A t age 5, he first picked up the mridangam and decided to live a life driven by laya. Hard training, accompanying stalwarts, experimenting with rhythm as a soloist and enjoying his outings as member of fusion ensembles, Umayalpuram K. Sivaraman’s musical journey is as interesting as having a conversation with the well-read maestro. He talks about his inspirations, challenges and percussion dreams. A day-long programme, to mark his 80th birthday, will be held on January 26, 2016 at The Music Academy
Yourexperience ofplaying the mridangam for four generations of musicians?
I believe in what Mahakavi Kalidas said, ‘Neither what is old is good nor what is new is bad. The wise always chooses the best from both’. I have seen myriad styles, approaches and ideas. For instance, it was not easy to play for vocalist T. R. Subramaniam, especially his Simmanandana Pallavi. I learnt it from Thiruvalaputhur Swaminatha Pillai, a noted nattuvanar, which helped me meet the challenge. Playing for four generations has helped me improve my art and lend a creative edge to it.
Can you tell us about how it was to share the stage with legendary performers and the influence they had on your rhythm-play?
Performing with Ariyakudi Ramanuja Iyengar improved my madhyama kalam while accompanying Madurai Mani Iyer was like taking lessons in sruthi suddham . Chembai Vaidyanatha Bhagavatar taught me the importance of tempo. It was always trial-by-fire with Alathur Brothers. G.N. Balasubramaniam’s style was full of flourishes and speed. Semmangudi Srinivasa Iyer liked sarvalaghu with embellishments. T.R. Mahalingam helped me improve my agility. There was something unique about Kumbakonam Rajamanickam Pillai, Papa Venkataramaiah and Chowdiah’s music. Mudicondan Venkatrama Iyer’s pallavis were real challenges. These rich experiences shaped my art.
At this point of time how do you want to remember your eventful journey?
I couldn’t have undertaken this journey without the support of, as I call them, the ‘Panch Boothas’. Parents and grandmother; gurus Aarupaathi Natesa Iyer, Thanjavur Vaidyanatha Iyer, Palghat Mani Iyer and Saakottai Rangu Iyengar; saints and vidwans and of course, god, who has been really kind.
Any role model ?
My four gurus had seen some of the best musicians perform such as Thanjavur Narayanaswami Appa, Thukkaram, Das Swamigal, Thanjavur Pakkria Pillai, Azhagar Nambia Pillai, Mamundiya Pillai, Dakshinamurthy Pillai and Nannumya Sahib. Their narrations about the styles of such masters inspired me to emulate them. All these aces focussed on nadham. They are my role models.
On youngsters taking up mridangam and the current state of music.
Technology is the greatest advantage youngsters have. Apart from classroom lessons, they listen to various recordings and keep improving. The gen-next mridangam players are excellent. Sadly they do not get a chance to showcase their talent as the duration of concerts has shrunk. It is like asking these youngsters, who are capable of running a marathon, to run around the Nageswara Rao Park.
Has accompanying young vocalists been a conscious decision ?
I am just doing what the seniors did. As a boy, doyens made me play for their concerts mainly for experience and to display my skill. My guru Palghat Mani Iyer was encouraged by a lot by seniors during his initial years. Now, I want to encourage young performers by accompanying them. Did you know that I have played for the Maharajapuram clan: Maharajapurm Viswanatha Iyer, his son Santhanam, grandsons Ramachandran and Srinivasan and great grandson Ganesh Viswanathan.
You play for dance recitals that feature your compositions, but you don’t accompanyfemale performers?
Many dancers use the adavus composed by me and I am delighted about it. I have not played often at dance recitals. I have no gender bias. I have a lot of female disciples. I have played at concerts where the accompanying violinist was a women. Because of some issues I stopped accompanying female vocalists.
Any regrets?
Not any. My father made me learn mridangam in the gururkula vasam for 15 years, provided me with an education that helped me become a qualified lawyer. I couldn’t complete my Masters in law as I quit it to pursue nadha yogam. I am happy with my decisions.
How come your children haven’t followed your footsteps?
My sons, daughters-in-law and grandchildren can all play various instruments and learning music. They have taken up different professions. I don’t want to thrust my ideas on them.
Your enthusiasm on stage is infectious. What keeps you energetic?
I am always in a joyous mood on stage. This helps the main performer to increase his productivity. If you enjoy you music, you can also draw the rasikas into it. I love to keep the atmosphere charged. Dressing well and pleasing manners, on and off stage, are prerequisites. I am aging but practicing an ageless art. Every time I return home after a concert I am ecstatic. Music is happiness for me.
