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Sangeetha Sivakumar






Sangeetha Sivakumar is the wife of Sri TM Krishna and among the popular musicians in the field of Carnatic music. She has a mellifluous, resonant voice and her command over the technical aspects of Carnatic music is highly appreciated by musicians, critics and rasikas alike. She is an upholder of the G.N.Balasubramaniam bani. Her music is known for its crispness, clarity of thought and presentation. She has the great capacity of being extremely creative within the bounds of tradition and classicism.


She started learning music at the age of 9, from Sri K.P.Vasu of Calicut and later became the disciple of famous vocalist, Smt.Charumathi Ramachandran. She has been regularly performing in various sabhas all over India. She has toured Australia, United States, Canada and Singapore for concert performances. She has won many awards from various institutions. She is also known for her passion in working with the youth, initiating them into the artform. She is a much sought after teacher and has many students in India and abroad. At present, she is also working on an ongoing project along with her husband Sri T.M.Krishna, in the name of 'Kalaachaara Marumalarchi' - a trust formed by them to revive the classical art forms in the temples of Tamilnadu. The aim of this venture is to conduct classical music, dance and other cultural programs as a regular event in the annual temple festivals in the smaller towns and villages of Tamilnadu. This ambitious project has been a huge success and has met with tremendous response so far.





Akkarai S. Subhalakshmi, a child prodigy started giving violin solo and vocal programmes at the tender age of eight. She had her initial two years training at Nadha Brahma Vidyalaya of the late guru V. Janakiraman, New Delhi.

She is now under the guidance of Swara Raga Sudha Violin School run by her father Akkarai S. Swamynathan. She is not only an expert violinist but also a well recognized vocalist. She is learning vocal music from Padma Bhushan P.S. Narayanaswamy and Chithra Veena N. Ravikiran. 

She is a direct B-High grade artist of All India Radio, Chennai. She gives violin accompaniment to eminent artists like Dr. M. Balamuralikrishna, Dr. N. Ramani, Chitra Veena N. Ravikiran, Sriram Gangadharan, N. VijaySiva,Shashank, Bombay Sisters, Nithya Shree Mahadevan,Bombay Jayashree, Priya Sisters, Ranjani and Gayatri and others.


She also gives classical violin programmes all over the country and also in abroad. She has participated in Indo-Russian Cultural exchange programme and excelled in violin recital during her visit to Russia in the year 1996. She has also gone to Japan, Germany, Italy, France, Beharin, United Kingdom and USA for giving violin solo and accompaniment to various Artists. She has accompanied, Flute mastereo Shashank, for Switzerland concert and has travelled USA along with Ms.Kirnavali and Chitraveena Ravikiran for a concert there.

She is also giving Violin duet as well as Vocal duets along with her younger sister Kum. Akkarai S. Swarnalatha as Akkarai Sisters.

Click here for her full bio..





Melakaveri Balaji is one of the most sought after current Mridangists. He is disciple of his father the renowned Mridangist Melakaveri Sri K. Krishnamurthy. He has been in the field for over 27 years and has provided accompaniment for many senior Carnatic musicians, and talented upcoming artists as well. Balaji has been awarded many titles, and is an ‘A’ grade artist in All India Radio and Doordarshan. He has performed around the world. He is also a highly acclaimed Mridangam guru and has many students around the world.





Significance of the Hari Tumako song...

In 1947, roughly a week before Gandhi’s 78th birthday, Indian National Congress leader Sucheta Kriplani telephoned the Chennai offices of the magazine Kalki and asked to speak to T. Sadasivam, the magazine’s co-founder and Subbulakshmi’s husband. On 2 October, there were to be a few musical performances for Gandhi in New Delhi. Would Subbulakshmi be able to come to the Capital on the day, to sing one of his favourite bhajans, Hari Tum Haro?

Sadasivam had to decline politely. “He told her that Kunjamma (as he and many others called Subbulakshmi) did not know that song,” says Ramnarayan. “Also, for some family reasons, MS amma could not go to Delhi that particular week, so Sadasivam said, ‘No, you’ll have to find somebody else.’” But the matter did not rest there. Just a day or two before Gandhi’s birthday, Kriplani called Sadasivam again. “Gandhiji would rather hear Subbulakshmi recite the verse on a tape,” she is said to have told Sadasivam, “than hear anybody else sing it.”

After that highest of compliments, there was no way Subbulakshmi and Sadasivam could refuse. So, at 9pm, they picked up their friend R. Vaidyanathan— Ramnarayan calls him “a pianist and an eccentric genius”—and made their way to the All India Radio (AIR) recording studios in Chennai. There, Vaidyanathan mulled over the lyrics of Hari Tum Haro, Meera’s prayer to Lord Krishna. “You who saved Draupadi, you who are so compassionate,” the song pleads, “remove all the sorrows of the people.” The best raga to express the pathos and grandeur of the song without meandering into the maudlin, Vaidyanathan decided, would be Darbari Kaanada.

Through that night-long recording session, Vaidyanathan set Hari Tum Haro to music, for Subbulakshmi to learn and record immediately. The spool tape left for New Delhi the following morning, on 2 October, in the care of Sadasivam’s nephew, aboard a Dakota flight. Thus, on the evening of his birthday, Gandhi was able to listen to his beloved bhajan. Subbulakshmi would learn what he had to say about the music only later, from Maniben Patel’s diary. “Her voice is exceedingly sweet,” Patel had quoted Gandhi as saying. “To sing a bhajan is one thing; to sing it by losing oneself in god is quite different.”

Subbulakshmi and Sadasivam would meet Gandhi soon after that, during a trip to New Delhi in January 1948. “Gandhiji was so depressed because of the communal riots,” Ramnarayan recalls. So Sadasivam urged Radha, their little daughter, to dance for Gandhi as Subbulakshmi sang. “Gandhiji’s laughter was said to have rang out in peal after peal as Radha danced,” she says. “At the end of their visit, Gandhi’s followers thanked them, because they hadn’t seen him smile in such a long time.”

On the evening of 30 January 1948, Subbulakshmi was at home in Chennai, listening to AIR’s recorded broadcast of the annual music festival at Tiruvaiyaru, which had been held earlier that month. Suddenly, the broadcast was interrupted, and an announcer broke the unvarnished news: Mahatma Gandhi had just been assassinated at his prayer meeting in New Delhi. As Subbulakshmi listened in horror, the brief announcement ended and AIR, stuck for further details, segued into a musical tribute. The song, inevitably, was Hari Tum Haro in Subbulakshmi’s voice.


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