Remembering the Epic MS Subbulakshmi on Her Death Anniversary

On the occasion of the legendary vocalist MS Subbulakshmi’s death anniversary, a tribute by RK Raghavan.

(MS Subbulakshmi was more than just an exceptional singer. She was also a woman of indomitable spirit. The fact that the Mahatma chose only her to sing ‘Vaishnava Janate’ on many occasions, and that Pandit Nehru called her ‘The Nightingale of India’ were only added jewels to an already resplendent crown. This article, by RK Raghavan, was first published on 10 December 2015 and is being reposted from The Quint’s archives to mark her death anniversary.)

It sounds irreverent that a semi-literate in Carnatic music should dare to write on MS Subbulakshmi, ‘MS Amma’ to millions of her admirers. I still venture to write for a selfish reason. Recalling her divine qualities gives me some inner strength, that is utterly difficult to draw from elsewhere. It is akin to visiting a favourite temple to pay obeisance to the Lord and committing oneself to good conduct! Such is MS’s magnetism in life and after.

MS’s appeal was not merely to the connoisseur among the TamBrahms as some would like to believe. Unlettered Tamil non-Brahmin villagers were equally ecstatic that she was one among them. In a sense she bridged the chasm between the elite of Chennai’s Music Academy and the peasant who was enchanted by her soulful rendering of songs in praise of Lord Muruga or Vinayaga.

She was aristocratic, having shed her humble beginnings in the district town of Madurai after her marriage to a Madras-based nationalist, Sadasivam, known for his uncanny ability to spot talent. (It was he who inducted her into the Tamil movie world as well as the privileged Carnatic music platform). She adapted herself quickly to become part of the music milieu dominated by Brahmins, something my dear friend T M Krishna considers an aberration to be remedied sooner than later. MS never forgot her rural roots, although she did not flaunt her love for that part of Tamil Nadu.

Indomitable Spirit

Unlike in the West, classical music in India is strongly intertwined with religion. This is especially true of Carnatic music, which drew from Saint Thiagaraja, Purandaradasa, Swati Tirunal, Papanasam Sivam, Periyaswami Thooran and a few others, who composed in four different languages constructing the bhakti cult that has remained the sinew of music south of the Vindhyas.

It was MS, along with T Brinda and T Muktha, D K Pattammal, N C Vasanthakokilam and M L Vasanthakumari, who all built a formidable arsenal that put the male chauvinists in their place. She strode like a colossus for more than four decades and inspired a new generation of talented singers who are now the leading lights.

I still remember sitting on the sidelines of the stage in the hallowed and overflowing Music Academy in the early 1970s along with my father, after buying a ten rupee ticket. I had the privilege of attending her very last concert at the Academy sponsored by Swaralaya, a Kerala-based cultural organisation. In between I must have heard her on stage scores of times. This was in addition to her recordings and radio broadcasts that I enjoyed listening to. No concert was unimportant for her, where she should exert a little less because of a fading voice or poor health. Age did not wither her. This spirit was attributable to a total and unparalleled surrender to the Lord.

The Nightingale of India

She also derived great strength from her life partner Sadasivam, a devoted but an extremely stern husband. The rigid discipline that he imposed on her was often the subject of whispers and disapproval in close circles. This was a distraction without which the MS story can still be told with only minimum loss of authenticity. Sadasivam’s protective arm gave the gentle and gracious MS the support she needed while she was under public glare. Those of us who had access, direct or indirect, to the household, knew that MS did not mind this cover.

Success had only a ripple effect on her. That the Mahatma chose her only to sing ‘Vaishnava Janate’ on many occasions and not anyone else may have pleased her, but it did not give her any exalted feeling that she was different from the rest of the pack. Panditji called her the ‘Nightingale of India’ and this title certainly stuck to her, adding lustre to her personality. But it never swayed her from the singular purpose of pleasing the Lord. Who can forget her role as Meera in the movie of that name, and the new meaning that Meera Bhajan (‘Mei Hari charana ki dasi’) acquired through her golden voice?

A Tribute to MS Amma

• M S Subbulakshmi strode like a colossus for more than four decades and inspired a new generation of talented singers
• No concert was unimportant for her, where she should exert a little less because of a fading voice or poor health
• She also derived great strength from her life partner Sadasivam whose protective arm gave MS the support she needed
• The felicity with which she sang in a multitude of languages brought her an acceptance that was the envy of lesser musicians
• Enormous money earned by the M S couple from concerts and royalty from recordings was not for their keep

Musical Genius

The fact that she did not learn Sanskrit, Hindi, Bengali or Telugu formally did not make any difference. The felicity with which she sang in a multitude of languages brought her an acceptance that was the envy of lesser musicians. Her ‘Dhano Dhanne Pushpo Bhora…amader ei Bashundhara’ and her ‘Maithreem Bhajata’ (composed by the Paramacharya of Kanchi), apart from bringing tears to millions of eyes, stood out for their enunciation that would shame native speakers of the two languages.

She even sang a verse in English (set to tune by the famous Handel Manual of Madras) at the highly rated concert at the United Nations headquarters in New York, which is still spoken of by her ecstatic admirers, who also refer to her lilting performance at the Carnegie Hall in the same city.

The MS couple’s association with Rajaji (C Rajagopalachari) was legendary. The bond was generated by Sadasivam’s strong links with the Congress. When Rajaji composed his eternal piece ‘Kurai onrumillai’ (I have no grievance) dedicated to Lord Vishnu and his incarnation Lord Krishna, it was popularised among others by MS. MS’ flawless rendering of Sri Venkatesa Suprabadham (the awakening of the Lord in the morning) is a landmark in the history of devotional music. A number of others have recited these shlokas in Sanskrit. Possibly, no one measured up to her level in capturing the essence of the verses. Her decision to render this in Tamil as well showed her eclectic disposition.

Personal Bond

The MS couple gave their all to society. The enormous money earned by them from concerts and royalty from recordings was not for their keep. It was for those in need. I have seen Sadasivam hand over the purse received from the organiser of a concert to the beneficiary at the venue itself. This munificence was with MS’ wholehearted consent. The couple led a simple life and acts of generosity did not affect their already modest style of living.

My association with MS goes back to the 1960s. This was thanks mainly to my mother-in-law Chellammal who enjoyed a special relationship with the former. Only few could break the informal cordon imposed by Sadasivam. Chellammal was one of them. MS and Chellammal met on many occasions. But their main exchanges were only over the phone.

The bond between the traditional ‘madisar’ Iyengar mami that my mother-in-law was and the bewitchingly charming MS Amma to this day baffles me and my wife Shanti. For years after MS’ passing away until she herself left for her heavenly abode last year, Chellammal believed that MS was still around calling her every other day. Possibly this lends credence to the widely held belief that MS Amma was immortal.

(The writer, a former CBI Director, is a music buff)