An ideal accompanist
Guruvayur Dorai... TTK Award for Excellence.
IN THE field of percussion, the name of Guruvayur Dorai, evokes great admiration and reverence. Dorai, recipient of the TTK Award from the Music Academy, is renowned for his outstanding skill and known for creating worthy disciples all over the world to carry on the legacy.
Guruvayur Dorai had his early training under vidwans like late Palghat Subba Iyer, and Erannallur E. P. Narayana Pisharody. His further intensive training with maestro Palani Subramania Pillai, enriched his skill. At the age of eight, Dorai was fortunate to accompany the veteran Chembai Vaidyanatha Bhagavatar for his maiden performance. From then on, there was no looking back for this much sought after accompanist, who has played for almost all senior artistes, and has encouraged countless younger musicians, over the past six decades.
The artistic career of Guruvayur Dorai is eventful — innumerable concert tours, teaching assignments abroad, concerts for noble causes, honours, awards and recognition from cultural organisations from various quarters mark the musical life of this tireless performer. Among the many awards, noteworthy are the Sangeet Natak Akademi Award, and the title of `Kalaimamani' from the Government of Tamil Nadu.
He is also the Asthana Vidwan of the Kanchi Math and Ahobila Math.
On December 13, he will be felicitated for his 60 years of service to the field of Carnatic music.
The function (7 p.m.) will take place at Raga Sudha Hall.
Guruvayur Dorai is an acclaimed accompanist whose technique is best moulded for the Cutcheri format.
"With changing trends in the field of percussive arts, I firmly believe in adhering to the nuances of accompanying the main artiste, which is a crucial factor in the success of a Carnatic concert," says this veteran. "I am well-trained in vocal music with the doyen Chembai Vaidyanatha Bhagavatar, and hence my approach is well-tuned for the concert pattern," observes Dorai, who is reputed for his Gumki-oriented technique.
His accompaniment for a cutcheri is a sincere representation of what Saint Tyagaraja quotes in his kriti, "Sogasuga Mridanga Talamu," on the importance of Yati visrama or the rhythmica pauses, giving the audience a truly pleasant musical experience. Humble and amiable never one to overshadow the main artiste, his ability to reveal his mastery at the appropriate moment has been the secret of the success of this Laya Gnana Samrat, who remains a great source of inspiration to all those who have worked with him.
N. R.
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