Recollections of a musician

SANGITA SAMAYA (Kannada): S. Krishnamurthy; Published by D.V.K. Murthy, Krishnamurthipuram, Mysore-570004. Rs. 90.

THE AUTHOR, who is the eldest grandson of Mysore K. Vasudevachar, made his concert debut even as a nine-year-old boy. An expert in Jalatarangam play along with his younger brother Rajaram (at present Director of Kalakshetra, Chennai) he had the advantage of accompanying his grandfather to the Palace music school. The intellectual dialogues, all concerning music and composers of the vintage days gave the author invaluable information.

Fortunately he maintained a scrap book from his student days and when his wife, daughter and grandson prodded him to record all these which will be useful to posterity in the form of a book - had not his grandfather Vasudevachar done such a work in his Naakanda Kalavidharu (Krishnamurthy translated it into English with the title ``With Masters of Melody'') - he hesitantly agreed.

Having been closely associated with the Mysore Palace and over three decades association with the Akashvani as administrative officer in various places, enabled the author to interact with musicians, composers and his own unfathomable knowledge of music (including Western). No wonder the book under review is a masterly narrative.

The book contains 14 chapters. In the lead is, of course ``Nalvadi's Sangita Vilasa''. Nalvadi Krishnaraja Wodeyar was a great patron of fine arts in line with his illustrious predecessors. Conversant with Western music also he once found a discordant note. The English conductor could not reconcile to it. Very tactfully the Maharaja called the clarionet player aside and asked him to play the note. The discordant note became visible.

This is but one of the several episodes related in the book. He had the ``chittai'' swarams changed for Vasudevachar's Shankarabharanam kriti ``Nannubrochutekevarunnar'' played by the Palace Band.

After the Navaratri festival, the float festival would begin on the Chamundi hills and the Maharaja had directed that vidwans, Bidaram Krishnappa and Vasudevachar, should jointly sing Dikshitar's ``Mahishasura Mardhini'' in Narayani raga. Neither of them knew this song; in no time they learnt the Pallavi and violinist Venkataramanayya the tune of the Pallavi.

They managed to render it when the float carrying the royal party was there and stopped when the float moved away. Venkataramanayya was happy that they had successfully hoodwinked the royalty. Imagine their predicament when they were asked to render the Anupallavi and the Charanam also.

When Tiger Varadachar's voice as usual played truant, the Maharaja had no time for the excuse and Tiger's concert ended in a few minutes, the same fate overtaking Ariyakudi in his maiden concert when he began the Devaranama, ``Yekebande ele jeeva''. A most inauspicious start. A clever man that Ariyakudi was, he stopped listening to the counsel of others and sang in the conventional manner. Needless to say that the Maharaja was very much pleased. When Muthiah Bhagavatar arrived on the Palace music scene it was deathknell for the local artistes.

The Maharaja appeared more pleased with Muthiah Bhagavatar's music than Bidaram Krishnappa's. The book abounds with more episodes relating to the ruler.

And now for a quick survey of other vidwans: Vainika Pravina Venkatagiriappa chose to give away the only valuable dhoti to a mendicant. Sangitaratna Chikkarama Rao's laya was tested and fully approved by the laya king Pudukkottai Dakshinamurthy. Knowing the penchant of Bakshi Lingaraj Urs to become a Vaggeyakar, Chikka Rama Rao sang Tyagaraja's ``Chakkani Raja'' and added the mudra ``Lingaraja Vinuta'' in place of Tyagarajanuta and convinced Bakshi that it was one of his forgotten kritis.

Tiger Varadachar was forced to give up his peculiar cap as promised to Vasudevachar. Tiger's authentic inheritor, M.D. Ramanathan, indulged in jokes.

When asked how old he was MDR replied Shanmukhapriya - 56th melakarta raga. To indicate that his budget for a birthday present was Rs. 15, he said Mayamalawagowla - 15th melakarta. On another occasion while singing the Pallavi of Vasudevachar's ``Vande Nishamaham'' (Hamsadhwani) he concluded with Dikshitar's ``Vatapi Ganapatim'' with his unique brand of neraval at Karambuja. Seeking clarification of the composer, Selvapillay Iyengar said, ``Vasu Dikshitar.'' Till the end MDR did not realise the musical faux pas he had committed. Such was his total involvement.

Dwaram Venkataswamy Naidu, Chowdiah, M.S., V. Doreswamy Ayyangar, R.K. Srikantan, Jayachamaraja Wodeyar (also an expert in big game shooting) are others who are intimately portrayed.

The author has taken enormous pains to bring out all that is stored in his memory and the notes he has made in the scrap book for the benefit of the connoisseurs of Carnatic music. Krishnamurthy's example is worthy of emulation. If writing is a hazardous exercise it can be taped. The technological facilities should be availed of for the lasting benefit of lovers of Carnatic music. The cover page is excellently designed.

K. SUNDAR RAJAN

Send this article to Friends by E-Mail

Section  : Features
Previous : Socialists and the Congress
Next     : Business on the Web