For him music is worship
ARUNA CHANDARAJU
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Though he comes from a conservative musical tradition, the outstanding mridangam player Umayalapuram K. Sivaraman has collaborated with artistes of various genres and sensibilities
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PHOTO: D. KRISHNAN
SPIRITUAL ACTFor Umayalapuram K. Sivaraman music is universal. He believes there's only one system of music through the world known by different names in different regions
I was apologetic that my call requesting an appointment interrupted his pooja. However, Sangeeta Kalanidhi Umayalapuram K. Sivaraman reassured me that anything to do with music — as was my call — was also part of pooja.
For this percussion wizard and energetic veteran, music is a facet of divinity and every performance a worship. That probably explained the divine music that emerges from his mridanga.
Most memorable
The 71-year-old recently completed 60 years of performing, and so which are his memorable concerts? The earliest, he says, were performances with the legendary flautist T.R. Mahalingam who recognised him as an extraordinary percussionist back then itself. He recalls a Bangalore concert, four decades ago, when Mali extended the performance from three to seven hours because the audience was enjoying it tremendously. "So we went on till 2 a.m.! I understood then that great music makes people forget hunger, home and fatigue. The second or extra half was almost entirely based on audience requests — I specially remember Ninu Vina Naamadhendu, a much-applauded rendition."
He adds that Mali and he used to have plenty of sawal-jawaab in their concerts. "Mali was constantly throwing challenges at me in order to unlock my creative potential and showcase it to the audience. Senior artistes should stimulate younger, upcoming artists, this way. And for the sake of the audience too as these onstage, healthy competitions also give delight to rasikas."
Besides Mali, Sivaraman has accompanied, with aplomb, a galaxy of past and present maestros — Ariyakudi, Palladam Sanjeeva Rao, Alathoor Brothers, Semmangudi, Mysore Chowdiah, Voleti Venkateswaralu, Madurai Mani Iyer, S. Balachander, Balamuralikrishna, Nedunuri Krishnamurthy, etc.
Also, Hindustani masters like Ravi Shankar, Zakir Husain, Hariprasad Charausia, Kishan Maharaj, etc. Actually, he's the percussionist with a maximum number of jugalbandis to his credit, which numbers to over 60. Sivaraman says Hindustani artistes admire the complex rhythm patterns of Carnatic music hence their enthusiastic partnering with our percussion artists. The laya vidwan has also played with artistes of jazz, fusion, rap and "what-not" (to use his phrase!) with great success. "Jazz has plenty of scope for impromptu improvisation. So jazz musicians are drawn to Carnatic music because our manodharma concept is all about impromptu creativity in melody and rhythm."
Today, even while accompanying contemporary greats, he also willingly plays for the young, even lesser-known artistes. This is because of his father's golden lesson: When you choose to accompany someone, you should go only by the excellence of his music produced and not by his/her age, region, gender, religion, degree of fame, personal history, etc. "So, I'm even willing to play for Michael Jackson, if the opportunity arises!"
He says all these fusion/jugalbandi concerts are memorable for him because they have taught him and reinforced the truth that: "Music is universal. There's only one system of music through the world — it's just known by different names in different regions. What we call Shankarabharanam is Bilaval for Hindustani musicians and Major Scale in the West. Our aadi taalam is teen taal in Hindustani and 4/4 for western musicians."
Umayalapuram then relates this to the Advaita principle. "Whether in a fusion, jugalbandi or pure Carnatic concert, once the different streams of music and various artistes on stage feel one with each other — a kind of Advaita — there'll be harmony in that music. This harmony in turn moves the audience to feel one with the music, i.e. lose themselves in it — another kind of Advaita. And finally, both performer and listener are elevated to feel one with God. Total Advaita! That's the essence of a truly successful, memorable concert."
Cherished memory
Umayalapuram was used to having two or three tani-avarthanams in every programme; because of his stature and also the habit of a world that he once inhabited in which musicians performed for longer duration. So when Chembai Bhagavathar gave him five tani-avarthamans in one concert it was indeed unforgettable!
He recalls playing difficult phrases, a pallavi and all kinds of taalams — aadi, roopaka, misrachapu, khandachapu. Besides there was plenty of delightful repartee with other accompanists! It gave him tremendous aesthetic satisfaction, valuable experience and a career boost.
He cherishes the memory of another concert at Puttaparthi. Even since Sivaraman saw a picture of the young Sathya Sai Baba at Venkatagiri Raja's home, he nurtured the ambition of playing before him. The opportunity came, finally, a couple of years ago. "Swami not only held my hand affectionately, but also permitted me to perform before him. And rewarded me with a gold bracelet which he himself fitted on my wrist, and a silk dhoti which I wear for my daily puja. Since music is divine, playing it before divinity makes for a rare, moving experience."
Other performances that are etched in Umayalapuram's memory — the one at Shringeri Mutt; jugalbandi with Kishan Maharaj at "Shiva's abode" Varanasi; Concert for clarionet maestro AKC Natarajan's gruhapravesham when the best of thavil and nadaswaram vidwans as well as K.P. Sundarambal were present; recent concert at Bharatiya Vidya Bhavan in London which Ravi Shankar attended and profusely praised etc.
So many acclaimed concerts and scholarly lec-dems in six decades, and he's still going strong. What's his secret? "Music is highly energising. And I have the five elements protecting me: the Blessings of God, my parents/forefathers, my four gurus, the saints of music, and stalwarts of yesteryears."
Umayalapuram believes in wide theoretical knowledge; relentless practice; an unerring laya sense; the ability to sense melody and rhythm even in nature around you; continuous learning to widen one's repertoire — though a lifetime isn't enough; having spontaneity which's the seed of creation; and preparedness to meet any challenge from the main artistes or a request from the audience.
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