Hon'ble Mr.C.V.Narasimhan, Sri Emberumanar Chettiar, Distinguished invitees, Vidwans, Rasikas, Ladies and Gentlemen,

It is with a mixed sense of humility and pride that I stand before you with a b=heavy responsibility of presiding over the 44th Annual Music Conference and its connected proceedings of this Institute of Fine Arts which has been in its own way doing a wonderful work in maintaining and propagating the high ideals and worthy traditions of our glorious heritage.

I sincerely thank the President and the Executive of this organization for the signal honor they are conferring upon me and the special recognition they have accorded me this year. Above all, the unique coincidence of my President ship of this year and the Birth Centenary of my Revered Acharya Sri Tiger Varadachariar is, I believe in all good faith, a providential design of events beyond all comprehension.

Incidentally, I would like to record my sense of appreciation and thankfulness to this organization for the adoption of special programs commemorating my great Master who is still remembered and adored as a genius and a Musician among musicians.

Needless to say, therefore, that this humble self invokes at the outset the soulful blessings of that Mahatma who by his magnetic personality has applied his rare and spiritual touchstone and transformed this little 'M.D.R' to the present 'Varada Dasa'. He has besides given strength and inspiration to this 'Varada Dasa' to serve in his own way the cause of Carnatic Music for over a quarter of a century and more.

Believe me, Friends, that I am after all a tool and a special vehicle for the glorious tradition handed over to me by my great Master who, by his unflinching devotion and dedication, in his turn inherited from the accepted 'Trinity' of Music (Thiagaraja, Dikshitar, Syama Sastri) through his illustrious preceptor Sri. Patnam Subramania Iyer of hallowed memory - a musician of rare caliber and unique reputation.

I am therefore naturally proud to represent this glorious lineage in my own way and shall try to present before you in the short span of this address some of the outstanding traits of classical Carnatic Music - the most invaluable legacy of our forefathers.

I cannot proceed any further without expressing my deep sense of gratitude and indebt ness to Smt. Rukmini Devi, the Founder- President of Kalakshetra, who along with the much respected Sri. Sankara Menon, Vice-President of the Institution, has been extending all affectionate guidance and encouragement and kind patronage ever since I came to this great seat of music, three decades ago. 'Kalakshetra' - the temple of Arts of international standing is my own home for all musical activities. Words are inadequate to describe the exceedingly important part played by this institution in molding me and for bringing both the Master and Chela together in a spiritual atmosphere. Therefore my Master, Smt.Rukmani Devi and Sri.Sankara Menon form an inseparable 'Trio' whose influence has left a strong impress in my life.

Fusion of 'Lakshya' and 'Lakshana'

According to me any study on the 'Lakshya' and 'Lakshana' aspects of our music, elaborate or condensed, cannot be complete and comprehensive without referring to the glorious past followed by a study of the present and to draft effectively plans for the future so that there will be an unbroken link between the past, present and the future. History tells us that the present is outcome of the past and therefore the future is going to be naturally based upon the present. I shall try to proceed along these lines and make some observations and suggestions which I hope will be useful.

A study of the long historical evolution of our art of music starting from Vedic times and coming down to us over three thousand years and more have proved that beyond Purandara Dasa and Jaya Deva (roughly 1,200 A.D - 1,300 A.D.) we are shrouded in probabilities and speculations regarding the nature of the art of music in spite of the fact that 'Poorvacharyas' (old Masters) like Bharatha, Saranga Deva and others have dealt with our music systems elaborately. They all have unanimously proclaimed that after all 'Lakshya' should be our prime consideration and 'Lakshana' adjusted accordingly. Meanwhile in glorifying 'Lakshya' they have not in the least underestimated the role of 'Lakshana'.

One has to remember that the present set-up of our music which has become international is the outcome of a happy fusion of 'Lakshya' and 'Lakshana' propounded by musicologists like Venkata Makhi and others and the invaluable contributions of our illustrious Vaggeyakaras like Thiagaraja, Dikshitar, Syama Sastry and others.

Students of music however after long sifting will have to arrive at their final setting in the invaluable contributions of the Sangeetha Thirumurthis who maintained a delightful balance between 'Lakshaya' and 'Lakshana' though hundreds of their Nadaroopas immortalizing all the finest traits of Bhava, Raga, Tala, Rakthi, Bhakthi, Jnana, Anuraga - why the quintessence of Indian culture, and spirituality. Thiagaraja is unique and universal in this respect so that his spiritual message is the solace of the present sophisticated society here and elsewhere. In recent years the greatness of this saint-composer and his compositions have crossed oceans and influenced the West so much that after three or four decades the West may be practically orientalised.

Institutionalized Gurukula System - Need of the Hour

Musicians and their profession have undergone a series of changes over the last five to six decades and queries are not wanting as to the future of classical music. The democratic set-up as you know has opened now avenues for musical activity for different grades of attainment. The A.I.R., the various leading institutions such as the Sabhas, the T.V., Foreign Travel, Conferences, etc., have all rendered singular service for the betterment, maintenance and propagation of this Art. Music concerts, one of the prominent activities of a musician, are varied and are designed to suit special conditions and circumstances. If musicians are there in hundreds, rasikas are there in thousands. There is an apparent throb and urge to become a musician of standing. With all this external luster a meaningful cry is heard from knowledgeable persons whether we are not missing something purposeful viz. the true essence of Art and Culture. No one can deny the necessity of changes which are inevitable; what then is the underlying cause and the ultimate solution?

The answer seems to me that the spirit of the musical Art should always be preserved, though forms might change from time to time. And for this the 'Institutionalized Gurukula System' is perhaps the only solution for the right and true type of incalculation of musical knowledge. All of us know that Art transmits more by close association between a master and his ward than by any rule of thumb methods. The old Gurukula system with all its rigours may be found to be cumbersome in the present day world. The 'Institutionalized Gurukula System' strives to metamorphosise the Chela to a worthy exponent of this great Art with true insight and right sense of values.

Personal Example

If it is not irrelevant, I may quote my own personal example to illustrate the above statement. Born in a musical family and ancestry with its natural orthodoxy and piety and having formative musical education under my own beloved father (along with a liberal general education), I entered Kalakshetra and was magnetized, electrified, musicalized in a unique fashion in Art and Culture with an aura of visible spirituality. My Revered Master and myself were together for the major part of the day and for the early night hours, following at the same time as far as possible the allotted curriculum of the institution. Our mutual ties and understanding were intimate and ultimately, a complete identification was effected. It is therefore the inner urge along with a musical quality true to heart and soul that is very much needed and the ideal teacher can mould his ideal student under any normal circumstances. He is helpless if the student does not satisfy the above conditions even if placed under ideal surroundings. It is because of this factor that the traditional Gurukula has yielded to modern institutionalization.

Democracy and Art Patronage

The pre-Independent days as you all know had a patronage of a different variety when Maharajas, Zamindars, Pontiffs and Mirasdars invited distinguished musicians and honored them befittingly in accordance with the status of both the musician and the patron. The general public however had practically no voice both in the selection and approbation of the music and musicians, but had to follow trends created by the patrons. In short both appreciation and patronage were confined to a limited circle, thus restricting the lofty influence of our Divine Art. One of the interesting consequences was the presence of music leading to peculiar expressions like 'Tanjore Bani' 'Mysore Bani,' 'Kerala style', etc.

The post-Independent period, especially the period following the early fifties, had practically turned the plate upside down and both the Art and the Artists are no more the confined properties of any restricted cross-section of the society but obtained well deserved national status and international recognition giving access towards all, thus breaking the apparent monopolization that lingered before around the musicians. From the innermost apartment of former Royal Palaces both the Art and Artists now adorn the decorated pandals and furnished auditoria through the length and breadth of our country. This is good by itself. But it has also cast a duty on the artiste to stick to his classical moorings while pleasing his rasikas.

Govt. effort to preserve tradition

Further the Government have thoughtfully devised ways and means to maintain and propagate classical tradition in music. The patronage extended by Government to sustain the Indianness in classical music has led to the formation of the Central Sangitha Nataka Academy with State Academies supplementing it and the institution of National and State Awards.

Tamil Nadu, particularly, which is the seat of musical learning for the past couple of centuries, has got its own Sangam to meet the aspirations of the regional Art and artistes. Besides these, institutions like the Music Academy, the Tamil Isai, the Indian Fine Arts, the Kalakshetra, the Krishna Gana Sabha, the R.R. Sabha, the Mylapore Fine Arts and a host of others are for the last three or four decades contributing their own share in the maintenance of the dignity and prestige of our music.

Good Work of Associations

The Music Academy, the Indian Fine Arts, the Tamil Isai besides arranging for the continuous flow of expression of our music, by their concerts have taken upon themselves the onerous duty of honoring the outstanding exponents of the classical Arts during the annual Conferences by giving them the pride of place to preside over them and by conferring titles. Their invaluable work in spotting the talent by way of organizing periodic competitions among budding artistes and in providing for them opportunity and platform for their artistic expression cannot be gainsaid.

Ideals of Art and National Integration

"Art for Art's sake and that for God's sake" ought to be the external motivation of musicians and musicologists at all times. Unfortunately due to various reasons beyond enumeration or explanation for the majority of them, the motivation for study of music and musicology seems to be that 'Art is for the many and that for money'. This does not mean that all musicians and musicologists should take up 'Sanyasa' and adopt eternal starvation, which is far from the truth. The point meant to be stressed is that ideals of Art should not be made subservient to commercial considerations and the musician, if controlled and disciplined, can survice himself reasonably without detriment to his chosen Art. History knows that mystics like Purandara Dasa, Thiagaraja, Dikshitar, Syama Sastry, Gopalakrishna Bharathi were personification of the old dictum and their immediate successors like Maha Vaidyanatha Iyer, Patnam Subramanya Iyer, Coimbatore Raghava Iyer and others respected the above philosophy and moulded their conduct and profession accordingly. We want therefore a land of dedicated musicians who will uphold the banner of true Art and transfer their knowledge and experience to their successors without reserve.

Apart from all these considerations, one cannot afford to ignore the current developments of an international character when the sun and moon seem to rise simultaneously from the same horizon, when the East meets the West and when the North and South shake hands mutually. The democratic set-up of our Government is assiduously encouraging for the above fusion of the Earth, Moon; East West;North and South. The only caution in this process of fusion is that individuality and inherent quality of any one of the above components should not be disturbed through comparing notes; with real sympathy such efforts might end in fruitful results. To this end an impartial Advisory Council might help us.

Professionals and Academicians

Incidentally one should not get confused about the aims of the professionals and academicians. As far as I can see, the former strives to master the technique by arduous practice and enter into the spirit of the art assimilating the finer nuances of his chosen profession. The latter specializes in the science of music and interprets the art for the benefit of the less initiated. Thus though divergent in results, the professionals and academicians are not at all opposed; rather they supplement each other.

A word about the current music criticism. We know that the critic does justices to his vocation if he does justice to the artists who after all has to overcome great odds to find expression in his art. In this, the critic may do well to view the endowment of the artist as a whole - its architecture -rather than literally tearing it into parts by cliché-ridden phrases and personal prejudices. I would appeal to the critic to know that artist as well as he interprets his art.

Ladies and Gentlemen,

I think I have done enough for the day. But before I conclude, let me philosophise in a nut-shell what I think is the Panchakshara of Music which is embedded in the very alphabets of the word. To me

'M' stands for Morality

'U' stands for Universality

'S' stands for Spirituality

'I' stands for Individuality

'C' stands for Creativity.

Even in this analysis, 'Spirituality' is at its center and the 'Core' reminding us that our music - why, all our Arts are mainly spiritual, other aspects in their turn strengthening it.

A word about Morality which my brethren will take us apposite - My Master used to say "sA enDru sollikudutAl adhu namma kuzhandai amma". Do we need any better soulful, meaningful statement than this?

I think I have in a way carried out my outstanding duty of presenting before you some of my ideas and ideals not with any inge of personal pride. Please treat my address as a mild reminder to you all about the limitless glory and grandeur of music extending over centuries, with a personal appeal for its maintenance and preservation for the benefit of posterity. In this unavoidable laborious process I am also conscious of the little but heartfelt part that I am to play along with you all. Let us therefore pray to the Almighty to give us strength and one-pointedness of purpose to cherish our age-old tradition and add to the national wealth.

My thanks, once again to this organization for the signal honor they have extended me this year. My thanks are due to all of you also for your personal indulgence extended to me by a patient listening to this Address.

Thank You

Glory to Nada Brahmam

Glory to Varada Tyaga Brahmam

Glory to Our Bharatha Punya Bhoomi

Subham