N.V. Subramaniam, who passed away recently, was much more than a concert organiser. His musical instincts had been fanned thanks to his violin lessons and relentless practice. This, to such an extent that NVS had accompanied stalwarts like T.R. Subramaniam, Maharajapuram Santhanam and Kadri Gopalnath. NVS found time for his passion despite holding a senior position in Southern Railways.
He founded Saraswati, a performance-oriented organisation, and the Saraswathi Vaggeyakara Trust, which focussed on the deeper aspects of music. He felt that for Carnatic music to grow, composers and compositions were of utmost importance.
S. R. Janakiraman, musician and musicologist, recalls his 30-year association with NVS, particularly his video recordings ‘72 Melaragamalika’ and ‘Varnams through the ages’.
Senior vocalist Sudha Ragunathan goes back in time and remembers how NVS encouraged her to learn rare songs and ragas, and would share recordings of past masters.”
Singer and author T. M. Krishna describes NVS as a one-man army. “Deeply committed to Carnatic music, he was aware that the music needed nurturing in many different modes. He was invested in the revival of rare compositions, saw to it that musicians performed at important Carnatic music-related sites across Tamil Nadu, which also went against Chennai centrism. Above everything else, he focussed on featuring young musicians. I am one of the many who benefited from his work as a presenter and curator.”
According to violin vidwan R. K. Shriramkumar, “NVS dedicated his life to the cause of Carnatic music with selflessness and devotion. His understanding and appreciation of the art to the minutest detail was accentuated by the fact that he was an ace violinist himself. One can never forget the well-planned tours that he would organise to kshetras such as Tiruvarur, Tiruvaiyyaru, Tanjavur and Ettayapuram, which are closely connected with the lives of the Trinity. His contribution to the art form is unforgettable.”
N.V. Subramaniam’s son, vocalist V. Sankaranarayanan, paying tributes to his father saya he was particularly fond of and close to Maharajapuram Viswanatha Iyer as well as Madurai Mani Iyer. He liked the latter also for his simplicity. He supported young musicians since he believed they are the torchbearers of our tradition. He breathed his last doing what he had dedicated his life for — he had organised an RTP series.”
