PALGHAT T. S. MANI IYER

(1912 - 1981)

BY

K.S.MAHADEVAN
 
 

Mridangam maestro Palghat Mani Iyer was an undisputed master of the art for over 50 years. He elevated the accompanist to a virtuoso in his own right, just as important to the success of a concert, as any other factor. He gave it musical and artistic autonomy.
 
 

Goethe has said that, even for a genius, it is essential that he should be born at the right time - Mani Iyer at 15 years (1927) blossomed when the famous percussionists like Dakshinamoorthy Pillai, not to speak of Azhaganambia Pillai, had reached the autumn of their career. Be it said to the credit of the former Laya giant that he welcomed the young prodigy's advent with extended arms and undisguised warmth of appreciation. together, they were involved in innumerable laya exploits in concerts that are still talked about. A whole generation of vocalists from Naina Pillai downwards, through Chembai, Sanjeevi Rao,(flute), Ariyakudi, Maharajapuram Viswanatha Iyer, Semmangudi, GNB, Alathoor Brothers, Madurai Mani, Mali etc., were witness to Mani Iyer's dazzling percussion skills. His thaniavarthanams have passed onto history. with Mani Iyer at your side, no cutcheri was a flop.

Such was the Master of "Rhythm as an Art and Science". Where exactly lay his genius? What is his contribution to the art? And what manner of man was he., what was his nature and habits?.....etc. These are interesting questions -- sometimes even baffling ones, to which answers are attempted in what follows.

His Nature

1. By nature, reticent. Not inclined to indulging in light talk or frivolous pursuits. When strangers call on him (without any business), he would sit 'mum', after saying "Namaskaram". The ensuing silence never embarrassed him. In fact, he never liked small talk.

2. Many times, he has admitted that he had no formal education (having stopped with Lower Secondary) and that he knew only Mridangam. Humility was a natural trait despite his tall stature in the music world.

3. He learnt Tamil and would read Tamil Magazines like "Kalki", Rajaji's book on Ramayana, etc., i.e.semi-religous publications. He could not read or write or speak English.

4. He stuck to Khadi for the major part of his life - A nationalist at heart but would not discuss politics.

5. He never bothered about personal appearance - in fact, his head witnessed many experiments -- from clean shave to crew-cut. He wore borderless dhotis, unlike musicians who flaunted jari-laced clothes.

6. As a guest in any house, his needs were very simple. He was a light eater.

Concert Decorum

1. He would never be late for a concert -- never kept vocalist or violinist waiting.

2. When getting on to the platform, although out of respect for him, if the vocalist allows him to go on the stage, he would decline the offer.

3. On the platform, he would never be other than professionally meticulous. To the junior-most musician, he would give him his due respect.

4. During the concert sometimes when he feels like playing short Thaniavarthanams even after 3 or 4 songs, he would do it.

5. there were also occasions when he had played Thaniavarthanams twice or thrice during a concert which were short and sweet, and appropriate for the occasion.

Professional Integrity

1. When a telegram is received asking whether he is free on a particular date, he would immediately reply, as to his availability on that date. He would, in case he is not free on that day, never suggest as to his availability on a near date.

2. For an artist, always booked months in advance, he was never known to cancel the date offered to a particular Sabha or party. He would not take advantage of the higher remuneration being offered on that same day by another party. In fact, all his life he scrupulously fulfilled his engagements.

3. His letters would be strictly business like and brief.

4. He would never allow his own assessment of a particular artist's capacity to come in the way of accompanying him effectively. Personal likes and dislikes never came in the way of carrying on the profession of a mridangist.

5. He was free from the common failing of musicians to indulge in comments on others, even if not in serious nature. In behaviour too, he would be thoroughly courteous.

6. While stipulating his remuneration for a concert, he was never known to ask the amounts fixed for the vocalist or violinist.

7. He would show the utmost consideration to the Kanjira or Ghatam player in the 'Thani' whatever his level even by adjusting to their level of competence.
 
 
 
 

His views/preferences about concert structure, timing etc.,

1. He used to say that vocal concerts need be only of 2 - 2 ½ hours duration. His view was that a capable artist did not need more time to prove his worth or make the concert a success.

2. He felt that vocal concerts were more satisfying than instrumental concerts.

3. Although he could shine in all kalapramanas (Tempo) equally viz. athi vilamba, madhya, dhurita (varied tempos) his own preference was for the Madhyama Kala. Hence, inter alia his special admiration and preference for, that great doyen, Ariyakudi. For example, very long raga alapanas (over 25 minutes, say) would bore him. the point is that he wanted to be playing as much as possible in a concert.

4. During his long career of nearly 60 years, he accompanied innumerable artists -- especially some with not much steadiness in Kalapramana. Not only would he play the mridangam without exposing their weakness but would never comment on their laya inadequacy.

-- a characteristic that endeared him to vidwans of all abilities.

In fact, he never placed laya consistency as the be-all and end-all of music because he could appreciate their other virtues such as tidiness in raga and kriti, tone (instrumentalists) and similar assets. for a genius in percussion, he was uniquely tolerant -- probably because he could put himself in the role of listeners.

5. He was generally in favour of traditional ways of singing.-- for e.g.. in kritis. It was his declared view that the musical giants like Mahavaidyanatha Sivan, Patnam Subramania Iyer, Puchi Iyengar had perfected the structure and singing of kritis of the trinity etc., and there was no room for improvement in them.

6. For a genius in mridanga, he was generally unmoved by display of elaborate pallavis -- for instance, when Mudikondan rendered the Simanandhana pallavi, his comment "It is of course impressive but not requiring a special species of tala sense to perform". He also felt that percussive deftness could come out in much simpler pallavis too.
 
 

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