I have many personal reasons to like and respect the town of Madurai in Tamil Nadu (note: I am a Kannadiga from Karnataka). Among those reasons is the fact that the town is synonymous with Madurai Mani Iyer (1912-1968), a virtuoso vocalist of Karnataka Shastreeya Sangeeta. I grew up listening to old tape-recordings of Madurai Mani Iyer (MMI) singing the Pallavi parimaLa rangapathe (Kambodhi), Kritis such as durmaagachara (Ranjani), thelisi raama (Poorna Chandrika), sukhi evvaro (KaanaDa) and sarasasaamadaana (Kaapi Naaraayani). For me and probably for many, some of those kritis cannot be imagined without a reference to MMI. The maestro M D Ramanathan had reportedly remarked that MMI’s music was so pure that it was beyond reproach. I came across a speech (undated) on MMI by T N Sheshagopalan (b.1948), a trailblazing Carnatic vocalist himself. In this short speech, T N Sheshagopalan gives an insightful primer on MMI’s musical excellence. Here, I give you a translation (bhaavaanuvaada) of excerpts from that speech. I have not translated some technical words in music to their crude equivalents in English. If you are reading this article, you will probably be a student of Carnatic music who will understand those words. This blog entry also marks the 12th anniversary of my weblog CanTHeeRava (22-10-2020). Incidentally, 25th of October, which is just around the corner, is also Madurai Mani Iyer’s birthday. A nice occasion to remember a gentle giant of Carnatic music.
Madurai Mani Iyer (MMI) must be called madhura (=melodious) Mani Iyer. He was a naadayOgi of his generation. A popular artiste in MMI’s era could attract 400 people to a concert hall. MMI’s concerts used to attract more than 1000 people. That gives you some idea of his appeal among the masses. His concerts generally used to commence around 9 pm and it was normally a 4-hour concert! I had seen people throng to his concerts like the govus hypnotically following the God Krishna’s murali (=flute). His audience comprised the most-skilled Carnatic musicians as well as many ‘an ordinary’ folk (rickshaw pullers and fishermen). In other words, his music appealed to both the pandita (the expert) and the paamara (the layperson).
MMI had a wide repertoire of major common raagaas (e.g. Kharaharapriya, Aarabhi, Hindola, Begade). However, MMI’s specialty was his handling of rare and subtle raagaas such as Souraashtra and Devagaandhaari. His style of swara kalpana can be compared to the uninterruptible geotropic flow of a viscous liquid. The concept of sarva laghu prastaara was redefined and invigorated by MMI. We read descriptions of various forms of taana (e.g. kukkuta taana, ashwa taana etc). My guru (C S Shankarasivam) had analysed the beauty in MMI’s imagination. One has to listen to MMI to understand the real beauty of janti swara prayOga, akaara prayOga,and taana forms, particularly mayoora taana patterns in swara kalpana. He had outstanding control over sthaayee of a particular swara, with all its gamaka and bhaava, while being immersed in a stream of kalpana swaras.
Such was MMI’s gracious personality that he used to revel in his accompanists’ musical exploits and instantaneously put across unadulterated appreciative remarks on the stage. I had seen how his accompanists used to enjoy themselves while following him. Mysuru T Chowdiah (Violin) used to create beautifully improvised echoes of MMI’s swara kalpana. MMI loved those moments. Kumbhakonam Rajamanickam Pillai (Violin) used to reproduce 40 to 60 aavarthas of sarva laghu swara prastaara of MMI. He along with Ramanathapuram C S Murugabhoopathy (Mridanga) could take the concert to dizzying heights. In a Madurai concert, I remember how Palani Subramanya Pillai (Mridanga) had provided deep (complete) and soul-stirring gumkis while following raaga maalika swara kalpana for Kandan karunai (Bheempalas). MMI had responded to those gumkis and thEkas by singing swaras for many more avartaas. It was as if MMI was accompanying Subramanya Pillai’s Mridanga. In another concert, C S Murugabhoopathy’s following of Kandan karunai was so intense and compelling that MMI could not resist singing the same Pallavi sangati more than 15 times just to enjoy the beauty and pauses of Murugabhoopathy’s gumkis, furns, and naada.
The effortless grace of musicians of the calibre of MMI (and his contemporaries) made Carnatic music approachable and accessible to many. When students ask me how to elaborate a raaga, I ask them to observe and imbibe all the kritis and varnas of the great classical composers. If they try to introduce their own new sanchaara in a raaga, more often than not, they will unwittingly invent a new raaga (to put it mildly) within a raaga. Mahavidwans like MMI used to diligently reflect and incorporate the musical masterstrokes of our great vaggeyakaaraas (e.g. the trinity) in their own aalaapana and swara kalpana. There is no reason why we [lesser people] should deviate from those gold standards of musical excellence.