00-T.SADASIVAM ON MS

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It was an afternoon in April 1944 when Rajaji paid us a visit. He had just then returned from Sevagram. In the course of our talk, Rajaji told us that he had promised Bapu five benefit music recitals

by my wife for the Kasturba Memorial Fund. I said his word to Gandhi to would be fulfilled.

That may be called the origin of Subbulakshmi’s benefit music recitals.

Here it will be interesting to recall what a contributor in a leading Indian Journal wrote about Subbulakshmi career until 1940.

“It is an exciting and fascinating profile and into its make-up have gone a number of things over a period of some decades.

First there is the mother, the guardian - angel of her childhood. Veena Shanmukhavadivu of Madurai is the inheritor of a great tradition. Her playing and her music have won the praise of musicians like Tirukodikaval Krishna Iyer. Venkataramana Dasa

of Vijavanagaram and VeenaSeshamma of Mysore. It was a home where music was truly valued and where musicians and votaries of music always gathered.

Into this was born Subbulakshmi, on the 16th of September 1916. Her precocity was soon in abounding evidence. Before she was ten she could

accompany her mother at recitals. During those early years mother and daughter made a delightful combination.. I remember one such concert quite clearly in Trivandrum in 1929, or was it

1930? Soon the young girl was to blossom forth into a soloist in her own right. By the time she was seventeen she was giving major performances at institutes like the Madras Music Academy.

In 1940 she married T. Sadasivam who has been. ever since,in addition to being her ii husband, her friend, philosopher andguide.”

Even prior to the recitals for the Kasturba Memorial Fund.Subbulakshmi had sung for the benefit of many public institutions in the South.

A special mention may also be made of the benefit recitals given by Subbulakshmi for raising funds for the construction of the Gandhi Mantap in Raj Bhavan Grounds. Guindy, Madras. Similarly should

be noted the many free recitals given by Subbulakshmi in the various,music Sabhas in the city of Madras which in turn resulted in the building of the New Hall of Sri Tyagaraja Vidwat Samajam of Mylapore, a premier organization forth encouragement of junior musicians.

In the same category are a few gramophone records given by Subbulakshmi, the royalty from which has been diverted for specific

public purposes like the erections of the Gandhi Mantapam at Guindy, the Bharathi Mantapam at Ettayapuram and for institutions like the Hindi Prachar Sabha.

She has recently recorded on an L.P. the Venkatesa Suprabhatam, the royalty from which goes to the Veda Patasala run by the Tirumalai~Tirupati Devasthanam.

Deserving particular mention is a series of free recitals which Subbulakshmi gave year after year for the Tamil IsaiSangham for thirteen consecutive years.

Along with this may be mentioned the free recitals which Subbulakshmi has been giving as an annual feature at the music festival of the Music Academy, which draws record audiences.

Subbulakshmi has so far given well over a hundred music recitals for the benefit of many good public causes all over the country like the Kasturba and Mahatma Gandhi Memorial Funds, for the

Ramakrishna Mission, schools and colleges, for Hospitals and Sanatoriums, the All-India Women’s Conference, many religious causes like the renovation of temples, institutions connected with

music like the Music Academy, Madras, the Tyagaraja Aradhana Festival Fund at Tiruvaiyaru, the Music Trinity Commemoration Fund,at Tiruvarur and for other public causes like the Journalists Federation, the Sapru Memorial Fund, the Gokhale Institute of Public Affairs, the P.E.N., the Bombay Tamil Sangham, the Book Industry Council, Flood Relief Funds, etc., etc.

These institutions and public bodies all over the country and Ceylon have in all benefited to the extent of about forty lakhs of rupees from

the music recitals of Subbulakshmi.

Of special importance among these many beneficiaries is the Music Trinity Fund of Tiruvarur.

It is a strange coincidence that the three great composers of Karnatic Music, Sri Tyagaraja, Sri Muthuswamy Dikshitar and Sri Syama Sastri were not only contemporaries but were born in the same village Tiruvarur in Tanjore District. The

Tiruvarur Music Trinity Commemoration Sabha was formed with the aim to acquire the birth-sites of these three great makers of Karnatic music, and also to celebrate at the sites annual festivals of their

birth. Proceeds of some of Subbulakshmi’s concerts were earmarked for the building on the Dikshitar site and the acquisition of the Syama Sastri house.

A concert that she gave in aid of the .All-India P.E.N. at

Bombay and another at R.R. Sabha, Calcutta were dedicated to the acquisition of the Tyagaraja house at Tiruvarur. It was given to the late Srimathi Nagaratnammal to give all her possessions for the Samadhi of Sri Tygaraja at Tiruvaiyaru.

It is now the privilege of Subbulakshmi to be aninstruement for memorials to the Musical Trinity of the South Sri Tyagaraja, Sri Muthuswamy Dikshitar and Sri Syama Sastri at Tiruvarur the place of their birth.

All this apart, what Subbulakshmi treasures most is the blessings she received from Mahatma Gandhi after her benefit recitals for the Kasturba Memorial Fund. He wrote to her in his own hand.

“ Rajaji has told me everything about your good work in connection with Kasturba Memorial Fund. by using your musical gifts. May’ God bless you..

Gandhiji heard Subbulakshmi for the first time in 1941.

Subbulakshmi and I were going to Calcutta from Bombay in connection with the picture Savitri in which Subbulakshmi featured as Narada. We broke our journey at Nagpur to have darshan of Gandiji

at Sevagram. We were sitting along with the other Ashramites to participate in the evening prayers. Evidently quite a few recoognised Subbulakshmi and they must have apprised Gandhiji of Subbulakshmi ‘s presence. I do not remember who actually asked Subbulakshmi to sing in the prayer. She sang a few Bbajans. I felt Gandhiji who heard Subbulakshmi for the first time was quite impressed with her devotional singing.

Talking of Savitri, it was a Tamil movie in which Shanta Apte was featured in the main role. Subbulakshmi took the role of Narada It was actually ‘charity beginning at home’ because Subbulakshmi was acting in this film solely for the purpose of earning the necessary finance to start my journal Kalki which is now the highly respected

Tamil weekly of South India.

Subbulakshmi is thus one of the founders of Kalki along with me and my late lamented friend and colleague SriR. Krishnamurthy.

The picture Savitri was shot in the famous New Theatres of Calcutta. I still remember bow all artistes and technicians in that big studios would gather to hear Subbulakshmi whenever she had a

recording programme. When she rendered ‘Bruhi Muikundeti’ the Sanskrit Composition

of the great Sadasiva Brahmendra. the late Sri K. L..

Saigal, Sri Sanyal, Smt. Kannan Bala and many other artistes just went into raptures.

Sri K. C. Dey was another ardent admirer of Smt Subbulakshmi’s music.

Subbulakshmi participated in the Al India Music Conference held under the auspices of the Vikramaditva Celebrations in Bombay in 1943.

Dr Jayakar was the President of the celebrations

and the festival was a grand affair. All the top North Indian musicians participated in it.. It was then that many of them came to know Subbulakshmi.

Pandit Omkar Nath nearly ran up to the dais from his seat soon after he heard Sankarabharanam from

Subbulakshmi .

The great Alladiya Khan was then about 90. My wife and I wanted to pay our respects to that grand old man of Hindustani music. We called on him at his residence . Alladiya Khan was visibly

moved when Subbulakshmi rendered the raga Pantuvarali which corresponds to Purva Danasri of the Hindutstani system. He gave her his blessings.

It was some time in September 1947 that we received a message from New Delhi through the AIR. Madras asking me if Subbulakshmi

could go to New Delhi to sing a few Bbajans for Gandhiji on the occasion of his birthday on 2nd October. We had to express with profound regret our inability, due to some domes tic difficulties.

Subbulakshmi then recorded a few Bhajans from Tulsidas, Surdas, Kabirdas and Meera and the recordings were sent to Delhi through

the AIR. for Bapu to listen on his birthday.

On the morning of 1st October we bad a telephonic message through the A.I.R. Madras from Primate Sucheta Kripalani who was then attending on Bapu in New Delhi that Bapu was very keen to

hear Hari Thuma Haro’ a Meera Bhajan from Subbulakshmi . I asked the A.I.R. to inform Srimathi Sucheta that Subbulakshmi had not learnt that piece yet and suggested that Bapu could listen to it from any other artiste in Delhi.

Late the same evening we had another message from Delhi to say that Bapu was keen to hear Han Tuma Haro rather Haro rather spoken by Subbulakshmi than sung by others. That left us no choice.

We went to the A.I.R. studios and with the assistance of one or two friends we had the piece set to tune. It was long past midnight when Subbulakshmi learnt the piece and recorded it. The recorded tape was taken by the morning plane to New Delhi by my nephew Anantanarayanan and Bapu heard “ Han Tum Haro “ rendered by Subbulakshmi on the evening of his birthday, 2nd October 1947.

Little did we imagine that that was going to be the last birthday of Gandhiji and much less did we imagine that that favourite Bhajan of Mahatmaji which was sung by Subbulakshmi for his birthday, was going to be played within less than four months by the AIR. stations all over the country for the funeral of the Father of the Nation.

On the evening of the 30th January 1948 Subbulakshmi was casually listening to the radio in our home. There was a sudden pause.

Then came in sombre voice the news of Bapu’s assassination, quickly followed by Hari Thuma Haro in Subbulakshmis voice. Subbulakshmi collapsed. For nearly a year thereafter she could not even attempt to sing ‘ Hari Tuma Haro

Subbulakshmi and

I felt blessed when we learnt from the late Justice Tyabji’s grandson who is now an Attorney in Bombay that his grandfather, while he was Judge of the Madras High Court in the years 1913-14 was living in the house which is now our residence,and that Gandhiji was then a guest of Justice Tyabji in this very house for about ten days. The house is now completely renovated and no doubt looks very different from what it should have looked fifty years ago.

Subbulakshmi and I. and my daughter Radha. were in Delhi during November 1947 in connection with the opening of the Hindi film Meera by Lord Mountbatten, then Governor general of India. Pandit

Jawaharlal Nehru took enormous interest in this preview of Meera During our stay in Delhi we called on Gandhiji at Birla House.

Those were the days of agony for Gandhiji because of the Hindu-Muslim clashes in the country. People attending on him told us that it was weeks since they saw a smile on Bapu’s face.

Subbulakshmi sang a few Bhajans before him but what made him almost burst into a feel of joy was the abhinaya gestural dance which

my daughter Radha did for a Hindi piece Ghana Shyama Aya Re which is rendered by Subbulakshmi in the picture Meera.

When we were all ,assembled for the evening prayers that day Gandhiji said

“Subbulakshmi Thum Ram Dhun Gao. (Subbulakshmi ‘you sing Ram

Dhun.)

While in Delhi we were invited by Sardar Vallabhai Patel one evening for tea at his residence. Vallabhai said that he knew little of music but was however eager to give his blessings to Subbulakshmi

who had endowed her art to many good and charitable causes.

Sri Rajendra Prasad, the first President of the Indian Union was immensely fond of Subbulakshmi’s singing. Twice when we were in

Delhi he sent for us to hear Subbulakshmi at the Rashtrapathi Bhavan. On both the occasions it was just a quiet recital, for the Rashtrapathi and members of his household. Rajen Babu, the great

and good soul that he was, used to be deeply moved by Subbulakshini’s rendering of Meera, Surdas, Kabirdas and Tulsidas.

The King and Queen of Nepal and other high dignitaries heard Subbulakshmi when she sang before Their Majesties in theRashtrapathi Bhavan, New Delhi in the year 1955. The fact that since

then we have been receiving almost annually an invitation to go to Kathmandu, which for our own reasons we have not been able to accept, makes us believe that Their Majesties were deeply impressed

by the music of Subbulakshmi.

The late Maharana of Udaipur very much appreciated Subbuakshmi’s music. In the year 1944 we moved about Jaipur, Udaipur, Chitore and Dwaraka for taking location shots for our picture

Meera. While we were in Udaipur a recital was arranged in the Durbar Hall. His Highness the Maharana of Udaipur, his Prime Minister the

late Sir T. Vijayaraghavachariar and other dignitaries were present.

A day after the recital when I approached the Maharana to help us with a few horses and elephants for some scenes which we wanted

to shoot in connection with the film Meera he said, “The Kalyani lThga rendered by Smt. Subbulakshmi is still ringing in my ears. lii return for that one Raga I shall give you not only elephants and horses

but whatEver other assistance you need for your film”.

His Highness the Maharaja of Mysore, Their Highnesses the Maharaja and Maharani of Travancore, the Yuvaraja of Kashmir may he listed amongst many distinguished personages who have enjoyed Subbulakshmi’s music.

Presiding over a benefit recital of Srimathi Subbulakshmi in aid of .the Gayana Samaj, Bangalore in 1959, His Highness the Maharaja

of Mysore said:

“Srimathi Subbulakshmi has earned our eternal gratitude by conveying to our people the charms of our music by the magic of her voice and by her superb mastery over the technique of our

classical music. Her music is unique in that it has a universal appeal; it appeals to the connoisseur, the vidwans who revels in intricte technique and it appeals equally to the masses of people by its melody and sweetness. It is unique also in this that her music is held in equal esteem in all parts of our vast country because in addition to its technical perfection it is full of the fervour of devotion to God. ‘Madbhaktah yatra gayanti Uztra

tishthami Narada’: I am. there where my devotees foregather to sing’ said Sri Krishna to sage Narada.”

Subbulakshmi and I met Pandit Madan Mohan Malaviya at Benaras in 1941. He was not then keeping very well. I do not remember if Subbulakshmi sang before him. When we were introduced to that great man, he gave us his blessings.

Helen Keller, the angel on earth that she was, deaf, blind and kind, ever bringing succor to the blind, the world over, felt nearly

transported to ethereal heights when she ‘understood’Subbulakshmi’s singing in her usual way of ‘feeling’ the vocai chords of the musician. This memorable incident happened in the Raj Bhavan, Guindy, Madras, in 1955.

Srimathi Sarojini Devi paid us a visit in our home in January 1945. She came, she listened to Subbulakshmi and she was conquered.

When we were all coming out of the theatre after the press show of Meera in Delhi, the late Sir T. Vijayaraghava- chariar, a great friend of Sarojini Devi, asked the poetess “Now do you surrender your title—the Nightingale of India?” “I have already done it” was her prompt and gracious reply.

Srimathi Sarojini Devi was first taken up by Subbulakshmi’S music when she heard her in our home in 1945. Later she was taken up

by Subbulakshmi herself. She became as fond of her as of her music. She loved to hear again and again a Meera Bhajan from Subbulakshmi, “Mai Han Charanana Ki Dasi” and also “Yad Ave.

Yad Aye” a composition by Rehna Tyabji which Subbulakshrfli has rendered in the film Meera. The fact that Srimathi Sarojini Devi so

readily agreed to personally appear on the screen in the picture Meera in order to introduce Subbu- lakshmi to the people of North India is ample proof of the depth of Srimathi Sarojini Devi’s love for

Subbulakshmi.Here are Sarojini Devi’s living words while introducing Subbulakshmi in the film Meera

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“I commend Subbulakshmi of the South to the people of the North. She is presenting the Hindi version of her Tamil film Meera.

Meera rightly belongs to the North though she belongs indeed to the whole world.

“Every child in India has heard about Subbulakshmi for the beauty of her voice, the magic of her personality, the gracious charity

of her heart; but in the North she is still to be known, to be loved, to be honoured, to be cherished as one of the greatest artistes in India.

“I am speaking not in Hindi but in English of set purpose, because I want my words of commendation to reach the whole world and

not merely Northern India.

“I want my living words to go to the uttermost corners of the world so that people may realize how one great woman artiste in India has been able to move the hearts of millions and millions of

men and women by her songs. I expect, I believe the feeling roused in me will be roused in every one who hears the enchanting voice of this enchanting singer who is abundantly gifted. It may not be

known to many that that golden voice is an instrument of great causes.

“I had the privilege of seeing the Hindi version of her film Meera. It was pure enchantment against the back- ground of Rajput grandeur and Rajput chivalry. It was a true representation of Meera, nay it was

Meera herself singing songs of devotion, of prayerful appeal. “The story of Meera is the story of India, the story of Indian Faith and devotion and ecstasy. Meera, the princess poetess of India has

no equal, no sequel rather, in any part of the world . . . Santa Theresa, Saint Cecilia, were great lovers of the mystic and had communion with Christ.

“Meera, she was one with her beloved Sri Krishna and Subbulakshmi’s performance is not the performance that gives the illusion of the reincarnation of the princess-poetess- lover of Sri

Krishna and for the two hours that we heard her singing the verses of Meera we felt that it was Meera herself come to life.

“And I am sure that whoever hears this wonderful voice, whoever watches the gestures of this wonderful artiste, whoever comes under

the enchantment of her great gilts will agree with me that she is not an interpreter of Meera but Meera herself.

“I need no more words to commend her. She will take her to your hearts. You will cherish her; you will be proud that India in this generation has produced so supreme an artiste.”

In Sarojini Devi’s demise Subbulakshmi felt the loss of a mother.The late Prime Minister Jawaharlal Nehru while presiding over a recital of Subbulakshmi in aid of the Ramakrishna Mission in

New Delhi in the year 1953 said, “Though accustomed to public speaking, I find it not too easy to address on this occasion Subbulakshmi’s music has a moving quality and whenever she

visits Delhi there is a thrill among the people whom she carries away by her melody. Who am I, a mere Prime Minister before a Queen of Song?”

This tribute was paid by Shri Jawaharlalji to Subbulakshmi once already. He called her the Queen of Song when be presided over her recital as early as 1949 in New Delhi when she sang for the

benefit of the Madrasi School. Shri Jawaharlal Nehru repeated the same tribute for the third time when lie presided over Subbulakshmi’s recital in Madras for the benefit of the Music Academy in the year 1956.

Jawaharlalji has heard Subbulakshmi many times. My wife and I and my two daughters had the privilege of staying in his house

as his guests for nearly ten days in the year 1955 when we went to Delhi in connection with a music recital by Subbulakshmi in aid of the Kamala Nehru Memorial Hospital Fund. We shall for all our

lives cherish in our hearts the exquisite courtesy and the wonderful hospitality we received at his and his dear daughter Srimathi Indira Gandhi’s hands.

My wife and I with our party went to Rishikesh in November 1953.

It was 8 p.m. when we reached the divine abode of Swami Sivananda. Swamiji gave us a great welcome and a grand feast. It was then Subbulakshmi’s turn to sing to the assembled devotees that numbered

over three hundred, for well over three hours. Swamiji was visibly moved by Subbulakshmi’s music and he blessed her with all his heart.

Swamiji had a big heart. It is now difficult to think of Rishikesh without Swami Sivananda.

Soon after we returned from Rishikesh we had another recital in New Delhi under the auspices of a premier music Sabha there. It was a record gathering for a Sabha recital.

Sri T. T. Krishnamachari,Shri Govind Vallabh Pant and many other dignitaries were present.

Subbulakshmi sang for more than five hours without an interval and Sri T. T. Krishnamachari sat through the recital right up to the end.

He was all praise for Subbulakshmi’s music. Ever since, whenever and wherever possible Sri T.T.K. has not missed a recital of

Subbulakshmi. It must also be said that every artiste including Subbulakshmi feels a singular joy to sing before- an audience whereSri T.T.K. a great connoisseur of music is, present. We in the South

call T. T. Krishnamachari a musician amongst ministers and a minister amongst musicians.

Shri Govind Vallabh Pant had heard Subbulakshmi already in the year 1950 when we were in Lucknow for the Sapru Memorial benefit recital. After listening to Subbulakshmi, Shri Pant exclaimed

“I have re-discovered my lost soul”.

Subbulakshmi has been the recipient of tributes from several eminent personages in all walks of life, most of which my wife and I shall remember for long.

Dr. S. Radhakrishnan, our esteemed President said on oneoccasion: “

It is a great joy to listen to Srimathi Subbulakshmi who always takes her hearers to a mood of great exaltation. She has contributed to many noble causes. Her music is a gift of the Gods

which she has placed at the service of the nation.”

More recently the President characterized Subbulakshmi’s magnificent voice as “one of the richest treasures of our generation.”

Dr. C. P. Ramaswami Aiyar once referred to Subbulakshmi as ‘that great musical savant known for utilising her matchless musical talents

for the benefit of many worthy causes’.

Mr. M. C. Chagla said while presiding over Subbulakshmi’s recital in Bombay years ago:

“Shrimati Subbulakshmi is not only an artiste and devotee but a great humanitarian, making her art an instrument of relieving the distress of the people. Wherever there was a call for raising funds

for public institutions, whether it was North or South, she has responded graciously Her services today in this direction could only be compared to the work of Meera Bai. In her religious, cultural and

artistic achievements she is in fact the present day Meera.”

Kausika of Aurobindo Ashram, Pondicherry, now in Ramanashram, Tiruvannamalai, critic and connoisseur wrote once:

“The credit of carrying the music of the South across the frontiers and into the hearts of Hindustani and thrilling the audiences with her exquisite singing goes to M. S. Subbulakshmi.

“In the South Subbulakshmi’s is a name to conjure with. She is indisputably the prima donna of South India. She has literally sung her way into the hearts of millions and the admiration of the masses amounts to idolatry. Her popularity and packed houses are without parallel in the annals of Karnatic music.

“Her infinitely sweet voice is perhaps what has cast the magic spell even on masses ignorant of the intricacies of music. It is voice, like Caruso’s which nature bequeaths on a chosen individual once in a few centuries. Vibrant and mellifluous, it can

travel over a range of three octaves, rising with effortless elan tier upon tier of liquid melody and negotiating the, higher pitches with well modulated emphasis.

“Her style is a happy blend of the classical and the popular. “Behind all this unique achievement lie an unpretentious and unsophisticated nature and a childlike simplicity which make her so different to her friends.”

Mr. S. Natesan, Ex-Minister, Ceylon, in an appreciatory note on Subbulakshmi said:

“She holds a pre-eminent place among the renowned musicians of India today. She has few equals in the sphere of Karnatic music. Her fame is not confined to South India; she enjoys an all-India reputation and has been honoured by a high

award of distinction from the Government of India. Wherever she gives a recital she holds her audience spell-bound. She has a voice which enables her to soar to empyrean heights. Her mastery of the technique of rages and talas is perfect. The Tamil

people are proud of her achievements as a musician.

The late Father Basenach, Professor of Economics, LoyolaCollege, Madras, a German by nationality and a great connoisseur of Western Music and himself a violinist said:

One may not be versed in the art and symbolism of Karnaticmusic and yet grow enchanted by its beauty when M. S.Subbulakshmi sings . . . Surely Karnatic music has found the luminous interpreter of its own subtlety and excellence in the sweetness and rich unforced vitality and elegance of Subbulakshmi’s voice. No amount of training can ever impart such

beauty of tone; and, though neither virtuosity nor tonal splendour are creative by themselves they enhance and exalt, when M. S.

Subbulakshmi sings, her power cit seeming transfigured by what she sings and re-create as the great only can, all the beauty and

emotions the composer meant us to share and realise with him.”

Dr. Narayana Menon observed in his tribute to Subbulakshmi:

“M. S. Subbulakshmi has made a bigger and more fabulous reputation than any other Indian musician that I can think of. There have been other musicians within living memory whose names have become household words in parts of India. But

Subbulakshmi’s name is known throughout the length and breadth of India as no Indian musician’s has been. A great classical musician’s appeal is to the limited few, but the great mass of people turn away from him. On the other hand a popular

star may have a fantastic following among the masses but may be anathema to the pundits. Subbulakshmi’s reputation cuts right

across such musical boundaries. This is not mere versatility. It is a measure of the range of her genius. She can satisfy the most exacting demands of a Mylapore audience as well as those of

mammoth gatherings in Delhi or Jullundur. She could move a master like Alladiya Khan beyond measure with her Pantuvarali and I have heard her sing Yad Ave to a group of little children

(with no accompaniments) and move them to want to sing the song themselves. And, of course, Subbulakshmi promptly got down to the task of teaching them the song there and then.

“Subbulakshmi’s reputation today is not unlike that of Galli-Curci’s or Melba’s in their time. More aptly, her following can be compared to that of Om Kulsum’s in the Middle East. Neither

has a world reputation like Paul 27 Robeson’s or Yehudi Menuhin’s. But in their own spheres both have left perhaps stronger imprints. And the spheres are by no means constricted

geographically or in terms of population. Subbulakshmi is known in India, Pakistan, Ceylon, Nepal, in Malaya, in Burma, in South

Africa, East Africa and, of course, wherever there is an Indian community, such as Mauritius, Fiji, the West Indies. “In personal life Subbulakshmi is simple, unaffected, of almost child like innocence. Music is her life. For twenty- four hours of

the day she will talk music, sing music and love it.”

Unveiling the portrait of Subbulakshmi years ago at the premises of a Music Sabha at Vellore, Sri K. V. Krishnaswami Iyer, President,Music Academy of Madras, the foremost institution devoted to the

cause of classical Karnatic music, said:

“She combines in her renderings the merits of both delicacy and grandeur. Her tones are deep and rich and the range of her voice, particularly in the upper octave is amazing. The. most remarkable quality of her rendering is the clarity of musical expressions in which few can surpass her. The minutest of the

starry scintillation of her notes possesses a vividness in the artistic patterns of luxurious ornamentation. Her music is but the

outflowing of the rapturous feeling of her heart.”

My esteemed and dear friend the late Khasa Subba Rau, doyen among Indian journalists wrote of Smt. Subbulakshmi thus in the

celebrated ‘Sidelights’ column of SWARAJYA of which he was theFounder-Editor:

“

MS., as she is affectionately called by her thousands -of admirers, has given away lakhs of rupees to good causes. Sri Sadasivam, her husband, vies with her in charity and generosity. Divinely endowed with a voice of rare beauty she has with hertalent and diligence turned it into an instrument to give joy to

millions. It is not on the musical talent of this ‘Queen of Song’ that I wish to expatiate here.

A tough, hard-boiled, rather irreverent

friend, not given to be sentimental, always speaks of her as Devi,folding his hands in salutation as in honour of a deity to be worshipped. That is an indication of how completely she has

won the esteem of all. In the field of art no sophistication is beyond her grasp. In her way of life she is innocence personified, a blessing to society with no foes, a modern, feminine version of

Ajatha Sathru.”

The title “Isai Vani” was conferred on Subbulakshmi by Sangeetha Kalanidhi Sri Rajamanikkam Pillai and Sangeetha Kalanidhi Semmangudi Srinivasa Iyer in Kumbakonam in the course of a recital

by her in the year 1940 or thereabout.

In the year 1954 when the National Awards were first instituted by the Independent Indian Union, Subbulakshmi was conferred the title

of “Padma Bhushan “.

Later in 1956, when Subbulakshmi received the Indian President’s Award for the year, a well-known connoisseur wrote:

“Subbulakshmi is one of those rare human beings on whom the Gods have smiled. And she, in her turn, accepted the gifts gratefully and dedicated her life to their realisation within the

framework of human endeavour. The result has been not only the flowering of her genius, but the development of her character.

The ‘Padma Bhushan’ was a recognition of character and achievement; the Award is a recognition of talent and genius.“It has been given to Subbulakshmi to give us the beauty, the joy, the pristine glory of music. Music without joy or beauty of

tone becomes a cerebral activity. At a time when so much of our music is getting further and further away from qualities which are basic and universal to it, Subbulakshmi’s singing is a continua~

reminder to us of the immediate miracle of music, of the beauty the human voice is capable of. It is this that made the late Sarojini Naidu describe her as an artiste who ‘has been able to move the

hearts of millions and millions of men and women by her voice’ a voice that she ~vent on to describe ‘as an instrument of great causes

It was in October 1958 that Lord Harewood and the Countess ofHarewood heard Subbulakshmi in Delhi when she was giving a National Broadcast. They were quite taken up by her music and they

gave us the pleasure of receiving them later in our home in Madras. Lord Harewood is a first cousin of Her Majesty Queen Elizabeth. Some years later when Lord Harewood became the Director of the

Edinburgh Festival, he invited Subbulakshmi to participate in the International Music Festival. Subbulakshmi gave two’ recitals at

Edinburgh one on the 30th August and the other on the 2ndSeptember, 1963.

Reviewing these recitals the critic of the London Times wrote of the “very appealing timbre” of her voice, her “technical virtuosity and

emotional absorption “. And elsewhere: “One of the fore-most singers, she is a delight to hear, being equally at home in the exact presentation

of pieces both in the more austere and placid ragas. She has a melodious style of singing, and her preliminary improvisations are

models of economy, saying all that needs to be said as an introduction. The vocal music of another culture is often felt to be harder to

understand than its instrumental music, but this feeling is not always justified, and Subbulakshmi is an excellent introducer of the beauties

and intricacies of Karnatic song ‘.

The Edinburgh Festival recitals were followed by recordings for the B.B.C., a couple of recitals in London, informal recitals in several cities of Europe, culminating in a special concert at Cairo. It was

here that Subbulakshmi met the fabulous Om Kulsum the most popular singer of the Arab world.

If I may again quote my esteemed friend and connoisseur Dr.Narayana Menon, Director-General, All-India Radio, and Presidentelect,

International Music Council, “Subbulakshmi’s concert under the auspices of the United Nations will set the seal on her career and achievement. It is an honour that she richly deserves and it is an event which will bring to the great assembly hall a new voice, poised,

serene and full of grace abounding.”

I have perhaps said more than necessary about my wife and me.But when I think of the two great benedictions that are continuously,

and almost palpably, basking us and guiding us both every day now in our lives I simply struggle for words.

The light that is constantly guiding us is, of course from Rajaji, the saint in politics. We have been living in the protecting umbrage of this embodiment of Truth and Dharma for many many years now

.

It is Subbulakshmi’s greatest good fortune that His Holiness Jagadguru Sankaracharya of Sri Kanchi Kamakoti Peetam has heard

her on many an occasion and conferred His boundless anugraha on her.

Subbulakshmi has no doubt sung before many memorable and mammoth gatherings all over this mundane earth. But she considers

that her music reached its consummation on the Maha Shivaratri nights when she sang for hours on end before His Holiness during his Puja.