Nagpur, February 18, 1954

Smt. Pattammal’s Music Performance

Shrimati D.K. Pattammal, one of the outstanding exponents of Carnatic Music, gave a superior performance of four hours’ duration at a concert arranged by the Fine Arts Society for its members at the Bharat Talkies last night.

Shrimati Pattammal justified her reputation for bringing out the Bhava of Music and thrilling the listeners not only by the mastery of rendering and purity of style but by making them aware of the meaning and content of the compositions.

Admirable accompaniments were provided by Shri Tiruvellore Subramanian on violin. Palghat Kunjumani on Mridangam and Krishnapuram Vaidyanathan on Ghatam.

Shrimati Pattammal began her concert with a Varnam in Kalyani which set the tempo for the performance. Her alapanas in Kalyani, Kambhodi and Karahapriya were very impressive. Among the selections of major composers should be mentioned the kriti of Shri Syama Shastri in Todi and Shri Muthuswami Dikshitar’s “Sri Satyanarayanam” in Subapanthuvarali which delighted the audience. The main raga of the evening was Simhendramadyamam but the pallavi ran for a comparatively shorter duration probably because of the late hour. The artist rose to her heights in the rendering of several lighter compositions and pieces, two of them in praise of Tamil Nadu and the national leaders like Nehru and Rajaji drawing rounds of applause.

Mr. Justice Kaushalendra Rao and Mr. V.T. Srinivasan, Accountant-General, Madhya Pradesh were among the distinguished guests who attended the concert.


Bangalore, November 3

Pleasing style of Pattammal

The raga Shankarabharana which D.K. Pattammal was elaborating at the Bangalore Gayana Samaj on Sunday was pleasing and majestic during the 20 minutes when the electric current failed and the simplifier did not function. Pattammal also sang with zest. It clearly brought out what damage the microphone could cause.

The clear and pleasing sangathi sequences, the neraval in the kriti Edutanilichite and the swaraprasthara with interesting rhythmic patterns interested into the overall sarvalaghu style made her exposition meaningful and telling. This was certainly one of the most enjoyable parts of her concert.

Among other items that were presented in her familiar sedate style, were Madhyamavathi, Bhairavi which was followed by the solo rounds of Palghat Mani Iyer and a whole line of compositions – Ma Pala in Asaveri, Nannu Ganna Talli in Kesari, and Pahimam Rathnachala Nayaka in Mukhari with a dominant plaintive tone. The rendition of all these compositions as usual had the Pattammal stamp – stately pace and an overall austere tone. But the clarity of the diction was sometimes lost when it passed through the amplifiers.

Instead of the time-honoured ragas, Pattammal chose Jaganmohini for Pallavi. The delineation was methodical and the tier-by-tier development of the raga was tuneful. Her voice had developed great warmth and the exposition set off the distinct character of the raga. The pallavi was set in Chaturasra Triputa Tala in Trisra gathi in Chouka – that is with six kalas to a bar with the take off point on the sixth kala. The swaraprasthara provided many enlivening moments in the rhythmic improvisation. Mani Iyer prodded others into action and the resulting syncopated rhythm provided exciting moments.

The celebrated Shyamaladandakam followed the pallavi. Instead of the familiar recording opening with Bouli, the rendition had a different ragamalika arrangement. Nevertheless, the sweet melody, the clear diction and the sincerity with which the piece was rendered (underlining both the beauty of the word and tune) made the piece uniformly enjoyable and had a lingering effect on the audience.

Pattammal was ably supported by her brother Jayaraman. He was in form and she could have given him more opportunities and also provided herself with relief. T. Veeraraghavan’s Violin accompaniment was satisfying. With Palghat Mani Iyer handling the Mridangam there is little for us to comment on the lovelier rhythmic part of the concert.



Picture – D.K. Pattammal, gave a music recital in connection with the Radio Sangeet Sammelan at Ravindra Bharati on Monday. She was accompanied by D.K. Jayaraman (Vocal), T.P. Veeraraghavan (Violin) and Palghat Mani (Mridangam).

Pattammal’s grand concert

D.K. Pattammal started off her grand concert for the All-India Radio Sangeetha Sammelan at Ravindra Bharathi on October 27 with the majestic Sriraga Varnam.

She was supported by her brother D.K. Jayaraman, on the vocal, Tirupparkadal Veeraraghavan on the violin, Sangeetha Kalanidhi T.S. Mani Ayyar on the Mridangam and by her disciple, Kalpagam Bala subramanyan, on the Thambura.

The programme consisted of five Thyagaraja Kirthanams – “Nannu kanna Talli” in Sindhu Kannada, “Chanithodi” in Harikhamboji, “Ranidhiradhu” in Manirangu. “Tholijanmamu” in Bilahari and “Evarikai” in Devamanohari, one Syama Shastri Kirthanam – “Karunanidhi” in Thodi – one Subbaraya Sastri Kirtanam – “Mariveragathi” in Malavi – one Patnam Subramanya Ayyar Kirtanam – “Nee Paadamule” in Bhairavi, “Shyamaladandakam” Ragamalika and some of her very popular miscellaneous pieces, including one “Thiruppugazh” and one “Tillana”. Of these, five compositions are devoted to Ambal herself, the Ishta Devata of Pattammal.

Unique fervour

Though the main item of the programme was the Thodi Kirtanam “Karunanidhi”, the best item was undoubtedly the “Shyamaladandakam” Ragamalika in Darbar, Shanmukapriya, Vasantha and Suratti which was very elevating, particularly “Shanmukapriya” and “Suratti”.

The ending of the Ragamalika with Suratti was really climatic. All the Kirtanams, without exception were architectural masterpieces animated by Pattammal’s unique fervour and devotion, though “Nannukannathalli”, “Chanithodi”, “Tholijanmamu” and “Mariveragathi” have to be specially mentioned for their very moving qualities. While retrieving the famous “Chanithodi” from oblivion, she has discovered the delightful “Mariveragathi” and has introduced it probably for the first time.

So many popular songs owe their vogue to her, as all music lovers may remember.

The alapana of “Manirangu” by Shrimati Pattammal was superb, revealing the peculiar charm and the very pulse of the rare raga, while the alapana of Thodi by Jayaraman was brilliant.

Veeraraghavan, has proved himself as ever, with his matchless clarity and unity.

Being a supreme master of the Laya Pattammal’s swaraprastharas are memorable.

At some exalted moments during the swaraprastharas it sounded as though all the three, Pattammal, Jayaraman and Mani Ayyar were all playing different mridangams, while her “Thillanas” was as meaningful as a beautiful kriti.