Pathantara

CompositionAppreciation, History, Pathantara, Raga

“SARASAALANU” – THE LONG FORGOTTEN OEUVRE OF PONNAYYA , THE TANJORE QUARTET

June 29, 2021June 29, 2021 by ravi rajagopalan

( The featured image above of the Lord Brihadeesvara Temple at Tanjore is a photograph of Samuel Bourne, taken circa 1860 AD going with the caption” Great Pagoda and Stone Bull, Tanjore” – Image courtesy : The British Library)

Prologue:

In a previous blog post we had looked at the antecedents and the flavors of the raga Karnataka Kapi. Since then, I happened to encounter a rendering of the rare cauka varna “sarasAlanu” in the raga, composed by Ponnayya of the Tanjore Quartet, on YouTube. I had fleetingly referred to this particular composition in the aforesaid blog post. And therefore, in this blog post I propose the take the reader through this composition in detail and relish its beauty from multiple dimensions.

It is to be noted that the raga of sarasAlanu is always given as Kapi. In view of the different variants of the raga which exists in our world of music, in this blog post I am referring to the raga of the composition as Karnataka Kapi, which name came about to signify that it was an older form and not the later day versions.

Clones in our world of Music:

But before that I seek to present a few aspects of some of the timeless & great compositions which have been in vogue in our world of music. Subbarama Dikshitar in his works waxes eloquent about a varna in the raga Navaroz of Karvetinagar Govindasamayya and of a svarajati in Huseni by Melattur Virabhadrayya. Seemingly these compositions had captured popular imagination during those times so much so that a number of copies or look-alike compositions came to be composed, virtually with the same musical setting or mettu of these magna operas. The Navaroz varna is today virtually extinct. Melattur Virabhadrayya’s lilting Huseni svarajati which in its original form too is today extinct, spawned at least 3 clones “emAyalAdira”, emandayAnara” and “pAhimAm brihannayikE” with attributions to Patchimiriyam Adiyapayya, the Tanjore Quartet and Svati Tirunal. The version recreated by Adiyappaya being “Emandayanara” was salvaged and is found presented in the Sangita Sampradaya Pradarshini by Subbarama Dikshita. The Quartet version is documented in the “Tanjai Naalvar Manimalai” and the version attributed to Svati Tirunal can be found in Vidvan T K Govinda Rao’s compendia of his compositions.

In other words, if the melodic material /dhatu or mettu of a composition is so bewitching, it was never frowned upon as plagiarism if it were simply cloned with different set of lyrics, as if to validate the saying “Imitation is the sincerest form of flattery”. And being in public knowledge, no attribution was considered necessary, perhaps. It can also be seen that the dhatu of a couple of the compositions of Muthusvami Dikshita and Tyagaraja do match, for example “gananAyakam” and “srI mAnini”. Whether they are mutual copies or whether the two Trinitarians composed their version basing it on a then popular tune, of a now extinct piece, is not known. Rather the point to note is that it brings no discredit to Dikshita or Tyagaraja for having composed in a common tune for we know that their work was only in honor of the tune and its melodic appeal and their composing capabilities were beyond reproach.

Be that as it may, the subject matter varna “sarasAlanu” too has a similar such “clonal” history in that in its mettu or musical score, there exist one other composition being “sUmasAyaka” with attribution to Svati Tirunal. There are reasons to believe that the subject matter varna sarasAlanu is the likely original one while sUmasAyaka, which is more famous is the clone or copy subsequently created. We will examine this conjecture as well as the originality or uniqueness of this composition in this blog post.

“sarasAalanu Ipudu” in Karnataka Kapi of Thanjavur Ponnayya:

The aforesaid attribution of this composition, which is a cauka varna (more commonly called as a pada varna) to Ponnayya is on the authority of the “Thanjai Naalvar Manimaalai” published by Sangita Kalanidhi K P Sivanandam, a descendant of the Quartet. As we know the Tanjore Quartet of Chinnayya, Ponnayya, Sivanandam and Vadivelu were acknowledged disciples of Muthusvami DIkshita. Initially they ornamented the Tanjore Court of King Sarabhoji circa 1800 as AstAna vidvAns. Likely AD 1825 or thereabouts the Quartet of brothers, fell out of royal favour, left Thanjavur and thereafter sought new patrons for their art. While Chinnaya found patronage in the Mysore durbar, Sivanandam and Vadivelu became the AstAna vidvans of Maharaja Svati Tirunal of Travancore. This background becomes important in the context of the fact that subject matter cauka varna in Telugu “sarasAlanu”’s sibling or clone “sUmasAyaka vidurA” is attributed to Maharaja Svati Tirunal himself and which ironically is more popular on the concert circuit.

It is quirky that, “sarasAlanu”’s very existence is unknown to many, save for the few cognoscenti today who may have heard it during the mid-20^th century, featured in the dance recitals of the famous danseuse Balasarasvati, whose guru Kandappa Nattuvanar was a direct descendant being the great grandson of Ponnayya himself. It is no surprise that this composition of Ponnayya thus came to be part of Balasarasvati’s performance repertory. I will elaborate more on this in a little while.

Let us now look at the lyrical aspect of the cauka varna as well as the meaning before we proceed to dissect the melodic aspects of the composition.

Lyrics:

Cauka varna- raga Kapi – Tanjore Quartet Ponnayya

Pallavi:

sarasA ninnu Ipudu marimAnarA vinarA calamElarA (sarasA)

Anupallavi:

karunAkara ghanudaU vinu dhAri dI puna ithikO

nirathambuga iga jErarA brihadIsvara cAla

muktayisvara sahitya:

bAgAyarA prEmanunE ninnu nammi nAnu sArEku nu kAminula mOhamuna kunu sadaya

cakkani kucha mulnu kuliki nI jigibigi kAradhUla muddukanu nannu thAsOga sugA kalayarA samayamu (sarasA)

Caranam:

mAninI vErA nA sAmI

ettugada svara sahitya

rA rA nA sAmigA jAlamElarA (mAninI)
mA-na ghanamainamA- dhOravukAvu mA-tavina vEra mA-rasakumAra (mAninI)
sAramuga jEra ninnu kOritijE vELanu dhayarani nuni ramana sAraganadA rakikA (mAninI)

Note: There is no sahitya for the 4th ragamalika ettugada svara section

It needs to be pointed out that the composer of this cauka varna as recorded is Ponnayya, the second amongst the brothers forming the illustrious Tanjore Quartet. The name is often confused with Tanjavur Ponniah Pillai (1888-1945), a Sangita Kalanidhi and another scion and descendant of the Tanjore Quartet being the great grand son of Sivanandam. This Ponniah Pillai too composed many musical pieces as well and therefore the reader should not be confused as between the Ponnayya of the Quartet and Ponniah Pillai his descendant of the 20^th century.

**(THE GENEOLOGY CHART DETAILING THE LINEAGE OF THE TANJORE QUARTET)**

Analysis:

The opening words as given in the book is ‘sarasA ninnu’ whereas the renderings and popular references to this composition have the opening words as ‘sarasAlanu’. As the lyrics would show, the Quartet’s mudra being “brihadIsvara” adorns the composition. It may be pointed out that Lord Brihadeesvara was the titular deity of the Tanjore Royals. The “Tanjai Nalvar Manimalai” of the Quartet’s descendant Sangita Kalanidhi K P Sivanandam assigns the composition to the authorship of Ponnayya and given this set of factors, it can be reasonably surmised that the composition was certainly composed when the brothers were in the Tanjore Court much before Vadivelu found patronage in Travancore.

It is likely that after Vadivelu became the astana vidvan in Svati Tirunal’s Court, he must have rendered his brother’s sarasAlanu before the Maharaja. Much enamored by its beauty, the Maharaja must have proceeded to ruminate and come up with the equivalent Sanskrit lyrics, with the appropriate svaraksharas and prAsA concordance to match the musical fabric of sarasAlanu. And thus, “sUmasAyaka” must have been born which had since then become ubiquitous given its royal ancestry eclipsing the original of Ponnayya.

I surmise that “sarasAlanu” was thus the one which was first composed when the Quartet ornamented the Tanjore Court, as it is vested with the mudra or colophon ‘brihadIsvara” which is seen in almost all compositions of the Quartet, when they are created during their Tanjore residency. After the brothers left the Tanjore Court, their compositions came to be invested with the pOShaka mudra or that of Padmanabha as in the case of Vadivelu. For example, Chinnaya’s Karnataka Kapi tillana “dhIM nAdhru dhIm dhIm” in Adi tala goes with the pOshaka mudra “cAmarAjendra” the Maharaja of Mysore. Similar is the case of the Kamalamanohari tana varnam in adi tala.

Prof R. Srinivasan in his erudite article “Music in Travancore” published in the Journal of the Madras Music Academy (Volume 19- 1948 – pages 107-112) makes this telling statement:

“Among the varnas, the one in Kapi beginning with “Suma Sayaka” is well known and at the same time technically of a high order. It is understood that Vadivelu influenced a large extent the music of it” (Emphasis is mine)

Therefore, for all the aforesaid reasons I would forcefully argue the case that sarasAlanu served as the model for sUmasAyaka and not the other way around. Though the two compositions can simply be labelled as clones of each other with much similarities, yet a few points of differences are seen between them, though melodically they are the same.

To restate the obvious, “sarasAlanu” is in Telugu with “brihadIsvara” as the colophon, while “sUmasAyaka” is in Sanskrit with “sarasIruhanAbha” as the colophon.
Both are set in Karnataka Kapi and in tisra eka tala in the cauka varna format with a pallavi, an anupallavi with muktayi svaras followed by a carana section with multiple ettugada svaras sections thereafter to follow.
For both the varnas, the last ettugada svara section is structured as a ragamalika with 4 ragas, which finally segues seamlessly into Karnataka Kapi.
Barring a few and minor differences in the music/svara setting, the three critical differences seen between the two compositions are as under:
1. sarasAlanu has sahitya for the muktayisvara section of the anupallavi and for the ettugada svara sections of the carana; Whereas sUmasAyaka does not have such sahitya for the said sections.
2. The final ettugada svara section of sarasAlanu features Hamir Kalyani, Vegavauhini, Vasanta and Mohana; sUmasAyaka instead has Kalyani, Khamas, Vasanta and Mohana. Each of the raga sub sections span 2 avartas of tisra eka tala of 3 beats each.
3. The last tala beat of the final raga malika section in Mohanam directly transitions to the carana refrain ‘mAninI’ in sarasAlanu ; Whereas in sUmasAyaka the last tala beat of the final raga malika section in Mohanam has Karnataka Kapi svaras which then transition to the carana refrain

And without much ado let us first proceed to hear the composition before we embark on dissecting and learning some of the other aspects.

Discography – Part 1:

sarasAlanu is today all but forgotten. One may say that given its melodic identity being exactly like sUmasAyaka it did not survive. But the fact remains that sarasAlanu is unique for the aforementioned contrasting features and melodically distinct therefore from sUmasAyaka with the result that it deserves to survive, given it was the original one. Can we hear it today given that it is all but forgotten?

Luckily, we have a Vidushi in our midst, who had rendered this in a concert in the year 2010 and which was fortuitously recorded. I present the same being the rendering of Dr Ritha Rajan accompanied by Vidvans R K Sriramkumar and K Arun Prakash on the violin and mrudangam respectively.

The aforesaid recording was sourced from YouTube (see Foot Note 1). This is from the concert she gave for ‘Nada Inbam’ on 30-Aug-2010 at the Raga Sudha Hall, Chennai (See Foot note 2). In the original blog post on Karnataka Kapi, I had presented sUmasAyaka as sung by Sangita Kalanidhi Smt T Brinda. Readers may refer to the same to hear it once again.

**The Musical Vista of sarasAlanu :**

The raga Kapi, as we saw from the other blogpost, as seen in this composition has been chiseled from out of the native svaras of the 22^nd Mela ( Sri Raga / Karaharapriya) going with the notes R2, M1, P D2 and N2. The arohana and avarohana krama as conventionally given is:

Arohana: S R2 M1 P N2 S

Avarohana: S N2 D2 N2 P M G2 R2 S

I should confess that this melodic representation does not convey the entire beauty of the raga. As the composition would show, the following features stand out:

The gandhara note, even if occurring only in descent phrases is a strong note of the raga and comes in different shades. It is an (a)sadharana gandhara to state the least. Subbarama Dikshita in his SSP waxes eloquent on the gandhara of Todi as it occurs in the grand cittasvara section of the Kumara Ettendra classic “gajavadana sammOdita”. One can similarly revel in the different shades of gandhara in this composition.
The descriptive grammar of the raga Kapi as seen in this composition can be given as under:
1. In the purvanga ascent – SRGM, SRMP, RGMP are default murchanaas. It can be inferred therefore that SRGMP is forbidden. If the prayoga is SRGM it has to descend. Given that gandhara is “seen” omitted in the arohana, prayogas like SRGM or RGMP may sound quirky to us schooled in modern day musicology of the Sangraha Cudamani but yet these grammatical constructs are entirely in accordance with the principles of 18^th Century musical architecture.
2. In the uttaranga PDNS does not occur. PNDN descending back to Panchama and PNS proceeding to tara sadja alone are seen;
3. SNP and SNDNP is the descent prayogas, eschewing the lineal SNDP completely.
4. The lineal prayoga PMGRS is the one for purvanga in the descent.
5. Gandhara and madhyama are presumably the jiva svaras of this raga imparting the greatest ranjakatva and figure both as the graha and nyasa svaras. The well oscillated gandhara is itself a leitmotif of this raga.
6. pnR from the mandhara pancama , N\G in the Madhya stayi and PNDNPM, nG,R from the mandhara nishadha are some of the motifs of the raga.
7. And above all in modern parlance, the raga is upanga and takes only the notes of the 22 Mela being catusruti rishabha, sadharana gandhara, suddha madhyama, pancama, catusruti dhaivatha and kaisiki nishadha only.

**The Ragamalika section of sarasAlanu and a few questions around it:**

An explanation is in order for the ragamalika ragas of sarasAlanu. The “Tanjai Nalvar Manimalai” calls out the second svara section albeit wrongly as Chakravakam. The examination of the raga malika svara appendage would reveal otherwise. The said svara section runs as under:

sarasAlanu (notation as found in the “Tanjai Naalvar Manimaalai”):

Tala avarta of tisra eka	1	2	3	1	2	3
Hamirkalyani	S, d,	ndpd	p,g,	p,md	pmgm1	gm1r,
Vegavauhini (wrongly tagged as Chakravakam and with a possible printing mistake as srsm-gpmd-…..)	srsm	gmpd	nsn,	d,pm	pdm,	gm,,
Vasantha	gr,s	g,md	mdg,	md,n	sndm	ddn,
Mohanam	S,Rg	RSSd	,pgp	d,pg	rspd	pSdp

sarasAlanu (notation as per the pAtham of Dr Ritha Rajan)

Tala avarta	1	2	3	1	2	3
Hamirkalyani	S, d,	ndpd	m,gm	p,md	pmgm1	gm1r,
Chakravakam	snsr	gmpd	nsn,	d,pm	pdm,	gm,,
Vasantha	g,rs	g,md	mdg,	mdns	ndmd	n,,,
Mohanam	S,RG	RSSd	,pgp	d,pg	rspd
Karnataka Kapi						psnp

sUmasAyaka (notation as per notation published by Sangita Kalanidhi T K Govinda Rao)

Tala avarta	1	2	3	1	2	3
Kalyani	S, d,	ndpd	m,gm	p,md	,ppm	g,gr
Khamas	snsm	gmpd	nsn,	d,pm	pdm,	gm,,
Vasantha	g,rs	g,md	mdg,	mdns	ndmd	n,,,
Mohanam	S,RG	RSSd	,pgp	d,pg	rspd
Karnataka Kapi						pn,p

The above tables would show the following differences:

The Hamirkalyani section in sarasAlanu and the Kalyani section in sUmasAyaka
The difference in the Vegavauhini/Chakravaka section as between the two versions of sarasAlanu . It can be seen that in Dr Ritha’s oral tradition the svara progression is lineal as SnSRGMPDNSN,D,PMPDM,GM,, without the SMGM prayoga and hence can be called as Chakravaka.
The difference in the svaras for the last beat of the tisra eka tala of the Mohana section in all the three versions, transitioning to the carana refrain ‘mAninI”.

While the Dr Ritha Rajan’s version of the second ragamalika section proceeds linearly as SnSR1GMPDNS… ., the version found in the “Tanjai Naalvar Manimalai” does not proceed linearly, which gives us doubt whether the second raga is Chakravakam as per the notation found therein.

It is quite plausible that Ponnayya being a disciple of Muthusvami Dikshita must have certainly known the raga lakshana of Vegavauhini which is the 16^th mela raga in Venkatamakhi’s scheme and for which Chakravaka is the equivalent heptatonic scale. The notes of the svara section as found in the Tanjai Nalvar Manimalai corresponds exactly to the lakshana of Vegavauhini, vide the commentary for the same in the Sangita Sampradaya Pradarshini of Subbarama Dikshita. The opening murcchana of the raga being SR1SM1G3M1PD2N2S, eschewing the lineal SRGM is verily the signature of Vegavauhini as immortalized by Dikshita in his piece-de-resistance “vIna pustakadhArinIm”. In the face of these facts, it would be a travesty to tabulate the raga as Chakravaka and proceed to linearize and sing the same given Vegavauhini must have been the scale known to Ponnayya the composer of sarasAlanu and a scion of the Dikshita sisya parampara. It is on these sound grounds that it is argued that the second raga in the ragamalika ettugada svara section of sarasAlanu can only be Vegavauhini and not Chakravakam.

It must also be pointed out that in sUmasAyaka, both the ragas Hamirkalyani and Vegavauhini are seen flipped respectively to Kalyani and Khamas with a minimum of fuss. Further the flipping to Khamas (SnSMGMP) from SRSMGMP (Vegavauhini) sounds plausible, better than a flip from SnSRGMP (Chakravaka). Was the flip intentional or an accident or mistake in transmission that the ragas were flipped? For save for the R1 note, it would be virtually impossible to make out between a Khamas and a Vegavauhini. One doesn’t know!

**Is sarasAalanu a svarajati or a padavarna:**

The book “Tanjai Naalvar Manimalai” lists the composition sarasAlanu as a pada varna only. And to contrast, the Huseni composition “EmandayAnarA” is enlisted as a svarajati. As a rule, if a composition is invested with svaras and jatis being rhythmic syllables, it is more a svarajati than a pada varna. However, this boundary has now become blurred given that Syama Sastri’s creations in Bhairavi, Todi and Yadukulakambhoji are today labelled as svarajatis despite them lacking jatis in their body. Further as Prof S R Janakiraman persuasively argues, the nomenclature of ‘cauka varna’ would be more appropriate than ‘pada varna’.

Therefore, in all fairness, sarasAlanu which lacks jatis can and ought to be called a cauka varna or pada varna and certainly not a svarajati. Interested readers can refer to the article “Jatisvaram & Svarajati” by Dr Ritha Rajan in the JMA, mentioned in the reference section of this blog post herein below.

Placement of a cauka varna in a Concert:

In contrast to a tAna varna, the pada /cauka varnas, are more appropriate to be rendered right at the middle of a concert a little ahead of the main composition/pallavi. It can be seen that almost invariably all older cauka varnas are in rakti ragas which are melismatic by nature. The sedate tempo of the cauka varna together with a rakti raga being the subject of exposition through the cauka varna, adds a contrast to the concert, especially when it is sandwiched between madhyama kala compositions in contrasting ragas. I must hasten to point out exceptions do and always exist, such as for instance, Sangita Kalanidhi Govinda Rao has commenced a concert with the wondrous Surati cauka varna of Subbarama Dikshita “sAmi entani”. And I have personally heard the duet concert of Sangita Kala Acharyas Suguna Purushothaman and Suguna Varadacari, wherein they sang Svati Tirunal’s tour-de-force “dAni sAmajEndra gAmini” in Todi as the concert opener. And both these instances have been recorded for posterity.

In the instant case it can be seen from the concert recitals of Sri K V Narayanasvami that “sUmasAyaka” is rendered almost in the first half of the concert or just after the main piece. Even in the aforesaid rendering of “sarasAlanu” it is seen that Dr.Ritha Rajan has positioned it in the middle of the concert as seen in the listing from her recital- see Foot Note 2, during which this recording was made. As one can see that “sarasAlanu” has been featured right before the main or the piece-de-resistance of the concert and has been wedged between the ragas Kannada and Bhairavi.

Further in the context of rendering a cauka varna, it is noticed that while the pallavi, anupallavi and the muktayi svara and the corresponding sahitya are sung in a vilamba kAla, the carana line along with the ettugada svaras are rendered at a higher sprightly pace (Ottam ஓட்டம்). It is likely that this is a performance technique designed to prevent the concert from sagging, given the prolonged vilamba kala exposition in the first half of the composition. In the instant case of sarasAlanu as well it will be seen in the recording of Dr Ritha Rajan, that the rendering gathers pace from the carana portion “mAniNi vErA nA sAmI”.

Raga name- Is it Karnataka Kapi?

According to Dr Ritha Rajan, the raga of sarasAlanu/ sUmasAyaka being the upanga one bereft of anya svaras, the raga name ought to be simply Kapi. The term “Karnataka Kapi” was coined by Prof Sambamoorti much later and has no sastraic sanction otherwise. No musicological text or authority prior, make no mention of Karnataka Kapi. The version with kAkali nishAda can be called as Hindustani Kapi.

I should confess that while this proposition is attractive, we do have the versions of Muthusvami DIkshita (‘Venkatachalapate”) being the Kapi with traces of Kanada and or Durbar as in the case of versions of Tyagaraja’s kritis ‘nitya rUpa” or “anyAyamu sEyakura” which are bereft of distinguishing names to differentiate them from Kapi and Hindustani Kapi. It has to be pointed out that Subbarama Dikshita calls the raga only as Kapi but the version documented in the SSP is the one with the overwhelming flavour of Kanada. It’s a matter of record that some of the modern texts today even call this as Suddha Kapi.

Be that as it may it has to be on record that according to Dr Ritha Rajan the raga of sarasAlanu/ sUmasAyaka is Kapi. But as pointed out in my introduction, I have for the limited purposes of this blog post kept the name as Karnataka Kapi to differentiate it from the rest of the versions.

**Origins of this pAtham of sArasAalanu :**

While sUmasAyaka had taken roots in Kerala and had become an inextricable part of the dance repertoire, its foray into the Carnatic music stage was arguably through Sangita Kalanidhi K V Narayanasvami, who gave it a pride of place. See Foot Note 3

It can be surmised that sarasAlanu however continued to languish within the repertoire of the descendants of the Tanjore Quartet. After the life time of the 4 brothers and particularly the composer of the piece Ponnayya in 1864 AD the piece along with the rest of the crown jewels must have come to the possession of Nellayappa Nattuvanar (1850-1905), who was the grandson of Ponnayya. As T Sankaran recounts, Nellayappa Nattuvanar moved to then Madras and became a close acquaintance of the Dhanammal family. It was he who taught the family members including Jayammal, Balasarasvati’s mother popular javalis such as Vani Pondu (Kanada), Ela rAdayanE (Bhairavi) and JanarO E mOhamu (Khamas).

Nellayappa Nattuvanar died early and his son Kandappa Nattuvanar (1899-1941) therefore underwent tutelage under his uncle Kannusvami Nattuvanar (see family tree) at Tanjore and then moved to Madras when he became Balasarasvati’s (1918-1984) dance guru. It was under his tutelage and guidance that Bala ascended the stage in 1925, when she was just about 7 years old at the Ammanakshi Temple at Kanchipuram. As the conductor-in-chief of Bala’s dance ensemble, Kandappa Nattuvanar taught many pieces to the rest of the team. And amongst them was Sri Gnanasundaram who handled the vocals in Bala’s ensemble and he must have likely learnt sarasAlanu from Kandappa Nattuvanar. What we now know for sure in this entire narrative is that it was from Gnanasundaram that the legendary Vidvan Ramnad Krishnan (1918-1973) came to acquire this composition from after being so enamored of it. And he in turn taught it to Dr Ritha Rajan, his disciple whose rendering of sarasAlanu is featured in this blog. I have to point out that we do not have any recording of the rendering of sarasAlanu by any member of the Veena Dhanammal family including Sri T Visvanathan. See Foot Note 4.

**Ganesa Pillai, the son of Kandappa Nattuvanar**

And sadly, we do not have a recording of the Vidvan Ramnad Krishnan singing sarasAlanu. In this context we need to remember that the Karnataka Kapi seen in this composition is what is called as the upAnga version, which is bereft of anya svaras such as the antara gandhara (G3) or kakali nishadha (N3) or suddha dhaivatha (D1) which have come to be featured in modern day versions of the raga Kapi. It is worth recording here in the context of upAnga Kapi that it was Ramnad Krishnan again who learnt the jAvali “parulannamAta” of Dharmapuri Subbaraya Iyer in this upAnga version of Kapi from Rupavati Ammal, the younger sister of Vina Dhanammal who lived in Hyderabad and then rendered it often thus bringing it to the limelight.

Ponnayya – A Distinguished Composer:

I would argue further that sarasAlanu was the core for sUmasAyaka given the credentials and creative abilities of Ponnayya, of the Quartet. In fact, the perusal of the text of the Sangita Sampradaya Pradarshini would show that for two ragas namely Binnasadja and Camara, Subbarama Dikshita provides the kritis of Ponnayya alone as the authority for the respective raga lakshanas. In his commentary Subbarama Dikshita ahead of the Binnasadja kriti “srI guruguha mUrtikinE” (Mela 9) records thus:

This kirtana was composed by Ponnayya, who was the hereditary dance teacher of the Tanjore samasthana, and who was a disciple of Muttusvami Dikshita, was a great scholar in the laksya, and lakshana aspects of bharata sastra and who had also earned fame by composing numerous svarajatis and varnas, suitable for dances.

**The Illustrious Tanjore Quartet A Traditional Depiction**

That apart under Malavagaula (Mela 15), the kriti “mAyAtIta svarUpini” of Ponnayya has also been provided as an exemplar by Subburama Dikshita. It is however unfortunate that we hardly rely upon the compositions of the Quartet as authority for raga lakshana, when even Subbarama Dikshita had done so without any reservations whatsoever.

This demonstrated and acknowledged composing mastery of Ponnayya is another aspect that supports the proposition/conjecture that sarasAlanu was composed earlier by Ponnayya. much prior to the Quartet’s migration to the Travancore Court. No further evidence is therefore needed to conclude that Ponnayya was a composer par excellence and the authorship and originality of sarasAlanu and its tune can without doubt be ascribed to him, without any doubt whatsoever.

And so, every time one hears the Karnataka Kapi of sUmasAyaka we should for a moment recall the aesthetic construct of the varna and the raga therein. Hark at the different shades of the gandhara of mela 22 as well as the placement of the svaraksharas such as on the madhyama note which will evoke awe spontaneously. The credit for this conceptualization should undoubtedly go to Ponnayya of the Quartet, the illustrious disciple of Muthusvami Dikshita. To clarify, this is not to belittle or discredit Maharaja Svati Tirunal or call into question his compositional abilities in any way. As in the case of “gana nAyakam” and “srI mAnini”, the Maharaja was perhaps left smitten by the melodic fabric of sarasAlanu that he went on to compose another set of lyrics for it out of sheer love for the melody of sarasAlanu.

And thus here, all that is sought to be argued is that sarasAlanu was anterior in time composed by Ponnayya, the Maharaja after hearing it later in time composed sUmasAyaka to the same mettu/dhatu and that the preponderance of evidence on hand and of probability as well, firmly supports this line of reasoning.

Further in the context of ragamalikas, it is seen that it was part of the kriti format even prior to 1800’s, as evidenced by the compositions of Melattur Virabhadrayya and Ramasvami Dikshita. And the family of Dikshitas reveled in composing ragamalikas. Having been under the tutelage of Muthusvami Dikshita, the Quartet seem to have warmed up to this concept of stringing in ragas so much so that sarasAlanu came to be appended with a ragamalika ettugada svara section, which to my best of knowledge is not seen in any pre 1830 AD composition of the genre of varnas. This piece of melodic engineering can perhaps only be very much confidently ascribed to the Quartet’s tutelage under Muthusvami DIkshita.

Discography Part 2:

Even as I had almost finished composing this fairly long blog post, as if in answer to my wish, my co-rasika acquaintances- see Foot Note 5 – mailed me the entire 45-minute recording of the rendering of sarasAlanu by Balasarasvati’s famed ensemble presumably from one of her dance recitals. The audio recording also has the sound of the bells of Bala’s anklets as well.

Here is the audio uploaded to Youtube:

T Balasaraswati and Troupe | Raga Kapi | Sarasalanu Ipudu (Varnam) – YouTube

And this recording for sure features the following artistes/Vidvans – vide Foot Note 6 below.

Kanchipuram Sri. C. P. Gnanasundaram alias Gnani and Sri Narasimhulu – Vocals ;

Sri Radhakrishna Naidu – Clarinet; Kanchipuram Sri Kuppuswami Mudaliar – Mridangam

T Vishwanathan – Flute with Ganesan Pillai – Nattuvangam

After the demise of Bala’s mother Jayammal (1890-1967) Vidvan Gnanasundaram hailing from Kanchipuram assumed the mantle of the lead vocalist of the ensemble. Trained by Naina Pillai’s disciple Villiambakkam Narasimhachar he was an accomplished singer having sung in the Music Academy for instance in the December 1959 season and a graded AIR artiste as per archived records of the “Indian Listener”.

Sri C.P. Gnanasundaram. and Sri. Narasimhulu were concert musicians of high order. Their rich musical flow matched the incessant interpretative expertise of T. Balasaraswati in an outstanding manner so much so that each of Bala’s performance with this orchestral team made an unforgettable experience. And each of Bala‘s orchestra members were exponents in their own right. Upon the premature demise of Bala’s Guru Kandappa Pillai in 1942, Ganesan (1924 – 1987) his son took over as the conductor-in-chief of her ensemble. See Foot Note 7.

This audio recording which must be dateable at the latest to circa 1965, is also a snippet encapsulating history entwining the successive descendants of Carnatic music and dance’s great first families, the lineage of the Quartet and that of Tanjavur Pappammal whose lineage we today know, as the Veena Dhanammal’s family.

Dhanammal’s great great grandmother Tanjavur Pappammal was part of the Tanjore Court and her granddaughter Tanjavur Kamakshi (1810-1890) left Tanjore Court along with Sivanandam and Vadivelu of the Tanjore Quartet to Travancore. Tanjavur Kamakshi’s granddaughter was Veena Dhanammal. And her granddaughter Balasarasvati went on to have Kandappa Nattuvanar, a great great grandson of Ponnayya of the Quartet as her guru and later his son Ganesha Pillai as the conductor-in-chief of her ensemble.

The recording of sarasAlanu by Bala’s ensemble is thus a vista or a montage of the very history of our fine-arts, tradition and musical excellence. Decades have flown by since this recording had been made and I now wonder how the diva of our dance must have captured abhinaya for this wonderful piece, holding the audience spell bound for 40 or so minutes , all the while competing with the rapturous melody and the lyrics and with all of them vying for the rasika’s attention.

Conclusion:

sUmasAyaka has had considerable airtime in the past decades. As pointed out earlier, the late Sangita Kalanidhi K V Narayanasvami used to render it quite regularly in his concerts. We do have the Bombay Sisters having cut a record of the same. In modern times Vidvans T M Krishna, Ramakrishnan Murthi and others have presented the composition quite frequently. See Foot Note 8.

My first encounter with sarasAlanu was when Smt Sundari, wife of Prof C S Seshadri sang for me the composition so beautifully, one summer evening more than a decade ago. I now recollect from my conversation with her that she too had learnt it from Vidvan Narasimhulu of Bala’s ensemble. Sadly, I failed to record her rendering then.

Alas thus practically sarasAlanu lies unsung and forgotten, save for Dr Ritha Rajan’s solitary rendering presented above. Even on the Bharatanatyam stage, sUmasAyaka now rules the roost. Apparently even Bala stopped performing this piece past the 1960s. With passage of time, compositions so unique like sarasAlanu will be completely forgotten and would be lost forever unless the succeeding generation learns and perpetuates the cycle of transmission.

sarasAlanu in the beautiful Karnataka Kapi is an aigrette deserving to be sung and burnished further. One hopes as always that modern day performers would take it up learn and present it in its pristine and full form frequently, including the rendering of the sahityas of the muktayi and ettugada svaras. And whenever we get to hear this composition, one should pause for a moment and remember every one of the giants from the past starting from Ponnayya of the Tanjore Quartet on to his grandson Nellayappa Nattuvanar and on to Kandappa Nattuvanar his son and then on to Ganesa Pillai & Gnanasundaram of Balasarasvati’s ensemble and to Vidvan Ramnad Krishnan and finally today on to Dr Ritha Rajan. Had it not been for this long, glorious and unbroken lineage of gurus and sishyas, starting from 1830 AD or thereabouts, we would not have been able to savor this composition today. May this glorious parampara continue so that the composition sarasAlanu will live on for many more generations to come.

Post-script:

Purely as an aside, I venture to conclude this post with a humorous anecdote. The beauty of the notes/svaras gandhara (G, க in tamil) and madhyama (M, ம in tamil) that have been beautifully and tellingly used in this composition reminds me of a quip reportedly made by the legendary Smt T Brinda, the source of which I am unsure. It seems once she was listening in to an All-India Radio (AIR) Arangisai broadcast of Vidvan D K Jayaraman and in it he was rendering Tyagaraja’s “nEnaruncarA nA pai” in Simhavahini. And the Vidvan after rendering the kriti apparently launched into an imaginative svara prastara sally on the pallavi line as “gm gm g, m- (nEnaruncarA)” and so on in succession, pivoting on the “gm-gm” janta phrase. Bemused, the doyenne upon the conclusion of the piece, reportedly remarked in jest in a style typical of her, making a play on the notes/words thus- “ஐய்யரு கமகமனு மணக்க மணக்க பாடறாரு”. In the instant case it is perhaps the gandhara and madhyama notes making the “kApi” or “kAfi” (as its Northern counterpart is usually referred to) of sarasAlanu, melodically fragrant (கமகம) made me recall Smt Brinda’s witty comment.

References:

1984- T Sankaran – Article “Kandappa Nattuvanar” (English)– Journal of the Sangeet Natak Akademi – No 072-073 (April- September 1984) -pp 55-59
1984 – T Sankaran – Article “Bala’s Musicians” (English) – Journal of the Sangeet Natak Akademi – No No 072-073 (April- September 1984) -pp 61-65
1940 – K P Sivanandam – “Tanjai Nalvar Manimalai” (Tamil) – Reprinted in 2002 -IV Edition -pp 73-75
1948-Prof R Srinivasan– “Music in Travancore” (English) – Journal of the Music Academy of Madras (JMA) Vol 19-Edited by T V Subba Rao and Dr V Raghavan -pp 107-112
2017 -Prof B Balasubramanyam, University of Wesleyan – “Music of Balasarasvati”- Lecture Demonstration at the Madras Music Academy on 22-December 2017 – Journal of the Music Academy of Madras (JMA) -Volume 89 (2018)- Edited by V Sriram – Report of the Daily Proceedings of the Annual Conference of 2017- pages 19-20
2010-Douglas M Knight – “Balasaraswathi -Her Art & Life” – Published by Tranquebar Press- Chapter 2 titled “Madman at the Gate”- Pages 49-59
2017 -Dr Ritha Rajan – Article “Ramnad Krishnan” – Journal of the Music Academy of Madras (JMA) – Volume 89(2018) -Edited by V Sriram -pp 44-50.
2002 -Dr Ritha Rajan – Article “Jatisvaram & Svarajathi” – Journal of the Music Academy of Madras (JMA)- Volume LXXV (2002) -Edited by Sri TT Vasu & Nandini Ramani -pp 68-88
2019 – Compilation of Balasarasvati’s Repertoire – (English)– “Sangeet Natak”- The Journal of the Sangeet Natak Akademi – Vol LIII (Numbers 1-4 2019) -pp 117-122

Foot Notes:

Note 1: The recording of sarasAlanu from Dr Ritha Rajan’s concert has been sourced from the Youtube account of Krishna Narayanan which can be found here. I am thankful to him for sharing the rendering.

Note 2:The details of the concert are recorded in the blog post of a rasika Sri Bharat, which can be read here. The list of composition featured in the recital, seriatim is as under:

sAmi nI pai – Anandabhairavi – aTa – Veenai Kuppayyar (short sketch of raga) [varNam]

rAmA nI pai – kEdAram – Adi – Tyagaraja (short sketch of raga and svarams)

kAntimati – kalyANi – rUpakam – Subbarama Dikshitar (Raga alapana)

idhE bhAgyamu – kannaDa – misra cApu – Tyagaraja (Ragam & Svaram)

sarasAlanu ipuDu – Karnataka KApi – rUpakam – Tanjore Quartet (short sketch of raga)

nI pAdamulE gatiyani – bhairavi – Adi – Patnam Subramanya Iyer (Ragam Neraval Svaram followed by Tani avartanam)

koNTE gADu – suruTTi – tisra tripuTa – Ksetrajna padam

marubAri – senjuruTTi – rUpakam – Javali – Dharmapuri Subbarayar

rAkA chandra samAna kAnti vadanAm – slOkam from mUka panchasati – aTANA, nAyaki, sahAnA, yadukula kAmbhOji

kAraNamadAga vandu – sindhu bhairavi – kaNDa tripuTa – Arunagirinathar [tiruppugazh]

nI nAma rUpamulaku – saurAshTram – Adi – Mangalam – Tyagaraja

The entire concert is now posted to YouTube: Vidushi Ritha Rajan for Naada Inbam Vintage series “Music heals” – YouTube

In the recording of Dr. Ritha Rajan’s rendering, an alert listener can discern from her remarks at the conclusion of the recording, that the same is from this particular concert as she also refers to the Kalyani composition (“kAntimati”) of Subbarama Dikshita in response to a query from a rasika, which she had rendered ahead of sarasAlanu in the concert. As one evaluates the concert listing above, one can’t but admire the Vidushi for her selection, placement and spread of the compositions, the choice of ragas including those for the sloka as well, imparting the aesthetic balance and wholesomeness to the concert recital. Again many thanks are due to “Nada Inbam” for having recorded the concert for posterity and to Parivadhini for taking the time and effort to get this concert uploaded on to YouTube

Note 3: It is on record through T Sankaran, that when Sangita Kalanidhi T Brinda was roped in to provide musical training to the Royals of Travancore, she took residency in Trivandrum briefly during which time quite a number of Svati Tirunal compositions were learnt by her which explains how sUmasAyaka and valaputAla the padam in Atana, came to find place in her repertoire. It may be news to many that the doyenne apparently also learnt a bunch of Svati Tirunal compositions from Sri Semmangudi Srinivasa Iyer, when she was roped in to give an AIR National program concert exclusively of Svati Tirunal compositions. I haven’t come across the recording of the said radio concert and I wonder now if the recording of her singing sUmasAyaka was from that concert.

Note 4: The legendary Veena Vidvan S Balachandar a vociferous advocate of the school of thought that Maharaja Svati Tirunal as composer was just a perpetuated myth, was so enthralled by “sarasAlanu” that he would ask his disciple Smt Gayathri Narayanan to play it. Again, we have no record of a rendering by the maestro or his disciple.

Note 5: I am in great gratitude to Krishna Narayanan again for digging out the complete track of sarasAlanu as rendered by Smt Balasarasvati’s ensemble for her performance and to Shreeram Shankar for hosting and sharing through his curated Vaak YouTube channel.

Note 6: I am greatly indebted to our family friend Ms.Sushama Ranganathan & her mother the respected Smt Nandini Ramani for confirming the identities of the performers in this clip, first hand and providing inputs as to the composition’s provenance and its rendering by Smt Balasarasvati’s ensemble. Smt Nandini Ramani, daughter of Dr V Raghavan was one of the senior disciples of Smt Balasarasvati herself and her daughter Ms.Sushama Ranganathan was trained by Ganesa Pillai, the son of Kandappa Nattuvanar.

Note 7: It is a pity that these great artistes were never duly recognized and life too wasn’t kind to them. Vidvan Gnanasundaram contracted leprosy even as he was part of Bala’s ensemble and yet Bala ensured he was part of it nevertheless and he died prematurely. These artists ultimately died unwept and unsung and possibly many in penury. For instance, here is what T Sankaran writes (circa 1984) of Kuppusvami Mudaliar alias Kuppanna who provided the mridangam accompaniment which is heard in the audio recording:

“Kuppanna is today living in Kanchipuram, pining away in infirmity, clutching his empty purse, feeding on his glad memories of his halcyon days and the bad memories of his ungrateful son a Tahsildar who predeceased him.”

Ganesa Nattuvanar, died a bachelor much of his time in drunken stupor with nothing to sustain him. And alas with him the branch of the Ponnayya line of the Quartet came to an end. One should be thankful to the late Sri T Sankaran for having recorded at the least a brief biography and the contribution of these artistes, who made a Bala recital a delectable experience, in the Sangeet Natak Akademi Journal article “Bala’s Musicians”, given in the references section, without which we would have never known even the very existence of these great artistes.

Note 8: The composition sUmasAyaka is also part of the audio track of the Malayalam movie “Swati Tirunal” wherein it has been sung by Ms.B.Arundhati. The composition is also part of the Mohiniyattam repertory of compositions and occupies a pride of place in the quartet of varnams along with ‘dAni sAmajEndra’ (Todi), ‘manasimE paritApam’ (Sankarbharanam) and ‘hA hanta vanchitam’ (Dhanyasi) presented by the Kalamandalam school/tradition of Mohiniyattam and choreographed by the high-priestess of the tradition Smt Sathyabhama (Source Ms Sapna Govindan – “Tradition in Mohiniyattam” – available Online)

Acknowledgments:

I am deeply in debt to Dr Ritha Rajan for providing me the time, patiently answering all my questions and for clarifying or validating many points as to this composition and its nuances and antecedents, without which this blog post would not have been complete. The photographs of Kandappa Nattuvanar and Ganesa Pillai has been taken from the Sangeet Natak Akademi Journal and the others have been sourced from the internet.

Disclaimer:

I have endeavored to present the information, facts and the inputs received from the named individuals including Dr Ritha Rajan to the best of my abilities and understanding. The arguments that I have advanced or the opinions I have expressed is independent of their viewpoints /inputs and the individuals concerned do not necessarily subscribe to the same nor do they acknowledge it as their point of view.

The renderings have been in the public domain and the copyrights if any for the performance thereof continues to be exclusively of the respective performers/authors. No part of this blog or its contents shall be commercially exploited.

Composers, CompositionAppreciation, History, Manuscripts, Notation, Pathantara, Raga

Colourful Bhashanga-s – Rudrapriya III

June 24, 2020February 4, 2021 by Aravindh Ranganathan

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We have seen about the rāga Rudrapriyā, its gṛha, amsa, nyāsa svarā-s and salient phrases in the two earlier posts. It was established that Rudrapriyā was mentioned by various names, the most common one being Karnāṭaka Kāpi. It was also illustrated the name Rudrapriyā was used to denote different scales in the past.

We have been mentioning in our earlier posts that Rudrapriyā elucidated in the main body of Saṅgīta Samprādaya Pradarśini is much different from the two kṛtis, ‘gaṇanāyakam bhajēham’ and ‘tyāgēśam bhajarē’, notated in the ‘anubandham’ of the same text. The lakṣaṇa of these two kṛti-s too does not confirm with each other. The kṛti ‘gaṇanāyakam bhajēham’ was covered in an earlier post and the second kṛti will be the subject of discussion in this post.

Tyāgēśam bhajarē in Saṅgīta Samprādaya Pradarśini

This is a very small kṛti constructed in a pallavi-anupallavi format. This is not even suffixed with a ciṭṭa svara passage. This is an ode to Tyāgēśa of Tiruvārur. Despite being a small kṛti, it has a reference to an important attribute associated with the deity Tyāgēśa. The relics of Tyāgeśa like his swords and throne are equally famous and much venerated as the Lord himself in this shrine. He is the sovereign, rules the world and his throne is said to be made of precious gems (Ratna simhāsanam). Muddusvāmi Dīkṣitar has referred to His throne in many of his compositions, ‘kanaka ratna simhāsanābharaṇa’ in the Vīravasanta kṛti ‘vīravasanta tyāgarāja’, ‘simhāsanapatē’ in this kṛti and in ‘tyāgarājaya namaste’, a kṛti in Bēgaḍa. There is a ślokam ‘Tyāgarāja aṣṭakam’ attributed to Muddusvāmi Dīkṣitar.¹ As the name indicates, this has eight verses and each verse ends with the line ‘śri tyāgarāya namo namaḥ’. The second verse here again refers to this throne as ‘samśobhi simhāsana samsthithāya’ (one who sits on a greatly shining throne).

Musically, the rāga lakṣaṇa portrayed here is much different from others kṛti-s notated in Rudrapriyā. Excluding a single phrase MGMGGR, the lakṣaṇa followed here more confirms with the scale SRMPDS SNDPMGRS, which can be heard here. This is one of the few kṛti-s, wherein Muddusvāmi Dīkṣitar strictly follows a scale. The gṛha svara used here includes gāndhāra, pañcama and niṣādha and the nyāsa svara is always madhyama. We do find a plenty of janṭa gāndhāra, dhaivata and niṣādha prayōga-s. Excluding the use of janṭa phrases, we do not find any similarity with the rāga Rudrapriyā. More about the rāga Rudrapriyā can be read here. We now get a question, can a kṛti with this lakṣaṇa can be called as Rudrapriyā ?

Consensus on Rudrapriyā

We have not seen the opinion of other musicians/musicologists on this rāga in our earlier posts and that will be taken now. The documentations of the rāga lakṣaṇa discussions happened during the annual conference organized by The Madras Music Academy always provides a valuable reference to understand a rāga. These discussions were attended by legion of musicians and they were not restrained in expressing their thoughts on a rāga, its versions or the kṛti-s known to them. These discussions not only enable us to know about a particular rāga, but also make us aware of its variants. Fortunately, they were also recorded for the posterity.

Rudrapriyā finds a place in two of such discussions. The first one happened in the year 1956.² Two distinctive types of Rudrapriyā were mentioned by the musicians participated in this discussion; first is with the scale SRGMPDNNS SNPMGRS and the second with the scale SRGMNS SNPMGRS. They were also of the opinion that the second one is to be called as Pūrṇaṣaḍjam. A note has been made that Subbarāma Dīkṣitar has given six kṛti-s in notation including ‘gaṇanāyakam bhajēham’ and ‘tyāgēśam bhajarē’. Whereas Musiri Subraḥmaṇya Ayyar had recorded the lakṣaṇa of the former kṛti, no discussion happened on the kṛti ‘tyāgēśam bhajarē’.

The second discussion happened in the year 2009.³ Here this rāga was discussed with its allied rāga-s like Kānaḍā and Durbār. This was a much-detailed discussion wherein many eminent musicologists participated and shared their views. Here Rudrapriyā compositions in the main section differed from the two kṛti-s in anubandham and difference between these two kṛti-s were taken note of. The kṛti ‘gaṇanāyakam bhajēham’ was analyzed in detail and its resemblance with ‘śrī mānini’ of Svāmigal was also discussed. Again no reference to the kṛti ‘tyāgēśam bhajarē’ can be seen.

It can be seen from the above discussion, though a note has been made about this kṛti and the different lakṣaṇa seen here, no detailed analysis has been attempted; possibly due to unpopularity of this kṛti.

A kṛti of Tyāgarāja Svāmigal

When we discuss the kṛti ‘gaṇanāyakam bhajēham’ or render the kṛti, it is inevitable for us to think about the kṛti ‘śrī mānini’. We have analyzed these two kṛti-s in detail in the second part of this article which can be read here. Lesser-known fact is the kṛti ‘tyāgēśam bhajarē’ also have a complementary kṛti, composed by Svāmigal. Contrary to the first pair, this pair is similar only with respect to their rāga lakṣaṇa-s and not with the melody.

We have mentioned earlier that the kṛti ‘tyāgēśam bhajarē’ follows the scale SRMPDS SNDPMGRS. This rāga is now called as Sālagabhairavi. But the complementary kṛti that we will be seeing is not the commonly heard ‘padavini sadbhakthi’. Though this is the kṛti which epitomizes the rāga Sālagabhairavi today, the older version of this kṛti is much different, perhaps composed in a different rāga and we also find references to support this view.⁴ An analysis of this older version and the differences between this and the old Sālagabhairavi is to be covered separately.

We have a kṛti which could have been composed in the present Sālagabhairavi (the scale that corresponds to the lakṣaṇa in ‘tyāgēśam bhajarē’), but now commonly sung in Mukhāri (See footnote 1). This kṛti ‘ēlāvatāra’ is mentioned as Sālagabhairavi in the text ‘Oriental Music in European Notation’ by A M Chinnasāmy Bhāgavatar (See footnote 2).

Though this kṛti is a personal dialogue between the composer and his iṣta dēvata Śrī Rāmacandra, this kṛti has an important reference about the musical contribution of the composer. This is one of the kṛti-s which reveals he has composed in 100 rāga-s and grouped it as rāgamālika, referred to as ‘śata rāgaratna mālikalu rasiñcina’ in this kṛti. Though we have no idea about this rāgamālika, C R Śrīnivāsa Ayyaṅgār gives a fleeting reference in one of his article published in Sudēsamitran (See footnote 3).⁵

Vālājāpeṭṭai manuscripts mention the rāga of this kṛti as Sālagabhairavi. The version here exactly follows the scale SRMPDS SNDPMGRS. Gāndhāra and pañcama were the gṛha svara-s used and madhyama acts as a nyāsa svara apart from ṣaḍja (can be compared with the kṛti ‘tyāgēśam bhajarē’). The svara-s ṛṣbha and gāndhāra do occur as janṭa, but as pratyāgata gamaka (janṭa occurring in avarōhaṇa krama) and in catusra phrases. So it is common to find phrases like MGG and GRR, in this kṛti. This confirms with the typical style of Svāmigal, as seen in Vālājāpeṭṭai versions. This can be compared with the janṭa phrases seen in the kṛti ‘tyāgēśam bhajarē’ wherein the janṭa svara-s occur as pratyāgata gamaka (but not as catusra phrases). This stylistic difference in the handling of svara-s give a different gait to the kṛti, despite being composed in the same rāga. The only difference that can be seen between these two kṛti-s is the presence of prayōga-s MGMGGR and PDND, but only in the latter kṛti. Though the first phrase is a deviation from the scale, the latter one is very much within the scale. There is a kṛti of Vīṇa Kuppaier in this rāga, ‘sāmagāna lolanē on Śrī Kālahastīśa. This kṛti too follows the mentioned scale, excluding the presence of the phrase SRGR. This special phrase is seen in the lakṣaṇa gītaṃ notated in Saṅgraha Cūḍāmaṇi.

Gītaṃ in Saṅgraha Cūḍāmaṇi

Many believe Tyāgarāja Svāmigal followed the treatise Saṅgraha Cūḍāmaṇi, selected apūrva rāga-s and composed in them. But analysis of many old, defunct versions like that from Vālājāpeṭṭai transcripts disprove this hypothesis (Readers can refer to Apūrva rāga-s series of this author placed in this site to know more). This rāga, Sālagabhairavi, as we call it today, is seen in this treatise and it also gives a lakṣaṇa gītaṃ for better understanding of this rāga.⁶ Many phrases outside this scale can be seen here like SRGR, SPM, RGRS, RPM, GSR, GRPM, GDP, MMGMGR and PDMGR.

As mentioned earlier, none of these outliers can be seen in the kṛti ‘ēlāvatāra, whereas these outliers can be seen in the kṛti-s ‘tyāgēśam bhajarē’ and ‘sāmagāna lolanē’ – MGMGR and SRGR respectively. Can we say Muddusvāmi Dīkṣitar and Vīṇa Kuppaier were conversant with Saṅgraha Cūḍāmaṇi?

Though we cannot give a definite answer, these phrases cannot be taken lightly and ignored as a mere coincidence. It is a well-known fact that Muddusvāmi Dīkṣitar was equally conversant with Kanakāṅgi – Rasikapriyā nomenclature (See footnote 4). This possibility can be conceived if we feel the present mēla system was a later development. Rather if we consider Kanakāṅgi – Rasikapriyā and Kanakāmbari – Rasamañjari system were coeval, it can be taken that he had good acquaintance with both these systems.

It seems Saṅgraha Cūḍāmaṇi was much popular among the disciples of Svāmigal and Vīṇa Kuppaier too could have accessed the same.Hence it is actually not impossible to find the use of the phrases seen in Saṅgraha Cūḍāmaṇi in the works of these composers who were shrewd and able to incorporate the changes happening around them.

Sindhūra or (Hindustāni) Saindhavi

Though we were able to locate the phrases used in these kṛti-s, in the lakṣaṇa gītaṃ notated in Saṅgraha Cūḍāmaṇi, this hypothesis is not infallible when we consider the cultural milieu of Tanjāvūr between 17-19 CE. In the second part of this article, we have speculated the kṛti ‘gaṇanāyakam bhajēham’ and ‘śrī mānini’ were not identical twins, but actually an inspiration from a common melody heard in that area. We can apply this hypothesis to this kṛti too. Tanjāvūr during the mentioned period was very active musically and there was not only an amalgamation of various genres of music, but also effective incorporation and thereby adaptation of these genres into our music. The composers mentioned in this article were much inclusive to various musical thoughts and they did not restrain themselves from incorporating these ideas into their creations. Dīkṣitar’s nōṭṭusvara sāhitya-s, Svāmigal’s ‘ramiñcuva’ all come under this category wherein they have adopted Western music into their creations. This rāga under discussion could be an adaptation from Hindustāni music. There is a Hindustāni rāga by the name Sindhūra or (Hindustāni) Saindhavi (emphasis is mine) and with the same scale.⁷ This rāga could have influenced these two composers to create a composition in their own commendable style. Both these composers were adept in ancient treatises and it is very unlikely that they would have labelled this kṛti as Sālagabhairavi. For our reference, Sindhūra could be a better option as it will not lead to any more confusion.

Rudrapriyā and this kṛti

The above discussion clearly shows the rāga of this kṛti cannot be fitted into the realm of Rudrapriyā. Atleast the kṛti ‘gaṇanāyakam bhajēham’ has some elements that made us to speculate, this kṛti could be a different interpretation of the rāga Rudrapriyā. But that cannot be applied for this kṛti. In such a case, the reason for Dīkṣitar labelling it as Rudrapriyā is mysterious. We did not want to make a hasty conclusion saying Dīkṣitar was wrong in naming it as Rudrapriyā. We just want to make a point that we are unable to find a reason for this labelling. Even Dīkṣitar could have been puzzled by seeing the lakṣaṇa of this kṛti, strikingly different from the Rudrapriyā of the main text. But the reason for him to tag Rudrapriyā with this melody is even really intriguing. Perhaps he must have had a lexicon in his possession, which label this scale as Rudrapriyā. Our statement ‘Rudrapriyā had many names and many different scales were called as Rudrapriyā’ can be remembered here.

We will stop at this point and leave this discussion open. We believe Dīkṣitar will show us the way to crack this secret by opening some unknown avenues in the near future.

Conclusion

Rudrapriyā visualized by Muddusvāmi Dīkṣitar in this kṛti is distinctly different from the Rudrapriyā mentioned elsewhere. Analysis of the lakṣaṇa clearly shows the name Rudrapriyā is actually a misattribution, based on the present level of understanding. Considering the acumen of Subbarāma Dīkṣitar, it can be very well presumed that he must have had his own reasons to label this as Rudrapriyā.

It is better to call the scale SRMPDS SNDPMGRS as Sindhūra or Hindustāni Saindhavi. The rāga Sālagabhairavi is an old rāga mentioned in various treatises and was much popular. Muddusvāmi Dīkṣitar and Svāmigaḷ were much conversant with these rāga-s and they would have not called this rāga as Sālagabhairavi. This also proves our oft-quoted hypothesis that evanescence of old versions made us to believe Muddusvāmi Dīkṣitar and Svāmigaḷ were followers of two different schools.

It is much surprising to see a phrase seen in Saṅgraha Cūḍāmaṇi finding a place in a kṛti of Muddusvāmi Dīkṣitar. This makes us to presume Muddusvāmi Dīkṣitar too was aware of Saṅgraha Cūḍāmaṇi.

Footnotes

Footnote 1 – The present scalar Sālagabhairavi is actually an abridged version of Mukhāri, but with only one variety of dhaivatam.

Footnote 2 – Interestingly, this kṛti was not mentioned by Narasiṃha Bhāgavatar and S A Rāmasvāmy Bhāgavatar in their texts.

Footnote 3 – Rāmasvāmy Bhāgavatar, grandson of Vālājāpeṭṭai Vēṅkaṭaramaṇa Bhāgavatar has averred to Śrīnivāsa Ayyaṅgār that he had collected the individual kṛti-s in this rāgamālika and had plans to publish it soon. Unfortunately, we are now clueless on the condition of the manuscript in the possession of Rāmasvāmy Bhāgavatar.

Footnote 4 – Using mēla names current in Kanakāṅgi – Rasikapriyā nomenclature like ‘haimavatīm’ and ‘śūlinīm’ in his kṛti-s attest this fact.

References

1. Śrī Tyāgarāja Aṣtakam – http://www.hindupedia.com/en/Sri_Thyagaraja_ashtakam

2. Proceedings of the Experts Committee of the Madras Music Academy. 1956. The Journal of Music Academy, Volume XXVII, p 27-28.

3. Rāmanāthan N. 2009. Rāga-s: Rudrapriyā, Karnāṭaka Kāpi, Darbār and Kānaḍā – A Comparative Analysis. The Journal of Music Academy, , Volume LXXX, p 103-114. http://musicresearchlibrary.net/omeka/items/show/2359

4. Proceedings of the Experts Committee of the Madras Music Academy. 1943. The Journal of Music Academy, Volume XIV, p 17-18.

5. Śrīnivāsa Ayyaṅgar C.V. 1935. Sudēsamitran. http://musicresearchlibrary.net/omeka/items/show/1638, p 10.

6. Saṅgraha Cūḍāmaṇi. 1938. Sālagabhairavi lakṣaṇa gītaṃ – p 111-112. The Adyar Library.

7. Subbā Rao T.V. 1996. Rāganidhi. A Comparative Study Of Hindustāni and Karnātik Rāgas. The Music Academy, p 46-47.

Composers, Manuscripts, Notation, Pathantara, Raga

Apurva raga-s handled by Tyagaraja Svamigal – Karnataka Kamas

June 7, 2020February 4, 2021 by Aravindh Ranganathan

Dr Aravindh T Ranganathan

This article is a continuation of the previous one on the rāga Kamās. It is advisable to get acquainted with that article before proceeding further as the mentioned article will be quoted often.

Like K V Rāmachandran has mentioned in one of his article, Tyāgarāja Svāmigal is like Prajāpati in creating his own rāga-s.¹ Many of these rāga-s were hitherto unknown and many have only his compositions. This uniqueness had posed a problem for the musicians, compilers and researchers in the last century. Many rāga-s were given more than one name, some had scale-lakṣaṇa discrepancies, that is the rāga name does not match with the rāga svarūpa portrayed in the rāga and some were corrected to the nearest scale. The basic reason for such a discrepancy is the name of these rāgas-s remained anonymousand the compilers adopted their own indigenous ways to name these rāga-s (See Footnote 1).Frequently Taccur brothers were impeached for adopting the names from the text by name Saṅgraha Cūdāmani.² Rāga-s handled by Tyāgarāja and Dīkṣitar with varied lakṣaṇa were given a single name and in this process a theory was devised to behold this glaring anomaly, Tyāgarāja and Dīkṣitar followed two different schools and a same rāga was handled differently depending on the school to which they belong to. Whereas Dīkṣitar’s musical ancestry was traced back to Vēṅkaṭamakhi, sincere thanks to Subbarāma Dīkṣitar, Svāmigal’s ancestry was traced back to the text Saṅgraha Cūdāmani whose authorship is unknown. But this theory was questioned by Chērmadevi Subraḥmaṇya Sāstrigal as early as in 1936, a Veena vidvan belonging to Dīkṣitar school (See Footnote 2).³ This thought was later echoed in many of the articles by K V Ramachandran.^1,2 Their reasoning and querying the authenticity of this theory is genuine, when we see a similar handling of ghana, rakti and dēśīya rāga-s, how or why should these contemporary composers follow different schools while handling apūrva rāga-s? This question remains open even now; but we still believe they propagated two different schools. This author tries to supplement the thoughts put forward by these musicians/musicologists, by analyzing Vālājāpeṭṭai manuscripts and other older versions and articles in this series can be accessed in this site.

K V Rāmachandran also made two valid observations which help us to understand these apūrva rāga-s better and help us to continue his quest in identifying the original tunes and the original rāga names. First, he mentions, in the event of identifying or tagging a rāga name to a composition, the original tune has been vitiated. Secondly, Vālajāpet Rāmasvāmy Bhāgavatar (grandson of Vālajāpet Vēṅkaṭaramaṇa Bhāgavatar) has admitted to him that many rāga names has been assigned to the kṛti-s without proper scrutiny.² The latter point becomes more important as the names that we see today for many of these apūrva rāga-s appear for the first time in the book “Oriental Music in European Notation” by A M Chinnasāmy Mudaliyar published in the year 1893. The main source for this publication is Kṛṣṇasvāmy Bhāgavatar, along with some other prominent musician whose identity is anonymous. However Rāmachandran and Sāmbamūrti expounded the genuineness of Vālajāpeṭṭai notations and Rāmachandran even advises that these notations are to be analyzed to know the true svarūpa of the compositions of Svāmigal.^2,4

With this introduction, let us move to the kṛti ‘sītāpate nā manasuna’. Nowhere else the rāga of this kṛti is disputed and this is such an innocuous kṛti always sung in the rāga Kamās. But our understanding on the Kamās made us to revisit all the available versions for this kṛti – both oral and textual and we are here to report an unusual misattribution; a kṛti composed in an apūrva rāga could have been attributed to the rāga Kamās!

Sītāpatē nā manasuna

We had mentioned several times that the popularity enjoyed by a kṛti too vary and is much time dependent. We have seen such instances in the rāga-s Balahamsa and Kamās. This is one another instance, a kṛti which was not common in the early part of the last century, gained prominence in the later half. Very few texts give this kṛti in notation and this is the same trend seen in the manuscripts examined.

Oral renditions

We hear almost a similar version with the sparse use of ṛṣbham. It is one of the fortunate kṛti-s wherein the basic structure of the kṛti is fairly similar across the renditions. As seen in the article on Kamās, none of the renditions are devoid of the svara ṛṣbham (See footnote 3).

Textual versions – An analysis

As mentioned earlier, very few texts give this kṛti in notation; three texts and three manuscripts in our collection gives us this kṛti. The first text to give this kṛti is ‘saṅgīta kalānidhi’ of Taccur brothers.⁵ This version is totally devoid of ṛṣbham, has Kamās phrases like SGMS, MNDN and PNDP and set to ādi tāla. To make it more precise, it represents the variant Kamās mentioned by Subbarāma Dīkṣitar with unfeigned adherence to the scale SGMPDNS SNDPMGS, yet maintaining other important phrases of Kamās. If we include the svara ṛṣbham, this version will be much closer to the version that we hear commonly.

Saṅgītānandaratnākaram is the next text to make a note of this kṛti.⁶ The version given here is also devoid of ṛṣbham, but more closer to the one given in Vālājāpeṭṭai version which will be described soon. The pallavi has five saṅgati-s, of which four show its presence in Vālājāpeṭṭai version. One saṅgati here sports the phrase MNDN, which occur only once in this kṛti. This phrase is absent in Vālājāpeṭṭai version. Similarly the first line of anupallavi has a saṅgati which has the phrase SGMSN. This phrase is again not seen in Vālājāpeṭṭai version. It can be concluded that the basic Vālājāpeṭṭai version could have been followed in this text with few additional saṅgati-s. Whether this version has a Vālājāpeṭṭai source or this was the musical tune of this kṛti prevalent among all the disciples, directly learnt from Svāmigal cannot be ascertained.

Dākṣinātyagānam is the third text to take a note of this kṛti (See footnote 4).⁷ In contrast with the other two versions mentioned above, this has ṛṣbham. Also, tāla of this kṛti is given as dēśādhi. The svara ṛṣbham occurs in the phrases like SRS, RSNDN and RGM; but phrases like SMGM or MNDN are not seen. Can we then call it as Kamās, when its integral phrases are not present? It is acceptable that a composer need not use all phrases in a rāga. But is he entitled to envisage a rāga with none of its integral phrases?

Coming to manuscripts, this is seen in Vālājāpeṭṭai transcripts and a manuscript written by Śrīnivāsarāghavan and Kumbakōṇam Viśvanātha Ayyar. Śrīnivāsarāghavan has collected manuscripts from various sources and we cannot point it to any particular source. This has ṛṣbham in the phrases SRGM and NRS, but only in two or three places. This version corresponds to SGMPDNS SNDPMGS with occasional SRGM. Again, no other vital phrases of Kamās can be seen.

The version by Kumbakōṇam Viśvanātha Ayyar⁸ does not have ṛṣbham (See footnote 5). The version given here strictly adheres to the scale SGMPDNS SNDPMGS. He was a disciple of Umayālpuram Svāminātha Iyer and consider to represent late Umayālpuram lineage.

Vālājāpeṭṭai transcripts give a version which is different from the commonly heard version, yet identical with the rāga Kamās. The version strictly adheres to the scale SGMPDNS SNDPMGS, a variant of Kamās mentioned by Subbarāma Dīkṣitar, totally devoid of ṛṣbham. This is set to the tāla dēśādhi and the melody when sung in this tāla gives a different feel. In the article on Kamās we have seen the scale mentioned can be a variant and with the occasional presence of ṛṣbham can be considered as Kamās as seen in the kṛti ‘sujana jīvana’. Now a doubt can arise for an astute observer, the reason for us to discuss this kṛti separately when we have seen a Kamās variant.

The Vālājāpeṭṭai version of this kṛti, though appears much similar to the kṛti ‘sujana jīvana’, has much pertinent differences. First, this lacks ṛṣbham completely. Nowhere in the literature, have we come across an evidence to consider Kamās as a ṣādava rāga. Hence calling this kṛti as Kamās is debatable. We had raised this query in the article on Kamās too. Second, the kṛti strictly follows the scale SGMPDNS SNDPMGS, excluding the presence of DNP. Whereas the kṛti ‘sujana jīvana’ had many outliers like SMGS, GPM which can be seen in any old composition composed in the rāga Kamās. Third, the gṛha and nyāsa svara-s used in this kṛti are ṣadjam and pancamam. If we contrast this kṛti with ‘sujana jīvana’, this point can be understood well. The latter kṛti starts with madyamam and almost every āvarta ends with madyamam. Lastly, dhaivatam, though we didn’t see it as a gṛha svara in the latter kṛti, can be considered as an amsa svara. Madhyama and dhaivata are the important svara-s that form a base for Kamās. This cannot be applied for this kṛti in hand. Niṣādha is actually a prominent nyasa svara in this kṛti. Madhyama and dhaivata were not given a prominent place. Considering all these differences, it can be very well precluded that this kṛti could have been composed in some apūrva rāga, having a lakṣaṇa much similar to Kamās. Vālājāpēṭṭai version can be heard here.

When other old versions were compared, it can be seen that all except one follow this variant scale. Of these versions, the version in Saṅgītānandaratnākaram is almost a reproduction of Vālājāpeṭṭai version. The version by Kumbakōṇam Viśvanātha Ayyar also supports the scale and though the version is not a verbatim reproduction of Vālājāpeṭṭai version, it is melodically much similar with the latter version. It can very well be considered as a modification of Vālājāpeṭṭai version. Śrīnivāsarāghavan too follows this scale but has ṛṣbham. Going by these versions, can we speculate the basic melody could have been in some rāga with the scale SGMPDNS SNDPMGS. Texts could have mentioned it as Kamās due to its inherent similarity with the latter rāga. In that case, phrases suggestive of Kamās were added later? This name confusion and mixing up of rāga-s is not uncommon. We had discussed earlier about this in the rāga Rudrapriya and how Rudrapriya mentioned by Subbarāma Dīkṣitar can very well be called as Karnāṭaka Kāpi by many others.

This hypothesis becomes stronger when we consider the version given in Dākṣinātyagānam. That version too has some melodic similarities with Vālājāpeṭṭai verion, especially in the pallavi segment. But the presence of ṛṣbham makes the melody sound different. C R Śrīnivāsa Ayyaṅgār, author of this text has mentioned that the kṛti-s were procured from his personal collection and from Flute Śarabha Śāstrigal. But the source of individual kṛti was not given. In this version, excluding the presence of SRGM and SRS, no other phrase typical to Kamās can be seen. In such a case, is it acceptable to call it as Kamās? We leave this question to musicologists.

Name of the rāga

Having seen these versions, it is necessary to name the scale seen in this kṛti. Our idea is not to obfuscate the readers by giving some obscure names; rather this an attempt to create an image in the mind of readers that this could have been composed in a rare rāga. Ideally kṛti-s like this are to be discussed in music conferences and consensus has to be made. But to begin with, an attempt is being made here to name this scale. The text Rāga Pravāham gives three different names for this single rāga culled from three different sources – Bilaval, Dhivyamavathi and Karnāṭaka Kamās.⁹ Of these the last one suits better than the other two, as the this scale represents Kamās in many aspects.

Conclusion

This kṛti, like many kṛti-s of Svāmigal display heterogeneity, across the versions with respect to rāga lakṣaṇam. Though every other version label it as Kamās, the lakṣaṇa given therein differ considerably. From our analysis, it can be seen the lakṣaṇa seen in the majority of the examined versions do not correspond with the lakṣaṇa of Kamās or its variant.

Though this kṛti and ‘sujana jīvana’ were considered to be set in the same rāga, there exist differences between these two as it is evident from our analysis. But all these differences testimony the past and we nowhere can hear those differences, either now or in future.

The rāga handled here could be a scale much resembling Kamās and somewhere down in the line Kamās phrases could have been added. This ṣādava scale has many other names and the one that is much closer to Kamās, less confusing and also which can be taken by us easily is Karnāṭaka Kamās.

Footnotes

Footnote 1 – From Subbarāma Dīkṣitar, several musicians had made a note that Svāmigal didn’t reveal the name of the apūrva rāga-s to his disciples. Someone, perhaps after the beatitude of Svāmigal has named by referring to some lexicon available to them.

Footnote 2 – Cermādēvi Subraḥmaṇya Śāstrigal represents the disciple lineage Śrī Muddusvāmy Dīkṣitar, being a disciple of Subbarāma Dīkṣitar and Ambi Dīkṣitar. He also had his training from Vīna Śēṣaṇṇaof Mysore. In a series of articles in the magazine The Saṅgīta Abhimāni, he expressed his views on the rāga variations seen in the compositions of Muddusvāmy Dīkṣitar and Svāmigaḷ. He raises the same query, how or why the changes are seen only in these apūrva rāga-s of these composers when we have the same lakṣaṇa for rāga-s like Kāmbhōji or Tōḍi? He also mentions both of them belonged to the śiṣya parampara of Vēṅkaṭamakhin.

Footnote 3 – This author was told by Dr Rājaśrī Srīpati, Vaiṇika, that she has learnt this kṛti completely devoid of ṛṣbham from Viduṣi Smt Suguṇa Varadācāri.

Footnote 4 – The exact year of publication of this text cannot be identified. Based on the introductory notes given by Ayyaṅgār, it can be speculated that this text must have been published before 1917.

Footnote 5 – At one place in the anupallavi, we were unable to ascertain the exact svara he has written. Though it appears like ṛṣbham, its complementary part that occurs in caraṇam does not read as ṛṣbham.

Acknowledgements

I sincerely thank Smt Nandhini Venkataraman, descendant of Kumbakonam Sri Visvanatha Iyer and Dr Chandran, descendant of Dr Srinivasa Raghavan for parting me with the manuscripts in their possession.

My sincere thanks to Dr Rājaśrī Srīpati for educating me about the rare version of this composition.

References

K.V. Rāmacandran. The mēlakartā – A critique. The Journal of Music Academy, pg 31-33, 1938.
K.V. Rāmacandran. Karnatic rāga-s from a new angle. The Journal of Music Academy, pg 105-127,1996.
Cermādēvi Subraḥmaṇya Śāstrigal. Vaiṇīka, gāyaka samvādam. Sila janya rāgaṅgalin kuzappam. The Saṅgīta Abhimāni, pg 101-103,1936.
P. Sāmbamūrti. The Wālājāhpet manuscripts. The Journal of Music Academy, pg 114-129, 1938.
Taccur Śingarācāryulu, Cinna Śankarācāryulu . Saṅgīta Kalānidhi, pg . Kalā Ratnākara, Mudrākśara Śālā, Cennapuri, 1912
Tenmaṭam Vēṅkaṭācāryulu, Tenmaṭam Varadācāryulu. Saṅgītānanda ratnākaramu, pg 51-52. Śrīnikētana mudrāyantramu, Madras, 1917.
C.R. Śrīnivāsa Ayyaṅgār. Dākṣinātyagānam, pg 156-157.
Kumbakōṇam Viśvanātha Ayyar. http://musicresearchlibrary.net/omeka/items/browse?collection=1&sort_field=Dublin+Core%2CTitle&page=2

9. M.N. Danḍapāṇi, D. Paṭṭammal. Rāga Pravāham. The Trinity Book Publishers, 2007.

History, Manuscripts, Notation, Pathantara, Raga, Sahitya

Intriguing raga-s – Kamas

May 26, 2020February 4, 2021 by Aravindh Ranganathan

[simple-author-box]

It has been reiterated several times that Subbarāma Dīkṣitar has not explained many tenets explicitly in his treatise Saṅgīta Sampradāya Pradarṣini. It is up to the reader to comprehend the information given by reading and analyzing various evidences published before and after this treatise. One such tenet is bhāṣāṅga rāgas which was covered here. Another such example will be the point of discussion in this article – rāga-s with more than one mūrcana.

One cannot stop exclaiming seeing the lakṣaṇa of few rāga-s when we go through Pradarṣini. Subbarāma Dīkṣitar has explained these rāga-s by giving more than one mūrcana (ārohaṇa-avarōhaṇa) [1]. Rāga-s like Takka, Sālagabhairavi, Kannaḍagaula and Kamās can be placed under this category. By this we get to know, multiple variant lakṣaṇa-s existed for some rāga-s even during the period of Dīkṣitar and he was in approval of all these variants.

Kamās as described by Subbarāma Dīkṣitar

Kamās is considered as a dēśīya, bhāṣāṅga janya of Harikēdaragaula. Madhyama and dhaivata are jīva svara-s. This rāga has a restricted range between mandra sthāyi nishāda to tāra sthāyi gāndara. At some places like RGRS in tāra sthāyi, gandhāra is sādharaṇa in nature. What is more interesting here is the mūrcana given for this rāga. Though SRGMPDNS and SNDPMGRS is the mūrcana given for this rāga, it can also have other ārohaṇa-avarōhaṇa like SGMPDNS/SMGMPDNS/SMGMNDNS – SNDPMGS says Subbarāma Dīkṣitar. In all the compositions notated by him, Kamās is dealt only as a sampūrṇa janya of Harikēdaragaula. In such a case, it is unavoidable for any reader to get a query – the relevance of the ārohaṇa-avarōhaṇa SGMPDNS – SNDPMGS, as it is totally devoid of the svara ṛṣbham. This scale was very well accepted by Dīkṣitar can be understood from the fact that it was not affixed with any other (derogatory) remarks as seen with the rāga-s Husēni or Kāpi. Hence this article will cover only this variant form and look for the presence of available compositions by analyzing older versions. Neeedless to say, analysis of the rāga Kamās that we hear today will not be attempted.

Kamās in treatises

This rāga has not been catalogued by Śahaji, Tulajā or other musicologists before their period [2]. The Rāga lakṣaṇa, attributed to Vēṅkaṭamakhi by Subbarāma Dīkṣitar too do not mention this rāga. It is interesting that Subbarāma Dīkṣitar had made a note of this rāga, without furnishing a single composition of Muddusvāmi Dīkṣitar or any other member of his family. The only old composition notated there is that of Svāti Tirunal and the lakṣaṇa there well abides with the structure described by Dīkṣitar.

But Kamās is seen in Saṅgraha Cūdāmaṇi and its allied texts. The scale given in Saṅgraha Cūdāmaṇi is SGMPDNS – SNDPMGS. An absolute discordance is seen between the scale given and the lakṣaṇa gīta notated therein. In the gīta notated in Saṅgraha Cūdāmaṇi, many phrases alien to the scale like SGP, GPMG and GPDN can be seen [3]. The ascend form pūrvāṅgam to uttarāṅgam is always by SGP despite the scale being SGMPDN. The phrase SGMP is conspicuously absent in the gītam. Similarly, RSNDP is to be noted, as the svara ṛṣbham is not mentioned in the ārohaṇa-avarōhaṇa. Also the phrases characteristic of Kamās like SMGM, MNDN can also be not seen. Though we are able to locate a scale given by Dīkṣitar in the treatise Saṅgraha Cūdāmaṇi, the scale in no way is related to the lakṣaṇa portrayed in the gītaṃ. When the gītaṃ is reconstructed, the melody appears totally different from the Kamās described by Dīkṣitar or heard now.

Kamās in other texts

Many texts have been published by the musicians to understand rāga lakśaṇa. They serve to understand the crystallized structure of any particular rāga and when many such publications published over the period of time were analyzed, evolution of a rāga can be understood.

One such book, perhaps the first of its kind was published by Pazamanēri Svāminātha Ayyar in the year 1901 [4]. Rāgavibhōdini, as it is called was also mentioned by Subbarāma Dīkṣitar in his Pradarṣini. Svāminātha Ayyar was a disciple of Mahā Vaidyanātha Ayyar and represents the śiṣya parampara of Tyāgarāja Svāmigal. This book help us to understand the rāga lakśaṇa prevailed in a single branch of Mānambucāvaḍi lineage (See foot note 1). Kamās is mentioned as a janya of Harikāmbhoji with the ārohaṇa-avarōhaṇa SMGMPDNS SNDPMGRS. He also mentions about the usage of kākali niṣādham in the phrase SNS. Perhaps this could be the first textual evidence regarding the use of kākali niṣādham. He then proceeds to describe this rāga by mentioning various phrases, including the one with ṛṣbham.

Kamās was explained with other dēśī rāgas by S Ramanathan in The Music Academy conference held in 1966. He has mentioned about the presence of kākali niṣādham and made a note that it is not seen in the earlier compositions [5]. A much detail description of this rāga comes from S R Janakiraman. He avers the structure of this rāga has changed over the period of time. He proceeds to give the ārohaṇa-avarōhaṇa as SMGMPDNS SNDPMGRS and its variant SNDPMGRGS. He emphasizes on the alpatva of the svara ṛṣbham [6]. Though we are able to get a clear definition of this rāga, our question on the scale without ṛṣbham, mentioned by Dīkṣitar remains unanswered.

Mūrcana in Pradarṣini

Before proceeding further, we wish to add a note on the mūrcana given in Pradarṣini and its relevance in understanding the rāga lakṣaṇa. Though Dīkṣitar provides mūrcana for every rāga he describes, in many cases reading mūrcana alone can mislead us in understanding a rāga. A comprehensive examination of all the compositions notated by him inclusive of the notes provided at the beginning is a must to get a picture of any rāga. In other words, mūrcana is just a delineation; even worser than a scale in describing a rāga in many instances.

In this case, the mūrcana resembles the scale of Harikāmbhōji. But the notes given by him regarding the nyāsa svarā-s, various illustrative phrases gives us a picture about Kamās. When this is combined with a study of the notated compositions, a clear picture of Kamās and possible ways to differentiate it from Harikāmbhōji can be learnt. This rāga could have not posed any problem if he had stopped with this discussion. The presence of an additional information, that SGMPDNS SNDPMGS can be a mūrcana confuses as this lakṣaṇa can nowhere be seen in the notated works. No single composition notated there is devoid of the svara ṛṣbham. As we have mentioned earlier, this scale too is to be taken with a pinch of salt. This scale doesn’t mean an entire composition could have been constructed only with this scale going up and down; rather the phrases given here must form a bulk of the composition and that version should be bereft of ṛṣbham or should have used ṛṣbham sparsely. We wish the readers to remember the phrase SRGMPMR in the rāga Balahamsa and its importance which we have discussed earlier. This phrase is nowhere seen in the compositions notated by Dīkṣitar in the rāga Balahamsa, but it was an arterial phrase mentioned in various treatises and seen in few old version of the kṛtis-s of Tyāgarāja Svāmigal in this rāga. The link between these treatises and the practice became evident only after examining the older versions.

Compositions

Rāga-s live through compositions and a study of these compositions not only help us to understand a rāga, but also aid us in understanding the various ways in which a particular rāga was exploited. In the absence of gita-s in this rāga, we are left with the available old versions of kṛti-s, svarajati-s and jāvali-s in this rāga. A detailed analysis of jāvali-s in this rāga can be heard here (See footnote 2). Though the first evidence of jāvali in this rāga can be traced back to 17 CE, the musical structure is much similar to what we hear today.

We do have two kṛti-s of Tyāgarāja Svāmigal in this rāga – ‘sujana jīvana’ and ‘sītāpate nā manasuna’. Excluding these two kṛti-s none of the compositions deserve a special mention in this regard.

Sujana jīvana

This is a well-known kṛti in this rāga set to the tāla rūpakam and needs no introduction. Renditions of this kṛti are plenteous and we do not see much variation in the versions. Uniformly, all these renditions use the svara ṛṣbham as an alpa svara. But we get a different picture when textual versions were examined. Despite being a rare find, both in manuscripts and in the texts published in the early part of the last century, the versions sketched there is common, all devoid of ṛṣbham! All the texts – ‘gāyaka siddhānjanamu’ [7], ‘saṅgītānanda ratnākaramu’ [8], ‘saṅgīta raja raṅgōm’ [9] and ‘gandarva gāna kalpavalli’ [10] give us the variant form of Kamās mentioned by Dīkṣitar. Though the scale followed is SGMPDNS SNDPMGS, we do find phrases like SMGM, PDM, PDS, NDN and SP. The combination of these oft heard phrases in the basic melody condition us to an extent that we don’t feel the real absence of ṛṣbham. These versions does not record a mere scale; rather they paint us the rāga Kamās in its variant form. Now we are left with a question, a vital one to understand the svarūpa of this rāga – can Kamās be outlined without the svarā ṛṣbham? Though the ‘alpa’ nature of this svara is mentioned everywhere and even the oral renditions attest the same, none of the oral versions are available for this kṛti which totally eschew this svara. There are few rāga-s wherein inclusion or exclusion of a particular svara is up to the wish of a composer. The svara dhaivatam in Nāta and ṛṣbham in Hindōlavasanta can be cited as examples. Dīkṣitar provides gīta-s with and without these svara-s in both these rāga-s. But such an indication is not given for Kamās!

Let us look into the Vālājāpeṭṭai version of this kṛti. The rāga and tāla of this kṛti is mentioned as Kamās and rūpaka respectively. The basic version is relatively similar to the textual versions, though the structure of the saṅgati-s differ. An important observation noted include the restricted usage of ṛṣbham. The svara ṛṣbham is seen only once in anupallavi in a saṅgati as GRRS. Vālājāpeṭṭai version of this kṛti can be heard here.

Whereas in the textual versions described earlier, we were able to see many Kamās defining versions. This version lacks those phrases; instead has some other like SMGS and GPMG. The phrase GPMG is totally new, but seen in a sañcāri by Dīkṣitar. As said earlier, we lack gītas, prabandās or other earlier works in this rāga and description by Dīkṣitar alone stand as a pramāṇa. Based on the above discussion, it can be concluded this version best fits into the variant Kamās mentioned by Dīkṣitar, without deviating from its sampūrṇa nature. Many of the āvarta ends with the svara madhyamaṃ highlighting its use as a nyasa svara. But dhaivata is not used extensively as a gṛha svara, though can be considered to be used as an amsa svara.

Also the pada-s in each āvarta are segregated differently than the commonly heard version. The second tāla āvarta in anupallavi starts from ‘cita’ instead of ‘budha’ as we hear now. Same with ‘nana’ instead of ‘dharma’ in the caraṇam (see below). This kind of pada segregation is not only followed in the Vālājāpeṭṭai version, but also in the books ‘gāyaka siddhānjanamu’ and ‘gandarva gāna kalpavalli’. In these texts, sāhitya reads differently; ‘cita’ (in anupallavi) and ‘nana’ (in caraṇam) were replaced by ‘śrita’ and ‘vana’ respectively (‘ghana’ in ‘gāyaka siddhānjanamu’). Gāyaka siddhānjanamu reads ‘dharma pālaka’ as ‘dharma pālana’.

Anupallavi

bhujaka bhūṣanār II cita budha janāvanāt II

maja vandita śruta candana II daśa turaṅga māmava II

Caraṇam

cāru nētra śrī kalatra II śrī ramya gātra II

tāraka nāma sucaritra II daśaratha putra II

tārakādhipā II nana dharma pālaka II

tāraya raghuvara nirmala II tyāgarāja sannutha II

From the analysis of these old versions, it appears the Kamās handled by Svāmigal could have used ṛṣbham to the minimal extent or not used at all. But going with the latter hypothesis creates an impression Kamās was visualized as a shādava rāga by Svāmigal. As we don’t have any evidence to prove that and from the knowledge gained by analyzing the mūrcana seen in Pradarṣini, the first option suits well. In that instance, Vālājāpeṭṭai version stands distinctly as the frequently heard phrases like SRS, NRS, SMGM and MNDN were not seen. But we do see other rare phrases like SMGS and GPM.

Conclusion

Though the aim of Subbarāma Dīkṣitar is to archive the compositions known to him, he also took efforts to make a note on other contemporary accepted practices. In this regard, Saṅgīta Sampradāya Pradarṣini is indeed a valuable treatise to not only learn the compositions of Dīkṣitar, but also serve as a medium to understand the music of the past.

The liberty extended to vāggēyakāra-s by our music is incomparable and they have utilized it to the maximum extent.

Analysis of all the older versions and Vālājāpeṭṭai versions is of paramount importance to understand the music of the past.

Readers must have wondered in not seeing any note on the kṛti ‘sītāpati nā manasuna’. It will be dealt as a separate essay to do justice to the information that it carries.

Footnotes

Footnote 1 – Though we place many musicians into a single family, like Umayālpuram, Tillaisthānam or Mānambucāvadi, differences in the versions do exist between them. This can is more pronounced in Umayālpuram disciples. Such a difference also exist among the disciples of Mānambucāvadi lineage. This is a generalized statement and not related to this kṛti as this kṛti is a hard find in manuscripts and this author was unable find this manuscript in more than one musician in the Mānambucāvadi lineage.

Footnote 2 – The tune of the jāvali sung by Subhashini Parthasarathy is more modern. She has reconstructed the tune or sung a version tuned version by a contemporary musician is to be determined.

References

1. Subbarāma Dīkṣitulu. Saṅgīta Sampradāya Pradarṣini. Vidyā Vilāsini Press, Eṭṭayapuraṃ Samasthānaṃ, 1904.

2. Hema Ramanathan. Rāgalakṣaṇa Saṅgraha (collection of Rāga descriptions) from Treatises on Music of the Mēla Period with translations and notes, 2004.

3. Saṅgraha Cūḍāmaṇi – Kamās lakṣaṇa gītaṃ – Pg 164. The Adyar Library, 1938.

4. Pazamanēri Svāminātha Ayyar: Rāga Vibhōdini, 1901.

5. Rāmanāthan S : Desi rāga-s in Karnātik music. Journal of Music Academy, pg 24-25, 1966.

6. S R Janakiraman. Rāga lakṣaṇaṅgal – Part 1, pg 128. The Music Academy, Madras, 1995.

7. Taccur Śingarācāryulu, Cinna Śankarācāryulu. Gāyaka siddhāṅjanamu, Part 1, pg 137. Kalā Ratnākara, Mudrākśara Śālā, Cennapuri, 1905.

8. Tenmaṭam Vēṅkaṭācāryulu, Tenmaṭam Varadācāryulu. Saṅgītānanda ratnākaramu, pg 53. Śrīnikētana mudrāyantramu, Madras, 1917.

9. Reṅganātha Ayyar. Saṅgīta raja raṅgōm, pg 289, 1928.

10. Rāmulu Ceṭṭi. Gandarva gāna kalpavalli, pg 56. Śrī ‘Rāma’ Mudrākṣaraśāla,1929.

Composers, CompositionAppreciation, Manuscripts, Notation, Pathantara, Raga

Apurva raga-s handled by Tyagaraja Svamigal – Phalaranjani

May 20, 2020October 15, 2021 by Aravindh Ranganathan

Dr Aravindh T Ranganathan

This article was published in “Sruti” May, 2019 issue.

Śrī nārasiṃha māṃ pāhi is one of the very few kṛti-s of Tyāgarāja Svāmi on Lord Narasiṃha. It can be considered as a generic kṛti as we don’t see any reference to a particular kṣetraṃ. Earlier texts assign this particular kṛti to a rāgaṃ ‘Phalaranjani’, though we frequently hear this in the rāgaṃ ‘Phalamanjari’. This kind of confusion with respect to rāga nomenclature is very common as Svāmigal himself didn’t reveal the name of these apūrva rāga-s to his disciples (1). Years later, either his disciples or some other musician (s) were instrumental in assigning these rāga names. This topic has been discussed several times in The Music Academy conferences and it is the view of some musicologists that Taccur Siṅgarācāryulu was the musician involved and he named these rāga-s by referring to a treatise, namely Saṅgraha Chūḍamaṇi, whose authorship is unknown (2). Analysis of the available evidences reveals several inconsistencies with respect to the rāgaṃ of this kṛti and its lakṣaṇa. This article will be analyzing the musical aspects of this kṛti addressing the above said issue in the light of Vālājāpet notations.

Vālājāpet notations

Vālājāpet manuscripts form an important source to understand the kṛti-s of Saint Tyāgarājā. These manuscripts were written by Vālājāpet Vēṅkaṭaramaṇa Bhāgavatar (VVB) and his son Vālājāpet Kṛṣṇasvāmy Bhāgavatar (VKB). It is even said Tyāgarājā could have seen this as they were recorded during his life time.(3) These notations were preserved at Madurai Sourāṣtra Sabha and the transcripts are available in GOML, Chennai. Few of these transcripts can be accessed online here (4). These transcripts are the main source for this article. In the absence of first hand records made by Tyāgarājā, these notations form a very valuable and authentic source to understand the version learnt by his prime disciple Vēṅkaṭaramaṇa Bhāgavatar and his son. These notations when used appropriately help us to solve many problems seen with the apūrva kṛti-s of the Saint.

‘Srī nārasiṃha māṃ pāhi’ in earlier texts

It is not a common kṛti to be seen in the earlier texts published between late 1800 and early 1900; it is even rarer to see this kṛti in notation. For the first time we see this kṛti in the text Saṅgīta Sarvārtha Sāra Saṅgrahamu by Vīṇā Rāmanuja (5). Here, it is mentioned as Phalamanjari, but notations or the lakṣaṇaṃ of the rāgaṃ is not provided. It serves no purpose to our study other than to know that this kṛti was in circulation even during 1857. The contents published in this book, especially those of Tyāgarāja kṛti-s in partial or complete can be seen in several texts published later like the texts published by Rāmanujadāsā (1895), Thangavēlu Mudaliyār (1905) et al. Whether they are exact reproductions of the earlier text or they are reproduced from different sources is not known. All these texts too are blinded towards rāga lakṣaṇaṃ of Phalamanjari. So, Phalamanjari mentioned by them is the same as Phalamanjari mentioned in various lakṣaṇa granthā-s or it is a different one is unfathomable.

AM Chinnaswāmy Mudaliyār in his text ‘Oriental Music in European Notation’ (1893) mention the rāga of this kṛti as Phalaranjani for the first time placing it under the mēla 28, Harikāmbhoji (6). It is to be remembered that the main resource person for this text was Vālājāpet Kṛṣṇasvāmy Bhāgavathar, though it was further approved by some other disciples of Tyāgarāja Svāmi. Same information can also be seen in the book published by Tillaisthānaṃ Narasiṃha Bhāgavatar in 1908 (7) and by SA Rāmasvāmy Ayyar (8) under the pseudonym Rāmānanda Yogi in 1910. None of them give us the notations.

Taccur brothers, for the first time gives this kṛti in notation in their book published in the year 1912. They consider it as Phalamanjari and place it under the mēla 22. (9)

From the above discussion it is clear that this kṛti was not a popular one and not every musician was aware of this. Sources from Vālājāpet and Tillaisthānaṃ disciple lineage consider this as Phalaranjani, placing it under the mēla 28. Taccur brothers and other texts, whose source of this kṛti is unknown, placed it under the mēla 22. Also, only the book by Taccur brothers gives us this kṛti in notation.

Rāga lakṣaṇaṃ

Phalaranjani

Before proceeding further, lakṣaṇaṃ of Phalaranjani and Phalamanjari are discussed for getting a better understanding of this kṛti.

Phalamanjari cannot be seen in any of the lakṣaṇa grantha-s available. For the first time, it can be seen in ‘Oriental Music in European Notation’. Vālājāpet manuscripts too mention this name. Knowing the association between VKB and Chinnaswāmy Mudaliyār and the truth that Svāmi didn’t reveal the name of these apūrva rāga-s , it can be speculated that a musician known to Vālājāpet disciple or Vālājāpet disciple like VVB or VKB themselves might have named this rāgaṃ. This was then followed by Tillaisthānaṃ disciples too. Alternatively, a revered disciple of Tyāgarājā could have named this. The scale as deduced from Vālājāpet version (from Vālājāpet notations) is SGMPMDS SNDPMGMRS.

Rāga pravāhaṃ (10) mentions about this rāgaṃ. Scale given here is same as mentioned above; but it is placed under the mela 22. Usually, this text mentions the source from which a particular rāgaṃ was taken. For example, when mentioning the rāgaṃ Phalamanjari, it gives three entries and gives the source for these three entries namely Palaiyāzhi (two entries) and Sangīta Svara Prastāra Sāgaramu of Nāthamuni Panditar. Strangely, in the case of Phalaranjani, no such reference is given. Perhaps, the scale in which this kṛti is sung now is given for the sake of completion. Another Phalaranjani is given under mēla 28 with a different scale – SGPDS SNDPMGMRS ; again source for this scale is not given.

Phalamanjari

Phalamanjari is mentioned as a janya of mēla 15 by Śahāji and Tulajā. Saṅgraha Chūḍamaṇi and its allied texts consider this as a janya of mēla 22, Kharaharapriya. Scale of this rāgaṃ, and considering this as a janya of mēla 22 is uniform across the texts – SGMDS SNDPMGMRS. It is not SGMPMDS in the ārōhaṇaṃ. This rāgaṃ can be seen invariably in any text that acts as a lexicon for these synthetic scales. Many varieties of Phalamanjari seem to exist and they are not discussed here as they do not come under the scope of this paper.

Notated versions of ‘Srī nārasiṃha māṃ pāhi’

Version by Taccur brothers

As said earlier, text by Taccur brothers is the single early text to give this kṛti in notation. Scale given by them is SGMDS SNDPMGMRS. Interestingly, a phrase SRGGRS is seen which cannot be fit into the given ārohaṇaṃ-avarōhaṇaṃ. Usually, kṛti-s in rāga-s like this follows the scale exactly. This raises a doubt regarding the rāgaṃ of this kṛti. Taccur brothers not acknowledging the musician who gave this version is to be remembered here.

It is a must to validate the rāgaṃ given in early texts like the books by Taccur brothers, Sangīta Sarvārtha Sāra Saṅgrahamu and its like as extreme discordance with the rāga name and the commonly accepted lakṣaṇa can be seen. For instance, Taccur brothers mention the ragaṃ of the kṛti ‘sattaleni dinamu’ of Tyāgarāja Svāmi as Jayantasenā. But an analysis of the notation provided rule out the mentioned rāgaṃ, as ṛṣabhaṃ is seen throughout the krithi and Jayantasenā, being a ṛṣabha vaṛjya rāgaṃ cannot fit in (11).Though their immense service is to be acknowledged, only notated compositions are to be considered for research and those too only after a scrutiny is emphasized. All these facts raise suspicion regarding the rāgaṃ of this kṛti.

Tillaisthānaṃ version

Pārthasāradhi has given this kṛti in notation in a book published by him. He has learnt from Dr Srīnivāsa Rāghavan, a descendant of Tillaisthānaṃ Rāma Ayyaṅgār, a disciple of Tyāgarāja Svāmi (12). He mentions as Phalaranjani, a janya of mēla 28 and gives the scale as SGMDS SNDPMGMRS. Here too, phrases like MPM,DNP and GRGM are found which don’t fit into the given scale.

‘Srī nārasiṃha māṃ pāhi’ in unpublished manuscripts

Much valuable information can be obtained by analyzing these unpublished manuscripts existing as a private collection. Inference obtained from few of these is provided here.

Vālājāpet notations

Importance of these notations is already mentioned. These notations, though mention the rāgaṃ of this kṛti as Phalaranjani, did not give information about the mēla (of this rāgaṃ) or its scale. Scale can be easily deduced from the notation provided. For mēla assignation, book by Chinnaswāmy Mudaliyār is followed as the resource person is same (belongs to Vālājāpet lineage).

Version given here adhere exactly to the scale SGMPMDS SNDPMGMRS. Phrases outside this scale can never be seen. The saṅgati-s are organized in such a way that the rāga structure is easily grasped. This is set to the tālaṃ dēśādhi.

First two saṅgati-s clearly gives us an idea about the lakṣaṇa of this rāgaṃ and the same continues throughout the kṛti without creating any ambiguity. Gandaram, pañcamaṃ and dhaivathaṃ were used as gṛha svaraṃ-s and lot of pratyāgata phrases like NDD,DPP, PMM and RSS can be seen thoughout the kṛti. Vālājāpet version can be heard here.

Manuscript of SA Rāmasvāmy Ayyar

SA Rāmasvāmy Ayyar is a disciple of both Vālājāpet Kṛṣṇasvāmy Bhāgavathar and Umayāḷpuraṃ Kṛṣṇa and Sundara Bhāgavathar. Both were the direct disciples of Tyāgarāja Svāmi and he was a fortunate disciple to represent both these schools. He has notated (11) this kṛti and it is exactly in line with the Vālājāpet notations with respect to rāga lakṣaṇaṃ and basic structure of the kṛti. He has published a book (text only) wherein he clearly mentions the rāgaṃ and tālaṃ of this kṛti (see above discussion). To identify the source from which he learnt this kṛti (Vālājāpet or Umayāḷpuraṃ), sāhityam may be taken as a guide. Whereas Vālājāpet version (and the version by Tillaisthānaṃ Narasiṃha Bhāgavatar) reads the first line in anupallavi as ‘dīnārthi nivāraṇa bhavya guṇā’ , Umayāḷpuraṃ version (and the version by Taccur brothers) read as ‘dīnārthi bhaya hara bhavya guṇā’. It can be surmised that his source for this kṛti was from a Valajapet disciple. Additionally this also authenticates Vālājāpet notations.

Umayāḷpuraṃ version

Umayāḷpuraṃ version too consider this as a janya of mēla 28. Scale is not given though we can redact it as SGMPDPMDS SNDPMGMRS. Here too, Gandaram, pañcamaṃ and dhaivathaṃ were used as gṛha svaraṃ-s and lot of pratyāgata phrases like NDD,DPP, PMM and RSS can be seen thoughout the kṛti (13). Basic outline is much in line with Vālājāpet version. Main point of difference between this and Vālājāpet version is the phrase PDP which occurs only once. Whether it is to be considered as a time related change or not is a point to ponder.

Manuscript in the possession Srīvañchiyaṃ Rāmachandra Ayyar

A manuscript of unknown authorship in the possession of Srīvañchiyaṃ Rāmachandra Ayyar mentions the rāgaṃ of this kṛti as Pratāpacintāmaṇi, a janya of mēla 28. No inference can be made as the manuscript lack notation.

Comparison between Vālājāpet notations and the version by Taccur brothers

If we replace the sādhāraṇa gāndhāraṃ with antara gāndhāraṃ (making it as a janya of mēla 28), version by Taccur brothers resemble Vālājāpet version in the basic structure excluding the phrase SRGGRS. This makes one to hypothesize – was the kṛti sung only as a janyaṃ of mela 28 and Taccur brothers changed that to mēla 22 as Phalaranjani was totally unknown to them and earlier texts like Saṅgīta Sarvārtha Sāra Saṅgrahamu, which they followed say it as Phalamanjari ?

‘Srī nārasiṃha māṃ pāhi’ in oral tradition

Very few recordings of this kṛti are available in the public domain. All except one were labeled as Phalamanjari and consider it as a janyaṃ of mēla 22. The recordings adhere to the scale SGMPMDS SNDPMGMRS. Frequency of hearing the phrase of MPM varies with the rendition. In one rendition the phrase GMDNSNDMGMRS is also found. A version considering Phalaranjani as a janya of mēla 22 can be heard here.

Version by Sangīta Kalānidhi Smt R Vēdavalli is labeled as Phalaranjani and considered as a janyaṃ of mēla 28. That too, adheres to the mentioned scale of Phalaranjani, but different from the Vālājāpet version with some additional phrases like DNP.

Conclusion

The following conclusions can be drawn from the above discussion:

1. Vālājāpet notations were the first one to use the name Phalaranjani and there is extreme adherence to the scale.

2. Almost all the earlier texts give the name Phalaranjani and consider this as a janyaṃ of mēla 28. Only Taccur brothers consider this as Phalamanjari, considering it as a janyaṃ of mēla 22. Were they influenced by the texts like Sangīta Sarvārtha Sāra Saṅgrahamu, as they were the editors of the later editions of the mentioned text is to be considered.

3. Vālājāpet version, an existing old version was passed on to next generation as evidenced by analyzing unpublished manuscripts. Identical basic structure of this kṛti seen in Vālājāpet notations, version by SA Rāmasvāmy Ayyar and Umayāṃpuraṃ version can be remembered here denoting the validity of the basic musical structure seen in the Vālājāpet notations.

4. Whereas Phalaranjani version (janya of mēla 28) is commonly associated with this kṛti in textual tradition, Phalamanjari (janya of mēla 22) version is commonly associated with this kṛti in oral tradition.

5. This article highlights the importance of analyzing Vālājāpet versions and other unpublished manuscripts.

Acknowledgements

I thank Srivanchiyam Sri Chandrasekar, son of Srivanchiyam Sri Ramachandra Ayyar for sharing the rare manuscripts collected and preserved by his father.

I thank Ms Janaki, Editor, Sruti Magazine for publishing this musicological work.

The library in The Music Academy is a repository of many valuable manuscripts written in the early part of the last century, like that of S A Ramaswamy Ayyar. I thank Sri V Sriram, Secretary, The Music Academy for permitting me to access those valuable manuscripts.

References

Subbarāma Dīkṣitulu. Prathamābhyāsa Pustakamu, Pg 129. Vidyā Vilāsini Press, Eṭṭayapuraṃ Subbarāma Samasthānaṃ, 1905.
Ramachandran K.V. (1938) – “The Melakarta – A Critique” – The Journal of the Music Academy 1938 volume IX: pg 31-33.
Sāmbamurti P. The Walajapet manuscripts. Journal of Music Academy 1947: Pg 114-129.
Vālājāpet manuscripts. http://musicresearchlibrary.net/omeka/items/browse?collection=1&sort_field=Dublin+Core%2CTitle&page=12
Vīṇā Rāmānujayya. Saṅgīta Sarvārta Sāra Saṅgrahamu, Pg. 231. http://musicresearchlibrary.net/omeka/items/show/666
Chinnasvāmy Mudaliyār. Oriental Music in European Notation, pg 75. Ave Maria Press, Madras,1893. http://musicresearchlibrary.net/omeka/items/show/507
Ghṛtasthānaṃ Narasimha Bhāgavatar., ed.,Tyāgarājasvāmi Kīrtanalu , Pg 13; Sarasvathi Power Press, Rajahmundry, 1908.
Rāmānanda Yōgi., ed., Tyāgarājasvāmi Kīrtanaṅgaḷ, Pg 120 . Kṛṣṇasvāmy and Sons, 1910.
Taccur Śingarācāryulu, Cinna Śankarācāryulu . Gānenduśekharaṃ, Pg 57-61. Kalā Ratnākara, Mudrākśara Śālā, Cennapuri, 1912
Dr MN Dhandapāṇi, D Pattaṃṃāḷ. Rāga Pravāhaṃ. The Trinity Music Book Publishers, Chennai, 1984.
Taccur Śingarācāryulu, Cinna Śankarācāryulu . Gāyaka Siddhāñjanaṃ, Pg 69-70. http://www.ibiblio.org/guruguha/MusicResearchLibrary/Books-Tel/BkTe-TaccuruBros-gAyaka-siddhAnjanam-Pt2-1905-Xrx-0084.pdf
Pārthasāradhi, S., ed., Śri Tyāgarājasvāmi Kīrtanaigaḷ – Tillaisthānaṃ pāṭaṃ – part 1, Pg 6-9. Guru Sri Tyāgabrahma Ārādana Kainkaryaṃ, 1987.
Manuscripts given by Vidvān Sri B Kṛṣṇamūrti, the versions he learnt from Umayāḷpuraṃ Sri Rājagōpāla Ayyar – http://musicresearchlibrary.net/omeka/files/original/83b9276a2529b0a8e26bf08c4cb7ba7e.pdf

Composers, CompositionAppreciation, Manuscripts, Notation, Pathantara, Raga

The mysterious ‘nagumomu ganaleni’ of Tyagaraja Svamigaḷ

April 10, 2020February 4, 2021 by Aravindh Ranganathan

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Only few kṛti-s enjoy the unique status of being both popular and liked by everyone. One such kṛti is ‘nagumōmu ganalēni’ of Tyāgarāja Svāmigaḷ. As much as the kṛti, the controversies surrounding the rāga of this kṛti too is equally popular. What is the rāga of this kṛti, Ābhēri or Karnāṭaka dēvagāndhāri? If it is ābhēri, which variety of dhaivatam is to be employed? If śuddha dhaivatam is to be employed, is it a different rāga from the Ābhēri of Muddusvāmy Dīkśitar? If so, is it allowed to have two lakṣaṇa for a single rāga? Almost all the students, performers, researchers and rasikā-s are equally aware of these questions. It is always a never ending debate whenever this kṛti is being played or heard. This article tries to find answers for some or all of these questions by considering the old versions, the keys to understand the truth.

Ābhēri

Before we embark into analysis, let us first understand these rāga-s and the present version of this composition.

Ābhēri find its first mention in Saṅgīta Sudhā of Govinda Dīkśitar [1]. This text and its successor, Caturdaṇḍiprakāśika of Vēṅkaṭamakhi consider this as a rāga with the svara-s taken by (present day rāga) Kīravāṇi. From the Rāga lakśaṇa of Śahaji onwards, this is considered as a rāga with the svara-s seen in the rāga Bhairavi. Rāga lakṣaṇa attributed to Vēṅkaṭamakhi also advocate the same lakṣaṇa. Thus the rāga Ābhēri had śuddha dhaivata from the period of Śahaji.

Types

Though the svara variety has not changed, we see two different lakṣaṇa-s for this rāga across the texts. In several of our posts, we have classified the lakśaṇa grantha-s available into two types; those that explain a rāga by phrases and the other one, predominantly through a scale. The lakśaṇa grantha-s falling under the first category like the Rāga lakśaṇa of Śahaji, Saṅgīta Sārāmṛta of Tulaja etc., consider this as a sampūrṇa rāga with the svara-s rṣbham, dhaivatam and niṣādha varjya (omitted) in the ārohaṇa karma. Avarōhaṇa is sampurṇa. Hence we find phrases like GMPS or SMGMPSS. More about these phrases can be studied here. As expected, Rāga lakṣaṇa attributed to Vēṅkaṭamakhi follows the same structure and this is much elaborated by Subbarāma Dīkśitar in his text Saṅgīta Saṃpradāya Pradarśini. This old Ābhēri was visualized and immortalized by Muddusvāmy Dīkśitar in his kṛti ‘vīṇābhēri’ which can be heard here.

The other type is seen in the lakśaṇa grantha-s falling under the second category, namely Saṅgraha Cuḍāmaṇi and its allied texts like Rāga lakśana manuscript of unknown authorship, Saṅgita Sāra Saṅgrahamu and Mahābharata Cūḍāmaṇi. The rāga here follows the scale SGMPNS SNDPMGRS. Here, the svara niṣādha is present in ārōhaṇa karma and hence we see phrases like MPNS. Here, we do have an interesting point to ponder. Though the scales given in all the four texts are same, the Rāga lakśana manuscript of unknown authorship mention this rāga as Ābhīri and not Ābhēri! We will come to this a little later.

We can infer from the above discussion that there were two Ābhēri-s in practice between 17-19^th centuries, though they take the same svara varieties. It can also be seen the dhaivata used is always of śuddha variety in both the varieties.

Popular version of the kṛti ‘nagumōmu ganalēni’

The presently rendered, popular version of this kṛti is in complete accordance with the lakśana of Ābhēri mentioned in Saṅgraha Cuḍāmaṇi and its allied texts. But the difference here is the dhaivatam employed in the present renditions; it is of catuśruti variety. We have seen Ābhēri always had śuddha dhaivata in the past. In such a case, can it be taken as a recent change happened in the last century?

Nagumōmu ganalēni – old versions

To get an answer for the question posed above, we need to look into the old versions available either as recordings or exist only in various texts and manuscripts. Let us now analyze the available versions.

Renditions

Excluding a single version by Vidushi Saṅgita Kalānidhi R Vēdavalli, every other common rendition is sung only with catuśruti dhaivatam. She uses śuddha dhaivata throughout her rendition. Other than this, the basic structure of the kṛti is not much different between the versions.

Texts

In this section, we will be analyzing this kṛti in various published texts and unpublished texts. The first text taking account of this kṛti is Saṅgita Sarvārtha Sāra Saṅgrahamu of Vīṇa Rāmānujayya. The rāga-s assigned for Tyāgarāja kṛti-s in this book is a mystery and it requires a separate paper to address. For time being, we restrict ourselves to the kṛti in hand. The rāga of this kṛti is mentioned as Punnāgavarāḷi. Unfortunately, notation is not suffixed with the sāhityam.

The second text that makes a note of this kṛti is “Oriental Music in European Notation’ by AM Chinnasvāmy Mudaliyār. He mention the rāga of this kṛti as Ābhēri, a janya of mēla 20, indicating the presence of śuddha dhaivatam. This text forms a new era as we find the rāga names (for Tyāgarāja kṛti-s) used here is to be followed by every other text published later (excluding few books which follow Saṅgita Sarvārtha Sāra Saṅgrahamu). Again, all the texts mention Ābhēri as a janya of 20, excluding a text published by Kākināḍa Kṛṣṇa Ayyar, published in the year 1911.² This text forms an important source of reference as this author was a student of Paṭnam Subramaṇya Ayyar, one among the prime disciples of Mānambucāvaḍi Vēṅkaṭasubbaier. Vēṅkaṭasubbaier was a direct disciple of Svāmigal. At this moment of time, it is not possible to compare the version across this school. It is imperative to perform this, as it is very common to see the differences in the version, even among the members belonging to the same school. We shall provide a related example. Harikeśanallur Muttiah Bhāgavatar has a kṛti ‘īśvari rājēśvari’ in this rāga. He has treated this as a janya of mēla 20, that is with śuddha dhaivatam. It becomes clear now that the two musicians (Muttiah Bhāgavatar and Kākināḍa Kṛṣṇa Ayyar) belonging to the same Mānambucāvaḍi school giving two different lakṣaṇa for a single rāga! Unless we get some more versions from this family, we cannot conclude on the versions or the dhaivatha employed in this school.

Kṛṣṇa Ayyar clearly mentions Ābhēri as a janya of mēla 22, giving another important detail; this kṛti was sung with catuśruti dhaivatham even before Musiri Subramaṇya Ayyar cuts a record!

Version by Kākināḍa Kṛṣṇa Ayyar

This version is interesting in many aspects. First, it is the only early version which says catuśruti dhaivatam is to be employed. Second, it comes from one of the important disciple lineage of Svāmigal. Third, this version has one important phrase which gives an indication to identify the rāga of this version (not to be read as the kṛti).

The version here predominantly resembles the presently sung version with catuśruti dhaivatam. But, it has a very important phrase which can neither be detected nor allowed in the rāga Ābhēri. That key phrase, PNDNDP is found in the caraṇam of this kṛti. To understand the relevance of this phrase, we need to know about a rāga called as Dēvagāndhārī.

Dēvagāndhāri or Dēvagāndhāra

Dēvagāndhārī is an old rāga like Ābhēri seen from the text Saṅgīta Sudhā .¹ In this text and in the treatises classified under the first type (see the section on Ābhēri), this rāga is said to be placed under Srīrāga mēla and should have catuśruti dhaivatam. This rāga is now referred as Karnāṭaka Dēvagāndhārī by some (See Footnote 1). This important phrase PNDNDP (or NDNDP) is seen in both sūlādi and gītaṃ notated in Pradarśini.³

Based on these evidences, it is clear that the version notated by Kākināḍa Kṛṣṇa Ayyar is better to be called as Dēvagāndhārī or Dēvagāndhāra or Karnāṭaka Dēvagāndhārī. It does not possess the features of the rāga Ābhēri, mentioned in any of the mentioned treatises.

We have another important version given by Taccur Brothers in the year 1905. They say Ābhēri is a janya of mēla 20 and the version is much similar to the present versions and the version given by Kākināḍa Kṛṣṇa Ayyar. Intriguingly, they give a phrase PNDNDP! The place where it occurs in the caraṇam too is same! Incidentally they have mentioned Karnāṭaka Dēvagāndhāri as a janya of mēla 21 and their Dēvagāndhāri is a janya of mēla 29 (the present popular Dēvagāndhāri).⁴

Have they got a version with catuśruti dhaivata and to be in line with the prevailing system, they have named it as Ābhēri? We raise this doubt considering the inconsistency seen in the versions and rāga lakṣaṇa given by them in their texts.

Manuscripts

This kṛti is always a rare find in manuscripts. The popularity of a kṛti too differs across a century. In an article on the rāga Balahamsa, we have mentioned the popularity of the kṛti-s in the rāga Balahamsa in the earlier part of last century. Contrary to those kṛti-s, this kṛti seems to be relatively unpopular, at least until Musiri Subramaṇya Ayyar popularizing this. In our study, we were able to find only two manuscripts mentioning this kṛti – manuscripts by Bharatam Natēśa Ayyar and Śrīnivāsarāghavan.

Manuscript by Bharatam Natēśa Ayyar

Though the age of the manuscript is unknown, considering the time period of Natēśa Iyer (1855-1931), it can be very well believed to have been written either in the latter half of 19^th century or in the first decade of 20^th century. The notations does not have a mention about the use of dhaivatam. Though the basic structure of the kṛti is comparable to the common version, we see some unusual phrases to Ābhēri like SRGR, MRS, SGRGM and SNDMGS. This indicates the rāga of this kṛti could not be fitted in to any of the two varieties of Ābhēri mentioned!

Manuscript by Śrīnivāsarāghavan

Dr Śrīnivāsarāghavan was a nephew of Tillaisthānam Rāma Ayyaṅgar, a direct disciple of Svāmigal. But he has learnt from many sources; the sources that are known to us include Tillaisthānam Pañju Bhāgavatar and S A Rāmasvāmy Ayyar. His notebooks provide a valuable reference material to understand the tunes of the past as it is generally believed that he was faithful to the versions that he had learnt. In his notebooks, he has notated this kṛti, named it as Ābhēri and clearly says, it is a janya of mēla 20. To our surprise, the kṛti starts with the phrase PDNDPM, which is certainly not allowed in any of the two varieties of Ābhēri. He continues to surprise us by giving phrases like SRG, RGMG, GRG, SRGM and DNS. None of these phrases can be fitted into any of the two varieties of Ābhēri. An astute musician he was, he has mentioned the scale of this rāga as S(R)GMP(D)NS SNDPMGRS. Though the scale is much like Naṭabhairavi or its sampūrṇa janya-s like Nāgagāndhāri, Cāpaghaṇṭāravam et al, structure of the rāga, as evidenced from these phrases is strikingly different.

Vālājāpeṭṭai version

Vālājāpeṭṭai transcripts that we have make a note of this version. It mentions the rāga name as Ghaṇṭāravam! Since notations are not available, we are unable to proceed any further.

The versions see in these manuscripts might be insular. But this insularity is striking and is common to these versions seen in manuscripts.

Ninnuvinā marigalada

There is a kṛti of Śyāma Sāstri ‘ninnuvina marigalada’ with two versions – one in Rītigaula and the other one in the mentioned in the texts. We are yet to get an older version and will be subjected to analysis once we procure.

What is the rāga of this kṛti?

The answer to this question depends on the version that we believe to be original and the lakṣaṇa embedded therein.

If we rely on the version by Kākināḍa Kṛṣṇa Ayyar, it is better to call it as Dēvagāndhārī or Dēvagāndhāra. It is to be remembered that a lot of intra school differences exist within this school and we do not know whether this version was handed over to Kṛṣṇa Ayyar or it was the general version prevailed in Mānambucāvaḍi school. This becomes highly relevant as that determines the authenticity of the version.
The version given by Bharatam Natēśa Ayyar and Śrīnivāsarāghavan cannot be placed into Ābhēri or Dēvagāndhāri / Dēvagāndhāra (irrespective of the dhaivatam). It is some unknown rāga, yet to be identified.
The presently rendered version (śuddha dhaivatam version) is structured more like Ābhēri of the second class of treatises. In that case it could have been called by the name Ābhīrī, as seen in one of the treatise mentioned earlier. Over the years and also due to the ascension of Saṅgraha Cūḍāmaṇi, Ābhīrī could have been called as Ābhērī. Interestingly, there exists a rāga by name Ābhīr in Hindustani Music. The structure of this rāga is identical with Ābhēri seen in the present version using śuddha dhaivatam. The presently rendered catuśruti dhaivatam version, if it is added with the phrase PNDNDP can be comfortably called as Dēvagāndhārī / Dēvagāndhāra. In the absence of this arterial phrase, it is advisable to give a separate name as it does not satisfy the criteria to be called as Dēvagāndhāri / Dēvagāndhāra or Ābhērī.
The presently heard versions could be actually an abridged version of the original with many of its non-scale abiding phrases removed.
Getting a Vālājāpeṭṭai version definitely gives an added value.

Conclusion

This could be one of the apūrva rāga kṛti of Svāmigaḷ. Alternatively it could have been composed in an old rāga, yet to be identified. Perhaps, the lakṣaṇa seen in the version of Śrīnivāsarāghavan can be compared with all 20 mēla janya rāga-s.

Based on this analysis, it appears that the presently heard versions might not be portraying the complete lakṣaṇa of this rāga, as visualized by Svāmigaḷ. As with many other kṛti-s of Svāmigaḷ , we might be hearing a changed version(s).

Acknowledgements

The library in The Music Academy is a repository of many valuable manuscripts written in the early part of last century, like that of Bharatam Natēśa Ayyar. I thank Sri V Sriram, Secretary, The Music Academy for permitting me to access those valuable manuscripts.

I sincerely thank Dr Chandran, descendant of Dr Srinivasa Raghavan for parting me with the manuscripts in his possession.

References

1. Hema Ramanathan. Rāgalakṣaṇa Saṅgraha (collection of Rāga descriptions) from Treatises on Music of the Mēla Period with translations and notes, 2004.

2. Kākināḍa C S Kṛṣṇasvāmy Ayyar, Śrī Tyāgarāja Śata Kīrtana Svarāvali, 1911.

3. Subbarāma Dīkṣitulu. Prathamābhyāsa Pustakamu, Vidyā Vilāsini Press, Eṭṭayapuraṃ Subbarāma Samasthānaṃ, 1905.

4. Taccur Śingarācāryulu, Cinna Śankarācāryulu. Gāyaka Siddhānjanamu. Kalā Ratnākara, Mudrākśara Śālā, Cennapuri, 1905.

Footnote 1

In the second type of treatises, namely Saṅgita Sāra Saṅgrahamu Mahābharata Cūḍāmaṇi and Rāga lakśana manuscript of unknown authorship this rāga is called as Dēvagāndhāra considered as a janya of mēla 20 with the same scale as Ābhēri. In that instance the difference between Dēvagāndhāra and Ābhēri is not clear (as these texts do not furnish phrases or gītam). These three treatises along with Saṅgraha Cudāmaṇi also mention another rāga, Karnāṭaka Dēvagāndhāri with the same scale as Ābhēri and Dēvagāndhāra, but as a janya of mēla 21. Simply saying, Ābhēri mentioned in Saṅgīta Sudhā and Caturdaṇḍiprakāśika exist as Karnāṭaka Dēvagāndhārī in these texts.

Composers, Manuscripts, Notation, Pathantara, Raga, Shishya Parampara

Intriguing raga-s – Balahamsa

March 8, 2020February 4, 2021 by Aravindh Ranganathan

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Changes occurred to a rāga can be of various types ranging from trivial to drastic. There are some rāga-s wherein some phrases have disappeared over the period of years, there are a few wherein a rāga was made to sport a svara which is not present in its derivative scale and lastly there are some which were given a new form altogether. The last change is most dangerous as we are deprived to understand its old and original form. One such ‘extinct’ rāga is Balahamsa, a rāga that was much popular during the period of Tyāgarāja Svāmigaḷ and his contemporaries. The Balahamsa visualized by these composers was indeed a grand ‘rāga’ with lot of fluid phrases traversing the scale.

Though we do hear Balahamsa now and then with the same svara sthāna as that of Balahamsa of yore, the kṛti-s heard are mostly modern considering the lakṣaṇa of this rāga. The contemporary Balahamsa is much scalar which is essentially to be contrasted against the Balahamsa used by the composers mentioned above.

Balahamsa

The present form of Balahamsa, in texts is seen only from the period of Śahaji. But the lakṣaṇa seen here has not changed; Tulaja too records the same, though he was late by around a century (See Footnote 1). This rāga, essentially in the same form was utilized by Muddusvāmy Dīkṣitar in his kṛti ‘guruguhādanyam’, belonging to the set of guruguha vibhakti kṛti-s. This kṛti as notated by Subbarāma Dīkṣitar in his Saṅgīta Sampradāya Pradarśini follows the same lakṣaṇa as given by Śahaji and Tulaja. Unfortunately, the later versions of this kṛti resemble this Balahamsa remotely and were structured to be in confirmation with the commonly heard Scalar Balahamsa. This scalar version subdued the Scale-transcending Balahamsa in the Post – Trinity era and live through many compositions.

We have mentioned in our earlier articles that many of the Scale-transcending rāga-s have a Scalar counterpart and Balahamsa can be best fitted into this. It is a rarity to hear Balahamsa in the present day concert milieu and when it is heard, it is invariably the Scalar Balahamsa that bemuse us.

Scalar Balahamsa

Balahamsa takes the svara that are assigned to the mēla 28 (present system), namely catuśruti ṛṣabham, antara gāndhāram, suddha madhyamaṃ, catuśruti dhaivatam and kaiśiki niṣādham. It is an upāṅga rāgaṃ and svara-s alien to mēla 28 are never seen here. All the advocatory texts of the Scalar school like Saṅgraha Cūḍāmaṇi, Saṅgīta Sarvārtha Sāram etc., identify this rāga and assign the scale SRMPDS SNDPMRMGS to it (See Footnote 2). The phrase RMGS has been given an undue importance (in the Post-Trinity era) and this phrase has almost become synonymous with this rāga which we feel, is mainly due to the influence of Saṅgraha Cūḍāmaṇi and the lakṣaṇa gīta given there in. The lakṣaṇa gīta notated there does not have gāndhāra in ārōhaṇa phrases, strictly confirming with the scale and RMGS is found aplenty. Glide towards the ṣaḍja in avarōhaṇa phrases is always RMGS, excluding a single place wherein MGRS is seen.

Scale-transcending Balahamsa

This grand rāga, as noted by Śahaji and Tulaja cannot be reined in by a mere scale. Though the svara stanāna-s it takes are exactly the same as that of scalar one, it has many unique phrases which was well projected by the composers like Muddusvāmy Dīkśitar and Subbarāma Dīkṣitar. Subbarāma Dīkṣitar explains its entire firmament in a single śloka, attributed to Vēṅkaṭamakhi:

balahamsākhyarāgōyam ārōhē ca nivarjitaḥ I
sagrahassarvakālēṣu gīyatē gāyakōttamaihi II

The first part of this śloka says ‘the svara niṣādha is varjya (absent) in the ārōhaṇa of the rāga balahamsa’. Though the śloka appears to be concise and at times non-explanatory, the very essence of Balahamsa is communicated here assiduously. This Balahamsa has ārohaṇa phrases, with the six svara-s used in various permutations, excluding the niṣādha. Subbarāma Dīkṣitar gives various illustrious phrases like SRGR, SRGM, SRMP, MPDP etc., and when they are studied with the śloka mentioned above, gives an idea that these grantakāra-s are willing to convey. Niṣādha is seen in the phrases like SNDP and DNDP. Beside these standard phrases, this rāga has many unusual phrases like SRGMPMR, SRPMR, PR and PDPS. There are two striking features in the above mentioned discussion – the phrase RMGS is not mentioned anywhere (See Footnote 3) and the phrase SRGMPMR, though mentioned by Dīkṣitar as very important, is seen nowhere in any of the compositions notated by him. The point we wish to reiterate by this discussion is that RMGS was an ignored phrase in this rāga (in the past), this rāga can be placed in par with the rāga-s like Kāmbhōji or Rītigaula which has very many special phrases outside the fixed scale and Subbarāma Dīkṣitar wishes to educate us about a rāga by giving important phrases of a rāga, irrespective of them being used in the compositions notated by him. It is thus imperative for us to read each and every discussion or note that he gives to contemplate a rāga.

Compositions of Tyāgaraja Svāmigaḷ in the rāga Balahamsa

An astute reader will be with a query on the svarūpa of Balahamsa seen in the compositions of Svāmigaḷ. In the commonly heard versions, we hear only Scalar Balahamsa and the phrase RMGS ornate each and every single composition. Also they also do not confirm with the lakṣaṇa of the Scale-transcending Balahamsa as portrayed in the composition of Muddusvāmy Dīkṣitar or elsewhere. Does it mean both of them followed two different schools? This puzzle can be resolved only by looking into the older versions of the kṛti-s of Tyāgaraja Svāmigaḷ.

Older versions – a repository of lost tradition

We have insisted several times in our previous posts regarding the importance of collecting and analyzing the manuscripts preserved at various repositories. Analysis of various versions prevalent during the early part of the last century and prior reveal, the older form of Tyāgarāja kṛti-s too were in Scale-transcending Balahamsa and the possibilities of them being the ‘original’ intent of the composer is extremely high.

We have around eight compositions of Svāmigaḷ in this rāga and we were able to identify the older version for few of these compositions. A comparison across the versions will be done for the kṛti-s which were able to get an old version, to draw a conclusion.

Ninnu bāsietla

This is the rarest of the entire lot of the kṛti-s of Svāmigaḷ in Balahamsa. Surprisingly this could have been a popular kṛti in the past, getting mentioned by many musicians who had the habit of notating the kṛti-s that they have learnt. It can also be seen in published texts. Vālājāpēṭṭai version of this kṛti can be heard here. Though a small kṛti, it epitomize the Scale-transcending Balahamsa. The phrase SRGMPMR is heard in the caraṇam of this kṛti.

T M Vēṅkaṭa Śāstri was the first one to publish this kṛti in notation as early as in 1892. Though the version much resembles the Vālājāpeṭṭai version, there exist few minor differences. A prominent difference being observed is the absence of the phrase SRGMPMR and SNDNP. Instead this reads as SRMPPMR and SNDNDP respectively! (See Footnote 4)This trend gets continued in the Gāyaka Siddhānjanamu of Taccur brothers. P V Ponnammāl, a musician who lived around 1917 also recorded a similar version, but without the phrase SRGMPMR. Same is the case with Kumbakōṇam Visvanātha Ayyar, an Umayālpuram musician. There are two versions other than the Vālājāpeṭṭai version to have this phrase; one by Srinivāsa Rāghavan, a nephew of Tillaisthānam Rāma Ayyaṅgār and another one in a book published by Kākināda C S Kṛṣṇasvāmy Ayyar. Srinivāsa Rāghavan has learnt from various sources including S A Rāmasvāmy Ayyar, a disciple of Vālājāpeṭṭai Kṛṣṇasvāmy Bhāgavatar and Umayālpuram Kṛṣṇa and Sundara Bhāgavatar and he could have learnt this from S A Rāmasvāmy Ayyar. The version published by Kākināda C S Kṛṣṇasvāmy Ayyar is extraordinarily similar to Vālājāpeṭṭai version, but for the absence of the phrase SNDNP. Though few minor differences exist across the versions, the basic structure of this kṛti is almost similar. Strikingly, none of these versions use the phrase RMGS. The presently rendered concert version can be heard here.

Taḷḷi tandrulu

Another common kṛti seen in almost all the manuscripts written during the early part of the last century. The lakṣaṇa of Balahamsa is similar to the other kṛti-s mentioned in the Vālājāpeṭṭai manuscripts (‘ninnu basi’, ‘daṇdamu bettēnura’ and ‘ika gāvalasina’). We do not find the phrase SRGMPMR here, though we find PMR and PR in plenty. Similar lakṣaṇa is seen in the text Gānēnduśekaram of Taccur brothers. A similar version with the complete absence of RMGS and plenty of DSR, SRGR,PMR,PDND etc., were seen in the versions of Bālasubraḥmaṇya Ayyar, supposedly an Umayālpuram musician, PV Ponnammāl and Srinivāsa Rāghavan. This again shows the older versions of the kṛti-s of svāmigaḷ is much different from the presently heard versions.

Ika gāvalasinadēmi

This is perhaps one of the common kṛti heard in this rāga. The version that is commonly heard must have been probably sourced from Umayālpuram tradition as this version much resembles the version notated by B Kṛṣṇamūrti, as learnt from Umayālpuram Rājagōpāla Iyer, a descendant of Umayālpuram Svāminātha Iyer. This version has plenty of the phrase RMGS. This kṛti could have not been known to all (musicians of the past) is gleaned from the fact that this kṛti is very rarely encountered in the manuscripts examined by us. Fortunately, a Vālājāpēṭṭai version is available, but only in part; pallavi and the first line of anupallavi alone is notated in the transcripts available. This version is devoid of the phrase RMGS.

It can be seen the arterial phrase SRGMPMR occurs and this version is not even remotely identical with the common Umayālpuram version of this kṛti!

Daṇdamu beṭṭēnura

This is perhaps the most popular kṛti in this rāga. Including the Vālājāpēṭṭai versions, none of the older versions deviate from the structure of Scale-transcending Balahamsa explained earlier. This is also applicable to the Umayālpuram version notated by B Kṛṣṇamūrti.

Rāma ēva daivatam

This is another rare kṛti in this rāga. Whereas the commonly heard version is replete with the phrase RMGS and predominantly scalar, the version by Srinivāsa Rāghavan is in line with the Scale-transcending Balahamsa. Like ‘ninnu bāsietla’, it can be conjectured that this could have also been learnt from S A Rāmasvāmy Ayyar.

It can be seen the kṛti-s ‘daṇdamu beṭṭēnura’, ‘taḷḷi tandrulu’ and ‘ninnu bāsietla’ were much known to the musicians in the past and all the kṛti-s were structured only in the Scale-transcending form. Of these versions, Vālājāpēṭṭai versions tend to harbor more archaic, yet arterial phrase like SRGMPMR and SNDNP which has been dropped off in the later versions. The emergence of Janarañjani with this phrase (SRGMPMR) might be a reason that can be speculated.

Post-Trinity composers

This rāga was handled by almost all the prominent Post-Trinity composers from Mysore Sadāśiva Rao to Harikēśanallur Muttiah Bhāgavatar. Whereas the lakśaṇa of the rāga resembles the Scale Balahamsa to a greater extent with a profuse use of the phrase RMGS, few have also used some phrases outside the scale. SRGMPMR in the kṛti ‘dēvi dākśāyani’ of Muttiah Bhāgavatar, DM and MD in the kṛti ‘evarunnaru brōva’ of Sadāśiva Rao can be cited as examples. This shows their acquaintance with Scale-transcending Balahamsa and perhaps due to changes in the trend during their period, they have composed in Scalar Balahamsa with few special phrases outside the scale to give us an inkling about the past tradition.

Unique Post-Trinity composers

As mentioned earlier, Scalar Balahamsa rose to prominence in the Post-Trinity era mainly due to the works of prominent composers who lived in the last century. Amongst this, we have two composers who have made a mark by composing in the Scale-transcending Balahamsa. Subbarāma Dīkṣitar has composed a grand aṭa tāḷa varṇa ‘śri raja rāja’ demonstrating all the vital phrases of this rāga following the lines of Tyāgarāja Svāmy and Muddusvāmi Dīkṣitar. Tiruvottriyūr Tyāgayyar has composed a kriti ‘paluka vādēla’ in this rāga belonging to the set ‘ Śri Vēṇugōpāla Aṣṭōttara Śata Kṛtis’. Though he has not used the phrase RMGS, he has neither used the phrases like SRGMPMR, SNP or PDPS, the definitive features of Scale-transcending Balahamsa. So it is neither scalar nor having all the phrases of Scale-transcending Balahamsa.

Scalar Vs Scale-transcending Balahamsa

Having discussed the two types of Balahamsa and the compositions therein, we wish to give a reckoner to identify and understand these two types. The Scalar Balahamsa follows the scale exactly with no outliers. The avarōhaṇa phrases leads to ṣaḍja only through RMGS or a phrase having the motif ‘GS’ like SRGS. But, none of the compositions exist to serve as an example for this Scalar Balahamsa that is following only the scale. The compositions by the Post-Trinity composers predominantly are scalar with few phrases not confirming with the scale.

Scale-transcending Balahamsa has the phrase MGRS in addition with the avarōhaṇa phrases mentioned above. Phrases like SRGMPMR, PDPS and SDNP are inherently present. The compositions of Tyāgaraja Svāmigaḷ, Muddusvāmy Dīkṣitar and Subbarāma Dīkṣitar come under this category. Though we do not find the phrase SRGMPMR in the compositions of Muddusvāmy Dīkṣitar and Subbarāma Dīkṣitar, we do find a phrase MRGMPMR in the mentioned varṇam by Subbarāma Dīkṣitar.

Hindustāni equivalent of Balahamsa

There is no equivalent rāga for Balahamsa in Hindustāni music. Subbā Rao gives four types of Baḍahamsa in his book and none of them resemble our Balahamsa.

Conclusion

Analysis of older versions reveal, Balahamsa was handled only in a Scale-transcending form earlier, at least till the period of Tyāgarāja and Muddusvāmi Dīkṣitar. Though we do not have any recordings, this is clear form all the manuscripts and the early texts examined. Since every other evidence points towards the same direction, it can be very well concluded that the kṛti-s of Tyāgarāja Svāmy in the rāga Balahamsa has been changed from Scale-transcending to Scalar form. The Balahamsa that is heard today is definitely a Post-Trinity development.

The Vālājāpēṭṭai version of the kṛti ‘ninnu bāsi etla’ represents an original authentic version, as every other old version, representing various other schools confirm this.

Though it is not technically wrong in having the phrase RMGS, for some unknown reasons, composers like Tyāgarāja Svāmy and Muddusvāmi Dīkṣitar has avoided that phrase.

There are many pockets within the broader Umayālpuram school, with total disagreement in their versions and they are to be studied separately.

Vālājāpēṭṭai notations, being the oldest of all maintain many archaic, yet arterial phrases which are must to understand this rāga. Any efforts to analyze the rāga-s handled by Tyāgarāja Svāmy will be futile without examining them.

This analysis shows there are no two different thoughts in approaching a rāga between Tyāgarāja and Muddusvāmi Dīkṣitar and it is the change that has happened over the time has created this illusion.

This analysis also highlights the importance of analyzing manuscripts to understand the truth. We request the readers to share information about any unpublished manuscripts that they are aware of.

Acknowledgements

The library in The Music Academy is a repository of many valuable manuscripts written in the early part of the last century, like that of P V Ponnammal. I thank Sri V Sriram, Secretary, The Music Academy for permitting me to access those valuable manuscripts.

I sincerely thank Sri B Krishnamurti, Smt Nandhini Venkataraman, descendant of Kumbakonam Sri Visvanatha Iyer and Dr Chandran, descendant of Dr Srinivasa Raghavan for parting me with the manuscripts that they possess.

References

Subbarāma Dīkṣitulu. Prathamābhyāsa Pustakamu, Vidyā Vilāsini Press, Eṭṭayapuraṃ Subbarāma Samasthānaṃ, 1905.

Subraḥmaṇya Śāstri. Sangraha Chudamani of Govinda, 1934.

Hema Ramanathan. Rāgalakṣaṇa Saṅgraha (collection of Rāga descriptions) from Treatises on Music of the Mēla Period with translations and notes, 2004.

T M Vēṅkateśa Śāstri. Saṅgīta Svayam Bodhini, 1892.

Kākināḍa C S Kṛṣṇasvāmy Ayyar, Śrī Tyāgarāja Śata Kīrtana Svarāvali, 1911.

Taccur Śingarācāryulu, Cinna Śankarācāryulu. Gāyaka Siddhānjanamu. Kalā Ratnākara, Mudrākśara Śālā, Cennapuri, 1905.

Taccur Śingarācāryulu, Cinna Śankarācāryulu. Gānēnduśekaram. Kalā Ratnākara, Mudrākśara Śālā, Cennapuri, 1912.

B Subbā Rao. Rāganidhi – A comparative study of Hindustāni and Karnatik rāga-s, Volume 1, The Music Academy, 1980.

Footnotes

Footnote 1 – Balahamsa can also be seen in the treatises like Saṅgīta Pārijāta and Hṛdaya Kautuka. But the rāga lakṣaṇa is different and Balahamsa with the present svara sthāna-s can be seen only from the text by Śahaji.

Footnote 2 – Saṅgraha Cuḍāmaṇi gives the scale asSRMPD SNDPMRMGSRS. Rāga lakṣaṇa, a similar text of unknown authorship gives us the scale SRMPDS SNDPDMGRS.

Footnote 3 – The phrase RMGS occur as RMGGS only once in the rāgamālika ‘śivamōhana’ of Rāmasvāmy Dīkṣitar.

Footnote 4 – Since this article predominantly deals with the rāga Balahamsa, the various versions were not discussed in detail.

CompositionAppreciation, Pathantara, Uncategorized

Sukhi Evvaro – Kanada – An Evergreen Classic

November 2, 2019February 4, 2021 by ravi rajagopalan

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 22^nd 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 22^nd 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 18^th 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:

The pace and the rhythmic gait of the rendering and how she changes it at the carana
The eduppu of the composition at the rishabha as RRGGM – RPPMGGMRS-RRGGM, as pointed out earlier with the take off being a steady rishabha
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.
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 19^th 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:

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.

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“SARASAALANU” – THE LONG FORGOTTEN OEUVRE OF PONNAYYA , THE TANJORE QUARTET

Prologue:

Clones in our world of Music:

“sarasAalanu Ipudu” in Karnataka Kapi of Thanjavur Ponnayya:

Lyrics:

Analysis:

Discography – Part 1:

**The Musical Vista of sarasAlanu :**

**The Ragamalika section of sarasAlanu and a few questions around it:**

**Is sarasAalanu a svarajati or a padavarna:**

Placement of a cauka varna in a Concert:

Raga name- Is it Karnataka Kapi?

**Origins of this pAtham of sArasAalanu :**

Ponnayya – A Distinguished Composer:

Discography Part 2:

Conclusion:

Post-script:

References:

Foot Notes:

Acknowledgments:

Disclaimer:

Colourful Bhashanga-s – Rudrapriya III

Apurva raga-s handled by Tyagaraja Svamigal – Karnataka Kamas

Intriguing raga-s – Kamas

Apurva raga-s handled by Tyagaraja Svamigal – Phalaranjani

The mysterious ‘nagumomu ganaleni’ of Tyagaraja Svamigaḷ

Intriguing raga-s – Balahamsa

Sukhi Evvaro – Kanada – An Evergreen Classic