M. L. Vasanthakumari

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Madras Lalithangi Vasanthakumari
MLV in late 1940s
Background information
Born(1928-07-03)3 July 1928
Madras, Madras Presidency, British India
Died31 October 1990(1990-10-31) (aged 62)
Chennai, Tamil Nadu, India
Genres Carnatic music – Indian Classical Music and Playback singing
Years active1942 – 1990
LabelsHMV, EMI, RPG, AVM Audio, Inreco, Vani, Amutham Inc, Doordarshan, Super Audio, Geethanjali, Kosmic Music, Charsur Digital Workshop etc.

Madras Lalitangi Vasanthakumari (popularly referred to as MLV) (3 July 1928 – 31 October 1990) was a Carnatic musician and playback singer for film songs in many Indian languages. MLV and her contemporaries D. K. Pattammal and M. S. Subbulakshmi are popularly referred to as the female trinity of Carnatic Music. [1] A prime disciple of G. N. Balasubramaniam, she was the youngest among the established musicians of that era, and was the youngest female awardee of the Sangita Kalanidhi award. [2] In 1967 she was honored with the Padma Bhushan, the third highest civilian award by the government of India. Her daughter late K.Srividya was an actress in Tamil and Malayalam languages.


As well as being a much sought-after playback singer for films, MLV popularized unfamiliar ragas and her Ragam Thanam Pallavis were considered cerebral. [3] Additionally, she popularized the compositions of the Haridasas. Her most famous disciples include Srividya (her daughter), Sudha Raghunathan, Charumathi Ramachandran, A. Kanyakumari, Yogam Santhanam, V. Kaveri, Rose Muralikrishnan, Meena Subramanian and Yamuna Arumugam. [4]

Early life

MLV was born to a musical family. Her father, Kuthanur Ayya Swamy Iyer, was a noted musician while her mother, Lalithangi, was also a musician. [5] When Deshbandhu Chittaranjan Das (1870–1925) died in 1925, Lalithangi came out with a song as a tribute to his patriotism. A rare gramophone record (made in England) of her rendition of this song is said to be in V. Sundaram's possession.[ citation needed ]

MLV's school education was in Madras, in a convent, where she was set to pursue a medical career until Carnatic musician G. N. Balasubramaniam became her guru. In her own words, "My parents had rendered yeomen service to Carnatic music. They were mainly instrumental in popularising the compositions of Purandara Dasa in South India. They were not keen that I should enter the music field and gave me general education. But in the musical atmosphere of my house, I had ample opportunity of practising vocal music. Once G. N. Balasubramaniam heard me sing and he prevailed upon my parents to place me under his tutelage. It was he who was responsible for the status I occupy in the music world today."[ citation needed ]

Learning Carnatic music

MLV had the privilege of learning Carnatic music from G. N. Balasubramaniam (GNB). She was also GNB's first disciple. Indira Menon said that, "GNB was a self-taught artiste, his racy style sparkling with brigas and nuances never heard before, revealed a new range of colours on the musician's palette. The brisk tempo unleashed by his powerful and pliable voice found many admirers and imitators among the younger generations, though it raised many an eyebrow among the senior vidwans. Was his music according to Sampradaya (tradition) or not, was the question that was frequently asked?' To answer, GNB was a genius, so much so that what might have seemed like a deviation from tradition was acceptable from him though it might not have been so from a lesser artiste. His personality, bold innovations and technical virtuosity became an inspiration for an entire generation of musicians. After GNB, speed and briga-laden music became the vogue to the extent that to be true to one's self and to sing according to one's vocal capacity required a great deal of courage."[ citation needed ]

Performing and recording career

In 1940, M. L. Vasanthakumaari (MLV)'s mother, Lalithaangi, gave a recital in Shimla and it was then that, by accompanying her mother, MLV, then 12 years old, made her debut. Two years later, MLV gave a solo recital in Bengaluru. She also cut her first 78 rpm disc. From then on, her career took on a geometric progression, as a stage artiste, and by 1950 she had established herself as a front-ranker. A music critic said that MLV brought the struggle of women in the world of music to a successful culmination. Her music was said to have more male characteristics than that of any other female musician.[ citation needed ]

Her own musical style

MLV imbibed much of GNB's style, but did not make a fetish of speed and struck out on her own, evolving an inimitable style of her own. [6]

While MLV was known more for her cerebral style, rather than her emotional one, this was compensated for by her rich and original manodharma. Similar to GNB, she was said to be a genius in her tricky, instantaneous brilliant manodharma. Indira Menon comments MLV did adopt her Guru's idea of a quick impressionistic sketch of the raga covering the two octaves at the start, but settled down to a reposeful elaboration, unfolding it gradually with her virtuosity in the form of BRIGA - CASCADES appearing only where necessary. She was careful not to carry to an excess what her versatile voice was capable of.

MLV's mastery over vocal techniques was comprehensive and complete. She could render several difficult ragas, with her alapana and kalpana swaras, suitably embellished with shruthi-bheda. Her listeners had the same ecstatic experience when she sang and more particularly when in a lightning manner she shifted gracefully from the melodic world of one raga in one pitch to another raga in another pitch. In this context, one has to refer to raga combinations like Shanmukhapriya-Sankarabharanam, Bhairavi-Kamas, Abhogi-Valaji to illustrate this point.

In GNB's own words,"Vasanthi typifies real discipleship – she absorbs all, but presents her own glorious creations." [7]

Purandaradasa Tradition

Lalithangi, MLV's mother, had a vast repertoire of Purandaradasa kritis. She passed on this tradition to her daughter, MLV. As a result, like T. Brinda who brought Kshetrayya Padams to the public platform and M. S. Subbalakshmi who brought Annamacharya kritis to the public arena, MLV popularized the Devaranamas of Purandaradasa.


She popularized the composition 'Kalyana Gopalam', composed by Narayana Teertha, in raga Sindhubhairavi. She also popularized the composition, 'Venkatachala Nilayam' by Purandaradasa in the same raga. Hindustani maestro Bade Ghulam Ali Khan was generous in his praise for her music. Sudha Ragunathan mentions, "MLV Amma has told me that it was Bade Ghulam Ali Khan Saab who taught her the nuances of Sindhu Bhairavi in the Hindustani style." [3]

Ragam Thanam Pallavi

MLV's forte was Ragam Tanam Pallavi, where she not only maintained the tradition brought to the stage by D. K. Pattammal, but enriched it in her own unique way. A. Kanyakumari who had accompanied MLV on violin for almost two decades says, "MLV akka had a sharp mind and good memory and I have never seen her practice a song or a ragam or for that matter a ragam-tanam-pallavi also before a concert." Sudha Ragunathan, a prime disciple of MLV, remarked that "In all my twelve years of learning under her, I had never seen Amma practicing at home. But, to my great surprise, she would compose a Pallavi in the car on the way to the concert!" [3]

Playback Singing

By 1946, MLV was also a playback singer. [3] Her first big hit was in the 1951 film Manamagal, where she sang the song Ellam Inbamayam in Ragamalika, and Subramania Bharathiyar's evergreen composition, Chinnanchiru Kiliyae. In the 1960 film Raja Desingu, MLV also sang another Ragamalika, Parkadal Alaimele, which was well received, and later became popular in Bharatha Natyam recitals. In later years, MLV would also sing these songs towards the end of her Carnatic music concerts, and today, many musicians often include them in their repertoire. [8]

MLV also sang Ayya Saami in the 1951 film, Or Iravu. This song was based on the song Gore Gore from the film Samaadhi, which was in turn based on the Latin American song Chico Chico from Puerto Rico, from the film Cuban Pete. In the 1952 film Thayullam, MLV sang Konjum Purave which was based on the famous Hindi song, Thandi Havayen. [8]

Other songs MLV sang include Adisayam Vanathu Arivumayam, Senthamarai Kannanae, Vanna Tamizh and Adum Arul Jothi in the films Vikramadithian, Vairamalai and Sornakili. Incidentally, each of these songs contained the raga Kalyani and were also well received. [8]

MLV sang the Dashaavataara song for Bhookailas like Munneeta Pavalinchu Naagashayana, while Kamala Kumari danced in a classical way. [9] She sang for films until 1970.[ citation needed ]


As one of the top ranking stage artistes, MLV was noted for her charm, grace, warmth, self-restraint and humility. Her self-restraint as an artist can be understood from her own words: Brigas in fast tempo should adhere to the shruthi and above all, true music must touch the listener's heart. MLV however maintained a philosophy: A concert is a daily test of the caliber of a musician. A slight lapse may let the musician down and a constant vigil is essential.[ citation needed ]


Mridangam maestro Palghat Mani Iyer made an exception to the decision he had made early in his career not to accompany a female performer and accompanied her in concerts. MLV helped her ot istrstis including Mannargudi Easwaran, Srimushnam V. Raja Rao, Seerkazhi J. Skandaprasad, Thiruvarur Bakthavathsalam, R. Ramesh, Karaikudi Krishnamurthy, G. Harishankar (kanjira), Dwaram Mangathayaru (Violin) And Kannyakumari (Violin) and more, establishing them by encouraging them and giving them opportunities to accompany her in concerts.[ citation needed ]


MLV married Kalaimamani Vikatam R.Krishnamurthy in the year 1951. They had a son, K. Shankarraman and Srividya.[ citation needed ]


MLV taught her daughter K.Srividya, who at the age of ten was ready to perform and sang very much like MLV. Srividya however, wanted to pursue a career in the film industry, and went on to become a notable actress in Indian films.

By coincidence, Srividhya made her Acting Debut in a Tamil Movie as a Concert Vocalist. It was her Mother MLV who sang for Srividhya.The Asaveri Raga Krithi MLV sang for Daughter Srividhya to mouth in the film, and it would have been equally in place in a Concert in December Season

MLV trained several other students, and many of them are the top-ranking musicians today. Some of the notable musicians who have studied under MLV include Sudha Ragunathan, Yogam Santhanam, Charumathi Ramachandran, Rose Muralikrishnan, V. Kaveri, Vanaja Narayanan, T. M. Prabhavathi, Sankari Krishnan, Meena Subramaniam, Jayanthi Sridharan, Jayanthi Mohan, Bama Visveswaran and Nirmala Srinivasan . She also taught music at Rishi Valley School started by Jiddu Krishnamurti and Yamuna Aarumugam who was a Malaysian government scholar went under the 'Gurukulavasam' system to her for two entire years.

Saraswathi Srinivasan (b 1936) was the first disciple of MLV. After marriage also Saraswathy Srinivasan jointly with MLV gave some concerts. [10]


YearAwardAwarded by
1967 Padma Bhushan Third highest civilian award by the government of India
1970 Sangeet Natak Akademi Award Sangeet Natak Akademi, India
1976Doctorate degree for her work with regards to Purandaradasa's contributions to music Mysore University
1977 Sangeetha Kalanidhi (Highest accolade in the field of Carnatic music)Music Academy, Madras
1977 Isai Perarignar Tamil Isai Sangam, Madras
1987 Sangeetha Kalasikhamani Indian Fine Arts Society, Chennai


She died in 1990 at the age of 62 due to cancer, and was stoic about the suffering she faced in the last year of her life. [11]

Playback singer

Vasanthakumari on a 2018 stamp of India ML Vasanthakumari 2018 stamp of India.jpg
Vasanthakumari on a 2018 stamp of India

She was a much sought after playback singer from the late 1940s until the mid-1960s.

Music composers she sang for

She worked under C. R. Subburaman, S. M. Subbaiah Naidu, G. Ramanathan, S. Dakshinamurthi, K. V. Mahadevan, Vedha, Chittor V. Nagaiah, Pendyala Nageshwara Rao, T. Chalapathi Rao, Viswanathan–Ramamoorthy, S. Rajeswara Rao, R. Sudarsanam, R. Govardhanam, T. R. Pappa, S. V. Venkatraman, Kunnakudi Venkatrama Iyer, G. Aswathama, T. A. Kalyanam, M. S. Gnanamani, C. N. Pandurangan, C. S. Jayaraman, G. Govindarajulu Naidu, T. G. Lingappa, K. G. Moorthy, Ghantasala, Master Venu, G. Aswathama, V. Dakshinamoorthy, G. Devarajan, K. Raghavan and Shankar–Jaikishan.

Playback singers she sang with

She sang duets mostly with Thiruchi Loganathan, Seerkazhi Govindarajan and A. M. Rajah. Others are M. K. Thyagaraja Bhagavathar, V. N. Sundaram, T. R. Mahalingam, T. A. Mothi, C. R. Subburaman, C. S. Jayaraman, Ghantasala, G. K. Venkatesh, T. M. Soundararajan, P. B. Sreenivas, K. S. George, V. Dakshinamoorthy and K. J. Yesudas.

She also sang duets with female singers with most notably with P. Leela & N. L. Ganasaraswathi. Others are A. P. Komala, T. S. Bagavathi, Soolamangalam Rajalakshmi, Jikki, T. V. Rathnam, Radha Jayalakshmi, P. A. Periyanayaki, P. Bhanumathi, K. Jamuna Rani and A. G. Rathnamala.

1948 Krishna Bakthi Tamil Raadhaa Samedhaa Krishnaa S. V. Venkatraman & Kunnakudi Venkatrama Iyer
Endha Vedugo O Raagavaa
1948 Raja Mukthi TamilKulakkodi Thazhaikka C. R. Subburaman
Aaraaro Nee Aaraaro
Ingum Angum Engum Inbame M. K. Thyagaraja Bhagavathar
Enna Aanandham M. K. Thyagaraja Bhagavathar
Sandhoshamaai Anbar Varuvaaradi P. Bhanumathi
1949 Kanniyin Kaadhali TamilPuvi Raajaa S. M. Subbaiah Naidu & C. R. Subburaman Thiruchi Loganathan
Kaanbana Yaavum Kaaviyam Pole
1949 Mayavathi TamilMaane En Prema Raani G. Ramanathan T. R. Mahalingam
Vaaraai En Inba Vaazhve
Aahaa Thanimai Tharum Inbam
Alli Malaraayirundhen
Varuvano Madhivadhanan
Jeyame En Vaazhvile
1949 Nallathambi TamilGaanalolan Madhanagopaalan S. M. Subbaiah Naidu & C. R. Subburaman
1949 Nam Naadu TamilMosam Pogadhe Nee G. Govindarajulu Naidu & Purushotham
Enthan Mana Ullaasam
Enadhu Ennam Veene
Vedhanai Ilaa Logam
Maname Enna Pedhamai
1949 Pavalakodi TamilKandeepan Maithunaa C. R. Subburaman
Naane Vendinen
Ini Nammodellaam
Unathu Pugazh Paaduven
1949 Vazhkai TamilGopaalanodu Naan Aaduvene R. Sudarsanam
1950Beedala Patlu Telugu Yauvaname Aahaa Yauvaname S. M. Subbaiah Naidu
Sarasaku Raade Aane
1950 Ezhai Padum Padu TamilYauvaname Aahaa Yauvaname S. M. Subbaiah Naidu
Kannan Mana Nilaiye
Vaanamudhe Ondraai Thiruchi Loganathan & P. A. Periyanayaki
1950 Manthiri Kumari TamilIsai Kalaiye Inidhaana G. Ramanathan
Kaadhal Baliyaagi
Manam Pola Vaazhvu Peruvome Jikki
Aahaahaahaa Vaazhvile
Ennum Pozhuthil Inbam
1950 Parijatham TamilNiyaayam Alladi Bhaamaa S. V. Venkatraman & C. R. Subburaman
Piraana Naathanae
Anbinil Yaavume.... Thulasi Jegan Maathaa
1950 Prasanna Malayalam Kalaanikethe Keralamaathe M. S. Gnanamani
Gaanamohana Hare
Jaathivairam Neethirahitham
Thakarukayo Sakalamen
1950 Vijayakumari TamilGeethaanandham Perinbam C. R. Subburaman P. Leela
1951 Manamagal TamilChinnanciru Kiliye Kannammaa C. R. Subburaman V. N. Sundaram
Ellaam Inbamayam P. Leela
Aayirathu Tholaayirathu P. Leela
Paaviyinum Padu Paavi V. N. Sundaram
Iru Kaadhalar Magizhndhe C. R. Subburaman
1951 Mayamalai Tamil P. Adinarayana Rao
1951Navvithe NavaratnaluTeluguMarubal Kavadhe MeeraG. Aswathama
Uyyaala Loogena O Manasam
Telirekhalu Virise Thurupudisa
Saanthiye Ledhaa Naaku
Srī Rajarajesvari Sritajanavandita
1951 Or Iravu TamilAyyaa Saami Avoji Saami R. Sudarsanam
Boologam Thanai Kaana VaruveerT. S. Bagavathi
1951Pelli KooturuTeluguVeera Jaajula Valape C. R. Subburaman C. R. Subburaman
Anta Premamayam P. Leela
1950 Ki 60 Ki Ento Teda A. P. Komala
Paapula Loka Dupaapi C. R. Subburaman
C. R. Subburaman
1951 Rajambal TamilVaazhvu Uyara VendumM. S. Gnanamani
Ahaa Haa Manaiviyaaven
Theeraadha Thunbam Thaanaa
1951 Saudamini TamilAnbe En Sivame Aandarulvaaye S. V. Venkatraman
Maara Sundara Maadhu Ivale
1951 Soudamini TeluguElukkona Ra S. V. Venkatraman
1951 Tilottama Telugu P. Adinarayana Rao
1952 Andhaman Kaidhi TamilKaani Nilam Vendum Paraasakthi G. Govindarajulu Naidu C. S. Jayaraman
1952 En Thangai TamilDheena Dhayaabari Thaaye C. N. Pandurangan
1952 Kanchana TamilMaye Thvam Yaahi S. M. Subbaiah Naidu
Shivakameshwari Chintaye
1952 Kanchana TamilMaye Thvam Yaahi S. M. Subbaiah Naidu
Shivakameshwari Chintaye
1952 Kanjana MalayalamMaye Thvam Yaahi S. M. Subbaiah Naidu
Shivakameshwari Chintaye
1952 Moondru Pillaigal TamilAntha Raama SowndharyamP. S. Anantharaman & M. D. Parthasarathy A. P. Komala
1952 Mr. Sampat Hindi Manchi Dinamu Nede B. S. Kalla & Emani Sankara Sastry
1952 Mugguru Kodukkulu TeluguAaraaghu Ra MuniK. G. Moorthy N. L. Ganasaraswathi
1952 Panam TamilEzhai Nin Kovilai Viswanathan–Ramamoorthy G. K. Venkatesh
Kudumbatthin Vilakku
1952 Parasakthi TamilVaazhga Vaazhgave Vaazhgave R. Sudarsanam
1952 Penn Manam TamilKanavilum Maraven Kunnakudi Venkatarama Iyer
Vazhvile Vaazhvile Madhavapeddi Satyam
Sugamedhu Vaazhvile Madhavapeddi Satyam
1952Puratchi VeeranTamilKaaranam Theriyaamal Shankar–Jaikishan
1952 Shyamala TamilAmbaa Aadhi Sakthi Jegadhaambaa G. Ramanathan, T. V. Raju & S. B. Dinakar Rao
1952 Thai Ullam TamilKonjum Puraave G. Ramanathan
Vellai Thamarai Poovil
Kovil Muzhuthum Kanden
Kathayai Kelada
1952 Velaikari Magal TamilAnbe Endhan Aaruyire Azhaadhe C. R. Subburaman & S. Dakshinamurthi
Mudinthathe En Vazhvu
Pagalellam Velai SeitheK. Devanarayanan
1953 Aasai Magan TamilKalaigal Migundha Engal V. Dakshinamoorthy P. Leela
Neeye Arul Velavane
1953 Aashadeepam MalayalamJanani Jayikka Neenal V. Dakshinamoorthy P. Leela
Sharanam Mayilvaahanaa
1953 Ammalakkalu TeluguNee Kosam C. R. Subburaman Pithapuram Nageswara Rao
1953 Anbu TamilAdavare Naattile T. R. Pappa A. M. Rajah
1953 En Veedu TamilKonjum Mozhi Maindharkale Chittor V. Nagaiah & A. Rama RaoT. A. Mothi
Konjum Mozhi Maindharkale Radha Jayalakshmi
1953 Gumastha TamilAiyavin Penndattikku G. Ramanathan, Chittor V. Nagaiah & C. N. Pandurangan K. R. Chellamuthu
Dance Baby Dance
1953 Inspector TamilVaruvaai Mana Mohanaa G. Ramanathan V. N. Sundaram
Madhana Singaara Neelaa
Moodiyirundha En Vizhiyinul
1953 Inspector TeluguMarupayena Mohana G. Ramanathan
Mara Sukumara
Moodapa Dhinana Muddulaveena
1953 Jatagam TamilVelan Varuvaanodi R. Govardhanam
1953 Kangal TamilInba Veenaiyai Meettudhu S. V. Venkatraman
Kann Kanda Deivame
Annai Karamena Nammai
Varungkaala Thalaivan Neeye
1953KodarikamTeluguIllalu Illalu C. N. Pandurangan
Mahaa Ganapathi Gajaananaa
1953 Mamiyar TamilPenn Ivale Miga C. N. Pandurangan
Mahaa Ganapathi Gajaananaa
1953 Manam Pola Mangalyam TamilSolai Naduve OdiA. Rama Rao
1953 Manidhanum Mirugamum TamilInbakuyil Kuralinimai G. Govindarajulu Naidu A. M. Rajah
Imayamalai Chaaralile
1953 Manithan TamilKuyile Unakku G. Ramanathan
1953 Marumagal TamilNianikkira Maaadhiri Ellaam C. R. Subburaman T. R. Ramachandran
1953 Naa Illu TeluguAdigadigo Gagana Seema Chittor V. Nagaiah & A. Rama RaoT. A. Mothi
Raara Maa Intidaka
1953 Naalvar TamilIrul Soozhum Vaanil K. V. Mahadevan
Inbam Kolludhe
Vaana Veedhiyil Parandhiduvom Thiruchi Loganathan
1953 Naam Tamil C. S. Jayaraman
1953 Prapancham TeluguM. S. Gnanamani & T. Poornananda A. M. Rajah
Kalaye Navakalaye
1953 Ulagam TamilUn Kaadhalaal En AnbellaamM. S. Gnanamani A. M. Rajah
En Jeevanile
1953 Vazha Pirandhaval TamilIndhiya Naadu Nam Indhiya Naadu S. Rajeswara Rao & G. Ramanathan
1954 Ammaiyappan Tamil T. R. Pappa
1954 Bedara Kannappa Kannada Daari Kaadu Naa Balu Nonde R. Sudarsanam
1954 Kanavu TamilKannaana Thaai Naadae G. Ramanathan & V. Dakshinamoorthy
Eliyorku Suga Vaazhvu Edhu
Engume Thai Pongal
1954 Kudumbam TamilPandigai Dhinamithadah Pendyala Nageswara Rao
1954MenarikamTelugu Pendyala Nageswara Rao
1954 Pudhu Yugam TamilKalaiye Puviyaarai Kavarum G. Ramanathan
1954 Ratha Kanneer TamilKadhavai Saathadi C. S. Jayaraman
Aalaiyin Sangge Nee Oothaayo
1954 Ratha Paasam TamilNilaiyaana Inbam Manavaalan AnbeM. K. Athmanathan & A. V. Natarajan
1954 Kalahasti Mahatyam TeluguChoochi Choochi R. Sudarsanam
Chaalu Chaalu Naa Mohana
1954 Thookku Thookki TamilVaaranam Aayiram Soozha Valam Seidhu G. Ramanathan P. Leela
1954 Thuli Visham TamilNandraaga Vaazha Vendum K. N. Dandayudhapani Pillai
1954 Vaira Malai TamilVanjamidho Vaanchaiyidho Viswanathan–Ramamoorthy Thiruchi Loganathan
Koovaamal Koovum Kogilam Thiruchi Loganathan
Unnai Ennum Podhe
Senthamarai Kannane
1955 Adarsha Sathi TeluguParameshane ShiraveridaR. Sudarsanam & R. Govardhanam
1955 Kalvanin Kadhali TamilTamil Thirunaadu Thannai Petra G. Govindarajulu Naidu N. L. Ganasaraswathi
1955 Kaveri TamilManjal Veyyil Maalaiyile G. Ramanathan C. S. Jayaraman
1955 Kaveri TamilManadhinile Naan Konda Viswanathan–Ramamoorthy
1955 Koteeswaran TamilEnnudalum Ullak Kaadhalum Unakke S. V. Venkatraman
1955 Maheswari TamilAndha NaaLum Endha NaaLo G. Ramanathan
1955 Ulagam Palavitham TamilAdimaiyendre Ennathe PenneN. S. Balakrishnan
1955 Valliyin Selvan TamilKannin Maniye VaaParur S. Anantharaman
Vilaiyaadum Dheivamadi T. V. Rathnam
1955 Vijaya Gauri TeluguAndala Sandadilo G. Ramanathan A. M. Rajah
1954 Vedan Kannappa TamilThedi Thedi Naan Manam Nondhen R. Sudarsanam
1956 Amara Deepam TamilEnge Maraindhanayo T. Chalapathi Rao & G. Ramanathan
1956 Chori Chori Hindi Theem Theem Shankar–Jaikishan
1956 Kaalam Maari Pochu TamilEnnamadhellaam Neeye Niraindhu Master Venu
1956 Kannin Manigal TamilNalla Veenai Idhe Mannile S. V. Venkatraman
Velli Nilavinile
Aaraaro Aasai Kanmaniye
Anbin Dheepamidhe
1956 Koodappirappu MalayalamAlarsharaparithaapam K. Raghavan
Manivarnane Innu Njan
1956 Kula Dheivam TamilThaaye Yasodha Undhan R. Sudarsanam
1956 Madurai Veeran TamilAadal Kaaneero G. Ramanathan
Senthamizhaa Ezhundhu
1956Naga DevathaiTamil Ghantasala
1956Nagula ChavithiTeluguMarubal Kavadhe Meera Ghantasala
1956 Ondre Kulam TamilAnda Pagiranda Akilandeswari S. V. Venkatraman & M. V. Ranga Rao
Thiruvarul Purivaai Jaganmaathaa
1956 Sahasra Veerudu TeluguAatal Kanalero Maa Aatal Kanalero G. Ramanathan
Andhamula Rashi Neevoyi
1956 Punniyavathi TamilKani Voorum Amudhaana Idhayam V. Dakshinamoorthy
1956 Raja Rani TamilVaanga Vaanga ... Indriravu Miga Nandriravu T. R. Pappa S. V. Ponnusamy
Manippuraa Pudhu Manippuraa
Inba Nan Naalidhe
1956 Thaaikkuppin Thaaram TamilNaadu Sezhithida NaaLum Uzhaithida K. V. Mahadevan
1957 Bhale Ammayilu TeluguGopaala Jaagela Raa S. Rajeswara Rao & S. Hanumantha Rao P. Leela
Theem Thaam Thirana (Thillana) T. V. Rathnam
1957 Chakravarthi Thirumagal TamilEnthan Ullam Kollai Kolla G. Ramanathan
1957 Iru Sagodharigal TamilThaaye Un Seyalallavo S. Rajeswara Rao P. Leela
Theem Thaam Thirana (Thillana) T. V. Rathnam
1957 Karpukkarasi TamilKaniyo Paago Karkando G. Ramanathan P. B. Sreenivas
Vizhiyodu Vilaiyaadum P. Leela
1957 Manamagan Thevai TamilVanthaal Varattum Podi G. Ramanathan
1957 Maya Bajaar TamilChellamudan Devarkalum Nallaasi Ghantasala & S. Rajeswara Rao
1957 Mayabazar KannadaSrisuraru Thamadhalu Ghantasala & S. Rajeswara Rao
1957 Mayabazar TeluguSrikarulu Devathalu Ghantasala & S. Rajeswara Rao
1957Nala DamayanthiTeluguJaali Chpppavadelara B. Gopalam
1957 Rajaputhri Rahasyamu TeluguSreeramu Meedhane Perasha G. Ramanathan
1957 Rani Lalithangi TamilKannaale Mannaadhi Mannarum G. Ramanathan
1957 Sati Anasuya TeluguMaa Roopa Nava Shobana Ghantasala
1957 Soubhagyavathi TamilMatha Maragadha Shyaamaa Pendyala Nageswara Rao
1957 Soubhagyavathi TeluguMatha Maragadha Shyaamaa Pendyala Nageswara Rao
1957 Thalavanchani Veerudu TeluguRaa Raa Raa G. Ramanathan
1957 Vanangamudi TamilSiramathil.... Vaa Vaa Vaa G. Ramanathan
1957 Varudu Kavali TeluguNandasuthudu Andam Chandam G. Ramanathan
1958 Baktha Ravana TamilDheva Mahadheva R. Sudarsanam & R. Govardhanam
1958 Bhookailas TeluguDheva Mahadheva R. Sudarsanam & R. Govardhanam
Munneeta Pavalinchu
1958 Bhookailas KannadaDheva Mahadheva R. Sudarsanam & R. Govardhanam
Ksheeraabdhi Varadhaama Naga Sayana
1958 Kanniyin Sabatham TamilAttatthil Sirandhadhu Pitthalaattam T. G. Lingappa Soolamangalam Rajalakshmi
Solla Theriyaamal
1958 Mangalya Bhagyam TamilNenjathile Achcham Illaadhavar G. Ramanathan P. Leela
Anusooya Kadhaakaalatchebam Seerkazhi Govindarajan, A. P. Komala, K. Jamuna Rani & A. G. Rathnamala
Annaiye Paraasakthi
1958 Sati Anasuya TamilMaa Roopa Nava Shobana Ghantasala
1958 Uthama Illalu TeluguVeyinola Koniyaru Rasakalpame G. Ramanathan & M. S. Raju P. Leela
1959 Chathurangamm MalayalamKaatte Va Kadale G. Devarajan
Kaatte Va Kadale Va K. S. George
1959 Jayabheri TeluguNeeventa Nerajaa Navauraa Pendyala Nageswara Rao
1959 Kalaivaanan TamilKaadhal Silai Aadudhe Pendyala Nageswara Rao
1959 Kalyanikku Kalyanam TamilAanandham Indru Aarambam G. Ramanathan P. Leela
1959 Kaveriyin Kanavan TamilVannatamizh Sornakili K. V. Mahadevan
1959 Krishna Leelalu TeluguThaalalenuraa Thaginadaanaraa S. Dakshinamurthi
1959 Mamiyar Mechina Marumagal TamilPathu Viral Modhiram R. Sudarsanam
Ranga Ranga Ranga Seerkazhi Govindarajan
Maithunare Maithunare A. P. Komala
Kanna Vaa Vaa
Inge Irupadhaa
Ilavu Kaaththa Kili Pol
1959 Manimekalai TamilPazhangkAla Thamizharin Vaazhkai Murai G. Ramanathan N. L. Ganasaraswathi
1959 Minnal Veeran TamilManamirunthaal Vedha P. Leela
1959 Orey Vazhi TamilKalvi Kalvi Endru Paadu R. Govardhanam P. Leela
1959 Pennkulathin Ponvilakku TamilKadavul Padaikkavillai Master Venu P. Leela
1959 President Panchatcharam TamilOli Padaitha Kanninaayi G. Ramanathan Radha Jayalakshmi
1959 Thanga Padhumai TamilVarugiraal Unnai Thedi Viswanathan–Ramamoorthy Soolamangalam Rajalakshmi
1959 Vachina Kodalu Nachindi TeluguPahimam Jayajaya S. Dakshinamurthi
Pahimam Saranantimamma Ghantasala & Jikki
1960 Mannadhi Mannan TamilKalaiyodu Kalandhadhu Unmai Viswanathan–Ramamoorthy
Aadadha Manamum Undo T. M. Soundararajan
1960 Meenda Sorgam TamilAadum Arul Jothi T. Chalapathi Rao Seerkazhi Govindarajan
1960 Parthiban Kanavu TamilAndhi Mayanguthadi Vedha
Vadiveru Thirisoolam Thondrum
Munnam Avanudaya Naamam Kettaal
1960 Petra Manam TamilSindhanai Seiyadaa S. Rajeswara Rao Sivaji Ganesan (dialogues)
1960 Raja Bakthi TamilKarka Kasadara Katraapin G. Govindarajulu Naidu
1960 Raja Desingu TamilPaakkadal Alai Mele G. Ramanathan
1960SeethaMalayalamKanne Nukaru Swargasukham V. Dakshinamoorthy
1960 Thilakam TamilKaathirundha Kannukku R. Sudarsanam
Manasukkulle Maraichu Vaikka Seerkazhi Govindarajan
Ezhaikkum Vaazhvukkum Seerkazhi Govindarajan & T. S. Bagavathi
1961 Desinguraju Katha TeluguPala Kadali MeedhaPamarthi
1961 Sri Kanyaka Parameswari Mahatmyam TeluguVirahini Ninu Kore R. Sudarsanam Soolamangalam Rajalakshmi
1961 Kongunattu Thangam TamilIrundhum Illaadhavare K. V. Mahadevan
1961Krishna KuchelaMalayalamVarnippathengine K. Raghavan P. Leela
1961 Malliyam Mangalam TamilAvarindri Naanillai KanneT. A. Kalyanam
1961 Sthree Hrudayam TeluguNeeve JagajyothiNityanand Seerkazhi Govindarajan
1961Ummini ThankaMalayalamGeethopadesham V. Dakshinamoorthy V. Dakshinamoorthy & P. Leela
1962 Ekaika Veerudu TeluguNanukora Thagadidi Vinumaa S. P. Kodandapani
Hrdayamulu Pulakinnchavo Seerkazhi Govindarajan
1962 Vikramaadhithan TamilAdhisayam Ivanadhu S. Rajeswara Rao
1963 Susheela MalayalamThaalolam Thankam Thaalolam V. Dakshinamoorthy
1964 Veeranganai TamilAngamellam Sornthu Vaada Vedha P. Leela & K. J. Yesudas
1965 Maganey Kel TamilKalai Manggai Uruvam Kandu Viswanathan–Ramamoorthy Seerkazhi Govindarajan
1965 Pinchuhridhayam MalayalamGaanavum Layavum Neeyalle V. Dakshinamoorthy P. Leela
1965 Shakunthala MalayalamKaamavardhiniyaam K. Raghavan P. Leela
Kaalil Chilanka K. J. Yesudas
Guru Brahma
1966 Rangula Ratnam TeluguChepa Rupamuna S. Rajeswara Rao & B. Gopalam A. P. Komala
1967 Sri Purandara Dasaru KannadaAadidano Ranga C. N. Pandurangan

Related Research Articles

Carnatic music Music genre originating in southern India

Carnatic music, known as Karnāṭaka saṃgīta or Karnāṭaka saṅgītam in the South Indian languages, is a system of music commonly associated with South India, including the modern Indian states of Karnataka, Andhra Pradesh, Telangana, Kerala and Tamil Nadu, and Sri Lanka. It is one of two main subgenres of Indian classical music that evolved from ancient Hindu Texts and traditions, particularly the Samaveda. The other subgenre being Hindustani music, which emerged as a distinct form because of Persian or Islamic influences from Northern India. The main emphasis in Carnatic music is on vocal music; most compositions are written to be sung, and even when played on instruments, they are meant to be performed in gāyaki (singing) style.

In Carnatic classical music, alapana is a form of manodharmam, or improvisation, that introduces and develops a raga. It communicates the permitted notes and phrases of the raga, setting the mood for the composition that follows. As a term that is Sanskrit in language, alapana means "to speak, address, discourse, communicate". It is the first part of Ragam Tanam Pallavi (RTP), which showcases a Carnatic musician's ability to understand a raga and improvise music set to it.

Varnam Form of song in Carnatic music

Varṇam is a type of composition in the Carnatic music system consisting of short metric pieces which encapsulate the main features of a raga. Varnams capture the raga bhavam, ranjaka prayogasvisesha sancharas, etc. Dhatu and janta prayogas are usually part of a varnam. Understanding of these aspects is key to developing manodharma sangeetham.

<span class="mw-page-title-main">D. K. Pattammal</span> Musical artist

Damal Krishnaswamy Pattammal, popularly known as D. K. Pattammal or DKP, was an Indian Carnatic musician and a playback singer for film songs in Tamil. Pattammal, along with her contemporaries M. S. Subbulakshmi and M. L. Vasanthakumari, are popularly referred to as the female trinity of Carnatic Music. This trio initiated the entry of women into mainstream Carnatic Music. She has been appreciated all over the world by Carnatic music lovers.

<span class="mw-page-title-main">G. N. Balasubramaniam</span> Musical artist

Gudalur Narayanaswamy Balasubramaniam, popularly known as GNB, was an Indian Carnatic singer. He, along with his contemporaries Semmangudi Srinivasa Iyer and Madurai Mani Iyer, are referred to as the 20th century male trinity of Carnatic music. He innovated the art through emphasis on laya control and reducing the gamakas which eventually made Carnatic music appeal to the lay and the learned alike. He was also a Tamil film actor.Ariyakudi Iyengar inspired him.

<span class="mw-page-title-main">Sudha Ragunathan</span> Indian Carnatic classical vocalist

Sudha Ragunathan is an Indian Carnatic vocalist, singer and composer. She was conferred the Kalaimamani award by the Government of Tamil Nadu in 1994, Padma Shri (2004) and Padma Bhushan (2015) by the Government of India, and Sangeetha Kalanidhi by Madras Music Academy in 2013.

Ragam Thanam Pallavi Form of singing in Carnatic music

Ragam Tanam Pallavi (RTP) is a form of singing in Carnatic music which allows the musicians to improvise to a great extent. It is one of the most complete aspects of Indian classical music, demonstrating the entire gamut of talents and the depth of knowledge of the musician. It incorporates raga alapana, tanam, niraval, and kalpanaswara. In more elaborate ragam tanam pallavis, a tani avartanam may follow.

Kalyani is a melakarta raga in the Carnatic music. It was called Kalyan but is now more popularly called Yaman in Hindustani Music. Its Western equivalent is the Lydian mode.

Raga Bageshri or Bageshree is a Hindustani classical raga. It is a popular raga of the late night, which is meant to depict the emotion of a woman waiting for reunion with her lover. It is said to have been first sung by Miyan Tansen, the celebrated court singer of the Emperor Akbar in the sixteenth century.

<span class="mw-page-title-main">Hamsadhvani</span>

Hamsadhvani, is a rāga in Carnatic music. It is an audava rāgam. It is a janya rāga of the Melakartha raga, Sankarabharanam (29th) but according to Hamsadhvani's prayoga or the way it is sung it is said to be the janya of Kalyani (65th).

Amutham Music

Amutham Music is an independent record label based in Nanuet, New York. Founded by Winston Panchacharam in 2000, Amutham specialises in Carnatic music and Indian devotional music.

P. Leela Indian playback singer

Porayathu Leela was an Indian playback singer, Carnatic vocalist and a music director. She has recorded more than 5,000 songs in various Indian languages including Malayalam, Telugu, Tamil, Kannada, Hindi, Bengali, Sanskrit, Odiya, Gujarati, Marati etc. and also Sinhale. She is also known for her extensive history of collaboration in the songs with Music Composers V Dakshinamoorthy., MS Baburaj, G Devarajan, Ghantasala, MS Viswanathan, KRaghavan, Br Lakshmanan, LPR Varma, BA Chithambara athletes, AT Ummer, MK Arjun,Johnson, Ouseppachan, Ilaiyaraja, and with the playback singers KJ Yesudas and Ghantalasa over the years. She is also known mostly for her sweet and melodious voice for which she is fondly called as Ganamani. She was awarded Padma Bhushan in 2006.

<span class="mw-page-title-main">Amritavarshini</span>

Amr̥tavarṣiṇi is a rāgam in Carnatic music, created in the early nineteenth century by Muthuswami Dikshitar. It is an audava rāgam in which only five of the seven swaras are used. It is a janya rāgam, fairly popular in Carnatic music. There is a belief that Amr̥tavarṣiṇi causes rain, and that the Carnatic composer Muthuswami Dikshitar brought rain at Ettayapuram, Tamil Nadu, India by singing his composition, Aanandaamrutakarshini amrutavarshini.

Charulatha Mani Musical artist

Charulatha Mani is an Indian-born Australian Carnatic and playback singer. She has been performing Carnatic concerts since 1999. She has also sung for movies. Charulatha has appeared in numerous TV shows and radio programmes, in India, and overseas. She has recorded many, CD and DVD albums. Her Isai Payanam TV show, aired on Jaya TV, deals with Ragas in Carnatic and film music and has completed more than 80 episodes. She recently received her PhD from the prestigious Queensland Conservatorium Griffith University, Brisbane, Australia, on Hybridising carnatic Music and Early Opera. Charu's music is known for its impeccable adherence to the Karnatik principles. It is also known for being courageous and out there. It is this ongoing interplay, of newness and the vintage, that has become the hallmark of her unique performance philosophy and signature style. This interesting interweave derives from her strong belief that Karnatik music must embrace innovation, inclusivity and diversity in contemporary society.

Radha Jayalakshmi Musical artist

Radha and Jayalakshmi, popularly known as Radha Jayalakshmi, were an Indian Carnatic music vocalist duo as well as playback singers in films in the 1940s and 1950s. They later became teachers and trained notable Carnatic music singers. Jayalakshmi was the playback singer of the duo, but was credited as Radha Jayalakshmi in the cine field. Radha was her cousin and singing partner on stage performances. They were early vocalists in the duo singing trend in Carnatic music which started in the 1950s and includes performers like Bombay Sisters and Soolamangalam Sisters. In recent times, the trend has been continued by popular Carnatic music singers like Priya Sisters, their disciples, Ranjani Gayatri, Akkarai sisters, and others.

S. Kalyanaraman Musical artist

S. Kalyanaraman, popularly known as SKR, was a vocalist in the Carnatic tradition. Hailing from a musical family – his great-grandfather was Komal Muthu Bhagavathar and his grand uncle was vocalist Madirimangalam Natesa Iyer. S. Kalyanaraman became a disciple of G. N. Balasubramaniam and established himself as an original musician.

Nata (raga)

Nata (nāṭa) is a rāgam in Carnatic music. It is a janya rāgam from the 36th melakarta scale Chalanata. It is a janya scale, as it does not have all the seven swaras in the descending scale. It is a combination of the sampurna raga scale Chalanata and the pentatonic scale Gambhiranata. It is an auspicious raga, which is mostly sung in the early part of the concert.


Bahudari is a rāgam in Carnatic music. It is a derived scale, as it does not have all the seven swaras, derived from the 28th Melakarta raga Harikambhoji.

<span class="mw-page-title-main">K Arun Prakash</span>

K. Arun Prakash is a Carnatic Musician, Percussionist, Composer and well known for playing Mridangam, a principal accompanying percussion instrument in South Indian Classical Carnatic Music.


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