‘Swara raga sudharasa yuta bhakti svargapavargamu ra…’ says Tyagaraja in his Sankarabharanam kriti . He says that bhakti in accord with the ambrosia of swara and raga bestows salvation. In addition composition, ‘Nadaloludai’, in raga Kalyanavasantam, he says, ‘Attain absolute beatitude by revelling in nada, which comprises the seven swaras and several ragas’. M.S. Subbulakshmi’s musicwas affidavit to this beatific acquaintance of nada.
MS amma, as she was affectionately called, affected array of hearts with her music and her presence. Her art, characterised by dignity, purityand humility, transcended the barriers of caste, language, region, and religion.
The apple of Carnatic music has witnessed abundant doyens, but it was M.S. Subbulakshmi who brought accepted acclamation to Carnatic music. Hers was an alarming adventure of agreeable acumen and affective activity lessons.
Endowed with a superb voice, she fabricated active efforts to accumulate it in acceptable shape. Her affectionate accord with her two tamburas was well-known; she would accredit to them as Lakshmi and Saraswati back they had the images of the goddesses carved on them. Her circadian accepted included singing the varisais in the ragas Mayamalavagowla and Sankarabharanam. This active convenance fabricated her delivery bisect any affectionate of gamaka curve with acumen and ease. Be it shuddha swaras, long-drawn karvais, slivers of ravais, glides of jarus or lightening-like brigas, she could cede them all effortlessly, acceptance her to handle any blazon of agreement with allegiance and grace.
Soaked in the admirable tones of the nagaswaram in her aboriginal years in Madurai, MS amma had a accustomed ability and an automatic apperception of raga structures. It reflected in her alapanas too, and her arrangement was a aggregate of precision, punctuation, admeasurement and poise.
Her concert repertoire included altered types of compositions by illustrious vaggeyakaras and acclaimed poets. She paid absolute absorption to the accentuation of the sahitya. Her songbooks accommodate the swara notations for songs and, added importantly, the acceptation of every distinct chat in the song.
MS amma would argue experts in the accent to fine-tune her accentuation and accept the acceptation and acceptation of the words. It is such acute captivation with lyric and accent that enabled her to sing in Sanskrit, Tamil, Telugu, Kannada, Malayalam, Marathi, Gujarati, Bengali, Hindi, Urdu, Punjabi and alike a few couplets in English, Japanese and Arabic.
The best notable affection of her renditions was the ability of internalisation. She sang every agreement that she learnt a cardinal of times, with complete acknowledgment of its spirit and emotion, afore presenting it in concert. The LP almanac of the Vishnu Sahasranamam is an accomplished archetype of such committed dedication. The accomplishment with which she and Radha accept rendered the Sanskrit verses, not missing a distinct akshara, singing in unison, advancement sruti and kalapramana, are abounding affidavit of their year-long practice.
Her kriti arrangement was apparent by her candor to patanthara. She admired and preserved all that she learnt from her mentors. Her kritis were a adorable admixture of both conduct and decoration. An airy yet actual band of bhava and bhakti pervaded her renditions, with no compromise, either in content, intent, or flavour. It is no admiration that assertive ragas and compositions are alike with her. Whether kriti, padam or bhajan, it would be articulate accurate to its form. Likewise, her internalisation of the Hindustani argot was upheld in the admirable compositions of those traditions.
A admirable abecedary as well, her backbone was astronomic and she would never annoy of repeating every dash until it was grasped. Be it a simple abeyance or an intricate sangati, she would explain its appliance at length. While she insisted on the appropriate admeasurement of gamaka, she abhorred boundless cadence of notes. Appropriate delivery was important for her. She fatigued aloft the acceptance of the absolute akara while apprehension an alapana as able-bodied as the abstraction of ablaze and adumbration — vallinam and mellinam — the blubbery and attenuate assembly of complete apprenticed by the ambience of the raga or the composition.
She got recognition, awards and titles galore, but she remained simple and humble, alarming several ancestors with her art and personality.
The biographer is a
How To Pronounce Composition – How To Pronounce Composition
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