Vidushi Brindha Manickavasagan presented a concert dedicated to the compositions of Sangita Kalanidhi Tanjavur K. Ponniah Pillai. A thoughtful musician with a resonant voice, Brindha’s style leans towards a straightforward presentation, without the ornamentation of excessive brigha, which made for a refreshing change.

The crisp ninety-minute concert began with the varnam Natha Navalar in Kedaragaula, followed by the kriti in Hamsadhwani Sanga Tamizh Moondrum set to Adi tala. Brindha, who has completed her doctoral research on Ponniah Pillai, very briefly shared the biographical details of the composer’s life and musical contributions.

Ponniah Pillai

K. Ponniah Pillai (1883–1945) was the only son of Kannuswami Nattuvanar and the great-grandson of Sivanandam. His training spanned vocal music, nattuvangam, mridangam, veena, and violin under his father, and further vocal training under Tiruvotriyur Tyagayyar, son of Veenai Kuppayyar. He served at the Summer School of Music, Madras University, and later headed the Department of Music at Annamalai University.

Ponniah Pillai composed in both mela and janya ragas, mostly in Tamil, covering diverse themes from deities to contemporary subjects such as education and agriculture. His works include varnams, kritis, geethams, tana varnams, swarajatis, jatiswarams, tillanas, and more. He authored Raja Annamalai Tamizhisai Karuvoolam and Eyal, published Tanjai Peruvudaiyan Perisai and Navasandhi Kavuthuvam, and was a key figure in the Tamil Isai movement. K. Ponniah’s compositions in the Raja Annamalai Tamizhisai Karuvoolam book: this book was one of the volumes of the Isai Tamizh series published by Annamalai University (the 18th volume) and this had exclusively K. Ponnayya Pillai’s compositions, the book was edited by Ramanathan Chettiar. It was published after Ponnyya’s passing,

Following a brief on the composer, Brindha introduced a vara geetham of Ponniah Pillai, presenting Surya Bhagavanai in Sourashtram. While the day was a Saturday, the audience received the kriti to the Sun God, usually sung on a Sunday, with interest.

A brief alapana of Bilahari led into the swarajati Tamadameno. It is not often that such pieces find a place in kutcheris. Akshay Ram’s mridangam accompaniment was lively, his sollus blending well with the swaras in the swarajati.

This was followed by a jatiswaram composed by Ponniah Pillai for Balaswaraswati, set in sankeerna nadai, Adi tala. Both Brindha and Akshay Ram presented it with energy and precision.

The centrepiece of the morning was the sapta raga-tala malika Ninaintodi Vanden, considered Ponniah Pillai’s magnum opus. The composition unfolds in seven parts, each combining a distinct raga and tala with a thematic focus. The first, in Todi raga set to chatusra Dhruva tala, describes the majesty of Siva. The second, in Purvikalyani raga and Mattiya tala, portrays the beauty of Periyanayaki. The third, in Bhairavi raga and chatusra Roopaka tala, depicts Mahishasuramardanam, while the fourth, in Kalyani raga and misra Jampa tala, is dedicated to Ardhanariswaram. The fifth, in Kambhoji raga and tisra Triputa tala, illustrates Lankeswara playing on his veena. The sixth, in Mukhari raga and kanda jati Ata tala, expresses the nayika’s plea to Lord Brihadeeswara to free her from the cycle of births. The seventh and final section, in Varali raga and chatusra Eka tala, conveys the nayika’s yearning for the Lord’s grace, drawing a parallel with the redemption of bhakta Markandeya. N. Madan Mohan on the violin provided steady support, though his playing was more functional than expansive. The concert concluded with a tillana in Sankarabharanam.

A reasonable audience, including several music students, attended the Saturday morning programme. While the concert was well-rendered and informative, it was announced as a research-based endowment presentation. Given Brindha’s doctoral expertise on the subject, a short explanation of each kriti’s structure and features might have enriched the experience, especially for students of music and dance. The distinction between K. Ponniah Pillai and the earlier Ponnayya of the Tanjore Quartet is often unclear, and this would have been an opportunity to share theoretical insights alongside the music. Nevertheless, the presentation was excellent, offering a valuable introduction to a composer whose works deserve more attention. 

by

Sukanya S