South Indian Classical Flute’s True Maestro
The world of South Indian Classical (Carnatic) Music has
lost one of its doyens and probably one of its greatest Flautists after the
legendary T. R. Mahalingam, on the 9th of April 2015. Kalaimamani and Sangeetha
Natak academy Awards are two highly respected awards conferred on this humble
genius, loved and admired by all those who knew him. Although he deserved every
award that is in the music field, the commercially inclined organisations with
lack of awareness about the quality of music, catering to recommendations rather than substance, have left this unassuming great
flautist out. But, he didn’t care for awards and recognitions. His was
a simple life dedicated to music, students, family, friends and scores of
admirers in both the music and dance worlds. This maestro is none other than T.S. Sankaran, the legendary T. R.
Mahalingam's favourite student and also his trusted friend.
‘Sankaran Sir’ as
most of his students respectfully address him was such an unassuming person,
generous in how he shared his art with his students and a great master of his
art. He didn't have Godfathers to promote him. His success was through sheer hardwork,
self-reliance and of course, his genius musical brain. He was born in Sathanur,
a hamlet near Kumbakonam, Tamil Nadu. His great grandfather Sri Sathanur Panchanatha
Iyer was an authority on Dikshitar’s compositions, who was also one of the
guru’s of the legendary Veena player Dhanammal. Sri T. S. Sankaran’s father Sri
T.N. Sambasiva Iyer, was also a renowned flute player, who was the asthana
vidwan (court musician) of the Mysore palace for several years.
I have never heard a flautist play with more classicism than
my guru Sankaran sir. All so called maestros of flute pale in comparision to my guru Sri T.S. Sankaran's
music and the technique. His music was for musicians, yet so accessible and
enjoyable even to a layman. His technique - probably one of the very best
ever, his raga alapanas (improvised elaborations) - the very essence of the
ragas he handled. It was a lesson in classicism each time he played. His laya
(rhythmic aspects) - a tight rope walk even for the high calibre
percussionists. His blowing on the flute - one of the most sophisticated with
extra ordinary modulations. His sruthi (pitch) perfection - matchless. His
exposition of the timeless compositions – a lyrical expression of the emotion
therein, on the instrument. His flute sang as he knew the sahitya (lyrics) of
each composition he played. He was someone I would call a complete maestro.
Sri T. S. Sankaran never craved for fame and he was so
simple that he probably didn’t bother to promote himself. His name spread out
as the natural fragrance of a flower that spreads on its own due to its intrinsic nature. His well-wishers and his admirers spoke about him and his music, thus
drawing the attention of music organisations that invited him to present his
music in their festivals. I am personally so grateful to the late Pallavi
maestro and guru to many senior musicians, Sri Pallavi Venkatrama Iyer for
introducing me to Sankaran sir in the 80s when the former visited my house when
I was playing a raga and a composition on the flute, after having learnt only
the very basic Saralis. Sri Pallavi Venkatrama Iyer told my father and mentor I . R. Rama Mohan (a mridangam artist) that he wanted
Sankaran sir to see me play and give his opinion. I was very young and not did
not understand the significance of that discussion. When we visited Sankaran
sir, he heard me play and said I was a natural in music and on flute. He said
he would be very happy to teach me further. Thus started my journey of
studentship with the maestro Sankaran sir. Each time I went to his house, I
wondered at his simplicity. His demeanour at home was so simple but graceful.
He always wore a beautiful gold chain with a medal he received in a
felicitation function and a few golden rings on his fingers. He emanated that aura of an artist so elegant yet humble. He was so simple
in his clothing and in how he carried himself without any sort of showmanship. He
always was so dignified yet magnificent in his appearance when he played on the
flute without any mannerisms. He used to give his 100% energy to his flute
playing when teaching his students even when he seemed tired due to his daily
activities. I cherish his hand-written notes of those varnams and keerthanas he taught me, which he used to write for me with utmost patience. His hand writing was so beautiful like his heart. He was a giver par excellence. He practised yoga, the practice of which had diminished later in his life, probably thus making him vulnerable to the nature's cruel ways. Otherwise, we would be having him amidst us now. His posture was so erect with a
straight back and to watch him perform was a treat to the ears and eyes as his
appearance on stage was that of a dignified greatness. He was so much sought
after by top class dancers around India and abroad for his extraordinary skills
in setting to tune, their dance repertoire, composing for thematic
presentations and for his authoritative lead on the orchestral side which
invariably increased the quality of their presentations thus ensuring that the
performances were always grand successes and dancing to his music - an uplifting
experience in sheer classicism.
Although some with vested interest tried to disrupt Sri T. S. Sankaran sir's classical solo performing career with spreading of misinformation that he was busy playing
for dance, he shut them all up with his matchless performances in such
prestigious festivals like Akashvani Sangeeth Sammelan, regular prime-time concerts
on the All India Radio, state and national television and concerts in reputed
organizations, always accompanied by the best in the field. I have noted with
reverence how humble he would be after completing a fantastic concert, towards
his accompanists, often profusely thanking them for their ‘help’. He need not
have been so humble, but that humility was what made him so special and humane.
Everyone who came in contact with him loved him and respected him. He gave me the opportunity of accompanying his several concerts at All India Radio and public performances playing the Talam. I always remember the twinkle of mischief in his eyes when he played a very intricate swara prasthara (rhythmic improvisations to the composition set to specific metric cycles) with intricate calculations during his concerts that accompanists find very tough to follow. But he was so generous with his appreciation and encouragement towards his accompanying artists. He always made each one of them feel very special. I had great privilege to be
there on many such occasions and during his public performances too. Even to me, a
humble student who greatly admired his musicality, he used to say ‘I haven’t
taught you much, you are playing all of this due to your natural talent’, which
I feel, he had only said due to the greatness of his heart, but I feel it is
due to his generous blessings, that I am able to play whatever I do play. My playing definitely is fully influenced by his matchless style. He
gives his students so much confidence. He believes in each of them and so they
believe in themselves.
Sankaran sir used to travel to the USA and other countries often and
hence there used to be long breaks between when I used to go to him, but, he
used to make it a point to give me a call as soon as he came back to Madras
(Chennai) from his tours. There were many occasions when he had introduced me
to other artists and his acquaintances, talking very highly of my music, which
used to show the great soul in him that is so good at heart and full of compassion. I have not seen him ever show any signs whatsoever of any sort of
insecurities that we often witness even from very popular musicians in the music field, if not the entire art
field. He was always generous in praise for others. He believed in the philosophy of live and let live. He had shared with me several anecdotes about his guru, the legendary T. R.
Mahalingam which I treasure. Sankaran sir attended several concerts of mine on
the flute, violin solos and vichitra veena and blessed me with his presence and generous appreciation.
Sankaran sir’s legacy is being carried forward by some of his dedicated
students among whom flautist/vocalist Sriram Gangadharan and his grandson and disciple flautist J.A. Jayanth are two note-worthy
names. Sankaran sir's family could be classified as a musical family as along with his father and grand father being fine musicians as mentioned earlier, his wife Late Smt.Sundari was a fine vocalist and a dedicated teacher and his son S. Jayaram is a fine mridangist along side his highly demanding career in the Indian Government service. There is a lot one could do as a student of the legendary Flautist Sri
T. S. Sankaran, and the most important of that is to let the music world know
that some of his flute playing techniques, importance he gave to lyrics, his
understanding of certain finer aspects of handling of the ragas and the
compositions, are first of their kind ever in Flute’s history and also he
probably was the last of the maestros we have seen as of now. Sankaran sir was the finest example of a truely great musician with generosity, humility and thirst for more knowledge and also the rare quality of the ability and willingness to share what he knew with students and others. Everyone who had come in contact with him directly or indirectly can confidently and proudly say that there lived a true genius, a true maestro of flute, a fine human being and a great example of a musician! The younger generation needs to know about him and definitely must take a leaf out of his book in understanding what qualities a musician should possess. His family and family of students will
miss him dearly, but he lives in our hearts and in his music forever.
- Vijay Venkat
