As soothing as lullaby
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Violinist Malaikkottai Govindasamy Pillai's art was an epitome of melody, writes SULOCHANA PATTABHIRAMAN.
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Malaikkottai Govindasami Pillai
MALAIKKOTTAI GOVINDASAMI Pillai, a violinist of outstanding calibre, was born in the small village of Achyuthamangalam near Nannilam situated in the proverbial district of art and culture, Thanjavur, in March 1878.
He belonged to the Saiva Vellala community and was introduced to the violin at the age of 12 by Keevalur Chidambaranatha Pillai. His inherent talent for music was honed considerably by stalwarts — violin maestro Seergazhi Narayana Swami Pillai, Ettayapuram Ramachandra Bagavatar, and Umayalpuram Panchapakesa Bagavatar.
Later, when he came to live in Chennai, he was greatly influenced by the genius of veterans like Patnam Subramania Iyer, Tirukkodikaval Krishna Iyer, and the inimitable Veena Dhanammal, all of whom he revered as his `manaseega gurus.' He developed his musical acumen and concert skills assimilating the rare artistic attributes of great musicians and converting them into performance by sheer dint of strenuous, assiduous `sadhakam.' He was also an accomplished flautist. Although the violin falls in the category of western instruments, it is to the credit of the bow, an Indian invention that provided the continuity of sound.
It is also believed that the `Ravanastram', a stringed instrument played with the bow some 2000 years ago was the inspiration for the violin. One of the greatest exponents of the violin, known as the fiddle till half a century ago, was Tirukkodikaval Krishna Iyer. Malaikkottai Govindasami was much junior to the former in age, yet, even during the lifetime of the great vidwan, he was recognised as one of the leading lights of the day. The importance of the violin as an accompanying instrument in the performing theatre is due largely to the solid foundation laid by Tirukkodikaval Krishna Iyer and Govindasami Pillai.
Pillai's art was an epitome of melody and the `sunadham' of his violin could be heard in his home almost throughout the day. Each playing session would last for more than four hours, when many enthusiastic art lovers would sit quietly on the `thinnai' outside, experiencing the divine, sublime music. Pillai would openly acknowledge that though he had moulded his `bani' on the royal path laid by Krishna Iyer, the quality quotient of his mentor seemed to elude him. He expressed high praise for the mandra sthayi forays of Krishna Iyer.
Pillai began his performing career when he was 22, providing violin support to Kallidaikurichi Vedantha Bagavathar, a musical giant, at a wedding reception in Tiruchirapalli.
Pillai enjoyed a special rapport with the doyen of flute, Sarabha Sastrigal, and when they shared the concert platform, a fresh electrifying dimension was introduced to the art of cutcheri craft. Pillai had the singular privilege of accompanying masters like Ramanathapuram Srinivasa Iyengar, Konerirajapuram Vaidyanatha Iyer, Palghat Anantharama Bagavathar, Madurai Pushpavanam Iyer, Kumbakonam Nagaraja Rao, Palladam Sanjeeva Rao, and the redoubtable Kanchipuram Naina Pillai. It is said that Pillai's violin playing was as soft and soothing as a lullaby, whereas Krishna Iyer's genius was akin to the majestic gait of a caparisoned pachyderm. Pillai's artistry was characterised by rich imagination, purity of tonal quality, impeccable rhythm control, the strength of incessant Sadhaka and most importantly the strong and the undulatory movement of the bow that had a rapturous effect, especially during the tanam interludes.
His remarkable technique of the tana vil (spring bow) has been universally accepted. His solo performances mirrored his splendid creative abilities, enviable patantaram, graceful gamaka nuances, exquisite finish, the flowing fluency in all the octaves, the amazing control over the various degrees of speed and unmatched presentation. These attributes elevated him to Olympian levels in the estimation of his contemporaries. He had a cheerful disposition, possessed suave manners and quiet dignity. The winning smile on his face while playing reflected the joy of a true "Nadhopasaka". He was an erudite Tamizh scholar and a great devotee of Tyagaraja, assuming a leading role in the Tyagaraja Aradhana at Tiruvaiyaru from 1910 onwards.
Aural feast
In those days, when Sruti bedham (shifting of the modal tonic) was treated as a second class citizen, Pillai with his superb mind appreciated the genre. His sruti bedham effort with the madhyamam in Nattakurinji taken as shadjam and deriving Neelambari, was a feast for the ears and stimulating to the mind. His expertise in showcasing the melodic essence of rare ragas Amruthavarshini, Jaganmohini, Manirangu, Bahudari, Rudrapriya, etc. left an awesome imprint. Keen perception of the merits of Hindustani classical music made him an ardent admirer of Rahmat Khan, Goharjan, Hafeez Khan, Pyara Saheb and Abdul Kareem Khan among others. He was fascinated with the golden voice of the famous drama actor, S. G. Kittappa and presented him with a gold medal in appreciation of his rendition of a Nandanar song. Pillai was a friend to many and always lent a helping hand to encourage deserving talent.
Pillai had no children but his disciples Papa Venkataramaiah, Narasimhalu, Rangayya and mridangam wizard Azhagunambia Pillai's son Radhakrishnan more than filled the void.
Govindasami Pillai passed away in 1931 after serving Carnatic music with great dignity and decorum for more than three decades.
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