Profiles of Artistes, Composers, Musicologists
Unless otherwise specified, the profiles in this section are
from
The Garland, Another Garland, Yet Another Garland and The
Fragrant Garland by Mr.N.Rajagopalan
T.BALASARASWATI
- ABHINAYA MAESTRO.....................................(May 13, 1918-Feb.9,
1984)
'She was
like a fabulous flower. Her abhinaya floated in the music.
Her expressions were arresting and soul-satisfying. Her hands were
poetic like creepers. Dignity, suggestive restraint and synchronisation
of melody, rhythm, expression, all were mastered.'
-
Yamini Krishnamurti
T.Balasaraswati
had the immense wealth of legacy of musical and artistic talents being
the grand daughter of the legendary Veena Dhanammal and daughter of Jayammal
and Govindarajulu. Had her training under Kandappa Pillai, Chinnayya
Naidu and Vedantam Lakshminarasimha Sastri. Graceful in personality,
endowed with a musical voice and blessed with a body that was specially
moulded for abhinaya to bring out the eloquent bhavas and rasas of diverse
emotions and compositions. Balasaraswati was on the stage in her
teens and was the cynosure of the cognoscenti. At the All India Congress
Exhibition held at Royapettah in 1935 or so, S.Satyamurti gave glowing
tributes to her talents and she was then just seventeen. She was
very cultured. She would sing well while dancing. 'The bhava
or the attitude of Sringara was for Bala the soul of bharata natya.'
Musician - Artist S.Rajam said that Bala should be included in this book
as she was a good musician too.
Here are some
excerpts of some of her learned dissertations:
'Sringara stands
supreme in the range of emotions. No other emotion is capable of
reflecting the mystic union of the human with the divine.'
'The feet keeping
to time, hands expressing gesture, the eye following the hands with expression,
the ear listening to the dance master's music and the dancer's own singing
- by harmonising these five elements, the mind achieves concentration and
attains clarity in the richness of participation. The inner feeling
of the dancer is the sixth sense which harnesses these five mental and
physical elements to create the experience and enjoyment of Beauty.
It is the spark which gives the dancer her sense of spiritual freedom.
The spectator, who is absorbed in intently watching this, has his mind
freed of distractions and feels a great sense of clarity. In their
shared involvement, the dancer and the spectator are both released from
the burden of worldly life ad experience the divine joy of the Art with
a sense of total freedom'.
BALUSWAMI
DIKSHITAR - MUSICIAN - COMPOSER.....................................(1786
- 1859)
Baluswami
Dikshitar was the son of Ramaswami Dikshitar, the scholar-composer, and
a brother of Muthuswami Dikshitar, one of the Carnatic Musical Trinity.
Baluswami Dikshitar was tutor to the Ettayapuram Rajah too and the ward
built a house for his guru even as Swati Tirunal did for Vadivelu of the
Tanjore Quartette. Saranga, Durbar, Kanada and Rudrapriya were the
favourite ragas of this composer-musician.
Baluswami Dikshitar
was a multi-faceted personlaity who could play on the family asset of vina
besides Swarabat, Sitar and Mridangam. He was at Manali near Madras
with his father and Chinnaswami Dikshitar when Muthu Venkata Vaidyanatha
visited. At the instance of their father, the brothers sang 'Nannu
Parikshinchunela' to the satisfaction of the visitor to qualify for his
father receiving two great works called 'Chaturdandi Prakasia' and 'Raghalakshanam'.
Muthukrishna
Mudaliar and Venkatakrishna Mudaliar of Manali extended much patronage
and it was at their instance, an European violinist taught Baluswami Dikshitar
to play on violin (1806-1814) and he adapted his play to suit the genius
of Carnatic music. His brother Muthuswami Dikshitar composed 'nottuswarams'
in Sankarabharanam raga to practise with. Thus Baluswami Dikshitar
is credited to be the pioneer to introduce violin in the South and Tanjore
Vadivelu popularised it. This is, however, disputed on the basis
of a painting of 1794 A.D. on the walls of Darya Daulat, Srirangapattinam
and the wooden panel on the car of Lord Ranganatha. Sangita Kalanidhi
T.Chowdiah has claimed that violin is only the 'dhanur veena' of old and
that a representation of the violin is found on the walls of Sri Agasteeswara
temple at Trimakuta on the Cauvery. The contention is that violin
was no stranger to India.
Baluswami Dikshitar
started his career on his return to Tiruvarur from Manali giving concerts
with Chinnaswami Dikshitar. The brothers are stated to be the first
among duos of prominence known to history. He had been honoured by
Samasthanams and from 1825 was Aasthana Vidwan at Ettayapuram, at which
place, Muthuswami Dikshitar during his visit breathed his last. Baluswami
Dikshitar has composed varnams in Natta- Ata and Rudrapriya, Vasanta
and Durbar. He had set to music compositions of his patron,
Ettayapuram Rajah.
Once Sonti
Venkatasubbiah claimed 'Takka' raga as a family credit and asked Baluswami
Dikshitar at Manali to sing it. It is said that Dikshitar sang 'Aramajja
Apavada' / 'Nanu Parikshinchu Nela' in that raga repudiating the claim
of Venkatasubbiah. In fact, Muthuswami Dikshitar had composed 'Sundaramurtim
asrayami' in the same raga in praise of Sundaramurti Nayanar .
BANNI BAI
- MUSICAL DISCOURSE ARTISTE.............(b.1912)
Alamelu Manga
Thayar, daughter of Doraisami became Banni Bai because of residence and
contacts with marwari people. She has had training or special coaching
with several experts like
Songs &
kritis - Balu Pillai and Narayanaswami Ayyar
Abhinaya and
mudras - Mahadeva Ayyar
English and
Tamil - Swaminatha Ayyar
Marathi -
Markandeya Brahmacharya
She learnt
Kannada adn Sanskrit also. She learnt kalakshepam art from Vijaya
Bhagavathar and Kalyana Sastrigal. Banni Bai, gratefully remembers
her guide and mentor, Bangalore Nagarathinamma, a respected lady who first
constructed the Samadhi of Tyagaraja at Tiruvaiyaru. In recognition
of the versatility, singing capability and scholarship of Nagarathinammal,
she wrote her biography. Banni Bai follows the Tanjore method of
rendering harikathas. She has had her programmes in the whole of
India in hundreds.
Recognition
came in the shape of
Kalaimamani
title from the Tamil Nadu Eyal Isai Nataka Mandram, Chennai
Sangeeth Natak
Academy Award in 1987.
Has acted in
the fil 'Sakku Bai. The 'Hindu', Madras stated that her clearly enunciated
speech educates and regales the listeners with axioms and anecdotes ' and
records that she is one of the most versatile practitioners of the
art .
L.
BHAGYALAKSHMI - VIOLINIST
L. Bhagyalakshmi
was born on 2 August, 1927. She learnt Carnatic music and violin
from Chitoor V. Subramaniam and vocal music from noted musicians Calcutta
Krishnamurthy and also from Sulochana Pattabhiraman. Her solo performance
in All India Radio, Chennai in 1945 at the age of seventeen followed by
regular concerts gained her a B.High Grade violinist of All India Radio,
Chennai. She has accompanied on violin many renowned vocalists and performed
solo in leading sabhas and institutions.
Post-graduate
in Music and Teacher's Training from the University of Madras, she has
more than 30 memorable years of service teaching students of Shri R.E.M.
Sarada Vidyalaya Girls Higher Secondary School, T.Nagar, Chennai. Her contribution
to music has helped receive accolades for her school by winning the award
in-group singing at the national level hosted by All India Radio.
(Information & photo provided by C.R. Kaushik,Texas, USA)
SIKKIL
R. BHASKARAN - VIOLINIST.............(b.4 May 1936)
Son of R.Rajagopala
and R. Vedavalli and grandson of Ramaswami Pillai, a Bharatanatya exponent
and recipient of the title of 'Kalaimamani' and 'Sangita Nataka Academy
Award'. Bhaskaran was born at Sikkil. Learnt violin under Tiruvarur Subba
Ayyar initially and then under the violin maestro, Mayavaram Govindaraja
Pillai for seven years. Then he had his tutelage under Sangita Kalanidhi
Rajamanickam Pillai. Made his debut at Kumbakonam as 'second to his master,
Rajamanickam Pillai and independently as accompanist to the Pozhagudi Brothers.
Got the prizes for young artiste from the Indian Fine Arts Society and
in 1961 from the Music Academy, Madras for the 'Junior Artiste of the Year'
with a gold medal. He is on the staff of the AIR since 1976 and has been
accompanying leading vidwans in sabhas and on the AIR for over thirty-four
years. A good violinist known for his soft and pleasing play with rich
ragha bhava, improvisation and balanced swara exposition, he has been the
recipient of several awards.
1973 - Suguna Vilas
Sabha Kumbakonam - Innisai Kalaimamani
1980 - Music Academy,
Madras - Senior Vidwan
of the year
1983 - Tamil Nadu
Eyal Isai Nataka Mandram - Kalaimamani
1984 - Purandaradasa
Mahotsava Committee - Suswara Suga
Laya Sangeetha
1987 - Sri Dandayuthapani
Bharatanatya Kalalaya - Natha Oli
Rathnam
1988 - Tamil Isai
Mandram, Tiruvaiyaru - Villisai Vendar
1988 - Narada Gana
Sabha, Karur - Gana Kala
Bharati
SRI SADGURU
BODENDRA SWAMIGAL OF BHAGAVATHA TRINITY ............. (1610-1692)
Nature has
showered her bounteous gifts on the small village of Govindapuram near
Tiruvidaimarudur so that the immortal Bhagavathotama Sri Sadguru Bodendra
Swamigal could attain bliss there amidst natural beauty and serenity after
a life of hectic spiritual mission and exercise. The sacred place
where his Samadhi is situated witnesses the annual celebration of the day
of his Mahanirvan.
This contemporary
of Sri Sridhara Venkatesa Ayyaval of Tiruvisanallur and Sri Sadasiva Brahemndral
was born at Kanchipuram, of Kesava Panduranga Yogi and Suguna and was called,
while young, Purushotaman. He had his education in the midst of scholars
and set out to Benaras with a friend. Losing his friend en route,
he desired to end his life. Destiny took him to Sri Viswadikendra
Saraswathi, the 58th Sankaracharya of the Kanchi Kamakoti Mutt sojourning
there. Finding the fittest person and scholar in Purushottaman to
succeed him, the learned Pontiff ordained him a sanyas and gave him the
name of Bodendra Saraswathi. The young sanyasi was intructed to return
to Kanchipuram via Jagannath to secure the great work 'Nama Kaumudi' of
Lakshmidhara Kavi. Accordingly, Bodendra reached Jagannath and got
the book from the author's son, Lakshmikantha Kavi and his mother.
The unique
character of this trip lay in Lakshmidhara Kavi leaving instructions with
his son to deliver the book to 'the sanyasi from the South who comes seeking
it' and the Sankaracharya instructing his ward to trek all the way to Jagannath
and obtain the book. This was about 360 years back. Further,
on the day of his visit, Bodendra witnessed an incident extolling the spiritual
glory of 'Ram Nam' and the enormity of the gifts of Devotion.
Bodendra accompanied
his guru in his pilgrimage to Rameswaram on the Southern tip of the country
on his return from Benares. The Sankaracharya attained eternity on
the way and Sadguru Bodendra Swamigal became the 59th Sankaracharya of
the Kanchi Kamakoti Peetam in the year 1638. Bodendra later stayed
at Tiruvidaimarudur and this helped in another Great Bhagavatha, Sridhara
Venkatesa Ayyaval of Thiruvisainallur (just north of Tiruvidaimarudur)
joining him in spiritual anmd devotional pursuits. It may be mentioned
that they together with Sadguru Swamgal of Marudhanallur form the Bhagavatha
Trinity and with Sri Sadasiva Brahmendral and Swami Narayana Tirtha constitute
the Founders of the Bhakthi Renaissance and Bhajan in the South.
Singing in chorus according to procedure in praise of God at festivals
and on auspicious days became common and widespread.
Sri Sadguru
Bodendra, on the basis of the Nama Kaumudi, wrote the 'Nama Siddanta
Granthas' comprising -
Namamritha
Rasodayam
Nama Rasayanam
Nama Suryodhayam
Nama Tarangini
Namarnavam
Harihara Bheda
Dikkaram
Hariharadvaita
Bhushanam
Murta Brahma
Vivekam
Advaita Bhushanam
and
Atma Bodha
Teeka.
Sri Bodendra's
guru was delighted to see these scholarly works of his ward on his return
from Benares and these works have since been published. 'Nama Kaumidi'
was reported to be available at the Marudhanallur Mutt of Sridhara Swamigal
till 1966 though in poor condition. Now it is not there.
Sri Sadguru
Bodendra Swamigal is remembered not only at the annual celebrations at
Govindapuram but at each and every bhajan wherever it is done. The
learned and respected scholar, Ki.Vaa. Jagannathan made the profound statement
that Bharath had undergone political, economic and social upheavals with
its hours of glory and shame but at no time it had lacked in the presence
of eminent men of devotion and sacrifice.
T.BRINDA
(VOCALIST & VAINIKA)......................(b.November 5, 1912)
Grand daughter
of the legendary vainika, Dhanammal and daughter of Kamakshi Ammal, Brinda
was bred in the evergreen nursery of vibrant classicism in Carnatic music.
Imbibed the Dhanam tradition of melody from Dhannammal herself and her
daughters. She is the eloquent inheritor of its grace and charm.
This view finds support from the fact that the institution 'Sampradaya'
arranged for a six months special training course at madras on Dhanam Classical
tradition to be handled by T.Brinda and T.Viswanathan, a scion of the same
nursery. She had absorbed enough music at home to elaborate ragas
when at the age of nine she entered on gurukulavasa under Kanchipuram Naina
Pillai. Mukta, her younger sister accompanied. But 'actually
Brinda learnt directly from the maestro ad Mukta kept the sruti (harmonium).
Mukta says':
Grandmother
Dhanammal was none too pleased at our being sent to Naina Pillai as if
no music was available at home. Further Dhanammal's music was like
honeyfall, soft and sweet and she wanted our music to be soft and feminine.
She disliked women indulging in swara fireworks and feared that it would
happen if we learnt music under Pillai.'
Brinda made
her debut with Mukta as support at the Tyagaraja Festival, Kanchipuram
which was celebrated annually by Naina Pillai. Though Mukta did not
undergo the rigorous training, she had assimilated enough by constantly
hearing the master and his ward (Brinda) and the Brinda-Mukta combine was
a prominent duo for four decades, till Brinda's daughter and vocalist Vegavauhini
joined to sing with Brinda. Thus Brinda has over seventy years solid
credit as a performing artiste of merit. She enjoys a vast repertoire
of kritis, padas and javalis and several claim to have studied under her
though some of the claims might not conform to fact, it is said.
For exquisite
rendition of padams, Brinda has a name and for the Music Academy, Madras,
she brought out a publication of javalis in 1965 but she feels that several
performing artistes do not adhere to the proper paddhati. Semmangudi
Dr. Srinivasa Ayyar states that when Ariyakudi Ramanuja Ayyangar and he
heard Brnda once, the former said,
'When women
sing padams, it is melifluous;
See, how beautifully
Brinda has handled them!'
Ayyar could
not stop with the joy of hearing. At the suggestion of the Maharani
of Travancore, he learnt in three days three javalis and three padams from
Brinda! (Three is Ayyar's lucky number perhaps!) Here is another
tribute from another veteran. R.Vedavalli who states that her guru
Mudicondan Venkatarama Ayyar used to tell his disciples,
'See, how
Brinda keeps her voice sweet inspite of advancing age.
You should
take a lesson from her.'
These tributes
to Brinda's musical expertise and acumen find relection in the titles and
honours conferred on her.
Titles &
Honours:
Sangit Natak
Academy Award - 1965
Sangita Kalanidhi
from Music Academy, Madras - 1977
Sangita Sikhamani
from Indian Fine Arts Society
Swaralaya
Pushkaram by Pushkaram - 1992
Posts held:
Professor,
Central College of Carnatic Music, Madras (1951-70)
Visiting Professor,
University of Washington, Seattle, USA - Two Terms
Visiting Professor,
California University, USA - Two months
Brinda has
given concerts in USA and she was not interested in giving discs.
She has been training many in Veena also.
