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The Hindu
13-07-2025
- Entertainment
- The Hindu
CPI(M) general secretary M.A. Baby seeks Bharat Ratna for percussion artists
CPI(M) General Secretary M.A. Baby, a connoisseur of Carnatic music, made a strong case for awarding the Bharat Ratna to percussionists in India, stating that percussion music had reached 'Himalayan heights' in the country. 'There is not only Umayalpuram Sivaraman. There were Kishan Maharaj, Alla Rakha, Zakir Hussain, and Samta Prasad. But the highest honour, like the Bharat Ratna, has gone only to Bhimsen Joshi, Bismillah Khan, M.S. Subbulakshmi, Ravi Shankar, and Lata Mangeshkar,' he said during a conversation with Mr. Sivaraman at The Hindu office in Chennai on Sunday (July 13, 2025). Mr. Baby's friendship with Mr. Sivaraman dates back to several decades. He has organised many concerts and even persuaded Mr. Sivaraman to perform for Kathak dancer Birju Maharaj. He added that the Music Academy and The Hindu should play a role in advocating Bharat Ratna recognition for percussion artists. 'This is the most appropriate platform to raise the question: why has a percussion artist never been given the Bharat Ratna? No one deserves it more than Umayalpuram Sivaraman. He is already a Padma Vibhushan awardee. The music fraternity should raise its voice for the recognition that is long overdue. Why is the government not listening to such a sane voice in the field of music and culture?' he asked. He also recalled an incident in which tabla maestro Kishan Maharaj criticised the Centre for its miserly attitude toward conferring awards on musicians. 'Unless we live for 80 or 85 years, no national honour will come to us,' Mr. Baby quoted Kishan Maharaj as saying at an event in Delhi attended by Union Ministers. The CPI(M) leader further pointed out inadequacies and partialities in the selection of awardees. 'Of course, there are genuine North Indian artists, but genuine South Indian artists have not been sufficiently considered,' he said. Mr. Sivaraman said that long ago, he had suggested to the Sangeet Natak Akademi that it institute an award in memory of the legendary nagaswaram player T.N. Rajarathinam Pillai. 'There is the Ustad Bismillah Khan Yuva Puraskar. Institute a similar award in the name of Rajarathinam Pillai,' he said. Mr. Baby supported this demand, saying Rajarathinam Pillai was equal in stature to Bismillah Khan. Mr. Sivaraman, who has performed with four generations of musicians, said he was ready to accompany the next generation as well. He also described the specific playing styles required for accompanying great musicians such as Mudikondan Venkatrama Iyer, Ariyakudi Ramanuja Iyengar, G.N. Balasubramanian, Madurai Mani Iyer, T.R. Mahalingam, and M.D. Ramanathan. Speaking on the subject of creativity, Mr. Sivaraman cited poet Kalidasa to explain his philosophy: 'Don't think everything old is good; don't criticise everything new as bad. People with wisdom will always select the best from the old and the best from the new. That is my motto,' he said. N. Ram, former Editor-in-Chief of The Hindu, who introduced the two, said the event was meant to highlight and celebrate an unusual association and a relationship that blossomed into enduring friendship. He said that Mr. Baby first encountered Mr. Sivaraman's music during the Emergency, when he was semi-underground and courted arrest. 'His elder brother advised him to visit a temple and listen to concerts. That is how he first discovered the great music of Mr. Sivaraman,' he said.
The Hindu
13-07-2025
- Entertainment
- The Hindu
M.A. Baby Urges Bharat Ratna for Umayalpuram Sivaraman, Highlights Neglect of Percussion Artists in India
CPI(M) General Secretary M.A. Baby, a lifelong connoisseur of Carnatic music, argues that Indian percussionists deserve the nation's highest civilian honour, the Bharat Ratna. In a conversation with legendary mridangam maestro Umayalpuram Sivaraman at The Hindu office, Mr. Baby highlights why artists like Kishan Maharaj, Alla Rakha, Zakir Hussain, and Samta Prasad have yet to receive this recognition. He calls on institutions like the Music Academy and The Hindu to champion this overdue honour and criticises the Government of India for ignoring calls from the music fraternity. The event also revisits stories of friendship, artistry, and the philosophy of embracing both tradition and innovation in music. Watch to understand why the campaign for Bharat Ratna for percussionists matters and why it's time India recognised its great maestros. Video: Johan Sathyadas, Thamodaran B, Shivaraj S Editing: Shivaraj S
The Hindu
02-07-2025
- Entertainment
- The Hindu
How Semmangudi Srinivasa Iyer continues to inspire young Carnatic vocalists
The Music Academy auditorium, Chennai, was hushed, not with silence, but with expectation. The occasion carriedthe weight of the lineage and memory of a voice that once defined an era. Organised by K. Vivekanandan, in memory of his illustrious grandfather, Semmangudi R. Srinivasa Iyer, the endowment concert drew rasikas who came not only to listen but to reminisce. For many, Semmangudi was not just a vidwan, but an institution. A musical conscience that set uncompromising standards for bhava-laden music, raga integrity, and sahitya clarity. The young and promising vocalist Adithya Madhavan offered a thoughtfully curated 90-minute kutcheri that celebrated the quintessential Semmangudi soundscape. He was supported by V.S.P. Gayatri Sivani on the violin and Kaushik Sridhar on mridangam. The repertoire, centred on Karaharapriya and its janyas, paid homage to the Semmangudi bani, which is known for its kaisiki nishadam-rich ragas, bhava-driven delivery and a rakti-oriented approach to raga alapana. The concert opened with the varnam 'Vanajakshi' in Kalyani, rendered in a moderately brisk tempo. Adithya used it as a launchpad to settle his voice, initially marred by minor breath breaks. But, as the concert progressed, Adithya's open-throated delivery began to shine through, aided by sensitive mridangam support that avoided overstatement. If Semmangudi's voice has lingered in our memory, it is partly due to renditions like 'Marubalka' in Sri Ranjani, a kriti he sculpted with such precision that its architecture has become canonical. Adithya revisited this classic with a sense of restraint and ragasuddham, letting the raga's charm emerge unhurriedly. His kalpanaswaras at 'Dhari nerigi' were crisp and well-proportioned. Gayathri's violin, never merely echoing, but extending the singer's phrases with an intuitive empathy. The sub-main segment was marked by a brief, yet emotionally luminous Varali alapana, where the raga's innate karuṇa rasa was brought out. The choice of Varali inevitably evoked memories of Semmangudi's enduring connection with the raga, particularly through iconic renditions like 'Ka va va'. Moving into 'Maamava meenakshi', Dikshitar's magnum opus, Adithya maintained a steady gait and his niraval at 'Shyame shankari digvijaya pradayini' was a highlight of the evening. His breath control, alignment with the tala, and depth of voice were noteworthy. The violin and mridangam responded in synergy, enhancing the grandeur without distracting from it. Papanasam Sivan's 'Appan avatharitha' in Karaharapriya, a less-frequently performed composition that served as a nod to Semmangudi's love for the raga, was delivered as a brisk interlude before the concert's main piece. The mel kala composition, though lighter in tone, was well-placed in the sequence, offering a measured contrast that did not break the classical intensity. Adithya reserved his elaborate exposition for Kamboji, a raga known for its regal and rakti nature. Gayatri's violin response was equally compelling, capturing the bhakti-rasa and dignity of Kambhoji with sangatis that were subtle, yet impactful. The kriti that followed, 'Sri raghuvara aprameya mamava', was a bold and welcome choice, a Tyagaraja piece, known for its compositional structure that juxtaposes devotion with dramatic phrasing. The kalpanaswaras showcased his creativity, where he wove rapid-fire swaras, and concluded with a flourish that drew appreciative nods. Kaushik's thani avartanam that followed was brisk and engaging, giving the audience rhythmic variation without overwhelming the concert's tonal atmosphere. The concert concluded with a serene rendering of 'Saa pashyat kausalyam' in Jonpuri, a fitting thukkada that gently let go of the lingering grandeur of the main.
The Hindu
02-07-2025
- Entertainment
- The Hindu
Remembering The man who could never say no
Arun Vasu, whom I have known from the time I was a cherubin kindergarten, his older brother Arvind and I being classmates, called the other day to say that a two-day event is being planned at the Music Academy, to mark 20 years of his father T.T. Vasu's passing. That brought to my face a smile and to my mind vivid memories of Vasu himself. He was one of the most colourful personalities I have known. Not perhaps the most practical person, and certainly difficult to bear if you annoyed him, his vocabulary being of the chaste Madras Bhashai variety, but certainly a most lovable human. My earliest memories are of attending birthday parties of his sons at his Cathedral Road residence. To a child, he was an enormously tall man, with a booming voice and a ready grin. It was only later that I got to know of his T.T.K. lineage. S. Muthiah, who knew him intimately, filled me in on many aspects of Vasu. And I consider the biography of his that Muthiah wrote and titled, The Man Who Could Never Say No, to be among the finest in its genre. Vasu was brought to life, warts and all, by Muthiah, as only he could. The youngest son of T.T. Krishnamachari and Rajalakshmi, Vasu lost his mother when he was very young. His upbringing was largely left to an indifferent grandmother. To Vasu, his father was his idol but T.T.K., busy with his public career, could not care less. All of this in Muthiah's opinion, left a mark on Vasu. Having graduated, Vasu joined the family enterprise of T.T.K. & Co, and was hugely instrumental in setting up many of its businesses, including Prestige and the London Rubber Company. The ease with which he made friends, and established contacts in all rungs of society, made it easy for him to get enterprises going, in an era when the licence-quota raj was at its height. Today, all of this would be called networking but Vasu bonded with genuine affection. And he expected the same from those with whom he bonded. And he was hurt many a time for this naïve faith. Not that he changed. But once a business started functioning, he never focused on it and would move on. And that created its own set of problems. But certainly, the number of businesses he was involved in, for his family and also for friends, is legion. Not many may be aware that the Adyar Gate Hotel, later Welcomgroup Park Sheraton and later Crowne Plaza of late lamented memory, was his brainchild. Its Dakshin, which he conceptualised with his cook, still functions. The Iyer's trolley there commemorates his cook. A patron of many charities A huge fan of Errol Flynn, Vasu established a club for the former's fans in Madras. His efforts to learn Carnatic music may not have come to much, but his years as the Music Academy's President will always be remembered and bring a smile. He was enormously encouraging of the Youth Association for Carnatic Music (YACM), which did much to popularise the art in the 1980s and 1990s. Generous to a fault, Vasu was a patron of many charities, and the proceeds from this two-day event will go to the Balamandir Kamaraj Trust, of which he was president for long. It champions the cause of disadvantaged children all over the State. The two-day event, on July 5 and 6, at the Music Academy, features L. Subramaniam and Ambi Subramaniam on July 5, and T.M. Krishna on the next day. (V. Sriram is a writer and historian)
The Hindu
24-06-2025
- Entertainment
- The Hindu
M.L. Vasanthakumari's melodious voice and innovative approach made her music unforgettable
She came, she sang, she conquered. July 3 marks M.L. Vasanthakumari's (MLV) 97th birth anniversary. It's a good time to look back at my guru and an extraordinary vocalist's life and art — a combination of melody, vidwat and dynamic stage presence. MLV was not only adept at singing both shudha Carnatic ragas such as Thodi and Bhairavi but also desya ragas like Behag or Sindhubhairavi. She may have imbibed this talent from her father vidwan Koothanoor Aiyaswamy Iyer, who was trained in both Carnatic and Hindustani music. Along with her mother Lalithangi, he also specialised in Purandaradasa kritis. MLV followed suit. MLV expanded the repertoire she inherited by adding compositions by Kanaka Dasa (disciple of Purandaradasa) and other Dasa Koota composers. It could be said that the family brought Dasarapadas to the concert stage. Mysore University acknowledged MLV's efforts in this regard by bestowing upon her an honorary doctorate. A versatile vocalist, MLV was trained early on by none other than G.N. Balasubramaniam, who was also a close friend of her father. It was GNB who boldly ushered in a new voice-culture based on Hindustani akaaras and nagaswaram glides (jaarus), and lightning-fast swara clusters (brighas). She carried forward his innovative approach. She was one of the first Carnatic vocalists to sing abhangs. Her kutcheris often felt wholesome with the inclusion of padams, javalis, Tevarams, Tiruppugazh and complex RTPs. She was well known for introducing rare kritis in each and every concert. Rasikas waited with bated breath to hear a new song, alapanas of rare ragas such as Sekarachandrika, Gamansrama, Revathi and Natabhairav, a pallavi in a difficult setting or a Purandaradasa ragamalika. They also enjoyed the tukkadas she presented. MLV was adventurous as a singer. For instance, at the Sangita Kalanidhi concert in 1977 at the Music Academy, she courageously took up a tricky pancha nadai (five varieties of rhythm) pallavi and executed it beautifully. Her singing drew lavish praise even from one of the sharpest critics of the time — Subbudu (P.V. Subramaniam). I began learning from MLV in 1963 at the age of 12. My mother Alamelu Viswanathan took me to her house. The singer was then getting ready for a concert. I was awestruck by akka's (as I used to call her) personality. She was wearing a beautiful silk saree, diamond ear studs and stone-embedded gold bangles. Her long well-oiled hair was neatly braided and adorned with fragrant jasmines. She heard me sing a short kriti, paused for a moment and accepted me as her disciple. My mother was overjoyed. She had a cheerful-casual disposition as a teacher. It was a 27-year-long association between the guru and the sishya. MLV's music was different from that of her contemporaries — D.K. Pattammal and M.S. Subbulakshmi. Though MLV was younger than the other two legends, she rose to great heights and the three were referred to as the 'female trinity of Carnatic music'. They began their career as gramophone-record sensations and gained unprecedented popularity in the early 20th Century. MLV was just 12 when she cut her first vinyl with 'Sarasija nabha murare' (Charukesi , Swathi Tirunal). Later, the trio forayed into singing for the cinema, with M.S. even acting in a few. As for MLV, she sang for the top heroines of the time, including Padmini, who was also her neighbour. Both shared a warm relationship. MLV divided her time among kutcheris, travel and studio recordings. One often saw her practising during her commute or in the little free time she got. Despite her hectic schedule, she was always available for her sishyas, willingly sharing her knowledge and guiding them. MLV's music was three dimensional — she had a great voice, a creative mind and a generous heart. The writer is a well-known Carnatic vocalist.
