Carnatic music went through a phase when the average public started to join the audience. It was hitherto a temple affair or in the private sanctuary of the fraternity. Ariyakudi Ramanuja Iyengar presided over this phase and for the next hundred years or so, his performance theorems have reigned. One of the concepts postulated by him is ‘Parimalippu.’ The Tamil word has no direct English equivalents but has a longish connotation such as this — promoting or inducing cheer; pleasant; bright; an act or instance of animating or enlivening; the offering of grateful homage in words or song, as an act of worship. It is the perfect way to describe the parimalippu concept.
It is not about how much you know but what you produce. It is also not about self-enjoyment alone but attracting the listeners with your music. In a nutshell, it is not about ‘you’ but ‘them.’ Management guru Peter Drucker would have been mightily impressed that in the 1920s someone described the ‘customer first’ principle in a totally unrelated field so succinctly. It is worth bringing a fresh limelight to this idea (it is 100 years since Ariyakkudi performed first) as many musicians seem to have forgotten it.
Even though Ariyakkudi did not articulate the concept in words, from his concert practice, one can dissect the following four tenets:
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Programme: Trinity was Ariyakudi’s guiding light. He packed a lot of Tyagaraja kritis that helped his tempo tactic besides easy-to-follow rhythm for new audiences. His choices of ragas in the early phase is another well-known trick — in terms of scoring arc, he was prolific with Pantuvarali, Begada, Mukhari, Atana, Arabhi — these effervesce naturally and light up the horizon quickly.
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The Finish: If Ariyakkudi started concerts brightly, he ended them even more sprightly with a repertoire from Andal pasurams to Dasar namas to Thillanas and Javalis. The ecstasy potion continued to flow in these closing pieces.
Unlike most forms of music, Carnatic music concert rules are not prescribed. Ariyakkudi’s ‘Parimalippu’ theorem would be an integral part of the performance grammar if a book is written.