For nearly six decades, the resonant sounds of the ghatam have travelled with Tripunithura N Radhakrishnan across concert halls in India and around the world.
Beginning his musical journey at a young age under the guidance of his father, mridangam vidwan G Narayanaswamy, he went on to accompany some of the most celebrated names in classical music, including K J Yesudas and stalwarts such as Semmangudi Srinivasa Iyer and Madurai Somasundaram.
A recipient of the Kerala Sangeetha Nataka Akademi Award, Radhakrishnan has also dedicated himself to nurturing the next generation of musicians through the G N Swamy Trust Sangeetha Vidyalaya, a school he founded in memory of his father.
As he completes nearly 60 years in music, the veteran percussionist reflects on a lifetime shaped by rhythm, travel, and devotion to his instrument.
Excerpts:
Sixty years of music, with ghatam... How does that feel like?
It is only possible to continue so long when we love the field we work in, as the main requirement is ‘dedication’.
I have had the privilege of performing in so many countries. We even had an opportunity to perform in Pakistan once for SPIC MACAY. But we couldn’t follow through due to some issues at the time. Apart from this, I have been all around the world.
On the other hand, I have also missed out on my things as well. I couldn’t spend time with my family. My wife, Lalitha, raised our children (a son and a daughter) single-handedly, without letting them feel my absence. I spent years running behind extremely busy and packed schedules, but now I can be a little more selective about the performances I choose; otherwise, when will I get time to spend with them?
How did you first associate with Yesudas? How has that relationship evolved?
He is like my own elder brother. This year will mark the 50th year of my first ever performance with him, which was on March 31, 1976.
Our association began in January that year, when he was performing at Valanjambalam. My father took me along to the performance. Krishnankutty Nair, the mridangam artist, was accompanying him. My father told Krishnankutty Sir about my ghatam skills, who said I could come play for ‘aniyan’ (a name he used for Yesudas) the next time he played at a church in Fort Kochi.
That day, Dasettan played two concerts. One inside the church and one outside, because the crowd was so big.
Later, I accompanied him to many concerts across the world. My wedding date was also decided based on his availability 10 years later. He performed a kacheri for it. He performed when my daughter got married as well. He has been a constant presence in my life, always within reach.
You have accompanied many renowned artists throughout your career. How did you adapt to each artist’s temperaments and preferences?
You need to have a lot of respect for the artist that you perform with. For example, Semmangudi Sir did not like instruments to be loud during his performance. Other seniors such as Mavelikkara Velukutty Nair and Krishnankutty informed me of this.
So once before a performance, I refused to keep a mic for my ghatam while we were preparing. Semmangudi walked in, noticed I did not have a mic and asked the organisers for one. I felt absolutely honoured at that moment.
Madurai Somasundaram Sir was a man of calculations. He would turn to each accompanying artist while singing ‘swarams’ to see if we were also in the same rhythm. If we made a slight mistake, he would comment ‘murugaa kaapathaname’ and laugh. He had also once praised the way my finger moved over the ghatam and complimented my style.
Your father was a renowned mridangam vidwan. He is also the one who taught you your initial lessons. What about your mother?
My father was a respected mridangam artist and a prominent figure during his time. But there were also struggles. Because of this, my mother was apprehensive about us children taking up music as a career.
After my 10th, I studied typing and went to work at a chartered accountant’s office. I quit abruptly because my boss did not let me leave early one day for a recital. I could not inform my mother about this. So I made up a story that I felt chest pain while typing. It made me feel guilty, and now I had more pressure to prove myself as a musician.
Life gave me a chance to seek forgiveness from my boss later. I met him on one of my flights. I went up to him and asked if he recognised me. He asked if there was anyone who did not know who I was, with a smile. I felt redeemed that day.
Do you have memories of your first performance?
It was at the Maradu Thuruthy temple. I was 10 years old and played the kanjira. My father was playing the mridangam, a man named Naradan Maani played the harmonium, and my cousin, Rajan Iyer, was the vocalist.
After the performance, I remember a tailor in the audience came over and swiftly patched a silver medal on my shirt as a prize. My mother kept that medal safe for a long time.
Didn’t you feel nervous?
I didn’t, since I had no idea about what it was like to perform. I was just accompanying my father. It is only when we gain knowledge about things and understand the gravity of situations that we feel nervous. I was clueless.
So what actually brought you to ghatam?
I grew up in a joint family with many musicians. We, children, used to play pretend kacheris. Each cousin had a role to play, and I took the role of the ghatam artist. I would throw away the water collected in pots and make them my instrument. My mother would get angry, but performing was more important (laughs).
That connection is still there. I get anxious if my ghatams are not handled carefully. I fall sick if they break or crack. Once, while touring the US, the airport authorities wouldn’t let me take the ghatam in the carry-on. Only when I had it back in my hands did life come back into my limbs.
There have been many instances where I have felt that things will go out of my hands or that I would not be able to perform. But fate changes at the last moment, and I always make it. The ghatam never lets me down. This is why I truly believe there is a god guiding me and has chosen me for this instrument.
How did you train for ghatam?
I trained in mridangam first with my father. The ghatam, I practised on my own. Then, Parassala B Ponnamal insisted I get my Gana Bhushan in mridangam from RLV College. After that, I did my Gana Praveena from Swathi Thirunal College of Music in Thiruvananthapuram. Then, I continued to learn from Parassala Ravi Sir.
Today, I have written two books about the ghatam. It was during the COVID time, when everything came to a standstill, including katcheris. I still refer to them while teaching my students.
What do you think makes a kacheri successful? How do you find your own self-satisfaction when performing in a group?
Our main aim is to support the lead artist. Whoever is performing, and whoever is accompanying, be it the violin, mridangam, ghatam or kanjira, we need to support each other.
I will play the ghatam after the mridangam artist’s thaniyavarthanam.
My rendition should complement, and not disassociate from others. That’s what makes the whole performance beautiful. That’s where we get the satisfaction. If we become competitive, then the mood of the whole performance declines.
Also, some singers let you play independently, like Dasettan, who tells you to play unabashedly even when accompanying him.
What do you look forward to now?
I started a school in my father’s memory, the G N Swamy Trust Sangeetha Vidyalaya. It has been 25 years now. I wish to expand it a little more and spread his name.
Ghatam has helped me make a name. And I would like to spread its marvels among the next generation.
It is through this instrument that I also received the Kerala Sangeetha Nataka Academy award. When I received it, my mother-in-law also saw my hard work and praised me, one of the most beautiful moments in my life. I am indebted to the art form that chose me.