Showing posts with label carnatic singers. Show all posts
Showing posts with label carnatic singers. Show all posts
BOMBAY S JAYASHRI
15, Cresent Avenue, Kesavapuram
Chennai 600 028. Tel: +44-42158609
Bombay Jayashri has the uncanny ability to produce a tranquilizing effect on the listeners. Her album titled Salokyam (Hindustani classical) is delightful for the sheer calm it brings to the minds of listeners. She has picked some nice songs.
The album comprises compositions of Mirabai, Jayadeva and a few others. Salokyam is a Sanskrit word. It means the realm of God (Vishnu).
Jayashri has brought her prowess in Hindustani music in this album.
Percussion artistes Mithilesh Kumar Jha and Sai Shravanam have accompanied her on Tabala. In this album, she sings “Jagadeesha Sudheesha” in Hamir Kalyani. It is the right kind of an invocation song with good lyrics “Jagadeesha Sudeesha Bhavesha Vibho,” lavishing it with her melodious voice. One is tempted to rewind the CD to hear it once more.
A composition of Jayadeva’s Astapadi “Ehi Murare” in Rag Natbhairav is rendered with fineness. Senior Hindustani vocalist Lakshmi Shankar is adept at presenting such compositions. This is a Gopika Biraha geetham.They shout to Lord Krishna, when HE is not found anywhere. Jayashri renders this with involvement. She nourishes the kriti with her creative presentation. “Raamam Ghanashyaamam” in Rag Bhagyashree is pleasant and warms the heart as well as the mind.
Bhagyashree, especially, is a soothing raga. Many a classical film song was sung in this raga. Mirabai’s “Gopala Gobinda” in rag Shaam Kalyan is exquisite, with riveting lyrics. Jayashri embellishes this one adequately, giving it an absolute classical touch. Indeed, she takes one down memory lane to Mirabai times with her touching presentation. “Kaatyaaayani Mahaa Bhaage” in raga Durga is full of melody and is pleasing to listen. Kulashekara Perumal’s ( Mukuntha Mala) “Ksheerasaagara Taranga” is tuned in raga Sindhu Bhairavi and sings it ever so gently.
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Chennai 600 028. Tel: +44-42158609
Bombay Jayashri has the uncanny ability to produce a tranquilizing effect on the listeners. Her album titled Salokyam (Hindustani classical) is delightful for the sheer calm it brings to the minds of listeners. She has picked some nice songs.
The album comprises compositions of Mirabai, Jayadeva and a few others. Salokyam is a Sanskrit word. It means the realm of God (Vishnu).
Jayashri has brought her prowess in Hindustani music in this album.
Percussion artistes Mithilesh Kumar Jha and Sai Shravanam have accompanied her on Tabala. In this album, she sings “Jagadeesha Sudheesha” in Hamir Kalyani. It is the right kind of an invocation song with good lyrics “Jagadeesha Sudeesha Bhavesha Vibho,” lavishing it with her melodious voice. One is tempted to rewind the CD to hear it once more.
A composition of Jayadeva’s Astapadi “Ehi Murare” in Rag Natbhairav is rendered with fineness. Senior Hindustani vocalist Lakshmi Shankar is adept at presenting such compositions. This is a Gopika Biraha geetham.They shout to Lord Krishna, when HE is not found anywhere. Jayashri renders this with involvement. She nourishes the kriti with her creative presentation. “Raamam Ghanashyaamam” in Rag Bhagyashree is pleasant and warms the heart as well as the mind.
Bhagyashree, especially, is a soothing raga. Many a classical film song was sung in this raga. Mirabai’s “Gopala Gobinda” in rag Shaam Kalyan is exquisite, with riveting lyrics. Jayashri embellishes this one adequately, giving it an absolute classical touch. Indeed, she takes one down memory lane to Mirabai times with her touching presentation. “Kaatyaaayani Mahaa Bhaage” in raga Durga is full of melody and is pleasing to listen. Kulashekara Perumal’s ( Mukuntha Mala) “Ksheerasaagara Taranga” is tuned in raga Sindhu Bhairavi and sings it ever so gently.
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MADHUP MUDGAL
212 Deen Dayal Upadhyay Marg
New Delhi 110 002, Te: +2323-3791
The distinctive feature of the India International Centre's annual festival, The IIC Experience, is the range it presents in music, dance, theatre, films, exhibitions of books, art and sculpture, et al.
The musical fare offered a sumptuous variety from a jazz concert and Flamenco on the piano to Hindustani vocal, instrumental and Carnatic music concerts.
Madhup Mudgal is an unusual student of the maverick Kumar Gandharva. You would not expect the student of such a master to be anything other than a classical singer. Or can we actually do given Kumar Gandharva's unconventional genius? Whatever the case, Madhup is a classical singer receptive to music also from very different genres — he has done classical singing for the Brazilian samba dance, plays the bass and guitar, conducts choirs and loves qawwalis. All this when the great Kumar Gandharva was still around.
The morning concert of Hindustani music by Madhup Mudgal this past Saturday was specially conceived for morning ragas, which are normally not rendered in the routine evening programmes of music. The sprawling fountain lawns echoed with the serenity of Madhup's meditative Bilaskhani Todi with which he opened his concert.
The tuneful ambiance was created by the accurately tuned tanpuras played by three of his able students in the background. The introductory alapchari was a pencil sketch of the raga, which got detailed treatment in the following bara khayal, a famous bandish (composition) of Sadarang, "Neeke bol" set to slow Teen tala, like a painter putting various shades of colour by his deft brush strokes.
The subsequent chhota khayal "Neeke neeke shobha dekhat" was chosen thoughtfully to match the lyrics of the slow khayal. The lilting gate of the composition had a playful quality in the hide-and-seek of bols and laya around the sam. The main raga concluded with a captivating tarana set to drut Ek tala that had the unmistakable signature of Kumar Gandharva.
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New Delhi 110 002, Te: +2323-3791
The distinctive feature of the India International Centre's annual festival, The IIC Experience, is the range it presents in music, dance, theatre, films, exhibitions of books, art and sculpture, et al.
The musical fare offered a sumptuous variety from a jazz concert and Flamenco on the piano to Hindustani vocal, instrumental and Carnatic music concerts.
Madhup Mudgal is an unusual student of the maverick Kumar Gandharva. You would not expect the student of such a master to be anything other than a classical singer. Or can we actually do given Kumar Gandharva's unconventional genius? Whatever the case, Madhup is a classical singer receptive to music also from very different genres — he has done classical singing for the Brazilian samba dance, plays the bass and guitar, conducts choirs and loves qawwalis. All this when the great Kumar Gandharva was still around.
The morning concert of Hindustani music by Madhup Mudgal this past Saturday was specially conceived for morning ragas, which are normally not rendered in the routine evening programmes of music. The sprawling fountain lawns echoed with the serenity of Madhup's meditative Bilaskhani Todi with which he opened his concert.
The tuneful ambiance was created by the accurately tuned tanpuras played by three of his able students in the background. The introductory alapchari was a pencil sketch of the raga, which got detailed treatment in the following bara khayal, a famous bandish (composition) of Sadarang, "Neeke bol" set to slow Teen tala, like a painter putting various shades of colour by his deft brush strokes.
The subsequent chhota khayal "Neeke neeke shobha dekhat" was chosen thoughtfully to match the lyrics of the slow khayal. The lilting gate of the composition had a playful quality in the hide-and-seek of bols and laya around the sam. The main raga concluded with a captivating tarana set to drut Ek tala that had the unmistakable signature of Kumar Gandharva.
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GANGUBAI HANGAL
9160/18, Deshpande Nagar, Hubli
Dharwar, Karnataka 580 020.
Take Gangubai Hangal, in her 90s and ailing, who took the gayaki of the famed Kirana gharana to great heights. After the death of her daughter Krishna Hangal, there is no musical successor in sight. Her unique musical tradition, perfected through years of rigorous riyaaz, could be lost forever.
A woman of extraordinary talent and courage, Gangubai Hangal has kept her place in the male-dominated world of Hindustani music for almost a century, writes LAKSHMI VISWANATHAN.
ON March 5, Gangubai Hangal, the renowned Hindustani vocalist, celebrated her 93rd birthday. A news item informed her rasikas that her grandson planned to open a cultural centre, designating the Hangal home as a museum for music as a tribute to this grand lady.
Gangubai is one of the four Kannadiga celebrities of Hindustani music. The others are Mallikarjun Mansur, Kumar Gandharva and Bhimsen Joshi. She may not have a high profile like the men in this pantheon. Nevertheless she has held her own and has dedicated her life to the arduous cultivation of her style of expression. Her followers know her emotional involvement with music and appreciate her personal commitment to creative endeavour.
These qualities have earned her a pride of place among the great musicians of our time. She always did justice to the Khayal in all its intricacy, taking her time over the alaap in slow tempo, and thundering her way through the fast swaras. She gave new dimensions to raga Khamaj. Durbari Kanada, which Gangubai usually began in the lower octaves, was also a raga suited to her majestic style.
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Dharwar, Karnataka 580 020.
Take Gangubai Hangal, in her 90s and ailing, who took the gayaki of the famed Kirana gharana to great heights. After the death of her daughter Krishna Hangal, there is no musical successor in sight. Her unique musical tradition, perfected through years of rigorous riyaaz, could be lost forever.
A woman of extraordinary talent and courage, Gangubai Hangal has kept her place in the male-dominated world of Hindustani music for almost a century, writes LAKSHMI VISWANATHAN.
ON March 5, Gangubai Hangal, the renowned Hindustani vocalist, celebrated her 93rd birthday. A news item informed her rasikas that her grandson planned to open a cultural centre, designating the Hangal home as a museum for music as a tribute to this grand lady.
Gangubai is one of the four Kannadiga celebrities of Hindustani music. The others are Mallikarjun Mansur, Kumar Gandharva and Bhimsen Joshi. She may not have a high profile like the men in this pantheon. Nevertheless she has held her own and has dedicated her life to the arduous cultivation of her style of expression. Her followers know her emotional involvement with music and appreciate her personal commitment to creative endeavour.
These qualities have earned her a pride of place among the great musicians of our time. She always did justice to the Khayal in all its intricacy, taking her time over the alaap in slow tempo, and thundering her way through the fast swaras. She gave new dimensions to raga Khamaj. Durbari Kanada, which Gangubai usually began in the lower octaves, was also a raga suited to her majestic style.
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BHIMSEN G JOSHI
Kalashree, 36, Lakshmi Colony
Pune 411 030.
Bhimsen Joshi, who is riding the crest of popularity and has ridden it for the last several years, is a musical marvel. His singing invariably provides listeners with a divine musical ex- perinea. Many of his rivals admit, though unwillingly, that today there is no other vocalist comparable to him in the entire nation.
Bhimsen, who is now in his 60s, has attained proficiency and fame that astound the musical world. His voice, like that legendary philosopher's stone, turns every note into a golden one. Billions of notes that have received the golden touch of his voice have been freely showered by him on the teeming millions of his fans. His unswerving faith in an intense devo- tion to his guru have been his keys to success.
Tansen of today — this is how he is regarded by his conptemporaries. Pandit ji is considered as one of the very best singers alive today. From the very beginning of his career he has been very popular, and today without doubt holds the throne as the king of Hindustanti classical singing.
Pandit Bhimsen Joshi, acknowledged as the leading light of the Kirana gharana, drives his audience to a divine musical experience through his mystic and magnificent songs. Bhimsen, the musical legend who is riding the crest of popularity for the last several years is rightly acclaimed as the 'Raga Maestro', for the unbelievable flexibility of voice and sonorous knowledge in 'Ragas'. Pandit Bhimsen Joshi is the numero uno among Hindustani classical vocalists. His unique style and mastery over ragas gained him the applause even from rivals. Joshi is the most prominent Hindustani vocalist living today. He stands undefeated and incomparable in Indian musical world.
Bhimsen Joshi never looked back. He absorbed raga after raga, imbibing all the best of Kirana Gharana. He also learnt from other gayaki styles. In one of his early concerts, a well known singer of another gharana said 'I came to see how much you have stolen from us'. He quickly became one of the most sought after concert artists. The intensity he brought to his performances made him the most popular vocalist in India.
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Pune 411 030.
Bhimsen Joshi, who is riding the crest of popularity and has ridden it for the last several years, is a musical marvel. His singing invariably provides listeners with a divine musical ex- perinea. Many of his rivals admit, though unwillingly, that today there is no other vocalist comparable to him in the entire nation.
Bhimsen, who is now in his 60s, has attained proficiency and fame that astound the musical world. His voice, like that legendary philosopher's stone, turns every note into a golden one. Billions of notes that have received the golden touch of his voice have been freely showered by him on the teeming millions of his fans. His unswerving faith in an intense devo- tion to his guru have been his keys to success.
Tansen of today — this is how he is regarded by his conptemporaries. Pandit ji is considered as one of the very best singers alive today. From the very beginning of his career he has been very popular, and today without doubt holds the throne as the king of Hindustanti classical singing.
Pandit Bhimsen Joshi, acknowledged as the leading light of the Kirana gharana, drives his audience to a divine musical experience through his mystic and magnificent songs. Bhimsen, the musical legend who is riding the crest of popularity for the last several years is rightly acclaimed as the 'Raga Maestro', for the unbelievable flexibility of voice and sonorous knowledge in 'Ragas'. Pandit Bhimsen Joshi is the numero uno among Hindustani classical vocalists. His unique style and mastery over ragas gained him the applause even from rivals. Joshi is the most prominent Hindustani vocalist living today. He stands undefeated and incomparable in Indian musical world.
Bhimsen Joshi never looked back. He absorbed raga after raga, imbibing all the best of Kirana Gharana. He also learnt from other gayaki styles. In one of his early concerts, a well known singer of another gharana said 'I came to see how much you have stolen from us'. He quickly became one of the most sought after concert artists. The intensity he brought to his performances made him the most popular vocalist in India.
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KJ Yesudas
36, 4th Cross Road, Valmiki Nagar,
Chennai 600 072. Tel: +44-24994843
kj yesudas is one of the popular carnatic music singer, his voice is like honey, he is a disciple of chemba baagavadar. Talking to The Hindu en route to Mookambika, Yesudas said his mission was to continue singing in praise of `Guruvayurappan.' "Experiencing the divine bliss of music and sharing it with millions of devotees who use it as a means of communion with the Almighty is perhaps my greatest achievement. I am trying to attain a state of contentment so that I can experience the presence of the Lord anywhere.
yesudas has sung so many cine songs in tamil, malayalam and he has also sung many devotional songs of the lord iyappa. While expressing his heartfelt gratitude to the efforts of Mr. Sudhakaran, Yesudas feels the Government need not frame legislation exclusively for him. "I and my family are thankful to the Minister. But a situation should evolve on its own when temple doors will open for all those who have boundless devotion for the Lord.
one of yesudas most beautiful song is arivarasanam sung for lord iyappa. The developments also reminded Yesudas of the last birthday of his guru, Chembai Vaidyanatha Bhagavathar, and the concert the duo gave before the Parthasarathy temple in Guruvayur. "During Ekadesi, my guru used to visit Guruvayur, offer pujas and render a concert as an offering. Since I was forced to keep off the confines of the temple, he too decided to stay out and we sang together before the Parthasarathy temple.
Jesudas remains faithful to Guru's words to this day and talks about it wherever possible. The Divine Grace of Guruvayurappan can be felt in no small measure here, too, he had said. Though I had said that my guru himself was the embodiment of the Lord, I was really pained, and that sorrow haunts me even now. But for me, my guru could have sung at the temple," Yesudas reminisced.
THIRUVANANTHAPURAM: Veteran singer K.J. Yesudas remains dispassionate to the renewed efforts by Devaswom Minister G. Sudhakaran who has written to Guruvayur Devaswom Board chairman Thottathil Ravindran, seeking entry for Yesudas to the Guruvayur Sree Krishna Temple.
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Chennai 600 072. Tel: +44-24994843
kj yesudas is one of the popular carnatic music singer, his voice is like honey, he is a disciple of chemba baagavadar. Talking to The Hindu en route to Mookambika, Yesudas said his mission was to continue singing in praise of `Guruvayurappan.' "Experiencing the divine bliss of music and sharing it with millions of devotees who use it as a means of communion with the Almighty is perhaps my greatest achievement. I am trying to attain a state of contentment so that I can experience the presence of the Lord anywhere.
yesudas has sung so many cine songs in tamil, malayalam and he has also sung many devotional songs of the lord iyappa. While expressing his heartfelt gratitude to the efforts of Mr. Sudhakaran, Yesudas feels the Government need not frame legislation exclusively for him. "I and my family are thankful to the Minister. But a situation should evolve on its own when temple doors will open for all those who have boundless devotion for the Lord.
one of yesudas most beautiful song is arivarasanam sung for lord iyappa. The developments also reminded Yesudas of the last birthday of his guru, Chembai Vaidyanatha Bhagavathar, and the concert the duo gave before the Parthasarathy temple in Guruvayur. "During Ekadesi, my guru used to visit Guruvayur, offer pujas and render a concert as an offering. Since I was forced to keep off the confines of the temple, he too decided to stay out and we sang together before the Parthasarathy temple.
Jesudas remains faithful to Guru's words to this day and talks about it wherever possible. The Divine Grace of Guruvayurappan can be felt in no small measure here, too, he had said. Though I had said that my guru himself was the embodiment of the Lord, I was really pained, and that sorrow haunts me even now. But for me, my guru could have sung at the temple," Yesudas reminisced.
THIRUVANANTHAPURAM: Veteran singer K.J. Yesudas remains dispassionate to the renewed efforts by Devaswom Minister G. Sudhakaran who has written to Guruvayur Devaswom Board chairman Thottathil Ravindran, seeking entry for Yesudas to the Guruvayur Sree Krishna Temple.
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TK Govinda Rao
17, 11th Street, Indira Nagar,
Chennai 600 020. Tel: +44-24413589
Sangitha Kalanidhi T.K.Govinda Rao is a musician's musician and a musicologist. He trained extensively under Musiri Subramania Iyer for about 15 years-- a period he recalls with fondness and gratitude as a 'great boon' in his musical life-- and also under Tirupambaram Sri Swaminatha Pillai, and Brindamma. He is known for his sahitya shuddham, laya gnyaanam and bhaava-pradhaana neraval singing.
He has also had a parallel career working at the Madras Music College as a teacher, at AIR Chennai as a Producer and at AIR Delhi as Chief Producer. He is a veteran teacher and has trained a number of students. His books on the compositions of the Trinity and other Carnatic composers are extremely well regarded. The Carnatic music community eagerly looks forward to his upcoming book, "Varnamanjari", a collection of 400 Tana, Pada, Chauka and Daru Varnams in different Talas.
Veteran musician Shri T K Govinda Rao performed at HTCC Bothell on September 8, 2007. The accompanists were Nishanth Chandran on the violin, Shriram Bhramanandam on the mridangam and Ravi Balasubramanian on the ghatam.
The concert started with the popular varnam (Ninnu kori) in Mohanam. It was amazing to hear Shri Govinda Rao render the pallavi, anupallavi and chittaiswaram in 5 speeds including tisram and mel-tisram! It demonstrated his innate mastery over layam and was flawlessly executed.
Before a detailed alaapana of Kambhoji, Shri TKG presented another rare krithi-- "Ananda saagara", a Thyagaraga composition with a beautiful chittaiswaram, in the ragam Garudadhwani. The krithi chosen for Kambhoji was the Dikshitar masterpiece, "Shree subramanyaya namaste". While I was expecting this to be the main piece of the concert, the song was not elaborated with any neraval or swaras. He then presented "Nagumomu" in Abheri ( immortalized by his guru Musiri Subramanya Iyer) after a short alapana. I was a bit disappointed in not hearing a neraval for "jagamella paramatma", but I understand the artists had to comply with time constraints and close in time for the temple pooja. The concert ended with a Ragamalika piece of Purandaradasar and a Thillana.
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Chennai 600 020. Tel: +44-24413589
Sangitha Kalanidhi T.K.Govinda Rao is a musician's musician and a musicologist. He trained extensively under Musiri Subramania Iyer for about 15 years-- a period he recalls with fondness and gratitude as a 'great boon' in his musical life-- and also under Tirupambaram Sri Swaminatha Pillai, and Brindamma. He is known for his sahitya shuddham, laya gnyaanam and bhaava-pradhaana neraval singing.
He has also had a parallel career working at the Madras Music College as a teacher, at AIR Chennai as a Producer and at AIR Delhi as Chief Producer. He is a veteran teacher and has trained a number of students. His books on the compositions of the Trinity and other Carnatic composers are extremely well regarded. The Carnatic music community eagerly looks forward to his upcoming book, "Varnamanjari", a collection of 400 Tana, Pada, Chauka and Daru Varnams in different Talas.
Veteran musician Shri T K Govinda Rao performed at HTCC Bothell on September 8, 2007. The accompanists were Nishanth Chandran on the violin, Shriram Bhramanandam on the mridangam and Ravi Balasubramanian on the ghatam.
The concert started with the popular varnam (Ninnu kori) in Mohanam. It was amazing to hear Shri Govinda Rao render the pallavi, anupallavi and chittaiswaram in 5 speeds including tisram and mel-tisram! It demonstrated his innate mastery over layam and was flawlessly executed.
Before a detailed alaapana of Kambhoji, Shri TKG presented another rare krithi-- "Ananda saagara", a Thyagaraga composition with a beautiful chittaiswaram, in the ragam Garudadhwani. The krithi chosen for Kambhoji was the Dikshitar masterpiece, "Shree subramanyaya namaste". While I was expecting this to be the main piece of the concert, the song was not elaborated with any neraval or swaras. He then presented "Nagumomu" in Abheri ( immortalized by his guru Musiri Subramanya Iyer) after a short alapana. I was a bit disappointed in not hearing a neraval for "jagamella paramatma", but I understand the artists had to comply with time constraints and close in time for the temple pooja. The concert ended with a Ragamalika piece of Purandaradasar and a Thillana.
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M Balamurali Krishna
Balamurali Krishna
3, Kanakasri Nagar, Chennai 600 086.
Tel: 00-91-(0)-44-28110192
M. BALAMURALI KRISHNA, an icon of durability, has held his head high in the ever demanding, swirling, deep waters of the ocean of South Indian music, due to several attributes. In spite of advancing years, the amazing power, fluency and range of the vocal chords, the superb breath control, stellar enunciation and the extraordinary ability to communicate with the audience, bring a touch of the grandiose to his performing calibre.
His concert for the Vijay TV music festival, comprised four songs, three compositions of his own, and an utsava samprayada kriti of Tyagaraja, "Nagumomu" in Madhyamavati.
"Pari pari nee padhame" in Hamsadhvani with Swarakshara poruthams aplenty, and the ingenious permutations and combinations in the kalpanaswaras proved the statement that winners do not do different things, they do things differently
It was a very welcome alapana of Karaharapriya that made the evening for the audience. Strictly conforming to the treasured traditional prayogas of the raga, Balamurali created an environment of outstanding classical excellence.
"Unnai ninaindurugayile" with an unusual structure, in praise of Lord Muruga, the easy swara flow, and the Rishabha Kuraippu with the singer's individual brilliance coming to the fore, were effulgent attempts that left the rasikas enchanted. Raghavendra Rao the violinist has a commendable musical head on his shoulders, and his Karaharapriya expansion and the answering swara statements showed that he is knocking on the doors of recognition assertively.
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3, Kanakasri Nagar, Chennai 600 086.
Tel: 00-91-(0)-44-28110192
M. BALAMURALI KRISHNA, an icon of durability, has held his head high in the ever demanding, swirling, deep waters of the ocean of South Indian music, due to several attributes. In spite of advancing years, the amazing power, fluency and range of the vocal chords, the superb breath control, stellar enunciation and the extraordinary ability to communicate with the audience, bring a touch of the grandiose to his performing calibre.
His concert for the Vijay TV music festival, comprised four songs, three compositions of his own, and an utsava samprayada kriti of Tyagaraja, "Nagumomu" in Madhyamavati.
"Pari pari nee padhame" in Hamsadhvani with Swarakshara poruthams aplenty, and the ingenious permutations and combinations in the kalpanaswaras proved the statement that winners do not do different things, they do things differently
It was a very welcome alapana of Karaharapriya that made the evening for the audience. Strictly conforming to the treasured traditional prayogas of the raga, Balamurali created an environment of outstanding classical excellence.
"Unnai ninaindurugayile" with an unusual structure, in praise of Lord Muruga, the easy swara flow, and the Rishabha Kuraippu with the singer's individual brilliance coming to the fore, were effulgent attempts that left the rasikas enchanted. Raghavendra Rao the violinist has a commendable musical head on his shoulders, and his Karaharapriya expansion and the answering swara statements showed that he is knocking on the doors of recognition assertively.
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DK PATTAMMAL
DK Pattammal50, Gandhi Mandapam RoadKotturpuram, Chennai 600 085.
By breaking barriers, D. K. Pattammal emerged a pioneer in the field of Carnatic music, dominated by men. Damal Krishnaswamy Pattammal, is the member of what is known as 'Female Trinity of Carnatic Music', with M S Subbalakshmi and M L Vasanthakumari as the other members.
Born on March 2, 1919 to Damal Krishnaswamy Dikshitar and Rajamal, in the temple town of Kancheepuram, the young Patta was considered a uniquely gifted child. Her career is unique in the sense that her foundations were not structured by a formal music tuition, learning 'Sarala Varisai', 'Janata Varisai', Geetham and Varnam, step by step.
Her talent flowered even as she learned to sing slokas at home from her music loving father and avidly listened to the musicians who came and performed at Kancheepuram. She received tuition from a Telugu Vaadhyar who volunteered to give her music lessons.
It was the recognition and support from her school headmistress Ammakutti Ammal that enabled Pattammal to appear for a government examination in music conducted at Madras even before she reached her teens. Though such stalwarts as Prof. Sambamurthy, Tiger Varadacharya and Sri Ambi Dikshitar were examiners, Pattammal was reportedly not in the least nervous in singing "Sri Subramanyaya Namaste" in Kambhoji and "Naa Jeeva Dhara" in Bilahari. Her performance resulted in an offer by one of the examiners, Sri Ambi Dikshitar, a scion of the Muthuswamy Dikshitar family, to give her instructions.
But, after some initial lessons, she had to return to Kancheepuram. Pattammal had also attended the summer school for music run by Prof. Sambamurthy and she even participated in a few variety programmes given by the summer school. When she was 14, she gave her first public performance at the Mahila Samaj in Egmore and won acclaim. She moved to Madras in 1933 to become a regular performer in the concert circuits.
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By breaking barriers, D. K. Pattammal emerged a pioneer in the field of Carnatic music, dominated by men. Damal Krishnaswamy Pattammal, is the member of what is known as 'Female Trinity of Carnatic Music', with M S Subbalakshmi and M L Vasanthakumari as the other members.
Born on March 2, 1919 to Damal Krishnaswamy Dikshitar and Rajamal, in the temple town of Kancheepuram, the young Patta was considered a uniquely gifted child. Her career is unique in the sense that her foundations were not structured by a formal music tuition, learning 'Sarala Varisai', 'Janata Varisai', Geetham and Varnam, step by step.
Her talent flowered even as she learned to sing slokas at home from her music loving father and avidly listened to the musicians who came and performed at Kancheepuram. She received tuition from a Telugu Vaadhyar who volunteered to give her music lessons.
It was the recognition and support from her school headmistress Ammakutti Ammal that enabled Pattammal to appear for a government examination in music conducted at Madras even before she reached her teens. Though such stalwarts as Prof. Sambamurthy, Tiger Varadacharya and Sri Ambi Dikshitar were examiners, Pattammal was reportedly not in the least nervous in singing "Sri Subramanyaya Namaste" in Kambhoji and "Naa Jeeva Dhara" in Bilahari. Her performance resulted in an offer by one of the examiners, Sri Ambi Dikshitar, a scion of the Muthuswamy Dikshitar family, to give her instructions.
But, after some initial lessons, she had to return to Kancheepuram. Pattammal had also attended the summer school for music run by Prof. Sambamurthy and she even participated in a few variety programmes given by the summer school. When she was 14, she gave her first public performance at the Mahila Samaj in Egmore and won acclaim. She moved to Madras in 1933 to become a regular performer in the concert circuits.
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