"Nadaswara Chakravarthi" Thiruvaduthurai Rajarathinam Pillai (1898 - 1956)

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Contributed by: Ganesan Nagasubramanian

Author: Mr. S. Krishnamoorthy (a music lover of over eighty years. A close associate of most of the celebrated musicians of the past sixty years and his personal close contact with them has inspired him to write this article)

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"Nadaswara Chakravarthi" Thiruvaduthurai Rajarathinam Pillai - A musical meteor on the Indian firmament in the earlier part of this century.

Music in India as in many other countries with a cultural ethos is the main means of approach to God as Geetha says " Math Bhakthas Yetra Gayanthi Tatra Tishtami Narada". Unlike many other forms of worship, music does not call for great austerities, fas ts, or midnight vigils or barefooted pilgrimages. It gives pleasure and satisfaction to the one who makes it and the one that hears it. Of the many musical instruments nadaswaram has been one of the very ancient ones, specifically suited for the daily w orships (thrice a day) service in the temples and specially on holy days especially in South India.. Besides worship inside temples during service, special processions of the deities are taken out on the roads or streets of the place and that is alway s attended by music on the nadaswaram. This instrument - nadaswaram is specially suited for being heard from afar and is generally played in the open air so that worshippers living even some miles away could hear the music and are drawn to the procession of deities.

Indian music especially Carnatic music is essentially Raga based an unique feature of the Indian music. The instrument nadaswaram is so designed as to be suitable for raga elaboration. Eminent nadaswaram vidwans had been pathfinders, epoch makers famo us for raga elaboration- an art calling for a strict grasp of the grammar of that raga and a rich imagination (kalpana). To this distinguished band of musicians was born Nadaswara Chakravarthi, T. N. Rajarathinam Pillai. Coming of a long line of famous nadaswara vidwans ( a group of people called "Isai Vellalars" - meaning people of music) T. N. Rajarathinam Pillai grew up in the cradle of music, fed on music. No wonder he showed signs of his budding interest and sang songs in his fresh young voice. When he grew old enough to have rigorous tuition, his uncle Thirumarugal Natesa Pillai ( a very famous nadaswara vidwan unrivaled in his raga elaboration) took him in hand and gave him regular lessons. **(insert by G. Nagasubramanian) Shri T. N. Rjarathinam Pillai was also taught by the incomperable Thirukodikaval Krishna Iyer, who fine tuned and elevated his music to a level that propelled TNR to lofty heights in Carnatic music** Luckily for young Rajarathinam the lessons were so modeled as to give him intimate knowledge and grasp of the ragas and the compositions in them. As in the case of human voice each one having a special timbre in the voice, in nadaswaram also Rajarathinam had a particularly attractive timbre in the tone o f his instrument. His name and fame spread far wide very quickly and at a time when there were very eminent nadeswara vidwans, he shot up to such eminence that he was universally voted Nadaswara Chakravarthi. Among many memorable performances two are re called. Shri Rajarathinam's music was the chief attraction in a procession of Sai Baba in a decorated car through the four mada streets of Mylapore, Madras. During the three hours it took the procession to complete the course, Rajarathinam elaborated first "Keeravani" in great detail, "Mohanam" and ended with "Behag" and Jijoti". When the procession ended the musically enthusiastic audience were only sorry that the feast of music was over. Another occasion happened to be the final day of the music fe stival in Thiruvaiyaru. That night the portrait of Saint Thiyagaraja would be carried in a decorated palaugu (palanquin) through the four main roads of Thiruvaiyaru to the accompaniment of nadaswaram music of nearly half a dozen group consisting of two t o play on the nadaswaram and two to accompany them on the tavil (drum). That night after an hour's time from the start Shri Rajarathinam played the raga "Charukesi" and the krithi "Aada-modi". At the swara elaboration stage he wove on the nadaswaram an intricate pattern of swaras. This was just what the crowd was waiting for. Shri Needamangalam Meenakshisundaram Pillai ( of immortal fame) took up the rhythm portion for his display on the tavil. The patterns he wove on the tavil that night were so ing enious and intricate in texture. Shri Palghat T. S. Mani Iyer (the all time great mridhangam exponent) so enjoyed the great tala that he started keeping them with both his feet and both hands and seem to be dancing with joy. No wonder at the end of that display Mani Iyer went and pressed both the hands of Meenakshisundaram Pillai and paid his respects and admiration to him. Then turning to Shri Rajarathanam Pillai, Mani Iyer said " who but you can invoke this grand display of tala by your challenging d isplay on the nadaswaram".

His elaboration of ragas revealed his acquaintance with the best compositions of the great "Vaggeyakarakas" - the "Prayogas" they used and embellished the ragas. His rendition of krithis were flawless and the Swaraprasathara invigorating and fresh. His perfect grasp and control over tala (time measures) drew to his side the celebrated tala exponent Shri Needamangalam Meenakshisundaram Pillai lovingly called "Nava Nandikeswara"- the deity that played mridanga to the cosmic dance of Nataraja. Rajarathin am Pillai's elaboration of Prathimadhyama (sharp "Ma" ) ragas were marked by intimate knowledge, intense feeling majesty and grandeur. His "Simhendramadhyamam", "Shanmugapriya", "Ramapriya", Vachaspathi", "Panthuvarali" and "Kalyani" are still remembered with nostalgic pleasure by thousands of his rasikas.

Fortunately, Rajarathinam Pillai has left behind some record disc and his record of "Thodi" raga alapana meets the admiration of all discerning lovers of carnatic music. On his death one heard an old man remarking "the sun has set on the gaiety of Sout h India on Nadaswaram Music".

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At the lecture demonstrations at The Music Academy, various facets of Carnatic music were elaborated upon by scholars, musicians and musicologists.

The session of December 23 began with an invocation by Saranya.

Tunes of Nandanar Carithram collected by T.Viswanathan:

Prof. B. Balasubramanian of the Wesleyan University discussed Gopalakrishna Bharati’s Nandanar Carithiram - its tunes, story and the compositions in it. It was first published in 1861 by a French collector. In 1932, M.S. Ramaswamy brought it out with tunes. There are a number of notations found for the songs. A.M. Chinnasamy Mudliar published it with notations for forty-two songs. Of them, 17 are original. Balu said that there are many changes in ragas and talas and referred to Mudikondan Venkatrama Iyer’s article in The Music Academy Journal 1935. Many additions have crept in during the course of time. In 1971, S .Ramanathan published two versions of Nandanar Carithiram, one with notation and another without. Thanjavur Viswanathan made a complete study of ragas and talas of Nandanar Carithram and notated the entire text with footnotes mentioning variations wherever found.

Balu demonstrated ‘Nondi Chinthu’ in Punnagavarali. He mentioned that four different tunes are available and demonstrated a couple of them. Balu also demonstrated ‘Thirunadai Puvan’ in Chenchuruti, whereas the original text shows it in Khamas.

Teaching and practice of Dwitala Avatanam:

Dwitala avatanam is a feat of maintaining two different talas simultaneously with both the hands while singing, said vidushi Suguna Purushottaman in her talk. The composition chosen may range from a simple swaravali to a complex pallavi. The chosen two talas are normally of same number of aksharas, though they may differ in their angas, jati and/or gathi. Accompanied by her three students Gayatri, Nandini and Saranya, Suguna presented different permutations and combinations of talas for different compositions. She said she was introduced to dwitala avatanam by her Guru late mridangam vidwan Thinniyam Venkataraman Iyer. The highlight was when Suguna invited vidushi Suguna Vardachari to come to the dais and both of them presented a pallavi with tisra rupakam misragati on one hand and tisra triputa khandagati on the other hand having a total of 35 aksharas.

On December 24, an invocation was sung by Usha Rangarajan.

Properties of skin-covered instruments with special reference to tavil: Dr. N. Somanathan of Central Leather Research Institute, Chennai, dealt with three components in his lecture -- classification of drums, contribution of skin to drums and the special reference to tavil. In the modern classification of musical instruments, he mentioned that they are divided as aerophones, membrophones and electrophones. In another classification, percussion instruments are classified as pitched and un-pitched.

The drum played a major role in ancient Tamil society. Sangam literature, particularly ‘Silappadikaram’, is a treasure of information on this aspect. ‘Pancha Marabu’ lists 30 varieties of drums. Drums are extensively used for all occasions.

Somanathan spoke of single layer and multi-layer skin drums. Tavil is an instrument where goat skin is used. He said that the first ever reference to the tavil was made in Tiruppugazh. He concluded by saying a combination of resonance, leather and wood create sound.

Layam – Alayam: Vidwan Valayapatti A.R. Subramanian began his lecture with video clips of his tribute to M.S. Subbulakshmi with 201 tavils, his association with Kunnakkudy Vaidyanathan and many others. He traced the concept of mangala vadhyam attributed to the nagaswaram and tavil. He demonstrated a Mallari in Gambhira Nattai where his disciple Haribabu played nagaswaram and he the tavil. Valayapatti concluded his talk with a thani.

The morning session of December 25 began with an invocation by Krithika.

My association with GNB: Vidwan Lalgudi Jayaraman, assisted by his son Lalgudi G.J.R. Krishnan, spoke the first few words and his son presented the rest of the lecture on his behalf. Lalgudi’s association with GNB dates back to 1948 and continued till GNB passed away in 1965. GNB was a raga specialist with nagaswaram bani as his style. He made the Carnatic concert platform fashionable and sophisticated, with his imposing presence, and gave importance to aesthetics without comprising on the classical roots. Krishnan played a recording of GNB and Lalgudi to demonstrate the jarus and gamakas in their presentation. There is a particular specialty attached to his presentation of swaras which is marked by clarity and absence of confusion.

GNB sang RTP in rare or minor ragas such as Malavi, Andolika, Chenchukhambodi. Initially, he attempted graha bhedam but dropped it following criticism in later years. When Lalgudi started composing tillanas, he performed the first one in Vasantha before GNB and received encomiums from him.

With many more experiences between them and the inadvertent discordant note in their relationship for a while during GNB’s last days, Lalgudi concluded his lecture by saying that his association with GNB was 61 years old to the day.

Kedaram , Neelambari And Nagadhwani: Vidushi Seetha Rajan’s presentation was lucid and scientific. Based on the murchana of these ragas as in current practice, all the three ragas belong to the clan of the 29th Mela, Dheerashankarabharanam. But it is their characteristic phrases and gamakas that contribute to their melodic individuality.

Talking about Kedaram, Seetha said this is a raga most vidwans begin with because of its briskness. Kedaram, as a janya of Sankarabharanam, has found mention in almost every treatise on music from the 16th century. This raga is generally sung in medium tempo and hence, the brisk effect. Many compositions including those of Thyagaraja and Muthuswami Dikshitar are available. Seetha demonstrated different phrases of Kedaram and showed how they embellish the raga. She explained the place and importance of each note. She said it is an apt raga for tanam. The existence of dhaivatam in this raga is mentioned by some. She then highlighted the oft used sangatis in Dikshitar and Tyagaraja compositions. There is a raga with the same name in Hindustani but in no way related to this.

About Neelambari, Seetha said its phrases are popularly heard in the ‘taalaatu’ and ‘lali’ songs. This raga with its characteristic gamakas has a calming effect. Many compositions are available in this raga ranging from broad- structured Dikshitar krithis to simple Divyanama kirtanas. Shahaji and Tulaja ignored Neelambari in their treatises. Prior to 18th century, it appears that the raga does not find much mention in Sanskrit works. However after the 18th century, it emerged as a clearly defined and popular raga with numerous compositions to its credit. Also, the ancient Tamil Pann Megharagakurunji is equated to Neelambari. There are four compositions of Dikshitar and one of Syama Sastri apart from Tygaraja’s compositions in Utsava Sampradaya kirtanas. Then she explained the place and importance of each note in the raga.

The last raga she took up was Nagadhwani, not a very popular raga. Nagadhwani is a vakra raga with swara patterns, somewhat similar to Neelambari. This raga has been listed as an upanga janyaof Sankarabharanam in many theoretical works. But compositions available in this raga are just a few; ‘Brihadeeshwaram’ of Muthuswami Dikshitarfound in ‘Dikshita Kirtanamala’,and ‘Sri Lalitham’ of Maharaja Jayachamaraja Wodeyar. She concluded her exposition by singing three lines in the three ragas.

The morning of December 26 began with an invocation by Aparna.

Courtesy THE HINDHU