M. L. Vasanthakumari
Madras Lalitangi Vasanthakumari 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 are popularly referred to as the female trinity of Carnatic Music. A prime disciple of 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, Sudha Raghunathan, Charumathi Ramachandran, A. Kanyakumari, Yogam Santhanam, V. Kaveri, Rose Muralikrishnan, Meena Subramanian and Yamuna Arumugam.
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 Deshbandhu Chittaranjan Das died in 1925, Lalithangi came out with a beautiful song by way of tribute to his national spirit and patriotism. A rare gramophone record 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 privileged to learn Carnatic music from G. N. Balasubramaniam. 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 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, M L Vasanthakumaari 's mother, Lalithaangi, gave a recital in Shimla and it was then that, by accompanying her mother, M L Vasanthakumaari, then only 12 years old, made her debut. Two years later, MLV gave a solo recital in Bengallooru. 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, her career took on a geometric progression, as a stage 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, evolving an inimitable style of her own. Endowed with a fluid voice and rich imagination, the initials MLV could be an acronym for Melody, Laya and Vidwat, the watchwords of her rare musical artistry that were an aural feast to both the lay person and to the cognoscenti. Her leisurely, exploratory and adventurous manner of handling the ragas deserves special mention.While MLV was known more for her cerebral style, rather than her emotional one, this was compensated for by her rich and original manodharma. Similar 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 kritis. 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 popularized the Devaranamas of Purandaradasa.Sindhubhairavi
She popularized the composition 'Kalyana Gopalam', composed by Narayana Teertha, in raga Sindhubhairavi. She also popularized 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 practicing 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 songs towards the end of her Carnatic music concerts, and today, many musicians often include them in their repertoire.MLV also sang Ayya Saami in the 1951 film, Or Iravu. This song was based on the song Gore Gore from the film Samaadhi, 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 include Adisayam Vanathu Arivumayam, Senthamarai Kannanae, Vanna Tamizh and Adum Arul Jothi in the films Vikramadithian, Vairamalai and Sornakili. Incidentally, each of these songs contained the raga Kalyani and were also well received.
MLV sang melodiously the Dashaavataara song for Bhookailas like Munneeta Pavalinchu Naagashayana, while Kamala Kumari danced in a classical way. She sang for films till 1970.
Personality
As one of the top ranking stage 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 shruthi and above all, true music must touch the listener's heart. MLV however maintained a philosophy: A concert is a daily test of the caliber 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 and more, establishing them by encouraging them and giving them opportunities to accompany her in concerts.Family
MLV married the Late Kalaimamani Vikatam R.Krishnamurthy in the year 1951. They had a son, late K.Shankarraman and late K.Srividya.Disciples
MLV taught her daughter K.Srividya, who at the age of ten 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 top-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, Rose Muralikrishnan, V. Kaveri, Vanaja Narayanan, T. M. Prabhavathi, Meena Subramaniam, Jayanthi Sridharan, Jayanthi Mohan, Bama Visveswaran and Nirmala Srinivasan. She also taught music at Rishi Valley School started by Jiddu Krishnamurti and Yamuna Aarumugam who was a government scholar from Malaysia went under the gurukulavasam system to her for two entire years, she was also more like an own daughter to her.
Saraswathy Srinivasan is the first disciple of MLV till the late 1960s. After marriage also Saraswathy Srinivasan jointly with MLV gave some concerts.
Awards
Death
She died in 1990 at the age of 62.Playback singer
She was a much sought after playback singer from the late 1940s till the mid 1960s.Music composers she sang for
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.Playback singers she sang with
She sang immemorable duets mostly with Thiruchi Loganathan, Seerkazhi Govindarajan and A. M. Rajah. Others are M. K. Thyagaraja Bhagavathar, V. N. Sundharam, T. A. Mothi, C. R. Subburaman, C. S. Jayaraman, G. K. Venkatesh, T. M. Soundararajan, P. B. Sreenivas, K. S. George, V. Dakshinamoorthy and K. J. Yesudas.She also sang duets with female singers with most notably with P. Leela & N. L. Ganasaraswathi. Others are T. V. Rathinam, Radha Jayalakshmi, Soolamangalam Rajalakshmi, A. P. Komala, P. Bhanumathi, Jikki, T. S. Bagavathi, K. Jamuna Rani,Rathnamala, S. Janaki, Vani Jairam, P. Suseela and K.S.Chitra.
| Year | Film | Language | Song | Music |
| 1948 | Krishna Bakthi | Tamil | * rAdhA samedhA krishNA
| S. V. Venkatraman & Kunnakudi Venkatrama Iyer |
| 1948 | Raja Mukthi | Tamil | * kulakkodi thazhaikka | C. R. Subburaman |
| 1949 | Kanniyin Kaadhali | Tamil | * puvi rAjA | S. M. Subbaiah Naidu & C. R. Subburaman |
| 1949 | Nallathambi | Tamil | * gAnalOlan madhanagOpalan | S. M. Subbaiah Naidu & C. R. Subburaman |
| 1949 | Nam Naadu | Tamil | * mOsam pOgAdhE nI madhi mOsam | G. Govindarajulu Naidu & Purushotham |
| 1949 | Vazhkai | Tamil | * gOpAlanOdu nAn AduvEnE | R. Sudharsanam |
| 1950 | Beedala Patlu | Telugu | * YauvanamE Aahaa YauvanamE * Sarasaku Raade Aane | S. M. Subbaiah Naidu |
| 1950 | Ezhai Padum Padu | Tamil | * YauvvanamE Inba Geetham
| G. Ramanathan |
| 1950 | Parijatham | Tamil | * Niyayamilladi Bama | S. V. Venkatraman & C. R. Subburaman |
| 1950 | Prasanna | Malayalam | * Kalaanikethe Keralamaathe * Gaanamohana Hare * Jaathivairam Neethirahitham * Thakarukayo Sakalamen | M. S. Gnanamani |
| 1951 | Manamagal | Tamil | * ellAm inbamayam
| C. R. Subburaman |
| 1951 | Mayamalai | Tamil | * | P. Adinarayana Rao |
| 1951 | Navvithe Navaratnalu | Telugu | * mArubal kAvAdhe mIrA | G. Aswathama |
| 1951 | Or Iravu | Tamil | * ayyA sAmi AvOji sAmi | R. Sudharsanam |
| 1951 | Pelli Kooturu | Telugu | * antA prEmamayam | C. R. Subburaman |
| 1951 | Rajambal | Tamil | * ahaha manaiviyAvEn | M. S. Gnanamani |
| 1951 | Saudamini | Tamil | * Anbe En Sivame Aandarulvaaye | S. V. Venkatraman |
| 1951 | Soudamini | Telugu | * Elukkona Ra | S. V. Venkatraman |
| 1952 | Andhaman Kaidhi | Tamil | * kAni nilam vEndum parAsakthi | G. Govindarajulu Naidu |
| 1952 | En Thangai | Tamil | * Dheena Dhayaabari Thaaye | C. N. Pandurangan |
| 1952 | Kanchana | Tamil | * Shivakaameshwareem * Maaye Thwam | S. M. Subbaiah Naidu |
| 1952 | Kanchana | Telugu | * Shivakaameshwareem * Maaye Thwam | S. M. Subbaiah Naidu |
| 1952 | Kanjana | Malayalam | * Shivakaameshwareem * Maaye Thwam | S. M. Subbaiah Naidu |
| 1952 | Moondru Pillaigal | Tamil | * Antha Rama Sowndharyam | P. S. Anantharaman & M. D. Parthasarathy |
| 1952 | Mr. Sampat | Hindi | * Achhe Din Aa Rahe Hai | B. S. Kalla & Emani Sankara Sastry |
| 1952 | Mugguru Kodukkulu | Telugu | * ArAghu Ra muni | K. G. Moorthy |
| 1952 | Panam | Tamil | * ezhaiyin kOyilai nAdinEn
| Viswanathan-Ramamoorthy |
| 1952 | Parasakthi | Tamil | * vAzhga vAzhgavE vAzhgavE | R. Sudharsanam |
| 1952 | Penn Manam | Tamil | * Kanavilum Maraven | Kunnakudi Venkatarama Iyer |
| 1952 | Puratchi Veeran | Tamil | * kAraNam theriyAmal | Shankar-Jaikishan |
| 1952 | Shyamala | Tamil | * Amba, Aadhi Sakthi Jegadhamba | G. Ramanathan, T. V. Raju & S. B. Dinakar Rao |
| 1952 | Thai Ullam | Tamil | * konjum puRAvE | G. Ramanathan |
| 1952 | Velaikari Magal | Tamil | * Anbe Endhan Aaruyire Azhaadhe | C. R. Subburaman & S. Dakshinamurthi |
| 1953 | Aasai Magan | Tamil | * Kalaigal Migundha Engal Tamil Vaazhgave | V. Dakshinamoorthy |
| 1953 | Aashadeepam | Malayalam | * Jagadanandhakaraka * Janani Jayikka Neenal
| V. Dakshinamoorthy |
| 1953 | Anbu | Tamil | * AdavarE nAttilE | T. R. Pappa |
| 1953 | En Veedu | Tamil | * bUmiyilE oru | Chittor V. Nagaiah & A. Rama Rao |
| 1953 | Gumastha | Tamil | * Aiyaavin Penndaattiku | G. Ramanathan, Chittor V. Nagaiah & C. N. Pandurangan |
| 1953 | Inspector | Tamil | * vAruvAi manamOhanA | G. Ramanathan |
| 1953 | Inspector | Telugu | * marupAyenA mOhana | G. Ramanathan |
| 1953 | Jatagam | Tamil | * Velan Varuvaanodi | R. Govardhanam |
| 1953 | Kangal | Tamil | * inba vInaiyai mIttuthu | S. V. Venkatraman |
| 1953 | Kodarikam | Telugu | * illAlu illAlu | C. N. Pandurangan |
| 1953 | Mamiyar | Tamil | * Penn Ivale Miga | C. N. Pandurangan |
| 1953 | Manam Pola Mangalyam | Tamil | * sOlai naduvE Odi | A. Rama Rao |
| 1953 | Manidhanum Mirugamum | Tamil | * inbakuyil kuralinimai | G. Govindarajulu Naidu |
| 1953 | Manithan | Tamil | * kuyilE unakku | G. Ramanathan |
| 1953 | Marumagal | Tamil | * Nianikkira Maaadhiri Ellaam | C. R. Subburaman |
| 1953 | Naa Illu | Telugu | * adigadigO gagana sIma andamaina chandamAmA | Chittor V. Nagaiah & A. Rama Rao |
| 1953 | Naalvar | Tamil | * vAanamIthilE | K. V. Mahadevan |
| 1953 | Naam | Tamil | * | C. S. Jayaraman |
| 1953 | Ulagam | Tamil | * un kAdhalAl en anbellAm * En Jeevanile | M. S. Gnanamani |
| 1953 | Vazha Pirandhaval | Tamil | * Indhiya Naadu Nam Indhiya Naadu | S. Rajeswara Rao & G. Ramanathan |
| 1954 | Ammaiyappan | Tamil | * | T. R. Pappa |
| 1954 | Bedara Kannappa | Kannada | * dAri kAdu nA balu nondE | R. Sudharsanam |
| 1954 | Kanavu | Tamil | * Kannaana Thaai Naadae
| G. Ramanathan & V. Dakshinamoorthy |
| 1954 | Kudumbam | Tamil | * Pandigai Dhinamithadah | Pendyala Nageswara Rao |
| 1954 | Pudhu Yugam | Tamil | *Kalaiye Puviyaarai Kavarum | G. Ramanathan |
| 1954 | Ratha Kanneer | Tamil | * kadhavai sAthadi | C. S. Jayaraman |
| 1954 | Ratha Paasam | Tamil | * Nilaiyaana Inbam Manavaalan Anbe | M. K. Athmanathan & A. V. Natarajan |
| 1954 | Sri Kalahastiswara Mahatyam | Telugu | * chUchi chUchi | R. Sudharsanam |
| 1954 | Thookku Thookki | Tamil | * Vaaranam Aayiram Soozha Valam Seidhu | G. Ramanathan |
| 1954 | Thuli Visham | Tamil | * Nandraaga Vaazha Vendum | K. N. Dandayudhapani Pillai |
| 1954 | Vaira Malai | Tamil | * vanjam idhO vAnjai idhO | Viswanathan-Ramamoorthy |
| 1955 | Adarsha Sathi | Telugu | * Parameshane Shiraverida | R. Sudharsanam & R. Govardhanam |
| 1955 | Kalvanin Kadhali | Tamil | * Tamil thirunAdu thannai peRRa | G. Govindarajulu Naidu |
| 1955 | Kaveri | Tamil | * manjal veyyil mAlaiyilE | G. Ramanathan |
| 1955 | Kaveri | Tamil | * manadhinilE nAn konda | Viswanathan-Ramamoorthy |
| 1955 | Koteeswaran | Tamil | * Ennudalum Ullak Kaadhalum Unakke | S. V. Venkatraman |
| 1955 | Maheswari | Tamil | * andha nALum endha nALO | G. Ramanathan |
| 1955 | Valliyin Selvan | Tamil | *Kannin Maniye Vaa | Parur S. Anantharaman |
| 1956 | Amara Deepam | Tamil | * Enge Maraindhanayo | T. Chalapathi Rao & G. Ramanathan |
| 1956 | Chori Chori | Hindi | * Thillana | Shankar-Jaikishan |
| 1956 | Kaalam Maari Pochu | Tamil | * Ennamadhellaam Neeye Niraindhu | Master Venu |
| 1956 | Kannin Manigal | Tamil | * Nalla Veenai Idhe Mannile | S. V. Venkatraman |
| 1956 | Koodappirappu | Malayalam | * Alarsharaparithaapam | K. Raghavan |
| 1956 | Kula Dheivam | Tamil | * Thaaye Yasodha Undhan | R. Sudharsanam |
| 1956 | Madurai Veeran | Tamil | * Adal kAnIrO | G. Ramanathan |
| 1956 | Nagula Chavithi | Telugu | * mArubal kAvAdhe mIrA | Ghantasala |
| 1956 | Ondre Kulam | Tamil | * Anda Pagiranda Akilandeswari | S. V. Venkatraman & M. V. Ranga Rao |
| 1956 | Punniyavathi | Tamil | * Kani Voorum Amudhaana Idhayam | V. Dakshinamoorthy |
| 1956 | Raja Rani | Tamil | * Vaanga Vaanga... Indriravu Miga Nandriravu * Manippuraa Pudhu Manippuraa * Aanandha Nilai Peruvom * Inba Nan Naalidhe | T. R. Pappa |
| 1956 | Thaaikkuppin Thaaram | Tamil | * nAdu sezhithida naaLum uzhaithida | K. V. Mahadevan |
| 1957 | Bhale Ammayilu | Telugu | * gOpAla jAgEla rA | S. Rajeswara Rao |
| 1957 | Chakravarthi Thirumagal | Tamil | * enthan uLLam koLLai koLLa vantha nIlI yArO | G. Ramanathan |
| 1957 | Iru Sagodharigal | Tamil | * thAyE un seyalallavO | S. Rajeswara Rao |
| 1957 | Karpukkarasi | Tamil | * kaniyO pAgO kaRkaNdO
| G. Ramanathan |
| 1957 | Maya Bajaar | Tamil | * Chellamudan Devarkalum Nallaasi | Ghantasala & S. Rajeswara Rao |
| 1957 | Mayabazar | Kannada | * Srisuraru Thamadhalu | Ghantasala & S. Rajeswara Rao |
| 1957 | Mayabazar | Telugu | * Srikarulu Devathalu | Ghantasala & S. Rajeswara Rao |
| 1957 | Rani Lalithangi | Tamil | * Kannaale Mannaadhi Mannarum | G. Ramanathan |
| 1957 | Sati Anasuya | Telugu | * Maa Roopa Nava Shobana | Ghantasala |
| 1957 | Soubhagyavathi | Tamil | * Matha Maragadha Shyaamaa | Pendyala Nageswara Rao |
| 1957 | Thaskaraveeran | Malayalam | * Maayaamoham Maaraathe | S. M. Subbaiah Naidu |
| 1957 | Vanangamudi | Tamil | * siramathil thigazhvathu...... vA vA vA valarmathiyE vA | G. Ramanathan |
| 1958 | Baktha Ravana | * Tamil | * munnIta pavalinchu | R. Sudharsanam & R. Govardhanam |
| 1958 | Bhookailas | Telugu | * munnIta pavalinchu | R. Sudharsanam & R. Govardhanam |
| 1958 | Bhookailas | Kannada | * Ksheeraabdhi Varadhaama Naga Sayana | R. Sudharsanam & R. Govardhanam |
| 1958 | Kanniyin Sabatham | Tamil | * Attatthil sirandhadhu iitthalAttam | T. G. Lingappa |
| 1958 | Mangalya Bhagyam | Tamil | * nenjathilE accham illadhavar | G. Ramanathan |
| 1959 | Chathurangam | Malayalam | * Kaatte Va Kadale Va | G. Devarajan |
| 1959 | Jayabheri | Telugu | * nIventa nerajA navaurA | Pendyala Nageswara Rao |
| 1959 | Kalaivaanan | Tamil | * kAdhal silai AdudhE | Pendyala Nageswara Rao |
| 1959 | Kalyanikku Kalyanam | Tamil | * Anandham indRu Arambam | |
| 1959 | Kaveriyin Kanavan | Tamil | * vaNNatamizh sornakiLI | K. V. Mahadevan |
| 1959 | Mamiyar Mechina Marumagal | Tamil | * mOgana rangA ennai pAradA | R. Sudharsanam |
| 1959 | Manimekalai | Tamil | * pazhangkAla thamizharin vAzhkai murai | G. Ramanathan |
| 1959 | Minnal Veeran | Tamil | * Manamirunthaal | Vedha |
| 1959 | Orey Vazhi | Tamil | * Kalvi Kalvi Endru Paadu | R. Govardhanam |
| 1959 | Pennkulathin Ponvilakku | Tamil | * Kadavul Padaikkavillai | Master Venu |
| 1959 | President Panchatcharam | Tamil | * Oli Padaitha Kanninaayi VaaVaa | G. Ramanathan |
| 1959 | Thanga Padhumai | Tamil | * varugiRAl unnai thEdi | Viswanathan-Ramamoorthy |
| 1960 | Mannadhi Mannan | Tamil | * kalaiyOdu kalanthadhu uNmai | Viswanathan-Ramamoorthy |
| 1960 | Meenda Sorgam | Tamil | * Adum arul jOthi | T. Chalapathi Rao |
| 1960 | Parthiban Kanavu | Tamil | * Andhi Mayanguthadi | Vedha |
| 1960 | Petra Manam | Tamil | * sindhanai seiyadA | S. Rajeswara Rao |
| 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 | R. Sudharsanam |
| 1961 | Kongunattu Thangam | Tamil | * irunthum illathavarE | K. V. Mahadevan |
| 1961 | Krishna Kuchela | Malayalam | * Varnippathengine | K. Raghavan |
| 1961 | Malliyam Mangalam | Tamil | * avarindRi nAnillai | T. A. Kalyanam |
| 1961 | Ummini Thanka | Malayalam | * Geethopadesham | V. Dakshinamoorthy |
| 1962 | Vikramaadhithan | Tamil | * adhisayam ivanadhu | S. Rajeswara Rao |
| 1963 | Susheela | Malayalam | * Thaalolam | V. Dakshinamoorthy |
| 1965 | Maganey Kel | Tamil | * kalai manggai uruvam kaNdu | Viswanathan-Ramamoorthy |
| 1965 | Pinchuhridhayam | Malayalam | * Gaanavum Layavum Neeyalle | V. Dakshinamoorthy |
| 1965 | Shakunthala | Malayalam | * Kaamavardhiniyaam | K. Raghavan |
| 1966 | Rangula Ratnam | Telugu | * Chepa Rupamuna | S. Rajeswara Rao & B. Gopalam |
| 1967 | Sri Purandara Dasaru | Kannada | * Aadidano Ranga | C. N. Pandurangan |