She has toured all over the world including countries like USA, UK, Holland, South Africa, Singapore, Malaysia, and Hongkong. She has been awarded the ‘Best Violinist’ award by the Music Academy, Madras consecutively eight times.

She had won her doctoral degree from Delhi University as a U. G. C. fellow under able guidance from Sitar Vituoso Prof. Renu Chauwdhari and Dr. K. G. Ginde, renowned musicologist.

She had command over and flair for a number of language like English, Sanskrit and French. Her articles on ‘Music’ have been widely published in journals from all over the world.

She is also giving vocal concerts being trained by her mother and Shri. T. M. Tyagarajan.

Her aim is to propagate the Parur-MSG style in Violin playing all over the world.
 
 

The History of Violin:

Violin occupies the most important place in the stage of Indian Music.

Violin in its congenial conceptions owes its origin to the European Countries, more specifically Italy and Germany.

In Indian heritage, the Pauranic references and the sculptural representations portray an inverted Vina (Vina referring to any stringed instrument with strings generally mounted on wooden board) with pegs, the number of pegs varying according to the number of strings. The yazh (musical stringed instrument) had been the consistent reference in Tamil epics like silappadhikaram. Yazh Nool- The very name has been suggestive of the innumerable descriptions of the stringed instruments in the treatises. Ektar, Do-Tar were referred to in Hindustani music as the earlier reference to the stringed instrument.

The Violin-Scene in Europe:

With the wonderful array of composers Beethoven, Tchakovsky and Bach, the ‘Violin concerts’ gained a special significance.

As the violin in its various forms, cello, viola and bass violin gained dominance, the passages of the composer being executed in the various octaves, the number of strings and the tonal reproductions gained in presentation with the wanting for more and more.

For refined soft-tonal reproduction, the shape of the violin underwent changes with different types of ‘wood’ being experimented with an aim for perfection of its lines.

As the time passed, more and more violins made their appearances based on fine-quality materials and the result was that the world was gifted with varieties of Stradivarius, Magni, Ga-pero-De-salo, the names being solely attributed to the violin maker.

By the 18^th century, the shape of the violin had reached a remarkable level of perfection while it was just in the process of being introduced in other countries.

The Violin-scene in India:

According to textual references, violin was first introduced in the court of Travancore during the regime of Maharajah Svathi-Thirunal. Vadivelu and Baluswami Dikshitar were accredited with the acclaim of having been renowned performers on the violin. The violin in its advent to India was a direct import form the European make by way of its shape but differed in execution and presentation, adapting itself to the style of presentation in Indian music.

The formidable role of violin in Indian music:

The violin with special reference to South Indian music had its early beginnings when it was used as a mere melodic support in a Harikatha performance. Certain musical passages sung by the Bhagavatar were reproduced on the violin for the sake of effects. Still later, violin figured in the musical concerts in devotional music where musical lyrics and songs along figured. Still later came the ‘accompanying role’ of the violin to the main singer. It is at this juncture, when classical vocal concerts gained a formidable portion in the ‘classical’ stage of Carnatic music concert, Slowly, the violin emerged as the only best possible melodic support. Inspite of the trial usage of the flute, vina and some others, the violin as on today has emerged as the best possible accompaniment by nature of capacity for continuity to reproduce any sound and adaptability in a musical concert and its puritanical support in maintaining the stability of a musical concert.