While playing solos with your brother, do you remember special incidents that you can recall from those performing years?
We first performed together in Chenai at the T.Nagar Arts Academy in 1957. When Anna and I started to play together, the concert halls would be overflowing. Our next concert was for Krishna Gana Sabha. Soon, we started getting more concert opportunities from other sabhas and we had a very busy schedule with more than 20 concerts a month. Everyone started liking our duo team and would encourage us to perform more and more. Sometimes, it would be overwhelming just trying to accommodate everybody's requests. Normally in those days, Palghat Mani Iyer would not accompany female artistes. He would perform only male artists. I recall how it was Alathur Brothers' concert once. Anna was to perform as a violin accompanist. However, one of the brothers fell sick and informed Anna and Palghat Mani Iyer about it. Palghat Mani Iyer suggested that Anna could play the solo instead and that he would accompany him on the mridangam that very evening. Anna broached the delicate subject of my presence on stage. “If you want me to play, my sister would play as well. Do you mind?” Palghat Mani Iyer graciously replied: “Not at all, go ahead and do the concert with your sister”. Until then, Palghat Mani Iyer had not accompanied female artistes. I also remember Palani Subramania Pillai, another great vidwan who accompanied us on several occasions. Every concert was a challenge and therefore, all the big stalwarts started accompanying us though I was the rare female in their midst.

What was it like to perform on stage with your brother?
For a 6 pm concert, our practices would go on till 5:30 p.m. Even at the last minute, Anna would introduce new challenges. Since he was the more experienced one, I had to be alert  to catch on to it and play along with him. Therefore, it required even more practice hours for me to match up to his challenges. In those days, a  female artiste was a rare sight on stage and I had to be very polite, keep my head down, could not smile and do unnecessary gestures on stage. There was no concept of applying make up or elaborate dressing. I would wear fresh flowers, bindi and a simple sari that would look presentable. My mind always concentrated only on the music and all other things were totally unimportant.

You have traveled extensively with your brother for concerts. How was the experience?
Yes, I traveled all over India for concerts.In those days, the first class compartments in trains would be big and while traveling to places like Delhi or Mumbai, we would practice in the train itself. We would also spend time talking about music. It was a thoroughly enjoyable experience.

Do you remember any difference in being taught by your father versus your brother?
Appa taught me concepts and built on my strengths and skills. He did not really coach me on stage performance. Right from the time he woke up, I had to get water, lay the mat, open the violin box, rosin the bow and wait until he finished his personal chores. At the end of the day, I'd put away his things, make his bed, press his feet, and as I interacted with him, he would talk about music. He has passed on a fund of information to me.

For my performing ability, on the other hand, I owe much to my brother. He would teach me many new songs, new techniques, new pallavis and kanakkus and more advanced features and presentation skills on stage. In short, while my father groomed me in the basics of music, my brother added finesse in advanced repertoire for concert presentations. Anna taught me his original style popularly known as the Lalgudi Bani today.

What is special about the Lalgudi School is that when we play the instrument, you can actually feel and understand each and every word in the lyrics. We have the same effect as a vocal concert and this has a lot to do with our bowing ability. The arrangement of sangatis is also very unique tour style. The “bhavam” (emotion) flows into our instrument while playing it because it is in our mind. In order to tune one's mind to the expressions of the song and emote effectively, one needs to learn the song by singing it many times. Also, a knowledge of various languages is essential to understand the substance and meaning of the song

Can you recall a few memorable performances? Why were they significant?
I recall our concert of 1965 at Krishna Gana Sabha, which became the talk of the town. Recently, a music lover brought us a recording of that concert and told us how he cherished this recording for years. I remember another one at the Music Academy. Those days, the concert started at 9 pm and went on till past midnight. The auditorium was full, with many more than it could accommodate. People were sitting on the floor as well. It was a memorable night and we became a very prominent duo. I also recall the time we performed at the Music College in Chennai. Sri Musiri Subramania Iyer, the veteran vocalist, was thrilled with our performance.

How did you feel performing with so many big personalities and stalwarts on stage? It must have been very exciting for you……………..
Most of time, when Anna performed something challenging on stage, the expert mridangist would respond to it right away along with me. So, I had the responsibility to grasp these challenges and respond correctly to them. Each concert was an exciting experience. But owing to my traditional upbringing, I was not expected to talk, be animated or socialize with big personalities on or off stage, except musically. I was expected to be poised and reserved. On the day of a great concert, when most people applauded, I could not even show my expression of joy. Today, the scene is different. Most women are college educated, very social, and are able to carry a conversation in a professional manner.

For women performers, one of the hardest things is to give up their home and focus on a performing career. What were your challenges?
I got married when I was 22 years old and in those days, that itself was regarded as late marriage! My husband has always been supportive and so I was able to perform with my brother in the same way for ten years after getting married. With marriage came more responsibilities - husband, children and taking care of the home front. I would play through the last days of my pregnancy. I got just a month of maternity leave after both my children were born and would be back again with practices and concerts. If you are a professional, these things become a part of one's life.

Your brother had been playing solo as well as an accompanist to many stalwarts. Was it the same case with you?
No, I just stuck to playing duets with my brother. I had family responsibilities and many duet concerts as well. So, I did not venture into accompaniment. Afterwards from 1975, I started playing duet concerts with my daughter Anuradha.

How do we inculcate “Guru Bhakthi” in children?
Parents have to inculcate this in their children's mind. First, children have to learn to respect their elders and respect their guru as well. Respect has to come from deep inside you. If parents show that respect, children will follow through.

What is your advice to our children today on music and life itself?
Discipline and hard work is needed to sustain anything. With proper time management, it is easy to balance school, work and music. Parents need to know how important music is in one's life. Parents have to show interest and passion towards music. They have to encourage children to attend concerts. Today, parents are very proud when their child can keep track of Sachin or Dhoni's cricket innings. Similarly, they should ask their children to explore Lalgudi Mama's music accomplishments. Parents need to underscore the importance of practice. During an exam, you can rewrite your answer a number of times before you hand it over to the teacher. In a concert, if you make a mistake, you cannot go back and correct it while performing. Therefore, practicing many times is the key. Music is not like academics where if you move to eighth grade, you are not often tested on the seventh grade portion. Putting in the time, consistently, over the years is what makes all the difference.

Is there something your guru said that still rings in your ears?
Hard work, discipline and staying focused is what my father taught me and that advice still rings in my ears today.

We heard so much about your father, what was your mother's role in your upbringing?
My mother is 98 and lives with my brother. When we were learning music in our younger days, my mother would not step into the part of the house where our musical education took place. She would ensure that we were all well fed and would take care to serve us food that would energize us for the rest of the day. My paternal grandmother, a great poet, composed many songs. I suppose composing songs is something we have inherited from our father and grandmother. The songs that my grandmother composed, my mother would sing beautifully.

In the last so many years, you have been performing with your daughter, how does it feel to be with your daughter Anu and son Shriram on stage?
When I was performing with my brother, as he was the more experienced one, he would shoulder most of the responsibilities in the concert. With my daughter, I took on that huge responsibility to make the concert lively from start to finish. Anu and I performed together for the first time in 1975 formally. She has always shared my work ethic and philosophy. She holds me in high regard, the way I did my father. She is very hardworking and passionate. If she sets her mind on something, she will fulfill it to the optimum level. As a young kid, she would practice for hours even when I was out of her sight. I'd prepare her for competitions and she would deliver perfectly there. Raising her was very easy indeed. Even with so many health problems today, I look forward to playing with my children. It gives me endless joy.

Your daughter Anu also has a music school at California which completed 20 years last year…….
Yes, my daughter was brilliant academically and has completed her CA and MBA but she opted to take music as her full time profession.

Tell us something about your son Shriram…….
Right from his childhood, Shriram had a keen interest in Layam and so I made him learn mrudangam. He is a disciple of Kumbakonam Rajappa Iyer and is settled in USA now. He has accompanied me on many concerts and also plays for other top musicians as well. 

 In any duet performance, what is most important?
Apart from practicing together, it is important that the two minds should blend well. Then only can the thought flow be smooth and logical.   

Do you approve of innovations in music?
We have always stuck to innovating within traditional parameters. For example, we have explored new ragas or presented new compositions. But, we never did any fusion concerts which seems to be the in thing today. I have nothing against the present changing trends but we have always adhered to a disciplined structure in presentation.  

You also know to play the Veena……..
Yes, but I preferred concentrating on one thing and so took to the violin. My daughter is good at vocal music and also learnt dance for sometime. As I always had a strong desire  to study, I did my B.A in Music through the Open University System when I was fifty year old. You may remember that I told you we never ever went to school during our childhood…..   

How is the scenario abroad for teaching Indian music?
I t is very heartening to see the sincerity and interest of students abroad to learn Karnatic music. They are very disciplined and put in a lot of effort.                                                      

What advice would you give young music students?
Parents need to take a huge part in their child's musical upbringing. Hard work and discipline is a must along the way. The wonderful thing is that there's a huge leap in technology today, so students can reach greater heights. I am happy with what young musicians are doing now. I'm enjoying seeing them blossom.

Anuradha Sridhar, daughter of Srimathi  has been a tireless teacher, performer and ambassador for Carnatic music in the Bay Area. She established her music school Trinity Center for Music in the year 1989. She  says - 

 “I am very fortunate that my own guru arrived in the guise of my mother. My Guru has injected in me, in the manner that only a mother can, the unmitigated passion and commitment that her Gurus inculcated in her. Her devotion to her father and brother, who were her teachers, and her inimitable sincerity to the art form itself, amaze and humble me. Even today, she overlooks illness and the mundane setbacks of  daily life to prioritize teaching me that one other rare krti or intricate Pallavi for my next concert. And so, I believe that it is now my turn to keep the flame burning in the next generation. “