Classical music buffs are not indifferent to the announcement of awards. Each time the Padma awards are bestowed, the list is promptly diffused and lot of pleasure goes in studying these lists and delivering a verdict on them.
This year, instrumentalists have been in the news. Two maestros, violinist M.S. Gopalakrishnan and vocalist-mridangist T.V. Gopalakrishnan were honoured with the Padma awards this Republic Day. The two artistes share more than just a name. Of course name-related confusions have been since long brought to a close by the widely used acronyms, MSG and TVG respectively. Both musicians share a penchant and a mastery over Hindustani music. While M.S. Gopalakrishnan was groomed in the illustrious family tradition called the Parur tradition, TVG basked in the Chembai lineage. Both created their space on the solo concert field. Both share largely eclectic styles and have their fair share of followers and others. On stage though, they are curiously different. While MSG wields the violin with a benign smile leaving the listener intrigued, TVG’s flamboyance is all pervading and without mystery.
Many years ago I had visited MSG’s house in the heart of Chennai — an old family home, reminiscent of the city of the days of yore. While I awaited the maestro, his wife gently opened the in-built cupboards, archetypal storage spaces in living rooms of old homes of Chennai.
This was her way of making guests feel at home and it was not a futile effort. An array of violins was on display within and quietly filled the space with the heritage of the Parur
tradition, leaving you to imagine the musical journey.
My connection of several years with TVG goes back to the mid 90s. I had the honour of sharing the stage at a music conference in Delhi. Unhesitatingly, he strode up to me and showered unfaltering appreciation for my presentation. As a young musician, I was overwhelmed by his humility and his praise. Since then, I have been observing the artiste and the man behind the musician. Always welcoming into his calm house in Chennai, with the unmistakable Kerala touch in his Tamil that never wore off, rarely mincing words and making the unpleasant sound humorous, TVG is as interesting a company as an artiste. He would often take me by surprise with the uncanny candour and simplicity with which he analysed the current affairs of the Carnatic world — synonymous with the Chennai music scene.
I have always left his company light-hearted with more than a few laughs shared. TVG is a polyvalent artiste combining a pedagogical approach with his concerts, his demonstrations, his organisational skills. Padma awards to these musicians reaffirms a country’s faith on the contribution of music to societal growth.
Classical concerts scenes are not without their part of anecdotes. Recently, a leading mridangist was in the limelight for different reasons. I was not there at the concert and was not witness to the happening. But news on the Internet travels at the speed of light and within minutes I could lay my hands on the incident, quoted verbatim, different versions of it, detailed analysis, both objective and scathing. The audience found the artiste overpowering in his attitude, even slighting and disdainful. Ego seemed to tower above all, roared the internet.
He should be boycotted, said another. What a way to behave, said the third. Some took a mildly generous stance in a feeble attempt to “understand” the behaviour but were quelled down by fellow netizens. Of course, I have no desire to proclaim my sentence on the issue, not knowing the exact context. However, one thought does flash across the mind. Can the artiste really tower above his ego? Can art not assume its greater position over the man?
Is it not meant to size man down, make him take cognisance of his smallness in front of art?

Dr Vasumathi Badrinathan is an eminent Carnatic vocalist based in Mumbai. She can be contacted on vasu@vasumathi.net