Lecture & Concert on Ramnad 'Poochi' Srinivasa Iyengar

[SREE]

Chennai Fine Arts presents
A lecture on the life and compositions of Ramanathapuram 'Poochi' Srinivasa Iyengar
By Dr B.M. Sundaram
On Sunday, 9th September 2012, 6.00 p.m.
At Bharatiya Vidya Bhavan Mini Hall

Followed by Concert of exclusive compositions of Poochi Srinivasa Iyengar
By Shri. T.K. Ramachandran, IAS
With
Shri V L Kumar - Violin
Guruvayur Shri. Dorai - Mrudangam
Shri. Shreesundarkumar - Kanjira

All are welcome.

[thanjavooran]

Vaggeyakkara Vaibhavam



Sriman Poochi srinivasa Iyengar



The programme started at 18 05 hrs. The hall was full. Shri Muralidhar welcomed the gathering. In his speech he mentioned that for the 9th year in succession such function is arranged by the organization. The function coincides with Poochi's 152nd Birthday. In earlier years rare composers day was conducted.



Dr.BMS musicologist



He exactly spoke for 30 mts about Poochi Iyengar. Some of the interesting points are given below. As his speech was fluent and rapid could not make out fully.



There is still a debate in the music world whether CM is Raga based or Kriti/ sahithyam based.

In CM is kriti based only as per the general opinion of rasikas.

This is the reason why H Musicians don't like to listen CM as HM is raga based and less importance is given to sahithyam

But in earlier days CM was raga based only and after some stalwarts [ARI ] the pattern underwent a change.

He did not mention who were the stalwarts.

More learning and singing of Varnams will enhance the knowledge and swaroopam of the raga will be brought out.

Once when he was under the tutelage of Ponnia Pillai descendent of Thanjai Naalvar, after talking to a particular Vidwan casually mentioned the above statement.

Vaggeyakara term came into practice only during SS period as he was senior to T

It is not Thanavarna Marga Dharisi Panchamiyum is the pioneer. Karvet Govindasami had composed lot of Thalavarnams before that.

Shri Venkata subbiah is the first disciple of T and he had composed more than 116 kritis.

Pattanam Subramania iyer, Maha Vaidhyanatha Iyer and Lavani VenkataRao are the direct disciples

Pattnam was in Thanjavur only and later shifted to Thiruvaiyaru to learn music from T

Pandithurai Thevar an associate of Poochi wanted Bhaskara Sethupathi to put a word to Pattanam to teach Poochi.

On his recommendation Poochi started learning from Pattanam.

Poochi's birth place is Gurunaththam and his DOB is 10 09 1867

Later Mysore Vasudevachar also became disciple of Pattanam on advice of Maharaja of Mysore

Pattanam was offerred a huge sum of Rs 5000/= as sanmanam [ Guru Dakshina ]

He interviewed Vasudevachar for Pondicheri AIR once and in that he mentioned , Pattanam will not like and permit his disciples to listen to other Vidwans concerts.

Vasudevachar once sneaked out to listen to Maha Vaidhyanatha Iyer's concert with out telling pattanam.

Later he was caught and allowed to stand outside in cattle shed for the whole night as punishment.

At the mercy of Pattnam's wife he was again called back.

Not that Pattanam was against those Vidwans but students will try to change their attitude and imitate which is not good for a learner.

Poochi underwent studentship for 11 yrs under Pattanam.

His tone will resemble the noise of a flying insect [ poochi] and hence this title.

He was an ardent devotee of Swami Vivekananda. He died exactly after 11 days of Vivekanandas passing away.

When Vivekananda on his return from US trip visited Rameswaram Poochi composed a Pallavi [ Raga ? ]

He has composed many varanams in Viz Varali, Narayani to name few.

Once Poochi accompanied by Govindasami Pillai and Alaga Nambia pillai gave a concert. After elaboration of Poorvi Kalyani, Violinist played for a few minutes. After listening to his beautiful style he did not sing the kriti .

To compensate this he composed a kriti ' Parama Pavana ' in P K

His first disciple was Salem Duraisami Iyengar, Guru of Salem Chellam Iyengar.

Madurai Srirangam iyengar ARI [though ARI learnt first song from Namakkal Narasimha iyengar].

Poochi died in the year 1919 at Muthu oorani village [ near?]

Concert by TKR of Indian Administrative Services started at 18 45 hrs all with Poochi's compositions.

Before starting the concert he offered pranams to Guruvayur Durai

Ninnukori Mohanam S

Sathbakthi Ananda bhairavi R, N and S

Rama ninne Saranga R, N and S

................. Thodi R

My observations.

Dr BMS is an authority in CM like Srivatsa to whom everybody approaches for any clarification/ doubts. He has every minute detail in his fingertips. He left immediately after lecture to attend another function. Ravikiran was present. The hall though initially was little empty then became full. There was another program in the main hall. In the same line in NGS also there were two progrms. Why cannot organizers think of arranging such educative/ interesting programs in the morning session. As regards to the concert TKR sang well but clarity of the kriti was absent.

There was little misalignment of Kanjira with mirudhangam during the concert. Could not sit for the entire concert as it was 19 45 hrs.

Will be pleased to receive and accept any corrections.

Thanjavooran 10 09 2012

[mahavishnu]

Thank you for the excellent summary, Sri Thanjavooran avl.

Here is an article about Poochi (compiled by Mohan) written by Mysore Vasudevachar. The anecdotes about Ariyakkudi in this are very endearing.

[SREE]

Hi Mahavishnu can u pls send the link to the article?

[mahavishnu]

Sorry, here it is.
For some reason it did not let me paste the link.
_________________________________________________________________________

GREAT MASTERS: Ramanad Sreenivasa Iyengar, who composed gems like
the Ninnu Kori varna,was a great eater. His attachment ot money and
material things sometimes put him in ludicruous situations,
reminisces MYSORE VASUDEVACHARYA


I WAS the junior most among the disciples of my revered guru, Patnam
Subramanya Iyer, while Ramanad Sreenivasa Iyengar, also known as Poochi
Iyengar, was the senior most.

The first time I saw him was in Veena Seshanna's house. I was yet a
student and had learnt only a few varnas. Stll, Iyengar's music made a great
impression on me and whetted my desire to learn music under Patnam Subramanya
Iyer. The Shankarabharanam pallavi, Mandahasavadana, that I heard Iyengar sing
on that occasion, is as fresh in my mind today as if I had heard it just the
other day.

Maharaja Bhaskara Setupati of Ramanad, who had spotted Poochi's aptitude
for music, made a gift of a thousand rupees to Patnam Subramanya Iyer and
requested him to accept him as his disciple. Subramanya Iyer, who could wll see
the bright future in store for the boy, agreed. Earnestness in studies and the
blessings of his guru enabled Poochi to attain proficiency in music within a
few years. With his many good performances, he earned the affection and
admiration of the vidwans and the public alike. After the manner of his guru,
Poochi composed several lovely kirtanas. He submitted each of his compositions
to his guru and got his approval and blessings. "May God grant you long life
and prosperity" the guru would say, happy with his disciple's scholarship and
modesty.

I had another opportunity of meeting Poochi when I went to Ramanad in the
company of Veena Seshanna and Subbanna. The latter had helped Poochi in
securing an opportunity to sing before the Mysore Maharaja and receive royal
presents. It was now Poochi's turn to show his gratitude to the two vidwans by
arranging their concerts before his Maharaja, enabling them to receive royal
patronage.

I had, by now, spent a couple of years learning under Patnam Subramanya
Iyer and had acquired a fair amount of knowledge. It appears in one or two of
his letters to Poochi, my guru had said a few encouraging words about me. "I am
glad to tell you that your guru has written to me that you are making good
progress and have attained good scholarship in both sangeeta and sahitya,"
Poochi said. "It is all due to his blessings and the blessings of elders like
you," I replied. The next day when I called on Poochi, he was in the midst of
his disciples, singing to them. It was his favourite disciple, Salem Doreswamy
Iyengar, who sat close to him, providing the tamboora sruti. The other
disciples were listening to their guru with rapt attention. Poochi was singing
our guru's atta tala varna, Marachitlundedi Maragadura, in Begade. He sang it
in three tempos. It was a perfect reproduction of our guru's own rendering.
Poochi concluded by about ten in the morning.

Then he moved back, sat leaning against the wall, and glanced at
Doreswamy Iyengar. The disciple immediately placed the tamboora in a corner of
the room, went in and returned a couple of minutes later with a huge plate
loaded with idlies and a big vessel filled with ghee. He placed before his guru
a silver plate on which were heaped about 25 idlies and literally bathed them
in ghee.

I was astonished at the magnitude of this breakfast. Before I could
recover from my surprise, Poochi had polished off the idlies on the plate. He
then poured down his throat hot coffee not from a cup or tumbler but from a
small pot! There was now an expression of some satisfaction on his face. The
breakfast had been as gigantic as his sadhana. When the students also had had
their share of the idlies, the lessons began. The same Begade varna.

"This is how I teach, Acharya. I believe that good listening is as
essential to a student as good practice. Not only am I able to practise myself
but I provide an opportunity at the same time for the students to acquaint
themselves with the piece before hand. of course, it is possible to cut short
the process and lighten the task and save time by running through a varna
quickly within about three days, instead of spreading it over a week for
detailed study, but I don't believe in it," explained Poochi. He taught the
pallavi and anupallavi of the varna to each student individuaUy first and then
made them sing it together. And with that, the day's lesson was over. The
students bowed to the guru and took leave of him. I was happy to see the
students being so respectful of their guru and so devoted to their studies.

"What do you feel about my method, Acharya? Which of the students
impressed you the most?" asked Poochi. "Each of them is quite bright and
earnest. They will all certainly bring you credit. But still, I foresee a great
future for the boy who was seated in that corner. His style of singing is very
good," I said. "But what shall I do?" exclamined Poochi in a voice of concern.
"The boy is not attentive and studious." "Do not entertain any misgivings about
that boy. Bless him with all your heart," I told him. The student we were
talking about did grow up into a famous vidwan; the boy was none other than
Ariyakudi Ramanuja Iyengar!

Never did Poochi display his affection for Ariyakudi outwartly; it was
there all the time but well concealed. The guru was always cautious to avoid
fulsome praise lest it should make the student complacent and hamper his
progress. While a student, Ariyakudi did not impress much, his talent remained
a latent treasure; but later, he proved his mettle and established himself as
an outstanding vidwan of his times.

Poochi used to look after his students even more carefuUy than he looked
after his own children. After dinner, chewing pan, he would go on a round of
inspection and check if the disciples were sleeping comfortably in their rooms.
One day he found a room locked from the outside, but the light was on inside.
The window was open and he could see that the bed was occupied, but the student
had covered himself completely. Poochi was surprised. He knocked at the door
and caUed out the name of the disciple. There was no response. Nor did the
student make any sign of movement.

Poochi went round to the back of the room to see if there was some other
way of attracting the young man's attention. Then he saw somebody cautiously
walking away in the darkness. He followed the person with light steps. The
person moved towards the pond behind the room. Poochi rushed to the spot,
alarmed. The person soon climbed down the steps of the pond and looking up into
the clear, blue sky, and started singing.

No sooner did Poochi hear the voice than a shiver went down his spine! An
incident of the morning when he was conducting the class came to his mind
suddenly like an electric shock. He had reprimanded the student for not having
properly practised a particular kirtana. Now, here was the disciple singing the
same kirtana. He was completely taken aback. He had not realised that his angry
words could make this kind of impact upon a pupil. He was terrified at the
thought that the boy might be trying to end his life. He ran down the steps and
placing his hands affectionately on his pupil's shoulders, exclaimed: "Dore!
What is all this?" Doreswamy Iyengar was totally immersed in his music. He was
not aware of anything else.

He was singing his guru's composition in Poorvi Kalyani, Parama pavana
Rama, his voice filling the serene night with ineffable sweetness, each note of
the raga throbbing with life. Listening to him, Poochi was as happy as--or
perhaps even happier--than the parents who have at last succeeded in
discovering a suitable bridegroom for a girl on whom they have lavished all
their affection and care.

Doreswamy Iyengar opened his eyes only when Poochi sprinkled some cold
water on his face. He was surprised to see his guru in front of him. Poochi
hugged the boy fondly and led him back to the house. From that day, he
instructed Doreswamy Iyengar that he should sleep with him in his house.

Since I had the good fortune of listening to Poochi at several concerts,
his music has not faded even a little from my memory. He followed very closely
the able of our guru in rendering kirtanas in the fast tempo and in neraval
singing without in any way distorting the words, and in elaborating the medium
tempo. But in regard to the improvisation passages, he followed in toto the
style of Maha Vaidyanatha Iyer. The pallavi he sang in the Simhanandana tala of
108 beats at Gayana Samaja, Bangalore, is unforgettable. Chikkaranganna, the
famous tabla artiste of Mysore, who provided percussion accompaniment to Poochi
in that concert, displayed remarkable skill on that day and enhanced the
prestige of the local vidwans. Poochi's voice sounded slightly harsh in the
upper octave whereas it was most melodious and pliant in the middle and lower
octaves.

Simplicity of style, sweetness of melody and a rich imagination were the
chief characteristics of Poochi's compositions. My guru, who thought very
highly of Poochi's kirtanas, used to remark, "Vasu! Seenu's kirtanas are full
of ragabhava. His able has a dignity all its own. The structure bears the stamp
of his individuality."

When Poochi visited Mysore on the occasion of the wedding of His Highness
Krishnaraja Wodeyar IV, we had an interesting experience. A large number of
musicians, scholars, actors and actresses, comedians, dancers, wrestlers and
other kinds of artistes and entertainers from far and near had poured into the
city which was beautifully bedecked and alive with excitement. There was a
grand festival of music, dance and drama at the palace.

It so happened that Poochi and I were scheduled to sing on the same day.
I sang first and his performance followed. When I sang one of my kirtanas,
Janakendrasurapriya, in Megharanjini raga. Poochi, who was sitting close to me,
looked somewhat amazed. I could not guess the reason for it. At the end of my
recital, he started his and in due course came to a kirtana, Karunato nannu
kapadu Rama, which was again in Meghararanjini. He looked at me and smiled. It
was my turn now to be amazed. Both our kirtanas were exactly alike. Not a swara
differed anywhere! Anybody would have thought that one of us had copied the
other. When he concluded the kirtana, I hastened to apologise. "I beg your
pardon. Honestly, I had no knowledge of your kirtana when I composed mine. It
is a sheer coincidence. However, I shall change it and set the piece in some
other raga, "I said. "Why should you, Acharya? What is the harm? Shouldn't two
composers have similar manodharma? What about Akshayalingavibho of Dikshitar
and Manasuswadheena of Tyagaraja? Don't they closely resemble each other? It is
not necessary for you to change the raga. Leave it as it is. It is a fine
kirtana. If at all it proves anything, it only proves that we share the
blessings of our guru equally!" replied Poochi. Poochi was a man of noble
qualities and a great connoisseur. In regard. to music, he would not put up
with the slighest blemish. Music to him was not to be harsh in the least. It
had to be absolutely sweet, elegant and pure. He was a man of great
intelligence, Gifted with remarkable powers of comprehension. Whatever he
learnt from his guru, he magnified tenfold by intelligent thought and diligent
practice.
He had a handsome figure. He was neither very stout nor very slim. He
was of average height and of olive complexion. By nature, Poochi was a very
careful person in matters concerning money and material goods. He took infinite
care to ensure the safety of the money, jewels and presents that he had
amassed. He would behave as though the very skies would crash on his head even
if a single paisa were lost! Once Poochi and Tirukkodikkaval Krishna Iyer had
gone for a concert. At the end of the performance, the vidwans were offered
their fees. The next morning, Poochi and Iyer got ready to leave. Poochi, as
was usual with him had a final check up of his bedding. In fact he started
counting his clothes and articles one by one! One of the articles was missing!
Poochi very nearly collapsed! He ransacked the entire room but could not trace
it. Holding his head in his hands, he sat there, the very picture of despair.
His face was so pale and pathetic that I believed that the poor man must have
lost something very precious. "What is the matter, Iyengarval?" I asked. His
reply made it almost impossible for me to control my laughter. He had lost an
old Anantana Dara (sacred thread)! I said: "Is that all! Why are you so
disconsolate then?" I remarked. "What do you mean?" asked Poochi. "How could a
thing disappear all of a sudden?" He started his search all over again.
Tirukkodikkaval Krishna Iyer, who had gone out, returned to the room at this
juncture. The smile on the corner of his lips left me in no doubt that he had
been up to some mischief or other! "What has happened, Acharya? Why is
Iyengarval so much worried?" he asked me. When I narrated the whole story to
him, he quietly took out the sacred thread from his waist where he had tucked
it away, and placed it before Poochi. Poochi got back his life.


Script:
S. KRISHNAMURTHY

[thanjavooran]

Thanx Mahavishnu Avl for the link. Quite interesting.

Thanjavooran 19 09 2012

[mahavishnu]

Interestingly, the Doreswamy Iyengar lineage of the Poochi tree has yielded many fruits. This part of their history including Salem Chellam Iyengar, Salem Desikan etc can be found here http://www.salemsabha.org/salemarists

I just wanted to mention this since there was a lot of interesting activity in the Vidwan Salem Desikan thread recently.