M.S. Subbulakshmi

[varsha]

https://archive.org/details/KadhirKaama ... mShivanMSS
Kadhir Kaama Kandan - kAmbhOji - pApanAsam shivan- MSS

[kartheeksharma]

https://www.youtube.com/watch?v=U-tIYRSfZ0I

MS Subbulakshmi - Thaayagi Thandhayumai - SimhendraMadhyamam - Ramalingaswamy

can i get lyrics of this song

[kvchellappa]

From Sri Pasupathy’s blog

http://s-pasupathy.blogspot.in/2013/01/13.html

1968 is when MS got SangItha KalAnidhi award. The same year in Anandavikatan (22nd Dec issue) an article appeared.
Excerpts:
A queen for music
T T Krishnamachary

A friend of mine invited me to a concert saying, ‘This evening a girl sings in Soundarya Mahal. Come, let us go there.’ I accompanied him. A young slim girl was singing on the dais. There was a lustre in her face. Her sonorous voice attracted me greatly. I told my friend. ‘Not bad. The young girl sings well. Good voice.’ My friend said, ‘Wonderful voice. There are the famous Enadi Sisters. The elder of the two had a wonderful voice. This girl’s voice is still better.’

This was in 1932. Yes, it was the first concert of MS that I heard.

I did not listen to her after that. She was making waves in the music world. Everywhere the talk used to be ‘MS, MS.’ I heard that in between she entered film world and acted. I did not see any film. At that time some people would tell me that MS has the impact of GNB style in her music.

It was in 1953 that the concert of MS enthralled me. I remember the date also vividly. It was 25th January. I went to the wedding in TMS Mani’s house. They took me to the first row and made sit next to Rajagopalacharyar, who was then CM. He told me, ‘She was singing well earlier, but there is now some change.’
However, I felt that the concert that day was quite good. It occurred to me that she had attained maturity. I told him my opinion, ‘What you say is not right. Now only, there is maturity in her music. She sings with bhava.’

That was very true. She had then training under Semmangudi. She had good grounding. After that, I had occasion to listen to her music often. She used to visit Delhi often. Sometimes she would stay in my house. I would listen to her music then. I would tell her in jest, ‘Stand for election. You will win riding on your popularity.’

Only music is the world of MS. She has no other thoughts. She is ever engrossed in it. The speciality of her music is constant improvement. She has the good sense to learn from the greats. She is quick at the uptake and has sadhakam. God has blessed her with a good voice. She has honed that voice by practice and harnessed it well. I would say that to my knowledge, no one else has such a sweet voice. Those that listen to her continuously would appreciate readily her step by step improvement of musical knowledge.

Recently I attended a concert. She sang alapana in Chakravakam and followed it up with ‘sugunmau leka’. It is a tricky raga. If one swerves anywhere it will land in sowrashtram. The way she sung it that day proved that she has reserved a place among the great vidwans.

Foreigners have listened to her songs and enjoyed it. I cannot say how far they would have appreciated it. But, her voice would have mesmerised them. Jawaharlal described her as ‘A queen for music.’ That is wholly true.

It is in the fitness of things that the Music Academy honours her this year, the one who has taken up all the good from the elders with humility and attained the quality of vidwat.

(Courtesy; Vikatan)

[varsha]

https://archive.org/details/SangeethaKa ... anceSpeech

[Aditto]

gurumUrtE tvAm namAmi kAmAkshi

[Aditto]

Thanks chellappa sir for your translations and varsha garu for your uploads

[SrinathK]

I stumbled upon this really old full length concert from 1955, offering a glimpse into what her music was in those years. (Spoiler : Pretty much the same as we've always remembered it, except the energy of her prime means her voice is in racing trim, punching through frightening brighas with the ease of a morning stroll, cruises in the upper octave like an airliner, and the manodharma is a free bird with no energy constraints).

Thiruvalangadu Sundaresa Iyer - Violin
T.K.Murthy - Mridangam
Umayalapuram Kothandarama Iyer - Ghatam

Radha mAmi is supporting vocal.

26 December 1955
9 pm - Music Academy, Madras (9 pm !! Really? These days the cities don't sleep, but this has vanished now!) Someone do tell me how you went back home at that hour?

https://www.youtube.com/watch?v=yCG5EM_3DF8
https://www.youtube.com/watch?v=Zpd247Vpmz8
https://www.youtube.com/watch?v=Iq_s1lLEnl8

There isn't much of MS at all from this period AFAIK, so whatever there is worth it's weight in gold :-

Song list :
1) vAchAmagOcharamE manasA - kaikavasi - dEshAdi - Thyagaraja
2) enta vEDukondu rAghavA - sarasvati manOhari - dEshAdi - Thyagaraja
3) ninnarul iyambalAgum - pantuvarALi - roopaka (1/2 eDuppu) - Papanasam Sivan -- R,N,S. This is set to the tune of ninnE nera namminAnurA
4) shrI kumAra nagarAlayE - aTHANA -- Adi (2 kalai) - Swati Tirunal -- R
5) kamalAmbikE - tOdi - roopaka (2 kalai) - Muthuswami Dikshitar -- R, N, S (neraval and swaras at viyadAdi bhUta kiraNE). The alapana is just amazing. Just wait for that effortless reach up to the upper N2 and wonder just how much more range is in reserve . As for the kriti, I was thinking about the 1986 version I shared last Navaratri earlier in this thread. Go listen to it if you wish. Not a single sangati has changed !

6) mAdhava mAmava - neelAmbari - Adi (1/2 eDuppu) - Narayana Tirtha. Yes, you can do brighas even in neelAmbari.
7) swara rAga sudhA rasa - shankarAbharaNam - Adi (2 Kalai 1/2 eDuppu) --Thyagaraja -- R, N, S (neraval and swaras at mUlAdhAra nAda merugutE).
8) sharaNam ayyappA - mukhAri - mishra chApu - Papanasam Sivan
9) Ragam Tanam Pallavi (kailAsapatE pashupatE umApatE namostutE) - bEgaDa - Adi (2 kalai 3/4 eDuppu)
10) ranga pura vihAra - brindAvani - roopaka (2 kalai) - Muthuswami Dikshitar
11) mOre to giridhara gOpala - jhinjhOTi - chatusra Ekam (tisra naDai) - Meerabai (This is sure to bring back memories of 1996 at the same venue)
12) bhajhorE bhaiya - <raga unknown> - chatusra Ekam - Kabir -- those brighas are like firecrackers on Deepavali day
13) tOTakAshTakam - rAgamAlikA (senchuruTTi, punnAgavarALi, nAdanAmakriyA, sindhubhairavi) - chatushra chApu (1/2 eDuppu) - toTakAcharya
14) vaDavaraiyai mattAkki - rAgamAlika (hamsAnandi, khamAs, hindOlam, shaNmukhapriyA, paras, kApi) - Adi - ilango adigAl.
15) mangaLam (nI nAma rUpamulaku) - sourAshtramam - Adi - Thyagaraja

And there's my first concert review...

[kvchellappa]

Was this the concert after which SSI and Musiri congratulated her on the RTP?

[kvchellappa]

SrinathK,
Excellent review. Vindicates Subbudu:
'There is no place for a critic in the music of MS'.

[Aditto]

Was this the concert after which SSI and Musiri congratulated her on the RTP?

It is Alathur Brothers...

Taken from http://www.srlkmandira.org/newsletters/ ... pecial.pdf

MS
had to present RTP in the academy. Alattoor
brothers who were considered to be experts in
rendering Raga Tana and Pallavi came to MS and
asked her which pallavi she was going to sing.
Then MS, humility personified tells them that it
was Begada pallavi. It was very ordinary, simple
and not at all a complex one.
After the concert
they compliment MS and tell, “It is true, the
framework of the pallavi is very simple but the
way you handled it is very complex and intricate.”

[kartheeksharma]

anybody havin gave guni ganika and tumak chalat ramachandra bhaajans of mss// varshaji???

[SrinathK]

Here's an extensive (but probably not exhaustive) discography :

http://pedia.desibantu.com/smt-m-s-subb ... scography/

By the way, will someone tell me what raga was Bhajhore Bhaiya sung in?

[SrinathK]

I was listening to a lec dem of Vedavalli mami the other day, and she explained that before the compositional heavy repertoire came about, it was the pallavi that allowed the art of neraval to develop -- pallavi was all about neraval and finding all the variations possible on a composed line. It was then transferred to krithis (I believe RaviSri spoke about a group of the Thillaisthalam school that still doesn't do neraval or swaras on Thyagaraja's krithis). According to her, there is no need for a pallavi to actually be complicated.

The old pallavis for the most part were therefore composed in a way that allowed the musicians to show their full scope for manodharma and you can also see this in the pallavis of GNB or ARI too -- not rhythmically too complex, but it was about neraval and ragamalikas.

And this may surprise some of you, but as far as I have listened, even the terror pallavis of those days in fiendishly long tala cycles were not known for internal laya headscratchers -- their difficulty came from their length or their 4x kalai and the sheer difficulty of grasping their full structure, performing extended neraval and kalpanaswaras on them. Even if you have heard the Simhanandana pallavi by Mudicondan Venkatrama Iyer or even the Thodi one by the amazingly talented Vinay Sharva, you will observe that all the key takeoff and landing points are aligned with the talangas at convenient spots. This also makes it easier to elaborate them in many nadais.

Now the other type of pallavi, that is not necessarily (but could be if one is wicked enough) in a very long tala, and which can be small (but again not necessary), but which uses all sorts of internal laya trickery like complex eduppus, nada bhedams, two talams in two nadais, staccato pauses everywhere to break continuity of the flow, difficult ending patterns --- that is a more recent development, running in parallel with the development of rhythmic sophistication over the past 150 years or so.

Up until the time when DKP and MS or Brinda-Mukta began to break the mould, there was a big distinction between the music of male and female musicians, with ladies not indulging in that much manodharma or sometimes avoiding it entirely (like the RTP). In this MS is slightly more old school, unrestrained in neraval and raga alapana or tanam, but somewhat so in kalpanaswaras (however if you've been listening to the concert above, I think that came more in her later years). I believe it was MLV who finally went full throttle.

What MS did better than anybody is to set a standard of matchless refinement and world class delivery that is going to to be remembered for centuries.

[RaviSri]

I believe RaviSri spoke about a group of the Thillaisthalam school that still doesn't do neraval or swaras on Thyagaraja's krithis

I had quoted from Soolamangalam Vadiyanatha Bhagavatar's book wherein he had written about two direct disciples of Thyagaraja, Thillaistanam Rama Iyengar and Umayalpuram Krishna Bhagavatar. About both, Soolamangalam wrote that Thyagaraja had specifically prohibited them from singing niraval and swaras as that would spoil the ghambIram of the kritis. And both Thillaistanam Rama Iyengar and Umayalpuram Krishna Bhagavatar (as well as his brother Sundara Bhagavatar) never sang niraval or kalpana swaras. They just sang alapana and Thyagaraja's compositions.

There are no Thillaistanam disciples now. Very few went to them because their versions were considered as, though original, not suitable for the concert platform. Of course, it was the so-called Umayalpuram school that produced lots of musicians and none of them has ever followed Thyagaraja's dictat. Among the Dhanammal family musicins only Brindamma sang niraval and swaras, and T.Viswanathan in his sabha concerts, (Viswa never played/sang niraval or swaras in his chamber concerts), none else, including the grand old lady herself. "adellAm edukku, kIrtanaigaLa uruppaDiyA, rAga bhAvathODa pADinA pOrum, vEre eduvum vENDAm", was her constant refrain. But Dhanammal used to talk admiringly of the swara vinyAsam of her guru Sathanur Panchanada Iyer and Coimbatore Raghava Iyer. Both, of course, kept the kalpana swaras to a bare minimum and did not sing swaras for each and every song.

An aside: In the 1940s the Music Academy had passed a resolution asking musicians not to sing swaras "for every blessed song". But, of course, none cared.

[cienu]

Dear Rasikas
Please find below an article by our forumite CRama on Smt MSS which appeared in the latest issue of "Sruti" - Aug 2016.
(Permission obtained from Sri V Ramnarayan - Editor of "Sruti" to post this is Rasikas.org)

[SrinathK]

@CRama Amazing writing and even more amazing memories!

And during my most recent explorations, I have stumbled upon an ancient piece of forgotten history. A rare fossil. It is MS, but not the MS that you are thinking about.

http://www.sangeethamshare.org/asokan/C ... bal-Oct-28

A voice to match both MSS and NCV. Don't forget to thank the uploader.

[Aditto]

Dear Rasikas
Please find below an article by our forumite CRama on Smt MSS which appeared in the latest issue of "Sruti" - Aug 2016.
(Permission obtained from Sri V Ramnarayan - Editor of "Sruti" to post this is Rasikas.org)

Felt very happy reading the posts.

And elaborate alapana in Atana? Is this done by Radha mami (as heard in couple of recordings) or sung by MS Amma? Can you share any elaborate atana by MS please, cienu sir, if you have any ? Also, any specials plans to release any video/audio recordings of MS commercially?

A personal request and for sure a request on behalf of many rasikas here, can you please upload any MS videos/audios to paramparaa1916. It has been more than 2 years.

Regards,
Aditya.

[rshankar]

CRama - eloquent writing! Thank you for chronicling your memories!
Cienu - thank you so much for getting permission to post it here.

[CRama]

Srinath Oh What a find. Amazing voice -like an unpolished diamond. Guys, I am telling about two songs of Vadivambal- MS's sister, in Sangeethapriya which I have not heard so far. Thanks to Srinath and also to Raju Asokan the uploader.

[cienu]

Dear CRama
Regarding the 1983 concert at Malakkara (near Chengannur) I too was present for the concert. Malakkara was one place where she performed for a number of years. The love and devotion showered by the devotees of the Ashram at Anandawadi on my Grandmother and mother was unbelievable

[pattamaa]

Dear CRama
Regarding the 1983 concert at Malakkara (near Chengannur) I too was present for the concert. Malakkara was one place where she performed for a number of years. The love and devotion showered by the devotees of the Ashram at Anandawadi on my Grandmother and mother was unbelievable

Please do share some annectodes and incidents ... we are all ears...

[cienu]

Every year on the occasion of the birthday of Swami Adwayananda (Janma Nakashathram),there used to be a concert by my Grandmother and mother. Whenever there was a request for the Malayalam song "Kandu Kandann" my Grandfather T Sadasivam used to politely decline as the song by Poonthanam Namboodri is an outpouring of his emotions upon the death of his son (and hence not ideally suited for a birthday). Someone approached the Swamiji directly with a request to ask MSS to sing "Kandu Kandann", who in turn told my Grandfather that when MS sings this song she brings out the higher philosophical truth expounded by Poonthanam. Therefore he said that she could sing the song.(even though it was his Janma Nakashathram).
From then onwards every year for many years "Kandu Kandann" used to be sung as one of the songs (usually towards the end of the kutcheri).

[pattamaa]

Mrs Revathy shankaran talks in detail about MS amma's life history

https://www.youtube.com/watch?v=PexAtz6A2J4

[kvchellappa]

From Kalki PavaLA Vizha Malar
Enga Patti (Our grandmother) by V Srinivasan

Before telling about Patti, I must tell about Thatha Sadasivam. He was very strict. He insisted on discipline in everything. No one including us could approach and talk to him just like that. He was short-tempered too. We would talk to him respectfully and with obedience. But, approaching Patti was quite easy. While talking to us, she would endear us saying ‘enna kannu’. Therefore, we had immense love for Patti.
We had never seen her getting angry. We had never heard her raise her voice. She was never in the habit of complaining about others. When fellow artists or young ones sang, even if there were mistakes, she would only mention, ‘You could have sung like this in this line’ or ‘It might sound better if the raga is sung like this,’ and never, ‘You did not sing correctly’.
If there was one thing Patti did not understand, it was cricket. When cricket match was on, someone hit a sixer or a wicket fell and we shouted, she would ask eagerly, ‘Who won?’ We would explain to her.
Patti was fond of scent overmuch. She had a big collection of scents. She would spray the scent in a kerchief and take it in her hand.
She was sentimental in a few matters. Minding sUlam while going out of town, doing ganga snAnam on DIpAvaLi morning, etc, were must for her.
Patti going for a concert itself was like a ceremony. She would tune the tambUrAs well in time. They would be taken to the concert hall ahead. Before starting from home, she would do namaskaram to Thatha. Then she would stand with Thatha and my mother (Radha) would do namaskaram to them. In the car, Thatha would sit in front, and Patti and Amma would occupy the back seats.
On reaching the concert venue, she would go to the green room and tune the tambUrAs again. Then Patti and Amma would rehearse jandai varisai, sankarabharanam ragam and a few items. She would call the accompanists and check her voice. Thus, preparation would go on till the last minute.
I was a small boy then. She would call me and tell me, ‘Go and see whether there is a good attendance for the concert’. I would inspect and report. The hall would be overflowing and many would be standing for want of a seat. If I mentioned that the hall was jam-packed, Patti would become tense. She would pray with folded hands, ‘The people have turned up to hear me sing. God, I must sing well’.
All this was only until the screen parted and she bowed to the audience. Thereafter, one could see only a different Patti. Saraswathi kataksham will frolic on her face. She would become one with music. She would hold the audience also spell-bound. While singing on stage she would sport a gentle and modest smile. There would be beauty even the way she kept the beat. During the concert there would be a radiance in her face.
My daughter, Aishwarya, is very interested in music. When she was nine, I took her to the Kotturpuram house. Patti was in bed rest then following a fracture. Even in that state, she asked Aishwarya to sing. Aishwarya sang ‘Bhavayami Gopala Balam’ in Yamunakalyani. Patti listened to it with keen interest and when it was over, she wiped the tears that flowed down her eyes and remarked with quavering tongue, ‘This girl will take after me’. That memory is green in mind.

[Aditto]

thanks chellappa garu..


i was listening to MS and it struck me if we could just make a list of songs that she rendered in a particular raga (this list must be short because almost all the available concerts have almost the same song list and we do not have exhaustive MS song list...) rasikas who have unshared collections or who have heard MS in live can add more.


Sankarabharanam - Saroja dala netri, Devi jagatjanani, Sri Shanmukha Janaka, Swararaga sudha, Emi neramu, Akshya linga vibho, Chandrasekhara Yateendram, Sankaracharyam, Sadasivamupasmahe, Dakshinamurthe, Arthapiravi, Hogadilaro, Chandrasekhara Kripanidhey, Enduku Peddalavale

Kalyani - Bhajarere Chitta, Nidhi Chala Sukhama, Talli Ninnu Nera, Needu Charana Pankaja, Kamalambam Bhajare, Birana Brova, Nambi Kettavar

Kharaharapriya- Sankalpamettido, Pakkala Nilabadi, Chakkani Raja Margamulu, Okapari, Rama Nee Samanamevaru

Todi - Sri Krishnam Bhaja Manasa, Dasarathi, Rave Himagiri, Tanjam Unnai, Kamalambike, Koluvumaregada, KArtikeya Gangeya

Khamboji - Evari Mata, O Ranga Sayee, Koniyadina NApai

Bhairavi - Enati, Koluvaiyunnade, Amba Kamakshi, Yaro Ivar Yaro, Taye Ezhipal, Odi Barayya, Anjel Endru Nee

Mohanam - Kerala Dharani, Nannu Palimpa, Narayana Divya Namam, Cheri Yasodaku, Paripahimam Nruhare, Varuga Varugave

Please add to the list...

[kvchellappa]

Kambhodi: Thiruvadi saranam, Sri Subramanyaya, ma janaki

[Aditto]

Nalinakanti - Manavi Alakincharadate

Hindolam - Mamavatu Sree Saraswati, Bhajare Gopalam, Manasuloni Marmamu

Anandabhairavi - Kamalamba, O Jagadamba, Marivere (From the pdf shared by kartheeksharma, this is with AIR)

Saveri - Deenuda Nenu, Muruga Muruga, Sree Kamakoti, Durusuga, Parasaktimanu, Sankari Sankuru (this is with AIR)

Mukhari - Ksheenamai, Karubaru, Muripemu Galige

Varali - Pancharatna Kriti, Mamava Meenakshi, Marakata Manivarna, Padam by Swati Tirunal

Nata - Pancharatna Kriti, Namo Namo Raghukula Nayaka, Sarasiruhasana Priye

Sree - Pancharatna Kriti

Gowla - Pancharatna Kriti, Sree Mahaganapati

Arabhi - Enthai nee andro, Pancharatna Kriti, Chaala Kallaladukunna

Reetigowla - Janani Ninu Vinaa, Ninuvina marigalada

Abheri - Nagumomu

Vachaspati - Paratpara

Simhendramadhyamam - Iha Param, Ninne Nammiti Nayya, Rama Rama Guna Seema

Gowri Manohari - Guruleka, H. Yoganarasimham's Composition

Charukesi - Adamodi, Kripaya Palaya

Hemavati - Sri Kantimatim

Bilahari - Sree Chamundeswari

Khamas - Brochevarevarura

Madhyamavati - Palinchu Kamakshi, Saravanabhava, Vinayakuni

Shanmukhapriya - Marivere, Saravanabhava, Siddhi Vinayakam, Paramapurusha Nirupamana

Mayamalavagowla - Deva Deva Kalayamite, Vidhulaku Mrokkeda

[kvchellappa]

I think we must have a separate thread for this so that only this item will figure and it can be edited to have the info in one place.

[Ramasubramanian M.K]

Today is GOKULASHTAMI Day(in NY)!! My wife reminded me of an anecdote linking her to MSAMMA,
In the mid sixties after our marriage,my wife had the privilege of spending a day with MSAMMA at the KALKI Gardens. The next day happened to be Gokulashtami day.Mami asked my wife whether she knows how to do the KOLAM(Krishna's feet). My wife said yes and demonstrated the conventional method of drawing with the fingers.Mami then said there is a better way by which the shape of the feet can be drawn without using the fingers. She then demonstrated by a " vertical clenched fist" soaking into the Kolam paste and planting it firmly on the floor to get the shape and then supplement the toes with fingers. This technique was not known to my mother or her mother and we were amazed at how much "home-making smarts" Mami had which the outside world may not know.

Ladies,I may not have explained this adequately--probably a video by my wife would have been better as a Picture is worth a thousand words!!!!

[pattamaa]

that's so nice annectode on occassion of gokulashtami,,,

[CRama]

Further additions to the repertoire of MS.
Kambodi- Kadir kama kandan, Adum deivam nee arulvay
Sankarabharanam- Yaro endrennamale- Arunachala kavirayar kriti- Have not heard this. But Gowri Ramnarayanam told about this in the function.
Sree- Vande Vasudevam
Thodi-Emijhesite(veena is there), Kundram kuti konda velava
Kharaharapriya-Mitri bhagyame.
Mukhari-Vadsiyati-Ashtapadi, Palisemma muddu sarade, Indu enage Govinda
Mayamalavagowla-Merusamana, Ksheerasaara sayana vakshasthala nivasini
Yadukulakambodi- Swarajati, Hecharikagaa raa, Divakara tanujam,Atmananda gurur devo jaya jaya, Karuna cheyvan, Yarendru raghavanai
Reetigowkla- Jo JO rama.
Harikambodi-Rama nannu brovara, Vandadum cholai, Dinamanivamsa, Sankara dayakara,Saketa nagara nadha,

I have not heard Enduku peddala. If anybody has got, kindly share it.

[CRama]

Some more.
Thodi- Mahaganapthim vande, Munnuravana, Sarasijanabha murare
Saveri-Anjaneya raghurama
Bilahari-Inthaknnanadamemi
Khamas-Konji konji vaa guhane
Begada- Ekadantam upasmahe, Anudinamunu kavumayya,

[ramvmt]

Sir
it would be great if you could share Sarasijanabha murare in todi & Bilahari-Inthaknnanadamemi
In todi she has also sung thanjam unai adaithen & mamamakaparadham

[arunsri]

Kamavardhini {Panthuvarali} - apparAma bhakti, nAradamuni, EnnagAnu rAmabhajana, rAmanAtham bhajEham, sArasAksha paripalaya, shringagirivAsini, ninnaruliyambalAhumo, tAyE idu taruNam {Ramaswamy Sivan - Adi 2 kalai], guruvina guLAma, shambhO mahAdEva

shrI - mUlAdhAra chakra vinAyaka,

yadukula kAmbhOji - pArtahsArathi nI [subbarAma dIkshitar]

kIravANi - chandrashEkharam AshrayE [Dr. V. raghavan kriti], kaligiyunTE, dEvi nIyE tuNai,

pUrvikalyANi - mInAkshi, gnyAnamOsagarAda, ekkAlathilum [tiruvArur rAmaswAmy piLLai], moyyArtaDam [thiruvEmppAvai]

madhyamAvati - pAlinchu, vinAyakuni, dEva shrI taptasthIrtha, sharavaNabhava guhanE

aTAnA - nI irangAyanil, sakala graha bala, ElA nI daya, shrI kumAra nagarAlayE,

dhanyAsi - dhyAnamE, nI dayalEdani,

kAmbhOji - azhikku mEikkODum thiruvaDi aDaindEnE

biLahari - pUraya mama kAmam

mukhAri - sharaNam ayyappA in addition to the others mentioned

bEgaDa - vallabha nAyakasya, vA murugA vA - in addition to anudinamu, Ekadantam

shriranjani - gajavadanA karuNA, sogasugA mridanga, mArubalka, nI sATi daivamEnru [daru]

hamsadhwani - vAtApi, pAhi shrI patE, vAraNamukhavA, kalainirai gaNapati,

nAdanAmakriyA - karuNAjaladhE, shiva shiva shiva bhO, jagadIsha pancha, dAsanamADikO, ArAr Asai paDAr,

Smt.MSS sings manasulOni in suddha hindOLam {varamu} and not hindOLam, she sings dEva dEvam bhajE of annamayyA

[CRama]

Additions.
Bilahari-Kanpatheppdu en ayyane-Ambujam Krishna
Poorvikalyani-Anandanadamaduvar Thillai, Janani sayi

[rshankar]

CRama - sharing the Smt. MSS repertoire should be like recapturing hanumAn's tail or the sArI that Sri kRshNa offered draupadi - i.e., never ending!

[kartheeksharma]

https://drive.google.com/file/d/0B6PZ2q ... WYUJn/view

Ms bhaktas here is the full repertoire of ms with raag,taala,composer any mistake corrections are welcomed.

Adding todi-sarasijanabha mutate and bilahari-entakanna naadamemi

[Aditto]

CRama - sharing the Smt. MSS repertoire should be like recapturing hanumAn's tail or the sArI that Sri kRshNa offered draupadi - i.e., never ending!

When sharing MS music to some of my friends, they made a comment stating that her concerts are the same. Same set of songs. It upset me and I am trying to find out if she has sung more than what is available.

[kvchellappa]

Listening to Podhikai, we come to know other songs sung by her, but still there must be many more that may not have been recorded. MS repertoire ran to 4 figures, I read (Gowi Ramanarayaan?). Also, in later years she sang more of devotional songs, 'to foster bhakthi in the hearts of men' (Rajaji's words). I read that even SSI wanted her to sing more CM, but TS wanted her to sing more devotional music. It seems with every artist, over time they are identified with some songs, audience expects it and they are also happy to present them with fresh manodharma. We see it with SSI, MMI also.

[Aditto]

Listening to Podhikai, we come to know other songs sung by her, but still there must be many more that may not have been recorded. MS repertoire ran to 4 figures, I read (Gowi Ramanarayaan?). Also, in later years she sang more of devotional songs, 'to foster bhakthi in the hearts of men' (Rajaji's words). I read that even SSI wanted her to sing more CM, but TS wanted her to sing more devotional music. It seems with every artist, over time they are identified with some songs, audience expects it and they are also happy to present them with fresh manodharma. We see it with SSI, MMI also.

Yes sir. I completely see this point. My only intent was to find out what else from the regular songs were sung by MS. At least in this centenary year, we got to hear Marivere, Sugunamule Cheppukunti etc. (Thanks to varsha garu) Kartheek has shared AIR pdf of MS concerts where in Sankari Sankuru, Marivere etc are present. I would like to live that moment where I know MS sang that song which is not seen in the available concerts.

Oh God, wish I have a magic lamp.

[kvchellappa]

From FB;
A tribute by Ravikiran to MS (sung by Anahita and Apoorva)
https://www.youtube.com/watch?v=wKpwJ13dxOE

[Aditto]

No words. Just awesome.
I liked how Brindamma was brought in.

[SrinathK]

According to Dr. VKV, her repertoire was over 3500 (3500!!). For the record, despite forcing myself to listen, just listening, to new compositions virtually every day for almost a year and 9 months (and having heard around 300 compositions before that), I have not even got to the half way point and it is a huge strain mentally to even remember what I had listened to a month back.

Although we all probably got introduced to MS through Kurai Ondrum illai or the Suprabhatam, knowing the true extent of her knowledge and capability is beyond the reach of all of us.

The real limitations are actually us rasikas only. Such vast repertoires are so far beyond us that 3500 is just a number at some point. We will be lucky if we recognize about 50.

[Rsachi]

Respected all (especially Cienu!),
In y'day's repeat telecast of Kurai Onrum Illai, V Sriram mentioned that MSS concluded her SK acceptance speech with a beautiful shloka with this meaning (I quote roughly from memory): "to the mother in Madurai who played the veena gracefully and breastfed me with music, my obeisance." He wondered aloud whose composition this shloka could have been.
To my mind, this looks like a shloka penned on the spot by someone like Dr V Raghavan at MSS's request expressing her sentiments towards her beloved mother.

I couldn't find the words of the shloka at MSSTribute.org

If anyone can give the words, and also throw light on the composer etc., I would be grateful!
Thanks in advance,
Sachi R.

[rshankar]

RSachi - I think the SlOka may have served two purposes at once - obeisance to her mortal mother, and to mother mInAkshi as well - who played the mANikka vINA!

[Rsachi]

yes, waiting for the words...

[cienu]

http://www.msstribute.org/music.php

Dear Sachi
Kindly find the above link.
The speech in Music Academy and IFAS are available at the end of the page.

[Rsachi]

Thank you, Cienu. I actually heard this speech y'day. but there is no shloka that was referred to by V. Sriram. Was that another occasion/speech?
Only you can throw light on it, sir!

[arunsri]

Since a comprehensive database of kritis already exists, a small compilation of RTPs sung by her

Todi
====
chindai vaLar senthil vElavA siva maindA endan - k. tripuTa [2]
AnandapUrna bOdOham shivOham sachhidA - mishra tripuTa [2]

dhanyAsi
========
varadA vEnkaTashaila - mishra chApu

mAyAmaLavagauLa
=================
mAl maruganE muruganE guhanE umayAL mahanE aruL thiru - k. tripuTa [2]

bhairavi
========
ambA madura mInAkshi mAm pAhi dEvi - chaturashra jhampa [4]
daravidaLitta kuvalaya daLa nIla -tishra tripuTa [4]

kIravANi
========
mA madura mInAkshi mAm pAhi - tishra tripuTa [khaNDa naDai]

kharaharapriya
=============
mAl maruganE muruganE guhanE umayAL mahanE aruL thiru - k. tripuTa [2]
sharavaNa bhava guruguha shaNmugA swAminAthanE - tishra tripuTa [4]

kAmbhOji
=========
parimaLa ranga patE mAm pAhi - tishra jhampa [4]

shankarAbharaNam
=================
sharavaNa bhava guruguha shaNmugA swAminAthanE - tishra tripuTa [4]
dAsharathE karUNA payOnidhE inakula tilaka - Adi [4]
Ananda paramAnanda mukundA harE shri krishna gOvinda - Adi [4]

shaNmukhapriyA
================
sharavaNa bhava guhanE shaNmukhanE - Adi [2]

simhEndra madhyamam
====================
nanda gOpAla mukundA harE gOvindA - adi [2]

hEmavati
========
ninnu nammiti nIvE gati nIrajadaLa nayanA harE shri krishna - khanDa jhampa [khaNDa
naDai]

dharmavati
==========
sundararmagizh sumangali madurA mInAkshi ennai rakshi - Adi [2]
un darishanam kiDaikkumO naTarAja dayAnidhE - chaturashra jhampa [2] ---??

kalyANi
=======
un darishanam kiDaikkumO naTarAja dayAnidhE - chaturashra jhampa [2] ---??

mOhanam
=========
mOhana rAma mukhajitha sOma - Adi [2]
nanda gOpAla mukundA harE gOvindA - tishra jhampA [4] --- ??

[Pasupathy]

Nice collection. Congrtulations to all!
Can we have a collection of RagamalikA-s sung by M.S.?