There is a reason for young mridangam vidwan J. Vaidyanathan to feel proud of his nomination for the ?Isai Peroli' title from Kartik Fine Arts, for this is the first time a mridanga vidwan is being honoured by the Sabha since the inception of the award. It will be conferred on him, today, December 1, during the inauguration of KFA's music festival at the Narada Gana Sabha auditorium, Alwarpet. For once, Vaidy need not worry about traffic jams to reach there, as his house is just a stone's throw from the venue. It is here that we meet him on a cool October morning.
Old fashioned in appearance, the dwelling stands out in the locality. With the sunlight being filtered by the garden's lush greenery, it is photographer Ravindran's delight as he goes about clicking Vaidyanthan with and without his mridangam.
The drawing hall reminds one of the koodam found in village houses and in keeping with the mood, Vaidy's mother serves steaming Ven Pongal and crisp Vadais accompanied by fresh coconut chutney. Hot filter coffee comes as a chaste viruttam after a brilliant tani.
?I accept this honour on behalf of the rhythm fraternity comprising mridangam, ghatam, ganijira, morsing and konnakkol. Sabhas, for reasons best known to them, consider accompanists for birudus, only once in a blue moon and that it is happening this year is really satisfying,? Vaidyanathan begins the conversation and adds: ?The upa pakkavadyam's status is even more deplorable for sabhas bypass them when it comes to awards and titles. After all, the success of the main artist is linked to the accompanists. On stage it is team work.?
What does he think of the upa pakkavadhyams on stage? ?If the artist is strong, the competition level goes up resulting in a royal treat to rasikas. Otherwise, I just carry him along with me. I also give equal opportunities to them on stage.?
Being the son of a vidwan (D.K. Jayaraman) who has left behind his mark on how a vocal performance should go, be it patanthara, raga treatise or pangidu in swaraprasthara, it surprised many when Vaidy took to percussion. ?My father was a popular vocalist and equally good at teaching. At our Mylapore house, it was nothing but music 24/7. As a young boy, I would sit on a wooden bench on the verandah of our house and play a pattern to suit the kriti that was being taught to his students. You know wooden benches have been the starting point for many of us and even some music directors. Noticing my flair for rhythm, my father decided to train me in mridangam. My first guru was Palghat Mani Iyer but just for two classes. He was too busy and put me under his son Rajamani.?
Are kriti accompaniment and thani playing two different things? ?I think the very assumption is wrong. We have to play with full vigour throughout a concert and not just unleash our energy during the thani. To sustain the concerts' tempo, it is but important to embellish kritis with interesting tekkas, nadais and arudis. ?The main artist is the supreme commander on stage. The thani should be short and sweet. I have heard my father observe how difficult it is to get the voice back after a forty-minute thani.?
About the award
?An award only increases the artist's responsibilities. Currently I am teaching two students but have no plans to go big by establishing a school of rhythm.?
Vaidyanathan does not find any difference between accompanying a male and female vidwan and insists on a sincere approach to every concert.
Now, about his appearance. He sports long hair reminding one of actor Sivaji Ganesan of ?Parasakti' days. Vaidyanathan replies with a shy smile: ?You are right. My friends during college days used to mention this. My father was a great fan of Sivaji Ganesan and Rajinikanth.?
Vaidyanathan feels corporate sponsorship can do a lot for Carnatic music and musicians. He is thinking in terms of instrument bags and attire on stage bearing logos of the sponsor, similar to sportspersons. He also wants each corporate house to adopt at least two vidwans and make them their brand ambassador for mutual benefit.
The vintage pendulum clock strikes nine and it is time to leave. ?I owe it all to my guru Sangitha Kalanidhi T.K. Murthy, about whom I can talk for hours. He was never after money and was willing to teach all that he knew. I consider myself fortunate to be his disciple.?
