Author: ravi rajagopalan

History, Raga, Repertoire

Sarasvati Manohari – A Conundrum?

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Prologue:

At the very outset before we deal with the raga Sarasvati Manohari as documented in the Sangita Sampradaya Pradarshini (SSP) of Subbarama Dikshita in this blog post, the following disclaimers are in order:

  1. This raga as documented in the SSP, belongs to the 29th Mela and it has nothing to do with the melody as found in “Entha Veduko” of Tyagaraja, which is provided with the name of Sarasvati Manohari as well but is under the 28th Mela.
  2. The raga name “Sarasvati Manohari” has been assigned to the melody of “Entha Veduko” of Tyagaraja by all musical authorities post 1900 AD on the authority of the Sangraha Cudamani which is purportedly the lexicon of the ragas of the compositions of Tyagaraja. It has been reiterated in these blog posts that the “Sangraha Cudamani” is a musical text of a much later vintage (19th century, most probably second half) in comparison to the Anubandha of Muddu Venkatamakhin which is dateable at the latest to 1750AD. The views of the noted music critic K V Ramachandran, the man who discovered the Sangraha Cudamani in the Adayar Library, in this regard are recorded for posterity and in these blogs as well. ( See Reference section below)
  3. Therefore, in our discussion of this raga in this blog post we will not be referring at all to the raga as found in “Entha Veduko” or the treatment thereof under Sangraha Cudamani. All references are to the treatment of the raga as found in the SSP.
  4. The authority for the raga Sarasvati Manohari under Mela 29 as documented in the SSP, comes from the three unassailable 18th century authorities (the Triad as we refer to these three texts in unison in these blog posts) of the likes of Sahaji (circa 1700 AD) , Tulaja (circa 1832 AD) and Muddu Venkatamakhin (1750AD) and crystallized with the exemplar composition of Muthusvami Dikshita.
  5. It’s a folly to talk of the Sarasvati Manohari of Tyagaraja and the Sarasvati Manohari of Dikshita given the weight of historical evidence we have in this regard. In these blog posts it is simpliciter stated the raga names as found in the Anubandha and documented in the SSP, are much older and are of far greater antiquity and authority. The assignment of such older names of ragas to the melodies of the compositions of Tyagaraja (such as Sarasvati Manohari) without relevance as to the identicality, was a post 1850 AD development. In fact, it is on record that Tyagaraja never revealed the raga names when he taught the compositions to his disciples and only much later after his death with the advent of printing did the assignment of raga names to the melodies happen. The effect was that in quite many cases wrong names came to be assigned to the ragas arbitrarily without taking into account the textual history of the raga concerned. Sarasvati Manohari is one such victim of misnaming whereby the older raga name came to be assigned to the melody of “Enta Veduko” without effecting a check whether the melody found in the composition corresponded to the scale of the raga as per grammar.
  6. Ironically today so synonymous is the raga name “Sarasvati Manohari” with “Enta Veduko” so much so that the actual or true melodic identity which is found in Dikshita’s composition “Sarasvati Manohari” is looked upon with suspicion!
  7. And it has to be placed on record that this aberration which came to be inflicted on this raga cannot and should not be used to advance the proposition that the raga itself evolved by dropping N3 and acquiring N2, as we have musical history of spanning 1700 to 1906 AD recording the raga as a janya of Mela 29. The raga of “Enta veduko” should have been assigned another new name without any confusion whatsoever, leaving the older name of “Sarasvati Manohari” out of this entire controversy. This mis-assignment of name is a self-inflicted wound by us on our very known musical theory and musicological history without any justification whatsoever. The only way is to acknowledge this aberration ex facie, and safely navigate the study of ragas and raga lakshanas, rather than trying to justify the same needlessly.

With these disclaimers in place, in this blog post we will embark on dissecting this old raga which is hardly ever rendered in the modern concert stage, save for the occasional rendering of just the kriti of Dikshita, sans alapana, neraval or svaraprastara.

It is reiterated that the raga Sarasvati Manohari of Dikshita is under Mela 29 (Sankarabharanam with N3) as documented in his composition “Sarasvati Manohari”, beginning on the raga mudra itself and no attempt should be made to corrupt the same and attempt to render it under Mela 28 by replacing the N3 with N2. There is no authority for it whatsoever in either the textual or the oral traditions.

Contours of the raga as found in Dikshita’s Composition:

On an entirely different note it can be demonstrated that the kritis of Muthusvami Dikshita are best understood by triaging the lakshana as found in the composition with the stated grammar of the raga in the “Triad” of musical works which are Sahaji’s “Raga Lakshanamu” (circa 1700 AD), Tulaja’s “Saramruta” (circa 1832 AD) and the “Ragalakshanam” of Muddu Venkatamakhin ( circa 1750 AD) being the Anubandha to the original Caturdandi Prakashika of Venkatamakhin ( the main text which is dateable to circa 1620 AD).

The SSP records for us by way of a snapshot, the composition (being the notation) and the raga lakshana which is the sole basis for this blog post and the analysis thereof. In the instant case, the treatment of the raga Sarasvati Manohari by Dikshita will be investigated to derive a proper understanding by solely looking at:

  1. The documentation as found in the SSP and other ancillary sources which have a high-fidelity nexus to the musical heritage of Muthusvami Dikshita
  2. The details for the raga as found in the “Triad” of musical works
  3. The oral renderings of the compositions as passed on to us being authentic versions or pAtAntharams.

This blog post has to be read focussing only on the above and any other extraneous material outside of the above is patently irrelevant for the subject on hand and hence a discussion on those is safely avoided. And which is why the aforesaid disclaimers become important in the context of this discourse.

The raga according to Subbarama Dikshita:

The SSP records the lakshana of the raga strictly in line with the “Ragalakshanam” of Muddu Venkatamakhin (circa 1750 AD) along with Subbarama Dikshita’s commentary and does not record the lakshana as found in the works of Sahaji and Tulaja. According to the SSP the following are the features of the raga:

  1. The raga is a bashanga janya of Sankarabharanam according to the SSP. For us in modern parlance it can be safely concluded that the raga is an upanga janya and takes only the notes of the parent Mela 29 only. It has been pointed out earlier that the term upanga/bashanga as used in the SSP, connotes a very different attribute of the raga and not the modern meanings that are ascribed to the said terms. The unassailable point here is that from a modern musicological perspective, the raga is without doubt upanga and the native nishadha note of the raga is N3 or kAkali variety only.
  2. The raga is sampurna and carries all the 7 notes, taking the arohana and avarohana together.
  3. Pancama is varjya or dropped in the arohana. Therefore MPD prayoga should be eschewed.
  4. Rishabha is vakra or deviant in the descent.
  5. Dhaivatha is the jiva svara of the raga.
  6. Despite the nominal arohana and avarohana progression of the raga being SRGMDDNS/SNDPMGMRS (as seen in the Ragalakshanam anubandha), DNS prayoga is not seen in the compositions.
  7. Therefore, the operative arohana progression of the raga is more like SRGM-DP-MDS or SRGM-DNDS or SRGMDDS
  8. Similarly, the operative avarohana progression is SNDPMGMRS or SNDNP-MGMRS

The perusal of the SSP would reveal the following beyond Subbarama Dikshita’s narrative.

  1. The Sankarabharana lakshya gita, lists Sarasvati Manohari as a bhashanga janya of the raga.
  2. The lakshya gita of the raga eschews DNS in toto despite the fact that the nominal arohana states DNS occurring.
  3. Though the sloka as found in the Anubandha cited in the SSP refers to the raga name as “sarasvata manohari”, Subbarama Dikshita labels the raga as “sarasvatI manOhari” only.

Armed with the above details let us look at the evidence provided by Sahaji and Tulaja in their respective works as to this raga.

“Sarasvati Manohari” according to Sahaji and Tulaja:

  1. The raga is named only as Sarasvati Manohari.
  2. Both the royal authors are unanimous in their view that pancama and nishadha are skipped in the arohana and gandhara in the avarohana.
  3. In fact, SRGMDDS and GMDDNDPM are oft repeated murrcanas in the raga.
  4. In essence MPD, DNS and MGRS are forbidden murrcanas of the raga.

In fact amongst the Triad, Sahaji and Tulaja are completely ad idem on the lakshana while Muddu Venkatamakhin alone strikes the sole discordant note by allowing DNS prayoga. However, Subbarama Dikshita explains away this sole discordance stating that DNS is not seen in practice.

Summary of the raga lakshana according to the Triad:

From the foregoing the raga lakshana can be restated in the classical 18th century vernacular as under:

  1. Sankarabharana is the mela or the raganga under which Sarasvati Manohari is classed.
  2. The raga is sampurna and all the 7 notes occur in its body and the notes are S, R2, G3, M1, D2 and N3. No other variety of the notes occurs.
  3. Pancama and nishadha are dropped in the arohana.
  4. Gandhara is vakra in the avarohana.
  5. Dhaivatha is a prime note emphasized via the repeated/janta notes.
  6. PDNS, MPD and DNS are forbidden in the arohana krama; MGRS is forbidden in the avarohana krama.
  7. SRGM, GMDD, PMDD, SNDP, NDPM, SNDNP, GMRS are the permitted murrcanas which join together to form the skeletal structure of the raga.

Dikshita’s Implementation of Sarasvati Manohari:

The notation of the Dikshita composition which begins with the raga name itself as its refrain reveals the following:

  1. d/R and D/r being the jump from mandhara dhaivatha to madhya rishabha and madhya dhaivatha to tara rishabha is seen repeatedly used apart from d/G and D/g as well.
  2. GMDP, MGMDD, RG-GMR, SNDSN, SNPM, RGMND are seen used in the composition aligning to the 18th century definition of the raga as laid.
  3. In the arohana krama RGMP cannot be used while RGMDP is permissible.
  4. The two madhyama kala sahitya portions provide a pithy/concise delineation of the raga’s lakshana.
  5. And the kriti is littered with svaraksharas particularly of the rishabha and pancama notes.

Key take-ways from the analysis:

  1. It is thus seen that Dikshita has meticulously stuck to the early 18th century version of the raga as documented by Sahaji and Tulaja, keeping out the DNS prayoga as well. His novelty has been the employment of the d/R and D/r, which is seen in Purnachandrika as a leitmotif. Dikshita has also eschewed DDS and is consistently seen approaching the tara sadja via the tara rishabha and not directly from the madhya dhaivatha.
  2. The raga shines forth with its native progressions being SRGM, GMDD, PMDD, SNDP, NDPM, SNDNP, GMRS, GMDP, MGMDD, RGMR, SNDSN, SNPM and RGMND.
  3. The raga may be considered as melodically close to modern Kannada which is different from the Kannada as documented in the SSP. In contradistinction, the Kannada of the SSP sports N2 prominently and is classed under Mela 28. In this context care should be taken in rendering Sarasvati Manohari as the phrase SNS is likely to creep in. the phrases SNDP or SNDS alone are allowed in contradistinction to modern Kannada.
  4. Under the SSP the raga Suddha Vasantha (under Mela 29) is a close raga which shares a common melodic bonding with Sarasvati Manohari and unfortunately the SSP does not record any composition of Dikshita is this raga.
  5. The two ragas namely Kannada and Suddha Vasantha are also documented by Sahaji and Tulaji under Mela 28 and 29 respectively and thus it may not be of much help.
  6. In summary a simple compare of Sarasvati Manohari with modern Kannada can help us differentiate and understand the ragas better.
Attribute Sarasvati Manohari of SSP Modern Kannada
Mela 29 29
Type Upanga Upanga
Arohana purvanga SRGM SGM and SMGM
Arohana uttaranga DDS and DrS MDNS ;PMDNS
Arohana
krama
SRGMDDS SMGMPMDNS
Avarohana uttaranga SNDP and SNDNP SNSDPM
Avarohana purvanga PMGMRS PMGMRS
Arohana
krama
SNDP or SNDNP-PMGMRS SDPMGMRS
Differences inter se
-arohana
Pancama and nishadha are dropped; SRGM and GMDP are permitted Rishabha & Pancama are both dropped in the ascent
Differences inter se-avarohana SNDP and SNDNP are the permitted prayogas Nishada is dropped in the descent.

In summary the difference between the ragas is slender and the Dikshita composition does well to capture the difference and also emphasizing the d/R prayoga given that rishabha is a much muted svara in modern Kannada.

It has to be recorded that “Sri Matrubhutam” of Muthusvami Dikshita is today rendered only in modern Kannada, thoroughly eschewing the N2 note which is supposed to dominate the raga Kannada according to SSP, which classes the raga under Mela 28, with N3 being an anya svara ( a bashanga janya under Mela 28).

From a practical perspective Sarasvati Manohari can be distinguished by emphasizing SRGM and SNDP prayogas along with d/RR, D/rr so as to safely keep Kannada out of the ken of the raga delineation.

Some collateral data points:

The “Dikshitar Keertanai Prakashikai” (DKP) published by Tiruppamburam Natarajasundaram Pillai (a disciple of Satanur Panju Iyer of the Dikshita sisya parampara) records this composition only under Mela 29without any ambiguity whatsoever. In fact, this composition was taught both to Natarajasundaram Pillai and to Veena Dhanammal by Satanur Panju Iyer who was their guru and it can be seen that the version tallies if the notation in DKP is compared with the oral version of the composition as sung by Sangita Kalanidhi Smt T Brinda, the scion of the Dhanammal tradition.

Apart from this the version of the composition as rendered by Sangita Kalanidhi Smt D K Pattammal, who in turn traces her pAtham to Justice T L Venkatrama Iyer and on to Ambi Dikshita son of Subbarama Dikshita, is aligned to the version as seen in the SSP.

We will review these two oral versions in the discography section.

The Composition:

pallavi

sarasvatI manOhari             – O one who captivates the heart of Goddess Sarasvati!

Sankari                                      – O wife of Shiva (Shankara)!

sadA-Ananda lahari             – O eternal wave of bliss!

gauri                                             – O fair one!

Sankari                                       – O the beneficent One!

anupallavi

sarasI-ruha-akshi              – O lotus-eyed one!

sadASiva sAkshi                – O one always with Sadashiva

karuNA kaTAkshi                – O one with compassionate side-glances!

pAhi                                       – Protect (me)!

kAmAkshi                             – O Kamakshi!

mura hara sOdari               – O sister of Vishnu (slayer of the demon Mura)!

mukhya kaumAri                 – O eminent Kaumari!

mUka vAkpradAna-kari     – O giver of speech to the mute poet Mooka!

mOda-kari                            – O source of bliss!

caraNam

akAra-Adi-akshara svarUpiNi    – O embodiment of all the letters beginning with “a”!

antaH-karaNa rUpa-ikshu cApini – O one who has a sugarcane-bow that represents the mind!

prakASa parama-advaita rUpiNi – O shining embodiment of supreme non-dualism!

parE                                                        – O supreme one!

tripura sundari                                     – O Tripurasundari!

tApini                                                 – O glowing, effulgent one!

prakalpita prapanca prakASini  – O one who shines forth as this created universe!

prasiddha guru guha janani     – O mother of the renowned  Guruguha!

pASini                                            – O one holding a noose!

vikalpa jaTila viSva viSvAsini – O one who is reliable in this diverse, complicated universe!

vijaya kAncI nagara nivAsini   – O one dwelling in the victorious city of Kanchi!

Notes:

It can be seen from the composition that:

  1. The composition is on Goddess Kamakshi of Kancipuram as it is so stated unambiguously.
  2. The raga mudra occurs right at the beginning of the composition and has been used to mean that Goddess Kamakshi is one who captivates Goddess Sarasvati. The epithet is reminiscent of the opening lines of the Manji composition “Sri Sarasvati Hite” meaning “O the benefactress of Goddess Sarasvati”.
  3. The phrase “akArAdyA-kshara svarupini” reminds one of the similar phrase – “ahantA svarUpini” occurring in “Brihannayaki Varadayaki” in Andhali.
  4. The composer’s colophon “guruguha” occurs as well in the composition which is set in Adi tala.

Sarasvati Manohari featured in the ragamalika “pUrna candra bimba”

Apart from this solitaire, the raga is also found featured in the ragamalika which is found documented in the Anubandha to the SSP. There are those who argue that this ragamalika being bereft of Dikshita’s colophon “guruguha” is not his but that of Ramasvami Dikshita. Be that as it may, Subbarama Dikshita has assigned the same to Muthusvami Dikshita in the Anubandha. The said ragamalika features ragas which are only janyas of Mela 29 Sankarabharana and they being Purnchandrika, Narayani, Saravati Manohari, Suddha Vasantha, Hamsadhvani and Nagadhvani.

The lyrics “pUrna phala prada caranE sarasvati manoharI” being the second anupallavi section to the main pallavi section being “pUrnacandra bimba vijaya vadanE kamalAbikE”, is set in Sarasvati Manohari. The notation and lyrics in rupaka tala runs thus:

1 2 3 1 2 3
G, MD P, MD MG M,
pU rNaph ala prada cara nE
S/R ,S n, pd ,d R,
sara sva tI manO ,ha rE

As can be seen the motif d/R being Dikshita’s novelty or improvisation as to this raga is seen employed with the overall grammar of the raga being in accordance with what is seen in the kriti “Sarasvati Manohari”. This can perhaps be taken as a point of evidence that this composition is likely to be Dikshita’s given the employment of his novel leitmotif, which is not seen in the generic raga lakshana.

Discography:

Sangita Kalanidhi T Brinda renders the composition “Sarasvati Manohari” here:

http://www.sangeethamshare.org/tvg/UPLOADS-1201—1400/1376-T-Brinda-Muthuswamy_Dikshithar_Krithis/

Sangita Kalanidhi D K Pattammal sings the composition “Sarasvati Manohari” here:

http://www.sangeethamshare.org/ksj/D-K-Pattammal/DKP–004–Dikshitar-Day-/

(Google/Yahoo ID would be required. Hit the URL and scroll down the items listed in the page)

Sangita Kalanidhi M Balamuralikrishna renders “Purna candra bimba” in this recording. Saravati Manohari portion is featured between 3:36 -4:10. The said portion of the rendering accords with the notation found in the Anubandha for the composition.

Conclusion:

Musical history must be properly evaluated and understood and due regard must be had to the authentic versions of the compositions as passed on to us. The fact that raga name Sarasvati Manohari came to be wrongly assigned to the raga of “Entha Veduko” should be acknowledged which would help us in appreciating the creations of both Tyagaraja and Dikshita for their individual beauty, without any confusion whatsoever. Tyagaraja spun many nouveau ragas which weren’t in existence prior to his times and his kritis are the sole exemplars for those ragas. The raga of “Entha veduko” too is one such creation of his, which must have been assigned a new name, instead of repurposing an existing older raga name causing confusion for all concerned. Further no normalization should be inflicted by attempting to render Dikshita’s kriti with N2 or Tyagaraja’s with N3. Each kriti should be preserved and sung as documented. And if we do this Sarasvati Manohari is no conundrum for anyone.

It is indeed sad that discussions and lecture demonstrations are held, the subject being how the same raga has apparently been dealt with differently by Dikshita and Tyagaraja, without realizing the folly committed in the late 19th century and perpetuated into the 20th century and till date. It is humbly submitted and hoped that the Music Academy will  take the lead in documenting this anomaly formally and assign newer names to these ragas of Tyagaraja so that the same is not just recorded for posterity but also serves to illuminate students and  listeners alike, with the confusion being avoided once and for all.

References:

  1. Subbarama Dikshitar (1904) – Sangita Sampradaya Pradarshini – Republished in Tamil by Madras Music Academy (1977) -Part IV- Mela 29 Pages 915-919
  2. Dr Hema Ramanathan (2004) – ‘Ragalakshana Sangraha’- Collection of Raga Descriptions pp 1261-1264
  3. Sangita Kalanidhi T V Subba Rao & Dr S R Janakiraman (1993)- “Ragas of the Sangita Saramruta” – Published by the Madras Music Academy – pp 113-118
  4. Dr R Sathyanarayana (2010)- “Ragalakshanam” of Sri Muddu Venkatamakhin- Published by IGNCA
  5. Ramachandran K.V. (1950) – “Carnatic Ragas and the Textual Tradition” – The Journal of the Music Academy XXI, pp. 99-106, Madras, India.
  6. Ramachandran K.V. (1950) – “Apurva ragas of Tyagaraja’s Songs” – The Journal of the Music Academy XXI, pp. 107-109, Madras, India.

Acknowledgement/Credits:

The Kamakshi icon painting, being the featured image in this blog post heading is by artist Shri Rajeshwar Nyalapalli and was sourced from his online webstore.

CompositionAppreciation, History, Raga

The Kurinji of the Sangita Sampradaya Pradarshini

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Prologue:

The raga Kurinji under Mela 29- Sankarabharana is a well-known dhaivatantya raga and popularly rendered in a lineal fashion in madhyama sruti. Along with its siblings Neelambari and Navaroz with which Kurinji shares the melodic fabric, it can be seen that these three melodies are used in compositions such as lullabies, lAlis, Oonjal and songs of similar genre. Being an old and hoary raga, without engendering a much broader discussion, this blog post just focusses on the raga dealt with in the Sangita Sampradaya Pradashini (SSP) of Subbarama Dikshita.

Kurinji’s Raga Lakshana:

Kurinji is a melodic scale under Mela 29 Sankarabharanam, taking only the notes from this scale, with the nominal arohana/avarohana krama as under:

                        n3 S R2 G3 M1 P D2 and D2 P M1 G3 R2 S n3

Given the lack of movement below N3 in the mandhara stayi and D2 in the madhya stayi, the raga for felicity of rendition is rendered in madhyama sruti, whereby the madhyama note of the octave becomes the tonic. There are no sancaras below mandhara nishadha or above the madhya dhaivatha.

From an antiquity perspective it may be noted that the composition “Jaya Jaya Gokula Bala” a tarangam of Narayana Teertha which was famous once upon a time, was originally set fully to Kurinji. It was later fully reset to Bhairavi (published by K V Srinivasa Iyengar) and much later the modern extant version came into being, with the lyrics being set as  a ragamalika to Bhairavi, Atana, Kalyani, Kambhoji and Surati, with the retuning being ascribed to Tiruvotriyur Tyagier.

The raga lakshana of Kurinji heavily overlaps with that of Navaroz and is compounded by the fact that both the ragas have octaval constraint imposed by grammar and both of them are rendered in madhyama sruti. Navaroz runs as pdnSRGMP-PMGRSndp, traversing the madhya stayi pancama to the mandhara pancama alone. DIkshita has also composed both in Kurinji – “Sri Venugopala” and Navaroz- “hastivadanaya namstubhyam” which again is a magnum opus in itself.

According to the SSP, Kurinji once upon a time possessed a different contour (while being under the same Mela 29 – Sankarabharanam). This archaic Kurinji is recorded by Subbarama Dikshita on the authority of the eka tala lakshya gita of Muddu Venkatamakhin “Srimad Gopi nathure” as the refrain or udgraha. According to Subbarama Dikshita archaic Kurinji had the following features:

  1. It had tristayi sancaras, progressions spanning all three octaves
  2. It lacked dhaivatha (varjya) in its ascent and dhaivatha being vakra in the descent.
  3. The nominal arohana/avarohana went as SRGMGMPMPNNS – SNPNDDPMGGRS, which is provided by Subbarama Dikshita on the authority of the raga lakshana sloka of Muddu Venkatamakhin (circa 1750 AD)
  4. Nishadha was its jiva svara

It has to be pointed out here that this archaic Kurinji does not exists today.

Subbarama Dikshitar proceeds to record that post Muddu Venkatamakhin’s times the raga got truncated and had the following features, which we can call as the modern or the extant Kurinji in contrast to the archaic version as delineated above.

  1. It became a madhyama sruti raga.
  2. The raga’s melodic progression was nSRGMPD, traversing mandhara nishadha to madhya dhaivatha only.
  3. It had an exceptional n\pSS  prayoga commencing on mandhara nishadha to the mandhara pancama and back to the madhya sadja.
  4. The raga cannot be lightly dismissed as a minor madhyama sruti raga, for the ancients had accorded it the highest importance by placing it as the first upanga raga janya under Mela 29 Sankarabharanam as seen in the Sankarabharana lakshana gitam “ripupala khandanure”.

Additionally, Prof S R Janakiraman points out that the dhaivatha note (of the madhya stayi) is seen to occur very sparingly in this raga, more as a foray from the pancama note and back.

Thus, what survives today is the modern Kurinji that we hear today and as authority for the same Subbarama Dikshita provides two compositions, apart from his sancari.

  1. Sri Venugopala” – Muthusvami Dikshita – Jhampa tala
  2. Siva deeksha paru” – Ghanam Seenayya – Adi

We shall look into both these compositions in this blog post. But before that we will evaluate the Kurinji as was recorded atleast a little prior to 1750 AD.

Kurinji according to Sahaji & Tulaja:

The raga Kurinji is found recorded in both Sahaji’s “Ragalakshanam” (circa 1700 AD) and Tulaja’s “Saramruta” (circa 1732 AD) and the commentary of these two author Kings of Tanjore on this raga Kurinji in their respective works resonate with the definition of the archaic Kurinji of the SSP and of Muddu Venkatamakhin. However, one assertion made by Sahaji and Tulaja in their respective treatises which is relevant to us, as we will see shortly, is that “SRGM and PDNS should not occur in the raga.”

As we saw in previous blog posts this is a key architectural construct of the 18th century. The raga definitions were provided (apart from being categorized under a particular mela or raganga) in the following ways:

  1. A particular note is to be repeatedly emphasized being the raga’s jiva svara
  2. Certain notes being the choice notes to begin or end a musical phrase – graha, nyasa svaras
  3. Certain notes which cannot be used as the take-off or ending note, but which should only be used as a transit note – amsa svara
  4. A particular note being varjya (dropped)
  5. A particular note being vakra (devious)
  6. A specified murrcana (motif) was to occur or was to be emphasized repeatedly (leitmotif) in the raga in its progression.
  7. A specified murrcana (motif) was not supposed to occur.

This “composite” way of specifying the lakshana of a raga is completely lost to us today where we simply proceed lineally based on a single arohana or avarohana krama under a given mela. This ancient, archaic and now extinct practice of the 18th century is expressly found recorded in the works of Sahaji and Tulaja.

In so far as Kurinji is considered in terms of the aforesaid rules, Rule 7 above, specified that SRGM shall not occur in the melodic body of the raga according to Sahaji and Tulaja. With this in mind let us take up the first exemplar composition from the SSP, which is “Sri Venugopala” of Muthusvami Dikshita.

 “Sri Venugopala” of Muthusvami Dikshita:

The lyrics and the meaning of the composition is as under:

Pallavi:

SrI vENu gOpAla     –  O Lord the Cowherd bearing the flute!

SrI rukmiNI lOla    – O one who frolics in the company of Goddess Rukmini!

dEva nAyaka         – O lord of all the gods!

SriyaM dEhi dEhi    – Give, give (me) wealth and auspiciousness!

madhu mura hara     – O vanquisher of the demons Madhu and Mura!

Anupallavi

dEvakI su-kumAra    – O illustrious son of Devaki!

dIna jana mandAra   – O wish-fulfilling celestial tree of the downtrodden!

gOvardhana-uddhAra  – O the one who lifted the Govardhana mountain!

gOpa yuvatI jAra    – O beloved of the young Gopi maidens!

caraNam

gOkula-ambudhi sOma – O moon to the ocean of Gokula!

gOvinda             – O friend of the cows!

nata bhauma         – O one saluted by Angaraka – son of Bhumi (Earth Goddess)!

SrI-ku-ranjita kAma – O one who delights Lakshmi (Sri) and Bhumi (Ku) with your love!

Srita satya bhAma   – O one who has embraced Satyabhama!

kOka nada pada      – O one with feet hued like red lotus!

sOma guru guha hita – O one congenial to Shiva (in the company of Uma) and Guruguha

SyAma               – O dark one!

SrI kara tapa hOma SrI jayantI nAma – O one well-known for the Sri Jayanti (birthday festivities) in which penance and sacrifices cause welfare and prosperity!

prAkaTya raNa bhIma – O one who is formidable in battle!

pAlita-arjuna bhIma – O protector of Arjuna and Bhima!

pAka ripu nuta nAma – O one whose name is glorified by Indra (the slayer of the demon Paka)!

bhakta yOga kshEma  – O one who bestows welfare to the devotees!

It appears to be a generic composition without any reference to any ksetra or its presiding deity. Based on the lyrics which occur which is “sri jayanthi nama” there are those who opine that much like “Sri Varalakshmi namastubhyam” and “Siddhi Vinayakam” which were purportedly created to propitiate Goddess Lakshmi on Varalakshmi Pooja day and Lord Ganesa on Vinayaka Caturthi day respectively , Dikshita composed this kriti for “Sri Jayanthi”/”Krishna Jayanthi” – Lord Krishna’s birth day. The raga mudra is seamlessly interwoven as:

“SrI-ku-ranjita kAma” meaning “O the one who delights Lakshmi (Sri) and Bhumi (Ku) with your love!

The colophon of Dikshita “guru-guha” as always occurs in the composition.

The Melodic structuring of the composition:

From a melodic standpoint it is noticed that the composition is in line with the “extant” or modern version of the Kurinji. From the notation provided therein, Dikshita’s raga conception in the composition conforms to the modern Kurinji:

  • The melody traverses between mandhara nishadha and madhya dhaivatha only
  • Uses the occasional nn\pSS prayoga- seen at the first occurrence of the lyric ‘dEhi’ in the pallavi itself

It was pointed out earlier that according to Sahaji and Tulaja, in the case of Kurinji “SRGM and PDNS should not occur in the raga”. This is however not seen expressly commented upon or recorded in the SSP.

In this context the occurrence of SRGM or PDNS phrase in “Sri Venugopala” can be evaluated thus:

  • It is seen that the SRGM prayoga is avoided in the melodic setting after duly taking into account the caesura (s)which occur in the composition.
  • Though superfluous, it has to be formally noted that PDNS has no occasion to arise as the raga’s truncated progression provides no room for the same.
  • The following portions/lyrics of the composition would reveal that:
    • The composition begins as RGMR (“sri vEnugOpAla”) and thus SRGM is avoided. Though SRGM is forbidden, RGM or RGMP is a permitted prayoga
    • Caesura occurs at “lOla” which ends on rishabha note and when “dEvanAyaka” begins with the phrase being GMP. Thus, the SRGM phrase has been avoided.
    • Pointedly the anupallavi lyric “Devaki sukumara” begins as SRSMGM RGMP, avoiding a direct SRGM phrase.
    • Both “govardhanO” and “gOpayuvati” use SM and SP phrases to the exclusion of SRGM phrase.
    • The lyrics “sri kurinjita” and “kokhanatha pada” are again SMGMP and not SRGMP
    • The madhyama kala sahitya lyrics “pAlita-arjuna bhIma” is notated as SMGRGM to the exclusion of SRGMP
    • Though the ending of the pallavi, anupallavi and the madhyama kala sahitya portions is on the sadja and the pallavi take off being rishabha, on account of the intervening caesura/conclusion of tala marking the logical ending of the musical phrase, the rule of avoidance of SRGM can be deemed as kept.
  • Thus, it can be seen, that subject to the one exception below, Dikshita has eschewed the use of SRGM and has instead used SMGMP in the composition, as the default ascent phrase.

Exception:

From the SSP notation of this composition one outlier that is noticed, without in anyway being disrespectful, is that the lyric “srikara tapO hOma” is notated as SnSRGMP.. It is likely that this phrase too ought to have been “SnSMGMP” in line with the rest of the composition, as nowhere else where an ascent phrase is warranted, is the phrase SRGMP used. It can be very well deuced that Dikshita being completely aware of this ancient practice having avoided the use of SRGM everywhere would not have deigned to use that just in one place and most likely the notation seen in the SSP is an aberration.

It is very likely that the notation SnSRGMP is a typographical error/printer’s devil at play in the SSP or an error in the pAtham itself as was transmitted, which begs for a correction. Therefore, it is most respectfully submitted that this phrase ought to be rendered as SnSMGMP and NOT as SnSRGMP as given, keeping in view of the fact that SRGM has been consciously avoided everywhere else and it was perhaps how it was composed.

Thus, subject to the above exception we can safely conclude that the Kurinji of Dikshita and which evolved post 1700 was actually an improvisation of the old archaic Kurinji with SRGM being eschewed as well. In the modern version of the Kurinji we have completely forgotten this aspect of SRGM to be avoided.

The prayogas dealt with in the Kurinji as found in “Sri venugopala” are:

  • nSRGR -RGMP- GMPD
  • DMPG-PMGR-MGRSn
  • n\pSS being the outlier prayoga at “dEhi”
  • The use of a dainty phrase MRG\S at “madhu murahara”, skipping the rishabha- in the pallavi.

 If SRGM is to be eschewed, SRGR and SMGMRGM can take its place and cannot be generically stated that rishabha and/or gandhara should be vakra. This rule can only be stated negatively as “SRGM cannot occur” and cannot be stated otherwise.

The madhyama kala sahitya perfectly, pithily and unambiguously captures Dikshita’s conception of Kurinji and is the perfect & complete authority for the Kurinji that had evolved post 1700’s, the version truly documented in the SSP, albeit implicitly.

S,S,n               –           SRS,n             –           S,MGMG,       –           RGM,M             ||

prAktaya       –           raNabhIma   –           pAlitA            –            rjunabhIma ||          

P,DPM           –           GMP,P           –          M,GR              –           GMGGRS            ||

pAkaripu      –           nutarAma     –           bhakta-yO     –           ga..ksEma         ||

It can be seen that Dikshita has skilfully avoided the SRGM phrase by resorting to SMGMRGMM-PDPM at the juncture of the two jhampa tala avartas.

Discography – “srI vEnugOpAlA”:

There are very many versions of this oft-rendered composition. The version that best tallies with the notation found in the SSP is the one by Vidushi Sumitra Vasudev and I present the same (courtesy Sangeethapriya):

And off-course if one were to learn from this rendering, care should be taken to correctly render “srikara tapO hOma”rendering as SnSMGMP to ensure the consistency ( avoid the inconsistency) that I pointed out earlier.

With this I move on to the next exemplar found in the SSP.

“Siva deeksha paru” – The forgotten oeuvre

The Sangita Sampradaya Pradarshini (SSP) records a few pre-trinity compositions in its main work (excluding the Anubandha) and one such is “Sivadeekshaparu” in Kurinji composed by Ghanam Seenayya. This classic composition, a padam, was very popular a hundred years ago and today barring a few instances of it being performed in dance recitals, the composition is nowhere found rendered on concert platforms.

The composition is recorded in the SSP by Subbarama Dikshita as the second exemplar of Raga Kurinji. From a historical perspective this composition comes from era (early 18th Century AD) when the Saivite and Vaishnavite doctrines of Hindu worship vied with each other to be in royal favour and patronage and the song is reflective of this politico-religious undercurrent. We will evaluate the song in that context as well.

Before we address the composition proper, lets first look at the composer and his times.

Composer of “Sivadeeksha paru” – Ghanam Seenayya:

Subbarama Diksita in his “Vaggeyakara Caritamu” records that Ghanam Seenayya, the composer of this Kurinji composition, was a Vaishnavite and the Chief Minister in the Court of the Nayak King Vijayaranga Cokkanatha (1706-1732 AD). We did refer to this Nayak King of Madurai in the context of the Yamuna Kalyani blog post

Ghanam Seenayya was learned man, very proficient in Sanskrit, Telugu and in music and this is found recorded in Sasanka Vijayam (of Seshamu Venkatapati Kavi). In fact, Subbarama Dikshita quotes a couplet from the said work as authority to state that Ghanam Seenayya composed with the ankita/colophon “mannaru ranga”. According to C R Srinivasa Iyengar (in his book “Indian Dance”- Natya and Nritya) Ghanam Seenayya composed the following padas with the ankita being “mannaru ranga”.

  • Magavaadani” in Durbar
  • Magavadu Valaci” – Neelambari
  • Siva Deeksha paru” – Kurinji
  • Vadevvaro” – Sankarabharanam –https://karnatik.com/c18080.shtml

The same is also echoed in toto by Vidvan Vinjamuri Varaha Narasimha-chari in his article titled “Contribution to the Telugu region to the Dance Art” – JMA (Vol XLV – 1974) pp 200.

The prefix “Ghanam” especially appended to the name of a vocalist/ musician may perhaps be linked to the expertise the person had in the “ghanam” mode of vocalization/singing. In the recent past Ghanam Krishna Iyer is recorded by Dr U Ve Svaminatha Iyer as an exponent and past master in the art of “ghanam” singing though not much detail is know as to what it really meant. Be that as it may given that Subbarama Dikshita has recorded the musical capability of Seenayya, it may well be perhaps that he was adept in this quaint musical art form.

The ankita “mannaruranga” refers to Lord Rajagopala of Mannargudi who was the titular deity of some of the Royal Houses of the medieval Tamil history. During circa 1600-1700 time period, it is seen that the Saivite and Vaishnavite cults had been vying for exclusive royal patronage at the expense of the other. For instance, Venkatamakhin (1620 AD) is said to have composed the Reetigaula gitam “sanka chakkrAnka nAtya ca rE rE” appealing to Lord Mahalingasvami at Madhyarjunam as the King a Vaishnavite acolyte was persecuting followers of Saivism. Apparently, the King Vijayaraghava Nayak of Tanjore, Venkatamakhin’s Royal patron was a staunch Vaishnavite so much so that he exhorted all his subjects to wear the sanka-chakra and other Vaishnavite emblems. Later the King took to bed and suffered stomach pains. Legend has it that he soon thereafter realized his folly and made amends and which is attributed to Venkatamakin’s prayers to Lord Mahalingasvami.

Returning to the subject matter on hand, the times of Nayak King Vijayaranga Chokkanatha of Madurai is captured by Sathianatha Iyer in his classic work “Nayaks of Madura” and according to him during this Nayak’s reign the kingdom seem to have gone into terminal decline. Sathianatha Iyer records that the King was very religious and barring a grant to the temple of Lord Shiva at Tiruvanaikka (Lord Jambukesvara) he seems to have made grants munificently to Vaishnavite temples underlining the fact that he was very favourably disposed towards the Vaishnavite cult.

The setting of the padam “Siva Deeksha” runs thus. The nAyika/heroine is ordained to the worship of Lord Shiva and she happenstance encounters the nayaka/hero who is irresistible and leaves her smitten. The padam attempts to capture her predicament as she is caught between the obligations cast on her because of the ochre she has donned and the craving from her very heart and soul tugging her to the nayaka/hero being none other than “mannaru ranga” or Lord Rajagopala, a vaishnavite God. Should she continue with the rites & duties to be done by her as per the holy order of Shiva worship to which she has been initiated by her Gurus or should she succumb to the call of her heart and allow the nayaka to take her body and soul?

The piece has been a traditional composition much amenable to abhinaya and depiction of a variant of the khandita type of nayika.

From a raga lakshana perspective, the following aspects can be noted:

  1. The padam composed in the first quarter of the 16th century/early 1700’s is in the modern version of the raga, spanning from mandhara nishada to madhya dhaivatha only. We do not know if it was composed so in circa 1700 AD, for Sahaji (circa 1700 AD) and Tulaja (1732 AD) record Kurinji as being archaic as documented in the SSP.
  2. Leaving this point as to the originality of the melodic setting of the composition, the notation as provided by Subbarama Dikshita of this composition in the SSP reiterates the point made in “Sri Venugopala” above. The same is bereft of SRGM and only SMGMP or RGMP or SMGMRGMP occurs as the uttaranga ascent phrases.

Thus, given that “Siva Deeksha” too uses only SMGM and not SRGM, can be cited as proof and in support of the assertion that Dikshita too would have followed the same rule and could not have used SRGM at all. Therefore, the SRGM notated in the SSP in one place in the composition “Sri Venugopala” is perhaps an aberration that we need to correct and render as SMGM.

Discography – “siva deeksha”:

I present two renderings of this composition, which are not strictly in line with the SSP but are nevertheless within the confines of the notation provided in SSP and making only reasonable departures from the same.

  • I present the vocal rendering of the song by Vidushi Preethy Mahesh being the audio track of the accompaniment to the dance performance of this song by Smt Priyadarshini Govind, an excerpt of which is available in the public domain. Clip 1 and Clip 2

The second rendering above, made for a dance performance is much richer, slower and improvised reflecting the true content and spirit of the song.

Kurinji in Ramasvami Dikshita’s 108 Raga Tala Malika:

The Anubandha to the SSP also provides the said composition in notation and the 40th khandika or portion of the said composition commencing with the lyric “Sri Parthasarati” set in Kurinji, too does not bear SRGM in its melodic construct. This provides additional evidence that SRGM phrase was to be eschewed in toto in Kurinji.

Vidushi R S Jayalakshmi presented a lecture demonstration of this mammoth composition of Ramsvami Dikshita in the Dec 2014. Here is the Youtube link to the same. The Kurunji portion is demonstrated starting from 1:48:05 onwards.

Kurinji in Subbarama Dikshita’s compositions:

Subbarama Dikshita’s own sancari and his raga malika too feature Kurinji. However his sancari is modelled on the archaic Kurinji and it seems that he has stuck to the old version on the supposed authority of Muddu Venkatamakhin, whom he always mistook for Venkatamakhin himself. It has to be pointed out that Venkatamakhin’s Caturdandi Prakashika (CDP) does not talk about Kurinji and it is only the Anubandha or the compendium / appendix to the CDP authored by Muddu Venkatamakhin circa 1750 AD which talks about Kurinji.

Epilogue:

While compositions can be rendered ad nauseum as taught, it is important that we correctly assimilate and imbibe the true spirit, grammar and confines of the raga and the composition. The raga Kurinji is an example in this regard. If one were to go with the public material and not-properly appraised pAthams, the raga’s definition would be wrongly learnt/taught with the raga progression of Kurinji as  nSRGMPD/DPMGRSn, whereas as the two exemplar compositions demonstrate that the raga’s progression is nSMGMRGMPD/DPMGRSn, duly disallowing the SRGM as the ancients did in this melody. And hopefully students/learners would take notice of this and properly render these compositions in this raga. And given this rich history of more than 300 plus years Kurinji like its illustrious parent Sankarabharana has stood athwart for centuries!

And in parting I leave readers with a thought. Was and is this raga Kurinji synonymous with Lord Venugopala/Rajagopala/Krishna, for the “nayaka” or the subject/object of all the three compositions found in the SSP (“srimad gOpi nAturE” of Muddu Venkatamakhin, “Sri Venugopala” of Dikshita and “Siva Deeksha” of Ghanam Seenayya) are all coincidentally Lord Krishna?

References:

  1. Subbarama Dikshitar (1904) – Sangita Sampradaya Pradarshini – Republished in Tamil by Madras Music Academy (1977) -Vol IV- Mela 29 Pages 837-842
  2. Dr Hema Ramanathan (2004) – ‘Ragalakshana Sangraha’- Collection of Raga Descriptions pp 742-746
  3. Sangita Kalanidhi T V Subba Rao & Dr S R Janakiraman (1993)- “ Ragas of the Sangita Saramruta” – Published by the Madras Music Academy – pp 134-139
  4. Dr R Sathyanarayana (2010)- “Ragalakshanam” of Sri Muddu Venkatamakhin- Published by IGNCA
  5. R. Sathianatha Iyer (1924) – “History of the Nayaks of Madura” -pages 223-231

Safe Harbour Statement:

  1. The renderings used or linked as above in the body of this blog has been made strictly for purposes of education and knowledge under fair use category. The intellectual property belongs to the respective artistes and the same cannot be shared or exploited without their consent.
  2. I place on record my gratitude to Smt Preethy Mahesh for permitting me to share the vocal rendering of the padam “siva deeksha” as was available in the public domain from where it was sourced.
Composers, History, Notation, Personalities

“Svarakalanidhi” Narayanasvami Iyer – A titan from an age bygone

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Prologue:

The world of Carnatic music has sired many a great musician in the past. We do have oral as well as recorded accounts of many of such great personalities. One amongst them, featured in this blog post is Tiruvisanallur “Pallavi” Narayanasvami Iyer a giant from another era. My introduction to his name was through an oral account to the effect that the legendary Semmangudi Srinivasa Iyer learnt Muthusvami Dikshita’s kriti “Sri Ramam Ravikulabdhi somam” in Narayanagaula from Pallavi Narayanasvami Iyer. My attempt to know more about this personality, fructified finally when I got hold of a brief biography of this great musician, published by the Madras Music Academy in one of its early Journals, written by his son Vidvan T N Radhakrishna Iyer (see reference section below).

From this account, it is seen that Narayanasvami Iyer lived for about 60 years of age somewhere during the time period between 1860-1930. He has been known as “Narayanasvami Anna” or “Tiruvisanallur Narayanasvami Iyer” or “Pallavi Narayanasvami Iyer”.

Biography in brief:

One Narayana Avadhani, a polyglot who had mastered the Yajur and Samaveda had two sons Krishna Bhagavathar (elder) and Sundara Bhagavathar (younger) who were both one of the prime disciples of Saint Tyagaraja and were the votaries of the Umayalpuram school of the Tyagaraja sishya parampara.

Narayanasvami Iyer was the son of this Sundara Bhagavathar and trained under him. Apart from father, he also trained under Tiruvisainallur Subramanya Iyer, a disciple of Krishna Bagavathar, his uncle. Even at a very early age, Narayanasvami Iyer achieved very good proficiency in music. An early break for him came when his father took him to Kumbakonam to introduce him to Munsiff Venkacchi Iyer a wealthy patron of those days. Fortuitously for him, the great vidvans of those times Bikshandar Koil Subbarama Iyer and Maha Vaidyanatha Iyer (1844-1893) too were at Kumbakonam to meet Munsiff Venkacchi Iyer as well. Young Narayanasvami Iyer at Venckacchi Iyer’s bidding performed in front of them and was greatly appreciated. In fact, so impressed were the assembled cognoscenti that he was asked to sing along with Maha Vaidyanatha Iyer in a concert scheduled for the following day. And needless to add Narayanasvami Iyer acquitted himself creditably by singing with elan earning recognition as well as gifts from his patron. Maha Vaidyanatha Iyer was apparently very much impressed with Narayanasvami Iyer’s svara singing acumen.

There was no looking back thereafter for the young Narayanasvami Iyer. He was adept in every department of performing music and specifically in pallavi exposition and extempore svara singing. So much so that in recognition of his prowess, as we will see, the epithets “Pallavi” and “Svarakalanidhi” came to be prefixed to his name and he came to be addressed with them by one and all, with awe during his life time.

His vidvat blossomed forth as a vaggeyakara as well and he composed exquisite cittasvara sections to very many Tyagaraja compositions. Apart from vocal music, Narayanasvami Iyer also played the Gottuvadyam as well.

With his fame reaching far and wide, Panditurai Tevar, the Zamindar of Pazhavanattam and the maternal uncle of Bhaskara Setupati of the Royal House of the Sethupatis of Ramanathapuram ,and one of the great patrons of those days, sought Narayansvami Iyer’s services to provide advanced training to the then young and upcoming musician Poochi Srinivasa Iyengar ( 1860-1919) in pallavi and svara singing. Consequently Narayanasvami Iyer moved to be at Ramanathapuram to teach the young Poochi for some time.

When the great Maharaja of Mysore Nalvadi Krishnarajendra Wadiyar IV ascended the throne in 1902 , Pallavi Narayanasvami Iyer was one of the musicians invited to perform in the coronation celebrations and he did so magnificently earning the respect of the assemblage of the great vidvans of those days, which included Veena Subbanna, Veena Seshanna, Namakkal Narasimha Iyengar, Umayalpuram Svaminatha Iyer and others. Veena Subbanna being the dean of the musicians of the Mysore Royal Durbar, at the end of Narayanasvami Iyer’s recital, on behalf of the Durbar and the assemblage, conferred on him the title of “Svarakalanidhi” and reminisced that Narayanasvami Iyer’s svara singing reminded him of Mysore Sadashiva Rao’s (of Tyagaraja sishya parampara) singing.

Soolamangalam Vaidyanatha Bagavathar (1866-1943), the legendary harikatha exponent in his memoirs recalls with rapturous delight a concert of Pallavi Narayanasvami Iyer, which was arranged on the occasion of the legendary Flute Sarabha Sastri’s ‘seemantham” held to herald the arrival of Sastri’s first child. In that concert Narayanasvami Iyer was accompanied by the veteran Thirukkodikaval Krishna Iyer (Semmangudi Srinivasa Iyer’s maternal uncle) on the violin and Pazhani Krishna Iyer on the ghatam. Narayanasvami Iyer rendered the pallavi “hrudaya kamala vasa hare krishna” in the raga Sankarabharanam set to adi tala. According to Soolamangalam Vaidyanatha Iyer, Narayanasvami Iyer sang kalpana svaras for the pallavi, crafted so beautifully as if they were ettugada svaras of a varna! And Bagaavathar adds that in that concert the two accompanists were “Nara-Narayana” in their performance.

Soolamangalam Vaidyanatha Iyer also records that Tirukkodikaval Krishna Iyer was the stock accompanist of Narayanasvami Iyer for the later’s concerts Narayanasvami Iyer taught many sishyas as well, which included Thiruppazhanam Panchapakesa Sastri (1868-1924) – see Epilogue below- Nallur Visvanatha Iyer, Thirukkarugavur Fiddle Narayanasvami Iyer, Paravakkarai Narayanasvami Iyer, Fiddle Seetharama Iyer, Coimbatore Thayi and others.  There are references to the effect that the famed Violin vidvan Kumbakonam Rajamanikkam Pillai too trained under him.

Narayanasvami Iyer was on a very intimate acquaintance with the legendary flute vidvan Kumbakonam “Venugana” Sarabha Sastri (1872-1904), a junior contemporary. The two apparently performed together in concert very many times. The same is recorded both by Narayansvami Iyer’s son and by Sulamangalam Vaidyanatha Bagavathar. The Bagavathar in his memoir records one such recital, which he himself had organized at his house for a “Radha Kalyana Utsava” wherein Narayanasvami Iyer had rendered a brilliant svara kalpana for a Begada main composition on that day.

In the context of Pallavi Narayanasvami Iyer having composed cittasvaras for compositions, Sri T S Parthasarathi in his article in the JMA advances the proposition that according to the senior vidvans of the late 19th and early 20th century, Tyagaraja did not compose cittasvaras for his compositions and they were composed much later by his sishyas in his parampara. Sri Parthasarathy cites with authority that:

  1. The cittasvara section ( GRSN SRPN SRNRS ….) for “mamava satatam” in Jaganmohini was composed by Walajapet Krishnasvami Bagavathar
  2. Cittasvaras are found added by Veena Kuppier for “Endu daginado”, “Jesinadella”, “Tappi Bratiki” (all in Todi), “Kanna talli” (Saveri) and “Sundari nee” (Kalyani)

Added to the above as also seen in earlier blogs, that we can authoritatively state that:

  1. The popular cittasvara to the Malavi kriti “Nenaruchi naanu” was composed by Tirukkodikaval Krishna Iyer.
  2. Cittasvaras were composed by Mazhavarayanendal Subbarama Bagavathar as found recorded in his notebooks.

Sri T S Parathasarathy records that Pallavi Narayanasvami Iyer composed cittasvaras for kritis such as “tsalagalla” in Arabhi, though it is not stated whether the popular one rendered today beginning “S,SDP-PPMM GRRS” is that of Narayanasvami Iyer’s.

Musical Creation of Narayanasvami Iyer: Narayanasvami Iyer who was held in awe both by the lay and the cognoscenti of those days, is said to have lived for about 60 years. His ishta devata was Lord Rajagopala of Mannargudi, who has been musically venerated by Patchimiriyam Adiyappa (“Viribhoni” -ata tala varna in raga Bhairavi) and Muthusvami Dikshita (“Sri Rajagopala” in Saveri and “Sri Vidya Rajagopala” in Jaganmohanam). Every year Narayanasvami Iyer apparently undertook a pilgrimage to Mannargudi to have the darshan of Lord Rajagopala and one year he composed a varna in raga Durbar, set in adi tala, which has been published in the JMA along with his biography as written by his son. The varna is not seen published in any other publication nor is it rendered on the concert platform. The notation of the varna in Tamil as recorded in the JMA is provided herein below along with the translation in English.

English Translation of the Varna
(mandhara stayi notes are in lower case; madhya stayi notes in upper case and ; tara stayi notes in upper case italics)

Observations on the varna:

The varna having being published by his son thus attests to the high fidelity of the notation available to us through the aforesaid JMA article. The following observations merit our attention:

  1. Firstly, that strikes one is the way in which the arohana and avarohana krama of the raga Durbar is provided as recorded by Narayanasvami Iyer in his notebook.  The vakra sancaras accommodated in the progression/krama along with the reference to PG is to be reckoned.
  2. The composition features these vakara sancaras to the tee.
  3. The sahitya, akin to “Viribhoni” and “Sri Rajagopala” hails the ksetra as “Dakshina dvaraka”.
  4. The carana portion is exquisitely structured with the jiva svara patterns of Durbar.
  5. Interestingly the notation itself provides 2 variations/sangathis for the carana sahitya section beginning “nIrajAkshi”
  6.  The third cittasvara passage as per the old convention is modelled as sarva laghu.

It has to be pointed out here that apart from the ubiquitous “Chalamela” of Tiruvottriyur Tyagayyar which is the only varna in this raga which is heard often, the others known to us are of Subbarama Dikshitar (“intamodi” ata tala tana varna) and Patnam Subramanya Iyer ( “Dari teliyaka” – khanda ata tala).

Did Pallavi Narayanasvami Iyer give Gramophone Recordings?

Michael Kinnear in his book “The Gramaphone Company’s First Indian Recordings -1899-1908” catalogues 10 Inches H Suffix Series of Gramaphone Records wherein an artiste tagged as “Tiruvisanallur Narayanasami Iyer” dating to 1907 has recorded a bunch of compositions, in what seems to be a full-blown concert. There is another Narayanaswami Iyer ( of Pudukkotai) whose music has been recorded and he is a violinist which helps in avoiding the confusion.

The web page below hosts a clipping for one such piece tagged to “Tiruvisanallur Narayanasami Iyer”

https://www.muziekweb.nl/en/Link/KJX3705/Indian-talking-machine-78-rpm-record-and-gramophone-collecting-on-the-sub-continent?TrackID=KJX3705-0021

(hit the URL and browse down to entry 21 which is Tiruvasanallur Narayanasami Iyer – Sanskrit Song Part -1)

One is not sure as to the identity of the person, but yet here is something for us to chew upon.

Conclusion:

While at least something is known about these great vidvans of the past, it is unfortunate that their musical works such as varnas, kritis and cittasvaras have been lost and forgotten. In an earlier blog post on Mazhavarayanendal Subbarama Bhagavathar it was pointed out that though the Music Academy was entrusted with his notebooks recording in writing, Bagavathar’s musical creations, yet the same remains lost and untraced. In the instant case of Pallavi Narayanasvami Iyer, his son Vidvan Radhakrishna Iyer while writing the piece in the JMA, does indicate his wish to publish his father’s works as available with him, but yet nothing seems to have seen the light of the day. The musical note books of Tiruppamburam Natarajasundaram Pillai, recording the kritis of Muthusvami Dikshita as taught to him Satanur Pancanada Iyer and also Pancanada Iyer’s own note books documenting his own compositions have suffered a similar fate. It is sad that with the passage of time, the probability of recovering any of these just recedes exponentially. In the case of Pallavi Narayanasvami Iyer the only creation of his available with us is this Durbar varna.

From a familial perspective, it is not known how Pallavi Narayanasvami Iyer acquired the link to Tiruvisainallur while his father hailed from Umayalpuram. All that is known is that Narayanasvami Iyer had two sons one of whom was Vidvan T N Radhakrishna Iyer. It would be worthwhile to know if there are any surviving descendants in the lineage of Narayanasvami Iyer and if they still have those notebooks recording not just the creations of Narayanasvami Iyer but also of Saint Tyagaraja as Narayanasvami Iyer was the 2nd generation disciple in his sishya parampara/lineage.

As always one hopes that our vidvans would take up forgotten compositions like this Durbar varna, burnish them up and render them, in the days to come so that the memory of these great souls would live on along with our music.

References:

  1. “Svarakalanidhi Narayanasvami Iyer” – Article in Tamil – Author Sangita Vidvan T N Radhakrishna Iyer – Journal of the Music Academy Madras (JMA) Vol II No 4 (Year 1931) pp 223-226 – Edited by Sri T V Subba Rao
  2. “Tiruvisainallur Narayanasvami Iyer” – Part XVI on page 100 – “Cameos” – A collection of writings by Soolamangalam Vaidyanatha Bhagavathar – Portion translated by Ms Padma Narayanan – Published by Sunadham (2005)
  3. “Svara decorations in Carnatic Music” – Article in English – Author T S Parthasarathy – Journal of the Music Academy Madras (JMA) Vol LVIII 1987 pp 154-159– Edited by Sri T S Parthasarathy
  4. “The Gramaphone Company’s First Indian Recordings -1899-1908” -By Michael Kinnear (1994) Sangam Book – pp 157-158

Epilogue:

While I work to have the recording of the aforesaid Durbar varna done and uploaded here, I seek to conclude this blog post with a musical tribute to this great musician. It is recorded that Narayanasvami Iyer in the tradition of Tyagaraja was also a rama baktha. So a composition eulogizing Lord Rama and that too composed by his own disciple would be a worthy tribute to him.

Tiruppazhanam Panchapakesa Sastri, a disciple of Svarakalanidhi Naryanasvami Iyer, as mentioned earlier, was a legendary Harikatha performer of the 20th century. His most famous composition which lives on even today is “sApashyat kausalya”, set in the raga Jonpuri and which runs as under:

sApashyat kausalyA viSNum sApashyat kausalyA (sApashyat) 
prasava sadana gatha mEnam pUSpAyudha shata kOTi samAnam viSNum (sApashyat) 
jaladhara shyAmaLa gAtram pankEruhadaLa sannibha nEtram viSNum (sApashyat) 
kaustubha shobhita kaNTam rAkA candra nibham vaikuNTham  viSNum  (sApashyat)

This composition preceded by a sloka such as “Shringaram kshitinandinim” or “Neelabja deha” in a raga malika format tailing into Jonpuri, was de-rigueur in Sangita Kalanidhi Semmangudi Srinivasa Iyer’s concerts. I conclude this blog post with a rendering of this composition from one of his innumerable concerts.

History, Raga, Repertoire

“Balambike Pahi” – Manoranjani

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Prologue:

While the year 2000 was a sort of milestone for us, the year circa 1800 too was a momentous milestone in the modern history of Tanjore, the Eden of South India. It marked the end of political issues plaguing the region and the ascension of Prince Serfoji (AD 1798) as the King of Tanjore. The Kingdom of Tanjore was riven by internal strife and famine during the 1770-1800 period, so much so that many fled the region for the safety and security of Chennapatna or Madras which was under the rule of the British East India Company. It was after these tumultuous events that peace returned to Tanjore circa 1800 and the decade thereafter was marked by peace and prosperity, more particularly the first quarter of the 19th century.

Dikshita’s  Sojourn to Tanjore:

Accounts of Muthusvami Dikshita’s life talk of his sojourn to Tanjavur during this time period- during the first decade of the new century on the invite of his pupils, the Tanjore Quartet Ponnayya, Chinnayya, Sivanandam and Vadivelu. The Quartette by then had firmly ensconced themselves in the Tanjore Royal Court of King Serfoji and it was then they must have invited their master/guru Muthusvami Dikshita to Tanjore, who it seems stayed for a while in Tanjore.

Legend has it that at this point in time when the Quartet played host, they requested Dikshita to compose kritis in all the raganga ragas of the Venkatamakhin tradition so that these kritis would become shining exemplars of those melodies. Accordingly, Dikshita set about the task and this stay in Tanjore produced a number of kritis in these ragangas.

Subbarama Dikshita’s Sangita Sampradaya Pradarshini (“SSP”) catalogues all these compositions. It must be mentioned that the SSP does not feature Dikshita’s compositions for certain ragangas/melas such as Binna Sadjam (mela 9), Ramamanohari (Mela 52) and Chamaram (Mela 56).

Amongst those said to have been composed during Dikshita’s sojourn to Tanjore and catalogued in the SSP is the composition in the 5th Mela raga/raganga Manoranjani. Barring some of the main ragas, Dikshita seems to have composed kritis in his shorter format in these mela ragas. This shorter format lacks a full blown carana. Few exceptions to this observation are the following kritis in the raganga ragas ( not major ones) , from an SSP perspective, which are in the full blown format including a carana portion as well.

  1. Kanakambari Karunyamrutalahari” in Kanakambari – 1st mela
  2. Bakthavatsalam” in Vamsavati – Mela 54; But the other kriti “Vamsavati Sivayuvati” is in the shorter format.
  3. Kalavathi Kamalasana Yuvati” – Kalavathi – mela 31
  4. Sri Sulinim” – Sailadesakshi – mela 35

These shorter format kritis with just the pallavi and anupallavi is always appended with a cittasvara section.

In the case of the 5th Mela the composition of Dikshita recorded in the SSP is “Balambike Pahi” let us first  evaluate the raga first and then the composition, in this blog post.

Manoranjani – A Study:

The raga and the scale is obviously a post 1750 AD development arising as a part of the 72 mela scheme formulated by Muddu Venkatamakhin as the raganga of the 5th Mela taking the notes of R1, G2, M1, P, D2, N3 with the gandhara being dropped in the ascent because of the R1G2 combination being a vivadhi pair. The raga also came to be documented as a janya under the Kanakangi-Ratnangi Scheme catalogued by the Sangraha Cudamani, with Manoranjani being categorized as a janya under the 5th Mela, the heptatonic krama sampurna raga Manavati. Tyagaraja’s “Atukaradani” is an exemplar of the same.

According to the SSP, the following are the features of the raga:

  1. The operative arohana-avrohana krama is as under:
    • S R1 M1 P D2 N3 S
    • S N3 D2 P M1 R1 G1 R1 S
  2. In the footnote Subbarama Dikshita remarks that MGRS is seen used in the compositions.
  3. The vivadhi combination of R1G1 is worked-around by dropping the gandhara in the ascent.
  4. Apart from the lakshya gitam, gitams & tanams and the sancari of Subbarama Dikshita, the kriti “Balambike Pahi” of Muthusvami Dikshita in catusra matya tala is provided as the exemplar.

It has to be noted that though the lakshana sloka provides for gandhara being vakra in the avarohana, the kriti, as pointed by Subbarama Dikshita, sports MG1R1S as well.

Dikshita’s Kriti in Manoranjani:

Here is the kriti and the meaning of the lyrics:

pallavi

bAlA-ambikE                  – O Goddess Balambika!

pAhi                                  – Protect (me)!

dEhi dEhi                        – Give, give(me)

bhadraM                          – good fortune/auspiciousness/happiness.

Anupallavi

sAlOka-Adi mukti sAmrAjya dAyini – O the bestower of liberation, beginning with Saloka!

Sankara nArAyaNa manOranjani – O one delighting the heart of Lord Sankaranarayana!

dhanini                      – O repository of all riches!

nIla kaNTha guru guha nitya Suddha vidyE – O eternal pure knowledge of the blue-throated Shiva and Guruguha!

It is seen that Dikshita’s colophon “guruguha” and the raga mudra “manoranjani” are embedded in this composition segueing seamlessly with the lyrics, which is set in catusra matya tala (1 kalai). While the name of the Goddess as also her Consort’s name appears in the composition, there is no explicit reference to the ksetra name in the composition.

The Ksetra or Temple of this Kriti:

The kriti is on Goddess Balambika consort of Lord Sankaranarayana as is obvious from the lyrics. It has to be pointed out that Goddess Balambika is the name of the deity enshrined in Vaideesvarankovil ( vide the kriti “Bhajare Re Citta” – Kalyani – Misra Eka) with the presiding deity being Lord Vaidyanatha. And Lord Sankaranarayana is the presiding deity of the temple at Sankarankovil where his consort is Goddess Gomathi. As seen in one of the previous blogs, Veenai Sundaram Iyer has much later to the SSP published a kriti “Sankaranarayanam” in the raga Narayana Desakshi, attributing it to Dikshita,

On the contrary this kriti “Balambike Pahi” on Goddess Balambika and wherein Dikshita proclaims her as the consort of Lord Sankaranarayana and does not specify the ksetra or the temple or any reference to it in the body the kriti. There is no likelihood thus of the composition being sung on the deity at Sankaran Kovil or Vaideesvaran Kovil.

As pointed out in the prologue, we have reliable textual authorities who have recorded Muthusvami Dikshita visited Tanjore and composed on the various deities in around Tanjore, including Lord Brihadeesvara and Goddess Brihannayaki, in the ragangas of the Venkatamakhin tradition. Both Dr. V Raghavan and Justice T L Venkatarama Iyer in their works (see reference section below) have provided a narrative to this effect.

Dr V Raghavan in his famous NCPA Red Book asserts that Dikshita undertook the project to compose at least one composition in every one of the 72 raganga ragas of the Venkatamakin scheme. And he marks a number of kritis in the raganga ragas, of Dikshita and also provides the ksetra where the same was purportedly composed, based on the internal evidence. He asserts thus:

“This series ( i.e corpus of songs to illustrate the 72 ragas mela-janya scheme) is not completely available and I shall give here a list in so far as I have been able to compile it…..”

However, no reference is provided to this composition “Balambike Pahi” in his aforesaid listing in the NCPA Red Book.

Some individuals in the public domain assert that this composition is on Goddess Balambika at Vaideesvaran Kovil, without any authority whatsoever, merely on the strength of the name of the presiding Goddess which is plain misattribution. It is also seen that those who provide the meaning for the lyrics of this composition provide the meaning for the line ” Sankara nArAyaNa manOranjani” as ” O one delighting the hearts of Shiva and Vishnu! ” without realizing that the reference here is not the Lord Shiva or Lord Vishnu individually but to Lord Sankaranarayana. It is respectfully submitted that these reasonings do not hold water.

In the context of the raga of this composition being Manoranjani, the 5th mela we can surmise that:

  1. this kriti was likely composed when Dikshita visited Tanjore ;
  2. And as a part of his endeavor to compose a kriti on the mela ragas, he composed this one as well ( for Mela 5) while at Tanjore :
  3. And therefore Goddess Balambika, the subject matter of this kriti must be deity of a temple somewhere in or around Tanjore.

Fortuitously the perusal of an old publication titled “Siva-Vishnu Ksetra Vilakkam” (Tamil)-see below, provides a reference to a temple in the town of Tanjore where the presiding deity’s name is Lord Sankaranarayana and the name of the Goddess being Balambika.

Siva-Vishnu Ksetra Vilakkam” (Tamil)-Entry 53 on page 29

The book refers to the temple as being located in Tanjore mEla rAja veedhi at its southern end. Based on the said reference I have marked the same in the Google Maps below.

https://goo.gl/maps/CNVMb9SocHmnf4nL9

The said temple has also been covered in an article in a daily as well- refer the Reference section below. The temple also finds reference in the “Tanjapuri Mahatmiyam”. It is also recorded that during the reign of King Serfoji circa 1805, a consecration ( Kumbabishekam) for the temple was performed. Given that this coincides with the probable period of Dikshita’s visit, one wonders if he composed this kriti and paid his obeisance to Goddess Balambika during the festivities.

Thus, given the preponderance of probabilities and the data points agreeing, it can be deduced, that Dikshitar could have visited this particular temple during his Tanjore sojourn and composed this kriti in raga Manoranjani on Goddess Balambika enshrined there.

In so far as the history of this Temple of Lord Sankaranarayana is concerned, in his critical commentary to the work “Tanjapuri Mahatmiyam” part of the “Cola Campu” of Virupaksa, Dr V Raghavan records that the Tanjore King Bhima Chola’s wife hailed from lands of Tirunelveli and her family deity was Lord Sankaranarayana of Sankarankovil. And to fulfill his wife’s desire to worship the Lord in Tanjore itself Bhima Chola built the temple for Lord Sankaranarayana at what is today known as west Main Street, the subject matter of this blog post.

Discography:

Presented first is the rendering aligned to the notation found in the SSP by Vidvan G Ravi Kiran (The video upload wrongly mentions the name of the performing artiste).

Presented next is the rendering of the same composition, again close to the SSP notation, along with the rendering of the cittasvara section and preceded by a brief raga alapana by Vidushi T S Sathyavathi. This rendering is based on the SSP notation and has been embellished suitably as a concert platform piece, within the confines of the spirit of the notation.

Sangita Kala Acharya Smt Suguna Purushothaman renders the composition here:

Epilogue:

The kritis of Muthusvami Dikshita especially in the mela ragas, are pithy and are ideal to both learn and perform professionally. These compositions with brevity being their hallmark need not be be-labored upon and can be sung with a brief raga vinyasa and concluded with a couple of cycles of svaras. One fervently hopes that artistes include these compositions more in their performances in the days to come.

References:

  1. Subbarama Dikshitar (1904) – Sangita Sampradaya Pradarshini – Republished in Tamil by Madras Music Academy (2006) -Vol 1- Mela 5 Pages 26-30
  2. Dr Hema Ramanathan (2004) – ‘Ragalakshana Sangraha’- Collection of Raga Descriptions pp 855-856
  3. Dr R Sathyanarayana (2010)- “Ragalakshanam” of Sri Muddu Venkatamakhin- Published by IGNCA
  4. Dr V Raghavan (1975) – NCPA Quarterly Journal Vol IV – Number 3- September 1975 -pp 10-11 – referred to as the NCPA Redbook
  5. T L Venkatrama Iyer (1968) – “Muthuswami Dikshitar” – National Biography Series published by National Book Trust of India -Chapter V – pp 46-53
  6. Srinivasa Iyer ( Unknown) – “Siva-Vishnu Ksetra Vilakkam” (Tamil)-Entry 53 on page 29
  7. News Article in Tamil – Malai Malar
  8. Dr V Raghavan (1951) – Commentary on “Cola Campu” of Virupaksa – TSMS No 55 – Edited by T Chandrasekaran

Safe Harbour Statement:

The renderings used or linked as above in the body of this blog has been made strictly for purposes of education and knowledge under fair use category. The intellectual property belongs to the respective artistes and the same cannot be shared or exploited without their consent.

CompositionAppreciation, Raga

O Mother! Embodiment of Auspiciousness! May there be prosperity

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Prelude:

In these trying and uncertain times, connecting or attempting to connect to the Supreme One through one’s inner self is perhaps the soothing balm. And what can be better than music, especially compositions of our Trinity. And personally as I ruminated over the compositions of Muthusvami Dikshita, the one that stuck most aptly in terms of its haunting melody, lyrics and its plaintive appeal was the solitaire “Mangaladevate” in the raga Margadesi, under Mela 15 Malavagaula, a long lost archaic melody, for which this composition is the sole exemplar.

First let us look at the lyrics, before we embark on dissecting the raga.

Sahitya & Meaning:

pallavi

mangaLa dEvatE                – O auspicious goddess!

para dEvatE                         – O supreme goddess!

mangaLaM bhavatu           – May there be prosperity!

nata dEvatE                          – O one saluted by the gods!

anupallavi

angaja pura kAla vairi sahitE – O one in the company, the One inimical to (vanquisher of) Manmatha, Tripura and Yama i.e. Lord Shiva

anAdi-avidyA prapanca rahitE ­ O one distinct, from this eternal universe pervaded by ignorance

pungava guru guha-Adi mahitE – O one venerated by the eminent/valorous Guruguha and others

satsanga mArga darSitE        – O one who shows the path to association with the good (men)

sura hitE                                    – O the benefactress of the Devas.

The sahitya as above would show that apart from his colophon, Dikshita has skilfully woven the raga mudra (indirectly– mArgadarsitE) in the composition, while keeping his date as always with the dviteeya akshara prasa (2nd letter consonance). The sahitya clearly is an appeal to the Mother Goddess (Devi), the consort of Lord Shiva seeking her to bestow prosperity and auspiciousness. From a compositional construct perspective, the composition lacks a carana segment but has a pithy and beautiful cittasvara section which we will see when we delve into the musical aspects. The kriti does not bear any stala/ksetra reference and is thus only a generic composition.

A brief note on the raga Margadesi:

It has to be mentioned that save for the Sangita Sampradaya Pradarshini (SSP) no other treatise prior to it mentions this raga. In other words, this raga finds place only in Muddu Venkatamakhin’s Ragalakshanam compendia (dateable to circa 1750 AD) and Dikshita’s kriti being the sole exemplar thereof – an eka-kriti raga. Thus, the SSP, by its commentary of the raga and documentation of Muthusvami Dikshita’s composition becomes the only repository for us in so far as this raga is concerned.

According to the SSP, the raga is placed under the 15th mela taking the notes of R1, G3. M1, P, D1 dropping nishadha altogether. And very oddly it takes M2 (prati madhayama) in its melodic body.

Normally it is seen that under mela 65 (Kalyani) for which M2 is the dominant note M1 is taken as a anya svara via the G3M1R2S motif. Under Mela 15, in SSP we do see that there are number of ragas documented therein, which take the M2 as an anya svara. Margadesi is one such which takes M2. But it is not that straight forward as there is an “interpretative” issue as to when M1 or M2 would occur in the melodic progression of raga. Lets us take up Subbarama Dikshita’s narrative of the raga:

  1. The raga is classified under Mela 15 on the authority of Muddu Venkatamakhin.
  2. The raga name occurs in the Malavagaula Raganga Lakshya Gita “ravikOti tEja” as a bashanga janya under malava gaula mela. Please note that the reference to the “bashanga” in the context of SSP bears no relevance to how we construe the expression today.
  3. As per the provided lakshana shloka:
    • The raga is shadava, lacking nishada (both in arohana and avarohana krama)
    • Madhyama note is vakra, both in arohana and avarohana
    • SRGRGDMPDS is the arohana and SDMPGRS is the avarohana krama, duly accommodating the vakra madhyama note
  4. While the lakshana shloka does not say anything about M2 or its equivalent cyuta pancama being used in the raga, Subbarama Dikshitar in his commentary makes two assertions, based on the prevalent convention:
    • Assertion 1: According to him RGD#MP, RGP#MGRG, DMPP, DSDMPG are the motifs of the raga. Mark #M being the sharper variety of the madhyama that is being singled out in the first two motifs (RGD#MP, RGP#MGRG) and which do not occur in the third and fourth (DMPP, DSDMPG) murccanas.
    • Assertion 2: Further according to him, intoning the madhyama of the raga as pratimadhyama (M2 or #M as notated) is the convention followed by the cognoscenti.
  5. The inescapable conclusion flowing from these 2 assertions is that M1 does not at all occur in the raga (despite being classed under Mela 15), safely ignoring the non-provision of the sharp sign for the madhyama that occurs in the third and fourth murrcana as above.
  6. And confusingly enough, in the notation proper for the composition of Dikshita “mangaladevatE” (and also the Lakshya gita and his own sancari) Subbarama Dikshita does not notate the madhyama with the sharp sign (#).
  7. Thus, we are left to infer that M1 does not occur in the raga and that in all places only M2 is intoned. However according to Prof S R Janakiraman the arohana krama has M1 while the descent SDM2P has the prati madhyama prayoga – see his lecture demonstration below.
  8. Viewing the notation from a madhyama note stand point the following murccanas occur in the composition including the cittasvaras.
    • RGD\MP
    • PDMPG
    • SDMPDMPG
  9. And thus, given the omnibus statement found in assertion 2, it can be said that in all these places, M2 is to be used. We will deal with this point further in the discography section as to when M1 and M2 are seen used, in the renderings.
  10.  Along with the cittasvara section, the composition spans the mandhara madhyama to the tara stayi gandhara of the raga.
  11. The raga mudra occurs with a svarakshara on the madhyama and dhaivatha note apart from other such instances.

The usage of madhyama note of the sharper variety imparts a haunting tinge to the raga that segues very well with the appeal to Her in the sahitya.

I have to note that this raga is dealt with in the Sangraha Cudamani as Margadesika (dropping madhyama in the ascent) and also further to the fact that there is no composition of Tyagaraja is either forms, I have not dealt with this, in this blog and I have confined myself only to the Margadesi of the SSP here.

Discography:

Presented first in the close to the SSP rendering sans any embellishment, rendering of the composition along with the cittasvara section, by Vidvan G Ravi Kiran.

Attention is invited to the places where m1 and m2 are rendered. Thus, he renders:

  • Mangaladevate” with M2 the prayoga being is G/DM2P
  • bhavathu nata tE” comes through with M1 as the prayoga is GPDM1PG.
  • angajapura” is sung as R,G/DM2P
  • “anAdyavidyA” is again sung as rsDM1P
  • guruguhAdi” employs G/DM1P
  • sat-sanga-mArga” is sung as s,sDM1P
  • The cittasvara section goes as under:
1 2 3 4 5 6 7 8
R,,S ,RRG D,,M2 ,PGR ,RSd m1pdS RRGR ,GRS
RG,G DDM2P ,DM2P ,Dsr Dg,r sDM1, PGRS ,RSd

NB: tara stayi svaras are denoted in italics, madhya stayi in upper case and mandhara stayi svaras in lower case.

It can be noticed that not all G/DMP combinations are intoned with the sharper prati madhyama, on this rendering. M1 and M2 are used “as needed” alternatingly as an ornamental device.  

Presented next is the rendering by the revered Prof S R Janakiraman who prefaces the composition with a raga vinyasa and also sings kalpana svaras, demonstrating the raga can well be delineated competently without any confusion whatsoever.

His erudite lecture demonstration of a raga is always revelatory and its indeed fortuitous that Margadesi was one such covered by him of which a recording is available. Here is a clipping from his Lec-Dem titled ‘Ragas Unique to the Sangeeta Sampradaya Pradarshini’ before the Experts Committee of the Music Academy in the year 2005.

Mark the vivaciousness with which he presents the raga for us, as always. Attention is invited to his point that he makes to the effect that when M1 occurs as an ascent (ascent only) and M2 (via DMP) occur in this raga.

Some reflections on this kriti:

The sangita and sahitya of the compositions, for me stands out in very many ways. When one looks at the sahitya one cannot but appreciate the apparently simple lyrics which actually enjoin a much broader and enigmatic meaning in its conception.

  1. The lyrics proclaim her as the very embodiment of auspiciousness at the outset. There are atleast two shrines in the Tamil lands, which Dikshita has visited, where the presiding Goddess of the temple is Mangalanayaki (in Tamil) or Mangalambika. One is Kumbakonam where She is the Consort of the Lord Adi Kumbeshvara. Dikshita eulogized her by composing the  rare Ghanta kriti “Sri Mangalambikam”, which we dealt with in an earlier blog. The deity at Srivanchiyam is also Goddess Mangalambika who has been invested another beauty of a kriti Mangalambayai namaste, this time in the rarer raga Malavasri. As pointed out this composition does not specify the ksetra and is a generic composition only.
  2. The kriti declares- “mangalam bhavatu” – let there be prosperity- as an ask. Dikshita does not seek the ambrosial bliss (amruta bOdham dEhi – as in “Jambupate Mampahi” – Yamuna Kalyani). Nor does he personally seek auspiciousness or fortune (“bhadram dEhi as in Sri Bhargavi in Mangalakaisiki). The kriti contemplates a prayer – “let there be auspiciousness or prosperity for all”. The kriti is therefore a benedictory hymn and is couched in a rare raga.
  3. The kriti, apart from being a benedictory invocation is full of epithets to the Mother. And as his wont will keeping his date with prAsA, Dikshita address Lord Shiva indirectly via the puranic references to Him having vanquished or subdued Kama, the God of Love (angaja), the impregnable City of Tripura (pura) and its denizens and Lord Yama (kAla). He further alludes to the philosophical precept of Her being devoid or being apart from the eternal maya prapancha, which is beginning-less and pervaded with ignorance.
  4.  The first anupallavi sahitya line commencing “angajapura” is structured with jumps in its progression as R,G/DM2PD,sD,/rsDs which is the arohana krama of the raga. Mark the jumps from gandhara to dhaivatha, back to madhyama, from dhaivatha to tara rishabha and the pendulum like movement between madhya dhaivatha and tara rishabha before settling at the tara sadja.
  5. The second line marks the achievement of the crescendo at tara gandhara before commencing the descent and settling down to the basal madhya sadja. The single avarta madhyama kala portion appended to the anupallavi succinctly traverses the entire gamut of the raga, concluding with a pithy cittasvara section.
  6. The usage of the prati madhyama in this raga or to be more precise, when it is to be used in contradistinction to M1 is sort of left open. It has to be said here that if Subbarama Dikshita’s second assertion is given effect to then, the raga is to be rendered wholly with M2 only. Though the raga is classed under Mela 15 and M2 is left unmarked yet like Gaulipantu, this raga should be rendered only with M2, going with Subbarama Dikshita’s second assertion. But yet as we will see in the renderings of the venerable Prof SRJ and Vidvan G Ravikiran, in the discography section the rendering is interspersed with both M1 and M2 with no standard rule as to “when” the M2 note is to be intoned. Thus, for instance all GDMP occurrences in the composition are not seen with M2 only, per Subbarama Dikshita’s first assertion.
  7. SDM2PDM1PGRS is a very elegant murccana incorporating both the madhyama notes in quick succession which can be employed in this raga.
  8. The case of Margadesi, the usage of M2 being recorded in the commentary but unmarked in the notation, reminds us of the case of Anandabhairavi as documented in the SSP where Subbarama Dikshita makes a reference to the usage of D2 in the raga in his commentary as a development seen in practice but yet he does not mark D2 in the notation in the compositions thereunder.
  9. Margadesi is not seen classed under the ghana, naya or desi raga listings either by Subbarama Dikshita or by others.
  10. Mela 15 seems to be the counterpart of Mela 65 (Kalyani) in admitting the use of the other madhyama note by its janya ragas. None of the other mela’s are seen with janyas with both varieties of madhyama being used, atleast as seen in the SSP or in practice.

Conclusion:

The composition “Mangaladevate” and the raga Margadesi are thus unique as they stand out in many aspects. We have long forgotten the feature of ragas which principally sport the suddha madhyama note and use the pratimadhyama as well, especially under Mela 15. These ragas perhaps had died out even by CE 1800. It was left to the sans egal composer Muthusvami Dikshita to resurrect these long-forgotten ragas which had gone out of vogue.

I have chosen to present this raga in this blog post as I stumbled upon this composition and found it to be both, from the melodic and lyrical perspective so apt and resonating with the present times. The Goddess symbolized by Dikshita in this composition as the very embodiment of auspiciousness ( Mangalam) and the fact that the raga is a long forgotten one, reminded me of the the dilapidated and desolate temple of Goddess Mangaladevi in remote Tamilnadu, though the composition on hand bears no nexus of any sort, with this temple. I have used the photograph of that in the panel above, details of which are in the hyperlink. The haunting use of M2 via the DM2P prayoga imparts an ethereal feel for the raga. Immersing oneself in the beauty of the composition and making the prayer out to Her by learning or rendering this composition will without doubt confer Her benign blessings to one and all.

References:

  1. Subbarama Dikshitar (1904) – Sangita Sampradaya Pradarshini – Republished in Tamil by Madras Music Academy (2006) -Vol 1- Mela 15 Pages 243-246
  2. Dr Hema Ramanathan (2004) – ‘Ragalakshana Sangraha’- Collection of Raga Descriptions pp 857-857
  3. Dr R Sathyanarayana (2010)- “Ragalakshanam” of Sri Muddu Venkatamakhin- Published by IGNCA
  4. Proceedings of the Meetings of the Advisory Committee of the Madras Music Academy ( 3rd Jan 2005)- Journal of the Madras Music Academy (JMA) Vol LXXVI 2005 page 160

Safe Harbour Statement:

The renderings used or linked as above in the body of this blog has been made strictly for purposes of education and knowledge under fair use category. The intellectual property therein belongs to the respective artistes and the same cannot be shared or exploited without their consen

Raga, Repertoire

The Alluring Bhogachayanata

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Introduction:

The raga name is just Chayanata as has been dealt with from yore, with the prefix “bhoga” being a later day addition, made in the “Ragalakshanam” of Muddu Venkatamakhin so as to yield the mela number of 34 under the katapayadhi samkhya system. And this Chayanata bears no melodic relation whatsoever to the Northern Chayanat ( a very popular raga) which is an altogether different melody, which goes as under:

Arohana krama: SR2G3M1PS or SR2G3M1N2D2PS

Arohana krama: SD2N2PR2G3M1R2S

with RG3M1N2D2PR2 being the salient murcchana (M1/N2 and P\R2 being the salient building block. Watch out for the occasional M2 which may also be used ( see video below for a primer on this interesting Northern melody)

Finding the Carnatic scalar equivalent albeit a close one for the Hindustani Chayanat is left as an exercise for the discerning listener.

The Carnatic heptatonic 34th melakartha “Vagadeeswari” (exemplified by Tyagaraja’s “Paramatmudu”) is a scalar equivalent. For this brief post I will be keeping focus on (Bhoga) Chayanata as dealt with by Muthusvami Dikshita only.

Historical Background:

Chayanata is an old raga but curiously has not been documented by both Govinda Dikshita and his son Venkatamakhin in their works. It has been documented by Sahaji in his Ragalakshanamu (Circa 1800 AD) and also by Tulaja in his Saramruta (1832 AD) and the same melodic contour being documented by Muddu Venkatamakhin (Circa 1850) which is available to us through the Sangeetha Sampradaya Pradarshini (SSP).

Arohana : S R3 G3 R3 G3 M1 P N2 N2 S

Arohana: S N2 D2 N2 PM1R3 S

Anointed as the head of the mela No 34, Chayanata for all practical purposes has dhaivatha which is varjya (dropped) in the arohana both dhaivatha and gandhara are vakra (devious) in the avarohana krama, with janta nishadha and madhyama indicated to be the life-giving notes by Subbarama Dikshita. Along with its ilk, such as Desakshi and Samantha, Chayanata in its form has all but been forgotten by us.

The beauty of this raga is the purvanga murchanas employing R3G3M1P, PN2N2S and PM1R3 in combination with the SN2D2N2P which is leitmotif of the uttaranga, used by a number of ragas we have seen in this series of blog posts, such as Devamanohari and Malavi.

In sum in terms of the grammatical construct of 19th century raga architecture, in this raga Chayanata:

  1. SRGMP alone is permitted. PDNS, SNDP and PMGRS are to be eschewed.
  2. PNNS, SNDNP and PMRS are the vakra sancharas and motifs.
  3. Dhaivatha is varjya in the arohana (PDP should not be used) and both dhaivatha and gandhara are vakra in the avarohana krama. PNNS and PS occurs in profusion.

It has to be mentioned here that though the R3G3 may be a vivadhi combination, yet like Natta, this raga Chayanata permits SRGM in its ascent. A raga that we saw in a previous post Ragachudamani SM1R3G3MPN2N2S dropping the dhaivatha in the ascent is structurally similar to Chayanata from an ascent perspective.

Compositions:

The SSP apart from documenting the raganga lakshana gitam and a tanam, documents the sole kriti in this raga, being the one by Muthusvami Dikshitar apart from the sancari of Subbbarama Dikshitar.

pallavi

bhOga-chAyA nATaka priyE         – O one who takes pleasure in the enjoyable puppet-play (that is this universe)!

bOdhaM dEhi                       – Give me enlightenment!

bRhadISa jAyE                     – O wife of Lord Brihadeesvara !

Anupallavi

SrI guru guha janani              – O mother of Guruguha!

niranjani                                     – O the blemish-less one!

Srita jana rakshaNi            – O the protector of people who have sought refuge!

Siva santOshiNi                       – O the one who pleases Shiva!

bhOga mOksha vitaraNa nipuNa-tarE – O the great expert at bestowing (both) enjoyment and liberation!

bhU-sura-Adi sannuta         – Oh one well-extolled by all people, beginning with Brahmins ,

kamala karE                          – Oh the one with lotus-like hands!

The raga name as well the composer’s mudra (colophon) makes it appearance in the composition which is bereft of the carana but has a concise cittasvara passage appended to it. The composition is on Goddess Brihannayaki, the consort of Lord Brihadeesvara of Tanjore (Big Temple). Legend has it that during Dikshita’s sojourn to Tanjore (when the Tanjore Quartet were under his tutelage), he composed a number of kritis on the deities situated in an around Tanjore in the mela ragas tabulated by Muddu Venkatamakhin. This composition is one such and is sole exemplar of the 34th mela.

Discography:

Though there are quite a few renderings, I choose to present the one very close to the notation found in the SSP here:

The artiste is Vidvan Ravi Kiran who renders the composition true to the notation documented in the SSP.

Attention is invited to the following aspects:

  1. The pallavi commences with SG3SM1 and NOT SR3SM1. In many renderings it is heard only as SR3SM1, which is not what is notated in the SSP.
  2. Secondly the madhyama kala sahitya portion is to be ONLY sung with the notation as MGMP-RGMP-MPNNS; SSNN-SNDN-PMRPMR – (underline indicates portion is in second kalam) as is done in the exemplar above cited.

Much liberty is seen taken in other renderings, which is not in conformance with the notation as pointed above.

3. One other aspect to be noted is that in all ragas where the combination R3G3 occurs, the descent as employed by Dikshita in his compositions is almost as a rule PM1R3S and not PM1G3M1R3S. However, in the cittasvara section of this composition, GMRS is seen used.

Conclusion:

Its in very much in realm of possibility that a concise alapana, neraval and svaraprastara can be presented for this raga/composition by a performing musician. Yet neither this composition nor an exposition of the raga is encountered in the music circuit. It is hoped that the kriti and this raga is taken up for exposition and rendered frequently in the days to come in true fidelity to the notation found in the SSP.

References:

  1. Subbarama Dikshitar (1904)- Sangita Sampradaya Pradarshini Part IV– Tamil Edition published by the Madras Music Academy in 1977 – pages 973-978
  2. Dr Hema Ramanathan (2004) – ‘Ragalakshana Sangraha’- Collection of Raga Descriptions- pages 300-308
  3. Dr S. Sita (1983) – “The Ragalakshana Manuscript of Sahaji Maharaja’ – Pages 140-182- JMA Vol LIV
  4. Prof S. R. Janakiraman & T V Subba Rao (1993)- ‘Ragas of the Sangita Saramrutha’ – Published by the Music Academy, Chennai, pages 298-299
History, Raga

Kapi – A Raga of Myriad Hues

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INTRODUCTION:

Kapi or Karnataka Kapi is an old raga. Sahaji’s Raga Lakshanamu, Tulaja’s Saramrutha,the Anubandha to the Caturdandi Prakashika and the Sangraha Cudamani have documented this raga. We  have compositions in it from the pre-trinity times which are available to us through the Sangeeta Sampradaya Pradarshini (SSP). We have grounds to believe that Trinitarians have composed in this raga perhaps with different musical flavors. The northern raga Kafi is spoken of, more as an equivalent of Karaharapriya while Kapi is truly different and in terms of the Hindustani music scheme, it belongs to the Kanhra/Kanada family of ragas.

Kapi is a raga which has become extinct in its original form but survives today in a much metamorphosed version or versions. Apart from its evolutionary history, one additional aspect of this raga merits attention. It probably spawned or was at the epicenter of a family of ragas which shared a common melodic motif G2M1R2S. Each of the ragas in this family went on to transform itself in an evolutionary process and are today in our midst, each with their own distinct melodic identity and remarkably distinguishable from one another.

In this blog post , we would take a deep dive into this raga and also cover the aspects highlighted above. In a later blog post we will cover the comparison of this raga with a few other ragas with which it shares common melodic material.

KAPI – ITS CURRENT FORM:

Before we look at the history of Kapi, it would be appropriate to take stock of the current form of this raga.

Kapi (rather modern Kapi) is grouped as a bhashanga janya under the Kharaharapriya mela/Sriraga raganga with anatara gandhara, suddha dhaivatha and kakali nishada as anya svaras, depending on the version of the composition. There is no strict arohana or avarohana for the raga today².This modern day Kapi is encountered in renderings of Tyagaraja’s kritis such as “Meevalla Gunadosha”, Papanasam Sivan’s “Enna Tavam seidhanai”, the javali ‘Parulannamata’ and the tune melody of “Jagadodharana” of Purandaradasa.

With this brief introduction let us look at the antiquity of this raga and the transformation it had undergone to reach its present stage.

Sahaji’s Ragalakshanamu (Circa 1700):

Kapi is not encountered in older texts including that of Govinda Dikshitar and Venkatamakhi. The first person to record this raga in the post 1700 period was King Sahaji who had captured the ragas in currency during his lifetime in this work “Ragalakshanamu’. According to him, the raga is sampurna, desya and is under the Sriraga mela and in the avarohana sancaras sometimes madhyama and dhaivatha are eliminated.⁴

As regards the usage of the terminology ‘sampurna’, it is to be noted that in all old musicological texts a raga is treated as sampurna if the seven svaras occurred in the arohana and avarohana taken together.

Tulaja’s Saramrutha (circa 1736 AD) ⁶:

Next is the text “Saramrutha” which records the raga. According to Tulaja, this raga is under the Sriraga mela , sampurna with sadja as graham, amsa and nyasa with the svaragati of the raga being niraghata or unlimited. The murccanas that Tulaja gives for alapa and gita indicate a sequential progression of svaras, much like modern day Kharaharapriya! Also according to Tulaja this raga is auspicious and is to be rendered in the evenings.⁶

Raga Lakshana anubandha of Muddu Venkatamakhin³:

Venkatamakhin in his CDP does not deal with Kapi or any other raga which shares a similar melodic structure or with a different name. The Anubandha to the CDP which is most probably a work of his great grandson Muddu Venkatamakhin or his son Venkata Vaidyanatha Dikshitar who was the preceptor of Ramasvami Dikshitar, provides reference with a lakshana shloka for Kapi under mela 22 (Sriraga) as under:

Kapi ragascha sampurnah sagrahah sarvakalika

The shloka does not denote any anya svaras occurring or whether any svaras are vakra or varja in the arohana or avarohana.

Summary of the above:

The raga Kapi as documented by the three authors as above has one common theme. It was more or less modern Kharaharapriya in terms of its scalar structure. Additionally according to Sahaji, the dhaivatha and madhayama were sometimes skipped in the avarohana. Based on this observation one can postulate that Kapi probably featured prayogas like sNPMGRS or sNDNPMGRS (which are found in Karnataka Kapi of today) and madhyama varja prayogas such as NPG…R (which also do occur in Karnataka Kapi).  With that we move on the Subbarama Dikshitar and his work the Sangita Sampradaya Pradarshini to take stock of what Kapi was.

KAPI OF THE SSP ¹:

Subbarama Dikshitar provides us with three sets of inputs in the Sampradaya Pradarsini:

  1. Muddu Venkatamakhin’s raga lakshana shloka and his lakshana gitam
  2. His own commentary on the raga lakshana and his sancari
  3. Compositions of Muthusvami Dikshitar and that of three pre-trinity composers namely Margadarshi Sesha Iyengar, Srinivasayya and Bhadracala Ramadas

The Muddu Venkatamakhi gitam too offers us no further light in terms of raga lakshana. It is Subbarama Dikshitar’s commentary that provides us with some practical insight as to the Kapi of yore.

SUBBARAMA DIKSHITAR’S COMMENTARY:

According to Subbarama Dikshitar, the arohana and avarohana murccanas of Kapi under mela 22 ( Sriraga) are SRGMPDNs/NDPMGGRS. Attention is invited to the usage of the nishada without touching the tara sadja and the janta gandhara and the dirgha rishabha. Further according to him the gandhara and rishabha are the jiva & nyasa svaras. Subbarama Dikshitar also gives us a few choice phrases which he says are native to the raga:

NSGMGmRS , NNSDPMGmRS, RGMPDNPMGMRS, SNPMGMRS, PMGGMRS, NPMPDRS, NSDNSRGMRS etc

Subbarama Dikshitar also observes that kakali nishada (N3) and antara gandhara (G3) occur in the phrases sNPMP DsNPMP, PMGMR and MPGMRS, though the same is not found notated in the compositions that he gives subsequently including his own sancari. So his observation is really a conundrum as we do not have a record of the said compositions or renderings incorporating the said prayogas.

For us the Kapi that Subbarama Dikshitar paints has one major feature which is the occurance of the anga/leitmotif  “GMR” which is the hallmark of modern day Kanada. The melodic tinge of GMRS is so pronounced for example in the notation of the kriti “Rangapate Pahi” of Sesha Iyyengar that it sounds more as modern day Kanada for us and it should be remembered that the composition dates back to the pre-trinity era which did not have a raga called Kanada. In that sense, Karnataka Kapi can surely be called the precursor of modern Kanada.

ANGAS – A NOTE ON MUSICAL LEITMOTIFS

The murcchana or leitmotif ‘GMRS’ which occurs in profusion as a melodic signature is not just a property of Karnataka Kapi but also a host of other ragas and the notation in SSP is evidence of it. Beyond the raaganga-janya or Melakarta-janya relationship, in olden times in our music, ragas had a common melodic bond through a shared murrcana or anga.  Even ancient texts like Anupa Sangeeta Ratnakara of Bhavabhatta give ragas which have been grouped / classified on such a premise. For example the Kanhra group consists of 14 ragas such as Suddha Karnat, Nayaki,Bageshri, Adana, Shahana, Mudrik, Gara, Huseini, Kafi Kanhra etc. The architect of modern Hindustani paddhati, Pandit Bhatkande, formalized the anga based classification of ragas and he codified a few types of angas in the process¹°:

  • Kafi ang – RRGGMMP is the motif and the ragas sharing it include Sindhura & Pilu
  • Kanhara ang – GMRS, NDNP and NPGM are the key motifs and ragas sharing it include Shahana, Adana, Durbari etc
  • Malhar ang – MRPm MPDs and DPM are the motifs with the ragas being Shuddha Malhar, Mian ki Malhar, Gaud Malhar etc
  • Sarang ang – NSR, MR, PR are the motifs and the ragas being Gaud Sarang, Madhmadh Sarang and Vrindavani sarang

Some of the other types include Dhanashree ang, Shree ang, Lalit ang and Gaud ang. Attention is invited to the motifs of the Kanhara/Kanada ang namely GMRS, MNDNP and NPGM which are seen in Kapi. Additionally the janta gandharas of the Kafi anga too merit attention in the context of our Kapi as it is seen as well.

Based on the raga lakshanas and notations that Subbarama Dikshitar gives in the SSP, one can see that this GMRS motif is shared by a host of ragas under the Sriraga mela namely Kapi, Durbar, Nayaki and Sahana. The raga Andhali though grouped under the Kedaragaula mela, shares a similar feature with the gandhara having morphed. The modern day Kanada and Phalamanjari ragas (though not featured in the SSP) sport the GMRS motif as well.

The anga as a musical aspect or a raga attribute has lost its relevance in modern Carnatic musicology. Emphasis on individual notes rather than murcchanas, sequential progression and alignment of the raga’s contour to its melakartha etc have taken roots at the expense of aesthetics and harmonics which were the only yardstick, one upon a time.  The anga aspect though a deprecated concept at this point in time, is a useful tool for us to assess the musical contours of Kapi and also to understand the evolutionary path it went through with its sibling ragas such Kanada, Sahana, Durbar etc.

One other music text (older than the SSP) that features the raga Kapi is the Sangeetha Sarvatha Sara Sangrahamu of Vina Ramanujayya published in the years 1859 and 1885 . There is a ragamala gitam given in the work( 1885) starting with the words ‘Karnata konkana’ which is set to 36 ragas each having a line of sahitya in one tala avartha of 10 beats (misra jhampa or catushra matya). Here the Kapi raga portion ( svara and sahitya ) is as under:

P   D   N   P   M   G  ,  G  ,  R

Ka………………………….pi

Two unique motifs are featured here namely the usage of PDNPM and janta gandhara which would give a Durbar effect to the Kapi.

SUMMARY of SSP’S RAGA LAKSHANA :

The melodic features of raga Kapi as featured in the SSP notation can be summarized as:

  1. The sequential descent such as sNDP is rare and instead sNPM can be used. So avarohana phrases can be sNPMGMRS, NPGMRS, NDNPMGRS or NDPGMRS
  2. Again PDNs is also rare and is dispensed with in favor of aroha phrases such as PDNPNs or PNDNs.
  3. Thus a straight SRGM and PDNs can be avoided and GMRS used in profusion along with DNP (as in PDNP or MPDNP or MNDNP) to establish a unique melodic identity much in line with the northern Kanhra/Kanada ang
  4. The dhirga gandhara, the janta gandhara or gandhara shaken with kampita gamaka and the nishada which is intoned uniquely as in NPG are hallmarks of this Kapi  which again are the key components of the Kanhra/Kanada anga.

For Subbarama Dikshitar, the raga name is only Kapi. Given the evolution that it underwent and to identify its old form, the term Karnataka Kapi was probably coined during the early/mid 20th century to commonly denote all upanga versions.

The above summary provides us with some practical insights about this raga and also gives us clues as to why this form of Kapi has virtually become extinct. Before we look at that, let us look at what some experts/authorities had to say on the raga lakshana of Kapi.

THE COMMENTARY ON KAPI BY MUSICOLOGISTS/AUTHORITIES:

Four documented authorities pertaining to raga Kapi’s lakshana, one of Prof Sambamoorthi, on of Dr T S Ramakrishnan and two instances from the proceedings of the Music Academy discussions are available to us.

THE ACCOUNT OF PROF SAMBAMOORTHI⁷:

According to him, in the lakshya of Karnatic music, we have three varieties of Kapi.

  1. First is the pure/old Kapi or Karnataka Kapi, immortalized by Kshetrayya in his padas, by Tyagaraja in his piece ‘Cuta murare (Nowka Caritram) and other songs and by Syama Sastri in ‘Akhilandesvari’. This Kapi, in modern day parlance is upanga, meaning it inherits only the svaras of its parent mela Kharaharapriya/Sriraga.
  2. Apart from this upanga Kapi, there is another upanga Kapi which is evidenced by the tillana ‘udharana dhim’, which is a composition of Pallavi Sesha Iyer (1842-1909). This type of Kapi has srmpns-sndnpmgrs as its arohana/avarohana with Mmp as a visesha prayoga. The kriti ‘Manamohana syamala rama’ is another example of this upanga Kapi. These two type of Kapi’s do not take anya svaras namely antara gandhara, kakali nishada or suddha dhaivatha.
  3. The third/last type is the bhashanga type made familiar to us by javalis like ‘Vaddani ne’. This bhashanga Kapi is also known today as Hindustani Kapi, Desya Kapi or Misra Kapi. Prof Sambamoorthi further adds that the current tunes (incorporating these anya svaras) of the compositions “Meevalla gunadosha” and ‘Intasoukya” are 20th century innovations.

Prof Sambamoorthi’s observations are exceedingly in line with the forms of Kapi that one encounters in practice. But he seems to have overlooked the version as documented in the SSP including the kriti of Muthusvami Dikshitar.

THE ACCOUNT OF DR T S RAMAKRISHNAN

Dr T S Ramakrishnan, a past member of the Experts Commitee of the Music Academy and acknowledged authority of the Venkatamakhi sampradaya and the SSP, in a lecture demonstration in the Music Academy had this to say when he discussed the position of Sriraga as the 22nd Mela in the Asampurna mela scheme.

The raga Kapi, a rakti raga, would have been perhaps more apt as the ragaanga raga for this 22nd mela, but it had the bashanga tinge and hence could not represent the mela. Even before Venkatamakhin’s days, this raga Kapi , being really the same as our present day popular and major raga Kharaharapriya, had migrated to the North, where it was considered as a ‘thaat’, in their system of music. Later it came back to us with its Northern hue as our modern day Kapi ( with an intermediate stage as our Rudrapriya- It may be noted that Rudrapriya is Harapriya) with pronounced bhashanga features. Venkatamakhin has a lakshya gita for this raga Kapi , which when rendered , sounds entirely like our present day mela raga Kharaharapriya, with no difference whatsoever in its raga picture. Venkatamakhin considered this Kapi as a bhashanga janya under the 22nd mela and has given its name accordingly in the bhashanga khanda of the lakshana gita for the ragaanga raga Sriraga.

THE ACCOUNT OF THE EXPERTS COMMITTEE OF THE MUSIC ACADEMY:

The Experts Committee of the Music Academy does not seem to have discussed individually the lakshana of this raga and its evolution in detail. We have two instances however where in relation to proceedings of related ragas or presentation of rare kritis, the ragas has been discussed.

First is the one when during the 1967 Music Academy session on 24th December of that year, Vidvan Salem D Chellam Iyengar presented 3 rare kritis of Tyagaraja as learnt by his father, the late Salem Doraisvami Iyengar from the legendary Pooci Srinivasa Iyengar. Vidvan Chellam Iyengar presented ‘Anyayamu Seyakura’ in Karnataka Kapi devoid of anya svara kakali nishada. Justice T L Venkatarama Iyer referred to the controversial nature of the raga of this composition and his own patham according to the Umayalpuram school which featured kakali nishada.

One can take note of the fact that the compositions of Tyagaraja in the raga Karnataka Kapi are today either rendered in Durbar or in the modern form of Kapi with anya svaras. The commentary of Subbarama Dikshitar and the assertion of Prof Sambamoorthi also substantiate this point.

EXPERTS COMMITTEE DISCUSSION ON THE RAGA KAPI⁵:

During the Expert Committee Meeting held during the Music Academy Session in the year 2008, the raga lakshanas of a set of allied ragas including that of Kapi had been discussed and the same has been collated & presented by Expert Committee member Dr N Ramanathan. The raga lakshana of  four allied ragas Rudrapriya, Karnataka Kapi, Darbar and Kanada were discussed by the Experts panel consisting of Vidvan Chinglepet Ranganathan, Vidushi Suguna Purushothaman, Dr Ritha Rajan, Dr R S Jayalakshmi apart from Dr N Ramanathan. The Academy’s Expert Committee had in the past discussed the raga lakshana of all the other ragas in this set namely Rudrapriya, Durbar and Kanada and had also prescribed the arohana/avarohana of these ragas, but not of Kapi.

The following facts are available to us from the discussions as documented in the Academy’s Journal of the year 2009.

  1. According to Dr Ramanathan, K V Srinivasa Iyengar has documented Kapi with the use of kakali nishada but use of antara gandhara has not been mentioned by him. According to him the song ‘Anyayamu seyakura’ is in this form of Kapi and he also observes that some render this composition in Durbar.
  2. According to the Umayalpuram sishya parampara of Tyagaraja, the compositions ‘Anyayamu seyakura’, “edi ni bahubala’ and ‘cutamu rare’ have shades of both Kanada and Durbar without any resemblance of Hindustani Kapi.
  3. According to Dr Ritha Rajan, the Tyagaraja composition ‘Nitya rupa’ was rendered by Vidvan Ramnad Krishnan in Durbar. Additionally Rangaramanuja Iyengar has documented two versions of the composition, one in raga Kapi and the other in Durbar. Further the compositions ‘Naradagurusvami’ and ‘Edi ni bahubala’ exists both in Kapi and Durbar.
  4. The Nauka caritra composition “cutamu rare” when sung as notated, has shades of Durbar.
  5. In general, the Dikshitar school version of Kapi had shades of Kanada with the usage of the phrase ‘sNPMGMRS’, while the compositions of Tyagaraja has shades of Durbar with usage of phrases such as ‘sNsD,PMP,G,MRS’
  6. From a raga chaya perspective, the raga Rudrapriya is closer to Hindustani Kapi than Karnataka Kapi.

While Prof Sambamoorthi’s account ignored the Dikshitar treatment of the raga, the Academy Experts Committee in its deliberations do not seem to have considered the version of Kapi as envisaged in the Svati Tirunal composition ‘Sumasayaka’ and in the compositions of the Tanjore Quartet.

SUMMARY OF THE EVIDENCE THIS FAR:

Using these data sets to crystallize our understanding, one can divine at least four forms of Kapi, rather than the three forms that Prof Sambamoorthi documents in his account. The four such flavors of Kapi are:

1: This old version or Karnataka Kapi as it is now called profusely uses GMRS along with kampita gamaka ornamented gandhara.The Dikshitar manipravala classic “Venkatachalapate” found documented in the SSP is an example of this flavor. This form is more aligned to modern day Kanada which as a scale goes as SRGMDNs or SRPGMDNs/sNPMGMRS. This flavor of Kapi is completely extinct and the sole surviving example to us is the Dikshitar composition. Any other older kritis in this form of Kapi has been normalized to Kanada. In the context of this statement we need to evaluate the raga lakshana as found in the kritis attributed to Muthusvami Dikshitar, not found in the SSP but published subsequently by Vidvan Sundaram Iyer. See foot note 2.

One other kriti with this flavor which survives today may probably be Svati Tirunal’s composition ‘Sambho Satatam’. As we will see later the melodic fabric of this kriti is different from that of his other composition, the cauka varna ‘Sumasayaka’. The notation of ‘Sambo Satatam’ reveals a profusion of GMRS and a near sequential svara progression. It may be noted that we have Svati Tirunal’s compositions in 3 flavors of Kapi.

2: This flavor of Kapi has lot of janta gandhara with GGRS as leitmotif and features a near sequential svara progression. Flavor 2 Kapi shares nearly the same melodic structure as that of modern day Durbar. In fact, many modern musicologists believe that many of Tyagaraja’s Kapi compositions were normalized to be rendered in Durbar. An example is the composition ‘Nityarupa’. One can also surmise that the GMRS prayoga of flavor 1 Kapi morphed as GGRS to produce this flavor. The GMRS connection between Durbar and Kapi is also seen in the notation of the Dikshitar’s Durbar composition “Tyagarajad anyam najaneham” as found in the SSP. A version of the Syama Sastri composition ‘Akhilandesvari durusuga’ is rendered in this flavor . Tyagaraja’s Nauka Caritra composition is an other example of this flavor.

There is also a hybrid of flavor 1 and 2 as well, having both the GMRS and the GGRS giving both the Kanada and the Durbar effect. Versions of the Tyagaraja kriti ‘Anyayamu Seyakura’ is an example.

3: This flavor of Kapi is bereft of the prayogas GGRS or GMRS. Instead, it has a profusion of gandhara with an elongated kampita gamaka and characterized by the arohana/avarohana of SRMPNs/sNDNPMGRS. This Kapi is not much in currency and is rarely encountered in concert circuits. The pada varna “Sumasayaka”, the Quartet kriti ‘Sri Mahadevuni” and the Chinnayya tillana in this raga are excellent examples of this type of Kapi. The Music Academy Experts Committee Discussion of the year 2008, presented above had discussed flavor 1 and 2 in detail but not this flavor. This is the type of upanga Kapi that Prof Sambamoorthi has referred to in his commentary given above, with the Pallavi Sesha Iyer tillana as an example. It is indeed our loss that we hardly look upon the compositions of the Quartet as authority for raga lakshana. The Kapi in this flavor is found in the following Quartet compositions:

  1. Kriti ‘Sri Mahadevuni’ – On Goddesses Brihannayaki of Tanjore
  2. Javali ‘Elara Naapai’
  3. Tillana ‘Dheem nadru dheem’ on King Camaraja Wodeyar of Mysore
  4. Cauka varna ‘Sarasala ninnu’ on Lord Brihadeesvara ( the varna is almost similar to the Svati Tirunal pada varna ‘Sumasayaka’)

4: The Kapi which sports additionally the anya svaras namely antara gandhara and/or kakali nishada with or without suddha dhaivatha, which is the modern day Kapi. Examples are the javali Parulannamata and the  the Purandara dasa composition Jagadhodharana.

Curiously we have compositions of Svati Tirunal notated⁸ in 3 of the above flavors and rendered so as well. They are:

Flavor 1 : The kriti ‘Sambo Satatam’

Flavor 3 : The pada varna ‘Sumasayaka’

Flavor 4 : The kriti ‘Vihara Manasa rame’

Though one cannot say with certainty if they were indeed composed so, but the fact we have compositions so rendered is relevant to further our understanding of this raga and the flavors in which it existed. Vihara Manasa sports N3, G3 and D1 as well with N3 occurring in the prayogas such as sN3s while G3 occurs in prayogas like MG3M, MG3S and suddha dhaivatha is found in prayogas like PMD1P⁸.

Subbarama Dikshitar’s commentary in the SSP as to usage of kakali nishada and antara gandhara merits a mention here. According to him sN3PMP and DsN3PMP features kakali nishada while PMG3MR and MPG3MRS feature antara gandhara. Its at variance with what one sees in modern usage. Usage of sN3P or MPG3MRS would cast a different melodic color to Kapi¹.

Amongst the four flavors above, only flavor 4 is the bashanga form and the one which is the most popular today. Flavor 2 does not exist today in practice as it has lost itself to the melodic structure of Durbar in essence. Again save for the Dikshitar composition ‘Venkatachalapate’, flavor 1 type compositions do not exist for they are grouped off under Kanada. From a naming convention perspective, flavors 1, 2 & 3 are called as Karnataka Kapi and flavor 4 alone is either referred to as Kapi or more specifically as Hindustani Kapi.

The cause of Karnataka Kapi’s demise in its old form, the melodic overlap it has with allied ragas or rather its siblings and the evolution of this group of ragas can all be seen in the above categorization ( see Foot Note 1). We next move over to review renderings of the different flavors of Kapi.

DISCOGRAPHY:

Kapi – Flavor 1 or Karnataka Kapi:

On the authority of Subbarama Dikshitar, one can state that this flavor should have been/was the Kapi of yore, the Kapi handled by Sesha Iyyengar, Virabadrayya and others. We do not have authentic oral patantharam of these pre-trinity compositions save for those who might have learnt it from the SSP notation. We can with the evidence of Dikshitar’s composition take it for granted that this version of Kapi was the oldest of the lot and was conforming to the then sampradaya.  Presented first is the the kriti as rendered by Vidushi Kalpakam Svaminathan who learnt it first hand from Justice T L Venkatarama Iyer.

Clip 1: Smt Kalpagam Svaminathan renders Dikshitar’s Venkatacalapate

The version presented by the veteran faithfully follows the notation in the SSP. The profusion of GMRS and the kampita gamaka on the gandhara in this old version of Kapi needs to be highlighted here. Also this composition stands out in several counts.

  1. This is probably Dikshitar’s only kriti with its sahitya being an admixture of Sanskrit, Telugu and Tamil as documented in the SSP. We have two other kritis (one in Sriraga and the other again in Karnataka Kapi ) ‘Sri abhayambha’ brought out by Vidvan Sundaram Iyer and ‘Sri Maharajni’ brought out from the Tanjore Quartet manuscripts, being attributed to Muthusvami Dikshitar.
  2. The raga name has been adroitly woven into the sahitya of the madhayama kala portion of the kriti as “dIna rakshakA pItAmbaraDhara deva deva guruguhan mAmanAna”, along with his own mudra.
  3. This composition is on the Lord Venkatachalapathi at the kshetra of Pulivalam, a few miles from Tiruvarur.

The kriti ‘Rangapate Pahi’ as notated in the SSP has been rendered after being normalized to Kanada and as well as to Durbar. The clipping below is an excerpt, being a Kanada version:

Clip 2: Vidushi Prema Rangarajan renders Rangapate

As pointed out earlier Svati Tirunal’s composition ‘Sambho Satatam’ is documented with a profusion of GMRS prayoga⁸. Let’s look at a rendering of this composition. Sangita Kalanidhi Semmangudi Srinivasa Iyer in this Navaratri Mantapam Concert from the 1970’s renders this composition

Clip 3: Semmangudi Srinivasa Iyer renders ‘Sambho satatam’

One can notice that the GMRS is intoned with a muted madhyama in the prayoga and does not give the complete kAnadA effect that one will get with a strong intonation of the madhyama. Listeners may well compare this with the strong madhyama intonation in the GMRS prayoga of the Dikshitar composition particularly the sahitya line in the carana ‘seegramai vandhu’ which combines a kampita gamaka on the gandhara as well. Apart from the GMRS, another motif which is found in both the compositions is the phrase RP as in RPMP.

In this Music Academy concert of 1970, Sri Srinivasa Iyer renders this composition between 1:36: 40 and 1:41:06  I invite attention he makes at the fag end of his rendition at 1:41:07 – “This raga is called Karnataka Kapi and it is neither Durbar nor Kanada” in Tamil.

Here is another edition of the veteran, presenting the same composition, this time at the hallowed precincts of the Temple of Lord Padmanabha at Trivandrum from one of his innumerable Navaratri Mantapam Concerts

The entire concert can be heard here:

http://www.sangeethamshare.org/gvr/SSI_Concerts/SSI_Navarathri/

( Requires Google or Yahoo ID)

Kapi Flavor 2:

The Syama Sastri kriti ‘Akhilandesvari durusuga’ is rendered in both flavor 2 and flavor 4. The hybrid flavor having both Kanada and Durbar in Kapi is best exemplified by Vidvan Ramnad Krishnan’s presentation of the Tyagaraja kriti ‘Anyayamu Seyakura’. In this clipping below, the raga outline that he provides us ahead of the kriti conveys the melodic contours of the kriti to follow with the shades of both Kanada and Durbar.

Clip 4: Vidvan Ramnad Krishnan renders Anyayamu Seyakura

The contrast is provided by Vidvan Nedunuri Krishnamurthi, whose presentation of the same kriti is in modern Kapi.

Clip 5: Sangita Kalanidhi Nedunuri Krishnamurthi renders Anyayamu-seyakura-Kapi

As evidence of the morphing of flavor 2 Kapi to Durbar, the kriti ‘Nitya roopa’ of Tyagaraja is presented next, rendered by Smt Mythili Nagesvaran a votary of the Dhanammal school ( Jayammal ).

Clip 6 : Vidushi Mythili Nagesvaran renders Nityaroopa-Durbar

The presentation is very neatly done in modern Durbar, bereft of any trace whatsoever of Kapi.

Kapi Flavor 3:

The pada varna of Svati Tirunal’s ‘Sumasayaka’ is one of the best versions of this type of Kapi, characterized by SRMPNs/sNDNPMGRS and a dirgha gandhara. We do have some oral versions of this composition where tints of modern Kapi (flavor 4) are thrown in. There is also an equivalent composition that is with the same melodic setting but with telugu lyrics which is a creation of the Quartet being ‘sArasAlanu’. This pada varna starting with the sahitya ‘Sarasalanu’ has a few differences with ‘Sumasayaka’:

  1. The varna has sahitya for the muktayi svaras and for the ettugada svaras barring the last one , which like Sumasayaka is in a raga malika format. Sumasayaka does not have sahitya for the muktayi svaras and ettugada svaras.
  2. In terms of ordering of the carana ettugada svaras there seems to be a small change. The 2nd & 3rd ettugada sequences of ‘sumasayaka’ are reversed in ‘Sarasalanu’.
  3. While ‘Sumasayaka’ has Kalyani, Khamas, Vasanta and Mohanam as the ragamalika svaras for the last ettugada, the Quartet creation has Hamirkalyani, Chakravakam, Vasantha and Mohanam instead.
  4. The varna mettu of the varna is exactly the same as that ‘Sumasayaka’.
  5. While the ankita for Sumasayaka is ‘sarasijanabha’ in ‘Sarasala ninnu’ it is ‘brihadeesvara’

The essence of this type of Kapi is best encapsulated by the muktayi svara of Sumasayaka/Sarasalanu, which begins with the well oscillated gandhara.

Clip 6: Vocalists C Saroja & C Lalitha render the Sumasayaka-Muktayi svara

Presented below is the complete pada varna ‘sumasayaka’  by the scion of the Dhanammal family, Sangita Kalanidhi T Brinda.

Clip 7: Smt T Brinda renders Sumasayaka-Karnatakakapi

Attention is invited to the oscillated gandhara which is the hallmark of this version and punctuated with prayogas such as PNDN, GRnS, PNsr and sNDNP. Attention is also invited to the intonation of the nishada as in the carana refrain where it appears as a svarakshara, “mAnInI hAtE hrt tApam”. As one can observe that the nishada is different from the one we find in Sriraga for example, to which clan, Kapi belongs to.

We next move over to the two other compositions of the Quartet namely the kriti ‘Sri Mahadevuni” composed on Goddess Brihannayaki of Tanjore and the tillana ‘Dheem Nadru dhim dhim” composed on King Chamarajendra of Mysore by Cinnayya of the Tanjore Quartet. Though we do not have renderings of these two compositions, the notations from the manuscripts have been published in the “Tanjai Peruvudaiyan Perisai”⁹. The notations clearly bear out the fact that the Kapi is of flavor 3 with an operative arohana/avarohana SRMPNs/sNPMGRS with dhaivatha being vakra as in PNDNP, MNDNP and sNDNP. Gandhara is obviously kampita and is encountered in its dirgha variety. GMRS is not to be seen in this version. Sangita Kalanidhi Ponnayya Pillai while publishing the compositions has added the footnote that the composition has been structured skillfully avoiding the use of anya svara⁹.

In so far as flavor 4 of Kapi is concerned, the kritis pointed out elsewhere in this post features this form such as “Meevalla Guna dosha” or “Enna Tavam saidhanai” of Papanasam Sivan.

ALLIED RAGAS OF KAPI:

The ragas Sahana, Durbar, Nayaki and Kanada along with Phalamanjari  share a close melodic relationship to Karnataka Kapi. But from the standpoint of modern Kapi, the ragas Saindhavi and perhaps Salaga Bhairavi share a close affinity. In a followup post we will look at the comparison of these ragas.

CONCLUSION:

The raga Kapi and its evolution is an interesting study. The modern Kapi is most probably the final product of this long cycle of evolution. There does not seem to be any other raga with such different shades and implementations spanning centuries in our musical firmament. Interestingly in Hindustani Music, this raga/scale was considered the scale of suddha svaras and hence was given a pride of place and Rajan Parikkar’s take on the raga is a must read. One will find that his observation as to Kafi of Hindustani music would apply like a glove to Karnataka Kapi  or pehaps to the fourth/modern Kapi and I quote him verbatim, to conclude this blog post:

Kafi is accorded a great deal of latitude in the interest of ranjakatva.  In all kshudra ragas, ‘contamination’ on account of swaras not part of their intrinsic makeup is par for the course.  A ‘pure’ version of Kafi is seldom heard in performance; almost all instances fall to the Mishra Kafi lot.  With this understanding, here and in the ragas to follow, the explicit Mishra qualifier shall be dispensed with altogether.  Bear in mind that strict conformity to etiquette is not expected of kshudra ragas.”

REFERENCES:

  1. Subbarama Dikshitar (1904)- Sangita Sampradaya Pradarshini – Published by the Madras Music Academy
  2. Prof S R Janakiraman(2002)-‘Ragas at a Glance’- Published by Srishiti’s Carnatica P Ltd, Chennai
  3. Hema Ramanathan(2004)- ‘Raga Lakshana Sangraha’- Published by Dr N Ramanathan, Chennai, pages 662-665
  4. Dr S Sita (1993) – “The Raga Lakshana Manuscript of Sahaji Maharaja” -Journal of the Madras Music Academy Vol LIV, pp 140-181, Madras India
  5. Dr N Ramanathan (2009)- “Ragas Rudrapriya, Karnataka Kapi, Kanada and Durbar- A Comparative Analysis”- Pages 103-114 Journal of the Madras Music Academy Vol 80, 2009
  6. Subba Rao & S R Janakiraman(1993) – “Ragas of the Sangita Saramruta” published by the Music Academy, Chennai
  7. Prof S Sambamoorthi(1970)- ‘Pallavi Sesha Iyer” – Article in ‘The Hindu’ dated 27th Jul 1970
  8. Govinda Rao T K (2002)- ‘Compositions of Maharaja Svati Tirunal’ published by Ganamandir Publications, Chennai
  9. K P Sivanandam(1964) – ‘Tanjai Peruvudaiyan Perisai’ – Compositions of the Tanjore Quartet, compiled by Sangita Kalanidhi T Ponnayya Pillai
  10. Sobhana Nayar (1989)- ‘Bhatkande’s Contribution to Music’ – Published by Popular Prakashan P Ltd, India  ISBN 0 86132 238X
  11. Dr T S Ramakrishnan(1972) – ‘Venkatamakhin’s 72 Mela Scheme’ – Journal of the Music Academy Vol XLIV Pages 24-26, 61-83

FOOT NOTE 1: How did Kapi go extinct – A Hypothesis

During the period of 1600’s to late 1700’s, flavor 1 of Kapi held sway as evidenced by the kritis of Sesha Iyyengar, Virabadrayya and Srinivasayya. Flavor 2 perhaps coexisted into the late 1700’s.  Despite being a famous sampurna raga then, it could not qualify as a raganga given the presence of Sriraga and it had to stay put under that clan.

Circa 1800- However with the onset of the 19th century, this Karnataka Kapi stood imperiled. Two new ragas were appearing on the horizon which proved life threatening. Probably by early 1800 – Kanada had started gaining ground. One can consider the evidence of the 2 Tyagaraja compositions namely Sukhi Evvaro and Sri Narada in Kanada. The period of 1800-1830 was perhaps marked by both the old Kapi and Kanada co-existing as evidenced by the kritis of Tyagaraja and of Dikshitar. Given Kanada’s dominance, flavor 1 Kapi probably cast off GMRS and morphed off into flavor 3 Kapi. The flavor 2 Kapi too went into oblivion as it could not sustain its melodic identity against the might of the Durbar. Durbar too sported GMRS and over the 1800’s, its GMRS morphed into GGRS, spelling the death knell for the flavor 2 Kapi.

In so far as the more traditional flavor 1 Kapi, Muthusvami Dikshitar or Svati Tirunal were perhaps the last to compose in this form of Kapi. One can even surmise that by that time (early 1800’s) it was on the verge of extinction and Dikshitar had attempted to resurrect it.

Flavor 3 Kapi derived out of the remnants of flavor 1 managed to survive between the 1800-1850 as evidenced by compositions of Svati Tirunal and the Quartet. The 1800’s also marked the rise of Kharaharapriya the full blown heptatonic melakartha, driven by the emergence of the Sangraha Cudamani and Tyagaraja’s prolific treatment of this raga through his kritis. And to Kharaharapriya, Kapi had to cede its scalar structure which resulted in Kapi losing almost all its melodic identity. Tyagaraja having composed in Kanada and Kharaharapriya might have composed in the old Kapi as well. We do have versions of kritis like Anyayamu Seyakura which is rendered both in Karnataka Kapi (flavor 1 or 3) and in modern Kapi or flavor 4.

The emergence of Kanada and Kharaharapriya meant that even the surviving flavor 3 Kapi had to go as it had little by way of melodic individuality to survive on its own. And so it went on to acquire 3 anya svaras namely kakali nishada followed by antara gandhara and suddha dhaivatha. The modern Kapi had now emerged ( by the latter half of the 19th century) from the skeletal remains of flavor 3 Kapi and today it exists ain a form much different to what it was once upon a time.

The life cycle that Karnataka Kapi underwent was probably also tied with the parallel evolution of the modern forms of the ragas Sahana, Durbar, Nayaki and Andhali. All of these ragas were at one point in time siblings along with Kapi under the Sriraga mela, sharing the motif GMRS and unique gandhara with kampita gamaka. They underwent a skeleton wracking transformation:

  1. Sahana gave up its sadharana gandhara, acquired a full blown antara gandhara with the result that it moved from the Sriraga clan into the Harikambodi/Kedaragaula melakartha/clan. As evidenced by the SSP, one can see that Sahana as captured by Subbarama Dikshitar sported both the gandharas and given the dominance of sadharana gandhara it was placed under the Sriraga mela. The notation of the kritis “vasi vasi” of Ramasvami Dikshitar, ‘Sri Kamalabikayam” of Muthusvami Dikshitar and the tana varna “Varijakshi” of Subbarama Dikshitar can be cited as concrete examples of the older Sahana.
  2. Durbar gave up its GMRS, acquired full ownership of the GGRS. The notation of the Dikshitar composition ‘Tyagarajad anyam najaneham” and that of Kuppusvami Ayya’s kriti ‘Sri venkatesvaruni’ found in the SSP and anubandha respectively can be cited as evidence for the older form of Durbar sporting GMRS.
  3. Nayaki too gave up GMRS and in lieu acquired an exclusive RGRS. The notation of the Dikshitar composition “Ranganayakam” and that of Tyagaraja’s ‘Dayaleni’ as found in SSP are evidences to this effect.
  4. Andhali which was during the times of Venkatamakhi under Sriraga mela, gave up its sadharana gandhara and moved to Kedaragaula mela. The notation of the Dikshitar kriti “Brihannayaki varadayaki” and the rendering of the kriti with sadharana gandhara by Smt T Brinda can be cited as authority for this. This has been discussed in an earlier blog post.

FOOT NOTE 2: Dikshitar’s 3 other kritis published by Sundaram Iyer

We have three more kritis in Kanada attributed to Dikshitar and published by Sundaram Iyer subsequently. They are ‘Veera Hanumate’, ‘Vishveshvaro’ and ‘Balambikaya param nahire’. This apart we have a kriti again in an admixture of Sanskrit, Telugu and Tamil starting as ‘Sri Maharajni’ which was discovered in the manuscripts of the Tanjore Quartet and published subsequently.  The notations of the three compositions as published by Sundaram Iyer and their popular renderings seem to be aligned to modern Kanada rather than the Kapi documented in the SSP. It is indeed debatable whether Dikshitar composed in Kanada given that the raga is not found indexed in the Anubandha to the CDP and Subbarama Dikshitar too hasn’t given the raga in his SSP (though he mentions of a raga called Kanhra, which had gone out of vogue). Also in one of Sundaram Iyer’s publication it’s given that the raga name Kapi is synonymous with Kanada itself without any authority. A similar such reference is found in the Kritimanimalai of Rangaramanuja Iyengar.

In this section we take up just two of the kritis namely ‘Vishveshvaro Rakshatumam’ and ‘Balambikaya’.

The kriti “Vishveshvaro Rakshatumam” has most of its sahitya/lyric mirroring the Samavarali kriti of Dikshitar, “Brihadeesvaro’ documented in the SSP, making us look at this attribution with suspicion. Parking this issue aside ,we take a look at the presentation of this composition by Sangita Kalanidhi Semmangudi Srinivasa Iyer. In this undated concert he prefaces this so called samashti carana composition with an alapana and follows up with a few rounds of svaras. The interpretation in full has Kanada all over it.

Clip 8 :  Sangita Kalanidhi Semmangudi Srivasa Iyer renders Vishveshvaro-Kanada

Vidushi Raji Gopalakrishnan renders the composition, “bAlAmbikAyA param nahIrE” in an AIR Navaratri Concert broadcast from the year 2007, accompanied by Vid Usha Rajagopalan on the violin, Vid Tanjavur Kumar on the mridangam and Vid Raman on the morsing

Clip 9 : Vidushi Raji Gopalakrishnan renders Balambikaayah-Kanada

Again the melodic material of this composition is all but modern Kanada. Both these compositions do not feature the raga mudra but sport the ankita ‘guruguha’.

Credits/Acknowledgements:

The clippings in this blog post have been used for purely educational purpose as illustration only and all copyrights therein lies with the performers or the music distributors.

CompositionAppreciation, History, Raga

‘tyAgarAjEna samrakshitOhaM’ in Salagabhairavi – A Critical Appreciation

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Prologue:

prAthasmArami girijAnkitha vAmabhAgham

bakthAnusaktha hrudayam hrutha-daksa yAgam |

vAthAshanArchita padAmbuja mUrdhnibhAgam

 vandhArupOshamanisham sahajAnurAgam ||

(Meaning: I, SahajA offer my morning salutations to the Lord who took the (daughter of Mountain) Parvati as the left part of His body; who lives in the heart of his devotees, who destroyed Daksha’s sacrifice, who is worshipped by the sages and the one who protects those devoted to Him)

So did the great musicologist King Sahaji of Tanjore belonging to the Royal House of the Marathas pay obeisance to Lord Tyagaraja of Tiruvarur or Arur, in the first of his set of 5 slokas titled ‘Tyagaraja Stotram”. King Sahaji ruled Tanjore between circa 1690-1720 AD and without a child to succeed him, he abdicated the throne in favour of his younger brother Tulaja I and retired to live in Tiruvarur near his ishta-devata, Lord Tyagaraja. Sahaji left us the ‘Ragalakshanamu’ (circa 1710 AD) while Tulaja I gave us the ‘Saramrutha’ (circa 1736AD) both being compendia of ragas along with their lakshanas, as were in vogue at that point in time when they were respectively written. These two treatises together with the Anubandha to the Caturdandi Prakashika (CDP) dateable to circa 1750 AD, form the triad of musicological sources with which we can evaluate the music of the 18th century and particularly that of Muthusvami Dikshitar.

Three quarters of a century after King Sahaji, towards the end of the 18th century the Trinitarian Muthusvami Dikshitar a votary of his music paddhathi of Venkatamakhin propitiated the Lord of Aroor with a series of 8 compositions each of one being in a vibakthi/declension as his offering. Out of them, 7 are found documented in the Sangita Sampradaya Pradarshini (SSP) of Subbarama Dikshitar. This blog post is about one of those compositions which is, ‘Tyagarajena samrakshitoham’ in the raga Salaga Bhairavi set in adi tala.

As always at the outset I begin by exploring the raga’s history and how it was dealt with by Muthusvami Dikshitar.

Overview of the lakshana of Salagabhairavi:

At the outset readers are forewarned that the raga of “Tyagarajena Samrakshitoham” of Muthusvami Dikshitar and the raga of ‘Padavini sadbaktiyu’ of Tyagaraja, as heard today though called commonly as Salagabhairavi,, are melodically not the same. We will deal with the difference at the end of the blog in the context of the raga as defined in Sangraha Cudamani which is the lexicon of the ragas found utilized by Tyagaraja.

We will evaluate the lakshana of the raga as found documented in the Triad and evaluate

  1. where the lakshana of the Salagabhairavi as found in ‘Tyagarajena Samrakshitoham’ sits in the context of the Triad and the
  2. difference between the melodies of Tyagarajena Samrakshitoham’ and ‘Padavini sadbaktiyu’ though both of them are called Salagabhairavi in the context of Sangraha Cudamani.

The Overview of the definitions of the raga Salagabhairavi as dealt with the Triad:

The table below summarizes the lakshana of the raga as dealt with in the treatises which are dateable to different points in time during the 18th Century in the run up to the times of the Trinity.

Attribute/ Lakshana Sahaji’s Ragalakshanamu (Circa 1710 AD) Tulaja’s Saramruta (Circa 1736 AD) Anubandha to the CDP (Circa 1750) – as provided in the SSP
Mela 22 (Sriraga) 22 (Sriraga) 22 (Sriraga)
Svaras varjya or vakra in arohana Dha is vakra and ni is varjya; PDPS occurs along with SNS and SRGR; complete sex or five note sequences do not occur Dha is vakra and ni is varjya; PDPS occurs along with SNS and SRGR;complete sex or five note sequences do not occur Pancama and dhaivatha are varjya in arohana
Svaras varjya or vakra in avarohana Sampurna in the avarohana Sampurna in the avarohana Sampurna in the avarohana
Time of the day it has to sung Fourth watch of the day (tUri yAmE) Fourth watch of the day (tUri yAmE) Last watch of the day (caramE yAmE)

While this is so, if one were to compare the above definitions with the lakshana as found in the Dikshitar kriti “Tyagarajena Samrakshitoham” the chart below would emerge.

SSP/Muddu Venkatamakhin (circa 1750) Muthusvami Dikshitar as evidenced by his kriti ‘tyAgarAjEna samrakshitOham’ Remarks provided by way of commentary by Subbarama Dikshitar
Pancama and dhaivatha are varjya in arohana Dhaivatha is vakra and nishadha is varjya in the arohana and thus the uttaranga becomes PDPS SRGM PDPS/SNDPMGRS The alternated arohana krama is SRGRPMPDPS. Murccanas such as SRMGRPPDPS; NSDPGGRS and SGRMPDPMGRS also occur
Sampurna in the avarohana Sampurna in the avarohana Sampurna in the avarohana

The following conclusions would flow forth from the SSP Commentary:

  1. The raga lakshana as found in the kriti and so notated in the SSP completely deviates from the Anubandha definition as well as from the Subbarama Dikshitar commentary.
    • The Lakshana sloka and the arohana-avarohana murchanas are contradicting
    • The prayogas found notated in the three compositions thereunder are also in contradiction to the stated lakshana sloka
  2. This contradiction within the SSP is reminiscent of the case of Gopikavasanta which we saw in an earlier blog post.
  3. Further the lakshya gita provided in the SSP (“Sri Nanda tanu’) attributed by Subbarama Dikshitar to Venkatamakhin himself has the following prayogas:
  4. SNSDP, SNDPS, PMGR, GGRS, SRMMGRPPDPS
  5. SGR, SMGR, SRGS, PPNPM
  6. Subbarama Dikshitar’s sancara sports the same prayogas found in the above said lakshya gita.
  7. The lakshana shloka found in the SSP beginning ‘sampUrnO sagrahOpeta’ is obviously of AD 1750 vintage probably of Muddu Venkatamakhin and cannot be of Venkatamakhin. For, the original lakshana sloka found in the CDP for Salagabhairavi runs as under (and not as what the SSP says)

               ‘shrIrAga mEla sambhUthO ragaH sAlagabhairavI |

               sampUrna-svara-samyuktA yAmE-gEya-tUrIyakE ||

  • It is well possible that the raga definition had perhaps changed again between AD 1736 (post Saramrutha) and AD 1750 (the time Anubandha was probably compiled) resulting in the change in the lakshana shloka.
  • It is important to note that even the modern-day contour of for Salagabhairavi – SR2M1PD1S/SN2D2PM1G2R2S is even different, to which we will turn to once we analyse the kriti of Tyagaraja in this scale.
  • To state simply, Muthusvami Dikshitar’s Salagabhairavi is
    • aligned more to Sahaji and Tulaja’s version.
    • Aligned also to a fair extent to the lakshya gita ‘Sri Nanda tanu’

And it sports only a sub-set of prayogas from those and eschews the rest. But the conception does not conform to the lakshana shoka provided by Subbarama Dikshitar in the SSP.

It is Subbarama Dikshitar in the SSP who attempts to bridge the Dikshitar version of Salagabhairavi with the one of Muddu Venkatamakhin by providing an alternate arohana/avarohana, as a part of his commentary.

Analysis of ‘Tyagarajena Samrakshitoham”:

With this high-level overview of the theoretical definition of the raga let us move to the kriti. While that may be so what may be of importance for us is to understand Sahaji’s definition and look at the Dikshitar kriti for comparison. The following points would emerge:

  1. Sahaji in his commentary says about complete or 7 note, six note or five note sequences or phrases do not occur. The implication here is that the phrase should not have sequentially svaras beyond 4 notes. Thus, SRGMGR would be how the phrase would flow to stay in conformance to this constraint. One can logically conclude that taking sadja as the starting note, SRGMPDN or SRGMPD or SRGMP phrases would not occur. Similarly taking rishabha next, RGMPDNS or RGMPDN or RGMPD would not occur. Quite oddly Dikshitar kriti lacks SRGM or RGMPD usage whereas we do find RGM usage via RGMGRS for example. As pointed out , the upshot of this would be that Dikshitar’s conception of Salagabhairavi would be closer to the Salagabhairavi of Sahaji rather than the one laid out in the Anubandha to the CDP, which version of the raga drops pancama and dhaivatha in its ascent. And this is a very curious way of raga construction and delineation, probably native to the 18th century or prior.
  2. And both the pallavi as well as the carana of ‘Tyagarajena Samrakshitoham’ begins on the rishabha note. It has to be pointed out that for the ragas under Mela 22 under Sriraga, rishabha is a pivotal note and this raga is perhaps no exception. Thus Dikshitar, perhaps for this raga deemed that rishabha was the jiva svara and so he began the pallavi and the carana on the said note. And for good measure the kriti has the note pancama as svara akshara in a number of places.
  3. In sum Dikshitar in this composition uses the following phrases:
    • Mandhara stayi – Sndp, dpS, Sdp
    • Madhya stayi – SRGM, RGMP, DPS, SNDP, MGRS, RGS, PGRS  
    • Tara stayi – SRMGRS
  4. Phrases such as SNSDP or SMGR found profusely in the lakshya gitam is not found in the kriti.
  5. In the carana for the first two avartas /lines of sahitya he spans mandhara pancama to madhya pancama. And for the next two avartas/lines he spans madhya dhaivatha to tara gandhara and back to madhya sadja. The final madhyamakala sahitya of the carana, as always, he encompasses the entire melodic body of the raga.
  6. Leaving out the 18th century construct of the raga – vide point 1 above- purely from a modern perspective, the perusal of the notation of the composition would show that the murccana arohana/avarohana krama of this raga as per Dikshitar’s conception under          Mela 22 would be as under:

S R2 G2 M1 P D2 P S

S N2 D2 P M1 G2 R2 S

               The above would go with the caveat that nishadha or madhyama or gandhara varjya          prayogas such as SDPMGRS, RPMP, PGR and RGS can also occur in profusion.  

The lyrics of the kriti together with the meaning can be had from here. And with that we move on to hear the renderings of the composition.

Discography:

The version of a violinist:

Oddly in this blog post, I seek to first present a version of this beautiful Dikshitar composition as rendered on the violin by an unknown perhaps amateur artiste, and uploaded on the Youtube, for I found it to be concise, complete, beautiful and a high-fidelity rendering/ interpretation of the notation of this composition found in the SSP. It has been rendered to the accompaniment of the tanpura sruti only. Here are the Youtube and audio links to rendering.                                              

Audio of the above rendering

Let us now turn our attention to the notation of the composition as found in the SSP and do a compare with the above rendering.

  1. I invite attention first to the way in which the kAlapramAnam of the composition has been pegged from start to end. Typically, in recitals, the rendering of a given composition for varied reasons gets accelerated and it will be noticeable towards the end of the composition’s rendering. In this case one can notice that the pace in which the pallavi for example is rendered at the beginning is the same when the song concludes at the end of the 6th minute. The violinist was perhaps helped by the fact that there was no percussion accompaniment. It is generally true that for many vocalists, more so in the case of Dikshitar compositions, after singing the madhyamakala sahitya rarely do they exactly land back to the original tempo/kalapramanam of the sama kala pallavi segment of the composition. More so, this composition is likely to get more than accelerated as it has sparser sahitya conforming to the ati citra tama marga, that we saw in a previous blog post in the context of the Kannada Bangala kriti ‘Renuka Devi Samrakshitoham’.
  2. There are no blemishes, sruti/svara lapses or staccato notes, anywhere in this rendering.
  3. In the pallavi rendering while keeping to the notation a few melodic extensions are done, for example for the sahitya ‘sAgarEna srI’ the violinist employs janta prayogas NNDDP MMGGRRS.
  4. In the anupallavi, attention is invited to the rendering of ‘yativarAdyupA-sitEna-bhavEna’ which goes as ndpSdp-GR.G-MP.P which vocalists do not properly render (see editions below). The phrase “upA” should land on the mandhara pancama and not on the madhya pancama. Moreover, vocalists tend to take a breather/pause just after yativarAdyupA-. The jump from the mandhara pancama(‘upA’) to the madhya gandhara(‘sitEna’) is the beauty here which needs to be listened to. This motif pG repeats elsewhere as Pg, from the madhya pancama to the tara gandhara, in the composition and needs to be highlighted. The violinist does complete justice to the two samakAla lines of the anupallavi, rendering it seamlessly providing us complete satisfaction.
  5. I again invite attention to the continuous playing/phrasing by the artiste of the carana lines each seamlessly segueing into one other resulting in a continuous fluid flow of melody right through the carana.
  6. One would also find that the melodic extensions with which the artiste ends the pallavi, anupallavi or the carana are very aesthetic and in conformance with the lakshana delineated in the kriti proper.

Students of music aspiring to learn this composition ought to do so by hearing this version with the SSP notation in hand. It is complete, for I find it to be a very purposive and aesthetic interpretation of the notation. And thus one is indebted to him/her, for such a splendid rendering, sans any blemish whatsoever.

Other interpretations:

We next present other renderings of Dikshitar’s ‘tyAgarAjEna rakshitOham’. Below are the presentations by a couple of Sangita Kala Acharyas.

Vidushi Suguna Varadacari renders the composition next and is from an AIR Concert of hers.

http://www.sangeethamshare.org/tvg/UPLOADS-1601—1800/1617-Suguna_Varadachari-Thyagaraja_Vibarthi_Krithis/

(Would require Yahoo/Google ID for Log In)

And, the venerable Prof S R Janakiraman renders the composition.

Vidushi Kalpakam Svaminathan a scion of the Dikshitar sishya parampara, recorded the Tyagaraja Vibakti kritis which includes this composition as well, as a commercial album, details of which are here.

Dikshitar’s Salagabhairavi and the popular modern version of the raga as found in Tyagaraja’s ‘padavini sadbaktiyu’:

The modern version of the raga Salaga Bhairavi as available us through ‘padavini sadbakti’ is documented in the Sangraha Cudamani as SRMPDS/SNDPMGRS under Mela 22.  

The legendary vidvans, the Alathur Brothers render the composition in this link, prefaced by a raga vinyasa.

Attention is invited to the opening phrase of the pallavi which begins as SRMP itself. A quick comparison between the raga as found in the composition of Dikshitar and Tyagaraja would thus yield the following table for us:

Muthusvami Dikshitar as evidenced by his kriti ‘tyAgarAjEna samrakshitOham’ Tyagaraja as evidenced by the modern day mettu of ‘padavini sadbakthi’
Dhaivatha is vakra and nishadha is varjya in the arohana Gandhara and nishadha are varjya in the arohana
Sampurna in the avarohana Sampurna in the avarohana
The conception is characterized by jumps and turns as well and more avarohana pradhana/centricity of the raga. Fairly straightforward progression of the raga.

The question whether the scale found in ‘padavini’ being SRMPNS/SNDPMGRS was the original one adopted by Saint Tyagaraja when he composed the same is questionable & not beyond reasonable doubt for the following reasons:

  1. When the raga of the composition ‘padavini’ was discussed in the Music Academy on 26-Dec-1942 (documented in pages 17-18 of JMA XIV, see reference section below) a personage no less than the great Vidvan Tiger Varadacariar, placed on record that he had heard the kriti being rendered with RGMP.
  2. Another musical authority, Sri M S Ramasvami Iyer went on to sing a cittasvaram composed by Patnam Subramanya Iyer for ‘padavini sadbakti’ which incorporated RGM phrase as support /proof for the prayoga having been in vogue.
  3. Prof Sambamoorthi & Dr T V Subba Rao too agreed with the proposition that SRGMP was in vogue and textual authorities too had recorded it.
  4. Justice T L Venkatarama Iyer a votary of the so called Dikshitar school, put forth the case for SRGMPDPS on the authority of the Dikshitar kriti and the documentation in the SSP.

In fact, Sri Tiger Varadacariar even suggested perhaps as a compromise that SRMRGMPDPS can be the recommended arohana krama accommodating the RGMP prayoga. The records of the JMA show that in that discussion that day, Tiger Varadacariar, M S Ramasvami Iyer, Justice T L Venkatarama Iyer & T V Subba Rao were arrayed on one side. However, the acolytes of the Sangraha Cudamani led by the President of the Conference that year, Sangita Kalanidhi Mazhavarayanendal Subbarama Bhagavathar had their way making SRMPDS/SNDPMGRS as the nominal arohana/avarohana krama of the raga, based on the then contemporaneous version of ‘padavini’.

The question thus we are left with is whether RGM and PDPS exists for Salagabhairavi. For, Dikshitar uses RGM and PDPS while the same is not so in the case of Tyagaraja based on the evidence of modern-day version of ‘padavini’ available to us & the lakshana as documented in the Sangraha Cudamani. Also, Dikshitar has utilized prayogas documented by all musicologists of yore right up to Tulaja.

Be that as it may, the discussion in the Academy clearly shows that ‘padavini’ was rendered in the past with SRGMP and not SRMP, indicating the possibility that the modern version/musical fabric of ‘padavini sadbakti’ is probably a “normalized” or “truncated” version. It’s likely that perhaps the original version of the composition was in line with the Salagabhairavi of Sahaji or Tulaja or of Muthusvami Dikshitar which was perhaps the defacto standard during the1800’s. Meaning, Salagabhairavi had vakra dhaivatha & nishadha varjya in the arohana and complete/sampurna in the avarohana and perhaps admitting gandhara varjya phrases as well.

Similar perhaps has the been the fate of ‘manavini vinuma’ a Tyagaraja composition, which is assigned a raga name of ‘Jayanarayani’ not found in any musical record save for Sangraha Cudamani which goes with the arohana/avarohana krama as SRGMPDS/SNDPMGRS under mela 22. It may sound like a ‘conspiracy’ theory but nevertheless it is a matter of great concern that the musical material of very many Tyagaraja kritis especially in eka kriti ragas has been subject to controversy and the available melody as on date/assigned, has not been beyond the pale of controversy. If one were to consider the logic and arguments advanced by the noted critic of the previous century Sri K V Ramachandran, one can conclude or at the least suspect that the ragas of ‘padavini sadbaktiyu’ and ‘manavini vinuma’ were perhaps only Salagabhairavi as documented in Muthusvami Dikshitar’s ‘tyAgarAjEna samrakshitOham’.

One is disconcerted by the fact that disciples or certain lineages have not properly transmitted the composition over the centuries, with the result today, we a corrupted version of what was originally composed. And we need not look far for one more proof, paart from what was placed on record by Tiger Varadachariar as in the case of ‘padavini’. It can be immediately demonstrated with this very Dikshitar composition, ’tyagarajena Samrakshitoham, how tradition can be turned on its head by musicians ignorant of both lakshya and lakshana.

 Here is a modern-day performing musician, Vidushi Shyamala Venkateshwaran who casts the Dikshitar composition ‘Tyagarajena Samrakshitoham’ completely in the garb of the Salaga Bhairavi, not the one expounded by Dikshitar but with SRMPDS/SNDPMGRS as found in the Tyagaraja kriti ‘padavini’) with total impunity and contempt of the authentic notation of the composition found in the SSP.

( The photo used in the video upload is not of the artiste concerned but of Vidushi Rama Kausalya and readers ought to take note of the same)

Not just the kriti rendering, but we have a full suite of alapana and a svaraprastara to boot for this close to 20 min long presentation, providing ripe evidence for us as to how performers/sishyas/sishya paramparas could have and can misinterpret compositions/raga lakshana down the line, doing the greatest of disservice to a composer and his intent. Nothing can be farther from injustice when such musicians are called upon to adjudicate competitions on Dikshitar compositions !

It is indeed sad that this spurious version will most likely be taught to unknowing students of music and will be perpetuated as an authentic edition of the kriti.

Epilogue:

Vigilance they say is the price of liberty and the foregoing is a warning to the discerning listener of our music. Beware of peddlers of spurious music- would be an understatement. However, it is comforting to note that as against these transgressions a non-descript amateur musician is able to hold fort with an authentic interpretation of this rare kriti of Dikshitar, Tyagarajena Samrakshitoham, which was presented first in the discography. And one does wish & pray that known and popular musicians & teachers emulate this worthy example in the days to come and they in turn bequeath an authentic tradition true to the intent of the great composers of the past.

References:

  1. Sangita Sampradaya Pradarshini (Telugu Original 1906) – Tamil edition published by the Madras Music Academy (1961) along with the Anubandha – Pages 462-466 of the 2006 Edition of Vol II: Link
  2. Ragalakshana Sangraha –Dr Hema Ramanathan (2004) – Published by Dr Ramanathan – pp 1173-1180
  3. Ragas of the Sangita Saramruta (1993) – Edited by Sangita Kalanidhi T V Subba Rao & Dr S R Janakiraman-Published by the Madras Music Academy – pp 26-27
  4. The Raga Lakshana Manuscript of Sahaji Maharaja of Tanjavur (1983) -JMA Volume LVI Published by the Madras Music Academy-pp 140-182
  5. Salagabhairavi Raga lakshana Discussion – Proceedings of the Experts Committee of the Madras Music Academy on 26-Dec-1942 – 16th Music Conference – Published in JMA Volume XIV (1943) -pp17-38

Safe Harbour Statement

The recording of the renderings provided through YouTube or audio links as exemplars are the exclusive intellectual property of the artistes concerned. The same has been utilized here strictly on a non-commercial basis, under fair use for study & research, fully acknowledging their rights and no part of it may be copied, reproduced or otherwise dealt without the consent of the artistes or the concerned IP right holders.

CompositionAppreciation, Pathantara, Uncategorized

Sukhi Evvaro – Kanada – An Evergreen Classic

By Ravi Rajagopalan

Introduction:

The composition and the raga need no introduction to a listener of our Karnataka Sangeetam. This blog post is about certain aspects of the raga on one hand and the way the composition has come to be handled over a period of time.

The composition ‘Sukhi Evvaro” is very ubiquitous and the raga even more, for varied reasons as it can be considered to generate greater ranjakatva with both the lay listeners as well as the cognoscenti. So much so the kriti and the raga has come to be handled commonly that the raga as it was and the kriti as it was perhaps, has now come to be forgotten.

While I embark on my narrative, I am not going to deal with the origins of Kanada or its meandering history. Instead I first present the contemporaneous version of the raga and the kriti and then go back by about 100 years just to savour the probably original version that was in vogue then. And this blog post is only about the kriti ‘Sukhi Evvaro” and the Kanada or perhaps its version that was native to it. Nothing else.

Kanada of Today:

Musical texts of today would place Kanada as a upanga janya of the 22nd Mela with a nominal arohana/avarohana krama as under:

S R2 P G2 M1 D2 N2 S

S N2 P M1 G2 M1 R2 S

The Kanada we deal with in this blog post is the one with kosher phrases, marked by a well oscillated gandhara and taking the svaras as above and nothing else. The leitmotif of the raga is the GMRS marked by the oscillated gandhara. The raga in this form and name cannot be traced back to prior to 1850 AD and its present form and contours that it has taken have been more or less between 1850-1950 AD. Suffice to state that none of the authentic pre 1850 AD texts talk of this raga. In fairness it has to be further stated that the melodic Chaya or svarupa that it shares with its sibling ragas such as Karnataka Kapi or Durbar contributes to our confusion about the origins of this raga.

Be that as it may, for the limited purposes of this blog post, the above contours of the raga would suffice along with the following classical features or lakshana of Kanada for which I cite the authority of the commentary provided by the revered Prof. S R Janakiraman (Prof SRJ) in his work, as under:

  • The raga is a melody which cannot be dealt with as is, within the framework of the janaka-janya system. Though the raga is treated as a janya of the 22nd mela Karaharapriya, Kanada shares no link whatsoever with the mela raga.
  • The best way to understand the raga is by learning and understanding the following two varnas which are ‘nikhandus’ or ‘raga katakas’ or the dictionary of Kanada, holding the set of all possible and permissible combinations of the raga’s notes or phrases.
    • ‘Neranamitti’ – Ata tala- Poochi Srinivasa Iyengar
    • ‘Ninne kori’ – Adi Tala – Tiruvottriyur Tyagier
  • In terms of svara progression the following rules apply:
    1. During descent when sadja occurs, dhaivatha becomes varjya. In other words, SNDP does not occur. Either SNP or NDPM can occur, but not SNDP.
    2. SRSSNNPM, NDPDPPMG, MRGMP, SDPD are special phrases occurring in the raga
    3. The raga’s contours can possibly be elaborated as below to accommodate the vakra sancaras which makes the raga blossom forth.

                                S R G M P M D N S

                                S N S D P M P G M R S

  • The arohana krama bears an uncanny resemblance to the raga Sahana, which is where the difference in the way the gandhara is intoned, which differentiates the ragas from one another.
  • In the SRGM phrase by intoning the sadharana gandhara with a ‘nokku’ thereby reducing the ‘frequency’, below the median sadharana levels, Kanada is ‘heard’. The intonation of the gandhara sharply higher than the median value for ‘sadharana’ levels, closer to the antara gandhara will make the same phrase SRGM sound as Sahana. MPMGMR is another phrase where the gandhara’s intonation determines if the phrase is of Kanada or of Sahana. It is perhaps for this slender difference that Hindustani Music has a melody called Shahana-Kanada which harnesses both these sub-varieties of the sadharana gandhara in its melodic body.
  • The key exemplars of this raga are the following compositions
    • ‘Sukhi Evvaro’ and ‘Sri Narada’ of Tyagaraja
    • ‘Vani Pondu’ – the javali of Pattabhiramayya
    • ‘Gauri Nayaka’ – the simhanandana tala tillana of Maha Vaidyanatha Iyer.

When we absorb the commentary as above provided by Porf SRJ, it can be observed that the lakshana of Kanada is characteristically of the 18th century model which we had seen in previous blog posts. The progression of a raga being characterized with jumps, bends, turns and twists with the result that there is no preordained or unique progression in the purvanga or uttaranga section of the raga, is seen in Kanada as well.

Discography for Kanada- The two varnas:

It is to be pointed out that students as well as listeners of music ought to first train their ears and learn or understand the proper lakshana of this raga and hence as prescribed by Prof SRJ, firstly I present the two varnas which may please be heard profitably before we move on to the proper subject matter of this blog post.

I present first the Ata tala varna rendering by the mellifluous Sangita Kalanidhi Smt M S Subbulakshmi, for her clarity of rendering – sahitya and svaras stanas.

I next present ‘Nera nammiti’ by the legendary Sangita Kalanidhi Smt T Brinda, who in this AIR Concert recorded in the autumn of her performing career, still brings to life the composition learnt by her from her mother or grandmother who in turn learnt it first hand from the composer himself, Tiruvottriyur Tyagier.

I invite the attention to the intonation of the gandhara, which is in the lower bounds of the permissible frequency for the sadharana variety of the note. It can be said with the authority of Prof SRJ and with the exemplar rendering of the varnas by Smt M S Subbulakshmi and Smt T Brinda, as above, that the defining aspect of Kanada is the way in which the gandhara is to be intoned. With this point noted, we next turn to the subject matter on hand.

Sukhi Evvaro – Of Tyagaraja

Here is a detailed commentary on the composition along with the lyrics.  Arguably, the most popular versions of the compositions are the ones tracing back to the veterans Ariyakkudi Ramanuja Iyengar and Madurai Mani Iyer and theirs as well, which are available already in the public domain.

I however choose to present the rare and a revelatory version of the composition ‘Sukhi Evvaro’ by the doyenne Sangita Kalanidhi Smt T Brinda.

Smt. T Brinda renders ‘Sukhi evvaro’

Attention is first invited to her raga vinyasa wherein she lays out the lakshana of the raga with the kriti firmly in her mind. Hark at the subtle oscillations she gives to the gandhara, the dhaivatha and the nishadha and how she caresses those notes even as she coaxes and cajoles the melody out of them, drawing upon her tutelage under Kancipuram Naina Pillai. The rishabha is perhaps the jiva svara of mela 22 ragas of yore including its ancient titular head Sriraga. And no wonder the anscestry is drawn upon for the eduppu of this composition which begins with the steady janta rishabha. Never does she deliver a sangati not aligning to this take off note.

A number of observations invite our attention to the rendering of the maestro, as under amongst others:

  1. The pace and the rhythmic gait of the rendering and how she changes it at the carana
  2. The eduppu of the composition at the rishabha as RRGGM – RPPMGGMRS-RRGGM, as pointed out earlier with the take off being a steady rishabha
  3. The way the gandhara, dhaivatha and the nishadha are oscillated. In fact at ‘nityamai’ in the carana one wonders whether the arohana krama is MPNNS, with the nishadha carrying the shades of the dhaivatha as well.
  4. The gandhara is always intoned at or less than sadharana levels and never being rendered sharper anywhere and is duly ornamented with the oscillated/kampita gamaka

All these key points hold our attention making this version of the composition unique and, in my opinion, it is in complete consonance with the Kanada delineated in the varnas and thus forming the gold standard or exemplar of the raga as it was in the closing quarters of the 19th Century. With due respects to all great vidvans/vidushis of the past and the present, it has to be frankly said that much liberties have been taken both with the raga and this composition as evidenced by the renderings of the same as available tu us today.

In so far as the composition is concerned while the common complaint could be the speeding up of the kriti, yet what is especially notable is the license and liberty taken with the gandhara svara. Almost as a rule the gandhara of modern Kanada has become sharper and less oscillated than what it was once upon a time. Is it the urge to tint it with the so- called Hindustani touch to make it closer to Durbari or Malhar? One does not know. Suffice to say that the Kanada of late 19th century vintage as embodied by this version of Smt Brinda has now been lost and nowhere heard on the modern concert platform.

I leave it to Prof SRJ who in this video between 5.49 and 9.06, waxes eloquent of this version of ‘Sukhi Evvaro” of Smt T Brinda contrasting it with the version that was taught to him by the Flute maestro Svaminatha Pillai. Watch how emotional and passionate he becomes as he recounts that experiance of hearing her sing the composition. QED.

Prof SRJ reminisces on T Brinda’s ‘Sukhi Evvaro between 5:49-9.06 of the clip

Conclusion:

There is nothing more to be said or added and I conclude this post by leaving a thought. As a listener or as a performer one needs to constantly evolve and develop ‘discernment’ in other words, the behavioural attribute to ‘discern’ – the dictionary meaning of which is “distinguish (someone or something) with difficulty/ effort by sight or with the other senses”, the close Tamil word being பகுத்தறிதல்.

We need to discern and discover the truly beautiful versions of great works of art /composition and perhaps only listen or learn them as the case may be. ‘Sukhi Evvaro” of Smt T Brinda is a work of art, an exemplar in its true and only sense and one can’t but silently second the view of the revered Prof SRJ.

References:

  1. Raga Lakshanangal -Part II (Tamil) (2009 Edition) – Prof S R Janakiraman- Published by the Madras Music Academy -pp 78-80

Safe Harbour Statement

The recording of Smt T Brinda as well the renderings provided through YouTube links as exemplars are the exclusive intellectual property of the artistes concerned. The same has been utilized here strictly on a non-commercial basis, under fair use for study & research, fully acknowledging their rights and no part of it may be copied, reproduced or otherwise dealt without the consent of the artistes or the concerned IP right holders.

Repertoire

Tyagaraja Mahadvajaroha – The Magnum Opus in Sriraga

चतुर्णां  पुरुषार्थानां  त्यागं  अस्मात्  कर्तोत्यतः  | 
त्यागराजम्  इति ख्यातं  सोमास्कन्दम्  उपास्महे  ||

caturṇāṃ  puruṣārthānāṃ  tyāgaṃ  asmāt  kartotyataḥ  | 
tyāgarājam  iti khyātaṃ  somāskandam  upāsmahe  ||

(Meaning: I offer my obeisance to that Lord Somaskanda renowned as Tyagaraja, and known so for sacrifice (i.e the sacrifice of karmaphala leading to liberation) among the four purusharthas.

(Venkatamakhin’s – Invocatory sloka in his Caturdandi Prakashika, Circa 1620AD)

Prologue:

And so prayed Venkatamakhin, the revered grand sire of our music and musicology to the great Lord of Tiruvarur who was the God head for the then reigning Kings of Tanjore, the Royal House of the Nayakas, as a prelude/benediction to his treatise the “Caturdandi-Prakashika”(CDP). Venkatamakhin by that single act had consecrated Lord Tyagaraja as the fountainhead of the music of Tanjore and all that of Karnataka Sangitam. More than 150 years later, the Temple at Arur had a unique relevance and nexus to Muthusvami Dikshitar, for he apart from being born at Tiruvarur went on to compose a number of kritis on Lord Tyagaraja and those countless deities that adorn the massive temple complex.

One such kriti on Lord Tyagaraja is “Tyagaraja Mahadvajaroha” in Sri raga, by Muthusvami Dikshitar who in the illustrious tradition of Venkatamakhin pays his obeisance to the Lord, which has a number of unique significances in terms of music and the lyrics. And this kriti is rarely heard in modern concerts. The kriti struck a chord in me as I read two particular texts, one being the translation of “Sri Tyagesa Maharathosava Varnana Parishloka” of the revered Mahamahopadhyaya Mannargudi Raju Sastrigal and the other being Dr B M Sundaram’s ‘Alaya Vazhipatil Isai’. The kriti ‘Tyagaraja Mahadvajaroha’ offers a pen picture of the Panguni Festival of Lord Tyagaraja and is unique in that aspect as there exists no such similar composition comparable to its underlying concept or grandeur.

Tiruvarur is one of the sapata vitaka ksetras and the rituals and rites associated with the Temple are found documented in the Siva Purana, a copy of which forms part of the manuscript collections of the Sarasvati Mahal Library, Tanjore. Conventionally speaking the Vasantotsvam or the Panguni Uttiram festival of the Temple lasts for 51 days (mark the concordance of the number with the syllabary of Sanskrit language) of which about 36 days are reserved for festivities for Lord Tyagaraja and for Lord Valmikanatha (the presiding deity or the moolavar of the Temple).

 Lyrical Background to the Composition:

The kriti is obviously a narrative of the festivities of the Vasantotsavam, the Spring Festival celebrated during the Tamil month of Panguni corresponding to the months of March-April of the Gregorian calendar. This festival consists of a sequential set of processions and festivities as under:

  1. Dhvajarohanam – flag hoisting to mark the beginning of the festival.
  2. Processions of the parivara devatas – Ganapathy, Subramanya and Bhairava
  3. Processions of the Lord on the Gaja (Elephant), Vrushaba (Bull) and Kailasa vahanams or mounts
  4. The Azhi Ther or the Great Car Festival on the asterism of Aslesha (Star Ayilyam)
  5. Ajapa natanam by which the Lord in procession dances in a slow cadence of the natana which is native to the Tyagaraja of Tiruvarur. A form of natana is ascribed as being unique to every one of the sapta-vitanka ksetras.
  6. Teerthavari in the Kamalalaya tank or the ritual cleansing towards the end of the festivities.
  7. Pada-darshanam – Year throughout, the feet of Lord Tyagaraja are covered with flowers and cannot be sighted at all. Pada darshanam is exclusively done twice a year by which His right foot alone is beheld for darshan during the Panguni Festival and the left foot alone can be similarly beheld during the Tiruvadirai Festival. Legend has it Sage Patanjali is given the darshan of the right feet (pAdam) during Panguni Festival while Sage Vyaghrapada is similarly given darshan of the (other) left feet/pAdam during the Tiruvadirai Festival. This ritual of Eka pAda darshanam has been masterfully woven into the lyric, the musical significance of which we will see shortly.
  8. Procession by Lord Chandrasekarar in the paarvetai or the customary hunt and on festival days as the utsava moorti/representative icon of Lord Tyagaraja.
  9. The celestial wedding ceremony of the Lord whence He becomes Lord Kalyanasundaresvarar.
  10. Conclusion of the edition of the festival with the procession of Chandikesvarar

The kriti apart from cataloguing all these celebrations in the festival seriatim in its lyrics. has references to the following:

  • Use of the nagasvara, maddala and such other instruments during the festival. From the point of view of (dviteeyakshara) prasa, since the consonantal letter occurring across the pallavi and anupallavi is ‘ga’ – (tyAga, yE-ga, Aga, nAga, yAga and bhOga), it is deduced the musical instrument is to be called ‘nAgasvaram’ and not ‘nAdhasvaram’ as we refer to it popularly.
  • The application of Krishna Gandha or the black perfume – One may refer to this article by Dr Nagasvami on the perfume.
  • Lord Tyagaraja is expounded by the Vedas, is the Lord of the Eight- fold path and who has the ambrosial elixir itself as his Offering.

The reference to the eight-fold path (yamadi-ashtanga-yoga) is reminiscent of the same phrase used in ‘Sri Matah shivavamanke’ (Begada) and the ‘bodhamrutha’ is the one that Dikshitar seeks from Lord Jambukesvara (vide the phrase ‘ananda-amrutha-bodham dehi’ occurring the Yamuna Kalyani kriti ‘Jambupate Mam pahi’). Though not found in the Sangita Sampradaya Pradarshini, the Margahindola kriti “Chandrashekaram sada bhajeham” too carries references found in this kriti such as ‘suddha maddala’, ‘ashtasiddi dayakam’, ‘ashtapasha hara teerta vaibhavam’ and ‘ajapa-natana-ananda-vaibhavam’. The kriti is also replete with philosophical doctrines and precepts along with the reference to the ‘ajapa’ (meaning un-recited) propitiation of Lord Tyagaraja , an esoteric yogavidya forming part of the hamsa natanam signifying the supreme vedic concept ‘hamsah-soham’,symbolizing the inward and outward breath– as being in the cadence of the ajapa nartanam- of Lord Mahavishnu who is said to be in deep meditation on Lord Tyagaraja.

From a lyrical standpoint, the sequential references to the said spring festival, the way the narrative has been seamlessly woven as a flowing lyric and the prasa concordance – the letter ‘ga’ for the pallavi and the anupallavi and the letter ‘sh’ for the carana section forms the ornamentation for the composition. That apart as always, Dikshitar weaves in his signature/mudra as well as the raga name into the fabric of the composition. It is highly likely that one year, having witnessed the festivities he must have been so enraptured and taken in by the spirit of the festival that he went on to compose the same in an auspicious and benedictory raga, being Sriraga.

The text of the kriti together with the general meaning of the lyrics can be gotten from here.

Musical Background to the Composition:

In the Sangita Sampradaya Pradarshini there are 4 compositions listed out as having been composed by Muthusvami Dikshitar in Sriraga and this is one among them.

1.      Sri Muladhara Chakra Vinayaka

2.      Tyagaraja mahadvajaroha

3.      Sri Varalakshmi Namastubhyam

4.      Sri Kamalambike Sive Pahimam

Apart from the above, the pallavi portion of the caturdasa ragamalika ‘Sri visvanatham bhajeham’ (found in the Anubandha to the SSP) is in Sriraga. The choice of Sriraga for this composition, ‘Tyagaraja Mahadvajaroha’ is hardly surprising given the pithy commentary which Subbarama Dikshitar provides for the raga and its greatness therein.

The following is the summary:

  1. Sriraga’s life blood is the rishabha which is both the jiva and nyasa svara.
  2. The gandhara note is vakra, occurring in the avarohana krama.
  3. Dhaivatha is alpa or rare in its usage and in a composition occurs only once in its body.
  4. RGRS and PDNP are the leitmotifs of the raga.
  5. The raga is classified as a ghana raga and is the preferred or appropriate melody for exposition by accomplished vaineekas.
  6. The raga is to be sung in the evenings and confers auspiciousness whenever it is sung.

In line with the above key lakshanas of the raga, when we view the musical setting of ‘Tyagaraja mahadvajaroha’ the following would become obvious:

  • Recognizing the primacy of the rishabha note and as if to reinforce the same, Dikshitar repeatedly begins every section of this composition, pallavi, anupallavi and carana only on the rishabha note.
  • The alpa dhaivatha occurs once in the composition at ‘pAda darshanam’ in the carana.
  • The composition spans all the 3 octaves from mandhara pancama to the tara gandhara
  • The musical phrases RGRS, P/r and M/N occur in profusion in the composition apart from the singleton PDNP.

Dhaivatha in Sriraga and the its unique usage in this composition:

As Subbarama Dikshitar points out, the dhaivatha note is rare or alpa and he says that on the authority of the lakshana shloka he cites in the SSP ascribing it to Venkatamakhin. It has to be pointed out here that the sloka which is cited in SSP is likely that of Venkatamakhin’s descendant Muddu Venkatamakhin, as the sloka cited in the SSP is at variance with the lakshana sloka for Sriraga found in the CDP. The sloka in the SSP, tracing to the Anubandha of the CDP refers to the alpa dhaivatha whereas the sloka for Sriraga found in the original CDP makes no reference to the dhaivatha usage in Sriraga.

Musicological history reveals to us that Sriraga is an old and hoary raga probably as old as our music itself. According to Venkatamakhin himself in his CDP:

śrīrāgah paripurno’pi ga-dha-yoḥ sthāna varjitah |
geyah sāya samayĕṃ sarvasampat pradāyakaḥ ||  

Meaning: Sriraga is sampurnam/complete with gandhara and dhaivatha being dropped and is to be sung in the evening and which confers all fortunes.

While in Venkatamakhin’s scheme, Sriraga corresponds to the 22nd combination, it was King Shahaji who in his work “Ragalakshanamu’ (AD 1720) anointed Sriraga as one of the 19 melakartas and indicates for the first time in the musical history of the sparse occurrence of dhaivatha in the raga. The same is echoed subsequently by both Tulaja in his Saramrutha (1736 AD) and by Muddu Venkatamakhin (circa 1750 AD) in his raga compendium titled ‘Ragalakshanam’ of the so called Anubandha to the CDP.

Thus, in short it can be surmised that in so far as the music of Tanjore is concerned, the dhaivatha note made its foray into the raga only circa 1700 AD, with the convention that it should be alpa/sparse in its usage, appearing only once in a composition. Subbarama Dikshitar too in his SSP provides an older (prior to AD1700 possibly) Raganga Lakshya Gita (with the refrain ‘Sri Rukmini kalyana karana’) for Sriraga without the dhaivatha prayoga.  The feature of ragas sporting alpa prayogas is an architectural construct of 17th Century music, completely lost today in modern day musicology which by its arohana/avarohana obsessed approach is devoid of mechanisms to capture such quaint features of raga lakshana. (See Foot Note 1)

In so far as the dhaivatha usage amongst the 5 compositions of Muthusvami Dikshitar listed above, the following observations can be made.

  1. Sri Muladhara chakra – Dhaivatha does not at all occur in the composition.
  2.  Tyagaraja mahadvajaroha – occurs once at ‘pAda darshanam’ as PDNPMRGR.
  3.  Sri Varalakshmi – occurs once at ‘keshava hrutkelinyai’ as PDNP.
  4. Sri Kamalambike – occurs once at ‘Srikari sukahari’ as PDNP.
  5. Sri Vishvanatham – occurs once at ‘dharanAntahkaranam’ as PDNP

It has to be thus noted that:

  • The occurrence of the dhaivatha note is just once in the entire composition and
  • It is through the usage, not as a standalone note but as a musical phrase PDNP and not otherwise.

Thus, one can state that ‘Sri Muladhara Chakra’ was composed by Muthusvami Dikshitar in the older/archaic Sriraga, bereft of the dhaivatha note and the others were composed in the later/contemporaneous version of the raga, strictly adhering to the singleton dhaivatha usage.

And from a rendition perspective possibly in line with the edict of the purvacharyas as alluded to Subbarama Dikshitar, the dhaivatha laden phrase PDNP should be dealt with in any expositional segment alapana, tanam, kriti, neraval or svaraprastara by any performer, by using the dhaivatha note only once.

In so far as this composition ‘Tyagaraja mahadvajaroha’ goes the dhaivatha note occurs via the phrase PDNP only once in the lyrical portion ‘pAda darsanam’ right at the very end of the composition. In other words:

  1. It has been used by Muthusvami Dikshitar to signify the eka pada darsanam i.e the once a year occurrence of the pada (right pada in this case) of Lord Tyagaraja.
  2. The same is signified beautifully through svarakshara usage with the words ‘pAda darsanam’ set to the musical cadence P D dnp thus rhyming with the lyric as well.
  3. The lyric ‘pAda darsanam’ quaintly occurs at the very end of the charana (equivalent of pAda) segment of the composition just ahead of the grand finale being the madhyama kala sahitya portion.

Thus, the way the dhaivatha note and the phrase PDNP along with the festive event namely the ‘eka pAda darsanam’ has been conjoined lyrically and musically by Dikshitar elegantly while architecting the composition is an ornamentation or a marvel to be enjoyed, as one beholds it while hearing or singing.

DISCOGRAPHY:

The kriti ‘Tyagaraja Mahadvajaroha’ is rarely heard on modern concert platforms and therefore there are just a handful of renderings most possibly being learnt from notation directly from the SSP. And amongst those there are two rendering styles, on being in a slow and sedate pace while the other being in a tad faster yet sprightly mode.

Presented first is the rendering of the same by Sangita Kala Acharya Smt Seetha Rajan and her disciples in the tad faster kAlapramAnam /speed of rendering.

Smt. Seetha Rajan – tyAgarAja mahA dhvajarOha – Sri – Dikshitar – YouTube

It is my considered view, based on the notation in the SSP, the way the second kalam phrases are constructed, given the sparser kampita gamaka notes and profuse straighter notes and the pace set by the madhyama kala sahitya the composition has to be rendered in a faster kAlapramanam /tempo. It must be remembered that the 2nd kalam phrases must be rendered with felicity on the veena and that would be the benchmark optimal tempo that would be appropriate for the composition.  And off course the rendering has to be taut so that one doesn’t get breathless while rendering the madhyama kala sahitya portion.

Presented next is a slower & sedate edition of the composition together with a narrative by Vidushi Gayathri Girish.

https://www.youtube.com/watch?v=cymA-Zy6yfA

 With great respect it has to be mentioned that this pace of rendering/ kAlapramAnam appears dragged and not sitting well with the composition. If rendered slowly, given the preponderance of straight notes, one has to depart from the given notation in the SSP by rendering quite a few of the said notes/phrases with a prolonged kampita gamaka in order to keep the rendering on an even keel.

The composition needs to be rendered in what Sangita Kalanidhi Vedavalli would call as the madhyama-kAlapramAnam, in contrast to the slower vilamba kAlam or the still faster dhruta kala, the basal speed of rendering of a composition. The innate kAlapramAnam native to a raga or a composition is an aspect which has to be considered in the case.

The above 30 min summary ( in Tamil or Tanglish) of the aspect of kAlapramAnam of a raga or of a composition and how one needs to be aware, is a compulsory must hear and I would greatly commend the same for hearing.

Sriraga like Atana is innately suitable for madhyamakala rendering and further given the construct of the composition and the reasons I have provided hereinabove, the tad faster rendering is the most optimal and appropriate for this composition.

CONCLUSION:

I conclude this blog post with the rendering of a delectable tanam in Sri raga by the renowned Vaineeka Mysore Doraiswamy Iyengar in this YouTube audio recording starting at 44:40.

https://www.youtube.com/watch?v=6rUOMv5UJuc&t=117s

Attention is invited as to how he starts the Sri raga tanam on the prolonged rishabha note. He renders the tanam in the known sequence of Natta, Gaula, Arabhi, Varali, Sri the so called ghana raga pancakam followed by Kedaram as well, which is part of the dviteeya ghana raga panchakam.

It is hoped that performers and students of music would stay cognizant of the subtle nuances of ragas and of our musical traditions such as beginning a raga unambiguously on its jiva svara( for example by intoning the rishabha in Sriraga) or by using the dhaivatha note therein only once in deference to sampradaya, even while reserving their spirit of innovation and discovery within the four corners of established tradition.

References:

  1. Sangita Sampradaya Pradarshini (Telugu Original 1906) – Tamil edition published by the Madras Music Academy (1961) along with the Anubandha – Pages 445-456 of the 2006 Edition of Vol II and Pages 1203-1208 of the 2006 Edition of Vol V. The English version of the original Telugu edition is available online here: Link
  2.  Ragalakshana Sangraha –Dr Hema Ramanathan (2004) – Published by Dr Ramanathan – pp 1326-1341
  3. The Tyagaraja Cult in Tamil Nadu- Dr Rajeshwari Ghose (1996)- Published by Motilal Banarasidass Publishers P Ltd -ISBN-10: 81-208-1391-x or ISBN-13: 978-8120813915

    FOOT NOTES:

  1. ALPA PRAYOGAS OR RARE USAGE

The ‘alpa’ dhaivatha usage of Sriraga is reminiscent of the ‘alpa’ rishabha usage in the raga Hindolavasanta, which we saw in an earlier blog post. The feature was also highlighted in the case of raga Yamuna Kalyani were the suddha madhyama (M1) note is fleetingly used via the Gm1RS prayoga as seen in Dikshitar’s ‘Jambupate Mampahi’ which again was dealt with in an earlier blog post.

Alpa prayogas were probably a performance technique, which probably made its way to the grammar of the raga and which was devised or intended to produce a proverbial ‘Aha’ moment to a listener during the course of a performance. A discerning listener, who being aurally satiated by the raga svarupa with the conventional or regular notes and prayogas of the raga, during the performance suddenly encounters the supposedly rare foreign note, rendered by way of an alpa prayoga, providing a sensory jolt. While we see the tradition sanctified alpa prayoga usage in the exemplars – Sriraga, Hindolavasanta and Yamuna Kalyani, from a modern perspective as we see in practice, the raga Atana is a case in point.

https://www.youtube.com/watch?v=1Muijzy7SoI

Sangita Kalanidhi M S Subbulakshmi as a prelude to Tyagaraja’s ‘Ela Nee daya’ first embarks on a raga vinyasa of the raga Atana parking herself firmly within the traditional bounds of the raga, from 0.29 to 2.33. Mark how pithily without repetition she paints the picture of the raga and rightly concludes it at the tara sadja, as this raga best blossoms forth in the upper reaches of the octave. From 2.34 – 4.14 of the clipping, Sangita Kalanidhi M S Gopalakrishnan(?), her accompanist on the concert embarks on his vinyasa. And at 3.49 he injects the tAra antara gandhara, explicitly for that fleeting moment to produce that contrast in a raga which sports a more oscillated sadharana gandhara, despite being categorized under Melas 28 or 29. It has to be mentioned that the raga and its lakshana is yet another worthy subject matter for a serious blog post.

 ACKNOWLEDGEMENTS & SAFE HARBOUR STATEMENT:

The renderings provided through YouTube links as exemplars are the exclusive intellectual property of the artistes concerned. The same has been utilized here strictly on a non-commercial   basis, under fair use for study & research, fully acknowledging their rights and that no part of it may be copied, reproduced or otherwise dealt without the consent or permission of the artistes concerned or the IP holders thereof.