Among the various compositions notated in the text Sangita Sampradaya Pradarshini, ragamalikas are more interesting and intriguing. Among the composers belonging to the family of Ramasvamy Diksitar, Subbarama Diksitar has employed this musical form extensively. He has composed nine ragamalikas, including the raganga ragamalika. These ragamalikas form vital study material, from the aspects of both sahitya and sangita. An attempt is made here to understand the ragamalikas of Subbarama Dikshitar as a whole, despite understanding the importance of analyzing them individually.
Though the majority of these ragamalikas were composed on the royal patrons like Pusapati Anada Gajapati Raju (kaminchina kalavatira), Raja Jadvira Muddusvamy Ettendra (endhuku ra ra ), Bhaskara Setupathy (garavamu) and Sri Rama Tiruvadi of Travancore (ni sari), he has also dedicated his ragamalikas to deities like Rajagopalasvamy (vedukato) and Kartikeya of Kazhugumalai (manatodi). All of them were composed in Telugu, excluding ‘manatodi’, which is a Tamiz composition.
|Ragamalika||Number of ragas||Tala|
|Ni sarileni||9||Tisra Ekam|
|Kaminchina kalavatira||32||Tisra Ekam|
|I kanakambari (sahitya by Krishna Kavi and music by Subbarama Diksitar)||72 (raganga ragamalika)||Adhi|
The sahitya of these ragamalikas not only have their raga mudras interwoven, but also have the ‘poshaka’ mudra like ‘sri muddusvami jagadvira ettendra candra’ (endhuku ra ra), ‘bhaskara mahipala’ (garavamu) and ‘pusapati ananda gajapati’ (kaminchina kalavatira).
Many of these sahityas are also replete with ‘anuprasa’. Anuprasa is an alliteration, a single syllable is repeated, but as a part of a different set of closely connected words. Using anuprasa is actually an option and not a mandate to be used in a composition. The Sama raga segment featuring in the ragamalika ‘kaminchina kalavatira’ is taken as an example. The sahitya reads as ‘kurulu mogula tegalu nagavalarulunu duru nela saga manuduru’, wherein the aksara ‘la’ is used as anuprasam. Though it is esthetically appealing, it is much more challenging for a musician to sing, especially when it occurs as a madhyamakala sahitya.
The structure of these ragamalikas can be divided into two types – those with a structured pallavi, anupallavi and caranam and those without any defined structure. The ragamalikas ‘manatodi’, ‘priyamuna’ and ‘i kanakambari’ fall under the first category. It is indeed these unstructured ragamalikas that captivate, as they are much abstruse in their construction. In many cases, the composer has prescribed stringent ways to render these compositions, making them much complex and intricate. For instance, in the ragamalika ‘kaminchina kalavathira’. This is perhaps the most asymmetric composition available. This is a ragamalika comprising 32 ragas, wherein the first 16 ragas were given an elaborate treatment, with a detailed svara-sahitya segment. Contrastingly, a single tala avarta was allotted to the second 16 ragas! The composer has grouped these 32 ragas into 16 pairs. These raga pairs are to be sung alternatively after the elaborate section consisting of 16 ragas. The composer has also prescribed unique guidelines for the ragamalikas ‘endhuku ra ra’ and ‘valapu miri’. This kind of grouping and giving directions to render these compositions are unique to Subbarama Diksitar. Though this adds value to the composition, it also makes the composition sound difficult and complex.
Analysis of the eight ragamalikas (‘i kanakambari’ is excluded from being a raganga ragamalika), shows the composer has indeed included a wide array of ragas. It ranges from the common ragas like Kalyani, Sankarabharanam to rarer ones like Rudrapriya and Balahamsa. It also reveals his personal preference for Todi. It features in all the eight ragamalikas. Kamas, having been used in five compositions, follow this. Other ragas like Bhairavi, Sriragam, Yamuna, etc., occur more than once. The raga selection seems to be completely influenced by Ramasvamy Diksitar. Every raga used in these ragamalikas, except three were used by Ramasvamy Diksitar. Pharaju, Kamas, and Rudrapriya form this trio and the above statement can be confirmed only if we get the complete corpus of the compositions of Ramasvamy Diksitar.
The composer has taken utmost care to give a new flavor to a raga when it occurs more than once. For instance, Todi was used as a panchama varjya raga in the ragamalika ‘priyamuna’, but used as a routine raga though with its different phrases in other ragamalikas. In addition, many phrases that were known/used by his family alone are seen aplenty. Be it ‘PNM’ in Kedaram or ‘SDP’ in Manohari, they stand alone. Besides these, these ragamalikas also serves us to understand the old svarupa of these ragas. For example, the phrase NSGGM in Nilambari (not in vogue today) was used profusely in his ragamalika ‘garavamu’.
An interesting feature was employed by Subbarama Diksitar in his raganga ragamalika. This is a ragamalika, serving as a lexicon to understand the 72 raganga ragas used by the Diksitar family, starting from Kanakambari and ending with Rasamanjari. In this ragamalika, when he transits from one raganga raga to its immediate successor (within a cakra), he preferred not to use the svaras unique to them!
Being raganga ragas, every member within a cakra has the same svara varieties in the purvanga (sa to ma), and they differ only in their uttaranga (pa to ni). If a difference is to be shown between any two ragas that occur in succession (within a cakra), it is much easier to show if the differing svaras are used at the beginning of the raga segment as its opening phrase. This was followed by Maha Vaidyanatha Iyer in his 72 ‘mela ragamalika’ (though we do see few exceptions). Subbarama Diksitar surprisingly did not resort to this practice (at the majority of the places). Instead, he shows the phrases unique to these raganga ragas. Therefore, at many places, we will not be aware of the change in the ragas, unless we are cautious, as the successive ragas share the same svara variety in their purvanga. For example, in the first cakra, the raga segments Kanakambari, Phenadyuti, Ganasamavarali, Bhanumati and Manoranjani starts with the phrase SRGRMPM, MGGRMP, MGRMP, MPMRR, PDPMR respectively. Tanukirti alone starts with the phrase SNDNP. Hence, the opening phrases are not suggestive of the ragas used. The ragas unveil themselves only as we travel with the composition.
Excluding the ragamalikas ‘manatodi’ and ‘i kanakambari’, all the others were composed in either rupaka or tisra eka tala. Analysis of the tala reveals the musical acumen of the composer in the arena of talaprastara. Almost in every ragamalika, we see the usage of three speeds seamlessly and skillfully resulting in various unique patterns. Again, this is an influence from the works of Ramasvamy Diksitar.
The ragamalikas of Subbarama Diksitar not only serve as reference material for understanding the raga svarupa; they also help us to understand the music of the gone era. Analysis of each of these ragamalika separately will not only help us to understand the musical thoughts of Subbarama Diksitar, but also the thoughts of Ramasvamy Diksitar as the seed of the latter’s musical thoughts and/or influence can be seen in the composition of all the Diksita-s.
Few reconstructed versions of these ragamalikas can be heard in the author’s YouTube channel The Lost Melodies – TLM.
This article appeared in Sruti April 2021 issue.