Smt. D.K. Pattammal, considered as one of the female trinity of Carnatic music recently passed away in Chennai, thought of sharing her biography. It will be interesting to know that she was chosen by none other than Ambi Dikshitar the lineage of Muthuswami Dikshitar to pass on the Dikshitar Kritis to the next generation. Patammal also chose only to sing Patriotic/devotional songs in films. Among her big hits was 'Aduvome pallu paduvome' in Naam Iruvar. Pattammal last sang for a film in Kamal Hassan-directed Hey Ram, rendering 'Vaishnava Janato', a favourite of Mahatma Gandhi. She has popularised several patriotic compositions of
Subramania Bharathiyar. Please read on to know more.....
Damal Krishnaswamy Pattammal (28 March 1919 – 16 July 2009) was a prominent
Carnatic musician and a
playback singer for film songs in many Indian languages. D. K. Pattammal and her contemporaries
M. S. Subbulakshmi and
M. L. Vasanthakumari were popularly referred to as the "female trinity of Carnatic Music." Pattammal has been appreciated all over the world by Carnatic music lovers. This trio initiated the entry of women into mainstream Carnatic Music.
Background
Named Alamelu, but fondly called "Patta", Pattammal was born in an orthodox Brahmin family in
Kancheepuram of
Tamil Nadu,
India. Her father, Damal Krishnaswamy Dikshithar, was deeply interested in music, while her mother, Kanthimathi (Rajammal), was a talented singer. However, in line with strict orthodox tradition, Rajammal was not permitted to sing even for friends or relatives. Despite her orthodox background, Pattammal sang and showed considerable music talent at an early age, like her three brothers; D. K. Ranganathan, D.K Nagarajan, and
D. K. Jayaraman. Pattammal received no formal training. As a child, she would sit through the concerts and immitate the musicians on returning home. She would also sing simple devotional hymns and songs that her father had taught her. She had also received tuition from a
Telugu Vadyar.
Guru
Her early gurus remain unknown by name; DKP was grateful that they sought her out and taught her what they knew. Her headmistress played a crucial role by giving schoolgirl Patta a role in a musical play, later insisting that she should appear for the government technical examination in music, conducted in Madras. Amazed by the nine-year-old’s handling of the masterpiece “Sri Subrahmanya namaste”, examiner Ambi Dikshitar, grandson of the legendary Muthuswamy Dikshitar, insisted on teaching her himself. But how could DKP’s schoolmaster father afford to extend his stay in Madras indefinitely? The lessons came to an end, leaving the girl thirsting for the unattainable. They became a benchmark for excellence. Later, tutelage under T.L.Venkatrama Iyer was to fulfil the longing for classicist fare.
Career
In 1929, at the tender age of 10, little Patta gave her first ever radio performance for Madras Corporation Radio (now known as
AIR), and 3 years later, she gave her first public concert at Madras Rasika Ranjani Sabha in 1932. One year later, Pattammal moved to
Chennai to become a regular performer in concerts and gave her first performance at the Mahila Samajam (the Egmore Ladies Club), and won acclaim. In 1939, Pattammal married R.Iswaran. She quickly rose to stardom, and her musical career spanned more than 65 years. D. K. Pattammal has established a reputation as an authority on the compositions of
Muthuswami Dikshitar. She has learnt authentic versions of Dikshitar's compositions from Ambi Dikshitar (Dikishitar's great grandson) and from Justice T. L. Venkatrama Iyer. In addition to Dikshithar compositions, Pattammal has also popularised many compositions of prominent composers like
Papanasam Sivan.
Pattammal's sweet disposition and humble nature belie the fact that she started a few revolutionary trends in Carnatic music. She is the first
Brahmin woman to have performed this genre of music publicly, both on stage and on air. Brahmins ranked as the highest in the
caste hierarchy prevalent in India in the early 20th century, and society considered it taboo for a Brahmin woman to perform on stage. Furthermore, Pattammal is also the first woman to have performed
Ragam Thanam Pallavi in concerts.
Ragam Thanam Pallavi is the most difficult concert item in Carnatic music. Before Pattammal, singing RTP was considered as a male stronghold. Not only did Pattammal boldly venture into
Pallavi singing, but she also performed very complex
Pallavis in intricate
talas (rhythmic cycles) impressively enough to earn the respect of her male peers. For this reason, she became dubbed “Pallavi Pattammal”. She learnt a few pallavis and compositions from Naina Pillai, and several from Vidyala Narasimhalu Naidu - the nephew of Narayanswami Naidu, a prominent composer of javalis. Today, many female Carnatic musicians perform
Ragam Thanam Pallavi as the main item in their concerts.
Papanasam Sivan introduced Pattammal to singing for films. Although she received many offers to sing for films, she only accepted those which involved the singing of devotional or patriotic songs, and declined offers involving romantic songs. She first sang in Thyagabhoomi, a film banned by the British for its patriotic content, and then in Naam Irruvar. She has popularised several patriotic compositions of
Subramania Bharathiyar. Pattammal had the rare honour of performing at the foundation-laying ceremony of the Bharati Memorial at Ettayapuram.
Touring
Pattammal possesses a full-throated voice in the low
alto/high
tenor range. Her outstanding musical qualities include an overwhelming technical expertise, an uncompromising adherence to pitch and rhythm, and clear enunciation of lyrics. Her performances of
shlokas and
viruttams (poetry or verse sung improvisationally without rhythmic accompaniment) express great emotion. She also has a reputation as a very disciplined musician. As a child she woke up before dawn and practised for hours. Throughout her performing career she meticulously planned her concert items weeks in advance and practised rigorously. Pattammal’s music had a singular rectitude about it. She did not want to titillate or intoxicate, but exalt singer and listener. Many found her restrained raga alapana wanting. But, celebrated for her diction and love of the lyric, DKP could melt hearts when she sang a Sanskrit sloka or Tamil viruttam. She made the hall flame with the patriotic fire of a Bharati song. She summoned peace with “Santi nilava vendum”. DKP could create the same heightened emotion with her signature kriti, the magnificent “Saundara rajam” (Brindavana saranga). No striving for effect. She didn’t have to. Her complete immersion was enough to spell self-forgetful quietude in singer and rasika alike.
Pattammal died of natural causes in Chennai on July 16, 2009 at 1:30 pm. She is survived by her husband, R. Iswaran, her sons I. Sivakumar and I. Lakshmankumar, as well as her grandchildren Rajguru, Gayathri,
Nithyasree, and Charan.
