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." --------------------------------------------------------------------------- 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 kalAkshitramunu 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 pjn@cs.cmu.edu Pittsburgh, PA 15213 ---