T. Rukmini, violinist
DKP was one of the greatest singers of her era. I grew up listening to the recordings of her music. I would learn the songs sung by her and try to sing them just like her – I am a violinist, but I can also sing. In fact, I once got a prize in a competition singing her ‘Aaduvome pallu paaduvome’ (a Bharatiar composition sung by DKP in the Tamil movie Naam Iruvar .)
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The noteworthy aspect of DKP’s music was the emotional depth and diction. Her singing was known for its ‘azhuttham.’ And her laya control was great. She would sing pallavis in concerts. I learnt many tisra nadai, kanda nadai pallavis by listening to her music either on radio or at concerts.
The emotional depth of her music was so much that quite often she herself would get overwhelmed by it. I remember, once she sang a viruttam. It turned out to be so emotive that both DKP’s and my eyes started welling up.
I am so happy to say that DKP also liked my violin play very much. She would often prefer my accompaniment in her concerts. She used to treat me like her daughter. I first played for her at the Music Academy in the late 1950s. For a big fan of hers like me, sitting next to her and accompanying was an overwhelming experience.
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Umayalpuram Sivaraman
“I’m delighted that D.K. Pattammal is remembered in her centenary year. My salutations to Gana Saraswati, whose music hinged on tranquility – Shanti that her song invoked,” says Umayalpuram K. Sivaraman, who knows why she was a cut above the rest. “There is no gender in music. That way Pattammal is a Mahavidwan,” asserts Sivaraman at the outset. “It was with good reason that Ariyakkudi Ramanuja Iyengar called her ‘Padu Pattammal,’ a tribute to her relentless work and vidwat,” he recollects. “She came up the hard way, reached the pinnacle and remained there unchallenged. She was a rare vidwan.”
Sivaraman admired the way she balanced a busy career and household, for decades — “She observed grihasta darmam and sangita darmam perfectly.” From an accompanist point of view, he considers her simplicity as her supreme strength. “She was a Pallavi expert with absolute laya control. But she never believed in complicated thala kanakku . Even a child could play with her. So delightful was her music. That cannot be said of all great vocalists. Some of them prefer to keep the accompanists in the dark. Not DKP.” According to Sivaraman, she could communicate the greatness of her musical ideas to the accompanists and the audience. “With everyone on the same wavelength, naturally enjoyment of her recital was total and inclusive,” he expands.
“DKP showed high regard for pakka vadyam artistes,” mentions Sivaraman, who considers DKP’s humility when she was at the peak of glory, her curiosity which made her a student till the end and the generosity with which she shared her knowledge as best qualities. Add this to her perfect sense of sruti and layam, judgment of audience preference and concert planning — you have a sensitive musician. “She always stopped her recital, leaving her rasikas yearning for more,” observes Sivaraman.
“I happened to see MS, DKP and MLV together and sought their blessings. They said, ‘Our blessings are always with you. Our salutations to your vidwat.’ It takes magnanimity to acknowledge talent in others, junior at that. I felt humbled and recall that moment on this occasion. She showed the way by being an epitome of humility,” concludes Sivaraman.
G. S. Mani ,
Carnatic and Hindustani musician
DKP’s was an amazingly structured music — kind of ‘this composition should be sung only this way’. The sangatis followed one after the other in a well-tailoredfashion, disciplined and strict, like jurisprudence. It was a delight for students, who could pick up a lot from listening to her.
Although her singing in movies contributed to her popularity, it was her traditional and dignified style of singing that earned her the respect of her peers and fans.
In those days it was rather unusual for female singers to sing pallavis, but DKP’s laya control was phenomenal. She was the first lady singer to take ragam-talam-pallavi to the dias. In spite of her high stature, she always had a good word to say of others’ music. As a person, she was a venerable lady, kind of a person who would command instant respect.
N. V. Subramanian , Founder of Saraswathi Vaggeyakara Trust
DKP was a pioneer in many respects. She was the first lady singer to sing ragam-tanam-pallavi. She established a singing style of her own — the DKP bani, and it was the first singing style identified with a female musician.
There is no doubt that DKP was principally responsible for popularising Muthuswamy Dikshitar’s compositions. She had learnt many from Ambi Dikshitar, the grand nephew of the great composer, and Sangita Kalanidhi Justice T. L. Venkatrama Iyer. Her music was both deep and serene. The rendition was always clear and without any frills — a student of music could pick up his/her lessons straightway from her concerts. Her voice had a majesty of its own. It was clear and one could hear the anuswaras distinctly. Her concerts went straight into the heart. In concerts, she maintained a balance between innovative and compositional aspects, so that there was both on-stage innovation (manodharma) and traditional rendition. Her teaching method was true to her personality — simple, gentle but deep. As a person, she had no airs and wished everyone well.
