M.CHANDRASEKARAN - VIOLINIST.............(b.1937)
Charubala Mohan found that her darling child had lost his sight while yet a baby. And soon, she lost her husband too. Fortunately her musical training as a student of Sangita Kalanidhi T.K.Jayarama Ayyar and the musical aptitude of the child indicated the direction in which she should mould the future of her son M.Chandrasekharan. And she did it with satisfying results. For M.Chandrasekharan, she has been not only a mere mother, but was his Guru and God. And the mention of her name brings tears of remembrance and loving gratitude in his eyes.
Born on December 11, 1937 at Calcutta of Mohan, Manager J.K.Cotton Mills, Kanpur and Charubala, Chandrasekharan lost his eye-sight by the age of two. He learnt music under his mother and later under Mannargudi Sambasiva Bhagavathar and Kumbakonam Viswanathan; Jayammal taught him padams, etc. Vidyala Narasimhalu Naidu also had him as his disciple. Chandrasekharan soon became an accomplished violinist (and a vocalist) and made his debut in 1949 at the most befitting venue of Thyagaraja Vidwat Samajam. In 1950, he won the prize for the best violinist from the Music Academy, Chennai. He soon blossomed into one of the prominent and top-ranking violinists of the day and he is kept busy by admiring music lovers all over India during the last three decades.
M.Chandrasekharan is an excellent accompanist eagerly sought after by vocalists as his play blends with theirs like a flower and its fragrance and flows in rich unison. He gives solos with his daughter, Bahraini Gopalakrishnan to second and has won laurels. He had accompanied the top cream of Carnation music like Maharajapuram Viswanatha Era, G.N.Balasubramaniam, Madurai Mani Ayyar & practically all the present senior vidwans. His voco-violin concerts are popular. He is free from eccentricity and is an artiste popular with colleagues and the audience.
Recognition and honours were prompt and copious :
Vadhya Ratnakara - Vasar College, USA 1975
Ezhilisai Vallal - Krishna Shaitanya Math 1979
Sangita Choodamani - Krishna Gana Sabha 1981
Nadhasurarnava - Bala Murali Krishna
Sangeetha Mani - Ambattur Mouna Swamigal
Thanthri Vilas - Sangeeth Peet
Kalaimamani - Tamilnadu Eyal isai Nataka Mandram, Chennai
Sangeetha Natak Academy Award 1986
Vocational Services Award - Rotary Club, Chennai
Suswara Sukha Laya Sangeetha - Sri Purandaradasa Thyagabrahma Mahotsavam 1987
Award by the Hindu Temple Society of India 1984
Honoured by Sri Thyaga Brahma Gana Sabha 1989
Wednesday, May 23, 2007
T. Brinda - Profile
T.BRINDA (VOCALIST & VAINIKA)......................(b.November 5, 1912)
Grand daughter of the legendary vainika, Dhanammal and daughter of Kamakshi Ammal, Brinda was bred in the evergreen nursery of vibrant classicism in Carnatic music. Imbibed the Dhanam tradition of melody from Dhannammal herself and her daughters. She is the eloquent inheritor of its grace and charm. This view finds support from the fact that the institution 'Sampradaya' arranged for a six months special training course at madras on Dhanam Classical tradition to be handled by T.Brinda and T.Viswanathan, a scion of the same nursery. She had absorbed enough music at home to elaborate ragas when at the age of nine she entered on gurukulavasa under Kanchipuram Naina Pillai. Mukta, her younger sister accompanied. But 'actually Brinda learnt directly from the maestro ad Mukta kept the sruti (harmonium). Mukta says': Grandmother Dhanammal was none too pleased at our being sent to Naina Pillai as if no music was available at home. Further Dhanammal's music was like honeyfall, soft and sweet and she wanted our music to be soft and feminine. She disliked women indulging in swara fireworks and feared that it would happen if we learnt music under Pillai.'
Brinda made her debut with Mukta as support at the Tyagaraja Festival, Kanchipuram which was celebrated annually by Naina Pillai. Though Mukta did not undergo the rigorous training, she had assimilated enough by constantly hearing the master and his ward (Brinda) and the Brinda-Mukta combine was a prominent duo for four decades, till Brinda's daughter and vocalist Vegavauhini joined to sing with Brinda. Thus Brinda has over seventy years solid credit as a performing artiste of merit. She enjoys a vast repertoire of kritis, padas and javalis and several claim to have studied under her though some of the claims might not conform to fact, it is said.
For exquisite rendition of padams, Brinda has a name and for the Music Academy, Madras, she brought out a publication of javalis in 1965 but she feels that several performing artistes do not adhere to the proper paddhati. Semmangudi Dr. Srinivasa Ayyar states that when Ariyakudi Ramanuja Ayyangar and he heard Brnda once, the former said, 'When women sing padams, it is melifluous; See, how beautifully Brinda has handled them!' Ayyar could not stop with the joy of hearing. At the suggestion of the Maharani of Travancore, he learnt in three days three javalis and three padams from Brinda! (Three is Ayyar's lucky number perhaps!) Here is another tribute from another veteran. R.Vedavalli who states that her guru Mudicondan Venkatarama Ayyar used to tell his disciples, 'See, how Brinda keeps her voice sweet inspite of advancing age. You should take a lesson from her.' These tributes to Brinda's musical expertise and acumen find relection in the titles and honours conferred on her.
Titles & Honours:
Sangit Natak Academy Award - 1965
Sangita Kalanidhi from Music Academy, Madras - 1977
Sangita Sikhamani from Indian Fine Arts
Society Swaralaya Pushkaram by Pushkaram - 1992
Posts held:
Professor, Central College of Carnatic Music, Madras (1951-70)
Visiting Professor, University of Washington, Seattle, USA - Two Terms
Visiting Professor, California University, USA - Two months
Brinda has given concerts in USA and she was not interested in giving discs. She has been training many in Veena also
Grand daughter of the legendary vainika, Dhanammal and daughter of Kamakshi Ammal, Brinda was bred in the evergreen nursery of vibrant classicism in Carnatic music. Imbibed the Dhanam tradition of melody from Dhannammal herself and her daughters. She is the eloquent inheritor of its grace and charm. This view finds support from the fact that the institution 'Sampradaya' arranged for a six months special training course at madras on Dhanam Classical tradition to be handled by T.Brinda and T.Viswanathan, a scion of the same nursery. She had absorbed enough music at home to elaborate ragas when at the age of nine she entered on gurukulavasa under Kanchipuram Naina Pillai. Mukta, her younger sister accompanied. But 'actually Brinda learnt directly from the maestro ad Mukta kept the sruti (harmonium). Mukta says': Grandmother Dhanammal was none too pleased at our being sent to Naina Pillai as if no music was available at home. Further Dhanammal's music was like honeyfall, soft and sweet and she wanted our music to be soft and feminine. She disliked women indulging in swara fireworks and feared that it would happen if we learnt music under Pillai.'
Brinda made her debut with Mukta as support at the Tyagaraja Festival, Kanchipuram which was celebrated annually by Naina Pillai. Though Mukta did not undergo the rigorous training, she had assimilated enough by constantly hearing the master and his ward (Brinda) and the Brinda-Mukta combine was a prominent duo for four decades, till Brinda's daughter and vocalist Vegavauhini joined to sing with Brinda. Thus Brinda has over seventy years solid credit as a performing artiste of merit. She enjoys a vast repertoire of kritis, padas and javalis and several claim to have studied under her though some of the claims might not conform to fact, it is said.
For exquisite rendition of padams, Brinda has a name and for the Music Academy, Madras, she brought out a publication of javalis in 1965 but she feels that several performing artistes do not adhere to the proper paddhati. Semmangudi Dr. Srinivasa Ayyar states that when Ariyakudi Ramanuja Ayyangar and he heard Brnda once, the former said, 'When women sing padams, it is melifluous; See, how beautifully Brinda has handled them!' Ayyar could not stop with the joy of hearing. At the suggestion of the Maharani of Travancore, he learnt in three days three javalis and three padams from Brinda! (Three is Ayyar's lucky number perhaps!) Here is another tribute from another veteran. R.Vedavalli who states that her guru Mudicondan Venkatarama Ayyar used to tell his disciples, 'See, how Brinda keeps her voice sweet inspite of advancing age. You should take a lesson from her.' These tributes to Brinda's musical expertise and acumen find relection in the titles and honours conferred on her.
Titles & Honours:
Sangit Natak Academy Award - 1965
Sangita Kalanidhi from Music Academy, Madras - 1977
Sangita Sikhamani from Indian Fine Arts
Society Swaralaya Pushkaram by Pushkaram - 1992
Posts held:
Professor, Central College of Carnatic Music, Madras (1951-70)
Visiting Professor, University of Washington, Seattle, USA - Two Terms
Visiting Professor, California University, USA - Two months
Brinda has given concerts in USA and she was not interested in giving discs. She has been training many in Veena also
Bombay Sisters - Profile
BOMBAY SISTERS - C.SAROJA & C.LALITHA - VOCALISTS.............
The sisters, Saroja and Lalitha are a prominent duo who have been gracing the Carnatic Music stage with distinction. Quite popular and in heavy demand for their concerts, the sisters enjoy a pleasing voice, happy unison in presentation and effortless ease in singing. They take care to present the audience with ideal raga delineation, swara elaboration and balanced concert content.
The sisters were born at Trichur, Kerala of N.Chidambara Ayyar and Muktambal. They graduated from the Wardha University. Had their initial training in music under H.A.S. Mani of Bombay and then got the 'Sangita Vidwan' diploma from the Central College of Carnatic Music, Madras. Had further training under Sangita Kalanidhi Musiri Subramanya Ayyar during 1958-60 and 1961-63 with the Government of India Cultural Scholarship separately. T.K.Govinda Rao is their guru since 1963.
Bombay sisters have given performances throughout India and on the All India Radio. They made their debut in 1960 at Ambattur in the presence of Sri Mounananda Swamigal who blessed them with the name 'Bombay Sisters'.
Honours : 'Isai Mamanigal' by Ulaga Tamizhisai Mandram in 1977. 'Madhura Gana Manoranjani' by Sri Azhagiya Singar, Jeer Swami of Ahobila Math.
Sri Sadguru Bodendra Swamigal - Profile
SRI SADGURU BODENDRA SWAMIGAL OF BHAGAVATHA TRINITY ............. (1610-1692)
Nature has showered her bounteous gifts on the small village of Govindapuram near Tiruvidaimarudur so that the immortal Bhagavathotama Sri Sadguru Bodendra Swamigal could attain bliss there amidst natural beauty and serenity after a life of hectic spiritual mission and exercise. The sacred place where his Samadhi is situated witnesses the annual celebration of the day of his Mahanirvan.
This contemporary of Sri Sridhara Venkatesa Ayyaval of Tiruvisanallur and Sri Sadasiva Brahemndral was born at Kanchipuram, of Kesava Panduranga Yogi and Suguna and was called, while young, Purushotaman. He had his education in the midst of scholars and set out to Benaras with a friend. Losing his friend en route, he desired to end his life. Destiny took him to Sri Viswadikendra Saraswathi, the 58th Sankaracharya of the Kanchi Kamakoti Mutt sojourning there. Finding the fittest person and scholar in Purushottaman to succeed him, the learned Pontiff ordained him a sanyas and gave him the name of Bodendra Saraswathi. The young sanyasi was intructed to return to Kanchipuram via Jagannath to secure the great work 'Nama Kaumudi' of Lakshmidhara Kavi. Accordingly, Bodendra reached Jagannath and got the book from the author's son, Lakshmikantha Kavi and his mother.
The unique character of this trip lay in Lakshmidhara Kavi leaving instructions with his son to deliver the book to 'the sanyasi from the South who comes seeking it' and the Sankaracharya instructing his ward to trek all the way to Jagannath and obtain the book. This was about 360 years back. Further, on the day of his visit, Bodendra witnessed an incident extolling the spiritual glory of 'Ram Nam' and the enormity of the gifts of Devotion.
Bodendra accompanied his guru in his pilgrimage to Rameswaram on the Southern tip of the country on his return from Benares. The Sankaracharya attained eternity on the way and Sadguru Bodendra Swamigal became the 59th Sankaracharya of the Kanchi Kamakoti Peetam in the year 1638. Bodendra later stayed at Tiruvidaimarudur and this helped in another Great Bhagavatha, Sridhara Venkatesa Ayyaval of Thiruvisainallur (just north of Tiruvidaimarudur) joining him in spiritual anmd devotional pursuits. It may be mentioned that they together with Sadguru Swamgal of Marudhanallur form the Bhagavatha Trinity and with Sri Sadasiva Brahmendral and Swami Narayana Tirtha constitute the Founders of the Bhakthi Renaissance and Bhajan in the South. Singing in chorus according to procedure in praise of God at festivals and on auspicious days became common and widespread.
Sri Sadguru Bodendra, on the basis of the Nama Kaumudi, wrote the 'Nama Siddanta Granthas' comprising - Namamritha Rasodayam Nama Rasayanam Nama Suryodhayam Nama Tarangini Namarnavam Harihara Bheda Dikkaram Hariharadvaita Bhushanam Murta Brahma Vivekam Advaita Bhushanam and Atma Bodha Teeka.
Sri Bodendra's guru was delighted to see these scholarly works of his ward on his return from Benares and these works have since been published. 'Nama Kaumidi' was reported to be available at the Marudhanallur Mutt of Sridhara Swamigal till 1966 though in poor condition. Now it is not there.
Sri Sadguru Bodendra Swamigal is remembered not only at the annual celebrations at Govindapuram but at each and every bhajan wherever it is done. The learned and respected scholar, Ki.Vaa. Jagannathan made the profound statement that Bharath had undergone political, economic and social upheavals with its hours of glory and shame but at no time it had lacked in the presence of eminent men of devotion and sacrifice.
Nature has showered her bounteous gifts on the small village of Govindapuram near Tiruvidaimarudur so that the immortal Bhagavathotama Sri Sadguru Bodendra Swamigal could attain bliss there amidst natural beauty and serenity after a life of hectic spiritual mission and exercise. The sacred place where his Samadhi is situated witnesses the annual celebration of the day of his Mahanirvan.
This contemporary of Sri Sridhara Venkatesa Ayyaval of Tiruvisanallur and Sri Sadasiva Brahemndral was born at Kanchipuram, of Kesava Panduranga Yogi and Suguna and was called, while young, Purushotaman. He had his education in the midst of scholars and set out to Benaras with a friend. Losing his friend en route, he desired to end his life. Destiny took him to Sri Viswadikendra Saraswathi, the 58th Sankaracharya of the Kanchi Kamakoti Mutt sojourning there. Finding the fittest person and scholar in Purushottaman to succeed him, the learned Pontiff ordained him a sanyas and gave him the name of Bodendra Saraswathi. The young sanyasi was intructed to return to Kanchipuram via Jagannath to secure the great work 'Nama Kaumudi' of Lakshmidhara Kavi. Accordingly, Bodendra reached Jagannath and got the book from the author's son, Lakshmikantha Kavi and his mother.
The unique character of this trip lay in Lakshmidhara Kavi leaving instructions with his son to deliver the book to 'the sanyasi from the South who comes seeking it' and the Sankaracharya instructing his ward to trek all the way to Jagannath and obtain the book. This was about 360 years back. Further, on the day of his visit, Bodendra witnessed an incident extolling the spiritual glory of 'Ram Nam' and the enormity of the gifts of Devotion.
Bodendra accompanied his guru in his pilgrimage to Rameswaram on the Southern tip of the country on his return from Benares. The Sankaracharya attained eternity on the way and Sadguru Bodendra Swamigal became the 59th Sankaracharya of the Kanchi Kamakoti Peetam in the year 1638. Bodendra later stayed at Tiruvidaimarudur and this helped in another Great Bhagavatha, Sridhara Venkatesa Ayyaval of Thiruvisainallur (just north of Tiruvidaimarudur) joining him in spiritual anmd devotional pursuits. It may be mentioned that they together with Sadguru Swamgal of Marudhanallur form the Bhagavatha Trinity and with Sri Sadasiva Brahmendral and Swami Narayana Tirtha constitute the Founders of the Bhakthi Renaissance and Bhajan in the South. Singing in chorus according to procedure in praise of God at festivals and on auspicious days became common and widespread.
Sri Sadguru Bodendra, on the basis of the Nama Kaumudi, wrote the 'Nama Siddanta Granthas' comprising - Namamritha Rasodayam Nama Rasayanam Nama Suryodhayam Nama Tarangini Namarnavam Harihara Bheda Dikkaram Hariharadvaita Bhushanam Murta Brahma Vivekam Advaita Bhushanam and Atma Bodha Teeka.
Sri Bodendra's guru was delighted to see these scholarly works of his ward on his return from Benares and these works have since been published. 'Nama Kaumidi' was reported to be available at the Marudhanallur Mutt of Sridhara Swamigal till 1966 though in poor condition. Now it is not there.
Sri Sadguru Bodendra Swamigal is remembered not only at the annual celebrations at Govindapuram but at each and every bhajan wherever it is done. The learned and respected scholar, Ki.Vaa. Jagannathan made the profound statement that Bharath had undergone political, economic and social upheavals with its hours of glory and shame but at no time it had lacked in the presence of eminent men of devotion and sacrifice.
Sikkil Bhaskaran - Profile
SIKKIL R. BHASKARAN - VIOLINIST.............(b.4 May 1936)
Son of R.Rajagopala and R. Vedavalli and grandson of Ramaswami Pillai, a Bharatanatya exponent and recipient of the title of 'Kalaimamani' and 'Sangita Nataka Academy Award'. Bhaskaran was born at Sikkil. Learnt violin under Tiruvarur Subba Ayyar initially and then under the violin maestro, Mayavaram Govindaraja Pillai for seven years. Then he had his tutelage under Sangita Kalanidhi Rajamanickam Pillai. Made his debut at Kumbakonam as 'second to his master, Rajamanickam Pillai and independently as accompanist to the Pozhagudi Brothers. Got the prizes for young artiste from the Indian Fine Arts Society and in 1961 from the Music Academy, Madras for the 'Junior Artiste of the Year' with a gold medal. He is on the staff of the AIR since 1976 and has been accompanying leading vidwans in sabhas and on the AIR for over thirty-four years. A good violinist known for his soft and pleasing play with rich ragha bhava, improvisation and balanced swara exposition, he has been the recipient of several awards.
Son of R.Rajagopala and R. Vedavalli and grandson of Ramaswami Pillai, a Bharatanatya exponent and recipient of the title of 'Kalaimamani' and 'Sangita Nataka Academy Award'. Bhaskaran was born at Sikkil. Learnt violin under Tiruvarur Subba Ayyar initially and then under the violin maestro, Mayavaram Govindaraja Pillai for seven years. Then he had his tutelage under Sangita Kalanidhi Rajamanickam Pillai. Made his debut at Kumbakonam as 'second to his master, Rajamanickam Pillai and independently as accompanist to the Pozhagudi Brothers. Got the prizes for young artiste from the Indian Fine Arts Society and in 1961 from the Music Academy, Madras for the 'Junior Artiste of the Year' with a gold medal. He is on the staff of the AIR since 1976 and has been accompanying leading vidwans in sabhas and on the AIR for over thirty-four years. A good violinist known for his soft and pleasing play with rich ragha bhava, improvisation and balanced swara exposition, he has been the recipient of several awards.
Banni Bai - Profile
BANNI BAI - MUSICAL DISCOURSE ARTISTE.............(b.1912)
Alamelu Manga Thayar, daughter of Doraisami became Banni Bai because of residence and contacts with marwari people. She has had training or special coaching with several experts like
Songs & kritis - Balu Pillai and Narayanaswami Ayyar
Abhinaya and mudras - Mahadeva Ayyar
English and Tamil - Swaminatha Ayyar
Marathi - Markandeya Brahmacharya
She learnt Kannada and Sanskrit also. She learnt kalakshepam art from Vijaya Bhagavathar and Kalyana Sastrigal. Banni Bai, gratefully remembers her guide and mentor, Bangalore Nagarathinamma, a respected lady who first constructed the Samadhi of Tyagaraja at Tiruvaiyaru. In recognition of the versatility, singing capability and scholarship of Nagarathinammal, she wrote her biography. Banni Bai follows the Tanjore method of rendering harikathas. She has had her programmes in the whole of India in hundreds.
Recognition came in the shape of Kalaimamani title from the Tamil Nadu Eyal Isai Nataka Mandram, Chennai Sangeeth Natak Academy Award in 1987.
Has acted in the fil 'Sakku Bai. The 'Hindu', Madras stated that her clearly enunciated speech educates and regales the listeners with axioms and anecdotes ' and records that she is one of the most versatile practitioners of the art .
Alamelu Manga Thayar, daughter of Doraisami became Banni Bai because of residence and contacts with marwari people. She has had training or special coaching with several experts like
Songs & kritis - Balu Pillai and Narayanaswami Ayyar
Abhinaya and mudras - Mahadeva Ayyar
English and Tamil - Swaminatha Ayyar
Marathi - Markandeya Brahmacharya
She learnt Kannada and Sanskrit also. She learnt kalakshepam art from Vijaya Bhagavathar and Kalyana Sastrigal. Banni Bai, gratefully remembers her guide and mentor, Bangalore Nagarathinamma, a respected lady who first constructed the Samadhi of Tyagaraja at Tiruvaiyaru. In recognition of the versatility, singing capability and scholarship of Nagarathinammal, she wrote her biography. Banni Bai follows the Tanjore method of rendering harikathas. She has had her programmes in the whole of India in hundreds.
Recognition came in the shape of Kalaimamani title from the Tamil Nadu Eyal Isai Nataka Mandram, Chennai Sangeeth Natak Academy Award in 1987.
Has acted in the fil 'Sakku Bai. The 'Hindu', Madras stated that her clearly enunciated speech educates and regales the listeners with axioms and anecdotes ' and records that she is one of the most versatile practitioners of the art .
Baluswami Dikshitar - Profile
BALUSWAMI DIKSHITAR - MUSICIAN - COMPOSER.....................................(1786 - 1859)
Baluswami Dikshitar was the son of Ramaswami Dikshitar, the scholar-composer, and a brother of Muthuswami Dikshitar, one of the Carnatic Musical Trinity. Baluswami Dikshitar was tutor to the Ettayapuram Rajah too and the ward built a house for his guru even as Swati Tirunal did for Vadivelu of the Tanjore Quartette. Saranga, Durbar, Kanada and Rudrapriya were the favourite ragas of this composer-musician.
Baluswami Dikshitar was a multi-faceted personlaity who could play on the family asset of vina besides Swarabat, Sitar and Mridangam. He was at Manali near Madras with his father and Chinnaswami Dikshitar when Muthu Venkata Vaidyanatha visited. At the instance of their father, the brothers sang 'Nannu Parikshinchunela' to the satisfaction of the visitor to qualify for his father receiving two great works called 'Chaturdandi Prakasia' and 'Raghalakshanam'.
Muthukrishna Mudaliar and Venkatakrishna Mudaliar of Manali extended much patronage and it was at their instance, an European violinist taught Baluswami Dikshitar to play on violin (1806-1814) and he adapted his play to suit the genius of Carnatic music. His brother Muthuswami Dikshitar composed 'nottuswarams' in Sankarabharanam raga to practise with. Thus Baluswami Dikshitar is credited to be the pioneer to introduce violin in the South and Tanjore Vadivelu popularised it. This is, however, disputed on the basis of a painting of 1794 A.D. on the walls of Darya Daulat, Srirangapattinam and the wooden panel on the car of Lord Ranganatha. Sangita Kalanidhi T.Chowdiah has claimed that violin is only the 'dhanur veena' of old and that a representation of the violin is found on the walls of Sri Agasteeswara temple at Trimakuta on the Cauvery. The contention is that violin was no stranger to India.
Baluswami Dikshitar started his career on his return to Tiruvarur from Manali giving concerts with Chinnaswami Dikshitar. The brothers are stated to be the first among duos of prominence known to history. He had been honoured by Samasthanams and from 1825 was Aasthana Vidwan at Ettayapuram, at which place, Muthuswami Dikshitar during his visit breathed his last. Baluswami Dikshitar has composed varnams in Natta- Ata and Rudrapriya, Vasanta and Durbar. He had set to music compositions of his patron, Ettayapuram Rajah.
Once Sonti Venkatasubbiah claimed 'Takka' raga as a family credit and asked Baluswami Dikshitar at Manali to sing it. It is said that Dikshitar sang 'Aramajja Apavada' / 'Nanu Parikshinchu Nela' in that raga repudiating the claim of Venkatasubbiah. In fact, Muthuswami Dikshitar had composed 'Sundaramurtim asrayami' in the same raga in praise of Sundaramurti Nayanar .
Baluswami Dikshitar was the son of Ramaswami Dikshitar, the scholar-composer, and a brother of Muthuswami Dikshitar, one of the Carnatic Musical Trinity. Baluswami Dikshitar was tutor to the Ettayapuram Rajah too and the ward built a house for his guru even as Swati Tirunal did for Vadivelu of the Tanjore Quartette. Saranga, Durbar, Kanada and Rudrapriya were the favourite ragas of this composer-musician.
Baluswami Dikshitar was a multi-faceted personlaity who could play on the family asset of vina besides Swarabat, Sitar and Mridangam. He was at Manali near Madras with his father and Chinnaswami Dikshitar when Muthu Venkata Vaidyanatha visited. At the instance of their father, the brothers sang 'Nannu Parikshinchunela' to the satisfaction of the visitor to qualify for his father receiving two great works called 'Chaturdandi Prakasia' and 'Raghalakshanam'.
Muthukrishna Mudaliar and Venkatakrishna Mudaliar of Manali extended much patronage and it was at their instance, an European violinist taught Baluswami Dikshitar to play on violin (1806-1814) and he adapted his play to suit the genius of Carnatic music. His brother Muthuswami Dikshitar composed 'nottuswarams' in Sankarabharanam raga to practise with. Thus Baluswami Dikshitar is credited to be the pioneer to introduce violin in the South and Tanjore Vadivelu popularised it. This is, however, disputed on the basis of a painting of 1794 A.D. on the walls of Darya Daulat, Srirangapattinam and the wooden panel on the car of Lord Ranganatha. Sangita Kalanidhi T.Chowdiah has claimed that violin is only the 'dhanur veena' of old and that a representation of the violin is found on the walls of Sri Agasteeswara temple at Trimakuta on the Cauvery. The contention is that violin was no stranger to India.
Baluswami Dikshitar started his career on his return to Tiruvarur from Manali giving concerts with Chinnaswami Dikshitar. The brothers are stated to be the first among duos of prominence known to history. He had been honoured by Samasthanams and from 1825 was Aasthana Vidwan at Ettayapuram, at which place, Muthuswami Dikshitar during his visit breathed his last. Baluswami Dikshitar has composed varnams in Natta- Ata and Rudrapriya, Vasanta and Durbar. He had set to music compositions of his patron, Ettayapuram Rajah.
Once Sonti Venkatasubbiah claimed 'Takka' raga as a family credit and asked Baluswami Dikshitar at Manali to sing it. It is said that Dikshitar sang 'Aramajja Apavada' / 'Nanu Parikshinchu Nela' in that raga repudiating the claim of Venkatasubbiah. In fact, Muthuswami Dikshitar had composed 'Sundaramurtim asrayami' in the same raga in praise of Sundaramurti Nayanar .
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