Margazhi Melodies: Enunciating Lalitha Sahasranamam

Tadapally Lokanatha Sarma, a former central government servant had the privilege of undergoing training under Isai Peraringnar Chittoor Subramania Pillai, Musiri Tirupamburam Swaminatha Pillai and T. Brinda, to mention a few. With his deep roots in classical tradition and his music full of bhava, he has presented classical concerts in all important cities and towns and has won several awards and titles.    

When he was a boy, his ambition was to become an Army officer. What changed the course of his life?

“My father was very particular that I learn music, my family had a tradition of music. My father resigned his job in the defence accounts department in Pune, came to Vijayawada to take up a teacher’s post and studied music from Chilakapapudi Venkateswara Sarma, a composer,” he said. My father took up the challenging task of composing songs. Each of the thousand names of Devi can be found in the Lalitha Sahasranamam referred to as Lalitha Rahasyanam Sahasraakrutulu. At this concert  for ‘Chennai Fine Arts,’ he presented the Devi kirtanas of his father ‘Tadapally Venkatasubramania Sastrigal (Swamy Pranavananda Bharathi Kumar) in a soulful recital.

The renditions were unique as each kriti began with the name of the Devi in the Sahasranama and each name was expanded for its significance and profundity. It was apparent the he had decided to give a rasa orientation to the concert without being obsessed with misleading ideas of a kutcheri skill. There was no gimmick and he could meet the requirements of genuine music productivity with a robust voice and perfect enunciation. The Chittoor Subramaniya Pillai style was evident in this fine concert.  

What is the uniqueness of your style?

Carnatic classicism is raga-based.  The ragas of its traditional legacy are gamaka based.  It is because of its special gamaka features that each raga of the Carnatic inheritance is unique.  It has a name because it has a face which is very expressive.

Your views on the present day classical presentations?

The type of superficial talent that can revel in melodic scales cannot meet the demands of genuine Carnatic classicism. Knowledge of the raga is needed for authentic Carnatic artistry.  Certainly this implies deep knowledge of the gamaka.  If the gamaka insights that count in Carnatic music elude the grasp of the scale, the talent becomes peripheral. My guru Chittoor Sri Subramanya Pillai, taught me to render a raga with deep insight and not with all the jhala of swara skill.  Sometimes we miss the soul of the raga and its vibrant life.

Music is devotion and devotion is music.  Devotion towards whom?

Devotion towards God Almighty.  What is God?  God is truth personified. The search for the truth is the ultimate motive behind music, deliverance of which is bhakthi ensconced music.