Bilahari is a rāgam in Carnatic music (musical scale of South Indian classical music). It is a janya rāgam (derived scale) from the 29th melakarta scale Shankarabharanam. It is a janya scale, as it does not have all the seven swaras (musical notes) in the ascending scale. It is a combination of the pentatonic scale Mohanam and the sampurna raga scale Shankarabharanam.^[1] It is a morning rāgam.^[1][2]

Structure and Lakshana[link]

Ascending scale with shadjam at C, which is same as Mohanam scale

Descending scale with shadjam at C, which is same as Shankarabharanam scale

Bilahari is an asymmetric rāgam that does not contain madhyamam or nishādham in the ascending scale. It is an audava-sampurna rāgam (or owdava rāgam, meaning pentatonic ascending scale).^[1][2] Its ārohaṇa-avarohaṇa structure (ascending and descending scale) is as follows:

• ārohaṇa : S R2 G3 P D2 S
• avarohaṇa : S N3 D2 P M1 G3 R2 S

The notes used in this scale are shadjam, chathusruthi rishabham, antara gandharam, panchamam and chathusruthi dhaivatham in ascending scale, with kakali nishadham and shuddha madhyamam included in descending scale. For the details of the notations and terms, see swaras in Carnatic music.

This rāgam also uses kaisiki nishadham (N2) as an external note (anya swara) in the descending scale. Hence it is considered a bhashanga rāgam, a scale with notes external to the parent scale.^[1][2]

Popular Compositions[link]

There are many compositions set to Bilahari rāgam. Here are some popular kritis composed in Bilahari.

• Na jeevadhara, Dorakuna ituvanti and Kanukontini composed by Tyagaraja
• Sri Balasubramanya by Muthuswami Dikshitar
• Parithana michite by Patnam Subramania Iyer
• Sri Chamundeshwari by Mysore Vasudevacharya who was a student of Patnam Subramania Iyer

Related rāgams[link]

This section covers the theoretical and scientific aspect of this rāgam.

Scale similarities[link]

• Mohanam has a symmetric pentatonic scale, with the notes same as the ascending scale of Bilahari. Its ārohaṇa-avarohaṇa structure is S R2 G3 P D2 S : S D2 P G3 R2 S
• Mohanakalyani is a rāgam which has the prati madhyamam in descending scale (descending scale of Kalyani) in place of the shuddha madhyamam. Its ārohaṇa-avarohaṇa structure is S R2 G3 P D2 S : S N3 D2 P M2 G3 R2 S
• Garudadhvani is a rāgam which has the ascending and descending scales interchanged, in comparison with Bilahari. Its ārohaṇa-avarohaṇa structure is S R2 G3 M1 P D2 N3 S : S D2 P G3 R2 S

References[link]

1. ^ ^{a b c d} Ragas in Carnatic music by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications
2. ^ ^{a b c} Raganidhi by P. Subba Rao, Pub. 1964, The Music Academy of Madras

Nithyasree Mahadevan
Background information
Born	(1973-08-25) August 25, 1973 (age 38)
Origin	Thiruvaiyaru, Tamil Nadu, India
Genres	Carnatic music - Indian Classical Music and Playback singing
Occupations	Singer
Years active	1987 - Present
Labels	HMV, EMI, RPG, AVM Audio, Inreco, Vani, Amutham Inc., Charsur Digital Workshop, Carnatica, Rajalakshmi Audio etc.

Nithyasree Mahadevan, (born August 25, 1973) also previously referred to as S. Nithyashri, is an eminent Carnatic musician and playback singer for film songs in many Indian languages. Nithyashree has performed in all major sabhas in India and has presented her concerts in many destinations around the world. She has received multiple awards and honours, and has released more than 100 commercial albums.

Early life[link]

Nithyasree was born to Lalitha Sivakumar and I. Sivakumar. Her paternal grandmother, D. K. Pattammal, ^[1] and her granduncle, D. K. Jayaraman, ^[2] were prominent Carnatic vocalists who were established disciples of Ambi Dikshithar, Papanasam Sivan, Muthiah Bhagavathar, and others. Her maternal grandfather was the mridangam maestro, Palghat Mani Iyer.

Her mother, Lalitha Sivakumar, was her first guru (teacher).^[2] Like her mother, Nithyashree was also the disciple of D. K. Pattammal, and would accompany her in concert. Nithyashree's father, an accomplished mridangist and disciple of Palghat Mani Iyer, would constantly show his support and accompany Nithyashree when she performed.^[3]

Music career[link]

Touring[link]

Nithyashree has performed in all major sabhas all over India and has presented her concerts in the United States of America, Canada, United Kingdom, Australia, United Arab Emirates, Germany, France, Singapore, Malaysia and various other destinations throughout the world.^[3]

Titles and Awards[link]

Nithyashree's maiden performance was titled 'best concert of the series'. She is an A.I.R. Prize Winner (1990) and has been an 'A' grade artist. She has been awarded the "Yuva Kala Bharathi" title by Bharath Kalachar in 1994, "Innisai Maamani" by Tamil Nadu Welfare Association, "Kalaimamani" by Hamsadhwani in 2000,^[4] "Isai Paeroli" by Kartik Fine Arts in 2001,^[5] and various other prestigious awards such as ", "Padma Sadhana" (2004), and "Naada Kovida" (2006).^[6][7] She has received "Best Concert Award" from The Music Academy during the music festivals a couple of times and has also performed for the "Sangeeth Natak Academy" twice in their International Music Festivals in Bombay and Hyderabad. She has also received the "Best Promising Artiste" from "Mohanam" Music Club, and made a thematic album of compositions popularising the raga Mohanam. She was awarded a doctorate degree from Sathyabama university of Jeppiar in Chennai in late 2007.

Performances[link]

Nithyashree's first Carnatic performance was for the Youth Association For Classical Music on 10 August 1987. The concert lasted 1 hour, and was scheduled between 6:00pm and 7:00pm. Prominent Carnatic musicians that were present at the concert, included D. K. Pattammal, D. K. Jayaraman, Vijay Siva, R. K. Sriramkumar, as well as the chief guest at that concert, K. V. Narayanaswamy.^[8]

She has given numerous concerts consisting of only patriotic songs to commemorate the 50th year of Indian Independence, a few with D. K. Pattammal before her grandmother stopped performing in public.

D. K. Jayaraman and D. K. Pattammal were known for singing and popularising the compositions of Papanasam Sivan, having learnt them directly from the composer himself. Nithyashree has continued this tradition. She has also given a lecture demonstration in Coimbatore for Manoranjitham on "Papanasam Sivan - A Legend", and made two special thematic albums that solely contained his compositions.

Like D. K. Pattammal, Nithyashree has also popularised compositions of Gopalakrishna Bharathi. She presented a paper on the Life and Contribution of Gopalakrishna Bharathi for the Music Department of PSG College, Coimbatore. Her two thematic albums that solely consisted of his compositions have been very popular, both online and offline.

Nithyashree's commanding, high-pitched voice is well suited to various genres of music including Carnatic music, devotional music, as well as patriotic and popular songs.

Playback singing[link]

Nithyashree's introduction to Tamil playback singing came when A.R. Rahman called her to Panchathan Recording Inn, in Chennai, for a voice test sometime in the 1990s. The output from her visit was used for the song "Kannodu Kanbadellam" in the movie Jeans starring Aishwarya Rai and Prashanth. This became particularly popular which resulted in many songs in the same combination like "Minsara Kanna" from Padayappa, "Sowkiyama Kannae" from Sangamam, and "Manmatha Maasam" from Parthale Paravasam.^[9]

Some of her other songs include "Kumbakonam Sandhayile" from New, "Oru Nadhi Oru Pournami" from Samurai, "Kana Kaangiren" from Ananda Thandavam as well as "Thaai Thindra Mannae" from the film Aayirathil Oruvan.^[9]

She also successfully branched out to Telugu and Kannada playback singing, with songs such as "Ra Ra..." from Apthamitra.

Personal life[link]

Nithyashree and her husband, Mahadevan, have two daughters, Tanujasree and Tejasree.^[10]

Notes[link]

References[link]

• Musical Nirvana biography

Muthuswami Dikshitar
Muthuswami Dikshitar
Background information
Born	(1775-03-24)March 24, 1775 Tiruvarur, Thanjavur, India
Died	October 21, 1835(1835-10-21) (aged 60)
Genres	Carnatic music
Occupations	Carnatic Composer

Muthuswami Dikshitar (Tamil:முத்துஸ்வாமி தீக்ஷிதர, Devanagari:मुत्तुस्वामि दीक्षित:, Telugu:ముత్తు స్వామీ దీక్షితులు, Kannada:ಮುತ್ತು ಸ್ವಾಮೀ ದೀಕ್ಷಿತರು, March 24, 1775 – October 21, 1835) is a South Indian poet and composer and is one of the Musical Trinity of Carnatic music. His compositions, of which around 500 are commonly known, are noted for their contemplative nature and for capturing the essence of the raga forms through the vainika (veena) style that emphasises gamakas. They are typically in a slower speed (chowka kala). He is also known by his signature name of Guruguha.^[1] His compositions are widely sung and played in classical concerts of Carnatic music.

The musical trinity consists of Dikshitar, Thyagaraja (1767–1847), and Syama Sastri (1762–1827)^[2] although, unlike the Telugu compositions of the others, his compositions are predominantly in Sanskrit.

Early life and background[link]

Muthuswami Dikshitar was born in Tiruvarur (of Thiruvarur district in what is now the state of Tamil Nadu) to a Tamil Iyer Brahmin couple Ramaswami Dikshitar and Subbamma, as the eldest son. According to the account of Subbarama Dikshitar, Muttuswami Dikshitar was born in the manmatha year, in the month of Panguni under the asterism Krittikaa. He was named after the temple deity, Muttukumaraswamy; legend has it that he was born after his parents prayed for a child in the Vaitheeswaran Temple. He had two younger brothers Baluswami, Chinnaswami and a sister Balambal.

In keeping with the Brahminic educational tradition, Muthuswami learnt the Sanskrit language, Vedas, and other important religious texts. He obtained his preliminary musical education from his father.

While he was still in his teens, his father sent him on a pilgrimage with a wandering monk named Chidambaranatha Yogi to gain musical and philosophical knowledge. Over the course of this pilgrimage, he visited many places in North India and acquired a broad outlook that is reflected in many of his compositions. During their stay in Kashi (Varanasi), his guru Chidambaranatha Yogi, presented Dikshitar with a unique Veena and died shortly thereafter. The samādhi of Chidambaranatha Yogi can still be seen in the Hanuman Ghat area in Varanasi.

His music[link]

According to legend, his guru asked Muthuswami to visit Tiruttani (a temple town near Chennai). There, while he was immersed deep in meditation, an old man appeared and asked him to open his mouth. He dropped sugar candy into his mouth and disappeared. As he opened his mouth, he had a vision of the deity Muruga and Dikshitar burst forth into his first composition "Shri Nathadi Guruguho" in the raga Mayamalavagowla.

This song addressed the Lord (and/or the guru) in the first declension in Sanskrit. Dikshitar later composed kritis in all the eight declensions on the Lord. These are mostly with epithets glorifying the guru and have very few references to Lord Muruga or specifically to the deity in the saguna form, as at Thiruthani.^[3]

He then went on a pilgrimage visiting and composing at the temples at Kanchi, Tiruvannamalai, Chidambaram, Tirupathi and Kalahasthi, before returning to Tiruvarur.

Muthuswami Dikshitar attained mastery over the Veena, and the influence of Veena playing is evident in his compositions, particularly the gamakas. In his kriti Balagopal, he introduces himself as a vaiNika gAyaka, "a player of the veeNA".^[4] He experimented with the violin, and among his disciples, Vadivelu of the Thanjavur Quartet, and his brother Baluswami Dikshitar pioneered the use of violin in Carnatic music, now an integral part of most Carnatic ensembles.

Dikshitar's prime[link]

On his return to Tiruvarur, he composed on every deity in the Tiruvarur temple complex including Tyagaraja (an amsha of Lord Shiva), the presiding deity, Nilotpalambal, his consort, and the Goddess Kamalambal an independent deity of high tantric significance in the same temple complex. This is when he composed the famous Kamalamba Navavarna cycle, filled with exemplary sahityas which proved to be the showcase of his compositions. These navavaranams were in all the eight declensions of the Sanskrit language and are sung as a highlight of Guruguha Jayanti celebrated every year. He continued to display his prowess by composing the Navagraha Kritis in praise of the nine planets. The sahitya of the songs reflect a profound knowledge of the Mantra and Jyotisha sastras. The Nilotpalamba Kritis is another classic set of compositions which revived dying ragas like Narayanagaula, Purvagaula, and Chayagaula

Disciples[link]

Muttuswami Dikshitar was approached by four dance masters from Tanjavur: Sivanandam, Ponnayya, Chinnayya and Vadivelu. They expressed their desire to learn music from him and entreated him to accompany them to Tanjavur. There, Dikshitar imparted to them the 72 mela tradition handed down by Venkata Vaidyanatha Dikshita. The students showed their gratitude by composing a set of nine songs called Navaratna Mala glorifying their guru. These four disciples became what is known as the Tanjore Quartette and are revered as the prime composers of music for Bharatanatyam.

At a young age, Dikshitar was also exposed to the music of the Western bands at Fort St. George. At a later stage, Dikshitar composed some forty songs to several (mostly western folk) tunes loosely adopted to ragas such as sankarabharaNa. This corpus is now known as nottusvara sAhitya (etym. nottusvara = "notes" swara). The influence of Celtic and Baroque styles in these compositions is quite evident (e.g., Sakthi Sahitha Ganapatim,^[5] to the tune of voulez-vous dancer,^[6] Varashiva Balam). There is an erroneous belief that these were composed at the behest of CP Brown, the Collector of Cuddappah. This is not possible as the two could have never met. Muttuswami Diskhitar had left Madras by 1799.^[7] Brown came to Madras only in 1817, learnt Telugu in 1820 and moved over to Cuddappah the same year.^[8]

Samadhi[link]

On Deepavali day, in 1835, Dikshithar performed puja as usual and asked his students to sing the song "Meenakshi Me Mudam" in the raga Poorvikalyani.

As his students sang the lines "Meena lochani pasa mochani" he raised his hands and saying "Sive Pahi" and left his mortal coil.

His Samathi is at Ettaya puram ( Mahakavi Bharathi's Birth Place), between Koilpatti (14 km) and Tuticorin.

Descendants[link]

Muthuswami Dikshitar died on 21 October 1835. Dikshitar had a daughter but it was the descendants of his brother Baluswami who have preserved his musical legacy, and his compositions have been popularized due to the efforts of people like Subbarama Dikshitar and Ambi Dikshitar.

Baluswami Dikshitar, the sixth descendant in the line, a well-known vainika by his own rights, resided in Trichy and then moved to Chennai in 1957. He died in November 1985. He has two sons and two daughters. The eldest son, Muthuswamy, the seventh descendent in the line, retired as a top executive in the State Bank of India group of banks and then was the managing director and CEO of a private sector bank. The younger son runs his own small-scale industry near Madurai. Both daughters are married and well settled in Chennai.

The Raja Rajeswari, Vallabha Ganapathi, Sree Chakra, Banalingam, Saligramam and other idols, given to Shri Muthuswamy Dikshithar by his guru Chidambaranatha Yogi is in the family with the eldest son Muthuswamy along with the veena (with the upturned Yaali Mukha) with the Sanskrit inscription "Sri Ram" said to have been given to Dikshithar by Goddess Sarasvati, when he bathed in the river Ganges, as indication of his having attained Mantra Siddhi.

Music compositions[link]

His total compositions are about 450 to 500, most of which are very widely sung by musicians today in Carnatic music concerts. Most of his compositions are in Sanskrit and in the Krithi form, i.e., poetry set to music. Muthuswami Dikshitar traveled to many holy shrines throughout his life, and composed krithis on the deities and temples he visited. Dikshitar is considered to have composed on the widest range of deities for any composer.^{[citation needed]}

Each of his compositions is unique and brilliantly crafted. The compositions are known for the depth and soulfulness of the melody — his visions of some of the ragas are still the final word on their structure. His Sanskrit lyrics are in praise of the temple deity, but Muthuswami introduces the Advaita thought seamlessly into his songs, resolving the inherent relationship between Advaita philosophy and polytheistic worship. His songs also contain much information about the history of the temple, and its background, thus preserving many customs followed in these old shrines.

Muttuswami also undertook the project of composing in all the 72 Melakartha ragas, (in his Asampurna Mela scheme) thereby providing a musical example for many rare and lost ragas. Also, he was the pioneer in composing samashti charanam krithis (songs in which the main stanza or pallavi is followed by only one stanza, unlike the conventional two).^[9] Dikshitar was a master of tala and is the only composer to have kritis in all the seven basic talas of the Carnatic scheme. Dikshitar shows his skill in Sanskrit by composing in all the eight declensions.

For richness of raga bhava, sublimity of their philosophic contents and for the grandeur of the sahitya, the songs of Dikshitar stand unsurpassed.

Muthuswami Dikshitar composed many kritis in groups. The List of compositions by Muthuswami Dikshitar describes those groups and compositions that belong to each group.

See also[link]

Indian classical music portal

• List of Carnatic composers

References[link]

External links[link]

• A website dedicated as a tribute to Dikshithar.
• Compositions of Dikshitar, with meanings.
• Compositions of Dikshitar with meanings.
• Muthusamy Dikshithar - A Creative Genius.
• Statistics on Dikshitar's Compositions
• Free scores by Muthuswami Dikshitar at the International Music Score Library Project

Akkarai S. Subhalakshmi is a violinist of the 21st Century in the field of Carnatic music. She is the daughter of renowned violinist Akkarai Swaminathan .

Life and career[link]

Akkarai S. Subhalakshmi, a child prodigy started giving violin solo and vocal programmes at eight. She had her initial two years training at Nadha Brahma Vidyalaya of the late guru V. Janakiraman, New Delhi.

She is now under the guidance of Swara Raga Sudha Violin School run by her father Akkarai S. Swaminathan. She is not only an expert violinist but also a well recognized vocalist. She is learning vocal music from Padma Bhushan P.S. Narayanaswamy and Chithra Veena N. Ravikiran.

She is a direct B-High grade artist of All India Radio, Chennai. She gives violin accompaniment to eminent artists like Dr. M. Balamuralikrishna, Dr. N. Ramani, Chitra Veena N. Ravikiran, Sriram Gangadharan, N. VijaySiva,Shashank, Bombay Sisters, Nithyashree Mahadevan, Bombay Jayashree, Priya Sisters, Ranjani and Gayatri and others.

She also gives classical violin programmes all over the country and also in abroad. She has participated in Indo-Russian Cultural exchange program and excelled in violin recital during her visit to Russia in the year 1996. She has also visited Japan, Germany, Italy, France, Bahrain, United Kingdom and USA for giving violin solo and accompaniment to various Artists. She has accompanied Flute maestro Shashank Subramanyam and has traveled extensively in the USA along with Ms. Kiranavali Vidyashankar and Chitraveena N. Ravikiran.

She is also giving Violin duet as well as Vocal duets along with her younger sister Kum. Akkarai S. Swarnalatha as Akkarai Sisters.

Awards and honours[link]

• Kala Bhushan
• Kala Shree
• Sangeethavisharada
• Rajiv-Gandhi Puraskar
• Rajiv Gandhi Youth Award
• Isai-Kuil
• Delhi State First Award
• Outstanding young violinist award from The Music Academy (1999 and 2001)
• Inspiring Child Artist Award from Valayapatti Nadaayala (1999)
• Critic K.S. Mahadevan Award from Narada Gana Sabha (2000)
• The Best Performance Award from The Music Academy (2000)
• The Best Violinist Award from The Indian Fine Arts Society (2001)
• The Best Violinist of the year 2001 has been awarded by the writer Sujatha in Anandha Vikatan
• The Youth Merit Award 2002 has been awarded by The Rotary Club of Madras Industrial City
• The Yuva Kala Bharathi Award has been awarded by Bharat Kalachar (2002).

References[link]

• stories/2007090750810300.htm

External links[link]

Wikimedia Commons has media related to: Akkarai Subbalakshmi

• Akkarai Subhalakshmi
• Hindu Article about Akkarai Subhalakshmi

M.S.Subbulakshmi
An EMI record of Subbulakshmi
Background information
Born	(1916-09-16)September 16, 1916 Madurai, Madras Presidency, India
Origin	India
Died	December 11, 2004(2004-12-11) (aged 88) Chennai, Tamil Nadu, India
Genres	Indian classical music
Occupations	Classical Vocalist
Years active	1930–2004
Labels	HMV

Madurai Shanmukhavadivu Subbulakshmi (Tamil: மதுரை சண்முகவடிவு சுப்புலட்சுமி, Madhurai Shanmukhavadivu Subbulakshmi ^? 16 September 1916 – 11 December 2004), also known as M.S., was a renowned Carnatic vocalist. She was the first musician ever to be awarded the Bharat Ratna, India's highest civilian honor.^[1] She is the first Indian musician to receive the Ramon Magsaysay award, Asia's highest civilian award, in 1974 with the citation reading "Exacting purists acknowledge Srimati M. S. Subbulakshmi as the leading exponent of classical and semi-classical songs in the Karnataka tradition of South India."^[2][3]

Biography[link]

Early years[link]

Subbulakshmi (Kunjamma to her family) was born in Madurai, Madras Presidency, India to veena player Shanmukavadiver Ammal and Subramania Iyer. Her grandmother Akkammal was a violinist.

She started learning Carnatic music at an early age and trained in Carnatic music under the tutelage of Semmangudi Srinivasa Iyer and subsequently in Hindustani music under Pandit Narayanrao Vyas. She also learned Sanskrit and Telugu under Dr. Nedunuri Krishnamurthy.

Her mother, from the devadasi community, was a music exponent and a regular stage performer, and Subbulakshmi grew up in an environment very conducive to musical learning. Her musical interests were also shaped by regular interactions with Karaikudi Sambasiva Iyer, Mazhavarayanendal Subbarama Bhavathar and Ariyakudi Ramanuja Iyengar.^[4] Subbulakshmi gave her first public performance in 1929 when she was 13 years old at the prestigious Madras Music Academy. The performance consisted of singing bhajans (Hindu hymns).^[5] The academy was known for its discriminating selection process, and they broke tradition by inviting a young girl as a key performer. Her performance was described as spellbinding and earned her many admirers and the moniker of musical genius from critics. Soon after her debut performance Subbulakshmi became one the leading Carnatic vocalists.^[6][7]

Move to Madras[link]

In 1936 Subbulakshmi moved to Madras (now Chennai).^[7] She also made her film debut in Sevasadan in 1938,.^[8]

Musical style and performance[link]

M.S. Subbulakshmi (left) with S. Varalakshmi in Sevasadhanam (1938)

Singing career[link]

M.S. Subbulakshmi began her Carnatic classical music training under her mother Shanmugavadivu; and later in Hindustani classical training under Pandit Narayan Rao Vyas. Subbulakshmi first recording was released when she was 10 years old. She gave her first public performance, at the age of eleven, in the 100 pillar hall inside the Rockfort Temple, Tiruchirappalli; with Mysore Chowdiah on the violin and Dakshinamurthy Pillai on the mriganga. ^[9] By the age of 17, Subbulakshmi was giving concerts on her own, including major performances at the Madras Music Academy, a prestigious centre for the study and promotion of Carnatic music. Performance in Carnatic music concerts, was until then, a domain, traditionally reserved for men. She performed a vast variety of devotional musical forms in different languages including Tamil, Kannada, Sanskrit, Panjabi, Hindi, Malayalam, Telugu, Bengali, Gujarati and Marathi.

When the governor of Madras wanted the famous spiritual leader, Mata Sri Anandamayi Ma, to reside in his residence, Anandamayi Ma replied, "I will stay in the house of Subbulakshmi. She is Meera to me." Within two days, Sadasivam had special quarters built in their garden for Mata to give darshan and arranged for a new well to be dug nearby for fresh drinking water. Every evening thousands of people gathered there.

She traveled to London, New York, Canada, the Far East, and other places as India's cultural ambassador. Her concerts at

• Edinburgh International Festival of Music and Drama in 1963
• Carnegie Hall, New York; the UN General Assembly on UN day in 1966
• Royal Albert Hall, London in 1982
• Festival of India in Moscow in 1987

were significant landmarks in her career.^[10] In 1969 she was accompanied by Indian Railways Advisor SN Venkata Rao to Rameshwaram, where she famously sang several songs in front of each idol in the Rameshwaram temple.

After the death of her husband Kalki Sadasivam in 1997, she stopped all her public performances.

Films[link]

M.S. also acted in a few Tamil films in her youth. Her first movie Sevasadanam was released in 1938. MS Subbulakshmi also played the male role of Narada in "Savitri" (1941) to raise money for launching Kalki, her husband's nationalist Tamil weekly. Her title role of the Rajasthani saint-poetess Meera in the eponymous 1945 film gave her national prominence. This movie was re-made in Hindi in 1947. The movie had M.S Subbulakshmi. sing the famous Meera bhajans, with Dilipkumar Roy as the music director. Later, she quit films and turned wholly to concert music.

Awards and honours[link]

Pandit Jawaharlal Nehru had this to say about M.S. Subbulakshmi- "Who am I, a mere Prime Minister before a Queen, a Queen of Music". While Lata Mangeshkar called her Tapaswini (the Renunciate), Ustad Bade Ghulam Ali Khan termed her Suswaralakshmi (the goddess of the perfect note), and Kishori Amonkar labeled her the ultimate eighth note or Aathuvaan Sur, which is above the seven notes basic to all music. The great national leader and poet Sarojini Naidu called her "Nightingale of India". Her many famous renditions of bhajans include the chanting of Bhaja Govindam, Vishnu sahasranama (1000 names of Vishnu), Hari Tuma Haro and the Venkateswara Suprabhatam (musical hymns to awaken Lord Balaji early in the morning).

She was widely honored, praised and awarded. Some of the more popular ones include^[11]

• Padma Bhushan in 1954
• Sangeet Natak Akademi Award in 1956
• Sangeetha Kalanidhi in 1968 (literally, Treasure Chest of Music. She was the first woman recipient of the title)
• Ramon Magsaysay award (often considered Asia's Nobel Prize) in 1974
• Padma Vibhushan in 1975
• Kalidas Samman in 1988
• Indira Gandhi Award for National Integration in 1990
• Bharat Ratna in 1998.

She was honored as the court-singer[Asthana Vidhwan] of Tirumala Tirupati Devasthanams.^[12] Tirupati Urban Development Authority (TUDA) has installed a bronze statue of M.S. Subbulakshmi at the Poornakumbham circle in the temple town. It was unveiled by Andhra Pradesh Chief Minister Y. S. Rajasekhara Reddy on 28 May 2006.^[13]

The famous Kancheepuram Saree shade known as MS Blue was named after her^[14] by the well known Congress party member and philanthropist, Sri Muthu Chettiyar when they met at the residence of Sri R. Aiyadurai and Smt. Thangam Aiyadurai at Lady Desikachari Road, Madras, who were close friends of MS and Sadasivam.

She was bestowed with enormous prize moneys with these awards, she donated most of them to charity. She has given more than 200 charity concerts and raised well over Rs. 10,000,000. She was awarded honorary degree degrees from several Universities.

She was an ardent devotee of Kanchi Mahaswamigal and she rendered his composition Maithreem Bhajatha (O World! Cultivate peace) in her concert at the UN in 1966. Venkatesa Suprabhatam in Gramaphone record of HMV, the royalty from which goes to the Veda Patasala run by the Tirupati Tirumala Devasthanam.^[15] She donated many of the royalties on several best sold records to many charity organizations.

References[link]

Further reading[link]

• M.S. Subbulaksmi, the Voice Divine (79 pages) by V. Gangadhar.
• MS - A Life in Music, T. J. S. George. 2004, HarperCollins. ISBN 978-81-7223-527-7
• Gowri Ramnarayan (Dec. 18–31, 2004), "Cover Story: The M.S. phenomenon", Frontline 21 (26), http://www.hinduonnet.com/fline/fl2126/stories/20041231006400900.htm 
• MS & Radha - Saga of Steadfast Devotion - by Gowri Ramnarayan - http://www.msstribute.org/

External links[link]

Wikimedia Commons has media related to: M. S. Subbulakshmi

• "Artists: M.S.Subbulakshmi, Nat Geo Music". National Geographic Society. http://worldmusic.nationalgeographic.com/worldmusic/view/page.basic/artist/content.artist/ms_subbulakshmi. 
• Biography at the official site of Ramon Magsaysay award
• M.S. Subbulakshmi at the Internet Movie Database
• Photo of MS, Sadhasivam and Ellis R. Dungan
• M.S. Subbulakshmi: Portraits of a diva - The Hindu

See also[link]

Indian classical music portal

v t e Bharat Ratna laureates Sarvepalli Radhakrishnan (1954) C. Rajagopalachari (1954) C. V. Raman (1954) Bhagwan Das (1955) Mokshagundam Visvesvarayya (1955) Jawaharlal Nehru (1955) Govind Ballabh Pant (1957) Dhondo Keshav Karve (1958) Bidhan Chandra Roy (1961) Purushottam Das Tandon (1961) Dr. Rajendra Prasad (1962) Dr. Zakir Hussain (1963) Pandurang Vaman Kane (1963) Lal Bahadur Shastri (1966) Indira Gandhi (1971) V. V. Giri (1975) K. Kamaraj (1976) Mother Teresa (1980) Acharya Vinoba Bhave (1983) Khan Abdul Ghaffar Khan (1987) M. G. Ramachandran (1988) B. R. Ambedkar (1990) Nelson Mandela (1990) Rajiv Gandhi (1991) Sardar Vallabhbhai Patel (1991) Morarji Desai (1991) Abul Kalam Azad (1992) J. R. D. Tata (1992) Satyajit Ray (1992) A. P. J. Abdul Kalam (1997) Gulzarilal Nanda (1997) Aruna Asaf Ali (1997) M. S. Subbulakshmi (1998) Chidambaram Subramaniam (1998) Jayaprakash Narayan (1998) Ravi Shankar (1999) Amartya Sen (1999) Gopinath Bordoloi (1999) Lata Mangeshkar (2001) Bismillah Khan (2001) Bhimsen Joshi (2008)