Acquaintance with Mysore T Chowdiah
The years 1946-47 marked a pivotal period, bringing Anand’s family into close contact with the revered Sangeetha Kalanidhi, Sangeetha Ratna, Mysore Sri T. Chowdaiah, through their esteemed guru, the renowned Ghata Vidwan, the late Sri K.S. Manjunath.
Though initially a masterful mridangam player, Sri Manjunath’s inclination shifted towards the ghatam. Through relentless dedication, he achieved proficiency in the instrument within a single year, around 1947. He developed a unique style, captivating audiences and earning immense fame, ultimately elevating the status of the ghatam instrument. His name became synonymous with the instrument itself, such that “ghatam meant Manjunath, and Manjunath meant ghatam.”
Recognizing Sri Manjunath’s exceptional skill and popularity, Sri Chowdaiah began featuring his ghatam accompaniment in his violin solo concerts, offering profound encouragement. Chowdiah’s solo performances rarely occurred without Manjunath’s ghata, a testament to their combined popularity. Their artistic synergy fostered a deep friendship that extended beyond the stage.
Bonds Forged in Music and Hospitality
Whenever Chowdaiah visited Bangalore, he would stay at Malabar Lodge on 3rd Main Road, Chamarajpet, often accompanied by Sri Manjunath. The deep friendship between Anand’s father and Sri Manjunath was the cornerstone of this connection. Their bond had formed years earlier when both had learned mridangam from Palghat Srinivasa Iyer. Due to this closeness, Anand’s father affectionately addressed Sri Manjunath, who was younger, as “Manju,” treating him like a cherished family member.
This relationship naturally extended to Chowdiah, who became a frequent and welcome visitor at Anand’s home whenever he was in Bangalore. The parents, Sri V. Venkobacharya and Smt Nagamma, were renowned for their impeccable hospitality. No guest was ever turned away without an offering of snacks, meals, or treats, regardless of the hour. Chowdiah, in particular, savored the delicious food prepared by Smt Nagamma, an expert culinary artist. He affectionately called her “Annapoornamma,” a name symbolizing the goddess of food. A profound mutual love, trust, and respect blossomed between Anand’s father and Chowdiah.
An Unforgettable Performance: The Anantha Padmanabha Vrata
In 1947, during Venkobachar family’s annual, elaborate celebration of the Sri Anantha Padmanabha Vrata, a significant event unfolded. Following the morning puja, Chowdiah unexpectedly arrived at their home that evening. Upon seeing the beautifully decorated mantapa with the worshipped Anantha Padmanabha Deva (a silver urn), he expressed keen interest in the festival and puja. Deeply moved, he devoutly bowed to the deity and declared his desire to offer a violin performance as a service to God. He then affectionately requested the Venkobachar to send for “Manju” (Sri Manjunath).
Joy filled the household. Anand was promptly dispatched to the guru’s room at the adjacent Rameshwaram temple to convey Chowdiah’s wish. Upon Sri Manjunath’s arrival, Chowdiah reiterated his desire. Initially, the guru suggested bringing in M.L. Veerabhadraiah, Chowdiah’s usual mridangam accompanist for Saturday concerts. However, Chowdiah insisted, “Why, Anand is here; since he plays for concerts, let him play today.” Despite the guru and father’s hesitant concerns about Anand’s young age and ability to accompany such a master, Chowdiah firmly stated, “Let him play, let us see.”
Filled with apprehension, Anand was encouraged by the guru to “Speak boldly.” The concert, held before the deity, lasted for two hours, with Chowdiah playing with profound devotion. The captivating melodies drew passersby and neighbors, who gathered to listen in rapt attention. After the performance, Chowdiah turned to the guru and declared, “Manju, since Anand played so well, from now on, let him play for my concerts too.” The guru remained silent, acknowledging the pronouncement.
This impromptu performance paved the way for larger opportunities. Soon after, with India gaining independence, Chowdiah arranged a concert at the home of Sri Shankare Gowda, the Education Minister in the newly formed Congress government of Mysore State, led by Chief Minister K.C. Reddy. Chowdiah personally asked Anand to accompany him on the mridangam for this, their first public concert together. The success of this performance led to a continuous collaboration; whenever Chowdiah’s regular mridangam artist was unavailable, Anand would be called upon. From 1947-48 until Chowdiah’s passing in 1967, Anand had the privilege of accompanying him in numerous concerts. This remarkable patronage showcased Chowdiah’s generous spirit and his commitment to encouraging young talent, despite an outward demeanor that sometimes seemed stern. His rough exterior, it was observed, concealed a heart full of love, faith, and compassion.
A Mother’s Love and a Memorable Tour
Chowdiah’s deep affection for the family, born from their trust and hospitality, ensured his visits whenever he was in Bangalore. He often brought his close friend Chandramma and her children, who also grew fond of the welcoming home. Chandramma, in particular, held immense respect for the parents and developed a strong love and admiration for Anand, marveling at their mridangam playing at such a young age. This trust and affection were instrumental in Chandramma convincing Chowdiah to take Anand on a South India tour in 1948, assuring his well-being throughout the journey. Anand was 12 years old at the time. The tour party, including Sri Manjunath and the mridangam scholar M.L. Veerabhadraiah, traveled in a large van for concerts in Kanyakumari, Suchindram, Anakavoor, Trichy, Madurai, and Valavanur.
The stop in Kanyakumari remains etched in memory. Arriving around 4 PM, they settled into a hut near the temple before heading to the sea to witness the sunset. At the temple, the elders of the administration, surprised by Chowdiah’s unexpected visit, welcomed him warmly and ushered him directly to the sanctum sanctorum for worship and blessings. The sight of the goddess, her radiant idol and glittering nose ring, deeply moved Chowdiah. He immediately expressed his desire to offer a violin performance as a service to the deity. The temple officials, delighted, swiftly arranged a concert within an hour, announcing it through a tamate (a traditional drum) in the main streets of Keela. As they prepared, Chowdiah requested Anand to play the mridangam, Anand was thrilled. Chowdiah played for two and a half hours with unparalleled devotion, creating a truly blessed and unforgettable performance.
Later, while staying at a hotel in Madurai, Anand fell ill with a fever, several days into the tour. Mrs. Chandramma tenderly nursed him back to health, administering medicine and caring for them with maternal affection—a moment of selfless love never to be forgotten.
Two ghatam accompaniments for Chowdiah
Another incident occurred in Palani during the tour, featuring a concert by the renowned G.N.B. Chowdiah was on violin, with Sri Palani Subrahmanya Pillai on mridangam and Alangudi Ramachandran on ghata. Chowdiah, however, felt his guru Manjunathan should also play the ghata. He approached G.N.B. at the hotel, who questioned how two ghatams could be accommodated when Alangudi Ramachandran was already scheduled and later directed him Palani Subramanya Pillai. Palani Subrahmanya Pillai, though respectful of Chowdiah, echoed G.N.B.’s sentiment but said it is better to consult G.N.B back! Finally, Chowdiah insisted, “Let both of them play. Let everyone hear and understand how our Manju plays.” His words carried such weight that the organizers and all the artists readily agreed. The concert proceeded, and Sri Manjunath’s unique style and the rich sound of his instrument left the audience spellbound, earning him immense praise. This incident underscored the profound respect and influence Chowdiah commanded.
The following morning, Chowdiah decided to perform at the Subramanya Swamy temple on the Palani hill. He asked Anand to play mridangam. As they began their ascent, Palani Subrahmanya Pillai, also staying at the hotel, inquired about their plans. When informed, he offered to play mridangam. Chowdiah, with a laugh, suggested that Anand play the tamboora instead, and Palani take the mridangam. Anand had the privilege of playing the tamboora for this devotional concert before the sanctum sanctorum. During the performance, a large scorpion appeared near them and moved towards the sanctum sanctorum without stinging anyone. A surprised priest, witnessing this, declared it a divine sign. This unusual occurrence remains a vivid memory.
A Colossus in the World of Music
Chowdiah’s mere name commanded immense respect from scholars and enthusiasts alike, even those older than him. No one dared to contradict him. His violin concerts were consistently brilliant and highly sought-after. Even legendary artists of the previous generation, from his guru Sri Bidaram Krishnappa and Mysore Vasudevacharya to Maharajapuram Vishwanath Iyer, Ariyakudi Ramanuja Iyengar, Chembai Vaidyanatha Bhagavatar, Musiri Subramania Iyer, G.N.B., Madurai Mani Iyer, Alathur Brothers, and T.R. Mahalingam, praised his accompaniment. He possessed a divine gift for enhancing any concert, regardless of the style. His majestic, bold, and captivating stage presence, coupled with unparalleled courage, instilled deep respect in all who witnessed him, solidifying his nationwide fame and reputation.
His exceptional violin prowess led to solo concert invitations from central and state governments, prestigious institutions, and at significant cultural programs honoring national and international dignitaries. Anand witnessed and participated in many such grand occasions, proudly recalling some of the most memorable:
- Visit of Bulganin and Khrushchev to Bangalore: In the 1950s, when the then USSR President Bulganin and Prime Minister Nikita Khrushchev visited Bangalore as esteemed guests, the Mysore government orchestrated a lavish reception at Lal Bagh. The garden was spectacularly adorned with electric lights, transforming it into a dazzling spectacle. As part of the cultural program, Chowdiah presented a solo violin concert. Vidwan Sri V. Doreswamy Iyengar also performed veena. Anand played mridangam, accompanied by M.L. Veerabhadraiah on mridangam and their guru on ghata. The Maharaja of Mysore, Sri Jayachamaraja Wodeyar, and numerous other dignitaries were in attendance. Chowdiah’s enthusiastic performance was magnificent. Afterward, both Bulganin and Khrushchev personally congratulated all the artists, expressing their appreciation. The Maharaja introduced Chowdiah as a national treasure, expressing immense pride. A grand dinner followed, where the artists were respectfully invited to join the chief guests, a testament to Chowdiah’s towering personality.
- ECAFE Conference in Bengaluru: This significant international conference, held at Lal Bagh, saw the presence of the then United Nations Secretary-General Dag Hammarskjöld, India’s first Prime Minister Sri Jawaharlal Nehru, the Maharaja, and various national and international dignitaries. Chowdiah’s violin concert was the centerpiece of the cultural program, with Anand having the privilege of playing mridangam. The ensemble that day included Vidwan Sri V. Doreswamy Iyengar on veena, Bangalore’s renowned scholar P. Bhuvaneshwariah on violin, harmonium maestro Arunachalappa, Anand on mridangam, and the guru on ghata. The performance garnered unanimous appreciation from the distinguished audience, with both Nehru and Hammarskjöld expressing their praise. This event further cemented Chowdiah’s status as a rare artist of international acclaim.
Invitation from Rajaji, First Governor-General of India: Around 1952, after India’s independence, the first Governor-General, C. Rajagopalachari (Rajaji), visited Bangalore and stayed at Carlton House. Learning of Chowdiah’s presence in the city, Rajaji, a connoisseur of his music, requested a private concert at his residence. Chowdiah, staying at Malabar Lodge, joyfully accepted. On the appointed day, Rajaji’s staff provided a van to transport Chowdiah and Anand (invited to play mridangam). Upon arrival at the grand Carlton House, Rajaji himself stepped out to greet Chowdiah, shaking his hand and ushering him inside, to the astonishment of officers and guests. Rajaji humbly requested Chowdiah to sit on a higher bench on the stage, while he himself sat on a small bench nearby, preferring to be close to the performance. This incident vividly illustrated Rajaji’s genuine humility and profound respect for art and artists, and simultaneously underscored the unparalleled fame and stature of Chowdiah.
The Human Side of a Legend
Beyond his immense achievements, Chowdiah possessed human frailties, particularly a tendency to believe gossip readily. If someone slandered another, he would believe it immediately, even if it concerned those closest to him, leading to resentment and coldness. However, a redeeming quality was his capacity for introspection. If a trusted confidant explained the falsehood of the gossip and its malicious intent, Chowdiah would reflect, realize his error, and promptly reconcile, expressing genuine regret and solidifying the relationship even further.
One such incident personally affected Anand. Observing Chowdiah’s increasing encouragement and praise for their mridangam playing, some envious of Anand, falsely accused Anand of arrogance and disrespect towards Chowdiah. Despite knowing Anand’s humble nature, Chowdiah believed the slander, grew angry, cut off communication, and decided to “teach a lesson.”
They were engaged for a concert at a Ganapati festival in Maddur, with Anand on mridangam and the guru on ghata. The car journey was silent, filled with tension. Before going on stage, Anand, scared, confided in the guru. The guru pleaded with Chowdiah, asserting the falsehood of the accusations. However, Chowdiah, determined to make a point, merely stated, “Come on stage, I will deal with you today.” All strength drained from Anand. Trusting in God and finding solace in the guru’s presence, they went on stage, tears welling up. Chowdiah played with an air of anger, casting sharp glances. Yet, by divine grace and the guru’s blessings, Anand performed courageously and without embarrassment. The return journey remained tense.
The next day, in Bangalore, the guru again met Chowdiah, eloquently detailing Anand’s character, devotion, and the family’s integrity, exposing the malicious intent behind the gossip. Chowdiah listened intently, slowly realized his mistake, and expressed remorse for having hurt both Anand and the guru. He immediately shed all bitter feelings and false opinions, resuming his previous warm and trusting behavior as if nothing had happened. This sudden shift revealed the childlike sincerity underlying his personality.
Anand concludes by expressing a heartfelt wish for the swift rebirth of such a unique, rare, and wonderful artist, a true musical gem and luminary like Mysore T. Chowdiah, acknowledging that centuries may pass before such a talent emerges again.