Ganakalanidhi Dr. Vinjamuri Varadaraja Iyengar

        A synopsis of expressions of a Rasika (a translation):

Sriman NC Krishnama Chariar, a well-noted Violin Vidwan, had many personal contacts and experiences with Vinjamuri. He had talked about Vinjamuri many times, had written articles about him. Mainly he expressed his gratitude for Vinjamuri's contribution to the world of Music and especially to Andhra Pradesh, for introducing the "Tamil Bani", the original and authentic Bani that was passed on through generations of Sishya Parampara of Saint Thyagaraja. His admiration and respect for Vinjamuri and his Music, is seen in every word he uttered and, the way he could reproduce the details of the Kutcheri that he attended 50 years ago!

NCK: … I will talk about THE Vinjamuri Varadaraja Iyengar who is residing in our hearts as the finest Musician who now is affected by neither old age nor death (Ajaraa Maranam).

I started learning Violin in 1935. I started playing Violin in 1939. After playing for Kutcheries for about two or three years, noting my enthusiasm, some Rasikas and some Vidwans started giving me advise. They told me, " if you want to play for a very high standard musician and do it well, you have to play for Vinjamuri Varadaraja Iyengar. If you practice to play for such weighty (Ghanam) Music, you will turn out to be a great accompanist". I thought it could never happen as he was living in Madras. How would I to go to him? I did not have the occasion to go there and I also did not get an opportunity to play for him.

It was about 1942. One of the people who were giving me the suggestion was one Paku Venkataramiah; he was a disciple of Chittoor Subrahmanya Pillai. He was a good singer. He told me, "if you accompany the Music like that of Vinjamuri Varadaraja Iyengar, you would shine well". I thought it could not happen. Do you realize what state Vinjamuri Varadaraja Iyengar (26) was in 1942? Even by 1942 Vinjamuri Varadaraja Iyengar was very famous as a weighty (Ghanam) singer.

At that time, all the people who were considered to be important in Rajamundry, started a Music sabha called "Gouthami Gana Sabha". They started it in 1943 Pushkaras. They invited Vinjamuri Varadaraja Iyengar in 1944. That year I too had a program there. I was very happy when I saw the paper (brochure) as, after so long, I could finally listen to Vinjamuri Varadaraja Iyengar's Kutcheri. Just then a person called Yella Somanna came back (to Andhra), who is the Guru and also Paternal Uncle of Ella Venkateswara Rao, the famous Mridangist. He came back after completing convocation (graduation) from Phalghat Mani Iyer. His hand was very very good. Yella Somanna's Mridangam for Varadaraja Iyengar's Music and Mysore Tatachariar's Violin. That day's Kutcheri was like the definition of how a Kutcheri should be! It is memorable even after 50 years. It was the first time that I listened to him and it was better than all the senior, famous Musicians' Music. In 1944, they invited only the senior most and the famous Musicians, they did not invite anyone who needs to be encouraged, I was the only exception. Out of all the concerts that year, Vinjamuri Varadaraja Iyengar's concert was exceptionally and unbelievably good. What ever he sang it was very good.

It is a saying," Aakaara Pradrusya Pragnyaha, Pragnya Pradrusya Aagamanaha",
One should have talent to suit appearance and should have the ability to exhibit that talent.

A musician needs a lot of qualities like this and most of them will not have many of these (qualities). But Varadaraja Iyengar had a handsome face with the spectacles, a huge forehead adorned with Sindhuram, a very handsome and majestic stature. They say, "Vigraha Pushti Naivedhya Nashti" but unlike the saying, Varadaraja Iyengar sang too in a manner that was as good as his appearance. It was a very lucky and auspicious day for all the people who were present there in that Sabha. The Music was so wonderful that day. It took off beautifully. The audiences listened with amazement.

There was this conversation that went on:

Person 1 - what is the name of this musician who is singing in Tamilian Bani?
Person 2 - Vinjamuri Varadaraja Iyengar.
Person 1 - So, is he from south (Tamil Nadu)?
Person 2 - No, our Guntur is his birth- place. He now lives in Madras.
Person 1 - Oh! Is that right? For being called "Iyengar", the Kutcheri is in the same bani (as that of Ariyakudi Ramanuja Iyengar).

The audiences were immersed in listening to the Kutcheri. Sri Mysore Tatacharulu was playing on the Violin and Sri Yella Somanna on the Mridangam. All were equally talented and the kutcheri was going on with excitement. After singing adequate Raagaalaapanam, the kritis were sung in Darbaru, Atana and Sri. Next song was "Saaketha Nagara Naadha" in the ragam Hari Kambhoji set to Rupaka Thalam sung with Neraval and Swaras. He did the Swarakalpana with "NiDa" to be the main Graham at the end of the Aavrittam. That is, Atheetha Graham.

When he sang " Saa Kee Thaa; Nagaranadha" or " Rajitha; Amarapala", in the tala, he would leave one aksharam from the USI and sing. While singing the kalpana swaras too, he would leave an aksharam and sing like

"(Thakita) NiDa; NiDaDaPAMa GaMaPaNiDa;
SaNiDaPaMa GaMaPaNiDa;
RiSaNiDaPaMa; PaNiDa;
GaRiSaNiDaPaMa; PaNiDa;
NiDa, NiDa, NiDa, DaNi DaDaNi DaDaNiPa ….

In this way he would create swarakalpana in rupaka Talam in Ateeta Graham. Even while singing the Kriti, he would sing " Saaketha Nagaranadha, "Sarvabhouma Sree Rama", Saaketha Nagaranadha" in order to bring Druthakala Sangatis into the correct tala pramanam. This method used to be very attractive. Thus Vinjamuri Varadaraja Iyengar's Music reminded the audiences of the Music of the great masters like Tiger Varadachariar and Ariyakudi Ramanuja Iyengar.

After that, Bhairavi Ragam was sung in a beautiful and appreciable manner. In the Tamil Kriti called "Yaro Ivar Yaro", at "Chandra Bimba Mukha", he did Neraval and Swarakalpana which was composed very well. The Swara Kalpana was made by making the Panchama Swara as the stopping Swara.

For Example:

Ma Ni Daa Ni - Paa Da - Ma Da Paa Da - Maa Pa - Ga Pa Maa Ma
Ni; Da Ma Ma Paa Paa
Ma Ni Da Da Ni - Pa Pa Da - Ma Da Pa Pa Da - Ma Ma Pa
Ma Ga Pa Ma Ni - Da Da Pa Ma - Paa Paa
Ma Ni Daa - Da Ni Paa - Pa Da Maa - Ma Pa Gaa
Da Pa Paa Pa - Ni Ni; Ni Da - Paa Paa, ---

With the above kind of Kalpana Swaras, the Kriti was concluded in an beautiful manner. The audiences applauded. Varadaraja Iyengar conducted the Kutcheri at a very high standard. From that day until the end, Iyengar maintained consistently that very high standard without any reduction or compromise to it. That is something commendable. It is very difficult to achieve the same standard in every Kutcheri!

Usually, in Kutcheries, musicians will have some good moments (Rakthi) and some not so good, sometimes they get into mood and sometimes they struggle to make the concert good, they go through a lot of difficult stages, But, Varadaraja Iyengar's Kutcheri should always take off. That's how good his music was! The last time I heard his Kutcheri was in Vijayawada when Mysore T. Chowdiah's played on the violin. He played with great enthusiasm and competence, very often appreciating Varadaraja Iyengar's singing. When a singer sings, there will be occasions where the accompanist cannot appreciate due to jealousy and express his feeling in the face. Some times they do not show any feelings at all. But, Chowdiah was all happy and energetic in playing for Varadaraja Iyengar. I believe Thitti Krishnayya was playing on the Mridangam. That day, I listened to an extraordinary concert.

In our country there is what is known as "Bani" (Musical Style). There are two types of Banis, Telugu Bani and Tamil Bani. If you count from Sri Thyagaraja Swami, in the guruparampara, Varadaraja Iyengar is the 5^th generation. In my opinion, in our Andhra Country, singing in Tamil Bani was started with Varadaraja Iyengar. Some people might feel hurt by my statement, but I only want to speak the truth. If one kind of Bani has to travel from one place to another, it takes about 200 years (about 5 generations). How the Tamil Bani came here was by the increase in exhibition, propagation and transmission of the Bani. The Tamil Bani got propagated through the disciples of the Musical Trinity after their time. In that count Varadaraja Iyengar was the 5^th generation propagator to bring completeness to it.

Thus, Varadaraja Iyengar grasped all the substance and the good qualities from all the famous and great musicians of the southern country, developed Music and Musical tradition, sang all the famous ragas in the field of Karnatic Music in a very traditional and appreciable manner. If any one should sing Bhairavi Ragam, it feels like, it should only be Varadaraja Iyengar. He sang all the other important ragas too in the same way, by combining melody, tact and weight and immersed our country in the joy of drinking his musical nectar.

Varadaraja Iyenger graduated from Madras university with First in First-Class in Indian Music. Varadaraja Iyengar mastered the art of Music with a lot of hard work. His achievement was the result of thirteen years of concentrated devotion to Sri "Tiger" Varadachariar in the old and traditional method (Guru Kulam).

Around 1941, 1942, Varadaraja Iyengar (26) was the Asthana Vidwan of Trivancore. He was felicitated by the Maharaja of Mysore. He performed in almost all the Sabhas and Samsthanams of Andhra Pradesh. In 1936, Madras Music Academy awarded him with a Gold Medal. He broadcast his Music from all stations of All India Radio. He performed in countries and places like Rangoon, Singapore, Columbo, Jafna and others. He not only has the names as "Thodi Varadaraja Iyengar", "Bhairavi Varadaraja Iyengar", "Khamas Varadaraja Iyengar", "Kutti Tiger" and "Andhra Ariyakudi", but he also obtained a lot of titles like "Gayaka Ratna". Iyengar knew all the Dravidian languages.

He set tune to all 30 hymns of Andal Thiruppavai. He composed many Varnas, Kritis, Javalis and Tillanas. Iyengar possessed a great treasure of Sound Music. He respected tradition very much. He followed the path of the elders.

Once, he wrote me a letter by inviting me to Madras and to his house, after arranging a concert for me. When I went to their house, I cannot describe the hospitality he and his wife showered on me. He took me to all the Divya Kshetras in Mylapore. Varadaraja Iyengar had such a great and affectionate heart. Loosing him is a big loss to the world of Music and also to the world of listeners.