CHAT CORNER
‘Insults steeled my resolve to succeed’
I felt miserable and wanted to give up playing the ganjira when Providence came in the form of D.K.Pattammal.
K.S.Rangachari
Age has not deterred Kandhadai Srinivasachari Rangachari, popularly known as K.S.Rangachari from playing the ganjira. His journey in the music field has been a tough one and he has come a long way, accompanying several well known artists. A reflective look at the septuagenarian’s past…
Days at Tiruchi and Kanchipuram…
I was born in 1935, in Tiruchi Puthur Agraharam. My father used to take me to a lot of bhajans and music concerts. He had wide contact with musicians. Being residents of Tiruchi, flute vidwan Ramanathapuram M.N.Nataraja Pillai and violin vidwan Ramanathapuram M.N.Ganesa Pillai were close to him. I was initially tutored by Ganesa Pillai in a few varnams and keertanams. After my father’s death, we had to shift to my mother’s native place, Kanchipuram, due to compelling family circumstances. At Kanchipuram, I did not have any opportunity to develop my music as the rendering of the Vedas was given utmost importance. I just kept practising those (kritis) that I had learnt at Tiruchi as I was very keen on developing my music. Bhajans were regularly conducted at actor P.B.Rangachari’s house (he had acted in the yesteryear blockbuster ‘Haridas’). I would just sneak into his house and accompany him on the ganjira (that was available there), during his bhajan sessions, though my heart was on singing. The elders chided me for going there yet I managed to maintain the connection. Accompanying Kanchipuram M.N.Venkatavaradan during the Tamil month of Marghazhi (Dec-Jan) in the mada veedhi bhajans was a great learning experience. Gradually my attention turned to laya.
Rudiments…
After passing out of school, I shifted to Madras to develop my music. The employment in Electricity Board helped my sustenance. In order to enhance my playing style, I joined Harihara Sharma’s (T.H.Vinayakaram’s father) classes. Many vidwans would visit the classes and sing. Listening to them and playing alongside at times, was an enriching experience. Acquiring a sound knowledge in the rudiments boosted my confidence.
Concerts and insults…
After learning the basics, I started scouting for opportunities. It was my fortune that many of the sabha secretaries were employed in EB, then. Offers were free-flowing. But it was very tough convincing the main artist. Once the main artist approved, he would direct me to the violin vidwan who in turn would ask me get the permission of the mridangam artist. It was virtual running from pillar to post for playing in a concert. There were even concerts when I was snubbed by the mridangam artist for having taken the stage without his prior approval. I had to establish myself amidst such hostility. I felt miserable and wanted to give up playing ganjira when providence came in the form of D.K.Pattammal.
D.K.Pattammal and Divine Grace…
She had me as her accompaniment on the ganjira for several of her concerts after hearing about me through a contact. The encouragement she gave was something out of the world. Once during a concert at Parthasarathi Swami Sabha, I couldn’t get things right and was always off the talam. Hurt by guilt, I did not take my payment from her and just left the auditorium. Such was her large heartedness that she called me home and offered words of consolation and advised that these things were quite common and that one should not get bogged down by such episodes. Imagine this from an artist of such great stature! That was Pattammal.
Other vidwans…
Being a regular in DKP’s concerts earned me recognition. The concerts with Madurai Somu and Radha-Jayalakshmi are still fresh in my memory. I’ve accompanied doyens such as Chembai, Madurai Mani Iyer, Madurai Mariappa Swamigal, M.M.Dhandapani Desigar and T.N.Krishnan.
Testing time…
Several years ago, at the Music Academy, the mridangam vidwan who was slated to accompany DKP did not turn up on time due to the delayed arrival of his train from Delhi. With many music stalwarts in the packed auditorium, the concert commenced with just one accompaniment – the ganjira, played by me, and it went on for about four songs. It was a testing time on stage. But for DKP’s encouraging words I would’ve wilted. Finally when the mridangam vidwan arrived, and I felt relieved.
Your opinion on tani avarthanam…
Tani avarthanam should be short and sweet. In the olden times the thani would be very brief whereas now it has started dominating concerts. The audience becomes restless. In order to retain listeners till the end of the concerts, vidwans should be brief and crisp in their thani. Only this would sustain the crowd’s interest. They should also acquire skills to embellish kritis rather than dwell on mundane nadais. (He demonstrates Palghat Mani Iyer’s style of playing for kritis.)
Looking back…
I cherish those concerts I played for DKP and other stalwarts mentioned earlier. The tough path that I had to tread swallowing the insults that I suffered only steeled my resolve to succeed.
V. BALASUBRAMANIAN
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