https://solvanam.com/2009/12/24/%e0%ae% ... %e0%af%8d/
'Solvanam' Editorial team has compiled this tribute to Sri. ariyakkkudi raamaanuja iyengaar by three giants.
1- Palgat MaNi Iyer
2- Musiri Subramanya Iyer
3. GNB
It is in Thamizh.
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PMI
"மேலும் நாத வித்தையில் புதிது புதிதாகச் செய்வதற்கு விசேஷமாக ஒன்றும் இல்லை. செய்ததையே திரும்பத் திரும்ப தபஸ் பண்ணுவது போல அருள் பெறுவதுதான் முக்கியம் என்பது என் அபிப்பராயம்."
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Musiri
யாருக்கும் புரியாத ராகங்களை ஐயங்கார் அவர்கள் தொடுவதில்லை. எல்லோருக்கும் நன்கு தெரிந்த ராகங்களையே தேர்ந்தெடுத்துப் பாடுவார். எல்லாவற்றிலும் ராகத்தின் உருவம் எடுத்த எடுப்பில் விளங்கும்படி பாடுவது இவருடைய முறை.
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GNB says
ஸ்ரீ அய்யங்கார் அவர்களின் சங்கீதத்தில் முக்ய அம்சங்கள் மூன்று: (1) ஸம்பிரதாயம் (2) அழகு (3) மிதம்.
வர்ணத்தில் ஆரம்பித்து முறையே கீர்த்தனங்கள், ராகம், தானம், பல்லவி, சில்லறைகள் பாடுவது என்ற பழக்கம் தற்காலத்தில் இவர்தான் விசேஷமாகப் பிரபலப்படுத்தி இருக்கிறார்.
@shankarank will like this, as I do.
I do not know of any vocalist of the 'Carnatic Summer , who did not approve and adopt this concert pattern. They were all giants.
with reference to solvanam article cited in p-151, @arasi madam has given a nice translation of the
tribute paid to ARI , by Palghat MaNi Iyer. .
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The translation follows.
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Trying to describe a musician whose entity is completeness is almost an impossible task. Still, one can speak without reserve about him and to whatever extent you praise him, it would all ring true. It would all be well-deserved.
The most salient feature of Iyengar's music is 'proportion' which is: that the various features of the concert should be based on it. It is as if they are finely weighed by him and followed meticulously throughout the concert. This measured feature, from the beginning of the concert to the end, would not vary. However you analyze it, it would neither exceed it nor shortchange it. All along, the music would be succinct and fine-tuned.
At first, you would hear him engage in what could be called 'giving sound' in a regulated manner. Secondly, while 'giving sound' to the sahitya and swaras, he would do so without laying undue emphasis on them and by not over-emoting the lyrics, calibrating the balance throughout his performance.The same with nAda and pronunciation. This, while applying it to talam as well. He follows this in what is impossible for most: madhyama kAla. There is something called 'irenDum keTTAn " kAla pramANam (neither here nor there). MEl kAlam in it would be tough to execute. In kIzh kAlam, without stability and full expression, the kAla pramANam might fail you. This kAla pramAnam is a test for musicians--both vocalists and instrumentalists. When one achieves performing in it with ease, we can assume that the musician has a reasonable control over his music. How Ariyakudi has made it his own trademark! When he sings songs in this kAlapramAnam, the uruppaDis (pieces) attain a special sheen.
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We have heard some say that such a veteran, a genius like him could add more novelties to his music. I would say that they see his music at a superficial level. I can answer them with clout that Iyengar is open to many new ideas. With him, they would sound just as fully developed and honed as his age-old pieces! That is, they would shine as if they are well-worn pieces!
When it comes to feats in laya, my feeling is that there aren't that many novel features in it to experiment with. Following the old formats and repeating them is in itself a kind of tapasya and to attain grace by it all is the thing to hope for.
Iyengar has listened abundantly to hoards of age-old vidwans singing and playing all along. He has chosen the best in them and has made them his own. Thus, the modernity that we find around us will not affect his singing.
While traveling with him by train or other means, this is what I have come to experience. Most of the time would be spent in music, his singing too. He would sing old traditional pallavis --some of them possessing lots of punishing laya vinyAsAs. However complex they are, he would make them sound sweet and agreeable. if they don't allow for it, he would leave them alone.
in his singing, everything would fit in. Whatever he sings has sweetness and beauty. That he has been singing gloriously for this long, one can believe is because of his pUrva janma puNya and of God's grace. There is yet another thing which is obvious to us: he isn't one bit proud. That's why his music glows.
Singing is no special effort for Iyengar. It's just as easy as speech for him. .
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