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Eminently popular vidwans [[G. N. Balasubramaniam]], [[Madurai Mani Iyer]], and [[Semmangudi Srinivasa Iyer]] clamored to have him accompany him in their concerts. Of course senior vidwans of that era like [[Ariyakudi Ramanuja Iyengar]], [[Maharajapuram Viswanatha Iyer]], Chembai and [[Dwaram Venkataswamy Naidu]] ( Violin Solo ) had him as accompanist in many concerts. In turn Palani encouraged a number of younger vocal and instrumental artists including [[Dr. M. Balamuralikrishna]], [[Ramnad Krishnan]], [[M. D. Ramanathan]], [[K. V. Narayanaswamy]], Tiruvarur Namasivayam, Thanjavur Thyagarajan, [[Lalgudi Jayaraman]] and [[Palghat R. Raghu]]. While playing for younger artists he was never condescending but was always supportive and never tried to show off or intimidate. In fact although he possessed talents of gigantic proportions, he never indulged in exhibitionism and his only aim was to enhance the total appeal of the concert. Madurai Mani Iyer used to call him "THYAGI"- one who would efface himself so that the overall effect was sparkling rather focus on himself. | Eminently popular vidwans [[G. N. Balasubramaniam]], [[Madurai Mani Iyer]], and [[Semmangudi Srinivasa Iyer]] clamored to have him accompany him in their concerts. Of course senior vidwans of that era like [[Ariyakudi Ramanuja Iyengar]], [[Maharajapuram Viswanatha Iyer]], Chembai and [[Dwaram Venkataswamy Naidu]] ( Violin Solo ) had him as accompanist in many concerts. In turn Palani encouraged a number of younger vocal and instrumental artists including [[Dr. M. Balamuralikrishna]], [[Ramnad Krishnan]], [[M. D. Ramanathan]], [[K. V. Narayanaswamy]], Tiruvarur Namasivayam, Thanjavur Thyagarajan, [[Lalgudi Jayaraman]] and [[Palghat R. Raghu]]. While playing for younger artists he was never condescending but was always supportive and never tried to show off or intimidate. In fact although he possessed talents of gigantic proportions, he never indulged in exhibitionism and his only aim was to enhance the total appeal of the concert. Madurai Mani Iyer used to call him "THYAGI"- one who would efface himself so that the overall effect was sparkling rather focus on himself. | ||
While Palani would highlight the different parts of the song such as "Eduppus" of [[Pallavi]], [[Anupallavi]], and [[Charanam]] with sufficient emphasis, he would rather follow the mood and trend of the song rather play the "Prayogas" of the songs themselves. This mode of playing gave a wholesomeness to the song renderings rather than the "Starts and stops" that would otherwise have arisen. His Sarvalaghu was the spontaneous flow of "Nadais", "Sollus", and "Sollukkatus" rather than any patternised formats. The Sarvalaghu used to be "Amorphous" rather than "Crystalline". Occasionally when certain arithmetic combinations arose, they too were spontaneous and blended seamlessly into the scheme of things. He specialized in "Vallinam" and "Mellinam" strokes in even the smallest passages. In layman's language these are Hard and Soft Strokes. His playing gave the effect of his indulging in a musical conversation with the main artist throughout the tenure of the concert. In his Solo interludes-"Thani Avarthanams"- he displayed both intellectual and aesthetic aspects in equal measure which pleased all sections of the audience but he never played to the gallery. The vocalist had to remain very alert during the "Thanis" to ensure that he did not miss out on the "[[Tala (music)|Thala]]"; such were the complex patterns he played! When Palani was present in a gathering there was no levity or frivolousness exhibited. According to Vidwans who shared the platform with him in concerts both his demeanor and playing was the epitome of "Gauravam" (Dignity). | While Palani would highlight the different parts of the song such as "Eduppus" of [[Pallavi]], [[Anupallavi (music)|Anupallavi]], and [[Charanam]] with sufficient emphasis, he would rather follow the mood and trend of the song rather play the "Prayogas" of the songs themselves. This mode of playing gave a wholesomeness to the song renderings rather than the "Starts and stops" that would otherwise have arisen. His Sarvalaghu was the spontaneous flow of "Nadais", "Sollus", and "Sollukkatus" rather than any patternised formats. The Sarvalaghu used to be "Amorphous" rather than "Crystalline". Occasionally when certain arithmetic combinations arose, they too were spontaneous and blended seamlessly into the scheme of things. He specialized in "Vallinam" and "Mellinam" strokes in even the smallest passages. In layman's language these are Hard and Soft Strokes. His playing gave the effect of his indulging in a musical conversation with the main artist throughout the tenure of the concert. In his Solo interludes-"Thani Avarthanams"- he displayed both intellectual and aesthetic aspects in equal measure which pleased all sections of the audience but he never played to the gallery. The vocalist had to remain very alert during the "Thanis" to ensure that he did not miss out on the "[[Tala (music)|Thala]]"; such were the complex patterns he played! When Palani was present in a gathering there was no levity or frivolousness exhibited. According to Vidwans who shared the platform with him in concerts both his demeanor and playing was the epitome of "Gauravam" (Dignity). | ||
His lifestyle in the 1940s and 1950s was the envy of other musicians. Always dressed in white muslin shirts and snow white Khadi Dhoti - carefully and painstakingly groomed - he was among the handsomest among musicians (others being GNB and [[Mayavaram V. R. Govindaraja Pillai]]). Unlike many other musicians, he lived in a spacious bungalow and owned the latest model in cars (he changed them every two years). He himself drove the car and did not allow anyone else to drive his car. | His lifestyle in the 1940s and 1950s was the envy of other musicians. Always dressed in white muslin shirts and snow white Khadi Dhoti - carefully and painstakingly groomed - he was among the handsomest among musicians (others being GNB and [[Mayavaram V. R. Govindaraja Pillai]]). Unlike many other musicians, he lived in a spacious bungalow and owned the latest model in cars (he changed them every two years). He himself drove the car and did not allow anyone else to drive his car. | ||
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{{DEFAULTSORT:Pillai, Palani Subramaniam}} | {{DEFAULTSORT:Pillai, Palani Subramaniam}} | ||
[[Category: | [[Category:1900s births]] | ||
[[Category:1962 deaths]] | [[Category:1962 deaths]] | ||
[[Category:Mridangam players]] | [[Category:Mridangam players]] | ||