| Madras Lalithangi Vasanthakumari | |
| Native Name Lang: | tam |
| Background: | solo_singer |
| Birth Date: | 1928 7, df=yes |
| Death Place: | Chennai, Tamil Nadu, India |
| Birth Place: | Madras, Madras Presidency, British India |
| Occupation: | Singer |
| Years Active: | 1942 – 1990 |
| Genre: | Carnatic music – Indian Classical Music and Playback singing |
| Label: | HMV, EMI, RPG, AVM Audio, Inreco, Vani, Amutham Inc, Doordarshan, Super Audio, Geethanjali, Kosmic Music, Charsur Digital Workshop etc. |
Madras Lalithangi Vasanthakumari (popularly referred to as MLV) (3 July 1928 – 31 October 1990) was a Carnatic musician [1<ref>{{Cite journal |last=Nayak |first=Sharada |date=2000 |editor-last=Menon |editor-first=Indira |title=Women musicians of the Karnatak tradition |url=https://www.jstor.org/stable/23005501 |journal=India International Centre Quarterly |volume=27 |issue=2 |pages=171–174 |issn=0376-9771}}</ref> 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.[1] A prime disciple of G. N. Balasubramaniam, she was the youngest among the established musicians of that era and was the youngest female to receive the Sangita Kalanidhi award.[2] In 1967, she was honored with the Padma Bhushan, the third highest civilian award, by the government of India. Her daughter, the late K. Srividya, was an actress in Tamil and Malayalam.
As well as being a much sought-after playback singer for films, MLV popularized unfamiliar ragas, and her Ragam Thanam Pallavis were considered cerebral.[3] Additionally, she popularized the compositions of the Haridasas. Her most famous disciples include Srividya (her daughter), Sudha Raghunathan, Charumathi Ramachandran, and A. Kanyakumari.[4]
MLV was born into a musical family. Her father, Kuthanur Ayya Swamy Iyer, was a noted musician. Her mother, Lalithangi, was also a musician.[5] When Deshbandhu Chittaranjan Das died in 1925, Lalithangi came out with a song as a tribute to his patriotism. A rare gramophone record of her rendition of this song is said to be in V. Sundaram's possession.
MLV's school education was in Madras, in a convent, where she was set to pursue a medical career until Carnatic musician G. N. Balasubramaniam became her guru. In her own words, "My parents had rendered yeomen service to Carnatic music. They were mainly instrumental in popularizing the compositions of Purandara Dasa in South India. They were not keen that I should enter the music field and gave me a general education. But in the musical atmosphere of my house, I had ample opportunity to practice vocal music. Once G. N. Balasubramaniam heard me sing, 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."
MLV learnt Carnatic music from G. N. Balasubramaniam (GNB). She was also GNB's first disciple.
MLV made her debut in 1940, at 12 years old, by accompanying her mother to a recital. Two years later, she gave a solo recital in Bengaluru. She also cut her first 78-rpm disc. From then on, her career took on a geometric progression as a stage artist, and by 1950, she had established herself as a front-ranker. A music critic said that MLV brought the struggle of women in the world of music to a successful culmination and that her music had more male characteristics than that of any other female musician.
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.[6]
While MLV was known more for her cerebral style than her emotional one, this was compensated for by her rich and original manodharma. Similar to GNB, she was said to be 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-CCASCADES 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 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, and Abhogi-Valaji to illustrate this point.
In GNB's own words, Vasanthi typifies real discipleship—she absorbs all but presents her own glorious creations."[7]
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.
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."[3]
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."[3]
By 1946, MLV was also a playback singer.[3] 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.[8]
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. [8]
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 was also well received.[8]
MLV sang the Dashaavataara song for Bhookailas like Munneeta Pavalinchu Naagashayana, while Kumari Kamala danced in a classical way. She sang for films until 1970.
As one of the top-ranking stage artists, MLV was noted for her charm, grace, warmth, self-restraint, and humility. Her self-restraint as an artist can be understood from her own words: Brigas in a 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 constant vigilance is essential.
Mridangam maestro Palghat Mani Iyer made an exception to the decision he had made early in his career not to accompany a female performer and accompanied her to concerts. MLV helped others, including Mannargudi Easwaran, Srimushnam V. Raja Rao, Seerkazhi J. Skandaprasad, Thiruvarur Bakthavathsalam, R. Ramesh, Karaikudi Krishnamurthy, G. Harishankar (kanjira), Dwaram Mangathayaru (violin), Kannyakumari (violin), and more, establishing them by encouraging them and giving them opportunities to accompany her in concerts.
MLV married Kalaimamani Vikatam R.Krishnamurthy in the year 1951. They had a son, K. Shankarraman and Srividya.
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.
By coincidence, Srividhya made her acting debut in a Tamil movie as a concert vocalist. It was her mother, MLV, who sang for Srividhya. The Asaveri Raga Krithi MLV sang for Daughter Srividhya to mouth in the film, and it would have been equally in place in a concert in the December season.
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, Charumathi Ramachandran, and A. Kanyakumari.
Saraswathi Srinivasan (b. 1936) was the first disciple of MLV. After marriage, Saraswathy Srinivasan, jointly with MLV, gave some concerts.[9]
| Year | Award | Awarded by | |
|---|---|---|---|
| 1967 | Padma Bhushan | Third highest civilian award by the government of India | |
| 1970 | Sangeet Natak Akademi Award | Sangeet Natak Akademi, India | |
| 1976 | Doctorate degree for her work with regards to Purandaradasa's contributions to music | Mysore University | |
| 1977 | Sangeetha Kalanidhi (Highest accolade in the field of Carnatic music) | Music Academy, Madras | |
| 1977 | Tamil Isai Sangam, Madras | ||
| 1987 | Sangeetha Kalasikhamani | Indian Fine Arts Society, Chennai |
She died in 1990 at the age of 62 due to cancer, and was stoic about the suffering she faced in the last year of her life.[10]
She was a much sought after playback singer from the late 1940s until the mid-1960s.
She worked under C. R. Subburaman, S. M. Subbaiah Naidu, G. Ramanathan, S. Dakshinamurthi, K. V. Mahadevan, Vedha, V. Nagayya, Pendyala Nageshwara Rao, T. Chalapathi Rao, Viswanathan–Ramamoorthy, S. Rajeswara Rao, R. Sudarsanam, 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.
She sang duets mostly with Thiruchi Loganathan, Seerkazhi Govindarajan and A. M. Rajah. Others are M. K. Thyagaraja Bhagavathar, V. N. Sundaram, T. R. Mahalingam, T. A. Mothi, C. R. Subburaman, C. S. Jayaraman, Ghantasala, 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 A. P. Komala, T. S. Bagavathi, Soolamangalam Rajalakshmi, Jikki, T. V. Rathnam, Radha Jayalakshmi, P. A. Periyanayaki, P. Bhanumathi, K. Jamuna Rani and A. G. Rathnamala.
| Year | Film | Language | Song | Music | Co-singer | |
|---|---|---|---|---|---|---|
| 1948 | Raadhaa Samedhaa Krishnaa | S. V. Venkatraman & Kunnakudi Venkatrama Iyer | ||||
| Endha Vedugo O Raagavaa | ||||||
| 1948 | Tamil | Kulakkodi Thazhaikka | ||||
| Aaraaro Nee Aaraaro | ||||||
| Ingum Angum Engum Inbame | M. K. Thyagaraja Bhagavathar | |||||
| Enna Aanandham | M. K. Thyagaraja Bhagavathar | |||||
| Sandhoshamaai Anbar Varuvaaradi | P. Bhanumathi | |||||
| 1949 | Tamil | Puvi Raajaa | Thiruchi Loganathan | |||
| Kalaivaaniye Nee | ||||||
| Kaaranam Theriyammal | ||||||
| 1949 | Tamil | Maane En Prema Raani | T. R. Mahalingam | |||
| Vaaraai En Inba Vaazhve | ||||||
| Aahaa Thanimai Tharum Inbam | ||||||
| Alli Malaraayirundhen | ||||||
| Varuvano Madhivadhanan | ||||||
| Jeyame En Vaazhvile | ||||||
| 1949 | Tamil | Gaanalolan Madhanagopaalan | ||||
| 1949 | Tamil | Mosam Pogadhe Nee | G. Govindarajulu Naidu & Purushotham | |||
| Enthan Mana Ullaasam | ||||||
| Enadhu Ennam Veene | ||||||
| Vedhanai Ilaa Logam | ||||||
| Maname Enna Pedhamai | ||||||
| 1949 | Tamil | Kandeepan Maithunaa | ||||
| Naane Vendinen | ||||||
| Ini Nammodellaam | ||||||
| Unathu Pugazh Paaduven | ||||||
| 1949 | Tamil | Gopaalanodu Naan Aaduvene | ||||
| 1950 | Beedala Patlu | Yauvaname Aahaa Yauvaname | ||||
| Sarasaku Raade Aane | ||||||
| 1950 | Tamil | Yauvaname Aahaa Yauvaname | ||||
| Kannan Mana Nilaiye | ||||||
| Vaanamudhe Ondraai | ||||||
| 1950 | Tamil | Isai Kalaiye Inidhaana | ||||
| Kaadhal Baliyaagi | ||||||
| Manam Pola Vaazhvu Peruvome | Jikki | |||||
| Aahaahaahaa Vaazhvile | ||||||
| Ennum Pozhuthil Inbam | ||||||
| 1950 | Tamil | Niyaayam Alladi Bhaamaa | ||||
| Piraana Naathanae | ||||||
| Anbinil Yaavume.... Thulasi Jegan Maathaa | ||||||
| Pugazhnthu Pugazhnthu Uraikka | ||||||
| Vantharul Endruraippai | ||||||
| 1950 | Kalaanikethe Keralamaathe | M. S. Gnanamani | ||||
| Gaanamohana Hare | ||||||
| Jaathivairam Neethirahitham | ||||||
| Thakarukayo Sakalamen | ||||||
| 1950 | Tamil | Geethaanandham Perinbam | P. Leela | |||
| 1951 | Tamil | Chinnanciru Kiliye Kannammaa | V. N. Sundaram | |||
| Ellaam Inbamayam | P. Leela | |||||
| Aayirathu Tholaayirathu | P. Leela | |||||
| Paaviyinum Padu Paavi | V. N. Sundaram | |||||
| Iru Kaadhalar Magizhndhe | C. R. Subburaman | |||||
| 1951 | Tamil | |||||
| 1951 | Navvithe Navaratnalu | Telugu | Marubal Kavadhe Meera | G. Aswathama | ||
| Uyyaala Loogena O Manasam | ||||||
| Telirekhalu Virise Thurupudisa | ||||||
| Saanthiye Ledhaa Naaku | ||||||
| Sri Rajarajesvari Sritajanavandita | ||||||
| 1951 | Tamil | Ayyaa Saami Avoji Saami | ||||
| Boologam Thanai Kaana Varuveer | T. S. Bagavathi | |||||
| 1951 | Pelli Kooturu | Telugu | Veera Jaajula Valape | C. R. Subburaman | ||
| Anta Premamayam | P. Leela | |||||
| 1950 Ki 60 Ki Ento Teda | A. P. Komala | |||||
| Paapula Loka Dupaapi | C. R. Subburaman | |||||
| C. R. Subburaman | ||||||
| 1951 | Tamil | Vaazhvu Uyara Vendum | M. S. Gnanamani | |||
| Ahaa Haa Manaiviyaaven | ||||||
| Theeraadha Thunbam Thaanaa | ||||||
| 1951 | Tamil | Anbe En Sivame Aandarulvaaye | ||||
| Maara Sundara Maadhu Ivale | ||||||
| 1951 | Telugu | Elukkona Ra | ||||
| 1951 | Telugu | |||||
| 1952 | Tamil | Kaani Nilam Vendum Paraasakthi | C. S. Jayaraman | |||
| 1952 | Tamil | Dheena Dhayaabari Thaaye | ||||
| 1952 | Tamil | Maye Thvam Yaahi | ||||
| Shivakameshwari Chintaye | ||||||
| 1952 | Tamil | Maye Thvam Yaahi | ||||
| Shivakameshwari Chintaye | ||||||
| 1952 | Malayalam | Maye Thvam Yaahi | ||||
| Shivakameshwari Chintaye | ||||||
| 1952 | Tamil | Antha Raama Sowndharyam | A. P. Komala | |||
| 1952 | Manchi Dinamu Nede | |||||
| 1952 | Telugu | Aaraaghu Ra Muni | K. G. Moorthy | N. L. Ganasaraswathi | ||
| 1952 | Tamil | Ezhai Nin Kovilai | G. K. Venkatesh | |||
| Kudumbatthin Vilakku | ||||||
| 1952 | Tamil | Vaazhga Vaazhgave Vaazhgave | ||||
| 1952 | Tamil | Kanavilum Maraven | ||||
| Vazhvile Vaazhvile | Madhavapeddi Satyam | |||||
| Sugamedhu Vaazhvile | Madhavapeddi Satyam | |||||
| 1952 | Puratchi Veeran | Tamil | Kaaranam Theriyaamal | |||
| 1952 | Tamil | Ambaa Aadhi Sakthi Jegadhaambaa | G. Ramanathan, T. V. Raju & S. B. Dinakar Rao | |||
| 1952 | Tamil | Konjum Puraave | ||||
| Vellai Thamarai Poovil | ||||||
| Kovil Muzhuthum Kanden | ||||||
| Kathayai Kelada | ||||||
| 1952 | Tamil | Anbe Endhan Aaruyire Azhaadhe | ||||
| Mudinthathe En Vazhvu | ||||||
| Pagalellam Velai Seithe | K. Devanarayanan | |||||
| 1953 | Tamil | Kalaigal Migundha Engal | P. Leela | |||
| Neeye Arul Velavane | ||||||
| 1953 | Malayalam | Janani Jayikka Neenal | P. Leela | |||
| Sharanam Mayilvaahanaa | ||||||
| 1953 | Telugu | Nee Kosam | Pithapuram Nageswara Rao | |||
| 1953 | Tamil | Adavare Naattile | A. M. Rajah | |||
| Isaippaadi | ||||||
| 1953 | Tamil | Konjum Mozhi Maindharkale | V. Nagayya & A. Rama Rao | T. A. Mothi | ||
| 1953 | Tamil | Aiyavin Penndattikku | K. R. Chellamuthu | |||
| Dance Baby Dance | ||||||
| 1953 | Tamil | Varuvaai Mana Mohanaa | V. N. Sundaram | |||
| Madhana Singaara Neelaa | ||||||
| Moodiyirundha En Vizhiyinul | ||||||
| 1953 | Telugu | Marupayena Mohana | ||||
| Mara Sukumara | ||||||
| Moodapa Dhinana Muddulaveena | ||||||
| 1953 | Tamil | Velan Varuvaanodi | ||||
| 1953 | Tamil | Inba Veenaiyai Meettudhu | ||||
| Kann Kanda Deivame | ||||||
| Annai Karamena Nammai | ||||||
| Varungkaala Thalaivan Neeye | ||||||
| 1953 | Kodarikam | Telugu | Illalu Illalu | |||
| Mahaa Ganapathi Gajaananaa | ||||||
| 1953 | Tamil | Penn Ivale Miga | ||||
| Mahaa Ganapathi Gajaananaa | ||||||
| 1953 | Tamil | Solai Naduve Odi | A. Rama Rao | |||
| 1953 | Tamil | Inbakuyil Kuralinimai | A. M. Rajah | |||
| Imayamalai Chaaralile | ||||||
| 1953 | Tamil | Kuyile Unakku | ||||
| 1953 | Tamil | Nianikkira Maaadhiri Ellaam | T. R. Ramachandran | |||
| 1953 | Telugu | Adigadigo Gagana Seema | V. Nagayya & A. Rama Rao | T. A. Mothi | ||
| Raara Maa Intidaka | ||||||
| 1953 | Tamil | Irul Soozhum Vaanil | ||||
| Inbam Kolludhe | ||||||
| Vaana Veedhiyil Parandhiduvom | Thiruchi Loganathan | |||||
| 1953 | Tamil | |||||
| 1953 | Telugu | M. S. Gnanamani & T. Poornananda | A. M. Rajah | |||
| Kalaye Navakalaye | ||||||
| 1953 | Tamil | Un Kaadhalaal En Anbellaam | M. S. Gnanamani | A. M. Rajah | ||
| En Jeevanile | ||||||
| 1953 | Tamil | Indhiya Naadu Nam Indhiya Naadu | ||||
| 1954 | Tamil | Kaadhal Thuraiye Pudhumai Kanave | ||||
| Chinna Pudhu Malare | ||||||
| Sidhaindhadhe.... Manamogana Jeevan | S. Varalakshmi | |||||
| Poojaikku.... Pillaiyaare Thulli | ||||||
| Neelakadal Paaru Paappaa | ||||||
| Kaadhal Thuraiye Pudhumai Kanave | ||||||
| 1954 | Daari Kaadu Naa Balu Nonde | |||||
| 1954 | Tamil | Kannaana Thaai Naadae | ||||
| Eliyorku Suga Vaazhvu Edhu | ||||||
| Engume Thai Pongal | ||||||
| 1954 | Tamil | Pandigai Dhinamithadah | ||||
| 1954 | Menarikam | Telugu | ||||
| 1954 | Tamil | Kalaiye Puviyaarai Kavarum | ||||
| 1954 | Tamil | Kadhavai Saathadi | ||||
| Aalaiyin Sangge Nee Oothaayo | ||||||
| 1954 | Tamil | Nilaiyaana Inbam Manavaalan Anbe | M. K. Athmanathan & A. V. Natarajan | |||
| 1954 | Telugu | Choochi Choochi | ||||
| Chaalu Chaalu Naa Mohana | ||||||
| 1954 | Tamil | Vaaranam Aayiram Soozha Valam Seidhu | P. Leela | |||
| 1954 | Tamil | Nandraaga Vaazha Vendum | ||||
| 1954 | Tamil | Vanjamidho Vaanchaiyidho | Thiruchi Loganathan | |||
| Koovaamal Koovum Kogilam | Thiruchi Loganathan | |||||
| Unnai Ennum Podhe | ||||||
| Senthamarai Kannane | ||||||
| 1955 | Adarsha Sathi | Telugu | Parameshane Shiraverida | R. Sudarsanam & R. Govardhanam | ||
| 1955 | Tamil | Tamil Thirunaadu Thannai Petra | N. L. Ganasaraswathi | |||
| 1955 | Tamil | Manjal Veyyil Maalaiyile | C. S. Jayaraman | |||
| 1955 | Tamil | Manadhinile Naan Konda | ||||
| 1955 | Tamil | Ennudalum Ullak Kaadhalum Unakke | ||||
| 1955 | Tamil | Andha NaaLum Endha Naalo | ||||
| 1955 | Tamil | Adimaiyendre Ennathe Penne | N. S. Balakrishnan | |||
| 1955 | Tamil | Kannin Maniye Vaa | Parur S. Anantharaman | |||
| Vilaiyaadum Dheivamadi | T. V. Rathnam | |||||
| 1955 | Telugu | Andala Sandadilo | A. M. Rajah | |||
| 1954 | Tamil | Thedi Thedi Naan Manam Nondhen | ||||
| 1956 | Tamil | Enge Maraindhanayo | ||||
| 1956 | Theem Theem | |||||
| 1956 | Tamil | Ennamadhellaam Neeye Niraindhu | ||||
| 1956 | Tamil | Nalla Veenai Idhe Mannile | ||||
| Velli Nilavinile | ||||||
| Aaraaro Aasai Kanmaniye | ||||||
| Anbin Dheepamidhe | ||||||
| 1956 | Malayalam | Alarsharaparithaapam | ||||
| Manivarnane Innu Njan | ||||||
| 1956 | Tamil | Thaaye Yasodha Undhan | ||||
| 1956 | Tamil | Aadal Kaaneero | ||||
| Senthamizhaa Ezhundhu | ||||||
| 1956 | Naga Devathai | Tamil | ||||
| 1956 | Nagula Chavithi | Telugu | Marubal Kavadhe Meera | |||
| 1956 | Tamil | Anda Pagiranda Akilandeswari | S. V. Venkatraman & M. V. Ranga Rao | |||
| Thiruvarul Purivaai Jaganmaathaa | ||||||
| 1956 | Telugu | Aatal Kanalero Maa Aatal Kanalero | ||||
| Andhamula Rashi Neevoyi | ||||||
| 1956 | Tamil | Kani Voorum Amudhaana Idhayam | ||||
| 1956 | Tamil | Vaanga Vaanga ... Indriravu Miga Nandriravu | S. V. Ponnusamy | |||
| Manippuraa Pudhu Manippuraa | ||||||
| Inba Nan Naalidhe | ||||||
| 1956 | Tamil | Naadu Sezhithida NaaLum Uzhaithida | ||||
| 1957 | Telugu | Gopaala Jaagela Raa | P. Leela | |||
| Theem Thaam Thirana (Thillana) | ||||||
| 1957 | Tamil | Enthan Ullam Kollai Kolla | ||||
| 1957 | Tamil | Thaaye Un Seyalallavo | P. Leela | |||
| Theem Thaam Thirana (Thillana) | ||||||
| 1957 | Tamil | Kaniyo Paago Karkando | P. B. Sreenivas | |||
| Vizhiyodu Vilaiyaadum | P. Leela | |||||
| 1957 | Tamil | Vanthaal Varattum Podi | ||||
| 1957 | Tamil | Chellamudan Devarkalum Nallaasi | ||||
| 1957 | Kannada | Srisuraru Thamadhalu | ||||
| 1957 | Telugu | Srikarulu Devathalu | ||||
| 1957 | Nala Damayanthi | Telugu | Jaali Chpppavadelara | |||
| 1957 | Telugu | Sreeramu Meedhane Perasha | ||||
| 1957 | Tamil | Kannaale Mannaadhi Mannarum | ||||
| 1957 | Telugu | Maa Roopa Nava Shobana | ||||
| 1957 | Tamil | Matha Maragadha Shyaamaa | ||||
| 1957 | Telugu | Matha Maragadha Shyaamaa | ||||
| 1957 | Telugu | Raa Raa Raa | ||||
| 1957 | Tamil | Siramathil.... Vaa Vaa Vaa | ||||
| 1957 | Telugu | Nandasuthudu Andam Chandam | ||||
| 1958 | Tamil | Dheva Mahadheva | R. Sudarsanam & R. Govardhanam | |||
| 1958 | Telugu | Dheva Mahadheva | R. Sudarsanam & R. Govardhanam | |||
| Munneeta Pavalinchu | ||||||
| 1958 | Kannada | Dheva Mahadheva | R. Sudarsanam & R. Govardhanam | |||
| Ksheeraabdhi Varadhaama Naga Sayana | ||||||
| 1958 | Tamil | Attatthil Sirandhadhu Pitthalaattam | Soolamangalam Rajalakshmi | |||
| Solla Theriyaamal | ||||||
| 1958 | Tamil | Nenjathile Achcham Illaadhavar | P. Leela | |||
| Anusooya Kadhaakaalatchebam | Seerkazhi Govindarajan, A. P. Komala, K. Jamuna Rani & A. G. Rathnamala | |||||
| Annaiye Paraasakthi | ||||||
| 1958 | Tamil | Maa Roopa Nava Shobana | ||||
| 1958 | Telugu | Veyinola Koniyaru Rasakalpame | G. Ramanathan & M. S. Raju | P. Leela | ||
| 1959 | Malayalam | Kaatte Va Kadale | ||||
| Odakkuzhalum | ||||||
| Kaatte Va Kadale Va | K. S. George | |||||
| 1959 | Telugu | Neeventa Nerajaa Navauraa | ||||
| 1959 | Tamil | Kaadhal Silai Aadudhe | ||||
| 1959 | Tamil | Aanandham Indru Aarambam | P. Leela | |||
| 1959 | Tamil | Vannatamizh Sornakili | ||||
| 1959 | Krishna Leelalu | Telugu | Thaalalenuraa Thaginadaanaraa | |||
| 1959 | Tamil | Pathu Viral Modhiram | ||||
| Ranga Ranga Ranga | Seerkazhi Govindarajan | |||||
| Maithunare Maithunare | A. P. Komala | |||||
| Kanna Vaa Vaa | ||||||
| Inge Irupadhaa | ||||||
| Ilavu Kaaththa Kili Pol | ||||||
| 1959 | Tamil | PazhangkAla Thamizharin Vaazhkai Murai | N. L. Ganasaraswathi | |||
| 1959 | Tamil | Manamirunthaal | P. Leela | |||
| 1959 | Tamil | Kalvi Kalvi Endru Paadu | P. Leela | |||
| 1959 | Tamil | Kadavul Padaikkavillai | P. Leela | |||
| 1959 | Tamil | Oli Padaitha Kanninaayi | Radha Jayalakshmi | |||
| 1959 | Tamil | Varugiraal Unnai Thedi | Soolamangalam Rajalakshmi | |||
| 1959 | Telugu | Pahimam Jayajaya | ||||
| Pahimam Saranantimamma | Ghantasala & Jikki | |||||
| 1960 | Tamil | Kalaiyodu Kalandhadhu Unmai | ||||
| Aadadha Manamum Undo | T. M. Soundararajan | |||||
| 1960 | Tamil | Aadum Arul Jothi | Seerkazhi Govindarajan | |||
| 1960 | Tamil | Andhi Mayanguthadi | ||||
| Vadiveru Thirisoolam Thondrum | ||||||
| Munnam Avanudaya Naamam Kettaal | ||||||
| 1960 | Tamil | Sindhanai Seiyadaa | Sivaji Ganesan (dialogues) | |||
| 1960 | Tamil | Karka Kasadara Katraapin | ||||
| 1960 | Tamil | Paakkadal Alai Mele | ||||
| 1960 | Seetha | Malayalam | Kanne Nukaru Swargasukham | |||
| 1960 | Tamil | Kaathirundha Kannukku | ||||
| Manasukkulle Maraichu Vaikka | Seerkazhi Govindarajan | |||||
| Ezhaikkum Vaazhvukkum | Seerkazhi Govindarajan & T. S. Bagavathi | |||||
| 1961 | Telugu | Pala Kadali Meedha | Pamarthi | |||
| 1961 | Telugu | Virahini Ninu Kore | Soolamangalam Rajalakshmi | |||
| 1961 | Tamil | Irundhum Illaadhavare | ||||
| 1961 | Krishna Kuchela | Malayalam | Varnippathengine | P. Leela | ||
| 1961 | Tamil | Avarindri Naanillai Kanne | T. A. Kalyanam | |||
| 1961 | Telugu | Neeve Jagajyothi | Nityanand | Seerkazhi Govindarajan | ||
| 1961 | Ummini Thanka | Malayalam | Geethopadesham | V. Dakshinamoorthy & P. Leela | ||
| 1962 | Telugu | Nanukora Thagadidi Vinumaa | ||||
| Hrdayamulu Pulakinnchavo | Seerkazhi Govindarajan | |||||
| 1962 | Tamil | Adhisayam Ivanadhu | ||||
| 1963 | Malayalam | Thaalolam Thankam Thaalolam | ||||
| 1964 | Veeranganai | Tamil | Angamellam Sornthu Vaada | P. Leela & K. J. Yesudas | ||
| 1965 | Tamil | Kalai Manggai Uruvam Kandu | Seerkazhi Govindarajan | |||
| 1965 | Malayalam | Gaanavum Layavum Neeyalle | P. Leela | |||
| 1965 | Malayalam | Kaamavardhiniyaam | P. Leela | |||
| Kaalil Chilanka | K. J. Yesudas | |||||
| Guru Brahma | ||||||
| 1966 | Telugu | Chepa Rupamuna | A. P. Komala | |||
| 1967 | Kannada | Aadidano Ranga |