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There had been enough advancement seen in the musical

arena in the post Papanasam Sivan’s age and many new composers

sprouted and sparkled as stalwarts who not only popularised Sivan’s

compositions but also created new ragas and compositions in their

respective styles to suit the evolving situation of the society and

rasikas. The following are some of the well known composers who

enriched the music field with their compositions.

Dandapani Desikar

Dandapani Desikar was born on August 27, 1908 in

Tiruchengattangudi, near Nannilam. He was the son of Muthiah

Desikar. He studied at the Pial school at Poovanur. He had his initial

training in Tevaram and music from his father Muthaiah Desikar.

Later, he got further guidance from Manikka Desikar, Sattayappa

Nayanakarar and the renowned violinist Kumbakonam

Rajamanikkam Pillai.

Dandapani Desikar was a supremo for decades in the field of

devotional Tamil songs and dominated several fields of activities like

singing of Tamil devotional songs, teaching, films, etc. He enjoyed a

rich, absorbing voice and style best suited for Tamil devotional

pieces and he appeared just when Tamil Isai also was in its stride.

He was very popular and widely respected for his attainments,

musical compositions and contribution to the spread of Tamil music.

He composed only in Tamil. Endowed with a rich voice that could

traverse all the octaves with ease, Dandapani Desikar was a much

sought after musician. He specialised in Tamil kritis and also starred

in several films like ‘Nandanar’, ‘Tirumazhisai Azhwar’, ‘Vallala

Maharajan’, ‘Pattinattar’ and so on. At the age of 18, he was

teacher at the ‘Okkur Lakshmanan Chettiar Tevara Patasala’

for ten years.

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As a professor and the Head of the Department of Music,

Annamalai University for fifteen years, he published the works of -

Bharati, Padinalvar and several Tevarams, Divya Prabandhams and

Tiruppugazhs in a book entitled ‘Isai Tamizh Paamalai’. This book

also includes his compositions which reveal his command over

music and the language. His chaste pronunciation, sweet voice and

steady tempo, spiritual and devotional songs and devout rendition

helped him and the films in gaining high popularity.

Some of his popular compositions are:

Jagajjanani (Ratipatipriya)

Yaanaimugattone (Devamanohari),

Ennai neemaravade (Amritavarshini) etc

Unnai anri utra tunai ulagil yarayya (Bhavani)

Arula vendum taye angayarkkanni niye (Saramati)

Kalaimagale (Saraswati)

Velanai nee (Andolika)

Paadavendume (Hamsanadam)

PERIYASAAMI THOORAN

Periyasaami Thooran (September 26, 1908 – January 20,

1987) was a patriot, Tamil poet, teacher, and a composer of

Carnatic music. Periyasami Thooran was born to K.A. Palanivelappa

Gounder and Paavaathal at Manjakattuvalasu near Modakurichi in

the Erode district of India. He was greatly influenced and inspired

by Mahakavi Subramania Bharathiyar and Mahatma Gandhi. As a

student in college he published a monthly magazine called 'Pithan'

which was printed by his contemporary K.M.Ramasami Gounder in

Gopichettipalayam in the beginning and also wrote poems and short

stories. It was at this time that he began writing under the pen

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name 'Thooran' as 'Pithan' featured anti British occupation

literature. He declined to sit for the final Bachelor of Arts

examination shocked by the execution by the British of Bhagat

Singh. Thooran gained his B.A. (Mathematics with a Minor in

Astronomy) and L.T. (Licentiate in Teaching) later. Thooran's

background in Science was to later help him complete the Tamil

Encyclopedia project as he was thoroughly convinced that Science

and Technology was an integral part of language.

A prolific writer, Periyasaami Thooran has composed over six

hundred songs on national, spiritual and moral issues. He wrote 'a

poem a day' for several years after his daily poojas. He became

popular and the melody queens N. C. Vasanthakokilam and D. K.

Pattammal always included his works in their concerts. A man with

noble ideals, Thooran is an acknowledged poet and composer.

Analogous to Tyagaraja's 'Santhamulekha, Soukyamuledhu' (set

to Sama Rāgam), Thooran's 'Santhamillamal sukham undo?'

(Nattaikurinji) stresses that there is no joy without patience and no

contentment amidst worries. Deep philosophical truths lay hidden in

his simple devotional songs. Musical aesthetics and bhava find

abundant evidence in his compositions.

While he was not a musician, he had profound poetic talents.

Like Arunachala Kavirayar, he had to seek outside help to set his

lyrics to music. Sivaramakrishna Iyer ( born in 1913 in Mavelikara,

Kerala and had joined Sri Ramakrishna Vidyalaya as music teacher

in 1937) was his guru and choreographer. Thooran also availed the

services of senior musicians and widvans like K. V. Narayanaswamy,

T.K. Govinda Rao and T. V. Sankaranarayanan.

Tiger Varadachariar, Musiri Subramania Iyer and Semmangudi

Srinivasa Iyer are three of the eminent musicians who have spoken

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highly of his compositions. His popular compositions include

‘Gananaathane’ (Saranga), ‘Kaliyuga Varadhan’ (Brindavana

Saranga), ‘Muralidhara Gopala’ (Maand), ‘Muruga Muruga’

(Saveri), ‘Pazhani Nindra’ (Kapi), ‘Punniyam Oru’ (Keeravani)

and ‘Thaye Thripurasundhari’ (Shuddha Saveri).

His songs were published in five volumes entitled 'Isai Mani

Manjari'. Other publications include 'Thooran Stories' (1962),

'Nalla Nalla Paattu' (1965), 'Call of the Wild' and 'Bharati' for

children, some of which were purchased by Tamil Isai Sangam.

He was Chief Editor from 1948 to 1978 of the Tamil

Encyclopaedia which ran to ten volumes. The credit for bringing out

the first-ever Children's Encyclopaedia in Tamil in ten volumes goes

to him.

G.N.Balasubramaniam

G. N. Balasubramaniam (6 Jan 1910 - 1 May 1965),

popularly known as GNB, was a legendary vocalist in the Carnatic

tradition. He was born in a small Village called Gudalur near

Mayavaram in Tanjore. He was the son of G. V. Narayanaswamy

Iyer, who was a keen student of music. Throughout his younger

years, he observed with utmost attention the techniques of the

musicians of his day. Ariyakudi Ramanuja Iyengar became his

manasika guru and inspiration.

He became the first celebrity of Carnatic music, innovating the

art through emphasis on laya control & reducing the gamakas which

eventually made Carnatic music appeal to the lay and the learned

alike.

Though G.N.Balasubramanyams music is often fast pace and

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rich with swara prastharas, he has also rendered numerous

compositions in strictly in the 2nd kala and not letting speed

destroy the lyrical beauty of Carnatic compositions.

He composed over 250 compositions with rich prose and

musical weight in Sanskrit, Tamil and Telugu. Most of his

compositions are on Sri Rajeswari, his Ista Devata, though there

are a few songs on Lord Ganesha, Saraswati, Sastha and Krishna.

In addition to the kritis in well known ragas like Kalyani,

Simhendramadyamam, Shanmukhapriya, Purvikalyani, Kambhoji,

Todi etc. GNB has created fine sahityas in ragas like

‘Chayatarangini’, ‘Chenchukambhoji’, ‘Malavi’, etc. On the

rhythmic side, the compositions are set to varying talas like – Adi

(including one or two compositions in Tisra nadai), Rupakam, Misra

Chapu, Misra jampa, Khanda triputa etc. there is a varnam in Ata

talam as well.

In many of his compositions GNB has incorporated the

prosodical beauties. He is the only composer who has maintained

the Dvitiyakshara Prasam in Anuprasam. For example in the song

‘Saama gaana lolane’ in the raga ‘Hindolam’ he has beautifully

maintained the Anuprasam and Dvitiyakshara Prasam throughout

the composition.

Pallavi

Saama gaana lole

Salalita guna jaale

Anupallavi

soma bimba vadane ni-

seema mahima charane

saamaja mrudu gamane

kaama daana nipune

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Charanam

Kamalaanga kaameswara

Vaama baaga sadane

Naama bhajita sadhu jana

Taamasaadi guna kalpita

Taapatraya samane

Tema dayaa rasa poorita

Daama kamala nayane

G.N.Balasubramanian created new ragas like ‘Amrutabehag’,

‘Shivashakti’, ‘Chandrahasitam’, ‘Samakadambari’,

‘Chayaranjani’, ‘Sarangatarangini’ and composed kritis in them.

He did not use any Mudra or signature in his compositions. He

taught a number of students during his active years. Most famous

among them are M. L. Vasanthakumari, Radha Jayalakshmi,

Thanjavur S. Kalyanaraman, Trichur V. Ramachandran, T. R. Balu,

T.S.Balasubramanian etc. GNB worked as the Deputy Chief Producer

of Carnatic Music, in A.I.R Chennai for a number of years.

Film offers flocked to GNB for his charismatic looks and

musicaltalent. He acted in films, including ‘Bhama Vijayam’,

‘Sakunthala’ (with Vasundhara Devi, mother of Vijayanthimala),

and ‘Rukmangada’. In "Sakunthalai", he appeared as

‘Dushyantha’, alongside the vocalist M.S. Subbulakshmi. M.S.

Subbulakshmi was fascinated by his music and embraced his style

completely in her early years as mentioned in the book “M S - A

Life in Music” by TJS George. After a short stint in the film

industry, GNB returned to the Carnatic music fraternity, due to the

overwhelming demand for his performances till his demise in 1965.

Some of his compositions are as follows :

Karimukha varada – Nattai

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Saraswati Namostute – Saraswati

Nee Padame gati Nalinakaanti – Nalinakanthi

Ranjani Niranjani – Ranjani

Nee allal ini yaar enai kaapaar – Kanada

Sadaa paalaya – Mohanam

Ninnu vina – Maalavi

Kamalaasani Sundari – Kalyani

Gativeramma -Bhairavi

Ambujam Krishna

Smt Ambujam Krishna was born on 21st May 1917 as the

daughter of KV Ranga Iyengar, a leading advocate of Madurai. She

learnt music under the tutelage of Karaikkudi Ganesan and Ganesa

Bhagavatar.

In August 1951, she happened to visit the Samadhi of

Tyagaraja at Tiruvayyaru and while there became inspired to

compose songs. Her first kriti was “Unnai allal” on Goddess

Meenakshi, patron Goddess of her own home town. An extremely

pious individual and an ardent lover of the arts, she composed in

Sanskrit, Tamil, Telugu and Manipravaalam (two or more different

languages in the same song). Her songs are noted for their

imagination, chaste language, clarity of thought and inspired

spontaneity.

Her songs are noted for their imagination, chaste language,

clarity of thought and inspired spontaneity. Her output has been

published in four volumes under the title "Geetamala". The songs

are not the result of planned execution but are rather a

spontaneous outpouring of divine inspiration. Her approximately

600 songs have been set to tunes by many well-known vidwans like

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T.N.Seshagopalan, V.V.Sadagopan, Dr.S.Ramanthan, Madurai

N.Krishnan, K.R.Kedaranathan, Semmangudi Srinivasa Iyer, R

Vedavalli, Ananthalakshmi Sadagopan and others who have brought

out the bhava of the songs beautifully.

Ambujam Krishna has also composed “Radha Madhavam”

and “Krishna Leela Madhuryam”, two operas for which music was

set by KR Kedaranathan. Leading a life of simplicity, she devoted

her time to composing and her songs were compiled and released in

four volumes titled “The Gitamala”. Several songs still exist in

manuscript form. Ambujam Krishna passed away on 20th October

1989.

Some of her well known compositions are as follows:

1. Andaal kalyaanam - Ragamaalika

2. Gaana mazhai - Ragamaalika

3. Guruvaayoor appane - Reeti gowla

4. Kaanbadeppo – Bilahari

5. Kannaa vaa - Ragamaalika

6. Maargam Kaattiduvaai - Hindolam

7. Ododi vanden kannaa - Dharmavati

8. Om namo Narayana - Karnaranjani

9. Punnagai ondre - Hamsanandi

10. Varuga varugave - Mohanam

Tanjavur Sankara Iyer

Tanjavur Sankara Iyer was born on January 14th, 1924 in

Togamarai, Trichy District to Venkatesa Iyer and Kuppalu Ammal.

Shankara Iyer had his training in music under his musician-

grandfather, Krishna Iyer for ten years. Later he joined the

Ramanathan College of Music, Annamalai University and got the

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‘Sangeeta Bhushanam’ diploma. At the college, he had the benefit

of training under stalwarts like Tiger Varadachari and Sattur Krishna

Iyengar. He was the Principal of Tamil Isai College, Devakottai and

a professor at Carnatic Music College, Madras and Shanmukhanada

Sabha Music School, Bombay.

Sankara Iyer composed his compositions in Tamil, Telugu and

in Saskrit. His compositions, though not very large in number,

reflect a simple style, replete with the essence of music. No wonder

that they appeal both to the layman and the connoisseur! He has

composed various musical forms like Varnams, Kritis, Padams,

Javalis etc. Many of0 his compositions are extremely popular both

among musicians and dancers. ‘Ramanama’ (Desh) was his first

and inscribed his name in the list of memorable composers. He was

a highly respected Vaggeyakkara, who was also a concert artiste

and a much loved teacher. He earned a ‘Certificate of Merit’ from

the Madras Music Academy, ‘Kalaimaamani’ from the government

of Tamil Nadu, ‘Sangeeta Ratnakara’ from the Cleveland

Tyagaraja Aradhana, and ‘Sangeeta Kala Acharya’ from the Music

Academy. Some of his renowned disciples include T.V.

Sankaranarayanan, Chitravina N Ravikiran, and Neyveli

Santhanagopalan, in addition to numerous students of the

Sangeetha Vidyalaya of the Shanmukhananda Sabha in Mumbai.

Some of his popular compositions are:

Ranjanimala (Ragamalika)

Ramanama (Desh)

Manadirkuhandadu (Sindhubhairavi)

Muruga (Harikambhoji) etc.

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T.R.SUBRAMANYAM

Originally hailing from Tiruvidamarudur (Tanjore District),

Shri T.R.Subramanyam (T.R.S) lived all his formative years as a

domicile in Tirunelveli, where his grandfather was a government

pleader and official receiver. TRS’s father late Shri T.S.Rajagopala

Iyer was an ardent lover of music and a connoisseur who was a

close friend to all the leading musicians of those days. Sri TRS had

thus the privilege of moving with giants in the field even as a child.

The precocity found in the boy TRS encouraged the parents to

put him in formal coaching in music along with his elder sister Smt

Radha Subramanyam under the famous local famous Gurus of those

days. It was late Sri Sivarama Iyer (disciple of Sri Poochi Srinivasa

Iyengar) at Mayavaram and Sri A.D. Rajagopala Iyer of

Muthuswami Dikshitar Sishya parampara, at Tirunelveli and later

from Perungulam Gavai Seetharama Bhagavatar. With all the large

exposure TRS had from leading lights of those days, consolidated

love for music got instilled in the boy’s mind only after listening to

the electrifying music of late Sri G.N.B. whom many youngsters

adored nay, idolised in those days. The deep devotion to the GNB’s

music was perhaps the main reason why TRS’s voice settled down

as fit for the GNB style of singing, after the usual struggle of

adolescence.

It was Sri Semmangudi Srinivasa Iyer and Sri Musiri

Subramanya Iyer who convinced TRS’s father to admit him in the

Govt. College of Karnatic Muisc, Madras. Keeping higher university

education aside under the illuminating guidance of Sri Musiri

Subramanya Iyer, Smt.T.Brinda and Karaikudi Sri Muthu Iyer, TRS’s

musical perspectives got consolidated.

Continuous stay in Andhra Pradesh made T.R.Subramanyam

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acquire considerable fluency in Telugu language. It became

impossible for him to sing even a single line of music without

knowing the meaning and message thoroughly. His pronunciation

and correctness of sahityam earned him a special place among

performers not only in Andhra Pradesh but in other states too. By

now TRS had attained the status of a musician of national fame. In

the meanwhile, TRS had an offer to serve his Alma Mater, the

Central College of Karnatic Music, for a short period as lecturer in

vocal music. Then came the opening at Delhi University where TRS

was selected.

In addition to the University, TRS developed a Karnatic music

wing in Gandharva Maha Vidhyalaya, Delhi (Deemed University)

also and the majority of well-known young artists in the field today

obtained their degrees / diplomas from that reputed institution.

TRS brought a new meaning to the art of Pallavi singing. He

has been able to inspire even his students towards this venture. He

is a shining example to prove that awareness for sahitya contribute

immensely to good music. TRS is one among the very few top–

ranking performing artists who has authored voluminous written

material for publication in India and many countries of the world.

He is Role-model for a happy synthesis of a great musician and

erudite musicologists. As an organiser of music events he has no

peers.

TRS is indeed a composer with a difference. If ever he

undertook the job of composing it would be for the sole reason of

genuinely contributing to the enrichment of classical music and

never an attempt for self projection. He chose north indian ragas

like Behag, Dvijavanti, and Hamirkalyani for his varnams to

establish their potential. So were the ragas Devagandhari,

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Varamu, Sivaranjani etc. some of his varnams proved extremely

popular in the dance field too. Both in quality and quantity the

pallavis composed by TRS would outshine just any other musician.

TRS has several audio and video cassettes of international

circulation to his credit. CD and cassettes of his varnams and pallavi

sung by his disciples and also the book containing these varnams

and pallavis has been released.

Some of his popular compositions are as follows:

Tana Varnam

Chendil vaazh murugaiyyaa – Hamir Kalyani – Adi

Dharmamaa idu – varamu – Adi

Annaiye unnaiye – Dvijavanti – Adi

Innamum sodanaiyo – Sama – Adi

Pada varnam

Angaryarkkanni – Misra Sivaranjani – Adi

Pallavis

Vignesvaram – Hamir Kalyani – Adi (Khanda Gati)

Subramanyam – Kambhoji – Chatusra Rupakam

Saravananai – Todi – Khanda Ata

Sri Rajagopala – Saveri – Tisra Triputa (Tisra Gati)

Dr. Balamurali Krishna

Balamuralikrishna was born on 6th July 1930 in

Sankaraguptam, East Godavari District, Andhra Pradesh state. His

father was a well-known musician and could play the Flute, Violin

and the Veena and his mother was an excellent Veena player. His

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mother died when he an infant and Balamuralikrishna was raised by

his father. Observing his inner penchant towards music, his father

put him under the tutelage of Sri Parupalli Ramakrishna Pantulu. Sri

Pantulu was a direct descendant of the sishya parampara of Saint

Tyagaraja. Under his guidance, the young Balamuralikrishna learnt

Carnatic Music. At the age of eight, Balamuralikrishna gave his first

full-fledged concert at a Tyagaraja Aradhana, Vijayawada. Musunuri

Suryanarayana Murthy Bhagavatar, a distinguished Harikatha

performer, saw the musical talent in the child and gave the prefix

'Bala' (child) to the young Muralikrishna. This title has stuck ever

since and Balamuralikrishna has been known so.

Balamuralikrishna thus began his musical career at a very

young age. By the age of fifteen he had mastered all the 72

melakartha ragas and had composed kritis in the same. The Janaka

Raga Manjari was published in 1952 and recorded as ‘Raagaanga

Ravali’ in a nine-volume series by the Sangeeta Recording

Company.

Balamuralikrishna soon became very famous as a singer. The

number of concerts for this young musician began to increase and

hence he had to discontinue his school.

Not merely content with his fame as a Carnatic vocalist, very

soon Balamurali proved his immense versatility by playing the Viola,

Violin, Mridangam and Khanjira. As an accompanist he has

accompanied many stalwarts such as Maharajapuram Viswanatha

Iyer, Ariyakudi Ramanuja Iyengar, Chembai Vaidhyanatha

Bhagavatar and G.N Balasubramaniam and is also noted to give

solo Viola concerts.

Dr Balamuralikrishna as a composer, he has composed over

400 compositions in various languages like Telugu, Sanskrit and

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Tamil. His composition ranges from Devotional to Varnams, Kritis,

Javalis and Tillans. His greatest achievements are the compositions

in all the fundamental 72 Melakartha ragas.

Dr Balamuralikrishna has introduced new ragas to the Carnatic

Music System by keeping its rich tradition untouched. The ragas like

‘Ganapathi’, ‘Sarvashri’, ‘Mahati’, ‘Lavangi’ etc. are credited to

him. The ragas which he invented represent his quest for new

frontiers.

Ragas like ‘Lavangi’ are set to three or four notes in

ascending and descending scale. Ragaas created by him, like

‘Mahathi’, ‘Lavangi’, ‘Sidhdhi’, ‘Sumukham’ have only Four

Notes; While Ragas created by him, like ‘Sarva Sri’, ‘Ganapathy’

and ‘Omkaari’ have only Three Notes.

He also innovated the Tala system. He has incorporated

"Gathi Bedam" in the "Sa Sabdha Kriya" (Actions in Talas, which

can produce sound/Sabdha are called Sa Sabdha Kriya) part of the

existing Tala chain, thus throwing open a new chain of Tala System.

Saint Arunagirinathar used to inject such systems in his famous

Tirupugazh, but only as Sandham, while Balamuralikrishna is known

to be the pioneer in bringing such Sandhams into a logical rhythm,

with Angam & Definition. ‘Thri Mukhi’, ‘Panchamukhi’, ‘Saptha

Mukhi’ and ‘Nava Mukhi’ are the Basic Classifications, he has

named for his New Tala System.

He has composed his compositions on different deities not only

in the well-known ragas but also in the rare ragas, and the ragas

created by him which are as follows:

Tana varnam

Ye Naadhamu - Naata

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Chalamu Chaesina - Ramapriya

Aapaala Gopaalamu - Amritavarshini

Pada varnam

Omkaara Pranava - Shanmukhapriya

Amma Anandha dayini - Gambhiranatai

Kriti

Sri Sakala Ganadhipa Palayamam - Aarabhi

(Three Pallavis on Ganapathy, Maaruthi and Krishna)

Mahadevasutham – Aarabhi on Ganapathy

Gam Gam Ganapathim - Ganapathi on Ganapathi

(Tri Tonal Raga: Sa Ga Pa)

Pirai Aniyum Perumaan - Hamsadhvani on Ganapathi

Varuha Varuha - Panthuvaraali on Muruga

Thunai Neeye - Charukesi on Muruga

Nee Dhaya Raadha – Poorvikalyani on Devi

Sadhaa Thava Paadha - Shanmukhapriya on Siva

Bruhadheeswara - Kaanada on Tanjore Bruhadheeswara

Thripura Tharpa Mangalam on Siva

Thillana - Behag on Sri Thyagaraja

Thillana – Raagamaalika on Taaya Ragamaalika

(Based on Sruthi Bhedam)

Gaana Lola - Raagamaalika on Thirupathi Venkateswara

Hanuma - Sarasangi on Hanuman

Sama Gana – Amritavarshini on Sri Thyagaraja

Simha Rupa Dheva - Kambhoji on Narasimha

Raja Raja - Sankarabharanam on Sri Raghavendhra

Chintayami satatam Sri Muttuswami Dikshitam – Sucharitra on

Muttuswami Dikshitar

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Lalgudi Jayaraman

Born in the lineage of a disciple of the saint musician

Tyagaraja, Sri Jayaraman inherited the essence of Carnatic music

from his father, late V R Gopala Iyer, who trained him meticulously.

At the age of 12, he started his musical career as an

accompanying violinist. He expanded the style of violin playing by

inventing a whole new technique that is designed to best suit the

needs of Indian Classical Music and establishing a unique style that

came to be known as 'Lalgudi Bani’. This multi-dimensional

personality has, to his credit, composed several 'Kritis', 'Tillanas'

and 'Varnams' (Tana varnam and Pada varnam) and dance

compositions, which are a blend of raga, bhava, rhythm and lyrical

beauty. A notable feature about Lalgudi is that his music is very

expressive. Lalgudi's instrumental talent comes to the fore in the

form of lyrical excellence. He brought the most-sought-after vocal

style into violin, and his renditions exhibit knowledge of lyrical

content of the compositions.

Most famous for his Tillanas and Varnams, Lalgudi Jayaraman

is a considered one of the most prolific composers of modern times.

He has composed in four languages - Tamil, Telugu, and Sanskrit,

as well as a whole range of ragas not conventionally used for

Varnams or Tillanas. Characteristic of his style, the melody of his

compositions camouflages subtle rhythmic intricacies.

As a composer par excellence, Lalgudi has a carved a niche for

himself. Be it Varnams, Kritis or Tillanas, his compositions bear his

stamp and enjoy immense popularity both in the music and dance

circles. The unique feature of his compositions is the rhythmic

patterns he weaves into them, without losing out on aesthetics. He

has also composed for a special thematic ballet, entitled ‘Jaya Jaya

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Devi’, on Goddess ‘Devi’.

Some of his compositions are listed below:

Tana Varnam

Chalamu séyanéla Valaji

Parama karuna Garudadhvani

Neeve gatiyani Nalinakanthi

Neevegaani Mandari

Vallabhai nayaka Mohanakalyani

Devi un paadame Devagandhari

Thirumal Maruga Andholika

Pada Varnams

Innum en manam Charukesi

Centhil nagar Neelambari

Devar munivar tozhum Shanmukhapriya

Angayarkanni Ragamalika

(Navarasa pada varnam)

Tillanas

Raga Language

Vasanta Telugu

Darbari Kanada Tamil

Bageshree Tamil

Desh Tamil

Hameer kalyani Telugu

Behag Tamil

Dwijavanti Sanskrit

Kuntalavarali Tamil

Brindavani Tamil

Mohana Kalyani Sanskrit

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D.Pattammal

D.Pattammal is an ardent devotee of classical music, had her

training in music under eminent teachers like Alamelu Jayarama

Ayyar, Pozhakudi P.V.Ganesier, Kalakad Ramanarayana Ayyar and

D.K. Pattammal has received a number of awards and prizes during

her career.

She was a graded artist of AIR and had been regularly performing

solo vocal concerts for over 30 years before she took up composing

songs in Tamil. She is one of the few Vaggeyakaras and only one

female to have composed songs in all the 72 Melakarta ragas.

She has composed the lyrics for ‘Tiruvilayadal Puranam’,

‘Kumarasambhavam’ and ‘the life history of 63 Nayanmars’.

She has translated Sri Jayadeva's Geeta Govindam into Tamil and

developed it as a dance drama - Madhava Geetam. She has also

composed songs exclusively for little children under the title ‘Isai -

Karnataka Thuvakka Padalgal’ ( - ).

Along with her husband Late Dr. M.N.Dhandapani, she has

compiled an index on Carnatic ragas under the title

‘Ragapravaham’, for a total of 12 publications with the support of

the Sangeetha Nataka Academy and the Iyal Isai Nataka Mandram.

In all she has composed 658 songs in Tamil, which includes a

song in ‘Pancha nadai’, songs in ‘Dvi-madhyamam’, and songs in

rare ragas like ‘Rukhmaambari’ and ‘Sukhapaavani’. Her books

include "Karnataka Isai Thuvakka Padalgal”, "Mela Raga Kriti

Mala” and "Janya Raga Kriti Mala” as well as ‘Ragapravaham’

‘Arisaram’, ‘Tiruvilaiyadal Keertanaigal’, ‘Arul Keerthanaigal’,

‘Madhava Geetham’, and ‘Life history of 63 Nayanmars’. Books

to be published include "Kumarasambhavam”, as well as three

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books that are elusive: ‘Arul Vilayadal’, ‘Virakti Padalgal’ and

‘Pudumozhigal’.

D.Pattammal composed simple songs and tunes to help younger

children get a liking for music. Her vision was for children to learn

Carnatic music without worrying about the grammar behind it -

similar to how they learn film songs just by listening and liking what

they hear. These songs are in various talas with tisra and khanda

nadais. The rhythms in the song naturally fall into the talas. She

used the Mudra ‘Arul’ in her composition.

Some of her compositions are given below:

1. Anandam Paramanandan - Mayamalava gowlai

2. Gajamukha Gananaadan - Latangi

3. Enna Pizhai - Rasikapriya

4. Kanindarul Purindida - Kuntalavarali

5. Maal Maruga Muruga - Vanaspati

6. Mayil Meedu Viraindodi - Shanmukhapriya

7. Mullai Vaayil - Kaanada

8. Podum Podum - Revati

9. Kuzhaloodum Kannan - Abheri

10. Samayapurattu – Sahana

11. Tunga nadi karaiyil - Begada

12. Gajamukhanai - Saankarabharanam

13. Harihara sutane - Suddha Saveri

Suguna Purushothaman

Suguna Purushothaman, a renowned Carnatic musician has

to her credit almost five decades of rich experience and repertoire

in pursuing Carnatic Music. She gained rich knowledge under the

tutelage of Sangita Kalanidhi Shri Musiri Subramaniya Iyer and

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Sangita Kalanidhi Shri Semmangudi Srinivasa Iyer. She learnt

complicated pallavis from Vidwan Shri Tinniyam Venkatarama Iyer.

She passed on her rich knowledge to very many in the field by

imparting this knowledge by teaching lecturing in Tamilnadu

Government Music College and privately too.

Not withstanding this she also had an innate urge to

composemusical compositions. She started composing musical

compositions from the year 1955 onwards. She has composed

Varnams, small and big Kritis in various Talas, Ragamalikas,

Tillanas, lighter devotional bhajans, etc. she has set words in Tamil

for some famous Javalis and tuned Ramalinga Vallalar’s Arutpa,

Bharathiyar songs, Azhvar Pasurams etc. Ten of her compositions

get broadcast in A.I.R long ago sung by Smt Radha Jayalakshmi and

Shri T.A.Murthi.

At the same time, she underwent training in Laya-Based

singing under Tinniyam Venkatarama Iyer. Her compositions include

both lighter and heavy classical. She has also composed in different

talas (for eg. Laksmisam, Chaturmukha which are one of the 108

talams) and various nadais.

She had spread her knowledge far and wide by giving lec-dems

and conducting work-shops not only within the country but also in

western countries as well. She has also practiced the art of “Dvi

Tala Avadana” (simultaneously keeping two different talas in both

hands) and has given performances before scholarly audience.

Smt Suguna Purushothaman has won several awards. She

won the Best Senior Musician Award from Music Academy and

Indian Fine Arts and Gold Medals for the Best ‘Pallavi Singing’

from Academy as well. She has released cassettes and has also

published a book ‘Kadambam’ which include her own compositions.

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Some of her compositions are as follows:

Shankara hara priya (varnam) – Ragamalika – Adi

Ganapatiye sharanam – Yadukulakambhoji – Adi

Chaturmukha naayaki – Saraswati – Chaturmukha talam

Kanden kanden – Atana – Adi

Krupajuda samayamamma – Hamsalatika – Khanda chapu

Tiruvarangaa nee irangaayanil – Kokilapriya – Misra chapu

Kanakadurgaamba kaavave – Bilahari – Adi

Tirumagale kadaikkan – Valaji – Tisra jampa (tisra gati)

MadurakaaLi Amba – Bhairavi – Adi

Lakshmisameta Narayana – Mohanam – lakshmisa Talam

Navamanigalile nalla mani – Yamunakalyani – Adi

Rama namam amudam – Ahirbhairav – Adi

Kannan varuvaano (padam) – Nilambari – Misra chApu

Govinda hare Govinda – Ragamalika – Adi

Rama bhakta Hanuman – Jhonpuri – Adi

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