Carnatic music does not reward haste. It demands patience, discipline and loyalty to lineage. As the Hyderabad Tyagaraja Aradhana Music Festival (HTAMF) marked its 11th edition in January 2026, the Gurusanmanam legacy honours musicians for whom music has been a lifelong commitment shaped by parampara, not performance alone. In an interaction with CE, the artistes speak candidly about legacy, learning and the quiet rigour behind their music — reflecting on how tradition is lived, protected and passed on without losing its soul.
Beyond titles, still a student
Being recognised under the Gurusanmanam legacy of the HTAMF Foundation makes me reflect deeply on what it truly means to be called a guru. Titles alone do not define a guru. One must possess a strong classical foundation, profound knowledge, family legacy and parampara — without which there is no credibility. Teaching efficiency and background knowledge are essential. This honour, I feel, is not just for me but for music itself, as students today are practising well and exhibiting their talent fully. Merely knowing sampradaya is not enough; one must also develop one’s own legacy and depth of understanding. Having served as principal and head of department in several government music institutions, I never found administration to be a burden. Teaching was never separate from my identity as a musician, as I come from a strong musical lineage. Over the years, I have seen changes in formal music education, particularly a reduction in dedication, though I admire both institutional learning and the guru–shishya parampara. As a vocalist, violinist and viola player, I believe one must internalise music completely — when I sing, I must mentally accompany myself, and when I play, I must fully understand the vocalist. The viola, though still emerging in Carnatic music, is finding its space. After more than four decades, I still consider myself a student. Practice sustains my relationship with music, and while age brings limitations, the desire to learn remains unchanged.
Komandur Seshadri, Carnatic vocalist, violinist and viola player
Rooted in gurukul parampara
Being honoured under the Gurusanmanam legacy of HTAMF feels both like a blessing and a responsibility. This recognition comes from the education I received from my gurus and my parents, who initiated me into Carnatic music. I feel blessed to continue the path shown by my gurus and equally responsible to propagate this great tradition. Being recognised as a guru goes far beyond titles. I learnt music in a true gurukul system, living with my guru for over a decade. Music was never just about singing — it involved meeting people, learning literature, and studying Telugu and Sanskrit, which are vital to Carnatic music. The gurukul tradition shaped not only my music but my worldview. Classical music sharpens the intellect and brings discipline to practical life. It is not mere entertainment, but enlightenment. Its lyrical content teaches empathy, character and responsibility, even to those who are not spiritually inclined. When practised properly, it also supports physical health through breathing and structured discipline. Though breathing techniques were not emphasised during my childhood, I now strongly believe in pranayama and encourage the next generation to care for their breathing habits for vocal health. Every generation has had such concerns. Instead, I focus on spreading awareness about listening, learning, life skills and discipline through workshops and interaction, and I see encouraging results.
Manda Sudharani, vocalist
Life tuned through Jalatarangam
This Gurusanmanam gives me deep satisfaction, as it recognises my lifelong dedication to music and the years of practice and commitment I have invested in my profession. I see it not merely as a personal honour, but as respect offered to my gurus and to the Jalatarangam itself. I see myself equally as a guru and a performer — guiding students responsibly for the next generation, while continuously refining my instrument through daily practice. My journey with Jalatarangam began after presenting a concept using six ghatams in a 45-minute performance. While the response was encouraging, the physical strain led me to adapt the idea to Jalatarangam. I was drawn to its delicate sound, discipline, and the intense shruti awareness it demands. After nearly four decades of disparity, Jalatarangam helped me regain recognition and respect. Each kriti demands precise adjustment of water levels, requiring constant sensitivity to sound. Maintaining shruti needs embedded shruti and laya jnana — something my years of percussion practice have given me. Music is a universal language, and as long as there is interest and physical strength, the desire to perform never fades.
Nemani Somayajulu, percussionist and Jalatarangam artiste