Tribute to MM Dhandapani Desikar

Sanjay's theme for Jaya TV's Markazhi Mahautsavam was "MM Dhandapani Desikar" (MMD). Many of us in the audience have heard some of his popular songs (Thamarai pootha, Inbakana ondru, Varugalamo, Iyey Methakadinam, Pirava varum tharum), on stage and on the screen, but the songs Sanjay presented that evening was new and unheard.

MMD was a part of the Thamizh Isai Movement (TMI) which gathered strength in the 1940s. The Thamizh Isai Movement was indeed an off-shoot of the Non-Brahmin Movement, which reared its head some time in the early decades of the 20th century. At that time and even today most of the top musicians hailed from the Brahmin community and the Non-Brahmin Movement was set up mainly against them. Especially Desikar had a passion to sing only Tamil songs and not songs in any other language unless the situation and circumstances were compelling.

Aarabhi has always enjoyed a special treatment in the vocal chords of Oduvars. MMD also belongs to the family of Oduvars, his grandfather Murugayya Desikar was a popular Oduvar of his time. The first song Vaazhnthiduvom vareer ulagiley in Aarabhi had enough of veera rasam and roudra rasam. This song was apt in the wake of the recent terror attack in Mumbai. Sanjay demonstrated that one can do away with warm up and varnam and if practiced regularly.

Nadhaswara vidwans and Oduvars have given Kambodhi a special place in Pann Isai and classical music. Sanjay in his rendition of the raga brought out the folks flavor of Kambodhi. It is called "Takkesi" in Thevara Pann. Adiyaenai Kaatharulvai Angayarkanni was rendered with bakthi and complete surrender.

Both rasika and the artist must be musically attuned to enjoy a concert. Sometimes I wonder if people on seated either side really understand the bhava, lyrics and nuances while rendering. MMD Padavendum Isai Porul Unarndhu in Hamsanadham was a surprise for the evening and an educative piece for all generations.

MMD has written songs in Thamizh with the same depth and devotion that Trinity kritis evocate. Kadavulai Maravathey Nann nenjay in Thandavam was pleading the audience not to forget almighty in penury, sorrow, and while even defamed. Thandavam is a rare ragam, janyam of 29th melakartha Sankarabharanam.

Hemavathi was the main piece for the evening. Hemavathi is a difficult raga to handle (like your wife's sister), if the madhyamam is touched wrongly it will make it Karaharapriya. Mere change in dhaivatam makes it Shanmukhapriya and altering the nishadam makes it Dharmavathi. Sanjay made efforts to highlight the key swaras to avoid ambiguity in the minds of the Mamis and Mamas. Navukku Arasinai Gnana Kozhinthinai was rendered perfectly. Just taking the first 2 lines of the composition Sanjay could have turned this into a brilliant pallavi.

Especially when you sing a concert of all Thamizh songs to a Thamizh audience artist must pay attention to the diction and must clearly pronounce the words, if not Thamizh audience fail to enjoy a Thamizh song. Sanjay must pay attention to this and must go easy on the brigas because he compromises on the sahityam and sowkyam.

The Aha moment in the concert was when he rendered the viruttam "Oor yellam thoongiyum unakillai thookam" in Sahana followed by Oho Kaalamey. Sanjay later announced that this is a composition by Vedanayakam Pillai and was tuned by MMD.

A few songs tuned by MMD were presented in the end of the concert. Barathidasan's Thunbam Nergayil in Desh made so many heads sway in gaiety and fulfillment. Narayananai thuthi (composer was not shared) in Komalangi (charukeshi Janyam) was the last piece for the evening

This year marks the birth centenary year of MMD and Sanjay must be given a big applause for choosing rare krithis of MMD. Infact he must be lauded for presenting other facets of MMD that most of us were unaware of. In the concert pattern where Thamizh songs are presented as thukkadas at the end, Sanjay concert was a testimony that concert with just Thamizh compositions can be fulfilling and enriching.