Madurai Mani Iyer Rememberance Day Fri Jan 8 5:30 P.M. RagaS

[cacm]

The following is the Sequential Agenda we are planning for the celebrations on the occasion starting at 5:30 P.M.:
Prayer & Dhikshithar Navagraha Vara Kriti Srisukra Bhagavantham by Smt. Jayalakshmi Sekhar.
Intro by V.K.V.
Special Presentation by Vishnu Prasad on MMI'S Music progression in a chronological Fashion.
Panel Discussion on Various aspects of MMI- as a musician, performer, individual etc- by:
Lalitha Ram, Mayuram Swaminathan, M.K.Ramasubramanian.
EXCEPTS from MMI Concerts.
Lecture by Professor T.R.Subramanian (TRS) on MMI.
Q & A Period ESP from Audience.
Summation by N.V.Subramamanian(Saraswathi).
MMI concert excerpt.
Introduction of the concert artists Aishwarya Venkataraman(Violin), Vellore Ramabhadran(Mridangam), Vinod Venkataraman(Kanjira).
Concert.

[rajeshnat]

Special Presentation by Vishnu Prasad on MMI'S Music progression in a chronological Fashion.
Panel Discussion on Various aspects of MMI- as a musician, performer, individual etc- by:
Lalitha Ram, Mayuram Swaminathan, M.K.Ramasubramanian.

VKV
Wow Vishnu presenting would be a treat. Also lalitha ram is gamakam right , who is this mayuram swaminathan , the place mayuram is a great town for sure Please record entirely in video sir

[cacm]

Herewith Sri.Swaminathan's deails: vkv

---------- Forwarded message ----------
From: Mayuram Swaminathan <[email protected]>
Date: Fri, Jan 1, 2010 at 12:32 PM
Subject: Mayuram G. Swaminathan's profile

-----------------------------------------------------------------------------------------------------------------------------------

Profile of Mayuram G. Swaminathan, Senior musician and columnist

Birth : On 13 March 1933 at Kumbakonam

Family
background: Father, Brahmasari K. Guruswami Sastri soaked in Vedic lore and mother
G. Saradambal, trained in classical music

Academic
education Post graduate in Public Administration

Employment Worked in responsible positions and retired in 1991 from a senior level
post in the Ministry of Welfare, New Delhi

Musical trg. Imbibed interest in classical music from mother since boyhood. Worked on
inborn taste and widened his musical horizon through listening exposure to
the music of great vocal and instrumental musicians of the 40's and 50's of the
last century

Musical
career As a non- professional vocalist , has been performing for about half a century
both in and outside Tamil Nadu. A graded musician of All India Radio, has been
broadcasting vocal music for over 45 years, with a few performances to his
credit on Doordarshan slso.

Music With a f lair for writing on music-related topics, has been contributing
columnist write ups for several cultural organisations in the National Capital.
During the 1990's worked as a Music Critic for both the English and Hindi
dailies of the "Hindustan Times" Group of publications in Delhi and later
switched over to the Delhi Edition of "The Hindu", where he had been
assigned the coverage of the Chennai December Music season for a few years

Participa-
tion in
musical
meets Has chaired/participated in Symposiums/ Pa nel discussions organized by
prestigious cultural bodies in Delhi

Examiner- Assisted the Music Faculty of the Delhi University as a Member of the Board
ship of Examiners (External) for Karnatak Music practical examinations at Graduate
and post-Graduate levels

Associa - 1. Anchored a special feature on Music Therapy entitled "Nadabrahma" (telecast
tion with in the National Channel of Doordarshan in 1998)
Electronic 2, Member of some of All India Radio's special technical committees
3 Screened archival recordings of AIR for commercial release to the public,
besides contributing sleave notes for the CDs
4. Associatd with AIR's mega project as a Music Expert for the transfer of its
archival treasures recorded on tapes into the digital mode (ACD's)
5. Has been scripting Special Music programmes for broadcast in the National
Programme of Music of AIR in English and in Tamil over the Chennai "A" Station

------------- : o0o: --------------
YES. Gamakam is Lalitha Ram
VKV

[sbala]

VKV sir - How about MMI as a teacher? I felt that's an area that hasn't received a lot of attention.

[cacm]

VKV sir - How about MMI as a teacher? I felt that's an area that hasn't received a lot of attention.

Actually in last year's function Dr. SAK Durga who learnt from MMI for 15 years at least gave a detailed & wonderful account of how MMI taught her. If there is sufficient interest I will be happy to repeat what she said-pharaphrsed of course- S.Rajam also learnt from MMI & GAVE SOME DETAILS AT THE MEETING.VKV

[cacm]

VKV Sir has sent an invitation for the MMI day on the 8th Jan 2010 at the Raga Sudha Hall Luz and we thank him for the same.MMI was the only musician who gathered a lot of crowds during his time.MMI was a gentleman of values and was called as GANDHI by his very close friends circle.In Trichy a number of close friends of MMI used to gather for eveery Sri Rama Navami and concerts would be held during that time.Main one being of course MMIs The venue was named as MANI MANDAPAM.I happened to hear such concerts when I was a kid of 3 or 4 years and I can claim to have been born with the silver ear of listenning MMI right from my birth.I used to get angry if any one talks about music and do not mention MMI.I had picked of quarrels with a few critics who have written or spoken ill of MMI.MMi was the 'God of Music" for a bunch of our friends.While one friend used to cry in the concerts the other one used to be silent all through the concert and would not open his mouth at all though he was a man who used to be chatter box all the time. Another friend used to claim that he would never go to the doctor if he is affeected by fever but he would listen to MMi and his fever would be cured.We are all FANATICS and LUNATICS of MMI and we are very proud of the habit of listening to MMI only and almost at 24X7 basis and we used to enjoy every bit of the music of the immortal MMI the best on earth!
Incidentally I am the Proud SON of CHITTI a famed Tamil writer of MANIKKODI Era who was very closely associated with MMI for a very long time &he used to tell us a lot of MMI all the time.MMI was perhaps the only singer who refused to sing NIDHI CHALA SUGAMsince he thought that he was getting money for his singing and should not sing such a noble song!In fact MMI was never after money and used to go for any distance to sing and many a time without getting money.MMI was a legend and his KAPALI KOIL concerts were cricket matches of Sachin Tendulkar.We are all MADDYS of MMI!We thank VKV SIR for his ONE MAN ARMY promoting MMI even from USA>Let us all come to Raga Sudha on 8th to hear MMI!

I am attaching the above post from Sri. Venusunder- post no. 1 in MADURAI MANI REMEMBRANCE day jan 8th!- in another thread he has started as I feel it belongs here. VKV

[kapali]

By his very soulful and poignant rendering of 'Sukhi evarro' and the kaanada swarams itself he is enshrined in the carnatic music Hall of fame. I remember Chowdiah once mentioning at a Ramaseva Mandali concert that when MMI sings 'Sukhi evarro' one can feel the presernce of Lord Rama Himself there. Last year when I visited my elder brother at his house in Bangalore , I was waiting to have my bath when I found him still in the bathroom humming to himself MMI's trademark Kaanada swarams! Nearly four decades after his demise MMI's swaras still continue to hold sway over admirers.
Iwish the MMI remebrance day celebrations all success.

[eesha]

who is this mayuram swaminathan , the place mayuram is a great town for sure

Few bullet points about Mayuram Swaminathan

- Retd under-secretary from Ministry of social welfare, central govt. Was based out of Delhi for around half a century
- A graded carnatic vocalist from AIR, also knowledgeable in Hindustani music
- Music critic (view sample from GJR's website http://www.lalgudigjrkrishnan.com/1998.pdf ), well known in Delhi circles.
- Pioneering role in helping AIR in bringing out carnatic, hindustani archives into commercial cassettes and CDs. This involved going through volumnous amount of spool tapes in AIR's archive , choosing the artists, choosing suitable tapes and songs for digitisation, preparing sleave notes for the same.
- Having relocated to Chennai , he is giving Vocal concerts at AIR Chennai. (one such concert available at http://www.sangeethamshare.org/tvg/UPLO ... aminathan/ )
- Also scripting "Isai Kolam" programmes for AIR, when asked to. (one such on "2 dimensions of Indian music" available at http://www.sangeethamshare.org/tvg/UPLO ... chithiram/ )

[eppramod]

VKV
Wow Vishnu presenting would be a treat. Also lalitha ram is gamakam right , who is this mayuram swaminathan , the place mayuram is a great town for sure Please record entirely in video sir

I think he actively participates in discussions in rasikapriya forum.

Pramod

[thanjavooran]

The function started exactly at 17 30 hrs as scheduled with limited audiance initially. Some of the points noted are given below.

1. The celebration started by observing silence for a minute for the untimely demise of the vainika vidwan Trivandram Venkataraman
2. Invocation song by Jayalakshmi shankar a multifaceted personality expert in in violin,flute, vina and vocal.
Sri saraswathi namosthuthae
Sri sukra bhagavantham

Shri vishnu prasad

3. A fan of MMI who had no fortune of seeing him played few tapes giving his observations.
4. MMI during his beginning stage used to sing in 3 1/2 or 4 katai sruti.
5. He sang in akaaram style only. In support of that a Bhiravi raga was played recorded in 1937. Later he changed his style.
6. Useni was played to show his swara kalpanai with sensitive approach . Govindasami naicker and Madurai Iyengar played accompaniments.
The concert was held at mani mandapam trichy during 1956.
7. A clipping of durbar was played taken during a concert at MA the year he got SK, accompanied by LGJ. " Nayaki' nuzhaiyadha ' a chaste Durbar" in Madhima kalam for 4 mts
8 Thodi 'Thanam' was the next clip, recorded at Shanmukananda sabha in 1965 with MSG and PMI. He was very weak when this concert was performed.
9. A niraval tape was played with LGJ and V.R . The kriti was vasudevayani in kalyani which was considered as the personal property of GNB. The niraval went on for 15 mins.
10 Normally PMI will be nervous since morning on the day of concert but VR used to be very casual till the beginning of the concert. VR used to be very sincere and sofar he has been giving us his max output and used to enjoy music while playing.
11. A virutham in Nadanamakriya was played next. In that SSI"s style was noticed while singing ' veyuru tholi bangan'

Nadopasana Srinivasan

12. He spoke on two points 1. soulabyam and 2. sanmanathin mel patrinmai. [ not particular about payment for the concert]
13 60 yrs back along with Shri Sethuraman of Perambur Sangeetha Sabha he visite MMI for fixing a concert.
14, . Vembu Iyer asked for the sanmanam amount when MMI was away for his personal needs. On overhearing this on his return he was not happy on Vembu and advised not to be very particular as regards to sanmanam since that PSS was very old but poor.
15. As regards to soulabyam when he was waiting to catch a train at mayavaram junction, porters working there wanted to listen to his music as they could not afford and on their request he immidiately sang 2 peices at the vinayagar sannadhi at the station.

Lalitha Ram

16. He was not happy on the review columns in Hindu as it is not concentrating on constructive criticism relevant to CM
17. The only qualification for his speech today is 'he has not seen MMI'
18. La Sa Ra, Thi Ja Ra and Sujatha used to review the CM concerts. Only they are the inspiration for his venture.
19. After MSS only MMI has given concerts for charities. Only their names are in the top list till now. When Mamundia pillai memorial mandapam was initiated by Palazhni S Pillai it was MMI who performed for this cause in 1970
20. There was no negative points in any of the reviews of his concerts. No discardent note
22. He can do niraval with a letter which will be pleasing to the ears.
23. Once subbudu asked him why he is singing the same song repeatedly in all concerts and wanted him to sing pieces not contained in the list he handed over to him before a progrm and accordingly he finished the concert. MMI replied him he has to sing what rasikas want and his duty is to fulfill their wish.
24, To a question from a rasika to Lalitha ram why he has chosen Lalitha, he replied as he is very fond of this ragam he has selected this ghost name.
25, For a break MMI's recorded tape was played for 30 mins. Indha soukya ma ninnae in kapi.

C/L Sundaram

26. In the beginning stage his voice was not good. Nobody accepted his handling of Gouda mallar,kapi narayani Umabaranam etc.
27. By his constant sadhagam he changed his voice . He could not get full angeekaram as GNB. He later included gana ragams in his concerts. And after that only he was fully accepted by rasikas and other vidwans.
28. He has a bunch of papers of review by Ranga ramanuja Iyengar full of negative points . His reiview were pungent. He came to the top level by the acceptance of common public's interest in listening him.
29 VR is a great vidwan. He used to play with high poshakku and played for SSI and MMI for many years.
30 He met him at calcutta for the first time in 1964.
31. Whether sarva lagu or vivaharam his general contribution to CM is enourmous.
32. He introuded Ishwarya the young violinst to him and played for all her concerts in US

The violin concert of Ashwarya venkataraman's menu as follows. She played for 60 mins all of MMI's special.

Vathapi Hamsadwani R N S
Natha thanumanisam Chitha Ranjani
Brochevarevarura Kamaz R, N, S
Sarasa Sama dhana Kapi narayani T
Kathana kuthoohalam piece
Eppo Varuvaro Jonpuri R
Ramanai Mohanam
HMB note sankarabaranam.

Prof TRS

33. He satreted his speech at 20 45 hrs. Chennai audiance are more time cautious and they become restless after 20 45 hrs for various reasons.
34. From his childhood he knows MMI as his father TS Rajagopala iyer was very close with all yesteryears vidwans. All will stay in his house and thus MMI was very close to him. He is known for his simplicity. He will accept all ' Thengai Moodi Kutchery' as sanmanam
35. MMI is child needs no make up or alanaram as per the famous saying ' beauty unadorned is unadorned ' him most
36. GNB is great for his speed, ARI for madhyamakal sruthi and SSI for swara singing. But MMI w/o any aarbattam earned his fame. Sareeram was not that soulabyam. With much disagreement he came to the top level. He captured the common man's appreciation.
37. Ragam should not be sung in the middle of swaram. Conservative vidwans will not accept this. But MMI used to sing in that pattern only. He has been maintaining this aspect to the much displeasure of stalwarts only to capture the common public's taste.
38. Layam is important in a pallavi . MMI's music is a vegetarian whereas Alathoor's is non veg.
39. PMI became famous in his 12th year. He played once for Naina Pillai at Tiruchur. While singing pallavi he closed his fingers with angavasthiram and put thalam. PMI could not follow and kept quiet. When Nina Pillai asked him he wanted to take out the covering sothat he can play. This is recoreded in a tape as narrated by PMI
40. Mudikondan became famous by singing hard pallavis.
41. MMI also well versed in pallavi singing.
42. He will sing ragamalika swaram in regular pallavi also. There were objections for this style too initially.
43. He never took chances by experimenting hard pallavi and sruthi suddham. " AA" vil nirkathe " U " vil ninral sruthi will match. This was his experience.
44. MMI had never undergone Gurukula Vasam like GNB
45. Once in kallaidai kurichi he sang from 21 00 hrs to 03 00 hrs in a marriage concert. That was his calibre. For rasikas he will sing for hours together.

NV Subramaniyam

46. He was instrumental in popularising CM to all common public.
47. The name of Classical music will fitin MMI's music.
48. Once Thiruvenkadu Jayaraman mentioned that at a concert in Kapali temple one rasika wanted him to sing Chakkani raja at the conclusion of the concert , he satisfied him by singing R P N and S in the usual manner telling his duty to fulfil an oridnary rasika's wish.
In particular he was not well on that day and was running temperature.
49. CM would have attained a wider range had been alive as he was singing for common public.
50. He used to appreciate the pakkavadhyam artistes talents at appropriate time. He had intelligence and emotional approach and all miss him very badly.
51. MMI's kalapramanam was very good and he cannot commit any mistake either in sruthi or layam. Even Meternome can commit mistake but MMI will not.
52. For solaceand comfort one can listen his music even today. Golden, pleasing and pleasant memories of his cannot be erased.
53. Once in MA even while he was singing the organisers announced the next sequence of concerts which he took it casually. This shows his high endurance and love towards rasikas.
54. MMI's body and mind filled only with music.

The programme came to an end with no formal thanks giving process. All praised Shri VKV for his sincere efforts in bringing out this event successfully.

My humble observations.
Though the function started exactly by 17 30 hrs with poor rasikas response it ended by 21 00 hrs. As usual all senior cirtizens. IMHO time management could have been executed in a better manner. Nobody spoke about the talent of the budding violin artiste . Her performance was good and definitely she will reach higher level. As usual PSN came late and left in the middle. Dr. Narmada was the only VIP present till the end. Suriya prakash [with a new getup] was present partially. In general the function was nice and well organised. There was no representative from MMI's family and their absence was conspicuous. Last year also there was no representation. I would have omitted some important points and kindly bear with me.

Thanjavooran

[S.NAGESWARAN]

Dear Rasikas,

At the outset, we must all thank Sri VKV for celebrating the MMI Remembrance Day for the third consecutive year.

Sri Vishnu Prasad had selected some best sample Audio clippings from MMI concerts dating back from 1933 up to 1965. The RTP in Todi at Shanmukananda sabha, Bombay with Sri MSG in 1965, Vasudevayani Neraval in Kalyani at Jamshedpur 1961 concert, and
"Intha Soukyamu in Kapi with Ragamalika of Behag, Ranjani and Sindubairavi "
were Excellent.

At the Delhi concert where Subbudu had given a list of songs to be sung on that day {Avoiding the frequently repeated songs in every concert of MMI}, MMI sang the songs requested by Subbudu. After the concert, MMI showed lot of request lists from the audience. All the requests from the rasikas were to sing the oft repeated songs of him and there was no request from the audience for any of the songs list given by Subbudu.
MMI said that he had the duty to satisfy his audience of their favourite songs at all times.

I am happy that I could meet the following foramites who have been frequently posting
Letters in the Rasikas.Org. Sri Vishnu Prasad, Lalitha Ram, and Balu.

I would be very happy to meet the following people in person during our next meeting.
Sri Ceinu, Thanjavooran, musicfan 4201, Sudhakars etc.

S.NAGESWARAN.
09.01.2010.

[rajeshnat]

Shri vishnu prasad

6. Useni was played to show his swara kalpanai with sensitive approach . Govindasami naicker and Madurai Iyengar played accompaniments.
The concert was held at mani mandapam trichy during 1956.
....

Nadopasana Srinivasan

...
Lalitha Ram

16. He was not happy on the review columns in Hindu as it is not concentrating on constructive criticism relevant to CM

C/L Sundaram

Thanjavooran
I was also there from 06:30 to 08:30 pm, you have captured almost everything. When I came in nadopana sreenivasan was wrapping up, he said his sabha was just started less than a year after mmi's demise , so it is his miss.

# I missed vishnu's talk , what was that huseni, mmi singing useni is something not there in my 10GB of mmi music. Vishnu,Throw more light on this

# The point no #16 was not told by gamakam , but by VKV sir when he introduced gamakam before

# gamakam, great job . You are indeed gifted both in speech and writing . There was one closing remark gamakam told "Lot of musicians are now trying to sing like madura mani iyer. They are not getting as much as madura mani ,and he compared that to a situation where if you take a xerox copy of originals and go to a bank , you will not get loan". To an extent that statement is right and wrong, I guess he took a little bit of poetic license, certainly madurai mani has the most sowkhyam quotient . It was nice to see a young face of gamakam to speak about madura mani.

# VV sundaram spoke and countered few points of what gamakam told . Ranga ramanuja iyengar (who wrote with the pen name sabari) was a critic and he did not spare any one inclusive of madura mani. I would love to see the scanned pages of that madura mani review(if vkv sir helps that would be great), where he has not written that much about mmi's music.

But overall special thanks to vkv sir , for a person like me who think and remember mmi everyday for the last 6 years , this tribute was well done by him. Kudos to his enthusiasm. Looking forward for his 2012 centenary . What can I say without madura mani and semmangudi (my all time favourite #1 and #2), there is no interest in carnatic music for me , but for without these two jAmbhavans.

[cacm]

As one of the organisers I have to state that the correct name of the artist who sang the Invocation songs is: Smt. Jayalakshmi Sekhar, Veena Vidushi. VKV

[rajeshnat]

The violin concert of Ashwarya venkataraman's menu as follows. She played for 60 mins all of MMI's special.

Vathapi Hamsadwani R N S
...
Kathana kuthoohalam piece

vathApi did not have neraval only R and S

I thought it was not kathAna kuthoohalam , but it was kripa juchatuku of caayataarangini.

Few words of Aishu's concert:
------------------------------------
I attended till the end of note . Few notes there.

Aishu played for the most of the time exceptionally well. For few avarthanas in hamsadhwani swaras it was slightly bit off key , in the sense nAdham was not the best . That is some thing I did not notice in her last two concerts at nageshwaran's house and a year or two back at prema rangarajan's rasikas concert organized by cool karni.

Also in her kamAs , I found a bit of a repetition of swara kalpana. To an extent her influence of western style was also there, in the sense it was not purely carnatic .

By the way both these points were just minor, but overall this vidushi's bowing has exceptional clarity, surely she has immense potential , hope she scales much more next year , i do know she and her family are leaving to LA today. Best wishes.

Few words about Vellore rAmabadran sir:
--------------------------------------------------
The last time I heard him playing was when he played for TNS@NGS , this time it is Aishu@rAgasudhA , names and venue both are widely different. His play is very gentle and his patterns of sarvalaghu are very subtle changes may be he has got about 25 or 30 varying patterns , he is 80. His play is never obtrusive even for a single stroke , a great and very sensitive accompanist. yesterday it was mostly nAdabhadran-Aishu concert , there was very minimal to no support by the kanjira artist venkatraman which was nice. The mrudangam nAdham in sarvalaghu style of nAdabhadran is always very gentle and one has to appreciate he coming forward to play to such a young vidushi. I felt the volume of mrudangam was slightly high.

I only said hi to vkv sir and smiled once with venkatraman and just said hi bye to gamakam who was rushing to catch his train to bangalore. I also saw nageshwaran sir, cienu , nick and his wife, apart from the two artists (dr narmada and suryaprakAsh) and ofcourse cleveland sundaram and man of the match vkv sir .

[Nick H]

It really is astonishing to see the strength, control and enduring musicianship in VR's fingers and mind. It is apparent that he is not as good on his feet as a younger person, but his fingers seem immune to age. If I was religious, then among my prayers would be that those fingers might play for us for many years to some. My respect for the fact that (even though she is a star in her own right) he accompanies a 16-year-old girl, when many of his generation would have a problem with playing for a woman, is also strong.

I felt that Aishu played brilliantly. It is a pity that it was a "musical interlude" rather than a full concert. The main piece that she played had such amazing sweetness and depth that I was carried away. Even though I did not enjoy the lighter pieces so much, I still used them to observe the perfection of her technique (not that I'm qualified to judge, but I guess it is obvious for all to see) and to be amazed. I suppose that, when she is on stage, her age is simply not relevant: she is a musician, and equal to many who are one or two generations older. My wife commented on how her face and smile light up as her bow touches the strings.

I had not realised that the even started at 5.30, so arrived by 6.30.

vkv has, indeed been Man of The Match for this season, having been kingpin of no less than four of the events that I have attended.

[arasi]

Bravo, VKV!
Bless you for all the energy and zeal with which you have pulled off these events. I missed this one, having left Chennai--so, couldn't be part of the reliving of MMI's divine music, the speeches which informed, educated and kindled old memories ofhim.
I missed being there when VR played for Aishu again. He is special to me, my having known him even when I was a little girl. Like Aishu's guru TNK, he is one of my childhood acquaintances who has not forgotten me in all the intervening years when I have been living away from India.
Yes, Nick. His fingers are as nimble as ever. The ease with which he plays is something to watch. At Aishu's Parthasarathy Sabha concert, I was sitting close enough to the stage to watch his fingers dance ever so delicately.
Your S is right about Aishu. Let alone her talent, she decorates the stage with her smile and her bearing.
So, many many years of fine playing for the veteran and to blossoming Aishu!
Did not know Jayalakshmi Shekhar was a flautist, violinist and vocalist too. A vidushi of many talents, indeed.

[Gamakam]

Lalitha Ram

16. He was not happy on the review columns in Hindu as it is not concentrating on constructive criticism relevant to CM

18. La Sa Ra, Thi Ja Ra and Sujatha used to review the CM concerts. Only they are the inspiration for his venture.
19. After MSS only MMI has given concerts for charities. Only their names are in the top list till now. When Mamundia pillai memorial mandapam was initiated by Palazhni S Pillai it was MMI who performed for this cause in 1970

22. He can do niraval with a letter which will be pleasing to the ears.

24, To a question from a rasika to Lalitha ram why he has chosen Lalitha, he replied as he is very fond of this ragam he has selected this ghost name.



Thanjavooran

Thanjavooran, Nice wrap-up. I would like to clarify what I meant on the above quoted points.

16. As told by Rajesh, I did not make the comment.

18. The authors menbtioned in the list did not "review" concerts. Instead their writings, when it came to music, invariably had a postive reference to MMI. In fact, my introduction to MMI was through these writings rather than listening.

19. I did not say "ONLY MMI" gave concerts for charities. I meant, statistically, after MSS, MMI would have given the max. number of charity concerts. I have come acrosscharity concert advt of DKP and MLV too. But MSS and MMI top the list. Also, the year of charity concert is definitely not 1970. PSP passed away in early 60s. The concert happenned in the 50s.

20. Niraval, not with a letter, but with a word, unlike what is prescribed in the grammar (where you ha ve to sing a complete sentence). Even when MMI sang just the word "eththanaiyO", he was able to concey the meaning of the line "eththanaiyO piRavi edutheduthE iLaithEn".

24. I also said, Many of the writers I admire have a psuedo-name. I couldn't write like them. At least, I could have a psuedo name:-)

[Gamakam]

# gamakam, great job . You are indeed gifted both in speech and writing . There was one closing remark gamakam told "Lot of musicians are now trying to sing like madura mani iyer. They are not getting as much as madura mani ,and he compared that to a situation where if you take a xerox copy of originals and go to a bank , you will not get loan". To an extent that statement is right and wrong, I guess he took a little bit of poetic license, certainly madurai mani has the most sowkhyam quotient . It was nice to see a young face of gamakam to speak about madura mani.

Rajesh, Thanks for your encouragement. Ofcourse, MMI has the most sowkhyam quotient. My point is, when a musician sings like MMI (as in imitate), they come across as people with xerox copies of documents, seeking a bank loan. MMI's singing is a part of his personality. Whne a totally different personality, tries to imitate, In my humble opinion, it does make the entire effort look contrived.

[Gamakam]

I had to unfortunately leave after VVS's talk, as I had to catch my train.

I throughly enjoyed Vishnuram's presentation. The Vasudevayani piece is a personaly favourite of mine. I must have listened to it a 1000 times by now.

The alap (not played yesterday) is a brilliant example of how the violinist can elevate the main singer and motivate him to reach greater heights. There are some portions, that are played by Lalgudi that are enthusiatically taken up by the main singer for elaboration. Only a truly big heart of the likes of MMI/GNB could take such things sportingly.

Kudos to Vishnuram for choosing the excerpts. I'm sure he would ahve spoent hours and hours of debating as to which ones to choose.

[Gamakam]

I must also thank Sri. VVS for clarifying on the MMI Reviews. As I said in my speech, my conclusion was based on the archives of Anandavikatan, Kalki and Kalaimagal. Based on what I had seen, I was under the assumption that MMI's accent to fame was a cake walk.

The MMI interview recording also kind of misleads, as MMI himself says, "I had many concert opportunities as I was the nephew of Pushpavanam. All I had to do was sing well.".

The tone of the interview suggests that it was cake walk for him.

Shri. VVS's clarification only increased my admiration for MMI.

[venu sundar]

I was very lucky to attend the MMIs Day at raga Sudha Hall and I left rather unwillingly when the young Aishwarya finished her first song. But i must
thank those who wrote in the rasikas.org so clearly about the function in meticuous detail.Thanjavooran has narrated so nicely baout the entire proceedings in such a vivid style> kudos to T for Thanjavooran since presently capital T is attributed to an utopian state in AP!I am one of the proud rasikas of MMI and my life becomes worthier whenever I listen to his divine music.I suffer from a sort of psychological problem since any book or speech or even a small mention about present day glorified vidwans blackout MMI in their writings or so.I feel I should overcome such a type of syndrome. MMI was living a very simple life and music was his peneance.I was one of htose who had the fortune of listening to the best
concerts in th eKapali Koil in the 50s ande the 60s.VKV sir has done the marvellous job of uniting the rasikas in an emotional tag.MMI music is the best thing in the world for all of us.I happened to the Master Of Music.MMI day was a very good tonic for the lay rasikas like me.MMI =Music

[thanjavooran]

S/S VKV avl, Nageswaranji , Rajeshnat avl and Gamakam avl
Many thanks for the corrections.

Thanjavooran

[shripathi_g]

"After MSS only MMI has given concerts for charities. Only their names are in the top list till now. When Mamundia pillai memorial mandapam was initiated by Palazhni S Pillai it was MMI who performed for this cause in 1970"

I thought MMI passed away in 1968 and also PSP had passed away in 1963 itself.

[Aishu]

vathApi did not have neraval only R and S

I thought it was not kathAna kuthoohalam , but it was kripa juchatuku of caayataarangini.

Rajesh,

That piece was neither Kathana Kuthoohalam nor caayataarangini. The ragam was Sindhu Mandhari and the kirtanam was Karunil Chutakini Samaya Miya a rare gem of composer Patnam Subramaniya Iyer taught to me by Prof. SRJ.

[rajeshnat]

Aishu,
Tx , i did not get that then . I was initially thinking it was mAlavi too , as such janyas of harikAmbOdhi and shankarabharanam are very difficult to identify because of close overlap of so many rAgas. For these kind of rAgas you can notify to rasikas atleast at the end of the krithi.

In your last concert at nageshwaran's sir house , you announced every sitter krithi excepting that difficult krithi in kOkiladhwani where you just forgot to announce as there was some discussion between MKR sir and Dr narmada at the end of the krithi.

[VISHNURAMPRASAD]

Dear Gamakam, Rajesh, Thanjavooran, Nageswaran Sir, Thanks a lot for your reviews about my presentation.

Gamakam,

I had been to some of the archives that you had mentioned in your speech, and as you had mentioned I could see only positive reviews about Madurai Mani Iyer, be it Kalki or any other writer. I have seen GNB / Semmangudi and some other vidwans being mercilessly bashed by those writers. There was a bit of confusion among the critics in the beginning when MMI came back from his illness during mid 40s changing his akaara style to suit his voice and it was clear in some reviews where he was commented for excessive swara singing than raagaas or neravals. He was also criticised for not singing complex pallavis which again was later accepted as his plus point.

MMI as you rightly said is an "Attitude" which is god given. His Music is a reflection of his Personality.

Your Qoute
"The MMI interview recording also kind of misleads, as MMI himself says, "I had many concert opportunities as I was the nephew of Pushpavanam. All I had to do was sing well.".

Yes it was true in 1920s when he began his singing career. But when his voice changed (Adoloscence) in 1928/29, he had his own struggles. One on the family front, his father passed away when he was just 16 soon after his famous presentation on 72 Melakartha Ragas at the first annual conference of Music Academy (then called as congress mahaanaadu in 1927 at Avadi). He became the only Male member of the family comprising 2 younger sisters, mother and paternal grand mother and had the responsibility to improve their family conditions to get the 2 sisters married. Mani had to work so hard to regain his voice when then became just a single octave voice (mentioned by himself in his radio interview. He had to struggle for close to a decade to become popular. By then Semmangudi, GNB, MSS, DKP had become established names. There is a review of a 1936 concert in Madhava Perumal Kovil which was just attended by a dozen including the critic who wrote the review. The review was very positive and it sadly mentions that there were hardly any rasikas besides a handful for this matured and sublime music.

In any case Rangaramanujam Iyengar's review that Mr. Sundaram had quoted was not only thrashing out MMI's music but the entire fraternity including the likes of Ariyakudi, Chembai etc..

In my humble opinion, MMI's music was one of the most sincere attempt to deliver sowkya sangeetham without compromising sruthi, raga bhavam and layam.
"
I wish you good luck in your writing career. There are hardly very few people as "pazhamai virumbigal" who brings out the glory of the past.

[Aishu]

Aishu,
Tx , i did not get that then . I was initially thinking it was mAlavi too , as such janyas of harikAmbOdhi and shankarabharanam are very difficult to identify because of close overlap of so many rAgas. For these kind of rAgas you can notify to rasikas atleast at the end of the krithi.

In your last concert at nageshwaran's sir house , you announced every sitter krithi excepting that difficult krithi in kOkiladhwani where you just forgot to announce as there was some discussion between MKR sir and Dr narmada at the end of the krithi.

Rajesh,

That was the general idea. To tell the audience how I choose my songs for the MMI day and how I worked on it for the last four months. I was under the impression that I was performing for about 2 hrs 15 mts. My main selections for the day was going to be Kharaharapriya (Ramani Samana Mevaru or Pakala Nilabadi) and Mohanam (either Bhavanutha or Yevarura Ninnuvinna).

Some thing happened while at the auditorium and I was asked to perform for exactly one hour. So in a last minute change I went from the above two ragams to Kamas as my main. This kind of flustered me a little and I tried to be more focussed on my performance aspect. Initially I was having difficulty even hearing myself or Ramabhadran mama on stage as their was not adequate feedback. This was also adding to my stress. But like they say, All in a days work and All is well, that ends well.

[rajeshnat]

Rajesh,

That was the general idea....
....
Initially I was having difficulty even hearing myself or Ramabhadran mama on stage as their was not adequate feedback. This was also adding to my stress. But like they say, All in a days work and All is well, that ends well.

I did not get your general idea comment as how it relates to my earlier post, possibly you need to clarify more there...

Many a times when you artists start hearing the feedback , it becomes very stressful for us as the volume generally turns quite high, your stress and our stress which takes priority? .

Looking forward to hear your mohanam and kharaharapriya and if I may add a very elaborate swarajathi in bhairavi with a neraval in shyamakrishna sOdhari and expansive swarams. When I hear your guru shri TN Krishnan , my mental image is semmangudi mamA is playing violin , you being disciple of him one of the days I expect that swarajathi as an elaborate main with R N and S .

[vasanthakokilam]

Rajesh: I think the feedback volume is separate. They should be able to adjust it without adjusting the volume that the audience hears.

[rajeshnat]

Rajesh: I think the feedback volume is separate. They should be able to adjust it without adjusting the volume that the audience hears.

VK
I am not sure if that is the case in all places. I have seen explicitly in sabhas like kalarasana where artists have asked only to reduce the one that audience hears and not the feedback that artists hear .

[Ramasubramanian M.K]

Dear VKV and other good forumites who attended the MMI Remembrance day.
I deeply regret missing the event as I had to be in Coimbatore for family reasons.
Now judging from the posts and reports of the event,I regret the loss is entirely MINE.This post is a tribute to VKV's indefatigable efforts to honor musicians who one feels at times "have died unwept,unhonored and unsung"--to quote Sir Walter Scott.
VKV informed me almost 6 months back about his plan and worked very hard to pull it thro despite VERY LITTLE HELP from folks close to MMI(names shall remain unsaid!!). VKV usually takes up causes that deserve to be taken up but largely ignored by the apathetic CM cognoscenti--in a sense a maverick who marches to his own tune--KUDOS to him for the single-minded
devotion that he brings to every cause that he opts to espouse.

I enjoyed MMI's music even when I was young although he was different from SSI,Ariyakudi or GNB--amazingly even now listening to his sruthi suddham,imagination and most of all his exemplary humility and sensitivity towards his audience whether it was the MA or the Kapali temple.my admiration for his music has grown ten-fold--the Sarvalaghu Swaras,the uncanny attention to the sruthi(before he climbs to the next swara,he will briefly hum Pa just to reassure himself that he is still "insync")--to someone who expects a continuos delineation this brief "rechecking" might seem annoying,but therein lies the beauty.

Most of all,if you are a rasika MMI was the musician who gave 150%value for your money.In the fifties when he was engaged by the Shanmukhananda Sabha in Bombay,I used to accompany my father to see MMI--he was staying with his uncle Mr.Natesa Iyer(Mumbaites may know the house next to the King george School in Matunga).MMI will quip "mischievously" as to whether Palghat mani Iyer refused to play for him --my father taking the "bait" would hasten to reassure him that that was not the case and that PMI had just been--in the previous month--played for Ariyakudi etc etc and the Sabha could not afford PMI again!! MMI used to laugh and tease my father for having fallen into his trap--looking back on the incident I wondered whether it was a "subliminal" lament on the part of MMI that PMI should accompany him always!! Not being very much interested in money,remuneration etc he hardly knew that one of the most hidden secrets amongst Sabha Secretaries,was that in Bombay in those days MMI drew the largest crowd and the gate collections were only second to MSS and Kamala(dance)==not Chembai,Ariyakudi--much senior,not SSI,GNB--his contemporaries.

I hate to lament in this columns about the lack of reverence from his own family. Such functions should have been "triggered" by the likes of TVS who owe so much to him.

I do not normally caterwaul in these columns about apathy of individuals--much higher-placed than myself--but seeing that VKV had to take the initiative--I cannot let that go unnoticed.

[Nick H]

Rajesh... the feedback (aka foldback, monitor, etc) is addressed at length on several threads. You'll find numerous posts by me on the subject, but they mostly say the same thing! Probably best we use one of those threads rather than take this thread off-topic.

but ...

Just two points. I'm sure you'll agree that one of Raga Sudha's advantages is that they do not usually over-amplify and deafen us in the audience. And... the most basic mixing board has separate output for monitors, with separate volume control: even the small almost-a-toy (but a rather expensive toy) 4-channel one connected to my PC does. Sophistication comes in being able to control the mix to the monitors

[Aishu]

Rajesh,

That was the general idea....
....
Initially I was having difficulty even hearing myself or Ramabhadran mama on stage as their was not adequate feedback. This was also adding to my stress. But like they say, All in a days work and All is well, that ends well.

I did not get your general idea comment as how it relates to my earlier post, possibly you need to clarify more there...

Rajesh, When I said that was the general idea, I meant I was planning to announce the songs and how I selected a certain piece for this event. In your previous post you said I announced all my songs except the Kokiladwani piece. I normally like to announce my selection especially if it is a rare kriti in a rare ragam. Also I will definitely make it a point to play an elaborate Bhairavi in one of my future concerts. Better still I will perform it when I see you in the audience. This way you will know that this Bhairavi selection was for you.

[Nick H]

This way you will know that this Bhairavi selection was for you.

While you're making the list... Put me down for another dose of Kamas, with a long, long alap and lots of neraval. Please! Heck... why not an RTP!

(If one doesn't ask... )

[Aishu]

This way you will know that this Bhairavi selection was for you.

While you're making the list... Put me down for another dose of Kamas, with a long, long alap and lots of neraval. Please! Heck... why not an RTP!

(If one doesn't ask... )

Nick,

You got it. I will play a detail Kamas the next time I am in Chennai. Seetapathai Kirtanam with lots of Neraval and crisp swarams will be the order of the day. BTW I did get your email. Thanks.

[Purist]

# 19 gamakam wrote : 'The alap (not played yesterday) is a brilliant example of how the violinist can elevate the main singer and motivate him to reach greater heights. There are some portions, that are played by Lalgudi that are enthusiatically taken up by the main singer for elaboration. Only a truly big heart of the likes of MMI/GNB could take such things sportingly.'


In some of his concerts you can find MMI very receptive of any new/novel/fresh embellishments
by the violnists and with a appreciative 'aha' he would be inspired to develop the idea further in his
own way (at times even interupting and then allow the violnist to continue). Manodharma sangeetham
at its best !!!. I think 'music' was foremost for him rather than artist.

[Nick H]

Thanks, Aishu

Purist, that sounds like musical teamwork of the highest order.