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CompositionAppreciation, History, Pathantara, Raga

“sarasAlanu” – The Long Forgotten Oeuvre of Ponnayya of The Tanjore Quartet

June 29, 2021June 28, 2023 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.

History, Raga

Kapi – A Raga of Myriad Hues

November 24, 2019February 4, 2021 by ravi rajagopalan

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INTRODUCTION:

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

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

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

KAPI – ITS CURRENT FORM:

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

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

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

Sahaji’s Ragalakshanamu (Circa 1700):

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

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

Tulaja’s Saramrutha (circa 1736 AD) ⁶:

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

Raga Lakshana anubandha of Muddu Venkatamakhin³:

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

Kapi ragascha sampurnah sagrahah sarvakalika

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

Summary of the above:

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

KAPI OF THE SSP ¹:

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

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

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

SUBBARAMA DIKSHITAR’S COMMENTARY:

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

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

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

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

ANGAS – A NOTE ON MUSICAL LEITMOTIFS

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

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

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

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

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

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

P D N P M G , G , R

Ka………………………….pi

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

SUMMARY of SSP’S RAGA LAKSHANA :

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

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

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

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

THE COMMENTARY ON KAPI BY MUSICOLOGISTS/AUTHORITIES:

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

THE ACCOUNT OF PROF SAMBAMOORTHI⁷:

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

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

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

THE ACCOUNT OF DR T S RAMAKRISHNAN

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

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

THE ACCOUNT OF THE EXPERTS COMMITTEE OF THE MUSIC ACADEMY:

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

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

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

EXPERTS COMMITTEE DISCUSSION ON THE RAGA KAPI⁵:

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

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

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

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

SUMMARY OF THE EVIDENCE THIS FAR:

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

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

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

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

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

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

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

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

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

Flavor 1 : The kriti ‘Sambo Satatam’

Flavor 3 : The pada varna ‘Sumasayaka’

Flavor 4 : The kriti ‘Vihara Manasa rame’

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

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

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

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

DISCOGRAPHY:

Kapi – Flavor 1 or Karnataka Kapi:

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

Clip 1: Smt Kalpagam Svaminathan renders Dikshitar’s Venkatacalapate

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

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

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

Clip 2: Vidushi Prema Rangarajan renders Rangapate

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

Clip 3: Semmangudi Srinivasa Iyer renders ‘Sambho satatam’

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

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

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

The entire concert can be heard here:

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

( Requires Google or Yahoo ID)

Kapi Flavor 2:

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

Clip 4: Vidvan Ramnad Krishnan renders Anyayamu Seyakura

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

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

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

Clip 6 : Vidushi Mythili Nagesvaran renders Nityaroopa-Durbar

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

Kapi Flavor 3:

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

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

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

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

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

Clip 7: Smt T Brinda renders Sumasayaka-Karnatakakapi

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

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

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

ALLIED RAGAS OF KAPI:

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

CONCLUSION:

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

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

REFERENCES:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Clip 9 : Vidushi Raji Gopalakrishnan renders Balambikaayah-Kanada

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

Credits/Acknowledgements:

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

History, Manuscripts, Raga

Colorful Bhasanga-s – Rudrapriya – Part I

October 28, 2019February 4, 2021 by Aravindh Ranganathan

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The colourful nature of the bhāṣāṅga rāga-s, their ability to be used flexibly according to the intent of a composer were explained in an introductory article on these rāga-s. In this article, we will be venturing into Rudrapriyā, a representative of the bhāṣāṅga clan.

Rudrapriyā is not a very popular rāga though few can reconcile this rāga and relate it with the kṛti ‘amba paradēvatē’. But Rudrapriyā was very popular once and we do have a significant number of compositions to analyse this rāga.

Rudrapriyā – A bhāṣāṅga

The first treatise to elaborate this rāga is Saṅgita Saṃpradāya Pradarśini of Subbarāma Dīkṣitar and Rudrapiyā is introduced as a dēśīya, bhāṣāṅga janya of the rāgāṅga rāga Śrī and takes the svara-s therein. Though the given mūrcana is SRGMPDNS – SNPMGRS, this is really a grand rāga and use various phrases outside the given mūrcana. In fact, Rudrapiyā cannot be conceived with this scale alone and can be considered akin to Kharaharapriyā. Subbarāma Dīkṣitar also says antara gāndhāra is employed in some places where the phrase MGM occurs and this Rudrapriyā is called as Hindustani Kāpi. We can infer two points from this valuable statement:

Antara gāndhāra do not or need not necessarily feature in all the places wherein the phrase MGM occurs. MGM with antara gāndhāra is used only by Subbarāma Dīkṣitar, that too only once in his sañcāri. This was the hypothesis proposed in our previous article; use of a svara not seen in the parent scale in a bhāṣāṅga is an option!!
A rāga is given two different names based on the presence or absence of a svara. The necessity to employ two names for a single rāga is not known. Does Subbarāma Dīkṣitar mean to say Rudrapriyā (Rudrapriyā is a dēśīya rāga is to be remembered) was used in some other regions with antara gāndhāra, wherein it was called as Hindustani Kāpi ? Anyways this is a very clear indication that this rāga was called by more than one name. This point will be elaborated later.

Compositions in Rudrapriyā

The mystical nature of this rāga does not end only with its bhāsāṅga nature. The way it was handed by various composers is equally intriguing. Before proceeding to analyse the lakṣaṇa of this rāga, let us acquaint with the available compositions.

Subbarāma Dīkṣitar gives the following compositions notated in his treatise in addition to his own sañcāri.

Rudra kōpa – Rūpakam – Muddusvāmy Dīkṣitar

Vaḷḷī dēvasēnāpati – Rūpakam – Bālasvāmy Dīkṣitar

Nīvē raśika śhikāmaṇi – Ādhi – Bālasvāmy Dīkṣitar

Amba paradēvatē – Maṭya cāpu – Kṛṣṇasvāmy Ayya – Subbarāma Dīkṣitar

Murugāvunai nambinēn – Rūpakam – Vēṅkaṭēśvara Eṭṭapa Mahārāja

Enduku rā rā – Rūpakam – Subbarāma Dīkṣitar (occurs as a small segment in this rāgamālika)

For the kṛti ambā paradēvatē, both Śrī Kṛṣṇasvāmy Ayya and Śrī Subbarāma Dīkṣitar are to be given the credit. Whereas the former has written the lyrics, the latter tuned it. Since we are concerned with music, only Subbarāma Dīkṣitar will be associated with this kṛti henceforth.

In the anubandham of the same treatise, Subbarāma Dīkṣitar gives two more kṛti-s, named as Rudrapriyā but with a different rāga lakṣaṇa:

Gaṇanāyakam – Catusra Ēkam – Muddusvāmy Dīkṣitar

Tyāgeśam bhajarē – Ādhi – Muddusvāmy Dīkṣitar

Since the last two compositions differ considerably from the rest, they will be covered separately in two subsequent articles. We will be analysing only the main Rudrapriyā here.

Apart from those mentioned, three other compositions are attributed to Muddusvāmy Dīkṣitar:

Śivakāyārohanēśaya – Rūpakam

Śri tyāgarājasya bhakto bhavāmi – Misra capu / Triputa

Parāśakthim bhajarē – Ādhi

These Non – Pradarśini kṛti-s require special attention and they too will not be covered here.

Antiquity of Rudrapriyā

Only the Dīkṣitar tribe has handled this rāga is clearly fathomable from the above discussion (Eṭṭappa Mahārāja, the composer of Tamiz kṛti was also a disciple of Bālasvāmy Dīkṣitar). Apart from the kṛti-s, we do not find any gīta in this rāga (gīta–s are usually given by Subbarāma Dīkṣitar to demonstrate old phrases in a rāga). Also, there is a conspicuous absence of a kṛti by Rāmasvāmy Dīkṣitar. This rāga was not even included by Rāmasvāmy Dīkṣitar in any of his rāgamālika-s. These, along with the fact of not seeing this rāga in any of the earlier lakṣana grantha-s might make us to surmise this is a relatively a new rāga which must have come into circulation around 18th century. But, what is the reality?

It is to be remembered, absence of a rāga in the lakṣana grantha-s do not demote antiquity of a rāga. These treatises are not comprehensive in cataloging the rāga-s prevalent when they were written (also see the related discussion here). The information given in these treatises are to be conjunctively analysed with the available compositions to date a rāga. The following evidence show the perspicuous presence of this rāga even before the arrival of the mentioned kṛti-s.

Dakśiṇāśāsyam gurum vandē

This is a composition of Śrī Bhadrācalam Rāmadāsu (1620-1680) in the rāga Rudrapriyā. It is very surprising to see a composition on Dakśiṇāmūrti by Rāmadāsu. But worshiping Dakśiṇāmūrti is an integral part of Bhajana saṃpradāya and this kṛti could have been used to invoke Him in his daily bhajana. This kṛti, to the best knowledge of this author is not in circulation and this is the only version available.

This is more like a divyanama kīrtanam with a pallavi and multiple caraṇā-s. All the caraṇā-s have the same melodic structure. The melodic structure is much simple and devoid of any decorative saṅgati-s, characteristic of any old version. Rudrapriyā portrayed here highly confirms with the mūrcana mentioned earlier excluding two significant signature phrases, SDNP and SNDNP which transgress the mūrcana mentioned proving it a non-scalar rāga.

Interestingly, Māṅcāla Jagannatha Rao, who gave us this version make a note that this is also called as Śuddha Kāpi. We request to reiterate the point mentioned earlier; this rāga had multiple names !!

The following two evidences additionally prove the existence of this rāga during 18^th century.

Ambā kṛupai tandu

This is a composition of Śrī Mazavai Cidambara Bhārathi who lived in early part of the19^th century. He is said to be a contemporary of Kavikuñjara Bhārathi, whose period is said to be between 1810 and 1896.

This kṛti can be seen in the book published by The Music Academy, but labelled as a different raga – Karnāṭaka Kāpi !! Perhaps, this name could have been in common use and a variant of this rāga with antara gāndharam was called as Hindustani Kāpi. Subbarāma Dikṣitar having been aware of this polyonymy (especially Karnāṭaka Kāpi) gives us the variant name alone. This is extremely possible, as Subbarāma Dīkṣitar was proud of his heritage and he must have felt this rāga is to be named as Rudrapriyā as Vēṅkaṭamakhī followed this nomenclature (in the treatise that was available to Subbarāma Dīkṣitar). Our doubt gets more validated if we observe the fact that the kṛti ‘rudra kōpa’ by Muddusvāmy Dīkṣitar lacks the rāga mudra Rudrapriyā!!

The rāga portrayed here is exactly like Rudrapriyā sans two phrases – SNDNM and SDP. The phrase SNDNM occur in the beginning of this kṛti as seen below:

sa n da n m m ga r ri s r g I m ; ; r g I s ri m pa ni ri II

am…….baa….. krupai.. tan..dhu..rak.shi yiyam yo…ga ga na..yi..ke..jaga

Svara-s in bold denote tāra sthāyi

SNDNM is replaced by SNDPM in the second saṅgati. This phrase was an original construction or a printing error is not to be identified. Though SNDNM appears odd, a similar phrase PDNM is there in the Rudrapriyā segment, seen in the rāgamālika of Subbarāma Dīkṣitar. The phrase SDP is found nowhere in the compositions notated by Subbarāma Dīkṣitar; rather, it is seen in the kṛti by Rāmadāsu. This is an allowed phrase and not used by Dīkṣitar Quartette or is a corrupt phrase that occurred due to the passage of time or a printing error cannot be ascertained.

Sāmaja gamana

This is a hitherto unknown svarajati composed in the rāgam Karnāṭaka Kāpi. It is seen in a manuscript whose authorship too is not traceable. This is composed in the style of Svarajati-s composed by Śrī Śyāma Śāstri. This has a pallavi and four caraṇā-s. Predominant phrases seen include ṠNDNP, ṠNPM, NGR and ṠNPṠNPM. It very well corresponds with the rāga lakṣaṇa described above excluding a single phrase MNDPM.

From the above discussion it is unquestionable that Rudrapriyā was indeed a very old rāga. More importantly, it must have been called by various names at different part of this country.

The structure of Rudrapriyā and its possible relationship with Karnāṭaka Kāpi

Though the lineage is same for all the Dīkṣitar members, each one has carved their own style in approaching a rāga. This is explicitly seen in the rāga-s which are bestowed with a composition from more than one Dīkṣitar. Rudrapriyā is one such and this heterogeneity is seen its full glory here. The main feature of Rudrapriyā will be described in brief, which will be followed by a discussion on their individual style.

Striking features of Rudrapriyā

As mentioned earlier, a broad picture about this rāga is given only by Subbarāma Dīkṣitar and the compositions therein are lexicons to understand this rāga in its full grandeur. This rāga has many unique features to distinguish it from its saṃpūrṇa allies like Kharaharapriya and Kāpi (the old one) which can be grasped by learning and analysing these compositions.

Subbarāma Dīkṣitar says niṣādha, gāndhāra, madhyamaṃ and riṣabha are the pivotal svara-s. Compositions start or end only with one of these svara-s. There is a profuse use of janṭa niṣādha and gāndhāra. With this idea let us analyse the individual compositions. When the compositions are analysed, there are some important prayōga-s which traduce the mūrcana given, like SDNP, SNDNP, DNDNP, SRM and SMGM. Apart from this, plenty of dhāṭṭu prayōga-s like MGNPGR, GDGN can be seen. All these prayōga-s, are unanimously used in all the sthāyi-s, unlike Rītigaula wherein the phrase NPNNS is used only in the mandra sthāyi.

Rudra kōpa of Muddusvāmy Dīkṣitar

This kṛti-s follows the lakṣana mentioned above. The āvarta-s start only with the above mentioned four pivotal svara-s apart from sadja and pañcama. Janṭa ṛṣabha as GRR is more commonly used other janta niṣādha and gāndhāra. We see dhāṭṭu prayōga-s like MGNPGR. In all these aspects, we see similar handling of this rāga among the Dīkṣitar Trio.

The differences seen are as below:

The use of janṭa svara is much less than that used by Bālasvāmy Dīkṣitar. Also, the gamakam used for these janṭa svara-s are different. Apart from spuritam, we also find kampitam and nokku for these janṭa svara-s.
The predominant avarōhaṇa phrase in this kṛti is SDNP and SNP. We never get to see the phrase SNDNP. Though a composer is not expected to use all the phrases to visualise his rāga, certain phrases become important as either they define a rāga or has been by all the composers whomsoever has handled that rāga. SNDNP, being such an important phrase can be in the kṛti-s of Rāmadāsu, Cidambara Bharati, Bālasvāmy and Subbarāma Dīkṣitar. It is surprising that this was not used in this kṛti.
To compensate for the phrase SNDNP, we find a new phrase seen in this kṛti – MN(N)G. This occur twice, first in bhadrakāli and second in mālikā, both in anupallavi. This phrase is not seen in any of the compositions mentioned above, inclusive of the kṛti-s of Rāmadāsu and Cidambara Bharati. This phrase reminisce the composition ‘suma sāyaka’ of Svāti Tirunāḷ. The first text to publish this Kṛti with notation is Bālāmṛtam by S Raṅganātha Ayyar. He mention the rāga of this varṇam as Kāpi. The present version has plenty of ṠNP, ṠNDNP, NRG which all feature in Rudrapriyā. On the other hand, these are not found in the old Kāpi. The old Kāpi is now living through the compositions of Muddusvāmy Dīkṣitar and other Pre-Trinity composers notated in Pradarśini. We too have Vālājapeṭṭai manuscripts giving the compositions of Tyāgarāja Svāmigaḷ in this rāgaṃ (the kṛti-s of Svāmigaḷ that we commonly hear in the rāga Kāpi were all mutated and mutilated in the last century). Interestingly this phrase MNG is not seen in any of the old Kāpi compositions. All these might make us to surmise Rudrapriyā could have been alternatively called as Karṇāṭaka Kāpi in the past (along with its other known and unknown names). We are now left with another question – the reason for not seeing this phrase in the composition of other composers. We can exclude the compositions of Rāmadāsu and Cidambara Bharati, as they are small kṛti-s. But, not seeing even in magnificent edifices of Bālasvāmy and Subbarāma Dīkṣitar is absorbing.

A vocal interpretation of the textual representation of this kṛti given in the treatise Saṅgīta Sampradāya Pradarśinī is attempted to the best abilities of this author. The readers are invited to observe unique phrases like MNGG, GRR, ṠNP and ṠDNP (see Footnote 1).

Vaḷḷī dēvasēnāpati and Nīvē raśikhāmaṇi of Bālasvāmy Dīkṣitar

The kṛti ‘nīvē raśikhāmaṇi’ could have been one of the initial compositions of Bālasvāmy Dīkṣitar on Vēṅkaṭēśvara Eṭṭapa Maharāja. The kṛti ‘vaḷḷī dēvasēnāpati’ is unique in that it is one of the three compositions composed by Bālasvāmy on Kazugumalai Subraḥmaṇya Svāmi. Rest of his compositions were all on various Maharāja-s of Eṭṭayapuram.

These two kṛti-s are better exemplars, even more than the ‘rudra kōpa’ of Muddusvāmy Dīkṣitar. Plenty of janṭa gāndhāra and niṣadha can be seen in these kṛti-s. Here the janṭa svara-s are handled predominantly with the spurita gamakam. The predominant avarōhaṇa phrases are PDNDP, PDNDNDP, ṠDNP, ṠNDNP and ṠNDNṠ (the last two phrases are absent in ‘rudra kōpa’). We also find phrases SMGM, GRR, NG and NR, PDNS (in mandra sthāyi). All these phrases give a wholesome structure covering an entire gamut of this rāga. Rudrapriyā flows through the dhāṭṭu prayōga-s and the ciṭṭa svaram affixed to the kṛti ‘nīvē raśikhāmaṇi’ is captivating. The third āvarta goes as NṠṘN GNDN MGNP GR with plenty of three-s. Also, ṠṘĠṀ can be noted.

The kṛti nīvē raśikhāmaṇi interpreted from the treatise of Subbarāma Dīkṣitar can be heard here.

Murugāvunai nambinēn of Vēṅkaṭēśvara Eṭṭapa Mahārāja

This is much in line with the other kṛti-s and uses some special phrases used like ṘDD. Also, extreme importance is given to riṣabham as a jīva svaram. This was composed by Jagadvīra Rāma Vēṅkaṭēśvara Eṭṭappa Mahārāja who ruled between 1853 and 1858.

Ambā paradēvatē and Enduku rā rā of Subbarāma Dīkṣitar

The rāga approach by Subbarāma Dīkṣitar can be considered as a combination of both Muddusvāmy and Bālasvāmy Dīkṣitar. Whereas we find almost all the prayōga-s used by Bālasvāmy in these two compositions, we also find some phrases like PDP, PNṠ, ṘDD and PDNM which are not seen in the compositions of Bālasvāmy. Though the janṭa svara prayōga-s are more seen in this kṛti when compared to that of Muddusvāmy Dīkṣitar, it is certainly lesser than what is seen in the works of Bālasvāmy Dīkṣitar.

The ciṭṭa svara segment attached to this kṛti is very unique and displays the craftsmanship of Subbarāma Dīkṣitar. It runs for 32 āvarta-s and every āvarta starts with ṛṣabham. This 32 āvarta svara segment composed by Subbarāma Dīkṣitar is much different from the abridged version that we hear today and it is a question to ponder on the composer of this abridged version. Also, the manōdharma that we hear frequently only display the scalar Rudrapriyā. Though we enjoy the modern versions and are equally pleasant to hear, these old tunes conceived by the composer are to be at least archived as they not only serve as an example to understand the rāga conceived by the composer, they also teach us the svarūpa of the rāga extant during their times. Here, the various ways in which the jīva svara ṛṣabham can be employed in various ways is demonstrated. These can be adopted by us to resurrect the rāga Rudrapriya, rather than following the scale.

The presence of the phrase ṘDD along with an importance given to ṛṣabham makes us to understand the influence of Vēṅkaṭēśvara Eṭṭapa Mahārāja on Subbarāma Dīkṣitar.

Conclusion

Rudrapriyā, a grand rāga of the past is mainly characterised by janṭa and dhāṭṭu prayōga-s. This rāga has very many phrases outside the prescribed mūrcana and only an untainted version of the kṛti-s preserved by Subbarāma Dīkṣitar and from other older/original versions help us to understand this rāga. The kṛti-s of Bālasvāmy and Subbarāma Dīkṣitar epitomize this rāga more than even the mentioned kṛti of Muddusvāmy Dīkṣitar. Sadly, the rāga portrayed in majority of the versions that we hear today is mainly scalar and fail to project the beauty of this rāga in its full capacity.

Unlike Rītigaula, the phrases in this rāga are not sthāyi specific – all the phrases occur in all the octaves.The name Rudrapriyā could have been in circulation only with the family of Dīkṣitar and this rāga could have been called by multiple names in the past. Perhaps, Subbarāma Dīkṣitar could have been the single person endorsing this name. The rāga Kārnāṭaka Kāpi mentioned in various texts could be this Rudrapriyā and we need to search for original versions to get a clear picture.

This also highlight the importance of collecting the manuscripts preserved at various places to understand rāga-s of the past.

References

Subbarāma Dīkṣitar. Saṅgīta Sampradāya Pradarśinī, Vidyavilasini Press, 1904.

Saṅgīta Sampradāya Pradarśinī – Tamiz edition published by The Music Academy.

Mazavai Cidambara Bhārati Pādalgal. Edited by PC Sitarama Ayyar. Published by The Music Acedemy. This can be accessed in http://musicresearchlibrary.net/omeka/items/show/2713

Footnotes

Footnote 1 – Whereas the Tamiz edition of Saṅgīta Sampradāya Pradarśinī read as ‘anuvadana’ in anupallavi, the original Telugu version read as ‘ajavadana’. This difference was overlooked by this author in his rendition. This is a mistake and is deeply regretted.

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