Sevikka vendum ayya

sEvikka vENDum ayyA by Madurai Mani Iyer – This one is a must listen! I have been listening to it since morning. Can’t stop listening to it at all! Andholika is a real beauty! I just love the swarams at the end in this one.

37 thoughts on “Sevikka vendum ayya

  1. Sriram

    madurai mani iyer is a genius – my all time favourite of his is o-jagadamba but he, like ariyakudi & chembai are just so freakin versatile that you jus love whatevr they sing – sarasa sama dhana also comes to mind – no one can croon like mmi while talkin abt how to resolve conflicts!

  2. Rukesh

    Hi Aparna,

    I am waiting for a post on demise of sujata, penned gr8 and crisp dialogues in all mani movies.


  3. Niveditha

    Yep,it is a solid raagam.Also I remember in the first ever Sanjay concert I went for, I absolutely fell in love with his Raga Sudha Rasa and ran around my house singing it (pretty badly,I must admit) and my family threatened to put me up for adoption.:D

    If you don’t already have it,get RK Srinkantan singing ‘Mathe’ (sangeethamshare) –
    its got a very home recording feel to it,very chilled,its like yedho namba veetla
    oru thatha yengaiyo paadeetirukaramadhiri.:)

  4. Aparna

    That was nice. Thanks for the link 🙂

    Welcome to my blog 🙂 Thank you.

    I haven’t listened to his O jagadamba & sarasa sama dhana. Let me see if I can get hold of it.

    Will do it soon. I already have one more tag pending. Thanks for tagging me 🙂

    Apart from the wonderful dialogues, Sujatha had written lots more. Except for a few stories and some articles on the magazines, I haven’t read any of his works.

    I like TMK’s Raga sudha rasa more than Sanjay’s.
    I haven’t listened to that. Will d/l it soon. Thanks.

  5. Sathej

    Ya, Andolika is GNB School special 🙂 GNB, MLV, Thanjavur S Kalyanaraman all those greats have wonderful renditions to their credit….

  6. rama

    Madurai Mani Iyer, The legend, the one and only and his eternal music

    I was happy to see SVA song sung by MMI in this blog. I belong to the middle generation of rasikas. My father lived, breathed and sang Madurai Mani Iyer. Apart from his firm control over Swaras and Ragams , he had melody which sent the audience into raptures. One the finest achievements of human kind with physical disabilities. Here is a list of songs one must listen of MMI. If you can post it on your web site it will be good.

    1. Sadanananda Thandavam — Lalgudi, Pazhana S Pillai, Umalaypuram Kothandarama Iyer _ raag Bahudari.

    2. Aaandavane Unnai Naan Nambinene — Lalgudi , PSP, UKI Shanmugapriya
    Hear MMI say ” Thandavaadum …. It elevates to a high level.

    3. Subramaneyena Rakshitoham —– Lalgudi —– PSP, UKI Sudha Dhanyasi —- Sung in slow pace, but superbly superb. if any body want to learn this kriti listen to this kriti by these artistes. MMI leads you by his hand in this kriti

    4. Rama Bhakti — Lalgudi— PSP UKI — Suddha Bangala —– Only Mani Iyer can sing this kriti like this. In the the 11th minute , the way he says Rama Bhakti is like asking the doubting thomasses about the existence of Ram. The violin finale is like Hanuman and Sugriva dancing in joy.

    5. Manasu Nilpa —- Chowdiah — PSP – UKI — Abogi — The Raag Alpanai is out of this world and one the rare psychological songs of Saint Thygaraja sung with great passion. it will wake anybody out of their stupor. PSP is superb , so is Chowdiah. Hear how PSP and Chowdiah alternate and start the taal before MMI and how MMI responds. Appa!! Appa!!!
    The grip over Swaras is great. I would rate this rendering by MMI as among the top ten renderings in Carnatic Music till date.

    MMI- Lalgudi- PSP -UKI

    The above two combinations are a great treat to listen Lalgudi in Sadananda Thandavam is unbeatable and in Aaandavane and Subramanyena Rakshitoham soothens your nerves better than the world’ s neurosurgeon, in case you are stressed. Pazhani is Panjaamrutham . Chowdian in ManasuNilpa is legendary.

  7. rama

    Go to this great web site ( a part indicated below) and click on MMI-04 and MMI 06
    1932 is not probably the year. Very clear recording. If you have any stresses in life all will vanish on hearing this. The violin of Lalgudi brings tears in ones eyes , esp the Shanmugapriya finale. PSP does a great accompaniment in Sadananda Even after almost 50 yrs , it can move young and old alike. Anything done with passion is permanent.–023-(TIS-1932)/



  8. rama


    the first post may not be easy to load. Click on the second post which can be assessed , go to the section MMI–023-(TIS-1932) and then click on Sadananda Thandavam and Aaandavanve Unnai Nambinene.

  9. rama
    Go to MMM-037 .
    Click on Subramanyena Rakshitoham. I feel the mridang here is Vellore as it is very subtle and touch artist style

    Madurai Mani sings as if he is teaching a young child, holding her hand. The lines Prabra Vamadi … is great.

    Violin in the endby Lalgudi has very calming effect on the brain. Suddha Dhanyasi ragam is claimed to have curative properties for the nervous system.
    Aaandavane Nambinene the kriti starts between 15 to 16: 30 mins: sec. Madurai Mani sings along with the violin, a treat to hear.

  10. rama

    Angaraka- Ashrayami —- Brilliant rendering — Rakshatam- Vaidyantha Kshetram. The way MMI says with Bhakti , one would like to visit the holy place asap. The rendering of Bhanuchandra and then is pure joy. This is rated 5 stars

    Manasu Nilpa — this is out of the world. No write up required. Just listen in silence. 5 stars again. Both are in the above web site.

    Chowdiah, Pazhani Subramaniya Pillai and UKI Ghatam. it is almost 50 yrs ( 49 to be more precise) , but singing is tremendous.

  11. rama

    The final one Rama Bhakti , Lalgudi, PSP, UKI . There are better versions than this . I could not locate one. Click on Rama Bhakti on the link below. This one is also excellent.–001-(LGJ-PSP,-MA-1959,-Kalanidhi-Concert)/

    June 8th 1968 , Madurai Mani Iyer left his mortal coils to eternity, but he left his music to be heard eternally. David Attenborough , the evolutionary biologist says that music predates language. When music is interlaced with the language of swaras it is Madura, SuMadura Madurai Mani. One cannot predate or postdate this. The origins start with Madurai Mani Iyer.

    I saw your Sevikka Vendum Ayya on the web. It was coincidental I saw this site in the month of Jun 2008, forty years after MMI left us all. Impressed that the younger generation has taken to like this great man’s singing style. Let us all pay a tribute to this great singer with the first line altered lyrics of Muthuthanavar (SVA).

    Ketka Vendum Ayya,
    Madura Mani Sangeethatai , Ketka Vendum Ayya

    Good luck to all in their studies. good health, prosperity and happy listening.

  12. venu

    5 want to introduce myself as a fanatic of MMI.He was and he is and he will be the greatest Carnatic wizard of all times.Listening to him is the life’s best moment.Everyday I am listening to him for 50 years.I am 63 now.Perhaps my greatest luck in life is the heaing of MMI.MMIs singing can be compared to Sachins batting at his best.Full of tempo and speed.People used to throg to is concert in lare numbers in those days.He was regularly singing in the Kapali Kovil during the Navarathri Festival.Rikshawmen used to refuse savari when MMI was singing.Audience used to finish their dinner lock their houses and come to MMI concert which would start at 8PM>The climax would be at 12 midnight when he would start singing ‘Kaana Kan Kodi Vendum’As we used to observe we should have ‘Kodi ears to listen that song’!MMI was very humble and unassuming for his talents and fame.He was very accesible.He was known as “Gandhi’as he was very true to his conscious.He never demandedd money.Many may not know that MMI never used to sing ‘Nidhi Chala Sugama’ In his concerts.The reason was that Music was his livelihood and he earned money through Music.It is a very great and enduring pleasure to listen to him.We are a number of ‘Fanatics’ who will go to any extent to listen to MMI.We firmly beleive MMI is God of Music.”If music be the food of love;listen to MMI!

  13. venu

    Thank u so much Aparna for responding to my mail.MMI was God of Music and more than once it was proved by him.He baranded a few songs like Vaathapi,Sarasasamadana and seethapathe etc.Even if you feel that I am boring you a lot I want to stress the point that MMI alone can bring the ecstacy of music more than any body else. For that matter the most famous musician of present day Sanjay used to say that he always wanted to sig like MMI in spite of the fact that he belonged to GNB school of music.MMI according to many puritans of music was making a few gimmicks like la la and lulu but the real fact is that whatever he hummed was music and he used to do it with poise.He as the Sachin Tendullkar of music never deviated from technique and sang with full tempo.I saw it once inth Star TV one gentleman used be listening to the late K.L>Saigal of Hindi Music on a daily basis.He would get up take tea listen to KLS.Finish b’fast listen to KLS.Finish lunch listen to KLS.After dinner again listen to KLS.My greivance is that I am not able to listen to MMI like that!MMI was very simple and nver projected himself.He was a patriot in the true sense of the term and sang many of Bharahti songs in his concerts.I had the fortune of listening to MMIs Vellai Thamrai and Paarukulle Nalla Naadu!etc.When it comes to MMI we a number friends become very emotional and will not stop or writing about him.Excuse me if I am attempting some kind of overdose!MMI is easily the best musician GOD has ever produced Please reply when UR free!

  14. rama

    Venu Sir
    Madurai Sesha Gopalan has rightly described MMI as Nada Yogi.

    Madurai Mani Iyer is a Nada Yogi. Despite his physical disability, he had some distinct qualities. He had the uncanny ability to convert any sound into music. He had that `yoga stage.’ He had that `siddhi.’ Nobody asked if he had sung this or that. But they all listened and accepted what he sang as music. Even as he sang that simple, he used to sing simple nava varnams. He would do it in his own simple but great style.

    ————-Shri T.N.Seshagopalan, a the top ranking musician of today, said in an interview to Sify Carnaticmusic during December 2003 (

    Then Carnatic Musician Rama Varma’s tribute to MMI who is from the Swati Thirunal lineage.

    Tribute to Shri Madurai Mani Iyer on his 40th death anniversary.

    I normally turn to music whenever my mind is agitated, tormented or weakened. The music of Mozart and the songs of Kishore Kumar never fail to help. In Carnatic music, it is normally M.D.Ramanathan that I turn to. But when one is sad and one desperately needs doses of pure unadulterated Joy, whom else can one think of but Madurai Mani Iyer? Cherubic, gentle, lilting, innocent, joyful, buoyant and pure, the very thought of the man brings a smile to one’s heart. From the tentative and endearing little “Madurai Mani sound” on Ga (Roughly but not quite resembling the ‘LEA” from the word “Learn”…..pronounced correctly but rendered with a smile….almost as though the singer is gently checking to see whether the Ga is still there in it’s proper place) before plunging delightfully into Vathapi, rather like a child would, into a swimming pool for kids and splash joyfully around, till the similar Madurai Mani sound on the upper Sa (A bit like “Uay” this time.) before shooting off a breezy Pavamaana as the Mangalam, one is transported into an enchanting world of light and joy for three hours or so, the after effects of which continue to linger for a long long time.

    “Cute” isn’t an adjective one would normally associate with one of the Titans of Carnatic music.(A Sangeetha Kalanidhi too at that.) But Madurai Mani Iyer was, among a host of other adjectives, Extremely cute. And utterly disarming. From the way he sang syllables like Tharana and La La La, vowels like Oooo and Oueee to phrases that sounded almost like “I love you” at times during Raga Alapanas, to the way he would spontaneously burst into song from time to time with syllables like “Tatta tada” and “Tuttu Tudu” when the violinist played Thaanam, to the way he would joyfully repeat the same word with little squiggles and charming variations at the end while doing Neraval (Kapi Vaaridhi, Kaalinil Chilambu, Hithavu Maatalentho, Chsaduvulanni, Raaga Thaala, Raja Raja Vara, Maanikkam Vairam, Paluku Botini…..the list goes on and on), to the way he sang Swarams ending with Ninni in Reethigowla which became Lilly at times, to the squeals of delight whenever his accompanists played beautifully, virtually Everything about him was cute. The sweetness that the man and his music embodied inspired many to call him “Madhura” Mani Iyer. I remember an old LP record of Mukesh with the title “That Old Feeling.” With Madurai Mani Iyer, it would be “That Joyful Feeling.”
    Since my Carnatic Music listening as a child was restricted mostly to those who sang at the Navarathri Mandapam, Trivandrum and since Mani Iyer never performed there, I had never heard him or even heard Of him till I was late into my teens. Step One of the joyful event was attending a concert by Shri T.V.Shankaranarayanan. The pep, verve and positive energy Shankaranarayanan Sir imparted, blew me away and I became a fan instantly. I would catch an afternoon train from Trivandrum to Cochin to attend a TVS concert, accompanied by people like M.S.Gopalakrishnan and Karaikudi Mani and come back by the midnight train. Those days, I had no idea about his Guru cum Maama or his music. After someone told me that TVS was the nephew and disciple of someone called Madurai Mani Iyer, I started to search for his music and finally found the delightful recording of his (With T.N.Krishnan and Vellore Ramabhadran accompanying him …. brilliantly as they always did) containing songs like Thathvamariya Tharamaa, Maa Janaki, Eppo Varuvaro, Saarasa Mukhi, Nija Marmamulanu, the English Note and so on. And there was no looking back.
    I have often heard the word “Heavy” being employed to indicate something that is solid….and “Light” to indicate something frivolous. But Madurai Mani Iyer’s voice was “Light” in the most charming way possible. (Luminous and effervescent would be two more apt adjectives.) Even so called “Heavy” Ragas like Thodi, Bhairavi, Asaveri and Varali resembled snowflakes falling gently, when handled by Madurai Mani Iyer. My beloved Guru, Shri K.S.Narayanaswami used to tell me that Swarams should be sung with the same mindset with which one would shower flower petals on an idol ….and not like one would sling stones at someone or something. Madurai Mani Iyer sang Swarams like showering flower petals, be it in the slow or fast tempo. Some schools of music write Swaram singing off as mere “Spelling.” But the way Mani Iyer sang, never Ever sacrificing the proper Gamakams, aesthetics or a perfect sense of proportion, Swaram singing was elevated to great heights, be it in pentatonic ragas like Mohanam or Valachi, heavy ragas like Thodi or Shankarabharanam , Hindusthani Ragas like Behag or Sindhubhairavi or typically Carnatic Ragas like Durbar or Asaveri. Like Swaram singing, his Viruththams too were a class apart. One feels one could go on listening to him singing Viruththams till the end of time. It is said
    that every single hair on the body of Shri Anjaneya is soaked in Rama Naamam. Similarly when Mani Iyer sang a viruththam (Or for that matter, anything at all), Each note would be a perfect sample of that particular Raga. Ranjani, Hamsanandi, Kapi, you name it. So much so that when he sang Hamsanandi, one felt that even the Shadjam itself was a “Hamsanandi Sa.”
    To my ears, violinists from the time of Shri T.N.Krishnan, Shri Lalgudi Jayaraman and Shri M.S.Gopalakrishnan seem to have done a more refined job of accompanying the exquisite music of the maestro than the great masters who preceded them. As did the melodious and uplifting band of percussionists from the Pazhani Subramania Pillai school of percussion. The way he played, especially during the Neravals of Madurai Mani Iyer, was a celebration in itself…..accompaniment at it’s glorious best. When certain mridangam “accompunishments” sit and make heavy,
    plodding “statements” by one’s side, doing absolutely nothing to aid the music, one is tempted to shout “Go listen to Pazhani play with Madurai Mani Iyer and learn how (And what) to play !”
    I have always been drawn more to songs in Telugu, Sanskrit and Kannada than ones in Tamil or Malayalam. But the Tamil songs by composers like Papanasam Sivan, Gopalakrishna Bharathi and others glowed like jewels and acquired a special Madurai Mani Iyer sheen when he sang them. In fact many songs became more strongly identified as Madurai Mani songs…. Eppo Varuvaro and Vellai Thaamarai Poovil for instance….than as products of the people who composed them. The Western Note “Gaa Ma Ma Ri Ga Pa” composed by Dr.Harikesanallur Muthaiah Bhagavathar is actually called the “Madurai Mani Iyer Note.”
    I find it amazing that a man who passed away forty years ago, on June 8th 1968, a couple of months before I was born, happens to be one of the most real, vibrant, palpable and special presences both in my life as well as in the lives of thousands of others like me. With advances in technology, more and more recordings of Mani Iyer’s divine art are becoming available on the internet, uploaded by kind souls with good taste, in sites like One can easily presume that whatever changes may happen in the music field, there would always be an ever increasing family of Madurai Mani Iyer lovers, with joyful music in their hearts, spread all over the world.

    Rama Varma,
    June 8th 2008.

    Adding to this Kandan Karnai Puriyum Vadivu …. Before MMI finishes the kriti , he pauses to the playing of Mridang and then delivers Gnana – Bhakti together in the words ” Annai Parashakti Shudar …. ” This used to bring tears in many eyes. Please go thru the web site
    There are many good write ups about the legendary Madurai Mani Iyer

  15. Akila

    Hi Aparna,

    Pretty late entry for this topic. But MMI is one of my favorites. Was listening to one of his CDs yesterday – has his all time greats like Eppa Varuvaro, Sarasamukhi, Manasu nilpa, sarasa sama dhana and Karpagame. You can just imagine the effect on a fan!! Just unbelievably amazing

  16. Sridhar

    His rendering of “kamalambam bhajarE” in kalyani needs to be mentioned here. Simply superb. I think there was an LP of this if I am not mistaken. I would like to know if the Andolika piece is available as commercial recording or as private collection. I had a cassette tape of a radio concert that began with Vatapi and goes through Subramanyaya namastE – the raga alapana in kambhoji would bring tears to my eyes every time I listened to it. There were too many radio disturbances in that tape and over the time the tape just withered away. There was another radio concert pf MMI with Pazhani Subramanya Pillai (the only recording I have of the maestro) – amazing sowkyam in the mrdangam sound.

  17. Aparna

    I don’t know if there is a commercial recording of it.

    I haven’t listened to many recordings of MMI. There’s lots to listen but no time!

  18. Ramaswamy

    Think of swaras and tempo and the first name that comes to mind is MMI. I first heard a cassette of his many years after his demise and since then he has been my all time favourite. His Sarasa Sama Dana, Eppo Varuvaro, Saarasamukhi, Seeta Pate, Vaasudevayani, Kamalaam Bhajare, Kapali, Thaaye Yashoda & .. I think the list will be endless – whatever he touched he adorned. Thodi was a Raga I learnt to appreciate only after hearing ‘Thaaye Yashoda’ by MMI.

    Giri Trading Agency behind Kapaleeswarar temple, Mylapore has 1 MP3 CD of MMI besides several other audio CDs by MMI & others. Though the quality of recording is somewhat below par (as mentioned in the CD label itself) the MP3 gives you a good collection at Rs. 200/ (180/- during this December music fest)

  19. venu

    We a handful of friends who are virtually fanatics of MMI are planning to form a Fan Club of MMI and the same would be very simple one.We will gather in one place and listen to MMI at least for an hour.The begining can be on the Bagula Panchami in Jan coinciding Aradhana of Mhan Thyagayyar.It can even start on the 8th June th memorial date of MMI.The date will be decided after forming the Club with a good number of members.Surely this is not at all any forum to do anything commercial.We join listen to MMI and disperse.It can be a monthly one. The idea is to bring all the MMI rasikas under one shelter and listen to him and cherish the memories and music of ‘Madura Mani’ easily the best of the Carnatic wizards who thrilled a lot of musical lovers.Fan Club is also just a name for identification.It can be even Mani Music etc or any other name.2012 is the centenary year of MMI.We have a very big dream of even erecting a “Mani Mandapam’ to have a permanent sructure to preserve photographs and a lot of writings about MMI.The present generation may not know about the greaest of the one who lived and died for music.In those days people used to throng to MMI concerts with whole families and used to enjoy the concerts whole heartedly.Kapali Koil concerts were all a class in itself.”He charmed all irrespective ages”.Even the very common man on the roads were his fans.Rikshaw pulers refused ‘Savaari’ to listen to MMis music.Such was the power of his music.There was ;there is ;and there will be only MMI Music which is divine.Please respond

  20. rama

    ” Nityakalyani….. lines Neraval in Kamalam Bhajare is a treat to hear by MMI. has very good recording of KB. You have to have time to search a good recording in the great web sites. Somebody has said above that time is a big factor. In those days , it was 8.30 to 5.30 pm job and we had little money and bountiful happiness to, listen to MMI , GNB, MS, MLV and some kutcheris used to go for hrs and hrs. Those days have gone by and now the whole life style has changed. Jobs are more demanding for rasikas and many kutcheris are for 2 hrs or max 3.00 hrs. MMI used to sing Meenakshi Meemudham for 55 mins including Raaga Alapanai and Swaram. There are few vocalists who sing Manasu Nilpa and Raag Sudharasa.
    The idea of Mani Music is good, but a fan club is not advisable, because Mani Iyer shunned power and glamour. 2012 , the year should be celebrated with great gusto like his rendering of Sadananda Thandavam. If a start is given now , perhaps it will materialize. All will like it to be in Chennai, but one feels Madurai or Mayavaram would be the apt place. The first is his birthplace and in Mayavaram, he strode like a colossus . We could leave the place to be voted. MMI’s forte was Papanasam Sivans songs and Dikshitar’s compositon. Venu, Good luck for the 2012 venture. For all things , you require money. NRI;s are the best source for this. I have seen NRI’s with tears in their eyes when they listen to MMI , esp Aandavane Unnai Nambinene in Shanmuga priya ( PSivan) They will give for this cause. Once again Good luck in this great idea for 2012.

  21. k.ramadurai

    dear all,
    I am a newcomer to this blog, though i am a staunch rasika of CM and admirer of MMI’s music.
    It has been so since i first heard him in the forties.Being a rasika from tanjore district i had the oppurtunity to hear all great masters including ms mlv and dkp etc.,of carnatic music for the greater part of the golden era.I still hear all of them from their old tapes and cds which are available. I some how developed a likng for their singing and each one of them
    had some charm in their rendition and when one hears them individually it would appear that they are the thing as for as carnatic music is!Perhaps that is why they are still being admired!.So also goes the credit to their front line accompanists and doyens of the day.

    Nevertheless, my special liking to mmi’s music remains undiminished even till today. Not a day goes without hearing atleast one song of mmi! As a person hearing regularly mmi’s songs i can well appreciate the views of the great many connoiseurs of music as above. Also , i would like to emphasise another important aspect of his music ie. his was huge.As the late Sri.Semmangudi mama observed, he used to sing many apoorva raga krithies easily and charmingly while creating lasting impression on rasikas. Sri Semmangudi srinvasa iyer used to emphasise the phrase lasting impression.People should hear his renditions of Dikshitar’s and tamil songs apart from his great many Tyagaraja’s krithies. The great writer/novelist ‘Kalki’ once summarised the maestro’s music as under in the forties.
    ‘Avar Pattu Deivihamanadu. Athai kettu rasikka koduthu vaithirukka vendum'(meanig His renditions are devine, one is previliged hear and enjoy the same’). the same Kalki also described his music as ‘suswara gandharva gaanam’!
    One can go on and on describing/appreciating his concert songs.the list will be very long! almost all his songs sung in his kutcheries will vie with each other to find a place in anyone’s appreciation list!
    I note from the net that the maestro’s rememberance day is going to be celebrated this week end. A great and commendable initiative of those of his great rasikas.

  22. k.ramadurai

    dear all,
    All of you will be glad to know that the march 2009 issue of ‘SRUTI’ magazine is MMI special. It has come out well.

    I hope those of you who subscribe for the magazine will enjoy the issue and the many
    informative articles/recollections of great musicians and musical scholars ,.. on the maestro appearing there in.

  23. rao

    HI, in site having all the information about kaarthikamasam 30 days pooja procedure and having all the other pooja procedures,vrathas also and having for children rhymes, shathakamulu.and sathyanarayana vrathapooja, dhaamodhara, kedhaareshwara, ksheeraabdhi vratha poojas are also English and telugu languages. audio also available for each pooja.

    The Specific Link is

    visit website once.


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