Parassala Ponnammal – An evershining nightingale of Carnatic music
The passing away of my worshipful Guru, Padmashri Parassala B Ponnammal has caused a great void in the saga of Carnatic music. Being a humble fortunate Shishya of the great legend, I wish to share my matchless experiences I am blessed with.
After the successful run in Ragaratnam Junior (telecasted by Amrita TV) during 2008, it was on a rainy day in June, that I visited the house of my guru for the first time. She was a regular viewer of the reality show & on seeing me complimented the way Dakshinamoorthy Swami appreciated my music by invoking Lord Vaikathappan’s blessings & saying “Best Kanna Best”. I introduced myself as the grandson of Vidushi N Lalitha whom she had taught during her college days. After few minutes of casual talk related to music, the venerable teacher asked me to render Alapana in the raga Mayamalavagowla. Once ragalapana got finished, the formal training began for the first time with the krithi Mooladhara Kshetra in raga Mayamalavagowla itself praising lord Vinayaka; a not so commonly heard song composed by Kallidaikurichi Dr E.S. Sankaranarayana Iyer. At the end of first day’s class itself, my teacher was impressed with my ability to grasp the lessons reasonably quick which made her wholeheartedly accept me as a disciple. I was fortunate enough to become the youngest disciple of great doyen Parassala B Ponnammal. Being a resident in the same street of Valiyasala in Thiruvananthapuram city it was very comfortable for me to attend the music classes regularly twice or thrice a week without any break.
My initial days of classes
Audio excerpts of learning the Syama Sastri composition Palinchu Kamakshi in raga Madhyamavathi :
What I respect most is the fact that, she would teach as per the requirement of Shishya so that their needs are satisfied. Such a great quality she possessed. My penchant for learning tough compositions of the Trinity was fulfilled within a short span of time. She started teaching compositions such as Durusuga (Saveri), Amba Neelayatakshi (Neelambari) & Chakkani Raja (Kharaharapriya) in the initial days itself and I cherish the memories of various venues where I had rendered these beautiful krithis. Her ability to patiently repeat each nuances of sangatis to ensure the perfection in rendition while teaching is unmatchable. She insisted that I learn a certain Ata tala varnas as well. Vanajakshi (Kalyani), Chalamujese (Panthuvarali), Samineepai (Anandabhairavi), & Samini Vegame (Nattakurinji) were some of them which she taught me.
In her musical repertoire, she possessed a vast storehouse of Maharaja Swathi Thirunal’s compositions as a result of her association with yesteryear masters like Harikesanallur Muthayya Bhagavathar, Semmangudi Srinivasa Iyer to name a few. Moreover she was the first ever lady performer in the prestigious Navaratri Mandapam which motivated her to popularize much of Swathi Thirunal krithis. Rendering complex Swathi Padavarnams such as Dani Samajendra (Thodi), Saveriha Tanuja (Saveri) & Sarasa Mridupada (Kamboji) was an easy cakewalk for her. I was fortunate to learn all those 3 padavarnas. Apart from that I learnt certain unique compositions of Swathi Thirunal such as Jagadeesa Sada (Nattakurinji), Rasa Vilasa (Kamboji), Pahi Tarakshu (Anandabhairavi), Devadeva Mam Palaya (Thodi), Paripahi (Mohanam), Bhavaye Sarasanabham (Keeravani); certain group krithis from Navaratri & Ulsava Prabandham series; Ragamalika compositions such as Sanandam Kamalamanohari & Bhavayami Raghuramam as well in the next 3 year of span.
She had the great fortune of learning Papanasam Sivan’s compositions from the legend himself during her official days in Music college. Under her tutelage, Sivan’s compositions Parvathi Nayakane & Saravanabhava (Shanmukhapriya), Tanigai Valar (Thodi) & Eesane (Chakravakam) were taught to me retaining the originality as she had learnt directly from the Mahavidwan himself which I rejoice the most. Soon after learning the composition Tanigai Valar, I rendered the song as the main-piece for a concert organized by Ambalapuzha Brothers Foundation held at Chembai Memorial Trust, Thiruvananthapuram witnessed by 2 legends Parassala Ponnammal teacher & Mavelikara Velukutty Nair sir. With god’s grace the concert went well and she was very proud with the way I presented the concert.
85th birthday celebrations of Ponnammal teacher in the year 2009
My Upanayanam function in the year 2011 – With teacher & family members
In the year 2009, I received Govt. of India’s CCRT Scholarship (Juniors category) for a duration of almost 9 years which helped me a lot to hone my musical skills at the best level under her masterly guidance. During the years of 2009-15, I picked up a maximum number of compositions with full vigour & passion. I vividly remember those days, when she had taught certain beautiful songs of Muthuswami Dikshitar such as Akshayalingavibho, Sadasivam Upasmahe & Sri Dakshinamurthe (Sankarabharanam), Manasa Guruguha (Anandabhairavi), Sri Satyanarayanam (Subhapantuvarali), Ramanatham Bhajeham (Panthuvarali), Bhajare Re Chitta (Kalyani), Hiranmayeem (Lalitha). Apart from that she had also taught me almost all the Dikshitar’s Navagraha krithis as well with due care & diligence so that the sangatis are internalized in the best possible manner. Whenever I attend the classes my voice recorder will capture all the lessons which she encouraged without any hesitation so as to make last minute references of them before rendering at public stages whenever required. Before starting a new composition, she begins with brief alapana if it’s a Janyaraga & an elaborate one for Melakarta or Sampoorna ragas so as to develop the knowledge level of Manodharma day-by-day. Once the krithi is completed, rounds of Swaraprastharas would follow one after another from both of us. Wherever there is scope for Neraval, she would select that portion which depicts the best outcome from the creator without compromising meaning of the krithi. While singing she believed that Sahitya(lyrics) should be given equal importance like music which is reflected in her renditions by the way in which she scrupulously splits lyrics of certain complex compositions due to her adept knowledge in Sanskrit language unlike other musicians who commonly commit such mistakes whenever they render the same. This quality of teacher is well regarded by fellow musicians, connoisseurs as well as music lovers in the Carnatic music spectrum. Ragas such as Anandabhairavi, Neelambari, Arabhi, Hindolam, Mukhari, Atana which provide limited scope for alapana were taught in a simplified approach. Ability to render them with utmost patience & sheer perfection is one of the hallmarks of her style.
When it comes to Tyagaraja krithis, I have to specifically mention her greatness & painstaking effort to accept my request for teaching me O Rangasayi in raga Kamboji even though it was not so often rendered by her. But still she taught me by illustrating the notated version of her guru from the music book which was available with me. Other krithis of the Saint such as Lokavana Chatura (Begada), Dinamani Vamsa (Harikamboji) & Enduku Peddala (Sankarabharanam) were my favorites out of her lessons. Even in case of Syama Sastri krithis, there is not much difference though limited number of his composition are available. Palinchu Kamakshi (Madhyamavati) & Ninnu Vinaga (Purvikalyani) are the 2 gems of Syama Sastri that one can find most common in her concert recordings. I had the privilege of learning them & presenting in certain concerts as well.
Ponnammal teacher had a especially fond of krithis with Chittaswaras (set of solfa passages) & had learnt a lot of such compositions.
She introduced to me various good krithis of some composers who are rarely rendered. Some of them are :
- Kumara Ettendra’s Gajavadana (Thodi),
- Tiruvarur Ramaswami Pillai’s Jagadeeswari (Mohanam)
- Mathrubhuthayya’s Neemadi Challaga (Anandabhairavi)
- Tanjore Ponniah Pillai’s Bruhadamba (Sankarabharanam)
- Tiruvisalur Venkatarama Sastri’s Paripalinchu (Suddhasaveri)
- Meeshu Krishna Iyer’s Dayapayonidhe (Jaganmohini)
- Prof. Srinivasan’s Kinkini Nadam (Sindhubhairavi)
Providing Vocal Support for a concert
Casual pics after my regular classes
Being an A-Top graded artist of All India Radio, with years of experience in performing for radio concerts, she insisted that I shall also secure gradation from All India Radio at the earliest. With God’s grace & guru’s blessings I was approved for gradation in both Vocal & Veena before the age of 16 years as a case of exemption. Her vocal lessons supported me in my Veena playing as well which enabled me to receive the Sri Shanmukhananda MS Subbulakshmi Fellowship 2015 for Veena as well. In later stages of upgradation also, she gave me necessary support by teaching requisite number of compositions to be rendered as per the time limit. I wish to attribute all my career success to almighty & my teacher. Without god’s grace & her support it would have been impossible.
2014 marked her 90th birthday which was conducted in a grand manner with a concert of Prince Rama Varma (who was the root cause in enabling teacher to become the first ever lady to perform at the historical venue of Navaratri Mandapam) along with his disciple Amrutha Venkatesh. My father being member of the organizing committee ensured all arrangements for performing artists so as to conduct the concert of Prince Rama Varma in a smooth manner. It was a rejoicing day for all the residents of Valiyasala Street. 2017 was so special for her in all respects due to the fact that she was awarded with country’s most prestigious award Padmashri which elated all her disciples, fellow musicians & music lovers though it was awarded a bit late.
With teacher & Dr. K Vageesh (Retd. Deputy Director General, Music, Prasar Bharati)
During the interview for selection of Ministry of Culture’s Scholarship to Young Artists (Senior category), I presented Chalamujese (Panthuvarali Atatala Varnam) taught by her which was well accepted by the judges present there. With god’s grace & her blessings I secured Govt. of India’s MOC Scholarship for Senior category as well for the period 2018-20. But unfortunately she started facing slight disturbances in voice while singing for long duration since 2018. It’s obvious that most musicians would face such difficulties once they cross mid 70s. But her music was as sublime as the flowing waters of the Ganges while performing on stage, though she had already crossed mid-nineties by the time. Once I started my articleship training as a part of Chartered Accountancy course, there was hardly any time left to concentrate much on music like olden days, as a result of which I missed most of the days spending time with her. Moreover she had also limited her teaching due to voice related difficulties & later on performed only for Navaratri Mandapam concerts & All India Radio/Doordarshan recordings. But whenever there is a need to learn compositions as a part of Scholarship schedule or for rendering in public stages, she would unhesitatingly adhere to teach me inspite of difficulties though I insisted not to do so. Such a work ethic she possessed which should be a role model for all music teachers. Certain other qualities of her such as Gurubhakti, always being honest & godfearing, following a disciplined work ethics, respecting fellow artists, accompanists & music lovers, greeting visitors with coffee, sweets & savouries are always admirable. Whenever I had an All India Radio recording for Vocal/Veena, she used to patiently listen to my performance & convey heartfelt appreciation & advice and suggest the scope for improvements.
Sri Dakshinamurthe in raga Sankarabharanam rendered on the auspicious Guru Purnima day 2020
With teacher & her grand-daughters after the Guru Vandanam
2020 was a terrible year due to the worldwide pandemic of Covid 19 as a result of which we all missed her Navaratri Mandapam concert (due to lockdown restrictions) for the first time in a span of 15 years since her debut concert at that stage during the year 2006. It was a bitter truth that this lockdown caused a melancholy mood to her due to various governmental restrictions. Normally visitors or disciples use to visit her frequently but that was not the case from then on which was totally strange. But still I was able to spend time singing Sri Dakshinamurthe & Manasa Guruguha with herself & grand-daughters on Guru Purnima day. On Vijayadasami day as well, she was in a receptive mood rectifying my mistakes in the song Sri Sukrabhagavantam (Navagraha krithi) though I didn’t believe it would be for the last & final time. 2021 was not different either. We were able to converse only through telephone. On a January day, she talked with me over phone for a long duration about my music and off topics as well. It was our final conversation. 5 months later, on the day of 22nd June she left us all for heavenly abode bidding adieu to her everloving disciples & music lovers. She may have physically left us but her musical legacy & values will live on forever like an everlasting lighthouse.
Revising Navagraha krithi Sri Sukrabhagavantam on the day of Vijayadasami in the year 2020 (This was our last meetup)