His industrialist father K.R. Sundaram Iyer's home was haven for many Carnatic musicians. After sumptuous talaivazhai ilai lunch, leading exponents gathered in the big hall to launch their choicest alapanas of Kharaharapriya and Kambodi, trading kalpanaswaras, demonstrating rare kritis, noting special pathantara or manodharma touches.
Musiri Subramania Iyer, D.K. Pattammal, M.L. Vasanthakumari, T.N. Krishnan and Umayalpuram Sivaraman were among the invited guests. Semmangudi Srinivasa Iyer cast his imposing aura, singing signature compositions ‘Dakshinamurte' (Sankarabharanam) or ‘Amba Kamakshi' (Bhairavi), often accompanied by star disciple M.S. Subbulakshmi.
With nothing but the manual sruti box, the two created enchantment on the stage. Steeped in this unique ambience, how could son S. Viswanathan (1935-94, chairman, Enfield India) not be a connoisseur? When he established the Kala Mandir Trust to promote the arts he loved, passion went with thoughtfulness, as also detailed personal involvement.
Encouraging youngsters
He felt a special concern for and kinship with young talent. At a time when the magnificent titans held undisputed sway, Viswanathan found ways of showcasing youth in Kala Mandir's annual week-long festivals. Small-town tours for young musicians and Bharatanatyam arangetrams were organised under the Trust's banner. Scholarships recognised merit in promising newcomers such as Srinidhi (now Chidambaram) and Sujatha Srinivasan. The approach frequently targeted under-researched areas. For example, the Trust conducted a national seminar for Harikatha.
Not only did Viswanathan sponsor concerts and conferences, sabhas and teaching institutions, but established a system of recruiting musicians for his company, offering stipends for them to tide over the struggling years.
“This was directly responsible for my shift from Madurai to Chennai. Viswanathan sir also offered me space to practice, and later helped me to launch my own school,” says Neyveli Santhanagopalan, a beneficiary under this scheme along with violinist M.A. Krishnaswami, and percussionists V. Suresh and R. Ramesh. Kala Mandir arranged a special concert at the Music Academy to give exposure to this group, with Semmangudi as chief guest. “It was not just the money, but the unfailing encouragement that gave us a sense of security,” Santhanagopalan declares.
Many youngsters found themselves in the chairman's room, and offered assistance unasked. Learning that one of them was still in college, the undeterred Viswanathan told him to join the company the day after graduation. “I went into music full time, but Mr. Viswanathan kept the offer open for me,” Vijay Siva recalls, adding that the industrialist remained a regular supporter of YACM's activities.
Kala Mandir's ‘Vaibhavam' celebrated tradition in a special concert of D.K.Pattammal accompanied by granddaughter Nithya.
Recalls Nithyasree Mahadevan, “That was when Viswanathan sir said that I had my grandmother's blessings in full measure. Believing the arts to be a transcendent force, not a commercial proposition, he felt a personal sense of responsibility in promoting dance and music.”
Musicians such as O.S. Thyagarajan and Sudha Ragunathan speak of him as someone who thought ahead of his time in offering support where it was needed. Bombay Jayashri says that it was a joy to sing for the album.
The release of ‘Ekam- the Elements in Unison' a CD album of the Panchabhuta kritis of Muthuswami Dikshitar ( October 23, Music Academy) specially recorded by the Kala Mandir Trust, marks the 75th birth anniversary of this sensitive rasika and discerning patron. The release is preceded by Bharatanatyam guru C.V. Chandrasekhar's invocatory panchabhuta upacharam, followed by S.Shashank's flute recital.
Six leading Carnatic musicians – Neyveli Santhanagopalan, Vijay Siva, Nithyasree Mahadevan, O.S.Thiagarajan, Sudha Ragunathan and Bombay Jayashri – will render the panchabhuta kritis in five ragas (with a mallari prelude) (Panchamatangamukha Ganapati-Mallari; Kedaram-Anandanatana; Huseni- Sri Kalahastisha; Arunachalanatham- Saranga; Jambupate-Yamunakalyani; Chintayamam- Bhairavi).
Why panchabhuta? Daughter Kami Narayan, one of the trustees of Kala Mandir, explains, “The idea came from ‘Reflections' (an anthology of Viswanathan's speeches), suggesting that abstruse metaphysical concepts such as the source of the five elements and cosmic oneness can be understood through music.” The choice of different artists fulfils Viswanathan's belief in diversity as the matrix of oneness, as different musicians with varied styles move towards the singular goal of spiritual transcendence.
