Violinists, Tamil Nadu, India
Dr. M. Narmadha – born in the family of musicians, is the granddaughter of Parur Sri Sundaram Iyer and daughter of Padmashri Sri M.S. Gopalakrishnan. She started her music training at the age of 4, in both Hindustani and Carnatic Music. Dr.
M Narmadha is a Top Grade Violinist, Musicologist, ocalist and has been performing for the past 37years. She has also performed Hindustani and Carnatic Jugalbandhis with equal mastery and command in both systems of Indian Music.
Being a career gold medalist, she was awarded the Doctoral – Degree by Delhi University for her thesis titled Raaga Sancaras on comparative Raaga system under the guidance of sitar maestro Prof. Debu Chaudhuri and renowned vocalist Dr
K.G. Ginde. She is a leading soloist and has played violin duets with her father Shri M. S. Gopalakrishnan.
Dr. Narmadha’s Fusion Concerts ‘Ecstasy’ captures the beauties and lilting graces of the World Music Awarded Doctorate by University of Delhi in 1996 as senior UGC Fellow in Raagas of Indian Classical Music on a comparative study of 25
selected Hindustani and Carnatic Raagas. Her book “Indian Music and Sancaras in Ragas” published by Daryagang Publishers New Delhi.
The universal Parur style has a legacy of its own. The pioneering efforts of the great maestro, violin wizard Sri Parur Sundaram Iyer led to the genesis of the Parur style. This was further popularized extensively by Padmashri M. S. Gopalakrishnan, the acclaimed violinist son of Sri Sundaram Iyer.
Sri Sundaram Iyer had a fascination for the violin with early training under Sri Ramasami Bhagavatar of Trivandrum. Initially he migrated to Chennai and later from Chennai to Mumbai and came under the direct influence of Pt. Vishnu Digambar Palukkarji. He started accompanying Pt. Vishnu Digambar Palukkarji in his concerts, imbibing the ‘Classical’ elements of performing Hindusthani Music.
In later days, Sri Sundaram Iyer also came in contact with Pt. Omkarnath Tagore and was greatly influenced by the nuances of Hindustani Music through him. With his knowledge in both the forms of Indian music, he created the Parur style as early as 1925, the first of its kind that brought out the best of Carnatic and Hindustani styles of Indian music. This was further improvised by Sri M.S Gopalakrishnan, leading to Parur-MSG bani, as it is called now.
He worked as a Lecturer in Violin at Gandhay· Maha Vidyalaya in Mumbai and popularized violin in Hindustani music. He holds the unique credit for having adapted the violin to its full capacity in the realm of Hindusthani Music.
The Parur-MSG bani, incorporates fingering of international standards and approach beyond time, making every stroke of the bow an enchanting appeal to the mind of the listener. The technique stands for perfection in bowing and fingering based on scientific methods for complete mastery over the violin. One finger playing, long-bow are some of the special attributes. The bowing and fingering incorporate complex gamakas of Carnatic, the lovely meend of Hindusthani Music and the lovely taanam patterns.Shows & Major Performances
Performed all over the world including U.S.A., U.K., Germany, Holland, Malaysia, Singapore, Australia, Hungary, Amsterdam, Hong Kong.
Given number of performances all the Sabha’s in Chennai and All major Cities in India.
Empanelled in ICCR, New Delhi.
All India Radio and Doordarshan Kendra Top Grade Artist.
Akashvani sangeet Sammelam at Delhi, Calcutta Lucknow Hyderabad and National Programs.
Television channel programmes given for SUN TV, K TV, STAR VIJAY TV, JAYA TV, RAJ TV, INDIA VISION, KAIRALI TV, ASIANET TV etc.,
Acclaimed for Capability in expressing the nuances of music through lecture demonstrations, workshops, presented papers on Indian music and interactive Live musical sessions all over the world, at leading music colleges in South India and at
Spic Macay chapters.
What I have admired in her is the meditative mood she assumes while playing the violin revealing that she is going it with obvious relish. She wants to experiment also on a new type of classically oriented fusion music between Carnatic and
Hindustani styles – Subbudu.
Through what is called the ‘Parur–MSG’ style, Narmadha rose to the occasion, bringing out well the sahitya bhava or poetic content of the songs on Lord Shiva and Goddess Shakti. Narmadha’s skills on the violin, especially the bowing
technique, and the consequent tonal richness, contributed to her success in this thematic concert. – The Hindu.
Raaga Todi was presented in depth, soaked with Raaga Bhava, each phrase directly appealing to the heart of the rasika. Her aesthetic touch was further enhanced by the masterful strokes of her sweet and smooth bowing which added a rich
timbre to the musical effect of her•skilled presentation – C.M. Rana, Deccan Chronicle.
Narmadha showed that she is a rich spring of manodharma as she applied her mind to cultivate thoughts on the two Indian musical systems and presented them with equal facility – The Hindu.
Not a single movement did she resort to any gimmick or histrionics that are of late adopted by even upcoming artistes as USPs to please the audience – but Dr. Narmada played all item in a very traditional style which she has imbibed well
from her father and Guru Violin maestro Shri M. S. Gopalakrishnan. – Lakshman Sundar, New Bombay.
The versatility of Narmadha’s artistry is evident in this compact disc. The emphasis which her school lays on producing a strong and pleasing tonal quality is evident from Narmadha’s bowing and fingering techniques – The Hindu.
Dr. M. Narmadha’s violin solo transported listeners to a world of melodic excellence. She adopts strikingly different postures, depending on the nature of the given venue and audience.
M. Narmadha, a very versatile artist, is able to offer Hindustani music of a high quality without traces of the Carnatic system – The Hindu. (CD Review of ‘Strings of Melody’)
Dr. M. Narmadha
D1 / AJAB, First Floor
Adayar, Chennai 600 020
Tamil Nadu, India
Phone: +91 98400 77025
She has been awarded the Best Violinist award by the Music Academy, Madras consecutively eight times,
by State Govt. of Tamil Nadu for excellence in Violin.
by Music Academy (8 years Consecutive)
(a comparative study of Hindustani and Carnatic ragas) by Music Academy
(for topics on Anamacharya in Carnatic music and pre Trinity composers) by Indian Fine Arts Society
by Shanmukhananda Sangeetha Sabha, Delhi
by Shanmukhananda Sangeeta Sabha, Mumbai
for the Best Accomplished Violinist by India Today Group, Mumbai
by Mahamountirth Ashram Ujjain
by Trichur Sabha
by Bharatam, Trichur
by Maharajapuram Visvanatha Ayyar Trust
by Sriragam Fine Arts
Award by Sri Thiaga Brama Gana Sabha
by Prakash Cultural Heritage
by Lions Club
by Shri Panchamuga Anjaneyar Utsavam committee
by Shri Pattamadai Krishnan