Bangalore K. Venkataraman is one of the senior-most Ghatam Players today. As the Executive Director of the 'Percussive Arts Center' - Bangalore, he is doing enormous service to the cause of music by arranging performances, Lecture-Demonstrations and also celebrating the celebrated artists' Birth Centenaries. He played for Vinjamuri's concerts starting from the age of 19 and had been immensely impressed by the Vidwat of Vinjamuri. He recalls his association with fond memories.
(Interview conducted on September 4, 2002 at about 10.30 a.m. by Vinjamuri's daughter Sandhya Vinjamuri-Giri at the house of Sri Bangalore K. Vankataraman at 183, 8th Cross, 2nd Block, Jayanagar,Bangalore - 560011. English translation script to conversation Video and Audio taped.)

The people who were with him in those days, GNB, Maduramani etc. were his contemporaries. But, his (Vinjamuri) Music had a different kind of attraction.   That attraction is Suddha Sampradayam. He was a purist. He would not accept adultery (in Raga presentation). He would not accept what is just popular. He was not popular but he was eminent. There are two things; very very popular artistes are not eminent and very eminent artistes are not popular. I would call Vinjamuri Varadaraja Iyengar as an eminent man who was not popular, because, he would not cater to the needs of the common audience. If they want him to sing this or that he would not sing. Whatever he would prepare to sing he would sing. His was a weighty music. If you take Ghanam and Nayam, he would mix them proportionately and sing stressing where it should be stressed and lighten where it should be delicate. He would not let loose RagaBhava.  Musiri Subrahmanya Iyer used to say; I was taking Suresh for a concert (Flute) and at that time he came. He wrote, “Advise your protégé not to fret away his energies in Laya Vyavahara, let him concentrate on RagaBhava”. That was rich in Varadaraja Iyengar. He used to sing very well. He had good KalaPramanam. If he starts, it would not go this way or that way (does not miss a beat).  I remember; he used to sing “Pakkala Nilabadi”.  In Pakkala Nilabadi, between the 2 Edippu’s, people are not able to figure out the correct way of Edippu. If they say, ½ Edippu, why is it half? If they say ¾, why is it ¾? Total count is 7 otherwise it is either 2/7 or 1/7. Or if you count 14, it is 4/7 or 3/7. (He sings to demonstrate) It is “thakita” – Pakkala and not “thaka – Pakkala or “thakadimi – Pakkala Nilabadi”. Then he would sing – RSNDAP – NDM – Pakkala. Now all the singers sing like – RSNID-PaM – Pakkala; it will not come right and it should not be sung in that way too. It should be like RSNDNP - DPM – Pakkala. When he finishes for the Mridangam in that way, I cannot even tell you how good it used to be! He used to maintain that all the time, so well. That is the greatness of Varadaraja Iyengar.   

He would also sing Narayanagowla without mixing any of Kedaragowla. You know what they say, personality of the Raga; your sister could be just like you or your mother could be just like you, but, as soon as we see you it should be evident that it is you.  Just in the same way, for Narayanagowla, if there is an adjacent raga like Kedaragowla or some other raga, it should not indicate that. If he sings Narayanagowla, for all the time he sings that, we would know that it is ONLY Narayanagowla; he would sing that perfectly (Ghana Katchitama). If he sings Kadalevadu Kade (a Kriti of Sanint Thyagaraja in the raga Narayanagowla), he does not need to sing anything else; just the Keertana; he would not sing Swaram or Ragam. If he just sings the Keertana; Krishnaiyengar is a very great Gnyanastha; he would sing along with him. Chaudiah Sir also follows him closely. If they both play for him, it would be frightening to lay my hands on the Ghatam since the sound should not be like “Khat”, it should mix with the Sruti like “Tunn”.  Only then it would be good. That’s what he would like. He used to say, “ It has become very scarce to have people who could play Ghatam by aligning with the Sruti. I am very happy”. Thus, he used to compliment me.

Also, just in the same way, another thing is his speed. Oh, how fast he used to sing? That speed, I remember, he used to sing one kriti, “Sreekantha Neeyeda Balathibala”(Saint Thyagaraja Kriti in Bhavapriya). Oh my God, how fast he would sing? (He sings to demo). While singing at that speed, he would also sing the Swaras. But, it would be perfect, though. It would not go this way or that. He would finish the entire song in two and half to three minutes and sing Swaram for about 3 minutes. My hands would fall apart. For that speed, it would not be nice to play in slow tempo and we cannot play at that fast tempo. So, we would be neither here nor there (Rendumgattan). In that way he used to sing extraordinarily (Pramaadama).  

Also, he used to be in All India Radio. He was in Akashvani, Hyderabad. At that time, he did a lot of programs like Bakthiranjani etc. In those days, Marella Kesavarao was there. Manchala Jagannadharao came later. Balamurali also did a lot, but in his days Vinjamuri brought out a lot of old texts, Dasa Sahithyam and others, and prepared things. NS Srinivasan was in the All India Radio staff. When I went there for the Radio Sangeetha Sammelanam, I asked him what happened to all those. He said, “I don’t know where they all are gone, Sir”. They lost everything! At Madras, in All India Radio Station, when GNB Sir was there, out of the archival tapes about 300 tapes are not there. When they did not have the new tapes they erased the old tapes and used them. They did not know the value of those tapes. There will be a PEx who would not know anything; he is said to be the Producer of Music! Those (tapes) were there when there were people who knew (the value), like Sandhyavandanam Srinivasarao, GN(B) Sir and S. Rajam, who are all Gnyanastha, were in AIR. When there were people who did not know anything, when the subordinates say there are no tapes to tape and what to do, they would ask them to erase old tapes. This is how a lot of archival tapes were erased.

Vinjamuri was a real specialist in Ragam Tanam Pallavi. In that he would sing Tanam in a brilliant manner. In that Tanam, which is Madhyama Kala Ragam; in the first Kalam he would sing the Ragam in a clean manner. But in Tanam, which has only Madhyama Kalam with prolonged notes and in between sustained notes that highlight the raga with Nyasa and Amsa Swaras by stressing wherever they should be stressed and if he sings like that it would become a real introduction to the Pallavi. He was a great purist.

In his singing there was one thing; that is: if he takes up a Raga, what ever should not be there will not be there and what ever should be there will be repeated suitably. Thus, the prominence of Ragabhava would be understood. Nowadays when people sing, it has become necessary for us to think about a couple of minutes to realize what Raga it is! That was not the case in his days. As soon as he takes up a Raga, immediately, it would be clear as to what Raga it is. Once, when Chaudiah and I were talking to him about it when Vinjamuri was staying in a hotel in Mysore, I said, "Sir, as soon as you take up a Raga you establish it!" Then, Chaudiah reminded me about what a musician called Thitti Krishnaiyengar, a very great musician once told him. He believed to have said that Krishnarajendra Wodeyar, the previous ruler to Jayachamaraja Wodeyar, was a great connoisseur and he himself had the musical knowledge. He (the Maharaja) seemed to have asked Muthiah Bhagavatar one day, “Bhagavatar, how many Swaras are needed in order to identify a Raga?” Bhagavatar wondered why he asked such a question! If he asked such a question, since a lot of people were jealous of Bhagavatar as he was invited (by the palace), he realized that someone would have inculcated the thought into the Raja’s mind in order to play some mischief. So, he became thoughtful. The Raja asked him whether he had to think so much to answer. Bhagavatar replied, “ No, it is not thought, but, I am hesitant thinking what your reaction would be, if I…” The Raja replied, “ No, please tell me”. (Bhagavatar replied) “ If the person who asked is knowledgeable and the person who replied is also knowledgeable then one Swara is enough”. Raja said, “How come you are saying like that”? Bhagavatar sang Paa plain as in Saraliswaram and Paa with a nokku as in Anandabhairavi to demonstrate (SV - As Bangalore Venkataraman demonstrated iit I said “Anandabhairavi” involuntarily and he commented, “You are knowledgeable and I think I am also knowledgeable so the Ragam is evident and we all laughed).

In this way, when one introduces the Raga itself: when he (Vinjamuri) opens up the Raga Narayanagowla, within 25 seconds of the start itself, of course that is only for a Gnyanastha, it will be evident that it is Narayanagowla. And also, the raga won’t deviate at all! He would sing Narayanagowla for 8 minutes; in one concert he even sang for 10 minutes but no repetition. NO repetition. You know how he would camouflage? We would get a doubt whether it would even be possible to camouflage so much! That was really great!  

In Mudurai, he performed a concert. Chaudiah Sir was for Violin. That day, I was in the audience and Manjunath was playing. I went along there. That day all the big people like Musiri Subrahmanya Iyer and others were sitting there. That day he performed! I remember it to be Malavi (Saint Thyagaraja Kriti - Nenarunchinanu – Annitiki Ni Dasudanu Nenu); in those days no one would sing all those ragas as much. As he sang (the raga) and stopped, Musiri said, “ That’s it, Chaudiah is going to die today! (Ivan Sattha! - He cannot cope up!) He finished singing,, now Chaudiah will have a hard time” (Avan Padivitta - Evan Sattha - Chaudiah did not know the raga!). He (Vinjamuri) waited for a few seconds; looked at him (Chaudiah) and smiled and sang (the Pallavi in tune) "ta ta taa ta ta. Ta ta ta.taa." . Once he did that, Musiri said, “Yes! He survived, now he can catch-up”.  Thus, in order to accompany him and to rise to that level one should have the mettle. Because, it should not be started from the low tone, Chaudiah started from where Vinjamuri sang and left, played well and brought about the effect of his singing. This is not easy for an ordinary artist. After that, in the later generation there were people; like Lalgudi Jayaraman, whatever you sing or any calculations you add, he could manage. In the same way (MS) Gopalakrishnan has mastery; in the same way, TN Krishnan has tonal quality. But, in Vinjamuri’s time, all these people were not front-rankers. But, (Kumbakkonam) Rajamanikyam (Pillai) Sir used to play a lot. Sethuramaiah used to play; Venkatarama Sastry used to play a lot too. Sethuramiah and Venkatarama Sastry were Chaudiah’s disciples. If Chaudiah were not available, they would play for him.  

Yes! Venkatarama Sastry was a disciple of Chaudiah. In fact, Venkatarama Sastry was introduced even to MS by Chaudiah. Chaudiah used to play; he used to have a lot of concerts and so Venkatarama Sastry would play. Yes! Venkatarama Sastry would play a lot for Vinjamuri. I saw Palani Subrahmanya Pillai play in one concert; Palghat Mani used to play. Madurai Krishna Iyengar used to play a lot. When he was in Madras Radio, Kannan (Madras A. Kannan) used to play. Yes! Kannan is alive and well. If you go to Madras, you should see him.

In those days, Kannan was a very popular artist. For all the All India Radio programs he used to play (for Vinjamuri), since he and Sethuramiah were also staff artist, Kannan and Sethuramiah used to play for most of the concerts. You know, what I feel sad about him is that many people did not know him after that (period). I think the Sishyas or the family people, whoever is there, should do something so that he is not forgotten. Otherwise, he would not be known at all, for future generations.

In 1946 he acted in a picture called Lavangi. At that time I was a 12 years old boy! There was a Talkies called Sivaji Talkies. Now they destroyed it. My father took me there. I have seen that picture. I was only 12 years at that time, a very small boy. But, I still remember that picture. Yes! It was released. Yes! It was running here!

He was one of the Vice-presidents in SICA. So, I played in SICA and at that time he used to come. I played for 2 concerts there and at that time he came for both the concerts. Between 60 and 62, I met him a lot. After 62, I did not see him much.  

In fact, when I went to Thirupathi, there was this Komandur Seshadri, who is not there any more, I believe, he is transferred somewhere. He and many others were his students. His Students or his inheritors or the people who took his help are not thinking of him (remembering him). It is not just because of the change of times but also due to innocence and ignorance. This is painful to us. There is truth in it.  

In fact, People like you who could do something; this is my personal suggestion; should set up a sort of an endowment so that, in an annual festival or during one month, a program should be arranged. Every one is forgetting all that. We should not forget them, is n’t it? It is all, as you said, because of innocence and ignorance. But, for people like us it is very impetuous.  

There is also a reason for people not doing it. Now, Vinjamuri Varadraja Iyengar was there and he is forgotten! We need to celebrate when he was there and how he was! But, to do that we need some kind of impetus, somebody has to give some sort of help. If such a thing happens it could be done. Otherwise it will all be gone. But, in order to make sure such a thing does not happen (people like that are not forgotten), if we do things like that in about 4 places continuously for 4 years then it will stay in people’s mind. But, it has to happen! You should do it! 

Do you have any of his recordings? I know in Hyderabad AIR, they are saying that they lost them. But, if they exist in archival material even if it is half-an-hour, it should be preserved. In Trichi, Vageesh is the station director. You contact him and tell him that I told you to check-up with him to see whether any old recordings exist. His name is K. Vageesh and he is from Mysore. He was the program director in Delhi and he is now promoted and transferred as station director of Trichi. Because he is the SD, if he asks to search for them they would do, since he has the position. So, don’t wait, you ask him to look for, whatever is available. I don’t think it will not be available, but most of them might have been lost. But, something, at least, could be there. Even if we could find an hour (of music) in archives, it is worth it.

Auto parts Natarajan if he was there, taped a lot of concerts. I don’t know who has all those now. He was the former secretary (of Music Academy, Madras). He was known as auto parts Natatajan (ESCOT?) and he was the secretary of the Music Academy in Madras. If you could contact someone there, if you talk in public they would not tell. But, you should contact them privately and tell them confidentially that you are his children and you would want to have something for your personal family. If you do that, you might find something in the archives. Anyway, if you find something, please let me know. I am trying to collect all the old archival music and preserve at least in the National Academy Archives. Whatever is available, it is very valuable. Even two minutes is not a small thing.  

It is a slow progress but if you do it studily, it would come out okay. Please do setup an endowment in Bangalore. Because, he was such a great Vidwan and it is a pity that we don’t remember him. This generation people do not know about him; that is people who are in their 30 to 40 years of age do not know him. Because, he almost stopped singing after 1964. It is more than 40 years! So, the younger generation who are in their 30s and 40s, young people who are in the top, do not know about him. At least, hearsay, if a few people talk about him, they would at least know that such a person existed.

I would have played for at least 10 to 12 concerts for him in various places. I played in Bangalore, Mysore, one in Madurai and one in Hyderabad. I went only with Chaudiah. If they could not find someone good, Chaudiah would take me with him for the concerts. Chaudiah played a lot. Palghat Mani also played but he was a busy man and he won’t be available a lot. So Maduri Krishna Iyengar used to play a lot for him (Vinjamuri). Yes! Chaudiah played a lot; he himself was a special personality. If he sits on the stage that itself will carry weight to the concert. Vinjamuri, Chaudiah and Krishnaiyengar were a great combination. Krishnaiyengar was short but was very fair and good-looking.  But, he (Vinjamuri) was contrast to him, good built; he was very tall. Chaudiah was stout and had a different kind of personality. All the three were different in appearance.

It is a pleasant experience to remember that man! You are all fortunate that you had a father like him! It is very kind of you!

(Sent a Thank-You card and a personal letter along with the picture of BK Venkkatraman taken during the interview, also a picture of Vinjamuri - December 2002)

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