Interview

Interview with PROF. T.R.SUBRAMANIAM

who received the MUDHRA AWARD OF EXCELLENCE 1999



		About your childhood and initiation into music......
		As was the case in most middle class Brahmin families where only girls were taught music, in my house too it was my sister who was given music tuition. I used to listen and sing along with her. My sister and myself have even performed together in the 1940s as child artists.
		Later on, how did you pursue it further?
		After my graduation, it so happened that Semmangudi Srinivas Iyer (a close friend of my father) persuaded him to put me into music. Since I wanted to do my hons. in Sanskrit, I had joined the college at Trivandrum but Semmangudi seeing me there insisted that I take to music and sent me to Madras. It was then that the music college started - Musri Subramanya Iyer was the principal then. Let me focus on one point here. Nowadays the Government recruits jobs through interviews but at that time, the govt. authorities themselves personally requested Musiri to take over as Principal.
		Apart from Music college, did you learn privately from some Guru?
		No, all my music was learnt at the college only. Though earlier many teachers were annoyed that I was being flamboyant by speaking mostly in English, later they developed a fond liking for me when they discovered my music talent. At that time TK Govinda Rao and SR Janakiraman were my classmates. We used to practice hard even after college hours. Musiri used to even take us to his house in the evenings and give us coaching. When Musiri was in form, he used to teach for about 8 hours at a stretch. Teachers should inspire the student -it was from Musiri that I learnt what it is to be in perfect Sruthi.
		Any memorable incident during your college days.........
		One teacher at the college was rather mediocre and when we reported this, he was removed from the post. Can you imagine such a thing now? Another interesting incident .We had to learn 6 Pallavis as part of the syllabus. As the exams. were approaching, Musiri asked whether we were ready with the Pallavis. I said we knew only one Pallavi and so he summoned the teachers and made an enquiry. They said they had taught six Pallavis already. Musiri then looked at me and asked me to justify my statement. I sang all the Pallavis and demonstrated that though the six Pallavis had different lyrics, their aasu (metrical set up) was all the same - so it amounted to only one! Musiri then asked me to compose fresh Pallavis and teach it to the students. Something un believable, yet true!
		Pallavis are your forte, was it a conscious effort?
		No, it was naturally there in me. Then, listening to stalwarts inspired me all the more in this area. Even in my concerts all these years, I have never repeated a Pallavi - I attempt composing fresh ones each time.
		Pallavis are generally difficult for the layman to understand - how can it be reached out to them?
		I once sang a Pallavi ‘Krishna Mukunda Murare’ in a house concert. One old lady was moved to tears on hearing it and blessed me. So ,if we are not able to create an impact, the fault is with the singer and not in the Pallavi.
		What is the difference in concerts with a Pallavi and without a Pallavi?
		To a certain level only, technical virtuosity should be displayed, more so for personal satisfaction. But to cater to the mass, music should be made easily assimable.
		You are branded as an intellectual musician.......
		Probably my English education made me analyse everything intricately and that also reflected on my music.
		Any speciality in your music....
		The most important thing is the care I give to the rendering of sahithyam(words). I try to make my expressions in all languages penetrating. I insist that my students also follow this aspect meticulously.
		Who according to you is an ‘ideal’ teacher?
		A teacher should be a constant source of inspiration to the student. Many students with extraordinary talent have remained at the mediocre level due to want of good teachers. I believe in going into the roots of each subject and making an indepth study, then only can we motivate students.
		Is a knowledge of theory essential for a performer?
		In music, one can sing well without theoretical knowledge. But if one knows theory, the music gains in strength. I will know at each step what I am doing.
		TRS as a composer- what languages have you adopted as a medium?
		Nothing in particular - I compose in whatever language I feel is suitable for that particular composition.
		Do you feel that there is any drawback in using Tamil as a medium, we see that most classic compositions are in Telegu or Sanskrit....
		Earlier Tamil composers were more keen on propagating religious thoughts and ideals ,so music took a backseat. In the case of Thyagaraja, we see that the musical content is in the foreferont. Even in my own compositions, my aim is to unfold a raga in all its splendour and not to popularise any language through music.
		What forms of compositions have you attempted?
		Tana and Pada Varnams, Javali, Kritis and Tillanas.
		About the present quality of music....
		There is a broader outlook now, there is no fear of music declining. The talent of students in very high ,it is my humble opinion that the talent of teachers is not matchingly growing along with that of the student.
		Students are also very concert oriented now....
		Yes, parents are in a hurry to make their children perform. It is the duty of teachers to inculcate discipline and also direct the attention of students towards the higher values of music.
		*- Radha Bhaskar*