Sri M. D. Ramanathan - a brief biography
Mohan Ayyar
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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 three pre-recorded
cassettes of his available (one starts with Mahaganapathim in Nattai and
the other the Kanada Ata tala varnam. The third is a double almum
starting with Viriboni in Bhairavi and has a Pallavi in Sankarabharanam).
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 and 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.
________________________________
Mohan Ayyar
Sydney, Australia
12th December 1994
may...@extro.ucc.su.oz.au
_______________________________
P J Narayanan
mention of a "fund" for MDR's family in the note Mohan posted and by
the posting about the availability of an MDR video tape a few days ago.
The following is a story that someone told me a couple of years ago.
I must warn you that this is purely from my memory and could certainly
contain errors.
This person who told me the story, MK, was one of the most
enthusiastic sponsors of Indian music/dance in the Los Angeles area
for several years, definitely from the time when it was not easy by
any means. In early eighties and such, he used to ask all the members
of the audience interested in a copy of the concert of that day to
contact him before the end. MK used to pay all the proceeds from the
cassette sales up front to the artist before s/he left town.
In 1984, U. Srinivas toured US for the first time. MDR passed away on
April 27th, 1984 and the news of a trust in his name reached L.A.
before the concert. MK wanted to donate the proceeds of the cassette
sales of Srinivas's concert to this fund and Srinivas readily agreed.
To get a higher amount than usual, MK decided to send copies of
USrinivas's tapes to *everyone* in his list who had asked for a tape
in the past, mentioning the MDR-fund. I don't remember how many copies
he sent -- 40 or so if I remember right. However, not more than two of
the receipients sent any money back! He joked to me that it would have
been better if he had donated the money he spent on buying the tapes
to the fund instead.
To the best of MK's knowledge, the MDR fund collected Rs. 20,000.
Half of the money was given by MK, Rs 6000 or so by MS and the rest
from whoever else!
I hope the folks who are selling (and buying) MDR video tapes for $45
reflect on this story a bit. I hope the tapes aren't done to make
money. Nothing wrong with that per se in the land of capitalism, but
something surely sounds wrong if it were so.
PJN
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Robotics Institute, CMU p...@cs.cmu.edu
Pittsburgh, PA 15213
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