I had the privilege of knowing Pichumani Iyer since 1955. He possessed all the required qualities for a Vainika — his playing had sunadam and was strictly within the classical framework, with an excellent control over laya. He adhered to the Thanjavur bani of veena playing having been mentored by stalwarts such as K.S. Narayanaswami and V.S. Gomati Sankara Iyer at the Annamalai University, Chidambaram. His raga essays were bhava laden and the plucking of the strings was never harsh on the ears.
I had the opportunity to accompany him in several concerts and distinctly remember the one at the Mylapore Fine Arts Club, Chennai, in the year he was conferred the ‘Sangita Kala Nipuna’ by the sabha.
Veena Pichumani Iyer, accompanied by Umayalpuram Sivaraman, playing the fibre-glass mridangam
Pichumani Iyer had an open mind and readily consented to take part in the lecture-demonstration of the fibre glass veena and mridangam, which I had developed in association with the IIT, Madras. The lecture-demonstration concert took place on December 22, 1976, at the Srinivasa Sastri Hall in Mylapore, which was attended by a galaxy of musicians, including M. Balamuralikrishna and S. Balachandar. Pichumani Iyer was very happy with the fibre glass veena, which he felt would be convenient to transport due to its light weight.
A man of few words, he graciously accepted awards and honours which came his way. Notable amongst these are the Kalaimamani from the Government of Tamil Nadu, the central Sangeet Natak Akademi award, the TTK award from the Music Academy, Madras besides others. He trained a number of disciples and was a much sought after Veena guru.
(As told to P. Vasanthkumar, disciple of the late Pichumani Iyer)
Also read: Tribute I: Veena Pichumani Iyer — classicist of the transition era
Tribute III: He showed paternal affection: B. Kannan
