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Peralaiyaay Oru Males Shadjam: A guide on the lifetime of Carnatic music legends

Peralaiyaay Oru Males Shadjam: A guide on the lifetime of Carnatic music legends

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The creator Lalitharam will need to have finished intensive and painstaking analysis to doc the life and struggles of legendary Carnatic musicians in his lately launched guide, Peralaiyaay Oru Males Shadjam (Malar Books). It generates within the reader a way of nostalgia and awe. The guide presents a variety of subjects in a crisp method.

Beginning with Mahavaidyanatha Sivan, the guide covers 38 personalities, throughout two centuries, together with M.S. Subbulakshmi, GNB, DKP, Ramanathapuram Murugabhoopathy, Yaazhppaanam Dakshinamurthy, Madurai Somu, and mridangam maker Parlandhu. Their contribution in nurturing classical music is immeasurable, whereas their life and artwork have served as an inspiration to many.

M.S. Subbulakshmi with Radha Viswanathan

M.S. Subbulakshmi with Radha Viswanathan
| Picture Credit score: Particular Association

The guide options a number of anecdotes, the one on mridangam vidwan Pazhani Subramania Pillai is especially attention-grabbing. Since Pazhani was left-handed, his father, laya vidwan Muthayya Pillai, refused to show him. The teen would follow when the daddy was not at dwelling. Ganjira maestro Pudukkottai Dakshinamurthy Pillai occurred to listen to Pazhani practising the mridangam, he advised Muthayya Pillai to both practice the boy or depart him underneath his care. Left with no choice, Muthayya Pillai taught Pazhani to play the mridangam.

Pazhani Subramanai Pillai.

Pazhani Subramanai Pillai.
| Picture Credit score: Particular Association

When a distinction of opinion arose between Chembai Vaidyanatha Bhagavatar and Palghat Mani Iyer, the previous selected Pazhani to accompany him and the remainder, as they are saying, is historical past. Common violinists of these days, who didn’t choose to take a seat on the left of the primary artiste, agreed to take action, as they may not say ‘no’ to Chembai, who in one of many live shows even allowed Pazhani to play 5 tani avarthanams. And, in two years, Pazhani had accompanied all the highest vocalists of the time.

A particular bond

Mysore Chowdiah.

Mysore Chowdiah.
| Picture Credit score: Particular Association

One other wonderful story is of Parlandhu (Fernandes), son of mridangam maker Sebastian, who was recognized for his workmanship. He set proper in a day Dakshinamurthy Pillai’s mridangam, that was giving him bother for a very long time. Parlandhu additionally had a terrific rapport with Palghat Mani Iyer, who usually sought his assist to reinforce the standard of his devices. The mridangam exponent is claimed to have allotted an unique house at his home in Thanjavur for Parlandhu to work. Mani Iyer would say, “Somu asari ought to make the physique of the mridangam, scooped out of a sandal tree; Parlandhu ought to handle making the parchment, and I ought to accompany Ariyakkudi with that mridangam. That’s paradise.”

The guide retains one engrossed by presenting fascinating elements concerning the previous masters. As an example, how Vaidyanathan Sivan acquired the moniker ‘Maha’ , and the way M.S. Subbulakshmi sang the 72 melakarta kritis composed by him on the Music Academy.

The guide additionally mentions about how the seven-stringed violin proved a turning level in Mysore Chowdiah’s life, S. Rajam’s ardour for summary artwork, Nagaswaram vidwan T.N. Rajaratnam Pillai’s admiration for thavil vidwan Ilumbur Panchami, and the way Parur Sundaram Iyer, Papanasam Sivan, T.L. Venkatarama Iyer, U.Ve.Sa, Dwaram Venkataswamy Naidu, and T.S. Sabesa Iyer spoke excessive of the Kandha Ganamrutham, the compilation of songs in 72 Melakartas, composed by Koteeswara Iyer.

Lalitharam’s evaluation and insights convey alive an period passed by and the artwork of the previous.

The Chennai-based reviewer specialises in Carnatic music.

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