M.M. Iyer -- A personal Tribute

It is with some reluctance that I am writing this article as I have often felt turned off by the writings of music critics who pen reviews and anecdotal accounts of famous musicians. Their insufferable pretense of belonging to a superior species and throwing superficial comments about some truly great men/women of our times has annoyed me endlessly. I believe that the only useful contribution that I can attempt is to pay a tribute to such outstanding persons. In this article I shall try to do so by gathering my thoughts on Madurai Mani Iyer.

Madurai Mani Iyer (M.M.) lived during a time which can easily be called the Golden age of Carnatic music performers. With musicians of the caliber of Maharajapuram Viswanatha Iyer. Ariyakudi Ramanuja Iyengar, G.N.B. and Semmangudi Srinivasa Iyer, one needed tremendous talent to be recognized as a first rate performer. M.M. blossomed and won a pre-eminent position during this period by developing a unique style of his own. He acquired a loyal and devoted following of numerous rasikas due to his refreshingly original presentation of Carnatic music to an audience consisting of the elite in society as well as common folk unitiated in the intricacies of Carnatic music. The diversity of his admirers perhaps set him apart from the other giants of his day with patrons belonging only to the upper class. While every one of the coveted top honors in the performing field (such as the Sangita Kalanidhi, the Presidential Award etc.) were his own by right, the devotion and affection of millions of music lovers were his own.

Continuing on this topic of the obvious difference that characterized M.M., one has only to recollect the utter simplicity of his concert dress. While Jarigai veshti-angavastram, diamond earrings and profusion of gold chains etc. were so common in those days, M.M.'s typical kacheri dress was a white khadi shirt and a four cubit dhoti. Has anyone seen M.M. keep talam by banging his thighs vigorously and noisily? There was a gentleness and grace in his stage manners which is still a lesson for performers of today.

It was music that was central in his concerts and never ostentatious showmanship. The secret of his success can be traced to the ease with which he emphasized the true fundamental values of Carnatic music - Sruti-laya suddham and manodharma sangitam. A traditional account of a music vidwan is supposed to give details of his parentage, gurus etc. I think in the case of a genius of the stature of M.M. these factual data are irrelevant, having no explanatory value. He was a unique gift to the world of Carnatic music and his contributions are entirely due to his own intense explorations into its subtle depths.

M.M.'s music displayed a wholesome blend of the respect for tradition and innovation. His concerts, starting often with Dikshitar's Vatapi (Hamsadhvani) or Vallabha (Begada), were incomparably thrilling even though one has heard these pieces many times. The attempt to come to terms with transcendental values represented by phrases and concepts such as "Muladhara kshetra stitham" or "Nirantharam" within the confines of the sapta swaras, with the free-flowing swara prastharas, were the introduction to approach the infinite through finite symbols. The hypnotic effect on the audience right from the beginning of the concert should be seen in order to appreciate the effects of sound with sruthi, laya, and sahithyam with deep mystic connection (and not just dictionary meanings). A great musician like M.M. has access to many levels of consciousness.

Many vocalists need time to settle down (opening the voice with varnams, indulging in practice in several speeds) and take their own time to feel at ease before attempting serious music. For M.M., with his whole life centered in music, there was never a need to settle down. Every moment is appropriate and there was never a let up in the tempo of the concert from beginning to end. He had his own unique pace (Nadai) for rendering each song and Bhava flowed resulting in a haunting melody for his listeners. The seamless blending of melody and rhythm that he achieved were never to be seen in any other performance, even of the greatest of his contemporaries. They may overwhelm you with great melody or great rhythm but did not achieve the perfect blend of rhythm and melody so characteristic of M.M.

The tempo of M.M.'s concert was set by the opening song and, as remarked before, lasted right up to the very end. Many musicians have difficulty in achieving this even keel. M.M.'s success was due to his natural rendering - no strains due to loud shouting, beating thighs vigorously and other theatrical extravaganza.

He used to sing the Navagraha Krithis quite regularly. The musical appeal of these Krithis is not easily explained. I feel that human life is intimately connected with the solar system and these mysterious connections are explored by science and arts in many different ways. These archtypical connections (in Jung's language) are explored by Dikshitar also. In M.M.'s rendering of these kritis I have often felt transported to new realms of awareness - in Thevaram's words "Kandariaadana Kandeney". I have to confess that the complete import of these krithis still manages to elude my comprehension.

M.M.'s exposition of the grand (Ghana!) ragas as well as the apoorva ragas of Carnatic music characterized by intense explorations of the myriad unexpected possibilities ina field accessible only to a genius. I had an opportunity to listen to his words regarding this subject. He told me that a concert without these ragas (for example Kalyani, Thodi, Kambodhi or Sankarabharanam) will not have weight. The scope of these ragas, to present ever new nuances, while being rendered so often by so many, has always been a source of joy and wonder. While thinking of Kambodhi can anyone who has heard M.M.'s "Ma Janaki" or "Kana Kan Kodi" ever forget the impact made on him? After hearing his "Niraval", "Manickam, Vairam, Vaiduryam" or "Kalinil Silambhu Konja" even once, can any other rendering appeal to the listener? The magic of his rendering used to speed up the heartbeat of the audience - a phenomenon for which no explanation other than the concept of the resonance of the Nada present in everyone, seems adequate to me.

Bhairavi as expounded by M.M. (for example Koluvai) was truly phenomenal. Many good musicians render Bharavi. On close examination one detects a certain sadness in many renderings. It was only after listening to M.M.'s Bhairavi that I could discover the happy under tones of the great raga. M.M. explored the entire Bhava of the raga and not only the obvious surface features.

Mohanam from M.M. (example Kapali, Mohana Rama etc.) has been commented upon by such a great musicians as Maharajapuram Viswanatha Iyer who used to call him Mohana Mani (M.M.). Recalling the fact that Maharajapuram's mohanam was considered the high water mark of his times, one can appreciate the depth of this tribute earned by M.M. in the land of giants.

M.M.'s popularization of relatively unknown krithis such as "Sarasa Sama Dhana" and "Nada Tanum Anisam" is very well known. If the beginning of the concert was inspiring then the end, with "Vellai Thamarai" (Bhimplas), "Karpagame" (Madhyamavathi) or the English note was thrilling indeed.

How did M.M. achieve his status of immortality? The shunning of manipulation - political power and economic considerations - was total in his life. His gifted voice and genius sought to present the best of Carnatic music in a straightforward and seemingly simple manner. The trappings of the now too common mechanically rendered, pre-calculated "Kanakkus", with the sole purpose of impressing the audience, were completely absent in his concerts. M.M. enjoyed good music and sharing it with one and all. He never made compromises to suit any pressure group. With commercial and political power considerations absent from his horizons he gave what he wanted to give. His Sarvalaghu swaras and brilliant Niravals were true and original characteristics of his style. The constant and noisy competition with the accompanists was never seen in his concerts. He encouraged young and promising accompanists to blossom and give their best in the concerts.

It is said that the highest goal of Carnatic music is to realize "Nada Brahman" - an experience in which the individual self merges with the universal self. The closest that I can visualize this goal and feel even a preliminary aspect of this profound experience has been only in the concerts of M.M., the superb Nada Yogi. There have been other musicians who have entertained us. They may have even helped us escape the day to day crude, mundane and competitive life. They may have helped us have a good time. But M.M. alone could make me realize that the world of Carnatic music is full of deeper, undreamed of meaning. I thank my stars that I lived during M.M.'s time and listened to his music.