TUESDAY, DECEMBER 30, 2014

Strings that SING

Mantra magic
Playing Mantra Pushpam
at the Varadaraja Perumal
temple in Minnesota was a
unique experience. The
priests taught us the chant
with accurate intonation.
On the day, my group of 15
veenas repeated what they
orally chanted, says Nirmala.

NIRMALA RAJASEKARS MISSION IS TO KEEP THE

VEENA FLAG FLYING, ACROSS THE GLOBE.
GEETHA VENKATARAMANAN
er enthusiasm is
phenomenal, matched
only by her love for the
veena. Bhakti for her
guru(s) runs as a silver thread
through the conversation.
Nirmala Rajasekar sees the
hand of Destiny in the
moments that have proved to
be turning points in her life.
She thanks the Almighty for
bestowing on her the divine
talent and taking her to the
right mentors at the right
moments.
Born in a family that has no
musical ancestry, Nirmala has
made a mark with the veena,
an instrument not easy to
master. Anyone can play the
instrument but the talent lies
in giving it soul, she was
constantly reminded by her
guru Kalpagam Swaminathan.
Thats what I try to do, says
Nirmala, who uses all her
resources, including her vocal
prowess, to strike a rapport
with the listener. Her graph
does not have dramatic
upswings but shows a steady
climb from a normal learner
and practitioner to a world
renowned vainika, whose cap
has many colourful feathers.
As a six-year old she held
her grandfathers hand and
proceeded to the music class,
when other children were
playing. Sensing my yearning
he would say, Go for the class,
Ill give you ten paise. Soon, I
got involved in music and
didnt need any bribe. That
way grandpa passed on his
passion, she muses. My
parents, in their own way,
nurtured me but never pushed
me.
Nirmalas initial teachers
were Devakottai Narayana
Iyengar and Kamala
Aswathama. Her fathers bank

Nirmala Rajasekar; (top) with her guru Kalpagam

Swaminathan and the St. Paul Chamber orchestra
String Quartet. PHOTOS: S. R. RAGHUNATHAN AND
SPECIAL ARRANGEMENT

job took her to Bangalore

where tutelage began under
Channamma and later her
disciple, E.P. Alamelu. The
Bangalore Gayana Samaj had
organised a music ensemble
and she went to play the
veena. The next morning
there was a knock on the door
and outside was ace violinist
A.D. Zachariah, who had
conducted the orchestra the
previous day. To her puzzled
father, Zachariah said, I want
to teach your daughter a
song.
It was unbelievable. He
taught me Namaste
Paradevate, a rare varnam in
Devaranji, and a few more.
Back in Madras after a few
years, Nirmala had to pick up
the thread. But with whom?
For about three months, I
didnt have a guru and used
the time to listen to a lot of
music.
Her father, an ardent fan of
S. Balachander, brought home
the maestros LPs and in the
process, was doing something
that would play a crucial part
in his daughters musical
journey. SBs music
mesmerised me. I listened to
it constantly and before long,
had imbibed it, says Nirmala.
This, however, did not in any
way impede my learning when
I was accepted by Kalpagam
Swaminathan, she adds.
My guru, a great vainika
herself, encouraged my love
for Balachandars music, so
much so that my ties with the
genius ourished until his
demise, informs Nirmala. She
recalls the incident when she
got an opportunity to present
a concert with Balachandar as
chief guest. Speaking after the
programme, SB analysed her
concert. About Neetimati, I

dont want to say anything

because he paused plunging
the girl into despair. He
completed saying that
would be complimenting
myself. And he went on to
shower praises on the guru
leaving Nirmala on cloud nine.
According to Nirmala, what
followed was even more
thrilling. Balachander asked
her to join Raaga Yaagam he
was conducting for budding
musicians, every Sunday. It
was bliss to learn from two
stalwarts at the same time
without any conict. I was not
even aware of the enormity at
that time. It was just awesome
and I made the most of it.
As icing on the cake came
the Central Government
scholarship that took her to
New Delhi, where the brilliant

T.R. Subramaniam became

her vocal mentor. A fruitful
association of 20 years began.
Along with my students, we
had a wonderful time
whenever he visited
Minnesota.
Nirmalas eyes turn moist
when she speaks of Kalpagam
Swaminathan. I owe her
everything. She taught me not
only art but values. I realised
later that she had shaped me
into a complete woman, ready
to take on the roles of a wife
and mother without losing my
identity as an artist. The song
that I learnt each
Vijayadasami was precious to
me, a tradition that continued
for 26 years. Her precision and
accuracy were unparalleled.

Collaborations
An active collaborator, Nirmal mentions the work she did
with poet Rober Bly. Involved in a study of German saint
Hildergard von Bingen and Andal, Nirmala set some of the
songs of the latter to fresh tunes. Along with David Jordan
Harris, she is presenting Song of Wonder, across the U.S.
Percussion expert Thanjavur Murugaboopati is a member
of the team. Her collaborations with sitarist Gaurav
Mazumdar have led to happy results. Next Fall, for the
rst time she will share space with autist Ronu
Mazumdar on the theme, Sounds of the Ancient. For
more log into nirmalarajasekar.com

Nirmala remembers her

gurus patience. Without so
much as a grimace, she would
play again and again until I got
the note right. That tolerance
was itself chastising, she
recalls. And her humility.
After every concert, she would
ask with genuine concern,
Was the kutcheri ok?
Chosen by the Bush
Foundation among 750
applications across varied
elds, the rst Indian to win
this honour, Nirmala made a
documentary on her teacher
and presented it to the
Foundation. Seetharama
Sarma is another doyen she
mentions with fondness. He
taught me vocal music and the
link continues with my
daughter attending classes
whenever she is here, she
explains.
Marriage to a software
engineer took Nirmala to the
U.S., where she runs her
school, Nada Rasa. She gave up
her IT job to spend more time
with her children and music.
Im enjoying every minute of
it. I never thought Id be away
from India so long. My heart is
here and my mission is to take
the veena to every nook and
corner. I dont miss any
performing opportunity and
my students participate in all
events and competitions.
According to her, that keeps
them motivated. But
arangetram will happen only
when she feels the student is
ready. The vainika is on the
board of several schools,
where music is part of the
syllabus. Nirmala introduces
Carnatic music to the
students. She felt rewarded
when her presentation of

Unfinished agenda
FOR TVG, HIS
MAJOR
CONTRIBUTION
IS YET TO
COME.
or the past 50 years, I
have been observing
the relentless struggle
of maestro T.V.
Gopalakrishnan for
universal recognition for
his amazingly diverse
accomplishments.
The dimensions of TVG's
music must be viewed in
technical terms, and also
from aesthetic and moral
perspectives. A doyen of
Carnatic music, he is
accomplished in the
Hindustani style and has
experimented with fusion
music that incorporates
Jazz.
On the Carnatic concert
platform, his twin image is
that of a vocalist and
percussionist (mridangam).
Apart from that, he uses his
mastery over string, wind
and percussion instruments
as a many-sided Guru.
Carnatic music, rooted in
spirituality, has a prevailing
concert pattern that
evolved during the rst half
of the 20th century when
the rasikas and critics were
largely conservative. In
their perception, an artist
who played more than one
role would not excel in any.
TVG was a well-known
mridangam player by the

The title
Vidwan T.V. Gopalakrishnan
will be conferred the Sangita
Kalanidhi at the Sadas of The
Music Academy on January 1,
2015, 5 p.m.

CM
YK

time he embarked on his

adventure as a singer, which
made critics and rasikas
question his credentials as a
vocalist for a long time although, he proved
himself.
Similar were the negative

His attitude of
give-and-take has
ensured TVG's
moral status as a
musicians'
musician.

reactions attracted by his

subsequent excursions into
Hindustani music as a
vocalist. Actually, such
experiences enhanced the
quality of his music as it
enabled him to achieve a
rapport with the vocalist
when playing the
mridangam, and with the
accompanying
instrumentalists when
singing. This also helped
other artists to shine.
It is this attitude of giveand-take, which has
ensured TVG's moral status
as a musicians' musician.
And it is a measure of his

absolute consistency as an
excellent performer that he
did, in due course, gain
universal admiration for his
many-splendoured music.
Although, The Music
Academy has taken its own
time to confer on him the
title of Sangita Kalanidhi.
For Carnatic musicians,
the title is like conquering
Mount Everest. But for
TVG, it is only Mount
Kangchenjunga, as his
major contribution to
Indian classical music is yet
to materialise.
He introduces Carnatic
elements in Hindustani
music whenever he
performs in that mode.
What he is still to
accomplish in this context
is to pass on this unique
skill to other Hindustani
musicians and establish an
unprecedented and
spectacular style of singing
Hindustani music with
distinct southern colours.
There have been many
Sangita Kalanidhis before
TVG, and there will be
many more after him; but
he's probably the only
musician we know who can
add Carnatic avours to
Hindustani music!
M.V. RAMAKRISHNAN

SUBLIME!
rof. T. N. Krishnan
has nothing to prove
to anyone. Yet, the
octogenarian
violinist was a picture of
sincerity and dedication
as he presented his
concert on Christmas
Day.
Tranquillity reigned
supreme right from the
word go, and his rened
artistry took the concert
to a sublime level.
The veteran,
accompanied by his
daughter Viji and son
Sriram, began with Vatapi
Ganapathim in a slower
pace, not his usual. The
swaras were given an
extended treatment.
Mridangam vidwan

Tiruvarur
Bhaktavathsalam
showcased controlled
mastery with his deft
tekkas, nadais and
arudis.
TNKs presentations
have never been prosaic
or arithmetic-driven, and
that morning was no
exception. Devagandhari
was an exhibition of his
unique class. After a few
phrases, Sriram
established the raga with
Viji chipping in. Not
satised, TNK explored
the raga further.
Vinaradana Manavi
(Tyagaraja) was a
complete package.
Mohanam (Evarura Tyagaraja) essay brought

forth the sensitive side

of the veteran. The way
he coaxed and cajoled his
instrument was hypnotic.
Same was the case with
his ragam and tanam in
Simhendramadyamam,
Kapi, Kaanada and
Sindubhairavi.
The thani of Tiruvarur
Bhakthavatsalam and
Vaikkom Gopalakrishnan
(ghatam) that followed a
simple pallavi, gave
ample scope for both the
artists to unleash their
capabilities.
A brief Surutti
followed by Vanga Kadal
Kadainta (Andal
Tiruppavai) was
emotional.
V. BALASUBRAMANIAN

Prof.T.N.Krishnan with Sriram and Viji Krishnan. PHOTO : S. R.

RAGHUNATHAN

Panchatantra was well

received. She marvels at the
dedication of both parents and
students.
Minnesota is the coldest
place in the United States and
they come driving for hours to
attend class. Sometimes, they
stay overnight, we watch a
lm, and class begins at dawn
the following day. Nirmala
nds the return of adults to
classes a heartening
development.
An A Grade AIR artist,
Nirmala raises the bar by
trying not to repeat songs.
Repetition of a couple of ragas
is an allowance she made
recently. She loves vivadi
ragas but handles them with
care. My guru never fought
shy of them but instead has
taught me to play them never
losing sight of aesthetics, she
supplies.
Accepting the Swara Raga
Sarangyar award from the
Panchamukha Anjaneyar
Festival Committee recently,
she made a fervent plea:
Veena is our national
instrument. It is a treasure.
Come for concerts and
support the veena. That sums
up her goal.
Panditji made the sitar
famous. The veena should
attain that status and I'll work
for that, she says and adds in
a lighter vein, You know, at
the U.S. airports, those staff,
who earlier used to say, Oh,
the sitar, now chorus, Oh! the
veena lady. I consider that a
small victory, for the
instrument.
Nirmala Rajasekar
will perform at Sri
Krishna Gana Sabha on
December 31, 6.30 p.m.

Annual
dance
fest
rahma Gana Sabhas
annual Dance Festival
is on from January 1 to
22, 2015, at Sivagami
Pethachi Auditorium,
Mylapore. Chitra
Visweswaran, dancer and
secretary, Tamil Nadu Iyal
Isai Nataka Mandram, will
inaugurate it. Nalli
Kuppusami Chetti will
preside and A. Natarajan
will felicitate the
participating artists and
awardees.

During the festival, the

Parampara series will be
held from January 2 to 12.
It features 11 participants in
a combination of parent
and daughter. They are:
Geetha Chandran Sharanya Chandran; Rama
Vaidyanathan - Dakshina
Vaidyanathan; Gayathri
Kannan - Mahathi Kannan
(nattuvangam by Dr. Padma
Subrahmanyam); Soumya
Kumaran - Bhavya
Kumaran; Nandini Ramani
- Sushama Ramani; Sujatha
Srinivasan - Shreya
Srinivasan; Madurai
Muralidharan Kavyalakshmi
Muralidharan; Revathy
Ramachandran - Manasvini
Ramachandran; Jayanthi
Subramanian - Sumithra
Subramanian; Meenakshi
Chitharanjan - Aparna
Chitharanjan and Prof. CVC
- Manjari Chandrasekhar.
CH-X _ A