My Master as I see Him

It is nearly a quarter of a century since my revered master shook off his mortal coils leaving behind him a very rich musical legacy and a tradition of inestimable worth. He will be continued to be remembered with veneration by all devout students of music and accredited 'sahridayas' for decades to come, as a 'musician of musicians' and a composer of no mean order. To his intimate associates who have experienced the magic of his music and his lovable personality, he is a Reality even now and will remain so for years to come.

To me, his 'Abhimana Putra' and 'Anugraha Patra', to whom the Torch of his musical tradition immediately linked to the 'Sangeetha Trimoorthies' is handled over with all his hearty blessings,'Tiger Spirit' in all its manifestations is a Reality of all times. I have the least hesitation to proclaim and have the boldness to accept a challenge if need be that he was undoubtedly a 'Sangita Parama Hamsa' who upheld the banner of the loftiest musical traditions against the worthiest background of the Music of the Trinities.

His entire span of life, covering seven to eight decades was an unerring 'tapasya' and upasana of Nada Brahman and like a Sangeetha Rishi, was least attracted the glamour of an ordinary musicianship pinning for the favorable glances of rich patrons and opportunities to public performances. Yet he was respected by one and all and his concerts at the All India Conferences and select Durbar Halls were musical treats and magnificent aural feasts, appreciated mostly by the more discerning cross section of musicians and rasikas.

At the feet of the Master

It was my rare 'punya' to have come in contact with him in my earlier twenties with the necessary background (musical and otherwise) along with my family traditions, brought up in an envelope of 'piety and purity', and seek him as one devoted 'chela' especially in his advanced seventies. Of course physically age was a bit of handicap with my master with his failing health, but mentally he was fully ripened and his musical fruits were ready after a pretty long seasoning of 'seven decades' to be tasted and assimilated by this lucky 'suka'.

I am however very much pained to see that our present day musical education has began to loose a great deal of that spontaneity and chastity - essential between a Worthy Master and a devoted chela. An ideal musical Acharya should be an institution by himself coupled to a band of select devoted chelas for the real uplift and renaissance from time to time of the spiritual implications of this Divine Art. As such, Tiger, the great Acharya of musical revelations emanated spontaneously his soulful musical radiations to nurture by his immense grace and blessing this small cub. Music is a "Sadhana Vidya" and an 'Anugraha Vidya'.

His excellences, musical and personal

If the dictum that high flown Art goes hand in hand with a soft and sweet Heart, is acceptable, then 'Shri Tiger' was once of its best votaries. Those who had the rare fortune of moving closely with him will still remember him as a lovable gentleman steeped in 'Nadopasana', soaked in vinaya (humility) and saturated with Bhakthi. Nevertheless his ready sparkling, innocent humour and wit remain fresh even today in the memory of his close associates. Here was a person who was the 'Ajatha Sathru' of his fellowmen, loved and respected by one and all. His contemporaries unanimously held him in high reverence and regarded him as the custodian of the real creative music. His expositions and explanations over knotty musical problems were unsurpassable and we have memorable instances when leading musicians expressed their acceptance in public. Harikesanallur Muthiah Bhagavathar, a musician-composer and worthy contemporary of the master is said to have expressed during open conferences his highly reverential appreciation over my master's inimitable explanations and demonstrations. Mysore Vasudevacharyar used to tell me many a time that one should be fortunate to hear my master when he sings of his own accord.

"Tiger avarkal manasu vandhu paadi ketka naam koduthu vaithirrukkanum"

Palghat Anantharama Bhagavathar, Veena Dhanamal, Veena Sheshanna, T.V.Subba Rao and host of other prominent musicians and Sangita Kalanidhis were all praise for him. Of course such a unanimous acceptance and approbation in a way made him less attractive on concert platform - which turned out to be a boon to the musical Education in almost all the South Indian Universities and Academics and finally Kalakshetra.

Swanubhava was the characteristic feature, which shall keep alive his musical tradition for decades to come. Brought up in the tradition of Sri Tyagaraja under the direct tutelage of Sri. Patnam Subramanya Iyer of unforgettable musical genius, Sri.Varadachariar grew to the status of a Tiger in Music due to his inbourn genius, staunch devotion and dedication. Needless to say that he was a Tiger in Music, but a cow otherwise.

Whatever he sang there was a 'Tiger trademark' and that metamorphosed the whole rendition, be it a simple geetha or a complicated Pallavi. He was a 'Bhavagjna' of unfathomable depths and it seemed more often that his whole physical form sang and enjoyed in full the self-expressed music. Naturally he forgot the existence of his listeners and they in turn forgot themselves.

His voice perhaps a bit unattractive to the unimitated, was a boon of itself, capable of very subtle shades and choicest technicalities. Manodharma was born along with him and was a characteristic of all his expositions. As an Acharya he poured out without reserve all his musical revelations and the student listeners were bewildered by his inimitable mastery and unshakable authority. Naturally a devout student of music had to equip himself properly to absorb from these musical torrents. My master often used to say, the bewildered student, 'Ithu oru ganga pravaham, Nee oru uddaraniyudan vandal naan yeena cheyattum' (This is a ganges flow, what can I do if you come with a spoon) To the well equipped student he was an inexhaustible source of musical knowledge and inspiration. To put in a nutshell, one has to invariably conclude that such magnetic personalities with a hoary tradition and a worthy mission are very very rare indeed.

Dear Sahridaya, I am perhaps tiring you. But take it from me that one day or other, in your future matured life you will recall some of these sentiments and reap the desired fruits to your hearts content and then you will attune with me to say that no abstraction of musical laws and bye-laws survive without the life giving personalities of a rare musical awareness, interpreting the most abstruse musical fact with unthinkable ease and facility.

Let me before I actually conclude, remind you about the ensuing Birth Centenary of such a 'great soul' , when I pray the whole country will be Tiger-conscious and when our classical traditions will be rendered with additional reinforcement and strength to sustain any future set back. May Tyaga Brahmam whose holy music was in my master, bless us for the successful culmination of our future plans towards this noble endeavor.