Mridangist Thiruvaarur Bakthavathsalam traces his six-decade journey in rhythm

For mridangam exponent Thiruvaarur Bakthavathsalam, 2026 began with good tidings — he has been chosen for the Padma Shri, his Laya Madhuraa School of Music in Chennai rings in its 26th anniversary this week, and he completes 60 years as a professional artiste. 

“I have worked hard to get to this stage, and even though I am 70 years old, I feel I have to keep improving myself. Recognition only makes constant practice more imperative for artists,” says Bakthavathsalam, who received the Sangita Kalanidhi from The Music Academy in 2021.

The mridangist, along with certain other veterans in the field, has witnessed the progress of percussionists from accompanists to being a vital part of cross-cultural ensembles.

Born in 1957 in a clan of traditional musicians from Tiruvarur, Thanjavur district, Bakthavathsalam’s talent was nurtured by the maternal side of his family. He underwent vocal music training under his mother and noted singer T.R. Anandavalli, and eventually started playing the mridangam under the guidance and tutelage of his maternal uncle Tiruvarur Krishnamurthy.

“By the age of nine, I was accompanying my mother in concerts. I had my formal arangetram when I was six or seven, at the Thiruvaiyaru Tyagaraja Utsavam. It was an exciting experience and I returned inspired,” he says.

In the 1970s, aged 16, Bakthavathsalam migrated to Madras, attracted by its thriving classical music scene. “There were plenty of sabhas, with year-round concerts. I attended at least one recital a day, and made sure I listened to the stalwarts,” he reminisces.

All India Radio (AIR) gave the young Bakthavathsalam a ‘double promotion’ from ‘B’ to ‘A’ grade, bypassing the ‘B high’ grade.

Though he belongs to the Thanjavur style of playing, Bakthavathsalam has developed his own variation. He is known for his energetic playing, and for embellishing niraval and kalpanaswaras. 

Bakthavathsalam also leads the music ensemble ‘Laya Madhura’ that includes the nagaswaram, violin and flute as melodic instruments and the mridangam, kanjira, ghatam, morsing and tabla as percussion. In 1992, the senior mridangist played at the opening ceremony of the Olympic Games held in Barcelona, Spain. 

“I have trained over a hundred students in the past 26 years through our school. I am very happy to see them grow as artistes and teachers all over the world,” he says.

At his home in Chennai, the maestro keeps his 35 mridangams made with jackfruit wood from Panruti, in two large cupboards. “It is getting harder to make instruments in the old style due to a scarcity of raw material. For instance, the leather vaaru used as the mridangam’s braces, has now been replaced with nylon belts. I have a few mridangams that are over 50 years old. About 25 years ago, I bought enough mridangams to last me the next few decades. It is difficult to maintain these instruments because of their natural components. Even though more lightweight alternatives are available, I prefer to keep mine traditional,” says Bakthavathsalam.

Music and spirituality have shaped his life, he says. “My mother introduced me to the path of spirituality and it has anchored me ever since.” For over seven years, Bakthavathsalam also served as secretary of Sri Kanchi Kamakoti Mummoorthigal Jayanthi Vizha festival held annually at the Thyagarajaswamy Temple in Tiruvarur, where numerous artistes pay their tribute to the great composers.

“This region is where Carnatic Music’s Trinity lived. I have legally added Tiruvarur to my name, because I am immensely proud to hail from this hallowed land,” he says.