I don't know how Rajam Sir could do as much as he did each day. His repertoire is perhaps unmatched. While documenting his audio classes (recorded in cassettes through a simple recorder- to the accompaniment of a manual sruti box alone!) I am astounded at the variety of ragas and songs he knew. He is generally associated with Vivadi ragas and Kotiswara Iyer, but his repertoire of Thyagaraja and Dikshitar kritis is phenomenal. I have seldom heard him say he does not know a song. In fact some senior musicians have joked with me about this saying -- it was so good to have your guru Rajam Sir participate in Akhandams---he would be given the late night slots when he would bring his little book and sing unheard of songs through the night!
He knew closely and had learnt from all the great vidwans of his time --- Ariyakudi Ramanuja Iyengar, Papanasam Sivan, Muthiah Bhagavathar, Madurai Mani Iyer, Ambi Dikshitar, Mylapore Gowri Ammal. It was his great disappointment that he never learnt directly from Kotiswara Iyer. Rajam Sir had seen him often going to the Pillayar Koil around the tank but he was too young to know his greatness then. The passion for his kritis was to come later, during his AIR days.
With such a rich and wide learning experience, he managed to create a style that was his own. His individuality stood apart, in music as well as painting. He always thought of new ways of presenting the old. He was a teacher at heart. Even his concerts were viewed by him as an opportunity to tell people about new songs, ragas or composers. Probably the reason he was always considered a 'musicians' musician. He loved lecdems more than concerts. He would prepare meticulously for the programme. He would try to give an opportunity to as many students as possible. He would willingly give them as many rehearsals as they needed and encourage them to sing without inhibitions.
