Eppadi manam Huseini



Smt D K Pattammal had the astounding skill of satisfying both the connoisseurs and the laymen at the same time in her concerts. She was greatly inspired by Ramanuja Iyengar and carved her kacheri panthA (structure of the concert) in his way which started with a varnam or pillaiyAr krithi (a krithi on Lord Ganesh) followed by a few Thyagaraja ariya raga krithis (Kritis in rare ragas) with swara prasthAras for one or two. Then followed a chowka kAla (slow tempo) Dhikshithar or Shyama Shastri Krithi with Alapana Neraval and Swarams. After a couple of krithis that could not be purely classified in any of the standard kAlapramAnAs came the main uruppidi (item) of the concert followed by the thani Avarthana. Usually her thukkadAs (miscellaneous) comprised of a viruththam, padam, jAvali, thiruppugazh, thEvAram, thillanA and a desiya geetham.

A study of her concerts shows that she placed more importance in rendering kalpita sangeetam than manOdharma sangeetam. She structured her concerts so as to be able to cover as many compositions of as many composers in as many languages as possible.


In order for her listeners to remain enthralled throughout her concerts and for the peppiness of the concerts to not undergo a dip at any point during the concerts, she meticulously had an eye for a lot of details ranging from minute to mighty matters. No two allied ragas will be positioned alongside each other in her concerts. For example, Bhairavi and MukhAri or ShanmukapriyA and SimhEndramadhyamam will not be juxtaposed ensuring a medley to the ears. No two prathi madhyama ragAs can be seen featuring next to each other. One shAdava audava raga will not be followed by another.

DKP ensured an assortment in tAlam also. A rUpaka tAla composition will not be followed by another or a Kanta nadai composition will not be followed by one with misra chApu.

In order to maintain diversity in the KAla pramAna of the compositions also, a dhurita kAla (fast tempo) kriti will be followed by a kriti of an entirely different kAla pramAna say chowka kAla (slow tempo) and two kritis with identical kAla pramAna were never positioned adjacently.