MADHURA MANI, MADURAI MANI, MADHURA NERAM

Ever energetic “Yessel” organised a programme on MMI live on Saturday, the 26th May 2012.

 It was organised in Krishna gAna sabhA. Yessel must have got lot of confidence after seeing the crowd in RK Convention Centre.

To tell you about the RK Convention Centre Programme, last month there was another live recording of MMI that had been played and nearly 300 people attended in the centre which has the capacity of only 100. One could see people sitting in stairs listening to the concert. (confirmed by KGS secretary)

 To my knowledge, I have never seen a recording being played in a sabha and attended by 200-300 people with an empty dias. I have seen concert with empty rasikas seat but not vice-versa

 This programme in KGS was received with an overwhelming response and nearly 300-400 people attended and even last rows were also seen people sitting in few seats. I was really in awe at that time and the magic of gAna kalA dhara.

 This was for the first time that the podium is empty throughout 3 hours and 30 minutes with only a portrait of Shri MMI and people were clapping, besh, sabhAsh many times to acknowledge the best of music of Shri MMI. I was wondering if some unknown person visited that day, what he would have thought about us- Audio playing, podium empty......and rasikas sitting in rapt attention....!

 This concert was the programme of 1957 at Mumbai –Shri MMI with Shri LGS and Shri PMI and Shri Umalyalpuram Kothandarama Iyer-Ghatam. Though I have the recording with me and I have heard it few times, KGS acoustics and MMI’s voice erewas superb and one should be there to experience that. Honestly, at home, I would never have heard this concert continuously for 3.30 hours. I wanted to make it at any cost as I missed RK Convention concert.

 Interesting, I met a person who attended 1957 concert in Mumbai. He added that the concert was held at PoddAr College hAll and not in ShanmugAnandA hall as the hall was not constructed at that time. This was like- rasikas sitting on the floor and the artists sitting on the bench covered by carpet. Kudos to the person who recorded the concert. He also added that it was july concert on a Thursday, with heavy pouring outside. I realised later that the disturbances in between must have been because someone opening the nearby door.

 Brihaspathe-atAna kriti-one of the navagraha kritis was not played (deleted) because it was Saturday. I strongly felt that kriti also should have been played. Any kriti on any day by MMI is a beauty..

 Another news was that LGJ was 27 years old and a bachelor.

 Shri LGJ’s presence moved many of the rasikAs, including me in tears. Each and every time when the violin played, whether it is Bairavi, vAchaspathi, kAmbodhi... I could not stop seeing this Great Man in sheer admiration.. “Oh God. What a magic he created during those years”. In KGS, when I saw his hands trembling and one of his colleagues lifted his hand, I was crestfallen and thought- “the hand which created magic and making me everyday even today (today morn, I was listening to GNB,LGJ, PMI) -and could not reconcile the reality of age factor.  If we take take the Ranjani ragamalika pallavi in that concert.  The way he played ranjani varNam with Shri GNB (my morning) and the way he played for Shri MMI - what a difference. what an ecstacy. MMI's occassional accolades..!!!!. 

 While MMI was singing swaram in Bairavi,  LGJ's assistant was wiping his tears with a cloth. I did not know whether it is the music or because of his health. But it was really touching scene I will never forget in my life.

Let me take Einstein’s comment on Gandhi, to suit to our Shri LGJ

 “Generations to come, it may be, will scarce believe that such one as this ever in flesh and blood walked upon this earth. We are happy to see him live sitting next to us in flesh and blood”

 His son’s GJR krishnan’s smile, while LGJ playing violin, was to show the “Proud” movements of son-father relationship.

 Coming back to Shri MMI, also met few people who attended 400-500 concerts. I could have got more stories if they are asked to speak. But the concert duration and the paucity of time as  KGS needed to close the halll.  Another wonder was at least 60-70 people were there till the last minute and no one walked out during Tani. !!!!!!.

 One thing is certain- I need to precaution Yessel to be more careful in arranging the programmes like this.. If it is continued, certain  things will happen

1. He may have to hold the session in Chepauk statdium or Nehru stadium very soon

2. This will spread to all the other metros and we can meet Yessel only in the Airports.

3. Cleveland will have a session of his 1963 Programme.

4. Above all, December season, MMI will be a tough competition for other artists. The other sabhas may have to refuse to give timing for other artists  because of overwhelming response to MMI concert.

5. MA- December season will read like this.

24.12.12- 7.30 PM Madurai Mani Iyer- Vocal


TN Krishann- Violin


Palani Subramaniya Pillai-Mridangam


Umayalpuram Kothandarama Iyer- Ghatam


This was 1962 programme held in Calcutta


With an introduction speech by Trichy sankaran on his guru Palani and about the programme.


No season tickets will be allowed for this. Only Daily tickets. Price will be.....


Raskias will be requested to take the seats one hour before the programme.


There was no 4.30 PM concert on this day.

 Rasikas request was pouring after RTP, He started with yerumayil in Mohanam followed by kandhan karunai, kaa vAA vAA – all murugan songs.

 Thanks yessel... once again, for making my week end so nice and wonderful. With the scorching heat outside and humid condition, this was a sort of  big relief.

RA Ganapathy attained Mukti

Shri Ra Ganapathi attains Lotus feet of Mahaperiyava

This is to inform our friends that Shri. Ra. Ganapathi has departed our world. The moment of his passing came around 7:30 PM on this auspicious Maha ShivaRatri evening. The family has stated that he was very conscious and aware at the moment of his passing. He started a japam as he started on his way.

He had been well aware of the forthcoming end for the last few days and has shared it with a few people close to him. As many of us are aware, he has written a number of books (over 35) and articles on Satvik matters. His career as we knew it, started with Jaya Jaya Shankara in 1962, which was published as a serial in the weekly, Kalki and was then published as a book. Over 10 in years in Kalki, and over another 25 years as a freelancer, he has written a number of books and articles touching on the life and words of Shri Kanchi Maha Periyava, as also Shri Satya Sai Baba, Shri ramakrishna Paramahamsa, Swami Vivekanada, Sharadamani and Bhakta Meerabai.

He was gifted in the area of music as well and some of his kritis and bhajans have been rendered by reknowned karnatak musicians. Shri Ganapathi never coveted any fame nor material possessions. A number of us have known him to never touch money and have watched his needs and legal obligations being miraculously met over and over for a number of years, long before he had acquired any name recognition.

A phenomenon called Abhishek Raguram - Part I

A phenomenon called Abhishek Raguram

 Definition of Phenomenon is “observable fact” or “Experience”. Like this, in my life, I have so many      experiences like:

T     Through my father, I have experienced Varagoor perum
       Through shri, Venki, Guru at Dubai, oneness with parAshakthi

T     Through paramAcharyal’s discourse, always felt the in debth knowledge from a messiah of God.

        From my wife, perserverance, kindness, love to the children and bondness etc.,

  I have heard the definition of “phenomenon” through

 ;     Flute mAli playing the instrument at the age of 4. Semmangudi mamA’s worry about his future music career.

       Mandolin Srinivas

       Shashank- Another prodigy in flute.

        T,R,Rajarathinam's Todi

        Ramanujam- Mathematical genius

        MahAtma gAndhi

We can say, genius, God’s gift, icon. – But all these adjectives are possible only if you are blessed by God. I always believe in Creator and some of his wonderful creations.

Recent experience, I had when I was fortunate to listen to a beautiful jati of nArAyana TeerTha’s Tarangam by one Mr.Ramakrishna, a professor of Financial Management in reputed college in Mumbai and visiting professor in various colleges. It is very difficult to sing jati, while playing harmonium and moreover, if Mridangam is not following up, there will be chaos everywhere.

I had written about this visually challenged person in another review of Tarangini festival at Varagoor on the last 26^th January. Acharya Rajneesh always contends that 80% of our energy goes thorugh our eyes. When this energy is converged in to your Atma and channelized through Bhakthi, you have people like Ramakrishna.

Abhishek Raguram is, for me, a God send person. I have been listening Carnatic music for the past 20 years. From Ariyakkudi to Semmangudi, Maharajapuram -3 generations, GNB, Mani Iyer. I have the good habit of accepting all these Greats music. My music is not artist-centred, but rAgA-centered. So I always enjoy the beauty of “nAdham” through the Godsend artists like the above.

I had an opportunity to listen to Abhishek raguram live in ratnagiriswar Temple at Besantnagar. Shri G.S.Mani at the concuding speech said “"Edo oru Eashwara Sakthi Npadindrukku, adukku nanga enna solithardu"

Narayanan writes:

jet speed swaras and not a single off key note anywhere. and when he dwelled on the upper registers, oh what a purity of notes. smooth and silken.........he has the most beautiful and dulcet voice on the circuit as on today. and the way he enjoyed the violin and asked the soundman to raise its volume not only here but also when akkarai was playing wonderfully at the jaya tv thamizhisai concert.... the way he obliged with all the song and raga requests with a serene smile...... this man has arrived.

THE HINDU REPORTS- IN THE EVE OF Rasikapriya's 34th anniversary celebrations in Kochi

“Abhishek Raghuram's concert stood out for its trenchancy and verve. The Navaraga varnam of Patanam Subramania Iyer made way to more dulcet compositions such as ‘Muddumomu' in Suryakantham and ‘Saraseeruha ramaiyya' in Mukhari.

The vocalist sang sustained notes of Charukeshi and thus brought out the true raga bhava. The kriti chosen was ‘Adamodigalade,' a composition of Tyagaraja. The vocalist took off to the upper octave with Anandabhairavi and gave the choicest phrases a true Carnatic flavour with long and deep gamakas.

Abhishek sang an unexpected niraval for the phrase ‘Ramanamane' in the Hamsanadam composition ‘Bantureethi koluvu' and proceeded to brisk swaras, which turned out to be one of the highlights of the concert.

The main raga for the evening was the rarely sung Abheri and the kriti was Dikshitar's ‘Bhajare re Manasa,' which is also not too often heard. The brigas were unerring and crisp.”

THE HINDU REPORTS IN ANOTHER CONCERT:

Abhishek Raghuram's heavy repertoire enthralled his audience in Chalakudy. The audience that sat through a protracted meeting, preceding the recital, heaved a sigh of relief as Abhishek broke into the Begada Adi tala varnam of Vina Kooppayyar, ‘Inthachalamu.'

This was followed by a Navagraha composition of Dikshitar, which gave a new dimension to the recital. ‘Sooryamoorthe' in Sourashtram is the first among this series that invokes the blessings of the Sun.

By selecting ‘Sooryamoorthe' Abhishek gave the audience a rare opportunity to listen to the dhruva (chaturasra) tala. The rendition was alluring.

Swati Tirunal's ‘Samodam chintayaami' in Udayaravichandrika followed with an eloquent alapana. Edappalli Ajith's avartanam of the same was well done. The misra chapu composition was ornamented with innumerable sangatis of the opening line, ‘Samodam chintayami sarasiruhanabham.' The composition also served to highlight the clarity of diction of the vocalist. Niraval of ‘Syanandura nagaree sobhayamana geham' was noteworthy.

Then, the audience had the privilege of listening to a popular Tyagaraja composition in Darbar that was popular in concerts in the past. It was ‘Mundhuvenuka niruprakkala thodai' in Adi

Tarangini Mahotsav at Varagoor

Tarangini Mahotsav at Varagur on 26^th January 2012

Every year, in January 26^th, varagur bhaktAs were organising Tarangini Mahotsav, inviting eminent vocalists, singers and accompanying artists to come and perform the kritis of NarAyana TeertA sitting in front of the abode of Venkatesa PerumAl, the presiding deity of varagur.

For me, varagur perumAl is our “kula deivam” (family deity) and He is always close to my heart. Not single day will pass without singing ‘ kshemam kuru gopAla”, a famous kriti in Mohanam, in my house.

Tarangam means “waves”. Tarangini singing is like singing the “Krishna leela” again and again as the waves are coming again and again. No raga delineation or neraval or swarams are important.

Any village, who is organising this one day festival will face the constraints of “infrastructure” like conveyance to bring the people, staying, food and see them off etc. Kudos to varagur bhaktAs, they organised without any hiccups.

The performers who came to sing in praise of Lord Krishna are as follows:

Kalaimamani Dr. Sundar and his disciples

Sattur Sisters

Kunnakkudy Balamuralikrishna

Maharajapuram Ganesh Vishwanathan

K.Ramakrishna – a visually challenged devotee came all the way from Mumbai. A small profile about him is given at the end of this review:

Sampathkumar another bhaktAs who came all the way from NTs janmastAn. (he was born)

When he was performing a kriti with “ Jati”, he was telling that while NT singing this kriti, Krishna appeared before him. He started singing this kriti and the Bhattacharya mAmA opened the main door and indirectly acknowledging the fact. Such a power of this Gentleman

The programme started in the morning 7 Am bringing the “chitrapad” (framed photo) of NT from kadungAl, a small river 3 minutes walk from the temple, singing the NT kritis and placed in the temple before starting the programme.

K Ramakrishna

Born with congenital cataract in both eyes, Ramakrishna lost his vision in the left eye due to Glaucoma at the age of 9. Life became tougher as his right eye deteriorated and by the age of ten, Ramakrishna had completely lost his vision. But his self-will disallowed a physical handicap to translate his inner vision of becoming economically independent through a thorough education.

Thus, with the propitious education aid offered to him by Mrs.Rehmad Fazalboy, Development Officer Of The National Association Of The Blind (India), Mumbai and went on to complete his schooling and finished his graduation with top grade in Economics and Statistics. Ambitious, to achieve more, he acquired the Masters Degree in Economics from the Mumbai University, again with a top grade.

That was not all. Just like any other individual he gathered work experience at an Electronic company for 5 years and also became computer savvy after working in a Computer Maintenance company for a year to marched ahead unafraid, to become the first visually handicapped person in the world to compete without special concessions, with other students for acquiring admission for the Masters Program. In 1984, he acquired the Master in Management Degree with a specialization in Finance and distinguished himself as an economically independent employee at the Industrial Development Bank Of India (IDBI), Mumbai.

However, his story is a fine example of the purposeful coercion of financial help for education and technological facilities that were made available to him at every stage of his career. With electronic accessories like the speech synthesizer, text reading machine that converts all printed matter into electronically synthesized human voice, a talking calculator and multimedia computer incorporated with a screen reading program helps him execute his job with ease and efficiency.

A self-willed personality, Ramakrishna today continues to excel in his career with great aplomb and devotes his time in social activities at NGOs like the NAB.

Other Commitments:

Today, Ramakrishna is:
1. One of the Hon' Secretaries of the National Association For The Blind (India), Mumbai and supervises its fund raising activities
2. Member of managing committee of the Victoria Memorial School For The Blind, Mumbai
3. Secretary of the Indian Association For Visually Handicapped, Mumbai
4. Chairman of electronic reading and computer training centers of IAVH
5. Associated with many social welfare organizations engaged in the blind welfare activities as also many religious and cultural organizations

Professional Commitments:
He is also a visiting faculty member with number of management institutes in Mumbai gives lectures on project finance, financial management, equity research, operations research etc. Apart from that he travels as a visiting lecturer to the Jawaharlal Nehru Institute For Development Banking, Hyderabad and shares his expertise in technical, financial and commercial appraisal of industrial project with IDBI and other bank officers.

When he was performing a kriti with “ Jati”, he was telling that while NT singing this kriti, Krishna appeared before him. He started singing this kriti and the Bhattacharya mAmA opened the main door and indirectly acknowledging the fact. Such a power of this Gentleman.

Malladi Brothers at vAni MahAl

Malladi Brothers

Patri Satiskhumar-Mridangam

Varadharajan-Violin

Palakkad Ramani- Ghatam

Programe at vAni mahAl –conferring award “Thyagabrahma nAda vibhUshan” on Srimad PinAkapAni . It was received by his son Mr.M.V.Gopal.

He rendered all Saint T kritis exept 7

1.slokam followed vidulaku mrokkEda – MayamAlavagowla-

2. ika kAvalasina demi manasA- Balahamsa. (R, S)

3.PantuvarAli Alapana followed by “nArdadamuni”

(N,S) in nArAyana nAamamulanu pArAyana onarinchcu”

4.nAdaditha- Janaranjani-

5. anyAyavu-kApi

6. Main-Begada- “lokAvana chaturA pAhimAm” (S)

7. Antaru neene adi pundarikAksha- Anandha Bairavi-AnnamAcharya

8. pAhi rAma-YadukulakAmbodhi- Utsava sampradhyam kritis.

9. Mangalam.

The concert started at 7.20 PM and ended at 9.30 PM. The delay was because of of speeches given by Shri.Suri Babu, Dr.Pinakpani’s son, Shri.SVK and Sri. PSN and above all , one lady from “Sruti foundation” also released a DVD on rAga vaibhav, a collection of rAgas by Sri.Nedanuri. She started “I came here to request Shri PSN to release the DVD and not to speak” and she spoke for 15 minutes !!!.

Of course, her speech was full of praising Shri.Pinakapani for his valuable speech and rAga delineation which was recorded and released in DVD 2. (current release was DVD no 3). I heard more speech than music .....

“Hamsavinodhini” Subrahmanyam was explaining, sitting next to me, the meaning of nAradamuni Kriti “Golden Veena is shining on nAradA’s white body” and he compared this with one photograph in the hall where paramAcharya is carrying Golden veena.

Two old ladies were discussing about “avul upma” for dinner making me to realise that was Ekadasi day.

Malladi is also giving speech in between giving the meaning of Janaranjani kriti and kApi kriti. Recently, I have observed one of the brothers love to talk more, prasing his gurugAru, other Saints or people sitting around. Hope he concentrates on singing and does not become “male” vishAka hari.

I would not conclude this as “unfair” for starting the concert at 7.20. ( The programme started at 5 PM). Dr.Pinakapani is a great artist and lauded by all the vidwans. But, considering the old people in the hall, the orgainsers had to plan so the rasikas have “satisfying” at least 2 and ½ hours concert.

About the concert- While MMgowla showed the class of MBs, 3 minutes rendition of balahamsa and the return by Varadarajan was truly good.

PantuvarAli’s nAradamuni, a stampld kriti Shri Nedanuri was rendered beautifully. They had to truncate the neraval because of time.

Violin by Varadarajan in begada shows how he is among the top 5 artists today.

He brought some sangathis which Shriramkumar could not render.

They took begada as main because Shri SVK narrated in his speech that he would never forget Dr.Pinakapani’s rendition of this kriti once. He used the word “byAgada”

Tani by Patri was short and well played by both the artists.

A phenomenon called Abhishek Raguram

Ratnagireeswar Temple, Besant Nagar, Chennai

Date- 15th February 2012

It is part of Sivarathri celebrations. There are always concerts by eminent vidwans before

Sivarathri which falls on coming Monday.

I could not go to Sanjay, Gurucharan but yesterday, I made to AR.

Abhishek Raguram (AR)

Anantha R Krishnan-Mridangam

Vittal Ramamurthy- Violin

Shri G S Mani, Shri.PSN and Shri O S Sundar and few known sabha secretaries gathered for this

programme and GSM echoed our views in the concluding speech.

"AR has imbibed tremendous manodharma in his pAdandhram. While his right brain excels in

manOdharma, his left controls the Thalam and by God's grace, both get synchronised at the

right time and place and the result is ecstacy to rasikas.

As God created rAmanujam for Maths, He has created AR for present Carnatic Music and if

we want to reciprocate "thanks for your wonderful music", please pray everyday monring that

God should give long life and impeccable vocal power to this youngster (AR)"

As Shri PSN felicitated AR and other artists, the programme ended happily with the blessings

of the deity of the temple. Ratnagireeswarar...

This is the FIRST time, Iam listening AR live. I have read many of his reviews in this forum,

other forum and newspapers and listened couple of cassettes. Expectedly, all kritis of Siva.

Lyrics go like this.

1)ThyagarAjAya namastE- Begada- Dikshitar- rupakam

2)Bahudari- a short sketch of rAgam- sadAnandha Tandavam-Adi- Achuda Dasar- swaram in

"muttarum siddharum" -

3) Bairavi-five minutes rAgam followed by "Chintaya mAkandhamoola kandham" - another beautiful

kriti of Dikshitar- Interestingly, he did neraval in "mangalakara mandhahAsa vadhanam, mAnikya

maya kAnchi sadhanam" and swaram in "uttungamanEya vrushaturangam".

4) idadhu padam tooKi- kamas - pApanAsam sivan

5) rAgam-Shanmugapriya followed by pArvathi nAyakane- PapanaAsam sivan-adi & swaram

in "sArvabowmane shankarane"

7) Tani

8) Idu dano tillai stalam-GKB- BehAg.

9) Kumdakriya - rAga for 4 minutes followed by "ardha nAreeshwaram" -Dikshitar.

10) nava sidhi peRRAlum- Neelkanta sivan- karaharapriya

11) chandra chooda- Darbari kAnada - Purandaradasar

MMI Remembrance Day programme on 29th Jan 2012

I attended this programme organised at the Residence of Shri.Venu Sunder. At the very outset, thanks for Mr.Venugopal/Venu sundar arranging such a wonderful programme. I also attended some of this earlier programmes. Kudos to the team, Never ever heard this for any other artist...Great.

It was well arranged and fortunate to listen to some experiences of yesteryear rasikas, besides the evergreen music of Shri MMI. Lunch was also served.

Being Jan 29th, we could listen to Shri MMIs Shanmukapriya RT followed by pallavi “MahAtmA maNi vazhi nadappOm....”. Jan 30th being MahAtma’s remeberance day, it was an apt pallavi chosen by the organisers to play.

Some of the interesting experiences shared in the programme:

Mr.K.K.Ganapathy who runs “ Bharatiya Music Circle in Mumbai shared his experience:

“I have long association with Shri MMI at the age of 13. At the age of 13, MMI started his first “unofficial” concert in some place of Kerala. When Harikesannallur (HMB) gave a discourse on that day, he asked MMI to sing one kriti and latter rendered with “rA rA mA inti (asAveri of T) with breathtaking swarAs. There was no looking back after this.

In one concert, pAlakkad mani Iyer was about to accompany, but he could not come so, local mridangist was arranged. MMI took “meenakshi memudam” purvikalyAni kriti of MD. While giving neraval in “madhurApuri nilaye, maNi valayE”, he rendered as “maNi vallayE” (means mani did not come)”

Another one at Shanmugananda at Mumbai - MMI had to perform on Oct 1 and MLV on Oct 2. He taught MLV the pallavi “mahatma... “ and asked her to sing on oct 2^. MLV had another Guru on that day !!!

Another octogeneraian got up and he shared his experience.

“When “gAna kalA dharA” award was given, rasikas at that time, thought (even now), he should have been given “ghandarva gAna kalA dharA”

He was giving a concert in Sai bAbA temple in mylApore. The concert started at 10.30 and ended at 3 AM. He rendered 4 kritis. One of them was “sukhi evvaro” in kAnadA. Next day, when this person went to office, there was no speech, only communication of kAnadA swarAs. (even now, some of us can render these swarAs without adequate experience in CM,,, immortal).

MMI gives lot of importance to sruti. If any tambura problem, he patiently adjusts, even if takes half an hour..”

Shri.Venugopal said referring one of the Ghatam Artist of yesterdays, while singing “kandan karunai puriyum” famous kriti in Bhimplas, in the last line “annai parAshakti arul sudar vel”, the Ghatam artist, throws the Ghatam in the air (as done at the end of tani)”. A real bliss.

Truly an incident to cherish for scores of rasikas like me who even now enjoy his “impeccable” music. Listening Kritis, like kAmbodhi- mA janaki, purvikalyAni-Jnanamu segaradha and RTP Shanmugapriya, were never tiresome/boring despite that I have listened many times.

Returning my home, I was thinking what was so special about MMI to connect to Jan 30th, MahAtma’s remembrance day, the answer was

Both of them had a clear vision-“ to reach their message to the ricksawallah”

With the pallavis (RTP) of today stooped to such a low level, we could not stop thinking MMI rendered the pallavi “MahAtma” on 30^th Jan 1948 in some place. Long live Maestro !!!!!