Interview with  SMT.SULOCHANA PATTABHIRAMAN

who received the  MUDHRA AWARD OF EXCELLENCE 2000

   
  Do you belong to a family of musicians?

My parents were very fond of art and culture and they encouraged me to a great extent. I got married when I was thirteen and half years. I gave my first performance in the radio when I was 13.
 
  After marriage, how did you continue pursuing music?


I got married into a large family but my inlaws were proud of my musical talent.  They encouraged me and under the advice of Sattur Subramaniam, I was put under the tutelage of N.Subramaniam for Two and half years.  Then, I came under the guidance of Sri.Semmangudi Srinivasa Iyer.  I was also fortunate to have been associated with stalwarts like GNB who treated me with great affection.  Once after hearing my concert on the radio (I sang Sri Kanthimatim in Hemavati), he said I had sung well. He then pointed out that I had sung a few phrases of alapana while singing kalpana svaram. He expressed that though many musicians did resort to this, it was not correct.  He added that if we resort to alapana while singing svaras, then why not sing a few phrases of svaras while doing alapana?

MLV was again a great source of inspiration to me.  But I owe everything of what I am today to Semmangudi Srinivasa Iyer.  He has taught me the art of teaching, how to perfect a kriti and everything in music.
 
 

Regarding teaching, what was Semmangudi’s methodology?


He never taught anybody without notation. Perhaps, there can be none equal to him in writing notation. He always had a tiny stool on which would be a pencil, rubber, a blue pen and red pen.  He would write the notation very accurately and also mark the pronounciation of the lyrics.  Nowadays, writing notation is quite common but the elder generation believed only in lakshya, not  lakshana.  While other people believed in learning the song byheart, Semmangudi insisted on keeping  the notation for every song.  He used to say that since we are all human, it is natural that we may forget a particular song.  Then notation would come to our aid.  But mind  it, while learning a song, he would never allow us to see the notation and sing. He would teach each sangati over and over again till we got it right.
 
 

Would he take classes regularly?


He was very regular in taking classes when I was under his tutelage.  If we expressed to him our desire to learn a particular song, he would immediately look it up and keep it ready when we went for class the next day.
 

  Would he work on the composition in terms of modification?

Yes, he would ‘perfect it’ before teaching.
 
  What do you mean by ‘perfecting’ a song?

In setting a kriti, Semmangudi is a great master. He would not add any irrelevant sangatis, he would keep in mind the sahithya bhava, raga bhava and tala kattu while modifying the composition.  So many songs of Sadasiva Brahmendra, Narayana Theerthar, Swathi Tirunal have become gems in the hands of Semmangudi.
 
  Coming to your background again, were your inlaws involved in music?

My father in-law was the founder member of Music Academy. So many musicians used to visit our house. In my earlier days, I gave a number of performances all over the country but later because I developed some problem in my voice, I did not continue performing.  Anyway, I was always more interested in teaching than in performing.  It is now 25 years since I started teaching.
 

Have you evolved any special methodology for teaching?


All students who come to learn cannot be of the same level.  So, I teach according to their ability and try to raise their level.
 
  In teaching manodharma aspects, how do you go about it?
 
Generally, people believe that manodharma aspect like neraval or svaram cannot be taught but I differ from this. Unless we guide them, they will be devoid of direction.  For example, while teaching kalpana svaras, we can show them through a number of small avarta svaras how to arrive at the sahithya theme.  Later,they themselves will improve upon that and expand their creativity.
 
  Do you insist on your students  attending live concerts?

I would suggest them to go only when they attain the mental maturity to separate the grain from the chaff.  Another thing, learning from cassettes has become quite hazardous as they assimilate also the unwanted aspects. I spent a lot of time talking about music so that their knowledge about the subject increases.  It may sound an exaggeration but all my students really love coming to class and are reluctant to go back home after classes are over.  Basically, I can get along with students of any age group.
 
  Do you teach aspects of voice culture also?

Yes, very much. I insist that they sing open-mouthed and practice till they get good speed and range.
 
 

Do you have any special interest in musicology?


I am a voracious reader.  Since I write reviews and articles on music, I need to update myself on several aspects with regard to music.
 
  You do more of cassette reviews only, why don’t you review live concerts?


I find it a bit difficult due to health reasons.  Of course, I have reviewed quite a few Hindustani Concerts.
 
  Have you learnt Hindustani Music?

No, but I have heard several stalwarts including Bade Gulam Ali Khan.  It is more through hearing and discussing on the subject that I have learnt its nuances.
 
  Coming back to your reviews, I feel you have a very diplomatic way of commenting…


You must have the intelligence to read between the lines! Basically, I am a very sensitive person. Even when we point out mistakes, I feel it should be on a mild tone.
 
 

What is the purpose in reviewing past musicians?

 
It definitely helps the younger generation to know about the genius in each.  Past musicians may not have had a big repertoire but the fine polish they lent to each kriti made it glitter.  For example, GNB handled sruti-bhedam with so much ease, as if it were a child’s play. Madurai Mani Iyer inspite of his physical handicap was known for his perfect sruti alinment.  M.S.Subbulakshmi, is an idol in the temple of music.  In those days when parents taught music, they used to tell their children that they should sing like MS.  That was the ultimate goal for parents! D. K.Pattammal created a revolution by being one of the first women to sing Pallavis in kutcheries. MLV was another revolutionary. I remember an instance. Once while MLV performed in Bombay at Shanmugananda Sabha, I happened to accompany her.  The place where we stayed was about 20 minutes drive from the sabha.  It was 5.45 p.m. when we left and as we were driving to the sabha, MLV asked what Pallavi she should sing. I suggested her to sing a pallavi in sankirna nadai, khanda jati rupaka tala.  She thought for a minute and asked ‘shall we keep the sahithya for the pallavi as Palinchu Kamashi Paavani?’ I was really shocked at her spontaneity.  That day she sang the Pallavi with such expertise. She also performed ragamalika svaras with such great finesse.  Honestly, I had no words to say and just prostrayed before her!  We should make the younger generation more aware about the greatness of stalwarts like MLV, then only will they know where they stand.  Another person I would like to mention is Lalgudi Jayaraman, he is such a multifaceted personality.
 
 

Regarding your style of writing, did it come to you naturally or was it cultivated?


Honestly, I don’t have much educational qualification.  In the pre-independence era, the medium of instruction was English and we were able to communicate well in it .  Most of the time, we used to ‘think’ in English which is  most important to learn any language. I was also a voraciours reader, in fact reading is my greatest relaxation and passion.  My horizons have widened only because of my intent reading habit.  I write as I feel on the spot, based on the context.
 
 

As a composer , what has been your contribution to music?  How do you conceive the melody for a piece?


I keep the lyrics in mind first and try to picturise it through the raga.  A visual picture has to be first formed before putting a song to tune.
 
  Regarding the choice of ragas for songs like Tarangam, Ashatapadi etc…


It depends on one’s imagination only and also on aesthetics.  As for songs with a specific Patantara, (like that of the Trinity) I strongly feel they should not be tampered with.
 
  Regarding adding chittaswaras to compositions of the Trinity, don’t you think that is also one way of tampering?

For the kriti ‘ Sobillu Saptaswara’ Karaikudi Sambasiva Iyer has put chittasvaras.  I have followed the path of seniors and attempted to compose chittasvaras for a few pieces.
 
  Regarding group presentation by your disciples for the radio and some sabhas….


The bottom line for group presentation is regular rehearsal. An individual can perform a cutcheri for 3 hours without any rehearsals but in group performance, rehearsal is a must to ensure success.
 
 

Have you done any special musical feature for All India Radio?


I am doing a mega project for the Radio on the different musical forms as prevalent from the past.  This would encompass Tolkapiyam to the present music.
 
 

Your students presented an exclusive Tillana programme. Do you have any special liking for this form?


I have taught my students 32 tillanas.  I find the form fascinating because it is  so varied in structure.  I have a great fascination for Lalgudi Jayaraman’s Tillanas because they are a fine blend of rhythm and music.  It gives me a  sense of great fulfilment to sing his Tillanas.
 
  What are your other interests?

I like Cricket, Tennis, Cinema, Drama, Television - I like everything.  I even love computer games, you see I have so many things to do that  I find it hard to divide the time between all these activities.  I am lucky to have such a wonderful husband, I am enjoying my life thorougly.
 
  Are your children into music?

Yes, my son Vasanth Kumar is a good veena player. He is a very talented artiste and has a number of disciples learning under him.
 
  Some reflections on the art……  


Art is something very vast.  Upcoming artists should practice sincerely. Our music system is without a parallel, it is a very precious art form.  So whether it be a performer, teacher, organiser  or listener, he should involve in this art form with total earnestness and dedication.

- Radha Bhaskar