CHENNAI, September 15: He was a maverick. Yet, he had carved a unique niche for himself in the world of Carnatic music. He might not have got the appreciation of traditionalists. But he had a huge fan following among the common man. Kunnakudi Vaidyanathan, who passed into the pages of history a few days ago, was one Carnatic musician who had fan following across all segments of the society. And, he was largely responsible for inducting non-traditional rasikas into Carnatic music world.

Flautist S. Ravi was of the view that violinist Kunnakudi Vaidyanathan had a unique bowing technique. Kunnakdui Vaidyanathan had a complete sway over cut and continuing notes. So much so, even discerning ears could be deceived by his artistry on the bow, Ravi said. In his programmes, the veteran violinist always tried to satiate the musical aspirations of three kinds of rasikas – devotional kind, traditional ones and cinema fans. Ravi felt that none in the traditional Carnatic mould dared to attempt to provide a kutcheri package that took into consideration these three types of rasikas. "Such an attempt could even result in a big failure,’’ Ravi pointed out. If this had drawn criticism from certain quarters, Kunnakudi Vaidyanathan did not worry at all. His mind was focused and he ensured that he stayed connected with the people.

Ravi gave a couple of examples to drive home the point that veteran violinist had always the masses in his mind. Kunnakudi Vaidyanathan ensured that he played the beautiful Tamil film numbers "Vasantha mullai pole vandhu….’’ in raga Charukesi and "Cinthani Sei maname…’’ in rag Kalyani in all his concerts. Much to the discomfort of traditionalists, he suddenly would get into playing the racy film number "Oorampo, oorampo Rukumani vandi varudhu…’’. According to Ravi , Kunnakudi Vaidyanathan was like a departmental store. One could get what one wants in a departmental store. Kunnakudi Vaidyanathan sort of told his rasikas, "Come to me. I will provide the music you want.’’

A simple man and a caring personality, Kunnakudi Vaidyanathan was a pioneer in many ways. He was the first to employ `thavil’ as the main supporting instrument for his concert. He did this when it was considered unthinkable in those days, Ravi said. That was the time when mridangam was ruling as the main supporting instrument. Kunnakudi Vaidyanathan was an innovator par excellence. "None could improvise the sound produced from a one-string `kottankuchi violin’ and reproduce the same on a four-stringed violin. Kunnakudi Vaidyanathan did it and did it so admirably,’’ Ravi said.

Ravi and his elder brother flautist Raghu paid homage to the violin maestro

They also recalled a concert they had given at IIT Music Club in 1971. The concert was presided over by Kunnakudy Vaidyanathan. They vividly remembered how the veteran violinist praised the brothers for using some scintillating sangathis in the kriti `Raghuvamsa sudha…’ in raga Kathanakuthuhalam.