About

Music. Thy word is not a mere word, it is one or innumerable sentences, expressed in the most lovable, affectional, Joy able, enjoyable, environmentally susceptible, and divinely propagatable in every possible manner. Music has different forms as prevalent invariably in various regions of the world, though the prosaic part is conveyed through different spoken languages by singing or by other musical instruments. The world is marked, demarcated by languages but music unites them all as one together. The 7 notes representing music are universal so as its applicability, be it is western or Indian Classical music.
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In Indian conditions, music can be heard 24 hours and music related scriptures describe various ragas representing and getting earmarked to be sang or played in a particular hour of the day, representing strong scientific and systematic lineage. In India at villages even today the music which is very popular is described as lok sangeet and are sung based on different activities while performing daily chorus, throughout village during round the year with active participation of all group of humans be children or grow up youths or grown-up senior citizens. Festivities vary from State to State and from region to region.

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Carnatic Music: Tradition of Guru-Shishya Parampara

Carnatic music embodies a rich tradition of classicalism, characterized by its scientific and systematic approach, emphasizing simplicity and logic in learning and performance. The revered "guru-shishya parampara" entails direct face-to-face teaching, ensuring thorough monitoring and supervision. Mastery of theory and practical aspects, along with the six fundamental questions, is emphasized, fostering deep understanding and mental agility. The system prioritizes internalizing knowledge for effortless retrieval, minimizing reliance on physical notations during performances. This enduring methodology, coupled with rigorous practice, sustains the aesthetic excellence of Carnatic musicians even in their advanced years.

S.Radhakrishnan, i.e. self, is a Veena Player from the family of Musicians. He learned Veena from his father Late Sangeeta Bhushanam K.Sabesan. He hails from Mayuram a township in the district of Tanjore known for art and culture, the undisputed citadel of music and dance.  Tanjore Veena making has a tradition that goes back to Chola dynasty. Veena is made from Jackfruit tree. It is symbolic of the human body, the frets are the human bones, the strings are the human nerves and the rest of the structure are the flesh and muscles of human body. The Veena is played horizontally with top plucking and has 7 strings, over the frets it has 4 strings covering 3 and half octave and beneath these 3 strings are there that serves the purpose for rhythm. Aesthetically and spiritually these 7 strings represent the Seven DHATUS present in the human body.

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Mastering the Veena: The 45-Year Legacy

S.Radhakrishnan has learnt the veena playing in a systematic manner under the tutelage of his father and guru in the guru Shishya Parampara. He has been playing Veena for over 45 years. Had given numerous performances in Delhi, Hyderabad, Chennai and Singapore. Had given performances in All India Radio in late 80s and early 90s. He has performed this year in Sangeeta Natak Academy during the commemorating “World Music Day” and has performed in G20 amidst of Delegates came from various States for participation. He is a freelancer and teaches Veena.

Sangeeta Bhushanam K.Sabesan born on 10^th March 1915 hailing from Mayuram, a town in  Tanjore District of Tamil Nadu,  joined Annamalai University in the year 1928when he was 13 years old pursued Veena and passed out successfully the musiccourse conducted and the title conferred on him Sangeeta Bhushanam in the year1934.

During this period the music faculty was headed by Mr.TS Sabesa Iyer son of the great master Shri Mahavaidyanatha Iyer Shri Ponniah Pillai, Shri Desamangalam SunramanyaIyer for Veena, Tiger Varadachariyar, Shri Gomathishankara Iyer and other stalwarts of that time.

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After completing the course in 1934 he started giving public performances including in Radio during the mid 30s and continued to give regular performances in All India Radio Chennai, Trichy and later in New Delhi till 1992 exactly 2 years before his passing away.  

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He had extensively toured to Europe in 1948 and had given performances at UK, France, Italy, Norway and other European Countries spreading Indian classical Carnatak Music in Veena.

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He had given performances in India too at different places. Had taught Veena as well vocal singing to several Students including his son S.Radhakrishnan.

His teachings and techniques have been traditional tanjore pani emphasizing onraga  bhava and kirtana rasarnavam.  The fundamentals and technique taught by him are distinctive, elaborate and traditional banking on purity of classicism. He has remained a staunch disciplinarian in propagating and practising these musical virtues that kept the Veena playing in Tanjore Pani.

After attaining 80^th year on 22^nd April 1994 breathed his last leaving behind a rich cultural heritage which is being taken further by his son S.Radhakrishnan, the caretaker of this Website.

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The specialty of his playing the Veena can be deciphered while maintaining purity of classicism. Veena is an instrument that is recommended for vocals since only through a fretted instrument becomes easier to hear and see simultaneously, the difference between various notes and the subsequent tonal effect it ends with. The fusion of metal and string produces a sound which is akin to human voice. The Brihat Desi a Granth on Music also describes Veena is recommended for those regions that are not attainable by human voice.

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Playing Alap in Veena brings out the true magic of raaga bhava. S.Radhakrishnan plays alap either short or extended keeping in view the mandatory raga bhava bringing out the raga lakshnam. This is one of the difficult phases of music since it involves no prose or description except playing on certain configured notations. These notations in combination and permutation with some volume of understanding and alacrity are played depending upon the mood of the performer that brings out the raaga lakshiyam and lakshanam.

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S.Radhakrishnan adopts the technique of pulling the string to produce higher notes while dwelling in lower notes a playing which is symbolic of Tanjore pani. Apart from this the gamakas play a very significant role in embellishing a raaga. These gamakas are vibrations that bring out the raga bhava in nutshell enthralling the listeners. S.Radhakrishnan has an astute understanding of these gamagas, their prayogas since this is an elementary and an important aspect of Veena playing. Raaga bhava to a great extent banks on these 10 types of gamakas and S.Radhakrishnan has been traditionally initiated into these by his guru.

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Artistic Approach to Veena Playing

Taanam, a pivotal aspect of Veena playing, is skillfully taught and executed by S. Radhakrishnan. Renowned for its importance following the termination of Alap, Taanam is exemplified by the Tatta haram technique, particularly associated with Tanjore pani. Radhakrishnan's rendition of Taanam emphasizes raaga bhava, infusing each performance with emotive depth and resonance.

Interpreting Kirtanas: Enhancing Musical Narratives

When playing kirtanas, Radhakrishnan meticulously captures the essence of each composition, focusing on the underlying bhava. By understanding the prosaic elements and composer's intent, he introduces new sangithis that enrich the musical tapestry, showcasing his expertise in manodharma. His specialization lies in extending kirtanas with nuanced interpretations that resonate with audiences.

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Exploring Nirval: A Specialized Expression in Classical Music

Nirval, a specialized phase of classical music, sees Radhakrishnan's profound understanding of the text and prosaic elements shine. Believing that bhava is paramount, he extends musical phrases with subtle nuances, leveraging manodharma to evoke profound emotions and expressions.

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Crafting Kalpana Swarams: Harmonizing Melody and Rhythm

Radhakrishnan's rendition of Kalpana Swarams showcases his adeptness in crafting permutations and combinations that complement the ragam and gathi of each composition. Whether playing Sampoorna, Audava, Shadava, or Bhashanga based kirtanas, he ensures that mere swara is imbued with bhava, creating a harmonious musical experience.