The centenary celebrations for vidwan M.D. Ramanathan (MDR), which began in May 2023, saw a few more events as a conclusion to his birth centenary year. Two grand events on 28 and 29 June 2024 were organised by his son, Balaji Ramanathan.

On 28 June, the event at Narada Gana Sabha featured a documentary on MDR by the MOPA Foundation, highlighting his musical journey, his tenure at Kalakshetra, and excerpts from his concerts. It was announced that the documentary will soon be available on MOPA’s YouTube channel. The Guest of Honour, vidwan T.N. Seshagopalan, reminisced about his association with MDR with interesting anecdotes.

The second half of the evening showcased a concert by vidushis Ranjani-Gayatri. Starting with a brisk Jagadanandaka in Nata, Ranjani presented an evocative alapana of raga Ranjani, followed by a composition of Varadadasa (MDR), Mayamma Shubhamimma. In a pleasing vilambakala, the sisters went on to present Saranam Saranam Sree Rama by Arunachala Kavi in Asaveri. M.D. Ramanathan’s rendition of Giripai (Sahana) is masterful, especially since his deep baritone and slow style lends itself to the nature of the kriti. Gayatri’s Sahana alapana in vilamba kala was rendered with utmost bhava. With L. Ramakrishnan’s sensitive violin support and the able percussion of Manoj Siva (mridangam) and S. Krishna (ghatam), the concert was a fitting tribute to M.D. Ramanathan.

Day two of the centenary was held at Bharatiya Vidya Bhavan. V. Sundaram ('Cleveland' Sundaram) spoke on the occasion, reminiscing about MDR's specialty in rendering vilambakala kritis and highlighted MDR's impeccable sense of rhythm, noting that even though he did not visibly mark the tala, he never deviated from the beat.

On the request of MDR’s son Balaji, vidwan R.K. Shriramkumar tuned several of MDR’s unsung and unearthed compositions. Artfully and tastefully tuned, these compositions were rendered by Amritha Murali. From Natakurinji to Senjurutti, the compositions enthralled the audience from the very beginning. Shriramkumar mentioned that the songs were not notated, so he started the pallavi notes such that the cittaswarams landed on them. The compositions presented included the Manirangu varnam, Dhanyasi jatiswaram, Dayaleeda Naapai (Senjurutti), Raakendu Vadana (Poornachandrika), among others. Amritha learned the kritis in a short span and rendered them beautifully. She was ably supported by her guru and the tunesmith of the evening, R.K. Shriramkumar, on the violin. Manoj Siva on the mridangam, with his neat and subtle accompaniment, further embellished the compositions.

The final concert of the day two celebrations was a veena recital by Ramana Balachandhran, accompanied by Anantha R. Krishnan on the mridangam. MDR favourites like Gaja Vadana Maam Pahi (Hamsadhwani, with kalpanaswaras), a Tamil composition, Namaskaram Seyvom, and Mayamma Shubamimma in Ranjani were rendered with precision. From his eclectic fast kalpanaswaras to the vilamba kala compositions, Ramana Balachandhran and Anantha did full justice to the MDR bani.

MDR Centenary at Kalakshetra

MDR’s association with Kalakshetra began when he enrolled in the Sangita Sironmani course in 1944 under principal Tiger Varadachariar. MDR was among the first batch of students to graduate. Later, he became an institution at Kalakshetra, where his concerts were the highlight of the music part of the annual festival, with superb accompaniment from the likes of T.N. Krishnan and T.V. Gopalakrishnan.

Kalakshetra fittingly celebrated the birth centenary of M.D. Ramanathan with two exemplary concerts at the Rukmini Arangam on 1 and 2 July 2024.

The first day featured a concert by vidwan Vijay Siva, accompanied by R.K. Shriramkumar on the violin, J. Vaidyanathan on the mridangam, and Sunil Kumar on the khanjira. Vocal support was provided by Vijay Siva’s disciples, Sanjay Swaminathan and S.R. Vikneswaran. The concert opened with Sadananda Thandavam in Bahudari raga, written by Achutha Dasar, followed by an MDR composition Seeta manohara in Shanmukhapriya raga tuned by R.K.Shriramkumar. Vijay Siva sang a beautiful mix of pieces by the musical trinity in a truly enchanting presentation. A Reetigaula by Tyagaraja, a Kambhoji by Muthuswami Dikshitar, and an Ahiri by Syama Sastry, with the main piece being Kambhoji. He concluded the concert with a Tirupugazh and a tillana (Kadanamudhuhalam). In all the songs, Vijay Siva’s musicality shone through, culminating in an excellent concert. The violin by Shriramkumar was excellent, and the two percussionists, J. Vaidyanathan and Sunil Kumar, provided able support.

The second day concert was by S. Sowmya, accompanied by Embar Kannan on the violin and Neyveli Narayanan on the mridangam. Sowmya’s concert was embellished by her reminiscences of her association with MDR, whom she knew as a child and whose concerts she attended frequently. Sowmya sang a neat concert, offering small tips for budding musicians on the finer aspects of MDR’s music and his individuality. Beginning with Gajavadana Maampahi, a composition of MDR in Hamsadhwani, she went on to Poornachandrika, where she demonstrated a few of MDR’s nuances in developing the raga. She sang another MDR composition, Hariyum Haranum in Athana which portrayed the interesting comparisons of Hari and Siva. The main piece in Mukhari raga was Entani ne Varnintunu, a Tyagaraja kriti, with significant contributions by both accompanying artists. She concluded with the famous MDR kriti on Rama in Neelambari to top off a perfect concert.

The two-day festival was a fitting tribute to a great doyen of Carnatic music.