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The music season of Madras that is Chennai began in 1927, when a music conference and festival was conducted in conjunction with the session of the Congress Party in the city. The Music Academy came up a year later and by 1929 it began the tradition of holding a series of music programmes in the Christmas week. The Indian Fine Arts Society came up in the early 1930s and this sabha too followed the pattern established by the Music Academy. By the mid-forties when the Tamizh Isai Sangam too began holding festivals during the same time of the year,, there was a raging debate among music lovers as to whether the city could really support three sabhas.
Beginning from those humble origins, the season has expanded to occupy an entire month and a little more. There are now over 70 sabhas that offer around 2,000 performances during the period. One wonders what the season's founding fathers would have had to say about it. There are a few voices of reason, notably the magazine 'Sruti' that each year in March publishes an issue whose lead story is on the 'Mad' season of the previous year. But such laments are generally brushed aside and the average Carnatic music lover steps out, determined to have a good time.
 The planning for the season begins somewhere in mid-July. Artistes are contacted by sabhas (and in some cases the other way round) and schedules are fixed by mid-August. An exception to this rule of late has been the Music Academy, which has been involved in matters non-musical. The top-of-line artistes are booked for the entire month and it is amazing that each one thinks that he or she is capable of giving top-notch performances for 20-25 five days at a stretch. Next comes the search of sponsors, for it is an open secret that were it not for the sponsors, most sabhas would find the season a loss-incurring proposition. The season has fortunately never lacked support and there is a more or less a fixed group of sponsors who fork out the largesse.
The venues are next in line. Most of the sabhas have fixed venues during the season. Some, like Kartik Fine Arts, peregrinate and hold their festival at three to four different locations. A recent trend has been for many sabhas to simply chose the nearest kalyana mantap or school building and hold concerts there. Very often, the acoustics in the hall are so poor that none but the most determined of music lovers can stay on and enjoy. Seating at such locations comprises chairs that can be shifted around at will. The chaos and noise that such movements create can only be imagined.
 By mid-October, most sabhas announce the names of the artistes they are going to award. Beginning with the prestigious Sangita Kalanidhi (instituted in 1942) to yesterday’s Sangeeta Maa Mani, each one is looked forward to by artistes and audiences alike. NRIs begin making their travel plans around this time and by end-October everything is more or less on course for the season.
Till recently, Kartik Fine Arts usually kicked off the season by inaugurating its festival on December 1. But, of late, Bharatiya Vidya Bhavan has stolen a march over this sabha and holds its festival from the last week of November itself. What began as a Margazhi festival has now advanced well into
Kartigai!
The Hindu's supplement of December 1, which publishes the schedules of various sabhas and also several analytical articles, is very much looked forward to. Other publications that are landmarks of the season include the Season Calendar from Kutcheribuzz, which also churns out a tabloid everyday during the month. Several Tamizh magazines dedicate their December issues to music, with Kalki leading the pack. Of late, the free supplement of 'Dinamani Kadir' too has caught people’s attention, mainly owing to its focus on music of the past.
 Kannan’s Comprehensive Programme Diary, which is distributed free, is a booklet that has the schedules of all the sabhas and artistes. It is a common sight to see music lovers poring over it to decide on their next concert venue. Many of the music-based web sites too carry the information. The season proper explodes into action by the second week of December, with grand inaugurations by all sabhas. Very often, one sees the same chief guest inaugurating several sabha programmes. The organisers, the award-winning artistes and dignitaries mouth the same platitudes evening after evening.
The Music Academy, which usually begins its festival on December 15, is considered to be the first among sabhas. Pillars of society and social climbers aim to be seen in its hallowed precincts. Within its portals, there is a social ranking between those on the ground floor and those who “hang out there” in the balcony. For artistes, it is the Mecca of Music and a chance to perform there is something that several yearn for in vain. This year, the Academy departs from tradition and its festival will begin on December 18.
For the serious-minded there are lecture-demonstrations in the morning at various sabhas. Contrary to the general perception that these are dry as dust, they generate extensive debates and the occasional fireworks. At times they are livelier than the music concerts.
 The concerts themselves are graded, with juniors performing in the afternoons and the seniors in the evening. The afternoon slots are not ticketed. Generally, these play to near-empty houses with very often the performer’s near relatives comprising the only audience. The evening concerts are a different affair altogether for that is when the stars perform. Many sabhas have fixed dates for certain artistes on certain days like Christmas Day, New Year's Eve, etc. This helps the audience plan their own schedules.
An integral feature of the big sabhas is the canteen. These are normally contracted out to famed caterers. Krishnamurthy of the Music Academy was a star in his own right and his Kashi halwa had queues lining up whether the concert of the day was worth it or not. After his time, several masters of the palate have held court at the Academy, many of whom later became big names. Arusuvai Natarajan is one such example. He now plies his trade at the Sri Parthasarathy Swami Sabha. His brother Jayaraman is an attraction at Narada Gana Sabha. Whether the sabhas make money or not, the canteens always do.
In terms of logistics, the season throws up the woeful inadequacy of the city’s infrastructure. Parking spaces are non-existent in most sabhas and entry and exit are the same at almost all the venues. These cause enormous traffic bottlenecks. Travelling from location to location is a major adventure by itself. The season itself more or less centres around south Madras and T Nagar, neglecting the older and historic north. The Tamizh Isai Sangam in Esplanade is the sole exception. More and more sabhas springing up within the same area does not help in spreading the season out to the entire city.
 Accomodation for overseas visitors in the budget category is another issue, though enterprising private homes offer rooms as paying guest accommodation for visiting foreigners.
In business terms, one cannot call the season an outstanding success. There has been no effort at branding such an event internationally unlike Salzburg or Milan. Sabhas prefer to operate in isolation rather than grouping together and pooling their resources. Such a thin spread over so many days affects the quality of the music offered, the ambience and economics.
Most artistes complain of poor remuneration despite attracting full houses. Their demand for a share of the gate collections, as opposed to a fixed fee, has not been heard by the sabhas. Like the organisers, the artistes too lack a common front and this has been their greatest weakness. Other businesses such as the hospitality and handicrafts industries have not seen it fit to work in tandem with the music festival to boost sales. What the reason for this could be is anybody’s guess. The government as always has remained indifferent. But maybe that is a blessing.
 By the end of December, most artistes are tired and the vocal variety suffers from throat problems as well. The season begins winding down, with the Sadas of the Music Academy traditionally marking the end. Some sabhas continue till much later. By the first week of January, most of the NRIs leave and silence reigns at most of the venues. Artistes resolve to accept a lesser number of concerts in the forthcoming season. A resolution that lasts till July of that year.
But to the music-loving public, it is the time of the year for going to concerts in the company of friends, discussing the musical fare offered over some snacks at the canteen and participating in several allied events that are held. A good time is had by all. It is also possibly the only time of the year when Carnatic music holds its own against the onslaught of TV and its mega serials.
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