
1987
1933
1985 c.
1959
1992
1980
1991
1972
- 1979
-1970
- 1962
498 ANOTHER GARLAND
Embar S. Vijayaraghavachariar 1909 - 1991
Kalakad S. Ramanarayana Ayyar 1 91 0 - 1 992
Trichy Swaminatha Ayyar 1910
M.K. Kalyanakrishna Bhagavatar 1910
G.N. Balasubramaniam 1910 - 1965
Kumbakonam Gopala Ayyar 1910
T. Puttaswamayya 1910
A. Narayana Ayyar 1911-1990
Neelamma Kadambi 1 91 1
Mahadevu Radhakrishna Raju 1911
K. Sankaranarayana Panicker 1911
T, Subbiah Desikhar 1 91 1
T.K. Rangachari 1912-1979
Alathur Srinivasa Ayyar 1912 - 1980
Mayavaram Govindaraja Pillai 1912
Banni Bai 1912
Alangudi K. Ramachandran 1912
Johannes T.C.R, (Yogi Sundararajan) 1912 c
Sankarankoil A. Tirugnana Sambanda Odhuvar 1912
T. Brinda * 1912
Madurai Mani Ayyar 1912-1968
Palghat Mani Ayyar 1 91 2 - 1 981
Ramnad Eswaran 1 91 3 - 1 985
RK. Rajagopala Ayyar 1913 - 1990
M.A. Kalyanakrishna Bhagavatar 1913 - 1979
Bangalore B. Channamma 1913
T.S. Parthasarathy 1913
Dr, S. Pinakapani 1913
K.P. Kittappa 1913
Tanjore T.T. Sankara Ayyar 1913
A. Subramaniam 1913
K.C, Thiagarajan 1913
Kallidaikurichi A. Sundaram Ayyar 1 913 - 1974.
M.L Veerabhadriah 1914 - 1989
K.S. Dhanammal 1914
M.S. Chandrasekhariah 1 914
Chidambaram C.S. Kurnaraswami Pillai 1914
K.S. Narayanaswami Ayyar 1914
Trichy S. Raghava Ayyar 1914
V, Anantarama Ayyar 1914
N.S. Krishnaswami Ayyangar 1 91 4
T. Muktha 1914
C.S. Murugabhupathy 1914
Valangaiman Shanmughasundaram Pillai 1 91 4
Terazhandur T.V. Srinivasachari 1914
K.S. Krishnamurti 1914
P. Balakrishnan 1914
Puttaraja Gavai 1914
S.R. Kuppuswami 1914
Mannargudi Sambasiva Bhagavatar 1912
ANOTHER GARLAND 499
R.P. Dasaratharaman 1915
V. Govindasami Naicker 1915
C. Honnappa Bhagavatar 1915 - 1992
PalghatV.A. Ramachandran c. 1915
Prof. V.V. Sadagopan 1915
Karanthai R. Shanmugham Pillai 1915
Dr. Alamelu Govindarajan 1915-1 988
Dr. Vinjamuri Varadaraja Ayyangar 1915 - 1991
R. Chandrasekhariah 1915
Chellapillai lyengar 1915
P. Kalinga Rao 1915
Vaiyapuri Devar 1916
R.N. Doreswamy 1916
Nagercoil S, Harihara Ayyar 1 91 6
A. S. Panchapakesa Ayyar 1916
B.V.K. Sastri 1916
R Sivavadivelu Pillai 1916
Dr. M.S. Subbulakshrni 1916
T.S. Vembu Ayyar 1916
Pallavi S. Chandrappa ' 1916-1986
R.V. Pakkiriswamy 1916-1989
V. Sethuramiah 1916-1986
Alathur Sivasubramania Ayyar 1 91 6 - 1 965
R. R. Keshavamurty 1916
Chintlapatti Ramachandra Rao 1916
Prof. S. Kaipakam 1917
T.R. Ramu Pillai 1917
G.N. Dandapani 1917
Srivanjiam Ramachandra Ayyar 1917
Dr. S. Ramanathan 1917-1985
Prof. V. Ramanathan 1917
Tanjore K.P. Sivanandham 1917
P.R. SundarRajan 1917
S. Thathachariar 1917
T. Balasaraswati 1 91 8 - 1 984
S.Ambhujam 1918-1989
T.S. Balakrishna Sastrigal 1918
K.R. Ganapati 1918
Sandhyavandhanam Srinivasa Rao 1918
V. Venkatasubba Rao 1918-1989
A. Vinayaka Mudaliar 1918
C. Kalyanasundaram 1918
P. Bhuvanaswamayya 1918
T.R. Krishnamurty „ 1918
V. Venkatasubba Rao 1918
Pithukuli Murugadas 1 91 8
Maharajah Jaya Chamarajah Wodeyar 1919 - 1974
Dr. S. Venkatasubramonia Ayyar 1919 - 1984
M.A. Narasimhachar 1919
500 ANOTHER GARLAND
D.K. Pattammal 1919
N. Muthukrishna Ayyar 1919
S. Rajam 1919
T.K. Radhakrishnan 1919
Tlruvizhimalalai S. Govindaraja Pillai 1 919
K. Srinivasa Ayyangar 1919-1 979
Madurai Dr. S. Somasundaram 1919 - 1989
M. Narayanaswamy Ayyar 1919
Vedaranyam V. Somasundaram 1 91 9
Vidyasankar 1919
Mavelikara Krishnamurty Nair 1920 - 1988
R.K. Srikantan 1920
Cuddalore M. Subramaniam 1920
Mysore Dr. Doreswami lyengar 1920
Kuttalam Viswanatha Ayyar 1 920
Madras A. Kannan 1 920
R. Pichumani 1920
Coimbatore N. Ramaswami 1920
V. Srikanta Ayyar 1 920
Tirumalai Srinivasachariar 1 920
M.V. Varahaswami 1920
Manchella Jagannatha Rao 1 921 - 1985
K.S. Manjunathan 1921 - 1989
Karukurichi Arunachalam 1921 - 1964
Nagore T,S. Ambi Ayyar 1921-1991
B.V. Raman & B.V. Lakshman 1921
N. Kesi 1921
P.V. Ganesa Ayyar c. 1 921
Veenai Sesha Ayyar 1 921
Swarna Venkatesa Dikshitar 1 92 1
Needamangalam Krishnamoorty Bhagavatar 1921 - 1982
Kanchana Venkatasubramanyam 1 921
M,R. Doraiswamy 1922
Emani Sankara Sastri 1922 - 1987
Kamala Thiagarajan 1 922
B. Rajam Ayyar 1 922
Tiruvallur B. Subramaniam 1922
Gomati Viswanathan 1 922
Kalpakam Swaminathan 1922
T.R. Navaneetham 1922
M.R. Sankaramurty 1922
M. S, Ramayya 1922
Puducode Krishnamurty 1923 - 1985
M.D. Ramanathan 1923 - 1984
Nallan Chakravartulu Krishnamacharyulu 1923
K.V. Narayanaswami 1923
P. Swaminathan 1923
T. M. Theagarajan 1 923
"Tlruvizhimalalai S. Dakshinamoorty Pillai 1923
ANOTHER GARLAND
501
K.V. Kanthamani
A. Subba Rao
Srirangam R. Kannan
Sundaraja (Parvati Srinivasan)
Parur S. Anantaraman
V. Desikachar
Valliyur R, Gurumurti
Srirangam V.S. Krishnamoorti Rao
Dr. T.K. Murthy
Saidai T. Natarasan
Kanchipuram S. Srinivasa Odhuvar
Harikesanallur M. Vaidyalingam
Vattipalli Dr. Krishnamurti
Dr. Namagiripettai Krishnan
D.S. Rajappa
Tanjore Sankara Ayyar
M.J. Srinivasa Ayyangar
Ramnad Krishnan
Kandadevi S. Alagiriswamy
Dr. T.V. Kuppuswamy
Chalakudi Dr. N.S. Narayanaswamy
H.P. Ramachar
Dr. V.S, Sampathkumaracharya
K.R. Chandramouli
P.S. Lakshmi
S. Rajaram
Mylattur S. Ramachandran
Tiruvarur S. Balasubramanian
Anayampatti S. Dandapani
T.R. Mahaiingam (Mali)
V. Balakrishnan
Ramnad M.N. Kandaswamy
Dr. R. Satyanarayana
Mookapatti Nageswara Rao
Annavarupu Ramaswamy
Kuzhikarai S.P. Viswalingam
T. Viswanathan
M. Ramasubramania Sarma
Hymavati Tyagarajan
R.K. Suryanarayana
K.N. Krishnamurty
Nedunuri Krishnamurti
N. Krishnaswamy Chettiar
Dr. Ranganayaki Ayyangar
Mythiii Srinivasan
A.M. Sambandamurti Odhuvar
T.A. Thiagaraja Desikhar
V. Thiagarajan
Dr. S. Balachander, Veena
1923
1923
1924- 1988
1924- 1989
1924
1924
1924
1924
1924
1924
1924
1924
1924
1924
1924
1924
1924
1925- 1974
1925
1925
1925
1925
1925
1925
1925
1925
1925
1925
1926- 1984
1926- 1986
1926
1926
1926
1926
1926
1926
1926
1926
1926
1926
1926
1927
1927
1927
1927
1927
1927
1927
1927- 1990
502 ANOTHER GARLAND
Nachiarkosl N.K. Rajam Pillai 1927
Dr. M.L Vasanthakumari 1928 - 1990
Voleti Venkateshwarulu 1 928 - 1 989
KV, Krishnan 1928
Madura! N. Krishnan 1928
Prof. R.V. Krishnan 1928
A.K. Muthukumaraswamy 1928
C.V. Parthasarathy 1928
Maharajapuram V. Santhanam 1928 - 1992
M.P.N. Sethuraman 1928
KM. Vaidyahathan 1 928
Prof. S. R. Janakiraman 1928
Prof. T.N. Krishnan 1 928
Palghat R. Raghu 1928
Vairamangalam Lakshminarayanan 1928
Prof. Rajalakshmi Narayanan 1928
T.R. Srinivasan 1928
Papanasam Balasaraswati 1928
H.V. Krishnamurti 1928
O.K. Jayaraman 1928 - 1991
Salem D. Chellam Ayyangar 1929
Maharajapuram K. Nagarajan 1929
Umayalpuram K. Nar&yanaswamy 1929
M. S. Ponnuthai 1929
Vellore Ramabhadran 1929
Rukmani Venkatachalam 1 929
T.K. Govinda Rao 1929
A. Srinivasaraghavan 1929
T.R. Subramanyam 1929
V. Nagarajan 1930
Mysore M, Nagaraj 1 930
Tanjore S. Kalyanaraman 1 930
Sikkil Kunjumani 1 930
Mani Krishnaswami 1 930
Melattur A. P. Natesa Ayyar 1 930
Dr. S. Seetha 1930
Tiruvarur S. Sethuraman 1930
P.P. Somayajulu 1930
Lalgudi G. Jayaraman 1930
Janaki Subramaniam 1 930
Tlrupanandal S. Veeraraghavan 1930
Parur R. Venkataraman 1 930
Dr. M. Balamurali Krishna 1930
Madura! M. Balasubramaniam 1931
M. S. Gopalakrishnan 1931
Sirkali Jayaraman 1931
V. Lalitha 1931
A. K. C. Natarajan 1 93 1
Prof. D. Pasupati 1931
ANOTHER GARLAND 503
Prof. R. Visweswaran 1931
V.K. Venkataramanujam 1931
M, V. Ramanamurty 1 932 - 1 990
Anayampatti S. Ganesan 1932
T.V, Gopalakrishnan 1932
P. Harihara Ayyar 1932
Dr. Salem S. Jayalakshmi 1932
Pasupatikoil Kamalamurti 1932
B. Krishnamurti 1932
Ranganayaki Rajagopalan 1932
Polagam A.K. Sambasivam 1932
T.S. Sankaran (Flautist) 1932
Saroja Soundararajan 1 932
A. Sundaresan 1932
Allam Koteeswara Rao 1933
Sirkazhi Dr. S. Goviridarajan 1933 - 1988
Krishnan Odhuvar 1933
Adyar K. Lakshmanan 1 933
G. Ramamurti Bhagavatar 1933
Sembanarkoil S.R.D. Muthukumaraswamy 1933
M.P.N. Ponnuswami 1933
Tirupanthuruthi V. Venkatesan 1 933
Bellary Venkatesh 1933
C. Krishnamurti 1934
RS. Narayanaswamy 1934
Dr. N. Ramani 1934
P. SuryaRao 1934
T.P Vaidyanathan 1934
Bangalore V. Venkataram 1 934
Radha Viswanathan • 1 934
Thanjavur Upendran 1934 - 1991
Dwaram Mangathayaru 1935
P.T. Chelladurai 1935
Guruvayur Dorai 1 935
Lalitha Seshadri 1935
P. Leela 1935
S.R.D. Vaidyanathan 1935
Parvathavarthini Balasubramanian 1935
Umayalpuram K. Sivaraman 1935
Kunnakudi R. Vaidyanathan 1935
Dr. M.B. Vedavalli 1935
K. Veerabhadra Rao 1 935
M.S. Subramaniam 1935
B.M. Sundaram 1935
R. Vedavalli 1935
A.V. Unnikrishnan 1935
Bellary Seshagiri 1 935
Prof. Gowri Kuppuswami 1935
Sikkil R. Bhaskaran 1936
504 ANOTHER GARLAND
Dr. Chitti Babu 1936
Kalyani Sharma 1936
T. Rukmani 1936
K Veeramani 1936 - 1990
Papa Chudamani 1936 - 1978
Jaya Pasupati 1 937 - 1 991
T.R. Balamani 1937
M. Chandrasekharan 1937
Tiruvizha Jayasankar 1 937
K.G. Kanakalakshmi 1937
Sadhuram Swamigal 1937
Tirupamburam Dr. S. Shanmughasundaram 1937
R.K. Suryanarayana 1937
T.R. Balamani 1937
Mangalam Muthuswamy 1937
Indira Srinivasan 1 933
Ettukudi V. Jayaraman 1938
Meera Seshadri 1 933
Prema Hariharan 1938
Pudukottai R. Ramanathan 1938
Shanta Narasimhan 1 933
John Higgins 1939 . 1934
Rajeswari Padmanabhan 1 939
Dr. Rukmani Ramani v 1 939
N.C. Sundaravalli 1939
Dr. S.A.K. Durga 1940
Palani S. Lakshminarasimha Ayyar 1940
Sikkil Neela 1940
Denkanikottah R. Muniratnam 1940
Trichur V. Ramachandran 1 940
Vaiayapatti A. R. Subramaniam 1 940
Dr. K.J. Yesudas 1940
Thulaseevanam 1 940
ACHIEVEMENTS
i Komanduri Seshagiri, Violinist, performed a 24-hour yagna of nadopasana
with the songs of Tyagaraja alone.
ii Yella Venkateshwara Rao, Mridangist, set up a world record of non-stop
mridangam play spanning 26.5 hours.
iii G. Sridhar gave a 24-hour flute recital at the Madhava Perumal temple,
Madras.
505
D
INDEX TO BIOGRAPHIES OF ARTISTES
INCLUDED IN A GARLAND & ANOTHER GARLAND.
Name
Abbayi, Clarinet
Abhinavaguptacharya
Abhiramasundari
Abraham Pandithar, Rao Sahib M.
Acchanna, Bangalore
Achyuta Dasa
Adalarasan Odhuvar
Adimurthy Ayyar
Adippayya, Pacchimiriyam
Agraharam C. Munuswamy
Ahobala
Akhalananda Dasa
Akhilswamy
Alagiriswamy, Kandadevi
Alamelu Govindarajan, Dr,
Alathur Brothers
Allam Koteeswara Rao
Ambhayiram
Ambi Ayyar, Nagore T.S.
Ambhujam Krishna
Ambhujam, S
Anal & Ayya Brothers
Ananda Dasa
Ananta Bharati, Umayalpuram
Anantachariar
Anantakrishna Sarma, R.
Ananta Padmanabha Goswami @ Meruswamy
Anantarama Ayyar, V.
Anantarama Bhagavatar, Palghat
Anantaraman (Sr.), Parur M.S.
Anantayya, Veena
Anasuya Kulkarni, H.S.
Andavan Pitchai (Andavananda Mataji)
Angappa Pillai, P.N.
Anjugathammal, Palani
'A Garland'
Page
No.
1
1
2
2
2
3
3
4
4
5
5
5
5
5
6
6
8
7
7
7
8
8
9
9
10
'Another
Garland'
Page
No.
85
85
86
36,86
86
87
87
88
89
89
35
506
Annachi Ayyar 1 °
Annadhana Sastriar, Bangalore 1 °
Annamacharya (Tailapakka Family) 1 °
Annamafai Reddiar 1 3
Annaswamy Sastri (Bhagavatar) 1 3
Annaswamy Sastri, S. 1 3
Appasah, Mysore (Kuppiah Brothers) 53
Apparao, Vuyyur Venkatadri 1 4
Appaswamy Ayyar 1 4
Appayya, Atana 1 4
Appukutti Nattuvan 14
Arabatta Navalar 1 5
Arivanar 90
Arumugha Odhuvar, N. 1 5
Arunachala Kavirayar (Rama Natakam) 1 5
Arunachalam, Karukurichi 90
Arunachalappa, Harmonium 90
Arunagirinathar, Saint 1 7
Aruna Sayeeram 1 8
Athmanandha Bhagavatar 1 8
Atkondar Odhuvar, T,V, 1 8
AyiSyam Tirunal, Maharajah 1 8
Ayya Bhagavathar 1 9
Ayyaswami 1 9
Azhaganambi Pillai, Kumbakonam 1 9
Azhagappa Ayyangar 398
Bakshi Subbanna 32 1
Bakthavatsalam, Tiruvarur 21
Balachander, Veena Dr. S. 24 93 445
Balakrishna Ayyar, Madras 21
Baiakrishna Sastrigal, IS. 21
Baiakrishnan, P. ^ QO
Baiakrishnan, V. 22
Balamani, T.R, 100
Balamurali Krishna, Dr. M. 101
Baiaraman 22
Baiasaraswati, Papanasam • 1 03
Bafasaraswati, T.
Bafasubramaniam, Chetiapati 23
Baiasubramaniam, G.N.
BaSasubramanian, A. 23
Balasubramanian, K
Bafasubramaniam, Madurai M. 1 05
Baiasubramaniam, G.N. 23
BaSasubramanian, A.
1 " 1 05
Balasubramanian, Tiruvarur S.
Baiasubramanyam, Tiruvaiyaru R.
Baiasundaram, Saidai R.
Baiusami Dikshitar ^
26
507
Banni Bai
Basavanna
Bellary Brothers (Venkatesh & Seshagiri)
Bharata (Natya Sastra)
Bhaskaran , K
Bhaskaran, Sikkil R.
Bhavani, Tiruvidalmarudur
Bhimachar, Pallavl
Bhuvanasamayya
Bhodendra Swamigal, Sadguru Sri.
Bombay Sisters
Brahmananda Parades!
Bnnda, T.
Bushany Kalyanaraman
26
27
28
28
29
30
30
106
107
107
34,109
109
109
441
110
Qatura Damodara (Sangita Darpana)
Chandramouli, B.N.
Chandrappa, Pallavi S.
Chandrasekharan, M.
Chandrasekharendra Saraswati, Sri
Chandrasekhariah, Mysore M.S.
Chandrasekhariah, R.
Channamma, Bangalore G.
Charumathi Ramachandran
Chelladurai, S.J..P.T.
Chellam Ayyangar, SaSem D.
Chellappa Chettiar, Tirupaingili
Chellapillai lyengar
Cheluvarayaswami, M
Chengaivaraya Sastri
Chennakesaviah, N.
Chidambara Ayyar, Polagam
Chidambara Bhagavatar, Mangudi
Chidambara Bhagavatar, Mazhavarayanendal
Chidambara Bharati, Mazhavai
Chinna Devudu Krishniah (Karur Quartette)
Chinnanna, Tallapaka
Chinna Satyanarayana, Nookala
Chinnaswami Ayyar, Karur
Chinnaswarni Dikshitar
Chinnaswarniah, Karur
Chinnaswami Mudaliar, A.M.
Chinna Tirumalacharya
Chinniah (Tanjore Quartette)
Chinni Krishna Dasa
Chinnuswami Dasar
113
113
31
31
33
33
33
33
34
34
34
35
36
36
36
36
107
12
37
37
107
37
12
365
123
38
114
115
115
116
116
508
41
Chowdiah, T.
45
Dakshinamoorti Filial, Pudukottai
Dakshmamurti Filial, Ttruvizhimalalai ^
Dakshinamoorti Sastri (Garbhapuri) ^
Dandapani, Anayampattj S. ^
Dandapani Desskar, M.M. 4Q
Dandapani, G.N. ,
Dasaratharaman Odhuvar, R.P.
Dasari, Nagaswaram 4g
Desikachar, V.
Das Swarnigal @ Madathipathi
Dattlla (Dattiiam)
Devaraja Wodeyar, Chikka
Devendrappa, Dr. B. 49
Dhanakoti Ammal, Kanchlpuram 49
Dhanakoti Sisters (Dhanakoti Ammal & Kamakshi Ammal) 49 34,69
Dhanam, Krishnarajapuram 50
Dhanmmal, K.S. 50
Dhanammal, Veena 50
Dorai, Guruvayur 52
Durairaja Ayyar, Mangudi FL 55
Doraiswami Ayyangar, Salem 1 1 9
Doraiswamy, M . R . ^ 8
Doraiswami Ayyar, Paliavi 53
Doreswami, R.N. 5^
Doreswamy Ayyangar, Mysore Dr. 53
Doreswamy Ayyar @ Panchanadha Ayyar 55
Duraiswamy Ayyar, Manathattai 56
Duraiswamy Ayyar, Puliyur 56
Duraiswamy Kavirayar 56
Durga, Dr. S.A.K. 56
Durga Prasad 57
Enadhi Sisters (Lakshmi Narayani & Rangiammal) 1 21
Eswaran, Mannargudi A, 59
Eswaran, Ramnad 59
CG'
Ganapthi, K,R. 441
Ganapati Bhagavatar Mukkai 123
Ganapati Sacchidananda Swamigal 1 23
Ganesa Ayyar, Pozhakudi, P. V. 1 24
Ganesa Bhagavatar, S. 61
Ganesan, Anayampatti S. 1 25
509
Ganesan, Injikudi E.R (& Kandaswaini, E.R) 61
Ganesa Pillai 61
Ganesh (& Kumaresh) 62
Gayatri Chandrasekhar 1 25
Gayatri, E. 63
Garbhapuri Quartette 1 07
Geetha Rajah 63
GirirajaKavi 64 126
Girisa Ayyar, Visalur 64
Gnanaprakasa, Desikhar, S. 64
Gnanaskandan, Vaigai S. 64
Gnanasundaram or Gnanam 65
Gomatisankara Iyer, V.S. 65
Gomati Viswanathan, Prof. 1 27
Gopala Ayyar, Kumbakonam. 1 27
Gopala Ayyar, Lalgudi V.R, 1 28
Gopala Ayyar, Pallavi 65
Gopalakrishna Ayyar, Marungapuri 66
Gopalakrishna Bharati (Nandanar opera) 67 77,356,426
Gopalakrishnan, Chittoor 74
Gopalakrishnan, M.S. 74 51
Gopalakrishnan, TV. 75
Gopala Naik 75
Gopalaratnam 1 28
Gopalaswamy, M. 76
Govindacharya, Akalanka 76
Govinda Dikshitar 76
Govinda Marar, Shatkala 77
Govinda Matya 78
Govinda Pillai, Keeranur 78
Govindarajan, Seergazhi Dr.S. 78
Govindaraja Pillai, Mayavaram 80
Govindaraja Pillai (Tiruvizhimalalai Brothers) 129
Govinda Rao, T.K, 129
Govinda Samayya 80
Govinda Sivan 80
Govindaswami Naicker, V. 1 30
Govindaswamy Pillai, Malaikottai 81
Gowri Kuppuswamt, Prof, 131
Guru Basava 82
Gurumurthi Sastri, Paidala "• B2
Gurumurthi, Valliyur R. 62
Gururajan, Erode A. 83
Guruyacharyulu 83
Hanumantha Bhattar, Adoni S5
Hanumantha Rao 7
Haridasa, Audanoor R 85
510
Haridhos Giri, Swamy (Bhagavatha) 85
Harihara Ayyar, P. 1 33
Harihara Bhagavatar, Avudyarkoii 87
Hari Nagabhushanam 88
Harihara Iyer, Nagercoil S. 88
Harlpala (Sangita Sudhakara) 1 34
Hari Shankar, G. 89
Hemalata Man! 1 34
Honnappa Bhagavatar, C. 1 34
Hyderabad Brothers (D. Seshachary & D. Raghavachary) 1 36
Hymavathi Tyagarajan 89
T
lllango (Qilappatikaram) 1 37
Indira Srinivasan 1 38
Irayi Amman Tarn pi 91
Jagannatha Ayyangar 93
Jagannatha Bhat Goswami 93
Jagannatha Dasa 1 41
Jagannatha Rao, Manchella 141
Janaki Achuthan 1 41
Janakiraman, Prof. S.R. 43, 65, 142
Janaki Subramanian 144
Jaya Charamaraja Wodeyar, Maharaja 93
Jayadeva 94
Jayalakshmi, R.S, h 145
Jayalakshmi, Salem, Dr. S. 95
Jaya Pasupathi 95
Jayarama Ayyar, T.K. 96
Jayaraman, O.K. 97 9, 412
Jayaraman, Ettukudi V. 98
Jayaraman, Lalgudi G. 146, 437
Jayaraman, Sirkali R. 98
Jayaraman, Tlruvengadu 98
Jay^sankar, Tiruvizha 149
Johannas, T.C.R. 98
Jon Higgins 99
'K'
Kadri Gopalnath 1 51
Kaiiasam, T.P. 101
Kalidas N. Nilakanta Ayyar 1 51
KalingaRao, P. 151
Kalladar 151
Kallinadha 101
511
Kalpakam, Prof. S. 1 53
Kalpakam Swaminathan 1 53
Kaljyamurti, Tiruvaiaputhur, T.A. 1 54
Kalyana Krishna Bhagavatar, Veena 52, 58
Kalyanakrishna Bhagavathar, M.A, 1 54, 434
Kalyanakrishna Bhagavatar, M.K. 101
Kalyanaraman, Tanjore S. 101
Kalyanasundaram C. 1 02
Kalyani Ganesan 1 55
Kalyani Sharma 1 55
Kamakoti Sastri 1 56
Kamalakara Rao, V. 1 03
Kamala Viswanathan 1 56
Kamalamoorthy, Pasupathi Koil 103
Kamala Thiagarajan 1 03
Kanaka Dasa 1 04
Kanakalakshmi, K.G. 104
Kanakasabhal Piliai, M. 104
Kanchana Venkatasubramaniam 1 56
Kandaswamy Piliai, E.P. & Ganesan, EP. (Injikudi) 61
Kandaswamy, Ramnad M.N. 105
Kannan, Madras A. 441
Kannan, Srirangam R. 105
Kannan, Srirangam, S. 105
Kannappa Piliai (Keeranur Brothers) 1 58
Kannayya Bhagavatar 1 05
Kannuswamy Piliai, Ammachatram 106
Kannuswami Rao, Swarabat 1 06
Kanthamani, K.V. 1 57
Kanyakumari, A. 106 359
Karaikudi Veena Brothers 321
Karigiri Acharya 1 07
Karakudiyar Chandramouli 1 57
Karur Quartette (Garbhapuri) 1 07
Kasinatha ' 1 08
Kasintha Desikhar, K 1 08
Kattu Suranna 1 08 -
Keeranur Brothers (Nagaswaram) 1 58
KesavaAyyar, Polagam 109
Kesava Dasa, Velur 1 59
Kesava Piliai, K.C. 109
Kesavayya, Bobbin Ghanam 110 372
Keshavamurty, R.R. 160
Kesi, N. 1 59
Kirupananda Variar, Tirumuruga 1 61
Kittappa, K.P. 110
Kittappa, S.G. 110 68
Kodandarama Ayyar, T. P. 112
Kodandarama Ayyar, Umayalpuram N. 112 1 64
Kohala 163
wanasamayya 80
iswaraAyyar 112
>hna Ayyangar, Madurai 1 1 3
shna Ayyangar, Mysore. 1 68
shna Ayyangar, Tltte 1 1 3
ihna Ayyangar, Alasur 1 1 4
fhna Ayyar, Duritakala 1 1 4
»hna Ayyar, E. 114
ihna Ayyar, Ghanam . 115
tina Ayyar, Kundrakudi 1 1 6
hna Ayyar, Meesu 1 64
hna Ayyar, Myiattur 1 64
hna Ayyar, Palani 1 1 7
hna Ayyar, Tlrukodikaval 118 366
hna Ayyar, Tsallagalli 1 20
hna Ayyar, Valadi 121
hna Ayyar, Veena 1 64
hna Bhagavatar, Patti " 1 21
hna Bhagavatar, Tanjore 121
Ina Bhagavatar Umayalpuram 123
ina Dasa, Chinni 123
inamachariar, Veenai 124
inamacharyulu, Nallan Chakravartulu 124
inamoorti Bhagavatar, Nidamangalam 166
inamoorti, Vattipalli Dr. 442
inamorthy, B. 125
tnamoorthy, Nedunuri 126
mamoorthy Rao, Prof. Srirangam V.S. 127
mamoorthy, Puducode 127
mamoorthy Sastri 128
mamoorthy Sastrigal, Budalur 128
mamurti, H.V. 165
mamurti, K.N. 165
mamurti K.S. 165
namurty, Mysore C. 1 66
namurty, T.R. 168
nan, K.V. 128
nan, Lalgudi G.J.R. 168 ,
nan, Madurai N. 129 169
nan, Namagiripettai 1 70
nan, Pathamadai S. 1 71
nan, Ramnad 129
nan, R.V. 129
nan, Prof. T.N. 172
nan Kutty Nair, Mavelikara 130
nan Odhuvar, C. 1 30
ia Pisharody, Attoor . 130
lappa, Bidaram 131 46, 57, 175
ia Sastrigai, Paruthiyur 132 (363
laswami Ayyangar, N.S. 1 77
514
Madura Kavi Bharati 1 86
Maduranath, C,M. 186
Mahadeva, Annavi 147
Mahalingam, Tiruvarur 147
Mahalingam, T.R. (Mali) 186
Mahalingam Pillai, Tiruvidaimarudur 1 89
Mahendra Varman, Rajah 23, 1 89
Mangalam Muthuswami 190
Mangathayaru Ammal, Dwaram 147
Mani, Karaikudi R. 147 190
Mani, Madurai G.S. 148 68
Mani Ayyar, Ghatam 1 91
Mani Ayyar, Madurai 149
Mani Ayyar, Palghat 1 52
Mani Bhagavatar, S.S. 191
Mani Krishnaswamy 154
Manjunathan, K.S. 192
Manpoondia Pillai, Pudukottai 155 367
Mariappaswami 1 92
Marimutha Pillai 155
Masilamani Mudaliar (Photo) 1 56
Matanga Muni (Brahaddesi) 1 92
Mathrubhutayya, Kavi 156
Meenakshi Somasundaram 1 56
Meenakshisundaram Pillai, Kivalur 193
Meenakshisundaram Pillai, Needamangalam 193
Meera Narayanan 1 95
Meera Seshadri 1 95
Meruswami 8
Mookupulavar, Kadigai 157
Mukta, T. 195
Mummadi Chikka Bhupala 196
Munirathnam, Denkanikotta, R. 196
Murthy, Dr. T,K. 157
Murugabhoopathy, C.S. 197
Murugadas, Pithukuli 198
Muthiah Bhagavatar, Harikesanallur 159
Muthiah besikar, Tiruvannamalai, M. 1 60
Muthiah Odhuvar, Tiruvirkudi 161
Muthu Ayyar, Karaikudi 1 61
Muthukrishna Ayyar, N. 1 61
Muthukumaraswamy, (Sembanarkoil Brothers S.R.D.) 161
Muthukumaraswamy, Varahur, A.K. 162
Muthurama Kavirayar 1 62
Muthuswami Ayyar, Varahur 1 93
Muthuswamy, Nagaswaram 162
Muthuswamy, Uraiyur 162
Muthuswamy Dikshitar (of Trinity) 163 444
515
Muthuswamy alias Ambhi Dikshitar 1 68
Muthu Jhandavar 169
Mythili Srlnivasan 169
Nagamani Srinath, Q.N. 171
Nagaraj, Mysore M. 201
Nagaraja Bhagavatar 201
Nagarajan, Maharajapuram K. 171
Nagarajan, V. 201
Nagaraja Rao, Palladam K 202
Nagaraja Rao, R. / 202
Nagaswaml Bhagavatar 202
Nagarathnammal, Bangalore 33,202,356
Nagaratnamma, Kolar * 205
Nageswara Rao, Mokkapati ' 172
Naina Filial - (C. Subramania Pillai) Kanchipuram 173 73,357,360
Namasivaya Mudaliar, S. 174
Namasivayam, T.V. 175
Namasivaya Pulavar, Kadigai 157
Nannumiya Sahib, Dolak 1 75 60,205
Narada (Naradiyasiksha) 206
Narahari Tirtha, Sri 175
Narasa Ayyar, Sankarabharanam 1 75
Narasimha Ayyangar, Pallavi 1 77
Narasimhachar, MA. 178 206
Narasimhachariar, Thenmatam
Narasimhachai! V.V, 208
Narasimha Dasa, Toomu 178
Narasimha Moorthy, H.K. 1 79
Narasimhalu Naidu, Choristor 179
Narasimhalu Naidu, Vidyala 179
Narasimham, Yoga . 18°
Narasimhan, C.V. (I.C.S. Rtd.) 180
Narasimhan, N. 208
Narayana Ayyangar, Devakottai 1 80
Narayana Ayyangar, Gottuvadyam K.S. 1 81
Narayana Ayyar, A. " 443
Narayana Ayyar, Umayalpuram 1 82
Narayana Bhagavatar, Trivandrum 182
Narayana Das, Adibhatla 1 83
Narayanaswami, Dr. N.S. 183
Narayanaswami, Umayalpuram K 184
Narayanaswami, P.S. 184
Narayanaswami Appa 1 85 ,
Narayanaswami Ayyar, Bhoologa Gandarva 1 86
Narayanaswami Ayyar, K.S. 1 95
Narayanaswami Ayyar, M. 2°8
Narayanaswami Ayyar, Pudukottai 1 86
516
Narayanaswami Ayyar, Semmangudi 186
Narayanswami Ayyar, Sw'arakalanidhi 1 87
Narayanaswami Ayyar, Tiruvisanallur 122,209
Narayanaswami Bhagavatar 209
Narayanaswami Naidu, Tirupati 188
Narayanaswami Pillai, Sirkali 188
Narayanaswamy, K.V. 188
Narayana Tirtha Swamigal 1 90
Narendran, Tiruchur 191
Nataraja Desikar, K. 191
Natarajan.A.K.C. 210
Natarajas.undaram Pillai, f iruppamburam 75,21 1
Natarajasundaram Pillai, Tiruvizhimalalai S. 191
Natarasan, Saidai T. 192
Natesa Ayyar, Madirimangalam 1 92
Natesa Ayyar, Melattur, A.P, 1 93
Natesa Dikshitar, Kumbakonam 211
Natesan, Tirumarugal 193
Natesa Pillai, Koorainadu 194
Natesa Pillai, P.I. 212
Nathamuni, Sriman 212
Navaneetham, T.R. 212
Neelamegham Pillai, Lalgudi 213
Neelamma Kadambi 195
NijagunaYogi 82 213
Nilakanta Sivan 194
Nori Nagabhushanam Pantulu 213
Padmalochana Nagarajan 1 97
Padma Murty, Dr. 215
Padmanabha Bhagavatar, Suchindram 215
Padma Narayanaswamy 215
Padma Varadan 216
Pakkiri Pillai, Tanjore 216
Pakkiriah Pillai, Ammapettai 21 7,434
Pakkiria Pillai, Konnakol 197
Pakkiriswamy, R.V. 198
Palanivel, A.K. 217
Palanivel Odhuvar, S. 198
Panchakshari Gavai 1 99
Panchami, lllupoor 199 218
Panchanada Ayyar, Tarangambadi 2 1 9
Panchapakesa Ayyar, A.S. 1 99
Panchapakesan, E.M. 200
Panchapakesa Sastri, Tirupazhanam 200
Papanasam Mudaliar 200
Papa Chudamani @ Sitalakshmi 219
Papa Venkataramaiah 201
517
Pappu Pillai, Parur
Parameswara Bhagavatar, Noorani
Parameswara Bhagavatar, Trivandrum P.
Parsvadeva (Sangita Samayasara)
Parthasarathy, C.V.
Parthasarathy, T.S.
Paravathavardhini Baiasubramaniam
Parvathy Raman
Pasupathi, Prof. D.
Pasupathia Pillai, Tiruvalaputhur
Pattabhiramiah, Tirupanandal
Pattammal, D.
Pattammal, O.K.
Pedda Dasari
Pedda Devudu Venkatasubbiah
Pedda Tirumalacharya
Peria Pappammal, Madras
Periaswami, M.P. (Thooran)
Peria Vaithi
Perumalayya, Veenai
Pichaikannu Pillai, Injikudi
Pichu Ayyar, Vembattur
Pichumani, Veena R.
Pinakapani, Dr. S.
Ponniah, Tanjore
Ponniah Pillai, Sangita Kalanidhi K.
Ponnuswami Pillai, Illuppur
Ponnuswami Pillai, M.K.M.
Ponnuswami, M.P.N.
Ponnuswami Pillai, Muthialpet
Ponnuthai, M.S.
Prameela Gurumurthi
Pratapa Simha Rajah
Prema Hariharan
Pundarika Vittala
Purandara Dasa, Saint
Purnachandra
Pushpavanam, Madurai
Puttaraja Gavai
Puttaswamayya, M,
Puttaswamayya, T.
202
202
203
203
204
204
205
205
206
207
207
208
107
12
208
208
209
365
210
210
287
210
210
210
211
211
211
212
214
219
39,48
220
36
35,373
34
220
53
48
221
222
437
224
62
224
225
226
226
227
Radha Ammal, Madras.
Radhakrishna Ayyar, Valadi
Radhakrishna Pillai, Chidambaram S.
Radhakrishna Ayyar, Kanjira
Radhakrishnan, T.K.
Radhakrishna Raju, Mahadevu
215
123
215
34
229
229
518 I
I
Radha Viswanathan 229
Raghava Ayyar, Trichy S. 21 6
Raghava Ayyar, Trivandrum 21 6 368
Raghavan, Dr. V, 230
Raghu, Palghat R, 231
Raghu & Ravi 21 8
Raghunatha Naik, Rajah 21 8
Rajagopala Ayyar, Maruthuvakudi S. 21 8
Rajagopala Ayyar, P.K. 21 9
Rajagopala Ayyar, Tiruvarur Kunju 234
Rajagopalan, R.A. 234
Rajagopala Sharma, Turaiyur 220
Rajah Ayyangar, B.S. 232,365
Rajalakshmi Narayanan, Prof. 233
Rajalakshmi Raghavan 233
Rajalakshmi Tinunarayanan 234
Rajam, S. %220 235
Rajam Ayyar, B. 221
Rajamanickam Pillai, Kumbakonam 222
Rajam Pillai, N.K. 236
Rajappa, D.S. 237
Rajaram, S. (Kalakshetra) 237
Rajarao, Srimushnam V. 224
Rajarathinam, T.N. 224 363,377
Rajayee, Tiruvarur 238
Rajeswari Padmanabhan 225
Rajkumar Bharati 233
Rama Ayyar, Lalgudi 239
Ramabhadran, Vellore 225
Rama Bhagavathar, Palghat 226
Ramachandra Ayyar, Srivanjiam K. 227
Ramachandra Bhagavatar, Ettayapuram 228
Ramachandra Bhagavatar, Manjakudi 228
Ramachandramba 36
Ramachandran, Mylattur S. 240
Ramachandra Rao, Chintlapalli 241
Ramadasappa 241
Ramachandran, Alangudy, K. 230
Ramachandran, Prof. K. 230
Ramachandran, Madirimangalam 230
Ramachandran, Maharajapuram 230
Ramachandran, Palai C.K. 231
Ramachandran, Palghat . 231
Ramachandran, Tric^ V. 231
Ramachandra Sastri, H. 228
Ramachar, HP. 232
Ramadasappa * 241
Ramadasa, Baktha 233
Ramadoss Rao, Tanjore 242
Raman, B.V. 233
519
Ramakrishnan, Dr.T.S.
Ramakrishnayya Pantulu, Parupalli
Rama Matya, Bekara
Ramalinga Swamigal, Vallalar
Ramamani R.A.
Ramamurti Bhagavatar, G
Ramana Murthy, M.V.
Ramanarayana Ayyar, Kalakad S.
Ramanatha, M.D.
Ramanathan, Dr. N.
Ramanathan, Pudukottai R.
Ramanathan, Dr.S.
Ramani, Dr. N.
Ramaniah Chettiar
Ramanna, Hullahalli
Ramanuja Ayyangar, Ariyakudl
Ramanujachari, C.
Ramanujachariar, Veena
Ramanujam, K.V.
Ramapurathu Warriar
Rama Rao, Chikka
Rama Rao, Tanjore
Ramaratnam, Prof. V.
Rama Ravi
Ramasubramania Sarma, M.
Ramaswami, K.G.
Ramaswami, Coimbatore
Ramasami Dikshitar
Ramaswami Pillai, Woraiyur
Ramaswamy, Annavarupu
Ramaswamy Sivan
Ramaswamy Pillai, Sembanarkoil
Ramaswamy Sastri, T.N.
Ramayya, M.S.
Ramesh, R.
Ramjee
Ramudu Bhagavatar
Ramu Pillai, T.R.
Rangachari, T.K
Rangachariar, Kanchipuram
Rangachariar, Urayoor Veena
Rangajamma
Ranganathan, Chengalpattu
Ranganayaki Ammal
Ranganayaki iyengar, Dr.
Ranganayaki Rajagopalan
Rangaramanuja Ayyangar, R.
Rangu Ayyangar, Sakkottai
Ravi, V.V.
Ravi Kiran, Chitra Veenai
235
235
235
236
237
237
238
239
240
241
243
243
243
244
244
244
245
245
246
247
247
248
249
249
250
234
250
443
250
251
251
252
252
252
199, 242
243
244
247
248
248
239
249
249
249
248
35
35
250
251
252
253
520
Ritha Rajan, Dr. 253
Rudrapatnam Brothers 367
Rukmani, T. 254
Rukmini Devi Arundale 255
Rukmani Ramani, Dr. 254
Rukmini Valadi 35
Rukmini Venkatachalam 257
Sabhapatayya, Muvvanallur 259
Sabhapathy, (Viswalingam Brothers) 41 7
Sabhapathi Sivan 80
Sabhesa lyyar, T,S. 259
Sadagopan, V.V. 257
Sadasiva Brahmendral, Sri 260
Sadasiva Rao, Mysore 261 257
Sadguru Swamigai, MarudanallurSri. 262 441
Sadhu Ganapathy, Tiruvaiyaru 262
Sadhuram Swamigai, Sri. 259
Sahaji Rajah II 260
Sakharamarao, Tiruvidaimarudur 262
Sakunatla Narasimhan 261
Sambamurthi Ayyar, Prof. P. 264
Sambanda Desikhar, S, 264
Sambandam Pillai, T. 264
Sambandamurti Odhuvar, A.M. 265
Sambasiva Ayyar, Karaikudi Veena 321
Sambasiva Bhagavatar, Mannargudi 301
Sambasivam, PolagamA.K. 265
Sambhayyar, Veenai 265
Sami Ayyar, Mylattur 262
Sami Bhagavatar 262
Sampathkumaracharya, Dr.V.S. ^ 265
Sangameswara Sastri, Tumarada 262
Sanjeeva Rao, Palladam 267
Sankar, K.V.K. 267
Sankara Ayyar, Tanjore 262
Sankara Ayyar, Tanjore T.T. 263
Sankaramurty, M.R. 263
Sankaranarayanan, T.V. 268
Sankaran, A. 269
Sankaran Flautist T.S, 264
Sankaraner Isaimani K. 269
Sankaran, Trichy 269
Sankaranarayana Bhagavatar, Suchindram 264
Sankanarayana Panickar, K. 264
Sankara Sastri, Emani 270
Sankarasivam, C.S. 265
Santhanagopalan, Neyveli, R. 271
521
Santhanam, Maharajapuram, V. 271 364
Saptharishi Ayyar 7
Sarabha Sastri 274
Sarada Sivanandam 277
Sarnga Deva 278
Sarangapani, Karvetinagar 279
Saraswathi Bai, C, 279
Saroja C. (Bombay Sisters) 29
Saroja Soundararajan 280
Sastry, B.V.K. 265
Satthu Bhagavathar, Trivandrum 280
Satyanarayana, Dr. R, 266
Savitri Rajan 266
Savlthri Sathyamurthi 281
Savyasachi Ayyangar 28 1
Seetha, Dr.S. 281
Seetha Narayanan .282
Seetharama Sastri, Patrayanai 282
Senthil Velannavi 283
Serfoji Rajah II (Sarabhoji) 266,386
Sesha Ayyangar, Margadarsi 283
Sesha Ayyangar, T.K. 284
Sesha Ayyar, Pallavi 284
Sesha Ayyar, Veena 268
Seshachala Bhagavatar, Pudukkottai 285
Seshadri, Komanduri 269
Seshagiri Rao, S. 270
Seshagopalan, T.N. 285 446
Seshanna, Veena 286 56,58,271
Seshappa, D. 274
Seshappa, Mysore M.S. 287
Sethuraman, M.P.N. (Madurai Brothers) 287
Sethuraman, Tlruvarur S. 288
Sethuramiah, V. 289
Sethurama Rao, Tanjore * 274
Shahaji Maharajah If, Tanjore 289 260
Shaik Chinna Moulana, Dr. 290
Shaikh Madeena Sahib 289
Shamanna, Veenai 289
Shankar, S. 275
Shanmugham Pillai, Karanthai R. 275
Shanmuga Sundaram, T. 290
Shanmughasundaram, Tiruppamburam Dr. 275
Shanmughasundaram Pillai, Valangiman 276
Shanmugha Vadivu 290
Shanta Narasimhan 276
Shashank (Flautist) 277
Shivarudrappa, A.S. 302
Shyamala Venkateswaran 278
Siddhendra Yogi 291
522
Simha Bhupala !i (Basarnava Sudhakara) 278
Singaracharyulu Brothers, Tachur 291
Sinnayya, Qhanam 292 279
Sitarama Ayyar, Todi 292
Siva, M.K.S. 294
Sivakozhundu, Kumbakonam 294
Sivakozhudu Desikhar, Kottayur 279
Sivan, Papanasam 295 367
Sivanandam, (Tanjore Quartette) 365
Sivanandam, Thanjavur, K.P. / 299
Sivaprakasa Desikhar, T.R. 299
Sivarama Bhagavatar, Citrakavi 279
Sivaramayyar, Pailavi 300
Sivarama Bhagavatar, Andemi 300
Sivarama Chairmal 300
Sivaramakrishna Ayyar, Tiruvaiyaru 280
Sivaramakrishna Bhagavatar, Palghat 300
Sivaraman, Umayalpuram K. 301
Sivasubramania Ayyar, Alathur 31 2 85
Sivasubramania Pillai, Keeranur G. 1 58
Sivavadivelu Piiiai, P. 280
Somanatha 302
Somasundara Desikhar I. 303
Somasundaram, Dr Madurai S. 303
Somasundaram, Vedaranyam V, 304
Somasundara Odhuvar, T.N. 305
Somayajulu, P.P. 305
Someswara Bhoolokamalla (Manasollasa) 281
Somu Ayyar, Pailavi 60
SoundaravalH N.Q. 305
Sowmya, A. 281
Sridhara Venkateswara Arya, Sri, 306 441
Srikanta Ayyar, V. 281
Srikantan, R.K. 307
Srimathi Brahmanandam 307
Srinivas, Mandolin U. 308
Srinivasa Ayyangar, K. 282
Srinivasa Ayyangar, K.V. 309
Srinivasa Ayyangar, M.J. 283
Srinivasa Ayyangar (Poochi) Ramanathapuram 31 0
Srinivasa Ayyangar (Vanamamalai Brothers) " 398
Srinivasa Ayyar, Alathur S. 31 2 85
Srinivasa Ayyar, Semmangudi Dr. 31 2 9, 1 22,357
Srinivasachariar, Kanchipuram P.B. 283
Srinivasachariar, Nerur 283
Srinivasachari, Terizhandur T.V. 284
Srinivasachariar, Tlrumalai 285
Srinivasamurty, R.K. 285
Srinivasalu, Cook 31 6
Srinivasan, Prof. R. 316 285
523
Srinivasan, T.R. 286
Srinivasa Odhuvar, Kanchjpuram S. 317
Srinivasa Raghavachariar, Dr.T. 31 7
Srinivasaraghavan, A. 286
Srinivasa Rao, Sandhyavandanam 317
Sripadaraya 318 287
Sriramamurthi, R 318
Sriram Parasuram M.B.A. 287
Srirangachariar, Chidambarm 319
Srirangam Ayyangar, Madurai 288
Srivatsa, K. 289
Subhaschandran T.S. 319
Subba Ayyar, Anayampatti 31 9
Subba Ayyar, Jenjamritham 320
Subba Ayyar, Kalayarkoil 320
Subba Ayyar, Palghat 32°
Subbanna, Bakshi 321 289
Subbanna, Mooguru 291
Subbarama Ayya, D. 292
Subbarama Ayyar, Karaikudi Veena 321
Subbarama Ayyar, Periatirukundram 323
Subbarama Ayyar, Srivanjiam
Subbarama Ayyar, Vaitheeswarankoii 323
Subbarama Bhagavatar, Mazhavarayanendal 323
Subbarama Dlkshitar 324 2Q2
Subba Rao, A. 2Q3
Subba Rao, B.
Subba Rao, T.V.
Subbaraya Mudaiiar, Vellore
Subbarayar, Bikshandarkoil
Subbarayar, Dharmapuri ~
" Subbaraya Sastri, G. 326
Subbaraya Sastri, S. 293
Subba Sastri Ratnagiri
Subbiah Bhagavatar, Kalakad N. 54
Subbiah Bhagavatar, Pallavi
Subbiah Desikhar, T. 328
Subbukutti Ayya 320
Subbulakshmi (Prof.) Dr. M.S. 293
Subburayaswami (Kilikanni) 294
Subhankara (Sang/fa Damodara) ^
Subramanya Ayyar, C. 332
Subramanya Ayyar, Desamangalam ^
Subramania Ayyar, Musiri 334
Subramania Ayyar, Tiruvaiyaru 335
Subramania Kavi, Munipalii 335
Subramaniam, Cuddalore M. 295
Subramaniam, A. - 295
Subramaniam, Valayapatti A.R. 336
Subramaniam, E.M.
524
Subramaniam, M.S. 296,423
Subramania Pilfai, Chittoor 336
Subramanja Pillai, Palani 337
Subramania Pillai, Tiruvenkadu Dr. 294
Subramania Piilai, Tiruvizhimalalai S. 191
Subramania Sastri, Cheranmahadevi 339
Subramania Sastri, Pandit S. 339
Subramaniam, Karaikudi Dr, S. 339
Subramanya Ayyar, Patnam . 340 379
Subramania Bharati, Mahakavi 342 56,77,352.
Subramanya Dikshitar, Harmonium Perur 344 (372,433
Subramanyam, Tiruvallur B. 345
Subramaniam, T.R. 296
Subramanyam, V.V. 345
Subramanya Odhuvar, Tiruvanmiyur A. 346
Subramanya Pillai, Tiruvenkadu 294
Suddhananda Bharati, Kaviyogi Maharishi 346
Suguna Purushothaman 346
Suguna Varadhachariar 347
Sukanya Prabhakar 347
Sumathi Rammohan Rao, D. 347
Sundar, Veena S. 348
Sundara Bhag avatar, Umayalpuram 123
Sundaraja (Parvati Srinivasan) 299
Sundarajan, Yogi (Johannas T.C.R.) 98
Sundaram, Palghat, V.A. 348
Sundaram Ayyar, Kallidaikurichi 349
Sundaram Ayyar, Parur 349
Sundaram Ayyar, Shermadevi 350
Sundaram Ayyar, Umayalpuram 350
Sundaram Ayyar, Simizhi * 350 299
Sundaram, B.M. 300
Sundarambal, K.B. 69,302
Sundaramma, Malavalli 305
Sundaresa Ayyar, Tiruvalangadu . 350
Sundaresa Bhattar, Seithur 351
Sundaresa Desikhar, Tirukalar 351
Sundaresan, A. 305
Sundareswaran, M.A. 306
Sundaresa Sharma, Mahakavi 351
Sundar Rajan, P.R.
Suryanarayana, R.K. 306
Suryanarayana Sastri, Durvasa 351
Surya Rao, P. 351
Swaminatha Ayyar, Pazhamaneri 352 307,379
Swaminatha Ayyar, Tirubhuvanam 352
Swaminatha Ayyar, Tlruchy. 307
Swaminatha Ayyar, Umayalpuram 353 308
Swaminatha Ayyar, Dr. U.Ve. 309
Swaminatha Sastrigal, Kudanthai 312
525
Swaminatha Odhuvar, N. 353
Swaminatha Filial, Tiruppamburarn 353
Swaminathan, P. (Hymnodist) 354
Swarna Venkatesa Dikshitar 355
Swati Tirunal Maharajah 356 386
Syama Sastri 360
T'
Tallapaka Chinnanna -J2
Tallapaka Tiruvengalappa 1 2
Tanjore Quartette 3$5
Tharanatftan, Dr.R. 357
Thathachariar <§> Miyandanchin 368
Thatchariar, S. - 313
Thayee, Bangalore 34
Thayee, Coimbatore 33,313
Thayumanavar 313
Theagarajan, T.M. 368
Thenmatam Brothers 314
Thiagaraja Deslkhar, T.A. 369
Thiagarajan, K.C. 314
Thiagarajan, O.S. 369
Thiagarajan, R.N. 367
Thiagarajan, V. 370
Thimmakka 12
Thirugnana Sambhanda Odhuvamurti, A. 370
Thirugnana Sambhandam, Sirkali, S. 370
Thirvengada Ramanuja Jeer 409
Thiruvizhimalalai Bothers 129
Thukkaram, Tanjore 314
Thulajaji, Rajah 371
Thulaseevanam 315
Tirumalai Ayyangar 54
Tyagaraja, Saint 372 x 78
Tyagayyar, Tiruvotriyur m 377 31 5
'U'
Umapathi 379
Uma Subramanian 379
Unnikrishnan, A.V. 317
Unnikrishnan, P. 317
Upanishad Brahmam Yogi 379
Upend ran, Thanjavur 380
Usha Rajagopalan 31S
Uthirapathi Pillai 38°
526
v
Vadiraja 319
Vadivelu, (Tanjore Quartette) 365
Vaidyalingam, Harikesanallur, M. 382
Vaidyanatha Ayyar, Konerirajapuram 382 319
Vaidyanatha Ayyar, Kudirai 383
Vaidyanatha Ayyar, Maha 385 52, 53, 58,
(352, 363, 368, 379.
Vaidyanatha Ayyar, Mayuram Veena 321
Vaidyanatha Ayyar, Tanjore 390
Vaidyanatha Bhagavatar, Chembai 391
Vaidyanathan, Ghatam, K.M. 394
Vaidyanathan, J. 32 1
Vaidyanathan, Kunnakudi 394
Vaidyanathan, O.S. 321
Vaidyanathan, Sembanarkoil S.R.D. 161
Vaidyanathan, T.P. 396
Vaidyanatha Piilai, Chidambaram 396
Vaikunta Sastrigal * 397
Vaithi, Chinna 397
Vaithi, Peri . 397
Vaiyapurai Devar " 322
Vallisan, T.S. 397
Vanaja Narayanan 398
Vanajam, P.S. 398
Vanamamalai Brothers 398
Varadachariar, Thenmatam 314
Varadhachariar, Tiger 399 322
Varadaraja Ayyangar, Vinjamuri Dr. 324
Varadayya, Veena 326
Varadharajayyar, Mohanam 400
Varahappa Ayyar, Veena 401
Varahappa Dikshit Pandit 327
Varahaswami, M.V. ' 327
Vasanthakumari, Dr. M,L S402 9,35
Vasudevacharya, Mysore 403 46,327,356
Vasudevan, Neyyatinkara 329
Vedamurthi, Vedaranyam 404
Vedanayagam Piilai 404
Vedantha Bhagavatar, Kallidaikurichi 405
Vedavalli, Dr. M.B. 406
Vedavaili, R. 329,427
Vedayappan, S. 406
Veerabhadriah, M.L 330
Veerabhadra Rao, K. 407
Veeramani, K. 331
Veeraragava Ayyar, Tsallagali 407
Veeraraghavan, Tiruparkadal S. 407
Veeraswamy Naidu, Tanjore Sarandha 408
527
Veeraswamy Nattuvan, Illupur 408
Veeraswami, Panda (nai) nailur 331
Veeruswamy Pillai, P.S. 408 434
Velayudha Odhuvar, R. 409
Vembu Ayyar, T.S. 331
Vendrimalai Kavirayar 332
Vengu Bhagavatar, Tirunelveli 409
Venkataraju, Kolanka 332
Venkataraya, Revanuri 12
Venugopala Dasa 53
Veeriah Chowdry 409
Venkatadri Swamy (Jeer) 409
Venkatagiriappa, Mysore V. 41 0
Venkatakrishniah, Dwaram 410
Venkatalakshmana Sastri, Idraganti 410
Venkatamakhin 41 1 1 99
Venkatanarayanacharyulu T.N.C. 41 3
Venkatrama Ayyar, Adhiyanavattam 41 3
Venkatarama Ayyar, Inupachaligelu 41 3
Venkatrama Ayyar, Kothavasal 41 4
Venkatarama Ayyar, Kundrakudi 332
Venkatrama Ayyar, Mudikondan C. 41 5
Venkatrama Ayyar, Tinniam 41 6 333
Venkatarama Ayyar, Justice T. L 41 7
Venkatarama Bhagavatar, Ennapadam 333
Venkataramana Bhagavatar, Wallajapet 41 7
Venkataramanadas Pantulu, Veena 41 9
Venkataramana Sastri, Melattur 334
Venkatarama Sastri, Madras R.K. 420
Venkatraman, Parur R. 41 8
Venkataramaniah, Sonti 335
Venkataramanujam, V.K. 336
Venkata Rao, Lavani 336
VenkataRao, T. 336
Venkatasubbayyar, Manambuchavadi 420
Venkatasubba Ayya, Sonti 422
Venkatasubba Ayyar, Uthukadu 420 337,360
Venkatasubba Rao, V.
Venkatasubbiah, S. , 338
Venkatasubramonia Ayyar, Dr. S. ^ 423
Venkatasuri Swamigal, Kavi 423 339
Venkataswami Naidu, Dwaram 424 381
Venkatesan, Chittoor 427
Venkatesan, Madurai T. 427
Venkatesan, Thanjavur L. 427
Venkatesan, Tlrupoonthuruti V. 427
Venkateswara Ettappan, Raja Jagadiswara 428
Venkateswara Rao, Yella 339
Venkateswara Sarma, Chilakalapudi 339
Venkateswaraiu, Voleti 429
528
Venkatram, Bangalore K. 429
Venkayya, Nandigama 430
Venugopaiadasa Naidu 53
Vibhulananda Swamigai 340
Vidyaranya (Sangita Sara) 340
Vidyasankar 341
Vijaya Gopala 430
Vijayaraghavachariar, Embar S. 430
Vijaya Dasa 342
Vijayaraghavan, B.S. 343
Vijay Siva, N. 343
Vijayalakshmi, Lalgudi J. 343
Vilvadri Ayyar, Ghatam 344
Vinayaka Mudaiiar, A, 431
Vinayakram, T.H.(Vikku) 431
Vinayaka Sastriar 431
Virabhadrayya, Tsoukam 431
Visalakshi Ammal, Kanchipuram 34
Viswalingam, Kuzhikarai S.P. 432
Viswalingam, Sabhapathi Brothers 432
Viswanatha Ayyar, Erode 344
Viswanatha Ayyar, Kuttalam 433
Viswanatha Ayyar, Maharajapuram 433 366,435
Viswanatha Bhagavatar, T.G. 345
Viswanathan, T. 436
Viswanatha Sastri, Mayuram 437
Viswesvaran, Prof.R. 437
Vittal Ramamurty 345
Vyasaraya 438
Yati, G.K. 439
Yesudas, KJ. 439
MANGALA
there be victorious Mangala; ever auspicious Mangala,
To the Lord who is benevolent
To the whole world ... who honours merit ..."
- Karunarasakshaya ( Ghanta ) of Tyagaraja.
513
Krishna Sastrigal, Paruthiyur 1 32
Krishnaswami Ayyar 1 33
Krishnaswami Ayyar, C.S. 1 33
Krishnaswamy Ayyar, T.S. 1 32
Krishnaswamy Bhagavatar, Wallajahpet 1 34
Krishnaswamy Chettiar, N. 135
Krishnayya, Veenai 1 35
Kshetragna 136
Kshirabdi Sastri 138
Kulasekhara Perumal 1 38
Kumaraswami Pillai, Chidambaram 138
Kumaresh (& Ganesh) 62
Kunjara Bharathi, Kavi 1 09
Kumaresan, C.G. 138
Kumbha (Kumbhakarna), Maharajah' 177
Kunjumani, Palghat 139
Kunjumani & Neela, Sikki! 1 39
Kuppamma, Kanchipuram 36
Kuppiah, Mysore (Appiah's Brother) 53
Kuppaya, Veenai (Senior) 9
Kuppayyar, Tiruvottiyur Vina 1 40
Kuppuswami, Anayampatti ' 141
Kuppuswami, M.G. 141
Kuppuswamy Ayya 1 41
Kuppuswami Mudaliar @ Kuppanna 141
Kuppuswamy, S.R. 1 78
Kuppuswamy, Dr.T.V. 142
Kutti Kunju Thangachi ' 142 36
Lakshmanan, Adyar K. 1 79
Lakshmana Pillai, T. (Trivandrum) 143 180
Lakshmi, P.S. 182
Lakshmi Narasimha Ayyar, Palani S. 1 83
Lakshminarayanan, Vairamangalam 1 83
Lakshmi Ranganathan, Ontario 143
Lakshmiratnammal
Lalitha, C. (Bombay Sisters) 29
Lalitha Seshadri, Dallas 442
Lalitha, V. 144
Lalitha Raghavan 144
Lakshmanan, B.V. (& Raman -B.V.) 233
Lingappa Naidu, Edamanal 145
Lokanadha Sarma, Tadepalli Dr. 145
Loka Narayana Sastri
Leeta, P. 144
Ludwig Pesch 41,184
ANOTHER GARLAND 449
possessing. It whets one's appetite for the Book II."
— R.S. in ' Shanmukha ' October 1990.
'Really a stupendous work of great value to research scholars and those who
are interested in pursuit of Carnatic music.. .puts together so many exquisite
statements by some of the world's most creative people.'
— Man Mohan Singh,
Ministry of Human Resource Development.,
Government of India, New Delhi.
"...arranged with admirable detail and clarity.. .brilliant exploit.
Mr Rajagopalan has boldly, but without exaggeration, staked out three claims
for his work...Nofairminded reader of the book will deny the author his claim for
original work on the above counts. ..the modern reader... will be pleased to come
across beautiful and apt 'quotes' from Western writers and critics like Neville
Cardus, Sir Thomas Beecham... The biographical details. ..are accurate and
painstakingly garnered... one can guage the enormous pains taken by the
author.
... All told, they add up to a formidable presentation of data that would come
in very handy to broadcasters, writers, critics and students of
music. ..Rajagopalan has a flair for anecdotes. ..they add flesh and blood. ..His
sense of irony is sharp. ..Part IV is a mine of information. ..A monumental effort
by someone not belonging to the musical fraternity!"
— K.S. Mahadevan on the All India Radio, Madras.
'Another objective of Rajagopalan - to promote debate and research on the
subject - has been achieved. Endless are the vistas opened up for study; his
book may well be looked upon as a ready-reckoner... Social scientists have
something to ruminate. ..draws attention to the harmonising role of music... '
— K.P. Balakrishnan in The 'Tribune'
This is to record my great admiration and appreciation of your monumental
work...
— Sangita Kalanidhi B. Rajam Iyer,
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