The younger vidwans filled up the void created by these greats. Greats, Konerirajapuram Vaidhyanatha Iyer, Veena Dhanammal, Kanchipuram Naina pillai, Pudukottai Dakshinamoorthy pillai and Manasika guru, Mazhavarayanendal Subbarama Bhagavathar and gained more and more expertise.īy the end of the next decade, the music world had lost some of the all time They invited him frequently for concerts, Mani used those opportunities to meet his He settled down at Mylapore in a rented house in Luz Church Road alongwith his dependents. Mani Iyer shifted to Madras, which served as a sanctuary for all Of being the only earning member of the family and had to support his mother, grandmother (mother of Pushpavanam Iyer) and Mani Iyer by now had to shoulder the responsibility Sri Ramaswamy Iyer who made it all possible for Mani Iyer was happy to watch Success came to him very quickly and he became a leading musician.įrom 1927, Mani Iyer sang at the Academy on all the annual conferences till On this occasion he came to the notice of the leading music critics who hailed Ramaswamy Iyer wasĪwarded a medal for the lecture and Mani Iyer too was given a medal for his concert. His father gave a lecture about the 72 Melakartha ragasĪnd Mani Iyer also sang in assistance to the demonstration. The Music Academy on its first conference at the Congress grounds. Mani Iyer, came to Madras in 1927 and gave a concert under the auspices of He became an ardent devotee of the Acharya since his childhood and performed before the Guru at various places Having got the blessings of the Acharya, Mani Iyer never looked back in hisĬareer. South Indian temples on his way to Rameshwaram. One such occasion, Mani had the golden opportunity to perform in the presence of the great saint and seer of Kanchi, ShriĬhandrasekharendra Saraswathy Swamigal in 1925 at the Devakottai temple festival, while the Acharya was on tour to all the Mani was invited to perform in most of the temples in and around Madurai. Of those days who had to strive hard to get a single chance to perform. That he had greater responsibility to perform well rather than striving for concert opportunities as opposed to other youngsters Years later, in a Radio Interview, he admitted Of his career, admitted that he got many good opportunities to perform as he was hailed as the prodigical nephew of Pushpavanam,Īnd the fans and followers of Pushpavanam at Madurai motivated the young Mani. Soon, Mani shot into fame as the emerging torchbearer of the Pushpavanam tradition. The rasikas were delighted to watch the young boy singing with confidence and maturity, inspite of the tenderĪge. The concert was well attended and went on for nearly two His Sruthi was 5 ½ kattai (a high pitch like that of S.G.Kittappa). Mani had not even completed the age of 12 when he sang his first concert. Thiruvaroor Rajagopala Iyer played on the Mridangam. In Mani's first concert, Nattam Sitarama Iyer accompanied on the violin and To both the father and the son by informing them of the proposed arangetram of Mani at the dias of Alavakottai temple on the On one such visit to Sivagangai and Alavakottai (a temple shrine), in 1924, Ramaswamy Iyer's friends gave a pleasant surprise On every such occasion they used to ask Mani to sing at their house and gave their words of encouragement. Mani used to accompany his father to meet his father's friends. He had many friends in the nearby towns of Madurai. Moreover he was the elder brother and supposed to be one of the gurus of the great Pushpavanam. Ramaswamy Iyer had many music-loving friends and most of them respected and
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