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        The melodious and soulful notes of Rajendran's nadhaswaram waft through the silent precincts of the Kesava Perumal temple, Chitrakulam (Mylapore), on a cool morning. Every day devotees hear him playing for the deities between 6.30 and 9.30 a.m.

        'It is a soul enriching experience for me when I play in the temple. It is an outpouring of my soul,' says Rajendran emotionally. In the evenings, his notes regale the Goddess Mundakakani at her shrine and on occasion he can be heard at the Sai Baba temple too.

        Four generations of Rajendran's family have been residents of Mosque Street, Mandaveli, and served as temple musicians. His grandfather Masilamani and father Shanmugham were temple artistes. After their demise Rajendran followed in their footsteps and now his son Mahendran also accompanies him during recitals.

        'Though my father was also a nadhaswaram vidwan it was my grandfather who took us under his wings and nurtured us in the art. Subsequently in 1975, I joined a degree course in the Music College. During this period I received training from Adyar Vasudevan. Later I trained under P S Lakshappa for five years,' reveals Rajendran.

        The family has been traditionally specialising in Mallari, Jatiswaram and Thillanas. Rajendran has been a part of the renowned dancer Sudharani Raghupathi's music troupe for ten years now. 'Temples and marriage concerts are our main source of income. In recent times we play for dance programmes also as it supplements our income,' says Rajendran.

        Although the instrument has been accorded an auspicious status, nadhaswaram concerts are rare at sabhas.

        'Nobody has taken steps to popularise it as a concert instrument. It has been featured only as a prelude to festival inaugurations and has become synonymous with them. Audiences are now requesting sabhas to feature atleast two nadhaswaram concerts during the season. Recently two popular sabhas held exclusive nadhaswaram concerts for a couple of days. We hope this will be a trendsetter and increase our patronage,' he says.

        Are the number of nadhaswaram artists dwindling? 'Many youngsters are eager to learn the instrument, but do not pursue it at a stretch since it is difficult. It requires immense physical stamina and adherence to clean habits. The sound has to be brought forth from the naval point (nabhi) and then blown through the reed in perfect alignment with the sruthi. To attain this stage alone it will require a month. Further good training needs a minimum of seven years. All these factors make many students discontinue their training after a few months. So artistes are few,' he says.

        The instrument seems to be patronised only by a particular community? Due to the difficulties involved in learning it, it has few takers from outside the families of artistes. Consequently it has become the exclusive art of these families. With the passage of time these families have been segregated as a community.