The universal Parur style has a legacy of its own. The pioneering efforts of the great maestro, violin wizard Sri Parur Sundaram Iyer led to the genesis of the Parur style. This was further popularized extensively by Padmashri M. S. Gopalakrishnan, the acclaimed violinist son of Sri Sundaram Iyer.
Sri Sundaram Iyer had a fascination for the violin with early training under Sri Ramasami Bhagavatar of Trivandrum. Initially he migrated to Chennai and later from Chennai to Mumbai and came under the direct influence of Pt. Vishnu Digambar Palukkarji. He started accompanying Pt. Vishnu Digambar Palukkarji in his concerts, imbibing the ‘Classical’ elements of performing Hindusthani Music.
In later days, Sri Sundaram Iyer also came in contact with Pt. Omkarnath Tagore and was greatly influenced by the nuances of Hindustani Music through him. With his knowledge in both the forms of Indian music, he created the Parur style as early as 1925, the first of its kind that brought out the best of Carnatic and Hindustani styles of Indian music. This was further improvised by Sri M.S Gopalakrishnan, leading to Parur-MSG bani, as it is called now.
He worked as a Lecturer in Violin at Gandhay· Maha Vidyalaya in Mumbai and popularized violin in Hindustani music. He holds the unique credit for having adapted the violin to its full capacity in the realm of Hindusthani Music.
The Parur-MSG bani, incorporates fingering of international standards and approach beyond time, making every stroke of the bow an enchanting appeal to the mind of the listener. The technique stands for perfection in bowing and fingering based on scientific methods for complete mastery over the violin. One finger playing, long-bow are some of the special attributes. The bowing and fingering incorporate complex gamakas of Carnatic, the lovely meend of Hindusthani Music and the lovely taanam patterns.