O.S. Thyagarajan on the enduring appeal of Margazhi, the simplicity of vidwans and why he made the city his home
My journey from the national to the cultural capital was not about traversing geographical distance, it was a voyage of self-discovery, an artistic expedition but more importantly, it was a travel back in time to soak in the sampradaya of Carnatic music.
Before settling down in Madras, every year I would gladly leave behind the biting winters of Delhi to enjoy the misty Margazhi air, take part in the annual music celebrations and witness the largest gathering of rasikas here. You may be busy performing through the year, but Margazhi kutcheris have always had a special appeal and flavour.
The Season then meant a few prominent sabhas, many restful sessions of music and relaxed and discerning listeners who savoured and analysed every note. The audience knew what to expect from each vidwan, who had remarkably distinctive styles. They had some compositions and ragas as their specialities… rather a concert trademark. There was an unspoken understanding between stalwarts; they would never tread into each other's area of specialisation.
Mention Karaharapriya ragam or ‘Chakani Raja' and Semmangudi Srinivasa Iyer immediately came to mind. Listeners flocked to hear Ariyakudi Ramanuja Iyengar's rendition of ‘Sree Subrahmanya Namaste'. Rasikas could never have enough of Madurai Mani Iyer's ‘Sarasa Sama Dhana' in Kapi Narayani while ‘Radha Sametha Krishna' in Yaman was a favourite of G.N. Balasubramaniam.
Artistes performed only when invited. Seeking opportunities was unheard of. They chose the time and date of their kutcheri. Their concert calendars were never crammed. And they ensured there was enough time between performances to unwind and prepare.
Hearing these musical giants meant free lessons on aesthetic sensibilities and developing a sound understanding of the various aspects of this classical art. There was mutual respect and admiration among the old-world artistes, who when not performing could be seen sitting among the first few rows at kutcheris of their contemporaries or sometimes would even come to listen to a promising youngster.
Apart from hard initial training under my father O.V. Subramaniam, Tiger Varadachariar and Tanjore Ponniah Pillai, it was the valuable guidance, encouragement and support of generous masters such as Lalgudi Jayaraman and T.M. Thygarajan that earned me the reputation of a musician with undiluted values. They approached teaching in a holistic manner. It was not just about preparing students for stage performances. Vadyars ensured understanding the art in its totality and groomed thinking musicians.
The legends of the past remain so because of their vidwat, sense of dignity and a modest vision. I have seen Madurai Mani Iyer going to a kutcheri sitting in a mattu vandi with Lalgudi Jayaraman and Pazhani Subramania Pillai walking behind. Umayalpuram Sivaraman once arrived for a concert lugging his mridangam in a cycle rickshaw. The most touching moment was when at a Music Academy concert, M.S. Anantharaman put down his violin as a mark of appreciation after I sang a Bhairavi piece. It was heartening when many of the acclaimed names accompanied me on stage — Lalgudi Jayaraman, Palghat Raghu,
Trichy Sankaran, M.S. Gopalakrishnan, M.S. Anantharaman and Karaikudi Mani. They even took time out to help me embellish my music with their valuable inputs. Lalgudi sir would invite me home for long discussions. Such was their involvement and large-heartedness.
At one of my initial concerts at Krishna Gana Sabha as part of their talent promotion series, I was highly-appreciated for my rendition of ‘Nidhi chaala sukhama' in Kalyani ragam and also for some of my GNB-inspired technical flourishes. A landmark concert, it proved to be a turning point in my career as other sabhas took notice of this and invited me to perform. I owe it to the late Yagnaraman, the secretary of Krishna Gana Sabha, who after hearing me on the radio, called me in Delhi and offered me a prestigious platform.
The experience was overwhelming. Heart is where art is — with each passing year I became eager to shift base and I finally did. To sing to audiences in Madras, hear stalwarts and imbibe from their music — this is the sotthu (treasure) I have earned.
I remember
It was a concert organised for a small audience by my French friends in Pondicherry. The venue was bustling with people when I arrived. The miffed security man stopped me at the gate and said I could stand at the entrance if I wanted to hear the music. Later, when he came to know I was the performing artiste, he could not hide his embarrassment.
BIO Born on April 3, 1947, is known for his adherence to tradition and unalloyed classicism. He had his early training from his musician-father O.V. Subramaniam and from legendary artistes Tiger Varadachariar and Tanjore Ponniah Pillai. A top grade artiste of the All India Radio and Doordarshan, he has been performing across the country and abroad. His vidwat has been recognised with awards from cultural organisations.
Keywords: O.S. Thyagarajan, Carnatic music
There was a period when the 'jambhavans' of Carnatic Music, born and brought up, in Tamil Nadu would not or were reluctant to sing Tamil compositions. Carnatic music flourished in the heart of Tamil Nadu (Thanjavur and surroundings), patronised by Mahratta rulers and Telugu was the musical lingua franca! One can call it historical aberration. The late Mysore Vasudevachar, well known composer of the last century wrote his compositions in Telugu (and spent a good part of his time in Kalakshetra, Chennai).
Mr.Nagaraja Rao in his comments above says that no singer other than Mrs.M.L.Vasantha kumari sang kannada songs and the kritis of Purandara dasa .He should know that Mrs M.S.Subba Lakshmi sang - a kannada song - Jagado darana , a Purandar das kriti - even at a UN concert in NEW YORK IN 1966 with introduction about that song by Late C.V.Narasimhan ,if I remember correct . Many other singers like Sudha Raghunathan , Sowmya , Aruna Sairam and others are regularly sinbging other kannada songs like Krishna nee bega----etc in their concerts . There was a time till a few years back of similar complaints in Tamilnadu itself of carnatic musicians of TN not singing Tamil songs but favouring kannada , Telugu , and Swthirunal kritis in malayalam / Sanskrit only .
Infact due to those complaints only , they established TAMIL ISAI SANGHAM in Madras to popularise Tamil kritis during Madras music season in December every year.
The writer of "Memories of Madras - an ode to sampradaya" has erred in saying that O.S. Tyagarajan received training under stalwarts like "Tiger" Varadachariar and Ponnaiya Pillai. As a matter of fact, it was his father, late O,V. Subramanian, who as a student of the Annamalai University Music Department, had been trained by the stalwarts referred to. Born in 1947 OST could not have been trained >by the "Tiger" who passed away in 1950!
Excellent article on how sampradhaya tradition is still needs to be retained and nourished in modern times. Having listened to OST many times in India and overseas, including my daughter's wedding concert 15 years ago, he is plain, simple, articulate, knowledgeable and more importantly, in modern times, one who sings carnatic music in an non-artificial and un-adulterated manner. I have listened to all the stalwarts he mentioned in mid 50s at the Coimbatore Ramanavami concerts in Ponnurangam Road organised by Binny Subba Rao. In simple words, OST has also maintained the tradition set by his father late Sangeetha Bhushanam OV Subramanian. All the very best to him for many, many more years of singing....
All is fine with Tamil classical Singers from Madras.But their bias in singing Tyagaraja,Muthuswamy Dikshitar,Shyama Sastry krities and not Kannada krities of Karnataka haridasas is not pardonable.Untill Smt.M.L.Vasanthakumari corrected this trend none of the Tamil artists cared about singing Karanataka Sangitha pithamaha Sri Purandaradasa krithies in public or at the festivals in Madras.So much for our broadmindedness.
A Great look back.The simplicity ,respect and musical tapasya of stalwarts of yester-years have been beautifully brought out.The article is a wonderful raaga alapana that stirred our mind and soul.
Beautifully compiled and written. Reads very well. There could not have been a better obeisance paid in an article title than one to Sampradaya. For, it is that sampradaya which flows down the jnana river from guru to shishya, and appear as the art to the audience.
Some titans' names have been dropped (in a positive way) down the middle. Every bhani is but a mark of the sampradaya. And, the specific compositions mentioned against those stalwarts easily conjures the rendering in the reader's mind in vivid detail! Perfect choices.
So do the imagery of the maattu vandi and perhaps a barefoot walk trailing the cart. [The Pondicherry incident had this reader in splits!] Such was the simplicity those days. The art towered, the artist nowhere in sight all in the midst! Contrasted today with heavy jewelry and make-up (even among men!), not sure how much the art and sampradaya fit-in. May all the bhanis flourish; may the art thrive, through sampradaya. Om.
Mr Thyagarajan's intersting article virtually took me to nostalgic trip to the 1960s and 1970s. Those days the performances of Music academy were held in a huge pandal in P.S.High Scool grounds in Mylapore. As a college student I used to go to the Kutcheries well in advance. How can we forget Maharajapuram Viswanatha Iyers Mohanam and Hindolam, Madurai Mani Iyers Kanakkan Kodi in Kambhoji Chemmangudis Sakkani Raja M.S.Subbulakshmis majestic Kalyani -Nithi Sala Sukama ? The list is endless. Another highlight was the jampacked Canteen where we relished hot Vadaia and Rava Dosas during the Thani Avardhanam. During December Madras was invaded and conquered by divine music.
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