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B.RAJAM AYYAR - VOCALIST.............(b. July 15, 1922) Born at Pavattakudi (near Ramnad), of Balasubramania Ayyar and Lakshmi Ammal, Rajam Ayyar had his initial training under Tirugokarnam Subbiah Bhagavathar and Vidwan Ganapathy Ayyar of Kunnakudi, a Gottuvadyam and Jalatarangam artiste. After five years of intensive training, he took up gurukula under Ariyakudi Ramanuja Ayyangar for a decade of study and apprenticeship. He is the leading discciple and exponent of the style of Ramanuja Ayyangar. Soft spoken, religious and studious habits, he has deep respect for and faith in sampradaya music. His personal charm, modesty and restraint are part of his personality. His long association with Ariyakudi Ramanuja Ayyangar enriched his repertoire. He further augmented his repertoire of Muthuswami Dikshitar kritis by taking special lessons from Sangita Kalanidhi T.L.Venkatarama Ayyar. The period also witnessed his setting tunes and rhythm to all the songs of 'Tiruppavai' of Sri Andal, a large number of 'Rama Natakam' songs of Arunachala Kavirayar and others and publishing them. An acknowledged musicologist, he brought out the tamil edition of the celebrated treatise, 'Sangita Sampradaya Pradarsini' for the Music Academy, Madras. "His
concerts are noted for the sustained interest they acquire from the tana
varna to the lighter pieces bringing out the excellence in composition
and musical content. The main characteristics of his presentation is his
devoted integrity and fidelity to the compositions and the composers. A
good musician of wide experience, charm and rich tradition, Rajam Ayyar
is a model teacher. He is one of the top musicians who takes to Tamil songs
liberally thanks to the special assignments he had undertaken. In 1942,
he started his career with a concert at the Tyagaraja Aradhana at Tiruvaiyaru.
From 1943 for 4 years he was music tutor to members of the royal family
at Travancore. His advent at Madras started in 1956 with a performance
at the Jagannadha Bhaktha Sabha, Egmore, which was then a favourite haunt
for classical artistes of repute. His younger brother, Krishnamoorthy learnt
music under him and got vidwan title at the College of Carnatic Music at
Madras. They used to give performances together too. He has served on selection
panels of Madras and Delhi Universities, is a member of the Expert Committee
of the Music Academy, Madras and has given special recordings and demonstrations.
Son of V.Sundaram Ayyar and Chellammal, S.Rajam was born at Madurai and hails from the family of Srivanchiam Subbarama Ayyar. Had his training in music under a galaxy of stalwarts like Ambi Dikshitar, Ariyakudi Ramanuja Ayyangar, Papanasam Sivan and Madurai Mani Ayyar from 1929 to 1941. Since 1934, he has been giving concerts all over India and abroad. Has been the recipient of medals from the Music Academy, etc. and the title 'Isai Kadal' from the Tamil Sangam, Karaikudi in 1988. Was Music Supervisor in the All India Radio for thirty-five years till retirement in 1979 and took interest in popularising Tirukkural. Was on the All India Radio panel and is now on the Experts Committee, Music Academy, in the proceedings of which he takes keen interest. Has
been devoting much attention to the popularisation of the songs of Koteeswara
Ayyar and songs in rare ragas. Has a number of disciples. The veena maestro,
S.Balachander is a brother of Rajam. His paintings of the Carnatic Trinity
have been appropriately unveiled at the temple of Sri Kamakshi by Sri Jayendra
Saraswathi, Sankaracharya of Kanchi-Kamakoti Peetam.
He
was a classicist. He never indulged in acrobatics or sudden thrusts and
flashes. Bred on the banks of the river Cauvery, his play imitated its
majesty while it is brimful and in full flow. It was dignified, masterly,
chaste and satisfying. Violin in his hands found harmony and established
close identify with the musician and rarely sought to carve out any distinct
identity. The success of the concert was his concern. He was pleasing in
manners, unostentatious on the stage and magnificient in play. Had a good
personality. He would play for juniors also. He had played for all top
artistes. Rajamanickam Pillai was honoured at the Courts of Ramnad, Cochin,
Ettayapuram, Travancore and Mysore. He was Asthana Vidwan at Travancore
in 1940 and at Ettayapuram in 1942. He had been the recipient of Sangita
Natak Academy Award in 1959, Isai Perarignar from the Tamil Isai Sangham
and Sangita Kalanidhi from the Music Academy in 1948. Once he got an elephant
as a gift and donated it to Sri Adi Kumbheswara Temple, Kumbakonam. His
disciples included M.M.Dandapani Desikar and Govindaraja Pillai.
He revolutionised the art by taking tambur and mridangam in lieu of the drone 'othu' and tavil. Rajarathinam hailed from Tiruvaduthurai. Son of Kuppuswami Pillai, he had his training under his uncle Tirumarugal Natesa Pillai in nagaswaram, Tirukodikaval Krishna Ayyar in vocal music and Tiruvavaduthurai Markandam Pillai in nagaswaram. Natesa Pillai, a brilliant nagaswara vidwan adopted him. Thus his training under the stalwarts helped Rajarathinam much. He was innovative, adventurous and adroit. He had graced not only 'Todi' but had taken 'Shanmugapriya' and certain others to sublime heights of fragrant improvisation. He
was given the Presidential Award in 1952. He has acted as hero in the film
'Kavi Kalamegam'. He has given several disc recordings which still rule
the market. They convey the rich, captivating melody, the wizardry of his
improvisation and the unsurpassable beauty and charm of his rendition.
He did not relish suggestions and requests during concerts. At Rameswaram
someone requested for 'magudi'. The vidwan handed over the nagaswaram to
the party advising him to render it himself! He is among the illustrious
artistes whose memory shall always be cherished. He was a wizard then and
is a legend now.
Born at Manjapara (Palghat) in Kerala, of Devesa Bhagavathar, a local musician, he had his initial musical training under his father. Simultaneously he completed his B.Sc. in Physics from the Victoria College, Palghat. He secured graduation in music from Kalakshetra and got his Sangita Siromani. Actually he constituted a 'single student first batch' for that course. Tiger used to refer to him as 'thief' for robbing him of all knowledge in music! A lifting recognition of merit in a devoted pupil. He was a professor in the same institution to the last. His voice was suited to slow tempo (vilambakala) and he developed his own style, which was sober, serene and effective. He was at his best in ragas like Sahana, Yadukula-kamboji, Sri, Kedaram, etc. Adverting to his slow tempo, an admirer is reported to have mentioned that blood pressure got to the normal by constantly hearing him and called him a music therapist. As a teacher, he was strict and very attentive. He was also a composer in Sanskrit, Telugu and Tamil and his deep faith in spiritualism found vent in his songs like 'Parama Krupanidhe' and 'Sambho Mahadeva' on Sri Kapaleeswaraswami, Mylapore. His 'Sagara Sayana' (Bagheswari) is an important kriti. He
was honoured with
His
versatility extended to research besides vocal and veena. The Tamil
Nadu Sangita Nataka Academy took him as a researcher. He read his
first paper on 'Musical Scales described in Silappadikaram' at the
Music Academy, Madras in 1956. With B.Rajam Ayyar, he was connected
with the Tamil version of 'Sangita Sampradaya Pradarsini' of Subbarama
Dikshitar, the greatest compendium in Carnatic music. It was as a
teacher, he earned wide popularity and fame. He tried to infuse the
influences of other cultures by learning Western methods of teaching and
had held teaching assignments in USA, Taiwan and Malaysia, besides India.
He had composed songs like 'Aadum Arase' (Surati). His concerts
were noted for clasical emphasis, chaste music and freedom from acrobatics.
Had a soft voice, a penchant for emphasis on meaningful rendering of songs
with bhava highlighting the sahitya (text) - sangita (music) nexus, blend
and significance. Personally, he was soft, mild and cultured carrying
an immense load of vast knowledge and varied experience without a tinge
of show or exhibitionism. He passed away after he heard Muthuswami
Dikshitar's 'Abhayambhikayam' (Sahana).
He
has been the recipient of honours such as :
Doctor
Ramanathan had given hundreds of concerts and musical discourses (Kalakshepams)
in addition to training a large number of students in music.
Ramani followed his mentor in a concert at the age of eleven at the RAsika Ranjani Sabha, Madras. Perhaps he is the youngest boy-flautist to do so. Since then, he has been at the top here, there and everywhere with a heavy schedule to contend with in India and abroad. All India Radio, Television or Sabha, every series has a berth for him. His concerts rich in raga bhava and laya attract the connoisseur and the lay. He is versatile at all the pitches. At concerts, he is a picture of composure, dedication and dignity. The
renowned flautist has been honoured with the titles 'Kalaimamani' by the
Tamil Nady Eyal Isai Nataka Mandram and 'Saptagiri Sangita Vidwan Mani'
by the TTD, besides the Sangita Nataka Academy Award in 1985. Was TamilNadu
Government Artiste, 1981. He was a pioneer along with Hariprasad Chaurasia
(flute) in promoting 'jugalbandhis' in 1971 followed by another
in 1987.
Prof. Ramarathnam's career as a performing artist and teacher, spanned over four decades starting in 1945 as the first Vice-Prinicpal, Ayyanar College of Music in Mysore, started by T. Chowdiah. He then was chosen as the Professor of Music and First Principal of the the University College of Music and Dance, University of Mysore in 1965. Following his retirement in 1977, the University Grants Commission, Govt. of India invited Prof. Ramarathnam to continue his service as Emeritus professor, which he served until 1980. His research work during this period on the "Contribution and Patronage of Mysore Wodeyars to Carnatic Music" is considered to be an authoritative record. This work was recently published by Government of Karnataka, Kannada Book Authority. He has served as the Chairman of the Board of Graduate and Post Graduate studies in music, University of Mysore, Chairman, Board of Examiners University of Kerala, and as a member of the board of studies at Venkateswara University, Tirupathi. Prof. Ramarathnam has trained hundreds of students and has also guided doctoral students in music. The Mysore University Press has published ten books authored by him on the theory and practical aspects of Carnatic music. Many of these books are being used currently for undergraduate and graduate instruction in music. Prof. V. Ramarathnam is an 'A' class artist of All India Radio and has been giving concerts for over fifty years at several AIR centers and throughout the country as well as United States. As a vocalist Prof. Ramarathnam's greatest asset is his style of rendering, that is stately, slow, reposeful, bounding in languorous tonal elongations and immersed in spiritually deep and concentrated expression. Listeners are made to feel and become aware of his mode, his means and his medium, coupled with his impelling motivation and technique in attaining the cherished goal with minimal use of paraphernalia. One his memorable concerts was a Madras Music Academy concert in 1958, to an audience filled with legends such as Chembai, Maharajapuram Vishwanatha Iyer, Ariyakudi, (to name a few), when his guru Chowdiah received the academy's coveted Sangeetha Kalanidhi Award He has performed to the accompaniment of great artists including his own guru T. Chowdiah,Govindaswamy Naickar, Prof. T.N. Krishnan, Chalukudi Narayanaswamy, M. Chandrashekaran, etc. on violin and Palghat T.S. Mani Iyer, Vellore ,Ramabhadran, T.K. Murthy, Umayalapuram Sivaraman, Tanjore Upendran, Prof. Trichy Sankaran, Guruvayur Dorai , Alangudi Ramachandran etc on the mridangam. Prof. Ramarathnam has received deep appreciation and recognition from the legends of his time for his scholarship in all aspects of music. He alo received a number of titles. He was conferred the title of Sangeetha Kala Rathna when he presided over the 14th Musician Conference under the auspices of the Bangalore Gayana Samaja in 1983. He is also the recipient of the Karnataka State Sangeetha Nritya Academy award, Karnataka Kalathilaka in 1986, Sangeetha Rathna Mysore T. Chowdiah Memorial Award for his long lasting contribution to music, in 1994-95, as well as recognition from many leading sabhas. Motivated
by Poet Laurete Kuvempu, Prof. Ramarathnam composed his first krithi "Karunisu
Pramatha Ganapathe" in the raga Todi set to Rupaka tala, following which
he composed more than 25 keerthanas and thillanas in Sanskrit, Kannada,
and Telugu with the swanama mudra, 'rama'. Many of his students such as
Prof. T.S. Ramaa, Uma Prasanna Sukanya Prabhakar, Dr. R.N. Sreelatha, Dr.
T.N. Padma , Nagamani Srinath, Dr. K. Vageesh (Director of Carnatic Music,
All India Radio, New Delhi) are performing artists of repute, professors
of music, and are serving AIR centers and universities.
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S.RAJAM
- VOCALIST & ARTIST.............(b.February 10, 1919)