M. L. Vasanthakumari

Madras Lalithangi Vasanthakumari
MLV in late 1940s
Background information
Native name	மெட்ராஸ் லலிதாங்கி வசந்தகுமாரி
Born	(1928-07-03)3 July 1928
Origin	Madras, Madras Presidency, British India
Died	Chennai, Tamil Nadu, India
Genres	Carnatic music – Indian Classical Music and Playback singing
Occupation(s)	Singer
Years active	1942–1990
Labels	HMV, EMI, RPG, AVM Audio, Inreco, Vani, Amutham Inc, Doordarshan, Super Audio, Geethanjali, Kosmic Music, Charsur Digital Workshop etc.

Madras Lalitangi Vasanthakumari (Tamil: மெட்ராஸ் லலிதாங்கி வசந்தகுமாரி) (popularly referred to as MLV) (3 July 1928 – 31 October 1990) was a Carnatic musician and playback singer for film songs in many Indian languages. MLV and her contemporaries D. K. Pattammal and M. S. Subbulakshmi were popularly referred to as the "female trinity of Carnatic Music. A prime disciple of the G. N. Balasubramaniam, she was the youngest among the established musicians of that era, and was the youngest female awardee of the Sangita Kalanidhi award

As well as being a much sought-after playback singer for films, MLV popularised unfamiliar ragas and her Ragam Thanam Pallavis were considered cerebral. Additionally, she popularised the compositions of the Haridasas. Her most famous disciples include Srividya (her daughter), Sudha Raghunathan, A. Kanyakumari, Charumathi Ramachandran and Meena Subramanian

Early life

MLV was born to a musical family. Her father, Kuthanur Ayya Swamy Iyer, was a noted musician while her mother, Lalithangi, was also a great musician. When Deshbandu Chitharanjan Das (1870–1925) died in 1925, Lalithangi came out with a beautiful song by way of tribute to his national spirit and patriotism. A rare gramophone record (made in England) of her glorious voice rendering this song is said to be in V.Sundaram's private possession.

MLV's school education was in Madras, in a convent, where all was set to pursue a medical career until the great Carnatic musician G. N. Balasubramaniam came into her life. He became her guru. In her own words: My parents had rendered yeomen service to Carnatic music. They were mainly instrumental in popularising the compositions of Purandara Dasa in South India. They were not keen that I should enter the music field and gave me general education. But in the musical atmosphere of my house, I had ample opportunity of practising vocal music. Once G N Balasubramaniam heard me sing and he prevailed upon my parents to place me under his tutelage. It was he who was responsible for the status I occupy in the music world today.

Learning Carnatic music

MLV was very privilleged to learn Carnatic music from G. N. Balasubramaniam (GNB). She was also GNB's first disciple. Indira Menon said that GNB was a self-taught artiste, his racy style sparkling with brigas and nuances never heard before, revealed a new range of colours on the musician's palette. The brisk tempo unleashed by his powerful and pliable voice found many admirers and imitators among the younger generations, though it raised many an eyebrow among the senior vidwans. Was his music according to Sampradaya (tradition) or not, was the question that was frequently asked?' To answer, GNB was a genius, so much so that what might have seemed like a deviation from tradition was acceptable from him though it might not have been so from a lesser artiste. His personality, bold innovations and technical virtuosity became an inspiration for an entire generation of musicians. After GNB, speed and briga-laden music became the vogue to the extent that to be true to one's self and to sing according to one's vocal capacity required a great deal of courage.

Performing and recording career

In 1940, her mother Lalithangi gave a resplendent musical recital in Simla. MLV was then only 12 years old and made her debut by accompanying her mother. Two years later, MLV gave a solo recital in Bangalore. She also cut her first 78 rpm disc which many music lovers of that period recall vividly because it created a sensation. From then on she progressed in geometrical progression as a platform artiste and by 1950 she had established herself as a front-ranker. A learned music critic has said that MLV brought the struggle of women in the world of music to a successful culmination. Her music had more male characteristics than that of any other female musician.

Her own musical style and genius

MLV imbibed much of GNB's style, but did not make a fetish of speed and struck out on her own and evolved an inimitable style. Endowed with a fluid voice and rich imagination, the initials MLV could be an acronym for her Melody, Laya and Vidwat – the watchwords of her rare musical artistry that were an aural feast to both the lay and the cognoscenti. Her leisurely, explorative and adventurous manner of handling ragas deserves special mention.

While MLV was known more for her cerebral style, rather than her emotional style, this was compensated by her rich and original manodharma. Similarly to GNB, she was a genius in her tricky, instantaneous brilliant manodharma. Indira Menon comments MLV did adopt her Guru's idea of a quick impressionistic sketch of the raga covering the two octaves at the start, but settled down to a reposeful elaboration, unfolding it gradually with her virtuosity in the form of BRIGA -CASCADES appearing only where necessary. She was careful not to carry to an excess what her versatile voice was capable of.

MLV's mastery over vocal techniques was comprehensive and complete. She could effortlessly render several difficult ragas, with her alapana and kalpana swaras suitably embellished with shruthi-bheda. Her listeners had the same ecstatic experience when she sang and more particularly when in a lightning manner she shifted gracefully from the melodic world of one raga in one pitch to another raga in another pitch. In this context one has to refer to raga combinations like Shanmukhapriya-Sankarabharanam, Bhairavi-Kamas, Abhogi-Valaji to illustrate this point.

In GNB's own words,"Vasanthi typifies real discipleship – she absorbs all, but presents her own glorious creations."

Purandaradasa Tradition

Lalithangi, MLV's mother had a vast repertoire of Purandaradasa. She passed on this tradition to her daughter MLV. As a result, like T. Brinda who brought Kshetrayya Padams to the public platform and M. S. Subbalakshmi who brought Annamacharya kritis to the public arena, MLV popularised the Devaranamas of Purandaradasa.

Sindhubhairavi

She popularised the composition 'Kalyana Gopalam', composed by Narayana Teertha, in raga Sindhubhairavi. She also popularised the composition 'Venkatachala Nilayam' by Purandaradasa in the same raga. Hindustani maestro Bade Ghulam Ali Khan was generous in his praise for her music. Sudha Ragunathan mentions, '`MLV Amma has told me that it was Bade Ghulam Ali Khan Saab who taught her the nuances of Sindhu Bhairavi in the Hindustani style."

Ragam Thanam Pallavi

MLV's forte was Ragam Tanam Pallavi where she not only maintained the great tradition brought to the stage by D. K. Pattammal, but enriched it in her own unique way. A. Kanyakumari who had accompanied MLV on violin for almost two decades says, "MLV-akka had a sharp mind and good memory and I have never seen her practice a song or a ragam or for that matter a ragam-tanam-pallavi also before a concert." Sudha Ragunathan, a prime disciple of MLV, remarked that "In all my twelve years of learning under her, I had never seen Amma practising at home. But, to my great surprise, she would compose a Pallavi in the car on the way to the concert!"

Playback Singing

By 1946, MLV was also a playback singer. Her first big hit was in the 1951 film Manamagal, where she sang the song Ellam Inbamayam in Ragamalika, and Subramania Bharathiyar's evergreen composition, Chinnanchiru Kiliyae. In the 1960 film Raja Desingu, MLV also sang another Ragamalika, Parkadal Alaimele, which was well received, and later became popular in Bharatha Natyam recitals. In later years, MLV would also sing these song towards the end of her Carnatic music concerts, and today, many musicians often include them in their repertoire.

MLV was also known for singing Ayya Sami in the 1951 film, Or Iravu. This song was based on the song Gore Gore from the film Samadhi, which was in turn based on the Latin American song Chico Chico from Puerto Rico, from the film Cuban Pete. In the 1952 film Thayullam, MLV sang Konjum Purave which was based on the famous Hindi song, Thandi Havayen.

Other songs MLV sang included Adisayam Vanathu Arivumayam, Senthamarai Kannanae, Vanna Tamizh and Adum Arul Jothi in the films Vikramadithan, Vairamalai, Sornakili and respectively. Incidentally, each of these songs contained the raga Kalyani and were also well-received.

MLV sang melodiously the Dasavatara song for Bhookailas like Munneeta Pavalinchu Nagasayana, while Kamala Kumari dancing in a classical way.

Personality

As one of the top ranking platform artistes, MLV was noted for her charm, grace, warmth, self-restraint and humility. Her self-restraint as an artiste can be understood from her own words: Brigas in fast tempo should adhere to the sruthi and above all, true music must touch the listener's heart. MLV however maintained a philosophy: A concert is a daily test of the calibre of a musician. A slight lapse may let the musician down and a constant vigil is essential.

Accompanists

Mridangam maestro Palghat Mani Iyer, in a rare gesture, accompanied her in concerts. MLV helped others including Mannargudi Easwaran, Srimushnam V. Raja Rao, Seerkazhi J. Skandaprasad, Thiruvarur Bakthavathsalam, R. Ramesh, Karaikudi Krishnamurthy, G. Harishankar (kanjira) and more, establishing them by encouraging them and giving them opportunities to accompany her in concerts.

Family

MLV got married to Late Kalaimamani Vikatam R.Krishnamurthy in the year 1951. They had a son, K.Shankarraman and late K.Srividya (notable actress in Indian films).

Disciples

MLV taught her daughter K.Srividya, who at the age of 10 was ready to perform and sang very much like MLV. Srividya however, wanted to pursue a career in the film industry, and went on to become a notable actress in Indian films.

MLV trained several other students, and many of them are the front-ranking musicians today. Some of the notable musicians who have studied under MLV include Sudha Ragunathan, A. Kanyakumari, Trichur V. Ramachandran, Yogam Santhanam, Charumathi Ramachandran, Vanaja Narayanan, T. M. Prabhavathi, Meena Subramaniam, Jayanthi Sridharan, Jayanthi Mohan, Rose Muralikrishnan and Bama Visveswaran. She also taught music to children at the Rishi Valley School started by Jiddu Krishnamurti.

Saraswathy Srinivasan is the first disciple of MLV till the late 1960s. After marriage also Saraswathy Srinivasan jointly with MLV gave some concerts.

Awards and titles

In 1976, MLV was honoured with a doctorate degree from Mysore University for her work with regards to Purandaradasa's contributions to music. MLV also received the third highest civilian honour from the Indian Government, "Padma Bhushan". In 1977, at age 49, MLV became the youngest woman to earn the award and title in Carnatic music, Sangita Kalanidhi. She also received the Sangeetha Kalasikhamani award given by The Indian Fine Arts Society, Chennai in 1987.

MLV was a front ranking artiste for more than 50 years. She died in 1990 at the age of 63. Beauty and sublimity were the cardinal characteristics of her music.

Playback Singer

She was a much sought after playback singer in the 1950s till the mid 1960s. She worked under C. R. Subburaman, S. M. Subbaiah Naidu, G. Ramanathan, S. Dakshinamurthi, K. V. Mahadevan, Vedha, Chittor V. Nagaiah, Pendyala Nageshwara Rao, T. Chalapathi Rao, Viswanathan-Ramamoorthy, S. Rajeswara Rao, R. Sudharsanam, R. Govardhanam, T. R. Pappa, S. V. Venkatraman, Kunnakudi Venkatrama Iyer, G. Aswathama, T. A. Kalyanam, M. S. Gnanamani, C. N. Pandurangan, C. S. Jayaraman, G. Govindarajulu Naidu, T. G. Lingappa, K. G. Moorthy, Ghantasala, Master Venu, G. Aswathama, V. Dakshinamoorthy, G. Devarajan, K. Raghavan and Shankar-Jaikishan.

Year	Film	Language	Song	Music
1948	Raja Mukthi	Tamil	* kulakkodi thazhaikka * ArArO nI ArArO * ingum angum engum inbamE (with M. K. Thyagaraja Bhagavathar) * enna Anandham (with M. K. Thyagaraja Bhagavathar) * sandhOshamAi anbar varuvAradi (with P. Bhanumathi)	C. R. Subburaman
1948	Krishna Bakthi	Tamil	* rAdhA samedhA krishNA * endha vEdugO O rAgavA	S. V. Venkatraman & Kunnakudi Venkatrama Iyer
1949	Nallathambi	Tamil	* gAnalOlan madhanagOpalan	S. M. Subbaiah Naidu & C. R. Subburaman
1949	Vazhkai	Tamil	* gOpAlanOdu nAn AduvEnE	R. Sudharsanam
1949	Kanniyin Kadhali	Tamil	* puvi rAjA (with Thiruchi Loganathan) * kANbana yAvum kAviyam pOlE	S. M. Subbaiah Naidu & C. R. Subburaman
1950	Manthiri Kumari	Tamil	* isai kalaiyE * kadhal baliyAgi nIyum * AhAhAhA vAzhvilE * eNNum pozhuthil inbam * manampol vAzhvu peRuvOmE (with Jikki)	G. Ramanathan
1950	Ezhai Padum Padu	Tamil	* yauvvanamE inba gItham * kaNNan mana nilaiyE	S. M. Subbaiah Naidu
1950	Beedala Patlu	Telugu	* yauvanamE aha yauvanamE * sarasaku rAdeAanE	S. M. Subbaiah Naidu
1950	Parijatham	Tamil	* Niyayamilladi Bama * Thulasi Jaganmaadha	S. V. Venkatraman & C. R. Subburaman
1951	Or Iravu	Tamil	* ayyA sAmi AvOji sAmi	R. Sudharsanam
1951	Prasanna	Malayalam	* Kalaanikethe Keralamaathe * Gaanamohana Hare * Jaathivairam Neethirahitham * Thakarukayo Sakalamen	M. S. Gnanamani
1951	Saudhamini	Telugu	* Elukkona Ra	S. V. Venkatraman
1951	Navvithe Navaratnalu	Telugu	* mArubal kAvAdhe mIrA * uyyaala lUgenA O manasam	G. Aswathama
1951	Manamagal	Tamil	* ellAm inbamayam (with P. Leela) * chinnanchiru kiLiyE kaNNamma (with V. N. Sundaram) * pAviyinum padupAvi (with V. N. Sundaram) * thirantha kUttai	C. R. Subburaman
1951	Pelli Kooturu	Telugu	* antA prEmamayam (with P. Leela) * vIra jAjula valapE (with C. R. Subburaman) * pApula lOka dupApi (with C. R. Subburaman) * 1950 ki 60 ki entO tEdA (with A. P. Komala)	C. R. Subburaman
1951	Rajambal	Tamil	* ahaha manaiviyAvEn	M. S. Gnanamani
1952	Thai Ullam	Tamil	* konjum puRAvE * veLLai thAmaRai pUvil * kovil muzhuthum kaNden * kathaiyai keLadA	G. Ramanathan
1952	Puratchi Veeran	Tamil	* kAraNam theriyAmal	Shankar-Jaikishan
1952	Panam	Tamil	* ezhaiyin kOyilai nAdinEn (with G. K. Venkatesh) * kudumbathin viLakku	Viswanathan-Ramamoorthy
1952	Andhaman Kaidhi	Tamil	* kAni nilam vEndum parAsakthi (with C. S. Jayaraman)	G. Govindarajulu Naidu
1952	Kanjana	Malayalam	* Shivakaameshwareem * Maaye Thwam	S. M. Subbaiah Naidu
1952	Parasakthi	Tamil	* vAzhga vAzhgavE vAzhgavE	R. Sudharsanam
1953	Manithan	Tamil	* kuyilE unakku	G. Ramanathan
1953	Naalvar	Tamil	* vAanamIthilE (with Thiruchi Loganathan) * inbam koLLUuthE * mayilE * iruL sUzhntha vAzhvil oLi vIsum nilavE	K. V. Mahadevan
1953	Kodarikam	Telugu	* illAlu illAlu * mahA ganapathi gjAnanA	C. N. Pandurangan
1953	Manidhanum Mirugamum	Tamil	* inbakuyil kuralinimai (with A. M. Rajah) * imayamalai chaaralilE	G. Govindarajulu Naidu
1953	Inspector	Tamil	* vAruvAi manamOhanA (with V. N. Sundaram) * madhana singArA nI vA * mUdi irundha en vizhiyinul	G. Ramanathan
1953	Inspector	Telugu	* marupAyenA mOhana * mArA sukumArA * moodapa dhinanA muddulavInA	G. Ramanathan
1953	Anbu	Tamil	* AdavarE nAttilE (with A. M. Rajah) * isaipAdi	T. R. Pappa
1953	En Veedu	Tamil	* bUmiyilE oru (with Radha Jayalakshmi) * konjumozhi maindhargalE thavazha vAnil (with T. A. Mothi) * konjumozhi maindhargalE thavazha vAnil (with Radha Jayalakshmi) * rAma rAma indhitaka	Chittor V. Nagaiah & A. Rama Rao
1953	Naa Illu	Telugu	* adigadigO gagana sIma andamaina chandamAmA (with T. A. Mothi) * rArA mA intidakA	Chittor V. Nagaiah & A. Rama Rao
1953	Kangal	Tamil	* inba vInaiyai mIttuthu	S. V. Venkatraman
1953	Mugguru Kodukkulu	Telugu	* ArAghu Ra muni (with N. L. Ganasaraswathi)	K. G. Moorthy
1953	Aashadeepam	Malayalam	* Jagadanandhakaraka (with P. Leela) * Janani Jayikka Neenal (with P. Leela) * Sharanam Mayilvaahanaa	V. Dakshinamoorthy
1953	Aasai Magan	Tamil	* Kalaigal Migundha Engal Tamil Vazhgave(with P. Leela)	V. Dakshinamoorthy
1953	Uiagam	Tamil	* un kAdhalAl en anbellAm (with A. M. Rajah)	M. S. Gnanamani
1954	Vairamalai	Tamil	* vanjam idhO vAnjai idhO (with Thiruchi Loganathan) * kUvAmal kUvum kOkilam (with Thiruchi Loganathan) * unnai eNNUm podhE * senthAmaRai kaNNanE	Viswanathan-Ramamoorthy
1954	Ratha Kanneer	Tamil	* kadhavai sAthadi * Alaiyin sanggE Ni UthAyO	C. S. Jayaraman
1954	Sri Kalahastiswara Mahatyam	Telugu	* chUchi chUchi * chAlu chAlu nA mOhanA	R. Sudharsanam
1954	Bedara Kannappa	Kannada	* dAri kAdu nA balu nondE	R. Sudharsanam
1955	Kaveri	Tamil	* manjal veyyil mAlaiyilE (with C. S. Jayaraman)	G. Ramanathan
1955	Kaveri	Tamil	* manadhinilE nAn konda	Viswanathan-Ramamoorthy
1955	Kalvanin Kadhali	Tamil	* tamil thirunAdu thannai peRRa (with N. L. Ganasaraswathi)	G. Govindarajulu Naidu
1955	Adarsha Sathi	Telugu	* Parameshane Shiraverida	R. Sudharsanam & R. Govardhanam
1955	Maheswari	Tamil	* andha nALum endha nALO	G. Ramanathan
1955	Kaalam Maari Pochu	Tamil	* eNNamadhellAm nIyE niraindhu	Master Venu
1955	Kodeeswaran	Tamil	* ennudalum ullakkAdhalum unakkE	S. V. Venkatraman
1956	Kannin Manigal	Tamil	* kaNNin maNiyE vA	S. V. Venkatraman
1956	Chori Chori	Hindi	* Thillana	Shankar-Jaikishan
1956	Kula Dheivam	Tamil	* thAyE yasodhA * vArAyO ennai pArAyo * Anum peNNum vAzvilE	R. Sudharsanam
1956	Koodapirappu	Malayalam	* Alarsharaparithaapam * Manivarnane Innu Njan	K. Raghavan
1956	Madurai Veeran	Tamil	* Adal kAnIrO * senthamizhA ezhunthu vArAyO	G. Ramanathan
1956	Thaaikkuppin Thaaram	Tamil	* nAdu sezhithida naaLum uzhaithida	K. V. Mahadevan
1956	Nagula Chavithi	Telugu	* mArubal kAvAdhe mIrA	Ghantasala
1956	Raja Rani	Tamil	* indriravu miga nandriravu	T. R. Pappa
1957	Chakravarthi Thirumagal	Tamil	* enthan uLLam koLLai koLLa vantha nIlI yArO	G. Ramanathan
1957	Iru Sagodharigal	Tamil	* thAyE un seyalallavO (with P. Leela)	S. Rajeswara Rao
1957	Bhale Ammayilu	Telugu	* gOpAla jAgEla rA (with P. Leela)	S. Rajeswara Rao
1957	Vanangamudi	Tamil	* siramathil thigazhvathu...... vA vA vA valarmathiyE vA	G. Ramanathan
1957	Thaskaraveeran	Malayalam	* Maayaamoham Maaraathe	S. M. Subbaiah Naidu
1957	Karpukkarasi	Tamil	* kaniyO pAgO kaRkaNdO (with P. B. Sreenivas) * vizhiyOdu viLaiyAdum kalaichelvamE (with P. Leela)	G. Ramanathan
1957	Mayabazar	Telugu	* chinnAri sasirEkha vardhillavammA	Ghantasala & S. Rajeswara Rao
1957	Maya Bajaar	Tamil	* Chinnari Sasirekha Vardhillavamma	Ghantasala & S. Rajeswara Rao
1958	Bhookailas	Telugu	* munnIta pavalinchu * dhEvA mahAdhEvA mamu brovumu siva	R. Sudharsanam & R. Govardhanam
1958	Bhookailas	Kannada	* Ksheeraabdhi Varadhaama Naga Sayana	R. Sudharsanam & R. Govardhanam
1958	Mangalya Baghyam	Tamil	* nenjathilE accham illadhavar (with P. Leela) * Anusuya Kadhaakaalatchebam (with Seerkazhi Govindarajan, A. P. Komala, K. Jamuna Rani & A. G. Rathnamala) * pAdu pattAlE machchAn (with K. Jamuna Rani & A. G. Rathnamala) * annaiyE parAsakthi	G. Ramanathan
1959	Mamiyar Mechiya Marumagal	Tamil	* mOgana rangA ennai pAradA (with Seerkazhi Govindarajan) * kaNNA vA vA maNivaNNA vA vA * maithunaRE maithunaRe (with A. P. Komala) * viral mothiram..... inggE iruppathA * ilavu kAtha kiLipOl	R. Sudharsanam
1959	Thanga Padhumai	Tamil	* varugiRAl unnai thEdi (with Soolamangalam Rajalakshmi)	Viswanathan-Ramamoorthy
1959	Chathurangam	Malayalam	* Kaatte Va Kadale Va * Odakkuzhalum * Kaatte Va Kadale Va (with K. S. George)	G. Devarajan
1959	Kaveriyin Kanavan	Tamil	* vaNNatamizh sornakiLI	K. V. Mahadevan
1959	Kalyanikku Kalyanam	Tamil	* Anandham indRu Arambam (with N. L. Ganasaraswathi)
1959	Jayabheri	Telugu	* nIventa nerajA navaurA	Pendyala Nageswara Rao
1959	Kalaivaanan	Tamil	* kAdhal silai AdudhE (with Soolamangalam Rajalakshmi)	Pendyala Nageswara Rao
1959	Manimekalai	Tamil	* pazhangkAla thamizharin vAzhkai murai (with N. L. Ganasaraswathi)	G. Ramanathan
1959	Kanniyin Sabadham	Tamil	* Attatthil sirandhadhu iitthalAttam	T. G. Lingappa
1960	Parthiban Kanavu	Tamil	* andhi mayanguthadi * vadiVerE thirusUlam thONdrum thONdrum * munnum	Vedha
1960	Meenda Sorgam	Tamil	* Adum arul jOthi (with Seerkazhi Govindarajan)	T. Chalapathi Rao
1960	Petra Manam	Tamil	* sindhanai seiyadA (with Sivaji Ganesan's dialogues)	S. Rajeswara Rao
1960	Mannadhi Mannan	Tamil	* kalaiyOdu kalanthadhu uNmai * AdAtha manamum uNdO (with T. M. Soundararajan)	Viswanathan-Ramamoorthy
1960	Raja Bakthi	Tamil	* kaRka kasadara kaRRapin	G. Govindarajulu Naidu
1960	Raja Desingu	Tamil	* paaRkadal alai mElE	G. Ramanathan
1960	Seetha	Malayalam	* Kanne Nukaru Swargasukham	V. Dakshinamoorthy
1960	Thilakam	Tamil	* kAthiruntha kannukku oLi thandhadhu * manasukkuLLE marachu vaikka mudiyalE (with Seerkazhi Govindarajan)	R. Sudharsanam
1961	Kongu Naatu Thangam	Tamil	* irunthum illathavarE	K. V. Mahadevan
1961	Malliya Mangalam	Tamil	* avarindRi nAnillai	T. A. Kalyanam
1961	Ummini Thanka	Malayalam	* Geethopadesham (with V. Dakshinamoorthy & P. Leela)	V. Dakshinamoorthy
1961	Krishna Kuchela	Malayalam	* Varnippathengine (with P. Leela)	K. Raghavan
1962	Vikramaadhithan	Tamil	* adhisayam ivanadhu	S. Rajeswara Rao
1963	Susheela	Malayalam	* Thaalolam	V. Dakshinamoorthy
1965	Magane Kel	Tamil	* kalai manggai uruvam kaNdu (with Seerkazhi Govindarajan)	Viswanathan-Ramamoorthy
1965	Shakunthala	Malayalam	* Kaamavardhiniyaam (with P. Leela) * Kaalil Chilanka (with K. J. Yesudas) * Guru Brahma	K. Raghavan
1965	Pinchuhridhayam	Malayalam	* Gaanavum Layavum Neeyalle (with P. Leela)	V. Dakshinamoorthy