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Music in Chennai

The city is known for its classical music shows. Every December, Chennai holds a five-week-long Music Season, which has been described as one of the world's largest cultural events. The Music Season encompasses performances (kacheries) of traditional Carnatic music by hundreds of artists in and around the city. This happens during the Tamil season of Margazhi and this period is a festive and joyous time in chennai. The mercury lies in the low twenties and the music rendered by the great musicians is soul-stirring and sensational. Carnatic music makes the December season a must-experience for visitors to Chennai..

The Sabha Culture of Chennai

Historically the word Sabha may have meant a congregation of people for various reasons but in modern parlance it stands for any organisation that supports the performing arts. It began as a uniquely Chennai phenomenon and from then on spread to first other parts of what was then Madras Presidency and later to the rest of India.

Chennai was uniquely positioned for the birth of such a concept. When Chennai or Madras first came into existence in 1639, the performing arts were dependent exclusively on the patronage of the rulers, landholders and noblemen. They held private soirees to which their intimate friends were invited or on occasion sponsored public performances in temples or open spaces where the ordinary folk could attend. Temple festivals and weddings in the houses of the rich were occasions when people could attend these performances without invitation.
As Chennai grew, it was not possible for any one person to take on the role of patron. Thus it was that from the 1850s onwards, groups of well-to-do persons got together and organised performances. These were informal gatherings where the fee for the performers were borne by the organisers and the venue being a public space was free of cost. Audiences did not buy tickets and during the performance a plate was passed around so that those who voluntarily wished to contribute could do so. Such collections were handed over to the performers in full.
A very egalitarian form of entertainment was the Harikatha which involved the telling of a moralistic or religious story to the accompaniment of music and dance. These recitals involved multiple languages and plenty of emotion of which humour was the dominant element. Not surprisingly this found great favour with the public and the first few Sabhas of Chennai were formed keeping only the Harikatha in mind. The Bhakti Marga Prasanga Sabha was formed exclusively for Harikatha performances by only one artiste – Tanjavur Krishna Bhagavatar who is considered to be the progenitor of the art form. It was only when he was not available that other artistes were considered. The Sri Krishna Gana Sabha (an earlier organisation with the same name as the present one) and the Sarada Sangeetha Sabha also operated on similar lines. An exception was the Tondaimandalam Sabha which was perhaps the first in the city, having come into existence in the 1880s. Led by C Muniswami Naidu, its energetic secretary, it operated from the Tondaimandalam School on Mint Street and organised music performances and pioneered the concept of Rama Navami and Gokulashtami festival series. In 1887, the Tondaimandalam Sabha introduced ticketing, with disastrous results. For a concert by Maha Vaidyanatha Sivan tickets were sold and when the artiste reached the venue he found several of those who had come empty-handed to listen to him being turned away. On coming to know of the reason Sivan, highly incensed at his performance being “sold” thus, cancelled his concert and repaired to the Parthasarathy Swami temple in Tiruvallikeni and sang there for free, for three evenings in succession. Plate collections came to Rs 750, a princely sum; far exceeding what any Sabha could have given him. The ticketing experiment was temporarily shelved but soon revived and became the norm. With the demand for Carnatic music performances on the rise, more Sabhas came into existence. Over the years some sabhas vanished. One of these was the Tondaimandalam Sabha which apparently had very well-informed and rather aggressive audiences. When the percussionist slipped on the beat, the audience booed him and made him stand and play on the mridangam for the rest of the performance by way of punishment. The Sri Parthasarathy Swami Sabha came up in Tiruvallikeni in 1900. It was established by Manni Tirumalachar, holding its performances in the MKT School and later at the Hindu High School in Triplicane. Today it is the oldest surviving Sabha in the city. Mylapore, which is today the centre for Carnatic music was rather late in having its own Sabha. But by 1905 Luz and its environs had developed into a posh residential locality with several top-ranking lawyers and judges building their palatial residences there. The Mylai Sangeetha Sabha came up in response to this elite audience in 1919. Despite its high profile clientele, it was a rather rough and ready Sabha, operating out of the Vanniyar School on narrow Nadu Street. The thatch-roofed assembly hall of the school was the venue for concerts held every Sunday afternoon. The performances were timed to begin before the inauspicious rahukalam and lasted four-and-a-half hours. Seating for audiences was on the floor with a rope dividing the men from the women. Answering nature’s call, for musicians and audiences meant relieving themselves behind a conveniently located jackfruit tree. Tickets were an accepted practice and season tickets at the Sabha cost 25 paise. Artistes were welcomed on arrival with a bottle of soda and a packet of a mix that soothed the throat. Concerts were held in a friendly atmosphere with members of the audience shouting out requests and the musicians obliging them. By 1924 making a name at the Mylai Sangeetha Sabha was considered very important among the artiste fraternity. The venue was not without its perils for the thatch housed a family of scorpions members of which would fall on the assembled throng causing much uproar. The arrival of the Music Academy in 1928, following a resolution passed at the All India Music Conference that was held the previous year in Chennai, saw a new type of Sabha. Supported largely by professionals in various fields, it pioneered the concept of a registered body with byelaws to foster the arts. It also pioneered the December Music Season, a unique Chennai festival of fine arts that lasts from mid-November to end January when over sixty organisations conduct over 2000 programmes. These organisations have played a key role in providing patronage for the arts in the post-independence era when state sponsored patronage began to wane. Tickets are sold for performances by senior and established artistes while juniors are provided performing slots for which there is no admission fee. This ensures that seniors as well as juniors in the field are given opportunities. The sabha is thus truly an egalitarian concept, where without any governmental help, the arts are provided sustenance entirely through private initiative.
THE MUSIC ACADEMY, Madras, is an eighty-year-old institution devoted to the cause of Carnatic Music.

Music Academy, Chennai – ptkarch

Music or food: Which is the bigger draw during Chennai’s Margazhi season?

During the annual season, sabha canteens offer innovative dishes such as watermelon rasam to draw a larger crowd. It is lunchtime on a warm December afternoon in Chennai – that period of the year when the city plays host to the annual Madras Music Season. An impressive line-up is scheduled to perform at the Narada Gana Sabha, one of the more popular concert halls. But curiously, its entrance is deserted. Instead, the crowds are congregated at a small canteen behind the hall. Women in their kanjivarams, youngsters in kurtas, pyjamas and stoles, and older men in silk veshtis sit side by side at long tables, waiting for the elai sapadu, or meals, served on the banana leaf. While some servers are busy ladling rice, sambar and payasam onto the leaf, others take orders of rice meals, sweetmeats and filter coffee from the rapidly burgeoning crowd.

The sight is common at Chennai’s music and dance festival, which is held at nearly 50 venues during the Tamil month of Margazhi. While the decades-old festival is synonymous with Carnatic music and classical dance, it is increasingly becoming known for the sabha canteens, whose scrumptious food draws music connoisseurs and epicureans alike.


“A canteen would once sell coffee and bajji (fritters),” said Balaji Pattappa, the owner of Pattappa’s, which caters at one of the oldest sabhas, the Madras Music Academy. Things began to change around six-seven years ago, when menus were made more creative and expansive. To the traditional items, such as keerai vada, vatha kuzhambu and kootu, were added new innovations like watermelon rasam and vegetable payasam. This attracted larger crowds, and seeing the footfall rise, “the sabhas too gradually began giving importance to food”.


“You cannot listen to good music when you’re not full,” declared Unnikrishnan, a music rasika, or connoisseur, from Coimbatore, who has been attending the Margazhi festival for over a decade. “Also, in Chennai, nothing runs without coffee.”


The music season is spread over 10 weeks – from mid-November to January – and, according to Uma Srinivasan, sabha canteens make life easy for avid music enthusiasts like her during this extended period. “When you come for a kutcheri (musical performance), you [don’t have time to] cook and neither can you [head somewhere to eat something] in the break as you have to come back for another concert,” she said. “So this tradition started out as a convenience.”


Most sabha canteens serve four meals a day – breakfast, lunch, evening snacks and dinner. Though their prices may be on the higher side, most people don’t seem to mind it. “These [canteens] are very helpful, especially for people with season tickets,” said Unnikrishnan. “I normally combine [some of my] Chennai trips to coincide with this festival.” The salubrious weather in the city during the winter months also adds to the appeal of the food.


Varied treats

The canteen at the Sri Parthasarathy Swami Sabha is full of customers – including rasikas, office-goers and children – who are intently reading the menu board put up by the caterers, Mountbatten Mani Iyer. Dishes such as papaya roast, sweet potato vadas, badam polis and chikku pudding have made Mountbatten Mani Iyer a household name in the city. “It is our third hat trick this year with this sabha,” said K Srinivasan, with a smile. Srinivasan and his father Mani Iyer have been in the catering business since the 1960s. “People have told me that they save money for 11 months just for these 20 days at the festival,” said Srinivasan. “When you go to a hotel and have lunch, you usually feel very heavy. But our food is very light.”


The history behind the caterer’s name is as colourful as its menu. “Before Independence, Lord Mountbatten came to Madras to the government building in Guindy,” said Srinivasan. “At that time, my father was around 17, and he got an order to make a pure South Indian lunch comprising badam halwa, potatoes, sambar rice and pal payasam. As a way of praising my father’s excellent food, Lord Mountbatten conferred the title upon him.”


Entry into the sabha canteens was once restricted to people with concert tickets. But after the canteens were opened up to everyone, the kutcheris and canteens began having their own audiences, says Patappa – now “there is no connection between the kutcheris and food”. Nevertheless, catering for the sabha canteens will always remain a “gamble”, says Srinivasan. “If we cook for 200 people and only 100 turn up, it is a loss for us. At the same time, if we get more guests, we have to make more food. No matter what, our job is to get the food going by 7.30 in the morning.”


For the hordes thronging the canteens, the experience is as much about food as it is about the sense of community and conversation. Uma Balan, who lives in Malaysia, visits Chennai every year in December to attend the concerts. “The sweets here are exotic and the waiters serve [them fresh] with pure ghee,” she said. “I also noticed that whenever I eat food in a particular sabha, a person sitting beside me will suggest a dish to try from another sabha.”


Music of Tamil Nadu has a long tradition and history going back thousands of years. Music is a very important aspect of marriage and temple festival Tamil people.

Some of the famous music academy in Chennai

  • The Music Academy – Old No. 306, New No. 168, T.T. Krishnamachari Road, Royapettah, Chennai, Tamil Nadu 600014 ·
  • Madras Music Academy – Radhakrishnan Salai, The Music Academy, Gopalapuram, Chennai, Tamil Nadu 600086.
  • Chennai Music Academy – 164, Sri Devi Garden Main Road, Tirupathi Nagar, Valasaravakkam, Chennai, Tamil Nadu 600087 ·
  • L R Music Academy – NO 7, 24, Karumari Amman Koil St, Alagiri Nagar, Vadapalani, Chennai, Tamil Nadu
  • R. K. Music Academy – New No 5, Old No 42, Sakthivel Nagar, Balaji Nagar Main Road, Anna Salai, Kolathuvallur, Chennai, Tamil Nadu 600082
  • Western Music Academy – 24\/11, 3rd Street, Padmanaba Nagar, Adyar, Chennai – 20, Chennai, Tamil Nadu, Tamil Nadu 600020.

Music personalities

Bombay Sisters
Dr. Nithyashree Mahadevan
Sudha Raghunathan
K J Yesudas
P Unni Krishnan
M Balamuralikrishna
Priya sisters
Aruna Sairam
Semmangudi Srinivasa Iyer
Bombay Jayashri..

Music personalities

Madras Music College
Trinity College Of Music.
Music College
Chennai School of Music

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