T.R.Mahalingam - Mali (Flute)

Carnatic Musicians
mridangamkid
Posts: 150
Joined: 03 Sep 2007, 22:11

Re: T.R.Mahalingam - Mali (Flute)

Post by mridangamkid »

Oh I see.

Perhaps it is possible to post the link on this website (in case someone missed the chance to download it earlier).

If not it's quite alright, I'll try my best to be as patient as I can ;)

Thank you again.

Nick H
Posts: 9379
Joined: 03 Feb 2010, 02:03

Re: T.R.Mahalingam - Mali (Flute)

Post by Nick H »

With all due credit to the original poster, for I am only passing this on, the concert can be accessed here:

http://www.sendspace.com/folder/wz7626

It is a free account. Apparently the files will be deleted if nobody downloads them for one month.

Enna_Solven
Posts: 827
Joined: 18 Jan 2008, 02:45

Re: T.R.Mahalingam - Mali (Flute)

Post by Enna_Solven »

Nick,

I downloaded the concert. Let me try my hand at cleaning up the noise. This seems to be available at Sangeethapriya as well, but probably much compressed, it is only 54MB there.
http://sangeethamshare.org/sridharan/44 ... embai-MVI/

Nick H
Posts: 9379
Joined: 03 Feb 2010, 02:03

Re: T.R.Mahalingam - Mali (Flute)

Post by Nick H »

Let me try my hand at cleaning up the noise.
If it could be made even better, that would be great, There is, at times, the rumble of --- I guess it is a reel-to-reel tape recorder? Some might say that it adds to the general atmosphere!

Enna_Solven
Posts: 827
Joined: 18 Jan 2008, 02:45

Re: T.R.Mahalingam - Mali (Flute)

Post by Enna_Solven »

Hi Nick,
Please try this sample and let me know what you think. I tried to remove as much noise as possible without spoiling mrudangam tone.

http://www.mediafire.com/?0lnaflvt31006r2

Nick H
Posts: 9379
Joined: 03 Feb 2010, 02:03

Re: T.R.Mahalingam - Mali (Flute)

Post by Nick H »

You have really cleared up a lot of the wind that was blowing through the Tyagaraja Sangita Vidwat Samajam that day!

Has a tiny percentage of the guts of the flute been lost too? Let better ears than mine decide! It is certainly a lot easier to listen to.

Just curious... what software did you use?

Enna_Solven
Posts: 827
Joined: 18 Jan 2008, 02:45

Re: T.R.Mahalingam - Mali (Flute)

Post by Enna_Solven »

I use a combination of GoldWave and Audacity. This clip was done entirely in GoldWave. I run multiple routines: Hiss reduction, low-high pass, noise reduction based on the noise signature at some part of the clip where only noise is present.

I keep an eye (ear?) on the sounds before and after applying a filter to see if I am damaging the core. I generally keep away from touching stuff between 200 and 6000Hz. Most of the older tapes have a special signature that I have come to identify: lot of noise below 200Hz (rumbling) and hiss beyond 6k. Even though there is music beyond 6k, it is normally lost in these old tapes.

I think I have not damaged the flute signature. It sounds full.

Nick H
Posts: 9379
Joined: 03 Feb 2010, 02:03

Re: T.R.Mahalingam - Mali (Flute)

Post by Nick H »

Thank you. Will you be applying your medicine to the whole concert?

Radhika-Rajnarayan
Posts: 289
Joined: 27 Jun 2009, 20:18

Re: T.R.Mahalingam - Mali (Flute)

Post by Radhika-Rajnarayan »

noise reduction based on the noise signature at some part of the clip where only noise is present.
I tried that using Audacity, but get a 'bubbly' sound and a lot of the natural harmonics are lost. I even tried using 'less' noise reduction several times instead of trying to do it at one go. Doesn't seem to help with these old noisy recordings. :(

Any suggestions?

Enna_Solven
Posts: 827
Joined: 18 Jan 2008, 02:45

Re: T.R.Mahalingam - Mali (Flute)

Post by Enna_Solven »

Nick H wrote:Thank you. Will you be applying your medicine to the whole concert?
Yes, I will finish over the weekend and try to split the file into songs too.

Enna_Solven
Posts: 827
Joined: 18 Jan 2008, 02:45

Re: T.R.Mahalingam - Mali (Flute)

Post by Enna_Solven »

Radhika-Rajnarayan wrote:I tried that using Audacity, but get a 'bubbly' sound and a lot of the natural harmonics are lost.
Hi RR,
Yes, that is a problem but less of a problem in the other software, GoldWave. I have better control over pecentage cleanup. I can actually see the graphical representation of the song over time and decide what to do. But even there, I use 20-50% correction mostly. I do the corrections incrementally (takes time) and if I sense any loss of music or introduction of tinkilng, I abandon my effort.

It cost about about 50$ a few years back.

The trick is to find a place in the recording where tanpura is not present. Otherwise, it will result in a lot of tinkling noise. For radio recordings, the hum/hiss present when the announcer picks up the mike is an ideal place. Cleans up whole recording nicely.

If you want send me a clip. I will use only Audacity and if successful, I will send you the steps.

Nick H
Posts: 9379
Joined: 03 Feb 2010, 02:03

Re: T.R.Mahalingam - Mali (Flute)

Post by Nick H »

Goldwave used to be free!

But then, in the beginning, was Cool Edit, which has long since been sold to Adobe, and even longer since not been anywhere near free. Cool Edit is by far my favourite audio editor, and I'd stomp up the money to make my copy kosher (paid for but not by me) if Adobe had kept it anything like it was.

Anyway, I go Linux now, which means I am stuck with Audacity. One day I will see if Cool Edit works in a Virtual Machine (it doesn't in Wine).

Anyway, it takes more than just having the tools, and although I've done some basic stuff, improving on these recordings would be advanced stuff for me --- which is why I haven't tried!

Enna_Solven
Posts: 827
Joined: 18 Jan 2008, 02:45

Re: T.R.Mahalingam - Mali (Flute)

Post by Enna_Solven »

I remember Cool Edit but then it disappeared. GoldWave was free till version 3, I think.

Here are the first five songs from your file #1. I had to clean many 5-10 seconds long individual segments further to suppress the noise (where Mali stops playing and his mike is open). I think this how far I can go without compromising quality. See if you like it. I will clean and post the rest once you approve.

http://www.mediafire.com/?r1mbeiuwctcis

Nick H
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Joined: 03 Feb 2010, 02:03

Re: T.R.Mahalingam - Mali (Flute)

Post by Nick H »

Thank you. Will listen later :)

Enna_Solven
Posts: 827
Joined: 18 Jan 2008, 02:45

Re: T.R.Mahalingam - Mali (Flute)

Post by Enna_Solven »

All the songs have been uploaded here:
http://www.mediafire.com/?r1mbeiuwctcis

The original files were problematic. I have tried my best to clean up. I wish I was there to record & keep safe ;)

There were unrelated songs at the end which I discarded (one by Mali and another vocal piece.)

Nick H
Posts: 9379
Joined: 03 Feb 2010, 02:03

Re: T.R.Mahalingam - Mali (Flute)

Post by Nick H »

Thank you! I had a chance to listen to just a few minutes since my previous post, but I did listen several times and make comparison with the original. The result is very good. Thank you again!

Madhyamathi
Posts: 2
Joined: 30 Jan 2011, 02:56

Re: T.R.Mahalingam - Mali (Flute)

Post by Madhyamathi »

This is my first post in this forum,it gives me immense pleasure do read about this great flautist of the century,however i am a great fan of him,just going through this forum i found the link of the concert where chembai and MVI has accompanied Mali sir,but i am not able to download that concert ,if any one has the updated link please update it.

Thanks in advance

Enna_Solven
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Joined: 18 Jan 2008, 02:45

Re: T.R.Mahalingam - Mali (Flute)

Post by Enna_Solven »

You are not looking hard enough ;) Look at post #190

vasanthakokilam
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Joined: 03 Feb 2010, 00:01

Re: T.R.Mahalingam - Mali (Flute)

Post by vasanthakokilam »

I also added a note to the original post to point to E_S's post #190.

Thanks E_S for all the work on these files.

vasanthakokilam
Posts: 10956
Joined: 03 Feb 2010, 00:01

Re: T.R.Mahalingam - Mali (Flute)

Post by vasanthakokilam »

Can someone please confirm that the sruthi is 7 kattai? Thanks. That sounded a high pitch even for mAli. At first I thought the copy floating around was somehow artificially raised from his usual 5 but then I checked the photo of this concert. It does look small enough to be a 7 kattai flute. Uday should be able to offer some opinion. ( the photo is included in the upload by E-S. Ref. post #190 )

BTW, that paridanamichithe kalapanaswaram is something else. Both for mAli's interpretation of bilahari and also the laya related matters including the kOrvai. Non copy-book all over!! If one is on that same wavelength with his style of creativity, it is no wonder people flocked to hear him, in spite of the uncertainty on the shape of any particular concert. It is quite fortunate that we get to hear the recordings of his live concerts.

Enna_Solven
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Joined: 18 Jan 2008, 02:45

Re: T.R.Mahalingam - Mali (Flute)

Post by Enna_Solven »

vk, ennuDaiya manda buddhikkum sila nalla vishayangaL eTTuginRana (Even a dull person like me is able to grasp some good stuff.)

Before I attempt to clean any concert from Sangeethapriya or other sources I listen to it to decide if it is worth it. Some concerts leave me awestruck. This one was like that. As days go by, I am going back in time listening to old concerts more and more.

Madhyamathi
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Joined: 30 Jan 2011, 02:56

Re: T.R.Mahalingam - Mali (Flute)

Post by Madhyamathi »

I would like to add a question along with Vk,s post,(if confirmed the flute used by mali sir is 7 sruthi pitch in the concert posted in #190),Mali sir recommended 5 sruthi pitch for flute,and has used the same in his career,just curious to know did Mali sir has used 7 sruthi flute in this concert for any specific reason or he started his career with 7 sruthi later reduced to 5,please clarify

venkatakailasam
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Joined: 07 Feb 2010, 19:16

Re: T.R.Mahalingam - Mali (Flute)

Post by venkatakailasam »

Here is an image Mali on flute with Chembai on Violin and Maharajapuram Viswanatha iyer on Mirudangam:


Image



venkatakailasam

dharanish
Posts: 1
Joined: 08 Jul 2011, 23:37

Re: T.R.Mahalingam - Mali (Flute)

Post by dharanish »

i cannot tell you the sheer excess of happiness i felt when i finally found the mali chembai mvi concert. blessed be his soul

cpblog
Posts: 233
Joined: 07 Jul 2009, 22:01

1964 Mali Concert From "Parvathi", Mysore, Restored

Post by cpblog »

Dear Rasikas,

Within a few months of first loading this classic concert (held March 14, 1964 in "Parvathi", Mysore along with Madurai D. Krishna Iyengar-V. Sethuramiah-M.S. Seshappa (Kanjira), Rajanna (Ghatam) ), we lost connection with our servers.

Only, after a very long delay and technical struggle, we have managed to retrieve the same and have reloaded it.

The audio is very clear, Mali in a very fine element (sans any puns), and for those of us seeking vicarious thrills between him and TC, the verbiage is there in the third and last piece. :lol:

Gratefully,

CPBlog Team

uday_shankar
Posts: 1467
Joined: 03 Feb 2010, 08:37

Re: T.R.Mahalingam - Mali (Flute)

Post by uday_shankar »

Madhyamathi wrote:did Mali sir has used 7 sruthi flute in this concert for any specific reason or he started his career with 7 sruthi later reduced to 5,please clarify
I haven't heard this particular concert but in many old recordings, thanks to recording at a lower speed (due to a slow belt, worn gear whatever) on a spool or casette, when it is played back, the shruti goes up a semitone or even a whole tone if you get it wrong enough :).

So bottom line...Mali sir never played on any flute higher than G# (5 1/2 kattai) for his concerts, typically playing G (5 kattai) .

So please rest the though of 7 kattai...it is a ridiculously high pitch and such a small flute is too small to handle.

I will listen to "this" concert, whatever it is, and confirm exactly what's going on.

cacm
Posts: 2212
Joined: 08 Apr 2010, 00:07

Re: T.R.Mahalingam - Mali (Flute)

Post by cacm »

I have heard close to a hundred concerts at least of TRM in person & also at his apartment and he played them ALL in G (5 Kattai) as observed by UDAY. Actually I was fortunate to personally discuss with him about certain flutists reducing it to 2.5 Kattai etc. He was AGAINST it for technical reasons & strongly felt that many of the subtle attributes of flute will be lost......I do not have the patience or energy to discuss the technical details he talked about...VKV

Ramasubramanian M.K
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Re: T.R.Mahalingam - Mali (Flute)

Post by Ramasubramanian M.K »

To reinforce VKV's statement about Mali's ambivalence--nay disagreement with lowering the Sruthi-Mali Sir actually mentioned to my father that he does not approve of Ramani Sir lowering the sruthi!! Ofcourse Ramani Sir's lowering the Sruthi could have been due to some circumstances like the Violin-Venu-Veena tour that VKV sponsored in 1969 (lalgudi-Ramani-Venkatraman) that necessitated lowering the Sruthi. Ofcourse this is only my conjecture and does not explain WHY for his solos Ramani Sir chose to lower the pitch as well!!

I personally liked the high sruthi perhaps because Mali Sir could produce the tonal quality that overcame the "shrillness" associated with high sruthis .

After 6 decades of listening when it came to the wind instruments--Flute and Nadaswaram the only names that pop up in my mind are Mali and TNR respectively--both of them had adopted unique styles and had tonal quality yet to be even remotely scaled by contemporary musicians as well as the ones who preceded them ( according to learned Rasikas who had heard Sanjeeva Rao as wellas Sarabha sastry)Both of them paid enormous attention to the instruments and took personal care in the preparation of the instruments and the necessary adjustments needed to overcome what was then generally considered as a limitation of the instrument.. TNR for example--- It was conventional wisdom in those days that nadaswaram lent itself better to PrathiMadhyama Ragas rather than Suddha madhyama ragas because it was contended that the structure as it was designed did not lend itself to fidelity when the Suddha madhyamam was played.("Suddha Madhyamam Suddhamai Pesadu"). TNR overcame this "alleged drawback " by using a little wax to close one of the holes partially(the extent of the wax application was determined by trial and error!!). This was told to me by a respected musicologist almost 55 years back ( who incidentally had equally high regard for Veeruswami Pillai's playing as well the Thiruvizhimalai Brothers) and supposedly acknowledged by his contemporary nadaswaram players--I am relying on them for the veracity of this statement.
TOUGH, PAROCHIAL,SELF-SERVING AND TOO DOGMATIC A STATEMENT!!!
I PLEAD GUILTY!!!

matterwaves
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Joined: 24 Aug 2007, 18:26

Re: T.R.Mahalingam - Mali (Flute)

Post by matterwaves »

This appeared in the Bengaluru edition on 6th Jan
http://www.thehindu.com/todays-paper/tp ... 778712.ece

RaviSri
Posts: 512
Joined: 10 Apr 2011, 11:31

Flute Mali's Interview of 1971

Post by RaviSri »

Today's 'The Hindu' carries an interview given by Flute Mali in 1971. The hard copy of the Friday Features has the original scanned paper of the interview and Mali's corrections and his signature. The online edition does not have it. Nevertheless, something ethereal. Here's the link:

http://www.thehindu.com/todays-paper/tp ... 796830.ece

RaviSri
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Re: Flute Mali's Interview of 1971

Post by RaviSri »

Sorry, the online edition does have the scanned pages.

rajeshnat
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Re: Flute Mali's Interview of 1971

Post by rajeshnat »

Mods
Merge this to the Flute Mali thread
http://www.rasikas.org/forums/viewtopic. ... 93#p214393

(Mod note: Done )

arasi
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Joined: 22 Jun 2006, 09:30

Re: Flute Mali's Interview of 1971

Post by arasi »

"Hearing is 75% of learning", Mali says.
How I wish teachers all over the world start every young student's first day of lessons with this line and cultivate listening in them all along while they learn!

Ramasubramanian M.K
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Joined: 05 May 2009, 08:33

Vid. T.M. Krishna's article in The Hindu

Post by Ramasubramanian M.K »

( Moderator note: the next several posts from split from this thread: http://www.rasikas.org/forums/viewtopic. ... 37#p216937 )

Right On Ponbhairavi--awaiting more--in the inetrlude an anecdote re: Mali( remember posting in one of the topics earlier but bears repetition because it underscores the Mali- the Mottai Madi experience.
Once in the early fifties I had accompanied my uncle to Mali's house in Bazaar Road Mylapore---before we entered the house,we heard lilting flute music coming from his window--as we entered his room we saw Mali sprawled on the floor with head perched against the wall on a pillow,with the sruthi box against the opposite wall --Mali was operating the bellows with his feet(!!!)--I was 13 years old and the first thought was How could he be kicking Saraswathi Devi and how come the Goddess is so partial towards him? Mali was not disrespectful-he was a tormented artist who always felt that he had not given his best performance despite the antics which would drive a puritan crazy-but to me if there is one note or phrase that simply transports one I was willing to forget/overlook all his antics. Despite all these no one was more respectful of the Classicism and the Great Trinity than Mali. To me any concert is not mere entertainment like going to a Movie or Drama-I enjoy what the artist is trying to present.
I need to hear more TMK's concerts in person to gauge how sincere he is in practicing what he claims to preach--while one need not clutch religion to one's sleeves while performing,I do expect artistes o respect the art as well as the audience--however ill-informed we may be about Music. On that score from the few occasions I have heard him in person, TMK HAS A LONG WAY TO GO(PURELY PERSONAL COMMENT!!).

cacm
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Joined: 08 Apr 2010, 00:07

Re: Vid. T.M. Krishna's article in The Hindu

Post by cacm »

To me MALI was a TRUE ARTIST & RESEARCH SCIENTIST!....I have been to his place many times & he would not only share his voluminous notes- equivalent to a row in Madras University Library- but demonstrate his EXPERIMENTS in VARIOUS ASPECTS- and play for you pretty much anything you request!....AMAZING GENIUS BUT MORE THAN THAT A GREATER HUMAN BEING. VERY RARE INDEED. ONLY MMI & MSS are in that category.....THERE CAN STILL BE SUCH PERSONS TODAY but the SLICK MARKETING APPROACH PREVAILS BECAUSE THE BAR HAS BEEN LOWERED A LOT. RASIKAS SHOULD BE MORE CRITICAL....VKV

satyabalu
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Re: Vid. T.M. Krishna's article in The Hindu

Post by satyabalu »

"May be Mali entertained himself or better he could not desist himself from expressing his art out." Ponbhairavi! I like these words & I believe ,this is what we, as artists (I privilege myself to be one) should aspire for. one for the society &one for the soul!

VK RAMAN
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Re: Vid. T.M. Krishna's article in The Hindu

Post by VK RAMAN »

"The music that I believe is the same whether I sing in the private space of my house or in front of an audience" - I like that statement and I believe that

arasi
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Joined: 22 Jun 2006, 09:30

Re: Vid. T.M. Krishna's article in The Hindu

Post by arasi »

MKR,
Your stories are nuggets. I love the pATTu mARATTam of the brothers and the amused admonition of Maharajapuram V in turn!

The MAli story is worth listening to, again!

uday_shankar
Posts: 1467
Joined: 03 Feb 2010, 08:37

Re: Vid. T.M. Krishna's article in The Hindu

Post by uday_shankar »

MKR Sir,
Operating the shruti petti with the feet and legs is nothing new for flautists and has nothing to do with Mali sir's "torment" or "antics". The point is that no sensitive flautist likes to play without shruti and there's not always somebody to operate it. Those were the pre-electronic days.

My flute guru T S Sankaran sir, Mali's disciple, used to do it and apparently taught it to all his students prior to the advent of the electronic shruti box (which is when I went to him :)). Even after the advent of the electronic box in the late 80's Sankaran sir used to practice with the acoustic shruti box, operating it with his feet and legs. It can be done sitting cross legged and wrapping one leg around the shruti box and buttressing it with the other leg.

The intonation of the flute is a partial function of the blowing. Typically, when you're tired and blow with less gusto your pitch falls ("theychal") a bit on all notes. The problem is exacerbated when you "over blow", i.e., attain the higher pitches by blowing harder for the same fingering. It becomes particuarly acute at mel sa and above and everybody, even Mali sir, occassionally "falls short" at the mel Sa. Sometimes flutists perform entire concerts with slight "theychal" at mel Sa and above, kind of like GNB in his later days. This is also a function of the instrument itself and the position of the blow hole from the blocked end - hence it is that flautists must select their instruments very carefully. Also, the higher the pitch of the flute, the more discernible is pitch misalignment. Hence you'll never find Hariprasad Chaurasia "falling short" in a readily discernible way. This is because he operates at the lower D key, an octave and a half lower than mali sir's G flute and of course he is inherently pitch sensitive. But I would wager that even Chaurasia would have some occassional "theychal" if he played the higher G flute.

Lastly, it is more wholesome and satisfying from a shruti perspective to play wind instruments like flute and nagasvaram to the accompaniment of the shruti petti rather than the tambura.

cacm
Posts: 2212
Joined: 08 Apr 2010, 00:07

Re: Vid. T.M. Krishna's article in The Hindu

Post by cacm »

I just want to add some lighter vein comment about Chaurasia.
T.S.Parthasarathy told me- He had been sent to Delhi along with Mali to be a "Chaperone" to make sure he would appear to get a Presidential Award- Mali hand painted a big note on a cardboard placard outside his room where he was staying saying "DO NOT DISTURB" AS WELL AS "NOT INSIDE" specifically for Chaurasia who was bothering Mali to teach him incessantly about his blowing& fingering techniques.
The Non-Churasia part is even more interesting: Mali bolted anyway from the hotel, T.S.P,. etc avoided the presentation ceremony, his own concert under the specially constructed Shamina etc & returned to Madras by Grand Trunk Express! He is reported to have shown Newspaper accounts of his going AWOL to fellow passengers; However I cannot confirm it as I was not there! I did not the guts either to ask him about it either.....VKV

Ramasubramanian M.K
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Re: Vid. T.M. Krishna's article in The Hindu

Post by Ramasubramanian M.K »

Uday: Thanks for the explanation of the subtleties in the playing of Wind instruments. My anecdote about Mali was more to show how unconventional he was in approaching/observing "art-protocols" for want of a better word. Also while the younger generations like you may not find the "touching" of the Instrument with one's feet disrespectful towards the Art --the times I grew up in where you could be pulled up by your elders if if your feet accidentally touches a book or magazine or newspaper I am sure you would agree that the "scene" would be a shock to a 12-year old!!!!That was the element of surprise I was trying to convey-- Like VKV I have been to several concerts of Mali and TNR where they would literally tease and torment the audiences,but we would hang on hoping to get that one meteoric imagination sore and soothe us making us forget all the antics!!(I am afraid this discussion keeps veering away from TMK's article but anyway I cannot resist an anecdote(I personally witnessed it) re: Mali.

Circa 1950- Mali's concert in Bombay--the first time he played under the auspices of a Sabha in Bombay--Shanmukhananda Sabha did not have their own hall and the normal School where concerts used to be held were far too small to accommodate the anticipated large crowds for Mali. It was held in a Pandal in the Don Bosco School grounds in Matunga. The Pandal was jam packed--Mali was totally "soused" and within the first half an hour the audience became restive,boos and catcalls to which Mali would utter some inane response(PMI and TNK were the accompanists)--Sensing the unrest amongst the audience Mali asks PMI "What is all this commotion for" PMI decides it was time to end the concert and gestures to Mali to finish the concert --in haste he finishes--the crowd rushes towards the dais-- my uncle who was a Committee member literally "hugs and covers Mali and tries to escort him to the Car--one of the audience--- a man in his thirties-- removes his Chappals and tries to hit Mali--the blow lands on my uncle's shoulder--when this irate member was restrained--another member steals the Flute and runs frantically towards the rail tracks-(-ostensibly to put it under the railroad tracks--Don't ask me Why he could not have broken the wood with his hands!!) behind the Pandal(those who are Mumbaites may know the rail track between King's Circle-Wadala Stations runs close to the School grounds. Somebody points out that the member is running towards the tracks--my uncle lets go of Mali and goes after the member with the flute(he knew him--a fanatic rasika who would dance like a Cobra when Mali played his best !!),pacified him saying what did the instrument do to deserve such wanton destruction and got back the flute!!

P.S. Mali returns to Chennai the next day without earning his Sanmanam and writes a poignant letter of apology to my father begging him to give him another chance and a promise that he would take the City by storm which he did after a full lapse of one year for the animosity to die down!! Those early experiences taught me to go to Mali's concerts with least expectations,put up with any amount of antics waiting for that one spark of imagination(be it the beginning of Varamulu Sakhi brovu in Kirvani from the Dhaivatam note instead of the conventional Panchamam or the final sangathi in the Pallavi for Pari Thana Minchithe(bilahari) with the kakali Nishada --many such "goosebumps" situations. In my opinion for all the antics he was a true artiste tormented by dissatisfaction that he could not bring out his best even on those days when his concerts were flawless. In his personal life he was every inch a family man--he did not want to marry till his sisters were married - I think he also had a brother whom he helped to educate-he took his parents to Benares on pilgrimage and was very dutiful towards his family--such a paradoxical human being--he was an enigma very much like Vincent Van Gogh-tormented and depressed.

NOW you may legitimately ask WHY am I not fully supportive of any of the "present day artistes deviation from the Sampradaya? WHY am I applying DOUBLE STANDARDS-- I plead Guilty---the day TMK gives me that kind of goosebumps like I felt with Mali and TNR, I will surrender to any deviation or antics!!! THIS IS PURELY PERSONAL AND SUBJECTIVE AND PERHAPS IRRATIONAL!! PLEAD GUILTY!!!

cacm
Posts: 2212
Joined: 08 Apr 2010, 00:07

Re: Vid. T.M. Krishna's article in The Hindu

Post by cacm »

MKR,
YOU are ABSOLUTELY RIGHT about MALI being concerned about his not giving his BEST in concerts. I can recall an instance in Tambaram in 1950 when he asked me- intermediate student at christian college-when I was just hanging around him at the end of his BRILLIANT CONCERT asking me what I thought of his playing that evening!HE WAS VERY GENUINE TOO....Still I am both excited and floored he genuinely asked me that question!...Also he regularly insisted on having Morsing & other instrument vidwans who RARELY got opportunities for concerts by insisting they shd. play in his concerts. Great man & a GREATER SOUL..... VKV
Last edited by cacm on 17 Feb 2012, 07:47, edited 1 time in total.

VK RAMAN
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Joined: 03 Feb 2010, 00:29

Re: Vid. T.M. Krishna's article in The Hindu

Post by VK RAMAN »

Nothing new to the generation of that time "In his personal life he was every inch a family man--he did not want to marry till his sisters were married - I think he also had a brother whom he helped to educate-he took his parents to Benares on pilgrimage and was very dutiful towards his family" and that shows Mali was very much belonged to that generation

thenpaanan
Posts: 635
Joined: 04 Feb 2010, 19:45

Re: Vid. T.M. Krishna's article in The Hindu

Post by thenpaanan »

Ramasubramanian M.K wrote: NOW you may legitimately ask WHY am I not fully supportive of any of the "present day artistes deviation from the Sampradaya? WHY am I applying DOUBLE STANDARDS-- I plead Guilty---the day TMK gives me that kind of goosebumps like I felt with Mali and TNR, I will surrender to any deviation or antics!!! THIS IS PURELY PERSONAL AND SUBJECTIVE AND PERHAPS IRRATIONAL!! PLEAD GUILTY!!!
We rasikas should learn from this frank admission. Subjectivity is not a sin, pretending objectivity is the problem! :grin:

Thanks also for your hilarious recounting -- your word picture of the fan running to the railroad tracks with the flute was perfect -- I can well imagine that sort of emotional fanatic who oscillates between extremes. Why did he run to the railroad track when he could have broken it by hand? Because only the train crushing it completely would give adequate expression to the violence that the fan felt in his heart, merely breaking it with his hands would not have given him the release he needed. I remember this woman, a Gundappa Vishwanath fanatic if there was ever one, who used to come to our house to watch cricket on television. Once when Vishy took the stand her nine year-old son screamed "out" (VIshy was having a very bad run at that time). Predictably he got out in a few balls at which the mother proceeded to give the son a hiding that I still remember decades since. :lol:

-thenpaanan

Ramasubramanian M.K
Posts: 1226
Joined: 05 May 2009, 08:33

Re: T.R.Mahalingam - Mali (Flute)

Post by Ramasubramanian M.K »

One more anecdote to the "Mali Lore"--as told to my brother by Rajamony--PMI's son:

Papa Venkatramiah was to accompany Mali (besides PMI)for one of the concerts--venue not known. (outside Chennai--for sure).On the morning of the concert when they were together Mali Sir wanted Papa Sir to teach him a padam(from the Dhanammal family--to whom Papa Sir was very close-- One of the granddaughters--sister of brindamma and Mukthamma--T.Abhiramasundari was his disciple) .Papa Sir demurrhed saying it is difficult to teach that Bani w/o some repeat sessions--Mali Sir can be tenacious if he so chooses-- the banter goes on back and forth-- finally prevails and teaches a Padam in short order.

later that evening it seems Mali Sir played that padam flawlessly capturing the nuance and the flavor(including the proverbial "Odukkal" and Sedukkal") of the Bani much to the enviable surprise of both PMI and Papa Sir. Papa Sir is reported to have commented to PMI that only a genius with Divine grace like Mali could imbibe lessons like that and render them flawlessly.

Mali Sir despite his "alleged" indifference towards other lesser talented artistes had one of the highest regard for Tiruppamburam Swaminatha Pillai (TSP) and Viswa Sir(his disciple)--their Bani and lineage were highly regarded by him. A sidebar story:

Once after a disastrous outing @ the Shanmukhananda(related in one of the posts in this thread),Mali Sir wrote to my father apologising for the misbehavior in a letter and typical of his audacious nature suggested TPS(who although Senior to Mali Sir had somehow not got the attention outside of Chennai) as if to atone for his infractions. I do not know whther this alone was responsible but the sabha arranged TPS for the first time in Bombay.
TPS arrives the previous day by the Madras Express which arrives around 1 P.M in those days. My father receives him at dadar Station--TPS gets down with two big bandages wrapped around his two fingers on the right hand--apparently in the night before sleeping he had tried to adjust the fan(running fan)a above with his fingers(in those days the protective mesh was not so tightly- spaced and fingers could get caught if one is not careful) the finger to be inserted

Despite all the idiosynchrisies attributed to Mali Sir,to quote Somerset Maugham about John Ruskin the british Political Economist/lierary figure of the 19th century; "I can read 2 pages of Ruskin with delight but twenty only with weariness"--I can put up with 2 and a half hours of antics for the inimitable flashes for the last half hour--Mali and TNR are 2 artistes that cannot be enjoyed merely thro their recordings--the ambiances and the interactions amongst the accompanists lent added spice to their concerts.I considermyself extraordinarily lucky to have been around when these 2 giants flourished!!

kal
Posts: 25
Joined: 21 Aug 2012, 04:38

Re: T.R.Mahalingam - Mali (Flute)

Post by kal »

Can someone post a list of all Mali CDs that have been published so far? As an avid Mali fan (read addict!), i'd like to have a complete collection. Thanks...

shripathi_g
Posts: 356
Joined: 30 Mar 2005, 08:25

Re: T.R.Mahalingam - Mali (Flute)

Post by shripathi_g »

Found this divine Kapi (https://soundcloud.com/sripathi-g/04-me ... thyagaraja) in my collection and have been totally absorbed by it. Can someone identify the accompanying artists?

thanjavooran
Posts: 2972
Joined: 03 Feb 2010, 04:44

Re: T.R.Mahalingam - Mali (Flute)

Post by thanjavooran »

A share from my friend
Anecdotes about Musicians


Shri.T.R.Mahalingam (1926-1986)



Semmangudi’s list of three musical geniuses included “Flute Mali”. T.N.Rajarathinam Pillai and Palghat Mani Iyer. Mali or T.R.Mahalingam was the flute equivalent of Rajarathinam Pillai. With Pillai he shared eccentricities. Mali was born in 1926 to Ramaswamy Iyer and Brahadambal in Talanayar village in Tanjore. Mali was one of six siblings and his father was dependent on agriculture.

**************************

Gopala Iyer, a relative taught Mali’s brother--flute and his sister vocal music. He taught Mali also vocal music since he was weak. Mali was more attracted to flute and learnt it secretly. Gopala Iyer discovered this and requested Mali’s father to allow him to teach Mali flute. After some struggle he allowed this. Within two years Mali learnt all that could be learnt about flute. He was a child prodigy. He won the approval of Violinist Marungapuri Gopalakrishna Iyer and Mridangist Tanjore Vaidyanatha Iyer.

*************************

Mali encountered tremendous difficulty in being accepted. But his father succeeded. Soon Mali was accompanied on the violin by the venerable Dwaram Venkataswami Naidu. Mali’s maiden performance in Chennai was in the Rasika Ranjani Sabha, Mylapore. Veterans like Musiri Subramania Iyer presented him with a silk shawl. His career took off after this and the family prospered.

*********************************

Chowdiah and Papa Venkataramiah accompanied Mali frequently. At a later stage stalwarts like Palghat Mani Iyer and Palani Subramania Pillai shared the stage with him. Mani Iyer and Mali combination was just great. They were made for each other. Opportunities came thick and fast. He got introduced to the Dhanammal family and gained from it.

***********************************

Mali redesigned the flute making its reed thicker and its bore smaller to produce a strong and thick tone. He also altered his lipping and fingering techniques. His left hand held the flute in a peculiar way that came to be called “ the parrot clutch “, which helped him control the instrument. Unlike his predecessors he used flutes with eight holes. According to Prof, Samabamoorthy, the great musicologist, it was the eighth and extra hole that provided Mali with the extraordinary control he had on the instrument

*****************************

Mali began his eccentricities in 1939.He cancelled a concert at the Ramakrishna Mission in Mylapore quoting as reason his sister’s death. She had died years earlier. He suffered from bouts of headache which led him to the bottle. He began to consume large quantities of alcohol and this combined with his complex personality affected his behaviour and concerts. Mali stopped playing for audiences. He would play for himself. He did not accept many engagements. Some days he would be too drunk to perform and either not turn up or worse take the audience for a ride leading to several ugly scenes. He cancelled live broadcasts of All India Radio. Awards never came his way. The Music Academy dropped him like a hot potato.

***********************************

When, during his performance at the R R Sabha he was disturbed by Mudicondan Venkatarama Iyer and T.L.Venkatarama Iyer chatting loudly in the front row he publicly admonished them over the mike. And when they did not stop Mali ended his programme by playing the mangalam at once !

*****************************

Mali did not care for any awards and declined the Padma Bhushan awarded to him in January.1986.

****************************************

By 1980, Mali single till then, married Ellen an American student of his and moved to the U S. He returned to India in 1985. He died of cerebral haemorrhage in 1986.

cacm
Posts: 2212
Joined: 08 Apr 2010, 00:07

Re: T.R.Mahalingam - Mali (Flute)

Post by cacm »

[quote="Ramasubramanian M.K"]To reinforce VKV's statement about Mali's ambivalence--nay disagreement with lowering the Sruthi-Mali Sir actually mentioned to my father that he does not approve of Ramani Sir lowering the sruthi!! Ofcourse Ramani Sir's lowering the Sruthi could have been due to some circumstances like the Violin-Venu-Veena tour that VKV sponsored in 1969 (lalgudi-Ramani-Venkatraman) that necessitated lowering the Sruthi. Ofcourse this is only my conjecture and does not explain WHY for his solos Ramani Sir chose to lower the pitch as well!!

I personally liked the high sruthi perhaps because Mali Sir could produce the tonal quality that overcame the "shrillness" associated with high sruthis .

I WISH TO STATE AS A HISTORICAL MATTER OF RECORD THAT DR.N.RAMANI WHOSE ORIGINAL CONTRIBUTIONS ARE OUTSTANDING & MATTER OF RECORD that till he switched to the LOWER SRUTI HE DID NOT GET THE RECOGNTION THAT HE DESERVED.

MY THEORY about these things is the following:
it is impossible for ANYONE FOLLOWING THE CREATOR & ORIGINATOR OF THE ORIGINAL STYLE TO GET ANYWHERE NEAR THE ORIGINAL. THIS IS TRUE OF:
MAHARAJAPURAM SANTHANAM----VISWANATHA IYER
S.KALYANRAMAN-G.N.B.
N.RAMANI-T.R.MAHALINGAM
T.V.SANKARANARAYANAN-MADURAI MANI IYER
LGJ- HIS SIBLINGS& OTHER DISCIPLES
SUDHA RAGUNATHAN-MLV
SEM-T M KRISHNA A VERY VERY PALE & POOR DISCIPLE WHICH IS WHAT MAY BE FORCES HIM TO GO OFF AT A TANGENT CLAIMING TO BE ORIGINAL WHILE BEING QUITE IRRELEVENT MUSICALLY........VKV :!:

satyabalu
Posts: 915
Joined: 28 Mar 2010, 11:07

Re: T.R.Mahalingam - Mali (Flute)

Post by satyabalu »

The forward is in Tamil.The translation will not convey as much .
நினைவுத் திரையில்...தினமணி-2012
"ஆஸ்திக சமாஜம்' நரசிம்மன்

மாலியை சந்தித்து ஒரு கச்சேரி ஏற்பாடு செய்ய சென்றிருந்தோம். அப்போது மந்தைவெளி பகுதியில் ஓஷியானிக் என்றொரு ஹோட்டல் இருந்தது. மாலி அங்குதான் தங்குவார். நாங்கள் சென்றபோது ஒரு உடைந்த புல்லாங்குழலை நூலால் கட்டிக்கொண்டு இருந்தார். "என்ன இது? ஃப்ளூட்டை நூலால் கட்டிக்கொண்டிருக்கிறீர்கள்?' என்று கேட்டதற்கு
மாலியிடம் இருந்து வந்த பதில்- "சாயங்காலம் ஒரு கச்சேரி இருக்கு.'

கூட வந்தவர் கேட்டார், "என்னையா இது! உடைந்த புல்லாங்குழலை வைத்துக்கொண்டு சர்வசாதாரணமாக சாயங்காலம் கச்சேரி இருக்கிறது என்று சொல்கிறாரே இவர். எப்படி வாசிக்கப் போகிறார்?' நான் சொன்னேன், "சாயங்காலம் கச்சேரிக்குப் போவோம், அவர் எப்படி வாசிக்கப் போகிறார் என்பதை நேரில் கேட்டுத் தெரிந்துகொள்.'

சாயங்காலம் நூலால் கட்டப்பட்ட உடைந்த புல்லாங்குழலை வைத்துக்கொண்டு ஒரு கச்சேரி வாசித்திருக்கிறார். இந்த ஜென்மாவில் அப்படி ஒரு சங்கீதத்தை இனிமேல் கேட்க முடியாது. அப்போதுதான் தெரிந்தது, சங்கீதத்தின் மகிமை வாத்தியத்தில் இல்லை. வாசிப்பவர்களிடம்தான் என்பது.

ஒரு முறை பாலக்காடு மணி அய்யரை பார்க்கப் போயிருந்தேன். பல விஷயங்கள் பேசிக் கொண்டிருந்துவிட்டு எங்களுடைய பேச்சு மாலியைப் பற்றி திரும்பியது. அவர் சொன்னார்- "லயத்திலே புலி அவன். மாலி மாதிரி இன்னொரு வித்வான் கிடையாது!'
÷
அப்போது ராம நாம யக்ஞ மண்டலி என்றொரு அமைப்பை டாஃபே மகாதேவன் நடத்திக் கொண்டிருந்தார். அந்த அமைப்பின் சார்பில் நாகேஸ்வர ராவ் பார்க் அருகில் மாலியின் கச்சேரி. டாஃபே மகாதேவன் மாலிக்கு நெருங்கிய நண்பர் என்பதால் நிச்சயமாக மாலி கச்சேரிக்கு வருவார் என்கிற நம்பிக்கை ரசிகர்களுக்கு இருந்தது. அதனால் கூட்டமோ கூட்டம். எட்டு மணி வரை மாலியை காணோம். ஆனாலும் நம்பிக்கை இழக்காமல் டாஃபே மகாதேவனும் ரசிகர்களும் மாலி வந்துவிடுவார் என்று காத்துக் கொண்டிருந்தார்கள். எட்டேகால் மணிக்கு மாலி வந்து சேர்ந்தார். எட்டரை மணிக்கு மேலேதான் மேடையில் போய் அமர்ந்தார்.

புல்லாங்குழலை எடுத்து "கமாஸ்' ராகத்தில் "சுஜன ஜீவனா' வாசிக்கத் தொடங்கினார் பாருங்கள் கைத்தட்டல் விண்ணைப் பிளந்தது. அடுத்த நான்கு மணி நேரம் தேவகானம் பொழிந்தார் மாலி. என் வாழ்நாளில் மறக்க முடியாத கச்சேரி அது.

தஞ்சாவூர் ஆனந்தா லாட்ஜில் தங்கியிருந்தார் ஃப்ளூட் மாலி. அவருக்கு எப்போது மூடு வரும் என்பதை யாராலும் கணிக்க முடியாது. ஒரு நாள் காலை சுமார் 6 மணி இருக்கும். புல்லாங்குழலை எடுத்து வாசிக்கத் தொடங்கிவிட்டார். ரயில் நிலையத்தை சுற்றியிருக்கும் தெருவெல்லாம் ஸ்தம்பித்துவிட்டது. கூட்டமான கூட்டம். ரயில் ஏறுவதற்காக வந்தவர்களும் ரயிலில் வந்து இறங்கியவர்களும் உள்ளூர்காரர்களும் மாலியின் புல்லாங்குழல் கேட்டு மகுடி மயங்கிய பாம்பாக ஆனந்தா லாட்ஜை சுற்றி நின்று கொண்டிருக்கிறார்கள். இப்படி நூற்றுக்கணக்கான பேர் கேட்டுக் கொண்டிருப்பது தெரியாமல் மாலி புல்லாங்குழல் வாசித்துக் கொண்டிருக்கிறார். அன்றைய மாலியின் வாசிப்பைக் கேட்ட ரிக்ஷாக்காரர்கள்கூட அதற்குப் பிறகு பல வருடங்கள் அதைப் பற்றி பேசிக் கொண்டிருந்தார்கள்.

தொ.மு.பாஸ்கர தொண்டைமான் கலெக்டராக இருந்தபோது தஞ்சாவூரில் கலைவிழா ஒன்றை நடத்தினார். அதில் பிரபலமான எல்லா கலைஞர்களும் கலந்துகொண்டனர். மாலியின் கச்சேரியும் இருந்தது. மாலி வருவாரா வரமாட்டாரா என்று தஞ்சாவூர் ஜில்லாவில் பந்தயம் கட்டியவர்கள் கூட உண்டு. அன்றைக்கு என்னவோ தெரியவில்லை. மாலி சொன்னது சொன்னாற்போல கச்சேரிக்கு வந்துவிட்டார். லால்குடி வயலின். அந்தக் கச்சேரி அமைந்ததுபோல இன்னொரு கச்சேரி தஞ்சாவூரில் அமையவில்லை. நேரம் போனது தெரியாமல் மாலியும் வாசித்துக் கொண்டிருந்தார். ரசிகர்களும் கேட்டுக் கொண்டிருந்தனர்.

ஜகந்நாதன் என்று எனக்கு ஒரு நண்பர். ஜகந்நாதனை அவருடைய அப்பா ஒரு கச்சேரிக்கு கூட்டிக்கொண்டு போனார். கச்சேரி சுமாராகத்தான் இருந்தது. ஜகந்நாதன் அப்பா சொன்னாராம்- "இன்னிக்கு நமக்கு பிராப்தம் இல்லைடா!' என்று. அடுத்த வாரம் கோனேரிராஜபுரத்தில் அதே பாகவதரின் இன்னொரு கச்சேரி. அதற்கும் தனது மகனை அழைத்துக்கொண்டு போயிருந்தார் அவர். கச்சேரி "ஓஹோ' என்று இருந்ததாம். ஜகந்நாதனிடம் அவருடைய அப்பா சொன்னாராம்- "கலைஞர்களுக்கு அன்னிக்கு எப்படி மூடு இருக்கு என்பதைப் பொறுத்துத்தான் கச்சேரி அமையும். ஒரு கச்சேரி நன்றாக அமையாவிட்டால் கலைஞர்களைத் தப்பு சொல்லக் கூடாது. அன்றைக்கு நமக்கு பிராப்தம் இல்லை என்றுதான் எடுத்துக்கொள்ள வேண்டும்.'

ஆலத்தூர் சகோதரர்கள் என்று சொன்னாலே கணக்கு விவகாரங்களில் புலி என்பது பரவலாக சங்கீத உலகத்தில் பேசப்படும் விஷயம். கணக்கு விவகாரம் என்று சொன்னால், என்னவோ ஏதோ என்று நினைத்து விடாதீர்கள். காலபிரமாணத்தில் செய்யப்படும் விதவிதமான தாள நுணுக்கங்களுக்குத்தான் சங்கீத மேடையில் கணக்கு விவகாரம் என்று பெயர். ஒரு கச்சேரிக்கு வரும்போதே மிகவும் நுணுக்கமான, கஷ்டமான தாளத்தில் பல்லவியை அமைத்துக்கொண்டு பக்கவாத்தியக்காரர்களைத் திணறடிப்பதில் ஆலத்தூர் சகோதரர்கள் சமர்த்தர்கள். சங்கீதம் நன்றாக தெரிந்தவர்களுக்கு ஆலத்தூர் சங்கீதம் என்று சொன்னால் விரும்பிக் கேட்பார்கள். பக்கவாத்தியக்காரர்கள் திறமைசாலிகளாக இல்லாவிட்டால் அவமானப்பட வேண்டியதுதான்.

ஒரு கச்சேரியில் திருவாலங்காடு சுந்தரேச அய்யர் ஆலத்தூர் சகோதரர்களுக்குப் பக்கவாத்தியம். கச்சேரி தொடங்குவதற்கு முன்னால் கேட்டாராம்- "இனிக்கு எப்படி சிவிலா, கிரிமினலா? என்று. அவர் கேட்டவுடன் ஆலத்தூர் சகோதரர்கள் சிரித்து விட்டார்களாம்.

ஆலத்தூர் சகோதரர்களுக்கு லால்குடி ஜெயராமன் நிறைய கச்சேரிகள் வாசித்திருக்கிறார். அவர்களுடைய கணக்கு விவகாரங்களை லால்குடி ஜெயராமனும் பாலக்காடு மணி அய்யரும் சர்வசாதாரணமாக ஊதித் தள்ளிவிடுவார்கள். அதனாலேயே இந்த காம்பினேஷனில் அமையும் கச்சேரிகள் அசாத்தியமாக இருக்கும். லால்குடி ஜெயராமனைப் பற்றி ஆலத்தூர் சுப்பய்யர் ஒருமுறை சொன்ன கருத்து- "லயத்திலே லால்குடி பிரம்மா. அவருடன் கச்சேரி செய்யும்போது ஏதோ கூட இருந்து பிரக்டீஸ் பண்ணினா மாதிரி இருக்கும். எப்படிப்பட்ட விவகாரமாக இருந்தாலும் அதை அவர் சர்வ சாதாரணமாக கையாண்டு விடுவார்'.

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