T.V. Gopalakrishnan: Instead of cultivating a media image, spend time on yourself

Mridangist, vocalist, violinist, PhD in music and guru to many, 92-year-old T.V. Gopalakrishnan (TVG) is an incredibly versatile musician. Speaking to him is like taking a nostalgic walk through over 75 years of music.

At age nine, TVG played the second mridangam for Chembai Vaidyanatha Bhagavatar at a wedding concert in Ernakulam. Chembai wanted TVG to move to Madras right away but TVG’s father insisted that he finish his B.Com degree first. “I arrived in Madras in 1951 with only Rs.100, a few clothes, my mridangam and sruti box,” he says. Chembai was an affectionate and nurturing guru who fostered TVG’s individuality whilst pointing out what to glean from other masters.

T.V. Gopalakrishnan rendering Hindustani vocal concert, as part of annual Music festival, at Rama Rao Kala Mandap, Chennai, in 2010.
| Photo Credit:
GANESAN V

TVG joined the Accountant General’s (AG’s) Office, Madras, in 1952, and worked in the department for nine years, first for Madras State and later for Andhra, following the State split in 1953.

“One more year, and I would have got a lifelong pension,” he remarks.

At the inauguration of the Andhra AG’s office violinist Dwaram Venkataswamy Naidu performed, and TVG accompanied him on the mridangam. “After the concert, he told me that I would be his choice, after Palani Subramania Pillai and Palghat Mani Iyer.”

Bond with Mani Iyer

TVG shared a special bond with Mani Iyer, who played the mridangam for 50-60 of his vocal concerts. “He himself offered to,” says TVG. “He would ask me what I was going to sing. I would, in turn, request him to suggest.” Today’s headliners do not expect co-artistes to be synchronised, he shares, recollecting how, in the past, many would insist on practising together.

Mani Iyer would tell him to practice songs a thousand times prior to performance. “Frequent repetition is essential for perfection, and for every note to adhere to sruti,” says TVG. He advises musicians to fret less about new repertoire and focus more on how they execute their music, particularly on understanding lyrics and proper word splits. “While freshness should be infused with a new piece or two, the repertoire should never be completely overhauled,” says TVG, who is also a trained Hindustani musician.

TVG performed regularly for All India Radio from 1949, and says playing for specific durations enforced discipline. “In radio, I never ask who I am assigned to. As a senior artiste, I have played for Sikkil Sisters and D.K. Pattammal.”

Accompanying stalwarts

After a couple of concerts in other slots, from 1962, TVG played at the senior slots for his guru M. Balamuralikrishna, S. Kalyanaraman, the Sivanandams and M.D. Ramanathan. Since Chembai preferred TVG playing mainly for him, he performed only sporadically with other musicians until Chembai’s demise in 1974. The others he performed with include M.A. Kalyanakrishna Bhagavatar, S. Balachander and T.K. Govinda Rao.

T.V. Gopalakrishnan performing at The Music Academy’s 88th Annual Conference and Concerts in 2014.
| Photo Credit:
R RAVINDRAN

TVG also gave vocal concerts at The Music Academy in the senior slots. Years later, in 2014, he received the Sangita Kalanidhi. “The Academy stands for the cause of musicians and has instituted a title that is as respected as any national award,” he says.

TVG’s many programmes alongside violinist M.S. Gopalakrishnan (MSG) were memorable. He recollects one where the two of them performed with D.K. Jayaraman. “Jayaraman was having voice trouble. I gently suggested he utilise MSG and me. Within a few minutes, he found his groove. Co-artistes should do everything they can to help the headliner. They should work on developing discernment (‘ruchi’). Violinists should not distort or twist the headliner’s music. Percussionists should learn moderation, carefully analysing the intensity and density of play and executing it appropriately.”

On the duration of the tani avartanam, TVG believes less is more. “Mani Iyer rarely played for more than seven minutes.” What if a mridangist exceeds time significantly? “I would just pick up the refrain.”

Varying accompanying rubrics explain why many headliners prefer specific co-artistes, he remarks. “I don’t sing without Varadu (violinist S. Varadarajan), for instance. Sanjay (Subrahmanyan) also uses a specific set.” He simultaneously implores headliners to give space to co-artistes. “It is a sign of both skill and lack of ego.”

“Percussion for instruments is difficult and different.” This, he stresses, is why certain mridangists, such as Thanjavur Upendran, Guruvayur Dorai and Umayalpuram Sivaraman, were preferred for instrumental concerts. “You cannot bang the instrument and get applause. The decibel level has to come down significantly, and even in that lower volume, each syllable should ring clearly.”

Known for his nuanced, song and instrument-appropriate mridangam playing, TVG says, “Noise is injurious to the mind, psyche and ears, and diametrically opposite to aesthetics — yet today, that is what generates applause.” The master musician cites inadequate mridangam maintenance for percussive cacophony. “Getting a mridangam’s meettu and chaapu perfectly aligned is both difficult and time consuming. Only a well-maintained and perfectly tuned mridangam can be played melodiously. In instrumental concerts, discordances are even more discernible.”

T. V. Gopalakrishnan’s presentation at the SPIC-MACAY workshop at Narada Gana Sabha in Madras on October 9, 1990.
| Photo Credit:
D. KRISHNAN

He teaches all his students kutcheri dharma (concert etiquette), he says. Mentioning Varadarajan and mridangist Vijay Natesan, he adds, “I have mentored the largest number of performing musicians world over in so many fields —keyboard, saxophone, violin, mridangam and voice.”

“We have limitless opportunities now – anything can be sung by anyone in any way, wearing anything. Who exactly is getting benefited, though?” wonders TVG. “Since today’s rasikas are diplomatic, a frank guru/mentor is critical, along with self-assessment and self-effacement. Our music is conversational — listener cum performer. Now that has gone. People say it is ‘my music.’ We are creating our own listeners with a mailing list. How does one generate new listeners then? When will you exercise, meditate or practice if you are cultivating a media image? Spend time on yourself. Cult followings are fashion — not passion. Perform as Iswara arpanam – then humility, moderation and pacing will manifest,” TVG concludes.