An Interesting Photograph

Here is an interesting photograph of my grandfather with the Veena. I will post a high resolution version in the next few days.

Ramalinga Swamigal Compositions

The following compositions are by Ramalinga Swamigal. The first 2 were set to tune by Maha Vaidhyanatha Sivan in the presence of Kodavaganallur Sundara Swamigal, Ramaswami Sivan (Maha Vaidhyanatha Sivan's elder brother) and Thozhuvoor Vellayutha Mudhaliar. This event happened in the year 1874 on the eve of "Thiruvadirai Utsavam".

The 4th and 5th are set to tune by V.S. Gomathisankara Iyer.

Aanaiyaa Composition - Maanam Vaithu Arul

Anaiyaa composition "mAnam vaithu arul thA sundari" in Sankarabharanam is a lovely piece. I have heard this sung by my grandfather on a few occasions.

Aanaiyaa Composition - Paruvam Paarka Nyayamaa

Biographical Notes on Aanaiyaa

The following essay is freely translated from V. S. Gomathisankara Iyer's collection of anecdotes on Aanaiyaa. The details, as told by Ramaswami Sivan to Pallavi Subbiah Bhagavatar, were in turn narrated by the later to his son V.S Gomatisankara Iyer.

Aanai: 1776 to 1850

Aiyaa: 1778 to 1857

Aanaiyaa hailed from Vaiyacheri, a small village in Tanjore district in TamilNadu. The village temple hosts the shrine of "Mangalaambigai" and "Agasteeswarar". Although, the name Aanaiyaa can seem to refer to an individual, in reality it refers to two; Aanai and Aiyaa. Also, many have thought of Aanai and Aiyaa to be brothers by birth. This is not the case.

Pranadhathiharar, a resident of Vaiyacheri was a great scholar and an authority in the four Vedas. Pranadhathiharar was married to Dharmambal. His younger sister Madurambal was married to Viswanaatha Iyer, who also was a native of Vaiyacheri. In 1776, the Pranadhathiharar Dharmabal couple were blessed with a boy child who was named Aanai. In 1778, Viswanatha Iyer and Madhurambal were blessed with a boy who was named Aiyaa. Thus, Aanai was Aiyaa's maternal uncle's son and Aiyaa was Aanai's paternal aunt's son, which made them cousin brothers.

With under 2 years separating them and being next door to each other, Anaiyaa grew up together and were inseparable "like" brothers. It was very uncommon to see one without the other. Aanai, the elder of the two grew up to be a natural and gifted musician. Aiyaa, though not born a musical genius, was still very proficient in the art form. From a very young age, Aiyaa showed a lot of interest in literature and poetry and grew up to be a scholar with remarkable command over Tamil, Telegu and Sanskrit languages.

Their daily routines included 3 to 4 hours of Rudhram recital followed by an in-depth Veda learning session with Pranadhathiharar. Later in the afternoon, the two were often seen sitting in the "thinnai" discussing various aspects of carnatic music. Aiyaa was especially fond of reading and gathering information pertaining to theory of music from early literary works on carnatic music. Aanai was a brilliant singer with a gifted voice and an ability to compose songs at will. Even at a fairly young age the Aaniyaa duo started composing. Aiyaa meticulously set these compositions to appropriate tunes.

Every evening around 5:00 PM, Aanaiyaa would go to the "Agasteeswarar - Mangalaambigai" temple to offer evening prayers. It was customary for the duo to sing in front of both the shrines of the temple. On days of auspicious significance, the singing session would last for a few hours. Such occasions would witness the gathering of people who came from Vaiyacheri, the nearby villages of Thirunageswaram, Upiliappan Kovil, Thittai, Aiyampettai, Pasupathi Kovil and sometimes even from the town of Tanjore.

When singing together, Aaniyaa's voices would blend in seamlessly and result in a Divine resonance that would spell bind the audience. Their vocal signatures were so close to each other that it was impossible to tell which one of the two was singing; unless one was directly looking at them or grasping their body movements. Their command over language, their ability to weave the verses into a well thought out tune and their improvisation skills awed even the brightest of the musical minds.

The Chronology of Annamalai University Music Department

The following chronology on Annamalai University's Music Department was compiled by V.S. Gomathisankara Iyer. It is very interesting to note how many stalwart musicians and scholars have been associated with the University's Music Department during the course of it's 80 year history. Hence, my reason for posting it here.

Annamalai University was the first of its kind to start a separate department for the study of classical carnatic music. It was also the first one to have a dedicated faculty and a formal curriculum in support of the academics.

1929:
Raja Annamalai Chettiar founds Raja Anamalai Music College in Annamalai Nagar. Initially, the college functions as an autonomous body outside the confines/governance of the University and is fully funded by the founder.
T.S. Sabesa Iyer is appointed as the Principal. Tanjore K. Ponnaiya Pillai (Vocal), Madras Balu Iyer (Fiddle) and Desamangalam Subramania Iyer (Veena) as "Pundits" form the faculty. The student count is about 3 or 4.
Faculty : 4
Students: about 3 or 4

1930:
Madras Balu Iyer (Fiddle) resigns. Madurai M.S. Subramania Iyer (Fiddle) is brought in as replacement. Popularly, he comes to be known as Fiddle Subramania Iyer.
T.S. Sabesa Iyer continues as Principal. Tanjore K. Ponnaiya Pillai (Vocal), Fiddle Subramania Iyer (Fiddle) and Desamangalam Subramania Iyer (Veena) as "Pundits" form the faculty. The student count increases to about 15.
Faculty : 4
Students: about 15

1931:
Desamangalam Subramania Iyer (Veena) resigns. Cuddalore Varadaiya (Veena) is appointed as temporary fill. T.S. Sabesa Iyer decides to expand faculty. Appoints V.S. Gomathisankara Iyer (Veena) as "Pundit" and P. Srinivaasa Iyer as "Adjunct Pundit" to support Fiddle and Veena. Cuddalore Varadaiya's term ends with the academic year.
T.S. Sabesa Iyer continues as Principal. Tanjore K. Ponnaiyaa Pillai (Vocal), Fiddle Subramania Iyer (Fiddle) and V.S. Gomathisankara Iyer (Veena) as "Pundits" form the faculty. P. Srinivasa Iyer as "Adjunct Pundit" supports Fiddle and Veena. Student count is in execess of 20.
Faculty : 5
Students: in excess of 20

Note: V.S. Gomathisankara Iyer is the son of Vasudevanallur "Pallavi" Subbiah Bhagavatar. "Pallavi" Subbiah Bhagavatar and T.S. Sabesa Iyer were very close associates and both trained under Vaiyacheri Mahaa Vaidhyanatha Iyer (popularly known as Mahaa Vaidhyanatha Sivan).

1932:
Music College is annexed to Annamalai University. T.S. Sabesa Iyer becomes "Lecturer" and heads the music department. P. Srinivasa Iyer is promoted to "Pundit".
T.S. Sabesa Iyer as Lecturer, Tanjore K. Ponnaiya Pillai (Vocal), Fiddle Subramania Iyer (Fiddle) V.S. Gomathisankara Iyer (Veena) and P. Srinivasa Iyer as "Pundits" form the faculty. "Sangeetha Bhushanam" is established and the course certificate awarded for passing students. Student count is in excess of 35.
Faculty : 5
Students: in excess of 35

Note: After being annexed to the University in 1932, the faculty gets a glimpse of the political turbulences of operating under a large institution. 1933 -1936 will roll by without any significant changes.

1933:
No notable changes.
T.S. Sabesa Iyer as Lecturer, Tanjore K. Ponnaiya Pillai (Vocal), Fiddle Subramania Iyer (Fiddle) V.S. Gomathisankara Iyer (Veena) and P. Srinivasa Iyer as "Pundits" form the faculty. Student count is about 38.
Faculty : 5
Students: about 38

1934:
No notable changes.
T.S. Sabesa Iyer as Lecturer, Tanjore K. Ponnaiya Pillai (Vocal), Fiddle Subramania Iyer (Fiddle) V.S. Gomathisankara Iyer (Veena) and P. Srinivasa Iyer as "Pundits" form the faculty. Student count is about 40.
Faculty : 5
Students: about 40

1935:
No notable changes.
T.S. Sabesa Iyer as Lecturer, Tanjore K. Ponnaiya Pillai (Vocal), Fiddle Subramania Iyer (Fiddle) V.S. Gomathisankara Iyer (Veena) and P. Srinivasa Iyer as "Pundits" form the faculty. Student count is about 56.
Faculty : 5
Students: about 56

1936:
No notable changes.
T.S Sabesa Iyer as Lecturer, Tanjore K. Ponnaiya Pillai (Vocal), Fiddle Subramania Iyer (Fiddle) V.S. Gomathisankara Iyer (Veena) and P. Srinivasa Iyer as "Pundits" form the faculty. Student count is about 68.
Faculty : 5
Students: about 68

1937:
T.S. Sabesa Iyer, K. Ponnaiya Pillai and P.Srinivasa Iyer resign. With 2 stalwarts gone the University gets busy looking for replacements. The University strikes gold by bringing in Tiger Varadhachariyar, Sathur Krishna Iyengar and T.K. Rangachari. In addition, one more faculty position is added to which K.S. Narayanasami Iyer is appointed. Music College moves to a newly constructed building opposite to the Zoology department.
Fiddle Subramania Iyer (Fiddle), V.S. Gomathisankara Iyer (Veena), Tiger Varadhachariyar (Vocal), Sathur Krishna Iyengar (Vocal) T.K. Rangachari (Vocal) and K.S. Narayanasami Iyer(Veena) as "Pundits" form the faculty. Student count holds at about 68.
Faculty : 6
Students: about 68

1938:
Music College adds Mridangam section. Mylatur Sami Iyer is brought in for teaching Mridangam curriculum.
Fiddle Subramania Iyer (Fiddle), V.S. Gomathisankara Iyer (Veena), Tiger Varadhachariyar (Vocal), Sathur Krishna Iyengar (Vocal) T.K. Rangachari (Vocal) K.S. Narayanasami Iyer (Veena) and Mylatur Sami Iyer (Mridangam) form the faculty. Student count goes down to 51.
Faculty : 7
Students: 51

1939:
No notable changes.
Fiddle Subramania Iyer (Fiddle), V.S. Gomathisankara Iyer (Veena), Tiger Varadhachariyar (Vocal), Sathur Krishna Iyengar (Vocal), T.K. Rangachari (Vocal), K.S. Narayanasami Iyer (Veena) and Mylatur Sami Iyer (Mridangam) form the faculty. Student count increases to 65.
Faculty : 7
Students: 65

1940:
L.R. Neelamegam Pillai (Fiddle) is added to the faculty. Final year students are made to perform full length concerts at least twice a month. Concerts are rated and graded by the faculty.
Fiddle Subramania Iyer (Fiddle), V.S. Gomathisankara Iyer (Veena), Tiger Varadhachariyar (Vocal), Sathur Krishna Iyengar (Vocal) T.K. Rangachari (Vocal) K.S. Narayanasami Iyer (Veena), Mylatur Sami Iyer (Mridangam) and L.R. Neelamegam Pillai (Fiddle) form the faculty. Student count is 69.
Faculty : 8
Students: 69

1941:
Music College adds "Thevaram" section and to this effect appoints Nataraja Desikar to the faculty. The University announces a reward for tamizh compositions in the newspapers and dailys, solicits tamizh compositions from all over the country.
Fiddle Subramania Iyer (Fiddle), V.S. Gomathisankara Iyer (Veena), Tiger Varadhachariyar (Vocal), Sathur Krishna Iyengar (Vocal) T.K. Rangachari (Vocal) K.S. Narayanasami Iyer (Veena), Mylatur Sami Iyer (Mridangam), L.R. Neelamegam Pillai (Fiddle) and Nataraja Desikar (Thevaram) form the faculty. Student count is 70.
Faculty: 9
Students: 70

1942:
Sathur Krishna Iyengar and Nataraja Desikar resign. Tirupampuram T.N. Swaminatha Pillai, Mylam M.P. Vajravel Muthaliar and M. Subramania Muthaliar join the faculty. Tiger Varasdhachariyar is appointed to the "tamizh isai" advisor post.
Fiddle Subramania Iyer (Fiddle), V.S. Gomathisankara Iyer (Veena), Tiger Varadhachariyar (Vocal), T.K. Rangachari (Vocal) K.S. Narayanasami Iyer (Veena), Mylatur Sami Iyer (Mridangam), L.R. Neelamegam Pillai (Fiddle), T.N. Swaminatha Pillai (Vocal), M.P. Vajravel Mudhaliar and M. Subramania Muthaliar (Thevaram) form the faculty. Student count holds at 70.
Faculty:10
Students: 70

1943:
Tiger Varadhachariyar, T.K. Rangachari and Fiddle Subramania Iyer resign. Tanjore K. Ponnaiya Pillai returns to the college as Professor and Head of the Department of Music. K. Sivavadivel Pillai is brought in as a replacement for Fiddle Subramania Iyer. In addition, T.N. Sivasubramania Pillai and Vijaya Govindan are added to the faculty. In the later half of the academic year, T.N. Swaminatha Pillai is designated "Senior" Lecturer. V.S. Gomathisankara Iyer and K. Siva Vadivel Pillai are designated "Lecturers". The rest of the faculty continue as "Pundits". In October of 1943, the tamizh isai advisory committee is established to oversee the growth and development of tamizh isai. L.P.K.R. Ramanathan Chettiyar becomes the President. M. Kathiresan Chettiyar heads the working body. K. Subramania Pillai M.A.M.L., "Sangeetha Kalanidhi" K. Ponnaiya Pillai and T.N. Swaminatha Pillai are enrolled as members. 5 volumes of "tamizh isai" compilations (Vol 1,2,3,4 and 7) are published. V.S. Gomathisankara Iyer authors Vol. 1,2,3 and 7. T.N. Swaminatha Pillai authors Vol 4.
Prof. K. Ponniya Pillai, V.S. Gomathisankara Iyer (Veena), K.S. Narayanasami Iyer (Veena), Mylatur Sami Iyer (Mridangam), L.R. Neelamegam Pillai (Fiddle), T.N. Swaminatha Pillai (Vocal), M.P. Vajravel Mudhaliar, M. Subramania Muthaliar (Thevaram), K. Sivavadivel Pillai, T.N. Sivasubramania Pillai and Vijaya Govindan form the faculty. Student count rises to 90.
Faculty: 11
Students: 90

Note: 1943 witnesses a very unhealthy divide within the faculty along "caste" lines and plays out vividly in the open. As a result most of the Brahmin members of the faculty end up quitting. V.S. Gomathisankara Iyer, K. Narayanasami Iyer and Mylatur Sami Iyer agree to stay at the personal request of Raja Annamalai Chettiyar.

1944:
K. Subramania Pillai quits as member of the tamizh isai advisory committee. T.P. Meenakshi Sundaram Pillai replaces him. The University introduces the "Isai Mani" certificate course focusing specifically on "tamizh isai" education. It is designed as an advanced programme for "Sangeetha Bhooshanam" students. K. Ponnaiya Pillai publishes a book titled "Isai Iyal" about the grammar of carnatic music. V.S. Gomathisankara Iyer publishes a compilation of Gopalakrishna Bharati's "viduthi-k-kErthanai" containing 89 compositions.
Prof. K. Ponniya Pillai, V.S. Gomathisankara Iyer (Veena), K.S. Narayanasami Iyer (Veena), Mylatur Sami Iyer (Mridangam), L.R. Neelamegam Pillai (Fiddle), T.N. Swaminatha Pillai (Vocal), M.P. Vajravel Mudhaliar, M. Subramania Muthaliar (Thevaram), K. Sivavadivel Pillai, T.N. Sivasubramania Pillai and Vijaya Govindan form the faculty. Student count rises to 99.
Faculty: 11
Students: 99

1945:
Prof. Ponniya Pillai resigns. V.S. Gomathisankara Iyer publishes 2 books, one is a compilation of Arunachala Kavi's "rAmanAtaka kErthanai" compositions with swara notations and the other is a compilation of Sudhanantha Bharati's compositions with swara notations. T.N. Swaminatha Pillai publishes a compilation of Marimutha Pillai compositions with swara notations.
V.S. Gomathisankara Iyer (Veena), K.S. Narayanasami Iyer (Veena), Mylatur Sami Iyer (Mridangam), L.R. Neelamegam Pillai (Fiddle), T.N. Swaminatha Pillai (Vocal), M.P. Vajravel Mudhaliar, M. Subramania Muthaliar (Thevaram), K. Sivavadivel Pillai, T.N. Sivasubramania Pillai and Vijaya Govindan form the faculty. Student count rises to 115.
Faculty: 10
Students: 115

1946:
T.N. Swaminatha Pillai and K.S. Narayanasami Iyer resign. K.P Sivanantham (Veena) is added to the faculty. V.S. Gomathisankara Iyer sets to tune the songs in Sundhanantha Bharati's "Manikavachagar Saritharam". This compilation is published as a book titled "Manika Paatu". Mylatur Sami Iyer publishes a book on Mridamgam teaching and training methodologies. T.N. Swaminatha Pillai publishes a compilation of Nagaram Muthusami Kavirayar's compositions with swara notations. He also sets to tune the compositions of Vainagaram Ramanathan Chettiyar and brings it 0ut as a book.
V.S. Gomathisankara Iyer (Veena), Mylatur Sami Iyer (Mridangam), L.R. Neelamegam Pillai (Fiddle), M.P. Vajravel Mudhaliar, M. Subramania Muthaliar (Thevaram), K. Sivavadivel Pillai, T.N. Sivasubramania Pillai , Vijaya Govindan and K.P. Sivanantham (Veena) form the faculty. Student count rises to 133.
Faculty: 9
Students: 133

1947:
Chitoor Subramania Pillai is appointed as Professor and Head of the Department of Music. Manargudi Vaithyalingam Pillai is appointed as "Lecturer" and joins the faculty. V.S. Gomathisankara Iyer publishes a compilation of Periyasamy Thooran compositions with swara notation.
Prof. Chitoor Subramania Pillai (Vocal), V.S. Gomathisankara Iyer (Veena), Mylatur Sami Iyer (Mridangam), L.R. Neelamegam Pillai (Fiddle), M.P. Vajravel Mudhaliar, M. Subramania Muthaliar (Thevaram), K. Sivavadivel Pillai, T.N. Sivasubramania Pillai , Vijaya Govindan, K.P. Sivanantham (Veena) and Manargudi Vaithyalingam Pillai form the faculty. Student count is at 117.
Faculty:11
Students: 117

1948:
V.S. Gomathisankara Iyer publishes a compilation of Ramaswamy Sivan's compositions with swara notation. T.N. Sivasubramania Pillai publishes a compilation that includes composition of 14 great composers in Tamil. This publication inlcudes Kavi-k-kunjari, that is set to tune by M.M. Dandapani Desikar.
Prof. Chitoor Subramania Pillai (Vocal), V.S. Gomathisankara Iyer (Veena), Mylatur Sami Iyer (Mridangam), L.R. Neelamegam Pillai (Fiddle), M.P. Vajravel Mudhaliar, M. Subramania Muthaliar (Thevaram), K. Sivavadivel Pillai, T.N. Sivasubramania Pillai , Vijaya Govindan, K.P. Sivanantham (Veena) and Manargudi Vaithyalingam Pillai form the faculty. Student count is at 104.
Faculty:11
Students: 104

1949:
K.P. Sivanatham resigns. M.G. Gowrikumari (Veena) and P. Balakrishnan are added to the faculty. K.P. Sivanatham brings out a compilation of K. Ponniya Pillai's compositions.
Prof. Chitoor Subramania Pillai (Vocal), V.S. Gomathisankara Iyer (Veena), Mylatur Sami Iyer (Mridangam), L.R. Neelamegam Pillai (Fiddle), M.P. Vajravel Mudhaliar, M. Subramania Muthaliar (Thevaram), K. Sivavadivel Pillai, T.N. Sivasubramania Pillai , Vijaya Govindan, Manargudi Vaithyalingam Pillai, M.G. Gowrikumari and P. Balakrishnan form the faculty. Student count is at 104.
Faculty:12
Students: 104

The first 20 years unwind this way. Later years would see leading muscians like Mridamgam Ramadas Rao (1950 - 61), M.M. Dandapani Desikar (1955 - 71), S.V. Parthasarathy (1954 - 56) and Rajamanikcam Pillai (1958 - 61), amongst others.

"The Hindu" article on Kallidaikurichi Vendanta Bhagavatar

Here is the link to Sriram V's article on Kallidaikurichi Vendanta Bhagavatar
http://www.thehindu.com/fr/2009/02/27/stories/2009022750200300.htm

As noted by the author of the article, Vendanta Bhagavatar trained under Vasudevanallur Subbiah Bhagavatar to learn advanced aspects of carnatic music. In his anecdotes, Subbiah Bhagavatar notes that Vendanta Bhagavatar was one the first "kathAkAlakshepam" exponents who popularized Gopalakrishna Bharati's "nandan charitram" by choosing it as the primary theme for his "kathAkAlakshepam" rendition. In those days, this was considered controversial since, "harikathA" was by far the most chosen theme.

About Sri V.S. Gomathisankara Iyer

My grandfather Sri. V.S. Gomathisankara Iyer was a leading musicologist, musician, composer, teacher and a brilliant veena player. He was well known in the carnatic music circle for his contributions to the "tamizh isai" movement. His centenary year was observed in 2008, without much of an ado. I thought it would be a great tribute to him and a service to the carnatic music world, bringing to light some of his works (both, previously published as well as unpublished) in bits and pieces through this blog. Before that, it would only be fair that I give a brief introduction to Gomathisankara Iyer's life and a summary of his creative works.

Gomathisankara Iyer was born on August 21st 1908 into a family with rich musical heritage and traditions. His father Vasudevanallur Subbiah Bhagavathar (popularly known as "Pallavi" Subbiah Bhagavatar) was a well accomplished musician and a prolific practitioner. Subbiah Bhagavatar had his initial music training under Vellankudi Sami Bhagavatar and later spent four years in gurukulavasam training under Tiruvanandapuram Vedasri Parameswara Bhagavatar. By his early 20's, Subbiah Bhagavatar had started giving solo concerts in and around the Tirunalvelli district. It was during this period when Subbiah Bhagavatar came under the tutelage of Vaiyacheri Mahaa Vaidhyanatha Iyer (also known as Mahaa Vaidhyanatha Sivan) for advanced training in carnatic music; becoming his primary disciple and a very close associate to the Sivan family. Gomathisankara Iyer initially trained in vocal music under his father's guidance. He later switched to veena and underwent advanced training under Karaikudi Subburama Iyer (the elder of the Karaikudi brothers) with whom he stayed for a period of 3 years. By the mid 1920's he had given many concerts; both as vocal performances and veena recitals. In 1926, he was conferred the title of "vainika gAyaka" by the Zamindar of Illavarasanendal after a brilliant vocal performance, which was followed by a veena performance a few days later. The Zamindar himself presented him a very rare and exquisite veena. This instrument (well over a 100 years old) is still in our home in Chennai - well preserved in prestine condition and played on frequently. In 1931, only 23 years old, the young Gomathisankaran joined Annamalai University (which then was started as Raja Annamalai Music College and went on to becoming a part of the University some years later) as a veena teacher. Gomathisankara Iyer was associated with Annamalai University for the next 48 years until his retirement in 1979, as the Head of the Department of Muisc. In 1980, he moved to Madurai Kamaraj University with a UGC fellowship and retired from the University in 1983. During his lifetime, he has received many awards and recognitions of which the "kalaimAmani" award by the Tamil Nadu Sangeetha Nataka Academy and the "TTK Memorial Award" by Madras Music Academy are notable.

Gomathisankara Iyer's lifetime of works can be classified into three distinct areas:

• Collection of biographies and anecdotes on stalwart musicians.
• Original research works on carnatic music, "paNn aAraichi" and "tamizh isai".
• Compilation of Tamil Songs and Compositions.

Vasudevanallur "Pallavi" Subbiah Bhagavatar collected and documented many anecdotes and events of significance that happened during his lifetime. In 1941, during an annual visit to his ancestral home in Vasudevanallur, Gomathisankara Iyer stumbled on piles of bits and pieces of paper that contained handwritten text in the "grantham" script. To his surprise, these were his father's handwriting and the papers contained volumes of biographical and anecdotal information on the great musicians of the yester generation. In 1970, Gomathisankara Iyer published these details in a book titled "isai kalai vallunarkal"- இசைக்க‌லை வ‌ல்லுந‌ர்க‌ள். This book contained elaborate details on Swathi Thirunaal and Aayilyam Thirunaal - two kings of the Travancore royal family, Coimbatore Raghava Iyer, Mahaa Vaidhyanatha Iyer and Madurai Ponnusamy Pillai, to name a few. Later, in 1971 he brought out a 2 volume series titled "isai ulagil mahA vaidhayanAtha sivan" - இசையுல‌கில் ம‌ஹா வைத்திய‌நாத‌ சிவ‌ன். There are completed manuscripts for at least 3 more volumes on many other greats of carnatic music. Gomathisankara Iyer has compiled the life history of Kodavaganallur Sundara Swamigal, a renowned savant and the philosophical guru of "Pallavi" Subbiah Bhagavatar, Mahaa Vaidhyanatha Sivan and Ramaswamy Sivan. This compilation is in 5 volumes and has never been published.

Gomathisankara Iyer made towering contibutions to "tamizh isai". Much of his original research works on "paNn" - ப‌ண் and "silappathikAram" - சில‌ப்ப‌திகார‌ம் have been published by Annamalai University and the Karanthai Tamizh Sangam. In 1977, Annamalai University published one such research article as a book titled "yAzh muri paNn" - யாழ்முரிப்ப‌ண். The "Bharata Shakti" journal and the Madras Tamizh Isai Sangam brought out many of his essays and short articles on the grammar of "tamizh isai". Madurai Kamaraj University brought out 2 books titled "isai-t-tamizh illakana villa-k-kam" - இசைத்த‌மிழ் இல‌க்க‌ண விளக்க‌ம் and "yAzh mANnpu" - யாழ் மாண்பு. He has written complete annotations for all information pertaining to music available in the "silappathikAram". These annotations run in excess of 1200 pages in manuscript form. Scores of articles on "silappadikAram", "tamizh isai" and in general the grammar of music are available as completed manuscripts, but are yet to be published.

Gomathisankara Iyer himself was an accomplished composer. He has composed several varnams (ata thAla varnams, pada varnams and thAna varnams), some of which contain "Tirukural" verses. In total he has compiled 11 volumes (660 items) of varnams from various sources, of which 4 volumes (240 items) have been published in a series titled "thAna varna kadal" - தான‌ வ‌ர்ண‌க் க‌ட‌ல். Each published volume has a set of 60 varnams with swara notations. Remaining 7 volumes (420 items) are ready for publication. He has set to tune the 123 verses of "thevAram" by the 3 great saints. They have been compiled under the title of "moovar thevAram" - மூவ‌ர் தேவார‌ம் and contain notations of their corresponding "thevAra-p-paNn". Gomathisankara Iyer's "moovar thevAram" compilation is not yet published. Other unpublished works include, a compilation of "viduthi-k- kErthanai" - விடுதிக் கீர்த‌னை by Ramaswamy Sivan (Mahaa Vaidhyanaatha Sivan's elder brother), about 50 compositions of Aanai Aiyaa (some in Tamizh and some in Telegu) and 2 voulmes of Duraiswamy Kaviraayar's compositions.

However, Gomathisankara Iyer's great talent was in his ability to instantaneously reduce any kritis or songs to their corresponding swara notations on a single hearing. To this effect, he has set to tune the compositions of many great composers; literally running to mutiple thousands. A report out on the Annamalai University journal for the acedemic year 1963-64 says that 11 such volumes were authored by him until 1948, which the University has published. Among many other tamizh composers, the publications include compositions of "Yogi Suddhanandha Bharati", "Periyasaamy Thooran", "Muthuthaandavar" and "Gopalakrishna Bharati". There are seven volumes of "Yogi Suddhanandha Bharati" compositions alone. Many of the volumes were published by a private press associated with the Yogi's ashram. Many of them still remain to be published.

Gomathisankara Iyer was in tireless pursuit of authentic texts and traditional methods of rendering compositions. He acquired manuscripts of Gopalakrishna Bharati's "nandan charitra kErthanai" - ந‌ந்த‌ன் ச‌ரித்திரக் கீர்த‌னை and "natarAjar pAtu" - ந‌ட‌ராஜ‌ர் பாடு from Rajarathina Dikshitar in Chidambaram. Rajarathina Dikshitar, who was himself in his early 90's during this period, was the nephew of Poonuswamy Dikshitar - a direct disciple of Gopalakrishna Bharati. Kollangoodu Sivaramakrishna Bhagavatar a "harikathaa" exponent was well known for his "rAmAyanam" discourses, which were based on Arunaachala Kaviraayar's "rAma nAtaka kErthanai" - இராம‌ நாடக‌க் கீர்த‌னை. It is presumed that Sivaraamakrishna Bhagavatar learnt these songs from the direct descendents of Arunaachala Kavi himself. Gomathisankara Iyer made close acquaintance with Sivaraamakrishna Bhagavatar and learnt the authentic version of these songs. Many of theses songs from the "nanthan charitra kErthanai", "natarAjar pAtu" and the "pAyiram", "bAla kAndam" and "ayodhya kAdam" of "rAma nAtaka kErthanai" are available with full notations in manuscript form and are yet to be published. In 1942, Gomathisankara Iyer met with Neelakanta Sivan's daughter Smt. Paarvathi Ammal. As she sang several of her father's compositions, Gomathisankara Iyer reduced these authentic versions to thier corresponding swara notations. A good number of these compositions are rare and almost out of practice today. There are 2 volumes of Neelakanta Sivan's compositions in existance and are unpublished.

This, so far, is a sketchy summary of Sri Gomathisankara Iyer's life and his creative works.

Music Season 2008 - Chennai

So, here I am starting off a new blog in 2009...

Whats fresh in my mind - The just concluded December 2008 carnatic music season in Chennai. I am attending this event after a gap 12 years. It did bring back lot of my childhood memories - almost every year the Madras trip happened in December with my grandfather Sri V.S. Gomathisankara Iyer. The big difference now is the - 26 hr flight half way across the world as opposed to the 9 hr Pandiyan Express ride from Madurai.

The number of sabhas that have sprung up in all these years are mind boggling. There is a sabha in every nook and corner of the city now. There are at least 2 concerts a day in every sabha and it can get very challenging to pick and choose; especially if you have 2 different venues hosting leading musicians on the same day.

It was much easier for me though. I was pretty clear on what I wanted from this music season - attend as many Sanjay Subrahmanyan concerts as possible, catch-up with TM Krishna at NGS and Music Academy concerts and a listen to a few more artists - veterans and up-coming ones.

I attended 15 of the 18 and odd concerts of Sanjay this season. Summing him up is straightforward - class(professionalism), depth(knowledge), brilliance(execution). To the extent of my knowledge there are/have been few artists of this caliber.

TM Krishna delivered every bit of what was expected from him. The 2 concerts that I attended were good. A little more attention to execution will make him better.

Other good musicians (vocalist) I listened to in this season are Ranjani & Gayatri, Vijay Siva, and Neivelli Santhanagopalan. Ranjani & Gayatri have come a long way from when I heard them a few years back during their US tour . On a lighter note, during one of Ranjani & Gayathri's concert I saw this elderly gentleman sitting a few seats next to me who was literally "conducting" the concert. Towards the end of the concert I couldn't help but to notice him pointing to his watch and prompting the singers to move on to the next piece. At the end of that piece one of the sisters (I guess it was Gayatri) posed an question to the audience asking if it was OK to sing another short piece. This gentleman quickly interrupted and signalled to end the concert. The singers acknowledged with "Mangalam" much to the disappointment of the audience. I later learnt that the gentleman next to me was Ranjani & Gayatri's father. I did walk away from the concert quite happy with the performance but kept wondering what effect will such "micro management" have on the ability of the artists to improvise elaborate and sing to their intent and content.

Listening to Sri T.V. Sankaranarayanan brought back memories of listening to him during his prime in the late 80's and the 90's.

Sri TN Seshagopalan was a big disappointment and unfortunately he is getting consistent with disappointing. I do not want to comment any further. But it is really sad to see such a big name vetran failing to impress.