The undying legacy of Carnatic vocalist RK Srikantan

It has been 10 years since legendary vocalist RK Srikantan passed away and the upcoming annual music festival and award function helmed by the Vidwan RK Srikantan Trust will shine a light on the milestones of the maestro.

His son and vocalist, Rudrapatnam S Ramakanth, who currently steers the Trust, says, “My father lived up to the age of 94, and was on stage for 83 years. This year marks the 70^th anniversary of his first performance at the Music Academy in Chennai in 1954; it has been 30 years since he received the Academy of Music’s T Chowdiah National Award in Bangalore.”

As his student and accompanying musician, Ramakanth says he has observed Srikantan’s diverse skills in the classical genre. “His penchant to teach and demonstrate earned him thousands of students and the ‘Best Teacher Award’ by the Bangalore City Corporation 50 years ago. Since this is a milestone year, students and connoisseurs of his music will cherish what is in store at the event.”

On January 14, 1920, Rudrapatnam Krishna Sastry Srikantan or RKS, was born in Rudrapatnam, a small village on the banks of the Cauvery River in Karnataka’s Hassan district. Srikantan was born into a Sanketi family known for their connection to Carnatic music. 

Rudrapatnam is an ancient musical village that has produced scores of musicians recognised by the erstwhile Mysore Royals. Srikantan’s father, Krishna Sastry, was not only a musician, but also a Harikatha exponent, playwright as well as a Kannada and Sanskrit scholar. His maternal grandfather, and elder brothers were also academicians and accomplished musicians.

Music critic BVK Sastry often said the family could easily have established a choral society or a music ensemble with its members, without bothering to recruit extended family, many of whom were blessed with musical talent.

Even though the radio had not arrived yet in RKS’ childhood hometown in Mysore, music filled the house. Much like his brothers, Srikantan revealed an aptitude for music early on, and they all received lessons from their father. Later, Venkatarama Sastry, Srikantan’s eldest brother, took over as his tutor and following which he relocated to Madras to further his musical education.

There, he met iconic musicians such as Ariyakudi Ramanuja Iyengar, Maharajapuram Viswanatha Iyer, Musiri Subramania Iyer and Semmangudi Srinivasa Iyer. His exposure to their style and work had a profound impact on him.

Be it the expansive taana of Mysore Vasudevacharya, the sparkling janta-swaras of Veena Seshanna, the butter-smooth bowing of Dwaram V. Naidu, the exciting swara-kalpana of Madurai Mani or the poignant portrayal of Yadukula Kambhodhi of Sheik Chinna Moulana on his nadaswara — Srikantan believed their work brought peace in purity.

As a student and teacher

Apart from his musical education, Srikantan pursued a BA degree at Maharajas College of Mysore University and found a job in broadcasting with the Mysore State Radio Station. Post-Independence it came to be All India Radio and eventually Srikantan was transferred to AIR Bangalore. His stint as a music producer saw the introduction of features such as the ‘GanaVihara,’ a music class. 

“The programme was so popular that when it concluded after a decade, students and connoisseurs protested and succeeded in having it recalled,” says Ramakanth.

Srikantan trained hundreds of students, many of whom came to be recognised in their own right, such as MS Sheela, TS Sathyavathi, chitraveena maestro N Ravikiran, flautist Shashank and vocalist G Ravi Kiran, as well as other professionals such as K Radhakrishnan, the former chairman of ISRO.

Srikantan was also a composer who crafted numerous haridasa compositions and vachanas for Saivite saints Basaveshwara, Akkamahadevi and Allamma Prabhu as well as for the great seer, Kaivara Nareyanappa. He has also composed for Kannada litterateurs Masti Venkatesha Iyengar’s Binnaha, DVG’s Anthapurageete and Kagga, as well as for the poems of Putina, Kuvempu and Bendre.  

Steadfast disciplinarian

“I had to balance my father’s traditional values of presentation with the demands of the present day when it came to accompanying him and my solo presentations,” says Ramakanth. “His beliefs and focus were strong — neither time nor the changing music scenario tempted him to compromise on his personal integrity in music or his lifestyle.”

Srikantan believed teachers had to be conscious of the fact that they were role models for their students. “My father always stressed that his music, life and habits were the legacy he would leave behind for posterity.”