R K Venkatarama Shastry
Brahmashri R K Venkatarama Shastry's birth centenary was celebrated on November 10, 2007. This tribute is authored by Shri. R K V's disciple and leading violinist, my guru Shri. Mullaivasal G Chandramouli. It was first uploaded on the website of Shruti, the 24 hour Carnatic music channel on WorldSpace Satellite Radio.

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Vande Gurunaam Charanaaravinde
Sandarshitha swaatma sukhaava bodhe
Janasyaye Jaangalikaayamaane
Samsaara haalahala moha shaanthyai

Obeisance to the lotus feet of the Teachers; who have revealed to me the joy that is mine; my refuge in the dark impenetrable thicket; who bring peace from the poison of the cycle of existence and illusion.


Birth
My Guru Brahmashri Rudrapattana Krishna Shastry Venkatarama Shastry was born on 10th November 1907 at Rudrapattana. Rudrapattana is a village on the banks of the Kaveri river near Mysore. Shri R K Venkatarama Shastry was born in the Sanketi sect of Brahmins. He was the eldest son of an erudite Sanskrit and Kannada scholar Shri R.K. Krishna Shastry, a greatly accomplished Harikatha vidwan.

Ancestry
The Sanketis speak a unique language. It is a combination of Kannada, Tamil, and Sanskrit. The language as such does not have a written script. Sanketis are said to be descendants of a group of Brahmins from Sengottai [Shencottah], who came many generations ago to Mysore. They settled in Rudrapattana at the invitation of the Mysore Maharaja. The Sanketis were learned in the Vedas and Music. While Dikshitars and Somayajis performed Yajna and Yaga, others spent most of their time learning Shathaavadhaana, chanting of the Vedas, and music. Rudrapattana was a place of Ghanapaathi, Shathaavadhaani, Asthaavadhaani and musicians. The Channakeshavaa Temple of this village is said to be more than a thousand years old. This village has produced several musicians and scholars who have occupied the position of court musicians at the Mysore palace. Even today, many of the currently performing Carnatic musicians in Karnataka are from Rudrapattana. R.K. Krishna Shastry, a noted vocalist and Harikatha Vidwan was also from Rudrapattana. His children: R.K. Venkatarama Shastry, R.K. Ramanathan, R.K. Shrikantan, and R.K. Narayanaswamy were trained by him. Each of them has attained a high degree of proficiency and popularity through their performances.

Musical Training
My Guru Shri R.K.Venkatarama Shastry studied music initially with Shri R.Venkata Rao, his father Shri R.K.Krishna Shastry, then from the illustrious Shri Veena Subbanna. Shri Veena Subbanna then took him to learn from the noted Vidwan Mysore Shri T. Chowdiah. He learnt both violin and vocal music from his various teachers.

Musical Career
My Guru studied Intermediate from Mysore University, and then chose a lifetime career in violin. He was on the very first roll of Staff Artists as a violinist at Akashvani and served for 32 years. He retired from service around the year 1967. My Guru had a long illustrious career as a violinist and has accompanied many eminent Carnatic vocalists: Shri Tiger Varadachariar, Shri Ariyakudi Ramanuja Iyengar, Shri Maharajapuram Vishwanatha Iyer, Shri G.N. Balasubramaniam, Shri Musiri Subramania Iyer, Shri Semmangudi Shrinivasa Iyer, Smt M.S. Subbulakshmi, Smt T.Brinda and Smt T. Mukhta, the eminent flautist Shri T.R. Mahalingam etc. He also accompanied many of the succeeding generations of vidwans, right up to the 1980s. He also accompanied his mentor Shri T. Chowdiah in many of the latter's violin recitals. As a soloist, he made tours across India. He was a solo Violinist and also played duet performances along with V.Sethuramiah, who was a disciple of Mysore Shri T. Chowdiah and a Staff Artist of All India Radio.

Titles and Honours
The following is a list of the main titles and honours my Guru received:
• Kalaimamani from the Tamil Nadu Iyal Isai Nataka Manram in 1970.
• The Bangalore Gayana Samaja conferred Sangeeta Kalaratna on him.
• Tantri Nada Visharada conferred by JagadGuru Shri Kanchi Paramacharya.
• Asthana Vidwan of both Shringeri and Kanchi Shankara Matams.
• Member, Experts committee of the Music Academy.
• Member, Music Audition Board, All India Radio.
• An epitome of piety, simplicity, and lofty ideals, my Guru had the honour and the privilege of performing the Aradhana of Sadguru Shri Thyagarajaswami at Tiruvaiyyaru on the sacred day of Pushya Bahula panchami for nearly fifty years.

Disciples
My Guru imparted his wide experiences with the golden generations of music and musicians, his large repertoire of krithis, his deep passion for sangitha and sahithya to many that include
• Brothers: Late Shri R.K.Narayanaswamy, Late Shri R.K.Ramanathan, Sangitha Kalanidhi Shri R K Shrikantan.
• Nephews: Shri R.S.Ramakanth, The Rudrapatnam Brothers - Shri R.N.Thyagarajan & Shri R.N. Taranathan,
• Niece: Dr. Smt R.N Shrilatha,
• Grandson: Shri R.K.Shriramkumar,
• A host of other disciples including my older brother Shri G Janakiram and myself.

I came into my Guru's fold in the year 1979. At the time, my Guru was 71 years old and I was just 13. I do not know any details of his other shishyas. Please excuse me for any omissions in this list.

His Music
Music wise, I have known my Guru as a great master of the violin and as a great scholar. Particular mention must be made here of his excellent fingering and bowing techniques. His was not mere technique for technique’s sake. They were always oriented to the actual vocalization of the music, and sometimes he would sing the phrase and also play it immediately afterwards, showing us the actual application of the fingering or bowing technique. My Guru's style was a very judicious blend of the power and the bold tones of Shri Mysore Chowdiah and the wholesome and nuanced raga expression of Shri Papa Venkatramiah. My Guru laid emphasis on the learning of varnams, mainly in Adi tala as well as Ata tala. He helped us understand their importance in developing good technique and chaste raga bhava.

Whether it was a varnam or krithi, raga, neraval or swarakalpana, my Guru's music brimmed with raga bhava and with chaste and unalloyed adherence to raga grammar too. His music created a deep feeling of reverence and happiness! He had a vast repertoire– so many were the popular and rare kritis that I learnt – if it was ‘Koluvaiyunnaade’ in Bhairavi raga one day, it was ‘Chinna naadena’ in Kalanidhi raga on another day. It would be the Ata tala varnam in Anandabhairavi raga another day and ‘Shri Jalandhara’ in Gambhira Nata, of the Mysore Maharaja on yet another day. My Guru kept himself abreast of all relevant musical developments - I remember how he once took Shri Shriramkumar and me to a demonstration at Music Academy by a Western violinist. He later showed us some important fingering and bow positions based on the techniques demonstrated by that violinist. He attended such conferences / demonstrations, and violin concerts by other vidwans. And later would point out to us the salient features of the various artistes and their performances.

Outlook in Life
My Guru's deep-rooted faith in the Hindu religion and pious life style prevented him from crossing the shores of India for concerts. He was a very serious student of the Vedas and Vedanta in particular and also had a great passion for mathematics, literature and linguistics. Another well-known highlight of his personality was his pure as gold character. He was a Shastry in the true sense who lived life as ordained in the Vedas: trikaala Sandhyaavandanam and study of Veda, observing all rituals as ordained in the shaastras. He was also very strict in his food habits: he never included onion and garlic and never ate 'outside' foods like hotel food. No wonder, everywhere that he went, every person whom he met always treated him with due respect and humility. He was utterly self-effacing and an epitome of humility, avoiding all ostentation, even though he was so learned and pious. "Nirai kudam thalumbaathu" is the saying in Tamil - he was the example. I have never known him to fall sick. I remember once there was a un-announced bus strike in Madras when he was returning from Bangalore to Madras by train. He walked all the way (he was 75 years or more then) from Madras Central station to Thirumalai Pillai Road in T Nagar, a distance of more than 7 kms.

Musical Viewpoints
He was a traditionalist in the true sense ... He held the view that in music, tradition does not mean that one has to sing or play exactly like an imitation of the teacher. Innovation / new thought processes / originality were always welcome, according to him. 'Playing to the gallery' was not. More important, one cannot transgress the unwritten rules of raga bhava etc ... all innovation had to conform to these rules. And one of the most important things that he taught me was to recognise that great composers and great musicians - all of them composed / sang / played with true humility and offered their music to the divine with utter self – effacement. For him, talent and humility always went together. My Guru himself drew inspiration from another great violinist Papa Venkatramiah, both in technique and musical outlook. Even though his Guru innovated with the violin and played a 7 – stringed violin, he rarely played on the 7 – string violin and continued playing on the regular 4 – string version.

My Guru's style of playing was very chaste and measured. Every musical phrasing had to be complete in context and grammar. Even for his students. I discovered the same with the following incident - I remember his gracious presence in a concert where I was playing as violin accompaniment. The turn came for me to essay Dhanyasi raga and I could sense his open-hearted appreciation with his nods and smiles. Then came a precarious moment when, out of ignorance and inexperience, I drifted away into an amateurish phrase. Immediately I could sense the pain in his facial expression, which alerted me and saved me from further slips. Somehow I managed to revert to the proper raga bhava and grammar and finish the alapana. That single look continued to trouble me for many days. From then on, whenever I listened to my Guru’s playing or those by other vidwans, I started to observe the nuances and subtleties that are so essential to make the music complete. It also made me think and work much harder to equip myself both in terms of knowledge and technique.

My Guru’s playing reflected the vocal style ... You could hear the sahitya when he played the violin. He also used to select the appropriate places in kritis for performing neraval or swarakalpana. His accompaniment in concerts was always tuned to help the main artiste to the maximum extent. He was the favorite accompanist for many senior vidwans of the previous generations since he was the embodiment of both sangeetham (Music) and ingitham (cultured behaviour on or off stage). He always followed the Pakkavaadya Dharma (unwritten codes for violin accompaniment in a concert). Moderation was the key ingredient in his accompaniment. The length and the depth of his raga alapanas was always tuned to the way in which the main artiste had handled the raga. So also with neraval and swara kalpanas. Also, during the kriti, even if his patanthara (his Guru’s teaching) of the kriti was different from that of the main artiste, he always used to follow the main artiste like a shadow, so as to not mar the musical unison in the concert.

My Tutelage
My elder brother Shri G. Janakiram was his student and he led me to my Guru’s care. I remember vividly the first meeting with my Guru. He asked me to play some initial lessons I had learnt from my first Guru Smt. Savithri Satyamurthy. My Guru had an awe-inspiring personality and I instantly could feel his keen scrutiny of my playing. It was my good fortune that he immediately accepted me as his student and my classes commenced with him soon after. Shri R.K.Shriramkumar and myself had the good fortune of having our classes together since 1979. To Shri Shriramkumar, he was Thatha (Grandfather) in real life. From then on, he was Thatha for me too.

We had classes almost everyday, excepting for the few days every month when he used to go to Bangalore, or outstation for a concert, or if I could not go due to family reasons etc. Similarly, Thatha always used to treat both Shri Shriramkumar and me as his grandchildren. His class happened only when both of us were present. Often I would arrive at class to find him playing the violin. The music that flowed from his instrument, the rich tone and the moving raga bhava, these would make me lost in wonderment. I would stand transfixed until he noticed me and asked me to sit and take out my violin and look for Shri Shriramkumar to join us. Classes would go on for hours. Not for him the clock! He would actively teach by playing himself, and would be very patient with us. Similarly, not for him any limit to the number of classes in a week or a month. I remember going to his house just like I did to school. Only that I would come back home from school, leave my books and take the violin to go to his house.

Both Shri Shriramkumar and I were always keenly watched when we played in class. He would stop and correct our mistakes with care and patience, and would not proceed unless both of us had understood and played correctly. He was such a great teacher ... The power of his playing was itself enough to enthuse me to stay glued to his playing and make me want to exert myself to learn the maximum from him. He spoke very little while teaching. His playing, alert and keen guidance while I played was alone sufficient. I never had to keep a notebook or write the song notation, or record his lessons in order to remember them. I am not exaggerating in the least if I say that it was the power of his musical and personal stature that made the lesson enter my brain as a clear understanding, and enter my heart as a pure feeling. I am sure this would have been the experience of all his other students too. He taught me many rare varnams and also many kritis of the Musical Trinity – Shri Thyagaraja, Shri Muthuswami Dikshithar and Shri Shyama Shastry, and also many other composers.

If I can remember clearly all that was taught to me thus by my Guru, it really makes sense when we hear of so many erudite vidwans in the past centuries who all became learned due to the excellence of their Gurus. One day during the Gokulashtami Festival in 1983, when I had completed barely 4 years under his guidance, he asked me to come early the next day, and to come prepared to play a concert with him the next day. And on the following day, the three of us had a violin trio concert. It is my blessing that my 'arangetram' in music was very successful. There was no feeling of stress, since we (Shri Shriramkumar and I) never felt musically insecure. Such was the power of our Guru's presence!

His Influence In My Life
On a personal note, my Guru encouraged me and blessed me when I made a decision to take up music as my profession and also did carefully monitor my progress. Both Shri Shriramkumar and I had begun to take guidance from our present Guru Shri V.V.Subrahmanyam. Even today, Shri V.V.Subrahmanyam constantly tells me that I did come to him equipped in very excellent measure by my revered Guru Thatha! I was very surprised and apprehensive when one day Thatha asked me to play Dhanyasi raga. What a coincidence – Shri V.V.Subrahmanyam, in his careful and kind guidance, had been teaching me to play the very same Dhanyasi raga – in my very first few lessons with him!! Imagine the tension with which I began to play the raga Dhanyasi in front of Thatha! Somehow I steadied myself and began playing the raga. Forever etched in my memory are the tears of happiness he openly shed after hearing my Dhanyasi raga. Every time I think of this incident, I can feel Thatha’s tears wash away my ignorance and lethargy, and take up my music with renewed vigour.I cannot refrain from repeating myself.

That sages existed in the past may be a matter of conjecture for many. But for me, the above incident always keeps reminding me of my good fortune in having come into contact with two eminent sages as my Gurus.

Obeisance to the lotus feet of the Teachers
who have revealed to me the joy that is mine;
my refuge in the dark impenetrable thicket,
who bring peace from the poison of the cycle of existence and illusion.

My last meeting with Thatha was his presence at my concert at the December Music Festival at Music Academy, Madras, in the year 1992. After the concert, when I prostrated before him, he was so gracious as to shower his blessings on me with a benign smile and a few syllables. He indicated that my musical progress was on the correct path. Today as I am about to take up the violin on the stage before every concert, I look at his photo and I feel the power of his guidance and encouragement with me. My Guru passed away in Mysore on the 15th of April 1993.

The music world remembers him as one of the most respected vidwans of all times, respected for his music and the strength of his character.

-Mullaivasal G Chandramouli.