Semmangudi Srinivasa Iyer

mankuthimma · Post by **mankuthimma** » 05 Sep 2010, 21:02

Hold your Horses ?
Make it
Bring on the Empty Horses ... a la David Niven
http://www.amazon.com/Bring-empty-horse ... 0399115420

Your account is as racy as Niven's

Ramasubramanian M.K · Post by **Ramasubramanian M.K** » 05 Sep 2010, 21:12

Dear Mankuthiamma: Talking of David Niven--that book you mention was published by Doubleday--my only employer in the US for over thirty years--it came in the late Seventies- and we had him make a personal appearance at one of our Sales Conferences(where the forthcoming books are feautred and certain Key Authors' are invited to mix and mingle with the Author.) David Niven was a wonderful raconteur and I think the title for the book was the joint work of our Editor(who was great with celebrity bios) and David Niven--if I remember correctly it has some allusion to one of the lines in Errol Flynn's movies--I think it was Robin Hood-- David and Errol were thick-as-thieves and what he has described in the book about their joint sexual romps is one-hundreth of what he told us but was not allowed to put into print !!! It was one of those rare--Brit-Aussie(Errol was an Australian) partnership in making fun of Hollywood studio practices--which both of them hated for what they believed to be commercially motivated and not artistically sensitive enough!!!

mankuthimma · Post by **mankuthimma** » 05 Sep 2010, 21:24

Wow ! That was a double delight !!

cmlover · Post by **cmlover** » 05 Sep 2010, 22:06

Dear MKR
Sitting riveted reading your narrations. Should I compliment the language or the content!! May I request you to let us know something about you the author â€“ the educational background. Are you a literary graduate or a Historian? Certainly not a physicist which is exclusive to VKV who was your teacher (demonstrator?) for a while. To be on the Editorial committee of DoubleDay is a unique honour for an Indian. Hats off to you!
Not to lead you astray I would like to know a bit more about the relationship between TNR and TKI as I am an age-old fan of TNR. At any rate let me not interrupt your flow of thought!

cacm · Post by **cacm** » 06 Sep 2010, 02:48

Dear MKR,
SSI told me about spending lot of time withh MMI in TKI&his CLOSE RELATIVES HOUSES. So you know if they met TKI? If so are you aware of any mutual discussions? I am a bit hazy about the time period....VKV

Ramasubramanian M.K · Post by **Ramasubramanian M.K** » 06 Sep 2010, 07:47

Mankuthiamma--Thanks for your kind words--I am tempted to open a new topic---Celebrity Authors and their idiosynchrasies based on my experiences on the business side of Book Publishing. except that it DOES NOT belong in a Music Forum!!

CMLover--I am afraid my background is an Engineering Degree(VKV did not think I would cut it with Science in general and Physics in particular--as usual HE WAS RIGHT!!!!) and then worked for the Oil Industry in India ,came to the US--did my MBA in Columbia in Marketing/Finance and then spurning offers in the Oil/Energy fields opted to join Publishing on the Business side and throughout my career, battled both the Editors and the Authors --the Editors --to whom every book with an Atlanta/Civil War setting was another Gone with the Wind,or if it is an artsy book Editors like Jacqueline Kennedy think they are going to sell 50000 copies of her art book costing $75(in the late Nineteen Seventies) whereas in reality we were lucky if we sold 5000 copies nationwide--As for the Authors every Author be it Irving Stone or Leon Uris(they hated each other and woe unto us if we publish both of their books in the same year let alone the same season!) thought their book was going to be the second coming next to the Bible).The younger forumites may not be familiar with these Authors but I have stories to tell about the more modern Danielle Steele,Mary Higgins Clark and her daughter Carolyn Clark.the Grishams(one of the most decent,polite and sensitive human being I have ever encountered).

To answer your question except for an Editorial stint in a Campus newspaper(Bharat darshan in Columbia which had the highest circulation Indian Newsletter --before the advent of India Abroad and other commercial papers!!) and assisting my Father in the Editing of his book, I have never published anything worthwhile--exceptions in 1970 -- I wrote a Letter to the Editor in Hindu which occupied two and a half columns on a topic that was raging at that time about Music--divergence from Tradition in rendering original compositions--to this day I am convinced the entire letter was published without any abridgement just because it was written from NY --perhaps Hindu wanted to "Flaunt" that the paper was being followed eagerly as far back as the USA--and not its content!!!!

VKV-- TKI died in 1914 and so he could not have heard about MMI. Today I met an old friend of mine who is a relative of TKI(I am coaxing him to write to our forum!!) and he told me an interesting story about TNR/MMI connection. It seems sometime in the early thirties, some of TNR's trusted friends whose musical tastes TNR approved of--came to him raving about a young man(MMI) and that TNR should hear him--the date and venue is not clear---TNR known for his vanity and disdain for anything that is not upto his standard reluctantly decided to attend the concert. After the concert I believe he told his sycophants that they have mistaken the young artiste's name--when they were wondering what was he alluding to --TNR in typical pithy TNR style quipped--- HE(MMI) SHOULD BE NAMED MADURAM MANI IYER AND NOT MADURAI MANI IYER-- mind you Pushpavanam(MMI's uncle) was well known for his voice and vidwath and although he died young(32 years) he was the Gold Standard during his career.

mankuthimma · Post by **mankuthimma** » 06 Sep 2010, 10:32

Dear MKR , you must put these down in another thread . Did you ever get to meet Shirley Maclaine , one of my all-time favourites ?

fduddy · Post by **fduddy** » 06 Sep 2010, 10:57

mankuthimma wrote:Dear MKR , you must put these down in another thread . Did you ever get to meet Shirley Maclaine , one of my all-time favourites ?

Recently watched Gambit (Michael Caine and Shirley Mclaine). Old movies are indeed evergreen

A 1966 movie, saw this some 20 years ago in a tape and could recollect now scene by scene

Ramasubramanian M.K · Post by **Ramasubramanian M.K** » 06 Sep 2010, 18:02

Mankuthiamma/fduddy: Please tempt me not to go the movie celebrity route----- I would be lost forever.Re; your question on Shirley Maclaine--I am afraid I did not get a chance to meet her although I vaguely recall we published thro our Book Clubs one of her books!!
Fduddy; never heard of the movie--shame on me--it is like the snakes and ladders version now--- I have to go back to the bottom-most rung of the Movie trivia Quiz ladder!!!
I have a bone to pick with some of the SSI fans who had commented on SSI before but have been silent so far!! Wake up folks!! If you don't I will "search" and "expose" you from the Forum's archives!!!!!!

Continuing the SSI saga,

TKI had two sisters--one of them was mama's mother and the other was SNI's mother--SNI as I mentioned earlier married TKI's daughter--SNI had a son who died young(why this trivia----these characters will appear briefly in future posts!!).

Mama himself was the youngest of three sons--none of them except Mama took to Music- Mama's oldest brother "Subbudu" as he was affectionately called did not take to Music and had a son whom Mama was extremely fond of(this character will appear in a minor episode later!!) Mama's elder brother affectionately called Panchapi Anna(PA) remained a bachelor based in Kumbakonam(Venkata Lodge) looking after the family lands and mostly played a very important role in the upbringing of Mama's children given Mama's frequent concert tours and other admin duties during his career--with the Maharani of Travancore and the Academy in Thiruvananthapuram(TVM) . During vacations to TVM(my grandfather having been on the Admin side--Pre-Independence-- there were lots of interactions between our families--Mama lived in Thycaud a beautiful tree-lined neighborhood where the educated,cultured elite of those years lived(TVM residents amongst the forumites-ARISE!!! to talk of the neighborhood and the famous celebrities that lived there!! My Grandfather lived in Valia Chalai(loosely translated from Malayalam Main Street!!!) -- not to far from Thycaud so that during these summer vacations I had lots of interactions wih Panchapi Anna.Although he was only 5/6 years older than Mama he was infinitely wiser and prescient--the children were brought up strictly but lovingly .PA was a man of few words but they were carefully chosen and parsed that you dare not ignore!! The point I am driving towards is that Mama was extraordinarily lucky to have an elder brother--not having his own family but took a strong hand in the shaping of the character of Mama's 5 children who to this day speak of their uncle with the utmost reverence.. Mama to his credit never second-guessed PA's decisions or judgement on family matters. An anecdote re: PA:

When Mama retired from his duties in TVM and other sundry positions he settled down in Chennai--in late sixties(his house was off Lloyds Road(Royapettah)--in a lane that goes opposite the present day AIADMK offices- and close to the old famous Ajantha Hotel(To NON-Chennaites such GPS-type coordinates would seem irrelevant but one has to picture the exact location given these coordinates to be able to appreciate the anecdote !!). This was a big house-Mama's youngest son lived in the back of it independently--all of Mama's other children had gotten married and settled so that in the big house only Mama ,his wife(Semmangudi Mami as we used to address her--her name was Thayyu--God's own lady!!) lived. Mama persuaded Panchapi Anna to come and live with him as being older and single he did not like his brother to live alone. PA stayed till his death with Mama and was the Head of the Household for all practical purposes---Mama felt so indebted to his brother that he used to tell every casual visitor how much he and his children owe to Panchapi Anna--
Given the location of the house and the fact that PA lived with Mama till his death-- let me come to the anecdote.(as told to me by my father).

PA died --I think sometime in the Mid eighties--the day he died there was a small crowd of people who knew Panchapi Anna intimately thro Mama gathered in front of the residence. There were the usual mourners--most of them came by bus or auto and there was slight activity in the small lane--other than Mama's house there was not much traffic in those days--Vairamangalam Laxminarayanan happened to ride by on his cycle on Lloyds Road--now because the lane was a straight lane and virtually perpendicular to Lloyds Road, it was possible to see what was going on in the lane as you passed it --without having to get down. Vairamangalam L seeing the small crowd gathered in front of Mama's house feared the worst(thought Mama had died and immediately tried to get down from the cycle(in Lloyds Road) and intending to roll it down to Mama's house--just 200 yards away and walk with his cycle towards Mama's house. Just as he was about to alight from his cycle, Pichai(Mama's disciple--P.S.Narayanaswamy who was standing about 100 yards from Mama's house and directing the small crowd of mourners and engaging them) noticed Vairamangalam and shouted to V before he could even get down from his cycle and enter the lane--" Poyinde Irungo--Neengal Ninaikkiramadiri Onnum Ilai"(keep going it is not what you think!!!). PSN was confident (a) that V did not know Panchapi Anna enough for him to pay his respects and (b) V must be thinking it was Mama who passed away and rather than make V feel embarassed after he reached the house and finding that it was not Mama who died, he would forewarn him without saying who died--all in a split second--Not only was Mama prescient in his life he had trained his disciples as well as to how to be street smart and anticipate!!!!

My uncle Raja(who died @ 96 --just 8 months ago) a wonderful raconteur . PA and my uncle were very close and would jointly "rib" Mama--more on the Fiends and families portion later.

To be continued!!!

rshankar · Post by **rshankar** » 06 Sep 2010, 19:58

Sri MKR - I have heard how people would eagerly await the next installment of (Kalki) Sri Krishnamurthy's story in Kalki - I think you are going one up on even him! We are hanging in to your every word in rapt attention. Thank you for taking the trouble to write these things down so well - there is nothing that kills the enjoyment from reading a wonderful account more than poor language - I love your felicity with words [almost] as much as your accounts. You are indeed a worthy scion of your dad. I hope you will not consider it improper of me to say that you are sure to be making him very proud!!

cmlover · Post by **cmlover** » 06 Sep 2010, 20:39

Shankar has said it nicely. This is better than Kalki's stories or the thrillers of ChANDilyan..

By the by the way acronyms are accumulating, we are likely to get lost as you refer to them later. Perhaps make a separate thread for acronyms which we will make sticky. Further in that give your post # reference so that new comers can refer back and catchup on the reference!

cacm · Post by **cacm** » 07 Sep 2010, 00:12

MKR,
MMI when he was living in Mayavaram used to visit TNR often. As a matter of fact just whenever he felt like it-it was often- he visited TNR. Interestingly TNR whose Janakiramana-of course Nayanapillai also& according to S.Rajam his still unequalled- is still considered the GOLD Standard apparently used to request MMI to sing Janakiramana often!...VKV

Ramasubramanian M.K · Post by **Ramasubramanian M.K** » 07 Sep 2010, 02:34

VKV: YOU have solved the biggest mystery of mine--namely that TNR was the inspiration for MMI to sing the piece--I have never heard anybody saying Muthiah Bhagavathar known for his penchant for apoorva ragas --- singing Janaki Ramana. Now the puzzle is complete. TNR a trail blazer himself could easily appreciate true Vidwath irrespective of who had it-- I believe when GNSir in his early years used to tread TNR's style in Thodi he used to say "Thambi nee nalla gavinicchirukke"(You have followed me closely--keep it up!!). TNR could be equally irascible and downright ruthless if somebody tried to imitate him and fared poorly in the process--an anecdote although unrelated to SSI.

Once there was an young man of about 20 years in Nagapattinam, who adored TNR(he was a so-so player I believe but felt that he would be the next varisu for TNR misguidely!!!)--he would find out what perfume TNR was using,what tobacco
o he was chewing,what jewelry TNR liked and even the luscious hair style(of those days) of TNR etc etc.

TNR had heard this from a no of sources--initially he was amused but later on he got irritated--once when TNR went to nagapatinam, the "locals" praised the young lad before TNR--TNR mischievously listened to it and asked more and more questions about the boy. The locals gushed encouraged by TNR's solicitude. TNR asked them to bring the boy and lest the locals mistake that gesture for an opportunity for the lad to play before TNR, TNR preempted it by saying--Vadhyam ellam kondu varavendam(No need to bring the instrument).
The boy comes and TNR starts his feigning enquiry--I believe you are using the same perfume, the boy says yes. the same tobacco I am chewing, and these questions build up a crescendo with the lad excited that TNR would py so much attention o his habits. Then abruptly TNR stops and asks the boy to join him for a car ride--the boy gladly accepts and jumps into the car--TNR asks the driver to take them to the nearest saloon(barbershop--- to those forum youngsters who may not know the word saloon). TNR sits in a high chair and asks the boy to sit next to him in another chair--the boy is perplexed but still does not suspect anything bad--the boy sits on the chair--TNR calls the barber and says to him "I want you to give BOTH of us a complete Tirupathi-style Mottai(Clean shave of the head!!). Now the boy with the thick head of hair demurs and TNR promptly lashes out to him "Nee Nan seyyaradellam seivayame, Ippo Nan Mottai Adichuka Poren Neeyum Mottai adicchukkanum"--the boy wakes up and falls at his feet. TNR stopped the charade and let the boy off-neither of them had a haircut!!!

Another incident where he chastises a nagaswaram vidwan who made some lame excuses for his poor playing-at a marriage function TNR attended the local Vidwan was playing poorly and after seeing TNR got realy jittery and it was downhill from that point!! At the end, he pays his obeisance to TNR and before TNR could say anything, volunteers saying "Sheevali Padam Avule)-( For forumites who may not be awarei-Sheevali is the reed thro which the player blows--it will get wet because of the moisture/saliva and clog the passage--hence you have to pick the right one,blow several times till you get the sound right--this is a delicate art--these are the kinds of attention to detail that set the TNR's and Mali's apart from the rest of the crowd.
To this statement(Sheevali padam Avule) TNR quickly retorts, "Adhai Vida unakku vera Enna velai"(what else is more important than that or what were you doing other than taking care of the sheevali!!)

CMLover/Rshankar--thanks for your kind words--Yes,my father was very keen that I should write these reminiscences and repeatedly cajoled/coaxed/ berated/admonished me to no avail-- I turned a deaf ear to it and Yes, he would have been proud had I yielded to his wishes--sometimes the mulish stubbornness--inexplicable--can leave some indelible scars. Now here I am at the drop of a hat rushing to post anecdotes--Forumites--Thank you YOU have done something and made me do something that my late lamented Dad never could!!!! Some persuasive powers YOU folks have!!!

cmlover · Post by **cmlover** » 07 Sep 2010, 04:39

thanks for the TNR sidebar.
We expect both VKV and youto deliver a separate MMI episodes...
On with SSI history ...

fduddy · Post by **fduddy** » 07 Sep 2010, 09:46

Ramasubramanian M.K wrote: Fduddy; never heard of the movie--shame on me--it is like the snakes and ladders version now--- I have to go back to the bottom-most rung of the Movie trivia Quiz ladder!!!

Mk, Gambit was rel in 1966. It is a subtle and nice classic comedy. movie somewhere in the lines of Peter Ustinov's Topkapi.
Shirley Mclaine is charming in this movie

I doubt if you can get this off the shelf now. I have in soft format. I can u/l for u, if you like.

Ramasubramanian M.K · Post by **Ramasubramanian M.K** » 07 Sep 2010, 17:26

fduddy: Thanks for the offer--I am not techno-savvy(I am a luddite) and would not be able to avail myself of your offer--as it is I am having difficulties in downloading some of the nice audio clipings posted by forumites thro media Space etc etc!!! Anyway thanks for the offer--I loved TOPKAPI especially Peter Ustinov(talking of Peter Ustinov have you seen We are no angels(with Humphrey Bogart) another light comedy- caper set in the Carribeans ?

Sorry for the drift from the Main topic!!!

CMLover--Noted your suggestion on acronyms--will do!!!

rajeshnat · Post by **rajeshnat** » 07 Sep 2010, 17:36

MKR
Catching up after 5 days gap. I am assuming you are still swirling around 1920 to 1940 of semmangudi mama . Just few questions in that era

1. Apart from musical teaching career in reputed places like trivandrum , did semmangudi mAmA ever considered working ? Did he take up any job?

2. If my memory is right apart from TNR , one nAdaswara vidwan that Semmangudi followed immensely was thiruveezhimalai brothers. Is that right?

FYI
ThirukkOdikAval is a village very close to suryanAr koil and kuttalam , (closer to mayavaram) on the banks of cauvery river.

fduddy · Post by **fduddy** » 07 Sep 2010, 18:32

[quote="Ramasubramanian M.K"](talking of Peter Ustinov have you seen We are no angels(with Humphrey Bogart) another light comedy- caper set in the Carribeans ?

quote]
yes, ofcourse

Ramasubramanian M.K · Post by **Ramasubramanian M.K** » 07 Sep 2010, 19:22

RajeshnaT:Answers to your questions:
Although I want to adhere to a broad timeline--to prevent jumping from era to era just because of the anecdotes take me there--I am not going strictly by that. re; Mama's contemplation of a career, YES--there were some moments when the going was rough especially in the late thirties --with the dominance of the Seniors(ARI-Chembai-Maharajapuram V,Conjeevaram Naina Pillai) and his peers (GNB,MMI,Alathur)--all vying for concerts in the few institutions most of them in Tamil Nadu and none of them had any Voice problems like WHAT Mama had. I think in one of the earlier posts I had covered how burning Mama's passion for Music was that after a lack-lustre-concert due to voice problems he would come home and sing at the host's house for another two hours--by that time the voice would have come around a little bit and that was Gandharvaganam if you happen to catch it as I have many a time in my life!!!! Once I overheard Mama rue the fact that he did not have formal education and if he had been educated properly, he would have made the ICS cadre--so confident was Mama about his abilities. Given the competition in that era and his voice handicaps Mama chose to accept the Swathi Thirunal Academy position at the instance of an aging and tiring Muthiah Bhagavathar(mind you Mama was in his early thirties when he moved to Trivandrum--WHO would take up a regular paycheck job at the nascent musical career unless there was serious ambivalence about his ability to dominate the concert circuit?. This was one of the reasons that Mama did not encourage any of his children to think of Music as a career notwithstanding the vague fear that he had -- in not having anybody in the family carry on the Saint-Umayalpuram Parampara tradition. He compensated for it by training a number of disciples who in turn turned out to be great teachers as well(TMT,Kedaram,and Pichai).

Another family anecdote would illustrate Mama's feelings towards talented young men/women--who have other opportunities for a good academic background and possibility of careers in Admin or Corporate.

One of my youngest uncles--he was twenty in the late forties and having finished his graduation(B.Sc) was contemplating a musical career--(truth in disclosure: he was an ardent MMI fan and initiated me into MMI's concerts early in my life!!!)inspired by MMI,TNR,Mali . he had excellent Lakshya Gnanam but not much Lakshana Gnanam. My eldest uncle Raja being very close to Mama approached Mama about the idea which was promptly "nixed" by Mama on two grounds--first the field was rough and the second most important--not to mince words he simply told my uncle that lakshyam alone is not enough but there should be passion to pursue it and he did not think my uncle--the dabbler that he was in many styles-- had the mental fibre to pursue a musical career and went on to say even more bluntly that his taking to music half-heartedly would ruin the chance of a really deserving aspirant from a relatively less affluent background who would not have the same institutional connections which families like us would have and "exploit" much to the detriment of more talented aspirants!!!!! Needless to say this caused quite a consternation within our family with the majority except the two die-hard members--my father and uncle--virtualy "plilorying" Mama for his bluntness and even dubbed him as not-supportive and does not want any threat or competition in the field!!NOTHING COULD BE FARTHER FROM THE TRUTH!! MAMA WAS AMPLY VINDICATED WHEN MY UNCLE VEERED AWAY FROM MUSIC DESPITE A PRODIGIOUS KELVI GNANAM!!
Ten/Fifteen years later when my brother came up in the Mridangam field(having won the Music Academy Junior awards for Mridangam and also the AIR First prize in the early sixties), despite several overtures from my father to let him accompany Mama in his concerts,Mama held on to his principle--Sekhar(My brother) is going to take up a job after these few years and in the interim his playing would handicap others fully devoted to the art form--again a matter of consternation within the family--MAMA was right--once he determined that my brother was going to pursue a corporate career(ACA/MBA) and not pose any serious threat to any full-time musician, MAMA relented and took him on a concert tour of Kerala(5 or 6) to accompany him--subsequent to that TS/MSS arranged Mama's concert @ Kalki gardens to honor Lord Harwod--where my brother played--Papa Sir was on the Violin--I think there is a picture of this concert posted by our fellow forumite Cienu--(CIENU: Can you post it back in this thread?)

re; Nadaswara Vidwans--yes Mama had admiration for the brothers as well as Tiruvudaimarudur Veeraswamy but he had the utmost respect for Madurai Ponnuswamy(MP)--Mama laid lots of credence to MP's 32-mela configuration (omitting the vivadi swara ragas).

re: Thirukkodikval-- if I remember correctly,it is one of the 2or 3 prominent villages around the Kaveri on both the banks--Maharajapuram,Tiruvelangadu.

cmlover · Post by **cmlover** » 07 Sep 2010, 20:08

MKR
Digressions are fine as long as they do not impede your thought flow. But jumping timelines will be a serious distraction for both you and us readers. You can politely state that the question is in the back burner and will be addressed in due course. At that time you can be alerted in case you have forgotten. Other issues can be handled then and there as long as you feel comfortable and not distracted. You are not narrating a pancatantra story (story within story within....)

I have a burning desire to ask you about Mama's views on the 32 mela scheme (and also on dvi madhyama raga scheme of SKR and related technical questions) but will hold mu guns if you promise to answer them at a later time. I believe Mama was downright classical and did not brook any innovations or deviations from paddhathi....

kunthalavarali · Post by **kunthalavarali** » 07 Sep 2010, 22:15

Sri MKR
I still remember the first time I heard the great man sing way back in 1951 in the presence of Dwaram Venkataswami naidu at the Jamshed Hall in Secunderabad. It was indeed a privilege.
I have been following your anecdotes with great interest. I am sure your postings will ultimately end up in a good publication.
Thanks and regards.

Ramasubramanian M.K · Post by **Ramasubramanian M.K** » 08 Sep 2010, 07:17

Forumites: The pic of my brother Sekhar accompanying Mama I had alluded to in my Post#269 has been posted by Cienu in this thread(post#125)--circa 1966 or 1968.

Looking back on some of the earlier posts(2006-2007-2008) in this thread by other forumites, except for Rajeshnat and CMlover --some of the regulars in those posts seem to be silent now!!Can somebody throw some light on this? I had intended this chronicle to be an interactive exercise with others pitching in and relate anecotes that either supplement mine or challenge my inferences/defenses.

If those silent warriors do not step upto the plate now, I will draw their names out from their earlier posts!!!!!

mankuthimma · Post by **mankuthimma** » 08 Sep 2010, 07:36

Present Sir !!!

Radhakrishnan · Post by **Radhakrishnan** » 08 Sep 2010, 18:07

Ramasubramanian M.K wrote:.
Given the location of the house and the fact that PA lived with Mama till his death-- let me come to the anecdote.(as told to me by my father).

PA died --I think sometime in the Mid eighties--the day he died there was a small crowd of people who knew Panchapi Anna intimately thro Mama gathered in front of the residence. There were the usual mourners--most of them came by bus or auto and there was slight activity in the small lane--other than Mama's house there was not much traffic in those days--Vairamangalam Laxminarayanan happened to ride by on his cycle on Lloyds Road--now because the lane was a straight lane and virtually perpendicular to Lloyds Road, it was possible to see what was going on in the lane as you passed it --without having to get down. Vairamangalam L seeing the small crowd gathered in front of Mama's house feared the worst(thought Mama had died and immediately tried to get down from the cycle(in Lloyds Road) and intending to roll it down to Mama's house--just 200 yards away and walk with his cycle towards Mama's house. Just as he was about to alight from his cycle, Pichai(Mama's disciple--P.S.Narayanaswamy who was standing about 100 yards from Mama's house and directing the small crowd of mourners and engaging them) noticed Vairamangalam and shouted to V before he could even get down from his cycle and enter the lane--" Poyinde Irungo--Neengal Ninaikkiramadiri Onnum Ilai"(keep going it is not what you think!!!). PSN was confident (a) that V did not know Panchapi Anna enough for him to pay his respects and (b) V must be thinking it was Mama who passed away and rather than make V feel embarassed after he reached the house and finding that it was not Mama who died, he would forewarn him without saying who died--all in a split second--Not only was Mama prescient in his life he had trained his disciples as well as to how to be street smart and anticipate!!!!

Semmangudi was mAnasa guru to Vairamangalam.He used to narrate a visit to Semmangudiâ€™s house at Royapettah,when he heard Semmangudi singing!
Recalling a concert by Vairamangalam conducted by Semmangudi trust,at Sastry hall,before a packed audience,with Semmangudi himself seated right in the front row.Vairamangalam touched the feet of Semmangudi before the concert and seeked blessings.That concert was totally dedicated to Semmangudi,starting with kamboji ata tala varnam followed by deva deva kalayamithe.

Ramasubramanian M.K · Post by **Ramasubramanian M.K** » 08 Sep 2010, 18:27

RADHAKRISHNAN: Thanks for the anecote--Was not VL a disciple of T.K.Rangachari who himself adored Semangudi Mama and was like an Ekalavya--although he did not learn directly from Semmangudi Mama,he adapted himself to Mama's singing especially Sankarabharanam.

Please correct me if I am wrong--I did not know VL that well nor TKR.

fduddy · Post by **fduddy** » 08 Sep 2010, 18:38

Ramasubramanian M.K wrote: Please correct me if I am wrong--I did not know VL that well nor TKR.

VL was one of the finest exponets of CM. Scholarly and his renditions were very special (like his great guru)

rajeshnat · Post by **rajeshnat** » 09 Sep 2010, 17:23

MkR sir
Thanks for the last clarification , just few more thoughts/questions on semmangudi?

1. Semmangudi leaned towards nAdaswaram and almost never went towards veenA:
--------------------------------------------------------------------------------------------------
Semmangudi mamA has certainly been influenced by nAdaswara piDi's , almost all his rAgas are more like vidwan singing instead of playing nAdaswara. I was just thinking if ssi ever had any influences of veena bAni (which is in the other side). I do know that he had lot of liking to Brinda Muktha's music , but that I am assuming was something he took a taste a little later than 1960's . His liking for veenA was more as a rasikA , that did not influence much with his vocal music

Can I assume that mamA did purposely stay away from veenA in his earlier days ?
or
Is it a case that than in 1920 to 1940's there were very few veenA artists there in the tanjore jillA( belt ), which is an ok assumption considering karaikudi was bit far and most of vainiks are from mysore belt atleast in that 30 to 40 years?.

2. semmangudi and RTP:
--------------------------
Just looking at lot of his contemporaries then in RTP. semmangudi's rtp is just phenomenal , I would even dare say that he has the exact sense of proportion of R , T and P (kind of 2 :1 :2 or 2:1:3).Also almost of Semmangudi's RTP is more with only single rAga, he seldom goes with ragamAliga swaras . Just looking at few of his contemporaries then had their own limitation when compared to SSI like

ariyakudi sang very few RTP 's then apart from the famous 4 raga RTP , not many are that good.
Alathur were more focussed in laya kanakku vazhakku.
GNB in my opinion had RTP's very very focussed on R , somewhat on P, very very less of T
MMI almost like GNB , more on swara rAgamAliga

I am assuming semmangudi mAmA kind of paid lot of attention for RTP (especially tAnam) that many of his peers just neglected , kind of trailblazer.By any chance did he have any rolemodel or any influences from any yesteryear vidwans and vidushis in singing RTP especially tAnam.

fduddy · Post by **fduddy** » 09 Sep 2010, 19:00

[quote="rajeshnat"]
ariyakudi sang very few RTP 's then apart from the famous 4 raga RTP , not many are that good.
Alathur were more focussed in laya kanakku vazhakku.
GNB in my opinion had RTP's very very focussed on R , somewhat on P, very very less of T
MMI almost like GNB , more on swara rAgamAliga
quote]

Comparing the music of these stalwarts and assessing the good and bad is not correct. Each one of them had a distinct style and beauty. As the topic is on SSI, lets not start a comparison and go in a tangent

like the other threads.

rajeshnat · Post by **rajeshnat** » 09 Sep 2010, 19:20

Fduddy
Comparisons are just intended to know about how semmangudi excelled so much in RTP , not to say good or bad on others (I agree with you that each of them are great ). These questions may just trigger much more from MKR , he can choose to pass it too (no hard feelings either way).

cmlover · Post by **cmlover** » 09 Sep 2010, 20:02

In this case I have to agree with fduddy. Let us not take the focus on the historical line on SSI to comparison with other stalwarts. These can be done in a separate thread to which MKR and other knowledgeable can contribute. In fact a comparison thread on the stalwarts focussing on their music willbe very entertaining and educational. However the decision is entirely MKR's. I would like contribution from others too on that debate which will take us away from SSI.
In fact if you like we can have a Q&A thread separately where MKR and others can contribute freely with criticisms and comments from us. In fact the moment we mention MMI then VKV will jump into action. Again Thimma will contribute objectively with clips that will make the discussions divinely entertaining. It is all up to you MKR. We do not want you to spread yourself thin!

cacm · Post by **cacm** » 09 Sep 2010, 20:53

TWO POINTS: 1) We should refrain from making judgements about Ari, Mvi,Musiri, GNB,MMI especially as PRACTICALLY all the available cassettes etc are only of their concerts towards the END OF THEIR CAREERS when their health& even other considerations predominated. I want to CATEGORICALLY state that these four have& did render EVERYTHING at the highest LEVEL of technical COMPETENCE & branched off to their own styles etc to distinguish themselves & EACH brought something new to the table. I wish older members- 75& above- write about these GIANTS.....
2) VL was a SUPERB Disciple of TKR & unfortunately like his Guru did not get enough concert chances as those times were so dominated by MSS, GNB& MMI that even SSI was hard put to get enough conceerts. He was not a formal student of SSI but LIKE many of the artists of that period closely followed, attended & exchanged ideas& information from the leading vidwans. He was forced to make a living thru' tutions etc which was the fate of MOST of the promising artists of that period whisch is a severe detriment to gain name&fame on the platform stage. Even Ramnad Krishnan whom we now recognise as a GREAT path finder had a similar fate. Actually I congragulate CLEVELAND- VVS took a big chance with S.Rajam, & V.L. among others on suggestions of persons like me- & Weslyan(T.Viswa) did the same for RamnadKrishnan which made their recognition factors improve a lot. Actually N.A. BASED ORGANISATIONS have done a LOT MORE THAN CHENNAI BASED ONES IN THIS REGARD......VKV

cacm · Post by **cacm** » 09 Sep 2010, 21:02

cmlover wrote: In fact the moment we mention MMI then VKV will jump into action.

Its because I kept very closelely in touch with anything that had to do with MMIFROM 1952. As a person trying very hard to be truthful& objective I prefer not to comment on areas I do not have personal knowledge. I do comment on subjects I do know& am SURE of the fact. VKV

mankuthimma · Post by **mankuthimma** » 09 Sep 2010, 21:05

NA and Chennai
What would CM be , if not for these two places ? :devil:

cmlover · Post by **cmlover** » 09 Sep 2010, 21:55

...not fair

annamalai · Post by **annamalai** » 09 Sep 2010, 23:22

rajeshnat wrote:
ariyakudi sang very few RTP 's then apart from the famous 4 raga RTP , not many are that good.
Alathur were more focussed in laya kanakku vazhakku.
GNB in my opinion had RTP's very very focussed on R , somewhat on P, very very less of T
MMI almost like GNB , more on swara rAgamAliga

.

GNB and Alathur Brothers learnt thanam singing directly Karaikudi sambasiva Iyer and in fact I find GNB and Alathur tanam singing is gripping. GNB's Pallavi is best illustrated by the Nattkakurunji Pallavi @ Mumbai and Alathur's Pallavis and trikalams are famous - Siva Sankara Mahadeva ....

In contrast, I find Semmangudi's Pallavis without any punch - "SriRama Jayarama Jaya Jaya Rama ...." .

annamalai · Post by **annamalai** » 09 Sep 2010, 23:31

MKR Sir,

Can you please give some insights on the influence of Nadaswara music on Semmangudi.
Semmangudi has mentioned in several interviews about Keeranur Brothers (thodi, begada), Thiruppamburam Brothers, Thiruveezhimizhalai Brothers (Swararaga ...) , Sempanarkoil Brothers ....
Prof. SR has talked about Tiger's high praise for Mannargudi Chinna Pakkiri; Kumbakonam Sivakolundu ...

When Semmangudi's voice is a zone, with a nasal tinge, nothing to beat it ..... as the kind of form he is in the concert Coolji posted.

Ramasubramanian M.K · Post by **Ramasubramanian M.K** » 14 Sep 2010, 22:07

Annamalai Sir: Sorry for not responding earlier.

Re; Mama's opinion about Nadaswaram Vidwans,I cannot claim to know what he thought of the musicians you have mentioned. Mama was overwhelmed with TNR(partly because of the fact that his uncle TKI was TNR's Guru!!). TNR himself was a world apart in terms of how he approached Carnatic Music. He is the ONLY CM legend who has the smallest repertoire of Krithis--his explanation was always that krithis are required to acquire the full swaroopam of ragas--but if I can bring the same comprehensive coverage thro my imagination why bother to learn so many krithis-In any case for an Instrumentalist the Sahithyam is indecipherable.

There is a story told about his Kalyani krithi --one of his gramophone rcords-- after the song was over somebody asked him what were the lyrics of the song to which TNR is reported to have replied:
Saravana Bhavane Enru Vacchikka, Saria vanda Eduthukka(the name of the song is Sivguruparane-- rendered in a brisk fashion--in the anupallavi during the karvai phase TNR weaves mesmerizing sangathis about 7 or 8 of them--it looked like all the Kalyani Kritis of the Trinity had been encapsulated in the krithi).
Likewise for the Thodi, his favorites were Jesina Thella Marachithivo and Aragimpave--with these two krithis he would paint a briliant Thodi that encompasses all the other kritis in Thodi--GNB used to sing Aragimpave and the neraval in Saramaina Divyannamu, Shadra Sevitha Bakshanamu(my mouth used to 'water" hearing the lyrics!!)--TNR's refrain would have been there is no way I can bring out the lyrical quality of the composition so I stick with my raga exposition!!!

CMLover/Rajeshnat Re: the issues you have raised --especially on the digressions,comparisons etc, I have no problems addressing ANY of those queries if I can answer them--in fact it helps me in understanding where you are coming from,the context etc--to me these are important as our views are shaped by the contextual experiences each one of us has been through.

As I said in my first note that I have a broad blue print that I am following that does not strictly adhere to the timelines but more a "Radial" approach(where Mama is the centerpiece and the various roles that he played--friend,artist,family man,institution leader,elder statesman etc--all acting as "spokes" in the wheel.
Ofcourse I am not privy to any specific comparisons that he may have made--afterall I do not want forumites to think I was sitting at his feet like one of Adi Shankaracharya's disciples and absorbing every word or sentence--nuancing them etc etc. But what I will try to do is to let forumites know thro the anecdotes what inferences I drew from them and how I was hasty and wrong(so were many at that time who made similar erroneous judgements and what subsequent events repudiated my earlier views.

As I wrote before--- compared to his contemporaries and peers Mama did attract lots of attention and criticism--outside the realm of his musical accomplishments and other musicians were not subjected to the same level of scrutiny and rigor that Mama was. For example there were some "bickerings' (or grouses)amongst his disciples spanning over 5 decades that Mama "hogged" the limelight too much and was like a Banyan Tree not letting the sun shine on them. As I will show in the section on Mama's relationships towards his disciples, NOTHING COULD BE FARTHER FROM THE TRUTH.
To end the note I will "digress" on the subject of Digressions!!!!!

The late Sangeetha Kalanidhi Mudikodan Venkatrama Iyer(MDKVI) was well noted for his digressions in his speeches.
As older forumites might remember he was an active Expert Committee Member of the Music Academy in the forties and the fifties and was a "fixture' in the morning deliberations on various aspects of CM at the Academy during the December season. In his role as the moderator/compere of the deliberations he was expected to make brief intro about the subject and the speaker. he would start off and imediately veer off at a tangent with some observation or anecdote whose relevance to the topic or the speaker would slowly wane--he would realise he had drifted too far and abruptly would say "ADU ORU PAKKAM IRUKKATTUM"(THAT ASIDE) and come back to the main theme (after being prompted by one of the few wide-awake elite members in the front row as to what was the topic)) and again drift away --then he would realise his mistake and say again "ADU ORU PAKKAM IRUKKATTUM"--after a couple of such detours, one wag BEFORE he had even finished saying Adu Oru Pakkam, said"Enda Pakkam-Oru Pakkamum Bakki Illai" much to the laughter of the audience.(Confession: This note's narration is nothing compared to Murthy Mama(TKM)'s narration of this anecdote--Great raconteur(TKM).

To be continued------

vidya · Post by **vidya** » 14 Sep 2010, 23:06

I was looking for an excuse to post this link on this thread and Shri.MKR provided a perfect opening through this "digression"! Shri.Mudicondan Venkatrama Iyer's family members have uploaded some interesting pictures and recordings of his Pallavi lecdem on the occasion of Dr.Raghavan's sashtiabdapoorthy (the famous Simhanandana tala pallavi and the others as well.And there one also finds Shri.Semmangudi's vote of thanks in natural free-flowing Tamil. (The line about moon landing was amusing!) http://www.youtube.com/watch?v=9pdLEVr6xqc

I also wanted to add one additional viewpoint to Rajeshnat's observation (the popular public opinion that nagasvam and veena are on separate sides or pertains to two mutually exclusive banis!). Tiruppamburam Nataraja Sundaram Pillai's grandfather Sesha Pillai was a vainika. So were his two cittappas - trained on the veena. Sathanur Panchanada Iyer trained both vainikas and nagasvaram players. Many Nagasvaram musicians were also vainikas and flautists of course the instrumental techniques may have been different but it can be two sides of the same coin!

Also one thing that has always puzzled me is this: TN Rajaratnam Pillai was <15 when Tirukkodikkaval Krishna Iyer passed away (though they say he was learning music from age 6 onwards). Going by that one would think Ammachattiram Kannuswami Pillai (who incidentally was pallavi tutor to Mudicondan V Iyer) was perhaps more of a musical influence on TNR than TKI. Of course TKI would have been an an early role model/inspiration.

That much for a digression to a digression..

rshankar · Post by **rshankar** » 15 Sep 2010, 05:28

Vidya - 'adu orupakkam irukaTTum'

annamalai · Post by **annamalai** » 15 Sep 2010, 08:32

A followup to the digression ....

vidya wrote:I(the popular public opinion that nagasvam and veena are on separate sides or pertains to two mutually exclusive banis!). the instrumental techniques may have been different but it can be two sides of the same coin!
.

The classic book SYK on Memoirs of the Mediocre Man - which has excellent recollections of yesterera musicians- was the first time, I had read about the influence of Nadaswara bani on vocalists.SYK has mentioned - Tiger V as an example of Nadaswara bani. For the Vainika bani, he had mentioned Ariyakudi who was influenced by Dhannammal.
Expansive alapanas could be the influence of Nadaswara music.

While TNR was a great, great vidwan, there were also several other great vidwans in that era. Semmangudi has mentioned them in his interview.

http://www.hinduonnet.com/fline/fl1522/15220650.htm

On a personal note, I have heard stories about Tiruvarur Thyagaraja temple - Vrishaba Vahanam utsavam and the several Nadaswara vidwans who used to perform from 9 pm till 4 AM.

vidya · Post by **vidya** » 16 Sep 2010, 23:31

annamalai,
True, the influence of nagasvaram on vocalists was certainly there no doubts. When I read that line of SYK
I had always wondered what Tiger's Vainika brother Krishnamachariar - that scion of Veena Kalastayya
(or for that matter KVSrinivasa Iyengar or Tiger himself) would have had to say on their own familial musical collaboration/influences on that opinion of Shri.SYK you have quoted. Anyways that is for another day and thread!

krvramani · Post by **krvramani** » 19 Sep 2010, 20:20

venkatpv wrote:thamizhisai_paithiyam,

this is one concert that is guaranteed to hook you onto SSI's music. it has most of his patented kritis, Marubalka, Ksheenamai, Rama nee, Shri kaantha, Dinamani vamsha etc... i am not exaggerating when i say that i have heard this particular concert more than a 100 times. Its that good!! In fact, the comment he makes at the beginning of the varali RTP actually refers to the previous song, ksheenamai.

.

Mr.Venkat, Can you pl. upload this particular concert_link for the benefit of rasikas of Semmangudi like us?
KRVRamani

thenpaanan · Post by **thenpaanan** » 20 Sep 2010, 00:04

vidya wrote:...
I also wanted to add one additional viewpoint to Rajeshnat's observation (the popular public opinion that nagasvam and veena are on separate sides or pertains to two mutually exclusive banis!). Tiruppamburam Nataraja Sundaram Pillai's grandfather Sesha Pillai was a vainika. So were his two cittappas - trained on the veena. Sathanur Panchanada Iyer trained both vainikas and nagasvaram players. Many Nagasvaram musicians were also vainikas and flautists of course the instrumental techniques may have been different but it can be two sides of the same coin!
......
That much for a digression to a digression..

I am curious about how vocalists are/have been influenced by vINA playing. In the nAdaswaram case the vocalists have incorporated the extensive brigas, long-distance jumps, and the extra-long assays that nAgaswaram experts have made their own. What have the vocalists incorporated from vaiNikAs? So far I have only heard of tAnam being in that category.

To continue the digression further down the river...

-Then PANan

vs_manjunath · Post by **vs_manjunath** » 20 Sep 2010, 14:22

krvramani wrote:thamizhisai_paithiyam,

this is one concert that is guaranteed to hook you onto SSI's music. it has most of his patented kritis, Marubalka, Ksheenamai, Rama nee, Shri kaantha, Dinamani vamsha etc... i am not exaggerating when i say that i have heard this particular concert more than a 100 times. Its that good!! In fact, the comment he makes at the beginning of the varali RTP actually refers to the previous song, ksheenamai.

.
Mr.Venkat, Can you pl. upload this particular concert_link for the benefit of rasikas of Semmangudi like us?
KRVRamani

This is available in sangeethapriya uploads.

cmlover · Post by **cmlover** » 20 Sep 2010, 20:04

Dear manjunath
Do post the sangeethapriya link if you already know it.. Thanks

Sathej · Post by **Sathej** » 20 Sep 2010, 20:26

krvramani wrote:thamizhisai_paithiyam,

this is one concert that is guaranteed to hook you onto SSI's music. it has most of his patented kritis, Marubalka, Ksheenamai, Rama nee, Shri kaantha, Dinamani vamsha etc... i am not exaggerating when i say that i have heard this particular concert more than a 100 times. Its that good!! In fact, the comment he makes at the beginning of the varali RTP actually refers to the previous song, ksheenamai.

.
Mr.Venkat, Can you pl. upload this particular concert_link for the benefit of rasikas of Semmangudi like us?
KRVRamani

vs_manjunath wrote:
This is available in sangeethapriya uploads.

cmlover wrote:Dear manjunath
Do post the sangeethapriya link if you already know it.. Thanks

Think the reference is to SSI's 'Airport' Concert..its available on Surasa as well - http://surasa.net/music/karnatak/contri ... port_songs

Sathej

cmlover · Post by **cmlover** » 20 Sep 2010, 21:37

so this reference is to the historically famous SSI's Airport concert?
MKR should discuss it as well as the background in extenso at the appropriate place...

vs_manjunath · Post by **vs_manjunath** » 21 Sep 2010, 04:58

Sathej wrote:

Think the reference is to SSI's 'Airport' Concert..its available on Surasa as well - http://surasa.net/music/karnatak/contri ... port_songs

Sathej[/quote]
Thanks for the link. So many other treasures were unearthed.

annamalai · Post by **annamalai** » 21 Sep 2010, 10:36

vidya wrote:annamalai,
Tiger's Vainika brother Krishnamachariar - that scion of Veena Kalastayya
(or for that matter KVSrinivasa Iyengar or Tiger himself) would have had to say on their own familial musical collaboration/influences

A request for MKR to continue his trilogy soon - otherwise this thread may meander, digress to completely other topics. I wish there is a web technology to filter out posts not concerned with the main topic or move them to a sub folder - like side dish to the main item.

On the point of Tiger's brother Puliyodharai Krishnamachari, Vainika, seems to have taught Brinda and Muktha Veena. There is also a nice article on Puliyodharai Krishnamachari http://sriramv.wordpress.com/2010/09/20 ... colletpet/.

I have not heard Tiger's music in person (only one tape floating around). My only reference is SYK's book - which talks about Tiger V and Konerirajapuram Vaidhyanatha Iyer (Chinna Vaitha). MDR and Prof. S. Ramanathan talk about Tiger's music in the IFAS lecdem demonstration (1979?) Bhajare Re Chitta (Kalyani) and Ninnuvina GathiGana - the way Tiger used to sing ....

On Veena influences on vocal music - one very example is the gamaka ornamentation in the rendition by MS Subbulakshmi singing to the Veena KS Narayanaswamy - Bhajare Re Chitta (Kalyani) and O Jagadamba (Anandha bhairavi).

On Nadaswara - as MKR points out - GNB 's superb thodi alapala, followed by Aragimpave (thodi) esp. the neraval - Saramaina .... Trichur Ramachandran has given lecdem at the Cleveland Aradhana on this topic.
http://www.youtube.com/watch?v=FaSWtp9vqfU

Ramasubramanian M.K · Post by **Ramasubramanian M.K** » 21 Sep 2010, 22:02

Annamalai/Rasikas: Apologies for the "temporary digital hiatus"--yes the fear of the thread getting to drift is real!!Was preoccupied with some domestic chores!!

Continuing the thread,I was elaborating on TKI--Mama's uncle.WHAT I WANT TO LEAD UPTO WAS HOW TKI AND SAKHA RAMA RAO SHAPED AND INFLUENCED MAMA'S VIEW OF LAYAM IN GENERAL AND ESPECIALLY IN RTP'S . Before going into this I want to illustrate what were TKI's views on Layam.
An anecdote about TKI (narrated to me by one of my grand-uncles--a great unobtrusive musicologist who was a fascinating raconteur about the period--1910 thro 1930).

When Konerirajapuram Vaidyanatha Iyer(KVI) burst on the scene he was noted for his Layam prowess and indulged in it to the extreme(partly due to sheer youthful exuberance and partly egged on by the supporters of Malaikottai Govindaswamy Pillai((MGP- Violinist who was equally matched in his Laya prowess and who were trying to draw a sharp contrast from TKI's style). Once there was a concert with KVI and TKI(much older to KVI) where the organisers had silently "egged" KVI to do an elaborate RTP overloaded with Layam just to test TKI. Midway thro the Pallavi(which was more like a Simhanandana Tala) , TKI I believe put his "bow" down and said loudly enough for the audience to hear--"ENDA VAITHI, NEE MUNNAMELLAM FURLONGUKKU FURLONGUKKU KAL NATTINDU IRUNDE, IPPO MILEKKU MILE KAL NATTARAI, INGIRUKKARA RASIKARGALUKKULLE ETHANAI PERUKKU PURIYAPORADU,SANGEETHATHILE SUKHAM VENDAMA"(YOU USED TO PLANT STONES BETWEEN FURLONGS AND NOW YOU ARE PLANTING STONES BETWEEN MILES,HOW MANY AMONGST THE AUDIENCE DO YOU THINK CAN FOLLOW THIS LET ALONE APPRECIATE IT! THERE HAS TO BE SUKHAM IN SANGEETHAM.
from this episode about TKI and the earlier Sakharama Rao episode in one of my earlier posts(narrated about his aversion to excessive layam and personal gripe against young KVI for his excessive emphasis on layam) I think Mama was heavily influenced and I feel these my have been the reason for the simple Pallavis that Mama used to sing. I personally think it was not because he was diffident about his layam prowess but due to his own conviction corraborated by his mentors' views/advice. Mama's career throughout epitomised the saying "Obstacles existed only to be surmounted and ignored").

In one of my posts on the MSS/TS Saga thread I had mentioned a great memorable personal experience as to how Mama channelised his passion for music-(24 by 7). Forumites who recall that anecdote--I will not bore you again with the anecdote--those of you who cannot find the anecdote(the anecdote happened to me @ the Kalki gardens when I was a student in Presidency College and was the "errand boy" for Mama!!) I will condense it and present it if desired!!! To some who read the anecdote it may seem like "Chest-thumping" by Mama--a sort of ego trip--far from the truth. Mama was also realistic and not pretentious or claimed any divine inspiration to his music(although he was very devoted and pious). An anecdote involving him and Harikesanallur Muthiah Bhagavathar(HMB) in the early 40's when HMB enlisted him to succeed him at the Tiruvananthapuram Swati Thirunal Academy. HMB arranged the FIRST concert of Mama's before the Maharani(HMB's BOSS in the Swathi Compositions Research endeavour). Mama sang the Pancharathna kriti(Gowla--Duduku Kala). It seems HMB was sobbing uncontrollably at the end of the song. After the concert was over Mama approached HMB and asked him what made HMB cry saying he(mama) knew it was certainly not his singing(talk of being cold and realistic!!!). To this HMB is reported to have said, " In the krithi the Saint has attributed to himself all the bad qualities and craving Rama's indulgence--I know the Saint is totally innocent of those alleged sins whereas I am guilty of all the sins he has mentioned--I am the one who should cry and lament and not the saint!!".

This will lead us into the 40's --the Tiruvananthapuram days(need help from several forumites--especially CM lover and others who were in TVM in those days and have great insights into that phase of Mama's career--feel free to pitch in and carry the narrative--

To be continued---