M.L. Vasanthakumari's melodious voice and innovative approach made her music unforgettable

The Hindu

6 days ago

She came, she sang, she conquered. July 3 marks M.L. Vasanthakumari's (MLV) 97th birth anniversary. It's a good time to look back at my guru and an extraordinary vocalist's life and art — a combination of melody, vidwat and dynamic stage presence.
MLV was not only adept at singing both shudha Carnatic ragas such as Thodi and Bhairavi but also desya ragas like Behag or Sindhubhairavi. She may have imbibed this talent from her father vidwan Koothanoor Aiyaswamy Iyer, who was trained in both Carnatic and Hindustani music. Along with her mother Lalithangi, he also specialised in Purandaradasa kritis. MLV followed suit.
MLV expanded the repertoire she inherited by adding compositions by Kanaka Dasa (disciple of Purandaradasa) and other Dasa Koota composers. It could be said that the family brought Dasarapadas to the concert stage. Mysore University acknowledged MLV's efforts in this regard by bestowing upon her an honorary doctorate.
A versatile vocalist, MLV was trained early on by none other than G.N. Balasubramaniam, who was also a close friend of her father. It was GNB who boldly ushered in a new voice-culture based on Hindustani akaaras and nagaswaram glides (jaarus), and lightning-fast swara clusters (brighas). She carried forward his innovative approach. She was one of the first Carnatic vocalists to sing abhangs. Her kutcheris often felt wholesome with the inclusion of padams, javalis, Tevarams, Tiruppugazh and complex RTPs.
She was well known for introducing rare kritis in each and every concert. Rasikas waited with bated breath to hear a new song, alapanas of rare ragas such as Sekarachandrika, Gamansrama, Revathi and Natabhairav, a pallavi in a difficult setting or a Purandaradasa ragamalika. They also enjoyed the tukkadas she presented.
MLV was adventurous as a singer. For instance, at the Sangita Kalanidhi concert in 1977 at the Music Academy, she courageously took up a tricky pancha nadai (five varieties of rhythm) pallavi and executed it beautifully. Her singing drew lavish praise even from one of the sharpest critics of the time — Subbudu (P.V. Subramaniam).
I began learning from MLV in 1963 at the age of 12. My mother Alamelu Viswanathan took me to her house. The singer was then getting ready for a concert. I was awestruck by akka's (as I used to call her) personality. She was wearing a beautiful silk saree, diamond ear studs and stone-embedded gold bangles. Her long well-oiled hair was neatly braided and adorned with fragrant jasmines. She heard me sing a short kriti, paused for a moment and accepted me as her disciple. My mother was overjoyed. She had a cheerful-casual disposition as a teacher. It was a 27-year-long association between the guru and the sishya.
MLV's music was different from that of her contemporaries — D.K. Pattammal and M.S. Subbulakshmi. Though MLV was younger than the other two legends, she rose to great heights and the three were referred to as the 'female trinity of Carnatic music'. They began their career as gramophone-record sensations and gained unprecedented popularity in the early 20th Century. MLV was just 12 when she cut her first vinyl with 'Sarasija nabha murare' (Charukesi , Swathi Tirunal). Later, the trio forayed into singing for the cinema, with M.S. even acting in a few.
As for MLV, she sang for the top heroines of the time, including Padmini, who was also her neighbour. Both shared a warm relationship.
MLV divided her time among kutcheris, travel and studio recordings. One often saw her practising during her commute or in the little free time she got. Despite her hectic schedule, she was always available for her sishyas, willingly sharing her knowledge and guiding them.
MLV's music was three dimensional — she had a great voice, a creative mind and a generous heart.
The writer is a well-known Carnatic vocalist.