T.R.Mahalingam - Mali (Flute)

uday_shankar · Post by **uday_shankar** » 13 Sep 2011, 00:54

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 · Post by **cacm** » 13 Sep 2011, 07:01

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 · Post by **Ramasubramanian M.K** » 13 Sep 2011, 22:33

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 · Post by **matterwaves** » 10 Jan 2012, 19:54

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

RaviSri · Post by **RaviSri** » 13 Jan 2012, 11:22

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 · Post by **RaviSri** » 13 Jan 2012, 11:24

Sorry, the online edition does have the scanned pages.

rajeshnat · Post by **rajeshnat** » 13 Jan 2012, 11:40

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

(Mod note: Done )

arasi · Post by **arasi** » 13 Jan 2012, 11:50

"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 · Post by **Ramasubramanian M.K** » 16 Feb 2012, 20:42

( 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 · Post by **cacm** » 16 Feb 2012, 21:22

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 · Post by **satyabalu** » 16 Feb 2012, 23:03

"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 · Post by **VK RAMAN** » 16 Feb 2012, 23:15

"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 · Post by **arasi** » 16 Feb 2012, 23:54

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 · Post by **uday_shankar** » 17 Feb 2012, 00:33

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 · Post by **cacm** » 17 Feb 2012, 06:01

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 · Post by **Ramasubramanian M.K** » 17 Feb 2012, 06:38

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 · Post by **cacm** » 17 Feb 2012, 07:41

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

VK RAMAN · Post by **VK RAMAN** » 17 Feb 2012, 07:43

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 · Post by **thenpaanan** » 05 May 2012, 01:41

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!

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.

-thenpaanan

Ramasubramanian M.K · Post by **Ramasubramanian M.K** » 21 Jun 2012, 16:38

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 · Post by **kal** » 26 Aug 2012, 23:47

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 · Post by **shripathi_g** » 26 Oct 2014, 06:41

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 · Post by **thanjavooran** » 30 Dec 2014, 08:11

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.

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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

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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.

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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 !

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

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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 · Post by **cacm** » 01 Jan 2015, 06:17

[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 · Post by **satyabalu** » 28 Dec 2015, 16:59

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'.

Vayoo Flute · Post by **Vayoo Flute** » 15 Jan 2018, 04:17

If you are interested in listening to some rare Mali recordings that you may not find anywhere else, please visit:

https://www.youtube.com/channel/UCvOjLJ ... i-g6Jw_q0A

The latest upload is the video recording of his last concert. Although that has been available elsewhere on Youtube for quite some time, this one has been audio enhanced.

Ranganayaki · Post by **Ranganayaki** » 15 Jan 2018, 05:39

Wow!! I look forward to listening. Thank you!

Vayoo Flute · Post by **Vayoo Flute** » 29 Jan 2018, 02:03

Here is the latest upload in the "Best of Carnatic Flute" channel in Youtube:

https://www.youtube.com/watch?v=Oxci9YxwkPQ

Any information on when and where this concert took place in the US would be appreciated. This is NOT the 1978 Columbia U concert, nor is it the Los Angeles one with L. Subramanian.

Do listen to this concert. Mali is in great form here.

Vayoo Flute · Post by **Vayoo Flute** » 11 Feb 2018, 23:23

One of the major ragams that Mali played very rarely was kharaharapriya. Here is one such rare occasion:

https://www.youtube.com/watch?v=zpoezHfDaWM

Ramasubramanian M.K · Post by **Ramasubramanian M.K** » 21 Feb 2018, 03:53

VayooFlute: This concert is certainly the Columbia Concert. Myself along with Dr.P.Rajagopalan--the Founder of CMANA-USA arranged this concert with T.Rukmani and Tricky Sankaran @ the McMillan Theatre in the Columbia University campus.Mali Sir at that time was temporarily residing in the US ina farm near Philadelphia.We had great difficulty in getting him to play--he was under a detox program at that time and it had sapped his energy--despite all these difficulties,notice the aweetness of the "blowing".

When I was growing up Mali Sir was my inspiration and I would venture to say even today his music stands out relative to the flautists who succeeded him. In private(he was a good friend of my father and uncle) and I have been a silent listener to several discussions he had with them. For all his idiosyncrasies he was a very devoted family man. Like all geniuses he was a tormented man within himself and contrary to the illwill he had created amongst the audience for his moods and antics,deeply he was never satisfied with his playing and felt short of his own expectations.

Vayoo Flute · Post by **Vayoo Flute** » 23 Feb 2018, 20:11

Shri MKR Sir: Thank you so much for your input. As a big Mali fan, I am always interested to hear about him from those who have had interaction with him. Your impressions are certainly very similar to what I have heard from others, including my guru, Shri TS Sankaran Sir, and family members (Mali was a distant relative of mine). Once you have listened to a lot of Mali, it is indeed hard to listen to other flutists.

There are clearly two different concerts that took place around the same time. I always thought that the concert uploaded in Sangeethapriya:

https://www.sangeethamshare.org/manjuna ... York-1981/

was the Columbia U one. Although that concert and the one I uploaded had many of the same items, they are clearly different - the beginning piece in the Sangeethapriya upload is the sankarAbharaNam kriti mariyAda gAdurA, and the one I uploaded has bhairavi varnam. Also the ragamalikas in the bEgaDa RTP are different. Also, the lack of audience clap in the one I uploaded suggests that this may have been a private concert. To your knowledge, did he perform any more concerts around that time?

Vayoo Flute · Post by **Vayoo Flute** » 23 Jun 2018, 23:05

A rare ragam and pallavi in usEni:

https://www.youtube.com/watch?v=YTP6FKJS6OM

Vayoo Flute · Post by **Vayoo Flute** » 04 Nov 2018, 03:23

Please listen to the latest upload in my other YTB channel:

https://www.youtube.com/watch?v=QPgRcGrTalo

Can any other Carnatic musician produce music like this?

ajaysimha · Post by **ajaysimha** » 12 Nov 2018, 15:14

among the thukda pieces that mali sir used to play was nandavanathil orandi and adupambe as ragamailka kavadi chindu is unforgettable.
still mali sirs school students play the same.

Sachi_R · Post by **Sachi_R** » 17 Jan 2019, 15:04

Click on the pic to access the magazine... Indepth article.

Vayoo Flute · Post by **Vayoo Flute** » 21 Nov 2019, 09:24

One of my all time favorite recordings:
https://www.youtube.com/watch?v=W8c_LYsn0v8

RSR · Post by **RSR** » 22 Jun 2020, 21:49

apadhooru
kamaaj
T.R.MALI
https://youtu.be/XMdcGsyy6Y4
upload by Shankar Rajasekaran

RSR · Post by **RSR** » 22 Jun 2020, 21:50

apadhooru
kamaaj
T.R.MALI
https://youtu.be/XMdcGsyy6Y4
upload by Shankar Rajasekaran

Vayoo Flute · Post by **Vayoo Flute** » 29 Sep 2020, 08:29

Under the following upload (an absolutely soulful sahana RTP):
https://www.youtube.com/watch?v=T_MJg5X ... naticFlute

one Vallur Sivaraman commented:
"While listening to this great RTP, I remember a concert of him about 50 years back in Mylapore near Nagswara Rao Pantulu Park..A concert of this incredible genius was organised by Krishna Gana Yagyan Mandali We went to the venue an hour early to occupy our seats as it was a free concert. Schedule time of the kutchery was 7 PM, to all our surprise he started it on time . There were occasions, he didn't turn up for the concerts. This time he stated at sharp with a begada varnam & I have never seen a varnam was played for 11/2 hours. He then played a short song hardly for five.minutes . latter he played Kamboji as main Raagam , alapanai alone was played for 45 minutes followed by a Thyagaraja keerthanai.Maa Janaki, with exuberance niraval & Excellent swaram , thereby 3 hours for the main Raaga & then RTP in Sankarabharanam with Raagamalika swaram. Then Chinnam chiru Kiliye for 1 hour
By the concert was over by 4 am. There was pin drop silence till the kutchery was over. He was accompanied by Mysore Gururajappa in violin -an extraordinary violinist from Mysore & Ramanathapuram Murugabhoopathy yet another genius mridangam . Since didn't want to miss a minute of his concert , we missed our Dinner. In Madras there was no bus service in early morning we came to our house in Westmambalam by foot. But the sweet experience is still in our memory like a nail , nailed in a green tree. All the pleasant sangadhis he played still linger in our ears. He might have been eccentric but likable by all the Rasikaas from popular figure to poor . We were fortunate to enjoy the music of this exemplarily great musician."

Has anyone heard about this 9-hour concert of Mali's?

RSR · Post by **RSR** » 29 Sep 2020, 10:46

The above post is superb and incredible.! nine hours free concert! what was the year Sirs? How did he manage to play 'chinanchiru kiLiye' for 30 minutes? which version- DKP or MLV?

RSR · Post by **RSR** » 29 Sep 2020, 10:46

The above post is superb and incredible.! nine hours free concert! what was the year Sirs? How did he manage to play 'chinanchiru kiLiye' for 30 minutes? which version- DKP or MLV?

rajeshnat · Post by **rajeshnat** » 29 Sep 2020, 11:02

Vayoo Flute wrote: ↑29 Sep 2020, 08:29 Under the following upload (an absolutely soulful sahana RTP):
https://www.youtube.com/watch?v=T_MJg5X ... naticFlute

@Vayoo Flute ,
Sahana as a RTP is very very rare. Personally my first taste of sahana RTP was with a Ramnad Krishnan extraordinary rendition. Mali builds brick by brick the sahana sedate and mystical aura ,how he gets such incredible clarity in lower register where it does not sound fleeting and just suggestive . Also from sahana he continued into the mood of deeper contemplation which is the aura of sahana and he went from there in ragamaliga to ragas like kuntala varali it is all boxed and intact with that let go and stay still meditative play. The violinist is also fantastic without robbing the contemplative muse of Mali. Genius at play no wonder every one in that generation always had Mali as one of their favorite musician.

nAdopAsaka · Post by **nAdopAsaka** » 29 Sep 2020, 18:25

Since Sahana and RamnadK are mentioned here....

this is from 30+ years ago..
...exceptional Sahana padam

https://www.youtube.com/watch?v=HjSMGbA28qw

RSR · Post by **RSR** » 01 Oct 2020, 14:25

225->
@cacm
Great and true observation Sir.
Especially the last line about the supposed disciple of Semmangudi

Vayoo Flute · Post by **Vayoo Flute** » 03 May 2021, 07:24

Mali had a very unique approach to thODi. Listen to the following excerpt from an RTP ragamalika.

https://www.youtube.com/watch?v=kz679WNMc80

sam · Post by **sam** » 08 Nov 2026, 10:24

VaaK
Brilliant introduction

There are musicians whose artistry is best understood through the instrument of their voice, and then there was TR Mahalingam, whose flute seemed to possess a life and language of its own. His music was marked by an extraordinary command over melody, an almost instinctive understanding of raga, and an imagination that continually pushed the boundaries of what the flute could express.

Born on 6 November 1926 at Tiruvidaimarudur, Mali's musical journey began remarkably early. It is said that at the age of five, having watched other children play the flute, he secretly picked up the instrument despite his father's reservations. Before long, he had taught himself to play the famous Bhairavi varnam, Viriboni, in three speeds. His extraordinary musical aptitude soon became evident.

At just seven, he made his public debut at the Thyagaraja festival in Mylapore in 1933.
The young boy's performance so impressed the veterans Parur Sundaram Iyer and Musiri Subramania Iyer that they reportedly left their seats to bring shawls and honour him on stage, an extraordinary gesture for a child musician.

Mali would go on to transform the very possibilities of flute playing in Carnatic music. Until then, the instrument was often considered limited in its ability to reproduce the intricate gamakas and fluid melodic movements characteristic of vocal music. Mali challenged this understanding through innovations in fingering, embouchure and flute construction. His distinctive cross-fingering technique, often referred to as the 'parrot clutch', and his adoption of an eight-holed flute gave him an unprecedented command over pitch and ornamentation. He brought the flute remarkably close to the expressive possibilities of the human voice, opening up an entirely new vocabulary for generations of flautists who followed him.

.

As we commemorate the birth centenary of this remarkable musician, Vaak presents a particularly significant archival recording: TR Mahalingam's
The only concert from the Music Academy, Madras.

Recorded on 30 December 1961 at 9 pm,
this performance offers a rare opportunity to encounter Mali on one of Carnatic music's most important concert platforms. It is a document of considerable historical value, preserving an evening from a period when his artistry was already firmly established, yet remained as individual and unpredictable as ever.

Mali passed away on
31 May 1986, at the age of 59
. Four decades after his passing, and a hundred years after his birth, his contribution remains inseparable from the history of the Carnatic flute. His music continues to challenge, surprise and inspire, reminding us that true musical originality cannot always be explained through technique or tradition. Sometimes, it simply has to be experienced.

On his birth centenary, Vaak is honoured to present this rare recording in remembrance of TR Mahalingam, a musician who did not merely play the flute, but changed the way the instrument would be heard forever.

TR Mahalingam
Violin: TN Krishnan
Mridangam: Vellore G Ramabhadran
Ghatam: KS Manjunath

https://youtu.be/wo-D7aCCwGg?si=d8e6eAxI2IBLfPus

00:00:00
Sujana Jeevana
- Khamas - - Rupakam - Tyagaraja

00:10:17 -
Paritapamu
Manohari - - Rupakam - Tyagaraja

00:13:29 -
Smarane Sukhamu
Janaranjani - - Deshadi - Tyagaraja

00:18:42 - Anandabhairavi
00:26:37 -
Nike Teliyaka.
Anandabhairavi - - Adi - Tyagaraja

00:34:57 - Kambhoji
00:55:30 -
Evari Mata
Kambhoji - - Adi - Tyagaraja

01:19:53 -
Nagumomu
Karnataka Devagandhari - - Adi - Tyagaraja

01:33:01 -
Raghuvamsa Sudha
Kathanakuthuhalam - - Adi - Patnam Subramania Iyer

01:40:30 - Thodi - Ragam, Thanam
01:57:55 - Thodi - Pallavi - Khanda Triputa (2 Kalai) - Ragamalika Swaras in
Sarasvathi, Nilambari, Varali, Maand and Kanada

02:32:43 - Mahudi - Themmangu
02:38:42 -
Ni Nama Rupamulaku (Mangalam) - Adi - TyagarajaSourashtram -

02:39:36 - Madhyamavathi Alapana