THE TIGER THAT ROARED LIKE A LION

He was drinking toddy and singing Thodi

For Tiger Varadachari,the music maestro, it was a journey from one Kutcheri to another Kutcheri.He was,at 23, a clerk in the survey department at Calicut Mananchira Huzur Kutcheri.
Tiger had come from Madras to Calicut because of financial constraints and worked in the office at a salary of Rs 12/- a month.Out of office,he began to sing in marriage and other ceremonies.His name spread and an invitation came from Mysore Palace to sing in Dussehra celebrations.Maybe,Mysore Varadachar,his close friend interfered on his behalf.It changed his life.He became Tiger there.

Tiger Varadachari

Tiger Varadachari(1876-1950) was born in Kolathur, Chengalpet.He was the son of Tamil,Telugu and Sanskrit scholar Sriman Kandadai Ramanujachari.He had two younger brothers.Veena Krishnamachari and Musicologist K V Srinivasa Iyengar.But Tiger has said he learnt much from his sister.All the three who were musically mad were disciples of Patnam Subramanya Iyer(1845-1902).Iyer was resident of Tiruvaiyar when they began studies and moved with him to Madras.Tiger was with Iyer for three years from age 14.They learnt from Thatchur Singaracharya Brothers too.In Madras they stayed in Kaladipet and were called Three Musketeers of Kaladipet.Tiger drew inspiration from street dramas,bhajans and stray contacts like Fiddle Ramachandrayyar.Photo Masilamani and Pedda Singaracharyalu encouraged Tiger in musical pursuits.Krishnamachari was taught veena by Kalahasthayya.
At Patnam Subramanya Iyer's house,Mysore Vasudevachar was also a disciple.When the invitation came from Mysore King Krishna Raja Wodeyar to sing on Mahanavami day,Tiger took leave from the Calicut office for the whole week,reached a day early and stayed with Vasudevachar.He composed an intricate pallavi in praise of the King in Raga Poornachandrika.On the morning,he found his throat  filled with phlegm and drank boiled water.His voice became trim and he sang the pallavi for four hours,was conferred the title,Tiger.He was invited to the Court of Mysore; he resigned his job in Calicut.
He had gone a day early to Mysore to know what to wear at the durbar. He was seen always wearing a monkey cap after that.He used to admire himself wearing it,in front of the mirror,greeting himself,Anjaneya Namaha.His obsession with the cap made him a laughing stock and his friends requested Vasudevachar to interfere.One day when he went to Vasudevachar's house,he was singing Kamboji.He suddenly paused but resumed at Tiger's request.After two hours of singing,Tiger offered whatever he has.Vasudevachar asked for the monkey cap!

Tiger playing Kabaddi

Not the cap alone;Tiger was seen with the caste mark on forehead,a coat and upper cloth,an umbrella in hand and betel case made of coconut leaves.Vasudevachar in his memoirs,Na kanda Kalavidharu has called Tiger an unparallelled genius.Tiger left for Madras after a decade.There he became Principal of the Teachers College of Music started by the Madras Music Academy.After five years,he became Head,Department of Music,Madras University;Principal,Music College,Annamalai University and finally Principal,Music section,Kalakshetra.It was there MDR became his disciple.Tiger used to drink-MDR once commented it was not liquor,it was his Raga,Toddy!

Tiger

Of course,he was fond of Raga,Todi.Endless talks had bored people in Ranade Hall in Mylapore during Shyama Sastri's anniversary conducted by Music Academy.Tiger,when his turn came contemplated a moment on whether to talk.Then he began singing:kannatalli gada biddayani kanikaramintaina Ieada,Amba?".Anupallavi of Keerthanam in Todi,Ninne Namminanu...
Tiger was in Mylapore during his teaching days.It was a practice to have concerts on friday evenings at Tiger's place or Veena Dhanammal's place.On a Friday at 7PM,Flutist Virinjamuri Sreenivasachari went to Tiger's house and Tiger sent him back saying he is not in a mood.Virinjamuri went back to his sister's home which was close by.He began sleeping in the yard in front of the house since it was a summer night.At around 10 PM,Tiger came,woke him up and asked whether he was ready to listen to him.At his home,he sang one keerthanam for eight hours,till 6.30 AM,when his wife came around with coffee and asked him to stop.
His voice was gruff.If he had trouble with his voice,he used to become more animated with exaggerated actions and gestures.
And he used to snore.Raga Begada was his forte. He sang Begada in Tiruvaiyar Thyagaraja festival in 1940 when he was in Chidambaram,Annamalai University.He stayed in Kalyana Mahal.There was no electric power.So he slept at night on the pathway between two rooms.Restless by Tiger's loud snoring,a Parsi engineer asked:"Is this fellow a tiger?he is making all sorts of funny noises!".
"Yes,yes",Tiger replied,"this fellow is Tiger,he is set to make  wider varieties of sounds shortly".It was the first time the engineer was encountering a bhagavatar speaking in English.Tiger sat up and began to sang Begada once again.

Tiger with class of 1935;Parur Sundaram Iyer,left

He had sung Begada at a concert in 1937 during a marriage ceremony in Veena Dhanammal's house.She was a harsh critic known for her knowledge and intolerance of mediocrity.Though he had to catch up a train to reach Chidambaram,he went on at the encouragement of Dhanammal who was in the audience.Not only that,a solid foundation for ragaprasthara had been laid after ragam,thanam and niraval.After the kutcheri he told Dhanammal:"Dhanamma! I have been singing myself hoarse.Did you really have to ask me to sing before you?".Dhanammal presented him a silver trophy filled with sugar candy.
Tiger knew his sore points.He had replaced another vocalist who could not make it on time for a radio programme.Accompanists were Chowdiah and Palakkad Mani Iyer.The Tambura player asked Tiger for Shruthi."My Shruthi"?,Tiger told him,"it is low,very low,reaching almost the bottom of the well".
Like his voice,he had a rough exterior.He was benign inside.

MDR by R K Laxman

According to S Y Krishna Swamy,Tiger felt it is "pure music which is important  in a Pallavi,it depended very little on words".T K Sethuraman remembers a Kamboji in the village of Seerkazhi.After a concert in which he elaborated a Pallavi in Kamboji,Tiger returned to his resting place with Sabesayyar, Inchimudi Varadaraja Iyengar,Mysore Varadacharar and MDR.A challenge was put before Tiger to recite a Pallavi not heard sofar.Suddenly a street vegetable vendor,a woman, shouted:kathirikkai,kathirikkai(Brinjal for sale).Tiger began the Pallavi:Kathirikka Vangavayendi,adi Thozhi(come with me to buy brinjal,lass!).Another Pallavi of him was:Uppuma Kindadi Penne,nanna(Hey lass,stir the uppuma well).He composed the keerthanam,Eediname Sudinamu when Sir C Rajagoplachari as Governor General visited Kalakshetra.
Tiger is responsible for the position Raga Kharaharapriya adorns in concerts today.Before him,it was treated only a minor Raga.The devadasi nautch was renamed Bharatanatyam after he presented a resolution in 1935,in the midst of a clamour to ban it.
Once Tiger sang in a Music Academy festival in a ground close to the Madras Zoo.Veena Seshanna said the Tiger became a lion!

Patnam

MDR,in honor of his guru,adopted Varadadasa as signature in his compositions.They were very close.Once when Tiger shook his left hand several times and showed unfamiliar gestures with it to exhibit his new wrist watch, MDR publicly told him in the class:"you are not only a guru,a watchman too!".
MDR was by Tiger's side when he breathed his last;MDR was asked to sing,Entharane of Tyagaraja during those last moments.He did it with tears in his eyes,in a choked voice. 
You may have heard MDR singing Entharo Mahanubhavulu.He repeats mahanubhavulu several times before he enters the Pallavi.It is MDR's pranams to his guru.Hence rasikas said,Tiger was a Janaka Raga;MDR was its Janya Raga.
Reference:
1.Isai Maethigal/T Sankaran/VOC Noolagam,2004
2.Kedaram/Krishna Murthy/Current Books,2006
See my posts,VIOLIN COMES TO CHENNAI,A SPRING IN MEMORY

THE DUET:HINDI EMBRACES MALAYALAM

HINDI MUSIC DIRECTORS IN MALAYALAM

Three music directors who enriched Malayalam movies,literally lived in the streets,in their formative years.Two of them were from the Hindi music world:Naushad and Bombay Ravi.The third one,the legendary M S Baburaj,or Babukka was a street singer in Kozhikode.Pather Panchali means Song of the Road,isn't it?

Naushad,who was born in Lucknow and repaired harmoniums,had run away to Mumbai in 1937.He slept on the footpath in front of the Broadway Theater.
Bombay Ravi ,born in Delhi as Ravishankar Sharma was an electrician.He lived in Mumbai streets;slept in Malad railway station.They  made palaces in the air,with sound waves.

In the beginning,it was the duo Shankar Jaikishan.They did music for the 1952 Malayalam movie,Desabhakthan.Two songs,Sahayamare Bale and Oh Chinthayil En were sung by P A Periyanayaki;Radha Jayalakshmi was given the song,Oh Athimodamarnna.Lyrics were by Abhaya Dev.No song is available today.Hailing from Panrutti,Periyanayaki made her foray into films at age 
10 in C V Raman's Urvashiyin Kadhai.She attracted attention in T R Raghunath's Prabhavati.Her big moment came  when Meiyappan of AVM studios sent for her for Srivalli.She had sung for him in Balayogini in 1937.She was influential in Tamil industry as actress and singer as well as the close relative of the dance duo,Sayee-Subbulakshmi,singer Padma and the sound engineer in AVM,V S Raghavan.Padma was Sayee's mother in law.Nayaki had entrusted Subbulakshmi and Sayee to dance director,Muthuswamy Pillai.
 

Periyanayaki

In the duo,Shankar was a South Indian,born in Hyderabad.Jaikishan was from Vansda,Gujarat.Their famous song,Man mohana Bade Jhoote from the hindi film Seema was resung by Madhuri in the movie,Charam(1983).Another gem of them in Aawara(1951),sung by Mukesh was re sung by Mohanlal  in Vishnulokam(1991).It was clunky but endearing.
MOVIE:VISHNULOKAM/AAVARA HUM/MOHANLAL

A SPRING IN MEMORY: THE NCV CONNECTION

NCV, My Father's Sister

Ramachandran

My father, K Sundar Ram, died in 1966 when I was just five. I was listening to the Maths teacher, Leela, whose husband Timothy, owned the White Shop in Tripunithura when the messenger of death appeared and murmured something to her. I was sent out of the Palace Primary School, which was established to teach the children of the Cochin royal family. Tripunithura was the capital of the former Cochin State. My father's death, coupled with my mother's detachment from relationships, snapped our ties entirely with his family. But my mother, V Saradambal, whose father, Venkitaraman, was a Sanskrit scholar with the Zamorin of Calicut, and lived in Mankavu, near the Western palace, used to boast, till her death, that N C Vasanthakokilam was related to my father.

NCV

The question haunted me always: How is Vasanthakokilam related? 

In 1996, from Thiruvananthapuram where I was a Special Correspondent with Malayala Manorama, I took a taxi to Vellangallur, a village four kilometres away from Irinjalakuda, in the Thrissur district. Since I didn't have any contact number or address, I asked people for Kunnathu Madam, the K in my father's name. People said it is close to the temple. The Sreekrishna temple, I suppose. There were two people in the old house on an acre. To the elderly lady, who came out, I explained, who I am, and told her, I  came to see my father's house." You have come like the flowering of Athi"(the laurel tree or the Banyan Fig), she exclaimed. Niceties over, I asked: "what happened to the salagramam?".

They, the woman and her son were shocked. Salagramam is a holy stone, a spherical black-coloured fossil, found in the sacred river, Gandaki. It is an iconic representation of Vishnu. It got engraved in my mind when a close relative of my father, Parasuram, mentioned it after the funeral. You can keep a salagramam only if there is someone to do the daily pujas. Yes, her son was doing it. I didn't ask them about Vasanthakokilam. But now I have found that she was my athai. Father's sister. My father's father, my grandfather was K Subramanian.His brother was Chandrasekhara Iyer. N C Vasanthakokilam, the legendary Carnatic singer and actress, was his daughter(Athi, I feel, has something to do with Athai!).

Nagapattinam Chandrasekhara Vasanthakokilam (1919-1951) was born in Vellangallur,Irinjalakuda, as Kamakshi.The family shifted from there to Nagapattinam. Her father put her under the tutelage of Nagapattinam 'Jalra' Gopala Iyer, an accompanist in harikatha performances. The family moved to Madras in 1936 encouraged by K Subramanyam, film director.

They could not meet him when they arrived since he was in Kolkata, shooting. A family friend, who had studied with Kamakshi under the same guru, came to her rescue. He was an employee at the Egmore station of the then privately owned South Indian Railway. He gave refuge to her and her father in his quarters. He got her to sing in the radio rum by the Madras Corporation. The AIR was not there. She sang in all places and cut discs with the HMV.

Her name was changed to Vasanthakokilam. She won the first prize in vocal music at the Madras Music Academy annual conference, in 1938.It was presided over by Ariyakudi Ramanuja Iyengar and opened by Yuvaraja of Mysore,Narasimharaja Wodeyar.A star was born. Her colleague, who was romantically inclined towards her was married off by his family. They remained friends.

Subramanyam

K (Krishnaswamy) Subramanyam (1904-1971), Father of Padma Subramanyam, the Bharathanatyam exponent was a renowned director in the 30s and 40s. It was in his Pavalakkodi that M K Thyagaraja Bhagavathar debuted. Though the progressive Sevasadanam made him popular, his best-known film was Thyagabhoomi. M S Subbulakshmi was the heroine in Sevasadanam; Papanasam Sivan wrote lyrics and composed music. Subrahmanyam also produced and directed the first Malayalam mythological movie and third talkie, Prahlada(1941). Kumari Lakshmi, daughter of Chidambaram, private secretary to Dewan Sir C P Ramaswamy Iyer was Prahlada; T R Mahalingam, the childhood of Prahlada. The 19 songs in the film, written by Kilimanur Madhavan Nair were set to tune by V S Parthasarathy Iyengar. Actress and singer S D Subbulakshmi was Subrahmanyam's second wife; the Padma is from his first wife. Meenatchi.

Alathur Venkatesa Iyer

Vasanthakokilam shared with MS Subbulakshmi a melodious, high-pitched voice with perfect intonation, sruti and emotion. Her rendering of higher octaves was remarkable with effortless ease to bring off brigas.

In a male-dominated world, C Saraswathi Bai, a Madhva brahmin, was the first woman to give a concert in 1908, the first lady among Bhagavatars.

Sir C Sankaran Nair, the first Malayali Congress (AICC) President, was an ardent champion of her. He organized her first performance at Egmore. Following her came Vai Mu Kothainayaki Ammal and DK Pattammal. At this stage, Vasanthakokilam came without a godfather. The Indian Fine Arts Society gave her opportunities. She became a regular at festivals of Tamil Isai Sangam and Nellai Sangeetha Sabha in Tirunelveli. She sang at Tyagaraja archana during 1942-1951. After Independence, she popularised mystic poet Yogi Suddhananda Bharati's songs. She found and taught Andal, the playback singer, music. She was given the title, Madhuragita Vani by Tiger Varadachari in Kumbakonam. She was a worthy member of the triad of Carnatic music, MS, DK and NC.S (Sundaram) Rajam, actor of yesteryears, who has acted in Sachi's Radhakalyanam had heard NCV singing without a mike.

He remembers: "It was a voice with a rich and pleasant timbre, very pliant and malleable. Although she was thin and frail, her voice combined melody with tensile strength. Her voice rang with vibrancy, a reenkara, as she crossed the tara shadja and dwelt on the rishaba. It is my impression that MS Subbulakshmi took NC's music as a model. In the Simhendramadhyamam kriti Unnai allal vere Gati, NC sang several sanchara-s above the panchamam and in the tarasthayi. Listeners were astounded by her rendition of this Kotiswara Iyer composition."

Papanasam Sivan

She would often take up niraval on the phrase, kai mei palan arul daivamey. The song was a great hit. Sulochana Pattabhiraman, singer and musicologist had heard NCV rendering the Bhairavi varnam of Adiyappaiyer, set to aditala at a chamber concert. She remembers: "Among the rasika-s was the inimitable Alathur Venkatesa Iyer. Even he, the uncompromising great gave a nod of approval after the rendering of the Viribhoji varnam. On another occasion, when she presented a concert at the Srinivasa Gandhi Nilayam, her delineation of Kambhoji  in the three octaves held the audience captive. Sarasa dala nayana in Khamas, Mayetwamyahi in Tarangini, sundari ninnidarilo in Begada and the piece de resistance, Thanthai Thai Irunthal in Shanmukhapriya were some of the sparkling gems in her vast repertoire".

Ananthalakshmi Sadagopan heard NCV singing for the first time in 1941 at the Sangeetha Samrakshana Sabha concert at Madurai. She had 78 rpm records of NCV. Ananthalakshmi was told by HMV that it held NCV on par with MS.Ananthalakshmi remembered:" She came up entirely on merit. She drew large crowds. She sang with a lot of confidence, especially on her raga alapanas, and swaraprastharam. Her music was of a high order. It was powerful and high pitched".

By the time she entered the film world in 1940, her marriage had failed. He never encouraged her career. He set up a modest restaurant at Tiruvaiyar, by the name, of Coffee Club, and closed it down and went away whenever her concert was there. She acted as Princess Chhaya in the movie, Chandragupta Chanakya, directed by lawyer turned film-maker, C K Sathasivan, known as Sachi.

   Sachi and Gangavathar

He hailed from a family of noted lawyers in Coimbatore and was a cousin of novelist, R K Narayan. He had a brief training in filmmaking in London. He became associate director of noted American Tamil filmmaker, Ellis R Duncan in his historic maiden movie, Sathi Leelavati(1936). He entered Vasanthakokilam's life, became patron, protector and much more.A Sadasivam to M S Subbalakshmi;another to Vasanthakokilam.He promoted her to film singer and actress. She looked stunning as Chhaya. The make-up came from London. She acted in six more movies: Venuganam (1940),
Gangavathar ((1942), Haridas (1944), Valmiki (1946)
Kundalakesi (1946) and Krishna Vijayam(1950). Papanasam Sivan scored music for Valmiki.

Sivan, incidentally, had a Kerala connection.He was born as Ramaiah Polagam village in Thanjavur. After his father's death, in absolute penury, he and his mother shifted to Thiruvananthapuram, the attraction being the free food of Padmanabha Swamy temple. He studied in Sanskrit college, learnt Bhajans from Karamana Neelakanta Sivan and lived in a room in Karamana agraharam. After passing the grammar examination, he went back to Thanjavur and became a regular at Papanasam Siva temple, with bhasma smeared all over: People began to call him Papanasam Sivan, who, later flourished in Mylapore.

G Ramanathan

Haridas, the Vasanthakokilam movie, is the only movie to cross two deepavalis in Indian theatres. Its music director G Ramanathan took Carnatic music to the masses through film songs. He dominated Tamil music in the '50s. All the music lovers would have listened to NCV rendering Yen Pallikondeerayya, in mohanam, written by Arunachalakavi. This song, rendered by Krishnakumar, becomes the soul of the Malayalam movie, Swam, directed by my friend, Shaji N Karun.Her other famous songs are: Thanthai Thai Irundhal,Nitirayil Vandhu Nenjil,Aananda Nadanam aadinal,Aasai Konden Vande,Thithikkum Senthamizhal,Andha Nal Ini Varumo,Varuvano Vanakuyile,Saarasa Dala Nayana...

Gangavathar,was made by Sundaram Sound Studios,Adayar.MGR bought it and made it Satyam Studios. Her song, Kalaivani Arul Purivaai in Gangavathar, in raga Dhanyasi, became very famous. I have seen pundits saying this: she was not photogenic; she didn't have the glamour or charisma MS wielded and, with MS and DK Pattammal reigning supreme and with ML Vasanthakumari becoming a cynosure, NCV was beginning to be outshone. All of it was in the womb of the future. When she died, she was only 32. She could have done more. But, the fact remains that Sachi who took her under his wings had lost his hold in Kollywood. Remember, he directed only one movie about her. To be fair to him, he was with her till her end.

NCV  in Haridas

After Krishnavijayam, NCV was not there for long; she was not there to equal or outlive the adulation MS Subbulakshmi enjoyed. She died on 7 November 1951 at her Gopalapuram residence. She was ailing for two weeks with tuberculosis and was in a private nursing home till November 6. She was just 32. It would have been better to end the story here. But a stray search on the internet threw up several posts by a Graphic designer in the US, Shyama Sachi. She is the granddaughter of a one-time stand-up comedian who worked in the toy industry, the Irish American, Walter Hogue and Shantha Sachi. Sachi's daughter, Shantha, had eloped with him. In one of her posts, she writes about grandfather Sachi:"he loved his 'work' so much that he abandoned his family for a young starlet who was like Judy Garland".The young starlet is, of course, NCV.

Judy Garland

Judy Garland (1922-1969) was an American actress and singer, who is best identified for her role in The Wizard of Oz (1939). She was nominated for the Academy Award twice: for her role in Judgement at Nuremberg and in the remake of A Star is Born. She remains the youngest recipient(at 39) of the Cecil De Mille award for lifetime achievement. In 1997, she was posthumously given the Grammy lifetime achievement award. She struggled in her personal life. She was plagued by financial instability, owing hundreds of thousands of dollars in back taxes. She married five times, and the first four ended in divorce. She had a long battle with drugs and alcohol and died at the age of 47 in 1969.

NCV fails in comparison when she came to know that death is imminent, and she made a will by which she donated all her earnings to charity. It was a different struggle for NCV. She was not accepted by the orthodox ism in her family.

She was an outcast for two reasons: she ditched her husband for a partnership with another; secondly, she acted in films. She was never discussed with adulation in family circles. So, for me, this is a reinvention and a revisit.NCV died of tuberculosis; my father too surrendered to it. Perhaps, it is in the DNA.

Post Script:
1. Announcement in the Ananda Vikatan about NCV singing at Thanjavur Tyagaraja Aradhana on 17 December 1944:

2. The Hindu dated November 8, 1951, carries a small news item. Captioned “Death of Srimathi N.C. Vasanthakokilam” it states: “The death occurred of Srimathi N.C. Vasanthakokilam, the well-known South Indian musician, last evening at her residence in Gopalapuram. She was ailing for the past two weeks and was in a private nursing home till November 6. She was 32.”

The star had been suffering from tuberculosis and it was only a matter of time before death came a calling. On November 21, there was an even smaller news item. It stated that “at a meeting of the Indian Fine Arts Society held on November 10 under the presidentship of Mr K.S. Ramaswami Sastri, a condolence resolution touching the death of Srimathi N.C. Vasanthakokilam was passed.” And with that, N.C. Vasanthakokilam was history. It was a very quiet farewell to a person who for some time was considered to be a leading Carnatic musician.

Reference:

1. Flight of A Nightingale by Sriram Venkat Krishnan (The Hindu, December 5,2008).
2. Blast From the Past: Gangavathar 1942 by Randor Guy.
3.Sruti magazine,August 15, 2007. 

See my Post,VIOLIN COMES TO CHENNAI

VIOLIN COMES TO CHENNAI

THE RISE OF VIOLIN FROM FOUR STRINGS TO SEVEN

It was Christmas,2010.Former Chief Minister of Kerala,K Karunakaran had died a day ago.On the way to Thanjavur,infront of our vehicle,we saw his dead body  traveling to Thrissur.He was a painter in Thrissur in his formative years,who brushed aside music.I have had several breakfasts with him in Cliff House.
Once in Thanjavur,after seeing the marvel of Brihadeeswara temple ,I suggested we go to Thiruvarur.It didn't strike a chord with the people around me.
I explained:there is no place in history like this.The birth place of the trinity of Carnatic music.Thyagaraja,Muthuswamy Dikshitar and Syama Sastrigal.All of them prayed in the Thyagarajaswamy temple in Thiruvarur.

Thiruvarur temple

Thiruvarur had been one of the five traditional capitals of the Chola empire.The temple has inscriptions of Rajaraja and Rajendra Cholas.The temple was there when Manuneedhi Cholan killed his son to give justice to a cow.The temple inspired the trinity.It immensely supported the family of Dikshitars.
Muthuswamy Dikshitar's ancestral family was in Virinchipuram,North Arcot.On October 6,1742,the Carnatic Nawab,Subedar Ali was killed by the Commandant of the fort,Murtaza Ali in Vellore.Murtaza eloped and Subedar's son Mohammad Syed Khan became the new Nawab.Dikshitar's father Ramaswamy was seven then.The family,in search of peace,migrated to Govindapuram,near Mayyavaram.Ramaswamy learned Carnatic music, performed at Thanjavur court and became a musician of Thiruvarur temple.He set up family there and wife Subbammal gave birth to four children:Muthuswamy(1775),twins Chinnaswamy and Balambal and Balaswamy(1786).I am interested in Balaswamy because it was he who introduced Violin to Carnatic music.

Dikshitar

The Raja of Thanjavur,Tulaja II died in 1787.His cousin Amar Singh became Regent since Tulaja's son Sarabhoji was a minor.Amar Singh met Ramaswamy at the temple.Ramaswamy became his favorite and he composed a kriti in 20 ragas.At the time when the missionary Frederick Schwartz advanced the cause of Sarabhoji and Amar Singh became weak,Manali Muthukrishna Mudali ,Chief Merchant of the East India Company came on a pilgrimage to Thiruvarur.He invited the Dikshitar family to Madras.It was in Madras, Dikshitar family saw the Violin.

Subbarama Dikshitar

Christian Frederick(Friedrich)Schwartz ((1726-1798) was a Lutheran German protestant missionary who was contemporary to Dharmaraja(1724-1798).He came to India in 1750,moved to the garrison in Tiruchirapally where he became the Chaplain.In 1769 he became friendly with Sarabhoji.Though Schwartz is credited with the maximum conversions in India,he didn't succeed in converting Sarabhoji.But Sarabhoji built a church in his affection and entrusted his adopted son(Sarabhoji II) and Vedanayagam to him for education.In 1779, at the request of British authorities,he undertook a private embassy to Hyder Ali.When Hyder invaded the Carnatic,Schwartz was allowed to pass through the enemy camp.He was in Tiruchirapally for 12 years after which he moved to Thanjavur.It is believed he had brought a Violin with him and Sarabhoji was attracted to it.It is in the High school he founded in Ramanathapuram,Abdul Kalam had his education.Schwartz learn t Tamil to translate the Bible.

Schwartz

Vedanayagam Sastriar(1774-1864)is the king of evangelical poets in South India.Born in Tirunelveli to Devasahayam,he was taken to Thanjavur in 1785 by Schwartz.At the age of 10,Vedanayagam had a vision of the cross and Jesus.He studied Theology at the Lutheren seminary in Tharagambadi,now Tranquebar.When his classmate Sarabhoji II became king,he was made the court poet.He has 150 books and 500 lyrics to his credit.His lyrics are part of Christian worship.He learn t Violin from Schwartz.He taught violin to Vadivelu of the Thanjavur quartet.
Violin is the smallest but highest pitched member of the violin family:Viola,Cello and Contra bass.It is said Thamburu originated in Uzbekistan.But,Turkish,Mongolian horsemen were earliest fiddlers.It was two stringed then.They were horsehair strings.Violin bows are still strung with horsehair.
Violin took the trade route through China to come to India.It took the silk route to reach Italy. The four stringed Violin was made in Italy in 1555 by Andrea Amati, a luthier in Cremona,Italy.A luthier is one who makes and repairs Violin.The French King Charles IX ordered Amati to make 24 Violins.One among them still survives and it is called Charles IX.In the 16-18 centuries,Violin was made in Italy by five families:Gaspara Da Salo,Giovanni Paolo Maggini,Stradivari,Guarneri and Amati.In Brescia and Cremona.A Stradivari is now valued at 9.8 million pounds! In 1790,Irish military bandsmen were brought to Madras by East India Company.An army band master of Fort St George orchestra  trained  Baluswamy on violin.Remember,Schwartz had been there before. Muthukrishna Muthali died in 1792 and his son Venkatakrishna succeeded him. Ramaswamy wrote kritis with Venkatakrishna signature and composed the longest Carnatic song in praise of him in 108 ragas.A chance acquaintance with Chidambaranatha Yogi took Muthuswamy to Kasi for five years.

On Muthuswamy's return from Kasi,the famiily went back to Thiruvarur.Thanjavur had become English.Ramaswamy died in 1812.Unable to manage property,the Dikshitar family lost them and were approached by the father of the Thanjavur quartet,Mahadeva Annavi(Subbarayan) a Veena player,to teach them music.We know the quartet:Chinnayya Pillai(1802-1856),Ponnayya Pillai(1804-1864),Sivanandam Pillai(1808-1863) and the legendary Vadivelu Pillai(1810-1845).

Chinnayya

Ponnayya

Sivanandam

Vadivelu,who had learn t Violin from Vedanayagam was made an exponent in it by the Dikshitars.Sarabhoji,who was pensioned off  by the British, was experimenting with western instruments.Muthuswamy who taught Vadivelu called him ekasandhagrahi.One who repeats what he heard once.Vadivelu had joined the Thanjavur court as Asthanavidwan at just 14.He became the asthana vidwan of Swati Thirunal at 22.He, for the first time showed the world manodharma sangeetham is possible on violin .He popularized violin in Carnatic music.It is said that he used to sing and accompany himself on violin at the same time.Swati Thirunal gifted him a rare Violin made of ivory in 1834,which is kept at their ancestral house behind Brihadeeswara temple in Thanjavur.Swati Thirunal died at 34;Vadivelu at 35.Ulloor S Parameswara Iyer immortalized the duo in his poem,Kattile Pattu. 

Vadivelu

But  some say,Dharmaraja,a contemporary of Schwartz is the first Violinist in Kerala.Schwartz had been in Tirunelveli and we don't know whether he met Dharmaraja.If true,he learn t it much before Balaswamy and Vadivelu.If it is proven, the theory that Violin was brought to India by Portuguese missionaries for use in church choir has some substance.When contacted, R P Raja,who wrote the book,New Light on Swati Thirunal, said Dharmaraja didn't knew Violin.Only Veena was practiced in the palace.
Baluswamy who was proficient in Veena,Swarabat,Sitar and Mridangam too,became asthana vidwan at Ettaiyapuram.He had moved with brother Chinnaswami to Madurai in search of patronage.Raja Venkateswara Eddappa became the patron of Balaswami and Chinnaswamy died in the interim.They were the first duo in Carnatic music.Finally,Muthuswamy met Balaswamy here and passed away on October 21,1835.He traveled not only through the sea of music;but the length and breadth of the world. It took another half century for the Violin to enter the realm of Hindustani music-a Malayali,Parur Sundaram Iyer did it!

Sundaram Iyer(right)with son,M S Gopalakrishnan

Parur is of course,is North Parur in Ernakulam district.Sundaram Iyer(1891-1964),father of M S Gopalakrishnan had learned violin from Trivandrum Ramaswamy Bhagavathar,asthana vidwan of Travancore.After a concert Sundaram Iyer gave in Cochin,Sait Govinda Naick sent him to Bombay and there he was introduced to Pandit Vishnu Digambar Paluskar,Principal of Gandharva Mahavidyalaya.He was made a  professor there and was taught Hindustani music.For the first time in 1909,Sundaram Iyer used Violin in a Hindustani concert-he was just 18! TN Krishnan,was born in my native place Tripunithura,in 1928.Pranams to the 10 Violin maestros who were born before him(apart from Sundaram Iyer):Tirukkodikkaval Krishna Iyer(1857-1913),Malgikottai Govindaswami Pillai(1879-1931),Dwaram Venkataswami Naidu(1893-1864),T K Jayaraman(1894-1971),Chowdiah(1895-1967),Kumbakonam Rajamanickam Pillai(1898-1970),Papa Venkataramaiah(1901-1970),R R Krishna Murthy(1914-2006),Kandadevi Alagiriswamy(1925-2000),M S Anantharaman(1924).

Chowdiah

It was Chowdiah,much before L Subramaniam, who experimented with Violin,by adding three more strings.He had become famous as a Violinist by 1927,and he realized that  the listeners sitting far behind are not able to hear his four stringed Violin.There were no sound amplifiers then.So,he added three more strings,without the knowledge of his Guru,Bidaram Krishnappa,of the Mysore royal court.When he accompanied his Guru in one of his concerts,for the first time in the seven stringed Violin,the Guru found it very loud,and there was an outburst."What is this contraption",the Guru asked.Veena Seshanna,who was in the audience,and who had seen the seven stringed Violin earlier,pacified the Guru.The Guru began to like the new Violin later on.

But,conservatism caught hold of him,and the Madras Music academy banned him and the seven stringed Violin around 1931.He formed the Indian Fine Arts Society,IFAS.The Academy made peace with Chowdiah by 1938,by which time he had become the asthana vidwan of Mysore.IFAS had the generous support of the Justice Party.The Kannada super star,husband of former Malayalam actress Sumalatha,is the grand son of Chowdiah.

Krishnappa

The journey from Thiruvarur, for me, should end in Tripunithura.So I was amazed when the God of Violin,L Subramaniam,in a concert said that he belongs to Tripunithura!I knew his father, Prof.V Lakshminarayanan was from Alapuzha and a road exists there in his name.I listened:Subramaniam said,his mother,Seethalakshmi was from Palliparambukavu in Tripunithura.Incidentally,Tripunithura is the birth place of the first male and female playback singers in Malayalam cinema:T K Govinda Rao and Sarojini Amma. Now I will listen to a concert of Subramaniam with Ganapathi Sachidananda Swami who heads the Dattatreya Peetham,Mysore.No one in the world plays Carnatic in the keyboard like the Swami.A formidable combination.I saw the swami playing twice in the Dattatreya temple in Desam,Aluva.

Reference:The magnum opus,Sangitha Sampradaya Pradarsini,by Subbarama Dikshitar(1904),grandson of Baluswamy Dikshitar

See my posts,MASTERS IN MASTER BEDROOMS & A BRAIN IN CHAOS