Malladi Brothers at KGS 30/12/2011

[quietlistener]

I have been following the Concert review section on Rasikas for a while now. I was quite disappointed when I didn't find a review of the Malladi Brothers concert at KGS on Dec 30. And then I decided to sign up and write about the concert.

Malladi Brothers - Mysore Nagaraj - Umayalpuram Sivaraman - S Karthick.
Time: 4:30 - 7:00. Concert began 15 mins late. Ended at 7pm.
Here's the song list:
1. mOsapOgu - gowlipantu - adi - tyagaraja
2. alakalallallADa - madhyamAvati - rupakam - tyagaraja (short ragam, crisp swarams)
3. kalavati kamalAsana yuvati - yAgapriya - Adi - dikshitar (10-min ragam from Malladi Ravi, swarams)
The ragam was handled masterfully. Ravi's voice went to unimaginable swarams, the patterns he formed bordered on the unconcievable. The Brothers made an announcement stating that the legendary doyen, Voleti Venkateswarulu, who passed away 29/12/89, had a love for these rare ragams with difficult swarasthanams. They dedicated their Yagapriya presentation to his memory. The swarams were fabulous. Mysore Nagaraj provided enthusiastic support, thought I thought his renditions would have been a lot more peaceful had the bowing been less harsh.

4. ranganathude - sowrashTram - rupakam - ponniah pillai
Another Voleti masterpiece.

5. talli tanDri - balahamsa - Adi - tyagaraja (short ragam - Malladi Sreeram)
6. RTP - karaharapriya - chatuSra jampa talam khaNDa naDa - (rich ragam - Malladi Sreeram)
The karaharapriya ragam had all of the classic twists that it would have, had Nedunuri explored the ragam. Simply beautiful. A controlled rendition that was characterized by a peaceful pace, allowing for time to think, dwell on the raga and take in its beauty.
"murugA shanmugA mAl marugA vA satguruhanE" - with ragamalika swarams in mOhanam, shanmukhapriyA, kAnadA, behAg and rAgeSwari - followed by Tani.

Here are Umayalpuram's words: (verbatim)
"I know that this is not sampradayam at all (yes --- that's how he began). I think you should know that. It is tradition to give a second Tani avartanam at the pallavi. The first tani has to be given after a kirtanam, but they (implying the Malladi Brothers) didn't do that. They should have done that. Now, after having sung the entire pallavi, at the end of the concert, giving the Tani avartanam is not right. We started the concert at 4.30 --- now, the time is almost 6.35. We have to finish at 7. So --- should I play or not? <to which some people actually CLAP!.>
He continues,
"I am going to play, but only after telling you (the audience) why i am going to play. The artists should understand, right? If I don't say it, the sampradayam of tani avartanam will be lost forever. The reason: I didn't know they were going to sing this pallavi. (like he has never played a Khanda nadai before!!!!!!!!!!!!!!!!! You boast of playing the mridangam 65 years of your life!!!! DUDE! Get a life!) I take it as a challenge --- and I'm going to play now. <THE AUDIENCE CHEERS!!!!?????>
He continues,
"I have played for big vidwans. In accordance with that sampradayam, there is a minimum of 2 tani avartanams in each concert. First in the main piece, and next in the pallavi. If things continue this way, we have to go to the Archaeological Department to locate where the tani avartanam has gone. "

Reaction on stage: The Brothers start off with talam; drink from their flask. Karthick stares at the ceiling.

If it isn't sampradayam to have only 1 tani in a concert, it IS NOT sampradayam either to have the mridangam vidwan pick up the mic and talk to the audience. It was really washing his dirty linen in public. If anybody had read the review of Saketharaman's Vani Mahal concert published on THE HINDU 2 weeks ago, they would have know that Umayalpuram was really washing dirty linen in public.

I was disappointed. I expected more humility from a senior vidwan. The concert began 15 minutes late. If the Tani came in at 6.30, that was actually 30 full minutes to spare. The times of 2 tanis in a concert were the days of GNB and Semmangudi. The days of a 3.5 and 4-hour concerts! With a 2hr 15min concert, Umayalpuram wanted 2 tanis???? COME ON! Really!??? I was in a world of bliss till when Umayalpuram's presumptuous talk brought me crashing down to the dais. Can someone teach this man MANNERS???

7. nahirE nahi Sankha - hindustAni kalAvati - Adi - sadASiva brahmEndra - almost to calm themselves into a state of dispassion.
8. idadu padam tUkki - khamAs - Adi - pApanAsam Sivan - and almost immediately.
9. marali marali - madhyamAvati - Adi - annamachArya

So - there's my account of the concert. I think senior vidwans need to behave senior, and maintain decorum on stage. What happened at KGS was ugly. Left a bitter taste after a divine concert.

[squims]

Woah this is surprising. From my previous experiences, I've always felt that Umayalpuram sir is a very humble person. This sounds so weird.

[mahavishnu]

From my previous experiences, I've always felt that Umayalpuram sir is a very humble person.

Surely, you're joking. Mr. Squims

A top-class mridangam vidwan in every aspect of performance, yes.
Great guru and mentor, yes.
Humble, not really.

[squims]

Haha, guess this is an eye-opener to me then! I've only known him in the past few years.

[Nick H]

Musicians, like shop staff, should keep their differences off-stage.

[Enna_Solven]

Great! I thought only my favorite singer Krishna was allowed to talk on stage instead of singing. These two guys are like sishyas to UKS as he had performed with their guru. He should have talked to them after the concert in the green room. kali yugam.

[nkrishnan]

Hello all, though i have been following this forum for quite sometime, i decided to register and post after going to this concert and seeing the review of quietlistener.

It was indeed shocking, the awful manner in which such a senior vidwan conducted himself. Maybe he thought that the bros are accompanying him and not vice-versa.. Time and again i have been seeing (am sure many others will agree, but just they are not coming out and writing about this) this arrogant attitude of his (I have been one of the many casualties of his arrogance). There may be students and admirers of UKS in this forum, but this is just the blatant truth which they have to put up with.

He behaved in the same manner in the Music Academy lec-dem programme of Amrit and Trichy Sankaran... Oh GOD, The art is great, but unfortunately, most of its practitioners aren't so....

Its indeed baffling how he managed to survive so many decades in this field with that behavior of his.

> "Umayalpuram sir is a very humble person." ??????

Maybe only to the rich, powerful and People who matter with the right connections.....

[squims]

> "Umayalpuram sir is a very humble person." ??????

Maybe only to the rich, powerful and People who matter with the right connections.....

Hey I only know him as a guru of an acquaintance, and I've only seen him in that role. And obviously he's a great performer. And in my few interactions with him, he's been nice. So, I've never had any reason to think him to be arrogant. Like I said, this is side of his is new to me.

[CommonMan]

I am not thrilled by how things transpired at KGS either...

However just to put things into perspective a few observations:
1. It is not probably the best of strategies to let a sen vidwan like UKS play a thani with 20 minutes left to end the concert.
2. True!those days concerts were for 3-4 hours when there used to be 2 thanis....but
a) concerts in the US typically go for 3-3.5 hrs - do we get to see mridangists play 2 thanis: one for the main, and the other for RTP? Rarely.
b) If a main and RTP can be squeezed (proportionately) into a 2.5 hr concert, why not 2 thanis?.....By this, I am not suggesting that ppl wud prefer 2 thanis, but at least you can leave ONE thani turn well ahead of time, where mridangists do not have to hurry up or be pressurized to wind up soon...
3. Moreover, the way things are happening, you might have some artists sing a RTP in one concert and let the mridangist play a thani for it in the next concert in the name of innovation....so time and again youngsters of this generation need someone to keep them in check...again not necessarily meaning that I am in complete agreement with HOW UKS handled the situation...but WHY he did have some reasons, I guess....Senior artists of UKS's calibre have the stature and experience to keep reminding rasikas and artists what sampradaya is amidsts some "sirusus" and "podisus" wrecking havoc in the name of innovations.
There are definitely many positives to take away from this incident.

[rananthga]

Hmm... really sorry to hear about the "drama" on stage. I dont know if a Pazhani or Mani Iyer would throw a "tantrum" like this on stage for not getting an opportunity to play a longer thani or 2 thani's. Such was their humility despite also being equally talented (if not more) like UKS. In fact most of the thani's I've heard from these stalwarts hardly last more than 15 minutes. Yes they do play a small thani for RTP - but that's potentially limited to mora, korvai.

From QuietListener's comment - I get the feeling that UKS was a bit upset that the thani was relegated to the fag end of the concert and hence reacted this way.

IMHO - UKS should think of mridangam as an accompaniment vs. thinking of mridangam as the main. I've also observed UKS on multiple occassions trying to dominate the proceedings and take attention away from the bhaavam of the song and draw attention to his strokes. I sincerely adore UKS's playing style and the dexterity - but he should show all that in thani rather than intrude on the bhaavam of the song.

[varsha]

I dont know if a Pazhani or Mani Iyer would throw a "tantrum" like this on stage

here is some PMI evidence... for records.
http://www.mediafire.com/?0nwiv2d98rgvh6u
cheers

[eesha]

For his stature, UKS could have conducted himself in a better way in front of public. He could have aired his grievances to the main artists after the concert and set pre conditions about having 2 or 3 thanis for future concerts.

[eppramod]

here is some PMI evidence... for records.
http://www.mediafire.com/?0nwiv2d98rgvh6u
cheers

Amazing!!! With TRM on stage anything can expect I suppose...

[fduddy]

why make a fuss for the statements made by UKS. After all he is also a human being like us all and has all the sensitivities, ego, stature in the art as a senior most vidwan etc etc etc. Just because these artists are cladded in their veshti / jibba attire with the forehead full of vibuthi and namam we kinda get carried away by thinking they are different from us and they are above us!! The main artists could have shown a better sense of proportion by giving tani after an hour from the start. Perhaps that day being the anniversary day of one of their gurus, they got carried away singing the ragas liked by Sri Voleti UKS has accompanied them in many many concerts before - he knows them well, perhaps he could have shown some restraint too ..............

There was a very similar incident that happened in the early 90s (MFAC) in a Nedunuri concert with MC and UKS - vocal support by Malladis. An awesome concert - Sri Nedunuri took a pallavi in a complicated / complex tala and both MC and UKS did struggle to play. MC made a remark that he should have been informed in advance. UKS said he will take it as a chalenge to play. Mind you both these artists have been regular accompanist for Nedunuri for many many years. the arguments were unncessary perhaps and nedunuri stated that 'you both are very senior vidwans and this should not be difficult for you to play'. Perhaps yes, but they struggled that day (one off day). Dspite those arguments and unpleasantness on stage the team performed together in many many concerts after that....

[Balummi]

An overwhelming majority of the rasikas that throng a concert come to listen to the main artist only
If the accompanying artists are great veterans , it only adds to the beauty of the concert . It does not automatically confer any rights on them to dictate slots and duration of such slots which are the prerogative of the main artist.

[fduddy]

An overwhelming majority of the rasikas that throng a concert come to listen to the main artist only
If the accompanying artists are great veterans , it only adds to the beauty of the concert . It does not automatically confer any rights on them to dictate slots and duration of such slots which are the prerogative of the main artist.

Not true always. When a senior vidwan accompanies a junior artist it does attract the attention of a listener and gives confidence that the main artist is probably good, that is probably the reason a senior accompanist is accompanying!! It does gives an edge to the main artist who is much junior in age / stature.

[arasi]

Surely, Malladi Brothers are not junior artistes! Even if it had been a junior artiste, he could have whispered a few words to him on stage or chastised him later after the concert. One may be the best in the business, but one is still accompanying. Example: A percussion player leading an ensemble and the same person as an upa pakkavAdyam would know his place, I'm sure.

Balumni,
Yes, as you say, if accompanying artistes are great, it adds to the beauty of the concert. If they are without grace and restraint, it's a shame.
Unfortunately, the audience can't be fooled by 'on stage performance manners', when one treats the leading artistes with little respect for all to see...

Mahavishnu,
Couldn't have said it better!

[sangithapithu1]

An overwhelming majority of the rasikas that throng a concert come to listen to the main artist only
If the accompanying artists are great veterans , it only adds to the beauty of the concert . It does not automatically confer any rights on them to dictate slots and duration of such slots which are the prerogative of the main artist.

Exactly ;( now a days Pakkavadhyams dictate the main artist. Last year i had the chance to attend the concert of an youngster at KGS. The duration of the concert was totally for one hr and 50 mnts UKS took nearly 35 mnts for thani avarthanam. The younsgter was instructed the finish the Main item within 15mnts ( kalikiyunte- including ragam krithi niraval and swaram). |(

coming to the concert , Excellent concert of the brothers, The sruthi sudham and timbre in malladi brothers voice was simply awesome. The alapana of karaharapriya was pure and pristine with imaginative phrases.

[bilahari]

I have heard a lovely kharaharapriya RTP from the brothers. I can imagine how good it was.

No matter the content of Sri UKS's remarks, as a rasika, on stage drama would invariably scar my concert experience.

[sivakami]

The M Bros sang the same pallavi here at Hyd on the 1st dec, about which I had posted (http://www.rasikas.org/forums/viewtopic.php?f=13&t=17969) as follows:

SRP developed the ragam step-by-step in a detailed way, which RK followed. We were again guessing whether that would be a RTP or not. Then they started the tanam followed by the pallavi in tamil and the short swara-raga-malika. The tala pattern was complex for me. SRP announced that it was chatusra jathi jhampa talam. RK added by commending the pakka vadhya-vidwans, that, the original plan was to sing some other pallavi (different talam) and suddenly changed to this, for which the two percussionists immediately adjusted beautifully. Without the able support of such accompanying vidwans, he said, the kutcheris are never successful

Normally, The Bros announce that there will be a tani avarthanam after that main kriti/or RTP, and request that rasikas must avoid leaving during the tani.Particularly when senior vidwans like Kamalakar Rao garu or others accompany here at Hyd (I have not seen UKS sir accompanying them here!), they emphasize that point.
Even music academy kucheri, they were accompanied by him only..So I am wondering why UKS garu reacted like that at KGS....perhaps on an impulse...

[mri_fan]

I think most of the important points have been raised already, but I wanted to add my 2 cents.

Whether UKS has a right to feel jilted about not being given enough time for a thani is debatable. I would argue that in a concert that started late, and was of a very short duration, it's often unavoidable to be left with a small amount of time. But the problem I have is when he publicly brings it up, in a way that causes tension on stage, and antagonizes some in the crowd against the main artist. How ridiculous of him. His ego got in the way of good judgement this time. He could have easily brought it up to the artists after the concert was over. I've seen other examples of what seems like an inflated ego, from the fees he charges US-based students, to the excessive speech giving during most concerts he plays in. (Usually positive in nature).

I fear that accompanists interrupting concerts to comment on the concert / artists is a new fad that we won't see go away any time soon. Please note, that I seperate that from the sometimes needed explanations by main artists before they try something rare/new. I don't mind TMK, or others explaining something that they are doing because I think it's usually in attempt to help educate rasikas that may be confused about what they will hear.

[varsha]

The next Malladi - UKS concert should be a hit . Going by the download stats for the track with PMI
50 downloads within an hour ... 98 within 6 hours ... 170 at the 16 hour mark ... and still counting .
Coming to think of it , there were days when music publishers would edit out such passages .

[nkrishnan]

The next Malladi - UKS concert should be a hit

My only concern is that this combination should not get affected by this ugly incident as there were many unforgettable concerts of malladi-uks so far. By the way i didnt find PMI's comment to be too offensive. Not sure how others perceived it.

Once T.K.Murthy said something similar in a Mylapore fine arts concert with TNS. TNS apparently sang a lot of kanakku swaras before leaving the thani and TKM told "What is left for me to play, when all that needs to be played, has been sung already?"

[varsha]

By the way i didnt find PMI's comment to be too offensive

it was in praise of Mali , as a matter of fact .

[kaumaaram]

I do not know whether it is innovation.
We have veena festivals where an artist does not play for more than half-an-hour.
Suddenly an artist sings an alapana in a raag and does not sing the krithi in that raag. The listeners' blood boils!
We have the new generation of artists seated as judges for Super Singers contest, suggesting that "too much of carnatic" would not be required for a song, as though it is a blemish to do so. And these judges talk tall of their experience during carnatic music festivals.
All such artists also have the fashion of advertising themselves stating that they manage to differentiate between their movie-singing experience and classical kutcheri experience. Extraordinary bragging!
The supplementary editions of Times of India and The Hindu are loaded with verbosity (leave alone absurdity) that is not necessarily informative but only intended to fill up the pages.
We have the sabhas vying with each other to recognise only one artist as the best and confer on him/her almost 6 to 7 titles in the same year.
And last but not the least, the multiplicity of concerts has taken its toll on patience to listening as well. Overdose!

In the midst of these so-called innovations and renaissance, should UKS contribute his part to harrass the rasikas? Why can't he be humble enough rather than being rash on the stage? He could have indeed exercised discretion considering his age and experience.

It is becoming increasingly clear that all artists want attention, media glare, publicity, et al . Real talent therefore gets relegated to the background. The rasikas have been left behind to explore and choose for themselves real classicism.

[shankarabharanam]

@Kaumaaram: I beg to differ from what you say. At one angle we crib that Carnatic Music isn't getting the due like the Hindustani counterparts. And on the other hand you are talking about too much exposure. One must appreciate the way musicians are using Media to promote themselves and the art form. Let us not forget that such exposure is like a double edged sword.

I do agree that awards have little meaning today. But as an artist it is highly encouraging to receive anything... The people who come for the function and the speech by the artist might be repetitive. But you can take away the efforts these artistes are putting in to promote the art form. Times change and so does the art.

[arasi]

Growing up in an era when color, even a jot of it in a newspaper was precious, a dozen years or so ago, I was very happy to see big color photographs of CM artistes, seeming as if their art was given equal prominence as that of film stars. As years go by, I'm afraid, I see more fluff than matter in them. I do not frown upon the coverage, mind you, but the content often puts me off.

[sraja]

An honour to be part of this group where none of the members have arrogance, anger, emotions or have at any time displayed any other frailties that are normally associated with human beings!!

Jesus Chris said--Let he who has not sinned cast the first stone! Amen!

[pon.T]

Height of cheek by UKS. He's lost his head. He forgets he is only a PAKKAvadhyam. He forgets that without main artistes he will be jobless. Sampradayam may be one thing but it is the prerogative of the main artiste to conduct the concert the way he wishes, Thani's are usually given after a main item or after a Pallavi or in a long concert after both. BUT there are no set rules as such.

Also the most guilty of all top mirdangists is UKS for playing the longest thanis at recitals forgetting that rasikas go for a recital almost always to listen more to the main artiste. The mirdangist is mainly there to embellish the main artiste's effort by playing the most appropriate rhythm at the right times.

[arasi]

sraja,
Your first statement is a tongue in the cheek one, I presume--which is a group trait here

Your second statement is a serious one, of course!

[Ponbhairavi]

When TMK gives due recognition to the mridangist and develops on his korvai people lament transgression of sampradayam. When a Supremo in mridangam sangeetha kalanidhi Padmabushan. Sangeetha Nataka Academy awardee and a septuagenerian+++ tells the audience rasikas what is sampradayam in a concert as far as thani is concerned his advice is not taken in the proper spirit. It s regrettable that concert reviews talk more about the persons than about the music.

[sraja]

Ponbhairavi very well written. All the honest pure blameless members of this group can take a leaf post of your post. Some great souls have even created new identities merely to post and rant about this. Shows and says a lot. This forum is supposed to discuss music not personal traits. People forget to look at the mirror and remember their own faults.

[srikant1987]

It s regrettable that concert reviews talk more about the persons than about the music.

What better way to draw everyone's attention to one's review than to describe how attention-seeking the artistes are?

[rshankar]

I think that no one is questioning Sri UKS' qualifications to talk about sampradAyam - I am sure that everyone agrees that 'if not him, then who else?'!...all that is being said (from what I understand) is that instead of announcing it on stage, it might have improved the 'listening experience' (which has everything to do with the music, IMO) if he had discussed this with the main artists before the concert. But in general, with so many people writing their views it is not surprising that overall, it sounds like 'ERinAl kuTRam, iranginAl aparAdham'!

[mri_fan]

"This forum is supposed to discuss music not personal traits."

We regularly discusses musicians personal traits when they're positive...ie a students devotion to a guru, or a person's humility on stage when accepting praise.When UKS decided to confront the other musicians on stage with his anger, it becomes relevant because he interrupted the music on stage to take the time to criticize the Malladi brothers.

Years ago, there was an incident described here where Trichy Sankaran was playing for the Malladi brothers. A prominent critic stood up and yelled something about how there was just too much overall noise, and walked out. Although Sri Sankaran was visibily angry by such a display, he told people afterwards, that he still had the responsibility to follow and accompany the main musicians without letting his feelings interrupt the music. I wish Sri UKS would follow in that tradition.

[KSJaishankar]

Height of cheek by UKS. He's lost his head. He forgets he is only a PAKKAvadhyam. He forgets that without main artistes he will be jobless. Sampradayam may be one thing but it is the prerogative of the main artiste to conduct the concert the way he wishes, Thani's are usually given after a main item or after a Pallavi or in a long concert after both. BUT there are no set rules as such.

Also the most guilty of all top mirdangists is UKS for playing the longest thanis at recitals forgetting that rasikas go for a recital almost always to listen more to the main artiste. The mirdangist is mainly there to embellish the main artiste's effort by playing the most appropriate rhythm at the right times.

Please take 5 minutes to listen to the two links I am giving below. Two renditions of the same section of the same kriti, with pretty much the same sangatis, by the same artiste. Given the voice quality, both seem to be of similar vintage, yet there is a world of difference in the impact, I think on account of the verve of the mridangist.

http://www.mediafire.com/?38s53qx7t1317dq - great accompaniment

http://www.mediafire.com/?6k2527j3khrfkbq - not-so-great accompaniment

[hamirkalyani123]

There was a similar instance back in early 1990's (don't remember which year exactly) in MFAC the famous 9:00 a.m concert on Jan. 1st Lalgudi Trio then with Trichy Sankaran accompanying and he was given the turn after almost 3.5 hrs of the concert (not during RTP) of what is usually a 4 hour traditional concert, and Sankaran just did not say anything except he just put a "Namaste" and then concluded it in a minute. Sankaran sir did not talk but showed it in acts his frustration.

[Nick H]

Ponbhairavi very well written. All the honest pure blameless members of this group can take a leaf post of your post. Some great souls have even created new identities merely to post and rant about this. Shows and says a lot. This forum is supposed to discuss music not personal traits. People forget to look at the mirror and remember their own faults.

There is no sense in that at all.

This forum is "supposed" to discuss the entire range of carnatic music, the culture in which it exists, the people that are a part of it, both on and off the stage --- and, come to think of it, many, many other things.

What if, one day, during an overlong tani, the violinist gets up and thumps the mridangist. What will you say then? Don't even mention it unless you can claim to have never said a cross word to your child or argued with your parent or squabbled with a friend? Really, that is not a sensible point of view. We discuss anything, and do not have to prove ourselves pure first. So kindly turn the other stone, and toss the mote from your eye into the glass house

.

[sindhu29]

Well said, Nick!

[Nick H]

Thanks sindhu, but my "thought number two" on this is --- we heard the news, we chewed it over, and now it is probably time to let it lie. Putting it in proportion, I don't think any one of us is going to stop seeing UKS perform.

[devan]

very well said nick.you are spoton.

[thathwamasi]

@Varsha. Thanks for that lovely Mali-Mani Iyer clip. It certainly wasn't offensive. I later listened to the whole concert. It was surely in praise of Mali, where Mani Iyer simply meant "ellam vasichachu. Inime ennatha vaasikardhu. Thani Avarthaname vendam" (you have played everything. What can I play now. Let there be no thani avarthanam). Infact, Mani Iyer and Mali had huge respect for each other. Naturally, it takes one genius to recognise and admire the other.

Regards
T

[rathipriyac]

here is some PMI evidence... for records.
http://www.mediafire.com/?0nwiv2d98rgvh6u
cheers

Varsha, that's a wonderful clip!! May I share this clip with my people on Facebook and on emails?

[thathwamasi]

When TMK gives due recognition to the mridangist and develops on his korvai people lament transgression of sampradayam. When a Supremo in mridangam sangeetha kalanidhi Padmabushan. Sangeetha Nataka Academy awardee and a septuagenerian+++ tells the audience rasikas what is sampradayam in a concert as far as thani is concerned his advice is not taken in the proper spirit. It s regrettable that concert reviews talk more about the persons than about the music.

Good one. Although a small but important correction - He has been awarded Padma Vibushan as well. The second highest civillian award.

Regards
T

[varsha]

May I share this clip with my people on Facebook and on emails?

please go ahead. cheers

[kaumaaram]

There is no sense in that at all.

This forum is "supposed" to discuss the entire range of carnatic music, the culture in which it exists, the people that are a part of it, both on and off the stage --- and, come to think of it, many, many other things.

What if, one day, during an overlong tani, the violinist gets up and thumps the mridangist. What will you say then? Don't even mention it unless you can claim to have never said a cross word to your child or argued with your parent or squabbled with a friend? Really, that is not a sensible point of view. We discuss anything, and do not have to prove ourselves pure first. So kindly turn the other stone, and toss the mote from your eye into the glass house

.

I agree with Nick. The observation that personal traits should not reviewed makes me wonder whether we are always interested in doing it. The fact remains that a person has to remain level-headed and show restraint before a large audience that has gathered to only admire him, while looking forward to listen to his mastery over the art. He should not demonstrate is one-upmanship and arbitrariness by virtue of his supposed seniority or the accolades that he had received from different quarters. No one is going to stop listening or stop per se UKS performing. But every rasika has the right to point out drawbacks especially when the attack is not personal. When many of us are not able to accept this reaction, how do you think that the brazen rashness with which the action was done, could be digested? We should indeed recognise talents and skills. But we should not encourage arrogance. There is no point in mixing up issues. The fact remains that UKS' behaviour was unacceptable. Since he has been receiving bouqets all over, let him also receive the real-time brickbats which is a consequence of his own action.

[Ponbhairavi]

Rshankar:
You have written “discussed before the concert”. I am sure the singers would not have mentioned that there will be no thani after the main raga and only a thani after RTP half an hour before the end. You have also mentioned “listening experience” What about the disappointment caused by the denial of the “listening experience “ to those who have come particularly to listen to UKS ?
Re reading the “ verbatim “report at the first post, UKS has not criticized the the bros. He has simply said that “they should have done that. They did not do that ” which is true.. then he has clarified his position to the audience because all artists have a responsibility towards the audience. When names like UKS, KM are listed in a programme there are lots of people who go particularly to listen to them irrespective of the main artist and such accompanist owes a duty to explain to the rasikas why he is disappointing them.
There is no question of dirty linen.
The example quoted by mri-fan is not applicable here because the interference in that case was caused by a member of the audience.
Humility does not mean to put up with humiliation ( wanton or inadvertant ) No artist in any field however big or small will tolerate any insult, neglect or casual treatment to his role, when he does not get his due.
Ask ANY mridangist ANY violinist or gatam or kanjira artist whether they are getting their due share in a concert. The answer is no. that is the bane of carnatic music.That exactly is the reason why many violinists turn singers or soloists. And percussionists like KM, UKS karthik sukanya Ramgopal are big enough to occupy centre stage in their own creation.
I remember a concert several decades back at Sastri Hall when the main Singer (Smt D K P or smt M L V ?)requested the mridangist P M I to climb on the stage first A nice gesture worth remembering.
By over reaction lots of adjectives have been cast over UKS with also a curse that “ he has accepted lots of bouquets and accolades and awards and now let him also take the brickbats’ which betrays an inner jealousy.The difference lies in who gave the awards and honours and who gives the brikbats

[thakadinadi]

So, the mridangist has to play for 2 hours, and then display his virtuosity for an oblique thalam that he hasn't played for quite some time. Ok. So, he has to construct his korvais, mora and theermanam on the spot, praying that it comes to samam or is it mukhal edam at the end of it all. no matter, if it is an up and coming mridangam player, his reputation is at stake. after 2 hours the audience of 50 has dwindled to 15. there is no one listening, they are gone or stretching or in the rest room.
Well, what if someone asked the vocalist to sing a pallavi in a complicated thalam on the spot? It is possible, but I can't envision Sri. R.K. Narayan to tell a village story, and oh add some spirits and kids to the mix, but tell me an interesting story.
so, the mridangist mindlessly plays, has no way to display all the rigor he has gone through learning complicated korvais in standard thalams. someone is really afraid. Oh. the mridangist will take over the concert!, lets make it tough on them, let us see what they are worth, ofcourse they are laya keepers, all this should be easy peasy. yeah, by the end of 2.5 hours, the mridangist should be tired too, so don't expect him to play for more than 15 minutes max,even that's a too much time for a solo!
I think the format needs to take a leaf from jazz concerts, where every instrument and player are given their time and respect. they are multiple drum solos, jazz and guitar solos. it is a fantastic team effort, each one of them egging the other to perform better, who wins? the audience, they get their money's worth.
And we are talking about Sri. UK Sivaraman, the living legend, non-pareil being metted out such treatment. Is there light at the end of the tunnel? True, he could have mentioned real reasons, ( some such as above and more) maybe, in his defence. This is much like focusing on the right wing's response to the Ramayana issue at DU, no one is worried that undergraduates are being confused by the many Ramayana's and thus lose respect of their own religion. The response is the problem, the issue is forgotten.

[nadhasudha]

The response is the problem, the issue is forgotten.

We live in an era of political correctness. Anyone speaking against the commonly held opinions is viewed with suspicion or hounded out of this forum. I am surprised that no one has talked about the bad judgement on the part of Malladi brothers almost bordering on arrogance. Having a renowned mridanga vidwan and not allowing him to play thani for the main krithi is not done out of ignorance - Nor can I accept that it was improper planning. Surely they could have cut out a couple of thukkadas.

I like it that Sri UKS had chosen to point it out in the concert - In my view Sri UKS has spoken out not for himself but for all percussion artists. Surely he does not need the paltry 10 mins of thani from these artists to prove his mettle or showcase his immense talent. He has already achieved all that he has to in the world of mridangam.

The notion that the singer is the main and the percussionists and violinists are mere accompanists is inappropriate. Only when everyone realises that a concert is teamwork will there be respect for each other.

[Ponbhairavi]

The established norm in any concert is thani after the main.Why it was not given in this concert? no explanation.When the singers intend to break the tradition they should inform the mridangist at least before commencing the main because it is an incursion into the laya domain. They did not do it and proceeded as though everything is in proper order.Again before the commencement of the R T P they had another occasion to inform the mridangist. They did not do it. This "we will do whatever we want attitude" is a disrespect to the thalam component(layam is said to be pitha )and an insult to any mridangist let alone a Maestro.They could have had the humility to express regret to the veteran.Such being the case looking for arrogance and lack of humility elsewhere is an index of prejudice.
In this review which happens to be the maiden post of its author, a lot has been said about the performance of the singers,but not ONE word about the vAsipu of the" enthusisatic" violinist or that of the mridangist and the ghatam artist.But a lot has been written about the "person" of the mridangist. what more is needed to show that it is a prejudiced review.
UKS is not a novice to cringe for a few extra minutes to play mridangam on a platform.He has played hundreds of hours of mridangam in this same venue and hundreds of hours in other prestigious venues.
I agree with thakadinadi that we should [i]take a leaf from jazz concerts where every instrument and player are given their TIME AND RESPECT.Actually our concert sampradaya has already provisions for this and the problem arises only when it is unnecessarily broken.