T.V. Sankaranarayanan will continue to be celebrated for his authenticity. He was one of the chief architects, who bridged the vintage music of the 50s and the 60s with the one that we hear today. In doing so, he put his stamp on both the style that he stood for and the substance his music bore. A skilful musician, who blended pure principles with a powerful performance code that attracted many listeners. He belonged to the generation that did not have the Internet to boost popularity. His music did it on its own. It was also an era of fewer top grade musicians, and therefore, had to bear his share of the responsibility for keeping traditional parameters alive.
TVS, as he was affectionately referred to, faced the same conundrum that musicians coming from a well-known school or guru face. Madurai Mani Iyer was a trailblazer of sorts with his popular melodies built around a caressing musical template. Sankaranarayanan’s father, Vembu Iyer, offered competent vocal support to Madurai Mani Iyer and continued the link. A ditto was not an option for the son, yet he was the rightful heir to the Madurai Mani Iyer brand of music. Sankaranarayanan negotiated the legacy transfer adeptly, bringing his own manodharma into the mix. That he rose to become a musician of his own standing and sustained his stature for several decades can be attributed to his thoughtful musical evolution. Awards followed him unsurprisingly.
T.V. Sankaranarayanan being presented the Padma Bhushan award by President A.P.J. Abdul Kalam at Rashtrapati Bhavan in New Delhi on April 3, 2003. | Photo Credit: KRISHNAN VV
Wide repertoire
Sankaranarayanan’s repertoire of songs was very vast and reached out far beyond his guru’s. The Trinity was the core set, but he embraced a lot of Tamil compositions by Papanasam Sivan, Gopalakrishna Bharathi, Koteeswara Iyer, Tamil moovar and Arunachalakavi without seeking advertisement or ownership for it. Many contemporary compositions adorned his menu of songs at concerts. One of his important achievements is the on-stage camaraderie, vivacious energy and infectious enthusiasm.
Ra Ra Maa raga Asaveri
He partnered with almost all accompanists of his time and of the next generation, with a hearty smile and peppy body language that encouraged everyone to give his/her best. That is a rare trait for his generation as the main artistes generally displayed a chip on their shoulders — it’s unfortunate that such hegemony continues even now. It is quite common to read from the resumes of budding accompanists that they have played alongside the veteran vocalist, by itself a huge credential for them.
Juthamurare raga Arabhi
Sankaranarayanan’s music was also rooted in scholarship, with well-curated abilities in raga alapana, niraval or swaram. Here he looked up to his guru, Madurai Mani I yer — re-enacting aspects like the pyramid progressive swara sequences (especially the sarvalagu variety) and the ‘hums’ around the shadjam and panchamam to anchor the sruthi. Madhyama kala singing was his staple but his poignant viruttams enchanted the listeners equally. Primacy was given to mainstream ragas even though Sankaranarayanan would be in his elements in a vivadi raga as well. But the ringing sounds of his Bhairavi, Kamboji, Kalyani or Shanmukhapriya will be in our memories for long.
TVS performing at the music festival organised by Sree Shanmukhananda Sangeetha Sabha at AIIMS auditorium in New Delhi on November 30, 1986. | Photo Credit: The Hindu Archives
Melody reigned high
Endowed with a powerful voice that leapt up to the tara stayi panchamam with least effort, Sankaranarayanan adapted it when aesthetics had to be achieved. He also took care to keep his professorial capabilities in technical and mathematical manoeuvres in check so that they did not overshadow saatvic music. Similarly, he would often unleash a full-throated sangathi, but could soften it when a more rakti shade of presentation was necessary.
Melody was not mangled even in gusto phrases. That level of balancing needs deep understanding and practice that Sankaranarayanan had cultivated. Audience enjoyment was an essential ingredient of what he presented. The occasional criticism that he was a ‘single-brand’ outlet did not stick as he even had a cult following at one point. He leaves behind his disciples, who must now continue to hold the torch of the bani. We will continue to hear the ‘ga ma pa ma ga ri ga sa ri ga’ crescendos and the like as the school had already made such phrases ‘open-source’!
Sankaranarayanan, a trained lawyer, was a good example for values even beyond his music, mostly staying away from impulsive craving for limelight or for self-importance trips. Fame did not devour his manners. Thus, he ensured that his music defined his life. A life of respecting time-honoured musical values responsibly, while enjoying audience adulation for several decades.
The writer is a classical music critic and commentator.
