Sharing an article from Kalki dated 16-12-1984 by Chaarukesi that I felt blessed to have come across. I read the article with utmost reverence as it is none other than the Mrudangam Maestro Legendary Percussionist Ramanathapuram Sri. C.S.Murugabhoopathi sir who speaks about Umayalapuram Sri K.Sivaraman Sir as UKS Sir receives the “Sangeetha Kalasikaamani'' award from the Indian Fine Arts Society. Reading this article makes me delve deep in guru smaraNai. What more can I want on world music and yoga day! Photographs of the original article have been attached. Here is the translation:
“You have to give me your mrudangam”
“Sivaraman’s style of playing is one that conforms to discipline. His playing contains many nuances and intricacies. Sivaraman is one who wishes to incorporate creativity and novel ideas in his performances. It is befitting that the Indian Fine Arts Society is conferring the title of “Sangeetha Kalasikaamani” upon Umayalapuram Sivaraman, who is one of the foremost musicians and performers of our art today.
I have listened to his accompaniment for G.N.B. in many concerts. I have only known him as a disciple of Palakkad Mani Iyer. Sivaraman continues to uphold the reputation of his Guru with great dignity. It is very heartening to see an artiste play superlatively and attain such heights and honours in the field of music alongside his high academic accomplishments.
He has always shown great interest in exploring the artform innovatively, without departing from the boundaries of its traditional construct. A few years ago, he, along with some of his scientist friends developed the fibre-glass mridangam with which he performed concerts (https://www.facebook.com/615920434/posts/10158061520225435/ ). Recently he presented a series of lecture-demonstrations that will help even a lay-man understand the beauty and nuances of playing the mrudangam. All these initiatives play a major role in generating keen interest and appreciation for the art of mrudangam among listeners.
With respect to my art and my performances, he earnestly listens to the intricacies that I present. Let me recall a small anecdote to show his true enthusiasm when it comes to acquiring knowledge.
Once he willingly organized a concert of M.D.Ramanathan at Thiagaraja Sangeetha Vidwath Samajam in Mylapore. He insisted that I played for that particular concert. Although I suggested that some other artiste be arranged, Sivaraman was persistent and ultimately I did play that concert. As I played a special variety on the thoppi (left side drumhead), he stood nearby observing and enjoying my performance.
On a later occasion he even requested me and took a mrudangam of mine. I even asked him, “When you have so many mrudangams of your own, why would you want one of mine?”
“No No! You have to please give me!” he said and selected one of my mrudangams and he performed on it. Apart from exhibiting his prowess and calibre in his own instrument, I could see his zeal and involvement in comprehending the artistry of vidhvans he admired and in understanding the characteristic features of their instruments. When four different atristes play on the same mrudangam - it will result in four varying tonal qualities. I could perceive Sivaraman’s sincerity in his pursuit of realising the nature and aspects of all types of mrudangams.
“No No! You have to please give me!” he said and selected one of my mrudangams and he performed on it. Apart from exhibiting his prowess and calibre in his own instrument, I could see his zeal and involvement in comprehending the artistry of vidhvans he admired and in understanding the characteristic features of their instruments. When four different atristes play on the same mrudangam - it will result in four varying tonal qualities. I could perceive Sivaraman’s sincerity in his pursuit of realising the nature and aspects of all types of mrudangams.
- Ramanathapuram C.S.Murugapathy
