M. D. Ramanathan -- a remembrance
P J Narayanan
(Padma) Shri M. D. Ramanathan's passing away. I recycle two articles
that have appeared on this forum so that we can remember a true
nAdOpAsaka at this occasion....
Shanti,
PJN
_________________________ Article 1 _________________________
From: pra...@usenet.umr.edu (Pravin Sitaram)
Newsgroups: rec.music.indian.classical
Subject: MDR
Date: 22 May 92 16:27:31 GMT
Friends,
This is an article that appeared in the ECONOMIC TIMES on 04-27-1992,
MDR's death anniversary. It is an article remembering the great
artist, written by VAMSHI. I have reproduced the article as it
appeared in the newspaper.
----------------------------------------------------------------------------
M.D. Ramanathan
JEWEL WITHOUT A CROWN
_____________________________________________________________________________
If spirituality and profundity characterised His music, humility and
innocence pervaded his soul. VAMSHI remembers the virtuoso on his
death anniversary, today.
_____________________________________________________________________________
Manjapra Devesa Bhagavathar Ramanathan (MDR) was one of the greatest
musicians of our times, a stalwart but perhaps, the most misunderstood
Carnatic vocalist of the 20th. century.
Going back to my days as a student in Madras during the seventies, I
recall his dignified figure in the white kurta and dhoti, with the
stately angavastram draped round his neck like a muffler. The sandal
paste mark on his forehead and his long silvery hair knotted at the
neck lent him a typical Tamil pandit look. But the power - best
described as 'tejas' - that emanated from him was all his own.
His presence during the morning prayers at Kalakshetra lent solemnity
and grace to the simple daily assembly. MDR Sir, as we used to call
him, ws the Principal of Kalakshetra in those days, though he
continued taking vocal music classes.
Many musicians studied under him, but no one was really able to
emulate the great MDR. Critics consider it a minus point in his stock
as a teacher that he was unable to groom a single musician who could
carry on his tradition.
The fact is, and anyone who knows his music will understand, that is
was not possible for MDR to groom a disciple after his style. His
music was his own. It was too much a product of MDR's personality,
thought-process and deep learning.
Though his students could not pick up the sublime quality of his
singin style, it does not mean that they did not learn from him.
Merely hearing him sing was an education. His teaching was just as
original as he himself. He would narrate anecdotes and jokes in the
class and did not bother about the dictates of the syllabus and other
such trivialities. However, what he taught, was absorbed for a
lifetime.
If peace and sheer grandeur characterised his music, humility and
childlike innocence pervaded the soul of MDR. Rukmini Devi, the
founder of Kalakshetra, loved MDR lkie a son. He had joined
Kalakshetra as a fresh Physics graduate from Kerala in 1944. He
became a disciple of the great Tiger Varadahariar, and the legendary
guru-shishya relationship began.
The veteran inherited the musical parampara of Tyagaraja through
Pattanam Subrahmanya Iyer, a direct disciple of the 19th century saint
composer. Tiger Varadachariar was Pattanam's disciple. In 1949,
Rukmini Devi organised the young MDR's arangetram (debut performance)
with the blessings of his guru and Venkatramana Shastri who presided
over the occasion.
To those of us who had never seen Tiger Varadachariar, MDR seemed a
close enough second. He even emulated the traits of his guru. HIs
mudra in his numerous compositions in Sanskrit, Malayalam, Tamil and
Telugu, is Varasa Daasa.
A humble devotee, a learned musician, an unsurpassed performer a
well-educated person, all these were facets of MDR's personality, but
no rememberance of the great man can be complete without a reference
to his cheeky sense of humour.
In Kalakshetra, everyone - whether student or staff - stood in awe of
Rukmini Devi. But MDR managed to take the most breathtaking liberties
with her and get away with it.
Once he was giving a concert in Kalakshetra prayer hall in honour of a
visiting foreign delegation. Instead of beginning the concert in the
traditional way, he began singing ragas generally sung at the fag end
of a concert, giving the impression that he was winding up the
performance within fifteen minutes of starting it. When a startled
Rukmini Devi asked him why he was doing this, he replied in Tamil,
"that is enough for the apples and bananas you always give" (referring
to the plate of fruits which was ceremonially presented at the end of
the concert).
The students present all burst out laughing while MDR was assured that
he would be paid. Of course the visitors were not let into the
wisecrack. No other person could have dared to say such a thing to
Rukmini Devi, and furthermore, no one else could have said it with
such humour and innocence.
Another example of his audacity was the 'new version' he made of the
Universal Prayer which began with the words 'O Hidden Life, Vibrant in
every atom.' Reflecting on the young dance students who where
constantly immersed in the study of the shringara rasa, MDR remarked
that the prayer ought to begin with, 'O Hidden Love, Vibrant in every
Natyam.'
MDR was described by one senior artist as the musician's musician. He
received several prestigious awards such as the Kerala State Sangeeta
Natak Academy award Padmashri, Sangeet Natak Academy award, and others.
It was extremely shameful that the Madras Music Academy, one of the
most prestigious cultural institutions of the country, failed to
honour him with the title of Sangeeta Kalanidhi, for the reason that
the award could not go to a 'Kerala musician' that year. For a man
who a made Madras his home for nearly forty years, and whose art had
the spriritual quality that crossed all frontiers of language, race or
creed, it was a shabby treatment indeed. MDR died before he could be
'considered' for the the award next year.
M. D. Ramanathan died on April 27, 1984. No one in the music world
has been able to fill the void created by his passing. We can only be
thankful to All India Radio and other agencies for having recorded and
preserved something of his golden voice.
Even from his recordings, it is possible to experience the profoundity
of MDR's music. Listening to him, I drew one unforgettable lesson:
though the term laya is normally used synonymously with tala, it is
something much more. After hearing MDR, I discovered that laya is all
about homogenity of rhythm, melody and poetry. It is about
reposefulness and bringing out the total meaning of a kriti. The
music of the virtuoso was totally devoid of gimmickry and spoke to the
soul.
Since M. D. Ramanathan never sought limelight, he did not become an
internationalcelebrity like some of his contemporaries.
It is a pity that even rasikas close to him criticised him for reasons
they themselves were not clear about. After he died a few did realise
his worth, and there seemed to be some kind of guilt in the air. The
feeling can best be summed up in the words of one music patron who
wrote, "Future generations might only note that he was a treasure that
was probably squandered."
---------------------------------------------------------------------------
_________________________ Article 2 _________________________
Newsgroups: rec.music.indian.classical
From: may...@extro.ucc.su.OZ.AU (Mohan Ayyar)
Subject: Sri M. D. Ramanathan - a brief biography
Date: Mon, 12 Dec 1994 02:24:24 GMT
Sri M. D. Ramanathan - a brief biography
----------------------------------------
This year is the tenth anniversary after the death Sri M. D. Ramanathan.
I offer this article as a sincere homage to this great musician.
His life
M. D. Ramanathan (MDR) was born in Manjapara, Palghat District,
Kerala on 20 May 1923. He had his early exposure and training in
music from his father, Devesa Bhagavatar, who was a music teacher
by trade. MDR attended Victoria College in Palghat, where he
attained a B.Sc. degree majoring in Physics. He was well known in
college as a talented vocalist. During this time, Ramanathan
continued to progress his music studies and after completing his
degree, he was taken to Madras by his father to further his musical
career.
This was also the time when Smt Rukmini Devi Arundale had initiated
the Sangita Siromani music course at Kalakshetra with the
distinguished and respected Sri Tiger S. Varadachariar as Principal of
the college. MDR auditioned for the course and was the only vocal
student in the very first batch commencing in 1944.
Being the only student in the course meant that Ramanathan could
receive extra special attention from Tiger Varadachariar. It is to be
noted that Ramanathan is recognised as Tiger's most renowned
disciple. Ramanathan held his guru in very high regard and always
showed the highest respect towards him. Indeed, a special relationship
between the guru and sishya developed with Tiger also recognising his
sishya's talents. It has been said that MDR inherited even his guru's
squint! This relationship continued for six years until the death of Sri
Varadachariar.
After his graduation at Kalakshetra, MDR continued on at that
institution - firstly as an assistant to his guru and later as Professor of
music. He held this post, as well as being principal of the college of
fine arts teaching both music theory and practice. Through his
association with Kalakshetra he taught many students out of which
perhaps the late Jaya Pasupathi is the best known.
Ramanathan's musical knowledge was highly respected among fellow
musicians. He received the 'Padmasri' in 1974, the Sangeet Natak
Akademi award in 1975 and the Indian Fine Arts Society's 'Sangita
Kala Sikhamani' title in 1976. He was a member of the Madras Music
Academy's Experts Committee for many years. He was coveted for
the Academy's Sangeetha Kalanidhi award in the 1983-84 season but
the politics within that institution did not grant him the honour. Some
have suggested that he be granted the award posthumously.
After a long illness, MDR passed away aged sixty on 27 April 1984.
His death was due to heart failure. He is survived by his wife and his
adopted son (MDR's sister's son), Balaji, who was about 10 at the
time of MDR's death. A memorial fund was set up by a number of
musicians and music lovers (including Sankara Menon, T. N.
Krishnan, K. J. Yesudas and T. V. Gopalakrishnan) to assist his family
after his death. There has been a film made about his life but it yet to
be made commercially available. I believe there are only two pre-recorded
cassettes of his available (one starts with Mahaganapathim in Nattai and
the other the Kanada Ata tala varnam). His music was heard for many years
as the first item of the day on All India Radio in Madras.
M. D. Ramanathan is remembered as a gentleman and a musician's
musician. His dedication to his guru, God and music was below none
and his music lives on in the hearts of his admirers.
His Music
The music of M. D. Ramanathan is quite unique. There is no one who
has a similar style of music, a style that has captivated the hearts of
many music lovers. A colleague of MDR (D. Pasupathi) notes that
Ramanathan was a nadopasaka - one who worships sound/music. He
sang music for music's sake and was not bothered by a lack of
audience or criticism of his style. He also sang for his own
satisfaction. His style was in striking contrast to many of his
contemporaries and offered peaceful music rich with bhava.
Ramanthan's music was sober, serene and soothing. There
was prasanthi in his recitals. His slow rendering not only
gave him time for introspective exploration, but also
provided the audience with the opportunity to receive the
message and ponder over it. The atmosphere he created
during a performance was comparable to the bliss one
would get while seated on a river bank on a moonlit night.
(B. V. Raman & B. V. Lakshmanan in Sruthi No. 8)
MDR's music is easily recognised. Perhaps foremost is the rich, deep
voice. Next, is the tempo of his music. By and large MDR preferred
the vilambita kala (slow speed), although it is wrong to classify his
music as totally slow - he would often include a few faster items with
speedy kalpana swara passages. Nonetheless, MDR knew where his
musical strength lied — his deep voice was suited to the vilambita
kalam and it is was in this that Ramanathan excelled. The
combination of these two features makes his music very relaxing. It
has been suggested that continued listening to his music can lower the
blood pressure and relieve stress.
His raga alapanas were characterised by effective use of gamakam.
They were full of bhavam. Again, his bass tone complemented this
facet. His raga essays were not long but were concise and precise.
Close listening to these essays will reveal the necessary phrases of the
raga, without going into gimmickry or wizardry. The listener was
always clear of what the raga was and could get the sweetest essence
of the raga. Ramanathan's alapanas in Sahana, Sri, Ananda Bhairavi,
Reethigowla and Yadukula Kambhoji will forever hold a special
place in Carnatic music history. These moving ragas took on a new
dimension when rendered by MDR. Some other ragas that were his
favourites include Kedaram, Kambhoji, Hamsadhwani. Like many of
the old time greats, MDR did not venture into complicated arithmetic
during kalpana swaras but was always had a good control of layam.
During his time at Kalakshetra, MDR taught many students. Since
Kalakshetra was primarily an institution for dance, many leading
dancers have had music training under MDR. I have spoken to several
graduates from Kalakshetra and many have told me that at first they
thought MDR's music was strange and unconventional (perhaps due
to his mannerisms) but as they learnt more about the art they could
appreciate his music more and could realise its greatness. Rukmini Devi
too, was also full praise of MDR's music and told her students that it
was something special.
MDR had a large repertoire of songs but also had his favourite ones.
Nonetheless, every rendition (even of the same song) was different. I
have heard his Endaro Mahanabhavulu many times but each is
different. On some occasions he begins with 'Mahanubhavulu'.
During the raga alapana of Sri raga preceding the Thyagaraja's
Pancharatna, he correctly avoids the use Dha as this swara does not
occur in this particular composition.
In many of Dikshitar's compositions where a madhyama kala passage
occurs he will sing the passage in two speeds creating a dazzling
effect. This is the case in Sri Subramanyena Namasthe (Kambhoji)
and Manasa Guruguha (Ananda Bhairavi). Also, in the Arabhi
pancharatna, he sings the charana-s in two speeds as in a varnam.
He has started Sogasuga (Sri Ranjani) with the line 'mridangatalamu'.
While singing kalpana swaras for the Vallachi (Navaragamalika)
varnam he has returned to the Pallavi line in (Kedaram) on one
occasion while he has used Kambhoji finishing phrases with Ma Ga ..
Padasaroja on another. There are many more such examples of his
imaginative music that other MDR fans can relate. I look forward to
listening to his renditions because they always offer something
different.
Stage Mannerisms
Some will say that MDR was more famous for his stage mannerisms
and abhinaya (facial expressions) than his music. His facial
contortions are well renowned. Together with his squint and kudumi
(tuft of hair), watching MDR sing was not the most aesthetic
experience. If you listen to MDR's live concert recordings you are
bound to hear him chat and joke with his accompanists or the
audience. In one concert, while seemingly rapt in the lyrics, he
interrupts a neraval to explain the meaning of the line to the audience.
MDR would take his own time before a concert, between items and
even sometimes during items if he wasn't quite ready. Perhaps his
kudumi was a little too tight (or loose) for his liking and he would thus
tie and untie it on many instances during a concert. The mridangist
would always have to be prepared to play an extra few avartanam-s (or
three) between sections of a krithi. Likewise the violinist had to be
careful not to rush on to another line or sangathi as MDR loved to
repeat lines several times.
His compositions
MDR has composed more than 300 compositions. This includes
varnams, krithis and tillanas. He has compositions in Sanskrit, Tamil
and Telugu. Many compositions began from spontaneous singing at
temples. In some of his later concerts he would sing these
compositions. The mudra (signature) he uses is Varadadasa (after his
guru). Some of his compositions (like the Bilahari tillana with a line
about Kalakshetra), have become standard items in a Kalakshetra
dancer's repertoire. I have included the text of this composition at the
end of this article.
Some of his compositions include:
Krithi, Ragam, Talam, Language
Anaimakhkattanai, Manirangu, Misra Chapu, Tamil
Aparadhamulellanu, Gowrimanhohari, Adi, Telugu
Bhaja Bhaja Manuja, Behag, Adi, Sanskrit
Bharatesanute, Arabhi, Misra Chapu, Sanskrit
Brindavanaloka, Kalyani, Adi, Telugu
Brochudaku Samayaide, Begada, Rupaka, Telugu
Dandapani, Ramapriya, Rupaka, Telugu
Dari Neevale, Begada, Rupaka, Telugu
Dharmavathi, Dharmavathi, Rupaka, Telugu
Durgadevi, Sri, Adi, Sanskrit
Emdukichapalamu, Purvikalyani, Adi, Tamil
Ennakutram cheideno, Huseni, Adi, Tamil
Gajavadana, Hamsadhwani, Rupaka, Sanskrit
Gurucharanam, Kannada, Adi, Sanskrit
Guruvaram Bhaja Manasa, Dhanyasi, Rupakam,Sanskrit
Hariyum Haranam, Atana, Rupakam, Tamil
Innamum I Chalama, Begada, Adi, Manipravalam
Jagadambike, Kedaram, Rupakam, Sanskrit
Janani Natajanapalini, Sankarabharanam, Misra Chapu, Telugu
Jaya Jaya Sri, Vasanta, Triputa, Sanskrit
Kamalakshi, Sankarabharanam, Jhampa, Telugu
Kanda unakkinda, Thodi, Adi, Manipravalam
Krishnananda Mukunda, Kharaharapriya, Misra Chapu, Sanskrit
Lalithe, Natakurinji, Misra Chapu, Sanskrit
Mahadeva, Abhogi, Adi, Sanskrit
Manamai Ramanai, Sindhu Bhairavi, Misra Chapu, Tamil
Manasa Sriramuni, Bhupalam, Adi, Telugu
Mayamma, Ranjani, Rupakam, Telugu
Narayananenru Sollu, Desh, Misra Chapu, Telugu
Neepadamula Nera Nammiti, Chakravakam, Jhampa, Telegu
Neranamminanura, Hamsadhwani, Adi, Telugu
Neranammina, Anandabhairavi, Misra Chapu, Telugu
Nivale Daivamu, Yadukula Kambhoji, Misra Chapu, Telugu
Nivamti Dhaivamu, Kapi, Adi, Telugu
Nive Dinarakshakudu, Devagandhari, Adi, Telugu
Palaya Mam, Begada, Rupakam, Manipravalam
Pavana Rama, Atana, Rupakam, Sanskrit
Padasaroja, Mukhari, Adi, Telugu
Padasaroja, Saveri, Adi, Telugu
Padayugamunu, Janaranjani, Adi, Telugu
Paduvom Parandham, Purnachandrika, Adi, Tamil
Palayamam, Ritigowla, Adi, Telugu
Parakelanayya, Mohana, Tisra Laghu, Telugu
Parthasarathe, Surutti, Rupakam, Telugu
Parvathi Parameswaram, Natai, Adi, Sanskrit
Purnatrayesa, Purnachandrika, Adi, Sanskrit
Ramam bhaja, Arabhi, Adi, Sanskrit
Raghuvara, Bilahari, Adi, Sanskrit
Rama Raghava, Thodi, Rupakam, Telugu
Rama Rama, Nilambari, Adi, Sanskrit
Sagara Sayana Vibho, Bagesri, Adi, Sanskrit
Saketanatham Bhaje, Kamavardhani, Khanda Chapu, Sanskrit
Sambo Satatam, Kapi, Adi, Sanskrit
Sami Ninne Kori (Varnam), Ranjani, Adi, Telugu
Sankaram, Sankarabharanam, Rupakam, Sanskrit
Sarasijamukha, Yadukula Kambhoji, Adi, Telugu
Sitamanohara, Kanada, Adi, Telugu
Sri Ramadutam, Darbar, Adi, Sanskrit
Sri Valmikapuravesa, Sama, Adi, Telugu
Sriguruvaram, Hamsadhwani, Rupakam, Sanskrit
Srimohana Rama, Mohana, Rupakam, Sanskrit
Stanumalayum, Kambhoji, Adi, Tamil
Sundaramurthini, Natakurinji, Rupakam, Telugu
Thyagarajagurumasraye, Kedaram, Adi, Sanskrit
Tillana, Bilahari, Adi
Tillana, Kapi, Triputa, Telugu
Tillana, Kathanakuthuhalam, Adi
Tillana, Sindhu Bhairavi, Adi, Tamil
Velavane, Sahana, Adi, Tamil
Venkatesa Girisa, Madhyamavathi, Adi, Telugu
Vighnaraja, Sri Ranjani, Adi, Telugu
Vinave, Gowla, Adi, Telugu
MDR's Bilahari Tillana in Adi talam
P.
dhIm nAdhrudhim thOmdhridhIm thana dhIm
thathar thirAni thOm tillana (dhIm ...)
A.
nAdhru thadIm thOmdhrithadhIm thana dhirAna
nAdhru dhridhru dhIm thana dhirana dhirana
nAdhruthathAni thOmdhrithadhAni thillAna
gugum thillAna gugum thillAna gugugu thillana (dhIm ...)
Ch.
thripurasundari manOhara trijagadiSa vAlmIka purESa
prabhalamaina kalAkshétramunu kApadumaiya varadadASa sannutha
thAm tha-kita P D n P D P M G R G |jham M G R jham | jham S R G P D ||
S'S'N D S'R'G'P'M'G'R'S'N D dhi thAm|ginathOm dhi thAmgi-|nathOm dhi
thAm ginathOm || (dhIm)
this last section has the following notation:
x 1 2 3 x . x .
S', , S'N D P D n P D P M G R G | P , , M G R S , |, S , S R G P D ||
S'S'N D S'R'G'P' M'G'R'S'N D G'R'| , S'N D R'S , N |D P D P , G P D ||
---------------------------------
References
Kuppuswamy, Gowri and Hariharan, M. (1981), Index of Songs in
South Indian Music, B. R. Publishing Corporation, Delhi.
Rajagopalan, N. (1991), A Garland, Bharitiya Vidya Bhavan, Bombay.
Sruti (1984), Issue 8 (June), pp. 30-32.
--
---
Robotics Institute, CMU p...@cs.cmu.edu
Pittsburgh, PA 15213
---
Vijayendra Rao
only a couple of commercially available recordings available.
However, in the last five years, a number of private recordings of him
have been released by EMI and other companies.
This has enabled those of us who never had the chance to hear him live
better appreciate his genius.
Similarly, as indicated by the recent release of the excellent
Apsara video of a performance by M.D. Ramanathan,
I am sure that there a number of recordings of
MDR in private collections. Isn't it time for these to be
publically available? Can those who
may have access to such recordings connect -- perhaps
over the Net -- with those who could duplicate and market them?
Biju
-S.BHATTACHARYA
Vijayendra Rao <biju...@williams.edu> wrote:
>Ustad Amir Khan was another musician's musician who died with
>only a couple of commercially available recordings available.
>However, in the last five years, a number of private recordings of him
>have been released by EMI and other companies.
>This has enabled those of us who never had the chance to hear him live
>better appreciate his genius.
>
that are commercially available? Is there one with a 70+ mins. of the
raag 'Megh'?
Thanks,
- samir
[..]
>
>Biju