About
Starting her musical career as a child prodigy, Dr. Smt. Rajam has attained a status of a legend in the field of music during her 50 years’ reign as a brilliant solo violinist. Ever since she ascended the stage as Hindustani violinist at the age of 15, a revolution took place in the North Indian music arena, particularly in the field of violin. She achieved at that young age what was thought to be almost impossible, even by the eminent musicians and musicologists, viz., tempering the western instrument for Hindustani vocal style of music. She introduced ‘Gayaki Ang’, to be specific, ‘Khayal Gayaki Ang’ on the violin with such consummate artistry that most musicians, particularly violinists were stunned at the results. Her contributions, to violin technique are considered to be on par with what Late Shri Pannalal Ghosh had done to flute, late Shri Bundu Khan had done to Sarangi, Ustad Bismilah Khan to Sehnahi. It was on account of this excellent technique and rendition that the doyen of vocal music, Late Pt. Omkarnath Thakur and made him accept her as his disciple.
Teenaged Rajam’s violin renditions were so captivating that many violinists dropped their ‘gatkari’ style and changed over to the Gayaki Ang. This style is one that was so perfected by a lifetime of discipline, hard work and arduous research that, today, ‘Gayaki Ang’ and Violinist Rajam as synonyms in the world of music. She has earned herself the distinction of being the pioneer in this respect.
Starting her musical career as a child prodigy, Dr. Smt. Rajam has attained a status of a legend in the field of music during her 50 years’ reign as a brilliant solo violinist. Ever since she ascended the stage as Hindustani violinist at the age of 15, a revolution took place in the North Indian music arena, particularly in the field of violin. She achieved at that young age what was thought to be almost impossible, even by the eminent musicians and musicologists, viz., tempering the western instrument for Hindustani vocal style of music. She introduced ‘Gayaki Ang’, to be specific, ‘Khayal Gayaki Ang’ on the violin with such consummate artistry that most musicians, particularly violinists were stunned at the results. Her contributions, to violin technique are considered to be on par with what Late Shri Pannalal Ghosh had done to flute, late Shri Bundu Khan had done to Sarangi, Ustad Bismilah Khan to Sehnahi. It was on account of this excellent technique and rendition that the doyen of vocal music, Late Pt. Omkarnath Thakur and made him accept her as his disciple.
Teenaged Rajam’s violin renditions were so captivating that many violinists dropped their ‘gatkari’ style and changed over to the Gayaki Ang. This style is one that was so perfected by a lifetime of discipline, hard work and arduous research that, today, ‘Gayaki Ang’ and Violinist Rajam as synonyms in the world of music. She has earned herself the distinction of being the pioneer in this respect.
The secret of Dr. Rajam’s genius lies in the fact that a strong foundation was well-laid by her father Vidwan Late Sri A. Narayana Iyer, an excellent teacher of music and man of great foresight. He invented a special violin technique for Gayaki Ang based on veena and vocal technique. Her tutelage under the doyen amongst musicians, Pandit Omkarnath Thakur, was a great boon to her. His powerful and emotion packed style, gave a further fillip to research into an hitherto unexplored area of violin playing and emerge out with a masterly and brilliant technique best suited to the delineation of different forms of Hindustani music. Be it the majestic aalap of Dhrupad, the lyrical Khayal, the romantic Thumri, lilting and soulful Bhajan, vivacious Natyasangeet, tricky Tappa, nothing poses a challenge to her masterly and magical bowing and fingering technique.
Solemnity is the keynote of Dr. Rajam’s concerts. Hon’ble Justice Shri. B.N. Srikrishna put it aptly in the following words; “Rajam is the link between divine music and reality in life. Some big power is motivating her and she and her music, in turn, motivate us. Listening to Rajam’s violin, one feels like having taken a step forward in the region of Brahmananda”. Her total involvement with the music and relentless pursuit of perfection, impeccable adherence to classical purity and precision of notes make her concerts stand out as unique in the festivals she participates. Her tuneful renditions as well as well as her charming manners and harmonious involvement with the accompanists have captivated and endeared her music lovers from all over the world. The violin jugalbandi is with eminent musicians including Ustad Bismillah Khan, Pt. Ramnarain, Pt. Hariprasad Chaurasia, Prof. T.N.Krishnan, Dr. N. Ramani and others were all noted for their serenity and sublimity. Despite being considered a musician’s musician she wears her deep knowledge with all humility and a passerby would not even suspect that is a repository of 4 rich traditions, viz., her own technique of violin, the erudite and emotional gayaki of Pt. Omkarnathji, the Thumri tradition of Banaras from Late Pt. Mahadev Mishra, and the Carnatic tradition from the purist Late Musiri Subramaniam Iyer.
Dr. Rajam is not only an exponent ‘par excellence’ of violin playing, but is also a brilliant academician. M.A. is Sanskrit; Ph.D. in Music and recipient of innumerable awards, gold medals for university first positions, Dr. Rajam is a noted scholar and had been serving the cause of music education at the Banaras Hindu University for four decades. The University has conferred on her the title “Emeritus Professor” in recognition of her outstanding talents and service to music.She is also the recipient of the Malaviya Award form BHU.
Dr. Rajam has played an active role in promoting and popularizing classical music in Varanasi through Pandit Omkarnath Music Foundation, of which she is the founder Chairman. She has served the UCG and the Government of India in various capacities including that of the Chairperson of the U.P. Sangit Natak Academy. Dr. Rajam is a recipient of the coveted Padmabhushan, Sangit Natak Academy Awards from Central and State Governments.
Today, Dr. Rajam’s technique draws no parallel in the world. Considering the position and the popularity of violin as an instrument in the world of music and the normal technique that is used, her technique is extraordinary which is envy for one and all. Many professional violinists from foreign countries regularly seek her guidance to improve their capabilities. Her achievements that are a dream-come-true for women’s lib enthusiasts have enabled her to hold on to her top position through out her career in the male dominated educational and musical field.
Despite her busy career involving extensive travelling to distant countries viz., USA, Canada, Czechoslovakia, Russia, France, Italy, Germany, Holland, Switzerland, New Zealand, Australia, and so on, she took sufficient care to groom her daughter Sangeeta (now Smt. Sangeeta Shankar). Sangeeta, like her mother is not only one of the finest violinists but is also a gold medallist in her educational career, and has acquired Ph.D. in Music.
Along with all her achievements, Dr. N. Rajam has also successfully passed on the musical legacy and tradition to her daughter, the well established violinist Dr. Sangeeta Shankar, and also to her grand-daughters, Ragini and Nandini who are pursuing music along with their studies.
